In this transcribed interview from the October 1997 issue of Canadian Musician magazine, Lanois explains, "I use a NEVE 1066 pre-amp. The early ’70s models are really great, with great EQs. Again, that’s a huge part of the personality."

Used for vocals on "Hello", as stated by mix engineer Tom Elhirst in this December 21, 2015 SonicScoop interview.

The chain in LA was the Neve 1066 (Mic pre/3-band EQ) to the Bluestripe UREI 1176 compressor into a Fairchild 660 limiter. I’m taking the multitrack return from Pro Tools to the line amp on the Neve 1066, then straight into the 1176 and 660 and back up the insert return.

The UREI is hitting and releasing quicker, while the Fairchild is doing a much slower attack and release. Here at Electric Lady I use a Neve 1081 into a Blackface 1176 and then into a Tube-Tech CL 1B compressor.

A large part of the vocal sound is the plates and chambers at Capitol Studios: There’s chambers that Les Paul built back in the 1940’s, and they are literally like nothing else on earth. When I got back to NY in September, I mixed five or six songs at Electric Lady, so we’d send the vocals from here and they’d record it through the chamber, and send back the prints.

Once you’ve found the vocal sound for someone like Adele, you want to use it through the whole record, and these plates and chambers sound incredible. To get to them is hard enough: you go in to the basement of Capitol, you then climb through a ladder to get to the sub-basement, where it looks like no one has been for 50 years. You literally open a hatch and climb down a steel ladder.

Have you ever been in a reverb chamber? They’re like tiled rooms, not painted – like Alice in Wonderland rooms, they don’t look right.

There’s a lot of effects going on behind the vocals. There’s an AMS delay, an Eventide preset called “Canyon,” a plate, a spring…You can see the escalation of things. There’s about seven or eight things going on. You get this wide kind of thing, but her vocal remains super-present.

So what’s going on in the box?

There’s no compression processing going on at all, just some de-essing and some little volume draws on the vocals – little dots and dips, but no rides. The rides have been done with automation on the flying faders.

Used for lead vocals on XOXO, as stated by engineer Nick Tveitbakk in this October 28, 2020 Mix Online interview.

“We cut 90 percent of the lead vocals through a Wunder CM7 mic, which I really love,” KJ says. “That went through a Neve 1066 preamp, and then a Revision H 1176. Also, in the big room we had a Neumann M149 tube mic, which we used for group vocals. Sometimes all three of them would be singing around one mic.”

Used for lead vocals on XOXO, as stated by engineer Nick Tveitbakk in this October 28, 2020 Mix Online interview.

“We cut 90 percent of the lead vocals through a Wunder CM7 mic, which I really love,” KJ says. “That went through a Neve 1066 preamp, and then a Revision H 1176. Also, in the big room we had a Neumann M149 tube mic, which we used for group vocals. Sometimes all three of them would be singing around one mic.”

Neeraj Khajanchi utilizes the Neve 1066, a classic preamp and EQ known for its distinctive 'Neve' low end and musical midrange. The Neve 1066 features a 3-band EQ with high-pass filter points at 45, 70, 160, and 360 Hz, low EQ points at 35, 60, 100, and 220 Hz, and mid EQ points ranging from 700 Hz to 7 KHz. It offers separate mic and line inputs with adjustable attenuation and a hi/lo impedance switch. This gear is highlighted in a tweet from Neeraj's Twitter account, showcasing his appreciation for its unique sound characteristics.

Used for lead vocals on XOXO, as stated by engineer Nick Tveitbakk in this October 28, 2020 Mix Online interview.

“We cut 90 percent of the lead vocals through a Wunder CM7 mic, which I really love,” KJ says. “That went through a Neve 1066 preamp, and then a Revision H 1176. Also, in the big room we had a Neumann M149 tube mic, which we used for group vocals. Sometimes all three of them would be singing around one mic.”