Daniel Lanois

In this rig rundown, Daniel's Goldtop is mentioned:

"The ’53 Les Paul features a few modifications: a mini-humbucker from an old Gibson Firebird in the bridge, a Bigsby tailpiece, Tune-o-matic bridge, and some Gretsch knobs. Lanois doesn’t prefer a particular brand of string, just as long as they’re heavy. Currently, his gauges go from .011–.056 with a wound 3rd string."

"It’s incredibly surprising that Lanois tours with just two instruments: an early ’70s Sho-Bud LDG 10-string pedal steel guitar and a 1953 Gibson Les Paul goldtop. To help with the inherent buzz that comes with single-coil pickups, Lanois replaced the original pickup in the Sho-Bud with a George L E-66 humbucker. Lanois uses a slightly altered version of the standard E9 setup and tweaks the tuning of the top strings for specific songs." - Premier Guitar. This guitar is first discussed at 1:15.

In this article on the Seymour Dunan website, custom shop manager Maricela “MJ” Juarez and tech guru Scott Miller visit Lanois to deliver new pickups and encounter two of his Strats in the process.

In the "Gearbox" section of this interview with Premier Guitar magazine, the M-20 appears in Lanois' list of guitars.

In the "Gearbox" section of this interview with Premier Guitar magazine, a Mustang appears in Lanois' list of guitars.

In the "Gearbox" section of this interview with Premier Guitar magazine, a Firebird V appears in Lanois' list of guitars.

In the "Gearbox" section of this interview with Premier Guitar magazine, a Telecaster appears in Lanois' list of guitars.

In this interview with Sound on Sound describing his work on Peter Gabriel's So album, Lanois explains, "I played a lot of guitar, a green Fender Jazz Master which you don't see very often now. It doesn't have much sustain but it does have a good dense sound."

Daniel's Vox AC30 is mentioned in this Premier Guitar rig rundown:

"The AC30 sees a totally dry signal while the Deluxe handles the wet signal."

"We did try different amps, but I settled on my Vox AC30 and a late-’50s tweed Fender Vibrolux. The best result we had with Rocco was plugging him into an old Peavey MAX from the ’70s that I had down in the basement. We ran the Peavey into an Ampeg 4x10 SVT cabinet. Those amps were all we used on the album."

In the "Gearbox" section of this interview with Premier Guitar magazine, the Harvard appears in Lanois' list of amps.

In this "Rig Rundown" interview with Premier Guitar magazine, it's explained that Lanois runs his pre-recorded loops/tracks into an SVT-CL onstage.

Quoted from the interview, Lanois said:

In the studio it's surprising how sometimes the Fender Champ is my best amp — a little tweed Champ I have from the late 1950s. I think there's some kind of wisdom to there only being one speaker so you're only going to mic one speaker.

"The Waterfall is a spot on chorus and vibrato not unlike that special sound you can only get from a Roland JC-120. "

"The Delay Llama with it's infinite hold gives you just that, limitless possibilities and when paired with the the expression pedal you can really create some atmospheric sonics."

Daniel plays: WaterFall, Delay Llama+, Fuzz Phrase, Big Chill

Daniel plays: WaterFall, Delay Llama+, Fuzz Phrase, Big Chill

In the "Gearbox" section of this interview with Premier Guitar magazine, the Boomerang appears in Lanois' list of gear.

In this "Rig Rundown" interview with Premier Guitar magazine, a Morley optical volume pedal is shown in Lanois' effects chain.

This "Rig Rundown" interview with Premier Guitar magazine lists a TU-3 as one of the few pedals in Lanois' effects chain.

In this interview with Guitar World magazine, Lanois is asked, "How do you get that amp-being-driven-to-destruction tone on 'The End'?"

Lanois: "That is as simple as my Vox AC30 cranked up to ten. It is an early ’60s copper top—not a top boost, with the blue speakers. I use the Normal channel. I was using my ’56 gold-top Les Paul with P-90s. It was the same one I used on Bob Dylan’s Time Out of Mind record. I think it is my best sounding Les Paul, the darkest sounding one anyway. For the initial performance, I was using a DigiTech Whammy pedal for some of the octave dive bombs. I was also using a cheap DBX DJ box that gives you an octave below."

In this article, about how Brian Eno and Daniel Lanois got their shimmer sound, it says, "The AMS DMX 15-80s was a digital delay / sampler / pitch shifter that was in common use in Britain in the early 1980’s. Eno and Lanois have both sung the praises of this unit, and Wendy Carlos has said that the AMS unit had 'perhaps the least audible artifacts to pitch shifting available at that time.'"

Daniel's Korg SDD-3000 is mentioned in this rig rundown by Premier Guitar.

"Lanois plugs both his guitar and pedal steel through the same setup. From the output of his Korg SDD-3000 digital delay (more on that in a bit)."

"I set up my Radar and GP2 preamps, and we got three Neve BCM10 consoles and a Neve Melbourne desk. I ended up using the Melbourne the most."

"I went downstairs and he played it back. I did a vocal immediately on a 77 that was set up. The mic was hot with a lot of LA2A and I sung softly."

"I've used different mix compressors over the years. I've used 1176s, not linked up, I like that the left will react differently than the right. For added fun try inserting a couple of graphics before hitting the compressor. Lately I've been using the 32264a in my Neve 8068 console."

"I like the Sennheiser 409 on amps. For a different sound I like a ribbon mic. Acoustic guitar recordings are tough. If you can have a nice big mic further back from the instrument that's usually the best. Further back means no booming. Lately I've enjoyed a U47 or C37A with a 1066 preamp."