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."

This article, engineer Adam Samuels describes Lanois' studio setup. "He has a separate console for going to tape, a Neve Melbourne 12-channel with API preamps. Those are set up with dedicated microphones and sound. A channel that’s [dedicated to] the piano microphone is always that. If you sit down at the piano, it’s miked up and I know what it’s going to sound like."

In this JAN 2015 interview, Lanois states, "I also have some great consoles: I use a Neve 8068 in my L.A. studio, and I have BCM-10s--those little sidecar Neves. In Toronto I have a massive Midas Heritage 4000 [analog live sound console]."

"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."

In this "Rig Rundown" interview with Premier Guitar magazine, it's explained that Lanois runs his pre-recorded loops/tracks rig through a 1604 mixer onstage.

"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.

"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."

In this "Rig Rundown" interview with Premier Guitar magazine, it's explained that Lanois runs his pre-recorded loops/tracks rig through a Prime Time delay.

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."

In this 2017 clip, Lanois is showing the camera around his studio. At the 1:27 mark, he points to his rack of older analog gear, in which sit not one, not two, but THREE H3000 units.

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."

Daniel Lanois uses the JAM Pedals WaterFall Chorus & Vibrato Pedal, praised for its ability to emulate the iconic sound of a Roland JC-120. This information is verified by JAM Pedals, known for their handmade analog effects.

"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

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

In this performance of "The Maker", Lanois accompanies his lead vocal on the OM-27.

This article, describing Lanois' studio setup. "For microphones, he’s fairly set in his ways: He says he hasn’t seen any improvement in the technology over the years. He listed these time-tested models as favorites: Sony C37A, Neumann U47 and U48, RCA 77 and 44 ribbons, and the more modern Sony 800-T. He also likes dynamic mics such as the Shure Beta 57 and 58, and the Sennheiser 409 and 421"

This transcribed interview from the October 1997 issue of Canadian Musician magazine, "Lanois also recommends quite a few compressors: the LA2A, the LA4A [sic], and the 1176 Erie. 'If you open up your pre-amp quite a bit and you hit one of these compressors, that’ll be a different kind of sound than just going straight onto tape. All of those links on the chain are really important.'"

"My first real exposure to the original Kay Fuzz came via Daniel Lanois’ soundtrack to the film Sling Blade."

"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."

"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 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, the Harvard appears in Lanois' list of amps.

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

In this "Rig Rundown" interview with Premier Guitar magazine, it's explained that Lanois runs his pre-recorded loops/tracks through a D-Two delay.

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.