Daniel Lanois

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."

"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.

"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 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.

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.'"

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.

This transcribed interview from the October 1997 issue of Canadian Musician magazine, "Lanois also recommends quite a few compressors: the LA2A, the LA4A, and the 1176 Erie [sic]. '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.'"

In this JAN 2015 interview, Lanois states, "I made a record with Bob Dylan called Oh Mercy, and on that record, for a lot of the songs I used a bass drum figure on a Roland 808 beatbox. I fed that 808 bass drum figure to Bob in a big Electro-Voice monitor right in front of him, so that became the point of reference for tempo and groove."

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 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."

Lanois is listed as an endorsing artist on the iZ Radar website.

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

In this interview with Guitar World magazine, Lanois states that he'll sometimes run his pre-recorded tracks/loops rig through a couple of delay units. "I do these Jamaican triplet echoes with a Lexicon PCM 42 or Prime Time 2," he states.

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.'"

In this image posted to Lanois' Flickr account, we see Black Dub recording in his Los Angeles studio. The S-3000XL can be seen on the left side of the image (to Daniel's right).

In the interview linked to above, Daniel Lanois talks about using an Eventide DSP4000 Harmonizer (misspelt as ‘Evantide’ in the report).

In this photo, Daniel Lanois is seen what looks like an Eventide model H910 Harmonizer (slightly obscured due to photo quality) in the studio racks at Grant Avenue studios. Seen beneath his Lexicon Prime Time delay and AMS delay.

Harold Budd mentions the Eventide Harmonizer being used for treatments on The Pearl in this interview, which was recorded with Lanois and Brian Eno at Grant Avenue.