Daniel Lanois

In this image posted to Lanois' Flickr account, we see Black Dub recording in his Los Angeles studio. There is a Deluxe Memory Man unit on the wall shelf just behind Trixie, sitting next to a microphone.

In this image posted to Lanois' Flickr account, we see Daniel's "tabletop guitar" setup. The Honeytone is positioned bottom center.

(This article)[https://www.mixonline.com/recording/daniel-lanois-shines-alone-365055], 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 article)[https://www.mixonline.com/recording/daniel-lanois-shines-alone-365055], 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"

In this transcribed interview from the October 1997 issue of Canadian Musician magazine, Lanois discusses his guitar setup. "Then it just comes down to guitar amps. That’s a huge part of the personality. I prefer old VOX AC30s, but I also quite like a 1959 410 BASSMAN. The tube amps can give pretty good results."

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."

In this JAN 2015 interview, Lanois talks about a technique used during the recording of "Sioux Lookout" from his album Flesh and Machine. "So we sent his bass drum performance to this computer program [Drumagog] that replicates his bass drum performance in an isolated sound, including preserving the dynamics of his performance. That gave me a more hip-hop-sounding rendition of his bass drum. We then sent that to a massive [Axys] P.A. that I have in my studio, so the room was just shaking with this hip-hop bass drum sound. Then we put that through a fuzz wah pedal, and the fuzz wah provided a tone, a note, to the bass drum."

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)."

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

"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 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."

"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."

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, which are equipped with Hot Rails pickups, in the process.

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

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

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

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.

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 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 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 2011 photo](https://www.pollstar.com/Image/ArtistPhotos/3249db1b-a74a-4fa4-aae9-31103ed42324-DanielLanois_MG_4362-(WEB-C.jpg) from a Black Dub live performance, Lanois is playing an SG Special with a Maestro vibrola tail piece.

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 article)[https://www.mixonline.com/recording/daniel-lanois-shines-alone-365055], 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 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."

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 the "Gearbox" section of this interview with Premier Guitar magazine, the M1 pickup appears in Lanois' list of gear.

In this image posted to Lanois' Flickr account we see a pair of TU-12H tuners perched atop one of his Fender amplifiers.

In this image of Black Dub recording at Lanois' Los Angeles studio, his Bass VI hangs on the wall above him.

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).