Jacknife Lee

Mentioned in this May 19, 2021 Roland interview.

In a studio packed with equipment spanning many brands and eras, Roland factors heavily, both in hardware and software forms. “I’ve got a JUNO-106 over there, and the Roland Cloud JUNO-60 plug-in is amazing. I’ve also got the MKS-80 Super Jupiter and a JV-1080.” Amid vintage Roland JC-120s and drum machines, Lee notes a particular box and its influence on a famous client. “I used the TR-8 all over U2’s last record, so they went and bought one. Now I’ve got the TR-8S.”

Mentioned in this May 2011 Universal Audio interview.

What kind of audio I/O do you use, when using Logic?

I use MOTU HD192s, a few of those — and I don’t use a separate clock. And then I have lots of boxes, you know.

"I use Logic. I do have to use Pro Tools as well sometimes. If I’m doing a live take, I’ll track into Pro Tools just because I find it to be a bit more stable in that situation. Then I’ll transfer to Logic, continue working in Logic, then mix in Logic. It depends on each project."

"Interestingly, I started mixing at home, and I’d just got the UAD-2 QUAD DSP Accelerator Card, so we had the Pultec Pro EQ and 1176 Classic Limiting Amplifier Plug-In, and all this stuff going on."

On this article, on the Arturia website, Jacknife Lee claimed to use Minibrute 2

Listed on Lee's official Eventide artist page.

Listed on Lee's official Eventide artist page.

Listed on Lee's official Eventide artist page.

Listed on Lee's official Eventide artist page.

Listed on Lee's official Eventide artist page.

Listed on Lee's official Eventide artist page.

Mentioned in this May 19, 2021 Roland interview.

In a studio packed with equipment spanning many brands and eras, Roland factors heavily, both in hardware and software forms. “I’ve got a JUNO-106 over there, and the Roland Cloud JUNO-60 plug-in is amazing. I’ve also got the MKS-80 Super Jupiter and a JV-1080.” Amid vintage Roland JC-120s and drum machines, Lee notes a particular box and its influence on a famous client. “I used the TR-8 all over U2’s last record, so they went and bought one. Now I’ve got the TR-8S.”

Mentioned in this May 19, 2021 Roland interview.

In a studio packed with equipment spanning many brands and eras, Roland factors heavily, both in hardware and software forms. “I’ve got a JUNO-106 over there, and the Roland Cloud JUNO-60 plug-in is amazing. I’ve also got the MKS-80 Super Jupiter and a JV-1080.” Amid vintage Roland JC-120s and drum machines, Lee notes a particular box and its influence on a famous client. “I used the TR-8 all over U2’s last record, so they went and bought one. Now I’ve got the TR-8S.”

Mentioned in this May 19, 2021 Roland interview.

In a studio packed with equipment spanning many brands and eras, Roland factors heavily, both in hardware and software forms. “I’ve got a JUNO-106 over there, and the Roland Cloud JUNO-60 plug-in is amazing. I’ve also got the MKS-80 Super Jupiter and a JV-1080.” Amid vintage Roland JC-120s and drum machines, Lee notes a particular box and its influence on a famous client. “I used the TR-8 all over U2’s last record, so they went and bought one. Now I’ve got the TR-8S.”

Mentioned in this May 19, 2021 Roland interview.

In a studio packed with equipment spanning many brands and eras, Roland factors heavily, both in hardware and software forms. “I’ve got a JUNO-106 over there, and the Roland Cloud JUNO-60 plug-in is amazing. I’ve also got the MKS-80 Super Jupiter and a JV-1080.” Amid vintage Roland JC-120s and drum machines, Lee notes a particular box and its influence on a famous client. “I used the TR-8 all over U2’s last record, so they went and bought one. Now I’ve got the TR-8S.”

Mentioned in this May 19, 2021 Roland interview.

In a studio packed with equipment spanning many brands and eras, Roland factors heavily, both in hardware and software forms. “I’ve got a JUNO-106 over there, and the Roland Cloud JUNO-60 plug-in is amazing. I’ve also got the MKS-80 Super Jupiter and a JV-1080.” Amid vintage Roland JC-120s and drum machines, Lee notes a particular box and its influence on a famous client. “I used the TR-8 all over U2’s last record, so they went and bought one. Now I’ve got the TR-8S.”

Mentioned in this May 2011 Universal Audio interview.

Is there any Universal Audio gear in those boxes?

Yeah, there’s quite a lot actually. I’ve got a few 1176LN Classic Limiting Amplifiers and a 6176 Vintage Channel Strip. The 610 preamps are amazing, I love those. They sit on my desk. When I’m not doing a live project, I just have the 610s on my desk, plug a guitar into them, then into the power rig (just for speed), and then I re-amp all the stuff I played.

That’s if *I’m *playing it. If I have anybody else playing, we’ll do the whole mic-amp thing.

Sometimes trying to get guitar sounds can take up a lot of the creative time. I try and keep things moving as quickly as possible, and that means keeping technology out of the way. People should just come in and play, get ideas out without having to spend their time changing cables around or locating buzzes and stuff like that. Which is why I don’t use boards any more. I find that when I want to move quickly, soon you have to go find a patch cable, or trace a hot buzz, and on and on.

Mentioned in this May 2011 Universal Audio interview.

Is there any Universal Audio gear in those boxes?

Yeah, there’s quite a lot actually. I’ve got a few 1176LN Classic Limiting Amplifiers and a 6176 Vintage Channel Strip. The 610 preamps are amazing, I love those. They sit on my desk. When I’m not doing a live project, I just have the 610s on my desk, plug a guitar into them, then into the power rig (just for speed), and then I re-amp all the stuff I played.

That’s if *I’m *playing it. If I have anybody else playing, we’ll do the whole mic-amp thing.

Sometimes trying to get guitar sounds can take up a lot of the creative time. I try and keep things moving as quickly as possible, and that means keeping technology out of the way. People should just come in and play, get ideas out without having to spend their time changing cables around or locating buzzes and stuff like that. Which is why I don’t use boards any more. I find that when I want to move quickly, soon you have to go find a patch cable, or trace a hot buzz, and on and on.

Jacknife Lee uses the Arturia Dist Coldfire Distortion Effect Plug-in, as evidenced by his own statement: "Dist COLDFIRE is insanely great. It's one of the deepest tools I have now. I thought it was going to be just a saturation/distortion plugin and I know what they do. I love them and can't have enough of them, but this is far more than that." This information is supported by Arturia.