RECORDING October 2022 - 22
Daniel
Lanois
Player, Piano
performance separate from the righthand
take. That resulted in some beautiful
background phrasing. I only went to Cuba
once, but everything I got from Cuba
made its way into that track. [laughs]
My two favorites on the album
are " Twilight " and " Zsa Zsa. "
" Zsa Zsa " is a live performance. I
have a little iPhone film of that, and I'm
quite proud of that one because, as I
watch the film, I think, " Boy, that guy's
got some pretty good chops. " [laughs]
" Twilight " is an example of what I described
a few moments ago that moves
from the major to the minor, where I
processed and mixed in the effects one
chord at a time. Then there is a scene
change at 2:33 where it goes into a
walking feel that reminds me of what I
did on the song " Walk With Me " with
Neil Young on the Le Noise album.
The drums on that are a Roland 808, and
I reprogramed the pattern and dropped the
edit to accommodate that bridge.
I am very intrigued by how
you process and sample the
source (in this case, piano)
in small sections, compared
to adding a single effect
or a second instrument.
It's really the opposite of a fixed effect
that you run all the way through. I
wouldn't criticize that, but this is very
different. I'll snatch a little sample of one
of the instruments, and if it's got something
cool about it, then I'll run the sample
against the track and see what happens.
If I get harmonically lucky, I'll drop
it in almost like we're doing an overdub.
Even if I only get a half bar or a bar that
sounds magical, I carry on with that technique,
so there's a constantly changing
landscape of harmonic support that's full
of surprises along the way.
22 RECORDING October 2022
You are a big fan of the oneroom
studio and not having
a separate control room.
I've been doing that for a long time. It
has disadvantages regarding spillage and
all that stuff; I often keep musicians together
in the studio but have the amps down
the hall and around the corner guitar for
a bit of isolation. Obviously, it can be a
little tough with drums, but for me, it's all
about communication. When the players
are close together in tight proximity, oftentimes,
that'll bring the best results. I did that
on Emmylou Harris' Wrecking Ball record.
We sat in a tight little group about 2
feet apart, almost like a little bluegrass
group. There is just something about sitting
close that solves a lot of problems
for me in terms of vibe and blend.
On my recent Heavy Sun album, we
had four singers, and I invited all of
them to join me at the console. We all
used Shure handheld mics and monitored
through the speakers-no headphones-so
monitoring quietly.
We would record a phrase or two
and then instantly listen to the playback.
This way, people can hear what
they just did to learn and swap parts,
and adjust their blend and phrasing.
The communication was very quick,
and it was a great way to work.
Being a tech director at a
church for years, the gospelstyle
organ playing on
the Heavy Sun album blew me
away. It sounds incredible.
Thanks for mentioning that. I always
love the power of the church organ,
and Johnny Shepherd is a great player.
I have recorded organs like that since
I was a child, so I'm with you, man.
There's no substitute for it.
Often, we didn't even add a separate
bass guitar. We just used the bottom from
the organ. Obviously, that means the bass
line is locked into the organ track because
it's all coming from one performance, but
then you have the lovely advantage of it
being perfect pitch. The bass is always in
tune with the rest of the instruments.
I assume you are miking
up a Leslie speaker?
I'll usually run two! One near the organ
player and another one isolated in
another room or down the hall, and that
is usually the one I'll end up using.
What monitors do you mix on?
On this record, we mostly used my Tannoy
Gold monitors from the 70s, they're
a 15 " coaxial, one-point source speaker,
and I've pretty much been doing my best
mixes on those, as far back as working
in England with Peter Gabriel. I don't use
a sub. The monitors actually are just the
original speaker components, and I had
some custom boxes made for them.
I like modern speakers as well. I'm waiting
to get a pair of Barefoot monitors, and
I'm a fan of Meyer Sound monitors. I've
known John Meyer for a long time.
Photo by Barbara Davidson
RECORDING October 2022
Table of Contents for the Digital Edition of RECORDING October 2022
Fade In
Fast Forward
Warm Audio WA-47F & WA-CX12X
The Nostalgic, Futurist Piano Man: Daniel Lanois Player, Piano
Focusrite Clarett+ OctoPre
Session Log: Ribbon Microphones
ADK Microphones: Munich-7-T T-FET
Moog Music Mavis
Inside The Studio With Mark Hornsby: Cool Mics by Non-Mic Companies
Heiserman Audio H251
Plugin Outlet: sonible smart:comp 2
AEA TRP500
Inside The Box with Joe Albano: Virtual Preamps
Pearlman Microphones TM-12A
MasterWriter
Sequential Take 5
Mojave MA-D
TIERRA Audio New Twenties
RECORDING October 2022 - Intro
RECORDING October 2022 - Cover1
RECORDING October 2022 - Cover2
RECORDING October 2022 - 1
RECORDING October 2022 - 2
RECORDING October 2022 - 3
RECORDING October 2022 - Fade In
RECORDING October 2022 - 5
RECORDING October 2022 - 6
RECORDING October 2022 - 7
RECORDING October 2022 - Fast Forward
RECORDING October 2022 - 9
RECORDING October 2022 - Warm Audio WA-47F & WA-CX12X
RECORDING October 2022 - 11
RECORDING October 2022 - 12
RECORDING October 2022 - 13
RECORDING October 2022 - 14
RECORDING October 2022 - 15
RECORDING October 2022 - The Nostalgic, Futurist Piano Man: Daniel Lanois Player, Piano
RECORDING October 2022 - 17
RECORDING October 2022 - 18
RECORDING October 2022 - 19
RECORDING October 2022 - 20
RECORDING October 2022 - 21
RECORDING October 2022 - 22
RECORDING October 2022 - 23
RECORDING October 2022 - 24
RECORDING October 2022 - 25
RECORDING October 2022 - Focusrite Clarett+ OctoPre
RECORDING October 2022 - 27
RECORDING October 2022 - 28
RECORDING October 2022 - 29
RECORDING October 2022 - Session Log: Ribbon Microphones
RECORDING October 2022 - 31
RECORDING October 2022 - 32
RECORDING October 2022 - 33
RECORDING October 2022 - 34
RECORDING October 2022 - 35
RECORDING October 2022 - 36
RECORDING October 2022 - 37
RECORDING October 2022 - 38
RECORDING October 2022 - 39
RECORDING October 2022 - ADK Microphones: Munich-7-T T-FET
RECORDING October 2022 - 41
RECORDING October 2022 - Moog Music Mavis
RECORDING October 2022 - 43
RECORDING October 2022 - Inside The Studio With Mark Hornsby: Cool Mics by Non-Mic Companies
RECORDING October 2022 - 45
RECORDING October 2022 - 46
RECORDING October 2022 - 47
RECORDING October 2022 - Heiserman Audio H251
RECORDING October 2022 - 49
RECORDING October 2022 - Plugin Outlet: sonible smart:comp 2
RECORDING October 2022 - 51
RECORDING October 2022 - AEA TRP500
RECORDING October 2022 - 53
RECORDING October 2022 - Inside The Box with Joe Albano: Virtual Preamps
RECORDING October 2022 - 55
RECORDING October 2022 - 56
RECORDING October 2022 - 57
RECORDING October 2022 - Pearlman Microphones TM-12A
RECORDING October 2022 - 59
RECORDING October 2022 - MasterWriter
RECORDING October 2022 - 61
RECORDING October 2022 - Sequential Take 5
RECORDING October 2022 - 63
RECORDING October 2022 - Mojave MA-D
RECORDING October 2022 - 65
RECORDING October 2022 - 66
RECORDING October 2022 - 67
RECORDING October 2022 - 68
RECORDING October 2022 - 69
RECORDING October 2022 - 70
RECORDING October 2022 - 71
RECORDING October 2022 - TIERRA Audio New Twenties
RECORDING October 2022 - Cover3
RECORDING October 2022 - Cover4
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