Lanois interview in emusician

Santiago · 3rd May 2006

Very interesting interview by Paul Tingen

******//emusician.com/mag/emusic_house_soul/

Santiago

xist · 3rd May 2006

Very interesting, thanks :-)

papiel · 3rd May 2006

Thanks Santiago,
A great article!

Eldad

respirator · 3rd May 2006

Thanks, saw him life the other day. What an amazing guitar player! It's a bit unfair somehow ;-)

Flymax · 3rd May 2006

So glad he mentioned Bill Dillon. Bill's a real inspiration guitar player...call hiim and hire him! He's in Toronto and is a total fu&$ing genius!

doorknocker · 3rd May 2006

Very interesting read, thanks!

Two sentences stood out for me:

- 'Records have become longer, at a time when people have less listening time'

- The only records that sound good these days are hip-hop records, because the producers understand something about bottom end''

wwittman · 3rd May 2006

the really smart thing he said has to do with thsi pervasive "belief" that you "need" to chisel away at sounds and roll all the bass out of guitars and treble off the bass and so on... whereas GREAT recordings have full range sounds on everything.

doorknocker · 3rd May 2006

Quote:

Originally Posted by wwittman

the really smart thing he said has to do with thsi pervasive "belief" that you "need" to chisel away at sounds and roll all the bass out of guitars and treble off the bass and so on... whereas GREAT recordings have full range sounds on everything.

So you wouldn't call the Beatles recordings being GREAT? According to Geoff Emerick, and easily audible anyway, there's nothing below 150k or so on the guitars to make room for the bass, etc.

Anyway, I agree with Lanois though. I just would not make a rule about the HPF theory.

doug_hti · 3rd May 2006

Quote:

Originally Posted by doorknocker

So you wouldn't call the Beatles recordings being GREAT? According to Geoff Emerick, and easily audible anyway, there's nothing below 150k or so on the guitars to make room for the bass, etc.
theory.

there might be more than you think below 150k

doorknocker · 3rd May 2006

Quote:

Originally Posted by doug_hti

there might be more than you think below 150k

That's why my recordings always sounded so like........thin??

150 Hz I meant, actually it might be higher. I love that AC 30 sizzle......

wwittman · 4th May 2006

I don't believe that's true about Beatles records.
They certainly don't sound that way.

Geoff Emerick says a lot of things that contradict other things HE has said. Let alone what others who were equally there say.

Silver Sonya · 4th May 2006

I read this interview in print and I was struck by Lanois' proclamation about EQ as well. My friend (and musical hero) Joel Hamilton, has often passionately espoused a similar theory about EQ carving: he believes it's over-rated and certainly overly simplistic. Joel actually has a very elaborate and intense philosophy about the physics of sound and of records. I don't share all of his beliefs but I do respect them.

My personal relationship to EQ is still insinctual: there are times when "carving" or bandlimiting a sound to make room for another sound makes sense. And there are times when the blur and bleed-across is what makes music beautiful. So I don't have a policy about it when I'm mixing. It's a case-specific thing.

I own all of Daniel Lanois' solo albums, although I don't totally love any of them. I have to say that I WANT to love his new record (which is instrumental) more than I actually do love it. I don't think the tunes are as strong as he'd like them to be. I'm a fan, but I gotta call it as I see it...

- c

dim light · 4th May 2006

super cool thanks for the link!

bigbone · 4th May 2006

The best quote in this interview for me is

''A good performance will override any production idea
or sonic idea that you can have''

No mather how good the pre's and mic are, if the performance is shit
it will sound like shit..........

espasonico · 4th May 2006

It´s funny because when I don´t listen to the sonics of an album that means that I really like the album.

Being all day making music it´s very easy to get distracted by the way things sounds when I´m listening as a plain listener.

When I try to focus my attention in the sonics of an album I really like, my mind gets into the music and I can´t analyse anything. It happens all the time with Dylan records

3rd May 2006	#1
Santiago Lives for gear Joined: Sep 2005 Location: London, UK Posts: 516 Thread Starter	Lanois interview in emusician Very interesting interview by Paul Tingen ******//emusician.com/mag/emusic_house_soul/ Santiago

3rd May 2006	#4
respirator Gear nut Joined: Jul 2005 Location: Denmark Posts: 113	Thanks, saw him life the other day. What an amazing guitar player! It's a bit unfair somehow ;-) __________________ www.respirator.dk

3rd May 2006	#6
doorknocker Lives for gear Joined: Nov 2002 Location: Basel, Switzerland Posts: 6,206 1 Review written	Very interesting read, thanks! Two sentences stood out for me: - 'Records have become longer, at a time when people have less listening time' - The only records that sound good these days are hip-hop records, because the producers understand something about bottom end'' __________________ 'Ever since the Supreme Court overturned the Snare Act, it has been legal to use any mic you like on snare.' - joeq http://www.doorknocker.ch/

3rd May 2006	#7
wwittman one man, ONE mic pre Joined: Jan 2004 Location: New York Posts: 2,300	the really smart thing he said has to do with thsi pervasive "belief" that you "need" to chisel away at sounds and roll all the bass out of guitars and treble off the bass and so on... whereas GREAT recordings have full range sounds on everything. __________________ William Wittman Producer/Engineer (Cyndi Lauper, Joan Osborne, The Fixx, The Outfield...) prorecordingworkshop.lefora.com thewombforums.com

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3rd May 2006	#2
xist Lives for gear Joined: Dec 2005 Posts: 879	Very interesting, thanks :-)

3rd May 2006	#3
papiel Gear nut Joined: Jun 2005 Posts: 107	Thanks Santiago, A great article! Eldad

3rd May 2006	#5
Flymax Lives for gear Joined: Dec 2004 Posts: 1,068	So glad he mentioned Bill Dillon. Bill's a real inspiration guitar player...call hiim and hire him! He's in Toronto and is a total fu&$ing genius!

4th May 2006	#11
wwittman one man, ONE mic pre Joined: Jan 2004 Location: New York Posts: 2,300	I don't believe that's true about Beatles records. They certainly don't sound that way. Geoff Emerick says a lot of things that contradict other things HE has said. Let alone what others who were equally there say.

4th May 2006	#12
Silver Sonya Lives for gear Joined: Sep 2004 Location: Washington, DC Posts: 7,209	I read this interview in print and I was struck by Lanois' proclamation about EQ as well. My friend (and musical hero) Joel Hamilton, has often passionately espoused a similar theory about EQ carving: he believes it's over-rated and certainly overly simplistic. Joel actually has a very elaborate and intense philosophy about the physics of sound and of records. I don't share all of his beliefs but I do respect them. My personal relationship to EQ is still insinctual: there are times when "carving" or bandlimiting a sound to make room for another sound makes sense. And there are times when the blur and bleed-across is what makes music beautiful. So I don't have a policy about it when I'm mixing. It's a case-specific thing. I own all of Daniel Lanois' solo albums, although I don't totally love any of them. I have to say that I WANT to love his new record (which is instrumental) more than I actually do love it. I don't think the tunes are as strong as he'd like them to be. I'm a fan, but I gotta call it as I see it... - c

4th May 2006	#13
dim light Lives for gear Joined: Dec 2003 Location: China Posts: 2,336	super cool thanks for the link!

4th May 2006	#14
bigbone Lives for gear Joined: Feb 2005 Location: Montreal Qc Posts: 1,631	The best quote in this interview for me is ''A good performance will override any production idea or sonic idea that you can have'' No mather how good the pre's and mic are, if the performance is shit it will sound like shit..........

4th May 2006	#15
espasonico Lives for gear Joined: Jan 2005 Posts: 663	It´s funny because when I don´t listen to the sonics of an album that means that I really like the album. Being all day making music it´s very easy to get distracted by the way things sounds when I´m listening as a plain listener. When I try to focus my attention in the sonics of an album I really like, my mind gets into the music and I can´t analyse anything. It happens all the time with Dylan records

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