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Daniel Lanois is working with 3 BCM10!! Reverb/Delay Processors (HW)
Old 20th September 2010
  #1
outofphase
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Daniel Lanois is working with 3 BCM10!!

Wow, Daniel Lanois changed his Neve 8068 for 3 BCM10!

I'm wondering why?

Anyway, this is a very slutty rig too!





YouTube - Neil Young - the making of "Walk With Me" from his new album Le Noise

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Daniel Lanois is working with 3 BCM10!!-dan-bcms.jpg  
Old 20th September 2010
  #2
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To be more specific that's a pair of BCM-10, each on either side, plus a 12ch Melbourne in the center. As you can see, he's recording into a RADAR.
Old 20th September 2010
  #3
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Teddy Ray's Avatar
 

Quote:
Originally Posted by outofphase View Post
Wow, Daniel Lanois changed his Neve 8068 for 3 BCM10!

I'm wondering why?

Anyway, this is a very slutty rig too!





YouTube - Neil Young - the making of "Walk With Me" from his new album Le Noise

Daniel Lanois could record with any damn thing and sound amazing.
Old 20th September 2010
  #4
pmx
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Quote:
Daniel Lanois could record with any damn thing and sound amazing.
what he says.
Old 20th September 2010
  #5
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He owns many types of Neve's - 8068, Melbourn, Bcm10.

Who wouldn't with all those U2 royalties..
Old 20th September 2010
  #6
Quote:
Originally Posted by Teddy Ray View Post
Daniel Lanois could record with any damn thing and sound amazing.
+1 and amen to that, brother!
Old 20th September 2010
  #7
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maybe easier to set up on location?
Old 20th September 2010
  #8
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Flora's Avatar
 

yeah that's the upstairs of his house. the big neve is still set up downstairs where it has always been. pretty handy to have a few bcm10's to take upstairs for some "remote" stuff!
Old 20th September 2010
  #9
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Drumsound's Avatar
Quote:
Originally Posted by MIKEHARRIS View Post
maybe easier to set up on location?
that's my guess
Old 20th September 2010
  #10
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fragilo's Avatar
 

Can someone explain to me how to record without headphones, using a pa instead, the way Lanois describes here?

That sounds like a good idea.
Old 20th September 2010
  #11
Gear Maniac
 

Quote:
Originally Posted by fragilo View Post
Can someone explain to me how to record without headphones, using a pa instead, the way Lanois describes here?

That sounds like a good idea.
It's just like recording a live gig, using a PA so the vox can be heard by the band in the room. This usually allows for a more powerful performance overall because of the louder levels that everyone is contending with. You can use the PA bleed with the tracks to your benefit, allowing a more "live" sounding recording.

But, you need a good band though, because any mistakes that come over the PA may end up as "bad" bleed in the basics...

Last edited by Jay Fitz; 20th September 2010 at 10:08 PM.. Reason: typo
Old 20th September 2010
  #12
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Daniel Lanois reminds me of Billy Bob Thornton in this video. Nice set up. Good choices of gear.

My guess its a mobile thing or sweet spot thing. BAE or AMS ought to remake these side cars again.. That would be killer to have three of those surrounding you in new condition and link them all up for 30 channels.

Thanks for posting. thumbsup
Old 21st September 2010
  #13
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Quote:
Originally Posted by Teddy Ray View Post
Daniel Lanois could record with any damn thing and sound amazing.
And yet, he has chosen to work with exactly these tools.

I'm barely better than an amateur, and I hate to pick a fight, but I know for a fact that the current batch of mixes I'm working on would not sound quite as nice were it not for the particular sonic idiosyncrasies of the gear I've run them through.

For example, I took the extra time and effort to bounce several stems through my ATS-1 on varying settings. On some occasions I bounced several versions of the same stem, then used different ATS-1 sounds for different sections. It seems silly to have to say it, but all this does make an audible difference.

Preamps and mics make a huge difference. (I know you agree with this Teddy, because recently I came across a bunch of your posts having to do with SDC's) If you record a piano with a pair of sm57's through a Mackie VLZ, it's simply not going to sound as good as a pair of Schoeps through a GTQ2, and it doesn't matter who sets up the mics and presses record.

Not to cast aspersions on his skill and/or experience, but if Daniel Lanoise felt he could sound amazing no matter what gear he used, why would he surround himself with such expensive gear?

Sorry to compound the irrelevence!
Old 21st September 2010
  #14
not to be a hater, but if the video editor is reading this, i'd be more than happy to remix this movie w/ Daniel's dialog panned center instead of lav/left and (probably) boom/right.

'course Daniel probably prefers it this way...

great video though...

marty.
Old 21st September 2010
  #15
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Quote:
Originally Posted by steveschizoid View Post
And yet, he has chosen to work with exactly these tools.

I'm barely better than an amateur, and I hate to pick a fight, but I know for a fact that the current batch of mixes I'm working on would not sound quite as nice were it not for the particular sonic idiosyncrasies of the gear I've run them through.

For example, I took the extra time and effort to bounce several stems through my ATS-1 on varying settings. On some occasions I bounced several versions of the same stem, then used different ATS-1 sounds for different sections. It seems silly to have to say it, but all this does make an audible difference.

Preamps and mics make a huge difference. (I know you agree with this Teddy, because recently I came across a bunch of your posts having to do with SDC's) If you record a piano with a pair of sm57's through a Mackie VLZ, it's simply not going to sound as good as a pair of Schoeps through a GTQ2, and it doesn't matter who sets up the mics and presses record.

Not to cast aspersions on his skill and/or experience, but if Daniel Lanoise felt he could sound amazing no matter what gear he used, why would he surround himself with such expensive gear?

Sorry to compound the irrelevence!

Agreed thumbsup Pros use professional tools like "snap on" and "Mac tools". Not some $1 walmart blue light special wrench (made in china). heh
Old 21st September 2010
  #16
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But isnt there some trick to phasing the PA out of the mics?

I see old pics of Al Green etc with a little monitor speaker right in front of them, there must be a trick to that?
Old 21st September 2010
  #17
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Quote:
Originally Posted by steveschizoid View Post
(I know you agree with this Teddy, because recently I came across a bunch of your posts having to do with SDC's)
I agree with the mics making a huge difference..the preamps, not so much.

Daniel uses cheap equipment too. It really isn't about the equipment I don't think.

Now some people like to think it is...they buy a bunch of esoteric stuff because it makes them feel better, makes them *feel* pro...it is like anything else...it is a status symbol... audio jewelry. doesn't make much different to the output...if they are hacks, they will still be hacks(and to be honest, ive heard recordings here from people with gigadollar studios and gear that sound like absolute ass....one of the best ive heard had a chain that most gear snobs would scoff at)

Anti-Gearslut, Trina Shoemaker interview
Old 21st September 2010
  #18
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RedTuxedo's Avatar
Quote:
Originally Posted by steveschizoid View Post
....Not to cast aspersions on his skill and/or experience, but if Daniel Lanoise felt he could sound amazing no matter what gear he used, why would he surround himself with such expensive gear?

Sorry to compound the irrelevence!
I understand your argument, but also, this is the gear he probably came up with. He knows it.
Old 21st September 2010
  #19
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Teddy Ray's Avatar
 

Quote:
Originally Posted by DONNX View Post
Agreed thumbsup Pros use professional tools like "snap on" and "Mac tools". Not some $1 walmart special blue light special wrench (made in china). heh
only the big box meineke/jiffy lube, etc...who offer the mechanic version of fast food. a lot of big names, nice calendars from Snap-on , etc...but the mechanics are shady and the service isnt anything special..

the really good ones just grab whatever is around. and to be honest, snap on tools aren't all that great. My grandaddy bought me a complete snap on set a few years back.. Two of the screwdrivers are broken and my needlenose pliers have frozen up. Both of the screwdrivers broke when changing the discs on my tractor over to the bushhog.
Old 21st September 2010
  #20
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Quote:
Originally Posted by Teddy Ray View Post
only the big box meineke/jiffy lube, etc...who offer the mechanic version of fast food. a lot of big names, nice calendars from Snap-on , etc...but the mechanics are shady and the service isnt anything special..

the really good ones just grab whatever is around. and to be honest, snap on tools aren't all that great. My grandaddy bought me a complete snap on set a few years back.. Two of the screwdrivers are broken and my needlenose pliers have frozen up. Both of the screwdrivers broke when changing the discs on my tractor over to the bushhog.

They do come with a lifetime warranty heh effective as long as you own the tool.
Old 21st September 2010
  #21
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clip6's Avatar
 

Melbourn

I've always wanted a Melbourn. VintageKing has one for sale right now.

Could you guys give me the skinny on the Melbourn.

What's a used price range?

How many were made?

If you have one to sell PM me. Thanks
Old 21st September 2010
  #22
Gear Nut
 

Lanois is full of BS

Personally, I think Lanois is better at making a spectacle of himself than he is at making great records.

It's too funny the way you guys are worshipping him here. He's no God of the studio. He's just a guy that learned a ton of **** from Eno, Pierre Marchand, Malcom Burn, Mark Howard, Billy Bob Thorton, Bob Dylan, Emmylou Harris, Bill Frisell, David Botrill and others. he surrounded himself with talented people and acts like some kind of host of the party to musicians while tapping into the tricks of people like Eno, Fripp and Michael Brook.

His secret is hype. He hypes stuff and gets other people addicted and infected by his hype and they go out like little soldiers and hype it up even more. He even has friends in the media that hype stuff up for him that he is working on.

Wasn't U2's last album just hyped up like crazy? And didn't it all start from comments that Lanois made to the media? And wasn't U2's last album the worst peice of crap they have ever released?

A lot of people hype him up. People like musicain hacks Tom Wilson and wanna-bee record producers like Glen Marshall from Hamilton in Canada who call him "The Maker" and **** like that to create even more hype.

Lanois is just doing the same old song and dance he has always done.

Running stuff into the old Lexicon Prime Time and and hitting the sample button and doing the 2.5 second looping. Dropping it down and octave with the delay/sample rate knob. He's been doing that since 1980.

Running **** into the H3000 Crystal Echos and then into the Prime Time and PCM70 or EMT250. Line 6 has a preset in many of their units that simulates this effect. It's been done to death and it's making me tired.

If you want to hear some new sonics that are truly interesting and otherworldly, check out Sigur Ros. They are the current day masters and innovators of sonics that are both organic and futuristic.

Sigur Ros far surpassed the "future sonics" of Lanois and Eno several years ago.
Old 21st September 2010
  #23
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Quote:
Originally Posted by Sounds Grand View Post
Personally, I think Lanois is better at making a spectacle of himself than he is at making great records.

Lanois is just doing the same old song and dance he has always done.

Running stuff into the old Lexicon Prime Time and and hitting the sample button and doing the 2.5 second looping. Dropping it down and octave with the delay/sample rate knob. He's been doing that since 1980.

Running **** into the H3000 Crystal Echos and then into the Prime Time and PCM70 or EMT250. Line 6 has a preset in many of their units that simulates this effect. It's been done to death and it's making me tired.

If you want to hear some new sonics that are truly interesting and otherworldly, check out Sigur Ros. They are the current day masters and innovators of sonics that are both organic and futuristic.

Sigur Ros far surpassed the "future sonics" of Lanois and Eno several years ago.
That's quite a detailed and exacting technical run-down of someone who you are calling a hack.

I don't think Lanois is claiming he's breaking ground with any particular technique here. He's just put Neil Young, a gifted and notoriously eccentric artist, in a circumstance that he found exciting and inspiring.

I mean, you try winning Neil Young's trust. It ain't easy.

It's not about any nerdy specifics with respect to settings on delays or reverbs or anything like that. It's about casting a spell. Or not.

When the record drops we'll see if they've done it.

- c
Old 21st September 2010
  #24
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vernier's Avatar
Quote:
Originally Posted by fragilo View Post
But isnt there some trick to phasing the PA out of the mics?

I see old pics of Al Green etc with a little monitor speaker right in front of them, there must be a trick to that?
I watched Mike Stone do it ...small monitors on stands, positioned so that leakage was cancelled.
Old 21st September 2010
  #25
Gear Nut
 

Quote:
Originally Posted by Silver Sonya View Post
That's quite a detailed and exacting technical run-down of someone who you are calling a hack.

I don't think Lanois is claiming he's breaking ground with any particular technique here. He's just put Neil Young, a gifted and notoriously eccentric artist, in a circumstance that he found exciting and inspiring.

I mean, you try winning Neil Young's trust. It ain't easy.

It's not about any nerdy specifics with respect to settings on delays or reverbs or anything like that. It's about casting a spell. Or not.

When the record drops we'll see if they've done it.

- c
Not calling him a hack.

Just saying that he is over-hyped and his best work is in the past

1. The Pearl by Harold Budd
2. Million Dollar Hotel Soundtrack
3. U2 Joshua Tree
4. Bob Dylan Time out of Mind
5. Emmylou Harris Wrecking Ball


Those are his best works and nothing else he does gets any better or surpasses them since. He does the same treatment to whoever he works with and on his own stuff. He is becoming a parody of himself just like U2.

The massive ego of people like Bono and other superstars have had an influence on Lanois and he obviously thinks he's part of some special club which is fine but it doesn't impress me and will surely sink his creativity.

Dan needs to get out of LA and Toronto. The two cities in the world that contain the most super cool people who give you smug looks for wearing anything other than black.

Dan should move to some place where no one knows who he is and start over. Leave his super cool hollywood friends and wanna be parasites behind. He should just dissappear and make music with people no one knows. That might render some creative results.
Old 21st September 2010
  #26
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shape shifter's Avatar
 

First Listen: Neil Young, 'Le Noise' : NPR

Here you can stream the album....
Old 21st September 2010
  #27
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fragilo's Avatar
 

Quote:
Originally Posted by vernier View Post
I watched Mike Stone do it ...small monitors on stands, positioned so that leakage was cancelled.
But what does it cancel against? You have a monitor in front of a mic, the mic pics it up, the mix changes later from the monitor mix, how do you cancel that?

I realize now Lanois was only recording vocals and guitar live monitored, so that would be easily doable. But is recording overdubs this way possible?
Old 21st September 2010
  #28
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Quote:
Originally Posted by Sounds Grand View Post
Not calling him a hack.

Just saying that he is over-hyped and his best work is in the past

1. The Pearl by Harold Budd
2. Million Dollar Hotel Soundtrack
3. U2 Joshua Tree
4. Bob Dylan Time out of Mind
5. Emmylou Harris Wrecking Ball
Hi, I agree that those works are amazing, but I absolutely love his new recordings including what I've heard from the Neil Young album (listening now on NPR - wow!)

His Omni series recordings from last year are amazing, including a lot of very dry live band recordings with no delay, sampling or "shimmer" effect - they still sound great and have a fantastic feel. The live Black Dub stuff from the youtube videos sounds amazing too, and it's not really very processed. What he does certainly goes beyond a few processing tricks in my view.

I agree that the way he expresses himself can come across as pompous, but I think that is not really intended that way. I judge him by the music - and the music has not disappointed me yet...
Old 21st September 2010
  #29
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DarkSky Media's Avatar
Quote:
Originally Posted by fragilo View Post
But what does it cancel against? You have a monitor in front of a mic, the mic pics it up, the mix changes later from the monitor mix, how do you cancel that?...
One way to do this is to record the backing track from the vocal mic (without the vocalist even in the room) and flip the phase. Then mix that recorded track in with the feed from the mic as the vocalist is singing - adjusting the level until it fully cancels with the (in phase) backing track that the mic is picking up during the vocal performance.

If there are multiple open mics during the take, a separate "null track" needs to be recorded for each so that the backing track can be correctly "tuned out" of the take signal.

Using this technique, you can record the vocal dry even though the backing track was quite loud in the room. Requires that the mic(s) not be moved after the original phase-flipped recording though.
Old 21st September 2010
  #30
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Actually with regard to Daniel Lanois.. his best records are HIS OWN


ACADIE

For the Beauty of Wynonna

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