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The Internet newsletter for Daniel Lanois
Number 151, Sunday 20 June 1999
Today's Topics:
Re: ACADIE Digest, Number 150
DL's & Marianne Faithfull's Vagabond Ways
Re: ACADIE Digest, Number 150
"All the Pretty Horses"?
Re: Lanois discography addition
DL merchandise
Farm Aid Video
Stephan Eicher/Malcolm Burn album
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POSTS: Please send all posts to lanois@sfbayconcerts.com
ADMINISTRATION: Please send all administrative stuff to kenley@sfbayconcerts.com
WWW: http://www.sfbayconcerts.com/lanois/home.html
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From: Chlorin@aol.com
Date: Sun, 13 Jun 1999 21:43:59 EDT
Subject: Re: ACADIE Digest, Number 150
To Acadie Readers: Don't miss the BUENA VISTA SOCIAL CLUB new release of
Wim Wenders. It's dear. Ry Cooder produced the soundtrack- lush melodies
that dance with camera's fascination of it's subjects. Thank you Wim.
Chlorine
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Date: Mon, 14 Jun 1999 08:56:47 -0700
From: jdg@gorge.net (Dirk Gidney)
Subject: DL's & Marianne Faithfull's Vagabond Ways
Brenda
Parts of Vagabond Ways were recorded at Theatro in Oxnard, California, by
Mark Howard. Mark is Dan's partner and the manager/engineer
of Theatro. Mark originally started off working at The Grant Avenue Studio,
in Hamilton, after Dan and his brother Bob Lanois had sold it to Bob Doidge.
Later on Mark left Grant in order to help Dan set up Kingsyway, in New
Orleans, and other projects.
Dan was generally around during the MF sessions, but the production credits
are in fact Mark Howard's.
For more info check out Real Music Records, and Theatro, Oxnard
http://www.realmusicrecords.com/album.htm
Dirk Gidney
Hood River, Oregon/
Hamilton, Ontario/
Baja, Mexico
Any info on DL's contribution to Marianne Faithfull's latest album,
Vagabond Ways ?
My daily newspaper talks of "the maudlin mood and funereal pace of Danial
Lanois's production",
which does not inspire me to run out to buy it.
Should I ??
Brenda, Surrey, UK
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From: "GLD Productions"
Subject: Re: ACADIE Digest, Number 150
Date: Mon, 14 Jun 1999 13:34:02 -0700
From : Lee DaPonte
Re: Lanois' Gear
gldpro@earthlink.net
I thought I could add a few things to the disscussion of Lanois' guitar
sound and equipment. Chuck Zwicky's assessment is very accurate
and is more or less what Daniel told me personally several years back
when asked him about this - (I should mention than Daniel was very
forthcoming on his gear and appoach to playing. He answered in great
detail and was more than willing to devulge his playing "secrets".
Amps:
In addition to older Vox AC-30's Lanois will employ a 1950's vintage
410 Fender tweed Bassman. He will also use smaller Fender amps
from this era such as tweed Deluxe, though the AC-30 seems to be
his primay amp of choice
Guitars:
Frequently used guitar by Lanios inclued Fender Telecasters (50's
vintage with maple fingerboard) and Fender Strats (Vintage) along
with a more recent (non-Fender) Strat - Acadie Tour.
Fender JazzMaster(s) and A Gretsch Country Club (large 50's Vintage
hollow body electric in "Cadillic Green"). - Beauty Of Wynona Tour
More recently for live work he's been using vintage Gibson Les Pauls:
A 1950's Vintage "Standard Goldtop" w/ white "P-90" pick-ups along with
a mid 1950's black "Custom". And a Gibson Firebird (reverse) of 1960's
vintage is also getting a lot of use.
Other guitars Include Vintage National Steel Reosonaters(1930's),
Late 1950's Gibson Les Paul Jr. (Single Cutaway/ "P-90" Pick-Up),
Vox "Mando-Guitar", 1950's Gretsch Silver Jet and a Martin 00-18.
Processing:
The main componet on Lanois' live sound is (was?) a Korg SDD-3000
digital delay unit. This unit has an output level control which allows the
signal to be jacked up by +10dB. His signal goes something like this:
Guitar into the SDD-3000 (output of this boosted by +10dB) into an
AC-30. He uses the Korg as guitar preamp (rather that it's intended
use as a delay) to boost and overdrive his guitar signal prior to hitting
the amp. Basically it's a digial overdrive pedal with a tone character he
likes.
More recently he's used several older "Kay" brand pedals (good luck
finding one!) - These can be heard on the "SlingBlade" soundtrack: a
tremolo on "Jimmy Was" and an orange colored fuzztone on "Orange Kay".
He is also using a new "Boomerang" pedal when he performs "Orange Kay"
live. The biggest influence on his gear has been U-2's The Edge and his
equipment used on "The Unforgettable Fire". Lanois answered a question
on his use of AC-30's this way in "Guitar Player" magazine: "I started using
them (AC-30's) shortly after working with Edge on "The Unforgettable Fire".
"Basically, I stole his sound. It wasn't a complicated rig; just a guitar
he
liked through a Korg SDD-3000 digital delay in to a Vox. Three
components, mono - that's it."
On the acoustic side of things Lanois' main Guitar was (still is?) a
small bodied Guild M-20 from the 1960's This was the smallest and
most basic guitar in the Guild acoustic line. Essentially their "Student"
model with mahogany back, sides and top all finished in a dark brown
mahogany stain. This guitar has a very small body roughly the size of a
Martin "0" or "00". The smaller body size tends to record very well -
"Balanced" and not as "Boomy" as a larger guitar. His acoustic guitars
are often recorded using a Bill Lawrence magnetic sound hole pic-up
(no longer in production). This is fed (via D/I) to the console or into an
older Fender tweed electric guitar amplifier which is then miced with a
dynamic (not a condenser) mic. To this, conventional acoustic micing
(i.e. quality condenser mic close to the instrument) may or may not be
added.
His approach here is probably more a matter of convenience - In isolating
the
output of the pic-up to an amp away from a person who is playing as well as
singing at the same time you solve the problem of the singer spilling over
in the the acoustic guitar mic(s) - Should some part of the vocal need to be
fixed ("Punched -In") you won't have the "Bleed" from the original Vocal
on the acoustic guitar track which would be audible and not match the newer
Punched -In or "Fixed Vocal". For those not overly familiar with audio
recording - In the simplest terms, his recorded acoustic sound may put
eliminating trouble spots in the recording process ahead of so-called
"Optimum Recording Quality."
Three other (MOST) important points: Lanois often uses an (low to high)
"Open"
F tuning of F F C F A C (or F F C F F C). He doesn't use a Pic. He
tends
to turn up the gain on his amps but doesn't (usually) hit the guitar very
hard
while strumming or picking with his bare fingers.
As always - This most important element in getting a sound is the player
him or herself. Lanois will most likely sound like Lanois playing just
about anything.
You may want to see "Guitar Player" Magazine (USA) ofc April 1997
and June 1993. Both contain feature Lanois articles.
Hope this provides some useful information!
Lee DaPonte
gldprod@earthlink.net
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From: "Wierzbicki"
Subject: "All the Pretty Horses"?
Date: Tue, 15 Jun 1999 23:25:41 +0200
Do You know something about music for the film "All the Pretty Horses"?
Is DL still involved in it (as it was planned)?
I've seen on TV at the same time he was working with Willie Nelson, he had
some beutiful melody especially for this film...
Bye
Luke
--
Najpierw marzysz, potem planujesz, potem... VGK umozliwi efekt.
Sklep Internetowy VGK http://www.vgk.com.pl Najnizsze ceny, promocyjne!
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Date: Fri, 04 Jun 1999 14:59:47 -0700
From: Michael Mikesell
Subject: Re: Lanois discography addition
Hi Kenley,
The record I have is a US pressing on the Passport Records label,
licensed from PVC. Passport brought a lot of great progressive rock
into the US in its day! There's no mention of where PVC Records is
based, however. Ben Mink isn't exactly progressive, but it's
instrumental rock and holds an appeal for progressive-minded folks, I imagine!
BEN MINK: *FOREIGN EXCHANGE* (PVC/Passport Records PVC-7919), 1980
10 tracks
Produced by Allan Soberman
Recorded at Grant Avenue Studio [not Kingsway, as mentioned before!],
Hamilton, Ontario
Engineered by Danny Lanois
Mastered at Sterling Sound, New York, by George Marino
Musicians:
Ben Mink: violin, mandolin (electric and acoustic), guitar
Allan Soberman: bass guitar
Martin Deller: drums and percussion
Cameron Hawkins: synthesizers
Mendelson Joe: electric guitar on one track
Elliott Feldman: guitar on one track
Jack Soberman: piano on one track
Ed Roth: Mini-Moog on one track
Take care,
Michael
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Date: 18 Jun 99 10:31:31 PDT
From: Jerry Foster
Subject: DL merchandise
I live in a very rural town in southeast Missouri. I'm probably one of
three people who know and love the music of DL. Is there any place that may
have some footage of DL for sale, or any merchandise at all? It's purely for
the enjoyment of my wife and I.
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From: henry llach
Subject: Farm Aid Video
Date: Sat, 19 Jun 1999 07:16:21 PDT
Anyone out there have the FAFM AID video for trade? With Willie
Nelson and the Phish set? I did a trade with a guy called
Gerry Keefer aka DEEDEE who posted on this newlsetter but after
I sent him the tapes I never heard back form him.
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Date: Sun, 20 Jun 1999 20:58:07 +0200
From: David Meddings
Subject: Stephan Eicher/Malcolm Burn album
A quick note on something that might be of interest. Stephan Eicher is a rather
well known recording artist from Switzerland, where I now live.
He's just released an album called Louanges that features Malcolm Burn on every
track and on the production.
Overall the album has alot of texture, very cool arrangements, and fits together
seamlessly track to track. Very Lanoisish, although moreso because of the ambience
and textures than because of any particular guitar sound.
Most songs are in French, I think 3 in English, and one in Swiss German. As long
as you're not put off by French....which I doubt if many Lanoisphiles are. In fact
the French lyrics are very accessible and are quite a work of art in their own
right.
For me the album at times evokes shades of Lanois, Robbie Robertson, Peter Gabriel
and U2. I've been playing it alot and thought some people here might want to check
it out.
David Meddings
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The views expressed in ACADIE are those of the individual authors only.
ACADIE is released for the personal use of readers. No commercial use may be made of the material unless permission is granted by the author.
Kenley Neufeld, ACADIE editor
http://www.sfbayconcerts.com/kenley.html
kenley@sfbayconcerts.com
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