As it turned out, it was just a little too 'splashy' sounding. When I first went there I had it in mind to record everything in the ballroom, which was this beautiful very tall room with big mirrors, chandeliers and windows overlooking the river. Four months is probably closer to reality. The castle period lasted for about two months and then we moved into Dublin to finish up at Windmill Lane Studios. It was a very long session, about six months by all accounts? Eventually, we got a proper power truck to come out and one day it blew up and caught fire!" (Laughs) At certain times of the day you couldn't record because there was not enough power to supply the equipment.
Drum music bullet the blue sky generator#
There were some funny problems during that session because we were running the system off the River Boyne, using a sort of water-paddle generator system at the back of the castle. It was more important to capture a feeling than it was to have the very best gear. It was good but it wasn't the ultimate technical system. It came in flightcases with wheels on so you could pop the lids open and get on with what you were doing pretty quickly.
Drum music bullet the blue sky portable#
It was a heavily modified Sound Workshop mixing console with a Stevens tape recorder - a kind of portable twenty-four-track machine. "Technically, it was a very humble set-up.
Could you elucidate on how that record was actually put together? One knew that U2 were making a mega new album over in Slane Castle (and a short film as well) but, to this day, the ins and outs of what happened over there are still pretty vague in most people's minds. In Irish terms the making of The Unforgettable Fire was viewed in much the same way as the making of The Beatles' Sgt. In this the second and final part of a revealing interview with this French Canadian 'sorcerer', Lanois reflects positively over the last three years' accomplishments. It was also this friendship that would indirectly, through the chance hearing by Peter Gabriel of Harold Budd's The Pearl, bring Lanois to England to produce So. It was this very special Eno/Lanois partnership that would bring him into contact with U2 in 1984. Last month, we concentrated on his early musical involvements and the maturation of his lengthy relationship with Brian Eno through a series of often innovative and never less than stimulating recording projects. The contact with U2 and the remarkable success of The Joshua Tree album have catapulted producer Daniel Lanois into the mainstream of commercial rock and roll. Sound On Sound SEPTEMBER 1987 - by Mark Prendergast Turn on javascript to use the drop-down menus.
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