G'day eh.

I've been listening to Emmy Lou Harris, Wrecking Ball lately, and there is something Daniel Lanois does to that vocal that is just...different. There's a gentle 'edge' to it that is truly compelling, and that I miss as soon as I plugin the next disc, whomever it might be.

An unreliable source once told me he tapes 2 SM57's together, flips one out of phase and then tells the singer to place their chin up to the top one. (I think this is how it was described to me) I have NO idea if this is true.

Any ideas on if he really does use this, or if it's merely urban legend?

Any other input on Lanois' techniques that might shed light on what he may have done here?

Anybody want to share any other really wild and funky mic techniques you've either heard about or tried?

Hey, come to think of it, I've got one, in my short stint with recorded music. I once wanted to record a big honkin' dgembe, with one mic up top and one underneath, but I got lots of 'woofing' from the lower mic, as every time you smack the thing it moves about a million cubic feet of air. I placed a PZM mic under it, which you can pretty much use as a drumstick and it won't overload. Anyway, the results were great.

There. I contributed instead of just asking stupid questions...

Cheers mates
Keith