Music Producer - Greg Ladanyi
Greg Ladanyi has spent his professional career, engineering, mixing and producing records for some of the greatest artists in the field of music entertainment. Greg is best known for his production & engineering work with: Jackson Browne - six albums, including Running On Empty, Hold Out, and Lawyers in Love; Toto - four albums, including Toto IV, Don Henley - three albums, including Building The Perfect Beast, Fleetwood Mac - Fleetwood Mac Greatest Hits and Behind The Mask, The Church - Starfish, Jeff Healey - See The Light, and Jaguares - Bajo el Azul de tu Misterio. Greg's engineering and production work has sold an estimated 60 million records worldwide.
Greg has contributed his work to 18 Grammy nominations and has been nominated directly three times. Greg won a Grammy Award in 1982 for Best Engineered Recording with Toto's, Toto IV and nominated for Producer of The Year for Don Henley's, Boys of Summer and Jaguares, Best Rock Album, Bajo el Azul de tu Misterio, at the 1st Annual Latin Grammy Awards.
Greg is currently President & Director of Baton Rouge based Maple Jam Records. Their first signing, The Terms, from Baton Rouge Louisiana, was produced by Greg for Maple Jam Record's first release in the spring of 2005.
Greg is currently recording The Terms second effort with the help of the PreSonus ADL600. PreSonus caught up with Greg just after the latest recording session to discuss Greg's reaction to the ADL 600.
PreSonus: How did you first hear about PreSonus?
Greg L: Jim Odom, the President of PreSonus and I have been friends for a long time. Recently, I was asked to become President and Director of A/R for Maple Jam Records, which is based in Baton Rouge. Jim and I renewed our friendship and I was introduced to the PreSonus line of firewire recording interfaces.
PreSonus: How did you first hear about the ADL 600?
Greg L: Jim brought it to me when it was in development. The specs on it were amazing and the sound in real life is even better.
PreSonus: What is it about the ADL 600 that makes it stand out from other tube, or for that matter, solid state preamps?
Greg L: To my way of thinking, the tube sound has come to represent all that we like about analog recording. The sound of the ADL 600 is very pure, with great response from top to bottom.
PreSonus: On the single you recorded with The Terms most recently, you used the ADL600 on a variety of different sources. What were your thoughts?
Greg L: It is a very versatile preamp, especially with its input impedance matching. I used it on everything from drums to vocals and on instruments. On a project I am working on now, I am actually running the whole stereo mix through the ADL 600 and sending it back to my DAW. It adds an amazing richness to the overall sound.
PreSonus: The drum sound on The Terms single is really big but also really tight and focused. How did you do it?
Greg L: My usual way of working is to get the overhead mics dialed in and compressed first. This gives me a sense of how the drummer plays. Then I add the other mics to fill it out - with the kick drum mic adding most of the rest of the tone and the snare and tom mics for the attacks. The ADL 600 is great on drums.
PreSonus: If there is one thing you could tell up and coming engineers about choosing a preamp, what would it be?
Greg L: What I want from a preamp it is to capture what really happened in the room and deliver that information to my digital recording set up. The ADL 600 does just that.