The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
The Edge's Guitar Tone
Old 4th February 2007
  #1
Gear maniac
 
pbell's Avatar
 

Thread Starter
The Edge's Guitar Tone

Hey Kevin,

From what I've heard Edge is big on layering guitars and trying new tones, what can you tell us about the recording of his guitars and how you went about mixing the different parts together?

Thanks!
Old 5th February 2007
  #2
engineer / producer / mixer
 
Kevin Killen's Avatar
 

pBell,

Its has been many years since I had the pleasure of working with Edge but during the time that I did his approach was very direct. Find a part, get the right guitar tone and play it until he was satisfied.

At that time he relied heavily on his 3 or 4 Vox AC 30's. There would be some processing in line, delays mostly but occassionally some other effect. The amps were setup in various spaces, live , dead or in between to achieve a particular ambience. Mics used were Shure 57, U87, Sony C500, AKG 414 or PZM. It really depended on what he was striving for and we just experimented a lot.

Each of the amps had a different character to it, one mellow, one nasty sounding and so on. During "War" it was the above mentioned approach. On the "Unforgettable Fire" both Brian and Dan setup a very intricate set of processing that was used to inspire Edge, delays, reverb, harmonizer. That record had a few more layers to it but in truth those records do not have a lot of guitar parts by todays standard.

When it came to the mix, it was more a balance issue and some slight tailoring of the sound to make it fit in.... some eq and perspective blend. However it was not uncommon for Edge to declare that he wanted to try "that" part again during the mix because he knew what the tone nneded to be. And he was often right !

Kevin
Old 5th February 2007
  #3
Lightbulb

Quote:
Originally Posted by Kevin Killen View Post
At that time he relied heavily on his 3 or 4 Vox AC 30's. There would be some processing in line, delays mostly but occassionally some other effect. The amps were setup in various spaces, live , dead or in between to achieve a particular ambience.

I love this concept of multiple AC30's creating the space and tone.


Old 5th February 2007
  #4
engineer / producer / mixer
 
Kevin Killen's Avatar
 

I have to say Edge is a master of tone as evidenced by his unique contribution to the art of playing guitars.
Old 5th February 2007
  #5
Lives for gear
 
max cooper's Avatar
 

The other night I watched a deal about guitar players and Bono said something like "Edge likes to think that notes are very expensive and so he uses them sparingly".

Great stuff. Thanks, Kevin.
Old 6th February 2007
  #6
Gear Head
 

Smile Edge - Unforgettable Fire Slane Castle Questions

Kevin,

What a great thrill it is to have you here.

My questions are as follows:

1. Was the MXR Pitch transposer used on the Unforgettable Fire? For what songs and how was it used?

2. Was the TC Electronics Integrated Preamp used at all? It appears on the floor in one scene during the documentary of the making of the unforgettable fire.

3. Daniel Lanois was quoted in an old interview that Edge used the Beyer 88 mic for most songs - can you confirm from your recollection that this mic was favoured more than any others?

4. I appreciate this is probably in the wrong thread but here goes anyway - Was the black stratocaster with maple fingerboard used in the recording of any of the songs? I have been dying to know for many years, is the black strat real heavy suggesting it may be made of Northern Ash instead of swamp ash or alder - any ideas about this guitar? What is the bridge pickup - stock standard?

5. Was the Electro Harmonix Deluxe Memory Man used at all on the album, or was it simply Korg SDD3000 and/or Lexicon Prime Time?

I hope you can shed some light on these for me? Any thoughts or recollections will be greatly appreciated.

Kind regards,

Kilmainham.

(cheque is in the post? heh - Jules )
Old 7th February 2007
  #7
engineer / producer / mixer
 
Kevin Killen's Avatar
 

Kilmainham,

Now you are really testing my powers of memory !!!!!!!!!!!

The pitch shifting was from the AMS 1580 delay. The MXR may have slipped in there from time to time. The AMS was a fav of Brian and Dan's.

The TC... not sure about this one. I thought TC's first product was the 2290 which came out in 1985/86. UF was recorded in the summer of 1984. Ed Simeone showed me the 2290 while I was working with Brian Ferry, I then showed it to Edge, the rest is history.

His memory may be better than mine but at Slane Castle I have a strong recollection of using the Sony C500 ( check the video with Edge's amp on the balcony !). But we also had M88's and 57's.

I have no idea..... on the strat question, sorry.

For the delays,probably all three depending on the application. the Prime time was mostly used by Brian and Dan to generate a sound for edge, the other two by Edge himself. Would not surprise me if all three were combined.

KK
Old 7th February 2007
  #8
Gear Head
 

Smile Many thanks Kevin.

Kevin,

Many thanks for taking the time to answer some of my questions, I fully appreciate that I am stretching the limit with respect to the amount of time that has elapsed.

One final follow up - as naive and ridiculous as it sounds, is it possible to use the MXR Pitch Transposer and obtain similiar results to the AMS, as was used on the unforgettable fire?

Can the MXR get even close to the AMS if used creatively with a good delay unit?

The TC integrated Pre amp was a pedal ( a clean boost) which I suspect is similiar to the rare Boss FA 1. I could have sworn this was around at this time and Edge may have used it at Slane Castle during those sessions.

Thank you very much for the answers thus far, you are helping to slowly unravel some of the mysteries behind what in my opinion, is the greatest album of all time.

Regards,

Kilmainham
Old 8th February 2007
  #9
engineer / producer / mixer
 
Kevin Killen's Avatar
 

kilmainham.

I guess its POSSIBLE but I imagine that the AMS will have more detail and be less glitchy.

That would depend on the input source, but in creative hands anything is possible.

You may be totally right about the TC pedal, i do remember seeing one of those around but I not the project. good though if you are right !!

Old 12th February 2007
  #10
Gear Head
 

Smile Thank you.

Thanks very much Kevin. Much appreciated.
Old 23rd February 2007
  #11
Gear Head
 

Unhappy Mic follow up

Kevin,

I have been considering your responses and have a follow up. I understand the Sony C500 to be a large diaphragm condenser mic. Seeing as this mic has long been discontinued, which equivalent microphone would you recommend can sound exactly like the Sony C500? Is there any you would recommend?

Also, wouldn't the high SPL's create a real problem for this type of mic? Was this a concern with the Sony C500 at Slane Castle when used to mic up an extremely loud VOX AC30?

In relation to the Beyer 88, is the vintage mic really better than the current version Beyer 88 TG, from your experience? What is a good alternative mic that achieves a similiar sound to the original 88?

Finally tonally ,what characteristic advantages does the Sony C500 impart to a recorded guitar track over say a 57 or even 88? I guess I am trying to zero in on why Edge favoured that mic for that particular album.

Again, if you could shed any light on this, I would be most greatful.

If I could squeeze one more in, in your opinion, is the mojo from the Korg SDD 3000 to be found in the famed preamp section, or the digital delay section?

Kind regards,

Kilmainham
Old 26th February 2007
  #12
Gear maniac
 

Quote:
Originally Posted by kilmainham View Post
Kevin,

If I could squeeze one more in, in your opinion, is the mojo from the Korg SDD 3000 to be found in the famed preamp section, or the digital delay section?

Kilmainham

My friend Lyle at www.psionicaudio.com has recreated the preamp section of the Korg SSD3000 in a pedal... but better. Check his website for details and video.

http://www.psionicaudio.com

He is super cool and helpful as well. Lots of cool products and interfaces. Tell him Craig said hi!
Old 1st March 2007
  #13
Gear Head
 
fasttraxx's Avatar
 

Kevin,
Any compression on guitar tracks?
Old 2nd March 2007
  #14
engineer / producer / mixer
 
Kevin Killen's Avatar
 

Quote:
Originally Posted by kilmainham View Post
Kevin,

I have been considering your responses and have a follow up. I understand the Sony C500 to be a large diaphragm condenser mic. Seeing as this mic has long been discontinued, which equivalent microphone would you recommend can sound exactly like the Sony C500? Is there any you would recommend?

Also, wouldn't the high SPL's create a real problem for this type of mic? Was this a concern with the Sony C500 at Slane Castle when used to mic up an extremely loud VOX AC30?

In relation to the Beyer 88, is the vintage mic really better than the current version Beyer 88 TG, from your experience? What is a good alternative mic that achieves a similiar sound to the original 88?

Finally tonally ,what characteristic advantages does the Sony C500 impart to a recorded guitar track over say a 57 or even 88? I guess I am trying to zero in on why Edge favoured that mic for that particular album.

Again, if you could shed any light on this, I would be most greatful.

If I could squeeze one more in, in your opinion, is the mojo from the Korg SDD 3000 to be found in the famed preamp section, or the digital delay section?

Kind regards,

Kilmainham


Well no two mics sound exactly the same, even the same model number. However of the newer models I think a M149 or Audio Tecnica 4060 might be the closest. In terms of the high SPL's I believe we used a pad on the mic and had its position further off the speaker and just let the volume dissipate somewhat before hitting the capsule. WE also had the AC 30 set up on a outdoor balcony so that helped diffuse the sound.

In terms of preference , it was at the suggestion of Randy Ezratty who supplied the studio equipment. When we a b'd the two the Sony had a fuller sound. And we were specifically looking to create a new sound so I guess that was part of it.

I have not had a chance to actually listen to the difference side by side but the newer 88's do sound good to my ear.

The Korg ? I have no idea. I would need to really test that one, sorry !

Kevin
Old 3rd March 2007
  #15
Gear Head
 

Quote:
Originally Posted by Kevin Killen View Post
pBell,

Its has been many years since I had the pleasure of working with Edge but during the time that I did his approach was very direct. Find a part, get the right guitar tone and play it until he was satisfied.

At that time he relied heavily on his 3 or 4 Vox AC 30's. There would be some processing in line, delays mostly but occassionally some other effect. The amps were setup in various spaces, live , dead or in between to achieve a particular ambience. Mics used were Shure 57, U87, Sony C500, AKG 414 or PZM. It really depended on what he was striving for and we just experimented a lot.

Each of the amps had a different character to it, one mellow, one nasty sounding and so on. During "War" it was the above mentioned approach. On the "Unforgettable Fire" both Brian and Dan setup a very intricate set of processing that was used to inspire Edge, delays, reverb, harmonizer. That record had a few more layers to it but in truth those records do not have a lot of guitar parts by todays standard.

When it came to the mix, it was more a balance issue and some slight tailoring of the sound to make it fit in.... some eq and perspective blend. However it was not uncommon for Edge to declare that he wanted to try "that" part again during the mix because he knew what the tone nneded to be. And he was often right !

Kevin
thanks for the inf o! very much appreciated
Old 4th March 2007
  #16
engineer / producer / mixer
 
Kevin Killen's Avatar
 

Quote:
Originally Posted by fasttraxx View Post
Kevin,
Any compression on guitar tracks?

In general i think it always better to get the tone you want before you start plugging in a lot of processing. As I said earlier about Glyn Johns, he hardly ever used it and he still got amazingly fat sounds. If you feel compelled , then use a little , if unsure then don't use any.

kevin heh
Old 5th March 2007
  #17
Gear Head
 
fasttraxx's Avatar
 

Quote:
Originally Posted by Kevin Killen View Post
In general i think it always better to get the tone you want before you start plugging in a lot of processing. As I said earlier about Glyn Johns, he hardly ever used it and he still got amazingly fat sounds. If you feel compelled , then use a little , if unsure then don't use any.

kevin heh
Kevin,
Sorry, I don't think I made my question clear. I was asking if you used any compression on the Edge's guitar tone?
Old 5th March 2007
  #18
engineer / producer / mixer
 
Kevin Killen's Avatar
 

Quote:
Originally Posted by fasttraxx View Post
Kevin,
Sorry, I don't think I made my question clear. I was asking if you used any compression on the Edge's guitar tone?
With Steve lillywhite it was through a UA 1176. With dan it was through a LA2A

KK
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Similar Threads
Thread
Thread Starter / Forum
Replies
Rogervandeberg / So much gear, so little time!
25
mic monkey / So much gear, so little time!
6
commaKaze / So many guitars, so little time!
1
man camel / So much gear, so little time!
16
johnjm22 / Work In Progress / Advice Requested / Show & Tell / Artist Showcase / Mix-Offs
18

Forum Jump