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If the initial signal comes out of Amp A and B at the same time, then both of their mics will record the initial signalĪnd both will record about a 5ms ‘echo’ when they pick up the sound coming from the others’ amplifier after it The main attack and the 5ms and 10ms delays after it, which matches close to what most of the tracks look like. Main one), then putting the mic 5 feet behind the main amp and keeping the two amps ten feet apart would give If he’s using 3 mics that way (2 in front of both amps and 1 behind the

Sometimes he puts a mic behind one of his amps.

Will hit the left channel and then 5ms later will ‘echo’ - albeit quieter - in the right channel.

If the mic for Amp A is panned left and the mic for Amp B is panned right, then that one single note.

Vocal mics were about 20 feet from the amps which explains the 20ms echoes in the Rattle and Hum version of ‘ Streets’). (Or, when playing live, the vocal mics pick up the amps’ sound.

About 5ms later, the sound has traveled 5 feet and hits the microphone in front of Amp B.

The guitar sound hits the microphone that is in front of Amp A.

The guitar sound comes out of amplifier A.

Mic’ed up by 2 microphones that are 5 feet apart (either in the studio or on stage), he hits a note and then: Since sound travels through air at around 1.11 feet per millisecond (at normal temperatures), moving a microphone a few feet back from a sound source will delay by a few milliseconds how long it takes

See the above picture - that will make the explanation a lot clearer.

Additional note: the small ‘stereo’ echo effects created by the mic bleeds (and sometimes room echo) (about 5ms, 2-3 repeats).

One reason he does this is to make use of the +10dB output on the SDD-3000s, as Daniel Lanois explained in the quote below. Those feed directly into his amps (usually Vox AC30s). Other effects chains and runs it into 2 SDD-3000s. He splits usually his signal at the end of his Which is crucial), the modulation section of it adds a nice warmth. Though the SDD-3000 is a digital delay (it allows you to exactly dial in the delay length His Korg SDD-3000s are mostly used for the long delays. In parallel set to different tempos and sends them to different amps, as in the diagram above. He uses modulated delays which add a vibrato/chorus effect to the delay repeats.

The ‘real’ delays (150ms-550ms, almost always set in tempo with the song)ĭelays make up a big part of Edge’s sound.

The delay is clearly panned separately from the main signal, this would be the case (such as ‘An Cat Dubh/Into the Heart’). The initial signal only (ie no delay) and the other may just have the delays (ie no dry signal). However, in some cases, one amps may be used for The initial (dry) signal is sent into both amps by both delay units. There’s more info below about the stereo mixing for some songs. Mixing the songs - you can vary the levels, or send 1 delay to the left and another to the right.

Players who want to understand the core ideas and theories behind them to use in their own original songs.Įdge splits his guitar signal (after his effects chain) and sends them into 2 separate amps:Įdge often uses the Korg SDD-3000 delay units the TC-2290s, as used on ‘Streets’, are pictured above.ĭifferent delays to separate amps allows more control when Primarily (and as best as possible), I try to discuss why and how Edge chooses certain delays for given songs, hopefully to give some ideas to other Other things like the modulation effect of the SDD-3000 delay unit and I include some tablature as needed. Note: This page is strictly limited to discussion about The Edge’s delay times. Here is a clip of the main guitar riffs from U2’s songs “Bad” and “Where the Streets Have No Name”.Įach riff starts with the exact thing Edge is playing on his guitar during the songĪnd then the delay/echo is turned on half way through, resulting in the sound you know: Hopefully it will help you think a little bit differently about how you use delay in your own songs. Is because of his ‘secrets’ that are revealed here. That’s good news though: maybe the reason that The Edge sounds a little better than you when he plays ‘Streets’ Settings he used for that song and others and I found out that the real answer is a little more interesting. Out of curiosity, I studied the audio tracks closely and calculated the exact How his delay sounds and how he uses them are a great resource for any serious guitar Most of us won’t ever play in a U2 tribute band or try to cover a U2 song in the studio, butĭiscovering how The Edge uses his ‘trademark’ guitar delay is not limited to that. What’s so interesting about The Edge’s guitar delay?