THE EDGE - The Irish Bell - topic récaptulatif (ou presque)

je dirais gibson ES-175 + AC30 avec un sd-1 ou od2 en mode normal + un echo de style analogique que l'on entend sur la fin , a part ca et encore je suis pas sur

GP: So the songs that have solos were just begging for them?

Edge: I think they were. For instance, "Kite" originally didn't have a solo. We had the tune almost finished, but we weren't quite happy with it--it needed a twist. So we edited in a section, I plugged my '64 Gretsch Coutnry Gentleman into a cool fuzzbox--and Ampeg Scrambler--and a Vox AC30, and I came up with a solo for it. It really made that part of the song come alive. that's a case-in-point where the decision to do a solo came from the sense that something was missing in the tune.

GP: You really mixed up the tones on this album.

Edge: Well, I'm a fairly well established AC30 man, but lately, for a bit of variety, I've been moving away from the Vox. I used a 70s Hiwatt commbo for a lot of the distortion tones, and for many of the clean tones, I used an old Fender Bassman.

GP: "Elevation" has some amazing distortion tones.

Edge: I used a Gibson SG through an old fuzz pedal of Daniel's into the Bassman. He said, "What do you think of this?" Within ten minutes, I had the riff that became the stepping off point for "Elevation". Inspiration can come from anywhere, and a fresh sound can be just as inspiring as a great hook. To me, sounds *are* hooks. That tone presented a whole world of ideas to me, and we got a song
out of it.

GP: What is that huge distortion sound that barges in during the main riff?

Edge: That's the Hiwatt.

GP: What were your main fuzzboxes?

Edge: The Ampeg, a Tube Screamer for a good general distortion without being too in-your-face, and an old Manny's Fuzz--which is really extreme. I also used this really obscure Japanese pedal called the Sobart for the heavy sections of "New York." That pedal is so extreme. You step on it and all hell breaks loose. On "When I Look
at the World", I'm using an Electro-Harmonix Micro Synthesizer for that mad distorted tone.

GP: What's the massive wah-wah at the end of "Elevation"?

Edge: That's us filtering the tone after the fact with an Electrix Filter Factory. A wah pedal is great for certain sounds, but many times dedicated filters--DJ-type boxes--have a little more to them.

GP: How did you get the lovely clean tones in "Stuck in A Moment" and "In a Little While"?

Edge: I have a great '50s Strat, and I plugged it straight into a Bassman. On this record, I often found myself simply enjoying the pure tone of the instrument. Again, that's kind of new for me.

GP: "Walk On" has some very classic Edge sounding parts.

Edge: I mostly used a white Les Paul that I've had for a long time through the AC30. The solo on that tune is my Gibson Explorer through the AC30.

GP: You were the first guy a lot of people heard use the Whammy pedal. What attracted you to that effect.

Edge: It was just such a dramatic, extreme effect. That being said, there are very subtle, beautiful things you can do with it. I used it on "Peace on Earth" for this bizarre, atmospheric, almost Chinese-sounding part. It's a 5th below and a 4th above.

GP: You use the Whammy pedal in a more extreme way on "When I Look at the World".

Edge: Yes. In the middle solo, I'm using it with an echo in the choruses.

GP: Are you still using the Korg SDD-3000 delays?

Edge: Yeah. Even though they are digital, they have a warm and musical tone. I find most digital gear very hard to deal with because the natural musical quality of the guitar is compromised. It takes all the beautiful texture away and replaces it with this glassy, artificial sound. That makes it gough to get inspired.

GP: And do you stil run out of the +4db output of your Korg to push the front of your amps?

Edge: I do sometimes.The unit has output attenuation controls, and I mess with those. It's a great way of giving yourself a cool gain boost. I did that with all the amps.

What guitars did you use on the record?

For electrics, I used my butterscotch `51 Telecaster and Edge's reissue Gibson Les Paul Goldtop. For my acoustic parts, I used a Gibson J-200 that Emmylou Harris gavem me. It has a Lawrence magnetic pickup in the soundhold that I run into a tweed Fender Champ. I set the Champ next to my feet and mic it. I've been using that sound for years. You can't quite tell if it's acoustic or electric -- a very lovely sound.

What was the typical mic setup for The Edge's electric parts?

Mostly, we would close-mic the speaker a tiny bit off-center with a Shure Beta 57 or 58. Sometimes we would put the Vox in a 4' x 12' corridor, and position a Neumann U47 or an AKG C414 six feet away. You can hear those tones on "Walk On" during The Edge's signature-sounding parts.

Also, we placed a small Vox amp with an 8" speaker in an isolated room, ran the Whammy pedal to the amp, and recorded it on a separate track. That's the shimmering sound on "Peace On Earth."

How did you mic his acoustics?

We used the Shure Beta 58 with quite a bit of compression. Occasionally, we tried a fancier mic -- The U47 or the C414 -- but those were in the overdub setting.

The 1976 Gibson Explorer The Edge bought new as a teenager was the first guitar he played in U2, and, for me, it is synonymous with the unique sound of its owner. The guitar has remained relatively stock. Gold Schaller tuning machines have been added, and the frets of the 16 radius rosewood neck have been replaced about three times with low and wide Dunlop 6130 fretwire. As the frets wear, they are leveled, rounded and polished to add some life between fret jobs.

The neck is quite straight, woth only .005 relief. String height at the 12th fret is 6/64 on the treble side and 7/64 on the bass side. An interesting point about the nut height (measured as the distance from the bottom of the unfretted string to the top of the first fret) is that the treble strings are very low avout .005 above the first fret - but the A string rises up to .030 and the low E to .040. Dallas Schoo, The Edges long-time guitar tech, says the guitarist hits those bass strings quite hard, and they discovered the Explorer sounds best with the strings that high.

The Explorers pickups are kept lower that what I normally see 5/32 below the strings for the neck pickup, and 6/32 for the bridge pickup. The lower height means the pickups capture less bass, deliver less output and also produce a little air around the sound. In addition, The Edge has the tailpiece screwed down to the body possibly to gain as much sustain as possible from the guitar.

Schoo strings up the guitar with Ernie Balls (gauged .010-.046), and winds about two and a half turns of string around each of the post. He uses a mixture of hobby wheel lube and graphite to keep the strings from sticking to the bone nut.

par contre petite question a lemg , peut tu me dire comment est raccorder ton systéme vu que toi aussi tu a rack et pédales ??