The Edge/U2 and UAFX pedals

Andrew Male said:
Yes. There's a video on youtube of his pedalboard during Gloria and the comp is used a lot just in that song alone, he also uses an SD-1 and FA-1 for the slide solo in that song, who knew....

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This song is very much an exception. Edge rarely uses compression and if you notice in this video, he's only using it on the harmonics. On other songs with harmonics (End of the world, streets intro, iris), there is no compressor used. Yes, compression just like every other effect he uses (aside from shimmer) is before the amps.
 
monk said:
This song is very much an exception. Edge rarely uses compression and if you notice in this video, he's only using it on the harmonics. On other songs with harmonics (End of the world, streets intro, iris), there is no compressor used. Yes, compression just like every other effect he uses (aside from shimmer) is before the amps.
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It's not just harmonics, look again. It's used on the entire outro. Of course it's not used on all songs, like none of his pedals are used on all songs, but it is used, which is what the question was I was answering. Given that sound (Comp+FA-1) of the outro is basically the New Years Day sound, I'd say it's probably used there as well.
 
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Andrew Male said:
It's not just harmonics, look again. It's used on the entire outro. Of course it's not used on all songs, like none of his pedals are used on all songs, but it is used, which is what the question was I was answering. Given that sound (Comp+FA-1) of the outro is basically the New Years Day sound, I'd say it's probably used there as well.
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NYD is just straight delay into amp for the entire song. Same goes for Sunday Bloody Sunday on the most recent tours.
 
asclafani said:
Can you share the preset you use for this? That's the closest I've ever heard
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It’s just Stratocaster & straight delay into a driven AC30 model. The default streets preset delay setting is pretty good. Then just adjust your amp model.
 
Ernie Echo said:
As someone who uses only 2 amp types (out of approx. 150) for live-shows (Vox AC-30 and Fender Tweed Deluxe) I am asking the simple question, if the UAFX Vox and Fender emulations are „better sounding“ than the Fractals. Maybe a dedicated pedal, that emulates only 1 amp, is able to do this in a better way than a unit that emulates 150. For me in the end what sounds best wins, but I guess I‘ll have to try the pedals and find out myself…:)
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Did you ever get around to trying it? How’s it sound?
 
I know this ads nothing to the topic at hand... But I have a Brother-in-Law that could be The Edge's twin!! I'll try to find a pic. It's pretty wild
 
mglemley said:
Can't help but think that ONE AFXIII could easily replace all four AFXIIs and all seven UAFX pedals. Not to mention the other unseen gear.

I do not understand this rig...
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I think he was already happy with the effects from the AFXII so that was given and needed a quick way to adjust the amps simulations with real knobs that he doesn't need to learn?
Also all the midi and presets were already set up, so this way he didn't have to modify the presets and set up new midi map for the controller.
He can also easily swap out the current rig's amp modelers with real amps any time.
If he went to "use AFXIII for everything" route, there is no going back and faces the same problem that every artist in the same shoes:
- How am I going to sell my signature model then?
With UA, there is a chance he can do a signature model.
 
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levipeto said:
He can also easily swap out the current rig's amp modelers with real amps any time.
If he went to "use AFXIII for everything" route, there is no going back and faces the same problem that every artist in the same shoes:
- How am I going to sell my signature model then?
With UA, there is a chance he can do a signature model.
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"swap out the current rig...with real amps" this is the big one not many are understanding. The stage and setup of U2 at the Sphere would struggle with real amps. Hence, they found easy direct substitutes that didnt require reworking the switcher or redoing the rack. Many of the presets are the same ones from previous tours for these songs. You have to look at how he's using some of the FXII's to understand. One is doing nothing but 2290 emulation and another is only doing shimmer. In those cases, no need to change from FXII to FX3. Then there's specific FXII tones used on the Innocence and Experience albums that he doesn't want to lose.

Could he have kept the FX2's and got a single FX3 for all the amp modeling. Sure but then it wouldn't be how he likes to access his "amps". Each "amp" has its own switch on the pedalboard to be turned on/off at will if he wants. This is not feasible with a single FX3 and his foot controller setup. There's also the fact of the hours saved by just plugging in a few pedals vs taking the rig back to Bradshaw to be rewired. The possibility of a signture UA pedal? - No chance. While he has no obligation to play Fender only products, he wouldn't release signature gear with a competitor. By about May/June next year, we will be seeing the return of the same Axe FXII rig with the return of his touring amps.
 
echoman224 said:
The stage and setup of U2 at the Sphere would struggle with real amps.
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Can you please elaborate? Is it a volume issue, stage space or something? No idea how sound setup in Sphere works - I'd think something big like this would have a dedicated iso-room or something :)
echoman224 said:
This is not feasible with a single FX3 and his foot controller setup.
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He has 4 Axes in a rack, hard to think of a reason why it can't be achieved with four FX3 each having two amp blocks with 4 channels which can be switched gaplessly.
echoman224 said:
Then there's specific FXII tones used on the Innocence and Experience albums that he doesn't want to lose.
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I'm guessing here but Matt/Cooper/other FAS guys could probably match those sounds on FX3 with 99% accuracy at least, no?
 
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