TONEDB

lead guitar from “where the streets have no name” by u2 | ToneDB

where the streets have no name

u2

lead guitar

95% ai confidence

Tone Profile

A bright, chiming, and rhythmically complex guitar tone, defined by a signature dotted eighth note delay that creates a cascading, atmospheric, and anthemic sound.

Signal Chain

Instrument: 1973 Fender Stratocaster (Black, Maple Neck, stock Fender single-coil pickups or possibly a DiMarzio FS-1 in the bridge)

Amp: 1964 Vox AC30 Top Boost (TB/6)

Microphone: Shure SM57 and/or Sennheiser MD 421

Processing: Korg SDD-3000 Digital Delay (rack unit)

Other: Delay: dotted 8th note (approx. 357ms @ 126BPM), mix level around 50-60%, 3-4 repeats. The SDD-3000's preamp significantly colors the tone. Pick: Herdim heavy gauge blue nylon pick, played using the dimpled grip side for a percussive attack. Amps: Often multiple AC30s were used. Dynamic use of guitar volume knob.

Recording Notes

  • Recorded at Windmill Lane Studios, Dublin, for the album 'The Joshua Tree' (1987).
  • Produced by Brian Eno and Daniel Lanois.
  • The Edge's delay is meticulously timed to the song's tempo (approximately 126 BPM).
  • The Korg SDD-3000's built-in preamp and input/output attenuators were crucial in shaping the guitar's tone before the delay effect.
  • The distinctive percussive attack comes from using the textured side of a Herdim pick.
  • Daniel Lanois often favored close miking amps, sometimes with a touch of room mic for ambience.

Recreation Tips

  • Use a Fender Stratocaster, bridge pickup or position 2 (bridge + middle) for brightness.
  • A Vox AC30 or a similar EL84-based amplifier (e.g., Matchless DC30) is key, set to a clean or edge-of-breakup tone on the Top Boost channel.
  • A high-quality digital delay capable of dotted eighth notes is essential. Set the delay time to approximately 357ms (for 126 BPM). Adjust feedback for 3-4 audible repeats and set the mix level so the delay is almost as loud as the dry signal.
  • Use a heavy gauge pick with a textured grip (like a Herdim or Dunlop Max-Grip) and strike the strings with the edge or textured surface for a brighter, scraping attack.
  • Place the delay unit before the amplifier's input. The Edge's SDD-3000 was often run with its preamp slightly boosting the signal into the AC30.
  • Experiment with two delay units if possible: one for the main dotted eighth rhythm and a second, more subtle delay (e.g., quarter note) to add depth.
  • Roll back the guitar's volume knob slightly to clean up the tone and add chime, then increase for more sustain or drive if needed.

Sources