eight dotted delay (U2)

  • OK! This is all new for me!! I managed to get this done and took an empty slot. Now back to My Profiler I see that this delay is placed in the Stomp section and not in the Delay section of Effects. ....

    • Official Post

    OK! This is all new for me!! I managed to get this done and took an empty slot. Now back to My Profiler I see that this delay is placed in the Stomp section and not in the Delay section of Effects. ....

    use the COPY and PASTE buttons.

    select the delay in the STOMPS slot, press COPY (PASTE starts blinking),
    select the desired slot in EFFECTS and press PASTE.

    now disable/remove the delay from the STOMPS

  • Great Don! Thank you! I'm sorry for these unknown details for me, even after all these years. But I never had to deal with this before. Most of the time it is: have a good profile and play. But I see that this is not enough....

  • Hi,

    As I understand it, there are actually two delays on Streets. The first and most prominent in the mix is the dotted eighth delay (only one clean repeat no more). Set that to follow tempo at 126 bpm. The second is lower in the mix and adds the feel of 16ths being played on a hi hat. It’s hard to describe but definitely makes a difference to the authenticity of the sound. This is a shorter delay. I will check my profiler for the settings later and post again. Can’t remember off the top of my head.

    I’ve also found the way you mute the g string on the two notes F# and G makes a difference. If you let the G ring out while you complete the cycle of notes, it tends to dominate the frequency range, muddying the whole pattern and diminishes the effect of the staccato rhythm so essential to the chime of the notes. It’s a delicate balance and you have to use your left hand fingers to get it right not a palm mute. Using Blue Herdim picks turned around so that you scratch the strings with the dotted Edge (do you see what I did there….RIP Steve Wright…) will give the right kind of pick attack. Increasing the pick setting in the Amp module to elevate the impact of the pick by a couple of points helps.

    Edge does use modulated delays but be subtle on this song, too much modulation just creates mud.

    Low Pass between 80- 100 and keep the high pass under control too eg, somewhere between 5000-5500hz. This gives a more natural speaker response. I also use morph to use Panorama setting move the guitar from centre for the opening and close of the song to somewhere left of centre during the verses and chorus to give more width and get out of the way of vocals a bit. Not hard panned left obviously.

    Apparently Edge’s tone is all from his amps (mostly old AC30s including a 1964 Copper Top Boost in an 70’s cabinet with at least one Silver Bell/Bulldog speaker and a Alnico blue celestion) and various Fender Blues juniors with blue celestions which he uses to add his shimmer. There are no fx loops, no post amp fx’s as such, everything on that enormous rack of his goes to the inputs on the amps. Other than what is slapped on at the desk to manage the live mix, his entire sound is what comes out of those amps.

    That’s what I’ve read and what Dallas (his guitar tech since The Joshua Tree tour 1987) has suggested is the case.

    Cheers

    Pre-Amp

    Apologies for the book!

    I expect you are all on Edge by now! 🙂


    • Official Post

    Low Pass between 80- 100 and keep the high pass under control too eg, somewhere between 5000-5500hz. This gives a more natural speaker response.

    you mixed up lowpass and highpass ;)
    additionally in PROFILER terminology these are called Low Cut (=highpass) and High Cut (lowpass)

    the 'natural' speaker response comes from the CABINET, this band-limited (if you will) signal gets repeated by the delay. You should use the delay's Low Cut and High Cut to further shape the sound, to make it different from the dry signal.


    Leaving these at their defaults (20.6Hz and 33488.1Hz) gives you the exact sound of the amp/speaker.

  • Wow...You have been exploring these sounds quite extensively! These technical details, diving deep in making a perfect sound, are going beyond my knowledge and skills.

    I'll try to copy all settings but I wonder if I succeed.

    This week I ordered and paid foor a dozen of U2 profiles. Soon I discovered that they all sound quite the same so this was a waste of money: another learning curve....

  • Paying for ready-made, song specific profiles has never gone well for me. It works for others - and that’s great. They might be the *exact* sound the artist had.


    But if it doesn’t ‘do it’ for me….whats that matter?

  • Hi Ruefus, I'm still trying to get an eight dotted delay. Tweaking a delay to get that result failes sofar. Purchased profiles with promiss for that kind of delay have misled me. So why want I to have such a delay...?

    Well, I've just joined a tribute U2 band with quite a selections of songs. The Edge is known for his all kinds of typical delays for his typical songs. One of those is a (hard to get) eight dotted delay. You don't want to perform with random delays because it must fit in the song and it must sound convincing...

    I know how it must sound but making such a delay without specific knowledge is no option for me. And buying neither I noticed...

  • playing convincing U2 guitar lines is no small feat. setting up the delay(s) is just one piece of the puzzle. I takes rock solid timing and consistency.
    just playing simple 8th notes with a dotted 8th note delay isn't as simple as it sounds.

    No….it is not. We often confuse simple with easy. That’s one reason the Edge is permanently underrated as a guitarist. He doesn’t ‘fit’ the traditional gun-slinger style.


    Playing Where The Streets Have No Name…..your right wrist had better be loose and up to the task. The figures played aren’t that tough…..but keeping time with that rhythm for *five* minutes?


    Ouch.


    Be limbered up on that one. :)


    theplayer - I have an idea on how to grasp the feel of a dotted-eighth delay. The pulse is where it’s at. I’ll see if I can’t record something later and share it. Nothing fancy….. I’ve been where you are and crawled the walls sorting it out.

  • I'm an experienced guitar player and did about 40 gigs a year. I have been watching and listening carefully to the playing of 8th notes with a dotted 8 noth delay and the key is to not overdo your playing because then it gets very soon a mess of uncontrolled tones, especiallly in soloing. Let the delay do its job and important: stay in tune with the tempo. Each pick on the guitar string can be the start of the beginning of the delay and cause that totally magical sound You don't want to or have to play 20 or 30 notes pro second... if you catch my drift... :)

    The first trick/aim now is to get that delay...

  • I checked again and found that the delay preset I uploaded is from "Maurizio70". Here's another video. The Kemper software was older back then, but still a pretty good result.


    External Content youtu.be
    Content embedded from external sources will not be displayed without your consent.
    Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.

    Kemper Stage - Macbook Air 2017 - macOS Catalina 10.15.7 - Logic Pro X

  • I checked again and found that the delay preset I uploaded is from "Maurizio70". Here's another video. The Kemper software was older back then, but still a pretty good result.


    External Content youtu.be
    Content embedded from external sources will not be displayed without your consent.
    Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.

    Great video Bakersounds! Especially the last part: With or Wirthout you

  • Finally, this one is the best sounding 8 dotted note. In the first part (during scratching) you can hear the right delay effect setting and in the second part you can hear it in action with the guitar. And now the million dollar question:

    I have put 2 delays in a rig: one in Stomp and the second in the fx section. Both of them I got in the 3/16 (8 dot) note value. I checked both Tempo boxes for this. Delay 1 left is set to 352 ms with a 70% mix and the right delay is set to 523 ms with a 50% mix.

    But still it sounds a long way from this:

    8 dotted.mp3
    Shared with Jumpshare
    jumpshare.com

  • I would use the dual delay, set the note value and then use Tap Tempo. This would allow you to use the same setup on different tracks

    If something is too complicated, then you need to learn it better

    • Official Post

    I have put 2 delays in a rig: one in Stomp and the second in the fx section. Both of them I got in the 3/16 (8 dot) note value. I checked both Tempo boxes for this. Delay 1 left is set to 352 ms with a 70% mix and the right delay is set to 523 ms with a 50% mix.

    that doesn't make sense:
    1) I wouldn't put the delays in series.
    2) if both delays are set to 3/16ths in the same rig, they have the identical delay time. Is that a typo above?