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Where the Streets Have No Name — U21 / 2
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Where the Streets Have No Name Riff Guitar Tone Settings — U2

U2 · 1980s · rock

studio

Original Recording

Guitar
Fender Stratocaster (1983-1985, black, maple neck, stock pickups)
Pickups
Fender single-coil (stock 1980s Strat pickups)
Amp
Vox AC30 (vintage, likely Top Boost, studio recording)
Pickup Position
Position 2 (bridge + middle)

Studio recording for The Joshua Tree (1987). The Edge used a black Fender Stratocaster with stock single-coils and a vintage Vox AC30. Multiple sources confirm this setup for the original studio riff section. Delay pedals (not amp delay) are a critical part of the sound.

Amp Settings

Mids
6.5
Bass
5
Gain
0
Reverb
4.5
Treble
7.5
Presence
6

Effects Chain

  • Korg SDD-3000 Digital Delay · delay
  • TC Electronic 2290 Dynamic Digital Delay · delay
  • Electro-Harmonix Memory Man (possible, not confirmed for studio) · delay

Fender Stratocaster → Korg SDD-3000 → TC Electronic 2290 → Vox AC30 (with light spring reverb)

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Tone Character

  • bright and articulate
  • chimey and glassy highs
  • clean, percussive attack
  • lush, ambient delay repeats
  • dynamic and responsive
  • clear note separation
  • minimal breakup
  • open and spacious
  • rhythmic, kinetic repeats
  • no audible compression or drive

Notes & Caveats

  • ⚠️Gain adjusted to 0 for clean tone
  • ⚠️No direct numeric amp knob settings for the original studio recording found; values estimated based on typical Vox AC30 settings for clean, bright tones and era.
  • ⚠️Pickup position inferred from The Edge's known use of Strat position 2 for this song and the characteristic sound.
  • ⚠️Delay pedal models confirmed by multiple sources, but exact pedal settings are estimated from interviews and analysis.
  • ⚠️No evidence of overdrive/distortion pedals or amp breakup in the riff section; clean tone confirmed by all sources.
  • ⚠️No chorus, flanger, or other modulation effects audible or cited for the riff section.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. The Edge used a clean, chimey tone with his Vox AC30, low gain, bright treble, and pronounced reverb for the iconic shimmer; mids are forward for British rock clarity, bass is slightly reduced for tightness, and presence is boosted for air and definition.

Sources