Bullet The Blue Sky effects (Studio/Zoo TV) - U2 Feedback

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Old 07-17-2017, 04:13 AM   #1
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Bullet The Blue Sky effects (Studio/Zoo TV)

Hey, I could have sworn there was a thread for this before but I can't seem to find it.

Does anyone know what pedals The Edge was using on both the studio and Zoo TV versions of Bullet? Particularly the overdrives/distortions.
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Old 07-18-2017, 12:12 AM   #2
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i know this is not really the place to say this, but how was meeting Cobbler?
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Old 09-06-2017, 06:04 AM   #3
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Have no info though I'd love to know. Especially what he's stomping on just as he enters his solo on the Sydney DVD. He goes from overdriven to distorted/wah - but what's that distortion?
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Old 09-13-2017, 08:54 AM   #4
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Didn't he use the Big Muff for this one?
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Old 09-19-2017, 02:34 AM   #5
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Didn't he use the Big Muff for this one?
Is that so? That's so cool. With all the jiggery pokery in his gear bag he still makes awesome use of every day pedals.
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Old 09-19-2017, 07:14 AM   #6
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Bro it was a standard blues tone, of course Muff would work
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Old 09-20-2017, 08:29 AM   #7
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Also his rig in 1992 was relatively simpler then before it coalesced into the Twin Towers of Sonic Doom that we saw from Elevation onwards.
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Old 09-21-2017, 07:51 AM   #8
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also around that point people weren't that much of tone nuts and there weren't as many distortion pedals available, i assume. i don't think there was like, trillions of Big Muff variant then.
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Old 09-21-2017, 04:48 PM   #9
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also around that point people weren't that much of tone nuts and there weren't as many distortion pedals available, i assume. i don't think there was like, trillions of Big Muff variant then.
People were still tone nuts. But you're right - there wasn't as much of a market as there is now.
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Old 09-24-2017, 12:14 PM   #10
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i wasn't alive in the 90s but were people then that nutty about the tone that they have some lengthy arguments about Muff variants? like "dude Op-amp one is better than this garbage Civil War ones" or something like that
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Old 09-25-2017, 12:45 AM   #11
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i wasn't alive in the 90s but were people then that nutty about the tone that they have some lengthy arguments about Muff variants? like "dude Op-amp one is better than this garbage Civil War ones" or something like that
Yes. But in person, since online wasn't much of a thing.
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Old 09-26-2017, 08:27 AM   #12
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I reckon guitarists were always tone nuts, just what people desired as desirable tone differed from era to era. From the 60's to 80's the quest seems to have been for more and more gain. First with primitive fuzzes, pushing amps with trebleboosters, then better fuzzes, overdrives, distortions and preamps, culminating in the era of the rack preamps and poweramps. Then came the 90's and new guitarists who had grown up on the experiments of previous generations, who wanted more gain, now thought that those experiments were desirable in their own right. And henceforth it became all about vintage tones. But the obsession was always there.

As for the Muff, while there may not have been that many boutique Muff versions at that time, most of the many EHX versions we now know where already around at the time of Zoo TV. If memory serves me correct there's like 17 different versions of the Triangle era Muff, 15 of the Ramshead era, 6 of the V3 (I think Edge had a V3), V4 and V5 are IC Muffs and maybe 3 of the final V6 before EHX went bankrupt in the 80's. Compared to that time the later Russian and NYC Muffs are remarkably consistent in their components and sound.

In the 80's and probably early 90's you could probably get a used Muff of what we now call the gold eras (Triangle and Ramshead) fairly cheap, as most guitarists weren't interested in them. Especially the IC Muffs had very little love. Until they appeared all over the Smashing Pumpkin albums.

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Yes. But in person, since online wasn't much of a thing.
Don't forget magazines. And fanzines. I reckon you'd find the same kinds of discussions and arguments about U2 we have today in the fanzines, only slower, as people had to actually send in letters.

But didn't the internet basically start for the masses around this time? Especially with newsgroups? After all, Zoo TV was all about new multimedia and information overload.
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Old 09-26-2017, 10:30 AM   #13
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right i forgot that in the 80s, these players brought out studio-grade rack mount effects instead of smaller pedals; i mean, at least in the late 80s Boss digital delay pedals existed, Boss chorus pedals existed, and I'm sure there must've been smattering of modulation and distortion pedals available then. but instead these people went for rack mount pre-amps and digital effects.


Big Muff Users and Their Pedal Boards

this website says that Edge is using V5/6 which is probably a last version or one with op-amp. i never heard of op-amp version of it but thinking of component, it should sound closer to distortion pedal rather than fuzz, correct?
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Old 09-27-2017, 04:35 AM   #14
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Well, when you record in a professional studio and get to play with a professional rack chorus, which gave these lush wide dimensional stereo effects, it kinda sucks to go back to a Boss analog chorus. We now think those sound lurvy in their own right, but we also now think digital is a curse word. As with delays, if you wanted a delay that you could dial in to the millisecond, with modulation, a Boss DD-2 or an analog delay isn't going to cut it either. As I said, in those days guitarists didn't want vintage tone, they already had that. They wanted more gain, more controllable delay time, wide spacious chorus. Only racks could give them that. The quest for tone was always around, only the goals were different. Personally I find their quest more interesting and better then today's quest.

As for the Muff, if Kitrae says Edge uses a V5/V6 I must bow to his authority. I never could see that tone bypass switch so I thought it was a V3, maybe a V4. The tone bypass switch could explain that huge BtBS sound. As when you bypass the Muff's tonestack you don't get its associated volume drop. Nor the midscoop. So it will sound huge. And somewhat less then a Muff. The op-amp version sounds somewhat different, at the time most people didn't like it, but as I said the Smashing Pumpkins changed that perception. Which leads me to theorize that there are no good guitar tones, only famous tones. And that if you or I ever became famous guitarists, our tones would become desirable too, no matter how we obtained it. Even you with your tiny Digitech thingy.

The Muff being a distortion or a fuzz, that's a very old debate. Circuit wise its a fuzz, but not one of those simple two or three transistor fuzzes that comprise only a handful of parts, it's got a lot more components, and also very unique among fuzzes a tone knob. Unlike most fuzzes the sound is not determined much, if at all, by the choice in transistors. With a Fuzz Face it stands or falls with picking the right transistors. In a Muff almost any transistor will do, as long as you keep the pinout in mind. It's the other components that can make the sound. It also differs from most fuzzes in that it doesn't mind if you place it behind a buffer. So it kinda works like a fuzz, kinda sounds like one too, but it also kinda sounds like a distortion. And like a distortion it has a shitload of gain.
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Old 09-29-2017, 03:49 AM   #15
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right, right, the quality of the sound was very different; i mean, even some revered analog chorus pedal doesn't bring the width; i didn't realize it until you said it and watch some reviews of old chorus/flanger. digital delays' fidelity wasn't really good for the compact pedals back then.

actually lots of numbskull reviewers online say "Muff sounds more like a distortion." i know it's a fuzz pedal but it has that bass-heavy tone with aggressive top end that's somewhat characteristic of older distortion pedals.

I am not too knowledgable about the Muff versions; I'm still excited for Russian Muff clone made by EHX tho
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