U2 – All That You Can't Leave Behind

Located between the Lovetone and the Tube Screamer, The Edge had this on his rack during the Elevation Tour (as seen in AudioFile's feature "U2 - Wired for Sound") and the Vertigo Tour (as is visible in this Guitar World feature at 2:07). It was used in the studio for the solo on "Kite", as stated in this January 2001 Guitar Player interview.

Guitar Player, January 2001, "Basic Instincts"

GP: So the songs that have solos were just begging for them?

Edge: I think they were. For instance, "Kite" originally didn't have a solo. We had the tune almost finished, but we weren't quite happy with it--it needed a twist. So we edited in a section, I plugged my '64 Gretsch Coutnry Gentleman into a cool fuzzbox--and Ampeg Scrambler--and a Vox AC30, and I came up with a solo for it. It really made that part of the song come alive. that's a case-in-point where the decision to do a solo came from the sense that something was missing in the tune.

(...) GP: What were your main fuzzboxes?

Edge: The Ampeg, a Tube Screamer for a good general distortion without being too in-your-face, and an old Manny's Fuzz--which is really extreme. I also used this really obscure Japanese pedal called the Sobart [sic] for the heavy sections of "New York." That pedal is so extreme. You step on it and all hell breaks loose. On "When I Look at the World", I'm using an Electro-Harmonix Micro Synthesizer for that mad distorted tone.

AudioFile, "U2 - Wired for Sound"

[tapping the Ampeg Scrambler] This was used on the "All You Can't Leave Behind" album.

In a January 2001 article from Guitar Player, The Edge mentions using an "old Fender Bassman" for many of the clean tones on the album All That You Can't Leave Behind: "Well, I'm a fairly well established AC30 man, but lately, for a bit of variety, I've been moving away from the Vox. I used a 70s Hiwatt combo for a lot of the distortion tones, and for many of the clean tones, I used an old Fender Bassman."