U2 – Get Out Of Your Own Way

Used for "Get On Your Boots".

Most of Bono's vocals were recorded through a Shure Beta 58 dynamic mic, with some EQ (including the Waves VEQ3, top) and heavy compression from the Fairchild 660 plug-in. No reverb was used, but Sound Toys' Echo Boy provided delay.

An image of the settings can be found here.

Used for "Get On Your Boots".

Most of Bono's vocals were recorded through a Shure Beta 58 dynamic mic, with some EQ (including the Waves VEQ3, top) and heavy compression from the Fairchild 660 plug-in. No reverb was used, but Sound Toys' Echo Boy provided delay.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the Digirack EQ III was used for "Get On Your Boots".

"There's also a seven-band Digirack EQ that notches out around 245Hz and adds some top end above 10k for some sparkle."

Based on images from the rest of the source, it is version three.

As stated by producer Declan Gaffney, the Waves SSL Master Bus Compressor was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the L2007 was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the Phoenix was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the VEQ4 was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the Waves SSL Master Bus Compressor was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the L2007 was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the Phoenix was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the VEQ4 was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

Mentioned by producer Declan Gaffney.

"Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. (...) Edge's thick guitar sound is entirely from the live band session, recorded with two Royer 121s, one on his Fender Deluxe and the other on his AC30, and the mics went through the Neve and then an LA2A, though it's not doing anything, it was just there for the sound. When recording Edge's cabinets, it's almost always a 121, or a Sennheiser 409, occasionally a 57. I record completely flat, because Edge will have found a great guitar sound, and you just record it."

Used for "Get On Your Boots", as stated by producer Declan Gaffney.

"Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. (...) Edge's thick guitar sound is entirely from the live band session, recorded with two Royer 121s, one on his Fender Deluxe and the other on his AC30, and the mics went through the Neve and then an LA2A, though it's not doing anything, it was just there for the sound. When recording Edge's cabinets, it's almost always a 121, or a Sennheiser 409, occasionally a 57. I record completely flat, because Edge will have found a great guitar sound, and you just record it."

The 121 was also used on Songs of Experience, as stated by engineer Math Bishop in this ProSoundWeb article.

“With The Edge I’d always have a Royer 121 and a [Shure] SM57 set up on the amp, and on these sessions I ran them through the Focusrite ISA 828."

Used for the rack toms and snare drum, as mentioned in this transcription of a February 1982 issue of U2 Magazine.

Larry has a somewhat unusual drum set up. Not that the kit itself was unusual, but it was arranged in an unusual manner and had several unusual extras. The basic kit is a very impressive all black Tama Fiberstar - all single headed, and including a 24" kick drum, 16" and 18" floor toms, and a selection of rather deep rack toms. The snare was a Ludwig 14"x61 " steel shell and he also has a pair of Latin Percussion Timbale. The cymbals comprised Zildjian 18" thin ride; 18" thin crash; 18" medium crash; 18" pang and 21" ride, with Paiste 14" hi-hats on a Premier Trilock pedal. The rest of the stands are Tama. The kit is miked using Sennheiser 421's for the kick and the floor toms, Shure SM57's for rack toms and snare, Electro-voice RE10 on the hi-hat and AKG D190's on the rest. No overhead mikes.

The SM57 was later used for the snare drum and ride cymbal on "Get On Your Boots", as stated by producer Declan Gaffney in this Sound on Sound interview.

"Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. There was an [Electro-Voice] RE20 inside the bass drum, with an SE Electronics Titan on the outside, a [Shure] 57 underneath the snare, and Richard had his own Heil mic on top, which he alternated with a Beyer M201; the toms were [Sennheiser] 421, overheads Coles 4038; ride cymbal was sometimes a 57, sometimes a [AKG] 451. Everything went through the Neve 1091 or 1093 mic pres."

Used for the snare on "Get On Your Boots", as stated by producer Declan Gaffney.

"Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. There was an [Electro-Voice] RE20 inside the bass drum, with an SE Electronics Titan on the outside, a [Shure] 57 underneath the snare, and Richard had his own Heil mic on top, which he alternated with a Beyer M201; the toms were [Sennheiser] 421, overheads Coles 4038; ride cymbal was sometimes a 57, sometimes a [AKG] 451. Everything went through the Neve 1091 or 1093 mic pres."

As stated by producer Declan Gaffney, the Waves SSL Master Bus Compressor was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the L2007 was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.