Mark Knopfler - 2 part Ques
- Thread starter OlinMusic
- Start date
Rushfan2112
New member
Re: Mark Knopfler - 2 part Ques
His singing is really cool. I know he almost always fingerpicked. That will contribute to the tone.
His singing is really cool. I know he almost always fingerpicked. That will contribute to the tone.
ModestCargo
New member
Re: Mark Knopfler - 2 part Ques
We've got the Knotting Hillbillies CD, as well as most of the Dire Straits albums and a couple of his solo efforts too. His tone is very nice - most of it is in his fingers though. Quite literally actually, as he's a fingerpicker.
A good Fender Strat through an old black/silver face Fender amp will do the trick just fine.
We've got the Knotting Hillbillies CD, as well as most of the Dire Straits albums and a couple of his solo efforts too. His tone is very nice - most of it is in his fingers though. Quite literally actually, as he's a fingerpicker.
A good Fender Strat through an old black/silver face Fender amp will do the trick just fine.
bungalowbill
Luckybastidologist
Re: Mark Knopfler - 2 part Ques
IIRC Sultans was a Fender Strat through a compressor into a fender amp, I can't recall what model.
IIRC Sultans was a Fender Strat through a compressor into a fender amp, I can't recall what model.
Rushfan2112
New member
Re: Mark Knopfler - 2 part Ques
I know he also used a Les Paul for a good amount of songs. Not Sultans of Swing, but for some other ones.
I know he also used a Les Paul for a good amount of songs. Not Sultans of Swing, but for some other ones.
ModestCargo
New member
Re: Mark Knopfler - 2 part Ques
Yeah and he sounds like Mark whether he uses a LP or a Strat.
Yeah and he sounds like Mark whether he uses a LP or a Strat.
ParameterMan
New member
Re: Mark Knopfler - 2 part Ques
You do need an Armstrong Orange Squeezer compressor or reissue. I've listened to sound clips and they are definately part of that sound. Analogman makes a good one.
You do need an Armstrong Orange Squeezer compressor or reissue. I've listened to sound clips and they are definately part of that sound. Analogman makes a good one.
Vasshu the humanoid typhoon
Unseen
Re: Mark Knopfler - 2 part Ques
As for effects, well I saw a magasine back in the days, MXR comp, Echoplex and a MXR analog delay(that green one, it was probally used live) some moreley volume I think it was?
ModestCargo
New member
Re: Mark Knopfler - 2 part Ques
I would not have guessed Roland JC.
I'll have to plug my friend's Strat into my Roland JC next time he's over
I would not have guessed Roland JC.
I'll have to plug my friend's Strat into my Roland JC next time he's over
Vasshu the humanoid typhoon
Unseen
Re: Mark Knopfler - 2 part Ques
It sounds like sh!t....good recording is more like it!
It sounds like sh!t....good recording is more like it!
Re: Mark Knopfler - 2 part Ques
I just want to note, half of you gave no real answer just the BS oh yeah its cuz he plays with his fingers
um duh, I got that part. L. Buckingham plays with his fingers, yet uhh somehow I never get them confused - amazing, no? I can name 100 players who play with a pick - guess what they don't all sound alike.
The big part was second section of the question - his live tone - esp Knebworth etc with the PENSA SUHR guitars.
I just want to note, half of you gave no real answer just the BS oh yeah its cuz he plays with his fingers
um duh, I got that part. L. Buckingham plays with his fingers, yet uhh somehow I never get them confused - amazing, no? I can name 100 players who play with a pick - guess what they don't all sound alike.
The big part was second section of the question - his live tone - esp Knebworth etc with the PENSA SUHR guitars.
Vasshu the humanoid typhoon
Unseen
Re: Mark Knopfler - 2 part Ques
Olin...google!
P'S use your fingers
Olin...google!
P'S use your fingers
RevJToad
New member
Re: Mark Knopfler - 2 part Ques
Sultans of Swing is a Strat (duh) with a compressor (I believe I read somewhere that it was a Ross, so presumably an Analog Man DynaRoss would be pretty close) and some sort of clean amp.
I see Knopfler as the quintessential Strat player - most would say Hendrix, but Hendrix is way more than what kind of guitar he used, and he probably could've made those sounds with anything. Knopfler, though, is almost defined by the quack. That said, he has played buckers too...
Also, mostly fingered rather than picked, though not what is traditionally referred to as fingerpicking. Genius.
Sultans of Swing is a Strat (duh) with a compressor (I believe I read somewhere that it was a Ross, so presumably an Analog Man DynaRoss would be pretty close) and some sort of clean amp.
I see Knopfler as the quintessential Strat player - most would say Hendrix, but Hendrix is way more than what kind of guitar he used, and he probably could've made those sounds with anything. Knopfler, though, is almost defined by the quack. That said, he has played buckers too...
Also, mostly fingered rather than picked, though not what is traditionally referred to as fingerpicking. Genius.
Vasshu the humanoid typhoon
Unseen
Re: Mark Knopfler - 2 part Ques
Guitars
1937 National Style ‘O’ Resonator (Serial Number - B1844)
This is probably one of Mark’s most famous guitars, and has featured on every album. (Water of Love, Portobello Belle, Romeo & Juliet, Telegraph Road, The Man’s Too Strong, When it Comes to You) Featured on the cover to the album Brothers In Arms
1961 Stratocaster (SN - 80470)
This was Mark’s main guitar through 1977 to 1979, and was used extensively live. Quite easy to pick out because of its black volume knob. It has a non-standard red finish; to replicate Hank Marvin’s Strat he adored so much as a child. Also, you may notice that it has a maple fingerboard, and that they weren’t available at the time. As a result of the replacement, there is no skunk stripe. The strap button from the upper horn has been moved onto the back. These mods were done by a repair man called Sam Lee (probably sometime during 1978). The guitar can be seen on the Sultans Of Swing and Wild West End Videos. In 1982 the neck was replaced with a one piece maple Schecter neck.
1978; you can see there’s no volume knob (and you can see the strap goes behind).
Around the same time, he had another red Strat (SN - 68354), which again was painted red (was natural). However, this one remained mainly stock, with only a pickup being replaced (a Dimarzio FS-1 in the neck in the late 70’s) (As far as I know that’s the only mod). This guitar wasn’t used as often live as the one above. He still uses this guitar live today however (his main live guitar really, I’m guessing with some reissues too). This is also the basis model for his Fender Signature Strat.
During the late 70s he also used a Black Tele Thinline (SN - 226254) that belonged to his brother David. He used it live on Water Of Love between ‘77 and ‘79, and David used it on Wild West End. It was tuned to open A and capoed at the 5th fret. The F-holes had been filled in before hand by Steve Phillips of the Notting Hillbillies, and he also painted it black.
From around 1980, his main axe turned to a Schecter Strat copy (SN - S8218), in candy apple red with chrome dome knobs, white pickguard and individual on/off switches for each pickup. Pickups were later changed the SDs, possibly SSL1s, then again with SD Alnico Pros. Maple neck without any position markers on the fretboard with Dunlop 6110 frets (at the time he used it anyway). This guitar was used at Live Aid in 1985.
Schecter Sunburst Strat copy. Quilted maple top finished in sunburst. Unusually for a Schecter Strat of the time it has position markers on the top of the fretboard. It was used for Tunnel Of Love but it was stolen. Mark’s favourite guitar.
In 1984 came Mark’s Schecter Tele copy in red (SN - S8703) , with binding to the top. Used on the Walk Of Life video, he has used it live for that song ever since. It was also used on the soundtrack Cal, which was where he first used it.
Around the same time came Mark’s 1984 Les Paul reissue (SN9 90006) (one of the first reissue Les Pauls, modeled after a late 50’s LP). He used this on Money For Nothing (it is seen on the cover and reverse of the album Money For Nothing also) and Brothers In Arms on the album Brothers In Arms. He also used this guitar at Live Aid in 1985.
1985 Saw a bit of a hybrid guitar, assembled by John Suhr. Schecter neck and body, and a Fender bridge. Seymour Duncan Alnico Pros and Dunlop 6110 frets. The headstock says Fender, though it isn’t. It was used in the late 80’s, and a model of it can be seen on the Calling Elvis video (the video contains puppets of the band playing). Mark still owns the puppet from this video too!
Guitars
1937 National Style ‘O’ Resonator (Serial Number - B1844)
This is probably one of Mark’s most famous guitars, and has featured on every album. (Water of Love, Portobello Belle, Romeo & Juliet, Telegraph Road, The Man’s Too Strong, When it Comes to You) Featured on the cover to the album Brothers In Arms
1961 Stratocaster (SN - 80470)
This was Mark’s main guitar through 1977 to 1979, and was used extensively live. Quite easy to pick out because of its black volume knob. It has a non-standard red finish; to replicate Hank Marvin’s Strat he adored so much as a child. Also, you may notice that it has a maple fingerboard, and that they weren’t available at the time. As a result of the replacement, there is no skunk stripe. The strap button from the upper horn has been moved onto the back. These mods were done by a repair man called Sam Lee (probably sometime during 1978). The guitar can be seen on the Sultans Of Swing and Wild West End Videos. In 1982 the neck was replaced with a one piece maple Schecter neck.
1978; you can see there’s no volume knob (and you can see the strap goes behind).
Around the same time, he had another red Strat (SN - 68354), which again was painted red (was natural). However, this one remained mainly stock, with only a pickup being replaced (a Dimarzio FS-1 in the neck in the late 70’s) (As far as I know that’s the only mod). This guitar wasn’t used as often live as the one above. He still uses this guitar live today however (his main live guitar really, I’m guessing with some reissues too). This is also the basis model for his Fender Signature Strat.
During the late 70s he also used a Black Tele Thinline (SN - 226254) that belonged to his brother David. He used it live on Water Of Love between ‘77 and ‘79, and David used it on Wild West End. It was tuned to open A and capoed at the 5th fret. The F-holes had been filled in before hand by Steve Phillips of the Notting Hillbillies, and he also painted it black.
From around 1980, his main axe turned to a Schecter Strat copy (SN - S8218), in candy apple red with chrome dome knobs, white pickguard and individual on/off switches for each pickup. Pickups were later changed the SDs, possibly SSL1s, then again with SD Alnico Pros. Maple neck without any position markers on the fretboard with Dunlop 6110 frets (at the time he used it anyway). This guitar was used at Live Aid in 1985.
Schecter Sunburst Strat copy. Quilted maple top finished in sunburst. Unusually for a Schecter Strat of the time it has position markers on the top of the fretboard. It was used for Tunnel Of Love but it was stolen. Mark’s favourite guitar.
In 1984 came Mark’s Schecter Tele copy in red (SN - S8703) , with binding to the top. Used on the Walk Of Life video, he has used it live for that song ever since. It was also used on the soundtrack Cal, which was where he first used it.
Around the same time came Mark’s 1984 Les Paul reissue (SN9 90006) (one of the first reissue Les Pauls, modeled after a late 50’s LP). He used this on Money For Nothing (it is seen on the cover and reverse of the album Money For Nothing also) and Brothers In Arms on the album Brothers In Arms. He also used this guitar at Live Aid in 1985.
1985 Saw a bit of a hybrid guitar, assembled by John Suhr. Schecter neck and body, and a Fender bridge. Seymour Duncan Alnico Pros and Dunlop 6110 frets. The headstock says Fender, though it isn’t. It was used in the late 80’s, and a model of it can be seen on the Calling Elvis video (the video contains puppets of the band playing). Mark still owns the puppet from this video too!
Vasshu the humanoid typhoon
Unseen
Re: Mark Knopfler - 2 part Ques
From 1987 onwards Mark played a lot of Pensa-Suhr guitars made by Rudy Pensa. His main guitar was this Pensa Suhr custom (SN - 001), and can be seen on many pictures from the late 80s early 90s. First used at Nelson Mandela’s 75th birthday party in 1988. Flame top, EMG 85/SA/SA combo (85 unusually without a mounting ring, which the signature model has), Floyd rose, push/pull mid boost and a network developed to make the combo position more balanced on the EMG 85/SA combo. Basis for the Pensa MK-1 Signature model.
Pensa custom, basis for the MK-2 signature. Received around the time of Golden Heart. Strat style single coil setup, Strat style hardtail bridge, 24.6” scale, mahogany body, flamed koa top and Lindy Fralin ’54 pickups. Used on Golden Heart, Last Exit To Brooklyn and Father & Son on the Golden Heart Tour in 1996.
Pensa MK-80 (SN - 0001). Built for Mr. Knopfler on January 29 2004. This is Mark’s newest Signature guitar, and is probably modeled after his 8218 Schecter Strat. The neckplate is engraved:
1954 Sunburst Stratocaster (SN 059). 59th ever made. He got this guitar as a gift from Paul Kennerly. Strung up with D’addario 12s and was used on I’m The Fool.
1954 Telecaster. Used on recent tours. Bridge stampted 4545. Don’t know too much about this instrument.
From left to right - Gibson Southerner Jumbo (1953), Fender Stratocaster (1954), Gibson Advanced Jumbo (1938), Gibson Les Paul (1958), National Style ‘O’ (circa '38), Fender Telecaster (1954), Martin HD40 MK Signature (2001).
mps
From 1987 onwards Mark played a lot of Pensa-Suhr guitars made by Rudy Pensa. His main guitar was this Pensa Suhr custom (SN - 001), and can be seen on many pictures from the late 80s early 90s. First used at Nelson Mandela’s 75th birthday party in 1988. Flame top, EMG 85/SA/SA combo (85 unusually without a mounting ring, which the signature model has), Floyd rose, push/pull mid boost and a network developed to make the combo position more balanced on the EMG 85/SA combo. Basis for the Pensa MK-1 Signature model.
Pensa custom, basis for the MK-2 signature. Received around the time of Golden Heart. Strat style single coil setup, Strat style hardtail bridge, 24.6” scale, mahogany body, flamed koa top and Lindy Fralin ’54 pickups. Used on Golden Heart, Last Exit To Brooklyn and Father & Son on the Golden Heart Tour in 1996.
Pensa MK-80 (SN - 0001). Built for Mr. Knopfler on January 29 2004. This is Mark’s newest Signature guitar, and is probably modeled after his 8218 Schecter Strat. The neckplate is engraved:
1954 Sunburst Stratocaster (SN 059). 59th ever made. He got this guitar as a gift from Paul Kennerly. Strung up with D’addario 12s and was used on I’m The Fool.
1954 Telecaster. Used on recent tours. Bridge stampted 4545. Don’t know too much about this instrument.
From left to right - Gibson Southerner Jumbo (1953), Fender Stratocaster (1954), Gibson Advanced Jumbo (1938), Gibson Les Paul (1958), National Style ‘O’ (circa '38), Fender Telecaster (1954), Martin HD40 MK Signature (2001).
mps
Vasshu the humanoid typhoon
Unseen
Re: Mark Knopfler - 2 part Ques
Amps
1976
Selmer 2 x 12 tube amp with the Cafe Racers
1977
Fender Vibrolux, early sixties, brown, one 12" speaker, about 30 Watts
Mark still owns it, it was used on the Golden Heart album.
You can hear this amp on the CD bootleg Early Demos.
1978
Debut Album :
Fender Twin Reverb, silver face
Roland Jazz Chorus
Fender Vibrolux, early sixties, brown, one 12" speaker, about 30 Watts
live:
January
Fender Concert Amp, blackface, 4 x 10"
Fender Vibrolux, early sixties, brown, one 12" speaker, about 30 Watts
May
Fender Twin Reverb, silverface
June
Fender Twin Reverb, silver face, with Marshall 4 x 12" cabinets
end of 1978
two Fender Twin Reverbs, silver face,
or Music Man HD 130, 2 x 12", 130 Watts
1979
early 1979
Music Man HD 130, 2 x 12", 130 Watts
from July on
Music Man HD 130, 2 x 12", 130 Watts
Music Man HD 130, 2 x 12", 130 Watts, JBL speakers (most likely D120 or K120)
1980-81
early 1980 (BBC Arena documentary)
Music Man HD 130, 2 x 12", 130 Watts
Music Man HD 130, 2 x 12", 130 Watts, JBL speakers (most likely D120 or K120)
on Making Movies (album & tour)
two Music Man HD 130, 2 x 12", 130 Watts, played over Marshall 4 x 12" cabinets
1982-84
Love over Gold album
Mesa Boogie heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
Marshall head
live
Mesa Boogie heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
1985-86
Brothers in Arms album
Mesa Boogie heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
Marshall JTM on track Brothers in Arms
Jim Kelley combo amp with an EVM12L
live
Mesa Boogie heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
or Jim Kelly heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
1987-89
most likely same setup as before
Gallien & Krueger amps on the Willy DeVille album Miracle
from Randy Newman's Land of Dreams on:
Soldano SLO 100 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
1990-92
live and studio:
two Soldano SLO 100 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
on the album On Every Street some old Fender amps as well
1996
album Golden Heart
Soldano SLO 100 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
Fender Vibrolux, early sixties, brown, one 12" speaker, about 30 Watts
Crate VC5212, 50 Watts, 2 x 12" speakers
live:
two Soldano SLO 100 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
or
two Crate VC5212 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
Today he still uses many of the amps he has used for the past 30 years, but live he uses two Komet “The Komet” heads with red Marshall 4x12” cabs. The heads are around 50W.
Amps
1976
Selmer 2 x 12 tube amp with the Cafe Racers
1977
Fender Vibrolux, early sixties, brown, one 12" speaker, about 30 Watts
Mark still owns it, it was used on the Golden Heart album.
You can hear this amp on the CD bootleg Early Demos.
1978
Debut Album :
Fender Twin Reverb, silver face
Roland Jazz Chorus
Fender Vibrolux, early sixties, brown, one 12" speaker, about 30 Watts
live:
January
Fender Concert Amp, blackface, 4 x 10"
Fender Vibrolux, early sixties, brown, one 12" speaker, about 30 Watts
May
Fender Twin Reverb, silverface
June
Fender Twin Reverb, silver face, with Marshall 4 x 12" cabinets
end of 1978
two Fender Twin Reverbs, silver face,
or Music Man HD 130, 2 x 12", 130 Watts
1979
early 1979
Music Man HD 130, 2 x 12", 130 Watts
from July on
Music Man HD 130, 2 x 12", 130 Watts
Music Man HD 130, 2 x 12", 130 Watts, JBL speakers (most likely D120 or K120)
1980-81
early 1980 (BBC Arena documentary)
Music Man HD 130, 2 x 12", 130 Watts
Music Man HD 130, 2 x 12", 130 Watts, JBL speakers (most likely D120 or K120)
on Making Movies (album & tour)
two Music Man HD 130, 2 x 12", 130 Watts, played over Marshall 4 x 12" cabinets
1982-84
Love over Gold album
Mesa Boogie heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
Marshall head
live
Mesa Boogie heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
1985-86
Brothers in Arms album
Mesa Boogie heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
Marshall JTM on track Brothers in Arms
Jim Kelley combo amp with an EVM12L
live
Mesa Boogie heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
or Jim Kelly heads with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
1987-89
most likely same setup as before
Gallien & Krueger amps on the Willy DeVille album Miracle
from Randy Newman's Land of Dreams on:
Soldano SLO 100 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
1990-92
live and studio:
two Soldano SLO 100 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
on the album On Every Street some old Fender amps as well
1996
album Golden Heart
Soldano SLO 100 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
Fender Vibrolux, early sixties, brown, one 12" speaker, about 30 Watts
Crate VC5212, 50 Watts, 2 x 12" speakers
live:
two Soldano SLO 100 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
or
two Crate VC5212 with Marshall 4 x 12" cabinets, equipped with Electro Voice speakers
Today he still uses many of the amps he has used for the past 30 years, but live he uses two Komet “The Komet” heads with red Marshall 4x12” cabs. The heads are around 50W.
Vasshu the humanoid typhoon
Unseen
Re: Mark Knopfler - 2 part Ques
Effects
Mark is pretty well known to not change his tone a great deal with effects. He usually uses a combination of compression, volume pedals and chorus and similar, clean, effects.
During the first few years, it is SAID that he used a Dan Armstrong Orange Squeezer when recording (i.e. on the first album). The sound engineer for this album said he was “in love with Roland Chorus devices”, which would probably be true as he used the chorus on his cleans (most noticeable on Lions). Live he used a Morley Volume pedal and an MXR delay. The Morley was used for creating bow type sounds. The thing about the Morley is that even when fully open it still rounded out the sound of the guitar (due to the 66K impedance on the input). The MXR had a true bypass, that, when depressed sent the unchanged signal to the amp, with no change in the tone whatsoever.
During 1979 he began to use a Nady Transmitter, which affected his tone quite a bit (especially live when he would normally use long cables). Because the cable length between the guitar and the transmitter is very short, and the same at the other side of the receiver, the tone during performances around that time were considerably brighter.
These are the setups he typically used throughout the 80s and early 90s:
1980/81
Customized rack comprising:
Deltalab Delay Unit
Flanger
Master R Reverb
Roland Equalizer
Mantec Switch Unit
Roland Choms Echo
Mantec Preamp
2 Main Transformers
Morley Volume Pedal
Mantec Remote Switching Unit
Nady guitar transmitter
1985/86
Custom rack including:
Roland SRE 555 Chorus/Echo
Delt Lab Digital Delay
Mic-Mix Dyna-Flanger
Master Room Reverb Unit
Roland Graphic EQ
Ibanez UE 303 Multi Effect
A variety of Boss pedals, including:
CE 300 Chorus
DM 2 Delay
CS 2 Compressor
Two CE 2 Chorus
BF 2 Flanger
PH 2 Phaser
OC 2 Octaver
1991/92
Custom system built by Pete Cornish, including:
TC 2290 Delay
Alesis Quadraverb
Boss Super Chorus CE 300
Zoom Multieffect 9010
Yamaha REV 5 (reverb)
two TC-Equalizers/Preamps (for the National and Ramirez guitars)
Wah Wah (Money for Nothing), integrated into the rack system
Earney Ball Volume Pedal
Sony Wireless system
1996
Ron Eve:
"When Mark and I discussed what equipment he would be using for the tour, we decided that although the Crate Vintage 50w combo amp had served exceptionally well in the studio, operationally there would be problems on stage. There was no way to smoothly and quickly change guitars and set up new sounds for each song, even using two combos. So Mark decided to use a cut-down version of the set-up from the last Dire Straits tour (On Every Street). He wanted to use the two Soldano 100 Lead heads but without the Marshall/EV speaker cabinets and Pete Cornish effects rack. He was keen to try using 2 x 12 cabinets, again with EV speakers and a simple FX set-up comprising "some expensive delay and reverb..." and a footswitch. The final arrangement consisted of an Ernie Ball volume pedal, Active Lead, 2 Soldano amp heads (alternating A/B), 2 Hughes & Kettner 2 x 12 cabinets (loaded with EV's), TC2290 delay unit, Lexicon 300 reverb unit, MXR micro amp and a TC 0144 footswitch. The Crate combos will be used for back-up. The TC 2290 was used as the main controller and MIDI'd to the Lexicon, with the Lexicon patched through one of the loops; the MXR was hooked through another loop, to provide a clean boost and a footswitch assigned to toggle it in/out. Another switch was assigned to toggle the repeat (delay) on/off. As rehearsals progressed, patches containing each songs' effects set-up were assigned to various presets (switchable from the TC0144). Tone settings for each song were set up on the Soldanos with the aim of switching amps between each song. Fast segues between songs can be accomodated in this way."
Effects
Mark is pretty well known to not change his tone a great deal with effects. He usually uses a combination of compression, volume pedals and chorus and similar, clean, effects.
During the first few years, it is SAID that he used a Dan Armstrong Orange Squeezer when recording (i.e. on the first album). The sound engineer for this album said he was “in love with Roland Chorus devices”, which would probably be true as he used the chorus on his cleans (most noticeable on Lions). Live he used a Morley Volume pedal and an MXR delay. The Morley was used for creating bow type sounds. The thing about the Morley is that even when fully open it still rounded out the sound of the guitar (due to the 66K impedance on the input). The MXR had a true bypass, that, when depressed sent the unchanged signal to the amp, with no change in the tone whatsoever.
During 1979 he began to use a Nady Transmitter, which affected his tone quite a bit (especially live when he would normally use long cables). Because the cable length between the guitar and the transmitter is very short, and the same at the other side of the receiver, the tone during performances around that time were considerably brighter.
These are the setups he typically used throughout the 80s and early 90s:
1980/81
Customized rack comprising:
Deltalab Delay Unit
Flanger
Master R Reverb
Roland Equalizer
Mantec Switch Unit
Roland Choms Echo
Mantec Preamp
2 Main Transformers
Morley Volume Pedal
Mantec Remote Switching Unit
Nady guitar transmitter
1985/86
Custom rack including:
Roland SRE 555 Chorus/Echo
Delt Lab Digital Delay
Mic-Mix Dyna-Flanger
Master Room Reverb Unit
Roland Graphic EQ
Ibanez UE 303 Multi Effect
A variety of Boss pedals, including:
CE 300 Chorus
DM 2 Delay
CS 2 Compressor
Two CE 2 Chorus
BF 2 Flanger
PH 2 Phaser
OC 2 Octaver
1991/92
Custom system built by Pete Cornish, including:
TC 2290 Delay
Alesis Quadraverb
Boss Super Chorus CE 300
Zoom Multieffect 9010
Yamaha REV 5 (reverb)
two TC-Equalizers/Preamps (for the National and Ramirez guitars)
Wah Wah (Money for Nothing), integrated into the rack system
Earney Ball Volume Pedal
Sony Wireless system
1996
Ron Eve:
"When Mark and I discussed what equipment he would be using for the tour, we decided that although the Crate Vintage 50w combo amp had served exceptionally well in the studio, operationally there would be problems on stage. There was no way to smoothly and quickly change guitars and set up new sounds for each song, even using two combos. So Mark decided to use a cut-down version of the set-up from the last Dire Straits tour (On Every Street). He wanted to use the two Soldano 100 Lead heads but without the Marshall/EV speaker cabinets and Pete Cornish effects rack. He was keen to try using 2 x 12 cabinets, again with EV speakers and a simple FX set-up comprising "some expensive delay and reverb..." and a footswitch. The final arrangement consisted of an Ernie Ball volume pedal, Active Lead, 2 Soldano amp heads (alternating A/B), 2 Hughes & Kettner 2 x 12 cabinets (loaded with EV's), TC2290 delay unit, Lexicon 300 reverb unit, MXR micro amp and a TC 0144 footswitch. The Crate combos will be used for back-up. The TC 2290 was used as the main controller and MIDI'd to the Lexicon, with the Lexicon patched through one of the loops; the MXR was hooked through another loop, to provide a clean boost and a footswitch assigned to toggle it in/out. Another switch was assigned to toggle the repeat (delay) on/off. As rehearsals progressed, patches containing each songs' effects set-up were assigned to various presets (switchable from the TC0144). Tone settings for each song were set up on the Soldanos with the aim of switching amps between each song. Fast segues between songs can be accomodated in this way."
Vasshu the humanoid typhoon
Unseen
Re: Mark Knopfler - 2 part Ques
Pictures and the origins of this svada can be found here....
http://www.ultimate-guitar.com/forum/showthread.php?t=332650
Yeah no info on google
Pictures and the origins of this svada can be found here....
http://www.ultimate-guitar.com/forum/showthread.php?t=332650
Yeah no info on google
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