According to Guy Fletcher’s forum, he and Mark started to prepare the next album recently. Later the band will come in to record the new songs. There is no scheduled release date announced yet.
source: Guy Fletcher’s forum , various posts from September 23, 2008
This is going to be short article, rather a post meant to build up speculations: The following two pictures (from different shows, both live in early 1979) show something that seem to be an effect box that is still undidentified. I have almost finished an article about one possible explaination that is coming soon, but meanwhile it might be interesting to hear other people’s opinion, so simply use the comment function for suggestions or speculations.
click on picture to enlarge
After the other article about Knopfler’s Ernie Ball volume pedal, this time I want to feature the volume pedal he played before, which means during the Dire Straits days until the end of the Making Movies tour in 1981. The pedal I am talking about is the silver Morley Volume Pedal.
Morley made a whole range of effect foot pedals, including a very popular wha-wha or even models with built-in flanger or delay. All of these could be used as simple volume pedal as well. Knopfler’s model, simply called “VOL”, was just the ordinary volume pedal.
The unique thing about those Morleys was that they did not use a poti but a photo resistor instead. The advantage: potis tend to make noise after some years of usage, the photo resistor will not, no matter how much you use or even misuse it (dusty or smoky stages, humidity etc.)
What sounds rather complicated was in reality an extremely simple circuit: a small bulb – the one behind the red jewel light that is also used as power indicator – shines on a photo resistor (LCR) which lets the guitar signal pass as long as it receives light. When you roll back the pedal, a piece of black cloth is pushed between the bulb and the photo resistor which reduces the volume of the guitar accordingly. That’s all! Well, the simple ideas are often the best
The bulb (right) shines on the LCR (center), if this is not covered by the cloth
As the bulb needs electric power, the pedal is powered via mains line voltage, no external 9V adaptor like modern pedals! Since the power indicator bulb is part of the circuit, it means when it blows the pedal is dead. Fortunately replacing the bulb is simple and cheap.
The pedal way is extremely long. This means you can control the volume precisely, but you have to move your feet quite a lot. You get used to this, I have no problems with it. You can adjust how quickly or slowly the pedal reacts with a screw that changes the position of that black cloth. And you can adjust how easily the pedal moves with the two screws that hold the pedal. The whole thing is very stable, you can rest your foot with a lot of weight on it without problems.
One thing that is remarkable is that the pedal changes the sound, even when pushed down completely (full volume). This is due to the – compared with other guitar gear – extremely low input impedance which dampens the resonance peak of any passive guitar pick-up. It sweetens the sound of a Stratocaster pick-up. Without it that Dire Straits sound would definitely have been harsher.
Imitating the sound of a freight train whistle seems to be an obligatory part of all blues players’ vocabulary. For this purpose Mark Knopfler often uses a particular chord, a chord that appears on songs like Eastbound Train or Gravy Train (live), but also on the The Bug.
The chord in question is often called a 6/#9 chord (sometimes also denoted as 6/10). Remember, the numbers indicate the interval from the root note, so it is a chord with the 6th scale note added, and the sharp 9th note.
In C the 6th note is an A, the 9th is a D, but here we have a sharp nine, which is a half note higher, a D# (or Eb if you see it as 6/10 chord).
So our C 6/#9 would be (e.g.): C, E, G, A, D#
As a guitar player you probably want to leave out one or the other note (we only have 4 left-hand fingers), so we might get e.g. : C, G, A, D#
The following diagrams shows how to play these notes.
as tab:
or as chord chart:
Move the chord to the 14th fret position, and you will get the E 6/9+ (Eastbound Train) or – one octave lower – to the 2nd fret (The Bug)
In Gravy Train this chord appears as A 6/9+, which is at the 7th fret posiotion.
Here is a sound clips with the ‘train excerpt’ from the mentioned songs:
Keep on whistling 🙂
(At the end of this article you will find a matching video for all who prefer watching to reading)
An acoustic guitar has normally heavier strings than an electric guitar because you want a loud and rich sound. With an electric guitar you don’t need that much volume because you can adjust the sound easily with the amp. Consequently playing the acoustic requires more strength and finger pressure, and some techniques like string bending are much more difficult or – e.g. on the wound g string – not really possible.
At home I normally play acoustic guitars the way they are supposed to, fingerpicking or strumming with heavy string. For that lead stuff I take an electric guitar which I often play without amp at home. While this is loud enough for practicing in most situations , it surely wouldn’t hurt if it was louder, like an ‘acoustic’ electric guitar so to say (I have friends who favour semi-acoustics like the Gibson 335 for this reason).
One day I found another, even better solution: I took an acoustic and simply put really light strings on it. This way I can play it like an electric guitar. One the other hand, the warm sound of a an acoustic has also to do with the different kind of strings used on them – normally bronze or phosphor wound. And these are not available in thin, electric-guitar like gauges of course. No problem, I take a normal set for acoustic guitar (like a 012 – 056) but I use a thin 09 string for the high e-string (the unwound strings are the same material for electric and acoustic guitars anyway). Then I use the e-string of that set for the b-string, the b-strings for the g-string, and so on. The low e-string is left over. So, if your set is e.g. 12, 16, 22w, 32, 42, 56, this will result in 09, 012, 16, 22w, 32, 42 – pretty much a standard gauge for electric guitars but in bronze or phosphor-bronze.
I recommend to relief the truss-rod of that guitar a bit to match the lower string tension. The Martin DXK2 I use for this purpose (a rather cheap Martin model) sounds of course different than it did before but still sounds great for all kind of stuff and plays like an electric, great for practicing. Something to try out – I love it.
Here is the video for this article:
It cannot be answered with 100% certainty which string gauge or brand Mark Knopfler played on e.g. the first Dire Straits album or on Communique. There were a few interviews with major guitar magazines, but unfortunately none of these asked for strings.
For a long time the earliest information was from the Making Movies tour book which listed Fender Extra Lights for this tour. However, this was late 1980 and Knopfler meanwhile had changed to a different guitar (Schecters instead of vintage Fenders) and completely different gear (e.g. all that rack stuff).
Fender Extra Lights were pure nickel strings with gauges 09, 11, 15, 24, 32, 40 (they have different gauges these days: 16 instead of 15, 42 instead of 40 !). On the next tour he also played 09ers (Deam Markley Custom Light: 09,011,016,026,036,046) so it seemed he was a 09-player in all those years.
It was only a few years ago that I bought a guitar magazine from 1980 with Knopfler and his red Strat on the front cover on ebay. This was Musician from July 1980.
Besides the rather informative interview there was an info box about Mark Knopfler’s gear on the last page of the interview which lists guitars (e.g. his brand new Schecters) and amps/effects (still the old stuff from the Communique tour, mind the interview was before the Making Movies tour), and it said which strings he played, and these were not 09ers as assumed, but …
Fender Super Lights
Fender Super Lights was a 08 set (08, 11, 14, 22, 32, 38), also pure nickel. Of course the magazine does not say explicitely that these were used on any of the first CDs or on the first tours, but nevertheless, it is the earliest available information.
I myself had started to use thinner strings on most of my Strats since a few years before because I had the feeling they make some particular licks sound more like those old Dire Straits sound, also Fender and almost the same gauges as the Super Lights (only difference: I favour a 09 instead of 08 for the high e string), so I can indeed say that to me 08 sounds pretty good.
There is still the saying that big strings give you a big sound, so people like Stevie Ray Vaughn favoured extremely heavy strings, and also Knopfler seems to have gone more and more towards heavier strings over the decades. However, to me that Sultans sound is still one of the best I have ever heard and absolutely unique, so why not using a rather exotic sting gauge for it? And besides, 08s were rather common in the 70ies, you could get them everywhere and only recently they have disappeared from most shop shelves. The good thing: Fender still makes them, and who know, maybe this artice will help that they never will discontinue them 🙂
PS: Due to a technical problem I had to change some setting concerning the RSS feed function, so in case you get problems with the RSS, please subscribe again, sorry for the inconvenience. 🙁
To all other readers who read this blog regularly and are not familiar with RSS: You find the RSS subscribing uner Meta in the left sidebar, or at the bottom of each page. Use it to subscribe to the blog, which means you are automatically informed about any new posts (or also comments if you want) directly in your browser or your feed reader software.
Mark Knopfler has used a volume pedal almost since the very first beginning of his career. He does not only use it to adjust the overall level, but also for his characteristic volume swells that make a note fade in just like a violin. In short, he hits the note with the pedal all the way back to remove the attack, then presses it down to fade in the note.
For the first years he used a Morley volume pedal, but later he changed to a model by Ernie Ball. This is common knowledge that can be found everywhere in the internet.
I bought one of these Ernie Ball pedals many years ago. However, I found out that mine basically does what it is supoosed to do, but in detail there seem to be some differences to the way Knopfler’s pedal works. Over the years I had some good opportunities to watch him operating the pedal on stage, and I noticed that he often takes volume back to let’s say 70 – 80 % of the pedal way (100% = all the way down, full volume), and the volume of the guitar becomes slightly lower (maybe also 70 – 80% volume).
When I set mine to 70 or 80%, the volume is considerably lower, maybe just 50%. In other words, mine changes the volume quite a lot as soon as you take it back just a bit. This makes it rather hard to set the volume to the desired level, one fraction of an inch too much and it is too low.
I also noticed that he can create very ‘fast’ volume swells easily, which means the attack is filtered out but the note comes in quickly. When I do it, the volume comes in slowly, I have to press it down a rather long way – and very fast – until the note really cuts through.
It seems that the poti in Knopfler’s pedal behaves differently than in mine. The behaviour of a poti can be displayed as a curve, see this diagram:
Mine behaves like the blue curve (comes in slowly while the last inch of the pedal way changes a lot) whereas Mark’s rather does the opposite (red curve).
I found the solution in an interview with Mark’s guitar tech Glenn Saggers. He said that Mark is only happy with a particular poti that Ernie Ball once used, but which is not installed in later models anymore (some recent models allow you to change this curve by the way). They even gathered a supply of that old potis in case it worns out and must be replaced.
I later tried a second and even a third Ernie Ball pedal, but all of them had the same curve as mine.
One day I accidentally found a solution that works for me, without having to buy a new poti or to spend any cent at all (and I admit I had no idea where to get such a poti). I swapped the input and the output jack because I accidentally plugged the guitar cable into the amp jack (output) of the pedal and the cable to the amp into the guitar input jack. And voila, it behaved exactly as I want it to do. 🙂
There is one side effect of this which I have to mention. This way the pedal swallows some treble end when not pressed completely down (all potis do so but this way the effect is a bit extremer). However, this is no problem for me since the softer tone fits nicely to low volume, while full volume cuts a bit more. If you use one of these and have the same problems, try it out and let us know what you think about it.
Update: I recently found out how to modify all those Ernie Ball pedals with the wrong curve (basically all after the mid 80ies).
Today something about one of Mark Knopfler most famous guitars …
In 1980 Mark Knopfler started to play a red Schecter Strat on stage instead of the red Fenders he played before. Everyone knows this guitar – it was the guitar on the Alchemy live CD/video, on Live Aid, and on countless other TV concerts from the 80ies or 90ies. He still owns this guitar and uses it occasionally these days.
However, rather overlooked is that there was a second red Schecter, one that looks almost identically to the first one. On stage it was played by rhythm guitarist Hal Lindes, e.g. on ‘Once upon a time in the west’ on Alchemy. I think that this guitar did not belong to Hal Lindes but to Mark Knopfler as well (possibly the blue Schecter that Hal Lindes played, too, while Lindes’ white ’59 Fender Strat definitely was his.)
Two red Schecter Strats (middle), Mark’s main axe is the
one with white pick-ups, the second one has black PUs.
Left and right are the two red Fender Strats, far left the
sunburst Tele Custom featured in the last post.
All these Schecters – the ones mentioned so far plus a black Telecaster and a sunburst Strat – were bought at Rudy’s Music Stop in New York in 1980 (the red Telecaster of Walk of Life and the white Schecter Strat were later acquisitions).
There is only one hint (the interview quoted below) that the 2nd red Schecter was Knopfler’s but I think it was likely that he ordered all of them together. This interview was from Guitar Player magazine in 1984:
GP: Are your guitars heavily modified?
MK: Not really. One Schecter has Seymour Duncan Vintage pickups, and another red one has heavier Seymour Strat pickups in it.
We know that Knopfler soon (early 1981) replaced the original Schecter F500T pick-ups, note the white PU covers from then on. These replacement PUs had staggered magnet poles (the Schecter PUs were flat) and are probably the mentioned “Seymour Duncan Vintage pickups”. I guess “another red one” is the 2nd red Strat (theoretically the red Schecter Telecaster of Walk of Life fame is another possibility ). See the following picture of that 2nd Strat and note the staggered magnet poles:
Hal Lindes playing that 2nd red Schecter Strat
So we have Vintage Seymour Duncans on #1, and heavier on #2. I remember exactly that unlike today Seymour Duncan’s product range was rather straightforward in 1981 – five models called SSL 1 – 5. These were:
SSL 1 : vintage Strat replica, staggered Alnico 5 magnets
SSL 2: like SSL 1 but with Alnico 2 magnets
SSL 3: hot wound, flat poles
SSL 4: quarter inch magnets, flat poles (similar to the Schecter F500T)
SSL 5: like SSL 1, but hotter wound
The SSL 1 was by far the most common of these, and the SSL 5 was heavier but looked the same. For these reasons I claimed on my vintage Dire Straits Guitar Page that they were SSL 1 / 5 but there is no direct evidence for this (later there were Alnico Pros on #1 but these were not availabe in the early 80ies). But who knows, maybe he has SSL 2 in #1, or maybe everything is different from what we think.
A rather strange tuning that seems to be part of any Mark Knopfler concert these days is the high-G tuning. Mark Knopfler owns a beautiful sunburst Telecaster Custom – probably a ’67 that was originally played by his brother David with Dire Straits, more on this guitar in a future post. These days (not in the past) this guitar seems to be dedicated to the high-g tuning.
So, what is it? In short: high-g simply means that the g-string is tuned up one octave, all other strings are standard tuning. For obvious reasons the g-string must be a rather thin gauge (I take a 008), otherwise the tension would break the string immediately.
If you look closely you can easily spot that thin g-string, pictures courtesy of Guy Fletcher
On stage, this guitar is played by keyboarder Guy Fletcher on the song ‘Wye Aye Man’, but it seems it was used on some studio recordings as well (besides Wye Aye Man, e.g. for the rhythm guitar on the song ‘Boom like that’, the one that comes in at 0:43 min and only hits each chord once, possibly on some more songs).
The nice thing about this tuning is that you don’t have to learn new ways to fret chords because the g-string is still tuned to g, only one octave higher, so everything remains as it is. You can fret each chord as you are used to, only the sound changes, a rather high note is added. Of course things go wrong as soon as you try to play lead with this tuning because the g-string is now the highest note.
Basically, the idea of this comes from the so-called Nashville tuning which is the tuning you get when you use only the octave strings of a 12-string set (the high e and b strings remain, all other strings are the thin octave strings, tuned one octave higher than the normal strings). This tuning is often used to add rhythm guitars with a rather “light” sound, less bass, but rich treble end.
Try it out, maybe on a spare guitar, it is a fresh sound and a lot of fun at almost no costs.
To finish, here is a video clip of ‘Boom like that’ with that sunburst Tele (played by Paul Brady, promo from Irish TV)
What do you think is the most important chord for the average guitar player? Well, presumably it is a rather simple, basic chord that is played often in all kind of tunes. So probably a ‘normal’ major chord, something like C or D.
Even a beginner quickly learns that there are many ways to play even something simple as a C chord. The first version you learn is probably the one that uses open strings, see the picture.
While this one is a favourite of all folk players, the most important version for rock is possibly the chord played at the 3rd fret position. In chord books you will find something like this:
This chord is normally played as barre chord which looks like one of these:
You will soon discover that for the Mark Knopfler playing style where you often switch from chords to fills or to a solo, the barre chords pictured above do not work very well because you have to move your left wrist quite a lot This is because when playing lead Knopfler holds the neck “just like a plumber holds a hammer” (quote Mark Knopfler) while a classical guitar player holds the neck with the thumb at the backside of the neck /see pictures above), so the wrist is at a different position, much lower so that barre chords become easy.
The way to play a C chord in a “plumber’s way” would look like this as a diagram:
or like this on a photo:
The index finger frets the a string, the pinky the d,g, and b strings, middle and ring finger do nothing, or (as in this picture) the ring finger might help to keep the strings down so that less force is required for the pinky. Compare it e.g. with the following picture showing Knopfler playing this C chord in ‘Money for Nothing’ (from the Live Aid concert, 1985):
And why do you think a plumber holds a hammer the way he does? The answer is obvious: because he has to work with it and this is the way it works best. The same is true for the guitar: hold the neck like a plumber, this is the natural way to do it, forget about the snobbish attitude and about guitar teachers who still think barre chords are what makes “good technique”.