Visitors of the recent Get Lucky tour have seen the Tone King Imperial on stage again, located between two red Marshall cabs just like on the previous tours. I had ideal seats for the two concerts I have been to (Oberhausen and Amsterdam) and tried to make out for which songs Tone King was used, actually by trying to hear if the sound comes from the Marshall cab or from the Tone King.

It seems the Tone King was used on Donnegan’s gone and Piper to the End in Amsterdam (they did not play Donnegan’s gone in Oberhausen). By the  way , on the last tour (Kill to get Crimson) it was used on Cannibals, True love will never fade, Our Shangri-la, and Postcards from Paraguay.

Here is a picture of the amp settings in Amsterdam:

I guess the clean channel (left) was for Donnegan’s gone,  while the hotther right channel might be used for Piper to the End.

Of course I am not 100% sure, and the amp might have been used on other song’s too. If you can add some info, please do so with the comment function.

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Everyone who has seen Mark Knopfler live on one of his recent tours might have notived that cool-looking turquoise combo amp next to Knopfler’s Marshall cabinets. Knopfler’s second guitarist Richard Bennet also plays one. It is the Tone King Imperial.

Tone King amps are built from selected quality parts by Mark Bartel in Baltimore. Mark does all the woodworking, upholstery, and electronics assembly himself to have total control about the sound and quality of his products.

The Imperial is a two-channel combo with reverb and tremolo. The output power is about 20 watts, coming from two 6V6 tubes. The two channel make use of 12AX7 pre-amp tube, and one 12AT7 driving the reverb, just like Fender amps from the sixties or seventies. In fact it reminds me a lot of a black-face Fender Deluxe amp, which also has a similar layout and one 12″ speaker. In fact you can read on the Tone King website that the rhythm channel aims for that Fender black-face sound. A volume, treble and bass control is all that is required here. Of course the spring reverb – a fundamental ingredient of the Fender sound – works for both channels (note that on Fender amps it only affects the second channel). It will not surprise you that the reverb circuit uses the same two-spring reverb tank  (acutronics) and the same tubes like Fender.

The second channel also features just three controls: volume, tone and mid-bite – so no bass and treble control here, just on a small Fender tweed amp from the 50ies. The mid-bite adds a midrange peak and tightens the low end, controling the overdrive tone character that can be blended from Fender tweed to Marshall style.

The speaker is custom designed and labelled with ‘Tone King 33′ – manufactured by Eminence (who also built the speakers in most silver-face Fender amps in the 70ies and 80ies).

The recommended retail price for the Tone King Imperial is 1995 USD. More infos on toneking.com.

On the last (2008) tour Mark Knopfler played his red Schecter Telecaster on the song Cannibals through the Tone King Imperial, his ’54 Stratocaster  on the song Our Shangri-La, and his signature MK Strat on Postcards from Paraguay and  True love will never fade. I guess it is the ‘king of clean’ for him and that he hardly ever uses the second channel. Another song to feature this fine amp is Hard Shoulder from Get Lucky (played on a Gretch 6120).

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I just got this picture via email (thank you Wolfgang of the Dire Strats tribute band) which shows the settings on the Fender Hot Rod Deluxe amp that Mark Knopfler used for a promo gig in Germany, 2004. He played live the song Boom like that on a German TV show.

Volume 5 ; Drive 2.5 ; Treble 9, Bass 4 ; Middle 7.5 ; Master 4 ; Reverb 0 ; Presence 9 (note that all knobs go up to 12)

Unfortunately it is hard to see the position of those three push buttons (bright, more gain, channel select) .

The Hot Rod Deluxe is a 40 watts tube amp (3 x 12AX7, 2x 6L6) with reverb and one 12″ Eminence speaker. I presume that the amps for those promo gigs were borrowed for that evening.

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Those early years of Dire Straits are still a very special period for me. 1979 was the time when I first heard the band and became a fan of Knopfler’s guitar style and sound. For this reason I still have a deep interest in any live pictures from this time but more and more I got the impression that I meanwhile have seen most existing pictures from those early years. What a surprise when I found Alan Perry’s website. Alan Perry has been a professional concert photographer since 1975 and you can order all his pictures on his site. There are little preview pictures of all his photos. And he took pictures on two different Dire Straits concerts – from the Empire, Liverpool, June 8, 1979 and the Odeon, Birmingham, June 13, 1979. All in all more than 50 pics of each concert.

Prices seemed reasonable to me – 30 British pence for a standard size photo- so I simply ordered all of them. The quality of the pictures is great. Of course there are always some that are better than others but all in all they all look good.

Unfortunately I could not spot any exciting new details about Knopfler’s equipment yet – no new insight into the effects he used, no picture that revealed details like the amp setting.

Knopfler played his red Fender maple board Stratocaster with the greenish pickguard of his other Strat (see here for more info), the black Thinline Telecaster on Water of Love (more info), and David’s black Strat on Setting me up (more info). The guitars went through the Morley volume pedal (more info) and the MXR analog delay into two Music Man amps (more info).

Here are a few samples. Check them out all at Alan’s site (www.concertphotos.uk.com): Birmingham 1979 Liverpool 1979

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I recently saw this extremely rare amp offered on ebay  – a 1974 Musitek combo amp that looks very similar to the “Dire Straits” amp – the Music Man 130 HD 212.

In fact Musitek was one of the names  under which the very first amps were produced before the company was renamed to Music Man (see this article for more info on Music Man amps). As this was the first and only time I have ever seen such an early model, I want to feature it with this article.

The overall control layout was already identical to the later Music Man amp. The only difference I can see is a rotary switch with the positions ‘Off – Low – Normal – High’ at the position where normally the power switch is located. The later switch also allows  a low and high power position, but not the third ‘Normal’ mode.

The rear panel looks very different from the Music Man version – almost like a  self-labelled prototype (which possibly is the case here – or there was originally a proper panel which is missing on the pictured amp).

The 12AX7 phase inverter tube and the Accutronics reverb tank seems to be the same as they were later. Note that the Celestion speaker is not original. The other one is a 1974 Alnico speaker by Eminence, however with a smaller magnet than the model used in the Music Man.

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