Dire Straits/ Mark Knopfler live pictures and videos, Guitars, Mark Knopfler gear, MK guitar style and licks

Angel of Mercy live in early 1979 – Mark Knopfler on slide guitar

Mark Knopfler never played that much bottle-neck guitar on his albums or concerts, nevertheless he occasionally did: except Water of Love from the first Dire Straits album of course, songs like The Man’s too strong (from Brothers in Arms), Do America (from Sailing to Philadelphia), Money for Nothing intro (live version 2001 tour), or Right now (All the roadrunning) come to mind. (I guess there are more, but before thinking about these for too long I will leave it to you to add these with the comment function below this article).

One song that was normally never played with a slide guitar is Angel of Mercy from Dire Straits’ Communiqué album (1979). However, the live version we have on some bootleg recordings from Germany, February 1979 features a slide lead guitar. On this tour Angel of Mercy was played as an encore, see more on this in this forum thread.

Mark Knopfler on slide guitar live in 1979

Before many will ask where they can hear this recording, I thought to write this article to include an audio clip. Enjoy:

 

Dire Straits, Angel of Mercy, Mannheim, Germany, February 14, 1979

Edit March 27: original text:
By the way, I have no idea which guitar he is playing here. Normally they had a black Fender Telecaster Thinline (from around 1969) tuned to open A on which Mark played Water of Love. So it would make sense that it is also the black Tele, as the Strats were setup for normal playing  with an action probably not suited for bottle-neck. On the other hand, Angel of Mercy does not call for an open tuning. I am afraid we will probably never know for sure 🙁

Update March 27:
If you read the comments to this article, you have probably seen the following picturs (thanks to Brunno):

Click to open enlarged in new tab at Getty Images

The description at Getty Images says that it was taken in Rotterdam, October 19, 1978 (like four other pictures , see also this article), but I think this picture one (and one other) are in fact from early 1979 (similar but not identical clothes, different guitar, Mark is wearing a neck lace, etc.). If so, this picture is the proof for a 12-string (a Burns Baldwin Double Six by the way) played with bottle-neck, and the song can be no other than Angel of Mercy.

Misc

Chris Rea Bombollini – live from Loreley 1985

This is the second time I want to feature Chris Rea here (first time: click here). The reason was that today I surfed into a video on youtube from a concert I watched about 25 years ago on television:  Chris Rea on a festival from the Loreley – that famous rock on the river Rhine-  that was live broadcasted by Germany’s WDR Rockpalast. By the way, Dire Straits also played there a festival gig some years before (summer 1979). It is a beatiful place and those summer evening concerts were always a highlight.

The song is called Bombollini, a song from his 1984 album Wired to the Moon. I never liked this album that much because it sounds somewhat like a cheap and quick production to me although some of the songs were real gems. This song was the openener of the concert, and it always reminded me of the way Dire Straits used to open their concert at that time with Ride across the River: similar pace, similar groove, similar instrumentation to some extend -the flute, the bass marimba sound – … who knows, Chris Rea is known to be a huge Mark Knopfler fan.

The song builds up more and more, ending with a guitar solo on Chris’ ’63 fiesta red Strat nick-named Pinky, played through a silver-face Fender Twin for the clean sounds and an old blonde Fender Bandmaster amp.

But now enjoy:

Easy stuff for beginners, Guitar in general, Misc, Recording

Nice: Fender online guitar tuner

Today I was on the Fender website and accidentally found a nice little tool there: the online guitar tuner.

When you click on one of the six tuners of the peghead, the software will play a sample of the corresponding note, played with a clean Fender sound.

There are some very useful options: loop on or off (the note will be played again and again in loop mode), and you can select the tuning – standard or all different kinds of open or special tunings. You can even create your own tuning.

The only thing that is missing is the option to fine tune to another root pitch than 440Hz – but to be honest, not something many of us really need.

I like the idea to tune the guitar using your ears instead of a tuner device – helps to keep your ears fit 🙂

Vintage guitars

How to identify an original pre-CBS Fender Stratocaster body

I often read threads in forums about how to check if a certain part on a Fender vintage guitar is original or not. Of course there are countless books and websites which show many details that help to do so. However, there is one particular detail which is only rarely mentioned: the ‘dowel holes‘ on those old Fender bodies (I am not talking about ‘nail holes’ here!)

Dowel holes

If I understand it right, Fender used some clamps to hold the wood plank when sawing out the body. These clamps left two holes in the body which were filled with wooden dowels. These dowel holes are at exactly the same location on all old Stratocaster bodies – in fact all other models seem to have them as well, however, at completely different places than the Strat.

Dowel holes (in red circles) on a '63 Stratocaster

So if you happen to see an old stripped Fender body, you can easily spot these. New Fender and all the reissue bodies don’t have them. Thus this seems to be a reliable detail to tell an old body from a fake.

..and here on a '58 Strat at exactly the same two places

And on a '66 Stratocaster

Unfortunately, you normally can’t see them on a painted body, at least not easily. However, if you know exactly where they are and observe carefully the way the body reflects light at these places, you might see them through the finish. This is because old nitro finish is often really thin and the dowel holes leave a tiny inaccuracy in the body surface. And of course there are all those Stevie Ray Vaughn or Rory Gallagher-like looking battered Strats which are partly bare of any finish and allow to see those dowel holes directly.

If you know where to search you can often even see them through the finish, like here on a '64 Strat

I am not sure in which year these disappappeared, I guess somewhere in the 70ies, when Fender switched to a different method of cutting out the bodies.

Theoretically  it is possible to fake these holes, too, but I think this is rarely done – yet …

Easy stuff for beginners, Guitar in general, Mark Knopfler gear, Misc, MK guitar style and licks, Recording, Understanding music, Vintage guitars

New Forum on this site

As many of you might already have noticed, I recently added a forum to this site.

We have the comment function below each blog post which has been used to discuss everything that is related to the post subject, but many times completely new threads emerged within the comments which became easily off-topic in a way. For this reason – and to make it possible for readers to start a new thread any time – I added a proper forum. The forum plug-in I found for this purpose is really great and offers a lot of cool functions. Almost every feature you know of other forums is here, too (like directly embedding youtube videos or pictures, PM’ing other members, and so on.

You can get to the forum via the link under ‘Pages’ at the top of the left sidebar. And there is a list of the latest forum posts a bit below in the sidebar, you can also get to the forum by clicking on one of the list entries.

You need to register to post but don’t be afraid, you will not be pestered with many newsletters or such. This is mainly to avoid spammers.

So after the last few days of testing I officially announce the new forum with this post. I hope there will be many interesting discussions, looking forward to it 🙂

Guitars, Mark Knopfler gear, Vintage guitars

Features and specs of a ’61 Vintage Stratocaster

Mark Knopfler’s “Sultans” Strat (ser.-no. #68354) is from 1961. The second red Fender Strat he played with Dire Straits (ser.no #80470) was from about the same period (apart from the question in how far it was original Fender at all). For this reason I put together a table to give you a survey about the distinctive features that are different on a 1961 Strat compared  with earlier or later Strats.

1961 Stratbeforelater
Body woodalder (ash for models in blonde)light ash (swamp ash) until 1956heavy ash in the 70ies
Fingerboardslab board made of Brazilian rosewoodone-piece maple nack until 1959curved rosewood venue from mid 1962 on, optional maple board in the late 60ies, one-piece maply neck available in the 70ies again
Pick-upsstaggered pole-pieces, formvar wire insulation, magnetic northpole on topmagnetic southpole on top in the early 50iesenamel wire insulation from about mid 1964 on, flush polepieces from 1974 on
Pickguardthree layers (white/black/white) pickguard of celluloid, fixed with 11 screws, screw #3 between middle and neck pick-upone layer plastic pickguard (or bakelite before 1957) until 1959, fixed with 8 screws (a few models with three layers and 8 screws in 1959)screw #3 moved to middle pick-up in 1963, three layers plastic pickguard from 1965 on
Bridge6 individual bridge saddles made of bent steel, separate steel tremolo block,sameno separated tremolo block from 19xx on, diecasted bridge saddles,
Laquerthin nitro laquer, standard was three tone sunburst (yellow/red/black), many custom colours availablethin nitro laquer, standard was two tone sunburst (yellow/black) until 1958, only a few (and rare) custom colours availableglossy polyesther finish from 1968 on
Tunersmade by Kluson, stamped with one line with “Kluson deluxe”samestamped with two lines with “Kluson deluxe” from 1964 on, made by Schaller from 1968 on
Pick-up switch3-way3-way5-way from 1977 on
Body contoursdeeply contoured
- individual differences due to hand work		deeply contoured
- individual differences due to hand work		becoming less contoured from the mid 60ies on
Stratocaster decalgold “spaghetti logo” with two patent numbersgold “spaghetti logo”,
no patent numbers until 1960,		In late 1964 Fender changed to the fatter gold transitional logo,black logo from 1968 on
three patent number 1963-1964, later 4 numbers
Peghead sizesmallsmallbig head from 1966 on
String holdersone butterfly string holderone round holder until 1956two string holders from 1974 on
Number plate / neck fixation4 screw number plate with stamped serial numbersame (1954 models sometimes with serial number on tremolo plate)stamped with big F from 1966on, three hole number plate from 1972 on
Serial numbers5 digits, ca. 50 – 80,000 rangelower numbershigher, starting with the letter L from 1964 on, 6 digits from 1965 on

Detail pictures

The thick rosewood slabboard
Compare the shape of the rosewood fingerboard (behind the nut) on a slabboard Strat (front) and a 1964 Strat (rear)
Polepieces of a 1961 pick-up
Single-line Kluson tuners
Decal with 2 patent numbers
Aluminium pick-guard shield, black bobbins pick-ups
Amps, Mark Knopfler gear

The King of Clean – Mark Knopfler’s Tone King Imperial amp – Hand-built vintage technology and sound

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).

The Tone King Imperial on the 2008 tour. The red Marshall cabinets were driven by two Reinhard amps.
Technician Colin Barton working on Mark Knopfler's Tone King Imperial. Pictures courtesy Guy Fletcher.
Dire Straits/ Mark Knopfler live pictures and videos, Misc

Rare video of Brendan Crocker gig featuring Mark Knopfler

Today while surfing youtube I found this rare video which I have never seen before, showing Mark Knopfler as a guest on a Brendan Crocker gig in Leeds, June 18, 1989 (the youtube video title says July 18, June 18 is confirmed and I doubt that there was a second gig one month later). For those who don’t know him, Brendan Crocker is an old friend of Mark’s, also a member of the Notting Hillbillies.

Another guest on this gig was Dire Straits keyboarder Alan Clark.

Mark plays his Pensa MK-1, and on the right side of the stage- next to the bass player – we can spot his Sultans-of-Swing amp, the brown Fender Vibrolux.

I still have a vinyl Brendan Crocker EP single with three tracks from this gig (You Don’t Need Me Here, Railroad Blues, Georgia Crawl)

MK guitar style and licks

Rasgueado and other flamenco techniques in Sultans of Swing

Sultans of Swing from Dire Straits’  first album is surely one of THE songs that comes to mind when talking about fingerstyle guitar playing. In addition to Mark Knopfler’s unique playing style it also features some striking Spanish-sounding elements, starting from the chord  progression itself to some flamenco-like strumming techniques – which is this blog article, or rather the embedded video, is about.

The typical flamenco stroke is called Rasgueado (the Spanish word for strumming) – a particular “roll” of your right hand fingers. I am  really no master of the true flamenco style but I realized many years ago that Knopfler plays  something like this in numerous songs, and practised something that sounds similar – my version of the Rasgueado. I can do it in two different ways: pinky first to index finger, or vice versa. Both sound different but I am not completetly sure which one Knopfler makes use of (possibly both).

The video explains how I play it. I think the idea becomes clear. So, enjoy!

PS: The rasgueado sounds great with distorted power chords, too. Give it a try!

Effects, Mark Knopfler gear, Recording

Rhett Davies and the sound of the first Dire Straits album

Rhett Davies - The Sultan of Sound. Engineer on the first Dire Straits album

In the blog post about the Sultans of Swing lead guitar track that was made available through the Guitar Hero 5 game we had some interesting discussions about some technical aspects of the guitar sound. One was whether the effects we hear (compression, chorus, reverb) were added later in the mix or were recorded right with the instrument track. Unfortunately there is no direct information available so we will probably never know for sure. However, I recently read some articles or interviews with Rhett Davies – the sound engineer on the first Dire Straits album. He told a few interesting things about recording the Avalon album with Roxy Music in the early 80ies – so from ‘almost’ the same time as the Straits’ debut album (1978). I think some of these things were general preferences and might be true for the Dire Straits album as well.

Here are a few excerpts (from Sound on Sound):

One feature of Rhett Davies’ production style that surprised Bob Clearmountain when they first worked together was his willingness to print effects to tape with instrument recordings. “Generally speaking, and this applies to Avalon, if we were working on a particular sound and that sound had a delay or a reverb, I would print that with the signal. I love delays. We used the Roland Chorus Echos a lot, and I still do today, I love them.

My guess is – if it was not a Roland Jazz Chorus, as some rumour says at least for Sultans of Swing – then  it maybe was the Roland Space Echo 301 which was mentioned by Rhett Davies in an article on a Bryan Ferry solo album in 2007, while the famous Roland Dimension D was as it seems introduced later,  around 1979. Knopfler also had a 301 in his guitar rack on the Making Movies tour in 1980/81.

continued:
Quarter-note triplet delays are my favourites. [Check out my article about quarter note triplets if you are not familiar with the idea behind them] Anything that creates cross-rhythms is what I was always looking for, so if we were working with a rhythm box, I’d always be experimenting with delays, just to create something more than the plain thing that was there. Obviously it depends on the instrument, but if you’re talking about basic backing-track instruments then you’re trying to create something.

My concept was always that anybody could put the track up and push the faders up and it would sound as it’s supposed to sound. When we mixed Flesh & Blood, Bob couldn’t believe it, because nobody printed delays with the signal. If it was something like the lead vocal, I’d print that to a separate track, but we were still working on 24 tracks, and if it was a guitar and that was part of the sound it got printed. Roxy enjoyed working that way, because there’s nothing worse than thinking ‘It doesn’t sound as good as it did last week, what’s different? I’m sure that’s the same setting.’ This way, it’s always there, and it makes a faster way of working. I could put a track up in a minute and it was ready to do an overdub, so if we had musicians coming in that we wanted to try on two or three songs, it was really fast just to change the tape, and the song was ready to go. I also always used to try to keep an instrumental rough mix on tape as a working mix, so you could just whack up two faders and it was there.

So, maybe the chorus was the 301. The Space Echo 301 was – as the name suggest – mainly an echo – a tape delay to be more concrete, but it also has a chorus effect. I remember that Mark was once asked about the delay in the intro of Down to the Waterline, and his answer was:

“I have no idea what that was. Rhett Davies was the engineer on that record, and he’s in love with Roland Chorus Ensembles, so it might well have been that. I actually use a Roland onstage. ” (from this interview with Guitar Player magazine)

Roland Space Echo 301 - delay and chorus

I think if Davies tend to record effects with the instrument onto the track, the rumour of the Dan Armstrong Orange Squeezer as the compressor on this album becomes a bit more likely. Too bad we will maybe never know for sure. I did a Google search for Rhett Davies but to no avail: he does not have a personal homepage or something else which allows us to contact him, at least I have not found anything so far.