Guitar in general, Misc

How to avoid RSI, carpal tunnel syndrome, wrist pain etc. when playing guitar extensively (part 1)

RSI – the nightmare of musicians, even a Mark Knopfler got RSI problems on a tour a few years ago.

RSI is a relatively new expression for a relatively new kind of health problem. RSI stands for ‘repetetive strain injury’, which means “any of a loose group of conditions resulting from overuse of a tool, such as a computer keyboard or musical instrument or other activity that requires repeated movements. It is a syndrome that affects muscles, tendons and nerves in the hands, arms and upper back.” (from Wikipedia)

Repeated movements are nothing really new, I guess a smith did repeated movements quite a lot when hammering on a piece of steel, even hundreds of years ago. I think the reason why a smith can do so without big trouble is that these movements require a lot of strength which comes from groups of rather big muscles. Muscles can be trained, and in a way they like it to work because this is what they were made for.

What however seems new to me are repeated movements that don’t require much force but a rather subtle control of small muscles. A good example might be clicking your computer mouse. Have you ever asked yourself how many clicks you might do when working or playing on the computer for some hours? Clicking once in a few seconds seems realistic to me, so let’s say there are maybe 6 clicks a minute, which means 360 per hour, or maybe about 1,500 when you spend some hours on a late night computer session (and we haven’t even talked about double-clicks yet).

And here exactly is the problem, going 1,500 steps is probably no problem for man, but our body is not designed to move one single finger a few thousand times within a short time.

What exactly happens to our body when overusing single muscles? Since muscles can only do one particular action, which is to contract (they cannot ‘push’, for these opposite movements we have a coresponding  antagonist muscle), overuse results in a contracted muscle state, in other words, the muscle does not relax to its full length after the job but remains slightly contracted – or cramped, a bit shorter than it was before. This contraction disturbs the balance of different muscles, and as our body is an ultra-complex system which means everything works together in some way, other parts of the body can become effected as a consequence, e.g. a contracted muscle causes a higher tension on the tendons, and this leads to a higher friction which results in a possible inflammation, and so on.

Nevertheless, there are people who work on the PC or play guitar all day without getting these problems, while others do.

And this is my message: there is hope – it is not an unavoidable problem, even if you decide to do nothing  but playing guitar all day long. I am convinced that the real problem is not the repetetive movement itself, but the way we use our body and our mind ( !! ) while doing these movements. More details and what this means exactly will be covered in one (or more) of the next article(s), also what to do for prevention or as a therapy to recover. Stay tuned.

Guitars, Mark Knopfler gear, Vintage guitars

Detail pictures of 1936 National Style-0

One of Mark Knopfler’s most famous guitars is surely his National Style-O (read “style – oh”). This is the guitar on the cover of Brothers in Arms.

AFAIK he bought this guitar from his buddy Steve Phillips long before Dire Straits, it was his second National (the first was a Tricone from the late 20ies which he bought from an old man in Wales).

What makes a National unique is not only the metal body but the resonator – something like a mechanical loudspeaker so to say. The first National appeared in the 1920ies, at a time long before electric amplifiers were used for guitars. The resonator increases the volume of the guitar so that it was ideal for street musicians or everyone who had to compete with other instruments in a band. More general info on resonator guitars be found in the Wikipedia article.

In this post I want to present some detail photos of a National, a 1936 model that is very similar to Mark Knopfler’s – which seems to be probably from about 1937 to me.

This guitar sounds fantastic. I had a metal Dobro guitar which I bought in the late 80ies, thinking that all metal resonator guitars should sound pretty much identical (and there was only Dobro who produced them at that time). When I first heard this guitar however, I immediately decided to sell the Dobro because it sounded miles away from this one.

The body is brass (some other Nationals like the Duolians were steel), and the neck might be mahogany (not sure). The neck is extremely fat. It has a V-shape with such a depth that many capos (e.g. my favourite the Shubb capo) do not open wide enough to be used here.

The fingerboard is slightly curved what I prefer over the flat ones that were common a few years before.

But now enjoy the slide show with a lot of pictures. I will report about some other details of this guitar (including pictures of the interior) in a future article.

1936 National Style-O

Dire Straits/ Mark Knopfler live pictures and videos, Effects, Mark Knopfler gear

What is this? – Unidentified guitar effect on early Dire Straits stage

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

Effects, Mark Knopfler gear

Mark Knopfler’s Morley Volume Pedal

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.

Vintage Morley on stock in our shop !
Easy stuff for beginners, Guitar in general, MK guitar style and licks, Understanding music

The 6/#9 chord – Mark Knopfler’s Train Chord

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 🙂

Easy stuff for beginners, Guitar in general, MK guitar style and licks

Mark Knopfler licks on an acoustic – How to practice electric guitar on your acoustic

(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:

Mark Knopfler gear

How to get that Sultans of Swing Sound – Mark Knopfler played 08 strings?

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 🙂

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Mark Knopfler gear, MK guitar style and licks

Mark Knopfler’s Ernie Ball Volume Pedal – and how I use mine

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).

Guitars, Mark Knopfler gear, Vintage guitars

Anything better than a red Schecter Strat? – Yes, two of them.

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.