Guitars, Mark Knopfler gear, Misc

Sultans of Swing Sound – Comparing pickup position and 009 vs. 008 strings

A few days ago I wrote a blog post in which I compared the first Sultans of Swing solo played with 010 strings and with 009 strings. With today’s blog post I want to have a closer look at some details of that sound: I recorded a video to compare lots of different pickup combinations, and to compare 009 to 008 strings. I used the same Japanese Strat copy with the Sultans pickguard with VFS-1 pickups. This way I could emulate sounds that Mark might have created with both Fender pickups or with his DiMarzio FS-1. I recorded the guitar directly into the desk, using the same setup as the last time. Maybe I should have used an amp and mics to get a more authentic sound, this way Mark’s version always sounds much better (well, his would still sound better if I had used an amp anyway 🙁 ). If you have questions about the setup and effects and such, refer to the last blog post.

I compared a few licks with Mark’s original, using the guitar track that came available with the Guitar Hero game. I must say that after listening to so many pickup versions, it is not easy to judge which one is best. Depending on the speakers or the listening situation, sometimes this one sounds best, and then again another one. Please don’t forget that

I setup a poll again so that you can judge for yourself, and also see what others say. I only included the combinations that seem to be most likely, if you prefer something not mentioned here, let us know using the comments for this blog post.

Which pickup combination sounds closest to the original?

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As most of you voted for the thinner strings last time, I decided to go more into the details here.  A the end of the video I am also comparing 009 and 008 strings. Remember, we have a hint that Mark used 008 strings. As both sets share a 011 b-string, I contrasted some single tones on the g-string and on the high e-string. I was surprised to hear how those ultra-thin strings sound, but listen for yourself. I also made a poll for the strings:

Which strings sound more like the original - 009 or 008?

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Mark Knopfler gear, Misc

Which strings for the Sultans of Swing sound? – Comparing 010 and 009 strings

Listening to Sultans of Swing in 1979 was one of the reasons I started to learn the guitar. From this time on I wanted to get that magic guitar sound. One major component for a guitar sound is the right string gauge. I guess you all have heard about using heavier strings to get a fuller sound. On the other hand thinner strings are easier to play, and they give you a different kind of attack which can be nice as well.

For most of the big guitarists we know which brand and gauge they played during the different stages in their career. Of course we know a lot about Mark Knopfler’s strings, too, but unfortunately there is almost no information about his strings during the time of the original Dire Straits setup. And the guitar sounds of the first two albums are still the holy grail for many of us. Check this blog post for the earliest info we have, including the possibility that Mark played 008 strings.

I personally change string gauge periodically. After playing thin strings for some time I start to miss something and sooner or later I change to heavier strings, and with heavier strings the same is true so that I go back for thinner strings again.

This is why I recorded a video today in which I play the first Sultans solo with heavier and thinner strings for a side by side comparision.

I used a 1983 Japanese Squier Strat on which I installed the Sultans pickguard with the VFS-1 pickups. It seems Mark played a DiMarzio FS-1 (13k!) in the middle position of one of his two Strats  in early 1978, combined with a normal Fender pickup at the bridge. With the ‘Sultans’ pickguard I can switch each of the three VFS-1 pickups individually to the DiMarzio or Fender sound. This is great as with a DiMarzio in the middle I would get new sounds but at the same time would lose not only the normal middle pickup sound but also certain flavours of  the traditional bridge & middle sound. The same is true for a DiMarzio in the neck position – this is where Mark’s DiMarzio went to in October 1978. With the Sultans pickguard I have all these combinations, all normal Strat sounds plus any DiMarzio/DiMarzio or DiMarzio/Fender combination. 26 different sounds!

I put new Fender ‘regular’ nickel strings (010 -013-017-026-036-046) on the guitar and recorded the solo over the backing track. Then I changed the three unwound strings to 009-011-015 and recorded it again (with some subtle volume and EQ adjustments to match the differences). I left the bass strings so that I do not have to adjust the trussrod on the guitar and do a complete new setup. I did not try with 08 strings (008-011-014) as these should be similar to the 009s. If the 009s sound clearly better, I thought to examine the difference between a 008 and a 009 and a 014 vs. a 015 later.

I recorded the guitar straight through a treble booster into the mixing desk. You normally need a trebly amp setup (e.g. a vintage  Fender or a Jazz Chorus) with a lot of reverb for this sound, plus a little bit of chorus. I added these ingredients in the recording software, just for convenience. Of course I cannot get the original sound 100% this way, as it requires a tube amp, some good microphones, a great recording room,  a 1961 Strat, and more, but I was hoping to get something close enough to judge the strings.

So which string gauge sounds closer to the original sound? – I must admit I am lost a bit here. I first recorded with the 010 strings and felt that something was missing. With the 009 strings I felt it was better during recording. However, when I listen to what I recorded later I am not sure anymore…

Maybe you should judge for yourself. You can let us all know which you think is better with the poll below, or use the comment option below this blog post to share your thoughts.

Which strings sound more like the original - 010 or 009?

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Guitars, Mark Knopfler gear

Experimenting with the FS-1 / vintage pickup combination

This week I was playing around a bit with the combination of the fat-sounding DiMarzio FS-1 (FS in fact stands for ‘fat Strat’) plus a ‘normal’ vintage-sound pickup.  I have the DiMarzio in the middle and a MK61  – a reproduction of a 1961 Strat pickup, becoming available exclusively on mk-guitar.com soon – in the bridge position of one of my guitars. For more background information on what this has to do with the early Dire Straits sound see this blog post.

I am sure that Mark had this combo in one of his two red Fender Strats until October 1978 when he moved the DiMarzio to the neck position. You can hear the typical sound on many live bootleg recordings from that time (e.g. Chester 1978, Live at the BBC 1978, live at the Whistle Test, Revolver TV, or Barbarellas/Birmingham).   However, he probably had two ‘normal’ pickups in his other Strat which makes it difficult to tell exactly if something we hear e.g. on album one is this combination or not.

The FS-1 is a hot pickup, with a DC of about 13 kOhms. When it is played together with a normal 6k-pickup, the resulting sound has more midrange but still clear treble, and is less ‘quacky’ than the middle & bridge combo normally is. Another nice feature: hum is reduced as the FS-1 has the opposite magnet polarity compared to a 60ies Fender pickup.

The guitar in the following video is ‘nothing special’ – a Part-o-caster with mainly Japanese Squier parts. I recorded directly into the mixing desk, and added an amp simulation plus some basic effects (reverb, some very subtle delay, and a limiter) in the recording software.

I recorded two versions of ‘Down to the Waterline’ (a song where I was wondering if it is with the FS-1 or not… ): one with the tone pot fully up, and another one where it is rolled back to about 7. Maybe I should use an amp to add that slight distortion, and spend more time with a/b comparing to find the ideal EQ and effects settings, this time it was just a quick shot.

Guitar in general, Vintage guitars

Two ways to connect the string ground wire on a Strat

For better hum shielding, the strings on electric guitars are normally grounded, which means they are connected  internally to the ground of the guitar. For this purpose, usually a ground wire is connected somewhere to the guitar bridge, in the case of a Stratocaster with tremolo this is normally a wire from the case of the volume pot to the ‘claw’ that helds the tremolo springs. As the springs are – like the whole bridge – made of steel, the bridge is grounded via the tremolo springs, and the strings via the bridge.

Many guitarists, even the guitar freaks, are not  aware that there are two different ways how this was done on the classic (= vintage) Strat. And I have never seen this issue discussed in any guitar book or website, so let’s cover it with this blog post.

The ‘normal’ way (as it is on most Strats and copies) with a wire from the volume pot to the tremolo claw was  not the original way how  Fender did it but was introduced about 1964/65. In all the years before, the wire went from the tremolo claw to the ground lug of the output jack! Electrically it does not matter whether it runs to the volume pot or the output jack (except some  theoretical arguments that might cause a very small and usually negligible difference) but to build a ‘vintage correct’ Strat (or Schecter Dream Machine) it is of course important to know.

The wire runs (see picture below) from the tremolo claw through a drill hole into the electronics cavity, from where it directly runs through the drill hole to the output jack cavity where it is connected to the jack.

Stratocaster_Body_Cavity
Original Fender style (before 1965): ground wire from tremolo claw directly to output jack

The ground wire on the Schecter Dream Machines and on the mk-guitar.com pickguard replicas

On their Dream Machines, Schecter used the original style that Fender used from 1954 to 1964, the wire from the tremolo claw to the output jack. The pickguard is  connected with only two wires, the hot (yellow) and the ground (black) wire. It is a bit different on my replica pickguards which feature the post-1964 style. They come with a third wire, that is soldered to the ground plate of the pickguard (where also the ground wires from the pickups are soldered) and must be connected to the tremolo claw. I did it this  non-original way because it is the most common way on a Strat. If I delivered these without this ground wire, you need to connect the existing ground wire from the tremolo claw on your guitar to the output jack. If you have bad luck, the wire will be not long enough to reach the output jack, or the drill hole between the electronics cavity and the output jack is not wide enough for three wires instead of two.

ground-schecter-pickguards
Remove (unsolder or clip) this ground wire (the one to the tremolo claw) for the original wiring style

If you build your own Dream Machine and want to do it the vintage-correct style, you can unsolder the ground wire on the replica pickguard (or simply cut it close to the solder point) and run a wire from the tremolo claw to the output jack. I could have shipped the pickguards without this ground wire, and instruct you to solder the one on your guitar yourself to the ground plate of the pickguard but this requires a strong soldering iron as the shielding plate and the whole metal pickguard absorb a lot of heat so that the solder does not flow very well, an effect that is by the way much stronger with the brass or chrome pickguards compared to the white aluminium pickguard.

The original wiring has the advantage that it is a bit more comfortable to work on the  electronics of the opened guitar, as only two wires instead of three connect the pickguard to the guitar. One thing however is important NOT to do as this causes a danger of hum due to a ground loop: never use both ground wires (from the pickguard to the tremolo claw + from the tremolo claw to the output jack).

Dire Straits/ Mark Knopfler live pictures and videos

Mark’s guitar tribute for The Last Post project

This was a nice surprise: someone posted a link to a youtube video in the A Mark in Time forum showing Mark recording The Last Post for a tribute project to soldiers who died in World War I. More information about this project here: http://www.superact.org.uk/thelastpost/

Mark plays the tune on his ‘Blue Ice metallic’  Pensa. It is the guitar we could already see in the BBC Guitar Stories video from 2012. It has two Lindy Fralin soapbar pickups, a Hipshot tremolo and Hipshot locking tuners, 22 frets, swamp ash body.

Mark uses the bridge pickup. In the background we see a Komet amp played into what looks like a vintage Marshal cabinet.

Easy stuff for beginners, MK guitar style and licks

Songs that Mark Knopfler plays with a pick

 

This  blog post was written by Jean-François. Thank you J.F. ! 🙂 [some comments by Ingo in brackets]

 

Mark Knopfler has always been associated with fingerpicking. His totally unique right hand technique has become his landmark since the first Dire Straits album in 1978. However, Mark also sometimes plays with a guitar pick – not only but mostly during his solo career.

Among his childhood guitar heroes, Chet Atkins and Hank Marvin were probably the most important for him. From Chet he learned the fingerpicking style. Hank started the desire to get a red Strat, but also to play the twang style i.e using the tremolo arm at the end of each lick instead of using the left hand vibrato. That’s a style he used to play more and more during late years, trying to reproduce that Hank style, most of the time with his ’54 Fender sunburst Stratocaster aka “the Jurassic strat”.

Twang! The combination of a pick and whammy bar on the ’54 Strat

It’s interesting to notice that there are also songs with that “twang-vibrato” touch but played with fingers : I’m the fool, So far away (except in 2006 and 2008 when he used a pick for this song), and in a certain way why worry or nobody’s got the gun… A liitle bit like Mike Oldfield who played on many songs in a certain Marvin-style with a clean-reverbed tone and the whammy bar, but with fingers instead of pick.

Besides this Hank style, Mark played with a pick on many songs during DS and solo days, mainly in studio, rarely live. It was mostly for strummed acoustic guitars or rhythm parts.
Sometimes, he makes a “virtual” pick with his nails. He does this very often when he wants more power, e.g. at the end of Money for nothing (see Live Aid 85 at 6:50) , or even Private investigations on nylon acoustic (see WEMBLEY 85 at 6:26)

He does it also during the firts part of Tunnel of love (and especially during the break) and for the intro on So far away (except in 2006 and 2008 when he used a pick for this song).

If Mark uses a pick live he kept it during the whole song (expresso love, our shangri-la, fizzy and the still, So far away in 2006 and 2008, let it all go, True love will never fade, The man’s too strong…)

I never saw him alternate pick and fingers in the same song, EXCEPT for news/Private Investigations final in 1980-81, he took the pick just for outro (at 4:18)
[Ingo: I think he changes from pick to fingers on Tunnel of Love where he played the first two or so verses with a pick and then changed to a semi-lead/riff style played with the fingers]

 

List of songs  played with a pick

Below is an attempt to list all songs from DS/solo/NHB on which he uses a pick. Question marks stand for not 100% sure.

1976 Pre-Dire Straits

He used a pick with the Café Racers because “it was a combination of rhythm and lead playing “as he explains in the Oldfield book. “I used more the pick at the time”

So we can assume that most of covers performed with Café Racers were played with a pick, on the Gibson LP special
[Mark said he played with a pick in the Mick Green style then]

 

1978 Dire Straits

southbound again : accent chords
[Ingo: not sure]

1979 Communique

where do you think you’re going : acoustic part ?
Live he played it with fingers, but the acoustic part on studio version sounds like being strummed ?

pick-1
A pick jammed behind the pickguard in late 1979

1979 tour

Bernadette ?
In my car ?
Twisting by the pool

–>  Blog post about pick in 1979

 

1980 Making movies

Tunnel of love : acoustic and electric rhythm parts
Expresso love : rhythm parts and solo
Hand in hand : riff ?

1980-1981 tour

News outro (which became later the Private Investigations outro) DORTMUND 1980
Expresso love

 

1982 Love over gold

Private investigations : electric part VIDEO CLIP

 

Playing the solo in Espresso Love with a pick on 1983

1983 ExtendedPlay (EP)

Twisting by the pool VIDEO CLIP
If I had you : acoustic (played by Mark or Hal ?)   [I guess the electric guitar that opens the song with that E chord is played with a pick, too]

1982-1983 tour

Expresso love ALCHEMY
Twisting by the pool

1985 Brothers in arms

So far away : rhythm part (or played by Jack Sonni ?)
The man’s too strong : acoustic part (Ovation)

1985-1986 tour

Expresso love WEMBLEY 85
The man’s too strong : acoustic part (Ovation) WEMBLEY 85
Note : So far away was played with fingers during 1985 tour WEMBLEY 85

1990 Notting Hillbillies

Will you miss me : lead part VIDEO CLIP
acoustic parts on several songs

1991 On every street

On every street : lick at the end of each verse (just after “on every street”)
Ticket to heaven : electric chords, acoustic rhythm (or played by phil Palmer ?)

1996 Golden heart

Nobody’s got the gun : acoustic rhythm part
What have I got to do : acoustic rhythm part

2000 Sailing to Philapdelphia

What it is : acoustic rhythm
Who s’ your baby now : acoustic rhythm
Camerado : lead part

2001 tour

Who s’ your baby now TORONTO 2001

Note : So far away was played with fingers during 2001 tour LYON, PHILADELPHIA

2002 The ragpicker’s dream

Why aye man : accent chords on the chorus (played live by Guy Fletcher on the 68 sunburst Telecaster)
You don’t know you’re born : end solo
Dady’s gone to knoxwille : acoustic rhythm

2004 Shangri-la

Our Shangri-la : lead part
Everybody pays : lead part
Don’t crash the ambulance : lead part
Summer of love : rhythm

Note : Our Shangri-la was played with fingers during 2005 tour HANNOVER, ERFURT
Note : So far away was played with fingers during 2005 tour MILAN, LONDON

2006 All the roadrunning

Rollin on : lead part
Beyond my wildest dreams : acoustic rhythm and tremolo chords (or played by Richard ?)
All the roadrunning: acoustic rhythm (or played by Richard ?)

2006 tour

Born to run VERONA
Our Shangri-la VERONA, BRUSSELS
So far away BRUSSELS, DUBLIN, VERONA

2007 Kill to get crimson

True love will never fade : lead
The scaffolder’s wife : acoustic rhythm part ?
The fizzy and the still : lead part for sure, but rhythm part ?
A heart full of holes : electric licks
We can get wild: lead and rhythm parts
Punish the monkey : lead and rhythm parts
Let it all go : lead and rhythm parts
The fish and the bird : electric chords
In the sky : electric chords

2007 promo tour

True love will never fade BERLIN
The fizzy and the still BASEL_
Let it all go BERLIN, BASEL
Our Shangri-la BASEL

2008 tour

True love will never fade PARIS
Our Shangri-la ATARFE
So far away PARIS

2009 Get lucky

Border reiver : acoustic rhythm part and accent chords on the blonde telecaster
Hard shoulder : lead part and acoustic rhythm part
The car was the one : lead part and mandolin
Remembrance day : mini martin
So far from the clyde : acoustic rhythm part and accent chords on the blonde telecaster
Piper to the end : acoustic rhythm part
Early bird : wah-wah licks
Time in the sun : acoustic rhythm part

2010 tour

Our Shangri-la ? (no video found)

Note : So far away was played with fingers during 2010 tour CORDOBA

2011 tour

Our Shangri-la ? (no video found)
Note : So far away was played with fingers during 2011 tour ROMA

2012 tour

Our Shangri-la ? (no video found)

Note : So far away was played with fingers during 2012 tour BERKELEY

2012 Privateering

Redbud tree : acoustic rhythm part and accent chords (left channel)
Yon two crows : electric chords (left and right channel)
Seattle : lead part and acoustic rhythm part

2013 tour

Our Shangri-la RAH
Seattle PARIS, RAH

Note : So far away was played with fingers during 2013 tour RAH29/05, RAH30/05

 

Click here for all guitar parts on all songs on all albums :
https://www.mk-guitar.com/gear-on-all-songs-for-all-albums-wiki/

Guitar in general, Guitars

Building a Telecaster Dream Machine – Part 4 – Brass Hardware

It is a while ago that I started my Tele Dream Machine project. The project advanced and got to a stage where I had a playable fine instrument some months ago (which can be seen e.g. here when I was demoing the Walk  of Life pickups with this guitar). However, various parts were not finished yet, mainly as I was missing some of the required brass parts. Meanwhile I have (almost) all I need to finish the project.

Let’s start with the control plate. The one you can see in the demo video was a gold-plated one, bought rather cheap on ebay. Unfortunately it did not fit properly into the contour of the pickguard but even overlapped the pickguard (see picture).

control-plate-1
The no-name control plate was too wide to fit into the contour of the pickguard
control-plate-2
The one on top is not only too wide, also the positions of the pots and the size of the switch slot are different to mine – needless to say which one is the correct way.

Was my brass Tele pickguard wrong or the plate too wide? Of course it was the plate, what shows us that you can never trust no-name products to be compatible to the standard specs. Besides, the gold-plated steel looks a bit different than the polished brass on Van Nuy era Schecter Dream Machines. Well, if I can produce brass pickguards I should be able to produce brass control plates I thought, and this is what I did. I made a few more, and chrome-plated some of them to go along with my white aluminium Tele pickguards for a real “Walk of Life red Tele clone” set (with pickups, pickguard and wired controls, coming very soon, I basically only have to take some pictures  to put it into the online shop). By the way, it is not that you cannot get chrome-plated ones everywhere, but try to find one of chrome-plated brass instead of steel …  – and it has to be brass for an “authentic” Dream Machine clone!

control-plate-3
Here it is, fitting properly now, and with the right switch button

 

So here is the picture with my brass control plate. I also added the switch tip button (which was missing on the video): Schecter had these round black Tele buttons, but occasionally also Strat-style tips of brass.

While doing the brass plates, I also made the serial number plates, of chrome-plated brass and – brandnew – polished brass, vintage-correct clear laquer coated, with the S8001 serial number. I replaced the gold-plated steel plate I had on the guitar (without any number) with this one for the vintage-correct look, with an S serial number of the correct size, font, and at the correct position.

Please note that I only made these with three serial numbers of Mark’s most famous Dream Machines (red Strat, red Tele, sunburst Strat, plus the two red Dire Straits Fender Strats ), no other numbers are available, or will be. The idea here is to have the right-looking part without a danger of misuse,  not providing the possibility to fake a Dream Machine and sell it as original. I mean faking one and insstalling one of  the most famous serial numbers is like faking a pre-CBS Strat and give it the 0001 serial number of David Gilmour’s famous blonde Strat – cannot fool anyone.

SNO-DM-Tele
An S8-serial number – without danger of misuse

The next thing I did was to replace the original vintage NOS Schecter bridge that I bought for a fortune a while ago with one of “my” new Dream Machine style bridges. As I copied all important Dream Machine specs and made sure to have it milled from best quality solid brass (nothing die cast), the sound will be identical but the look fits better to the other parts – the Schecter bridge has darkened with age, being about 35 years old (see one of the pictures above).

WoL-bridge-brass-1
The Walk of Life brass bridge

Last not least a few words on the three (!) strap buttons of the Dream Machines (most of them had three but there were also some with two, even in the 1980 Schecter catalogue). My mahogany body already had two holes at the usual positions, so I had to drill two new holes. I used a piece of tape and drilled through it to avoid crackling of wood or finish, something very important when drilling into a laquered body! The distance of these is about 9.5 cm (3  3/4 “) on my guitar. Only thing left to do: filling the unused hole. I used normal gold-plated strap buttons for now. Unfortunately these look rather different to the original ones which were made of raw brass, without laquer and rather dull looking for this reason. Thinking about it, it should not be impossible to make these from raw brass myself …  Well,  let’s leave something for the future 🙂

DM-Tele-1
Only some very last details missing…

Watch out for the the next blog post in this Building a Telecaster Dream Machine series with the full photo album of the final guitar.

Misc

Mark Knopfler on the J.J. Cale Tribute Album by Eric Clapton & Friends

J.J. Cale – who sadly died last year – has been a huge influences for Mark Knopfler.  Especially for the early Dire Straits sound, J.J. Cale was probably the biggest influence at all. So it is no wonder that Mark appears on the tribute album The Breeze that was released on July 25. The project was organized by Eric Clapton, so the official artist is “Eric Clapton & Friends”. Mark sang and played guitar on two tracks, Someday and Train to Nowhere. These were recorded at Mark’s British Grove studio in London.

While the other “friends” – illustre names like Eric Clapton, Tom Petty, John Mayer, Willie Nelson, and more – all covered some of J.J. Cale’s best-known ‘hits’ , Mark decided two cover two rare and unknown songs, which in fact only exist as unreleased demos.

cale-knopfler
J.J. Cale and Mark Knopfler on a J.J. Cale gig in San Francisco in 1985

 

Someday is a very typical J.J. Cale song but it is really astonishing how much Mark can make it sound like J.J. Cale, not only the guitar sound but especially the vocal style on this song is so close that I can easily imagine to hear J.J. Cale himself. Mark seems to play one of his Strats with a clean sound, played very ‘laid-back’  – the ‘official’  term to describe J.J. Cale’s  cool and relaxed playing, where the notes are played almost ‘behind the beat’.

The chords (one verse / solo) of Someday are:

Dm  Dm  Dm  Dm G  G  Dm Dm

C  G  Dm Dm

G  Bb (1/2) C (1/2) Dm Dm …

 

Train to Nowhere is a typical ‘one-chord groove song’ – the one and only chord being C. Mark plays a rhythm riff and sings the vocals except on one of verses which features Don White. Between the verses Mark plays a few solos and licks, also with a clean guitar sound. Also a nice one.

You can buy the album and listen to a preview of all songs here on Amazon.

Guitars, Vintage guitars

Kluson guitar tuners for the Schecter Dream Machines

I am an official Kluson dealer now, so you can get the correct Kluson guitar tuners for a Schecter Dream Machine replica now in the online shop of my site.

During the Van Nuys era, Schecter used Kluson guitar tuners for their guitars ans basses. I have seen a lot of Schecters from this time with Schaller tuners but I guess that these were not factory-original. Remember that authorized Schecter dealers could assemble guitars from Schecter parts, and if the customer wanted Schallers, I guess the dealers put them in (Schaller tuners were common because they were considered as the best guitar tuners at that time).

It seems Mark’s Schecters all had Kluson tuners (it is sure for the Strats but I cannot say with 100% certainty for the red and black Teles as we don’t have enough high-resolution pictures of these). I personally like the Klusons better than Schallers, mainly as I love that the string ends disappear in a hole in the split shaft of the tuner.

Kluson double-line tuners on a 1980 Schecter Dream Machine

Klusons were also the tuners on all vintage Fender guitars, before they were replaced with the Fender keys (labelled with a “F”) that were in fact manufactured by Schaller in Germany. The earliest Fenders had Kluson tuners with no label, from 1957 to 1964 Fenders had the so-called single-line Klusons, from late 1964 on double-line Klusons. The terms single-line and double-line refer to the “Kluson Deluxe” label on each tuner: both words in one line in the centre of the tuner are single line, while double line means one line for “Kluson” (left) and one for “Deluxe” (right). To my knowledge all Schecter Dream Machines had the double-line Klusons.

These tuners are still manufacturerd today.

Get them here in silver (nickel) or gold.

Effects

Mark Knopfler’s effect rack of the Love over Gold (Alchemy) tour in 1982/83

From 1980 on, Mark’s guitar effects were mainly integrated into huge rack systems. At the time of Dire Straits, these were designed and built by Pete Cornish, specialist on high-quality racks and effects for numerous big names like Mark Knopfler, Eric  Clapton, David Gilmour, Lor Reed, …

Pictures of Mark’s racks however are extremely rare, mainly because the rack was often located behind the stage, and at least partly operated by Mark’s guitar technician from there.

Recently Pete Cornish published some unseen pictures of two of Mark’s racks on his Facebook page. One of them shows the rack of the Love over Gold tour (I will cover the other rack in a coming blog post). In fact it is the first time we see this rack at all I think.

In the following, I will try to explain as many details I can make sense of. If you think you can add something, use the comment function at the bottom of thispost (no registration required).  So, first of all here is the picture itself.

cornish-rack-MK-LoG-700
Click on picture to enlarge, picture courtesy Pete Cornish

The Cornish racks follow the same logic that is true for effects used in the studio: most effects sit in a dedicated aux way (send / return), thus the path of the direct guitar signal is kept short and simple. (Note that however, not all effects can be used as aux effects but only those who “add” some effect to the dry signal. Effects that also might “reduce” something of the direct signal must sit in the direct path, e.g. compressor/limiter, EQ, distortion,..)

Cornish uses buffers on many locations within his racks. These can colour the sound is an intended way. The foot remote control is a wooden case of heavy-duty waterproof multiplex wood, all switches are normally military-grade quality products.

The control unit

top-part-cornish-rack-MK-LoG

On top left, we can see the power indicator / power button. I think that those square button-like elements are push switches that glow in different colours when switched on. I am not sure of the five elements we see next to the power button, I cannot read the description properly … does it end with … 15 – 15 V? So we possibly have indicator LEDs here that might show the presence of different voltages to run the rack, or the input or output level of the signal.

On the top right, we have what looks like a rotatory switch labelled with something like “1/P Gain” (or I / P ?). The same description can be found a bit more on the right where other five elements are located, labelled with numbers 1 to 5. I guess the rotary switch has five positions, and the selected one is indicated with an LED. It might be the gain of the first input stage, this would make technically most sense to me. On the other hand,  the “P” makes me think of “parallel” so it might also be about gain of the send/return paths. This might go together with the two elements right below this section, which seem to be a control and a jack labelled with “?X 1 / P” and “AUX 1/P”

The serial number of the rack is 078.

Next we have a line with 8 controls and many of those square switches that partly correspond with the controls. The controls seem to read “VOL” , “EQ” “555” (= Roland Space Echo 555), “REV” (Reverb), “DDL” (I guess Deltalab Delay or digital delay) “FLND” (Flanger DynaFlanger”, and “Wah” (well, Mark used a wah for at least It never rains on that tour).

I suspect these controls to be rather return levels (and thus controlling the actual effect depth of the corresponding effects).  The corresponding switches might mute or enable the respective effect path (alternatively, these can be switched with the foot remote control).

Between the VOL and EQ controls, we have a “EFFS” switch, I guess it is a master switch to enable or bypass all effects.

One of the two buttons on the left seems to be an “AMP SELECT”, with two LEDs for amp A and amp B, and the other one is “AMPS OFF” and will mute the signal to the amps.

I am not sure if VOL is simply a master volume control, or if it has to do with the volume pedal. Also is is unusual to have a path for the wah as normally a wah is not used in an aux way.

The effects

Below we see the different rack effects. These are partly identical to the ones used on the previous On Location (Making Movies) tour. A description of these effects can be found in the blog post about that effect rack.

The effects are (from top to bottom):
MicMix DynaFlanger
Deltalab Digital Delay DL-4
MicMix Master Room Reverb XL-305
Roland Space Echo SRE-555
Roland Graphic Equalizer

The foot remote control unit

With the foot remote control unit, Mark could  enable or bypass the different effects.

foot-control-cornish-rack-MK-LoG

We see 15 foot switches. Each one seems to have a corresponding status LED (although we cannot see these for the upper line of switches).

I cannot read most of these, the ones that seem to be clear are (line one) REV (Reverb) and EQ (all others not sure), and (line two): DDL (Digital Delay) – FLND (Flanger) (all others not sure).

The one second to the last has two LEDs. It looks like the A/B amp select, and I guess the last one is “(All) Amps off”.

I cannot tell if any effect programs (e.g. from the Deltalab delay) could be selected from here as well.

As said, feel free to add your suspects or thoughts on any elements with the help of the comments.