[Mark Knopfler] How to Recreate the Dire Straits Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Mark Knopfler is the frontman of Dire Straits and has established a highly distinctive style as a guitarist. His sound is characterized by a clear and warm tone produced by fingerpicking rather than using a pick. In the iconic song “Sultans of Swing,” his delicate touch and phrasing, enhanced by single-coil guitars, create a unique sound that blends elements of rock, country, and blues.

Moreover, his emphasis on picking dynamics, as showcased in “Money for Nothing,” sets him apart. His approach to amp settings and effects is simple yet profound, focusing on the “sound of the guitar itself” without unnecessary distortion or effects, which has influenced many guitarists.

During his solo career, he expanded his sound by incorporating acoustic guitars and National resonators, evolving into a more singer-songwriter style. This evolution has made him not only a rock guitarist but also a captivating storyteller.

What makes Mark Knopfler’s sound so noteworthy is his ability to express “the beauty of space.” His approach, which contrasts with fast playing and heavy distortion, relies on timing and touch, resulting in a sound that is truly one-of-a-kind. His gear exploration goes beyond mere imitation, prompting guitarists to reflect on the fundamental question of “how to make the sound.”

In the following sections, we will organize the amplifiers, guitars, and effects used from the Dire Straits era to his solo career, explaining how his sound has been constructed over time. We will also introduce affordable alternative gear for those looking to pursue the Knopfler sound.

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List of Amplifiers and Features

Amplifiers play a crucial role in Mark Knopfler’s sound, with his choices evolving over the years. In the early days of Dire Straits, he primarily used Fender amps like the Vibrolux and Twin Reverb, which matched perfectly with his fingerstyle playing, delivering a clean and spacious tone. The Fender Vibrolux, particularly the brownface model, was ideal for expressing delicate nuances in small live settings and recordings due to its moderate output and 1×12 speaker configuration.

During the 1978 tour, he was seen combining the Fender Twin Reverb with a Marshall 4×12 cabinet, achieving a sound with more depth and presence. At the same time, he also used Roland Jazz Chorus and Concert Amps, pursuing a transparent and three-dimensional clean tone.

As the 1980s rolled in, with an expansion in musical style and larger stadium shows, high-powered amps like Mesa Boogie and Marshall heads were introduced. During the “Brothers in Arms” tour, he combined a Mesa Boogie head with a Marshall 4×12 cabinet, creating a rich and thick clean tone that became iconic. Additionally, Jim Kelley amps were also utilized, both in combo and cabinet formats.

In the 1990s, Knopfler’s focus shifted towards studio work, where the Soldano SLO-100 played a significant role. This amp, known for its unique clean to crunch sound, was used in the 1996 album “Golden Heart.” During this period, he also incorporated Crate VC5212 and Hughes & Kettner cabinets, further expanding his amplifier options. In the 2000s, with the advancement of technology, he transitioned to using the Kemper Profiling Amp, which allowed him to profile the sounds of his beloved past amps for live performances.

This progression shows that Knopfler has consistently prioritized “clean and rich tones,” experimenting with various amps to achieve this goal. From small gigs to stadiums and the modern digital age, he has adapted his gear to suit different situations, resulting in a sound that continues to be cherished across generations.

Types of Guitars Used and Features

When discussing Mark Knopfler’s sound, the choice of guitar is paramount. His style, rooted in fingerpicking, favors guitars that offer “fast response” and “rich overtones.” In the early Dire Straits era, the Fender Stratocaster was predominantly used, with the red model being particularly famous in numerous live performances, including “Sultans of Swing.” The clean and bright single-coil sound of this guitar is quintessential to his tone.

Additionally, the Schecter Dream Machine played a significant role. The red model from Schecter was frequently used in early 1980s live shows, maintaining a single-coil resonance akin to the Stratocaster while delivering a more powerful and stable sound. Furthermore, the Gibson Les Paul (especially the 1958 model) featured a phase inversion switch, producing a unique midrange tone when paired with Marshall amps. This Les Paul is also known for being used during his solo career with a signature model.

As the 1990s approached, the introduction of custom guitars became more prominent. The Pensa-Suhr MKii is a notable signature model for Knopfler, combining Strat-like tones with the thickness of a Les Paul, making it a long-term favorite. Recently, he has also incorporated the Grosh Electrajet and Danelectro 59 DC (used for slide in open C tuning), as well as the National Tricone resonator, broadening his musical palette.

His criteria for selecting guitars focus on “how accurately it can express the nuances of the player,” rather than merely brand or price. This commitment to finding the optimal sound for each song ensures that even with different models over the years, the essence of “Knopfler-ness” remains intact. The diversity in his guitar choices contributes to his rich expressive capabilities.

Effects and Pedalboard Setup

Mark Knopfler believes in a simple sound that relies primarily on “guitar + amp,” but he has incorporated effects as needed. In the early days of Dire Straits, it is rumored that he used the Dan Armstrong Orange Squeezer as a compressor, which likely helped to even out the nuances of single-coil picking. Additionally, effects like the Aphex Exciter and Roland Chorus devices were introduced in the late 1970s, adding a unique brilliance to recordings.

In live performances, he utilized the Morley Volume Pedal to create smooth volume transitions in songs like “Lions” and “News.” By combining it with the MXR Analog Delay and Nady Guitar Transmitter, he further expanded his clean and clear tone. Notably, during the late 1979 tour, he actively adopted wireless transmitters, establishing an advanced system for that time.

As the 1980s progressed, rack systems became the norm, and he effectively used Deltalab Delay, Mic-Mix Dyna-Flanger, and Roland EQ and reverb units to achieve a more expansive spatial treatment. During the “Brothers in Arms” period, he skillfully combined the stereo output of his amps with spatial effects, creating a grand sound for both records and live performances.

In the 1990s, he introduced a custom rack system designed by Pete Cornish, incorporating TC 2290 Delay, Alesis Quadraverb, and Lexicon 300 Reverb, utilizing the latest technology for complex signal routing. Furthermore, the Ernie Ball Volume Pedal and Wah Wah were integrated into this system, producing iconic effects in songs like “Money for Nothing.”

In the 2000s, the use of digital gear advanced, with the Zoom 9010 multi-effects and the effects capabilities of the Kemper Profiling Amp replacing traditional rack gear for live performances. Nevertheless, his fundamental sound design remained consistent, with effects serving merely as “seasoning,” maximizing the inherent tone and touch of the guitar.

This evolution indicates that Knopfler is not reliant on effects but rather selects minimal tools for necessary situations. Even during the rack era, he maintained a sound design centered on “fingerpicking and the resonance of the guitar.”

Tone Settings, EQ, and Mixing Approaches

Mark Knopfler’s sound design emphasizes “dynamics through fingerpicking” and “utilizing the guitar’s characteristics” rather than flashy amp or effect settings. He keeps distortion to a minimum in most songs, focusing on clean to lightly crunchy tones. Therefore, balancing the clean channel and tone controls is crucial in his settings.

For specific EQ settings, when using the Fender Vibrolux or Twin Reverb, he tends to keep Treble slightly lower (around 4-5), boost Middle (6-7), and maintain Bass at a moderate level (around 5). This approach creates a warm yet clear tone, particularly emphasizing the Middle to achieve his signature “thick yet delicate clean” sound. He also adjusts the amp’s Volume through the guitar’s volume knob, allowing for nuanced dynamics based on touch.

His approach varies by song. In “Sultans of Swing,” he uses the rear to center pickups of the Stratocaster to maximize the nuances of fingerpicking for a clean tone. In contrast, “Money for Nothing” features the phase inversion switch of the Les Paul, adding a distinctive midrange character to the tone. Furthermore, in “Brothers in Arms,” he applies a deeper reverb to create a spacious sound.

In mixing, he layers slapback delay or tape delay lightly during studio recordings to add depth. The engineer’s microphone placement is also vital, blending close mics on the amp with room mics to achieve a natural airiness in the guitar sound. Additionally, reverb is applied not only through the amp’s built-in spring reverb but also through rack effects like Lexicon and Yamaha REV5, ensuring appropriate spatial treatment for each song.

In live settings, he sometimes employs multiple amps in stereo, combining Mesa Boogie and Soldano with Marshall cabinets to ensure a clear sound even in large venues. The PA engineer raises the midrange slightly to prevent the guitar sound from being buried under other instruments, ensuring a balanced EQ treatment with the bass and drums. As a result, his tone is “complete on its own” while maintaining a blend with the overall band sound.

Most importantly, Knopfler’s sound design does not rely on settings but is completed through touch and dynamics. Effects and EQ serve as supplementary elements, with the core being the guitarist’s own expressiveness. Thus, to replicate his sound, one must first focus on the nuances of picking strength and the position of the right hand for tone control. By adjusting the amp and EQ accordingly, one can achieve that distinctive resonance.

Affordable Alternatives to Recreate the Tone

Mark Knopfler’s sound may seem to require high-end amps and vintage guitars, but in reality, the key elements are “a clean-focused setup” and “the touch of fingerpicking.” Therefore, it is possible to recreate a similar vibe with relatively affordable commercial models with some creativity. Here, we introduce alternative gear that can help beginners and intermediate players achieve the Knopfler tone at a reasonable price.

For amplifiers, models that can replicate Fender’s clean tone are ideal. For example, the “Fender Champion 40” can be purchased for around $200 and offers a highly transparent clean channel. By boosting the midrange in the EQ, one can achieve a Knopfler-like resonance. Additionally, the Roland JC-22, though compact, belongs to the legendary Jazz Chorus lineage and provides a rich clean sound.

When it comes to guitars, Stratocaster-type models are the first choice. The Squier Classic Vibe series offers vintage-style single-coil sounds at a budget-friendly price, making it suitable for capturing the essence of “Sultans of Swing.” Moreover, affordable Telecaster models can also be considered, allowing for Knopfler-like expression through clear arpeggios and cutting.

Regarding effects, while not essential, having a volume pedal or a light compressor can be beneficial. The BOSS CS-3 is reasonably priced and enhances touch while emphasizing the clarity of fingerpicking. Additionally, the BOSS CE-2W Chorus (Waza Craft) is a reissue of the original CE-2, capable of recreating the chorus-like modulation that Knopfler frequently used in the 1980s. Furthermore, the BOSS DM-2W Delay can simply add depth, capturing the atmospheric feel of “Brothers in Arms.”

In recent years, multi-effects units have evolved, with the Line 6 HX Stomp and BOSS GT-1000CORE offering multiple amp simulations and spatial effects. These can serve as immediate tools for both live and studio settings, available for around $500, allowing players to enjoy Knopfler-like sound design without needing to acquire actual Mesa Boogie or Soldano gear.

In conclusion, the key points for recreating Knopfler’s sound are “clean-focused amps,” “single-coil guitars,” “minimal effects,” and “the nuances of fingerpicking.” By keeping these in mind when selecting affordable gear, even beginners can capture the essence of his sound.

Summary and Conclusion

Reflecting on Mark Knopfler’s sound design reveals that its essence lies more in “playing style and expressiveness” than merely in “gear selection.” He avoids using a pick, focusing on fingerpicking with his thumb and index finger, maximizing the overtones and attack of the guitar. As a result, even with the same guitar and amp, he produces a unique sound that cannot be replicated by other players.

On the gear front, he primarily centers around single-coil guitars like the Fender Stratocaster and Schecter Dream Machine while also incorporating Les Pauls and custom guitars as needed. His amplifier choices have evolved from Fender cleans to high-powered Mesa Boogie and Soldano, and more recently, to digital recreations with Kemper. He keeps effects to a minimum, using chorus, delay, and volume pedals to enhance nuances.

Thus, the perspective for replicating his sound is not about gathering expensive vintage gear but rather about “utilizing clean and rich tones while emphasizing dynamics through fingerpicking.” For beginners, selecting a single-coil-equipped Strat-style guitar and a clean amp, along with a volume pedal or light chorus/delay, can be sufficient to capture the essence of his sound.

What we can learn from Knopfler’s sound design is the “aesthetics of utilizing space.” By not relying on fast playing or heavy distortion, he infuses emotions into simple phrases, powerfully resonating with listeners. This philosophy is what has made him a beloved guitarist across generations.

Ultimately, for those aiming for a Mark Knopfler-like sound, it is essential to focus on “clarity of sound,” “dynamic range,” and “subtlety of touch.” By doing so, even with available gear, one can recreate a sound that embodies his spirit. While exploring gear is undoubtedly enjoyable, the most important aspect is to listen closely to the sound that emerges from one’s fingertips.