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Effects
Mark is pretty well known to not change his tone a great deal with effects. He usually uses a combination of compression, volume pedals and chorus and similar, clean, effects.
During the first few years, it is SAID that he used a Dan Armstrong Orange Squeezer when recording (i.e. on the first album). The sound engineer for this album said he was ?in love with Roland Chorus devices?, which would probably be true as he used the chorus on his cleans (most noticeable on Lions). Live he used a Morley Volume pedal and an MXR delay. The Morley was used for creating bow type sounds. The thing about the Morley is that even when fully open it still rounded out the sound of the guitar (due to the 66K impedance on the input). The MXR had a true bypass, that, when depressed sent the unchanged signal to the amp, with no change in the tone whatsoever.
During 1979 he began to use a Nady Transmitter, which affected his tone quite a bit (especially live when he would normally use long cables). Because the cable length between the guitar and the transmitter is very short, and the same at the other side of the receiver, the tone during performances around that time were considerably brighter.
These are the setups he typically used throughout the 80s and early 90s:
1980/81
Customized rack comprising:
Deltalab Delay Unit
Flanger
Master R Reverb
Roland Equalizer
Mantec Switch Unit
Roland Choms Echo
Mantec Preamp
2 Main Transformers
Morley Volume Pedal
Mantec Remote Switching Unit
Nady guitar transmitter
1985/86
Custom rack including:
Roland SRE 555 Chorus/Echo
Delt Lab Digital Delay
Mic-Mix Dyna-Flanger
Master Room Reverb Unit
Roland Graphic EQ
Ibanez UE 303 Multi Effect
A variety of Boss pedals, including:
CE 300 Chorus
DM 2 Delay
CS 2 Compressor
Two CE 2 Chorus
BF 2 Flanger
PH 2 Phaser
OC 2 Octaver
1991/92
Custom system built by Pete Cornish, including:
TC 2290 Delay
Alesis Quadraverb
Boss Super Chorus CE 300
Zoom Multieffect 9010
Yamaha REV 5 (reverb)
two TC-Equalizers/Preamps (for the National and Ramirez guitars)
Wah Wah (Money for Nothing), integrated into the rack system
Earney Ball Volume Pedal
Sony Wireless system
1996
Ron Eve:
"When Mark and I discussed what equipment he would be using for the tour, we decided that although the Crate Vintage 50w combo amp had served exceptionally well in the studio, operationally there would be problems on stage. There was no way to smoothly and quickly change guitars and set up new sounds for each song, even using two combos. So Mark decided to use a cut-down version of the set-up from the last Dire Straits tour (On Every Street). He wanted to use the two Soldano 100 Lead heads but without the Marshall/EV speaker cabinets and Pete Cornish effects rack. He was keen to try using 2 x 12 cabinets, again with EV speakers and a simple FX set-up comprising "some expensive delay and reverb..." and a footswitch. The final arrangement consisted of an Ernie Ball volume pedal, Active Lead, 2 Soldano amp heads (alternating A/B), 2 Hughes & Kettner 2 x 12 cabinets (loaded with EV's), TC2290 delay unit, Lexicon 300 reverb unit, MXR micro amp and a TC 0144 footswitch. The Crate combos will be used for back-up. The TC 2290 was used as the main controller and MIDI'd to the Lexicon, with the Lexicon patched through one of the loops; the MXR was hooked through another loop, to provide a clean boost and a footswitch assigned to toggle it in/out. Another switch was assigned to toggle the repeat (delay) on/off. As rehearsals progressed, patches containing each songs' effects set-up were assigned to various presets (switchable from the TC0144). Tone settings for each song were set up on the Soldanos with the aim of switching amps between each song. Fast segues between songs can be accomodated in this way."
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