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visit past consultations |
dr. fletch v.6 |
Click here and send the Doc a question |
| pedals | Hi
Doc, Great to see Mark, Guy, Paul Brady and band on the show last Friday
- great performance thanks! Just noticed that Mark had a few pedals for
the show, two on the fender twin and a volume and addtional pedal for the
slightly overdriven solos, can you confirm what he was using that night
- sounded really great even for TV? |
He used an MXR boost pedal (don't know which) just to boost level for the solos he did. There was also a delay pedal of the Boss variety. The Guinness was much appreciated! |
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| promo songs |
1. Why
don't you play "Our Shangri-La" or "The Trawlerman's
Song" on the promo tour these days? The mostly played songs are "Boom,
Like That" and "
Song For Sonny Liston". I mean, they're really great. I like 'em
very much but I wanna hear more new ones live :-). |
1.
'Boom' was the first single so we have to play it, and as for the rest,
that's simply what Mark thought he'd like to play. |
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| respect, money? | Dear Doc,
You say that songs like Money for Nothing and Brothers in Arms are heavily
requested by fans. That may be true, but I think sometimes it might be
better to NOT give the fans just what they want. (I can tell, because
I'm a fan myself). This will cause some irritation, but in the end, you'll
gain a lot of respect and credibility. I'm I right in supposing that
no one out of the band would insist on playing MFN, BIA or SOS if not
for some over-nostalgic fans? I heard Paul McCartney not long ago and it was such a disappointment. Just the sixties, revisited. Either he has not trust in his new material or he just does this concerts for money (which, I'm afraid to say, might be true). At some point during a rockstar career, you'll probably have to make a decision on what you want: a) more money b) more respect as a musician and writer. I'd prefer to see MK doing the second. And I know for sure that thousands of fans young and old think the same. |
I say they are heavily requested, but actually what I mean is they go down extremely well when we play them. I can't deny you are right re. MFN, BIA, SOS although I do have a soft spot for MFN but then we do attempt to change it or at least the intro. I'll mention these issues when we commence rehearsal..
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| 4x12 | Hi doc ! First of
all, is there any means of enchaining Mark to his Marshall 4x12 cabinet
for at least the ten coming months ??? Or perhaps you can
shoot
Mark's bike with a nice shotgun ?? Can you do something to avoid MK getting
to close from its bike ?? PLEASE ! In the lyrics book of Shangri-La, it's
said that Paul Franklin plays on "our
shangri la" and "Whoop de Doo". But I'm pretty sure there's
some pedal steel stuff on Sucker row ! Is it your lap steel that we can
hear on this record ? Do you know why Mark doesn't use his Pensas MK 1
and 2 any more ? Does he plans to offer you these guitars ? ;-) Perhaps
he'll
be very glad of
offering them to a young french fan ? (sorry...I can't help ;-)) Do you
prefer large venues or small rabit cages ? |
Any steel that's on the record other than Paul F. is Richard Bennett, except of course Song for Sonny L. which is Mark with a bottleneck. I think Mark does occasionally play the Pensas. As for the venues which I prefer, it depends on the venue. Some big gigs are great (ie. Bercy) and some club gigs are great too. I guess my favourite size would be Shepherds Bush Empire. | |
| sales | 1. Is Mark´s voice going to stand crystal clear through
an 80-date tour? (I just want your personal opinion about this. I´m
not gonna tell anybody) 2. Is this Fats Kaplin guy gonna join you in forthcoming tour? Mike Henderson? Or is it just 96ers? 3. Do you think about album sellings? (I´m asking this because I guess the tour -bigger or smaller places where you play- is scheduled, planned and considered according with sales. I´m I right?) Do you recieve any sales dossier, or this is just a record company-management kind of shit? |
Personally, I think Mark will have no trouble at all in that dept. The voice has been getting better and better ever since he gave up the tabs. I can't say at the moment who'll be in the band. The band do like to know how the record is doing, It's only natural, but generally it's not an issue. We tend not to be involved with record company comings and goings. | |
| rider | Hey DrFletch, can you tell us what the rider usually contains? caviar?
Becks? champagne? and any groupies :-)? hehehe |
It
tends to vary but usually something like this- 4 bottles of Absynth,
a case of moonshine, 17 crates of Stella box of PG!..and the rest of
the band will tend to share a couple of NICE bottles of red and white
wine
(not mixed), selection of mineral water wait, what's a groupie? |
|
| 80% Strait | Dear Doc, Here and there you can read that on the forthcoming MK tour,
the band will play 80% Dire Straits songs. Not that I wouldn't like them
anymore, but
times change and I think we've heard enough MFN and BIA by now. Plus
there's more than enough great songs on the latest records. So please
tell us it isn't true. |
I really don't know at the moment what we'll do. Songs like MFN and BIA are always heavily requested by fans so we do them. what do you think? | |
| geriatric ward | Hi Doc This
tour is going to span at least 5 months, how will the ageing musos manage
such a long haul? We care about your health and survival
you know! |
My oxygen tent and a selection of Zimmer frames will be on hand. | |
| Leno | Hey doc, Just wondering-on
MK's appearance on the Jay Leno & Craig
Kilborn shows here in the USA we saw all the boys in the band but not you
on keyboards! What up? Who was the guy filling in for you and who was the
back up guitar guy besides Richard? You'll be back with the guys on the
tour I hope!? |
I couldn't be there as I was back home writing and recording the music for 'Spirit Trap'. I think Matt Rollins was the replacement. Tour? Yes. | |
| Sucker row | 1) stand up guy :
it's a song for U i presume, and he he tell " to
the doctor..;" at the end, does it talk about fletch ??? ;o) 2) what'is you favorite song on this album ? 3) is such musician as you founding time to listening something else that you own production so : what is yur favorite style ? group ? musician ??? 4) and last : last time you tell me about bootlegs that the quality was so sad that it was not realy a problem... and I dont realy understand : why quality should be a problem ? because people can sell them ?? |
I wouldn't presume for a second that the song was about the doc. No. My fave is Sucker Row at the moment but it's always changing. I haven't listened to much lately, but saw an liked Placebo in Paris recently. If the quality is good it's in direct competition with the authorised releases. |
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| Ramblin Mark | Hey Doc nice
shades...... :¬) Your doing City Hall, Newcastle on
your tour, tell me does MK get all nostalgic coming back to Newcastle and
the
Tyne?? Does he start rambling about Spanish
city and all that? And do you all roll your eyes and start walking around
saying 'Why Aye Man' |
I would imagine it's always nice for Mark to return to Newcastle. The show is always great there. he's not really a rambler but does become a little more Greordie. well you would wouldn't you. Tow Law? yes. | |
| Rehearse | Hi Doc,When and where (UK or downunder) the rehearshal will take place?
Did Mark began to think about a setlist? Does Mark and Guy already speak
about a working plan? |
Rehearsals for the tour will take place in February in the UK | |
| chat | Greetings,
Doctor. Three questions: 1) Is the intro to 'Communique' all done one one guitar? 2) Is the intro to 'Devil Baby' all done on one guitar? 3) What are the chances of Guy doing a web chat any time soon? |
1.
you tell me 2. I believe so 3. Probably during the tour |
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| miming | Doesn't it bother you to mime a performance? I think that it would drive
me batty. |
Yes,
it does bother me/us which is why whenever possible in this promo period
we will be playing live. In some cases it's simply
not possible to do because of time limits, space and organisational problems. |
|
| response | hi doc, nice
to meet you :o) some friends from the french list "mkandco" tell
me that it's not rare that you resond to fan questions :o))( as i tell
you, i'm french, 32 year old from nimes ( !!!) so, first i want to thank you for all the big big work you do with or without mark, i think that mark is very lucky to have such a musician and specialist of sound like you ! may you can always stay together , for exellence and quality of the work you produce!!! the realy means of my mail is that i should like to know : 1) what mark think about the bootlegs that we trade ??? does he never hear one of them, or see the vcd / dvd we make ??? ( there's a big lot of them now...DVD ) it is a problem for him ? and ... producteur, label and co ?? did he get a record of all concert you did ??? 2) how mark see intenet and new technologie meaning to meet his fan ?? you seem very "present" for the fan on the internet, i dont know if mark can or want to respond to his fan with a keaboard... ( the last site where an artist respond me was marcus miller site... not a long discussion, but a responce never the less ;o)) well, that's all for this time, let see you to respond me now ;o)) ( excuse my very low english level, school is far far away, as english lessons ;))) |
Your comments are heartwarming. 1. The only bootlegs we've heard have been pretty awful so there's not too much concern from head office at present although we do stress that professional recording equipment is STRICTLY forbidden at MK and DS shows. 2. It's relatively easy for me to respond as I spend a lot of time on a laptop and my website is very active. There are many positive reasons why I continue to do this. It's not that Mark doesn't want to respond, but he's a busy boy....etc.etc. |
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| crap Sound | 1- Is it possible
for you now to play live "tunnel of love"? 2- Why doesn´t MK prepare a live DVD in 2005? To remember? 3- Are you guys coming to Lisbon-Portugal on tour? How important is the P.A. to professional touring musicians? I play locally and being a guitarist I love my tone. I worry that I don't get the support from the tech guys gear. Are there times when you guys just don't like the sound in the house? Rich |
It's possible, that's all I can say right now. |
|
| Jammin | I guess touring can be a long and possibly arduous process and bearing this in mind I was thinking, do you ever as a group get a craving to crank up into something really off the wall and different, such as the theme from "Smokie and the Bandit" for example?? You must get tempted as a group to do something off the wall and unusual like this from time to time if even for your own sanity. If so is there any chance of hearing some off the wall tune slipped into the middle of next years concerts - its guaranteed to get a smile of you do!? | Like any band, we have jam sessions and we do fool around in sound check. The bar band version of Calling Elvis springs to mind. | |
| Feedback | as one is playing at loud volumes as the straits did, how do they manage
to keep marks steel guitar and accoustics sounding accoustic. as a solo
performer, at medium volumes i get prety good sounds, but if i have to
go to 80 or 90 db levels...things start to get harsh (with the acoustic).
all i realy know and use is eq. do they have to do massive eq on loud shows?
do they ever pull out more of a certain frequency than the 12 or 15 db
given on consumer eq's i use? or maybe combine say shelving, graphic, and
parametric? i always wonder at loud volumes how to keep the tone good.
and would love to know what i could do to improve things. |
This is the main reason we tend not to play that loud on stage whenever possible. Mark's National steel guitar was notoriously difficult to get sounding good, especially in the big DS shows. Robert Collins (our sound man) used to spend longer soundchecking that instrument than anything else on stage.The problem was that there is quite a range of unstable frequencies that were triggered by different arenas/stages. It seemed to be different every night. | |
| Anal log | for someone on a limited budget wanting to get a good anolog sound as
you do. would it be better than nothing to use like an old teac 3340 to
record on, than bounce to puter, and then master agin back to a 3340. or
would the tape deck just not give much difference than total puter recording.
i am just interested in getting a really good acoustic guitar and vocal
with warmth. |
Analog tape will nearly always sound a bit warmer than an HD but it has to be in good working order or it's just not worth it. Personally, unless you're really into high end recording, most of the time it's not worth the hassle. I tend to just get things recorded asap simply because of time constraints with film composing. | |
| marbles | on recording marbletown. did mark do the guitar and vocal at the same
time? it sounds very much so and good. or was the vocal sang over the guitar
later. if recorded at the same time how was it done to keep separation
betwen the vocal and guitar. |
Yes, he did record vocal and guitar at the same time and the separation is not perfect but I think it sounds pretty good. Chuck works his magic once again. | |
| Variax | Dear Doctor Fletch. I have a question which I would appreciate yours
and Mark's input. I have read alot in Guitarist etc about the Variax acoustic
and electric guitars.
They seem like a great option for someone with a limited budget who gigs
with few guitars. They would enable me to take say one acoustic guitar
to a gig and save a number of guitar changes. I would like to know if either
yourself or Mark have tried these and what your thoughts were on them. |
Yes, I've heard they're great. I haven't tried them and I don't think Mark has either. great for someone like yourself limited budget etc. | |
| not sold out | hi DOc i've just
read somewhere that many of the "on every street
tour" gigs were not sold out, can you confirm that statement? (i think
it was said especially in the US) excuse me to ask you that but im a bit surprised by the news and i only would like to have the true version as many people just tend to deliver uncorrect pieces of information sometimes. thanx a lot. |
I was aware that a lot of the US shows were not selling like the European ones. Especially in the Southern states. The same was true on the Sailing to Philadelphia tour. | |
| making Shangri-La | Hi Doc, Am
I wrong in thinking Mark & you guys spent a lot more time
in the studio making "Shangri-La" then for example, "Ragpicker's
Dream"? If this is so,what are the elements that required this? Was
Mark looking to make a major album album here, complete w/some potential
radio hits? Were the individual parts of each musician more carefully rendered?
Just what is it that would make one project be completed in a few days
of studio time and another a few weeks? |
actually, I think Shangri-La was made in less time than Ragpickers Dream. As far as a 'major album' is concerned, I'd have to say NO. I really don't think Mark is concerned about making something 'massive'. radio hits? Not really. It's a cracking album though. The album has a much more live/less worked on sound than in the past. Some projects take longer because the expectations are more specific, with this album, I think Mark just 'let it happen'. Cool. | |
| what edit | Dear doctor! I just listened to an extended version of What It Is from
some kinda Mexican promo. The song had got an extra verse, which is very
nice! But, how come
it never made it to the album? And.., are there any other verses or parts
of lyrics scraped from songs? Thanks! |
Yes, it was edited..there were a LOT of verses. So many I lost count. It was cut simply because Mark thought it too long for the record. | |
| what if... | Dear Doc. I wanted to know if you hadn't come accross MK where do you
think your musical path would be now. And, are there any musician's you
haven't worked
with yet who you would like to collaborate/play with? |
That's very difficult to say as I've worked with Mark for
so long it's hard to imagine not having his influence, but I honestly don't
think things would be very different. I've always done so many outside
projects,
movie scores, TV productions, tours etc. I'm very happy with the list of
people I've worked with but am always on the lookout for emerging talent
for possible future collaboration. |
|
| I hate Mondays | Dear Doctor Fletch,
I have always wanted to know why "most" singles
and albums are released on a Monday here in the UK? |
To be honest, I don't know. I would guess it's so the record company can log a chart position as soon as possible. | |
| Prolific | How many song did Mark write for the Shangri-La album?. |
Quite a few more than we recorded, I don't really know for sure. | |
| Chet Chat | On the song 'There'll Be Some Changes Made' from Neck and Neck,was
all the talking between Mark and Chet improvised when playing or was it
written out?. |
There was a basic framework as I recall, but there was also a lot of improvisation. | |
| stop | If Mark heard a version of one of his songs someone else did,but he did'nt
like it,could he stop it being released?. |
Yes, if permission hadn't been granted proir. | |
| Pre-record | I see that you are credited on Shangri-la for "additional engineering". What duties did you perform on this record to warrant this credit, that you didn't do on previous records? |
Mark and I spent a few weeks in London before we recorded with the band in LA. On some of the tracks, there are elements which I recorded back then. |
|
| who's that new 'fat' one | I just got
hold of a copy of the OES DVD...and noticed that while most of the musicians
get a fair amount of camera attention, you seem to get
far less than any of the others. Is this purely coincidence or is it deliberate?
Not that I'm a stalker or anything, it's just that keyboard is my instrument
so I tend to take more notice of you and Alan...but Alan gets quite a lot
of attention while you get very little? |
Yeah, that used to really &*@% me off! But the guys used to swear it was coincidence....They would never lie to me? Simple naiveity meant that no directors bribes came from my direction. |
|
| parts | Whether with DS or
since, how are the keyboard parts "shared" between
the keyboardists? Like would you and Alan always play the same parts in
each song, night after night, or would you vary it? Are you ever jealous
of somebody else's part? |
Yeah, once we worked out who was going to play what, that's what we stuck to. | |
| pub | Dear Dr Fletch, I just wanted to know if you ever do occasional pub gigs
in your home area. Or. if you occasionally fill in for any of your musos
pals in a pub gig
scenario. I suppose a bit like Mark, Brendan and Steve turning up at the
Grove in Leeds. |
It has been known, but not often enough. | |
| fish 'n'clips | How Guy can influence Mark in order to make video clips a bit more exciting?
Money for Nothing or brothers in arms were great songs to watch even though
I am sure it was expansive to elaborate. But nowadays, is it so difficult
to recruit a crew of young creative artist affordable aiming at doing a
beautiful and very original video of the new songs? I am sure you were not so happy with the videos of What it is and Why aye man as you are a Doc with good taste. You're the best Doc Fletch and tell Guy that his website is terrific for the fans like me. |
What makes you think my influence would make them more exciting? Actually, I think the last video I had anything to do with was 'your own sweet' way by the Notting Hillbillies, and even then all I did was get bored and eat all the crisps. Here's something a bit wierd...I don't think I've even seen the whole What it is video. Is it any good? Calling Elvis was a lot of fun to be involved in, although that puppet is a bit scary.Guy says
thanks for diggin' the site. |
|
| stylish | How did you convince Guy to copy your hair style? | what hair style? | |
| solos | Are we fans going to have lots of extended and thunderous (or sweet)
guitar solos? Just wondering. |
I'm sure Mark will oblige.... | |
| knobs |
How is your relationship with mr. Ainlay? Seems like you all get along quite well. Which is the best engineer (besides yourself, of course) you´ve worked with?
|
Chuck is probably the best engineer I've worked with. Neil Dorfsman was great fun too. | |
| order | How important is for you guys the order of the songs in an album? Does
MK discuss with any of you which song goes first or third, or which one
closes the CD? |
It is important but mark tends to sort all this out himself
these days mainly because it makes sense to live with the mixes for a while
before deciding the sequence. |
|
Boom |
1. Is "Boom like that" the
first single? 2. Is it true there will be a limited edition "making of" DVD with the new record? 3. Is it also true that Mark is doing promo in London at the end of this month and through July? 4. Is the Indian harmonium used on some tracks the only Indian influence? 5. Would you say Shangri-La continues MK's tradition of making totally different albums each time?.....I only ask because some people thought "Boom" was a bit too similar to previous songs. |
Boom like that...possibly. DVD....maybe. promo in London....No. the Indian harmonium is indeed the only Indian influence. It's true, it's a bit different, this album, but it's still Mark.
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| Gear check |
Do you use any other software than Protools (Nuendo or Logic or Cubase
SX) |
Yes, I use Cubase 5 (in Mac OS9,) for all my midi programming All Line 6 stuff is pretty great. I do all things. Loops, samples but nearly always, it's real drums in the final mix. |
|
| Not Pyroman again | 1- how did this song Shangri-la come about? Was it written on the spot
in California? Or is it an instrumental or something? 2- There's been speculation that Pyro Man may be included on this record. Can you clarify? |
1. Shangri-La was written a while back, no it's not an instrumental. 2. No Pyroman on the record. That's history. |
|
| Prawn Madras | It looks like the indian harmonium has been used more than once on shangri-la
@ shangri-la :-). Was it used for the first time on a MK album? |
Indeed, first time. No particular Indian influences though. I've used a harmonium sample before..in particular, on the Notting Hillbillies record. | |
| Neck hair | Can you tell me if
the songs are played on tour with the same emotion after all these years
as there was when played for the first time? For
example, Romeo and Juliet is such an emotive song and the vocals on the
album reflect that. MK always seems to perform it live with the same emotion
in his voice 20 odd years later. Are there any numbers which still raise
the hairs on the back of your neck or that you look forward to performing
night after night? And any which make you think, "If i hear this once
more,I'll. . . . . . " |
Good question. I can honestly say that every rendition is played with as much emotion that can be mustered at that particular time. Obviously being tired, homesick and emotional can play a role in the band performance but generally we try to look at new ways of playing something which may be in danger of becoming stale. if we don't enjoy playing it, we won't play it. Simple as that. Look out neck-hairs. |
|
| who are they? | I want to know who decides the tour dates of the new album Shangri-la. |
The
dates are decided by a team of skilled tactitians spearheaded by Mark
and Paul. |
|
| Clarkie | What happened
to Alan Clark, he totally disappeared, I haven't found anything about
him on the net? |
Man of mystery is around...actually doing TV music. But no website. | |
| Rant | 1. What amps and effects does mark use to get the great lead sounds on
Hill Farmer Blues or Why Aye Man. 2. What recording software do you prefer. I've been using Cakewalk Sonar 3 Producer and really love the interface but I've also been hearing some great things about Nuendo. |
1. That'll be the 59 Les Paul and the Soldano. nothing else except a slight delay in the mix. 2. I use pro tools because it's totally reliable and VERY FAST!! Nuendo basically sounds great but operationally I find, just slows me down, plus It's just not as creative for me. |
|
| pants | Hi Doc Guy! Waiting for the new MK album, I would like to know what happened
after Mark said: 'Guy, let's go and make a new record' but before the recording
started. That is to say, do MK usually give you a first recording of the
new songs, or scores, or something else, so you can start to prepare your
instruments and think about arrangements...? Or maybe do you know nothing
about the new songs before entering in the recording studios? Is it the
same for the other musicians of the band? Please fill this gap! |
Actually on the new album, Mark and myself went into his London studio and did some pre-production work on about half of the record. This was mainly so Mark could play around with different tempos, keys, sounds etc before the rest of the band were introduced to them. He did infact play all the songs to me and we decided which ones were best tackled directly by the pants at Shangri-La.
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| recording live | I
know you are using 2X16 tracks Studer analogue recorders to track most
of the instruments on MK albums But In live recording situations, What
kind of gears do you use for tracking those live shows???. I got The Canadian
release bonus live tracks in Toronto 2001 STP tour and it sound superb.
Second, on the live version of BIA, Do you playing live or you are using
the auto
pilot mode???. Your keyboard feeling and playing is amazing on
this one. And do you use click time on your moniters system in live situation
specially for the drummer???. |
The Toronto show I believe was a direct feed, mixed straight to 2 track. usually we'd use a digital multitrack, although nowdays, it would be a hard disk recorder of some description. either Pro-Tools or as Robert Collins is now utilizing - the new Soundtracs digital desk system. On BIA, of course it's live. i use the term auto-pilot to describe playing
the parts without really concentrating. Daydreaming on stage. Everyone
does it at some point. We don't use clicks on stage except for Planet of
New Orleans and Speedway at Nazareth (playout only) |
|
| contract | I was wondering, on what basis do session-artists work on other peoples
albums. Is this done on contract-terms? Do they get a 'profit' for the
numbers of albums sold? just curious... Does the record-company have a
say in this, who works where and how? |
Every project is different but usually session musicians
are paid a 'union' rate, depending on the country. With 'bands' there is
usually a contract. what it contains varies GREATLY between different artists.
The record company usually has nothing to do with this. |
|
| STP diary | Will the studio diary of 2001 you made go online again one day? The official
MK page got a new design in September 2002 and then your diary was gone.
I'd like to read it again 'cos I it was very cool and I enjoyed reading
every entry. 2001 diary was erased by the folks running MK's website. |
It would be difficult and time consuming for me to put it back together on my site. I simply don't have the time. HOWEVER... Alberto from Spain sent me this web archive link |
|
| New record | Dear Doc, what is taking so long time when it comes to the album and
tour? If the album is mixed and ready, why can't it be released in the
summer as soon as possible? And why won't the tour start until 2005? |
Very good question this...The album can't be released any
faster as the record company wheels must be set in motion (marketing/promo
etc.) There is a finite amount of time from delivery to release. As far
as the tour is concerned, I guess it's simply because touring in the Winter
is a not something MK likes to do. |
|
| Blue | Finally, do you think
Mark will use his new beautiful Daphne Blue Pensa on the next tour?.
I´m looking forward to hear its sound!. By the
way,
the melody you did with the keyboard on PYROMAN was..... well, simply the best!
You´re
a rock alchemist, man! |
I have no idea what he'll take out...that's all a long way off right now. I guess he should as it does sound nice. Thanks for the compliment. |
|
| Hammond | On
the stage, which instrument do you really prefer to play?. And, as piano/hammond-pal
(jeje) do you prefer Geraint or Jim? I prefer Jim Cox,
although both are sooooooooo good! |
I prefer Geraint AND Jim AND Alan C. Pretty much whoever takes on the role is and probably will be great to work with. | |
| brass | On the 96 GH tour,
I heard some pedal steel guitar on some songs, but Paul wasn´t
there. Was it played by keyboard or did you play the steel guitar yourself?.
And, is there an instrument that you just don´t
play?????? |
Ahh, you've sussed me out. Some of it was from me playing single notes, some were sampled phrases on my E4 and some of it was Mike H. sliding around on his Silvertone. | |
| Film |
First
of all, sorry for my english!. Here are some questions: When you´re
doing the music of one of those wonderful film soundtracks of yours,
do you write it on a partiture? Or it´s more like composing,
playing some rehearsals and recording?. Do you think it´s necessary
to know to write/read partitures on your work?. I really would like to
work in something like you do... Music!. |
I assume you mean musical notation?? I generally compose in the MIDI domain and build things up from a basic thematic idea. I don't use notation whilst composing as my ability slows me down. However, when it's time to record, I will always use a copyist (Alastair King) to write the parts for the musicians as that's not really my forte. | |
| Slide | Dear Dr. Fletch. Just
wanted to know the make/type of slide guitar that was used to record
the parts on ‘How Long’ from the Dire Straits ‘On
Every Street’ album. The same question also applies to the slide
part played at the very beginning of ‘You and You’re Friend’.
These parts are quite simply stunning! I love the tone, so make me happy
and reveal. |
That would be Paul Franklin's 'box', aka the Pedabro. I recall it is a custom built instrument almost certainly made by his dad. It's an acoustic wooden version of a pedal steel.. From what I recall, it has 10 strings and that lovely, unique tone. Here's a link which will satisfy your request - Pedabro | |
| MTV video | I
have been a fan of DS/MK for a number of years. It has been the subject
of constant debate between me and a friend of mine as to where the live
footage for the music video of Money for Nothing came from. (I know I'm
going pretty far back.) Is it possible that it came from the May concert
at Brussels on the 27th or the 1985 concert at the Ahoy in Rotterdam, or
was it filmed at one one of the Wembley shows? What other shows from the
live in '85 world tour were filmed, other than the July 10th concert and
the final Sydney show? |
I've been really trying quite hard to remember the answer to this. I SHOULD know, shouldn't I? But I don't. The old brain gets a bit fogged up when asked to go back that far. I do recall it being Europe and Walk of Life was shot in Connecticut. It may very well have been Brussels or Rotterdam. If I can confirm, I will do so here. |
|
| dates | Are you managing so
far any concrete dates for new album´s debut? |
There are promo dates in the pipeline for the summer I understand...more
on those later. |
|
| label | Looking forward to
listen to newest songs. Have you guys changed to another record company?
That´s what I´ve
just heard. |
Not as far as I 'm aware. | |
| band | Considering the new
stuff, will it need an extra element beside the 96ers on stage? I´m talking about any Mike Henderson help, or this other
multi-instrumentalist,
Kaplin (and who´s this guy, anyway? How did you
find
him?) |
We haven't really talked about any additional muso's on the next road trip, so at the moment I can't really say. | |
| Pics | Any pictures from
Londinium-roof compin´n mixing? (like the Ragpicker´s
outdoors mixing photographs we saw two years ago) Thank you so much, your
honour |
No pics from London this time as I've been tied up with my movie stuff and wasn't able to be around for the mixing. That's all finished now and the album should be out in September | |
| mixing | When you have recorded
a song, with two electric guitars (rhytmguitars) and a leadguitar. (blues
rock style) How do you "pan" them, to
get the best stereo effect ? 20 / 80 ? or 100 % to each side ? |
I will usually split the 2 rhythm gtrs 10 and 2 o'clock,
and put the lead guitar up the middle..unless there's another lead instrument
to offset it in the stereo image. |
|
| flat or eq? |
When
Mark records his guitars, does he play it "flat", and used
EQ in the mics, to "open" up the sound ? Or is it only effects
that is added in the miks ? |
It's nearly always flat these days, if it need it, any eq would come from the mic pre-amp. (usually Neve 1081) | |
| album mixes |
When
do you think the miksing of his new album is finished ? |
It should be complete within the next two weeks. | |
| the new album | Could you tell us just a bit more about MK's next album, does it sounds more like the ragpicker's dream, or like an old DS album ? |
I can't really say right now...all I will say is that it should be well worth the wait. There's some powerful songs, great mixes and really organic live sounds. I've already said too much!
|
|
| '91 |
During the first 2 legs of the OES tour (1991 : Europe, early '92 : USA), Chris Witthen on drums used to play at his "normal" place onstage, e.g at the back of the stage. And in the 3rd leg of the tour, he played the drums at the same levels as MK, JI, PP , e.g on the edge of the stage, with an additional drum kit.Why and when did MK and the band decide to do so ??I have my idea about it :Maybe to create a more closer atmosphere to the audience ? remembering the early dire straits days ?
|
On that tour,when we played Sultans of Swing, we did it as a 4 piece. If we'd stuck to our positions, the band would have been very 'detached'. So it was decided to create a 'mini-stage'...as you say to create a closer ambience. To make it feel more like a club gig in fact. That was the first time we played Sultans in that way...and it's been like that ever since. Much better don't you think. who wants a bunch of keyboards on it anyway. |
|
| soundcheck |
What was the "usual" day on tour? Did you make soundchecks every afternoon ar only each time you go to another venue ?
|
we
started out doing soundchecks every day but soon stopped because it was
not actually beneficial as the crew were so
adept at setting up. The fact that it was such a long tour also meant that
we didn't exactly want to hang around with each other ALL the time. The whole idea of soundchecks is initially to rehearse. But unless there's new material to learn, after a week or so there's no need so the only reason for doing them is to familiarize yourself with the acoustics of each venue. They all differ greatly you know. |
|
| crusty album |
about
the On the Night al bum...
|
1. Sultans wasn't got rid of, it was just decided that it wasn't good enough for the album. 2. The left overs are put in a cupboard somewhere to degenerate, they are not mixed unless they are on a shortlist. 3. All the recordings are in the po session of the record company, I guess. 4. No, I don't have regrets, it's a long time ago and from what I remember, I was happy with all the choices. There will always be someone unhappy with anything you do. 5. I don't believe On the Night was mixed too much...we had to do a lot of work getting the ambient sound right, and we did a fair bit of editing, which wasn't easy especially if we took from different shows. 6. Sure it's a pity, I guess we must have sucked big time on that one otherwise it would have been on the record.
|
|
| diary addiction |
* How do the boys keep their spirit levels high after leaving those
California sunsets?
|
It's tough but someone's gotta do it Agoraphobia has set in now Don't be silly, he's a lizard The rain That would be MK, as he's bought all the analog machines in England The flan will appear on the stage backdrop for the next tour
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|
| recording |
-I
saw a picture in the diary showing a "MK signature
strat" (as you wrote it). I just wonder if it is his trademark 61
strat, or the new (stock) signature one. Some people in Fender
shops say that Mark won't play on his signature model, just because
it is completely different of his old strat (frets, pickups aso),
and that the guitar specs weren't chosen by Mark.
|
It's the new one, he plays it ALL the time. Yes and Yes PF is being recorded next week on a couple of songs Usually it's all live |
|
| just a quickie or 6 |
Hi Guy, What
was the best studio you have recorded in apart from your own of coarse?
|
wow.. quickly then... I believe it was the national, can't remember what else. No grand piano because we opted to avoid the tuning difficulties studios, it's really horses for courses. they all differ for different things. The band line-up should be the same as the last album I wasn't in Ireland because I was busy recording my strings No acoustic albums planned
|
|
| olives with little guys in | When Mark Knopfler and you and the rest of the band are on tour do you
guys have any request about the dressing room. For example there must be some kind of whiskey Mark really loves. The room must be painted white and there must be white flowers everywhere. |
The dressing room 'rider' has changed greatly over the years. From the early days when we had a snooker table, pinball machines and a fridge full o' vodka, through the Hillbilly years of Tennessee bourbon, Aqua-libra and Salt'n'vinegar crisps, to the present day rider which consists of fine red wine, preferably a dusty old claret or a delicious Amarone. | |
| Crusty old songs | Does Mark sometimes
listen to his fans. When you get on tour the same "old" songs
are played. Telegraph road, Brothers in arms, Sultans, MFN, Romeo and juliet.
Don't get me wrong I love all the oldies but why are songs like Tunnel
of Love, Why Worry, Porto Bellobelle never put on the playlist. I know you play the songs you remember from previous tours. |
Obviously there's consideration for the oldies! (songs not fans) but we always think if we're enjoying it then the audience will stand a better chance of doing the same. | |
| guitars | -What do you think of your Mexican Strat ? Is it for you a good guitar
? (I mean, for recording ?) Why don't you use a brand new Custom shop Strat
with all the great stuff you can get with ?? (I own a mexican myself...).
And why don't you have a Pensa in you studio ? -Concerning the Mk strat, I read on the MK News site that it's a limited model. Fender said me that the total amount of guitars produced will depend on the will of MK and Fender....so do you think MK wants this model to be a "relic" with a very small number of guitar all over the world ? (I'm quite anxious ...waiting for your answer ! because I'm wanting to get the money !) -I know that MK really loves it's Pensas. Why didn't he use it more on the last album ? My hears said me that he played its MK 1 just on the "Hill Farmer's Blues" track....why ? Do you know why he never uses Telecasters for the lead ? -For the next album, I read that the recording team won't be the same....Does it mean that Paul Franklin won't play on the album ?? (I'm anxious here too....) |
Mexican Strat - I use it 'cos it's a good guitar. And sounds great. I don't have a Pensa because I never really wanted one. I do however crave for a Les Paul. Like MK's '59 please! Mark's signature Strat will continue to be produced as long as demand is there - indefinitely. Pensa's - Mark is always trying different guitars - this week it's an old Silvertone (more on that in the studio diary) We are using the Nashville band but we'll be in LA for this album. I wouldn't rule out Paul Franklin being on it. relax |
|
| mac attack | Since
you do a lot of programming in MK records (either during or after the
recording process), have you ever thought that on the next (most probably)
MK tour, you would take a MAC into stage and assume all the keyboards? I
believe that with a MAC and the right software, you (yourself and the
MAC)
could both play accordingly the way to you like to sound on stage. During this Xmas eve, I took some traveling time to listen, among others, NHB ("missing...") and the sound track of "Princess Bride" and, it seems to me that you could manage quite well on the piano and organ. Of course, this is just a suggestion.. |
I don't see any reason to incorporate a computer on stage.
It would only create problems (if it went wrong/crashed etc.) The keyboard
parts are not something Jim (Cox) and I have a problem with, It's sometimes
a challenge to cover everything on the record but there's no way I'd want
to duplicate it exactly anyway. anyway, I don't believe that's what people
want to hear.
|
|
| score | I was just wondering how exactly do you write the score for a film soundtrack? Are you given a copy of the film and write a score which you feel is appropriate for the scenes, or do the filmmakers simply tell you what sort of music they want and you carry on from there? Thanks, | It varies greatly from film to film, but very simply, you are given a copy of the film which it may not necessarily be in a final cut stage. Then the composer at some point gets together with the director to talk music..... and then it's up to you. | |
`drfletch6
