GuitarDistortedRiff80% confidence
Money For Nothing (Single Edit) [2022 Remaster] Guitar Tone Settings
Dire Straits · 1980s · rock
studio
Original Recording
Guitar
1958 Gibson Les Paul Standard
Pickups
Gibson PAF humbuckers
Amp
Laney amplifier (exact model unknown, likely late 1970s/early 1980s solid-state or tube head)
Pickup Position
Bridge pickup
Studio recording, 1984-1985 for Brothers in Arms album. Mark Knopfler used the Les Paul bridge pickup for the riff, with a Laney amp. The tone was shaped by a cocked wah pedal or a rolled-back tone knob, and the sound was never fully recreated live. No evidence of additional pedals or rack effects for the riff section; the unique tone is a result of the guitar, amp, and fixed wah/filter effect. All sources refer to the studio version, not live recreations.
Amp Settings
Mids7.5
Bass5
Gain5
Reverb2
Treble6.5
Presence6
Effects Chain
- Wah pedal (set to fixed/cocked position, model unknown) · wah
Guitar → Wah pedal (fixed position) → Laney amplifier (slight crunch, spring reverb)
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Tone Character
- mid-range forward
- nasal and honky
- crunchy but not high-gain
- slightly compressed
- percussive attack
- unique filtered sound
- tight and punchy
- dry with minimal reverb
- articulate fingerstyle
- distinctive cocked-wah effect
Notes & Caveats
- No official amp knob settings found; values estimated based on Laney amp typical settings for mid-forward British crunch and forum advice.
- Some sources claim a cocked wah was used, others say the tone knob was rolled down for the nasal effect; both approaches yield similar results.
- No evidence of additional pedals (overdrive, delay, chorus, etc.) used for the riff section; only cocked wah/filter effect is relevant.
- Exact Laney amp model not confirmed in sources.
- Settings are for the studio recording, not live recreations, which used different gear.
- Settings cross-referenced with genre and era conventions for accuracy. Knopfler's 'Money For Nothing' riff tone is famously biting, mid-forward, and aggressive, achieved with a Les Paul into a cranked JCM800 (or similar), with mids and treble pushed for cut, moderate gain for that crunchy, saturated edge, and minimal reverb as per 80s rock production. These settings reflect the signature honk and clarity of the riff.