Knopfler was using his Gibson Les Paul going through a Laney amplifier. ĭuring the recording of " Money for Nothing", the signature sound of Knopfler's guitar may have been enhanced by a "happy accident" of microphone placement. Fletcher's synths were placed in the control room. Knopfler's amplifiers were miked with 57s, 451s, and Neumann U67s. Illsley's bass amplifier was recorded inside a small vocal booth with a Neumann FET 47 and a DI unit. The Hammond B3 was placed nearby, with its Leslie speaker crammed into an airlock next to the control room.
They placed the piano in a tight booth in the far right corner of the studio, miked with AKG C414s. Knopfler and Dorfsman utilised the limited space to best effect, placing the drum kit in the far left corner, facing the control room, miked with Sennheiser MD 421s on the toms, an Electro-Voice RE20 and AKG D12 on the kick drum, a Shure SM57 and AKG C451 with a 20 dB pad on the snare, 451s for overheads and the hi-hat, and Neumann U87s set back a little to capture "some kind of ambience". The sound of that studio was the desk," referring to the Neve 8078 board. "It was a good-sounding studio," Dorfsman later recalled, "but the main room itself was nothing to write home about. The studio itself was small, with a 20-by-25-foot (6 m × 8 m) recording space that offered virtually no isolation. The band's second guitarist Hal Lindes was either fired or quit at the start of the sessions (Lindes was formally replaced in December 1984 by Jack Sonni, a New York-based guitarist and longstanding friend of the band, although Sonni's contribution to the album was minimal). The band’s then drummer Terry Williams was present at the start of the sessions before being temporarily replaced. The studio lineup included Knopfler (guitar), John Illsley (bass), Alan Clark (piano and Hammond B-3 organ) and Guy Fletcher, who was new to the band, playing a synth rig that consisted of a huge new Yamaha DX1, a couple of Roland keyboards and a Synclavier.
He was always willing to spend on high-quality equipment." īefore arriving at Montserrat, Knopfler had written all the songs and rehearsed them with the band. "One of the things that I totally respected about him," Dorfsman observed, "was his interest in technology as a means of improving his music. The decision to move to digital recording came from Knopfler's constant striving for better sound quality. īrothers in Arms was one of the first albums recorded on a Sony 24-track digital tape machine. The album was produced by songwriter Mark Knopfler and Neil Dorfsman, who had engineered Dire Straits’ 1982 album Love over Gold and Knopfler's 1983 soundtrack album Local Hero. īrothers in Arms was recorded from October 1984 to February 1985 at AIR Studios on the island of Montserrat, a British overseas territory in the Caribbean. It was also among ten albums nominated for the best British album of the previous 30 years by the Brit Awards in 2010, ultimately losing to (What's the Story) Morning Glory? by Oasis. Q magazine placed the album at number 51 in its list of the 100 Greatest British Albums Ever. The album won a Grammy Award in 1986 for Best Engineered Album, Non-Classical and Best British Album at the 1987 Brit Awards the 20th Anniversary Edition won another Grammy in 2006 for Best Surround Sound Album. It is certified nine-times platinum in the US and is one of the world's best-selling albums, having sold more than 30 million copies worldwide. Brothers in Arms was the first album certified ten-times platinum in the UK and is the eighth-best-selling album in UK chart history. It spent a total of 14 non-consecutive weeks at number one on the UK Albums Chart (including ten consecutive weeks between 18 January and 22 March 1986), nine weeks at number one on the Billboard 200 in the US and 34 weeks at number one on the Australian Albums Chart.
Brothers in Arms is the fifth studio album by British rock band Dire Straits, released on through Vertigo Records internationally and through Warner Bros.
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