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synth from “money for nothing” by dire straits | ToneDB

money for nothing

dire straits

synth

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Tone Profile

A lush, atmospheric FM synthesis pad with a slightly metallic, brassy character and wide stereo image, forming the iconic chordal introduction to the song.

Signal Chain

Instrument: Yamaha DX1 Synthesizer

Processing: Internal DX1 FM synthesis patch (likely layered, brassy, slightly detuned operators), Studio Reverb (e.g., AMS RMX16 for lush ambience), Subtle Stereo Chorus (for width, if not achieved by internal layering/detuning)

Other: This is the chordal/pad sound played by Alan Clark at the song's introduction, layered with Sting's processed vocals. It's distinct from the main guitar riff which, though synthetic-sounding, is a guitar.

Recording Notes

  • The introductory synthesizer part was performed by Alan Clark on a Yamaha DX1.
  • The DX1 was almost certainly recorded via Direct Input (DI) into the mixing console for a clean, full-range signal.
  • The patch utilized the DX1's dual FM synthesis engines for a rich, layered sound, characterized by metallic, brass-like timbres.
  • Sting's 'I want my MTV' vocals, processed through a Roland GR-300 guitar synthesizer, are famously layered on top of this DX1 synth intro.
  • The overall mix, engineered by Neil Dorfsman, features prominent use of digital reverb (like the AMS RMX16) contributing to the spacious and polished sound of the era.

Recreation Tips

  • Use an FM synthesizer. Hardware like a Yamaha DX7/Reface DX, or software emulations such as Arturia DX7 V, Native Instruments FM8, or Dexed are good starting points.
  • The Yamaha DX1 contained two DX7-like engines, so aim for a layered sound. If your synth supports it, layer two similar patches and slightly detune them or pan them for width.
  • Design a patch with a brassy, slightly metallic, and evolving timbre. Experiment with operator ratios and levels, and use velocity sensitivity to control brightness or harmonic content.
  • Employ a slow attack and moderate to long release on the amplitude envelope to achieve the pad-like quality.
  • Apply a high-quality hall or plate reverb with a decay time of around 2-3 seconds to create a spacious atmosphere.
  • A subtle stereo chorus can further enhance the width if not fully achieved by internal synth layering and detuning.
  • Listen closely to the original recording for the specific harmonic content, filter movement (if any), and envelope shapes.

Sources