BigRedX

Steve Chick who designed the Peavey MIDI bass now runs Industrial Radio making updated versions of his MIDI system. I'd try contacting him.

Do FTAs include private purchases/imports then? I can't think of anything I have bought from outside Europe that hasn't attracted VAT and duty.

I've been recommended two solutions form US-based companies that properly address the string-spacing problem without having to DIY. However neither is really a simple retro-fit like the Roland pickups and therefore would require either routing the body for the pickup and associated electronics or having a new body (or whole bass) custom made.

Try the Keyboards and Synthesis section of the SOS forums.

For me it's the synthesis via signal processing. AFAIAC pitch to MIDI is dead (especially for the bass) unless you employ extra methods of pitch detection like Industrial Radio does.

What you have to decide is how/when in the recording process you want to use this hardware. The mic pre-amp is simple it's used with a mic when recording, so it goes between the mic and one of the inputs of your interface. The compressor if you decide to use it is also best used as a recording (because it is only one channel) rather than mix-down tool, so that would go between the mic pre-amp and the input of your interface. The 3rd Dimension is more tricky because it could be used while recording or while mixing. So you could put it last in the recording chain just before your interface. However, remember that this is very much a stereo effect (IMO there's not much point using it in mono) so you need to connect the output to 2 inputs on your interface. If I'm looking at the right interface, your's only has main stereo outputs, so you can't use this for mixing with external effects, as you need channel outputs for the routing. So will need to either add this via the ADAT sockets or with an external mixer. Unless you are going to use all this extra I/O connectivity for other things it seems like a lot of expense and hassle just to get one effect working while mixing. Have you tried the effect yet? Do you like what it does to the sounds?

Which Newtone set did you try - round or hex core? You should try the other version.

Expensive. Although in real terms considerably cheaper than the cost of the original model back in the late 70s.

I believe there is a computer editor for it, if the built-in interface proves too fiddly. I've been looking at one of these to use with my Bass VI, but now I've settled on the Eastwood there are no simple pickup solutions available for the string spacing.

Do you already have any other outboard recording equipment or have you been doing everything "in the box" so far? While some outboard equipment can add to your recordings if most of your processing is done using plug-ins, you may find that the expense and hassle of getting your outboard equipment to interface properly with your computer and DAW is probably going to be too much. Remember that unless you are mixing down to an external device (does anyone do this nowadays?) any externally processed audio is going to have to go through two stages of analogue/digital conversion which is going add latency to just those signals. IMO: The mic pre-amp is worth keeping. You can use this as a front-end to your audio interface. The compressor isn't really going to be much use, it's not a particularly esoteric model and you should already have far better compressor plug-ins. If you find you are having problems controlling input levels from your microphone it might be worth having daisy-chained between the mic pre-amp and the interface. It's only single channel so it won't be much use for post processing. That leaves the 3rd Dimension. This is an interesting one, being pretty much an exact clone of the classic Roland Dimension D processor. If you like the sound you may find it indispensable, and despite what you might read none of the plug-in versions really come close to the hardware. Which leaves you with a conundrum; how best to use it? Once again you only have the single device. This is a problem people thinking about going back to using hardware don't always realise straight away - when you buy a plug-in you can use as many instances as you like, but with hardware you need another device every time you need to simultaneously process another signal unless you are happy to process everything on one setting via a bus. What you have ask yourself is this: Is the sound so good that it is worth the hassle of sorting out input/output routing and the latency and hassle that goes with it. You'll need to try it and see, as only you can answer that question.

I don't think so. IMO most gigs are too long. IMO as a band you've got to have released a handful of successful albums before you can consider playing for over an hour and TBH most bands could do with trimming their sets down to around 30 - 45 minutes with a single song as an encore provided that it has been earned by both the band and the audience.

I used to own a Hondo Alien which is essentially a copy of The Duke but with low quality hardware and wooden fingerboard. Once I had replaced the bridge and machine heads with proper Schaller versions, it was a very decent instrument. No problems with balance or tuning stability. However unless you find one very cheap (under £100) and are prepared to replace the hardware, I wouldn't recommend the Hondo, as a alternative to a proper Kramer The Duke.

Ditherer's remorse. For many years, hanging up in a musical instrument shop in Croydon was a Wandré Rock Oval (IIRC) Guitar. It wasn't in the best condition and had no price on it. But it looked interesting. By the time I had found out what it was and decided to ask how much they wanted for it and if necessary make an informed offer it had gone. I wonder who has it now?

Woolies special. Cost £19.95 back in the 70s. Worth about half that now.

No. None. I've whittled my collection from over 40 down to 5 basses (soon to be 4). It would be nice to still have most of the ones I sold, but I have recognise the fact that a lot of them were bought simply to own rather than to use. However owning lots of instruments has allowed my to work out exactly what I like about the ones I'm keeping and why the ones I sold didn't quite "do it" for me.

Regarding panning. I was amused by this quote from Public Service Broadcasting about their "Race For Space" album: I think that says it all. Pan so the instruments don't conflict, but keep all the important ones in the middle.

Spalt are one for the few basses I like that I haven't yet owned. In fact looking for more information about them lead me to find Bassworld (Bass Chat's forerunner) and become a member of the forums.

There is at least one other drum machine in the same format but with different branding but IIRC it has exactly the same patterns and sounds. Lots of pre-set drum machine from the late 70s and early 80s do this. There were also 2 Electro Harmonix models - the DRM16 and DRM32 which came in the standard "big Pedal" EHX format. These were quite widely used by fairly well-know bands including early Cabaret Voltaire and Simple Minds.

I'm disappointed that you didn't buy a keytar.

I'd heard most of both albums on John Peel for I parted with any money. TBH I was more likely to have bought Pink Floyd's "The Wall" than London Calling (I didn't buy either). BTW you can get a decent condition copy of Metal Box for about £100 on Discogs. (That's the equivalent of about £20 in 1979, so it hasn't increased in value that much)

Interesting choice of name when you look at these instruments from Spalt.

When London Calling came out it was a choice between that and PiL's Metal Box, for which album I would buy that week. I think I made the right choice.

My interest in the Clash disappeared between the release of the London Calling single - both sides of which are great - and the London Calling album which IMO is terrible apart form the title track and "Lost In The Supermarket".

Of course it's at this point that you will realise just how much the cab colours your bass sound.

IME most double albums that aren't greatest hits or live simply have too much filler on them (an that includes CDs that run over 45 minutes). Even my favourite bands generally struggle to come up with more than 45 minutes of great new music per year. Right now I can't think of one double album that wouldn't be improved by trimming it down to under 45 minutes. Contenders for terrible ones IMO are both by The Clash - "London Calling" with only 2 decent tracks and "Sandinista" which doesn't have any.