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I was asking a similar sort of thing in another thread recently and the general consensus seemed to be, if you want that Spector sound then a Pulse is a good mixture of price point/tone/quality. Especially if you whack a Haz preamp clone in it. I'm not sure what the differences are between the I and II apart from the finish and QMT though. And no idea if it's worth paying extra for the Euro.

I had a 4004Cii for a while. Yup, just normal rods. The thing I did though was to make sure I put the same number of (partial) turns on each rod. To be fair once I'd done the adjustment I never needed to touch the rods again, neck was very stable.

Old thread here about Rebops…

Wong will be proud of you!

He'll love it Dave. Still use mine in preference to my EBMM Ray Shorty which was a fair bit more (even used), they are awesome little basses. Us old Glamsters have found a sweet spot with Sandbergs eh?

Even those that aren't pillocks now probably were on their way up and at the top of their curve....

The very worst that can happen is you don't like it, have to send it back and then wait for your refund. But then again you could fall in love with it and job done. Is your glass half full or half empty decision. ? Good luck with whatever you decide. Dave

It’s a good question to ask. In a small venue at lower levels I’ve sometimes put the FOH speakers behind the band so that everyone just hears the main mix. This can sound really nice if the band can blend themselves and the singers aren’t struggling.

Over the last 40 years or so I've had a fair few Fender Jazz and Precisions, US, Mexican and Indonesian. I currently have none and expect that'll be the case until I hang up my gigging gloves.

Hi everyone. I'm starting to look for a Spector, really wanting that classic Spector sound (Rex Brown, Mike Starr) and a decent quality model. Which would be the models to go for? Is the Rebop any good? There seems to be quite a few for sale but I can't find much info about them. Should I spend the extra for an NS Pulse or Euro LX?

I'm trying to think of an example on the contrary... You might have a point 😆

If you want something to play out of the box, definitely. HBs are ridiculously good value for money, and are testament to what a cheap Chinese factory can produce when there's proper quality control in place. If you're a tinkerer and are looking for a mod platform, you could do worse than go down the path of the Chinese custom builder on DHGate though. I think that's the point I was trying to make.

Two of the best gigs I’ve played for onstage sound have both used side-fill for monitoring. One, a local bar that is popular on both the national and international circuit for up and coming bands has monitors mounted from the ceiling both in front and to the side of you, where they are pointing directly at your ears instead of your knees. The second was a major bike festival where the floor monitors were supplemented with two stacks of side fill stage left and right.

Nice one, I'm definitely not a fan of the relic thing as I've always tried to look after all my basses, but that looks authentic enough to me 👍🏼

....but I'd also welcome alternative solutions, although in-ear isn't an option for us 👍

Show me a band in which the singer isn't a pillock, and I'll show you an unsuccessful band

Decent point, but IMO we do Jack, we gigged without monitors last time out and both drummer and keyboard player struggled to hear the vocals and guitar (although to be clear, although they were probably the only two people in the venue if not the entire postcode who couldn't hear the guitar..... . If the set were more straight forward I think we'd get away with it, but we're doing Odelay by Beck in which a lot of changes in rhythm that also involve keyboard shenanigans and samples are cued by specific lyrics, and even in the rehearsal room - in which the sound is way easier to work with than the venue in question - the drummer is struggling to hear the vocals well.

I've been round the loop and back with plugins and FX. Installed tons of VST's and spent months experimenting, but now have very few. I work in reverse too. Used to tweak to find something interesting. Now I imagine the result and design how to achieve it, and often end up somewhere interesting in between.

Agree, it`s getting to the point where at some gigs it decimates pretty much all the other instruments.