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bass guitar from “roundabout” by yes | ToneDB

roundabout

yes

bass guitar

95% ai confidence

Tone Profile

A bright, trebly, and aggressive bass tone with a distinct pick attack and piano-like clarity, cutting through the mix with significant midrange growl and harmonic richness.

Production Credits

Producer: Eddy Offord; Yes

Engineer: Eddy Offord

Recorded at: Advision Studios (London)

Signal Chain

Instrument: 1964 Rickenbacker RM1999 (4001S model with stereo 'Ric-O-Sound' wiring)

Amp: Marshall 100W Super Lead (JMP variant for treble/distortion)

Microphone: Neumann U67 (on the Marshall cabinet)

Processing: Maestro FZ-1S Fuzz-Tone (used very selectively, not on the main riff), Studio EQ (e.g., Helios console EQ for shaping), Studio Compression (e.g., Urei 1176 for dynamic control)

Other: Played with a Herco heavy pick. Crucial bi-amping setup: The Rickenbacker's 'Ric-O-Sound' stereo output was used. The treble pickup signal fed the Marshall 100W Super Lead. The bass pickup signal fed a separate, clean, powerful amplifier (e.g., Sunn Coliseum PA head, or another Marshall head set for clean low-end). Both amp signals were blended. Fresh Rotosound RS66LD Swing Bass roundwound strings were essential for the bright, metallic tone.

Recording Notes

  • Recorded in 1971 at Advision Studios, London.
  • Produced by Yes and Eddie Offord.
  • The bi-amped setup was a signature part of Chris Squire's sound, meticulously captured by Offord.
  • The bass was a prominent feature in the mix, often treated with the same importance as lead instruments.
  • Extensive use of fresh Rotosound roundwound strings contributed significantly to the brightness.

Recreation Tips

  • Use a Rickenbacker-style bass (preferably with stereo outputs if bi-amping) and fresh Rotosound RS66LD strings.
  • Employ a hard pick (e.g., Herco Flex 75) and play aggressively, emphasizing downstrokes.
  • Simulate bi-amping: split your signal to two amps. One amp (Marshall Plexi style) should be set for a bright, slightly overdriven tone. The other amp should be a clean, high-headroom bass amp for solid lows. Blend these signals.
  • Alternatively, use a pedal designed for bi-amping simulation (like the Tech 21 YYZ) or an amp modeler with dual amp capabilities.
  • Boost upper-midrange (800Hz-2kHz) and treble frequencies. Don't scoop the mids.
  • Focus on the bridge pickup or a blend favoring the bridge pickup for maximum treble and attack.
  • A subtle touch of compression can help even out dynamics.

Sources

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