I'm 52. "Roundabout" by Yes was all over pop-radio when I was in my early teens. ~That bass sound~ has been driven into my developing musical brain with a hammer and a cold chisel, just like Geddy's sound has. I've read tons of copy in magazines, web-articles, books, The Rolling Stone, whatever since the song was released. So I think I've been exposed to just about everything that Chris (Squire) has had to say about it, as well as what many of "the experts" have said. My question is pretty straighforward (it's more of a musing I suppose) .... I wonder what the general frequency analyzer curve looks like? If the tone that Chris developed over the years after the mixing of Roundabout was done were to be sortof averaged out, I wonder what it would look like on a Freq. Analyzer graph? I've listened pretty carefully and I can hear a LOT of fret buzz and some clank in there, it artfully disappears as the rest of the instruments mix in with it. (A lot like what Geddy does. I've heard Tom Sawyer's bass track totally isolated and he also uses a lot of clank and some fret buzz as well as his equipment's distortion to get his ~complete-song tone~.) I will say that Chris uses quite a bit of fret buzz and a very aggressive picking hand to boot. Anecdotal trivia: I keep my old magazines. I have a fire-hazardish collection of old bass-related periodicals. I recently read one of Chris's interviews, he gave an interesting explanation for the Roundabout tone. He said that during that time period everyone was into using headphones a lot. In 1970 during the recording of the album "Time and a word" the producer (Tony Colton) decided that was how he was going to mix that album. But the headphone output socket of the board in that particular studio was a bit bass-light so Tony kept telling the engineer (Eddie Offord) to turn up the bass. Of course it ended up being very loud in the final mix. When the album came out all of these audiophile reviews saying what a fantastic sound Yes had made. So naturally it was considered that the bass would be loud on everything they did after that. Everyone liked it so much that the general mix and sound was developed and it became the sound of Yes during that era. (taken from an interview with Chris in the magazine Bass Guitar April/May of 2004). Cool, right?