Some truth to that, but Clarke is not just a slapping one-trick-pony. He has an exquisite choice of notes too. But, yes, the percussive effect of slapping tends to let melody take a back seat, also because it tends to be root note-, fifths-, ninths- and octave-centric which won't exactly take you into Swan Lake or Paul McCartney melody territory.
I've left that ultra-twangy tone behind too. I used to die for it - fresh roundwounds just out of the package, active EMG pups, treble and bass all the way up, mids subdued, picking close to the bridge, ultra-clean sound ... clickee-de-clack ...
One day I woke up and didn't want that anymore (though it was an attention-getter and bandmates liked it too because they could hear everything clearly), not much later I became interested in Gibson basses. But people from way back still sometimes say today: "
Hey Uwe, play something with your old sound." - which always has me groaning!
