Bob Ezrin generally pushes the bass in his productions, just think of how well you could always hear Dennis Dunaway with the Alice Cooper Group.
Roger doesn't really like that gnarly Ric sound he trademarked on Machine Head, Made In Japan and Who Do We Think We Are (and which I loved) via a 4001 played over a Marshall amp and Marshall 4x12" cabs + Martin bins. While better and more audible than anything he had before (he thought the P Bass on In Rock inaudible and the Mustang on Fireball to lack balls), he still thought it too distorted and noisy. He said he wanted "a clean bass sound like on American records" - and that is what he has basically settled for ever since he joined Rainbow in 1979. Live he prefers a squeaky-clean active sound with his various Vigiers - it's a soundman's dream but not exactly a characterisitic sound. Ezrin has made him sound more vintagy, dark, but still not abrasive, he even got Roger to play Ezrin's studio vintage P Bass with strings unchanged since the 80ies. The same bass and set of strings you hear on Another Brick In The Wall Part 2.
