Bassist Adam Clayton took an approach rooted in simplicity, punch, and precise articulation. While the original score used a warm acoustic double bass played pizzicato, Clayton ran an active Fender Precision Bass through heavily saturated solid-state limiters, carving out space beneath Mullen’s transient-heavy drums.
The core tab pattern moves rapidly across the low strings, relying on muted sixteenth notes to push the pace:
<pre style="background: #f8fafc; border: 1px solid #e2e8f0; padding: 12px; border-radius: 6px; font-family: monospace; font-size: 0.9em; overflow-x: auto;">
G|------------------------------|------------------------------|
D|------------------------------|------------------------------|
A|--------1---3---------1---3---|--------1---3---------1---3---|
E|--3--3--------3--3--3---------|--3--3--------3--3--3---------|
</pre>
Harmonically, the track implies three primary chord motions: Gm7, Bb/G, and C/G, eventually slipping to an Ebmaj7 to D7alt turnaround during bridge transitions. Clayton utilizes palm-muting right at the bridge saddles. This dampens the sustain of the string, preventing the low frequencies from muddying the high-speed kick drum pattern, while allowing the sharp transient of the plectrum attack to slice cleanly through club monitors.
