![]() Spector's first production was the self-penned 1958 song " Don't You Worry My Little Pet", performed with his group the Teddy Bears. He definitely had a different point of view." We went for much more clarity in terms of instrumental colors, and he deliberately blended everything into a kind of mulch. Later this evolved into Spector's Wall of Sound, which Leiber and Stoller considered to be very distinct from what they were doing, stating: "Phil was the first one to use multiple drum kits, three pianos and so on. The chamber.ĭuring the late 1950s, Spector worked with Brill Building songwriters Jerry Leiber and Mike Stoller during a period when they sought a fuller sound by the use of excessive instrumentation, using up to five electric guitars and four percussionists. ![]() Then, when we sent it all into the chamber, this air effect is what was heard-all the notes jumbled and fuzzy. We were working on the transparency of music that was the Teddy Bears sound: you had a lot of air moving around, notes being played in the air but not directly into the mics. There weren't combinations of sound and, with the advent of Phil Spector, we find sound combinations, which-scientifically speaking-is a brilliant aspect of sound production." Origins According to Beach Boys leader Brian Wilson, who used the formula extensively: "In the '40s and '50s, arrangements were considered 'OK here, listen to that French horn' or 'listen to this string section now.' It was all a definite sound. The intricacies of the technique were unprecedented in the field of sound production for popular music. ![]() By 1979, the use of compression had become common on the radio, marking the trend that led to the loudness war in the 1980s. The combination of large ensembles with reverberation effects also increased the average audio power in a way that resembles compression. ![]() He characterized his methods as "a Wagnerian approach to rock & roll: little symphonies for the kids". Reverb from an echo chamber was also highlighted for additional texture. Īmong other features of the sound, Spector incorporated an array of orchestral instruments ( strings, woodwind, brass and percussion) not previously associated with youth-oriented pop music. Mixed well enough, the three instruments would then be indistinguishable to the listener. For example, Spector often duplicated a part played by an acoustic piano with an electric piano and a harpsichord. To attain the Wall of Sound, Spector's arrangements called for large ensembles (including some instruments not generally used for ensemble playing, such as electric and acoustic guitars), with multiple instruments doubling or tripling many of the parts to create a fuller, richer tone. It all fit together like a jigsaw." Ī popular misconception holds that the Wall of Sound was created simply through a maximum of noise and distortion, but the method was actually more nuanced. Spector explained in 1964: "I was looking for a sound, a sound so strong that if the material was not the greatest, the sound would carry the record. The intention was to exploit the possibilities of studio recording to create an unusually dense orchestral aesthetic that came across well through radios and jukeboxes of the era. The Wall of Sound (also called the Spector Sound) is a music production formula developed by American record producer Phil Spector at Gold Star Studios, in the 1960s, with assistance from engineer Larry Levine and the conglomerate of session musicians later known as " the Wrecking Crew". Look up wall of sound in Wiktionary, the free dictionary. ![]()
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