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 session musician conglomerate
later known as "the Wrecking Crew". 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.
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. It
was a case of augmenting, augmenting. It all fitted together like a
jigsaw."
Critical shorthand usually reduces the Wall of Sound inaccurately to a maximum of noise. Levine recalled how "other engineers" mistakenly thought that the process was "turning up all the faders to get full saturation, but all that achieved was distortion.” 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. For example, Spector would often duplicate a part played by an acoustic piano with an electric piano and a harpsichord. Mixed well enough, the three instruments would then be indistinguishable to the listener. Additionally, Spector incorporated an array of orchestral instruments (strings, woodwind, brass and percussion) not previously associated with youth-oriented pop music. Reverb from an echo chamber was also highlighted for additional texture. He characterized his methods as "a Wagnerian approach to rock & roll: little symphonies for the kids".
The intricacies of the technique were unprecedented in the field of sound production for popular music. 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. 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." Session guitarist Barney Kessel noted how "terribly simple" it was, however, "the way [Spector] recorded and miked it, they’d diffuse it so that you couldn't pick out any one instrument. Techniques like distortion and echo were not new, but Phil came along and took these to make sounds that had not been used in the past. I thought it was ingenious.”
The Wall of Sound forms the foundation of Phil Spector's recordings, in general. However, certain records are considered to have epitomized its use. The Ronettes' version of "Sleigh Ride" used the effect heavily. Another prominent example of the Wall of Sound was "Da Doo Ron Ron" by The Crystals. Spector himself is quoted as believing his production of Ike and Tina Turner's "River Deep, Mountain High" to be the summit of his Wall of Sound productions, and this sentiment has been echoed by George Harrison, who called it "a perfect record from start to finish". Spector later produced his album All Things Must Pass (1970).
Perhaps Phil Spector's most infamous use of his production techniques was on the Let It Be album. Spector was brought in to salvage the incomplete Let It Be, an album abandoned by The Beatles, performances from which had already appeared in several bootleg versions when the sessions were still referred to as Get Back. "The Long andWinding
Road
Critical shorthand usually reduces the Wall of Sound inaccurately to a maximum of noise. Levine recalled how "other engineers" mistakenly thought that the process was "turning up all the faders to get full saturation, but all that achieved was distortion.” 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. For example, Spector would often duplicate a part played by an acoustic piano with an electric piano and a harpsichord. Mixed well enough, the three instruments would then be indistinguishable to the listener. Additionally, Spector incorporated an array of orchestral instruments (strings, woodwind, brass and percussion) not previously associated with youth-oriented pop music. Reverb from an echo chamber was also highlighted for additional texture. He characterized his methods as "a Wagnerian approach to rock & roll: little symphonies for the kids".
The intricacies of the technique were unprecedented in the field of sound production for popular music. 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. 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." Session guitarist Barney Kessel noted how "terribly simple" it was, however, "the way [Spector] recorded and miked it, they’d diffuse it so that you couldn't pick out any one instrument. Techniques like distortion and echo were not new, but Phil came along and took these to make sounds that had not been used in the past. I thought it was ingenious.”
The Wall of Sound forms the foundation of Phil Spector's recordings, in general. However, certain records are considered to have epitomized its use. The Ronettes' version of "Sleigh Ride" used the effect heavily. Another prominent example of the Wall of Sound was "Da Doo Ron Ron" by The Crystals. Spector himself is quoted as believing his production of Ike and Tina Turner's "River Deep, Mountain High" to be the summit of his Wall of Sound productions, and this sentiment has been echoed by George Harrison, who called it "a perfect record from start to finish". Spector later produced his album All Things Must Pass (1970).
Perhaps Phil Spector's most infamous use of his production techniques was on the Let It Be album. Spector was brought in to salvage the incomplete Let It Be, an album abandoned by The Beatles, performances from which had already appeared in several bootleg versions when the sessions were still referred to as Get Back. "The Long and
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