Matches in DBpedia 2016-04 for { ?s ?p "The Wall of Sound (also called the Spector Sound) is a music production formula developed by record producer Phil Spector at Gold Star Studios during the 1960s. The intent was to create a dense aesthetic that came across well on AM radio and jukeboxes popular in the era. Working with engineers Stan Ross and Larry Levine and session musician conglomerate the Wrecking Crew, Spector typified his sound by having a number of electric and acoustic instrumentalists perform the same parts in unison, adding musical arrangements for large groups of musicians up to the size of orchestras, then recording the sound using an echo chamber.The intricacies of the technique were unprecedented in the world of sound production for popular records. Songwriter Jeff Barry, who worked extensively with Spector, described the Wall of Sound as \"by and large…a formula arrangement\" with \"four or five guitars…two basses in fifths, with the same type of line…strings…six or seven horns adding the little punches…[and] percussion instruments—the little bells, the shakers, the tambourines\". Songwriter-musician Brian Wilson of the Beach Boys, who used the formula extensively, offered his own understanding of the Wall of Sound in 1976: \"…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.\""@en }
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- Wall_of_Sound abstract "The Wall of Sound (also called the Spector Sound) is a music production formula developed by record producer Phil Spector at Gold Star Studios during the 1960s. The intent was to create a dense aesthetic that came across well on AM radio and jukeboxes popular in the era. Working with engineers Stan Ross and Larry Levine and session musician conglomerate the Wrecking Crew, Spector typified his sound by having a number of electric and acoustic instrumentalists perform the same parts in unison, adding musical arrangements for large groups of musicians up to the size of orchestras, then recording the sound using an echo chamber.The intricacies of the technique were unprecedented in the world of sound production for popular records. Songwriter Jeff Barry, who worked extensively with Spector, described the Wall of Sound as \"by and large…a formula arrangement\" with \"four or five guitars…two basses in fifths, with the same type of line…strings…six or seven horns adding the little punches…[and] percussion instruments—the little bells, the shakers, the tambourines\". Songwriter-musician Brian Wilson of the Beach Boys, who used the formula extensively, offered his own understanding of the Wall of Sound in 1976: \"…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.\"".