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wall of sound
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 its 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…() percussion instruments—the little bells, the shakers, the tambourines".〔(【引用サイトリンク】accessdate=2009-06-16 )〕 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."
== Origins ==
During the mid-1950s, Spector worked with Brill Building songwriters Jerry Leiber and Mike Stoller during a period where they sought a fuller sound by the use of excessive instrumentation, using up to five electric guitars and four percussionists. This was later to evolve into Spector's Wall of Sound, which Leiber and Stoller consider 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. We went for much more clarity in terms of instrumental colors, and he deliberately blended everything into a kind of mulch. He definitely had a different point of view." Spector's first production was the self-penned 1957 single "Don't You Worry My Little Pet", performed with his group the Teddy Bears. The recording was achieved by taking a demo tape of the song and playing it back over the studio's speaker system in order to overdub another performance over it. The end product was a cacophony, with stacked harmony vocals that could not be heard clearly. He would spend the next several years further developing this unorthodox method of recording.
In the 1960s, Spector usually worked at Gold Star Studios in Los Angeles because of its exceptional echo chambers. He also typically worked with such audio engineers as Larry Levine and the conglomerate of session musicians who later became known as The Wrecking Crew. The sum of his efforts would be officially designated "Phil Spector's Wall of Sound" by Andrew Loog Oldham, who coined the term within advertisements for the Righteous Brothers 1964 single "You've Lost That Lovin' Feeling".
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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