Phil Spector dead at 81
- Thread starter RoryN
- Start date
RoryN
You're screwed.
- Joined
- Apr 8, 2003
- Posts
- 60,783
You'd probably have to fight the other inmates for them.
Then there'd be hell toupée.
nowisthetime
The Time Is Now!
- Joined
- Jun 20, 2014
- Posts
- 11,854
His wig game was ON POINT!
Crazy, but a true musical genius. Always loved River Deep, Mountain High.
rae121452
Literotica Guru
- Joined
- Jul 18, 2017
- Posts
- 6,727
His wig game was ON POINT!
Crazy, but a true musical genius. Always loved River Deep, Mountain High.
please...tina. she'd make anyone look like a genius. and he once pulled a gun on john lennon, of all people. nuff said.
LLCox
fu247365.org
- Joined
- Dec 3, 2019
- Posts
- 9,546
ThankX Phil...
Wall of Sound - Wikipedia
https://en.wikipedia.org/wiki/Wall_of_Sound
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". 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 fit 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 often duplicated 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 combination of large ensembles with reverberation effects also increased the average audio power in a way that resembles compression. By 1979, the use of compression had become common on the radio, marking the trend that led to the loudness war in the 1980s.
Wall of Sound - Wikipedia
https://en.wikipedia.org/wiki/Wall_of_Sound
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". 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 fit 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 often duplicated 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 combination of large ensembles with reverberation effects also increased the average audio power in a way that resembles compression. By 1979, the use of compression had become common on the radio, marking the trend that led to the loudness war in the 1980s.
MaximillianMeen
Push the button Max!
- Joined
- Dec 13, 2012
- Posts
- 82
PUNTASTIC!
Biggs_Darklighter
Literotica Guru
- Joined
- Apr 9, 2019
- Posts
- 5,159
Fuck him. The world is a better place now.
nowisthetime
The Time Is Now!
- Joined
- Jun 20, 2014
- Posts
- 11,854
Philthy_Phil
I win !
- Joined
- Jan 6, 2021
- Posts
- 11,817
Wasnt he a diddler?
RoryN
You're screwed.
- Joined
- Apr 8, 2003
- Posts
- 60,783
True - she would.
Yes, he was a music industry genius. Total prick, but he changed the makeup and production of popular music forever. One of a kind.
