Phil Spector Wall Of Sound in a DAW

[osiris]

My theory was also a lot of reverb bleed on the mics, so you have this almost feedback loop of reverb. Also, mix in mono. When you open it back up to stereo magical things can happen.

[osiris]

https://mixdownmag.com.au/features/the- ... the-music/

Great article. 3 mics on the piano and they'd run each track through different effects.

[enroe]

The production-related conditions are relatively easy to meet: record the
same instrument with several microphones, layer the sound several
times, etc. ...

Much more interesting, because much more difficult to achieve: To meet
the arrangement requirements: To create a single good, elaborate
melody line. That's the challenge. And that would also have a positive
influence on many composers today.

[jamcat]

I wouldn't replicate this.
Everything is panned either hard left or hard right, with the exception of the vocal.

The only take aways from Specter's "wall of sound" for modern production would be to layer lots of sounds and use lots of reverb.

But unlike this recording, you're going to want to create unique space for each instrument within the stereo field.

This is exactly correct. Phil’s music was designed for, and sounded awesome on mono AM radio. Nowadays use thick layering to achieve the same thing while remaining in stereo.

The other thing people are overlooking is that Phil Specter was recording to 4-track machines, which was all there were at the time.

You could only get two tracks of multiple bounces out of that, and the other two tracks left over that can be re-recorded over, but not bounced down from again. I think this is why the layered sounds are all either hard left or hard right—because they were all on one of two bounce tracks, and one got panned left and the other was panned right. Vocals were probably done last on the two leftover tracks, and centre-panned.

[audiojunkie]