So Larry [Levine] came over and says, "The first thing I'm going to have to show you is how we get The Wall of Sound." And the Wall of Sound was — it sounds childish now — you take the live sound, you delay it with a 7 1/2" reel of tape, then you send it to the echo chamber, then you mix it with the live sound. You know, it was just echo stuff. Instead of using what we called "tape-reverb" in those days, he was putting the tape [delay] ahead of the chamber while the live sound was going in to the chamber. It just lengthened it, that's all. If you mixed it right, you got that huge sound. The trick was to get it all rolling without getting howling feedback. It made the chamber like an instrument of its own. It was very simple. Everybody else wanted to delay the sound coming back from the chamber. Philip [Spector] was smart. He delayed the sound going into the chamber.
Bones Howe interview - Tape Op
http://tapeop.com/interviews/64/bones-howe/
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