She used EQ to make it sound so pleasant :p

She’s pleasant to look at.

I agree with you but I think the magic ingredient is the cute european accept. Overall, perfect combination, cute face, cute voice and very good and informative content.

@@airbornemike380 Israeli, not European

@@MrImportantpersonong I thought of the exact same thing

cap

Lol nah

@@Gay-rh7yz 😂

Angry incel alert.

WELL SAID!

Yep, already in the works :)

@kiyonexus ohhh someone wasn't paying attention to the video ;)

Adam Neely loves making fun of that quite common mistake :D

The "Wall of Sound" is a studio technique that Phil Spector used to use, and it's not just merely a result of EQing frequencies. Spector achieved that sound first and foremost in the recording process. Whatever parts there were in a song, he wouldn't just have one instrument record that part - it would be a bunch of instruments. Each saxophone line, for example, would actually be played by multiple saxophones, usually with one sax turned up above the others to make it the prominent lead, but the other ones filled out the sound in the background. He'd also arrange a bunch of small filler parts for instruments to play - extra percussion lines, little background guitar parts, etc. - and record all of that. Then, he'd take all this stuff and EQ/volume level/compress the different parts to all fit together instead of sounding like a chaotic swirl of sound. The end result was songs that sounded huge, powerful, like a "wall of sound" hitting you because it was probably 40 or 50 different instrument parts hammering the melodies home, like an electric orchestra. Probably the best-known and most helpful example to listen to is "Born to Run" by Bruce Springsteen. Hope that helps!

@@DavidCasper It was also designed for limited radio frequencies at the time..

Can’t believe no one mentioned his use of reverb yet. ‘In the 1960s, Spector usually worked at the Gold Star Studios in Los Angeles because of its exceptional echo chambers, essential to the Wall of Sound technique. Microphones in the recording studio captured the sound, which was then transmitted to an echo chamber-a basement room outfitted with speakers and microphones. The signal from the studio would be played through the speakers and would reverberate around the room, being picked up by the microphones. The echo-laden sound was then channeled back to the control room, where it was transferred to tape. The natural reverberation and echo from the hard walls of the room gave his productions their distinctive quality and resulted in a rich and complex sound when played on AM radio, with an impressive depth rarely heard in mono recordings.’

How's it going?