Record producers Hugo and Luigi also did a series of recordings under the name 'Cascading Voices' and later 'Cascading Strings.' In addition to the 'echo' effect, the violins achieved a 'cascading' effect by performing runs or arpeggios over melodies in the lower strings. The violinists had to maintain intonation in the high registers, so to give warmth and richness to the music the violas were voiced very close to the cellos. If the various sections played at different volumes, the effect would be too dissonant and pulsing. To avoid playing in unison required intense concentration. Multiple string sections would play the same notes, at the same volume, but slightly behind each other. Ronnie had produced something which nobody had ever produced before.

My colleagues and I thought we had heard everything from symphonies to foxtrots, and suddenly there was this new sound. It sounded as though you had left something behind – an echo. You have a chord structure and chords move along together and what Binge would do, he would take one note away from the chord and shift it into the next bar and it would create a different sound. It’s too good, as a rule: musicians’ music.' Soloist Max Jaffa recalled that nobody had expected the sound 'it came as a complete surprise.' In a 1996 radio interview, violinist Sidney Sax recalled: Well, when an orchestra is delighted, I start worrying. 'When we played it, it really sounded beautiful and the whole of the orchestra was delighted with it. When given the arrangement for what would become their first hit, 'Charmaine,' Mantovani had misgivings. Decca invested in the expensive idea, which Mantovani called 'a mass of strings.' Work began on an album to be released in 1952, which would make Mantovani famous worldwide. He now suggested that they dramatically increase the size of the string section of the orchestra. Binge, a musician in Mantovani's orchestra, had already been experimenting with arrangements that might replicate the long reverberating sound of composer Claudio Monteverdi, who had written works to take advantage of the spatial properties of the acoustic in large cathedrals. In 1951, record label Decca wanted Mantovani's 12-piece orchestra to produce something that would rival the big American concert orchestras. The cascading strings effect was first developed by British composer/arranger Ronald Binge in 1951 for Annunzio Paolo Mantovani and his Mantovani Orchestra, with whom the sound would be most associated. with the style of easy listening known as beautiful music. Cascading strings (also sometimes known as 'tumbling strings') is an arrangement technique of British light music.

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