Editing The Dark Side of the Moon (section)

== Recording ==
[[File:Abbey Road Studios 2012-03-03.jpg|thumb|right|alt=Photograph|[[Abbey Road Studios]]]]
''The Dark Side of the Moon'' was recorded at EMI Studios (now [[Abbey Road Studios]]) in approximately 60 days<ref name="Alan Parsons">{{cite news |title=High Fidelity All Star |author=Alan Parsons |work=[[Mojo (magazine)|Mojo]] |date=February 2023}}</ref> between 31 May 1972 and 9 February 1973.  Pink Floyd were assigned the staff engineer [[Alan Parsons]], who had worked as the assistant tape operator on their fifth album, ''[[Atom Heart Mother]]'' (1970), and had gained experience as a recording engineer on [[the Beatles]] albums ''[[Abbey Road]]'' and ''[[Let It Be (album)|Let It Be]]''.<ref>{{Harvnb|Mason|2005|p=171}}</ref><ref name="anotherphase">{{cite magazine |title=Another Phase of the Moon |page=1 |url=http://www.soundandvisionmag.com/article/another-phase-moon |last=Richardson |first=Ken |magazine=[[Sound & Vision (magazine)|Sound & Vision]] |date=May 2003 | access-date = 20 March 2012 | archive-date = 14 March 2012 | archive-url = https://web.archive.org/web/20120314024907/http://www.soundandvisionmag.com/article/another-phase-moon | url-status = dead}}</ref> The ''Dark Side of the Moon'' sessions made use of [[Recording studio as an instrument|advanced studio techniques]], as the studio was capable of [[16-track]] mixes which offered greater flexibility than the eight- or four-track mixes Pink Floyd had previously worked with, although the band often used so many tracks that second-generation copies were still needed to make more space available on the tape.<ref name="Harrispp101102">{{Harvnb|Harris|2006|pp=101–102}}</ref> The mix supervisor [[Chris Thomas (record producer)|Chris Thomas]] recalled later, "There were only two or three tracks of drums when we came to mixing it. Depending on the song, there would be one or two tracks of guitar, and these would include the solo and the rhythm guitar parts. One track for keyboard, one track for bass, and one or two sound effects tracks. They had been very, very efficient in the way they'd worked."<ref>{{cite magazine |first=Mark |last=Cunningham |title=The other side of the moon |magazine=Making Music |date=January 1995 |page=18}}</ref>

The first track recorded was "Us and Them" on 31 May, followed seven days later by "Money".<ref name="Guesdon" /> For "Money", Waters had created effects [[Tape loop|loops]] in an unusual {{music|time|7|4}} time signature<ref>{{usurped|1=[https://web.archive.org/web/20081205043240/http://www.pinkfloydonline.com/interviews/davidgilmour/int79/ ''Guitar World'', February 1993]}}. Retrieved from {{usurped|1=[https://web.archive.org/web/20081205043240/http://www.pinkfloydonline.com/interviews/davidgilmour/int79/ ''Pink Floyd Online'']}}  on 3 November 2008.</ref> from recordings of money-related objects, including coins thrown into a mixing bowl in his wife's pottery studio. These were re-recorded to take advantage of the band's decision to create a quadraphonic mix of the album, although Parsons later expressed dissatisfaction with the result of this mix, which he attributed to a lack of time and a shortage of multitrack tape recorders.<ref name="anotherphase" />

"Time" and "The Great Gig in the Sky" were recorded next, followed by a two-month break, during which the band spent time with their families and prepared for a tour of the United States.<ref>{{Harvnb|Harris|2006|pp=103–108}}</ref> The recording sessions were frequently interrupted: Waters, a supporter of [[Arsenal F.C.]], would break to see his team compete, and the band would occasionally stop to watch ''[[Monty Python's Flying Circus]]'' on television while Parsons worked on the tracks.<ref name="Harrispp101102" /> Gilmour recalled, "...but when we were on a roll, we would get on."<ref>{{cite web |title=There is no dark side of the moon, really&nbsp;... |url=http://www.theage.com.au/articles/2003/06/23/1056220536301.html |last=Waldon |first=Steve |work=[[The Age]] |date=24 June 2003 |access-date=19 March 2009 |archive-date=7 March 2012 |archive-url=https://web.archive.org/web/20120307082837/http://www.theage.com.au/articles/2003/06/23/1056220536301.html |url-status=live }}</ref><ref name="parsons">{{cite magazine |last=Harris |first=John |title='Dark Side' at 30: Alan Parsons |magazine=Rolling Stone |url=https://www.rollingstone.com/artists/pinkfloyd/articles/story/5937469/dark_side_at_30_alan_parsons |date=12 March 2003 |access-date=31 May 2010 | url-status= dead |archive-url = https://web.archive.org/web/20080624053706/http://www.rollingstone.com/artists/pinkfloyd/articles/story/5937469/dark_side_at_30_alan_parsons |archive-date = 24 June 2008}}</ref>

[[File:EMS VCS 3.jpg|thumb|upright|right|alt=Photograph|The [[EMS VCS 3]] (Putney) synthesiser]]
After returning from the US in January 1973, they recorded "Brain Damage", "Eclipse", "Any Colour You Like" and "On the Run", and fine-tuned work from previous sessions. Four female vocalists were assembled to sing on "Brain Damage", "Eclipse" and "Time", and the saxophonist [[Dick Parry]] was booked to play on "Us and Them" and "Money". With the director Adrian Maben, the band also filmed studio footage for ''[[Pink Floyd: Live at Pompeii]]''.<ref>{{Harvnb|Schaffner|1991|p=158}}</ref> The album was completed and signed off at Abbey Road on 9 February 1973.<ref>{{cite web |url=https://www.abbeyroad.com/news/the-dark-side-of-the-moon-studio-documents-3299 |title=The Dark Side of the Moon Studio Documents |access-date=12 September 2023 |archive-date=31 October 2023 |archive-url=https://web.archive.org/web/20231031123521/https://www.abbeyroad.com/news/the-dark-side-of-the-moon-studio-documents-3299 |url-status=live }}</ref> Gilmour recalled the band listening to the finished album for the first time as "a moment of great joy and of satisfaction and the feeling of achievement that we'd really gone that extra mile".<ref>{{Cite news |last=Edgers |first=Geoff |date=5 September 2024 |title=David Gilmour doesn't fear a future as a Pink Floyd hologram |url=https://www.washingtonpost.com/entertainment/music/2024/09/06/david-gilmour-pink-floyd-new-album/ |access-date=7 September 2024 |newspaper=[[Washington Post]] |language=en-US |issn=0190-8286 |archive-date=7 September 2024 |archive-url=https://web.archive.org/web/20240907194321/https://www.washingtonpost.com/entertainment/music/2024/09/06/david-gilmour-pink-floyd-new-album/ |url-status=live }}</ref>

=== Instrumentation ===
The album features metronomic sound effects during "Speak to Me" and tape loops for the opening of "Money". Mason created a rough version of "Speak to Me" at his home before completing it in the studio. The track serves as an [[overture]] and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".{{refn|Mason is responsible for most of the sound effects used on Pink Floyd's discography.|group="nb"}}<ref name="Schaffnerp164" /><ref>{{Harvnb|Mason|2005|p=172}}</ref>

The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-[[beat (music)|beat]] effects loop. This was later adapted to four tracks to create a "walk around the room" effect in quadraphonic presentations of the album.<ref>{{Harvnb|Harris|2006|pp=104–105}}</ref> At times, the degree of sonic experimentation on the album required the studio engineers and all four band members to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs, particularly "On the Run".<ref name="makingof" />

Along with conventional rock band instrumentation, Pink Floyd introduced prominent synthesisers to their sound. The band experimented with an [[EMS VCS 3]] on "Brain Damage" and "Any Colour You Like", and a [[Synthi A]] on "Time" and "On the Run".<!--VCS 3 and Synthi A are technically the same, only using different housings--> They also devised and recorded unconventional sounds, such as assistant engineer Peter James<ref name="Alan Parsons"/> running around the studio's echo chamber during "On the Run",<ref>{{Harvnb|Harris|2006|pp=118–120}}</ref> and a specially treated [[bass drum]] made to simulate a human [[Heart rate|heartbeat]] during "Speak to Me", "On the Run", "Time" and "Eclipse". This heartbeat is most prominent in the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run".<ref name="makingof" /> "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of [[Rototom]]s. The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop.<ref name="Schaffnerp164">{{Harvnb|Schaffner|1991|p=164}}</ref> Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track.<ref>{{Harvnb|Mason|2005|p=173}}</ref>
{{listen | help = no | filename = Great gig in the sky clare torry richard wright.ogg | title="The Great Gig in the Sky" | description="The Great Gig in the Sky" features Richard Wright's piano composition accompanied by improvised vocals from [[Clare Torry]]. This selection is taken from about two minutes forty seconds onwards. | format = [[Ogg]] | filename2 = Dark side of the moon money sample wikipedia.ogg | title2="Money" | description2="Money" makes use of tape loops and a {{music|time|7|4}} [[time signature]]. Although similar to the original demo track recorded by Waters, it is considerably more rock-orientated. This is an excerpt from the start of the track.| format2 = [[Ogg]]}}

=== Voices ===
Several tracks, including "Us and Them" and "Time", demonstrated Wright's and Gilmour's ability to harmonise their similar-sounding voices, and the engineer Alan Parsons used techniques such as [[double tracking]] vocals and guitars, which allowed Gilmour to harmonise with himself. Prominent use was also made of [[flanging]] and phase-shifting on vocals and instruments, odd trickery with [[reverb effect|reverb]],<ref name="makingof" /> and the panning of sounds between channels, most notably in the [[quadraphonic]] mix of "On the Run", where the sound of the [[Hammond organ#Console organs|Hammond B3]] organ played through a [[Leslie speaker]] swirls around the listener.<ref name="Povey 2007 161">{{Harvnb|Povey|2007|p=161}}</ref>

[[File:Clare torry.png|left|thumb|upright|alt=A middle-aged woman standing in a garden|Clare Torry in 2003]]

Wright's "The Great Gig in the Sky" features [[Clare Torry]], a session singer and songwriter and a regular at Abbey Road. Parsons liked her voice, and when the band decided to use a female vocalist he suggested that she could sing on the track. The band explained the album concept to her, but they were unable to tell her exactly what she should do, and Gilmour, who was in charge of the session, asked her to try to express emotions rather than sing words.<ref name=mojo>{{cite news |title=The Art of Noise |author=Mark Blake |work=[[Mojo (magazine)|Mojo]] |date=February 2023}}</ref> In a few takes on a Sunday night, Torry improvised a wordless melody to accompany Wright's emotive piano solo. She was initially embarrassed by her exuberance in the recording booth and wanted to apologise to the band, who were impressed with her performance but did not tell her so.<ref name="Blakepp198199">{{Harvnb|Blake|2008|pp=198–199}}</ref><ref>{{Harvnb|Mason|2005|p=174}}</ref> Her takes were edited to produce the version used on the track.<ref name=gilmour /> She left the studio under the impression that her vocals would not make the final cut,<ref name=Harris>{{cite web |url=http://www.brain-damage.co.uk/other-related-interviews/clare-torry-october-2005-brain-damage-excl-2.html |work=brain-damage.co.uk |title=Clare Torry – Brain Damage – Interview |author=John Harris |date=October 2005 |access-date=18 March 2023 |archive-date=17 January 2017 |archive-url=https://web.archive.org/web/20170117121640/http://www.brain-damage.co.uk/other-related-interviews/clare-torry-october-2005-brain-damage-excl-2.html |url-status=live }}</ref> and she only became aware that she had been included in the final mix when she picked up the album at a local record store and saw her name in the credits.<ref name=Harris /> For her contribution she was paid her standard session fee<ref name="Povey 2007 161" /> of £30,<ref>{{cite web |url=https://www.theguardian.com/music/musicblog/2014/oct/21/little-known-musicians-famous-moments-baker-street |title=The little-known musicians behind some of music's most famous moments |last=Simpson |first=Dave |date=21 October 2014 |website=[[The Guardian]] |access-date=3 June 2021 |archive-date=4 April 2017 |archive-url=https://web.archive.org/web/20170404045652/https://www.theguardian.com/music/musicblog/2014/oct/21/little-known-musicians-famous-moments-baker-street |url-status=live }}</ref> equivalent to about £{{Formatprice|{{Inflation|UK|30|1972|r=-1}}|0}} in {{CURRENTYEAR}}.<ref name="Blakepp198199" />{{Inflation-fn|UK}}

In 2004, Torry sued [[EMI]] and Pink Floyd for 50% of the songwriting [[royalties]], arguing that her contribution to "The Great Gig in the Sky" was substantial enough to be considered co-authorship. The case was settled out of court for an undisclosed sum, with all post-2005 pressings crediting Wright and Torry jointly.<ref>{{cite book |url=https://books.google.com/books?id=9Gv5AgAAQBAJ&pg=PA350 |page=350 |title=Music: The Business |edition=6th |author=Ann Harrison |publisher=Random House |date=3 July 2014 |isbn=978-0-7535-5071-7}}</ref><ref name="Poveyp345">{{Harvnb|Povey|2007|p=345}}</ref>

In the final week of recording,<ref name="Alan Parsons"/> Waters asked staff and others at Abbey Road to respond to questions printed on [[flashcard]]s and some of their replies were edited into the final mix. The interviewees were placed in front of a microphone in a darkened Studio 3<ref>{{Harvnb|Mason|2005|p=175}}</ref> and shown such questions as "What's your favourite colour?" and "What's your favourite food?", before moving on to themes central to the album, including those of madness, violence, and death. Questions such as "When was the last time you were violent?", followed immediately by "Were you in the right?", were answered in the order they were presented.<ref name="makingof" />

[[Roadie]] Roger "The Hat" Manifold was recorded in a conventional sit-down interview. Waters asked him about a violent encounter he had had with a motorist, and Manifold replied "...&nbsp;give 'em a quick, short, sharp shock&nbsp;..." Asked about death, he responded, "Live for today, gone tomorrow, that's me&nbsp;..."<ref>{{Harvnb|Schaffner|1991|p=165}}</ref> Another roadie, Chris Adamson, recorded the words that open the album: "I've been mad for fucking years. Absolutely years. Over the edge... It's working with bands that does it."<ref>{{Harvnb|Harris|2006|p=133}}</ref>

The band's road manager [[Peter Watts (road manager)|Peter Watts]] (father of the actress [[Naomi Watts]])<ref>{{cite web |title=How Naomi told her mum about Oscar |url=https://www.smh.com.au/articles/2004/02/22/1077384633676.html |last=Sams |first=Christine |work=[[The Sydney Morning Herald]] |date=23 February 2004 |access-date=17 March 2009 |archive-date=2 October 2008 |archive-url=https://web.archive.org/web/20081002085309/http://www.smh.com.au/articles/2004/02/22/1077384633676.html |url-status=live }}</ref> contributed the repeated laughter during "Brain Damage" and "Speak to Me", as  well as the line "I can't think of anything to say". His second wife, Patricia "Puddie" Watts (now Patricia Gleason), was responsible for the line about the "geezer" who was "cruisin' for a bruisin{{'"}}, used in the segue between "Money" and "Us and Them", and the words "I never said I was frightened of dying" halfway through "The Great Gig in the Sky".<ref>{{Cite magazine |last1=Sutcliffe |first1=Phil |last2=Henderson |first2=Peter |title=The True Story of Dark Side of the Moon |magazine=[[Mojo (magazine)|Mojo]] |issue=52 |date=March 1998 <!-- |url=https://pfco.neptunepinkfloyd.co.uk/band/interviews/art-rev/art-mojo98.html is probably a copyvio, so leaving it as a comment -->}}</ref>

Several of the responses – "I am not frightened of dying. Any time will do, I don't mind. Why should I be frightened of dying? There's no reason for it&nbsp; ... you've got to go sometime"; "I know I've been mad, I've always been mad, like most of us have"; and the closing "There is no dark side in the moon really. Matter of fact, it's all dark" – came from the studios' Irish doorman, Gerry O'Driscoll.<ref>{{Harvnb|Harris|2006|pp=127–134}}</ref><ref name="Alan Parsons"/> "The bit you don't hear," said Parsons, "is that, after that, he said, 'The only thing that makes it look alight is the sun.' The band were too overjoyed with his first line, and it would have been an anticlimax to continue."<ref>{{cite magazine |first=Mark |last=Cunningham |title=The other side of the moon |magazine=Making Music |date=January 1995 |page=19}}</ref>

[[Paul McCartney|Paul]] and [[Linda McCartney]] were interviewed, but their answers – judged to be "trying too hard to be funny" – were not used.<ref>{{Cite news |title=10 things you probably didn't know about Pink Floyd |url=https://www.thetimes.com/sunday-times-rich-list/profile/article/10-things-you-probably-didnt-know-about-pink-floyd-h2d8zv8d863 |author=Mark Blake<!-- this style to avoid problems with harvnb Blake --> |date=28 October 2008 |work=[[The Times]] |url-access=subscription |access-date=17 March 2009}}</ref> The McCartneys' [[Wings (band)|Wings]] bandmate [[Henry McCullough]] contributed the line, "I don't know, I was really drunk at the time."<ref>{{Cite news |title=Rock: Henry McCullough |url=https://www.thetimes.com/sunday-times-rich-list/profile/article/rock-henry-mccullough-b3gqk905cvs |last=Price |first=Stephen |date=27 August 2006 |newspaper=[[The Times]] |url-access=subscription |access-date=16 March 2009 |archive-date=2 December 2020 |archive-url=https://web.archive.org/web/20201202002054/https://www.thetimes.co.uk/article/rock-henry-mccullough-b3gqk905cvs |url-status=live }}</ref>

=== Completion ===
When the flashcard sessions were finished, producer [[Chris Thomas (record producer)|Chris Thomas]] was hired to provide "a fresh pair of ears" for the final mix. Thomas's background was in music rather than engineering; he had worked with Beatles producer [[George Martin]] and was an acquaintance of Pink Floyd's manager, [[Steve O'Rourke]].<ref>{{Harvnb|Mason|2005|p=177}}</ref> The members of the band were said to have disagreed over the mix, with Waters and Mason preferring a "dry" and "clean" mix that made more use of the non-musical elements and Gilmour and Wright preferring a subtler and more "echoey" mix.<ref>{{Harvnb|Mason|2005|p=178}}</ref> Thomas said later, "There was no difference in opinion between them, I don't remember Roger once saying that he wanted less echo. In fact, there were never any hints that they were later going to fall out. It was a very creative atmosphere. A lot of fun."<ref>{{Harvnb|Harris|2006|p=135}}</ref>

Thomas's intervention resulted in a compromise between Waters and Gilmour, who were both satisfied with the result. Thomas was responsible for significant changes, including the perfect timing of the echo used on "Us and Them". He was also present for the recording of "The Great Gig in the Sky".<ref>{{Harvnb|Harris|2006|pp=134–140}}</ref> Waters said in an interview in 2006, when asked if he felt his goals had been accomplished in the studio:

{{Blockquote|When the record was finished I took a reel-to-reel copy home with me and I remember playing it for my wife then, and I remember her bursting into tears when it was finished. And I thought, "This has obviously struck a chord somewhere", and I was kinda pleased by that.  You know when you've done something, certainly if you create a piece of music, you then hear it with fresh ears when you play it for somebody else.  And at that point I thought to myself, "Wow, this is a pretty complete piece of work", and I had every confidence that people would respond to it.<ref name="BB-20060505" />}}