Work then shifted to Studio 2, from June 6 to 10, where the basic tracks for “Money” were recorded on June 7 and “Time” the following day (Gilmour’s use of a Kepex processor for tremolo can be heard on “Money”). Parsons had worked with the Beatles by this point but had also served as assistant tape operator on Atom Heart Mother, so he knew the guys well. The first song worked on was “Us and Them,” with the band sticking with Studio 3 for three days. Typically the band worked from 2:30 in the afternoon until midnight. Work on The Dark Side of the Moon began at Studio 3 on June 1, 1972, after the band had returned from dates in West Germany and the Netherlands, the culmination of about 40 shows playing the whole album live. second-generation basic/backing tracks plus overdubs. The mix was conducted off the second-generation recordings, i.e. Alan Parsons, engineer on the project, is emphatic, however, that the making of the record was essentially a 16-track production (“24 channels into 16 groups”), with many of the tracks being second generation because the band had run out of tracking room and had to consolidate and bounce first-generation tracks (the “Money” loop alone took up four tracks). The new console featured 24 microphone inputs and eight tape outputs, which came in handy, given the complexity of the sound effects the guys wanted on the album. Nearby, both AIR and Morgan had 16-track facilities, which Abbey Road acquired in time for Dark Side.įor a mixing board, Abbey Road now had an EMI TG12345, its first solid-state, replacing the REDD. Significantly, the band felt they had to move on from Abbey Road to finish “Echoes” (comprising all of side two of Meddle) because, at the time, it was limited to eight-track recording.
Pink Floyd had recorded there regularly over the years (although not exclusively), with the most significant recent visits being for 1970’s Atom Heart Mother and portions of 1971’s Meddle. Inextricably linked with EMI, Abbey Road Studios had at times been state of the art and sometimes not.
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