List of SFX used on Dark Side?

[LostSoul1998]

Hey, so I figured I could ask here (please tell me if this isn't the right category to post this in, though!)

I've recently found myself listening to the Dark Side of The Moon a lot, and I wondered: do we know what the sound effects are on the album? I mean, I know the obvious ones like the interviews or the Money loop, but, for example, what's that noise on Speak To Me that fades into Breathe?

Any and all answers are appreciated

[j.vavala513@gmail.com]

I know there is a backwards piano as part of the swell that climaxes at the change of songs. I would imagine there are also backwards cymbal washes as well. And then the laughing, and various other sfx.

if you think of a piano chord being struck…obviously when you strike that note will be the loudest part of the chord, and it will slowly fade and lose volume until you can no longer hear it. By flipping the tape (or just using software these days) and reversing that sound you hear the decaying note build in volume until it goes backwards to the point the note is as played. Obviously this also applies to cymbals as well. I’ve always wondered how they made manny sounds r that they used. A good deal of the time is a new or novel approach to cutting edge recording or synthesizer technology., though the guitar certainly does its fair share as well. Of course you still have the clocks and Nick Mason recording a car driving in circles in a parking lot. But stuff like the heart beat is a treated drum, and the clock ticking is the muted higher strings of Roger’s bass as he had done since the days of Interstellar Overdrive. The EMS VCS3 is responsible for much of On the Run.

[LostSoul1998]

Nick Mason recording a car driving in circles in a parking lot. But stuff like the heart beat is a treated drum, and the clock ticking is the muted higher strings of Roger’s bass as he had done since the days of Interstellar Overdrive.

Woah, never would have guessed the clock ticks to be from a bass... The More You Know

Also never noticed tire screeches of a car doing donuts, what song(s) does that sfx appear in?

[j.vavala513@gmail.com]

I apologize, I believe I was thinking of the beginning of “Run Like Hell” has the screeching tires and
Whatnot.

[Rupert Pupkin]

Perhaps it's documented somewhere ? the coin-intro was something made by Roger Waters recording it on tape for "Money", creating a loop (like "Tomorrow Never Knows" which pioneer this technique (the seagull sound on Tomorrow Never Knows being not a reversed-guitar as I thought but someone laughing)
Wasn't it explain more insight in the BBC Producer's Cut radio show ? I remember that for Shine On You Crazy Diamond they explained and make us discovered how the drums were recorded (some parts of the drums are reversed/played backwards) (so perhaps they already did this technique for Dark Side of The Moon), I also remember the sound of a matchbox which is buried in the mix of Shine On You Crazy Diamond.
I'm almost sure that most of the sound effects here were created and recorded by the Floyd and were not from a BBC Library of sound effects (contrary to some previous albums).

[j.vavala513@gmail.com]

Nick Mason rather painstakingly recorded much of the Sfx for the Wall album. I recall hearing that the phone call from “Mr Floyd” to “Mrs. Floyd” was a phone operator who didn’t know they were recording and believed it to be a real call, so it’s a real reaction. Plus smashed tv sets, screeching tires (as I have mentioned too much already), but James Guthrie recorded the children for ABITWpt2.

[j.vavala513@gmail.com]

The clocks at the beginning of time were recorded by Alan Parsons for a demonstration of a new quad sound system.

I believe that a large part of “On the Run” is one run through with all the VCS3 filtering and craziness done in one take more or less.

I seem to recall Chris Thomas (maybe) talking about walking/running about the studio for the foot steps that feature prominently in “on the run”.

[JerryIsBored]

The running footsteps were actually created by the tape operator, Peter James. Apparently, while working on the mix late one night, Alan Parsons thought it would be a good idea to add FX of someone running around, so he sent Peter into the echo chamber at Abbey Road and had him run until he couldn't run anymore. When the band came back the next day, they were quite amused, and so they kept it in the mix.

[j.vavala513@gmail.com]

Thanks for the correction, I’m getting rusty apparently.