“Working with Pink Floyd is an engineer’s dream, so I tried to take advantage of the situation,” says studio wizard Alan Parsons. “Dark Side of the Moon came at a crucial stage in my career, so I was highly motivated.”
Parsons’ attention to detail obviously paid off: He won a Grammy award for the best engineered album of 1973, and DSOTM went on to ride the charts for a record-breaking 14 years.
But while Parsons takes credit for many of Moon’s sonic innovations, he says the massive guitar sound on the album can be attributed to only one man: David Gilmour. “David was very much in control of his sound system,” says Parsons. “We rarely added effects to his guitar in the control room. Generally speaking, the sound on the album is pretty much what came out of his amp. As I recall, he used a Hiwatt stack, a Fuzz Face and an Italian-made delay unit called a Binson Echorec.”
Gilmour confirms: “For most of my solos, I usually use a fuzz box, a delay and a bright eq setting. But to get that kind of singing sustain, you really need to play loud—at or near the feedback threshold.”