<P> Several tracks, including "Us and Them" and "Time", demonstrated Richard Wright's and David Gilmour's ability to harmonise their voices . In the 2003 Classic Albums documentary The Making of The Dark Side of the Moon, Waters attributed this to the fact that their voices sounded extremely similar . To take advantage of this, Parsons utilised studio techniques such as the double tracking of vocals and guitars, which allowed Gilmour to harmonise with himself . The engineer also made prominent use of flanging and phase shifting effects on vocals and instruments, odd trickery with reverb, and the panning of sounds between channels (most notable in the quadraphonic mix of "On the Run", when the sound of the Hammond B3 organ played through a Leslie speaker rapidly swirls around the listener). </P> <P> The album's credits include Clare Torry, a session singer and songwriter, and a regular at Abbey Road . She had worked on pop material and numerous cover albums, and after hearing one of those albums Parsons invited her to the studio to sing on Wright's composition "The Great Gig in the Sky". She declined this invitation as she wanted to watch Chuck Berry perform at the Hammersmith Odeon, but arranged to come in on the following Sunday . The band explained the concept behind the album, but were unable to tell her exactly what she should do . Gilmour was in charge of the session, and in a few short 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--only to find them delighted with her performance . Her takes were then selectively edited to produce the version used on the track . For her contribution she was paid £ 30, equivalent to about £ 360 in 2018, but in 2004 she sued EMI and Pink Floyd for songwriting royalties, arguing that her contribution to "The Great Gig in the Sky" was substantial enough to be considered co-authorship . The High Court agreed with her, but the terms of the settlement were not disclosed . All post-2005 pressings therefore credit Wright and Torry jointly for the song . </P> <P> Snippets of voices between and over the music are another notable feature of the album . During recording sessions, Waters recruited both the staff and the temporary occupants of the studio to answer a series of questions printed on flashcards . The interviewees were placed in front of a microphone in a darkened Studio 3, and shown such questions as "What's your favourite colour?" and "What's your favourite food?", before moving on to themes more central to the album (such as 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 . Roger "The Hat" Manifold proved difficult to find, and was the only contributor recorded in a conventional sit - down interview, as by then the flashcards had been mislaid . Waters asked him about a violent encounter he had had with another motorist, and Manifold replied "...give' em a quick, short, sharp shock ..." When asked about death he responded "live for today, gone tomorrow, that's me ..." Another roadie, Chris Adamson, who was on tour with Pink Floyd, recorded the snippet which opens the album: "I've been mad for fucking years--absolutely years". The band's road manager Peter Watts (father of actress Naomi Watts) contributed the repeated laughter during "Brain Damage" and "Speak to Me". 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" heard halfway through "The Great Gig in the Sky". </P> <P> Perhaps the most notable 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--you've got to go sometime" and closing words "there is no dark side in the moon, really . As a matter of fact it's all dark" came from the studios' Irish doorman, Gerry O'Driscoll . Paul and Linda McCartney were also interviewed, but their answers were judged to be "trying too hard to be funny", and were not included on the album . McCartney's Wings bandmate Henry McCullough contributed the line "I don't know, I was really drunk at the time". </P>

Who is laughing in dark side of the moon