How to Listen: Dark Side of the Moon
In “How to Become an Expert Listener,” I talked about the kinds of recordings you can use to evaluate a luxury audio setup and walked you through the general things to listen for, such as deep, articulate bass, accurate instrumental and vocal timbre, and an expansive sound field.
Here I’m going to take one of the most revered albums not just in the audiophile world but in rock history and give you a sense of what makes it such a great recording—not just so you can better appreciate the virtues of this particular effort but so you can apply that knowledge to your own favorite albums. Once you get used to not just listening to the music but savoring the quality of its presentation, you’ll find it easy to pick out the common elements that make for a great recording and that
reveal the virtues and flaws of high-performance gear.
No album is more iconic than Pink Floyd’s towering 1973 masterpiece, The Dark Side of the Moon. (I don’t think I need to give a musical synopsis here—is there anyone reading this who hasn’t heard it?). Dark Side is up there with Sgt. Pepper’s Lonely Hearts Club Band, Fleetwood Mac’s Rumours, and Bob Dylan’s Blood on the Tracks. It was the band’s commercial breakthrough (to put it mildly), spending more than 900 weeks on the Billboard 200 chart.
It’s also one of the best-recorded albums ever, thanks to Grammy-winning engineer Alan Parsons and the innovative use of then-new synthesizers, elaborate multitracking, found sounds, and the resources of Abbey Road Studios, to say nothing of brilliant performances by Roger Waters, David Gilmour, Nick Mason, and Richard Wright. It’s a true reference recording that will give every aspect of an audio system a thorough workout.
I listened to an original UK pressing on my main system and on Qobuz in 24-bit/44.1 kHz hi-res on high-end nearfield monitors. (Geek-speak translation: “Qobuz” is a high-
resolution music-streaming service and “nearfield monitors” are speakers meant to be listened to from up close.) I also heard a good chunk of the album on a huge system at a trade show within the past year. Unfortunately, I now can’t remember the show or the system. I do remember the incredible sound.
One quick note: This isn’t meant to be an exam. You don’t need to go through the whole album, in sequence, to appreciate what Parsons and the band wrought here or to put it to use for demo purposes. Start with your favorite tracks and, if you find yourself getting into this new way of listening to an old classic, make your way around from there.
“Speak to Me”
The album sucks you in with the iconic heartbeat. You’re not going to hear it fully—or at all—on a small speaker with a small woofer. You need a speaker setup capable of extended low end. The track should sneak up on you quietly, then crescendo into . . .
. . .and the trademark sonic signature of the album, a vast, wide, deep soundspace with instruments placed hard left, hard right and everywhere in between, up close and far away. Start with your system volume low!
Listen for the clarity of every instrument—electric bass, guitars, keyboards, drums, percussion, and effects. Even though some of the sounds are heavily processed, you should hear the clarity of the processing, such as the myriad of reverbs that are a major part of the album’s sonic palette. The tonal balance is smooth and even, from the articulate bass to the densely detailed midrange and clear highs—although I wouldn’t call TDSOTM the absolute last word in transparency.
Alan Parsons mixing The Dark Side of the Moon with Pink Floyd
(Check out a good version of the RCA Living Stereo Reiner/Chicago Symphony Scheherazade for that.)
In fact, this one track will tell you everything you need to know about how a system is performing—but you’d be shortchanging yourself if you didn’t keep listening.
“On the Run”
On a lesser system, this will sound like flat musical filler. On a good system, you’ll hear a rich variety of
details, like the multiple synthesizers panning from left to right, and the very distinct sound of someone turning the knobs on the main sequencer/synthesizer in real time as it plays through the track. “On the Run” ends with a roar and a rumble that, on a system capable of delivering it, might even scare you.
You know what I’m going to say here. The clanging of the multiple clocks going off at the beginning should be nothing less than startling. If ever there was a test of a system’s transient response, here it is. The soundstage, if anything, is even bigger now. This is one of the most masterful uses of reverb in recording history. The mixed male and female processed background vocals are utterly gorgeous. Those vocals rise in intensity after the second chorus, with a scraped guitar string lifting you to Gilmour’s fuzzed-out guitar solo, one of the most epic ever recorded. This should sound simply mammoth, thrilling, with layers of synths, vocals, guitars, everything, behind it. (Conventional wisdom opines that Gilmour’s greatest solo is on “Comfortably Numb” from The Wall. I’d argue, uh uh, no. This one is it.)
“The Great Gig in the Sky”
After those dizzying aural heights, you need a comedown. But it’s not a crash . . . just an intensity of a different kind. The soundstage expands to galactic proportions. The dynamic range goes from relaxing to system-taxing. (My main system has 100 watts per channel and three-way speakers, and I didn’t hear any strain. My desktop monitors? Well, I didn’t want to risk blowing them up.) You should be able to hear guest vocalist Clare Torry go from a very distinctive growl (on a good system; it’ll be completely lost on a lesser one) to seductive sweetness and every nuance in between. Wright’s piano accompaniment is the model of sensitivity. And listen to how Waters’ bass beautifully complements Torry’s vocals in the second half of the track. This should sound nothing less than emotionally riveting.
Like the clocks at the beginning of “Time,” the cash registers and sacks of coins should sound surprising. Listen for the clarity of Waters’ picked bass (as opposed to played with the fingers on the previous track) and the way it drives the song. Once
again, the mix is “big,” but not as much as the previous tracks, and sounds more dynamically compressed. My guess is this was done to make the track sound more radio-friendly. But it’s relative—if the other album tracks’ soundspaces are the size of a galaxy, this one’s merely a solar system in comparison. Listen to the drastic removal of all reverb in the breakdown section after the guitar solo
—a dramatically effective sonic contrast that should come through razor-sharp. Gilmour’s final solo should practically peel the paint off the walls in its treble intensity, yet still have body and depth.
“Us and Them”
The galactic soundspace returns. Listen for the “swirl” of Wright’s Hammond organ played through a Leslie rotating speaker cabinet, and the complementing swirl of Gilmour’s guitar through a Uni Vibe pedal, designed to simulate the sound of a Leslie. It’s a rich, densely textured mix. When the sax comes in, even though it has added reverb, it should have a palpable presence and a physicality by comparison.
“Any Colour You Like”
Here, Parsons uses repeating echo on the main synthesizer to create spaciousness and depth, and even though it’s a dense mix, you should be able to clearly hear the echo repeats trailing off into the sonic distance. Listen for the harmonic complexity of the multiple synths and guitars and the, once again, startle factor of Gilmour’s guitar when it comes in dead center, in the middle of the song. Listen carefully and you’ll hear a clam (wrong note) from the left-channel guitar at around 2:14 into the song.
Another track that might sound like a flat wash on a so-so system. Not on a good one.
“Brain Damage” & “Eclipse”
I don’t know what else I can say, as these concluding tracks continue the sonic strengths of the rest of the album—exceptional clarity, dynamics, tonal balance, placement of instruments, soundstage width and depth, huge drum sounds, and masterful mixing of all the vocals, instruments, and effects by Parsons. A final test of your system’s resolving power: Near the very end of the album, listen for Abbey Road Studios’ doorman Gerry O’Driscoll saying, “There is no dark side of the moon, really. It’s all dark.” If your system’s up to the task, you’ll hear it.
Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.