Immediately after the Floyd experience, I became a pop record producer.

I started in a research lab for TV cameras, then I worked at a tape duplication facility. That was the first introduction for me to recorded music and hi-fi.

The Dark Side of the Moon has flash – the true flash that comes from the excellence of a superb performance.

I’m delighted about the track’s success in the sports world, but the frustrating thing is, I don’t think I got rich on it. The labels and publishers did very cheap deals on our songs.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

In France, you can sell a lot, but nobody outside of France ever hears of it.

The Dark Side of the Moon is a fine album with a textural and conceptual richness that not only invites, but demands involvement. There is a certain grandeur.

That Beatle euphoria has always been there, and it’s hard to be in a room with a Beatle and try to be totally natural. You never shake that off.

I had the honor of speaking with Asimov. The album ended up being something not directly related to Asimov, but related instead to the concept of the power of robotics.

In Russia we had to have special visas in our passports, and when we had to show our passports at the Kremlin gates, we realized that, Oh my God, we’re actually playing in THE Kremlin!

The Sicilian Defense album was never released and never will be if I have anything to do with it. I have not heard it since it was finished. I hope the tapes no longer exist.

Folk rock was my real roots. I did a few gigs as a folk artist, in the style of Fairport Convention.

I was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines. It was a real education, going right from the consumer end to the record...