Recording
The demo tracks for the song, including some of the sound effects, were recorded in a makeshift recording studio Roger Waters had in his garden shed. As recorded by the band, the song has a bluesy, Transatlantic feel, unlike Waters' original demo version, which he later described as "prissy and very English". As heard on Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon, the demo is in G-sharp minor, as opposed to the B minor of the final version. The instrumental jam was a collaborative effort, with Gilmour overseeing the time change as well as his own guitar and vocal work, and Richard Wright and Nick Mason improvising their own parts. Dick Parry contributed the tenor saxophone solo that precedes the guitar solo. Gilmour's input is also discernible in the final mix, which features contrasting "wet" sections, with thick reverb and delay effects, and "dry" sections. In particular, during the second chorus of the guitar solo, all the reverb and delay effects are suddenly pulled out, creating a much smaller and more intimate virtual space. To produce the distinctive piercing high notes that distinguish the final chorus of his solo, Gilmour played a customized Lewis guitar with twenty-four frets, allowing a full four-octave range.
One of the most distinctive element of "Money" is the rhythmic sequence of sound effects that begins the track and is heard throughout the first several bars. This was created by splicing together recordings Waters had made of clinking coins, a ringing cash register, tearing paper, a clicking counting machine and other items to construct a seven-beat effects loop. It was later adapted to four tracks in order to create a "walk around the room" effect in the quadraphonic mix of Dark Side of the Moon.
In the video Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon, engineer Alan Parsons described the recording of the band's initial backing track for the song: They used the sound-effect tape loop as a sort of metronome, but Parsons gradually faded out the loop before the vocals started. As the song progressed, the band gradually sped up, yet later, between the second verse and the saxophone solo, Parsons briefly raised up the volume of the effects loop, and just by coincidence, it turned out to fit the beat. After this point, the loop is not heard again.
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