I am probably one of Floyds bigger fans and I play them on my Golden Ear Triton Ones. You should hear the heartbeat from Dark Side, totally unbelievable. I had Vandersteens, DeVore, Paradigm, Von Schweikert and Odyssey speakers but none of them came close to the Triton Ones. Floyd sounds almost as good in my secondary system with a tube Integrated and a pair of Golden Ear Triton Twos. Same incredible bass, mids and highs, but just a little less output than the Triton Ones.
Dark Side of the Moon is a very creative album, with great sound effects mixed into the music, lots of channel play, i.e. Running from far left to far right. Personally, I was blown away by this album on a pair of Martin Logan Quests, driven by Jeff Roland electronics if memory serves. So I'm thinking any electrostatic panel should help with this artificial soundstage that pulls you into the scene.
That said, I always get a thrill on my own system, or any iteration of my system over the past 30 years! presently VPI table, Parasound pre, Forte' amp and Legacy Focus 20/20's. The 30th anniversary vinyl reissue is pretty awesome! "Far out" even! (I still think Animals is my favorite Pink Floyd album)
Any working speaker, dependent upon what you've ingested. But at that point, you're probably filling in blanks that may not exist. *G*
I vote headphones for personal use. Then loudness won't freak you neighbors out, and verify to them that you're just a refugee from 'then', like me. ;)
If you've got to play PF in the listening area, run watcha' brung. Volume to 11....
My Von Schweikert VR-5 HSE speakers, in tandem with my Hsu ULS-15 Mk 2 subwoofer, handle their music just fine -- especially with the LampizatOr Lite 7 DAC serving as sound card when I use my laptop for music playback. The detail, the thump, and anything else you need is right there, in the room.
Check this one out: http://https//en.wikipedia.org/wiki/Leslie_speaker
Detailed PA notes:
FLOYD OUT FRONT
A glance at the Floyd's exceptionally neat setup shows quite graphically how much live performance technology -- especially sound reinforcement hardware -- has advanced since this band filled its first Transit van. When Pink Floyd first took to the road, the typical touring sound system amounted to little more than the gear today's local bands might use to play a small bar or club. Standard issue were Vox AC30 and AC50 backline amplifiers and cabinets, which, augmented by WEM (Watkins Electric Music) 4x10 inch speaker columns, would also form the PA system. It was, indeed, with just such a system that the Beatles played their famous final concert at the giant Shea Stadium. You might also have enjoyed the benefits of a small mixing desk -- although these were not so common on professional tours until the relatively high-tech days of 1970/71, when Bill Kelsey marketed his first touring mixers. Bill once recounted the story of how, on a Floyd tour in the early '70s , he pioneered the active DI box; he worked out the circuit, studiously soldered the components onto a small square of circuit board, and taped the whole assembly into an Old Holborn tobacco tin. Today, as you might expect, tobacco tins are not widely in evidence on the Britannia Row Productions' equipment list.
Today, the Pink Floyd PA consists of slender, custom-built towers either side of the stage dome, on top of which sit curious 'bonnets' -- actually pig-pens, housing the famed inflatable hogs which, eyes blazing ominously, bob and weave high in the air. They also serve a practical purpose -- under each porcine belly there is an implausibly small cluster of Turbosound's Flashlight PA cabinets.
Floyd's touring system has been adapted slightly from its original specification for America, in the light of experience. The delay towers were eliminated in favour of a slightly expanded main Flashlight PA. Controlling and powering this, and the on-stage monitoring system, is a large inventory of Turbosound's dedicated Flashlight system controller racks. There are two Yamaha PM4000 mixing consoles for the main front-of-house mix, a PM3000 which serves for quad effects mixing, and a specially-built Midas XL-3 desk, which contains a unique quadrophonic panning centre, complete with dual joysticks.
If you can fit it into your home, than it's perfect speakers for Pink Floyd.
As several have mentioned, Pink Floyd use ATC Speakers for studio monitoring (Listening and refining their work before it gets released to market). If you have some special appreciation for the care with which Pink Floyd have produced their albums then you would be wise to check out ATC and have them on your short list. These are not PA speakers or PA monitors but the speakers used in many world class facilities to QC music production before it is released to public. Qualities are exceptional accuracy and mid range clarity even at realistic rock music sound levels.
Over the past several years the band has released several re-mastered albums and boxed sets. They are all excellent, I especially like DSOM box set with the 5.1 DVD... Included is a small sack of DSOM marbles... which might be a distributed back-up plan (disaster recovery?)
[Also re-released is Ummagumma with a pristine copy of "Several Species" uhhhh... what was I saying oh yeah, and if you have not yet listed to it, "The Endless River" final studio album is really quite good as background/contemplative mood floating content.]
Yes vicwest and all the re-releases and recent DVD's were done on ATC - some on David Gilmour's setup and some on James Guthrie's setup.
Understandably everyone has a personal preference when it comes to speakers but given the rather specific question and that Pink Floyd (mostly Gilmour) pretty much favour exclusively ATC it would seem that this question has a clear answer. (Assuming Pink Floyd are clear and exacting on what they want in terms of how they sound - a fair assumption I would argue...)