and Shawn Phillips, and the brother of Ravi Shankar, Harrison's sitar teacher. Also present was Leslie Bryce, a photographer from Beatles Monthly. McCartney recorded his lead vocal with the tape speed reduced, so that his voice sounded at a higher pitch when the speed was corrected. Bryce took photos of Lennon, McCartney, Harrison and Crosby grouped around a microphone, and the Beat Instrumental report stated that the backing vocals were recorded that night with Crosby's participation. Phillips later supported this and said that he too sang backing vocals with the three Beatles. However, Phillips' recollection is not supported by others, who say the group vocals were instead overdubbed on 7 March. The session was led by Lennon and recorded with heavy tape echo. Enjoying the lighthearted session, the Beatles also added percussive effects played on comb and paper, serving as handmade kazoos, and vocalised sounds such as moans, sighs and screams. The latter sounds appear over the song's extended coda. Martin later described the session as "anarchy", given how little was achieved over the seven hours, and cited it as a precedent for the group's "undisciplined, sometimes self-indulgent" method of working on Magical Mystery Tour later in 1967. A second piano, played by Martin and processed electromechanically to wobble in and out of tune, was added for the solo on 21 March. This session was again filled with visitors. Among these were the band Pink Floyd, who were recording in a neighbouring studio and gained entry to the session through their producer, Norman Smith, formerly the Beatles' recording engineer. Although Pink Floyd were established as one of the leading bands in the London underground scene, they were intimidated to be in the Beatles' presence. Drummer Nick Mason recalled that they watched the band mixing "Lovely Rita" but they were "God-like figures to us" and any interaction between the two groups was minimal. Pink Floyd later used effects inspired by "Lovely Rita" when recording their instrumental composition "Pow R. Toc H." from their debut album, The Piper at the Gates of Dawn. The final mono mix was completed that night, and a month later, the stereo mix was done. During mixdown the tape machine ran at 48.75 Hz instead of the standard 50 Hz, affecting the pitch on the released track. With vari-speed having been applied throughout the recording process, the song's key is around E flat major. According to Martin,