The new set of inflatables represented a nuclear family. Made up of a businessman, his blowsy wife on a sofa, a son, daughter and a half child, it was an ironic reference to the official statistic that the average British nuclear family had 2.5 offspring.

Associated with these anthropomorphic figures were typical consumer durables: a television set, a refrigerator and a full sized Cadillac - and the standard reference of the time to police and authority, the giant pig. Pink Floyd asked Sanders and Fisher to create the family of new inflatables together with their control mechanisms.Fisher asked Park to collaborate on engineering their rigging and controls - and tour the show from Miami to Montreal for six months.

Roger Waters wanted the figures to be life-size, but Fisher thought they should relate to the scale of an auditorium.

Although they reached a compromise of three times life-size, he was still unhappy. The rescued helium filled pig was used for publicity, and new show pigs were made from its patterns.

Sanders and Fisher sculpted the scale models for the inflatables in Styrofoam and, using an overhead projector, enlarged tissue paper patterns from them up to full-size cutting patterns.

Rob Harries, ex-Hornsey College of Art student and a member of the British pneumatics circuit, sewed the figures ready for installation and inflation with industrial fans. Park engineered the rigging and designed and built the raising and lowering system for the inflatables.

The American Animals set was designed to be located across on end of an outdoor stadium, with the Pa stacked in towers either side of the stage and a main backdrop formed by the big circular projection screen Pink Floyd had used on several previous tours.

Lighting was suspended form pneumatic telescopic towers either side of the stage, from cherry pickers on front of the stage and from lights fixed around the perimeter of the circular screen. The inflatables traveled along a very long cable stretching over the stage from right to left held up at each end by mobile hydraulic cranes. Another long cable, sometimes as long as 400 meters (1300 feet) depending on the stadium, stretched from the back of the venue to behind the set attached to the stadium structure or by additional cranes. It carried the Pig.

For the Pig's number it emerged above the audience, and finally disappeared behind the stage set. A few seconds later it reappeared to float up into the night sky and suddenly explode. The second pig was in reality a disposable version filled with helium, with an inner bag of propane fitted with an igniter.

The tour carried a stock of explodable pigs. In the dark backstage, his hair standing on end from the static charge, Fisher would fill a pig with propane and helium, alert the line of crew men holding the mooring rope behind the stage, let it fly up more than 100 meters (330 feet) and press the ignition button.

In Milwaukee, Fisher and winch boss Richard Harman, decided to experiment with a mixture of acetylene and oxygen instead of propane. The band had been given a special injunction to keep the nose down because of the proximity of a veterans' hospital. Fisher sent up the pig with the new mixture inside it and pressed the button. There was a huge flash and the pig disappeared. A split second later they heard an enormous detonation in the night sky. The cable crew went down like dominoes, showered with confetti. The band was badly shocked. The inflatables were packed unobtrusively in boxes to the sides of the set. On cue, built-in industrial fans rapidly inflated them and they were then hauled up overhead by winches suspended from the long cross-stage cable. The Father was slung from a traveling winch which flew him over the stage where he slowly descended into a crumpled heap during the final verse of his song. One of pyrotechnician Wilf Scott's jogs was to fire sheep from mortors at the back of the set over the stage to float down into the audience during the song "Sheep." The sheep were made from tea-bag paper, with holes in the feet to provide a parachute effect and weighted to keep them upright. For each show half a dozen were fired one by one during the song.

On several dates it had not been possible to fire the sheep and Scott had too many on his hands. Fed up, at Chicago he decided to fire off all the spares as well. The band was not amused when salvoes of sheep kept floating overhead into the audience long into the next number, "Pigs On the Wing, Pt. 2." A massive pyrotechnic display signaled the end of the Animals show.

Halfway through their 1975 American tour, Pink Floyd decided they wanted a pyramid to decorate their stage set. They got one built in a great rush, during a four-week break in the middle of the tour. It stood 20 meters (66 feet) square, and 20 meters high. During the show, the top section of the pyramid was to detach itself and float away: the flying pyramid of the United States dollar bank note and Masonic cults. It was constructed from a fabric covered inflatable frame lifted by helium balloon inside. On its maiden flight on a windy June evening in Pittsburgh the structure tilted sideways, allowing the unsecured balloon to escape through the open bottom. The pyramid fell out of the sky, writing off several cars in the stadium parking lot and the idea was temporarily shelved. Pink Floyd owned Britannia Row, a company which was responsible for all it's production work. After the 1977 tour, Graeme Fleming, Britannia Row's production director, hired Fisher and Park to resurrect the pyramid. Park designed the steelwork in the form of a 20 meter high cube of lightweight lattice girders with sloping guy ropes at each corner forming the outline of a truncated pyramid. Fisher, who was living in Canada at the time, designed the upper pyramid. He made a number of models and built full-sized mockups of the corners.

When the steelwork was completed, Pink Floyd decided to abandon the project. Fisher and Park saw it as an ideal opportunity to put the theoretical notions of transient structures to the test.

They re-configured the structure as a portable staging gantry to be erected by two mobile cranes and a very small crew. they added a lightweight fabric roof and produced a series of drawings showing its possible uses. It eventually paid for itself when it was transported on two flatbed trucks to form the stage for, among others, Led Zeppelin at Knebworth, and Queen at Saafbrucken and Nuremberg. Later, Britannia Row extended it in anticipation of another performance of The Wall. But it spent most of the time overgrown with nettles at Knebworth and was last seen on the edge of an airfield in Toronto, where in 1988, Pink Floyd had intended to use it in a cut-down form.