The original 1963 recording of the
Doctor Who theme music is widely regarded as a significant and innovative piece of electronic music, recorded well before the availability of commercial synthesisers.
Delia Derbyshire (assisted by
Dick Mills) of the
BBC Radiophonic Workshop used
musique concrète techniques to realise a score written by composer
Ron Grainer. Each note was individually created by cutting, splicing, speeding up and slowing down segments of
analogue tape containing recordings of a single plucked string,
white noise, and the simple
harmonic waveforms of
test-tone oscillators which were used for calibrating equipment and rooms, not creating music. The main, pulsing bassline rhythm was created from a recording of a single plucked string, played over and over again in different patterns created by splicing copies of the sound, with different pitches and notes achieved by playing the sample in different speeds. The swooping melody and lower bassline layer were created by manually adjusting the pitch of oscillator banks to a carefully timed pattern. The non-swooping parts of the melody were created by playing a keyboard attached to the oscillator banks. The rhythmic hissing sounds, "bubbles" and "clouds", were created by cutting tape recordings of filtered white noise.
[1]
Once each sound had been created, it was modified. Some sounds were created at all the required pitches direct from the oscillators, others had to be repitched later by adjusting the tape playback speed and re-recording the sound onto another tape player. This process continued until every sound was available at all the required pitches. To create dynamics, the notes were re-recorded at slightly different levels.
Each individual note was then trimmed to length by cutting the tape, and stuck together in the right order. This was done for each "line" in the music – the main plucked bass, the bass slides (an organ-like tone emphasising the grace notes), the hisses, the swoops, the melody, a second melody line (a high organ-like tone used for emphasis), and the bubbles and clouds. Most of these individual bits of tape making up lines of music, complete with edits every inch, still survive.
This done, the music had to be "mixed". There were no multitrack tape machines, so rudimentary multitrack techniques were invented: each length of tape was placed on a separate tape machine and all the machines were started simultaneously and the outputs mixed together. If the machines didn't stay in sync, they started again, maybe cutting tapes slightly here and there to help. In fact, a number of "submixes" were made to ease the process – a combined bass track, combined melody track, bubble track, and hisses.
Grainer was amazed at the resulting piece of music and when he heard it, famously asked, "Did I write that?" Derbyshire modestly replied, "Most of it."
Может кому интересно будет, особенно учитывая что последний трек называется "Shenmue" 
