![]() Fiedel was giddy to learn that Mancini wanted to include the Terminator theme. He got a call from the legendary film and TV composer Henry Mancini, who was planning to record an album of movie scores with a full orchestra. Much like the creators of Skynet, Fiedel was only later forced to consider what he had wrought. With its collaboration between fallible humanity and rigid machinedom, the score was especially well-suited to the material at hand. ![]() The music he’d improvised went straight into the film. He recorded the score that way and (not being classically trained) never wrote down any notation. The beat seemed to be falling forward, and he liked its propulsiveness. Which meant the loop was in a profoundly herky-jerky time signature. ![]() Being an old machine, there was no autocorrection. Amid the throes of creation, what he hadn’t quite noticed-or hadn’t bothered to notice-was that his finger had been a split-second off when it pressed the button to establish that rhythm loop. Then he played melodic riffs on a synthesizer over the looped beat. ![]() (In those days, Fiedel was firing up a Prophet-10 and an Oberheim.) He recorded samples of himself whacking a frying pan to create the clanking sounds. To create the Terminator theme, he first set up a rhythm loop on one of the primitive, early-’80s devices he was using. ![]()
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