Hier gibt es noch ein paar detailliertere Infos zur Produktion:
https://www.soundonsound.com/techniques/scoring-stranger-things
Stranger Things Title Theme
When viewed on Logic Pro’s timeline, the complex layering within the Stranger Things theme is quite apparent.In creating the soundtrack to Stranger Things, Michael Stein and Kyle Dixon were helped enormously by having a body of work to draw upon from their band Survive — no more so than when it was time to create the show’s title theme. Stein: “There was not that much of a brief [from the directors] for what the theme needed to be. Early on, before there were approved title graphics, it was more ‘What do you got?’ After the Duffers sifted through some old and new compositions, they really liked the mood of a demo I’d made for Survive that probably never would have seen the light of day. I set up the MPC to re-sequence all of the parts live in the room so I could rewrite the arrangement and come up with additional parts. After about three renditions there was something in the ballpark of what you know as the theme.”
Stein’s Roland Jupiter 8 has been retrofitted with MIDI and picks out the lead part in the Stranger Things theme. The Jupiter 6 was equipped with MIDI on its release.As far as credit sequences go, Stranger Things seems to have a relatively simple one. The title glows in red as the words gravitationally pull together over the course of about a minute. Like so much of the show, though, its complexity lies in the references it makes. Even the font used is lifted from Stephen King novels of the 1980s and the Choose Your Own Adventure children’s books. Likewise, although the musical cue may not seem vastly complicated, there’s more going on than is immediately apparent, as Stein explains: “The theme consists of roughly 25 tracks and 25 various synths. The list spans across the board. There’s [Korg] Mono/Poly arpeggios, [Roland] Jupiter 8 leads, Mellotron M400 choir stabs, [Sequential Circuits] Prophet 5 and 6 and VS pads and effects, [Roland] SH-2 on the bass line, [Sequential] Pro-One does the heartbeat thumps, and an original Oberheim SEM Two Voice playing the main arpeggiated sequence, to name a few. There is a lot of layering of the same part, which is a very common technique I use for mood and depth.
“A key element to the production of the theme was having the right amount of ‘murk’, which is commonly considered a negative thing in production. There are a lot of musical elements layered to create a bedding under the track that sort of breathes and adds a lot of the mystery. There’s an arpeggiated mellow piano part on a Prophet 5 that you can’t even hear, but if I take it out, the mood is lost. It’s a mingling of subtle nuances that makes this surprisingly major-key theme work in a mystery sci-fi drama context. I think the aggressive bass tone of the SH2 really helped set the dark tone. It has a balance of hope haunted by the weirdness element. In my opinion this is why it works to reinforce the story.”
und habe mir gerade für diese Serie Netflix gebucht. Das ist ja echt eine Zeitmaschine in die Kindheit, Kreuzung aus ET/Goonies und Alien ....
