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For example, Jones uses a Korean saenghwang for Murderbot’s (Alexander Skarsgård) themes, but combines it with a synthesizer.
“It can reach these really high frequencies,” Jones said during the panel conversation. “As I’m pitch-shifting it creates this crazy frequency and textures that mess with your ear drum. Any time that Murderbot is trying to make eye contact with someone or experiencing great anxiety, this instrument comes into play coupled with synth.”
Jones says her favorite synthesizer is the Juno model by Roland. “It has a mind of its own,” Jones said. “I feel like It was the perfect instrument for Murderbot, something you can program but then it goes off on its own tangent, creates songs that don’t exist anywhere.”
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The extended human cast of characters in the series — including co-stars Noma Dumezweni, David Dastmalchian, Sabrina Wu, Akshay Khanna and Tamara Podemski — are scored with lots of cellos. Jones often composes “bouncy raves vibes” but leans towards solo cello when characters are alone.
“Solo cello for connecting all the different crew have moments in their bedrooms,” Jones said. “Seeing those raw moments when they’re scared or vulnerable or uncertain about the intentions of the other crew, feeling very human and scared on a foreign planet, then I bring in solo cello.”
When the sounds clash, that is intentional. Jones aims to evoke the struggle Murderbot is experiencing balancing his programming with emerging emotions.
“It was fun just to play with things that make you feel uncomfortable,” she said. “I had to because just the nature of Murderbot, they’re having trouble making eye contact, they’re having trouble engaging with their human crew.”
Murderbot also features a fictional show, The Rise and Fall of Sanctuary Moon, whose cast includes John Cho, Jack McBrayer and DeWanda Wise. Jones could just go “over the top” for the Sanctuary Moon theme song.
“That was pure bliss just writing that piece, be as wild and wonderful and epic and Bernard Hermann-esque,” Jones said. “Co-creator/showrunner Chris Weitz hummed that piece, sent it to me, [we] orchestrated it and we ended up with this lovely piece.”
Check out the panel video above.
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