Fiedel was at heart an improviser. To create the Terminator theme, he first set up a rhythm loop on one of the primitive, early-’80s devices he was using. (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. Then he played melodic riffs on a synthesizer over the looped beat. 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. Being an old machine, there was no autocorrection. Which meant the loop was in a profoundly herky-jerky time signature. Fiedel just went with it. The beat seemed to be falling forward, and he liked its propulsiveness. He recorded the score that way and (not being classically trained) never wrote down any notation. The music he’d improvised went straight into the film. With its collaboration between fallible humanity and rigid machinedom, the score was especially well-suited to the material at hand.
A great little story about a great and memorable score.