director", having directed both The Daleks and The Dalek Invasion of Earth. Lambert sent the scripts to Martin on 25 February 1965, pleased with their action but concerned about potential production drawbacks; she was primarily concerned with the Mire Beast and Fungoids, having struggled with creatures like the Slyther in The Dalek Invasion of Earth. She was also unhappy about the existence of Frankenstein's monster in the story, concerned that it did not present the concept in a logical way as in previous stories, and that it showed a lack of imagination to use other fictional characters. Lambert asked Martin to keep expenses to a minimum, but, recalling the overspend on his previous serial The Web Planet (1965), allocated a larger budget than normal; as a result, the preceding and following serials—The Space Museum and The Time Meddler, respectively—were produced with a minimal budget and little pre-filming. Despite this, Martin still believed the show was underfunded, and considered it poor science fiction television. He was frustrated that he was unable to overcome production challenges to his liking; The Chase would ultimately be his final work on the show. It was also Spooner's final serial as story editor, having been offered the position of co-writer and assistant editor on The Baron (1966–1967) by Nation; Spooner was eager to work on a high-quality program with expected American viewership. The serial's incidental music was composed by Dudley Simpson; Martin had originally wanted Max Harris to compose the score. To detract from the Dalek's scariness, Simpson was asked to compose "light" music; recording took place at Olympic Sound Studios on 20 April for the first three episodes and 23 April for the last three. The score, performed by five musicians conducted by Simpson, consisted of 52 cues and ran for over 25 minutes. Thirty new sounds were created for the serial by Brian Hodgson of the BBC Radiophonic Workshop. The voice of the Mechonoid, performed by the voice of the Daleks David Graham, was edited by Hodgson and Ray Angel; they sped up the sound, broke it up, and added a continuous note. Sets and design Due to the variety of work required, set designers Raymond Cusick and John Wood both worked on The Chase; Cusick focused on the Dalek's time machine, the Mechonoid city, and the haunted house, while Wood concentrated on the Empire State Building and the Mary Celeste. For the designs