the process. As a classical music fan, Meyer was able to describe the effects and sounds he wanted in the music. While Horner's style was described as "echoing both the bombastic and elegiac elements of John Williams' Star Wars and Goldsmith's original Star Trek (The Motion Picture) scores," Horner was expressly told to not use any of Goldsmith's score. Instead Horner adapted the opening fanfare of Alexander Courage's Star Trek television theme. "The fanfare draws you in immediately — you know you're going to get a good movie," Horner said. In comparison to the flowing main theme, Khan's leitmotif was designed as a percussive texture that could be overlaid with other music and emphasized the character's insanity. The seven-note brass theme was echoplexed to emphasize the character's ruminations about the past while on Ceti Alpha V, but does not play fully until Reliants attack on the Enterprise. Many elements drew from Horner's previous work (a rhythm that accompanies Khan's theme during the surprise attack borrows from an attack theme from Wolfen, in turn influenced by Goldsmith's score for Alien). Musical moments from the original television series are also heard during investigation of the Regula space station and elsewhere. To Horner, the "stuff underneath" the main story was what needed to be addressed by the score; in The Wrath of Khan, this was the relationship between Kirk and Spock. The main theme serves as Kirk's theme, with a mellower section following that is the theme for the Starship Enterprise. Horner also wrote a motif for Spock, to emphasize the character's depth: "By putting a theme over Spock, it warms him and he becomes three-dimensional rather than a collection of schticks." The difference in the short, French horn-based cues for the villain and longer melodies for the heroes helped to differentiate characters and ships during the battle sequences. The soundtrack was Horner's first major film score, and was written in four and a half weeks. The resulting 72 minutes of music was then performed by a 91-piece orchestra. Recording sessions for the score began on April 12, 1982 at the Warner Bros. lot, The Burbank Studios and continued until April 15. A pickup session was held on April 30 to record music for the Mutara nebula battle, while another session held on May 3 was used to cover the recently changed epilogue. Horner used synthesizers for ancillary effects; at the time, science