sound onto another tape player. This process continued until every sound was available at all the required pitches. To create dynamics, the notes were re-recorded at slightly different levels. Each individual note was then trimmed to length by cutting the tape, and stuck together in the right order. This was done for each "line" in the music – the main plucked bass, the bass slides (an organ-like tone emphasising the grace notes), the hisses, the swoops, the melody, a second melody line (a high organ-like tone used for emphasis), and the bubbles and clouds. Most of these individual bits of tape making up lines of music, complete with edits every inch, still survive. This done, the music had to be "mixed". There were no multitrack tape machines, so rudimentary multitrack techniques were invented: each length of tape was placed on a separate tape machine and all the machines were started simultaneously and the outputs mixed together. If the machines fell out of sync, they started again, maybe cutting tapes slightly here and there to help. In fact, a number of "submixes" were made to ease the process – a combined bass track, combined melody track, bubble track, and hisses. Grainer was amazed at the resulting piece of music and when he heard it, famously asked, "Did I write that?" Derbyshire modestly replied, "Most of it." However the BBC, who wanted to keep members of the Workshop anonymous, prevented Grainer from getting Derbyshire a co-composer credit and a share of the royalties. The theme can be divided into several distinctive parts. A rhythmic bassline opens and underlies the theme throughout, followed by a rising and falling set of notes that forms the main melody which is repeated several times. The bridge, also known as the "middle eight", is an uplifting interlude in a major key that usually features in the closing credits or the full version of the theme. During the early years of the series the middle eight was also often heard during the opening credits (most notably in the first episode, An Unearthly Child). The theme is written in the E minor phrygian mode. The theme has been often called both memorable and frightening, priming the viewer for what was to follow. During the 1970s, the Radio Times, the BBC's own listings magazine, announced that a child's mother said the theme music terrified her son. The Radio Times was