GREAT MUSIC


The key was finding the sweet spots to gather a palette of materials. The sounds themselves were collected with a spatial audio recording system that captured a 360-degree horizontal sound field and each space - whether the football pitch-sized reactor hall, the pump room, the long empty corridors –


had a unique acoustic with a signature sound. Once the palette of materials had been gathered, Guðnadóttir and Slater went on a gold digging expedition back in the studio through the hours of recordings, pulling out snippets and almost inaudible high pitched sounds that could be pulled into melodies.


And while there hadn’t been a plan at the outset to create the entire score from the gathered recordings, in the end, every single sound in the score was made from the power planet recordings with the only exception being Guðnadóttir’s voice that she used to add a human element.


Chernobyl, Sky Atlantic/HBO


Special Supplement Spring 2021 televisual.com


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