I did the Silurian voices in Endurance with a Synth with a ring modulator in it, I was always very good at listening to the monster voices in Doctor Who and sussing out how they had done it, because I had mucked about with tape recorders and effects peddles since I was very small.
One of the good things my dad did for me was letting me play with the tape recorders that he fixed at work. I'd buy effects peddles, not because I was doing music, but because I liked doing silly things with my voice through them.
They played me an episode of the Silurians, and I was able to suss, Oh right I think that was ring modulation, and with the way actor (Peter Haliday) talked, that gave it the final effect. Unfortunately my ring modulator wouldn't tune low enough to do a Dalek, and still not low enough to do a proper Silurian voice, but it was near enough, so the Silurian voices were a sort of Hybrid. Nick and I started doing the voices at 2 in the afternoon, and at 2 o'clock in the morning we had finished, so that was fun.
I did a load of sound effects for Subterfuge. I discovered the master tapes the other day when looking for the masters of my two plays. Some of the noises I'd made were rather good. I might use them again (suitably cleaned up) in a future Dr Who story. Nick did that recently for Sword of Orion, taking a sound effects sequence from the original and using it in the remake.
Korg 770
The first synth I had was a Korg 770, and it died when I did Auton, I'd just made up the Auton sphere noise, because I didn't like the one from the show, I thought it was too thin and weedy, like a trimphone, so I did a slightly beefier version, which I sampled from the Korg. Sadly, the next day I wanted to use the synth to do something else, and it just wasn't working, the output was just so low. I gave it to my Dad to fix, but he hasn't been able to mend it. It's a shame because it could make some brilliant sounds.
I also had a Roland SH-101
and a Roland Juno-6
as well as a chorus peddle, flanger peddle, phaser peddle, and all that nonsense.
I bought a Yamaha MT-44
which was a four track cassette machine, single speed, with no built in mixer, everything would have to go out to a mixer, because it was effectively a pre-amp thing.
So I did all the effects and noises on that, but as it got older the channels began to deteriorate, but the earlier recordings... I did the music for Subterfuge, which was so frustrating, because I wanted to do big orchestral stuff, even then, but I couldn't really do it with one Korg [monophonic] synth and a Juno-6, because it all sounded synthy and electronic, and the frustrating thing was as I was doing the music, the tape recorder was slowly dying, it wouldn't record properly on track 3 and 4, so the last couple of cues for Subterfuge were just done on tracks 1 and 2, it would play back all right, but it just wouldn't record properly. Later on, when Dad was trying to mend this recorder, he shorted it out, and bought me a replacement machine, a Yamaha MT100. He later managed to get the MT44 working again, so I was able to use it to play the master tapes of my plays into my computer when I was re-mastering them.
In Geopath, I played Magog, which was fun, given a lead role, I wish Gary would remember that ;-) We recorded this play in 2 separate sessions, we did all of mine and Peter's stuff, and all the other stuff on another day. I was very nervous about doing that voice, as it was a key character. To give it a human voice, but somehow not.
I did the music for Justyce, which was fun. I supplied sound effects, and atmospheres and wotnot for the sound of Justyce, which I did with my new keyboard and DOS sequencer, which I've still got because I haven't converted all those files into MIDI files yet, and I need to convert them via that program. It would also have to be changed for general MIDI.