![]() For a while we were stuck on it.” The goat was eventually scrapped, but the “ta-dum” remained. It was our version of (MGM’s) Leo the Lion. “If we were going to do that call-and-response, that creating tension and then resolving it really quickly, I liked the sound of the goat,” Yellin said. For a time, one of the finalists was a version of the “ta-dum” that resolved with a goat bleating. He tried a bunch of sounds, ones based on music boxes, ones that expressed the passage of time, doors opening, using strange instruments, and actual sounds from filmmaking. And it should make the audience think “Netflix” without actually saying the company’s name, a la the PlayStation sonic signature.Īfter many unsuccessful attempts for such a tall order, Yellin tapped Oscar-winning sound editor Lon Bender (“Braveheart,” “Drive”). ![]() Despite Netflix’s straddling of the tech and entertainment industries, it couldn’t be too electronic, like the Xbox sound or the Mac startup chime. But he still wanted something that would build up tension and release it. ![]() Unlike those comparatively lengthy cinematic examples above, Yellin said in the “age of click-and-play,” Netflix’s sound needed to be short.
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