jupitersterrain four

1.45am


It showed a time machine other than the TARDIS, one belonging to the Daleks (but we're not interested in that thing's noises) and we see the TARDIS travelling through the vortex for the first time, although it is disappointingly realised via a Police Box model very obviously resting on a studio floor mixed in with some footage of inside a child's kaleidoscope


This new effect was the take-off sound played backwards, slightly slower than usual, and faded so that none of the electronic “blobs” are heard at the start

The video clip here shows the very short version of the new effect from the middle of episode three shows. It is then used for the TARDIS landing on the Mary Celeste and then in episode four, a longer rendition is heard, which is the second part of the video clip above right



This takes the form of the whooshing part of the normal take off, played backwards to create a descending sound, then mixed with the normal first “vworps” of a take off

In The Tenth Planet the TARDIS arrives in the midst of a
snowstorm . Perhaps the blizzard is just supposed to be drowning out the materialisation


an unexplained slowed down and echoed landing

the legendary “proper” TARDIS landing noise. The moment is unique because as we heard this proper "downward" sound effect


This new sound effect is the usual take off sound played backwards, looping the last few “vworps” three times over before "thudding" onto the water

another new malfunction sound crops up, starting with the crackle of electrical energy, joined by a warbling buzz, and a quiet speeded-up version of the “proper” TARDIS landing noise underneath

The Seeds of Death but only heard inside the console room. Then in The Space Pirates it seems to be gaining a foothold as it is used once more. This is still the same looped-over effect that started off in Fury from the Deep, but this time heavily modulated so that it “throbs” in and out. The War Games switched back again to a phased take off sound

and the latter has a high pitched bit of the take off sound followed by a series of piercing electronic screams and prolonged zaps, and ending with a huge crash

spearhead from space

Claws of Axos also brings the first full use of the complete, “proper” TARDIS landing. Instead of the looped version which had kicked around since Fury from the Deep, we finally get the perfected “reversed landing”

although it is heard inside the TARDIS, not outside. Despite this there is still another hastily cut-together materialisation sound effect used afterwards

colony in space

a speeded up sound and vanishes instantly in a puff of smoke

also features a smokey visual effect instead of the normal 'roll back and mix' and also exaggerates the tradition started in Silver Nemesis