Hans Zimmer’s Dune
- Thread starter AdamKmusic
- Start date
zolhof
Senior Member
Yes, it's him. I was checking some NUGEN plugins and read this interview with Alan where he mentions using the Producer bundle on Dune and the new Minions movie.
KEM
The TENET Guy
It is, he confirmed it in his new Mix With the Masters course
wilifordmusic
Active Member
I think it might be wise to listen to the entire soundtrack and possibly even watch the movie before pronouncing judgement on Han's efforts.
I liked the two tracks I heard.
I liked the two tracks I heard.
There will be 3 albums for Dune folks. Lots of music to dissect in the upcoming months.
"Paul's Dream" immediately reminded me of "Mind If I Cut In?" from "The Dark Knight Rises", with that constant pulsating bell. Even the initial melody borrows a lot from it then it breaks at 1:38 with an incredible transition. Really loving the theme played and how it is played on guitars and synths. This sections slightly reminds me of Muse's "Exogenesis: Symphony, Part 1 (Overture)". It swims in the same melodic universe.
Then we get to the beautifully aggressive part with (I'm assuming) Lisa Gerrard's vocals. That sustained note with the growl is just breathtaking. This will definitely be an incredible experience in IMAX, once heard in context with the imagery.
"Ripples In The Sand" is a nice variation of the main theme.
Can't forget "Eclipse" which grew on significantly. I criticized the use of it in the first trailer but now I think it's absolutely brilliant (in the trailer and on its own as a cover).
I'm so hyped about this movie if you can't tell!
Easily the most anticipated movie of 2021 for me.
"Paul's Dream" immediately reminded me of "Mind If I Cut In?" from "The Dark Knight Rises", with that constant pulsating bell. Even the initial melody borrows a lot from it then it breaks at 1:38 with an incredible transition. Really loving the theme played and how it is played on guitars and synths. This sections slightly reminds me of Muse's "Exogenesis: Symphony, Part 1 (Overture)". It swims in the same melodic universe.
Then we get to the beautifully aggressive part with (I'm assuming) Lisa Gerrard's vocals. That sustained note with the growl is just breathtaking. This will definitely be an incredible experience in IMAX, once heard in context with the imagery.
"Ripples In The Sand" is a nice variation of the main theme.
Can't forget "Eclipse" which grew on significantly. I criticized the use of it in the first trailer but now I think it's absolutely brilliant (in the trailer and on its own as a cover).
I'm so hyped about this movie if you can't tell!
Easily the most anticipated movie of 2021 for me.
Dave Connor
Senior Member
I heard PAUL as a musical construct orchestrated with organic and inorganic sounds (such as with the male vocal entrance) blended in a way I haven’t heard before. Aggressively technological and human simultaneously.
The guitars (arpeggios and lead lines) struck me as string-like textures. The harmonies were cool, a bit wild and worked well I thought. The guitar work is stellar.
The harmonies over the bass pedal at the top were Hans’ usual inventiveness with surprise chord changes that were interesting and beautifully resonant. And then the drop-dead modulation with the bass that was just so hip and really launched the track - which is a signature unique to this composer.
Didn’t sound old but new to me. The sonic hue right off was strange and dark in a way I haven’t heard done before. Seemed highly appropriate given the subject matter.
The guitars (arpeggios and lead lines) struck me as string-like textures. The harmonies were cool, a bit wild and worked well I thought. The guitar work is stellar.
The harmonies over the bass pedal at the top were Hans’ usual inventiveness with surprise chord changes that were interesting and beautifully resonant. And then the drop-dead modulation with the bass that was just so hip and really launched the track - which is a signature unique to this composer.
Didn’t sound old but new to me. The sonic hue right off was strange and dark in a way I haven’t heard done before. Seemed highly appropriate given the subject matter.
José Herring
Lost in Cyberspace
This is HZ at his best and nobody else can do it the way he does it.
jcrosby
Senior Member
100 PERCENT. This is a score, and yet people are judging it without any consideration of the film.
A score's 1st goal is to support the picture, not make the audience run out and buy the soundtrack while potentially ignoring any interest in seeing the film itself. If it doesn't do that well? The above score teasers would most likely have wound up being written by a completely different composer altogether...
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AlexRuger
rewgs
Well done, Hans. This is absolutely stellar.
I really don't get what people are talking about with "cliches" here. Besides, he probably invented or perfected many of the cliches you're hearing.
Also, guys...drones and sand dunes go hand in hand. Come on now.
As is usually the case with Hans, the devil is in the details, the specific sound, the aesthetic, the drama and vibe of it all, and in the inventive ways he goes about implementing a certain idea, even if the general idea itself isn't something new. Case in point: the textures in the first three or so minutes of "Paul's Dream" are out of this world. Have we heard "textures behind a melody over a drone" before? Yeah, of course. Have we heard those textures, implemented with that much interesting detail and space in the Z axis? Nope. So much cool detail there, I'd love to see how they were made. I'm guessing a generous dose of Metasynth, but who knows.
That panning, wobbly drone at around 2:55 in "Ripples In The Sand?" Absolutely perfect, nails a really specific vibe. Feels like seeing a mirage in the sand while the sun is in your eyes and you're parched for thirst. Love it.
The subtle bitcrush-type layer on the vocals at around 4:25 in the same track. Ugh, perfect. Just hits so good. That's what Hans always does -- just absolutely nails vibes through his sound design, supported by tasteful and dramatic as hell arranging.
I really don't get what people are talking about with "cliches" here. Besides, he probably invented or perfected many of the cliches you're hearing.
Also, guys...drones and sand dunes go hand in hand. Come on now.
As is usually the case with Hans, the devil is in the details, the specific sound, the aesthetic, the drama and vibe of it all, and in the inventive ways he goes about implementing a certain idea, even if the general idea itself isn't something new. Case in point: the textures in the first three or so minutes of "Paul's Dream" are out of this world. Have we heard "textures behind a melody over a drone" before? Yeah, of course. Have we heard those textures, implemented with that much interesting detail and space in the Z axis? Nope. So much cool detail there, I'd love to see how they were made. I'm guessing a generous dose of Metasynth, but who knows.
That panning, wobbly drone at around 2:55 in "Ripples In The Sand?" Absolutely perfect, nails a really specific vibe. Feels like seeing a mirage in the sand while the sun is in your eyes and you're parched for thirst. Love it.
The subtle bitcrush-type layer on the vocals at around 4:25 in the same track. Ugh, perfect. Just hits so good. That's what Hans always does -- just absolutely nails vibes through his sound design, supported by tasteful and dramatic as hell arranging.
Consona
Senior Member
After Wonder Woman 1984 I thought HZ is back writing some music, but here we are dipped deep in these sound-design exercises again.
Hope other pieces from the score will be different.
True, HZ is a master at what he's doing, but sometimes it feels like he's the best milk cake chef in the world while you are lactose intolerant.
Hope other pieces from the score will be different.
True, HZ is a master at what he's doing, but sometimes it feels like he's the best milk cake chef in the world while you are lactose intolerant.
jcrosby
Senior Member
But... Since when does the composer get to decide what makes the cut in terms of what's accepted as score? No film score consists of music where every single cue is an ideal version of what the composer may have envisioned per scene... Sure, maybe it's not their most elegant work (by some people's standards), but that is the nature of a score, no?
ed buller
Senior Member
Never...I got busted once for using it . I was in his room and he wandered over to the piano,played the scale then waged his finger right at me “never..ever do this !”.....
it’s good to have rules and instant dislikes . I approve
best
ed
Biodynamic
(formerly Pincel)
Sounds amazing to my ears! It's Zimmer doing what he does best, no one can touch him when it comes to this kind of vibe, and the mixing/production is just something else (as usual).
The wailing voice with those percussion rolls just send chills down my spine man, plus the amazing textures, I just love it. Absolutely looking forward to the movie/score.
The wailing voice with those percussion rolls just send chills down my spine man, plus the amazing textures, I just love it. Absolutely looking forward to the movie/score.
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