{"id":519762,"date":"2024-04-26T14:30:04","date_gmt":"2024-04-26T12:30:04","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/?p=519762"},"modified":"2024-04-24T13:45:43","modified_gmt":"2024-04-24T11:45:43","slug":"the-sounds-of-dune-part-two","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/en\/inspire\/the-sounds-of-dune-part-two\/","title":{"rendered":"The Sounds of \u201cDune: Part Two\u201d"},"content":{"rendered":"

No other film has been more eagerly awaited this year than “Dune: Part Two”! The sequel to the science fiction epic based on Frank Herbert\u2019s book is topping the box office charts around the globe.<\/strong> \ud83d\ude80<\/p>\n

Once again, the masterful Hans Zimmer is responsible for the soundtrack. His music, transcending the typical Hollywood array, adds a new dimension to the film’s characters and desolate worlds. How were the sounds of “Dune: Part Two” created? We’ve got some insights!<\/strong><\/p>\n

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Hans Zimmer started developing pieces of the soundtrack even before director Denis Villeneuve began the actual filming of the second part of the science fiction saga. Once he completed his Oscar-winning score for “Dune: Part One” (2021), Zimmer continued writing, both to inspire the director through his compositions, and because he was confident that the production company would green-light the sequel. Reports suggest that about an hour and a half of music was already complete when the project took more definite shape. One can hardly ask for a more comfortable starting point!<\/p>\n

For “Dune: Part Two,” Zimmer did not primarily rely on a large Hollywood orchestra. Why would one use a traditional orchestra to underscore a distant science-fiction world? Instead, Zimmer crafted a universe of bizarre, exotic sounds and voices. From altered instruments and chants, self-made devices, and synthesizers, a sonic portrait of the desert planet Arrakis and its inhabitants emerged. During the recordings, Zimmer relied on many musicians who had been part of the first installment and some who are also members of his live band, thus seamlessly connecting the sound world of “Dune: Part Two” to its predecessor.<\/p>\n

<\/h2>\n

The Sounds of “Dune: Part Two”: Vocals<\/strong><\/h2>\n

As with the first part, the vocals<\/strong> in the soundtrack to “Dune: Part Two” play a pivotal role. The memorable voice of Loire Cotler<\/strong> penetrates the memory of the audience and adds a unique character to the soundtrack. Like in “Dune: Part One”, many voices are dramatically altered with effects<\/strong> to sound more alien, mystical, or menacing. A linguist even developed a unique language! In videos from the scoring sessions, the singer is seen using a dynamic Telefunken M80<\/a><\/strong>. However, with such a powerful voice, the exact microphone used is arguably a minor detail \u2026<\/p>\n

\"Telefunken<\/a>
Telefunken M80 Black<\/figcaption><\/figure>\n
\"the<\/a>
the t.bone SC 300 Micscreen Bundle<\/figcaption><\/figure>\n
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Rare Instruments for an Alien Atmosphere<\/strong><\/h2>\n

The many rare, ancient, and exotic instruments<\/strong> also contribute to creating the atmosphere of a distant, foreign world. Hans Zimmer, for example, uses a Duduk<\/strong><\/a>, a traditional Armenian instrument, masterfully played by Pedro Eustache<\/strong>. Other flutes<\/strong><\/a> are used in unconventional ways to produce airy, whispering sounds. Instead of relying on the standard Hollywood toolkit, Zimmer pursued the approach: anything goes as long as it supports the sonic vision. And that is precisely what makes this soundtrack so distinctive!<\/p>\n

\"Thomann<\/a>
Thomann Duduk in A Set<\/figcaption><\/figure>\n
\"Thomann<\/a>
Thomann Rhythm flute Set M<\/figcaption><\/figure>\n

Other instruments were not safe from being altered beyond recognition. Again, Hans Zimmer worked with cellist Tina Guo<\/strong>, who has been heard in soundtracks for films like “Wonder Woman: 1984” and “Inception” and has also performed on stage with the Foo Fighters. Her electric cello<\/strong> was occasionally run through a fuzz effect<\/strong> to give it a distorted, menacing sound. Also, guitarist Guthrie Govan<\/strong> was involved again, who plays an 8-string guitar by Strandberg<\/strong><\/a> during concerts of Hans Zimmer\u2019s live band.<\/p>\n

\"Harley<\/a>
Harley Benton HBCE 990BK Electric Cello<\/figcaption><\/figure>\n
\"Electro
Electro Harmonix Little Big Muff Pi<\/figcaption><\/figure>\n
\"Strandberg<\/a>
Strandberg Boden Standard NX 8 Blue<\/figcaption><\/figure>\n

Percussion and Synthesizers: The Sounds of “Dune: Part Two”<\/strong><\/h2>\n

Powerful, distinctive percussion sounds<\/strong> have always played a large role in Hans Zimmer\u2019s compositions \u2013 not just since “Dune”. The secret to unique soundtracks lies in sounds not found in standard libraries, or as the composer himself says: “I just love making drum sounds!” But for the Dune saga, Zimmer has outdone himself in terms of drums and percussion. From custom creations made from PVC pipes<\/strong> from the hardware store to the sonic sculptures of artist Chas Smith<\/strong>, almost anything that can be hit, plucked, stroked, or otherwise vibrated is used.<\/p>\n

\"Thomann<\/a>
Thomann Tibetan Singing Bowl No2, 200g<\/figcaption><\/figure>\n

In our shop, you’ll find a wide selection of percussion instruments<\/strong> from around the world, perfect for creative experiments. How about a few singing bowls<\/strong><\/a>, an Ocean Drum<\/strong><\/a>, a Thunder Carton<\/a><\/strong> or an Helix Bowl<\/strong><\/a>?<\/p>\n

\"Remo<\/a>
Remo 16″ x 2,5″ Ocean Drum Aquarium<\/figcaption><\/figure>\n
\"Meinl<\/a>
Meinl Helix Bowl Saragosa Line<\/figcaption><\/figure>\n

Physical-Modeling Synthesizers<\/strong> are another way to develop unique sounds. Hans Zimmer mentioned that he’s always on the lookout for new sounds that don’t yet exist. Synthesizers like Baby Audio Atoms<\/strong><\/a> or Applied Acoustics Systems Chromaphone<\/strong><\/a>, which simulate the behavior of various sound bodies virtually, are tailor-made for this purpose! Zimmer also used the sound engine of Expressive E Osmose<\/strong><\/a> developed by Haken Audio, which offers extensive possibilities and highly expressive control.<\/p>\n

\"Baby<\/a>
Baby Audio Atoms<\/figcaption><\/figure>\n
\"Applied<\/a>
Applied Acoustics Systems Chromaphone 3<\/figcaption><\/figure>\n
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Soundtrack Dune by Hans Zimmer: Feedback<\/strong><\/h2>\n

What do you think \u2013 has Hans Zimmer outdone himself with the soundtrack to “Dune: Part Two”? Is the second part just as Oscar-worthy as the first? Which sounds of “Dune: Part Two” do you like best? We’d love to hear your thoughts!<\/p><\/blockquote>\n

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\"\"<\/a><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Discover how Hans Zimmer\u2019s innovative soundtrack brings “Dune: Part Two” to life using rare instruments and creative techniques. \u25b6\ufe0e Delve into the sound that shapes a whole new world. \u2713<\/p>\n","protected":false},"author":23,"featured_media":519663,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[10676],"tags":[],"class_list":["post-519762","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inspire"],"category_colors":{"color_key":"inspire","css_classes":{"text":"cat-inspire","text_light":"cat-inspire-light","bg":"cat-bg-inspire","bg_light":"cat-bg-inspire-light","border":"cat-border-inspire","text_on_bg":"cat-text-on-inspire"}},"reading_time":{"minutes":5,"formatted":"5 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts\/519762","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/comments?post=519762"}],"version-history":[{"count":0,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts\/519762\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/media\/519663"}],"wp:attachment":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/media?parent=519762"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/categories?post=519762"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/tags?post=519762"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}