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How Hans Zimmer’s sonic experiments shaped the world of Dune: Part Two — Composer Magazine

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The first thing that hits you is sound. A growling, guttural voice, unsettling in the extreme. “Power over spice, power over all.” You feel the vibration in your chest, pressing you back into your seat. Sound is a sensation that can defy rational explanation and if there’s something Hans Zimmer enjoys it is making you feel without knowing why. “The thing I love about music [is that] you can move people within a second.” How he does it is another question entirely. Like Part One, the sonic world of Dune: Part Two is all-encompassing. And like Part One, the musicians and collaborators Hans Zimmer has surrounded himself with spending most of their time just trying to keep up. One of those is synth maker Urs Heckmann. “Urs was asking, why do I really need five resonators?” Zimmer beams. “I need five resonators because I have this vision of how things are supposed to sound!” When he’s not haranguing his synth man, Zimmer is sending his virtuoso woodwind player Pedro Eustache to the hardware

Composer Magazine — Spitfire Audio Words by Anton Spice The first thing that hits you is sound. A growling, guttural voice, unsettling in the extreme. “Power over spice, power over all.” You feel the vibration in your chest, pressing you back into your seat. Sound is a sensation that can defy rational explanation and if there’s something Hans Zimmer enjoys it is making you feel without knowing why. “The thing I love about music [is that] you can move people within a second.” How he does it is another question entirely. Like Part One, the sonic world of Dune: Part Two is all-encompassing. And l

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