The Dune score sucks (and other uplifting messages)

[@TheFaceMeIter]

Always great hearing from you Ben; don't care if it's just ranting.Miss you brother and want to see you happy. Will support you in all your endeavors. \m/

[@propterhawk3585]

Ah yes, Hans doing his usual "this is meaningful" performative vocal stop gap. In this case he is going with "The People Of The Sands 41" motif. Slight variation to his Gladiator "People Of The Harvest." This usually comes as a relief alternative to his "heroic 4 note string staccato repetitions" where by quickly repeating a lazy chromatic scale, and adding a heavy percussive drop at the start of every other measure, we as the audience are informed our hero is either arriving soon. This will be followed in short measure by the "spoons, metal pots, and djembe going down the stairs" high tension percussive interludes, that further inform us that our hero has in fact arrived on scene, and is doing something wonderful to heal some devious maladay. As an aside, I don't know if the Zimmer touch inspires the "Nick Cage orbit" camera moves, wherein a collage of low angle camera sweeps around the hero looking very concerned about the situation they now find themselves is required to set the stage for the antic to come, or if this particular sequence is shot because they know Hans is doing the score. In either case the two seem married in some Cage-Bayian cinematic matrimony, that officiate the fact we're watching another high budget, off the rack cinematic offering. As a former composer, my story started 30 years ago. Moving from playing in punk bands in the 80s and dabbling in the hip hop genre, my transition into making music for motion picture started before the wide availability of computer software, and VSTs. They were around, but the cost put them far out of reach for someone with no money, so one had to be creative in how they used what they had. I learned that my mixes were very thin, and lacked the kind of polish a proper film score should have, so learning sound design to sweeten things (and to try and make them sound more expensive) was something I had to spend time with. As a big fan of Public Enemy, and the awe inspiring Shocklee soundscapes this worked in tandem (and often ahead) of my learning to compose. So for me, the two are the same. I didn't really know that a sound designer, audio mixer, and composer were different departments. Mainly because I was by myself, and couldn't afford additional personnel. To me, it was all part of the score, and therefore my responsibility to create. It has just always been part of my pipeline. Which further expanded over the years to "post production" as a singular position. From capturing to final color correction, and everything in between. Which in indie film, also means I was on set doing the camera and lights as well. It wasn't that I was trying to be an autocrat, it was simply a matter of having to do these things because we wanted to make films, and we didn't have any money, or help. Any task we didn't do ourselves meant it wouldn't be done full stop, and we wanted our cheap productions to look, sound and feel expensive, Like people of means actually trusted us with money, and had confidence in our ability. That wasn't the case, so we had to fake it until we made it. Then once we made it, we still did everything, and still had no money. That continued for a long time. Then I got really good paying work where I was no longer really doing any work, but supervising others that were doing the work, and I went back to the trades, and vent my creative energy as a hobby.

[@AxiomofDiscord]

I did all electric music we used a string and keyboard input device ran through many layered softsynths. Could never do that all live really well maybe with a lot of pretuned settings and rapid switched banks of those settings. Yet if being able to "play" the song live was so important a lot of songs and sounds for that matter might never have been conjured up in the first place. I think life is better for people finding a way around their weaknesses to still create something. In our failures to do what we want we often create successes that otherwise would have never been.

[@alphalux]

I haven't heard the score, so I won't form an opinion on if I could recreate this with the old Sytrus VST, but what's astonishing is how many extremely good musicians are out there currently that could do something more original than most of the classic talent. Spotify, Apple Music are all swimming with incredible independent producers -- so many that I can't listen to all of the great stuff I come across. I really think most people aren't looking, and I imagine it's the same even in the industry.

[@emversustheworld]

😂😂😂 Got me again! “10s of thousands of years in the future, galaxies away…” Yup.

[@thethegreenmachine]

I know very little about music, except whether or not I like something. I was completely indifferent to the music in Dune. I was unimpressed, and I ignored it. I'd probably have thought more about why I was indifferent to it, but there were other aspects of the movie that were really annoying to me. All that praise for this movie, and the only thing that stood out to me as better than what all the other adaptations did was the ornithopters. I really liked those.

[@PhoenixProdLLC]

I love this video but feel like I've been doing this most of my life but I'm not edumuhcated, I'm an autodidact dillatante. At best.