Can't wait for Behind the Score for this one

C'est tout simplement magnifique! Great Job!!! Love that!

Bless the Maker and his water, Bless the coming and going of him. May his passage cleanse the world, and keep the world for his People.

You’re a legend Ashton ! It was probably very hard to get the same soundscape, but you killed it !

Just WOW ! You arrangement its so well crafted, I like how you create this larger than life feeling, I hope maybe we can saw this in Behind the Score one day ;)

Outstanding mock-up again!

Beautiful, Ashton. I love all of the Dune albums and you have done the music more than justice here.

You really have awesome skills 👍🏻

Please tell which vst libraries you used in this mockup 😭😭😭🙏🏻🙏🏻

Cant tell the difference! Amazing job

Wonderful recreation of the score!

Brilliant!

Incredible resemblance Ashton, great work!

Very nice mixing, orchestration and usage of samples. Great work.

omg 👌 Brilliant 🤩

Excellent Job Ashton

Wonderful

Great work!

great work

Dune it awsome 😇😘

You're the GUY! Waiting for behind the score!

wow!!! plugins, please!!!!!!

🖤

Ashton you Rock 🤘Can we have the MIDI file? Please 🙏

wow . can you share midi file for learning ?

1:11 anyone know what library has that sub it sounds amazing.

percussion and sub - action strikes?

MIDI Available?

Plz do kgf bgm album breakdown

I’m honestly thinking you just copied the soundtrack.

I would argue that most modern media "composers" aren't actually composers at all. They fall more under the category of sound designers, experimentalists, and, dare I say, noodlers. If DAWs didn't exist, 95% of these people would be out of the business. DAWs allow people to "Frankenstein" things together as they play with their "digital Legos." There are things that become second nature to real musicians over the years that are simply foreign to the digital Lego people. For example, there is no possible way for someone who has just sat at a DAW most of their life to tell me that they are a better orchestrator than I am when I've been playing in numerous bands, orchestras, chamber ensembles, etc. since the 80s. So much has reached our subconscious, so we intuitively know what works, which combinations of instruments sound horrible in unison, general ranges of the instruments, and what actually works in the physical world. Some moron on KZfaq who is confused thinking that she's "Joan Williams" wrote one hour's worth of tremolo parts for the strings while playing with her digital Legos. At the scoring stage, they told her, "Look, we can't do this anymore." Ignorance like that could potentially result in serious injuries that could have lasting effects on musicians. There is no substitute for real-life experience. How can you claim to be a champion swimmer when you have never jumped into a pool? It's simply not possible. People are using DAWs as a crutch to find out what might work rather than simply hearing it in advance. Since I have perfect pitch, I can actively tell myself, "Imagine the Principal Oboist playing a legato passage in this range, in this specific character, etc." I can also hear particular soloists in my mind as well or imagine the CSO's brass from their golden era under Reiner. Yet people like me are blocked from the business because many of you DAW people are like bulldozers. You don't know what you don't know, so you assume that you are armed with actual skills and then go and somehow get your foot in the door shamelessly working your connections. Unfortunately most directors and producers know nothing about music, so if you are a good talker or someone with strong industry connections since Uncle Bob supplies light bulbs to a major lighting director, it's only a matter of time before you will get in the door and start working, even if it's a bunch of really small projects at first. The other major thing that's missing is the actual performance aspect. Dear God, if it's a big budget production where the digital Legos are transformed into parts, guess what? The live players end up sounding like digital Legos! It's a complete waste of money. Might as well install MIDI ports into the players' heads! And I have to laugh when a media composer counters by saying, "Well we have CC data, dude." Well that's just adding fuel to the fire because if you have never played an instrument at a very high level, then what the hell do you know about proper phrasing? The phrasing needs to be INTEGRATED! You can't just use a variety of CC data as a substitute. I've seen the CC data of some "big" LA composers and laughed my butt off because they just drew in whatever just to add some variety (excuse me, but....AHAHAHAHAHA). No, it doesn't work like that. A lot of the phrasing is already implied based on the melodic lines and harmonic movement. You can't arbitrarily go to your MIDI editor and draw in swells (well you can but it will just sound bad). All that tells real musicians is this: "I don't know what the hell I'm doing." Yet many of you working media "composers" act larger than life. If you are at some industry event and John Williams comes over and asks what you do, you should say, "I'm a professional barista," because the gap is so wide that it's beyond ridiculous. This goes for you as well, Hans.

Sounds better than the original, but it's still the same 3 notes over and over again. Quite lazy composing by Zimmer.