For over a decade, this maestro behind the console has been an integral creative force behind Hans Zimmer’s iconic film scores, with his indelible touch shaping the auditory landscapes of cinematic blockbusters such as Interstellar and Blade Runner 2049. Now, stepping into the limelight with a spring in his step as a solo artist, Taurees Habib is poised to captivate audiences with his debut single, ‘Cannibal Cathedral.’

Beyond his burgeoning artistry, Taurees also hopes to give back to the industry by organising a Masterclass-style workshop in Pakistan. He aims to empower aspiring Pakistani audio professionals to harness their unique cultural identity in the blend of science, craft and art that is audio production.

Taurees recently became only the second Pakistani, after Arooj Aftab, to win a Grammy. While the Grammys serve as a coveted stamp of approval, Taurees views winning one — as part of the scoring team for Dune: Part 2 — not just as a personal triumph but as a catalyst for all his future endeavours, and a reminder to appreciate the journey as he continues to push boundaries and break new ground. So how does it feel to be a Grammy award-winner and what impact does it have on his professional career?

“Professionally, it’s very exciting,” he says. “A lot of people see a Grammy as a universally recognised stamp of approval, and that might make professional conversations more constructive, foster initial trust with new clients, and validate my expertise in audio engineering. However, I still feel there’s so much more to learn. I don’t give myself enough credit. I hope the physical Grammy reminds me to be kinder to myself and appreciate my achievements. I need to be able to look at it and appreciate the moment, instead of asking myself, ‘what do I do next’?

From the bustling streets of Karachi to the dazzling lights of Hollywood, Taurees Habib is making history as the first Pakistani sound recording engineer to clinch a Grammy award for his pivotal role in Dune: Part Two

“Having worked on about seven other nominated films that didn’t win, I had less anticipation for this one and even forgot the awards were airing. I was cooking and completely unaware the Grammys were on that day when I received a text congratulating me on the win. I kept the win under wraps initially, to allow time for the official recognition process to conclude — which involves a time-consuming ‘audit of contribution’ to determine who officially qualifies for a Grammy statue.

“I hope this honour will open doors to new opportunities for me. I believe this recognition signifies my ability to work at a very high level, and anticipate it will lead to increased trust in my abilities.”

How did the long-term collaboration with music producer/film score composer Hans Zimmer come about? Taurees says: “After about six months at another recording studio, I realised it wasn’t the right fit for me. I connected with Remote Control Productions [Hans Zimmer’s company], and interviewed for a role in the sampling department. I mistakenly thought it was programming-intensive but it was more engineering-focused, aligning with my skills. I secured the position and became head of the department two years later.

“Since 2012, my department has been building unique digital or virtual instruments for Hans Zimmer, creating bespoke sounds for films such as Dune, to ensure each soundtrack is one of a kind. I’ve worked on almost every Hans Zimmer project since 2012, including Dune: Part One, and I now feel like an integral part of the team.

“This has fostered significant trust, allowing my team considerable autonomy. Hans communicates his needs, and we confidently take the ball and run with it, without any micro-managing. Our primary challenge boils down to time constraints, so we adapt our design approach to meet deadlines. For the Dune films, we designed and built substantially more virtual instruments than we had for any prior project, which was a very cool experience.”

So what does a sound engineer’s job typically entail, and how varied is it across different productions?

“A sound engineer’s job is highly varied, with no single “typical day.” Daily life can range from solitary computer work, creating special effects or capturing dialogue, to social live sound, or even working with artists in a studio to create sounds for character movements.

“Through it, I’ve gained deep insights into music orchestration, learning how to select and combine sounds effectively to create a cohesive sonic picture. Building custom sounds provides a unique perspective on filling the sonic spectrum. A significant lesson was realising that even the most talented creators lack a ‘secret formula.’ Their process involves experimenting, retaining what works and discarding what doesn’t make the cut.”

Taurees started releasing new music this year as a solo artist with his first single dropping just two weeks before he received his Grammy win. “I plan to release new music every couple of weeks on all major streaming platforms [Spotify, Amazon, YouTube, Apple, Tidal]. I feel fortunate that the Grammy attention has created an opportunity for many people to discover this personal project. Additionally, Dune 3 will also happen at some point in the future.”

Taurees was born and grew up in Karachi. What were the early childhood experiences that influenced his musical development?

“When I was around 12 years old, a friend took me to an underground rock show at the Alliance Francaise, where a band played loud, distorted music by Metallica and Korn, with electric guitars and a screaming vocalist. It was an experience I had never witnessed before and it truly ignited a spark in me, profoundly shaping my interest in music.

“I started learning guitar at 13 through summer lessons and self-study. At 15, I was introduced to audio engineering at a summer camp, which led to more self-study and saving for equipment. Eventually, I pursued formal education at the Berklee College of Music [in Boston], which I found incredibly valuable for gaining essential skills and a vocabulary for musical communication.”

And what is this workshop he wants to organise in Pakistan?

“I’m in the initial stages of organising a Masterclass-style workshop aimed at individuals interested in building or enhancing their creative audio- and music-production skills. The core objective is a comprehensive learning experience. A key focus will be tailoring content for people from Pakistan, centring around helping participants harness their unique cultural perspective and identity and integrating it into their artistic approach to audio production, which I see as a blend of science, craft, and art.

“My ultimate goal is to guide others to discover and implement their unique voice in audio production. While the workshop will impart technical knowledge, it will also encourage participants to explore a deeper, more creatively fulfilling dimension of their work, allowing them to leave a personal mark.

“It emphasises that tools and techniques are merely instruments, and there’s no single ‘right’ approach, as different audio engineers will develop diverse, effective solutions, underscoring the value of personal journey and growth.

The writer is a freelancer. Email: asifkhan.media@outlook.com

Published in Dawn, ICON, November 2nd, 2025