“90% of what I do is done on one software synth”: Hans Zimmer on the synth plugin that he’s been working with for years - and still hasn’t run out of ideas.
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U-He Zebra 2 ZebraHZ special Hans Zimmer version.
there. saved you a click.
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Zebra Hz is amazing , and you have to be living under a rock if you didn’t know about the zimmer-Zebrahz connection , it’s almost 13 year old 
Zebra 3 will be even more amazng ( been alph testing it for months , and it’s now in beta , can’t say more )
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thanks. i didn’t know about zebrahz.
i updated my zebra2 to the newest version of v2, and installed ZebraHZ, and started using ZebraHZ and installed the presets. opt-Z will open ZebraHZ from now on.
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Have you also seen the Synapse The Legend HZ? It’s a beast!
Why the hell does everyone love this guy? He’s like the Richard Devine of film music: always everywhere, but nobody can really explain why.
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I’m not a fan perse , but I certainly liked the score for interstellar
I’d say richard Devine is the Jordan Rudess of elec.music
For anyone interested in the red midi controllers , they are Choi sauce designs …( really topnotch stuff it seems )
It wouldn’t surprise me that the Joystick ones are tailor made for use with Zebra-dark Knight score ( since the designer of Choi Sauce is-was his former technician )
I reallywant those Joystick ones to pair up with my kenton control freak live
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Here’s an example why:
Besides of that he was born in the same city as me and he also grew up next door to my home, so there are quite a few matches. I like his compositions, he always manages to transport emotions and to hit the right spot. 
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Frakfurt is not so far from my home village near Heidelberg.
Let’s meet for a Bembel.
The Dark Zebra soundbank contains all the presets he made and used for the Dark Knight soundtrack.
I know , And I haven’t played a single one of them 
, rather roll my own stuff
Correction , the presets where made by Howard Scarr ( u-he in house sound designer , and did lot’s of stuff for acces , N.I. et c… )
Zimmer’s time is literally too precious , you really don’t think he’s making presets do you?
None of those top composers do , they have a whole team behind them
plus he’s got a audio software company UJAM
No offense meant, but that’s awful. See, this is why I don’t get it - there are tens of thousands of people who could do fake orchestral sounding, very bland scores for very bland films. Why did he hit the jackpot and get all the big money work? Was it a case of right place, right time? What is it? I am baffled.
Nowhere is written that movie scores have to be orchestral. There’re a lot top movies that have scores made only with synths.
When Hans Zimmer gets mentioned it’s often in relation to synths and music technology (which is why I called him the Richard Devine of film music). For instance, the founders of Ableton credit him with being one of the first people who ‘got’ their software and helped spread word about it in the music industry. They talk about him moving through NAMM almost like some kind of high priest with the power to bless the worthy.
Yet in comparison to Vangelis, another person known for writing film scores and also famous as a synth lover, the work of Zimmer seemingly has none of the depth or longevity achieved by the former across far fewer works in that field. So I still don’t get it, whatever style his music takes.
People have different tastes. If it’s not your taste, no one forces you to listen to him. I bet there’re also enough people who don’t like Vangelis.
I imagine that MusicRadar summarizing Rick Beato interviews with Hans Zimmer is the kind of thing I’ll be reading for all eternity if I don’t make it to heaven.
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He ain’t no high priest or anything , just a dude who happened to have a succesfull career ,with a genuine love for music tech from the early days on .
It’s not that he has to endorse anything , I think he just wants to spread the word about certain products he seems worthy of attention .
It has always been like that , engineers recommend stuff to other engineers etc… ( out of the public eye ) … the internet just made this easier and more revealing for (us) outsiders
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Pretty sure that the orchestral scores are anything but fake .
We’re talking multimillion dollar movies here , they rent orchestra’s when the time is fit .
The orchestral sampling libraries are just used for draftwork .
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[…] there’s a growing feeling of disgruntlement in the vast community of additional and ghost composers who fuel the Hollywood-music studios. Zimmer’s Remote Control studio is perhaps the most cited avatar of the hyper-collaborative system that has taken root in blockbuster-focused Hollywood as deadlines tighten, pressures mount, and digital editing forces scorers to aim at moving targets: Scenes can be tweaked ad infinitum before reaching “picture lock.” A website devoted to Zimmer credits the many collaborators who make up the Remote Control “team.” There are 66 composers, 74 cocomposers, 28 arrangers, 72 additional arrangers, and 23 credited with “additional music.” Sixteen more people in various capacities round out the list, bringing the total to 279. If Zimmer can’t get a cue right, one composer told me, “he has 60 people behind him willing to give it a shot.”
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