[NEW] Studio SOS: Hans Zimmer | hans zimmer studio setup – Cazzette

hans zimmer studio setup: Is the article you’re in search of proper?

When legendary movie composer Hans Zimmer requested us to assist enhance the acoustics in his short-term London studio, we had been solely too comfortable to oblige!

Our readership at Sound On Sound is nothing if not eclectic, spanning buskers, bankers, medical doctors and music professionals. We’ve had Studio SOS requests from all quarters, however I was nonetheless a little stunned after we had been contacted by Tom Broderick of Remote Control Productions (previously Media Ventures) to say that Hans Zimmer wished to know if we had been interested by fixing up a couple of manufacturing rooms for him to make use of in London. After all, Hans’ studio in Santa Monica appears to be like like how I’d think about Batman’s library to be — if solely Batman may afford it!

To reduce a lengthy story brief, Hans was briefly leaving his US facility to work in a small suite of three adjoining slicing rooms at De Lane Lea studios in London’s West End, the place he deliberate to spend the subsequent two months composing and recording the rating for the second Sherlock Holmes film (Sherlock Holmes: A Game Of Shadows). Both he and co‑composer Lorne Balfe had comparable rooms measuring round 5.1 x 6.8 x 3.7 metres, with no therapy on the strong brick and naked plaster partitions, apart from some rapidly‑hung blackout curtains. A third room located between them served because the machine room, and housed seven giant racks of laptop {hardware} that Hans had shipped over for the undertaking. The temporary, in Tom’s phrases, was to give you “fundamental, cheap, fast, non‑invasive acoustic therapy” — so not too totally different from lots of the different Studio SOS jobs we have undertaken! But a main impediment was the shortage of parking within the space, so any supplies we would have liked must be both carried with us, or shipped to the studio beforehand. Tom mentioned he already had two containers of Universal Acoustics foam tiles that he hadn’t but used, and a fast name to Auralex yielded an settlement for them to ship a field of their foam panels on to the studio, so that we might have sufficient to deal with each rooms.

Hans' temporary composing suite at De Lane Lea studios in Soho. Ideally, the setup would have been rotated so that the speakers were firing down the room's longest dimension, but the length of cables going to the machine room, and the need for a sofa at the back, meant that this wasn't practical.

We determined that the one sensible method can be to make two visits; one to search out out what wanted to be executed and one other to do it. Tom greeted us on our arrival and confirmed us the rooms in query, which had been already kitted out with Cubase and Pro Tools laptop methods, keyboards, bespoke touchscreen management surfaces and quad monitoring methods with modified Quested VS210 speakerss for entrance L and R and Dynaudio BM5 MkII audio system for the rear L and R. Conversion to full 5.1 encompass is outwardly dealt with at a later stage within the manufacturing course of.

Both rooms had been initially arrange with the audio system firing throughout the brief axis of the room, the entrance audio system being positioned in entrance of the surface wall, which featured a giant window with plastic venetian blinds. Usually, it’s higher to work alongside the longer axis of the room as this reduces the probabilities of ending up sitting in a bass null zone, but it surely was not sensible to show Hans’ room round, partly as a result of the cables to the machine room would not enable it, but in addition as a result of he’d set it up this fashion so {that a} couch might be positioned alongside the longer wall behind him, to accommodate visiting producers and others engaged on the undertaking. Turning the room round would not have allowed the rear couch, due to the positions of the room’s three entry doorways. We did, although, handle to re‑orientate Lorne’s manufacturing room, which labored very nicely.

In Hans’ room, the present setup comprised a giant desk to carry three monitor screens, and likewise to assist a pair of shortened speaker stands holding up the Questeds, which Hans had organized on their sides to present him loads of stereo width, and to deliver the tweeters down extra into line with the place he wanted them. A Doepfer weighted keyboard was pushed up in opposition to the entrance fringe of the desk, and there was one other small desk to the correct supporting one more monitor, displaying the Pro Tools channels used to deliver sampler outputs into the system. Hans makes use of a hybrid system, composing on Cubase however utilizing Pro Tools as a technique to monitor the sampler inputs, and likewise as a means to file them as particular person audio recordsdata for the ultimate combine, which might be executed utilizing a Euphonix Series 5 console.

The tools racks within the central machine room generated a big quantity of warmth, so further air-con had been rigged. However, some noise from the air-con and laptop followers additionally leaked across the edges of the adjoining door into the room Hans was utilizing. We did suggest methods of enhancing the seal across the door to assist scale back the noise, and Tom was contemplating hanging one of many heavy black drapes in entrance of the door as a simple and non‑invasive, fast‑repair answer. If you might have visions of Hans sitting in a snug resort suite writing epics on his laptop computer whereas sipping countless Martinis, they’re fairly a way from the truth!

Our preliminary evaluation was executed alongside Tom Broderick, as he takes care of lots of the technical features of Hans’ setup. He totally appreciated that the low finish would behave in a extra constant manner if the audio system had been firing down the size of the room, however the necessity to accommodate guests precluded this. Considering the room dimensions, each Hugh and I had been involved that Hans would find yourself sitting very near the centre of the room. Given the small measurement and pretty strong partitions, this may in all probability lead to a vital bass null on the listening place. Tom put up some industrial recordings so we may test our idea and, positive sufficient, there was a big gap within the backside finish proper about the place Hans’ chair can be. We had been additionally a little involved that utilizing the displays on their sides would prohibit the width of the candy spot unnecessarily, however we may additionally see that setting them up usually would place the tweeter too excessive, because the stands wanted to be tall sufficient to clear the massive monitor screens Hans was utilizing.

Leaning forwards or backwards by round 18 inches was sufficient to get the listening place away from the useless spot, so we requested Tom if we may claw again a little area by taking down the blackout curtain over the window, then shifting the desk in the direction of that wall so far as it might go, which gave us round 12 inches of additional area. As the window was fitted with blinds, we did not suppose window reflections would pose a vital drawback. We additionally requested about the opportunity of both including top to the desk or reducing the keyboard stand by and inch or so. This would allow us to slip the again of the keyboard beneath the desk edge, which might give us the additional six inches we would have liked. Tom thought this seemed like a good plan and mentioned he’d have it executed by the point we returned to complete the job. I additionally advised we merely flip the displays the other way up so the tweeters can be on the backside, as that will get them nearer to the perfect top with out compromising the width of the candy spot. Again, Tom thought this was a sensible transfer so long as Hans was comfortable to do it.

With Tom Broderick's help, one last piece of foam was stuck to the ceiling, at the mirror point above Hans' listening position.At our proposed new listening place, the bass finish was surprisingly even, presumably due partly to the bass‑trapping impact of the window. All we would have liked to do to make the area acceptably workable was to place in some mid/excessive absorption at applicable factors within the room. We could not stick something on to the partitions, and we most popular to not drill holes if we may get away with not doing that, however luck was on our aspect, as an aluminium channel had already been fitted to the rear and aspect partitions for supporting discover boards. All we would have liked to do was devise a hanging system that will utilise the slot alongside the highest of the aluminium channel. Our first thought was the outdated ‘CD‑R caught to the again of the froth’ trick, because the decrease fringe of the CD‑R would drop neatly into the slot. However, as Tom’s personal Universal Acoustics panels and our newly provided Auralex foam panels had been pretty skinny (and subsequently would solely actually take up at comparatively excessive frequencies), we felt it is perhaps higher if we may discover a technique to create some air area behind the panels to make them more practical within the decrease mid-vary.

Hans' suite, after the improvements were made. In addition to treating the walls, the setup was pushed closer to the wall to avoid the central room node, thus providing a smoother bass response.

After some experimentation, I got here up with the thought of a light-weight picket body that we may glue to the froth panels solely at their ends, and place them in order that the froth would bend outwards from the panel in a curve. With two foam panels per body, this may produce a wave‑like visible impact with round six inches of area behind the centre of every panel. We figured that two of those frames on both sides of the room on the mirror factors, with two extra behind the listening place, can be sufficient to tame the room atmosphere and to permit us to dispense with the quite oppressive blackout curtains.

It was round this level that Hans arrived, so we mentioned our findings with him and he appeared typically amenable to our proposed modifications. He even thought inverting the audio system was a good thought. He wasn’t anxious in regards to the room being acoustically good — he advised us he was used to working in imperfect rooms and will compensate for many issues, however any enchancment can be welcome. When I requested him why he’d left his dwelling facility to work in what should have appeared like a broom cabinet to him, he mentioned it was higher than final time he’d labored at De Lane Lea, when he’d had to make use of a tiny room within the basement to place collectively the music for the Wallace & Gromit: Curse Of The Ware Rabbit film! As the remainder of the film sound for the present undertaking was being executed at De Lane Lea, it made extra sense to be on web site, particularly with such a tight deadline.

A number of days later (concurrently the London riots, because it occurs!), we returned by practice, together with a bag of instruments, a couple of canisters of spray adhesive, a packet of hob nobs, and 6 picket frames that I’d knocked up in my basement. Rather than threat the frames on the underground, we took a cab to the studio, whereupon Tom gave us entry to the surface roof space, the place we may do our gluing with out gassing the employees! True to his phrase, he’d additionally managed to maneuver the desk and keyboard, and to invert the displays.

Once we might caught the froth to the frames, we merely put a couple of brief wooden-screws into the again of every after which hung the protruding screw heads within the slotted aluminium channel on the partitions. When we had accomplished the constructions and hung them within the room, we felt {that a} little extra absorption was referred to as for, and as we had some leftover foam panels, we glued pairs collectively alongside one edge, with cardboard strips caught over the rear of the joins for reinforcement. These had been hung flat in opposition to the wall between our curved panels on the rear and proper‑hand aspect wall, to extend the realm of absorption. One additional panel was caught to the ceiling above the listening place, utilizing the minimal doable quantity of adhesive (Tom mentioned we may get away with that!), and one other held on the left‑hand door utilizing a discarded CD‑R and an present image hook.

Lorne had managed to configure his suite such that the speakers were pointing down the room's longest dimension. Again, foam tiles were hung on the walls to minimise early reflections, and we suggested that he truncate his speaker stands so that the monitors could be more ideally positioned, as Hans had done in his own room.With the blackout curtain in place, the rooms had regarded and sounded a little claustrophobic, because the comparatively skinny materials from which they’re made is best solely at increased frequencies, throwing the mids and highs considerably out of steadiness. Switching to the froth and leaving extra naked wall uncovered meant that the room acoustic felt higher balanced, with a bit extra air on the excessive finish — dry sufficient to be workable however not so dry as to sound oppressive. The modifications to the furnishings place and the monitor orientation had smoothed out the low finish to a helpful diploma, and Tom mentioned he’d dangle some blackout curtain over the machine-room door to attempt to scale back the noise leakage from that supply. Hans appeared very happy with the result, because the room not solely behaved higher, but in addition gave him a little extra space through which to work. I suppose he was a bit anxious about with the ability to see daylight, although!

Lorne Balfe, Hans Zimmer's co‑composer for the second Sherlock Holmes film.

That left Lorne Balfe’s room to take care of, however, happily for us, Tom had moved Lorne’s system round after our first go to, in order that the audio system had been now pointing down the lengthy axis of the room, and so they’d already hung blackout curtain on what was now the rear wall. We moved a desk and bookcase on the rear of the room to supply extra space, and this time left the blackout curtains in place over the rear wall and likewise over the window to Lorne’s left. There was a patchbay and wiring body on the correct wall, proper on the mirror level, however as this wasn’t getting used, we determined to stay a panel of froth over it (utilizing Gaffa tape and a couple of small patches of glue) and to repair two extra above and beneath it. We’d moved the bookshelf in order that it was now instantly behind the patchbay, so we used that to assist a couple extra foam panels. We could not carry sufficient frames to do each rooms, so for Lorne’s room we merely used flat panels hanging in opposition to the partitions.

We discovered one other of these helpful aluminium rails working alongside the wall behind the entrance audio system, so we had been capable of dangle 4 widths of froth from that, every being created from two panels glued collectively alongside one edge and once more supported with cardboard bracing on the again, to cut back reflections from the naked wall and to assist dry up the general room atmosphere. We merely used outdated CD‑Rs caught to the again of every panel for hanging them, and these slotted completely into the rail. Accepting that this was a fast and soiled answer, and that the panels would must be taken down once more as soon as the undertaking was accomplished, we requested Lorne to guage the enhancements. To our aid, he mentioned the sound felt noticeably tighter than earlier than, and now that he was monitoring alongside the size of the room quite than throughout it, he felt extra snug with the sound typically.

In this room, the entrance Quested audio system had been mounted on full‑top stands that needed to be positioned to the perimeters of the desk, and that made them barely wider spaced than was very best and, extra importantly, resulted within the tweeters being partially obscured by the monitor screens. In Hans’ room, the identical tall speaker stands had been reduce to size and positioned on the desk, so Tom mentioned he’d see to that after we left and adapt them to assist the audio system tweeters-down, in order that they had been nearer collectively behind the displays and excessive sufficient for the tweeters to not be obscured. This is what he’d executed within the room Hans was utilizing, and it had confirmed to work advantageous.

By now, the aroma from the neighbouring Red Fort Indian restaurant was proving to be too seductive, so we left Hans and Lorne to get to work on their movie rating whereas we perused the lunch menu!  

Talk To The Hans

Here’s what Hans needed to say about his newly improved suite: “I knew we were going to have acoustical problems moving from our studio in Santa Monica to a small cutting room in London. Having read Paul and Hugh’s articles in SOS over the years, it seemed obvious to put the team to the test. Science, common sense (“Maybe it is best to flip the audio system round…” Duh!) and biscuits helped tame a number of the issues we had. I’m having enjoyable writing in right here — thanks, gents!”

[The Best] What Studio Equipment Does Hans Zimmer use? – Andyax Music | hans zimmer studio setup – Cazzette

At some level, each gear-hungry movie composer should have questioned: what tools does Hans Zimmer use?

Hans Zimmer makes use of two totally different DAWs assigned with two totally different duties, a touchscreen command heart, a Doepfer MIDI Keyboard, a Bösendorfer grand piano, and modular synths from Moog, Roland, Waldorf, and lots of extra. In addition, he makes use of digital devices (VSTs) from corporations like u-he and Arturia.

I wished to place collectively a simple to learn, up-to-date, detailed record for you, in case you wish to mannequin your music studio after the studio of the German movie composer legend. 

So, get pleasure from discovering the tools Hans Zimmer makes use of in his studio as of 2021.

DAW(s)

Let’s start with the one place all of it begins – the digital audio workstation. This is the software program the place you create, edit, and file your music. Hans Zimmer really makes use of two DAWs; Cubase and Pro Tools, for numerous functions. 

But why do Zimmer use each Cubase and Pro Tools when he scores a movie?

I work on Cubase as a result of I’ve at all times labored on Cubase.

Hans Zimmer in Masterclass

Cubase Pro
Zimmer makes use of Cubase Pro primarily to compose and edit his midi tracks. Cubase was created by fellow germans Manfred Rürup and Karl “Charlie” Steinberg, the founders of Steinberg. Zimmer has used Cubase because it first arrived on the scene.

Cubase is the primary DAW, the sequencer, the place Hans creates his particular person cues. It is in Cubase all of the precise music creation and experimentation is being executed.

Pro Tools
Using two DAWs is a results of a composer eager to create the very best workflow. That is why Hans Zimmer additionally makes use of Pro Tools when he scores a movie. This DAW speaks with Cubase and takes care of duties Cubase shouldn’t must be doing.

For instance, Pro Tools is a superb DAW for working with the audio and video tracks, along with effectively monitoring and oversee the complete undertaking.

Other helpful utilization areas of Pro Tools:

  • Handles a number of video recordsdata within the undertaking, (which is nice for working with TV sequence or a number of scenes)
  • …and due to this, the video recordsdata received’t put an excessive amount of strain on the undertaking file you’ve obtained working on Cubase. All in all, combining the 2 DAWs ends in a extra steady, environment friendly, and secure workflow.

However, Cubase, Logic Pro, and different DAWs are completely able to dealing with video recordsdata inside your tasks. Unless you’re engaged on a number of TV sequence episodes or a full-size function movie, you received’t actually need to prioritize this setup.

MIDI KEYBOARD

Doepfer LMK4+ 
Hans Zimmer makes use of Doepfer LMK4+ as his essential MIDI keyboard, which you’ll be able to see in a lot of his interviews, together with his Masterclass.

Doepfer is a model that may be very standard amongst a number of different composers. The LMK4+ is utilized by a number of composers, akin to Christian Henson at Spitfire Audio and the movie composer Junkie XL.

However, Zimmer additionally makes use of the Komplete Kontrol MIDI keyboards by Native Instruments, as you possibly can see at round 17:30 on this video:

I’ve performed this MIDI Keyboard a number of instances. It is, for sure, a completely skilled keyboard that can also be somewhat extra inexpensive than the Doepfer.

Native devices typically launch superior particular provides on their merchandise, so you’ll want to take a look at the Komplete Kontrol on their web site to see if you’re in for deal.

An much more inexpensive different
The Doepfer and Komplete Kontrol are for sure nice MIDI keyboards/controllers. They are fairly costly although. So, if you’re in search of an excellent, full-sized MIDI keyboard with totally weighted keys, I like to recommend you’re taking a more in-depth take a look at Yamaha P45 – a digital piano I personal myself, which I’m completely overjoyed with.

I wrote in regards to the variations between a digital piano and a MIDI keyboard on this article if you wish to learn extra about it.

STUDIO MONITORS

Zimmer makes use of a number of studio monitor manufacturers and is a giant fan of Quested Monitors. In his line-up you can see displays like:

  •  The 1st gen Quested VS2108 Studio Monitors
  •  The 2nd gen Quested VS2108 Studio Monitors
  • Quested HM415
  • Quested VS210 Speakers
  • Dynaudio BM5 MKII

Quested is a extremely popular model amongst movie composers. Harry Gregson-Williams is one other movie composer who actually likes Quested Monitors, additionally utilizing the VS2108 mannequin.

Quested are undoubtedly price their value, but when they’re exterior your value vary, I like to recommend taking a look at a really strong and inexpensive pair of Yahamas which I focus on in this text.

TOUCHSCREEN CONTROLLER

Junkie XL mentions Hans Zimmer’s touchscreen within the video I’ve embedded beneath. It is constructed by Mark Wherry, and it really works as a management/command heart for Cubase.

For instance, the touchscreen can:

  • Select, cover, and mute teams of tracks extra effectively
  • Make it simpler to navigate in big tasks with tons of of tracks
  • Doing in-depth MIDI changes with pre-coded shortcuts
  • …and far, way more

Have a take a look at the video beneath to see all of the utilization areas of the touchscreen owned by Tom Holkenborg (Junkie XL).

Hans and Junkie XLs touchscreens are fully customized made and never for most of the people. It is Wherry’s personal code and he makes use of Windows touchscreens.

However, if you wish to construct a setup like this, you might use both iPads or Windows touchscreens.

And there isn’t any must be adept at coding both. There are apps that can provide help to out, which you’ll discover out now.

So, do you need to construct your self a setup like this? Hans has a giant display, and I like to recommend you might have the identical, to work extra effectively.

An amazing choice is that this inexpensive 11.5-inch monitor which you will discover on amazon.

The app it’s essential obtain is Lemur, a MIDI controller app that now could be obtainable for each Android and iOS. The Lemur app is round $25 as I write this text. Lemur is the popular choice if you need your management interface to resemble the touchscreen that Zimmer has.

So for somewhat over $100, you can also get the touchscreen workflow that Hans Zimmer makes use of. Check out the video by Brian Rivlin for a useful tutorial on methods to make your self one.

PIANO

A pure a part of Zimmer’s studio is a grand piano. He owns a Bosendorfer 280 VC, the outdated, nicely-identified maker of live performance grands. Bosendorfer relies in Vienna, Austria, and the signature sound of their pianos are tender and sonorous, with heat bass, colourful center tones, and gentle, angelic tremble.

Naturally, getting your arms on this live performance grand would require each a variety of area and cash, so I believed I may present a manner cheaper choice (which additionally occurs to be my new live performance grand VST favourite) “Noire“, by Native Instruments.

With Noire, you should have a implausible live performance grand mainly in your pocket. The one factor I like probably the most with Noire is how easy it kickstarts your artistic course of. Be positive to take a look at Noire on the Native Instruments web site.

Check out my favourite music manufacturing instruments

Music manufacturing tools might be costly. That’s why it’s necessary to actually suppose issues by means of earlier than shopping for the “latest and greatest” tools on the market. Over the years as a movie composer, I’ve used a variety of totally different music manufacturing tools. Want to see my favourite music instruments?

See beneficial instruments

COMPUTER

I’ve at all times felt that the pc was my instrument.

Hans Zimmer

Hans mentioned this in an interview with Mashable, the place he talked about a variety of issues, together with his programming skills – that are world-class, for those who ask me.

A pc is one thing that may be modified and upgraded constantly, so the precise laptop mannequin and specs that Hans Zimmer at the moment makes use of can fluctuate tremendously from the data you discovered on-line final month.

But right here is my recommendation:

  • Look for a pc with a minimal of 16 GB of RAM
  • Look for a pc with a minimal i5 CPU
  • Buying second-hand is unquestionably okay – simply make sure you recognize what to search for.

You can learn useful recommendation on methods to get a robust PC for music manufacturing on this article.

SYNTHS

Synthezeisers are a beautiful artistic outlet. Synths are good for creating and experimenting with sounds – which may give you as a composer an entire new sound signature.

Hans Zimmer creates music in a gothic, atmospheric studio, with dimmed lights. One of the partitions within the studio is a large modular synth. The man is all about taking part in round with synthesizers, and what follows is a collection of what he makes use of:

  • Access
  • Yamaha CS-80
  • Minimoog Voyager
  • Moog 953 Duophonic
  • Roland MKS-80 Super Jupiter
  • Waldorf Q
  • Waldorf Microwave XT
  • Waldorf Wave

VIRTUAL INSTRUMENTS (VSTs)

If you needed to splash the money on simply certainly one of his many VSTs, your cash can be finest spent on the VST that follows.

Hans Zimmer likes to experiment with sounds – and particularly synths. When Zimmer will not be utilizing analog, modular synths like his Minimoog Voyager and Arturia CS-80, he swears by ZEBRA by u-he, the German maker of synthesizers and results.

This VST helps you to mess around with totally different sounds, waveforms, and results, serving to you create new sounds, results, and atmos.

In Masterclass, Zimmer demonstrates how highly effective Zebra is by making a one-of-its-variety, distinctive sound that you just can’t simply purchase out of the field.

Tip: u-he additionally provides Zebralette, a lite model of the Zebra without spending a dime. You can test it out right here.

I hope this put up was of assist to you. If you recognize a pal who want to learn this, you’ll want to share it!


Look Inside Hans Zimmer’s LA Studio — Hans Zimmer Strings


Save 30% on our Hans Zimmer vary https://bit.ly/3nP9cYR
To create the best movie scores on the earth, it’s essential suppose exterior the field. We teamed up with Hans Zimmer, the Godfather of orchestral sampling (Dunkirk, The Dark Knight, Interstellar), to supply this spectacular innovation; 344 gamers performing an unconventional vary of taking part in methods in The Hall at London’s worldfamous AIR Studios. With as much as 26 mic positions, solely know-how means that you can play an ensemble this massive — from thundering basslines to glasslike excessive strings, that is symphonic strings maximised.
Hans Zimmer Trailer https://www.youtube.com/watch?v=lOMjgZ8TwG8
Walkthrough https://www.youtube.com/watch?v=xUiWZ0OQZdo
In Action https://www.youtube.com/watch?v=xgvAF_jE4Lw
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You can see extra helpful data right here: See more here

Look Inside Hans Zimmer's LA Studio — Hans Zimmer Strings

Composing Studio Tour // VLOG #6


Here’s a fast tour of my studio. I did not get into nice element. It’s kind of the area I exploit. All music on this video is discovered at www.musicchophouse.com

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EQUIPMENT IN MY STUDIO::.
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Composing Studio Tour // VLOG #6

Gladiator • Now We Are Free • Hans Zimmer u0026 Lisa Gerrard


Soundtrack from the 2000 Ridley Scott movie “Gladiator” with Russell Crowe, Joaquin Phoenix, Connie Nielson, Oliver Reed, Derek Jacobi, Djimon Hounsou u0026 Richard Harris.
All movies/edits are in accordance with copyright/truthful use.

Gladiator • Now We Are Free • Hans Zimmer u0026 Lisa Gerrard

Hans Zimmer – making of HANS ZIMMER PERCUSSION


For epic and distinctive orchestral music go to:
https://soundcloud.com/elegymusic
Featurette displaying Hans Zimmer creating the brand new Spitfire “Hans Zimmer Percussion” Library. For extra data go to: www.spitfireaudio.com.
I obtained tons of Hans Zimmer Maming Of’s and featurettes on my channel, so please subscribe.

Hans Zimmer - making of HANS ZIMMER PERCUSSION

Hans Zimmer: Recording the Music – Sherlock Holmes: A Game of Shadows


In this video, we see how composer Hans Zimmer collaborated with the Roma to create a novel gypsy edge for his rating to SHERLOCK HOLMES: A GAME OF SHADOWS. Edited by Max Carlson and offered to ScoringSessions.com by Remote Control Productions and HansZimmer.com

Hans Zimmer: Recording the Music - Sherlock Holmes: A Game of Shadows

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