Hans Zimmer

"I just sold my Yamaha GX1 because i have a great remplacement with Arturia's CS-80V"

This article in FACT magazine details how Hans Zimmer and Benjamin Wallfisch created the Bladerunner 2049 soundtrack:

"The CS-80 was part of a coterie of synths. They also used the u-he “wireless” modular plugin Zebra, as well as the company’s Diva softsynth, which was designed by Urs Heckmann based on Zimmer’s favorite Minimoog; Wallfisch was able to bring out a DSI Prophet-12 he hadn’t yet had the opportunity to use; a SoundToys Crystallizer granular synth altered compositions and then pieces were put through tape delays and covered in reverb before being processed again with the Crystallizer. “One of the things we talked about was the idea of ‘more human than human,’” Wallfisch says. “When you’re creating, you play a chord, and then all these machines take care of this extraordinary, strange, replicant-style advancement of something acoustic.”"

This video takes us on a walk through of some of THE DARK ZEBRA synth presets. In this accompanying article, directly from u-he, they write "A bank of over 400 presets, a collaboration between Hans Zimmer and Howard Scarr. Practically all Zebra sounds in the The Dark Knight as well as The Dark Knight Rises soundtracks are included, plus several more that didn’t quite fit into the scores. The pack also includes Hans' custom built update from a licensed Zebra2.x to the version you can see in this video, ZebraHZ. Several of the more recent patches make use of the extra features available in ZebraHZ."

"Absolutely BRILLIANT! These are beautiful sounds that will work great in my music. The Gregorian Men and Choir FX are really cool and unique."

A video of Hans using zebra 2 in his studio to test a hardware keyboard controller called SEABOARD.

There is an artist spotlight of Hans Zimmer on the Steinberg website and a video interview. The link to the page: https://new.steinberg.net/stories/hans-zimmer/

This article in FACT magazine details how Hans Zimmer and Benjamin Wallfisch created the Bladerunner 2049 soundtrack:

"The CS-80 was part of a coterie of synths. They also used the u-he “wireless” modular plugin Zebra, as well as the company’s Diva softsynth, which was designed by Urs Heckmann based on Zimmer’s favorite Minimoog; Wallfisch was able to bring out a DSI Prophet-12 he hadn’t yet had the opportunity to use; a SoundToys Crystallizer granular synth altered compositions and then pieces were put through tape delays and covered in reverb before being processed again with the Crystallizer. “One of the things we talked about was the idea of ‘more human than human,’” Wallfisch says. “When you’re creating, you play a chord, and then all these machines take care of this extraordinary, strange, replicant-style advancement of something acoustic.”"

The Vintage Synth Explorer page states that Hans Zimmer uses the Steinberg Model E.

Hans collaborated with the guys at Spitfire to release this amazing scoring virtual instrument.

The video itself is a tour of Hans Zimmer's studio, and also promotional material for Spitfire Audio's Hans Zimmer expansion, so although whether he REALLY uses it or not is debatable, the Hans Zimmer Strings Expansion is clearly visible at 0:31 seconds in the video.

2:00 "I'm Hans Zimmer, and this is my master class."

"I believe, right now, I personally only have the one big UAD-2, the QUAD card, in my computer. It's holding up great and covers all my needs… So far. However, the way we work here is that we have three studios on the go. We have my room, we have the other programmers' rooms, and everybody has sort of the same outfit. So I have no idea how many we actually have amongst all the different composers and arrangers here, but it's a lot!"

In this interview for Universal Audio, Hans explains how he uses UAD plugins to shape his sounds. It was few years ago, back then when he was scoring Inception, but it should be still relevant today.

In the "Making of INTERSTELLAR Soundtrack" video by Elegyscores on YouTube, Hans Zimmer is shown using the Spitfire Hans Zimmer Piano, a Kontakt instrument, at Air Studios in London.

In this interview for Universal Audio, Hans explains how he uses UAD plugins to shape his sounds. It was few years ago, back then when he was scoring Inception, but it should be still relevant today.

“I like a GUI that is intended for a soft synth as opposed to an emulation,” Zimmer continued. “I experienced this years and years ago when I first got very excited about Arturia bringing out [its] Modular Moog soft synth. But, I spent as long making a sound on that as I would spend on the real thing, which was standing right next to me, so it took the same amount of time to end up with something that wasn’t quite as satisfying.”

At 1:16, the Blackhole plugin window is opened on Hans' right screen.

As demonstrated in the video, Hans Zimmer uses his signature next-generation version of The Legend. The plugin has also Hans' own 914 filter bank integrated.

Testimonial from the LiquidSonics artist page by Hans Zimmer:

LiquidSonics Cinematic Rooms is the most musical reverb I’ve used. Totally immersive, which is exactly how it should be. Makes life better!