All rights reserved.Web site designed & maintained by PB Associates & SOSYou may login with either your assigned username or your e-mail address.World‑renowned film composer Hans Zimmer, this month's Studio SOS candidate.Hans' temporary composing suite at De Lane Lea studios in Soho. Hans Zimmer hat über 120 Filmmusiken komponiert, die an den Kinokassen über 24 Billionen Dollar weltweit eingespielt haben. Es wurde 1989 von Hans Zimmer und Jay Rifkin als Media Ventures gegründet und später nach einem Rechtsstreit zwischen beiden in Remote Control Productions umbenannt.. 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.In order to get the tweeters roughly at head height, Hans' Quested monitors had been laid on their sides.
We also asked about the possibility of either adding height to the table or lowering the keyboard stand by and inch or so. "It featur...This image is of Hans' studio, and straight ahead in front of the chair you c...The first synth on the left of the picture is a Tinysizer. Jomox SunSyn. Rather than risk the frames on the underground, we took a cab to the studio, whereupon Tom gave us access to the outside roof area, where we could do our gluing without gassing the staff! The brief, in Tom's words, was to come up with "basic, inexpensive, quick, non‑invasive acoustic treatment” — so not too different from many of the other Studio SOS jobs we've undertaken! In Hans' room, the same tall speaker stands had been cut to length and placed on the table, so Tom said he'd see to that after we left and adapt them to support the speakers tweeters-down, so that they were closer together behind the monitors and high enough for the tweeters not to be obscured. A third room situated between them served as the machine room, and housed seven large racks of computer hardware that Hans had shipped over for the project. „The Music of Hans Zimmer & Others – A Celebration of Filmmusic“ wird von einem symphonischen Orchester und Chor dargeboten sowie der Sopranistin Johanna Krumin, die u.a.
I'm having fun writing in here — thank you, gentlemen!”All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. However, this was compromising the size of the monitoring sweet-spot, so they were eventually turned upside‑down.Paul hanging one of his wooden frames. more Jomox SunSyn. Tom greeted us on our arrival and showed us the rooms in question, which were already kitted out with Cubase and Pro Tools computer systems, keyboards, bespoke touchscreen control surfaces and quad monitoring systems with modified Quested VS210 speakerss for front L and R and Dynaudio BM5 MkII speakers for the rear L and R. Conversion to full 5.1 surround is apparently handled at a later stage in the production process.Both rooms were initially set up with the speakers firing across the short axis of the room, the front speakers being placed in front of the outside wall, which featured a large window with plastic venetian blinds. One further panel was stuck to the ceiling above the listening position, using the minimum possible amount of adhesive (Tom said we could get away with that! Given the small size and fairly solid walls, this would probably result in a significant bass null at the listening position. A Doepfer weighted keyboard was pushed up against the front edge of the table, and there was another small desk to the right supporting yet another monitor, showing the Pro Tools channels used to bring sampler outputs into the system. more. it's a walkthroug...What kind of Keyboards and Synthesizers does Hans Zimmer use? But a major obstacle was the lack of parking in the area, so any materials we needed would have to be either carried with us, or shipped to the studio beforehand. Considering the room dimensions, both Hugh and I were concerned that Hans would end up sitting very close to the centre of the room. Both he and co‑composer Lorne Balfe had similar rooms measuring around 5.1 x 6.8 x 3.7 metres, with no treatment on the solid brick and bare plaster walls, other than some hastily‑hung blackout curtains. There was a patchbay and wiring frame on the right wall, right at the mirror point, but as this wasn't being used, we decided to stick a panel of foam over it (using Gaffa tape and a couple of small patches of glue) and to fix two more above and below it. We did, though, manage to re‑orientate Lorne's production room, which worked very well.In Hans' room, the existing setup comprised a large table to hold three monitor screens, and also to support a pair of shortened speaker stands holding up the Questeds, which Hans had arranged on their sides to give him plenty of stereo width, and to bring the tweeters down more into line with where he needed them. He wasn't worried about the room being acoustically perfect — he told us he was used to working in imperfect rooms and could compensate for most things, but any improvement would be welcome.
We couldn't carry enough frames to do both rooms, so for Lorne's room we simply used flat panels hanging against the walls.We found another of those useful aluminium rails running along the wall behind the front speakers, so we were able to hang four widths of foam from that, each being made from two panels glued together along one edge and again supported with cardboard bracing on the back, to reduce reflections from the bare wall and to help dry up the overall room ambience. 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.Lorne Balfe, Hans Zimmer's co‑composer for the second Sherlock Holmes film. ), and another hung on the left‑hand door using a discarded CD‑R and an existing picture hook.That left Lorne Balfe's room to deal with, but, fortunately for us, Tom had moved Lorne's system around after our first visit, so that the speakers were now pointing down the long axis of the room, and they'd already hung blackout curtain on what was now the rear wall.
If you have visions of Hans sitting in a comfortable hotel suite writing epics on his laptop while sipping endless Martinis, they are quite some way from the reality!Our initial assessment was done alongside Tom Broderick, as he looks after many of the technical aspects of Hans' setup.