# Hans Zimmer Masterclass



## jononotbono

Someone just shared this on Thinkspace and ooops I tripped on my bank card and enrolled. This is going to be amazing!

Hans Zimmer teaches Film Scoring

https://www.masterclass.com/classes/hans-zimmer-teaches-film-scoring

So excited!

Jono


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## John Busby

Say wut?....


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## URL

Thats cool- pity its not in Hans studio...


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## jononotbono

Took me 2 minutes to sign up for it. I'm not a groupie. Just a fan! haha! Speaking of which, HZ tour dates were announced earlier today. Hoping for another UK show at least. Wembley was sick.


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## Thorsten Meyer

Available in 74 days from today or 2017-01-31


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## URL

HZ in Sweden would be nice, chances of that happening are not in the future- Hrm little hungry on the course.


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## Lassi Tani

Wow, interesting! Will I get to meet Hans?


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## URL

sekkosiki said:


> Wow, interesting! Will I get to meet Hans?


Yepp on the net


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## synthpunk

You mean your not getting the DeadMau5 masterclass as well ?  Joel is actually a nice guy, just like to pick on him.

ps Thank you HZ for doing this, it looks very inspirational for a old kid from Brooklyn


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## Andrajas

URL said:


> HZ in Sweden would be nice, chances of that happening are not in the future- Hrm little hungry on the course.


You mean HZ on tour in Sweden? Cause it is happening!


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## jononotbono

synthpunk said:


> You mean your not getting the DeadMau5 masterclass as well ?



Depends if I have to wear some Mickey Mouse ears?


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## URL

Andrajas said:


> You mean HZ on tour in Sweden? Cause it is happening!


What! he is or are you kidding me?


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## Andrajas

URL said:


> What! he is or are you kidding me?


I'm not kidding! 18 May 2017 in Stockholm :D! I'm soo going there!
See link: http://www.hanszimmerlive.com/livetour/


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## jononotbono

URL said:


> What! he is or are you kidding me?



Here are the tour dates announced so far. Best get your ass to Mars, sorry wrong film, Stockholm...

http://www.hanszimmerlive.com/livetour/


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## URL

Andrajas said:


> I'm not kidding! 18 May 2017 in Stockholm :D! I'm soo going there!
> See link: http://www.hanszimmerlive.com/livetour/



Thanks! I missed that totally- ticket not yet on sale...so


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## URL

jononotbono said:


> Here are the tour dates announced so far. Best get your ass to Mars, sorry wrong film, Stockholm...
> 
> http://www.hanszimmerlive.com/livetour/



Almost the same place were I coming from...eh Mars.


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## Andrajas

URL said:


> Thanks! I missed that totally- ticket not yet on sale...so


Np! Yeah very exiting! Can't wait until they are on sale! Will be a great year with Zimmer concert in May and James Newton Howard concert November 2017 also in Stockholm 

But back to the class, will also take it, very cool!


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## Polarity

jononotbono said:


> Someone just shared this on Thinkspace and ooops I tripped on my bank card and enrolled. This is going to be amazing!
> 
> Hans Zimmer teaches Film Scoring
> 
> https://www.masterclass.com/classes/hans-zimmer-teaches-film-scoring
> 
> So excited!
> 
> Jono



just 90$ for all 34 lessons?


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## Thorsten Meyer

Polarity said:


> just 90$ for all 34 lessons?


yes, available on 2017-01-31. I got myself another call from masterclass before and was amazed about the quality and great content.


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## Jetzer

Damn, just $90?! We live in amazing times. Enrolling.


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## d.healey

Well I'm enrolled


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## toddkedwards

I just enrolled! Thanks @Rctec for sharing your knowledge, really looking forward to seeing your insight and approach on film scoring.


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## AlexanderSchiborr

JH said:


> Damn, just $90?! We live in amazing times. Enrolling.



Anyways maybe a bit off topic , but not sure if I would call such thing "amazing". ..


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## Ashermusic

Not taking a master class from some damned Cubase user!

Just kidding, Hans, I'm in.


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## Fab

AlexanderSchiborr said:


> Anyways maybe a bit off topic , but not sure if I would call such thing "amazing". ..



lol, theres always one 

as a side note, this course could be a great way of thinning out the queue of assistants at RC


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## Jetzer

I'm sure there are still people out there who think paying $10.000 a year is a better option.


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## jneebz

This looks AMAZING. Thanks for sharing @jononotbono!!


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## Allen Constantine

Signed!


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## jononotbono

AlexanderSchiborr said:


> Anyways maybe a bit off topic , but not sure if I would call such thing "amazing". ..



What you talking about? You are alive and what an amazing time to be so. You even got to be around whilst Bowie and Prince graced the Planet. Cheer up!


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## synthpunk

The teaser video is great!


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## dannymc

amazing. $90 to enroll and then how much will it be per class? maybe Hans feels this is his next calling. to pass his great knowledge onto the next generation like a grand kung fu master. sounds good to me 

Danny


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## synthpunk

Did they charge/hold your card now btw ?

So when are the mods moving this to commercial ? Just kidding 

Danny, it sounds like it's $90 for the whole kit, kabang, and even kaboodle! ?


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## Andrajas

synthpunk said:


> Did they charge/hold your card now btw ?
> 
> So when are the mods moving this to commercial ? lol Just kidding
> 
> Danny, it sounds like it's $90 for the whole kit, kabang, and even kaboodle! ?


They charged right away for me! Yes, It sure does sound like its $90 for the whole class. No extra fees


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## Amey Ghule

Thanks for sharing this....
I've also joined it...


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## URL

Hm only $90 for a pre roll and not so much more info...I wonder have anyone used this masterclass before?


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## Chris Hawkins

This looks really cool! Would like a bit more info, though. Maybe just the titles of the videos, or something. Doesn't really say if it's for beginners or more advanced. Probably gonna enroll either way, haha


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## rottoy

Hans's closing words in the masterclass will be 
"And for the love of God; Stop composing for braahms and instead listen to Brahms!"


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## Andrajas

They are still working it out. I however don't think you will be disappointed  maybe they have different class groups with different levels but that would off course mean a lot of work for them to setup.


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## erica-grace

WOW

"If someone tells you that there is a rule, break it - that's the only thing that moves things forward."



I would KILL to know how many people will sign up for this.


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## sourcefor

Excited about this...ALWAYS wanted to see his process and his mindset! Thanks Hans!!


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## sourcefor

Will this class be available for download to watch again???


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## jononotbono

erica-grace said:


> I would KILL to know how many people will sign up for this.



Unless Alcatraz gets re-opened, you're not going to be able to do decent imitations of The Rock OST from behind bars, man!


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## synthpunk

"Lifetime access to the entire MasterClass"



sourcefor said:


> Will this class be available for download to watch again???


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## kavinsky

"If someone tells you that there is a rule, break it"
Break the damn rule, don't sign in like everybody else haha
but seriously, I've seen this video reposted like 7 times on my facebook feed.


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## Aenae

jononotbono said:


> Someone just shared this on Thinkspace and ooops I tripped on my bank card and enrolled. This is going to be amazing!
> 
> Hans Zimmer teaches Film Scoring
> 
> https://www.masterclass.com/classes/hans-zimmer-teaches-film-scoring
> 
> So excited!
> 
> Jono


I am expecting no less than the lenght of Mike Verta's @mverta classes here. Why not livestream the entire process for Dunkirk from start to finish if you dare while you're at it, haha.


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## Tatu

Class begins.



erica-grace said:


> "If someone tells you that there is a rule, break it - that's the only thing that moves things forward."



Class ends.

Saved 90 bucks


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## d.healey

sourcefor said:


> Will this class be available for download to watch again???


I doubt they'll provide a download button - but maybe. But anything that you can view or listen to on your PC can be downloaded one way or another.


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## Guy Bacos

sourcefor said:


> Will this class be available for download to watch again???



In the past I had taken the Serena Willam's Tennis Masterclass from this series, and it was downloadable, as I recall. Unless, it was just my computer who was able to download it, comes to the same.


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## synthpunk

Yes, there will be ways to grab it for your archiving of course if they do not.



d.healey said:


> I doubt they'll provide a download button - but maybe. But anything that you can view or listen to on your PC can be downloaded one way or another.


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## ChristopherDoucet

Done deal. A Big Thank you to Hans!!!!!

If these help me half as much as Junkie's Studio time videos, this will be a monumental investment!!!!!

Also, as a side note, really hoping that season 2 of Studio time with Junkie XL comes out soon!!!!!!!


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## Jetzer

Aenae said:


> I am expecting no less than the lenght of Mike Verta's @mverta classes here. Why not livestream the entire process for Dunkirk from start to finish if you dare while you're at it, haha.



The How To Score A Movie In Seven Months class...should be something.


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## Gabriel Oliveira

(This is what I got)

01. Introduction
02. Hans' Influences
03. Hans' Journey
04. Learning by Listening
05. Working within Limitations
06. Working with Directors Part 1
07. Working with Directors Part 2
08. Working with Directors Part 3
09. Approaching Story
10. Approaching Story: Creating a Theme
11. Creating a Sound Palette
12. Creating a Sound Palette: Sherlock Holmes
13. Creating Sounds using Synths
14. Scoring to Picture
15. Scoring Under Dialogue
16. Tempo
17. Tempo: Sherlock Holmes Scene
18. Creating a Music Diary Part 1
19. Creating a Music Diary Part 2
20. Character Theme: Batman
21. Character Theme: The Joker
22. Character Theme: Jack Sparrow
23. Character Theme: Moriarty
24. Case Study: Sherlock Holmes


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## lucky909091

Thank you very much for the link. I am in.


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## Calazzus

jononotbono said:


> Someone just shared this on Thinkspace and ooops I tripped on my bank card and enrolled. This is going to be amazing!
> 
> Hans Zimmer teaches Film Scoring
> 
> https://www.masterclass.com/classes/hans-zimmer-teaches-film-scoring
> 
> So excited!
> 
> Jono


Thanks Jono. See you guys in class.


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## Arbee

jononotbono said:


> Someone just shared this on Thinkspace and ooops I tripped on my bank card and enrolled. This is going to be amazing!
> 
> Hans Zimmer teaches Film Scoring
> 
> https://www.masterclass.com/classes/hans-zimmer-teaches-film-scoring
> 
> So excited!
> 
> Jono


Thanks for making me aware Jono, signed up.


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## synthpunk

no spitballs on the Moog Modular please!
Joey Ramone



Calazzus said:


> Thanks Jono. See you guys in class.


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## karelpsota

Am I the only one dying to know how much Deadmau5, Aaron Sorkin and HZ were paid to do this?

In any case, I find it extremely generous off them to take some time off and teach.


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## Daniel Díaz

Fantastic! I'm in


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## d.healey

karelpsota said:


> Am I the only dying to know how much Deadmau5, Aaron Sorkin and HZ were paid to do this?
> 
> In any case, I find it extremely generous off them to take some time off and teach.


Well there have been at least 60 sign ups in the last hour, roughly $5400 dollars, so I'm sure they don't have a problem paying the lecturers a good honest fee for their expertise.


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## InLight-Tone

This is a no-brainer for sure, Zimmer and Deadmau5 as well...


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## mac88104

I can also learn to play tennis with Serena Williams, but I am 39 so listening to Hans will be more useful.


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## Calazzus

synthpunk said:


> no spitballs on the Moog Modular please!
> Joey Ramone


I'm bringing a cyber apple for the teacher.


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## Jdiggity1

I foresee a surge in Cubase sales


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## Daniel James

There is always something new to learn! I'm in.

-DJ


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## WindcryMusic

I grabbed my credit card and jumped in as soon as I saw it on FB. And I have never, ever considered paying for any sort of online course before. But this ... is different, somehow. Thank you @Rctec for doing this!


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## LamaRose

Not a working composer, but I liked how he kept mentioning "story," so I'm definitely in. Ditto for Herzog and Sorkin. Thanks for the heads-up!


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## CACKLAND

I'm in


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## jononotbono




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## CACKLAND

Thanks for posting Jono, look forward to it


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## synthpunk

"This is the life of a musician, everyone will tell you to quit and get a real job" "But there will always be stories to tell"





CACKLAND said:


> Thanks for posting Jono, look forward to it


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## Gerhard Westphalen

jononotbono said:


>




Gonna pretend that the asymmetry of his desk with the newer larger screens isn't driving me crazy 

Can't wait for this!


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## synthpunk

And that mixing surface on the left ?



Gerhard Westphalen said:


> Gonna pretend that the asymmetry of his desk with the newer larger screens isn't driving me crazy
> 
> Can't wait for this!


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## SymphonicSamples

Holy Toledo Batman  No doubt this will be a Masterclass that will inspire new paths and dreams for many composer.


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## Ryan

cool!


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## Sekkle

Hook, line and sinker


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## OleJoergensen

jononotbono said:


> Someone just shared this on Thinkspace and ooops I tripped on my bank card and enrolled. This is going to be amazing!
> 
> Hans Zimmer teaches Film Scoring
> 
> https://www.masterclass.com/classes/hans-zimmer-teaches-film-scoring
> 
> So excited!
> 
> Jono


You are always on the beat Jono , thank you for sharing.


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## meradium

Anybody else noticed that nice Horn patch he uses at around 2:13? Would be nice to have our commercial sample libraries having such smooth transitions, wouldn't it?  I wonder how they do it...


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## Kejero

Well he simply has four horn players sitting behind his moogs, and 4 other horn players in the liqour corner, and when he presses a key on his keyboard it automatically generates the notes on a score sheet which is sent over wi-fi to the ipads on the stands in front these players and they play the notes. I think that's what he means with "anyone with an ipad can do these scores". I feel like I'm already learning so much just from the trailer!

Seriously though. Hans gets that being a film composer means being a story teller, and that's a point too few people get (be it composers or directors/producers), let alone be aware of. I'm always interested in hearing what he has to say, even if it only affirms my own views as opposed to challenge them.


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## synthpunk

around 1:34 ? He does have Zebra2 open as well.



meradium said:


> Anybody else noticed that nice Horn patch he uses at around 2:13? Would be nice to have our commercial sample libraries having such smooth transitions, wouldn't it?  I wonder how they do it...


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## stigc56

Well I joined too, exciting!
Thanks for the tip.


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## mac

This and the deadmau5 classes will make for some entertaining viewing. Does anyone have any idea on video lengths? We'll all feel pretty stupid if each video section is 10 seconds long


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## Ned Bouhalassa

This old dog can always learn from a Master - I signed up for this great initiative!


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## mwarsell

Hans would probably also advise us to take the Werner Herzog's film class so we learn how filmmakers think.


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## synthpunk

I have passed this thread on to him, hopefully he comes in to comment.

I'm hoping they do a bunch of other classes, like history, philosophy, etc. To take a college course online is insanely expensive these days.


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## J-M

Oh my...now, where is my credit card?


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## rottoy

mwarsell said:


> Hans would probably also advise us to take the Werner Herzog's film class so we learn how filmmakers think.


I assume this comment was made in jest, since no filmmaker on Earth thinks like Werner Herzog.


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## Leo Badinella

Wow. I'd enroll in a millisecond for this.


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## dannymc

> Seriously though. Hans gets that being a film composer means being a story teller, and that's a point too few people get (be it composers or directors/producers), let alone be aware of. I'm always interested in hearing what he has to say, even if it only affirms my own views as opposed to challenge them.



this always seemed like common sense to me to be honest so i'm curious what is the thinking of those composers who don't believe the aim is to tell a story with the music? what could possibly be the objective instead?

Danny


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## jononotbono

dannymc said:


> this always seemed like common sense to me to be honest so i'm curious what is the thinking of those composers who don't believe the aim is to tell a story with the music? what could possibly be the objective instead?
> 
> Danny



Exactly how I have always thought as well. Is it not common knowledge then? Strange.


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## Kejero

dannymc said:


> this always seemed like common sense to me to be honest so i'm curious what is the thinking of those composers who don't believe the aim is to tell a story with the music? what could possibly be the objective instead?
> 
> Danny



Today more than ever, film music tends to be very generic. You could swap one soundtrack in a film with another without impacting the film at all. Themes are rarely developed across the story, the music rarely follows an arc. It's mostly used to emphasize what's already on the screen. Sometimes several composers are used because composer A is better at lush, sad stuff and composer B can do action stuff. Throw some generic library tracks in to finish it off.

There are exceptions of course, but I know a bunch of directors who're even afraid of using music because they don't know _how_ to use it. They don't understand how adding music could add anything to the story that's not already told through images and sound. They don't think of music as an integral part of story telling. They think of it as something that's simply added in post, after-the-fact. I think the reason for this is that directors are never taught to think about music the same way they should think about framing, blocking, lighting, angles, beats etc. That, AND the fact that few film composers have studied film making and are barely thinking of their music in terms of an actual story-telling device. So they just do what they're told to do: they '_write music'_, instead of '_score the film'_.

I think that may be what Hans is hinting at when he says the secret is one word: "story". Or maybe I'm way off. I guess we'll find out. Either way, I'm seeing a lot of composers signing up for this class. What I'd really like to see is more directors and producers signing up, because both directors/producers and composers should know how to score a movie (just like both directors/producers and composers should know how to tell an audio-visual story). And I'm not expecting Hans to give us all the answers either. What I do expect from him is teaching us how to ask the right questions.


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## kurtvanzo

Kejero said:


> Today more than ever, film music tends to be very generic. You could swap one soundtrack in a film with another without impacting the film at all. Themes are rarely developed across the story, the music rarely follows an arc. It's mostly used to emphasize what's already on the screen. Sometimes several composers are used because composer A is better at lush, sad stuff and composer B can do action stuff. Throw some generic library tracks in to finish it off.
> 
> There are exceptions of course, but I know a bunch of directors who're even afraid of using music because they don't know _how_ to use it. They don't understand how adding music could add anything to the story that's not already told through images and sound. They don't think of music as an integral part of story telling. They think of it as something that's simply added in post, after-the-fact. I think the reason for this is that directors are never taught to think about music the same way they should think about framing, blocking, lighting, angles, beats etc. That, AND the fact that few film composers have studied film making and are barely thinking of their music in terms of an actual story-telling device. So they just do what they're told to do: they '_write music'_, instead of '_score the film'_.
> 
> I think that may be what Hans is hinting at when he says the secret is one word: "story". Or maybe I'm way off. I guess we'll find out. Either way, I'm seeing a lot of composers signing up for this class. What I'd really like to see is more directors and producers signing up, because both directors/producers and composers should know how to score a movie (just like both directors/producers and composers should know how to tell an audio-visual story). And I'm not expecting Hans to give us all the answers either. What I do expect from him is teaching us how to ask the right questions.



Just as few composers will take a film writing class (which would help them learn story telling) few directors or producers would take Hans Zimmers. But that's only because they think about what's before them (writing, characters, sets, camera, raising money and attracting talent) more than what's after.

Films are edited and re-edited so much that temp music in many styles starts to influence the end product. So instead of telling a cohesive story the composer is just focused on what is needed for the particular scene and getting the cue to fly. Even HZ is at the mercy of modern editing, trying to squeeze a theme in or say something meaningful with music in a short period of time.

It will be interesting to see his process and his thoughts on working with directors today. I'm sure much of it has changed in the last 5 years, and those assistants are working even harder.


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## airflamesred

The sock maketh the man.


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## Vicky

Just signed, there are so many people already in the class! Good luck to everyone


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## dannymc

> There are exceptions of course, but I know a bunch of directors who're even afraid of using music because they don't know _how_ to use it. They don't understand how adding music could add anything to the story that's not already told through images and sound. They don't think of music as an integral part of story telling. They think of it as something that's simply added in post, after-the-fact. I think the reason for this is that directors are never taught to think about music the same way they should think about framing, blocking, lighting, angles, beats etc. That, AND the fact that few film composers have studied film making and are barely thinking of their music in terms of an actual story-telling device. So they just do what they're told to do: they '_write music'_, instead of '_score the film'_.



yeah i get the point that directors might not see the value of music in a story/film, i was more referring to the point made that the composers don't get it. for me the composer should have to feel inspired by the story/film he/she is being asked to put music too. if you have no feelings or emotional response to the story or scenes being presented to you how are you suppose to write something to work with the scene? maybe some composers just use a toolbox of tricks for certain type scenes etc but that music is not going to be very original or memorable imo. i'm not sure i could ever write that way but maybe that's a skill you learn with more experience. 

Danny


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## Andrajas

I was at a masterclass with James Newton Howard yesterday in Stockholm and he talked about the amount of music thats in movies today, the difference between now and a few years back. I got the feeling that it really is way to much music in todays movies. Maybe it has to do with that more movies now days lacks interesting and good stories and music then is a way to try and "save" it? But of course, some directors are "afraid" of music, but I also think its a lot on the opposite side. Its a mixture of everything!

Btw, James Newton Howard, what a great guy and fantastic composer!. Was amazing to meet him and get to hear him talk about film music


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## Rctec

This was, without doubt, the most exhausting thing I've ever done. I haven't seen the final edits yet, but these guys knew how to mercilessly drill down to get answers to questions that I never had to articulate - things I had just learned by having the opportunity of "doing" and, very often, failing. After each relentless day I felt truly drained. But I think that's exactly how it should be.
I took this very seriously, and so did the whole crew and producers. Here guys take passing on knowledge very, very seriously. And yes, it's mostly writers and directors who watch the composers, while I watch Aaron Sorkin and Dustin Hoffman. And my friend Werner, of course.
Forget about me... the quality of people they have - and are getting to do their classes is pretty amazing.
Yes, it's a very long program and still it always feels like we just scratch the surface. Yes, it only is my point of view, or things that are particular to me - things I've learned on my journey. And it was nearly impossible for me to find the words to articulate some of the ideas and experiences (I wish I had Aaron Sorkin's command of language!!), but I really, really tried my best.
And I agree with Alexander Schiborr. It's not amazing. Or shouldn't be. It should be a model for common education. Affordable and taught by leaders in their field. We all have something to learn from each other and we should all take a moment of our time (which is why I like this forum) to share knowledge and experiences.
-Hz-


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## dannymc

> Maybe it has to do with that more movies now days lacks interesting and good stories and music then is a way to try and "save" it? But of course, some directors are "afraid" of music, but I also think its a lot on the opposite side. Its a mixture of everything!



probably right. sure you only have to look at the rise of HBO and netflix to see that. alot of the best film writers/directors are now back in TV rather than big blockbuster Hollywood. therefore big bombastic music has to fill that void of telling a good compelling story. 

Danny


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## dannymc

> This was, without doubt, the most exhausting thing I've ever done. I haven't seen the final edits yet, but these guys knew how to mercilessly drill down to get answers to questions that I never had to articulate - things I had just learned by having the opportunity of "doing" and, very often, failing. After each relentless day I felt truly drained. But I think that's exactly how it should be.
> I took this very seriously, and so did the whole crew and producers. Here guys take passing on knowledge very, very seriously. And yes, it's mostly writers and directors who watch the composers, while I watch Aaron Sorkin and Dustin Hoffman. And my friend Werner, of course.
> Forget about me... the quality of people they have - and are getting to do their classes is pretty amazing.
> Yes, it's a very long program and still it always feels like we just scratch the surface. Yes, it only is my point of view, or things that are particular to me - things I've learned on my journey. And it was nearly impossible for me to find the words to articulate some of the ideas and experiences (I wish I had Aaron Sorkin's command of language!!), but I really, really tried my best.
> And I agree with Alexander Schiborr. It's not amazing. Or shouldn't be. It should be a model for common education. Affordable and taught by leaders in their field. We all have something to learn from each other and we should all take a moment of our time (which is why I like this forum) to share knowledge and experiences.
> -Hz-



Hans is here 

i think the difference between this approach is that it will be all about the sense and feelings when composing. we can all go to school and sit through hours of the techno babble on music theory but when we go to sit at the piano and write to a story does all of that theory and form help? maybe it does ( i wouldn't know never had formal training)but i for one believe what you are offering to us composers is something on a different level and i thank you for that Hans. looking forward to taking the course in 2017. 

Danny


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## jononotbono

Rctec said:


> It should be a model for common education. Affordable and taught by leaders in their field. We all have something to learn from each other and we should all take a moment of our time (which is why I like this forum) to share knowledge and experiences.



I think some of us think it's amazing because of exactly this. You are sharing your experience, you are a leader in your field and you really don't have to share anything. All of the Masterclasses listed look amazing in this respect. Not just yours! I completely agree that this should be a model for common education and I say this whilst studying an MA. Thanks for doing the Masterclass. Can't wait!


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## Tatu

Andrajas said:


> Btw, James Newton Howard, what a great guy and fantastic composer!. Was amazing to meet him and get to hear him talk about film music


Oh now I'm jealous.


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## mac

To answer my own question about video length, it seems the masterclass courses sit somewhere between 2 and 3 hours total. My initial thought was 'is that all?', but I think there'll be more to take away from this 2 hours, than 8 hours of something lesser.


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## J-M

mac said:


> To answer my own question about video length, it seems the masterclass courses sit somewhere between 2 and 3 hours total. My initial thought was 'is that all?', but I think there'll be more to take away from this 2 hours, than 8 hours of something lesser.



If the price stays at 90 dollars it's more than fair to me. We'll see!


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## benatural

Rctec said:


> We all have something to learn from each other and we should all take a moment of our time (which is why I like this forum) to share knowledge and experiences.
> -Hz-



Totally. I think it's great, thanks for taking the time to make the video. You can tell the Masterclass team puts a lot of care into these videos. Very polished and focused, I want to watch them all now.

Not sure why but somehow this reminds me of a teacher I once had. I was struggling to learn this one piece of music that was very technically demanding, way beyond my ability (still is). I played the piece for the teacher and he stopped me and we just talked about how I was feeling, about the psychology of music performance, and that it's normal to get stressed out by internal pressure, and that it's all part of the process. Anyway we just talked for an hour, and... that was the best music lesson I've ever had ever. No secret technique was imparted, just words and thoughts and that's it. Crazy thing is that I came away feeling like a better musician, and not just that, it's stayed with me ever since. 

It taught me that so much of being a creative person depends on your mentality, the way you think, and that sometimes the best lessons come from simply talking it through. The Masterclass series reminds me of that, and it's pretty exciting. Can't wait to see where they take it.


----------



## Arbee

mac said:


> To answer my own question about video length, it seems the masterclass courses sit somewhere between 2 and 3 hours total. My initial thought was 'is that all?', but I think there'll be more to take away from this 2 hours, than 8 hours of something lesser.


If I take just one single gem of "forehead slapping fresh perspective" from this, it is easily worth the money several times over.


----------



## Jetzer

jononotbono said:


> I think some of us think it's amazing because of exactly this. You are sharing your experience, you are a leader in your field and you really don't have to share anything. All of the Masterclasses listed look amazing in this respect. Not just yours! I completely agree that this should be a model for common education and I say this whilst studying an MA. Thanks for doing the Masterclass. Can't wait!



Agreed, that's what I meant. They could have asked a lot more for al these classes if they wanted to.


----------



## Ashermusic

I am not particularly a fanboy of Hans'. He has done scores I liked and scores I disliked.

But obviously he has done some amazing scores and his pioneering influence in bringing record techniques into the world of film scoring changed it forever.

His willingness to share what he has learned on his journey is unparalleled in my memory, and as a man he has earned my highest regard.


----------



## Consona

Am I dreaming? This is one of the best things that happened to me in like... ever.  To be able to attend a course led by Hans Zimmer. Wow! 

And there's Werner Herzog's class too! That's insane. Man, his trailer made me laugh so hard, I don't agree with him a lot of times but I could listen to him like for ever, he's such an interesting person. Hope there will be more people doing this. Like Nolan, of course, or any great director, writer, composer, etc. This is the stuff I'm happily willing to spend my last money even if that means I'll have to hunt some dogs and cats for food for the rest of the month.  I watch all the interviews with people like Hans or Werner and others on YT and I really think paying some money for more of their knowledge is a really well spend money.

Thank you for doing this, mr. Zimmer, cannot wait for the lessons!


----------



## Guffy

Consona said:


> And there's Werner Herzog's class too! That's insane.



Don't forget Reba McEntire's country music masterclass!


----------



## Syneast

OMG OMG. That's it, I'm taking money out of my Black Friday fund for this. There will be more Black Fridays, but I doubt there will be more Hans Zimmer masterclasses(!).


----------



## wst3

I figure there HAS to be one or two bits that I won't find anywhere else, and it will be entertaining. Sorely tempted to sign up for the Sorkin class as well, but I'll wait to see how this one turns out. Thanks @rtec for popping in, but you had me at "story telling" in the teaser!


----------



## Valérie_D

Oh wow, I will definitely sign up for this one!


----------



## Polarity

Well, I signed up me too, just a few minutes ago. 
I was uncertain because I will never have ALL THAT it's needed to be a movies scoring composer
like him or most of you...
but I hope I will learn something to help me in my hybrid soundtracks genre creations,
be more aware and less lazy when using my orchestral tools and at getting new ideas.
I fit more for game soundtracks than movies, but for sure I'd like to fully score some movie (even just for exercise and/or fun only) some day. 

Thanks to Rctec for this chance of learning something more with him.
PS: when did he switch to Windows for using Cubase? 
I thought he was still using it on MacOS...


----------



## Vin

Damn, Mr. Zimmer, new tour dates and now this...do you want me to go bankrupt?


----------



## Baron Greuner

Looking at the list that Gabriel put up, I can see that this will be useful for a lot of people.


----------



## dannymc

> Damn, Mr. Zimmer, new tour dates



didn't hear about this. is this a new tour or the same one he was just on? 

Danny


----------



## Vin

dannymc said:


> didn't hear about this. is this a new tour or the same one he was just on?
> 
> Danny



http://www.hanszimmerlive.com/livetour/

Same, but I certainly hope for some exclusive_ Dunkirk_ sneak peek 

Can't wait to go again, it was an amazing experience.


----------



## synergy543

Rctec said:


> We all have something to learn from each other and we should all take a moment of our time (which is why I like this forum) to share knowledge and experiences.


Thank you Hans. I truly appreciate and respect how you share back with the community seeding the roots for future generations. 
However, I'd really like know what gems of wisdom you might find for yourself in doing such a course? 
As they say, teaching others is the best way to teach yourself. So what do you learn from this experience that you find valuable for yourself? Cheers, Greg


----------



## Rctec

synergy543 said:


> Thank you Hans. I truly appreciate and respect how you share back with the community seeding the roots for future generations.
> However, I'd really like know what gems of wisdom you might find for yourself in doing such a course?
> As they say, teaching others is the best way to teach yourself. So what do you learn from this experience that you find valuable for yourself? Cheers, Greg


Just the simple fact of being forced into articulating and intellectually working out things which are second nature to me through having absorbed them "by doing" and just by being around great film makers, musicians and editors made me want to complete some of the things that I just had as half-asked questions and concepts in my own head.
And it really focuses you to commit to certain vague aesthetic ideas. You can't really answer Luke-warm. You have to be pretty hot or cold. That doesn't mean you can't grow, keep on learning and change your mind later on. But for now - for better or for worse - you get my personal point of view and everything that's sort of gotten me to the place I'm at in this career...
One thing, as an example I tried to really drill down on and that was very important to me was trying to get the point across that you don't need a huge budget to make a successful score...

-Hz-


----------



## synergy543

Rctec said:


> just by being around great film makers, musicians and editors made me want to complete some of the things that I just had as half-asked questions and concepts in my own head.


So many fleeting ideas that never get flushed out without a nudge. Great to hear that you benefit as well!


Rctec said:


> One thing, as an example I tried to really drill down on and that was very important to me was trying to get the point across that you don't need a huge budget to make a successful score...


One difference though, is what you stated above. A guy sitting in his room doesn't have the impetus that you get when you collaborate and get inspired by others. Not everyone is a self-motivating. But yes, beautiful ideas don't require a big budget and I think we'll hear some great works develop in the future as new generations become more facile with the new tools and learn to focus beyond the technology. Thanks for the inspiration and really looking forward to this!


----------



## Mundano

dannymc said:


> amazing. $90 to enroll and then how much will it be per class? maybe Hans feels this is his next calling. to pass his great knowledge onto the next generation like a grand kung fu master. sounds good to me
> 
> Danny


Lol


----------



## higgs

Oh wow, and that Werner Herzog filmmaking class! 

He's definitely my favorite contemporary documentarian. I don't exactly understand what he's doing with his non-pattern-following music department choices but the music he uses is at least as critical to his filmmaking handprint as are the visuals, story development, and his personal brand of narration narration. I really can't imagine how those long awesome shots would work without the music. Lecture 16 might be worth the price of admission alone for me.


----------



## higgs

higgs said:


> Oh wow, and that Werner Herzog filmmaking class!
> 
> He's definitely my favorite contemporary documentarian. I don't exactly understand what he's doing with his non-pattern-following music department choices but the music he uses is at least as critical to his filmmaking handprint as are the visuals, story development, and his personal brand of narration narration. I really can't imagine how those long awesome shots would work without the music. Lecture 16 might be worth the price of admission alone for me.



@Rctec I would love to see the two of collaborate.


----------



## eidrahmusic

All signed up! Going to be good!


----------



## InLight-Tone

Rctec said:


> Just the simple fact of being forced into articulating and intellectually working out things which are second nature to me through having absorbed them "by doing" and just by being around great film makers, musicians and editors made me want to complete some of the things that I just had as half-asked questions and concepts in my own head.
> And it really focuses you to commit to certain vague aesthetic ideas. You can't really answer Luke-warm. You have to be pretty hot or cold. That doesn't mean you can't grow, keep on learning and change your mind later on. But for now - for better or for worse - you get my personal point of view and everything that's sort of gotten me to the place I'm at in this career...
> One thing, as an example I tried to really drill down on and that was very important to me was trying to get the point across that you don't need a huge budget to make a successful score...
> 
> -Hz-



I am so awed and amazed that you are humble enough despite your massive success to interact and share with us on this board Hans, a sign of a truly healthy human being...


----------



## InLight-Tone

synergy543 said:


> So many fleeting ideas that never get flushed out without a nudge. Great to hear that you benefit as well!
> 
> One difference though, is what you stated above. A guy sitting in his room doesn't have the impetus that you get when you collaborate and get inspired by others. Not everyone is a self-motivating. But yes, beautiful ideas don't require a big budget and I think we'll hear some great works develop in the future as new generations become more facile with the new tools and learn to focus beyond the technology. Thanks for the inspiration and really looking forward to this!


That's why I have respect for Deadmau5 which I'm sure will be poo pooed and criticized, but the guy can't even play keyboards and yet has clicked in his music all the way to his over arching success and influence on the EDM genre. Talk about self-motivation...


----------



## requiemdissident

Rctec said:


> Just the simple fact of being forced into articulating and intellectually working out things which are second nature to me through having absorbed them "by doing" and just by being around great film makers, musicians and editors made me want to complete some of the things that I just had as half-asked questions and concepts in my own head.
> And it really focuses you to commit to certain vague aesthetic ideas. You can't really answer Luke-warm. You have to be pretty hot or cold. That doesn't mean you can't grow, keep on learning and change your mind later on. But for now - for better or for worse - you get my personal point of view and everything that's sort of gotten me to the place I'm at in this career...
> One thing, as an example I tried to really drill down on and that was very important to me was trying to get the point across that you don't need a huge budget to make a successful score...
> 
> -Hz-



Hans, I want to thank you personally for doing this masterclass. You're an inspiration to me and I'm going to enjoy your online course.


----------



## Jetzer

higgs said:


> @Rctec I would love to see the two of collaborate.



Already did: http://www.imdb.com/title/tt0245171/


----------



## A3D2

Wow this is going to be awesome . It feels great to be enrolled! Glad we all don't have to fit in one classroom though, that would be crowded, haha .

@Rctec Thank you so much for doing these lessons, it will help so many of us! Besides story and developing sounds I hope to learn something extra about the "communication side" of film scoring as well: sometimes I'm having difficulty pleasing both the director's and producer's (sometimes different) wishes for a movie whilst also trying to still stay true to my own musical style and ideas for a movie. And I think you mastered that art like no other since you have succeeded to have your own beautiful consistent musical signature across all the movies you scored


----------



## Rctec

Rctec said:


> I've never met a director or studio executive - nor a producer who asks if you went to music school or not... nor are they interested in the complications of how you execute your ideas. I go between all the worlds - orchestral, electronic, chamber, choral. The question of "can you read music"'is just as relevant as "can you program a synth?" Or irrelevant. Put it this way: I am obsessed with orchestrating my own stuff in the sequencer which is like the equivalent of a lightbulb compared to a candle. Most the time my orchestrators are more concerned with making sure that the midi is absolutely faithfully translated to the players.especially the dynamics. If I have a question, I usually ask the player(s). It's amazing how much more a good section of musicians can give you than most orchestration books tell you.
> At other times I like orchestrators to completely unleash their creativity. But - I've never had a problem communicating with the orchestra and for better or worse, the way the orchestra sounds is very much my sonic idea...
> That's the short, abbreviated answer!
> 
> -Hz-


----------



## RRBE Sound

_** I have not read the past pages of this post.**_

But! I am looking forward to this. It is a great promo-video. And I am looking forward to get a insight in Mr. Zimmers' studio world, Which I personal have been missing.. 

_A sceptic point of view: _As a younger and only slightly experienced composer, I wonder if it might be problematic that everyone, who might not think critically and reflect of/on what points Hans Zimmer might have, ends up with just mimicking what Hans Zimmer do. 

I think it is important to use the tools given, but to take them your (my) own way..?

All the best
Rune


----------



## Blackster

RRBE Sound said:


> _A sceptic point of view: _As a younger and only slightly experienced composer, I wonder if it might be problematic that everyone, who might not think critically and reflect of/on what points Hans Zimmer might have, ends up with just mimicking what Hans Zimmer do.
> 
> I think it is important to use the tools given, but to take them your (my) own way..?
> 
> All the best
> Rune



This is an interesting and totally valid question, I think. And also, mimicking and copying is not a bad thing, because this way you learn! But the more you dive into music, the more you will find your own taste and sound. At least, that is what I truly believe! You gotta start somewhere and learn tools (tools, that everybody knows and uses) but at some point you are going to develop your own sound based on your taste, experience, joy, hate, frustration and limitation. 

Most of us are working in the industry and we offer services! But don't forget that composers are also artists to some degree (some more, some less). And art is always a combination of skill, tools, experience (everybody can achieve this things in the exact same manner) ... but also a little bit of "magic" nobody can really explain!  ... otherwise no composers would be needed anymore because algorithms can do a much more efficient job! So, I wouldn't really worry about that issue and just absorb whatever information comes your way! Evaluate it and use it or disregard it! That is up to you, personally!


----------



## passsacaglia

This, is phantastic. No matter what age you have, every digit will thank you with much love.

My belief is that you learn something new everyday, from anyone that will inspire you and keep you motivated in your music creation and will open your mind. Like Hans said, it's not about the tools, it's about opening up your mind and record everything that you have in there, crazy or beatuiful or simply both.
Listening to a lot of Steve Jobs' speeches and interviews (esp. tips for entrepreneurs) inspired me to continue with my music and believe in myself and just, Create, don't stop and do not limit yourself, never. My first impression of the recommendations and tracks I heard was, omg beautiful, looks difficult to do, can I ever do those things and is That the things that people want to hear? What about my pieces that fills my iPhone with recordings of piano-playing or those 100+ tracks in Logic that just waits to be released or all the stuff I hear when I'm sleeping, off to work or that runs through my hands and fingers when I'm playing the piano...? Well, do them. Do Your stuff and Be inspired and educate, everyday and listen to people that inspires you.
The melodies can inspire you as well as the techniques Hans (in this example) is making, how to "think" when you have this superb melody in your head and how to take it much further?! I got that sense after he said only a couple of words in the trailer.."a melody line, and now comes the answer", like a conversation and immediately I got 2 perfect melodies in my head I recorded the minute after.

I think one of the ideas with Hans masterclass and other classes is to improve creativity, think outside of the box, learn things you haven't learned (yet) and use the skills to write YOUR own stuff that comes in to mind, and what to best do with them, perhaps an eye-opener with some techniques and lastly, a sense of a push towards the right direction.

No matter what stage you are with your music, how big your passion is, Anyone, can and will learn great things from this just by listening to what He says and get inspired to write beautful stuff. 

That's my philosophy and thinking of... @Rctec 's masterclass and I'm super excited to push the Buy button and enroll, just because I love to learn stuff from inspiring persons, we never stop learning and we should never stop believe in our own capabilities. Thanks a bunch for doing this, I'm glad I live in this century with all the good fellas here on VI, people I met and artists sharing their knowledge like this man. 

Cheers from Stockholm


----------



## jononotbono

creativeforge said:


> I wonder if Hans would address an approach for those who can't brag about having music degrees.



Seriously? People actually brag that they have a music degree? Who on earth does that? I'm so glad I have never met any of these people. They sound horrendous.


----------



## URL

HZ has proven that there are different paths to success ... more than anyone else, he is a pioneer in way of thinking to compose music for film. It's amazing that he shares his knowledge to others...not everyone does that.
The degree of any kind is obviously one way and it helps but does not guarantee ...Masterclass a other way to...


----------



## WhiteNoiz

Yeah, what I find most wonderful is how he seems to inspire everyone to think a bit further than their gear and limits and try to do their own thing, their own way, truthfully. And then, maybe you have higher chances of success or at least being happier with what you do. This stuff isn't always about being original but I also get the feeling that it's more important for Hans to impart a certain way of thinking that's worked for him and open new paths; or shed some more light on them. I mean, it's more about a philosophy of viewing things rather than "set your compressor to 4:1 because I did it" or whatever, but rather set it to 4:1 because you want to and because it'll give meaning to what you want to get across. It feels like a nice break from all the tutorials that tell you to "do this" (ofc, as long as you want to copy/learn something or reach somewhere quicker, that's fine, too) and everyone trying to find the perfect of everything and, instead, sit back and chill a bit. Not everybody has to innovate, but it's nice to let go sometimes and try new things. Thinking like that, I feel a bit fuller and calmer inside, rather than getting too stressed with technicalities and expectations. And there's a certain beauty in that.

(Or maybe I'm just brain farting; which might be what I need, lol)


----------



## Alatar

creativeforge said:


> I wonder if Hans would address an approach for those who can't brag about having music degrees.



As far as I know, Hans does not have a music degree. So no worries there, I'd say 
You do not need a music degree, in order to be a successfull composer, in my opinion.


----------



## Musicam

I am reading the content of the course, its amazing, but I have a question? Is not generic? Thanks!


----------



## ChristopherDoucet

Musicam said:


> I am reading the content of the course, its amazing, but I have a question? Is not generic? Thanks!



Well, I think that the nature of the Masterclass series is to be general enough that it hits the widest number of potential students with varying levels of experience. 

I'm sure that no matter what it is, it will be a positive effect on me, whether its even just for sheer entertainment! 

But don't get me wrong, I love the micro details in the "Studio Time With Junkie XL" and I would personally take a $500 class on nothing but file heirachy, re-write organization and and the naming conventions they use at Remote Control. Even the littlest bits of knowledge from the JXL videos have been life changing. 



Alatar said:


> As far as I know, Hans does not have a music degree. So no worries there, I'd say
> You do not need a music degree, in order to be a successfull composer, in my opinion.



I agree! Not only do you not need a music degree, in the trailer for the masterclass, Hans basically says all you need it a phone if you've got ideas.


----------



## Musicam

I would like to pay the masterclass but my wallet is poor, I prefer to pay Black Friday for another library. Thanks for your support


----------



## URL

Alatar said:


> A
> You do not need a music degree, in order to be a successfull composer, in my opinion.




Hans has two weeks of piano teaching, he said in a YouTube video from the Spitfire if my memory serves me, and it went well anyway.


----------



## jononotbono

Hey man, Bill Murray only has one day of Piano lessons in Groundhog Day and check out how great his Boogie Woogie turned out!


----------



## URL

Yea thats so cool, I love this people who don't se obstacles -they just do it


----------



## Musicam

when it will available?


----------



## jononotbono

URL said:


> Yea thats so cool, I love this people who don't se obstacles -they just do it



I was only messing around man. Bill Murray is a bad ass player that has spent longer than 1 day on his chops! Great film though!


----------



## jononotbono

Musicam said:


> when it will available?



It says when you click on the link. About 70 days time!


----------



## URL

So is Clint Eastwood- a bad ass player and he is acting for his living...Who is Bill Murray?


----------



## Musicam

70 days? 2017?


----------



## TerryD

jononotbono said:


> Seriously? People actually brag that they have a music degree? Who on earth does that? I'm so glad I have never met any of these people. They sound horrendous.


I know a guy who had his diploma photocopied and handed them out to his friends.


----------



## Tatu

In other news, Hans's tour is also coming to Helsinki, Finland on May 2017. 
I'll be there, watching you, mr. Z.


----------



## URL

Or have a T shirt printed: I'm a educated composer:...haha.


----------



## jononotbono

TerryD said:


> I know a guy who had his diploma photocopied and handed them out to his friends.



Wow! Each to their own and all that but having a piece of paper means nothing (to me). I certainly am not studying an MA for a piece of paper. God no. I actually roached my BA Hons Degree certificate and smoked it many years ago. I ran out of cigarette filters!


----------



## Grizzlymv

To me, the most important thing above any talent/education remain attitude. You may have all the papers you want, it doesn't guarantee your success in any business (not just music). I've seen people with tons of degree applying for jobs, answer all questions correctly, but not able to deal with a situation appropriately once on the field. On the flip side, I've seen guys with less/limited education being able to achieve incredible things the skilled guy couldn't just because of their creativity, ability to learn quickly, sense of adaptation and their attitude toward the business side of things. 

There's many composers out there succeeding without proper education apart from Hans. And I think it's something we will see more often with the next generations of composers given that tools are now very accessible. Your imagination basically become your only limit. 

Attitude is key above everything else. Things can be learn through a career. Attitude cannot. Diploma != skills in my opinion. But that's just me.


----------



## J-M

Tatu said:


> In other news, Hans's tour is also coming to Helsinki, Finland on May 2017.
> I'll be there, watching you, mr. Z.



Say what?! I guess it's a trip to Helsinki then...


----------



## higgs

JH said:


> Already did: http://www.imdb.com/title/tt0245171/


Thanks for posting that. I know what I'll be watching this eve.

Now for the two to collaborate on a doc.


----------



## Musicam

I need a support for learning this course? What Can I learn?


----------



## nbd

Tatu said:


> In other news, Hans's tour is also coming to Helsinki, Finland on May 2017.
> I'll be there, watching you, mr. Z.



Me too!


----------



## Karma

Eh, I have a degree in Music and have studied it as a subject since I was a young teenager, simply out of my love for the subject and nothing more. I don't think it's anything to be frowned upon by any means, and I also don't believe that my degree puts me ahead of anyone else, especially when pursuing a job in the industry. What it has done for me is helped me to build some important relationships. Relationships that probably contribute to about 80% of all composing jobs I have received to date. That was the benefit for me. Sure, I learned and picked up a lot of things over the years as well... my theory is considerably better off, and I can almost definitely perform at a much higher standard now. But when it comes to composition... I can honestly say that I've probably learned a lot more valuable information from @mverta masterclasses than anything I ever did at University.


----------



## Soundhound

Really looking forward to this. I've had a double life as a writer and a musician and that's part of what always I found so much fun and fascinating about scoring, kind of everything I love all wrapped up in one. I do find that sometimes I have to compartmentalize a bit, give my writer side the TV remote and ask him to go in the other room and watch a ball game so the composer side can think for a minute. I can't wait to watch @Rctec at work. Such a generous and cool thing, thank you Hans!


----------



## storyteller

Absolutely in. Kinda have to be. My screename would make me a hypocrite otherwise! Ha! 

But seriously, it is a tremendous privilege to be able to enroll in this course @Rctec. Easily one of my most looked-forward-to events in recent memory.

There is a scene from the movie Tomorrowland where a young Frank Walker is trying to get his jet pack entered into the world's fair. He is asked, "If [it worked], what would it's purpose be?" Frank responds, "Can't it just be fun?" The man is a little miffed and says, "Mr. Walker, please tell me you can do better than fun." Frank puzzles for a second and then says, "Anything's possible." The man asking the question becomes agitated at Frank's answer and pushes for more. "I don't understand," he says. Frank immediately replies, "If I was walking down a street and saw a kid with a jet pack fly over me, I'd think anything is possible. I'd be inspired. Would that make the world a better place?" All the man could say was, "I suppose it would." _And so the same could be said for things like this Masterclass - which is what makes it truly such a gift to the dreamers and storytellers in this community... those who will hopefully one day be in a place to inspire others as it has been done for them._

Here's to Act 5!


----------



## tokatila

nbd said:


> Me too!



Me three!


----------



## Baron Greuner

Where did you get your degree?


----------



## dannymc

is there a closing date to enroll on the course? my credit card is not very healthy looking at the moment 

Danny


----------



## creativeforge

Rctec said:


> Rctec said: ↑
> I've never met a director or studio executive - nor a producer who asks if you went to music school or not... nor are they interested in the complications of how you execute your ideas. I go between all the worlds - orchestral, electronic, chamber, choral. The question of "can you read music"'is just as relevant as "can you program a synth?" Or irrelevant. Put it this way: I am obsessed with orchestrating my own stuff in the sequencer which is like the equivalent of a lightbulb compared to a candle. Most the time my orchestrators are more concerned with making sure that the midi is absolutely faithfully translated to the players.especially the dynamics. If I have a question, I usually ask the player(s). It's amazing how much more a good section of musicians can give you than most orchestration books tell you.
> At other times I like orchestrators to completely unleash their creativity. But - I've never had a problem communicating with the orchestra and for better or worse, the way the orchestra sounds is very much my sonic idea...
> That's the short, abbreviated answer!
> 
> -Hz-



Sorry Hans, for some reason I didn't see your response. Thank you for putting this at rest. I signed up and look forward to hear more! 

Blessings,

Andre


----------



## creativeforge

URL said:


> Hans has two weeks of piano teaching, he said in a YouTube video from the Spitfire if my memory serves me, and it went well anyway.



I play by ear, but at around age 25 I wanted to try and learn to read the notes so I could play classical music and "feel" their music from that vantage point. Two weeks is all I could do as well...  Back to my wilderness I went, and never regretted it. Now at age 60, I'm looking for a missing link between my passion and learning a modest living. 

Learning from the Masters is as old as the world, it's a venerable and well-respected tradition. Nothing like it, really. I'm looking forward to it! Grateful to you, Hans, for going through the grueling task to share what you could. Maybe there will be a MC 2.0 with Hans, to explore all the things you have learned from doing this one... 

Regards,

André


----------



## H.R.

Just enrolled with the help of Mafia here.  Paid more than triple to make this possible. Happens when you're living in Iran, under sanctions and you can't pay internationally but the love for Zimmer has no boundaries.


----------



## dannymc

> Just enrolled with the help of Mafia here.  Paid more than triple to make this possible. Happens when you're living in Iran, under sanctions and you can't pay internationally but the love for Zimmer has no boundaries.



god is that what sanctions do to a country, i've always wondered. fuck politics. there is only one united world in music land as far as i'm concerned. 

Danny


----------



## LamaRose

[QUOTE="Andrajas, post: 4016632, member: 9749" Btw, James Newton Howard, what a great guy and fantastic composer!. Was amazing to meet him and get to hear him talk about film music [/QUOTE]

I remember hearing/meeting him at an Atlanta NAMM in the early 1980's. He was an upcoming LA session player/producer. The real deal. Had no idea about his music background and heritage till years later. 

I read somewhere that he preferred to write very "simple" themes... at least note/chord wise. You can hear that as he progressed with his M. Night collaborations. I have a feeling that Han's message will reinforce this simplicity.


----------



## SoNowWhat?

H.R. said:


> Just enrolled with the help of Mafia here.  Paid more than triple to make this possible. Happens when you're living in Iran, under sanctions and you can't pay internationally but the love for Zimmer has no boundaries.


Total respect to you. Enjoy your masterclass.


----------



## Puzzlefactory

Signed up. Very excited about this. Shame its so long away.


----------



## zeng

JH said:


> Damn, just $90?! We live in amazing times. Enrolling.


Is this a discounted price if you register now or real price?


----------



## Puzzlefactory

zeng said:


> Is this a discounted price if you register now or real price?




Looking at the price of all the other masterclasses on the site (that are already available) I think it's the final price.


----------



## J-M

Puzzlefactory said:


> Looking at the price of all the other masterclasses on the site (that are already available) I think it's the final price.



That would be great, I can't currently afford it, I need to eat...or do I? Hmm...


----------



## Wes Antczak

I noticed that just below the PRE-ENROLL button is another button labelled GIVE AS A GIFT. Just wanted to put that out there. 

Seriously though... after reading H.R.'s post I think a lot of us have nothing to complain about. Much respect to you, H.R.!


----------



## Wes Antczak

Also... I don't think people need to worry too much if you cannot afford it this very minute as I believe that this is not a live class. So, please do not starve your children, etc. Some of these courses have been up there for a while now and the prices have not changed and you can still sign up. That is also why they are saying "pre-enroll" and why the course is currently being edited and the links won't be live until the end of January. I mean, you're not going to pre-edit something that is live and that isn't going to happen for 70 something days, right? Well, someone correct me if I'm wrong.

That said, I am super excited about this particular one and cheers to Hans for agreeing to do this!!!


----------



## dannymc

> Also... I don't think people need to worry too much if you cannot afford it this very minute as I believe that this is not a live class.



wouldn't it be fun if it was live with Hans as our lecturer and all us composers as students watching on in our virtual class room. 

Danny


----------



## Wes Antczak

dannymc said:


> wouldn't it be fun if it was live with Hans as our lecturer and all us composers as students watching on in our virtual class room.
> 
> Danny



That would be fantastic! Like Mike Verta's classes, only with Hans.

But I don't think this is that type of course.


----------



## Rctec

H.R. said:


> Just enrolled with the help of Mafia here.  Paid more than triple to make this possible. Happens when you're living in Iran, under sanctions and you can't pay internationally but the love for Zimmer has no boundaries.


Thank You!
-Hz-


----------



## FinGael

Rctec said:


> And I agree with Alexander Schiborr. It's not amazing. Or shouldn't be. It should be a model for common education. Affordable and taught by leaders in their field. We all have something to learn from each other and we should all take a moment of our time (which is why I like this forum) to share knowledge and experiences.
> -Hz-



I may not be the typical fanboy creature (if such a thing exists), but have to say that those words really resonate and touch the strings of my heart. Through personal experiences I am a steady believer in both learning from each other and a good old master-apprentice practice, which used to be an integral part of our culture here in the North before the industrial revolution.

The advancement of technology has been so fast, that it may have steered the big ship too much towards a direction where we do not give enough respect and recognition for the more experienced ones, and to the ones who have walked the walk a little longer than others.

Dave Pensado and his team have also done great work in the field of mix engineering through their online shows.

Thank you HZ for being an example and an inspiration.

This will be the very first online course I'll be attending.

All the best.


----------



## Rctec

FinGael said:


> I may not be the typical fanboy creature (if such a thing exists), but have to say that those words really resonate and touch the strings of my heart. Through personal experiences I am a steady believer in both learning from each other and a good old master-apprentice practice, which used to be an integral part of our culture here in the North before the industrial revolution.
> 
> The advancement of technology has been so fast, that it may have steered the big ship too much towards a direction where we do not give enough respect and recognition for the more experienced ones, and to the ones who have walked the walk a little longer than others.
> 
> Dave Pensado and his team have also done great work in the field of mix engineering through their online shows.
> 
> Thank you HZ for being an example and an inspiration.
> 
> This will be the very first online course I'll be attending.
> 
> All the best.


It's my first online course, too!


----------



## dannymc

> It's my first online course, too!



Hans since we have ya, question. that track that was recently composed for the volvo v90 campaign comes up on my spotify as Lorne Balfe but i heard it's one of yours. is this from an existing score that i'm missing or a collaboration between you and Lorne?

its a bloody amazing cue by the way i love it  too good to be just used for a advertising campaign once never to be heard again in my opinion. for anyone who doesn't know what i'm talking about here it is:


----------



## Rctec

dannymc said:


> Hans since we have ya, question. that track that was recently composed for the volvo v90 campaign comes up on my spotify as Lorne Balfe but i heard it's one of yours. is this from an existing score that i'm missing or a collaboration between you and Lorne?
> 
> its a bloody amazing cue by the way i love it  too good to be just used for a advertising campaign once never to be heard again in my opinion. for anyone who doesn't know what i'm talking about here it is:



We love working on things together. Lorne is obviously a great and talented chap. So much over the years has come from jamming in my room - not just with Lorne, but he's particularly good at running with an idea!


----------



## Piano & Strings

I look forward to watching this! Would you do something like this again Hans? I've watched many of your video interviews, but it's something else to have a focussed collection of advice... or at least perspective. How much of our own personality comes out in the music, do you think? It might seem counterintuitive, but do you think that a composers musical response to a film is typically a personal one, or an objective one?


----------



## LamaRose

Rctec said:


> ...running with an idea!



That might make for a good forum section. You know, coming up with a cool idea/concept, but not knowing where to take it or fully realize the concept. Post it and get a collaborator.


----------



## Wes Antczak

This is also something that often happens to me. Having a cool idea/concept but sometimes not knowing how to arrive at it, or where to take it once I'm there. I have to say though, that I tend to save everything and once when I was rummaging through my files I realized that two of the items seemed to work perfectly well together. Sometimes it's a matter of stepping back and looking at things in a different way. This is also where a forum or a collaborator or both might be very helpful.


----------



## synthpunk

There is no closing date or deadline the course is ongoing there is also no initial discount it will stay $90 although I believe you will get early access to Chapters if you subscribe now

masterclass.com says you will not be able to download the videos but you can view them anytime online

very nice blokes they have a lot of nice ideas coming up

="dannymc, post: 4017670, member: 10580"]is there a closing date to enroll on the course? my credit card is not very healthy looking at the moment 

Danny[/QUOTE]


----------



## desert

I wonder if the masterclass if just a "high-level" approach to film music and not the finer details like reverb tips and tricks, etc?


----------



## Jake

desert said:


> I wonder if the masterclass if just a "high-level" approach to film music and not the finer details like reverb tips and tricks, etc?



My personal take after watching the trailer for the class is exactly what you are speculating, that it is perhaps a "high-level" approach class. 

I would love to see something in depth with regard to the Hans Zimmer "nuts and bolts" approach to making music, but I think this Master Class will be more on that "high-level" than on the "core". Pure speculation at this time on my part of course, but that's why as much as I love just listening to Hans in all the youtube videos I can find about him (some people just appeal to others, and I find Hans to be incredibly inspiring simply in his thoughts about music as well as his gracious mannerisms and attitude towards others) I am going to wait and see what the reviews are.

A real down and dirty "how to" series with Hans would be worth multiples of the Master Class asking price. But for me, a how to get along in the world of scoring, dealing with directors, etc. type of class is not what I'm after. Not that these things aren't relevant to others, it's just not what I'm looking for.

The fact that Hans participates in this forum just amazes me, and speaks so directly to the attributes of what I see in his character that makes me want to seek out all the videos that he has been so gracious to partake in. I see a generous man, and that goes a long way in a world often driven by personal gain!

Now off to see if there's another talk with Hans that I've missed somewhere out there on the web!


----------



## Puzzlefactory

desert said:


> I wonder if the masterclass if just a "high-level" approach to film music and not the finer details like reverb tips and tricks, etc?



Someone posted the "lesson plan" (god knows how they got it, slowing down the end of the advert maybe) and it looks like he goes into a bit of detail over the Sherlock Holmes soundtrack.


----------



## Puzzlefactory

Just had a go at pausing it myself. One of the videos is developing the Jokers theme. That's going to be a pretty short video. One long sustained cello note...


----------



## Thorsten Meyer

Puzzlefactory said:


> Someone posted the "lesson plan" (god knows how they got it, slowing down the end of the advert maybe) and it looks like he goes into a bit of detail over the Sherlock Holmes soundtrack.



In the promo video the fast scroll through the outline possible still in tbc. you can stop the video to read the tbc outline of the course)


----------



## mac

I find masterclass's pre-enrol option baffling. It offers no incentive at all to pay early. I'm looking forward to the classes, but certainly won't be paying until it's available - better in my account than theirs.


----------



## Karma

mac said:


> I find masterclass's pre-enrol option baffling. It offers no incentive at all to pay early. I'm looking forward to the classes, but certainly won't be paying until it's available - better in my account than theirs.


I agree. I'm certainly not going to jump on the bandwagon just yet... As far as I can see there is currently no additional benefit to enrolling early anyway. As with most things, I'll wait until it's out and see what others make of it before I consider diving in.


----------



## dannymc

> A real down and dirty "how to" series with Hans would be worth multiples of the Master Class asking price.



do you really think that's what Hans would want to get out of doing this master class? a few thousand new Hans Zimmer copycats in the world.



> But for me, a how to get along in the world of scoring, dealing with directors, etc. type of class is not what I'm after. Not that these things aren't relevant to others, it's just not what I'm looking for.



i really don't think that's what it's going to be. one of the first lines he says in the video is the concept of telling a story. there is probably levels and depths to that concept in music one can go that we cant even imagine. my feeling is that's where Hans will be focused.



> Just had a go at pausing it myself. One of the videos is developing the Jokers theme. That's going to be a pretty short video. One long sustained cello note...



yeah of course it seems like a simple concept after the fact. but what was the journey in getting to that idea that the joker theme should be tremolando on a cello. its a bit like saying how ridiculously easy it was for John william's to come up with the JAWS theme but my god can you imagine a better theme fitting that movie. same principle.

Danny


----------



## Kejero

Seems to me that a "real down and dirty how-to" wouldn't be very useful. You can ask a master painter how he holds his brush, but isn't it better to find your own way to hold your brush, a way that's natural to you?
No doubt there are hundreds of little technical tricks a master could teach a pupil, which would be faster than discovering them yourself, but no-one ever mastered any skill through shortcuts. Teachers and mentors can inspire and point you in a few directions, but ultimately every step of the way in the creation of music, is something you have to feel and get under your fingers yourself.

Of course if Hans ever made a down and dirty how-to I'd still sign up in an instant.


----------



## Puzzlefactory

Kejero said:


> Seems to me that a "real down and dirty how-to" wouldn't be very useful. You can ask a master painter how he holds his brush, but isn't it better to find your own way to hold your brush, a way that's natural to you?
> No doubt there are hundreds of little technical tricks a master could teach a pupil, which would be faster than discovering them yourself, but no-one ever mastered any skill through shortcuts. Teachers and mentors can inspire and point you in a few directions, but ultimately every step of the way in the creation of music, is something you have to feel and get under your fingers yourself.
> 
> Of course if Hans ever made a down and dirty how-to I'd still sign up in an instant.




Yeah, I have to agree. I'm much more interested in the broad strokes than the tiny details.


----------



## nbd

Rctec said:


> It's my first online course, too!



I hope it isn't the last one 

Also looking forward to seeing (and hearing) you @Hartwall Areena, Helsinki. Ticket already bought


----------



## ComposerWannabe

Jake said:


> Now off to see if there's another talk with Hans that I've missed somewhere out there on the web!



Please do share!


----------



## Puzzlefactory

The deadmau5 class is up (for those that preordered) a week early...

Makes me wonder about the HZ one...


----------



## jcrosby

Rctec said:


> It's my first online course, too!


Thank you so very much for making this available. I'm quite looking forward to it!


----------



## robgb

jononotbono said:


>



Did anyone else notice the SIZE of his keyboard? I mean the keys themselves. They must be three inches deep.


----------



## robgb

creativeforge said:


> I play by ear, but at around age 25 I wanted to try and learn to read the notes so I could play classical music and "feel" their music from that vantage point. Two weeks is all I could do as well...  Back to my wilderness I went, and never regretted it. Now at age 60, I'm looking for a missing link between my passion and learning a modest living.


 My mother, a pianist, once tried to teach me to read music. It was too much like math to me, and I hate math. Everything I do is by ear and instinct...


----------



## synthpunk

Stock Doepfer in custom cabinet
http://www.doepfer.de/lmk4.htm



robgb said:


> Did anyone else notice the SIZE of his keyboard? I mean the keys themselves. They must be three inches deep.


----------



## LamaRose

robgb said:


> Did anyone else notice the SIZE of his keyboard? I mean the keys themselves. They must be three inches deep.



Ya. Perhaps you are not familiar with Hans' younger years. No girly-man, I can tell you. His piano has 100 dynamic layers. The first layer requires 100lbs/square-inch to hit... I won't even estimate the massive force needed for _fffff... _yes, you count correctly!

Which brings up a question I've been meaning to ask. I know Hans' can easily _carry_ the weight of this course on his shoulders... like lifting a VW filled with small children... but for the full affect, and for the largest gains, I was in hopes that his partner in MASSIVENESS would be joining him?

I'm breaking-in my jockstrap as we speak:


----------



## Mornats

I'm interested in this course but I was wondering about any prerequisites that I'd need. I'm a complete newbie to writing any kind of orchestral tracks and I'm still probably at the amateurish cliched stage at best. Does this course require you to know orchestration or a lot of music theory (I know some) beforehand?


----------



## Nyaouli

Mornats said:


> I'm interested in this course but I was wondering about any prerequisites that I'd need. I'm a complete newbie to writing any kind of orchestral tracks and I'm still probably at the amateurish cliched stage at best. Does this course require you to know orchestration or a lot of music theory (I know some) beforehand?



I'm in the same situation. Been joking around with VSTi and writing music at a beginner's level for years without committing. Now, you can notice that this if my first post. I saw yesterday that Hans was answering around here and I'm now considering getting in for the MasterClass. (And I have to say, Mr Zimmer, that you are my absolute composing idol.)


----------



## LamaRose

Mornats said:


> I'm interested in this course but I was wondering about any prerequisites that I'd need. I'm a complete newbie to writing any kind of orchestral tracks and I'm still probably at the amateurish cliched stage at best. Does this course require you to know orchestration or a lot of music theory (I know some) beforehand?



If you read a little bit regarding Hans' personal narrative, you'll see that he was in our shoes, once upon a time. I recall reading interviews in years past where he was quite condescending toward his abilities as a composer... which is another way of saying that he possessed a great deal of humility to _suggest_ as much publicly.

I have a feeling that he has structured his course for all levels, and that at the end of the day, the real takeaways from the lessons will be more about how to carry the emotional moment in the simplest of forms/arrangements.

I'm in the same boat, so you're not alone. If nothing else, I know he's ready to "PUMP YOU UP!"


----------



## Richard Wilkinson

LamaRose said:


> If you read a little bit regarding Han's personal narrative,



You realise his name is Hans, right? Hans Zimmer. Not Han Solo. Maybe there will be a Han Solo masterclass next though, taking us through the finer points of granular synthesis in Falcon.


----------



## LamaRose

wilx said:


> You realise his name is Hans, right? Hans Zimmer. Not Han Solo. Maybe there will be a Han Solo masterclass next though, taking us through the finer points of granular synthesis in Falcon.



No escaping the grammar Nazis, lol. Noted and revised for PC.


----------



## Mornats

wilx said:


> You realise his name is Hans, right? Hans Zimmer. Not Han Solo. Maybe there will be a Han Solo masterclass next though, taking us through the finer points of granular synthesis in Falcon.



Teaching people to shoot first 

I'm quite torn between Hans' class and the one from Deadmau5 as electronic music is more immediately useful to me whereas I won't be scoring any movies but would rather just like to learn how to write film score type tracks.


----------



## Rctec

Mornats said:


> Teaching people to shoot first
> 
> I'm quite torn between Hans' class and the one from Deadmau5 as electronic music is more immediately useful to me whereas I won't be scoring any movies but would rather just like to learn how to write film score type tracks.


You should do the Deadmouse one... since I knew that he was doing one in synth, I just skim the surface in my class...
-HZ-


----------



## Mornats

Thanks for taking the time to answer Hans. So would you say your course is more about taking what you already know (which for most on here would be a solid understanding of writing scores and orchestral music) and really applying that to help tell the story in a film and not about how to start writing this type of music?


----------



## mac

Mornats said:


> Thanks for taking the time to answer Hans. So would you say your course is more about taking what you already know (which for most on here would be a solid understanding of writing scores and orchestral music) and really applying that to help tell the story in a film and not about how to start writing this type of music?



I guarantee that whichever one you go for, shortly after you'll buy the other one too!


----------



## Nyaouli

Rctec said:


> You should do the Deadmouse one... since I knew that he was doing one in synth, I just skim the surface in my class...
> -HZ-



Thanks for answering, Hans. I enrolled!


----------



## tokatila

Jut watching deadmau5 one and really like what I'm seeing. 

I really hope that HZ Masterclass goes also to some nitty-gritty details, want to see some DBX160 action and sound layering etc...


----------



## H.R.

Mornats said:


> Teaching people to shoot first
> 
> I'm quite torn between Hans' class and the one from Deadmau5 as electronic music is more immediately useful to me whereas I won't be scoring any movies but would rather just like to learn how to write film score type tracks.



For 90$ every class is worth taking. If you really want to know about telling stories with music, I even suggest Werner Herzog and Aaron Sorkin's classes too which I took and it helped me a lot.


----------



## kavinsky

tokatila said:


> Jut watching deadmau5 one and really like what I'm seeing.
> 
> I really hope that HZ Masterclass goes also to some nitty-gritty details, want to see some DBX160 action and sound layering etc...


I really hope you're wrong. C'mon dude, dbx and layering, is that all that excites you?
too many people are fixated on gear and production techniques and forget that at the end of the day its really about music.
Not to mention these topics you mentioned are covered zillions of times by everyone and his dog.

We are all nerds and we all love our gear and plugins, but I think we got enough of that already. Its the thought process and general concepts I'm mainly interested in.


----------



## tokatila

kavinsky said:


> I really hope you're wrong. C'mon dude, dbx and layering, is that all that excites you?
> too many people are fixated on gear and production techniques and forget that at the end of the day its really about music.
> Not to mention these topics you mentioned are covered zillions of times by everyone and his dog.
> 
> We are all nerds and we all love our gear and plugins, but I think we got enough of that already. Its the thought process and general concepts I'm mainly interested in.



Am I interested in world-class production techniques? Bet you ass I am. I'm not really interested in everyone's opinions in these matters. All coverage is not created equal.

I would like the masterclass to be balanced both process/technique-wise. "All talk" classes leave you feel good and warm inside for a while, and while interesting to listen, will leave a little to apply on your own process right now. At least for me, YMMV.


----------



## mac

tokatila said:


> Am I interested in world-class production techniques? Bet you ass I am. I'm not really interested in everyone's opinions in these matters. All coverage is not created equal.
> 
> I would like the masterclass to be balanced both process/technique-wise. "All talk" classes leave you feel good and warm inside for a while, and while interesting to listen, will leave a little to apply on your own process right now. At least for me, YMMV.



If it's anything like the deadmau5 masterclass, you should both be happy


----------



## kavinsky

tokatila said:


> Am I interested in world-class production techniques? Bet you ass I am. I'm not really interested in everyone's opinions in these matters. All coverage is not created equal.
> 
> I would like the masterclass to be balanced both process/technique-wise. "All talk" classes leave you feel good and warm inside for a while, and while interesting to listen, will leave a little to apply on your own process right now. At least for me, YMMV.


Its not all talk, but its a scoring masterclass, not a production one.
it would be such a waste of everybody's time to watch Hans using a freaking compressor (are you even serious here man?).
Just to remind you, he's not a mixing engineer (of course he is good at everything but its not his primary talent)

I feel everybody is too busy achieving that snare sound or whatever, music is just an excuse for it

PS Thankfully, none of the stuff you're talking about is covered:

01. Introduction
02. Hans' Influences
03. Hans' Journey
04. Learning by Listening
05. Working within Limitations
06. Working with Directors Part 1
07. Working with Directors Part 2
08. Working with Directors Part 3
09. Approaching Story
10. Approaching Story: Creating a Theme
11. Creating a Sound Palette
12. Creating a Sound Palette: Sherlock Holmes
13. Creating Sounds using Synths
14. Scoring to Picture
15. Scoring Under Dialogue
16. Tempo
17. Tempo: Sherlock Holmes Scene
18. Creating a Music Diary Part 1
19. Creating a Music Diary Part 2
20. Character Theme: Batman
21. Character Theme: The Joker
22. Character Theme: Jack Sparrow
23. Character Theme: Moriarty
24. Case Study: Sherlock Holmes

Theres a plethora of videos for gearslutz to go hard at - Junkie XL's latest ones for example.


----------



## tokatila

kavinsky said:


> Its not all talk, but its a scoring masterclass, not a production one.
> it would be such a waste of everybody's time to watch Hans using a freaking compressor (are you even serious here man?).
> Just to remind you, he's not a mixing engineer (of course he is good at everything but its not his primary talent)
> 
> I feel everybody is too busy achieving that snare sound or whatever, music is just an excuse for it
> 
> PS Thankfully, none of the stuff you're talking about is covered:
> 
> 01. Introduction
> 02. Hans' Influences
> 03. Hans' Journey
> 04. Learning by Listening
> 05. Working within Limitations
> 06. Working with Directors Part 1
> 07. Working with Directors Part 2
> 08. Working with Directors Part 3
> 09. Approaching Story
> 10. Approaching Story: Creating a Theme
> 11. Creating a Sound Palette
> 12. Creating a Sound Palette: Sherlock Holmes
> 13. Creating Sounds using Synths
> 14. Scoring to Picture
> 15. Scoring Under Dialogue
> 16. Tempo
> 17. Tempo: Sherlock Holmes Scene
> 18. Creating a Music Diary Part 1
> 19. Creating a Music Diary Part 2
> 20. Character Theme: Batman
> 21. Character Theme: The Joker
> 22. Character Theme: Jack Sparrow
> 23. Character Theme: Moriarty
> 24. Case Study: Sherlock Holmes
> 
> Theres a plethora of videos for gearslutz to go hard at - Junkie XL's latest ones for example.



No, wasn't meaning dbx part literally. I will leave that to Alan Meyerson masterclass, hopefully coming in the future. 

Thanks for the content listing.


----------



## synthpunk

Rumor is Andrew Scheps is going to be doing a master class on production and mixing

I asked MasterClass if they'd be interested in doing a Brian Eno / Daniel Lanois masterclass and they replied with anything is possible


----------



## ryanstrong

Half way through Deadmau5' masterclass. He's hilariously candid which is fun. It's definitely on the 101 side so far. And he does answer specific FAQ like... "How do I get the Deadmau5 pluck?"... he shows you exactly how in Serum. But if you know anything about synthesis it's really not that difficult to begin with.

Anyway, the quality of the production of the videos are TOP NOTCH and so far the approach seems to be holistic. I'm enjoying the Deadmau5 class, I wouldn't recommend it to anyone that is an experienced EDM producer only if they just simply want to listen to Deadmau5 talk shop which can be enjoyable regardless!

Look forward to more masterclasses and Hans'!


----------



## Thorsten Meyer

I am 1/3 through the Deadmau5 class, he has an entertaining approach to teaching. Joel shares his experienced and knowledge in an inspiring way. So far so good


----------



## synthetic

tokatila said:


> No, wasn't meaning dbx part literally. I will leave that to Alan Meyerson masterclass, hopefully coming in the future.



Check out "Mix with the Masters." Alan Meyerson is one of the masterclasses. He talks a bunch about surround mixing, etc. I watched a preview at AES but haven't subscribed yet.


----------



## Gerhard Westphalen

synthetic said:


> Check out "Mix with the Masters." Alan Meyerson is one of the masterclasses. He talks a bunch about surround mixing, etc. I watched a preview at AES but haven't subscribed yet.



+1 

It's a great MWTM but he doesn't cover any surround mixing in it. There are many other articles and interviews around where he does discuss it though.


----------



## Consona

Listening to the Man of Steel soundtrack right now, makes me so excited for the masterclass!!!


----------



## Wes Antczak

I've been listening to The Little Prince and it's wonderful as well. The mood really fits the movie nicely.


----------



## synthpunk

We watchedt Rain Man this week and was great to hear Hans and his Fairlight again back when it all started.



Wes Antczak said:


> I've been listening to The Little Prince and it's wonderful as well. The mood really fits the movie nicely.


----------



## Jono

What is the start date for it ?


----------



## quantum7

Yes, when will this be available?


----------



## Anders Bru

There is a countdown, which is at 21 days at the moment, so around February 10th (if I'm not really bad at math).


----------



## jononotbono

We have access to it!


----------



## synthpunk

And a snow storm in the East for an excuse to watch it although I've got to let the mrs watch The Color Purple this weekend.



jononotbono said:


> We have access to it!


----------



## jononotbono

synthpunk said:


> And a snow storm in the East for an excuse to watch it although I've got to let the mrs watch The Color Purple this weekend.



Wish it was Snowing here on the Isle of Wight. When it last happened this little place was caught so off guard the whole place shut down for about a week and a half and it meant two things. 1) Getting blind drunk with a roaring log fire and 2) Not being disturbed by the outside world as I tried to write some music before blindness kicked in.


----------



## mc_deli

(OT Minus 10 here, blue sky, perfect snow this morning... just got back from the slopes... it's a dirty job etc.)

Come on then.. is it any good?


----------



## desert

mc_deli said:


> (OT Minus 10 here, blue sky, perfect snow this morning... just got back from the slopes... it's a dirty job etc.)
> 
> Come on then.. is it any good?


Pretty generic so far and somewhat metaphoric (left to your own interpretation of what he means).

Only three videos available. As you'd expect they are just appetisers. Well I hope...


----------



## tokatila

mc_deli said:


> (OT Minus 10 here, blue sky, perfect snow this morning... just got back from the slopes... it's a dirty job etc.)
> 
> Come on then.. is it any good?



It's the best, believe me. It's seriously the best masterclass ever. Period. So great that all other masterclasses are going to be renamed still-inferior-than-that-Zimmer-masterclass masterclasses. Actually God tried to create this masterclass on 7th day but opted to rest instead.
.
.
.
So, maybe I might have some small expectations, and actually I'm just going to start to watch it.


----------



## desert

tokatila said:


> It's the best, believe me. It's seriously the best masterclass ever. Period. So great that all other masterclasses are going to be renamed still-inferior-than-that-Zimmer-masterclass masterclasses. Actually God tried to create this masterclass on 7th day but opted to rest instead.
> .
> .
> .
> So, maybe I might have some small expectations, and actually I'm just going to start to watch it.


That didn't make sense. How can you judge something as the best masterclass if you haven't even started watching it?


----------



## Saxer

desert said:


> That didn't make sense. How can you judge something as the best masterclass if you haven't even started watching it?


Alternative facts!


----------



## mc_deli

Saxer said:


> Alternative facts!


HZ first


----------



## WindcryMusic

desert said:


> That didn't make sense. How can you judge something as the best masterclass if you haven't even started watching it?



I took his post as being tongue-in-cheek.

But then again, maybe yours is too. 

I just finished watching the first three lessons. As others have said, these first few videos have been fairly generic and metaphoric, but I still took away a couple of good pointers from them - things I already sort of understood but haven't always remembered to apply when tackling a project, and hearing their importance underscored by Mr. Zimmer really impressed upon me that I need to not neglect them. There were also a couple of fairly specific insights into what he finds interesting about melody that I hadn't really considered before. Finally, I come away from these first few videos feeling a lot of inspiration to get back into my studio this weekend and write something. So that's not a bad start at all, in my opinion, especially if the real red meat of the course is yet to come.


----------



## d.healey

I was glad to hear his chair was as creaky as mine.


----------



## Polarity

So the lessons will be available three at once every time?


----------



## WindcryMusic

Polarity said:


> So the lessons will be available three at once every time?



I don't think we know for sure. A note from one of the Masterclass guys that popped up upon viewing the last of the three "preview" lessons suggested that the remainder of the course will be available in a matter of weeks. He didn't specify if that means the rest will come online all at once, or in batches, or singly.


----------



## mac

Oh, so the full masterclass isn't available online yet, just the first couple of videos?


----------



## WindcryMusic

mac said:


> Oh, so the full masterclass isn't available online yet, just the first couple of videos?



Correct. It's described as a "preview for early subscribers", or something like that ... I'm not sure if buying into the course only now immediately unlocks these "preview" lessons or not.


----------



## ChristopherDoucet

WindcryMusic said:


> Correct. It's described as a "preview for early subscribers", or something like that ... I'm not sure if buying into the course only now immediately unlocks these "preview" lessons or not.



"Preview" or "epic tease"? haha Soooo ready to get deep into the class!


----------



## A3D2

I have seen the first 3 lessons as well and for me personally, they were interesting. Indeed, as others pointed out these first lessons convey mainly in general how he approaches a movie/scoring, but I thought it was very inspirational and I definitely learned different ways of approaching new projects from this. Also, it are only the introduction lessons so I thought it was quite normal for them to be a bit more 'general' . Anyhow, I don't have any regrets in taking the masterclass: you can definitely tell from the videos that Hans is really honest in trying to share his knowledge with you (not just because he gets paid to do so) and I really appreciate that .


----------



## Anders Bru

Three new parts available now. Seems like they're releasing three at a time, which seems like a good idea to me, so I don't binge watch the whole thing, but actually take some time to practice what I learn at a good pace


----------



## mac

Woop, this is what wet miserable weekends in front of the TV were made for


----------



## Puzzlefactory

I wonder how many tracks in the next few weeks will be written in D...


----------



## maxime77

Who on earth made the subtitles?!


----------



## Smikes77

Puzzlefactory said:


> I wonder how many tracks in the next few weeks will be written in D...



Well, that depends on how sad people are feeling...


----------



## jononotbono

I was thinking about buying a Crow Bar and removing all my controller Keys except for the D Keys.


----------



## dannymc

> I wonder how many tracks in the next few weeks will be written in D...



yeah its a nice easy key to write in along with A minor and C major. 

Danny


----------



## Gerhard Westphalen

jononotbono said:


> I was thinking about buying a Crow Bar and removing all my controller Keys except for the D Keys.



But then how will you ask dodgy questions?


----------



## jononotbono

Gerhard Westphalen said:


> But then how will you ask dodgy questions?



I leave them to better men.


----------



## Kejero

maxime77 said:


> Who on earth made the subtitles?!


Haha :D
Someone with a good sense of humor, or a piece of software. Maybe both?


----------



## Calazzus

dannymc said:


> yeah its a nice easy key to write in along with A minor and C major.
> 
> Danny


Hence why he said people think he is just being lazy.


----------



## dannymc

> Hence why he said people think he is just being lazy.



i see. sorry i haven't purchased the classes yet. as someone still starting off and finding my feet i'm not sure how much these classes will benefit someone like me at this early stage. but i definitely intend to check them out as i continue to learn more and more. but for me its get the basics right first then build. 

Danny


----------



## Dave Connor

dannymc said:


> i see. sorry i haven't purchased the classes yet. as someone still starting off and finding my feet i'm not sure how much these classes will benefit someone like me at this early stage. but i definitely intend to check them out as i continue to learn more and more. but for me its get the basics right first then build. Danny


Sounds very reasonable. Even so, one of the great keys in life is learning how someone else thinks. If that someone else is doing something exactly like or similar to what you want to do, it can be very helpful even when starting out. People at the level of Hans Zimmer are going to have filtered out what they consider unnecessary aspects of their craft and highlight what they consider essential and important. If that person is a good communicator and genuinely interested in helping and conveying their knowledge and experience to others, it is impossible to go wrong in absorbing their advice and point of view. Leonard Bernstein is a perfect example of that and still eminently watchable. HZ is a very thoughtful guy and gifted communicator with a youthful enthusiasm and determination to grow (unconstrained by conventions that even he himself has established.) He cares about story-telling and sound obviously and is very experimental in achieving his goals. If you're going to listen to anyone, he's probably the guy.


----------



## dannymc

> Sounds very reasonable. Even so, one of the great keys in life is learning how someone else thinks. If that someone else is doing something exactly like or similar to what you want to do, it can be very helpful even when starting out. People at the level of Hans Zimmer are going to have filtered out what they consider unnecessary aspects of their craft and highlight what they consider essential and important. If that person is a good communicator and genuinely interested in helping and conveying their knowledge and experience to others, it is impossible to go wrong in absorbing their advice and point of view. Leonard Bernstein is a perfect example of that and still eminently watchable. HZ is a very thoughtful guy and gifted communicator with a youthful enthusiasm and determination to grow (unconstrained by conventions they even he himself has established.) He cares about story-telling and sound obviously and is very experimental in achieving his goals. If you're going to listen to anyone, he's probably the guy.



thanks Dave great post. 

Danny


----------



## WindcryMusic

Calazzus said:


> Hence why he said people think he is just being lazy.



He certainly did provide a very good reason for writing in D … and also explained why C is not as strong in the low end. I have to admit that I wondered about that statement in the preview, but the reason presented was eminently logical and in retrospect should have been obvious to me as a guitarist.

I wonder how Hans feels about C#? Seems like it would have most of the same advantage as D … a little harder to play in the parts on a keyboard, true, and maybe more difficult for the orchestra as well (?) ... I'm not sure about that. But it opens up another half-step of range for the horns at their top end. I've been writing a lot of my current scoring project in the key of C#, in fact, since my horn section library tops out at a high C, and I wanted that major 7th to appear in my horn melodies.


----------



## tokatila

What is D minor? I write everything in C and then add accidentials as necessary.


----------



## Soundhound

It's the saddest of all keys, per Nigel Tufnel.


----------



## WindcryMusic

Soundhound said:


> It's the saddest of all keys, per Nigel Tufnel.



Alas that Nigel was actually playing in a D Dorian mode (ending his progression on a Gmaj chord rather than Gmin), rather than a true D minor. Or was it just me that was actually bothered by that?


----------



## SBK

Anyone knows when this will be continued?


----------



## Soundhound

Now there's a true Spinal Tap scholar. Impressive! Having started out my musical life in the throes of the Allman Brothers, Dorian is as deep in my bones as anything, including the Knicks and hot fudge sundaes. Hence the egregious, unforgivable oversight. I'll take cover in blaming Nigel. As David said, 'it's Nigel's job to be confused'.



WindcryMusic said:


> Alas that Nigel was actually playing in a D Dorian mode (ending his progression on a Gmaj chord rather than Gmin), rather than a true D minor. Or was it just me that was actually bothered by that?


----------



## Kaufmanmoon

So are people getting a lot out of the course?


----------



## Arbee

Kaufmanmoon said:


> So are people getting a lot out of the course?


I'm certainly enjoying it, big tick for that. Does it go deep? Not really so far. Is it really a "Masterclass", or just a clever marketing idea to break up a YouTube interview into pieces and monetize it? Perhaps. It's still early in the series, but I suspect there will be plenty enough nuggets to take away by the end of it all to make it very worthwhile.


----------



## Dominik Raab

Arbee said:


> Does it go deep? Not really so far.



I agree, with a strong emphasis on "so far". Some of the info on story and directors is already very interesting, but the real "meat" of this masterclass will be the case studies. Whether it's deep or shallow will be determined (for me) by how those work out. I consider everything we've seen so far an introduction and some general issues to get out of the way before the real fun begins.


----------



## wst3

I think it is (so far) very much like a master class - the assumptions being that you taught by a master of your craft who may not also be a master teacher. Hans is just settling in, getting comfortable with the idea that he is a master that has something to share (in fact his quite humble approach thus far makes me wish even more that I might bump into him somewhere that I could buy him the adult beverage of his choice and share a few minutes!)

Will he give away all his secrets? No, and that's not the purpose of a master class, but I expect that he will share a lot of more detailed information as the class progresses.

By way of example - back in the 1970s and 1980s MI manufacturers used to get famous artists to shill their gear - I mean put on master classes. They were hit or miss, some instructors were really good, some were maybe not so good. One that sticks out is Tommy Tedesco, who presented a fantastic class on being a session player, being a guitarist in general, and being a musician in general. I think he was sponsored by Yamaha, but sadly I don't remember for sure, his class was so good it eclipsed the manufacturer. (pity!)

Bob Weir was another great instructor, learned a lot that night, but oddly still remember he was representing Ibanez because he demonstrated this "all-in-one" effects box and I ended up going out and buying one (good for Ibanez) and duplicating most of the tricks he demonstrated (great for Bobby!!)

The rest will remain nameless.

As far as this masterclass - well I didn't expect it to replace 4 years at conservatory, but so far it's been pretty darned cool, and he is just getting warmed up!


----------



## thesteelydane

The word masterclass always reminds me of what it means where I come from - a classical conservatory. A master musician comes for a visit, and rather than have him or her teach students one on one as is the norm, the class is opened to other students, and sometimes the public. It always takes the same form - a student gets up and plays, the master hones in on what they consider the most-in-need-of-fixing, they work on that for a bit, and then it's over. Sometimes being in the audience, you will have an epiphany and be inspired to go and practice, but trust me, being taught in public is never fun. The only thing you can always count on in a masterclass, is the teacher coming out looking like a genius teacher - everybody who gets up and plays in a masterclass are nervous as fuck. It's not like a normal concert, all your fellow students are there, so it's essentially a room full of experts, and some day you'll be competing for a job with all of them - so you're nervous as fuck all, and of course don't play up to anywhere near your potential. The teacher says a few things, your nerves settle down, you play again, and everything sounds much better. Voila! Genius teacher!

Anyway, not really related, I know. I'll see myself out....


----------



## tokatila

Are you seeing more classes than me, because what I have is 6 classes of 31. How can you make a judgment of the value while only receiving 20% of the content?

And of those 6 lessons 3 are are about the directors, which is interesting, but not really valuable for those who don't meet any directors (yet). Still one could argue that it's essential part of the film scoring masterclasses,

Personally, if we review only those 20% I haven't got out of much it yet, but if you look at lesson titles the best seem yet to come. So who knows how valuable the whole course will be.


----------



## Puzzlefactory

I don't think people should put to many expectations in the word "masterclass". At the end of the day it's just a brand name for the website and company.

There's only so much you can put into a few hours of videos that has to appeal to wide range of audiences of different skill levels.

I think the whole setup is more akin to a guest speaker at a seminar, than an actual class.


----------



## wst3

thesteelydane said:


> The word masterclass always reminds me of what it means where I come from - a classical conservatory. A master musician comes for a visit, and rather than have him or her teach students one on one as is the norm, the class is opened to other students, and sometimes the public. <snip>It's not like a normal concert, all your fellow students are there, so it's essentially a room full of experts, and some day you'll be competing for a job with all of them - so you're nervous as fuck all, and of course don't play up to anywhere near your potential. <snip>



Man does that bring back memories, and not entirely fond memories. I remember squirming on stage, and squirming in my seat for the poor sod on stage... BUT, I also remember my own epiphany, and really you only need one! I was attending a master class for french horn, I was never going to be conservatory material on the instrument, but I did love playing it. 

I don't even remember the instructor's name, but I was the guinea pig of the moment, and he stopped me almost immediately and offered a bit of advice, silly on the surface really - "blow through the horn, not into it". Not sure how I managed to quell my embarrassment, but I focused on that thought and even I could hear a difference. No huge instant improvement mind you, but over time it made a difference.

One seemingly silly phrase, but it made a difference for me, and a couple of my fellow students also acknowledged that it helped them too.

Later my band director (in a private lesson) reinforced the idea, and went on to explain how it would change the way I played. I understand that the master probably didn't think he had time to go into a lengthy explanation, or maybe he'd known this so long he'd forgotten the "why", but that, to me, is the difference between a master class and private instruction.

The master classes I mentioned in my previous post were nothing like a conservatory master class, they were genuinely fun, and every once in a while genuinely valuable!

I'm finding, thus far, the Zimmer master class to be more like those 'music store master classes' of old. And that's what I expected...


----------



## gjelul

I find it very interesting -- anything coming from an A-list composer discussing his/her experience will have something of value one way or the other. I'm not expecting Zimmer to give away the keys to dreamland and I find his take on the discussed topics very interesting so far. I take it as a personal perspective, a film composer's view on the topic, and that's what you're paying for. For a 'real masterclass' on composing, and such, I'd go back to academia, and do another master or a phd or something, or look for that in a different forum group all together. For $90 this is a no brainer imo.


----------



## sourcefor

gjelul said:


> I find it very interesting -- anything coming from an A-list composer discussing his/her experience will have something of value one way or the other. I'm not expecting Zimmer to give away the keys to dreamland and I find his take on the discussed topics very interesting so far. I take it as a personal perspective, a film composer's view on the topic, and that's what you're paying for. For a 'real masterclass' on composing, and such, I'd go back to academia, and do another master or a phd or something, or look for that in a different forum group all together. For $90 this is a no brainer imo.



Agreed!!!


----------



## Dominik Raab

Hi guys,

since there's a minor to middle-major shitstorm going on at the Masterclass "Hub" (i.e. forums) about the delay in releasing the rest of the videos, I thought I'd share some info with you that has been posted by a Masterclass official a few days ago. I haven't seen this info around here, so maybe some of you will appreciate it.



> Hi. I need to apologize. Hans’ class is taking longer to finish than we expected. To make the class really great, we felt we needed to include at least some examples of Hans’ work (e.g. film clips, actual movie scores) in the actual class. The licenses to play those music and film clips are taking longer to get than we expected.
> 
> We released the first lessons (that didn’t have any film clips) as soon as we could, but that wasn’t enough. I (and the whole MasterClass team) never want to disappoint you and we did.
> 
> *We’re working to finish as soon as we can. We’ll put up chapters as they get cleared. You will get access to all of the 30+ lessons by March 9th. The public will get access to it after you.*
> 
> *We will, of course, extend the 30 day refund policy to 30 days after the class is fully live.* If for any reason you aren’t satisfied or have more questions, please feel free to reach out to me directly ([email protected]).
> 
> Thanks.
> 
> David Rogier
> CEO & Co-Founder, MasterClass



Bold emphasis by me, not by David.

TL;DR: Licensing trouble. Full masterclass should be available by March 9th. 30 day money back guarantee extended until 30 days after all videos have been uploaded.


----------



## mac

Dominik Raab said:


> Hi guys,
> 
> since there's a minor to middle-major shitstorm going on at the Masterclass "Hub" (i.e. forums) about the delay in releasing the rest of the videos, I thought I'd share some info with you that has been posted by a Masterclass official a few days ago. I haven't seen this info around here, so maybe some of you will appreciate it.
> 
> 
> 
> Bold emphasis by me, not by David.
> 
> TL;DR: Licensing trouble. Full masterclass should be available by March 9th. 30 day money back guarantee extended until 30 days after all videos have been uploaded.



That's fair enough.


----------



## Puzzlefactory

Lol, people will kick off about anything nowadays.


----------



## synthpunk

Best masterclass ever was talking to Jaco Pastorius every day during on tour for 3 months. Great memories r.i.p.


----------



## SterlingArcher

I'm looking at subscribing to Hans's course with payday coming up soon, but since I'm not a musician, don't compose, and mostly spent my three years of music class in secondary school messing about and whacking drums loudly, though I did learn to play on piano the music to the 'Boy On the Bike' Hovis advert that Ridley Scott made in 73, I have no interest in starting and completing any of the academic assignments if there are any. I'm more interested in learning about his process, and catching a glimpse at what all you lovely people do all day and sometimes night.


----------



## Dominik Raab

SterlingArcher said:


> I'm more interested in learning about his process, and catching a glimpse at what all you lovely people do all day and sometimes night.



The first six videos that are already up certainly do that. There might not be a lot of "meat" for people trying to improve there purely musical abilities yet, but there are very interesting portions on focusing on the story of a film and talking to directors. This might be what you're looking for. 

PS: "and sometimes night"? I'm convinced being tired and sitting in the dark is at least somewhat of a requirement. :D


----------



## Arbee

synthpunk said:


> Best masterclass ever was talking to Jaco Pastorius every day during on tour for 3 months. Great memories r.i.p.


Oh yeah, r.i.p


----------



## Emmanuel Rousseau

That's bad, internet, bad !


----------



## A3D2

Dominik Raab said:


> Hi guys,
> 
> since there's a minor to middle-major shitstorm going on at the Masterclass "Hub" (i.e. forums) about the delay in releasing the rest of the videos, I thought I'd share some info with you that has been posted by a Masterclass official a few days ago. I haven't seen this info around here, so maybe some of you will appreciate it.
> 
> 
> 
> Bold emphasis by me, not by David.
> 
> TL;DR: Licensing trouble. Full masterclass should be available by March 9th. 30 day money back guarantee extended until 30 days after all videos have been uploaded.


I've seen the complaints about the delay by many people as well, but honestly I personally think people should have some more patience  and also give the people from Masterclass some credit: if you think about it, they are doing us all a big favor by postponing the remaining videos until these videos are truly finished and have the necessary musical examples in it. Should they post the videos now without it, they would deliver an unfinished product, which I think is much worse than having some delay.


----------



## Puzzlefactory

A3D2 said:


> I've seen the complaints about the delay by many people as well, but honestly, I personally think people should have some more patience  and also give the people from Masterclass some credit: if you think about it, they are doing us all a big favor by postponing the remaining videos until these videos are truly finished and have the necessary musical examples in it. Should they post the videos now without it, they would deliver an unfinished product, which I think is much worse than having some delay.




We're living in the age of entitlement.


----------



## A3D2

Puzzlefactory said:


> We're living in the age of entitlement.


Yes, I've heard that's true to some people  Not for me in any case, I tend to put more belief in 'patience is a virtue' and 'all in good time' .


----------



## Hannes_F

@whitewasteland that is not funny, it is toxic. This was one of the best passages of the first lesson and you ruin it by piling up emotionally charged garbage on it. Such a thing should not come from a musician.


----------



## ghostnote

C'mon Hannes... I don't know if his post got edited but I feel pretty amused by that video, and I guess if the Z-man has just a little bit of humor in his bones then he also might laugh at this. It even might bring more subscribers If this goes viral.

Uuuhh, just don't drink your coffee while watching.


----------



## G.R. Baumann

jononotbono said:


> Someone just shared this on Thinkspace and ooops I tripped on my bank card and enrolled. This is going to be amazing!
> 
> Hans Zimmer teaches Film Scoring
> 
> https://www.masterclass.com/classes/hans-zimmer-teaches-film-scoring
> 
> So excited!
> 
> Jono



A the bottom is another one: Gordon Ramsay teaches cooking. ROFLMAO. I remember those chaps with no balls in Hells Kitchen starting to act like cry babies because he started cursing like a docker.


----------



## G.R. Baumann

I think it is quite nice from Hans to make this available. I mean, he certainly does not do it for the small enrollment fees asked, and "Hans will also critique select student work."


----------



## jononotbono

G.R. Baumann said:


> A the bottom is another one: Gordon Ramsay teaches cooking. ROFLMAO. I remember those chaps with no balls in Hells Kitchen starting to act like cry babies because he started cursing like a docker.



I'm going to actually buy the Gordon Ramsey Masterclass for my brother as he loves cooking and has a dirty potty mouth too! Must be a British thing.


----------



## JTJohnson

I understand the class had been postponed after the first lesson? What was the first lesson like, did he set the stall out on the series? 

I was thinking about joining up. Like many i love Hans but was worried it was going to be more inspirational speaking as opposed to the to the nitty gritty of composing such as mixing, layering, composition etc.

For the record $90 is still worth listening to Zimmer give inspirational talk for hours


----------



## Daniel Díaz

JTJohnson said:


> I understand the class had been postponed after the first lesson?



We'll get full access to the masterclass on 9th March


----------



## Hannes_F

ghostnote said:


> C'mon Hannes... I don't know if his post got edited but I feel pretty amused by that video


I stand by my opinion here. Putting the musicality down in the mud is as much a crime as damaging physical goods (robbery, vandalism) if not more. This has nothing to do with humor but is a cultural crime in my book. If you don't see that then I am afraid you [strike that]are not worth the actual content[/strike] may need to learn to value the genius that can be in simple essentials. However long that takes.

This has nothing to do with being a HZ fanboy. If anything, I am a fanboy to musicality. Musicality is sacred to me, and when I see it I acknowledge it instead of making a cheap caricature of it.


----------



## d.healey




----------



## Emmanuel Rousseau

Hannes_F said:


> I stand by my opinion here. Putting the musicality down in the mud is as much a crime as damaging physical goods (robbery, vandalism) if not more. This has nothing to do with humor but is a cultural crime in my book. If you don't see that then I am afraid you are not worth the actual content.
> 
> This has nothing to do with being a HZ fanboy. If anything, I am a fanboy to musicality. Musicality is sacred to me, and when I see it I acknowledge it instead of making a cheap caricature of it.



Damn, at the beginning I thought you were kidding. But you are serious. Do you only realize the words you're using for a funny video I didn't even made and just shared with people ?

"Toxic", "Ruin", "Garbage", "Cultural crime", "Not worth the actual content".
...Seriously ?

It may surprise you, but some people are "Fanboys to musicality" AND humor. Maybe even Mr Zimmer, who knows ?

Good day to you.


----------



## Hannes_F

Yes I am serious. You should not have been posting this in a musicians forum and shame on you that you did. Zero insight of course, which indicates your level.

BTW humour is when you can change your point of view and make jokes about yourself. Dumbing down essentials is not humour, it is stupidity.


----------



## Dominik Raab

Hannes, you're calling people who define humour differently than you do "stupid", which, and I quote, "indicates your level". You're entitled to your opinion, but so is anyone else. I'm a big fan of Hans' music, and I get mad when people disrespect him, but this joke? Seriously? It's harmless fun, no different from taking a politician's speech video and replacing the audio. Both "attack" someone's passion, but both are inside the bounds of satire. This is getting ridiculously hostile.


----------



## Rctec

whitewasteland said:


> That's bad, internet, bad !



Brilliant!!!


----------



## Rctec

Rctec said:


> Brilliant!!!


...actually, it is our sacred duty to make fun of our stuff!
I've posted this:  before, because it's a Masterclass by SuperHans in its own right.

I come from the english system of "taking the piss..." there are so many jokes buried in the music of "Gladiator" - firmly aimed at Ridley. And, of course he knows about them. 
Plus, when we had to re-edit the film and take out all fanfare shots, because we where too drunk to record them...
There has been a constant banter over the years in all of Chris Nolan's films about how he writes great jokes that they then have to take out because my scores are too dark: "Hans has killed another one of Chris' jokes..." 
we do take the music seriously, but not our selves. We only get through the project by having a good laugh.

So bring it on!

...and sorry about the delay. Most legal departments have no sense of humor, and clearing some of the stuff is a fairly absurd journey...


----------



## creativeforge

Hannes_F said:


> Yes I am serious. You should not have been posting this in a musicians forum and shame on you that you did. Zero insight of course, which indicates your level.
> 
> BTW humour is when you can change your point of view and make jokes about yourself. Dumbing down essentials is not humour, it is stupidity.



Not sure which video you refer to, Hannes, but the MasterClass bit is really hilarious. As a student of the class, I wasn't excepting that! Thank you Hans for rolling with it so well. That shows character, which sometimes is as much if not more important than musicality, imho. It can sustain you when the bridge disappears... Come on, man, have a laugh too. It won't diminish our respect for Hans.


----------



## JTJohnson

Daniel Díaz said:


> We'll get full access to the masterclass on 9th March


Gotcha, so not even a first lesson. I think i'll give it a go


----------



## NoamL

Hannes_F said:


> Putting the musicality down in the mud is as much a crime as damaging physical goods


----------



## Dominik Raab

JTJohnson said:


> Gotcha, so not even a first lesson. I think i'll give it a go



Unless I'm getting something wrong, I don't think this is correct. There are six videos up at the moment, namely:


An introduction video
Hans talking about themes
The relationship of story and music
And three videos about working with directors, which are all great!
Videos 07-31 will be available on March 9th!


----------



## ghostnote

Hannes_F said:


> If you don't see that then I am afraid you are not worth the actual content.


And the actual content right here is what exactly? One hint Hannes, I can understand that it might upset people, but you better watch your words when it comes to deciding what somebodys worth or not.

These shred videos are around for quite a while and many musicians have been satirized. I agree that the reputation of musicians has declined in general over the past 20 years, but in this case it's a harmless joke. People do those videos because they know the artists are talented, it's more of a hommage.



I'm glad Hans takes this with humor. Chapeau!


----------



## CT

Rctec said:


> ...actually, it is our sacred duty to make fun of our stuff!
> I've posted this:  before, because it's a Masterclass by SuperHans in its own right.
> 
> I come from the english system of "taking the piss..." there are so many jokes buried in the music of "Gladiator" - firmly aimed at Ridley. And, of course he knows about them.
> Plus, when we had to re-edit the film and take out all fanfare shots, because we where too drunk to record them...
> There has been a constant banter over the years in all of Chris Nolan's films about how he writes great jokes that they then have to take out because my scores are too dark: "Hans has killed another one of Chris' jokes..."
> we do take the music seriously, but not our selves. We only get through the project by having a good laugh.
> 
> So bring it on!
> 
> ...and sorry about the delay. Most legal departments have no sense of humor, and clearing some of the stuff is a fairly absurd journey...




I think most of us can roll with the delays. I'm just glad to learn you're a Peep Show fan.


----------



## Hannes_F

@whitewasteland
I clarified.
@NoamL
Can you sense the difference between these two videos in terms of musicality?
@ghostnote
I can not make it through any of these shredding videos. I tried but it's a pain and they are giving nothing to me. Sorry, I'm just honest.

@ allinthisthreadincludingHZ Anyways, if you are all agreed that the shredding video is good humour then sorry for stirring you up and have a good time with as much of that humour as you liken. I happen not to like it and missed (and still miss) the joke. Obviously I'm too stupid for this. Sorry again.


----------



## Rctec

How one deals with one's director (a Parabel):


----------



## Patrick de Caumette

Hannes_F said:


> @whitewasteland that is not funny, it is toxic. This was one of the best passages of the first lesson and you ruin it by piling up emotionally charged garbage on it. Such a thing should not come from a musician.


Hannes, there is a whole series of videos like this one, with great musicians such as Paco de Lucia...

Personally I find them hilarious.
They are so over the top that it is pretty clear that it is meant to be taken as a joke...


----------



## rottoy

Patrick de Caumette said:


> Hannes, there is a whole series of videos like this one, with great musicians such as Paco de Lucia...
> 
> Personally I find them hilarious.
> They are so over the top that it is pretty clear that it is meant to be taken as a joke...



Don't forget the King himself shredding on his trusty steel string.


----------



## ghostnote

@rottoy I remember this one. Probably my favorite. Sorry Hans, you can't compete against the King!


----------



## Trombking

Some soundtrackish references in there too...


----------



## rottoy

Hannes_F said:


> Putting the musicality down in the mud


For some reason this sentence got me thinking of this scene.


----------



## NoamL

Why do we fall, Master Bruce?


----------



## thesteelydane

When it comes to shreds, this is my all time favourite, especially because of the way he builds up to it in such full-of-himself-bullshit kind of way. I know the guys who did it, and it was all done with love. They are both excellent musicians (Rune is the 1st violin in the Danish String Quartet) and they actually showed it to Zukerman, who found it hilarious.


----------



## Jaap

If it helps Hannes, I didn't find that HZ shred funny either. I was not offended and glad Hans likes it  but I have seen funnier shreds tbh, but that is personal taste of course!

And for the love of everything that is sacred to me I hate that 20 Century Fox thingie hahaha (not really hate, its briliant!). When I start it and the first few seconds are normal my body is already going in full defence mode like "nooooo make it stop NOW" 

I love this one


----------



## Patrick de Caumette

I am afraid that we have hijacked this thread, but it was worth it!
Thanks for all the laughs!
Now, how about some enlightened bits of wisdom Maestro!
(Looking forward to the 9th!)


----------



## rottoy

thesteelydane said:


> When it comes to shreds, this is my all time favourite, especially because of the way he builds up to it in such full-of-himself-bullshit kind of way. I know the guys who did it, and it was all done with love. They are both excellent musicians (Rune is the 1st violin in the Danish String Quartet) and they actually showed it to Zukerman, who found it hilarious.



My new favourite shred. Can't stop laughing.


----------



## JTJohnson

Dominik Raab said:


> Unless I'm getting something wrong, I don't think this is correct. There are six videos up at the moment, namely:
> 
> 
> An introduction video
> Hans talking about themes
> The relationship of story and music
> And three videos about working with directors, which are all great!
> Videos 07-31 will be available on March 9th!


Thanks for clearing that up for me


----------



## roknardin

The attention to detail in this one is incredible


----------



## JT3_Jon

Hopefully we will get back on topic when the class is released.... but until then....


----------



## JT3_Jon

Being a huge Rick Wakeman fan, This one gets me too - especially at 1:38 (some of the younger guys might not get the joke haha!)


----------



## mac

JT3_Jon said:


> Hopefully we will get back on topic when the class is released.... but until then....




I don't know if it's the severe hangover or lack of sleep, but I'm literally crying with laughter


----------



## Dominik Raab

Terribly sorry to interrupt your posting videos with non-news of my own, but: the Hans Zimmer Masterclass landing page went back to the counter (reading 00:00:00:00) instead of the overview, at least for me. I guess that means they're currently working on the front-end. Either this takes four days - or we'll get the class earlier than the ninth!

Or, you know... It's just a fuckup on my end since I also had to log-in again. That's possible, too. :D


----------



## maxime77

The full class is finally available!


----------



## Puzzlefactory

Good stuff. Just handed in a couple of assignments yesterday, so this is perfect timing.


----------



## jononotbono

I just went on the site and in my account it doesn't even say I have bought the Masterclass anymore. Guess there's about million people logging into the site all at once and something has happened to the my account? Think I'll get back to building my Cubase template for meantime then!


----------



## Puzzlefactory

Strange. I just tried logging on with my phone and it worked fine...


----------



## Sebastianmu

I'm binge-watching.


----------



## Puzzlefactory

Trying to watch it on my phone on the train is somewhat vexing as my connection fades in and out. But it does create some interesting screen freezes. :D


----------



## Tatu

So, how many of you skipped straight to Sherlock Holmes Diary and just stared at Hans's monitor for any details regarding his template etc?


----------



## Puzzlefactory

No point for me, my computer can barely handle my own little modest template. He's probably got a server farm managing his sample libraries...


----------



## Will Blackburn

What are these two tablet controllers he's got here left and right ? Lemur?


----------



## jononotbono

I still can't access the course. I think I'm being punished for looking like some kind of HZ fanboy for starting this bloody thread. Shame on me.


----------



## Puzzlefactory

Not sure about the left, but I think the right (middle one) is a Raven.


----------



## jononotbono

Puzzlefactory said:


> Not sure about the left, but I think the right (middle one) is a Raven.



It's a custom made Touch Screen made by Mark Wherry. I was watching the JXL template building tutorials he put out and he uses one too. I'm surprised no-one has complained they didn't get a free one with the Masterclass.


----------



## Puzzlefactory

Yeah, I noticed Junkie Xl had one of his YouTube videos. There's an article in a recent Music Tech mag with an interview with another film composer that also uses one (the article said he did an internship with HZ so maybe that's where he got the idea).


----------



## jononotbono




----------



## tokatila

Lesson 17. Very nice indeed and applicable.


----------



## rottoy

Loving this masterclass so far. Much respect to you, Hans!


----------



## creativeforge

JT3_Jon said:


> Being a huge Rick Wakeman fan, This one gets me too - especially at 1:38 (some of the younger guys might not get the joke haha!)






 I'm traumatized now. I thought there was nothing worse than Helltoe California by The Jethros...


----------



## kurtvanzo

jononotbono said:


>



Thanks for posting this. Couldn't stop watching it!


----------



## John Busby

wcb123 said:


> What are these two tablet controllers he's got here left and right ? Lemur?


by the way....
the jacket Hans is wearing.... isn't that the one Ledger wore in the Dark Knight? hmmm


----------



## Rctec

This is Mark Wherry's touchscreen he made for me. It's his own language, not Lemur.


----------



## jononotbono

Finally got access to the course after changing passwords. Man, this is highly inspiring stuff. Yeah, I am looking forward to recording my own samples even though I'll probably start with my Bannister. 

I am wondering what that physical Fader Unit is you're using (as fader controllers are such hot topic on VIC - such hot topic that people have started making their own to sell!)? Thanks for the masterclass! Loving it so far!


----------



## jononotbono

"Weird Shit". Easily the best button.


----------



## dhlkid

Rctec said:


> This is Mark Wherry's touchscreen he made for me. It's his own language, not Lemur.


Love your masterclass! Do you mind to show us your percussion & synth templete?


----------



## tokatila

Ok, so I bingewatched everything. I'm both happy and disappointed.

I'm happy because I feel very inspired to make music.

I'm disappointed, because it's too high-above-point-of-a-view. I would have had more concrete, detailed explanation of the process. How the sketch is done? Paper? What's included, melody? Melody+bass? Melody+harmony? Do Hans think orchestration as a separate process or is it thought about straight away? When to bring in orchestration. When to take things to the mockup-phase. SOOOO much unanswered questions.

My recommendation would be to get one of the Alain Mayrand lessons, like orchestrating the line, to get more concrete helpful things.


----------



## Whatisvalis

That was a stellar Zebra wind patch


----------



## wbacer

jononotbono said:


> Finally got access to the course after changing passwords. Man, this is highly inspiring stuff. Yeah, I am looking forward to recording my own samples even though I'll probably start with my Bannister.
> 
> I am wondering what that physical Fader Unit is you're using (as fader controllers are such hot topic on VIC - such hot topic that people have started making their own to sell!)? Thanks for the masterclass! Loving it so far!


JL Cooper ES 8/100


----------



## ZenFaced

tokatila said:


> My recommendation would be to get one of the Alain Mayrand lessons, like orchestrating the line, to get more concrete helpful things.



I will defninitely be subscribing to those lessons


----------



## synthpunk

Or read the lesson plan and description better.



tokatila said:


> Ok, so I bingewatched everything. I'm both happy and disappointed.
> 
> I'm happy because I feel very inspired to make music.
> 
> I'm disappointed, because it's too high-above-point-of-a-view. I would have had more concrete, detailed explanation of the process. How the sketch is done? Paper? What's included, melody? Melody+bass? Melody+harmony? Do Hans think orchestration as a separate process or is it thought about straight away? When to bring in orchestration. When to take things to the mockup-phase. SOOOO much unanswered questions.
> 
> My recommendation would be to get one of the Alain Mayrand lessons, like orchestrating the line, to get more concrete helpful things.


----------



## synthpunk

And be sure to check out the vi-C community project for the FADERCTRL. First-run is currently in build.

http://vi-control.net/community/threads/faderctrl-universal-midi-controller.58734/



wbacer said:


> JL Cooper ES 8/100


----------



## synthpunk

Yes please HZ. I know you wanted to keep the synth side to Deadmau5 masterclass, discussing it here with us would be very much appreciated thank you sir.

="dhlkid, post: 4064093, member: 5528"]Love your masterclass! Do you mind to show us your percussion & synth templete?[/QUOTE]


----------



## synthpunk

I have one called Nuke Jono 



jononotbono said:


> "Weird Shit". Easily the best button.


----------



## sazema

Main point of this masterclass is "be yourself" and it's not what many people expected


----------



## tokatila

synthpunk said:


> Or read the lesson plan and description better.



Well, Writing tips 1 and 2 can mean anything, but let's just say that I'm glad that you apparently find the class beneficial. And, like I said I was both happy and disappointed and of course this being just a large topic it's impossible to full everyone/anyone's all needs. I'm not feeling that I wasted 90$ but I'm saying that I feel that the with the same amount of money I get more value from Alain Mayrand. Of course people are at different stages at their career and this course might be just the oasis the camel was looking for, but probably that camel has traveled a while already.

Then again, I got inspired. What's the value of inspiration? I guess it depends how long it lasts.


----------



## wbacer

synthpunk said:


> And be sure vi-C community project for the FADERCTRL. First-run is currently in build.
> 
> http://vi-control.net/community/threads/faderctrl-universal-midi-controller.58734/


Yup, can't wait, luckily I got in on the FADERCTRL first run. It also looks like the JL Cooper is being discontinued.


----------



## storyteller

I think the class was really wonderful. I laughed. I learned. I walked away most importantly gaining perspective from one of the greatest. In the end, its always going to be about telling stories - and, really, you are inevitably telling your own story through song. So walking away having gained insight and perspective on that from such a master craftsman and being given a breath of inspiration? Easily worth the price of admission.

*FOOTNOTE:* Also, I learned that having a greater depth of synth knowledge can potentially give a bar conversation with HZ more legs... ha.


----------



## baileysounds

synthpunk said:


> Yes please HZ. I know you wanted to keep the synth side to Deadmau5 masterclass, discussing it here with us would be very much appreciated thank you sir.
> 
> ="dhlkid, post: 4064093, member: 5528"]Love your masterclass! Do you mind to show us your percussion & synth templete?


[/QUOTE]

Really enjoyed the Masterclass content but definitely second/third this!

It's also brilliant to discover that Hans digs Peep Show, I think like most musicians I feel like I'm Mark but am constantly told I'm Jeremy.


----------



## Jetzer

Watch a few so far, love it. More music diary's please!


----------



## jononotbono

synthpunk said:


> I have one called Nuke Jono



I actually have one called "Weird Shit" haha Makes me sound like such a fanboy but I have had a "Weird Shit" folder since SX2. Everyone needs one. Some of the names of track ideas that never leave my vault are blush worthy (to say the least) when I look through them.

Nuke Sounds interesting. Synthpunk for president!


----------



## ZenFaced

storyteller said:


> I think the class was really wonderful. I laughed. I learned. I walked away most importantly gaining perspective from one of the greatest. In the end, its always going to be about telling stories - and, really, you are inevitably telling your own story through song. So walking away having gained insight and perspective on that from such a master craftsman and being given a breath of inspiration? Easily worth the price of admission.
> 
> *FOOTNOTE:* Also, I learned that having a greater depth of synth knowledge can potentially give a bar conversation with HZ more legs... ha.



I watched pretty much all Hans interviews on Youtube and his website. His approach and philosophy always resonates with me. He comes across as articulate, down to earth, no nonsense guy. Love all his videos and I'll definitely be watching this one too.


----------



## ZenFaced

Also forgot to mention his behind the scenes interviews on blue ray/dvd extras.Gladiator one was awesome. I remember watching that over and over back in 2000 and kept freezing the video at certain parts at right moment to catch close ups of his computer screen, midi controllers and touch pads. Awesome stuff.


----------



## wbacer

Found an interesting interview. 
"Mark Wherry, Man Behind Hollywood's Digital Musical Instruments, Hans Zimmer Collaborator"
http://cdm.link/2012/10/interview-m...musical-instruments-hans-zimmer-collaborator/


----------



## jononotbono

Could someone explain the Grey boxes in bottom centre/right HZ's Touch surface?

I am thinking that the bottom row is for Triplet Beats and top for Common Time Beats. There are 4 boxes in one rectangle so the Rectangle is a bar (measure) and each of the 4 smaller boxes is a beat? And when you press each box, the corresponding beat gets selected? Also, What's the furthest rightside 5th box being a Lone Wolf from the pack for?


----------



## ZenFaced

When I go to the Masterclass website I only see option for pre-enroll. How do I get to see class now?


----------



## ontracktuts

This Masterclass was awesome! It's so great to hear Hans's philosophies and how he works in his industry.


----------



## OleJoergensen

Its 5% music 95% talk but inspiring talk based on many years of experience and knowledge. I had hoped for more music....
Its generous that a busy composer takes time to make this course. 
Thank you Maestro.


----------



## AdamAlake

Whatisvalis said:


> That was a stellar Zebra wind patch



No, it was actually Interstellar.


----------



## Whatisvalis

AdamAlake said:


> No, it was actually Interstellar.



yes yes - subtle play on words without being overly punny you know. Still one of the best wind patches I've heard.


----------



## d.healey

I liked Hans' idea of having all the notes of a chord converge at one pitch, so I wrote a little script to do that.


----------



## synthpunk

Yep!



sazema said:


> Main point of this masterclass is "be yourself" and it's not what many people expected


----------



## Bunford

Where does this course pitch at? Quite fancy it but am I still class myself as quite new to making 'score'-like music. I'm 36, been playing musical instruments since I was about 7,being guitar, bass, basic piano, drums, banjo etc and dabbled a bit in recreating score tracks for a couple of years but haven't really written anything from my brain as yet, not beyond little idea scratch pads anyway, primarily because I jump from one idea to another rather than completing one before moving on. As I'm self taught, it also means I totally suck at writing and reading music, which is something I am trying to address but it is one of them things that my brain just can't click with for some reason. I know all the notes, the scales, a lot of the theory, but it is all a kind of 'natural' feeling rather than consciously knowing it and being able to decipher music sheets.

Does this course need a reliance of reading music, theory, terminology etc, or is it something that is accessible to the commoner?


----------



## d.healey

Bunford said:


> Where does this course pitch at? Quite fancy it but am I still class myself as quite new to making 'score'-like music. I'm 36, been playing musical instruments since I was about 7,being guitar, bass, basic piano, drums, banjo etc and dabbled a bit in recreating score tracks for a couple of years but haven't really written anything from my brain as yet, not beyond little idea scratch pads anyway, primarily because I jump from one idea to another rather than completing one before moving on. As I'm self taught, it also means I totally suck at writing and reading music, which is something I am trying to address but it is one of them things that my brain just can't click with for some reason. I know all the notes, the scales, a lot of the theory, but it is all a kind of 'natural' feeling rather than consciously knowing it and being able to decipher music sheets.
> 
> Does this course need a reliance of reading music, theory, terminology etc, or is it something that is accessible to the commoner?


No you don't need to know any theory. It's not really a how to course it's more of a detailed interview with Hans going through his process and explaining his philosophy with some practical nuggets in each video that you can apply in your own work. Definitely worth the money but I'd also recommend you check out Mike Verta's masterclasses which will be of immense benefit to you - check out his freebies on YouTube too.


----------



## Valérie_D

Turning 35 in 2 weeks, finished Hans's masterclass 2 days ago, downgraded from full time to part time job and moved in with relatives to build my library catalogue because it's worth it and there is only plan A. Whatever it takes.


----------



## Kejero

tokatila said:


> I'm disappointed, because it's too high-above-point-of-a-view. I would have had more concrete, detailed explanation of the process. How the sketch is done? Paper? What's included, melody? Melody+bass? Melody+harmony? Do Hans think orchestration as a separate process or is it thought about straight away? When to bring in orchestration. When to take things to the mockup-phase. SOOOO much unanswered questions.



The answers are different for every composer. Whatever HZ's approach or workflow is, doesn't guarantee at all that it's gonna work for you. Your orchestration skill levels, for one, play a big part in how you write. For some composers the composition and orchestration are two entirely separate things; for others, they're (close to) one and the same.

Some composers will immediately flesh out their mockups, while others will leave it as a very rough sketch that gets the idea across.
I definitely spend way too much time on my mockups, and I'm still trying to force myself to stop tweaking so much in this phase, and move on to the next cue (to revisit and clean up/finish the cue properly a few days later). At the same time, I feel that all this tweaking elevates my mockups and gives a better sense of what works. A little bit of tweaking can turn a cue that doesn't work into something that works just great. Only yesterday I was working on a cue that didn't seem to work with the cue that followed right after it, so I simply added some subtle lower end texture, and it suddenly worked great. (Of course, rewatching it today I've concluded that while the cue leads nicely into the next cue, it's still rubbish as it doesn't work with the scene itself and I've thrown it out  ).

Bottom line, I don't think anybody has the "right answers" to any of these issues.


----------



## Tatu

I think he explains his process of actual writing / sketching / mocking up pretty clearly and refers to it a couple of times during the videos. There's even a separate video covering his sketching process.


----------



## Sebastianmu

I thought the whole class was very, very interesting. Being obsessed, since years, with only technical intricacies of how to achieve the right orchestral textures for writing the music I _like_ - which, to be completely honest, is suitable only for very rare moments in film (pretty much only _rocket-launches_), the strong focus on 'story' was a much-needed reminder of what film-music actually is about, and what I did not spent to much time thinking about until now.


----------



## John Busby

to those of you who are disappointed....
please take a step back and really think about how much of a treasure this actually is for us.

HZ is one of those rare people who has made an imprint on not just the film industry, but on childhoods (particularly mine).
He inspired me as a child with the likes of Crimson Tide, Lion King, Prince of Egypt, The Rock, hell....even Broken Arrow (probably one of my favorites!) and so on.
back then it was only a dream to think about having a one on one conversation and looking over the shoulder with this man, and that's exactly what MC delivered with this class.

Even though there wasn't so much a concentration on curriculum which is arguably the defining characteristic of what makes a class a class, if anything i learned that 25+ years later i'm still just as inspired by this man today as i was as a child, and to me, you can't put a price on that!

Hans, thank you so much for your time and effort sharing your thoughts and experiences with all of us!
JB


----------



## jononotbono

There is so much to learn from this master class. Worth every penny!


----------



## Dominik Raab

Okay, I'm at video #20 now, and I feel a bit of disappointment. *Not* with Hans or what he has to say, that's very insightful and I love listening to him. But my dayjob (if you can call it that) is pursuing an education degree at university. I'm currently learning how to teach students. And this Masterclass, so far and from my point of view (!) is very interesting, but not educational in the sense I was expecting.

My main disappointment is the fact that the workbook isn't up yet. When I paid, I expected (probably wrongly so?) a task with every lesson. A problem I have to solve. Learning by doing. I was expecting "Create a synth patch that conveys [this emotion]". I was expecting short clips that needed music. I was expecting assignments. Right now, I have no idea what the workbook is going to look like and if actual practical education is going to take place some time soon. And if this is going to happen during or after the money back period.

Don't get me wrong, this is not an accusation directed at either Hans or the good folks from Masterclass. This is probably me expecting something different. I'm not planning on getting a refund, and I'm not trying to discourage people from buying the class. This is simply my experience and an explanation of why I'm disappointed at the moment.

I'm a practical learner. I need to *do* things to understand them. To me, the insight given by Hans (which, again, is awesome) is interesting. Interesting and educational are separate things, though, and I'm missing the practical approach to education so far. If the coursebook ends up being a written version of the videos, this Masterclass will end up being interesting, but, to me, not educational. If it provides problems that we have to solve, something to practice on, I'll take everything back and probably pee my pants in excitement. :D


----------



## WindcryMusic

Dominik Raab said:


> Okay, I'm at video #20 now, and I feel a bit of disappointment. *Not* with Hans or what he has to say, that's very insightful and I love listening to him. But my dayjob (if you can call it that) is pursuing an education degree at university. I'm currently learning how to teach students. And this Masterclass, so far and from my point of view (!) is very interesting, but not educational in the sense I was expecting.
> 
> My main disappointment is the fact that the workbook isn't up yet. When I paid, I expected (probably wrongly so?) a task with every lesson. A problem I have to solve. Learning by doing. I was expecting "Create a synth patch that conveys [this emotion]". I was expecting short clips that needed music. I was expecting assignments. Right now, I have no idea what the workbook is going to look like and if actual practical education is going to take place some time soon. And if this is going to happen during or after the money back period.
> 
> Don't get me wrong, this is not an accusation directed at either Hans or the good folks from Masterclass. This is probably me expecting something different. I'm not planning on getting a refund, and I'm not trying to discourage people from buying the class. This is simply my experience and an explanation of why I'm disappointed at the moment.
> 
> I'm a practical learner. I need to *do* things to understand them. To me, the insight given by Hans (which, again, is awesome) is interesting. Interesting and educational are separate things, though, and I'm missing the practical approach to education so far. If the coursebook ends up being a written version of the videos, this Masterclass will end up being interesting, but, to me, not educational. If it provides problems that we have to solve, something to practice on, I'll take everything back and probably pee my pants in excitement. :D



I am eagerly awaiting the workbook as well, and am expecting it to contain at least some of what you are hoping for. I think this is simply because we are technically "early access" students, so we have to take the materials in the order that they are completed. Once the workbook is available, I might elect to go through all of the videos a 2nd time, in conjunction with the workbook, to see how the two fit together and to tackle any assignments therein.


----------



## ChristopherDoucet

This class was very helpful! Really liked Hans just talking and jamming and playing us cues! So many amazing nuggets!

1. wow, I am surprised to find that Hans seems to be using commercial libraries...(BWW Berlin Strings), I thought he was using only his custom library...based off that sexy screenshot of his tablet.

2. Really cool to see the concepts in the Diary section. I would love to be able to change the tempo like Hans did to try it out in different vibes, but my cubase template is so heavy, (not using a slow computer, VisionDaw 20 core), is so slow and laggy that it freezes up like crazy on that. There is a 5 second lag when it locates.

3. The section on "playing with synths", I must admit, seeing Mr. Zimmer just pull up a zebra and start creating made me a little less scared about synths and making my own sounds.

I really appreciated both Masterclass and Hans for doing this. It was also a lot of fun!

As unrealistic as it is, I was hoping that he would discuss Remote Control standards like file naming, folder structure, or things that have been discovered from many years of heartache like always starting music on bar 5 like he posted somewhere else. Those may seem like something simple to a lot of people, but I get confused and unorganized often and would have loved some nuggets.

But it was amazing. Looking forward to ding it again and starting the workbook.


----------



## davidgary73

HANS ZIMMER LIVE Q&A
Wednesday, March 15th, 2017 from 5:00 - 5:45 p.m. PDT

Hans will answer student questions. Follow the link to submit your questions: https://www.masterclass.com/classes/hans-zimmer-teaches-film-scoring/office-hours


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## Puzzlefactory

davidgary73 said:


> HANS ZIMMER LIVE Q&A
> Wednesday, March 15th, 2017 from 5:00 - 5:45 p.m. PDT
> 
> Hans will answer student questions. Follow the link to submit your questions: https://www.masterclass.com/classes/hans-zimmer-teaches-film-scoring/office-hours



Yeah i saw that. Haven't a clue what i would ask. 

I'm guessing he's going to get a thousand questions about Templates and sample libraries he used and probably a thousand more asking to go into more detail about how he writes his music diaries.


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## CT

Finished this entirely on the day it all went up. What an absolutely wonderful opportunity.


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## benatural

Rctec said:


> This is Mark Wherry's touchscreen he made for me. It's his own language, not Lemur.



Pretty much what I've been most curious is this picture here. Going steal some of those shortcuts, thanks a million for sharing it


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## jononotbono

HZ is live on Masterclass right now...


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## jononotbono

"It's not a day job where you go home at 5. Well, you do... at 5 in the morning" haha!


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## Greg

Really enjoyed it! My favorite tips were seeing his musical diary process (I spend way too much time trying to beat ideas into submission) & thinking of melodic phrases as questions and answers.


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## davidgary73

The workbook is out!!!


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## Dominik Raab

davidgary73 said:


> The workbook is out!!!



Thanks for bringing this to our attention. Gotta check that right now!


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## jononotbono

I'm still watching the masterclass. Been super busy with deadlines. Favourite line from the whole thing so far...

"There is no such thing as a stupid question". That's fortunate considering the number of questions I ask on this site!


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## Parsifal666

I didn't take the course for no other reason than I feel I'd be far too influenced. I went through a super fan "Hans phase" after being blown away by the Man of Steel soundtrack; tried to grab every score I could, all his soundtracks, writing plenty of superhero-action-Tears of the Sun-Lion King stuff. 

My founding of the worldwide Kult of the Stripe'd Horse was based upon those sounds, Zebra remains by far my favorite instrument in the synth department.

So yeah, it's a weird reason.

I'm sure it's a terrific course and I would have learned a ton anyway.


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## jononotbono

Just do it. You're not going to be "too influenced" from it. He's not teaching anyone how to write music like him. It couldn't be any further from that. It's just highly inspiring. 

He's also just said something I have said for YEARS. "There is no Plan B". 

I'm going to do the Deadmouse one next. Purely because I don't really listen to his music and will probably learn quite a bit from it.


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## Parsifal666

jononotbono said:


> I'm going to do the Deadmouse one next. Purely because I don't really listen to his music and will probably learn quite a bit from it.



Dude, that is a HUGELY effective approach. You're bound to learn a ton.


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## Jaap

jononotbono said:


> I'm going to do the Deadmouse one next. Purely because I don't really listen to his music and will probably learn quite a bit from it.



I took his masterclass instead of Hans his one (will come later I think  ) because for some work related things I needed to dive more into sound design stuff and then more in a modern approach. To be honest I only knew Deadmau5 by name and never heard his music as well, but damn that was well worth every penny! I love that guy and how he approached things. A real passionate purist and I learned a lot. 
When I have more time I look forward to dive into this masterclass with Hans


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## Niah2

Do you think that someone who is not interested in writing film music will still benefit from taking hans' masterclass?


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## Nmargiotta

Niah2- I would say so, anyone who enjoys film or storytelling, or even the craft of music in relation to story telling would enjoy it.


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## roknardin

Drinking game: Drink every time Hans says "you know" in the masterclass.


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## mwarsell

I augur a steep rise in u-he Zebra2 sales.


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## d.healey

roknardin said:


> Drinking game: Drink every time Hans says "you know" in the masterclass.


You know I thought the same thing - http://vi-control.net/community/thr...ng-hired-at-remote-control-productions.60722/


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## WindcryMusic

mwarsell said:


> I augur a steep rise in u-he Zebra2 sales.



Not just that, but the Dark Zebra as well. At least I know I'd been on the cusp of that particular investment for the last couple of years, and seeing it used in the Masterclass played a role in finally pushing me over the edge.


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## jononotbono

I've been planning on buying it for ages. And Omnisphere 2. Blasted Spitfire keep releasing things that I keep getting drawn to though.


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## JonSolo

I am enjoying the class as well. But I have an edge...I own Dark Zebra and Omnisphere 2. HA HA HA. Seriously, u-he claims they are close to getting us the DZ version Hans uses (with more modulation slots, etc.) in the next pre-V3 release.


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## synthpunk

Interesting. Most of the banter I have been seeing on kvr has been about a 5 voice poly version of Pro-1 w/ rev2/3 switch.



JonSolo said:


> I am enjoying the class as well. But I have an edge...I own Dark Zebra and Omnisphere 2. HA HA HA. Seriously, u-he claims they are close to getting us the DZ version Hans uses (with more modulation slots, etc.) in the next pre-V3 release.


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## mwarsell

Hans, you have the Jack Sparrow theme framed in your studio behind you? Was that for real or for illustrational purposes only? I mean you can have whatever you want in your studio, it's your studio. (I have an old hat). Just curious.


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## Christof

roknardin said:


> Drinking game: Drink every time Hans says "you know" in the masterclass.


Or:"At the end of the day"


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## Rctec

mwarsell said:


> Hans, you have the Jack Sparrow theme framed in your studio behind you? Was that for real or for illustrational purposes only? I mean you can have whatever you want in your studio, it's your studio. (I have an old hat). Just curious.


Actually, no. Gore Verbinsky has it and I had to borrow it back for the shoot...


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## mwarsell

ok thanks for replying. it looked pretty strange when you turned around and there it was, framed 

But don't get me wrong, it's a good theme!


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## InLight-Tone

I found the class very inspiring. Wasn't looking for any nuts & bolts more how Hans thinks and that was abundant in this Masterclass.

Hans if you do happen by this thread again, I was wondering if you practice keyboards such as scales, drills and what not, and how much of your material you actually play in VS step sequence or write it in with a mouse?


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## mwarsell

A road trip to Slovakia to find gypsy musicians for Sherlock II? Wow! Huh. Amazing commitment!


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## SterlingArcher

Parsifal666 said:


> I didn't take the course for no other reason than I feel I'd be far too influenced. I went through a super fan "Hans phase" after being blown away by the Man of Steel soundtrack; tried to grab every score I could, all his soundtracks, writing plenty of superhero-action-Tears of the Sun-Lion King stuff.
> 
> My founding of the worldwide Kult of the Stripe'd Horse was based upon those sounds, Zebra remains by far my favorite instrument in the synth department.
> 
> So yeah, it's a weird reason.
> 
> I'm sure it's a terrific course and I would have learned a ton anyway.



I'm waiting for the psychedelic country and western score he keeps mentioning every once in a while. BTW speaking of Hans I went to a birthday party last night where a old buddy of mine was DJing and asked him to put on the 'He's A Pirate (Tiesto Remix)'. That was certainly a track that got the whole room moving


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## Kejero

mwarsell said:


> A road trip to Slovakia to find gypsy musicians for Sherlock II? Wow! Huh. Amazing commitment!



And because sometimes people don't believe what Hans says (  ), they made some videos about it!


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## Dominik Raab

roknardin said:


> Drinking game: Drink every time Hans says "you know" in the masterclass.



As long as it's not, like, _*like*_.

I, like, always picture, like, a faux-blonde teenage girl with, like, a pumpkin-spiced latte frappu-something-or-other in one hand and, like, the most recent iPhone in a hot-pink case in the other.

It drives me, like, really insane.


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## givemenoughrope

^In the grand scheme of things that sounds just fine to me. 

Should I sign up for this class with HZ? Anything that isn't covered here on the forums? I would pay good just to watch HZ, CC or Thomas Newman complete a cue from start to finish complete with spotting, conversations on down to adjusting velocities and trying to find the right players. 

I'm really kind of leaning towards taking the Werner Herzog class even more. My friend's brother took an actual class class at film school with him. Afterwards, he ended up giving him a ride out of manhattan to one of the airports and received an earful about filmmaking and the reasons to pursue it; a rare opportunity. I've always liked/loved the films of his that I've seen and also his use of music.


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## givemenoughrope

I've watched a bunch of the Deadmau5 live streams and they were pretty helpful. Comforting that his process is really so similar (tedious, frustrating, arduous) to most of ours. He gets great results though.


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## givemenoughrope

I'm also really interested in the Steve Martin one as well. Maybe there'll be a sale. Or maybe he'll write a film that Herzog can direct and Hans can score and they can make a master master class out of that.


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## mwarsell

Just finished watching this. It was interesting to hear Hans mention Mahler 2nd - I hadn't listened to that much at all before, but just prior to watching these last videos I listened to the whole thing with a score on my ipad whilst in a bus. What a stunning piece. It's like a meal with 17 different portions. 

Also the music played very often in the videos ("Journey to the Line") is, I think, Hans' best, so I was really happy him talking about it - it was gold.

Thank you, Hans Zimmer! A very VERY good experience!


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## Jake

Dominik Raab said:


> As long as it's not, like, _*like*_.
> 
> I, like, always picture, like, a faux-blonde teenage girl with, like, a pumpkin-spiced latte frappu-something-or-other in one hand and, like, the most recent iPhone in a hot-pink case in the other.
> 
> It drives me, like, really insane.



Our daughter is 13 and it's a battle to wipe this plague from her vocabulary. 

The biggest problem is that her friends all have severe likeitis, and it's no wonder, so do their parents!!


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## Parsifal666

Jake said:


> Our daughter is 13 and it's a battle to wipe this plague from her vocabulary.
> 
> The biggest problem is that her friends all have severe likeitis, and it's no wonder, so do their parents!!



Even funnier is likeitis combined with yo-centricism. Example of the species: "So, I was just like yo, you know? So then _*he*_ was all like 'yo!', while I was just like 'whatever'."

Yo.


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## AdamKmusic

WindcryMusic said:


> Not just that, but the Dark Zebra as well. At least I know I'd been on the cusp of that particular investment for the last couple of years, and seeing it used in the Masterclass played a role in finally pushing me over the edge.


Zebra & ZebraHZ should be a staple in everyones library! I personally can't live without it!


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## mwarsell

I'd have loved to know how Hans got his very first scoring job. In England. Did he know the director? Or how? This was never discussed. Before joining forces with Myers.


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## Rctec

mwarsell said:


> I'd have loved to know how Hans got his very first scoring job. In England. Did he know the director? Or how? This was never discussed. Before joining forces with Myers.


Just luck. People recommending me as an interesting musician/geek that was cheap and willing to work 'round the clock. And doing lots and lots of commercials. And I had a sound. It wasn't pretty, but it was different. And I could deliver, with my little eight monophonic voice Sequencer and synths, sometimes recorded straight to the four-track cassette portastudio.
But, in the end, it's all about having enough music out there that an editor slaps onto a scene on some project.
I never did library music, but I think I promised Peter Cox at KPM an album when I wasn't busy. But I was always busy making music. So... maybe after this tour?


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## mwarsell

Thank you so much for answering. I really appreciate that you come down here to the trenches to answer questions, writing about your experiences etc. It is most inspiring. At least for me.


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## dannymc

> Just luck. People recommending me as an interesting musician/geek that was cheap and willing to work 'round the clock. And doing lots and lots of commercials. And I had a sound. It wasn't pretty, but it was different.



Hans Zimmers early commerical works, now that's something i've love to hear, any links? 



> I never did library music, but I think I promised Peter Cox at KPM an album when I wasn't busy. But I was always busy making music. So... maybe after this tour?



whats your feeling on the whole library world in general? do you think its a viable direction for new composers to take starting out or do you feel writing for libraries is a completely different hack/discipline that doesn't really open many opportunities beyond that business model?

i guess the teaming up with directors rarely happens these days unless you happen to know someone who knows someone so for many writing for libraries is their only option.

Danny


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## d.healey

dannymc said:


> Hans Zimmers early commerical works, now that's something i've love to hear, any links?


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## mwarsell

Now I wonder how Hans got the first jobs to write music for commercials. Via Radio Star?

It is intriguing to go to the very first things talented (film) composers wrote and how they got there.


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## SymphonicSamples

So today my partner gave me a B'Day present and as I opened the envelope I saw the word Hans and instantly thought awesome she bought me a Master Class voucher, and with confidence assuming I'd guess what it was thanked her only to be told , No it's not a Master Class ? So I fully opened it up and.. Timpani roll (with a smooth CC1 controller curve) . 2 tickets to HZ live in Sydney, one of the few times it's good to be wrong with your partner  Looking forward to hearing all the wonderful musicians in there element and hoping to hear Cornfield Chase !! Seems like a good time to get the Masterclass now


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## Calazzus

I use to be jealous that the tour was overseas and vowed that if the tour came to the USA I'd go. Well dream came true. July 22nd is my date.


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## ghostnote

Oh I remember seeing this as a kid. Old commercial from German television. I miss the 90s.


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## AdamKmusic

d.healey said:


>




wonder if Hans wrote the lyrics too haha


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## Voider

Hey, why has it gotten so quiet over here? Everyone was so hyped for it to start and now nothing :O 
Some experiences, reviews? What kind if content can one expect?


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## StevenOBrien

Voider said:


> Hey, why has it gotten so quiet over here? Everyone was so hyped for it to start and now nothing :O
> Some experiences, reviews? What kind if content can one expect?


I'm a little disappointed because I was expecting a more hands on (Hans on?) approach like the other Masterclass courses. I thought we'd get to see him compose and work through a cue, explaining his process in detail and giving us tips along the way, but it was mostly just a series of interviews where he talked about his career and experiences in a general sense.

It's still INTERESTING, but I didn't really learn anything from this that I didn't already know from watching the hour-long interviews with Hans that are freely available on YouTube, so I don't know if I can really recommend paying $90 for this. Sorry.


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## AdamKmusic

I'm still yet to finish the series. Sort of gave up, I like a few episodes where he was using Zebra, showing us a Sherlock cue but apart from that it was just a series of interviews (like others have mentioned).


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## GULL

AdamKmusic said:


> I'm still yet to finish the series. Sort of gave up, I like a few episodes where he was using Zebra, showing us a Sherlock cue but apart from that it was just a series of interviews (like others have mentioned).



I am yet to finish it. But the situation is in reverse. I finished all episodes where he talks but not where he was using his tools


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## Flaneurette

If you want a more hands on approach, maybe have a look at this channel It features many interviews and _all access_ -fly on the wall- video's of composers working. Here is one by Dominic Lewis, which is quite funny to watch:

It's 10pm at Remote Control Productions, the clock is ticking, and composer Dominic Lewis has to make the finishing touches on his score for The Man In The High Castle: Season 2. Join us on this episode of All Access where we take a completely different approach by simply watching Dom work his magic. Get an amazing and unprecedented look as we sit down next to Dom in the final hours before the score is delivered, and get a first-hand look at the mammoth undertaking of writing a score for a rich and detailed TV series like The Man In The High Castle. Dom plays host and will entertain you with his charm and wit as he goes through his thought process and workflows in an All Access episode that is sure to delight and educate in equal measure.


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## Anders Bru

Flaneurette said:


> If you want a more hands on approach, maybe have a look at this channel It features many interviews and _all access_ -fly on the wall- video's of composers working. Here is one by Dominic Lewis, which is quite funny to watch:
> 
> It's 10pm at Remote Control Productions, the clock is ticking, and composer Dominic Lewis has to make the finishing touches on his score for The Man In The High Castle: Season 2. Join us on this episode of All Access where we take a completely different approach by simply watching Dom work his magic. Get an amazing and unprecedented look as we sit down next to Dom in the final hours before the score is delivered, and get a first-hand look at the mammoth undertaking of writing a score for a rich and detailed TV series like The Man In The High Castle. Dom plays host and will entertain you with his charm and wit as he goes through his thought process and workflows in an All Access episode that is sure to delight and educate in equal measure.



Thanks for the link! Quick question: is it a common practice to use pitch-correction on solo violins / celli? I haven't seen that before, but I guess it works if you're short on time.

As for the HZ Masterclass; I personally would like it to be more hands-on, but it's very inspirational, nonetheless. I've found myself coming back to it for some much needed motivation, and it works every time  Mr. Zimmer said in a different thread that "_We might add that later_", referring to a more "deconstructing-a-cue"-video. Anyone know if there are any plans on expanding or adding more parts to the masterclass in the future?


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## Flaneurette

If you're interested to see some recreations, Asthon Gleckman recreated many works from Hans Zimmer. His playlist: https://www.youtube.com/playlist?list=PLeFP26Uv6kO_3stlIjjR_bruwKl4sjCQe


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## Puzzlefactory

Very tempted by the Kasparov chess masterclass.


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## amnesiasound

Anders Bru said:


> Thanks for the link! Quick question: is it a common practice to use pitch-correction on solo violins / celli? I haven't seen that before, but I guess it works if you're short on time.



I do a tiny bit (by a few cents) when it's a chamber or smaller just to tighten up the performance. When it's the full ensemble every player being slightly off sort of corrects itself and adds a nice richness.


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## synthpunk

I would of preferred Carlsen, but I agree.



Puzzlefactory said:


> Very tempted by the Kasparov chess mastercalss.


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## dcoscina

I signed up for this and have been enjoying it this far. I've always enjoyed watching Vids with Hans and how he articulates himself- it's very relaxed and casual but completely engaging. And his course offers a lot of aspects of the film scoring process that I could use to better myself and improve.


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## synthpunk

Very strange psychology with all the HZ bashing of late around here. Would be a shame to loose his input around (hopefully after tour he continues).


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## dcoscina

synthpunk said:


> Very strange psychology with all the HZ bashing of late around here. Would be a shame to loose his input around (hopefully after tour he continues).



I must have missed that. I see most posts very respectful since most people know he visits here.

As a public figure, no one is immune to criticism unfortunately- so many different perspectives and preferences. I do think the advent of the internet has bred a whole new manner of communication and behaviour because of its depersonalized interface. YouTube is the worst however- some truly horrible things are said in there. 

And for the last few years I've tried to think hard about how I articulate my own opinions. I don't think Hans or anyone would look down on someone who doesn't necessarily love everything he's written but when people make assumptions like "he's lazy or phoned it in" it's completely insulting to him as a composer and as a person.

I've posted things on FSM over the last couple years trying to enlighten film score fans of the realities of working as a professional composer (me being very very very low down on the food chain compared to Hans or other Hollywood film composer mind you). Some of the things said on there make me shake my head. I've generally gone with the idealogy not to post unless I like something. Not point in bitching about stuff I don't like- what a waste of energy.

But you know, it's so easy to fall into the trap of opinionated posting. I was really looking forward to Wonder Woman, both score and film. Initial listening of some clips did not resonate with me, and I was a little disappointed. Then I saw the film and thought the score, in context, was fabulous. I made sure to laud RGW and his team for producing a very effective score (I started a thread in it in this forum in fact). However, I still made a gaffe. When discussing the WW theme by HZ and JXL, I said I had a hard time loving it as much because of my associations with "the awful BvS film". I read it back and thought "why the hell did I write it that way???" What I should have said was that film (not score btw) was a little disappointing to me. I did edit my post because I know the impact of words and my initial passage didn't accurately articulate my thoughts anyhow. 

So, I do hope HZ still visits here and enjoys the conversations with most of its forum members. There will be the ones who lack the social graces to be polite or at least respectful but they seem to be in the minority.


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## Parsifal666

dcoscina said:


> WW theme by HZ and JXL, I said I had a hard time loving it as much because of my associations with "the awful BvS film". I read it back and thought "why the hell did I write it that way???" What I should have said was that film (not score btw) was a little disappointing to me. I did edit my post because I know the impact of words and my initial passage didn't accurately articulate my thoughts anyhow.



Off topic (so please forgive), but though I too liked the Wonder Woman score, I haven't seen a good movie from DC since Man of Steel. Though there have been terrific soundtracks from that side, it seems to me Marvel is just putting out one punch knockout winners, consistently. Plus, the soundtracks in the MCU are overall better and more accomplished than some here think.


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## dcoscina

Parsifal666 said:


> Off topic (so please forgive), but though I too liked the Wonder Woman score, I haven't seen a good movie from DC since Man of Steel. Though there have been terrific soundtracks from that side, it seems to me Marvel is just putting out one punch knockout winners, consistently. Plus, the soundtracks in the MCU are overall better and more accomplished than some here think.



Actually I think the MCU films are much better written and produced than DCU these days but I wouldn't say their scores are better. Hans came up with a identifiable sound for Superman and Batman. There have been a few treatise's written about the lack of identifiable themes in MCU or that they all blend together. I do enjoy Guardians of the Galaxy and moments of Civil War/Winter Soldier but I think (and I'm not just saying this because HZ frequents here) the Nolan Batman franchise had a very distinct music score to it. I love listening to A Dark Knight which for me is like a miniature synth tone poem, a perfect summation of the key themes and motives from that score. 

Wonder Woman should be celebrated. It's a successful film, fun, moving, has a very effective score and a good many people worked really hard to make it work. A lot of people worked hard on Batman v Superman but ultimately its story and the writing just weren't as relatable or developed as say, Cap America Civil War which ostensibly had a very similar narrative structure. Not Hans' fault. He's the guy, like all film composers, who are expected to save a film and frankly that's almost an impossible up hilll battle if the film itself needs a few more re-writes. But there's the Nolan Dark Knight trilogy which is fabulous (I'm one of the few people in my circles that love each instalment). Yeah, in 2005 when I was still a music snob and had my head firmly up my arse, I thought "a minor third? really Hans?" But by the time The Dark Knight Rises, the impact of that motif and how it was coupled with the longer theme, well, it became so much of that character I could not envision anything else. For MOS, it was a similar situation- the score wasn't the problem- it was the narrative and how the story was told. If it had more moments like that scene in the bar (which was the best IMO) that film would have been amazing. It would have been a true revisionist telling of the Superman myth. HZ score with the guitars and such were crafted perfectly for THAT kind of film. But when it descended into a 45 minute long video game battle, it lost its emotional impact, at least on me, and many people I know. What a shame. The first time Superman takes flight, it was glorious. It was those moments that really felt monumental and the score truly elevated those scenes. 

I kind of lost my train of thought except to say it's in vogue now to reinvent the past to make WW the break out DCU film and score when all a long we had memorable music from HZ for the Batman and Superman movies. And of course, the electric cello signature line for WW dramatically announced her arrival in BvS in the best way possible. Standout scene in that film for me personally and the one that compels me to to re-watch that film.


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## Parsifal666

I'm a big fan of the *Dark Knight Trilogy*, *Rises* was both my favorite film and soundtrack of the three. *Man of Steel* is both my favorite superhero film and soundtrack, and I don't even read DC comics much lol (make mine Marvel). I just haven't thought anything was good from DC since then, every film left me unimpressed.

Granted, B vs S kind of got shot out into space when *Civil War* came out. I get the feeling Marvel postponed the release just for that reason. A terrific story, with an anomalous victory for the villain (doesn't happen often in these kinds of films does it). I thought it was the film of the year, but then I'm big into the superheroes thing, read lots of comics and never miss a Marvel movie.

I disagree with a lot of folks that feel the MCU less than the DCU in terms of music; however I'm first to point out the HZ influence on Jackman's *Winter Soldier* (which boasted what is actually both a memorable and sound design-y soundtrack imo). *X-Men Apocalypse* is an excellent score as well, with a main theme that coulda been written on Ark 1. And it's hard to fault what Silvestri did with the first *Captain America*, an example of a more original score (though obviously the almighty Copland was there in spirit to some degree...nothing wrong with that!). That CA score proved (along with HZ's work of course) that there didn't have to be all out thunder drums and sounds, that subtlety could be used to such great effect in those movies. And it proved you don't necessarily need synths to make that kind of soundtrack.

Finally, if you folks love epic and don't own the Thor: Dark World soundtrack, you're missing out people.

Really good post btw, @dcoscina and all respect to your tastes.


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## MarcusD

I signed up for the class as soon as it was announced. Then when the course finally became available (after being delayed) I was a little disappointed. Nothing against Hans because I could listen to him talk for hours and he offers some valuable insites. However, as mentioned by others, a lot of what he spoke about can be found in his interviews dotted around on the net. 

Because of the initial delay, I can't help but wonder if they failed to secure rights to use the music intended for the original course plan and because they were pressured for the time they just used what they had to piece the course together.


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## Ultraxenon

MarcusD said:


> I signed up for the class as soon as it was announced. Then when the course finally became available (after being delayed) I was a little disappointed. Nothing against Hans because I could listen to him talk for hours and he offers some valuable insites. However, as mentioned by others, a lot of what he spoke about can be found in his interviews dotted around on the net.
> 
> Because of the initial delay, I can't help but wonder if they failed to secure rights to use the music intended for the original course plan and because they were pressured for the time they just used what they had to piece the course together.


That was my thoughts to. I really enjoyed listening to HZ amazing guy with a lot of usefull information and nice tip/tricks, but i learned more from other courses like Evenant and also Daniel James's youtube videos.


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## stixman

I have not made it past lesson 10!


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## hummingbird

I found the Hans Zimmer masterclass extremly valuable. 

I was disappointed in the actual managing of the class by the service. I joined for the 'early bird access' thinking it would start in January when I'd have some free time, but instead it was weeks and weeks later. When it finally started, some aspects of the masterclass (like the download) were not available until the class was opened to everyone else. I was not sent alerts when things were available. I expected better.

But everything else was great. For me, it was fascinating to hear a composer I admire so much talk about his work method, his doubts, his relationships to the director and producer. I felt he spoke honestly and authentically about his process. 

Up until taking this class I always said to myself "I can't imagine that I will ever score a film although I love film scores and I compose music." A newbie to any kind of scoring - to - picture, I had always imagined the composer received the final cut of the movie and then began to score it.

When Hans talked of his collaborative process with the director and being part of the film's creation from day one, I got very interested. I would love to be part of a creative team working on a shared vision, telling a great story in visual and sound.

When Hans talked about walking into his studio and feeling like a fraud, and just writing every day, that was so inspiring. To know that someone of that level still faces the 'blank page' with trepidation, was a revelation. 

But more than that, was the community that has sprung from those early days of the masterclass. All kinds of composers, with all levels of experience, connecting with each other and supporting each other on the journey, on the HUD and on Facebook.


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## Desire Inspires

"Hans Zimmer didn't come to my house and teach me to compose a film score on my laptop so I have to give the class a thumbs down...."

Is that how some of you truly feel?


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## Parsifal666

Desire Inspires said:


> "Hans Zimmer didn't come to my house and teach me to compose a film score on my laptop so I have to give the class a thumbs down...."
> 
> Is that how some of you truly feel?



I'm not sure if that's really the general feeling toward the Masterclass, in fact I seriously doubt anyone in their right mind would expect anything even near that. 

I didn't take the course, but considering the (to me) inexpensive price of it as well as what I've heard from friends regarding it, people got what they paid for. Wanna have one of the top composers in the world over you and your laptop, working directly with you? Get a big film commission ready...and then maybe.


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## MarcusD

Desire Inspires said:


> "Hans Zimmer didn't come to my house and teach me to compose a film score on my laptop so I have to give the class a thumbs down...."
> 
> Is that how some of you truly feel?



No. From my point of view, I could not have paid £90 and got the same information from YouTube interviews. I don't think people signed up to "learn to write music exactly like Hans" I think most people signed up to watch him either doing walkthroughs of old scores and break down some of the techniques used or practically demonstrate processes for tackling film scores etc.... The class is motivating to watch and you do learn something, Just not enough IMO compared to other Master Classes.


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## Rctec




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## Anders Wall

Rctec said:


>



Thanks for sharing!

For those of you who don't have the time to watch the clip or takes the advice @8min.
Please ffw to 15min for the best advice you'll ever get for free, and I'm not kidding.

Kind Regards,
Anders

Edit: oh, I prob. should mention that I've signed up but haven't had the time to watch the masterclass.


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## jononotbono

Rctec said:


>




This is an amazing video and he speaks the truth.


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## ed buller

would have to agree , worth getting just for lesson 13 Music Diary Sherlock Holmes ........all the rest is a bonus

e


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## jonathanparham

lol Had to get the bluetooth headphones out as I was listening to Dean's post in the same room as my 11-year-old. lol I wasn't aware of the master class until Scorecast and very happy I purchased it. The quote that Deane's video references is one of the MANY I remember. 
Something else I learned was how much of the Composer process is the 'Producing' of the soundtrack. Absent mindedly I was only thinking only of the mechanics of writing, orchestrating, copyists, programmer, engineer etc. After the masterclass video, I see the 'hat' being worn by the composer as a producer gives me a much fuller picture regarding head of department responsibility. Also, it gives me more dimensions to the composer editor director film producer relationship.
I concur what Deane and others are saying I'm learning a philosophy, approach, admonishment to film scoring. I'm not getting a complete theory harmony or 'how to' DIY (though he does it a little with Zebra, casting musicians, etc). But that's ok because you can still grow as an artist with the master class. Sometimes you just need an example, a model, and this video does that.


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## whinecellar

Rctec said:


>




Such a great kick in the pants. This is what separates the doers from the wishers. So good!


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## jononotbono

whinecellar said:


> Such a great kick in the pants. This is what separates the doers from the wishers. So good!



It doesn't feel like a great "kick in the pants" to me personally as writing music for a living, especially in Film, TV and Games is the only thing I want to do, so I am highly motivated but I get what you're saying. It's nice to hear someone say the actual things I think (as I'm sure it does for you too)! 

If anyone needs a video like this to motivate them then that's the point isn't. They are in the wrong game so to speak (not saying you are obviously). This video is fantastically honest. I love it. I actually messaged Deane and said hello of which he actually responded! What a lovely person and very down to earth!


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## Mike Fox

Rctec said:


>



That's it! I'm divorcing my wife!


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## jononotbono

mikefox789 said:


> That's it! I'm divorcing my wife!



You just have to let it happen naturally. Trying too hard isn't cool man!


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## Mike Fox

jononotbono said:


> You just have to let it happen naturally. Trying too hard isn't cool man!


It's already been 11 years. How much longer do I have to play this thing out? And what about my kids? They're REALLY in my way.


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## jononotbono

mikefox789 said:


> It's already been 11 years. How much longer do I have to play this thing out? And what about my kids? They're REALLY in my way.



Get them to watch Deane's video!!! They'll move out and become Astronauts and World leaders in no time!


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## A3D2

I really enjoyed the masterclass and I think Hans really gives great advice in the video's. It's been a while since I've finished watching everything, so I think I'm going to start all over and watch it again in case I missed anything .


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## jononotbono

Time for a rewatch of the HZ Masterclass. This Music Diary is such a good watch...


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## jononotbono

21 Working with Musicians: The Orchestra

The advice of pushing the players and trying new things out is golden. Having just recently experienced my first Orchestral Rec sessions, we got the Brass players to all sing through their instruments and it was amazing. The result was so unexpected and created sounds none of us expected for the score. And everyone was loving it. So much fun!


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## d.healey

jononotbono said:


> Having just recently experienced my first Orchestral Rec sessions, we got the Brass players to all sing through their instruments and it was amazing. The result was so unexpected and created sounds none of us expected for the score. And everyone was loving it. So much fun!


Let's hear it then


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## jononotbono

d.healey said:


> Let's hear it then



Can't unfortunately. Film is currently in Post Production. Score can be heard when film is released. It's called All The Devil's Men.


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