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HZ's Library

jononotbono

Luke Johnson
I'm just being nosey here but I'm under the impression that HZ's personal Sample Library is basically the most outrageous Sample Library that has ever existed and I'm just wondering a few things. How large is it in Terabytes? I'm imagining HZ has someone looking like that guy in Waterworld - you know that guy in the Oil tanker keeping an eye on things - in a server room constantly connecting SSDs with Maglight torches stuck to his glasses or something haha!

How many Dynamic Layers are the instruments up to? And number of Round Robins and the amount of Room Mics?

Just thought I'd post these thoughts for fun
 
I have absolutely no real basis for saying this but I suspect his samples have less dynamic layers and round robins than one might think...
 
I wonder what the discernible difference between layer 1-2 "ppp-pretty please" and 63-64 "fff-fefferoni" is.
 
Although we have a tendency to focus on gear and samples, truth is most of us would not write any better if Hans sent us all his samples. As pointed out in another thread, most of us probably still need to work harder to get the most out of the samples we have, learning to work smarter and faster so that more time is spent creating, less time on technical issues.

But there is a good Hans article from a guy who worked there for years. It points out the real reasons Hans gets so much work- and samples (even sound choices) are never mentioned. Charisma, spotting, working with the right people, knowing how to treat clients, and being an exceptionally hard working are a few of the reasons he does so much. Personally I'm not sure I would want to work that hard on someone else's project, but perhaps that's because I enjoy producing and directing films myself. The article is enlightening if you haven't read it...
https://behindtheaudio.com/2013/07/hans-zimmer/

Once Hans decides to retire (if he does, how does John Williams still do it?) perhaps he will decide to open his vault and sell his samples, realizing if he doesn't some clever assistant will after he's gone. But by then we will probably have moved on from samples. ;)
 
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Although we have a tendency to focus on gear and samples, truth is most of us would not write any better if Hans sent us all his samples. As pointed out in another thread, most of us probably still need to work harder to get the most out of the samples we have, learning to work smarter and faster so that more time is spent creating, less time on technical issues.

But there is a good Hans article from a guy who worked there for years. It points out the real reasons Hans gets so much work- and samples (even sound choices) are never mentioned. Charisma, spotting, working with the right people, knowing how to treat clients, and being an exceptionally hard working are a few of the reasons he does so much. Personally I'm not sure I would want to work that hard on someone elses project, but perhaps that's because I enjoy producing and directing films myself. The article is enlightening if you haven't read it...
https://behindtheaudio.com/2013/07/hans-zimmer/

Once Hans decides to retire (if he does, how does John Williams still do it?) perhaps he will decide to open his vault and sell his samples, realizing if he doesn't some clever assistant will after he's gone. But by then we will probably have moved on from samples. ;)

Very true.
 
Although we have a tendency to focus on gear and samples, truth is most of us would not write any better if Hans sent us all his samples

I know what you mean and I have written advice like this in places. But it's not one or the other; I have a great-sounding template but I am always listening in case there is something more expressive out there.

So often, I hear a melody or even a simple motif in my head and when I try playing it on "cello x sample set" it sounds rubbish, when I know that it would be fine if played live.

So, the quest is not over for me. Getting there though!

One of the best features of many new libraries is the attention paid to the softer dynamics, drums in particular, so you can "play" them instead of trying to trick two or three different libraries into sounding halfway natural.
 
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