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What software does Hans Zimmer use?

Steinberg Cubase Hans Zimmer doesn't use one, but two DAWs or “Digital Audio Workstations,” each with its own set of benefits to ensure that he has the best workflow possible. The two DAWs he uses are Steinberg Cubase and Pro Tools.

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Hans Zimmer is undoubtedly among the most famous composers of all time. He’s done countless movie soundtracks, winning awards left and right, but did you ever ask yourself how does he do it?

Zimmer does almost every score himself, creating Oscar-worthy pieces that capture the hearts and minds of moviegoers all over the world. As anyone in the audio industry, Zimmer uses programs known as DAWs that assist him in creating his masterpieces. These DAWs have improved over time and become more accessible to the larger public. While some are free and others expensive, this also makes people strive to create their works of art. If you want to know which DAW Zimmer is using, you’ll have to read on, because it’s a bit surprising.

What DAW Does Hans Zimmer Use?

Hans Zimmer doesn’t use one, but two DAWs or “Digital Audio Workstations,” each with its own set of benefits to ensure that he has the best workflow possible. The two DAWs he uses are Steinberg Cubase and Pro Tools. During one of his Masterclass sessions, he explained that he uses Cubase Pro because he has always worked on it. Since he picked it up early in his career, it has essentially become a habit for him to use it. It’s on Cubase Pro where Zimmer creates and edits his auditory masterpieces. Recording instruments, adding virtual ones, editing audio files, and producing his score. Pro Tools and Cubase Pro also work well together, allowing Zimmer to create with both DAWs and move between them swiftly, increasing his productivity. Zimmer uses Pro Tools thanks to its better integration between audio and video files. This is important when working on audio files for movies and TV shows. What’s more, to get the best out of each DAW, Zimmer uses his technical and sonic knowledge. Zimmer also needs to complete projects quickly, so relying on each of their strengths to produce an amazing final product in the shortest amount of time is critical. This is how you can find him doing several shows/movies/projects in the same year.

What Kinds of Daws Are Out There?

There are all kinds of different DAWs available, each with its advantages and disadvantages. Some can be for free but have limited capabilities, while others are full of options but are expensive and complicated to use.

How Do You Pick the Best DAW?

The best way to choose the best DAW for you is to visit the program’s website and see if there’s a trial period. During this period, test the DAW out and see if it’s a good fit for you. You can do that by creating a project and seeing how the workflow goes. If you find it too complicated, try another one until you reach the DAW that you’re comfortable with. Thankfully it’s a diverse medium that helps keep the workflow going in anything related to the audio industry.

Final Words

Try new things and experiment when it comes to DAWs! You don’t know what you’ll get and which program you’ll fall in love with. Remember that the most important factor is to mix your sonic knowledge with your technical one as Zimmer does so that you get the best outcome possible.

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FORM.

Almost everything we encounter, has some sort of shape or form unique to its character. The form is either fixed or free. This is true for music as well. Music comes in many forms including strophic, binary, and ternary structures. The rondo and sonata forms are also common. These musical forms give shape and containment for the music being presented. A painter’s work is often contained to a single flat canvas which provides a set of boundaries in which to work. The artist is free to create whatever they desire, by incorporating the use of lines, color, and shading. Thus creating an illusion to be perceived by the eye. Traditionally, music follows a similar concept. To help contain musical ideas so they make logical sense to the brain, it is necessary to consider the form and structure. Artist Robert Henri, can be quoted as saying “Good composition is like a suspension bridge; each line adds strength and takes none away.” He goes on to mention that arbitrarily making lines run together is not composition. There should be connection and a reason for the lines. To disagree with Henri would be foolish as speaking the language of music requires good sentence structure and proper punctuation in order to convey a complete thought.

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