In this interview, we’re excited to talk with Kevin Schroeder, a talented sound designer and composer. Kevin’s passion for synths began in his early childhood and led him to work closely with Hans Zimmer on major film projects. Most recently, he helped develop The Legend HZ, a powerful synthesizer built for cinematic soundscapes. Today, Kevin shares his journey, creative process, and the inspiration behind The Legend HZ.
Can you briefly introduce yourself and share a bit about your journey into sound design and music production?
My name is Kevin Schroeder. I am a synthesizer sound designer and composer. I have been interested in synthesizers and their sounds since my early childhood, and started experimenting with music in my teens in 1994 on my Commodore Amiga 500. Later I produced remixes for famous artists. I bought more and more synthesizers and started programming sounds with software. In the meantime, I was commissioned to program factory sounds for Propellerhead (now Reason Studios), Synapse Audio and u-he, among others. In 2019, Hans Zimmer knocked on my door and asked me to program sounds for the upcoming movie Wonder Woman 1984.
How did you first get involved in The Legend HZ, and what was the creative process like for you?
When Hans heard the original version of The Legend from 2016, he was blown away. Hans contacted Synapse Audio, and quickly came up with the idea that six oscillators would be great, plus a filter bank. I added that we could also add a sequencer and MSEGs and a larger modulation matrix. Richard Hoffmann at Synapse Audio loved the idea and got to work. The effects section was also substantially improved. In the end, The Legend HZ was born.
When designing a new sound preset or patch, where do you usually begin? Do you start with a conceptual idea, or do you prefer to experiment and discover as you go?
It usually depends on the theme. When I worked on the James Bond movie for Hans, I quickly realized that we needed action-packed sounds. Fast sequences and fat basses. For Dune part I and Dune Part II, I programmed mystical atmospheres and pads. I also worked on the big drum that is so characteristic of Dune. But I also like to experiment with sounds without knowing where the journey will take me. It’s just as exciting to just drift along without a plan.
Where do you typically find inspiration for creating new sounds?
I try to create new sounds. I always try to forget my previous projects so that I can approach new projects like a beginner would 🙂 It also depends on your feelings, you let yourself be guided by your emotions. I am particularly inspired by people and nature.
How has Reason influenced your sound design process, and which features are essential to your workflow? What Reason tools would you recommend for creating cinematic soundscapes?
Let’s start with the stock instruments –Thor is a highly versatile Reason classic which can be used for many purposes including crafting cinematic sounds. It is great for learning sound design on a deep level as well, having a modulation matrix and a flexible routing system. Europa is similar, also a very deep and powerful instrument, with an emphasis on wave-table synthesis. When it comes to rack extensions, I recently experimented with the new Objekt Modeling Synthesizer for an upcoming movie together with Hans. Objekt is a physical modeling instrument for Reason, which is fun to use and sounds very good. Needless to say, The Legend HZ is certainly a must have for any cinematic work and offers vast potential for creating complex atmospheres, pads, soundscapes and textures. But the icing on the cake is of course the Reason Combinator, which means sound design on steroids by combining everything!
Working closely with Hans Zimmer, is there a specific set of rules or a philosophy you follow when designing the character of a sound?
In the beginning we talk about the movie. Then it quickly becomes clear in which direction we want to go. I usually start by programming different sounds to go with the movie. This can be dark sounds for atmosphere or bright, fast rhythms. Hans and I sometimes send the themes to each other to get more ideas. This way I can work very well with my sounds, which I can then shape and adapt exactly to Hans’ music. Colors also play an important role. At the end of the day, I support my electronic sounds with Hans’ orchestral music. This mixture gives the score a modern sound.
Can you tell us about any exciting projects you’re currently working on or anything on the horizon that you’re particularly excited about?
We have just finished the movie EDEN 2024 by Ron Howard. It’s very mystical and dangerous. There are many dark moods that transport us to another world. I’m very excited and looking forward to see the final result in the movie theater.
For someone wanting to design a Legend HZ sound from scratch, what essential tips or advice would you give to help them get started?
The easiest way to start is not to use all the oscillators. Start with just two oscillators and work on the filter settings. On the back side you can add effects like reverb or delay. In the modulation matrix, you can easily drag and drop the parameters.
Of all the sounds you’ve created for The Legend HZ, which one are you most proud of? If you had to describe that sound visually, what color or texture comes to mind?
I am particularly proud of the sequence patch The Stone. We used this patch on Wonder Woman 1984. The Interstellar organ is also very well done. I love sequences, as I’m sure you’ll realize. However, you can switch off the arpeggiator at any time and then you can play it freely.
Lastly, but not least important – What are your go-to snacks during long studio sessions? Did your snack choices change between projects like Dune and Wonder Woman?
German Currywurst and M&Ms with peanuts! 🙂
Can you briefly introduce yourself and share a bit about your journey into sound design and music production?
My name is Kevin Schroeder. I am a synthesizer sound designer and composer. I have been interested in synthesizers and their sounds since my early childhood, and started experimenting with music in my teens in 1994 on my Commodore Amiga 500. Later I produced remixes for famous artists. I bought more and more synthesizers and started programming sounds with software. In the meantime, I was commissioned to program factory sounds for Propellerhead (now Reason Studios), Synapse Audio and u-he, among others. In 2019, Hans Zimmer knocked on my door and asked me to program sounds for the upcoming movie Wonder Woman 1984.
How did you first get involved in The Legend HZ, and what was the creative process like for you?
When Hans heard the original version of The Legend from 2016, he was blown away. Hans contacted Synapse Audio, and quickly came up with the idea that six oscillators would be great, plus a filter bank. I added that we could also add a sequencer and MSEGs and a larger modulation matrix. Richard Hoffmann at Synapse Audio loved the idea and got to work. The effects section was also substantially improved. In the end, The Legend HZ was born.
When designing a new sound preset or patch, where do you usually begin? Do you start with a conceptual idea, or do you prefer to experiment and discover as you go?
It usually depends on the theme. When I worked on the James Bond movie for Hans, I quickly realized that we needed action-packed sounds. Fast sequences and fat basses. For Dune part I and Dune Part II, I programmed mystical atmospheres and pads. I also worked on the big drum that is so characteristic of Dune. But I also like to experiment with sounds without knowing where the journey will take me. It’s just as exciting to just drift along without a plan.
Where do you typically find inspiration for creating new sounds?
I try to create new sounds. I always try to forget my previous projects so that I can approach new projects like a beginner would 🙂 It also depends on your feelings, you let yourself be guided by your emotions. I am particularly inspired by people and nature.
How has Reason influenced your sound design process, and which features are essential to your workflow? What Reason tools would you recommend for creating cinematic soundscapes?
Let’s start with the stock instruments –Thor is a highly versatile Reason classic which can be used for many purposes including crafting cinematic sounds. It is great for learning sound design on a deep level as well, having a modulation matrix and a flexible routing system. Europa is similar, also a very deep and powerful instrument, with an emphasis on wave-table synthesis. When it comes to rack extensions, I recently experimented with the new Objekt Modeling Synthesizer for an upcoming movie together with Hans. Objekt is a physical modeling instrument for Reason, which is fun to use and sounds very good. Needless to say, The Legend HZ is certainly a must have for any cinematic work and offers vast potential for creating complex atmospheres, pads, soundscapes and textures. But the icing on the cake is of course the Reason Combinator, which means sound design on steroids by combining everything!
Working closely with Hans Zimmer, is there a specific set of rules or a philosophy you follow when designing the character of a sound?
In the beginning we talk about the movie. Then it quickly becomes clear in which direction we want to go. I usually start by programming different sounds to go with the movie. This can be dark sounds for atmosphere or bright, fast rhythms. Hans and I sometimes send the themes to each other to get more ideas. This way I can work very well with my sounds, which I can then shape and adapt exactly to Hans’ music. Colors also play an important role. At the end of the day, I support my electronic sounds with Hans’ orchestral music. This mixture gives the score a modern sound.
Can you tell us about any exciting projects you’re currently working on or anything on the horizon that you’re particularly excited about?
We have just finished the movie EDEN 2024 by Ron Howard. It’s very mystical and dangerous. There are many dark moods that transport us to another world. I’m very excited and looking forward to see the final result in the movie theater.
For someone wanting to design a Legend HZ sound from scratch, what essential tips or advice would you give to help them get started?
The easiest way to start is not to use all the oscillators. Start with just two oscillators and work on the filter settings. On the back side you can add effects like reverb or delay. In the modulation matrix, you can easily drag and drop the parameters.
Of all the sounds you’ve created for The Legend HZ, which one are you most proud of? If you had to describe that sound visually, what color or texture comes to mind?
I am particularly proud of the sequence patch The Stone. We used this patch on Wonder Woman 1984. The Interstellar organ is also very well done. I love sequences, as I’m sure you’ll realize. However, you can switch off the arpeggiator at any time and then you can play it freely.
Lastly, but not least important – What are your go-to snacks during long studio sessions? Did your snack choices change between projects like Dune and Wonder Woman?
German Currywurst and M&Ms with peanuts! 🙂
