Not available in stores: the custom touchscreen solution, running an original sampler, that turns Hans Zimmer’s musical ideas into reality. Mark Werry is the person who made it all possible.

Computer innovator Alan Kay famously said, “The best way to predict the future is to invent it.” Mark Wherry is doing as good a job as anyone of inventing that technology. Powering scores from the latest Batman films to Inception, working closely with Hollywood’s leading meastro Hans Zimmer, the work Wherry is doing really does invent instruments in order to invent sounds. New samplers, new touchscreens, new rigs all have to come together just to keep up with the feverish sound design demands of film and game titles. And with sophisticated surround delivery, at a time when studio veterans complain about the loss of “fidelity,” these sounds get heard more clearly than anything in the history of recording.

And yes, he does all of this with his own code, and big using Windows touchscreens – no iPads in sight.

Our own Marsha Vdovin talks to Mark about his work and career, in a way I think will be aspiring to budding technologists and musical dreamers alike, whether trying to break into the industry or find a breakthrough new instrument in your music. -Ed.

CDM: What exactly is your position there at Remote Control Productions?

Mark: I have a rather grandiose job title: Director of Music Technology. That’s meant many things over the years, but what it means at the moment is developing our own sampler, touch screen software, networked audio and MIDI systems, and all these kinds of toys in the technological realm to assist in the creative workflow.

Wow, that’s a great position to be in, how did you get into this job?

Well, it was funny, most people are interviewed by their prospective boss for the job, but I sort of did the opposite. I was working for Sound on Sound [magazine] in England and I did an interview with Hans [Zimmer] back in 2002. I was also working on a Cubase book at the time and just thought, since he was probably the world’s most prolific Cubase user, I’d try e-mailing him to see if he’d be interested in writing the forward. That was just around the time when Cubase SX had come out, and he said he hadn’t really had a chance to play with it that much, but it sounded like I knew what I was doing, so maybe I could come out and show it to him. So I did, and I guess we must have got on okay. A few months later, I ended up moving over full-time to work with him, and, of course, once I was here I never had time to actually finish the Cubase book.

Can you describe the systems there and how you’ve worked in the custom software?

The main sequencer that Hans uses is Cubase and has been for the last twenty years or so. We’re mostly Windows-based now, which I think people often find surprising. All the samplers are Windows. The only Macs we really use are for running Pro Tools, and that’s more of a legacy thing. I think it’d be interesting to see if we could go to Windows for Pro Tools as well, because it gives you a bit more freedom in the kind of hardware you can use, especially since it’s sort of unknown what Apple’s long-term plans are for the Mac Pro.

Each rig usually consists of a sequencer, and then we have about fourteen computers that run our custom sampler. These are all Dell servers with between 24 and 64 gigs of RAM, dual processors, and 8 to 12 cores — fully decked-out systems. Then we have a couple of mixer computers that basically collect all the audio from the samplers, mix it together over the network, and then that goes into a big Pro Tools system via a normal audio card. We always have as many interfaces as it’s possible to have. In fact, we’ve been running 160-input systems for the last few years, and now we’re looking to move to Pro Tools HDX because 160 inputs are just not enough!

That’s quite a system!

Well, almost all of the custom sounds run in quad, which eats up resources very quickly. That suddenly divides your input count by four, so we really do need lots and lots of inputs. There’s a great deal of sub-mixing that goes on before we even get into Pro Tools, which means that printing synth tracks just takes ages now, since we can only record so many tracks at a time and we need the separation.

How are you moving all that audio around? What type of audio interfacing?

We tend to use the RME stuff as much as possible and have done so for years, mainly because they’ve always had the most reliable drivers. These days we’re mostly using the MADI cards, so it’s MADI from the sequencer into Pro Tools, and MADI out of what we call the NetMix computers that run the sampler audio output.

A view of the original software that keeps the sounds coming.

You also mentioned that you developed some touch screen technology?

That’s another element of the way we work. We’ve been using touch screens since 2004, starting off with a little Windows CE panel that had buttons to do shortcuts for Cubase. We gravitated to an XP-based system in ’06, and then, recently, for The Dark Knight Rises we’ve just put in a really nice 22-inch 3M multi-touch screen that runs with Windows 7. You can create all sorts of faders, shortcut keys, and little sequence oriented things. Originally, some people said, “Why don’t you just use the iPad for this?” And although the iPad’s really nice, it’s quite a small display if you want to have a lot of controls visible at once.

What program is running the touch-screens?

That’s another program I wrote. It’s written completely native for Windows 7, supporting multi-touch and Direct2D for the graphics, so it looks quite pretty. It was written from scratch, and while this new version is a little rough around the edges, one of the advantages of doing this in-house is that it doesn’t have to be as polished as it might be for commercial release. We don’t have to focus on every feature that might be needed by users. We can just focus on the one user — who does tend to be rather demanding anyway, but…

It seems that would really add to productivity.

Oh, yeah, Hans just loves having it. Part of it has shortcut keys for Cubase, and some of the controls are for the samplers. So rather than doing key-switches on the keyboard for changing articulations, like short strings or long strings, it’s all on the touch screen, which makes things a little clearer and easier to see what’s going on.

It’s also used for the different fader controls that we have for the various instruments, because one of the other things about the sample library is that it was recorded as a multi-mic library from the very beginning when we started on the new one in 2004. When I say multi-mic, I mean it was 16 microphones wide. The point being that we could run the sample library exactly as it would be if it were a real recording. Of course, as time has gone on, we’ve added more and more mic positions to the whole thing. I think now we’re recording with something like 33 microphones.

If we had enough computer power, we could actually run the whole library 33 channels wide, though that would be a bit of a nightmare. But what we can do, which is sort of fun, is to take our 33-channel instruments and do bounce-downs within the sampler. We usually bounce to around seven or eight channels, so that each sampler voice is seven or eight channels mixed into quad.

Because of the complexity of the mic positions and the way that the instruments are handled, there are a lot of controls, so it’s nice to have a touch-screen in front of you rather than having to click around with the mouse, and trying to remember which MIDI controller does what. Sometimes Hans spends a long time moving things around on the screen, trying to come up with the most ergonomic workflow.

I know Hans previously used GigaStudio, is the new library based around that?

No. We used to rely on GigaStudio, but when we got to the end of ‘06 and were just starting on Pirates of the Caribbean 3, Hans wanted to use some of our new sounds. Some of them had been programmed as Giga instruments, but it would take a really expensive computer just to play back just the short violins, because, at the time, Giga was 32-bit and didn’t support multiple cores. In fact, at that time, there were no 64-bit, multi-core samplers available.

We tried a whole bunch of things, like using GVI within a multi-core host, but because it couldn’t see the memory of the other instance, there was no way of doing what we needed to do without making the instruments significantly simpler, or just using stereo and not using quad. But we thought, “Well, what’s the point of that, after spending all this time and money to create these incredible-sounding instruments?” So, in one of those moments that you live to regret, I thought, “Well, maybe I can try to cobble something together that just does what we need.” You know, “How hard can it be to write something that’s 64-bit, multi-core to work with strings?”

[Laughs all around] I didn’t know you were a programmer as well.

I wasn’t really a programmer, and I’m still not, but I kind of like fiddling around with this stuff. That was Christmas ‘06, and I played around for a couple of weeks. After Christmas we had something that could, on one computer, play back what we’d previously needed four computers to do. So that was good. Then we did the same for the long strings. At that point, it was just a very specific system to play back certain patches and palettes.

Did you develop that in C++?

I did.

You have your own mixing stage there as well, don’t you?

We have three mix rooms here now, and each one is based around a Euphonix System 5. Usually, the music score is mixed here, and then it goes to the dub stage. We have worked abroad sometimes, and we’ve gone to the production studio on occasion. For Batman Begins, we spent three months at AIR Studios, pretty much taking over the whole building. Then for Pirates [of the Caribbean] 3, Hans moved his writing rig up to Disney, just to be close to the editing room. But on the whole, we mostly stay here. We’re pretty much self-contained, which is really nice. There are many people that work here now — engineers, mixers, composers, technicians — so there are quite a lot of people around if something needs to get done.

Do the other composers have access to the same master system?

Anyone who works here can use the samples if they want. Which means, of course, they have to spend a ton of money on some very powerful computers. Some composers do it, and some don’t. It’s up to them. In a way, I prefer as few people to use it as possible, because it means fewer headaches for me! [Laughs] But it’s quite nice to see the stuff get used, and some composers do use the bouncing features to remix the whole library to their own particular taste.

You must have the most stressful job!

It can be. I remember when we did The Dark Knight in ‘08, it was the first time I had a go at doing this network audio stuff. I remember thinking at the time, “God, I really hope this works!” Because we would have been kind of screwed if it hadn’t.

There were times in the early days, since it was just so unproven, that I was really nervous about things crashing or dying, but it actually has turned out to be okay. I think part of that is, again, there’s a simplicity in having a limited set of users. I know there’s stuff that does go on that I don’t always hear about, but people are quite good at just working around the bumps and getting on with it. Unless it’s something fatal, I tend not to get the midnight phone call.

But, having your own customized system must give you a lot of freedom.

I think it really does give everyone a creative advantage, especially Hans. On Dark Knight Rises, for example, he said one night, “Would it be possible to have a fader that converges all the notes of a held chord into one pitch — kind of like a polyphonic pitch bend?” Within an hour or so, I’d written a little plug-in into the sampler that could basically do that. So I think there’s something to be said for not being completely reliant on other companies, having to call them and say, “Hey, we’d really like this feature!” or “Is it possible to script this?” Because we’re doing our own stuff, it gives us a little more flexibility, and it’s a hell of a luxury. We have six people that just do sample content and instruments for us, three people in Germany and three people here. Claudius Bruese is in charge of recording and developing the main orchestral palette in Germany, and he’s been a great collaborator in getting to where we are now in terms of the quality and playability of the library.

That’s quite a team.

It’s unusual for a film composer to have this level of development in-house. But I think my job is basically created because Hans is really obsessed about how technology can help in what he wants to achieve as a composer.

Unofficial site: Mark Wherry @

  • gunboat_d

    AWESOME interview. i love the false modesty “oh yeah, i just fiddled around in C++ and came up with an entirely new 64-bit sampler engine. then i made eggs for breakfast.” it’s brilliant. and the questions were great too.

    • GTM

      Hahaha, if I had known you can just fiddle around with C++ !

  • Pierre Octopus

    That’s a cool interview, and I like this kind of approach… but dear Jesus, how much I HATED the Batman DKR sound-track?! This “thing” was absolutely awful. Yikes.

  • perpetual3

    Mark is a really, really nice guy; the nicest most open and friendly person I met during my brief stint at Remote Control. I would say the modesty is anything but false, he’s so down to earth and open. And he has the most amazing office I’ve ever scene.

    The whole RC studios has to be seen to be believed.

    • gunboat_d

      well, then i’ll say “self-deprecating” instead of “false modesty” as not to imply some kind of forethought or intellectual dishonesty. which is perfect for a brit. because (insert sean bean voice) “one does not simply build a 64-bit sampling engine in C++ through ‘fiddling around'”.

    • an_actual_audio_programmer

      I agree. There is no way someone can say they’re not a programmer and like fiddling, and then claim to have written a high performance 64-bit, multithreaded sampling engine in C++. I mean, it’s possible, but it’s usually called ‘outsourcing’.

  • brian wells stevens

    What an amazing career this composer Hans Zimmer has had …

  • sososo

    That’s certainly some nice gear for producing… the same soundtrack film after film. The all sound like the soundtrack to “Crimson Tide” to me. :-}

  • Source

    Pure bullshit he got some assistant doing the dirty work programming of code , the fiddled around nonsense trying to sound like he did everything him self jejejejeje yeah right lol

  • iOS Musician Blog

    thought: iPad, then android tablet, then mini android tablet, then ipad mini, then large windows touch screen, then ______???!!!

  • Chep

    So much technology…being wasted in uninspired compositions that any n00b running Fruity Loops on Windows 32-bit and a cracked copy of East West Hollywood Strings could “compose”. Hans Zimmer has single-handedly ruined the way film scores are approached. Now It’s all about obnoxious percussion loops, cellos playing 8ths and cheesy themes.

    • bachandroll

      In almost all professions, peer review is very important. Perhaps you would allow us to hear and critique your work? The wonderful thing about the affordable technology you referenced in your post is that it levels the playing field somewhat and allows up and comers like you to compete with your more famous counterparts like Zimmer for both sheer numbers of listeners as well as the quality of their ongoing pleasure from repeated playbacks of your material.

      You OBVIOUSLY have a highly developed ear which allows you to hear the lack of quality in Hans Zimmer’s work that others like me don’t. have (YET) You also appear frugal in your spending habits which allows you to achieve comparable sonic results to his for a FRACTION of the cash outlay Zimmer wasted on software and hardware. I am CERTAIN I speak for many readers when I state how eager I am to hear YOUR compositions and their technically gifted performances delivered through polished recordings. How EXCITING is is to know we CAN have it without pesky obstacles like a personal commitment of massive amounts of time, extreme capital, or even common manners!

      Zimmer is a FOOL to have wasted his life on all his highly lucrative film composition commissions, jobs created through his many endeavors, and lifelong friendships when YOUR simple guidance will show the way MUCH more easily. AND with your unimpeachable artistic integrity as well?! WOW! We truly shall remember this as the day we were blessed to have received the tablets of said knowledge from YOU, the greatest pioneer in our field.

      Until now NO ONE knew you or even CARED what you wrote or said. People refused to date you, thinking they had a right to informed opinions of their own. IDIOTS! They had the audacity to cringe when they could not avoid your dinner party speeches, what others branded as diatribes of the long-winded and tiny-brained. CRETINS! They would pretend to accept fake calls at parties, walking away from you in order to avoid what they perceived as narcissistic arrogance coupled with stupidity and rudeness.

      But THEY WERE WRONG, weren’t they? For TODAY is THE DAY you destroy them with RESULTS. And to think, WE onlookers will be able to tell future generations, “Yes, what a day it was, children. For I bore witness when the one EVERYONE thought was a common ignorant boor of the Cliff Clavin variety showed the former admirers of Hans Zimmer HE was the REAL shiznit!”

      After all, you wouldn’t want to be known as the type of person who denigrates others’ purpose without proof of YOUR excellence, would you? Of COURSE not! Remember, I am on YOUR side here. I do NOT believe you to be a typical basement dweller using your mother’s wifi to go trolling before heading off to your menial job and a life that has thus far produced no achievements. No, you are NOT a loser, but a WINNER whose greatness we shall be FORCED to recognize once you show us your work. Then we shall ALL give huzzahs, knowing we are not and never have been as good as you.

      With bated breath, I EAGERLY await your response outlining your audio and video brilliance that will SURELY usher in a new era of a/v production!

    • Samplethief

      Most amazing troll of all time. Love it.

    • bachandroll

      You’re very kind. I tip my hat to you, sir. :)

  • Vreaucasadanioan Danioan


  • jeffrey johnson

    wherry sounds like a cunt. hans zimmer is fucking deluded. ok, some of his recent scores have been good like Inception and Dark Knight. But don’t forge how many times he fucking reuses the same theme, and continues to use only 3 notes for a fucking theme, unlike other legendary classics like Jerry Goldsmith and John Williams amongst others.

    You should hear how he fucking loaded his Black Rain score into his PC, and fucking copied and pasted the midi notes and then slapped on a new title calling it “mollosus” for batman begins.

    fucking pathetic!

    john williams orchestrating a woman having a dildo stuck up her arse would be more majestic than anything hans zimmer could ever achieve.

    Zimmer isn’t even as good as Harold Faltermeyer (a true german master who was too funky for Hollywood).

    • alboradasa

      Why has Hans got you so butthurt? He’s created a completely different form of film music to Williams etc. so it’s a bit pointless comparing them. Calling him out for re-using material is laughable, every composer in the world does it. John Williams is a master of what he does, and that is to emulate (and copy/paste) 19th/20th century composers like Tchaikovsky, Berlioz and Rachmaninoff. AT least Hans is trying something new, embracing minimalism and working as an integral part of the film’s fabric. His scores aren’t supposed to be judged on how complex they are. Maybe try some of Hans’ earlier work e.g. The Lion King if you doubt his ability to write more classical orchestral music.

    • ElitePositive

      You’re the one who’s pathetic, open those ears up and do some comparisons on John Williams and his work. If you listen hard enough, you’ll hear that he too uses pieces MULTIPLE times, from Harry Potter to E.T. and StarWars! Just listen closely, each composer has their own aroma with music, as if they were competitive coffee shops! Imagine that, , , coming up with new ideas/flavors but using the same damn coffee beans everytime. That’s because it’s their signature, it’s something that’s significant enough to keep around or bring back.

  • Milo Otis

    The best part is this is all for mostly mockups? Dude still goes and records a real orchestra for the score. So all this money and investment so he can make great sounding demos that will be replaced. I am sure the drums and synth libraries make it to the final score. Over the years I have gotten the impression the guy can;t hear in his head what the music will sound like so is chasing the perfect virtual orchestra so what he hears in cubase is what will eventually make it to the scoring stage. I feel like reading scores and orchestration books for a few years and going to the symphony every week would be a cheaper solution.

    I do like his music, sad that it’s simple form has taken over Hollywood, but I hear very little improvement from his 80s work to now with all the changes in his technology. At the end of the day he hands off his stuff to orchestrators and some of the duties to other composers. First 2 batman movies couldn’t get oscar nominations for the score becasue too many composers worked on them. All the custom samplers and 33 channel samples don’t change that. The guy is having fun and keeping a bunch of people employed. Bravo.

    • alboradasa

      The reason they put so much effort into mockups is because the studio execs and producers lack the imagination to understand how the final product will sound during test screenings etc.