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Jack Hertz

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About Jack Hertz

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    Advanced Member

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    Bay Area, CA
  • Interests
    Sound Design, FM Synthesis, Publishing, Improvised music, Music Concrete, Digital Synthesis, Visual Design, Video Production, Software Development, Unix, Outdoors, Spirituality, Reading, Publishing

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  1. THE STORY The story is divided into 6 acts. In a travelling fair of the 1830s Dr Caligari is exhibiting Cesare, a sleepwalker. Cesare predicts that Alan, a student in the crowd, will not live past dawn the next day. When Alan is indeed found murdered in his bed the next morning, his friend Francis suspects Caligari of the crime. Cesare next abducts the girl Francis has been courting, but when the local townspeople give chase he abandons her and collapses. Francis pursues Caligari, who takes refuge in a lunatic asylum. Caligari is revealed to be the director of the asylum, while Francis and the girl are in fact his patients. ABOUT THE MOVIE The Cabinet Of Dr. Caligari, about which more has been written probably than any other film, blends fantasy, romanticism, medieval stories and philosophic fable into a story of mind-control, murder, and insanity. Its painted backgrounds, sets and costumes were in the style of the Der Sturm expressionist group, which included the painters Röhrig and Reimann and the designer Hermann Warm, all three of whom contributed to the art direction of the film. It is in many respects still filmed theater, a series of tableaux or "living drawings" (Der Sturm). In the ongoing controversy over definitions of German Expressionist Cinema, Caligari has long been the key work by which other films have been measured. For some critics, however, it can only be considered a precursor of "expressionism" in cinema, even German cinema; rather it is the instigator of a much narrower cinematic style, its own "Caligarism." ABOUT THE MUSIC After recording live music between 1989 and 1996 with his band Art Zoyd for the films Nosferatu (Murnau), Faust (Murnau) and Hâxan (Christensen), fifteen years later Thierry Zaboitzeff once again sets off to tackle a new project. This time he is alone on the stage, surrounded by a complete arsenal of high-tech equipment yet including his favourite instruments: cello, bass, percussion, guitar and his voice. In the midst of this forest of instruments, cables and electronics, Zaboitzeff sees himself not only as a puppet master, sound artist and creator of soothing sound spaces, but as a composer in the more traditional manner, who understands how to deliver to us reference points and recognizable themes out of a film and sound delirium. His music unfurls like an opera score, in a precise, complex-free poetry and joins together in a completely natural way with the electronic rock sound which Thierry Zaboitzeff has been developing for years. At times the actors seem to step out of the screen and mingle with the live musician, to tell us their story, to tell us stories … because this music pierces through many layers and so leads us into Dr. Caligari’s cabinet, the inevitable benchmark of German Expressionist cinema. CREW Directed: Robert Wiene, 1919, prod co: Decla-Bioshop, prod: Erich Pommer, assoc prod: Rudolf Melnert sc: Carl Meyer, Hans Janowitz, from a story by Hans Janowitz, photo: Willy Hameister, art dir: Hermann Warm, Walter Rohrig, Walter Reimann, cost: Walter Reimann, length: 4682 ft (approx. 78 minutes)German title: Das Kabinett des Dr Caligari, GB title: The Cabinet of Dr Caligari. CAST Werner Krauss (Dr Caligari) ,Conrad Veidt (Cesare), Friedrich Feher (Francis), Lil Dagover (Jane), Hans H. von Twardowski (Alan), Rudolf Lettinger (Dr Olsen), Rudolf Klein-Rogge (captured murderer) Extract of a text written by Claus Löser about the 1st International Caligari Festival. ON THE WAY TO CALIGARIA We, the owners of the ‘Brotfabrik’ in Berlin, have engaged ourselves for quite some time with the history of the early German silent movies. Our house is situated in Weißensee, a district in the northeast of the old and new capital. In 1919 ‘The Cabinet of Dr. Caligari’ was filmed here, a few streets away from our cultural center. At that time Weißensee was the home of the biggest film production industry in Germany. Joe May, Fritz Lang, Harry Piel, Gerhard Lamprecht, Richard Oswald, and Georg Wilhelm Pabst worked here, as well as the creators of ‚Caligari’. To call attention to this forgotten cinematic chapter we started ‘Somnambule’, the ‘First International Caligari Festival’. With the support of the Hauptstadtkulturfonds (Berlin Cultural Fund) and other sponsors we were able to offer a multifaceted program with exhibitions, theater performances, discussion groups and, of course, film screenings. The Festival opened on September 9th, 2010 for a ten day run and it was clear that we needed a special event for the opening night. Therefore we engaged Thierry Zaboitzeff to compose a new score for the classic German silent movie. We were familiar with his work with the French avant-garde rock band ‘Art Zoyd’ and with some of his solo projects. The artist seemed ideal. As a Frenchman he could view the German material with a more distant eye, besides he already had comprehensive experience with silent movies. The results he presented on September 9th exceeded all our expectations. Zaboitzeff composed music which works even without pictures and together with the movie builds to a dramatic chamber opera which discharges intoxicating moments again and again. He deftly deals with the principle difficulty in composing scores for silent movies, coordinating the ‘illustrative’ character of the sounds to the pictures. He begins as a self-ironic master of ceremonies, at times accentuating the carnival atmosphere of the film (it’s triviality, the pretentious conduct of the main character, it’s ever-present pathos), and then sets surprising counterpoints which depart completely from the events on the screen. He found a motif for the insane Dr. Caligari which constantly runs through one’s head. The plot’s ambiguousness and characters are knit together with treacherous, labyrinth sound tapestries which, in the moment we get used to them, are pulled out from beneath us. Zaboitzeff’s own quotes flash up, he plays with sounds from nature and as a complete surprise: sung passages trailblaze through. His composition is unbelievably precise without seeming sterile. The multi-instrumentalist plays for 80 minutes with utmost concentration, creates a second stage next to the film one. In the famous closing scene – where the asylum’s patients are presented as a human panopticon - he doesn’t underlay curious music for this curious scene - instead he layers the pictures with deep sadness and compassion. Thierry Zaboitzeff’s variation of ‘The Cabinet of Dr. Caligari’ is a highly current, interdisciplinary event which will certainly have a long afterlife. Claus Löser
  2. Jack Hertz

    AtomoSynth Asterion Modular Synthesizer

    The new AtomoSynth Asterion is a full modular synthesizer it means all modules are independent and has none internal connection, it needs to be patched to produce any sound. All sound generation and control signals are 100% analog. Very beautiful raw, organic, "electrical" sound!! Very rugged, all metal construction, all potentiometers and jacks fixed to the metal pannel. High quality full sized and well spaced bakelite knobs. High quality double sided PCB board. all components set and soldered by hand by humans!! High quality components, all potentiometers with dust seal. Patch bay separated from the knobs to avoid messing with the cables. 104 patch points!! 1/4 inch jacks. It is an old school style instrument, you need an cv/gate keyboard or cv/gate sequencer to control the Asterion. Specifications. 3 VCO each one with Tune (10 turn precision potentiometer) and pulse width controls. Pulse and saw waveform. 2 CV inputs and PWM cv input. 2 LFO with square, triangle and saw waveforms. 1 White noise generator. 1 Glide module. 2 audio mixers with 4 inputs and 2 outputs each. 2 VCF each one with Low pass input and High pass input, peak/resonance control, 2 cv inputs, 2 audio outputs. 3 Envelope generators ADSR type. 2 Audio VCA with output level (volume) control and cv control input. 3 Voltage mixers each one with 2X gain and 2 inputs (input 2 with offset function), mix output and inverted mix output. 2 Voltage/audio attenuators. 6 signal splitters. Internal power supply (110V -240V AC)
  3. Bülent Arel's (1919 Turkey - 1990 USA) work occupies a special place in the history of electronic music because one thing is certain: Arel's work is still fresh, groundbreaking, and it seems always to look out for the next adventure in sound. Bülent Arel was a Turkish-born American composer of electronic and contemporary classical music. He was also a devoted teacher, a sculptor, and a painter. From 1940 until 1947 Arel studied composition, piano, and 20th century classical music at the Ankara Conservatory. In 1959 Arel came to the U.S. on a grant by the Rockefeller Foundation to work at the Columbia-Princeton Electronic Music Center. By that time the center had just started out under its director Vladimir Ussachevsky. During Arel's work in Princeton he also met Edgard Varèse with whom in 1962 he worked on the electronic sections of Varèse's 'Déserts'. Frank Zappa lists Arel as a key influence. Today's electronic music - may it be by Autechre's 'Confield', Aphex Twin's 'Selected Ambient Works Vol. II', or Squarepusher's 'Do you know Squarepusher' - builds upon a solid foundation which Bülent Arel helped to pave.
  4. Jack Hertz

    Pioneers of Electronic Music

    In 1950, the Columbia University Music Department requisitioned a tape recorder to use in teaching and for recording concerts. In 1951, the first tape recorder arrived, an Ampex 400, and Vladimir Ussachevsky, then a junior faculty member, was assigned a job that no one else wanted: the care of the tape recorder. This job was to have important consequences for Ussachevsky and the medium he developed. Electronic music was born. Over the next ten years, Ussachevsky and his collaborators established the Columbia-Princeton Electronic Music Center, which Ussachevsky directed for twenty years. It was the first large electronic music center in the United States, thanks to the path-breaking support of the Rockefeller Foundation and encouragement from two of the country’s leading universities. The Center became one of the best-known and most prolific sources of electronic music in the world. All of the music on this historic reissue (originally released on CRI CD 611) is the result of the pioneering work of the Center and its composers. The guest composers and Columbia-associated composers who have produced pieces at the Center include Bülent Arel, Luciano Berio, Mario Davidovsky, Jacob Druckman, Arthur Kreiger, Daria Semegen, Pril Smiley, and Edgard Varèse. Ussachevsky’s own students at the Center included Jon Appleton, Wendy Carlos, Charles Dodge, Robert Moog, Alice Shields, Harvey Sollberger, and Charles Wuorinen. Of the seven composers most closely associated with the Center from its early years, six are present on this disc.
  5. Jack Hertz

    Indigo dreams by Steve Shehan

    "Indigo dreams" is an homage to the people that Steve Shehan had encountered in his travels around the world and also to the great authors, painters and sculptors from the past, present and even the possible future. It is a kaleidoscope of dreams and impressions, each related to an experience from his life's journey.
  6. Jack Hertz


    Mellowsound is an emulation of a legendary instrument, a keyboard sampler from the 60s used by many famous artists like the Beatles, David Bowie, Radiohead and many others, this mythic instrument is called The Mellotron. You probably never heard his name but the melodies created with it are mythical. As we have the chance to own a Mellotron M400, we wanted to share with you this unique sound, so we sampled all the notes from our beloved Mellotron, one by one, for all the instruments tapes. With Mellowsound, you will be able to play Mellotron everywhere, with professional audio quality (16bit/44Khz). It’s now like have a vintage orchestra in your pocket! In the same spirit, we designed a smooth and photo-realistic user-interface as an homage to our dear Mellotron. Include in the free version the instruments: Flute, Clarinet and Sax. Get the « Full Version » IAP to get all the 14 instruments, including : Electric guitar, Vibraphone, Sad Strings, Piano, Choirs, and many more. Features: 3 free instruments: Flute, Clarinet, Sax Basic Mellotron settings: Volume, Tone & Pitch Metronome Mixer (instrument & Metronome, Volume & Pan) Midi support (plug your own keyboard) AudioBus & Inter-App Audio support Full Version: 14 instruments FX: Tremolo, Delay & Reverb Live Recording Soon coming: more instruments, more Fx, ADSR envelope control!
  7. Jack Hertz

    Emagic SoundDiver 3.0

    With SoundDiver, you have chosen one of the most powerful editor/librarian systems available today. SoundDiver makes the daily work of many top producers, musicians and keyboard technicians easier and faster. We are confident that you will appreciate the sheer number of supported devices, the ease of operation, universal libraries and flexible editors that have won SoundDiver acclaim from users around the globe. Version 3.0 introduces a stunning new user interface, simplified operation and the unparalleled flexibility afforded by Control-ler Assignments, which will further accelerate your use of SoundDiver. If you arc new to SoundDiver, you will quickly discover the previously hidden depths of your sound modules. We are confident that once you have spent a little time with SoundDiver, you will never want to go back to the arcane menus and parameters found on the tiny LCD screens of most MIDI devices. SoundDiver would not have been possible without the assis-tance of numerous external developers, adaptation authors and beta testers. In addition, many "regular" SoundDiver users have sent us extensive feedback which motivated us to add new functions and contributed to marnt of the improN ements found in Version 3.0.
  8. Jack Hertz


    Thanks to all those who have supported the Oramics project by purchasing this app. We're really grateful for the fantastic response to our humble tribute to Daphne. To celebrate the October 10th 2011 opening of the Science Museum's 'Oramics to Electronica' exhibition, which features an interactive touchscreen version of this app, we're dropping the price! We understand that 3G users have had problems with a background image not loading correctly - we're looking into fixing this as soon as possible. Oramics is a drawn sound technique developed by Daphne Oram in 1957. Oram's composition machine consisted of a large rectangular metal frame, providing a table-like surface traversed by ten synchronised strips of clear, sprocketed 35mm film. The musician drew shapes on the film to create a mask, which modulated the light received by photocells. Although the output from the machine was monophonic, the sounds could be added to multitrack tapes to provide more texture. The original machine is in storage at the Science Museum in London and is expected to go on display in 2011. This iPhone app tries to bring to life the incredible sound of the Oramics Machine. Users can draw aspects of a sound in a drawn composition on top of film reels, including the envelope, pitch, reverb, vibrato, as well control the shape of the sound by drawing a waveshape on top of a glass plate.
  9. Digital Ear can analyze a live or recorded solo performance (e.g. a singing voice, a saxophone solo, or any other musical instrument) and convert it into a standard MIDI file! This file can be played by any synthesizer with a different voice of your choice, or you can import it into your favorite sequencer or notation software (e.g. Cubase VST, Cakewalk, Sonar, Logicetc.) for mixing with other tracks, automatic transcription, or any further processing. Digital Ear reads all popular audio files (.wav, .mp3, .wma etc.) or accepts live microphone input. Beyond simple «Pitch-to-MIDI» conversion... Customize Digital Ear. Each musical instrument or human voice is unique. Digital Ear is flexible. It is not constrained in a specific musical instrument, or voice! Unlike conventional so-called «Pitch-to-MIDI» converters, Digital Ear will send high-resolution pitch events closely matching those of your original sound. Any vibrato, tremolo, pitch-bend, or portamento effects of your recorded sound will be faithfully converted into MIDI events that can by reproduced into any voice of your synthesizer or sound card.Only Digital Ear can capture the nuance and expressive power of the human music player or vocalist. Now in Real-time ! (A.k.a. : Your own voice as a MIDI controller.) NEW! The Real-time edition of Digital Ear can directly convert audio directly from the microphoneinto MIDI! The possibilities are endless: E.g. let your voice to control a virtual pan flute, or just viewhow good your intonation is using the on-screen pitch display. Correct your voice's pitch errors with the Soft Quantization tool. » Convert to MIDI in Real-time and view your intonation as you sing or play a musical instrument. » The Voice Realism is here… » Digital Ear in action! A unique feature of Digital Ear not found elsewhere, is the capturing of detailed volume envelope and timbre dynamics events. These features can really boost your synthesizer's voice realism and enhance your musical expression. Your MIDI files will never sound the same again. » Digital Ear® version 7 Key Features State-of-the-Art recognition engine. Based on the latest psychoacoustical research on human pitch perception. Captures with incredible accuracy and speed instantaneous pitch, volume, and timbre dynamics, with minimal errors. NEW! Real-time Audio-to-MIDI capability. Full-featured built-in Voice Features Editor. View your voice features as they evolve over time with an advanced graphical representation (virtual keyboard, chart, sliders). Editthe pitch, volume and brightness of the sound at any time-slice with accurate and quickly. Settings Wizard: This is a advanced feature of Digital Ear 7. It allows you to find automatically the optimal settings for a particular audio file for best conversion results without trouble. Completely customizable to match every musical instrument or human voice. Store an unlimited number of user-defined engine settings. Ultra high time resolution (NEW! 5 ms frame size minimum). Two types of MIDI files ensure full compatibility with all known sequencers. Such as Cubase VST, Cakewalk, Sonar, Logic e.tc.) Power Tools: NEW! Modify Pitch and Tempo: Transpose your sequence with 1/100 of a semitone accuracy. Easily speed up or slow down the tempo of your song. Soft Quantization: User selectable natural sounding pitch quantization. NEW! Area correct: This brand-new feature uses a new powerful algorithm for error correction. Just drag the mouse over the area you wish to correct, and all errors will be eliminated! In-Tune Wizard. Will tune for you automatically a de-tuned melody, without altering the performance dynamics. Auto Correct: Will clean up for you most tracking errors automatically. Smart Attack Detector: Accurately recognizes note onsets. This feature is particularly effective for string instruments. On-the-fly real-time sensitivity adjustment. Integrated MIDI and Wave file player. Sends your MIDI file to any user selectable any MIDI device. Preview your wave files without leaving Digital Ear. MIDI controller redirection. Select any MIDI controller to send brightness and volume (expression) events. Unlimited MIDI voice selection. Select any of the 128 GM (General MIDI) voices. Full automated for GM (General MIDI) and Yamaha-XG compatible synthesizers. Also supports MIDI synthesizers that do not conform to these standards.
  10. Jack Hertz

    Optotronics Oi, Kant!

    Oi, Kant! is a sort of drum machine. Sort of. Drum-ish machine, as I like to call it. And it’s a weird one. It has 3 voices: drum, bass line and cymbal, though they all have their own Kant-related names, as do the rest of parts on this machine. It also has a resonant filter which can effectively be treated as a fourth voice. All of these voices, predominantly based on CMOS semiconductor chips, can be sequenced using one of the built-in sequencers. Yes, sequencerS, plural. Four of them. Why? Well, why not? These sequencers are completely independent but they are synced to a master clock. Oi, Kant! also offers you an external clock input so you can control the sequencers tempo by sending pulses from other hardware. In fact, all of the voices can also be sequenced from external sequencers, if you’d like to do that. Oi, Kant! offers individual outputs for each of its voices. Please note there is no master output, so in order to listen to them all at once you need to use a mixer or audio interface.
  11. Jack Hertz

    Oberheim OB-SX

    The OB-SX was envisioned by designers to be a smaller, lighter, more durable "live performance" version of their (then) flagship OB-X. The OB-SX featured the same VCO/VCF/VCAs of the OB-X and a voice card design similar to the OB-Xa in which polyphony was based on the number of 2-voice PCB cards installed (using CEM/Curtis chips). Sacrifices were made to the OB-X's "knob for each function" programming interface (replaced in the "SX" by a few realtime only filter and envelope controls), the ability to save patches (all sounds were preset in ROM) and the last octave of the keyboard ("chopped" to 48 notes). Despite the sacrifices, the OB-SX faithfully reproduces the character (and at times the "ill temper" of an all analog design) of the OB-X and OB-Xa. The preset sounds are a bit dated (e.g. early funk & late prog rock), but still usable and the realtime controls allow a good amount of "shaping" to be done. It's important to note that like all Oberheim synths, the OB-SX was a continual work in progress and there were many different revisions made to the OB-SX during its life time. Major revisions included: Early units had 24 presets and mid units had 48 presets and late units had 56 presets (later units had a slide switch on the back to change between banks of presets). The color/case design was changed from the (early units) black & gray of the OB-X to the (later units) black & blue pinstripes of the OB-Xa and OB-8.
  12. Books + Music = 😍


  13. Jack Hertz

    Jack Hertz - Music For Coastlines

    Jack Hertz brings his sound design to the bookstore Sat at 11AM. Catch the waves. You can help the series by contributing dollars and cents to the tip jar or by purchasing past performances at andrecustodio.bandcamp.com.
  14. DIGITAL D1: HYBRID SYNTH Epic 64-voice Virtual Analog / PCM iPad Synth Beautiful & Lush Digital Synth inspired by the 80s/90s 100% of proceeds from this app go to support the AudioKit open-source project & AudioKit Synth One. Fully loaded w/ 300+ presets by Brice Beasley, Matthew Fecher, Red Sky Lullaby, Jakob Haq, Dean Daughters (Electronisounds), Sound of Izrael, AfroDJMac, and more FEATURES 64-voice Hybrid Digital Poly Synthesis. Full 1 Gigabyte of original samples recorded from analog & fm synths over 30+ years old. Space-saving Compression. The whole app is under 150mb Dual layers per voice. Keyboard splits. Velocity Scaling. Vintage-style Arp/Step Sequencer Dual Independent per-Layer filters 3 LFOs. LFOs can modify other LFOs Per-voice harmonic key tracked Envelope filters Gorgeous 64-voice, Beautiful iPad Synth Each voice is composed of Two layers. Each layer has: + Option of Virtual Analog or PCM Synthesis + Per-voice Harmonic Envelope Filters + Dedicated Sample-set and Note-range + Dedicated ADSR amp envelope + Dedicated Stereo Filter (Low/High/Band-Pass) + Dedicated Level and Pan controls + MIDI velocity scaling controls Three (3) independent LFOs + LFO routings include: Filter cutoff, Resonance, Pan, Layer Mix, Detune, Distortion, Chorus Depth, Flanger Depth, and more + LFO has selectable sine/square/ramp up/ramp down, rate and depth controls + LFOs can modify other LFOs Ableton Link Audiobus 3 & Inter-app Audio (IAA) App uses less than 150mb of disk space! Optionally Tempo-sync’d effect knobs and LFOs Layers are combined with a “layer mix” control (can be linked to mod wheel) Stereo PCM with velocity layers, using near-lossless compression Selectable play modes: polyphonic, mono and mono+legato Adjustable pitch-glide rate for mono+legato FX chain is common to all voices/layers. + AutoPan (Rate & Depth) + Tremolo (Rate & Depth) + Stereo Widen + Lush Reverb w/ Lo-cut + Tape Ping-Pong Delay + Stereo Phaser + Crusher + Amp/Distortion + Chorus + Flanger 300+ Inspiring and Original Presets by Brice Beasley, Red Sky Lullaby, Electronisounds, Jakob Haq, Matthew Fecher, and more! Creative and beautiful live performances. MIDI input for notes, pitch bend, mod wheel, aftertouch MIDI sources: + On-screen”Piano” keyboard that can be customized + USB MIDI controllers + Bluetooth MIDI controllers + Networked MIDI sources + All knobs allow MIDI-learn Mod Wheel can morph between layers. Start with an Electric Piano, and slowly bring in Strings with your MIDI controller. MIDI Learn knobs
  15. Jack Hertz

    Krell Music

    Happy Halloween! Aural Films returns to the Forbidden Planet for our annual Halloween release. We called on sound artists to imagine it was 1956 and record a Krell Music composition to be used at any point in the "Forbidden Planet" film. More than 25 artists from around the world responded with their fantastic creations that you can hear now.