I'm a composer for film. There's nothing in this world I like more than film and sound. Without music and sound design, cinema is like a moving picture book. And although silent films might be visually appealing, it's really the sounds that make the pictures memorable and make us emote with the characters. Film editor and sound designer Walter Murch once wrote: "We gestate in Sound, and are born into Sight. Cinema gestated in Sight, and was born into Sound." When synchronization became technically possible, the art of film scoring was born. The human brain has a remarkable tendency to link the pictures we see to the sounds we hear. French filmmaker/sound designer Michel Chion calls this phenomenon "synchresis". This synchresis has made the art of sound design possible.

I am interested in numerous styles and expressions of music. Be it orchestral, electro, rock, jazz or ethnic music from Asia, the Americas or Africa. I've studied Renaissance counterpoint, classical and jazz harmony, African polyrhythms, performing musical instruments from all around the world and sampler and synthesizer programming, hoping to achieve a better understanding of music and its tools. I like to experiment with instruments and context. An Armenian duduk in a post-apocalyptic thriller set in the year 3000 or a Japanese Shakuhachi flute in a Spaghetti Western may sound like a strange idea at first, but it might just work very well. Who knows until it is actually done?

~Herman

P.S. For anyone interested in long stories about my musical development  there's a long biography here.