<a target="_blank" rel="noopener noreferrer" href="https://smokestacksounds.com/" style="text-decoration: underline; text-underline-offset: 2px;">MORE INFO &amp; GET THE INSTRUMENT</a> A cinematic guitar instrument born from an album session between Oliver Patrice Weder and Marius Jentschke aka Tristan Rêverb, crafted for producers who want depth, texture, and instant inspiration.Marius Jentschke was responsible for sound design, NI Kontakt scripting, and UI concept &amp; design, in collaboration with Smokestack Sounds.This instrument combines beautifully recorded guitar plucks with a rich and resonant low end, an airy cloud pad built from tape and effects, and a shimmering night mode to add extra sparkle to your productions.To enhance the character even further, the entire patch was processed through a vintage Fostex tape machine, giving you optional wobble, warmth, and perfectly imperfect analog saturation.The interface is a piece of art, letting you move clouds, switch between night and day, and choose rain or sunshine to sculpt the emotional tone of your sound.Perfect for ambient, cinematic scoring, lo-fi, electronic, experimental, and modern music production.

CLOUD GUITAR - SMOKESTACK SOUNDS 

Sounddesign for the New Years Animations for the Madison Square Garden Sphere in Las Vegas. As part of the Smokestack Music Production House i was responsible for the Editing, Sounddesign and SFX for the 360° Animations played live at the New Year Eve Show 2024 in Las Vegas. &nbsp;

MSG Sphere - Las Vegas

Work as Composer, Sounddesigner and Producer for BMG PRODUCTION MUSIC. A Selection of Neo Classic Piano Pieces for the Label Nuovotone under BMG Music. Composition, Recording, Production, Mixing &amp; Mastering by Marius Jentschke Click on images to listen:

BMG PRODUCTION MUSIC

Marius Jentschke Composer und Sounddesigner Production for BMG PRODUCTION MUSIC. He produced Neo Classic Piano Pieces for the Label Nuovotone under BMG Music. 

LISTEN:
https://www.deezer.com/sr/album/781445981

The ZKM | Center for Art and Media in Karlsruhe, Germany is a world-renowned cultural institution for contemporary exhibitions and research.As part of my studies, we were allowed to develop contributions for the ZKM and submit them in a competition. In addition to <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.tristanreverb.de/sounddesign/1a55/" style="text-decoration: underline; text-underline-offset: 2px;">compositions for videos</a>, a new sound logo was requested.My submission for the video compositions and also the sound logo won the competition along with 2 others. As a result, the winners worked together to create a final sound logo from the best parts of the individual logos.The sound logo will be implemented in the ZKM's public relations work from mid-2024.In addition to the sound logo, background music was required for various applications and video formats. Below are 3 different compositions from these works.&nbsp;

ZKM Soundlogo

ZKM Soundlogo "Winner submission" by Marius Jentschke

Slow & Organic Soundscape-Music for a slow documentary video.

Faster and driving composition, made for short, social media content.

Discreet ambient drone to give space & focus on voice speak over.

With my music project Tristan Reverb i packed up my guitar, tape and drum machine and made my way via ferry to Oliver Patrice Weder´s Shoe Factory Studio in Mallorca. Together with Oliver’s set up (analogue synths, Wurlitzer and Piano), we recorded countless hours of cinematic ambient music. Edited and mastered with Ralv Milberg at Milberg Studios with a selfbuild analog mastering rack. The tracks unfold like a slow misty morning. The sun barely pushing through the haze, the dew lifting off the grass. It reminds us in a quiet way that every day is a new chance, a new little adventure, and maybe we let ourselves have the luxury of slowness.

Ambient LP-Release | CALM PALMS

'How many Days' Live at the Shoe Factory


Selfbuild Analog Mastering Rack with Ralv Milberg

With my music project Tristan Reverb i packed up my guitar, tape and drum machine and made my way via ferry to Oliver Patrice Weder´s Shoe Factory Studio in Mallorca. Together with Oliver’s set up (analogue synths, Wurlitzer and Piano), we recorded countless hours of cinematic ambient music. 

Edited and mastered with Ralv Milberg at Milberg Studios with a selfbuild analog mastering rack.

The tracks unfold like a slow misty morning. The sun barely pushing through the haze, the dew lifting off the grass. It reminds us in a quiet way that every day is a new chance, a new little adventure, and maybe we let ourselves have the luxury of slowness.

Cooperation work with the Nanyang University of Art, Design and Media in Singapor.The students from Nanyang realized an animated short film, while the students from HFM Trossingen were responsible for the music and sound design. I worked together with Alvin Phua on his movie &quot;Oleander&quot;.Alvin wanted me to give his movie a surreal, distinctly horror character through the sound. My initial approach of working with rhythms and percussion was expanded with bass-clarinet multiphonics for the harmonies, melodies &amp; drones. For the composition, I built my own sample instrument in Ableton using various clarinet multiphonic samples. Different articulations (flutter, trill, etc.) were mixed and morphed depending on the velocity. I also wanted to emphasize the oppressive mood with silence and simple scene sounds.Director/Animations: Alvin PhuaComposition &amp; Sounddesign: Marius JentschkeBass-Clarinet Multiphonics Sample Instrument: Marius JentschkeStereo-Mix/Master: Marius JentschkeDolby-Atmos Mix: Alec Dull + Marius Jentschke

Anime Short Movie - Oleander

In this project I transformed the singing of my dog &quot;Bruno&quot; into a playable instrument.I recorded various articulations of his vocals and processed them into 8 digital loops. I then recorded these digital loops onto the individual tracks of the tape and varied the recording speed between the different tracks using the varispeed knob on the tape machine to generate a microtonal variety. I then cut the tape loop into 10cm pieces and randomly glued them back together. This should lead to regular rhythmic sequences. Finally, I ran the 8 tracks through a mixing console. From this point on, I was able to consciously play, compose and shape the sounds with the help of the track faders and the effects end.&nbsp;

BRUNOTRON

The project &quot;MINDS WIDE SHUT&quot; deals with the interaction of sound and brain waves, with a focus on the meditative &amp; relaxed state of the user, represented through EEG data. The composition reacts to the change in brainwave activity and is intended to reflect the current state of relaxation and at the same time deepen it.The active state is represented by playing in higher registers with a larger ensemble, which decomposes into individual players and lower registers during the relaxation phase. In addition, lively background noises change into quieter natural sounds and deep slow drones of singing bowls in the deepest state of relaxation.The video shows the implementation of the EEG concept as a One Knob controller. The composition is composed of asynchronous loops, which allows the listener to change the composition fluidly, the different states of the composition never repeat themselves but always generate a new composition.

Minds Wide Shut

MAX MSP Patch to control the composition with EEG Data.

Exibition of "Minds wide Shut" at "Die Halle" Furtwangen.

Fashion Editorial | Commissioned work The director gave me a specific reference for this commissioned composition. In addition to this specification I incorporated the &quot;Echo&quot; film cut into the composition and worked with the editor to adapt the image and sound.Music, Sounddesign, Mix &amp; Master by Tristan R&ecirc;verbDirection &amp; Photography - <a href="https://paulinahildesheim.com/" rel="noopener noreferrer" target="_blank">Paulina Hildesheim</a>Direction &amp; Photography - <a href="https://www.juliakeltsch.de/" rel="noopener noreferrer" target="_blank">Julia Keltsch</a> c/o Avenger PhotographersVideo Edit &amp; Cut - <a href="https://www.miriamlehle.com/" rel="noopener noreferrer" target="_blank">Miriam Lehle</a>Styling - Miriam LehleHair &amp; Make Up - Melanie HungerModel - Aksharaa Jandhyala c/o MirrrsModels Model - Ibukun Sammy c/o Mirrrs Models

Double Trouble

The installation Windstille explores the sound interplay between wind and tree. A sound composition arranged in real time from local wind data makes otherwise hidden sounds from inside the tree and the high-frequency rustling for us to hear. Playing with the limits of human perception, the work opens up a sonic change of perspective into a boundless, unlimited nature.&ldquo;In nature, nothing exists alone.&rdquo; - Rachel Carson, 1962.Everything in nature stands in context and in direct dependence on its surroundings, which also applies to sounds. Only through the interplay with its surroundings does the otherwise silent wind creates sounds that are audible to us humans. The installation is based on highly sensitive structure-borne sound and ultrasound recordings of the tree&#39;s movements which exceed our usual range of hearing. This data is computer translated into the range audible to humans and open up a fascinating opportunity to rediscover the hidden sounds of our environment. Windstille offers visitors a new auditory, hyperreal dimension and an organic proximity to an often unconscious companion.-The technical components:&deg; Webdevice in Visual Studio Code, to select the location and collect the wind data.&deg; Max4live Devices receive OSC wind data from Visual Studio Code.&deg; Max4live Devices contain audio layers or control audio layers + parameters in Ableton Live.&deg; Touchdesigner receives OSC data from Ableton Live and controls visual data.- Exhibited at Donaueschinger Kunstnacht 2024 Team: Dominik Rösler: Coding, Sounddesign Jason Ullah: Sounddesign Marius Jentschke: Creative Concept, Video, Audio Visualization Touchdesigner, Sounddesign. &nbsp; &nbsp;

WINDSTILLE

Operating the UI during the ArtPlus exhibition in Donaueschingen.

Flower Visuals for Exhibition poster and social media advertising

WEIRD DREAMS is a song release under my former alias &quot;TEAK&quot;.<a href="https://open.spotify.com/intl-de/track/7qsx45jvZGzeLiczGewXZM?si=8ebd8599f9a544aa" rel="noopener noreferrer" target="_blank">Listen on Spotify</a> written by Tristan R&ecirc;verb + Bradley Brianrecorded, produced &amp; mixed by Tristan R&ecirc;verb&nbsp;analog mastering by <a href="http://www.swobi.com" rel="noopener noreferrer" target="_blank">Swobi</a> camera + direction by <a href="https://www.miriamlehle.com/" rel="noopener noreferrer" target="_blank">Miriam Lehle</a> + Tristan R&ecirc;verb&nbsp;video edit by Miriam Lehle + Tristan R&ecirc;verb released April 2023

Weird Dreams - Single-Release

The ZKM | Center for Art and Media in Karlsruhe, Germany is a world-renowned cultural institution for contemporary exhibitions and research.As part of my studies, we were allowed to develop contributions for the ZKM and submit them in a competition. My work was selected for official use. In addition to <a href="https://www.tristanreverb.de/sounddesign/zkm-soundlogo/">the sound logo</a>, background music was required for various applications and video formats.The following are 3 different compositions from these works.&nbsp;

ZKM - Music for Video Content

4 moons is an experimental, open, graphic score originally written for the Trossinger Laptop Ensemble. The score can be played by any instrument or sound generator, as it refers to the player&#39;s way of expression and offers a lot of freedom for the performers. In this way, the score provides a framework for free creativity and impetus for unbiased ideas. You could also call it a guided jam instruction. Written for 2 duos playing simultaneously, but can also be realized with only 2 performers.The score is fundamentally inspired by the flowing progression of the phases of the moon, with the light side of the moon symbolizing a rhythmic style of playing. In contrast, the dark side stands for pad sounds. If you follow the course of the moon, rhythmic sounds alternate with pad sounds in volume and presence within the duos. The duos themselves play in opposite directions, beginning with the other phase of the moon. This creates an interplay between the two duos, which constantly shifts over the course of the piece due to the freedom of the temporal division of each duo. The piece begins and ends for each duo in silence with a cresendo/decresendo to/from a climax in volume and expression. Further details can be found in the score.&nbsp;Feel free to try it out and send me the recordings.

4 moons

Live Performance at HFM Trossingen with Open Score Ensemble

Colours of Youth is a release under my former alias &quot;TEAK&quot;. <a href="https://open.spotify.com/intl-de/track/1hKNWSghGSY76MJ1FeQnzj?si=38b5b9b6c36f4128" rel="noopener noreferrer" target="_blank">Listen on Spotify</a> written by Tristan R&ecirc;verb &amp; Miriam Lehle produced by Tristan R&ecirc;verb e-guitar by Marius Schwingel mixed &amp; mastered by Thomas Zehnle video by Miriam Lehle &amp; Tristan R&ecirc;verb released 2021

Colours of Youth - Single Release

Commissioned work in progress. A &quot;mockumentary&quot; about a fake artist made by Jan Hendrik Pelz. I am responsible for music supervision, composition, sounddesign, mixing, mastering.The on-set interview sound wasn&acute;t the best quality. So I was also responsible for the sound restoration (de-verb, de-noise, etc.). The movie will be screened in various german galleries at exhibitions of Jan Hendrik Pelz. Idea &amp; Production: &nbsp;Jan Hendrik Pelz Direction &amp; Edit: Konstantin Fitz Camera: Kim Johanna Groche On-Set Sound: Maximilian Utke Sprecher: Jo Jung

Documentary "Jan Hendrik Pelz"

<a href="https://open.spotify.com/intl-de/album/7sBOenw3RdksPDnZveRoMw?si=Us8KWyWeRjqvLARXveRVtw" rel="noopener noreferrer" target="_blank">LISTEN ON SPOTIFY</a>Between 2014 and 2019 my DIY solo project &amp; artist name &quot;Tristan R&ecirc;verb&quot; evolved into a whole new living thing, and a constant group of six friends and musicians was born. My original songs were expanded with new soundscapes, harmonies and melodies characterized by a blend of neo-analog, ambient, psychedelic folk/jazz and released their critically acclaimed vinyl release &quot;Senseless Presence&quot; on Treibender Teppich Records in 2016.During this time, they played concerts with Jessica Pratt, Steve Gunn, Moddi, Die Nerven, Oracles, and many others. As time passed, the group shrunk to four members and eventually reverted back to its solo-project format. Still collaborating with musicians and old friends for his new and upcoming releases. recorded &amp; produced 2016 in Milberg Studios, Stuttgart with Ralv Milberg<br style="color: rgb(54, 54, 54); font-family: &quot;Helvetica Neue&quot;, Helvetica, Arial, sans-serif; font-size: 12px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: rgb(244, 221, 253); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">released 08/2016 by Treibender Teppich Records Members:Julia Kaminsky | Drums Jo Riediger | Bass and Rhodes Marius Swigler | E-Guitar Paul Abbrecht | modulated Trumpet &amp; Keys Tristan R&ecirc;verb | Voice, A-Guitar and Stuff Fabian Penzkofer | Tape-Echomachine Commander 4000

Senseless Presence - LP - Vinyl Release

Recording Live at Milberg Studios with Ralv Milberg.

Construction of an experimental installation with a playable reel-to-reel tape recorder.By touching the tape loop, sounds were generated and simultaneously recorded back onto the tape loop. The internal erasing head of the recorder was covered so that sounds could overlap (sound on sound looping).By interacting with a magnet, sounds could be deleted again and rhythmic elements could be created.The tape loop was painted with conductive paint on the back and guided over a copper rod. A &quot;touchme&quot; from Playtronica was connected to the copper rod and a conductive floor surface, which transmits the resistance values in midi pitches of a scale. The values of the &quot;touchme&quot; controlled a sample instrument in Ableton.The conductive color was painted on in irregular thickness and shape. When the interactor stands on the base plate and touches the running tape loop, different resistance values and thus note values are created. The pitch can also be influenced by the area of contact (e.g. finger vs. palm) and pressure.The plan is to create a room-filling installation with several tape recorders and different sounds.

raise_erase

A free &amp; soundalike exercise work of mine. Made 2021 to get more into the relationship between motion pictures and music.Given myself a short &amp; fixed time to finish.Since this was intended to be a soundalike, I focused on the main features of the original theme, without using melodies or other copyrighted elements.It should be a freely composed piece that captures the emotions of the original main theme and the series through the instrumentation and sound character. Of course it should be musically tailored to the animated font and movements.Key Features Used:- Arpeggio or DX7 Wabern - Heartbeat bass drum - an organic, analog sound with lots of tape wow and flutter - Volume, LPF and pan automations for increases etc. - soft, flat pad synthesizer - deep, scratchy sawtooth synth bass - dreamy lead synth Composition: Tristan R&ecirc;verb Videorights: The Duffer Brothers and Netflix

Soundalike Exercise "Stranger Things Theme"

<a target="_blank" rel="noopener noreferrer" href="https://www.das-eclat.de/klangsommelier" style="text-decoration: underline; text-underline-offset: 2px;">KlangSommelier - Project Website</a>For this project, I am dealing with synaesthetic phenomena and the connection of taste parameters with sound parameters.The focus here is on the taste experience of wine. The smell, the first sip and the finish. Now combined with a second-by-second sound accompaniment of this, the sensory impression of wine can be enhanced.The project takes both scientific and artistic aspects as its starting point. Taste can create colors, shapes, memories, inner images and much more. I try to transfer these approaches to sound in this project. The more scientific aspects, such as shapes, haptics, temporal sequence, are translated through sound design, frequency range and articulation of the instruments.Since taste and wine also evoke emotions and memories, this part is translated through compositional elements such as chord progressions, scales and harmonies. As a bridge between the senses of smelling/tasting and hearing I also work on the audio-reactive visualization of the compositions. Audio-reactive visualization made with Touchdesigner

KlangSommelier

A fictional practice project about a sound logo for a German frozen pizza company called &quot;Gustavo Gusto&quot;.Together with two fellow students I developed the concept and worked on the sound design and composition of the sound logo. It was supposed to appeal to a broad audience, as well as create the Italian reference, but not be too clich&eacute;. The cheerful and funny advertising content was also incorporated into the sound design.&nbsp;

Soundlogo - Gustavo Gusto

For this project, I wanted to develop a composition that would do the listener good, calm them down and have a meditative approach.Inspired by Brian Eno&#39;s &quot;Music for Airport&quot;, I used the approach of asynchronous tape loops. For the previous performance, the composition consisted of 13 loops with little compositions, all with different lengths between 10.7 and 36.7 seconds. Hashim Hashimov played on a piano that I had specially prepared. The loops were played and recorded live one after the other in a predetermined order, allowing the piece to slowly build itself up. Due to the different lengths of the loops, the piece constantly generates itself anew. In addition, I processed and alienated the signals live using digital and analog techniques, giving the piece a further layer and structure.

Skipping a heartshaped stone over an endless lake.

For this commission I worked as an assistant to the director Miriam Lehle and collaborated on the selection of music and sound design. Director, Cut &amp; Edit: <a href="https://www.miriamlehle.com/" rel="noopener noreferrer" target="_blank">Miriam Lehle</a>Camera: <a href="https://www.felixkeltsch.de/media.html" rel="noopener noreferrer" target="_blank">Felix Keltsch</a>Music supervisor &amp; sound design: Miriam Lehle &amp; Tristan R&ecirc;verb

Stadtwerke Corporate Video

My submission to the Rhodes Competition in 2023.&nbsp;As part of the release of the new Rhodes V8 plugin, musicians were invited to create a composition with it. The composition should mainly consist of Rhodes sounds and incorporate the given lyrics &amp; rap by James Smith (Yard Act).Composition, Mix &amp; Master: Tristan R&ecirc;verb Lyrics &amp; Rap: James Smith (Yard Act) Video: Rhodes

Rhodes Competition

A free &amp; exercise work of mine. Made 2021 to get more into the relationship between motion pictures and music.Given myself a short fixed time to finish.

The Room

A project in progress. From October 2023 to April 2024 I spent a winter in Mallorca. Among other projects, I investigated the soundscapes in the rural area around Sant Lloren&ccedil; des Cardassar. The project deals with the observation of small details and anomalies, as well as the scientific analysis of the so-called signature sounds that shape the sound landscape. On the one hand, I process the observations purely scientifically, as well as using a free artistic approach. For the project I work with my own 24 hour field recordings, which I visualized and analyzed in a spectrogram. 8 small observations gonna be presented in 8 etudes/studies. No. 1 is about &quot;Equal Loudness&quot;. Adapted from the music process to push the loudness while mixing/mastering. The first of 8 etudes for this project is about the equal loudness in a natural soundscape. Otherwise inaudible sounds are brought to the same loudness and thus provide a new perspective on our sonic environment. For this purpose, I have divided the entire frequency spectrum into meaningful ranges and brought all ranges to the same loudness.

EL RITMO DEL MUNDO

A free &amp; exercise work of mine. Made 2021 to get more into the relationship between motion pictures and music.Given myself a fixed time of 4 hours to finish. Made with sounds i made in relationship to adjectives. Composition: Tristan R&ecirc;verb Movie scenes: &quot;A place beyond the pines&quot; and &quot;Too old to die young&quot;.&nbsp;

Trailersound Exercise "Beyond the pines"

 PORTFOLIO

Marius Jentschke und Tristan Rêverb Portfolio Work as Composer and Sounddesigner, also Mixing and Mastering and Audio Experiences. He lives in Stuttgart and Palma Mallorca. 