<a href="https://smokestacksounds.com/" rel="noopener noreferrer" target="_blank">MORE INFO &amp; GET THE INSTRUMENT</a> A cinematic guitar instrument born from an album session between OPW and Tristan R&ecirc;verb, crafted for producers who want depth, texture, and instant inspiration.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 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&deg; Animations played live at the New Year Eve Show in Las Vegas. &nbsp;

MSG Sphere - Las Vegas

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 href="https://www.tristanreverb.de/sounddesign/1a55/">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&#39;s public relations work from mid-2024.

ZKM Soundlogo

ZKM Soundlogo "Winner submission" by Tristan Rêverb

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

Bedienung während der ArtPlus Ausstellung in Donaueschingen.

Flower Visuals for Exhibition poster and social media advertising

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

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.

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 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

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

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.

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 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"

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"

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"

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

<a href="https://www.das-eclat.de/klangsommelier" rel="noopener noreferrer" target="_blank">KlangSommelier - Official 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

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

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

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.

Tristan Rêverb | Marius Jentschke | Portfolio