The iTunes store has changed the way listeners judge music by putting a 30-second time limit on their attention spans. Songwriters may cringe, but it’s now unavoidable. The hard truth is if a song doesn’t deliver in this short window of time, it simply won’t sell.
Working out how to sell product with 30 seconds of sound has been our focus at soundlounge for nearly 3 decades. Since commercials rarely use more than 30 seconds of music, we have to find songs or parts of songs that “sell” (i.e. make a memorable, emotional impression) in a very short amount of time. How?
1. Get to the hook quickly. Whilst romantic composers like Mahler and Strauss had the privilege of fans with hour-long musical attention spans, today’s songwriters have no such lattitude,. The 30 second sample must have a memorable ‘hook’ – a catchy guitar riff, a clever lyric, a killer beat. A good hook sticks in your head for weeks and compels you to listen to the track again and again. That’s the kind of song that spreads online like wildfire and gets chosen for that next Apple iPod commercial.
2. Create a distinctive sound ‘snapshot’. Advertisers and bands have at least one thing in common – they both need to be heard above the noise. In this area, advertisers can actually learn a thing or two from popular bands who have worked hard to consistently stand out from the crowd. Having a unique sound is part of the solution. But what if your listener doesn’t even give you 30 seconds? Many impatient listeners take an ‘audio snapshot’ of the first few seconds and judge a song based on its production quality and instrumentation.
3. Take us on a journey. Music moves us when it moves. Great songs give us something to anticipate from start to finish. They lead us along through imaginative melodies, chord progressions, and lyrical stories. 30 seconds might be short for a musical journey, but that may be all you’ve got so even a hint of oncoming change will go a long way. If your 30-second sample sounds stagnant, try varying the dynamics, instrumentation, or harmony to keep your audience wanting more.
Charlie McCarron, Sound Consultant
Ruth Simmons, CEO soundlounge
So which tv Christmas commercial most holds a special place in your heart? At soundlounge, we have created a list of our own personal selection. Let us know if we have left out your favourite…
And your word for the day is…’diegetic’. Diegetic and non-diegetic are cinematic terms relating to the use of sound in a film. Diegetic refers to sound whose source is visible on the screen, or whose source is implied to be present by the action of the film. Where as non-diegetic is sound whose source is neither visible on the screen nor has been implied to be present in the action. A film’s music soundtrack is nearly always non-diegetic, creating a sense of mood and accentuating key moments in a film’s plot. In the following clip from Mel Brooks’ film High Anxiety, he cleverly plays with this convention – moving the music from non-diegetic to diegetic – enjoy.
As I was watching Sprint’s clever “What if ____ ran the world?” ads, I noticed they used no music, no jingles, nothing that would traditionally qualify as a sonic logo. Only one sound stands out consistently in each ad: the walkie-talkie-like bleep of the Sprint phone itself. And every time we hear it in Sprint’s commercials, it’s followed by a joke. By the end of each ad, we’ve heard it 6 to 12 times, and it’s no longer just a phone bleep. It’s a brilliantly timed comic device that has preconditioned us to laughter.
Of course, the same sound can mean vastly different things for different people. For the majority of us, the sound of an incoming text message is exciting, a happy beep signaling a new message from a friend. But for my mother, it’s a sound that strikes terror in her heart and gets her adrenaline flowing. For her, it means she’s received a text from my younger brother in Africa. Often his messages bear bad news – he was robbed on the street once and lost all his money. So this seemingly harmless sound evokes fear and maternal instincts in a split second. One day she told me, “I hate that sound more than any other sound.” Who knew a simple, neutral beep could stir up such an emotional reaction?
The finest sound designer can craft the most perfect sound for your brand, but context is everything. Though most of us don’t start salivating, we’re a lot like Pavlov’s dogs once we’ve been trained to hear a sound in a certain way. Sprint was smart; they trained us from the beginning to hear their phones as fun, even before we interact with one in real life. As soon as a strong sonic branding plan meets a positive customer experience, the Pavlovian buttons will be pushed in just the right ways. For 99.9% of us, this is good news. For the unfortunate alarm clock marketers of the world…I wish you luck.
You know how it is on Sunday morning. Sitting back, tea in hand, lazily leafing through the papers – not really reading, just vaguely capturing the headlines. But this week, one particular story in The Sunday Times caught my eye. Beware, iPod zombie cyclists are on the rise the headline warned, followed by the image of a cyclist wearing some serious headphones but no helmet. Now that’s a worrying thought.
Here’s another worrying thought. According to my children, I have a tendency to move very rapidly from one apparently disconnected idea to another before settling on one, final thought – a trait they affectionately describe as my ‘ipod shuffle mode’. So is this the first sign of my mature years creeping up on me? I don’t think so. And I’m beginning to sense that I’m not alone.
Our 30-second attention spans appear to have evolved into something of a modern-day survival function – affecting the way we read, watch, shop and buy. We live in an age where information is more accessible than ever before, but the very amount of data we encounter makes it all less meaningful. It has also impacted hugely on the way we consume music.
In the 1960s we would invest hours in discovering the meaning behind certain music – listening to albums over and over, learning every lyric, knowing every chord. We wanted to understand every element of a song and resonate wholly with the artist. But today, we leave ourselves with little time to really digest what we are hearing and within seconds are hankering to move on to the next offering.
So before my concentration quota for the day runs out let me put this out there. Is the 30-seconds we spend on listening to a track on iTunes before flicking to the next the equivalent of a watching a TV commercial? Are we choosing music based on as little information as that, and with as much distraction surrounding it?
The most important piece of business advice I was ever given when I first started talking about sonic and sound branding, was from John Bartle, the first B in BBH. “Yes’ he observed profoundly, “all that theory is all very interesting but can you measure it? If you can’t measure it, it ain’t any bloody use to me”.
Those of us who were in Hamburg at the beginning of November for the first ‘Audio Branding Congress’ in the world appreciated that brands are now acknowledging the emotional importance of using sound and music in their marketing. Some are looking at imposing more rigour into the process of choosing and briefing music, but existing business evaluation frameworks are still ‘missing a beat’. It would seem that cost outlay and how to reduce that investment into procurement and production fees is still the only metric that is applied to measure the value of music by those brand guardians in charge of the process
But it was in Hamburg, amongst much sharing of sound branding concepts and processes, I realised that I owed a huge debt to John. He was so right. Understanding how to define and produce a sound identity is just the first step. For if brands are to understand the role and impact of music, they need systems that allow for comparison of costs against market rates, potential savings, process optimisation and best practices is vital. What is allocated to finding and acquiring music properties will then be an easier conversation. It has taken my team and myself at soundlounge 10 years, but it was so worth it.
Here at soundlounge, we’ve been working with brands to understand and develop their sound branding for nearly three decades. We’d like to share some of the most common sonic branding sins and some simple strategies you can apply for absolution.
1. LUST – Being seduced by the Music Industry. Being offered a link up with an iconic artist or a hit song can seem irresistible. And it’s true that well-known tracks in a commercial can create an instant emotional connection with consumers. But if the popularity of the song overshadows the advertiser’s message and consumers remember the song and not the product, it can prove to be a very expensive liaison.
SOLUTION: Resist the temptation to just look for hit tracks and big names. Have plan B and C and consider music from unknown or emerging artists; explore library music or commission an original composition. Re-record/re-invent an existing copyright so that you incorporate your brand sound DNA. Challenge and rationalise creative choices against fees and costs.
At soundlounge we’re excited to see that giant brands such as Pepsi and Coca-Cola are recognising the benefits of using sound as a brand differentiator. Both brands have coincidently launched campaigns focused on sound and music. Both have also turned to so-called ‘crowdsourcing’ to provide their consumers with a more hands-on experience with the brand. And though both brands have realised that sound is one of the most powerful mediums at their disposal, have they gone far enough?
Let’s start with Coke. These guys have asked the public to send in recordings of themselves mimicking the sound of opening, pouring and enjoying a bottle of the famous fizzy drink, with the aim of later broadcasting these on TV. A forward-thinking and innovative approach – well-placed in a world where social media and user-generated content rule the roost. But what’s the long-term value to Coke of converting this one-off, tactical execution into something which has much more important ramifications? It’s not the first time Coke has used the ’sound of enjoyment’ concept, so lots of points for consistency. Coca-Cola has a long tradition of using music in advertising and the idea that the sound of the brand could come directly from the product itself is an unusual one. But does the fizz of a can opening and liquid being poured onto ice really capture the whole sound of the brand? Is it enough to differentiate it from other beverages out there and, more significantly, does is resonate on a meaningful level with Coke’s target consumers? Read more…
Sonic branding – if you haven’t heard this term already, it’s the art of finding music and sounds to fit a brand’s identity. In the past, a brand’s sound was defined by a single catchy jingle. Jingles work well as mnemonic devices, but a one-song brand can’t stay fresh forever.
Imagine if The Beatles had been told by their record label “We think the song ‘Love Me Do’ defines you as a band. Just keep making songs exactly like that.” No self-respecting musician would listen to advice like this. And no brand should, either. Sonic branding today is not about finding one magical hit song. It’s about creating a complete sonic identify, a palette of sounds and music that can be used in any ad campaign. A strong sonic identity will be recognised even as the song selection changes.
Think of the palette of sounds that make up the classic Beatles style. Though their songwriting matured and musical tastes expanded over the years, The Beatles’ sonic identity was unmistakable. Listen to this medley:
So what about ‘Revolution 9’ and all the other crazy Beatles experiments? Although ‘Revolution 9’ is a far, far cry from ‘Love Me Do’, even this anomaly could have been predicted. Each new Beatles sound grew organically from roots in previous Beatles songs. ‘Revolution 9’ was inspired by experimental tape songs like the psychedelic ‘Tomorrow Never Knows’. And ‘Tomorrow Never Knows’ stole its thumping beat from the early ‘What You’re Doing’. The Beatles experimented, yes, but their music grew with their audience’s expectations of them as a band.
The bottom line for brands is that a sonic identity can evolve and expand over time, whereas a jingle cannot. Having a strong sonic identity does not mean being stuck with a certain melody, song, or genre. How boring would that be for advertisers, let alone their customers? Instead, a strong sonic identity allows a brand to cohesively adapt to the future, and stay fresh but recognisable.
At soundlounge, we work with brands to create their sonic identities. In this three part series, we’ll explore one of the most famous sonic identities of all, The Beatles. In part one, we heard the unique Beatle sounds that made them famous. Part two continues on through The Beatles discography to find the songs that further expanded their musical palette. Subscribe to this blog for part three, in which we’ll discover a few tips about creating a sonic identity that you can apply to your brand’s sound.
In just seven years of studio recordings, The Beatles created some of the most influential albums of all time. But they also created some of the most influenced albums of their time – and not just by drugs. The Beatles’ legendary status gave them freedom to travel the world and hang out with talented musical contemporaries of all kinds, from Bob Dylan to Ravi Shankar. They embraced music far beyond their Liverpudlian roots, and The Beatles Sound evolved to accommodate new instruments and styles. Let’s listen to a few of them… Read more…
The iTunes store has changed the way listeners judge music by putting a 30-second time limit on their attention spans. Songwriters may cringe, but it’s now unavoidable. The hard truth is if a song doesn’t deliver in this short window of time, it simply won’t sell.
And your word for the day is…’diegetic’. Diegetic and non-diegetic are cinematic terms relating to the use of sound in a film. Diegetic refers to sound whose source is visible on the screen, or whose source is implied to be present by the action of the film. Where as non-diegetic is sound whose source is neither visible on the screen nor has been implied to be present in the action. A film’s music soundtrack is nearly always non-diegetic, creating a sense of mood and accentuating key moments in a film’s plot. In the following clip from Mel Brooks’ film High Anxiety, he cleverly plays with this convention – moving the music from non-diegetic to diegetic – enjoy.
The most important piece of business advice I was ever given when I first started talking about sonic and sound branding, was from 
