“Films are 50 percent visual and 50 percent sound.” –David Lynch
Even the most average brand has its own Corporate Identity Manual. Effectively pages upon pages upon pages of visual style guidelines. Which typeface to use, how to not screw up the logo, which Pantone colors will sell the most hamburgers, etc. Visual branding has been taken to almost ridiculous extremes, as evidenced by the infamous Pepsi rebranding guide.
But if David Lynch is right, and sound accounts for half of a film experience, why haven’t brand managers been obsessing over their music and audio choices? Where are the pages upon pages upon pages of sound style guides?
It would seem that music historically has been selected on a needs to basis – ‘We just need a bit of music here to support this narrative or message.’ One-off music ideas that work for one execution. But before we get run down by the crush of creatives defending their decisions, a few questions to muse. Does this approach work? Or are brands actually creating some form of audio schizophrenia by changing their sound with each new campaign? Most importantly, can you stand in the kitchen and recognize the brand just from what you hear?
Whilst many advertising agencies still treat sound branding as a dark art, it would seem that smart brands are beginning to realize the potential of a sound strategy.
Audi has been thinking quite a bit about the sound of their brand for a few years now. They have used the heartbeat for their sonic logo (the audio sign off at the end of a commercial). The original was created by Milo Heller in Hamburg. It was later given a facelift by Metadesign. The newest version has been created by S12 in Munich.
The S12 guys have apparently developed a unique palette of instruments and sounds to draw from, just like a color scheme in a visual style guide. In the video below you’ll hear some of the sounds they’ve claimed as Audi-esque: a steady heartbeat, a breath, a piano:
By narrowing their set of musical building blocks, they’re hoping to create a consistent brand sound for their otherwise consistent brand image. The end goal, of course, is for the audience to hear that heartbeat and think Audi.
When brands develop a sonic logo and start talking about this as their sound identity it has to be a step forward. The challenge is persuading them that a sonic logo is merely a syllable in the whole sound identity language. Just as no self-respecting brand thinks they are done with just their visual logo, there are whole new sound frontiers to be crossed after the sonic logo. What about contextual use, or adapting sound to meet the needs of cultural differences, or evaluating how it is working, or its contribution to ROI or even the possibility of trademarking their sound?
When Stephen King, Head of Planning at J Walter Thompson in the 70’s, first addressed the concept and importance of visual branding – yes it is only 40 years old – I am sure he was met with similar resistance as the sound branders of today. But who could have ever have predicted that using consistent methodology and frameworks, we would be able to differentiate one brown fizzy drink from another and understand lifestyle? Or from the shareholders perspective, build something where a visual logo is valued in the billions of dollars.
When other great luminaries in the Advertising world like Sir John Hegarty of BBH agree with David Lynch in their appreciation of the role of sound, can brands really afford to leave these pages of their CI manual blank?
Audi are already revved up and way ahead of their competition.
Ruth Simmons, CEO
soundlounge
Thinking about working on your brand’s sound? Watch this space for the pros and cons of creating a sound style guide.
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Hi Ruth – great piece. I have been fortunate enough to help with Audio Style Guides for a number of different clients including ABC, Kaiser Permanente, Pinkberry, Intermix and more so the concept is definitely starting to gain traction in the States. Although most people do still greet the concept of a “Sonic Identity” with a blank stare.
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