From Frank Lloyd Wright’s organic architecture to the sticky burrs that inspired Velcro, nature has often played a role in creative design. What can the natural world teach us about brand recognition through the creative use of sound? Let’s take a look at one of nature’s best musicians who has a knack for sonic branding – the bird…

A male bird’s song may sound like a simple melody to the casual human listener. But to a female bird, this song acts as a revealing personal profile. Just a few notes will disclose a wealth of information concerning his mental health, testosterone levels, diseases carried, etc. Unlike a guitar-strumming human singer who easily melts the hearts of his groupies, a male bird undergoes intense scrutiny when singing to a potential mate. If a bird’s song misses the mark, it’s a reflection on his character, and the female will fly off to try her luck with another singer. On the other hand, if his performance meets her expectations for a suitable partner, he has won her heart and her trust.

Like a bird’s personally revealing song, quite a bit is divulged about a company through the music and sounds they choose to represent their brand. This means a brand’s sound choices may be a liability or an asset when trying to win the hearts of consumers. If a brand’s sound is not consistent across all marketing campaigns, or inconsistent with the company’s image, the consumer will likely question the brand’s credibility and “fly away” to the next product. On the other hand, with the right music supervision (a service provided by dedicated sound consultants like soundlounge), a consistent and well-crafted sound can strengthen any brand.

In addition to a consistent sound, both birds and brands need a distinctive sound to set them apart from their respective competitors. Read more…

The ‘sound of the brand’ is more than the melody within eight octaves. It is not just about genre or lyrics. Nor does it necessarily relate to the choice of artist or a musical identity. The sound of the brand is about values, behaviour and how this is communicated. It is about reaching and engaging with the emotional touch points of the listener – a process that requires a deeper understanding than embracing their contextual touch points.

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Music production is evolving. Upcoming artists are turning from record companies to the Internet for financial support from investors. But what does this mean for music licensing and music copyright? soundlounge explores the changing world of making music.

It’s a lifestyle that millions aspire to. Private jets, five-star hotels, adoring fans and a top music production team. But it seems that for an increasing number of upcoming artists the reality of forging a career in the industry is far from the glamorous existence of times past. Like many other sectors, the music production industry is being forced to adapt to a changing economic and social climate. Gone are the days when a talent for singing or instrumental skills was enough to get a band noticed let alone to the top. Now artists are increasingly adopting a head for business and taking an entrepreneurial attitude towards their profession. Read more…

In the summer of 2007, dance duo Groove Armada sent shockwaves through the music production industry by opting out of a deal with a traditional record label. In April 2008, the duo, who have become a household name thanks in part to the use of their music in commercials, instead signed-up with Bacardi making them the first mainstream group to turn to a major brand for investment. Considering the majority of digital music is downloaded for free, through the expansive networks of user to user file shares – it is not difficult to imagine that as record companies’ profits suffer amid the current economic squeeze, the emerging trend of band-brand partnerships will continue to develop.

The one-year deal has sparked a mixed reaction from fans. Although the majority are in support of the partnership and feel the pair is a good brand fit, some have expressed surprise that the group would choose to associate so freely with such a major commercial corporation. But speaking to the BBC, the band’s Andy Cato defended the move. “You’ve always needed big business to get your music out there,” he explained. “That help used to be major record labels, now it’s all kinds of different things. If you say one corporate pound is any more or less corporate than another, then you’re wrong,” he added. “What is a record label if it’s not a commercial brand?” So how long will it take for other global brands to become the major investing foundation of the music industry? In some ways the ball has already started rolling. Read more…

It would seem that choosing the perfect music for a commercial is such a rare and special occasion, that we almost speak in reverent, hushed tones when we discuss its success. But with at least £40million being invested in copyright music a year in the UK alone for commercials (which works out at roughly 15,000 ideas that are executed), it would not be unreasonable to ask why so many ideas fall into anonymity, neutrality and are just plain uninspiring. Music & image partnerships such like Leftfield & Guinness, Dvorak & Hovis, or any of the of Waitrose tracks that genuinely and consistently reflect its quality and values, and should give us the foundations to learn.

Another exceptional partnership is the much-feted winner of this year’s Cannes Lions Grand Prix, ‘Gorilla’, created by Juan Cabral at Fallon. ‘Gorilla’ has become the most successful campaign in recent years, with over 10 million hits on YouTube and 93,000 references on Google. With so many devotees, what is it about this particular film that has us all so captivated and spellbound? Read more…