Of the 13 cases presented customers are represented from seven different countries of which two are from outside EU. One case is protected with password and is not included. The customers represent a broad selection of industries from bank, pharmaceuticals, public institutions, mobile manufacturer, transport, tourism, etc.
It looks like the sound logo is a fundamental part of the
sound production and only 1 case (ING-DiBa) does not include a sound logo in the service. This is a case of renewing the
existing sound where the customer already has a sound logo.
Another case stands out because the created sound is not
primarily intended to be a sound logo but however a notification sound for
mobile payment (Barclaycard).
None the less the sound is
presented in the case in an animated version where the sound functions together
with a visual side as a representation of the brand.
4 of the 11
sound logos are also presented in an animated version in synchronization with a
visual logo; AG2R La Mondiale, Barclaycard, Michelin and Royal Air Maroc. Most
brands have some kind of combination of sound and pictures included in the
case. It seems that the Exploring Sound Logo project is highly relevant because
it explicitly study the relationship between sound and picture on a range of
different brand constructs.
Out of 12,
7 companies have besides the sound logo bought “brand music”. A piece of music
with our without voice (song/speak) which forms a music “theme” for the brand.
This can be used in different contexts e.g. on TV as background, at live events,
on the website etc. I am surprised though, that only one case - UBS AG - presents the same theme in
different music genres such as rock, classic, jazz.
Five of the
12 cases includes telephone systems for on-hold or welcome music/speak; AG2R LaMondiale, Airela,
Sabesp, SNCF, and Vienna Touriste Board. Other five cases includes TV-commercials, where photo, music and speak
represents the brand. Lastly, other products such as specific event music
(intro-, on-stage-, and background music for AG2R Le Mondiale),
radio spots, songs and podcast also presented in the cases. Referring to the big
attention that podcast had a couple of years ago (at least in Denmark) it is
interesting that only the USB AG case includes podcast sounds.
Taking a
closer look at the sound bureau’s methods and procedures there is a general
great acceptance of test and evaluation in the development phase. Three cases
mentions that the customer besides the sound-products also receives a sound
manual or/and a brief for future sound management.
To the
extend the cases describe their creation process, all cases use either the
company’s core values or identified attributes to translate to - or express with
– music. One case are different; Prater Service as it seems to use the existing motto / pay-off to match the sound with instead.
Ramsgaard et al. did a study in 2010 of sound logos and companies’ motto /
pay-off and sound significant differences in the perception of pay-off & sound
logo on selected emotional parameters. It indicates that sound logos
strategically can be matched with the pay-off to the extent the customer
wishes.
Tools such
as “audio mapping”, workshops, focus group interviews, association evaluation,
surveys, cross-cultural studies, benchmark analysis and following tracking are
mentioned in the processes. It gives evidence of a high standard of
professionalism (not that I had to expect anything else) and well developed
methods in the creative phases.
The ExploringSound logo group is also presented at this year’s Audio Branding Congress where
I will present a pilot study of Free Association Profiling of Sound logo. In
relation to the conference the Audio Branding Yearbook 2011 will be published.
Here a paper on the exploratory study will be presented.

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