Sonic Branding: An Introduction

199 Pages·2003·23.081 MB·English

by  Daniel M. Jackson (auth.), Paul Fulberg (eds.)

Sonic Branding
AN INTRODUCTION
Daniel M. Jackson
edited by
Paul Fulberg
* © Daniel M. jackson and Paul Fulberg 2003
Foreword © Fru Hazlitt 2003
Sohcover reprint of the hardcover 1st edition 2003 978-1-4039-0519-2
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First published 2003 by
PALGRAVE MACMILLAN
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175 FihhAvenue, NewYork, N.Y. 10010
Companies and representatives throughout the world
PALGRAVE MACMILLAN is the global academic imprint of the Palgrave
Macmillan division of St. Martin's Press, LLC and of Palgrave Macmillan Ltd.
Macmillan® is a registered trademark in the United. States, United Kingdom
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ISBN 978-1-349-50977-5 ISBN 978-0-230-50326-7 (eBook)
DOI 10.1057/9780230503267
This book is printed on paper suitable for recycling and made from fully
managed and sustained forest sources.
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
jackson, Daniel M., 1972-
Sonic branding: an introduction I by Daniel M. jackson and
edited by Paul Fulberg.
p. em.
Includes bibliographical references and index.
1. Advertising-Brand name products. 2. Music in advertising.
I. Fulberg, Paul, 1973-11. Title
HF6161.B4j3 2003
659.14-dc21 2003046970
Transferred to Digital Printing 2009
Contents
List of frgures
VIII
List of tables ix
Foreword by Fru Hazlitt, Managing Director, Yahoo! UK Ltd X
Preface
XIII
Le marque sonique XV
Acknowledgements xxi
Part One: What is Sonic Branding? I
Chapter I The opportunity knocks 5
Chapter 2 Jingle all the way I I
Chapter 3 What the movies did for us 16
Chapter 4 What is sonic? 23
Chapter 5 The sciency bit 27
The almond of emotion 36
Chapter 6 The three elements of sound 38
Voice 38
Ambience 40
Music 43
Part one: conclusion 47
Part Two: The Nature of Brands 49
Chapter 7 A historical perspective 51
Chapter 8 Brand and its symbols 54
Chapter 9 McBrands 60
Chapter IG The essence of brand is belief 63
Chapter II Turning beliefs into brands 66
v
Contents
vi
Chapter 12 Generating belief-the greatest story ever told 73
Chapter 13 Any belief can become a brand 80
Chapter 14 Definition of a brand 86
Chapter IS Branding 87
Distinct 87
Memorable 91
Flexible 93
Honest 95
Part two: conclusion 96
Part Three: This is How We Do It 97
Chapter 16 The sonic branding engine 99
Chapter 17 Brand brief 100
Royal Institution of Chartered Surveyors 101
Vizzavi (part I ) 102
Chapter 18 Creative learning 104
Historical audit 104
Competitive audit 108
UK food retail 113
Contextual audit 114
Chapter 19 Moodboards liS
Vizzavi (part 2) 118
Chapter 20 Identity 122
Chapter 21 Sonic language 124
Chapter 22 Sonic guidelines 129
'Hello, it's me!' 131
Choosing a voice 134
Chapter 23 Sonic logo 141
Direct Line 142
Chapter 24 Technical considerations 147
Chapter 25 Experience 149
Summary 151
Contents
vii
Appendix: Dialogues 152
jon Turner, executive creative director, Enterprise IG 152
Sam Sampson, chairman, The Brand Union 154
Andrew Ingram, account planning director, Radio Advertising Bureau 155
Robbie Laughton, executive creative director, DAVE 159
Tim Greenhill, managing director, Greenhill McCarron 163
Ali johnson, creative director, Sonicbrand 165
Glossary 169
References 170
Recommended further reading 173
Index 175
List of figures
1.1 Sonic brand touchpoints 6
5.1 The outer ear 28
5.2 The inner ear 29
5.3 Left and right brain attributes 33
11.1 Belief 69
I 1.2 Belief becomes an idea 69
11.3 Brand stakeholders 70
I 1.4 Stakeholders' share in the belief and idea - Starbucks 71
I 1.5 Stakeholders' share in the belief and idea - abstract 71
12.1 Christianity as a brand 75
12.2 Christianity as a brand and experience 76
13.1 Sustainability requires a feedback system 84
14.1 The PEl/benefit brand model 86
15.1 Top ten brands 88
16.1 The sonic branding engine 99
22.1 Hypothetical model linking voice to listener's perception 135
viii
list of tables
19.1 Sample moodboard I 117
19.2 Sample moodboard 2 118
22.1 The four types of voice-service 133
22.2 OCEAN personality profile model 136
22.3 Typical adjectives used to describe voices in the UK 137
22.4 The 14 vocal attributes 138
22.5 Contrasting two voices 139
22.6 Finding the right voice 139
23.1 Usage guidelines for TV 142
23.2 Usage guidelines for commercial radio 142
ix
Foreword
I have a dream today ...
If there is one talent I have always wished to possess, it is very definitely
the ability to sing or at the very least the ability to write things that other
people could sing. For most of us music has a unique and often disturbing
power and those who can wield it are fortunate indeed.
Speaking for myself, I know that after a bad start to my day, good humour
can be magically restored by the rendition on the radio of one of my
favourite Abba tunes. Of course I may well be alone in my choice of tune
but believe that the general principle applies to most of us. Music moves us
from one emotion to another, usually without us even realizing when or
especially how it happens. For those of us who lack the singer's talents, it
is worth noting that music is not alone in its ability. There is another gift
possessed of few that can evoke a similar and in some cases even more
extraordinary response from an audience; the talent of the orator.
I do hope I will cause no offence if I say that neither Adolph Hitler nor
Winston Churchill were in a 'Hollywood' sense attractive men but it is clear
that when they spoke to the masses, the masses were moved in an awesome
and often alarming manner. With so little to offer visually, it has always inter
ested me as I listened to recordings from the time, that the key to the emo
tive power of the men's speeches was not what they were saying but how they
were saying it. I ask you right now to read aloud the following immortal
words, spoken by Churchill with regard to the Battle of Britain: 'Never in the
field of human conflict, was so much owed by so many to so few.' You may
sound OK and you may think as you read that this was a fine and well
constructed thing to say. Listen, however, to the original recordings of that
same speech. Let Winston himself speak the words and I defy anyone not to
experience even the smallest of shivers. Perhaps this is why history remem
bers the orator and forgets the speech-writer. Did Martin Luther King write
those immortal words himself? And if he did not, who cares! The passion with
which he spoke them is what stays in the memory; his tone of voice summing
up everything for which he stood. The point I am making is that the emotive
power of sound should never be overlooked or underestimated when just a
song or a few words, presented in the right way, can move so many people.
X