The fantastic people at Red Bull never cease to amaze us, and the Red Bull Air Race is no exception. After a 3-year hiatus, the World Championship to own the skies is back!!! Musikvergnuegen is thrilled to have worked with Katapult Films in creating the music for the spots promoting each of the 8 worldwide races. Big thanks to Manfred Fink at Kastner for masterminding 200 orchestral tracks with us to make this happen. You can witness the amazing speeds and incredible arial acrobatics, starting with the first race Feb. 28 in Abu Dhabi. But we’ll be flying on some slowwwwww commercial airline to Vegas on Oct. 11th to check out the race there.
Walter and Musikvergnuegen have recently finished a project with Garson Yu (YU+CO) called T.I.N.Y. (The Interactive New York). This is a multimedia art installation at Pier 57, located at 15th Street and the Westside Highway. It is open to the public starting on Friday, May 31, 2013 and will run through Sunday, June 16, 2013. We are proud to have created the audio for this interactive audio experience and to have worked with an amazing group of people.
Walter Werzowa has been invited to be the Keynote Speaker at the first seminar of a row of seminars and lectures arranged in cooperation with the Danish Innovation Network for Market Communication (IMKF), Aalborg University and The Sound Communication Network. This will be taking place in Denmark on April 30, 2013. After the lecture, Walter will be conducting a Master Class where he will assist in analyzing and advising presented work.
Musikvergnuegen has also been busy with audio branding. We just finished up a lovely Friday Bride Day Mnemonic that will air soon on TLC. We also had the pleasure of working with Ogilvy & Mather, Chicago, on conceptualizing, exploring and executing a mnemonic for a Glade Master Brand. The mnemonic has yet to receive it’s final approval. We have a few other exciting branding projects that are close to wrapping up so make sure to keep an eye on our news and blog for updates.
And finally, tune in to the Cooking Channel on April 29th as they air new spots with music that was done by Musikvergnuegen.
A study to find the eye and ear’s role in successful television commercials was conducted using 300 consumers. 14 successful national commercials were chosen and each was “de-branded” with all of the audio and visual clues to the advertisers’ identity removed. The consumers, all ranging in age from 21 to 54, were then split in half in to two groups. Group 1 was presented with the de-branded video clips of the actual commercials. Group 2 was presented with the de-branded audio clips of the same commercials. The results were the same as both groups were able to identify the advertisers for each commercial.
When an audio clip or a video clip of a Duracell commercial was shown to the consumers, brand identification rates were at 77%, identical between both groups. 39% of the group that was exposed to the audio clip referenced Duracell’s three-tone sonic brand, proving the effective use of an audio signature. 27% of the same group noted the narrator’s voice (Jeff Bridges) as one of the sounds that helped them recognize the brand. 68% of the recognition branding moment for the group that was exposed to the video clip were auditory in nature.
When an audio clip or video clip of an Apple commercial was shown to consumers, the recognition rate nearly identical. For the group that was exposed to the audio clip, 47% of the consumers noted Siri’s voice as being the brand trigger while 37% noted that the brand trigger was the double-beep. For the group that was exposed to the video clip, the top brand trigger for these consumers was actually audio in nature, and not visual. 1 in 3 of the consumers noted hearing Siri’s voice as the recognition brand trigger. 1
Musicfit: When visual and audio are congruent, memorability and brand experience is enhanced by +1207% – If visual and audio do not work together, the effect is lesser than memorability of each single modality. This research was done by Charles Spence. 2
In 1998, Adrian North, David Hargreaves and Jennifer McKendrick ran a test in a British wine shop to determine the role of background music in purchase decisions. For a number of days they piped in French and German music, alternating between the two. The results: on French-music days, the French wine outsold the German wine by a ratio of four to one. On German-music days, German wine outsold the French by a ratio of three to one. 3
The same team also discovered that customers are likely to tolerate long waiting times (both on the phone and in the real world), if and when the hold/background music is enjoyable and fits our expectations. 4
1 – For more information on the study of the eye and ear’s role and additional commercials, please view: www.raisingthevolume.com/eyevsear/
2 – Charles Spence, BA MA PHD, Professor of Experimental Psychology, University Lecturer in Experimental Psychology
3 – North and Hargreaves, “The effects of musical complexity and silence on waiting time,” Environment and Behavior 31, January 1999
4 – North, Hargreaves and McKendrick, “Music and on-hold waiting time,” The British Journal of Psychology 90, Fall 1999
We are welcoming Joe Wright (Pride & Prejudice) and Thomas Napper (The Soloist) to the Arclight Hollywood for an exclusive one week engagement of LOST ANGELS: SKID ROW IS MY HOME, starting this week on December 7th. This film is narrated by Catherine Keener and takes a look in to the homeless community, while focusing on eight remarkable individuals. It was a great privilege to work with such a creative team as well as the residents of Skid Row.
We are honored to be a part of the Cannes Lecture Team and were called upon to hold another workshop on a burning issue, which is both a creative and a legal subject. This workshop will take place at the Festival on Thursday, November 29th, in two sessions: Session 1 at 10:30 – 11:30, Session 2 at 14:00 – 15:00. For more information, please visit the Eurobest website. We look forward to seeing you there!
Congratulations Felix Baumgartner on completing your record breaking jump!
Musikvergnuegen would like to congratulate Felix Baumgartner for completing a record-breaking skydive off of the Red Bull Stratos from more than 127,000 feet high!
Falling at a speed of 1,136km/h, he also broke the sound barrier.
We had the greatest honor of creating the music for the Red Bull’s Stratos Project when this mission was first announced, which was also used throughout all of their marketing.
We loved working on the music and are still so ecstatic to finally see this mission accomplished!
What makes us love music, why do we like temp tracks?
We love music, which either hits us emotionally or academically (sometimes even both).
The latter effect is easier explained when music offers new complexity or is performed to satisfy or even overcome certain expectations (think of virtuosi performing The Flight of the Bumblebee extremely fast and without mistakes).
When we talk of our emotions it gets more complicated. We can love music just by association, like the music you heard when you received your first kiss, etc. It seems we love music if the opus has the “right” amount of surprises and expected notes.
What I mean is: When you hear the track for the first time, your brain instantly tries to predict the next note. If you would always predict correctly, the piece turns out boring. If you would always get surprised and never guess correctly, you might feel uneasy or only academically intrigued.
What plays into this is the amount of times you hear the particular piece. Even if (almost) every note was unpredicted, the normal listener might detect and remember certain patterns and “fall in love” with those.
Have you ever bought a new record and it took you a couple of listens to find out how great it is? Have you ever worked with a temp track that you “disliked” for the first day and then loved every detail when you were exposed to it for a week?
The listener does not come to the listening experience as a blank slate. The listener already has musically pertinent existing knowledge. Styles provide norms against which music is experienced. Emotion is evoked when events deviate from stylistic norms:
“the customary or expected progression of sounds can be considered as a norm, which from a stylistic point of view it is; and alteration in the expected progression can be considered a deviation. Hence deviations can be regarded as emotional or affective stimuli.” 1
Listeners are typically familiar with several stylistic norms, and may experience a passage differently depending on the norm applied:
“the same physical stimulus may call forth different tendencies in different stylistic contexts… For example, a modal cadential progression will arouse one set of expectations in the musical style of the sixteenth century and quite another in the style of the nineteenth century.” 2
Music is not a “universal language.” 3
Universalism is the error of regarding music organization as “good for all times and all places.”
“Western music is not universal, natural, or God-given.” 4
It is a product of learning and experience.
1 Meyer, Leonard B. (1956). Emotion and Meaning in Music. Chicago: Chicago University Press.
2 Meyer, Leonard B. (1956). Emotion and Meaning in Music. Chicago: Chicago University Press.
3 Meyer, Leonard B. (1956). Emotion and Meaning in Music. Chicago: Chicago University Press.
4 Meyer, Leonard B. (1956). Emotion and Meaning in Music. Chicago: Chicago University Press.
It is extremely difficult to quantify the effect that an Audio Brand, itself, has on a revenue and profits, especially when it is part of a larger, multi-faceted branding campaign. Still, it is worth examining how an Audio Brand can be effectively employed as part of a larger advertising push. A 2005 case study by Intangible Business examined Intel’s successful branding campaign, which utilized the famous four-note Audio Brand composed by Musikvergnuegen’s Walter Werzowa. In its first year, sales worldwide increased by 63%. In 1991, before the “Intel Inside” was unleashed, only 24% of European consumers were familiar with the chipmaker. Within four years, 94% were aware of the brand, and by 1998, Intel controlled 90% of the world’s PC microprocessor industry.
The recognition among consumers would not be temporary, however, as Martin Lindstrom found in his 2008 book “Buyology: Truth and Lies About Why We Buy.” Lindstrom performed a test to gauge how addictive a wide range of branded and non-branded sounds are. Among his subjects, the Intel Audio Brand proved to be the second most addictive sound of all, next to a baby giggle.
An essential part of creating a successful branding campaign is understanding just how powerful audio can be. Music is incredibly important to increasing brand awareness and has also been found to influence consumers’ purchasing decisions. Furthermore, it enables companies to charge premiums on their products and services. In contrast to visual stimuli, audio can be processed without active participation and thus, directly affect consumer decision-making on a subconscious level. A study by branding maven Adrian North found that music can raise or lower a consumer’s perceived value of an identical basket of goods. He noted that when wine stores played traditionally French music on one day and German music on another, the wines from that particular country sold four to six times more.
So while there is no clear-cut method to determining the value of an Audio Brand’s return on investment, it is possible to infer a certain level of growth based on peripheral metrics.