This refers to all (primarily visual) features and elements that characterize the brand. In other words, the corporate design elements such as logo, colors, visual language and, in the case of some brands, also the wording – the so-called tone of voice.

Often, a good guiding principle for the brand sound already lies in the brand name.

For example, in the way the brand is pronounced. The prosody, i.e. the speech melody, can become a musical recognition feature or provide other fertile ground for creative ideas.

Furthermore, it is worth taking a closer look at the design elements and deriving design ideas as to how they might sound in purely formal terms? How does light blue, a round logo or a word mark in »futura extra bold« sound?

This sounds rather weird and abstract at first, but it is actually a valuable aspect of acoustic brand translation.

For example, there are so-called intermodal analogies that everyone uses in everyday life. The point is that there is a connection between all the senses.

In everyday life, for example, people also talk about a round wine or a glaring sound. These intermodal analogies can be ideally used to translate design elements as a first design method.

The products themselves can also often be used as an important sound basis. For example, when it comes to products that emit sounds such as machines, devices or means of transport.Sometimes you even have the chance to »prove« a certain generic sound for a brand, because no other manufacturer has done it yet (example Festool product sounds of power tools in the sound logo, Flensburg bottle cap).

The next option of translation opportunities is to look at how the brand is described in terms of its values and characteristics.

Brand positioning, brand models:

Brand Archetypes (Based on the archetypes of the famous Swiss psychoanalyst Carl Gustav Jung).
The archetypes describe the special characteristics of the brand (or how it would like to be experienced).

Through the archetypes one can deduce a lot about the general handling of sound elements.

One speaks then of the Brand-Sound-Principles.
While a »The Caregiver« relies on the use of familiar sounds, the »The Creator« cannot be innovative enough. And in each case, not only the sound itself is meant, but also the treatment of sound (e.g., which tools are used in the application, which communication channels are used or even newly created).

Meanwhile, almost every brand or branding agency has its own positioning models – which are all very similar.

Basically, all models are about describing a brand in all its desired facets and characteristics.

If brand builders want to know what is important for the audience that will listen to the brand sound in the future, there are many different ways to describe the target groups.

We encounter approaches ranging from market or social research to neuropsychology.

Some approaches are very well suited for our sound translation, others rather not.

Note:
In all target group descriptions, it is always important to take into account that musical preferences are also subject to a zeitgeist and, depending on brand positioning, to trends. This half-life should always be taken into account.

Some brands can use the same song for decades, while for others stylistic variety is an important criterion.

The well-known Sinus Milieus are only limited, since no music is surveyed.

In contrast, the »Schulze Milieus« are quite applicable, since music is also taken into account (note: unfortunately a bit outdated).

Description of target group characteristics via psychographic characteristics – in the form of values (semiometry).

Target group classification according to neuropsychological approaches / keyword neuromarketing. So brain research meets consumer research. In this approach, the goal is to position a brand in such a way that it is in harmony with emotional motives (and thus also purchasing decisions).

In addition to the classic tools of market and social research, it is of course worthwhile to take a look at the listening and usage behavior of the intended target group in the currently important channels such as Spotify, Facebook, Instagram or TikTok in order to determine the musical preferences of the desired target group(s).

Which songs and styles are frequently listened to by the target group. What is the direct interaction of beats and tracks – on TikTok, for example.

All this information helps to better understand the target group and to meet them as a brand with the right (liked) sound.

It’s good to know what the competition sounds like. First, to avoid confusion and second, to find niches.

How to:

1. research on the publicly available channels such as website, social media or press reports.

2. user interviews – what sounds from other competitors can the target audience name?

3. use professional tools/services.

There are good tools here, such as the »Audio Logo Database“ of the Audio Branding Academy (unfortunately no longer active) or the „audity Brand Sound Archive“ (please contact us if you are interested: hello(at)audity.co).

What about copyright, rights of use and exploitation?
(Copyright, P.R.O., buy-out, sound brand protection )

Wasn’t there something about artificial intelligence?
Yes, they are there, the first approaches with A.I. for objective evaluation or for research purposes of music pieces.
You can find approaches to reduce human misjudgements based on subjective opinions or to predict which pieces of music will be especially liked by a certain target group. In a separate article, we will look at our experiences with currently available technological solutions, the concrete benefits but also risks and weaknesses for acoustic brand management.