Does a brand need sound?

Will sound become an essential element of brand identity?

It seems to me that this is still an underappreciated sphere that should be considered part of a complete brand identity. While the impact of music on consumer behavior in ATL has long been recognized, in Poland, its use within branding itself is still in its infancy. It’s a pity, because this element is, in my opinion, extremely important: it goes beyond the visual perception of a project and engages another, equally significant human sense. It therefore becomes a perfect complement in building a holistic brand identity. Let’s remember: a brand is not just a logo. From my perspective, it is certainly not yet a standard, but audio branding will gain importance year by year. Is it worth investing in this area? From the perspective of differentiation on the market—definitely. There is no single recipe for the right moment to introduce it, but ideally, this stage should follow the brand strategy and the creation of basic identity elements such as the logo and key visual. At that point, sound perfectly complements the project’s visual layer.

What does the process of creating a sonic identity look like?

Musically, any story can be told. There are no limits, no restrictions—the possibilities are endless, as many as there are musical styles. Music is primarily about emotions, which means we can capture the desired qualities of a brand in just a few notes. I recall when Robert Fripp of King Crimson was asked to create a theme for Windows Vista: he composed a short sonic phrase that fit perfectly into the Windows image. So yes—it’s possible. I cannot imagine audio branding being disconnected from visual identity. In fact, I believe designers of the visual system should also be involved, as they bring a creator’s perspective. This ensures a stronger outcome. The key to successful audio branding lies in building the right team. We often recall famous cases—Intel, McDonald’s, Netflix—but forget that world-class musicians stand behind them. “I’m lovin’ it” began as a Justin Timberlake track, produced by Pharrell Williams and Chad Hugo (The Neptunes). Netflix’s sound was created by Lon Bender, an Oscar-winning sound designer behind Drive, Shrek, and The Last of the Mohicans. That should be recommendation enough.

In which channels does sonic branding work best?

Audio branding should always be approached broadly—it isn’t limited to certain media. Of course, it thrives in digital environments, but ideally, it should be considered across all touchpoints where the brand is or will be present—even the most unexpected ones.

Is investing in a sound logo worth it? How to measure effectiveness?

It depends. As I’ve mentioned, this element will become increasingly important, and those who move first will be in a stronger position. Scale doesn’t matter—competitiveness does. Measuring effectiveness is tricky, though. It’s less about metrics and more about leveraging opportunities strategically, similar to long-term brand building. A great example is McDonald’s: Justin Timberlake first tested the “I’m lovin’ it” campaign in Germany, then it was adapted globally, ultimately becoming the brand’s main audio asset. Effectiveness here was about seizing opportunities rather than measuring sound parameters.

What are the most common mistakes brands make with audio?

Above all, underestimating the potential of extending branding with a professional audio layer. Today it may seem like a luxury, but sooner or later, it will become crucial. Motion design offers a good analogy: identity systems are already built with motion in mind. Another mistake is looking at audio branding through the lens of personal musical tastes—on the client’s side as well as the agency’s. This happens often, and while difficult to avoid, it can limit solutions. After all, brands are built by people.

Sonic branding – czy marki potrzebują własnego dźwięku [OPINIE]