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Links etc. collected by Rob Walker.

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    How do consumers see a product when they hear music? →

    "Suppose that you are standing in a supermarket aisle, choosing between two packets of cookies, one placed nearer your right side and the other nearer your left. While you are deciding, you hear an in-store announcement from your left, about store closing hours," write authors Hao Shen (Chinese University of Hong Kong) and Jaideep Sengupta (Hong Kong University of Science and Technology). "Will this announcement, which is quite irrelevant to the relative merits of the two packets of cookies, influence your decision?"

    In the example above, most consumers would choose the cookies on the left because consumers find it easier to visually process a product when it is presented in the same spatial direction as the auditory signal, and people tend to like things they find easy to process.

    — 10 months ago with 1 note
    #Branding  #Music  #psychology 
    Meet the man behind the music at more than 1,400 Chipotles - Page 1 - Dining - Denver - Westword →

    Christopher Golub is the guy who programs the songs for all of Chipotle’s more than 1,400 restaurants, making him responsible for an essential piece in founder Steve Ells's restaurant vision.

    "When [Ells] opened the first one, over on Evans, his belief was that he always thought music was an important part of the overall restaurant experience," Golub says. "So he began with his programming at the first store, and it went on from there. He always kept a focus on music as an integral part of the experience."

    Today Golub runs an enterprise called Studio Orca that’s based in Brooklyn, where his company creates “music identity” for a number of different brands. Chipotle is his biggest client, and you’ll find him at Chipotle’s Cultivate Festival in Denver next month, spinning his restaurant programming between music sets.

    Somewhat belatedly, this piece and the phrase “music identity” is now reminding me of reporting for a 2005 story for Inc., about Rumblefish. At the time Rumblefish was using that same term, and it was the first I’d heard it:

    If the idea of music identity sounds a little confusing at first, the relationship between Rumblefish and Umpqua is a helpful introduction. The theory is that one way consumer-oriented companies can give meaning to their brands is by way of the music they associate with — whether it’s simply the soundtrack to their advertising or through more ambitiously unpredictable marketing tactics. Anthony argues that while plenty of brands are willing to rely on teams of specialists — design firms, color experts, and so on — to craft a logo, they often give too little thought to how the brand sounds.

    — 1 year ago with 2 notes
    #Branding  #Murketing  #Music Identity 
    Household-Product Sounds Are a New Strategic Branding Feature - WSJ.com →

    The small sounds consumer products make—whether a snap, click, rustle or pop—can be memorable and deeply satisfying, often suggesting luxury, freshness, effectiveness or security.

    Companies, in their endless drive to motivate customers to buy, are paying more attention to these product noises and going to great lengths to manipulate them. Sound is emerging as a new branding frontier.

    — 1 year ago with 1 note
    #Sound  #Branding  #Murketing 
    What Does a Brand Sound Like? →

    Does the start-up sound of a computer have an emotional meaning to its user? Why are ringtones more popular than ringback tones? Is the commercial jingle a relic in our supposedly media-savvy age? How does a retail space decide upon its playlist? Do bars and restaurants really sell more drinks when the music is played louder? Why do some stores hide their speakers, while others make them prominent features of the interior design? Should websites have scores, or background music, the way that movies and TV shows do? Should ebooks? Should movies and TV shows, for that matter? Why are voice actors famous in some countries and largely anonymous in others? What have online MP3 retailers learned from brick’n’mortar stores — what have they unlearned, and what have they forgotten? How do darknet filesharing services promote themselves in secret? What does the relative prominence of social-network functionality say about Apple, Bandcamp, eMusic, Rhapsody, SoundCloud, and other online services? When and why did musicians stop being perceived as sell-outs when they licensed their songs to TV commercials?

    What, to put it simply, does a brand sound like?

    These are some of the questions we’ll explore in a course I’ll be teaching this autumn at the Academy of Art in San Francisco (academyart.edu).

    Wish I could attend ….

    — 2 years ago with 3 notes
    #Murketing  #Sound  #Branding  #Music  #Criticism 
    Songs With a Brand Name →

    productdisplacement:

    Shameless self-promotion… Please follow Songs With A Brand Name … where we explore examples of brand dropping in music.    

    — 2 years ago with 11 notes
    #Branding  #Product Placement 
    Music and metrics < PopMatters →

    Even in the traditional music industry, the need for bands to self-promote and build a “platform” has become institutionalized, which has to a degree crowdsourced the A&R function. This article from last week’s Economist gets at the dialectics of this shift:

    A&R men used to be alchemists, discovering base talent and turning it into gold…. These days they are venture capitalists. Particularly at big labels such as Universal, A&R executives increasingly expect acts to have built a self-sustaining, if modest, business before they offer them a recording contract. Large numbers of Facebook friends and Twitter followers help show that a band has traction. But record labels have become wary of social-media indicators. They know that desperate bands may chatter about themselves or hire marketing firms to inflate their online metrics.

    Bands are less artists than entrepreneurial startups, manipulating online social networks to gain leverage with potential investors. The product they sell doesn’t need to be good if the market for it can be posited, and the structure of the industry encourages musicians to focus their talents on that sort of market making. As certain social media metrics get corrupted, new ones will be established, because they serve as an essential proxy for the one metric that will never be perfected, the one that quantifies talent in the abstract.

    — 2 years ago with 18 notes
    #Charts  #Indiepreneurs  #Branding  #Music Business