International Sound Awards Yearbook 2017 by International Sound Awards

= link to the Audio Branding Academy Website/Cases

ISA | YEARBOOK 2017

International Sound Awards Yearbook 2017 = link to the Audio Branding Academy Website/Cases

EDITORS Kai Bronner Cornelius Ringe PUBLISHER Audio Branding Academy GbR Barnerstr. 61 22765 Hamburg PROJECT MANAGEMENT Birgit Elke LAYOUT Kai Lütge PRINTED IN DRESDEN by Saxoprint © Audio Branding Academy GbR 2017

ISA | YEARBOOK 2017

TABLE OF CONTENTS PRELUDE

BETTER SOUND AND WINNER ISA2017

Collide

Better Sound – Category: Sound Art

Hyundai Audio Branding Better Sound – Category: Audio Branding

Interactive 3D Sound by USOMO

Winner – Categories: Research & Development, Digital Product Sound Design

Kuka Brand Experience

Winner – Category: Ambient Sound

LATAM Airlines Audio Branding

Winner – Category: Audio Branding

laut.fm/live

Better Sound – Category: Research & Development

Siemens Audio Branding

Winner – Category: Audio Branding

SonicTonic: Sound 4 Healthcare

Better Sound – Category: Health

TedX Bits of Love

Better Sound – Categories: Ambient Sound, Audio Branding

ISA | YEARBOOK 2017

TABLE OF CONTENTS The Impossible Run

Winner – Categories: Health, Universal Design, Social & Culture

The Sound of Chivas Ultis

Better Sound – Category: Audio Marketing

The Sound of Shell

Better Sound – Category: Audio Branding

UOC Brand Sound

Better Sound – Category: Audio Branding

Where The Light Guides You

Better Sound – Categories: Social & Culture, Sound Art

XOUNTS UP – Sound and Ambiance

Better Sound – Categories: Research & Development, Digital Product Sound Design

The ISA2017 Jury

The AUDIO BRANDING SOCIETY

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PRELUDE The Audio Branding Academy was founded in Hamburg in February 2009. It is the first and only institution to globally promote a sophisticated and responsible use of sound and silence within branding efforts. In the same year the first Audio Branding Congress was held in Hamburg. From the start the congress was met with much positive resonance from the participants and the still small but highly international Audio Branding industry. After another successful congress followed in the next year in 2010, the Audio Branding Academy received several invitations to hold the congress in other international cities. Thus the following events took place in New York, Oxford, Moscow and Berlin. In the beginning the conventions were a constructive mix of scientific lectures on music and sound in marketing communication, as well as best practice cases from the audio branding field. The development of a common definition and consensus about the underlying methods of audio branding and the sharing of expert knowledge led to a worldwide professionalization in the field within only a few years. It became apparent very quickly that a transparent and discursive competition would help the still young discipline to develop more quickly. This is why the Audio Branding Academy established an own award that was first presented in 2011 in New York. Given the motivation to be honoured was an incentive for the worldwide best Audio Branding agencies to give deeper insights into their work and at the same time set benchmarks for best practice. Today the biggest existing collection of audio branding cases can be found on the Audio Branding website under the category â&#x20AC;&#x153;Knowledgeâ&#x20AC;?. Over the years one can observe that the quality of the cases has continuously improved. Besides organising events and congresses the Audio Branding Academy successfully engages in academic networking, scientific research collaborations, university lectures and supervision of students to establish audio branding as an academic discipline at universities all over the world. Along with several scientific publications, an increasing number of bachelor, master and doctoral theses now offer a well-founded theoretical basis. In 2016 it was time for the Audio Branding Academy to take a step forwards and introduce some changes. After several years abroad, the Audio Branding Academy has returned to their hanseatic roots and has set Hamburg as the permanent host city for future award events. Since 2016 the Audio Branding Academy has cooperated with the Reeperbahn Festival as a strong and widereaching partner within which framework the Audio Branding Academy events are held. The Hamburger Reeperbahn Festival is considered one of the worldwide most important meeting points in the music scene. It is not only Europeâ&#x20AC;&#x2122;s greatest club festival, but it also hosts the international music and digital economy conference NEXT.

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In 2017 the Audio Branding Academy presented the “ISA – International Sound Awards” for the first time. Under the motto “Make the world sound better!” the best and most innovative sound concepts and sound solutions are honoured with this new prize. Including Audio Branding, now the categories range from sound architecture to digital sound applications to sonic user interfaces and product sound design. For the Audio Branding Academy this step means widening their range and an inclusion of new disciplines. The new award concept draws more attention to the relevance of sound in modern day-to-day life. With the increase of digitization in all areas of our lives, more than ever we have to ask ourselves how we want to shape our auditory environment. The best concepts and solutions for a conscious handling of music, sound and silence are awarded with the trophies, the “ISAbell Winner” and “ISAbell Grand Prix”. In addition, all nominations are honoured as “Better Sound”. In this newly designed yearbook you will find all “Better Sound” case studies and winners of the International Sound Awards 2017, an overview of the award jury and a list of Audio Branding Societies’ members. The Audio Branding Academy thanks all case contributors and congratulates all Better Sound nominees and ISAbell winners. Special thanks go to Steve Blame, the moderator of the award gala. We also had the pleasure to trust in the decision of an internationally experienced award jury: Bernhard Bahners, Laurent Cochini, Thomas Görne, Steffen Holly, Rainer Hirt, Daniel Hug, Reinhard Kopiez, Herwig Kusatz, Emma Rodero, Andreas Schönrock, Martyn Ware, Carl-Frank Westermann and Roscoe Williamson.

Thanks to all supporters of our vision. Make the world sound better!

Kai Bronner

Cornelius Ringe

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Collide BETTER SOUND – CATEGORY: SOUND ART Collide is an experimental approach using latest technology to combine aspects of synesthesia with contemporary composition methods. The setup consisted of an open score, the Collide visuals, three Oculus Rifts and three cellists in a classic recording setup. The sound was then enriched and collaged into a ten-minute track for a 52-channel Dolby Atmos® sound system at the Dolby Gallery in San Francisco. We wanted to reverse the approach of bringing content into Virtual Reality. How to feed something into reality from a virtual experience? How could we influence our art by using VR as a tool? Having the previous questions in mind, we developed our sound concept based on a video made by our visual partners, Onformative. Their video was an abstract visualization derived from tracking-data they collected from dancers. Our intention was to play with the concept of synesthesia. Three cello players where then to be conducted by this abstract video shown through the VR-Goggles. Colors and movement were to be the score for the sound/ music we wanted to record. The soundtrack to Collide is an experimental approach using latest technology to combine aspects of synesthesia with contemporary composition methods. The setup consisted of an open score for three celli, the Collide visuals, three oculus rifts and three cellists in a classic recording setup. The composition was a set of harmonic and rhythmic rules that was simple enough to memorize after a few repetitions. The instrumentalists put on the VR-Goggles while playing the piece by heart. Each player saw only one third of the wide Collide visual, one left, one middle and one right. Since the composition only gave an open frame of what to play, the visuals in the VR-Goggles functioned as conductors to the ensemble. Depending on color and motion in the films, strong shifts in dynamics and tempo occurred in the piece. Sometimes almost parallel for all players, sometimes very different from one another. The recorded material was then edited, enriched and collaged into the final format, a ten-minute multichannel track that played on the 34 speaker/17 subwoofer spatial sound system provided in the Dolby Gallery, San Francisco. Our Sound Art design was exhibited for 3 months in San Francisco at Dolby Surround’s Showroom. Collide has also been exhibited in Istanbul. It was presented in the Nonspaces exhibition between December 16, 2016 and March 3, 2017, curated by Ceren Arkman and Irmak Arkman from GRID Istanbul.

Credits kling klang klong GbR, Berlin, Germany, www.klingklangklong.com Maurice Mersinger, Music Composer/Concept Valentin von Lindenau, Music Composer Johannes Helberger, Spatial Sound Artist

Onformative GmbH Cedric Kiefer, Creative Director Bernd Marbach, Art Direction

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Hyundai Audio Branding BETTER SOUND – CATEGORY: AUDIO BRANDING In 2016, Hyundai aimed at creating a corporate sound that translates the brand strategy into a consistent brand experience. The new sound evolves from the principal sound attributes. The concise musical theme is a simple, ascending six-tone sequence that flows dynamically and ends on an open tone, which points the way into the future. Hyundai spearheaded an 18-month, global brand relaunch across all markets implementing the brand expression. The new corporate design together with the corporate sound translate the brand strategy into a consistent brand experience. The desire to make modern mobility accessible to everyone formed the basis of the future branding. The main aim was to create a unique brand DNA that makes Hyundai instantly recognizable and delivers a consistent, global brand experience to consumers worldwide. The new Hyundai sound evolves from the principal sound attributes: essential, refined and confident. We have created a sound tonality that is harmonious, smooth and fluid. The performance is minimalist yet the details are self-assured and lively. The concise musical theme is a simple, ascending six-tone sequence that forms the basis of the Hyundai sound and determines the sonic logo. It flows dynamically and ends on an open tone, which points the way into the future. The new holistic Hyundai sound promises to make modern mobility available to all people. To reinforce this approach, the audio branding was thoroughly revitalized. Beyond the sonic logo, a wide range of additional sound elements – the Hyundai sound universe – was introduced. They are standardized for global usage and shape the brand tone. Hyundai, its agencies and musicians have the keys to access the individual sound elements and use them for their respective purposes. The sound architecture has been created for all international markets and is incorporated into all Hyundai brand touch points, from trade fairs and events to telephone waiting loops, film dubbing and soundscapes in car dealerships. The new audio branding concept will also be used in the actual vehicles in future — for instance, greeting and goodbye sounds heard by the driver when entering and exiting the car will be inspired by the new sonic logo. By this, the customer can experience the brand both outside and inside the vehicle. The new Hyundai corporate sound has been received very well within the organization and they are more than satisfied with the result. They are particularly proud of having introduced a sonic logo as well as a wide range of sound elements that are standardized for usage globally. This underlines the fact that the brand promise is universal, and that their customers can rely on it and experience the same brand attitude regardless of where they are located.

Credits why do birds GmbH, Berlin, Germany, www.whydobirds.de Alexander Wodrich, Managing Director Jennifer Stinglwagner, Project Manager Leopold Hoepner, Sound Director

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Interactive 3D Sound by USOMO WINNER – CATEGORIES: RESEARCH & DEVELOPMENT, DIGITAL PRODUCT SOUND DESIGN usomo transforms spaces into walk-in interactive soundscapes, making digital sound experienceable three dimensionally in real space. Interior space, visuals and sound merge into an intense, surrounding 360° experience. Surprising and sense-expanding – with endless possibilities.

Immersion – the connection of space and user by media – has to date always been created with visual means: projection mapping onto architecture, light installations and 360° filmic spaces. We wanted to create this immersive effect solely by acoustic means. Providing an individual sound experience for each user was our main goal, just as much as the sound being fully in tune with the visuals. Even in small areas within the space, we wanted the sound to be fluidly changing along with the visuals and the surroundings. We wanted all objects in a space to sound, influencable by the user. And we wanted spatial acoustics to be freely definable in order to flexibly design spaces. Like immersion is created visually with 360° projections, we wanted to create it acoustically, altering the perception of the space on the audible level. With usomo, it is possible to immerse oneself in fully individual soundscapes that seem to bend physical laws. usomo generates sound in real time and sends it individually to each user, completely independent of other users’ sound experiences. In order to not affect the others and to maximize the immersive impact, the sound is transmitted via headphones. Additionally, the system is able to exactly determine the movement of each user. To achieve this, we developed our own tracking system that calculates the precise position and rotation of each user at an accuracy of 10 cm and 1°. The tracking module is attached to the headphones, and the sound is stored on an accompanying smartphone, played back via a software that was specifically developed for the most part by ourselves. The software is able to generate virtual sounds punctually or spatially. All sounds have changeable properties. With every movement of the user, the sound effects such as volume or tonality constantly change. Because the transmission of the sounds is calculated binaurally, the locations of soundsources are clearly identifiable by the user. usomo can also be synced with screen-based or projected films, creating surprising and individually explorable soundscapes that morph at every move. usomo does not need servers or other additional devices – it is very simple to install and maintain. There is no limitation to the size of the space or to the number of simultaneous users. We have derived and registered several patents from the development of the system. The effect that usomo has is much more impactful than imagined. usomo revolutionizes the perception of interior space. Users can now explore spaces acoustically at a new level of sensory awareness. The system is easily comprehensible and does not need any explanations, as it works intuitively. It enables completely new ways to create and design acoustic spaces – immersive and interactive.

Credits FRAMED immersive projects GmbH & Co. KG, Berlin, Germany, www.usomo.de Steffen Armbruster, CEO/Founder

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KUKA Brand Experience WINNER – CATEGORY: AMBIENT SOUND This is a sound experience built for an emotional and intelligent showroom for KUKA in Augsburg. A subtle balance between the sound concept, an interactive audio player software, an intelligent sound composition and two main shows, build an entire room as a living organism that engages the visitor with the five senses.

KUKA is one of the world’s leading suppliers of robotics as well as plant and systems engineering. In 2016 KUKA built their showroom for visitors to experience the history of their robotic innovation. Our focus was on the design and development of the sound experience. The wide and open space that we were given to work with had no real acoustic separation. By developing unique acoustic scenography and sound design we sectioned the space into three sonically independent areas that come together under a common theme functioning as a unit: 1. History Tunnel: to exhibit the history of KUKA, 2. Main Room, 3. Highlight Area: for two different robot performances. We designed the sound in order to communicate the innovation behind KUKA as a brand. We evoked the brand’s identity with our composition of sounds and melodies that stepped far from the obvious. The three separate spaces behaved as one living organism due to the collective dynamic, harmonics and rhythms designed for the experience. During the tour the guide carries a token that informs our audio player of the location of the group. As the token advances from one room to another, the sound of the entire space changes as if the room itself were a robot reacting to the visitor’s behaviour. Our custom made software automatically changes the mood of the areas, mixes the volumes or goes to Show Mode depending where the token is located. Once in the Show Mode, two sound compositions were programmed. 1. The Lightscribe Interactive Robot: Visitors are presented with an iPad on which they can draw anything that they want. A robotic arm with a light fixed to it will then repeat the visitors drawing in space whilst a long exposure photograph is taken. We created software that composes one soundscape in reaction to the visitor’s drawings, and another which reacts to the movements of the robotic arm. The software analyses the position, velocity and acceleration of the movements and creates a different “Aura” for both finger and Robot. It translates and contrasts the elegant sounds of the iPad to a more powerful and impressive sound of the robot. 2. The Highlight Experience: Designing this sound was for us a very enjoyable experience! Once someone presses START on the screen, all the rooms are coordinated to behave as one same space, bringing the focus onto the robotic performance. We used a piano as the lead instrument to play melodies that resemble the dynamics of a machine. After this, some leitmotifs are again played by the piano, which reference the sounds of the previous rooms, and which thematically bring the whole sonic experience together. We managed to successfully create an incredibly stable, emotional and intelligent room design that feels like a living organism, engaging with all the senses of its visitors in Augsburg. KUKA found our design to perfectly represent their brand aesthetics and asked us to create the sound and music for Timo Boll Vs KUKA, web-advert video. Credits kling klang klong GbR, Berlin, Germany www.klingklangklong.com Johannes Helberger, Creative Director/Sound Concept Felipe Sanchez Luna, Creative Coder/Sound Artist Maurice Mersinger, Music Composer

MESO Digital Interiors GmbH Technical planning, realization The MESO Team, software, programming, design

tisch13 GmbH Creative concept, lead agency

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LATAM Airlines Audio Branding WINNER – CATEGORY: AUDIO BRANDING The merger of LAN (Chile) and TAM (Brazil) created LATAM Airlines, widely recognized as Latin America’s leading airlines. This new brand was born with a big challenge: to create a unique and also plural identity that represents the whole continent. We helped create this genuinely Latin-American brand through sound.

The merger of LAN and TAM created LATAM Airlines, widely recognized as Latin America’s leading airline. This new brand was born with a challenge: to create a unique identity that represents the whole continent. The Sound Thinkers assembled a team for the project, traveling to six cities in Latin America on board LATAM’s aircrafts. A profound immersion into the Latin DNA. With the data generated by our Sound Perception Matrix, we identified every sound impact during this journey, mapping the whole experience. The main findings were: — The musical dimension of the brand was mostly folkloric content; — Lack of unity and intelligibility in the brand’s communication; — The Latin Americans do not have a common identity. Despite many similarities, people tend to perceive only the differences. After gathering all the information, we were able to define and develop the brand’s DNA creating the Meszcla concept, which consists in discovering and mixing new sounds, also feeding the touch points with its customers. The words “mezcla” and “mescla” both mean “mix” in Spanish and Portuguese. It symbolizes what Latin Americans have in common, but also, their differences. Music became our main vehicle in the process of making LATAM the ambassador of a nonstereotyped latinity. We designed LATAM’s desired music territory with contemporary aesthetics, mixing Hispanic and Brazilian textures. With the help of a doctor in music and cognition, we identified one common aspect to most Latin American rhythms: the tresillo. A rhythmic subdivision that is behind bossa nova, tango, salsa and much more. Instead of focusing on specific styles, we considered all the possibilities that tresillo affords and then added worldwide sounds, so every musical production by LATAM is based on a culture mix. Inspired by this concept, LATAM’s sound logo consists of a short five notes motif with a specific rhythmic profile, timbre and instrumentation. This is how Meszcla happened. Voices, recorded or live, are part of LATAM’s Sonic DNA. LATAM’s desired vocal territory has a conversational and human tone with neutral accents in Portuguese and Spanish, but a slight Latin accent when speaking English is encouraged. We defined vocal characteristics such as speed, pitch, intensity, and articulation. The nonmusical aspects are directly connected with how the LATAM passenger’s experience should be. LATAM’s nonmusic territory has a balance between silence and noise: silence when consumers need to relax, music and voice when they need to feel safe. We’ve oriented the company in main aspects as the correct placement of speakers and microphones, acoustic treatment, training for equipment use, volume control and recurring maintenance. In conclusion, we were able to create a Sonic DNA and design the whole brand experience through sound, comprehending all touch points. Every sonic manifestation contributes to the brand experience and helps deliver value to its customers.

Credits Sound Thinkers, Porto Alegre, Brazil, www.soundthinkers.com Paulo Dytz, CEO/Sound Strategist Tiago Abrahão, Head of Creative Felipe Assis Brasil, Business Manager

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laut.fm/live BETTER SOUND – CATEGORY: RESEARCH & DEVELOPMENT Stream live from wherever you are. laut.fm/live is a hardware and a software project: An audio cable and an app for your phone. Anyone can plug the cable into their mobile, start up our app and stream live from wherever they are. This may be a DJ from a club, a promoter from an event or just your regular couchpotato with an urge to communicate. — Stream live from wherever you are. — Connect our cable from any audio source into the headphone jack of your smartphone, start up our app and you’re live. Do you have DJs among your friends? I am not talking about the likes of Paul van Dyk, I mean the passionate, record-buying lunatics who spend their weekends in small clubs or bars selecting the tracks for the evening? Well, we do. And quite frankly – a lot of them. Some live in our hometown Konstanz, some in Munich, some in Cologne, Berlin, Hamburg … Every weekend, we read their social media announcements: Soul + Funk tonight at 10:00 pm. Come to the club. Well, I’d love to, but here I am in Konstanz and you’re so far away from me. So we thought: What if we ask our DJ friends to live broadcast their sets? It’s 2017, we all have smartphones with data flatrates, so just pop in a cable and stream it somewhere, right? Our very own laut.fm even features the possibility to stream live, so – just do it. So we tried to buy such a cable, cinch to 3,5mm mini-jack. Note what I said there? Cinch to 3,5mm mini-jack. The direction is important, because we want to go from the DJ mixer to the smartphone. We all have those cables at home, but they were all designed for the opposite direction. Yes, direction matters when sending audio signals! Well, amazon will surely sell one … wait, what? No such product on amazon? We didn’t believe it: No such thing on the entire internet! That’s where our project started. A friendly electrician from the neighbourhood tinkered a first sample. The trick is to adjust the output down to a level where it meets the mic-in of the smartphone. We tried it out and it worked. Here’s the details: The audio signal is taken from the source, e.g. a DJ mixer. In the cable, there is an attenuator that allows for line-level to mic-level conversion. Finally, the signal is dispensed on the mic-ring of the jack into any given smartphone. We were happy! That’s when we started to go wild: Let’s design an app, based on our very own User Generated Radio™ laut.fm. What is laut.fm, you ask? To quote Jello Biafra: “If you don’t like, what’s on corporate radio – make your own!” laut.fm offers an easy-to-use, browser-based interface to make your own legal online radio station. We offer the technical package and handle the licensing, therefore we reserve the right to play up to four audio ads per hour. laut.fm is free for DJs and the listeners. There are thousands of different stations including every musical genre you can imagine. Yes, that one, too. So, to sum it all up: DJs are now able to plug in our cable into their mobile phone, start up our app and – given they have a free laut.fm account – stream live from wherever they are. That’s what we did.

Credits LAUT AG, Konstanz, Germany, www.laut.fm Rainer Henze, CEO Sascha Oriwall, Design Niko Dittmann, Developer

Seitenbau GmbH Dennis Paulisch, App-Developer

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Siemens Audio Branding WINNER – CATEGORY: AUDIO BRANDING The Siemens brand sound is very human oriented and features female voices as well as progressive sounds and driving rhythms to illustrate the brand’s claim “Ingenuity for life”. The new sound was a bold move for the engineer-driven company. Therefore the process was accompanied by international market testings to ensure wide acceptance. In 2016 Siemens decided to create a completely new Corporate Sound. A big paradigm-shift changed the brand’s outlook from thinking “inside-out” to “outside-in”. In the past Siemens had been a purely engineerdriven enterprise. It’s not about innovative products as a self-purpose but about finding solutions to people’s problems. The new approach is more focused on people’s needs mirrored in the Siemens claim “Ingenuity for life”. It shows that Siemens’ technical expertise circles around “real” issues – the things that truly matter in life. A female voice in the music and sound logo demonstrates this new thinking and conveys proximity to the customers. The engineering, “ingenuity” aspect shows in Siemens’ constant search for new solutions to match clients‘ needs. It is translated into sound through the use of restless piano themes, progressive sounds and driving rhythms. To connect ingenuity and life, a gradient between real and synthesized sounds became a central element of the new Brand Sound – just as the “dynamic petrol” color gradient is the prominent element of Siemens’ visual appearance. The whole story and the sound gradient are packed into the 2.5 seconds long sound logo where the voice starts synthesized and turns more and more into the natural voice. For musical inspiration we dug deep into the Siemens history and found the first ever Siemens product from 1847: the pointer telegraph, a device for transmitting messages over long distances. It helped us translate the name Siemens into a motif of the brand music. The brand voice for Siemens was chosen to be male to contrast the female voices in the sound logo and brand music. We consciously declined typical, highly professional, corporate, low-pitched voices which would rather have fitted to the “old” Siemens. We looked for a very natural voice, symbolizing the proximity to the “outside world”, also conveying a start-up appeal for the brand. Right from the beginning Siemens asked for a sound that is easy to implement. Next to music-library tracks suited for different application needs, event-sound kits and brand guidelines we have therefore created a Siemens Sampler instrument featuring all relevant brand sounds, enabling professional music producers around the world to work with the original Siemens sounds and create recognizable brand music.

Credits why do birds GmbH, Berlin, Germany, www.whydobirds.de Alexander Wodrich, Managing Director Jennifer Stinglwagner, Project Manager Leopold Hoepner, Sound Director

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SonicTonic: Sound 4 Healthcare BETTER SOUND – CATEGORY: HEALTH SonicTonic is a health app that delivers audio programs containing a unique blend of purpose-targeted therapeutic techniques (e.g. Brainwave Entrainment, ASMR, mixed with Music) for providing quick and effective help to those having problems with sleep, stress, depression, anxiety, and pain.

These days, our lives are filled with much more stress and pressure than ever before. This often leads to mind-related disturbances such as feeling nervous, exhausted and having problems with sleeping – and even depressive episodes. Although our bodies and minds send us warning signals, we tend to ignore them and we choose to suffer in silence. However, some of these problems can lead to real sicknesses and it’s best to take preventive action. We have developed a revolutionary sound-based method for providing quick and effective help to those who are having problems with sleep, stress, depression, anxiety, and pain. It is called SonicTonic. SonicTonic is based around an app that delivers purpose-targeted audio programs that contain a balanced blend of proven auditory healthcare techniques. It combines methods for brainwave entrainment and brain hemisphere synchronization, such as ASMR, Isochronic Tones and Binaural Beats, with Solfeggio Harmonics and other frequency-based methods, the human voice for Autosuggestion, Guidance, and Affirmations – and of course, Music! You may be thinking about the wellness-music that you’d expect to hear at a spa, but SonicTonic is different. The innovation is that each individual “Tonic” has its own unique targeted blend of ingredients that have been meticulously selected, combined and balanced in such a way that they are ultra-effective and start to work within an extremely short time. SonicTonic strives to make the benefits of sound-based health-improvement therapeutics available to the widest possible group of people, while paying special attention to the perception of those who would not usually be open for such concepts (possibly due to an esoteric bias), but who could greatly benefit by its use. This makes SonicTonic suitable for use by companies and organizations as part of a preventive health program for their workforce (Corporate Health). Last but not least, SonicTonic contributes to making the world a healthier and better sounding place by enforcing the highest production standards in the market; from the choice of voices to the recording technique and the applied psychoacoustics behind its 3-D virtual surround-sound, everything has been done to make SonicTonic a triple “A” class product. Special editions are currently in preparation that will provide highly personalized applications for specific needs such as sonification of motorics for muscle rehabilitation, Sonic Mnemonics for Alzheimer’s and dementia patients, and gait regulation programs for Parkinson patients. SonicTonic aspires to become a contributing player in the conception, production and remote-delivery of personalized auditory therapeutics.

Credits Groves Sound Branding GmbH, Hamburg, Germany, sonictonic.io John Groves, Founder/Managing Director Christoph Groß-Fengels, Managing Director Jan-Peter Pflug, Sound Designer

SonicTonic Fabian Ellersiek, Design/Administration Nikolas Reichardt, Development (App/Web)

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TedX Bits of Love BETTER SOUND – CATEGORIES: AMBIENT SOUND, AUDIO BRANDING

Klankwerk teamed up with NoComputer & Barco to give TedX a cutting edge generative visual and Sonic Branding.

Klankwerk teamed up with NoComputer & Barco to give TedX a cutting edge generative visual and Sonic Branding. For TedX Ghent we created a modern electronic brandscore that reflected the innovative character of the event. This music was used throughout the event and multiple touchpoints: — Speaker introduction — Logo animations for online communication — Event ringtones — Event announcements Next to the brandscore we also created a generative soundscape based on the brandscore elements. We built a soundbooth where the attendees of the event could manipulate the soundscape using their voice. We used the audio from their voices to generate patterns depending on the height of their voice tone and the duration of what was being said. That would go straight into an ableton live patch we created that fed the whole system at the venue. The patch was loaded up with all separate elements from the brandscore which would be triggered depending on the voice input. We also created underlying deep drone tracks by stretching up the brandscore elements to over 500% using Paulstretch. All these elements together created an immersive soundscape that was clearly in line with all auditive elements of the event. The voice data from the booth also enabled our partners at NoComputer to create their unique generative branding. This generative and sonic branding gave visitors a solid and consistent TedX experience.

Credits Klankwerk, Ghent, Belgium, www.klankwerk.be Thomas Houthave, Founder

NoComputer Gwen Vanhee, Coder/Partner Wim Vanhenden, Coder/Partner

TedX Ghent Niels Van Kets, Creative Director Nils Roelandt, Brand Manager

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The Impossible Run WINNER – CATEGORIES: HEALTH, UNIVERSAL DESIGN, SOCIAL & CULTURE The Impossible Run is an experiment made to explore if we can help visually impaired athletes using a sound solution based on hyper directional sound technology and carefully produced audio content. Through a laser sharp sound tunnel, we enabled visually impaired Oscar to run unassisted for the very first time, guided only by sound. The idea behind The Impossible Run was born out of the question if we could make it possible for a blind person to run unassisted, guided only by sound. Could we replace the need for visual perception of the lanes on a running track with that of a different perception: hearing? Could we create a precise enough tunnel of sound? With these questions at issue and our solid experience as one of the largest actors in the field of sound design and hyper directional sound in the Nordics, we took on the massive challenge that we have now been working on for two years. In order to start exploring the possibilities we needed a fearless test person, and in came Oscar Widegren,18 years, blind and a true athlete. Oscar is among Sweden’s best judo athletes in his competition class and is taking part in all kinds of sporting activities. But there is one thing Oscar hasn’t been able to do, run without escort. We started the work of creating a solution that was so meticulously researched, tested and executed that Oscar would trust it enough to run at full speed. Through rigorous research, multiple testing sessions with Oscar and hundreds of runs, we tried out many different types of technology to find what best could provide the extreme sonic precision required. But the technology was only a small part of the puzzle. The big part was finding out how to use it. Rather than one speaker in the middle of the lane, two hyper directional speakers clearly worked best. One for the left “wall” of the tunnel and one for the right. We realized that adjusting the angle, height and distance between the speakers dramatically altered the precision of the sound tunnel. This was intimately connected to the runner, since everyone’s hearing is different and hearing tends to differ between the left and the right side, careful calibration was required. Finally, we realized that we had to add a third speaker at a 90° angle at the end of the lane which indicated the end of the run. Another big part was the sounds. Musical content was too irregular and seemed to blur the tunnel. Simpler signals worked better. The optimal solution seemed to be beeping signals, one for the left speaker and a completely different, easily distinguishable signal to the right. Having the signals play at short intervals (<0,5s) in tandem, combined with careful calibration of the speakers, finally generated the extremely precise sound tunnel that we wanted to create. Oscar made it, we made it. The project spread around the world and reached important stakeholders, but more importantly, it reached more athletes. Right now, Euro gold medalist in blind long jump Viktoria Karlsson is testing the solution in her preparation for the Paralympics. We will continue to challenge and support the market in exploring how sound can improve the conditions for e.g. visually impaired athletes. Making this impossible run possible for the first time, is just the start, and we work hard to make this solution available for more people.

Credits Lexter Ljuddesign AB, Stockholm, Sweden www.lexter.se Margareta Andersson, Sound Architect/Founder Alexander Kassberg, Head of Studio Erik Rappling, Head of Technology

McCann Stockholm Noak Garberg, Copywriter Melina Svéd, Account Manager Mikael Dahl, Art Director

Bacon Productions Rima Kassar, Producer Nådde Hansson, Director David Walegren, Director

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The Sound of Chivas Ultis BETTER SOUND – CATEGORY: AUDIO MARKETING As part of the global launch of Chivas Regal Ultis, iV designed multiple soundscapes for a series of multi-sensory tasting events held around the world. Drawing inspiration from Chef Jozef Youssef and Dr. Charles Spence, the soundscapes used sensory science to align sound with colours, tastes, and aromas that formed a distinct perception of the brand. In October 2016, Chivas Regal debuted Chivas Regal Ultis, the first blended malt whiskey in the brand’s history. Ultis is a combination of five signature single malts, hand selected from five distilleries in the Speyside region of Scotland: Tormore, Longmorn, Strathisla, Allt A’Bhainne and Braeval. Chivas commissioned an experiential marketing event worthy of the whiskey’s history and prestige. Chivas teamed with Chef Jozef Youssef (Founder of London based Kitchen Theory) to create a series of multi-sensory tasting events, offered to a small group of influencers in cities around the world. Those in attendance would have the opportunity to taste each of the five single malts, individually paired with crossmodally congruent aromas, textures, colours and sound-scapes. Working hand in hand with Chef Jozef and the Kitchen Theory team, iV was tasked with developing the unique sonic expressions that would be a part of this unique sensory experience. More than just ambient background music, these sonic expressions were based on research with Dr. Charles Spence (Head of Oxford’s Crossmodal Research Laboratory), using sensory science to align sound with other sensory cues that together form a distinct perception of the Chivas Regal Ultis brand. The following soundscapes were created: Tormore: The sharp attack of horns, representing citrus, hearlds the start of our sonic journey. The melody that emerges hints at sweetness, propelling us upward as if to trace the swan neck shape of the old whiskey stills. Longmorn: This rich soundscape offers a tonal palette both soft and smooth, punctuated by a hammered marimba and percussion that emulates the sound of the struck copper pots used at the Longmorn distillery. Strathisla: A childlike sense of joy and wonder is captured by this bright and lively motif, conjuring images of a playful stroll through a fruit orchard. Sounds of nature add to the illusion of being surrounded by peach trees. Allt A’Bhainne: Textures of warmth and spice are felt in the low drone of a cello and bagpipes. Sonic spiciness is further present in the tension of the bow drawn across the strings and the hammering of a dulcimer. Braeval: Like a flower garden, this soundscape is full of color and brightness. There is a hint of heather in the air as we finish our journey through the Scottish countryside. The Ultis Ultimate Opus: The Opus is a blend of the previous five motifs, mirroring how Chivas Regal Ultis itself is a blend of five single malts. The attack, sustain, decay and release of each of the five Single Malt Motifs, combined harmonically into a single opus, represent the journey of flavour found in every sip of Chivas Regal Ultis. To date, the Chivas Regal Ultis Sensory Tasting Experience has been offered in New York, Dubai, Thailand, Vietnam and Turkey, with others scheduled to follow. News articles, photos and commentary shared on social media have helped Chivas Regal introduce Chivas Regal Ultis to the world, through a unique event that has contributed to a premium experience reserved for true whiskey connoisseurs around the world. Credits iV, Nashville, TN, USA, www.ivaudiobranding.com Steve Keller, CEO/Strategist Kurt Goebel, Creative Director/Composer Daniel Noga, Engineer/Sound Designer

Kitchen Theory Jozef Youssef, Chef

Chivas Regal / Pernod Ricard

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The Sound of Shell BETTER SOUND – CATEGORY: AUDIO BRANDING CORD has designed a world-class audio branding & music guardianship system for Shell. The 200+ variations are believed to be the most comprehensive collection of its kind, each track in a different style, in the key of D Major & incorporating the Sound of Shell theme. The Sonic Pecten (sonic logo) is already achieving strong attribution levels. In 2014 CORD was invited by JWT to provide a point of view on music for Shell. We found a deep, rich musical heritage. During the 1950s/60s Shell had used songs to engage with its audience. Celebrated singers such as Bing Crosby recorded tracks for the brand. We analysed the music of Shell’s competitors and admired brands to inform our learning. We analysed instrumentation, production type, key, pace, energy level, use of voice and musical structure. Following a year of research into the sound of the brand, we presented to Shell our vision for a global audio branding strategy. This strategy involved designing a distinctive musical identity that would be integrated into all pieces of music used by the brand in the future. We persuaded the brand to adopt this strategy and to embrace it wholeheartedly across the business. We explored the musical territory of Shell brand values and selected our preferred area for development. We engaged 5 leading film composers and invited them to write full-length musical themes for Shell, based upon the creative brief & musical territory. It was imperative that the theme included a short figure that would become the sonic equivalent of the Shell Pecten 9 (visual logo). 4 routes were selected and tested across 5 key territories. We worked with Millward Brown to design the methodology. A final route was selected and the Sound of Shell (SOS) was recorded with a full symphony orchestra at Abbey Road Studios, London. The SOS contains a 52-note melody, including a short 5-note figure (the Sonic Pecten) that is used as a standalone set of notes to accompany the brand’s visual logo. Now, every time a new piece of music is developed, the SOS is integrated as much as makes musical sense. Each new composition adopts the original key of D major so that the library of tracks (199 variations to date) can be edited together seamlessly. Nowadays when a composer is asked to write a piece of music for Shell they receive a comprehensive guidelines film for support. The SOS has become an integral part of the brand’s DNA. As Music Guardians for the SOS, we’re responsible for ensuring brand stakeholders integrate the theme in the correct manner and it is approved ahead of use. We receive an average of 20 enquiries per week and work with Shell stakeholders in 75+ countries. We believe the SOS library is the most comprehensive in the world. It contains pieces of music developed by composers from around the world, so the breadth of style is vast. Recent research conducted in the UK indicates that 33% of commercial radio listeners attribute the Sonic Pecten to Shell. This is a significant finding in such a short space of time. Furthermore, since the launch of the SOS, CORD has saved Shell an estimated 51%* on music spend over 3 years. * this figure is related to how much Shell would have spent if library tracks had been licensed instead of the SOS.

Credits CORD Ltd, London, UK, www.cordww.com Elisa Harris, Founding Partner Daniel M Jackson, CEO Trish Garcia, Hannah Ward, Account Directors

Shell Dean Aragon, VP Brand/CEO Shell Brands International AG Jane Keate, Global Brand Standards Advisor Katy Wilkinson, Brand Advisor/Project Manager

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UOC Brand Sound BETTER SOUND â&#x20AC;&#x201C; CATEGORY: AUDIO BRANDING Coinciding with the UOC brand renewal, we created a sound concept reflecting its values and a flexible sound system to generate new forms of brand expression in physical, digital and multimedia environments. The outcome included: audio logo, brand theme, audio palette, brand voice, anthem, audiovisuals, on-hold, soundscapes, sound UX and live acts. The UOC (Universitat Oberta de Catalunya) was the worldâ&#x20AC;&#x2122;s first online university and is now a benchmark, with more than 20 years of experience. Coinciding with the brand renewal, we were asked to create the new sound identity. The new UOC needed to be dynamic and ubiquitous; flexible while rigorous and structured when necessary; closer and accessible; innovative and use technology as a means. The use of sound should allow the brand to engage with a global audience (the UOC is present in 95 countries) and generate new forms of brand expression in physical, digital and multimedia environments. The sound branding solution was to produce a consistent sound concept, along with a flexible sound system to enhance implementation of the audio branding. The starting points were defined by means of an exhaustive study of the new brand, featuring meetings with members of the UOC community and workshops. Basing on all that, we defined the audio profile that would reflect the features of innovation, responsibility and proximity. UOC was no longer an acronym; it has now become a sound. Thus, we created an audio logo to strengthen the ideas of proximity, dynamism, movement and innovation. Meanwhile we expressed the sound concept in the brand theme, a melodic journey of life and learning that represent the values associated with the university. We used analogic instruments and musical programming to highlight these values, seeking a balance between sounds associated with more traditional values and those having to do with innovation, connectivity and the digital environment. The resulting sound is novel but recognizable and accessible. The brand theme was adapted to an anthem to be performed in formal events. For the verbalization of messages, we defined the features of the brand voice, selecting voices in different languages. The audio palette was drawn from the brand theme, offering a range of sounds from which applications are created. Given the variety of brand environments, the UOC audio branding case is characterized by its widely-grounded, ongoing implementation. The applications include audio-visuals formats, soundscapes for live acts and multimedia, on-hold and sound UX of the website and mobile apps. For institutional events we created an innovative, much-lauded live format combining piano and Reactable (a widely-recognized electronic instrument with a tangible user interface) representing the essence of the brand sound. The striking audio-visual act has been carried out in different environments, including the seat of the Catalan government, in the presence of the Premier of Catalonia. The audio journey of the UOC has just begun. Sound is an essential part of the new brand, which will be fully implemented by the end of 2017.

Credits Dadadada, Barcelona, Spain, www.dadadada.eu Gloria Sallent, Strategic and Creative Director Jordi Soto, Strategic and Creative Director David Crespo, Music Composer

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Where The Light Guides You BETTER SOUND – CATEGORIES: SOCIAL & CULTURE, SOUND ART Lexter assisted Swedish music artist Eva Dahlgren and designer Alexander Lervik in creating a design project and an exhibition where glass, light and music touch all senses. To create a unique experience, we contributed with conceptual sound and scent design to the exhibition, first shown at the Design Gallery during Stockholm Design Week 2017. Can an innovative approach to sound, music, acoustics and technology create new dimensions and possibilities in an art exhibition, allowing more senses to be touched by the same piece of art? When Swedish designer Alexander Lervik was asked to create an exhibition for Stockholm Design Week, he knew he wanted to do it with someone with a completely different artistic focus. One day while running with music in his ears, a song by Swedish artist Eva Dahlgren came on and he immediately knew she was the one he wanted to create it with. So he wrote her a letter and some days later the project began. The idea of music meeting design evolved and we were brought into the project early on to make the exhibition a unique audio experience. The project, that we worked on for eight months, was based on an English adaption of one of Dahlgrens Swedish songs from the album Jag sjunger ljuset (I sing the light), translated and produced in an entirely new version, tailor made for the exhibition. Each instrument group in the production was the inspiration for the respective five parts of the exhibition, represented by glass sculptures designed by Lervik. The “orchestra” featured the vocalist, drummer, bass player, violinist and the synthesizer. The idea was to allow the visitor to view the sculptures while at the same time hearing only the corresponding part of the music. The music should also play in sync with each sculptures light installation. Our first challenge was to make this possible at the limited space. How would we avoid sound leakage between the sculptures, without resorting to headphones? Another challenge was finding a solution that preserved the sound quality and musical expression of Dahlgrens music. Yet another challenge was to provide a way for the music parts to play in sync rather than individually (e.g. from individual media players). By placing directional sound showers near each sculpture, connected to a multichannel audio interface, we managed to create acoustic “rooms” around each sculpture where only the corresponding part of the music could be heard. At the same time, all parts played in sync along the same linear timeline. An additional channel was used for a subwoofer, playing non-directional sub frequencies heard at all sculptures, synchronizing and framing the complete listener experience. Lastly, we used another channel to communicate with the lighting. This allowed the visitor to experience unique multi-sensory sections while at the same time consuming a sensuous, magical overall installation. Together with Dahlgren, we remixed and adapted her composition, carefully adjusting it for the multichannel sound shower installation. Careful consideration was also made regarding how to allow the music to come into its own in the installation. The exhibition was a success and drew much media attention for its multisensory approach and the interest in taking the exhibition further has been significant, starting at renowned Bukows this summer.

Credits Lexter Ljuddesign AB, Stockholm, Sweden www.lexter.se Margareta Andersson, Sound Architect/Founder Alexander Kassberg, Head of Studio Erik Rappling, Head of Technology

Lervik Design AB Alexander Lervik, Designer

Härvor Music AB Eva Dahlgren, Composer/Artist

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XOUNTS UP – Sound and Ambiance BETTER SOUND – CATEGORIES: RESEARCH & DEVELOPMENT, DIGITAL PRODUCT SOUND DESIGN The multi-talent XOUNTS UP is a symbiosis of perfect 360° stereo sound, atmospheric lighting and cutting-edge technology. In addition to a completely new design, integrated lighting and an individualized outer cover, the obelisk offers new future-orientated technology and exceptional flexibility.

XOUNTS UP is a cutting-edge sound system with newly developed flat membrane technology. While conventional sound systems are equipped with high- and mid-range membranes, XOUNTS UP two surface membranes ensure that the pyramid shaped sound body vibrates. This ensures a homogenous room soundscape. The subwoofer does not rely on existing technology, but rather on Bassreflex technology which was specially developed for the unusual shape and is integrated into the base as a down-firing subwoofer. This is why it is possible to create a full 360° stereo sound with only one device. A main consideration during the development phase was to make XOUNTS UP an open, modular system, thereby enabling full compatibility. In commercially available devices, technologies such as Bluetooth, wireless or lighting options are processed directly within the circuit boards. With XOUNTS UP, an infrastructure has been created to implement all current technologies easily in the interior of the pyramid. This is ensured, among other things, by the integrated E 27 socket for all commercially available lamps, such as Philips HUE or LifX, and a separate power connection. A main focus in the creation of XOUNTS UP was the customizable outer design cover. The interchangeable outer shells, so-called “Style Covers”, are hand-made in Germany and individually designed and stand for a unique look. The user has the opportunity to become creative and create his own Style Cover. He can either create his own graphic design or he has the option to select from the XOUNTS collection of more than 50 designs of Style Covers in-stock. Thanks to Amazon and other providers, Voice Control is the talk of the town, and XOUNTS UP is the first modular system to have it. The Alexa Voice Control can be integrated easily in XOUNTS UP top-case and the user can voice commands to XOUNTS UP and Alexa comfortably from his sofa.

Credits XOUNTS Hamburg GmbH, Hamburg, Germany, www.xounts.com Sabine Richter, COO Christiane Kirschning-Gornik, Marketing/Project Management Una Titz, Social Media Manager

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THE JURY 2017 Bernhard Bahners is the CEO of the radio.de GmbH BERNHARD BAHNERS and deputy chairman of the Focus Group Audio inside the BVDW. radio.de GmbH is responsible for the international platform radio.net, as well as for ten additional national platforms in Europe. After the successful launch of radio.de in 2007, the Europe-wide expansion began one year later, continuing outside of Europe in 2015 through the launch of the international platform radio.net. Bernhard Bahners is part of the startup’s founding team, and as one of the few managers of this young industry, he links the traditional radio stations to the online radio market through his network. Alongside his studies in Economy at the universities of Berlin and Hamburg, he has engaged himself in various companies such as ECC KohtesKlewes (PLEON) and Beiersdorf AG/tesa AG. At the end of 2006 he transferred from the ad agency Scholz & Friends to the Madsack MediaLab, in order to develop the project radio.net

LAURENT COCHINI

Laurent Cochini pursued his studies in musicology, with a focus in guitar and composition at the Darius Milhaud Music Conservatory in Aix-en-Provence. After finishing his Master degree in 2008, he spent 5 years on to tour as a guitarist in Europe, Asia and Africa. Meanwhile, he also joined the Sixième Son team as an intern. Over the course of his employment, he now occupies the role of General Manager; a role responsible for driving new business development, both in France and abroad, managing a team of consultants, creatives and administrative staff, and supervising quality of all client work. His participation and direction has been a major player in an award winning team – celebrating a Stratégies award for Best Cases in Sound Design every year from 2010 - 2017. Overall, his career at Sixième Son has led to an unexpected use of his refined musicianship – recognition as an expert in audio brand strategy and audio identity design. As such, he has been invited by a number of top business schools in France (e.g. Sorbonne, Celsa, Grenoble, Bordeaux, NEOMA, Nantes) to be the key note speaker for student assemblies and conferences. The topic: The importance of Audio Branding in Marketing and Communication – audio identity and musical design for brands, cities and institutions.

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THE JURY 2017 THOMAS GÖRNE

Thomas Görne studied electrical engineering with a major in acoustics at TU Berlin. After graduation, he was researcher and lecturer in acoustics, freelance film sound engineer (Foley, ADR, re-recording) and music producer. 2004 - 2008 Thomas was Professor at Detmold University of Music. Since 2008 he is Professor at HAW Hamburg and head of the Sound Lab, and he is visiting lecturer at University of Greenwich, HdM Stuttgart, HfG Karlsruhe, Einstein Forum Potsdam, hdpk Berlin and CSU Long Beach. Since 2017, Thomas is Vice President of the Audio Engineering Society (AES), responsible for the Central Region Europe. Books (selection): Sounddesign – Klang, Wahrnehmung, Emotion (Hanser, 2017), Tontechnik (Hanser 2006, currently in the 4th edition), Mikrofone – Theorie und Praxis (Elektor 1994/2007, currently in the 9th edition).

Born 1979 in Überlingen. Studies in communication design at the University of Appliance Science, Konstanz (Master of Arts). Founder of the corporate sound information portal www.audio-branding.de. Founder of audity, a company specialised in functional sounds for brands and products. Author and co-producer of the compendium Audio-Branding, is supervising various research projects with several universities and has been, since 2008, juror of the international Red Dot Design Award. Lecturer for Audible Design at the HfG Schwäbisch Gmünd and HTWG Konstanz.

RAINER HIRT

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THE JURY 2017 Steffen Holly became an electronic technician before STEFFEN HOLLY he studied music. After his music career, he worked in a record company, as a supervisor for music rights and became Director of Audio Products & Technology Licensing at MAGIX AG in 2000. With the buyout of Fraunhofer AudioID to the MAGIX subsidiary M2Any, which later became www.mufin.com, he led the hybrid recommendation development. After 2009, he worked as CTO for AUPEO! Personal Radio being responsible for product and content until the startup was bought by PANASONIC Automotive US. Since 2013 he is working at Fraunhofer, Europe’s largest applicationoriented research organization. Steffen Holly is leading the business unit Media Management and Delivery of the Fraunhofer Institute for Digital Media Technology, managed by the MP3 inventor Prof. Karlheinz Brandenburg.

DANIEL HUG

Since the late nineties, Daniel Hug is investigating sound and interaction design related questions through art and design works and applied research. Since 2005, he is teaching sound studies and sound design for interactive media and games at the Interaction and Game Design departments of the Zurich University of the Arts, Switzerland. Since 2011, Hug is lecturer and researcher at the chair for music education at the University of Applied Sciences of Northwestern Switzerland, and visiting lecturer for interaction and game sound at various Universities in Switzerland, Austria and Finland. Hug pursues a PhD on sound design for interactive commodities at the University of the Arts and Industrial Design Linz, is founder of the sound design and consulting company “Hear Me Interact!” and member of the steering committee of the conference “Audio Mostly – Conference on Interaction with Sound”.

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THE JURY 2017 REINHARD KOPIEZ

Reinhard Kopiez received a degree in classical guitar from the School of Music in Cologne (1982), and a masters and PhD (1990) in musicology from the Technical University in Berlin. Since 1998 he is professor of music psychology at the Hanover University of Music and Drama, Germany and head of the Hanover Music Lab. His latest journal publications concern psychological research on the relationship between music performance and handedness, historiometric analyses of Clara Schumann’s repertoire, groove in popular music, and the evaluation of audio-visual music performance. He is co-editor of the German standard handbook on music psychology (Handbuch Musikpsychologie, 2017, Hogrefe). From 2009 - 2012 he was president of the European Society for the Cognitive Sciences of Music (ESCOM) and since 2013 he is the editor of the journal Musicae Scientiae.

Herwig Kusatz’ vision is to successfully initiate and HERWIG KUSATZ accompany acoustical sustainable and societal relevant sound solutions. After high-school graduation in the USA and completing his training as a Biomedical Engineer at Graz University of Technology, Herwig completed his professional training with a full-time MBA at the University of NIMBAS Utrecht in the Netherlands. Herwig released music on Kruder & Dorfmeister’s label G-Stone. The interest in a strategic approach for the use of sounds led to the founding of SOUND STRATEGY. At the same time, the demand for a transfer of knowledge how to design audio branding processes in the university sector was so great that he has been teaching for many years now. Herwig has worked with brands like Adidas, ORF, Generali, OBB, Vöslauer, Wiener Linien, Vienna Tourism Board or Yakult. Herwig won for his clients distinctions like Red Dot Award, Audio Branding Award, German Design Award or Transform Awards Europe.

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THE JURY 2017 Emma Rodero is a researcher and professor in the EMMA RODERO Department of Communication at Pompeu Fabra University (Barcelona, Spain), Ph.D. Communication, Ph.D. Psychology, Master in Pathology of Voice and Master in Psychology of Cognition and Communication. Rodero has more than 20 years doing research about sound, radio, and voice. She obtained a Marie Curie fellowship (European Union) to conduct research in the USA about cognitive processing of radio commercials. She is author of more than ten books and fifty scientific papers about sound and radio. Rodero has published scientific papers in top journals about the best strategies to use sound (sound effects, music…) in radio commercials. Rodero usually teaches Public Speaking and Sound Advertising at UPF. She has over a decade of experience in the radio industry. She is currently a voice-over artist and has received awards for some audio dramas.

ANDREAS SCHÖNROCK

Following his education as an audio engineer, Andreas Schoenrock worked primarily as a DJ and music producer. In 2006, during his studies in Musicology, Communications and Acoustical Engineering in Berlin, he founded Studio Schoenrock and specialised in Mastering. Apart from studio topics and his activities as a sound designer and music producer, Andreas works as an audio consultant and strategist in branding processes. He is operating with agencies and corporations to get the best out of acoustical communication – providing musicological analyses of brands and creating guidelines for the maximum effect of musical content in advertising environments. Based on Andreas’ specialisation in multiple disciplines, he is able to transcribe the identities of brands or corporations appropriately and effectively onto an auditive level. He is a PhD candidate with Prof. Dr. Peter Wicke at the Humboldt-Universität zu Berlin examining the interrelation of audio branding and popular music culture.

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THE JURY 2017 MARTYN WARE

Born in 1956 in Sheffield, UK. After leaving school worked in computers for 3 years, in 1978 formed The Human League. Formed production company/label British Electric Foundation in 1980 and formed Heaven 17 the same year. Martyn has written, performed and produced two Human League, five BEF and nine Heaven 17 albums. As record producer and artist has featured on recordings totaling over 50 million sales worldwide – producing Tina Turner, Terence Trent D’Arby, Chaka Khan, Erasure, Marc Almond and Mavis Staples, etc. Founded Illustrious Co. Ltd. with Vince Clarke in 2000 to exploit the creative and commercial possibilities of their unique three-dimensional sound technology practice in collaboration with fine artists, the performing arts and corporate clients around the world. He also lectures extensively on music production, technology, and creativity at universities and colleges across the world.

The business graduate and musician Carl-Frank CARL-FRANK WESTERMANN Westermann founded and managed the division “Sound Branding/Acoustic Brand Management” at the Brand Agency MetaDesign in Berlin from 2000 to 2011. Under his guidance, sound concepts for esteemed companies, such as Volkswagen, Siemens, Allianz, Lufthansa, Premiere and eBay have been developed and implemented. In 2011, Carl-Frank Westermann and Andreas Arntzen founded the agency for acoustic brand development WESOUND, which now holds offices in Berlin and Hamburg. WESOUND advises, develops and designs brands, among them Bayer, Audi, Manner, Seat, real,- and Covestro, by synchronizing their acoustic representation with the company’s respective strategic objectives and sharpening the brand conception as a whole. More recent references include their work for brands, such as Verivox, DLD Conference and the Reeperbahn Festival. Apart from classic sound branding projects, there is a further focus on functional sounds and in-store atmospheres, created for Siemens, Lufthansa, Porsche Design, Wirecard/boon and DEW21. As a pioneer of sound branding, Westermann is a sought-after speaker and author of various specialist publications.

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THE JURY 2017 Roscoe Williamson has over 12 years of experience ROSCOE WILLIAMSON working within companies at the forefront of the music industry such as MassiveMusic, ExtremeMusic, Universal Publishing Production Music and Warner/ Chapell Production Music. Roscoe is currently Head of Sonic Branding at leading music agency Massive Music, where he has worked with brands as diverse as UBS bank, the Saudi Stock Exchange and the Premier League to create music, sound and voice strategies that stand the test of time. Roscoe has given talks on the subject of audio branding at events such London Design Festival, BIME conference Bilbao and Cannes Lions. He also contributes articles on the subject to publications such as Creative Review and Transform Magazine. A keen futurist with a vision for establishing innovative brand sound, this year Roscoe has worked with Samsung to develop their latest voice assistant, Bixby. Within his repertoire, he has also worked on Cannes Lion award winning interactive audio projects for ASOS. In April 2017, Roscoe and his team at MassiveMusic won the Gold Award for best use of audio branding with the Premier League at the Transform Awards Europe.

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THE AUDIO BRANDING SOCIETY The Audio Branding Society is an exclusive business club solely for accredited audio branding agencies. This first and only international industry forum of its kind, it enables a helpful exchange between competitors as well as the development of a cooperative self-organisation. The aims of the Audio Branding Society are to accelerate the professionalization of the growing industry and to sharpen its profile in the public perception. This includes a clear distinction between society members and suppliers of music and sound lacking an underlying brand strategy. Accredited members of the Audio Branding Society see themselves primarily as agencies or brand consultants with a profound branding methodology and well-structured working processes. They have demonstrated their methodical working approach by successfully completing several audio branding projects.

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THE AUDIO BRANDING SOCIETY acg audio consulting group

amp sound branding

audity

Cord Worldwide

Department of Noise

Flyabit

GROVES Sound Branding

Ă?ndigo

iV/iV2

Lexter Sound Design

MassiveMusic

Radja Sound Design Agency

Roundhouse

Sound Strategy

The Sound Agency

UnitedCreation

WESOUND

why do birds

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acg audio consulting group Dammtorstraße 25 20354 Hamburg Germany Legal form: GmbH Founded: 2001 Employees: 7

Tel +49 40 85 32 14 50 Fax +49 40 85 32 14 99 info@acoustic-branding.com www.acoustic-branding.com

ABOUT THE COMPANY In 2001 Wilbert Hirsch and Patrick Langeslag founded acg audio consulting group as brand strategy agency specialized in consulting, developing, creating and implementing acoustic brand identities. Since then acg audio consulting group has established itself as one of the leading international providers in the audio branding market with offices in New York and Hamburg. We consider sound branding a fundamental component of overall brand identity. In a fast moving world in which everything seems to revolve around “seeing and being seen”, the right sonic presence of a brand takes on new pivotal importance. The audio consulting group offers its clients support in all areas of the sound branding process – from effective strategies, stunning creative work, convincing applications to managing the branding and implementation process. We work in close association with research institutes and universities and are engaged in various international research projects on auditory design.

CLIENTS Autodesk Inc., Dachser GmbH & Co. KG, Drägerwerk AG & Co KGaA, Deutsche Börse AG, Deutsche Telekom AG, Edeka, GABA GmbH, MLP AG, RobecoSAM AG, Vitrashop Guppe, Tchibo GmbH, UBS AG, Vaillant Deutschland GmbH & Co KG., CEWE, Harting.

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sound branding

amp sound branding Sandstr. 33 80335 Munich Germany Legal form: GmbH Founded: 2009 Employees: 7

Tel +49 89 23 23 899 0 Fax +49 89 23 23 899 1 mail@ampcontact.com www.ampsoundbranding.com

ABOUT THE COMPANY We are a global market leader in sound branding. With offices in Munich, Milan, Zurich, Miami and Shanghai, amp has the ability to work across cultures, languages and time zones: a skill truly appreciated by our global client list, including Porsche, BBVA, UniCredit Group, Hilton Worldwide, Erste Bank Group, BMW, MINI, Triumph and The Linde Group, among others. Honored with a string of international awards - four Red Dot Communication Awards in a row and ADC silver among others - amp is a proven full service sound branding agency, offering expertise at every audible brand touch point, from concept to production, including sound for retail. With the unique combination of branding know-how and experience in music production as USP, amp speaks CEO and speaks music. This is the reason for ampâ&#x20AC;&#x2122;s success on a global scale.

CLIENTS ABB, BBVA, BMW Group (BMW and MINI brands), Bavaria Film, Bosch-Siemens BSH, Brainlab, China Club Berlin, Cirque du Soleil, Debitel, Douglas, Erste Bank, Goethe Institut, Hilton Worldwide, KAEFER Isoliertechnik, Lufthansa, Maxi, Mercedes-Benz, Ă&#x2013;AMTC, Piraeus Bank Group, Playboy, Porsche, The Linde Group, The Walt Disney Company, Triumph, UniCredit Group.

ISA | YEARBOOK 2017

audity TurmstraĂ&#x;e 20 78462 Konstanz Germany Legal form: Registered Sole Trader Founded: 2006 Employees: 6

Tel +49 7531 36 38 524 Fax +49 7531 20 05 22 info@audity-agentur.com www.audity-agentur.com

ABOUT THE COMPANY We develop functional sounds for brands and products.

CLIENTS B/S/H, Swiss, Tirol.

ISA | YEARBOOK 2017

Cord Worldwide 6 - 8 Kingly Court W1B 5PW London UK

Tel +44 203 597 5350 Elisa@cordww.com www.cordww.com

Legal form: Ltd Founded: 2009 Employees: 30

ABOUT THE COMPANY CORD Worldwide is a strategic consultancy, leading the way in audio branding and music supervision with offices in London, Madrid, Warsaw and LA. We believe music and musical experiences are the key to a deeper, emotional connection between people and brands. Our data, pioneering research and strategic insight are the reasons why we are trusted by many of the world’s top 100 brands.

CLIENTS Shell, Lego, NESCAFÉ, BT, DHL, Visa, JLR, Santander, Barclaycard, Dove.

ISA | YEARBOOK 2017

Department of Noise Badenerstrasse 571a 8048 ZĂźrich Switzerland

Tel +41 44 771 75 45 input@departmentofnoise.com www.departmentofnoise.com

Legal form: GmbH Founded: 2001 Employees: 3

ABOUT THE COMPANY Department of Noise is an agency for audiovisual brand management and music production in Zurich. We help brands and artists to design and maintain their auditory identity. We believe in strong ideas, the courage to innovate and the impact of an authentic and strong personality in all areas of our work. In 2001 the music producer and bass player Ph!L!pp Schweidler founded the company Department of Noise in Zurich. In 2012, music producer and graphic designer Florian Goetze became a partner at the Department of Noise GmbH. Our service portfolio includes audible brand management and development, music and audio consulting, audio product development, and all aspects of corporate sound production. We also do music productions for artists and audio postproduction as well as research on the effect of sound in connection with brands to develop new audio communication methods. The company also acts as a publisher for its own products and compositions if needed.

CLIENTS Basler Kantonalbank, Swisscom, Bank Cler, Migros, Schweiz Tourismus, Post Finance, Bubu, Ramseier Suisse AG, Edelweiss Air, Favre Leuba, Ringier, Gauloises, Mc Optik, Ramseier, Samsung, Schwarzkopf, Sony Music, SRF, Starwatch Entertainment, Sunrise, Tapit, Universal.

ISA | YEARBOOK 2017

Flyabit Fray Junípero Serra 27 28039 Madrid Spain Legal form: S.L. Founded: 2012 Employees: 4

Tel +34 91 219 49 14 info@flyabit.es www.flyabit.es

ABOUT THE COMPANY We build brands through the audio environment. We create meaningful experiences based on soundscapes and are experts in the use of sound and music as an efficient marketing tool. We balance a large experience in the advertising and branding industries with a solid career in the music and audio ones. Our team experience include advertising, audio branding, music publishing, music supervision, audio design, music composition & production, recording studio, sound tracking, audio for Film & TV, retail or digital environments’ design.

CLIENTS NH Hotel Group, Grey (Loterías del Estado, Ono), Havas Group (Nivea, El Corte Inglés, Bezoya, Hyundai), Línea Directa, Saffron (Proximus), Telefónica, Vithas.

ISA | YEARBOOK 2017

GROVES getting brands heard

GROVES Sound Branding Isekai 20 20249 Hamburg Germany Legal form: GmbH Founded: 2009 Employees: 3

Tel +49 40 47 10 35 0 Fax +49 40 46 40 78 information@groves.de www.sound-branding.com

ABOUT THE COMPANY GROVES are specialists for Sound Branding. Our core business is the development, production, and management of Sound Identities using a structured process. As pioneers in this field, our methodology has provided a basis for what has become somewhat of an industry standard. We are proud to have been involved in shaping the sound of some of the worlds most respected brands. In recent years we have become involved in Psychoacoustics (the study of the perception of sound), primarily for health-care, as well as the sonification of data and Audio User Interface (AUI) design.

CLIENTS Aegon n.v., Bonprix, DATEV, EnBW, Gigaset, Intersport, LBS, Melitta, Olympus, Ramazzotti, TUI.

ISA | YEARBOOK 2017

Índigo Rua Alberto Villaverde Cabral, 1D 1400-905 Lisbon Portugal Legal from: Lda Founded: 1996 Employees: 6

Tel +351 21 30 31 000 Fax +351 21 30 31 010 manuelfaria@indigomusica.pt www.indigosound.pt

ABOUT THE COMPANY Índigo was created as an audio post-production and music facility. It has been awarded the prize for the Best Audio Production Company for 13 years in a row. 5 years ago, we started to invest in Audio Branding knowledge and began doing it for our local clients. Today we have done more than 15 complete audio branding projects and have some waiting in the pipeline. Audio Branding became our major expertise and main revenue. Meanwhile, we won 2 Cannes Gold lions and several international and national awards with our work in sound.

CLIENTS Novo Banco, Millenniumbcp, EDP, MEO, Sagres, INAPA, VOX, Delta Q, Lisbon City Hall, Candando, Activo Bank, Lusíadas, Continente, Sumol+Compal.

ISA | YEARBOOK 2017

iV/iV2 iV LLC 622 Hamilton Avenue Nashville, TN 37203 USA

Tel +1 615 320 1444 more@ivgroup.cc www.ivaudiobranding.com

iV2 GmbH Schmickstr. 18 D-60314 Frankfurt Germany

Tel +49 69 99999 300 82

Legal forms: LLC/GmbH Founded: 2005 Employees: 5

ABOUT THE COMPANY iV (US) and iV2 (EU) are audio brand consultancies that provide strategic audio branding for a wide range of global brands and their agencies. We are leaders in defining industry best practices, challenging the sonic status quo, and shaping the evolution of audio branding as a discipline. We help our brand and agency partners make strategic, measurable, and cost effective choices about music and sound. We blend art and science, combining proven design strategies with cutting edge research into human perception and behavior. Our award winning services include consultation, strategy, experiential design, education, training, research, measurement, content creation, procurement, and audio asset management.

CLIENTS Cadbury, Chivas Regal, Hilton Honors, Allstate, St. Jude Hospital, Collective Health, Outshine, Ritter Sport, Nikon, Ehrmann, McDonalds, Audi, Burger King, Opel, Nikon, Olay, Coca-Cola, Union Investment, Ford, Mercedes, Purina ONE, Seat, Melitta, Trojan, ABC, NBC, CBS, MTV, FOX.

ISA | YEARBOOK 2017

Lexter Sound Design Frejgatan 62 SE11326 Stockholm Sweden

Tel +46 87 202 550 info@lexter.se www.lexter.se

Legal form: Ltd Founded: 2009 Employees: 9

ABOUT THE COMPANY The right sound, at the right place, for the right person. This is the essence of Lexter. It’s what we do. The right sound adds a dimension that strengthens your positive impressions. Used in the right way, sound can be a bearer of communication and information. Sound can surprise you, make you alert, encourage you to shop more, or simply make you feel good. In the same way that furnishing and lighting can set an atmosphere and ambience in a room – so can sound. Lexter provides comprehensive audio branding through sound design in public environments and commercial media such as TV, radio and digital media. We create sound concepts, sound productions, sound environments and acoustic solutions. We also choose and install the technology and administer the system, often through our own software platform Lexter Sound System. Our clients are for example shops, malls, banks, offices, restaurants, hotels, museums and national parks. By taking care of the entire process, from idea to sound content and technical installation, we customize each solution based upon the preconditions. We always consider and base our solutions on the existing sound environment and a pre study digging in to the brand itself to increase recognition, harmony and result. In our team you find sound architects, project managers, technicians, and sound and music producers in our in-house studio team.

CLIENTS AMF Fastigheter Property Investment & Development, Åhléns, Swedbank, Kesko Finland, Stockholm Arlanda Airport, IKEA, Röhnisch Sportswear, Louisiana Museum of Modern Art Denmark, Sveriges Radio, TV4, Stockholm Concert Hall, Viking Line Scandinavia, ÅF Consulting, Diös Real Estate Holding, ICA, Jernhusen, Malmö Opera, Swedish Environmental Protection Agency, Sandhamn Seglarhotell, Göteborgs Energi, Fagerhult Retail. 56

ISA | YEARBOOK 2017

MassiveMusic Overhoeksplein 35 1031 KS Amsterdam The Netherlands

+31 20 4272 432 branding@massivemusic.com www.massivmusic.com

Legal form: B.V. Founded: 2000 Employees: 40

ABOUT THE COMPANY MassiveMusic is one of the leading music agencies in the world with offices in Amsterdam, Berlin, London, New York, Los Angeles, Tokyo and Shanghai. The agency helps brands find their voice and tell their story through music. MassiveMusic produces and composes for the advertising, broadcast branding and interactive worlds. They develop music strategies for global brands, provide music search and licensing services, create innovative activations, scout new talent â&#x20AC;&#x201C; and throw a mean party every once in awhile. The company is proud to have sprinkled its melodic magic on many of the worldâ&#x20AC;&#x2122;s biggest brands.

CLIENTS Premier League, Heineken, Vodafone, Philips, KLM Airlines, UBS Bank, Cornetto.

ISA | YEARBOOK 2017

Radja Sound Design Agency Exercisgatan 2b 211 30 Malmรถ Sweden

Tel +46 40 124 240 hello@radja.se www.radja.se

Legal form: Ltd Founded: 2008 Employees: 3

ABOUT THE COMPANY Radja Sound Design Agency creates unique sound experiences at places that millions of people visit every year. Operating in Europe, Asia and in the Middle East, RSDA partner with architects, retailers and marketers to actualize ideas that provide extraordinary customer experiences. Within their portfolio you will find sound concepts for real estate companies, shopping destinations, global brands, websites, computer games, architects and interior designers, among others. With expertise in brand strategy, consumer behaviour and how people are affected by sound RSDA is improving the function of urban areas, promoting new experiences in commercial buildings and supporting their clients to reach full potential by working strategically with sound.

CLIENTS Ikano Asia, Absolut Vodka, Unibail-Rodamco, Jinyu Real Estate Development, Steen&Strรถm, Esta Holding, H&M, IKEA Centers, Norwegian Oil Industry Association, intu Group, Sony, Tarsier Studios, Electrolux, MTV.

ISA | YEARBOOK 2017

Roundhouse Kortrijksesteenweg 1216 B-9051 Sint-Denijs-Westrem Belgium

Tel +32 9 330 50 53 aba@roundhouse.be www.roundhouse.be

6-8 Bonhill Street London EC2A 4BX UK

Tel +44 7826 850 850

Legal form: SPRL Founded: 2012 Employees: 4

ABOUT THE COMPANY Wonder what your brand sounds like? Roundhouse is a sound agency specialized in Sonic Branding. Our company develops and consults on unique and ownable sound strategies to consistently reinforce brand identities. Roundhouse aims to make brands sound as good as they look by creating a new sound DNA that fits the brandâ&#x20AC;&#x2122;s values, mission, vision and stakeholders. We aim for the right musical emotion in order to trigger the ears of clients, customers and colleagues with branding that speaks volumes. From silence to sound, from half tone to whole note, from sound design to soundtrack, Roundhouse aims to hit all the right notes and tunes a brand into a total auditory spectrum: from doorbell to radio and TV, from elevator music to YouTube channel, from in-app sound to film score, ... This 360Â° approach brings your brand story around full circle.

CLIENTS Coolblue, Lebara, Showpad, Stievie, Corona Direct, Torfs, Child Focus, Bancontact, Napoleon Games, City of Ghent.

ISA | YEARBOOK 2017

Sound Strategy 1020 Vienna Fanny-Mintz-Gasse 4/13 Austria Legal form: Sole Proprietorship Founded: 2005 Employees: 3

Tel +43 660 12 35 679 Fax +43 1 25 330 339 800 herwig.kusatz@sound-strategy.com www.sound-strategy.com

ABOUT THE COMPANY Sound Strategy has three main service pillars: Sound, Branding and Soundness. These services are combined, whenever possible. Also great technical know how helps to implement the concepts to make them fit and lasting for the brand.

CLIENTS Wiener Linien, Wien Tourismus, Wien Energie, Almdudler, Generali, Ärzte Ohne Grenzen, Slow Food , Orthovox , ÖBB, Yakult , Vöslauer.

ISA | YEARBOOK 2017

The Sound Agency 3000 Hillswood Drive KT16 0RS Chertsey, Surrey UK

Tel +44 845 500 2511 info@thesoundagency.com www.thesoundagency.com

Legal form: Ltd Founded: 2003 Employees: 8

ABOUT THE COMPANY The Sound Agency consults on and creates innovative, effective sound for businesses and brands around the world. It starts with asking and answering the question: â&#x20AC;&#x153;How does your brand sound?â&#x20AC;? We audit BrandSound and produce guidelines; we create sonic logos and music, and we specialise in innovative, generative soundscapes for commercial spaces like malls, offices, airports and stores. Our soundscapes have been proven to increase both sales and customer satisfaction.

CLIENTS Europe: Shure, Nokia, Honda, M&S, BBC, IKEA, GN Resound, Harrods, BP, Munich Airport, Vienna Airport, Helsinki Airport, Hammerson, Unibail-Rodamco, ECE, Linstow, Tallink Grupp, Hilton. US: Google, Walmart, Honeywell, Biamp, RealNetworks, Fanta, Colgate Palmolive, City of Lancaster (CA). Asia: MAF, Bank Muscat, TBC Bank. South America: Helm Bank.

ISA | YEARBOOK 2017

UnitedCreation Kaiserallee 109 76185 Karlsruhe Germany Legal form: GmbH Founded: 2001 Employees: 4

Tel +49 721 - 38 12 99 60 Fax +49 721 â&#x20AC;&#x201C; 38 12 88 69 info@unitedcreation.de www.unitedcration.de

ABOUT THE COMPANY UnitedCreation was founded in 2001 in Karlsruhe, Germany as an agency specialized in audio marketing and soundbranding. Since 2015 we combine strategy consulting, development of concepts, production and marketing in the fields of audio and video communication.

CLIENTS 1&1, 3M, Aegean, Airbus, Audi, Balfour Beatty Rail, BMW, BNP Paribas, Bosch, Caritas, Continental, Econda, eDarling, Edeka, Engel & VĂślkers, Guthy Renker, Holyday Inn, LBS, Leica, Maersk, Mercedes Benz, Parallels, Postbank, Rhenus Logistics, Siemens, Sparkasse, Toys R Us, Volksbanken/Raiffeisenbanken.

ISA | YEARBOOK 2017

WESOUND Altonaer Straße 1 10557 Berlin Germany Legal form: GmbH Founded: 2011 Employees: 14

Tel +49 30 221 943 590 Fax +49 30 221 943 599 info@wesound.de www.wesound.de

ABOUT THE COMPANY In 2011, Carl-Frank Westermann and Andreas Arntzen founded WESOUND, a boutique agency focused on auditory brand development with offices in Berlin and Hamburg. WESOUND provides consulting, brand development, and design for brands such as Siemens, Bayer, Leipziger Messe, and Busch-Jäger with the goal of aligning the acoustic image of the brand with strategic objectives and enhancing the overall brand image.

CLIENTS Allianz, Audi, Bayer, Busch-Jäger, Cartier, COVESTRO, DEW21, DHL, DLD conference, Dräger, DSGV Sparkasse, Emsa, Eprimo, ERGO, Fuldwerk, HRS, Konzerthaus Berlin, Leipziger Messe, Lufthansa, Manner, MARKTHALLE Krefeld, mr next group, Nepos, PARSHIP, Porsche Design, real,-, Red Bull, Reeperbahn Festival, SEAT, Siemens, Sivantos, Stadtwerke Bremen, Verivox.

ISA | YEARBOOK 2017

why do birds why do birds Friedrichstr. 120 10117 Berlin Germany Legal form: GmbH Founded: 2010 Employees: 9

Tel +49 – 30 – 555 78 33 71 Fax +49 – 30 – 555 78 33 74 wodrich@whydobirds.de www.whydobirds.de

ABOUT THE COMPANY The agency “why do birds” specializes on brand consulting and the creation of multi-sensory brand experiences and audio applications. Services include the full process of research, brand strategy, concept, creation, styleguide documentation and employee training up to brand consulting. Located in Berlin the agency has a wide possibility of recruiting sound-talents above the regular team of sound designers, composers and producers. The agency puts emphasis on the audiovisual fit of a brand sound to its corporate design. Therefore graphic and motion-graphic designers are a fixed part of the team. The high quality of the work is mirrored in a number of creative awards that why do birds continuously wins. This includes the Audio Branding Award in gold from 2015 for the Wiener Linien project as well as a Red Dot – Best of the Best in 2017 for the Hyundai Corporate Sound. The best thing about why do birds is however, that we really enjoy what we do and that we really have a great team!

CLIENTS Deutsche Bahn, Hyundai, Siemens, UFA, GORE-TEX, Bundesagentur für Arbeit, AVM, DKSH, Bayerischer Rundfunk, Bank Vontobel, Volkswagen, IHK, Wiener Linien, AG2R La Mondiale, KWS Saat, FIFA, Lekker Energie, Alperia, CLAAS.