Sound as a brand signal. A brand you can hear

Most visual identity systems are precisely designed. A brand book defines the logo’s size, positioning, primary and secondary colors, typography, photography style, iconography, and sometimes even framing. At the same time, the same brand can use different music, a different voiceover, a different narrative pace, and random interface sounds in each spot.

Visually, it remains consistent. Sonically, it starts from the beginning every time.

Meanwhile, engagement with brands increasingly takes place in environments where images are not the only, and sometimes not even the primary, medium of information. We listen to podcasts while driving, pay with our phones, use apps, hotlines, self-checkout systems, and voice systems. Sound can reach the viewer even when their eyes are otherwise occupied.

It goes without saying that sound is always stronger or faster than images. Its advantage lies in another: it doesn’t require directing the gaze to a specific point, can accompany the experience over time, and reach consumers in situations where the logo remains invisible.

Research on sensory marketing shows that stimuli that appeal to the senses can influence product perception, the evaluation of its features, and consumer behavior. Contemporary studies on sonic branding emphasize that sonic identity should not be understood as a single track, but as a set of interconnected experiences occurring at various brand touchpoints.

Sonic branding, also known as audio branding, is often mistakenly associated with a jingle or advertising music. In reality, it’s a much broader concept.

It can encompass a short audio logo, a musical theme, a voiceover, app sounds, a payment confirmation tone, in-store music, a podcast intro, a product launch sound, the way a package opens, or even a distinctive crunch or click.

The key difference lies in its function. The music chosen for an ad may reinforce the emotion of a specific ad, but after the campaign ends, the viewer won’t necessarily connect it with the brand. A brand cue has a different purpose: it should trigger recognition.

A song may be more appealing. However, a custom audio code can be more valuable because it becomes a part of the brand’s memory over time.

The most classic form of sonic brand code is the jingle: a short, easily repeatable melodic phrase, often paired with lyrics or the brand name.

One of the most famous examples is McDonald’s and the five-note “ba da ba ba ba” that accompanies the “I’m Lovin’ It” platform. Its power doesn’t stem from its musical complexity. On the contrary, it works because it’s simple, short, and can be played by the recipient without instruments or preparation. The phrase still functions as a standalone brand code in McDonald’s official communications.

This is an important lesson for marketers. An effective jingle shouldn’t be judged solely by aesthetic criteria. What matters more is whether the consumer can remember it, repeat it, and correctly attribute it to the brand.

A good logo is a sight to behold. A good jingle can be recognized even with one’s back to the screen.

A jingle typically has a more song-like character. Sonic logos are shorter and act as signatures—they don’t need to tell the brand’s story, but they should clearly signal its presence.

A classic example is Intel’s five-note sound signature. The company officially calls it its sound signature, colloquially called a “bong.” Walter Werzowa’s composition is composed of five notes and multiple overlaid sounds. Its significance stems not solely from the melody itself, but from years of consistent exposure.

Intel demonstrates that a few seconds of sound can take on some of the functions of a visual logo. Moreover, this signature has helped build brand recognition for a component that consumers often don’t see because it’s located inside a computer.

Netflix employs a similar mechanism. A short sound played before the start of a movie or TV show has become a ritual of entry into the platform.

Netflix doesn’t just use sound to signify advertising. It has placed it at the very heart of the product experience. This is where sonic branding is most powerful: not when it interrupts the consumer’s entertainment, but when it becomes part of an expected ritual.

Payment brands are taking an even more advanced approach. In their case, sound not only increases recognition but also serves a functional purpose — it signals that the process has been successful.

Mastercard introduced its global sonic identity in 2019. Its foundation isn’t a single, unchanging file, but a melody that can be adapted to various cultures, musical genres, instruments, and touchpoints. The system includes, among other things, audio logos, advertising music, ringtones, music played while on hold, and payment acceptance sounds.

This is an example of thinking about sound in the same way as designing a comprehensive visual identity. The brand retains a distinctive motif but can change its arrangement depending on the market and situation.

Visa, in turn, is developing a sensory transaction confirmation system that combines sound, animation, and — on devices that support it — vibration. The entire process lasts less than a second and appears immediately after the transaction is successfully completed.

In such microinteractions, branding isn’t about the brand telling a story. The brand responds to the user. A short beep means: payment has been accepted, the system has worked, and you can proceed.

It’s a sound of recognition, but also a sound of trust.

Sonic branding doesn’t always have to be music. Sometimes its most powerful form is the sound of the product itself: the hiss of an opening can, the click of a lock, the sound of a device being activated, the rustle of packaging, or the cracking of a chocolate shell.

Magnum is a good example. The distinctive “crack” accompanying the cracking of the chocolate layer has for years supported the communication of pleasure, quality, and the premiumization of the product. In 2025, the sound became a central element of the global “Nothing Cracks Like Magnum” campaign. According to the brand owner, the cracking of chocolate has been present in the communication from the beginning, but it was only the analysis of consumer reactions that revealed how powerful a brand asset it can become.

In this case, the sound simultaneously serves as proof of the product’s promise. The crack confirms the thickness of the chocolate layer, builds anticipation for the contrast of textures, and initiates the ritual of consumption.

In the foodservice category, the crunch of breading, the sound of a drink being poured, or the sizzle of meat can play a similar role. However, an important distinction must be made: a sound used in a product ad does not automatically become brand property. To be considered a true brand asset, it must be distinctive, consistently repeated, and strongly attributed to a specific brand, not merely to an entire category.

An interesting example of using music to strengthen positioning in the Polish market is Żabka’s “Free Your Time” platform, launched in 2022. Its mission was to demonstrate that the chain’s products and services simplify daily tasks, allowing consumers to spend more time on what they truly enjoy. The campaign spanned television, radio, digital, print, and digital media.

The energetic, danceable music layer was semantically aligned with the brand’s promise: freedom, movement, lightness, and reclaimed time. The music wasn’t merely a neutral backdrop for the script. It helped express the effect the brand wanted to deliver.

However, a strategic question remains: does a given song build long-term memory for Żabka, or does it primarily enhance the appeal of a single communication platform? These are not the same thing. For music to become a lasting brand signal, its most distinctive elements must transition between campaigns and consistently appear at subsequent touchpoints.

Media Expert chose a completely different path. For years, the brand has used recognizable artists, simple sales phrases, and the melodies of well-known hits. Its ads featured Ewelina Lisowska, Zenek Martyniuk, and Cleo, among others, and the promotional texts were tailored to popular songs like “Zakręcona” and “Daddy Cool.”

This branding isn’t subtle. Its primary goal is to cut through the clutter, quickly attract attention, and reinforce the sales message. Advertising can be perceived as intense, repetitive, or even irritating, yet remain effective in building brand awareness.

Media Expert demonstrates that a sound signal doesn’t have to be universally liked to be remembered. However, it’s important to distinguish between memorability and the quality of its meaning. Intensive communication can ensure high recognition, but it can also impact the perception of a brand’s character.

Using well-known songs, nostalgic hits, disco, Eurodance, and 90s music can be very effective. A recognizable melody attracts attention faster than an unfamiliar song, triggering memories and facilitating communication.

The problem is that consumers can remember a song, but not the brand.

A well-known song provides an ad with ready-made energy and emotion, but associations have already been built by the artist and popular culture. A brand leverages existing capital, but doesn’t always create its own.

Therefore, two strategies must be distinguished. The first is using music as a short-term attention driver. The second is consistently building a sound system of its own. The first can be an excellent support for promotion. Only the second creates a brand asset.

A nostalgic hit can generate attention. Only consistency can create ownership of the association.

In many organizations, music only appears at the end of the campaign production process. The finished spot needs a “background,” so the team selects a track that fits the editing pace and the desired mood.

In the next campaign, the process starts over. The music, voiceover, rhythm, intro, and sound effects style all change. A brand can produce good ads, but it doesn’t develop its own sound.

Sonic branding should begin with a brand strategy, not with browsing playlists. First, you need to determine what qualities should be heard: energy, safety, precision, accessibility, freshness, technology, localization, or premium. Only then can you design the appropriate instruments, tempo, key, rhythm, voice, and effects.

An audit of all the places where the brand already resonates is also necessary: ​​advertising, apps, social media, stores, hotlines, events, devices, packaging, and payments. Often, an organization finds itself with dozens of unrelated sounds, even though visually it maintains coherence with almost obsessive precision.

A good audio system should meet five criteria.

First, it must stem from the brand’s strategy and personality. Second, it should be distinctive enough to avoid resembling generic music in its category. Third, it must be simple and memorable. Fourth, it should be adaptable to various formats — from TV commercials to split-second app sounds. Fifth, it requires consistency.

Testing shouldn’t be limited to asking, “Does this sound appeal?”. Much more important is checking whether audiences can recognize it, attribute it to the right brand, distinguish it from competitors, and remember it after several exposures. Its durability must also be assessed. A sound that sounds good during a presentation to management can become irritating after dozens of interactions.

A one-time theme isn’t a brand asset. An asset is something the organization consistently repeats and that competitors can’t easily adopt.

Intel demonstrates the power of a few notes. Netflix — the importance of a ritual that begins an experience. McDonald’s—the value of a simple phrase that consumers can reproduce. Mastercard and Visa — the ability to combine recognition with utility. Magnum — the potential of sound derived directly from the product. Żabka — the role of music in reinforcing the brand promise. Media Expert — the commercial effectiveness of intensity and repetition.

Not all of these examples represent the same level of sonic branding. Some brands have built their own, long-term codes. Others primarily use music effectively in campaigns. This distinction is important because an attractive soundtrack is not yet an identity.

A brand doesn’t need a song just because the world is becoming more audio-centric. It needs a well-thought-out system that allows it to be recognized without looking at the logo.

In a world of image overload, it’s not just the brand that’s easily visible that will gain an advantage. Increasingly, it will also be the brand that can be recognized with a single second of sound.