If we’ve said it once, we’ve said it a million times: It’s not just music. It’s marketing.

Which is why when working with our agency partners, we often begin by creating a written “audio brand brief” that allows us to analyze and target an audio identity for our clients’ brands. It helps us define a direction, not only for our composers and sound designers, but for our agencies and their clients, too.

We try to take some of the “subjective” out of the process. And in the end, we hope to enhance not only the creative elements of a campaign, but help drive the real emphasis of advertising: motivating consumers to take action and to give the brand a coveted “top of mind” position.

So when we recently found out in a conversation with Young and Rubicam/Frankfurt that a spot we scored for their client, Dany Sahne, had resulted in doubling the sales of that particular product, we were thrilled.

Of course, the audio branding wasn’t the only thing that made a difference. But we’re always happy to find that we’ve contributed, even in small ways, to the success of a campaign that can be measured by the sales.

That’s marketing.

And that’s music to our ears.

There’s a reason we emphasize the concept of “audio branding” here at iV. We believe that when it comes to broadcast marketing, as much care should be taken with the audio components of the advertising as with the visual components. Consumers don’t just “see” brands. They “hear” them, too.

Over the past few years, we’ve found many of our clients turning to us for more than just one audio solution. More and more we're handling the whole sonic package: music, sound design, voiceovers and final mixes.

So to celebrate the arrival of 2009, we’ve decided to officially embrace the “audio post” components of audio branding and concentrate even more on providing our clients with a one-stop shop for all their audio needs. Whether we’re generating the music, sound design and voiceovers for a spot or simply mixing the audio components supplied from other sources, our commitment to quality, detail and brand consistency always shines through.

We’ve already established ourselves as a premier resource for award winning original music, post scores, music licensing and music supervision. Our work with internationally recognized sound designers like Brian Emrich and Uli Reese have garnered us even more creative kudos in the past two year for our sound design.

To expand our audio post capabilities, we’ve installed an ISDN link with an interface that will connect globally with most codecs. Coupled with Source Connect, our broadband remote recording solution that allows direct-to-the-timeline recording with real-time, broadcast-quality audio using internet connections, we can offer clients a number of options for remote recording and monitoring depending on their project and budget.

In addition to ProTools HD, Logic and Final Cut Pro, our main studio is equipped with monitors for easy ADR and a comfortable listening/working environment for talent and clients alike. Not to mention our stable of talented engineers who have handled everything from hit recordings to 5.1 surround sound theatrical releases.

But in the end, it’s our commitment to brand strategy, client service and award winning creativity that set us apart. We’ve set our sights on becoming a boutique audio post resource for our agencies, with a special emphasis on the broadcast mediums of television, internet and cinema.