Silence, Sound & Emotion – The Hidden Power of Audio: A Conversation with Karsten Kjems – Part 2
“The brief was ‘we want to sell some more train tickets to Germany, where you can go to Berlin for a techno party, you can go to Hamburg for the opera, have a famous opera in Hamburg, or you can go to Munich for the beer festival.’ And we made this audio journey with sound, and you definitely can hear, ah, now we’re in Berlin, it’s the opera, and now we go to Munich. So yeah, we can play with that. And the client just also loved the idea. It takes two to tango, as you say, the client also needs to value and understand if you want the effect of this. You need to work with this in an ambitious and professional way.” – Karsten Kjems
This episode, “Silence, Sound & Emotion – The Hidden Power of Audio” is the second half of my conversation with audio branding specialist and founder and CEO of Sonic Minds Karsten Kjems, as we talk about the surprising value of silence in sound design, why familiarity doesn’t always breed contempt when it comes to sonic logos, and what it means to be a musician in a world where both instruments and vocals can come from a laptop.
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(0:00:00) – The Power of Sound Design
As the second half of our conversation starts, Karsten points out how effective sound design isn’t always intuitive, and that less is sometimes more. “I’ve played some gigs, sometimes for a reception,” he says, “and people were just talking and talking, and they didn’t listen to the music at all. But then suddenly if we start to play really soft, then people go, ‘oh, I think the band is playing.’” He adds that sonic interfaces today are, in some ways, reminiscent of the early days of web design. “In the old days, they had flashes and everything moving,” he recalls. “You know, now we just go back to ‘give me a simple burger menu,’ ‘click contact,’ or whatever. User usability is also very important.”
(0:06:41) – The Evolution of Sound Design
Our discussion turns to audio marketing, and Karsten points out how much of effective sonic branding depends on the demographics. “There has actually been a study for that, that shows that we create our musical preference, I think, when it’s between we are 17 and 21,” he says. “We’re about to get the first boyfriend or girlfriend, moving away from home, these really high peak moments in our lives.” We talk about AI in sound, and the direction he sees it taking in the industry. “It’s just like when the sampler came out,” he recalls. “’What should drummers do?’ And now the drummer plays on top of samplers, so every drummer has a sampler or a drum machine next to him, so he uses it as a tool.”
(0:20:22) – Quality Sound Design
As our conversation comes to a close, we talk more about the role of shifting demographics in sound design and how they impact not just relatability but the user’s experience. “If you’re having hearing loss or having, you know, difficult hearing,” Karsten notes, “then you don’t want products that really annoy you. You want to be able to understand them.” He shares some of his thoughts on the future of audio UX, and how his country’s leading the way in sonic branding. “Denmark is actually with sound what Swiss is with watches,” he adds. “For some reason, it’s a hot spot within audio engineering and sound. So I think we should keep that position as one of our trademarks in Denmark.”
Episode Summary
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Effectively utilizing silence in sound design and the evolving role of spatial sound.
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The challenge of re-imagining traditional audio approaches in the digital era.
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AI’s role in sound and how technology has redefined what it means to be a musician.
Connect with the Guest
Website: https://sonicmindsagency.com/
For More Audio Branding Resources: https://sonicmindsagency.com/resources/
Follow Karsten Kjems on Facebook: https://www.facebook.com/karstenkjems/
Subscribe to Karsten Kjems on Instagram: https://www.instagram.com/karstenkjems/
Follow Karsten Kjems on LinkedIn: https://www.linkedin.com/in/karstenkjems/
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This interview episode was very skillfully made to sound beautiful by the talented Humberto Franco.
** Transcript available upon request
