New McCain Fries Jingle To Challenge Katy Perry’s Menu Log

In a bid to rival Katy Perry’s Menu Log jingle, McCain has created a new ad campaign that features Kelis’s Milkshake track from her 2003 album Tasty.

Created by independent agency Dig, the ad remixes the Milkshake track to showcase the benefits of McCain’s new SureCrisp fries.

In Australia, as takeaway and home delivery has grown, so has the issue of soggy chips on delivery.

McCain SureCrisp fries were developed to address this problem.

Apparently more than half of Australians surveyed say they don’t expect the fries to be hot and crispy by the time they arrive. 

By featuring a special plant-based coating, MCain suggests that their fries will stay crisp for up to 30 minutes, giving venues the confidence to sell deliciously hot, crispy fries for takeaway or delivery.

The campaign will launch nationally across Catch Up TV, Digital, Radio, Social and In-store.

The Voice Of Darth Vader Hangs Up His Helmet

darth vader

James Earl Jones, the voice behind the legendary Star Wars’ villain Darth Vader, is hanging up his helmet.

Jones’s voice was remastered from the original Star Wars films for the recent Obi-Wan Kenobi series. Some of Jones’s archival voice recordings were also used.

For future Star Wars projects, the 91 year old actor has reportedly granted permission for Disney and Lucasfilm to use artificial intelligence and archival recordings to recreate his voice.

The Ukrainian-based A.I. company working with Lucasfilm on the voice recreation will also use proprietary deep learning software to create new lines of dialogue using Jones’s speech patterns. 

Similar technology was used with actor Peter Cushing, who starred as Grand Moff Tarkin and Carrie Fisher, as Princess Leia.

For fans, perhaps it’s comforting that one of the most famous voices in cinema history will be kept ‘alive’ for generations to come.

Podcasting: influencers and the bottom line

Over the past few years, talent scouting has been a hot topic because brands saw influencers as having a ready and engaged follower base to advertise too.

However, some experts now suggest that the followers of TikTok influencers, or Instagram Reels, don’t necessarily want to hear the same people talk at length in a podcast. 

Further to this, many brands have a renewed focus on the bottom line, wanting proven talent and ideas, and a desire for a better return on their podcast investment.

This focus will particularly affect original programming, which is a far greater gamble. 

However, the shift to focus more on the bottom line might also suggest that the podcast world is moving from a niche channel to a more established distribution channel for big advertisers.

Should I Be Using Interactive Audio Ads?

Audio advertising has always been an important part of the media mix. 

Today, interactive audio ads are being cleverly used with smartphones and smart speakers via the device’s voice activated technology.

Interactive ads allow the listener to engage with the content as opposed to being a passive listener, resulting in a stronger and more meaningful brand association.

We know that digital audio ads can target a subsection of listeners, which means that it’s possible to tailor the message to a unique listener. However, interactive digital audio ads take this a step further by providing an opportunity to introduce actionable outcomes. 

For example, at the end of an ad, the listener could be asked to answer a question, or to have the product being advertised dropped directly into an online shopping cart.

The interactive digital audio ad is a unique proposition for advertisers, because it’s capable of combining the brand benefits of traditional advertising with the targeting and interactivity of digital ads.

Spotify continues to break new ground in the world of interactive audio. Click here for more information about what they are doing in this space.

The Benefit of Audio in e-Learning

When it comes to e-Learning, which is better, audio or text?

Text is often the foundation of digital learning due to the ease of writing, or updating the content however, audio can add emotion, personality and tone that will help enrich the overall learning experience.

We often see e-Learning combine text and audio, where a narrator reads the text on the screen, however, recent studies suggest that this is not particularly effective.

This is because people process text and audio differently. This means that text and audio may become ineffective, or redundant in targeting a learner’s auditory and visual channels at the same time. 

For example, if you watch a TV show with audio captions, you may notice that you read dialogue before it’s spoken, limiting the emotional impact of the on-screen action.

In the context of storytelling, text can be written in a compelling manner however, audio will improve engagement because the listener will better associate with the emotion behind the voice.

Audio can also create a memorable experience; a critical component of e-Learning because it allows the listener to better retain and recall the information.

Audio continues to be an effective tool in e-Learning, and if used properly can provide better outcomes. However, when deciding on the best media, context for the learning will ultimately influence the solution.

Audio Jargon 101

Audio engineer jargon tends to sound more like terms you’d use to describe food rather than audio. So here are the meanings behind some of the more common words used here at Hardy Audio.

Warm

Warm is a positive term. A ‘warm’ sound or tone, has a tilt towards the bass frequencies but remains pleasantly spacious in the upper ranges.

Muddy

Muddy is a negative term that suggests the audio has too much bass/low mid frequency, instruments/vocals aren’t clear, or there is poor sound reproduction.

Clean

Clean audio suggests the audio is free from distracting/unwanted sounds, and or frequencies. It can also mean the audio is easily distinguishable without anything being too loud, or too quiet.

Hollow

Sound that is ‘hollow’ is where the mid range is too quiet. This can make the bass and treble sound louder, resulting in a sound that is empty in the middle.

Dull

Dull, or flat may be used to describe a lack of high frequencies, or treble notes.

Peaky

Peaky audio implies there are peaks or distortions. This results in unexpectedly loud audio that can distort and sound unclear.

Tinny

Tinny audio can have weak lows and peaky mids which result in a flat hollow sound, like it is coming through a telephone, or ‘tin can’.

Cooked 

The term cooked is used when the digital audio signal is higher than the allowable limit i.e. a clipped signal. Cooked audio can also refer to the compression applied e.g. if the audio is over compressed, it will lose dynamic range and sound quieter.

Audio Ads for Gamers

Brands are keen to get in front of the highly-engaged ‘gamer’, an increasingly lucrative audience which remains reluctant to interact with conventional advertising.

To engage gamers, brands must be creative. The challenge is making sure the ads are not disruptive to the users gaming experience.

A recent survey from IAB UK found that 75% of gamers prefer audio ads within games instead of video, or banner ads that pause the gameplay. 

So instead of a banner ad, or a pop-up video, the gamer can hear about a new product, or service in the background.

Gamers are more likely than web users to buy products and influence the purchasing decisions of others, because engagement, acceptance and awareness are high. 

This means gaming will certainly be the next frontier for audio advertising.

Brands Scared of Humour: Oracle Happiness Report

The last few years certainly have shifted people’s values and priorities.

A recent Happiness Report from Oracle suggests people are searching for new experiences to make them smile and laugh and will reward brands that embrace humour with loyalty, advocacy, and repeat purchases. 

Overall, 76% of people believe brands can do more to deliver happiness to their customers and 91% said they preferred brands to be funny.

However, globally businesses are shunning humour for fear of being cancelled. 

The Report suggests 89% are more likely to remember ads that are funny, yet business leaders report that only 17% of their brands’ offline ads and 14% of their online ads actively use humour.

74% of people would follow a funny brand on social media however, only 12% of business leaders said their brand uses humour on social media.

68% of people would open an email from a brand if the subject line was funnier, yet only 21% of business leaders said they actively use humour in email marketing campaigns.

If you are looking to use humour in advertising fear not. Christian Ludlow Hyland, Senior Director Customer Engagement Oracle APAC said, “For brands looking to contribute to the happiness of their target audience, it starts with data and knowing your customers. People are ready to embrace the funny side of life and find joy and laughter in the world around them, which includes brand experiences.”

Media agencies embrace programmatic audio

According to the recent IAB Australian Audio State of the Nation Report, advertisers are leaning into programmatic audio.

The report suggests 64% of media agencies intend to use programmatic for audio advertising over the next 12 months (up from 59% in 2021), 73% now have streaming digital audio advertising as a regular part of their activity and 59% regularly consider podcast advertising, (up 36% from 2021).

The report suggests audio advertising enhances brand building and is one of the most important reasons why agencies undertake audio advertising. In fact, the report found that digital audio has continued to increase its role in brand building with 87% of media agencies using streaming digital audio advertising and 84% using podcast advertising to increase brand awareness. Further, 46% consistently use an audio or sonic logo as a branding asset in their creative.

According to this year’s Iab Australia Audio Summit, combining digital audio advertising with digital display and out of home advertising seems to be a successful combination for many agencies.

Valentine’s Day 2022

A report from Roy Morgan and the Australian Retailers Association suggests Australians are expected to spend $415 million on Valentine’s Day this year, with the average individual expected to spend $111.00. 

According to the report, 39% will purchase flowers, 28% chocolate, food and alcohol and 9% will purchase jewellery. 

In Australia, roughly a third of consumers said they would be increasing their Valentine’s Day spend compared to last year, but the majority (65%) said they would be spending the same amount.

Valentine’s Day gifting is more prevalent with younger Australians. 38% of 18-24 year old’s plan to buy a gift, while only 7% of people over 65 plan to celebrate the day.

In the U.S. the Valentine’s Day bounty expects to take a hit this year, with surveys suggesting the usual gifts will be replaced by home-cooked meals and takeout.

As a result U.S. brands started selling Valentine’s Day items much earlier in the year, an advertising strategy employed with Black Friday and Christmas sales in 2021.