"Somehow this voice comes to me but known before..." I listen intently to the TV commercials. I know the voice from off-screen – but from where? We associate a person's voice very strongly with their face, which is why it can be difficult for us on the phone if the other person does not mention his name. But some voices are so distinctive, so impressive, that we recognize them without a face. Sometimes it takes a little time, but then the doorbell rings – like Sky Du Mont, which often speaks commercials. But what influence does the "voice" of advertising have on us?
Generating trust wants to advertising, because then we are more inclined to buy a product. That's why advertisers try to choose a voice that seems pleasant to everyone's ear and at the same time fits the product. So BMW would never choose a voice that sounds like a teenager and McDonalds looks for a young, fresh voice. The speaker must fit the product but also the target group so that he can "pick up" them, as the saying goes. At the same time, advertising should not sound like advertising, but much more like an interesting story, an editorial – at least that's how advertising guru David Ogilvy put it. I came across this statement at Sprechersprecher – the corresponding blog entry is also about the connection between advertising and voice.
A good speaker builds creates an emotional relationship with the listener – he can do this in a similarly intense way as a picture. This point should not be neglected, especially in advertising, as the images shown often convey fewer feelings than in a feature film, for example. The voice from the off-screen can then create the necessary emotions that build a connection to the product for us. The advertiser would probably say that, according to the AIDA principle, not only attention is generated by the voice, but also interest is aroused and the desire to buy is sparked. On the influence of emotions on purchasing decisions, I have discovered an interesting article in Die Zeit .
But it is also interesting to note that advertising sometimes even deliberately relies on a voice that doesn't fit and is still successful. Froop and the screeching fruit alarm of a blonde girl would be such an example – the voice was shrill and unpleasant. Or the Seitenbacher muesli commercial, which is simply spoken by the boss, who clearly audibly has not enjoyed any speech training. Nevertheless, this also works – because the voices attract attention. Nevertheless, we prefer the pleasant voice that we already know from somewhere... We feel more comfortable with it.
Attentive greetings,
Yours, Arno Fischbacher
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