| Title | DOORBELL ODYSSEY |
| Brand | KFC |
| Product/Service | KFC DELIVERY |
| Category |
B02. Sound Design |
|
Entrant
|
CORE Dublin, IRELAND
|
|
Idea Creation
|
CORE Dublin, IRELAND
|
|
Media Placement
|
CORE Dublin, IRELAND
|
|
Production
|
SYMPHONIC Dublin, IRELAND
|
Credits
| John Walsh |
Symphonic |
Sound Designer |
| Leo Sloley |
KFC |
Marketing Lead Ireland |
| Blaise Hoban |
Core |
Copywriter |
| Mike Garner |
Core |
Creative Director |
| Liam Wielopolski |
Core |
ECD |
| Anita McMenamin |
Core |
Agency Producer |
| Alan Barnwell |
Core |
Account Director |
| Jenny Dillon |
Core |
Account Manager |
View Script
Write a short summary of what happens in the radio or audio work.
Employing an orchestra of knockers, buzzers and doorbells to craft an epic audio announcement, letting the Irish public know that KFC now delivers. We recorded a cover version of the iconic “Also Sprach Zarathustra”, famously used in the iconic opening scene of 2001: A Space Odyssey.
Translation. Provide a full English translation of any audio.
We’ll create a unique doorbell and knocker cover the instantly recognisable “Also Sprach Zarathustra” from 2001: A Space Odyssey.
SFX will mimic the song and build to a crescendo as the door opens and the delivery is made.
SFX of various door bells ringing.
Door buzzer: BUUUUUUUHHHHHHHH!
Doorbell: DUM-DUM
Doorbell: DUM-DUM
Door Knocker: Rap! Rap! Rap!
Old Style Chime: Ding, dong
SFX: Dog barks
SFX: Door Opens
VO: (Shouting Back Inside) Dinner’s Here!
Anncr: KFC now delivers!
Tell the jury about the sound design.
Our challenge was to create a musical piece from non-musical sounds, in this case a multitude of knockers, buzzers and doorbells. We did this by individually tuning each sound to a set pitch so that we could accurately recreate the melody of ‘Also Sprach Zarathustra’ by Richard Strauss.. This created another hurdle in that changing a pitch also changes the speed of a sound, therefore each one had to be stretched or compressed to fit the rhythm of the piece. We wanted to place listeners outside real doors all over the country, so we used different street atmospheres for each different bell ring or knock; when we wanted a Victorian or Edwardian house bell for example, we used the atmosphere from a real street with that type of architecture. The end result is a Symphony of bells building to a massive crescendo and an exciting final climax.