Presentation of strategy and concept for release of new music experience by Ingrid Records.

1. FINAL PRESENTATION
OCTOBER 11, 2011

2. PRESENTATION OBJECTIVE
To provide an overview of the Spellbound project
for Ingrid, provoking thought, inspiration and ideas
to answer and evolve the brief.

3. PRESENTATION CONTENT
Research
Insights RESEARCH INSIGHTS
Strategy CREATIVE
Creative
Guidelines
STRATEGY

4. RESEARCH
The Brief
Our Process
Music Industry
Ingrid DNA

5. RESEARCH – THE BRIEF
Ingrid has great possibilities to become the
music label of a new generation, but as we are
just starting out, we are lacking awareness
within our future audience. We therefore wish
to develop and create digital ideas and presence
for increased notion of Ingrid.
So, how would you be a contributing part of Ingrid
and take her further creatively, visually and
communication-wise?

6. RESEARCH – THE PROCESS
4PROTOTYPE
AND TEST
REFLECTION
1
RESEARCH
AND
OBSERVE
SKETCHING INSIGHTS
3 2
IDEA
IDEA GENERATION
DEVELOPEMENT
EVALUATION

7. RESEARCH – MUSIC INDUSTRY
Digital track sales
rose 11% in US in the CD’s, Tapes and
first six month of 2011 Records – Down by
40% since 2001
CINEMA
ADVERTISING
GAMES SHOW REELS
19 of every 20 tracks
downloaded are EMI – Publishing
illegal supplied 29% of revenues
and 45% profits (2010)
Tour sponsorship in LIVE!
Price of concert
North America rose from tickets doubled
£1.3 Billion to £1.74 Billion in a Decade

8. RESEARCH – MUSIC INDUSTRY
TRADITIONAL MUSIC LABELS
- Collect copyrights etc.
- Hoard Masters
- Complicated approval process
- Scarcity / fear-based mentality
- Artists as products
- Focus on selling tangibles
- Control the “pipes” / increase friction
in distributing music

9. RESEARCH – MUSIC INDUSTRY
How we discover and consume music:
DISCOVER MUSIC CONSUME MUSIC
- Street/Poster - Movies/Advertising
- Friends - Apps
- Festivals - Streaming
- Party/Events/ - Live performance
Exhibitions - Games
- Streaming services - Merchandising
- Internet/Blogs
- Podcasts
- Radio

10. RESEARCH – MUSIC INDUSTRY
Analogue vs. digital:
ANALOGUE DIGITAL
- Scarce/Valuable - Infinite production capability
- Permanent - Trending towards “free”
- Imperfect/human - Easy to access/duplicate/spread
- Complicated to produce - Always available on multiple
- Difficult to distribute platforms
(Scale matters) - “Too perfect”
- Hard to track - Scale is irrelevant
- Authentic - Trackable

11. RESEARCH – MUSIC INDUSTRY
- Engages all senses
- Album as a piece of art - Convenience
- Music as a form of - Cost effective
emotional exchange (buy a song at a time)
(not just sharing)
Why are we forced to choose?

12. RESEARCH – INGRID DNA
PONTUS WINNBERG
“Why does music have to be
delivered in the most boring way?”

13. RESEARCH – INGRID DNA
Authentic / Original
Soulful
Follow own path / Inner voice
Faithful
Brave
Integrity
Eclectic
Creative
Family
Scarce
Co-operative

14. RESEARCH – INGRID DNA
An artful and creative space
“Put it out there and let people
discover it for themselves”
The next generation label
Unique artists / collaborations
Focus on performance rather than sales
Marketing in innovative ways (digital and
analogue)

15. RESEARCH – INGRID DNA
INGRID
- Create stories around people and the music
- Focus on creation
- A collective hub for musicians / artists
- Interested in making connections
- Abundance mentality / unlimited access
- Express and spread the word
- Focus on creating music experiences
- “No assets other than it’s members”

16. RESEARCH – SAMPLE QUESTIONS
- How do we create exclusivity online?
- What do we love about analogue and how can
we use this?

17. INSIGHTS
There is an emotional, almost primordial bond
that we have with music. The way we choose
to participate in the music experience reflects
the people we have been, the people we are
and the people we would like to become

18. INSIGHTS
There is a tension that exists between the
feelings associated with the analogue
experience and that of digital models; artists
can create in such a way to combine the
feelings of one and the convenience of the
other

19. INSIGHTS
Scarcity
Tension
Abundance
What is scarce increases in value,
what is readily available, decreases in value.

20. INSIGHTS
CINEMA
ADVERTISING
GAMES SHOW REELS
LIVE! ON TOUR
The same consumer wants different things
from music at different times, the modern label
must be able to meet these diverse needs and
speak with one coherent voice

21. STRATEGY
8. WHAT DO WE FIGHT FOR?
1. WHAT DO WE WANT ACHIEVE?
Mission Vision
7. WHAT ARE WE LIKE AS A PERSON?
2. WHAT DO WE STAND FOR?
Personality Competence
6. WHAT DO WE STAND FOR? 3. WHO ARE WE FOR?
Values Consumer
5. WHAT DO WE PROMISE? 4. HOW ARE WE DIFFERENT?
Promise Differentiation

22. STRATEGY – MISSION
1. WHAT DO WE WANT ACHIEVE?
A collective of influential artists creating
and sharing authentic experiences using
all available platforms.

23. STRATEGY – COMPETENCE
2. WHAT DO WE STAND FOR?
Producing music experiences that are of
personal importance to the artist and the
audience.

24. STRATEGY – CONSUMER
3. WHO ARE WE FOR?
Open minded people that seek new
experiences and inspiration through music

25. STRATEGY – DIFFERENTIATION
4. HOW ARE WE DIFFERENT?
Quality over Quantity, unpredictable,
democratic cooperative label.
Physical representation (Café Mellqvist)

26. STRATEGY - PROMISE
5. WHAT DO WE PROMISE?
Follow the creative process wherever it may
lead, allowing the artist to speak.

27. STRATEGY – VALUES
6. WHAT DO WE STAND FOR?
Family
Authenticity
Exploratory
Collaborative

28. STRATEGY – PERSONALITY
7. WHAT ARE WE LIKE AS A PERSON?
- Has integrity, is not hypocritical
- Dares to be different
- Inquisitive and curious
- Well informed
- Passionate
- Amiable
- Discrete
- Humble

29. STRATEGY – MISSION
8. WHAT DO WE FIGHT FOR?
To connect the artist with their purpose and
their audience.

30. STRATEGY – IMAGINE
ANALOGUE DIGITAL
- Scarce / Valuable - Infinite production capability
- Permanent - Trackable
- Authentic - Easy to access / duplicate /
- Emotional / Tangible spread
- Multiple platforms

31. CREATIVE
VISION
PROMISE
HOW
Balance Digital & Analogue
Telling stories around music
Engage the Social Graph
PLATFORMS / CAMPAIGNS

32. CREATIVE
JOHANNA BECKMANN
Q: “What is the future Facebook?”
A: Ingrid as a global virtual hub and meeting place for
creative artists, using social networks to unite and inspire
collaborations. The following campaigns are ways of
identifying and involving the participants of this community

33. CREATIVE
Idea development
ANALOGUE TWIST ANALOGUE TWIST
Insight Idea Stage 1 Idea Stage 2 Idea Stage 3 Idea Stage 4 Concept
DIGITAL TWIST DIGITAL TWIST DIGITAL TWIST

34. CREATIVE
IDEA 1 – TRACK A TRACK
To spread the word of Ingrid whilst
maintaining exclusivity and a sense
of discovery for potential fans.

35. CREATIVE

36. CREATIVE

37. CREATIVE

38. CREATIVE

39. CREATIVE
CREATIVE – TRACK A TRACK
Website

40. CREATIVE

41. CREATIVE

42. CREATIVE

43. CREATIVE

44. CREATIVE

45. CREATIVE

46. CREATIVE

47. CREATIVE

48. CREATIVE

49. CREATIVE

50. CREATIVE
Idea development
ANALOGUE TWIST ANALOGUE TWIST
Track like Reward sharing,
Discovery & Music Hand Location based, a marked dollar. Track a Track
Spread like Vinyl limited
Scarcity To Hand Encourage
virus edition
sharing.
DIGITAL TWIST DIGITAL TWIST DIGITAL TWIST

51. CREATIVE
IDEA TWO – ARTWORK QR CODES WITH INTERACTIVE MUSIC VIDEO EXPERIENCE
To associate Ingrid with fun music
experiences.

52. CREATIVE
INGRID APP
1. Download Ingrid-app on Ingrd.com.
Or scan code on the street with QR reader and get linked to ”Download button”.
2. Now scan using Ingrid-app. The pattern in the code will trigger visuals and the song will start.
3. Find the rest of the series on the map inside the Ingrid app.

53. CREATIVE

54. CREATIVE

55. CREATIVE

56. CREATIVE

57. GUIDELINES
CAMPAIGN VALUES
Each campaign must:
Balance Digital & Analogue
Tell stories around music
Engage the Social Graph

58. GUIDELINES
Iterative Implementation
Testing / Idea
Concept Implementation Feedback Development Concept
Measure

59. RESEARCH – INGRID DNA
PONTUS WINNBERG
“Do what you love and the world
becomes a more diverse place”