Every question we get asked, answered honestly

WithFeeling is a sonic branding and music studio. We create sonic logos and sonic identities, compose original music for advertising and film, design and mix sound, cast and direct brand voices, and build audio for attractions, exhibitions and live events. If a brand needs to sound like itself, that is what we build.

WithFeeling is headquartered in Dubai, UAE, trading as With Feeling Production Services L.L.C. Our team works from the UK, Ireland, South Africa and the Philippines, with composers based across the US and Europe. Most of our current work is in Saudi Arabia, the UAE and the UK.

Yes, and on regional work it shows. We quote in AED and invoice locally, we work in Gulf time zones so approvals happen the same day, and we record Arabic voice with native direction rather than sending it offshore.

Twenty years, with more than 170 projects delivered in that time, across advertising, film, themed entertainment, exhibitions, retail and live events.

Our clients include Google, TikTok, Microsoft, Samsung, Unilever, Emirates, ADNOC, Etisalat, Expo 2020 Dubai, Mubadala, Aramco, Nestlé, Kellogg’s, Johnnie Walker and Sephora. You can browse every project in our work.

Yes, more than 25 international awards. Recent wins include Clio Music Bronze 2026, International Sound Awards Gold 2025, Transform Awards MEA Gold 2025 and Creativepool Silver 2025. We were also shortlisted at the CID Awards 2026.

WithFeeling created the sonic identity and brand voice of Expo 2020 Dubai, which recorded 24.1 million visits. We also composed “This is Our Time”, the official theme song of Expo 2020 Dubai.

Yes. The sonic logo is our core discipline. It is the short, ownable audio signature a brand uses to sign off, the audio equivalent of a visual logo. We have created sonic logos for Etisalat, ADNOC, Mohammed Bin Rashid Library and the Ministry of Tourism Saudi Arabia among many others.

A sonic logo is the short signature, usually one to three seconds, used to sign off a piece of communication. A brand track is the longer piece of music the sonic logo is drawn from, which can be cut down for different lengths and contexts. A full sonic identity usually includes both, plus variations for different moods, channels and markets.

A sonic logo and brand track, the core of a full sonic identity, typically ranges from $13,500 to $82,000+ (50,000 to 300,000+ AED). The range depends on the number of variations, the markets and channels it needs to cover, and the length of the usage licence.

Yes. A full system typically covers the sonic logo, a hero brand track, cut-downs for different durations, variations by mood and channel, interface and product sounds where relevant, and a set of guidelines so the brand’s other agencies can apply it consistently.

Most sonic identity projects run between six and twelve weeks from brief to final delivery, depending on the number of stakeholders and rounds of testing. Individual pieces of original music are usually faster.

A jingle is a short, sung or musical phrase, usually tied to one campaign. Sonic branding is the longer-term system around it: the full set of sounds, rules and assets that keep a brand consistent across advertising, apps, products, retail and live events.

It is already in the budget, it is just being rented. Every ad, video, event and hold queue you produce is paying for music that builds nothing and belongs to someone else. A sonic identity is a one-off cost, from about $13,500, that makes every future spend work harder, and it costs less than making a single television commercial.

Your customers do not experience you visually most of the time. They are on a call, in a queue, listening to a podcast, watching an ad with the phone on the sofa. Half your touchpoints already carry sound. The only question is whether it is yours or random.

That is the most expensive moment to do it, because every asset you just made then needs sound retrofitted. Done alongside the rebrand, it is the last mile of the same project and launches in one go.

We could whistle you a few of ours. If you can whistle the end of Happy Birthday, you can whistle YourBazaar’s, which took Gold for Best Audio Brand at the 2025 Transform Awards MEA, and there are more where that came from. But ask someone on the street and we agree with you: we will not promise you Intel, because those three had decades of global media behind them. What we sell is what every brand your size already has for visuals and almost none has for sound: a system, so nobody feels a jolt moving from your ad to your app to your hold queue. That is achievable at any budget, and you can hear it in a minute.

For the feed, agreed. Ride the trends; they are borrowed clothes. The identity is what sits underneath: the sting at the end of the Reel, the sound on the product shot, the notification, the hold music, the store, the event, the film. Feed content is a fraction of your touchpoints, and a good identity is built to sit under a trend, not fight it.

Independent studies first: ads carrying sonic brand cues are 8.5 times more likely to deliver strong branded attention (Ipsos, 2,015 US ads), music that fits the brand makes it 96% more likely to be remembered (University of Leicester), and audio assets outperform visual ones by 3.4 times on ad effectiveness (Ipsos). Those are averages, not your brand, so we test the identity on your audience with Implicit Association Testing before rollout, and we can scope a small before-and-after test in one channel into the job.

Nobody has ever chosen you for your logo either. Brand assets work below the level of stated reasons, which is why they are measured rather than asked about. What people do notice is a brand that sounds like a different company every time they meet it.

Your agency picks a track per campaign, and it should keep doing that. Owning the system everything fits into is a different job, the way your printer does not own your visual identity. We build the system and hand it over, and your agency executes with it; you are not adding a vendor to every campaign.

Then you are halfway there. The test is whether it works at half a second on a notification, in a hold queue, on a Reel and in a store. A track is one asset. An identity is the system it grows into, and an existing track is usually the seed of it.

It can generate a track, and that is the first ten percent. The rest is deciding what your brand should sound like and why, testing it, building it across fifty touchpoints and writing guidelines people follow. It is the same reason your visual identity did not come from a template.

You will license something the brand across the road can license next week, and pay for it again every usage window. You do not rent your logo. Our guide to licensing versus original music sets out the real costs of each.

Your webinars, product demos, event walk-ons, explainer films and hold music are all audio touchpoints, and right now they all sound like stock. That is an easy place to stand out.

Some of them, some of the time, which is why the identity ships with a silent-friendly variant for captioned video. Your app is not on mute. Your support line, your conference stage and your investor room are not on mute. When sound is off you lose nothing; when it is on, you are the only brand in the room.

Play them your brand next to a competitor with a proper sonic identity, thirty seconds, side by side. Nobody needs a deck to hear the gap. The project itself runs six to twelve weeks, mostly your team listening rather than deciding, and the first assets are in market before the full system is finished.

Yes. A bespoke piece for a 60-second commercial typically runs $8,000 to $16,500+ (30,000 to 60,000+ AED), depending on the brief, the usage rights and the number of versions required.

Yes. We design and mix sound for commercials, films, brand content, attractions and live shows, including full audio post-production.

Yes. We cast, direct and record brand voices, and we have worked with over 1,000 voices across more than 100 nationalities.

Yes. We cast and direct Arabic voice with native speakers, and we have delivered Arabic and bilingual work for Expo 2020 Dubai, the Ministry of Tourism Saudi Arabia, Etisalat and Mashreq among others. Arabic is not an outsourced add-on for us.

Yes. We compose and design audio for theme parks, museums, exhibitions and immersive attractions, including SeaWorld Abu Dhabi, Six Flags Qiddiya, Aquarabia and the Islamic Arts Biennale.

Yes. We script, cast, record and produce multilingual audio guides for museums, galleries and heritage sites.

We work alongside your AV integrators, and we can also take on the integration ourselves, including show control. Either arrangement works, and the right one depends on how your project is already set up.

Yes. A large share of our work comes through creative, media and experiential agencies, and we are comfortable working white-label under an agency’s name where the relationship requires it.

Yes. You work with the people making the music rather than through an account layer. On most projects that means direct contact with the composer and with our Managing Director.

No. Our range runs from a single 60-second commercial to a full multi-market sonic identity. The figures published above are honest ranges rather than fixed prices, and the right scope depends on what the brand actually needs.

Yes. We are headquartered in Dubai, but our composers work across the US and Europe and we deliver globally. Recent work includes projects in the UK, the US, Denmark, Ireland and Saudi Arabia.

Ownership and usage rights are agreed up front and written into the quote, because they materially affect the cost. Buyouts, term licences and territory-limited licences are all possible. We will tell you plainly what you are buying before you commit.

Send us the brief, the deadline and the budget range, and we will tell you honestly whether we are the right studio for it. You can reach us through our contact page.