Thirty Two
Industry
What we did
Thirty Two Music is a boutique music agency built on rhythm and precision. They create music that makes an impact – crafted by people who know exactly how to make it come alive.Drawing inspiration from ‘player piano’ book music punch cards and step sequencers, we developed a visual language based on dot matrices, capturing the harmony of rhythm, accuracy, and structured creativity.Reflecting rhythmic patterns, these dots symbolise notes, beats, and time signatures, echoing the structured flow of musical notation. This clean, ordered aesthetic resonates with the technical discipline of sound engineering, where clarity and precision are paramount. The balance of repetition and variation creates a sense of controlled creativity, much like well composed music.
The logomark is based on “sonoglyphs”, appearing as a group of three and two dots. To maintain consistency across the master logo and sub-brands, this formation is repeated in varied yet related compositions. It’s paired with a customised Britti Sans, chosen for its even stroke widths and spacing, which echo the rhythmic structure of step sequencers and the precise placement of dots. Despite its technical nature, the typeface maintains a subtle warmth through curved forms, striking a balance between technical sharpness and human, creative expression. Letters like g, r and t reference circles, reinforcing the visual language.
The logomark is based on “sonoglyphs”, appearing as a group of three and two dots. To maintain consistency across the master logo and sub-brands, this formation is repeated in varied yet related compositions. It’s paired with a customised Britti Sans, chosen for its even stroke widths and spacing, which echo the rhythmic structure of step sequencers and the precise placement of dots. Despite its technical nature, the typeface maintains a subtle warmth through curved forms, striking a balance between technical sharpness and human, creative expression. Letters like g, r and t reference circles, reinforcing the visual language.
The logomark is based on “sonoglyphs”, appearing as a group of three and two dots. To maintain consistency across the master logo and sub-brands, this formation is repeated in varied yet related compositions. It’s paired with a customised Britti Sans, chosen for its even stroke widths and spacing, which echo the rhythmic structure of step sequencers and the precise placement of dots. Despite its technical nature, the typeface maintains a subtle warmth through curved forms, striking a balance between technical sharpness and human, creative expression. Letters like g, r and t reference circles, reinforcing the visual language.
The logomark is based on “sonoglyphs”, appearing as a group of three and two dots. To maintain consistency across the master logo and sub-brands, this formation is repeated in varied yet related compositions. It’s paired with a customised Britti Sans, chosen for its even stroke widths and spacing, which echo the rhythmic structure of step sequencers and the precise placement of dots. Despite its technical nature, the typeface maintains a subtle warmth through curved forms, striking a balance between technical sharpness and human, creative expression. Letters like g, r and t reference circles, reinforcing the visual language.
The logomark is based on “sonoglyphs”, appearing as a group of three and two dots. To maintain consistency across the master logo and sub-brands, this formation is repeated in varied yet related compositions. It’s paired with a customised Britti Sans, chosen for its even stroke widths and spacing, which echo the rhythmic structure of step sequencers and the precise placement of dots. Despite its technical nature, the typeface maintains a subtle warmth through curved forms, striking a balance between technical sharpness and human, creative expression. Letters like g, r and t reference circles, reinforcing the visual language.
The logomark is based on “sonoglyphs”, appearing as a group of three and two dots. To maintain consistency across the master logo and sub-brands, this formation is repeated in varied yet related compositions. It’s paired with a customised Britti Sans, chosen for its even stroke widths and spacing, which echo the rhythmic structure of step sequencers and the precise placement of dots. Despite its technical nature, the typeface maintains a subtle warmth through curved forms, striking a balance between technical sharpness and human, creative expression. Letters like g, r and t reference circles, reinforcing the visual language.
Thirty Two have the ability to see music where others do not, bringing life and energy to things that might otherwise seem ordinary. We sought to make their practice visible. To achieve this, we built a tool in Processing that uses audio inputs to generatively build a dot matrix on a structured 32x4 grid. By running the studio’s sonic identity, brand film or other audio through this tool, we can produce a variety of “audio array” patterns that are then used across the visual identity. These patterns are divided into a grid four rows, each representing both musical beats and parts of the audio spectrum: high, high mids, low mids and bass. Each of the thirty two columns corresponds to a bar of music.
Thirty Two have the ability to see music where others do not, bringing life and energy to things that might otherwise seem ordinary. We sought to make their practice visible. To achieve this, we built a tool in Processing that uses audio inputs to generatively build a dot matrix on a structured 32x4 grid. By running the studio’s sonic identity, brand film or other audio through this tool, we can produce a variety of “audio array” patterns that are then used across the visual identity. These patterns are divided into a grid four rows, each representing both musical beats and parts of the audio spectrum: high, high mids, low mids and bass. Each of the thirty two columns corresponds to a bar of music.
Stationery is die cut with our mark, reinforcing the creative direction of “player piano” music punch cards. In static promotional materials, the audio array is shaped by the specific film the still originates from. This creates a unique yet instantly recognisable visual device. For high-profile projects, special acetates are created as client gifts. Each features a still from the work on the cover, die-cut with the logomark to reveal the brand’s signature “Redline Red” on the inner sleeve.
Stationery is die cut with our mark, reinforcing the creative direction of “player piano” music punch cards. In static promotional materials, the audio array is shaped by the specific film the still originates from. This creates a unique yet instantly recognisable visual device. For high-profile projects, special acetates are created as client gifts. Each features a still from the work on the cover, die-cut with the logomark to reveal the brand’s signature “Redline Red” on the inner sleeve.
Stationery is die cut with our mark, reinforcing the creative direction of “player piano” music punch cards. In static promotional materials, the audio array is shaped by the specific film the still originates from. This creates a unique yet instantly recognisable visual device. For high-profile projects, special acetates are created as client gifts. Each features a still from the work on the cover, die-cut with the logomark to reveal the brand’s signature “Redline Red” on the inner sleeve.
Stationery is die cut with our mark, reinforcing the creative direction of “player piano” music punch cards. In static promotional materials, the audio array is shaped by the specific film the still originates from. This creates a unique yet instantly recognisable visual device. For high-profile projects, special acetates are created as client gifts. Each features a still from the work on the cover, die-cut with the logomark to reveal the brand’s signature “Redline Red” on the inner sleeve.
Stationery is die cut with our mark, reinforcing the creative direction of “player piano” music punch cards. In static promotional materials, the audio array is shaped by the specific film the still originates from. This creates a unique yet instantly recognisable visual device. For high-profile projects, special acetates are created as client gifts. Each features a still from the work on the cover, die-cut with the logomark to reveal the brand’s signature “Redline Red” on the inner sleeve.
Stationery is die cut with our mark, reinforcing the creative direction of “player piano” music punch cards. In static promotional materials, the audio array is shaped by the specific film the still originates from. This creates a unique yet instantly recognisable visual device. For high-profile projects, special acetates are created as client gifts. Each features a still from the work on the cover, die-cut with the logomark to reveal the brand’s signature “Redline Red” on the inner sleeve.
