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Johnson, Mike (ed.) / Leblanc Bell : A newsletter for music retailers, educators, employees and friends of G. Leblanc Corporation
(May 6, 1996)

Ad venture,   pp. 25-31


Page 31

erner. While the emphasis on
energy, color and typographic
treatment would remain the         4
same, with instruments still
photographed in stylized set-
tings, the second set of ads fea-
tured a different aesthetic
viewpoint. Northerner's fine-arts
background produced ads with
a more personalized, abstracted
vision and also introduced a
new dimension of humor to the
scenes. One ad in particular came
to represent this series, that for
the Holton Tuckwell horn (see
page 29, lower left), which depict-
ed it "landing" on the moon.
The attention drawn by the ads
caused people to wonder, "What
will they do next?" With the pur-
chase of Leblanc's parent com-
pany in France in 1989 and the
development of newly designed
clarinet models, people would
soon find out.
Advertiser/agency relation-
ships are often fleeting, due to
changes of strategy, style or per-
sonnel. In 1989, Leblanc's ac-
count executive at Xeno, Michael
Neu, moved to another Chicago
agency, now known as Boller Coates
& Neu, where he serves as partner
and vice president. The Leblanc ac-
count followed him there, where it has
since remained.
A series of ads created at Boller
Coates & Neu features players who
endorse Leblanc instruments. This stel-
lar group comprises some of the
world's finest musicians. These
players (in alphabetical order) are:
Larry Combs, Eddie Daniels (see
page 29, lower right), Maynard
Ferguson, Pete Fountain, Urbie
Green, Ethel Merker, Ricardo
Morales, Harvey Phillips, Wal-
lace Roney and Barry Tuckwell.
These endorsers have chosen
Leblanc because they feel the
instruments best allow them to
express their inner voice. When
describing an instrument in these
ads, the artists are specific about
the features and characteristics
The "support ad" at right is typical
of those currently produced by
Leblanc's in-house advertising de-
partment for placement in educa-
tors'journals, programs and similar
publications. The message and siz-
ing are easily tailored to particular
needs. Note inclusion of the "3D"
logo developed by Xeno in 1987.
1980:A hard-sell comparison between Vito
clarinets and "the competition."
that they find most appealing. It is
Leblanc's hope, of course, that readers
will share these conclusions.
Leblanc's most recent series of ads
captures the creative energy of Leblanc
instruments and accessories through
[Me way to sell you our
is to show you theirs.
IN SEARCH OF PERFECT HARMONY
LEblANCĀ®
G. Leblanc Corporation
7001 Leblanc Boulevard
P.O. Box 1415
Kenosha, WI 53141-1415 USA
Round the globe, you know us by many
names: Leblanc France, Courtois, Vito,
Holton, Yanagisawa, Martin and the
Woodwind Company. Since 1750, we've
had a single passion: Music. Breathe life
into your music through world-class
instruments from the world of Leblanc.
WORLD-CLASS INSTRUMENTS FROM THE WORLD OF LEBLANC
LEBLANC .COURTOIS -VITO -HOLTON -YANAGISAWA
MARTIN .MOOSMANN *WOODWIND COMPANY
THE LEBLANC BELL SPRING/SUMMER 1996
the use of equally energetic and
colorful imagery. The campaign
S     is one means by which Leblanc
is marking its current anniver-
sary year. The striking visual im-
ages (see page 24) were produced
by Anthony Arciero, who spent
many hours experimenting with
lighting, film and unconven-
tional processing chemistry to
achieve the desired effects. "I
wanted each image to look simple
and colorful," says Arciero, "and
for each to be viewed as a charac-
ter or icon."
Michael Neu, agency vice presi-
dent, reports that reaction to the
ads has been extremely positive.
"We wanted the ads to express
the same artistic excitement as
Leblanc products and to convey
the idea that making music with
Leblanc instruments is art."
 Unlike the history of a lost civili-
zation, that of G. Leblanc Corpo-
ration continues to be written.
Our brief archaeological dig in
Leblanc's advertising files has
traced a vigorous public presence
that now spans half a century. In the
course of future decades, stretching
into the next millennium, Leblanc ad-
vertising campaigns will continue to
evolve, experiment and, at times, "push
the envelope." But our commitment to
music will be unwavering, regardless
of the visual techniques that are used
to express it. El
nI


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