INSIDE NEUE KLASSE #03 | RENZO VITALE: THE SOUND OF BMW HYPERSONX EXPLAINED
The BMW Podcast | Changing Lanes
INSIDE NEUE KLASSE #03 | RENZO VITALE: THE SOUND OF BMW HYPERSONX EXPLAINED
The BMW Podcast | Changing Lanes · Sep 16, 2025
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One of the intentions of the Neue Klasse is to be human-centric.
It means that we start from the human experience and human feeling to explore new words.
Inside Neue Klasse, a video series with people at BMW shaping the future.
Hello, welcome back to Inside Neue Klasse.
This is your front-row seat to the future of mobility.
Now, I'm absolutely delighted to say that this is a series all about unlocking groundbreaking innovation
and really getting inside the minds that have built and designed these incredible machines.
Now, along the way, we're going to have some fun too.
We're going to play some games. We're going to be getting inside the minds of the experts you can get involved to.
This episode is all about sound.
Now, when I talk about sound, I'm not talking about noise.
Noise is something that my toddler does when he throws his toys across the floor.
This is about sound. This is about evoking emotion.
This is about going on a journey, taking you somewhere.
And I am absolutely delighted to say that I have here with me a very special guest.
He is the creative director of sound design at BMW, Renzo Vittali.
Hello, Nick. I'm doing wonderful. I'm so happy to get to see you again.
Yes, we hung out together seven years ago when you were designing just the beginning of designing sounds for BMW.
Exactly. That was actually the first sound for the electric vehicles that went in series with the BMW Electric.
It was a BMW 7 series and that's where I got the chance to meet you for the first time.
Picture you're going on a road trip, you're in a car, you whack up the stereo. What song have you got playing?
I know. It's very hard to pick, right?
I'm Italian and there is one song that is kind of iconic.
It's called Si Viaggiare, which means driving and it's from Lucio Battisti.
Dolcemente viaggiare.
So it gives you this move of going with the road, forgetting all the thoughts, just being open and ticking in.
And what kind of emotion does that evoke when you hear it when you are in the driving seat on an open road?
Lightness, exploration, surprise, joy.
I have to now mention, can you hear that soundtrack? We are currently recording this at a hangar at the BMW Driving Academy
and we have the most beautiful soundtrack here, I think.
Exactly. I mean, this is the world we live in also as sound designers, our cars are evocative in that sense
and they basically punctuate our daily activities.
So let's get into the kind of details, I suppose, about today's main topic,
which is how do you come about with designing these incredible sounds and what the ambition is ultimately?
There is so much emotion, isn't there, when you own a car, you know, part of that journey that you have,
the relationship that you have with it and stepping in, switching the engine on and driving off,
sound is such a big part that it's not just about how the car handles, it's about how it sounds.
So how do you then come up with the right sound for the right car?
It is a big challenge. It is very complex because it touches on so many aspects
that are relevant to the driving action, per se, and to what we want it to be as a BMW.
Because we do have a story of communicating emotions to people.
We do have a story and intention of bringing joy to the people.
So having that in mind, it's about finding the right balance between information and emotion
because these are the two main elements that a sound is capable to communicate to people.
So first and foremost, the function is to be clear. What is the sound for? What is supposed to say?
What do we want people to act upon if they are listening to this?
And the second part, which then becomes relevant depending on also the type of sounds,
which kind of mood we want to communicate to the person as we are asking to do something.
You might well consider that a collision sound is different from a blinker sound,
that is different from a start sound.
And the attempt that we always do to never forget the emotion next to the function.
This opens up quite a few questions also because this enters the domain of subjectivity.
It's just like music. There is wonderful music that you might not like,
or you might not like for a specific moment.
And this is what also goes into the designing process in which we question what is relevant
and how can we be as universal as possible and still being absolutely recognizable as BMW.
So next to the identity part, the information part, the emotional part,
there is this wish to say something new to people.
Where do you find inspiration for different sounds?
It comes often from the most unexpected places.
But what I am very attentive to is to search for things that move me in the first place,
because sound is the ultimate entity that moves people.
And this is what we are trying to do.
So if we are not moved on the first place, there is not much chance that we can move other people.
And this being said, most of the times it comes from the unpredictability,
maybe also turbulence from human expression that can be seen in art, architecture, in performance.
For instance, also the performative part of an expression being a dance piece or performance art,
something that I am really keen to observe.
I like to see the driver as a performer.
So if we for a moment consider the car as an early complex performative installation
and we see the driver as the one who can control, elevate, explore this installation,
all of a sudden the way we approach to the sound composition is completely different.
And this opens up a world of possibilities that not only expand the language that we have known so far
going back to your question about the mechanical versus the analog, it is a transformation.
And we can lead and we want to lead this transformation into the future,
especially with the Neue Klasse.
And we do have with sound this opportunity.
So if you just think for a moment you sit in a car, you have your steering wheel
and it's as if with your pedal you are in the control of the emotions
that you can and won't feel and you can communicate to the ones that are next to you.
That's how we design mostly a driving sound for electric vehicles.
We try to make sure that we explore areas that unfolds depending on the intensity that you interact with it.
So it's more about the surprise that we can create.
And obviously it's so critical, isn't it? Because electric cars, naturally, they don't really have any sound.
So to be able to gauge that and suddenly bring that emotion and pitch it at just the right point
depending on how the car is handling, how you're driving it,
it needs to be right to reflect the moment and what you're doing in the car,
which is not going to be easy, I'm sure.
I mean, I relate to that and I'd like to touch on also a very relevant point
that electric cars have introduced in the human experience in the automotive world, which is the silence.
First time these cars are very quiet and silence is precious.
Silence is the connection with the self.
Silence is pondering and we do protect this condition also with our sounds.
And it comes down to how do we build the narrative between the silence and the sound, the presence and the absence.
It just comes to my mind is this quote from its attributed to Mozart who said that the music is not just in the notes,
but it's in the silence in between.
So is the narrative between modulating these two elements?
And that's the reason why, for instance, when we designed the sound for the personal experience
for the car, also for the nine-class, it always starts from silence.
When you drive on a constant speed, the sound disappears
and the sound suddenly emerges whenever there is an information
that newly is to know that is related to the gradient that you are driving with your pedal and so on.
I love it because it's so clever.
It's like if I've got my kids in the back and I'm doing school run, it's like I'm in eco mode
and the sound will help me then drive appropriately for in the moment.
And then once I've dropped them off and I go on my own journey, I can put it into sport mode
and it will naturally go with the flow when I'm driving a bit more dynamically.
So we want to give people the possibility to create their mood,
to follow their mood whenever they are feeling a specific order.
You've got to tell me more about designing hypersonics as well.
I mean, it's absolutely fascinating. What have we got to look forward to?
Absolutely. Hypersonics is the name that we have chose for the sound family for the nine-class.
And it's a word that is made up of two single words, which is hyper and sonics,
the idea that we want to sublimate the sonic experience to the next level.
But at the same time, if you look at the word in the middle, there is the word person, hypersonics.
And one of the intention with the nine-class is to be human-centric.
It means that we start from the human experience and human feeling to explore new words.
And we wanted this to be a claim and manifesto already in the name,
that the human centricity is part of our intention,
it's part of our target, it's part of our base understanding of what we want to provide people with.
I mean, it is absolutely fascinating the layers to the sound of the machines that we drive.
I don't think I will ever step into a car and not listen to that sound again.
I'll be paying full attention to it.
But how do you actually go on to test it and to work out whether it's going to go into production or not?
The sound design process, it goes for around about two years.
And it involves dozens and dozens of people.
So it starts with conversation with colleagues from the marketing, sale, corporate identity, design, engineers.
We gather information, we picture a world to find the best sound for that.
And then we begin to develop in the studio.
Once we develop in the studio, then we open the doors and we begin to share.
We see what our colleagues think, we see the reaction, we track them down.
We finalize them, we sculpt the sound on and on and on and on.
And this convergence process, it's carried on for a couple of months,
up until we see that there is something that is emerging out of what we have presented, that it's leading the way.
And then we come to a point where we prototype the sound, we introduce this in the prototype cards,
and we drive on and on and on.
We drive, for instance, here, MISA, we drive in our test facilities,
and we check for what we call the test of time.
Because one of the most difficult things in sound design for cards is not the sound per se,
but it's what German likes to call dauertauglichkeit.
Translation, please.
Which means how much something can stand the test of time.
Like on the long run, it's something that you would still be there and listen without being annoyed by it.
And of course, you have to think that the horizon is not one day in one drive, one day, one week.
It's here.
People buy cars and keep them sometimes for a decade.
And what we aim to is that the sound is dauertauglich, can stand the test,
but also, first and foremost, is that the sound feels innovative,
not in the moment where you'd buy a car, but every time that you jump in a car.
There is always a surprise, always a sense of novelty that the sound is capable to provide.
This is BMW.
This is the way we like to drive the transformation.
I love it.
I love it.
Thank you so much for giving us a bit of an insight into your world,
and I feel like we've really got into your mind during this session.
My pleasure.
Thank you for listening.
But I have a question for you.
Do you like games?
Depends on which kind of games.
Do you mind losing?
Yeah, I guess so.
With you, it'll be easy.
Well, I'm quite competitive, but I have some games for us to play.
You guys can join us as well, if you are up for the challenge, of course.
Let's try it.
OK, challenge has been accepted.
So this is a game called Guess The Sound.
And I feel like as you are a composer,
you have an advantage because you want to have a very good ear.
I'm not sure, but let's see if that is the case.
OK, let's do it.
Indicates that?
Yeah.
Well done.
Well done, C.
OK, got this.
OK.
Windscreen wiper.
There you go.
Very good.
OK, one all.
Opening of the window.
Very good.
Pretty seatbelt on.
That's awesome.
Very good.
Very good.
I wouldn't get it.
Can you tell I'm competitive?
OK.
Next sound, please.
We've already had the window.
Oh!
You went first.
What is it called?
The moving of the seat backwards and forwards.
Yeah, that's a red one.
Awesome, Nicky.
Closing of the rear door?
Yes.
Kofferraum in German.
I got the one.
You got this one.
Switching the engine on?
It's a star sound.
OK, I can't.
What's that?
It was putting your coffee in the coffee cup holder.
What?
What was that?
It was putting your coffee in the coffee cup holder.
Oh, you know what?
I don't drink coffee.
Oh.
Awesome.
Next sound, please.
Touch click.
Ah.
Displaying touch click.
I was going to go for an indicator.
We already had that.
Important notice.
OK, come on.
Last sound.
I've got no idea.
I don't have a clue.
I don't know.
It might be...
Maybe when you...
Oh, take the headrest off.
OK, taking the headrest off.
That's what we did, I see.
Yeah!
Everyone together!
I think you helped me on that one.
But I'll take it anyway.
That's a good game.
Brilliant.
I would really say you are more than welcome
to join our sound design team anytime.
Great.
Lorenzo, that was absolutely brilliant.
Thank you for being such a great competitor,
but also allowing us into the mind, your mind,
and really understanding the sound of BMW.
Absolutely fascinating.
Thank you so much.
Thank you so much for being here, for listening.
It's been lovely.
We really hope you guys have enjoyed listening, watching.
Remember, spread the word. Share this with your friends.
And if you do have any questions,
pop them in the comments below.
We will, of course, answer them as soon as possible.
And we look forward to seeing you for our next episode.
It's a good one, and that's all I'm going to say.
See you then.
Thank you.
About this episode
Exploring the emotional impact of sound in BMW vehicles, Renzo Vittali, the creative director of sound design, shares insights on how sound enhances the driving experience. He discusses the balance between functionality and emotional resonance in sound design, particularly for electric vehicles where silence plays a crucial role. The conversation delves into the innovative 'hypersonics' concept, emphasizing human-centric design. Vittali also highlights the collaborative process behind sound development and the importance of creating sounds that stand the test of time, ensuring they remain engaging for drivers over the years.
Original notes
What does the future of electric mobility sound like?
In this episode of Inside Neue Klasse, Nicki Shields is joined by Renzo Vitale, Creative Director Sound BMW Group, to explore BMW HypersonX – the innovative sound concept designed for the Neue Klasse.
Powered by BMW Operating System X, HypersonX responds to your driving style, shifting from calm and refined in Personal Mode to energetic and expressive in Sport Mode. More than just acoustic design, it creates an emotional link between driver and vehicle – shaping how mobility feels through sound.
The episode wraps with a playful sound recognition challenge. Can you guess the tones along with Nicki and Renzo?
Tune in to hear how sound becomes a core part of the BMW driving experience.
(00:00) Introduction
(01:51) Renzo’s favourite road trip song
(03:10) Emotion and resonance in electric driving
(08:13) The element of silence
(10:30) Designing BMW HypersonX
(14:15) Sound recognition challenge
(17:57) Outro
Find outmore about our host Nicki Shields
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