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New Lincoln Aviator Musical Alerts Replace Boring Beeps

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Lincoln Detroit Symphony Orchestra | Lincoln Aviator Musical Alerts

The all-new Lincoln Aviator promises to be a big-picture pleaser with its sleek shape, three-row comfort, and various cutting-edge technologies. By replacing the standard informational beeps and bloops you’d expect from a vehicle with recordings provided by the Detroit Symphony Orchestra, Lincoln is poised to make sure that the Aviator is also pleasing when it comes to the small things.

Lincoln revealed that the new Aviator, which debuts at the Los Angeles Auto Show this month, will feature six new musical alerts and symphonic chimes for 25 different vehicle functions. Think of the sound that you would hear when your seatbelt is not fastened or your door is ajar. With the Aviator, you’ll instead hear pieces of music composed by the DSO.

Take a Closer Look: What you can expect from the all-new Lincoln Aviator

“This is quite a departure for us — introducing music into the informational chime world,” said Jennifer Prescott, supervisor, vehicle harmony, The Lincoln Motor Company. “But we’re always thinking about luxury, and this was a way to take Lincoln to an even higher level.”

Of course Lincoln has a supervisor of vehicle harmony. Why wouldn’t there be such a thing?

Renowned musicians Adrienne Rönmark (violin), Eric Nowlin (principal viola), and Joseph Becker (principal percussion) are responsible for the final chimes that will be heard in the new Aviator. Lincoln expects that the concept of using musical chimes in place of beeps will be rolled out to the rest of its lineup in the near future.

“It was a very stimulating project; sounds and soundscapes are so much a part of our life that we often don’t really notice them — and yet they can provide all these triggers that are so important,” Rönmark said. “As a musician, usually what my job entails is trying to bring to life a piece of music that’s already been written. So to be a part of this process, to create sounds knowing their meaning first, and then create the sound second, was a really, really engaging way to process the sound.”

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