FROM SOUND QUALITY TO SOUND SYSTEMS: RETROSPECTIVE OF SOUND STUDIES APPLICABLE TO PRODUCT DESIGN (original) (raw)
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Desirable Sound for Products as a Product of Design
Auditory perception is a seemingly neglected aspect of design with respect to non audio specific products. The complex subjectivity with which we perceive sounds and subsequently attribute meanings to them is extensive, as described by . If one considers that a moving image need only be rendered at twenty four frames per second to provide an effective deception of being constant, yet sound requires a much higher resolution such as the standard forty four thousand one hundred samples per second at CD quality to achieve a satisfactory auditory equivalent, this can be drawn as an indicator to the relative complexity between our auditory and visual sensory systems. This Paper will discuss the quantification and application of our sonic perception in modern design, as well as discussing the rationales for doing so.
Proceedings of the 23rd International Conference on Auditory Display - ICAD 2017, 2017
Sound is a neglected subject of today's products and services. The new technologies changed the way we interact with the people, objects and the world around us, thus, designers should aim at all senses, contemplating a multi sensorial experience. In this scenario sound becomes an important aspect to be considered during the project phase in a design process. Sound becomes part of the product identity and expression, the way the product talks to us. To foster this scenario designers should be aware of the possibilities and attributes of sound and how to explore them in a creative way. In this short paper we investigated published articles, workshops and publications to collect sound methods and techniques to be used into a design process. As a result, we proposed twenty essential sound methods that could be applied in a design thinking context. This is an ongoing research, part of a thesis experiment, since further methods and refinement could be added in the future.
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The practice of product sound design is relatively new within the field of product development. Consequently, the responsibilities and the role of a (sound) designer are not very clear. However, practice shows that various disciplines such as design engineering, acoustics, psychoacoustics, psychology, and musicology contribute to the improvement of product sounds. We propose that sound design should be conducted by experts who have knowledge in the afore-mentioned fields. In other words, we suggest that product sound design should be an independent field that encompasses an inter-disciplinary approach. Keywords: sound design; sound designer; product sounds; design processes; multi-disciplinary, inter-disciplinary
Potential of Application of Psychoacoustics to User Product Interaction Design
Product design helps people to access to technological devices through the development of a product interface. It is also capable of influencing people's interaction with others and with the environment, and of affecting the emotional response of product users, as the evolution of this activity to a new approach that can be defined as product semantics design. Thus, the product itself is a communicative system, and an understanding of it depends on the congruence of the sensorial properties perceived by the user with the concept of the product. Therefore, given that sound is one of the essential stimuli perceived by users, it is also one of the vital parameters to be configured by the designer, and the knowledge of the communicative capacities of sounds and their properties must be incorporated into the product design process. This paper reviews some of the more relevant studies in the field of sound from a perspective of its potential application to product interaction design, and critically analyses their main contributions to date and their potential application in order to contribute to the proposal for future lines of work.1
Closing the loop of sound evaluation and design
Proceedings of the 2nd …, 2006
Despite being a promising and lively playground, sound design is not a discipline as solid and established as visual or product design. We believe that the reason is to be found in the lack of design-oriented measurement and evaluation tools. The European project CLOSED (Closing the Loop Of Sound Evaluation and Design) aims at providing a functional-aesthetic sound measurement tool that can be profitably used by designers. At one end, this tool is linked with physical attributes of soundenhanced everyday objects; at the other end it relates to user emotional response. The measurement tool will be made of a set of easy-to-interpret indicators, which will be related to use in natural context, and it will be integrated in the product design process to facilitate the control of sonic aspects of objects, functionalities, and services encountered in everyday settings.
SpringerBriefs in Applied Sciences and Technology, 2018
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The present article revises key literature in regards of the importance of the role of senses for enhancing user interface and experience in products, particularly incorporating psychological methods for leveraging creativity among users. The current study reports practices of design theories such as 1) Multisensory Design, focusing in the overall awareness that users have with physical properties of objects, 2) Synesthetic Design, that concentrates on the systematic connection of cross-sensational modalities for selecting products features, and 3) Participatory Design, as a user-centred design method which brings users and stakeholders to actively get involved in the design process. The present study focuses on designing auditory displays and sonification techniques, as one main channel for conveying information during psychological applications. The relevance hereby stated, consists on design guidelines that seek to facilitate the exploration of information transfer between users, from an in-and-out bodily resonance experience by the use of non-speech sounds for human interaction. It consists of a descriptive, exploratory and experimental work based on a cross-disciplinary setup. The article explores on recent state-of-art design innovation methods, together with the potential of merging fields of psychology, sensory activity and divergent thinking.
Audio-visual interactions in product sound design
2010
Consistent product experience requires congruity between product properties such as visual appearance and sound. Therefore, for designing appropriate product sounds by manipulating their spectral-temporal structure, product sounds should preferably not be considered in isolation but as an integral part of the main product concept. Because visual aspects of a product are considered to dominate the communication of the desired product concept, sound is usually expected to fit the visual character of a product. We argue that this can be accomplished successfully only on basis of a thorough understanding of the impact of audio-visual interactions on product sounds. Two experimental studies are reviewed to show audio-visual interactions on both perceptual and cognitive levels influencing the way people encode, recall, and attribute meaning to product sounds. Implications for sound design are discussed defying the natural tendency of product designers to analyze the "sound problem" in isolation from the other product properties.