Search results for "sound design"
showing 10 items of 26 documents
Exploring Design Cognition in Voice-Driven Sound Sketching and Synthesis
2021
Conceptual design and communication of sonic ideas are critical, and still unresolved aspects of current sound design practices, especially when teamwork is involved. Design cognition studies in the visual domain represent a valuable resource to look at, to better comprehend the reasoning of designers when they approach a sound-based project. A design exercise involving a team of professional sound designers is analyzed, and discussed in the framework of the Function-Behavior-Structure ontology of design. The use of embodied sound representations of concepts fosters team-building and a more effective communication, in terms of shared mental models.
Beyond Clicks and Beeps: In Pursuit of an Effective Sound Design Methodology
2007
Designing effective non-speech audio elements for a user-interface is a challenging task due to the complex nature of sounds and the changing contexts of non-visual interfaces. In this paper we present a design method, which is intended to take into account the complexity of audio design as well as the existing audio environment and the functional context of use. Central to this method is a rich use scenario, presented in the form of a radio play, which is used as a basis for the work of design panels. A previous version of the design method is analysed and specific practical issues are identified. Solutions to these issues are presented in the form of a modified version of the method. In t…
Gestural Attributions as Semantics in User Interface Sound Design
2010
This paper proposes a gesture-based approach to user interface sound design, which utilises projections of body movements in sounds as meaningful attributions. The approach is founded on embodied conceptualisation of human cognition and it is justified through a literature review on the subject of interpersonal action understanding. According to the resulting hypothesis, stereotypical gestural cues, which correlate with, e.g., a certain communicative intention, represent specific non-linguistic meanings. Based on this theoretical framework, a model of a process is also outlined where stereotypical gestural cues are implemented in sound design.
Metaphor as a Focal Concept in Sound Design
2014
A central challenge in the design of non-speech sounds is to understand the relating conceptualisation process. In the current paper, we propose the use of metaphor theories as a framework to understand what sound design is fundamentally all about. In the proposed framework, we handle metaphors as conceptual entities, which are the basic constituents of meaning making.
Design and evaluation of prosody-based non-speech audio feedback for physical training application
2011
Abstract Methodological support for the design of non-speech user interface sounds for human–computer interaction is still fairly scarce. To meet this challenge, this paper presents a sound design case which, as a practical design solution for a wrist-computer physical training application, outlines a prosody-based method for designing non-speech user interface sounds. The principles used in the design are based on nonverbal communicative functions of prosody in speech acts, exemplifying an interpersonal approach to sonic interaction design. The stages of the design process are justified with a theoretical analysis and three empirical sub-studies, which comprise production and recognition t…
Non-speech voice for sonic interaction: a catalogue
2016
This paper surveys the uses of non-speech voice as an interaction modality within sonic applications. Three main contexts of use have been identified: sound retrieval, sound synthesis and control, and sound design. An overview of different choices and techniques regarding the style of interaction, the selection of vocal features and their mapping to sound features or controls is here displayed. A comprehensive collection of examples instantiates the use of non-speech voice in actual tools for sonic interaction. It is pointed out that while voice-based techniques are already being used proficiently in sound retrieval and sound synthesis, their use in sound design is still at an exploratory p…
Tradition and modernity: new sound proposals from the music schools of the federation of musical societies of the valencian community
2019
Background: The Federation of Musical Societies of the Valencian Community (FSMCV) is a democratic association created 50 years ago, which represents and supports the 550 associations that make it up, with the aim of promoting, disseminating and teaching music. It promotes associationism and provides society with a way of developing cultural articulation, mainly developing its activities within the Valencian Community, although its national and international activity is very remarkable. Methodology: This article based on a prospective study using a qualitative methodology analyzes one of the proposals made to commemorate the 50th anniversary of the FSMCV through the use and application of t…
Leaping across Modalities: Speed Regulation Messages in Audio and Tactile Domains
2010
This study examines three design bases for speed regulation messages by testing their ability to function across modalities. Two of the design bases utilise a method originally intended for sound design and the third uses a method meant for tactile feedback. According to the experimental results, all designs communicate the intended meanings similarly in audio and tactile domains. It was also found that melodic (frequency changes) and rhythmic (segmentation) features of stimuli function differently for each type of message.
Analyzing and organizing the sonic space of vocal imitations
2015
The sonic space that can be spanned with the voice is vast and complex and, therefore, it is difficult to organize and explore. In order to devise tools that facilitate sound design by vocal sketching we attempt at organizing a database of short excerpts of vocal imitations. By clustering the sound samples on a space whose dimensionality has been reduced to the two principal components, it is experimentally checked how meaningful the resulting clusters are for humans. Eventually, a representative of each cluster, chosen to be close to its centroid, may serve as a landmark in the exploration of the sound space, and vocal imitations may serve as proxies for synthetic sounds.
Embodied sound design
2018
Abstract Embodied sound design is a process of sound creation that involves the designer’s vocal apparatus and gestures. The possibilities of vocal sketching were investigated by means of an art installation. An artist–designer interpreted several vocal self-portraits and rendered the corresponding synthetic sketches by using physics-based and concatenative sound synthesis. Both synthesis techniques afforded a broad range of artificial sound objects, from concrete to abstract, all derived from natural vocalisations. The vocal-to-synthetic transformation process was then automated in SEeD, a tool allowing to set and play interactively with physics- or corpus-based sound models. The voice-dri…