Product Sound Design: An Inter-Disciplinary Approach?

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</p

Sound design

winter 2010image not available."Matt Taylor reveals the process behind Grammy Award-winning designs."Story by Nancy Moen ; Images provided by Matt Taylo

Final Research Report for Sound Design and Audio Player

This deliverable describes the work on Task 4.3 Algorithms for sound design and feature developments for audio player. The audio player runs on the in-store player (ISP) and takes care of rendering the music playlists via beat-synchronous automatic DJ mixing, taking advantage of the rich musical content description extracted in T4.2 (beat markers, structural segmentation into intro and outro, musical and sound content classification). The deliverable covers prototypes and final results on: (1) automatic beat-synchronous mixing by beat alignment and time stretching – we developed an algorithm for beat alignment and scheduling of time-stretched tracks; (2) compensation of play duration changes introduced by time stretching – in order to make the playlist generator independent of beat mixing, we chose to readjust the tempo of played tracks such that their stretched duration is the same as their original duration; (3) prospective research on the extraction of data from DJ mixes – to alleviate the lack of extensive ground truth databases of DJ mixing practices, we propose steps towards extracting this data from existing mixes by alignment and unmixing of the tracks in a mix. We also show how these methods can be evaluated even without labelled test data, and propose an open dataset for further research; (4) a description of the software player module, a GUI-less application to run on the ISP that performs streaming of tracks from disk and beat-synchronous mixing. The estimation of cue points where tracks should cross-fade is now described in D4.7 Final Research Report on Auto-Tagging of Music.EC/H2020/688122/EU/Artist-to-Business-to-Business-to-Consumer Audio Branding System/ABC D

RHIZOMATIC SOUND DESIGN

The exploration of this research is the effect of the sound design in a long take to reveal a powerful narrative structure. The research proposes a new term: rhizomatic sound design, which seeks to bind together the rhizome theory with the sound design practice. Analyzing the acoustic elements that configures the long take, the result of this research invites the team members of a film to apply the rhizomatic sound design concept in their own fields, to gain a deeper understanding of the cinematic language and acknowledge new ways to create the architecture of the narrative.The exploration of this research is the effect of the sound design in a long take to reveal a powerful narrative structure. The research proposes a new term: rhizomatic sound design, which seeks to bind together the rhizome theory with the sound design practice. Analyzing the acoustic elements that configures the long take, the result of this research invites the team members of a film to apply the rhizomatic sound design concept in their own fields, to gain a deeper understanding of the cinematic language and acknowledge new ways to create the architecture of the narrative

Tapping into effective emotional reactions via a user driven audio design tool.

A major problem when tackling any audio design problem aimed at conveying important and informative content, is the imposing of the designer’s own emotion, taste and value systems on the finished design choices, rather than reflecting those of the end user. In the past the problem has been routed in the tendency to use passive test subjects in rigid environments. Subjects react to sounds without no means of controlling what they hear. This paper suggests a system for participatory sound design that generates results by activating test subjects and giving them significant control of the sounding experience under test. The audio design tool application described here, the AWESOME (Auditory Work Environment Simulation Machine) Sound Design Tool, sets out to enable the end user to have direct influence on the design process through a simple yet innovative technical applications This web based device allows the end users to make emotive decisions about the kinds of audio signals they find most appropriate for given situations. The results can be used to both generate general knowledge about listening experiences and more importantly, as direct user input in actual sound design processes

Harnessing the Power of Music & Sound Design in Interactive Media

The history of the development of sound on film offers us lessons for the development of sound and music for interactive artforms. Now that technological developments have enabled almost unrestricted importation of audio into interactive platforms, the time has come for us to ask: is the content of the audio good enough

The Sound Design Toolkit

The Sound Design Toolkit is a collection of physically informed sound synthesis models, specifically designed for practice and research in Sonic Interaction Design. The collection is based on a hierarchical, perceptually founded taxonomy of everyday sound events, and implemented by procedural audio algorithms which emphasize the role of sound as a process rather than a product. The models are intuitive to control \u2013 and the resulting sounds easy to predict \u2013 as they rely on basic everyday listening experience. Physical descriptions of sound events are intentionally simplified to emphasize the most perceptually relevant timbral features, and to reduce computational requirements as well

Falling Poster

Falling by Deanna Jent An Independent Student Production directed by Gaby DeParis \u2718 Scenic Design: GABY DEPARIS \u2718 Lighting Design & Sound Design: GABY DEPARIS \u2718 Costume Design: TEDDY KIRITSY \u2719https://digitalcommons.providence.edu/falling_pubs/1000/thumbnail.jp