Designing sound identity

Carron, Maxime; Dubois, Françoise; Misdariis, Nicolas; Talotte, Corinne; Susini, Patrick

doi:10.1145/2636879.2636896

Cited by 12 publications

(3 citation statements)

References 20 publications

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“…Warm (chaud) and round (rond) are two sound attributes that seem to share many similarities in the description of sound as observed in some works (Bernays & Traube, 2014;Carron, 2016;Zacharakis et al, 2014). Studies conducted by three of the authors of this article have observed difficulties in distinguishing the two terms in professional conversations between sound designers and industrial partners (Carron et al, 2015;Misdariis et al, 2019). Although not thoroughly documented, this issue is persistent in sound design workshops based on verbal descriptions of sound characteristics.…”

Section: A S Human Beings W E a R E U Se D Tomentioning

confidence: 72%

Investigating the Shared Meaning of Metaphorical Sound Attributes

et al. 2022

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Music or sound professionals use specific terminology to communicate about timbre. Some key terms do not come from the sound domain and do not have a clear definition due to their metaphorical nature. This work aims to reveal shared meanings of four well-used timbre attributes: bright, warm, round, and rough. We conducted two complementary studies with French sound and music experts (e.g., composers, sound engineers, sound designers, musicians, etc.). First, we led interviews to gather definitions and instrumental sound examples for the four attributes (N = 32). Second, using an online survey, we tested the relevance and consensus on multiple descriptions most frequently evoked during the interviews (N = 51). The analysis of the rich corpus of verbalizations from the interviews yielded the main description strategies used by the experts, namely acoustic, metaphorical, and source-related. We also derived definitions for the attributes based on significantly relevant and consensual descriptions according to the survey results. Importantly, the definitions rely heavily on metaphorical descriptions. In sum, this study presents an overview of the shared meaning and perception of four metaphorical timbre attributes in the French language.

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Section: A S Human Beings W E a R E U Se D Tomentioning

confidence: 72%

Investigating the Shared Meaning of Metaphorical Sound Attributes

et al. 2022

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“…These are then evaluated in the testing step to select the one which fulfils requirements best. A similar three-step approach called briefing, debriefing, and validation is presented in [23]. The first step relates to the communication of the problem formulation, the second to conceptualization and sketching, and the third to evaluation.…”

Section: Sound Designmentioning

confidence: 99%

“…Verbal sketching: Sketching based on verbalizations is introduced by Carron et al [23,54] who established and validated for this purpose a sound lexicon of 35 words. The lexicon was augmented by manipulable sound examples and illustrated with pictures.…”

Section: Sketching Soundmentioning

confidence: 99%

Sketching in sound and interaction design

Marentakis

2024

Proceedings of the 10th Convention of the European Acoustics Association Forum Acusticum 2023

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The process of interaction design involves multiple stages beginning from user research and ideation that lead to working prototypes and user evaluation. Sketching is considered to be important in the early interaction design stages as a way to explore, store, but also communicate ideas. Sketching is, however, a graphical process and it is not always easy to integrate sound to it, even though sound is an important part of interaction. Sketching sound, on the other hand, has received significant attention in sound design. Here, we contrast sketching in interaction design with sketching sound in order to understand whether ideas from sound sketching can be relevant when sketching interaction. The literature indicates that sketching sound has been done almost exclusively in the auditory modality and takes place in a largely independent process that is not entirely harmonized with traditional graphical sketching and interaction design practices. While this may make sense when designing sonic interactions, it is not as supportive for other interaction design contexts. We discuss this finding while taking into account graphical approaches to sketching sound in the literature.

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Mapping Sound Properties and Oenological Characters by a Collaborative Sound Design Approach – Towards an Augmented Experience

Misdariis

Susini

Houix

et al. 2021

Lecture Notes in Computer Science

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The paper presents a specific sound design process implemented upon a collaboration with an important stakeholder of the wine (Champagne) industry. The goal of the project was to link sound properties with oenological dimensions in order to compose a sonic environment able to realise a multisensory experience during the wine tasting protocol. This creation has resulted from a large scale methodological approach based on the semantic transformation concept (from wine words to sound words) and deployed by means of a codesign method-after having shared respective skills of each field (sound and oenology). A precise description of the workflow is detailed in the paper, The outcomes of the work are presented, either in terms of realisation or conceptual knowledge acquisition. Then, future perspectives for the following of the work are sketched, especially regarding the notion of evaluation. The whole approach is finally put in the broad conceptual framework of 'sciences of sound design' that is developed and argued in the light of this study.

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Designing sound identity

Cited by 12 publications

References 20 publications

Investigating the Shared Meaning of Metaphorical Sound Attributes

Investigating the Shared Meaning of Metaphorical Sound Attributes

Sketching in sound and interaction design

Mapping Sound Properties and Oenological Characters by a Collaborative Sound Design Approach – Towards an Augmented Experience

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