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Journal articles on the topic 'Sound design'

To see the other types of publications on this topic, follow the link: Sound design.

Author: Grafiati

Published: 4 June 2021

Last updated: 25 May 2024

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1

Zhang, Lu. "Design of Heart Sound Analyzer." Advanced Materials Research 1042 (October 2014): 131–34. http://dx.doi.org/10.4028/www.scientific.net/amr.1042.131.

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There is important physiological and pathological information in heart sound, so the patients’ information can be obtained by detection of their heart sounds. In the hardware of the system, the heart sound sensor HKY06B is used to acquire the heart sound signal, and the DSP chip TMS320VC5416 is used to process the heart sound. De-noising based on wavelet and HHT and other technical are used in the process of heart sound. There are five steps in the system: acquisition, de-noising, segmentation, feature extraction, and finally, heart sounds are classified

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2

Schafer, Mark E. "Sound advice—Sound design." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A102. http://dx.doi.org/10.1121/10.0018307.

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Ultrasound energy offers unique capabilities to treat a wide range of medical conditions, through numerous distinct physical interactions with tissue. Unlike diagnostic ultrasound, where safety and efficacy are easily demonstrated and the underlying technology has been available for decades, therapeutic ultrasound applications have explored new regimes and therefore required novel technologies and approaches. This presentation will describe the journey from discovery to clinic, based on examples from the author’s personal experience as a consultant and entrepreneur. Developing therapeutic ultrasound products involves several specific and sometimes unique steps. It generally starts with the observation of a therapeutic effect, or a realization that an existing approach could be applied to a different clinical situation. Moving from “N = 1” to a repeatable treatment paradigm can be both exciting and discouraging. The next key steps, which are the hardest, involve translating the initial idea/data/concept into a commercial design, or at least a plan for one. The regulatory, financial, commercial, and clinical environments can be as challenging as the purely technical hurdles, and all factor into the development process. While creating new clinical ultrasound treatments and devices can be difficult and time consuming, it can also be immensely rewarding and satisfying.

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3

KUNO, Kazuhiro. "Design of sound. (II). Familiar sounds." Journal of Environmental Conservation Engineering 25, no. 5 (1996): 306–11. http://dx.doi.org/10.5956/jriet.25.306.

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4

Chen, Timmy Chih-Ting. "Sound design." Journal of Chinese Cinemas 10, no. 1 (January 2, 2016): 34–37. http://dx.doi.org/10.1080/17508061.2016.1142729.

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5

Rina, Fadmi, Anis Susila Abadi, and Sholeh Huda. "Serious Game Design Of Sound Identification For Deaf Children Using The User Centered Design." Telematika 19, no. 3 (October 31, 2022): 397. http://dx.doi.org/10.31315/telematika.v19i3.7979.

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The loss of hearing function in deaf children causes deaf children to experience obstacles in listening to the sound of objects or sounds of language as children generally hear. Therefore, it is necessary to optimize the hearing function of deaf children. The Development of Sound and Rhythm Perception Communication (PKPBI) is a special program to practice understanding sound so that the remaining hearing of deaf children can be maximized. So far, the PKPBI learning media at the sound identification stage used by the Karnna Manohara Yogyakarta Special School teacher is the keyboard. However, the keyboard has weaknesses such as the collection of sounds on the keyboard is very limited. Another problem is the Covid 19 pandemic, PKPBI learning is less than optimal due to limited face-to-face meetings. The purpose of this research is to design a serious game as a learning medium for sound identification for deaf children that can be used in the classroom and at home. The method used to design serious sound identification games is User Centered Design (UCD). Based on the research results, the design of this serious game can be developed into a serious game application to practice sound identification in deaf children.

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Pauletto, Sandra. "The sound design of cinematic voices." New Soundtrack 2, no. 2 (September 2012): 127–42. http://dx.doi.org/10.3366/sound.2012.0034.

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7

Hillman, Neil. "Organic and free range sound design." New Soundtrack 4, no. 2 (September 2014): 123–38. http://dx.doi.org/10.3366/sound.2014.0058.

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8

Long, Marshall. "Sound System Design." Acoustics Today 4, no. 1 (2008): 23. http://dx.doi.org/10.1121/1.2961163.

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9

Stocker, Michael. "Exhibit sound design." Museum International 47, no. 1 (March 1995): 25–28. http://dx.doi.org/10.1111/j.1468-0033.1995.tb01219.x.

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10

Delle Monache, Stefano, Davide Rocchesso, Frédéric Bevilacqua, Guillaume Lemaitre, Stefano Baldan, and Andrea Cera. "Embodied sound design." International Journal of Human-Computer Studies 118 (October 2018): 47–59. http://dx.doi.org/10.1016/j.ijhcs.2018.05.007.

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11

Reddy, B. Revanth, S. Roji Marjorie, and P. Ramakrishna. "Design of an IOT Based Online Monitoring Digital Stethoscope." International Journal of Advances in Applied Sciences 7, no. 3 (August 1, 2018): 240. http://dx.doi.org/10.11591/ijaas.v7.i3.pp240-244.

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Acoustic stethoscopes have low sound levels. Digital stethoscope overcomes this issue by amplifying body sounds electronically. As the sound signals are transmitted electronically, it can be wireless and can provide noise reduction. Acoustic stethoscope can be changed into a digital stethoscope by inserting an electric capacity microphone onto its head. Heart sounds received from the microphone are processed, sampled and sound signals are converted analog to digital and sent wirelessly using the Internet of Things(IOT) techniques, so that multiple doctors can do auscultation and monitor conditions of the patient.

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12

Costantini, Gustavo. "Approaches to Sound Design: Murch and Burtt." New Soundtrack 8, no. 2 (September 2018): 169–74. http://dx.doi.org/10.3366/sound.2018.0129.

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13

Jeon, Myounghoon. "Exploring Design Constructs In Sound Design With A Focus On Perceived Affordance." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 63, no. 1 (November 2019): 1199–203. http://dx.doi.org/10.1177/1071181319631340.

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While design theories in visual displays have been well developed and further refined, relatively little research has been conducted on design theories and models in auditory displays. The existing discussions mainly account for functional mappings between sounds and referents, but these do not fully address design aspects of auditory displays. To bridge the gap, the present proposal focuses on design affordances in sound design among many design constructs. To this end, the definition and components of design affordances are briefly explored, followed by the auditory display examples of those components to gauge whether sound can deliver perceived affordances in interactive products. Finally, other design constructs, such as feedback and signifier, are discussed together with future work. This exploratory proposal is expected to contribute to elaborating sound design theory and practice.

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14

She, Chen-Jun, and Xie-Feng Cheng. "Design framework of hybrid ensemble identification network and its application in heart sound analysis." AIP Advances 12, no. 4 (April 1, 2022): 045117. http://dx.doi.org/10.1063/5.0083764.

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Mixed heart sounds include heart sounds in a state of resting and motion. The analysis of heart sound signals in a state of motion is a difficult problem. (1) First, the mixed heart sound signal was collected by using the shoulder-strap-type heart sound acquisition device designed and made by our research group. The acquisition scheme and data preprocessing method were given, and the characteristics of heart sound signals in a state of motion were analyzed. (2) The design framework of the Hybrid Ensemble Identification Network (HEINet) is proposed, and the design requirements, architecture principles, and detailed design steps are discussed. The design process is simple, fast, and convenient. (3) In this paper, according to the design framework of HEINet, HEINet of the mixed heart sound signal is designed, and the recognition rate of the mixed heart sound signal in biometric authentication has reached 99.1%. Based on this design framework, HEINet of the heart sound signal for the Heart Sounds Catania 2011 heart sound database and HEINet of the electrocardiogram signal for Massachusetts Institute of Technology-Beth Israel Hospital arrhythmia database were designed, and the recognition rates both met the expected requirements. It shows that the design framework of HEINet has obvious universality.

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15

Hudgins, David. "Electric Sound: Collective Creation and Sound Design." Canadian Theatre Review 129 (January 2007): 19–20. http://dx.doi.org/10.3138/ctr.129.003.

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Sound design at Electric Company takes place in the context of the collective creation process that has been associated with many of the company’s works. It is not unusual for people to bring music on the first day of creation work, and since our process tends to follow the creative impulses of the group, listening and reflecting on pieces of music or sound elements as a company can quickly coalesce the larger elements and ideas of a project. Our first play, Brilliant! incorporated pieces by Bartok, Stravinsky and Britten in the earliest writing stages, during scenes that suggested movement and emotional arc. Much of that early design exists a decade later in the ongoing remounts of the play. We worked many physical sequences set to music in theatricalizing the relationship between the famous inventor Tesla and the New York socialite friends Robert and Katherine. Eventually, these scenes fell away as the script evolved, but not until they had served their purpose of informing us as writers/actors/designers of nature of the narrative we were portraying.

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BALTACIOĞLU, Kaan, Mustafa Tunahan BAŞAR, Volkan AKDOĞAN, Muharrem KARAASLAN, and Emre Arda İLÇİGEN. "Baby cry-sensitive armband design for parents with hearing loss." European Mechanical Science 7, no. 4 (December 20, 2023): 253–58. http://dx.doi.org/10.26701/ems.1372215.

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This study was carried out to design an armband for parents with hearing impairment or hearing loss. The main purpose of the study is to design a warning system by taking advantage of the distribution of sound at different intensity values and analyzing the quiet environment, speech sound and baby crying sounds in the propagation area. Sound analysis is carried out by collecting the data within the scope of the study and a vibration warning system is developed based on the analysis. Data is sent from the radio in the baby's room to the parent's armband via radio frequencies. The changes in sound data for a total of 20 seconds were analyzed. Based on these changes, it was determined that the amplitude of the silent environment was 600 delta, the speech sound environment was in the range of 1300-1600 delta and the baby crying sound could reach up to 1650 delta and above. it is seen that the speech sounds exhibit an increase of approximately 75% compared to the silent environment, while the changes in the baby crying sound increase by 102.5% compared to the silent environment. These increases indicate that the system can work effectively in wearable technologies.

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17

杨, 潇潇. "Research on the Identification of Salience in the Design of Sound Trademark—Taking Tencent QQ Sound Trademark Case as an Example." Design 08, no. 04 (2023): 3086–91. http://dx.doi.org/10.12677/design.2023.84382.

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18

Kim, Seonghyeon, Kyoung-Jin Chang, Dong Chul Park, Seung Min Lee, and Sang Kwon Lee. "A Systematic Approach to Engine Sound Design for Enhancing Sound Character by Active Sound Design." SAE International Journal of Passenger Cars - Mechanical Systems 10, no. 3 (June 5, 2017): 691–702. http://dx.doi.org/10.4271/2017-01-1756.

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19

Aburagi, Yu, Natsuki Yamagiwa, Noriyuki Tanimoto, Shunsuke Ishimitsu, Mitsunori Matsumoto, and Yasuki Murakami. "Acceleration sound design for vehicles using distortion products." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 4 (August 1, 2021): 2494–500. http://dx.doi.org/10.3397/in-2021-2154.

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When considering the acoustic design of automobiles, low-frequency sounds can increase the excitement levels for users. However, there are several problems accompany an increase in the low-frequency levels of an engine sound. For example, it is difficult to create a balance between silence and excitement when a sound's different order components are changed. It is also difficult to generate heavy bass engine sounds in practical scenarios. Thus, the application of distortion products in the auditory system of the cochlea is considered. Distortion products are perceived when two or more sounds with slightly different frequencies are played simultaneously. This study was conducted to examine the possibility of achieving powerful engine sounds using distortion products. At first, the relationship between different combinations of complex sounds and the pitch perception of distortion products was investigated. As a second step, the application of distortion products to the acceleration sound was also considered. The results suggested the possibility of synthesizing a low-frequency component using distortion products inside a cochlea.

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Petersen, Manuel, Mesud Zaimovic, and Albert Albers. "Evaluating emotionalizing effects of active sound designs." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 268, no. 4 (November 30, 2023): 4689–700. http://dx.doi.org/10.3397/in_2023_0666.

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Numerous results in the field of musicological research and traffic psychology research show that emotions can be altered by certain sets of pitches or sound characteristics, and emotions on the other hand influence our driving behaviour. Regardless, there is no research on how different artificial vehicle sounds could influence the driving behaviour via emotions. We want to create an active sound design that can alter the driver's emotions to increase traffic safety in certain driving scenarios. To evaluate which harmonic compositions and sound characteristics could be used as stimuli, we first extracted sound characteristics from different music pieces or sounds that have a proven emotionalizing effect, and generated new sounds based on said characteristics that also could work in the context of an active sound design for electrical vehicles. With these sounds, we conducted a subject study with 45 participants to evaluate if people perceive the intended emotions, and further determine the best sounds to use in future subject studies to evaluate their impact on drivers' behaviour. This paper describes the extracted sounds, their characteristics and psychoacoustical properties. Furthermore, it discusses the correlation between the sound properties and the perception of and emotional effect on the subjects.

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21

Fraisse, Valérian, Nadine Schütz, Catherine Guastavino, Marcelo Wanderley, and Nicolas Misdariis. "Informing sound art design in public space through soundscape simulation." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 4 (February 1, 2023): 3015–24. http://dx.doi.org/10.3397/in_2022_0424.

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Urban sound management often amounts to reducing sound levels with the underlying assumption of sound/noise as a nuisance. However, a reduction in sound level does not necessarily lead to a more pleasant auditory experience, especially in urban public spaces where vibrancy can be sought after. A proactive design approach that accounts for the human experience of sound environment is needed to improve the quality of urban spaces. Recent studies in soundscape research suggest that added sound and particularly sound art installations can have a positive influence on public space evaluations. Yet, the role of added sounds in urban context remains understudied and there is no existing method to date to inform sound art composition in public space through soundscape simulation. We present here a research-creation collaboration around the design of a permanent sound installation in an urban public space in Paris: Nadine Schütz's Niches Acoustiques. We report on a series of listening tests involving High-Order Ambisonic soundscape simulations of different prototypes to inform the sound artist's composition in order to optimize the quality of public space experience in the presence of the sound installation.

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22

Ghaffari, Sasan, Hassan Sadeghi Naeini, Karmegam Karuppiah, Aminreza Shokouhi, and Saba Beizaei. "Case study: Sonic effect of product setup on perceived quality: an approach to home appliance design." Noise Control Engineering Journal 67, no. 5 (September 1, 2019): 373–79. http://dx.doi.org/10.3397/1/376732.

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This study focuses on the correlation between home appliance products' setup sound and users' perceived sense of reliability and quality. â–œSetup soundâ–? stands for the click sound emitted by the components involved in the use of the products. Research was conducted through a survey of 15 participants' experiences in two phases: first while interacting with our three case products and then while merely listening to their setup sounds. As an outcome, we were able to figure out how particular product sound attributes affect perceived senses of reliability and quality in users. Using the Delphi method, further investigation was conducted regarding the user's perceptions through suggesting and analyzing some other factors. Based on this study, setup sound can have a dramatic effect on user's perceived sense of reliability in some cases, although it cannot be considered as the single contributing factor to an effective setup. For a perception of reliability and quality to be properly conveyed to the users, a cohesive set of affecting features must be considered and accurately imbedded in the design and manufacturing process.

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23

Wierzbicki, James. "Soundtrack ‘Design’ in Hitchcock's Thriller Sextet." New Soundtrack 1, no. 2 (September 2011): 157–75. http://dx.doi.org/10.3366/sound.2011.0017.

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24

Hu, Qing Song, De Hui Chen, Wei Ding Wang, and Shou Yu Zhang. "Fish Sound Frequency Domain Analysis and Acoustic Spread Distance Experiment Research." Applied Mechanics and Materials 117-119 (October 2011): 716–20. http://dx.doi.org/10.4028/www.scientific.net/amm.117-119.716.

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Fish biological sounds reflect abundant information of its living state. It is important to systematically conduct research on the fish acoustic features. This paper designs program code based on Fast Fourier Transform (FFT) to deal with the sounds in frequency domain. By applying the program to analyze the sounds of piranha, oyster toadfish etc., the feature of main frequency is obtained and the sound features of different fishes are compared. This paper further designs the sound detection experiment about the acoustic spread distance; analyzes the sound decibel value varying trend according to the result. The different features among the fishes illustrate the sound difference. Acoustic spread detection experiment provides the fish behavior control feasible distance in the taming system design.

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25

Singh, Divya, Bikesh Kumar Singh, and Ajoy Kumar Behera. "Design of multi-ensemble hybrid filtering approach for removal of heart sound from lung auscultations." Journal of Information and Optimization Sciences 45, no. 3 (2024): 785–93. http://dx.doi.org/10.47974/jios-1575.

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Successful lung sound extraction from lung auscultations requires precise filters. Lung auscultations include heart and lung sounds. Therefore, the filter design should identify heart sound characteristics. These include periodicity, pitch, frequency, amplitude, etc. Auscultation acquisition sensors are inefficient, so these signals have noise. To get a clean auscultation signal, ambient noise, periodic noise, DC offsets, baseline errors, harmonic noise, etc. must be addressed separately. Data cleaning must maintain a high peak-signal-to-noise ratio without removing desirable signal information. Heart sound patterns are extracted from input auscultations using filter banks on these signals. After heart sound extraction, the output sound sample should only contain lung sounds. Still, heart sound harmonics corrupt output lung sound due to similarities between heart and lung sound patterns. This lowers lung-sound extraction quality and automatic lung-based disease identification efficiency levels. This article proposes a 2-level multi-ensemble filtering model with 43 filters that analyze 15 other parameters to denoise and extract lung sound from lung auscultations to eliminate these drawbacks. Combining LMS, NLMS, and RLS is used for denoising process. For heart sound identification, an ensemble of Savitzky-Golay, FIR equiripple, Butterworth, Chebyshev, Elliptic, and wavelet filters is used. This selective combination of filters improves PSNR by 20% compared to sole filter performance, while signal entropy, crest factor, root mean squared error, kurtosis, etc. also improves for different scenarios.

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26

Baldan, Stefano, Stefano Delle Monache, and Davide Rocchesso. "The Sound Design Toolkit." SoftwareX 6 (2017): 255–60. http://dx.doi.org/10.1016/j.softx.2017.06.003.

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27

KUNO, KAZUHIRO. "Design of sound. I. World of notification sound." Journal of Environmental Conservation Engineering 25, no. 3 (1996): 179–84. http://dx.doi.org/10.5956/jriet.25.179.

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28

Kunthi, Sekarani Andari, Baiq Siti Hawa, and Firda Auliya. "Sound Absorbent And Damping Rate of The Natural Composites Design." Journal of Natural Sciences and Mathematics Research 4, no. 1 (June 30, 2018): 27–32. http://dx.doi.org/10.21580/jnsmr.2018.4.1.10962.

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This research was conducted to determine the sound attenuation level of composite. The composite used in this study iscompound Kalimantan sawdust and pineapple leaf fiber. The research objective was to determine the damping rate of composites (fine Kalimantan sawdust and compound of coarse Kalimantan sawdust with pineapple leaf fiber), so it can be used as an alternative sound absorbent material. The composite testing process uses a Sounds Level Meter by adjusting the frequency of the sound source. The space partition is a composite, measured the value of sound intensity at a certain distance, then given a partition, the sound intensity is again measured with the same distance. The results of the absorption coefficient of pineapple leaf fiber composite and red meranti wood sawdust can be used as an alternative sound absorbing material besides glass wool so that it can minimize side effects for public health. ©2018 JNSMR UIN Walisongo. All rights reserved.

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29

Wright, Benjamin. "What do we hear? The pluralism of sound design in Hollywood sound production." New Soundtrack 3, no. 2 (September 2013): 137–57. http://dx.doi.org/10.3366/sound.2013.0043.

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30

Febrianti, Fani, Endang Dian Setioningsih, Bedjo Utomo, and Sumber Sumber. "PULMONARY SOUND DESIGN USING MAX 9814 SENSOR WITH NEXTION VIEW." Jurnal Teknokes 16, no. 3 (November 4, 2023): 164–69. http://dx.doi.org/10.35882/teknokes.v16i3.629.

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This study aims to develop a tool that can assist nurses in examining patients by displaying sounds and signals on a TFT LCD screen. This tool uses the MAX 9814 sound sensor, which converts sound into an electrical signal. This sensor will generate a voltage when the diaphragm inside it moves back and forth. To design this tool, researchers used a series of high pass filters and low pass filters with a cut-off frequency of 333 Hz - 714 kHz. During testing of this tool using the MAX 9814 sensor mounted on a stethoscope, the signal appears stable on the TFT LCD screen and sound can be played properly. However, if the placement of the stethoscope is not correct during the examination, this can also affect the signal and sound produced. This tool should not produce a clear and loud sound when checking, because if this happens, the inspection cannot be carried out optimally. This research also produces a signal shape that is almost similar to the signal on the phantom. It is important to note that the MAX 9814 can work optimally if it is not exposed to environmental noise. Therefore, if this equipment is used in a noisy environment, the signal and sound produced may be disturbed by environmental noise. This research was conducted with the aim of making it easier for doctors and nurses to carry out portable examinations, as well as to monitor signals and sounds easily.

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31

Hereford, James, and William Winn. "Non-Speech Sound in Human-Computer Interaction: A Review and Design Guidelines." Journal of Educational Computing Research 11, no. 3 (October 1994): 211–33. http://dx.doi.org/10.2190/mkd9-w05t-yj9y-81nm.

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Recent developments in computer technology make it possible to use sound more extensively in the computer interface than has hitherto been possible. This article describes research on uses of computer sound and suggests how sound might be used effectively by instructional and interface designers. After a review of some general principles of interface design and of basic research into auditory perception, the article examines two uses of sound: Earcons, whose purpose is to inform the user about the state of the system itself, and sonitization, whose purpose is to represent data generated by computer programs as sound. Both symbolic and iconic sounds are examined. The role of sound in virtual environments is also discussed with particular attention to its use in aircraft. Design guidelines are listed, and conclusions about needed research are offered.

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Stoll, Thomas. "Genomic: Combining Genetic Algorithms and Corpora to Evolve Sound Treatments." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 10, no. 5 (June 29, 2021): 50–54. http://dx.doi.org/10.1609/aiide.v10i5.12772.

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Genomic is Python software that evolves sound treatments and produce novel sounds. It offers features that have the potential to serve sound designers and composers, aiding them in their search for new and interesting sounds. This paper lays out the rationale and some design decisions made for Genomic, and proposes several intuitive ways of both using the software and thinking about the techniques that it enables for the modification and design of sound.

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Serquera, Jaime, and Eduardo Reck Miranda. "Histogram Mapping Synthesis: A Cellular Automata-Based Technique for Flexible Sound Design." Computer Music Journal 38, no. 4 (December 2014): 38–52. http://dx.doi.org/10.1162/comj_a_00267.

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Histogram mapping synthesis (HMS) is a new technique for sound design based on cellular automata (CA). Cellular automata are computational models that create moving images. In the context of HMS, and based on a novel digital signal processing approach, these images are analyzed by histogram measurements, giving a sequence of histograms as a result. In a nutshell, these histogram sequences are converted into spectrograms that, in turn, are rendered into sounds. Unlike other CA-based systems, the HMS mapping process is not intuition-based, nor is it totally arbitrary; it is based instead on resemblances discovered between the components of the histogram sequences and the spectral components of the sounds. Our main concern is to address the problem of the sound-design limitations of synthesis techniques based on CA. These limitations stem, fundamentally, from the unpredictable and autonomous nature of these computational models. As a result, one of the main advantages of HMS is that it affords more control over the sound-design process than other sound-synthesis techniques using CA. The timbres that we have designed with HMS range from those that are novel to those that are imitations of sounds produced by acoustic means. All the sounds obtained present dynamic features, and many of them, including some of those that are novel, retain important characteristics of sounds produced by acoustic means.

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34

Haehn, Luise, Sabine J. Schlittmeier, and Christian Böffel. "Exploring the Impact of Ambient and Character Sounds on Player Experience in Video Games." Applied Sciences 14, no. 2 (January 9, 2024): 583. http://dx.doi.org/10.3390/app14020583.

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Elaborate sound design, including background music, ambient sounds (sounds describing the game world), and character sounds (sounds generated by the character’s actions), plays a pivotal role in modern video games. However, the influence of these different types of sound on the player’s experience has not been extensively researched. This study examines the influence of these sound types on immersion, avatar identification, fun, and perceived competence. In two experiments, participants played League of Legends under four different sound conditions. The first experiment (N1 = 32) revealed a non-significant trend in the effect of character sounds on avatar identification. Ambient sounds, however, were limited because the task restricted participants’ movement across the game map. Consequently, we adapted the task to allow for a wider variety of ambient sounds in the second experiment (N2 = 32). Here, a significant impact of character sounds on immersion, avatar identification, and fun was observed, as well as an interaction effect of character sounds and ambient sounds on fun. Furthermore, we observed a trend, though not statistically significant, suggesting that ambient sounds may influence the player’s sense of flow. These findings underline the distinct effects of different sound types, and we discuss implications for the design of sound in video games.

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Yang, Yuhua, Bo Wang, Jiangong Cui, Guojun Zhang, Renxin Wang, Wendong Zhang, Changde He, Yirui Li, Pengcheng Shi, and Shuotong Wang. "Design and Realization of MEMS Heart Sound Sensor with Concave, Racket-Shaped Cilium." Biosensors 12, no. 7 (July 18, 2022): 534. http://dx.doi.org/10.3390/bios12070534.

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The biomedical acoustic signal plays an important role in clinical non-invasive diagnosis. In view of the deficiencies in early diagnosis of cardiovascular diseases, acoustic properties of S1 and S2 heart sounds are utilized. In this paper, we propose an integrated concave cilium MEMS heart sound sensor. The concave structure enlarges the area for receiving sound waves to improve the low-frequency sensitivity, and realizes the low-frequency and high-sensitivity characteristics of an MEMS heart sound sensor by adopting a reasonable acoustic package design, reducing the loss of heart sound distortion and faint heart murmurs, and improving the auscultation effect. Finally, experimental results show that the integrated concave ciliated MEMS heart sound sensor’s sensitivity reaches −180.6 dB@500 Hz, as compared with the traditional bionic ciliated MEMS heart sound sensor; the sensitivity is 8.9 dB higher. The sensor has a signal-to-noise ratio of 27.05 dB, and has good heart sound detection ability, improving the accuracy of clinical detection methods.

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Zhang, Ruojun, Guibo Wang, Xiaoming Zhou, and Gengkai Hu. "A decoupling-design strategy for high sound absorption in subwavelength structures with air ventilation." JASA Express Letters 2, no. 3 (March 2022): 033602. http://dx.doi.org/10.1121/10.0009919.

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A strategy based on the decoupling design of two elementary structures, both made of coiled-up channels, is proposed. One channeling structure is designed for blocking sound transmission, while the other element is used for absorbing sounds at low-transmission frequencies. Based on this strategy, the sound-absorbing sample with air ventilation is fabricated and its high-absorption capability is demonstrated experimentally. The expanding of sound absorption bandwidth by combining different absorptive channels into the sample structure is also demonstrated. The proposed method provides a new route towards broadband high sound absorption in ventilated structures.

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Elie, Benjamin, Benjamin Cotté, and Xavier Boutillon. "Physically-based sound synthesis software for Computer-Aided-Design of piano soundboards." Acta Acustica 6 (2022): 30. http://dx.doi.org/10.1051/aacus/2022024.

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The design of pianos is mainly based on empirical knowledge due to the lack of a simple tool that could predict sound changes induced by modifications of the geometry and/or the mechanical properties of the soundboard. We introduce the concept of Sound Computer-Aided Design through the framework of a program that is intended to simulate the acoustic results of virtual pianos. The calculation of the sound is split into four modules that compute respectively the modal basis of the stiffened soundboard, the string dynamics excited by the hammer, the soundboard dynamics excited by the string vibration, and the sound radiation. The exact resemblance between synthesis and natural sounds is not the primary purpose of the software. However, sound synthesis of real and modified pianos are used as reference tests to assess our main objective, namely to reflect faithfully structural modifications in the produced sound, and thus to make this tool helpful for both instrument makers and researchers of the musical acoustics community.

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Smyrnowa, Julija, and Gillian Brown. "Role of community engagement in soundscape design of rural areas." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 7 (February 1, 2023): 224–32. http://dx.doi.org/10.3397/in_2022_0036.

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This paper presents results of questionnaires adapted from ISO 12913-2 distributed among the residents of a rural area, following numerous complaints of noise and other pollution from a recently build waste transfer station in the UK. Based on acoustic measurements, specific sound levels from the industrial site were predicted at each of the respondents' assessment location. Participants included those who lived as close to the site as 200m where the sound from the site was +15dB above background sound level (BGL), and as far as 800m with the sound from site -10dB above BGL. Surprisingly, all the respondents indicated that they could hear sounds from the industrial site to a higher or lower extent, they were all extremely stressed and annoyed by it and they all desired it to be supressed. The outcomes of the study demonstrate that (1) soundscape is a multidisciplinary approach, (2) soundscape assessment in rural areas may vary from those designed for urban areas, and (3) early engagement with local residents when introducing a new industrial sound to the soundscape in a rural area may result in a better chance of approval, particularly for a site with potential economic benefits for the community. This paper also discusses how the soundscape approach, alongside tackling conventional noise problems, may contribute to environmental management and local planning in rural areas, particularly focusing on introducing and managing sounds from industrial sites.

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Nożyński, Szymon. "Akuzmatyczność filmowych efektów dźwiękowych. Medialna mistyfikacja foley w kontekście sound designu." Przegląd Kulturoznawczy, no. 4 (50) (December 30, 2021): 715–28. http://dx.doi.org/10.4467/20843860pk.21.049.14966.

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Acousmaticity of Film Sound Effects: Media Mystification of Foley in the Context of Sound Design The text is about the foley profession, an important specialty performed as part of film sound design, at the post-production stage. What’s important here is both, the foley artist’s body, which becomes an instrument, and the ontology of created sounds, which are inserted into the finished film and synchronized with the picture. The author wonders if there is still a place for foley artists in the digital reality and common computerization of work. But the most important issue concerns the nature of sounds themselves, in the context of their production, acousmatics and the ubiquitous sound design. What is the sound implemented into the picture, does the picture give credence to the sound, even though the sound is “substituted” because it is produced in the studio? The situation is debatable, in the context of acousmatic listening (i.e. without the context of the source), because the picture provides a substitute context for the sound, and the viewer (listener) accepts this audio-visual relationship without reservation (as long as the sound is prepared well). Especially since by going to the cinema, the viewer agrees to a form of manipulation in the name of entertainment. Usually he or she is not aware of the mystification in the field of sound, which - within the oculocentric perception ‒ for him or her is only a complement to the picture, although, in fact, it plays a fundamental role in understanding what is happening on the screen. Other topics discussed in the text concern the communicativeness of sound and the historical background of the foley profession. Also important are the interrelations between foley and sound design and other areas of sound activity, as part of the preparation of all the audio layers of a film.

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Ballas, James A. "The Niche Hypothesis: Implications for Auditory Display Design." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 44, no. 22 (July 2000): 718–21. http://dx.doi.org/10.1177/154193120004402258.

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Bernie Krause has hypothesized that “each creature appears to have its own sonic niche (channel, or space) in the frequency spectrum and/or time slot occupied by no other at that particular moment.” (Krause, 1987). The implication of this hypothesis is that good sound design should produce sounds that have unique spectral properties for a particular context. The semantics of the context also needs to be considered. However, this principal is difficult to satisfy because inexpensive sound generating devices have very limited (and primitive) audio capability.

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Miyairi, Toru, Takeshi Shirasaka, Hisato Shimomura, and Takeshi Toi. "Understanding the relationship between onomatopoeic expressions and sound quality for rotary switch operating sounds." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 5 (August 1, 2021): 1062–71. http://dx.doi.org/10.3397/in-2021-1745.

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In our daily lives, we often use onomatopoeia to convey images of products. However, the correspondence between onomatopoeia and physical quantities is not clear. To apply onomatopoeia to product design, we focused on the relationship between the sound symbolism of onomatopoeia and product sound quality. The target of the evaluation was the operation sound of the rotary switch. A subjective evaluation experiment was conducted in which participants were asked to free answer to the impressions associated with the operation sounds using onomatopoeic expressions. The obtained onomatopoeia was then analyzed by quantitative text analysis using mora as the unit of analysis. The results showed the voiced consonants appeared more frequently in the louder operation sounds. In addition, the vowel /o/ appeared more frequently in sounds with low sharpness, and the vowel /i/ appeared more frequently in sounds with high sharpness. Since these trends are similar to other studies on sound symbolism, this study shows the possibility of using onomatopoeia in product design by utilizing sound symbolism.

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Han, Ji-Ae, and Byung-Uk Kim. "Development of “LED Sound Interface” to embody Active Sound Visualization in Product Design ; Focused on Operation Sound." Journal of Industrial Design Studies 45 (September 30, 2018): 1–10. http://dx.doi.org/10.37254/ids.2018.09.45.01.01.

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Shim, Eun Jin. "Simple images more sound: How Netflix emphasizes Sound design?" Cine forum 34 (December 31, 2019): 31–49. http://dx.doi.org/10.19119/cf.2019.12.34.31.

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Medvedev, A. A. "MULTIMEDIA CARTOGRAPHY: MAPS WITH SOUND DESIGN AND SOUND MAPS." Proceedings of the International conference “InterCarto/InterGIS” 1, no. 19 (January 1, 2013): 29–32. http://dx.doi.org/10.24057/2414-9179-2013-1-19-29-32.

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Kitapci, Kivanc, and Dogukan Ozdemir. "An interdisciplinary sound classification framework for environmental sound design." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 5 (August 1, 2021): 1130–41. http://dx.doi.org/10.3397/in-2021-1761.

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One of the objectives of architectural design is to create multi-sensory environments. The users are under the influence of a wide variety and intense perceptual data flow when users experience a designed space. Architects and environmental designers should not ignore the sense of hearing, one of the most important of the five primitive senses that allow us to experience the physical environment within the framework of creative thinking from the first stage of the design process. Today, auditory analysis of spaces has been studied under architectural acoustics, soundscapes, multi-sensory interactions, and sense of place. However, the current sound design methods implemented in the film and video game industries and industrial design have not been used in architectural design practices. Sound design is the art and application of making soundtracks in various disciplines and it involves recognizing, acquiring, or developing of auditory components. This research aims to establish a holistic architectural sound design framework based on the previous sound classification and taxonomic models found in the literature. The proposed sound design framework will help the architects and environmental designers classify the sound elements in the built environment and provide holistic environmental sound design guidelines depending on the spaces' functions and context.

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Zingaro, Vincenzo. "The Sound Monad: A Philosophical Perspective on Sound Design." Open Philosophy 4, no. 1 (January 1, 2021): 162–78. http://dx.doi.org/10.1515/opphil-2020-0169.

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Abstract This article aims at sketching a philosophical theory of sound based on the perspective of sound designers: unique agents blurring the boundaries between engineering, music, acoustics and sound-based art. After having introduced the general framing in Section 1, focusing on a short history of the theory and practice of sound design, in Section 2 we propose a reading of sound as monad. We derive such intuition from the technology of digital sampling of audio signals, based on the decomposition of complex sound waves in a number of elementary sinusoidal waves. Thus, in Section 3, we attempt at grounding the resulting “sound-atom” on Leibniz’s notion of monad, intended both as a “simple substance without parts” and as a “nucleus of forces in statu possibilitatis.” The insight is resumed and further discussed in Section 4, where we draw our conclusions by demonstrating the fitness of such framing with regards to the standpoint of sound design, while accounting for the work of sound artists Carsten Nicolai and Ryoji Ikeda.

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Kueppers, Thomas, Jan-Welm Biermann, and Jochen Steffens. "Structurized sound design process of electric vehicle interior sound." Journal of the Acoustical Society of America 130, no. 4 (October 2011): 2546. http://dx.doi.org/10.1121/1.3655178.

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Farnell, Andy. "Sonarchy in the UK: is sound design a rebellious teenager?" New Soundtrack 4, no. 2 (September 2014): 89–102. http://dx.doi.org/10.3366/sound.2014.0056.

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Donaldson, Lucy Fife. "Feeling and Filmmaking: The Design and Affect of Film Sound." New Soundtrack 7, no. 1 (March 2017): 31–46. http://dx.doi.org/10.3366/sound.2017.0095.

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梁, 秋华. "Perception of Outdoor Sound Scenery on the Campus of Nanjing Forestry University." Design 08, no. 04 (2023): 2737–43. http://dx.doi.org/10.12677/design.2023.84335.

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