Recent research identified sixteen dimensions along which sound designers make decisions when ideating and sketching sounds. These 16 dimensions can be grouped into “Overarching strategies”, “Design Strategies” and “Approaches to sound”. In this paper, the ideation process of two professional sound designers - both work- ing in media production - is analysed through a novel two-step methodology. During the first step, the process is segmented by idea type. In the second-step, each idea is analysed in terms of sound design dimensions. Finally, the analysis of the interaction between idea types and sound design dimensions provides us with an overall view of the main similarities and differences between the two sound designers. Overall, this methodology provides an effective way to analyse several aspects of the sound design ideation process in a structured and systematic manner.

This paper describes the development of three digital sound prototypes based on three sounding objects selected from those in use at the Swedish Radio Sound Studio. Knowledge about historical and current creative practice was gathered through an in-depth interview with the Swedish Radio sound engineer and sound maker Michael Johansson and the observation of his Foley practice. A design workshop was carried out with music composers and interaction designers to ideate how these historical sound design concepts could be developed in the digital domain. On the basis of the workshop results, we built three prototypes that were exhibited at Tekniska Museet in Stockholm where we gathered feedback from 126 people. Finally, we discuss what we have learnt from utilising an approach rooted in historical creative practice, emphasizing benefits for contemporary digital sound design.

This paper presents two case studies in which the sound design processes of two professional sound designers, from radio and film, are examined. Through a study procedure that uses techniques such as interviews, observations and a novel set of design briefs, the sound designers' unique approaches and primary concerns are revealed. Results from these studies aim to inform and consolidate the link between professional sound designers´ practices in media production and the field of sonic interaction design.

We present and evaluate the implementation of a real-time, procedural ocean wave sound effect synthesis model that works in a web environment. This model uses filtering of noise rather than a physical model of ocean waves. The ocean waves sound synthesis model was implemented using the Web Audio API. A modular approach was adopted to achieve versatility and to expand the model to more complex techniques if needed. In the listening test, real world ocean wave sounds were compared against our sound model as well as ocean wave sounds created by other few synthesis techniques. The results indicate that the current implementation can successfully represent real ocean waves and the procedural model can outperform the other proposed approaches in terms of believability of the generated sound.

Poor indoor air quality can produce headaches, fatigue, as well as respiratory and vision issues. Sonification might provide a way to increase people’s awareness of their surrounding’s air quality and activate preventive actions. In this paper we present the prototype of a sonically augmented interactive office gadget that provides information about air quality when a person interacts with it. We report the results of a user study comparing four sonification models (Abstract, Musical, Concrete and Cultural Models). Results show that the Abstract, Musical and Concrete models are equally effective in displaying air quality levels, while the Cultural model performs less well. Additionally, the Concrete and Musical models are preferred over the Abstract and Cultural models as their sonic qualities are considered more appropriate for what they aim to represent. As a result of this study, we aim to further develop the Musical and Concrete models as well as a Hybrid Model that combines the main characteristics of both.

The craft of sonic interaction design (SID) for new digital objects is a non-trivial task. A deeper understanding of sound design practices employed by professional sound designers and Foley artists offers a rich source of knowledge which may inform future designs. Our research utilises a novel set of design briefs to examine and compare initial sound design ideas produced by four sound designers. Two participants are professional sound designers, while the other two are former professional sound designers who recently moved into academia. Results show a number commonality in ideas produced as well as uniqueness in approach and personal influences when completing the briefs. 

The craft of sonic interaction design (SID) for new digital objects is a non-trivial task. A deeper understanding of sound design practices employed by professional sound designers and Foley artists offers a rich source of knowledge which may inform future designs. Our research utilises a novel set of design briefs to examine and compare initial sound design ideas produced by four sound designers. Two participants are professional sound designers, while the other two are former professional sound designers who recently moved into academia.Results show a number commonality in ideas produced as well as uniqueness in approach and personal influences when completing the briefs.

The sound of thunder is widely used in game, film and virtual reality sound design. It is also a phenomenon for which we seek a better understanding of the physics underlying the sound. Though many models of thunder have been proposed, there has not yet been a formal perceptual evaluation of the models to assess their realism and sound quality. Here, we present and evaluate the implementation of several thunder sound effect synthesis models. The models include different physical modeling and signal-based approaches, as well as a recorded sample. Evaluation was with over 50 participants. The results showed that none of the models were close to the recording in terms of realism, though signal-based models slightly outperformed the physical models. This highlights the need for comparative perceptual evaluation in sound synthesis, and identifies the limitations of current thunder simulation approaches.

This paper describes initial research conducted in The Radio Sound Studio Project. The aim of the project is to develop novel sound design tools by digitally model historical sound effects, found in the radio drama studio, utilising methods from sound computing, ethnography, and design. These novel sound tools will address both artistic sound practices as well as more utilitarian sonic interaction designs for new objects. The project also provides a tangible approach to connecting new sound design developments with historical literature and practice, and create new opportunities for radio, TV and Foley studios. This paper focuses on the process of selection of the sounding objects to be modelled, which was based on an in-depth interview with Sveriges Radio’s sound engineer and sound maker Michael Johansson as well as observations of his Foley practice. It also describes the initial modelling of one of these objects, and plans for future work.