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Outline

Title
Abstract
FAQs
Figures
Introduction
Product Sound Design Process
Stage 1: Sound Analysis
Product Sound Designer
Responsibilities of a Product Designer
Product Sound Design Course
The Study Goals
The Case: Toothbrush
Discussion and Conclusion
References

Product Sound Design: Intentional and Consequential Sounds

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https://doi.org/10.5772/55274
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Abstract

is in fact creating a small musical composition (i.e., musical motives). Therefore, these sounds can also be used to convey brand values of companies.

FAQs

sparkles

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What role do intentional sounds play in product design?add

Intentional sounds are designed to enhance user interaction, serving functions like feedback or alerts. For example, intentional auditory cues from devices like microwaves confirm user actions, enhancing the overall user experience.

How do consequential sounds influence user perceptions of product quality?add

Consequential sounds, such as rattling from a poorly assembled product, significantly impact user perception of quality. Studies have indicated that such sounds can lead to a negative emotional response, thus altering user satisfaction.

What methods are used to analyze product sounds during the design process?add

Sound analysis incorporates acoustical measurements and psychoacoustic evaluations to pinpoint problematic sound phenomena. This involves disassembling products and conducting high-definition audio-visual recordings to observe sound production during use.

How does sound design impact energy efficiency in domestic appliances?add

The design of sound-producing components influences efficiency; for instance, friction from moving parts can lead to energy losses, as exemplified by the 25.6% efficiency of drives with mechanical transmissions. Efficient direct drives minimize parts, thereby reducing sound sources and energy waste.

What are the main classes of intentional sounds in product design?add

There are four main classes of intentional sounds: earcons, auditory icons, sonification, and continuous sonic interaction. Each class serves distinct purposes, from user feedback to system status monitoring, impacting how users interact with products.

Figures (11)
n our daily life we are immersed in sounds that are generated by products. If one were to ask omeone to name sounds produced by products, often sounds are mentioned that alarm or nform us (e.g., microwave oven beeps, telephone rings etc.). These are the sounds of which ve are consciously aware. However, many sounds subconsciously play an important role in ur interaction with a product. One hears if the battery of a toothbrush runs out of power; one ears the power of a vacuum cleaner and one hears if the bag is full; etc. Although these are Il functional aspects, sound also plays a role in our aesthetic, quality, and emotional experi- nce of products. For example, one hears if the sound of a car door evokes a sense of quality. ‘ar manufacturers have acoustical engineers to make sure that a slammed door will evoke this ense of quality. Sound quality and its relation to perception have been studied to some extent 2.g., Blauert & Jekosch, 1997; Bodden, 2000; Lyon, 2003). Often, these methodologies cover nly one aspect of the design or evaluative process. Here we present a systematic approach to he inclusion of sound in the design process and its use as an essential aspect of controlling he quality of design and as a means of educating designers (and students) about the constit- ent parts of a product. In our daily life we are immersed in sounds that are generated by products. If one were to ask
n our daily life we are immersed in sounds that are generated by products. If one were to ask omeone to name sounds produced by products, often sounds are mentioned that alarm or nform us (e.g., microwave oven beeps, telephone rings etc.). These are the sounds of which ve are consciously aware. However, many sounds subconsciously play an important role in ur interaction with a product. One hears if the battery of a toothbrush runs out of power; one ears the power of a vacuum cleaner and one hears if the bag is full; etc. Although these are Il functional aspects, sound also plays a role in our aesthetic, quality, and emotional experi- nce of products. For example, one hears if the sound of a car door evokes a sense of quality. ‘ar manufacturers have acoustical engineers to make sure that a slammed door will evoke this ense of quality. Sound quality and its relation to perception have been studied to some extent 2.g., Blauert & Jekosch, 1997; Bodden, 2000; Lyon, 2003). Often, these methodologies cover nly one aspect of the design or evaluative process. Here we present a systematic approach to he inclusion of sound in the design process and its use as an essential aspect of controlling he quality of design and as a means of educating designers (and students) about the constit- ent parts of a product. In our daily life we are immersed in sounds that are generated by products. If one were to ask
Table 1. Propagation speed for a number of materials, liquid, and air (Verheij, 1992). Product sounds manifest themselves in mainly three sources airborne sound, liquid sound and structure-borne sound. Ina product we are dealing mainly with structure-borne sound sources that find their way to the outside environment by radiation. Transfer paths take care of the propagation of the sound from the source to the environment of the product. Structure-borne sound demonstrates itself in solids, in constructions that are built up from plates, beams, shells and shafts. The material properties determine the propagation speed, which is constant for certain waves and forms. The propagation speed depends on elasticity, specific gravity and contraction, which is different for solid materials. However, steel and aluminium have the same propagation speed because the division of the elasticity by the density is the same (E/Q).
Table 1. Propagation speed for a number of materials, liquid, and air (Verheij, 1992). Product sounds manifest themselves in mainly three sources airborne sound, liquid sound and structure-borne sound. Ina product we are dealing mainly with structure-borne sound sources that find their way to the outside environment by radiation. Transfer paths take care of the propagation of the sound from the source to the environment of the product. Structure-borne sound demonstrates itself in solids, in constructions that are built up from plates, beams, shells and shafts. The material properties determine the propagation speed, which is constant for certain waves and forms. The propagation speed depends on elasticity, specific gravity and contraction, which is different for solid materials. However, steel and aluminium have the same propagation speed because the division of the elasticity by the density is the same (E/Q).
Figure 1. Figure 1: Product relationship with the domains production, embodiment, and design.
Figure 1. Figure 1: Product relationship with the domains production, embodiment, and design.
Figure 3. Methods for product sound design -related activities (adapted from: Ozcan & van Egmond (2008),
Figure 3. Methods for product sound design -related activities (adapted from: Ozcan & van Egmond (2008),
Acoustics is the science that tackles sound phenomena. The field of acoustics is concerned with basic physical principles related to sound propagation and mathematical and physical models of sound measurement. Therefore, the topics of interest for the field of acoustics are the medium in and through which sound travels, reflecting and vibrating surfaces, speed of sound, and other physical characteristics of sound such as sound pressure, wavelength and frequency.
Acoustics is the science that tackles sound phenomena. The field of acoustics is concerned with basic physical principles related to sound propagation and mathematical and physical models of sound measurement. Therefore, the topics of interest for the field of acoustics are the medium in and through which sound travels, reflecting and vibrating surfaces, speed of sound, and other physical characteristics of sound such as sound pressure, wavelength and frequency.
6. Product sound design course
6. Product sound design course
Figure 6. Laboratory setup and Barks analysis for the maximum and minimum load on the toothbrush. The load will be applied by hanging bolts on the toothbrush.
Figure 6. Laboratory setup and Barks analysis for the maximum and minimum load on the toothbrush. The load will be applied by hanging bolts on the toothbrush.
Figure 9. Sketches of the redesign - in this case the working principle is changed. Figure 8. Barks analysis on the complete disassembly of the toothbrush.
Figure 9. Sketches of the redesign - in this case the working principle is changed. Figure 8. Barks analysis on the complete disassembly of the toothbrush.
In final stage, hand sketching is used to express the solution by means of the working principle Sketching is a handy tool for the designer to visualize the working principle, product ideas and parts quickly on paper. The sketches show how parts may be produced and assembled However, implementing it in a product is often not feasible, therefore the intended sounc cannot be measured. The toothbrush changes are based on sketching because making 2 prototype with rapid prototyping could bring you far away from the final solution becaus« the replacement material has never the same sound property. In figure 9 sketches of a redesigr are shown. The two types of product sound need their own design process. Consequential sounds are the result of the product layout. However, the component choice, shape, material and manufac: turing are the main parameters that determine the consequential sound. For a new innovative product, sound recordings of different components will be made and mastered into a future product sound (Van Egmond, 2008). In this situation, the product sound will rely on the experience of the product sound designer . In future, this experience should be replaced by a theoretical framework based on research on the following parameters: material, accuracy 01 parts, the tolerance of parts, how the parts are connected, power transport, size, geometric, speed, and assembly tolerances. the replacement material has never the same sound property. In figure 9 sketches of a redesign
In final stage, hand sketching is used to express the solution by means of the working principle Sketching is a handy tool for the designer to visualize the working principle, product ideas and parts quickly on paper. The sketches show how parts may be produced and assembled However, implementing it in a product is often not feasible, therefore the intended sounc cannot be measured. The toothbrush changes are based on sketching because making 2 prototype with rapid prototyping could bring you far away from the final solution becaus« the replacement material has never the same sound property. In figure 9 sketches of a redesigr are shown. The two types of product sound need their own design process. Consequential sounds are the result of the product layout. However, the component choice, shape, material and manufac: turing are the main parameters that determine the consequential sound. For a new innovative product, sound recordings of different components will be made and mastered into a future product sound (Van Egmond, 2008). In this situation, the product sound will rely on the experience of the product sound designer . In future, this experience should be replaced by a theoretical framework based on research on the following parameters: material, accuracy 01 parts, the tolerance of parts, how the parts are connected, power transport, size, geometric, speed, and assembly tolerances. the replacement material has never the same sound property. In figure 9 sketches of a redesign

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Roberto Bresin

International Journal of Social Robotics, 2021

This paper presents two experiments focusing on perception of mechanical sounds produced by expressive robot movement and blended sonifications thereof. In the first experiment, 31 participants evaluated emotions conveyed by robot sounds through free-form text descriptions. The sounds were inherently produced by the movements of a NAO robot and were not specifically designed for communicative purposes. Results suggested no strong coupling between the emotional expression of gestures and how sounds inherent to these movements were perceived by listeners; joyful gestures did not necessarily result in joyful sounds. A word that reoccurred in text descriptions of all sounds, regardless of the nature of the expressive gesture, was "stress". In the second experiment, blended sonification was used to enhance and further clarify the emotional expression of the robot sounds evaluated in the first experiment. Analysis of quantitative ratings of 30 participants revealed that the blended sonification successfully contributed to enhancement of the emotional message for sound models designed to convey frustration and joy. Our findings suggest that blended sonification guided by perceptual research on emotion in speech and music can successfully improve communication of emotions through robot sounds in auditory-only conditions.

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