Designing with Sound. Fundamentals for Products and Services Amber Case, Aaron Day

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Spis treści książki

• Preface
  • Why Sound Design Is Critical to Successful Products
    • Why Does Sound Matter?
  • The Subjective Nature of Sound
  • Learning How to Listen
  • How This Book Is Organized
    • Part 1: Principles and Patterns of Sound Design
    • Part 2: The Sound Design Process
  • Vocabulary
    • Qualities of Sound
    • Listening to Sound
    • Components of Sound
    • Frequency Range
    • Coloration of Sound
    • Technical Attributes of Sound
  • OReilly Safari
  • How to Contact Us
  • Acknowledgments
• I. Principles and Patterns of Sound Design
• 1. Opportunities in Sound Design
  • Sound Design and Taste Modulation
  • Wireless Power Through Sound Waves
  • Additive Sound Design
  • Subtractive Sound Design
  • Sonification
    • Sonification and Income Data on the New York Subway Line
    • sonification and Agriculture
    • Sonification and Stock Trading
  • Sound Design and Calm Technology
  • Soundscapes
  • Generative Audio
  • Localized Sound
  • Sound as Therapy
  • Conclusion
• 2. Subtractive Sound Design for Products
  • What Makes a Sound Annoying?
  • Frequency and Sound
  • Measurements of Loudness
  • General Principles for Quiet Products
    • Create Good Fit Between Components
    • Minimize Unoccupied Space
    • Add Sound-Absorbing Materials
    • Add Surface Treatments
    • Add Containers to Components or Around Products
    • Add Helmholtz Cavities
    • Isolate Vibration of Moving Parts so the Vibration is not Transmitted
      • Active vibration cancellation and noise cancellation
    • Reduce Turbulence of Air and Fluid Movement
      • Exterior shape
      • Shape and materials
      • Airflow through products
      • Liquid flow through products
      • Laminar flow
  • Conclusion
• 3. Adding Sound to Interactions
  • A Brief History of Sound Design
    • Sound and Products
  • Types of Notifications
  • When to Add Audio Notifications
  • Guidelines for Adding Sounds to Interactions
    • Take Cues from the Natural World
    • Consider Notification Length
    • Determine Notification Context
    • Consider Volume
    • Design Sound for How It Will Interact with Objects
    • Consider the Frequency of the Sound
    • Play with Harmonic and Inharmonic Sound Combinations
    • Work with Vibrato
    • Work with Tremolo
    • Consider Harmonizing with the Cavity Resonance of the Product
    • Design Within the Limitations of the Hardware
    • Dont Get Stuck on High Fidelity
    • Coordinate Haptic, Auditory, and Visual Components
    • Offer Multiple Soundscapes
    • Consider Generative Audio and Sonification
  • Conclusion
• 4. Removing Sound from Interactions
  • Unwanted Sounds
    • Solving Alarm Fatigue in Hospitals
    • Ambient Sound in Animal Environments and Habitats
  • Guidelines for Removing Sound from Interactions
    • Enable Users to Turn off the Sound or Change the Notification Style
    • Eliminate Redundant Notifications when Possible
    • Pair Sounds with Haptics
    • Ensure Sounds Fit Within the Context
    • Check That the Frequency Matches the Context
    • Reduce Noise from Mechanical Sources
    • Consider Active Noise Cancellation Technology
    • Reduce the Volume of the Alert
    • Remove or Reduce Speech
  • Conclusion
• 5. Sound and Brand
  • Types of Trademarks
    • Rhythm-Based Trademarks
      • Advantages
      • Disadvantages
    • Tone-Color Based Trademarks
      • Advantages
      • Disadvantages
    • Melody-Based Trademarks
      • Advantages
      • Disadvantages
    • Chord- or Harmonic-ProgressionBased Trademarks
      • Advantages
      • Disadvantages
    • Spoken-WordBased Trademarks
      • Advantages
      • Disadvantages
    • Multi-Faceted Audio Trademarks
  • General Advice for Sound Trademarks
    • Make It Future-Proof
    • Make it Interesting
    • Make it Short
    • Make it Polite
    • Consider the Sensitivity of Human Ears
    • Map Out the Competitive Brandscape
  • Conclusion
• 6. Designing Voice Interfaces
  • Vocal Persona
    • Use timing
      • Work with intonation
  • Conclusion
• II. The Sound Design Process
• 7. Interviewing
  • Interviewing Stakeholders
  • Determining the Scope of Work
  • Interview Questions
    • Stakeholder Questions
    • Technology Limitations and Specifications
    • Materials
    • Interaction Times and Triggers
    • Context
    • Brand Questions
    • Competitive Landscape
  • Conclusion
• 8. Design
  • Elements of Sound
    • Sine Waves
    • Transients
    • Computer-Generated Waveforms
    • Square Waves
    • Sawtooth Wave
    • Rectangular Waves
    • Pulse Waves
    • Triangle Waves
  • Design to Include the Widest Spectrum of Humanity
    • Visual to Audio
    • Audio to Visual
    • Visual and audio to Haptic
    • Multimodal and Switching Between Senses
    • Different is Normal
  • Creating a Design Document
    • Build an Audio Map
    • Create a Deliverable Table
    • Develop Design Elements
      • Create a mood board
      • Consider the visual interface
      • Consider the products materials and textures
      • Consider different soundscapes and cultures
      • Add variety
      • Design for those with different sensory needs
      • Check that the sound works at a variety of resolutions
      • Shape the soundscape personality
  • Interaction Checklist
    • Purpose
    • Trigger
    • Information
    • Location
    • Missed Notification
    • Context
    • Inclusivity
    • Contextual Testing
  • Conclusion
• 9. Prototyping
  • Stock Sounds and Sound Libraries
    • Advantages
    • Disadvantages
    • Types of Sound Libraries and Copyright Licensing
      • Free libraries
      • Creative Commons sound libraries
      • Professional sample or sound effect libraries
  • Prototype Delivery Formats
    • Interactive Palettes
    • Video with Sound Overlay
    • Video with Paper Prototypes
    • Animation
    • Binaural Recording
    • Real-World Prototypes
  • Conclusion
• 10. Hardware Testing
  • How Speakers Work
  • Quality Speakers
  • Low-Quality Speakers
  • Sound Channels and Playback Types
  • Testing the Target Hardware
  • Testing for Distortion
    • What Causes Distortion?
    • Distortion and Transients
      • Soften transients or increase onset times
      • Use hardware onboard processing to modify sounds
      • Design with distortion
  • Use the Missing Fundamental
  • Final Tuning
    • Test or Modify the Sound Source
    • Change the Interaction Logic
    • Test the Playout Software and Work with DSP
    • Set Limits on Volume
    • Test or Improve the Hardware
    • Change or Modify the Hardware Container
    • Ensure Sounds are Associated with Interactions
    • Perform Stress Testing
    • Test Multiple Sounds at Once
    • Test Synchronization
  • Conclusion
• 11. User Testing
  • Researching the Domain
  • Testing for Inclusivity
  • Contextual User Testing
    • Testing in a purse or backpack
    • Testing at various distances
    • Testing on public transportation
    • Testing on a flight
    • Testing in international environments and contexts
    • Test for Social Context
  • Segmentation and Applied Ethnography
  • Formats for User Testing
    • Online or In-Person Surveys
    • One-on-One Sessions
      • Consider that small problems can cover up other problems
      • Simulate busyness, stress, or distraction
      • Determine user questions and executional components
    • Focus Groups
  • Research Your Personas
    • Review the Final Checklist
      • Sound
      • Time
      • Attention
      • Inclusion
      • Conditions
  • Presenting Your Findings to Stakeholders
  • Conclusion
• A. Recommended Reading
  • Jonathan Shariat and Cynthia Savard Saucier, Tragic Design: The Impact of Bad Product Design and How to Fix It (OReilly)
  • Cathy Pearl, Designing Voice User Interfaces: Principles of Conversational Experiences (OReilly)
  • Camille Moussette, Simple Haptics: Sketching Perspectives for the Design of Haptic Interactions (Umea Institute of Design)
  • Perry R. Cook, ed., Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics (MIT Press)
  • Andy Farnell, Designing Sound (MIT Press)
  • F. Alton Everest, Master Handbook of Acoustics (McGraw Hill)
  • Reinier Plomp, The Intelligent Ear: On the Nature of Sound and Perception (Lawrence Erlbaum Associates)
• Index

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