audio for ux
DESCRIPTION
Audio for UX Lecture NoteTRANSCRIPT
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Audio
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Recognition
env 1 env 2 env 3 env 4 env 5
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Recognition
• We don’t hear sound, in the sense of recognizing them, until shortly after we have perceived them.
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Recognition
office env 2 env 3 env 4 env 5
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Recognition
officetrain
stationenv 3 env 4 env 5
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Recognition
officetrain
stationtaxi env 4 env 5
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Recognition
officetrain
stationtaxi
boxingarena
env 5
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Recognition
officetrain
stationtaxi
boxingarena
bts
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Anatomy of Sound
• Wave
• Human hearing range 20Hz - 20kHz
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Anatomy of Sound
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Anatomy of Sound
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Characteristic of Sound
• Pitch
• Quality / Timbre
• Loudness (Sound Pressure Level)
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Pitch
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Quality / Timbre
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Quality / Timbre
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Sound Pressure Level
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Sound Envelope
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Audio and User Experience
• Sound is an essential part of everyday living
• Sound can deliver entertainment: music
• Vital Information: traffic and news report
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Audio and User Experience
• Audio signals help us interact with our environment
• Some of these signals are designed:
• Alarm Clock Buzz
• Phone Ring
• Some are not
• Air Conditioner Hum
• Car Engine Sound
We notice it immediately when something doesn’t sound right
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Sound Like Success
“You can tell that someone start up a PC or Mac withoutlooking just by the distinctive sounds of their OS jingles”
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Audio’s Limited Role in UX
• Unwanted sound can be intrusive and annoying
• Invasive background music
• Click and beeps giving user feedback for no good reasons
• Zooming & swooshing sound accompanying animations
“Rather than enhancing a user experience, audiocan be a distraction and reduce our effectiveness”
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Audio Usage in UX
• Ambient Background Sound
• Task-and Event-Based Signals
• Warning and Notifications
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Ambient Background Sound
“Our day-to-day lives are filled with background soundsome of which we enjoy-say, ocean waves at the beach
and other sounds that we strongly dislike-likeconstruction noise”
“Will people need the equivalent of a white-noisegenerator in their computers to raise the backgroundsound level high enough to drown out distractions?”
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Task-and Event-Based Signals
“We often take for granted the offline audio cues that assistinput to digital devices. The click of the mouse and tap-tap of
the keyboard reinforce the fact that we’ve completed aparticular action”
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Warnings and Notifications
“Voice could be used to direct the user’s attention to importantevents or elements on the screen in a richer way than the
obnoxious beep that currently constitute mostcomputers’ audio vocabulary”
“Because audio is intrusive, it’s best to ask for a user’s permissionbefore using audio notifications and always provide a clear way
of disabling the audio”
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Principles of Sound Design
• Synchresis
• Acousmatic
• Extension (of sound space)
• Empathetice
• Anempathetic sound
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Synchresis
• This comes from the two tords “synchronism” and “synthesis”
• Mental fusion between a sound and a visual when these occur at exactly the same time
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Acousmatic
• The sound one hears without seeing their originating cause
• Invisible sound source
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Extension (of sound space)
• Build the image an environment
• Beyond the borders of visual field
• Or withing the visual field filed around the characters
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Empathetic
• Music or sound effects whose mood matches the mood of the action
• the ability to feel the feeling of others
• Like sadness, happiness and movement
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Anempathetic
• Usually diegetic music that seems to exhibit conspicuous indifference to what is going on in the film’s plot
• Creating a strong sense of tragic
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