kraydel sound INTERACTIONS
26 - 04 -2018
My starting point has been to establish as much sonic differentiation between 'yes' and 'no' as possible; to find a language which is easily distinguishable. This process has led me to create a vast array of different accents for the yes/no actions. However, the selection of sounds here are the ones which I'd like to put to the elders at our next research & development day.
Tone with a quick attack. Mixture of 'Piano', 'Rohdes' and synthetic layers. The attack of the sound has been set to have a small hint of 'click' - Emphasising the button push.
Tone with an added 'click' sound. Like sound 1, this clip has strong ties back to 'Piano' & 'Rohdes' . However, in this instance, the tonal layers have been blended with some percussive elements to further emphasise a 'click like' quality to the button push.
Staggered 5th' s on a 'Rhodes'. This clip draws on the major chord. I created a vast array of variations of the interval timings on the notes. I've attempted to tune this in to the action of the physical kraydel remote buttons.
This clip is the only one in this batch that does not include tone. I experimented with multiple widely 'recognisable' sound sources to see if any could be appropriate for the push of a button. This clip is the sound of a pull switch. It's been heavily edited and manipulated so that it's timing could be adjusted. Although this sound may be too subtle, it works surprisingly well in punctuating a button push. I'm very interested in getting some feedback from the focus group on this one
Clip 5 merges tone from clip 2 with the switch from clip 4. In this instance I also added some higher frequencies by slightly incorporating a glockenspiel...it's subtle but makes a significant difference to the timbre and overall aids in direction.
This clip implements click and tone, just way more more subtle than clip 6.
A very short synthetic percussive sound. There's a tiny amount of tone (from a bass guitar) which forms a greater contrast with yes sounds.
A very short droplet sound. Works particularly well with the more sustained yes tones.
Short percussive sound. Made with pebbles in a plastic container. A good contrast to the sustained yes tones.
Short percussive sound. Single knock on wooden surface. There is no tone on this clip.
Synthetic percussive sound with a small amount of post processing. Due to the nature of the source, this clip can be retimed to syncronise with potential animations.
A mixture of synthetic and organic percussive sounds. Like N5, this clip can be retimed to syncronise with potential animations.
26 - 04 -2018
HOME BUTTON PUNCTUATION
I haven't created as many variations for this function as I'm under the impression that this aspect is still in development. These are some initial ideas. My thinking at this stage is that there would be a unique animation when returning to the home screen. Whatever is used here, I see it also functioning as the overall Kraydel sonic brand - for all promotional content too.
Long attack chord.
Piano arpeggio. Currently used in videos
Piano arpeggio and long attack chord.
26 - 04 -2018
The clips below have been designed around this timeline
Delay until configured time
Load reminder screen
Level 1: Play an reminder alert sound and turn on the red lights
Wait for one minute
Level 2: Repeat audio reminder
Wait for one minute
Turn on the TV and switch to appropriate HDMI input
Level 3: Play reminder alert sound and flash the red lights
Every minute repeat alert sound
Wait 10 minutes
Level 4 Load “missed reminder” screen
Play a missed reminder sound
Turn off red lights
Note selection has been determined by the broad western music theories surrounding major and minor musical keys. I've taken this as a starting point as the mass media still heavily implements the 'major/minor' approach in determining mood. Although in contemporary music practise this theory is often questioned, it's important to contextualise how and when these sounds are being produced. My understanding is that the sound will be projected from the direction of the television - a vast amount of the A/V sonic content emitted from this object already adopts this language of 'major/minor'. In the examples below I am founding my practise on the idea that the listener has adopted this understanding.
This approach is especially relevant in sonically escalating the focus of the reminder. On the first instance of the reminder (Level1), the harmonic content adopts a major musical scale. It also adopts repetition in order to further place emphasis on ‘this is a reminder’. Note that the positioning of each note is strongly implying a tempo and melody. However the ‘loop point’ or ‘phrase’ has been set to contradict the tempo and rhythm. This will allow the reminder to be more distinguishable from television sounds and traditional use of music. As the reminders are repeated (due to potentially not being acknowledged), the harmonic structure of the music intensifies, by gradually incorporating more 'minor' root notes and ultimately creating a discordant effect. At this stage, I've also incorporated some very subtle post production effects to further distinguish between the reminders. When the reminders get to 'Level 3', we again intensify the harmonic content, and introduce a stronger sense of rhythm. In this instance the rhythm is even more juxtaposed in order to establish more contrast.
Level 4 is the 'missed reminder' sound and it simply adopts the state of the level 1 reminder. This is so we do not over alarm the elder by continously playing dischordant musical phrases.
FEEDBACK & MESSAGE BOARD
I've built the 'comments' section to allow us to have an open dialogue about the sound design. I thought it would be useful to have this on the same page as the audio.
CALLING SOUND DESIGN & INTERACTION
INCOMING CALL IDENTITIES: