Design and Sound Quality

I have mentioned the concept of «Sound Quality» several times on this website to describe the processes from which I face sound design. Although this section will have a special place in one of my blogs, I think it is important to clarify that I use this concept under the approach of Professor Jens Blauert, who stands that sound quality is the adequacy of a sound in the context of a specific goal or task. From this approach, this concept does not judge whether a sound is good or bad because the focus is centered on developing sound experiences under specific objectives, considering people’s sound perception and quantitative parameters. This perspective allows expanding the design possibilities since it considers, on the one hand, the listener’s perceptual aspects and, on the other, the project’s needs.

I consider the Sound Quality concept useful since it can easily be applied in different sound design fields. In my case, I have been able to work in the following:

1. Acoustic Quality, Soundscape, and Environmental Acoustics. The traditional Acoustic Environment Management approach focuses on controlling the acoustic energy levels emitted by sound sources. Under the Acoustic Quality and Soundscape approach, people’s attitudes and behavior are considered to improve environmental management processes in addition to traditional acoustic parameters. The acoustic management process includes the use, identity, and cultural practices at specific places. Please overview my works in soundscape to deepen on this topic.
2. Sound Quality and Audio Production. Under the Sound Quality approach, the recording and signal processing is a conscious design looking to develop artistic products with sound identity. With this approach, the design goals, the artistic concepts, the technical tools, and the perceptual process are aligned to improve sound experiences.
3. Acoustic quality and room acoustics. With the Acoustic Quality approach, the design processes transcend calculations, physics, and mathematical models, and the human being is included as the fundamental axis of the listening experience. Material and acoustic elements must be conscious, and the designer must know the sound impact of absorbers and diffusers in the room. Auralization is a fundamental tool in this design process.
4. Sound Quality and Musical Acoustics. This approach seeks to determine the relationship between the instrument’s physical characteristics and listening processes. The goal is to improve musical instrument production and give the musicians as much information as possible about their musical instruments.

If you have any questions about this design approach and want to consult about how to build a sound identity in your projects, do not hesitate to contact me.