Internet of things sound design Asbjoern Andersen


Sound has enormous potential to enhance how we experience and interact with the connected everyday devices and appliances that make up the Internet of Things.

Dr Iain McGregor - programme leader for the online MSc in Sound design at Edinburgh Napier University - has some great insights, thoughts and ideas on how this can (and probably will) be done:


Written by Dr Iain McGregor, and republished here with his kind permission
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Embedding computer power and connectivity into everyday devices to create an Internet of Things (IoT) can be both an attractive and worrying development for many consumers. It is enticing as the functionality of devices can be extended dramatically, so that not only can many more objects communicate with each other, but that they can also potentially evolve according to end users’ requirements.

It is concerning for both consumers and manufacturers due to hacks, and unintended eavesdropping through the essential requirement to constantly monitor a device’s activity. Any product that plugs into a mains socket could potentially connect to the internet through powerline networking, without the owner even being aware of the additional functionality.

One of the most straightforward, and cost-effective methods to communicate with end users is through sound.

Battery powered devices might connect wirelessly as easily as a smart phone, or even more simply using Wi-Fi pairing.

One of the most straightforward, and cost-effective methods to communicate with end users is through sound. Both Piezo and MEMS loudspeakers and microphones are relatively inexpensive. They only take up a small amount of real-estate on a device and require little power.

Sounds from a visibly hidden world

Consumers are used to listening to products to understand their working status, without ever having to look at them directly. These passive sounds, such as a kettle clicking off, with the associated boiling diminishing, or gentle hum of a fridge freezer, normally reassuringly confirm that they are functioning properly, and are all accidental sounds which occur naturally as part of the devices’ mechanical nature. Regular, repeated use, normally enables accurate interpretation of a device’s status, in a manner similar to being able to confirm that a car door is securely closed prior to driving off. Sound provides valuable information about the inner workings of a visibly hidden world.

Sounds are usually interpreted about 40 milliseconds faster than simple visual cues, which is one of the main reasons for starters’ pistols still being a mainstay in athletic competitions. This additional delay of visible signals is mostly due to the cognitive workload required to process imagery. Sound also provides a much broader range of communication for the physical space available on a device than a screen of a similar size. A microphone and a loudspeaker can occupy less surface area than a screen capable of displaying only a single legible word. Speech, music and sound effects can all be seamlessly integrated, without the need for glasses or even to look at the device being operated.
[tweet_box]Designing the sound of the internet of things[/tweet_box] In analogue devices, sound is almost always present, and generally only changes due to wear and tear, or incorrect use. In a digital world, there are rarely any naturally occurring auditory cues. Sound can obviously be added and programmed to change due to its acoustic environment, user customisation, or upgrades in functionality. When audio is used only as an output mechanism it is commonly termed an auditory display. When sound can also be utilised for input as well, it is termed an audio interface. In general, auditory interface design suffers from an impoverished understanding of listening experiences, which has led to many users switching off the sound entirely, or at least reducing the functionality to an absolute minimum.

A microphone and a loudspeaker can occupy less surface area than a screen capable of displaying only a single legible word

This has been coupled with a trend for increasing default volume, and thereby annoyance with alert sounds that generally compete to be heard, or more often, ignored. Extensive customisability has had little effect on allowing artificially generated sounds to integrate naturally into pre-existing auditory environments, and yet still remain informative.

Designing effective sounds for the internet of things

Despite the lack of adoption, designing effective sounds for the internet of things is still eminently achievable, as there are many successful physical sounds to base new virtual designs upon. Possibly, the most famous translation from the real to the virtual world is the trash emptying sound of paper being crumpled. This auditory icon can be found in many operating systems, and is often left on by end users, as it is relatively easy to comprehend and remember.

Abstract synthesised sounds termed earcons are often adopted when there is no natural correlation, but they require to be memorised individually

However, the direct correlation between sounds in the physical world and the virtual world is predominantly hit and miss, but the underlying language is considerably less so. Abstract synthesised sounds termed earcons are often adopted when there is no natural correlation, but they require to be memorised individually.

Extensive listener testing can easily identify which sounds are most suitable for inclusion, whether they are captured from the physical world or synthesized. Two of the most useful sound design tips to improve an auditory cues effectiveness include the Doppler effect and presence frequencies. The Doppler effect communicates movement, and a raise in pitch indicates that something is coming towards the listener and therefore potentially important, whereas a drop in pitch suggests that the danger has passed and that it is safe to ignore.

By moving pitch up listeners think a sound is more important and needs to be attended to, conversely a falling pitch suggests that the cue does not need to be attended to. An increase in the presence frequencies of around 1 – 4 kHz replicates when a sound is directed towards a listener, whereas if these frequencies are missing, or are heard to drop off, the perception is that the sound is not intended to be heard, and that we are overhearing something that is either private or irrelevant. These frequencies are often found in alert sounds, and by pulsing them attention can be drawn more easily, especially when it comes to spatially locating the sound source.


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Another issue to contend with is all of the other auditory cues that are often present in a shared environment. Audio watermarking is a well-established technique for tracking music plays across media, as well as identifying where leaked media content originated from. This technique can easily be applied to new interface sounds so that when devices are first switched on they can listen to what already exists within an auditory environment and alter their sounds accordingly. Firstly, this can ensure that there are sufficient differences between any sounds so that that perceptual confusion does not occur. More importantly, from an aesthetic approach, this means that if a user has specifically chosen a set of sounds for other devices then a complimentary set can automatically be chosen for the new device, without the user even being aware of a change. As the device is connected to the internet, the sounds do not even have to be preloaded, they can be downloaded as necessary, and if desired, evolve as new devices are introduced into the environment.

As the device is connected to the internet, the sounds do not even have to be preloaded, they can be downloaded as necessary, and if desired, evolve as new devices are introduced into the environment

If a watermark is not present then it is possible for a sample of a sound to be sent to a cloud service so that it can be identified, and its significance established. This technique is already popular for music, and has been utilised for wildlife, as well as for other applications. If it is an emergency sound, like a smoke alarm, then it could be used to turn off a device, or silence it entirely. If it is an alert sound that has been ignored then it could be reproduced by a second device to draw attention to it, or again the device could go silent. These sounds could be time aligned so that they are in phase to make them louder, or time delayed so that the sound from the closer device is slightly later giving the illusion that it is an echo. This would assist identification of the spatial location of the sound, which if there are multiple identical devices in an environment, could help the user understand where a sound was generated.

Sound levels

A really useful feedback mechanism, which is often ignored, is to monitor how users control a sound. Volume controls and repeat/skip buttons, such as can be typically found on many video or audio devices can provide valuable information about whether a sound was replayed at the correct volume. If the user turns the volume up then it may have been too quiet, if the volume was turned down then the sound was possibly too loud. This can then be compared to the ambient background sound pressure level (SPL), and each time the sound is played it can be altered to be the optimal level above the noise floor, even linked to day of week and time of day. Monitoring the background level can also be used to identify when no one is in a room, and it can either ensure that the sound does not play, or that it plays through a device in a room that is occupied.

Monitoring the background level can also be used to identify when no one is in a room, and it can either ensure that the sound does not play, or that it plays through a device in a room that is occupied

Use of repeat button can provide information about the clarity of the sound, or the meaning not being sufficiently interpreted, so this could indicate that an alternative sound needs be sourced automatically, or that the current sounds requires to be either spectrally altered to make comprehension easier, or simply made louder. The skip function could be considered a silent function, so that the user possibly finds the sound unnecessary, if this function was selected for a specific auditory cue a predetermined number of times then the sound could be automatically replaced or disabled.

Speech input is definitely a practical, and, to a certain extent, popular form of interfacing with devices. This can be linked to any sound that is currently playing so that a form of ducking, or silencing completely occurs in real-time. This can allow natural communication between rooms, either by making everything quieter, or by relaying the speech through the device like an intercom, that is time synched to reinforce the speech coming directly from the source. This advanced form of baby monitor can also work in reverse if the desire is to isolate a listener from the speech of others in the shared environment, by turning up frequencies of any audible device that will mask the pre-existing speech, rendering it difficult to comprehend.

Functions which are partly audible due to being inside a case can have the frequency range extended by the built-in loudspeaker, so that they are more acoustically transparent, and thereby much easier to interpret. Alternatively, a form of active noise cancellation can be applied so that the vibrations caused by the loudspeakers are out of phase to the sound occurring naturally to decrease any sound being generated by the device. Some vehicles already make regular use of this technique, and it could be extended into domestic and commercial environments.

When considering what sounds to include, a sensible approach is to consider the function that the sounds performs. The designer’s intention obviously has to match the listeners’ perceptions, whether it is to warn, assist, incite, monitor, reassure, guide, forgive or protect the end user. Warnings are the most obvious, and essential for safety purposes, the common approach is for loud, high pitched sounds with intermittent timing. Assisting sounds provides some form of auditory reminder, incitement encourages actions, with monitoring allowing status communication. Reassurance confirms that appropriate actions were performed, forgiveness communicates that an error was made, but it can be rectified if a renewed attempt is made. Guidance assists end users with details about what activities are possible, such as it is safe to open a door. Protecting sounds provide auditory cues as a form of safeguard.

In a kitchen environment, the simple scanning of a QR code on a ready meal could turn on the oven, and when it is has heated up to the correct temperature provide a subtle alert that it is time to insert the meal. Once the cooking has completed then a conventional alarm could inform the intended diner, in whichever room they are located that it is ready to consume. If the sound is ignored a verbal offer of keeping it warm could be made, which would only require a simple ‘yes’ or ‘no’ response to affect the required temperature change in the oven. This could equally apply to any product, such as clothes in a washing machine, or even setting the correct temperature on an iron in order to prevent damage to a delicate piece of clothing.
 

Using ultrasound

Sounds do not need to be confined to the human audible range. Ultrasound is currently used as Audio Beacons to sync devices for advertising purposes without customers’ awareness. However, ultrasound could also be used for end users’ benefit, to communicate that a device is still on, when it should not be, like an iron that is stationary for a pre-specified duration. Conversely the absence of a coded ultrasound cue could convey that an important device is no longer operating, such as a smoke alarm or a freezer. An audible alert could then be triggered so that an appropriate action can be taken. Devices when they start up for the first time could emit ultrasound to inform any other appliances by the same manufacturer, or using the same system, that they have been added to the environment. Two-way inaudible communication could then provide the new device information about the audio selections made for the pre-existing environments in order to aid customisation.

Ultrasound could also be used for end users’ benefit, to communicate that a device is still on, when it should not be, like an iron that is stationary for a pre-specified duration

By introducing more sounds through the internet of things the world does not need to be noisier. Unlike manual devices where the sound is often a by-product and difficult to remove, in the virtual world devices can be set to only make sounds when absolutely necessary. As an individual becomes familiar or adept with a device and operates it correctly, fewer sounds could be generated over time. Eventually only errors could be communicated audibly, such as tapping a button too often, due to a delay in functioning and a finger being in the way to prevent visual confirmation, helping to make the device ‘fat finger friendly’.
 

The device could also listen out for maintenance cues to know when something has gone wrong. If a photocopier is jammed then the instructions could be read out in the end user’s chosen language, in sync with the actions being performed by the person trying to fix it, as an ultrasound cue is generated as a hatch opens, or even by interpreting a naturally occurring sonic cue via an unrelated device such as a mobile phone. This could help avoid the need to constantly bob up and down while trying to interpret the animations on a small screen, or blindly try to investigate the problem. The smart phone could also drastically expand the number of user maintainable devices in an environment, as verbal instructions could be augmented by the interpretation of appropriate acoustic cues.

Sounds for safety

The safety aspects are obvious for including more auditory cues in internet enabled devices, an audible smoke alarm could switch off every device that might be causing the fire, as well as switch on extractor fans, and after an appropriate delay if the issue has not been resolved contact the emergency services. A less serious option might be a tap or stopcock that is turned off as the sound of water hits a floor, or a door that is locked when snoring is heard, indicating that the occupant has fallen asleep. Children crying could automatically trigger devices which might be soothing, such as a night light, music or even engaging a microphone so that the child could hear a parent’s voice or breathing if the parent is sleeping. Personal security can already be enhanced through microphones actively monitoring extreme events.

Just like cookies allow advertisers to target content, and personal data stored on Facebook and other forms of social media can provide recommendations, these mechanisms could be used to customise the auditory content of the internet of things.

This could allow a much more holistic design approach where sounds are introduced as needed, based on similar users’ experiences, rather than having everything switched on to start off with

New devices might be registered by purchasers using existing online profiles and then the audio settings utilised by users with similar profiles would be set automatically on the new device. Whenever a device is connected it could send user settings to the cloud to track long term usage, further refining the settings for future users. This could allow a much more holistic design approach where sounds are introduced as needed, based on similar users’ experiences, rather than having everything switched on to start off with.

Sound design for the internet of things can transform the acoustic space in any environment. It can be used as much to switch sounds off as add them. Safety can be enhanced by ensuring that pre-existing alarms are clearly audible, and individuals in shared environments can either be more or less acoustically aware of each other, depending upon their preferences. Systems that actively listen out for pre-existing auditory cues can avoid masking or perceptual conflicts, and users with similar social media profiles can provide suitable initial settings. Sound events can be shared across devices with appropriate timing cues to guide listeners where to attend to, and choices updated according to usage patterns. Sounds might be introduced at subtler levels, and then turned up if they go unnoticed, rather than the more traditional approach of needing to be turned down or off entirely. The palette of sounds can also be much broader as new cues can be downloaded automatically rather than stored on the device at the point of manufacture, and designers can monitor each sound’s popularity and usage in order to maximise effectiveness and influence future designs. Privacy will be the main issue to overcome with the understandable fear of snooping, but most of these functions can be confined to a local private network with only intermittent connection to the internet.
 

A big thanks to Dr Iain McGregor for allowing me to republish his insights on sound for the internet of things! This post originally appeared here.

 

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About Dr Iain McGregor:

Dr Iain McGregor is the programme leader for the online MSc in Sound design at Edinburgh Napier University. He runs the Centre for Interaction Design’s Auralisation suite, which is a dedicated 24.4 channel surround sound facility for conducting listening tests. He is currently working on a diverse range of projects, ranging from listeners’ experiences of linear and interactive media, as well as products and environments. Find him on LinkedIn here.


 
 
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  • Seismic Core is a modern sound effects library crafted to give your sound design its defining foundation. Every element in this collection is built for layering. Designed not to dominate, but to enhance, shape, and energize your creations. Whether you’re working on cinematic hits, trailers, motion design, game audio, or abstract sonic branding, Seismic Core delivers the essential low-end weight, transient snap, and textured grit that bring your designs to life.

    These sounds are meticulously processed and polished, yet intentionally left with enough space to sit perfectly under your own layers. They’re bold enough to add instant character, but subtle enough to leave room for further creativity. This makes Seismic Core not just a toolkit, but a true starting point for powerful, flexible, and unique sound design.

    This collection of Building Blocks contains following categories:

    • IMPACT *
    • BREAK *
    • WHOOSH *
    • SUSTAIN *
    • TRANSIENT (high and low)

     

    * Also including HEAVY & SUB variants

    Build with it. Layer on top of it. Drop the anchor. Feel the quake. Design from the core.

    25 %
    OFF
  • Cinematic & Trailer Sound Effects Spells Variations Vol 3 Play Track 247 sounds included, 16 mins total $9.35

    Spell Variations Vol. 3 brings a fresh wave of magical creativity and sonic variety. This collection dives deep into the mystical realm, offering everything from shimmering chime spells and celestial choirs, to demonic voices that feel torn from the depths of hell, along with earth-based magic, electric spells, powerful invocations, and more.

    Inside, you’ll find 247 sound effects across 27 distinct types of magic, each with multiple variations. As with our previous volumes, these variations ensure each spell feels unique, even when reused throughout different moments in your project.

    Each spell type is neatly organized into individual folders, giving you total flexibility when designing magical scenes, gameplay effects, or transitions. Whether you need a subtle magical aura or a powerful blast, you’ll have the perfect sound at your fingertips.

    All sounds were recorded, edited, and mastered at 192 kHz / 24-bit, delivering high-end quality and broad adaptability. This library is perfect for professional sound designers and creators looking for high-quality, drag-and-drop magical sounds for games, trailers, animations, or any audiovisual production.

    More about the pack
    . Intuitive file naming
    . All you’ll ever need regarding magical sounds [Use them again & again
    . Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter
    campaign, wherever you need to, as much as you want to.
    . Totally mono compatibility
    . All sounds have several variations.
    . Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.
    . For any questions or problems: khronstudio@gmail.com

    Khron Studio - Spells Variations Vol 3
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  • 100+ Toys, 1500+ Designed Sounds – From Childhood Playthings to Cinematic Gold. TOYED has it all.

    Think You Don’t Need a Library of Toys? Think Again.

    This release might just change your mind—and blow your mind at the same time! TOYED is an exclusive sound library from the Founder of SoundMorph, Jason Cushing. With a 25-year career spanning AAA games, anime, cartoons, and film, Jason has designed for Electronic Arts, BioWare, and Epic Games, contributing to titles like the Mass Effect Trilogy, Skate Trilogy, and Unreal Engine’s weapon sound design. His deep expertise in cinematic sound design, UI creation, ambient textures, and weapons makes TOYED a versatile, high-end collection of professionally crafted sounds.
    Jason’s meticulous approach to field recording and sound selection ensures that this library isn’t just about capturing toy sounds—it’s about unlocking rich, unique sonic textures that are ideal for games, film, animation, and futuristic sound design. With contributions from longtime SoundMorph sound designers Andrew Pals, Tibo Csuko, and Vincent Fliniaux (GORE 2, WATER, Robotic Lifeforms 2), TOYED is built to deliver exceptional quality and usability across multiple production styles.

    88 %
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Explore the full, unique collection here

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    This Sound-Pack features a diversity of 51 Punctual Sounds, including Train Pass by, Onboard High Speed Rolling, Raw Metal Railway Sounds, Train Doors, and a lot more !

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    In addition to raw recordings, the library includes designed elements enhanced with granular processing, distortion, and impulse response reverbs. Perfect for sound design in film, games, and trailers where powerful hits and low-end energy is needed.

    All sounds were captured using a Sennheiser MKH 8050 microphone and Zoom F6 recorder at 32-bit / 192kHz, and are delivered as 24-bit / 192kHz WAV files. The library includes 185 files (512 sounds), is 3.7 GB in size, and is fully UCS-compliant with embedded metadata.

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  • Surround Sound LAB Complete Collection

    Unlock the full potential of your audio projects with the Surround Sound LAB Complete Collection. This bundle offers our entire Surround Sound Lab catalog in one comprehensive, perpetual one-time subscription.

        The Ultimate Audio Resource

    Our Complete Collection is the ultimate audio resource, meticulously curated and updated with our newest releases. Deliver your best work with the most extensive collection of world-class sound effects we’ve ever offered. This flagship collection is perfect for creators, post-production professionals, video editors, game developers, and more.

    Our equipment is proudly part of Blacktone Studio team in Madrid, a studio with over 10 years of experience in sound post-production for cinema and TV.

        Exclusive Benefits

    • 🚀 Future Releases Included: Purchase once and receive all future libraries for free, directly to your inbox.
    • 🔊 Ambisonic and Surround Recordings: Experience the richness of third-order ambisonic and surround recordings, capturing the most immersive audio environments.
    • 🎧 Pristine and Consistent Quality: Enjoy pristine, high-quality sounds with consistent audio fidelity across all files.
    • 🎤 State-of-the-Art Recording and Mastering Equipment: We utilize the best recording gear available, including cutting-edge third-order microphones and the latest technologies. Your sound experiences are crafted with meticulous attention to detail, edited, and mastered in our 9.1.6 Dolby Atmos immersive mixing stage.
    • 📦 Massive Library: Over 6000 files, totaling more than 600 GB of premium audio.
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    • 📋 Detailed Metadata: Each file comes with descriptive, embedded UCS metadata. View the sound list in XLS format.
    • 💻 Flexible Delivery: Choose between download and hard drive delivery options.
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  • We’ve launched a new recording series focused on typewriters, and for this first volume, we’ve included four distinct models:
    Olivetti ET Personal 55
    Olivetti Lettera 31
    Olivetti Pluma 22
    Olympia SM2

    This library contains a total of 1008 high-quality audio files, and—as in all our sound libraries, each track includes multiple takes to give you flexibility and variety.
    In the preview, what you’ll hear is a combination of all microphones used simultaneously to give a full, rich perspective of each sound.

    🔊 What’s Included
    This collection captures every mechanical nuance and interaction possible from the included machines, such as:
    – Individual keystrokes for each letter, numbers, and special keys (both isolated and sequential)
    – Mechanical movements, gear shifts, and levers
    Paper roller actions
    Powering on the electronic typewriter
    Carriage movements with detailed gear and rail recordings
    – Sounds of the Olympia SM2 case being handled
    Side levers, paper insertion and release mechanisms

    We also used a Geofon contact microphone to capture internal vibrations and mechanical resonances, offering a layer of realism rarely found in typewriter recordings.

    🗂️ Well-Organized & Easy to Use
    All files are uniformly named and sorted by machine and action type, making it easy to drag, drop, and find exactly what you need in your workflow.

    🎧 Recording Approach & Equipment
    All sounds were recorded at very close range to ensure exceptional detail and clarity. The recording setup included professional-grade equipment:
    Sound Devices MixPre-6 II
    Sennheiser MKH 8050
    Sanken CO-100K
    Tascam Portacapture X8
    Geofon

    This high-fidelity setup allows you to alter pitch or stretch audio while preserving sonic integrity, making these sounds ideal for both hyper-realistic and creative sound design.

    Professional Quality Standards
    Recording resolution: Captured at 32-bit / 192 kHz, delivered at 24-bit / 192 kHz
    Editing: All files were meticulously cleaned to remove room reflections, background noise, and handling artifacts

    🎯 Ideal Applications
    Video games: Add depth and realism to vintage or stylized interfaces and props
    Film & documentaries: Use authentic machine sounds for historical accuracy or background texture
    Multimedia projects: Perfect for immersive installations, art pieces, or stylized animations

    📦 Technical Details
    Total Files: 1008
    Format: 192 kHz / 24-bit WAV
    Gear Used: Sound Devices MixPre-6 II, Sennheiser MKH 8050, Sanken CO-100K, Tascam Portacapture X8, Geofon

    45 %
    OFF
    Ends 1754776800

   

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