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Master'sDesign, HMI & Product Applications open

Master’s in Sound Design and Acoustic Identity (AVAS & UI)

Online master's programme of 1,900 hours in sound design and acoustic identity (AVAS & UI): sonic branding, psychoacoustics and safety alerts. 12 modules covering psychoacoustics, electric vehicle sound, AVAS systems, sound synthesis, brand acoustic identity, HMI sounds, audio systems, in-vehicle implementation and evaluation, with an assigned technical tutor.

Duration12–14 months
ModeOnline
LanguageEnglish
Start datesSet by the faculty
AwardSEIUM Institute diploma
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Learning outcomes

What you will be able to do

01

Apply psychoacoustics to the evaluation of product sounds.

02

Design regulation-compliant AVAS systems.

03

Synthesise driving and interface sounds.

04

Create acoustic identities consistent with the brand.

05

Integrate sounds into the vehicle's electronic architecture.

06

Evaluate sound proposals with objective and subjective methods.

07

Consider the environmental acoustic impact of sound design.

Profile

Who it's for

  • Product sound designers.
  • Automotive acoustic engineers.
  • Sound identity specialists.
  • NVH engineers moving into sound design.
  • Interface sound designers.
  • Embedded audio engineers.
  • Engineering or science graduates aiming to enter the automotive industry.
Standards & tools

What you'll work with

  • UN Regulation No. 138 (quiet road transport vehicles, AVAS)
  • ISO 16254 (measurement of sound emitted by quiet vehicles)
  • Regulation (EU) 540/2014 (vehicle sound level and AVAS)
  • FMVSS 141 (minimum sound requirements for hybrid and electric vehicles)
  • ISO 15006 (in-vehicle auditory presentation)
  • ISO 532-1 (loudness calculation, Zwicker method)
  • ISO 12913-1 (soundscape definition and framework)
  • Directive 2002/49/EC (environmental noise)
  • Head Acoustics ArtemiS SUITE
  • Max/MSP
  • Ableton Live
  • Simcenter Testlab
  • Pure Data
Syllabus

12 modules

  1. 1.1Sound waves and pressure level
  2. 1.2Octave bands and A-weighting
  3. 1.3Perception of the human ear
  4. 1.4Loudness, sharpness and roughness
  5. 1.5Fluctuation and tonality
  6. 1.6Auditory masking
  7. 1.7Equal-loudness contours ISO 226
  8. 1.8Sound quality and preferences
  9. 1.9Cultural differences in listening
  10. 1.10Case study: psychoacoustic analysis of vehicle sounds
  1. 2.1The disappearance of engine noise
  2. 2.2Inverter and e-drive noise
  3. 2.3Rolling and wind noise
  4. 2.4Interior soundscape
  5. 2.5Driver expectations
  6. 2.6Sound as brand identity
  7. 2.7Synthetic driving sound
  8. 2.8Risks of acoustic fatigue
  9. 2.9Market benchmarks
  10. 2.10Practical exercise: measuring the soundscape of an EV
  1. 3.1Motivation: pedestrian safety
  2. 3.2UN Regulation 138
  3. 3.3Level and frequency requirements
  4. 3.4Variation with speed
  5. 3.5External speakers and their location
  6. 3.6Track tests according to ISO 16254
  7. 3.7People with visual impairments
  8. 3.8FMVSS 141 regulations
  9. 3.9Balance with noise pollution
  10. 3.10Lab: outdoor AVAS test
  1. 4.1Principles of sound design
  2. 4.2Additive and subtractive synthesis
  3. 4.3Granular and wavetable synthesis
  4. 4.4Physical modelling of sounds
  5. 4.5Parameter-driven generative sounds
  6. 4.6Max/MSP and Pure Data tools
  7. 4.7Design in a DAW
  8. 4.8Sampling and processing
  9. 4.9Seamless loops
  10. 4.10Practical exercise: synthesis of an acceleration sound
  1. 5.1Sonic branding and sound logos
  2. 5.2Coherent sound families
  3. 5.3Architecture of a sound identity
  4. 5.4Brand values and sound attributes
  5. 5.5Welcome and farewell sounds
  6. 5.6Coherence across models
  7. 5.7Rights and authorship management
  8. 5.8Working with composers
  9. 5.9User evaluation
  10. 5.10Workshop: sound identity for a new brand
  1. 6.1Warnings and safety alerts
  2. 6.2Acoustic urgency hierarchy
  3. 6.3ISO 15006 and auditory signals
  4. 6.4Earcons and auditory icons
  5. 6.5Touch confirmation sounds
  6. 6.6Voice assistants and prosody
  7. 6.7Spatial sound and localisation
  8. 6.8Reducing annoyance
  9. 6.9Acoustic tell-tales for ADAS
  10. 6.10Practical exercise: alert family for an HMI
  1. 7.1Speakers and amplifiers
  2. 7.2Cabin acoustics
  3. 7.3Equalisation and calibration
  4. 7.4Spatial and 3D audio
  5. 7.5Personal sound zones
  6. 7.6Active noise cancellation
  7. 7.7Active engine sound enhancement
  8. 7.8In-vehicle audio DSP
  9. 7.9Integration with infotainment
  10. 7.10Lab: equalising a cabin
  1. 8.1Electronic audio architecture
  2. 8.2Vehicle parameters as input
  3. 8.3Real-time sound software
  4. 8.4Latency and synchronisation
  5. 8.5Calibration by model
  6. 8.6OTA sound updates
  7. 8.7Cybersecurity of sound systems
  8. 8.8In-vehicle validation
  9. 8.9Variant management
  10. 8.10Case study: integrating a driving sound
  1. 9.1Binaural recording with an artificial head
  2. 9.2Listening juries
  3. 9.3Preference tests and paired comparison
  4. 9.4Semantic differential
  5. 9.5Driving sound simulators
  6. 9.6Tests in a semi-anechoic chamber
  7. 9.7Objective quality metrics
  8. 9.8Objective–subjective correlation
  9. 9.9Evaluation reports
  10. 9.10Practical exercise: listening jury for several proposals
  1. 10.1Traffic noise and health
  2. 10.2Environmental Noise Directive
  3. 10.3Urban soundscape ISO 12913
  4. 10.4Impact of electric vehicles
  5. 10.5Micromobility sounds
  6. 10.6Sounds of robots and autonomous vehicles
  7. 10.7Vehicle charging noise
  8. 10.8Noise maps
  9. 10.9Responsible sound design
  10. 10.10Case study: acoustic impact of an electric fleet
  1. 11.1Household appliances and products
  2. 11.2Rail and metro
  3. 11.3Aviation and cabins
  4. 11.4Medical devices and alarms
  5. 11.5Digital user interfaces
  6. 11.6Service robotics
  7. 11.7Video games and simulation
  8. 11.8Retail spaces
  9. 11.9Professional portfolio
  10. 11.10Workshop: sound for a consumer product
  1. 12.1Briefing and brand values
  2. 12.2Benchmark analysis
  3. 12.3Acoustic identity concept
  4. 12.4AVAS sound design
  5. 12.5Interface sounds
  6. 12.6Prototype implementation
  7. 12.7User evaluation
  8. 12.8Regulatory validation
  9. 12.9Thesis report
  10. 12.10Master's Thesis: defence before a panel
Methodology, software & labs

How you'll learn

100% online training on the SEIUM campus, with downloadable material, recorded classes and an assigned technical tutor. There are no fixed timetables: you progress at your own pace within each intake, so you can combine the programme with your job.

Each module combines theory, guided reading of the original standard and applied exercises. The working software is Head Acoustics ArtemiS SUITE, Max/MSP, Ableton Live, Simcenter Testlab and Pure Data, in free, academic or evaluation versions. Testing is studied on real procedures for AVAS track tests, listening juries in the laboratory and binaural in-vehicle recordings. Assessment is continuous by module, plus the final Master's Thesis.

Standards covered: UN Regulation No. 138, ISO 16254, Regulation (EU) 540/2014, FMVSS 141, ISO 15006, ISO 532-1, ISO 12913-1, Directive 2002/49/EC.

Assigned technical tutor:every module ends with a deliverable that your tutor marks individually.
Standards-based learning:guided reading of UN Regulation No. 138, ISO 16254 and Regulation (EU) 540/2014 applied to real cases, not as a theoretical annex.
Industry software:Head Acoustics ArtemiS SUITE, Max/MSP, Ableton Live, Simcenter Testlab and Pure Data, in free, academic or evaluation versions.
Master's Thesis with defence:a complete acoustic identity, from brand concept and AVAS sound to interface sounds, prototype implementation and user evaluation, defended before a panel.
Flexible format:100% online, no fixed timetables, compatible with full-time work.
Capstone project

Build it end to end

Your final project follows the real engineering workflow, step by step, reviewed by your tutor.

Identity concept
Define the acoustic identity from brand values and benchmark analysis.
AVAS sound
Design and synthesise an AVAS sound that meets UN Regulation 138.
Interface sounds
Create a coherent family of HMI alerts and confirmation sounds.
Prototype and evaluation
Implement the sounds in a prototype and test them with a listening jury.
Master's Thesis
Present the full acoustic identity with its regulatory validation, defended before a panel.
Career opportunities

Where this takes you

Product sound designerAutomotive acoustic engineerSound identity specialistNVH engineerInterface sound designerEmbedded audio engineer
Admissions & scholarships

Requirements

  • University degree in engineering, science or architecture, or equivalent demonstrable professional experience.
  • Internet connection and a computer able to run the programme software.
  • English sufficient to read technical standards.

Ready to start?

Send your application today. Our admissions team replies within 72 hours with your study plan and funding options.

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FAQ

Frequently asked questions

The programme totals 1,900 hours over 12–14 months. You set your own pace within each intake, and your tutor helps you plan the workload around your job.

You work with Head Acoustics ArtemiS SUITE, Max/MSP, Ableton Live, Simcenter Testlab and Pure Data, using free, academic or evaluation versions. Your tutor indicates the free alternative wherever one exists.

A SEIUM Institute diploma, awarded on passing the continuous assessment and the Master's Thesis. It is SEIUM's own qualification, not an official state degree; its recognition depends on the programme completed and the regulations of each country.

Yes. Modules passed in a course or postgraduate diploma in the same area are recognised in the higher programme. Ask about the recognition policy when you enrol.

A university degree in engineering, science or architecture (or equivalent demonstrable professional experience), a computer able to run the software and English sufficient to read technical standards.

Start dates are set by SEIUM's faculty for each intake. Our admissions team will confirm the next available date when you apply.

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