Is Good Sound Design Timeless or Trend-Driven?

Photo by Joseph Pearson on Unsplash

Some say great sound design is universal – clear, immersive, and emotionally resonant. But is what we consider ‘good’ sound design really that fixed, or does it shift with trends, technology, and audience habits? We wanted to hear from sound designers and audio experts about whether the definition of good sound design is evolving.

Are there timeless principles that always hold true? Have audience preferences changed what works and what doesn’t? And how should brands and creatives think about sound in a world where listening habits and tastes are more fragmented than ever? Here’s what our experts had to say:

Geoff Strasser, senior sound designer at Mr. Bronx Audio Post

The essence of good sound design will always be anchored in the core principles of storytelling and emotional evocation. The sound design of ‘Dune: Part Two’, with its high-tech, futuristic weaponry and alien landscapes, is just as effective as the cartoony, organic sounds of the indie comedy ‘A Thousand Beavers’. In both cases, the sound design is perfectly attuned to the film’s genre and period, crafting an impactful and effective auditory experience. This fundamental understanding of sound design is timeless and unlikely to ever change.

At the same time, cultural tastes have evolved, showing a growing appetite for high-fidelity ‘ASMR’ textures and avant-garde sound manipulation, as exemplified by Flume’s jittery, futuristic synth work. Advancements in digital audio processing – such as higher sampling rates and greater bit depth – are continuously pushing the boundaries of sound quality, while the widespread preference for compressed, bright sounds reflects a shift in listener perception and expectation.

Meanwhile, technological advancements like binaural audio and Dolby Atmos have taken immersion to new levels, blurring the line between recorded and real. Binaural audio replicates human hearing with convincing accuracy, while Atmos’s object-based sound precision allows for dynamic, three-dimensional environments. These innovations make soundscapes so lifelike that distinguishing between reality and reproduction becomes a challenge.

Ultimately, while tools and techniques will continue to evolve, the artistry of sound design – its power to evoke emotion and enhance storytelling – remains the constant.

Bobby Beardwell, lead motion graphic designer at Bright Blue Day (bbd.)

There are core basic principles that count towards ‘good’ sound design. However, you could have the dictionary definition of audio perfection, but if you haven’t got your target audience in mind, then it will likely fail. Does that make it good sound design?
No. It’s competent, but not ‘good’.

Content creators are moving at speed because that’s exactly what their audiences are doing. Viewing – and by extension, audio – habits have changed drastically in the last decade. Attention spans are shorter, dopamine hits are scarce, and trends rule the ebb and flow of the online community.

Clinging onto the age-old core principles of sound design will get you somewhere, but it doesn’t get you far. For example, if you take the same approach to sound design for a TV advert, a short film and a social media content calendar, you’re going to get a crazy bag of mixed results. Audiences have expectations based on what content they are consuming.
For example, on Instagram or TikTok, if the content isn’t drawing me in within the first three seconds, then wave goodbye as they scroll past. If the TV advert has long cinematic buildups, then you’re either wasting precious air time or boring the audiences at home. But a short film, if your sound design doesn’t have room to breathe, the emotional depth of your story could get lost.

The above illustrates that brands and creatives need to think of three things – in this specific order – while working on sound design.

1. Who is your target audience? Get under their skin and understand how and where they interact with content.
2. Next, what content works best for your target audience? Zero-in on a content plan that aligns with your audience’s viewing habits and your campaign’s KPIs.
3. Finally, adjust your sound design depending on where your content is sitting. A one-size-fits-all approach to sound does not work.

For me, good sound design is about being flexible and giving every waveform purpose within your edit. Getting lost in audio design for the sake of personal enjoyment – which is tricky when you love this art form! – puts you on a fast track to waste time and resources and puts your content at risk of missing the mark.

Ryan Stephenson, sound engineer at The Futz Butler

Good sound design isn’t about trends – it’s about impact. It’s about creating a feeling, shaping a narrative, and making something stick. That can be done in endless ways. The real skill? Knowing what the sound needs to do, then choosing the right aesthetic to get it there.

But context is everything. A polished, cinematic mix might be perfect for a brand film, but drop it into a social-first campaign, and it can feel off – too slick, too manufactured.

UGC-style content thrives on authenticity, and sometimes that means embracing a raw, lo-fi sound. A bit of grit, a sense of imperfection – it makes it real.

Crispian Covell, head of sound design at Imagination

There are indeed fundamental principles of sound design that ring true, supporting a brand, client, or artist to convey their message. And great sound design is always about emotion. Whether it’s a speech, a live concert, or a brand experience, sound shapes how we feel, immersing us in the moment and amplifying the message.

But audience expectations have and continue to evolve. With high-quality audio now standard in cars, home cinemas, and live events, people expect more – from richer sound to clearer delivery and deeper immersion. Technology has met this demand, with more efficient, powerful, and compact sound systems transforming how we design live experiences.

Digital audio has also revolutionised our workflow in the last 20 years, reducing latency and unlocking real-time manipulation of live audio. More powerful DSPs allow us to work with many more streams of live audio, providing options in mix, tone and spatial positioning. Site-specific surround sound has also become widely available, freeing us from the use of fixed cinema surround formats.

So, is good sound design timeless or trend-driven? All these elements in technology and accessibility have vastly improved our toolkit and are constantly evolving to meet expectations. But the core principles – bringing clarity, emotion and power to our clients’ key messages – never change.