This article seeks to reflect on personal artistic processes in sound art and acoustic art pieces. It reports experiences, work pieces, and exhibitions where I applied a conventional language of sound measurement (Hertz) to minimize unexpected narratives and interpretations. Finally, we present the exhibition “HERTZ of the place where we are in“ (2016), which has been audiodescripted for blind people, and thus we understand a little more of how we can fill these distances between language and its referent with alternative approaches and how we think about what we hear in acoustic environments.