This report reflects an examination work performed for Getrag All Wheel Drive AB during the spring of 2005. Among the companies range of products there exists some concern regarding the amount of clamping force and friction on bolted joints caused by the assembly torque.The aim of this project has been to determine if there is a simple way in which to identify and then practically apply testing methods for clamping force and friction through utilization of existing testing equipment.Three separate methods of clamping force and friction determination have been tested in rear drive unit, RDU, at a 30 Nm assembly torque. A fourth and final method, screw elongation with ultrasound, has been used as reference. The methods are:?Torque-Tension test.?Screw elongation with micrometer.?Joint stiffness test.?Screw elongation with ultra sound for reference.The results from tests can be viewed in table below.MethodTorque-TensionMicrometerCs=318 kN/mm Assembled with torque wrenchMicrometerCs=318 kN/mm Assembled on lineUltra-soundCS=311 kN/mm Ultra- soundCS=318 kN/mm Joint stiffnessTheoreticalClamping force-21,8 kN17,6 kN17,3 kN17,6 kN17,1 kN17,3 kNFriction-0,110,1470,1530,1470,1520,149.

Syftet med mitt examensarbete har varit att skriva, arrangera och spela in musik till Tritons kommande debutskiva, Beneath Our Feet. Arbetet besta?r av tva? delar, en skriftlig del da?r jag redogo?r fo?r dels en sammanfattning av den fo?rberedande kursen 2012, som legat till grund och mo?jliggjort mitt arbete. Dels ocksa? huvudarbetet under 2013 da?r jag i egenskap av projektledare, producent och musiker genomfo?rt den studioinspelning som utgjort va?rt ma?l.Den andra, konstna?rliga och klingande delen av mitt arbete gestaltas av de 8 la?tinspelningarna jag tillsammans med Triton a?stadkommit i Studio 2 pa? KMH..

I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen.

A case study of professional interaction designers' usage of design materials was conducted. Five interviews were performed in order to gain insight in the systems used by designers, how these work, how they collaborate within them, and what they think of recent research about them. Design studios allow collaboration for several users at once. Digital material (mockups, pictures, etc.) are commonly used, but needs to be made analog, e.g. printed, to be usable in the design studio environment.

Babies born prematurely are deprived of normal sensorimotor stimulation when placed in an artificial environment, the incubator. The aim of this project was to design a series of products that could promote the baby?s emotional and neurological development, and to facilitate parental bonding. The products designed in this project has a theoretical basis on the research available today on cognitive and emotional development in children born prematurely. They were developed in close cooperation with a group of parents and nurses in a neonatal intensive care unit.Presence is a product collection for developmental care, consisting of a mattress, a figure and a necklace. The mattress has vibration sensors that transfer the mother?s heart beat and speakers with recorded heartbeat and her voice.

The aim of this work is to give an example of how archaeoacoustics can broaden our understanding of archaeological remains and to further contribute to the almost non-existing research of ringing stones. With a theoretical discussion about sound from three different perspectives and by means of using different kinds of analysis, this essay will show that there are unknown relations between the three known ölandic ringing stones and the cultural landscape of Öland. Possible patterns in the placement of the stones and the possibility of the sound in this soundscape will be investigated. The essay will also suggest a resonant stone typology and discuss the necessity of one. Finally, the intention is also to shed new light upon the discussion on what the uses of the ringing stones might have been..

Design management är ett arbetssätt som har börjat tillämpas av allt fler företag de senaste åren, men det kan fortfarande vara svårt att förstå betydelsen av design management. I uppsatsen undersöks det vilken betydelse en design managers kompetens och position har för samarbetet mellan det designköpande företaget och en designkonsult under ett designinköp. Genom ett flertal intervjuer, utifrån både design managers och designkonsulters perspektiv, undersöks det hur samarbetet fungerar mellan dessa parter. En analys av intervjumaterial med hjälp av en teoretisk referensram bestående av design management-teori, design som en integrerad process och beslutsrollsteori har lett fram till ett antal slutsatser om design management. Några av slutsatserna är att design management, enligt teorierna, som arbetssätt inte är så vanligt och att det finns en viss samarbetsbrist enligt de intervjuade designkonsulterna, som i viss mån underlättas om design managern har kunskap om vad design innebär..

Syftet med detta kandidatarbete var att sätta samman ett promopaket bestående av en webbsida och en demo-EP med passande grafisk design. EP:n har tre spår elektroakustisk instrumentalmusik av skiftande karaktär, samt ett stilrent men ändå suggestivt omslag. Webbsidan är till för att presentera mig själv och mitt arbete (inte bara musik), och är byggd med hjälp av HTML, PHP, CSS och MySQL..

As I recently started to record in a studio, I almost immediately came to the conclusion that getting the right sound is not easy. I became curious about my recording procedure. What did I do wrong? How to place the microphone? Use of equipment? How is it possible to modify the sound afterwards? Are there any special methods that are commonly used among producers and/or guitarists? My thoughts ended up in a question ? What do producers and guitarists think of the guitar sound during a recording session in relation to the final production? In my research I interviewed two producers and two guitarists about guitar recordings. The results show that the quality of the guitar sound is in relation to production and style of music.

To fence in pastures for sheep today is a major cost, especially because of the time required when using current methods. What takes most time is starting to fence off a new area, but to maintain a fence is also a continuous effort. The main function is to keep the sheep at the field.! !By interviewing and observing sheep farmers on how they work with fence today and what their problems was, I got a better understanding of the problem. Also looking at a number of other things like the context, statistics on sheep farming, laws and competition mapping gave a wider image. But the most important part in my research occurred when I talked to experts about sheep behavior.

Jag har gjort att examensarbete som handlar om gitarrens roll i studioinspelningar. Jag genomförde arbetet genom att spela in tre låtar och göra två versioner av varje låt där jag byter ut alla gitarrspår. Med varje låt jag har gjort en grundversion som efterliknar originalet och en alternativ version där jag ändrar på både gitarrsound- och arrangemang. Jag har kommit fram till att gitarren spelar en stor roll och att man kan ändra väldigt mycket av upplevelsen av en låt genom att byta ut gitarrspåren. Jag har även undersökt hur gitarren påverkar de andra instrumenten när man byter ut alla gitarrspår samt hur både sound och gitarrarrangemang påverkar låten..

AbstractThe project "Sound and Play" have been implemented in collaboration with the toy company BRIO in Malmo. The purpose of the project was to examine whether and how BRIO in the future could develop toys around sound for Toddlers.The problem formulations that would be answered after completion of the project was "How could BRIO broaden its product range with the help of audio toys?", "How can you combine toys and sounds in an interesting way for children?", "How do you create a toy with sound that is fun for the child, but not annoying for parents?". Currently BRIO only has two toys with sound in this age group.The expression of the toy was going to be a mix of classic and cool and the overall feeling of the toy was going to be explorative and arouse curiosity in the child. This feeling would be communicated through simplicity and joy.

We are surrounded by sounds. There is always something that makes a sound: a breeze through the leaves, traffic on a distance or your own blood rushing through your veins. Human will always be surrounded by sounds which makes it an important part of our lives. Therefore the sound should have a big influence on how we perceive our surroundings and interpret our world. This essay inquires into what sounds can mean to an open space and urban spaces.

Abstract in English:This essay constitutes a case study based upon in-depth interviews held with people who have, or have had, Exhaustion Disorder (ED), concerning their understanding and use of music and sound, encompassing experiences which are both positive and negative. The intention is to document how the illness influences the subjects' music use. The study shows that the respondents intuitively and consciously are using music by regulating, getting in touch with and manifesting their emotions. Music is an important tool in performing self therapy and to achieve a good existential health. Music can also provoke negative physical and mental reactions and affect the general health status for those diagnosed with ED.

SummaryI have a great interest in bouzoukis and since I, during my education in guitar making, mainly have focused on building bouzoukis and other traditional folk instruments, I have chosen the bouzouki as the object of my degree project.In connection to the making of these instruments, I started to consider the construction of the bouzouki and why the bouzouki has such a characteristic sound.One of my theories is based on the fact that most bouzoukis are made with floating bridges instead of glued pinbridges. Do these types of bridges differ from each other tonally and if so, how much and in what way?To receive answers to my questions, I have built two identical bouzoukis with different types of bridges, one with a glued pinbridge and one with a floating bridge. I have been very precise in the making of these instruments, giving them the exact same dimensions and using material from the same piece of wood. This to make sure that the instruments should be as exactly alike as possible.After finishing the making of the bouzoukis, I arranged for a sound test where I let musicians play and listen to the instruments.