Introduction: The number of hearing impairments in Sweden is increasing. The largest increase is seen in ages 25-44. There are reasons to believe that these impairments are noise induced. Leisure time noise is not controlled in the same manner that industrial noise is. An ongoing conflict between city council officials and rock club owners, musicians and music event organizers about Sound levels at smaller live music clubs exceeding the national Sound level restrictions created the need for an acoustic intervention project.

This report's aim is that by field measurements determine the function of Aprobo Soundproofing material dB2 for reducing impact Sounds, the measurements is done in ?the school for fine art? in Umeå also known as ?konstnärligt campus building nine?. The construction technique is used in areas sensitive to impact Sound between different floors in the building. The measurement?s is also to do a function control of the buildings Sound quality compared to Swedish and European standard when it comes to air Sound, impact Sound and reverberation time .

In this Bachelor thesis I explore Sound and room as elements in design of user interfaces, both theoretical and practical in a specific application domain, to identify some of the advantages and disadvantage associated with these elements. As application domain I studied email clients and their usage at home amongst students at Blekinge Institute of Technology. In the study I found an activity, which seems to be highly distributed in the physical room where the user is located. The activity was notification of email and could take place in an arbitrary location of the home. I then augmented this activity with ideas from my theoretical assumption about room and Sound.

People are usually directed towards each other in conversations, to make it easier to hear what is being said. Algorithms for voice and speech recognition works in a similar way, regarding the microphone direction towards the Sound source. In this thesis in electronics has therefore a servo control with binaural Sound localization been implemented on a microcontroller connected to two microphones.When people perceive Sound, the brain can estimate the Sound source direction by comparing the time taken by the Sound reaching one ear to the other [1]. The difference in time is called the interaural time difference, and can be calculated using various techniques. An exploratory comparison between the techniques cross-correlation and cross-spectrum analysis was carried out before implementation.

The Sound part is mainly practical and is dependent on concepts that have been tested through measuring with a Sound level meter. The design part is more theoretical and has been verified with CAD models and finite element analysis.With a Sound damping hood on the compressor the Sound level is reduced with up to four dB. An optimized absorbent for the compressor space gives a reduction with three dB. By using the insulation for the heat water tank as absorbent we can see a Sound reduction on the lover octave bands. A reduction like this is elsewhere hard to achieve as at it requires thick absorbents.By changing the today?s insulation to the heat water tank to a form of polystyrene polymer insulation the weight from the heat pump above can be transferred to the stable heat water tank.

The Swedish government have a goal that wind turbines shall produce 30 TWh by the year 2020, compared to about 3,5 TWh produced in Sweden during 2010. To minimize the disturbance that wind turbines create the Swedish Environmental Protection Agency has stated a guideline value that noise from wind turbines at nearby residents shouldn?t exceed 40 dBA, at 8 m/s wind speed. With advanced calculation models, like Nord 2000, the emitted Sound from future wind turbines can be calculated at an early stage to optimize the power production without exceeding the 40 dBA. When the turbines have been built there is a need to verify that they really are within the guideline.

Since the role of the libraries as merely a place for loans has decreased, the importance of giving the visitors a total experience has increased.The aim of my thesis was to investigate whether a change in the Sound environment at the library of Jokkmokk could generate more satisfied visitors, whether they are borrowers or use the library for other purposes. The change in the Sound environment was to be effected by means of a background Sound experiment in the magazine room at the library. Action research was used as a research strategy and observations and interviews as method to collect data.The experiment was conducted with two selected Sounds of nature: birdsong and a rippling brook. The observations and interviews were executeted in three stages: 1. Without any background Sound.

This thesis aim to explain which part Sound and music possess as a branding tool. We consider this to be of relevance since there is very limited reseach conducted on the subject. To fulfill the purpose of this thesis we have focused on three main issues. Our ambition is to describe this subject from a marketing perspective with the brand in focus.

Uppsats för avläggande av filosofie kandidatexamen i Kulturvård, Trädgårdens hantverk och design, 15 hp, 2011.

In this Bachelor thesis I explore Sound and room as elements in design of user interfaces, both theoretical and practical in a specific application domain, to identify some of the advantages and disadvantage associated with these elements. As application domain I studied email clients and their usage at home amongst students at Blekinge Institute of Technology. In the study I found an activity, which seems to be highly distributed in the physical room where the user is located. The activity was notification of email and could take place in an arbitrary location of the home. I then augmented this activity with ideas from my theoretical assumption about room and Sound. The result was a rule-based agent for notification of email, which primarily uses Sound as interaction style..

In Soundscape research, the field?s methods can be employed in combination with approaches involving Sound quality attributes in order to create a deeper understanding of Sound images and Soundscapes and how these may be described and designed. The integration of four methods are outlined, two from the Soundscape domain and two from the Sound engineering domain. This study has shown that by combining these methods the understanding of both the entire Soundscape and the specific Sounds increase. The study also shows that when the methods are used, there is a qualitative change of the description and understanding of Soundscapes and the concrete description becomes more elaborate..

This paper is a study of documentary film production with focus on the filmmakers choice and usage of Sound equipment. Using professional articles and literature have first of all helped us determine a standard for the conventional use of Sound equipment in documentary film. Afterwards, by analyzing our own interviews we?ve received answers on how filmmakers relate to the conventional usage and why they select equipment as they do. Thereafter, we describe a technical method which helps a filmmaker to be able to record Sound for documentary film on his/her own, using simple measures without reducing quality.

J.O. Mallander?s Extended Play (1968) is a Sound recording, a readymade, of the counting of votes in two presidential elections in Finland, during 1962 and 1968. A voice repeats monotonously: ?Kekkonen, Kekkonen, Kekkonen, Kekkonen, Kekkonen?? Although the Finnish president Urho Kekkonen represents, almost personifies, the politics of the post World War II period in Finland, Extended Play does not explicitly address the political. Rather, as this essay argues, it engages in the discourses of power and politics by providing a temporalization of its fixedness, or what Jacques Derrida terms the proper.Extended Play is, in parallel with Derrida?s critique of western metaphysics, a deconstruction in Sound that challenges the state ideologies conveyed in the process of the counting of votes, where the presuppositions of the presence of the voice characterizes the ambiguities of power that Kekkonen?s politics of neutrality represent.Mallander?s readymade emerges as a double of the game theory strategies of the Cold War, a mimetic surplus of the administrative control mechanisms of Sound recording.

This paper is a study of documentary film production with focus on the filmmakers choice and usage of Sound equipment. Using professional articles and literature have first of all helped us determine a standard for the conventional use of Sound equipment in documentary film. Afterwards, by analyzing our own interviews we?ve received answers on how filmmakers relate to the conventional usage and why they select equipment as they do. Thereafter, we describe a technical method which helps a filmmaker to be able to record Sound for documentary film on his/her own, using simple measures without reducing quality.

In printed text, Sound is a somewhat forgotten aspect. The recitation of text is vital in areas like poetry and oratory, but still has no distinct technique of being communicated. Emphasis of a word might be expressed through italics, but no canonic character set or system for vocal delivery of texts exists. With this essay we are creating a foundation for a development of such a character set or system. By studying existing visualisations of Sound and comparing these with semiotic and perception-based theories we obtain useful insights for a prospective system for visualisations of vocal Sounds.We conclude that the aspects of Sound one wants to visualise must be carefully defined since the viewer cannot process infinite amounts of information.