The problem being examined is the disturbing noise that is created in an open plan office on a company working with a creative process, such as a newspaper or a communications agency. The purpose of this study was to examine the needs for today for a Sound absorber in open offices and create and design a design proposal. The aim is also to develop a marketing material the product proposal. The problem has been broken down into the following questions:- How does the user look at the need of a Sound absorber in an open offices solution today?- Does an interior designer apply Sound absorbers when they furnish the intended environment? - How can a design that meets the needs that exists be achieved and to speak the user?The study is based on three choice of methods a literature review on selected topics that relate to the topic, an interview with an interior designer to explore how an interior designer applies absorbers in open plan office and finally an extensive survey that treats the user's needs and appropriate appearance for the product proposal.The design process has undertaken the following methods, design brief, requirements specification, functional analysis and sketches to produce the final product proposal.

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.

The problem being examined is the disturbing noise that is created in an open plan office on a company working with a creative process, such as a newspaper or a communications agency. The purpose of this study was to examine the needs for today for a Sound absorber in open offices and create and design a design proposal. The aim is also to develop a marketing material the product proposal. The problem has been broken down into the following questions:- How does the user look at the need of a Sound absorber in an open offices solution today?- Does an interior designer apply Sound absorbers when they furnish the intended environment? - How can a design that meets the needs that exists be achieved and to speak the user?The study is based on three choice of methods a literature review on selected topics that relate to the topic, an interview with an interior designer to explore how an interior designer applies absorbers in open plan office and finally an extensive survey that treats the user's needs and appropriate appearance for the product proposal.The design process has undertaken the following methods, design brief, requirements specification, functional analysis and sketches to produce the final product proposal.

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..

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..

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.

Today most studies regarding marketing are made on traditional marketing channels, answering questions like which jingle is best or which TV-channel a company should focus their marketing budget on. There is also the science regarding the best way of marketing on Social Networking sites or how to get as many 'likes' as possible, and so forth. However research has also been made in the field of in-store marketing and how a retailers or brand owners can affect customers in "the moment of truth". Until now most of these studies discuss how to get the attention of the customer in the store since both time as well as level of commitment in general is scarce when a customer is in a grocery store doing the necessary weekly- or complementary-shopping. It seems like most of them make the very same conclusion; catching the attention of a customer is vital to sell them your product.

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.

The goal with this project, was to explore the producing of a musicvideo with a synergistic focus in a practical way. Beside the practical work with the recording and editing of music and video, I wanted to explore the Sound engineers role in such a project? To my help I had the video producer Hannes Knutsson from the small film- collective Lefvande Bilder and the singer, guitarist and songwriter Conny Flink. The result of my work is a musicvideo published on the internet website YouTube and the report of the making of it along with my work around the question above is published in this report. The name of the recorded and filmed song, written and performed by Conny Flink is ?My Way?. .

Ljud och trädgård är kanske inte det första par man tänker sig som gifta men de tus historia kan spåras längre tillbaka i tiden än man kan föreställa sig. När jag bestämde mig för att skriva min kandidatuppsats om akustisk trädgårdskonst trodde jag att ljudinstallationer i trädgårdar och parker var ett nytt fenomen. En helt ny värld öppnade sig framför mina ögon då jag insåg att så inte var fallet. Konstgjorda ljudkällor, såsom gyllene fåglar och vattenorglar, har kommit och gått genom tiderna medan naturliga ljud, såsom vind och fågelsång, bestått. När det kommer till vår egen tid är trädgårdsljud, även om moderna material och tankesätt används, en konstform som starkt präglas och inspireras av sin historia. Du kan skapa olika sorters ljudmiljöer i din trädgård beroende på vad du väljer att använda för material.