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Music and Sound from the Monitoring of Tribological Components

Presenting the results of research in tribology creatively can inspire people and make the subject more engaging and accessible. Music has the power to sooth, excite, and inspire. It is one of the basic forms of human sensory engagement. What better way to present the results of tribological experiments than in the form of music. I have used in situ audio recordings and sensor data from both hip replacement simulators and ultrasonic monitoring of piston rings and ball bearings to form an innovative and creative expression of the sounds associated with the research. Measured signals from real tribological experiments have been collected, converted into an audible frequency range and manipulated and effected to create music. The intention is to create audibly pleasant and stimulating sounds. This outreach project shows the data recorded in these research areas in a creative context, giving a different perspective with the intent to inspire and provoke new interest in the tribology field.


Recordings were taken from the Labs at University of Leeds whilst experiments were underway using the state of the art Hip Simulators. The recordings were then processed and edited into a musical arrangement.

The Sound of Hip SimulationFriction: The Tribology Enigma
00:00 / 03:25


Ultrasonic bearing data - from the University of Sheffield - was gathered and converted into the audible range of human hearing. These files from several sensors were then edited and manipulated into a musical arrangement. To read more on the technical process, please read the pdf below.

This work is supported by the Engineering and Physical Sciences Research Council (grant number EP/R001766/1) as a part of ‘Friction: The Tribology Enigma’ (, a collaborative Programme Grant between the universities of Leeds and Sheffield.

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