Denna rapport handlar om en användbarhetsutvärdering av synthesizern OP-1, utvecklad av företaget Teenage Engineering. Studien är kvalitativ och undersöker bara den omedelbara användarupplevelsen av produkten. Rapporten baseras på resultat från ett antal användbarhetstester, utförda på företaget i fråga. Användbarhetstesterna avser att undersöka hur en användare kan förstå hur OP-1:s kan användas och hur de kan förstår dess olika lägen och vidare på vilket sätt detta påverkar den initiala användarupplevelsen. Totalt nio av fjorton tillfrågade personer har ingått i användbarhetstesterna. Urvalsgruppen bestod av personer med tidigare, dock varierande mängd, erfarenhet av synthesizers. I den teoretiska referensramen förenas Jonas Löwgren och Erik Stoltermans brukskvalitetsteorier tillsammans med valda delar av Donald Normans ” Seven Stages of Actions as Design Aids”. Resultatet visar att användarna snabbt kommer igång med synthesizerns grundläggande funktioner. Samtliga användare tycker att OP-1 är estetiskt tilltalande, underhållande och uppskattar dess portabla format, med vilket de ser användningsområden i både resor och livesammanhang. Användarna anser också att de inte alltid måste förstå synthesizerns grafiska element, på display eller knappar, då detta tydliggörs efter användning av produkten. Användarna visar svårigheter med funktioner som pattern sequencer och viss redigering i tape. Vidare har de även ibland svårt att förstå i vilket mode som synthesizern befinner sig i. Samtliga användbarhetstester utfördes på en pre-betaversion av OP-1. Den slutgiltiga versionen av synthesizern har uppdaterats utefter resultaten från den här undersökningen. / This report is based on results given from usability testing of the synthesizer OP-1 developed by the company Teenage Engineering. The study has involved potential end users during the development process and aims only to look at the first experience the user gets from the interaction with the synthesizer. The meaning of the usability tests is to find out how the user can understand how to use OP-1, how intuitive the different modes are and how this affects the initial user experience. Nine people, out of a total amount of fourteen asked, participated in these usability tests. The selection of participants is based on their previous knowledge and experience of synthesizers. The theoretical frame of reference includes Jonas Löwgren and Erik Stoltermans theories of use qualities and are combined with chosen parts of Donald Normans ” Seven Stages of Actions as Design Aids”. The shown results indicate that the users quickly understand how to use the basic modes and features of the synthesizer. All of the participated users think OP-1 is entertaining, finds the design of OP-1 attractive and appriciates its portability, in which they see potential for both travelling and live performances. The users do not always fully understand the graphical elements but reckon that it is not always necessary to, neither in the display, nor on the buttons, since this clearifies after further usage. The users show some difficulties interacting with functions such as the pattern sequencer and some editing in tape mode. The users also sometimes show difficulties determining which mode the synthesizer is in. All of the usability tests were performed on a pre beta version of the OP-1. The final version of the synthesizer has been updated with changes influenced by the results of this report.

Direct Digital Frequency Synthesis (DDFS) is a method of producing an analog waveform, usually a sine wave, by generating a time varying signal in digital form a then performing a digital to analog conversion. Because operations within a DDFS device are primarily digital, it can offer fast switching between output frequencies, fine frequency resolution and operation over a broad spectrum of frequencies.

In der Arbeit wird ein fächerverbindender Zugang zur Sinusfunktion entwickelt. Periodische Funktionen werden über die Analyse und das Aufzeichnen von Instrumenten untersucht. Die Sinusfunktion wird als Modell für Töne eingeführt. Auf Basis dieses Modells werden Synthesizer entwickelt an denen mathematische und musikalische Fragestellungen behandelt werden. Das Konzept wird exemplarisch erprobt und reflektiert.:1. Einleitung 2. Vergleich verschiedener Lehrbuchansätze 3. Unterrichtskonzept 3.1. Motivation 3.2. Fachliche Grundlagen und erste didaktische Überlegungen 3.2.1. Der Funktionsbegriff 3.2.2. Der Begriff Sinus und die zugehörigen Schüler*innenvorstellungen 3.2.3. Grundbegriffe zu periodischen Prozessen und Schwingungen 3.2.4. ModellierungvonInstrumenten 3.2.5. Schüler*innenvorstellungen zu Schwingungen, Wellen und Tönen 3.2.6. AnwendungderentwickeltenModelle 3.2.7. Diagramme und damit verbundene Schwierigkeiten im Unterricht 3.3. Didaktische Grundlagen 3.3.1. Rahmenbedingungen und Curriculumsbezug 3.3.2. DasKonzeptunddieKMKBildungsstandards 3.3.3. Vorwissen 3.4. Einführung: Instrumentenanalyse - Töne als Wahrnehmung von Schwingungen 3.4.1. Didaktisches Konzept Instrumentenanalyse 3.4.2. Verlaufsplan Instrumentenanalyse 3.5. Mathematische Modellierung der Töne - Die Sinusfunktion 3.5.1. Didaktisches Konzept mathematische Modellierung 3.5.2. Verlaufsplan mathematische Modellierung 3.6. Anwendung des Modells von Tönen als harmonische Schwingungen 3.6.1. Didaktisches Konzept Anwendung des Modells von Tönen als harmonische Schwingungen 3.6.2. Verlaufsplan Anwendung des Modells von Tönen als harmonische Schwingungen 3.7. Verwendete Software 3.7.1. Audacity 3.7.2. Geogebra 3.7.3. Viana 3.7.4. SonicVisualiser 3.7.5. VCV-Rack 4. Durchführung des Konzepts 4.1.Rahmenbedingungen, Lerngruppe und Vorwissen 4.2. Betrachtung der Einzelstunden 4.2.1. Erste Stunde 4.2.2. Zweite Stunde 4.2.3. Dritte Stunde 4.2.4. Vierte Stunde 4.2.5. Fünfte Stunde 4.2.6. Sechste Stunde 4.2.7. Siebte Stunde 4.2.8. Achte Stunde 5. Evaluation des Konzepts 5.1. Auswertung des Tests 5.2. Evaluationsgespräch mit SuS 6. Entwicklung eines Synthesizers für den Unterricht auf Basis eines Mikrocontrollers 6.1. Konzept 6.2. Umsetzung A. Arbeitsblätter 114 A.1. Einführung: Instrumentenanalyse A.1.1. Die Begriffe periodisch, Periode, Periodendauer und Amplitude A.1.2. Parameter einer periodischen Schwingung A.1.3. Parameter einer periodischen Schwingung (bearbeitet) A.2. Mathematische Modellierung der Töne - Die Sinusfunktion A.2.1. Modell einer harmonischen Schwingung A.2.2. Die Sinusfunktion A.2.3. Parameter der Sinusfunktion A.2.4. Die Sinusfunktion als Modell für Töne A.3. Anwendung des Modells von Tönen als harmonische Schwingungen A.3.1. Entwicklung eines Synthesizers auf Basis des Modells für harmonische Schwingungen A.3.2. Amplitudenverlauf A.3.3. Intervalle A.3.4. Obertoene B. Test C. Präsentationen C.1. Parameter der Sinusfunktion und Zeitabhängigkeit C.2. Ausblick zum Abschluss der Erprobung D. Verlaufspläne der Erprobung D.1. Erste Stunde D.2. Zweite Stunde D.3. Dritte Stunde D.4. Vierte Stunde D.5. Fünfte Stunde D.6. Sechste Stunde D.7. Siebte Stunde D.8. AchteStunde E. Programmcode Synthesizer F. Quellenverzeichnis G. Abbildungsverzeichnis H. Verzeichnis der Erklärboxen I. Selbstständigkeitserklärung

Dažnio matavimo stendo sudarymas ir tyrimas. Magistro baigiamasis darbas elektronikos inžinerijos laipsniui. Vilniaus Gedimino technikos universitetas. Vilnius, 2014, 71 p., 31 iliustr., 3 lent., 36 bibl., 6 priedai. Sukurtas ir ištirtas dažnio matavimo stendas, atskleidžiantis skaitmeninių dažnio ir periodo matavimo būdų ypatumus. Stendas pakeis šiuo metu laboratoriniuose darbuose naudojamus pasenusius prietaisus. Stendą sudaro 3 užduodantys generatoriai, dažnio sintezatorius, dažniamatis ir sąsaja su asmeniniu kompiuteriu, bendrame korpuse. Matavimo rezultatams įvertinti sukurta specializuota programinė įranga. Atlikus stendo tyrimus įsitikinta, kad sukurtas dažniamačio stendas atitinka visus užduoties reikalavimus. / Creation and investigation of frequency counter. Master's thesis in electronics engineering degree. Vilnius Gediminas Technical University. Vilnius , 2014, 71 p., 31 pictures, 3 tables, 36 references, 6 extras. Frequency counter stand have been created and investigated. Stand will allow students to familiarize themselves with particularities of digital measurement methods of frequency and duration of the period. The new stand will replace old measurement devices that are used during laboratory works recently. The stand consists of frequency synthesizer, frequency counter, 3 different reference generators and interface to the computer packed in single case. Specialized software have been created to assess and treat measurements results. Testing results of the bench proved that created frequency counter stand meets all the requirements of the task.

The trumpet and electronics genre of music has been in existence since 1965. While various dissertations have discussed other composers and their works in this field, there is still a need for a treatise exploring appropriate performance practice for the electroacoustic trumpet music of Meg Bowles. There has been no study of the compositional process nor trumpet techniques required for performance of these works and other electronic compositions. This dissertation will study the compositions for trumpet and electronics by Bowles, develop strategies for performing these works, and explore compositional techniques used to create them. Interviews have been conducted between the author and composer (Meg Bowles), as well as the author and collaborating performer (David Bilger). In addition, existing interviews with the composer are included from journals and websites. This document is presented in two parts: Part I, “Introduction to Music for Trumpet and Electronics,” “Biography of Meg Bowles,” “Compositional Techniques,” “Night Sun Journey,” “Places Where Rivers Meet,” “Shapeshifter,” and “Twilight Embrace.” The second part of this dissertation contains materials which are pertinent to the Doctor of Musical Arts Degree and includes recital programs, program notes, and vita.

Master of Science / Department of Electrical and Computer Engineering / William B. Kuhn / RF frequency synthesizer systems are prevalent in today’s electronics. In a synthesizer there is a sensitive analog oscillator that may be affected by two different types of noise. The first is random noise injection from active devices. This results in phase noise in the synthesizer’s spectrum. The second noise source is deterministic. A digital frequency divider with high-amplitude switching is an example of such a deterministic source. This noise enters the system through various forms of electric or magnetic field coupling and manifests itself as spurs or pulling. Both forms of noise can adversely affect system performance. We will first summarize methods for reducing noise. These already known steps have to do with layout techniques, device geometry, and general synthesizer topologies. Then we will show ways to isolate noisy interfering circuits from the sensitive analog systems. Finally, we present some considerations for reducing the effects of random noise. A power supply filter can improve the effects of deterministic noise such as undesired signals on the supply line. We show several ways to improve the rejection of high frequency supply noise (characterized by the power supply rejection ratio or PSRR) through the design of a voltage regulator. The emphasis is on new techniques for obtaining good PSRR at S-band frequencies and above. To validate the techniques, we designed a regulator in Peregrine Semiconductor’s .25µm ULTRA CMOS Silicon on Sapphire process. It produces a 2.5V output with an input ranging from 2.6V to 5V and has a maximum current sourcing of 70mA. The regulator’s low drop out performance is 60mV with no load and it achieves a power supply ripple reduction of 29.8 dB at 500 MHz. To address random noise in synthesizers, the thesis provides preliminary investigation of an oscillator topology change that has been proposed in the literature. This proposed change reduces the phase noise of the oscillator within the overall system. A differential cross-coupled design is the usual topology of choice, but it is not optimal for noise performance. We investigate current noise injection in the traditional design and present an updated design that uses a differential Colpitts oscillator as an alternative to classic cross-coupled designs.

Sintetizadores de Freqüências são circuitos que geram sinais em freqüências pré-determinadas, sendo estes sinais usados tanto na recepção como na transmissão de Rádio Freqüência. Os circuitos Sintetizadores possuem diversos blocos, dentre os quais podemos citar, osciladores controlados por tensão (VCO Voltage-Controlled Oscillator), divisores programáveis (Prescaler), comparadores de fase (DFF Detectores de Fase e Freqüência), bombas de carga (CP Charge Pump) e Filtros Passa Baixas (LPF Low Pass Filters). Em 2003 foi projetado por Angel M.G. Argüello [Ar04] um circuito Sintetizador de Freqüências com arquitetura tipo Integer-N. Este circuito, projetado para ter banda centrada em torno de 2,4 GHz e 16 canais de 4,78 MHz, foi implementado na tecnologia CMOS 0,35 µm da AMS (Austrian Micro Systems), que possui quatro níveis de metais e dois níveis de polisilício. Após testes do circuito as seguintes conclusões sobre seu funcionamento foram derivadas: o circuito funcionou qualitativamente como projetado, sintetizando 16 tons de freqüência; o ruído de fase medido ficou acima do valor desejado; a potência consumida esteve dentro dos valores previstos, porém elevada. No decorrer de 2004 foram feitas alterações no layout do circuito de Argüello com o objetivo de melhorar o ruído de fase. Estas alterações serviram como estudo preliminar para este trabalho. Dando continuidade ao desenvolvimento de Sintetizadores, em 2005 foram estudadas novas estruturas e layouts mais eficientes no tocante a ruído de fase, dando-se especial atenção às alimentações dos circuitos digitais e analógicos e ao isolamento entre os mesmos. Um novo circuito Sintetizador foi desenvolvido para aplicações em sistemas ZigBee, que operam na banda de freqüência entre 2,400 GHz a 2,485 GHz, com 16 canais de largura igual 2 à 5 MHz. Resultados de simulação sobre o circuito projetado apontaram o funcionamento adequado, com consumo de potência inferior a 32 mW para tensão de alimentação de 3,3 V. / Frequency Synthesizers are circuits that generate pre-determined frequencies, used in both radio frequency reception and transmission. The Synthesizer circuits are composed by several blocks, such as Voltage-Controlled Oscillator (VCO), Prescaler, PFD (Phase/Frequency Detector), Charge Pump (CP), and Low Pass Filters (LPF). In 2003, an Integer-N architecture Frequency Synthesizer circuit was developed by Angel M.G. Argüello [Ar04]. This circuit, designed to have a band centered around 2.4 GHz and 16 channels with a 4.78 MHz, were implemented with the 0.35 µm CMOS technology from AMS (Austrian Micro Systems), using four metal levels and two polisilicon levels. After the circuit tests, the following conclusions about its operation were derived: the designed circuit operated as expected, generating 16 tons of frequency; the phase noise stayed above of the desired value; the power consumption were within the expected values although high. During the year of 2004, several modifications in the Argüello circuit layout have been done in order to improve the phase noise. These modifications were a preliminary study to this work. Advancing in the development of Synthesizers, in 2005 new structures and more efficient layouts, in terms of noise, were studied, with special attention given to the digital and analog power supplies and their isolation. A new Synthesizer was developed for applications with the ZigBee, which operates with frequencies from 2.400 GHz to 2.485 GHz and 16 channels of 5 MHz. The simulation results pointed out the correct operation of the circuit, with power consumption lower than 32 mW for power supply of 3.3 V.

Nesta dissertação é apresentado o projeto de um sintetizador de frequência atingindo as especificações dos padrões de comunicação sem-fio GSM e Bluetooth. O sintetizador é baseado em um PLL (Phase Locked Loop) de arquitetura N-fracionário com modulador . No primeiro estágio do projeto do sintetizador é proposto um algoritmo para o plano de frequências, o qual considera a caraterística multipadrão do sintetizador. O projeto dos blocos que compõem o PLL (VCO, divisores de frequência, modulador , PFD e bomba de carga) é apresentado junto com o layout e algumas simulações. A programação geométrica é aplicada ao projeto do VCO. Finalmente, é proposta uma estratégia para o projeto do filtro atingindo as especificações do sintetizador de frequência. O circuito projetado foi fabricado no processo CMOS 0,35µm da AMS (Austria Micro Systems). Todos os componentes do PLL foram integrados no chip incluindo o VCO e o filtro, e a área total foi de 0,9mm2 incluindo os pads. O circuito projetado tem um baixo consumo de potência de 14mW usando uma tens~ao de alimentação de 3V. O ruído de fase medido foi -114dBc/Hz@400kHz no caso de GSM (FOUT =902,6MHz) e -121dBc/Hz@3MHz no caso de Bluetooth (FOUT =2,44GHz). A resposta transiente do PLL quando muda desde o primeiro até o último canal para cada padrão foi testada, o lock time medido em GSM foi de 208µs e 157µs em Bluetooth. O objetivo principal do funcionamento multipadrão, que é o uso compartilhado da maioria dos blocos por todos os padrões, foi atingido. As caraterísticas de desempenho medidas mostram excelente concordância com os valores simulados, indicando o êxito das estratégias usadas no projeto, simulação e teste do sintetizador de frequência. Os resultados foram comparados com outros trabalhos publicados mostrando que o sintetizador projetado neste trabalho tem menor consumo de potência e pequena ocupação de área. / This work presents the design of a frequency synthesizer achieving the specifications of the GSM and Bluetooth standards. The frequency synthesizer is based on a PLL (Phase Locked Loop) of N-fractional architecture using a modulator. In the first step of the frequency synthesizer design an algorithm for the frequency plan, considering the multistandard characteristic of the synthesizer, was proposed. The design of the building blocks of the PLL (VCO, frequency dividers, modulator, PFD and charge pump) is presented together with the layout and some simulation results. Geometric programming was applied to the VCO design. Finally, an strategy for the filter design achieving the frequency synthesizer specifications was proposed. The designed synthesizer was fabricated in the 0.35µm CMOS process of AMS (Austria Micro Systems). All the PLL components were integrated on-chip including the VCO and the filter, the occupied area was 0.9mm2 with the pads. The designed circuit has a low power consumption of 14mW using a 3V voltage supply. The phase noise measured for GSM (FOUT =902.6MHz) was -114dBc/Hz@400kHz and for Bluetooth (FOUT =2.44GHz) was -121dBc/Hz@3MHz. The transient response of the PLL when switching from the first to the last channel for each standard was tested, the lock time measured in GSM was 208µs and 157µs in Bluetooth. The main objective of the multistandard operation sharing most of the blocks between all the standards was achieved. The measured performance characteristics show excelent agreement with the simulated values, implying that the strategies used in the design, simulation and testing of the frequency synthesizer were succesfull. The results were compared with other published works showing that the synthesizer designed in this work has a lower power consumption and smaller area.

Nesta dissertação é apresentado o projeto de um sintetizador de frequência atingindo as especificações dos padrões de comunicação sem-fio GSM e Bluetooth. O sintetizador é baseado em um PLL (Phase Locked Loop) de arquitetura N-fracionário com modulador . No primeiro estágio do projeto do sintetizador é proposto um algoritmo para o plano de frequências, o qual considera a caraterística multipadrão do sintetizador. O projeto dos blocos que compõem o PLL (VCO, divisores de frequência, modulador , PFD e bomba de carga) é apresentado junto com o layout e algumas simulações. A programação geométrica é aplicada ao projeto do VCO. Finalmente, é proposta uma estratégia para o projeto do filtro atingindo as especificações do sintetizador de frequência. O circuito projetado foi fabricado no processo CMOS 0,35µm da AMS (Austria Micro Systems). Todos os componentes do PLL foram integrados no chip incluindo o VCO e o filtro, e a área total foi de 0,9mm2 incluindo os pads. O circuito projetado tem um baixo consumo de potência de 14mW usando uma tens~ao de alimentação de 3V. O ruído de fase medido foi -114dBc/Hz@400kHz no caso de GSM (FOUT =902,6MHz) e -121dBc/Hz@3MHz no caso de Bluetooth (FOUT =2,44GHz). A resposta transiente do PLL quando muda desde o primeiro até o último canal para cada padrão foi testada, o lock time medido em GSM foi de 208µs e 157µs em Bluetooth. O objetivo principal do funcionamento multipadrão, que é o uso compartilhado da maioria dos blocos por todos os padrões, foi atingido. As caraterísticas de desempenho medidas mostram excelente concordância com os valores simulados, indicando o êxito das estratégias usadas no projeto, simulação e teste do sintetizador de frequência. Os resultados foram comparados com outros trabalhos publicados mostrando que o sintetizador projetado neste trabalho tem menor consumo de potência e pequena ocupação de área. / This work presents the design of a frequency synthesizer achieving the specifications of the GSM and Bluetooth standards. The frequency synthesizer is based on a PLL (Phase Locked Loop) of N-fractional architecture using a modulator. In the first step of the frequency synthesizer design an algorithm for the frequency plan, considering the multistandard characteristic of the synthesizer, was proposed. The design of the building blocks of the PLL (VCO, frequency dividers, modulator, PFD and charge pump) is presented together with the layout and some simulation results. Geometric programming was applied to the VCO design. Finally, an strategy for the filter design achieving the frequency synthesizer specifications was proposed. The designed synthesizer was fabricated in the 0.35µm CMOS process of AMS (Austria Micro Systems). All the PLL components were integrated on-chip including the VCO and the filter, the occupied area was 0.9mm2 with the pads. The designed circuit has a low power consumption of 14mW using a 3V voltage supply. The phase noise measured for GSM (FOUT =902.6MHz) was -114dBc/Hz@400kHz and for Bluetooth (FOUT =2.44GHz) was -121dBc/Hz@3MHz. The transient response of the PLL when switching from the first to the last channel for each standard was tested, the lock time measured in GSM was 208µs and 157µs in Bluetooth. The main objective of the multistandard operation sharing most of the blocks between all the standards was achieved. The measured performance characteristics show excelent agreement with the simulated values, implying that the strategies used in the design, simulation and testing of the frequency synthesizer were succesfull. The results were compared with other published works showing that the synthesizer designed in this work has a lower power consumption and smaller area.

Magister Artium - MA / This thesis is an exploration and analysis of the ways in which we might use varying forms of Black thought, theory, and art to think Blackness anew. For this purpose I work with electronic music from Nigeria and Detroit between 1976 and 1993, as well as with works of science fiction by W.E.B. Du Bois, Samuel Delany, Ralph Ellison, and Octavia Butler. Through a conceptual framework provided by theorists such as Fred Moten and Kodwo Eshun and the philosophical work of Afrofuturists like Delany, Ellison, Butler, and Du Bois, I explore the outer limits of what is possible when doing away with a canon of philosophy that predetermines our thinking of Blackness. This exploration also takes me to the possible depths of what this disavowal of a canon might mean and how we work with sound, the aural, and the sonic in rethinking the figuring of Blackness. This thesis is also be woven together by the theory of the Black Radical Tradition – following Cedric Robinson and Fred Moten specifically. At the centre of this thesis, and radiating outwards, is the assertion that a set of texts developed for a University of the West – Occidental philosophy as I refer to it in the thesis – is wholly insufficient in attempting to become attuned to the possibilities of Blackness. The thesis, finally, is a critique of ethnomusicology and its necessity for a native object, as well as sound studies, which fails to conceptualise any semblance of Black noise.