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+This paper describes an attempt to design and assemble a basic monophonic synthesizer prototype consisting of some standard modules that are to be found in virtually every classical synthesizer device, such as an oscillator, an envelope, and a filter. 

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+SAE Berlin
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+\begin_layout Plain Layout
+
+Student Id: 18128
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+\begin_layout Plain Layout
+
+Course: AED412
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+
+\begin_layout Plain Layout
+
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+\begin_layout Plain Layout
+
+Headinstructor: Boris Kummerer
+\end_layout
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+\begin_layout Plain Layout
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+\begin_layout Plain Layout
+
+Berlin, Germany 2012 
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+author{
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+\begin_layout Plain Layout
+
+by Karl Pannek
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+
+\begin_layout Plain Layout
+
+}
+\end_layout
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+\begin_layout Plain Layout
+
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+\begin_layout Plain Layout
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+
+\backslash
+title{
+\backslash
+LARGE{Prototyping a Modular Analog Synthesizer}}
+\end_layout
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+\begin_layout Chapter*
+About this paper
+\end_layout
+
+\begin_layout Section*
+Description
+\end_layout
+
+\begin_layout Standard
+This paper describes an attempt to design and assemble a basic monophonic
+ synthesizer prototype consisting of some standard modules that are to be
+ found in virtually every classical synthesizer device, such as an oscillator,
+ an envelope, and a filter.
+ 
+\end_layout
+
+\begin_layout Standard
+The first sections represent the research on the history and theoretical
+ background of analog synthesizers in general and modular systems in particular.
+ These findings are applied to building an experimental device.
+ First, different circuit concepts will be introduced for each module, so
+ that the most suitable ones can be identified, whereby comprehensibility
+ and prices of electronic components play a significant role in the choice
+ of a circuit design.
+ The process of building the prototype includes working with an oscilloscope
+ to examine and verify the shape of various waveforms before and after modulatio
+n.
+ 
+\end_layout
+
+\begin_layout Standard
+To make it playable with a keyboard, a MIDI input module is added.
+ It features an Arduino microprocessor to convert digital MIDI messages
+ into control voltage outputs that other modules can connect to.
+ It is the only digital component of the synthesizer, while tone generation
+ and processing are analog.
+\end_layout
+
+\begin_layout Section*
+Motivation and Goal
+\end_layout
+
+\begin_layout Standard
+The project was inspired by the film 
+\emph on
+moog
+\emph default
+, a documentary about Dr.
+ Robert Moog, electronic instrument pioneer and inventor.
+ Its goal is to attain a better understanding of the working of electronic
+ components and circuits as well as their influence on audio signals.
+ Another goal is to create a functional synthesizer that is fun to play
+ and experiment with and therefore obtain some practical experience in the
+ field of artificial sound generation.
+\end_layout
+
+\begin_layout Chapter
+Introduction
+\end_layout
+
+\begin_layout Chapter
+History of the synthesizer
+\end_layout
+
+\begin_layout Section
+Definition
+\end_layout
+
+\begin_layout Standard
+A modular analog synthesizer is an electronic instrument, where sound generators
+, processors and control facilities are presented as separate independent
+ entities called modules .
+ These modules are not wired in a preconceived way, but connected together
+ with patchchords.
+ Another essential part of modular synthesis is the concept of control voltage
+ (short: CV) with which modules may modulate or control the behaviour of
+ other modules.
+ 
+\end_layout
+
+\begin_layout Section
+Evolution of synthesizers
+\end_layout
+
+\begin_layout Subsection
+Early Development Milestones
+\end_layout
+
+\begin_layout Standard
+Around 1900 the inventor Thadedeus Cahill initiated a new era of music by
+ inventing a 200 ton machine known as the Dynamophone or Thelharmonium 
+\begin_inset ERT
+status open
+
+\begin_layout Plain Layout
+
+
+\backslash
+citetext{
+\backslash
+citealp[p.~12]{Humpert1987}}
+\end_layout
+
+\end_inset
+
+.
+ It was an electrical sound generatior, that produced alternating sine wave
+ currents of different audio frequencies.
+ A modified electrical dynamo was used in conjunction with several specially
+ geared shafts and inductors to create the signals.
+ The Dynamophone could be played with a polyphonic keyboard and featured
+ special acoustic horns to convert the electrical vibrations into sound.
+ 
+\begin_inset ERT
+status open
+
+\begin_layout Plain Layout
+
+
+\backslash
+citetext{
+\backslash
+citealp[p.~12]{Manning1985}}
+\end_layout
+
+\end_inset
+
+ The timbre of the instrument was shaped from fundamentals and overtones.
+ This is known as the principle of additive synthesis 
+\begin_inset ERT
+status open
+
+\begin_layout Plain Layout
+
+
+\backslash
+citetext{
+\backslash
+citealp[p.~730]{Bode1984}}
+\end_layout
+
+\end_inset
+
+.
+\end_layout
+
+\begin_layout Standard
+In 1924 Leon Theremin created the Aetherophone, which would later be known
+ as the Theremin.
+ Unlike most electric instrument developed around that time, the Theremin
+ had no keyboard.
+ It was played merely by hand motion around two capacitive detecors, that
+ generated electrical fields.
+ These were affected by the electric capacity of the human body.
+ One of these detectors was a vertical rod to control dynamics and the other
+ a horizontal loop to change the pitch 
+\begin_inset ERT
+status open
+
+\begin_layout Plain Layout
+
+
+\backslash
+citetext{
+\backslash
+citealp[p.~12]{Manning1985}}
+\end_layout
+
+\end_inset
+
+.
+\end_layout
+
+\begin_layout Standard
+\begin_inset Note Note
+status open
+
+\begin_layout Plain Layout
+Electric instruments at that time were developed primarily to imitate and
+ evolve the sounds of classical instruments and therefore satisfy traditional
+ ideas of musical writing 
+\begin_inset ERT
+status open
+
+\begin_layout Plain Layout
+
+
+\backslash
+citetext{
+\backslash
+citealp[p.~12]{Manning1985}}
+\end_layout
+
+\end_inset
+
+
+\end_layout
+
+\begin_layout Plain Layout
+Theremin
+\end_layout
+
+\begin_layout Plain Layout
+Ondes Martenot
+\end_layout
+
+\begin_layout Plain Layout
+Trautonium
+\end_layout
+
+\begin_layout Plain Layout
+Hammond
+\end_layout
+
+\begin_layout Plain Layout
+Melochord
+\end_layout
+
+\begin_layout Plain Layout
+Elektronische Musik Cologne
+\end_layout
+
+\begin_layout Plain Layout
+Karlheinz Stockhausen
+\end_layout
+
+\begin_layout Plain Layout
+Poem Electronique
+\end_layout
+
+\begin_layout Plain Layout
+RCA Mark 2 Synthesizer
+\end_layout
+
+\begin_layout Plain Layout
+Moog Synthesizer
+\end_layout
+
+\end_inset
+
+
+\end_layout
+
+\begin_layout Subsection
+Invention of the modular synthesizer
+\end_layout
+
+\begin_layout Section
+Relevance in today's electronic music
+\end_layout
+
+\begin_layout Chapter
+Theory of analog sound synthesis
+\end_layout
+
+\begin_layout Section
+Wave Synthesis
+\end_layout
+
+\begin_layout Standard
+The process of wave synthesis is called oscillation and can be described
+ as the creation of a periodic electronic wave, that oscillates between
+ voltage minima and maxima.
+ This part is generally known as the oscillator, which creates a basic wave
+ signal, that can later be processed and modulated in several ways.
+ Afterwards it is amplified and projected onto a speaker, that converts
+ the electronic wave into audible sound waves.
+\end_layout
+
+\begin_layout Standard
+The waveform (shape of the wave) determines the overtone structure and therefore
+ the timbre of this basic sound.
+ Oscillators often provide several waveforms between which it is possible
+ to switch or even morph back and forth.
+ The most established synthesizer waveforms are sine, triangle, saw and
+ square.
+ 
+\end_layout
+
+\begin_layout Standard
+The pitch of the output signal is defined by the frequency that the wave.
+ 
+\end_layout
+
+\begin_layout Standard
+Different approaches to oscillation
+\end_layout
+
+\begin_layout Standard
+Difference between poly and monophonic synthesis (voices, mono: store last
+ note value)
+\end_layout
+
+\begin_layout Standard
+trying to get a wide variety of possible base sounds established different
+ wave types from soft (sine) to fat (saw) to harsh (square)
+\end_layout
+
+\begin_layout Standard
+square wave pulse width (modulation)
+\end_layout
+
+\begin_layout Standard
+LFO
+\end_layout
+
+\begin_layout Standard
+electronic vibration
+\end_layout
+
+\begin_layout Section
+Processing
+\end_layout
+
+\begin_layout Standard
+Subtractive synthesis - filtering and amplitude subtraction
+\end_layout
+
+\begin_layout Section
+The modular approach
+\end_layout
+
+\begin_layout Chapter
+Building a concrete prototype
+\end_layout
+
+\begin_layout Section
+Voltage Controlled Oscillator
+\end_layout
+
+\begin_layout Standard
+monophonic
+\end_layout
+
+\begin_layout Section
+Voltage Controlled Filter 
+\end_layout
+
+\begin_layout Section
+Voltage Controlled Amplifier
+\end_layout
+
+\begin_layout Section
+Input and Output
+\end_layout
+
+\begin_layout Chapter
+Conclusion
+\end_layout
+
+\begin_layout Chapter*
+List of figures
+\end_layout
+
+\begin_layout Standard
+\begin_inset CommandInset bibtex
+LatexCommand bibtex
+bibfiles "synth_bibliography"
+options "plainnat"
+
+\end_inset
+
+
+\end_layout
+
+\begin_layout Chapter*
+Declaration of academic honesty
+\end_layout
+
+\begin_layout Chapter*
+Appendix
+\end_layout
+
+\end_body
+\end_document

opposition.lyx

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+\begin_body
+
+\begin_layout Title
+\begin_inset ERT
+status open
+
+\begin_layout Plain Layout
+
+
+\backslash
+Huge{Erlang Embedded Simulation Opposition}
+\end_layout
+
+\end_inset
+
+
+\end_layout
+
+\begin_layout Author
+Jonatan Pålsson
+\begin_inset Newline newline
+\end_inset
+
+Richard Pannek
+\begin_inset Newline newline
+\end_inset
+
+Mattias Pettersson
+\begin_inset Newline newline
+\end_inset
+
+Niklas Landin
+\end_layout
+
+\begin_layout Standard
+Simulating hardware devices in Erlang is a very interesting topic.
+ The concurrent nature of Erlang should allow interesting hardware composed
+ of several systems, such as industrial robots to be simulated.
+ This thesis is valuable for the industry since it is based on an already
+ existing industrial experiment (Erlang Embedded), and it is interesting
+ to see a tool which can so readily be used in the industry to improve the
+ workflow and product quality in the field of embedded devices.
+\end_layout
+
+\begin_layout Standard
+The abstract is clear and concise, it provides the reader with a good overview
+ of the thesis.
+\end_layout
+
+\begin_layout Section*
+Unclear points
+\end_layout
+
+\begin_layout Standard
+When reading this thesis some questions came to mind:
+\end_layout
+
+\begin_layout Itemize
+Is there any research suggesting superiority of simulators over real hardware
+ or emulators during the development process?
+\end_layout
+
+\begin_layout Itemize
+It is unclear if actual simulators have been developed, or if a re-playing
+ software has been developed.
+ What makes the software a simulator and not a re-player? 
+\end_layout
+
+\begin_layout Itemize
+Is a re-playing software also to be considered a simulator, even though
+ it can only carry out pre-defined sequences of commands? 
+\end_layout
+
+\begin_layout Itemize
+It is stated that “recording has a great value for embedded simulation,
+ but also elsewhere”, why is this exactly?
+\end_layout
+
+\begin_layout Itemize
+Which uses are there of recording, precisely? 
+\end_layout
+
+\begin_layout Itemize
+Why is recording favoured over emulation, for example? How can recorded
+ data be used for simulation and not only for play-back?
+\end_layout
+
+\begin_layout Standard
+Specifically:
+\end_layout
+
+\begin_layout Itemize
+4.1: What are “simple stubs” and are they really simulators? 
+\end_layout
+
+\begin_layout Itemize
+4.1: Is hand waving the best approach to analysing the quality of the supervisors
+? Also, what is the “old work flow” in this context? 
+\end_layout
+
+\begin_layout Itemize
+4.2: This section states a simulation library and support for creating new
+ simulators.
+ Yet these are not explained like for example the convenience scripts.
+\end_layout
+
+\begin_layout Itemize
+5.2: Exactly how is the quality of the simulators measured? Which metrics
+ are used? Some metrics are presented here, but not motivated, also results
+ are not shown.
+\end_layout
+
+\begin_layout Itemize
+7.1: mentions a generic module to support the development of simulators.
+ Furthermore the section describes some simulators developed using the gen_fsm
+ behaviour.
+ Which additional features are provided by the software described in this
+ thesis, which are not already present in the gen_fsm behaviour?
+\end_layout
+
+\begin_layout Itemize
+According to 7.4, API:s and simulators must be created when they don't already
+ exist, why is this not represented in the first flow chart? Does your applicati
+on provide any ways to reduce development time of simulators? The quality
+ of a simulator may vary..
+ You created three simple device simulators.
+ How long did it take to create them? Case studies of developing these could
+ motivate the usage of simulators over hardware.
+\end_layout
+
+\begin_layout Standard
+A future improvement to the project is creating a finite state machine from
+ the log files.
+ It is unclear to us how this improves the system.
+\end_layout
+
+\begin_layout Standard
+Also, there are some factual errors; processes do share data, and data is
+ shared through message passing.
+ Memory is however not shared, perhaps this was what was intended to be
+ written.
+ PIDs can indeed be converted to lists, using the pid_to_list/1 function.
+\end_layout
+
+\begin_layout Section*
+Results
+\end_layout
+
+\begin_layout Standard
+What are the results from using the software discussed compared to the old
+ technique, of developing straight on the bare metal? Are there any results
+ in the terms of speed, reliability, cost effectiveness, usability (hard
+ to quantify)?
+\end_layout
+
+\begin_layout Standard
+It would be interesting to see a case study of some software developed using
+ a simulator versus software developed using the actual hardware.
+ In which scenarios are simulators cost effective compared to actual hardware?
+ In which scenarios do simulators speed up the development of software?
+\end_layout
+
+\begin_layout Standard
+Concerning the actual results, the following points remain unclear: 
+\end_layout
+
+\begin_layout Itemize
+How long does it take to upload the code to the hardware and how often is
+ this done during development, on average? 
+\end_layout
+
+\begin_layout Itemize
+How long does it take to get to know your system, write the simulators and
+ follow the steps you described? Is the workflow more efficient using your
+ system?
+\end_layout
+
+\begin_layout Itemize
+Did you calculate a difference of time between development on the hardware
+ versus in a simulated environment?
+\end_layout
+
+\begin_layout Standard
+The graphs provided are inconclusive and lack good descriptive texts.
+ It is unclear which metrics are used on each axis, and exactly what is
+ being measured; for instance, what is a 
+\begin_inset Quotes eld
+\end_inset
+
+sample
+\begin_inset Quotes erd
+\end_inset
+
+?
+\end_layout
+
+\begin_layout Standard
+The accuracy of the simulators was presented in a graph, and it can be seen
+ from the graph that the accuracy is not 100%.
+ Why is this, and is this not exceptionally alarming for a simulator? Which
+ impacts does this have on the simulation?
+\end_layout
+
+\begin_layout Section*
+Language
+\end_layout
+
+\begin_layout Standard
+The language style in the thesis is not formal as it would be expected in
+ an academical paper, such as a bachelor’s thesis.
+ Many subject-verb agreement mistakes have been made which makes it rather
+ hard to follow.
+\end_layout
+
+\begin_layout Standard
+Some terms could be introduced better; OTP, Beagle Board, Gumstix, Ångström/Angs
+trom, distro, NAT, OS, Panda Board, VM, stub, public/subscribe, request-response
+, OS variable and SSH.
+ Erlang is introduced properly, and the same could perhaps be done for these
+ terms as well.
+ The structure of function calls (fun/num of pars) is not obvious to the
+ reader, perhaps it could be explained.
+\end_layout
+
+\begin_layout Standard
+It is hard to refer to the figures since they are not numbered.
+\end_layout
+
+\begin_layout Section*
+What we would like to see ...
+\end_layout
+
+\begin_layout Standard
+It would be interesting to see this system combined with a testing framework,
+ like QuickCheck, in order to create a powerful test suite which generates
+ tests using real data samples.
+ If the data generated by the recorder could be used as input to a testing
+ framework, like QuickCheck, a very powerful and random test suite could
+ be created.
+\end_layout
+
+\begin_layout Standard
+A graphical user interface could be useful to present the simulators in
+ a more efficient way to the users of the simulator.
+ Providing a framework for creating graphical simulators would be a nice
+ improvement.
+ 
+\end_layout
+
+\end_body
+\end_document

synth_bibliography.bib

@@ -0,0 +1,137 @@
+@BOOK{Anwander2011,
+  AUTHOR = {Anwander, Florian},
+  YEAR = {2011},
+  TITLE = {Synthesizer - So funktioniert elektronische Klangerzeugung},
+  EDITION = {6. Aufl.},
+  ISBN = {978-3-941-53170-3},
+  PUBLISHER = {PPV Medien GmbH},
+  ADDRESS = {Bergkirchen},
+}
+
+@book{Manning1985,
+  title={Electronic and computer music},
+  author={Manning, P.},
+  isbn={9780193119185},
+  lccn={lc84007618},
+  year={1985},
+  publisher={Clarendon Press},
+  address={Oxford}
+}
+
+@BOOK{Humpert1987,
+  AUTHOR = {Humpert, Hans Ulrich},
+  YEAR = {1987},
+  TITLE = {Elektronische Musik},
+  EDITION = {},
+  ISBN = {978-3-795-71786-5},
+  PUBLISHER = {Schott},
+  ADDRESS = {Wien},
+}
+
+@BOOK{Ruschkowski1990,
+  AUTHOR = {Ruschkowski, Andre},
+  YEAR = {1990},
+  TITLE = {Soundscapes - elektronische Klangerzeugung und Musik},
+  EDITION = {1. Auflage,},
+  ISBN = {978-3-733-20058-9},
+  PUBLISHER = {Lied der Zeit},
+  ADDRESS = {Berlin},
+}
+
+@book{Pinch2004,
+  title={Analog days: The invention and impact of the Moog synthesizer},
+  author={Pinch, Trevor J and Trocco, Frank and Pinch, TJ},
+  year={2004},
+  publisher={Harvard University Press},
+  address={Cambridge, Massachusetts, and London, England}
+}
+
+@book{Friesecke2007,
+  title={Die Audio-Enzyklop{\"a}die: Ein Nachschlagewerk f{\"u}r Tontechniker},
+  author={Friesecke, Andreas},
+  year={2007},
+  publisher={KG Saur Verlag Gmbh \& Company}
+}
+
+@book{Sontheimer2004,
+  title={Audio-Schaltungstechnik},
+  author={Sontheimer, Robert},
+  isbn={9783895761546},
+  year={2004},
+  publisher={Elektor},
+  address = {Aachen}
+}
+
+@BOOK{Hutchins1975,
+  AUTHOR = {Hutchins, Bernie A.},
+  YEAR = {1975},
+  TITLE = {Musical Engineer's Handbook - Musical Engineering for Electronic Music},
+  EDITION = {first},
+  ISBN = {},
+  PUBLISHER = {Electronotes},
+  ADDRESS = {Ithaca, NY},
+}
+
+@article{Bode1984,
+  title={History of electronic sound modification},
+  author={Bode, Harald},
+  journal={Journal of the Audio Engineering Society},
+  volume={32},
+  number={10},
+  pages={736--9},
+  year={1984}
+}
+
+@article{Dunn1992,
+  title={A History of Electronic Music Pioneers},
+  author={Dunn, David},
+  journal={ders.(Hrsg.), Eigenwelt der Apparate-Welt.(Katalog), Linz},
+  pages={21--62},
+  year={1992}
+}
+
+@MISC{Burns:website,
+      AUTHOR = "Dr. Kristine H. Burns",
+      TITLE = "History of Electronic Music",
+      MONTH = "February",
+      YEAR = {2013},
+      URL = "http://www.djmaquiavelo.com/History.html"
+}
+
+
+
+article{Vinoski:2007:RE:1304062.1304553,
+ author = {Vinoski, Steve},
+ title = {Reliability with Erlang},
+ journal = {IEEE Internet Computing},
+ volume = {11},
+ issue = {6},
+ month = {November},
+ year = {2007},
+ issn = {1089-7801},
+ pages = {79--81},
+ numpages = {3},
+ url = {http://portal.acm.org/citation.cfm?id=1304062.1304553},
+ doi = {10.1109/MIC.2007.132},
+ acmid = {1304553},
+ publisher = {IEEE Educational Activities Department},
+ address = {Piscataway, NJ, USA},
+ keywords = {toward integration, Erlang, programming language, middleware, telecommunications, reliability, enterprise-integration},
+} 
+
+misc{armstrong2011,
+    author  = {Joe Armstrong},
+    title   = {If Erlang is the answer, then what is the question?},
+    year    = {2011},
+    address = {IT University, Gothenburg},
+}
+
+
+phdthesis{Agha:1985:AMC:912083,
+ author = {Agha, Gul Abdulnabi},
+ title = {Actors: a model of concurrent computation in distributed systems (parallel processing, semantics, open, programming languages, artificial intelligence)},
+ year = {1985},
+ note = {AAI8520855},
+ publisher = {University of Michigan},
+ address = {Ann Arbor, MI, USA},
+}