Tuning

Graphics Processing Units (GPUs) are specialized coprocessors that were initially conceived for the purpose of accelerating vector operations, such as graphics rendering. Writing and configuring efficient algorithms for GPU devices is still a hard problem. The Algorithm Selection Problem consists of finding a combination of algorithms, or a configuration of an algorithm, that optimizes the solution of a given problem instance or set of instances. An auto-tuner is a program solves the Algorithm Selection Problem automatically. In this paper we implement an autotuner for the compilation flags of GPU algorithms, using the OpenTuner framework. The autotuner produces a set of compilation flags that aims to optimize the time to solve a given problem for a specific GPU device. We analyse the performance gains of tuning the compilation flags for heterogeneous GPU algorithms across three different GPU devices. We show that it is possible to gain performance by automatically and empirically selecting a set of compilation flags for the same GPU algorithm in different devices. In one of the experimental settings we were able to achieve a 30% speedup in comparison with the compiler high-level optimization options.

Gegen ein immer noch wirkmächtiges Bild der Aufklärung als einer Form des Rationalismus will dieser Sammelband " die ästhetische Welterschlie-ßung und Selbstreflexion in den Mittelpunkt stellen " , weil, so die etwas über-raschende Behauptung der Herausgeber, " das Denken der Aufklärung erst auf einer solchen Basis ihre politischen Forderungen richtig stellen " könne (S. 9). Nun könnte man natürlich sofort einigermaßen gespannt sein, wie diese richtig gestellten politischen Forderungen aussehen, aber zunächst ist man doch skeptisch, wenn " das " Denken " der " Aufklärung irgendwelche po-litischen Forderungen stellen soll, denn wie sich schon zwanglos aus Jo-nathan Israels Forschungen ergibt, existiert ein solches Denken nicht als Einheit, so daß es auch nicht " ihre " politischen Forderungen an sich geben kann. Es geht aber in dem Band 1 auch nicht vorrangig um sozialpolitische Fragen, sondern zentral um Musikgeschichte und Musikwissenschaft. Den-noch soll der ganze Band auf eine " Aktualisierung der musikalischen Para-digmen und auf deren sozialpolitische Dimension selbst " orientieren (siehe dazu auch den letzten Beitrag des Bandes aus der Feder von Boris Pre-višić). Was dann dazu gesagt wird, wirkt eher unbestimmt und vage, ohne daß recht greifbar wäre, worauf das nun konkret hinauslaufen soll: so seien " Stimmung und Vielstimmigkeit als Paradigmen der heutigen Kultur " in ih-rem Profil aus der Sicht der Aufklärung zu schärfen " , und zwar auf der Grundlage von ästhetischen Modellen und Kunstwerken. Weiter heißt es: " Der Zusammenhang zwischen Stimmungen und Vielstimmigkeit ist leider noch viel weniger als gesellschaftspolitisches Desiderat in der Gegenwart angekommen. Ein verbindlicher Pluralismus tut not, der in der Aufklärung angedacht worden war, bevor er dann im Getöse des 19. und 20. Jahrhun-derts wieder verschüttet wurde " (S. 16). Offenbar soll die in der Musik wal-tende Vielstimmigkeit auf andere Bereiche bezogen werden, politisch also 1 Inhaltsverzeichnis: https://d-nb.info/1131375556/04

Any band-pass filter may be converted into a tunable filter with a single tuning parameter through the use of a new tunable heterodyne band-pass filter concept in which the frequency of the heterodyne signal is adjusted thereby translating the entire filter transfer function in frequency. If the fixed filter is selected to be a narrow-band band-pass filter, the new tunable heterodyne band-pass filter concept can be used very effectively in the elimination of narrow band interference in wide-band communications or control systems. A single-chip version of this tunable filter can be constructed using a Xilinx Virtex XCV800 chip. The resulting filter is a flexible tunable band-pass filter that can be varied from DC to π/2 or from π/2 to it depending on the parameters of the fixed output low-pass filter

We present a method to derive a rational model from scattering data for electrical parameter extraction. Unlike other methods, the stability and the MacMillan degree of the rational approximation are guaranteed. In order to improve the usability of our method in computer-aided tuning , we also present an algorithm performing automatic reference plane adjustment. Results obtained on a 10 order dual mode IMUX filter are presented.

This assessment focuses on matching several circuits, learning in detail about optimization and
how to control the optimized outputs, learning the effects and variation on results (Bandwidth,
gain, magnitude) by the aid of tuning.
The circuits shown will range from basic matching circuits all the waves to matching using a quarter-wave transformer (multi-section) and using an open circuit single stub architecture. The entire
assessment is split into 3 investigations.
The first will deal with basics such as basic tuning, basic optimization, basic matching with only
a load and a source component (mostly resistive for both) and lastly basic microstrip architecture
and there resulting plots and discussions on the plots.
The second will deal with complex architectures where the matching will be done using an open
circuit stub (single stub) and a quarter-wave transformer complete with the instance views, the
MLIN variables, the initial to final schematics and the resulting plots accompanied by their
discussions.
The third and final investigation will deal with a single section and 2 sections quarter-wave
transformers. This investigation will cover on the equations used to obtain the impedance values
for both the cases and the variation in the results.
These three investigations will be done using the ADS software, in addition to the general
procedure, the assessment will focus on different tasks present in each investigation. This entire
report will focus on how the variation of components in each condition or number of conditions
will affect the overall outcome of the entire frequency plot.
The supporting diagrams such as tables showing the variables chosen for optimization, chosen for
tuning and/or chosen for any other untold purpose has been properly uploaded and referenced.
Terms pointing to the advantages, disadvantages, and applications have been informed in a brief
and the diagrams for each simulation performed has its description assuming a few terms and
concepts are known to the user.

Organ tuning and temperament are essential elements of the soundscape of an organ.
It is commonly assumed today that organ temperament practice shifted away from the well-documented standard of meantone temperament toward circulating temperaments (well-tempered or equal) around 1700. Written records and evidence from extant instruments, however, strongly suggest that unmodified meantone temperament remained common practice in North German organs until the 1740s. Even advocates of the new temperament designs such as Andreas Werckmeister had to admit that organ builders did not follow their suggestions. There is no evidence that retunings resulted in well-tempered systems; only meantone and equal temperaments are mentioned in the sources for retunings.
The reason for suggesting new temperament systems was the requirements of ensemble accompaniment. The simultaneous use of instruments tuned at different pitches (Chorton, Kammerton) required extensive transposition, a practice that, due to the development of major-minor tonality, became increasingly difficult if not impossible with organs tuned in meantone temperament. Modifications of this temperament were suggested and sometimes carried out, but were generally not successful.
Re-tempering an existing organ was a time-consuming task: in a large organ it could take months of work even for an experienced builder. The circumstances under which the organs had to be tuned constituted an important impediment to the introduction of new temperaments. An analysis of payments to bellows-treaders as recorded in church account books shows that the organs of St. Marien, Lübeck, were not retuned during the tenures of Franz Tunder and Dieterich Buxtehude. Thus, some of their organ works could not have been played on the organs available to them during their lifetimes. At this time, however, playing from a score was not acceptable for a professional organist, who was expected to extemporize even complex contrapuntal music. Organ music seems to have been written down mainly for study purposes.

Over the last 10 years an increasingly widespread discussion on the topic of the concert pitch 432Hz has given birth to a variety of experiments, research and all sorts of conjectural considerations. If you search '432Hz' on the internet nowadays you will be presented with a massive number of links, far more than I was able to find when I first became interested in the topic, around 2004. Some of the pages you'll find provide a well thought and researched presentation, others are inconsistent and approximate.

This chapter examines human sensitivity to pitch relations and the musical scales that help us to organize these relations. Tuning systems – the means by which scales and pitch relations are created and maintained within a given musical tradition – are also discussed. Questions addressed in this chapter include: How are pitch intervals processed by the auditory system? Do certain intervals have a special perceptual status? What is the relation between intervals formed by pitches sounded sequentially and those formed by pitches sounded simultaneously? Why is most music organized around scales? Are there similarities in the scales used in different musical systems across cultures? Is there an optimal tuning system?

"Johann Sebastien Bach is the greatest composer of all time. The reason for this is that he steadfastly adhered to the rules of his time in music composition. He did not necessarily invent new modalities of composition: he just made already extant materials and practices better—more perfectly arranged together. One area of Bach’s thought process regards the necessity of knowing the old church modes of his predecessors—white-note modality and its concomitant “tonality”, or centricity. Bach is known for modal chorales, but according to Kirnberger, a famous student of Bach, Bach used modality in all of his works. The modes used by Bach largely came from pre-existing cantus firmi and their modal implications. In addition to modality having separate and unique feeling and character, well-temperament and the lack of enharmonic redundancies provided composers with a wider palette of pitch color. If particular keys were chosen, they were chosen for very specific qualities and reasons, and not because of chance, or routine. The same applies to modality: that modes of chorales, and fugues, were chosen especially for their distinctive sound and character and that Bach treated each mode with the appropriate rules of modes will be one focus of this paper.
In addition to the chorales, which have been previously negotiated by Lori Burns, and rather than imitating her work, this paper will include other works of Bach that feature modality as well as an analysis of Bach’s harmonic approach to the modes of each piece in question. This author will investigate Bach’s repertory for three pieces that are known for modality and explore these.
"

Acoustique - Accord - Tempéraments
      Francis Jacob, 2014
Pour la lecture de ce document : en bleu les notions intéressantes à dominer entièrement

1) Les sons - les harmoniques
N’importe quel son se compose d’une fondamentale et d’harmoniques. Les harmoniques, fréquences plus aiguës que la fondamentale, font partie de ce que notre oreille identifie comme le timbre particulier d’un son. Les harmoniques correspondent aux fractions par nombres entiers successifs de la source sonore fondamentale, et se trouvent à des fréquences (vitesse d’oscillation par seconde) qui sont les multiples de la fréquence du son fondamental par le même nombre entier).

A critical component of the millimeter-wave superheterodyne receiver is the local oscillator (LO) which is used to pump the low-noise mixer. Frequency multipliers have been used for many years to produce LO power. Current technology uses the whisker-contacted Schottky varactor diode which is inherently very fragile, expensive to fabricate, difficult to optimize, and requires as many as three mechanical tuners. This report describes the design, fabrication, and evaluation of four planar frequency multipliers. The 'direct-replacement' design demonstrates how a discrete planar varactor can replace a whisker-contacted varactor in a waveguide-type 75/225 GHz tripler and yield comparable performance. The fully monolithic (MMIC) balanced-varactor 80/160 GHz doubler and balanced-varactor 80/240 GHz tripler designs illustrate that MMIC technology is practical throughout the millimeter-wave band. Finally, a high-power 31/94 GHz tripler design is presented. These MMIC multipliers are t...

Pembelajaran Mesin 2018. Penerapan Support Vector Machine (SVM) Pada Sistem Rekomendasi Starbucks. Dataset berasal dari Kaggle (kaggle.com/starbucks/starbucks-menu). Awalnya validasi silangnya hanya 21%, setelah perbaikan meningkat menjadi 80%.

A Graphics Processing Unit (GPU) is a parallel computing coprocessor specialized in accelerating vector operations. The enormous heterogeneity of parallel computing platforms justifies and motivates the development of automated optimization tools and techniques. The Algorithm Selection Problem consists in finding a combination of algorithms, or a configuration of an algorithm, that optimizes the solution of a set of problem instances. An autotuner solves the Algorithm Selection Problem using search and optimization techniques. In this paper we implement an autotuner for the CUDA compiler's parameters using the OpenTuner framework. The autotuner searches for a set of compilation parameters that optimizes the time to solve a problem. We analyse the performance speedups, in comparison with high-level compiler optimizations, achieved in three different GPU devices, for 17 heterogeneous GPU applications, 12 of which are from the Rodinia Benchmark Suite. The autotuner often beat the compiler's high-level optimizations, but underperformed for some problems. We achieved over 2x speedup for Gaussian Elimination and almost 2x speedup for Heart Wall, both problems from the Rodinia Benchmark, and over 4x speedup for a matrix multiplication algorithm.

This paper presents a novel electronically tunable slot antenna. The design is based on a resonant slot structure loaded with a series of PIN diode switches. The tuning of the operating frequency is realized by varying the electrical length of the antenna, which is controlled by the DC bias voltages of the switches. The fabricated antenna is capable of resonating at four different frequencies ranging from 550 to 900 MHz. Very good matching is achieved for all resonant frequencies without the need for any special matching network. Additionally, it is demonstrated that the radiation pattern, efficiency and polarization remain essentially unaffected by the frequency tuning.