935 resultados para Shot-noise


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Recent discussion regarding whether the noise that limits 2AFC discrimination performance is fixed or variable has focused either on describing experimental methods that presumably dissociate the effects of response mean and variance or on reanalyzing a published data set with the aim of determining how to solve the question through goodness-of-fit statistics. This paper illustrates that the question cannot be solved by fitting models to data and assessing goodness-of-fit because data on detection and discrimination performance can be indistinguishably fitted by models that assume either type of noise when each is coupled with a convenient form for the transducer function. Thus, success or failure at fitting a transducer model merely illustrates the capability (or lack thereof) of some particular combination of transducer function and variance function to account for the data, but it cannot disclose the nature of the noise. We also comment on some of the issues that have been raised in recent exchange on the topic, namely, the existence of additional constraints for the models, the presence of asymmetric asymptotes, the likelihood of history-dependent noise, and the potential of certain experimental methods to dissociate the effects of response mean and variance.

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Acknowledgement SN and SS gratefully acknowledge the financial support from Lloyd’s Register Foundation Centre during this work.

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Supported by Royal Society of London (University Research Fellowship), Medical Research Council (New Investigator Research Grant) and CNRS.

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General note: Title and date provided by Bettye Lane.

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General note: Title and date provided by Bettye Lane.

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General note: Title and date provided by Bettye Lane.

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General note: Title and date provided by Bettye Lane.

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General note: Title and date provided by Bettye Lane.

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Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

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Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

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The presence of high phase noise in addition to additive white Gaussian noise in coherent optical systems affects the performance of forward error correction (FEC) schemes. In this paper, we propose a simple scheme for such systems, using block interleavers and binary Bose–Chaudhuri–Hocquenghem (BCH) codes. The block interleavers are specifically optimized for differential quadrature phase shift keying modulation. We propose a method for selecting BCH codes that, together with the interleavers, achieve a target post-FEC bit error rate (BER). This combination of interleavers and BCH codes has very low implementation complexity. In addition, our approach is straightforward, requiring only short pre-FEC simulations to parameterize a model, based on which we select codes analytically. We aim to correct a pre-FEC BER of around (Formula presented.). We evaluate the accuracy of our approach using numerical simulations. For a target post-FEC BER of (Formula presented.), codes selected using our method result in BERs around 3(Formula presented.) target and achieve the target with around 0.2 dB extra signal-to-noise ratio.

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In this paper, we discuss in detail the performance of different blind phase noise estimation schemes for coherent optical orthogonal frequency-division multiplexing transmissions. We first derive a general model of such systems with phase noise. Based on this model, the phase cycle slip probability in blind phase noise estimation is calculated. For blind phase tracking, we present and discuss the implementation of feedback loop and digital phase tracking. We then analyze in detail the performance of a decision-direct-free blind scheme, in which only three test phases are required for phase noise compensation. We show that the decision-direct-free blind scheme is transparent to QAM formats, and can provide a similar performance to the conventional blind phase search employing 16 test phases. We also propose two novel cost functions to further reduce the complexity of this scheme.

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Among the different possible amplification solutions offered by Raman scattering in optical fibers, ultra-long Raman lasers are particularly promising as they can provide quasi-losless second order amplification with reduced complexity, displaying excellent potential in the design of low-noise long-distance communication systems. Still, some of their advantages can be partially offset by the transfer of relative intensity noise from the pump sources and cavity-generated Stokes to the transmitted signal. In this paper we study the effect of ultra-long cavity design (length, pumping, grating reflectivity) on the transfer of RIN to the signal, demonstrating how the impact of noise can be greatly reduced by carefully choosing appropriate cavity parameters depending on the intended application of the system. © 2010 Copyright SPIE - The International Society for Optical Engineering.

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This paper presents a 1-10 GHz low-noise downconvert mixer RFIC suitable for wideband receivers. A switched transconductor mixing core is adopted to reduce noise at high frequencies. By adding a series inductor to the RF transconductor, a flat 4-5 dB noise figure (NF) and a high gain of 26.5 dB can be achieved over a broad bandwidth out to 10 GHz. A CMOS output amplifier is also integrated on-chip, employing derivative superposition (DS) for high linearity and an OIP3 of 16.5 dBm. The circuit consumes less than 20 mW of dc power and occupies an active chip area of less than 0.2 mm2.

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Noise seems to stand for a lack of aesthetic grace, to alienate or distract rather than enrapture. And yet the drones of psychedelia, the racket of garage rock and punk, the thudding of rave, the feedback of shoegaze and post-rock, the bombast of thrash and metal, the clatter of jungle and the stuttering of electronica, together with notable examples of avant-garde noise art, have all found a place in the history of contemporary musics, and are recognised as representing key evolutionary moments. Noise therefore is the untold story of contemporary popular music, and in a critical exploration of noise lies the possibility of a new narrative – one that is wide-ranging, connects the popular to the underground and avant-garde, fully posits the studio as a musical instrument, and demands new critical and theoretical paradigms of those seeking to write about music. Resonances is a compelling collection of new essays by scholars, writers and musicians – all seeking to explore and enlighten this field of study.