Design For Testing - History

History

DFT techniques have been used at least since the early days of electric/electronic data processing equipment. Early examples from the 1940s/50s are the switches and instruments that allowed an engineer to “scan” (i.e., selectively probe) the voltage/current at some internal nodes in an analog computer . DFT often is associated with design modifications that provide improved access to internal circuit elements such that the local internal state can be controlled (controllability) and/or observed (observability) more easily. The design modifications can be strictly physical in nature (e.g., adding a physical probe point to a net) and/or add active circuit elements to facilitate controllability/observability (e.g., inserting a multiplexer into a net). While controllability and observability improvements for internal circuit elements definitely are important for test, they are not the only type of DFT. Other guidelines, for example, deal with the electromechanical characteristics of the interface between the product under test and the test equipment. Examples are guidelines for the size, shape, and spacing of probe points, or the suggestion to add a high-impedance state to drivers attached to probed nets such that the risk of damage from back-driving is mitigated.

Over the years the industry has developed and used a large variety of more or less detailed and more or less formal guidelines for desired and/or mandatory DFT circuit modifications. The common understanding of DFT in the context of Electronic Design Automation (EDA) for modern microelectronics is shaped to a large extent by the capabilities of commercial DFT software tools as well as by the expertise and experience of a professional community of DFT engineers researching, developing, and using such tools. Much of the related body of DFT knowledge focuses on digital circuits while DFT for analog/mixed-signal circuits takes somewhat of a backseat.

Read more about this topic:  Design For Testing

Famous quotes containing the word history:

    When we of the so-called better classes are scared as men were never scared in history at material ugliness and hardship; when we put off marriage until our house can be artistic, and quake at the thought of having a child without a bank-account and doomed to manual labor, it is time for thinking men to protest against so unmanly and irreligious a state of opinion.
    William James (1842–1910)

    I believe that in the history of art and of thought there has always been at every living moment of culture a “will to renewal.” This is not the prerogative of the last decade only. All history is nothing but a succession of “crises”Mof rupture, repudiation and resistance.... When there is no “crisis,” there is stagnation, petrification and death. All thought, all art is aggressive.
    Eugène Ionesco (b. 1912)

    The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.
    Henry Geldzahler (1935–1994)