AN-1002 APPLICATION NOTE
... system. The reason is that the 1σ jitter magnitude is proportional to the jitter bandwidth. A reduction in bandwidth by a factor of 150 (1 Hz vs. 1/150 Hz) yields a proportional reduction in jitter (50 ppb/sec vs. 0.33 ppb/sec). The output of the digital loop filter serves as the correction value (Y ...
... system. The reason is that the 1σ jitter magnitude is proportional to the jitter bandwidth. A reduction in bandwidth by a factor of 150 (1 Hz vs. 1/150 Hz) yields a proportional reduction in jitter (50 ppb/sec vs. 0.33 ppb/sec). The output of the digital loop filter serves as the correction value (Y ...
J. Phinney and D.J. Perreault, “Filters with Active Tuning for Power Applications,” IEEE Transactions on Power Electronics , Vol. 18, No. 2, March 2003, pp. 636-647.
... To take advantage of high-Q resonant filters, one must ensure that the converter switching frequency remains aligned with the filter resonance across all component tolerances and operating conditions. Resonant excitation is equivalent to maintaining a resistive phase relationship (0 ) between resona ...
... To take advantage of high-Q resonant filters, one must ensure that the converter switching frequency remains aligned with the filter resonance across all component tolerances and operating conditions. Resonant excitation is equivalent to maintaining a resistive phase relationship (0 ) between resona ...
Spur-Reduction Frequency Synthesizer Exploiting Randomly
... spurs, appear in the upper and lower sidebands around the carrier and reduce SFDR performance [1]–[4]. The reference spurs are measured according to the difference in power between the carrier and the spurs at a set frequency offset (w) given in dBc, as shown in Fig. 1. The periodic ripples on the ...
... spurs, appear in the upper and lower sidebands around the carrier and reduce SFDR performance [1]–[4]. The reference spurs are measured according to the difference in power between the carrier and the spurs at a set frequency offset (w) given in dBc, as shown in Fig. 1. The periodic ripples on the ...
Charge Pump, Loop Filter and VCO for Phase Lock
... The loop filter is the heart of PLL. It is inevitable to choose the loop filter values correctly, as inappropriate values may either lead the loop to oscillate for long without reaching the locked state or it may so happen that once locked, small variations in the input data may cause the loop to un ...
... The loop filter is the heart of PLL. It is inevitable to choose the loop filter values correctly, as inappropriate values may either lead the loop to oscillate for long without reaching the locked state or it may so happen that once locked, small variations in the input data may cause the loop to un ...
Principles of EMG: Recording
... low-pass filters • mean or median frequencies of unfatigued muscles are around 70 to 80 Hz • “notch” filters should not be used to remove 50/60 cycle (line frequency) interference because much of the EMG signal strength is in this range Biomechanics Laboratory, University of Ottawa ...
... low-pass filters • mean or median frequencies of unfatigued muscles are around 70 to 80 Hz • “notch” filters should not be used to remove 50/60 cycle (line frequency) interference because much of the EMG signal strength is in this range Biomechanics Laboratory, University of Ottawa ...
FilterPro MFB and Sallen-Key Low
... There are instances where the Sallen-Key topology is a better choice. As a rule of thumb, the Sallen-Key topology is better if: 1) Gain accuracy is important, and 2) A unity-gain filter is used, and 3) Pole-pair Q is low (e.g., Q < 3) At unity-gain, the Sallen-Key topology inherently has excellent g ...
... There are instances where the Sallen-Key topology is a better choice. As a rule of thumb, the Sallen-Key topology is better if: 1) Gain accuracy is important, and 2) A unity-gain filter is used, and 3) Pole-pair Q is low (e.g., Q < 3) At unity-gain, the Sallen-Key topology inherently has excellent g ...
Problems to resolve:
... 5-20-05 We have decided to use two different amplifiers (see 12) on the IF1 board that drive the mixer. We are using two different paths for the LO. One path passes the 2-3 GHz LO frequencies and the other passes the 3-4 GHz LO frequencies. Now, we can put separate high pass filters into each path t ...
... 5-20-05 We have decided to use two different amplifiers (see 12) on the IF1 board that drive the mixer. We are using two different paths for the LO. One path passes the 2-3 GHz LO frequencies and the other passes the 3-4 GHz LO frequencies. Now, we can put separate high pass filters into each path t ...
Equalization (audio)
Equalization (British: equalisation) is the process of adjusting the balance between frequency components within an electronic signal. The most well known use of equalization is in sound recording and reproduction but there are many other applications in electronics and telecommunications. The circuit or equipment used to achieve equalization is called an equalizer. These devices strengthen (boost) or weaken (cut) the energy of specific frequency bands.In sound recording and reproduction, equalization is the process commonly used to alter the frequency response of an audio system using linear filters. Most hi-fi equipment uses relatively simple filters to make bass and treble adjustments. Graphic and parametric equalizers have much more flexibility in tailoring the frequency content of an audio signal. An equalizer is the circuit or equipment used to achieve equalization. Since equalizers, ""adjust the amplitude of audio signals at particular frequencies,"" they are, ""in other words, frequency-specific volume knobs.""In the field of audio electronics, the term ""equalization"" has come to include the adjustment of frequency responses for practical or aesthetic reasons, often resulting in a net response that is not truly equalized. The term EQ specifically refers to this variant of the term. Stereos typically have adjustable equalizers which boost or cut bass or treble frequencies. Broadcast and recording studios use sophisticated equalizers capable of much more detailed adjustments, such as eliminating unwanted sounds or making certain instruments or voices more prominent.Equalizers are used in recording studios, radio studios and production control rooms, and live sound reinforcement to correct the response of microphones, instrument pick-ups, loudspeakers, and hall acoustics. Equalization may also be used to eliminate unwanted sounds, make certain instruments or voices more prominent, enhance particular aspects of an instrument's tone, or combat feedback (howling) in a public address system. Equalizers are also used in music production to adjust the timbre of individual instruments by adjusting their frequency content and to fit individual instruments within the overall frequency spectrum of the mix.The most common equalizers in music production are parametric, semi-parametric, graphic, peak, and program equalizers. Graphic equalizers are often included in consumer audio equipment and software which plays music on home computers. Parametric equalizers require more expertise than graphic equalizers, and they can provide more specific compensation or alteration around a chosen frequency. This may be used in order to remove (or to create) a resonance, for instance.