Circuit Response
every model has an edge, and the figure carries it
Concept

Anti-alias filter — where it appears

The continuous filter placed before a sampler, whose job is to remove components that would fold into the band once sampled. Its requirement is stated at the lowest frequency that folds inside the passband rather than at half the sample rate, and no filtering after the sampler can do the same work.

Named by 7 essays across 3 fields — each of them below, with the objects they name alongside it.

The sample rate each anti-alias filter demands for 80 dB. computed by solving, not by drawing. A 20 kHz passband, and each filter must be 80 dB down by the frequency that folds back into it. The required rate follows, and it is a property of the filter rather than of the converter: Bessel 3.53× Nyquist, Butterworth 2.08×, Chebyshev 1.53×. The elliptic design at a selectivity of 0.8 is refused: its equiripple stopband has a floor at -74.1 dB, which is above the requirement at every frequency, so no sample rate satisfies it. At a selectivity of 0.5 the same order needs 1.34×. The floor is the selectivity's, not the order's.

What the filter in front costs

The filter that keeps a converter honest is normally chosen for its skirt. Measured against one requirement — eighty decibels down by the frequency that folds back into a 20 kHz band — the choice is not a decibel or two of skirt but a factor in the clock: Bessel demands 3.53 times Nyquist, Butterworth 2.08, Chebyshev 1.53. And one design is refused outright, because an elliptic stopband is a floor rather than a slope and no sample rate reaches past a floor.

digital · Anti-alias A switched-capacitor low-pass driven past half its own clock. computed by solving, not by drawing. The clock is 1.00 MHz and the corner the earlier essay fitted is 1.59 kHz. The falling dashed curve is that continuous model, which knows nothing about a clock and goes on falling. The circles are the marched circuit, read at the frequency the output actually appears at. They part company past half the clock and by 992 kHz the model is 42.1 decibels wrong — an input just below the clock arrives just above direct current, in the middle of the passband, with the passband's own gain. The third curve is the exact discrete transfer function evaluated at the folded frequency, and it agrees with the march to 0.26 decibels, which is what says the march is measuring the folding rather than an artefact of itself.

The filter that samples

The rung below built a resistor out of a clock and measured two ways it is not one: a settling time, and a corner that is a capacitor ratio rather than an R–C product. Both are errors in a value and both get smaller as the design gets better. This is an error of a different kind — the arrangement is not a continuous system at all, and nothing below half the clock shows it. An input at 992 kilohertz arrives at 7.8 kilohertz with the passband's own gain, where the continuous model the rung below fitted says it is 56 decibels down.

filters · Switched-capacitor One capacitor moves three quantities, and the expression's own answer peaks by 1.18 dB. computed by solving, not by drawing. The bandwidth, the peaking and the total output noise of a 1.0 MΩ transimpedance stage against its feedback capacitor, swept from 0.30 to 4.20 times what the classical expression asks for. Over that factor of fourteen the bandwidth falls from 334 to 55.4 kHz, the total noise from 230 to 65 µV, and the peaking from 10.0 dB to nothing. The expression's own answer sits at 1.18 dB of peaking, 0.82× is where the loop reaches forty-five degrees, and √2× is where the response is flat — so the choice usually quoted as maximally flat is neither of the two conditions it is quoted for. The faint families are the same three quantities at 3 pF and 300 pF of diode: normalised this way they are one curve, so the diode sets the scale and the multiple sets the shape.

The factor the expression leaves out

The classical compensation for a photodiode amplifier is quoted both as the forty-five degree choice and as the maximally flat one, and it is neither: it leaves 1.18 dB of peaking and 52.4° of margin. Flat is at exactly √2 times it — fitted at 1.4186 against 1.4142, at every detector from 3 pF to 1 nF. And the third quantity the capacitor is supposed to trade, the noise, does not move at all inside the signal band: three compensations spanning a factor of fourteen give 8.37 against 8.36 µV in a 4.36 kHz measurement and 230 against 65 µV over the whole plane.

feedback · Transimpedance An all-pole filter's stopband floor: -120 dB, from 10 fF nobody drew. computed by solving, not by drawing. A butterworth 8 realised at a 20 kHz passband, drawn twice: from its poles, which fall at 48 decibels an octave for ever, and from the same netlist with 10 femtofarads of stray capacitance from its input to its last shunt node — a fraction of a picofarad between two tracks. The second stops falling at -120.0 dB at 136 kHz, because the stray bypasses every pole in front of it and what is left is its ratio to the shunt capacitance it divides against. The poles alone predict -293 dB a decade further out, which is 173 decibels lower. So an all-pole design has a stopband floor exactly as an elliptic one does — -140 dB at 1 fF, -130 dB at 3 fF, -120 dB at 10 fF, -110 dB at 30 fF, -100 dB at 100 fF, which is 20.0 decibels per decade of stray — and above that frequency a faster sample rate buys nothing at all, which is the refusal recorded for the elliptic row and not for this one.

The floor every filter has

The elliptic design was refused because its equiripple stopband is a floor and no sample rate reaches past a floor, while an all-pole design falls at six decibels an octave per pole for ever — so a faster clock is always an answer for one and never for the other. On paper. Ten femtofarads of stray capacitance from a filter's input to its output, which is a fraction of a picofarad between two tracks, puts the eighth-order Butterworth's stopband at −120 decibels from 136 kilohertz onwards where its poles predict −293. Every all-pole design has a floor, and it is a layout rather than a design.

digital · Anti-alias The order is worth 0.68 bits and a factor of 29 in clock. computed by solving, not by drawing. A butterworth design at a 20 kHz passband, at each order from two to ten and at three impedance levels, with the sample rate it demands for eighty decibels and the resolution its own resistors' noise allows. The clock demand falls steeply — 50.50×, 11.27×, 5.50×, 3.65× and on down to 1.76×, a factor of 28.8 — and the bar widths carry it. The noise rises: 2.00 µV at order two against 3.22 µV at ten, which is 0.68 of a bit. So the order is cheap in the currency everybody worries about and expensive in nothing. What is expensive is the impedance level: every resistance goes as one over the capacitance and a noise voltage as the square root of a resistance, so a decade of capacitance is 1.66 bits — the same at every order, to 0.000 of a bit — and the three curves are ten, one and a tenth of a nanofarad a section. The ceiling on resolution is set by a choice nobody prices, and the order, which everybody argues about, moves it by two thirds of a bit.

Two thirds of a bit for a factor of twenty-eight

An anti-alias filter costed in clock rate gets steeply cheaper with order — fifty times Nyquist at the second and 1.76 at the tenth — and the obvious objection is noise, since the filter is in the signal path and every section adds resistors. Measured, the objection barely holds: from order two to order ten the clock demand falls by a factor of 28.7 and the resolution the filter's own noise allows falls by 0.69 of a bit. What does cost resolution is the impedance level, at five thirds of a bit per decade of capacitance, and nobody argues about that at all.

digital · Anti-alias Sampling 100–120 MHz: 6 allowed windows and 5 forbidden gaps. A band 20 MHz wide centred at 110 MHz, and the sample rates at which it and all its images land without overlapping. Twice the top of the band is 240 MHz and every rate above that works, which is the familiar answer. Below it there are 5 more windows, the slowest at 40.00 MHz — 1.00 times twice the band's WIDTH, which is the quantity that bounds a sample rate when the signal is not at baseband. Between the windows are 5 forbidden gaps, shaded: at 219.1 MHz the band's images overlap it, while 200.00 MHz works and 240.0 works. So a clock raised out of a working window has been made worse by being made faster, and "a faster clock is always an available answer" is a statement about baseband and not about sampling.

The clock that is too fast

Every sample rate in the requirement is a lower bound: the filter must be down by the frequency that folds back, and a faster clock is always at least as good. That holds for a signal at baseband. A band from 100 to 120 megahertz can be sampled at 240 and above, or at 120 to 200, or 80 to 100, or 60 to 66.7, or 48 to 50, or 40 — six disjoint windows with five forbidden gaps between them, so 110 megahertz fails while 100 works and 120 works. The bound is twice the band's width, 40 megahertz, and it is six times below twice its top.

digital · Anti-alias At 60 dB of rejection an eighth-order filter keeps 3 of the brick wall's 6 windows; a fourth-order one keeps 2. computed by solving, not by drawing. The sample rates at which a band from 100 to 120 MHz can be sampled without anything the filter in front passes at more than −60 dB folding onto the band, for a band with hard edges and for Butterworth bandpass filters of order 12, 8, 6 and 4 on the band's own edges; each row is labelled with the span, in megahertz, where the filter is still above −60 dB. A real filter moves each window's edges inward by half its transition band. The window from 120 to 200 MHz narrows to 124.4–193.2, 127.9–188.4, 132.8–182.4, 149.7–166.9 MHz as the order falls, and the lower windows close altogether. Every window is checked by folding every frequency the filter passes.

The windows a real filter leaves

A band from 100 to 120 MHz can be sampled at any clock in six disjoint windows — for a band with hard edges. Put a real bandpass filter in front and ask that whatever folds onto the band be 60 dB down, and every window's edges move inward by half the filter's transition band: an eighth-order Butterworth keeps three of the six, a fourth-order one two, and the window from 120 to 200 MHz shrinks from ±25 per cent of clock tolerance to ±19.1 per cent at order eight and ±5.4 per cent at order four. The windows depend on the rejection only through the rejection per order: 40 dB at order four, 60 at order six and 80 at order eight all leave the same ±15.7 per cent. So a filter's order is bought in clock tolerance, at one order per ten decibels.

digital · Anti-alias

Named alongside it

The objects these essays reach for when they reach for this one.

AliasingModel rangeOversamplingSample rateFilter familiesFilter orderStopband attenuationBandpass samplingButterworthClosed formDesign tradeoffEquivalent noise bandwidth

All concepts