How much of the amplifier reaches the answer, at 35° of phase margin
Drawn above at its default parameters, which is almost never how an essay calls it. A placement states the numbers that essay is arguing about, so the figure a reader meets is about that argument rather than about the generator — 98% of the placements on this site pass one, and the phase that raised that number from 12% found eight captions describing a figure the page was not showing.
At those defaults the edge it states is feedback stops helping at 6.33 kHz — the right-hand slot
of the caption strip, which on this site is never used for anything else, and which is read
back out of the drawing above rather than out of the code that wrote it.
It belongs to Feedback, and the margin, which is to say a change to it is a
change to lib/figures/feedback.js.
It takes a slider on the second pole (hertz) with 7 settings,
and every one of them has passed the same assertions as the frame above — a figure whose
circuit stops doing what its caption says at any setting stops the build.
Called by 5 essays
which is the blast radius of changing it
How much of the amplifier gets through
The reason to build an amplifier from a bad amplifier and two resistors is that a change in the device barely reaches the answer — a tenth of a per cent of it at low frequency, measured by making the device better and solving again. Near crossover the same fraction rises above one, so feedback makes the gain more device-dependent than no feedback at all, and below fifty degrees of margin it changes sign on the way.
Half to the amplifier, half to the resistors
A feedback amplifier is supposed to hand its accuracy to the resistors, and at low frequency it does — 99.9 per cent of a change in the divider reaches the gain and 0.1 per cent of a change in the device. The two fractions are measured here by nudging each and solving again, and they add to one at every frequency, to five parts in a hundred thousand. At the loop's crossover each is exactly one half, whatever the margin: the gain's magnitude answers the amplifier and the resistors equally. As complex numbers both are 1/(2 sin(φ/2)) there, above one for any margin under sixty degrees, and around the crossover lies a band where the gain is more sensitive to both than it would be with no feedback at all.
The area that feedback only moves
A feedback amplifier divides its device's variation by the loop gain, sixty decibels of it at low frequency, and pays for it with a sensitivity peak near crossover. The payment is exact. Integrated over linear frequency, the logarithm of the sensitivity has as much area above zero as below — 6.74 kilohertz-nepers each side at 34.9° of margin, net zero to eight parts in a billion — at every margin and every gain, because the loop falls by more than one pole. Margin decides only the shape of the repayment: a 14-decibel spike at 11.7°, a one-decibel hump spread past half a megahertz at 80.4°. Only a loop that falls as a single pole keeps any of it, (π/2) times its crossover, and no amplifier is one.
The phase a delay never stops adding
Put a pure delay in a feedback loop and Bode's sensitivity integral does not notice: with 10 µs in the three-pole amplifier's loop the logarithm of the sensitivity still has equal areas above and below zero, 7.14 kHz·Np each side. What changes is where they are. The delay keeps turning the loop's phase above crossover, so the sensitivity becomes a comb with a tooth every 100 kHz; the desensitisation shrinks from 6.74 to 6.48 kHz·Np, the main peak rises from 5.70 dB to 13.53 and overpays it by 7%, and the comb hands the excess back below zero. The margin reads the peak from below by about 1.4 dB at every delay. Past 16.9 µs the loop is unstable and the integral stops balancing — by exactly the growth rate of the pole pair that has crossed.
The band a sampled loop repays in
Close the three-pole amplifier's loop through a sampler and hold at 100 kHz and Bode's sensitivity integral still balances — but only over the band below 50 kHz, because that is all the band a sampled loop has. The whole debt, 6.60 kHz·Np, is repaid there; the continuous loop had repaid 88.6% of its own by the same frequency and spends decades above on the rest. Below a tenth of the sample rate the sampled loop is the continuous loop with half a sample of delay, 24.7° of margin against 24.6°. And the finite band turns the equality into a floor: hold the sensitivity 20 dB down over a third of the band and no loop can peak below 10 dB. This loop's floor is low and its margin sets its peak; the sample rate at which the peak is 3 dB above the continuous loop's is 18 times the crossover.