What each family costs, at order 5
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 every number here moves with the order — 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 Filters, measured not tabulated, which is to say a change to it is a
change to lib/figures/filters.js.
It takes a slider on filter order 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 6 essays
which is the blast radius of changing it
Three families, one corner
Butterworth is flat, Chebyshev is steep, Bessel has good delay. None of those is a number, so the table they appear in cannot answer the question anybody has. Here each family's poles are computed from its definition, built as an actual network, and then measured — starting with the step every comparison skips.
What a steep skirt costs
A filter's order buys attenuation at a known rate — twenty decibels per decade per pole, and no arrangement of components changes it. What varies between families is how quickly the slope is reached, and the currency it is paid for in is delay: the steepest of the three distorts delay eight hundred times more than the gentlest.
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.
The zeros that buy an order
Butterworth, Chebyshev and Bessel all fall because their denominator grows, so the only way to make one fall faster is another pole. An elliptic filter puts zeros in the stopband instead, and reaches forty decibels at twice the corner with two poles where the steepest all-pole family needs five. What it charges is a stopband that stops falling — measured here at −38.7 dB, and overtaken by an ordinary Chebyshev two corners out.
The band that closes with the order
One Sallen-Key section is inside a tenth of a decibel of its own design over three decades of impedance level, bounded below by fifty ohms of amplifier output resistance and above by two picofarads of stray. Give it three more sections and the band is one decade; give it four and there is no impedance level at all that meets a tenth of a decibel. Every section brings three more nodes each carrying their own stray and one more amplifier carrying its own output resistance, so the floor rises with the order until it crosses the tolerance — a boundary in the order rather than in the impedance.
The Q the amplifier decides
A second-order section's quality factor is set by a capacitance ratio and its pole frequency by a product of four passive values, and neither expression contains the amplifier. Build it with one that has a gain-bandwidth a hundred times the corner — the usual rule — and the Q comes out 1.97 per cent high while the pole comes out 1.97 per cent low, the same number in both directions, and the number is the designed Q divided by the ratio. A fifth-order half-decibel Chebyshev built that way has 2.1 decibels of ripple.