What 10 ps of aperture jitter is worth, in bits
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 16 bits ends at 199 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 Where a signal becomes a number, which is to say a change to it is a
change to lib/figures/digital.js.
It takes a slider on aperture jitter (ps rms) 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 7 essays
which is the blast radius of changing it
What gets through from the rail
A regulator's job is to hold its output still while its input moves, and the measurement says it does that well at ten hertz, badly at a kilohertz, and not at all at ten kilohertz — where this one puts out 1.9 times what arrives. Then the same netlist with one node moved, the same loop gain and the same 46.5 degrees of margin, rejects 60.009 decibels better at every frequency in six decades. The sixty decibels is the pass device's own intrinsic gain and it is not a design choice.
A picosecond, read as bits
Every other boundary in this collection has a frequency, an amplitude or a size on its axis. This one has a duration. A converter that samples at t + δ instead of t gets a value wrong by the slope times δ, so the damage is proportional to input frequency and to nothing else about the part: ten picoseconds holds sixteen bits up to 199 kHz and twelve bits up to 3.18 MHz, falling at exactly twenty decibels a decade. An aperture figure quoted without an input frequency states no resolution at all.
A floor, or a line
Two clocks with identical two-picosecond jitter sample the same sinusoid, and the total error power is the same to a tenth of a decibel — the closed form an earlier essay computed, right for both. One of them puts that error across two thousand bins at −120 dB each; the other puts it into two lines at −91.5. The gap is the processing gain, it grows with the record length because a density falls and a line does not, and nothing in a specification quoted in picoseconds root-mean-square distinguishes the two cases.
The frequency a band moves at
The jitter rule is written for a sinusoid: ten picoseconds holds a tone at 1 MHz to 84.04 dB. A signal that fills the band up to 1 MHz holds 88.64 dB against the same clock, because each sample's error is its own slope times its own timing error, and a band's slope is set by its rms frequency — the top frequency over √3 for a flat band, 4.77 dB better. Pink content up to 1 MHz is 11 dB better than the rule and content falling as 1/f² is 29 dB better. So the same ten picoseconds hold sixteen bits to 199 kHz for a tone, 344 kHz for a flat band and 734 kHz for a pink one: an aperture figure needs a signal as well as a frequency.
A jitter that grows with the look
Two clocks with the same 0.1 ps spread in every period sample the same 10 MHz tone. If each edge is displaced independently, the error is 107.0 dB down at any record length. If each edge is displaced from where the last one landed — a free-running oscillator — the edges walk, and the error after fitting the best delay and frequency is 92.6 dB down over 256 samples, 80.3 over 4,096 and 68.2 over 65,536: ten decibels a decade of record, as the period spread times √(n/15). The one oscillator honestly has jitter figures from 0.10 to 4.7 ps depending on the length named. A locking loop is what gives the jitter a value: with a time constant of a hundred periods it stops growing at 87.0 dB.
The loop a reference allows
A sampling clock is a free-running oscillator held by a loop to a reference, and the reference has an error of its own. With 0.1 ps of period spread in the oscillator and 2 ps of white error in the reference, a first-order loop of 20 periods leaves the clock 0.453 ps from ideal — 90.9 dB on a 10 MHz tone — and that is the best any first-order loop can do: the oscillator's share rises as the square root of the loop's time constant, the reference's falls as one over it, and they are equal at σᵣ/σₒ. The clock's error there is the geometric mean of the two, so a reference a hundred times worse costs ten. On a spectrum the rule reads as one instruction: put the loop's corner where the free oscillator's skirt meets the reference's floor. And it holds only for long captures. Below about seven loop time constants the free oscillator beats every loop.
A frequency that wanders
Below its flicker corner an oscillator's phase noise falls thirty decibels a decade instead of twenty, because the oscillator's frequency itself wanders. A clock with 0.1 ps of period spread and a 100 kHz corner samples a 10 MHz tone at 84.1 dB over 1,024 samples and 52.9 over 65,536 — 14.7 dB worse than the walk alone — because past 2,277 samples its error grows as the capture rather than its square root. That crossing is 1.42 periods of the corner frequency for every corner. Fitting a parabola as well as a line buys 3.88 dB at every length and changes no slope; each further term buys a fixed fraction. And a first-order locking loop cannot stop it: the locked clock's variance grows with the logarithm of the record, 1.92 dB lost between 4,096 and 262,144 samples, until a loop with an integrator holds it at 87.5.