Model edges — the series
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Every model has an edge
Four assumptions the circuits in this field run on, with the frequency at which each stops being true, on one axis. The ordering is not the one most readers would guess — an ordinary amplifier circuit runs out of model at 1.42 kHz, three thousand times sooner than a ten-centimetre circuit board does.
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The edge that is a region
Every boundary drawn so far in this subject is a number on one axis, and the figure that gathers four of them admits in its own caption that the fifth is an amplitude and cannot go there. Drawn on both axes at once, the ideal amplifier's one per cent boundary is a region with three sides and a corner — and the corner sits at 38.5 kilohertz where the two numbers a data sheet quotes cross at 48.8, because the two mechanisms are lags on the same waveform and add as magnitudes rather than in quadrature.
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The edges that move with the room
Every boundary in this collection is quoted at one temperature and most of them are functions of it. The small-signal edge is proportional to the thermal voltage, so it runs from 5.67 millivolts at −40 degrees to 9.69 at +125 — a factor of 1.71, the ratio of the absolute temperatures exactly. A realised Q is 1.54 per cent high at one end of that range and 2.58 at the other. The numbers are right; the condition attached to them was left off, and it is the same condition every time.
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The edges that are lengths
Almost every boundary in this collection is a frequency or an amplitude, and both of those are things a circuit designer chooses. A handful are lengths — the 0.60 millimetres a gap's field reaches into a window, the 200 microns between a track and its plane, the 10 centimetres at which Kirchhoff's laws are a degree out — and they behave differently in one way that matters: nobody chooses them at the schematic, they are set by whoever builds the thing, and they appear in no netlist at all.
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A boundary is a model and a tolerance
Every edge in this collection is computed from a fraction of error nobody states, and the four on its opening axis use three different ones. Swept over two decades, each boundary moves as a power of that fraction — Kirchhoff's laws exactly as the first power, the amplifier and the capacitor and the small-signal model as its square root to within three per cent, and a full-power bandwidth not at all. The exponent identifies the mechanism, and it re-orders the axis twice: the board fails before the capacitor below 0.424 per cent, and the output before the amplifier above 21.7.
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The edge of a chain
A system built from stages that are each inside their own edge is not inside its own: the stages share one error budget. Four ×10 stages from a 1 MHz amplifier are 1% from ideal at 7.06 kHz, not at the single stage's 14.2 kHz — the edge moves as N to the −0.502. A signal path through four ten-centimetre boards is a degree long at 993 kHz, a quarter of one board's edge, as N to the −1. The chain's exponent is minus the edge's own exponent in its tolerance, measured on the line y = −x. And the small-signal edge of a chain with gain belongs to its last stage: four junction stages of ten are 1% off at 7.26 µV, a thousandth of one stage's 7.30 mV.
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The delay a chain adds
A chain of one-pole stages leaves its flat band as the square root of the number of stages, and it leaves its settling time faster: four stages take 10.0 time constants to settle within 1 per cent against one stage's 4.61, sixteen take 26.7 — 5.81 times one stage, where the frequency rule allows 4.02. The difference is a delay. The chain's step is the sum of N exponential lags, so it is an edge of mean N time constants and spread √N; the magnitude response sees only the spread. At a thousand stages the 1 per cent time is 1.074 of the delay. A chain budgeted to stay flat to 1 per cent settles to 1 per cent 45 per cent late.
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The stage that overshoots a little
A stage with a little overshoot settles sooner than a one-pole stage of the same bandwidth, 3.53 time constants against 4.61 within one per cent, and a chain of them should do better still, since a stage at the right damping adds almost no spread. It does not. The saving is 17 per cent at two stages, 11 at four and 2 at eight, and at sixteen the chain is 5 per cent slower than the one-pole chain, because a stage's extra delay adds as the number of stages and the spread it removes adds only as the root. The best damping stays near 0.83 at every length, just short of letting the overshoot out of the band. In frequency the same stages are five times flatter at their best, at a different damping, and so the two edges of a chain ask for two different stages.