![]() Since the absolute accuracy of the R’s and C’s have improved, and amplifier bandwidths over a wide range of gains is far better today, it’s time to leave behind these myths of low or unity gain, equal C, or equal R and focus instead on more interesting issues inside the SKF. With these improvements in the SKF building blocks, it seems time to move beyond these legacy constraints and deliver better solutions. Finally, C0G dielectric, 1% multilayer ceramic capacitors (MLCCs) with low temperature drift are also available at low cost. Much like the ancient fear that viewing the Medusa would turn you into stone, this myth spreads unnecessary trepidation where in fact these devices are very useful in SKF low pass stages. Some sources imply the CFA topology cannot be used in an active filter circuit. These are available at low power and low cost with bandwidths exceeding 500 MHz over gains from 1 to 10. Also useful are current feedback op amps (CFA) that hold relatively constant bandwidth over gain, so they are very uesful in SKF stages that require gain. Low-power/low-cost voltage feedback (VFA) op amps with unity gain stability and bandwidths in excess of 1 GHz are available. The last 25 years have brought major advances in op amps and passives. Also, in the earliest days, it was no small task to come up with amplifiers fast enough to implement these filters reliably without considerable production variation, and unity gain certainly helps with that issue. Many authors also deem equal C desirable to get better matching in the C’s, particularly when the effort is headed toward IC implementations. ![]() ![]() However, the circuit gives you five elements to resolve: the two R’s, the two C’s, and the amplifier gain.Ĭonstraining your design flow to just unity gain and equal C (a very typical approach in academia) removes two of those pesky degrees of freedom, leaving you a unique set of R’s that will hit the ω0 and Q once you have chosen some desirable equal C values. How do these “myths” arise? For a single second-order stage, the designer is really only after three performance elements: dc gain, ω 0 (the characteristic frequency of a second-order pole pair), and Q (an indication of the complexness of the poles). But they are entrenched in the literature and most online design tools as a sort of design mythology. These assumptions don’t always lead to particularly good results. When multi-stage filters are implemented with gain, most of the gain is placed in the earliest stages. Almost all efforts immediately constrain implementations by unity gain in the op amp, equal R or equal C, or both. ![]()
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