Stabilizing Feedback Amplifiers

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Stabilizing Feedback Amplifiers Web: http://www.pearl-hifi.com 86008, 2106 33 Ave. SW, Calgary, AB; CAN T2T 1Z6 E-mail: [email protected] Ph: +.1.403.244.4434 Fx: +.1.403.245.4456 Inc. Perkins Electro-Acoustic Research Lab, Inc. ❦ Engineering and Intuition Serving the Soul of Music Please note that the links in the PEARL logotype above are “live” and can be used to direct your web browser to our site or to open an e-mail message window addressed to ourselves. To view our item listings on eBay, click here. To see the feedback we have left for our customers, click here. This document has been prepared as a public service . Any and all trademarks and logotypes used herein are the property of their owners. It is our intent to provide this document in accordance with the stipulations with respect to “fair use” as delineated in Copyrights - Chapter 1: Subject Matter and Scope of Copyright; Sec. 107. Limitations on exclusive rights: Fair Use. Public access to copy of this document is provided on the website of Cornell Law School at http://www4.law.cornell.edu/uscode/17/107.html and is here reproduced below: Sec. 107. - Limitations on exclusive rights: Fair Use Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, includ- ing such use by reproduction in copies or phono records or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for class- room use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include: 1 - the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; 2 - the nature of the copyrighted work; 3 - the amount and substantiality of the portion used in relation to the copy- righted work as a whole; and 4 - the effect of the use upon the potential market for or value of the copy- righted work. The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors ♦ PDF Cover Page ♦ ♦ Verso Filler Page ♦ AUDIO-HIGH FIDELITY Type.r Of o,rcil/atioll, ronditiOIl.r p rodll cillg tilell1, tile .ftahilitv criterioll By NOI\Mi\N II. CHOWHURST o ' A VOID confusion between kinds be evident because the blocking capac­ the results Can be slightly dilferent­ of instability let's start by defining itor may stop the low-frequency compo­ although thel'e may be eases where Tthe different things that can con­ nent from registering on the scope this difi'el'enee is so marginal that it stitute instabilitv, The one most displacement. It may just be noted tha,t cannot be used to discover whi('h kind ' evident is cOlltinuous oscillation, In the clipping point on the top and bottom of instability is o('cul'I'ing, feedbac k amplifiers, particularly, this of the wave seems to fluctuate in some One way is to run into overload, usually oecu 1'5 outside the audio spec­ erratic manner, This means that the amplifier behaves b'um, either at a ve ry hig'h 01' very low A way in which this forl11 of irt­ normally all the while the pl'ogram frequency, stability can be spotted, sometimes, is level stays inside the clipping point. If the high-frequency oscillation is by taking' de reading's at various points But as soon as the progTam runs into of sufficient amplitude to load fully ill the amplifier: plate, cathode, etc, clipping, the amplifier bursts into os­ some 01' all amplifier stag'es, it results The dc J'eading's will go up and down cillation and nothing will stop it ex­ in hi,ljli-fl'eqllenC1! hlocf..-i1liJ' This is with a slow fluctuation at the Slime I'ate cept turning the unit otf and starting chara('tel'ized by the output of the as the low-frequency instability, And over again, a The second way usuallv ditl'el's in the amplifiel' seeming exeeptionally quiet instead of moving' with ticking 01' ' � until one tries to pass an audio signal sawtooth ,waveform, whieh is respon­' means by which it is initiated not thro�lg'h it. Then the audio signal break!:; sible for 1110torboating, the instrument by going up to the ('lipping level, but through in varying- degrees, according pointer will wave up and down sinu­ by a somewhat smaller signal (but to the strength of the high-fl'equency soidally. not a very low one), This means that blocking', in an extt'emely distorted form, So much for the continuous types the amplitier may be all right while The sound resembles what one would of instability, They are more definite playing very quietly, But as soon as a imagine it to be like if the audio volt­ than the others, The remaining kinds slightly louder program is passed ages had to break down a spark gap are parasitic and conditional oscillation, through it, oscillation begins, before they got through, Low-intensity Supel'tically there is not mllch differ­ sounds don't get throug'h at all, but Parasitic oscillation enee between these forms and in prac­ larg'e ones break the gap down and This occurs at some point on a wave­ ti('al cases also the margin may be manage to carry some other small ones forlll and may be ha I'd to detect as an nnrl'o,v,', Bllf in cause there are tWII di/fel'ent cases To explain these through with them, Then, when the level entity audibly because the parasitic ' here! drops, everything becomes quiet ag'ain, frequency is inaudible-it does not fo;'ms of instability in feedback ampli­ The waveform, as seen on a scope, is show up audibly on a sinusoidal wave, fiers and find ways and means of CUI'­ shown in Fig, 1. However, it Illay well interfere with ing them, w� need to understalld why Low-frequency oscillation results some of the highel' frequencies on the they OCClil'. either in audible motorboating (since same wave and produce a form of in­ the oscillation is not sinusoidal), the terlllodulation distortion that sounds Stability criterion variety most easily recognized, 01' in muddy, The waveform for sine-wave A feedback amplifier is stable pro­ an approximately sinuso'idal low-fre­ input looks on the scope like Fig, 3, vided that the feedback does not get quelH'y waveforll1 which is inaudible The amplifier generally breaks into to being positive and of sufficient am­ because it is subsonic, oscillation at one point on a larg:e­ plitude to cause oscillation at any fre­ However, the latter may result in amplitude wavefonll and then dies out. quency within the rang'e of the ampli­ intermodulation distortion because it fier, Considerin),!: the overall gain carries peaks of the true audio signal Conditional oscillation around the feedback loop, rolloffs are beyond the output limit of the amplifier, The third variety of instability t:all bound to occur at the end of the re­ as shown at Fig: , 2, If you use an ac be called conditional oscillation, There sponse-in direet-('ollpled amplifiers at input to a scope, the real cause may not are two ways this can be caused and the hig'h-f requency end only; in the Fig. I, left-High-frt'quency hlocking. Fig'. 2, ct'ntt'r-Scolle display when an amillilier oscillates inaudihly at a very low fre­ quency. Circled numhers show start of trace and corresllonding uncircled nU'Alhers show the trace ends. Fig, :1. right-sine­ wav(' inlHlt Ilroduced hy Ilarasitic oscillation. 34 RADIOJELECTRONICS AUDIO-HIGH FIDELITY more u:;ual R-C-e:oupled amplifiers at both ends of the response. Associated with the progressive attenuation that --- -....... these ro)loffs introduce is a phase delay -........ at the high�frequeney end and a phase ....... advance at the low-fl'equency end. I'.. The problem in achieving stability ..... is one of insuring' that the attenuation around tile loop-that is, through the ; � amplifier and back through the feed­ I "- .. back to the input point again-becomes -l " sufficient so that the fed-back signal ---j-- I--- is less than the input signal before the 0 THIS LINE REP�rNTS UNITY GAIN I ,t phase shift reaches 180°. '\. " GAIN When the phase shift reaches 180°, HARGIll the feedback has chang'ed from nega­ i I'\.. --_. tive completely over to positive so that, I� I I' if the fed-back sig'nal is equal to the 10 "- I input signal, we have the condition I necessary to maintain oscillation. To jl '-I I determine whether this happens at any -�� -r- frequency we can draw the gain and 6f1 � l-r-+ phase characteristics of the amplifier - K loops (Fig. 4) and spot the point whel'e the gain has dropped to unity, i"o",,� IJIJ. --- --- --� then check on the lower' diagram to . j � I� .Ii see that the phase is less th�n 180�. H PIIASE f-- -r HAIIGIN , Or el�e, we can spot the point where I- "- f the phase reaches 180° and check to see 1', that the overall gain has dropped to 21 less than unity, (A mal'g'in of about ;{OO, 24 at unity gain, as shown, is desirable for i-j 270 I excellent stability,) This entl!\ls looking lie 2 3 4 5 6 � 10 l 50 40 SO 6 � at two curves, so the Nyquist diagram FREQ Fig g<lin <Ind ph<l!'t" rel!pllnse of 3n amlllifier.
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