Wanted *Norelco full-range speakers: 12" (such as AD-5200 or AD-5277M) and the best 8" (such as AD4877) in good condition; Grundig C-9000 automatic V. A. T. portable stereo with cassette recorder, in good condition. B. Kalish, 565 Walnut Avenue, Redlands, CA 92373 or call collect (714) 792-0220. *Sansui CA-2000 preamp; Sansui TU-9900 tuner. John Johnson, 435 E. 70th Street, New York, NY 10021, (212) 628-2461. *Sansui QSD-1 Variomatrix decoder. William Sommerwerck, C359 Radcliff House, Rosemont, PA 19010, (215) 527-4146.
Corrections and Amplifications AR-9 Review Sharp-eyed readers of Alvin Foster's AR-9 review in the March issue will have already noticed that Figures 1 and 2 were reversed. What is harder to figure out just from the text is that the values in the three figures for the frequencies above 10 kHz have been further scrambled. To unscramble them, get out your Tom Corbett decoder ring and proceed as follows: 1. Reverse the labels for Figures 1 and 2. Further instructions will refer to the new, correct numbers. - 2-
Redraw the data points above 10 kHz from Figure 1 onto Figure 3. Redraw the data points above 10 kHz from Figure 3 onto Figure 1.
The figures and the text will now correspond. We apologize to our readers and to Al Foster for the inconvenience. Later in the same article (p. 24), there is an editor's note about the reported distortion measurements. The coordinating editor for that issue, Henry Belot, would like our readers to know that this note was written not by him, but by Brad Meyer. SoundAids Record Player Mods We would like to clarify and expand the description of the SoundAids modification services described in the March Speaker (p. 6). SoundAids' principal service is the modification of existing turntable/arm combinations. They do this by cutting off the original arm tube/headshell combination and substituting a new one of lower mass. A new, lighter counterweight is also supplied, as are low capacitance arm cables. The price of this modification, performed on your turntable, is only $90. The original arm bearing assembly is retained. If you have an AR turntable, the company will replace the entire arm assembly with a specially tweaked JH Audiolab arm for $200. If you have no turntable, they will supply a Rotel RP2300 with their standard arm mod. The price of this package is also $200. And finally, the turntable shown in Figure 1 is a Pioneer 630, not a PL-112D. to thank Dee Condon of SoundAids for the helpful clarification. Comb Filter Intro There is a misprint in the second line of the introduction to F. Alton Everest's article, "Acoustical Comb Filter Effects, " in the April Speaker. The proper abbreviation for the magazine Recording engineer/producer is "r-e/p." We would like

A Suggestion for "In the Literature"
My thanks to whoever is sufficiently thoughtful to take the time and abstract the various publications in the audio field. Many times, however, I find myself in a quandary after reviewing this section. I am interested in a particular article but don't know how to go about obtaining it. Could you possibly include the appropriate addresses of the various publications where one could write to obtain a copy or even subscribe, if they desire? Such a list could be included periodically, but could also appear after each publication's name in that section. It would be helpful. -- Gerald H. Larsen (California) (Publishing a complete listing of this information every month would take up too much space, but the suggestion is a good one. A list of addresses and subscription information for all regularly excerpted publications will appear in the near future. -- Ed. )

Loudspeaker Q Revisited

InThe Speaker's March issue Carlos Bauza questioned the McIntosh puff on their low-Q loudspeaker design. Overdamping the woofer (so that bass rolls off beginning at a fairly high frequency), and then boosting the response to flat with an equalizer, is claimed to give better "transient response" than is provided by a loudspeaker system with a naturally flat bass response. Not so. Excessive damping certainly suppresses the Q of the speaker's mechanical resonance, but if an equalizer is used to restore the lost bass an electrical reactance is added. The net result is that, if the overall frequency response is the same, the transient response is also - 3-
identical. If the overall frequency response is made reasonably flat by either means, the transient response is so good that ringing simply cannot be heard. -- Roy Allison (Massachusetts) In the March 1980 issue of The BAS Speaker, a reader asks several questions about woofer response. These are restated below in slightly more technical terms. 1. 2. 3. Do woofers with Q's greater than critical, Q = 0.5, such as those with maximally flat response, Q = 0.707, or even peaked response, Q > 1, in the frequency domain necessarily have time domain responses that show ringing?" Do most woofers on the market trade less damping, higher Q, for more output at the lower band edge? And thus, do they have more "ringing" than they would if more heavily damped? Is a possible solution to the problem the addition of a "peaking" electronic filter, set at the lower frequency band edge, to an otherwise heavily damped and possibly bassdeficient loudspeaker? Would this magically give the required added output in the bass without the "ringing?" Is underdamping which allows "ringing" significant, or objectionable?

the treble response," and that what he has in mind where he says "electrical damping" is "electrical response correction." This interpretation being accepted, it follows that because the source impedance of an m. c. cartridge is low compared to that of some magnetic cartridges (e. g., Shure, Ortofon), the load capacitance used to correct an m. c. cartridge will be proportionately lower in impedance (higher in capacitance), not that electrical correction can never be effective. For example, in Hi-Fi Choice Number 13, "Cartridges and Headphones," Martin Colloms reports that the Ultimo (Dynavector) 20A gave a response rising above 5 kHz to +5 dB at 25 kHz, but that adding 68 nF to the 47K load reduced this to +1 dB and improved the sound quality. The British R. T. J. line of plug-in shunt capacitors includes 68 nF and 1.5 uF. I think the choice between mechanical damping and electrical correction to achieve flat response is a significant one. Increased mechanical damping of the stylus must spoil tracking, since it restricts the movement of the stylus; moving coil cartridges have something of a reputation for poor tracking, especially in the upper frequency range, typically requiring considerably higher tracking forces than magnetics. These forces may not deform the groove inelastically (permanently) but would result in more elastic (temporary) deformation than less damped pickups requiring lower tracking forces, not to mention the increased rate of stylus wear. Rather than devising complicated ways of reducing the damping in the midrange to cater for the high velocities there, while increasing it at high frequencies (see, for example, Ortofon's advertised damping system for their MC 30) where mistracking may be less obviously audible, m. c. cartridge manufacturers might well deal with the inconvenience for the average component buyer of fussing about capacitance loading by including it in the pickup cartridge body (for example, the Dynavector DV 20A Type 2; see High Fidelity, April 1980, p. 20). The capacitance values will easily overwhelm typical variations in input-circuit capacitance, and the added mass can be slight. For example, the Ortofon CAP 210 dual capacitor, intended to fit over the cartridge pins, weighs around 0. 1 gm; although a larger capacitance is needed for this application, it need not be so robust if located within the cartridge housing. -- Jack Reed (Illinois)

Learn Electronics in Your Spare Time Last winter I got fed up with the audiophile product fetish mentality (as I do periodically) and decided to concentrate more on developing my knowledge of electronics. I had become a fairly avid short-wave listener during the previous year, so I thought to try out amateur radio, a hobby which has a strong tradition of technical experimentation and self-training. It has turned out to be a rather gratifying hobby and I do feel that I've been learning steadily from it. My purpose in mentioning all this is not so much to tell everybody how I spent last winter, or to make propaganda for "ham" radio, but to recommend two sets of instructional materials, one fairly cheap and the other less cheap, which I have found helpful. The first set is published by Tab Books, which are carried by Radio Shack and other hobby shops. Amateur Radio Novice Class Study Guide, by Kyle and Sessions (#873, $5.95), was one of the few clear, up-to-date books I could find on a beginner's level. The same authors have written a similar volume (#851, $7.95) for the General Class license seeker, which could also be used by a beginner although it is naturally more challenging. Further books in the series cover the higher examination levels; I have not seen these. (There are five grades of FCC Amateur Radio licenses: Novice, Technician, General, Advanced, and Amateur Extra. Each successive one grants the "ham" wider operating privileges, and is earned by passing Morse code tests and/or written examinations on radio theory and practice; some knowledge of electronics is definitely required. ) The pricier set of materials is from Heath Company (Benton Harbor, MI 49022). They sell "programmed instruction" courses on many topics in electronics, including two on amateur radio. Whereas the Tab books are meant as study materials for the written exams, the Heath courses also include good Morse code training tapes. The General Class course, at $49.95, starts at a beginner's level, so one could omit the $39.95 Novice Class course. I did take the Novice course, however, and on the first try I passed the FCC five words-per-minute code test and the written
exam for the Technician Class license -- which is at the same level of difficulty as they require for a General Class license. Thus for my General ticket, I had only to go back and pass a 13 wpm code test, which took a few weeks' practice. Feeling then that I had perhaps gotten by a little too easily, I worked my way through Heath's General Class License course; to my surprise I was again promptly able to earn the next higher grade ("Advanced"), the license I still hold. All this was before I ever got "on the air" even once I If passing the FCC exams is what matters most, these courses were certainly the right stuff. For a more thorough study of general electronics without the emphasis on amateur radio, Heath also sells a series of five self-instruction programs at $45 to $60 apiece. I have not seen the first two volumes (DC and AC electronics, which basically cover Ohm's Law in its many applications), but from the catalogue descriptions I surmise that most of their essential content is also contained in the Amateur Radio General License course. The third volume, "Semiconductor Devices," is very clear and has considerably more detail than the corresponding section of the ham course; I am working through it and expect also to take the fourth course, called simply "Electronic Circuits." Heath sells an optional "Experimenter/Trainer" unit for $75, for use in performing certain experiments along the way. I strongly question its value unless the student feels a strong need to see very basic points demonstrated with test equipment. The courses themselves are already overpriced, as good as they are; for $5 or $10 less, perhaps, Heath might have left out the dinky little phonograph records which really contribute nothing to the courses. The FCC written examinations have just been revised, so there is some chance that either Tab Books or Heath Company will revise their texts to match. The two Tab books were already in a "2nd edition." But it is also quite possible that with their general coverage, no revision will be found necessary. In any case, the principles of electronics as contained in them will not soon become obsolete. -- David Satz, N1AWG (Massachusetts)

The B&O Beocord 8000 Cassette Deck
Ah, the wonderful people from B&O have done it again. This, their latest high-end cassette deck, exemplifies the basic beauty of all B&O designs and features a rather elaborate set of microprocessor controls, including a keyboard that looks somewhat like a calculator. I won't belabor you with too many details concerning this unit, but I suggest that you rush off to your local dealer, get a brochure, and see one for yourself. One of the more intriguing aspects of this unit is its ability to calibrate its digital elapsed time indicator to each individual tape being used. Thus, as you are recording or playing back, the large display automatically reads in minutes and seconds. This particular feature allows you to find any selection on tape once you know where it is. This can be done even on tapes which were not recorded on the B&O. The Beocord 8000 handles metal tapes for those of you so inclined. In true B&O tradition, this high-end (about $1,000) deck is a two-head machine and does not come with user-adjustable bias or Dolby record calibration controls. So if you elect to get one of these, have your dealer calibrate it for the tape you plan to use for recording. A dealer who knows what he is doing can accomplish this in only a few minutes, and the unit maintains its calibration very well. To date, I've made about a dozen recordings with the unit and in A-B comparisons with the source material its performance is excellent. In short, you'll love the human engineering aspects of the unit and its technical qualities are superb, too. Go see for yourself. My dealer normally checks out every piece of equipment before it leaves the store. In the case of the Beocord 8000, I was present during this testing and the unit appeared to test correctly according to the dealers manual. When I got home however, I discovered that the record level controls didn't appear calibrated one to the other at my normal recording level. I brought the unit back to the dealer and we once again went through the testing procedure. We discovered that the record level controls, for the test procedure, wind up at a record level of about seven on the front scale. Under these conditions, they were balanced. When we moved the controls back down to three (where I normally record) we found that they were not in balance, one channel to the other. This indicated that the logarithmic sliding pots which control the record level were not properly matched, or that one was defective, and my dealer very quickly replaced the unit with a new one which tested properly at all record levels. My thanks go to Dimensions in Stereo of Torrance, California for another outstanding example of what a good dealer is all about, and to Bang - 6-

otherwise excellent; bidirectional record/play with consistent performance in both directions; good metering). Marantz 6000 (poor playback response from test tapes; overbiased for metal; audible hum; poor headroom with high-bias tapes; performance is improved at double-speed setting). Optonica 5100 (a clear best-buy, very good overall performance at a budget price). Philips 5748 (excellent performance with CrO2 and budget ferric tapes, underbiased for premium ferrics; excellent tape transport). Technics M63 (lousy instruction manual, performance good with premium ferrics, mediocre with other tapes). HiFi Stereophonie (Germany), April 1980 *The Guitar: Do the Culture Machines Impede Lively Music Making? (p. 434). *Today's Situation in Guitar Playing Education (p. 436). *Guitar - The Omnipotent Instrument (p. 440): Remarks about a rock music symbol. *The Inviting Guitar (p. 446). *Small Labels: Trikont Verlag (p. 452). *Test Reports (p. 500): The Philips 22AH180T tuner (good). The Marantz Model 300DC power amplifier (very good). The Audio Reflex EQ1 equalizer (this Canadian product is rather impressive both in its high quality and low price). The Sony Falcon GG-20 compact separates, the PS-20 turntable, the TAE-20 preamplifier, the ST-20 tuner, the TC-20 cassette recorder and the SA-20 active loudspeakers (very fine, except for the speakers). The Heco precision 400, 300, 200 and 100 loudspeakers (neutral, capable of substantial bass). *FM Sensitivity Data in dBf (p. 502). *The 1980 CES in Las Vegas (p. 528). HiFi Stereophonie (Germany), June 1980 *Interrelation of Pop Art and Pop Music (p. 682). *Pop Art and Art Rock - Andy Warhol and Patti Smith (p. 690). *Sung Pictures - The Painter and Minstrel Singer Arik Brauer (p. 696). *Remembrances of Dada (p. 701): About the early protest art of this century. *The German Record Award 1980 (p. 716). *Test Reports (p. 751): The Eumig FL-1000uP and the Sharp Optonica RT-9100H cassette recorders (top class, but the law of diminishing returns is strongly evident, the High Com noise reduction of the Eumig markedly better than Dolby of the Sharp). The Braun C 301M cassette recorder (very good, especially with metal tape). A psychometric test of six vertical array tower loudspeakers: the Acoustic Research AR 9, the Braun Studiomaster 2150 (the two best of the group, neutral, capable of high volume levels, the Braun more transparent and even dry, the AR softer with more lower bass), the Epicure 3. 0 Trilogy, the Lambda M2 MkIII, the Atlantic Skyline and the Shot-Glass Signature (the worst in the group, unbalanced, colored). *A Listening Test: Cassette Recorders of Standard, Middle and Top Classes (p. 758): These were, respectively, the Dual C 810 (Dolby, Memorex Cr tape), the Braun C 301M (Dolby, TDK MA-R tape), and the Sharp Optonica RT-9100 (Dolby, Sharp C-46 MX tape) and the Eumig FL1000uP (High Com, TDK MA-R tape), compared in recording and replay of performances of Fidelio on Decca 6. 35492FK (digital) and RCA RVL-8502 (direct disc), using the Ortofon MC-30 phono cartridge. Even the top class models had trouble capturing the high level choir and transient sounds; only the Eumig with High Com did not impair the S/N of the records. The better sound quality of the top class recorders was discernible only on complex signals with wide dynamic range and lots of high frequency content. International Audio Review (IAR), Issue No. 5 This book-length "periodical" appears once or twice a year; this issue is about nine months late because its intended contents were shelved and replaced by a remarkable set of cartridge tests. *The Oracle: A rave review of an $850 Canadian turntable, judged far superior to the Linn Sondek and everything else because of its outstanding suppression and isolation of all vibrations. The record is married to the platter mat via a clamp and a vacuum pull-down system. Tone arm not included. The Oracle is not yet sold in the U. S. A. *A Fluid that Works: A rave review of a disc-treatment fluid called LAST; unlike other materials which coat the vinyl, it apparently modifies the vinyl chemistry, thermodynamically optimizing the stylus/vinyl interface. At any rate dramatic reductions in treble IM distortion are shown. - 9-

adding or reducing absorbing material at strategic points. Some dips in T 60 at high frequencies can be very sharp and deep. These are usually due to phase cancellation effects, which may look rather drastic on an oscilloscope, but cannot normally be heard since they are too narrow.
Figure 1. Plots of room reverberant sound level in the GTE Labs auditorium as a function of time after the sound source is shut off show a nearly linear decay with time for the first 40 dB. Each major vertical division is 10 dB and each major horizontal division is 50 msec. Three measurements were made using one octave band of pink noise centered at 2 kHz (a), 500 Hz (b, lower curve), and 8 kHz (b, upper curve). Flutter Echo When a transient sound bounces back and forth between two parallel walls with little absorption, a condition known as flutter echo is created. It can be detected by listening for distinct multiple echoes from a sharp hand clap, and is most evident when all but two parallel surfaces in the room are good sound absorbers. A flutter echo measurement is made to determine two things: does the room have a flutter echo and, if so, which surfaces are causing it? The microphone is set up at some position in the room and the oscilloscope is adjusted to trigger when the first transient hits the microphone. An initial measurement is made with a hand clap close to the microphone. The oscilloscope trace begins and records each echo as it returns from being reflected at a wall or ceiling and passes the mike. It also traces the overall decay of sound level in the room. By examining the position of the peaks as they occur in time along the trace, an estimate can be made of which surfaces are contributing the major reflections. As an example, Figure 2 shows the results of a flutter echo measurement made in the auditorium by Mr. Fierstein. The mike was placed about nine feet from the front of the room and centered between the side walls. In the lower trace a peak is seen about 15 milliseconds after the start at the left edge. At a velocity of 1140 ft. /sec. sound will travel 17 ft. in 15 msec. That is, the hand clap traveled 8.5 ft. from the mike to a reflecting surface (front wall) and 8.5 ft. back to the mike (17 ft. total) to register the first echo peak. The second peak occurs at 95 msec. This corresponds to a round-trip distance of 108 ft. or 54 ft. to the reflecting surface, which targets the rear wall as the source of this echo. A third peak at 110 msec. is the front wall reflection traveling to the rear wall and back, past the mike. Other peaks can be correlated with further multiple reflections from the front and rear walls and with reflections from the side walls. From the trace in Figure 2 it is obvious that overlapping reflections from a number of surfaces can be confusing. To emphasize only two surfaces at a time, Mr. Fierstein puts the mike midway between those two only, and off center with respect to all others. With this arrangement the clap transient arrives at the mike simultaneously from both walls, producing peaks that are twice as strong and spaced evenly along the time axis. These characteristics make them more easily identified among the other echo peaks. A second measurement made with the mike located at one surface will give similar results, but with a doubling of the time between peaks. A com- 13-

parison of the two measurements should allow a positive identification of those surfaces' reflections.
Figure 2. The oscilloscope trace, triggered by a hand clap transient, records room echoes as peaks superimposed on the ambient decay. The horizontal time axis is 50 msec per major division.
Mr. Fierstein commented that echo suppression is not the only reason it is desirable to reduce reflections. Early reflections, by which he means those that arrive within 3 to 8 msec. after the direct sound, tend to combine with the direct sound to produce frequency response aberrations due to phase cancellation effects. Fierstein mentioned two techniques for reducing reflections. The first involves hanging a curtain of absorbing material near the reflecting surface at a distance of one-quarter of the sound wavelength to be absorbed (e.g., the absorber-to-surface spacing should be about 3.4 inches to most effectively absorb sound frequencies around 1 kHz). The second method uses diffusing elements to break up the reflected wave and scatter its energy incoherently about the room. A combination of these two methods, e.g., the application of spaced strips of absorbing material, can sometimes produce results that are esthetically as well as acoustically pleasing, according to Mr. Fierstein. Time Delay Spectrometry (TDS) Swept frequency response measurements can be useful for checking a room for poorly damped room modes (resonances) and rattles, and for determining the detailed frequency response char acteristics of speakers. Unfortunately, the straightforward technique of driving a speaker with a signal which sweeps in frequency, and plotting the response picked up at a microphone, gives the sum of all of these effects and more. Separating them so that they can be identified and analyzed individually requires a much more sophisticated approach. One way of achieving this separation makes use of the different arrival times at the mike of each of the individual components which affect the total sound (direct sound from the speaker, early reflections, room resonances, etc.). We can build a gating circuit which will turn on the mike for just a moment, some time after the sound leaves the speaker, and measure only those sounds which arrive during that on time or "time window." The amount of delay before turning on the mike corresponds to the distance the sound has traveled from the source. The shortest time delay or distance which gives useful information is usually that between speaker and microphone. Setting the time window for the first arrival of a brief pulse from the speaker will produce the anechoic frequency response of the speaker, un-muddied by room reflections. By adjusting both the initial delay and the width of the window, frequency response information can be obtained for selected elements or combinations of elements in the room. This technique is referred to as time delay spectrometry (TDS). The TDS instrumentation used by Mr. Fierstein consists of a sine wave generator and a band pass filter, both of whose frequencies are swept from 1 kHz to 10 kHz. The filter follows the sine wave frequency, but with a time delay which is adjustable. This time delay is in effect the time the system waits before listening to the sweep. The filter width is the size of the time window, or range of distances (and frequencies), over which the system listens. In operation the swept sine generator drives a speaker; a mike picks up the signal, which is passed through the delayed filter, and displayed on an oscilloscope as amplitude versus frequency.

and setting the panes in rubber molding can reduce transmission through windows. All direct paths through the air should be blocked.
Figure 4. The 1/3-octave pink noise spectrum of two speakers displayed on an Ivie IE-30A show the response when the speakers are aligned (a) and when the speakers are offset 2 inches (b). The vertical calibration is 1 dB per dot. Speaker Polarity and Phasing While simple listening tests may be adequate for detecting polarity reversals in speaker terminal connections, more sophisticated test methods are required to ferret out phase reversals in one driver of a multi-driver speaker system. For polarity and phase determinations, Mr. Fierstein uses a half-sine pulse to drive each speaker, in turn, and displays the microphone signal on the storage oscilloscope. A half-sine rather than rectangular pulse is chosen because the latter is a broad band signal which tends to excite all of the drivers of a speaker, making individual polarity or phasing determinations difficult. Although the half-sine does have a harmonic spectrum, its fundamental frequency is more dominant, and if properly chosen can effectively excite predominantly one driver at a time. An example of the waveform produced by a speaker fed the half-sine pulse is shown in Figure 5, where a comparison is made between two waveforms, one of them phase reversed.
Figure 5. Speaker polarity can be determined by comparing the response to a half-sine drive signal for one polarity connection (a) and the reverse (b). By pulsing the woofer and then the tweeter, using half-sine pulses with fundamentals in their respective frequency ranges, phase differences or time delays between the two drivers can be measured. Mr. Fierstein pointed out that in some speakers phase differences between drivers are purposely built in as part of the acoustic design. One example is the Altec 604, which has an 8 msec. time delay between the low and high frequency drivers. -- John Schlafer

A Publication of the BAS

Equipment Review Index for The BAS Speaker, Volume 7 Ronald L. Johnston
The following is an index of equipment reviews from the "In the Literature" sections of The BAS Speaker, Volume 7. The index may be used to locate a review in any of the regularly excerpted publications, which are listed below along with the abbreviations used in the tables. Note that this is not necessarily a complete list of the contents of each magazine, but only of those reviews which were selected by the authors of "In the Literature." As was the case in the index for Volume 6 (which can be found in Volume 7, Nos. 11 and 12 -- Ed.), some equipment articles and reviews from other parts of The Speaker have been included. The list is organized into component categories, and within each category by manufacturer and model number. The abbreviation for the magazine comes next, followed by the issue number. Finally, in parentheses, is the number of the issue of The Speaker in which the review was cited. Thus, if the Threshold Model 4000 power amp is reviewed in The Absolute Sound, No. 14, and this review is mentioned in the March issue of The Speaker, then (remember, our subscription year begins in October) the entry would be: Threshold 4000: AS #14 (6). I apologize in advance for any errors or misclassifications. If any readers have ideas to improve the format, I'm open to suggestions. Due to the prodigious number of reviews contained in each issue of the Hi-Fi Choice series, these publications have been omitted from this index. The following editions were mentioned in Volume 7: Hi-Fi Choice: Tuners Loudspeakers Turntables and Tonearms Cartridges and Headphones Abbreviation A AA AC AF AH AS ASC BAS BP db G HF HFN HFS Mr. A MR BAS pp. 4, 5 BAS p. 5 BAS p. 3 BAS p. 3 Publication Audio Audio Amateur Audio Critic Audio Forum Audio Horizons The Absolute Sound AudioScene Canada The BAS Speaker Boston Phoenix db Gramophone High Fidelity Hi-Fi News and Record Review HiFi Stereophonie (Germany) Mr. Audio's Bimonthly Modern Recording (1) (3) (12) (12)

Toshiba C-400: HFS 3/79 (6) Avid 330: HF 3/79 (6) B&W DM2/II: G 12/78 (5); HFN 6/79 (10); SR Van Alstine/Sonus Es-AnsM: AS #13 (3) Win Labs SDT-10 Mk. 2: BAS p. 7-8 (2); AC 8/79 (12) Vol. 1 #6 (4) Backes & Muller Monitor 6: HFS 10/78 (1) Bang & Olufsen C40: SR 8/79 (12) Headphones Bass Mint 10/24: AC Vol. 1 #6 (4) Beveridge 2SW/II: AS #14 (6); SP Vol. 4 #4 (10); Test of 36 headphones by Aiwa, AKG, Braun, AC Vol. 2 #1 (12) Bose 901/III: HFS 3/79 (6) Canton, Dero, Grundig, Jeklin, JWS, Bozak LS-300: HF 4/79 (7) Koss, Micro, Peerless, Saba, Sansui, Sennheiser, Stax and Vivanco: HFS 7/79 Braun LW1/L530S: HFS 3/79 (6) (10) Braun SM 1002: HFS 10/79 (12) AKG K141: HFN 1/79 (5) Braun L-200: SR 8/79 (12) Audio-Technica ATH-7: HF 1/79 (4) Cabasse Brigantin 3VTA: HFS 10/78 (1) Beyer ET 1000: HFN 1/79 (5) Canton Gamma 800L: AC Vol. 1 #6 (4) B&O U70: HFN 1/79 (5) Canton Gamma GLE 70: HFS 3/79 (6) Howland-West 1750: HFN 1/79 (5) Canton Gamma GLE 50: HFS 10/79 (12) Infinity ES-1: SA Vol. 2 #5 (1); AC Vol. 1 Canton Gamma GLE 40: HFS 8/79 (12) #6 (4) Celestion Ditton 22: HFS 6/79 (9) Jeklin: SA Vol. 2 #5 (1) Celestion Ditton 551: G 5/79 (10) Koss ESP/10: SA Vol. 2 #5 (1); HFN 1/79 (5) Celestion Ditton 662: HF 9/79 (12) Koss Pro/4AAA: SR 1/79 (4) Cerwin Vega R12: HFN 6/79 (10) Koss HV/1A: BAS p. 10-11 (5) Chartwell PM110: G 8/79 (12) Leak 3000: HFN 1/79 (5) Cizek MG-27: AC Vol. 1 #6 (4) PWB: HFN 1/79 (5) Cizek KA-1: BAS p. 6-7 (9) Revox RH-310: HFN 1/79 (5) Cybele: AS #15 (12) Sennheiser HD 420: HFN 1/79 (5) Dahlquist ALS-3: SR 8/79 (12) Signet TK-33: AC Vol. 1 #6 (4) Dansk Prof 100/140: HFS 8/79 (12) Stanton Dynaphase 35: HFN 1/79 (5); PE 6/79 Dansk Prof 80/100: HFS 8/79 (12) (9) Dansk Prof 50/70: HFS 8/79 (12) Stax SRD Sigma: HFN 1/79 (5) Dennesen electrostatic: BP 10/3/78 (2) Stax SR-X Mk. 3: SA Vol. 2 #5 (1) Dennesen SW-II: AC Vol. 2 #1 (12) Superex PEP-81: SA Vol. 2 #5 (1) Design Acoustics D- 12A: AR 3/79 (6) Toshiba HR 811: HFN 1/79 (5); G 7/79 (12) Dual CL470: HFS 6/79 (9) Dual CL241: HFS 10/79 (12) Speakers Dynaco A-30XL: AS #13 (3) ESS amt 1b: HFS 10/78 (1) Tests of seven mini speakers: BP 10/3/78 (2) ESS amt Monitor: HFS 7/79 (10) AAL Micro 100: SR 8/79 (12) Electro-Voice Interface B-II: S Fall '78 (1) ADS 300: SR 8/79 (12) Elton Serie els 1000: HFS 12/78 (4) AEI Evolution One: T$S Vol. 2 #5 (1) Fisher STE-1200: HFS 10/78 (1); HFS 4/79 (7) AR-9: PE 10/78 (1); HFN 12/78 (4); HFN Fisher STE-1150: HFS 4/79 (7) 3/79 (7); AS #15 (12) Fisher STE-1110: HFS 4/79 (7) AR-90: SQ Summer '79 (9) Fisher ST-460: PE 8/79 (12) Acoustat X: SO Vol. 4 #3 (1) Fried B/2: AC Vol. 1 #6 (4) Acoustat Monitor: AS #13 (3); AS #14 (6); AS Fried T: AC Vol. 1 #6 (4) #15 (12) Fried W: AC Vol. 2 #1 (12) Acron 3000: HFS 10/79 (12) Fried C: AC Vol. 2 #1 (12) Acutex MTS1: SR 8/79 (12) Gale GS401A: SR 4/79 (7); AS #15 (12) Advent Powered: S Fall '78 (1); PE 1/79 (4) General Sound Micron 500: SR 8/79 (12) Advent New: AS #14 (6) Goodmans Achromat: G 2/79 (6) Advent 400: BAS p. 5-6 (9) Goodmans Sigma: HFN 6/79 (10) Akai SW-7: SR 8/79 (12) Grafyx SP-10: HF 4/79 (7) Allison Three: HFN 12/78 (4); G 4/79 (8) Grundig Professional Series: HFS 1/79 (5); HFS Allison Four: HFN 6/79 (10) 3/79 (6) Altec Lansing 19: HFS 10/79 (12) Harbeth HL Mk. II: G 8/79 (12) Audioanalyst M2: SR 8/79 (12) Heco Professional 650: HFS 6/79 (9) Audiomaster MLS4: HFN 6/79 (10) Heco 450: HFS 10/79 (12) Audiomaster MSL1: G 8/79 (12) Hill Plasmatronics Type I: SP Vol. 4 #4 (10) AudioPro B2-50: HFN 7/79 (12) Hitachi HS-1: SR 8/79 (12) Avid 230: SR 2/79 (5) ITT 8073: HFN 6/79 (10) - 22-

Infinity QRS: HFS 9/78 (1) Spendor BC-1: SO Vol. 4 #3 (1) Infinity Qe: S Fall '78 (1); AS #13 (3) Spendor BC-la: AS #13 (3) Infinity Infinitesimal: HF 6/79 (9) Symdex Sigma: AC Vol. 1 #6 (4); AC Vol. 2 #1 Infinity 4. 5: SP Vol. 4 #4 (10); HFS 8/79 (12) (12) Isophon HPS-90: HFS 3/79 (6); HFS 4/79 (7) Synergistics S-92: SR 12/78 (3) Isophon HPS-140: HFS 4/79 (7) T&A elektroakustic Delta: HFS 11/78 (3) JBL L-110: HFN 10/78 (2); HFS 6/79 (9); TSM Puris 62: HFS 10/79 (12) HF 7/79 (10) Tannoy 125: HFN 6/79 (10) JR 150: G 8/79 (12) Technics EAS-10 TH 1000 ribbon tweeter: HFS JVC s-M3: SR 8/79 (12) 1/79 (5) Jim Rogers JR149: BAS (1) Technics SB-F1: G 8/79 (12) Jordanow 80/130A: HFS 6/79 (9) Telefunken TLX-Professional Series, TLX-3, KEF 105: G 9/78 (2); HFN 10/78 (2); HFS 2/4 and 1: HFS 7/79 (10) 3/79 (6); SR 6/79 (9); HF 7/79 (10) Thiel 03: AC Vol. 2 #1 (12) KEF Celeste: G 3/79 (7) Thorens Sound Wall HP-380: HF'S 4/79 (7) KEF Concord III: HFN 6/79 (10) Ultralinear 228: SR 1/79 (4); HF 5/79 (8) KEF 101: G 8/79 (12) Ultralinear M16: SR 8/79 (12) Kinetic Audio (Kustom Acoustics) Stat 400: Vandersteen Model U: AC Vol. 2 #1 (12) AS #15 (12) Visonik David 803: HFS 12/78 (4) Koss CM/1020: S Fall '78 (1); SR 8/79 (12) Visonik David 702: HFS 12/78 (4) Koss CM 530: PE 6/79 (9); HF 9/79 (12) Visonik Expuls 1: HFS 4/79 (7) LTC 100: AS #13 (3) Visonik Expuls 2: HFS 6/79 (9) Lafayette Pipsqueak: BAS p. 5-6 (9); SR Visonik 502 w/ Sub-1 woofer: AS #13 (3); SQ Winter '79 (3) 8/79 (12) Visonik Euro 7: HF 7/79 (10) Lentek S4: HFN 6/79 (10) Magneplanar Tympani 1-D: AC Vol. 1 #6 (4) Visonik D-6000: SR 8/79 (12) Watson 10-H: AC Vol. 1 #6 (4) Marantz HD-880: BAS Publication (7) Wega Direct 1 and 11: HFS 1/79 (5) Mark Levinson HQD: SP Vol. 4 #4 (10) Wega Concept 51K: HFS 2/79 (6) Mission 770: HFN 3/79 (7) Mitsubishi MC-7500: HFS 2/79 (6) Wharfedale SP2: HFN 6/79 (10) Monitor Audio MA4/II: HFN 10/78 (2) Wharfedale Shelton XP2: G 8/79 (12) Yamaha NS-1000: A 1/79 (4) Mordaunt-Short Signifier: HFN 10/78 (2) Zachry EM12: HFS 12/78 (4) Mordaunt-Short Pageant II: AS #13 (3); AS #15 (12) NAD 8080: HFN 6/79 (10) Miscellaneous Ohm L: SA Vol. 2 #5 (1) Philips RH545 MFB: HFS 10/78 (1) Automobile Equipment Pohler PS5503: HFS 2/79 (6) General articles: BAS p. 10-11 (1) Pohler PS4302: HFS 2/79 (6) Blaupunkt speaker: HFS 1/79 (5) Polk Mini-Monitor: SR 8/79 (12) Canton HC100 speaker: HFS 1/79 (5) Precedent M. S. Mod. III: AS #13 (3); AC Grundig L/U 200 speaker: HFS 1/79 (5) Vol. 1 #6 (4) Pyramid Metronome: AS #13 (3) Jensen R430 receiver/cassette deck: A 1/79 (4) Pyramid T-1 ribbon tweeter: AC Vol. 1 #6 (4); AC Vol. 2 #1 (12) Analyzers, Scopes, Test Equipment Qysonic Array: HF 8/79 (12) Crown RTA-2 real time audio spectrum analyzer: RTR PS/1 compact: SR 7/79 (10) RTR DAC/1 subwoofer: SR 7/79 (10) MR 2/79 (5) Radford T90: HFN 6/79 (10); G 8/79 (12) Heath audio load and sweep generator: AA 1979 #2 (8) Realistic Minimus 7: SR 8/79 (12) Inovonics 500 third-octave LED spectrum analyRevox BR430: HFS 2/79 (6) zer: SS 5/79 (9) Rogers LS3/5A: HF 7/79 (10) Ivie 10A spectrum analyzer: SO Vol. 4 #3 (1); SMC AL50: HFN 3/79 (7) BP 4/3/79 (7) Sansui J11: SR 8/79 (12) Ivie 30A 1/3-octave real time analyzer: MR 11/78 Scott 188T: SQ Winter '79 (3) (2) Snell A: SO Vol. 4 #3 (1); AS #15 (12) Nakamichi T-100 audio analyzer: A 11/78 (2); Sony SS-G7: HFS 10/78 (1) SQ Summer '79 (9); PE 7/79 (10) Sony SS-G1: HFS 4/79 (7); HFN 6/79 (10) Realistic (Radio Shack) sound level meter: A Sony SS-5GX: SR 8/79 (12) 11/78 (2); BAS p. 13-14 (2); BAS p. 3 (4); Speakerlab S3: S Fall '78 (1) SQ Summer '79 (9) Speakerlab 30: HF 7/79 (10) -23-

Sabtronics 2000 digital multimeter kit: BAS p. 12-13 (2); RE 6/79 (9) Sabtronics 8100 frequency counter kit: PE 5/79 (8) Scott 830Z octave-band LED spectrum analyzer: SQ Summer '79 (9); SR 6/79 (9); MR 7/79 (10) West Side Electronics pink-noise generator: AA 1978 #4 (4) Cleaners, Demagnetizers, Maintenance Bib 115-AE tape head cleaning kit: G 5/79 (10) Empire Disco Film record cleaning system: A 4/79 (7); SQ Summer '79 (9) Keith Monk's Record Cleaning Machine: db 10/78 (3); AS #14 (6); SP Vol. 4 #4 (10) Knowin 3000 Disco-Antistat record cleaner: G 9/78 (2) Nortronics videocassette maintenance kit: SQ Summer '79 (9) Robins universal demagnetizer: SQ Summer '79 (9) Sonic Research Pixoff record cleaner: SQ Summer '79 (9) Sound Guard: BAS p. 21-27 (5); BAS p. 4 (8) Stanton Permostat record cleaner: A 5/79 (8) TDK HD-01 in-cassette head demagnetizer: A 3/79 (6); SQ Summer '79 (9) Equalizers ADC Sound Shaper Two: SR 2/79 (5); HFN 7/79 (12) Dyna SE-10: AA 1978 #4 (4) MXR 15 band: MR 11/78 (2); HFN 7/79 (12) Rotel 2000: HFN 7/79 (12) SAE 1800: HFS 2/79 (6); SR 5/79 (8) SAE 2800: HFS 2/79 (6) Soundcraftsmen 2215-R: A 7/79 (10) Soundcraftsmen 3044: MR 8/79 (12) Spectra Sound 1000B: MR 5/79 (8) Technics SH-9010: S Fall '78 (1); AC Vol. 1 #6 (4) White 4100: A 11/78 (2) White 4300: MR 12/78 (3) Mikes Nakamichi 700: BAS p. 3-5 (4) Neumann KM-83: BP 10/24/78 (2) Sony ECM 56: A 1/79 (4) Noise Suppressors
Nakamichi "Hi-Com": RE 3/79 (7) SAE: PE 11/78 (2) Speaker Cables Miscellaneous reviewed: BAS Publication (3); BAS p. 6-7 (6) Tocord Sound Cable: G 12/78 (5) Step Up Devices 10 moving coil devices: AH Fall '78 (1) Audio Standards MX- 10A head amp: AC Vol. 2 #1 (12) Denon HA- 1000 pre-preamp: AS #13 (3) Fidelity Research FRT-5 transformer: AC Vol. 2 #1 (12) Hafler DH-102 pre-preamp: G 8/79 (12) Leach pre-preamp: BAS p. 6 (12) Marcof PPA-1 head amp: AC Vol. 2 #1 (12) Nagatron 9000: SR 12/78 (3) Ortofon T-30 transformer: G 3/79 (7) PS Audio PS-II phono stage: AC Vol. 1 #6 (4); A 2/79 (5) Sony HA-55 head amp: G 6/79 (10) Trevor Lees (mod) pre-preamp: Mr. A Vol. 1 #3 (1) Time Delay/Ambience Recovery Systems ADS 10 digital time-delay: SR 4/79 (7); A 6/79 (9) Advent 500 Soundspace time-delay: HF 1/79 (4); A 5/79 (8); SQ Summer '79 (9) Neutrik AD4 analog delay: MR 5/79 (8) SAE 4100 time-delay: MR 12/78 (3); RE 2/79 (5) Schrieber 360 Spatial Decoder: AS #14 (6) Sound Concepts SD-550 delay line: S Fall '78 (1) Turntable Equipment/Phono Equalizers Berkshire Audio Matchmakers: A 3/79 (6) Berkshire Audio CCM Capacitance meter: A 3/79 (6) Cotter B-1 turntable isolation base: AC Vol. 1 #6 (4) Cotter B-2 isolation platform: AC Vol. 1 #6 (4) Cotter PSC-2 phono stage (prototype): AC Vol. 1 #6 (4) Cotter Mk-2 transformer: A 3/79 (6) DB Systems DBP-6 phono "equalization" kit: A 3/79 (6); SQ Summer '79 (9); SP Vol. 4 #4 (10) DiscTraker: BAS p. 5 (2) Osawa SE-22 Platter Pad: AS #13 (3) Miscellaneous by Manufacturer

Burwen THE 7000: PE 11/78 (2); A 1/79 (4); Ace 4000 infrasonic filter: SQ Summer '79 (9); HF 2/79 (5); BAS User's Report (10) PE 7/79 (10) Garrard: PE 11/78 (2) Allison electronic subwoofer: BP 10/3/78 (2) - 2 4-
Audio Technology 510 LED peak level display: A 5/79 (8); SQ Summer '79 (9) B. I. C. FM-8 Beam Box: SR 3/79 (6); SQ Summer '79 (9) Braun RS1 synthesizer: HFS 1/79 (5) Cotter NFB-2 audio bandpass filter: AC Vol. 1 #6 (4) dbx 2BX dynamic expander: MR 6/79 (9); RE 8/79 (10) dbx 1BX dynamic expander: SR 7/79 (10) Denon Phono Crosstalk canceller: AS #15 (12). Electronics Specialists RFI filters: BP 4/3/79 (7) Integrex Dolby B decoder: HF 9/79 (12) Integrex Dolby kit: SQ Winter '79 (3) Lectrotech PPI-400 LED power meter: RE 12/78 (3); PE 8/79 (12) McKay Dymek DR33 communications receiver: A 9/79 (12) Panasonic 1500 omnivision IV VHS videocassette deck: SQ Summer '79 (9) Pioneer D-23 electronic crossover and U-24 Control Center: HFS 10/78 (1) Sony Betamax MCR: SP Vol. 4 #4 (10) Sony PCM-1 digital recording adapter for video cassettes: SP Vol. 4 #4 (10) Tascam 15 mixer: MR 12/78 (3)

CXA3314ER

6GHz PLL
Description The CXA3314ER is a general-purpose PLL IC which directly frequency divides RF up to 6GHz in combination with an external VCO and loop. Features Low current consumption: 9mA (typ. at VCC = 3V) Low voltage operation: 2.7 to 3.3V Small package: 24-pin VQFN (plastic) Supports sleep mode: 10A (max. at VCC = 3V) Data setting by a 3-wire interface Reference frequency divider Reference counter: 15 bits (3 to 32767) Comparison frequency divider Fixed frequency division: 4 Swallow counter: 5 bits (0 to 31) Main counter: 13 bits (3 to 8191) Comparison frequency division value: 4 (992 to 262143) Built-in charge pump circuit with high-speed pull-in and normal modes Lock signal output function Applications This IC is ideal for the synthesizers of microwave communications equipment up to 6GHz and general-purpose PLL synthesizers such as in highspeed, high frequency measurement equipment. ETC (ITS) related VCO modules Wireless LAN communications High-speed, high frequency measurement equipment Structure Bipolar silicon monolithic IC Note on ESD strength This product has a low ESD strength to ensure the high frequency characteristics. Sony semiconductor devices are classified into ESD strength ranks from A to E based on ESD test results according to Sony original criteria. These ESD ranks are set for each test, and indicate the ESD risk for each breakdown model.
Sony reserves the right to change products and specifications without prior notice. This information does not convey any license by any implication or otherwise under any patents or other right. Application circuits shown, if any, are typical examples illustrating the operation of the devices. Sony cannot assume responsibility for any problems arising out of the use of these circuits.

24 pin VQFN (Plastic)

Absolute Maximum Ratings (Ta = 25C) Supply voltage VCC 3.6 V Operating temperature Topr 30 to +85 C Storage temperature Tstg 65 to +150 C Allowable power dissipation PD 900 mW Operating Condition Supply voltage

2.7 to 3.3

E00782E2Z-PS
Block Diagram and Pin Configuration
High-speed Pull-in Control CPOUT 19 I/2I

CP (Fast/Slow)

Buffer

Test Circuit

Intermittent Operation Control Circuit

12 LKDET

Lock Detector Reference Counter (15 bits)

CPVCC 20

11 CEX

SUB 21 3-wire Control

10 DATA

PFD RFINN 22

9 Swallow Counter (5 bits) Main Counter (13 bits) Dual Modulus (32, 33) Prescaler 7

RFINP 23

GND 24
Fixed Frequency Division (4) Prescaler

TESTDIS

Pin Description Pin No. 1 Symbol Standard DC voltage [V] 3

Equivalent circuit

Description

Power supply.

SUB 21

Analog circuit block

Substrate. Connect to GND normally.

24 GND

Ground.

2, 3, NC 4

No connected.
Power supply for output stage.

Digtal circuit block

13, 14 VSS

200 100k

1/2VCC
Reference frequency signal input.

21 SUB 13 VSS

13 VSS 21 SUB
Internal reference current setting. Connect to GND via a external resistor (1.8k). Icp = I 6.7 I IRext Icp: Charge pump current I: Internal reference current IRext: External resistor current Internal charge pump current switching.

Pin No.

Symbol

Standard DC voltage [V]

Connect to the loop filter via a resistor.
Ground for the charge pump output.

Charge pump output.

18 CPGND
Power supply for the charge pump output.

Vcc 0.9

VCO signal input.
Pin Description Pin No. 11 Symbol TESTDIS LE CLK DATA CEX I/O I I I I
Description Test mode switch pin. High: Active Low: Test mode
Latch input. Clock input. Data input.

14 VSS

Power save function pins.
High: Power save Low: Active

OUT 12

Lock detection signal output. Active mode High: Lock Low: Unlock Test mode Refer to 2. Test mode setting on page 12.
Electrical Characteristics Item Current consumption Current consumption (in sleep mode) Operating frequency Input level Reference input operating frequency Reference input level Symbol ICC ICC (PS) F-RF V-RF F-REF V-REF Conditions Current flowing to Pins 1, 6 and 20 during operation (Pin 11 (CEX): 0) Current flowing to Pins 1, 6 and 20 in sleep mode (Pin 11 (CEX): High) V-RF = 10dBm F-RF = 5.845GHz V-REF = 0.2Vp-p F-REF = 10MHz 10 0.2 Min.
(VCC = 3V, Ta = 25C) Typ. 9 Max. 14 Unit mA

A GHz dBm MHz Vp-p

Design Reference Values Item CEX DATA CLK LE High input voltage High input current Low input voltage Low input current Symbol VIH IIH VIL IIL RIREF RIRF ON Conditions DC resistance value DC resistance value DC resistance value Min. VCC 0.3000 Typ. Max. VCC +1 GND + 0.2 +1 Unit V A V A k
REFIN input resistance RFINN input resistance Pin 17 input resistance
Electrical Characteristics Measurement Circuit and Application Circuit

51 1.8k

1000p 16

19 CPOUT 0.1 3V 20 CPVCC

LKDET 12

CEX 11

21 SUB

DATA 10

22 RFINN 51 100p

23 RFINP 51 100p 24 GND

VCC VDD NC NC NC

SMA Terminal

Plane GND Power line

50 strip 0.3mm line

Application circuits shown are typical examples illustrating the operation of the devices. Sony cannot assume responsibility for any problems arising out of the use of these circuits or for any infringement of third party patent and other right due to same.
Description of Operation The CXA3314ER can make the following operation settings using the three DT, CK and LE signals. Item Counter frequency division value and pull-in mode settings Reference counter (R counter) frequency division value setting Swallow counter and main counter (N counter) frequency division value settings Pull-in mode setting Initialization Test mode Test mode setting Standby mode setting 1. Counter frequency division value and pull-in mode setting method The CXA3314ER sets data using the three DT, CK and LE signals. At this time, serial data is input as described below. 21-bit serial data is loaded via DT in order from the MSB at the rising edge of CK. After 21 bits have been input, the data is actually set at the rising edge of LE.
DT E = MSB (F, Ven) CK C2 C1 = LSB MSB'
Item number 1 1-1 1-2 1-3 1-4 1-3
LE or tch tcs tcwh tcwl teh tes tew
However, as mentioned above, if the counter overlaps with the preset timing of the frequency division value, there is the risk that an incorrect preset value may be preset in the counter. Therefore, the frequency division value should be set in sync with the counter output so as to avoid the preset timing. That is to say, the counter frequency division value is set after waiting for up to one cycle of the previous comparison cycle. Therefore, CK input is prohibited for the previous comparison cycle (Tcmp) after LE. The AC characteristics are as follows. Symbol Item Data to clock setup time Data to clock hold time Clock pulse width high Clock pulse width low Load enable pulse width Clock to load enable setup time Clock load enable hold time Min. Tcmp 8 Unit ns ns ns ns ns ns ns
tcs tch tcwh tcwl tew tes teh
Tcmp: Previous comparison cycle
The final two bits of the serial input are the control bits (C1, C2), and the setting item is selected according to these values. The setting items corresponding to the control bit values are as follows. C0 C1 Setting item R counter frequency division value setting, pull-in mode setting N counter frequency division value setting, pull-in start/end Initialization Test mode setting

1-1. Reference counter (R counter) frequency division value setting When the control bits [C1, C2] = [0, 0], the 15 bits (R15 to R1) of the serially input 21 bits are set as the reference counter frequency division value R. The value input as the frequency division value must satisfy the condition 3 R 32767. In addition, (S, I, E) of the upper 4 bits are set simultaneously with the R value as the pull-in mode. The serial input format is as follows.
LSB C1 C2 R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R11 R12 R13 R14 R15 S I MSB E
Reference counter frequency division value Control bits = [0, 0] Pull-in mode selection Pull-in mode end judgment Always set to "0".
15-bit reference counter frequency division value R (3 R 32767) R : 32767 R0 : 1 R0 : 1 R0 : 1 R0 : 1 R0 : 1 R0 : 1 R0 : 1 R0 : 1 R0 : 1 R0 : 1 R0 : 1 R0 : 1 R1 : 1 R0 : 1 R0 : 1
1-2. Swallow counter and main counter (N counter) frequency division value setting The N counter is comprised of a 5-bit swallow counter and a 13-bit main counter. When the control bits [C1, C2] = [1, 0], the 18 bits (N18 to N1) of the serially input 21 bits are set as the N counter frequency division value N = 32 M + S. The values input as the frequency division values must satisfy the conditions 0 S 31 and S M 8191. Adding the condition that the N value be a continuous value, the optional setting range is 992 N 262143. Note that in the CXA3314ER, the input to the N counter is the fixed 1/4 frequency division of the VCO output. Therefore, care must be taken as VCO frequency/comparison frequency (VCK) = 4 N. In addition, the uppermost bit (F) is set simultaneously with the N value as the pull-in start/end bit. The serial input format is as follows.

LSB MSB

C1 C2 N1 N2 N3 N4 N5 N6 N7 N8 N9 N10 N11 N12 N13 N14 N15 N16 N17 N18 F
Swallow/main counter frequency division value Control bits = [1, 0] Pull-in mode start/end
5-bit swallow counter frequency division value S (0 S 31, S M) S : 31 N0 : 1 N0 : 1 N0 : 1 N0 : 1 N1 : 1
13-bit main counter frequency division value M (3 M 8191) M : 8191 N0 : 1 N0 : 1 N0 : 1 N0 : 1 N0 : 1 N0 : 1 N0 : 1 N0 : 1 N0 : 1 N0 : 1 N1 : 1 N0 : 1 N0 : 1
1-3. Pull-in mode setting The uppermost bit (F) set simultaneously with the N value and (S, I, E) of the upper 4 bits set simultaneously with the R value are used for various settings in pull-in mode.
LSB N counter setting C1 C2 MSB F Pull-in mode setting (F) Control bits = [1, 0] LSB R counter setting C1 C2 S I MSB E

Control bits = [0, 0]

Pull-in mode setting (E, I, S) Always set to "0".
The meaning of each bit is as follows. F: Pull-in mode start/end flag Pull-in mode is activated and the lock detector is cleared when the F flag is set to "1". Pull-in mode ends when the F flag is set to "0". E: Pull-in mode end judgment flag Pull-in mode automatically ends when the E flag is "1" and lock is detected. When the E flag is "0", pull-in mode continues until the F flag is set to "0". IS: Pull-in mode flags These flags select the high-speed pull-in method used in pull-in mode. The various methods are active at the following timings. Loop filter saturation reset CP current doubled Damping resistance value halved When the S flag is "1". When the I flag is "1". When either of the S or I flags is "1".

1-4. Initialization When the control bits [C1, C2] = [1, 1], the counter frequency division value and pull-in mode setting bits are initialized and set to R = 40, N = 5795, F = 1, SI = 11, and E = 1. The serial input format is as follows.

LSB C1 C2 MSB

Control bits = [1, 1]
1-5. Test mode When the control bits [C1, C2] = [0, 1], the test command is set. The serial input format is as follows. Test mode operation is described in detail in the following section.
LSB C1 C2 MSB T0 T1 T2 T3

Control bits = [0, 1]

Test mode selection
2. Test mode setting Switching between normal operation mode and test mode is controlled by the TESTDIS pin. Normal operation mode results when TESTDIS is 1, and test mode when 0. In test mode, the mode settings can also be controlled by 3-wire interface input. The input format is the same as that described above. Note that the settings are valid only while TESTDIS is 0. When TESTDIS is 1, T0, T1, T2 and T3 are all initialized to 0. The test mode operations set by the setting bits are shown in the table below. T0 x x T1 x x T2 x x x x x x T0 Frequency division error detection flag function off Frequency division error detection flag function on; output to LKDET pin RCK signal output to LKDET pin VCK signal output to LKDET pin MOD signal output to LKDET pin Pull-in ON/OFF signal output to LKDET pin x: dont care
3. Standby mode setting Standby operation is controlled by the CEX pin. Normal operation mode results when CEX is 0, and standby mode when 1. In standby mode, the R counter, N counter, PFD and lock detector are all cleared, and the CP output is maintained at high impedance. In addition, the counter frequency division value setting and pull-in mode setting are saved.
Loop Filter Constant Settings The loop filter constant calculation method is shown below. Parameter definitions N: Counter frequency division value1 KVCO: VCO sensitivity (rad/s/V) 2 n: Natural angular frequency (rad/s) fn: Natural frequency (Hz) KPD: Charge pump gain (A/rad) 3 : Damping factor4 LUT: Lock-up time (s) KPD KVCO = 2fn NC 5 n 1 (LUT = ) fn = = n 2 LUT 2.5 n = R= 2 n C

1 Frequency division value N = (VCO oscillation frequency) (Comparison frequency) 2 The KVCO unit is normally expressed as MHz/V, but here it is multiplied by 2 to adjust the dimensions and expressed as rad/s/V. 3 The charge pump is a current output type. Here, the current capacitance is divided by 2 to adjust the dimensions and expressed as A/rad. Note that the charge pump current capacitance of this IC is approximately 300A in normal mode and approximately 600A in CP current doubled mode (REXT = 1.8k). 4 = 0.5 0.7 (typ.)

R1 GND RDMPSW

19 CPOUT Loop filter
Set C1 and R1 to the C and R values obtained by the formula above. C2 is generally set to 1/10 the value of C1. Set R2 so that the composite resistance of R1//R2 is the R value obtained by the formula above when the charge pump current value is doubled. (See 3.)
Example of Representative Characteristics
REFIN input sensitivity characteristics
5 VCC = 3.0V, Ta = 26C 0 5

REF input level [dBm]

REF input frequency [MHz]
RFIN input sensitivity characteristics

VCC = 3.0V, Ta = 26C 0

RF input level [dBm]

RF input frequency [GHz]

Current consumption
16 VCC = 3.0V, Ta = 26C 14

Current consumption [mA]

Supply voltage [V]
Example of 3-wire Serial Data Settings R value MSB LSB MSB LSB N value R=3 R = 32764 N = 992 N = 50000 N = 262143 Reset Initialize R = 100, N = 250 R = 100, N = 2500 R = 100, E = 1, I = 1, N = 2500 R = 100, E = 1, S = 1, N = 2500 R = 100, I, S = 1, N = 2500, F = 1

100 01

Package Outline

Unit: mm

24PIN VQFN(PLASTIC)
4.0 3.6 C 13 0.7 0.9 0.1 0.6 0.1 0.05 S

(0.3 9)

PIN 1 INDEX 0.4 x4 0.1 S A-B C x4 0.1 S A-B C 0.05 M S A-B C
0.03 0.03 (1) (Stand Off)
Solder Plating 0.13 0.025 + 0.09 0.14 0.03 TERMINAL SECTION

PACKAGE STRUCTURE

PACKAGE MATERIAL SONY CODE EIAJ CODE JEDEC CODE VQFN-24P-03 LEAD TREATMENT LEAD MATERIAL PACKAGE MASS EPOXY RESIN SOLDER PLATING COPPER ALLOY 0.04g

0.2 0.01

0.225 0.03

(0 4. 78

LEAD PLATING SPECIFICATIONS ITEM LEAD MATERIAL SOLDER COMPOSITION PLATING THICKNESS SPEC. COPPER ALLOY Sn-Bi Bi:1-4wt% 5-18m

Sony Corporation