In a field where components and systems are often known by sterile strings of characters that manufacturers assign or by cutesy names that are clearly products of the marketing department and their focus groups, having your name attached to an innovation is rare. Rarer still is the case where the mere mention of an otherwise obscure inventor’s name brings up a complete schematic in the listener’s mind.
Given how rarely such an honor is bestowed, we’d be forgiven to think that Sidney Darlington’s only contribution to electronics is the paired transistor he invented in the 1950s that bears his name to this day. His long career yielded so much more, from network synthesis theory to rocket guidance systems that would eventually take us to the Moon. The irony is that the Darlington pair that made his name known to generations of engineers and hobbyists was almost an afterthought, developed after a weekend of tinkering.
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If you’ve hung around electronics for any length of time, you’ve surely heard of the decibel (often abbreviated dB). The decibel is a measure of a power ratio. Actually, the real measure is a bel, but you almost never see that in practice. If you are versed in metric, you won’t be surprised to learn a decibel is 1/10 of a bel. Sometimes in electronics, we deal with really large ratios, so the decibel is logarithmic to cope with this. Doubling the number of decibels doesn’t double the ratio, as you will soon see. It’s all about logarithms, and this ends up being extremely useful when measuring something like antenna or amplifier gain.
Besides antennas, decibels are often used to measure sound and light. The reason is that human ears and eyes have a logarithmic response to those quantities. Your ear, for example, has a huge dynamic range. That is to say, you can hear a whisper or a space shuttle launch. That ratio is about 1 trillion to 1, but that’s only 120 dB. This is also why potentiometers made for volume controls have a logarithmic taper. A linear pot would seem off because, for example, a tenth of a turn at one extreme will affect the apparent volume much more than a tenth of a turn at the other extreme. This holds true whether or not those knobs go up to eleven.
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