Download the full version of the textbook now at textbookfull.

com

Foundations for microstrip circuit design

Fourth Edition Edwards

https://textbookfull.com/product/foundations-for-
microstrip-circuit-design-fourth-edition-edwards/

Explore and download more textbook at https://textbookfull.com

 Recommended digital products (PDF, EPUB, MOBI) that
you can download immediately if you are interested.

Practical Microstrip and Printed Antenna Design Anil

Pandey

https://textbookfull.com/product/practical-microstrip-and-printed-
antenna-design-anil-pandey/

textbookfull.com

Wideband Circuit Design First Edition Carlin

https://textbookfull.com/product/wideband-circuit-design-first-
edition-carlin/

textbookfull.com

Electronic Design Automation for IC Implementation Circuit

Design and Process Technology 2nd Edition Luciano Lavagno

https://textbookfull.com/product/electronic-design-automation-for-ic-
implementation-circuit-design-and-process-technology-2nd-edition-
luciano-lavagno/
textbookfull.com

Fitness The Home Workout Solution 1st Edition Kimberlee

Dekrey

https://textbookfull.com/product/fitness-the-home-workout-
solution-1st-edition-kimberlee-dekrey/

textbookfull.com
The Science of Being Well 2007th Edition Wallace D.
Wattles

https://textbookfull.com/product/the-science-of-being-well-2007th-
edition-wallace-d-wattles/

textbookfull.com

Tech Giants Artificial Intelligence And The Future Of

Journalism Jason Paul Whittaker

https://textbookfull.com/product/tech-giants-artificial-intelligence-
and-the-future-of-journalism-jason-paul-whittaker/

textbookfull.com

Libgdx Cross platform Game Development Cookbook 1st

Edition Marquez David Saltares Sanchez Alberto Cejas

https://textbookfull.com/product/libgdx-cross-platform-game-
development-cookbook-1st-edition-marquez-david-saltares-sanchez-
alberto-cejas/
textbookfull.com

Handbook of Food Science and Technology 1 Food Alteration

and Food Quality 1st Edition Romain Jeantet

https://textbookfull.com/product/handbook-of-food-science-and-
technology-1-food-alteration-and-food-quality-1st-edition-romain-
jeantet/
textbookfull.com

Dark Deeds Mindhunters 4 1st Edition Anne Marie Becker

https://textbookfull.com/product/dark-deeds-mindhunters-4-1st-edition-
anne-marie-becker/

textbookfull.com
Educational Measurement From Foundations to Future 1st
Edition Craig S. Wells Phd

https://textbookfull.com/product/educational-measurement-from-
foundations-to-future-1st-edition-craig-s-wells-phd/

textbookfull.com
FOUNDATIONS FOR
MICROSTRIP CIRCUIT
DESIGN
FOUNDATIONS FOR
MICROSTRIP CIRCUIT
DESIGN
FOURTH EDITION

Terry C. Edwards
Consultant

Michael B. Steer
North Carolina State University
This edition first published 2016
© 2016 John Wiley & Sons, Ltd
Registered office
John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom
For details of our global editorial offices, for customer services and for information about how to apply for
permission to reuse the copyright material in this book please see our website at www.wiley.com.
The right of the author to be identified as the author of this work has been asserted in accordance with the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any
form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK
Copyright, Designs and Patents Act 1988, without the prior permission of the publisher.
Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be
available in electronic books.
Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and
product names used in this book are trade names, service marks, trademarks or registered trademarks of their
respective owners. The publisher is not associated with any product or vendor mentioned in this book.
Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing
this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of
this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. It is
sold on the understanding that the publisher is not engaged in rendering professional services and neither the
publisher nor the author shall be liable for damages arising herefrom. If professional advice or other expert
assistance is required, the services of a competent professional should be sought.

Library of Congress Cataloging-in-Publication Data applied for

ISBN: 9781118936191
A catalogue record for this book is available from the British Library.
Cover Image: © Michael Steer, Steven Lipa and Alan Victor
Typeset in 10/12pt TimesLTStd by SPi Global, Chennai, India

1 2016
List of Trademarks
Ansys® is a registered trademark of SAS IP, Inc.
AT&T® is a registered trademark of AT&T Intellectual Property II, L.P.
Cuflon® , Polyflon® and Norclad® are registered trademarks of Crane Co.
DuPont® and Teflon® are registered trademarks of E. I. du Pont de Nemours and Company.
RT/Duroid® is a registered trademark of World Properties, Inc.
SONNET® is a trademark of Sonnet Software Inc.
Ultem® is a trademark of SABIC Global Technologies B.V.
LTE® is a registered trademark of the European Telecommunications Standards Institute.
WiMAX® is a registered trademark of the WiMAX Forum

All other trademarks are the properties of their respective owners.

Terry dedicates this book to his wife Patricia

Michael dedicates this book to his son Killian

Contents

Preface xxiii

Acknowledgements xxv

1 Introduction to Design Using Microstrip and Planar Lines 1

1.1 Introduction 1
1.2 Origins of Microstrip 2
1.3 RF and Microwave Modules 4
1.3.1 Reference LO Section 4
1.3.2 Frequency Conversion Section 7
1.3.3 Intermediate Frequency Section 11
1.3.4 Frequency Planning 12
1.3.5 Summary 13
1.4 Interconnections on RF and Microwave Integrated Circuits 13
1.5 High-speed Digital Interconnections 15
1.6 Summary 18
References 18

2 Fundamentals of Signal Transmission on Interconnects 19

2.1 Introduction 19
2.2 Transmission Lines and Interconnects 19
2.3 Interconnects as Part of a Packaging Hierarchy 20
2.4 The Physical Basis of Interconnects 21
2.4.1 What an Interconnect is and How Information is Transmitted 22
2.5 The Physics, a Guided Wave 23
2.5.1 Transmission of a Pulse 23
2.5.2 Transverse Electromagnetic Lines 26
2.5.3 Multimoding 27
2.5.4 The Effect of Dielectric 28
2.5.5 Dielectric Loss Tangent, tan 𝛿 28
2.5.6 Magnetic Material Effect 29
2.5.7 Frequency-dependent Charge Distribution 30
2.5.8 Dispersion 31
x Contents

2.6 When an Interconnect Should be Treated as a Transmission Line 32

2.7 The Concept of RF Transmission Lines 34
2.8 Primary Transmission Line Constants 34
2.9 Secondary Constants for Transmission Lines 35
2.10 Transmission Line Impedances 37
2.11 Reflection 38
2.11.1 Reflection and Voltage Standing-wave Ratio 38
2.11.2 Forward- and Backward-traveling Pulses 39
2.11.3 Effect on Signal Integrity 40
2.12 Multiple Conductors 41
2.13 Return Currents 44
2.13.1 Common Impedance Coupling 46
2.14 Modeling of Interconnects 47
2.15 Summary 49
References 50

3 Microwave Network Analysis 51

3.1 Introduction 51
3.2 Two-port Networks 51
3.2.1 Reciprocity, Symmetry, Passivity, and Linearity 52
3.2.2 Two-ports and Voltage and Current 52
3.2.3 ABCD Matrix Description of Two-port Networks 53
3.3 Scattering Parameter Theory 55
3.3.1 Introduction 55
3.3.2 Network Parameters 56
3.3.3 Normalized Scattering Parameters 57
3.3.4 Scattering Parameters for a Two-port Network 58
3.3.5 Definitions of Two-port S Parameters 60
3.3.6 Evaluation of Scattering Parameters 61
3.3.7 Multiport S Parameters 62
3.3.8 Three-port S Parameters 63
3.3.9 Cascaded Two-port Networks 65
3.3.10 Conversion between S Parameters and ABCD Parameters 67
3.3.11 Return Loss 68
3.3.12 Insertion Loss 69
3.4 Signal-flow Graph Techniques and S Parameters 70
3.4.1 Signal-flow Graphs 71
3.4.2 Simplification and Reduction of SFGs 72
3.5 Summary 74
References 74

4 Transmission Line Theory 76

4.1 Introduction 76
4.2 Transmission Line Theory 76
4.2.1 Half-, Quarter- and Eighth-wavelength Lines 77
4.2.2 Simple (Narrowband) Matching 78
Contents xi

4.2.3 Equivalent Two-port Networks 79

4.3 Chain (ABCD) Parameters for a Uniform Length of Loss-free Transmission Line 81
4.4 Change in Reference Plane 82
4.5 Working With a Complex Characteristic Impedance 83
4.5.1 Traveling Waves 84
4.5.2 Pseudo Waves 85
4.5.3 Power Waves 86
4.5.4 Summary 87
4.6 Summary 87
References 88

5 Planar Interconnect Technologies 89

5.1 Introductory Remarks 89
5.2 Microwave Frequencies and Applications 89
5.3 Transmission Line Structures 91
5.3.1 Imageline 92
5.3.2 Microstrip 93
5.3.3 Finline (E-plane Circuits) 94
5.3.4 Inverted Microstrip 94
5.3.5 Slotline 95
5.3.6 Trapped Inverted Microstrip 95
5.3.7 Coplanar Waveguide 95
5.3.8 CPS and Differential Line 96
5.3.9 Stripline 96
5.3.10 Summary of Interconnect Properties 97
5.4 Substrates for Planar Transmission Lines 98
5.4.1 Substrate Choices 98
5.4.2 FR4 (PCB) 100
5.4.3 Ceramic Substrates 100
5.4.4 Sapphire – the ‘Benchmark’ Substrate Material 101
5.5 Thin-film Modules 102
5.5.1 Plate-through Technique 102
5.5.2 Etch-back Technique 103
5.5.3 Equipment Required 103
5.5.4 Thin Resistive Films 103
5.6 Thick-film Modules 104
5.6.1 Pastes, Printing, and Processing for Thick-film Modules 104
5.7 Monolithic Technology 105
5.7.1 Introduction 105
5.7.2 Multilayer Interconnect 106
5.7.3 Metallization 107
5.7.4 Low-k Dielectrics 108
5.7.5 Hybrid and Monolithic Approaches Compared 108
5.8 Printed Circuit Boards 108
5.8.1 Organic PCBs 109
5.8.2 Ceramic PCBs 110
xii Contents

5.9 Multichip Modules 111

5.9.1 MCM-L Substrates 112
5.9.2 MCM-C Substrates 112
5.9.3 MCM-D Substrates 112
5.9.4 Characterization of Interconnects on a Multichip Module: A Case Study 113
5.9.5 MCM Summary 116
5.10 Summary 116
References 117

6 Microstrip Design at Low Frequencies 120

6.1 The Microstrip Design Problem 120
6.1.1 A Transistor Amplifier Input Network 120
6.1.2 The Geometry of Microstrip 121
6.2 The Quasi-TEM Mode of Propagation 122
6.3 Static-TEM Parameters 124
6.3.1 The Characteristic Impedance Z0 124
6.3.2 The Effective Microstrip Permittivity 𝜀ef f 125
6.3.3 Synthesis: The Width-to-height Ratio 𝑤/h 126
6.3.4 Wavelength 𝜆, and Physical Length 𝓁 127
6.4 Effective Permittivity and Characteristic Impedance of Microstrip 127
6.4.1 Formulas for Effective Permittivity and Characteristic Impedance 128
6.4.2 A Convenient Approximation of Effective Permittivity 130
6.5 Filling Factor 132
6.6 Approximate Graphically Based Synthesis 134
6.7 Formulas for Accurate Static-TEM Design Calculations 137
6.7.1 Synthesis Formulas (Z0 and 𝜀r Given) 137
6.7.2 Analysis Formulas (w/h and 𝜀r Given) 138
6.7.3 Overall Accuracies to be Expected From the Previous Expressions 139
6.8 Electromagnetic Analysis-based Techniques 139
6.9 A Worked Example of Static-TEM Synthesis 140
6.9.1 Graphical Determination 140
6.9.2 Accurately Calculated Results 141
6.9.3 Final Dimensions of the Microstrip Element 141
6.10 Microstrip on a Dielectrically Anisotropic Substrate 141
6.11 Microstrip and Magnetic Materials 146
6.12 Effects of Finite Strip Thickness, Metallic Enclosure, and Manufacturing
Tolerances 147
6.12.1 Effects of Finite Strip Thickness 147
6.12.2 Alternative Treatment of the Effect of Strip Thickness 148
6.12.3 Effects of a Metallic Enclosure 149
6.12.4 Effects Due to Manufacturing Tolerances 150
6.13 Pulse Propagation along Microstrip Lines 151
6.14 Recommendations Relating to the Static-TEM Approaches 152
6.14.1 The Principal Static-TEM Synthesis Formulas 152
6.14.2 Microstrip on a Sapphire (Anisotropic) Substrate 153
6.14.3 Design Strategies Accommodating Manufacturing Tolerances 154
Contents xiii

6.15 Summary 154

References 155

7 Microstrip at High Frequencies 157

7.1 Introduction 157
7.2 Frequency-dependent Effects 157
7.2.1 Frequency-dependent Charge Distribution 158
7.2.2 Dielectric Dispersion and Current Bunching 158
7.2.3 Skin Effect 163
7.2.4 Surface and Edge Effects 167
7.3 Approximate Calculations Accounting for Dispersion 169
7.4 Accurate Design Formulas 173
7.4.1 Edwards and Owens’ Expressions 173
7.4.2 Expressions Suitable for Millimeter-wave Design 175
7.4.3 Dispersion Curves Derived from Simulations 179
7.4.4 Designs Requiring Dispersion Calculations, Worked Example 180
7.5 Effects due to Ferrite and to Dielectrically Anisotropic Substrates 182
7.5.1 Effects of Ferrite Substrates 182
7.5.2 Effects of a Dielectrically Anisotropic Substrate 182
7.6 Field Solutions 183
7.6.1 One Example of a ‘Classic‘ Frequency-dependent Computer-based
Field Solution 183
7.6.2 Asymmetry Effects 184
7.6.3 Time-domain Approaches 184
7.7 Frequency Dependence of Microstrip Characteristic Impedance 186
7.7.1 Different Definitions and Trends with Increasing Frequency 186
7.7.2 Use of the Planar Waveguide Model (Figure 7.24) 187
7.7.3 A First-order Expression for Z0 (f) 188
7.7.4 A Second-order Expression for Z0 (f) 188
7.7.5 A Further Alternative Expression 189
7.7.6 A Design Algorithm for Microstrip Width 189
7.8 Multimoding and Limitations on Operating Frequency 190
7.8.1 The Lowest-order Transverse Microstrip Resonance 190
7.8.2 The TM Mode Limitation 191
7.9 Design Recommendations 194
7.10 Summary 196
References 196

8 Loss and Power-dependent Effects in Microstrip 200

8.1 Introduction 200
8.2 Q Factor as a Measure of Loss 200
8.2.1 Definition 200
8.2.2 Loaded Q Factor 202
8.2.3 External Q Factor of an Open-circuited Microstrip Resonator 202
8.3 Power Losses and Parasitic Effects 208
8.3.1 Conductor Loss 209
Visit https://textbookfull.com
now to explore a rich
collection of eBooks, textbook
and enjoy exciting offers!
xiv Contents

8.3.2 Dielectric Loss 210

8.3.3 Radiation 211
8.3.4 Q Factor and Attenuation Coefficient 212
8.3.5 Surface-wave Propagation 213
8.3.6 Parasitic Coupling 214
8.3.7 Radiation and Surface-wave Losses from Various Discontinuities 214
8.3.8 Losses in Microstrip on Semi-insulating GaAs 214
8.4 Superconducting Microstrip Lines 216
8.5 Power-handling Capabilities 219
8.5.1 Maximum Average Power Pma Under CW Conditions 219
8.5.2 Peak (Pulse) Power-handling Capability 220
8.6 Passive Intermodulation Distortion 221
8.6.1 Origins of PIM 221
8.6.2 PIM on Microstrip Transmission Lines 222
8.6.3 Design Guidelines 223
8.7 Summary 224
References 224

9 Discontinuities in Microstrip 227

9.1 Introduction 227
9.2 The Main Discontinuities 228
9.2.1 The Open Circuit 228
9.2.2 The Series Gap 232
9.2.3 Microstrip Short Circuits 234
9.2.4 Further Discontinuities 236
9.3 Bends in Microstrip 236
9.3.1 The Right-angled Bend or “Corner” 236
9.3.2 Mitered or “Matched” Microstrip Bends, Compensation Techniques 238
9.4 Step Changes in Width (Impedance Step) 241
9.4.1 The Symmetrical Microstrip Step 241
9.4.2 The Asymmetrical Step in Microstrip 243
9.5 The Narrow Transverse Slit 243
9.6 Microstrip Junctions 245
9.6.1 The Microstrip T Junction 245
9.6.2 Compensated T Junctions 248
9.6.3 Cross Junctions 248
9.6.4 Open Circuits and Series Gaps 251
9.6.5 Other Discontinuities 256
9.6.6 Cross and T Junctions 257
9.6.7 Radial Bends 259
9.6.8 Frequency Dependence of via Parameters 260
9.7 Recommendations for the Calculation of Discontinuities 261
9.7.1 Foreshortened Open Circuits 261
9.7.2 Series Gaps 263
9.7.3 Short Circuits 263
9.7.4 Right-angled and Mitered Bends 264
Contents xv

9.7.5 Transverse Slit 264

9.7.6 The T Junction 264
9.7.7 The Asymmetric Cross Junction 265
9.8 Summary 266
References 266

10 Parallel-coupled Microstrip Lines 268

10.1 Introduction 268
10.2 Coupled Transmission Line Theory 269
10.2.1 Parallel-coupled Transmission Lines 269
10.2.2 Even and Odd Modes 269
10.2.3 Transmission Line Equations 271
10.2.4 Capacitance Matrix Extraction 277
10.3 Formulas for Characteristic Impedance of Coupled Lines 278
10.3.1 Derivation of Bryant and Weiss 279
10.3.2 Derivation of Hammerstad and Jansen 280
10.3.3 Characteristic Impedances in Terms of the Coupling Factor 284
10.3.4 Connecting Microstrip Lines 287
10.4 Semi-empirical Analysis Formulas as a Design Aid 290
10.4.1 Dispersion 294
10.4.2 More Accurate Design Expressions, Including Dispersion 295
10.5 An Approximate Synthesis Technique 301
10.6 Summary 304
References 304

11 Applications of Parallel-coupled Microstrip Lines 306

11.1 Introduction 306
11.2 Directional Couplers 306
11.2.1 Overall Parameters for Couplers 308
11.3 Design Example: Design of a 10 dB Microstrip Coupler 308
11.3.1 Use of Bryant and Weiss’ Curves 309
11.3.2 Synthesis Using Akhtarzad’s Technique 309
11.3.3 Comparison of Methods 310
11.4 Frequency- and Length-Dependent Characteristics of Directional Couplers 310
11.4.1 Optimum Coupled-region Length 310
11.4.2 Overall Effects and Getsinger’s Model 313
11.4.3 Complete Coupling Section Response 314
11.4.4 Coupler Directivity 314
11.5 Special Coupler Designs with Improved Performance 315
11.5.1 The Lange Coupler 315
11.5.2 The Unfolded Lange Coupler 319
11.5.3 Shielded Parallel-coupled Microstrips 320
11.5.4 The Use of a Dielectric Overlay 321
11.5.5 The Incorporation of Lumped Capacitors 321
11.5.6 The Effect of a Dielectrically Anisotropic Substrate 324
11.5.7 Microstrip Multiplexers 324
xvi Contents

11.5.8 Multisection Couplers 325

11.5.9 Re-entrant Mode Couplers 326
11.5.10 Patch Couplers 327
11.5.11 Planar Combline Directional Couplers 328
11.6 Thickness Effects, Power Losses, and Fabrication Tolerances 329
11.6.1 Thickness Effects 329
11.6.2 Power Losses 329
11.6.3 Effects of Fabrication Tolerances 330
11.7 Choice of Structure and Design Recommendations 331
11.7.1 Design Procedure for Coupled Microstrips, where the Mid-band
Coupling Factor C < − 6 dB 331
11.7.2 Relatively Large Coupling Factors (typically C is between
−6 and −3 dB) 332
11.7.3 Length of the Coupled Region 333
11.7.4 Frequency Response 334
11.7.5 Coupled Structures with Improved Performance 334
11.7.6 Effects of Conductor Thickness, Power Losses, and Production
Tolerances 335
11.7.7 Crosstalk Between Microstrip Lines used in Digital Systems 335
11.7.8 Post-manufacture Circuit Adjustment 335
11.8 Summary 336
References 337

12 Microstrip Passive Elements 339

12.1 Introduction 339
12.2 Lumped Elements 339
12.2.1 Capacitors 339
12.2.2 Inductors 340
12.2.3 Transformers 342
12.2.4 Resistors 342
12.3 Terminations and Attenuators 343
12.3.1 Matched Terminations and Attenuators 343
12.3.2 Passive Intermodulation Distortion 345
12.4 Microstrip Stubs 345
12.4.1 Open Microstrip Stub 345
12.4.2 Short-circuited Microstrip Stub 346
12.4.3 Microstrip Radial Stubs 347
12.5 Hybrids and Couplers 348
12.5.1 Quadrature Hybrid 349
12.5.2 180∘ Hybrid 349
12.5.3 Branch-line Coupler 349
12.5.4 Rat-race Coupler 353
12.6 Power Combiners and Dividers 355
12.6.1 Wilkinson Combiner 355
12.6.2 Chireix Combiner 356
12.6.3 Branch-type Couplers and Power Dividers 356
Contents xvii

12.7 Baluns 357

12.7.1 Marchand Balun 357
12.8 Integrated Components 359
12.8.1 On-chip Resistors 360
12.8.2 On-chip Capacitors 360
12.8.3 Planar Inductors 362
12.9 Summary 365
References 365

13 Stripline Design 369

13.1 Introduction 369
13.2 Symmetrical Stripline 370
13.2.1 Characteristic Impedance 370
13.2.2 Zero Thickness 372
13.2.3 Attenuation 372
13.3 Asymmetrical Stripline 373
13.4 Suspended Stripline 375
13.5 Coupled Stripline 375
13.5.1 Edge-coupled Stripline 375
13.5.2 Broadside-coupled Stripline 378
13.6 Double-sided Stripline 379
13.7 Discontinuities 380
13.7.1 Stripline Open Circuit 380
13.7.2 Bends 381
13.7.3 Vias 381
13.7.4 Junctions 381
13.8 Design Recommendations 381
13.9 Summary 382
References 382

14 CPW Design Fundamentals 384

14.1 Introduction to Properties of Coplanar Waveguide 384
14.2 Modeling CPWs 389
14.2.1 Effective Permittivity 390
14.2.2 Characteristic Impedance 390
14.3 Formulas for Accurate Calculations 391
14.3.1 Analysis and Synthesis Approaches 391
14.4 Loss Mechanisms 393
14.4.1 Dielectric Loss 393
14.4.2 Conductor Loss 394
14.4.3 Radiation Loss 396
14.4.4 CPW with Intervening SiO2 Layer 396
14.5 Dispersion 397
14.5.1 Fundamental and Theoretical Considerations 397
14.5.2 Results from Test Runs using Electromagnetic Simulation 399
14.5.3 Experimental Results 406
xviii Contents

14.5.4 Leakage Suppression and 50 GHz Interconnect 407

14.6 Discontinuities 408
14.6.1 Step Changes in Width and Separation 409
14.6.2 Open Circuit 412
14.6.3 Symmetric Series Gap 413
14.6.4 Coplanar Short Circuit 414
14.6.5 Right-angle Bends 415
14.6.6 T Junctions 418
14.6.7 Air Bridges 418
14.6.8 Cross-Over Junctions 421
14.7 Circuit Elements 421
14.7.1 Interdigital Capacitors and Stubs 421
14.7.2 Filters 423
14.7.3 Couplers and Baluns 426
14.7.4 Power Dividers 427
14.7.5 CPW and Surface Mount Components 428
14.8 Variants on the Basic CPW Structure 430
14.8.1 CPW with Top and Bottom Metal Shields 430
14.8.2 Multilayer CPW 431
14.8.3 Trenched CPW on a Silicon MMIC 432
14.8.4 Differential Line and Coplanar Strip 433
14.9 Summary 439
References 439

15 Slotline 443
15.1 Introduction 443
15.2 Basic Concept and Structure 444
15.3 Operating Principles and Modes 444
15.4 Propagation and Dispersion Characteristics 447
15.5 Evaluation of Guide Wavelength and Characteristic Impedance 451
15.6 Losses 453
15.7 End-effects: Open Circuits and Short Circuits 455
15.7.1 Jansen’s Results 455
15.7.2 Chramiec’s Measurements 459
15.7.3 Some Other Results 463
15.8 Summary 463
References 463

16 Slotline Applications 465

16.1 Introduction 465
16.2 Comparators and Couplers 465
16.2.1 Comparators 465
16.2.2 Fundamentals of Parallel-coupled Slotlines 469
16.2.3 A Three-layer Wideband Coupler 470
16.3 Filter Applications 472
16.4 Magic T 474
Contents xix

16.5 The Marchand Balun 477

16.6 Phase Shifters 480
16.7 Isolators and Circulators 481
16.8 A Double-sided, Balanced Microwave Circuit 486
16.9 Summary 486
References 486

17 Transitions 488
17.1 Introduction 488
17.2 Coaxial-to-microstrip Transitions 488
17.3 Waveguide-to-microstrip Transitions 490
17.3.1 Ridgeline Transformer Insert 490
17.3.2 Mode Changer and Balun 492
17.3.3 A Waveguide-to-microstrip Power Splitter 493
17.3.4 Slot-coupled Antenna Waveguide-to-microstrip Transition 494
17.4 Transitions between CPW and other Mediums 495
17.5 Slotline Transitions 498
17.5.1 Microstrip-slotline Transition, Antar 498
17.5.2 Microstrip-slotline Transition, Chramiec 499
17.5.3 Slotline-microstrip Transition, Podcameui and Coimbra 500
17.5.4 Microstrip-slot Dispersion, Itoh 500
17.5.5 Microstrip-slotline Transitions, Yang 500
17.5.6 Microstrip-slotline Transitions, Schuppert 501
17.5.7 Microstrip-slotline-microstrip Transitions 505
17.5.8 Microstrip-slotline Transition with Open and Short-circuited Lines 507
17.5.9 Coaxial-Slotline and Microstrip-Slotline Transition, Knorr 509
17.5.10 Slotline-Stripline Transition. Aikawa et al. 510
17.6 Other Microstrip Transitions 510
17.7 Summary 511
References 511

18 Measurements of Planar Transmission Line Structures 514

18.1 Introduction 514
18.2 Instrumentation Systems for Microstrip Measurements 514
18.3 Measurement of Scattering Parameters 515
18.3.1 Some S Parameter Relationships in Interpreting Interconnect
Measurements 517
18.3.2 Fitting an Equivalent Circuit 519
18.3.3 Standing-wave Indicators in Microstrip 519
18.4 Measurement of Substrate Properties 519
18.4.1 Determining Effective Permittivity from Transmission Line
Measurements 520
18.4.2 Resonance-based Permittivity Determination 522
18.5 Microstrip Resonator Methods 523
18.5.1 The Ring Resonator 524
18.5.2 The Side-coupled Open-circuit-terminated Straight Resonator 525
xx Contents

18.5.3 Series-gap Coupling of Microstrips 526

18.5.4 Series-gap-coupled Straight Resonator Pairs 528
18.5.5 The Resonant Technique due to Richings and Easter 530
18.5.6 The Symmetrical Straight Resonator 531
18.5.7 Resonance Methods for the Determination of Discontinuities other than
Open Circuits 532
18.6 Q Factor Measurements 533
18.7 Measurements of Parallel-coupled Microstrips 535
18.8 Time-domain Reflectometry Techniques 537
18.9 Summary 539
References 539

19 Filters Using Planar Transmission Lines 541

19.1 Introduction 541
19.2 Filter Prototypes 541
19.2.1 Maximally Flat (Butterworth) Lowpass Filter Prototype 542
19.2.2 Chebyshev Lowpass Prototype 543
19.2.3 Impedance and Admittance Inverters 544
19.2.4 Using Inverters to Transform Between Series and Shunt Elements 548
19.2.5 Ladder Prototype with Impedance Inverters 549
19.2.6 Lumped-element Model of an Inverter 550
19.2.7 Moderate Bandwidth Transmission Line Stub Model of an Inverter 550
19.2.8 Unit Element 552
19.2.9 Filter Transformations 553
19.2.10 Impedance Transformation 553
19.2.11 Frequency Transformation 554
19.2.12 Filter Type Transformation 554
19.3 Microstrip Filters 554
19.3.1 Lowpass Filters Formed with Cascaded Microstrips 554
19.3.2 Summary 558
19.4 Microstrip Bandpass Filters 559
19.4.1 Bandpass Filter Prototypes 559
19.4.2 End-coupled Bandpass Filters 559
19.5 Parallel-coupled Line Bandpass Filters 561
19.5.1 Interdigitated Filters 562
19.5.2 Edge-coupled PCL Bandpass Filters 562
19.5.3 Combline Filters 566
19.5.4 Hairpin Filters 566
19.5.5 Miniature Coupled Line Filters with Extended Stopband 567
19.5.6 Improvements to the Basic PCL Filter Response 567
19.5.7 Case Study: PCL Edge-coupled Bandpass Filter 568
19.6 Filter Design Accounting for Losses 572
19.7 Dielectric Resonators and Filters Using Them 572
19.8 Spurline Bandstop Filters 573
19.9 Summary 575
References 575
Contents xxi

20 Magnetic Materials and Planar Transmission Lines 576

20.1 Introduction 576
20.2 Microwave Magnetic Materials 577
20.2.1 Alignment of Elementary Magnetic Moments 577
20.2.2 The Physics of Magnetic Materials 578
20.2.3 The Physics of Magnetized Ferromagnetic Materials 582
20.2.4 Phasor Relationships of the B and H Fields 584
20.2.5 Other Directions of Magnetization 585
20.2.6 Summary 586
20.3 Effective Permeability of Magnetic Materials 587
20.3.1 Effective Permeability of Unmagnetized Materials 587
20.3.2 Effective Permeability of Magnetized Materials 587
20.3.3 Summary 588
20.4 Microstrip on a Ferrite Substrate 589
20.4.1 Effective Substrate Permeability 589
20.4.2 Magnetic Filling Factor 590
20.4.3 Effective Microstrip Permeability 590
20.5 Isolators and Circulators 592
20.5.1 Circulators 592
20.5.2 Isolators 594
20.6 Transmission Lines Using Metaconductors 595
20.6.1 A Study of a Metaconductor-based CPW Line 597
20.7 Frequency Selective Limiter 606
20.8 Summary 607
References 607

21 Interconnects for Digital Systems 610

21.1 Introduction 610
21.2 Overview of On-chip Interconnects 610
21.2.1 Types of On-chip Interconnects 611
21.3 RC Modeling of On-chip Interconnects 613
21.3.1 Delay Modeling 614
21.3.2 RC Modeling 617
21.4 Modeling Inductance 619
21.4.1 When are Inductance Effects Important? 619
21.4.2 Inductance Extraction 622
21.5 Clock Distribution 622
21.6 Resonant Clock Distribution 625
21.7 Summary 626
References 627

A Physical and Mathematical Properties 629

A.1 SI Units 629
A.2 SI Prefixes 629
A.3 Physical and Mathematical Constants 631
xxii Contents

A.4 Basis of Electromagnetic SI Units 631

A.5 Relationship of SI Units to CGS Units 632

B Material Properties 635

References 642

C RF and Microwave Substrates 643

C.1 Hard substrates 643
C.2 Soft Substrates 644

Index 647
Preface

Interconnects have achieved a prominent position in determining the performance of

high-speed digital, RF, and microwave circuits. In digital circuits, interconnect delay
exceeds that of individual gates and is the primary determinant of clock speed. In RF and
microwave circuits, interconnects and passive elements defined using them are critical circuit
components.
This design text is both a sequel and an update to the original well-received first, second, and
third editions. The expanded text provides foundations for the accurate design of microstrip
components and of circuits applicable to microwave, millimeter-wave, and high-speed digital
sub-systems.
The text is primarily intended for design engineers and research and development specialists
who are active in these areas. It has been our attempt to show the commonalities in the design of
interconnects in high-speed digital, RF, and microwave applications. This is done by showing
the common principles of signal transmission. It is also likely to prove useful to instructors
and students in advanced undergraduate and graduate electronics and computer engineering
courses. The text is also intended to be used in short courses and in graduate level courses.
The direction is strongly focused toward explaining the fundamentals of operation, and
toward useful design formulas and approaches—a repeat coverage of well-documented analy-
ses of microstrip structures has been considered unnecessary and out of place here, but is fully
cited.
The work is partly based on research and teaching extending over four decades. Microwave
and interconnect courses were presented at La Trobe University (Melbourne, Australia), the
University of Bradford (Great Britain), North Carolina State University (Raleigh, North Car-
olina, USA), and the University of Leeds (UK). The work is also based on short courses on the
signal integrity of and interconnect design for high-speed digital circuits. The majority of the
research forming the basis of important sections of this book was undertaken at North Carolina
State University and at the Royal Military College of Science (Shrivenham, England).
The text is organized into 21 chapters, leading from the physical principles of signal trans-
mission on interconnects, through the fundamental aspects of interconnect and microstrip
design, on to circuit applications in RF, microwave, millimeter-wave, and high-speed digital
circuits.
The design of high-speed interconnects for digital circuits and of RF and microwave trans-
mission lines has significant common elements, but also significant differences. There are
common underlying physical principles, and throughout the text this is stressed. The success-
ful design of the highest performance digital interconnects, for example a clock distribution
Visit https://textbookfull.com
now to explore a rich
collection of eBooks, textbook
and enjoy exciting offers!
xxiv Preface

net, requires considerable transmission line knowledge. Generally, in treatments in papers and
chapters of relevant books “just enough” transmission line theory and technology is presented.
Not all of the options are covered. Our approach has been to provide the digital interconnect
designer with a comprehensive treatment. Chapter 2 covers signal transmission on intercon-
nects in detail, including answering such questions as “When are inductive effects important?”
However, the interconnect treatment provides the digital designer with the tools for intercon-
nect design now and in the future. The final chapter considers a number of clock distribution
designs and, drawing from the material presented throughout the book, illustrates the impor-
tance of transmission line knowledge in the design of the highest performance interconnect.
In contrast to how this material is often presented to digital designers, we contend that provid-
ing just enough knowledge is not enough to develop advanced and competitive interconnect
designs.
This book provides a solid basis for RF, microwave, and millimeter-wave design. The mate-
rial enables the designer to make technology choices and provides insight that supports the
early stages of design. The many examples in the book show how these technology choices
are made.
Chapter 1 introduces design using microstrip and planar transmission lines. A basic review
of interconnects and of TEM-mode transmission line theory is presented in Chapter 2. This is
intended to provide the fundamentals for concepts and expressions used in many later chapters.
Chapter 3 covers microwave network analysis (ABCD parameters, S parameters, etc.). This
chapter may be used as a source of initial interconnect technology decisions.
Chapters 4 through 20 consider specific transmission line structures and interconnect dis-
continuities. Considerable insight is provided by using current and charge profiles of the vari-
ous structures.
Chapter 8 considers loss effects, and power and current handling capability. Transitions
between different transmission line structures are considered in Chapter 17, and measurement
techniques are considered in Chapter 18.
Filter design is covered in depth in Chapter 19. The fundamentals of microwave magnetic
materials are considered in Chapter 20. Included is a discussion of developments in using
magnetic materials to suppress the skin effect that otherwise leads to increased losses at higher
frequencies, an effect that is critically significant at microwave frequencies.
Chapter 21 addresses the unique aspects of interconnects in high-speed digital systems, for
example transmission line principles are used in the development of a digital clock architecture
capable of supporting clocking at 10 GHz or more.
Through these chapters the book presents a unifying foundation for the design of intercon-
nects and microstrips. It then shows application of these lines in a variety of passive and active
digital, analog, RF, and microwave circuits.

Terry C. Edwards and Michael B. Steer

Yorkshire, England, UK, and Raleigh, North Carolina, USA
Acknowledgements

During the preparation of all editions of this text there were a number of people who made sig-
nificant contributions and thanks to whom the quality of the material was decidedly enhanced.
Most of these were at La Trobe University (Melbourne, Australia), the University of Brad-
ford (England), North Carolina State University (NC State, Raleigh, North Carolina, USA),
the Royal Military College of Science (RMCS, Shrivenham, England) and the University of
Leeds (UK). The authors wish to particularly thank Dr. Ashwain Rayit, whose dissertation
on coplanar waveguides was used as the basis for some of the material in Chapter 14. La
Trobe, Bradford, Leeds, and NC State universities were indeed fortunate with their quality
of undergraduate, graduate, and postgraduate students who were responsible for guiding the
development of the text, and both learnt from and contributed to the eventual form of the text.
Terry wishes to thank several of his former colleagues at RMCS, particularly at what
was known as the School of Electrical Engineering and Science: past (Honorary) Professors
Michael Potok, Chris Harris, and the late Jim James for their advice and stimulation during the
preparation of the original manuscript. Dr. Ann Henderson also read parts of the original text,
and her suggestions proved extremely helpful. At La Trobe University, thanks are extended
to the late Professor Daryl Hooper, who exhibited infectious drive and enthusiasm. Also to
Dr. Laurie Cahill for many deep and helpful ideas. Dr. Roger Owens was of great assistance
with his critical reading of the original manuscript, and made many useful suggestions for the
second edition.
Michael wishes to express gratitude to several of his former graduate students whose
research led to many of the results presented here, as well as to design insight. In particular,
he wishes to thank Dr. Mark Basel, Mr. Jeffrey Kasten, Mr. Steven Golberg, Dr. Steven Lipa,
Dr. Alan Glasser, Mr. Bari Biswas, Dr. Meta Ozkar, and Dr. Carlos Christoffersen. These
individuals are now involved in leading-edge design of high-speed digital circuits, microwave
circuits, RFICs, MMICs, and in the computer-aided engineering industry. Michael also wishes
to express gratitude to his colleague and friend Professor Paul Franzon, who undertook many
joint interconnect research projects, and with whom he presents well-attended interconnect
short courses. The feedback received from the working engineers who took part in these
short courses helped refine the way in which this material is presented to people with both
rudimentary knowledge in electromagnetics as well as those on the leading edge of high-speed
interconnect design. The third edition of this book was written when Michael was at the
University of Leeds, UK, during 1999 and 2000, and he wishes to thank his colleagues there
for the conducive academic environment.
xxvi Acknowledgements

The attention of the reader is drawn to those at John Wiley & Sons for their strong support,
backing, and patience that led to the production of this text.
Finally, we want to express our gratitude to the forbearance and support of our families
during the preparation of this text. Terry thanks his wife Patricia, and Michael thanks his wife
Mary and his children Cormac, Fiona, and Killian.

Terry C. Edwards and Michael B. Steer

1
Introduction to Design Using
Microstrip and Planar Lines

1.1 Introduction
The microstrip line is the most widely used interconnect at radio frequency (RF) and
microwave frequencies. The microstrip line, shown in Figure 1.1, is the main member of a
broad class of transmission lines that are built using printed circuit board technology. Here
the microstrip line is typically created starting with a low loss dielectric slab or substrate
that has a metal sheet bonded to both sides. The strip of the line is formed by patterning the
top conductor and etching away the unwanted metal. Sometimes the metal pattern forming
the strips is patterned by silk screening or by growing metal in the appropriate place. At RF,
microwave and high-speed digital frequencies it is necessary to provide a return current path
as well as the signal current path defined by the strip. At low frequencies, below a few tens of
megahertz, it is also necessary to provide a signal return path but then it is less critical that the
cross-sectional geometries be precisely established. The cross-sectional geometry, the width,
𝑤, of the strip and the thickness, h, of the substrate define the ratio of the voltage and current
signals traveling along the microstrip line. This ratio is called the characteristic impedance of
the line and it is critical for reliable signal transmission, that is, good signal integrity, that the
cross-sectional geometry be the same along the line as then the characteristic impedance of
the line is constant.
When microwave engineers refer to microstrip design they are referring to the design of RF
and microwave circuits using the major types of planar transmission line technologies. While
simple in concept, it is a technology that needed to be invented. As well as conceptualizing
a transmission line that can be realized by etching a planar metallic conductor on the printed
circuit board, it is essential to provide the analytic tools that enable the propagation charac-
teristics of the line to be calculated and enable structures such as couplers and filters to be
synthesized using planar transmission lines.

Foundations for Microstrip Circuit Design, Fourth Edition. Terry C. Edwards and Michael B. Steer.
© 2016 John Wiley & Sons, Ltd. Published 2016 by John Wiley & Sons, Ltd.
2 Foundations for Microstrip Circuit Design

Strip

t
h w εr

Figure 1.1 Microstrip transmission line.

1.2 Origins of Microstrip

The origins of microstrip trace back to the development, by Rumsey and Jamieson during the
early 1940s, of a coaxial line with a flat center conductor forming a rectangular coaxial line [1].
At this time there were also concepts developed for a conductor between two metal slabs, most
notably Hewlett Packard Company’s slabline tuner. At the same time printed circuit boards
were employed for low-frequency circuits. These came together in an understanding in 1949
by Barrett that the thick center conductor of the rectangular coaxial transmission line could
be very thin with little effect on the properties of the line. This then meant that low-frequency
printed circuit board techniques could be employed in microwave circuits and the transmission
line system became known as stripline [1, 2]. The conceptual evolution of stripline is shown in
Figure 1.2. The stripline configuration is developed by sandwiching a metallic strip between
two metal-clad dielectric sheets. As initially envisioned, the strip could be stamped out or
silk-screened using silver ink. Today it is most common to begin with a continuous metallic
sheet bonded to one or both sides of a dielectric sheet. A pattern of an etch resistant material
is then photolithographically defined on the sheet and the strip pattern appears after etching.

(a) (b)

Ground plane

Strip

Ground plane
(d) (c)

Figure 1.2 Evolution of the stripline transmission line: (a) coaxial line with a round center conductor;
(b) square coaxial line with a square center conductor; (c) rectangular coaxial line with a flat center
conductor; and (d) stripline.
Random documents with unrelated
content Scribd suggests to you:
 “They warned me not to sell papers here. They said I was
interfering with them.”

“And you wouldn’t have it? Good! I admire your pluck. How many
papers have you got left?”

“Eight.”

“Here, give them to me.”

“But they are all the same.”

“Never mind! I want to help you along. Here’s a quarter. Never

mind the change.”

“Thank you, sir.”

“How long have you been at this business?”

“Four days.”

“Does it pay?”

“Better than the business I left.”

“What is that?”

“Distributing circulars for a restaurant.”

“Well, that’s satisfactory. Would you like to work in the evening

also?”

“Yes, sir; I should like to increase my income.”

“Then come round to the People’s Theater with me. They are
bringing out a piece of mine where a newsboy is introduced. I guess
you can play the part.”
 “I’ll try,” said Ben.

There was a halo of romance about the theater to Ben’s eyes, and
he felt that he should be proud of treading the boards in even so
humble a rôle as that of newsboy.

“Come along, then! I will introduce you to the manager. The play
is to be produced for the first time to-morrow evening. We thought
we had a boy engaged, but he hasn’t shown up and we can’t wait
for him.”
 CHAPTER XVIII.

REHEARSING.

Ben’s companion led the way through the stage door into the
green-room. He appeared to be known, for he was at once admitted
by the door-keeper.

“Is the manager in?” asked the author.

“Yes, Mr. Wilkins.”

“There he is,” he added, as a pleasant-looking gentleman emerged

from the wings.

“Halloa, Wilkins,” said the manager. “How shall we manage about

the boy?”

“I have brought you one,” replied Wilkins, calling attention to Ben.

“Do you know him? Will he do?”

“I think he will.”

“What’s your name, young man?”

“Ben Bruce.”

“Ha! A good stage name. Have you ever acted?”

“No, sir, except at exhibitions.”

“Are you easily frightened? Can you face a crowd?”

 “I am not bashful,” answered Ben with a smile.

“Then come here for rehearsal to-morrow at two o’clock. Mr.

Wilkins, you can furnish him with his part.”

“All right, sir. I’ll take him in charge.”

The manager, who seemed to be a very busy man, noted down

Ben’s name and hurried to another part of the stage.

“Well, Ben, it is all settled,” said the dramatic author. “I want you
to do yourself credit, and help on the success of my piece. You have
no engagement for the rest of the day and evening, have you?”

“No, sir.”

“Then come home and take supper with me. This evening I will
train you in your part.”

“I shall be glad to have you do so.”

“I live on Lexington Avenue near Thirtieth Street. We are a quiet

family. My mother and I make the whole of it.”

Ben submitted himself to the guidance of his companion, and

taking a Third Avenue horse-car soon arrived at Thirtieth Street,
where they struck off for Lexington Avenue. The house was a plain
one, three stories in height, but looked home-like and comfortable.

“I’ll take you up to my den, where I do my work,” said Mr. Wilkins.

“It is my chamber as well and you will find arrangements for
washing. Then I will go down and let my mother know that I have
invited a young actor to supper.”

Ben laughed. It seemed a good joke to him to be referred to as a

young actor.
 In fifteen minutes Mr. Wilkins returned. He found that Ben had
availed himself of the interval to make his toilet.

“Have you written many plays, Mr. Wilkins?” asked Ben.

“No. This is only the third. I do some literary work for papers and
magazines, but plays, if successful, pay much better. You see I have
a few books here. You may like to look them over.”

There were book shelves near the writing desk, containing a

miscellaneous assortment of books, perhaps three hundred in
number.

“You like reading, Ben?”

“Yes, sir, very much.”

“You are welcome to borrow books from my library, such as it is.”

“Thank you; I should like to do so. I ought to tell you,” he added

smiling, “that I have the privilege of living in the same house with an
author.”

“Indeed! Who is it?”

“Sylvanus Snodgrass.”

“I don’t think I know him.”

“He writes novelettes for the Weekly Bugle.”

“I am afraid I am not familiar with the authors who write for that
publication. What is your friend’s best known story?”

“I think he prides himself most on ‘The Ragpicker’s Curse.’”

Mr. Wilkins smiled.

 “I suppose it is hardly in the style of Howells,” he said.

“No; Mr. Snodgrass is confident that Howells could not write such
a story.”

“I have no doubt he is correct. But there is the supper bell. Let us

go down.”

A neatly-dressed old lady was already seated behind the tea-urn.

“Mother,” said Mr. Wilkins, “let me introduce my young friend,

Benjamin Bruce.”

“I am glad to see thee, Benjamin,” said Mrs. Wilkinson, with a

kindly smile.

“Thank you,” said Ben, feeling drawn to the kindly old lady.

“My mother was brought up a Quaker,” explained Mr. Wilkinson,

“and keeps up the Quaker speech. I have fallen away from it, but I
have a great respect for my mother’s church, or rather meeting.”

“Thee is very young for an actor, Benjamin,” said Mrs. Wilkins.

“Yes,” answered Ben, “but I can hardly call myself an actor yet.
Your son is going to make me one.”

“I am afraid thee is ill advised, John,” said the old lady. “An actor’s
life is full of temptation.”

“True, mother, but Ben is a good boy, and I am sure he will resist
temptation.”

“I hope so indeed, John.”

“My mother is hardly reconciled to my writing plays, Ben,”

remarked John Wilkins. “I cannot induce her to go to the theater
and see my piece.”
 “I judge not others,” said Mrs. Wilkins, “but I have never been to
the playhouse, and I am too old to change.”

“Still you will wish me success, mother!”

“I always wish thee success in all things good, John.”

“Then I hope the play will prove a good one.”

The supper was plain but palatable. Ben relished the hot tea, the
buttered toast, the cold meat, and preserves, and ate heartily. It was
in refreshing contrast to the cheap restaurant on the Bowery where
he had been eating lately.

When supper was over Mr. Wilkins rose from the table.

“Now for business, Ben,” he said. “We must see what preparations
we can make for to-morrow evening.”

He handed Ben a small manuscript book when they reached the

study.

“This is your part,” he said. “Before each speech you will see a few
words. That is the cue. They are the concluding words of the
previous speaker.”

The little book contained ten pages, but nearly half of it was taken
up by the cues.

“It is a disadvantage to you not to know the other parts and the
general drift of the story, but these I can give you some idea of.”

Two hours were devoted to coaching Ben in his rôle. He was a

quick student and had always been fond of public speaking. Also he
had taken part at home in various little plays at Sunday-school and
other entertainments, and Mr. Wilkins was much gratified by the
rapidity with which he seemed to master his part.
 “There, Ben, I think that will do,” he said when the clock struck
nine. “You have done a good evening’s work, and I think you will
make a good impression at rehearsal. Will you meet me at the stage
door at two o’clock, or let us say, a little earlier?”

“I will be there twenty minutes before the time, Mr. Wilkins.”

“By the way, Ben, I forgot to say that you will be paid at least
fifteen dollars a week, or possibly more.”

Fifteen dollars a week! It quite took away Ben’s breath. Even a

single week at that rate of remuneration would set him on his feet.

“That is more than I earn at selling papers,” he said with a smile.

“So I suppose. I think it will be better for you to give up selling

papers on the street while you are an actor.”

“I can hire Tom Hooper to sell for me. He took my place at the
restaurant, but he has got tired of it already.”

“That would be a good idea.”

The next morning Ben met Tom Hooper on the Bowery and
proposed to him to take his place for a time.

“Why?” asked Tom. “Are you goin’ out of de business?”

“Not exactly. I am going to sell papers every evening at the

People’s Theater.”

“At de theayter? Where?”

“On the stage.”

“Will you be let?” asked Tom, puzzled.

“I am going to play the part of the newsboy in the new play.”

 “You don’t say!” ejaculated Tom, opening his eyes wide. “Be you
an actor?”

“I am going to try it.”

“I’ll go and see you.”

“Don’t come the first evening, Tom. I don’t know how I shall get
along.”

“Then I’ll come the second evening.”

“I shan’t mind that so much. But I must be going to rehearsal.”

Ben acquitted himself at rehearsal very well, so well that the

manager patted him on the shoulder and said, “You’ll do, my son!”
and Mr. Wilkins shook his hand cordially.

“You did fine, Ben,” he exclaimed.

“Thanks to your training, Mr. Wilkins.”

“And to your own talent.”

 CHAPTER XIX.

BEN MAKES HIS DÉBUT.

“Where are you going this evening, Ben?” asked Sylvanus

Snodgrass of his young friend.

Ben did not care to have Sylvanus Snodgrass for an auditor the
first evening and he answered evasively, “I have an engagement
with a friend.”

“Do I know him? Who is he?”

“A Mr. Wilkins, living on Lexington Avenue.”

“May I come too?” asked Snodgrass, who was by no means

bashful.

“I don’t feel at liberty to invite you, Mr. Snodgrass.”

“I don’t seem to see anything of you lately,” grumbled Sylvanus.

“You were away last evening.”

“Yes, I was with Mr. Wilkins.”

“He seems to have cut me out,” said Mr. Snodgrass, displaying

some jealousy.

“It is because I have a little business with him,” explained Ben.

“Ha! business? What kind of business?”

“I may be able to tell you to-morrow.”

 “It seems there is a mystery,” said the novelist, not half pleased.

“It won’t be a mystery long.”

Ben managed to slip away unobserved, for he feared that Mr.

Snodgrass might be disposed to follow him. He arrived at the theater
in good season, and there on the large poster in front of the building
it gave him a peculiar sensation to see in the list of characters in the
play—

Jed, the newsboy, Ben Bruce.

“I wonder if any one will see my name and know who it is,” he
asked himself.

“Hallo, Ben!”

Turning, Ben saw Patsy Blake looking over his shoulder.

“Are you goin’ into de teayter?” asked Patsy.

“Yes,” answered Ben, smiling.

“I’d like to go if I had the price of a ticket.”

An impulse led Ben to say, “I’ll pay your way in, Patsy,” and he
handed his newsboy rival twenty-five cents.

“Bully for you! Will we sit together?”

“I can’t very well. I shall be on the stage.”

“What!” exclaimed Patsy.

“Do you see that name?” asked Ben, pointing to the poster.

“Are you goin’ to act?” inquired Patsy, awe-stricken.

 “Yes.”

“How did you get the chance?”

“The manager hired me. The boy who was to act didn’t show up.”

“I didn’t know you was smart enough to act,” said Patsy, eyeing
Ben curiously.

“I don’t know whether I am or not, but I am going to try.”

“Won’t Mike be su’prised. I wish he could go.”

At this very moment Mike Farley came up, and Patsy enjoyed his
astonishment when the great news was imparted to him that the
boy they had been fighting with the day before was going to act on
the stage.

Ben gave him a quarter also, and felt sure of two friendly auditors.

“I must go now, boys,” he said. “It is time to get ready.”

“Who’d have thought Ben was an actor!” ejaculated Mike. “I wish I

was in his shoes.”

“So do I.”

“P’raps he’ll give you an’ me a chance, Patsy.”

“You couldn’t act, Mike Farley.”

“I kin act as well as you, Patsy Blake.”

Hostilities seemed imminent, but fortunately a mutual friend came

up and they were averted.

Ben had to dress for his part. His ordinary suit was thought to be
too good for a poor newsboy, and one was supplied by the
management not much better than those worn by Patsy and Mike.

Ben was destined to have another auditor known to him. Mr.

Snodgrass, finding that his evening was likely to be a lonely one,
suddenly decided to go to the theater. On looking over the evening
announcements, he was led to think that he would enjoy “The Belle
of the Bowery,” at the People’s Theater.

Mr. Snodgrass was not always in funds, but he had received two
dollars and a half that day from the Weekly Bugle for a column
sketch, and he felt that he was justified in attending the play. He
accordingly purchased a fifty-cent ticket, which gave him a seat in
the balcony.

“I’d have taken Ben if he hadn’t gone off with that Mr. Wilkins,”
said Sylvanus to himself. “I suppose he can’t afford to buy a ticket.”

Soon the curtain rose. There was a street scene, in which the
characters were an old man from the country and a tough. There
was a little altercation, and the countryman seemed likely to get the
worst of it, when a newsboy ran in from the wings and sprang to his
defense.

At the first words of the boy Mr. Snodgrass craned his head
forward in amazement. The voice seemed very familiar. Was it—
could it be Ben? A few words more, and he was forced to admit that
it was.

“Well, I’ll be blowed!” he ejaculated.

I am afraid that these words were hardly in keeping with the

character of a distinguished romancer, but they were actually used
by Sylvanus Snodgrass.

It is needless to say that Mr. Snodgrass followed the play with the
utmost attention, particularly when Ben was on the stage. Before the
curtain fell on the last act he saw reason to feel proud of his friend
and fellow-lodger, for Ben scored an unqualified success. He was
perfectly at his ease, and threw himself earnestly into the part. He
was not aware of the presence of Mr. Snodgrass, but he looked up to
the gallery and saw Patsy and Mike applauding vociferously.

Toward the end of the third act enthusiasm was created by a

bouquet which was thrown from one of the orchestra seats,
evidently intended for Ben.

“Take it up and bow!” whispered the actor nearest him.

Ben was quick to accept the suggestion. He stooped and lifting the
bouquet, bowed gracefully in the direction whence it had been
thrown. This brought out a volley of applause.

Mr. Snodgrass felt proud of his connection with the hero of the
evening.

“I know that boy,” he whispered to his next neighbor.

“Do you indeed? He is smart.”

“Yes; we are very intimate friends. He occupies a room in the

same house with me.”

Patsy and Mike also were pleased with Ben’s success. They led the
applause in the gallery, and were by no means backward in their
expressions of satisfaction.

“I say, Mike, he’s a corker,” said Patsy.

“That’s so.”

“I wished I could act like him.”

“Do you know him?” asked Dick Flanagan.

“Yes, I know him as well as I know you. He paid my ticket in.”

 “And mine too,” added Mike.

“I’d like to know him,” said Dick enviously.

“I’ll give you an introduce some time,” rejoined Patsy.

The curtain fell at the end of the last act, and Mr. Wilkins, the
anxious author, realized with gratification that the play was a
success. He went round to the stage door, and entering gave Ben’s
hand a hearty shake.

“You did yourself proud, my boy!” he said.

“I am glad you were pleased,” returned Ben modestly.

Others, too, offered their congratulations, including Mr. Thornton,

who played the leading part.

“You are one of us, Ben,” he said, as he shook hands with the boy.
“I confess I was afraid when I heard that you had never been on the
stage before, but I soon found that there was no reason for
apprehension.”

“Thank you, Mr. Thornton,” said Ben, most gratified.

“I congratulate you, Mr. Wilkins, on the success of your play,” said

Ben, turning to his friend and patron.

“You helped bring it about. A good deal depended on your part

being well played.”

When Ben emerged from the theater he found Mr. Snodgrass

waiting for him.

“Why didn’t you tell me, Ben?” asked the novelist reproachfully.

“Were you here?” asked Ben, surprised.

 “Yes.”

“Who told you I was to appear?”

“No one. I didn’t know anything about it till you appeared on the
stage. I was so surprised that you might have knocked me down
with a feather. You never told me that you were an actor.”

“I didn’t know it myself. This is my first appearance on any stage.”

“You don’t mean to say that you never acted before?”

“Only at school exhibitions and such like.”

“Then you’re a born genius, and I am proud of you.”

“Thank you, Mr. Snodgrass.”

“And who is Mr. Wilkins—the gentleman you spoke of?”

“He is the author of the piece. He engaged me to act the

newsboy’s part.”

“And why didn’t you let me know?”

“Because I didn’t know how I was coming out. I shouldn’t like to

have had my friend see me fail.”

“There is no such word as fail—for you, Ben.”

“I hope so.”

As Ben reached the Bowery he espied his two humble friends,

Patsy and Mike, eyeing him wistfully.

“How are you, Patsy? How are you, Mike?” he said, offering his
hand, to the great pride of the newsboys. “How did you like the
play?”
 “It was tip-top, and so was you,” answered Patsy enthusiastically.

“I saw you up in the gallery,” said Ben.

“Did you now?” asked the delighted Mike.

“Didn’t I tell you I knowed him, boys?” he added, turning to two

or three friends when Ben had passed on.
 CHAPTER XX.

BEN’S LETTER HOME.

Ben slept later than usual the next morning. He was awakened by
his neighbor, Mr. Snodgrass, who entered his room, his face glowing
with excitement. In his hand he held a morning paper.

“Ben, you’re famous!” he exclaimed.

“Am I?” asked Ben, drowsily.

“Yes; look at this paragraph in the Herald. Or, stay. I’ll read it.”

He read as follows:

“At the People’s Theater last evening a new play was

produced, ‘The Belle of the Bowery,’ by the well-known
dramatist, Mr. John Wilkins. It is a local play, and was
received very favorably. It is well put on the stage, and
on the whole was well played. Mr. William Thornton
acquitted himself well, as usual, and Jed the Newsboy,
was remarkably well played by Ben Bruce. We have
seldom seen so young an actor who gave so much
promise of future achievements.”

“That is very complimentary,” said Ben, whose face flushed with

natural pleasure.

“I should say so. You have achieved fame at one bound. The time
may come, and that soon, when your name will be as well known as
mine.” Ben was tempted to smile at the harmless vanity of his
companion, but he appreciated his friendly feelings, and thanked
him for his favorable opinion.

Ben dressed himself and went out to breakfast with Mr. Snodgrass.
On the way he bought the Sun and World, both of which spoke well
of his acting.

At the end of the first week Ben was notified that his salary was
ready. It was handed to him in an envelope. He opened it and to his
delight found that it contained five bills of five dollars each. The
manager appreciated the hit his young recruit had made.

“Twenty-five dollars!” he exclaimed in astonishment. “Is it possible

that I have earned as much as this in a single week!

“Now,” he thought, “I can return Albert Graham the five dollars he

lent me.”

He went into the reading-room of an uptown hotel, and sitting

down at the table wrote the following letter.

“Dear Albert:

“You will find inclosed a five-dollar bill which is sent

in return for your very kind loan. Don’t think I am
pinching myself, as I have twenty dollars left in my
pocketbook. Just at present I am doing remarkably
well, but I have seen some anxious days since I left
Wrayburn. I wouldn’t advise any boy to leave home
unless he has as good reasons as I, or has a good
prospect ahead. I must tell you that before I got
steady work I was reduced to thirty-seven cents, and
knew that in two days I had to meet a rent bill of two
dollars. I fully expected to be turned out into the
streets, for my landlady, though kind-hearted is poor,
 and could not afford to keep me unless I paid my rent
regularly.

“You will be interested to hear what I am working at.

Well, for a time I sold papers on the Bowery, clearing
about seventy-five cents a day. But my first situation
was distributing circulars, or rather bills of fare for a
cheap restaurant on the same street. I was paid chiefly
in meals, and such meals! Often and often I wished
myself at my mother’s table, or at yours, where I could
get good wholesome food. But I had a chance to
change my business. You will hardly believe me when I
tell you that I am acting at the People’s Theater. I am
taking the part of a newsboy. How well I succeed you
can judge from two or three newspaper clippings I
send you. I don’t know how long my present
employment will last. I hope a good while, for I am
much better paid than I could hope to be in any other
line of business.

“Now how are things going on in Wrayburn? Do you

often see my mother? Please show her this letter and
the newspaper clippings. Give her my love, but you
needn’t trouble yourself to give any such message to
my stepfather, to whom I owe no debt of gratitude.

“How I wish you could walk into my room and have

an old-fashioned chat. Have you ridden at any races
lately? If you have I hope you were successful. Write
soon to

“Your true friend,

“Ben Bruce.”

Albert Graham no sooner received this letter than he went over to

see Mrs. Winter. Jacob Winter had gone to a neighboring town on an
errand, and Albert was glad to find Ben’s mother at home alone.

“You have heard from Ben,” exclaimed Mrs. Winter, noticing his
bright face.

“Yes, Mrs. Winter.”

“How is he? Is he getting on comfortably? Last night I dreamed

that the poor boy was penniless and suffering for food.”

“Dreams go by contraries, you know. The letter contained five

dollars which he sent me in payment for the money I lent him when
he went away.”

“Then he must be doing well!” said Mrs. Winter gladly.

“He writes that he has twenty dollars left in his pocketbook.”

“What in the world can he be doing?”

“Read his letter and you will see.”

Mrs. Winter read the letter eagerly. Her face showed the surprise
she felt.

“Ben acting in a theater!” she exclaimed. “It hardly seems

possible.”

“Read these newspaper clippings and you will see that he is acting
well.”

Mrs. Winter read the notices, and her eyes lighted up with
gladness and pride.

“I shall feel much happier now,” she said. “I have been worrying
about Ben, and fancying that he might be suffering.”

“Ben is smart. He will make his way.”

 When Jacob Winter came home he said to his wife, “Have you
heard from that boy of yours?”

“Not directly. Albert Graham had a letter.”

“Beggin’ for money as like as not. I wonder he got money enough

for postage.”

Mrs. Winter made no reply.

“If you write to him you can tell him I’ll take him back if he’ll
promise to obey me in all things and work stiddy.”

“Yes, I’ll tell him, but I don’t think he’ll come.”

“Then he’s a fool. He can’t make his expenses in York.”

“Will you pay his expenses back to Wrayburn, Mr. Winter?”

“No,” answered Jacob cautiously. “I couldn’t do that. Why, it would

cost six or seven dollars.”

“Then how is he to come back?”

“He can foot it, and beg his victuals on the way,” suggested Mr.
Winter.

“Ben would be too proud to do that,” said his mother promptly.

“That’s what’s the matter with him,” exclaimed Jacob. “He’s too
proud. He had a good home here, but he got uppish and must try
his luck outside. You mark my words Mrs. W., he’ll see his folly, and
that before very long.”

If Mrs. Winter had not read Ben’s letter to Albert Graham she
might have felt troubled by these words, but as it was she remained
calm and composed.
 The fact was that Jacob Winter was beginning to miss Ben. The
latter had done a great many chores, and attended to many little
duties about the farm, which now devolved upon his stepfather.

Mr. Winter had thought of hiring a boy, but found that none could
be induced to work for him at the wages he was willing to pay. In
this emergency he thought of Ben, who he was persuaded was in a
state of distress, but much as he desired to get him back he was not
willing to advance the money for his traveling expenses.

The next morning he chanced to fall in with Albert Graham.

“I hear you’ve had a letter from Ben,” said the farmer, halting his
horse.

“Yes, sir.”

“Where did he write from?”

“From New York.”

“Did he say how he was doin’?”

“He didn’t complain any.”

“What is he doin’?”

“He has been selling papers on the Bowery.”

“That’s a mis’rable business. Like as not he doesn’t make over

twenty-five cents a day.”

“I think he must make more than that.”

“Did he say he was sorry he left a good home?”

“No, he didn’t say so.”

 “He’s too proud, I reckon. When you write him tell him that if he’ll
come home and apologize for runnin’ away I’ll take him back.”

“I’ll tell him, Mr. Winter.”

“Here he had enough to eat, and likely he don’t get it where he is.
Have you got his letter with you?”

“No, sir.”

“I’d like to read it.”

“Ben wouldn’t want me to show it.”

“Sho! are there any secrets in it?”

“You see Ben writes confidentially to me, Mr. Winter.”

“I s’pose he wouldn’t like to have me know what hard times he

has had. Well, you write him what I tole you.”

“All right, sir, but suppose he hasn’t got money enough to bring
him home?”

“Tell him to foot it. He’s young and strong. He can stop at houses
on the way, and ask for somethin’ to eat.”

“Wouldn’t it be better for you to send him five dollars to bring him
back?”

“No, Albert Graham, I ain’t such a fool. He would keep the money,
and stay where he is.”

“There goes a mean man!” soliloquized Albert, as Jacob whipped

up his old gray horse and rode away. “Ben won’t be in any hurry to
come back to him.”
 But Ben’s smooth waters were not to be of long continuance, as
the next chapter will show.
 CHAPTER XXI.

BEN MEETS WITH A LOSS.

Ben lost no time in calling at Simpson’s and redeeming his watch.

He felt very fortunate in recovering it so soon.

Mr. Snodgrass dropped a hint that he should be glad to have Ben

redeem his watch too, but the young actor did not feel that his
prosperity was sure to be permanent, and ignored the suggestion. In
fact his engagement continued but four weeks, as at the end of that
time Mr. Wilkins’s play had to give place to another attraction at the
People’s Theater.

“I hope, Ben,” said Mr. Wilkins, “that the piece may go on the road
soon, but just at present we have not been able to find a capitalist
willing to advance the necessary sum. If a new company is
organized I shall try to get your old part for you.”

“Thank you, Mr. Wilkins. Of course I should like it. But the four
weeks I have played have been of great service to me. Besides
paying a debt and getting my watch out of pawn, I have been able
to save up sixty dollars, which are safely deposited in the Union
Dime Savings Bank.”

“That is good. And what do you propose to do, Ben?”

“I shall go back to my old business.”

“Selling papers on the Bowery?”

“Yes.”

“It must be slow after being a popular favorite on the stage.”