PDF Radar Systems Analysis and Design Using MATLAB Fourth Edition Bassem R. Mahafza Download
PDF Radar Systems Analysis and Design Using MATLAB Fourth Edition Bassem R. Mahafza Download
com
https://ebookmeta.com/product/radar-systems-
analysis-and-design-using-matlab-fourth-edition-
bassem-r-mahafza/
https://ebookmeta.com/product/introduction-to-radar-analysis-2nd-
edition-bassem-r-mahafza/
https://ebookmeta.com/product/handbook-of-radar-signal-analysis-
advances-in-applied-mathematics-1st-edition-bassem-r-mahafza-
editor/
https://ebookmeta.com/product/basic-radar-analysis-2nd-edition-
shawn-r-german/
https://ebookmeta.com/product/design-of-digital-phase-shifters-
for-multipurpose-communication-systems-second-edition-with-
matlab-design-and-analysis-programs-binboga-siddik-yarman/
Systems Analysis and Design 8e Alan Dennis
https://ebookmeta.com/product/systems-analysis-and-
design-8e-alan-dennis/
https://ebookmeta.com/product/systems-analysis-and-
design-7e-alan-dennis/
https://ebookmeta.com/product/radar-rf-circuit-design-2nd-
edition-kingsley/
https://ebookmeta.com/product/data-analysis-in-medicine-and-
health-using-r-kamarul-imran-musa/
https://ebookmeta.com/product/systems-analysis-and-design-global-
ed-10th-edition-kenneth-e-kendall/
Radar Systems Analysis and
Design Using MATLAB®
Radar Systems Analysis and
Design Using MATLAB®
Fourth Edition
Reasonable efforts have been made to publish reliable data and information, but the author and publisher cannot
assume responsibility for the validity of all materials or the consequences of their use. The authors and publishers have
attempted to trace the copyright holders of all material reproduced in this publication and apologize to copyright hold-
ers if permission to publish in this form has not been obtained. If any copyright material has not been acknowledged
please write and let us know so we may rectify in any future reprint.
Except as permitted under U.S. Copyright Law, no part of this book may be reprinted, reproduced, transmitted, or
utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including pho-
tocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission
from the publishers.
For permission to photocopy or use material electronically from this work, access www.copyright.com or contact the
Copyright Clearance Center, Inc. (CCC), 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400. For works that are not
available on CCC please contact mpkbookspermissions@tandf.co.uk
Trademark notice: Product or corporate names may be trademarks or registered trademarks and are used only for iden-
tification and explanation without intent to infringe.
DOI: 10.1201/9781003051282
Typeset in Palatino
by Deanta Global Publishing Services, Chennai, India
To
Preface........................................................................................................................................... xvii
Author Bio..................................................................................................................................... xxi
Companion: MATLABM® Code - Disclaimer........................................................................ xxiii
vii
viii Contents
3 Radar Equation....................................................................................................................... 81
Part I: Pulsed Radar
3.1 Radar Range Equation................................................................................................. 81
3.1.1 Maximum Detection Range..........................................................................85
3.2 Low PRF Radar Equation............................................................................................ 89
3.3 High PRF Radar Equation.......................................................................................... 91
3.4 Surveillance Radar Equation...................................................................................... 93
3.4.1 Number of Beam Positions............................................................................ 97
Contents ix
13.3 Probability of False Alarm Formulation for a Square Law Detector................. 420
13.3.1 Square Law Detection..................................................................................422
13.4 Probability of Detection Calculation....................................................................... 424
13.4.1 Detection of Swerling 0 (Swerling V) Targets...........................................425
13.4.2 Detection of Swerling I Targets................................................................... 426
13.4.3 Detection of Swerling II Targets................................................................. 427
13.4.4 Detection of Swerling III Targets................................................................430
13.4.5 Detection of Swerling IV Targets................................................................430
13.5 Computation of the Fluctuation Loss......................................................................433
13.6 Cumulative Probability of Detection...................................................................... 435
13.7 Constant False Alarm Rate....................................................................................... 437
13.7.1 Cell-Averaging CFAR (Single Pulse).......................................................... 437
13.7.2 Cell-Averaging CFAR with Noncoherent Integration............................. 439
13.8 M-out-of-N Detection................................................................................................ 441
13.9 Radar Equation-Revisited.........................................................................................443
13.9.1 Detection Range with Pulse Integration...................................................443
Coherent Integration case:...........................................................................445
Noncoherent Integration Case:...................................................................446
Appendix 13.1 Gamma Function........................................................................................ 447
Incomplete Gamma Function................................................................................... 447
Problems................................................................................................................................. 449
Answers to Selected Problems............................................................................................ 451
Language: English
By E. HOFFMANN PRICE
Diane from the first had been fascinated by the exotic atmosphere in
which Clarke had planted her after their marriage; but in the end,
seeing how they had become a part of him, she half consciously
hated them and their everlasting song of Bokhara and Herat of the
Hundred Gardens: an unheard song to which Clarke listened, and
replied in unspoken syllables. And thus it was that Diane learned
that to live in Clarke's apartment would be to become an accessory
to those precious fabrics that were his hard-ridden hobby; for no
woman would fit into the dim, smoky shadows of that titled salon
unless bejeweled and diaphanously veiled she could dance with
curious paces and gestures beneath the sullen glow of the great
brazen mosque lamp as became the favorite of a khan in far-off
Tartary. From the very beginning, Diane fought to keep her
individuality untainted by the overwhelming personality of those
damnably lovely fabrics from Shiraz and the dusty plains of
Feraghan.
And Diane was right; for they dreamed, those old weavers, of the
roses of Kirman, of the evening star that danced on the crest of
Mount Zagros, of dancing girls in the gardens of Naishapur, of
fountains that sprayed mistily in the moonlit valley of Zarab-shan;
and all this they wove into what we now learn to catalogue as
Sixteenth Century Persian, or whatever our best guess may be. Into
his masterwork the weaver wove his soul; so that whoever lives with
one of those imperishable sorceries that come out of the East must
in the end feel its presence unless he be somewhat duller than the
very wood of the loom on which it was woven.
Look upon wine as often as you wish, but beware of a Bokhara when
it is red—red as the blood of slaughter—red as the embers of a
plundered city—a redness charged with the quartered octagons of
Turkestan—for in the end you will become enslaved to the silky
splendor that once graced the tent floor of a Tekke prince....
Diane was right; though Diane never suspected, even dimly, what in
the end really did happen to Hammersmith Clarke. For, naturally
enough, neither she nor anyone else saw or heard the Yellow Girl;
that is, no one but Clarke: and he saw and heard too much.
Had she suspected—but she couldn't have. For who would imagine
Fate riding to the crossroads in a truck of the American Express
Company? It just isn't done; not until one looks back and sees that it
could have happened in no other way.
But unheard-of things happen in Turkestan; and while one may
pause for an evening's glamor beside some moon-kissed fountain in
the valley of Zarab-shan, and then march on, forgetting, there is that
which does not forget, being undying and everlasting; so that
though forgotten, it reaches forth across time and space, not only
clinging to the pile of a rug from Samarcand, but resorting even to
express trucks to carry it the last step toward capturing the forgetful
one....
All this Diane knew without knowing why she knew: and it seemed
so reasonable that there was nothing incongruous in shuddering and
saying as she often had, "I'm afraid of the damned things...."
Diane knew that more than a rug had emerged from that bale
whose burlap winding-sheet still littered the floor.
At last it seemed that she was intruding on a tête-à-tête,
eavesdropping on a monologue; so that when Clarke would emerge
from his reveries, Diane resented the inevitable thought that he was
robbing himself to keep her company. But patience reaches its limit,
finally....
She saw it, one night, twinkle and smile through a lustrous haze that
played over its surface, smile the slow, curved smile of a carmine-
lipped woman through the veils of her mystery; saw Clarke sitting
there, eyes shearing the veil and half smiling in return, a devotee in
the ecstatic contemplation of a goddess shrouded in altar fumes....
"Ham!"
"Yes," answered Clarke's lips. He had now perfected the trick of
having his body act as his proxy.
"Are you taking me to that show tonight?"
"What show?" Clarke the simulacrum stirred lazily in the depths of
the cushion-heaped lounge. "The truth of it is, my dear," he resumed
after a pause during which some memory of the proposed
entertainment must have returned, "truth of it is I'm awfully busy
tonight——"
"Busy sitting there staring at nothing and sipping Pernod!" flared
Diane, the wrath of months flashing forth. Then, as she saw Clarke
settle back into the depths: "Listen, once for all: this nonsense has
lasted too long. I might as well have married a mummy! Either get
that thing out of the house, or I'll leave you to your pious
meditations indefinitely——"
"What? Good Lord, Diane, what's this?"
"You heard me. You used to be half human, but now you're utterly
impossible. And if you can't show me a little attention, I'm leaving
here and now. For the past many weeks you've acted like a model
for a petrified forest. Ever since that yellow beast——"
"Yellow beast?"
"Exactly! That damned rug is driving me crazy——"
"Is, or has driven?" suggested Clarke.
"Lies there like a beast of prey just ready to wake. And you sit there,
night after night, staring at it until you fall asleep in your chair. Does
it go, or do I?"
"What do you want me to do? Throw it away?"
"I don't care what you do with it. Only I won't stay in the house with
it. It gives me the creeps. You've said entirely too much in your
sleep lately—first yellow rugs, and now it's a yellow girl. I'm
through!"
Clarke's brows rose in Saracenic arches. And then he smiled with
surprizing friendliness and a touch of wonder.
"Di, why didn't you tell me sooner? I could understand your craving
alligator pears at 3 in the morning—I might have understood that,
but hating a rug is really a new one on me——"
"No, stupid, it's nothing like that! I just hate the damned thing, and
no more to be said."
"Well, lacking the infallible alibi"—Clarke glared and assumed his
fighting face—"if you mean I choose between you and the rug, I'll
call a taxi right now."
"Don't bother. I'll walk."
The door slammed.
Clarke twisted his mustache, and achieved a laugh; not merry, but
still a laugh. And then he sank back among the cushions.
"Yellow Girl, I thought you were fantastic...."
That very night, Clarke was sitting cross-legged on the floor of his
studio, full under the red glow of a tall bronze mosque lamp. Before
him, shimmering in the moonlight that streamed in through the
French windows, lay the rug from Samarcand, mysterious and
golden, with its pale sapphire corner pieces glittering like a distant
sea viewed through a cleft between two mountain crests.
All the witchery and ecstasy that had ever been lost in the entire
world were reassembled, pulsing in the silken pile which he
contemplated. And this was the night; the Night of Power, when Fate
stalked through the corridors of the world like a colossus just risen
from an age-old throne of granite, resistless and unconquerable.
Clarke had spent so many nights and days of staring that it was
inevitable that there must be such a night. He saw more than the
wonder before him: in place of the marvel woven by deft, forgotten
hands, there gleamed enchantingly as through moon-touched mist a
garden in the valley of Zarab-shan.
Then came a faint, oddly accented drumming and piping, music to
whose tune dead years reassembled their bones and danced forth
from their graves. And their ghosts as they danced exhaled an
overwhelming sweetness that made Clarke's brain reel and glow,
and his blood surge madly in anticipation of that which he knew
must follow.
Then out of the blackness just beyond the range of the ruddy
mosque lamp and full into the moonlight that marched slowly across
the rug came a slim Yellow Girl, diaphanously garbed and veiled. Her
anklets clicked faintly; and very faint was the tinkle of the pendant
that adorned her unusual coiffure.
"All these many days I have sought you, my lord," she began, as she
extended her arms in welcome. "But in vain, until tonight, when at
last I parted the veil and crossed the Border."
Clarke nodded understandingly, and looked full into her dark, faintly
slanted eyes.
"And I have been thinking of you," he began, "ever since someone
sent me this rug on which you stand. It is strange how this rug could
bridge the gap of twenty years and bring into my very house a
glimpse of the valley of Zarab-shan. And stranger yet that you could
escape from your father's house and find me here. Though strangest
of all, time has not touched you, when by all reason you should be
old, and leathery, and past forty.... Yet you are lovelier now than you
were then, by that fountain in a garden near Samarcand."
"You are lovelier now than you were then, by that fountain
in a garden near Samarcand."
Updated editions will replace the previous one—the old editions will
be renamed.
1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the
terms of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or
expense to the user, provide a copy, a means of exporting a copy, or
a means of obtaining a copy upon request, of the work in its original
“Plain Vanilla ASCII” or other form. Any alternate format must
include the full Project Gutenberg™ License as specified in
paragraph 1.E.1.
• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.F.