Low-Voltage Audio Products: Power & Noise
Meeting the challenges associated with the use of low-voltage audio information appliances.

May 03, 2012, by Dennis A. Bohn

This article is provided by Rane Corporation.

This is an installment in a multi-part series. Additional segments are available here.

Low noise and low voltage don’t like each other.

Low voltage usually means portable, and portable always means low current to prolong battery life. You can design low noise and low voltage if you can be a current pig, but if you must have low noise, low voltage and low current—well, that’s difficult.

Everything works against you. The easiest way to make a really low noise op amp is to run as much current as possible through the front-end differential-pair until the silicon glows.

As unintuitive as it may be, a plain resistor, hooked up to nothing, generates noise and the larger the value the greater the noise. It is called thermal noise or Johnson noise (John Bertrand Johnson first observed thermal noise while at Bell Labs in 1927, publishing his findings as “Thermal agitation of electricity in conductors,” Phys. Rev., vol. 32, pp. 97-109, 1928), and results from the motion of electron charge of the atoms making up the resistor.

All that moving about is called thermal agitation (caused by heat—the hotter the resistor, the noisier).

Therefore quiet designs should use small resistor values, but, alas, small resistor values draw large current, and there goes the battery life. Compromise must ensue.

It is difficult to find the perfect balance between small resistor values for low noise and large resistor values for low current consumption. To make it even harder, with most analog circuits small resistor values mean correspondingly large capacitor values.

Large capacitor values do not hurt the noise performance but they are physically large and cost more, so you must make a compromise between noise, space and cost (analog design is like that).

The choice of resistor values then becomes the deciding factor in selecting the right op amp for each application. Look at the resistor values; if they are very small (like in a mic preamp) then the noise contributed by the op amp becomes critical.

However, if the application is active filters, say, and the resistors surrounding the op amp are at least 10 k ohm, then the dominate noise factor becomes their thermal noise, not the op amp’s noise. Understanding this simple fact allows you to use low-cost op amps for most of your needs.

Ultimately the performance gets down to how much voltage is available and how low is the noise floor: power supply and noise—the big two in designing quality audio for IAs.

Power Supply Design
Successful IA audio circuits begin with power supply design. Designing low-voltage audio circuits for portable and wireless information appliance products puts severe restrictions on quality.

Sacrifices necessary to keep cost, size, and weight to a minimum often hurt audio quality.

Portable and wireless devices force audio designers to work with very small supply voltages, often just a single 1.5-volt cell. There is just one rule when designing quality audio circuits if you only have 1.5 volts to work with: make more voltage.

Separate Audio Supply
No matter what the voltage, in order to achieve very high performance levels, audio circuitry must run from dedicated supplies.

Obviously it does no good to select the lowest noise op amps if they are connected to a digitally corrupted power supply.

Single-Supply Design
If the design cannot justify split-supply costs then you must design with a single supply. Since audio is an AC (alternating current) signal, its voltage swings positive and negative about some reference point.

This reference point is normally ground (or common) for a bipolar or dual power supply, i.e., one with positive and negative voltages (e.g. ±15 VDC). If you only have a single supply then you must create a reference point equal to one-half of the available supply.

For example if you have a single 5 volt supply then you create a common reference point at 2.5 volts, which allows the audio to swing ±2.5 volts (from the reference point up 2.5 volts to the +5 volt limit and down 2.5 volts to zero.

Splitting a single supply voltage is not difficult, nor expensive (although in some designs every extra op amp or resistor can mean trouble).

Techniques exist ranging from a simple two-resistor voltage divider to more elaborate buffered op amp designs. Excellent application notes covering all aspects of this topic are available from Texas Instruments, Linear Technology, and Analog Devices.

DC-DC Converters
If the hand you’ve been dealt contains only one AA cell battery then you must become a DC-DC converter designer at once. Luckily there is lots of help in this area. There’s nothing you can do with a single AA battery except use it to create more voltage.

How much voltage depends on the product and the application. If you must create loud audio into big speakers, then life’s going to be a lot harder than if you can get away with driving only headphones.

Low efficiency loudspeakers and headphones are a big obstacle to pristine IA audio. Low efficiency means you need lots of power to drive high-quality speakers to loud levels. And lots of power means lots of voltage and current.

If it is your choice, then chose a pair of nice clean and quiet split supply voltages—as high as you can get them for loud results or if you are going to interconnect with the pro audio world. Most pro audio products use ±15 VDC for their analog audio circuits.

While finding a single IC capable of converting 1.5 VDC to a nice clean and quiet ±15 VDC is difficult (see LTC Design Note) to impossible, several IC companies make converters that will pump up 1.5 volts to 12 volts, and from there you can split that into a useable ±6 VDC. See for instance Analog Devices or Linear Technology, or also Linear Technology.

See also Linear Tech’s latest free design software for DC-DC converters, although it doesn’t help much for single cell converters.

Another free helpful DC-DC converter design program is available from National Semiconductor named Switchers Made Simple , and take a look at the collaborative venture by National, Vishay, and Pioneer-Standard Electronics called Webench , a free on-line tool to design, simulate and order prototype kits for power supplies.

And not-for-free from ON Semiconductor is Power 4-5-6 software for the design, simulation and analysis of power topologies.

Op Amp Specifications Important For Audio
Selecting op amps for audio is a lot easier than it was the first time I wrote about this topic in 1976 (Audio Handbook, National Semiconductor Corporation, 1976. The reprinted version is the last revision published by National Semiconductor in 1980, compiled and edited by Martin Giles who took over as compiler and editor after I left in 1976. Order copies from Old Colony Sound Lab) .

This is primarily due to the quantity of audio specific chips sold into the automotive and PC industries.

Quantity is what IC companies understand. They live and die by quantity, and for the first two decades, audio was pretty much ignored as a product line. Back then selecting good audio op amps took some digging and required the designer to know quite a bit about audio’s specific requirements.

Things are different now. Audio-grade op amps are sold by the millions each day, and it makes selecting them a lot easier since most IC companies have a separate section in the selection guides for audio.

Here is a summary of the most important parameters (in no particular order):

Gain-Bandwidth Product, or GBW, equal to at least 3 MHz. This gives plenty of open loop gain (>40 dB) for feedback circuits to still work well at 20 kHz. More is better as long as the phase margin does not get compromised. You want to see a solid phase margin of 60 degrees at the unity gain BW crossing point.

Slew Rate, or SR, equal to at least 1.5 V/microsecond. This value is necessary to prevent slew-limiting at 20 kHz with full output voltage. In a single-cell world you never have large voltage swings so you never need large slew rates, but it’s nice to have some margin.

Noise, or Noise Density: normally specified at 1 kHz, along with a graph showing wideband performance. Look for spot noise density at 1 kHz less than 15 nV per square-root-Hz (approximately the noise of a 10-kohm resistor) for low gain circuits (like filters) and less than 4 nV per square-root-Hz (noise of a 1-kohm resistor) for high gain circuits (like mic preamps).

In addition to a low 1 kHz spot noise number, you want to see a low 1/f corner, i.e., you don’t want the low-frequency noise to start rising dramatically until below 20 Hz.

Total Harmonic Distortion + Noise, or THD+N: This is not a spec to get overly concerned with. As long as the part stays out of whole numbers, you probably don’t have to worry about any audible results. But in the interest of successful marketing, select parts with a THD+N less than 0.1% over the entire 20 Hz - 20 kHz audio range. Today it is very hard to find parts that don’t shine in the THD department.

Low noise, high slew rates, wide bandwidths, and excellent linearity (low distortion) characterize high quality audio op amps. Other important specifications are application driven and include power supply voltage, current consumption, common-mode rejection, power supply rejection, input impedance and size.

The Audio Handbook (see above) describes op amp audio requirements as follows: “The IC must process complex AC signals comprised of frequencies ranging from 20 Hz to 20 kHz, whose amplitudes vary from a few hundred microvolts to several volts, with a transient nature characterized by steep, compound wave fronts separated by unknown periods of absolute silence.

This must be done without adding distortion of any sort, either harmonic, amplitude, or phase; and it must be done noiselessly—in the sun, and in the snow—forever.” Nothing has changed.
Selecting Low-Voltage Op Amps

Good audio requires good parts. Low-voltage information appliances make selecting the right audio ICs even more important—and more difficult. What follows are guidelines and pointers to high-quality audio ICs specifically designed for low voltage designs.

Note: There are too many world wide semiconductor companies to be all-inclusive regarding recommendations. Apologies are made to those left out. The author knows the ICs and companies spotlighted from direct experience. Omission of any company or specific products merely means the author was not aware of them. It is also recognized that many of the ICs mentioned will be outdated immediately upon writing, so always check the manufacturer for the latest part replacing or improving the one discussed.

Stay tuned for the coming articles in this series. Want to get a jump on the reading? Head on over to the Rane Website where you can read this article in its entirety.

Supplied by Rane. For more, go to rane.com

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Low-Voltage Audio Products: Power & Noise