Circuit Response
every model has an edge, and the figure carries it
Concept

Noise-shaping — where it appears

Putting a quantiser inside a loop so that its error is pushed out of the band of interest rather than reduced. L integrators buy 3(2L+1) decibels for every doubling of the oversampling ratio, and what they charge is an input amplitude: a first-order loop works everywhere inside full scale and a fourth-order one gives out at seven tenths of it.

Named by 7 essays across one field — each of them below, with the objects they name alongside it.

One bit, oversampled — and where the quantisation noise went. computed by solving, not by drawing. A first-order modulator is marched forward one sample at a time with a one-bit quantiser inside the loop, and the noise inside the band is read out of the transform of the error. It falls by 8.99 dB for every doubling of the oversampling ratio — measured 9.33, 10.12, 6.96, 9.54 — against 3.01 dB for plain oversampling, which is drawn beside it from the same starting point. The loop does not make less noise; it moves the noise out of the band, and at a ratio of 128 one bit is worth 9.18.

One bit, and where the noise went

Sampling faster spreads a fixed quantity of quantisation noise over a wider band, so the part inside the band of interest falls by 3.01 dB for every doubling — half a bit. Putting the quantiser inside a loop with an integrator does something different in kind: measured on a modulator marched forward one sample at a time, with its test tone inside the band the ratio is quoted over, the in-band noise falls by 8.99 dB per doubling. At an oversampling ratio of 128, one bit is worth 9.18 — and the octaves scatter by a decibel each, which is the loop telling the truth about what its error is made of.

digital · Noise-shaping A second integrator is 5.8 more decibels an octave, and a third 5.4 more. computed by solving, not by drawing. Modulators of order 1, 2, 3 marched one sample at a time with a one-bit quantiser, their in-band noise read from the transform of the error with the test tone a quarter of the way up the band. The measured slopes are 8.17, 13.93, 19.33 decibels per doubling of the oversampling ratio, against the 9, 15, 21 the white-noise argument predicts and the 3.01 plain oversampling gives. Each order is short of its own prediction by about a decibel, in the same direction, which is the error in the band not being white. The straight lines are each order's prediction drawn through its own first point, so what is compared is a slope against a slope.

The loop that is worse at full scale

A second integrator in a one-bit loop takes the shaping law from nine decibels an octave to fourteen, and a third to nineteen. What it charges is not in decibels at all: past six tenths of full scale the ratio starts falling, and a fourth integrator's states run away at seven tenths. The best input to a second-order modulator is 0.6 of the reference it is measured against — an amplitude boundary of exactly the kind this collection is built for, on the one object in the field that has no continuous output to draw.

digital · Noise-shaping What a cascaded modulator is worth, against how well its two paths match. computed by solving, not by drawing. Two first-order loops marched sample by sample at an oversampling ratio of 64, with the first stage's quantisation error taken as the difference between what its comparator said and what was presented to it — nothing here reads a state a real converter could not. Perfectly matched, the cascade gives 72.5 decibels against the first stage's own 47.5: second-order shaping out of two first-order loops, neither of which can be unstable. The gain with which the first error reaches the second stage is then given an error, and the flat left-hand half of the curve is the arrangement working. It costs three decibels at 5.29 per cent, which is a capacitor ratio — achievable, and not free, and not something the digital side can measure or correct.

Two loops, and the mismatch between them

Single loops of second, third and fourth order, marched alone, each stop working above an amplitude that falls with the order — which is why nobody builds a fourth-order single loop. The standard answer is two first-order loops with the first one's error fed to the second and differentiated back out, giving second-order shaping out of parts that cannot be unstable. The cancellation is between an analogue path and a digital one, and it is worth 25 decibels until the two differ by five per cent.

digital · Noise-shaping Against its own shaping the error is 17.4× tonal, not 51×. computed by solving, not by drawing. The share of an order-1 loop's in-band error sitting in its five largest lines, from 0.02 to 0.9 of full scale, with both nulls drawn. The lower level is 1.953 per cent — five lines of a FLAT error over 256 — and it is what this measurement has always been quoted against. The upper level is 5.74 per cent, which is what five lines of the loop's OWN shaping hold with no tone anywhere in them. Measured against the first the error is 51 times tonal at 0.02 of full scale and 26 at 0.9; against the second, 17.4 and 8.9. The direction survives the correction and the size does not.

A floor, or five tones

The field's sharpest statement about a one-bit loop is that three quarters of its in-band error sits in five lines, against the 1.953 per cent a white error would put in any five — a factor of thirty-eight. The comparison is to a white error, and a shaping loop exists to make its error anything but white. Measured against the loop's own transfer function, which the loop reproduces line by line to a part in five hundred when it is dithered, the same error is 17.4 times tonal at a fiftieth of full scale and 8.9 times at nine tenths. And 99.5 per cent of it at the quiet end is two harmonics of the input.

digital · Noise-shaping A second-order loop at a ratio of 64, with a quantiser of one to five bits: the ratio in the band against the input amplitude. computed by solving, not by drawing: the loop whose noise transfer is exactly (1 − z⁻¹)², marched with a sine inside the band, the error measured through a squared Hann window. At half scale, 1 bit 69.4 dB, 2 bits 82.5 dB, 3 bits 90.3 dB, 4 bits 96.8 dB, 5 bits 102.0 dB. The first extra bit adds 13.1 dB because a one-bit quantiser's error is larger than a step's uniform error; after that each adds six or seven. The amplitude each does best at moves up with the bits — 0.6 for 1, 0.6 for 2, 0.8 for 3, 0.85 for 4, 0.95 for 5 — because a fine quantiser is never driven past its last level by the shaped error.

The levels the loop cannot shape

Give a second-order noise-shaping loop a quantiser of several bits instead of one and every bit beyond the second buys six or seven decibels, the best input amplitude climbs from 0.6 of full scale to 0.95, and loops of third and fourth order that will not run on one bit run on three or four. What it charges is outside the loop's reach. The levels the quantiser feeds back enter where the input does, so their errors are passed rather than shaped: a three-bit loop loses its lead over a one-bit one when each level is out by 0.027 per cent, its error stops falling with oversampling, and the error arrives as harmonics. One bit is immune because two levels always lie on a line.

digital · Noise-shaping A second-order four-bit loop whose integrators are built round amplifiers of finite gain: the ratio in the band against oversampling. computed by solving, not by drawing: each integrator's pole at 1 − 1/A, half-scale input, half a step of shaped dither, three seeds averaged, squared Hann window. With perfect integrators the ratio rises 15.1 dB an octave, to 138.9 dB at 512. With A = 1000: 138.5 dB at 512, 0.4 below; with A = 100: 122.3 dB at 512, 16.6 below; with A = 30: 102.9 dB at 512, 35.9 below; with A = 10: 85.0 dB at 512, 53.9 below. Each curve leaves the ideal one near a ratio of about πA; for A = 10 the last octave gains 2.7 dB against the ideal's 15.1 — toward the three an octave a floor that is not shaped improves at.

The integrator that leaks the zero away

A noise-shaping loop puts its error's zero at zero frequency because its integrators never forget. An integrator built round an amplifier of gain A forgets a part in A every sample, and the zero moves off zero frequency to a floor. The cost is a function of one number, the oversampling ratio over π times the gain: for two leaky integrators it is 10 log(1 + (10/3)x² + 5x⁴), which the marched loops follow to within two decibels from gains of 10 to 300, and keeping it under a decibel needs a gain of 1.2 times the oversampling ratio. A first-order loop pays a second way: inputs within exactly 1/(2A − 1) of zero leave its output where it was.

digital · Noise-shaping Fed nothing, a 12-bit eighth-order cascade sits 88 least significant bits from zero; with its rounding error fed back, never more than 1. computed by solving, not by drawing. The same cascade with its corner at 1 kHz and its clock 48 times higher, each section's state seeded at eight least significant bits and every product rounded to 12 bits, marched with no input. Plainly rounded, the sections settle at 27, 50, 70, 88 least significant bits — a constant state survives whenever rounding returns it to itself, and each section's offset is the next one's input. With each section's last two rounding errors added back with weights −2 and +1, the error reaches the output through (1 − z⁻¹)²/A(z), a constant state y needs (1 + a₁ + a₂)·y = 0, and the only one is zero: the largest excursion over the last two thousand samples is 1, 1, 1, 1 least significant bit, single isolated steps rather than a settled offset.

The rounding a section keeps

A fixed-point biquad that remembers its last two rounding errors and adds them back with weights −2 and +1 before it rounds again sends its error to the output through (1 − z⁻¹)²/A(z) instead of 1/A(z). For a low-pass clocked far above its corner that double zero lands exactly on the recursion's largest gain. Fed nothing, an eighth-order 12-bit cascade at 48 times its corner sat 88 least significant bits from zero; with the error kept, a constant state needs (1 + a₁ + a₂)·y = 0, its only solution is zero, and the output never strays more than one bit at any clock rate from 8× to 128×. The round-off floor at 128× falls 89 times, 6.5 bits, for two additions and a shift per section — and the white-noise model, which the plain cascade broke by a factor of ten at eight bits, holds to 2.3% from six bits to twenty.

digital · Digital realisation

Named alongside it

The objects these essays reach for when they reach for this one.

OversamplingQuantisationSigma deltaEffective bitsIdle tonesStabilityDesign tradeoffDevice mismatchDynamic rangeMeasurement conditionSpectral densityTotal harmonic distortion

All concepts