Concept

Sigma delta — where it appears

A converter that quantises coarsely at a high rate inside a loop, so its error is shaped out of the band of interest rather than reduced. One bit at an oversampling ratio of 128 is worth about nine, and what the loop charges is an input amplitude it rather than the reference decides.

Named by 4 essays across one field — each of them below, with the objects they name alongside it.

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

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

Named alongside it

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

Noise-shaping Oversampling Quantisation Device mismatch Dynamic range Idle tones Measurement condition Spectral density Stability Total harmonic distortion Verification Design tradeoff

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