- •Contents
- •Acknowledgments
- •Preface
- •What a Crossover Does
- •Why a Crossover Is Necessary
- •Beaming and Lobing
- •Passive Crossovers
- •Active Crossover Applications
- •Bi-Amping and Bi-Wiring
- •Loudspeaker Cables
- •The Advantages and Disadvantages of Active Crossovers
- •The Advantages of Active Crossovers
- •Some Illusory Advantages of Active Crossovers
- •The Disadvantages of Active Crossovers
- •The Next Step in Hi-Fi
- •Active Crossover Systems
- •Matching Crossovers and Loudspeakers
- •A Modest Proposal: Popularising Active Crossovers
- •Multi-Way Connectors
- •Subjectivism
- •Sealed-Box Loudspeakers
- •Reflex (Ported) Loudspeakers
- •Auxiliary Bass Radiator (ABR) Loudspeakers
- •Transmission Line Loudspeakers
- •Horn Loudspeakers
- •Electrostatic Loudspeakers
- •Ribbon Loudspeakers
- •Electromagnetic Planar Loudspeakers
- •Air-Motion Transformers
- •Plasma Arc Loudspeakers
- •The Rotary Woofer
- •MTM Tweeter-Mid Configurations (d’Appolito)
- •Vertical Line Arrays
- •Line Array Amplitude Tapering
- •Line Array Frequency Tapering
- •CBT Line Arrays
- •Diffraction
- •Sound Absorption in Air
- •Modulation Distortion
- •Drive Unit Distortion
- •Doppler Distortion
- •Further Reading on Loudspeaker Design
- •General Crossover Requirements
- •1 Adequate Flatness of Summed Amplitude/Frequency Response On-Axis
- •2 Sufficiently Steep Roll-Off Slopes Between the Filter Outputs
- •3 Acceptable Polar Response
- •4 Acceptable Phase Response
- •5 Acceptable Group Delay Behaviour
- •Further Requirements for Active Crossovers
- •1 Negligible Extra Noise
- •2 Negligible Impairment of System Headroom
- •3 Negligible Extra Distortion
- •4 Negligible Impairment of Frequency Response
- •5 Negligible Impairment of Reliability
- •Linear Phase
- •Minimum Phase
- •Absolute Phase
- •Phase Perception
- •Target Functions
- •All-Pole and Non-All-Pole Crossovers
- •Symmetric and Asymmetric Crossovers
- •Allpass and Constant-Power Crossovers
- •Constant-Voltage Crossovers
- •First-Order Crossovers
- •First-Order Solen Split Crossover
- •First-Order Crossovers: 3-Way
- •Second-Order Crossovers
- •Second-Order Butterworth Crossover
- •Second-Order Linkwitz-Riley Crossover
- •Second-Order Bessel Crossover
- •Second-Order 1.0 dB-Chebyshev Crossover
- •Third-Order Crossovers
- •Third-Order Butterworth Crossover
- •Third-Order Linkwitz-Riley Crossover
- •Third-Order Bessel Crossover
- •Third-Order 1.0 dB-Chebyshev Crossover
- •Fourth-Order Crossovers
- •Fourth-Order Butterworth Crossover
- •Fourth-Order Linkwitz-Riley Crossover
- •Fourth-Order Bessel Crossover
- •Fourth-Order 1.0 dB-Chebyshev Crossover
- •Fourth-Order Linear-Phase Crossover
- •Fourth-Order Gaussian Crossover
- •Fourth-Order Legendre Crossover
- •Higher-Order Crossovers
- •Determining Frequency Offsets
- •Filler-Driver Crossovers
- •The Duelund Crossover
- •Crossover Topology
- •Crossover Conclusions
- •Elliptical Filter Crossovers
- •Neville Thiele MethodTM (NTM) Crossovers
- •Subtractive Crossovers
- •First-Order Subtractive Crossovers
- •Second-Order Butterworth Subtractive Crossovers
- •Third-Order Butterworth Subtractive Crossovers
- •Fourth-Order Butterworth Subtractive Crossovers
- •Subtractive Crossovers With Time Delays
- •Performing the Subtraction
- •Active Filters
- •Lowpass Filters
- •Highpass Filters
- •Bandpass Filters
- •Notch Filters
- •Allpass Filters
- •All-Stop Filters
- •Brickwall Filters
- •The Order of a Filter
- •Filter Cutoff Frequencies and Characteristic Frequencies
- •First-Order Filters
- •Second-Order and Higher-Order Filters
- •Filter Characteristics
- •Amplitude Peaking and Q
- •Butterworth Filters
- •Linkwitz-Riley Filters
- •Bessel Filters
- •Chebyshev Filters
- •1 dB-Chebyshev Lowpass Filter
- •3 dB-Chebyshev Lowpass Filter
- •Higher-Order Filters
- •Butterworth Filters up to 8th-Order
- •Linkwitz-Riley Filters up to 8th-Order
- •Bessel Filters up to 8th-Order
- •Chebyshev Filters up to 8th-Order
- •More Complex Filters—Adding Zeros
- •Inverse Chebyshev Filters (Chebyshev Type II)
- •Elliptical Filters (Cauer Filters)
- •Some Lesser-Known Filter Characteristics
- •Transitional Filters
- •Linear-Phase Filters
- •Gaussian Filters
- •Legendre-Papoulis Filters
- •Laguerre Filters
- •Synchronous Filters
- •Other Filter Characteristics
- •Designing Real Filters
- •Component Sensitivity
- •First-Order Lowpass Filters
- •Second-Order Filters
- •Sallen & Key 2nd-Order Lowpass Filters
- •Sallen & Key Lowpass Filter Components
- •Sallen & Key 2nd-Order Lowpass: Unity Gain
- •Sallen & Key 2nd-Order Lowpass Unity Gain: Component Sensitivity
- •Filter Frequency Scaling
- •Sallen & Key 2nd-Order Lowpass: Equal Capacitor
- •Sallen & Key 2nd-Order Lowpass Equal-C: Component Sensitivity
- •Sallen & Key 2nd-Order Butterworth Lowpass: Defined Gains
- •Sallen & Key 2nd-Order Lowpass: Non-Equal Resistors
- •Sallen & Key 2nd-Order Lowpass: Optimisation
- •Sallen & Key 3rd-Order Lowpass: Two Stages
- •Sallen & Key 3rd-Order Lowpass: Single Stage
- •Sallen & Key 4th-Order Lowpass: Two Stages
- •Sallen & Key 4th-Order Lowpass: Single-Stage Butterworth
- •Sallen & Key 4th-Order Lowpass: Single-Stage Linkwitz-Riley
- •Sallen & Key 5th-Order Lowpass: Three Stages
- •Sallen & Key 5th-Order Lowpass: Two Stages
- •Sallen & Key 5th-Order Lowpass: Single Stage
- •Sallen & Key 6th-Order Lowpass: Three Stages
- •Sallen & Key 6th-Order Lowpass: Single Stage
- •Sallen & Key Lowpass: Input Impedance
- •Linkwitz-Riley Lowpass With Sallen & Key Filters: Loading Effects
- •Lowpass Filters With Attenuation
- •Bandwidth Definition Filters
- •Bandwidth Definition: Butterworth Versus Bessel
- •Variable-Frequency Lowpass Filters: Sallen & Key
- •First-Order Highpass Filters
- •Sallen & Key 2nd-Order Filters
- •Sallen & Key 2nd-Order Highpass Filters
- •Sallen & Key Highpass Filter Components
- •Sallen & Key 2nd-Order Highpass: Unity Gain
- •Sallen & Key 2nd-Order Highpass: Equal Resistors
- •Sallen & Key 2nd-Order Butterworth Highpass: Defined Gains
- •Sallen & Key 2nd-Order Highpass: Non-Equal Capacitors
- •Sallen & Key 3rd-Order Highpass: Two Stages
- •Sallen & Key 3rd-Order Highpass in a Single Stage
- •Sallen & Key 4th-Order Highpass: Two Stages
- •Sallen & Key 4th-Order Highpass: Butterworth in a Single Stage
- •Sallen & Key 4th-Order Highpass: Linkwitz-Riley in a Single Stage
- •Sallen & Key 4th-Order Highpass: Single-Stage With Other Filter Characteristics
- •Sallen & Key 5th-Order Highpass: Three Stages
- •Sallen & Key 5th-Order Butterworth Filter: Two Stages
- •Sallen & Key 5th-Order Highpass: Single Stage
- •Sallen & Key 6th-Order Highpass: Three Stages
- •Sallen & Key 6th-Order Highpass: Single Stage
- •Sallen & Key Highpass: Input Impedance
- •Bandwidth Definition Filters
- •Bandwidth Definition: Subsonic Filters
- •Bandwidth Definition: Combined Ultrasonic and Subsonic Filters
- •Variable-Frequency Highpass Filters: Sallen & Key
- •Designing Filters
- •Multiple-Feedback Filters
- •Multiple-Feedback 2nd-Order Lowpass Filters
- •Multiple-Feedback 2nd-Order Highpass Filters
- •Multiple-Feedback 3rd-Order Filters
- •Multiple-Feedback 3rd-Order Lowpass Filters
- •Multiple-Feedback 3rd-Order Highpass Filters
- •Biquad Filters
- •Akerberg-Mossberg Lowpass Filter
- •Akerberg-Mossberg Highpass Filters
- •Tow-Thomas Biquad Lowpass and Bandpass Filter
- •Tow-Thomas Biquad Notch and Allpass Responses
- •Tow-Thomas Biquad Highpass Filter
- •State-Variable Filters
- •Variable-Frequency Filters: State-Variable 2nd Order
- •Variable-Frequency Filters: State-Variable 4th-Order
- •Variable-Frequency Filters: Other Orders of State-Variable
- •Other Filters
- •Aspects of Filter Performance: Noise and Distortion
- •Distortion in Active Filters
- •Distortion in Sallen & Key Filters: Looking for DAF
- •Distortion in Sallen & Key Filters: 2nd-Order Lowpass
- •Distortion in Sallen & Key Filters: 2nd-Order Highpass
- •Mixed Capacitors in Low-Distortion 2nd-Order Sallen & Key Filters
- •Distortion in Sallen & Key Filters: 3rd-Order Lowpass Single Stage
- •Distortion in Sallen & Key Filters: 3rd-Order Highpass Single Stage
- •Distortion in Sallen & Key Filters: 4th-Order Lowpass Single Stage
- •Distortion in Sallen & Key Filters: 4th-Order Highpass Single Stage
- •Distortion in Sallen & Key Filters: Simulations
- •Distortion in Sallen & Key Filters: Capacitor Conclusions
- •Distortion in Multiple-Feedback Filters: 2nd-Order Lowpass
- •Distortion in Multiple-Feedback Filters: 2nd-Order Highpass
- •Distortion in Tow-Thomas Filters: 2nd-Order Lowpass
- •Distortion in Tow-Thomas Filters: 2nd-Order Highpass
- •Noise in Active Filters
- •Noise and Bandwidth
- •Noise in Sallen & Key Filters: 2nd-Order Lowpass
- •Noise in Sallen & Key Filters: 2nd-Order Highpass
- •Noise in Sallen & Key Filters: 3rd-Order Lowpass Single Stage
- •Noise in Sallen & Key Filters: 3rd-Order Highpass Single Stage
- •Noise in Sallen & Key Filters: 4th-Order Lowpass Single Stage
- •Noise in Sallen & Key Filters: 4th-Order Highpass Single Stage
- •Noise in Multiple-Feedback Filters: 2nd-Order Lowpass
- •Noise in Multiple-Feedback Filters: 2nd-Order Highpass
- •Noise in Tow-Thomas Filters
- •Multiple-Feedback Bandpass Filters
- •High-Q Bandpass Filters
- •Notch Filters
- •The Twin-T Notch Filter
- •The 1-Bandpass Notch Filter
- •The Bainter Notch Filter
- •Bainter Notch Filter Design
- •Bainter Notch Filter Example
- •An Elliptical Filter Using a Bainter Highpass Notch
- •The Bridged-Differentiator Notch Filter
- •Boctor Notch Filters
- •Other Notch Filters
- •Simulating Notch Filters
- •The Requirement for Delay Compensation
- •Calculating the Required Delays
- •Signal Summation
- •Physical Methods of Delay Compensation
- •Delay Filter Technology
- •Sample Crossover and Delay Filter Specification
- •Allpass Filters in General
- •First-Order Allpass Filters
- •Distortion and Noise in 1st-Order Allpass Filters
- •Cascaded 1st-Order Allpass Filters
- •Second-Order Allpass Filters
- •Distortion and Noise in 2nd-Order Allpass Filters
- •Third-Order Allpass Filters
- •Distortion and Noise in 3rd-Order Allpass Filters
- •Higher-Order Allpass Filters
- •Delay Lines for Subtractive Crossovers
- •Variable Allpass Time Delays
- •Lowpass Filters for Time Delays
- •The Need for Equalisation
- •What Equalisation Can and Can’t Do
- •Loudspeaker Equalisation
- •1 Drive Unit Equalisation
- •3 Bass Response Extension
- •4 Diffraction Compensation Equalisation
- •5 Room Interaction Correction
- •Equalisation Circuits
- •HF-Cut and LF-Boost Equaliser
- •Combined HF-Boost and HF-Cut Equaliser
- •Adjustable Peak/Dip Equalisers: Fixed Frequency and Low Q
- •Adjustable Peak/Dip Equalisers With High Q
- •Parametric Equalisers
- •The Bridged-T Equaliser
- •The Biquad Equaliser
- •Capacitance Multiplication for the Biquad Equaliser
- •Equalisers With Non-Standard Slopes
- •Equalisers With −3 dB/Octave Slopes
- •Equalisers With −3 dB/Octave Slopes Over Limited Range
- •Equalisers With −4.5 dB/Octave Slopes
- •Equalisers With Other Slopes
- •Equalisation by Filter Frequency Offset
- •Equalisation by Adjusting All Filter Parameters
- •Component Values
- •Resistors
- •Through-Hole Resistors
- •Surface-Mount Resistors
- •Resistors: Values and Tolerances
- •Resistor Value Distributions
- •Obtaining Arbitrary Resistance Values
- •Other Resistor Combinations
- •Resistor Noise: Johnson and Excess Noise
- •Resistor Non-Linearity
- •Capacitors: Values and Tolerances
- •Obtaining Arbitrary Capacitance Values
- •Capacitor Shortcomings
- •Non-Electrolytic Capacitor Non-Linearity
- •Electrolytic Capacitor Non-Linearity
- •Active Devices for Active Crossovers
- •Opamp Types
- •Opamp Properties: Noise
- •Opamp Properties: Slew Rate
- •Opamp Properties: Common-Mode Range
- •Opamp Properties: Input Offset Voltage
- •Opamp Properties: Bias Current
- •Opamp Properties: Cost
- •Opamp Properties: Internal Distortion
- •Opamp Properties: Slew Rate Limiting Distortion
- •Opamp Properties: Distortion Due to Loading
- •Opamp Properties: Common-Mode Distortion
- •Opamps Surveyed
- •The TL072 Opamp
- •The NE5532 and 5534 Opamps
- •The 5532 With Shunt Feedback
- •5532 Output Loading in Shunt-Feedback Mode
- •The 5532 With Series Feedback
- •Common-Mode Distortion in the 5532
- •Reducing 5532 Distortion by Output Stage Biasing
- •Which 5532?
- •The 5534 Opamp
- •The LM4562 Opamp
- •Common-Mode Distortion in the LM4562
- •The LME49990 Opamp
- •Common-Mode Distortion in the LME49990
- •The AD797 Opamp
- •Common-Mode Distortion in the AD797
- •The OP27 Opamp
- •Opamp Selection
- •Crossover Features
- •Input Level Controls
- •Subsonic Filters
- •Ultrasonic Filters
- •Output Level Trims
- •Output Mute Switches, Output Phase-Reverse Switches
- •Control Protection
- •Features Usually Absent
- •Metering
- •Relay Output Muting
- •Switchable Crossover Modes
- •Noise, Headroom, and Internal Levels
- •Circuit Noise and Low-Impedance Design
- •Using Raised Internal Levels
- •Placing the Output Attenuator
- •Gain Structures
- •Noise Gain
- •Active Gain Controls
- •Filter Order in the Signal Path
- •Output Level Controls
- •Mute Switches
- •Phase-Invert Switches
- •Distributed Peak Detection
- •Power Amplifier Considerations
- •Subwoofer Applications
- •Subwoofer Technologies
- •Sealed-Box (Infinite Baffle) Subwoofers
- •Reflex (Ported) Subwoofers
- •Auxiliary Bass Radiator (ABR) Subwoofers
- •Transmission Line Subwoofers
- •Bandpass Subwoofers
- •Isobaric Subwoofers
- •Dipole Subwoofers
- •Horn-Loaded Subwoofers
- •Subwoofer Drive Units
- •Hi-Fi Subwoofers
- •Home Entertainment Subwoofers
- •Low-Level Inputs (Unbalanced)
- •Low-Level Inputs (Balanced)
- •High-Level Inputs
- •High-Level Outputs
- •Mono Summing
- •LFE Input
- •Level Control
- •Crossover In/Out Switch
- •Crossover Frequency Control (Lowpass Filter)
- •Highpass Subsonic Filter
- •Phase Switch (Normal/Inverted)
- •Variable Phase Control
- •Signal Activation Out of Standby
- •Home Entertainment Crossovers
- •Fixed Frequency
- •Variable Frequency
- •Multiple Variable
- •Power Amplifiers for Home Entertainment Subwoofers
- •Subwoofer Integration
- •Sound-Reinforcement Subwoofers
- •Line or Area Arrays
- •Cardioid Subwoofer Arrays
- •Aux-Fed Subwoofers
- •Automotive Audio Subwoofers
- •Motional Feedback Loudspeakers
- •History
- •Feedback of Position
- •Feedback of Velocity
- •Feedback of Acceleration
- •Other MFB Speakers
- •Published Projects
- •Conclusions
- •External Signal Levels
- •Internal Signal Levels
- •Input Amplifier Functions
- •Unbalanced Inputs
- •Balanced Interconnections
- •The Advantages of Balanced Interconnections
- •The Disadvantages of Balanced Interconnections
- •Balanced Cables and Interference
- •Balanced Connectors
- •Balanced Signal Levels
- •Electronic vs Transformer Balanced Inputs
- •Common-Mode Rejection Ratio (CMRR)
- •The Basic Electronic Balanced Input
- •Common-Mode Rejection Ratio: Opamp Gain
- •Common-Mode Rejection Ratio: Opamp Frequency Response
- •Common-Mode Rejection Ratio: Opamp CMRR
- •Common-Mode Rejection Ratio: Amplifier Component Mismatches
- •A Practical Balanced Input
- •Variations on the Balanced Input Stage
- •Combined Unbalanced and Balanced Inputs
- •The Superbal Input
- •Switched-Gain Balanced Inputs
- •Variable-Gain Balanced Inputs
- •The Self Variable-Gain Balanced Input
- •High Input Impedance Balanced Inputs
- •The Instrumentation Amplifier
- •Instrumentation Amplifier Applications
- •The Instrumentation Amplifier With 4x Gain
- •The Instrumentation Amplifier at Unity Gain
- •Transformer Balanced Inputs
- •Input Overvoltage Protection
- •Noise and Balanced Inputs
- •Low-Noise Balanced Inputs
- •Low-Noise Balanced Inputs in Real Life
- •Ultra-Low-Noise Balanced Inputs
- •Unbalanced Outputs
- •Zero-Impedance Outputs
- •Ground-Cancelling Outputs
- •Balanced Outputs
- •Transformer Balanced Outputs
- •Output Transformer Frequency Response
- •Transformer Distortion
- •Reducing Transformer Distortion
- •Opamp Supply Rail Voltages
- •Designing a ±15 V Supply
- •Designing a ±17 V Supply
- •Using Variable-Voltage Regulators
- •Improving Ripple Performance
- •Dual Supplies From a Single Winding
- •Mutual Shutdown Circuitry
- •Power Supplies for Discrete Circuitry
- •Design Principles
- •Example Crossover Specification
- •The Gain Structure
- •Resistor Selection
- •Capacitor Selection
- •The Balanced Line Input Stage
- •The Bandwidth Definition Filter
- •The HF Path: 3 kHz Linkwitz-Riley Highpass Filter
- •The HF Path: Time-Delay Compensation
- •The MID Path: Topology
- •The MID Path: 400 Hz Linkwitz-Riley Highpass Filter
- •The MID Path: 3 kHz Linkwitz-Riley Lowpass Filter
- •The MID Path: Time-Delay Compensation
- •The LF Path: 400 Hz Linkwitz-Riley Lowpass Filter
- •The LF Path: No Time-Delay Compensation
- •Output Attenuators and Level Trim Controls
- •Balanced Outputs
- •Crossover Programming
- •Noise Analysis: Input Circuitry
- •Noise Analysis: HF Path
- •Noise Analysis: MID Path
- •Noise Analysis: LF Path
- •Improving the Noise Performance: The MID Path
- •Improving the Noise Performance: The Input Circuitry
- •The Noise Performance: Comparisons With Power Amplifier Noise
- •Conclusion
- •Index
274 Other Lowpass and Highpass Filters
Multiple-Feedback 2nd-Order Highpass Filters
The multiple-feedback highpass filter is the multiple-feedback lowpass filter with the resistors and capacitors interchanged.Apractical version of an MFB highpass filter is shown in Figure 10.3, once more designed for a Butterworth characteristic (Q = 0.7071), a cutoff frequency of 1 kHz, and unity passband gain.
This time we have three identical capacitors which can be conveniently chosen from the E6 series, dealing with the awkward resistor values in the usual way; as it happens, in this case R1 comes out as the E24 value of 750 Ω. There may be three capacitors, but this is still a 2nd-order circuit. Given the relatively high cost of capacitors compared with other components, this is not a particularly appealing configuration.
Multiple-Feedback 3rd-Order Filters
Filters of higher order using MFB stages can be made in the same way as for Sallen & Key stages; the appropriate cutoff frequencies and Q’s for each stage are taken from Chapter 7 and the stages placed in series, in a suitable order that minimises headroom restrictions due to gain peaking. Buffer amplifiers are used as required to make sure that 1st-order circuits are not loaded by succeeding stages.
Figure 10.3: A 2nd-order highpass Butterworth multiple-feedback (MFB) filter with the analysis equations. Cutoff frequency = 1 kHz, Q = 0.707 and passband gain is unity.
Other Lowpass and Highpass Filters 275
As for Sallen & Key filters, these buffer amplifiers can be dispensed with if the loading effects are taken into account in the design; this does however make the process much more difficult and is likely to make component sensitivities worse. I have never used these filters myself, and I think caution should be the watchword. Clearly an amplifier is saved; however, you can also make both lowpass and highpass 3rd-order Sallen & Key filters in one stage and therefore using only one amplifier. Examples of 3rd-order Butterworth lowpass and highpass filters are given next, which can be scaled for different cutoff frequencies.
Multiple-Feedback 3rd-Order Lowpass Filters
A3rd-order lowpass MFB filter can be made by placing an additional 1st-order lowpass circuit R4-C4 just before the 2nd-order MFB filter. In Figure 10.4 R4 = R1 = R2 = R3/2.
Multiple-Feedback 3rd-Order Highpass Filters
A3rd-order highpass MFB filter can be made by placing an additional first-order highpass circuit C4-R4 just before the 2nd-order MFB filter. In Figure 10.5, C4 = C1 = C2 = 2C3. There is a clear temptation to make C3 the preferred value of 47 nF. If you do, the cutoff frequency and the later roll-off are unaffected, but the gain in the passband is increased from 0 dB to +0.54 dB; you can probably live with this.Although there are four capacitors, this is still a 3rd-order filter, in the same way that Figure 10.3 has three capacitors but is only a 2nd-order filter. Given the relatively high cost of capacitors, this is not an economic circuit.
Figure 10.4: Third-order Butterworth lowpass MFB filter. Cutoff 1kHz.