
- •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

Lowpass and Highpass Filter Performance 303
Distortion in Sallen & Key Filters: Looking for DAF
It is evident that if DAF theory is correct, we are going to see a large peak in distortion at some frequency.
This will not occur at the cutoff frequency but at sub-multiples of it, which have harmonics falling at the cutoff frequency. If cutoff is at 1 kHz, and we have second-harmonic distortion in the amplifier, we will see a distortion peak at an input frequency of 500 Hz, as the second harmonic of 500 Hz is 1 kHz. Likewise, with third-harmonic distortion we will see a peak when the input frequency is 333 Hz.
Perhaps rather belatedly (after working out all the DAFs) Idecided to see this effect for real. In Peter Billam’s second paper on active filter distortion [4] he uses as an example an S&K lowpass filter with a Q of 5, as shown in Figure11.3a.The response has a +14 dB peak, shown in Figure11.4.AQ of 5 is higher than any we are likely use in crossover design; even an 8th-order Butterworth filter uses a maximum Qof only 2.56. Note the high capacitor ratio of 100 needed to get Q= 5 with this type of filter. For the standard circuit, the DAF peaks at a frightening 50.9, labelled DAF 1 in Figure11.4. Itried the Billam optimisation procedure, as described in [4], which gives the modified filter shown at Figure11.3b, which has the same frequency response but a much reduced DAF peak of 11.0; it is labelled DAF 2 in Figure 11.4. The optimised filter has a much lower ratio of capacitors; 9.1 times instead of 100 times, which if nothing else will save a good deal of money on C1. But. . . to get the correct response the optimised filter has to be configured with a good deal more than unity gain; 1.91 times or+5.6 dB in fact.This is likely to be very inconvenient, causing significant problems with noise and headroom.
Trying this optimisation process with the rather more popular Butterworth 2nd-order lowpass, the peak
DAF is reduced from 2 to 1.709, which is a less than impressive improvement.Again of 1.336 times is required to get the correct response, and this is likely to be unhelpful.
Figure 11.3: Second-order lowpass Sallen & Key filters with Q = 5. Standard filter at a, after Billam optimisation at b. Cutoff frequency is 1 kHz for both.

304 Lowpass and Highpass Filter Performance
Figure 11.4: Second-order lowpass Sallen & Key filters with Q = 5; DAF 1 is for standard circuit, DAF 2 after Billam optimisation. Cutoff frequency is 1 kHz for both. DAF and dB share the same scale on the y-axis.
Going back to the Q = 5 filter, the frequency response of the optimised version is the same as for the original filter, but the gain is higher. The question is, have we actually managed to reduce the filter distortion?
The filter in Figure 11.3a was built using a 5532 section and measured with input levels of 1 Vrms and 2 Vrms. Considering that S&K filters are regularly criticised as being unsuitable for anything other than low Q’s, I was pleasantly surprised at how well this Q = 5 version behaved. The cutoff frequency and response peaking were as calculated.
And now for the distortion behaviour. Figure 11.5 shows no trace of a big distortion peak. The 1 Vrms input shows no measurable distortion, but for a 2 Vrms input there is a small distortion peak at 500 Hz, indicating that some second harmonic is being produced. This only reaches 0.0007% at its peak.
The distortion residual at this frequency could be seen to be fairly pure second harmonic as expected, while at all other frequencies only noise could be seen. Since the Q of 5 gives a +14 dB (5x) gain peak at cutoff, and the clipping level is about 10 Vrms, a 2 Vrms input is about the most demanding test possible.
Having read the Billam and Bonello papers, it was rather a surprise to find in my measurements no evidence of DAF in action at all. The conclusion at this point must be that DAF theory need not be taken into account when designing crossover filters for low distortion, and the “optimisation” process is dubious if it requires extra filter gain. Choosing a low-distortion amplifier such as the 5532 seems to be all that is necessary.

Lowpass and Highpass Filter Performance 305
Figure 11.5: Second-order lowpass Sallen & Key filters with Q = 0.7071 for Butterworth response. Cutoff frequency is 1 kHz.
Distortion in Sallen & Key Filters: 2nd-Order Lowpass
We now turn from the effect of the amplifiers to the effect of capacitor non-linearity on active filter distortion performance.
The capacitor-induced distortion behaviours of the 2nd-order lowpass and highpass Sallen & Key filters are rather different. The examples shown in Figure 11.6 both have a cutoff at 510 Hz, this frequency resulting from the convenient component values used. The frequency response of the
Butterworth 510 Hz lowpass filter in Figure 11.6a is shown in Figure 11.7, while the distortion performance is shown in Figure 11.8. With 220 nF 100 V polyester capacitors there is a pronounced peak in distortion around 200 Hz, more than an octave below the cutoff frequency. All the distortion in this region is fairly pure third harmonic and clearly comes from the capacitors and not the opamp.
This is demonstrated by replacing them with 220 nF 160 V polypropylene capacitors; the distortion is eliminated, as shown by the lower trace in Figure 11.8. Note that the test level is almost as high as opamps are capable of at 10 Vrms, and practical internal levels such as 3 Vrms will give much lower levels of distortion.
As expected, the Noise + THD reading in Figure 11.8 climbs rapidly as the cutoff frequency is exceeded and the output amplitude starts to fall at 12 dB/octave; in fact the Noise + THD reading climbs more rapidly than 12 dB/octave, which is a clear warning sign that the residual is not entirely composed of noise.At 1 kHz the reading is only 0.00037%, but crossover-ish distortion from the

306 Lowpass and Highpass Filter Performance
Figure 11.6: Second-order highpass and lowpass Butterworth Sallen & Key filters for distortion and noise tests. Cutoff frequency is 510 Hz for both.
Figure 11.7: The frequency response of the second order 510 Hz lowpass S&K filter in Figure 11.6a.
opamp is clearly visible on the THD residual, well above the noise level. This condition persists as frequency rises, with opamp distortion still clear above the noise even at 10 kHz when the output has fallen below 24 mVrms. This is quite different behaviour from that of the highpass filter, where
below the cutoff frequency the Noise + THD reading goes up at the 12 dB/octave rate, which would be expected if it was composed only of noise.

Lowpass and Highpass Filter Performance 307
Figure 11.8: THD plot from the 2nd-order 510 Hz S&K lowpass filter; input level 10 Vrms. The upper trace shows distortion from polyester capacitors; the lower trace, with polypropylene capacitors, shows noise and opamp distortion above 1 kHz.
Removing the capacitors to get a flat frequency response much reduces the distortion seen at these frequencies, even though the output level is now much higher, which might perhaps be an example of the distortion aggravation factor at work. These are deep waters, Watson.
The signal voltage across the capacitors in these filters varies strongly with frequency, and I thought it might be instructive to see how this relates to their distortion behaviour. In a lowpass Sallen & Key filter, the voltage across C1 peaks at one half of the output voltage at the turnover frequency rolling off either side at 6 dB/octave. The voltage across C2 is the input voltage up to the turnover frequency; it then rolls off at 12 dB/octave, as illustrated in Figure 11.9. The capacitor voltages for the equivalent highpass filter are exactly the same, but with C1 and C2 swapped over.
Figure 11.9 tells us that the differing signal voltages across the capacitors are not the critical factor, because if it was C1 would be making a definite, if somewhat smaller, contribution to the distortion. Instead it contributes nothing. It is both one of the joys and one of the anguishes of electronics that a circuit made up of only five components can be so enigmatic in its behaviour.