Class D at low volume


Hi,

How do class D amps behave at low volume levels?  My question is general rather than related to a particular amp.  I know there are exceptions, but as a rule, SET’s and class A SS excel at low volume.  What about class D?  Is low volume performance of class D predetermined, all else being equal? Do class D amps have a comfort zone?  Do they distort more at low volume or is it uniform throughout?  For the purpose of this question I am only referring to analog input amps and not the ones that take in PCM (e.g. NAD M2).

The second part of my question is as follows.  I’m interested in some higher end commercial class D amps from the likes of lab.gruppen, powersoft, mc2, XTA, etc. due to their network-ability as in, I can control them, DSP them, and stream digital, all via RJ45, at the same time dispensing with all the extra boxes and cables.  But, they are all of very high power from 100‘s to 1000‘s of watts.  Does this mean that in a domestic setting at low volume they operate much closer to their noise floor or is this different with class D?

Thanks
serge_s
Class D (PWM) can be easily constructed without negative feedback at all. NGF improves linearity, bandwidth and output impedance like in any other class of amplification.

While global negative feedback in class A, AB is going over many stages of amplification, that create delay (thus producing TIM distortions), class D amplifiers have only one stage - a modulator that drive output switches (Mosfets). This modulator converts voltage to duty cycle of the output frequency. In simplest case it can be created using ramp generator and comparator but current modules resemble more of Delta-Sigma A/D converters. In short one analog quantity (voltage) is converted to another analog quantity (duty cycle) to end up with voltage again by obtaining average value of duty cycle. It is usually done by common mode choke and capacitors (Zobel Network), leaving about 1% of switching noise on the speaker wires. Amount of output power is controlled simply by setting amplitude of switched DC voltage. Frequency of this remaining noise is too low for the speaker cables to become antenna for electromagnetic coupling, but direct capacitive coupling is still possible.

As for the type of power supply - first generations of class D amp also has SMPS power supplies REF1000 being one example and my Rowland 102 being another. Ice power modules were available from the start in two different varieties - with or without SMPS. These switching supplies used to operate around 50-100kHz to preserve efficiency, but newer designed by Rowland run at 1MHz to make filtering easier (very difficult to design). I would say that good efficiency, very quiet SMPS operating at 1MHz able to deliver close to 1kW is a masterpiece.

One advantage of SMPS powered amplifier is often ability to operate at universal voltage and to tolerate any amount of DC. In fact my amplifier can be supplied by DC only up to 400V. Another advantage is regulation. SMPS have line and load regulation. Amplifier with SMPS keeps composure during power peaks since voltage does not sag, like it often happens in linear power supplies.
I think the audio SMPS has finally developed to a point where it is has a low enough noise floor & can handle large currents in a compact size.
The Acoustic Imagery Atsahs use the Hypex/Ncore SMPS 1200 switch mode power supply and in my system they sound at least as good as similar powered, high quality solid state, Class A and Class A/B amps I have owned. They are dead nuts quiet and I notice absolutely no listener fatigue. When I listen, I sometimes wonder why some are trying to use linear supplies with the NC1200 amp module, when it sounds this good with the stock SMPS.
03-03-15: Kijanki
Class D (PWM) can be easily constructed without negative feedback at all.
I wasn't aware of this. how does the PWM system know that it's tracking the input if there is no feedback? Can you please point me to some references?
but current modules resemble more of Delta-Sigma A/D converters.
so, in current class-D modules, they noise shape the input music signal to move the noise out of band & the resulting pulse train from the delta-sigma block is used to drive the power switches? I suppose that delta-sigma technology makes sense for audio because the ear is very sensitive to distortion & noise? what frequency is the delta-sigma clocked at - also 1MHz like the new gen SMPSs? thanks.
03-04-15: Mitch2
I think the audio SMPS has finally developed to a point where it is has a low enough noise floor & can handle large currents in a compact size.
The Acoustic Imagery Atsahs use the Hypex/Ncore SMPS 1200 switch mode power supply and in my system they sound at least as good as similar powered, high quality solid state, Class A and Class A/B amps I have owned. They are dead nuts quiet and I notice absolutely no listener fatigue. When I listen, I sometimes wonder why some are trying to use linear supplies with the NC1200 amp module, when it sounds this good with the stock SMPS.
Someone i talked to last year about class-D amps & this someone I have some respect for informed me that the best part of the Hypex/NCore modules was their SMPS.... ;-)
SMPS have line and load regulation. Amplifier with SMPS keeps composure during power peaks since voltage does not sag, like it often happens in linear power supplies.
linear power supplies have line & load regulation as well, don't they? one could argue that it might be easier to design better line & load reg for SMPS compared to linear power supplies but i believe that a good linear power supply can also have very good line & load reg. I think a few such supplies are available for Empirical Audio gear from a Paul XXX (I'm forgetting his name) & I also see a good linear power supply in Sanders Magtech & ESL power amps.
Yes, traditionally the manuf of class-A, AB amps have not bothered to put regulated supplies hence the poor line & load reg.