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# Signal To Noise Ratio Electronics and Communication Engineering (ECE) Notes | EduRev

## Communication Theory

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## Electronics and Communication Engineering (ECE) : Signal To Noise Ratio Electronics and Communication Engineering (ECE) Notes | EduRev

The document Signal To Noise Ratio Electronics and Communication Engineering (ECE) Notes | EduRev is a part of the Electronics and Communication Engineering (ECE) Course Communication Theory.
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SIGNAL-TO-NOISE RATIO:

Signal-to-noise ratio (often abbreviated SNR or S/N) is a measure used in science and engineering to quantify how much a signal has been corrupted by noise. It is defined as the ratio of signal power to the noise power corrupting the signal. A ratio higher than 1:1 indicates more signal than noise. While SNR is commonly quoted for electrical signals, it can be applied to any form of signal (such as isotope levels in an ice core or biochemical signaling between cells).

In less technical terms, signal-to-noise ratio compares the level of a desired signal (such as music) to the level of background noise. The higher the ratio, the less obtrusive the background noise is. "Signal-to-noise ratio" is sometimes used informally to refer to the ratio of useful information to false or irrelevant data in a conversation or exchange. For example, in online discussion forums and other online communities, off-topic posts and spam are regarded as "noise" that interferes with the "signal" of appropriate discussion.

FM DEMODULATORS AND THRESHOLD EFFECT:

An important aspect of analogue FM satellite systems is FM threshold effect. In FM systems where the signal level is well above noise received carrier-to-noise ratio and demodulated signal-to-noise ratio are related by:

The expression however does not apply when the carrier-to-noise ratio decreases below a certain point. Below this critical point the signal-to-noise ratio decreases significantly. This is known as the FM threshold effect (FM threshold is usually defined as the carrier-to-noise ratio at which the demodulated signal-to-noise ratio fall 1 dB below the linear relationship. It generally is considered to occur at about 10 dB).

Below the FM threshold point the noise signal (whose amplitude and phase are randomly varying), may instantaneously have an amplitude greater than that of the wanted signal. When this happens the noise will produce a sudden change in the phase of the FM demodulator output. In an audio system this sudden phase change makes a "click". In video applications the term "click noise" is used to describe short horizontal black and white lines that appear randomly over a picture.

Because satellite communications systems are power limited they usually operate with only a small design margin above the FM threshold point (perhaps a few dB). Because of this circuit designers have tried to devise techniques to delay the onset of the FM threshold effect. These devices are generally known as FM threshold extension demodulators. Techniques such as FM feedback, phase locked loops and frequency locked loops are used to achieve this effect. By such techniques the onset of FM threshold effects can be delayed till the C/N ratio is around 7 dB

Pre-emphasis and de-emphasis:

Random noise has a 'triangular' spectral distribution in an FM system, with the effect that noise occurs predominantly at the highest frequencies within the baseband. This can be offset, to a limited extent, by boosting the high frequencies before transmission and reducing them by a corresponding amount in the receiver. Reducing the high frequencies in the receiver also reduces the high-frequency noise. These processes of boosting and then reducing certain frequencies are known as pre-emphasis and de-emphasis, respectively.

The amount of pre-emphasis and de-emphasis used is defined by the time constant of a simple RC filter circuit. In most of the world a 50 Âµs time constant is used. In North America, 75 Âµs is used. This applies to both mono and stereo transmissions and to baseband audio (not the subcarriers).

The amount of pre-emphasis that can be applied is limited by the fact that many forms of contemporary music contain more high-frequency energy than the musical styles which prevailed at the birth of FM broadcasting. They cannot be pre-emphasized as much because it would cause excessive deviation of the FM carrier. (Systems more modern than FM broadcasting tend to use either programme-dependent variable pre-emphasisâ€”e.g. dbx in the BTSC TV sound systemâ€”or none at all.)

FM stereo:

In the late 1950s, several systems to add stereo to FM radio were considered by the FCC. Included were systems from 14 proponents including Crosley, Halstead, Electrical and Musical Industries, Ltd (EMI), Zenith Electronics Corporation and General Electric. The individual systems were evaluated for their strengths and weaknesses during field tests in Uniontown, Pennsylvania using KDKA-FM in Pittsburgh as the originating station. The Crosley system was rejected by the FCC because it degraded the signal-to-noise ratio of the main channel and did not perform well under multipath RF conditions. In addition, it did not allow for SCA services because of its wide FM sub-carrier bandwidth.

The Halstead system was rejected due to lack of high frequency stereo separation and reduction in the main channel signal-to-noise ratio. The GE and Zenith systems, so similar that they were considered theoretically identical, were formally approved by the FCC in April 1961 as the standard stereo FM broadcasting method in the USA and later adopted by most other countries. It is important that stereo broadcasts should be compatible with mono receivers. For this reason, the left (L) and right (R) channels are algebraically encoded into sum (L+R) and difference (Lâˆ’R) signals. A mono receiver will use just the L+R signal so the listener will hear both channels in the single loudspeaker. A stereo receiver will add the difference signal to the sum signal to recover the left channel, and subtract the difference signal from the sum to recover the right channel.

The (L+R) Main channel signal is transmitted as baseband audio in the range of 30 Hz to 15 kHz. The (Lâˆ’R) Sub-channel signal is modulated onto a 38 kHz double-sideband suppressed carrier (DSBSC) signal occupying the baseband range of 23 to 53 kHz. A 19 kHz pilot tone, at exactly half the 38 kHz sub-carrier frequency and with a precise phase relationship to it, as defined by the formula below, is also generated. This is transmitted at 8â€“10% of overall modulation level and used by the receiver to regenerate the 38 kHz sub-carrier with the correct phase.

The final multiplex signal from the stereo generator contains the Main Channel (L+R), the pilot tone, and the sub-channel (Lâˆ’R). This composite signal, along with any other sub-carriers, modulates the FM transmitter. The instantaneous deviation of the transmitter carrier frequency due to the stereo audio and pilot tone (at 10% modulation) is:

Where A and B are the pre-emphasized Left and Right audio signals and fp is the frequency of the pilot tone. Slight variations in the peak deviation may occur in the presence of other subcarriers or because of local regulations. Converting the multiplex signal back into left and right audio signals is performed by a stereo decoder, which is built into stereo receivers. In order to preserve stereo separation and signal-to-noise parameters, it is normal practice to apply preemphasis to the left and right channels before encoding, and to apply de-emphasis at the receiver after decoding.

Stereo FM signals are more susceptible to noise and multipath distortion than are mono FM signals.

In addition, for a given RF level at the receiver, the signal-to-noise ratio for the stereo signal will be worse than for the mono receiver. For this reason many FM stereo receivers include a stereo/mono switch to allow listening in mono when reception conditions are less than ideal, and most car radios are arranged to reduce the separation as the signal-to-noise ratio worsens, eventually going to mono while still indicating a stereo signal is being received.

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