Part Number: OP275GPZ

Manufacturer: Analog Devices

Description: Audio Amplifiers DUAL BUTLER AMPLIFIER IC

Shipped from: Shenzhen/HK Warehouse

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The OP275 is the pioneering amplifier to use the Butler Amplifier front end. It is now possible to create amplifiers that combine the speed and sound quality of JFET transistors with the accuracy and low noise performance of bipolar transistors thanks to a ground-breaking front-end design. The Total Harmonic Distortion plus Noise of the new audio amplifiers is comparable to the old ones, despite using significantly lower supply currents. If you want to find out more about this device, keep reading!

OP275GPZ Description

The OP275GPZ is an audio-operational amplifier that uses a Butler amplifier stage. A novel front-end design blends the two types of transistors to create amplifiers with the precision and low noise performance of bipolar transistors, sound quality, and JFETs’ speed.

Previous audio amplifiers’ Total Harmonic Distortion + Noise levels are met with significantly lower supply currents. The noise density response stays flat to an l/f corner frequency of < 6Hz. The OP275 has the quickest slew rate of any standard audio amplifier at 22V/s, thanks to the JFET input stage’s ability to achieve high slew rates while maintaining low distortion levels across wide output swings.

The best part is that this fast speed and low noise are achieved with a supply current of less than 5mA, which is significantly less than that required by a regular audio amplifier. Since the bias and offset currents are substantially minimized compared to solely bipolar devices, DC performance is also greatly enhanced.

OP275GPZ Features And Specifications

Bandwidth 9 MHz
Common Mode Rejection Ratio 106 dB
Dual Supply Voltage 9 V
Gain Bandwidth Product 9 MHz
Input Bias Current 100 nA
Input Offset Voltage (Vos) One mV
Load Impedance 2 kΩ
Max Dual Supply Voltage 22 V
Max Operating Temperature 85 °C
Max Supply Voltage 22 V
Min Dual Supply Voltage 4.5 V
Min Operating Temperature -40 °C
Min Supply Voltage 4.5 V
Nominal Supply Current 4 mA
Number of Amplifiers 2
Number of Channels 2
Number of Circuits 2
Number of Elements 2
Operating Supply Current 5 mA
Operating Supply Voltage 15 V
Output Current per Channel 90 mA
Power Supply Rejection Ratio (PSRR) 111 dB
Quiescent Current 2.5 mA
Slew Rate 22 V/µs
Supply Type Dual
Voltage Gain 106.02 dB


Case/Package N
Number of Pins 8


Height 3.43 mm
Length 9.27 mm
Width 7.24 mm


Lead-Free Contains Lead
Radiation Hardening No

Frequently Asked Questions

What is Audio Power Amplifier?

Before driving headphones or loudspeakers, a low-power electronic audio signal—such as an electric guitar pickup or one from a radio receiver —must first be amplified by an electronic amplifier known as an audio power amplifier (or power amp).

Power amplifiers for audio are used in everything from concert sound systems to public address systems to home stereos to guitar amplifiers. It is the last piece of electronics in a conventional audio playback chain before the signal is transmitted to the speakers.

In the first stages of such a setup, low-power audio amplifiers perform tasks like signal pre-amplification, equalization (such as adjusting the bass and treble), mixing different input signals, tone controls, and adding electronic effects, like reverb. Records, CDs, digital audio players, and cassette tapes are only some of the inputs. Audio power amplifiers typically require line-level inputs.

An audio power amplifier takes in a weak signal—say, from an electric guitar—and pumps out a much louder one—anywhere from a few watts for a clock radio to several thousand watts for a club’s sound system or tens of thousands for a stadium’s PA system. Most consumer electronics audio items, such as clock radios, boom boxes, and televisions, feature tiny power amplifiers integrated into the product. Despite being separate items, power amplifiers are typically created for the HI-FI audiophile sector, a specialized market for audiophiles and professionals in sound reinforcement systems.

Lee de Forest created the audio amplifier in 1912 using his prior 1907 invention of the triode vacuum tube as his foundation (or “valve” in British English).

The triode was a three-terminal device with an electron grid that could regulate current flow between the filament and the plate. The first AM radio employed a triode vacuum amplifier. Some of the earliest audio power amplifiers were based on vacuum tubes and produced exceptionally high-quality sound (e.g., the Williamson amplifier of 1947–9).

Transistor-based audio power amplifiers became a feasible option with the widespread availability of low-cost transistors in the late 1960s. Many different types of solid-state transistors, including the bipolar junction transistor (BJT) and the metal-oxide-semiconductor field-effect transistor (MOSFET), have been used in modern audio amplifiers since the 1970s (MOSFET). Compared to their tube-based predecessors, amplifiers based on transistor technology have the advantages of being portable, dependable, and low maintenance.

In 1959, Mohamed Atalla and Dawon Kahng at Bell Labs developed the metal-oxide-semiconductor field-effect transistor (MOSFET). In 1974, Jun-ichi Nishizawa at Tohoku University modified it into a power MOSFET for audio.

[4] Soon after, Yamaha started producing power MOSFETs specifically for their HiFi audio amplifiers. In addition to JVC and Pioneer Corporation, Sony and Toshiba made amplifiers utilizing power MOSFETs that year (1974). Hitachi created a new kind of power MOSFET called the LDMOS (lateral diffused MOS) in 1977. From 1977 to 1983, when Hitachi was the only LDMOS producer, it was utilized in audio power amplifiers by companies like HH Electronics (V-series) and Ashly Audio for applications including playing music and broadcasting announcements. By the mid-1980s, when inexpensive fast-switching MOSFETs were widely accessible, class-D amplifiers had become a commercial success. MOSFET devices are commonly used in the power portions of transistor amplifiers due to their tube-like distortion curve.

Audiophiles, musicians (especially electric bassists, electric guitarists, Hammond organ players, electric piano players, and Fender Rhodes), music producers, and audio engineers favor tube-based amplifiers and the “warmer” tube sound.


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