Class A vs. Class A/B

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Kingofpain678

Kingofpain678

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It's my understand that the differences (sonically) between class A and class A/B power amps is that Class A/B is a bit more compressed and Class A is a bit spongier and breaks up a fair bit easier than A/B.


Is that right?
 
I think that's about right. Not sure about the "compressed" comment. Class A amps are supposed to be sonically superior according to the people that obsess about that kind of stuff. Maybe their response is a bit more linear? Class A have lower clean headroom than the class AB amps.

I think MSHilarious is the resident circuit design expert - maybe he can offer an educated response.
 
OK, class A. class A means that the amplifying device (transistor or tube) never turns off, within the intended range (ideally the power rail). Let's take a single transistor as a basic example. Let's say we have a +/-16V power supply, and the input of the transistor is biased to ground (0V). That's a class A amplifier. Let's presume a load of 8 ohm so we pretend we are driving a speaker (that's a bit more complicated but bear with me).

At idle, that is no AC input current, how much is our transistor conducting? Using round figures, the "emitter" of the transistor will be at 0V also (actually -0.7V below the input, or "base", but let's keep it simple). That 0V goes to the load of 8 ohms, then to the negative rail of -16V. The other leg of the transistor (a transistor is a three-legged device) is called "common", that is what we hook +16V to.

OK, current, using Ohm's Law, is (0V - (-16V)) / 8 ohm = 2 amps. Power is V * A, that's 32 watts.

Or is it? We have a 32V supply (+/-16V). 16V drops across the resistor. The other 16V drops across the transistor. Therefore, total power is 64W, but half is wasted in the transistor.

OK, that's with no AC input. Let's say we have an input signal, a sine wave of +/-16V peak (this would be called 32Vpp, or peak-to-peak). When it's +16V, we have 16V on base and emitter, which means 32V across 8 ohm resistor = 4A which yields 128W! Kickass!

At -16V peak, the transistor turns off. No current, No power.

OK, if we map out all possible points in between and average them (actually "root of the mean squares", where you square each point, average them, and take the square root--this is "RMS" power), we would discover that our RMS power into our load is exactly . . . 32W. And the RMS power wasted in the transistor is also 32W.

Therefore, class A can never be more than 50% efficient--at least half the power is always wasted. In practice, class A amps are worse, and tubes are even worse because they have an inherent power loss in their heaters.

Well, if we want a stinkin' loud amp that doesn't require a dryer plug to get power and doesn't weigh 400 pounds from the giant heatsinks required to let the transistor dissipate half the power without melting, we start to think about a more efficient design.

Let's use two transistors, one from +16V to ground (0V), and one from 0V to -16V. Same 0V input bias, same +/-16V input signal. This is a class B amp. What happens?

The positive transistor will be on only when the input signal is positive, the negative transistor . . . you get it. Since each transistor is only on half the time, for a given power into the load there is only half as much power wasted. At 0V idle, there is no power wasted at all. Maximum efficiency possible approaches 80%! Sweet, smaller heatsinks = lighter unit!

But wait, there's a problem. Our poor transistors can't exactly switch on and off perfectly at 0V. In fact, partially due to that 0.7V problem I referred to above, there is a small-signal range where they'll both be off. That creates a huge amount of distortion, called "crossover distortion", and it's worst when the signal is quiet. That's extra bad.

How do we fix that? Simple, we give back some power, and bias the inputs slightly such that there is a range when both devices are on, just not all the time. That reduces the crossover distortion, and more importantly pushes it to a level where it only occurs if the signal is loud. That's a class AB amp.

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OK, which is better? Well, complicated question. In a power amp, we can't ignore efficiency (small-signal stuff is very often class A because efficiency is not important). First, you have to understand that class AB is a range, it could be quite nearly class A except for the absolute maximum possible power, or it could be set right just above that crossover region to get rid of the worst distortion but still maintain maximum efficiency, with a small amount of distortion considered acceptable. Both must be labeled class AB amps, but there could be a very wide range of performance.

Now we have the marketing problem: let's say you build a tube amp that is class AB (it would work a bit differently than the transistor example, but the concepts are the same), but is biased pretty far into class A. If we were an intelligent designer, we'd set that point by measuring output distortion at various levels, and selecting the bias point at a good compromise between efficiency and performance. And the finest audiophile ears might be completely unable to discern the difference between that and a pure class A amp. If the volume doesn't get loud, it IS a class A amp.

But the sales brochure would still say class AB, so nobody would buy it. Therefore, once you commit to AB, it's very tempting to go for a bias closer to class B than class A, because that gives you the marketing advantage of lighter weight and/or more power.

So . . . in conclusion, intelligent class AB design is probably best, but there is no way of knowing without trying or testing a particular class AB amp if it's a good or bad compromise.


Compression and breakup have to do with behavior at maximum rather than minimal levels, I think that has more to do with the type of device and overall circuit design than class A vs class AB. For example, the stuff I was saying to VP the other day about push-pull vs. single-ended. Push-pull, whether class A or class AB, is gonna tend to have symmetrical breakup vs. single-ended asymmetrical. Asymmetrical is generally better sounding in terms of breakup (even-order distortion). Then there is the tube vs. MOSFET vs. BJT debate, negative feedback, and so forth. So there's a lot going into a design that impacts those sorts of things.
 
Thanks, MSH.

I hardly know what to do, not being able to anticipate some stupid-headed VP comment and the resultant swirling of a perfectly good thread down the toilet.

I think I'll relax and enjoy it! :)
 
OK, class A. class A means that the amplifying device (transistor or tube) never turns off, within the intended range (ideally the power rail). Let's take a single transistor as a basic example. Let's say we have a +/-16V power supply, and the input of the transistor is biased to ground (0V). That's a class A amplifier. Let's presume a load of 8 ohm so we pretend we are driving a speaker (that's a bit more complicated but bear with me).

At idle, that is no AC input current, how much is our transistor conducting? Using round figures, the "emitter" of the transistor will be at 0V also (actually -0.7V below the input, or "base", but let's keep it simple). That 0V goes to the load of 8 ohms, then to the negative rail of -16V. The other leg of the transistor (a transistor is a three-legged device) is called "common", that is what we hook +16V to.

OK, current, using Ohm's Law, is (0V - (-16V)) / 8 ohm = 2 amps. Power is V * A, that's 32 watts.

Or is it? We have a 32V supply (+/-16V). 16V drops across the resistor. The other 16V drops across the transistor. Therefore, total power is 64W, but half is wasted in the transistor.

OK, that's with no AC input. Let's say we have an input signal, a sine wave of +/-16V peak (this would be called 32Vpp, or peak-to-peak). When it's +16V, we have 16V on base and emitter, which means 32V across 8 ohm resistor = 4A which yields 128W! Kickass!

At -16V peak, the transistor turns off. No current, No power.

OK, if we map out all possible points in between and average them (actually "root of the mean squares", where you square each point, average them, and take the square root--this is "RMS" power), we would discover that our RMS power into our load is exactly . . . 32W. And the RMS power wasted in the transistor is also 32W.

Therefore, class A can never be more than 50% efficient--at least half the power is always wasted. In practice, class A amps are worse, and tubes are even worse because they have an inherent power loss in their heaters.

Well, if we want a stinkin' loud amp that doesn't require a dryer plug to get power and doesn't weigh 400 pounds from the giant heatsinks required to let the transistor dissipate half the power without melting, we start to think about a more efficient design.

Let's use two transistors, one from +16V to ground (0V), and one from 0V to -16V. Same 0V input bias, same +/-16V input signal. This is a class B amp. What happens?

The positive transistor will be on only when the input signal is positive, the negative transistor . . . you get it. Since each transistor is only on half the time, for a given power into the load there is only half as much power wasted. At 0V idle, there is no power wasted at all. Maximum efficiency possible approaches 80%! Sweet, smaller heatsinks = lighter unit!

But wait, there's a problem. Our poor transistors can't exactly switch on and off perfectly at 0V. In fact, partially due to that 0.7V problem I referred to above, there is a small-signal range where they'll both be off. That creates a huge amount of distortion, called "crossover distortion", and it's worst when the signal is quiet. That's extra bad.

How do we fix that? Simple, we give back some power, and bias the inputs slightly such that there is a range when both devices are on, just not all the time. That reduces the crossover distortion, and more importantly pushes it to a level where it only occurs if the signal is loud. That's a class AB amp.

.
.
.


OK, which is better? Well, complicated question. In a power amp, we can't ignore efficiency (small-signal stuff is very often class A because efficiency is not important). First, you have to understand that class AB is a range, it could be quite nearly class A except for the absolute maximum possible power, or it could be set right just above that crossover region to get rid of the worst distortion but still maintain maximum efficiency, with a small amount of distortion considered acceptable. Both must be labeled class AB amps, but there could be a very wide range of performance.

Now we have the marketing problem: let's say you build a tube amp that is class AB (it would work a bit differently than the transistor example, but the concepts are the same), but is biased pretty far into class A. If we were an intelligent designer, we'd set that point by measuring output distortion at various levels, and selecting the bias point at a good compromise between efficiency and performance. And the finest audiophile ears might be completely unable to discern the difference between that and a pure class A amp. If the volume doesn't get loud, it IS a class A amp.

But the sales brochure would still say class AB, so nobody would buy it. Therefore, once you commit to AB, it's very tempting to go for a bias closer to class B than class A, because that gives you the marketing advantage of lighter weight and/or more power.

So . . . in conclusion, intelligent class AB design is probably best, but there is no way of knowing without trying or testing a particular class AB amp if it's a good or bad compromise.


Compression and breakup have to do with behavior at maximum rather than minimal levels, I think that has more to do with the type of device and overall circuit design than class A vs class AB. For example, the stuff I was saying to VP the other day about push-pull vs. single-ended. Push-pull, whether class A or class AB, is gonna tend to have symmetrical breakup vs. single-ended asymmetrical. Asymmetrical is generally better sounding in terms of breakup (even-order distortion). Then there is the tube vs. MOSFET vs. BJT debate, negative feedback, and so forth. So there's a lot going into a design that impacts those sorts of things.

Wow. Very informative!

Well I'm looking at my amp which has a texture control. It's a peavey. The manual claims that the amp slowly subtracts one half of the power amps tubes as the control is turned counter clock wise while the gain of the driver tube is slowly increased.
This claims to give you more even ordered harmonics when the control is turned fully clockwise.
Does this mean that as the power amp tubes get subtracted from the signal that more and more power gets wasted like a normal class A or does the overall output power drop?

Or none of the above?
 
Wow. Very informative!

Well I'm looking at my amp which has a texture control. It's a peavey. The manual claims that the amp slowly subtracts one half of the power amps tubes as the control is turned counter clock wise while the gain of the driver tube is slowly increased.
This claims to give you more even ordered harmonics when the control is turned fully clockwise.
Does this mean that as the power amp tubes get subtracted from the signal that more and more power gets wasted like a normal class A or does the overall output power drop?

Or none of the above?
I would think both the above.
 
I wasn't previously familiar with it (I'm not really an amp guy), but here's the Peavey patent:

http://www.freepatentsonline.com/7053714.html

Personally, I think it's a rather weak patent in terms of being novel since amps with variable class AB bias have been around a long time. But what they are trying to do is switch between not only class A and AB, but push-pull and single-ended. If you turn one tube off, you have single-ended, the patent describes a switching arrangement to do that. Presumably they have advanced the circuit since the patent and now have fully variable control. This is somewhat akin to variable polar patterns in dual-diaphragm microphones. According to Peavey's literature, another goal is to reduce power output.

It would also be possible via a switching mechanism to keep power constant but change from push-pull to single-ended, if the transformer was designed with that in mind. They describe that in their patent, but it seems they don't necessarily implement that in their amplifier (the reduction in output being a desired goal).

Peavey does make a little tiny conceptual error in their description, here:

Designers of guitar amplifiers, up until the late 1950's, focused on creating inexpensive amplifiers with very little distortion. This was not an easy task as solid state devices were not generally available and nearly all amplifiers were designed and built using vacuum tubes. Although tube amplifiers inherently have more distortion than solid state amplifiers, the early amplifier pioneers tried in vain to produce amplifiers with little or no distortion. Most of their designs had a high order of distortion, especially second harmonic distortion, because of the fact that most used a Class A power amplifier topology.

OK so far, except they are overstating their case a bit--push-pull, whether class A or AB is a very old concept.

As most rock guitar players use solid body guitars, which provide relatively little resonance, most of the harmonics associated with the characteristic sounds identifiable as an electric guitar actually come from the amplifier and not the guitar.

Oh I hope muttley reads that. It's wildly inaccurate to say an electric guitar produces few overtones of its own. Plug your guitar into the cleanest DI you have, and do a spectral analysis of the signal. There be plenty of harmonics . . .

. . . unless one presumes the characteristic sound of the electric guitar is heavily distorted from the amplifier. Since no jazz players use Peavey amps, they might think that is true . . .


For efficiency, transformer design, and other cost considerations, most high-power tube type guitar amplifiers utilize push-pull output stages operating in class A/B. The A/B class dictates that the output signal is shared by two or more output tubes which are driven by signals that are equal in magnitude and 180 degrees out of phase. In contrast, class A amplifiers are typically single-ended and are driven from a single drive signal. When driven into clipping, a class A amplifier produces an output rich in second order harmonics, which as discussed above is generally considered to be desirable. Unfortunately, a class A/B power amplifier can produce an output rich in odd order harmonics (in addition to some even order harmonics), which is not considered as desirable.

OK there they are confusing A and single-ended with AB and push-pull too much for my tastes. What they say is true insofar as traditional guitar amp design is concerned, it is entirely possible to have a class A push-pull amp. But it's very tempting to make push-pull class AB, because efficiency is much higher, and distortion can be low with either A or AB, depending on the bias point in AB.

Also, they ignore that guitar amps nearly always have single-ended triode input stages, so the power tubes are potentially getting a signal that already has even-order harmonics added. The power tubes can't remove that, they just won't add more of their own (in push-pull).

Still, a pretty good idea, overall.
 
I wouldn't believe for one second that guitar tone comes mostly from the amplifier. If it did then why would guitar company's charge so much for higher end models, and why do cheaper guitars sound like crap compared to higher end guitars.

I read in the patent info that a typical class A/B configuration theres is usually 1 tube in phase and 1 tube 180 degrees out of phase.
generally in amp heads I see 4 power amp tubes and that's usually class A/B so how would it work with 1 tube in phase and one tube out of phase so what are the other two tubes doing?
Cause it seems to me that the phase thing goes back to bridging amp outputs.

I guess for every two tubes there is one output which allows you to connect two cabs :confused::confused:
 
I read in the patent info that a typical class A/B configuration theres is usually 1 tube in phase and 1 tube 180 degrees out of phase.
generally in amp heads I see 4 power amp tubes and that's usually class A/B so how would it work with 1 tube in phase and one tube out of phase so what are the other two tubes doing?
Cause it seems to me that the phase thing goes back to bridging amp outputs.

I guess for every two tubes there is one output which allows you to connect two cabs :confused::confused:
When there are 4 power tubes in a Class AB amp, they are connected in parallel pairs; two of them are "push" and two of them are "pull". My SVT has 6 power tubes - two opposing sets of three. Connecting tubes in parallel increases the current the amp can push through the output transformer which translates to more power to the speakers. There are not separate outputs for tube pairs.
 
I guess for every two tubes there is one output which allows you to connect two cabs :confused::confused:

No, that has to do with transformer taps. The extra tubes are another push-pull stage in parallel, doubling the output current. While that does allow you to connect another cabinet (using the appropriate taps), another option would be to drive a single cabinet with twice the power. Either option will yield a theoretical 3dB increase in volume.

That 3dB sure makes you feel good about changing those extra two power tubes, doesn't it :o When you need serious amounts of power, transistors will win as real high-power tubes are huuuuuge. If you need 1000W, you aren't going to get it from tubes anymore . . . unless you are broadcasting a radio signal or something . . .

Pretty much all power amps for mains/monitors have been class AB transistor designs for many years, although newer tech like class D is growing popular due to even higher efficiency.
 
I think to make it easy you can look at how saturation effects the signal...class A will give you the cleanest results and it gets dirtier from there...but more efficiant and cheaper...the B and C are going to be your PA amps...A/B is some of your better stereo amps

I have 2 class A reference amps in my setup...one is my PlaseLinear 400a and the other is my backup
 
I think to make it easy you can look at how saturation effects the signal...class A will give you the cleanest results and it gets dirtier from there...but more efficiant and cheaper...the B and C are going to be your PA amps...A/B is some of your better stereo amps

I have 2 class A reference amps in my setup...one is my PlaseLinear 400a and the other is my backup

Hmmm... that seems to be quite the opposite in my amps case. Switching to class A makes the power tubes break up a little easier.

But of course that's just me and my particular amp.
 
I think to make it easy you can look at how saturation effects the signal...class A will give you the cleanest results and it gets dirtier from there...but more efficiant and cheaper...the B and C are going to be your PA amps...A/B is some of your better stereo amps

Practically all PA amps are AB or D. There are no B or C amps for anything audio except maybe a megaphone.

Class is not a quality rating, it's merely a circuit topology. Lots more here (good graphics too):

http://en.wikipedia.org/wiki/Electronic_amplifier
 
I think to make it easy you can look at how saturation effects the signal...class A will give you the cleanest results and it gets dirtier from there...but more efficiant and cheaper...
Class A more efficient? I don't think so. The signal zero point is halfway up the power curve for the output tube(s).
 
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