Crossover Distortion Explained: A Beginner’s Guide to Push–Pull StagesCrossover distortion is a common and often confusing problem in audio and power amplifiers that use push–pull output stages. This article explains what crossover distortion is, why it happens in push–pull stages, how it affects sound and performance, and practical ways to measure and reduce it. The goal is to give beginners a clear, usable understanding without requiring advanced electronics background.
What is crossover distortion?
Crossover distortion is a type of nonlinear distortion that appears around the point where an amplifier’s output transitions from one device conducting to the other—typically when the output signal crosses zero volts. In push–pull stages that use complementary transistors (NPN/PNP bipolar transistors or N-channel/P-channel MOSFETs), each device handles one polarity of the waveform. Near the zero-crossing, both devices are near their conduction thresholds, which can create a small region where neither device conducts properly. The result is a kink or flattening in the output waveform around zero, producing harmonic distortion and audible artifacts in audio systems.
Why push–pull stages are used
Push–pull topologies are widely used because they provide:
- High output power capability.
- Improved efficiency compared with single-ended class-A stages.
- Good symmetry (when properly biased), which helps cancel even-order harmonics.
A simple push–pull output stage can be built from a pair of complementary transistors arranged so one sources current for positive half-cycles and the other sinks current for negative half-cycles. This arrangement reduces DC offset and doubles the possible voltage swing compared to single-device outputs.
Why crossover distortion happens
Key reasons crossover distortion appears:
- Device threshold voltages: Bipolar transistors need about 0.6–0.7 V base-emitter voltage (Vbe) to start conducting; MOSFETs need a gate-source voltage (Vgs) above their threshold. Around zero output, the driving signal may not supply enough voltage to forward-bias the transistor pair, leaving a dead zone.
- Lack of biasing between devices: In an unbiased (or simply biased at zero) class-B push–pull amplifier, each transistor is exactly off at zero crossing until the input drives it past the threshold. This creates a gap between conduction regions of the two devices.
- Nonlinear device conductance: Even when a device begins to conduct, its early conduction is nonlinear—small input changes cause disproportionately small output changes, producing distortion.
Class-B amplifiers (where devices are off at zero crossing) exhibit the most obvious crossover distortion. Class-AB designs intentionally bias the devices slightly on so their conduction regions overlap and the dead zone is minimized.
Visualizing the effect
If you plot input vs. output of an ideal linear amplifier, you’d see a straight line. With crossover distortion, the curve flattens or kinks near zero output. In the time domain, a pure sine input emerges with a small notch around the zero crossing in the output sine—this notch generates odd and even harmonics, often making music sound harsh or “thin.”
Measuring crossover distortion
Simple measurement methods:
- Oscilloscope: Feed the amplifier a low-frequency (e.g., 50–200 Hz) sinewave at low amplitude near full-scale and inspect the output around zero crossing. Look for kinks or flat spots.
- THD analyzer / FFT: Measure total harmonic distortion (THD) or perform an FFT. Crossover distortion typically shows increased odd-order harmonics (3rd, 5th), but class-B may also introduce even harmonics depending on asymmetry.
- Static transfer test: Sweep input near zero and measure output to map the input-output transfer curve. The dead zone becomes apparent.
When testing, use realistic load (speaker or resistive load) and allow for thermal drift—bias points can shift with temperature.
Ways to reduce or eliminate crossover distortion
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Biasing to class-AB
- Add a small bias voltage between bases (or gates) so both transistors are slightly conducting at idle. This overlaps conduction regions and removes the dead zone.
- Implement with diodes, Vbe multipliers (adjustable bias transistor with thermal compensation), or precision bias servo circuits.
- Careful adjustment is required: too little bias leaves residual distortion; too much leads to excessive idle current (crossover into class-A territory) and heat.
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Use negative feedback
- Global negative feedback from output back to the amplifier’s input stage reduces nonlinearity by correcting output errors. Feedback greatly reduces perceived crossover distortion but can’t entirely eliminate it if the open-loop nonlinearity is extreme.
- Design considerations: enough loop bandwidth and stability compensation (phase margin) to avoid oscillation or ringing.
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Use emitter/gate followers with driver stages
- Add driver stages that supply the required drive to the output transistors so they move quickly through the threshold region, reducing the time spent in the nonlinear operating area.
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Implement complementary compound (Sziklai) pairs
- Sziklai pairs (compound transistor configurations) can provide lower apparent Vbe and improved linearity for certain designs. They trade complexity and stability considerations for improved crossover behavior.
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Use MOSFETs with low threshold or matched pairs
- Carefully selected MOSFETs with low Vgs(th) and well-matched characteristics can reduce the dead zone. However, MOSFET thresholds are more variable with temperature and device-to-device spread.
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Class-H/Class-G or rail-switching approaches
- These aren’t primarily for crossover distortion, but improved supply handling and staging can let designs bias op amps/drivers more effectively and indirectly reduce distortion.
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Digital predistortion / feedforward
- In high-end or modern systems, digital correction or feedforward circuits can cancel residual crossover distortion by applying an inverse nonlinear correction before the output stage.
Practical design tips
- Use a Vbe multiplier mounted on or thermally coupled to the output transistors so bias tracks temperature.
- Measure THD with and without feedback to see how effective your feedback network is.
- If using diodes for bias, choose temperature behavior carefully: silicon diode drop changes with temperature similarly to Vbe, but not identically—Vbe multiplier is more controllable.
- Keep wiring short and layout tight to avoid parasitic oscillations when increasing bias and feedback.
- If you need very low distortion for hi-fi, aim for class-AB with moderate bias and significant negative feedback rather than pure class-AB low-bias or unchecked class-A.
Audible effects and perceptibility
Crossover distortion can make audio sound harsh, brittle, or lacking bass weight, especially at low volumes where the distortion proportionally affects the waveform more. Humans are particularly sensitive to odd-order harmonics produced by crossover distortion; the resulting sound can be perceived as unnatural or fatiguing. The audibility threshold depends on level, program material, and listener sensitivity—small amounts may be masked by music, while vocals and acoustic instruments reveal artifacts more easily.
Quick checklist for troubleshooting crossover distortion
- Inspect output waveform at low frequency and low amplitude for zero-cross kink.
- Verify bias network (diodes, Vbe multiplier) is set and thermally stable.
- Check for proper driver transistor operation and that drivers can swing bases/gates through thresholds.
- Add or increase global negative feedback cautiously and re-evaluate stability.
- Swap output transistors with matched parts or test MOSFET vs BJT options if appropriate.
- Measure THD/FFT to quantify improvement.
Summary
Crossover distortion is a characteristic nonlinear artifact of push–pull output stages caused by insufficient overlap between devices’ conduction regions near zero crossing. It’s most visible in class-B designs and is mitigated by biasing to class‑AB, using negative feedback, improving driver stages, or selecting appropriate device topologies. Proper biasing and thermal tracking, together with careful layout and feedback design, remove most audible effects while preserving the efficiency advantages of push–pull stages.
If you want, I can: provide schematic examples (BJT and MOSFET class‑AB bias circuits), show sample oscilloscope traces, or outline a simple lab test procedure you can follow. Which would you prefer?