I've been doing a fair bit of reading and searching but there's something which kind of has me at a bit of a loss. I'm hoping someone of the members here with a great deal more experience in these matters might be in a position to comment [emoji6]
In most older (pre 1980) designs that I've seen, mostly British or British based designs, the output stage is either a totem pole arrangement or in the later designs, some combination of complementary szilikai/Darlington arrangement, but where the outputs are complementary they tend to be common emitter with the collectors driving the load.
But at some point, it seems consensus shifted towards common collector complementary output stages in class AB amps.
Can anyone explain the rationale behind both arrangements? And why the preferred arrangement seems to have changed over at some point in the late 70s/early 80s?
In most older (pre 1980) designs that I've seen, mostly British or British based designs, the output stage is either a totem pole arrangement or in the later designs, some combination of complementary szilikai/Darlington arrangement, but where the outputs are complementary they tend to be common emitter with the collectors driving the load.
But at some point, it seems consensus shifted towards common collector complementary output stages in class AB amps.
Can anyone explain the rationale behind both arrangements? And why the preferred arrangement seems to have changed over at some point in the late 70s/early 80s?