LME49710
I think it was the 5534 desired in the metal can. Single, not dual. THe LM4562 is dual. Maybe the single LME49710 would do it, but you'd have to be sure that the 5534 isn't used in some nonstandard way, with unusual compensation or other circuits used on the offset null pins or compensation pins.
LME49710 is at Digikey for $9.15 in the metal can package.
-- Mirlo
I think it was the 5534 desired in the metal can. Single, not dual. THe LM4562 is dual. Maybe the single LME49710 would do it, but you'd have to be sure that the 5534 isn't used in some nonstandard way, with unusual compensation or other circuits used on the offset null pins or compensation pins.
LME49710 is at Digikey for $9.15 in the metal can package.
-- Mirlo
I was able to get the original replacement 5534. $7.50 USD each!! Had to buy 10!!
The Sound Technology 1701A uses quite a few of these so I'm set for life in that regard.
Ron
The Sound Technology 1701A uses quite a few of these so I'm set for life in that regard.
Ron
opamps for audio
In my book it counts for something when the opamp has been designed for audio use in the first place, which is the case with 5534/5532.
Precision DC performance that is needed for industrial and instrument work are irrelevant for audio.
AC characteristics that are meaningful for audio don't matter for insrument and industrial applications. If you are an instrument designer you look for instrumentation opamps not audio opamps. I think audio designers should do the same, chose a part that has been designed for audio.
There are some fine products from That Corporation like "Ingenius" and "Outsmarts" that feature important realworld specs like common mode rejection ratio, these are in stock with Mouser or Digikey, can't recall which, maybe both.
In general look for "audio" in the opamp product description. And I like the idea about socketing them for experimentation.
Ted
In my book it counts for something when the opamp has been designed for audio use in the first place, which is the case with 5534/5532.
Precision DC performance that is needed for industrial and instrument work are irrelevant for audio.
AC characteristics that are meaningful for audio don't matter for insrument and industrial applications. If you are an instrument designer you look for instrumentation opamps not audio opamps. I think audio designers should do the same, chose a part that has been designed for audio.
There are some fine products from That Corporation like "Ingenius" and "Outsmarts" that feature important realworld specs like common mode rejection ratio, these are in stock with Mouser or Digikey, can't recall which, maybe both.
In general look for "audio" in the opamp product description. And I like the idea about socketing them for experimentation.
Ted
I was told that metal can to99 5534 sounds more detail and natural than plastic one. Is it ture ?
Just saw in a Hi End electronic magasine, that even the layaout is identical in all 5534 op amps, there are different equipment to produce them. So even the quality of the Mask that are used.The magasine made deeply tests about the performance of different manufacters 55434 and FAIRCHILD had clearly the lowest distortion and best performance, So it was recomended for their clients.
Texas Instrument was the worst, and PHilips in the middle. Just some information worth thinking of when dealing with multiple op amps i series, like in a Mixingconsole like the MCI JH600series etc.
Texas Instrument was the worst, and PHilips in the middle. Just some information worth thinking of when dealing with multiple op amps i series, like in a Mixingconsole like the MCI JH600series etc.
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