How do you know this? You must have a very advanced copy of the issue or friends in the right places.
The OPA2132 sounds good with this preamp, be there are quite a few that are better. The MC33078 and the LM4562 has more 'magic' with female vocals, but there is something about the OPA2132 that makes things just easier to listen to, I assume it is precisely for the same reason. The noise floor on the LM4562 is ridiculously low though.
I have yet listened to any discrete, but I have a hard time thinking I can get much more out of an op amp than the two I listed. Less accurate but more shaped would be the only direction it could go at this point.
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A inexpensive discrete op amp to try are these Chinese clones of the Marantz hdam module, sonically I thought they sat about half way between the detail of Burson V6 Vivid and more intimate/fuller V6 Classic. All three sound quiet noticeably different to my ears with the V6 classic preferred then the Marantz clone and lastly the V6 vivid.
Full Discrete DUAL Channels Op Amp Module replace NE5532 MUS02 OPA2604 LME49720 | eBay
Stereophile XP-22 Review
Hi Wayne,
None of the above
. I only have a subscription to Stereophile magazine. The latest issue arrived last week. It says it's the June issue on the front cover, even though it's still May. I assume that you already have a copy of the XP-22 review ?
Thanks for the heads-up on which came first. I am interested in what Nelson and Pass labs do, and how and why they do it. I always find the interviews with Nelson in Stereophile magazine interesting and inspiring.
Mark
Hi Wayne,
None of the above
. I only have a subscription to Stereophile magazine. The latest issue arrived last week. It says it's the June issue on the front cover, even though it's still May. I assume that you already have a copy of the XP-22 review ?Thanks for the heads-up on which came first. I am interested in what Nelson and Pass labs do, and how and why they do it. I always find the interviews with Nelson in Stereophile magazine interesting and inspiring.
Mark
Hi Wayne,
None of the above
Thanks for the heads-up on which came first. I am interested in what Nelson and Pass labs do, and how and why they do it. I always find the interviews with Nelson in Stereophile magazine interesting and inspiring.
Mark
I don't have a copy of the magazine just the review, we get to look it over for technical stuff you take whatever the review is. JA has run the magazine with a lot of integrity these years. It must come a bit earlier in the UK as I don't have my home copy yet.
There is nothing wrong with that. With that preamp being unity gain, just send it's 1 output to the 1 input of the whammy, and then use the 3 inputs on the buffer preamp.
That would leave you with 2 volume knobs, but I would just turn the buffer all the way up(as that should be unity gain) and just leave it there.
Personally I like as few active stages as possible before output, so I would prefer a passive solution, but with it being unity gain, I doubt it will taint the signal at all.
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JA
Wayne,
John Atkinson's integrity is the main reason I buy the magazine. It's interesting to see a British editor make a success of a US hifi magazine and attract like-minded and equally readable US contributors. However, JA announces his retirement as Editor in the June edition. He is staying on to do measurements and other things, and the new editor is an existing contributor. Hopefully this is a genuine jump rather than a push by the recent new owners of the magazine, who IMO would struggle to spell 'integrity' let alone demonstrate any, from the way they handled the recent handover of the related Innerfidelity site !
Mark
Wayne,
John Atkinson's integrity is the main reason I buy the magazine. It's interesting to see a British editor make a success of a US hifi magazine and attract like-minded and equally readable US contributors. However, JA announces his retirement as Editor in the June edition. He is staying on to do measurements and other things, and the new editor is an existing contributor. Hopefully this is a genuine jump rather than a push by the recent new owners of the magazine, who IMO would struggle to spell 'integrity' let alone demonstrate any, from the way they handled the recent handover of the related Innerfidelity site !
Mark
umm, burson sale on op amps.
$56US for the "V6 Vivid Dual X 1" (or classic)
Anyone try the these with the WHAMMY?
Supreme Sound Opamp V6 – Burson Audio
sub in v5i for v6 in the URL and the a couple of those are on sale too.
Whoops, missed this
$56US for the "V6 Vivid Dual X 1" (or classic)
Anyone try the these with the WHAMMY?
Supreme Sound Opamp V6 – Burson Audio
sub in v5i for v6 in the URL and the a couple of those are on sale too.
Whoops, missed this
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Yes I noticed the 20% off on V6 too.
My friend got vivid and classic V6 before; I compared both and vivid is my final pick.
We both agree V6 sounds the best for whammy after trying about 10 different opamps.
Second best opamps are LME94720 and LME4562, but it is just my personal preference; and much cheaper than V6.
My friend got vivid and classic V6 before; I compared both and vivid is my final pick.
We both agree V6 sounds the best for whammy after trying about 10 different opamps.
Second best opamps are LME94720 and LME4562, but it is just my personal preference; and much cheaper than V6.
I am hearing similar performance out of the LM833 as the LM4562, which is surprising to me. However, I have also heard that manufacturing variance is higher on the LM833, so that might depend. I know it's slew rate is only 1/3 that of the LM4562, but that doesn't really mean a whole lot.
You don't want a super fast opamp in whammy, (or honestly, in most audio devices) there's absolutely no need and it has the possibility of making it unstable and/or oscillating. If you have a slew rate thats 10 times faster than the absolute fastest music signal theoretically possible, that will be great, and still fairly slow when compared to video signals ad faster things. I.E., super fast isn't important, and can be detrimental.
Broadly speaking, a type that the manufacturer labels suitable for audio will work beautifully.
I really like the LM833 in this circuit as well.
Broadly speaking, a type that the manufacturer labels suitable for audio will work beautifully.
I really like the LM833 in this circuit as well.
You don't want a super fast opamp in whammy, (or honestly, in most audio devices) there's absolutely no need and it has the possibility of making it unstable and/or oscillating. If you have a slew rate thats 10 times faster than the absolute fastest music signal theoretically possible, that will be great, and still fairly slow when compared to video signals ad faster things. I.E., super fast isn't important, and can be detrimental.
Broadly speaking, a type that the manufacturer labels suitable for audio will work beautifully.
I really like the LM833 in this circuit as well.
I assume a high slew rate can be bad when using global feedback. The more things between the output and feedback(especially capacitive), the more potential signal delay, and if the slew rate is too fast, it will constantly over and undershoot, leading to oscillations? I suppose a resistor from the output back to the feedback would help if that happens?
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I had 60mV as well. I was replied that over 40mV is not that good, but still nothing to be ultra-worried about.
Weird thing is that, with time, the offset voltage for me has gone to almost 0. Not sure what changed, if there was some settling in, or perhaps some wiggling around changed something. Perhaps just inserting more securely the OpAmp did the trick?
Weird thing is that, with time, the offset voltage for me has gone to almost 0. Not sure what changed, if there was some settling in, or perhaps some wiggling around changed something. Perhaps just inserting more securely the OpAmp did the trick?
