[felixscerri]

G'day all, my first post in this forum (as far as I can recall), and I do a lot of audio DIY amongst other DIY (like Amateur Radio stuff). 

Most of my audio DIY stuff originates from Rod Elliott ESP designs, which are top notch.  I have built several of his excellent P06/P99 phono stages/sub bass filters and along the way I've tried many assorted dual op amps. 

At the present time my favourites are the OPA2134 and the LM4562.  The LM4562 is a superb dual op amp with very low noise but I prefer the OPA2134 for its sweet/musical sound. 

Interestingly enough the OPA2134 isn't the quietest dual op amp in the P06 circuit (but still quiet in absolute terms), and the LM4562 sounds somewhat 'sterile' in comparison, if that makes any sense. 

Certainly the sweetness/musicality of the OPA2134 appeals to my ears/listening tastes, and although I am not a believer in component/op amp 'sound' in general terms, I really like 'something' about the sound of the OPA2134 even though its noise performance is not quite as good as the LM4562, at least in the ESP P06 circuit.

Any other fans of the OPA2134 for its 'sound' quality?  Regards, Felix.     

[*Scotty*]

You might want to look at the OPA1611 AND OPA 1612, they are on my short list to try in my next phono stage project.  Also Parts Connexion has polystyrenes, and Silver Mica caps in a wide range of values some of which should be suitable for your RIAA equalization circuitry.
Scotty

[richidoo]

G'Day Felix!

I like Rod Elliot stuff too. I've learned a lot reading his pages over the years. I think he has an article (lesson) on just about every technical aspect of audio, written in everyday language - great for beginning (and advanced) DIYers. I built his LR4 active crossover and I'm planning to build his P101 too.

I like 4562 for the tight bass, feeling of solidity and confidence. I like it on old jazz and pop/rock stuff with lower midrange melodies on horns and voices, and fewer spatial cues on the studio recordings. A little too closed in for me on classical and acoustic recordings. It would be great for subwoofer input or bass EQ.

The 2134 is a sweet, "fun" sounding opamp. It has a little EQ bump in the presence band, making it sound "exciting." I found it to wear thin in the long run, but it's good for spicing up dull sounding signal, like vintage NOS DAC or badly aligned cartridge, or steep passive M/T crossover. Nice enjoyable open sound.

I like LM833N and MC33078, both TI. They are open, clear ballsy powerful sound top to bottom. 833 is a little more mild, I think. MC33078 is a killer, took some getting used to it for these old ears, but now I love it.

If you like a more vintage sound, have you tried 5532? The original Signetics version was a pro audio workhorse for decades. A lot of our music is recorded through those under the mixing boards and in the mics and tape recorders and cutters. They are now made by TI and ON Semi, I can't remember which one is better, but one is almost as good as the Signetics, I think it's the ON. The signetics were kind of fragile so not a lot of working ones left so avoid Ebay.
Rich

[felixscerri]

G'day all, many thanks for all comments, very interesting.  Although I have completely embraced op amps in recent years for audio applications, I am of the opinion that there are sonic differences even amongst the so called premium ones. 

Yes the NE5532 has stood the test of time and is still a top notch dual op amp, although to my ears it shares the slightly sterile sound of the LM4562.  The LM833 is another very nice dual op amp although poorly regarded by some, and actually this is interesting as here is one documented account where different manufacturers of the 'same' op amp show clear differences http://www.edaboard.com/thread225465.html 

Certainly my personal experience with the On Semi manufactured LM833 has been excellent.  Regards, Felix.