The nuts, bolts and pins
I was on pins and needles momentarily after I tried removing the Sonic Imagery opamps from the Eastern Electric Minimax DAC and found that several of the pins had remained embedded in the socket on the circuit board of the DAC! Fearing that the opamp was falling apart I gingerly replaced them back into the underside of the opamp. I wondered how a company so keen on making an extreme product suitable for the studio could botch the construction.
An informative conversation with Richard from Sonic Imagery set me straight; the pins are intentionally gently anchored in place and will pull out with too much off-center force applied to them. As opamps are sometimes roughly handled, and the tiny legs can easily bend if they are removed off center (this is true for all brands; Burson V6 opamps come with a riser attached, I presume, for this very reason, to protect the opamp’s pins), having replaceable legs means the opamp is not junked if a leg is bent or broken. I do have an opamp puller/extraction tool for removing IC opamps, but it is not suitable for most of the discrete opamps I handle. I usually use my fingers to pry them out. However, in this instance I found that if I used a small jeweler’s flat screwdriver or a toothpick I could gently pry, then pop the opamps out without losing pins.
One way to guard against pin loss is by adding a riser, a “spacer” socket similar to the ones on the circuit board. These can be stacked 2 or 3 high, greatly elevating the opamp in order to clear obstacles on the circuit board. Every discrete opamp manufacturer will have them available, they are very cheap and often they are thrown in as extras. If you have a concern about potential damage to the legs of the opamp, it is wise to use a riser as a safeguard.
Component circuit board considerations
There were two types of physical obstacles to overcome in placement of the reviewed opamps. The first obstruction had to do with the opamp clearing the top of items populating the circuit board nearby (typically capacitors). This was usually solved by adding one or two risers to the pairs of opamps. Burson’s older generation of opamps were quite tall and could prevent the lid of the EE DACs from being replaced. The V6 series are shorter, thus the problem is eliminated. Burson Audio has cleverly packaged the circuit boards of its discrete opamps to fill only the vertical space above the component’s opamp sockets, so they encounter no issues in terms of interference with other parts on the circuit board — unless a cable happens to intercept the airspace above the socket!
Both Sonic Imagery and Sparkos Labs opamps have dimensions wider than the socket on the circuit board, thus a bit more imagination might be needed to place them. The width of the Sonic Imagery opamps circuit board, approximately twice the area of the socket, is great in comparison to the other two, and required the most adjustment with risers both in clearing circuit board parts and other opamps. I was able to get all opamps to work in all locations except for the Sonic Imagery Single opamps in one location in the EX-M1+. However, as there are four spots for single opamps and they can be swapped, I simply moved the problematic Single IC to the location opposite and put the more diminutive Sparkos Labs or Burson opamp in the tighter spot.
Another potential showstopper relates to the proximity of the sockets to each other on the circuit board. The spacing of the sockets in the Eastern Electric DACs was generous enough that this posed no issue. Inside the Kinki Studio EX-M1+, however, the four Single opamp sockets are so close to each other that the Sonic Imagery’s opamps’ girth, along with an encroaching part on the circuit board, prevents their use as homogenous set. One solution is the use of 90-degree right angle risers to tip up the opamps, but these are becoming rare and may carry an inordinate cost relative to their function. However, as the brands can be mixed, this allows for a 2-tier approach, where one brand’s opamp is raised up higher than the other (think of a city skyline, with one tower taller than the other). I was successful in using the smaller Sparkos Labs sitting lower with the behemoth Sonic Imagery on risers, where the latter’s circuit board, like an awning, stretches over the other. This is another reason why a complete set of all manufacturers’ opamps act like a socket wrench set, with alternatives to address nearly any logistical issue.
Where did things end up?
The effect of a set of discrete opamps on a component can be prodigious. With an optimum set of opamps in a lesser/cheaper component one can come closer than might be expected in terms of performance to a more expensive/greater component. Case in point, the Minimax DAC, when outfitted with a homogenous set of Sonic Imagery opamps, closed the gap significantly between its stock performance and that of the Minimax DAC Tube DAC Supreme. Yet I found this same set of opamps less holistically pleasing in the EE Minimax DAC Supreme than the Burson or Sparkos opamps. Only if you have both components can you discover such things, but it reveals that there is no absolute certainty in regard to preference until brands and components are compared. Preferences in such comparisons can vary from component to component, even though the characteristics of the opamps are consistent.
As I continued to roll combinations of opamps into the Kinki integrated also I found that a full set of Bursons, with a mixture of a V6 Vivid Single and a V6 Classic Single per channel and a V6 Vivid Dual, brought a pleasingly rich timbre. It was as though I had retrofitted it with tubes, retaining the ability of solid state to drive the Kingsound King electrostatic speakers while warming up and enriching the system.
In the end, for the electrostatic speaker my reference, at least as far as I was willing to invest time to discover, was with a hybrid pair of one Sparkos Single and one Sonic Imagery Single per channel, and a Burson V6 Classic Dual. Yes, it took all three brands to radically improve the EX-M1+ on the order of a sonic change along the lines of spending an additional $2-3K for a different integrated. I am not pulling a reviewer’s form of “combinatorial inflation” when I describe the outcome thus. The Kinki EX-M1+ is a surprisingly capable integrated worthy of recommendation in stock form. However, when these opamps are rolled into it the performance escalates making it an impossible to ignore value.
Regardless, I sat with rapt attention as I heard tracks that I have used for over a decade, ones I have heard hundreds of times, opened up and deepened as never before. The recordings were so much richer that I had to check to ensure I somehow had not played a different track of the same piece.
As I conclude this article I have just rotated the Legacy Audio Whisper DSW Clarity Edition speakers back in, without change to the electronics. My first impression is that the combo of opamps used for the King III speakers is also eminently satisfying for the Whisper speakers. How do I know it is the best combination? I don’t, and I will have to try some other combinations to reach that conclusion. Given the potential of all these opamps I suspect that it will not be hard to find a grouping that will maximize the Whisper’s performance. Which will be the superior set, a full complement from one manufacturer or a mixed set? I do not know, but it will be worth a few hours to discover the magical combination of components, opamps and speakers. Will I end up with the same set as inhabits the EX-M1+ now? I do not know, but it will be well worth my time to explore it. All of my time invested in discrete opamps has been worth it, and I believe it will be worth it for you.
A “no downside” improvement
There are very few improvements to systems that rate as having no downside, but rolling discrete opamps is one of them. Consider these little gems as diamonds, very precious to eliciting the sparkle and glamour of the setting of the components they serve. Discrete opamps have gotten better in every respect over the past decade; they are smaller and better sounding, and their prices have remained affordable. As I have enthused in the past, you can haul components and cables to and fro, building entire systems, or you can pop in these little wonders to create new systems cheaply and easily.
Remember that Burson offers components that can be opamp rolled, and there are other components discussed on DIY-oriented websites. Check opamp manufacturers’ websites for compatibility lists for replacing IC opamps, and user’s forums discussing use with different components.
I am elated to have returned to opamp rolling, and I hope that this article has stimulated your interest in this affordable yet powerful method of contouring your audio system!
Associated Components:
Source: Small Green Computer sonicTransporter AP I7 4T and SONORE Signature Rendu SE and systemOptique; Salk Audio StreamPlayer Generation III with Roon interface
Streaming Music Service: Tidal premium
DAC: COS D1 DAC + Pre; Exogal Comet DAC and Plus upgrade power supply; Eastern Electric Minimax DSD DAC Supreme with Burson, Sonic Imagery and Sparkos Labs Discrete Opamps
Preamp: TEO Audio Liquid Preamplifier; Cambridge Audio 840E
Amps: Pass Labs XA200.8 Monoblock Amps; Exogal Ion (PowerDAC, used exclusively with Exogal Comet DAC); Gold Note PA-1175 (two); Sanders Magtech Monos
Integrated: Redgum Audio Articulata
Speakers: Kings Audio Kingsound King III; Legacy Audio DSW Clarity Edition; Kings Audio King Tower omnidirectional; Vapor Audio Joule White 3; PureAudioProject Trio15 Horn 1
Subwoofers: Legacy Audio XTREME HD (2)
IC’s: Schroeder Method (self-assembled) Clarity Cable RCA with Audio Sensibility Y Cables; Schroeder Method Audio Sensibility RCA; Schroeder Method Clarity Cable XLR with Audio Sensibility Y Cables; TEO Liquid Splash-Rs and Splash-Rc; TEO Liquid Standard MkII; Clarity Cable Organic RCA/XLR; Snake River Audio Signature Series Interconnects;
Speaker Cables: TEO Cable Standard Speaker; Clarity Cable Organic Speaker; Snake River Audio Signature Series Speaker Cables;
Digital Cables: Clarity Cable Organic Digital; Snake River Audio Boomslang; Silent Source “The Music Reference”
USB: Clarity Cable Supernatural 1m
Power Cables: Clarity Cable Vortex; MIT Oracle ZIII; Snake River Audio Signature Series; Anticables Level 3 Reference Series
Power Conditioning: Wireworld Matrix Power Cord Extender; Tice Audio Solo
Copy editor: Dan Rubin
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I have a degree in electronics and when I see the word discrete used along with opamp, it means it is a circuit that is built from individual, separate components, as opposed to one that is integrated. You are speaking of one that is socketed as opposed to one that is soldered in place. Electronics tech or engineer doesn’t use the term “discrete” in this way. Furthermore, if the opamp has sufficient GBP and high slew rate, low noise floor, to accurately reproduce signals in the audio band, using a better, more expensive component will likely not improve the sound. If you start with a BB OPA2134, which is more than plenty in the aforementioned specs, replacing will only make your wallet thinner… nothing else.
As far as the BB OPA2134 goes, this evaluation is relevant: http://audioreviews.blogspot.com/2005/10/flavors-of-audio-op-amps.html
Mike,
God’s Peace,
I will let you take up your concern about the nomenclature of these opamps with the three companies reviewed, as they all refer to their own products as “discrete” opamps. I believe my references in the article are correct, as I do not confound the terms “discrete” and “socketed”.
I have no interest in debating what I have recommended. If you wish to move toward state of the art sound, and $200 is too much to spend to put your opinion to the test, then we do not have much else to discuss. 🙂
Blessings,
Douglas Schroeder
Doug,
Sorry, my mistake.
Mike
Oh yes! Thank you Douglas for doing this discrete opamp thing! Also, mind sharing a little on what you think about the EX-M1+? Particularly the sound signature & depth of sound stage?
YYw,
God’s Peace to you,
Thank you for your kind comment. There will soon be a full review of the EX-M1+ here at Dagogo.com
Blessings,
Douglas Schroeder
Having heard these opamps one not even mentioned ,and in my opinion and others is
A Newer company from Poland selling these on Ebay. Staccato which use In part Jfets in the input and output for higher output current running in pure class A with very nice large verticals heat sinks .
Between 100-150 hours to run these in . These were the clear winner everythung just sounds more real
Waller richer and detailed. I had thought previously the Sparkos was best not even their new pro
Series are as good .and they plan on coming out with. A reference model after the new year possibly.
Hello Paul,
Vert interesting experience, did you try it on the kinki exm1+? Which model are you using, I will be happy to know more about your experience after few months.
Hi Paul, how did you go fitting one of the Staccato dual op-amps (the OSH-DHb?) in the EX-M1. They seem like they might be a very tight fit from my measuring. I currently have all Sparkos. Did you end up with all four singles being Staccato as well? I’m not sure whether to pull the trigger on any/all of them. Postage is a killer to Australia, as well. Kind regards, Peter.
First off, I was remiss in not thanking Doug for writing this insightful article when I asked a follow up question of Paul re Staccato op amps. Thank you! I own a second hand EX-M1 that had the stock op amps changed to a complete Sparkos set (4 singles and a dual). The detail and dynamics that they extract from my system is exceptional. Every now and then, though, I felt they were almost too clinical on some material and I was interested in trying the Staccatos after Paul’s comments and the AudioFool review. I ended up buying 4 single Staccatos (OSH) but not the dual, as I wasn’t sure if it would fit in the EX-M1. The Staccato singles fit easily in the EX-M1 without requiring risers and after a couple of days of listening I can report that, to my ears, in my system (Audirvana, Cambridge CXN, EX-M1, PMC twenty5.21s and a REL T7/i sub), the result, to date, of 4 Staccato singles with the Sparkos dual is definitely a more musical experience that seems more at ease and more coherent. Trying a Staccato single in the EX-M1 dual slot seems to suggest that both the Staccato dual OSH-DHa and the OSH-DHb will fit in the EX-M1 if the nearby cable loom is tucked out the way. The OSH-DV will not fit due to the orientation of the boards. Will I go all Staccato? Probably not. I like the transient detail the Sparkos dual provides. Anyway, I hope this helps someone – remembering the caveat that all these tweaks are preference, hearing, system and room dependent. Thanks, again, Doug. Have fun.
Fantastic article! Thank you for taking the time to do this and explain the process as well as the sound characteristics of each manufacturer’s op amps. I tried all three and ultimately settled on a full set of Burson V6 Classics for my EX-M1. They sound great with my Klipsch speakers and give me the sound I was wanting.
Greg,
God’s Peace,
It is this kind of reaction that gives me immense satisfaction in writing! Thank you for your feedback!
If you ever get bored with the sound and want a change, you have the capacity to alter the system. It’s got great flexibility. Also, if you ever change a set of cables or component, or speakers, return to the opamps and try some other combinations. They confer such a powerful change that it is worth the effort.
Blessings,
Douglas Schroeder
I have complete set of staccato opamps in my Kinki for a few days now.
Installation was easy.
[img]https://i.imgur.com/Mp7Fb8y.jpg[/img]
Good to hear, Caspar. What are your thoughts on the sound quality? Did you replace the stock op amps, or had you already replaced them with something else? The more I listen to my system (see above), the more I like the Staccatos in the Kinki. They just sound more natural and musical than the Sparkos, to my ear. I also find the soundstage depth seems better. I am now thinking I will probably buy a Staccato dual 🙂 Regards, Peter.
Hi Peter,
sorry for the late reply. I just read your post on stereo.net.au.
I replaced the stock OPamps, but did not compare tu Sparkos or Bursons.
The Staccatos sound great. Very natural with a good balance between definition and timbre .
Thanks for letting me know, Caspar. I have a Staccato dual on the way from Poland at the moment to “complete the set”. You state their attributes very well – “a good balance between definition and timbre”. Regards, Peter.
I’ve recently bought EX-M1 and replaced stock opamps to Staccatos (full set). Even from the start the soundstage was deeper comparing to stock. I know the quality of Staccato as I have them in my DAC (the previous version). Still have to wait a bit before the final judgement. There is one thing I need to ask – the heat. With the stock opamps the cover was basically cold, which was quite surprising to me. With opamps replaced – it is warm. Should this be a concern? Do you have any experience with this? I would really appreciate the feedback as I don’t want to damage the amplifier.
Thanks in advance
MikeG,
God’s Joy,
That sounds like a nice experiment! I cannot tell you, however, about the heat question. I have not had issues with any other opamps, and have not tried the Staccato opamps.
Blessings,
Douglas Schroeder
Hello Douglas,
I just purchased the Kinki EX-M1+ In speaking with the Sparkos folks about opamps, he stated that the dual opamp in the unit was not in the signal path so I should not bother changing that one. So I just ordered four singles. I’m loving the improvement that it’s brought. Incredible! I also have the Burton’s and the sonic imagery standing by for trial but I’m so smitten with the sound I’m getting now that I can’t bring my self to take the sparkos out!
I was curious what you thought about that or if you can say if you heard any difference in changing just the dual. Seems pretty likely that you would not have changed just the dual and listened.
Michael,
God’s Peace,
It has been a while since I have done opamp rolling in the EX-M1+, but I have some (top secret!) more opamps on the way currently. So, I will be revisiting rolling, and will pay special attention to the dual opamps. I do recall that different combos of dual and single most definitely DID bring substantive changes over whole sets. So, I’m not sure I concur with the idea of leaving out the single opamp. I will revisit it. BTW, I would certainly not avoid changing an opamp simply because it was not in the signal path. That is the same kind of logic that suggests changing power cords are of no use. Anyone who has changed them has heard for themselves what upgrades to the system outside of the signal path can do!
Oh, yes, I would change just the dual and listen! I did all sorts of such experimentation with DACS prior, and will revisit it with the new opamps on the way in the EX-M1+.
You have only scratched the surface of what you will be hearing! You have two other sets, and then, if you have the duals of those company’s opamps, you have a lot of hybrid combos to hear! You will be astounded at how much variance comes from such rolling of opamps. Have fun! Be purposeful, and preceise; always know the orientation is correct. Take particular care with the Burson opamps, and perhaps mark them with permanent marker, like I did, otherwise its too easy to place them 180 degrees opposite of correct position.
Blessings,
Douglas Schroeder
hi, great infos about discrete opmap, but i want to know which one has the wider soundstage? not mentioned in review. please rank wider to narrow. thanks
Armuto,
God’s Peace,
The reason I do not discuss width of soundstage is because the opamps do not dramatically influence the width, as in wider/narrower, appreciably. They change dynamics, precision/cleanness, and tonality as the most impactful aspects of sound, but I have not had the experience of greatly widened soundstage by using four different brands.
The function of width of soundstage is imo controlled by other aspects of the components, and components that do not use socketed opamps. The placement of the speakers and relation of the listening chair to the speakers are the dominant factors in the soundstage. Toe in and Toe out are critical in widening or narrowing the soundstage. I also strongly recommend that if the speakers are short, sitting below ear level, then there should be a lift put under the front to slope the baffle backward and lift the soundstage. Conversely, with very large speakers that may launch much of the sound waves over one’s head, I always place shims/lifts in the back to slope the front baffle downward toward the ears. This greatly improves the cleanness and focus of the center image and will make the soundstage more consistent across left-center-right.
I have found that the depth of soundstage IS greatly influence by the precision of the opamps, quite literally allowing to hear deeper into the venue/recording space. The size/fullness of instruments on Left/Right also are more generously sized and more densely rendered with superior opamps. But, I do not hear them relocated to a wider position. In fact, I hear more information in the intermediate locations, between Left and Center, and between Right and Center, filled better with superior opamps.
I suggest you do not seek opamps based on the change to width or narrowness of soundstage. I suggest you seek them for qualities I have discussed above, and use components such as amps, and positioning to attain the soundstage width you desire.
Blessings,
Douglas Schroeder
Hi Doug,
Thanks for your review, it was very revealing.
I just bought a new Kinki EX-M1. I do like the sound, but coming from an Anthem Pre1 and a Quad 909 power combo, I strongly believe that the Ex-M1 sound can be improved.
I was thinking what discrete opamp (or mix of them) will do the trick with my Wharfedale Evo 4.4 speakers. These speakers are very laid back, but also very natural sounding. I like them a lot.
They need power and an energetic presentation from the electronics to really wake up and shine.
Based on your experience with opamp rolling with the Kinki, what combination will deliver the best for what I’m looking for?
I know that the recommendation will be to buy several ones and start testing, but currently I can only afford a for 4 single opamps and 1 dual (could be of mixed brands) so any guidance will be extremely appreciated.
Regards
Pablo
Pablo,
God’s Peace,
Thank you for the complement! You ask a difficult question because of the inability to state exactly what the outcome will be when mixing in opamps with your particular components, and what you would consider pleasing sound.
I recommend you wait for a bit until my article in regard to the Staccato discrete opamps is published. Then you will have a better sense of direction in terms of opamps. If you do not wish to wait, a combo I enjoyed was four single Sparkos Lab and a dual Burson V6 Vivid opamp.
Blessings,
Douglas Schroeder
Thanks Doug for your prompt reply.
Today I was listening extensively to my Kinki EX-M1 and I love it.
I just miss a little bit of presence in the midrange, particularly in the mid-bass region.
I guess I miss a little bit of the British sound (PRAT) I enjoyed in my previous system.
Based on your experience, which opamp do you think will favor this aspect the most?
A friend of mine told me that the Staccato could be the ticket.
Regards
Pablo
Hi Douglas, I have had Kinki EX-M1 in silver colour one week for home demo. If it would be in black I will get it but I needed it in black colour. I have sent it back to the seller after one week and they sent me EX-M1+ version with some financial surcharge from my part. Anyway I did not need additional functions of + version but never mind are there 🙂 But I have question. I still have feeling the previous Kinki EX-M1 without plus in silver color sounded little bit different (better to me) than version with plus what currently I have. Is it possible or is it only my imagination or wrong sound memory?
In other words I can’t get rid of the impression that the previous version without + played more dynamic with more defined bass. I have paired kinki with Monitor Audio Gold 300 quite big speakers. Between amp changes I did not to touch anything! Everything is spot on place. Therefore I´m thinking to change all OPAMP to STACCATO with expectation more deeper bass response?? Thanks for reply. God bless you! Jan
Jan,
God’s Peace,
Thank you for the reply! Sorry, I can’t help you with your struggle in regard to the color. Regarding the impression about the sound of the two units, I’m afraid I cannot confirm general feelings. The only legitimate comparison to know would be a side by side test. I doubt the newer version would be a technically worse performer. Would one match up a bit better or worse with your speakers? Again, to be sure you would have to do a side by side comparison. In terms of tonality on such similar units, you can always adjust with a cord or two.
Regardless, the Staccato opamps are distinctly superior to the stock ones. I strongly recommend that upgrade.
Blessings,
Douglas Schroeder
Many thanks Doug! Regarding to Kinki sound It could be only my weak sound memory because between those two units passed 3 days 🙂 What is different is PCB in your version and my new 2021 version of EX-M1. In new the version are slots closer to capacitors than in older version. There is question how many risers I would (must) use for staccato or sparkos? Many thanks and God with you.
Jan
R
Jan,
God’s Peace,
Good observation in regard to risers. You are correct that the little caps do get in the way of the opamps being seated. I was concerned about the opamps being so close to each other that they touched. I was worried of a short circuit, but I was informed by Staccato that the black parts of the opamps are neutral and can touch each other. Based on configuration I had to use three risers on one opamp and two on the other channel adjacent. I cannot tell a difference sonically. I always keep about 10 of the risers handy just in case of need, and in case one’s legs get bent when removing them. Also, make absolutely sure the notch in the riser is oriented properly to the pin 1 location on the opamps! When the risers are oriented properly, it’s easier to locate pin one for insertion.
There are some DACs which may accept others such as Sparkos or Burson, but not the Staccato because they are too wide to fit side by side. One such DAC is the original Eastern Electric Minimax DAC. I can just get the Staccato opamps to fit by using risers in the EE Minimax Tube DAC Supreme. While the Staccato opamps are tight in the EX-M1+, it’s doable. Terrific sound!
Blessings,
Douglas Schroeder
Hi Douglas, it’s been a while since you published this article on rolling op-amps. However, as I just found this article, I have questions regarding combining Burson V6 single Vivid and Classic in Kinki Studio EX-M1.
On the article, you mentioned: “a full set of Bursons, with a mixture of a V6 Vivid Single and a V6 Classic Single per channel and a V6 Vivid Dual, brought a pleasingly rich timbre.”
In which slot should I put the Classic and in which slot should i put the Vivid?
My Kinki EX-M1 is the newer model, hence in each channel the single opamp slots are configured ‘side by side’ (in the older model, I guess the one you reviewed, they are configured as ‘one closer to front side and the other closer to back side’)
Hope my question is clear enough 🙂
Thanks Douglas.
Best,
Rizal S
Rizal,
God’s Peace,
I recall correctly, there are four singles used and 1 double used for a full complement of opamps for the EX-M1+ (the version I have). For each channel, I placed a Burson Vivid and a Burson Classic. The only double was the V6 Vivid dual.
As to where specifically they are placed in your new unit, I do not wish to speculate. I direct you to call Kinki Studio, as I believe they will be willing to help you with the placement, especially since this is a third iteration of the integrated amp.
If I recall correctly, the original integrated amp was the EX-M1 and it was updated to the EX-M1+. Now, it appears that Kinki Studio has reverted to calling the third, newest version, the EX-M1. This sort of thing is confusing to the audiophile community.
Blessings,
Douglas Schroeder
Hi Douglas,
Thank you for your prompt response.
I guess my question is: as there are 2 single opamp slots in each channel (for simplicity namely slot #1 and slot #2), would it make any difference to put Classic in #1 and Vivid in #2 or should it be Vivid in#1 and Classic in #2?
Thanks Douglas and have a good weekend!
Rizal,
God’s Peace,
Once again, you will want to verify with Kinki Studio, as your unit is technically different than mine. On my unit, I can place the Vivid/Classic opamps in whichever paired spot I wish. I believe I did try swapping their positions, but do not recall the result. I did a lot of opamp rolling and kept what was the best overall result to my ears.
Have fun with it!
Blessings,
Douglas Schroeder
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