Staccato Audio discrete hybrid opamps Review

Staccato OSH-S single discrete opamp hybrid

Sensational improvement for a relative pittance

I conducted a second round of listening with the Staccato opamps in another omnidirectional speaker, the Kingsound King Tower. It is a hybrid omni; the design uses standard dynamic midrange and bass drivers oriented in an upward-firing position in a dispersion cone in order to generate the faux omnidirectional sound signature. The tweeter is a true 360-degree driver, and so is the ribbon/dome super-tweeter atop. The effect is convincing and the speaker has greater cleanness and detail retrieval than either the Walsh Model 7 or the current Ohm F5 (review forthcoming). The latter suffers the indignity of two barriers between the omnidirectional cone, along with its partnered tweeter, and the listener’s ears. Its drivers are enshrouded in a perforated metal cage, which also has grill cloth material inside. The result is a noticeable decrease in detail as compared to a speaker with all drivers exposed, as with the King Tower. Thankfully, the F5 allows for a very wide range of adjustments to the frequency bands, which when not being compared to other speakers, lends the sense of upping or lowering the resolution. In that way the ear is fooled into thinking that by such adjustments the speaker is far more resolving.

Those who have rolled tubes into equipment know that the variance in performance can be definitive, and this is also the case with opamps. The King Tower offered an even clearer window to the distinctions between the former triad of opamps and the Staccato brand. The King Tower had been something of a challenge to optimize over the years, as the fortitude of the true omnidirectional tweeter was such that it could dominate the sound. It was tough to make it relaxed, but with the use of the Staccato opamps in both the EE DAC and the EX-M1+ Integrated, there was a shift in the intensity of the tweeter, ramping it down slightly while enhancing the bass output, which was in need of some reinforcement, as it is a single 8” woofer in a relatively petite cabinet with a downward port. The result was a nudge toward the King Tower sounding larger and more mature, with the edge on the high end removed. With the new opamp complement it is no longer a challenge to listen through its design idiosyncrasies; it now seems closer to an idealized utilization of the two technologies employed.

Any time a step toward better resolution as well as increased presence and tonal balance can be achieved, it is a win/win. To varying degrees these other opamps bring an emphasis either to dynamics or definition, but the Staccato opamps elevate both in such a way that one does not have to reach for cables to moderate an overemphasis. The final step in rounding out the performance was implementing the now patented Schroeder Method of IC Placement, wherein two individual interconnects are conjoined, thus doubling both the conductors and the ground. Systems thus enhanced take on a lush, full character with no diminishment in precision. The Schroeder Method fully reveals the breadth of beauty the Staccato opamps bring to components.

Sensational is the correct word to describe the performance of the OSH opamp. I have written extensively on this topic and discussed such things as correct orientation of the opamps, so please do some simple searches of my previous articles at Dagogo before sending inquiries. I thought I was doing well with the latest batch of Sparkos Labs, Burson and Sonic Imagery opamps that I wrote up in that December 2019 article, but my, oh my, has Staccato distinguished itself from these others! Flat out, this is the pinnacle of discrete opamps I have used in the EE DAC and Kinki Studio integrated amp. The leap in performance between the Staccato and the others is similar to their performance improvement over stock chip opamps. The Staccato shows fundamental advantage sonically over these others. It is possible that with particular combinations of components and speakers any of these others might be preferred, or a mixed-brand combination of them. I have not tested that, so I refrain from extended conclusions.

The results are consistent for both the EE DAC and the Kinki Studio integrated amp. Both woke up as though given an entire set of modifications. The difference in performance was not out of line with that description. I know whereof I speak; about two years ago I had an older Belles Theatrix amplifier modded, not inexpensively I add. The outcome is a sad tale of disappointment and newfound caution in regard to entering into an informal contract to mod a component; I ended up spending two years of time waiting for a muscled-up amp, but in the end got one that stopped working entirely weeks after it finally was returned. The experience left me $800 poorer. When it did work, however, the reconfigured amp was notably more robust due to such simple changes as improved parts and wiring.

But this article is not about mod deals gone bad (not meaning the sound, but the reliability), but proven, sensible upgrades to opamps that can be done in the home without a soldering iron. I hasten to add, dear reader, that you need to exercise intelligence in the use of such opamps, for instance observing the correct orientation of pin 1 (Staccato opamps identify pin 1 with an easily seen white triangle on the circuit board). Do your research and do not be hasty in the implementation. Even after 10 years of using them, I still check their orientation three times when changing them. It is a safe enough activity, but not amenable to thoughtless behavior.

The reason I launched into that discussion of the Belles amp was because the degree of the change of the Kinki Studio EX-M1+ Integrated Amp was on the level of the several internal changes to the Belles amp. Had I known at that time about the Kinki integrated and the Staccato opamps, I would not have wasted my time and money on attempting to hot rod the old amp. That is most definitely not to disparage Belles; Dave makes great products at very reasonable prices. See my review of the Aria Preamplifier and Aria Amplifier. The sound of the Theatrix was very good, but I thought I could turn it into something wondrous. I simply picked the wrong dealer and associated tech(s) to do the mods. I strongly suggest that before you spend the time and money on an unproven upgrade to a vintage amp, you consider the affordability of the Kinki integrated and the enormous boost to performance of adding Staccato opamps!

Like tiny (not actual) class D amps 

The simplest way to describe the boost that the Staccato opamps give to a component is to consider them like tiny class D amps for the circuit board. I know that is a non-sequitur technologically, but experientially, the outcome is quite similar. Class D amps are smallish, light, tidy (no tubes), and are disproportionately clean and powerful. Ibid the Staccato discrete opamps. I was enthralled by how much the performance of the vintage Ohm Walsh Model F speaker that I restored roared to life when the complement of Staccato opamps was inserted compared to the combo of Sparkos single (4) and the double Burson. The benefits of the OSH hybrid opamps were compounded by them also being used in the Eastern Electric Minimax Tube DAC Supreme. These little buggers turn on the gorgeous sound!

I had spent a lot of time mixing the other brands of opamps to achieve my best overall sound, but in one swap the set of Staccato opamps separated themselves from my best previous combo. That means the Staccato opamps stay in both of these units. Is it possible that in some future rig, with one of the speakers I select, the Staccato opamps will be a touch too strident or imbalanced in tone, forcing a mixture with some other brand? Maybe, but I doubt it. I am hearing superior resolution, tone, balance, a more open/deeper soundstage, with seemingly more gain. When such a result happens, it does not often need to be dialed back.

The Staccato is a stiletto; quiet, powerful, and able to make my components sound killer! Staccato opamps are big winners for owners of compatible components! Strongly recommended!

ASSOCIATED COMPONENTS:

Source: Small Green Computer sonicTransporter AP I7 4T and SONORE Signature Rendu SE and systemOptique

Streaming Music Service: Tidal premium

DAC:  COS D1 DAC + Pre; Exogal Comet DAC and Plus upgrade power supply and Pulsar IR receiver; Eastern Electric Minimax DSD DAC Supreme with Burson, Sonic Imagery, Sparkos Labs, and Staccato Discrete Opamps

Preamp: TEO Audio Liquid Preamplifier

Amps:  Legacy Audio i.V4 Ultra (pair, totaling 9 channels); Exogal Ion (PowerDAC, used exclusively with Exogal Comet DAC)

Integrated: Redgum Audio Articulata; Kinki Studio EX-M1+

Speakers: Aspen Acoustics Lagrange L1 preproduction model; Kings Audio Kingsound King III; Legacy Audio DSW Clarity Edition; PureAudioProject Trio15 Horn 1; Pure Audio Project Quintet15 Horn1; Kings Audio King Tower omnidirectional; Ohm Walsh Model F (refurbished)

Subwoofers: Legacy Audio XTREME HD (2)

IC’s: Iconoclast 4×4 “Generation 2” XLR and 1×4 “Generation 2 RCA”; 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; (Schroeder Method, self-assembled with Audio Sensibility Y Cables used with several brands)

Speaker Cables: Iconoclast by Belden SPTPC Level 2 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: Belden BAV (Belden Audio/Video) Power Cord; 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