Burson Audio Supreme Sound Opamp V6 Vivid and Classic

In my honest opinion V6 will be really great addition to any audio system, it uplifts sound quality in every aspect compared to other cheaper Op-Amps. In my case compared to OPA1656, OPA1612, Muses 8820 and some other cheaper op-amps - V6 added more quality in every aspect: Bass became more pronounced, Vocals became more detailed and more natural/sweet sounding, instruments became more distinguished in space. With some quality Jazz, Blues and Old Rock recordings I was really immersed in music and couldn't stop listening song after song

Billy Joel - Piano Man has never sounded so natural and truly musical before. All instruments and vocal performance in this track sounded super lively and natural and engaging, just wow.

Thank You Burson Audio for this V6 Vivid wonderful and musical OP-AMPS experience!

DISCLAIMER: This trio of V6 Classics was kindly provided by John from Burson Audio in exchange for my honest review.

After spending about a week with these op-amps, I think I now have enough information to finally write this.

Firstly, I'll start this review with a little bit of background in my history of tube and op-amp rolling. My audio stack is on the budget end so this might be a unique deviation from most the rest of the reviews .

Prelude​

My first forage into the concept of rolling was with a Soundblaster G3 -> Fosi Audio P2 -> 560S.

I started out with tube rolling. Switching out the tubes for GE 5654W and Voskhod 6ZH1P-EV worked great in my speaker system, however on headphones the difference was much less desirable.

Eventually, I decided to try op-amp rolling. I bought a pair of OPA1656 on SOIC to DIP adapters to try and see if there was a noticeable improvement. To my ears, and my stack at the time, the difference was quite minimal compared to the standard JRC5532D.

In search of better audio quality, I would end up switching out the entire stack for Ding Shine D2 MiNi -> Samson S-amp -> DT880 600ohm. I gave up on op-amp rolling for the time being and was happy with this setup.

First-time Setup​

Out of nowhere, John from Burson Audio contacted me asking if I wanted to try out some Burson op-amps. Doubt was lingering however from my past experience with op-amp rolling, so I didn't expect to get my hopes up. However, this time I was op-amp rolling in a DAC rather than amp so my hope was that maybe that would make a difference.

The Ding Shine D2 MiNi (ES9018K2M DAC) supports 3 op-amps. At stock, TI NE5532P do the IV/LPF while TI TL072CP does differential conversion to single-ended. I asked for a trio specifically so that I could swap out all three.

On the other hand, the Samson S-amp does use an op-amp internally but it is not swappable (you can't even open the case). I would consider swapping this for a Douk Audio U3 in the future due to it's similar high voltage property but swappable op-amps.

Even swapping the op-amp in the D2 MiNi presented a challenge, however. the case is small as the name implies, and the op-amps are positioned quite close together. I also didn't ask for an extension (it wouldn't fit anyway), so I decided to run the DAC naked for the first time setup.


This is where I ran into an issue not mentioned in many other reviews, the width.

The op-amp's plastic shell is slightly wider than the socket, so having three op-amps and the rca output positioned so close together as is with my DAC (most others wouldn't run into this issue) made them conflict with each other. To solve this issue, I used the three sockets provided with the op-amps and just stacked them to make a wacky pseudo-extension.



Using this in the middle slot - replacing the TL072CP, the op-amps just barely fit together.

I booted it up, expecting to hear a massive improvement, however, I did not like it at all. The dynamics felt too extreme, as if it was dropping a lot of information. There was also a slight volume decrease. This might be due to bad contact due to the pseudo-extension, or maybe an imperfect swap, so I eventually settled on swapping the middle op-amp back to the stock TL072CP.

I did, for a short while, also remove the OPA1656 from my other stack as well to give it a short run in the place of the TL072CP. There was also an improvement but I did decide to return it to its own stack. This shows that it is possible that maybe something like the V5i (am just speculating, have not heard) would do better in this location.

Eventually, the setup I settled on was 2x V6 Classic + 1x TL072CP, which worked like a charm. I will use this setup for the basis of the rest of this review.

A More Permanent Solution​

First however, I would need to deal with the current "naked" setup, which was sketchy to run as the contacts on the bottom of the DAC could possibly short.
I cut a square hole off the top of my DAC case (using a hacksaw and file), allowing the op-amps to pop out the top. In the process, I shredded the powder coating however, so I wrapped the whole thing in electrical tape to give it a nicer look.

Actual Sound Testing​

SETUP

• DT880 Premium Edition 600ohm
• Samson S-amp
• Ding Shine D2 MiNi (2x V6 Classic + 1x TL072CP vs 2x NE5532P + 1x TL072CP)
• JamesDSP with modified crinacle autoEQ + Natural headphone crossfeed for foobar2000 v1.1 by Joe Bloggs (50° variant)

Equalization from DDCToolbox (due to the way the EQ works - this does not clip fyi)

I use Joe Bloggs' V1.1 crossfeed since it is the only crossfeed that actually sounds transparent to my ears. I prefer it on 100% of the time - it massively improves 3D imaging and the 3-blob effect without sounding like a concert hall like many other crossfeeds do.

Song-specific Sound Review

My music collection is an odd mix of mostly 2008-present EDM (future bass & co), j-pop, and post-rock. There are some low-bpm songs, but mostly high-bpm tracks with a variety of tight-playing instruments from all eras.

Therefore, my sound review will be split into two sections, the non-vocal and vocal tracks. The former should have a larger emphasis on imaging, while the latter on tonality. Due to the composition of my music collection however, layering will be a huge aspect of both.

Starting off with the non-vocal music...

KLYDIX - Golden Skies [Winter Cloud Vol.01]

This track is an extremely fast digital track, though middling in terms of complexity. The V6Cs presented the most uplift here in the background arps and sawtooth bass (3:31). I would say that the V6C sounds extremely fast, while having no hint of the roboticness associated with chip op-amps.

RUQOA - Sphere

This track has a heavy emphasis on placement and natural reproduction of background/ambient sounds (especially at the beginning of the track), using unique sounds such as keyboard presses, clock ratchet, bells, etc. The V6C here was especially much better than the NE5532P at microscopic placement of the vibraphone? hits near the beginning of the song (coming from about 30° behind my head on the right side and shifting around a bit). Other than that, the decay and slight bounce of the keyboard press noises are preserved completely.

After the beat drop, layering is also improved as none of the instruments seem as if they are fighting for space or drowned out by each other (sounds do not get grouped in general directions).

RUQOA - Goodbye [Winter Cloud Vol.01]

The main part to listen for is extremely slow ramp up of the soft pad at the beginning of the track, along with the background notes (no idea how to describe these) during the main portion.

The twinkly ambient noises and slight volume variation of the pad at the start sounded SO goddamn natural.

Along with this, the background notes were not blended at all with the main music, which seemed to be a major problem with the NE5532P, exacerbated by the composition of most of the music I listen to.

RUQOA - Overdrive

This track is pretty much 100% sawtooth bass. Sounded really rough

Moving on to the vocal songs...

Islet - Yukidoke

Here is where I noticed something odd with the V6C. Possibly as a side-effect of improving the 3-blob effect and imaging, it also seems to have shifted the location of instruments to be closer to L/R rather than center. This is especially apparent with the directional guitar (left side) in the beginning of this song.

The vocals however are extremely natural.

Shimoji Shino & Suzaki Aya - Flower Ring

Also another relaxing song, though somewhat complex in the chorus with two vocalists and lots of instruments.

Background violin is great, and the drum hits. However, not sure if due to the recording, stack, or what else, this song seems to still have a decent amount of blending between notes which didn't seem to improve much from the NE5532P, if at all.

Sakuma Takao - Frozen Midnight

Pretty chill song.

Sub-bass really shined in this track, along with more background notes (pads?). The background notes showed up much further from my head than the main song, and I could hear them clearly.

Giga - Getcha! self cover ver.

This song is pretty much the polar opposite of the last 3. Very fast.

Most of my conclusions from the non-vocal music carry over here. Vocals stay firmly in the center while music is in the surrounding area, none of the music is lost. Bass is extremely tight.

I did a bunch of other listening as well, but the conclusions are pretty consistent with other songs in my library. These are just chosen because I think they show the aspects the best.

Conclusions​

The V6 Classic is a sizeable upgrade to the NE5532P in the Ding Shine D2 MiNi DAC, though may not be a good fit in all areas (metaphorically and physically). They do also draw more power than a comparable chip op-amp, so the V5i or just a simple OPA627 browndog may be better in portable areas (speculating, haven't heard V5i). If you do manage to get them to fit in the correct area though, the improvement is sizeable and can definitely upgrade your listening experience (but it won't completely change the sound profile of your entire setup, obviously).

Major improvements are in imaging, layering, and naturality. No improvements in stage size, so synergy may be something to consider (V6V may be a better fit in such scenarios).

At least for my stack, I would easily say the V6Cs are Xynon - APPROVED.

I may have to try out these in my old Fosi P2 stack later. But for now, I just can't stop listening currently

PS: they also come with a lifetime warranty apparently, but how do you even break an op-amp

I bought v5i-d dual op-amps, and kept testing them on EVGA NU Audio, Asus Strix Soar, was plenty happy, after a while i received an offer by Burson to try out another set of op-amps in exchange for a review. Didn't manage to make v6v work in NU Audio card, but they worked wonderfully in Asus Strix Soar.

On the first day was still sceptical if i heard any improvement, so i carried on to several days of listening in games and music (mp3 files). I am not really sure how to compare v5i-d to v6v, one thing is that i like both of op-amps.

Headcans used: sennheiser Sennheiser hd560s, Philips x2hr, AKG k702, arctis nova pro wireless in wired mode.



In Songs

Noisia & Teebee - Moon Palace: bassline sounds extended, full, warm, percussive sounds detailed, no muffle, no distortion even at all windows 10 volume levels, very wide stage

The Halo Effect - Shadowminds: lots of energy in guitars, drums are weighty, very musical sound

Omnia - Dance Until We Die: lots of micro details, vocals don't get drowned, drums sound potent once again, more full, string/piano instruments don't get muffled, separation between instruments easily recognizeable

“The Prodigy" on an Acoustic Guitar by Luca Stricagnoli - Fingerstyle Guitar: low end thick and extended, strings full of energy

Mammal Hands - Transfixed: details, separation and wide stage on full display

Wheel - Dissipating - lots of details, warm bass, no fatigue listening, easy to separate instruments between each other once sound gets too busy

Best pairings for me were Strix Soar with v6v + hd560s & k702

In Games

There is a very good awareness of footsteps, bullets, thrown grenades directions, mainly tested CSGO and Crysis Remastered. I enjoyed FPS gaming the most with hd560s = k702 headphones, then X2hr and Nova Pro Wireless in that order. Can't say soundstage improved massively over v5i-d, but positional cues were very clear clear.

Conclusion

Wish I was able to make V6V work in EVGA Nu Audio too, as v5i-d worked greatly on EVGA and Asus card. After several days of using single V6V on Asus Strix Soar I started to enjoy using it in all applications more and more, at this point not sure if i should put v5i-d back on Soar or keep v6v inserted. Asus strix lineup is unique, because you can use Op-amp extenders and easily put Asus shield cover back on top and hide Op-amps neatly. Overall it doesn't feel as if this or other op-amp is better, it's as if you like how it sounds when using. Still recommend V6V, cannot find many cons, give them some time to listen to evaluate better.

To be honest, I didn't know whether to put this review in the Burson V6 Vivid or Little Dot LD-1+ sections or simply treat it as an ode to tube/opamp rolling. I ended up putting it here because Burson was the driver that made me write it (DISCLAIMER: Burson provided me with a Burson v6 Vivid free sample in exchange for my honest feedback).

So here goes.

Since I was a kid, I've always been interested in collections. I don't quite know how to explain why, maybe because it's a way of learning from everyday things that pass through our hands, or because I like to scrutinize and catalog everything. Pocket calendars, stickers, stamps, coins, cans, beer coasters—I collected everything. As I entered adulthood, my collecting interests shifted to things I could use and not just collect: watches, fountain pens, and music, lots of music. I grew up surrounded by music. My father had an enviable collection (there's the word again) of vinyl, and, naturally, the taste for various styles of music grew, such as vinyl, cassettes, CDs, and, later, all kinds of digital formats on the computer.

When I was looking for an amplifier for my headphones, I guess my relationship with collections, unconsciously, came to the surface. I knew I wanted a tube amp to experience the richness, depth, and smoothness that are normally associated with this type of equipment. But which one?

After some research, I found the Little Dot LD 1+. According to the manufacturer, "The Little Dot 1+ is a hybrid transistor-vacuum tube headphone amplifier, which combines the smooth, musical sound of tubes with the high output current of transistors. The vacuum tube stage is run in Class-A, the MC33078 operational amplifier (socketed) provides voltage amplification, and BD139/BD140 transistors serve as output buffers."



Wait a minute, is it a hybrid? Is it possible to change the opamp in addition to the tubes? And on top of that, they say it plays well? Furthermore, I found a thread here on Head-Fi, still alive today, about tube rolling in Little Dot (https://www.head-fi.org/threads/little-dot-tube-amps-vacuum-tube-rolling-guide.563884/). There are more than 800 pages of experimentation with every conceivable tubes. This is what I need!

The Little Dot did not disappoint. I bought it with 408A and 6AK5 tubes and immediately started experimenting with some opamps I had at home. The sound matched to what I had read: the tube warmth was there, but the original opamp was boring. As the LD 1+ is a hybrid amplifier, either changing opamps or tubes brought new sounds, and I quickly learned that not all opamps match well with certain tubes and vice versa. Of all the combinations I had tried so far, the one I liked the most was the National Semiconductor LME49720NA with the Soviet Voskhod 6Zh1P-ЕV tubes. With this combo, the soundstage changed radically for the better and effortlessly took my HE4XX to a sound quality that I hadn't experienced yet.

And then there was this invitation from Burson to review one of their opamps. I had never tried a discrete opamp (for those unfamiliar with the concept check this link: https://www.bursonaudio.com/about-us/discrete-opamp/) and the expectations were high. I was asked which one I would like to try, and after seeing a comparison on their website, I ended up choosing the v6 Vivid because "Color & Texture" are characteristics that tubes easily bring to the table. It would be more interesting to understand what we can get from their opamps in terms of "Transparency", "Details" and "Dynamic & Soundstage".



Since the Vivid is significantly larger than a traditional opamp, I asked Burson to send me an extension that would allow me to close the Little Dot box after installing it. It worked like a charm.



Countless reviews have already been made of both the LD 1+ and the V6 Vivid, so I did something different. Bearing in mind that the quality of both products has already been duly scalped, how about finding the best pair (spoiler alert: it wasn't a pair) of tubes for this opamp? But before that, nothing like test the Vivid with my favorite tubes so far, the Voskhod 6Zh1P-ЕV.



These tubes were manufactured in March 1988 by the Voskhod Tube Factory in Kaluga, Russia. The company still exists today, but apparently no longer manufactures tubes. Compared to the original tubes of the LD 1+, these Soviet ones brought much more spectacular dynamics, capable of covering all frequencies effortlessly with clarity and a vastly improved soundstage. The only thing to point out is some aggressiveness in the highs, especially with regard to female voices. All this with the LME49720. How would Vivid cope with these tubes?

I'd say it was anticlimactic. Yes, the sound had improved slightly. A sense of bigger depth and greater detail in the highs. The bass remained powerful, but some of the attack the LME provided was lost, especially in Mombassa from the excellent Inception soundtrack. For an opamp that costs 20x more, I was expecting a more significant change. But experience dictates that one opamp doesn't always goes with a particular tube. The first time I heard the Voskhods was with a Linear LT1364 and I didn't like the combination at all.

So I went ahead with the plan of finding the best tube for the Vivid. Since (so far ) I have 41 different tubes, I did the "highly scientific" experience of trying them all for a few minutes with the Burson and choosing the ones that sounded best to me so that I could, with more calm and time, see if we had a winner. Here's the 6 ones that qualified for the next stage:



I started with other Soviet tubes, this time the Novosibirsk 6S2S, manufactured in the factory with the same name in Russia in May 1974.



As you may have noticed, these tubes are completely different from the "normal" ones used in the LD 1+. The beauty of this amp is that, with all the tube rolling experimentation (the first post on the thread I told you about is almost 12 years old!) and knowledge sharing, many adapters were made (or if they don't exist, they can be made) for countless types of tubes. In this case, I used two adapters: one that allows the use of double triodes from the 12AU7 family and another that allows the use of octal-based triodes from the 6J5G family. The sound has improved compared to Voskhods. The highs were even more detailed, especially with female voices. The cymbals on People Ain't no Good were tremendous. However, some strength was lost in bass. It looks like we were on the right track.

I left the adapter for double triodes (this time in the position compatible with the 6DJ8 family) in Little Dot and placed the next tube. This time it really is just one tube, as the adapter "transforms" the double triode into two isolated triodes.



After the Soviets, we moved to the United States with RCA. Well, actually, we moved to England, as this 6ES8 was manufactured by Mullard at their Blackburn factory, in the first week of March 1965 (if you are curious about this exactness, see here how to determine these dates: https://mullard.org/blogs/news/mullard-valve-etched-codes-how-to-interpret-them). And here, everything has changed. I stopped recognizing the Little Dot. The airy entrance of the strings of Albeniz's Asturias immediately made it clear that we were facing something different. Immediately afterwards, when the brass section enters, the attack is just breathtaking. With To Die Among Strangers, acoustic guitars, Jérôme Reuter's voice and the percussion were perfectly combined in a phenomenal soundstage. In addition, the whole texture felt like a real tube sound: full, rich and enveloping. I had read a lot about the qualities of Mullards, but I had never experienced such a thing with other opamps.

Could it be improved with other tubes?

The next ones to test were the Elektronska Industrija 6HM5 tubes, manufactured in Yugoslavia, more precisely in Niš, present-day Serbia. Once again, these are highly recommended tubes in the tube rolling thread. They had a great time with Vivid, doing what they do best: bringing female voices to shine. Lisa Gerrard's voice on Sanvean was simply superb, as natural as you can have it. However, as I've noticed with other opamps, some bass punch is lacking, and the highs can be slightly sibilant.

I was very curious about the next tubes, the Mazda 6CB6, manufactured in France by Compagnie des Lampes, probably in the 60s. They had been the ones who had so far held their own with the LME49720 when it came to bass extension. They turned out to be a disappointment. A very large predominance in the mids with muddy highs. The soundstage also left something to be desired. In short, little finesse.

The ones that followed were the Mullard M8083, this time manufactured in another factory, in Mitcham, in the 3rd week of May 1977. The sound ended up, curiously, not being very different from the RCA also manufactured by Mullard. Engaging and warm, it made an excellent impression on the imaging with Juan del Enzina's Renaissance song. I ended up liking the RCA better because of a slight too forward highs.

Finally, the Hitachi 6AV6, double diode-triodes whose some pins have to be cut so that they can play in the Little Dot (no tubes were harmed in the making of this review. I use tube savers with the pins cut instead).



They turned out to be the biggest disappointment. Very opaque, with a weak attack, all very edgy and culminating in the female voices of Hedningarna sounding with enormous stridency.

In short, the RCA (or should I say Mullard) was the winner of the match. It managed to transform the Little Dot into an amplifier comparable to models several times more expensive. I am, however, aware that this would not be possible without Vivid. The soundstage and imaging, as well as the full, velvety sound, didn't just come from the tube, as I had heard it before with other opamps. For that reason, I can't help but highly recommend the Burson V6 Vivid.





Gear used in the review:
Foobar2000 -> Topping E30 II -> Little Dot LD 1+ -> Hifiman HE4XX

My opamp/tube rolling test playlist:
Isaac Albéniz - Asturias (from Suite Española) - First Impression Music FIM XR24 068
Rome - To Die Among Strangers (from To Die Among Strangers) - Trisol TRI 361 CD
Nick Cave & The Bad Seeds - People Ain't No Good (from The Boatman's Call) - Mute CD Stumm 142
Hans Zimmer - Mombasa (from Inception) - Reprise 524667-2
Juan del Enzina - Una Sañosa Porfía (from Romances & Villancicos) - Astrée Auvidis E 8707
Dead Can Dance - Sanvean (from Toward the Within) - 4AD DAD 4015CD
Hedningarna - Joupolle Joutunut (from Kaksi!) - Xource XOUCD 101

Burson is an Australian brand that took the world by storm with its revolutionary flagship 'Conductor' line of DAC/AMP products back in 2019. They revolutionized power supply technology with their proprietary Max Current Power Supply (MCPS). This was a game-changer for audio equipment. Now Burson offers a lot more DAC/AMP and other sound equipment, such as Soloist, Playmate, Supercharger 3A/5A, etc.

I have been trying to post this review for quite some time because I wanted to have a comparison of their various op-amps. I have been using the V5i-D (I was so impressed the first time I used them in my little bear that I have V5i-Ds on all my supported portable setups) and V5 Discrete Op-Amps (for giving a desktop-like feel to my portable setups) for the past few years, and I would like to thank Burson India for sending me their latest V6 Vivid Op-Amp for the comparison.

In terms of design, the V-5i series are partial discrete Op-amps and come in both singular and dual supply architecture, whereas the V5/V6_vivid are fully discrete Op-amps, i.e., they permit the use of high-quality compensation capacitors, and allow for two pole compensation schemes that are impossible to implement in IC designs and are designed to serve in desktop setups.

For the following review, I have decided to use these op-amps on different kinds of devices. To properly understand the impact of the OpAmp rolling, I chose each device with different characteristics from the others. Depending on the architecture of the device, the op-amps have been tested in both singular and paired modes. I have used the following portable devices for this review: Xduoo-XD05, Little Bear B4 and Little Bear B4x, and Zishan DSD. Some devices such as Burson Playmate2 require more than one op-amp whereas devices such as Xduoo xd05 use a single op-amp. Also, the architecture changes depending on Single Supply, using the wrong op-amp or not caring about the actual pin structure can lead to damage to your device as well as the op-amps.

Burson Playmate2-


Little Bear B4x and B4 -

As soon as I switched from the stock op-amps on all these devices, there was a huge difference in terms of performance, quality, and tonality. Moving to V5i-D from the stock op-amp, there was a noticeable increase in all the parameters; the overall sound became more engaging, more detailed, and more textured. The soundstage was enhanced, and the dynamics became far richer and more exciting. The upgrade also improved the overall performance in terms of output power. Using V5i-D on the Xduoo-XD05 gave me the best synergy I had with my DT880-250 ohm on any portable setup I had so far, as per my taste.

Again, switching from V5i-D to full discrete op-amps like V5 discrete or V6 vivid made a huge difference. With portables, although they took a hit on battery life and the portability of the setup, I now had to either modify the casing or use them as non-portable equipment. The difference in quality and performance was such that it immediately gave the imitation that I had moved to an actual desktop setup with amazing power and overall sound quality. The texture became even richer with the increase in transparency and details. The sound became more intimate and enjoyable. In terms of staging, there was also a minor change, with much-improved imaging and micro details.

Now if we compare the V5 discrete and the V6 vivid, there is a slightly less noticeable difference as compared to the above comparisons. The V6 vivid outperforms the V5 discrete by a narrow margin. It is slightly more transparent and does enhance the soundstage. Overall, it feels slightly more enjoyable and punchy. Other than that, there isn't much of a difference to notice, but if we have to pick a winner, the V6 Vivid is unquestionably the king of Burson op-amps.

I would highly recommend upgrading the stock op-amp of any portable device with the Burson V5i series and the V5/V6 series for desktop setups. I felt they were better than other op-amps I have tested, such as the NE5532 (slightly mid-centric) and the LM4562 (more balanced sound), for overall performance, aesthetics, and sound quality as per my taste and the best part is they come with a lifetime warranty.

The review sample was kindly provided free of charge in exchange for an honest review.
I didn't receive monetary or any other kind of compensation and I don't use affiliate links.
The price for two pieces of the V6 Vivid single op-amp is $75 and you can order them directly from Burson Audio shop.
The V6 op-amps come with a lifetime warranty and 30 days refund policy.

Burson Audio discrete op-amp

Burson Audio, the Antipodes based audio manufacturer, are not only famous for their high quality headphone amplifiers and DACs but also for something completely different.
Their Discrete operational amplifiers (op-amps), that are handmade to substitute for IC (integrated) op-amps.
The Burson discrete op-amps are available in single and dual variants so they can replace most of the commercial IC op-amps.



Why buy a discrete op-amp?

According to Burson Audio, there is a common misconception among audiophiles: That is an Integrated Operational Amplifier (IC Opamp) is equivalent or even superior to a discrete design. Nothing can be further from the truth! Restricted by the fabrication process and technological limitation, an IC Opamp is an inferior substitute for a proper discrete design. An IC Opamp is entirely constructed on a single dice of a silicon wafer, which is smaller than a grain of rice. Limited by its size and heat dispersion, it is impossible to incorporate a top-quality audio transistor like the A970, or K170 which feature in the Burson Audio discrete design. During the construction of a discrete transistor, a chemical optimisation process takes place for each piece of silicon according to its application (NPN or PNP). This optimisation process is critical to the performance of the final product.



To read further on the benefits of using a discrete op-amp please visit the following link.

Burson V6 Vivid and V6 Classic fully discrete audio op-amps

Both designs evolved from the previous model, the Burson V5.
But just as evolution is never linear, two V6 circuitries emerged to compete for the hearts and minds of music enthusiasts.
These op-amps are specifically designed to optimize audio performance.
Measuring 12.4x14.5x29 mm the V6 are the smallest discrete op-amps in the world so they conveniently fit almost everywhere.
And in the rate cases where space is really limited then you can use the 35mm extension leads.



The V6 are the only op-amps in the world with reverse voltage protection. While other op-amps are instantly damaged if reversely installed, the V6 are designed to survive such accidents unscathed.

Only the best components are used and to make that they perform even better, a painstaking selection and meticulous component matching process is applied.

The V6 op-amps are manufactured in two different sounding versions, the Vivid and the Classic and both are available as single or dual op-amps.
To find out more about their different sound characteristics please visit the following link.



The V6 Vivid single op-amp

This review features the V6 Vivid single op-amp which is a direct replacement for NE5534, JRC5534, LT1122, TL071, OPA134, OPA627, AD811, AD829, AD844, OPA604, AD8610, AD711, AD797, LME49990 and LME49710 IC single op-amps.
These op-amps are usually found in the preamplification stage of integrated or headphone amplifiers to drive the power amplifier.

The initial plan was to use them as a substitute for the four NE5534 that are used in the Kinki EX-M1 integrated amplifier but unfortunately free space inside the board was not enough to accommodate them so I had to use the 35mm extension leads that they were out of stock and back-ordering them would delay the review.

Fortunately the Violectric V380² headphone amplifier, that I have on extended loan, uses four pieces of the same NE5534 to drive the four discrete power amplifiers and thankfully the board could accommodate the V6.

The V380² is a high end headphone amplifier with excellent transparency and fidelity, able to highlight every single component change in the audio chain.
You can find more about its sonic performance by reading the following review.



Installation

Op-amp rolling was pretty easy, the most difficult part was to remove the upper DAC board.
Burson doesn't provide an op-amp removal tool but I had one at my disposal that did the trick.
I was very lucky because the height of the V6 op-amp is exactly the same as the free clearance between the main and the upper DAC board.
Just a mm higher and it couldn't fit!

The V6 Vivid single op-amp does not generate any excessive heat so you can use it just like the regular IC op-amps with the lid of the chassis closed without the fear of overheating issues.



Listening impressions

Op-amp rolling, especially when you have four pieces to roll, is not something that can be done on the fly so the evaluation methodology was the following; I have used only two headphones, the Meze Audio Elite and the HiFiMan Susvara with the Lavricables Master line cable, one of the most transparent cables even made.
First I listened to a small number of familiar samples, back and forth with the stock NE5534 and the V6 Vivid op-amps and kept notes.
This was done several times in a row.
Then I listened to music continuously for a day with one set of op-amps and then the next day with the other and so on.



The NE5534 is commonly used in audio applications because it has very low noise, high output drive capability, high unity-gain, maximum-output swing bandwidths, low distortion, and high slew rate.

The NE5534 is fast and very transparent but the V6 Vivid proved not less of a match, with the same kind of ultimate transparency, if not more, and a completely pitch black background without a single trace of audible noise or distortion.
Additionally, while the V6 is equally fast, it is not too harried so on one hand transient speed remained the same but on the other hand time decay was a bit more relaxed and smooth making instruments sound more natural and lifelike, adding greatly to the overall sense of realism.

The V6 is definitely a solid state sounding op-amp that doesn't make the sound more slow, bloomy, thicker, loose or warm but it has under the sleeve a famous tube-associated characteristic - the magnificent soundstage.
You don't have to listen a lot back and forth in order to immediately observe the expansion of the soundstage, not only on the horizontal axis but also in the most important depth layering.
The performers are tidy, well organized and arranged with the right proportions and a tube-like holographic relief and plenty of ambient information.

The V380² is already one of the most musical sounding solid state amplifiers with a uniquely natural timbre and supreme textural qualities but the V6 Vivid managed to slightly enhance everything.
From the timbre which became more analogue and organic, to the texture which gained a little in overall weight, to the layering which became more spacious and well defined while fidelity and technicalities remained completely intact.



One final test was to listen to the whole double concerto of Johannes Brahms, a masterpiece of the classical music literature, with both op-amp configurations, to eventually find out that differences weren't really night and day but in the end of the day, the Burson V6 Vivid offered by a fair margin the more convincing and lifelike listening experience.



As a last remark it should be carefully considered that a single type discrete op-amp that is used in a situation like that of the review (as a driver to the power stage of an amplifier) will usually yield less pronounced results when compared to a dual type op-amp that is used in the analogue output stage of a DAC where you should likely expect more audible differences.



In the end

The Burson Audio V6 Vivid op-amp is the icing on the cake so it won't magically transform your audio device into something different sounding.
But if you have everything else settled down then it will make sure that you get the maximum sonic performance of it.
Regarding this reviewer and his favorite Violectric V380² headphone amplifier there is not a single chance of going back to the stock IC op-amp period.

Test playlist

Copyright - Petros Laskis 2022.

What is an Opamp​

An operational amplifier or op-amp is simply a linear Integrated Circuit (IC) having multiple terminals. The op-amp can be considered to be a voltage-amplifying device that is designed to be used with external feedback components such as resistors and capacitors between its output and input terminals. It is a high-gain electronic voltage amplifier with a differential input and usually a single-ended output. Op-amps are among the most widely used electronic devices today as they are used in a vast array of consumer, industrial, and scientific devices. and of those are amplifiers for speakers, headphones, microphones, and In-ear monitors.

My story with Burson Opamps in past​

Before coming into IEM DIY and professional scene, I used to build amplifiers like CMOy and the old DIY ones. In that era, I was more subjective than objective and was chasing not what I wanted for my life but what sounded the best in the moment and normal consumer products were just not doing it. As I was building my Objective 2 amplifier, I saw some fancy-looking Opamps like sparkos and Burson. This is the time when Burson was moving from V4 to V5. And on impulse, I bought it (from shady sources LOL at cheap), and that opamp swap blew my mind away. Suddenly things started opening up and the treble resolution went up to the roof.

Well, this was the story of Old Dhruv and now I understand that a random opamp cannot just be swapped into a pre-existing circuit because of the design parameters, and I think that's what Burson tried to achieve, make a universal high-performance opamp.
That is why they give the full list of the opamp the V6 single and dual can be swapped with and also customer support if the DIYer is not sure.

​

Specifications​

• Op-amp model: V6 Vivid
• Design: fully discrete
• Min voltage: ±3.5V/ 7 VDC
• Max voltage: ± 16.5V / 33VDC
• Current consumption: Single 7mA | Dual 14mA
• Unity gain stable: Yes
• Reverse-voltage protection: Yes
• +/-0.5% Tolerance on TKD Metal film resistor

Gear​

• Toppping DX7s
• AKG k371 Brainwavz pad + oratory equalization + Jan Meier natural bass enhanced crossfeed
• HD800s + 6kHz damped by 3dB + Bass increment from 200Hz to 20Hz with 6dB max climb + Jan Meier natural bass enhanced Crossfeed

Design:
Well, in simple words, this opamp is enormous. Exactly 12.4mm X 14.5mm X 29mm big, making other opamps from Muse, TI look like ants. And this colossal size comes with the problem of fitting the lid of the amplifier back. It does look amazing though

Friendly Features:
The opamp comes with reverse voltage protection which helps the DIYer not to damage the opamp and other parts of the amp.

Sound:
I am not a good reviewer to be very honest but I can write comparisons from V5 in notes as i don't have my oscilloscope
- Soundstage improved in perception, there is some sort of PSSR improvement. feels blacker in the background
- I think a very minor upgrade to air details but can be psychoacoustics bias, but I did blind testing.
- As i am turning the knob i kinda feel more confident as i feel driver or amp less strained compared to stock and V5 on Dx7s
- Dynamic range vastly increased because i can go loud in confidence and what i understood over time is loudness without distortion = Dynamic range because low distortion will make sure that the quietest note doest get affected while you can hear the loudest at the same time.
- i feel it work better in speaker amp design because we might have high power targets to hit as its technically overkill for headphone amp



Argument:
-OPA16xx is better
well, it is, on paper, but this Burson is also very near on the paper, and can go way high power, at that point even 1622 will be struggling. And i wont be talking in audiophile terms. An IC opamp are really good but EMI and due to low surface area and high power amplification causing heat hotspot. This can lead to reduced max power they can hit as mentioned on the datasheet + even more careful ground filtering for EMI. Burson avoids because of component spacing + high power handling discreet component than an IC opamp circuit printing fabrication

also the new V6 takes far less current and voltage than old Burson's opamp which just place these on same ballpark to IC opamp efficiency.


this is actually different from V5 by a noticeable margin and i would like to build a separate amp on it now
thanks burson making amp child to wake up


*well it would take time as i am recovering from Dengue and Rhabdomylosis*

Introduction​

Founded in 1996, Burson Audio is one of those companies that has been here basically forever. I remember having their Conductor Virtuoso in 2016 for quite some time, and I really liked this little thing. I still remember the volume indicator in the form of little holes punched in the front panel, gently lighten up with led lights. This thing was crafted to perfection.

But, Burson Audio has always been legendary thanks to its Opamps. I’m not an engineer, I have never been into the whole DIY game, I’ve never modded or repaired any of my amplifiers myself. That’s why I have never tested their Opamps before, simply because I was scared if I’ll be able to do it on my own.
Fast forward to a couple of weeks back, when Burson Audio contacted me, asking if I’d be interested in reviewing their Opamps. I thought to myself – okay, this cannot be as scary as I always thought, let’s do it.

I decided not to read any reviews of any of Burson’s Opamps, to create my own opinion on whether this upgrade is really worth its heavy price tag. After playing with the V6 Vivid Dual and Single for a while with my Playmate 2, I can now give you my answer.

Packaging​

Why the heck is there an unboxing paragraph in an Opamp review? Well…apparently, it’s just the way I roll. Let’s get it out of the way, and it won’t be too long, trust me.
Both pairs come packed in a plastic box with some protective foam inside, to ensure that the Opamps are safe and that they won’t fly around that tiny plastic box. That’s literally it.

How To Install​

Installing the Burson V6 Opamps is…as easy as it gets.

First, you have to unscrew four screws of your Playmate 2 – two top ones on the front, and two top ones on the back. Easy peasy.
After unscrewing these screws, you can now grab the upper lid of your Playmate 2 and lift it up easily. After doing that, you’ll be greeted by this view.



You can see four stock Opamps that came with your Playmate 2. Those are NE5532D Dual and NE5534 Single. Removing them is a rather easy task, all you have to do is to lift them…it’s best to use a small plastic thingy to you won’t damage anything with your fingers. You just lift them up, no soldering or desoldering needed.

After uninstalling the default Opamps, you have to put in these new, shiny V6 vivids. Installing them is even easier than uninstalling the old ones. Just grab them by their huge body, and press them gently into the socket. No rush, you don’t want to damage anything, trust me. Just make sure the pins and the sockets are aligned, and gently push them down. Boom, you’re done.

Oh, last thing – the orientation. Just see the picture below for reference. Opamps have these small indicators on one side, and it tells you which way to insert them. Trust me, once you’ll see it, you’ll know which way they go.

Tech​

I’ll keep it simple. Instead of writing an essay about Opamps, I’m just going to paste what experts have to say, and by experts, I mean Burson Audio:

What’s Right About Discrete Circuits?

“Discrete circuits are custom built by Burson for specific applications rather than an op-amp’s jack-of-all-trades-master-of-none specifications. The art of circuit design yields superior sound in every way in comparison to simple plug-a-chip engineering. A system can only sound as good as its weakest link. All our products use thick, quality, temperature-stable printed circuit boards with high-purity copper traces and gold-plated soldering pads. And extra coating is applied to both sides of the PCB preventing oxidation. The boards are hand-built use high-spec metal-film resistors and other audio-grade parts using as few hand-matched components in the signal path as possible.”

What’s So Entirely Wrong With IC Op-Amps？

“There is a common misconception among audiophiles: That is an Integrated Operational Amplifier (IC Opamp) is equivalent or even superior to a discrete design. Nothing can be further from the truth! Restricted by the fabrication process and technological limitation an IC Opamp is an inferior substitute for a proper discrete design. An IC Opamp is entirely constructed on a single dice of a silicon wafer, which is smaller than a grain of rice. Limited by its size and heat dispersion, it is impossible to incorporate a top-quality audio transistor like the A970, or K170 which feature in the Burson Audio discrete design. During the construction of a discrete transistor, a chemical optimisation process takes place for each piece of silicon according to its application (NPN or PNP). This optimisation process is critical to the performance of the final product. Some of the benefits include:

optimized for breakdown voltage and performance

optimized for near-true complementary

But this process can not take place on an integrated circuit since all transistors are fabricated on the same piece of silicon. This is one of the major drawn back of an integrated circuit compare to a discrete circuit. All components on the silicone dice are formed by a droplet of chemical (very much like inkjet printer printing on paper). This fabrication process can not create parts like the 1% tolerant metal film resistor, or the super stable silver mica capacitor (please see table above to compare how discrete parts are different to their integrated substitute) Since they are all connected (hence integrated) they can not be individually tested and matched. In an IC opamp the conductor layer that connects all the parts is formed by a layer of aluminium vapour that is thinner than the water vapour left on foggy windscreen. This poor conductor is the silent killer to musical texture. The close proximity of components also poses a problem for audio signals, where that delicate signal that music lovers pursue, will be masked by EMI noise. In the end, the consumer is getting an opamp that is built with a bunch of second grade parts that is unable to yield the best results, connected via a thin layer of aluminium foil. An IC opamp is nothing more than a cost cutting substitute in audio application which we hate with a passion!”

Today, I’m reviewing V6 Vivid Opamps, but there are also the V6 Classic version. Here are two cents from Burson Audio about their differences:

“The V6 Vivid is dynamic, transparent and exciting. It is the V5 sound improved on all aspects. From its incredible dynamic range, three-dimensional soundstage to its ability to reproduce the finest micro details. It invites you to witness that moment of recording. Play Norah Jones’ Come Away with Me, and suddenly you are in the best seat in the house. Norah and her handsome band materialize vividly on stage and you are immersed in magic. The V6 Classic deviates further from its V5 foundation. With an entirely different output stage design, it is intimate, exquisite and very engaging. With the V6 Classic, Norah is asking you to come closer. She wrote the song for you and she is singing it to you. It was time to stop analyzing and start living in the moment. We love both equally, and we know fellow music enthusiasts will too.”

Sound​

All of the above might sound great, but I know what are you here for – do they actually make a difference? We’re talking $230 for the whole set of Opamps for the Playmate 2, which is substantial when you’ll think that the Playmate 2 is retailing at $544.

So, long story short, is it worth getting the upgraded Opamps for your Playmate 2? Oh damn, yes it is.

If you’re curious about my opinion on the stock Playmate 2, click here to read its review.

Okay, I really don’t want this review to be overcomplicated. If you want science stuff, you’ve got plenty of places on the internet for that. Here, I want to tell you if this upgrade is worth it, and what are the differences in sound, so here it goes.

After changing the stock Opamps to the full set of V6 Vivids, I can easily say that the Playmate 2 sounds like an entirely different device, and actually a significantly better one. It just got so much more technically capable.

The detail retrieval and resolution are the easiest to spot right from the beginning. I would never call the Playmate 2 lacking in detail or resolution, but the V6 Vivids opened it up to an entirely different dimension. The whole frequency response got so much more insightful, snappy, textured, and detailed. If someone blindfolded me and said that I’m listening to something from Burson, I would have guessed that I’m listening to one of their higher models, such as the Conductor 3P. I have never heard it, and I’m not saying that the Playmate 2 with V6 Vivids sound like one. All I’m saying is that the upgrade is so significant that I wouldn’t have guessed that this is the same device.



Thanks to its upgraded technical capabilities, the Playmate 2 now plays in a different league. It’s not a well-priced, affordable AIO anymore, it got really serious.
What about the timbre? As I said in the review of the Playmate 2, it has that great, Class-A-like timbre that is thick, powerful, and melodic. The V6 Vivids transformed it into a slightly more neutral and technical-sounding device, but it’s rather cosmetic. Because of it, this is still a highly engaging unit that has beautiful vocal performance and a forgiving character. Everything just got clearer, cleaner, and snappier, without losing any of its magic.

Actually, the biggest difference is in the treble. It’s now even more textured, there’s literally zero grain and the amount of details is outstanding. Everything sounds natural, saturated, and incredibly clean, and it’s also more extended now. While the stock Playmate 2 has that smooth yet detailed treble performance, the upgraded one is crispier and better-controlled, while not being even so slightly harsh, never.



The vocals still have that magical timbre, but they are now more insightful and better defined, especially female ones. This is still the Playmate 2, but better in every aspect, and better by quite a lot.

So, there’s not even the slightest doubt that the V6 Vivid Opamps are a big upgrade for the Playmate 2, but the question is – is it actually worth it to invest near half of the original price for this upgrade?

Yes, I believe it is. The Playmate 2 is an incredibly built, beautiful little device that has a great timbre and is great for a “one and only device” on your desk. With V6 Opamps, it gets frighteningly good for the price, and it’s still a rather small, sexy-looking device that will get you covered with just about everything.

You can actually use the V6 Vivids with other devices as well. So if you’ll ever decide to go into a more high-end realm, these can stay with you and upgrade your new device as well. Because of that, you can actually think of them as a continuous upgrade to your HiFi setup, even if you’ll wander into more expensive stuff in the future. Burson Audio gives you a lifetime warranty for these, so they can actually grow old with you. Brilliant.

Summary​

The V6 Vivid Opamps are by no means an affordable upgrade, but their sound quality is just incredible. I wasn’t expecting them to give me such an impact on the sound quality of my Playmate 2, as they easily transformed it into a much better sounding device immediately.

They are easy to install and handle, are covered with a lifetime warranty and you can actually use them to upgrade a lot of different devices on the market, so you can basically use them for many, many years and enjoy their remarkable quality. Having all that in mind, I’m going to say it…

It’s a steal.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Hifiman Susvara, Meze Elite, Final D8000 Pro, Hifiman HE1000se, Audeze LCD-X 2021, Hifiman HE-R9, Hifiman Arya SE, Hifiman Edition XS, Fir XE6, Fir M5, Dunu Perpetua, Unique Melody MEST, Final A8000, Campfire Audio Solaris 2020
• Sources– Burson Playmate 2

Big thanks to Burson for providing the V6 Vivids for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Burson hasn’t seen this review before publishing it.

If you’re in Europe, you can order your V6 Vivid Opamps here, or here via the official Burson Audio website.

This analysis was previously published by www.audioreviews.org​

Executive Summary​

The Burson V6 Classic opamps are a valid alternative to the V6 Vivid opamps for those who prefer a leaner, wider, and better resolving sound. The V6 Classic work particularly well with acoustic pieces and jazz, but also with sources too warm for the V6 Vivid.

Introduction​

Burson Audio is a >20-year old innovative company from Australia that produce high-quality DACs and amps. They started their business with opamps and other audio parts before dipping into complete devices.

I have exhaustively analyzed their lowest-priced amp, the Burson Funk, which, in its “Deluxe Package”, comes with a pair of Burson’s flagship V6 Vivid opamps that produce an energetic and dynamic sound. But the company offers another set of flagship opamps separately, the V6 Classic, which generate an alternative sound signature.

Both, V6 Classic and V6 Vivid retailed at $85 per piece/$145 per pair at the time of this review. You can order them from Burson. Both models are based on 12 years of research and carry a life-long warranty. V6 stands for Version 6 (or 6th generation). You can learn about their internals here.

What are Opamps?​

Operational amps (“opamps”) are one of the building blocks of analog electronics circuits, used for sound optimization and customization. Opamps fine tune the’s sonic signature and help tailor the sound to the listener’s preference – similar to tubes in tube amps.

Opamps are universally deployable across different amps independent of brand. They are easily plugged into/pulled out of an amp’s logic board.

Caution, “opamp rolling” can be addictive!

Physicals and Installation​

In the box are two opamps and two adapters. You don’t need the adapters when plugging the opamps into a Burson amp. If using them with amps of other brands, make sure there is enough space in the enclosure. Considering that most other opamps are these flat spider-like things, the Burson opamps are little skyscrapers.


In the box are two opamps and two adapters.

You install the opamps by opening the enclosure (Allen keys included), align them according to manual, and stick them into the dedicated slots on the logic board. The Burson Funk, for example, has 2 such slots, one for speakers, and the other for headphones.

And if you align the opamps incorrectly, Burson’s unique “reverse voltage protection” prevents them from getting damaged.


V6 Classic (orange) and V6 Vivid (red).

The Burson Funk holds two opamps, one for the headphone circuit and the other for the speaker circuit. You can use a different opamp in each signal path. Many users prefer the V6 Classic for headphone use and the V6 Vivid for speakers.


Two V6 Classic opamps installed in the Burson Funk. Each is for a different signal path…the central left one for the headphones and the lower right one for the speakers. You can use a different opamp for each signal path if desired.

V6 Classic opamp: little skyscraper in the headphone’s signal path.

Test Setup​

I tested both opamp models, the V6 Classic and the V6 Vivid with the Burson Funk and different headphones/earphones. I used a neutral and a warm source to establish a possible source dependence for the performance of these opamps. After all, you’d expect the warm V6 Classic to pair better with a neutral source and the V6 Vivid to harmonize best with a warm source.


Neutral source setup: Questyle QP1R as DAC via AudioQuest Golden Gate RCA interconnects into Burson Funk amp. Warm source setup: Questyle QP1R as transport via Lifatec USAoptical cable into EarMen Tradutto DACand via AudioQuest Golden Gate RCA interconnects into Burson Funk amp; Sennheiser HD 600 headphones, JVC HA-FDX1 and Final E5000 iems.

Sound​

Previously, I had tested the V6 Vivid opamps for my exhaustive Burson Funk review. What became evident to me was how the Burson Funk with the V6 Vivid opamps replaces the neutral signature of the Questyle’s own Class A amp with a slight warmth and an overall subtle tone colour. Sound is quite natural and definitely not digitally artificial.
Replacing the Vivid with the V6 Classic changes the Funk’s sound substantially — similar to exchanging the pickup of a record player or the earpieces on an iem.

To give you the helicopter view: the Classic make the Funk’s sound sound wider, more open, leaner, more neutral, and flatter, but also faster. In contrast, the V6 Vivid create a thicker, bassier/warmer, deeper, more dynamic but also narrower sound.
In detail, the V6 Classic deliver a tighter, faster, more composed bass compared to the V6 Vivid’s thicker, richer, and warmer low end with a better sub-bass extension, which contributes to the V6 Vivid’s deeper soundstage.

On the other hand, the V6 Classic’s more forward treble makes for a wider, more open but also flatter stage. Due to the lesser warmth from the bass, the V6 Classic’s mids are leaner, cleaner, and clearer, as opposed to the Vivid’s richer, smoother, softer, and more rounded notes. This results in a better midrange resolution, transparency, and spatial cues in the V6 Classic.

Saxophones, cellos, and vocals sound leaner and “sharper” with the V6 Classic and smoother/richer/thicker with the Vivid. The advantage of the V6 Classic’s leaner presentation is “more space between notes and musicians on stage” and therefore better instrument separation and placement. A symphony orchestra on stage becomes easier congested with the V6 Vivid than with the V6 Classic.

On the other hand, the V6 Vivid have more dynamics and therefore a punchier sound.

V6 Classic: the right Choice for You?​

The question is not which opamp is better, but which source and music fits better to which. I find the better resolving, “wider” V6 Classic better suited for acoustic pieces, classical music, and jazz. The more dynamic, punchier Vivid are better working for rock music and electronic…or anything noisy.
But that’s my observation for my combination of neutral source and neutral iems/headphones. If you have a warm source, you may overthicken your music with the Vivid, the same accounts for warm headphones and earphones. So you may have to balance the temperatures of source and headphones/earphones against the choice of opamps.

Concluding Remarks​

My analysis shows that the performance of the V6 Classic (and V6 Vivid) opamps are to some extent source and output dependent. Whilst, admittedly, the V6 Vivid is more universally deployable, the V6 Classic caters to the listening to acoustic/classical/jazzy pieces and such who want to cool their coloured source.
In the end, the opamp choice relies on personal preference and savvy aficionados collect them all. Opamp rolling is not any different from tip rolling (and cable rolling) with earphones/headphones, it is just another joyful addiction for audio junkies.
Until next time…keep on listening!

Disclaimer​

The V6 Classic opamps were provided by Burson – and I thank them for that.

Get the Burson opamps HERE.

I was contacted by Burson Audio with an opportunity to sample the V6 Classic OpAmps. I jumped at the opportunity to give the Classics a try and compare them to the V6 Vivid OpAmps that come stock in the Burson Conductor 3X Reference I have been using.

Full disclosure: Burson Audio sent me these samples and in return I have only been asked to provide honest feedback regarding my findings.



I received the OpAmps a few days after first being approached and immediately installed them into the C3XR. For clarification, I’ve only been provided a single pair Classic OpAmps and the C3XR has place for two pair, for a total of four OpAmps. There are a pair of OpAmps for the L/P Stage and a pair of OpAmps for the I/V Stage on the circuit board. I have done listening with the pair of Classics in both stages, the L/P and the I/V. In my multiple listening sessions I swapped between the two stages to see what differences I was able to experience. I did find a little bit difference, which I will touch on in a little bit.



First, comparing the V6 Classics versus the standard V6 Vivids, I first tried the V6 Classics in the L/P stage and my initial reaction was there was a bit more sweetness to the sound. Acoustic guitar strums sound a little bit lively and tangible. There was a little bit more energy and coloration making it appear more palpable. Vocals also have a little bit more richness and body. Both male and female vocalists just had a little bit more lushness to their timbre. Sound stage on the Classics seem to have shrunk a bit though; the sound it produces is just a little bit more intimate. Instrument and detail separation within the sound stage appear to have less physical space between them. Vocals are more forward in presentation and they sound a little more in my head instead of out in front of me.



There appears to be less airiness to the sound. The trebles seem slightly more tapered and don’t quite have the same sparkle but there is still a beautiful richness that extends into the trebles. There may be slightly less energy in the treble range than on the Vivids, which make the Classics a little less revealing in nature. It probably is better described as a little bit less analytical in its sonic approach. Voices have a little bit less of a breathy quality to them, adding to that vocal lushness I had mentioned. Midrange overall sounds fuller and creates a little bit more of a warm sound. With both the reduction of the treble and the fuller bodied mids it provides a bit more of a relaxed, kick-back and listen approach.

Bass response seem just a touch weightier as well. The sound has just a bit more impact in the mid-bass region, but that impact doesn’t seem to extend to the lowest frequencies. There’s not less sub-bass compared to the Vivids, rather the mid-bass sounds slightly elevated. Kick drums have a stronger presence than on the Vivids.



While the Classics seem to have an “easier listening experience” feel to them, with warmth and richness, it comes at the expense of the speed in the sound. Articulation definitely is not as fast as the Vivids; however, this is not to the point of sounding smeared together. Transients throughout the frequency range seem just a little bit more rounded and smoother sounding. Attacks while they seem weightier don’t have as quick of an attack or onset and take ever so slightly longer to decay from.



Swapping the pair of Classic OpAmps in the I/V Stage and having Vivid OpAmps in the L/P Stage position, I would say mostly things are more similar than different to my findings stated above, however there were a couple things that I did note as sounding different. The first thing I had written in my notes was a little bit more weight and presence in the bass. The sound stage size felt about the same size in width and depth, but I did note that the sound seems a touch more ambiguous. What that means, delineation within the sound stage seemed a little bit blurrier. Main vocals sounded a little broader and less centralized, as if it was filling a little bit more of my headspace. Detail retrieval and articulation seemed about the same with the Classics in the I/V Stage versus the L/P Stage.



While I’ve taken time to pinpoint the differences that I experienced between the stock Vivid OpAmps from the C3XR and the Classic OpAmps that Burson graciously sent over to me, I will be candid and say that the differences are not as monumental as, say, changing amplifiers entirely. These OpAmps provide subtle changes that don’t drastically alter the original characteristic of the amps they are installed in. That being said, as I’ve aged my listening experience and what I look for in my sound characteristics has shifted. I used to truly value lushness and that relaxed, laid-back listening experience, which would have put the V6 Classic OpAmps right in my wheelhouse. Nowadays it seems that sound stage, precision, articulation, neutrality outweigh my earlier preferences in sound. That said, there’s no real wrong way to listen and I think Burson in their expertise knew that when making and offering both the Vivid OpAmps and the Classic OpAmps. Each have their strengths and their weaknesses, but having flexibility to OpAmp roll make trying to figure out just what suits your listening preference an easy and relatively inexpensive option. So while, I will likely stick to the Vivids for my listen experience, I certainly will whole-heartedly recommend you try the Classic OpAmps to see what it can do for your listening experience.

For referential purposes the equipment that I used was my iMac with Tidal fed via USB to the Burson Conductory 3X Reference. For headphones, I used both the Hifiman Arya and Hifiman Susvara. And here’s a list the songs that I listened to throughout my listening session:

Apocalyptica
Inquisition Symphony - One
Chanticleer
Sound in Spirit - Como Pod’ a groriosa, Night Spirit Song
Hans Zimmer
Batman Begins - Molossus
Dune - Dream Of Arrakis, Herald of the Change
Inception - Dreams Are Collapsing, Time
Interstellar – Mountains, No Time for Caution
Tool
10,000 Days – Jambi, 10,000 Days, The Pot
Michael Buble
Call Me Irresponsible - The Best Is Yet to Come, It Had Better Be Tonight, Everything
Ludwig Goransson
Tenet – Priya, 747, Sator, Trucks In Place, Inversion, Algorithm
Imogen Heap
Speak For Yourself - Hide and Seek, Have You Got It in You?
Frou Frou
Details - Let Go, Maddening Shroud, Shh, The Dumbing Down of Love
Will Smith
Big Willie Style - Gettin’ Jiggy Wit It, Just The Two of Us
Mormon Tabernacle Choir
Sound of Glory - Battle Hymn of the Republic
Voctave
Corner of Broadway and Main Street Vol 1 & 2 - Disney Love Medley, Bring Him Home, You Will Be Found, Remember Me, Prince of Egypt Medley
Metallica
Symphony & Metallica - Enter Sandman, One, No Leaf Clover, Master of Puppets
Billie Eilish
When We All Fall Asleep, Where Do We Go? - Bad Guy, Bury a Friend, ilomilo
Nora Jones
Come Away With Me - Come Away With Me, Nightingale , Don’t Know Why, The Nearness of You
Jack Johnson
In Between Dreams - Better Together, Sitting, Waiting, Wishing, Crying Shame
Lorde
The Love Club - Royals

Burson Audio V6 Vivid Discrete Opamp Review



Disclaimer: the V6 Vivid was kindly provided as a review copy by Burson Audio in exchange for my honest opinion.

Preamble

For context, my experience with tube amplifiers is limited to the Little Dot 1+ hybrid and my experience with operational amplifiers to the stock LM4562 and more recently the MUSES02 from New Japan Radio. The LD1+ is a great little gadget with plenty of flexibility at a reasonable price with the capacity to experiment with various opamps and tubes. There are plenty of amplifiers out there that now allow for this opamp ‘rolling’ for extra versatility and sound signature finetuning, including the much lauded Burson Playmate 2.

The V6 Vivid came packaged safely in a plastic case and Burson also kindly provided opamp extenders so the Vivid could sit on its side and allow the Little Dot 1+ case to close. Installation was a breeze, with clear instructions and guidance on compatibility available on the Burson Audio website. Further support is also available by email should you have any further issues or concerns.



The following assessment of sound is based on about 30 hours of listening over the course of several weeks, comparing MUSES02 (and the stock opamp from memory) with the V6 Vivid. Comparisons were made using Mullard M8100 tubes.

Sound

Bass – detail retrieval and texture is improved compared to MUSES02 & LM4562, however it is reduced in quantity with less midbass punch. The overall effect is a sound signature with a lighter body, brighter overall tonality and with a lot more information conveyed in the lower frequencies.

Midrange – midrange is placed further back compared to the stock opamp and is similarly placed to the MUSES02, while transparency is greater than both. Fundamental and harmonic detail is much more apparent and easily appreciated than on MUSES02 and stock. The midrange here is less intimate/forward than the stock opamp, accentuated by the wider and deeper staging. It is also less tactile, but more detailed than both, likely due to an increase in transparency.

Treble – upper treble definition is leagues ahead of MUSES02 and stock, with an exacting character but never becoming piercing or sharp, this added definition improves perception of imaging and instrument separation. Air is more palpable here than in comparison to the others that plays into the larger stage and results in greater atmosphere.

Overall tonality – from what opamps I have to hand the V6 Vivid enlarges the overall picture and creates a lighter and brighter picture with gobs of detail. It moves away from the intimate to a more grand presentation while not losing musicality or accurate timbre.

Technicalities – clear improvement in stage width and depth with greater instrument separation and layering of complex passages. Not strictly falling under technicalities but there was an audibly lower noise floor than on both the MUSES02 and stock opamp.

Conclusion

The V6 Vivid is aptly named! It had an immediately apparent effect on how resolving my amplifier could be. This tonal shift was significant enough that I had to change the tube I was using to a much darker variant with greater bass and midrange emphasis (to the Mullard M8100 that was actually too dark for my tastes with other opamps but now fits perfectly partnered with the Vivid).

Ultimately, there’s no denying that the V6 Vivid has far better technical gusto than other opamps I have tried and with its effect on tonal balance it offers a sure-fire way of tuning your amplifier to taste. That is, if you’re searching for more detail and your tastes lean towards the more grand and technical, you can’t go wrong with the V6 Vivid. Importantly, the Vivid manages this without losing musicality. Well done Burson Audio!

Some time ago I ran subjective tests on 43 different opamps in an XDuoo XD-05+ portable amplifier (42 at once, and one more later on). My end goal was to see how far I could push the sound with the right opamp, since the stock opamp in the XD-05+ seemed to be the bottleneck in that system. Since that point I've been happily enjoying the XD-05+ with an AD827SQ opamp as my favorite, but I've always been curious about some of the other higher end opamps out there. The two I've been most curious about are the Burson Audio V6 Classic & V6 Vivid. I didn't included them in my previous testing as I knew they wouldn't fit in my XD-05+ case, but it never stopped me from wondering how they would compare. Well, fast forward to today I finally have my hands on a V6 Vivid (no V6 Classic just yet):



Below are comparisons, but the TL;DR is that in my opinion the V6 Vivid is the most complete sounding opamp of all the 44 opamps I've tried. It's typically the top performer in each sound category, and in cases where another opamp is slightly better in some aspect the V6 is still a top contender. The overall sound of the V6 Vivid is.. well.. vivid . A sound is vivid when it is clear, detailed, layered, and has punchy dynamics. The main downside of the V6 is that it is big. In my application it won't fit into the XD-05+ case without modifying the case. That said, if the V6 Vivid can be fit into your application through extensions or some other cleverness, it's well worth putting the V6 on your short list of opamps to try.

Here's comparisons to some of the other popular opamps out there. All listening tests were done in the XDuoo XD-05+ with multiple different headphones:

Burson V5i
The V5i is a top contender for being one of the best opamps in the XD-05+. If you've read the entire XD-05 thread you'll find it's the thread favorite, being almost universally praised for improving the sound over the stock opamp. Compared to the V6, The V6 is significantly clearer than the V5i. I wouldn't consider the V5i to be dark or muffled, it's closer to clear than dark, but it does end up sounding more congested and muted compared to the V6. Clearer doesn't mean brighter here, as the V6 also has more fullness on each note. On the V5i that fullness is replaced with a little sharpness. The V6 also has a minor amount more stage width, similar depth, clearer separation, more note impact, additional detail, and improved bass control. Basically it's an upgrade across the board. If you like the overall V5i sound and want further improvements and fixes, then the V6 is a definite upgrade. If space prohibits you from being able to use a V6, then the V5i is still worthy of a try as a higher end opamp.

AD827SQ:
The AD827SQ has been my favorite opamp for quite some time, and has been my top recommendation for a neutral opamp in the XD-05+. Comparisons here get more complex and are more subtle than other tests so I'm listing them out below:

• V6 is moderately clearer sounding vs the 827SQ. In direct comparisons the 827SQ has a warmer sound. The V6 doesn't sound brighter, just clearer with the same overall note timbre.
• Both the V6 and 827SQ have the same bass quantity, but the slam is slightly improved on the V6 due to the clearer presentation.
• The 827SQ is more airy, but the V6 has improved note placement and each note is fuller sounding. This leads to an interesting situation where the 827SQ gets more micro detail due to hearing each sound expanded in a diffused way, but at the same time the V6 has more micro detail due to how precise & full each note sounds. All things considered, the V6 has more perceived detail.
• V6 has a slightly wider sound stage.
• V6 has better instrument separation despite not being as airy.
• 827SQ has a bit more treble extension. The V6 isn't soft in treble, but it doesn't have as much of an edge on each note.
• V6 has significantly more impact on each note, wheras the 827SQ is more laid back.

In an overall comparison the 827SQ and V6 are quite close in overall sound quality, but the V6 is more refined. The AD827 sounds wonderful, but I do prefer the V6 due to the increased dynamics, clearer presentation (which I typically prefer over added warmth), and improved stage.

Muses02:
The Muses02 is similar in tonality to the V6, both having a clear presentation with great note impact. Instrument separation is also similar, with the V6 having a little clearer separation. Where the Muses02 falters is a moderate amount of compression compared to the V6. This leads to a reduction in sound stage width, squishes notes a little, and reduces overall detail. Despite this the Muses02 still retains a mostly holographic sound. The Muses02 is also leaner, with less fullness on each note and a slightly elevated treble. This combination pushes the op amp a little closer to a U shaped sound. With this leaner sound the Muses02 ends up with slightly more impact on each note compared to the V6. Overall the V6 shares a similar clear tone but with much less compression, more stage, and a generally fuller more neutral sound all around.


Muses03:
The Muses03 has a much more up front presentation when compared to the more holographic sounding V6. It's about the same overall sound as a Muses02 with stage depth reduced, less compression, fullness is increased, and the tonality is lowered to lower than neutral. Stage depth on the Muses03 is small, but the width is excellent. The V6 has more depth, and is very similar in width. In prior testing I found that the Muses03 had the largest stage width of all the opamps I tried on the XD-05+, so the V6 shares the top spot there. Details are similar, but the Muses03 has a little less partly due to a subtle softness on each note. The V6 also once again has more fullness in each note, which further improves detail over the Muses03. The V6 has a correct clear presentation to it, wheras the Muses03 has a rolled treble response that pushes it a little lower than neutral. The Muses03 still sounds great with it's great stage width and details, but the V6 ends up besting it.


Summary of all the comparisons:
The V6 Vivid takes the clear tonality of the Muses02, sound stage width of the Muses03, depth of the V5i, bass quality from the 827SQ, and note timbre from the 827SQ. Take that package and add in the best detail, note placement, separation, and holographic sound of all the opamps I've compared. Finally sprinkle in great dynamics on every note. The end result is the most satisfying sounding opamp I've ever tried, taking the best qualities of some of the top performing opamps without including any of their drawbacks. Highly recommended to give the V6 Vivid a try if you have the space to fit it in your setup.

For reference, here's the full list of opamps I've tested in the XD-05+. They aren't ranked in order of quality (#15 isn't necessarily better than #16), but the first 10 listed are the best of the bunch in my comparisons.

After my last review of the SS V5 Opamps, Burson has sent over some more SS (Supreme Sound) discreet op-amps for my review. Operational amplifiers are specialised amplifiers that have high input impedance, low output impedance, high gain as well as large bandwidth. Op-amps are one of the options to upgrade your headphone amplifiers and alter the sound quality. Based on my review, they do make a difference, and it is up to your ears to pick up the subtleties.

All Burson Opamps have a lifetime guarantee. The 6th-gen V6 come with reverse power protection circuit to prevent damage if you insert the circuits the wrong way.




For this review, I will be do the following comparison:

1. SS Opamp V6 Vivid Dual (I/V Stage) + V6 Vivid Dual (LP Stage + Headamp Output Stage)
2. SS Opamp V6 Classic Dual (I/V Stage) + V6 Vivid Dual (LP Stage + Headamp Output Stage)
3. SS Opamp V6 Vivid Dual (I/V Stage) + V6 Classic Dual (LP Stage + Headamp Output Stage)

Burson V6 Vivid​

The V6 Vivid opamp is characterised to have great details and transparency. Swapping out from the V5, the V6 Vivid immediately makes the music less cluttered. Where the highs were slightly energetic on the V5, they sound more resolving on the V6 Vivid. The one thing that the V6 Vivid lacks is the meat at the lower frequency. If you needed more bass extension, then the V5 would work better, but between the two, I certainly enjoy the V6 Vivid a lot more, because of the improved sound staging and the sparkles at the highs without too harsh. Listening to jazz numbers like Hiromi “Player”, you get more of the bass and piano warmth filling the space, while the drums are positioned wide and almost behind the ears. On the V6 Vivid, the bass is less prominent, the piano is clearer, the drums are staged slightly more forward at the corners of my eyes.

Burson V6 Classic​

The V6 Classic is designed to have a more cozy sound staging and delivers slightly less transparent. But I also would not say they sound warm. For my review, since I only have one pair of V6 Classic, I could not fill up the entire Playmate with the opamps, so I mixed with V6 Vivid. For the current observation, the V6 Classic is used for the I/V Stage. Listening back to Hiromi “Player”, the recording is less spatial, more intimate, the piano sounds a bit more acoustic, while the pure V6 Vivid config tends to sound a bit too clinical. This definitely puts the V6 Classic as a better choice if your listening preference is towards a more authentic acoustic presentation.



Interestingly, the V6 Classic brings out a bit more instrumental texture that was not as obvious with the V6 Vivid. On Daft Punk “Give Life To Music”, the recording captures the crispy snap as the foot pedal hits the skin of the kick bass drum. Hence the V6 Classic does not entirely suppress the upper frequency, but merely re-presents them.

Indeed, I find the V5+V6 combination more balanced, bringing me closer to the recording while retaining the character and details of the instruments. The V6+V6 does have its charm with a more spatial sound staging that offers more breathing space. The instrumental details are more spaced out and layered, offering a little more laid back experience without sacrificing



The last thing I tried is to swap the V6 Classic to the Headamp Output Stage and move the V6 Vivid to the I/V Stage. Honestly, I thought this setup elevates the clarity somewhat towards the pure V6 Vivid setup while retaining the V6 Classic character. Regardless, if you have decided on this dual V6 Classic+Vivid setup, you can swap yourself to see which one you prefer.

All the above hearing analysis is done using the Sennheiser HD 800 S Anniversary Edition.

Verdict​

When you compare products, you will pick up the difference and might detect the weakness in your current setup. Sometimes, I myself was surprised at the sonic improvements that audio equipment could bring to reference tracks that I have listened for decades.

The V5 would be a good opamps if you like to have a bit more bass and bite at the treble. The V6 Vivids are excellent for listeners who love more imaging and transparency. The V6 Classic brings instruments closer as well as picking up finer texture with slightly more acoustic feel, not too exaggerated highs.

Operational amplifiers (op-amps) are often referred to as the workhorse of analogue electronics. In this review, I’m testing the Burson Audio V6 Classic op-amp. The V6 Classic is a discrete op-amp and is the result of 12 years of research by Burson Audio.

Burson Audio official website: https://www.bursonaudio.com/

Disclaimer: This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Burson Audio V6 Classic Op-amp​

Specifications​

• Op-amp model: V6 Classic
• Design: fully discrete
• Min voltage: ±3.5V/ 7 VDC
• Max voltage: ± 16.5V / 33VDC
• Current consumption: Single 7mA | Dual 14mA
• Unity gain stable: Yes
• Reverse-voltage protection: Yes

Design​

The Burson V6 op-amps are the 6th generation of their designs, are the smallest discrete op-amps in the world and according to the company, are the only op-amps in the world to have reverse-voltage protection. What does that mean? Basically, it means the op-amps won’t die if you accidentally insert them in reverse.

Burson claims that their op-amps are “specifically designed to optimize audio performance”. We’ll find out soon how that turns out. The company certainly seems to be confident in the quality of its products, since every Burson op-amp is covered by a lifetime warranty.


My first impression of the V6 Classic was that it’s big (12.4mm X 14.5mm X 29mm), at least compared to something like the LME49720 or MUSES8920. It has an orange-coloured plastic enclosure that surrounds the 2 parallel printed circuit boards inside for improved temperature tolerance. There’s a groove on one side of the enclosure which helps to indicate the correct alignment for the op-amp.

The pins on the V6 feel much more robust than the ones on the LME49720 that can bend and break easily. I feel much more confident handling the V6 which feels as though it will survive endless swaps and system changes. Overall, the build quality feels reassuring and also goes a long way towards justifying the higher cost.

Test Setup​

For this test, I swapped out the Texas Instruments LME49720 op-amps from the headphone path of my Topping DX7 Pro and replaced them with the V6 Classics dual op-amps. The process was simple although there wasn’t much room to move around. Unfortunately, due to the size of the V6 Classics, I need to keep the chassis open but I will most likely get their 35mm Extension Lead x 2 in the near future.

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Sound​

To my surprise, the difference in sound is quite dramatic and immediately apparent. Suddenly the DX7 Pro sounds more muscular and slightly warmer with better bass extension. It sounds more analogue, almost akin to a tube amplifier.

Also, the sense of depth is heightened plus the lower frequencies have added texture and body. But it’s not only the depth that improves. The entire soundstage feels more expansive and open. It seems that the treble is also more extended but at the same time slightly warmer.

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The only negative thing I would say about the V6 Classic is that heavy bass notes sometimes sound a little looser. But for me, that is a perfectly acceptable trade-off for all the other improvements it brings.

Perhaps the most startling change is the increase in overall resolution. Suddenly every sound sounds like it’s floating in its own space. The level of transparency is intensified and instrument separation is improved. With the V6 Classics in place, the imagery intensifies and the soundstage takes on a more holographic nature.

There is a greater sense of layering now too and all these things seem to be in contradiction to the added colour the V6 Classics bring. Normally, an increase in warmth and body will shrink the soundstage and create a more intimate space but with the V6 it’s just the opposite: somehow these little blocks increase the dynamics and resolution while at the same time making the stage more expansive.

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Conclusion​

In many cases, upgrading or customizing the sound of your expensive audio gear means buying new components or an entirely new system. But sometimes it’s possible to simply change the op-amps which can bring significant improvements or at the least change the character of your system’s sound. The Burson Audio V6 Classic is a fantastic choice, especially if you want some additional warmth or colour to your sound. I wasn’t sure what to expect at first but I’m a true believer now and the V6 gets my recommendation.

I have reviewed the Burson Audio playmate with their V6 Vivid Super sound Op-amps few weeks ago. It is one of the best op-amps in the market and provides a comprehensive upgrade over the default NE5532 chips that comes pre installed inside the PlayMate. Just like the V6 Vivid, the V6 classics are their top of the line chips with a different type of output. In their words

"The V6 Classic deviates further from its V5 foundation. With an entirely different output stage design, it is intimate, exquisite and very engaging. With the V6 Classic, Norah is asking you to come closer. She wrote the song for you and she is singing it to you. It was time to stop analyzing and start living in the moment."

The V6 classic has a different take on the sound with a different imaging. It delivers a more intimate sound with a cohesive and engaging tonal balance.

Get these OP-amps from here:-

https://www.bursonaudio.com/product/supreme-sound-opamp-v6/



Installing V6 classic:-



THINGS TO KNOW:-

The Super Sound series of OP-amps have a lot of improvements over the basic NE5532 opamp which are pre installed on the Playmate. These OP-amps from the Super Sound lineup are some of the best aftermarket discrete OP-amps one can find. They can be used in sound cards and a lot other DAC/AMPs.

In their words:-

"Discrete circuits are custom built by Burson for specific applications rather than an op-amp’s jack-of-all-trades-master-of-none specifications. The art of circuit design yields superior sound in every way in comparison to simple plug-a-chip engineering.

A system can only sound as good as its weakest link. All our products use thick, quality, temperature-stable printed circuit boards with high-purity copper traces and gold-plated soldering pads. And extra coating is applied to both sides of the PCB preventing oxidation. The boards are hand-built use high-spec metal-film resistors and other audio-grade parts using as few hand-matched components in the signal path as possible."

"The V6 Vivid and V6 Classic are the results of over 12 years of research and six generations of designs. They are the most refined we have ever created."

Burson is really proud of their OP-amps and if you have bought them, you can get a lifetime warranty on them. All you have to do is register the OP-amps here.
These OP-amps are not huge is size and fit everywhere without much struggle. One of the remarkable features of these V6 is their reverse voltage protection. If you have installed them the wrong way around these will survive without any problem where other opamps will be fried. That's a fantastic thing to be precise.

Read the build and other specifications of the Burson Playmate here.



SOUND QUALITY:-

The V6 vivid is already an excellent sounding chip with plenty of details and clarity. The stage is huge and provides a well spread instrument distribution. Does it lack something? Maybe the vocals could have been a bit more forward and the huge stage at times is unable to convey more intimate details with conviction.

Steps in the V6 classic. It has the same size, same design but finds a middle ground between the NE5532 and V6 vivid chips. NE5532 is a not the best chip, it has excellent mid range but kills the treble stage and lacks some bass thump too. The V6 classic delivers a well spread stage with better intricate details than the NE5532 without sacrificing anything. It delivers better contrast than both the other two chips. 5532 is brighter and the Vivid is on the slightly darker sides of the spectrum.

I am putting the Fischer M12s to good work here. Being the neutral one, it helps in exposing the changes more vividly than other colored and damp sounding headphones.

BASS :-

The NE5532 was missing a bit of volume and the V6 vivid is missing a bit of mid bass feel. The V6 classic has it all. It has excellent the extension, rumble, mid-bass body and fullness. Notes are juicier and fuller and have better texture now. The lower region doesn't feel clumsy or constrained. Notes express themselves with a lot more freedom. The V6 brings more heft without compromising on accuracy, details, resolution and clarity. The Playmate attains a more natural and neutral status and can be paired with any type of headphone and speakers without worrying about the bass region being unnecessarily analytical or less exciting.

MID RANGE:-

Mid range used to take a huge chunk of the stage size with the NE5532, making the playmate a mid-head DAC/AMP and the V6 vivid took slightly more than desired off the mid range, making it a bit dull and less engaging. The Classic brings the required amount of depth and energy to the mid range. The odd thing is it has more vivid instruments than the Vivid chip. Maybe the more intimate instrumental placement is reason. With the 5532 the notes were sharper with smaller base, the V6 has a bit more notes body with a better depth. The vocals are more agile, textured and crisp than the V6 vivid. The upper mid range has a very good amount of energy with equally good transparency and clarity. It has the right amount of sharpness and attack. Layering and separation of instruments remains excellent. Air between instruments takes hit, not because the notes are thick or fuller but because of the smaller stage size.

TREBLE:-

I complained about the lack of treble stage with the NE5532, which was literally fighting for air. The V6 vivid provided a lot of room to breathe but can feel a bit hollowed at times. The V6 classic strikes a balance between the two with improved stage presence compared to 5532 and exhibiting better instrument density than the Vivid. The treble feels evenly expanded with equally impressive treble extension and vastly improved sonicality and dynamism versus the 5532. There is better energy and sparkle at the lower treble region than the Vivid, the projection is in line with the mid range and is equally emphasized. The only niggle comes at the higher treble region where the classic doesn't maintain similar energy and loses some points.



COOPARSIONS:-

VS EARMEN TR-AMP ($250):-

NE5532 was more attacking. The V6 vivid is a bit mild and slightly smoother with notes. The V6 classic matches the emotions of the EARMEN dac/amp. Both have the same type of crispiness and contrast.

If you are not paying much attention it is tough to tell these two apart. Both have similar bass volume and quantity but the V6 classic has more resolution and better texture. Both have similar mid range notes presentation but the classic has a bit more forward vocals and more natural and organic tonality. The treble feels similar with notes sharpness but the TR-amp is on the drier side with slightly better energy at higher treble region.

Stage size is a bit smaller on the TR-amp, the instruments are a bit more closed in with similar intimacy. The Classic chip pulls ahead with better emotion and micro details.

COMPARISON TABLE :-




CONCLUSION:-

I love the way these chips change the sound signature without breaking the bank. The V6 classic manages to deliver excellent amount of details without being harsh or aggressive. Not a single instrument is missing from the scene or feels suppressed. If the track has it, you are hearing it, with excellent transparency, very good clarity and stupendous amount of texture. The tonality is as real as it is supposed to be. The V6 vivid is excellent but the textured feel is much better with the V6 classic. Both male and female vocals have excellent bite to them.

Notes have the agility and pace, along with good amount of body to them. I am impressed. I though V6 vivid was excellent, the V6 classic is nothing less than that.

If you have burson DAC/AMP or are into op-amp rolling these chips are must have items.



I swapped the V6 vivid with the V6 classic and... I am sticking with it. The classics are just excellent.

History:

A while back, when deciding which Opamp to use in my Little-Dot I+ Headphone amplifier, I had narrowed down my favorite opamps to the LM4562 (dual opamp) and the OPA627 (two single OPA627 opamps on an adapter board). The LM4562 had a texture to the sound that I enjoyed, but was also just a little bit harsh. The OPA627 was very smooth, but almost too smooth, and lacking texture. I generally preferred the LM4562. The Burson V6 Classic Dual seemed to be the next step up, but I was not actually sure what to expect.

My system:
-Maverick Audio TubeMagic D2 DAC (Sylvania 5654W tube & 3x LM4562 Opamp)
-Little-Dot I+ (Sylvania "Gold Brand" 408A tubes)
-Beyerdynamic DT770-Pro 80ohm / Sony MDR-XB700 24ohm headphones.

First impressions:

The Burson V6 Classic Opamps come in wonderful packaging, also containing an optional riser. The riser was very helpful in keeping the Burson Opamp up above the other components on the circuitry on the Little-Dot I+ (at least with my PCB version).

Case with one Opamp and one riser removed:


When playing the first song after installing the Burson V6 Classic, what I noticed immediately was that the sound just seemed a bit more energetic, especially vocals, and making for some very punchy midbass. Thinking back to my previous comparison between opamps, this Burson seems to have both the smoothness of the OPA627 while having even more texture than the LM4562; truly a best of both worlds, and more.

Unfortunately, the V6 Opamp is so large that the bottom of the case for the Little-Dot I+ won’t close with it installed (and the riser only makes it worse). As I have seen in other reviews, some have simply cut a hole in the bottom of the case, others have used custom extensions/adapters to use the Opamp at an angle. I will have to decide which route I want to take, but for now, I will simply use my Little-Dot I+ on its side.







Extended listening:

First, I went through some Hard Rock and Metal using my Beyerdynamic DT770-Pro 80ohm headphones. I use many of these songs as my benchmark to test vocals, to see if the vocals can retain their clarity and energy even in the middle of a very “busy” song. The Burson V6 Classic had no problems passing this test. There was no accentuated treble either, and listening fatigue was not an issue even after a long session.

Next, I swapped over to my Sony MDR-XB700 24ohm headphones. These have very large drivers, and at 24 ohms the Little-Dot I+ can put out almost a full watt. I use this for listening to music with very deep bass, including some Pop, Hard Rock, EDM and Dubstep. Bass can have a texture of its own, and I have observed differences between Opamps in this regard before. Using the Burson V6 Classic, I did not notice anything special about the deep bass. But at least, it didn’t seem to be doing anything worse than past Opamps that I have tried, and even bass-heavy songs still have plenty of midrange and midbass that clearly does benefit.

Conclusion:

My experience with this Burson V6 Classic Dual Opamp has been fantastic. Everything about my listening experience was either equal to, or better than, every past opamp that I have tried.

The tall size does make installation in devices such as a Little-Dot I+ a challenge without getting creative, but in my opinion, It’s worth it.

Ultimately, I want to try using these in my DAC also.

Introduction
I was approached by Burson Audio rep few month ago to review one of Burson product of my choice, I have and love the V5i dual, so i said i'll do it with pleasure, I thought from what I read, that the vivid should be the best, so i asked him for the V6 Vivid. after my review he asked me if I'd like to review another product, so i said sure, why not. he sent me the V6 classic version. And to be honest i wasn't expecting much of it, let along to be better than the vivid. oh boy was i wrong! this op blow my mind! To be perfectly clear, I am in no way affiliated with Burson Audio, all results are my own findings and personal opinions.

The V6 classic Dual Op Amp Test Setup.
Like with the The Vivid, my testing setup I used was with various dac amps and headphones. This time I used a few more amps and Dacs to implement the v6s , the ones I liked the most were the d10s, little bear b4 and the AIYIMA T2 PRO.

comparison
I used on the exact same setting for the comparison on the classic and the vivid and the v5i dual only with the little bear b4 coupled with my phone the k20 pro as a Dac (this time around for obvious reason, i didn't feel the need to compare it with the MUSES02 or the Douk Audio HiFi SA200. if you like you can read my previous review on that at https://www.head-fi.org/showcase/burson-audio-supreme-sound-opamp-v6-vivid.22718/reviews)


As i said before I do things a bit differently than most, but I think that my approach makes things easier to understand.

The way i see it there's two types of sound or Two style of sound, one is Intimate and the other is wide (soundstage). In the two categories I annalise sound with a set of categories that I think are the most important, the way i see it there are 3 aspects that exist in every music(Intimate or soundstage alike):

1. Separation (Imaging)
2. Presence (Body)
3. Bass

after many hours of listening and going back and forth my conclusion is:
On the one hand the Vivid is more open with a bit more of soundstage than the Classic, the Clasic style sound on other hand the way more Intimate (lucky me the d10s, little bear b4 and the AIYIMA T2 PRO are intimate sounding devices, so they are a perfect fit). although, the vivid Imaging is very good, his Presence is excellent, and his bass are spectacular! the classic in all those categories was way way better, even from the spectacular bass of the Vivid! honestly i was left speechless! and the this time around, even on my phone with the little bear b4 it was better on every aspect.


conclusion
I would have never checked the V6 Classic if the representative had not proposed it, but The v6 classic is nothing but a state of the art. that's why it is so important to check and not assume (on everything for that matter). cheers!

Introduction
I was contacted by Burson Audio to conduct a review on the V5i, after completing this review I was offered the chance to listen to the V6 Vivid. Tube rolling aside as mentioned in my other review I found that the GE JAN-5654W which are the military variant are my favourite tubes for ”ME” at the moment. They have excellent clarity without sounding overly digital while simultaneously not being sloppy in the bass department, as a result these were the tubes I chose to use for this review. I am in no way affiliated with Burson Audio, all results are my own findings and personal opinions.

I started to get into great sounding audio when I 8 years old playing around with mixing tapes and than burning cd’s. I also played classical guitar and was enrolled in the royal conservatory of music. I had such a great appreciation for the guitar so much so that I broadened my musical tastes and bought my fist electric guitar to jam to the solos of pink floyd and van halen. Since than music has always been a big part of my life. When I was 13 I got an iPod mini which is when I started playing with compression only to learn the hard way that it ruined the audio files. When the world moved on to iPods and high compression in favour of convenience I was left behind with my CD’s and portable disc player knowing that this was the best way to listen to music.

I don’t call myself an audiophile but rather a music and gear enthusiast. I have other hobbies and love getting new equipment, tools and gear for each hobby or task, than putting it to good use in my day to day life. If I cant justify a purchase, I wont buy it…simple as that. I’m not interested in high end cables and typically try and find the best value for my money wherever possible. That said, I do like to have certain high end items if I know I will use it daily or often so the definition of ”value” is very subjective. Usually my internal justification entails reading hours of reviews and educating myself on certain products. Specifically how they work and how the engineering principals would apply, aswell as reading between the snake oil marketing gimmicks. In most cases this has served me well over the years.

The V6 Vivid Dual Op Amp
Burson introduces the op amp as a product that a audio enthusiast should never have to compromise on. They mention that like a surgeon doesn’t use a swiss army knife and in the same way an audio enthusiast should not be using a one size fits all generic op amp in their equipment. According to Burson Audio the V6 Classic is ahead of the V6 Vivid with its color and texture, while the V6 vivid is the more dynamic with better detail retrieval and transparency. When I first opened the neat little package upon arrival I was greeted by a huge impressive piece of technology, its amazing how large this is compared to a standard generic OP-AMP. It really makes you think what sort of audio goodness is going through this little device. I purchased a little extender on ebay to reroute the op-amp to the side which fits very well inside the little dot chassis.

Test Setup.
The testing setup I’m using is the little dot i+ (V6 Vivid Dual op Amp and GE JAN-5654 Tubes) mated to my Hifiman 400i planar magnetic headphones, and my Ibasso DX120 in DAC mode. I’m most familiar with my DX120 since I use it almost daily. I would love to do an A-B comparison however having only one Little dot makes this impossible, so for now as difficult it may be the review will have to be based solely on swapping the op amp. Im currently waiting for the S.M.S.L SK10 DAC from AliExpress to arrive, sporting the AK4493 Chip. I will be doing further testing and reviews on this new DAC and the V6 Vivid/Little Dot Combination. Most of the testing I had with the V6 Vivid has been compared to the Muse 02 knockoff which is what I had settled on prior to OP-AMP rolling again.

Lows
The subtle but deep digging lows of the 400i's draw you in. The V6 Vivid is very tight and keeps things together, slightly quicker than the Muse 02 knockoff. The heavy emotions in Jesse Cook's Beneath your Skin digs deep with a weighty presence. The bass is more organic and less digital with more soul compared to the Muse02 knockoff currently installed in my little dot, the bass also seems to be better controlled throughout the spectrum.


Mids
The mids are where I detect the least notable of difference such as the vocals in Jacob Gurevitsch's Tiden der Forstar, the soundstage seems about the same. Like the V5i reviewed before the energy and dynamic has improved, its hard to describe in words how it draws you in. The closest visual representation I can think of is on an HDR TV where the upgrade allows the colors to pop out a bit more akin to the V6 allowing music to Pop a bit more, the former being more obvious or contrasting which is exactly the same way I described the V5i… hmm that’s interesting.

Highs
Here is where I can detect a small difference compared to the knockoff muse 02 OP-AMP. The former has its highs slightly rolled off and there is not as much air around the instruments here. The V6 Vivid is more energetic and dynamic which complements the 400i's very well. Guitars and symbols dance around the higher octaves as they piece together the track and complete the atmosphere that which the music creates. Simply beautiful, a great finish to the complete musical spectrum.

Performance Closing thoughts:
I talked a lot about the 400i's in the previous review of the v5i and how well the pairing was, that was a great review to check out so I wont go into more detail on that. While its no surprise that the V6 series is the cream of the crop, just look at its size. Its likely no surprise at this point that the V5i was a small leap from a basic OP amp upon reading my previous review on the v5i and not a night and day difference. Jumping to the V6 Vivid from the V5i left me feeling like I'm unable to detect much if any differences from its lower tier sibling, this just means that the v5i is such a great little performing OP-AMP and its also a lot smaller and should be easy to fit without modifications. If anything there may have been a slight bump to the soundstage height but I cant reliably tell the difference. What really surprised me is how well this pairing with the OP-AMP and the rest of the equipment sounded with Metalcore and Death metal and Basic Metal, it was able to keep up with the complex sounds in these genres and extend the highs without sounding fatiguing. The 400i's are very revealing but unforgiving, the listener can get fatigue when paired incorrectly.

Value closing thoughts
Its hard for me to recommend the V6 Vivid, when I cant tell the difference between it and the V5i. This could be from a variety of different factors such as the little dot itself, or the DAC. Perhaps in my future review with my new AK4493 DAC I might detect a difference. Its also extremely difficult to compare OP-AMPS without an AB splitter and a second identical amp which I imagine most people do not generally have. Bottom line, if you are looking for the best bang for your buck go with the V5i, if you want the pinnacle of the audio proverbial cream than go with the V6. Still though for a few extra bucks you might consider the V6 since there is only one required in the little dot to have the "best", however I can imagine as you start needing a few more in your amp that it can start to add up really quickly.




Test Tracks
Jesse Cook-Bombay Slam
Jesse Cook-Beneath your Skin
Jacob Gurevitsch-Lovers in Paradise
Jacob Gurevitsch-Tiden der Forstar
Andrea Bocelli-Italia (Live. Feat Chris Botti)
Andrea Bocelli-Love in Portofino
Andrea Bocelli-Las Hojas Muertas (Feat. Veronica Berti)
Lawson Rollins-Ghost of Alcazar
____________________________________

Novelists-Somebody else
Novelist-Voyager
Avenged Sevenfold-The Stage
Parkway Drive-Vice Grip
Oceans Apart-Divide
Polaris-Vegabond

I just received some V6 Classics from Carlos at Burson/Supreme Sound. I reached out after seeing a thread on DiyAudio about offering samples and wanting to step my Music Hall 25.2 DAC up a notch or two. Big Thank You!

My Music Hall 25.2 DAC and ph25.2 Headphone Amp have been my daily companions while I work from home during the pandemic so they have been getting 6-8 hours of use daily and I feel I've become very accustomed to how they sound. Everything is stock aside from replacing the stock Electro-Harmonix tube on the 25.2 DAC with a Gold Lion.

Tube swapping was a great cheap and easy inexpensive upgrade for this DAC. The Electro-Harmoni stock tube is what I consider to be on the neutral and dry side. The Gold Lion adds a touch more warmth and romance and an additional sense of spaciousness.

So far I have about +- 20 hours of listening to the V6 Classics which replaced 2 X OPA2134 and 1X OPA2604.

One of the criticisms of this DAC is that it can sound a little rolled off and isn't the most revealing. For me, it's one of the reasons I like it. Prior to the Pandemic, I was mostly a vinyl/analog listener and really only used digital to search out new music on streaming services or on my daily commute to work. Since buying this DAC, I've pulled my CD collection out of mothballs and picked up a decent transport.

While this isn't a review of the DAC, the description of its character it is important because the biggest change I noticed right off the bat is the V6 Classic opamps brought so much more detail retrieval and openness to the sound that I was very surprised what I had been missing all along. I've been mostly listening with AudioQuest NightHawks and NightOwls and I find them to be a great example of the differences between the stock opamps and the Bursons. The V6 Classic is similar to the NightHawks in the sense that it's more open sounding with a bigger soundstage and a bit more even bass response, where the stock opamps are more like the NightOwls being more intimate and more bass-heavy.

Overall, I would easily recommend this upgrade for users of the 25.2 or 25.3 DAC. While it may seem like a steep investment for a $599 piece of equipment, it really takes what is already an overachieving product up to a new level. You can spend allot more and get allot less as they say!

Since swapping is so easy with this equipment, I'm going to give the V6 Classics some more listening time and then reinstall the stock opamps and report back.






Part Two of my Burson Review:

Thanks to Burson, a set of V6 Vivids have arrived to compare the V6 Classics I've been listening to now for a couple of months.



First off, they do sound remarkably different than the V6 Classics, it's not subtle.

Right off the bat, the bass is more impactful and they treble is more extended. So many comparisons come to mind, HD6xx vs HE4xx, Sonus Faber vs Klipsch, and on and on.

Bass: I'm not going to saw there is more bass but it seems to hit a little harder, but not quite as low/deep as the Classics with more mid-bass presence and kick.

Midrange: It actually seems pretty darn neutral compared to the Classics. It's not shouty or pronounced but just not as inviting and rich. Really no complaints, it's Goldilocks.

Treble: I was expecting these to sound bright in my setup but they really don't, they sounded extended comparted to the Classics but not aggressive or harsh at all. Similar to the Midrange, probably closer to the neutral line. I think the Classics might sound a bit rolled off in comparison.

Soundstage: Even using closed headphones, I felt the Vivids offer a wider and deeper soundstage presentation. I felt the Classics offer a more intimate performance. For anyone who's owned the HD58x and the He4xx, this is about the same difference I find with the comparison.

In the end, I have my own personal favorite but I have to say they both offer a substantial improvement over the stock opamps in my DAC.

For certain genres especially Rock and specifically the Grateful Dead, I preferred the Vivids. But as my overall preference, I really enjoy the presentation of the Classics.

Looking at my listening notes, they really align with what Burson has in the comparison chart on their website.

Stay tuned for part three, when I mix and match the Classics and Vivids for what could be the best configuration.

So after quite an adventure with Canada Post due to COVID19 and the closure of my office where I had these shipped, I managed to get my hands on my Burson V6 Vivid OpAmp set for my Soundblaster AE-9 (2x Single and 2x Dual). Full disclosure, these were provided free in return for an honest review.

So with the difficulty in getting things shipped into the country right now, my extension cables are nowhere to be found and I really don’t expect to see them anytime soon, so I’ve had to improvise a bit. With the spacing of the sockets on the AE-9 you really should use a pair of extenders for the Dual Op-Amps in the Op-Amp 2 position, what I’ve done is install both singles without the included risers and then doubled up the risers for both of the duals. That gave me enough room to give them a slight bend and everything fits. It ain’t pretty but it works.





My current setup is simply the Focal Clear plugged directly into the AE-9 direct via the ACM, even at stock I preferred it to the Liquid Carbon X/Topping D10 combo it replaced.

To get an idea of my tastes and experience, some of the other headphones I’ve owned and loved are the HD650, LCD2.1 and 2.2, HD800S, Andromeda S, IMR-R1, CA Jupiter. There’s been plenty of others but these are my favs.

I’ve been using the AE-9 with Burson V5i-D in the Op-Amp 2 sockets (I/V stage) since I got it, I swapped back to the stock NJM2114D and acclimated to that prior to installing the V6’s. I found that with the stock, everything was a bit duller than the V5i but not too different other than that.

I chose some songs that I have had plenty of listening time with recently and took some notes while listening:

Tidal Masters:

Dua Lipa – Don’t Start Now. I like this song for the clean punchy bass under the verses. With the V6 the bass had a more pronounced edge and sounded a bit crisper. The cowbell-ish sound in the choruses had a much more defined place in space.

Peter Gabriel – Sledgehammer. The sense of space between the layers of instruments was greatly improved. Everything was there but individually pin-pointable (is that a word?).

Stone Temple Pilots – Kitchenware & Candybars. During the quiet intro the vocals are at a perfect level to the guitar and sound very balanced. The sense of dynamics are huge when the full band kicks in. The Cello in the last verse has a definite space and I can see where they are sitting in the studio.

Flac files:

Beck – Paper Tigers. Low key intro has perfect bass. The guitar licks are extremely crisp and defined.

Dr Dre – Still D.R.E. The keys take the stage here and push the vocals a bit back. Snoop’s voice is very holographic and Present while Dre’s hide a bit.

M83 – Walkway Blues. Bass is tight and well defined, the very busy chorus gets a bit more coherent.

Nine Inch Nails – Piggy. Zero bloat in the bass hits in the first verse. Great transition between the solid hit and the drawn out note with natural decay. The tambourine in the first chorus has way more air and once it goes wild with the drum break after the second chorus the soundstage is huge for the remainder.

Muddy Waters – Good Morning Little School Girl. This song can get too bright very quick but there is a restraint here that while the snare and vocals have edge they don’t get shrill. The guitar has a very metallic sheen to it that reminds me a bit of the sharp edge my old beat up Martin had due to poor fretwork. I’ve never noticed it before and I’ve listened to this song tons.

Thrice – The Weight. The vocals over the intro sound further away. Once it kicks, in the vocals have a perfect balance. The bass is tight and controlled. There’s a slight fuzz effect on the bass that I’ve not noticed before.

All in all, these are a noticeable upgrade to the stock AE-9 and also a level above the V5i. The biggest improvement for me has been in the soundstage/imaging department, the sense of space has improved and the location of instruments feels more defined.