fallow81
100+ Head-Fier
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- Dec 4, 2007
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Hi Guys,
I want to share my review of Burson V5s with you.
Background
For years I experimented with different opamps, starting from the first trip, which began on DAC Lampucera (http://www.lampizator.eu/lampizator/LAMPUCERA/MAX/maxi-lampucera.html). The modification was done by replacing the standard NE5532. I did a lot of experimentation finally settled on a combination of AD797BRZ and OPA627BP. With time I discovered more and more fine pieces of audio equipment with a possibility to replace standard opamps. I was reaching also for more and more interesting and exotic opamps. From this galaxy, the cream de la cream was for me ADA4627-1, ADA4637-1, OPA1612, OPA1642 and LME49990 and MUSES01 and MUSES02.
Currently I have a device with is based on opamps for I/V conversion, and also for LP filter. It is Cayin HA3 with an essentially bookish application of PCM1792 D/A chip. Encouraged by my previous experiences with opamps and basing on the fact that even with standard opamps Cayin sounds very good, I decided that this time I will reach for something more. For quite some time I was tempted to try the discrete Burson opamps, especially since I am a satisfied user of Burson DA-160 DAC. Finally I decided to go for them and did tests against few of my favorites AD797, OPA627, ADA4627-1, LME49990 and MUSES02. Burson team spent almost 10 years on R D, resulting in a 5th generation of discrete opamps enclosed in a plastic housing, a big plus in comparison to the competition, whose discreet opamps tend to be larger and have no housing at all, so quite more susceptible to damage.
Installation
In Cayin HA3 it is quite small amount of free space to use, but the via the Burson website you can order high quality extenders, allowing you to mount opamps in such a way that you can entirely close the Cayin’s case. Ordering those extenders is a good decision if you know that in your audio gear is not enough space to install Burson opamps, especially to close the case. After assembly, I allowed Cayin to play for two days to complete burn in, just for the sake of peace.





Listening
For the purpose of this review, I used Ultrasone Edition 5 Unlimited and the Shure SE535.
I have to admit that for long time, nothing impressed me in such positive manner from the very beginning. I did not expect such far-reaching changes. It is about not only improvement in the technical aspects of the presentation, sound, but improvement of the way how Cayin plays1.
After installation of Burson opamps, Cayin’s sound gained primarily much more depth. It's almost as the move from 2D to 3D. Ultrasone Edition 5 already playing in a very three-dimensional and holographic manner, cam divide the sound of each instrument to thousands of bands moving through the air, but now all this has been clearly divided into space-time projections. It's like mix of a Ultrasone’s precision and their penchant to onstage order and somehow romantic sound of Grado GS1000 regarding their endless and vibrating space.
What is most noticeable is definitely a muddy sound, which belongs to standard opamps in Cayin - AD827 and OPA604. This curtain is also taken off by ADA4627-1 and LME49990, but definitely not completely removed as in the case of Burson discrete opamps. Moreover, LME49990 tends to play very spatially, but far from here to the sound of Burson, LME49990 can be somehow aggressive in the context of upper midrange while Burson’s omamps are free of that and have. very natural timbre. The vocals sound really convincing on Burson’s opamps. The sound is very detailed, but fatigue-free. This is the top class and the purpose for which engineers should create audio equipment. It is easier to design the equipment which sounds musical or analytical, but a combination of both at the same time is a higher class. This is the grade of Burson opamps.
Technical details of the sound
Bass has the largest impact compared to all opamps tested, but it is also very well controlled. Additionally, it has the very three-dimensionality characteristics and very good texture. The mids are given very truly, really, but not too aggressive or rough, nor is overly smooth. Guitar and vocals, however, have their claws and can be very resonant. Transients are pristine, Highs are given in Burson style, very well layered with sparkle but not offensive. Highs have a glow, but I do not get tired with time while listening to the sound. In fact, I find it hard to find any flaws here. For some people that open sound may at first be seen as a drawback. If anyone has so far listened to muddy sounding opamp like OPA2604, replacing them by Burson opamps is huge experience. That's what makes the greatest effect, especially at the very beginning before tasting all the flavors of the sound, the scene and holography, separation and positioning of instruments. In relation to the other opamps it is almost like the transition from 2D to 3D. Other opamps have clearly audible character compared to Burson V5s. AD797, OPA627 dryness or harshness in upper midrange of the LME49990. MUSES02 has his own character as well. I am certain that after some time with Burson’s V5s moving back to some integrated traditional opamps will be difficult. Competitive discrete designs, which I have heard are playing generally more dry and digitally. The red color of V5s is well choosed. The sound is definitely not a clinically white, silver or gray. Nor is it overly dark. The color temperature is just like the red color. It’s arouses emotions.
Conclusions
It’s very nice to write such a positive review. Burson opamps are more expensive than standard opamps, but for me the choice is obvious. This is a one-way trip. I think now there is simply no chance to go back. I can imagine only one situation when other opamps may be "better". If someone has really sharp and aggressive and bright sounding headphones and needs something very dark and lazy. Then actually for the tonal balance only and not in terms of better quality moving back to something in lower class but sounding very dark can be the solution. I however, recommend definitively to try Burson V5s.
I want to share my review of Burson V5s with you.
Background
For years I experimented with different opamps, starting from the first trip, which began on DAC Lampucera (http://www.lampizator.eu/lampizator/LAMPUCERA/MAX/maxi-lampucera.html). The modification was done by replacing the standard NE5532. I did a lot of experimentation finally settled on a combination of AD797BRZ and OPA627BP. With time I discovered more and more fine pieces of audio equipment with a possibility to replace standard opamps. I was reaching also for more and more interesting and exotic opamps. From this galaxy, the cream de la cream was for me ADA4627-1, ADA4637-1, OPA1612, OPA1642 and LME49990 and MUSES01 and MUSES02.
Currently I have a device with is based on opamps for I/V conversion, and also for LP filter. It is Cayin HA3 with an essentially bookish application of PCM1792 D/A chip. Encouraged by my previous experiences with opamps and basing on the fact that even with standard opamps Cayin sounds very good, I decided that this time I will reach for something more. For quite some time I was tempted to try the discrete Burson opamps, especially since I am a satisfied user of Burson DA-160 DAC. Finally I decided to go for them and did tests against few of my favorites AD797, OPA627, ADA4627-1, LME49990 and MUSES02. Burson team spent almost 10 years on R D, resulting in a 5th generation of discrete opamps enclosed in a plastic housing, a big plus in comparison to the competition, whose discreet opamps tend to be larger and have no housing at all, so quite more susceptible to damage.
Installation
In Cayin HA3 it is quite small amount of free space to use, but the via the Burson website you can order high quality extenders, allowing you to mount opamps in such a way that you can entirely close the Cayin’s case. Ordering those extenders is a good decision if you know that in your audio gear is not enough space to install Burson opamps, especially to close the case. After assembly, I allowed Cayin to play for two days to complete burn in, just for the sake of peace.
Listening
For the purpose of this review, I used Ultrasone Edition 5 Unlimited and the Shure SE535.
I have to admit that for long time, nothing impressed me in such positive manner from the very beginning. I did not expect such far-reaching changes. It is about not only improvement in the technical aspects of the presentation, sound, but improvement of the way how Cayin plays1.
After installation of Burson opamps, Cayin’s sound gained primarily much more depth. It's almost as the move from 2D to 3D. Ultrasone Edition 5 already playing in a very three-dimensional and holographic manner, cam divide the sound of each instrument to thousands of bands moving through the air, but now all this has been clearly divided into space-time projections. It's like mix of a Ultrasone’s precision and their penchant to onstage order and somehow romantic sound of Grado GS1000 regarding their endless and vibrating space.
What is most noticeable is definitely a muddy sound, which belongs to standard opamps in Cayin - AD827 and OPA604. This curtain is also taken off by ADA4627-1 and LME49990, but definitely not completely removed as in the case of Burson discrete opamps. Moreover, LME49990 tends to play very spatially, but far from here to the sound of Burson, LME49990 can be somehow aggressive in the context of upper midrange while Burson’s omamps are free of that and have. very natural timbre. The vocals sound really convincing on Burson’s opamps. The sound is very detailed, but fatigue-free. This is the top class and the purpose for which engineers should create audio equipment. It is easier to design the equipment which sounds musical or analytical, but a combination of both at the same time is a higher class. This is the grade of Burson opamps.
Technical details of the sound
Bass has the largest impact compared to all opamps tested, but it is also very well controlled. Additionally, it has the very three-dimensionality characteristics and very good texture. The mids are given very truly, really, but not too aggressive or rough, nor is overly smooth. Guitar and vocals, however, have their claws and can be very resonant. Transients are pristine, Highs are given in Burson style, very well layered with sparkle but not offensive. Highs have a glow, but I do not get tired with time while listening to the sound. In fact, I find it hard to find any flaws here. For some people that open sound may at first be seen as a drawback. If anyone has so far listened to muddy sounding opamp like OPA2604, replacing them by Burson opamps is huge experience. That's what makes the greatest effect, especially at the very beginning before tasting all the flavors of the sound, the scene and holography, separation and positioning of instruments. In relation to the other opamps it is almost like the transition from 2D to 3D. Other opamps have clearly audible character compared to Burson V5s. AD797, OPA627 dryness or harshness in upper midrange of the LME49990. MUSES02 has his own character as well. I am certain that after some time with Burson’s V5s moving back to some integrated traditional opamps will be difficult. Competitive discrete designs, which I have heard are playing generally more dry and digitally. The red color of V5s is well choosed. The sound is definitely not a clinically white, silver or gray. Nor is it overly dark. The color temperature is just like the red color. It’s arouses emotions.
Conclusions
It’s very nice to write such a positive review. Burson opamps are more expensive than standard opamps, but for me the choice is obvious. This is a one-way trip. I think now there is simply no chance to go back. I can imagine only one situation when other opamps may be "better". If someone has really sharp and aggressive and bright sounding headphones and needs something very dark and lazy. Then actually for the tonal balance only and not in terms of better quality moving back to something in lower class but sounding very dark can be the solution. I however, recommend definitively to try Burson V5s.