I’m now ready to provide my somewhat belated full review of the Opera. For the two amp-to-amp comparisons below, I used the CI Audio VDA-2’s double set of RCA outputs to connect both amps using the same cables. Most listening was done through the Audio-Technica W5000’s. I switched occasionally to other headphones, but the W5000’s are easily my favorite headphone right now, and I have a hard time listening to anything else for extended stretches.
I’ll begin with my complaints, which are fairly minor. I really wish that the DAC light wouldn’t throb when there’s no digital input. I’d rather have my gear complaining at me, as if I’ve done something wrong. Similarly, the DAC clicking can also get on my nerves. As for the differences between the headphone jacks — I’m sure that Dr. Meier thought a lot about this before implementing it, and I assume that there are people for whom it’s a plus, but the two jacks would be more valuable to me if they were both the same. Finally, it’s a shame that the design makes it impossible to stack anything on top of the Opera; it’s caused me to have a bit of trouble finding a place for the Opera on my crowded desk.
Okay, now to the good stuff. First, the build and feel. I commented earlier on the very solid construction quality and appealing aesthetics, and after living with it for a few weeks, I continue to be very impressed. It’s not equipment that calls out to be babied; nor is it so bland and unimaginative that you forget it’s there. I take my hat off to any equipment that’s attractive, bold, and built to last.
I’ve been a crossfeed fan for a couple years, ever since the Headroom Micro Amp swept away my prior skepticism. I’ve been without the Micro Amp for a long time now, so I’m in no position to do a true comparison of the two crossfeed implementations, but I can say without reservation that the Opera’s crossfeed is excellent. I’ve put it on and left it there (except when making amp-to-amp comparisons).
Now about the sound. First came the GS-1, which the Opera bested in most respects. Most striking is the Opera’s superior body — every note has a very satisfying weight to it. By contrast, the GS-1 can sound slightly thin. To some listeners, the GS-1’s leaner signature might sound superior, but for me the Opera provides a lot of what I value in tube amps. If the GS-1 is a sports car, the Opera is more of a luxury sedan. They’re equally powerful but the former emphasizes nimble handling, while the latter provides a smoothness that lets you really settle in to the ride.
(Please Note: Whenever I make these comparisons, I always feel the need to stress that what I’m presenting as a significant contrast is really a matter of “very good” vs. “very very good.” In other words, no one should construe the above comparison to mean that the GS-1 is thin sounding in absolute terms or that the Opera lacks agility.)
After deciding fairly early on that I preferred the Opera to the GS-1, I spent most of my attention to testing the Opera against my Singlepower Extreme Platinum. All in all, I prefer the Extreme, which provides even greater body without sacrificing speed or dynamics. The trick, of course, is to lend satisfying weight to the notes without making the music sound thick or too warm, which is a sin that the Extreme and Opera both manage to avoid.
Depending on the tube set, I think that the Extreme yields equal or superior treble. With the perfect tube combination, the Extreme adds an extra trace of extension to high notes. For all but careful critical listening, however, I'd call it a tie.
The mid-range is where the Extreme is the hands-down winner for me. There’s nothing wrong with the way the Opera presents vocals, but I’m very much a fan of intimate presentation, and the Opera puts you a couple rows back whereas the Extreme places you right on stage where you can feel the singer. Here again, it wouldn’t surprise me if some listeners might prefer the Opera’s relatively leaner mid-range. To them, the Extreme might be “colored.” For me, it’s spot-on perfect and better at conveying raw emotion and the nuances of vocals and some acoustic instruments (think sultry sax solo).
Ah, but then there’s the bass. This is a different story, and I was surprised. The Extreme has a well deserved reputation as an amp that provides a powerful bottom end. But the Opera is even better. It goes lower and hits harder. Tight, impactful, and very satisfying.
The Extreme’s soundstage is a bit more holographic and has more top-down space, whereas the Opera tends toward a wider sound. Here again, I prefer the Extreme, but it’s not significant enough that I would declare the Extreme’s soundstage objectively “better.”
All in all, the Opera is a very tough competitor for rock, trip-hop, etc. — anything that calls for powerful bass and that can benefit from a more relaxed mid-range. The Opera excels at finding the dynamics and delivering good instrument separation even in over-saturated recordings. That said, I couldn’t find anything that Opera sounded bad with, including music at the other end of the sonic spectrum.
It’s important to emphasize that my preference for the Opera was only apparent when I was doing direct A-B switching. When I switched off the Extreme and listened only to the Opera, I had no complaints. I never found the vocal presentation, or any other aspect of the Opera’s signature, unsatisfying or the least bit wrong. In fact, the Opera’s performance has got me re-thinking my future upgrade path. The truth is, several weeks ago I considered writing Todd to cancel my Opera review. As other amps have come into the HeadFi spotlight, my initial interest in the Opera waned, and I really didn’t picture myself getting one. Not so now.
Many thanks to Todd for his generosity in making this superb equipment available for review — if only we could get these kinds of extending listening tests with other gear. And of course I have to conclude with thanks to Jan Meier for having designed and produced something of such high quality.
