I've done a lot of recording studio maintenance for years, and let's face it: Most of your favorite recordings over the last 40 years have gone through 5534s and 5532s to make it through the recording process, and finally come out of your speakers. They were one of the first OP amps that had a useful slew rate, and a low noise floor so they have been used in a lot of front end stages, yet they can also drive a 600 ohm load. They actually have a reasonable sonic signature compared to a lot of other stuff. Their two biggest drawbacks are the surprisingly low input impedance for an OP amp and they draw about twice as much supply current as other chips they are often replacing. Sure, there's better OP amps out there now, but when you compare price, equivalent input noise (EIN), and output current they're not bad. Replacing them with an LM4562NA gets better EIN, way better distortion, offset current and voltage, but these draw even more supply current for just a little more money. The AD797AN kicks butt on all those specs, but they're about $17 apiece, and draw even more current. When I've got to upgrade an entire mixing console that involves possibly replacing hundreds of OP amps, you can't demand that kind of increased current draw from the console's power supply. What about telling the client that they need 200 OP amps at about $12 apiece in large quantities? Compare that to about $1 for the NE5534AP. Be very careful to check all the features you can before settling on an OP amp. Make a spreadsheet so you can compare soic or dip, GBW, slew rate, supply voltage, EIN, input offset voltage and current, CMRR, supply current draw, THD, open loop gain, unity gain stability, input impedance, output impedance, output current, minimum load impedance, and of course price. Oh yeah, and try to listen to them carefully. When the stars align and you find the magic one, the last thing to check is going to be availability. Good luck my friends.