Audio design has for many years relied on a very small number of op-amp types; the TL072 and the 5532 dominated the audio small-signal scene for many years. The TL072, with its JFET inputs, was used wherever its negligible input bias currents and low cost were important.
For a long time the 5534/5532 was much more expensive than the TL072, so the latter was used wherever feasible in an audio system, despite its inferior noise, distortion, and load-driving capabilities. The 5534 was reserved for critical parts of the circuitry. Although it took many years, the price of the 5534 is now down to the point where you need a very good reason to choose any other type of op-amp for audio work.
The TL072 and the 5532 are dual op-amps; the single equivalents are TL071 and 5534. Dual op-amps are used almost universally, as the package containing two is usually cheaper than the package containing one, simply because it is more popular.
There are, however, other op-amps, some of which can be useful, and a selected range is covered here.
A Very Brief History of Op-Amps
The op-amp is today thought of as quintessentially a differential amplifier, responding to the difference of the input voltages while (hopefully) ignoring any common-mode component. The history of differential amplifiers goes back to that great man Alan Blumlein, and his 1936 patent  for a pair of valves with their cathodes connected to ground through a common resistor.
However, the first valve-based operational amplifiers, i.e. those intended to be capable of performing a mathematical operation, were in fact not differential at all, having only one input. That had to be an inverting input, of course, so you could apply negative feedback.
The first op-amp to get real exposure in the UK was the Fairchild uA709, designed by the renowned Bob Widlar and introduced in 1965. It was a rather awkward item that required quite complicated external compensation and was devoid of output short-circuit protection. One slip of the probe and an expensive IC was gone. It was prone to latch-up with high common-mode voltages and did not like capacitive loads. I for one found all this most discouraging, and gave up on the 709 pretty quickly. If you're going to quit, do it early, I say.
The arrival of the LM741 was a considerable relief. To my mind, it was the first really practical op-amp, and it was suddenly possible to build quite complex circuitry with a good chance of it being stable, doing what it should do, and not blowing up at the first shadow of an excuse. I have given some details of it in this chapter for purely historical reasons. There is also an interesting example of how to apply the LM741 appropriately in Chapter 17.
The first IC op-amps opened up a huge new area of electronic applications, but after the initial enthusiasm for anything new, the audio market greeted these devices with less than enthusiasm. There were good reasons for this. The LM741 worked reliably; the snag with using it for audio was the leisurely slew rate of 0.5 V/µs, which made full output at 20 kHz impossible.
For a period of at least 5 years, roughly from 1972 to 1977, the only way to obtain good performance in a preamp was to stick with discrete transistor Class-A circuitry, and this became recognized as a mark of high quality. The advent of the TL072 and the 5532 changed this situation completely, but there is still marketing cachet to be gained from a discrete design. An excellent and detailed history of operational amplifiers can be found in Ref. .