New Rising Middle Class
Ratings
Pros
- Great pure, natural, musical, organic, smooth, and slightly warm sound.
- It only costs €100 more than the version without DAC.
- Excellent design and attractive, very good build quality and finish.
- Outstanding value for money.
- Very powerful.
- Balanced XLR inputs and outputs.
- Large color display.
- Gain and current control.
Cons
- Only 30 volume steps for so much power.
- The display does not have brightness control.
- It seems to get quite hot.
- The size and format exceed the modest dimensions of 150 mm wide.
Purchase Link
Link to the WEB
Introduction
AUNE was founded in 2004 by six co-founders who were audio enthusiasts and experts in various fields related to audio, such as hardware design, electroacoustic design, programming, speaker design, and tuning.
The AUNE logo was inspired by the concept of yin and yang, the Chinese philosophy of balance. The rounded design of the letters conveys calm and softness. The openings on all four sides symbolize inclusivity.
In 2025, Aune continues its journey to present increasingly interesting audio products. From its acclaimed X series (remember that the X8 XVIII Magic DAC was reviewed on this website), to the great S series and its more portable devices (the Yuki dongle, the M1p DAP, and the Flamingo tube DAC-Amp, all of which have also been reviewed on this website), as well as the large-format AR5000 and SR7000 headphones, it is pleased to present the new and revamped N series, halfway between the more compact desktop design of the X series and a more contained size than the S series. The new N series represents a major change in the aesthetics of previous devices. With a more aggressive design, due to the side grilles that act as radiators, but with a touch of elegance thanks to its more streamlined structure in black with accents that enhance the appeal of each device: a clean, informative multicolor display in the center, a volume knob with a deep dark blue ring, visibly gold-plated headphone output connections, and large finishes on the rear with balanced and RCA input and output connections.
The N series consists of the N7 pure class A amplifier, the N5 EVO network music player, the NC1 EVO dedicated audio clock with linear power supply, and the N7D DAC-AMP, which is basically the N7 amplifier with the addition of a Cirrus Logic CS43198 dual DAC converter. The N7D is the product featured in this review. As I mentioned, it is a Class A headphone amplifier with a USB-C DAC converter that can be used as a preamplifier. It has a fully balanced circuit design and Twin-JFET input. It features two-stage Class A bias control. Volume control is achieved via a 30-step R2R circuit. The output power reaches 6.5 W. It has a 6.35 mm single-ended headphone output and a 4.4 mm balanced Pentaconn output. It uses two Cirrus Logic CS43198 chips as DAC converters. It supports PCM up to 384 kHz and DSD up to 256. It comes with an aluminum remote control.
Find out more about the new Aune N7D in the following review.
Specifications
- Rear inputs: USB, RCA, XLR (left & right), and 18V DC power.
- Rear outputs: RCA (preamp), XLR (left & right preamp).
- Rear power switch.
- Front headphone outputs: 6.35mm SE and 4.4mm BAL, both gold-plated.
- Dimensions: width 208mm, depth 160mm, height 63mm.
- USB input: Maximum formats PCM768kHz and DSD256.
- RCA input impedance: 10kΩ.
- RCA output impedance (preamp): 200kΩ.
- XLR input impedance: 22kΩ.
- XLR output impedance (preamp): 100kΩ.
- 6.35mm/4.4mm headphone output impedance: 1Ω.
- Frequency response (SE 6.35mm): 20kHz-80kHz ±0.05dB.
- THD+N (SE 6.35mm): <0.0004% (1kHz).
- SNR (SE 6.35mm): >105dB (600Ω).
- Crosstalk (SE 6.35mm): < -100dB (1kHz) (600Ω).
- Frequency response (BAL 4.4 mm): 20 kHz-80 kHz ±0.05 dB.
- THD+N (BAL 4.4 mm): <0.0004% (1 kHz).
- SNR (BAL 4.4 mm): >105 dB (600 Ω).
- Crosstalk (BAL 4.4 mm): < -100 dB (1 kHz) (600 Ω).
- DAC: Dual Cirrus Logic CS43198 DAC.
- Power Low Gain SE 32Ω: 570mW.
- Power Low Gain SE 100Ω: 190mW.
- Power Low Gain SE 150Ω: 130mW.
- Power Low Gain SE 250Ω: 79mW.
- Power Low Gain SE 300Ω: 66mW.
- Power Low Gain SE 470Ω: 42mW.
- Power Low Gain SE 600Ω: 33mW.
- Power High Gain SE 32Ω: 1900mW.
- Power High Gain SE 100Ω: 616mW.
- Power High Gain SE 150Ω: 416mW.
- Power High Gain SE 250Ω: 252mW.
- Power High Gain SE 300Ω: 213mW.
- Power High Gain SE 470Ω: 136mW.
- Power High Gain SE 600Ω: 106mW.
- Power Low Gain BAL 32Ω: 2150mW.
- Power Low Gain BAL 100Ω: 720mW.
- Power Low Gain BAL 150Ω: 500mW.
- Power Low Gain BAL 250Ω: 316mW.
- Power Low Gain BAL 300Ω: 270mW.
- Power Low Gain BAL 470Ω: 172mW.
- Power Low Gain BAL 600Ω: 135mW.
- Power High Gain BAL 32Ω: 6570mW.
- Power High Gain BAL 100Ω: 2190mW.
- Power High Gain BAL 150Ω: 1500mW.
- Power High Gain BAL 250Ω: 900mW.
- Power High Gain BAL 300Ω: 750mW.
- Power High Gain BAL 470Ω: 480mW.
- Power High Gain BAL 600Ω: 370mW.
Packaging
The Aune N7D comes in a large white box measuring 262x267x71mm. On the front, there is a sketch-like drawing of the N7D’s profile in the center, showing the screen in considerable detail. In the upper left corner is the brand name and, below it, the model name (N7, it does not indicate that it is the N7D; even in the description below it only says “headphone amplifier”). In the upper right corner is the Hi-Res Audio logo. The bottom shows the device’s features: use of JFET transistors, two current levels, 6500 mW of output power per BAL, three-inch display, preamplifier and headphone amplifier, and class A circuitry.
The back of the box features the product slogan and, in the center of the box, another drawing of the device’s profile. At the bottom, there is a silver sticker specifying the DAC version, the power supply for the destination country, the model name and brand information, the website address, and the email address.
When you remove the outer cardboard, you see a black box with the brand name in silver letters in the center. When you lift the lid, you see a sheet that is the quick start guide for the product. The Aune N7D comes inside a white bag, nestled in a thick black foam mold. Next to it is an elongated black cardboard box containing the rest of the accessories. In summary, the complete contents are as follows:
- The Aune N7D DAC-AMP.
- A power cable with a European plug.
- A power supply.
- A 3.5mm female to 6.35mm male SE headphone adapter.
- Four white plastic caps for the RCA jacks.
- A remote control.
The remote control comes in a sealed red box with a black base. The remote is inside a thick black foam mold that protects it completely.
The presentation is characteristic of the brand: understated and elegant, with special care taken to protect the product and the remote control itself. It’s worth noting the simple detail of including protective caps for the RCA connectors. It’s very well thought out.
Construction and Design
Without a doubt, the Aune N7D is the most elegant and impressive desktop device on my desk. Its design may seem simple, with its chamfered corners and radiator panels on both sides. However, the hard, straight lines of its shape, as well as the matte, rough black aluminum surface, are highlighted by the large three-inch color screen in the center.
The volume knob has a shiny dark blue outer ring that enhances the elegance and appeal of the product. The gold-plated headphone outputs are on the left side. The rear connections are impressive with their large, sturdy XLR connectors. There is a power switch on the rear right, above the 18V power input socket. It is clear that the DAC is somewhat secondary, as the USB input is on the top of the left side.
It has XLR and RCA outputs for use as a preamplifier and XLR and RCA inputs for use as an amplifier. The USB input is for use as an all-in-one DAC-AMP.
The brand logo in white letters stands out on the top cover. All the letters on the device are white.
Four black, round support stops stand out on the motherboard. Many Allen screws can be seen on the base.
The chassis is made entirely of aluminum. The class A amplifier transistors operate continuously in the linear region, generating heat constantly. A specially designed 3D thermal architecture ensures uniform cooling and stable, powerful, balanced, high-fidelity class A sound.
Inside, the N7 DAC Edition (N7D) is a compact, fully discrete Class A headphone amplifier and USB DAC converter. It features a dual JFET input, a fully balanced four-channel R2R volume control, dual-level Class A bias, dual gain settings, and preamplifier functionality.
The dual JFET input stage provides smooth and natural sound characteristics. Thanks to perfectly matched pairs, the voltage remains stable. All of this provides a sound similar to that of vacuum tubes.
The special dual-level Class-A bias design keeps the amplifier operating in pure Class-A mode with two objectives: to infuse warmth and fullness into the music.
The N7D incorporates two JRC R2R volume control chips, combined with dedicated operational amplifiers to form a fully balanced four-channel control. This ensures precise regulation, perfect channel balance, a wide soundstage, and accurate imaging.
The components chosen are high-end and have been carefully selected, such as Panasonic electrolytic and film capacitors and high-quality printed circuit boards.
In terms of size, this N7D breaks with the configuration of my compact tower, in which all elements are 150 mm wide. The N7D, at 208 mm, stands out and may set a new medium standard. Although it breaks with the aesthetics of my power supply block, its design stands out from the rest.
Connectivity
The Aune N7D features two Cirrus Logic CS43198 DAC converters. It supports PCM up to 384 kHz and DSD256. The USB-C connection allows plug-and-play connection with PC, Mac, iOS, or Android. In addition, it has RCA/XLR analog inputs and outputs, so it can be used both as a headphone amplifier and as a preamplifier for active speakers or power amplifiers.
When connected to my Windows computer, it is automatically detected and no drivers need to be installed. It does not have ASIO drivers, but the brand’s engineers assure me that WASAPI is more convenient and comfortable to use with my Foobar2000 player.
Operativity
The special dual-level Class-A bias design keeps the amplifier operating in pure Class-A mode.
It has two gain levels to provide greater adaptability: low gain for more sensitive headphones and high gain with an output of up to 6.5 W for more demanding headphones.
Thanks to the three-inch display, volume control, and full remote control, all functions can be controlled: bias adjustment, gain switching, and headphone/preamp modes.
The new user interface features clear indicators that display real-time current and temperature in two colors. It is a very simple, modern, easy-to-read, eye-catching, and elegant interface.
The potentiometer has 30 steps.
At the bottom, there is a bar that indicates the internal temperature of the device in degrees Celsius.
The operating mode is indicated on the bottom bar with its acronym (RCA, XLR, USB, PREAMP, and headphone icon).
A dial on the left indicates the gain mode (G-L, H-L).
On the right side, there is another dial that indicates the current mode (A-L, A-H).
By pressing the potentiometer, you can select the operating mode (RCA, XLR, USB).
Press twice to switch between high and low current modes. The display turns red for high current and blue for low current.
Press and hold (3 seconds) to access a submenu that allows you to select the output (headphones or preamplifier), gain (Low Gain or High Gain), and turn the display on or off. In this menu, there is a 30-second countdown to return to the main menu, which is activated with each menu selection by pressing the potentiometer again. You can also exit this menu with a long press.
An obvious feature of the N7D is the temperature control on the display. Where I live, it is quite hot, even at this time of year in late October. Now, at 7:30 p.m., with the windows open, the temperature in my room is 25.6°C, while the Aune easily exceeds 40°C after an hour of use. As soon as you demand a little more from it, this value will be exceeded by far. It’s true that it’s not as hot as in summer, but it will surely get warm during the most critical times of the year. During the month that I’ve been using it, I haven’t seen it exceed 50°C.
Measures
It is clear from the outset that the N7D is designed to handle difficult headphones and provide plenty of current and voltage. It specifies 570 mW for 32 Ω at low gain. That implies 4.27 V RMS. For 250 Ω, it is 79 mW, which implies 4.44 V RMS. At high gain for SE, 1900 mW is specified for 32 Ω, which gives 7.8 V RMS, and 252 mW for 250 Ω, which implies 7.94 V RMS. Is that true? Yes, it is. All my measurements point to that reality.
The output impedance for SE is less than 1 Ω.
Following the parallel with the BAL L-G output, for 32 Ω it is 2150 mW, 8.29 V RMS. 250 Ω, 316 mW, 8.89 V RMS.
BAL H-G: 32 Ω, 6570 mW, 14.5 V RMS. 250 Ω, 900 mW, 15 V RMS. These are really high values.
Due to problems in my measurement system with sources connected to the computer, the results of the balanced measurements are not reliable and have not been recorded here.
On the other hand, high-current mode does not alter the voltage, but ensures higher current delivery for difficult headphones.
SE No load
At low gain, it is 4.468V RMS, and at high gain, it is 8.158V RMS with the 30 volume steps at maximum.
SE 15Ω
6V RMS for 15Ω, that’s a massive 400mA.
SE 33Ω
7.88V RMS for 33Ω, 1880 mW. As mentioned in the introduction, specifications are correct.
SE 100Ω
8,070V RMS for 100Ω, 650mW, more than specified. Perfect.
Frequency Response
Flat response from 5Hz to 40kHz with no difference between channels at low, medium, and high volumes. Just as it should be.
Sound
I know for a fact that Aune’s main interest in this device is that it is a great amplifier. The model with the extra DAC is simply an added bonus. But, in my opinion, a dual Cirrus Logic CS43198 DAC is no small thing. It’s true that this is a dual DAC that Aune already used for its small but mighty Yuki dongle. However, for me, it’s the clear replacement for Cirrus Logic’s CS43131, which should now be retired with honors.
The N7 model costs €429 and the N7D model costs €529, only €100 more for a complete desktop solution. That alone is reason enough to purchase the N7D model. On the other hand, I’m fortunate to already have an excellent DAC from the brand, the Aune X8 XVIII Magic DAC, which is connected to the Sparkos Labs SS3602 OpAmp. The sound with the standard DAC is already very good; for those looking for that extra something and who already have a dedicated DAC, the N7 will be the obvious choice.
Aune says that the Twin JFET offers a sound similar to that of valves, smooth and natural. In my opinion, Aune’s sound always seeks purity in its most natural state. It is never analytical or clearly warm; it is neutral and pure. And that is what I think of the N7D. While I find differences between the sound obtained using the integrated DAC and that obtained when connecting the X8, neither sound is particularly warm.
With the integrated DAC, the bass is somewhat more visceral, with more roughness and texture. When using the X8, the bass is smoother and softer, with more control, drier, slightly deeper, and a little darker. With the integrated DAC, the sound is more powerful, with a greater physical sensation, without this implying an enhancement of the bass, but rather a feeling of greater weight and, at the same time, slightly less control.
In the very low frequency pure tone test, there are hardly any distinguishable differences between using the internal DAC and using it with the associated X8. There is slightly more physical component with the internal DAC, but it is also noticeable that the X8 adds a little more speed. However, in all other aspects, the performance is practically the same: the tones are very deep, without any vibratory/undulatory component, when using the best IEMS; the performance is precise, natural, without coloration, dark, with great physical base and depth.
In the dirty, complex, and unfiltered bass test, there is a greater sense of darkness and depth when using the X8 DAC, as well as a little more prominence, volume, and extension. When using the internal DAC, there is a greater roughness and texture in the bass. The bass is not as controlled, it is somewhat rougher and cruder. On the other hand, with the DAC X8 everything is smoother, more restrained, and more controlled. This gives it a higher degree of precision. There is not much more to add in terms of other aspects: perfect bass line separation, great layering, and excellent ability to isolate the bass from the rest of the frequencies, as well as between bass drums, bass lines, and other elements.
The sound of Aune may seem simple or unremarkable at first glance. However, the sense of purity and naturalness that I find in the M1p DAP is what comes to mind when I use the N7D. It’s not a sound that impresses at first glance, but rather stands out like a long-distance race: the more you use it, the more you appreciate the quality of its sound. And this becomes clear when you switch back to other sources.
This is precisely what is most appreciated in the N7D’s mids, whether using the internal DAC or the connected X8 DAC: the greatness of its sound becomes apparent as the minutes and hours pass. That’s when that natural smoothness, totally neutral and musical, settles in my head.
The N7D’s soundstage is wide, large, and spacious, but also silky and musical. The X8 DAC adds extra smoothness and musicality, as well as a touch of breadth, extension, and volume. The sound with the X8 connected is more delicate and relaxed, while with the internal DAC it is very precise, somewhat more analytical, more focused, and also more intimate in the space occupied. I don’t find that one or the other has more informative capacity; both DACs are very decisive in terms of detail and microdetail. With the internal DAC, the music is more contained and expands less, while the greater focus and concentration seem to offer slightly more enhanced detail, but with slightly sharper edges. With the X8 connected, precision and resolution are maintained in a wider and more separate space, allowing for crisp detail in a more open environment.
Thus, male voices sound fuller, more physical, and deeper with the X8 connected, while the narrower focus of the internal DAC gives female voices more strength. With more direct music, the internal DAC offers a more concrete and effective boost, while the X8 comes into its own when more dynamics, soundstage, and complex music are required.
In the upper range, the internal DAC seems to focus a little on the early treble, offering a slightly more incisive and energetic presentation. With the X8 connected, the high end feels more expansive and balanced, with better energy distribution and smoother, more delicate notes. In both cases, the N7D’s treble maintains that sense of neutrality, naturalness, and, above all, purity that characterizes the brand’s sound. However, it’s true that the upper range gains in control and musicality with the X8 connected.
When describing the sound of the N7D, I already mentioned that using an external DAC can improve aspects such as soundstage, stereo separation, and stereo imaging compared to the internal DAC. When connecting the X8, there is greater depth and a wider expansive feel, without the sound becoming volatile or escaping from the head. The sound always gives the impression of attachment, without ever sounding gaseous or dispersed. Nor is it cohesive or homogeneous, but rather volumetric: wide, tall, and spacious, with a lot of projection, but always well connected.
When using the internal DAC, there is a noticeable difference in quality compared to the X8, as there is a tunnel effect, a slightly narrower and deeper sound, but more focused, confined, and concentrated.
In terms of imaging, the internal DAC is more concrete, while with the X8 the sound improves in separation, space between elements, and spatial positioning, offering a better-structured image, somewhat further away from the listener, but also better positioned and wider on the stage.
Comparisons
Burson Audio Playmate 2
The Burson Playmate 2 costs $544 for the basic version and $744 for the deluxe version. The basic version includes two NE5532 and two NE5534 operational amplifiers, while the deluxe version has two additional dual V6 Vivid operational amplifiers, two single V6 Vivid operational amplifiers, and a remote control. I have the deluxe version, but without the remote control.
The Aune N7D costs €529 and the OpAmps cannot be changed, but it comes with a remote control as standard.
The Burson measures 150 x 190 x 60 mm, while the N7D measures 208 x 160 x 63 mm.
The Burson fits perfectly in my source tower due to its width of 150 mm, but the N7D is wider than it is deep.
The Burson’s design, made of gray metal with a thick front and a full radiator body, is very robust. It has a small, minimalist display with white letters, a 6.35 mm SE audio output, and a 3.5 mm SE output with a microphone input for gaming. The Burson’s potentiometer is a metal knob with a very good grip, but its operation is not very precise. Despite its 99 volume steps with two gains, each step of the knob does not imply a direct change in the right direction. The N7D’s R2R potentiometer is completely accurate, but it only has 30 volume steps.
The N7D has a 3-inch color display that even shows the device’s temperature.
Both are very stylish devices. The Burson seems somewhat more solid in its construction, while I find the N7D’s design more elegant and attractive.
The Burson does not have a balanced headphone output or XLR preamp output. The N7D can be used as a pure amplifier or as a preamplifier and has balanced XLR and RCA inputs and outputs.
The Burson decodes PCM 768 kHz up to 32 bits and native DSD up to 512, while the N7D decodes PCM 768 kHz and DSD256.
The Burson’s power output is over 3 W for 33 Ω per SE, while the N7D’s is 1880 mW for 33 Ω, according to my measurements. The N7D can still deliver more power through the BAL output: 6570 mW for 32 Ω, according to the specifications.
In conclusion, the Burson has a better form factor and a more robust design. The N7D is more elegant, attractive, and has a better display.
The N7D has more precise volume control, but only has 30 steps. The Burson has 99 steps, but its potentiometer is worse.
The Burson has more power per SE, but no BAL output or XLR inputs/outputs. The N7D does have a BAL output and more power per BAL, but no microphone input.
In terms of internal configuration, the Burson has two additional dual V6 Vivid operational amplifiers and two single V6 Vivid operational amplifiers. Burson always opts for the possibility of changing the op-amps. Aune does too, as in the DAC X8, but it only needs one operational amplifier. However, it does not appear that this component can be changed on the N7D.
As you can see, both devices are very competent and compatible in many ways. However, the fact that the Burson has 99 volume steps may be an advantage for use with IEMS compared to the N7D. The advantage of the N7D is precisely its BAL power and high current control.
In terms of sound and profile, I find the N7D to be more musical and have a smoother sound. The Burson, on the other hand, seems more forceful, somewhat sharper and rougher, and also faster and drier.
In the bass, the roughness of the lower end of the N7D stands out, while the Burson is faster and drier, with a slightly more intense color than the N7D. The N7D is slightly darker, with better texture, slightly deeper, with more depth and longer. The dryness of the Burson makes it more concise and precise, but the darker color and greater depth of the N7D give it a more realistic and pure character.
In the very low frequency pure tone test, there are hardly any differences. In blind tests, I would not be able to distinguish one from the other.
The same thing happens in the dirty, complex, unfiltered bass test. The N7D shows great control, despite that somewhat rougher feel, while the Burson is a little smoother and drier. I don’t notice any noticeable differences in control, although it seems that the Burson tends to subtly accentuate the bass compared to the N7D when equalizing volumes.
The Burson’s midrange is a little brighter, so it feels a little harsher, with more pronounced contours and a slightly more analytical touch. Interestingly, this is where the Twin JFET’s smoothness comes in, with a sound similar to that of the N7D’s tubes, which is warmer, smoother, less pronounced, and less piercing than the Burson. Male voices on the N7D are softer and silkier, with more musicality and calmness. On the other hand, the Burson gives a feeling of greater punch, as if it delivers power more quickly, although it is also a little more penetrating. The mids on the N7D are calmer and softer, but without losing any detail; both devices perform very well in this regard.
In the upper range, the difference between the two is more noticeable, and this is where the inequality that creates the distance between the two devices lies. The Burson has a more pronounced, sharp, crisp, bright, and penetrating treble, giving the impression of being more present. The N7D is smoother and more polished, creating a feeling of greater extension and less energy in each beat.
The sound of the N7D seems broader and more expansive; background detail is equally represented, but the sense of separation is slightly superior in the Aune. The Burson is more direct, a little sharper and more defined, with a faster and more precise delivery of energy, but also somewhat rougher, which causes it to lose musicality and smoothness in this regard. This also seems to help it generate a sharper image, but with harder edges. The N7D is more volumetric, slightly deeper, with a more noticeable darkness and a more expansive, yet controlled and relaxed tendency.
In short, the listening experience with the Aune is more pleasant, relaxed, musical, and enjoyable than with the Burson Playmate 2, which is more vivid, lively, and energetic. And all this at a significantly lower price.
Conclusion
I’m glad to hear that Aune is thinking about audiophiles with tighter budgets by creating a new mid-range series: the N class, consisting of a stack containing the N7 pure class A amplifier, the N5 EVO network music player, the NC1 EVO dedicated audio clock with linear power supply, and the N7D DAC-AMP, which is basically the N7 amplifier with a Cirrus Logic CS43198 dual DAC converter added. Of the entire stack, the N7D stands out as a complete DAC-AMP solution whose sound quality far exceeds the value for money of its most direct competition.
The Aune N7D, with a design that surpasses that of its own catalog and that of many other rivals, has technical features that ensure excellent musical qualities. It features class A amplification, a fully balanced circuit design, a Twin-JFET input, two-stage class A bias control, gain and current control, R2R volume control, up to 6.5 watts of output power, a 6.35 mm single-ended connector and a 4.4 mm Pentaconn connector, two Cirrus Logic CS43198 DAC chips, balanced XLR inputs and outputs, and an aluminum remote control. Added to all this is a 3-inch color display with temperature control. But the N7D not only stands out for its excellent design, its sound is even better. The N7D follows Aune’s trend of purity and neutrality, to which a slight analog touch has been added, warm, relaxed, calm, and smooth thanks to its Twin JFET circuit, which is characterized by a sound similar to that of valves. The N7D doesn’t miss a single detail despite moving away from an analytical profile, while its Dual DAC CS43198 adds a little punch to the overall performance. Without a doubt, it is a complete and powerful solution to be reckoned with in this price range.
Earphones Used During Analysis
- Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602
- ZiiGaat Crescent
- ZiiGaat Odyssey 2
- ZiiGaat Luna
- ZiiGaat Arcanis
- Kiwi Ears Astral
- Kiwi Ears Altruva
- BQEYZ Winter II
- LetShuoer S12 Ultra
- LetShuoer Mystic 8
- NiceHCK Rockies
- Hidizs MK12 Turris Limited Gradient-Tint Titanium Edition
- Yanyin Canon Pro
- 7Hz Timeless II