Immortality Is Achieved With Titanium

Ratings

Pros

• The titanium version improves the sound of the three filters: it elevates the sparkle with the Silent Silver and Enchanting Red mouthpieces, while clearly refining the profile of the Rose Gold mouthpiece.
• Very clear, clean, defined, precise, transparent, bright, decisive, well-separated, vivid, fast, and sparkling sound.
• Three pairs of tuning nozzles to tune the sound to different tastes.
• On this occasion, the titanium version has a color gradient that makes each piece unique.
• The presentation is simpler than the standard version but comes with two cables with 3.5mm SE and 4.4mm BAL terminations.

Cons

• The Low Frequency – Enchanting Red mouthpiece continues to limit the potential for great sound.
• Titanium weighs more, which, combined with the external size of the capsules, must be taken into account.
• I still think that the classic rising V-shaped tuning limits the driver’s potential.
• Although the sound with the Rose Gold mouthpiece has become more balanced, sweet, and mellow, without losing any of the analytical and informative capacity of the ensemble, the vocals lack the body and physicality that I like.

Purchase Link

https://www.hidizs.net/products/hidizs-mk12-turris-12mm-large-91-magnesium-diaphragm-hifi-in-ear-monitors?variant=46744702877883

Link to the WEB

https://www.hidizs.net

Introduction

As is customary at Hidizs, a great model is followed by a limited edition. This time it is the turn of the MK12 model, whose full name is MK12 Turris Limited Gradient-Tint Titanium Alloy Edition. This limited edition titanium model features a casing made entirely of titanium alloy with an exclusive gradient coating finish. Each piece is individually crafted, making the gradient effect unique. In addition, the packaging includes a commemorative postcard with a unique serial number and the CEO’s signature, as well as a special HIDIZS 10th anniversary collectible: a symbolic controller module, created as a limited edition souvenir to celebrate this milestone.
Known as “space metal,” it is famous for its exceptional resistance to high temperatures and chemical stability. It combines low density with high strength, making it lightweight and incredibly durable. In addition, it is paramagnetic and has extremely low electrical and thermal conductivity, which is ideal for minimizing unwanted interference in high-end audio equipment.
These qualities make it an ideal material for high-end audio equipment, where rigidity, resonance control, and durability are critical to sound purity. Its non-resonant structure minimizes unwanted vibrations, providing a cleaner and more stable sound than conventional enclosures, such as those made of aluminum alloy. However, it is very difficult to machine and expensive to produce, so it is reserved for premium and limited edition designs.
The MK12 Turris Titanium Edition features HIDIZS’ revolutionary 91% Pure Magnesium™ 12mm dynamic driver, combined with an elegant CNC-machined titanium housing finished with an exclusive gradient coating for a brilliant visual effect.
This edition not only offers a more stable and transparent sound signature, but also embodies the essence of the central inspiration for the MK12’s design: the Turritopsis dohrnii jellyfish, an immortal wonder of nature. Just as the jellyfish regenerates and adapts, the MK12 Turris evolves the flagship headphone sound legacy into an ultra-portable, high-end in-ear format.
Production of this model is limited to 499 units and its starting price will be $249, instead of the initial $299 on Kickstarter.
Next, we will analyze everything this limited edition of the Hidizs MK12 Turris Titanium has to offer.

Specifications

• Driver Type: Dynamic with external ring and N52 and 1.5T magnetic circuit, 12mm diaphragm made of 91% magnesium alloy.
• Frequency Response: 10Hz-45kHz.
• Effective Frequency Response: 20Hz-20kHz.
• Sensitivity: 111dB.
• Impedance: 32Ω.
• Capsule material: CNC-machined aluminum alloy.
• THD: <0.3%.
• Three types of tuning nozzles: Hidizs Pneumatic Sound Tuning Filters: High-Frequency, Balanced, and Low-Frequency.
• Cable material: 2 strands of high-purity oxygen-free copper.
• Cable length: 1.2m.
• Capsule connection type: 2-pin 0.78mm gold-plated.
• Jack connector: Comes with two cables, one 3.5mm SE and one 4.4mm BAL.
• Weight: Approximately 32g without cable.
• Starting price: $249.

Packaging

The Hidizs MK12 Turris comes in a black rectangular box measuring 191x145x44mm. In the upper right corner of the front panel, you can see the model name in large holographic letters, and in the center, a real photo of a golden capsule. In the upper left corner is the brand logo. In the lower left corner is a Hi-Res Audio logo, which is an icon of a diaphragm, and in the lower right corner, the full model name, all printed with holographic ink. On the back is the full product description and specifications in Chinese and English. When you open the lid, you can see a protective black foam base. Underneath is a card with Turris jellyfish on one side and a description of the model on the other, including a serial number and the signature of the CEO of Hidizs. There are four compartments underneath. In the upper left corner is the compartment containing the capsules. To its right is a symbolic controller module, created in a limited edition to commemorate this milestone. Below are two boxes containing the rest of the accessories. In summary, the complete contents are as follows:

• The two Hidizs MK12 Turris Titanium Edition earbuds.
• Three pairs of translucent white silicone tips in sizes S, M, and L.
• Three pairs of white silicone tips in sizes S, M, and L.
• Three pairs of gray silicone tips in sizes S, M, and L.
• Black faux leather bag.
• Two-strand silver-plated copper cable with gold-plated 4.4mm plug.
• Two-strand silver-plated copper cable with gold-plated 3.5mm plug.
• One symbolic controller module.
• A warranty card.
• A user manual.
• A pair of High Frequency – Silent Silver ear tips: Improved softness, ideal for ACG and classical music.
• A pair of Balanced – Rose Gold ear tips: Characteristic HIDIZS style, perfect for pop and folk.
• A pair of Low Frequency – Enchanting Red ear tips: Vibrant and energetic, ideal for rock and heavy metal.uillas Low Frequency – Enchanting Red: Vibrante y enérgico, ideal para rock y heavy metal.

This time, it includes two cables with 3.5mm SE and 4.4mm BAL connectors. It’s a nice touch that the CEO of Hidizs signs the card and gives away a commemorative piece. However, for this limited edition and for better protection of such a special product, I would have preferred a zippered case instead of a bag.

Construction and Design

As usual, Hidizs often seeks inspiration when designing its capsules. On this occasion, it has taken inspiration from the Turritopsis dohrnii jellyfish, known as nature’s “immortal wonder,” and has fused 580 million years of evolutionary resilience with cutting-edge acoustic technology. This limited edition Titanium model features a case made entirely of titanium alloy with an exclusive gradient finish. As each piece is manufactured individually, the gradient effect is unique.
The MK12 Turris Titanium combines a CNC-machined titanium alloy with an exclusive gradient coating. Its sturdy yet elegant design is inspired by jellyfish. In reality, the capsules have a four-layer V-shaped design that is more reminiscent of an insect’s shell than the Turritopsis dohrnii jellyfish itself. In fact, you could say they have a somewhat alien or plant-like appearance. Be that as it may, the outer face is made up of these four V-shaped stratified layers, and the last layer forms a relatively sharp vertex on the outer face of the capsule. This is only the outer face, as the inner face, which is the same color, is rounded and plump. It has a slight rim that protrudes subtly at the end. The upward curve towards the nozzles is also very smooth. There is a hole near these nozzles. On the edge of the capsule is the 0.78mm 2-pin connection plate, fully integrated into the surface. On the short side, following this edge, is the model name and a logo indicating the channel letter. There is also a hole above this text. The nozzles are short, with a length of 4.3mm, a diameter of less than 5mm, and a crown of 6.1mm. It should be noted that there are three types of nozzles, which differ in color, material, and the grilles or filters themselves.
The cable consists of two strands of high-purity OFC copper plated with silver. The plug housing is a micro-sandblasted silver cylinder with a groove at the top. The brand name is engraved near the cable outlet. The plug is a 4.4mm BAL or 3.5mm SE plated in gold. The cable outlet is protected by a small plastic cylinder. The two strands are intertwined. The splitter piece is another small micro-sandblasted silver cylinder. The adjustment piece is a small ring made of the same material and with the same surface. The adjustment of this ring is very slight and not very efficient, as it slides too much. The cable has guides over the ear, and the gold-plated 0.78mm 2-pin connector sleeves are small cylinders with the same surface and color as the rest, but with a red or blue ring near the cable outlet to indicate the channel.
The biggest difference that gives this model its name is the titanium alloy used to manufacture the capsules and the finish with an exclusive gradient coating that creates a unique color and reflections in each of the 499 limited units.

Adjustment and Ergonomics

The shape is the same, and the ergonomics remain unchanged in this regard. However, the capsules are heavier. They range from 19g for the standard version to 32g for the Titanium version. That is the difference in weight. Everything else is the same, so the description of the fit and ergonomics is also the same.
The shape of the outer surface suggests a complicated fit. However, this is not the case, as the capsules are thick enough that the lower beak does not cause any fitting problems. However, the thickness and size can be a problem for small ears. In my case, the thickness is not a problem, but the size can become more of an issue as the hours go by, as the inner surface of the capsule occupies the entire ear and fills it completely. The discomfort is not caused by pressure on the tragus of the ear, but on the antihelix. Although the protrusion of the edge is very slight and soft, the considerable rounded and bulging size of the inner surface puts pressure on that area.
Since they take up a lot of space in the shell, the fit is quite unique and doesn’t leave much room for rotation. The nozzles are short, and you may need to try different silicone tips to find the one that fits best. In my case, with the large silicone tips filled with homemade foam, the fit is very good, occlusive, and durable, providing great isolation and physical contact.
Apart from the size, the other most negative point is the weight of this Titanium version, which increases from 19 to 32 grams. However, the good ergonomics of the set and the smoothness of the surface minimize the effect of the additional weight of this exquisite and limited model.

Sound

Profile

There are no major differences between this version and the original in terms of profile. The Hidizs MK12 Turris Titanium Edition has a profile that falls somewhere between a rising V-W with the Balanced and Treble filters, while with the Bass nozzles it drifts towards a falling W. There is a clear difference between the first two filters and the Bass filter, which significantly modifies the sound and makes it darker and heavier. This is undoubtedly a specialized profile that may be appealing and remains popular in the market, but it detracts from the spaciousness effect offered by the Treble and Balanced filters. However, the difference between these last two filters is based more on refinement and a somewhat more analytical and raw profile. The Treble filter does not make a big difference in frequency response, but it provides a purer, unfiltered sound that sharpens the notes. The Balanced filter is more rounded and somewhat more musical.
I still think that the profile is somewhat classic and that, with the Balanced and Treble filters, it has a clear drop in the early treble that it does not recover from.
The MK12 Titanium Edition is characterized by a very surrounding, big, bombastic sound with great laterality and an excellent stereo feel. Without a doubt, the sound is spectacular, vivid, and punctuated, and it seeks to impress with a somewhat artificial performance. Hidizs has created an immersive, surrounding, three-dimensional sound, although to do so it has ignored some rules of balance.
This time, the sound is more refined than in the original version. With the Treble filter, the sound is a little spicier, although it is still softened by that refinement I mentioned. The more rounded sound, reinforced by titanium, is achieved with the Balanced filter. It has a subtly greater energy in the bass, while the upper mids are somewhat lighter, smoother, more refined, and delicate. The Bass filter adds a little more sparkle to the darker sound of the game, which caught my attention.
I’m no expert, and I don’t want to repeat my description of the sound of the MK12 Turris with the same standard mouthpiece, even though it is a limited edition made of titanium alloy. So I decided to review this new model with the Low Frequency – Enchanting Red mouthpiece to see if it is as vibrant and energetic as the brand itself describes.

Bass

The bass response of the MK12 Titanium is quite full and linear. With the Bass nozzle, I would have liked to see a little more emphasis on the sub-bass rather than a fairly flat and sustained curve, with a slight dip towards the midrange, which becomes more abrupt once inside that central zone. The result is peculiar, and the bass is clearly enhanced with the Bass nozzle.
In this case, I am no longer surprised by the speed and efficiency with which the bass drums hit. They are very compact, contained, tight, forceful, and with very low elasticity. This is noticeable in the decay level, which is almost non-existent. There is no residue, just a dull thud that creates a volumetric space and disappears.
In the very low frequency pure tone test, the first note has a barely perceptible vibratory character and a low physical sensation, although it is noticeable. This is immediately corrected in the next note, which achieves a more physical and audible presence, albeit with a slight vibration attachment. At no point is there a negative sensation, which is more typical of a very technical and fast driver. In fact, its behavior differs from that of other large dynamic transducers. It has great control and a fairly pure and natural tone, but this does not imply great darkness. I don’t feel it is colored, but I would have liked a darker, denser, and deeper tone. The pure tones of the MK12 Titanium with the bass filter are geared towards generating very technical, skillful, precise bass with great resolution and speed. This can be seen in the very low frequency pure tone test and also in the bass reproduction with my song collection. When I select the fastest bass drums in my library, I am surprised by the ultra-precise and refined performance of the MK12 Titanium. The bass drums sound like gunshots, with very little roughness or elasticity. They linger very briefly in the environment and generate a powerful, accurate, and penetrating impact. It’s not a cannon, it’s a large-caliber bullet. When I select tracks with rounder or gummy bass, I appreciate the smooth contours of the bass and the softness of the surfaces, as well as a remarkable level of depth, although without reaching excellent darkness.
At higher frequencies, the flat extension of the bass is noticeable; there is no coloration, but neither is there any dip in the lower range. Everything is expressed with that uniform tone and behavior within the bass range, where the highest precision is the most outstanding feature.
I think I know the result without fear of being wrong, even before performing the dirty, complex, and unfiltered bass test. We are looking at one of the best results that can be found in this price range, even though it is the most expensive titanium version. The feeling of control, precision, and technical skill is very high. The level of resolution it demonstrates generates a performance of the most complex and dirty passages with a very low sense of distortion, even at high volume. The bass lines are very compact, dry, and low in roughness. There is no dirtiness in them, and the speed at which these lines are followed is superior. The generation of layers is perceived from the depth, with each layer defined in an analytical, pure, and realistic way, seeking perfection in execution. In this sense, nothing has changed from the original version, but there is, if anything, a touch more delicacy and a higher sound when it comes to marking the bass.

Mids

The tuning of the midrange with the Low Frequency – Enchanting Red nozzle brings a clear warm nuance that fills the first half of the midrange. As I mentioned, the linearity of the bass range slides smoothly into the transition to the midrange, and it is in the central range that the drop towards the inflection point accelerates. In this way, the first half of the midrange is presented more fully, with a guaranteed level of body and foundation. Without a doubt, those who have read my reviews before will know that I appreciate this density in this part and I like to feel it, even if it loses some sparkle at the top. And yes, I have to admit that this part of the midrange is vibrant and energetic. The male voices are truly full, complex, physical, and predominant, but without being totally in the foreground, as they know how to maintain a certain pleasant distance so as not to be overwhelming or heavy. The level of density of the male voices makes them juicy and rich, totally enjoyable. The strings behave in the same way in acoustic compositions, where they acquire a weight and a number of nuances that can be appreciated from the very first chord. These types of compositions are emphasized and come to occupy a large space and volume, pushed by that weight that emanates from their base. When the compositions have more elements, that heavy feeling is maintained with greater intensity, reinforcing the feeling of warmth and wall of sound that characterizes planar transducers. It should be remembered that this model incorporates a dynamic transducer. However, this feeling of heaviness does not imply a feeling of homogeneous and impenetrable density, but is perceived as something very dynamic and well-defined. The efficiency of the driver makes the notes very fine, precise, defined, and not very rounded. The level of resolution means that the sound never feels muddy, superimposed, or overlapping. Despite this more oppressive or heavy feeling, the level of clarity is always palpable, even though the density and darkness persist.
Female voices lose a little bit of their foundation and sparkle, remaining in a midrange where they feel very rounded, close, deep, and smooth. They lack brightness, and the warmth is more pronounced in contrast to the lack of high-frequency nuances. Sibilance tends toward zero, but I miss a little more harmonic extension.
Once again, the instrumentation in the midrange deserves special mention. With a clearly more muted profile, the instruments occupy a very large space thanks to the controller’s resolution capacity. That expansive feeling continues to predominate in the central range, which is very wide. The gaseous and volatile sensation is more limited by the lack of brightness and sparkle, but that does not detract from the open, explicit, expressive, and informative character of the mids, in which, despite the warmth and weight of the notes, the micro-detail is not lost, although it is more rounded and with less edge and brightness.

Treble

What does not change much between the three tunings of the MK12 Turris Titanium is the extension of the treble. It is clear that, with the Silent Silver mouthpieces, the treble starts at the very top, with that peak between 4 kHz and 5 kHz that marks the beginning of the high range. With the Enchanting Red filter, on the other hand, that peak does not exist, but rather a difference of 6 dB. From there, a slight drop begins, followed by a stronger one at 7 kHz. This is a fairly pronounced and obvious drop in control. With this curve, you can’t expect too much brightness with the red filter. And indeed, the initial sparkle is perceived as quite warm, with a clear dark, soft, and nuanced tendency. The initial treble is perceived as quite rounded, and the drop in control does not help to improve the situation. Without a doubt, the treble of this red filter has a special and distinctive touch, aimed at a specific audience that seeks comfort and zero sibilance in their long listening sessions.
However, despite all of the above, it is also possible to detect finesse, delicacy, and resolution in the high range, without forgetting the airy range.

Soundstage, Separation

With the red filter, the sense of depth increases. However, in order to describe the scene, separation, and other technical aspects, I wanted to go back to using the Rose Gold series filters, as one of the strengths of this set is the levels of clarity, transparency, separation, brightness, three-dimensionality, and the holographic and surrounding feel of its sound. With the Balanced nozzle, everything returns to normal in these aspects. I find that the sound emitted by the red nozzles is more congested and compact. Returning to the standard nozzles has a clear expansive effect on the sound. The gold filter restores the Turris’s elevated, gaseous, and tactile component, refined and made even more exquisite by its titanium capsule.
In the Titanium version, the sound emanating from the gold mouthpiece seems even smoother, more refined, and more polished to me. This is also noticeable in the micro-details, which are reproduced in a more subtle, delicate, and elegant way. On this occasion, the balance between naturalness and coldness leans toward realism. The standard model may be a little colder, subtly more piercing and vigorous, but in the Titanium version these sensations are more subdued and the sound is more pleasant and refined.
The Titanium version does not go much further in this refinement. The image remains wide, with an impressive stereo feel, and is very capable of locating individual elements, as well as details, voices, and instruments. Precision, efficiency, resolution, clarity, and transparency are strengths of this model that improve when the source is of higher quality.

Comparisons

NiceHCK Himalaya EA1000 Black Filter

When it comes to titanium, the NiceHCK Himalaya is a prime example. Currently priced at $269, the Himalaya is made from pure aerospace-grade titanium alloy using 5-axis CNC machining. It has a matte finish and is heavy. They feature a dual dynamic magnetic driver with a 10mm diaphragm with a 22µm double CNT film. They include a modular cable with a high-purity silver-plated conductor and three interchangeable plugs (4.4mm BAL, 3.5mm SE, and 2.5mm BAL). The mechanism for swapping the plugs is screw-on for added security. They also include three pairs of tuning filters, but honestly, I’ve achieved better tuning with alternative filters. For example, Simgot filters have given me the best results. Ultimately, the filter I used was the Black Filter that comes standard with the Simgot EA1000 model.
The Himalaya capsule has a classic shape, similar to the African continent, but thinner at its lower vertex. It has very rounded curves, also on the inner side, and a protrusion on the edge of the capsule. The distance between the nozzle and this protrusion is somewhat short, so the fit is not universal for all ears. In my case, it fits snugly and can become uncomfortable over time. The Himalayas fit more securely, while the MK12 Titanium has a slightly looser fit. In addition, the distance between the nozzle and the protrusion is greater, so the fit is looser.
The MK12 capsules are larger and heavier.
The Himalaya cable is clearly superior, as are its accessories and presentation, which is more premium.
It is clear that the Himalaya design is very classic, compared to the ever-changing design of the MK12. But this is a matter of taste. In my case, I prefer the single color tint of the MK12, although I also like the classic shape of the Himalaya. For ergonomics, I would choose the MK12.
I have always said that the Himalayas have a classic, smooth V-shaped profile. The MK12s are very similar, but they have treble control with a deeper, more pronounced drop and less extension in the upper range. Otherwise, as can be seen in the curves, the differences up to 4 kHz are not very significant. In my opinion, as a bass lover, I prefer a higher sub-bass, a more complete first half of the mids, balanced upper mids, and present highs that are extended but controlled in terms of energy (neutral). The profile of both IEMS does not match my preferences, but the greater extension of the Himalayas’ highs with the Simgot filter and that slight increase in bass convince me more.
Both IEMS have very similar overall sensitivity and listening volume. I would say that the Himalayas are slightly more sensitive.
As expected, the low end of both IEMS is very similar. Both are very technical, skilled, and fast. The Himalayas seem to have a little more texture and a more pronounced roughness, while the MK12s seem darker and deeper, with a smoother surface. The Himalayas have slightly more color in the bass.
The similarity in the very low frequency pure tone test is incredible: same tone, same performance, same color… Only a slight feeling of greater darkness is noticeable in the MK12s at certain frequencies. But the physical, sensory, and vibratory/wave aspect is the same.
In the dirty, complex, unfiltered bass test, there are differences. I would say that the Himalayas’ performance is somewhat rawer, more energetic, and rougher. Their greater level of roughness comes to the fore in this test. On the other hand, the MK12s perform in a smoother, more refined, and more delicate manner. Neither loses control, but the presentation is different in this case.
The graph shows that the first half of the mids is identical. However, I find a physical and corporeal component in the Himalayas that gives male voices a little more presence and foundation. The first half of the Himalayas is denser, more intense, and fuller than that of the MK12s. The Hidizs are somewhat finer, more relaxed, and a little more distant. The feeling is that the MK12s are more analytical and smooth, while the Himalayas are more raw and physical.
In the upper midrange (but also in the first half of the midrange), the Himalayas have a wider treble extension, which produces more complete harmonics. Female vocals are more present in the mix than with the MK12s, which are colder, smoother, and flatter. The Himalayas have rawer and more vivid mids, with greater range from the base to the harmonics, and a closer, more energetic presence. The MK12s, on the other hand, are more distant, separated, ethereal, and volatile. Without a doubt, both present the mids differently, which can be beneficial for different musical genres and particular tastes.
The difference in energy between the Himalayas and the MK12s is clearly noticeable in the treble range. The treble of the MK12s is more controlled and nuanced; it has air, definition, and delicacy, and is very well defined. The Himalayas have a more present, full, crisp, extended, and also more piercing treble.
There is a clear difference in the presentation of the soundstage between the Himalayas and the MK12s. The NiceHCKs have a great ability to stratify layers, create distance between elements, and place them precisely in space. Their soundstage is not volatile or overly gaseous, but more concise, despite its large size. This is almost the opposite of what happens with the MK12, whose hallmark is a feeling of openness in all directions, a gaseous, volatile, holographic, and expansive impression. The feeling produced by the MK12’s soundstage is more ethereal, while the impression made by the Himalayas is more realistic, close, and physical, more evident and pronounced from the front and sides. The separation between the elements is greater in the MK12s due to the expansive action of the soundstage.
At the microdetail level, the fact that the MK12s have less energy in the high frequencies can be a double-edged sword: the sparkles don’t feel as bright, but they are more delicate and better defined. The Himalayas are a little harder; perhaps the microdetail is more evident, but also a little more abrupt and less refined.

Conclusion

I wanted to write a different review, describing the sound of this MK12 Turris Limited Gradient-Tint Titanium Alloy Edition version with the Low Frequency – Enchanting Red mouthpiece. It is probably the mouthpiece that most limits the sound potential of this model. But I did so thinking that many others will write reviews with the standard mouthpieces. I have also compared it again with the same model that I compared in the past, without even rereading that comparison. My intention was to evaluate this model as if it were different with this mouthpiece.
What a reader would expect to see here is a comparison between the Titanium version and the standard version. To do so, we must first mention that adding titanium to the construction also adds something extra to the sound. There are hardly any differences in profile between the two models. However, there are differences in terms of presentation, performance, definition, resolution, and refinement. The standard version of the MK12 is like a diamond in the rough, while the titanium version is the finished product, with every detail and every edge polished. Where there might have been roughness, an edge, an irregularity, or a scratch before, these are smoothed out and improved in the titanium version. This is especially noticeable with the Rose Gold mouthpiece.
Currently, standard MK12s cost $179, while the Titanium version costs $249, which isn’t bad at all for an exclusive version. You get a lot with the MK12, and the Titanium version costs $70 more. Does the difference in sound justify the price difference? The answer seems obvious, and everyone will have their own opinion. You pay for the titanium, and you also pay for the differences it makes.

Sources Used During the Analysis

• Hidizs AP80 PRO MAX.
• Hidizs S9 Pro Plus.
• Burson Audio Playmate 2 + OpAmps Burson V6 Classic Single + OpAmps Burson V6 Vivid Dual.
• Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602 + ifi ZEN CAN 3.
• Aune N7D.