Review: NAN-7 planar magnetic headphones

Intro:

Today, we turn our attention to the NAN-7, a planar magnetic headphone made by a boutique Chinese manufacturer goes by the name of ‘A-NAN’. Previously, the predecessor NAN-6 was also reviewed here. While I found it to be a worthy side-grade to the HE6se, offering a unique tuning that sets it apart from its counterpart, the landscape has shifted dramatically with the Adorama liquidation of the HE6se V2, which hit the market at an impressive $399 sale price. This remarkable value proposition has certainly raised the bar for other planar headphones in similar price range. With an exceptional blend of tonality and technicality, the only limitation of the HE6se V2 is perhaps the difficulty in driving it.

Enter the NAN-7, released in late 2022 with a price tag of around US$850 (without shipping and taxes). The question now becomes: can the newcomer justify its higher cost by offering features and performance that the HE6se V2 cannot? Furthermore, as the market for planar magnetic headphones becomes increasingly crowded, what distinctive qualities does the NAN-7 bring to the table to set it apart from the competition? Moreover, how does the NAN-7 fare against the well-established high-end planars on the market, such as the Arya Stealth, the Diana V2, or the Audeze LCD-5?

With these questions in mind, let’s dig into the review. This review will be longer due to the NAN-7 being a product from a small manufacturer (and also because… I need an excuse for having procrastinated for so long).

Overall impression:

To begin, the NAN-7 is an intriguing headphone to review. Inside the box of NAN-7 are three different sets of pads, a clear message by the maker that pad-rolling is encouraged with these headphones. In this review, they’ll be referred to as the default hybrid pads, the round pleather pads, and the perforated leather pads. As such, the NAN-7 defy easy categorisation, as each pad makes for a different sound profile.

It is important to note that despite the flexibility offered by the pad options, the NAN-7 still possesses its own sonic character. Generally speaking, the NAN-7 has a neutral-ish tuning with boosted bass and solid mids; A good comparison might be the Hifiman HE6se V2 or the Susvara with more ‘blood and flesh’ ie. a greater sense of bass and mids energy especially in terms of the physicality of impact. The NAN-7 boasts a powerful and engaging bass response, reminiscent of the Hifiman HE500 or the earlier Audeze LCD series. However, rather than being an intense headphone, its bass remains non-distracting thanks to exceptional clarity and composure. Impressively, the NAN-7 has showcased its capabilities as one of the most technically proficient planars, dare I say, regardless of price point. The sense of resolution it offers is exceptional, with no single frequency overshadowing another, resulting in a well-organised presentation of detail. Imaging, another notable strength, is reminiscent of the HE6 OG, offering excellent depth and centre image definition.

Perhaps the most striking aspect of the NAN-7 is its remarkable dynamics – a trait seldom found in planar headphones. It is often observed that, in comparison to traditional moving-coil (dynamic) headphones, planars may lack impact or punchiness, even when bass levels are similar. The NAN-7, however, challenges this stereotype, delivering a hard-hitting bass reminiscent of the Abyss headphones. This characteristic is also supported by frequency response measurements, which reveal some 3dB subbass boost (not attributable to an air gap, as demonstrated by the leakage test measurement below).

In the following sections, I will provide a brief overview of the impressions of each pad.

1. Default hybrid pad:

Marked by an unusual sub-bass prominance, somewhat meaty lower mids, and spaced out upper mids, the default hybrid pads evoke a tonality similar to the Hifiman house sound. Having a scoope in the 1-3khz region, according to this tuning philosophy, enhances the sense of acoustic space like being in well-designed concert halls. The hybrid pads take this concept to another level, as the scoope reaches 5-6dB at 1.5kHz, a step further than most Hifiman planars like the HE6se or the Arya.

The treble, while mostly linear, veers towards the more consevative side of things. The HE6se V2 serves as a close reference point, although the NAN-7’s bass and mids are considerably more prominent. Vocals, though clear and focused, might occasionally be perceived as thicker and boxier than usual. As these pads come pre-installed on the NAN-7, they likely represent the intended primary sound profile, which I find more well-suited for genres like orchestral, instrumental jazz, and electronic music, among others.

2. Perforated leather pad:

Compared to the hybrid pads, the perforated leather pads bring a discernible tightness to the bass, yielding a faster, leaner, and more dynamic sound. The midrange becomes generally more linear, although there’s a touch of honkiness around 1kHz emphasising nasal tones in vocals that some listeners might not find appealing. The treble, on the other hand, is smoother and less prone to dryness or sibilance, albeit with slightly reduced extension and airiness in the highest octaves.

In terms of genre compatibility, these pads prove more amenable to modern music styles such as pop and rock, where vocal timbre is of utmost importance. While the emphasised nasal tones may be noticeable, they are not sufficiently pronounced to disrupt the overall tonal balance. In fact, some listeners may prefer this presentation if their favorite vocalists’ performances are enhanced by an emphasised nasal quality.

* as a side note, leather pads with more perforation/higher degree of ventilation have proved to eliminate the 1kHz bump, evidenced by the FR measurement of the Dekoni Fenenstrated Sheepskin pads for Fostex THX00.

3. Round pleather pad:

In short, this is arguably the worst pad option. It’s not angled – that means spatial qualities can’t be good. More importantly, it pretty much screws up the whole tuning.

In some ways, I find that this pad to be an extreme version of the perforated leather pad. Vocals and mid-range instruments become strikingly forward and boxy. Piano tones, in particular, have an strange glare to them, rendering extended listening sessions uncomfortable. Meanwhile, the treble is imbued with added zest; while this can initially excite the ear, it may also lead to fatigue over time. Bass is fine, as the pleather material refines the sub-bass boost, making it tighter than with the default hybrid pads. The deal breaker lies in the midrange timbre, which is significantly disrupted by a drastic boost between 800-1200Hz. Coupled with recessed upper mids, this combination results in harmonic imbalance that colours instruments way too much than my liking.

Tonal balance

In this section, what I usually do is to simply break down the tonal balance into three frequency ranges. However, three sets of pads each with their own character again complicates this task. It is impossible to describe the tonality of a headphone without reference to the actual pad used. So, I will instead base the discussion on the Hifiman Pali pads, found on the latest versions of the Sundara and HE6se. If you happen to own the NAN-7, I recommend the Pali pads as a neutral reference point when you roll pads.

This is because, on the one hand, the Pali pads bring out perhaps the most neutral presentation of the NAN-7 driver (although the differences between the Pali pads and the stock hybrid pads are not night and day difference). On the other hand, many of the viewers here are probably familiar with Hifiman headphones like the Sundara or HE6se that come with this pad. Therefore, using the Pali pad as the reference point here would probably help to show how the drivers of the NAN-7 are tuned, in a more comparable way.

Manual sine-sweep:

A manual sine sweep on my head revealed peaks at 4.3k, 8.8k, 11k, and 12.5kHz. None of the peaks are particularly strong, though that between 8-9kHz is perhaps the most apparent. The 9.5khz dip did not come across to my ear. Note the perception of treble varies A LOT from person to person especially from 10khz. You may or may not hear the same peaks or dips depending on headphone positioning, your own HRTF and/or headphone unit variation.

Bass:

One of the most dynamic bass in a headphone: tight, punchy, and full of impact. With loads of sub-bass oomph and rumble, it offers a fantastic sense of momentum, making it perfect for orchestral music like the opening fanfare of “Also sprach Zarathustra” by Richard Strauss. The NAN-7 delivers a majestic bass ambiance, authority, along with an impressive sound field depth. The sense of impact is easily one of the best I have heard from planar headphones, as also showcased by the synth notes in the first minute of ‘Fluids’ by Yosi Horikawa.

In some ways, the excellent bass slam of the NAN-7 is similar to what you would get from introducign a high-Q resonance by breaking the seal of a low Fs planar driver. The main difference here is that the resonance frequency is super low at around 20hz. As such, the bass boost retains the subbass frequencies fully, which translates into a bass response that’s both deep and snappy at the same time. This might be related to what the NAN-7 manual refers to as an innovative ‘pressure-balanced chamber structure.’

But it’s not just about the bass quantity—the NAN-7 also excels at portraying the contrast between strong and weak notes. Take the ghost kick drum notes in Led Zeppelin’s ‘Fool in the Rain’, for example, which add a complex, jazzy groove to the music. Headphones with muddy bass might struggle to distinguish between strong and weak drum hits, but the NAN-7 handles it with ease.

As it proves, the NAN-7 demonstrates the ability to reproduce bass that is leagues above mid-fi planars like the Hifiman Sundara or the Moondrop Venus. The HE6se V2 may be close in terms of how nimble and tight the bass can sound, but the NAN-7 outclasses it in terms of slam and the scale of impact. Finding a close comparison for this level of bass performance is tough, and the Diana V2 with bass port pads might come closest. Both have incredibly dynamic and punchy bass, with the Diana V2 offering slightly tighter, harder-hitting bass, while the NAN-7 features a rounder, more diffuse and atmospheric presentation.

Of note, the NAN-7’s outstanding bass performance doesn’t change much with different pads, which isn’t always true – in some cases perforations can cause significant bass leakage. Even when using the included perforated leather pads, the bass maintains its slam and authority, while trading a bit of the oomph for tightness and speed. Overall, I have no complaints whatsoever for the bass performance on the NAN-7. It is without doubt, class leading.

Mids:

Midrange on the NAN-7 evokes the signature Hifiman style – slightly spaced out than usual while remaining articulate. Midrange instruments exhibit accurate timbre, and vocals possess a substantial sense of body without ever becoming shouty. While the default hybrid pads may lend vocals a slightly meaty quality, the Pali pads rectify this boxiness for a more neutral presentation. However, it is far from what some might describe as a ‘thin’ sound. Quite the opposite, the NAN-7’s midrange is never hollow or lean but replete with depth and richness. In comparison, vocalists on both the HE6se V2 and the Hifiman HE1000 V2 tend to sound a tad thinner.

That said, the rather linear mids to treble transition on the NAN-7 doesn’t always offer the smoothest vocal presentation, and it largely depends on the quality of the music mix. In general, well-mastered modern recordings, like Youn Sun Nah’s “Calypso Blues”, and remastered vintage mono recordings like Nat King Cole’s “Mona Lisa”, come acorss as full and vivid. However, occasionally accentuated consonant tones like that the first ‘see’ in Holly Cole Trio’s “I Can See Clearly Now” may come across somewhat dry, though not enough to be labeled ‘shrill’. In this way, the NAN-7’s midrange can be considered as striving for an honest reproduction of music without excessive polish, as evidenced by the FR measurements where the mids is mostly linear aside from the scoope between 1-3kHz.

Comparing to headphones with exemplary midrange timbre, such as the HD600 or the LCD-5, the NAN-7’s mids is not as liquid, though the sense of articulation is actually not far behind the LCD-5. Comparing to the Meze Elite, where the mids has a wonderful sense of laid-back smoothness and velvety feel, the NAN-7 lacks the gimmicry to sound as magical, though its reproduction of midrange instruments is arugably much more faithful to the recording. A close comparison may be the HE6se, where the mids often feels a little too polite due to the 1-3kHz recess. Vocals sound fuller and slightly more forward on the NAN-7, while both exhibit slightly accentuated bites and grains. To improve midrange tonality, one option is to use leather pads with a smaller front volume. The bottomline is, the vocal timbre of the NAN-7 sits about on par if not slightly better than similarly priced planars from Hifiman, such as the HE6se V2 or the Hifiman Arya Stealth. But if vocal smoothness is strictly your priority, then the Audeze LCD-3 or the ZMF Auteur might be more suitable options.

Treble:

Continuing with its neutral approach, the treble on the NAN-7 presents a balanced take on the music – neither too dark or too bright, while the balance of harmonics leans toward the upper octaves. Instruments have enough energy to sound clear and sharp, while consonant tones in vocals are generally not accentuated. Sibilance is not an issue unless the music is mastered with added emphasis on that.

Indeed, some may even find the NAN-7’s treble to be on the darker side, particularly if they are used to the mid-treble emphasis commonly found in headphones such as the T1, the HD800, or the Arya/HE1000. Breaking down the treble composition, I find the mid-treble (6-8kHZ) on the NAN-7 to be more controlled, presenting a subtler approach to the elements of ‘sheen’ on instruments that are often found emphasised in TOTL cans. But at the same time the upper treble maintains a decent amount of air to sound natural and open. Therefore, it has more to do with a different approach to harmonic balance. Overall, I find 6-8kHz to be well balanced with midrange tones, while upper treble above 10kHz can get ever-so-slightly hot at times, causing some percussion instruments to sound a bit zingy (think more aggressive recordings where the sibilance peak is within -10dB of the fundamental tone).

A good reference point is the Hifiman HE6se V2, a mid-fi planar that many consider to have exemplary treble timbre that gives many flagship headphones a run for their money. Treble on the NAN-7 comes across a bit more balanced, while the HE6se V2 sound a little ‘cleaner’ by comparison. This can also be attributed to the NAN-7 having more bloom in the bass and body in the mids. In terms of treble clarity, the NAN-7 surpasses the HE6se V2, delivering a more heightened sense of resolution. As such, the treble style and quality of the NAN-7 are somewhat reminiscent of the HE6 OG. While the NAN-7 may be a bit more conservative therefore not as ‘crisp’, there is a comparable level of clarity and incisiveness.

Overall, the style of treble presentation is similar to the Hifiman gold-plated planars, though not as crisp or airy as the Susvara. While the sense of clarity is scarily close to the TOTLs, the NAN-7’s treble falls slightly behind in the degree of smoothness. The Audeze LCD-5 and the Meze Elite are examples of effortless transition between mid- and upper-treble, making them more tolerant to modern music genres.

Interestingly, the NAN-7’s treble brings to mind a darker version of the Sennheiser HD800S (ie. EQed with a -3dB filter, Q=3.0 at 6kHz) which is known for its slightly brighter highs but still within the ‘neutral’ range. The HD800S, unlike its predecessor the HD800, doesn’t have as prominent resonance peaks in the upper octaves, so that the added energy rarely distracts one from the music. This results in a discernible brilliance to instruments without overly compromising timbre. A good example can be found in the shimmering percussion of Makiko Hirabayashi’s “Moon Bells”. So, despite the NAN-7 and HD800S being distinctly different sounding headphones, their approach to treble presentation share a certain degree of resemblance.

In summary, if the mid-treble and upper-treble transition were more refined, the NAN-7 would be more versatile across different music genres. In this regard, the NAN-7 is again similar to the Susvara. In fact, my only complaint for otherwise nearly perfect Susvara is that the treble sparkle can occasionally get a bit hot. But by preserving the zingy elements of the music, a headphone can potentially reproduces the timbre of instruments, like the accent of crash cymbal in a jazz improvisation or the penetrating brilliance of a violin solo, more faithfully. Metal enthusiasts who appreciate a touch of rawness are also likely to enjoy the clarity of the edges of instruments on the NAN-7, coupled with its exceptional bass dynamics. The bottom line is that treble presentation varies most significantly with pad options, as shown in the measurements above. Overall, while it could benefit from some refinement, the NAN-7’s treble is undeniably impressive in terms of clarity and faithfulness to the recording.

Other qualities:

• Space and stage: The NAN-7 is proficient in spatial qualities though perhaps not class leading. When reproducing sounds meant to come from a distance, such as the sound effects in the opening of Michael Jackson’s “Thriller”, the NAN-7 maintains a natural sense of distance without exaggeration. When it comes to reproducing the soundstage of a live orchestral recording, the NAN-7 does not suffer from issues of compression or distortion. The Susvara takes the cake with a much wider horizontal stage and more diffused sense of air, while the NAN-7 is not far behind in portraying depth. When compared to more intimate sounding headphones like the LCD-5, the NAN-7 offers a decernibly wider horizontal stage and grander sense of sound field. Overall, the NAN-7 has a reasonably-sized, conventionally-shaped soundstage – there is no magic there, but nothing to be complained about either.

• Imaging and positioning: The imaging capability of the NAN-7 is excellent. Vocalists are positioned front and center with a vivid sense of presence. Generally images are not very close-up, and there is a good sense of depth between the front image and those at the sides. Commendably the front image is very distinct and focused, where there is a strong sense of the vocalist ‘being there’. This is impressive, as imaging is typically considered a weakness of planar headphones. In comparison to top dynamic headphones, planars often exhibit fuzzier imaging and weaker directionality due to the larger size of planar drivers. Designing a chassis that can accommodate a large planar driver at an optimal angle without becoming overly bulky or heavy is a challenging task. While angled pads can help mitigate this issue, highly angled pads can easily affect the tuning of the headphone by introducing a deep front volume. In contrast, headphones like the Beyerdynamic T1, which come with highly angled drivers, offer a stunning sense of directionality. While the NAN-7 may not rival the T1 in terms of directionality and may not be the best option for gaming, overall the sense of positioning on the NAN-7 is still great. It offers a solid and tangible reproduction of sound images with a sense of depth that surpasses many planar headphones in its price category, and compares favourably to higher-priced options such as the Arya Stealth and the Diana V2.

• Clarity (a.k.a. ‘detail’): The NAN-7 is an excellent performer that can rival the TOTLs. It excels at pulling apart different elements of complex musical arrangements. Even the more subtle elements in the music sound impressively clear and distinct. Initially, I did not perceive the NAN-7 to sound as ‘resolving’ as other top-of-the-line headphones, but I later realised that it has more to do with the prominence of bass in the NAN-7’s sound profile. Upon closer listening, I found that the details are never masked over, but conveyed in a more ‘unruffled’ manner. One of the standout qualities is its impressive composure during busy passages. The NAN-7 can allow you to distinctly track individual instruments, like the bass guitar line in a cacophony of crashing cymbals, distorted guitar walls, and dramatic keyboard melodies of a post-rock crescendo. In comparison to the HE6se V2 and the Diana V2, the NAN-7 offers a better sense of instrumental separation, while the Susvara remains a slightly more resolving headphone. Overall, the NAN-7 exhibits an excellent sense of clarity, perhaps just slightly shy of those at the very top, which is remarkable considering its price point and its emphasis on bass impact.

• Dynamics and impact: Unlike some planars that suffer from soft transients or compressed dynamics (such as the Aeon Open X), the NAN-7 is free from these issues. The dynamics and impact of the NAN-7 are truly exceptional and set it apart from other planars in the competition. While the NAN-6 has good impact, it falls behind the HE6se V2 in terms of contrast and bass micro details. The NAN-7 is clearly a league above the HE6se V2, which is already an excellent performer in this regard. The sense of physicality on the NAN-7 is simply magnificent and stands out even among other top-of-the-line planars. While the Meze Elite has more bass quantity, the NAN-7 surpasses it in terms of incisiveness, impact, and extension. The NAN-7 not only excels in macrodynamics but also in capturing subtle changes in quieter elements of music, such as a faint drum roll in the background of an orchestra. Even compared to the Diana V2, the NAN-7 performs admirably in this regard, and it’s only when you reach the level of the LCD-5 that you may find better finesse in portraying microdynamics. But then again, the NAN-7 offers a much fuller sense of punch and impact than the LCD-5. If one were to nitpick, the transient attack on the NAN-7 could be slightly more nimble, although this is not saying it’s a slow headphone by any means. Overall, the NAN-7 has excellent transients comparable to the HE6 OG, and is faster than the Diana V2 or the Meze Elite in the grand scheme of things.

Comparing to the NAN-6:

Given that the NAN-6 is the only other product offered by the same manufacturer, it is logical to have a dedicated section for direct comparison between the two.

Despite their many structural similarities, the two headphones actually exhibit quite different sound characters. In my review of the NAN-6, I noted its smooth, mellow, almost laid-back presentation of the midrange, which makes it ideal for vocal-oriented music. It has decent bass extension and impact, though not awe-inspiring. The treble straddles somewhere between Hifiman and Audeze headphones, where there is a good balance between clarity and smoothness. As such, the NAN-6 has a distinct sound that leans towards a more specialised, genre-specific headphone. I thoroughly enjoy its calm and effortless rendition of folk, country, R&B, classic jazz, and various pop music genres. While the NAN-6 may not boast top-tier technicality, it immerses you with its soothing style.

On the other hand, the NAN-7 is a headphone that unabashedly showcases its technical prowess. There is much more of a wow factor: with magnificent bass slam and treble clarity, the NAN-7 can easily impress those who are used to hearing TOTL cans. Midrange though is not as liquid as the NAN-6. The key commonalities between the two NAN headphones are perhaps a well-supported lower midrange and a great sense of front imgaing. Overall, the timbre of instruments on the NAN-7 is more accurate, but the trade-off for this higher level of resolution is that the NAN-7 is a less forgiving headphone. This is akin to the situation with the Sennheiser HD800S, where fans of the magical midrange of the HD6 series may find the flagship model less appealing. In the case of the NAN-7, while its tonal balance is more neutral compared to the HD800S and the NAN-6, whether one appreciates its slightly more V-shaped presentation and its ability to reveal every nuance of the music is a matter of personal preference.

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Conclusion and value:

So that’s what the NAN-7 is about. Full of raw, unbriddled energy and potentiall, making it a great option for seasoned headphone enthusiasts who want to explore what a uniquely designed, finely crafted and technically highly capable planar driver can do. I also encourage experienced users of Hifiman planars to try the NAN-7 if there was the opportunity, as it presents a similar yet different sound profile that is more focused and energetic. Admittedly, the NAN-7’s tonality may not be as natural as the HD600, as well-rounded as the Meze Elite, or as expansive as the Susvara, and its straightforward character may not appeal to all. But this is also something EQ or pad-rolling can potentially fix. Interestingly, I found that the Susvara pads impart a subtle, understated smoothness that tempers the energetic nature of the NAN-7, offering a more effortless listening.

However, this is not to suggest the NAN-7’s default tuning is subpar. In fact, as one can also see from its FR measurement, the NAN-7’s tonality is reasonably close to neutrality. Comparing to most headphones at its price range, the NAN-7’s tone is already very good. It is only when placed alongside legendary references like the HD600, or flagships like the Susvara and the LCD-5 that the NAN-7 appears to lack the final touch of refinement. In terms of technicalities, the NAN-7 comes alarmingly close to the top dogs, even surpassing them in certain aspects.

Admittedly, my comparisons may have been rather stringent, as I pit the NAN-7 against some of the finest headphones on the market. Indeed, I evaluated the NAN-7 alongside their most notable strengths, such as the Susvara’s soundstage, the LCD-5’s mids, and the Diana V2’s bass. However, considering the technical prowess of the NAN-7, I believe such comparisons are warranted. As a product from a small manufacturer, it must offer something unique to justify its value proposition. I am pleased to report that the NAN-7 has successfully accomplished this task.

In conclusion, the NAN-7 represents outstanding value at around US$850. With pad-rolling or EQ adjustments tailored to your preferences, you can fully exploit the NAN-7’s exceptional technicalities. Even the stock tuning with the hybrid pads or perforated leather pads delivers a satisfactory listening experience, although there may be some limitations in terms of genre compatibility.

Pros: exceptional technicality that punches way above its price point; one of the best dynamics; remarkable clarity and separation; excellent imgaging focus; bass slam and authority; mids have a good sense of fullness while remainig articulate; highly versatile with pad-rolling options.

Cons: not a very flavourful sound character; treble transitions could be more refined; vocals can use a little more polish; horizontal soundstage can be wider; some may find the bass a bit voluminous; some may prefer more spice in the treble.

Great for: classical, jazz (inst, cool, fusion), soundtracks, world, metal, rock (hard, progressive, inst, post), electronic (ambient, techno, trance, EDM).

MEASUREMENTS

Extended Frequency Response:

note: bass extension cutoff is 10hz instead of 20hz on Squiglink, so as to fully capture frequencies which though may not outside of ‘audible range’, may be felt by our ears, bones and muscles and enhance the sense of ‘impact’.

Positional Variation:

note: this graph shows how the tonality might be affected when you wear the headphones differently on the head.

Leakage Test:

note: this graph demonstrates how a small leakage (simulated using thin-armed glasses) can result in FR change.

Impulse Response:

note: impulse response gives time-domain information about the transducer movement after a test tone is played. It should mainly be read for detecting polarity.

Like the HE-6 series, the NAN-6 and the Susvara, polarity is inverted on the NAN-7.

Channel Matching:

note: channel matching graphs DOES NOT RELATE TO TONALITY. A specialised configuration is used to capture channel differences to mitigate the interference from positioning on rig, directional sensitivity, and the asymmetricity in GRAS pinnae design (legacy of the Kemar). The Left (blue) and Right (red) channels are measured on a flat plate coupler with IEC60318-4 ear simulator.

END OF ARTICLE

Feel free to leave a like or comment... let me know what you want to read more about

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EDIT 24th Apr 2023:

I was asked where I got my unit. I purchased mine directly from the manufacturer’s Taobao store and used a parcel-forwarding service to ship it to Australia. For those proficient in using Taobao, the cost is significantly more advantageous than buying from Aliexpress resellers.

EDIT 2nd Nov 2023:

Final thoughts, pad-rolling and EQ for the NAN-7.