An interesting new IEM has been released from a new company, CCZ. It is called the Plume. I have been invited to test it and here is my review:
CCZ Plume
I would like to thank Ann at Keep Hifi for providing this unit for review.
Introduction
The Plume is the debut product from a new company on the IEM scene, CCZ. It is an ambitious design retailing for around $200 so faces stiff competition from the established brands in this price sector.
The Plume is a 5-driver hybrid, 1DD + 4BA. The drivers are as follows: 10mm dual magnetic DD for the bass (diaphragm material not specified), 2 x CCZ IF-A midrange BAs and 2 X CCZ HI-A HF BAs for the upper frequencies. All the drivers are designed by CCZ.
Description
The packaging is premium. The large chunky box has a full colour sleeve featuring Chinese characters and golden birds. Removing the sleeve reveals a plain black box which opens with a hinged lid. Inside, the IEMs nestle in a foam insert along with the spare eartips. Below this you will find the leather case with accessories inside and a black box containing the cable and cleaning brush.
The contents include:
- CCZ Plume IEMs
- 6N OCC cable, 2.5mm termination
- 3 pairs standard silicone tips
- 5 pairs of silicone tips with coloured bore
- 4.4mm balanced adaptor
- 3.5mm single ended adaptor
- Leather case
- Cleaning cloth
- Cleaning brush
- Manual
It is an impressive, generous and sumptuous presentation.
The IEMs themselves have a shiny gold finish and there is a large grille on the faceplate above which a CCZ logo is incised. There is a small vent below the nozzle and another behind the fin-like extension on the rear of the earpiece. The 2 pin sockets project just above the surface.
The supplied cable is a 2-core braided design with a fabric wrap and the conductor is single crystal copper. The 2.5mm balanced plug is straight and has a carbon fibre finish which matches the Y split. There is a black spherical chin slider and the 2 pin connectors are angled, formed from black plastic and feature channel identification.
First Impressions
An Xduoo X20 DAP was used as the principal source via both the 2.5mm balanced output and via line out with a Topping NX1a amplifier. A burn-in period of 100 hours was carried out. The Plume was tested using the stock cable and pre-fitted stock silicone tips which provided an excellent fit and seal and provided very good isolation. The earpieces were secure and very comfortable; the fin design was very effective.
The Plume immediately impressed with the size of its soundstage which was very extensive in all three dimensions and displayed notable layering, separation and imaging. The overall profile was V shaped with a bass emphasis, the low frequencies being powerful and well-textured with an impressive sub-bass. The mids had good timbre although they were a little recessed and the treble was smooth and gentle with no noticeable peaks or harshness. The tuning favoured musicality over technical prowess. Output was robust with no need for further amplification although when augmented with a Topping NX1a via line out, single-ended, there was an improvement in the tightness of the low end. I did find the Plume to be source sensitive, as, when played via a smartphone and then a CD player, the bass was more dominant and a little loose but via a DAP it was much tighter and more controlled.
Bass
The Plume’s bass was powerful and visceral with a prominent sub-bass. Mid bass was also strong with good impact but it did intrude into the midrange a little. Texture was good but I felt the resolution was just a little blunted by the warm tonality.
“Silencium” is the theme from “Silent Witness”. John Harle’s arrangement features ethereal female vocals sung in Latin supported by solo violin and strings and a prominent part for bass drum. This had plenty of impact on the Plume with a believable timbre and a slow decay, but the initial strike could have been more incisive.
The flowing synthesiser chords and mysterious atmosphere in the title track from Meg Bowles’s “Evensong” are supported by deep sub bass elements which swell and subside. The Plume produced an evocative rendition with plenty of depth and power and a healthy dose of rumble in the lower frequencies whilst preserving the lyrical qualities of the music.
In “Something Inside so Strong” by Labi Siffre, bass synth, bass guitar and drums all combine to produce an impressive backdrop to the inspiring and heartfelt lyrics in this seminal anthem to tolerance. The disparate elements in the bass were nicely differentiated by the Plume and once again displayed impressive depth and power whilst allowing the message to be clearly conveyed.
Midrange
The Plume’s midrange was smooth and well articulated and possessed a somewhat warm tonality due to the influence of the bass. It was a little recessed, as befits a V shaped profile, but still retained reasonable levels of detail. Male vocals were warm and female vocals perhaps a little softer than ideal. The transition into the treble was seamless with no harshness or sibilance in evidence.
The introduction to “Venus” from Holst’s “The Planets” by the Montreal Symphony under Charles Dutoit was handled beautifully. Solo horn floated effortlessly over hushed strings and harp and each concertante instrument was reproduced with a timbre which was good for a BA driver. I did, however, feel that the smooth nature of the performance occasionally lacked a little bit of detail and could have been a bit more assertive.
The solo saxophone in the bridge in “First Kiss” by Chris Spheeris sounded great with the character of the instrument very evident and producing an impressive tableau when backed by cascading synth strings and acoustic guitar. Solo guitar also impressed with the deep bass adding a solid foundation. The details in the rhythm guitar and synthesisers were also very well presented.
The vocals in “Father and Son” by Cat Stevens were clearly enunciated and the quality of his voice as he portrayed the different characters was effectively conveyed. The acoustic guitar solo was clear and bright and the backing instruments and vocals were also well defined, drawing you into the music and creating a very immersive result.
Treble
The treble was fairly natural in character with a pleasant timbre, but it was a little subdued and although there was a good amount of detail on offer, I felt that the extension could have been a little better (see below). Transients were slightly soft and I did miss a bit of air and sparkle, but there were no disturbing peaks and it was devoid of sibilance.
“Sunday Morning” is the second movement of the “Four Sea Interludes” from Peter Grimes by Benjamin Britten. Brass and woodwind announce a complex rhythmic theme followed by violins in the high register. The atmosphere of the piece in the beautiful recording by Andre Previn and the LSO came over well with an attractive silky tonality in the strings but the syncopated rhythms lost a little of their immediacy due to the rather safe tuning in the presence region.
“Petite Fleur” is an electronic piece by George Deuter from his album “Land of Enchantment”. This was much more to the Plume’s liking with the music box-like melody possessing a clean timbre and remaining clear above the synthesised accompaniment. Each note was clearly defined and the reverb of the studio recording faithfully reproduced.
“Man Free” by Linton Kwesi Johnson is a dub reggae classic from the album “Dread Beat an’ Blood”. The playing of the superb rhythm section of Sly Dunbar and Robbie Shakespeare received a stirring rendition with the bass suitably deep and the Plume handling the percussion in an incisive fashion with accurate timbre, especially the complex and detailed cymbal and hi-hat work in the instrumental which was supported by some characteristic “skanking” from the keyboards.
Soundstage
The expansive soundstage was its best feature, being amongst the best I have heard so far with impressive levels of separation, layering and imaging.
“Accumulus” is a large-scale symphonic style electronic work by Matthew Clifford. The first part is in sonata form with an “idee fixe” which occurs as a theme and variations. A veritable arsenal of keyboards is brought to bear and all the different elements were clearly differentiated by the Plume within a vast stage in which everything had its place. Different strands were easy to follow and the imaging was excellent. The focus was on musicality throughout.
The Plume’s extensive staging suited film music very well. “Come back to us” by Thomas Newman from the OST to “1917” was a perfect example.
Sustained strings and delicate keyboards introduce the piece. Basses and cellos, augmented by synth bass, form a deep foundation over which a poignant and impassioned cello solo is heard. The Plume recreated a wonderful tableau full of atmosphere and feeling in a broad canvas and when the cello was joined by full orchestra, the effect was thrilling.
“Eve of the War” from “War of the Worlds” by Jeff Wayne is a beautifully produced track. It begins with the imperious voice of Richard Burton describing the start of the invasion. His voice was very well rendered in a resonant acoustic. Following this, synthesisers announce the theme with percussion left and right in the image. More layers are added as the track develops and the Plume kept up admirably, retaining excellent separation and imaging. The whole piece was very excitingly portrayed.
Comparisons
TRI i3
The i3 is an innovative “Tribrid” featuring an 8mm DD, planar driver and BA. Nicely crafted from metal, it, like the Plume, presents a bold and expansive sound picture. The planar unit produces a wonderful midrange timbre, the bass is deep and powerful and the treble deceptively detailed. It does not suffer from bass bleed as the Plume does. It does require amplification to bring out the best in the planar driver but it is more balanced and refined than the Plume and equally as musical in its presentation.
Aiderlot M5
The M5, like the Plume, is a 5-driver IEM but it is an all-BA model using Knowles drivers. It is tuned very differently from the Plume, being very neutral and flat. Bass is not as prominent as may be expected from a BA unit, but it is faster and cleaner. Mids are very clean and detailed and the treble is open and more extended than the Plume. The soundstage is large but not as extensive, though the imaging is very good. The overall sound is open, refined and airy but it does not have the power and depth seen in the Plume.
TRI Starsea
The Starsea is a 3-driver model, 1DD + 2BA. Its USP is the two tuning switches offering four different sound profiles. Comparing it to the Plume, the Starsea was set to the “Amazing Bass” setting which produces the most powerful low end. The result is a mild V shape with solid bass, a very open midrange and extended treble. It is more airy, delicate and detailed than the Plume, and also has a very large soundstage. The Plume is warmer in tonality and more powerful sounding and has a more pronounced V tuning.
Conclusion
The Plume produced a bold, dramatic sound and there was a broad, cinematic sweep to the reproduction. The soundstage was first class and the overriding impression was of a musical and entertaining character. Bass was deep and powerful, though sometimes dominant and the mids were smooth and slightly warm in tonality. This continued into the treble which was conservatively tuned with no harshness or peaks and would suit the treble sensitive amongst us, but I felt there could have been a bit more detail and I often found myself wishing for more air and sparkle, although it was very relaxing to listen to. I did obtain a brighter sound by using a KBEAR Limpid Pro cable and JVC Spiral Dot tips which, for me, brought the sound into a better balance. It may be worthwhile experimenting with cables and tips and a bright or neutral source is recommended.
Beautifully presented, good looking, well made and with a sound which will appeal to many, the Plume is a very impressive debut for CCZ and can be warmly recommended.
