I too predominantly listen to Spotify. It’s very convenient and real easy to use.
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Welcome.
I’m very much the same sort of music, trap, glitch hop, dnb, electrosoul, new funk etc.
So I’m all about superb clarity and detail AND gut wrenching low rolling and punchy bass. A combo that’s difficult to master at budget prices.
The two best IEMs I’ve found for this so far are the BGVP DMGs with are a 5 driver hybrid and have some of the best punchy and raw textured bass I’ve heard, with a great mid and even better treble. Plus it wins extra browny points for being all metal and some of the comfiest fitting units I’ve tried (plus it has tunable nozzles, bit I’ve not actually tried them as I love the sound with the stock ones).
Then second best is the CCA V10 which again is a 5 driver hybrid (1 dynamic and 4 BAs). The CCAs probably have better range across all the frequencies and still a super solid low end, but it doesn’t go quite as raw and gutsy as the DMGs… But seems to be less of a V signature and more full across the whole range.
Both well worth checking out, although they are a little more pricey that what this thread mainly covers (for me they are worth the extra though).
Worth checking out both if you’re looking for some more IEMs.
Using UAPP should help you find what the OP6 is capable of sound-wise. I held off on buying it for a long time, but the DAC/amp config in here opened up quite a bit for me once I was able to properly utilize it. Sadly, it doesn’t have Spotify capability, but you should be able to get a feel for it with your stored tunes. With UAPP’s MQA plugin, though, Tidal is a real treat on the OnePlus 6. This should give you a taste, if you feel so inclined:
Congrats on buying the Senfer. For your tastes, the KZ ZSN Pro would also be a great fit and well within your budget.
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I second the vote for UAPP. It opens up a whole new set of possibilities on my Chuwi HiPro 9. Which I bought so that I could try out new android stuff as my Motorola XOOM is stuck back in Android Clotted Cream Hot Lime Pickle.
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I think you mean CCA C10 rather than V10. I really like the C10 in the sub $50 market.
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Wow thank you for all the comments. I will definitely add this to my list of what to buy next.
I don’t want to carry around another device to listen to music as I’m on the go a lot and I like to keep my pockets light. I’ve read that the apple lightning cable provides a DAC but I don’t see how that would be useful since my phone already has a 3.5mm jack with a DAC built inside. Ill have to try UAPP for stored music on my device. I also heard good things about viper4android but I’ll have to root my phone. How do I know what drivers and dac I’m running? Also if I already have an equalizer on my Android OS but also run separate equalizer settings on an app wouldn’t that be disadvantageous?
Side question but anyone here know how do SHURE products stack up in the IEM world? What are they specifically good for? I know they can be pricey but I might want to them a shot if later on the in the future. I live near there headquarters and have passed by their interesting looking building atleast a million times. Some of their employees drive real nice cars 
In my experience (and with few exceptions), the trick to good playback on Android playback is getting Android itself out of the equation to the max extent practicable. Apps like UAPP have been doing that since inception through using a custom audio driver that bypass Android’s Sample Rate Conversion (SRC for short). Since Version 3, PowerAmp also performs similar trickery.
Just to keep things simple, go off the generalization that Android’s SRC can cripple most phone’s hardware DAC implementations. There’s people better able at explaining the processing steps between floating point and fixed rates and yaddayadda, so I won’t try to get into it, but the fewer conversion steps there are, the better chance you have of quality output.
To answer your question about how you can tell, UAPP will show you right on the now playing screen what your output bit/sample rates are; it’s a tool I use often to check what “tier” of MQA file is being labeled as such by Tidal during casual listening. For what it’s worth, I can appreciate having only the OP6 with UAPP when I don’t feel like lugging around a separate device, but it’s no substitute for some DAPs in terms of pure sound quality. Definitely narrows the gap, though.
And Shure were a great proposition for casual/detailed listening when the market was a lot smaller than it is now. These days, though, there’s too much out there that can meet or beat the 200-500 series Shures in technicalities without asking as much out of your wallet. Still phenomenal for their intended use on stage, though.
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If I decide to buy UAPP though it will only be able to convert stored files and not Spotify/ Tidal streaming correct? I feel like in terms of portability options, the way you describe how Android goes about audio files, DAP> iPhone > Android + UAPP. As I’ve stated before I listen to a lot of music, esp. when I’m on the go/running/in the gym so portability is a huge factor for me. Currently using jabras 65t wireless and they’re super convinient but are noticably lesser quality than the 10 dollar Panasonic wired iems on Amazon.
I see. Will probably keep my wallet happy and stay away from Shure stuff for now hehe
UAPP will play locally-stored content or stream from Google Play, Tidal, Qobuz, or a media server (if you happen to host one). Can’t do offline content for the streaming services, though. Really wish that were the case as I’d use the hell out of it on my N5iiS at work.
I wouldn’t argue with your ranking, but it really comes down to whether you value a simpler interface/setup over raw sound quality or feature sets, in which case = DAP > Android+UAPP > iPhone (generally speaking).
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Slowly starting to get this stuff… I might invest in a nx4 or es100 and try to keep learning from there. MQA decoding, various codecs, DSD, lossless sound… I don’t know what any of this means lol… gonna have to do some studying if I want to experience what good audio sounds like I guess haha
Yep that one… Fat fingers + phone = lots of random letters 
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If you’re only playing locally stored music, I recommend Neutron App over UAPP. It’s a little harder to learn but it has a more powerful equalizer/DSP.
In terms of your ranking, I’d put my quad dac LG V20 with Neutron up against most DAPs, and certainly those in the same price class as the V20.
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Interesting, I know LG went the audio route for their flagship phones but didn’t know it was that capable. Is the v40 thinq even better? I know in terms of overall smartphone capability they use older hardware (6 months) and their battery isnt the best either. Will probably invest in UAPP/Newton soon. Is Tidals music selection nearly as large Spotify? I wouldn’t classify my tastes as mainstream as the average consumer.
Newton’s UI brings back old memories of what music players were back then, and are now, apparently. Hehe
Will probably try out the free trial for tidal even though they always make me paranoid because they charge you at the beginning/end.
Thanks
The trick with those trial programs is to link something like a Visa gift card that you’ve already worn out. If you decide to continue the subscription, you can change the card info then.
My understanding of the ThinQ variants from LG is that they’re a slightly de-tuned version, so I’d just opt for the flagship if it were me. I can’t go back to LG, though, as their lifecycle management has always left me unsatisfied. They don’t like to develop for one device long-term and with AT&T’s restrictions on the bootloader, it means I got stuck in update limbo after a little over a year of owning the device with no option to run a custom ROM.
If you’re shopping for a smartphone, you can probably do better than LG. The thing is, as a DAP, they’re amazing for the price. The on-board headphone amp can actually swing 2 Vrms and measures very well. When using as a DAP, you’re not running all of the stuff you’d run on a typical smartphone and you can put it in low power mode to up the battery life. Back when I used the V20 as a dedicated DAP, I could typically go for two days without plugging the thing in. If that’s not good enough, the battery is removable.
Again, as a smartphone, yeah, that’s kind of a deal breaker. However, compared to the typical Android DAPs that are running 6.0 or even 5.0, the LG is in a totally different league.
Yeah, Android DAP lifecycles are pretty abysmal, unfortunately. We just make do with what we get, I suppose. It’s frustrating, but can’t do much about it.
Hey Guys and Gals
Well here it is… my first iem review.
After reading every iem review on the web known to mankind and due to lack of sleep obsessing about these audio gadgets, I finally ordered 5 inexpensive monitors. The KZ ZSN PRO was the first package to arrive. The cost was $22.00.
My initial impressions…
First , this is my first iems with detachable cables! Isn’t that neat? The fit in the monitors was snug and felt solid.
Second , the monitor casing is kinda big compared to previous earbuds. They are thicker and thus stick out further than previous models I have worn. It seemed like the sound nozzle should have been a little bit longer. It took some extended tips to get a tight fit in my ear canal.
Third , and this is big, neither of the monitors had a “L” or “R” to differentiate which bud goes in each ear. I figured it out but checked a review photo to make sure. Also, the cable wraps around and behind the ear instead of dangling straight down. Putting them on must be similar to someone trying to put on earrings!
Here is my setup:
Windows 10 PC > Spotify > AudioQuest Jitterbug USB Filter > Modi 3> Vali 2> KZ-ZSN PRO.
First Listen…
Uh oh, these sound thin, shallow, flat and closed in.
With some good KEF speakers, AKG headphones and a few other iems under my belt, I knew the music (Graceland, by Paul Simon) did not sound right. To make the story short, over the next six hours, the sound became much more rich, smooth, warm, airy and natural.
The treble region seems quick, slightly thin and bright, but airy and natural. The mids are smooth, authentic and a little warm overall. The bass sounded tight and enjoyable but a bit boxy.
I don’t want to paint a bad image. What IS good about the buds to my ears, is their smooth and coherent continuity. Music is quick, precise and mostly a little warm throughout.
Soundstage
As some of you may have read in my prior post, my search is for inexpensive iems with a good soundstage. I want an “I am there” experience with the music. I want width, depth and precise location as part of the experience. Maybe my expectations are too high for iems, at least in this price range
The KZ-ZSN PRO s do have width that extends wider than my face. The depth is somewhat shallow, but there. There is a sense of space in the music but placement of instruments is not as precise as what I am seeking.
With that said, I assume these monitors DO HAVE a good soundstage compared to other buds in the same price range.
Summation
After one day with these buds, I thought the sound was smooth, dynamic and coherent throughout the frequency range. As others have mentioned, they will probably sound better with more burn-in time. As to the monitor fit and over the ear cord, it now seems routine to put them on and wear for over an hour at a time. I needed an extended tip to maintain a secure fit in my ear canal.
I am having fun exploring what iems can do for music. At this price range it is an inexpensive hobby. It also helps me to listen to music with a more knowledgeable and discerning ear.
My obsession with soundstage aside, I found myself “moving to the music” with these buds and will continue to enjoy them.
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Generally the HOT is on the left and the COLD is on the right.
Wait… that’s something else. Anyway, nice review, and congrats on taking the plunge and doing a writeup. Hope it’s the first of many.
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I thought it was UP or DOWN,but maybe it is SIDEWAYS!
Thanks for the like
John
I have been testing the new A10 5BA IEM from CCA, and here is my review:
The CCA A10 is the fifth and latest IEM from Clear Concept Audio, a sister company of KZ (Knowledge Zenith). It features five balanced armatures per channel. One 22955 BA covers the bass region, two 29689 BAs are employed for the midrange and two of the familiar 30095 units cover the treble.
The packaging and accessories are similar to that supplied with the C10 and C16 and include the cable, a set of three Starline-type tips and documentation, all presented in a neat small white box with an illustration of the IEMs on the front and the words “10 balanced armature” printed below. There are some specifications printed on the back.
The A10 has a smooth zinc alloy faceplate finished in an anodised blue colour with a peacock-like sheen. There is a large white number 5 on each earpiece with the channel indication on the side of the transparent resin inner part of the body, through which the components can be seen. The earpieces are very similar to those of the C16.
The detachable cable is the “Type C” design, following that used on the previous model CA4 and KZ ZSN. It has a clear plastic female connector with the pins being situated on the body of the IEMs. The cable itself is similar to that used on the C10 and C16. It has a very long section between the Y-split and the earpieces and as a result is somewhat prone to tangling. The plug is a right-angled plastic 3.5mm type.
The earphones were left burning in for over 72 hours before testing and included tracks of white and pink noise, glide tones and other audio conditioning tracks. After this I used a Hifi Walker H2 DAP and a Sony NWZ-A15 for evaluation. The output was very robust and I therefore did not use a headphone amplifier.
The A10 was tested using the supplied cable and the pre-fitted medium Starline tips, which resulted in a very comfortable fit. I found it essential to insert the tips snugly into the ear as deeply as possible to ensure a correct sound balance. Used this way, the fit, seal and isolation were above average.
Initially, the sound was very bright and somewhat unbalanced. However, after 72 hours burn in the sound was transformed. As with the CA4, the burn-in process altered the sound of the A10s significantly. It seems these CCA IEMs need a long burn-in time to give of their best. After a further extended run-in period the overall balance was much more even, with a clear and detailed treble with good extension. In fact the detail retrieval was superior even to the C16. This resolution made it easy to hear the differences between the two DAPs I was using, showing the Sony to be warmer in tone with slightly softer transients but a deeper bass. Midrange was very open and neutral with no bass bleed and excellent clarity. The bass was also impressive displaying good depth and extension with some sub-bass rumble and physicality, qualities normally associated with dynamic drivers. In more detail:
Bass
I was very impressed by the bass performance. Despite only employing one 22955 driver the bass was deeper and more satisfying than that on the C16 which uses two of these. It was accurate and well-defined and the speed was notable, with no overhang even on complex tracks. Bass reached deep, as evidenced on “Reverie”, an electronic version of a Debussy piece by David Wahler. The rich bass accompaniment formed a perfect foundation for the delicate melodic line and had very good texture. Classical music was also enhanced by this excellent resolution. “The Swan of Tuonela” by Sibelius, performed by the Lahti Symphnony Orchestra conducted by Osmo Vanska, was a perfect example, with the bass drums at the beginning of the piece providing a satisfying rumble and a sense of foreboding. Basses and cellos displayed excellent texture with bowing very well portrayed. David Essex’s “Rock On” has a superb production by Jeff Wayne. The double tracked bass guitars sounded great, going deep with a lovely texture, forming a perfect backdrop for the vocals which were clear and well articulated.
Mids
The midrange was clear, clean and totally free of bass bleed, creating an open and refreshing effect. As a result, layering and separation were first-class. Electronic music benefited greatly from this. Ed van Fleet’s “Starry Night” from his album “Horizons” showed the A10’s capability at its best, with all the different synthesiser voices being very well-defined, and combining beautifully to create a superb atmosphere. Jacques Ibert’s “Esacles” is a wonderfully varied suite of orchestral pieces for large orchestra. In the third movement, “Anime”, performed by the Minnesota Orchestra under Eiji Oue, the orchestral colour and verve were reproduced to thrilling effect with a wonderful sense of immediacy. Brass shimmered, percussion had great impact and power resulting in a superbly entertaining experience. Linda Ronstadt’s vocals on “Talk to me of Mendocino” displayed great dynamic range, with the climaxes full of power and the softer sections conveying all the emotion of the beautiful Kate and Anna McGarrigle song. The cello solo in the bridge was beautifully reproduced.
Treble
The treble was clear, crisp and well-articulated, with superb detail and extension. In fact the resolution was so good, I was hearing things I had never heard before. Some years ago I compiled a tape of some favourite tracks from vinyl. No longer having the records, I converted the tape to MP3. With the A10s, I was able to hear the crackles and pops on the original recording which I had not been able to do before! As with the C16, the A10 was not forgiving of poor recordings and took a “warts and all” approach. The extreme clarity reminded me of a live feed from a studio mixing desk.
Vangelis’s “Albedo 0.04” from his “Rosetta” album has many complex percussive elements full of detail and interest, with metallic sounds particularly well-defined. In addition, the transient attack and speed on offer here really added excitement and spice to the sound. The jangly and aggressive guitars in Grace Jones’s “Walking in the Rain” had real edge and attack. Ms Jones’s voice came over with an appropriate menacing tone and the whole production was full of life and energy. The delicate percussion parts in Stuart Mitchell’s “Mausoleum at Halicarnassus” were superbly reproduced with a lovely natural timbre and decay. The triangle came over clearly and when accompanied by the harp, the separate sounds were easy to discern.
Soundstage
The A10’s soundstage was wide and deep and also displayed a good impression of height. The stereo imaging and separation well above average, being especially impressive in classical music. “Farrago” is a varied suite of orchestral pieces by E.J. Moeran. In the version by the Ulater Orchestra conducted by Vernon Handley, the positioning of instruments within the soundstage was excellent, with the different sections of the orchestra all in their proper locations, both laterally and with regard to depth of image. Dave Brubeck’s “Unsquare Dance” sounded superb. The hand claps were crisp and well-defined and the drumstick parts were brimming with detail. Stereo imagery was excellent on this track with the trio laid out very naturally, with the clean, clear separation adding to the realism. “Another Land” by Davol from his “Paradox” album displayed a cavernous acoustic with deep bass synths echoing impressively and tinkly percussive parts clear and crisply defined. String patches showed multi-layered qualities with lots of “air” resulting in a very atmospheric performance. “I am a Camera” by the Buggles is a wonderful Trevor Horn production with a huge three-dimensional soundstage. Depth on this track was particularly well presented and the powerful instrumental conclusion was very effective. Vocals were exceptionally clear with a great sense of distance.
Conclusion
After the CA4’s V-shaped sound departed from the profile displayed by the earlier two models, C10 and C16, the A10 returns to that more neutral, well-balanced presentation. It has superb levels of resolution and detail. Out of the box, it sounded very bright and somewhat unbalanced but after an extended run-in a beautifully natural, well-judged profile resulted. The overall sound resembles that of the C16 but improves on it with a deeper bass and even more detail and a well-extended treble. Separation and layering are first-class and soundstage is excellent. It is a great achievement compared to the C16, considering that three fewer BAs are used per channel. Overall, I feel this is the best model so far from CCA and it deserves an unreserved recommendation.
Note: I would like to thank Sunny from Better Audio US at Amazon.com for providing this review sample at no cost to me.
Product link:
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