Lol, I’m just teasing, it’s difficult to balance levels when each is using their own set up.
You could add some compression or limiting in post production, something like Audacity would let you at least balance it a bit more, even if you can’t fix individual voices.
Seriously though, I am enjoying these audio discourse, also the headphone shows that @resolve puts on Spotify. It makes them easy to listen to while moving around (car, office etc.).
That’s the thing with budget IEMs, it is just so tempting to try all the flavours 
My latest acquisition is the KBEAR KB04, a dual hybrid (1DD + 1BA). I received it for review from Sherry of Yinyoo via Amazon UK. My review is below:
The KB04 is the latest model from KBEAR, who have certainly given us variety in their releases so far. They began with the Opal (single DD), then came the KB10 (5BA), F1 (single BA), Hi7 (1DD + 6BA), KB06 (1 DD + 2BA) and the Diamond (single DLC DD). The KB04 is a dual hybrid, (1 DD + 1BA). It comes packaged in a small rectangular box similar to that of the Opal and F1, a black box with green accents featuring a colour image of the IEMs on the front and specifications on the back. Sliding open the box reveals the IEMs sitting in a foam insert below which there are two pairs of wide bore tips and a white box containing the 2 pin SPC cable and three sets of grey narrow bore tips. A brief instruction manual is also supplied.
The IEMs are made from a dense zinc alloy in a bright silver finish. The profile is gently curved and the faceplate has an incised line with a raised section in the centre. There is a small pinhole vent at the base of the nozzle and another similar vent below the clearly marked channel identification on the underside, which is smoothly contoured and very comfortable. The 2-pin sockets are recessed and will only take a small connector so this may be an issue if changing cables. The drive units featured are a 10mm dynamic driver with a PET diaphragm and a balanced armature driver covering the treble region. The type of BA is not specified but is most likely the ubiquitous 30095 unit. The SPC cable is a black braided type with a right angled 3.5mm metal plug. There is a metal Y-split and small chin slider.
The IEMs were left burning in for 100 hours to settle down the components, after which they were evaluated using an Xduoo X20 DAP. I used the stock cable and the supplied black wide bore tips which gave a good fit and seal and so I did not find it necessary to change them.
The immediate impression was of a well-balanced V-shaped presentation with solid, satisfying bass and good extension and texture. Mids were only slightly recessed due to the excellent detail and separation. Treble was generally smooth and delivered good detail and extension, largely free of harshness. The transition between midrange and treble was well-handled and avoided the peaks often found around the crossover frequency in similar dual hybrid designs. The overall sound profile resembled that of the popular BLON BL-03 but with a little extra brightness and sparkle up top.
Bass
The bass was north of neutral with good sub-bass presence, gradually declining towards the midrange but still displaying a warm tonality. Depth was well-handled, as evidenced in space music maestro Jonn Serrie’s “Fantasy Passages” from his album “And the Stars Go With You”. The deep electronic effects and bass drones formed a solid foundation for the piece with some decent rumble on offer. Likewise, the orchestral bass drum in “Albeniz’s Castilla” conducted by Rafael Fruhbeck de Burgos possessed good extension and impact while at the same time retaining a natural timbre. The powerful drum parts in Pink Floyd’s “Cluster 1” from “The Division Bell” also impressed with good weight and power. The extra warmth did, however, sometimes soften the transient response and there was a little bleed into the mids.
Mids
The midrange showed a gradual brightening from the boundary with the bass up to the treble region. The lower mids were coloured by the bass bleed but this resulted in an attractive “bloom” to this area. In “The Cello’s Song” by David Arkenstone and Kostia, the solo instrument gained some warmth which, as another reviewer commented, produced an over-romanticised” effect which was actually very pleasant and relaxing. Further up the frequency range, the sound became better balanced and more detailed. The various string sections in Kurt Atterberg’s “Varmlands Rhapsody” performed by the Camerata Nordica were well differentiated and had good attack and clarity. The timbre here was spot-on. Vocals were also clear with male vocals sounding natural and female vocals just a little more forward. Al Stewart’s “Palace of Versailles” from his “Time Passages” album was a good example. Al Stewart’s voice is light and expressive and the KB04 preserved its character very well, with the studio reverb on this track being easy to discern.
Treble
The treble region was elevated above the midrange, but did not suffer from the common malaise of inexpensive hybrids where the upper mids and lower treble are emphasised leading to harshness and sibilance. The extension was good and did not roll off too early. The crystalline sound effects in Andreas Vollenweider’s “The Glass Hall” from “White Winds” were clean and bright with abundant detail. The accompanying harp and female vocals were also very distinct and the whole of the complex production could be appreciated. Clannad’s “Fairy Queen” from the “Magical Ring” album features Celtic harp and guitar in an intimate acoustic and the KB04 made a very good job of this with the bright sonorities and clean transients producing a “live” feel to the track with excellent atmosphere. Charles Ives’s “The Unanswered Question” is a modern classical piece with leanings towards serialism. In the version with the New York Philharmonic under Leonard Bernstein, a quiet sustained string backgound supports sudden atonal woodwind sound clusters and the effect is magical. The KB04 handled this very well, retaining bite but without harshness on the woodwind climaxes, which was very praiseworthy.
Soundstage
The soundstage was largely spherical with equal dimensions in height width and depth. Positioning was very good, In Mark Dwane’s “Galaxis Chaos” the synthesised guitar sounds moved around the image very impressively, adding to the excitement of the piece. The positioning of instruments within an orchestra also impressed. In “Greenwich” from Hubert Clifford’s “Kentish Suite conducted by Martin Brabbyns, it was possible to imagine oneself seated in the concert hall with the musicians laid out in a very natural and authentic way and the brass, strings and percussion all occupying their correct position in the hall. “Song of White” from Vangelis’s “Antarctica” soundtrack also sounded very good with the desolate lonely solo voice echoing across the landscape, before the full main theme entered triumphantly filling the stage.
Conclusion
The KBEAR KB04 possesses a warm V-signature with a pleasant well-contoured treble, yet not lacking in detail. It avoids the mid/treble emphasis found in models such as the CCA CA4, KZ ZSN Pro and TRN ST1, instead opting for a smoother presentation perhaps inspired by the BLON BL-03. The overall profile does resemble that of its more glamorous sister, the Diamond, and in fact, I would say the KB04 manages to deliver a significant proportion of the Diamond’s performance at around a third of the price. This represents excellent value and if you are in the market for a well-balanced, well-made IEM which has no major shortcomings (bar a little bass bleed) then the KB04 recommends itself at this price point.
Excellent review @Nimweth. I am a big fan of your review style. I especially like the musical references woven throughout the text. Great job.
All of the budget IEMs I see at the moment seem to have large (4-5mm) nozzles.
Does anyone know of any sub $200 IEMs that will fit little ears (ie 2mm or maybe 3mm at most)?
I believe Etymotics are often narrow, but I’m thinking of the Chinese IEMs. Are there any like that? Surely there must be a market for them.
Thanks I shall keep an eye out for your next review.
I own a set of Etymotics and they’d be fine in narrower ears with the smaller cone tips.
A while back I bought a variety of Chinese IEMs for testing. Many actually have large shafts, but ear size is clearly an issue in China. I bought a set of Xiaomi QT202JY IEMs for about $25. They came with literally the smallest “XS” tips that I’ve ever seen.
The Xiaomi product looked great but the audio was only fair. Note that this was branded “Mi,” and designed by 1More. There are many 1More products sold in the US, but these were apparently aimed at the Chinese domestic cell phone market.
Bottom line: yes, there are options from China. I don’t have current knowledge, and find/buy stuff from Gear Best or Ali Express.
Hello! I’m new here so I’m starting to make myself at home. Looking forward to getting to know everyone! (I think I know a few of you already from other corners of the audio world.) I thought this would be a good place for this write-up that I originally posted on Reddit. It’s a comparison between the BL-03 and the Shozy Form 1.1 (with a guest appearance from the KZ ZSX.) Hope you enjoy!
A little about me: I have been on the hunt for a nice set of IEMs for on-the-go use, as well as sharing duty with some over ear headphones at work when I want to switch things up. I haven’t tried tons, but I’ve been slowly working my way through some Chi-fi. My first set was the KZ ZSX. I enjoyed these for a few months and played around with accessorizing them with new tips, an upgraded cable, a matching KZ zip case… Then saw some hype around the BL-03 so I caught them on sale and purchased. Once they arrived I swapped out the cable with a 2 pin I had bought, threw some Dakoni tips on and realized instantly that I preferred the BLON signature to the KZ. Someone over on r/avexchange ended up with a nicely accessorized ZSX shortly after that.
After living with the BLON for a while I still greatly enjoyed the sound but I started to be bothered by a couple things. The 2 pin cable I purchased didn’t fit down over the connector on the IEM housing which gave it an exposed and unfinished look. I was not about to go back to the stock cable, so I cut a small ring off the nozzle of the included ear tips and used that to cover the connection, which looks… not great. I never really loved the look of these IEMs to begin with and this definitely didn’t help but it made me feel better about the exposed connection. The pins also slowly slide out over time so I have to push them back in every time I get them out to listen. Using the foam tips I didn’t have trouble getting the BLON to fit but they still did not feel the most secure or natural fitting in my ears. I started to realize these were not the IEMs of my driams. My desire to letmusicburn led me to nevergiveup and I set out looking for my next set. My hope was to find something around the $100 mark with a nicer build and if possible, improve on the sound I had come to love in the BLON. Enter the Shozy Form 1.1.
I’ve been listening to them for a few days now and I feel like I can give a brief summary. I haven’t been doing this for very long and this is the most I’ve written about anything audio related so please be kind. 
I definitely enjoy these IEMs. They are shaping up to be a solid replacement for my BL-03 for everyday wear, especially at work. I love the way they look and feel. The cable feels really nice and the overall fit is not as fiddly as the BLON. These feel like a much more premium product, and they should at their price point which is more than double the BLON.
I ended up purchasing the Final E series tips at the same time and fitting them on both the BLON and the Shozy for this comparison. These are my favorite tips that I have tried so far (I’ve tried Starline, foam KZ tips, Dekoni Bulletz, and a few others.) Luckily I was able to use one of the mid sized sets of tips for the Shozy and one of the larger sets of tips for the BLON due to the different lengths of the nozzles and how they fit my ears.
As for the sound, they feel just a bit more refined and under control than the BLON, especially in the bass. It feels a little tighter and it doesn’t creep into the mids as much. It still hits hard and the sub bass has good rumble. It sounds to me like the sub-bass is more noticeable on the Shozy. It may not be any stronger than the BLON, but I think the sub-bass might be masked a little bit by the mid-bass emphasis that the BLON has. If you are concerned about bass, you need not worry. The Form 1.1 delivers.
The highs are nice and crisp and they don’t bother me for extended listening sessions. I haven’t noticed any sibilance or fatigue. They seem to extend to about the same region as the BLON while being slightly more forward. Differences are more subtle to my ears here and admittedly I’m still learning to assess the higher frequencies.
Mids are nice and present with some good body as well. Vocals are enjoyable and don’t get drowned out by the rest of the mix. One thing I was worried about in switching from the BLON was that I would miss what I perceived to be the “natural” sound that they do so well (timbre?). But I’m happy to report I don’t feel like I’m missing anything with the Shozys. I feel like the sound is a little smoother overall, but still very fun and exciting for the energetic music that I tend to listen to. (Classic Rock, Metal, Alternative, Folk, Electronic, Ambient, Soundtracks)
I won’t go into soundstage and imaging comparisons because I feel like they are very similar in those areas. There hasn’t been anything that stuck out to me as being either noticeably better or worse on the Shozy than the BLON. Both project an adequate soundstage and imaging that is good enough to make you turn around and say “what was that?” every once in a while when something weird pops up in a track. I’m not a gamer either, so you’ll have to go elsewhere for that analysis.
In summary, these are not leaps and bounds ahead of the BLON in terms of sound quality, but my ears prefer them just a little bit more. Combine that with some sparkly good looks, a very comfortable fit, and a premium feeling cable and I think these are worth the extra cash over the BLON to get a more cohesive package. Enjoy the music everyone!
Excellent review @Mr_Makua (Michael).
Here as promised, my impressions of the CVJ CSA dual hybrid. This sample was provided by Aimee of IZ POP at Amazon.com.
The CSA IEM is, as far as I can tell, the first release from the CVJ company. It is a dual-driver hybrid featuring a 10mm double magnetic dynamic driver for the bass region, similar to that found in models by KZ, CCA and KBEAR, and an “all-new” design of balanced armature covering the treble frequencies.
The IEMs come packaged in a sturdy hardboard box in a black crackle finish with silver writing. Lifting the lid reveals the earpieces fitted in a card cutout along with two sets of white medium bore tips. A third set of tips is pre-fitted to the IEMs. The earpieces themselves have a white carbon fibre finish which is very attractive and has a pearly effect. There is a black CVJ logo in the centre. The rear of the shells is clear through which the components can be seen, including the large dynamic driver and the BA placed in the nozzle. The type of BA is not specified. There is a small pinhole vent at the base of the nozzle. The build quality is acceptable for the price, though others in this sector feature metal faceplates.
The connection is 2-pin and the cable is a 4-core braided type similar to that supplied by TRN or BQEYZ with a metal plug bearing the CVJ logo. The Y-split is also metal. The run between the Y split and plug is quite long and there is no chin slider so the cable is a little prone to tangling. Also included in the box are a brown carrying pouch, a velcro cable tie and documentation. All in all this is a good presentation for the price.
The IEMs were left burning in for 100 hours to settle down the components, after which they were evaluated using an Xduoo X20 DAP. The stock cable was employed and, due to the long nozzle, the small size of the supplied tips were used. These provided a very acceptable comfort, fit and seal.
I was very surprised when first auditioning the CSA. I was expecting a traditional V-shaped sound profile, perhaps with enhanced output in the upper mids and lower treble but this was not the case. Instead, the balance was neutral/bright with a solid well-textured bass, slightly forward mids, and a clean treble with good extension and detail. The sound was far more balanced than expected. The mids and treble occasionally sounded a touch thin, but retained good focus. Soundstage, for a non-vented design, was much more expansive than expected and tonality and timbre were very good, with only occasional bright peaks on certain material. There was no bass bleed which resulted in the lower mids showing excellent clarity.
Bass
The CSA’s bass was nicely contoured, not being too elevated but largely neutral in character and had a fast presentation similar to a BA driver. There was a small lift in the sub-bass which possessed good texture. Extension was good as evidenced in “Freefall” by New Zealand ambient musician Andrew Forrest. This track features a deep sub-bass foundation forming a solid backdrop for the choral and electronic effects and the CSA handled this very well indeed with good texture and resolution. Similarly, the bass parts in Jonn Serrie’s “The Flow of Time’s Arrow” from the “Thousand Star” album, projected well. Nicely textured bass underpinned the slow melody and sparkling high tones. A cathedral organ is a very good test of bass response, and in Durufle’s “Prelude and fugue sur le nom Alain” performed by Sarah Solarue, the depth, power and majesty of the Cavaille-Coll instrument were perfectly preserved and the ambience of the venue clearly audible.
Midrange
The mids were also neutral, or perhaps a touch forward, which endowed the sound with a “live” presence. Tonality was crisp and open. The clean and bright brass in Holst’s “Uranus” in a version by the LSO under Andre Previn was a good example, and one could almost imagine the light reflecting on the shiny metal of the instruments! This clarity brought vocals forward in the mix, enabling the lyrics to be appreciated. Al Stewart’s vocal lines in “Almost Lucy” from “Time Passages” stood out clearly from the instrumental arrangement, nicely balanced by guitar and percussion, imaging being excellent on this track. The beautiful violin melody in Alasdair Fraser’s “First Flight” soared above the complex arrangement with harp, woodwind and synthesised bass all nicely balanced in an expansive acoustic. The clarity present in the mids led me to believe that a lower crossover frequency has been chosen and the BA driver covers a wider range. Occasionally I felt that a little more warmth would be beneficial.
Treble
The CSA delivered a wealth of detail, which was unexpected. The BA driver certainly showed its merits here with a general profile somewhat north of neutral. Percussion certainly benefited from this, with the delicate metallic timbre of the cymbals in Jacques Loussier’s “Air on a G string” in a beautifully remastered Decca recording, being very believable. Presented in a three-dimensional acoustic with double bass and piano, this track was a joy to hear. Similarly, Joe Morello’s amazing drum solo in Dave Brubeck’s “Take Five” delighted with the various characteristics of the drum kit nicely differentiated and possessing excellent attack. The guitar accompaniment in Richard Vimal’s “Les Yeux Cadanasses” from his album “Aquarhythmies” was exceptionally clear. The steel strings were bright and incisive, providing a perfect backing for the plaintive synth melody line. Only occasionally the timbre was a little thin.
Soundstage
The CSA had a satisfyingly large soundstage, with a little more depth than width and height. This gave orchestral music an attractive spaciousness which came to the fore in Holst’s “Venus” performed by the Montreal Symphony Orchestra under Charles Dutoit. The concertante horn and woodwind parts displayed a good impression of distance while the lower strings added atmosphere. The delicate celesta detail later in the piece floated attractively in the stereo image. Likewise, the violin in Jeno Hubay’s Second Violin Concerto stood out clearly from the orchestral accompaniment. Chloe Hanslip’s reading of the slow movement was clear and expressive. The imaging was very effective, also, in Vangelis’s “Himalaya” from his album “China”. Synthesised and percussive elements panned across the stage, underpinned by electronic bass and bass drum, all combining to great effect and producing an exciting tableau.
Conclusion
The CSA is a refreshing departure from the numerous dual hybrids occupying this price sector. Unlike its nearest rivals, the KZ ZSN Pro, CCA CA4 and TRN ST1 which are V-shaped to some degree or other, it displays a more balanced or neutral profile. The sound was generally well-controlled, only occasionally flirting with sharpness or a thinner presentation and acquitted itself well with many different genres. The CSA will not satisfy bassheads but should be on the short list for anyone looking for a well-balanced and versatile earphone at a very competitive price. I look forward to further releases from this company.
Thanks for the tip. It’s good to know that these things exist.
I’ve had a look through the 1more, Mi and Xiaomi branded ranges on AliExpress and Gear Best and haven’t had any luck finding phones like the ones you mention.
I guess these things come and go fairly quickly at the moment. Anyone know of a narrow bore in ear that is currently on sale?
Another great review @Nimweth.
Ciao everyone!
I’m looking for a nice pair of IEMs around 50$. I’ve been reading lots of reviews (also in this amazing thread) and watching lots of videos and eventually I’ve come up with a couple of models: the CCA C12 and the KZ ZS10 pro (the ZSX have a sort of a weird shape and I don’t know if it fits my ears well). Now, the thing is I have a pair of Sony in ears that came with an mp3 player I bought like 6 years ago and can’t remember the model name so to compare them and ask for an advice. I’ve listened to my uncle’s Sennheiser CX 5.00, though. and they sound very good, a lot better than my Sonys. I had to turn up the flat EQ on the bass a little bit and some more on the mids because electric guitars were kind of recessed and cold to me (colder than the bassy Sonys anyway).
So my question is: how do the CCA C12 and the ZS10 Pro sound compared to the Sennheisers? Before finding out about KZ & others I also saw the Soundmagic E11 but then moved away from them. I listen to music (mainly rock and electronic) on a laptop and occasionally on the smartphone.
Thank you very much!
Welcome. I’d love to help but I don’t have experience with those products. Maybe @antdroid can point you in the right direction?
There are so many products in the $50 space that it can be hard to keep up.
Welcome @uppertime!
I can’t comment on the Sennheisers you mention as I haven’t heard them. However, I will say that the ZS10 Pro is a very capable IEM for the price. It is not bass heavy but can certainly provide plenty of bass when needed and also responds well to EQ if that is your thing.
The Shozy Form 1.1 can sometimes be found just a little over $50 and I can attest that they are a very solid, fun sounding IEM. I prefer them over the sound signature of the ZSX, although it’s been a while since I’ve heard the ZSX so I’m just going off memory. I’ve also heard really good things about the Jade Audio EA3 and the Guideray GR-i which seem solid and both go for below $50. The Final e2000 / 3000 would also be worth looking into at your price point and they come with some of the best silicone tips in the business that you could use on other IEM’s later on if you decide to upgrade.
Thank you very much @generic @SenyorC and Mr_Makua for your answers! It’s a jungle out there. From what I think I’ve understood after going through nearly every headphones website ever existed on the Internet ( 
), the Sennheiser 5.00 are similar to the newer Momentum, only with slightly less emphasized bass.
I’ve read some E2000 / 3000 reviews and they seem pretty good. They say the soundstage is great. Now I’m evaluating them and the C12.
What iems would you guys suggest for a previous owner of blon 03. Lost left driver and now I’m looking to try something new. The blon 03 was fine for me I guess. Didn’t give me that wow feeling.
I was thinking of trying kz zsn pro or something else. Mostly looking for some driver that works well with bass songs and vocals
I wouldn’t recommend the ZSN Pro unless you are a fan of bright sound signatures (and then I probably still wouldn’t recommend it). Personally I much prefer the normal ZSN over the pro.
What is your budget?
I liked the Tin T2 but it is a lot less bassy than the BL03. The ZS10 Pro is pretty decent with EQ and the ZSX gets decent reviews (although I haven’t tried them)
