The Ultra Cheap IEM Thread

[brian]

Hifiman RE-600s V2 - for even less
—
The Hifiman online store is offering the RE-600s V2, as “earphone only”, for $52. Since I really enjoy this earphone, I picked one up as a spare. Who knows when a non-removable cable will decide to get wonky, right? And I really don’t need two of those big leather boxes!

Turns out the earphones actually came with M silicone flanged tips installed, a set of M white (wide-bore) tips, a shirt clip, the spare tip filters, and a pretty small round un-branded zipped case. All in a low-ceremony ziplock bag, tucked into a small padded envelope. From the delivery tracker it looks like they shipped from NY, so arrived here in CA pretty quickly. Recommended!

[SenyorC]

I feel that is a great deal for them!

[Nimweth]

KBEAR has a new IEM, the Lark. I have been testing it and here is my review. This item was provided for review by Wendy Li from KBEAR.

KBEAR Lark
Neutral with attitude!
The Lark is the third dual hybrid (1DD + 1BA) released recently by KBEAR, following the KB04 and KS2. It employs a 10mm dynamic driver with a “silicon crystal biological composite diaphragm” which may also be the same bass driver found in the new TRI Starsea. The BA is described as a “customised” unit and is, I believe, made by Bellsing but no model number is quoted.

The zinc alloy faceplate features a honeycomb design covering the lower half of the surface and KBEAR branding and the body is formed of a clear resin which comes in a choice of three colours: grey, mauve or pale green. There is a small circular vent on the inner surface. The raised 2-pin sockets are in clear plastic and the words “KBEAR LARK” are written in white on the side of the housing along with channel identification. The supplied cable is a 4-core braided silver-plated type with clear QDC connectors and a right angled 3.5mm plug and is rather thin and prone to tangling.

The presentation is very nice. The box is square with a photograph of the IEMs and the words “KBEAR Lark, hybrid metal earphone” and below, “in the hustle and bustle, find their own world”. Removing the slipcase reveals a black box with a gold KBEAR logo. Inside you will see the IEMs sitting in a cut-out and two black boxes with gold writing, one long box containing the accessories and another containing the case. In all you get:

• KBEAR Lark IEMs
• 2-pin silver plated cable
• 4 pairs of grey silicone tips (S, 2 x M, L)
• 3 pairs of white silicone tips (S,M,L)
• Carrying case
• User guide

The carrying case is finished in a grey textured material with a white KBEAR logo and has a zip closure. The presentation and accessories are excellent for the price and put companies like KZ to shame.

The Lark was tested principally using an Xduoo X20 DAP but a CD player and smartphone were also employed. The stock cable and medium wide bore tips were fitted and a burn in period of 100 hours was carried out before evaluation. A comfortable fit was obtained with good isolation.

First Impressions
It was immediately apparent that the Lark’s tuning was accurate and well balanced with a natural timbre. The integration of the drive units was seamless and the presentation was lively and energetic with good bass weight, excellent detail retrieval and superb clarity. I found it somewhat power hungry and had to increase the volume by around 20% compared to my regular IEMs. Also notable were treble extension and the expansive staging. After a short evaluation I replaced the cable with a TRI Through cable which improved the soundstage and smoothed out the treble.

Bass
The bass possessed good weight and resolution with a natural quality. In Copland’s “Fanfare for the Common Man” performed by the Minnesota Orchestra under Eiji Oue, the bass drum strikes displayed authentic tonality and it was possible to clearly hear the rebound of the skin during the decay. The timpani also sounded very believable and the powerful bass presence never dominated the overall sound but always remained in perfect balance.

“Moving On” is a lyrical electronic piece by Constance Demby from her album “Set Free”. The beautiful flowing melody was supported by deep bass synthesiser chords which were nicely reproduced by the Lark and showed an attractive resonant quality, forming a perfect foundation for the colourful lead keyboard voices.

The introduction to Debussy’s “The Engulfed Cathedral” features a sustained orchestral bass drum background underlying a musical representation of a sunrise. In the performance by the LPO under Nicholas Braithwaite, the orchestral balance was nigh-on perfect with the brass and strings reaching a thrilling climax full of depth and colour all set in a realistic space.

Midrange
The Lark’s midrange was well balanced with the bass and treble, not displaying any evidence of recession but possessing good detail and separation with a natural timbre.

Lesley Hatfield’s violin in Gerald Finzi’s “Introit” with the Northern Sinfonia conducted by Howard Griffiths sounded very convincing. The character of the solo instrument was clearly defined above the sensitive orchestration and towards the conclusion the reproduction of the high harmonics was particularly impressive set against the hushed accompaniment.

The solo guitars and saxophone in Chris Spheeris’s “First Kiss” from the album “Enchantment” soared above the rich synthesised backing. Timbre was very natural with the sax having plenty of “bite” and the guitars, placed high in the image, displaying delicacy and attack in equal measure.

Vocals were excellent as well. The character of Carole King’s voice in “A Natural Woman” came over beautifully and clearly delineated in the centre of the image in an intimate acoustic with her double-tracked piano supporting the vocal line on each side. The transient attack was very good on this track.

Treble
Treble was clean, extended and free from peaks. The BA was very well tuned. Separation and layering were excellent and this contributed to the expansive staging. Resolution was very good with the finest micro-detail easily discernible.

At the beginning of Tomita’s version of Ives’s “The Unanswered Question” the Lark managed to reproduce the sparkling and intricate electronic effects with great precision and the layering in the following synth chords was laid bare with each element clearly audible. The highest frequencies were clean and crisp with an “etched” quality and precise focus.

The chiming clocks in the famous introduction to Pink Floyd’s “Money” from the seminal “Dark Side of the Moon” were beautifully reproduced with each separate chime having its own character. Detail retrieval in this case was particularly impressive.

The conclusion of Hamish McCunn’s “Land of the Mountains and Flood” conducted by Martin Brabbyns features full orchestra with an emphasis on brass and percussion. One could imagine the light glinting on the brass instruments, such was the crisp and clean sound produced by the Lark in this piece and even during busy passages everything remained clear and nicely separated.

Soundstage
The open and transparent midrange and highly detailed treble combined to produce an expansive 3-D stage. This was most evident in classical music where symphony orchestras were laid out in a most convincing manner, adding to the realism. A good example of this was in Arthur Bliss’s March from “Things to come” with the LSO conducted by the composer in a vintage Decca recording. Percussion in the rear, brass in front of that and strings and woodwind closest to the listener with the sections of the orchestra perfectly placed, showing authentic interplay between them.

The imaging was excellent. In “Eve of the War” by Jeff Wayne from “War of the Worlds” the reverb on Richard Burton’s voice was very effective and following this, the electronic effects and percussion dancing around the image were very striking with stage width notably emphasised. The complex production really came to life with vocals, bass and strings all making a powerful impression.

Conclusion
The Lark really surprised me with its combination of neutrality and verve. KBEAR’s previous dual hybrids were both V-shaped to one degree or another, the KB04 being more gently profiled and the KS2’s deeper V signature majoring on bass and being more recessed in the midrange. In contrast, the Lark managed to balance bass, mids and treble whilst maintaining an exciting and dynamic delivery, which is no mean feat. In this respect it resembled KBEAR’s earlier KB06 but with more refinement and authority, a superior soundstage and improved detail retrieval.

Beautifully presented and well made, its performance even exceeded that of more costly models such as the Tin Hifi T3 and the TRI i4 which had previously been the best dual hybrids I had heard. The Lark is adept with many genres and scales well. It benefits from a high quality source and a better cable and also improves with amplification.

There is little to criticise here, except perhaps the cable. If a similar cable to that provided with KBEAR’s own Diamond or TRI i3 were supplied that would be perfect.

This, I feel, is KBEAR’s finest effort so far and is highly recommended.

Product link: https://m.aliexpress.com/item/1005001592913393.html?spm=a2g0n.orderlist-amp.item.1005001592913393&aff_trace_key=2bbcb40300c04599ae90affdeef5c53f-1604587928676-09911-_ePNSNV&aff_platform=msite&m_page_id=9889amp-YQsR3HLaUape3i2Ic1t96w1604925177466&browser_id=86e396fa4ec64b26a1f537cd23c65965&is_c=N

https://m.aliexpress.com/item/1005001592913393.html?spm=a2g0n.orderlist-amp.item.1005001592913393&aff_trace_key=2bbcb40300c04599ae90affdeef5c53f-1604587928676-09911-_ePNSNV&aff_platform=msite&m_page_id=9889amp-YQsR3HLaUape3i2Ic1t96w1604925177466&browser_id=86e396fa4ec64b26a1f537cd23c65965&is_c=N

[Resolve]

I figured I’d post this here - @Precogvision’s excellent review of the Sony MH755 has just been published on headphones.com:

Sony MH755 Review: Budget IEM Endgame

[prfallon69]

Another great review @Nimweth. A great read as always.

[Fc-Construct]

Introduction

Today I’m going to be looking at the TRN VX, a 6 BA 1 DD hybrid IEM that costs about $70 from HiFiGo. TRN is yet another ChiFi company that has popped up in the last couple of years and seemingly puts out new products ever few months or so. I’ve had the chance to listen to the TRN V80 and the TRN V90 before. I wasn’t a big fan of the V80 but thought the V90 was fairly decent relative to other offerings at the $50 mark at the time. With that, let’s see how the TRN VX does. Disclaimer: I received the TRN VX from HiFiGo in exchange for this honest review. I have not been or will be compensated in any other way.

What’s in the Box?

The unboxing experience is a very barebones affair. You get a minimalist white box that holds the IEM, cable, and tips. You get a generic set of S, M, and L size tips and a black 2-pin TRN cable. I dislike the cable. It is very tangly and has cable memory such that kinks are ever present. I’d probably swap out the cable if I were to daily drive the TRN VX.

The construction of the TRN VX is solid. It’s a full metal shell and aesthetically pleasing with a clean look and tasteful chamfer lines. The TRN VX fits over ear and I find it to be quite comfortable thanks to its reasonably sized nozzle. Isolation is poor. You will hear cars as they pass by, if you still go out.

Sound

My initial impressions of the TRN VX’s sound was favorable. It’s a bit of a W-shaped IEM as it has a midbass emphasis, an upper mids forwardness, and a bright tilt. I’d consider it fairly well tuned and overall decently balanced. The bass clearly has that DD heritage while the mids don’t suffer badly from BA timbre. Its treble energy may be the make-or-break for those looking at this IEM.

Bass:

As seen the graph, the bass is clearly lifted. While not overpowering, it’s definitely bassy. The VX has a more midbassy approach to the bass rather than subbass focus and we can see it rolling off, though not too badly. The DD in the VX drives the bass and has a dynamism that gives plenty of energy to the bass. Though it lacks texture, it is responsive and has doesn’t feel bloated or sluggish. Compared to the majority of other IEMs in the budget segment, the bass of the VX trades blows or edges out its brethren. You’d have to go to IEMs like the Tin HiFi T4, Moondrop Starfield, and Etymotic ER2 to clearly best it.

Mids:

Interestingly, I don’t find the TRN VX to be a warm IEM despite the bass bleed into the lower mids that the graph may suggest. And the reason is fairly obvious: the large amount of pinna gain and upper mids around the 2-4 kHz mark offsets the warmth I’d otherwise expect. Speaking of the seeming bass bleed, I don’t find that the VX has an issue there at all. The bass transitions into the low mids without fanfare. But back to the upper mids. Some may find the VX shouty; I don’t. Though I will admit that I generally have a higher tolerance than others in this regard. Vocals have an obvious forwardness and is presented with plenty of clarity. There is a bit of an edginess to certain “sss” consonants in the vocals, though not to the point of full blown sibilance.

Treble:

The lower treble around 5-6 kHz is de-emphasized so there isn’t too much of the crisp attack from the hats and cymbals. Nor is there harshness in the vocals. But past that is some treble oddities that aren’t reflected in the graph ( note: the 8 kHz peak is a measurement artifact - take it with a grain of salt ). To start, there is a sharpness and some splashiness when it comes to the hats and cymbals. It’s not so much the initial attack but the decaying ring that gains a brightness that can be fatiguing to listen to. There’s a sense of aggression with the treble, and not in a good way. Generally speaking, I find that most IEMs, regardless of price, struggle to properly render the highly delicate and nuanced sounds of the hats and cymbals. In the case of the VX, this is exacerbated and turns into emphasized incoherence in poorly recorded music. For those sensitive to treble, the VX may not be for you.

Presentation:

Soundstage and imaging are about average for IEMs. It’s not claustrophobic or congested but doesn’t strive beyond that. Resolution is surprisingly good. Part of it may be due to the forwardness of the mids and aggressiveness of the treble but I felt that, like the bass, it performs better than the majority of other offerings in the price range. Well done here by TRN. Like the staging, instrument separation and layering are fine. Nothing standout about them nor will they be the limiting factor of the overall sound quality.

Select Comparisons

Tin Audio T2 Plus

The T2 Plus is my current budget benchmark as it provides solid tuning and respectable technical performance at the $50 sweet spot. Unfortunately, the T2 Plus pretty much beats the TRN VX in all respects except for the bass. The T2 Plus’ bass is a little unconventional; it’s not bad per se but is rather unique. I called it “bouncy” in my T2 Plus review. On the other hand, the TRN VX’s bass has a more standard, straightforward approach and I’d say is a sidegrade or minor upgrade. The T2 Plus’ treble response is much better than the TRN VX. Mids is a toss up. If you like vocal forwardness, get the VX. The T2 Plus’ vocals is more subdued in comparison. Technical performance of both IEMs are otherwise on par with each other. For $50, the T2 Plus is just a straight up better price/performance proposal especially when it comes with better accessories.

Thieaudio Legacy 3

To be honest, one of the first thoughts I had when listening to the TRN VX was that it was a cheaper, exaggerated version of the Legacy 3. To an extent, I think that still holds true. The tuning of the VX has more upper mids, more bass, and has treble compared to the relatively treble-weak Legacy 3. A/Bing the two, I think it mostly comes down to a tuning preference issue. The Legacy 3 is noticeably warmer with laid back vocals and the lack of treble is very apparent next to the VX. The Legacy 3 has a slightly better bass response. VX’s more midbass focus causes it to fall short when a solid deep note is needed.

TRN V90

The TRN V90 was one of TRN’s previous offerings that I reviewed before the VX. At the time, I thought it was pretty decent and on par with the KZ ZSX and BLON BL03. Tuning wise, they’re fairly different. V90 has a classic in-your-face V-shape while the VX has a more balanced tuning. Between the two, I’d say the VX is better but honestly the differences aren’t night and day. If you already have a V90 or any other decent $50 or so piece of ChiFi, I’d suggest that you look for a bigger upgrade than the VX. At the very least, get the Etymotic ER2/Tin Audio T4/Moondrop Starfield.

Should You Buy It?

Not really. The TRN VX is a very solid budget offering. The challenge lies in its competition. For $50, the T2 Plus exists. For $80 or so, you can sometimes find the Tin Audio T4 or Etymotic ER2 on sale and those pretty much blow the VX out of the water. The only reason you should buy the TRN VX in my view is if you’ve heard the T2 Plus and crave more upper mids forwardness and treble presence. At the end of the day, if you already own a TRN VX or for some reason really want to buy one, be happy with it. It’s a fine IEM and not every IEM can be a contender for the price/performance crown. The TRN VX has been a commendable effort and I look forward to what TRN does next.

[prfallon69]

Great review. T2 plus is i very good iem for the price. Mines definately a keeper.

[Nimweth]

My most recent acquisition is the CVJ CS8. I have been testing it for the last week or so and here is my opinion of it. This unit was provided for review by Aimee from IZ POP via Amazon.com. Product link:
https://www.amazon.com/gp/aw/d/B08GKXT863?psc=1&ref=ppx_pop_mob_b_asin_title

CS8
CVJ’s earphones released so far have not followed the popular V-shaped profile, instead displaying a more neutral sound signature. The hybrids CSA (1DD + 1BA) and CSN (1DD + 5BA) both displayed a refreshingly open presentation with the CSA being well balanced and full-bodied and the CSN being neutral with a refined cool tonality.

The latest model is the CS8. This is also a hybrid design (1DD + 3BA). The dynamic driver has a 10mm diaphragm and dual magnets and covers the low frequencies. A 50060 balanced armature is used for the midrange with the upper region handled by two 30095 BA units. There are no BAs placed within the nozzle.

The CS8 comes presented similarly to the previous models in a black wooden box with a crackle finish and silver accents. There is a CVJ logo on the front and product details on the underside. Inside you will find:

• CS8 IEMs pre-fitted with tips (Size M)
• 2 pin 4-core single crystal copper cable
• Two further sets of silicone eartips (S, L)
• Faux suede storage pouch
• Velcro cable tie
• Documentation

The IEMs themselves have a smoked transparent resin body through which the components can be seen and there is a circular vent for the DD near the base of the nozzle. The faceplate is black with a silver border surrounding the grained metal effect and there is a white CVJ logo in the centre. The 2-pin sockets are recessed. The cable is black and tightly braided. There is a straight metal 3.5mm plug with a CVJ logo and a metal Y-split and no chin slider. The build is solid and nicely finished and the presentation is good at the price.

First Impressions
I found the sound of the CS8 to be source sensitive. It was tested initially with an Xduoo X20 DAP, but this sounded too bright. I also tried a Hifi Walker H2 with a similar result. A Sony NWZ - A15 produced the best balance with a bit more warmth and this was used for evaluation. A comfortable fit was obtained with the pre-fitted tips and isolation was good. Sensitivity was fine with adequate volume achieved with all sources, amplification not being required. After a lengthy burn-in and short audition I replaced the stock cable with a Hifi Hear 16 core silver plated cable.

Like its predecessors, the CSA and CSN, the CS8 displayed a largely neutral/bright profile and was reserved in the bass. It shared some of the detail and refinement of the CSN with the midrange becoming brighter as the frequency increased. This trend continued into the treble which was also brighter than neutral but well detailed. The soundstage displayed excellent width and an average depth.

Bass
The profile of the bass was generally flat with no evidence of bleed into the midrange. It was somewhat lighter than neutral with reduced sub-bass.

In Isao Tomita’s electronic version of Ravel’s “Pavane” the bass was slightly subdued but was clean. Recorded ambience was well portrayed with the bass drum’s reverb nicely reproduced although a little more depth would have been welcome here. This tended to bring the mids and treble forward resulting in a somewhat bass-light presentation.

“Whisper from the Mirror” by Keiko Matsui features a powerful bass with keyboards and bass drum. Once more the CS8 favoured the mids and treble and although the bass was articulate and well defined, it lacked a little weight and power and this took away some of the impact. KZ’s ZSX, for example, revealed more here in the low frequencies and achieved a more entertaining balance.

The powerful bass drums in the climaxes of Ravel’s “Alborada del Gracioso” performed by the Minnesota Orchestra under Eiji Oue also appeared a little low in the mix and their impact was lessened, resulting in a less exciting performance. The dynamic contrasts in this piece are essential in conveying the composer’s intention and the CS8 fell just a little short.

Mids
The mids were bright and forward. The tonality became brighter towards the treble boundary and detail was prominent with occasional harshness on certain material.

With a mid-focused profile, it was unsurprising to find vocals well reproduced. Rosanne Cash’s performance of “This has happened before” was enjoyable. Her vocals were placed centrally with the reverb clearly audible and with perfect diction and the accompanying guitars and Dobro on each side were clear and detailed. Clarity was especially notable on this track. This was ideal material for the CS8.

The light, delicate and graceful orchestration of Mozart’s “Eine Kleine Nachtmusik” also suited the CS8 very well. In the performance by the Vienna Philharmonic under Karl Bohm, the bright and clean delivery highlighted the intricate counterpoint and rhythmic interplay producing an entertaining result. However, the overall balance remained a little brighter than neutral throughout the piece with the cellos and basses lacking a bit of warmth.

The timbre of the cello in Richard Souther’s “The Long Riders” was nicely portrayed with just a little more focus on the higher notes, emphasising the “rosin” effect. The complex sequenced accompaniments surrounding the solo instrument were clearly depicted and the bass foundation in this track possessed adequate depth.

Treble
The treble was bright and clean but did occasionally exhibit some sibilance with an emphasis in the lower treble. The timbre of string instruments was a bit sharper than ideal and brass sometimes sounded a little thin. The upper treble was smoother with good extension and some welcome sparkle.

“Beautiful Attractor” from “In Neptune’s Wake” by Robert Carty showcases a solo synth playing a meandering melody over a backdrop of keyboard washes and electronic effects. The CS8 revealed plenty of detail here with the stereo imaging and movement being particularly effective. Layering in this piece was also very good.

The high notes in the climax of Barber’s Adagio for Strings were clear and crisp with just a hint of shrillness at high volume. The separation of the different string sections was well handled and it was also easy to discern the details of the counterpoint in the beautiful recording by Leonard Bernstein and the NYPO.

Sly Dunbar’s superb percussion work in “Man Free” from “Dread Beat an’ Blood” by Linton Kwesi Johnson displayed plenty of attack. The timbre on the cymbals was generally good with only a slight splashy quality at times. The urgency of the rhythm section was nicely preserved.

Soundstage
The CS8’s staging showed good width but depth and height were a little less expansive. Layering and separation were generally good but the perspective tended to flatten in complex pieces and at higher volumes. However, simpler productions sounded fine with good definition and a sense of space. For example, string quartets fared better than large orchestral works.

Conclusion
With a neutral mid-focused profile, the CS8 acquits itself well at the price. However it faces fierce competition from other hybrids at a similar price such as KZ ZSX, CCA C10 Pro and the new KBEAR Lark, amongst others, most of which offer perhaps a more dynamic listen. The C10 Pro is V-shaped with a bright forward sound and a fast deep bass and the ZSX is mildly V-shaped with deep bass and an expansive staging and the Lark is well balanced, dynamic and powerful.

The CS8 continues the CVJ “house sound” and represents good value if you are looking for a measured presentation and a neutral, well-balanced to bright profile. However, it will not appeal to bassheads and it does benefit from a warmer source.

CVJ must be praised for sticking to their guns and supplying a valid alternative to the swathe of V-shaped IEMs on the market.

[prfallon69]

A very fine review as always @Nimweth. I enjoyed reading it as I always do.

[SenyorC]

For these IEMs, I think we may need a Super-Mega-Ultra Cheap IEM Thread

As always, this review is also available on my blog in English and Spanish (link is in my profile) and is also available for those who “hablan español” on YouTube: Ep.28 - KZ EDX - Por el precio de un bocadillo!

I need to start this review by saying that the KZ EDX have been sent to me by AK Audio, a seller on AliExpress. In exchange, the only request has been that I include a link to the product both in my YouTube review and the review on the blog.

If you are reading this review on a forum or other external website, you can visit the Blog to see the link to the product here: Review - KZ EDX (Sub 50€)

As always, I will post my personal and honest opinions but it is worth noting that these headphones have been sent to me as a gift by the seller.

Intro…

The KZ EDX take me on a journey to the past, not because they are an old IEM, they have only been released very recently, but because they are a ultra-budget single dynamic driver from KZ, much the same as the KZ ATE which were my first entry into the budget IEM world.

The EDX are probably the cheapest IEMs I have reviewed until now. During the 11.11 sale, they were available for just over 5€, that is cheap to the point of being surprised if they even make sound.

I still own the ATE but unfortunately could not find it among the (too) many sets of IEMs I have. It would have been interesting to do a direct comparison as to how far we have advanced in this time.

Presentation…

The EDX comes in the normal KZ packaging, as do the majority of their models. It is a simple white box with an image of the IEMs on the front. The interior slides out of a cardboard sleeve (which is actually what has the image etc) revealing the IEMs through a plastic cover.

Underneath the space for the IEMs, there is the model name and “Customized Heavy-bass Earphone”. KZ are fans of writing descriptions on their packaging and also on the IEMs themselves, in this case, the IEMs state “Bass Dynamic”, so the guess would be that this is a bass focused IEM.

Underneath the foam insert we find the usual documentation, a pinkish cable and a bag with two spare sets of silicone tips (in different sizes).

Build and aesthetics…

The build and aesthetics are surprisingly good for such a cheap IEM, I mean, the price is something that we need to remember throughout the whole of this review. The price of these earphones is less than a sandwich in an airport.

The IEMs are completely made of plastic, as is to be expected, and are very lightweight. The seal between the backplate and main shell is not perfect but is only really noticeable when looking closely.

The shape of the IEMs follows the usual shape of KZ, which has proven to be comfortable, and in my case they are completely white with a grey X logo on the backplate.

The included cable is very similar, if not identical, to the majority of cables included with KZ IEMs. It is a pink color, with a white inline microphone and transparent connectors on both ends.

All in all, the build and aesthetics are acceptable but if we think of the price once more, they are pretty darn good.

Sound…

The IEMs use a single 10mm dynamic driver, with an impedance of 23 Ohms and 112dB/W sensitivity, meaning that these IEMs can be easily driven by almost anything with a headphone jack.

Based on the description on both the box and IEMs mentioning bass, I expected these to be very heavy in that department but they are actually much tamer than I expected.

There is good extension down into the sub-bass range, with the intro hits of “No Mercy” being heard right from the beginning of the track.

The bass is elevated throughout the majority of it’s range, starting to head downhill as it passes the 100Hz mark and starts to move into the lower mid categories. However, the bass is not overly boosted, it does not overpower the rest of the frequencies like it does on certain other KZ offerings with boosted bass. The song “Sun Is Shining” by Bob Marley & Robin Schulz presents itself in a way that you can appreciate the whole range of frequencies, not just an overpowering bass boost, but it is certainly noticeable that the bass is boosted.

I was going to go on and say that unfortunately the bass is not as tight and defined as I would like it to be, however, remembering the price of these, I can’t really expect them to have great control and definition in the low ranges. This obviously translates as being a bass that is slightly bloated and muddy but that is in comparison to any IEM that is at least 6 times the price. The bass can also get a little distorted when pushed on songs with highly powered bass sections.

In the lower mids, there does seem to be a little bleed from the bass but that also adds up to the slight lack of definition and makes it seem worse than it actually is. When songs are simple and not too boosted in the bass regions, the transition into the mids is not bad, but goes downhill when things get complicated.

There is a recess in the middle of the mids, as with all V shaped signatures, and while it doesn’t affect the lower end of voices too much, it is noticeable. The mids then go on to climb again in order to make sure voices are present and they are. Voices are not overly nasal or lacking in anything particular, they are reasonably presented and are quite listenable.

Moving into the higher registries, there is a presence of sibilance, proved by songs like “Code Cool”. It is nowhere near the worst amount of sibilance I have heard and is only really present on tracks that are prone to sibilance themselves, but it certainly doesn’t tame it.

Up into the highest of ranges, the single dynamic driver actually does a decent job of not rolling off too soon. There is enough brightness and air to be satisfactory, it is just the quality of this that is not great. It is a little hazy and can feel a little harsh on occasions.

The speed, detail and definition of the drivers is certainly not their strong point. These IEMs are not going to present you with details you haven’t heard before, nor do they do an excellent job of dealing with very complex passages. They are not terrible, I have heard much worse at much higher price points (remember the cost of these!) but certainly do not have a wow factor.

The soundstage width is about the usual for a set of IEMs, with image placement that is enough for you to know where sounds are coming from without actually pin pointing them. The transition from left to right can be a little choppy at times but is acceptable.

Conclusion…

I am actually having a hard time reviewing these IEMs due to the fact that I can easily spot errors and issues that I would prefer not to be there, but then I cannot ignore the fact that these IEMs cost less than a set of cheap NewBee foam tips.

I don’t feel that picking faults with them is really fair, as they do a job that is far better than I could have ever expected. In fact, they surprise me in the same way that the KZ ATE did back when all of this started.

They are a comfortable set of IEMs that present a sound signature that will be to the liking of the majority of listeners. The faults that I have noticed have been due to the fact that I am specifically sitting and listening to a set of IEMs to give my opinion on them and explain to others, using only words, what the strengths and weaknesses are.

I think that the majority of the general public would use these IEMs and not have a single complaint, and I also think that those are the people that these IEMs are aimed at.

For the general person who wants a set of IEMs to enjoy the latest pop music of their preference, spending as little money as possible, and plugging them directly into their phone, I think these are a very valid option.

When we factor in the price of the EDX, I think they go from being a “very valid option” to being downright great!

[mgosdin]

Thank you @SenyorC, another great review. These look to me to be designed for daily carry where you aren’t sure that you won’t damage or loose them. Good enough to be listenable & cheap enough that you might buy a couple of spares while not spending more than $20.

Mark Gosdin

[prfallon69]

Great stuff again @SenyorC. When taking into account the price the fact that any sound at all is emitted is a bonus. But seriously for the little they cost they should do fine in their intended market.

[SenyorC]

As always, you can find this review in Spanish (and English) on my blog, link in my profile, and in Spanish on YouTube: Ep.29 - Blon BL05s - No Hay que juzgar por el color!

Blon BL05s

As always, to be completely transparent, the Blon BL05s were sent to me free of charge by EE Audio, a seller on Amazon.es and other Amazon stores. The only request was that I included a link to the product on their Amazon store in my YouTube review, I will also include it in the written version on the Blog.

If you are reading this outside the blog, you can visit the blog to see the link here: Review - Blon BL05s

I will obviously be as honest as I always am but it is worth noting that these IEMs have been given to me free.

Intro…

Blon made a name for themselves with the BL03, a set of IEMs that received a lot of praise all over the web, from forums to YouTube, coming in at under 30€. The BL03 was one of the first IEMs I actually reviewed on the Acho Reviews YouTube channel (you can see it here in Spanish: Acho Reviews - Ep 1 - Blon BL03, Meze Empyrean y mas (en español) ) and was also one of the earlier reviews of the Blog (you can read it in English here: Review - Blon BL03). I wasn’t overly convinced by it and found it had issues that made it not as enjoyable for me personally as it seemed to be for others.

After the success of the BL03, Blon presented the BL05, a newly shaped IEM that supposedly improved some of the weaknesses of the BL03. I did check out many reviews of the BL05 but it didn’t convince me enough to actually try it out, so I ended up skipping it.

The Blon BL05s is the successor to the BL05, maintaining the shape of the 05 but supposedly improving on the items that didn’t work as well as on the previous BL05. I honestly can’t say I would have purchased the BL05s if it wasn’t sent to me, but I have been putting it through its paces over the last week or so.

I will obviously not be making comparisons to the BL05, as I haven’t tried it, but I will be making comparisons to the BL03 which I still have in my collection of IEMs.

Presentation…

The only difference in packaging between the BL03 and the BL05s is that the text on the front of the package is shiny. They maintain the same white cardboard box with a clear plastic front. They also maintain the same spelling mistakes.

The contents of the package haven’t changed either, except for the IEMs. The included cable is still the same, as are the included tips. At least, I think they are, I haven’t really done a side by side comparison, just looked at them and ignored them.

Build and aesthetics…

If we forget about the tips I just mentioned, that leaves the cable and IEMs. The cable is pretty crappy, as it was on the BL03, but it does do its job. Personally I would replace it but I have actually used it for these listening tests, so it does work, it’s just not a nice cable.

The IEMs keep the same shape as the BL05, which were very different to the BL03. The original BL03 caused issues for many people with fit, which the BL05 shape supposedly improved. In my case, I didn’t find the BL03 uncomfortable but I must say that I find the BL05s to be more comfortable, the size and shape fits in my ear quite well and does not cause me any discomfort, at least for the 2 or 3 hours listening periods I have been spending. Of course this is a very personal thing so comfort will be dependent upon each individual.

The actual build is still metal, at least it seems to be, but this time it has been covered with a coat of paint rather than left shiny. Aesthetics is another very personal thing and in the case of the BL05s I received, I am not a fan. I believe there is only one colour option, the one I received, which is turquoise and gold. It is actually nice that they are a break from the usual black/white/silver options of the majority of IEMs, but turquoise is not a colour I would pick. Again, this is personal taste, so people may love the look and who am I to judge.

Sound…

Sound is alway the important bit but when we are talking about a set of turquoise and gold IEMs, I think sound becomes even more important! I can say straight away that I prefer the BL05s to the BL03. They are still not perfect, they have a few issues but I find these issues to be in areas that don’t bother me quite as much as the issues with the BL03, depending on my choice of music.

I have opted for using the New Bee foam tips that I nearly always opt for on IEMs (except when they cause too much of an issue to the sound) and I have found that the difference between silicone (not the stock ones) and foam is only slight, with me favouring the foams. I also used foams on the BL03, both in the original review and when I have compared recently.

In the sub-bass range, there is a decent extension and presence, allowing rumbling of the lowest notes to be heard. I like to use “No Mercy” by Gustavo Santaolalla to judge this and the BL05s presented the track with no lack of the lowest frequencies.

The whole of the bass frequencies are elevated over the mid range, as these are a V shaped profile, but seem to be slightly less prominent than on the BL03. There is plenty of bass in my opinion but bass heads may prefer the BL03 if they want that extra bit of exaggeration. I did some back and forth comparisons with EDM on both the 03 and 05s, the outcome was that personally I prefer the quantity found on the BL05s.

I feel that the 03 may have had slightly tighter control of the bass frequencies in the sub and mid bass ranges, with the BL05s being a little bit looser, without as much control and definition on specific bass hits.

One of my main issues with the BL03 was the transition from the bass into the mids, which gave me a congested feeling in this area, especially on busy tracks. In the case of the BL05s, I feel that the transition is a lot cleaner and while the bass may not be as tight in the lower parts, the higher bass and lower mids are separated much better, avoiding that sensation of them colliding with each other.

One of the genres that caused this issue to be prominent on the BL03 was hip hop, making albums like “2001” by Dr.Dre and “All Eyez On Me” by Tupac to sound “dirty”, for lack of a better word. The BL05s do not cause me that sensation, and while it is not a perfect transition, it sounds more pleasing to my ear than before.

In the center of the mid range there is a recess which is noticeable but is not terrible. On some tracks that have a V shaped recording, it can cause the lower end of vocals to get a little lost behind the bass, but a pretty sharp rise around the 2kHz to 3kHz region works well to bring back the presence of those vocals.

In the case of male vocal only tracks, such as the intro to “Diamonds On the Soles of Her Shoes” by Paul Simon or “These Bones” by The Fairfield Four, the BL05s presents them in a very enjoyable way, with nice and rich vocals.

However, in the case of female vocals, such as “Down To the River to Pray” by Alison Krauss or even “Royals” by Lorde, I find the female voice to be a little hollow, due to the root notes of these voices being higher in the frequency spectrum. In the case of the latter, there seems to be a gap between the vocals and the lower bass notes, as though there is information missing. This is something that is most noticeable on tracks that have female voices and simple backing tracks that don’t really provide much in the 500Hz to 1kHz range.

In the higher registries, the IEMs do a decent job of avoiding sibilance without sounding dark. There is a slight roll off in the treble area but a few peaks in the right areas help keep it intact, at least up until around 12kHz where the roll off starts to get sharper, leaving me wanting just a little more shine and air up there.

One of the things that the BL03 did very well, and is something very important for me and the kind of music I usually listen to, was timbre. In the case of the BL05s, the timbre is still decent but not quite as good as the BL03. Acoustic instruments still sound good and still have plenty of body to them, it’s just not quite as good when compared directly between them.

Another issue I found with the 03 was their lack of speed and definition when things got busy. This time around, they do a better job of dealing with the complex passages, especially in the lower regions, avoiding congestion on tracks such as “The Room” by Ostura. The detail is still not excellent, but is acceptable.

The width of the soundstage is not huge, I would say around average, with great placement of images but when listening to “Letter”, the pencil moves smoothly from left to right, but seems to hit a point where it just won’t go any further. It is not a terrible soundstage, it’s as good as the majority of IEMs, but is not amazing either.

Conclusion…

I am glad I got to try out these IEMs, I feel that they are certainly a step in the right direction from Blon, at least in comparison to the BL03. Saying that, I am probably in a minority who didn’t think that the BL03 were amazing. Yes, they did some very good things for less than 30€, but these do other things better and just seem more coherent on a whole.

I wouldn’t choose the BL05s for critical listening but they do have a pleasant sound signature that makes music enjoyable, at least to my ear. I would like a little more detail and less of a dip in the mids, along with a bit more at the high end of the spectrum, although we musn’t forget the price bracket that these IEMs are in. If these had been released only a few years ago, we would be talking about IEMs that break boundaries.

Thanks to EE Audio for sending these out to me for review, I have enjoyed using them and I would certainly have no issue recommending them at their price point.

[prfallon69]

Great review @SenyorC. I aren’t a fan of the colour or look of these. Like you say though its personal choice.

[SenyorC]

I totally agree @prfallon69, I mean, I’m not much of a gold person anyway, but add turquoise into the mix…

[mgosdin]

Another good review @SenyorC I’m on the opposite end of the color debate, Turquoise is my favorite color and has been since I was small. I really like how the BL05s look with the Gold accents. They are now on my “Opportunity Calls” list of IEMs to get if I have the chance.

Mark Gosdin

[pennstac]

Good review as always. Unlike @prfallon69, I like the color, especially if considered as a gift to pre-teen girls. Which may be my use case. I’ve seen quite a bit of hype about the Blon05/05s. Considering my pre-Christmas list there are 3 females between 11 and 15 that might be due for a stocking stuffer in the $50 US price range. If not this, then what would you recommend?

I don’t think there are good wireless buds in my price range, even on Drop.

[brian]

So interesting you mention those particular Paul Simon and Alison Krause songs - I added the same ones to my “Testing” playlist just the other day!

[SenyorC]

As far as sound, my favourites under $50 are the T2 Plus but they are the typical shiny metal. The KZ ZAX are also decent if you can find them on sale under $50.

If you are looking at something more colourful, the these (BL05s) aren’t a bad option, there are also the Moondrop SSR that are more on the neutral side (and the SSP but I haven’t received that one yet so I can’t comment on sound).

The QCY T5 are a set of cheap wireless IEMs that don’t sound bad (if aiming for a pretty neutral sound) but they look pretty cheap though.

[SenyorC]

Graceland must easily be my most listened to album over the years, ever since my father bought the CD back in the mid eighties and I recorded it on cassette (and later just stole the CD ).

I never get tired of Bakithi Kumalo (bassist).