Good question, I haven’t actually listened to them side by side to compare. I have the EDX at my office and am currently quarantined, so it will a few days (hopefully days and not weeks) before I can compare.
If I had to choose now, without listening side by side, I would probably pick the DQ6 but that is probably just bias.
Dude, I hope you are not going to get sick! 
Stay safe 
Something that’s fascinating to me is how closely KZ/Tripowin tuned the 1DD TC-01 to the 1DD+4BA ZS10 Pro. Given that you can basically achieve the same tuning with just 1DD, it begs the question of what those 4 BAs are doing 
They are there to give that metallic shine to the highs 
That “shine” is what makes the Zs-10Pros worth having for me. If the TC-01 can do the same without the 4 BA’s then good.
Mark Gosdin
I’m more impressed by that level of treble extension in the TC-01 from a single DD!
Here is a review of the Moondrop SSP that also fits in this thread:
I read 90% of the topic, great source of info guys!
I’m currently wobbling between CA16, ZAX, CSN, TRN VX which are on same price range, but since I cannot hear them so probably will be blind choise? Which are better for electronic music?
I have CCA C12 but want to make a step up, and increase maybe details and soundstage and keeping best of c12?
I will appreciate any advice?
PS oh yes and BLON 05s, but they are quite different from the above so i do not want to risk and not like them after buying…
I’m afraid I can’t tell you which is better because I haven’t tried all of those and “better” is also very subjective.
I will say though, for electronic music, I would add the Moondrop SSP to the list.
I recommend you read @antdroid’s IEM ranking thread (and see the charts). Everything in the sub $50 range and even the sub $300 range involves meaningful trade-offs.
Follow your priorities and pick your poison.
I’ve turned into a total shill for the VK4, but I will say that if you’re not treble sensitive or better yet have access to EQ, the VK4 with SEDNA Xelastec tips has great tonal balance in the bass, with a sub bass emphasis but still a little warmth in the upper bass. There’s plenty of treble to give percussion good attack and make things sound “fast”. And, the upper mids are just a touch laid back, which makes it possible to listen at sightly higher volumes that bring out more bass and more detail.
I’m listening to the below with them right now and enjoying it immensely.
How does Kinera Bd005 pro compare to cca c12? Did Kinera are an upgrade from c12 or not worth it?
I just bought those kph30i, and I am quite impressed by such a janky unit. They’re on amazon and the Porto pro is 30 instead of 50, idk if it’s normally 50. 38 for the drop version
Here is my latest review, it is the CCA CKX, 1DD + 6BA. I would like to thank Denise from IZ POP via Amazon.com for providing this unit for review.
Product link:
The CCA CKX is a new multi-driver hybrid IEM featuring a 10mm coaxial bass driver and six balanced armatures. The BAs are: 3 x 30017 covering the mid/high region and 3 x 30095 for the high frequencies. One 30095 BA is placed in the nozzle.
The packaging is similar to that supplied with the CS16 and CA16, a small white linen-textured box with a CCA logo in black. Opening the box, the earphones are presented in a cardboard cut-out below a small envelope containing the documentation. Below this is another small box in which there are the two pairs of spare white silicone eartips and the 2-pin cable (the medium size tips are pre-fitted to the IEMs). There are some specifications printed on the back.
The IEMs are very compact in size considering the number of drivers inside, and are solidly built in CNC cast metal and look and feel as though they will last a long time. They are teardrop shaped and are quite heavy for their size. There is a fairly long nozzle with a prominent lip and a small circular vent for the dynamic driver on the inner surface. An incised CCA logo is placed in the centre of the faceplate and there is a raised socket for the 2-pin QDC connectors.
The supplied cable is the usual 4-core braided type seen on various CCA and KZ models. There is a long run from the chunky Y-split to the QDC connectors and no chin slider and it tangles very easily. It is terminated in a right angle 3.5mm plastic plug. The ear guides are quite tightly curved but fit snugly round the ear.
Testing was performed using an Xduoo X20 DAP and a burn in period of 100 hours was carried out. Adequate volume was achieved with no need for additional amplification. The stock cable was used, but even the largest of the stock tips afforded no seal and consequently there was a lack of bass, so I experimented with various tips, finally settling on JVC Spiral Dots, size L, and this resulted in a good seal and a comfortable fit, with the earpieces fitting snugly in the ear and achieving good isolation.
First Impressions
The CKX displayed a well-balanced profile with solid sub-bass. Mid bass was at a lower level and transitioned into the mids smoothly. Midrange was clean and not notably recessed with good timbre. Treble was bright and extremely detailed and well extended. There was an expansive soundstage with excellent separation and layering. The overall effect was neutral/bright and might be thought of as a “reference” tuning.
Bass
The bass was deep and nicely textured with good definition and with a good amount of ‘weight’. It was very well balanced with the rest of the frequency range and the emphasis was on the sub bass, with mid bass more neutral and not bleeding into the mids.
Space music maestro Jonn Serrie’s “Flow of Time’s Arrow”, from his “Thousand Star” album begins with shimmering synth patches and sparkling electronic effects. A stately melody is underpinned by deep synth bass and the CKX delivered a weighty and powerful foundation with a spacious, airy feel, complementing the rest of the production perfectly.
On the CKX, the menacing orchestral bass drums and timpani in Sibelius’s “The Swan of Tuonela” produced a perfect dramatic atmosphere in the recording by Osmo Vanska and the Lahti Symphony Orchestra. Set against delicate string figuration and a mournful cor anglais solo, the percussion section displayed excellent separation and the individual timbres of the drums were clearly differentiated.
Midrange
The midrange on the CKX was very well profiled with a consistent level and tonality throughout. The BA timbre was noteworthy, being just on the bright side of neutral with very high levels of detail. The upper mids were marginally brighter and transitioned smoothly into the treble.
Venezuelan composer Reynaldo Hahn’s beautiful “L’heure exquise” is a contemplative piece for cello with piano accompaniment. In the version by Mischa Maisky and Daria Hovora, the timbre of the cello and piano was very authentic and the interplay between the two instruments was skilfully handled. The ambience of the recording venue was faithfully reproduced.
The exceptional clarity of the CKX helped to make vocal lines emerge from their backing tracks and enable the lyrics to be heard clearly. A good example of this was in Cat Stevens’s “Father and Son”. The storytelling was beautifully articulated with his voice standing out above the guitar, piano and percussion accompaniment and every detail of the production easy to follow whilst the character of Cat Stevens’s voice was accurately reproduced.
Treble
The CKX’s treble was remarkably clear, open and detailed and was free from disturbing peaks or harshness. It was bright and extended with an airy quality and excellent transient attack.
Georg Deuter’s “Petite Fleur” begins with a melody reminiscent of a music box. Accompanied by delicate and sparkly percussive elements, electronic effects and synthesisers, the CKX produced an exceptionally clear performance with copious detail and pinpoint imaging and separation. The whole piece gelled together in a very musical way.
Sarah Chang’s magical reading of Vaughan Williams’s “The Lark Ascending” with the London Philharmonic Orchestra under Bernard Haitink’s baton came to life convincingly on the CKX. The violin was admirably depicted in front of the orchestra with a bright yet natural timbre and the delicacy of the highest notes was conveyed clearly in an atmospheric acoustic space. The separation and layering in the string sections was very clear, resulting in a satisfyingly musical performance.
Soundstage
The CKX presented a wide, deep stage with excellent separation and layering and the details of a production were laid bare in a most authentic fashion. Imaging was also impressive with positioning of instruments stable and precise.
Liadov’s “The Enchanted Lake” begins with basses, tubas and bass trombone forming a foreboding introduction, and on the CKX there was a real sense of distance and depth. In the version conducted by Charles Gerhardt, there was an expansive three-dimensional image with the horns on the right, the harp on the left and the string section in the centre, taking the listener convincingly to a virtual concert hall.
“Skys” is an album of minimalist electronic music by Mychael Danna. “Sky 10” is a powerful piece based on a simple repeated motif which builds to a majestic climax with prominent parts for electronic woodwind and a deep bass foundation. On the CKX, it was presented dramatically in a spacious acoustic with a superb dynamic range and a wide frequency spectrum, and was very impressive with each element clearly audible.
Comparisons
KZ ZAX (1DD + 7BA)
The ZAX is possibly the best multi-hybrid from KZ so far. It is also V-shaped, but improves on the treble timbre of earlier models like the ZS10 Pro and the rather restrained presentation of the ZSX. It does have a bass which can be dominant and a lower treble which can be occasionally sharp, but it is generally well-tuned. The CKX matches it in detail retrieval but has a more neutral and arguably, more natural timbre, especially in the mids, and sounds cleaner. Though somewhat analytical, it still manages to sound musical.
CCA CA16 (1DD + 7BA)
The CA16 has a warm, well balanced profile with solid bass, well-tuned mids and a gentle, somewhat rolled-off treble. It is a very different tuning from the recent C10 Pro and CS16 which are much brighter. The CKX improves on the CA16 with better build quality, improved detail retrieval, clarity and accuracy. The CA16, on the other hand, has a relaxed presentation which is rich, lush and full-bodied and very easy to listen to. They are very different beasts and can be considered as complementary rather than as rivals.
TRN VX (1DD + 6BA)
The VX has a full-on exciting and addictive V-signature with powerful bass, somewhat recessed mids and a very bright upper register. Once this is tamed a little with the right tips, it can go head-to-head with the CKX in build quality, detail retrieval and bass impact, but its tuning is not as natural or accurate. It would appeal to treble heads and could be described as a ZS10 Pro on steroids. The CKX has superior balance and timbre and a more neutral profile.
Conclusion
After the release of the C10 Pro and CS16, both of which displayed a very bright character, CCA returns to form with the CKX. With its combination of clarity, accuracy, wide frequency range and excellent build quality, it presents music in a near-neutral and authentic way with exceptional detail. It truly deserves the title “In-ear monitor” and can be warmly recommended to anyone looking for a high quality earphone with a reference-type tuning. I consider the CKX to be CCA’s finest effort so far.
As a happy ZAX and CA16 owner, I might have to pick this one up during the AliExpress anniversary sale later this month. Thanks for reviewing this. Cheers!
Another truly excellent review @Nimweth. Thanks, I really enjoyed it.
Always great to read your reviews @Nimweth!
These sound interesting.
KBEAR’s latest model is the entry level KS1, a single DD design.I received a review unit from Wendy Li from KBEAR, via Ali Express.
Product Link: https://m.aliexpress.com/item/1005002184896879.html?spm=a2g0n.orderlist-amp.item.1005002184896879&aff_trace_key=be57116bcf9c49d385e9422362f26672-1615840366669-05255-UneMJZVf&aff_platform=msite&m_page_id=9772amp-cLTZdy7_DD1kcZBRZh2RfQ1615840416183&browser_id=04862dda865f45eeacad18e367fb79bd&is_c=N
Here are my thoughts:
The KBEAR KS1 is the latest super-affordable IEM from the company. It is a single dynamic driver design with a 10mm diaphragm and dual magnetic circuit with an impedance of 16 ohms. The diaphragm material is not specified.
The KS1 comes in a small white rectangular box similar to those of KZ, with a line drawing of the IEMs on the front and a list of specifications on the back. Inside, the earpieces are presented in a black plastic tray with an embossed KBEAR logo. Underneath is stored the 2-pin cable with QDC connectors and two sets of silicone tips. The box contains:
The accessories, as expected, are very basic but are acceptable at the low price.
The KS1 resembles the earlier KS2 model in appearance. The earpieces are smoothly contoured and light in weight. Available in plain black or white, the faceplate is emblazoned with a prominent KBEAR logo in the centre. The interface is 2 pin, 0.78mm and QDC connectors are used. There are two small circular vents for the dynamic driver on the inner surface.
The 4-core cable is black and tightly braided and the material is 4N copper. It is terminated in a right-angled 3.5mm metal plug with silver accents. The QDC connectors and the Y-split are finished in black plastic and there is no chin slider. The cable is quite prone to tangling.
The KS1 was tested using an Xduoo X20 DAP. The stock cable and pre-fitted tips were used and I achieved a comfortable fit with good isolation. A burn in period of 100 hours was carried out. Adequate volume was achieved with no need for additional amplification.
First Impressions
Before burn-in, the KS1 displayed an over-warm profile which was lacking in definition. The running in process transformed the sound, resulting in a warm, entertaining V-shaped tuning with a strong bass which dominated on some material and produced a little bleed into the midrange. The tonality was generally natural and “analogue” in quality. Midrange was recessed but possessed good timbre and reasonable levels of detail. Treble was above the level of the mids and there was an emphasis in the lower treble and a mild roll off in the highest frequencies which resulted in some loss of detail. Staging was average in width and depth, with height very well reproduced. The sound was eminently suitable for long-term listening.
Bass
The bass was powerful and deep and possessed a good impact and weight. Slightly warmer than neutral, it had a vinyl-like tonality, but it did dominate on certain material, especially in the mid bass.
In Mike Oldfield’s “Tubular World” from “The Songs of Distant Earth”, the bass reached down to the nether regions with excellent weight in the synth bass with the rhythmic integrity maintained well. The texture of the bass guitar was very well rendered. There was some dominance over the other frequencies, but this suited the piece, with the KS1 delivering an entertaining and foot-tapping performance.
Aaron Copland’s famous “Fanfare for the Common Man” received a stirring rendition from the KS1. Though perhaps a little over the top, the bass drum resonated impressively and the timpani were impactful while the brass shimmered high up in the orchestra. The KS1 delivered a dramatic and enervating performance in every way in the wonderful recording by the Minnesota Orchestra under Eiji Oue.
Midrange
Although somewhat recessed, the midrange was still articulate with a somewhat warmish cast in the lower region deriving from the mid bass and it became brighter towards the boundary with the treble. Generally the timbre was natural and with a good transient response.
Davol is an American electronic music artist with a series of imaginative albums to his name. “Mystic Waters” is the title track from his eponymous debut album. Smooth synth patches introduce the track which are joined by a solo guitar-like voice in the bridge. On the KS1 the solo displayed excellent clarity and projection while accompanied by solid bass and atmospheric effects spread horizontally. The sense of space and ambience produced by the KS1 was palpable.
“Bring him Home”, from “Les Miserables” received a heart-warming performance from The Piano Guys. The timbre of the cello and piano was very authentic. The effect was perhaps a little larger than life in the lower notes, but the emotion and feeling of the piece was conveyed most effectively, with the two instruments both contrasting and complementing each other. This kind of material was perfect for the KS1.
Treble
The KS1’s treble was fairly well-tuned. Detail retrieval was reasonable and there was a minor roll off in the high frequencies, but nonetheless, the overall effect was smooth and easy to listen to with no disturbing peaks. However, I found myself wishing for a little more detail and sparkle.
Mark Dwane’s series of albums showcase his imaginative MIDI guitar productions. “Paragons” from the “Archives” album begins with jangly electric guitar chords accompanied by electronic and percussive effects. It came over impressively clearly on the KS1 with good separation and layering with the character of the instruments well portrayed but with the leading edges losing a little bite.
The syncopated rhythms and lively orchestration in “Morning” from Britten’s “Four Sea Interludes” was depicted attractively on the KS1. The staccato brass and woodwind stood out clearly but could have been a little more incisive. As the piece progressed the staging condensed and the attack was somewhat soft which led to the urgency of the performance being diminished and the sense of space in this classic recording by Andre Previn and the LSO losing some of its atmosphere.
Soundstage
The stage was average in width, not reaching beyond the ears, but depth was equal in dimension, resulting in a circular soundstage with a very good impression of height. Layering and separation were generally very good but in more complex pieces and at higher volume, the stage lacked depth and suffered as a result.
“Unsquare Dance” by Dave Brubeck features an unusual 7/4 time signature. Hand claps and clever percussion rhythms, supported by double bass and piano, were presented in a most entertaining way on the KS1 with plenty of verve and life. I enjoyed it so much I played it again! The whole was presented in a realistic, intimate space.
Andreas Vollenweider’s albums featuring his electric harp are always beautifully produced. “Hirzel” from “Book of Roses” begins with the harp backed by a small ensemble. Later on in the track there is a prominent electric guitar solo and a powerful complex accompaniment. The KS1 gave a good account of itself in the simpler part with good imaging and separation but struggled with definition in the more complex section with the stage losing depth and becoming crowded.
Comparisons
BLON BL-01 (single DD)
Like the KS1, the BL-01 has a warm V-shaped tuning with a mid-bass emphasis, recessed mids and average detail retrieval, but a believable natural timbre. In this respect it resembles the earlier, similar-sounding BL-03. The bass has a mid bass emphasis and is slower than that of the KS1 which has a better transient response. The mids are more recessed than the KS1, but the treble on the two is quite similar. The KS1 achieves a much better fit than the BLON which is problematic with its very short nozzles and poor cable, although the build quality is superior. The more even response of the KS1 just nudges it ahead for me.
CVJ CSA (1DD + 1BA)
The CSA has a more neutral tuning than the KS1 and is much brighter in the treble. Bass is sub bass focused with good extension and no bass bleed, the mids are forward with good detail but perhaps not as natural a timbre, and the treble is bright and extended. As a hybrid, it is more accomplished technically than the KS1 and is more immediate in its presentation but is more analytical than musical and therefore may be considered as an alternative rather than a competitor.
KBEAR KS2 (1DD + 1BA)
The KS2 is KBEAR’s previous entry-level IEM and is a dual hybrid. It displays a similar strong V signature with powerful basshead-style low end, recessed mids and bright treble. Perhaps its best quality is its large soundstage which is very extensive. It has an unashamedly “fun” tuning, not unlike the KS1 itself, but the KS1 is not as V-shaped and has better timbre with a more even sound profile and is preferable.
Conclusion
The KS1 is an accomplished single DD IEM at a very affordable price. Its V-shaped profile follows the trend in this sector, but its excellent timbre, lively presentation and controlled treble propel it to the head of the pack.
The KS1 enters a crowded marketplace with highly regarded models from KZ, CCA, BLON and others vying for dominance, but it holds its own against the competition. It does have a prominent bass and recessed mids and could benefit from a little more treble extension, better detailing and a more expansive stage, but at this price this is acceptable. It should be on your shortlist if you are looking for a high-achieving entry-level IEM.
Another great review @Nimweth. I really love your descriptive style.
Thank you, I find that is the best way for me to describe what I am hearing. Music is so subjective, so it’s nice to see that my message is getting across!
