It’s better extended on both ends and more V-shaped than neutral. It’s also twice the cost. But it works for me and I find it consistently more enjoyable compared to its predecessor.
1 Like
KZ PR1
The KZ PR1 have been sent to me by Linsoul for me to try and share my opinions. As always with Linsoul, they have not made any specific requests and my review will aim to be as unbiased and sincere as possible, although you should always consider the fact that these IEMs have been sent free of charge.
Keeping up with my usual aim to not publish purchasing links on forums where I am only a guest, even if all my links are non-affiliate, you can find the PR1 via Linsoul by visiting the version of this review published on my blog (link at the end of this review).
Intro…
Until recently there were very few planar IEMs on the market, we had Audeze, Tin and not much more. Now there are no shortage of planar IEMs available, covering all kinds of price brackets. The PR1 is Kz’s entry into the planar battle, coming in at just over 65€ and using a newly developed 13.2mm driver that is different to the drivers used in many other sets.
So the question is, other than the price, does the PR1 provide anything that sets it apart from all the other planar models that are readily available?
Presentation…
The PR1 presentation is just another typical KZ package. A small white box covered with a transparent cover that reveals the IEMs inside.
The contents include the IEMs, the typical KZ cable, the typical KZ tips and the typical KZ user guide.
So, as far as presentation goes, there is nothing here that hasn’t been seen many many times before from the brand.
I have always said that the presentation is the last thing on my list of worries and that I would much prefer the money to be spent on the IEMs themselves than a bunch of accessories that I may or may not (probably the latter) use.
Saying that, many other brands have got us used to decent packaging and contents, making the KZ presentations lack in comparison, giving us a cheap vibe when opening the package. Again, this is not an issue, as long as the IEMs provide an experience that matches the price point.
Build and aestetics…
I have to say that I like the industrial looks of the PR1. They use a combination of a clear resin interior shell with a gunmetal grey aluminum faceplate. There are grills on the front of the faceplate, with more ventilation areas along the top. Now, these IEMs are well vented but by no means are they as open as the faceplates would lead to believe. However, it does add a great aesthetic to them, in my opinion of course.
The comfort is the same as the majority of KZ models, which I find to be quite comfortable with no issues over longer periods of having them in my ears.
As far as the cable, well, not much I can say that hasn’t been said many times before. It’s not a fancy cable but it does its job and is much better than the cables that KZ used to include in yesteryears.
Sound…
As I have quite a few IEMs that are pending review, I have been measuring them in batches, meaning that for some models I have seen the measurements before listening to them. THe PR1 are one of these cases.
I am mentioning this because when I saw the graph, my first thoughts were “oh no!”. However, when I got around to listening to them (quite some time after graphing them), I was expecting something much worse than what I actually found (not to say that what I found was amazing).
Here is the graph in comparison to my personal preference target:
Those of you who follow my reviews and know my tastes will be able to spot exactly what I am referring to by looking at the graph. That 10dB over my preference is the subbass zone is one thing but the 6 to 8dB over my preferences in the midbass range was what worried me more.
So I was expecting overly present and bloated bass, stealing the spotlight from the rest of the frequencies, yet it is not quite as bad as I expected.
I have said before that I have no issues with excessive subbass (which is certainly the case here) as long as it is clean and doesn’t lose definition, and the KZ are actually not too bad in this realm.
Moving through the usual frequency categories and starting off with the subbass, yes there is a lot. In fact, listening to heavy subbass tracks, such as my usual subbass test track “Chameleon”, there is a heck of a lot of rumble. It is in fact too much rumble for my tastes. However, in tracks that have less subbass presence, the PR1 doesn’t force it on you and it keeps more or less out of the way of the other frequencies.
If you are someone looking for a planar experience with plenty of subbass rumble, then I think that the PR1 has you covered.
The midbass is a little more invasive but is still not as bad as I expected it to be when looking at the graph. I will say that the midbass is not out of control though, at least with the majority of music. It does bleed over a little into the lower mids, or at least it gives that impression due to the dip in the center of the mids, but is rather composed and is not terrible.
Listening to things like “No Sanctuary Here” from my test list, the focus is certainly on the lower end, pushing the midbass above the level I would like to find on this are but it is tolerable. I do find it tiring but it is not headache inducing like it is on other bass heavy models (to me of course).
The mids do suffer from a scoop between the 500Hz and 1kHz mark, meaning that V shaped recordings will be even more exaggerated, especially towards the lower notes. This is something that many people find enjoyable but it is not something that I favour personally.
The upper end of the mids does climb rather smoothly to the ear, however, the presence between 2.5kHz and 3kHz is not quite enough to balance out that low end. It is not terrible, again, I expected much worse judging by the graph, but it is still lacking some clarity and definition, with vocals taking a back seat on many tracks. Sting’s voice in “Walking On The Moon’’ seems quite distant (maybe on the moon? 
), as does the guitar, with the bass becoming the lead instrument (which some bassists would be happy about).
Moving into the upper frequencies, the extension is decent, with a sensation of air that is maybe not as apparent due to that low end being overly present. Using the typical “Code Cool” sibilance test, the results aren’t bad although they are not perfect either.
As far as details go, again they aren’t bad but they are not overly impressive for a planar driver either. To be fair, even the S12 that I really enjoy is not exactly a detail monster and none of them come close to what I have come to expect from bigger planar drivers, but the PR1 is certainly acceptable detail wise for it’s price point. Again, the excessive bass works against the sensation of detail, which does improve slightly by EQ’ing the low end down.
Soundstage is not a strong point in my opinion either. I did expect more width from a set of IEMs that looks to be fairly open but I’m afraid it is around average or even slightly lower. Image placement is ok inside the space it has to work with but becomes difficult to appreciate when the track is bassy. For example, “Bubbles” has a constant low rumble that takes away from the clarity and definition, and “Bubbles” is not exactly a bassy track.
Regarding isolation, well to be honest it isn’t terrible. It is actually better than average in the lower ranges whilst falling slightly below average as we get to the higher frequencies. It would probably have been better if it was the opposite (so the bass could be tamed naturally in noisy environments) but I am not complaining.
Conclusion…
If it wasn’t for the excessive bass ranges, then I would have actually been pleasantly surprised by the PR1, coming in as one of the cheapest planar IEMs on the market. In fact, with some EQ, these can be made to sound rather good for the price. However, as it is, I do find that the low end is far too much the “center of attention”.
If you are a bass head and are looking for a budget set of planar IEMs, then I think the PR1 should definitely be something you try out. The performance is also not terrible, it maintains its composure fairly well with fast moving dance tracks and I can see a lot of people being able to have a party in their head with their favourite dance tracks.
However, if you are looking for something that is more of a balanced sound, then I feel that there are quite a few alternatives out there that are much better suited, both in the budget range and in the planar range, if that is what you are aiming for.
I can’t say that the PR1 is bad, in fact, if it had been released a year or so ago, before the planar boom, then it would have probably received a lot of praise. As it stands, there is a lot of competition going on in the planar IEM world and while the PR1 does have something that the others don’t (that 10dB of bass), in my personal tastes it is not high on my list of preferences.
As always, this review can also be found in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
6 Likes
Tripowin Cencibel
The Tripowin Cencibel were sent to me by Linsoul for me to try them out and publish this review. Linsoul have not requested anything specific and I will try to remain as unbiased as possible in this review, although it is good to remember that these IEMs were sent to me free of charge.
You can find the Cencibel on the Linsoul website by visiting the version of this review published on my blog.
(as always, it is a non-affiliate link)
Intro…
I am going to start out by being honest and straight to the point.
Not long ago I reviewed the Tripowin Rhombus which were sent to me at the same time as the Cencibel that I am reviewing today. In case you didn’t read that review, basically I didn’t enjoy them. After finishing the Rhombus review, I moved on to the Cencibel, which I hadn’t yet listened to.
Upon first listen, I immediately discovered some parts of the tuning that resembled the Rhombus, which I have to say was not the best way to start off. As I said in my Rhombus review, I would much rather review items that I like. The reason is that I spend at least 4 or 5 days using each set almost exclusively and I would much rather spend that time listening to a set that I enjoy rather than something I don’t.
I am saying this because I really didn’t feel like spending another week listening to something I didn’t enjoy, so I moved on to something else and didn’t come back to the Cencibel until this week. So at least I was starting with a reset attitude, rather than coming at it in a negative way. I think that is fair both to the brand and to my ears.
Presentation…
The external presentation of the Cencibel is similar to that of the Rhombus, although a little smaller. A simple black box in a sleeve with nothing but the Tripowin logo on the cover and the only mention of the model being on the sticker of the bar code.
However, upon opening the box, we find a large case that is the size of the box. The storage/transport case is of the semirigid style, big enough to store the IEMs and plenty of accessories (although there aren’t many included) with the Tripowin name also on the cover. I have no idea why the Cencibel gets a nice case for 50€ where the 80€ Rhombus only gets a drawstring bag but I am not complaining.
Inside the case we find the exact same contents that were included in the case of the Rhombus. That is: the IEMs, the cable, 6 sets of silicone tips (of two different types) and the user manual.
I didn’t complain about the contents of the previous Tripowin model so I certainly can’t complain here as we get a nice case thrown in for 30€ less.
Build and aesthetics…
In this case, the Cencibel are constructed of resin with a more simplistic shape. The faceplates sport a kind of marble effect in silver and grey over the black background of the sheels, with Tripowin written on the left IEM also in silver.
The shells are relatively small an of a generic shape that should work well for most people, myself included. They don’t cause any discomfort over longer sessions and are generally pretty comfortable.
The included cable is exactly the same as the one included with the Rhombus, as are the tips, which is a simple black cable with black metal hardware that is nothing fancy but does the job.
In general the aesthetics are fine, as is the build and comfort of these IEMs.
Sound…
So, I said that these IEMs had some aspects that reminded me of the Rhombus, so here is the graph comparing the two models against my usual preference curve.
You can clearly see that, while not identical, there are a lot of similarities. Unfortunately the changes are not necessarily for the best.
Starting with the lower notes, the subbass is also very reminiscent of the subbass on the Rhombus, quite a way above my usual target. Once again, I get a similar feeling with this as I did in my previous Tripowin review, the subbass is there and is a decent performer, when the subbass is not accompanied by other frequencies in the higher mids range.
Again, with “Chameleon”, in parts of the track where the subbass is dominant, the Cencibel does a decent job of providing rumble while still keeping it relatively clean. However, once the track gets busier in other areas, the subbass seems to fade away.
The sensation is that it suffers in exactly the same way that the previous set I reviewed did, and in this case, the higher mids (which I will get to) are even more dominant. One positive thing is that this is a single dynamic driver set, which avoids the sound being taken hostage by the BA on the Rhombus.
The midbass is again a similar affair. It is a long way from providing what I would say is a “nice low end” on things like acoustic guitars. The guitars still have a bit of a hollow sensation and are missing body in their presentation.
In the mids, we find that scoop again, which is even more pronounced on this set although the differences are minimal. It is dipped enough to make the mids suffer. This again makes female vocals, such as Alison Kraus in “Down To The River To Pray”, sound fragile and lacking smoothness to her lower notes.
As we get into the upper mids, we have a peak at around 2.5kHz which is around 3dB more than on the Rhombus, and then another peak just below 5kHz, which is just as exaggerated.
We need to remember that I am quite sensitive to the 5kHz region, it is where the peaks most annoy me and the Cencibel manages to boost the frequency (by a lot) almost dead on the mark. This is obviously something that is going to irritate me much more than someone who does not suffer from the same allergy to this mark, so take that into consideration.
By this I mean that I am (almost) always going to find tunings that have a big peak in this range to be uncomfortable. There are some sets that have quite a bit of presence in the 5kHz region but are surrounded by more presence in the adjacent regions, which seems to smooth the sound over a little for me. I’m afraid that the Cencibel doesn’t do that, it is just a big peak right in the uncomfort zone.
Now, I do understand that this will not affect other people in the same way, as I have said many times before, listening to music is such a subjective experience that there are as many “tastes” as there are “flavours”. However, just take into consideration that the difference between the 700Hz mark and the 5kHz mark (or even the 2.5kHz mark) is around 16dB. That is a rather big difference.
Up in the higher ranges, we have even more of the same story, with extension that isn’t bad but is not too smooth, creating what I feel is a false sensation of detail and air. I would say that the details on the Cencibel are not as good as they are on the Rhombus (speaking strictly of detail retrieval and not how the details sound), but they are acceptable.
Sound stage is around average, with image placement about the same. You can appreciate binaural recording such as “La Luna” but it is not an easy task to isolate and follow the sounds of a Yosi Horikawa recording such as “Bubbles”.
Finally, isolation is also similar to the Rhombus. Its not the best but is is on the higher side of average.
Conclusion…
I guess I won’t be reviewing any more Tripowin models in the near future
Seriously though, I really expected a lot more from these two Tripowin models. The Leá was something that was not spectacular but was enjoyable (at lower volumes) yet the Cencibel and the Rhombus just seem to hit almost every frequency that I find irritating.
I will say the same thing about these as I did in my closing words of the Rhombus, I am sure there are people out there that will enjoy this sound signature, unfortunately I am not one of them.
All I can say is that I am extremely grateful to Linsoul for not getting upset when I post my negative opinions on something they sent me, at least they haven’t done so far…
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
6 Likes
I’m just going to share that though I have a bunch of IEMs that are way more expensive (Moondrop Kato, Thieaudio Monarch MkII, several Ety’s), which ones come off the shelf for bedtime or dog-walking listening? The Dunu Titan S. I adore them. Hell if anyone made other more expensive ones that were tuned the same way, so if I had “more of that, only better” I’d buy 'em in a heartbeat. Yes, I keep the Monarch’s by my desk so I listen to them when I need isolation or don’t want to bug someone with my Folkvangr/HD800s. But when I’m actually mobile I could use a whole bunch of “better” iems, but the Titans are the ones I just can’t stop listening to. Won’t even describe the sound, just the behavior. $70 on headphones.com ($10 cheaper than Amazon), I’m not shilling promise.
And @resolve did some nice impressions above:
2 Likes
I have only had a brief listen to them so far, so I reserve my right to change my opinion, but the Dunu Kima may just be that something extra.
A little more in the subbass but very reminiscent of the Titan S with improvements overall (I say this as a fan of the Titan S).
Again, brief first impressions, so they may change after spending more time with them.
The best thing is that they aren’t even much more expensive than the Titan.
4 Likes
The couple of reviews I read seem promising, but I just hope Dunu sells a version in a less cringey package
I very much doubt they will release it with a different packaging but that is a question for @SebastienChiu
Personally, as long as it is the packaging and not the IEM that is cringey, then I don’t really care as I only see the packaging once
1 Like
No, we will not. Thanks for the feedback.
HZSound Heart Mirror Pro
The HZSound Heart Mirror Pro have been sent to me by KeepHiFi in exchange for the publication of this review. They have not requested anything specific and I will follow my usual procedure of aiming to be a unbiased and sincere as possible, although it is always good to remember that these IEMs have not actually cost me anything.
You can find the link to the Heart Mirror Pro via KeepHiFi by visiting the version of this review published on my blog (link at the end of this post).
As always, it is a non-affiliate link, therefore I do not receive anything by you clicking or even purchasing via the link.
Intro…
Back in 2021, HZSound released the Heart Mirror, a set of budget IEMs that received quite a lot of praise from the IEM community. Personally I ever got to hear the Heart Mirror, not because I wasn’t interested but it’s impossible to get to try all of the models that are released!
Fast forward to far more recently and KeepHifi reached out to see if I was interested in trying out the Heart Mirror Pro, the follow up from the company which does come in at a higher price point (around 80 euros) but also offers upgrades from the original, at least that is what is advertised.
I obviously can’t go into comparisons with the original as I haven’t heard it, but I was more than happy to try out the new Pro version and share my opinions on this set which, while not in the extreme budget category, is still something that can be considered a relatively cheap IEM.
Presentation…
The box is a dark blue one, with a sketch of the IEMs on the front and information on the rear. It is not something that draws attention to itself but doesn’t look overly cheap either.
Upon opening the box, we find the IEMs sitting with their cable attached in the upper half of the interior, with card showing the HZSound logo covering the lower half. Removing this card, beneath it we find the user manual and the storage case.
Inside the case we get a second cable, this one with an inline microphone (terminated in a 4 pole, 3.5mm), 8 sets of tips (in various different sizes and types, including foam), a carabiner and the two additional connectors for the modular cable (more on that below).
In general, the presentation is more than adequate and the contents are very pleasing for a set of IEMs in this price range.
Build and Aesthetics…
I actually expected a mirror finish on the IEMs like the original model but I was actually pleasantly surprised to receive them in black. Not that I have anything against the mirrored finish but it does lend itself to becoming a fingerprint magnet (some black finishes do also, but not in this case). Looking closely at the finish, there is actually some grey (silver?) speckle to it, which is a nice touch, along with the HZSound logo in a dark bronze colour.
The IEMs are not very large, in fact, they are on the smaller side of things, and I find them to be rather comfortable. If they were any larger, the triangluar shape at the bottom may have been a problem but that is not the case. They are completely made of metal and seem to be well assembled and I can’t spot anything that I would say is a going to be a problem over time as far as durability (but, as always, only time will tell).
The included cable is rather thin and a little rubbery but is not bad and a a very positive thing is that it comes with a modular connection system, including 3.5mm, 2.5mm and 4.4mm connectors. While it may not be on the level with some of the other (more expensive) modular systems, it works well and it is very nice to see it included. They also opt for standard 2 pin connectors at the IEM end, so I have no complaints here either.
The included case is also a very nice one. It is quite spacious (enough to hold the IEMs, some accessories and even something like the Go Blu) without it being overly bulky. I don’t carry it in my pocket but it doesn’t take up to much room in my small sling bag that I carry (yes, I’m a bag guy ).
In general, I have to say that I am quite happy with the overall quality of the IEMs and accessories for their price point.
Sound…
Let’s start with the usual look at a graph comparing the Heart Mirror Pro with my usual preference target curve.
Starting off with the subbass, we can see on the graph that it is north of my usual preferences, however, as it is kept clean and well detailed, it does not become overpowering. In fact, if I hadn’t have looked at the graph, I would have guessed that this has less subbass than it actually does. It is not missing subbass, “Chameleon” has plenty of rumble, but at the same time, it is not a set that I would class as a bass head set.
The midbass is also a little elevated for my personal preferences but again, it doesn’t become over powering nor does it become the center of attention. I have said in the past that if something is tuned higher than I prefer in the bass range but still manages to keep it clean and detailed, chances are that I am going to enjoy it. The Heart Mirror Pro is one of those sets.
It is true that the low end of the guitar in “Crazy” does have a little too much in the midbass area, which sort of gives it a bit of a boomy effect to said guitar, yet, as the mid range is well balanced (I’ll get there in a moment), it gives an overall clean and detail effect to the track in general, making for a very pleasant listen.
The additional midbass manages to decrease before hitting the lower mids, avoiding things becoming muddy in the bottom of the mids, something that is appreciated as it counteracts that midbass boost and makes things seem a lot cleaner.
I have to say that I find vocals, especially female vocals such as Daniela Andrade in the track “Crazy” that I just mentioned, to have just the right amount of presence and warmth in their lower ranges, making most of the acoustic music Iisten to very enjoyable.
There is a little bit too much warmth for me to class the timbre of things like the acoustic guitar in “All Your Love (Turned Into Passion)” as correct, yet just because something may not be exactly what I consider correct, it doesn’t mean that it is bad. If I was wanting to focus on dissecting and equalizing music, then I wouldn’t suggest the Heart Mirror Pro in these ranges for that, but for enjoying the music, I have to say that I have had no problem in doing so with these IEMs.
Moving up to the higher part of the mids, I have to say that I am impressed with the tuning of the Heart Mirror Pro. It is almost a perfect replica of my personal preference, with a smooth climb that stays smooth and present from the 2kHz to 4.5kHz, starting to ramp down just before the 5kHz mark. I really couldn’t ask for a better tuning for my taste in this upper mids.
This works for the vocal centered tracks that I listen to, as it brings the voices forewards without them being overly present, harsh or nasal. As an example from my test tracks, “Seven Nation Army” by Zella Day, which is a track that can be very harsh on so many sets, is just right on the Heart Mirror Pro. I have heard it slightly less harsh on other sets but that is because they are actually taming it down. I feel that these, the Heart Mirror Pro, are giving the real presence of her voice, just on the verge of the harshness, as her voice actually is.
As we move into the higher ranges the extension is fairly good. I wouldn’t say it is the most extended, airy or open of IEMs in the treble ranges but it certainly doesn’t suffer from a pronounce roll off like so many other single DD sets. I wouldn’t say it is going to win any prizes in this range but it’s certainly not bad.
Using “Code Cool” as my usual judge of sibilance, I feel that HZSound has also done a good job here, with Patricia Barber being just on the verge of sibilance, which is were I feel that she should be when a set is nicely balanced in these ranges. She could maybe be toned down just slightly but I don’t think it is a reason for complaint.
Detail is not bad but is not excellent either. I find that the details that are more “up front” are easily identified and quite impressive but the smaller background details (such as reverbs etc.) do fade away fairly quickly. A good example of this would be the intro of “All Your Love (Turned Into Passion)”, where the initial strikes on the body of the guitar are impressive yet the room reverb does fade away quickly, leaving an impression of things being a little too tame (when compared to other sets that are better at this specific task).
In the soundstage category, I would say that they are around average, maybe on the higher side of the middle ground. There is a decent amount of soundstage but they are still very much IEMs. Image placement is decent but I do feel that things like “Strange Fruit” could do with a little more space between layers in the more complex parts of the track.
The isolation is a little above average, meaning that they should be fine for use in places with normal extenal noise yet they will suffer with things like the low frequency rumbling of engines on a plane or train etc.
Conclusion…
The Heart Mirror Pro is a set of IEMs that I have enjoyed listening to and have no issues using as a daily general listening set. I don’t feel that they are ground breaking in any specific way, yet they are a solid performer in all of the categories. I could mention various areas where I think they could be improved but I don’t have any complaints about anything specific with them at all.
The lows may be a little elevated for my personal tastes but they are not irritating and the upper mids I find to be very well done indeed. The detail retrieval may not be the best for those small nuances happening in the background but the overall detail of music is by no means bad and I don’t feel that those small elements are something to really focus on unless you are specifically looking to analyze the track.
The build is good, the included accessories are very good in the price range and in general, I just feel that the Heart Mirror Pro are a good set of IEMs for the 80€ price range. I certainly cannot complain about their performance.
So as to not break tradition, this review is also available in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
5 Likes
QKZ x HBB
The QKZ x HBB have been sent to me by Linsoul for me to try out and share my opinions in this review. They have not requested anything specific and, as always, I will do my best to be as sincere and unbiased as possible in my review.
I have left a link to the QKZ x HBB via Linsoul on my blog, you can find it by visiting the version of this review published on my blog (link at the end of this post) or just google Linsoul
It is a non-affiliate link, as are all links that I share, meaning that I receive nothing in exchange for clicks or purchases made via the link.
Intro…
There is no denying that HBB (Hawaiian Bad Boy) of Bad Guy Good Audio Reviews has become the king of collaborations in previous times. I really can’t keep up with the amount of models that he has helped tune in recent times, a lot of them in the budget segment. The QKZ x HBB is another of those in the budget segment, costing less than 20€ and placing itself firmly inside the sub 50€ bracket that I consider extreme budget on Acho Reviews.
I have tried a few of HBBs collaborations and I have to say that they have impressed me in general, offering a lot for very decent prices and I will say that these are another of those models. They may not be for everyone, I will get into details on my thoughts in a second, but I can confirm that, without even getting into the review, yes, these are more than worth the asking price. Is the tuning going to be to your preference, well, I guess that is something that I can use as an excuse for you to read the review. But if you want a TLDR… if you want a 20€ stocking stuffer (with the holiday seasons approaching), then you can do a lot worse than these IEMs.
Presentation…
When we are talking about a set or earphones that cost not much more than a meal at McDonalds and we want them to sound good, there has to be something cut somewhere. What better place to cut it than in the packaging and accessories section?
In a plain small box that is overloaded with info on the exterior, we get the IEMs, a cable with inline microphone and 6 sets of silicone tips. It is an unboxing experience that is very reminiscent of KZ (or other budget QKZ models) but is more than adequate for a budget model.
Yes, the presentation is very basic and cheap, but there are models that cost triple this amount with similar presentations and, again, I would rather the costs be cut here than in the IEMs.
Build and aesthetics…
The IEMs use a generic shape that is comfortable for most people, with translucid shells and a face plate that sports the HBB logo on one IEM and the QKZ logo on the other. The logo is behind a perspex window that gives depth to the aesthetics, with grey lightening bolts on a black background behind. Surrounding the faceplate there is a metal coloured frame that gives some more “boost” to the aesthetics.
These IEMs are not something that aims to look boutique in their aesthetics but at the same time have their own original design that is nice to see.
The cable is also very reminiscent of the cables included by KZ. I don’t want to say that it’s identical but… it seems to be. The inline microphone works for the odd phone call and for talking to your assistant but is not something that you will be recording your latest single with.
In general, these are a 20€ set of IEMs and I have to say that the build and aesthetics are more than worthy of their price (or more).
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Spotify, etc.)
I am going to be sincere and straight to the point here, I am not a fan of the sound of these IEMs. I know that I said just a moment ago that these IEMs are well worth their price and that you could go out and buy them even without reading the review, and I stick by what I said. They are a good set of IEMs for their price but… cinnamon is a good ingredient but it doesn’t mean that I personally like the flavour.
If you have followed any of my reviews, you know by now that I am not a huge fan of overly present bass, especially midbass. Yes, there are sets with overly present midbass that I enjoy, for certain genres and at certain times, and I have enjoyed these for some stuff. However, overly present midbass does cause me fatigue over longer listening periods and the QKZ x HBB are one of those sets.
Now, I am still not going to complain about these IEMs as I think they will be a great buy for those who do like more in the bass, I especially found these a lot of fun for EDM. But before I get into describing each of the sound sections that I usually do, lets take a look at the graph in comparison to my personal preference target:
In the subbass, we have plenty, giving us enough rumble (in my opinion) for even the extreme bass heads amongst us. My usual subbass test with “Chameleon” I found to be overpowering… and then the bass kicked in 
Now the biggest problem, for me personally, is that there is one big ramp from 500Hz down. That means that everything is boosted in the low end, from Subbass to almost the center of the mids. This is a sensation that I personally do not like yet I do know plenty of people that do. Listening to “No Sanctuary Here”, this was enough to give me fatigue but it is one of those experiences that is very impressive for those that like the bass to move them.
I went through quite a large selection of EDM and it was like being in a night club on a Saturday night, the party is great but my ears (and head) start feeling it after a while.
To my surprise, the mid range does not seem to be recessed or absent, something that I would have expected with such a large presence in the lower frequencies. Yes things like “Don’t Start Now” by Dua Lipa are clean with no lack of presence in vocals.
Even “Make Noise” by Busta Rhymes and Lenny Kravitz did not place vocals any further back than usual. This track is already pretty weird in its recording, with Busta’s vocals taking a back seat to the backing vocals and the instrumental, but on some V shaped sets his vocals disappear almost completely, and that wasn’t the case here.
I would have also expected the upper mids to need more boost that they have in order to counteract that low end but, again, I was surprised to find that they are actually quite clear and respectable. I really didn’t find that things were struggling to fight for their place in the music, they were upfront and clear enough.
The treble extension is also not back, not the smoothest of trebles but acceptable. It has a few peaks here and there but it is not something that I think will offend many people who are looking at this kind of signature at this kind of price.
Soundstage is around average I guess, nothing spectacular going on, and I would say that image placement is about the same. Things are place well enough but they are not milimetric, not that I think that is something that should be a factor in such a tuned IEM.
Details are not great but those upper high range peaks do help give them more of a sense of detail (even if they are not that detailed), something that I think will be appreciated by many who enjoy EDM.
Isolation is also about average but one thing I will say is that you are not going to have any issues hearing the bass. If you are listening to anything with a good bass presence and at a level that is common for many EDM fans, then you will not need to worry about external noise
Conclusion…
I know this is going to come across as a very strange review. On one hand I say I don’t like the QKZ x HBB, yet on the other hand, I say that they are worth buying without a doubt. And they are.
The thing is, these IEMs, due to their tuning, give me a headache and cause me fatigue. However… I am not you. There are millions of people out there that have tastes very different to mine and I know a lot of people like sets with very present bass. And I would say that at 20€, these give a lot for their price.
There is a lot of competition out there lately in this price range, with me preferring a lot of other models over these, yet I cannot deny that if you are looking for a bassy set of IEMs on a very low budget, the QKZx HBB have a lot to offer.
As with all of my reviews, this is also available in Spanish on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
7 Likes
CCZ Warrior
The CCZ Warrior have been sent to me by KeepHiFi in exchange for the publication of this review. They have not made any specific requests and I will aim to be as unbiased and sincere as always, although you should always consider the fact that these IEMs were sent to me free of charge.
You can find a non-affiliate link to the Warrior via KeepHiFi by visiting the version of this review published on my blog (link at the end of this post).
Intro…
Last year I reviewed two sets of IEMs by a brand called CCZ, the Emerald and the Melody. Both sets featured a 10mm dynamic driver with a custom knowles BA driver and both came in at less than 20€. They both sounded very similar with the Emerald just being slightly more enjoyable for me personally.
A year later, KeepHiFi has kindly sent me the new model from the company, this time named the Warrior. A simple glance shows that these are very similar to the previous models, using the same shell, however, this time the driver count has been increased to feature a 10mm dynamic driver this time paired with 3x balanced armature driver.
The price has also increased slightly, with the Warrior coming in at slightly less than 35€. This still places them well inside the sub 50€ limit that I set as an extreme budget, but is a 75% price increase over the previous models.
So let’s see what advances have been made from their previous offerings.
Presentation…
The packaging has not changed and the presentation is exactly the same as it was with the Emerald and Melody. A simple white box that reveals the IEMs sitting in a card and foam cut out, with the accessories underneath.
The accessories are 3 sets of silicone tips (one installed and the other two in the typical white bag) and the cable, which just so happens to be the same as the cable included with the other two models.
I am not one to complain about accessories or packaging in this budget range but as I have noted with other brands that still use similar presentations, there are models out there that are doing much better in this regard.
Again, no complaints, the accessories are enough to pull out the IEMs and get straight into using them.
Build and aesthetics…
This is something that has also remained the same. CCZ have stayed true to their shell shape with their patented “Earfins” which is to provide a more “comfortable, light and stable” experience. The only issue with this is that I had issues with the Earfins on the previous models and the Warrior creates the same issues for me. The Earfin rests in just the wrong place for me and causes me pain after a short while. This means that I can’t wear them for extended periods and my listening sessions are limited to brief 10 to 15 minute stints before I need to take a break.
Obviously comfort is a very personal thing and I am sure that others will not have this problem with discomfort but in my case it limits the use of the IEMs.
The build is lightweight and doesn’t have any specific flaws to highlight. They use a semi transparent shell, allowing you to see the inside and count the drivers, which is surrounded by a gold coloured trim on the face plate. Not my favourite combination as far as aethetics but I have seen much worse.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Spotify, etc.)
Not a whole lot has changed in the sound department either. There have been a few tweaks as far as tuning but nothing dramatic.
Here is a graph that shows the Warrior in comparison to the previous two CCZ models I reviewed, along with my usual preference curve for reference:
Starting off with the subbass, this is very similar to the subbass on the other two. I am not sure if the same dynamic driver is being used but it certainly sounds very similar. There is plenty of rumble in the lowest notes of my usual “Chameleon” test, although it is not the cleanest of performances.
“No Sanctuary Here” also has plenty going on in the low end, with the midbass being above my preferences in this regard. I have said many times that if a set has an elevated bass range but is clean and detailed, I usually enjoy it. Unfortunately the midbass range is not that clean or detailed on the Warrior. I can’t say it produces fatigue as the discomfort from the shell kicks in before this point, but it is not something that I consider that clean in these ranges.
There is also some bleed from the lower notes into the low mids which is not terrible but doesn’t help with the sensation of the low end being rather bloated and out of control. This is highlighted on many tracks, such as “Crazy”, where the low end of the guitar has body to it but is just a little too boomy, giving the impression of exaggerated room reverb in the upper bass and lower mids.
In the center of the mids there is a which is not as exaggerated as on the older models, however, as the upper mids don’t have as much presence as said models, the Warrior doesn’t really bring vocals back enough for them to counteract that boominess in the low end. I find that this is the case with both male and female vocals.
There is also quite a bit of roll off in the higher areas that wasn’t as apparent on the Melody for example. This creates a high end that is lacking air and comes across as a little claustrophobic at times. This does avoid sibilance however, with “Code Cool” coming across quite subdued in the sibilance ranges, even the intro to “Hope Is A Dangerous Thing” shows a lot less sibilance than on so many other sets.
Details are also affected by the overall presentation of the sound signature. Here CCZ haven’t used the high range peak trick that many other brands use to give a false sense of detail. Unfortunately, this leaves the Warrior without much sense of detail at all.
Soundstage is below average, again affected by that darker treble and lack of detail, which works against image placement and gives the sensation of an overly blunted response.
Finally, isolation is also below average until we make it up to the higher mids, where it does improve.
Conclusion…
There is some fierce competition in the 20€ range, with many sets offering a lot of performance for very little money. While the Melody and the Emerald weren’t ground breaking, I would have said that they were still pretty competent in that 20€ bracket.
I am sorry to say that the Warrior takes the base of the Emerald, removes performance and increases the price. Yes, there are 2 more BA’s in the Warrior than either of the previous models, but the result is not a positive experience, at least for me.
Things are very tough at the moment in the extreme budget section and CCZ will need to do more than this in order to stand out and make themselves a space.
This review is also available (as are all of my reviews) in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
6 Likes
Wow!
1 Like
100mm dynamic driver? My god man, your ears must be huge!
I think it’s a woofer. Going to have to read again to see if it’s a ported design. Nearfield ear monitors.
Lol, that would have made them interesting to say the least.
(Typo fixed)
Interesting? You actually invented the first headphone-sized IEM. Next up, you’ll invent a speaker-sized headphone that’s 1000mm tall.
How about going for broke with a 1000mm IEM?
KBEAR Qinglong
The KBEAR Qinglong have been sent to my by Keephifi in exchange for the publication of this review. Keephifi have not made any specific requests and my review will aim to be as sincere and unbiased as always. However, it is always good to remember that it has not cost me anything to try these IEMs.
As always, I refrain from posting purchase links on forums where I am a guest, so you can find a (non-affiliate) link to the Qinglong via KeepHifi by visiting the version of this review published on my blog (link at the end of this post).
Intro…
KBEAR is a brand that have been around for a while and they have released quite a few models, spanning a range of prices from the extremely low cost up to models in the multiple hundreds. I have reviewed a few of their sets and although none of them have been ground breaking, they have been decent IEMs.
The Qinglong is their latest release, which come in at just under 60€, on the Keephifi website, at the time of writing this review. That places them just outside the sub 50€ bracket that I consider the extreme budget category, yet they can still be considered quite an economic set of IEMs.
The Qinlong use what the call a 10mm PU+PEEK HD Composite Diaghpragm which, being totally honest, I have no idea what it actually is. For simplicity’s sake, let’s just say it is a single dynamic driver IEM with some fancy technology
Presentation…
The contents that come bundled with the Qinglong are nothing extraordinary but are more than adequate for a set of IEMs in their price range. A simple white box featuring some dragon style artwork and showing the brand and model (in English and Chinese, which, if my google-fu doesn’t fail me, means blue dragon), opens to reveal the IEMs in a felt covered cutout.
Below the top layer we receive a nice storage/transport case, the cable, 6 sets of sillicone tips and a microfiber cloth.
As I said, nothing out of the ordinary but certainly enough to not have any complaints about presentation.
Build and aesthetics…
The IEMs shells are made of aluminum alloy (aviation grade 7, according to their spec) and while they are farily simple in shape, they do have a slight angle and a shape that makes them quite original.
The shells have a mirrored finish, which is obviously something that attracts finger prints at crazy speeds, with the brand and a design in matte silver, again, simple but enough to have a bit of originality. They are not the lightest of IEMs but they are far from heavy and I find that the shape and weight is comfortable even for longer sessions.
The included cable has originality also, or at least I haven’t come accross this type of cable before. It is a simple 4 core twist, that later splits into two 2 core twists, and is covered in a grey plastic or silicone type material. While it is not my favourite cable, I find that I prefer it to a lot of the other cables included with IEMs, including those from KBEAR.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Spotify, etc.)
Let’s start off by taking a look at the graph in comparison to my usual personal preference curve. I know I have said this before (many times) but I still get asked, so let me remind you that my personal target is just a guide as to my general preferences, it is by no means a rule. In other words, there are things that deviate quite a bit from my target and I like, and other things that are much closer to my target that I don’t. Again, this is just a guide for reference.
In the subbass regions there is enough and it is kept clean when dealing specifically with subbass frequencies. By this, I mean that when tracks, such as my usual “Chameleon” test are focused on subbass, then the Qinling do a decent job of keeping the subbass clean and defined. However, when the subbass and midbass sum together, I find that things can become a little overwhelming in the lower ranges. No specifically in the subbass range, more of the whole subbass when it is busy in these lower ranges.
In the midbass section, I actually expected to dislike these more than I do. I find that the midbass is nicely detailed and controlled, except when coming across situations like I just described under subbass. When both the subbass and midbass zones are busy, th Qinglong start to lose definition and struggle to keep things as clean.
A lot of the music that I listen to (depending on the day and mood) is not really busy in the lower subbass ranges and I find that in this case, these IEMs do a very good job or providing clean and detailed subbass. Even busy tracks with complex bass lines are easily appreciated, making for a very pleasant lower range.
Moving into the mids, again these are nice and clean, as long as that low end is not suffering. In the case of music that focuses on midbass and lower midrange, the response is quick, clean and detailed. Yet, in the case of those overpowering low ranges, they can bleed a little into the lower mids.
The center of the mids does have a little dip which is actually not too apparent. I would have thought that certain vocals, especially in the case of female vocals, would lose a little warmth in their lower ranges due to that dip but I haven’t found it to be the case. The backing vocals in “Strange Fruit” may not be the warmest but Ihaven’t found it to be something that jumps out at me while listening in general.
As we reach the higher end of the mids, here I do find that the Qinglong is just a little too hot between the 2kHz and 3kHz mark. This can make voices, especially those that are already harsh such as Beth in “Don’t You Worry Child” to come across just a little too spicy. It is not terrible, even Beth is listenable (which isn’t always the case), but I would much prefer them to be tamed a little more in these regions.
The 5kHz region is tamed, which is something that I am greatful for, and while there is a bit of a roll off, there is still enough presence in the higher ranges for them to provide a decent sensation of air.
The thing that I have found most impressive with the Qinglong are the details. These are a set of IEMs that provide a good sensation of detail, which is paired with good image placement and a soundstage that I find to be a little above average.
With tracks such as “Strange Fruit” (that I already mentioned), “Sittin’ on the Dock of the Bay” or even “I Concentrate on You”, it is nice to be able to appreciate the little nuances of the recordings. These are not the most detailed IEMs I have ver heard but they are well above the average of many other sets in similar price brackets.
As far as isolation goes, they are above average in all of the frequency ranges. They are not going to give you ANC levels of isolation but they are still better than many other sets.
Conclusion…
KBEAR have done a good job with these IEMs, they have just missed a couple of things to make the a very good set. The first being that sensation of “lack of control” when subbass and midbass get busy at the same time, and the second being that extra bit of spice in the upper midrange, which could have been tamed just a little.
I have been happily impressed by the level of detail, along with a decent sound stage and good image placement, they reproduce a lot of my vocal focused (especially live) tracks well and I have enjoyed putting them through their paces in this regard.
As always, this review is available also in Spanish both on my blog (www.achoreviews.com) and YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
6 Likes
Tangzu Wan’er
The Tangzu Wan’er have been sent to me by Linsoul in exchange for the publication of this review. They have not made any comments or requested anything, therefore, my review will aim to be as sincere and unbiased as possible. Saying that, as always, it is worth considering the fact that these IEMs did not cost me anything.
You can find a link to the Wan’er vua Linsoul by visiting the version of this review published on my blog (link at the end of this post).
As always, it is a non-affiliate link.
Intro…
I have said it a lot recently and this set of IEMs is more proof of the point, there is a hell of a lot going on in the 20€ price bracket at the moment!
Not too long ago (earlier in 2022) I reviewed the Shimin Li, a set of 30€ IEMs from the brand which was the second part of a trilogy (although the first part was branded as T-Force). I can’t say I was overly excited by the Shimin Li, although they were not a bad option for the price at the time. Since then, there have been a lot of sets around the same price (or cheaper) that have really raised the bar in this extreme budget range. Although this may be a spoiler, I believe that the Wan’er has just raised that bar a bit more, becoming probably the best set of IEMs I have heard in this price range, in fact, maybe even at double or triple the price.
Of course “best” is subjective and my “best” will not necessarily be your but I am going to try and explain what it is that makes these IEMs such a great option in my opinion.
Presentation…
Although I have always said that the presentation is the least of my worries with a budget set of IEMs, and I maintain it, there are a few brands/models that are getting quite impressive with the presentation and accessories even at this low price point.
The presentation of the Wan’er may not be the most impressive in the ultra budget category but it is still way above average. The box itself stays with the classic chinese artwork that we have seen on the previous models. Upon opening the box, we are greeted with a cleaning cloth that has artwork matching the box cover.
Underneath this we find the IEMs, sitting in simple cutouts but with some designs and the model name printed on the card, nothing special but that one step more over simple white card.
Underneath the top layer we get the cable and 7 sets of silicone tips, again, nothing super out of the ordinary but in general I feel that it is a presentation that is a step above adequate for the price range.
Build and aesthetics…
The shells are made of plastic, using a semi transparent inner shell with a dark faceplate, although they are also available in white. There is nothing really special about the design but a closer look does reveal a nice design on the face plate which again, shows the put a little more effort into them.
The IEMs are extremely light and I find them very comfortable also, being able to completely forget about them while wearing them for extended periods.
The cable is a simple white and cheap feeling cable which uses plastic hardware and has the recessed connectors on it (QDC). I am not overly keen on the cable as I find the pre-molded ear hooks to be at too sharp of an angle and too stiff for my tastes. Also, the choice of the connectors means that any of the aftermarket cables which are normal 2 pin will protrude from the sockets a fair bit. Saying this, this is really nitpicking as the cable does its job and is not that bad. I mean, come on, this set of IEMs costs less than 20€!
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Spotify, etc.)
While the above so far has been decent, it is the sound section that has really impressed me with the Wan’er. As usual, I receive a set of IEMs, plug them into my burn-in rig, listen for a few moments to make sure they work ok and then don’t listen to them again until I get around to testing them for review.
I pulled them out for testing this week, plugged them in and just hit play. The first track happened to be “Drum Solo” by Maun Katché (with Luca Aquino, Tore Brunborg and Jim “James” Watson). I was immediately mesmerized by the sound of the Wan’er. Now this track is not on my test track list (although it probably should be) but the lifelikeness of the drums was just so impressive during the first few minutes of listening to the Wan’er that I felt it had to be mentioned.
But anyway, for the sake of consistency, Let’s get on with the review of the Wan’er and how they perform with my usual reference test tracks.
Here is the graph of the Tangzu Wan’er in comparison to my personal preference target:
Starting off with the subbass, there is plenty for my tastes. This is not an overly bass focused set and I feel that the amount of subbass works well for the tuning in general. “Chameleon” has plenty of low note presence without it becoming the center of attention, well, at least not more than usual as this track already has the low bass as a focus point.
Subbass is also kept clean and defined, with Lorde’s “Royals” being just “dirty” enough for me to feel that it is a good representation of the track. “No Sanctuary Here” has the bass focus more on the upper subbass / lower mid bass and again, the Wan’er keeps it clean, with the notes showing definition and control throughout the track.
This is not a set of IEMs for the bass heads out there but it is still not lacking bass. Personally I wouldn’t put this at the top of my list for EDM, I feel that something like “Sun Is Shining” could maybe do with a little more to please those who listen mostly to this genre but when moving over to less electronic and more instrument focused tracks, I feel that these IEMs really come alive.
The bass guitar in “Bombtrack” has just the right amount of warmth for my preferences while still being capable of transmitting the effects of the track. Things like “Seven Nation Army” or “Crazy” have the necessary body at the lower end of the guitar but stay away from that boominess that can be found in sets that put too much emphasis on midbass and lower mids.
Vocals are well presented, with clarity being good although I do feel that things like Monica Naranjo in “Sobreviviré” could take just one step further forwards, the same goes for Eric Clapton in “Tears In Heaven”. Having said that, they are not bad in this regard, far from it, I just feel that this is not the strongest point of the Wan’er.
I feel that in the mid range, the instruments are the actual strong point of this set of IEMs. With good separation and a nice tonal balance, I really enjoy the mids. On tracks were the vocals are actually the center of attention, such as in acapella tracks like “Hallelujah” or even “Billie Jean” by The Civil Wars (which does have instruments but vocals remain the focus), the Wan’er do a good job and vocals don’t seem out of place or to be missing anything.
The climb in the higher mids is smooth and I feel it works well, although I do think that the extension of the plateau could reach just a little further. However, there is no harshness in this area and, while it could take one step further forwards, I have no real reason to complain.
In the upper ranges, the extension is not terrible although it is not amazing either. There is enough extension for it not to give the impression of being rolled off in these upper ranges but a tiny bit more air would have been a positive. Again, this is something that is not an issue, remember these are a set of 20€ IEMs and are more impressive in these ranges than many other more expensive sets.
Sibilance is also very much kept in check on the Wan’er, with my usual “Code Cool” test placing Patricia Barber just beneath the verge of sibilance. This means that these IEMs are dampening that sibilance range just a little but not enough for it to become noticeable without direct comparisons. I am sure most people will prefer this slight reduction in sibilance than a slight increase in sibilance.
Details are pretty impressive also, not amazing but still impressive for a set of IEMs in this price range. There is a bit of roll off to the reverb in things like the into of “All Your Love (Turned to Passion)” but by no means do these leave you feeling like there are details missing (unless you are directly comparing them to more detailed sets).
Soundstage I would also place on the higher side of average. It is not a huge soundstage (very few IEMs are) but there is enough space for things to spread out and the image placement is also decent, making for a nice presentation in this regard.
Isolation is also pretty good on the Wan’er, being above average in most of the frequency ranges except for the bass. Low rumbles will make it through but they will work well for most generally noisy areas, such as cafeterias, offices etc.
Conclusion…
The Wan’er are a very impressive set of IEMs and I feel that they have raised the bar even more in the 20€ bracket that seems to be exploding at the moment. Until now, I would have probably voted the 7Hz Zero as my top pick in this category but I feel that the Wan’er have just entered the race and are immediately competing for first place.
While they are not perfect, there are things that can be improved upon, as soon as we remember the price, there are no complaints that can really stand. Yes, there may be other tunings that you prefer personally, we are all different, but if you are someone looking for a balanced set of IEMs with a great performance in the extreme budget section, these are something that should be one of your first considerations.
It really is amazing how much we can get for so little at this time!
To not break tradition, this review is also available in SPanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
9 Likes