The Ultra Cheap IEM Thread

[pennstac]

So, @SenyorC, are you damning these with faint praise? Your writing is more reserved than usual, and you don’t say anything actually bad about these. But if they even you score, then they show as not your thing.

Can you put your finger on the irritation? Thinness? Shouty? Just underwhelming?

If you were going to order some IEMs as stocking stuffers this year, which would you get for the 16 and under set? Or would it be something else entirely? I snapped up some Truthear Crinnacle Zero Reds, but only two boxes - one to test and one to hand out. And I haven’t listened yet.

[SenyorC]

Lol, I have had a few messages about this…

The reality is that my maths just suck in this review

I have edited the review to mention this but I do like the Sonus. It’s not the best IEM ever but I like it!

Regarding stocking stuffers, I am not sure what your limit is price wise but as you mention the RED, I am guessing around 50 $/€.

In that category, the RED are still my personal favourite, maybe even up to the 100€ mark, but that doesn’t mean they are for everybody.

Other alternatives that I like are the Kiwi Ears Cadenza, the Tangzu Wan’er and the Salnotes Zero. Maybe the Cadenza if you want a bit more bass and Zero if you want more neutral. If you want something a little more focus on the midbass, the Blon Z300 is another option.

Finally, if they are young and can’t understand why anyone would ever use cables, the Moondrop Space Travel are a fun set of TWS for 25€. No LDAC or anything like that and the app is crappy but you can choose various sound profiles in it and they will store on the IEMs, so you only really need to use it once.

[SenyorC]

While this model may be just outside the ultra cheap realm, it is only just and it is still on the lower end of the planar IEM price range, so I am going to leave it here…

Kefine Klanar

TLDR version on YouTube: TDLR - Kefine Klanar

The Kefine Klanar have been sent to me directly by Kefine in exchange for the publication of this review. As always, I will make every attempt to be as unbiased as humanly possible. Kefine have not made any requests or comments and all opinions are my own.

I cannot find an official page for Kefine but the Klanar are available through all of the usual stores that sell IEMs online.

To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

Kefine is a new brand and the Klanar are their first set of IEMs. As an entry into the IEM world, they have opted to go with a 14.5mm planar driver and are priced at a little over the 100€ mark.

I can’t really give you a back story on them as I don’t know it but when they reached out to me, I was happy to give them a listen.

It’s true that they have picked a segment, the planar magnetic IEM segment, that is quite crowded at the moment, yet the price is an interesting one, coming in at the lower end of the current planar options, so let’s see how they did.

Presentation…

The box is a plain black one, with a lift off lid, that arrives inside a white cardboard sleeve. The front shows an image of the IEMs, along with the brand, model and “Planar IEM” on the front. On the back we get the basic specs, along with another image of the IEMs, and that is about it. The outer packaging doesn’t do much to stand out, but that is not a complaint as I don’t listen to the packaging. I would rather packaging be basic and the contents get the attention.

Inside the box we find that the packaging stays simple, with just a piece of foam with two cutouts for the IEMs and a larger one for the storage/transport case. The case is a simple grey semi rigid type with Kefine on the top and contains the additional silicone tips. In total there are 7 sets of tips included, with 3 different sizes and two core sizes, that are nothing special but do the job and are what I have used for this review.

Build and aesthetics…

The IEMs are almost as simple as the packaging, using a generic shape with Kefine written in white text and a white circle on a black faceplate and shell.

By simple I am not being negative here at all. No, they are not something that is going to jump out and grab your attention, which is often a very good thing, but they use a metal faceplate on a dark plastic shell that does not look out of place and honestly look to be well built (although only time will tell).

Due to the simple, generic shape of the shells, they should be comfortable for the vast majority of users and I am no exception here. For long listening periods I did not find them to create any discomfort at all.

The included cable is a four core brown and black weave, with a metal 3.5mm connector and splitter, along with plastic two pin connectors at the IEM end. As with the whole package so far, nothing is special but nothing is offensive, I can’t see the aesthetics being a negative at all.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

Ok, so far we have a very generic set of IEMs and when we get to the sound, we could expect the same, seeing that the driver used in these IEMs is one that we have seen in many other models so far. The majority of those other models have been on the better side of things, although there have been a few that were let down by the tuning. In the case of the Klanar, I must say that I feel they have done a good job.

Here is the graph of the Klanar in comparison to my usual personal preference target:

It’s been a while since I said it, so I will remind people that my target is not a “be all end all” as far as tuning. While that reference is a good guide to my personal preferences as far as tuning, it doesn’t mean that I don’t enjoy other sound signatures that deviate from it (or that I always enjoy those that are close to it).

Now, let’s do my usual round up referring to my test tracks that I always use for detailed listening and review references.

Starting off with the subbass, there is plenty of presence in these areas with the Klanar. “Chameleon” has a lot of rumble in those low ranges, which is made even more present by the boosted midbass range that follows it.

To be honest, it is a little too much for my own tastes, making things a little overpowering for me in those lower notes, however, for those that do like plenty of low end, there is no denying that it does it well.

Let’s face it, “Chameleon” is a track that is exaggerated in the lower ranges (being one of the reasons that I use it for testing), so moving on to something that is more focused in the midbass than the subbass, such as “Sun Is Shining”, that exaggerated low end cleans up quite a bit. There is still plenty of midbass for those who want it but we are no longer surrounded by a wall of rumble.

Here the midbass does seem more controlled and refined, with a decent overall performance even if a little elevated for my tastes.

If we focus on my usual midbass fatigue test track, which is “Crazy” by Daniella Andrade, I do not find the midbass tiring. This is always a good sign to me as, when midbass is overly present and not well controlled, I will quickly feel nauseous and even get a headache before the end of the track. Again, it is noticeable that the presence is above what would be my preference for this track but the quality is there to keep it from being a negative.

As we move into the mid range, here there is a noticeable lack of presence. This can make male vocals lack presence in their midrange, sort of hiding them behind the bass. With female vocals backed with acoustic music, such as Daniella Andrade in the track I just mentioned, or Sara K. in “All You Love Turned To Passion”, this is not as noticeable. There is plenty of presence in the upper mids to bring clarity to them even if there is a bit of mid presence lacking.

This lack of mids stands out more when we have more complex tracks, especially with male vocals, such as “Get Lucky” or something more rock like Rage Against The Machine in “Killing In The Name Of”, where Zac is slightly overshadowed by those thunderous bass and guitar notes.

One thing I will say is that Kefine have done a very good job elevating those upper mids to bring clarity and counteract the bass presence, without making the IEMs shouty or thin. Looking at the graph I would have expected things to be very shouty but it is not the case.

As we move into the upper treble, there is a bit of roll off which is noticeable but does not sound bad. It just adds to that V shaped signature that the Klanar are aiming for.

Details are as good as on many other sets that use this same planar driver, with the lower ranges being very well presented as far as details go, unless we have the wall of rumble that is “Chameleon” of course

Sound stage I would say is about average for a set of IEMs, which is not bad for something that has this amount of bass presence. The bass can fill the sound stage quite nicely and while things are not milimetrically placed, that extra clarity of the upper mids does allow a nice stereo separation.

Conclusion…

I think that the Klanar are a very respectable first entry for a new company. They have kept things very simple with the design and presentation, chosen a sound signature that should appeal to the masses and spent their resources on getting that part, the most important part, right.

They are not my favourite sound signature but they are a very enjoyable presentation that I have had no issue listening to over the past week. Again, I feel that the tuning they have decided to go with is something that is not going to stand them apart from many other brands in the segment but they have made a good job of it.

When you are new, you can take the risk of doing something completely different and either make a huge impact or fail miserably and make your first impression a bad one, which is something that will follow you for quite some time. In this case, Kefine have opted to do something simple and I think that they have set a good foundation to grow upon.

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As with all my reviews, this one 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

[pennstac]

Well I like the simple looks of them. Less can be more. Too bad I’m not at all in need of any more IEMs at the moment. Nice review.

[Nimweth]

I have been testing the new KZ PR3. Here is my impression of it:

KZ PR3
I was contacted by Kate, the social media representative from KZ and invited to test the new PR3 Planar IEMs.

KZ has embraced the recent trend for Planar drivers with its PR1 and PR1 Pro models and the HBB PR2 collaboration. The new PR3 features an upgraded 13.2 mm Planar unit with a “Nano-level” silver plated membrane and electronic filter tuning. The frequency response is quoted as 20Hz - 40KHz with a sensitivity of 98 dB and an impedance of 15 Ohms. It retails for around £40.

Product link:

KZ PR3

The PR3 comes in the standard KZ packaging, a compact white rectangular box. The front of the box bears an image of the IEMs and the rear features the specifications. Removing the slip cover reveals a white plastic tray with the IEMs inside, below which is a white card flap under which the accessories are stored. The contents comprise:

● PR3 IEMs
● 2-pin silver-plated copper cable
● Three pairs “Starline” silicone ear tips
● One pair foam ear tips (pre-fitted)
● 2-pin silver-plated copper cable
● Documentation

The PR3 is a semi-open design with a clear resin body. The gunmetal coloured alloy faceplate has a grille of diagonal parallel strips, three gold hex bolts and the words “Planar Technology” written around the border in a white sans serif font. There is a grille and mesh on the side of the earpieces and a pinhole vent in the centre of the underside. The raised 2-pin socket is also coloured gold and there is a white filter over the nozzle. The overall shape of the earpieces is reminiscent of earlier KZ designs such as the ZS10 Pro X and ZAX and the build quality is very good, as it was with other recent acquisitions, the Krila, AS16 Pro and Castor.

The cable is a silver plated OFC type with a 2-pin 0.75mm connector and a gold plated 90° angled 3.5mm plug. The sheath is transparent, revealing the wire within. The cable is not as prone to tangling as previous KZ designs but there is still no chin slider.

The PR3 was tested with Xduoo X20 and Hidizs AP80 Pro X DAPs. A smartphone, via an Aiderlot DC02 USB-C dongle, and a digital radio were also used. The IEMs were subjected to a burn-in period of 100 hours before evaluation. The stock cable and medium Starline tips were used which resulted in a comfortable fit and good isolation.

Sound Quality
Fed from the Xduoo X20 (which gave the most pleasing results), the PR3 displayed a well-balanced, neutral profile with a warm and natural bass, an expressive midrange possessing good timbre and a smooth, relaxed treble showing excellent detail and extension. The soundstage was spacious with good layering and separation which made it easy to follow individual strands in the music. The volume needed to be set somewhat higher than normal, which is often the case with planar drivers. The PR3 proved itself capable of revealing the different sounds of the various sources. The output from a smartphone worked best when augmented by a USB dongle, which provided the necessary power. Further improvements were gained from using a 2.5mm balanced cable which increased the power and expanded the staging.

Bass
The PR3’s bass produced a weighty sound which was a combination of the warmth and depth of a dynamic driver and the speed and resolution of a balanced armature. Timbre was natural and extension also very good. Sub bass rumbled healthily and transitioned smoothly into the midrange with no bleed.

“Mirage”, by Hennie Bekker, is an album of imaginative synthesiser pieces featuring attractive melodies and intricate rhythms. The title track begins with smooth synth patches and delicate percussive elements. Soon these are joined by a very deep and resonant bass which was nicely reproduced by the PR3 and produced a perfect foundation for the semi-melodic chord progressions and sparkling electronic effects. The whole piece gelled really well with everything in perfect balance.

Sir Alexander Gibson’s wonderful performance of Sibelius’s “The Swan of Tuonela” with the London Festival Orchestra received a full and atmospheric rendition from the PR3. At the beginning a solo cor anglais plays a meandering melody supported by hushed and mournful strings. Sustained menacing bass drums rolled threateningly in the background like distant thunder and these were captured effectively by the PR3, conveying the mystical message of the Finnish legend which inspired the piece.

Midrange
The PR3 possessed a smooth, open and expressive midrange typical of planar drivers. There was very little recession with vocals standing out from their accompaniment clearly and with lyrics easy to discern. Studio effects such as reverb and panning were particularly well-rendered and the timbre was natural and accurate, while the tonality was very even throughout.

“In the arms of Mary”, by Sutherland Brothers and Quiver showcased the excellent vocal capabilities of the PR3. Ian Sutherland’s soulful lead vocal was precisely delineated enabling the words to be clearly heard while the guitars, bass and drums all occupied their correct places in the stereo image. The lead guitar solo was crisp and incisive, cutting through the mix without affecting the overall balance of the production.

The piano is always a useful instrument for determining the midrange timbre of an IEM. “I Gott Bevar” from Benny Andersson’s solo album “Piano” demonstrated this perfectly. Set in a reverberant acoustic, Andersson’s Fazioli instrument sounded natural and clean and the gentle melody was nicely presented by the PR3 with a natural tonality. At the climax of the piece the melody line is supported by full arpeggios spanning the octaves and the PR3 handled this admirably with a perfect balance between the percussive and lyrical aspects. There was believable dynamic shading and the sustain and decay of the notes was reproduced accurately.

Treble
The PR3’s treble was clean, detailed and airy with no evidence of harshness or sibilance and very good extension. Disparate elements were well separated with an attractive sense of space and remained so even during more energetic passages. The level was in good balance with the midrange and bass. Occasionally in more dynamic pieces, there was a little congestion and a slight flattening of perspective.

“Equinoxe 5” by Jean-Michel Jarre features all the trademark elements of his music with a sequenced foundation, typical synth voices and complex rhythmic patterns. The high frequency sounds were beautifully precise on the PR3 with the stereo imaging particularly impressive. The movement across the stage was excitingly portrayed and the whole piece was presented in a lively and entertaining fashion.

“Music for Orchestra” by Geoffrey Bush is in the form of a “concerto for orchestra” with a cameo for each instrument featured in succession. In a superb Lyrita recording with the London Philharmonic Orchestra under Vernon Handley, the piece came to life dramatically in the hands of the PR3. The piano came through clearly above the accompaniment and percussion possessed good impact and clarity, imparting the whole piece with a “live” feel and demonstrating what a fantastic recording this is. The dynamic range here was especially notable and the ambience of the recording venue was convincingly realised.

Soundstage
The PR3’s soundstage was expansive and spacious. The width spread beyond the ears and there was a fine impression of depth with good height as well. Imaging was precise and movement within the image well handled. Layering was also of a high standard, with the positions of individual instruments and orchestral sections clearly differentiated.

“3 circles” is a track from Patrick O’Hearn’s album “Trust”. It begins with a heavy bass synthesiser occupying the centre of the stage with high frequency percussive effects placed in the extreme left and right. A smooth synth chord progression joins in and a sparkling rhythm sequence propels the piece along while the lead synth voice plays the theme. The PR3 managed to arrange all these elements into a coherent whole with plenty of space around them, creating a spacious and enveloping result while retaining rhythmic drive. This was very impressive.

“Mausoleum at Halicarnassus” is the fourth movement of the “Seven Wonders Suite” by Stuart Mitchell. The piece begins with an extended flute solo supported by a lush orchestral accompaniment. The solo instrument seemed to float above the strings and the triangle and harp accents were airy and well-defined. There was a real sense of distance in the performance by the Prague Symphony Orchestra under Mario Klemens with the timpani in the rear of the hall displaying a natural ambience and realistic decay.

Comparisons
As this is the first single driver planar IEM I have auditioned, I have selected three different types of IEMs for comparison.

TRI i3
The TRI i3 is a tribrid design with an 8mm dynamic driver for the bass, a 10mm planar unit for the midrange and a balanced armature for the high frequencies. It is housed in a shiny silver coloured solid alloy shell and has an MMCX interface. Although retailing for four timed the price of the PR3, it is included here because of the similarities in the midrange produced by the planar driver and the fact that both the i3 and PR3 need a healthy signal to give of their best.

The i3 has a big, bold cinematic sound with a huge soundstage, powerful sub bass and a well-extended top end. It sounds “bigger” and more refined than the PR3 and its staging and bass are addictive. In the midrange, however, the two sound very similar. The PR3 is slightly brighter and not as weighty in the bass. Its treble is a little thinner in tonality but it performs well at the price. Some may find the i3’s very large earpieces problematic whereas the PR3 is very light and comfortable.

KZ Castor (Harman Edition)
The Castor employs two dynamic drivers in a stacked configuration. Bass duties are handled by a 10mm unit dealing with the frequency range up to 200 Hz while the midrange and upper frequencies are covered by an 8mm driver. It is very well made with an alloy faceplate and resin body.

As befits the name, the profile follows the Harman curve, a generally V-shaped frequency response, but the midrange is only slightly recessed. The treble is brighter than neutral and sometimes becomes rather emphasised. The PR3 is much more neutral with a smoother treble but with no loss of detail. In fact it is more extended than the Castor. The Castor’s bass is stronger but a little more coloured, with a small amount of bass bleed. Midrange goes to the PR3 with superior timbre and layering. In soundstage, the PR3 is more defined than the Castor with better imaging, but the Castor is easier to drive with the PR3 needing substantially more power to shine.

KZ AS16 Pro
The AS16 Pro is an all-BA design with eight drivers per channel. There are two bass units, two midrange and four treble drivers. The shell is rather large but comfortable with the correct tips. It has a bright, detailed sound signature with excellent detail and speed. The bass is surprisingly powerful for a balanced armature IEM and there is very little evidence of “BA timbre” with a clean and precise delivery. It is brighter than the PR3 and is more immediate with a snappy transient response but can sound “clinical”. The PR3’s bass is warmer with more weight and a more natural decay, the midrange is more forgiving and the treble is smoother. The two IEMs have different personalities and are complementary in that respect. Preference is a matter of style and both are good examples of their kind, but the PR3 is more musical and the AS16 Pro more technical.

Conclusion
Possessing a neutral, well-balanced profile, the PR3 shows the advantages of planar technology. The full-range driver displays excellent coherence, fast transients and a wide frequency response with good extension at both ends of the spectrum. There is no bass bleed or mid-bass bloat (often found with dynamic drivers) and the sometimes artificial timbre of balanced armatures is totally absent. There was a good balance between technicalities and musical expression and the soundstage is exceptionally proficient.

It is solidly built and comfortable in use with good isolation. The packaging is rather basic and the cable could be improved (chin slider please, KZ) but these are minor issues. Overall the PR3 is an excellent IEM and an ideal way to sample the planar sound without breaking the bank!

[SenyorC]

EPZ Q5

TLDR version on YouTube: TDLR - EPZ Q5

The EPZ Q5 have been sent to me directly by EPZ for me to try them out and to share my opinions in this review. EPZ have made no requests and understand that I publish my honest opinions, good or bad, where I try to stay as unbiased as humanly possible.

The Q5 are available from the official EPZ store on Aliexpress, you can find a link to them by visiting the version of this review published on my blog (link at the end of this post).

As with all links I share, it is a non-affiliate link.

To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

EPZ are a company that I really didn’t know anything about except for having seen a few images of the actual IEM I am reviewing today. I have not read any reviews of their products, nor seen any measurements, and when they reached out to me to offer to send a couple of models, saying that I had been recommended by a friend in Spain, I honestly didn’t know who they were.

I am always interested in trying out things I know nothing about, as long as it doesn’t involve any drama from the people who want to send it. This is something that happens more than you can guess, with people requesting all kinds of things that I just politely decline. I do this for fun and if I can’t review something on my own terms and be totally honest about it, well, there are plenty of other things out there to try out. I am not anyone special as a reviewer, I don’t have tens of thousands of followers, but the one thing I do have is a job that is nothing to do with my reviews (although it is audio related), so I don’t need to make any income from the reviews (in fact, I actually lose money) and I certainly don’t need any more stress than my real job brings me. So if I can’t have fun, then I’ll do something else.

But anyway, as always, I am rambling on about nothing of value to this review and the only reason I started on this tangent is because EPZ reached out to me and I knew nothing about them but as they were very easy going and just wanted me to check out their stuff, I was happy to do so.

The Q5 that I am reviewing today (yes, this is an actual review, not just me going on about irrelevant things) is available on their Aliexpress store for around 55€ at the time of putting this review together. Their listing says that it is a “10mm dual magnetic circuit dual cavity ceramic carbon nano piezoelectric horn”, it is actually a 10mm dynamic driver, so I am not sure where the piezoelectric horn comes into play. Other specs are listed as having a 109db sensitivity with a 26 Ohm impedance.

My search on Google didn’t actually bring back any stores that seem to carry the Q5 other than Aliexpress and Amazon Japan, although I may be missing something.

So, let’s take a look at this set of IEMs that falls outside the ultra-budget category of sub 50€, but only just.

Presentation…

As always, I like to point out when something is different in the presentation side of things and the box of the Q5 is actually quite unique, at least in comparison to IEMs that I have received.

The outer cardboard sleeve is nothing unusual, although it does feature a largish design in bronze, with the model, make and information that EPZ started in 2019 (so they are not new). There is also a slogan that reads “Sound for the custom pleasure in it”, which is the usual case of something that is probably a very nice phrase in Chinese losing elegance once translated.

On the sides there are some basic specs and also a 5th anniversary logo, while on the back we get the graph and more detailed specs. All of these are in the same bronze colour.

Upon removing the outer sleeve is where things get interesting with the box. Rather than a lift off lid, or some kind of sliding system, the box actually hinges in the middle, with the two halves of the top dropping to the sides and the center popping up. This reveals the a small card cover that opens like the front of a booklet, which shows Q5 in the center and reads “Five years of prosperity and glory” underneath, again, all in the same bronze colour.

I find the way the box opens to be rather unique, although it doesn’t make it too easy to access the contents. The main part of the box reveals the IEMs in their foam cutouts, with a semirigid storage case beneath with the cable and 6 sets of tips. In the bottom of the box, an accessories box if included that contains the documentation, user manual and a microfiber cloth.

Build and aesthetics…

The first time I came across a photo of these IEMs, they were the black version and it was in the Meze Advar thread on Head-Fi where somebody pointed out how blatantly similar to the Advar they are. There is no denying that the aesthetics are almost identical to those of the Advar, which means they are a very good looking set of IEMs.

The EPZ are well built, with a 3D printed resin shell that honestly looks like ceramic, with that same bronze look in the center circle. They even use the same text around that center circle in this case reading “EPZ Audio started in 2019”.

The version I received is the white one which I personally think looks even better than the black one, with bronze coloured hardware on the white cable that matches the IEMs.

Honestly, these IEMs look great, seem to be very well built and give an impression of being of a much higher price point than they actually are, it is such a shame that they decided to copy the Advar aesthetics as they seem to be capable of making high build quality. I know that they are certainly not the only company that does this but it doesn’t make it any better.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

Getting past the negativity of the copying of the Advar in the aesthetics department, we can forget all references to the Romanian brand and judge the Q5 on their own merits. They are not similar in sound to the Meze in any way (or in price point), but that does not mean that are not a good set of IEMs for what they bring to the table at their price point.

As always, let’s start off with a look at the graph comparing them to my usual preference:

The subbass is present at a level that I find more than adequate, with a performance in the lower ranges that is very respectable for a set of IEMs at this price point. It may not be the most amazing subbass out there but it is difficult to really pick faults with it. “Chameleon” shows the lower notes to be fairly quick and controlled, with the low ranges not affecting the overall performance of the IEM.

The midbass is similar in its performance, with a clean response that has just enough body to give a little bit extra to the lower notes of the acoustic instruments that I enjoy. “Crazy” being my usual fatigue test for midbass does not come across as overly present and is well controlled, meaning that this frequency range does not become fatiguing for me.

The transition into the mids is clean, however, there is a slight lack of presence in mids that can leave certain vocals a little hollow, especially due to the response we get as we climb into the higher mids and lower treble.

The upper mids range is just a touch too high but it would not really be an issue is it wasn’t for the peak at 5kHz as we go above it.

Yes, my dreaded 5k peak! It has been a while since I listened to a set of IEMs with such an emphasis on 5kHz and I’m afraid I find it very uncomfortable. The higher notes of electric guitars, vocals and even percussion comes across as very harsh and it is something that I find I am allergic to. It really makes the Q5 a difficult listen for me.

Moving past the 5kHz mark, there is also quite a bit of presence in the upper treble, which does add air and brilliance to the sound but at the same time it sums up to the upper mids and 5k peak, putting a large emphasis on these ranges and making things come across as very bright.

While I wouldn’t say that the lower range is lacking, at least not for my preferences, it is not enough to counteract the upper ranges and these lead to a tuning that can make the result harsh and even quite thin.

Conclusion…

I have said it in the past many times, I am someone who suffers a lot from 5kHz peaks and the Q5 puts a lot of emphasis on that exact frequency, maybe it could be called the Q5K

This means that I have a major issue in being able to enjoy these IEMs, which I feel is a shame, because I think they are a well built and good performing set of IEMs, even if I am not keen on what they have done with the aethetics (not because I don’t like them, I love them, just that they are not original).

I do have another set of EPZ IEMs that I haven’t listened to yet and I hope that the things that stop me from enjoying this set are resolved on that set, but I guess I will let you know when I find out.

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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

[pennstac]

@SenyorC

I don’t need to make any income from the reviews (in fact, I actually lose money)

How does that work? Or are you trying to amortize the cost of testing equipment?

[SenyorC]

When I receive stuff that is sent to me from outside of the EU, even if it is a demo or test unit, I have to pay import fees and taxes.

[pennstac]

Does that apply if the item is on loan and supposed to be returned, or only on items they don’t want back?

Is there a way to reverse the charges so the people that want the review pay them?

[SenyorC]

Yes, it also applies to loan units, tour units etc.

It is possible to import them as a company and then prove they have been exported out of the EU again and claim back the VAT (although not the other associated costs), but that would mean starting a business to do so and it is something I am not interested in doing.

Opening a business means needing to make profit to cover costs of running the business and I already have more than enough workload with my real job.

On items under 150€, the VAT can be paid at source but it is something that only a few suppliers do.

[Fc-Construct]

When I first started reviewing, I had a similar-ish problem. In Canada, DHL holds your package ransom if you don’t pay their little $20 processing fee. It’s not even duties and tax at customs but just DHL’s brokerage fee. So any time a company like Linsoul or HiFiGo sends me a product via DHL, I’d get dinged with a $20 charge I pay out of pocket. Thus whenever I could, I would try to ask them to send by slow mail or to bundle multiple items at once. Which wasn’t the best for the FOTM churn that ChiFi chases after. I kinda took it as the “cost of doing business” i.e. reviewing. This still happens actually but I’m doing significantly less ChiFi reviews now so I haven’t had to deal with it much lately. Plus, now that I work with Headphones.com, it does help me cover the cost of it.

I’m sure there’s a way for these companies to properly pay upfront the amount so I don’t get dinged or I could ask them to PayPal me back the DHL fee. I’ve done the latter a couple of times but it’s a bit of a hassle and when I first started reviewing, I didn’t want to cut off access to any items. Thankfully, that’s no longer really an issue.

[pennstac]

There should be a USA style solution. Perhaps once you are established you could get competing manufacturers to pay you not to review a product. This certainly could get around the taxes and fees on physical goods, and you would have plenty of time to not review the full range of options no matter the rate of new model introductions.

[generic]

The EU taxes mining, then taxes manufacturing, then Value Added, then shipping, then buyers, then all the government workers go on a paid vacation, then it taxes resale, and then it taxes disposal. Their model is precisely the opposite of Ultra Cheap. See the Concorde, Airbus A380, Chunnel, etc. Profit is not an option.

[pennstac]

Then my solution is perfect. No work, no product, no shipping, no disposal. In addition to government workers (I used to be one) other indigents typically receive funds from the government.

[Fc-Construct]

I think this is Crinacle’s exit strategy. Maybe this is why he hasn’t been reviewing too many products these days and is focusing on his cool hangout coffee shop thing

(for legal reasons this is a joke)

[SenyorC]

EPZ G10

TLDR version on YouTube: TDLR - EPZ G10

The EPZ G10 have been sent to me by EPZ for me to try them out and to share my impressions in this review. There have been no requests or comments by EPZ and I will do my usual best of being as unbiased as possible in my review.

The Q5 are available from the official EPZ store on Aliexpress, you can find a link to them 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.

To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

Recently I reviewed the EPZ Q5, another set of IEMs by the brand that were sent to me together with the ones I will be discussing today. While the Q5 comes in at just over 50€, the G10 is a cheaper option, costing around 32€ (at the time of this review) and placing itself firmly inside the sub 50€ ultra budget category.

This model also features a 10mm dynamic driver and has quite some similarities to the other model I reviewed in terms of sound, but we will get to that soon.

Presentation…

The packaging is simpler than on the sister model, with flip top black box that shows a diagram of the IEMs, along with the make model and a couple of features in a reflective green. On the sides of the box, the model is shown as Symphony Dragon, at least I think that they are referring to the model, with more specs and the graph shown on the back.

Opening the box reveals the IEMs in a sponge surrounding, with the cables attached, and below this we get an accessories box. The included accessories are 3 sizes of regular silicone tips with bright green cores, along with 3 sizes of double flanged tips and a small drawstring bag for storage. A cable with an inline microphone, buttons and adapter (from 3.5 TRRS to 2x 3.5 TRS) is also included, something that you don’t see very often with IEMs lately.

One other thing included is a small UV flashlight, which will make more sense in a moment.

Build and aesthetics…

My complaint with the Q5 was that they looked great and were built great but had copied the aesthetics of a different brand almost 100%. I said that is was a shame as they seemed capable of building good quality IEMs and I think that the G10 proves that point.

Although we get a much more universal shape with the G10, it is a very dark and opaque shell that features a dark faceplate with a gold G and EPZ on it. Under the dark translucent top layer of the faceplate, it seems to have what looks like greyish fibers making a pattern. This is where things get interesting.

I couldn’t really understand why they would include a small UV flashlight with the IEMs until I shined it on the faceplate. The fibers below then started to glow a very fluorescent green which suddenly made all the green hints around the box and tips make much more sense. The glow doesn’t last for too long, especially if you are not in a very dark area, but it is something that I find original and a cool little touch. I am not sure if this has been done before on IEMs, at least it hasn’t on the ones I have reviewed, and while it is a bit of a gimmick, it gives them their own aesthetic which is nice to see.

The included cable is a little strange as it is a thin silver cable, with the inline mic and controls, that ends in a 3.5mm TRRS. The strange thins is that they include an adapter cable in black, which, although very much on the cheap end of things (to be expected), actually matches the IEMs more than the IEM cable does.

The included flashlight is also a very cheap one (again, to be expected) but at least it does have a replaceable battery, so you can continue to recharge your IEMs for longer.

Sound…

Ok, if we go back to the the Q5 review once more for just a moment, I said that the issue I had with them was that peak at 5k and the rather present upper ranges in general. This gave them a rather harsh sounding response to my ears (I am delicate with 5kHz) and I hoped that the other model, the G10 I am reviewing today, would be a different story.

Well, I am sorry to say that the sound signature of the G10 is basically the same. It is a little more subdued in the upper ranges, so I will explain a little more in detail, but here is the graph of the G10 in comparison to my usual personal preference and the Q5 for reference.

You can see that there really isn’t much difference between them on paper and when they are in the ear, my ears at least, there isn’t a huge difference either.

The subbass is still adequate for my tastes and there is enough midbass to give acoustic instruments some body. In fact, I would say that the only difference between the 2 models from 20Hz to 2kHz is that this cheaper model doesn’t seem to be quite as detailed, but that could be my subconscious telling me that because of the price difference.

Truthfully, I think it would be difficult to pick them apart in the lower and mid ranges, especially because of the upper mids and treble areas.

Once more the upper mids are just a little too hot, taking the focus away from those lower mids and bass frequencies, moving the focus on to these upper ranges. And once more we have that dreaded peak at 5kHz that I just find so uncomfortable.

In the case of these IEMs, that 5k peak is actually less pronounced than on the Q5 but it is still too much for my ears and makes things very uncomfortable for me.

I know that not everyone is fragile to the 5k range, some people hate 3k, other hate 6k, we are all different. In my case the specific 5k frequencies can feel like someone is stabbing me with a knife in the ears and I really struggle to listen to anything with a peak there for any length of time.

If you look at my preference target, you will see that I have a dip there, which is my preference, but I can actually do without the dip, as long as the adjacent frequencies (4k and 6k) are not dipped, leaving just a peak. In this case, while the peak is less than on the other model, it is still a peak and it is still painful for me.

I will say that the upper ranges on the G10 seem to be less present than on the Q5. This, together with the slightly less pronounced peak at 5k, doesn’t make thing sound quite as harsh as I felt they did on the Q5.

As the treble is boosted and peaky, on both models, this does lead to a false sensation of detail also. Not that the details are bad but they are pushed at you in such a way that it does make them seem “synthetic”, for lack of a better word.

Conclusion…

I am sorry that the sound signature of the G10 is so similar to the Q5, because I really wanted them to have a tuning that I enjoy. Not just so I could review them more positively (which I always prefer to review positives than negatives) but so that I could actually enjoy them during the time I listened to them. In these cases, where I find a tuning uncomfortable, it turns enjoyment into work, and I do this for fun!

Again, it is a great shame that I can’t get on with them as I think that EPZ is putting a lot of effort into their IEMs and think that they deserve more attention that they are getting. Unfortunately, I can only relay what I experience and sound wise, the experience has not been enjoyable for me. That doesn’t mean it won’t be for you, if you don’t have an issue with 5k, then you may love these IEMs and they are very well priced!

I am sure EPZ will read this review, as this is my first time reviewing their products and they will want to know whether to avoid me in the future In which case, EPZ, if you have any models in your line up that avoid the 5kHz peak, please let me know because I would love to enjoy a set of yours!

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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

[Fc-Construct]

Well this is a first. A UV light in the box. The original Kiwi Ears Orchestra had some glow-in-the-dark stuff too but didn’t have the UV light.

[SenyorC]

Ziigaat Nuo

TLDR version on YouTube: TDLR - Ziigaat Nuo

The Ziigaat Nuo have been sent to me by Linsoul for me to try out and share my opinions in this review. No special requests have been made and, as always, I will do my best to be as unbiased as possible.

You can find a link to the Ziigaat Nuo via Linsoul by visiting the version of this review published on my blog. As always, it is a non-affiliate link.

To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

Anyone who follows the budget segment of IEMs will have noticed that suddenly Ziigaat is appearing in a lot of posts and conversations. While the brand name may be new, they have actually been around for quite a while, producing IEMs for other brands that are more commonly known in the IEM world.

Recently they brought out a few models under their own brand name and have made quite some noise on the scene, in a good way. As always, it is possible that a lot of the excitement is part of the FOTM but, even so, it can’t be denied that they have built themselves a good name in a very short time period.

The Nuo, which is the model I have here today, is a 10mm LCP dynamic driver that has been designed in house by them, showing that they are not just grabbing a driver and printing a shell for it. The Nuo is also priced at a very low 20€, which places it well inside what I consider the ultra-budget range (sub 50€).

So how does it fare against some of the other very capable sets at this price? Well, I guess that is what we are here to find out.

Presentation…

If you are looking for a beautiful and elegant presentation, well, this is not one of those cases. The outer sleeve of the box reminds be of a blank VHS from the 80s, which is not necessarily a bad thing, just that it is not going to win any prizes here.

The contents are ground breaking either, containing the IEMs, a simple black cable and 3 sets of simple black silicone tips. Even the included documentation, in other words the warranty card, is just a small piece of paper printed on both sides.

But none of this is a complaint! With a budget of 20€ (well, a lot less than that at cost price), I certainly don’t expect, or want, them to spend it on things that are not connected to the sound performance.

Build and aesthetics…

Moving on to the IEMs, there is nothing really flashy going on here either. Using simple black semi- translucid shells, with plain black face placetes that show the Ziigaat logo on one side and “ZiiPluse Series NUO” on the other, both in white, they are not offensive but do not look like the cost more than they do either.

The cable follows the same strategy, a simple rubber black twist that turns to single after the split, is fitted with metal connectors and hardware, along with a plastic chin slider. Again, nothing that stands out.

What I will say is that they are extremely light and they are also very comfortable in my ears. The included tips are nothing special but work well with the IEMs, lending to an overall “simple but works” set up.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

Now we get to the good part, the sound that these IEMs can give us for just 20€. The may have a bit of an emphasis on the higher ranges on occasions but in general they are pretty well balanced and stay very clean throughout the whole spectrum.

Here is the usual look at the graph of their frequency response in comparison to my usual preference as reference:

Starting off from the bottom, there is not a huge amount of rumble although the subbass is present. There is a lot of cleanliness in the lower ranges, subbass and midbass, which may give the sensation that there is less bass than there actually is, however, when tracks hit hard in those lower ranges, the NUO don’t hold back.

With my obligatory “Chameleon” test, there is no huge wall of subbass, yet you can still appreciate the notes that are hitting down low, they are just clean and articulate, and that runs into the midbass also.

Listening to “Long After You’re Gone”, there is body to the guitar, along with a sensation of punch when the body is tapped, yet it is clean. In fact, they remind me a lot of the 7Hz Zero (the originals) in the way that the low end is presented, just with a slight movement of focus from the subbass to the midbass.

There is no fatigue from the midbass, with the electric guitar of “Crazy” having that low end reverb which is easily appreciated yet not overpowering. The midbass and the mids in general are possibly the most impressive part about the NUO. Not due to quantity but quality in this price range.

The mids do not seem to be scooped out or miss anything at all, with male and female vocals sounding very articulate yet natural. The detail in these ranges is also very impressive for a set of 20€ IEMs, with things like the electronic bass of “No Sanctuary Here” sounding impressive and punchy but not taking away from the natural sound of actual bass guitars.

As we move through the upper mids, they again remind me a lot of the 7Hz Zero, a set that I really like the upper mid tuning of. Things are nice and upfront but not overly harsh, not taking away the spotlight from those lower ranges, presenting a nice balance to my ears.

As we move into the treble areas, here is where things are not quite how I would like them to be. There is a nice sensation of air and extension yet it is a little peaky, giving a bit of a synthetic touch to some tracks and overly emphasizing sibilance on other tracks such as “Hope Is A Dangerous Thing”.

Depending on the music of choice, this can lead to some fatigue. If the songs are already mixed towards the brighter side of things then the upper ranges can be overly ephasized and can lead to them becoming tiring over longer sessions.

As I said, detail is very respectable in the lower and mid ranges, with it being also pretty decent in the higher ranges also, just with the risk of coinciding with certain peaks that can give it a bit of a fake feel, again, depending on the music chosen.

I wouldn’t say that these have a very large soundstage yet they do manage to provide a sensation of space between layers with tracks like “Strange Fruit”. Here the vocals are very close together but don’t seem to be standing on one another, keeping a nice separation between those vocal layers.

Conclusion…

There really are some amazing sets of IEMs available in the ultra budget range and I think that the Ziigaat NUO certainly deserve to share a table with them. I can’t say that they are the best 20€ IEMs that I have ever heard but that is definitely down to personal preference and not due to clear performance issues between the sets.

The NUO give far more than anyone would have ever guessed possible from a set of 20€ IEMs not long ago, and even now, when there are multiple sets of great IEMs at this price point, they are still up there amongst the best.

I think some people may find them a little tiring if their music selection doesn’t do well with the focus towards the upper ranges, but again, that is going to be due to personal preference (in music and tuning) and not because the IEMs are not worthy of their price point.

There is a reason why Ziigaat is getting a lot of mention lately and the NUO are another part of that reason.

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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

[InvisibleInk]

How do we pronounce that name?

[SenyorC]

I had my attempt at it in the TLDR video

My guess is Zee-Gat but I really have no idea!