Rating: 8.4
Sound: 8.3



Intro
The TIN HIFI P1 split opinions. It delivers a quite unique sound that I have never heard before in any other IEM. Especially in the midrange where it shows excellent transparency, separation and resolution. Also the airy and detailed highs convinced me. But you have to do without bassimpact and it is certainly not the most musical IEM. There are also some technical flaws.
The P2 is now the long awaited successor of the P1, which also uses a planar driver. Can it bring the "modern classic" to a new level?



Handling
The P2 gets an appealing facelift compared to the P1, which looks rather angular and not as round and filigree as the P2. This optical and also haptic progress could already be observed with the T2 PLUS. But the P2 is not only nice to look at, it is also very comfortable to wear, although I don't find it particularly ergonomic.

When it comes to accessories, Tin HIFI is not to be sneezed at this time. In addition to a drawer-sized packaging, we get a noble leather case, a 2.5mm balanced cable with included adapters to 3.5mm (unbalanced) and 4.4mm balanced. As tip selection we receive a set of foamtips, as well as the same number (3 sizes) of the silicone version.
The cable has 8 strands and is haptically similar to the cable of the T3. The P2 is also equipped with a 2-pin connector, which will certainly be a welcome added value for many.

Due to the "open" construction, the isolation is not the best, but it is quite good with running music. Only the direct neighbor could lodge a complaint.

The 32 ohms should be used with caution at a sensitivity of 90 dB. You can certainly get a sound out of the P2 on your cell phone, but the volume and also the dynamics then do not reflect the full performance potential of the P2.



Sound
The (planar) magic of P1 is no longer noticeable with P2. The P2's sound is much more mainstream, which is mainly due to the bass boost.

The early bass rolloff of the P1 is history. The P2 not only has a much higher level, it also plays audibly more linear down to the very low frequencies, which could only be guessed at with the P1 if you didn't help with an equalizer or close the bass vent. Nevertheless the bass seems to be slightly separated from the mids and despite the gained punch I miss a bit of firmness. Here the attempt is made to imitate the bass of a dynamic driver, which did not succeed 1 to 1 in terms of dynamics and physical presence. The bass is fun and gives the P2 a lot more musicality and warmth, but for my taste it is not always the most accurate and can get a bit woolly. But that is grumbling on a high level.

The mids let the class of the P1 shine through. For me, they are the clear flagship of the P2, just like the P1. The additional warmth of the bass gives them a bit more authenticity and liveliness. In comparison, the P1 sounds a bit uninspired and flatter, but tonally just as correct. The mid-range reproduction seems to be the absolute strength of TIN HIFI's planar driver and there is little to criticize here. They are wonderfully transparent, separated and detailed. Not only do they sound correct to me, but they also manage to captivate you with their content. Especially voices invite to intensive listening and you can easily get lost in the mids of the P2. It's a pity that the review is not over here!



The treble is now the Achilles' heel of the P2. I admit that the performance depends a lot on the song selection, but sometimes it's close to the pain threshold. Not because it sounds exaggeratedly sibilant or consistently unpleasant bright or pointed, but because of the extreme boost in the upper treble. Depending on the mix, this is sometimes more, sometimes less effective. As a result, voices (which are actually reproduced very authentically in the mids) can sound unpleasantly hissy, or instruments can sound distorted and sharp. Why this extreme push is necessary remains a mystery to me and also contradicts the general approach to coherent tuning. I like to be open for new things, but this is a clear step too far. Now I don't want to make everything bad at the high frequencies, because if the uppermost frequencies don't play a big role in the mastering of the song, this is not permanently noticeable, but especially female voices should be treated with caution. What the high frequency can benefit from is a good richness of detail, invigorating energy and also transparency.

What the P1 has lost a bit in stage presentation, the P2 catches and audibly improves here. This may be due to the open back, which gives the sound a better openness, or to the reworked driver itself, but stage and also imaging are really worth mentioning, without appearing artificial. Especially voices still have a nice intimacy and the instruments are always placed around them in a good position, both in depth and width.



Outro
How should the P2 be classified now? If they had simply given the P1 a little more bass response and revised the technical features, we would have a great IEM with the P2. But it wastes its potential and is no longer competitive in terms of price. The high frequency simply breaks down too much at times and thus prevents a new success, or rather a successful further development of the P1 by TIN HIFI, who have recently had a little up and down with their new releases (T2 PLUS: top, T2000: flop).

So I prefer to stay with the P1 and accept the compromise between bass response and stage presentation, but still keep the magic of the planar driver and have an outstanding vocal-oriented IEM that also responds well to an equalizer.
Nevertheless, the P2 is a very good IEM, but due to the mentioned limitations it would certainly represent a better value in another price segment.



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Rating: 7.1
Sound: 7

Intro
Keep your wallet handy, KZ has two new models on the market (ASF & ASX) and is ready to help you spend money. For that KZ doesn't feel too bad to do questionable marketing. Besides the whole "everything is new and better" thing, they advertise in their renderings with an upgrade of the drivers by displaying them in black and gold instead of silver and adding an "s" to the BA driver number. Aha and what exactly should sound better now? I'm aware that this is supposed to have more of a symbolic character, but that's a bit amusing and certainly questionable even for an IEM layman. The ASF is a pure BA-IEM with 5 drivers. The ASX goes one better and has twice as many drivers per earphone. Let's take care of the ASF first.

Handling
New model, new design and packaging? Yes and no! The ASF, as well as the ASX are probably the most voluminous IEMs of KZ so far. Due to their ergonomics, they can be worn quite comfortably, but it looks quite funny to have such a juggernaut in your ear. The ASF does not make a particularly noble impression despite its light metal faceplate. It looks almost cheap, which is even more emphasized by the good view into the inner workings. Here we find a large white plastic piece, which is 3D printed and used to separate the sound of the individual drivers (allegedly 4-way).The drivers fit perfectly in this plastic part, but it doesn't look good, even though this technique is also used by well-known companies. The drivers fit perfectly in this plastic part, but it doesn't look good, even though this technique is also used by well-known companies. Surely this has advantages compared to the sound guidance through PVC tubes. In this case a non-transparent body would suit me more.
The sound openings are quite small and so not every 3-party tip will fit.

The packaging is similar to that of the former AS10, or BA10. However, the contents are as simple as with the other models, which are delivered in the "famous" white cardboard box.
The cable is KZ standard, but the tips are new. These are transparent/white and have a shorter shaft so that the ASF can be inserted further into the ear and fits more securely.

Isolation and wearing comfort is good, to very good, as with almost all models of the company, depending on the space available in the ear, which should not be too small, especially with the ASF.The sensitivity is very high, resulting in a very high maximum volume.

Sound
We had already seen 5 drivers 2 years ago in the AS10 and BA10 and their tuning and technical features made us sit up and take notice, since this was not only a novelty at that time, but also put many KZ models of prehistoric times in the shade in terms of sound. Until today a lot has happened and many other companies now offer good multi driver IEMs at very low prices. KZ has of course also developed further. For example they now grind their drivers differently or try to build the largest possible universal IEM. Joking aside, the ASF is an average IEM and not one that sets new standards, not even within the company.

That a BA-Bass can have a lot of depth was shown for example by the SHURE 846, but also the AS10, or BA10 have for my opinion a rounder BA-Bass, which above all has a more solid kick. The bass of the ASF is indeed raised properly, but unfortunately not very qualitative and a bit mushy. I have heard this better from KZ before. The upper bass also doesn't drop off enough, pushes the lower mids back and makes voices sound a bit too warm. But the biggest criticism for me is the lack of firmness and the booming upper bass, because otherwise you can work with the bass.

The KZ also sticks to a V-signature on their pure BA models is not surprising, but a pity. It would have surprised me positively if the company had taken a different path and given us a more mid-centered signature. This way they stay true to their philosophy and you still know what you can expect from the company, but in my opinion there is no real development taking place here unless you only look at the pure sales figures. The mids have a deep hole. For me they are too warm and lack a bit of liveliness. When there is a high musical density, there is a lack of clarity, also because the bass lies over everything like a veil and the mids in the lower range lack presence. Here and there, however, the mids can work despite their dark character, especially when the music is more clearly arranged. They can even become harsh at higher volumes. Tonally, however, they are never really natural.

The tweeter shines with absence, at least the higher it gets. However, it manages to fill the ASF with life from time to time and also highlights details in an appealing way. I wouldn't describe it homogeneously and even in the top end there is a lot of air to the top. Sibilants are not the rule, but can play a role in songs predestined for it. I miss airiness and also transparency. Everything seems a bit depressed and subdued. Spoiler alarm: 5 more drivers in the ASX are not much help. Something metallic resonates as well. The volume has a big influence on how clean the trebles act.

This has of course an effect on the stage. The stage is surprisingly compressed. This affects the separation, because the clarity in the mids is also missing, but the imaging is not very complex either. You rarely get a feeling of distance and it happens more horizontally than vertically or in the z-axis (depth).

Outro
In terms of sound, the ASF is more oriented towards the AS10 than the BA10. This means that it sounds warmer and darker. I'm not sure where I would see the strengths of the ASF. Somehow everything is so average and uninspired. It lacks clarity and precision. For me, it's more suitable for quieter music, but rock or more complex sounds don't suit the ASF. Not an IEM that I personally would choose to go with for any reason, due to the massive competition in the price segment.


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QUICK VIEW: SENNHEISER H400S

Explanation: In contrast to the full review, the QUICK VIEW only provides a brief tonal and functional overview. This does not mean that I have not tested the headphones extensively, but that I personally do not attach great importance to them and therefore want to be brief. The weighting of sound and handling is 2:1.

frequency range: 18 - 20000 Hz | sound pressure level: 120 dB | impedance: 18 Ohm | dynamic



Sound: 6.9

Handling: 8

Total: 7.3
Price: 55 €

Intro
The H400S is a headphone for mobile use, which can be used on a cell phone (18 Ohm, 120 dB) without any problems. It has good isolation, but the sound is too inconsistent and rarely works musically.

Handling
Although the earpads seem too small for over-ears, they are very ergonomic and manage to be very comfortable for hours with a mixture of lay-on (in front of the ear) and ear wrap (behind the ear). In addition, they have a robust design with enough twist room for the ear cups and adequate padding, although the headband is somewhat uncomfortable.
The audio cable is removable, but unfortunately the connector is not compatible with external cables. The cable also has a remote and measures 140cm.

Sound
The bass is somewhat isolated from the rest of the signature and is really good in itself. Powerful with emphasis in the subrange, without exaggerating it. For driving beats or hip-hop a fun affair and quite detailed. But the mids are the deal breaker on the H400s. These are very unbalanced and especially voices are sometimes hard to bear as they can get very shrill. In general the H400S is too bright and tonally inconsistent. The trebles also don't have a big extension and sometimes sound a bit tinny.
You can't speak of naturalness or authenticity with the HD400S and it definitely can't be described as an all-rounder. Stage and imaging are average here.

Outro
The HD400S is a headphone that has a good functionality, but the sound is very unharmonious and artificial. Some music styles work quite okay with the HD400S and the bass is very well done, even if it seems to be split off from the mids and highs, but almost 70 € (RRP) can surely be better invested if you have a demand for sound.



What works:

What does not work:

Rating: 7.1
Sound: 7

Intro
What is going on at Knowledge Zenith. I can basically copy the review from the ASF here, since both IEMs are only marginally different. The company's excursions into a more expensive price segment are always adventurous. Cobbler stick to your last. KZs budget models often represent a really good price-performance ratio, but as soon as it exceeds the 50 € mark, one asks not only about the added value, but also about the tuning philosophy.

Handling
I have actually already said everything at the ASF. The ASX is also a very voluminous IEM (same design as the ASF), but it fits surprisingly well and is very comfortable to wear. To me, the ASX looks more like a toy than a professional IEM, but that's a matter of taste.

The accessories are very manageable for $100. Silicone tips, 4-core cable (2-pin) and a small metal plate that you can't do anything with. KZ, exchange at least this plate (costs surely a few cents in production) into a small transport bag. For me, an IEM doesn't have to be delivered with tons of knick-knacks, I'm completely satisfied with the essentials if the IEM sounds convincing, but the ASX should probably focus more on its presentation because of its average sound performance and at this price, if it can't score on the most important thing for me. Since the content is the same as the ASF, I pay $40 more for 5 drivers (10 in total), which I can't even hear.

Isolation and wearing comfort is good to very good, as with almost all models of the company, depending on the space in the ear, which should not be too small, especially not with the ASX.

Sound
Why did it need the additional 5 drivers compared to the ASF? I'm not an owl, but I still dare to hear obvious differences, if there are any.

The bass is most convincing in this mixed-up signature. However, the upper bass tends to roar and it is certainly not the most stable BA bass I've heard. But it knows how to please on average, especially when less punch but a warm foundation is required. If it didn't have this great attention in the signature, it could certainly subordinate itself better and appear more qualitative.

I have to admit that the graph looks a bit worse than it sounds in the end, because the strongly raised area of the upper mids up to the highs can swallow the bass quantity a bit. Nevertheless, a big hole is created, which causes dullness and tristesse in the mids, as information is lost or better said, submerged. If you like to listen to vocal-oriented music, you won't get much use out of the voice presentation of the ASX. The mids do clear up towards the top, but they lose their naturalness due to this one-sided reproduction.

Basically, the two IEMs differ in the trebles, where the ASX loses a little more level and trumps the already unblessed ASF. For me the wrong step. While it would be advisable to lower the plateau between the upper mids and mid-range highs and push the mids and top-end instead, only a reduction of around 4 kHz is more likely to make the ASX go one step further in the "wrong" direction. The sibilants are a bit more accentuated, which is no enrichment either. But these changes are hard to hear and if you mix both IEMs, there is no difference. You might take a slight "channel imbalance" as a result, that's it.

Like the ASF, the stage is compressed, but not claustrophobic. Nevertheless, the arrangement of the individual musical information seems somewhat out of place and unrealistic. I imagine that the ASX might have a slightly wider stage, maybe through the openings on the faceplate, but be careful with this statement.

Outro
Which target group should be addressed by the ASX and why do the company's tuners hate the mids so much. V-signature or not, but the ASX is a little dubious tonal, at least if you want to compete with the competition in the price range. 10 drivers are more than given away here and in the end you have more fun with a 10 € model like the ZST X.
Not suitable for musicians, because the tuning is unrealistic and far away from neutral. The audiophile lacks mids, balance, resolution and top end. As a pure fun headphone the ASX may work, but then please don't do it at that price, because I can get that for a fifth. Maybe I'm a bit too hard on the ASF and ASX, because you can listen to music with both if the demands are within limits, but for me they are (if at all) average and overpriced.


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Rating: 8.5
Sound 8.5

Whoever wants a little more liveliness from the HD6XX besides a balanced sound, can risk an ear and gets an absolute price-performance hit.

Click to expand...

Sound: 8.5

Handling: 8.5

Total: 8.5
Price: 145 €



Intro
In addition to the HD6XX, DROP also offers the HD58X Jubilee as a revised version of the HD580, the veteran of Sennheiser's dynamic high-end models, which was released almost 20 years ago and later replaced by the HD600/650. The HD580 gave SENNHEISER a very good reputation in the audiophile world and was, so to speak, the starting signal for the success story. The HD580 and the HD650 were not too far apart in terms of sound (judging by the graphs) at the time, nor are the HD6XX and the HD58X (based on real listening comparisons). They are even very similar.



Handling
There is not too much to add to the description of the HD6XX, because besides the sonic similarities they share the structural ones.
The HD58X, consists of a good 80% of plastic. Only the reinforcement at the headband, with which the headphones can also be adjusted to the head shape, and the back grills of the ear cups are made of metal. The HD58X does not make a cheap impression, because the workmanship is of high quality and no production errors or rough tolerances can be detected. Compared to the HD6XX, you can't see the inside through the grid on the backside, but this is hidden by a thin foam inside.

The earpads have a velour cover (which crunches a bit with glasses), which encloses the complete ear and fits very secure due to the (a bit too tight) contact pressure of the case.
On the headband there is a foam padding, which prevents pressure pain as far as possible and allows wearing the headphones for a long time.
The wearing comfort is therefore good, but somewhat limited by the high contact pressure and the somewhat spartan padding on the headband. I prefer a flexible headband.

The accessories are reduced to a minimum, i.e. the same 3.5mm cable (1.8m) as with the HD6XX, plus an adapter to 6.3mm jack. The cable consists of two quite thick strands (left/right), which are led parallel. The connection to the headphones is done via a 2-pin connector (both sides).

So we don't get much, but the most necessary things, which is also quite sufficient with regard to the price. Here, the headphones themselves are clearly in the foreground, and even without accessories, the price would justify itself for me. The HD58X is even 40 € cheaper than the HD6XX.

Due to the open construction, one cannot speak of an isolation, which makes the HD58X only limited suitable for the public, whether on the street or in the office.



Sound
Bass
In the bass we have a quantitative increase to the HD6XX. But this increase does not turn the whole signature upside down, but provides a somewhat stronger punch compared to the HD6XX. Qualitatively, the two don't take much, it's just a bit more present, which could please one or the other, but also scare off others. In the subrange I still miss a bit of pressure, but nevertheless I have the slightly higher expansion on the HD58X.

Mids
The mids have a good presence and play clearly and directly. However, I find them a bit demanding in the upper range with a slight shrillness in some songs. But they have the desired energy, which I sometimes miss on HD6XX. Vocals are a bit more in the foreground and have mostly a natural timbre, but are sometimes a bit garish, which can lead to symptoms of fatigue. Qualitatively they are however in sum quite high, both in resolution and tonal. However, you should keep an eye on the volume. This midrange presentation can be a curse and a blessing at the same time, especially if you love vocals. But for me the (upper) mids are still absolutely in the tolerable range.

Trebles
As with the HD6XX, the high frequency of the HD58X could be a bit more intense. It avoids the sibilants very well and has a good resolution, but I see some quality advantages with the HD6XX, which are not decisive. In comparison, the lower trebles are a bit more reduced, so that the upper mids are more effective than on the HD6XX.
This makes the HD58X a little bit more mid-focused, which is nothing bad per se, but the balance and naturalness is lost a bit. Concerning the level of detail, both meet at eye level with a slight advantage on the HD6XX, which doesn't fire a spectacle either, but acts a bit more defined and leaves a more mature impression.

Stage
Despite the open design of the HD58X, the stage does not set any standards and moves on the same (good) level of the HD6XX with slight subjective advantages in all directions on the side of the HD58X, which certainly creates more tension, but is only a nuance.

Imaging
The separation appears a bit sharper than on the HD6XX due to the more direct response and voices come more to the fore, which also creates a more distinct depth, but there are no worlds in imaging between the HD58X and the HD6XX. The result is a clean 3D image, but this can by no means compete with the imaging of an AKG K812. Appropriate to the price is the right description.



Outro
This review is not intended to be a shootout between the HD6XX and the HD58X. Both have their right to exist. point. Nevertheless the comparison is obvious. The HD58X radiates more energy and also has the slightly better extension in the low frequency range. Due to the clearer focus on the upper mids due to the somewhat restrained lower treble range compared to the HD6XX, the absolute balance gets a bit lost, but still, the HD58X strives for a neutral sound with a slight warmth.
However, the mids are a bit glaring and not as deep relaxed as on the HD6XX. In return, the HD58X sounds more lively and direct in its response, but I would attest the HD6XX a slightly better resolution, even if it doesn't have the clarity of the HD58X in comparison.

In the end it depends on the personal preferences. If the HD6XX already brings you too much bass, you shouldn't orientate to the HD58X, but rather to the HD600. But if you want a little more liveliness from the HD6XX besides a balanced sound, you can risk an ear and get a competent headphone at an absolute price-performance hit. For me the HD6XX is the more mature and natural one of both, but the more fun and clearer one is the HD58X.
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Rating: 8.6
Sound 8.7

Life is not a rainbow-colored unicorn, so you can't really blame the HD6XX for trying to stay authentic.

Click to expand...

Sound: 8.7

Handling: 8.5

Total: 8.6
Price: 185 €



Intro
DROP (formerly Massdrop) is in the end nothing more than an online shop. But with the subtle difference that they also put their resources into product development with well-known big players. In most cases, the aim is to revise or reissue an existing product, make it more cost efficient and thus make it accessible to a wider audience. Examples are the AKG 7XX, HIFIMAN HE4XX, or the SENNHEISER HD6XX, which is based on the HD650 in terms of sound and appearance. This is still listed at SENNHEISER for 459 €, but is available at Thomann for just under 340 €. Well, the HD6XX is available via DROP for about 185 € and that without big differences in processing and sound (if you can believe the manufacturer, since I can't make a direct comparison at the moment). DROP also produces on demand and therefore in different batches, hopefully with the same quality control. So the product is not available on the shelf, but only exclusively through DROP and therefore not permanently.
Soundwise you should be able to get something out of the SENNHEISER house signature, which is usually a bit more reserved and neutral, warmly tuned, at least when we talk about the H5XY and H6XY models.



Handling
Keyword cost efficiency. The HD6XX, consists of a good 80 % of plastic. Only the reinforcement on the headband, which also allows the headphones to be adjusted to the shape of the head, and the back grills of the ear cups are made of metal. However, the HD6XX does not make a cheap impression, because the workmanship is of high quality and no production errors or rough tolerances can be detected.
The earpads have a velour cover (which crunches a little bit with glasses), which encloses the complete ear and fits very securely due to the (a little too tight) contact pressure of the housing.
On the headband there is a foam padding, which prevents pressure pain as far as possible and allows wearing the headphones for a long time.
The wearing comfort is therefore good, but somewhat limited by the high contact pressure and the somewhat spartan padding on the headband. I prefer a flexible headband.

The accessories are reduced to a minimum, i.e. a 3.5mm cable (1.8m) and an adapter to a 6.3mm jack. The cable consists of two quite thick strands (left/right), which are led parallel. The connection to the headphones is done via a 2-pin connector (both sides). With the detachable cable you have the possibility to use the HD6XX balanced, whether with an adapter (25 €) to MMCX, or 2-Pin 0.78mm (a balanced cable to 4.4mm, or 2.5mm is required), or with a quite expensive balanced cable directly from Sennheiser.
We don't get much, but we get the most necessary, which is quite sufficient in terms of price. Here, the headphones themselves are clearly in the foreground, and even without accessories, the price would justify itself for me.

One cannot speak of isolation due to the open construction, which makes the HD6XX only suitable for public use to a limited extent, whether on the street or in the office.



Sound
Bass
The bass is quite linear, with a slight drop in the subrange. Therefore, it is more emphasized in the mid-bass without being exaggerated, but still close to the neutral ideal. I would like to see a bit more punch and firmness, but when it comes to fun in the low end, the HD6XX likes to give the sceptre away and prefers to limit itself to a natural response and realism. For me it would be close to the ideal if it would give off 2-3 dB in the upper bass and add this to the sub bass. If you prefer a well-dosed, natural bass, which is a bit softer but not muddy, the HD6XX is the right choice.

Mids
For my taste, the mids are the heart of the HD6XX. However, I understand also such opinions, which describe them as somewhat veiled and conservative. Well, they certainly don't have a WOW-factor, but they are damn natural in their presentation. The point of criticism is the clarity, so I go with the first argument. But only to a limited extent, because I don't have the feeling that something is being withheld from me or that the mids are falling behind compared to the bass or trebles. On the contrary. The HDXX is a slightly mid-focused headphone, which however harmonizes very well with the bass and treble and is oriented towards a neutral frequency response. The mid/upper bass gives them a bit more warmth, to speak of absolute neutrality, but this makes the mids more musical and gives them a natural sounding timbre. Vocals should be mentioned here as a highlight, but the tonality of instruments is not to be blamed either.

Trebles
In the high frequencies the HD6XX is a bit more reserved than it should be. It sounds absolutely realistic and provides a lot of information, but in the top end it might be a few dB more without making the sound too bright or artificial in my opinion. This could also give the HD6XX more transparency. Here I would like a more direct response, but as in the bass and mids this is criticism on a high level, because basically the HD6XX does everything right when it comes to natural sound reproduction. Only a little bit the effervescence is missing, but life is not a rainbow-colored unicorn and therefore you can't really blame the HD6XX when it tries to stay authentic. Sibilants or peaks I can't make out, which makes for an absolutely safe and fatigue-free sound experience. Tonal correctness is clearly more important for the HD6XX than the big show.

Stage
Thanks to the open construction, the stage has a lot of space in the width, but it is somewhat limited in the vertical. This means that the sound information is displayed in a somewhat compressed form when compared with the AKG K/Q701, for example. However, this gives the HD6XX a pleasant intimacy and it has a robust foundation.

Imaging
When it comes to imaging, the HD6XX doesn't necessarily play over budget, but it plays within it. Due to the somewhat lacking clarity and sharp separation, the HD6XX doesn't have any localization problems, but the space between the individual pieces of information is not the biggest and can collide here and there. Nevertheless, a very coherent 3D image is created, which I find realistic, even though I would like to have a little more space to the top.



Outro
The HD6XX is often considered the best value for money at the moment when it comes to a laidback, neutral sound with a warm touch. This is true, but this characteristic is also a reason why the headphone won't knock people out in rows, because the HD6XX doesn't offer an exciting sound experience. Instead, a very natural one, with slight deficits in stage and imaging, which means grumbling on a high level. The relaxed and somewhat "veiled" sound presentation (typical for SENNHEISER) is certainly not to everyone's taste, but for me the HD6XX sounds just right and sufficiently musical, which it has ahead of many AKG models. In addition, there are no limitations in the audibility, which is a bit at the expense of the expansion at both ends.
Also by its appealing detail rendition, the wearing comfort and the authentic sound, especially in the voice reproduction, it is indeed a value that is hard to top, since the HD6XX is above all a weapon in tonal terms.
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Rate: 7.9
Sound: 7.8

Intro
Slowly I am getting tired of reviewing KZ, or CCA-IEMs. Basically I can take any review of the last time (C12, ZSX, ZS10 Pro, C10 Pro ...) and adjust two or three little things. Done. Okay, this is perhaps a bit exaggerated, because if you take a closer look at the individual IEMs, you can see some small differences in sound, but these are more likely to be due to the different driver characteristics, because KZ has a house sound and they don't want to deviate from that. So they juggle with the number of drivers, as well as the combination of these and bring out again and again an (admittedly rarely bad) IEM, which is only a sidegrade, if at all, but still pulls the money out of the buyers' pockets every time.

Handling
A typical KZ. Silver plated 4-core cable, which only serves its purpose, with a selection of silicone tips. Only the faceplate changes on the chassis, otherwise it would be impossible to tell which of the abundant models it would be.

Isolation and wearing comfort is good, to very good, as with almost all models of the company, depending on the space available in the ear, which should not be too small.

Sound
8 drivers. I would never think of it if I didn't know. With the KZ house sound it is actually almost irrelevant whether I have 3, 5, or 8 drivers. If you like this sound, you will like ZAX and if not, ZAX won't change that.

The dynamic driver does its job quite well. I found the bass of the CCA C10 PRO to be a step in the right direction and the bass of the ZAX is in no way inferior. Compared to the ZSX, or ZS10 PRO, it is firmer and more responsive. The punch is fun and the depth is also a plus. For me the bass is the best thing about the ZAX.

The "V" is also part of the ZAX program and so the mids are reduced, especially in the lower range. In the upper range, however, they are quite pronounced, which brings voices to the fore and causes fatigue in my case. The mids are solid and especially with assorted music they have some nice details. But when it gets hectic, they break in a bit.

I think it is again a local (Europe, Asia etc.) discussion why the highs always have to have this subliminal aggressiveness with KZ. Personally, I'm slowly getting tired of it and long for more relaxation and real quality, instead of always simulating it with an artificial build-up. The trebles have this basic metallic character, which almost always resonates with KZ. You get used to it, but BA drivers can also do differently. The trebles provide a very good transparency and details, but the naturalness is a bit lost. In addition the sibilants are annoying and I can't attest the ZAX a fatigue-free audibility.

The stage is pleasantly large and the imaging is also quite good, as long as you look at the stereo image. However, it is also strongly concentrated on left | center | right. The spaces in between are occupied a bit more sparsely.

Outro
I would take a more customer-oriented approach to KZ, if they did not want to prove this every month in the form of a new IEM. It's good to fine-tune products, as well as to rework them and take into account the customer's wishes, but we are not test rabbits and I certainly won't pay 50€ again, just for a new faceplate and a slightly adapted sound. I will certainly not be able to change KZ's attitude towards this, but maybe I can sensitize the buyer not to have to buy every new model of the company, especially if you already own the models mentioned at the beginning. The KZ ZAX is a good IEM, without question and if you are new to the Knowledge Zenith world, you will find a cheap and competitive IEM here. All others should keep their feet still for 2 years, then you might get a real added value to the previous models.




Rating in Letters
S: 9.5 - 10
A: 9.0 - 9.4
B: 8.0 - 8.9
C: 7.0 - 7.9
D: 6.0 - 6.9
E: 5.0 - 5.9
F: 0.0 - 4.9
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Rating: 8.3
Sound: 8.2

Intro
TRN brings out its first IEM over 100 € with the BA8. Since the past models were respectively are always extremely competitive in their price range, the BA8 can arouse quite justified expectations. Somewhat sobering is the design and the choice of drivers (not their number). I don't want to say that the BA drivers from TRN, or KZ are bad, but they are usually highly bred and are not always able to reproduce this technically. Or better said, correctly filtered and integrated into a potent crossover, they could certainly sound much more natural and harmonic. Of course this is a matter of taste and my listening preferences certainly do not correspond 1 to 1 with the Asian market.



Handling
To be honest, I am not really aware that I am holding the TRN flagship in my hands because of the way it is presented. The packaging gives more hope externally than the sobering content confirms. I have a cardboard box, the size of which is much too exaggerated for the sparse content.

The cable (4-core, copper, 0.75mm 2-pin) is not really worth the price and is also used in TRN's budget models. But it works of course. Otherwise the small round transport box and the set of silicone tips won't tear me off my stool.
I could do without all the accessories if I had the feeling that the IEM itself would be worth over 100 €, but I have my doubts and so I expect at least a generous, or more qualitative supplement.

The design of the BA8 is very similar to the VX, or even the new V90s. The robust and pure metal construction looks compact and solid. Here the BA8 can hardly be reproached for anything. The wearing comfort is always quite subjective, but for me it is very pleasant. Also the isolation works very well.



Sound
On the internet I had seen some measurements before the review, which made my hair stand on end. My measurements are more or less identical to these, but here it is once again more than clear that frequency curves alone are not always meaningful. I would have expected a damn shrill mid-range and treble peaks with strong sibilant emphasis. All the more I was surprised by the sound in the listening test, even though the graph does not completely lie, of course.

The BA bass is really good. Even though the midrange and especially the upper bass are in the foreground, it has an appealing bass for a BA representative and also good dynamics. The natural pressure of a dynamic driver is a bit missing and the bass could be more balanced, but I'm quite satisfied with the quality. In addition, the bass can have texture and is far from a one-note bass. For me the quantity is on a real level. Compared to the B5 the bass is firmer and not as bloated, but still the upper bass is too accentuated for me, which is not too good for the mids.

The ratio of 200 Hz and 1 kHz is certainly not the most natural and for me a weakness of the BA8. The mids can sometimes sound a bit dry and hollow, but not imposed. The hole is audible because the highs and the bass have more assertiveness in comparison. We're talking about a good 10dB difference from the bass to 1 kHz and again to the highs. The upper mids show the most playfulness and pass on to the highs at a high level.
Even if the graph doesn't really look optimal at first glance, subjectively the BA8 sounds a bit different and better than on paper, especially when it comes to the ups and downs of the mids. I miss a bit of character in female voices, but instruments sound quite natural and credible, with slight limitations.

For me, the BA8 creates something remarkable in the high frequencies. Although it has the most energy here, sibilants are almost not an issue and it gets uncomfortable even if only very rarely. One always has the feeling that the BA8 knows the limits of what is reasonable, but also uses this to the limit without going too far. Well played TRN. Here I must say that for the first time I hear a hint of justification of the price. The BA8 effortlessly uncovers even fine details in the high frequencies and creates an open and spatial listening experience. The BA8 still sounds a bit metallic, but I find the high frequencies more differentiated and somewhat more pleasant than the BA5, despite the emphasis.

When it comes to imaging, the BA8 can then show off. The separation is a great strength and the arrangement of the instruments is finely structured. Above all, the space of the spacious stage is well used, even in depth, which allows the BA8 to produce an orderly 3D image.



Outro
Phew, 120 € is an announcement. Especially if you are aware that the BA8 basically has very similar technical features (driver models), like 50 € models from the company, or competing products from KZ etc. Unlike its predecessor (BA5), the BA8 is brighter, more detailed and more transparent. Also the imaging and the stage extension have improved. However, the warm and more natural basic tone is somewhat lost. Technically, the BA8 is definitely superior to the BA5. The jump in price is too high for me, even compared to the VX. In this price segment I would also expect a different presentation in terms of accessories and cable quality. At least there is a storage box included, but it only costs $3 when you buy it. If you prefer pure BA models for your IEM selection and you like it a bit more sparkling and lively, you can risk an ear. I don't really recommend a blind purchase in this price range, even though the BA8 is the best TRN so far from a technical point of view and independent of the price. The tuning is certainly a matter of taste and for me a bit too bright and slightly unbalanced in the middles. With a little fine tuning you can get a lot out of the BA8, because the BA8 is a little border crosser in both ends without exceeding them. TRN is also much more versatile and experimental in its variety of signatures, which I appreciate a lot in contrast to KZ.


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Rating: 9.2
Sound 9.3

It is remarkable how precisely the musical content can be located and how well separated it is. And the K812 sounds so easy and uncomplicated.

Click to expand...

Sound: 9.3

Handling: 9

Total: 9.2
Price: 870 €



Intro
A headphone with pure sound that inspires, an extraordinary stage extension and fantastic imaging. It is not for nothing that the K812 together with the K872 (closed version) are AKG's current flagship.

With its technical capabilities and its precise and detailed sound, these headphones are a revelation in themselves and let you rediscover your music. Stunning, but not quite perfect for my preference.



Handling
That's what I call solid workmanship. The K812 seems to be made of one piece and you have the feeling that this headphone can hardly be affected by external influences, even if the ear cups are a bit "loosely" embedded, or in their connection still look most fragile. Otherwise the K812 impresses with its pure metal construction, as well as leather headband and earpads.

These earpads are placed completely over the ear and thus directly on the head/neck. They do not have a "classic" design, even if the padding is round, but protrude a little bit inwards at the lower part, which should contribute to a better sound sealing and is therefore directly a tuning element. In general, pads can strongly influence the sound of headphones, either by changing the distance from the ear to the driver, or the used (sound permeable) material. Certainly this plays a bigger role with closed designs. The earpads of the K812 feel good, but you notice the "leather lip" protruding inwards, which reduces the comfort for me a bit.

The headband does not offer any additional padding and does not automatically adjust to the shape of the head, but it is comfortable when you have adjusted it correctly, which can easily be done by pushing the "buttons" on the side.
The 8-series weighs a few grams more than the 7-series, which is noticeable, but due to the good weight distribution of the headband and the secure fit around the ear, this is not a big comfort problem and negligible.

The detachable cable measures a good 3m and has a 3-pin LEMO connector towards the headphones, as well as a gold-plated 3.5mm jack plug, for which a 6.3mm adapter is of course also included.

It should be clear that the isolation, due to the open construction, is not really existent, but with moderate ambient noise and running music privacy (at least for yourself) is possible. Of course I also don't want to embezzle the included real wood stand.



Sound
Bass
The bass of the K812 may not be the most powerful, but it has a damn dry punch and finds the right balance between detail, precision, natural response and entertainment. It could be a bit rounder and more authoritative for my taste, and a bit more powerful in the low end, but even so it's a real weapon, especially when it comes to quality. It also reacts very well to an equalizer without distorting.

Mids
The K812 performs just as well in the mid-range. They reveal an amazing number of side scenes and even the finest musical elements, as well as certainly unwanted "production errors". Or better said, it makes the music human and you notice that there is an artist behind it and not a machine. The mids are also quite neutral, but sound neither dull nor emotionless. I'd like a bit more warmth, but the K812 sounds light as a feather in the mids and above all unexcitedly exciting. I don't find any major blunders tonally and above all I never have the impression of exertion or compression.

Trebles
It becomes a little more demanding in the high frequencies. It is certainly a contradiction in terms to be able to analyze everything in music without having to concentrate on it, and this with a completely fatigue-free high frequency. Somewhere this high resolution has its price, especially when the musical input is not the highest quality. The K812 wants to reveal even the smallest micro-detail, for which every music producer will thank it, but it does not invite you to relax and simply enjoy, also due to its moderate sibilant emphasis and the somewhat obtrusive 6 kHz peak. In the long run it's a bit too intense for me, but I still enjoy the pure and detailed high tone, the higher it climbs.

Stage
Surely this is not the first time you read the praises of the K812's spacious stage. I can actually only say that I cover this with my listening impression. But what I find special is that despite the space available, nothing seems lost and voices can just as easily build up intimacy.

Imaging
This becomes more impressive in imaging. It is remarkable how precisely the musical content can be located and how well separated it is. And the K812 sounds so easy and uncomplicated. In contrast to the K702, or Q701, the K812 is more differentiated and above all at home on all layers, instead of concentrating more on the panorama. Certainly, the K812 is also suitable as a gaming headset due to its excellent localization, but then not at a lan party with other gamers in the room. Apart from that, its technical capabilities make it a valuable tool for editing and processing any kind of music.



Outro
What a headphone. I must admit that I am really enthusiastic about the technical capabilities, even if the signature does not match my preferences 100%. I would still like some body in the mids and a more pronounced low bass.

For me, the somewhat pointed trebles are a little bit too much, but considering the refined sound and the spatial representation in total, I can get over it. Details, imaging and stage, combined in a balanced signature with a somewhat emphasized high frequency and thus certainly a bit above the neutral reference curve.
In addition, it has a good grip, is hard as a board and dry in the low frequencies, transparent and high in resolution.

The AKG K812 more than lives up to its flagship status, also in its workmanship. Give me a little less brightness, as well as a smoothed treble and instead more depth and pressure in the bass, with a little more powerful mids. Maybe my "ideal" would be done. It remains to be seen what the K872 can contribute to this.

Thanks to Sattler Electronic Showtronic AG for providing the test headphones.
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Rating: 8.1
Sound 8.4



Sound: 8.4

Handling: 7.5

Total: 8.1
Price: 150 € - 400 €

I don't want to be heretical, but I suspect basically the same driver as in the K701/702 also in the Q701. The basic sound characteristics are too similar.

Click to expand...

Intro
Quincy Jones should be a term to some and that with "name" products can be marketed well has not passed by AKG.

Whether this now directly justifies the entrance price of approximately 500€ is left to everyone. The price also went down quickly and had levelled off around 250€. Meanwhile the Q701 is officially no longer available and so there are currently only (partly overpriced) remaining stocks, or 2nd hand models to buy.

I don't want to be heretical, but I suspect basically the same driver as on the K701/702 is also in the Q701. The basic sound characteristics are too similar.



Handling
Plastic, metal, leather, velour - the 7-Series is not only visually indistinguishable, the materials remain just as high quality and even the plastic used blends in well without acquiring a toy character. Okay, the Q701 was also sold in squeaky green, which of course is quite polarizing.

The headphone encloses the whole ear and thus provides a good wearing comfort, but for me the velours pads are still a bit too firm. AKG has reacted to the headband criticism and now offers the K701 & K702 with a flat leather headband to minimize pain caused by the hard "nubs" of the original version. However, the Q701 is no longer in production and so you have to live with the original headband, if you can still get hold of a Q701 and are not a handicraft king

The cable (2x - 3m & 6m) is removable and has a 3.5mm connector which can be adapted to 6.3mm (adapter included). The connection to the headphones (single-sided guide) is a mini-XLR plug.

The included cable lengths make it clear that the Q701 is not intended to be taken on the road, but rather feels most comfortable in the studio or on the sofa. The non-existent isolation also speaks for this, which not only allows a lot of noise to enter, but also releases a lot of noise. This also makes the Q701 less suitable for recording, at least not together with other musicians at the same time.



Klang
Bass
You won't expect much bass from the AKG 7 Series in general. They are studio or reference monitors that focus more on neutrality than on fat beats. The bass is quite dry, but has a good texture and above all quality, even if it avoids the very deep regions. I admit that sometimes I just wish I had a fat, punchy bass when it comes to just chilling out and rocking along with my head and/or feet, but such a bass presentation is counterproductive for reference monitors or mixing applications.

Mids
Chilling out is generally not a really familiar word for the Q701. It's always on its toes, drawing your attention more or less obtrusively to what's in the music. Compared to the K702, the mids are a bit brighter and more direct. I already criticized the slight aggressiveness of the K702 and now I have to do the same with the Q701, at least as far as my preferences are concerned. But what makes the Q701 better is the separation, clarity and also the richness of details, at least as far as their presentation is concerned. On the other hand, voices become a bit more obtrusive and the focus is more on analysis than on relaxation. Nevertheless, the Q701 retains a slight warmth, which saves it from sterility. I find instruments absolutely credible and you can hear even the finest nuances.

Trebles
The trebles are one of the most satisfying features of the Q701, even though the Q701 is basically convincing across the entire bandwidth, even if it cannot absolutely cover my preferences. I'm more into the big, soft, detailed, secure and harmonic sound, in which one can easily get lost.

The trebles reflect this quite well, even if they can sometimes become a bit sharp and at the same time are not quite sibilant free, but they are wonderfully differentiated and transparent. Their liveliness is contagious, but as far as I'm concerned, not in the long run either.

Stage
In contrast to the K701/702, the Q701 is specified as half-open, which surprises me a bit, because on the one hand the sound emission to the outside is on the same level, but on the other hand the width of the stage is absolutely congruent, if not even more extended. In the depth it could be even more.

Imaging
The generated 3D image of the Q701 is already a small work of art and it offers plenty of space to give each instrument or detail its appropriate place. As with the K702, the separation is a bit too much left/right for me, but the Q701 opens up more in the vertical direction and so the sound also opens up. The K702 sounds a bit more pressed in comparison and also the Q701 shows up with a better transparency even with a lot of information available.



Outro
The Q701 is a special headphone and worth a recommendation, regardless of the exclusivity, if you are looking for a reference and are not willing to go into the 1000 € range.

It certainly takes a short time to get used to the sound, but I really appreciate the analytical and at the same time musical character of the Q701, even if it does annoy me a bit here and there and thus limits the audibility (apart from the headband).

If the Q701 is too brisk for you, you might find your luck with the K702, which sounds like a somewhat muted version of the Q701.

For private use the Q701 is quite limited and you should have your own (quiet) room at your disposal, but it is a lot of fun to consume music and if necessary to dissect it. However, this is not my claim/headphone in everyday life.

Whether the same driver is used in the Q701 compared to the K701/702 and only with the help of other, or missing filters the sound is influenced is irrelevant in the end. However, I would certainly not have paid the called price at that time, because the Q701 does not offer me such a big sound advantage compared to its K-siblings. If you get an offer below 200 €, you have made a good purchase.


On the internet you can also find some instructions for a bass mod, which can be undone and should not influence the rest of the signature.

Thanks to Sattler Electronic Showtronic AG for providing the test headphones.
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Rating: 7.9
Sound 8.1

It requires either a full head of hair, or some other headgear if you want to use the K702 longer.

Click to expand...

Sound: 8.1

Handling: 7.5

Total: 7.9
Price: 130 €



Intro
With the K702, AKG has a reference handset for studio and mixing that is not only affordable, but also lives up to its ambitions. It is neutral with a warm tone and sounds very authentic, especially in voices, but also a bit sober.



Handling
Plastic, metal, leather, velour - the AKG K702 is a harmonious mix of different materials. Despite its protruding ear cups, it appears quite filigree and also of high quality. It also makes a robust impression which is necessary for everyday use in (professional) music production.

The K702 not only has "over-ear" written on it, the ear cups actually enclose the complete ear without it bumping against the case or the velour padding (can squeak when wearing glasses). Due to the open design this does not contribute anything to the isolation (almost non-existent), but it gives you a good wearing comfort, at least as far as the ears are concerned, although I would like the pads to be a bit more soft/yielding.

What AKG had in mind for the headband, however, remains a mystery. It adapts to the shape of the head with the help of rubber trappers, but it has very rigid, wide "pimples", which can quickly lead to headaches. They are very hard and do not offer any kind of padding. If they had simply been omitted, the K702 would certainly have been more comfortable with a flat leather strap. It requires either a full head of hair or some other headgear if you want to use the K702 for a longer period of time.

The cable is detachable and has a 3.5mm connector which can be adapted to 6.3mm (adapter included). The connection to the headphone (one-sided guide) is a mini-XLR connector.

Update: The newer production series probably have a flat headband, so the headaches are history.



Sound
Bass
The bass is not really fun in the sense of quantity. But it doesn't have to be and it wouldn't be very helpful if the bass was distorted for mastering or recording by a boost. It's quite sterile, but very accurate with a slight warmth that covers the signature. It is not at home in the absolute low frequency range, at least it is hard to locate. But you can feel that it exists if you hold your hand on the ear cups or press them closer to the ear. As a reference it is appealing, as a fun sounding source it is rather less so. However, it does not act anemic and has its musical side, only pressure is not built up.

Mids
Slightly shrill and slightly subdued. In direct comparison to the Q701, they lack a bit of assertiveness and you get the impression they're a bit washed-out, but basically they're clear and balanced, with a slight push in the upper mids that gives them energy, sometimes with too much commitment and aggressiveness (at increased volume). Tonally I can't blame them much, but I lack a little maturity and body. Voices and instruments sound mostly authentic, but not very exciting. Soberly describes the mids quite well, with pleasure in detail.

Trebles
The highs are rather sunny than shady children. However, they do not overdo it with brightness, but play very calmly and unagitatedly with a touch of warmth. They have a rather airy and transparent character, but I have to listen more closely every now and then to find details that are much easier to access, for example in the K812. Here, a little more attention has been paid to safety in order to remain as fatigue-free as possible. However, I don't have the feeling that information is being withheld from me, it just requires a little more concentration. The slight emphasis on sibilants should not be suppressed.

Stage
I don't want to generalize, but open headphones usually have an advantage in the stage extension from the design alone. The K702 is no exception and is indeed very spacious. However, I do hear slight weaknesses in the depth and also in the vertical. But in the width the K702 cuts a very good figure. But the price is high, because due to its non-existent isolation the headphone is more or less only usable in the studio or in your own 4 walls.

Imaging
Voices are placed a little more in the mix than in the foreground which gives you more of a feeling of being inside the music than in the audience. Wind instruments are more "In Your Face". Soundwise more is happening in the stereo image (width), without building up too many layers in height or depth, but you still get a well structured 3D image. The separation is a bit too strong on left/right and could be a bit more differentiated.



Outro
The AKG K702 scores with tonal accuracy, a wide stage and a neutral signature with a slight warmth. However, the mids can be a bit demanding, the highs might like to act a bit more lively and the bass certainly doesn't make any bass friends happy, but plays rather dry and neutral.

The K702 is certainly not a fun headphone, but rather serves as a reference even if it has room for improvement in all disciplines. However, I see it as competitive in its price range and technically and tonally competent.

The audibility can be a bit limited (depending on the genre) by the upper mids and the headband comfort. It is also hardly usable on the road if you like the people around you.

Thanks to Sattler Electronic Showtronic AG for providing the test headphones.
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Rating: 8.7
Sound: 8.5

Intro
The BGVP EST8 (6*BA & 2*EST) is the smaller brother of the EST12 and tries to hold its own despite the almost halved price. We get the basic features of the EST12 also with the EST8, especially the relaxed music presentation. The EST12 has the greater technical potential and also has the more balanced tuning, but for audiophile music enjoyment the EST8 is definitely suitable and also brings a fun component. Considering the equally priced MOONDROP S8, the price tag is a bit too steep, even compared to the alternatives. But if you can't get along without the EST driver in the high frequency range, you'll have to dig deeper into your pockets.



Handling
A 2-pin connector seems to be reserved only for BGVP's flagship models and so the EST8 comes with a MMCX connection as usual from BGVP.

The scope of delivery is nearly the same for all models in the ArtMagic series. Only the cable varies and also the included transport case. Otherwise there is a pair of foam tips, standard, vocal and bass silicone tips, as well as a cleaning tool. In this case the cable is taken from the EST12/V12, which is one of my favorites from BGVP.

The EST8 appears a bit clunkier than the EST12, due to its wider sound openings and the slightly larger body. The EST12 feels a bit more filigree despite its generous dimensions. Nevertheless, the ergonomics are as good as with all BGVP products, which has a positive effect on the wearing comfort, but also on the sealing. The passive isolation is excellent, also due to the closed construction.

The EST8 also uses a 3 dip-switch system, which allows the sound to be influenced according to personal preferences.



Klang
The EST8 is a "Smooth Operator"! So is the EST12, but it is much more versatile with its tuning switches. The EST8 is not so keen on experimenting and so it is more about finer details than big changes. The review refers to the setting 000, as I like this setting the most and it seems to be the most natural, just like with the EST12.

Although the EST8 has basically the same drivers, only in different numbers, the tuning is quite different. But where both meet on the same level is the bass, especially in terms of quality. I think the EST12 has a little more sub-bass but basically the two don't take each other too much, which also gives the more than half cheaper model a mature and organic bass, which can't be influenced by the tuning switch as much as the EST12. Basically the frequency response can only be adjusted from 100 Hz. I don't long for more bass in the basic setting, but would rather allow the midrange to have more level. I achieve this with the 3rd switch. There is hardly anything to complain about on the bass, if you ask me I would only wish for a bit more depth, a bit more clarity and a more solid kick. Apart from that I am very satisfied and grumble on a high level.

In the mids the EST12 and EST8 go their separate ways. The EST8 is more present in the 1-2 kHz region, the EST12 is 2.5-4 kHz instead. This makes it sound a bit fuller and a bit darker compared to the EST12, because the energy is missing in the upper mids and lower highs. The EST12 therefore sounds more "In Your Face", especially with vocals, but the EST8 is not shy in this area, just a bit more reserved, which integrates vocals more into the mix, without sounding nasal or unnatural due to the preferred frequencies around 1-2 kHz. Nevertheless, I still lack a bit of energy and liveliness. I get this with the 3rd switch, but then the EST8 is a border crosser and becomes uncomfortable in the long run. So I prefer to accept the compromise and give up more energy in the mids in favour of a better audibility.
On the one hand I find dip switches interesting, but on the other hand I curse them a bit. Somehow I stress myself a bit to have a choice instead of a well tuned IEM, which I take as it is. Dip-Switches are not equalizers and I can rarely influence an area in a targeted way, but I can iron out a subjective weakness, but usually open a new construction site.

Actually I would like to use configuration 001, but I not only boost the mids, but also the lower highs. To counteract this I could add the 2nd switch, which damps the high frequencies, with the actual intention to bring the bass into the foreground, but then I lose too much level in the 4 kHz region and so on and so forth. In the end, I always end up with the basic configuration and could therefore do without the customization options, as they do more to make things worse than to bring a noticeable added value (I'm only talking about my preferences here).
Long talk short. The trebles are already "perfect" in the basic configuration and a reduction would let them drift too much into the dark, an increase into a tolerance range that is not to be assumed by everyone.
They are extremely detailed, but the drivers are working a bit on the limit for my feeling in the basic tuning, because it becomes rather unpleasant with more volume than better. The EST12 had this problem as well and it seems to be a general problem of the EST drivers used.
Without any changes the treble can score with transparency and accuracy without pressing it in your face. But it lacks a little bit of liveliness.

The stage is not as expansive as the EST12, but still very spatial. It looks a bit more intimate, but just as strong in the 3D image. On the technical side you can expect fine separation as well as clean imaging.

More dip switch impressions:
100: Trebles are emphasized. Sibilants become a problem.

010: Mids and highs are attenuated. Bass comes to the fore, but the sound is colored and becomes dull.

001: Midboost that extends to the lower trebles. Actually a recommended setting, but the mids can be a bit demanding.

111: Here, one switch tries to iron out what the other is messing up. In itself the most lively, but also most demanding setting together with 100.



Outro
The EST8 fulfills my audiophile demands, as it presents me enough information without being obtrusive (000) or preferring one area too much. It sounds grounded and organic, but at the same time it lacks a bit of bite over the whole range. So we get a quite relaxed and slightly darker tuned IEM compared to the EST12, which finds a very good balance between intimacy, separation and imaging without artificially overdoing it. But if you are looking for something for professional use within BGVP, you should have a look at the V12, or EST12, which are technically maybe a bit more potent. However, these IEMs are twice as expensive and a bit more exhausting in the long run.

The EST8 doesn't pick me up completely, because I lack clarity and positive hardness and the midrange is sometimes a bit spongy, but I can work with it for hours, without any signs of fatigue (000), with a controlled bass and pleasant high frequency. Despite the somewhat darker tuning, the EST8 doesn't have to hide too much behind the EST12 technically and has the upper hand in the audibility.

Thanks to OARDIO for the review unit.



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Rating: 8.6
Sound: 8.5

Intro
12 Points for BGVP. Okay, I don't know if there is an Asian pendant to the Eurovision Song Contest and the entry is also a bit misleading, because the V12 can't get the full score. It only refers to the number of drivers used, which the V12 shares with the second flagship in the ArtMagic series (EST12). However, the V12 is a pure BA configuration and tries to get the best out of the respective drivers from Knowles and Sonion by using a crossover.

For me, the V12 is more of a tool than an audiophile companion when it comes to all-round qualities, but tastes vary and the V12 has a lot to offer, not only technically.



Handling
Like the EST12, the V12, unlike its smaller siblings, comes with a 2-pin connector, which is a welcome change within BGVP.

The scope of delivery is almost the same for all models in the ArtMagic series. Only the cable varies and also the included transport case. Otherwise, there is a pair of foam tips, standard, vocal and bass silicone tips, and a cleaning tool. In this case the cable is taken from the DM7/VG4, which is one of my favorites from BGVP.

Interesting is the sound routing inside the housing. The sound of the BA drivers for the tweeter has to travel more than twice as long to reach the ear. The question here is surely whether this is an additional tuning trick or less intended, according to the motto "design by driver position". In theory, however, it should be possible to influence the stage, even though these are certainly subtle impressions and if applied incorrectly, there may be cancellations or doubling in the frequency range.

The EST12 is huge, the V12 as well. 12 drivers plus dip-switches also take up quite a bit of space and I don't see much room inside the V12 to make it a bit more compact. Nevertheless the wearing comfort is superb (just think of my elephant ears).

The isolation is excellent in both directions. This advantage is not only due to the ergonomics but also to the completely closed construction.



Sound
BGVP gives the V12 a basically quite relaxed tuning (depending on the dip switch settings) with a slight boost of bass and treble. I limit myself in the review to two settings (00 & 11) as I prefer these. The point rating refers to "11" (on/on).

Meanwhile the manufacturers, above all BGVP, are getting a BA bass very well tuned, so that it has a DD driver similar dynamics, but can act faster and partly more detailed. The bass of the V12 is no exception and forms a warm and punchy foundation. However, there is a little hitch in the sub-extension, which is typical for BA. A dynamic driver usually develops a more natural pressure, whereas the BA bass usually sounds a bit duller, which can also be said of the V12. The mid-bass is slightly bloated, but all in all a very good bass with a lot of details. In the 00 configuration the bass is a bit too prominent for me, which can be corrected very well with 11.

The mids can be influenced by 2-3 dB with the help of the switches. In the standard configuration (00) we have very relaxed, somewhat reduced mids that are slightly influenced by the bass and act a bit too restrained. When both switches are set to "On", the mids get the presence I want, but without becoming shrill or too dominant in the upper range. They keep their relaxed gait and might scare away some of the people who are used to and appreciate the direct way of the VG4 or the "harmanboost". Likewise, they are not particularly full, but rather a little thinner, but rather balanced and neutral. Voices lack a little bit of emotionality, but nevertheless they stand well in the mix and can hold their own.

I'm not a treblehead and appreciate rather relaxed and smooth highs, which are a bit more subtle but of higher quality than drilling holes in my ear. The V12 finds a middle way here and I especially like the switch position 11. This is the most linear setting for me, as it raises the mids, which gives them more weight in the signature, raises them to a level with the bass and also reduces the highs a bit without robbing them of their presence or losing details. They are simply toned down and you can concentrate better on their subtleties. Nevertheless, it can get tricky here and there. I can't blame them for much as long as you don't just activate the first switch and with their precision they are certainly suitable for more analytical music lessons.

I can't judge whether the different length of the sound tube within the V12 mentioned at the beginning contributes to better separation and stage extension, but these are definitely disciplines where the V12 delivers excellent performance. Different layers can be localized and instruments rarely overlap (e.g. some rock tracks), but this is more due to the fact that they were not separated more clearly in the mix.

Let's talk briefly about the other two settings:
01: The bass is too much in the foreground and the mids and highs lack some clarity and assertiveness. Might make sense for electro.

10: The highs are too much raised, which results in amplified sibilants and a somewhat unpleasant peak. Here you have to love the high frequencies and be tolerant, at least in the long run.



Outro
The V12 is a very good IEM because of its technical features, which offers monitoring qualities and with the tuning possibilities also individualization.
However, the tuning is somewhat uninspired and certainly does not meet everyone's taste. This is something that all flagships of the ArtMagic series from BGVP have in common. Apart from the fact that they all sound a bit similar in the bass and midrange, they all can't fully convince me and I wouldn't be willing to pay the extra charge of DM7 or VG4. Most likely I can still get used to the pricing of the EST8, but even here the MOONDROOP S8 seems more coherent and natural in the price range. The S8 also gives the V12 an easy hand, even if I have to do without the tuning options here.

Don't get me wrong, if somebody would press the V12 into my hand, I would certainly not say no and would be happy to install it in my IEM rotation! If I had to take the money into my own hands, I would have to pursue a different goal with the V12 than "just" consuming music with it. I would have to be able to use it as a professional tool in my everyday life, whether as a stage monitor or as a tool for the FOH sound engineer to justify the price. The V12 certainly has the potential for that. For audiophile listening, however, it is not musical and relaxed enough for me in the long run, but technically outstanding and very well balanced.

Thanks to OARDIO for the review unit.



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Rating: 9.1
Sound: 9

Intro
The MOONDROP S8 is the successor to the A8 and with its accurate, natural sound reproduction has long since ceased to be an insider tip. You don't often come across IEMs that manage to make a neutral tuning sound musical and authentic without slipping into sterility. The S8 is a very mature IEM, which has a lot in common with the BLESSING 2, but does not sound quite as technical, but is more full-bodied and natural.
An audiophile IEM through and through with stage qualities, also due to its high efficiency.



Handling
The scope of delivery is surprisingly spartan in the price range.
There is a selection of silicone tips, a 4-core copper cable and an aircraft adapter.
The cable is valuable, but also a bit fragile. But the transport case is a nice accessory and quite roomy. In addition it is haptically attractive because of its leather imitation and structure. But that was it.

The case is very successful in design, optically, as well as in the choice of material. It may look a bit clumsy, but it is extremely ergonomic and fits perfectly. However, I can well imagine that owners of smaller ears could get problems, or that the IEMs protrude a bit too much out of the ear. It is also a bit heavier than IEMs that are not cast or made of heavy metal, but this does not change the very good wearing comfort.

The S8 seems to be made of one piece. The drivers are completely surrounded by resin and you can easily follow the "path of the sound" to the end of the sound tube, where you can also see the used filters.

In contrast to the BLESSING 2, the S8 is a bit more compact despite the higher number of drivers, because the dynamic driver in the B2 requires more space. There is also no ventilation opening in the housing, which might cause negative pressure in some cases and thus be a bit uncomfortable. However, this allows to achieve almost complete isolation.



Sound
Those who have already had the opportunity to listen to the BLESSING 2 may be a bit disappointed, as the S8 does not reveal any new sonic dimensions, but those who find the B2 too technical and analytical and long for more warmth and relaxation without wanting to sacrifice the technical and sonic quality of the B2 may have found their audiophile companion for the next decade in the S8, which more than justifies the price then.

Compared to the BLESSING 2, the bass of the S8 subjectively sounds somewhat muted. This is not untypical for BA basses, but in comparison the S8 is neither anemic nor sterile. The pressure of the B2 is missing in the subrange, but in return we have a slightly more accentuated mid-bass range, which gives the signature a bit more warmth, gives the notes more weight and makes the S8 in total a bit smoother, softer and more emotional.
This makes the bass not quite as clear and precise as on the B2, which acts more dynamically, but is in no way inferior to it in terms of detail and texture.

In the midrange the S8 presents itself very mature. Here the neutrality of the B2 adds a spark of naturalness. This gives voices and instruments an authentic timbre without coloration and you can indulge in music without restriction. I have to admit, however, that I like the separation and transparency of the B2 a My better, but in comparison this does not make me forget the B2's slight tendency to "shout".
The mids are not exactly bursting with liveliness, but (I repeat myself) they are absolutely correct and authentic. In addition, they manage to transmit emotions and don't overdo it in the upper midrange. I'm convinced that it will be difficult to find errors in the sound reproduction, as well as in the technical components. If you look for the hair in the soup here, you can accuse them at most of a somewhat boring presentation, or lack of positive hardness.

The high frequency brings everything to warm the audiophile heart. Not quite as sparkling as the BLESSING 2 and also rolling a bit too early to rapture trebleheads completely, but instead with an enormous depth of detail and transparency. The sibilants are a bit better in grip than on the B2, but still slightly present. But I find the high tone of the S8 more natural and mature, since the BA timbre doesn't stand out as much either. The S8 is not about showing off, but about reproducing musical content in a natural way. It does this excellently, even if some people might long for a little more ectase and excitement. But it's not quite enough for the absolutely unsparing high frequency with convincing micromanagement of the UE RR, as well as for the level stability of a CAMPFIRE SOLARIS, or TIA TRIO. Still great cinema!

As with the B2, the stage and the imaging are truly remarkable. But you feel a little more comfortable with the S8 than with the B2, because it manages to create intimacy despite the fantastic resolution, airy expanse and the above-average three-dimensional presentation.



Outro
The S8 costs well over twice as much as the BLESSING 2, but do we now also get the quality of the B2 to the power of 2? No! The B2 already has an outstanding price/performance ratio and sets something like a benchmark in the segment if you are looking for a neutral and tonal correct signature.
We get all this with the S8 in the same way, but the S8 is a bit more mature for my taste and passes my long-term hearing test better, with rare exceptions.
In addition I attest the S8 a slightly better resolution in the high frequencies and a more relaxed, but tonally and technically almost flawless midrange.
But these are all just small nuances and personal preferences. Basically, the B2 already has everything that the S8 has to offer, except that the S8 has more depth in personality.
For me, the S8 is a technical, relaxed and self-confident IEM, with which I like to explore music a bit more closely, but which also allows me to let go and simply enjoy it.
But you definitely have to know what you are getting into with the S8, otherwise you might be disappointed. Compared to the B2, I would classify the S8 as more audiophile and definitely a suitable tool for the stage, but the B2 more technical, a bit brighter and more in the direction of studio reference.

Many thanks to OARDIO for the demo-in-ear!

https://www.oardio.com/moondrop-s8-iem.html


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Rating: 8.9
Sound: 8.8



Intro
The MOONDROP BLESSING 2 is more or less a benchmark if you are looking for neutral sound under 300€, as well as a compromise between analytical and natural sound.

Technically, the B2 is really not to be blamed for anything, as it doesn't allow itself any real weaknesses and can outdo far more expensive models.
Soundwise you definitely have to be aware of what you are getting into, otherwise this could lead to disappointment.
The BLESSING 2 does have studio monitor qualities, but for the street it might not always be the first choice.



Handling
The scope of delivery is surprisingly spartan in the price range.
There is a selection of silicone tips, a 4-core copper cable and an aircraft adapter.
The cable is valuable, but also a bit fragile. But the transport case is a nice accessory and quite roomy. In addition it is haptically attractive because of its leather imitation and structure. But that was it.

The design of the case is very appealing, both visually and in the choice of materials. It may look a bit clumsy, but it is extremely ergonomic and fits perfectly. However, I can well imagine that owners of smaller ears could get problems, or that the IEMs protrude a bit too much out of the ear. It is also a bit heavier than IEMs that are not molded or made of heavy metal, but this does not change the very good wearing comfort.
The metal faceplate provides a noble finish and the workmanship is not open to criticism.

The BLESSING 2 seems to be made of one piece. The drivers are completely enclosed by the resin and you can follow the "path of the sound" to the end of the sound tube very well, in it you can also see the used filter (BA-driver).

In contrast to the S8, the B2 is somewhat larger due to the dynamic driver, but has an air vent due to the necessary pressure compensation of the DD, which avoids negative pressure in the ear. Therefore the isolation is not quite as good as with the S8, but still external noise is passively minimized very well.



Sound
For its almost 280 € the MOONDROP BLESSING 2 is praised above all for its neutrality and represents something like a reference in the price segment. This is certainly not for everyone, but nevertheless this tuning is sparse in the confusing IEM jungle and especially the technical characteristics of the B2 are admirable.

With its unconditionally linear tuning the bass is a rare phenomenon in IEM circles when it comes to a DD bass. It certainly doesn't have the usual impact you might be used to from a dynamic driver, on the other hand it offers more pressure in the low range and more presence if you are more used to BA basses. Compared to the S8 the B2 suits me more in the bass, because it sounds fuller and rounder, with the same quality standards.
But if you love your bass in quantity, the B2 will certainly not satisfy you. This is more about precision, detail reproduction and balance, especially when it comes to the transition to the mids.


The mids of the B2 are not only very neutrally tuned, they are also damned accurate.They have a very slight tendency to "shout", but in a quite bearable range. I also feel them sometimes a bit thin and would like more body. Nevertheless the mids are one thing above all, tonally correct. Together with the first-class separation on different layers, they can inspire and definitely serve as a reference. A drop of bitterness here is the somewhat lost musicality.
Voices have just the right presence without jumping in your face or getting lost in the mix. Both genders are convincing, which is rarely the case, since one gender usually stands out. There is nothing to be ashamed of in the mids, except slight exaggerations in the upper range. If you are keen on exploring the mids as neutrally (with a little brightness) as possible, you will be happy here. The clarity and accuracy is already remarkable.

The amount of detail in the high frequencies is enormous, but I'm a bit disturbed by the light metallic BA timbre and the sometimes more, sometimes less subtle sibilant emphasis. I know it's damn hard to strive for a reference tuning and still achieve a safe tuning in the high frequencies. To make sure that you don't miss any subtleties there must be enough level in the high frequency range to be able to represent them. Since we are quite sensitive between 6 - 8 kHz, especially with regard to sibilants, or some instruments can have a somewhat unpleasant presence here, this frequency range is usually tried to be attenuated, which we see in many frequency measurements in the form of a valley in this range. I am aware of the fact that my measurements do not faithfully represent exactly this range and that no exact representation is given here. Nevertheless, I can usually already deduce from the weighting of the measurement whether I will receive the IEM as sibilant or unpleasant in the high frequency range or not. Sometimes I am disabused, but not in the case of the B2. Nevertheless I can handle it and accept it, because of the superb resolution and the richness of detail. Apart from that the high frequency is absolutely tolerable, if you are not over-sensitive and Foamtips can also help here. However, I still lack a bit of presence/transparency in the very upper range to really speak of a TOTL (Top of the League) IEM. The MOONDROP S8 has that a bit better!

The stage and the imaging are really fantastic. At no time do you feel constricted or need to focus on anything in particular. Everything is presented very coherent and differentiated and it's fun to dive into the music without being overwhelmed. The technical features can easily keep up with much more expensive IEMs and the 5 drivers harmonize perfectly.



Outro
One word describes BLESSING 2 quite well and that is neutrality. In fact it reminds me of reference oriented IEMs like the ULTIMATE EARS RR. But the question is when this sound will be an added value for the inclined audiophile. I would like to go out on a limb and say that the average audiophile is not necessarily interested in neutrality and studio reference, but rather in a well-balanced, musical tuning with slight warmth, natural timbre, details on mass and a safe tuning to enjoy music as long as possible without signs of fatigue. Such an IEM is not so easy to find, but even here I like to mention the 64 AUDIO TIA TRIO when it comes to my preference.
The BLESSING 2 actually does absolutely nothing wrong, especially when it comes to correct and precise sound reproduction, even with analytical demands. It also retains a certain musicality, but doesn't know how to build up emotions very well.
Sometimes it even sounds a bit boring and you have to get used to the B2 to enjoy it to the fullest, even though sets retain a slightly brisk aftertaste.

Many thanks to OARDIO for the demo-in-ear!

https://www.oardio.com/moondrop-blessing-2-iem.html


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Rating: 7.8
Sound: 7.7

Intro
It has recently become a popular game in the circle of KZ & CCA to re-release older products as Pro versions. Sometimes we even get an added value, like with the ZS10 (PRO), but rarely this justifies a completely new product.

The CCA C10 was the door opener of the daughter company of KZ and was even rated "Okay" by very critical and "opinion-forming" reviewers, which is something to be proud of. Not surprisingly, this model deserves a pro version. However, the C10 PRO has rather become a descendant of the C12 than to optimize the already quite mature C10, or let's rather say, it has been overshot a bit.

Handling
The C10 PRO is very light due to its light metal faceplate, but it also looks somehow cheaper, because you would expect more weight due to the choice of material, as for example with the KZ ZS10 PRO and therefore subjectively associate more quality. So it has more toy character than suggesting value. Optically, however, this is obsolete and the low weight definitely contributes to the wearing comfort.

As with the KZ ZSN PRO X we get a silver plated cable as an accessory and I assume that CCA/KZ will change completely to this in the future. Foamtips (3 pairs of the same size) are also supplied separately, but this is probably to be understood as an action. Here I would be happy if these would be included as standard accessories. Otherwise the scope of delivery is rather poor, because there are no more than 3 sizes of silicone tips.

Isolation and wearing comfort is good, to very good, as with almost all models of the company, depending on the space in the ear, which should not be too small.

Sound
The C10 PRO is more comparable in sound to the C12 than to the original C10.

The bass has authority and mixes a good texture with firmness and direct response. A high quality bass that can compete with its predecessor. It is a bit more detailed and tighter for my taste, but not quite as organic. Still the highlight of the C10 PRO.

The mids have to fight a bit, because the highs steal the show. Due to the emphasis the signature slips more into the "V". I find the mids a bit too hard due to the emphasis on the upper frequencies and I miss something natural, warm and mature. Vocals could be a bit smoother and build up more emotions. The C10 does that better, even if it lacks a little stability and assertiveness. Here they simply wanted to trick a bit too much and create more details, stage extension and separation by frequency boosting, where the driver doesn't offer the potential, though. But the C10 PRO is not the only driver in the KZ/CCA family and I don't want to make the good mids worse than they are. Especially electric guitars have a driving and crisp component due to their tuning.

Oh man, I could write a long essay about the minimal differences in high frequencies of various CCA/KZ models. But I will come to a result (with very few exceptions, which are more likely to be found in CCA). The high frequencies usually sound a bit artificial and have a sometimes more, sometimes less strong sibilant emphasis. The used 30095, which was "developed" by KZ, is simply not the right one if you are looking for a natural and homogeneous high tone. With the C10 it was at least possible to get this BA driver under control, as well as with the C12, which was a bit more borderline, but also provides more details. The C10 PRO goes one step further and lets the BA 30095 off the leash again, which provides more micro details but also enhances the metallic timbre. However, if you bring a certain tolerance and stand on more prominent high frequencies, you might be happy here. Even if the tweeter can sometimes even excite me, it is too inconsistent for me and you notice the technical limitation of the driver. In this case less is more!

Even if a bit artificial, the music is quite exciting with the generated stage and the very good separation. A lot of information is processed in a large room, so there is a lot to discover, but I have the feeling that sometimes there is also distortion.

Outro
The C10 PRO has become a very lively IEM, which offers a really good bass performance and with its graded high frequency, can be quite exciting. It plays a bit with fire, but for me this is just about tolerable. But the sibilants and the metallic timbre in the high tone are disturbing in the long run. On the other hand, the C10 PRO can convince with an appealing 3D image where the separation is to be emphasized and even if it doesn't always have much to do with authentic listening, the C10 PRO can still be very entertaining.
For me it is not an upgrade to the C10, or C12, but rather an alternative to the CA16, for those who find it a bit too dark or imprecise and prefer a more direct and brighter sound.




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Rating: 7.1
Sound: 7


Intro
I would be lying if I said QKZ is one of my favorite companies and there are several reasons for that.
First of all they like to use products from KZ, or TRN and release them under their own name, but with worse sound quality and different driver configuration (TRN V20 - 1*DD & 1*BA / V60 - 2*DD & 1*BA VS. QKZ VK2 - 1*DD / VK6 - 2*DD). It cannot be excluded that QKZ is even the OEM manufacturer of KZ, TRN etc., but why damage the image in that form, because the own products cannot keep up. On the other hand, they shamelessly boast of the Red Dot Design Award (logo) and Hi-Res Audio certification. Why DSD (Hifi Dynamic) is on the packaging and on the headphones is another mystery to me. This has nothing to do with analog IEMs, but stands for Direct Stream Digital and is more interesting for DACs.
Well, so the customer is literally fooled through and through. The fact that many manufacturers like to fib in their product descriptions is nothing new, but at some point THAT crosses a line and is always pushed to the peak by QKZ.

The whole thing would perhaps interest me less if the company at least sound-wise would meet their wishes, but so far I haven't had an IEM of the company in my hand that wasn't more or less plastic garbage and I have some of them lying around. Only I lacked the élan to review them.

The VK4 has surprisingly become a kind of hype and I get curious and take some money to see what's in it, although this game never ended well with QKZ-IEMs. So can VK4 make me change my mind? I try not to be too biased in my further remarks!

Handling
The sheep in wolf's clothing. The case is clearly modeled on the KZ ZST, only that a small metallic gold pin/screw was used, which also allows to establish similarities to the TFZ Mylove II. The "screw" only has an optical influence, and is supposed to hold the case together. The VK4 and the ZST are available in carbon look and coloured (cyan/purple).

The fit is ergonomic and you can quickly achieve a secure fit and good isolation. The included cable is budget standard and serves the purpose. In addition there are the usual silicone tips (S, M, L). Finito.

Sound
For about 10 € I have indeed heard better (EZ AUDIO D4), but I must admit that the VK4 does not sound as bad as I assumed from my previous experiences. Nevertheless I can't quite get behind the hype.

If you like a lot of bass, you will get a lot of bass. But we also get a lot of boom and less kick. The bass has a lot of impact, but also acts sluggish. In other words: a lot of quantity, less quality. Can be fun with some tracks, but is way too much and not clean enough.

The mids are of course influenced by the bass, but thankfully not completely overpowered. Due to the influence they are quite powerful, warm and lively, but at the same time discoloured and thick. In addition, they don't exactly burst with details and transparency. Also the separation is not really good. It's a bit like in kindergarten, when you give the children different instruments in their hands and then let them happily run around the room hammering on them. Okay, I'm exaggerating a little, but there is usually no hint of structure and clarity here. Vocals on the other hand are actually quite pleasant and emotional, but the bass makes a lot of noise.

The treble is the most successful part of the QKZ VK4. They are indeed quite natural, especially concerning cymbals and hi-hats and sound pleasantly full, but lack sparkle. They are neither excessively bright nor dark, but very harmonious without attracting completely new insights from the music. I find them good and audible, without peaks and rare sibilants. But I miss a bit of space to breathe through the crushing bass.

The stage is not one of the biggest, but still an acceptable 3D image is created in all directions, in a somewhat compressed space. There is not much space between the instruments and it can quickly become a mess (Such a Night - Michael Bublé).

Outro
Can I do anything with the VK4? In any case more than with any other QKZ product (as long as it was not a one to one copy of another product). I've tried to keep my resentment under control and the bottom line is that with the VK4 you can listen to music quite well if you like it with a bass emphasis. The mids can hold up quite well and the trebles can even offer somewhat, at least as far as their natural sound is concerned. Technically, the VK4 is not an enrichment, but it's okay for in between and comfortable to wear. I've definitely heard worse and for some people the VK4 might even be a good match. However, the VK4 does not play above its price. If you've got an extra 5 Euro in your pocket, but like it more defined, clearer and firmer in the bass, you should go for the KBEAR KS2.


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Rating: 7.6
Sound: 7.5

Intro
To be honest, I find KZ has been making it a little easy for themselves lately with their wired IEMs. You take a good selling product, put an "X" on the name and sell it again with a new cable and different faceplate colors. Then I write in the description some hair-raising improvements to the predecessor and the new bestseller is ready.

Visually, sonically and technically (for the most part) I have a KZ ZSN PRO in my hands and wonder what exactly the world really needed in the KZ ZSN PRO X.

Handling
Black, blue, gold. Here are the faceplate colors of the ZSN PRO X. The ZSN PRO was "only" available in light and dark gray, with different plastic housing colors. It doesn't really matter, because it's not enough to remarket an IEM. There must be more behind it.
But there is no more difference to the ZSN PRO, except that we get a silver-coated copper cable with the typical KZ limited accessories, which feels better haptically and seems a little more robust.

The ZSN PRO X wears and isolates well and is not the ugliest duckling on the market for my taste.

Sound
Whether it's the X, Y, or Z version of the ZSN PRO, it doesn't change the fact that KZ makes us feel like rubbing a good selling IEM under our noses again, without any significant sonic improvements, which one would look for here, if at all, with a magnifying glass.

I don't want to recite one-to-one the review of the ZSN PRO, but I'll be brief, since almost everything is already written in it.
The bass is for me the most positive sonic characteristic of the ZSN PRO (X), together with the decent stage. It's fun, it's not too exposed, and it has an appealing extension and can handle any genre. It's certainly not a detail monster, but it has good control and that certain something, especially when it comes to quantity.

The mids are reduced in the V-, or actually W-Signaur, and get a slight coloration from the bass. Female voices have more presence, but can also become demanding a bit faster. The mids are not a milestone in the tuning history of KZ, but they are quite okay and appropriate to the price. I don't find them particularly homogeneous or natural, but they are more for showmanship.

The highs have a bite, but unfortunately also a too strong one. They tend to emphasize sibilants and can sometimes be a bit tinny. Nevertheless, I would describe them as very detailed, even if this can sometimes sound a bit artificial. They give some instruments a little more presence than necessary, but that makes them sometimes more exciting than neutrally tuned IEM representatives. Depending on the genre, they can tend to get tired in the long run and the sibilants bother me a bit too much.

i can't really blame the imaging and the stage because the separation works just as well and provides a clear sound image. Together with the bass this is a plus and certainly not too common in the price range.

Outro
Well, my conclusion was to be guessed I think. The ZSN PRO X is neither an upgrade nor a sidegrade to the ZSN PRO. Even though KZ promises a handful of improvements compared to its predecessor, objectively I can hardly order any. I imagine hearing a bit more brilliance and micro details in the high frequencies and can make out slight technical improvements, which makes up stage and separation, but it's all subtle, if not imaginary. The frequency response doesn't really show any difference and so only the driver characteristics themselves could provide an improvement. The cable is a small upgrade, even though the silver-plated copper cable, unlike its predecessor, emphasizes the highs a bit more, which may not always be beneficial. In addition, the ZSN PRO X is a good 2 dB louder than its predecessor. But that was it. If you are interested in the ZSN PRO (X), you can be happy that the ZSN PRO is now even cheaper and thus represents more and more value.



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Rating: 8.5
Sound: 8.3



Intro
I am happy to have the opportunity to present you the new IEM products from LITTLE DOT, which were kindly made available to me for review as a loan unit.

The company is specialized in headphone amplifiers, loudspeaker AMPs and DACs. They are less known for their IEMs, in which they also invested years of development. Not only one model, but four of them, where each model should appeal to a certain target group and this in different price ranges

CU RAD - audiophile entry-level | 70 €
CU WYN - Basshead | 170
CU CEN - voice oriented | 450 €
CU KIS - Flagship - balanced | 620 €

Although I like to save the best for last at dinner, in this case I start with the review of the KIS, which is the most convincing in the line-up for me regardless of the price.



Handling
The scope of delivery of the KIS and also the other models is enormous. I can't quite tell if it's the standard accessory or if I have added an additional supplement, but you can't escape the choice of silicone tips and a set of foamtips is also included.

The cable is equipped with a 3.5mm balanced jack which is rather rare and has to be adapted to 3.5mm stereo with the included adapter if you want to use the CU KIS on a device without balanced output. There are more adapters to get from the 3.5mm balanced jack to 2.5 and 4.4mm balanced. Something for everyone I would say!

The housing is completely made of aluminium and the design is as ergonomic and space-saving as possible. The fact that there is room for 4 drivers and that they work together is remarkable. All CU models (except the wired RAD) use a 2-pin connector which is turned outwards and is completely covered by the cable connection. This provides additional stability and prevents pin breakage.

I find the CU KIS extremely comfortable to wear and although the cable (4 cores) has no additional stiffening, it stays where it belongs, even with faster movements.
It feels very good haptically and makes a valuable impression. If I use the left and right headphones side-inverted, I can easily carry the CU KIS straight down without having to put the cable over my ears.



Sound
The CU KIS is an extraordinary IEM, but sometimes it doesn't make it easy for me. It is audiophile through and through, but not an all-rounder. Songs like "My Baby Just Cares for Me (Live) - Friends 'N Fellow, or "My Girl" - Patricia Barber are a feast for the ears, but it can't always be 100% convincing with energetic songs (rock) or brighter voices.

Part of the fact that the KIS can be a feast for the ears is definitely the bass, which is played by a dynamic driver. The bass is, or rather can be divine and the "why" is not easy to describe, but it has this natural and potent kick, the uncompromising extension in the sub-bass and above all a beguiling detail reproduction, with very good agility and precision. On the one hand... On the other hand he sometimes leaves me a bit surprised, because he suddenly acts more reserved than I would expect. This sometimes causes confusion, but these fluctuations are tolerable. I'm only sometimes disappointed when I experience the bass full-bodied, well dosed but with great dynamics and he doesn't deliver that constantly. If there is a lot of bass, the facial features can slip away from him for a short time, but he always keeps his composure.



The mids show similar characteristics as the bass, also regarding the driver type. They are extremely detailed and find a very good mixture of natural sound and direct, hard response. This makes for liveliness and can be very entertaining.
In the complete quartet of the CU series from LITTLE DOT, the mids of the KIS branch out most relaxed, but are still quite hot in the upper range. This gives you some idea what to expect from the other members of the series. The mids have energy, but unfortunately this can also be intensified when the music is full of energy, which makes it uncomfortable. Then voices have too much presence and tend to overdrive. This is especially noticeable with brighter voices, but doesn't have to happen all the time. Here it's exactly the other way round like with the bass. I have a negative expectation and get positively surprised. With Michael Jackson for example I have a little more difficulty than with Kesha, Sia, or Magan Trainor.
I celebrate the mids for their mostly physical, harder and musical approach, but can't always follow them completely at full volume.

I would describe the highs (2*BA) most consistently, but in terms of sound they can't quite keep up with the mids and excellent bass. Nevertheless, you can expect a good degree of quality from them. They are not always quite level stable and need high quality input, as they are less forgiving, but when this is given, they can score with clarity and transparency. They lack a bit of the top end, but so they rarely tend to get fatigued, even if sibilants do have some presence. A positive example is the CAMPFIRE SOLARIS, which shows the CU KIS how to be confident in the high frequencies. So the high frequencies of the CU KIS are detailed and natural if the input is right, but not overwhelming.

In its spatial dimensions the CU KIS offers quite a lot of space, even if it is not quite equal to the always remarkable stage of ULTIMATE EARS IEMs. Nevertheless, it can deliver strong performances with its clear instrument separation and imaging qualities.



Outro
What actually distinguishes a balanced all-rounder? Well, actually it's mostly IEMs that don't necessarily specialize in one detail when tuning, but try to cover the complete range as well as possible and are willing to compromise. One of the best all-rounders I can think of is the 64 AUDIO TIA TRIO, which always manages to maintain its outstanding level and you only have to accept small cutbacks or a subtle upgrade when changing genres.

If I now have an IEM that concentrates on the bass, vocals or individual instruments, for example, which can be achieved by specific increases and decreases in frequency response, then this IEM can sometimes be outstanding for, say, piano music, but with a guitar it can sound a bit weird and in the worst case unnatural.

Another point is certainly how an IEM performs in everyday situations where you sometimes need to listen at higher volumes. Here, for example, the CU HIS is too brisk and uncomfortable in the long run.

So the CU KIS is an in-between thing and therefore a bit contradictory. It is not an all-rounder, but it is definitely not a niche IEM. Its strengths lie in the low frequencies, and with its sometimes more, sometimes less controllable energy, it manages to breathe life into strings, for example, not only a rich body, but also dynamics.
The reproduction of voices can vary, which can express itself in aggressiveness. I also find a piano for example to sound a bit too offensive ("You Can't Lose What You Never Had" - Muddy Waters). So it sometimes turns out to be a little wonder bag that can create magic moments, but not with constancy.

I love the CU KIS in quiet moments on the couch, or in bed at a lower volume, where it can also show off its audiophile qualities to the full, but I find him a bit overwhelming in everyday life and he is certainly not the most harmonious. All in all, the CU KIS has become too expensive for me, even though it offers some rays of hope that can make it quite competitive in the price segment.


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Rating: 7.6
Sound: 7.5

Intro
The CSN was a slight disappointment for me, because although it looked quite good on the paper and on the visual side and had an interesting tuning approach in the budget area, it could not implement it properly. At least not as far as my taste is concerned. The CS8 now has the heavy burden to turn the wheel again. 4 drivers for under 30 €? Doesn't sound too bad, right? But that doesn't mean much, especially in this price range.

Handling
Same procedure as every year CVJ. Okay, the brand is not that old yet, but I have the feeling that the wooden box and its contents will accompany us through a few more IEMs.
You can't tell from the outside which of the three products you are holding in your hand, unless you turn the box over, where the name is engraved. So: 3 pairs of silicone tips, a nice fabric pouch and the usable but not special cable incl. cable velcro.

the case is a hybrid of CSA (plastic) and CSN (metal), resulting in a plastic case with a metal faceplate. We know this from the TRN V60, because the metal plate is not the "cover", but only glued on plastic (in the case of the V60, it is screwed on).
Wears well and isolates accordingly.

Sound
The CS8 does it better than the CSN, which wants to suggest an analytical sound with all its might, while ignoring naturalness. Nevertheless, it can't quite convince me.

The bass is on the same good level as the CSN, but has a better weight in the signature. The sound is more homogeneous and gives more warmth, which the mid frequencies gratefully accept. But it is never obtrusive, but always controlled. It can also be fun when it's required, but otherwise it concentrates on accurate bass reproduction, where the punch can sometimes sound a bit muted (a bit too short resonance, like from a BA driver), but otherwise very pleasant and self-confident.

Compared to the CSN, the mids are a bit more present in the lower range, which results in a better musicality and also physicality. Nevertheless they can still be a bit thin sometimes, but not as sterile as with CSN. The CSA applies here still somewhat thicker, which is however a matter of taste, since this has also nothing more to do with neutrality. I like the mids for the most part quite well, but I would like them a little bit more physical. Voices don't jump into your face (CSN), but they still stand in front of the mix to a certain extent.

The highs are similarly emphasized in comparison to the CSN, but since the lower mids don't give them any additional energy, they sound more natural than the CSN. I still think they lack some of the substance, though. It can be quite exciting when acoustically fine sounds buzz around in the head, but this sounds not quite natural and sometimes thin and a bit tinny with cymbals. Sibilants are also an issue with the CS8.

As with the CSN, the stage is quite distinctive, but the 3D image is not quite homogeneous. In the width it's really good, but this is also where most of the action takes place, without much multilayering.

Outro
The CS8 does it better than the CSN. It sounds more musical and relaxed, but still has that light metallic undertone and is also not the most physical in the mids. But it sounds more balanced and homogeneous. Still a bit too bright and with occasional sibilant accentuation. I am surprised that in this line-up of CVJ at the end I like the most inexpensive CSA most. However the way there was stony, because only in the third attempt the CSA could convince. In between (2) it was even more extreme than the CSN.
But here it is about the CS8: Detailed, somewhat artificial and bright IEM, with balanced bass and lively mids.


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