Disclaimer: The KBEAR Lark was sent to me for review free-of-charge. Rest assured though, I will be as objective as possible.

Ratings are given on a scale of 1 through 10 and are graded relative to my experience with the myriad IEMs I own, from budget-friendly earphones to the many TOTL ones I have reviewed.

Introduction

To be honest, prior to Wendy (KBEAR’s representative) reaching out to me, I had never tried any KBEAR products, though I was very much aware that they were a head-fi sponsor. Thus, I am grateful for the opportunity to listen to and review the KBEAR Lark.

The KBEAR Lark is a hybrid in-ear-monitor (1DD + 1BA) which aims towards the budget-conscious crowd, priced at a modest $30 USD. At this price point, my current go-to recommendation to my friends and family was always the BLON-B03. We will thus see if the KBEAR Lark can dethrone the B03, which will be further examined in the review.

Sound

The overall sound signature of the KBEAR Lark leans towards a bright-neutral signature, with a greater focus on clarity and cleanliness compared to tonality.

Bass (6/10): The bass on the KBEAR Lark is surprisingly clean, given the tendency of IEMs in this price range to sound muddy. This is also because the bass is relatively subdued in comparison, with KBEAR choosing to reduce the bass quantity at the expense of a cleaner signature, at the expense of what many would consider a more “fun and exciting” sound signature. Bassheads should look elsewhere.

Subbass on the KBEAR Lark is not particularly well extended– on tracks like Billie Eilish’s “bad guy” or Lorde’s “Royals”, there’s an obvious lack of rumble from the lowest registers. There is a decent amount of punch to keep things interesting, but it is ultimately lacking. Midbass performance is similar – on tracks like Muse’s “Neutron Star Collision”, the subdued bass does not do enough to get my feet tapping along with the music.

In comparison to the B03, while the bass is much snappier and faster, the B03’s bass has more detail and texture to it, bringing a significant amount of body and warmth along with it.

Ultimately, however, compared to most sets in a similar price range that I have tried, it likely has the cleanest low end. The Lark aims towards a more “studio monitor” signature, compared to the BLON B03 for example – which is slower and warmer, though providing a much more entertaining presentation. It’s down to preference in the end, given I personally prefer the BLON B03 in this regard, but someone else searching for a no-nonsense, bloom free listen would be happier with the Lark.

Mids (6/10): Thanks to the lack of a significant midbass hump, the Lark sounds very clean in the midrange, continuing its pursuit of a more “studio monitor” sound signature as exemplified by the low end.

The midrange leans towards the thinner side of things – the upper midrange of the Lark takes center stage ahead of the lower midrange, favouring songs which feature, for example, female singers rather than male ones. The lower midrange is, however, still quite competent, as vocalists like Frank Sintara or John Mayer still retain substantial weight and clarity – they are merely overshadowed by the upper midrange.

In Nikki Yanofsky’s “I Got Rhythm”, the bar the upper-most mids, which will be elaborated on further, the emphasis is done well – the sweetness of her voice comes across well, avoiding the pitfall of being overtly tinny sounding.

While not the most “emotional” or “soothing” of midranges, the Lark’s midrange is free from bloat and maintains good realism, something many cheaper sets fail to do. Its placement is also slightly further back than average, so those who do not like their vocals in their face will find joy in owning a pair.

Treble (4.5/10):

The emphasis on the lower treble, and the upper-most mids of the Larkis much overdone – the Achilles Heel of the Lark, if you will. The Lark was likely tuned this way to create a greater perception of clarity across the spectrum. While this goal was successfully achieved, with the Lark surpassing the BLON in this regard, this is done at the expenses of tonality, one of the B03’s greatest qualities. The signature can be extremely fatiguing at times, exacerbated by my personal intolerance of any peaks in this sonic region.

MIKA’s “C’est Quoi Ce Bonheur”, for example, is near unlistenable on the Lark, given the song’s upper midrange/lower treble emphasis. The chorus in particular is extremely grating on the ears to listen to. Michael Buble’s rendition of “The More I See You” is similar on this note (or any Jazz track, really), where cymbal crashes, trumpets and hi-hats are a recipe for disaster.

Those who are less sensitive in this regard or crave a greater level of perceived detail will love the Lark (it’s very competent in this regard), but fatigue free, long listening sessions with the Lark will be a difficulty for most.

KBEAR has (thankfully) not decided to continue this trend into the upper treble, where it remains considerably muted in comparison, though still possessing a good amount of air and space. It is rolled-off in comparison, a welcome departure from the lower midrange, providing some respite from the heat in the lower treble.

Soundstage, Imaging, Separation and Timbre (5/10):

The Lark’s soundstage is great for the asking price. It never feels spatially congested, partly due to the laid-back midrange presentation, and width is slightly above average. Imaging is serviceable, nothing to really write home about. Separation is competent for the price as well – many sets in this price range can sound extremely messy on Of Monsters and Men’s “Little Talks”, and while the Lark doesn’t breeze through the track, it definitely handles it respectably. The Lark’s Timbre is let down by the emphasis in the upper-most midrange and lower treble, where instruments and vocals can often sound shrill or harsh, which is a pity, given how admirably it performs elsewhere.

Conclusion:

The Lark is a very competent set of IEMs, ultimately let down by the “enthusiastic” tuning in the upper-most midrange/lower treble region, where it comes off too harshly. Should you not be particularly bothered by the treble presence, however, the Lark is a good recommendation, given it otherwise does well to fulfil its niche as a budget-friendly, reference signature (bright-neutral) monitor, a rare sight in the budget realm. The BLON B03 will remain my go-to recommendation as of now, but I am excited to see what KBEAR comes up with next.

Full Review can be found on my site: https://audiorambles.com/sony-ier-m9/


Build Quality, Fit, Comfort and Isolation

Aesthetics (8.5/10): Matte Black shells, decorated with a carbon-fibre faceplate. A classic look, for sure, yet still awfully handsome to look at.

Build Quality (9/10): The housing of the M9 is made with Magnesium Alloy. I can’t say I’ve much experience with the material, but they feel sturdy to the touch. The MMCX connectors are made such that they do not rotate, always a plus in my books for longevity. Included cables are resilient yet fairly supple, and are tangle-proof. All in all, not quite glorious Nippon steel, but fantastic in their own right.

Fit and Comfort (9.5/10): Yes, while you might not think these Frankenstein-looking housings might fit well, they’re actually insanely comfortable and ergonomic to wear. The housings contour to my ears wonderfully, and never feel like they’re in danger of falling out. I could and have worn them for hours at a time without fatigue.

Isolation (9/10): As a general rule, if they fit well, they’ll likely isolate well. The norm, not the exception, the M9 blocks out a substantial amount of noise for your busy commutes on the Subway.

Sound

Bass (8.75/10): During my initial audition with the IER-M9, my expectations regarding the lower frequencies were not set very high – the M9, after all, sports solely Balanced Armature drivers which are often not considered optimal for the reproduction of bass notes compared to traditional Dynamic Drivers. Upon firing up my usual test tracks, however, it was quickly apparent that I had underestimated these little monitors.

The texture, decay and weight of the bass produced by the M9 is eerily similar to that of a DD, high praise for Sony’s in-house made balanced armature drivers. A general weakness of BA Bass is its propensity to sound thin and artificial, but the M9 reveals none of that. The slight bass boost in both the sub and midbass regions raises the “fun” factor, while still exercising excellent restraint. Bass is always exceptionally clean, tight and agile, highlighted by demanding drum-heavy tracks like Muse’s “Neutron Star Collision”.

Sub-bass extension is also fantastic, reaching all the way down to the lowest registers, considerably unique also in its ability to make it “felt” rather than “heard” compared to other BA setups. The rumble did, however, leave more to be desired, lacking the grunt and texture the Z1R can bring. All in all however, it’s stellar bass from the M9.

Midrange (9/10): One of the more frequently levied criticisms of the M9 is that it can sound “boring”, and this sentiment likely stems from the M9’s midrange presentation. It’s without significant peaks, neutral sounding and just ever slightly recessed in terms of stage presentation. The amalgamation of these factors ultimately contributes to bringing about the aforementioned impression many get with the M9.

The midrange however is still very much excellent, with the former mostly an issue regarding personal preferences. I do find myself clamouring for greater midrange presence at times, but objectively, the midrange of the M9 is supremely capable. It boasts fantastic clarity and detail, though perhaps just a fraction behind resolution kings like the 64Audio U12t or the Anole VX, given its greater emphasis on smoothness ahead of transparency, due to the slight touch of analogue warmth present.

Male vocals are some of the best I’ve heard on M9, perfectly conveying the velvety, rich texture of vocals such as Frank Sinatra’s and Andrea Bocelli’s like few monitors on the market can. While their female counterparts do still sound airy and natural, the M9 lacks the sparkle and brightness in the upper midrange register to really make singers like Adele stand out.



Treble (8.75/10): The lower treble on the M9 is exceptionally tuned, with sufficient sparkle to make cymbals and hi-hats shimmer and shine, on tracks like the Jackson Five’s “Want You Back”, detailed with natural decay. Far from what would be considered an intense listen though, it retains the smoothness characteristic of the M9’s sonic signature. Upper treble on the other hand has been tuned down a notch, as instruments like Trumpets on classic Jazz Standards such as “LOVE” or “Autumn Leaves” sounding neutered and unexciting, albeit still with good resolution and articulation. In the same vein, extension is unimpressive, with roll-off evident in the highest registers, once again illustrating the M9’s predisposition to favour a relaxing and non-fatiguing listen over exhibiting sheer technicalities.

Soundstage, Imaging, Separation and Timbre (8.75/10): Even against the backdrop of the prior praise I’ve lavished, the imaging and separation capabilities of the M9 are by far their most outstanding quality. It isn’t hyperbole to say that they’re likely the best I’ve had the pleasure of listening to in that regard. While the stage of the M9 is just slightly wider than average, and its depth relatively unimpressive, the sense of space created by sheer imaging and separation ability will floor you at times, especially in genres like Jazz (Count Basie for example), or live recordings. It’s an experience like no other, and therein lies the “wow” factor of the M9. The M9 also avoids most of the timbre issues full BA setups can have, possessing sufficient weight and decay to its sound. They’re great and generally a non-issue, unless you’re overtly nitpicky or anal about it

Conclusions
As if it were ever in doubt over the course of the review, the Sony IER-M9 gets an easy recommendation from me for those in the market for a warm-neutral type sound signature. For those who want something non-fatiguing to listen to, yet still brimming with technical ability, the M9 checks all the boxes. And you get to unbox a high end Sony product. Furthermore, they’re relatively inexpensive compared to majority of the market in the TOTL department. Did I also mention you get to unbox a high-end Sony product?

All hail our Japanese overlords.

Review: https://audiorambles.com/campfire-audio-atlas/

Introduction


Undoubtedly the undisputed Magnum Opus of Campfire Audio, the Campfire Andromedas have received critical acclaim since their release. While they personally didn’t fit my bill, they remain a staple recommendation within the community. Perhaps a victim of the Andromeda’s widespread success, however, Campfire have found themselves under significant scrutiny after the disappointing debuts of the “Io” and “Polaris V2”.

Adding even more fuel to the metaphorical fire, their subsequent apparent failures to deal with community criticism on the Head-Fi forums, in particular, sparked even greater controversy.

Today, however, we take look at the Campfire Audio Atlas, their former flagship.

Before the introduction of the Solaris, the Atlas held its place in Campfire Audio’s lineup as the most expensive IEM, priced at $1300 USD. Utilising a single 10mm Amorphous Diamond-Like Carbon (A.D.L.C) diaphragm driver similar to the one used in the Campfire Vega, Campfire Audio sought to achieve “superior fidelity, excellent frequency response, and low distortion.”

Build Quality, Fit, Comfort and Isolation

Aesthetics (9.5/10): While extremely adept at being dedicated fingerprint/scratch magnets, there is an undeniable charm to the Atlas’s stunning good looks blessed by its cleanly machined shiny metal housings.

Build Quality (10/10): Come on, they’re machined solid housings made of metal. They look, feel and almost definitely are hardy. The MMCX connectors Campfire implements are also some of the best I’ve seen in the industry. To top it off, from personal experience with Campfire Audio, customer service has always been fantastic, and there were often a time where they’d send replacements for free even outside of the stipulated warranty period. Fantastic stuff.

Fit and Comfort (0/10): Bzzz. Bzzzzzzzz. Why hello there. It’s the fly in the ointment. The Atlas managed to stay in my ears grand total of 0 times in the time I owned them. The unfortunate combination of weight (they’re HEAVY) and size spelled their doom from the beginning. They were worn over-ear, straight-down, tried with myriad pairs of tips, but alas, nothing seemed to keep them in.

Oh, also, did I mention they had terrible driver flex? Shame.

Isolation (?/10): How man test for block sound when mini sound brick no stay in ear? Me no see how.

Sound
Bass (8.5/10): It’s big, big bass from the Atlas. Mostly midbass though, and the emphasis is glaringly obvious upon putting them into your ears. Midbass on the Atlas is gargantuan and they’re totally unapologetic about it, placing instruments like bass guitar, cellos, and basslines in general at the forefront of the mix. See Dire Straits’ “Sultans of Swing”, or Lauv’s “Paris in the Rain”, for example.

For its weight and power, it is surprisingly very tight, and very detailed, though not as detailed as say, the JH Audio Roxannes. Speed is very decent, also fairly remarkably agile for the sheer midbass attack.

In comparison, subbass on the Atlas might seem weak, but it certainly isn’t limp. They dive deep and hit hard, though not reaching the lowest registers like the CE-5 and Z1R can do so effortlessly. Keep in mind though, relative to most other sets, the Atlas can still be considered subbass heavy. While they do manage to provide rumble down low, it’s not particularly detailed nor clean, and can sound quite muddy at times.

The buttery and rich texture of the A.D.L.C driver also needs to be brought into attention, one of my favourite qualities of the Atlas’s bass. Guilty pleasure bass really, essentially.

Mids (8.25/10):The heavy midbass emphasis does make itself known in the midrange, which experiences some spill-over on tracks which are more enthusiastic in the low end. Naturally, it also warms up the lower midrange, darkening its tone as a result. The lower midrange, however, is quite recessed in the grand scheme of things, lacking the weight and body for singers like Frank Sinatra to shine. Instruments like Electric Guitars also sounded a little blunt, lacking sufficient bite.

Upper Midrange, on the other hand, received a slight boost from Campfire Audio, giving female vocals and the midrange in general some space to breathe, injecting some much needed air and detail. There’s little to say in this regard other than the fact that the peaks were well implemented, allowing female vocals to retain their sweetness, also infusing a greater sense of perceived speed.

Midrange clarity resolution is great though, but detail retrieval can be a bit of an issue for an IEM with such an enormous price tag in comparison to the competition, as a result of the massive bass overpowering the minute bits of aural cues in the background. Midrange placement wise, they sit behind the bass and lower treble, a little further back in the overall sonic canvas.

5


Highs (8/10): To avoid a sound signature congested by the considerable bass response of the Atlas, Campfire have also understandably decided to also give the lower treble a little kick, achieving results similar to the bump in the upper midrange. More air, more detail, and an added bit of sparkle for a more exciting listen. Trumpets and cymbals on Michael Buble’s “LOVE” sounded natural and clean, albeit just ever so slightly dulled in comparison to top tier sets.

The roll-off in upper treble cements the signature of the Atlas as a warm, v-shaped, and slightly dark IEM. The treble is clear and smooth till the drop-off, and lacking in the necessary extension required to fully enjoy tracks such as Elaine Page’s “Memory” from the Legendary “Cats” Musical. Though brighter signatures usually don’t sit well with me, I’d have like to have seen a greater quantity of treble in the uppermost registers.

Getting a good seal on the Atlas is paramount to making the treble sound competent, because it is a shrill and sharp mess otherwise. Yet, as previously discussed, fit is the #1 issue on the Atlas, so good luck with that.

Soundstage, Imaging, Seperation and Timbre (9/10): The Atlas’s width is above average, though it has magnificent depth. Headroom is quite neutered due to the lack of treble extension, causing a deficiency in soundstage height. Imaging is good, with instruments and backup singers occupying their own space across the soundscape, though precisely pin-pointing their location can be met with slight difficulty due to a slight hazy quality to the imaging. Separation is honestly poor for a kilobuck IEM, with elements from complicated tracks like “Little Talks” occasionally blending into each other. Timbre is mostly quite good, perhaps my only complaint might be the blunt presentation on Trumpets, Violins and the like.

Conclusions
The Campfire Audio Atlas certainly sounds great – but its signature is an acquired taste, one for the most hardcore of bassheads, who still place a high priority upon clarity and air.

Additionally, the sizeable price tag of the Atlas would also drive many away, given the presence of other sets with greater resolution and detail within similar price range.

The elephant in the room however, is of course, the absolutely atrocious fit of the Atlas, the literal worst out of any and all IEMs I have ever tried. A combination of size, weight (not quite that of the Celestial Heavens, but still) and driver flex make it an absolute nightmare to wear. As a result, little roads lead to this particular Atlas, and these are ultimately difficult to recommend.

Full Review: https://audiorambles.com/hyla-audio-ce-5/


Packaging and Accessories


Exterior wise, it’s a cardboard black box with a golden “HYLA” logo plastered upon the front. Upon opening the box, the CE-5 sits flush within two dimples, cushioned by a thin sheet of cloth which covers the entirety of the interior. Simple yet effective packaging, very pretty.

Accessories provided include:

– A small Van Nuys Carrying Case (not pictured here, sent for warranty)

– Foam tips

– A few pairs of silicone tips

-Cleaning tool

The carrying case is really good, sturdy enough to be useable yet small enough to be portable. The other accessories are kinda “eh”.

Build Quality, Fit, Comfort and Isolation

Aesthetics (8/10): The dark purple shells are quite endearing, although as a whole CE-5 is a little monotonous given its lack of significant design or pattern on its shells.

Build Quality (9/10): The CE-5 feels strong and sturdy to the touch, being made from medical grade German imported resin. The included braided black stock cable is a little thin for my personal tastes, but has well reinforced joints courtesy of the hard rubber material found on the Y-split and jack. Cables are also detachable in my personally preferred 2-pin connections.

Fit and Comfort (8/10): The shells of the CE-5 are quite large and sit outside of my ears a fair bit. Ironically, while the Jerry Harvey Roxannes are bigger than the CE-5 by a fair margin, I found the former a more comfortable experience. While you wouldn’t forget they’re in your ears, they’re still comfortable and don’t cause any discomfort for long-term listening.

Isolation (8.5/10): The CE-5 provides excellent isolation even though they’re vented, and with the right tips, blocks out a significant amount of sound.

Sound

Bass (9.5/10): The bass on the CE-5 is phenomenal, and genuinely one of the best, if not the best set of IEMs I have encountered in that regard.
The name of the game for the CE-5 is summed up by the word “control”. It never ever sounds loose or bloated, even while possessing such amazing slam and impact. The decay of the bass is naturally DD, lingering on for the perfect amount of time.

Subbass on the CE-5 is second to none, extending to the depths of hell, complemented by thunderous rumble and detail. There’s nothing quite like it, with even the JH Roxannes and the Z1R bowing to the CE-5 in terms of subbass response, unable to achieve the glorious rumble capable by the latter. “Royals” by Lorde was an absolute experience on the CE-5.

Midbass, in comparison, can even be termed as “recessed”. When viewed in isolation, however, it is merely just average in quantity. The quality, however, still shines through in ease, with excellent speed, detail and texture. It’s a cleaner, no-nonsense presentation than its subbass brethren, but might be a little thin for some. The basslines in Lauv’s “Paris in the Rain”, for example, don’t quite have the lush, addictive attack that the Roxannes do so well.

“Endgame bass in an IEM and only a 9.5?”, I hear you say, “how can this be allow?” The rating could have easily been a 10/10, but unfortunately the site belongs to me, and my personal preferences lean towards more midbass body. But for most, bass doesn’t get any better than this.

Mids (8/10): I’m quite ambivalent to the midrange on the CE-5. On one hand, there’s such clarity, resolution and detail that’s apparent on first listen. On the other hand, the tonal balance on the midrange of the CE-5 is relatively poor.

Female vocals are far and away the star of the show here, sounding exceedingly sweet and airy. They stand out with a commanding presence, as you hear every breath, every detail in tracks as vocalists like Adele belt their lungs out in tracks like “When we were young”, as every note is delivered with surgical precision.

However, as fantastic as the upper mids are, the lower mids are recessed and scooped in similar magnitude. While still exhibiting great resolution, male vocalists like Frank Sinatra or Andrea Bocelli have their wings clipped, lacking the body, weight and velvety texture traditionally associated with these singers. The lower midrange scoop greatly thins the midrange, and the tonal imbalance can be jarring at times, with both male and female vocals tending to sound nasal.

In many ways, they remind me of the Sony IER-Z1R, though the Z1R’s lower mids are less recessed than the CE-5’s, and are still the benchmark in resolution and clarity, being a step up from the CE-5. They do get close, though.


Highs (9/10): The Piezoelectric Ceramic Super Tweeter is no gimmick. Compared to traditional DD/BA setups, the Super Tweeter produces gobs of detail with excellent clarity, as every instrument sounds crisp and clean. However, the overall timbre exhibits something I personally think of as “EST Timbre” termed after Electrostatic Drivers, where the treble sounds so exceedingly clear it can feel slightly artificial. Not a significant issue, though.

In the lower treble, hi-hats and cymbals on “Hotel California” by the Eagles crash with clarity and authority, and the opening trumpet riff on Michael Buble’s “LOVE” is amazingly detailed, though perhaps sounding slightly thin at times. Best part is, the CE-5 while bright and detailed, is wonderfully tuned and has no detectable sibilance and harsh peaks.

Extension in the upper treble is effortless and quite smooth, retaining similar clarity and emphasis.

Soundstage, Imaging, Seperation and Timbre (8/10): The width of the CE-5 is just above average, though depth and height are both good. Imaging is excellent, as instruments are easily placed and identified across the soundscape. Separation is similarly fantastic, blowing complicated tracks like “Little Talks” out of the water. Timbre is where the CE-5 loses most of its points. While not preposterous, as previously mentioned instruments and vocals can sound a little thin/nasally, and its present more often than not.

Conclusions
The Hyla CE-5 easily gets a rec from me, especially given their asking price of merely USD $915, an absolute bargain for what its capable of. Tremendous bass response, resolution and technicalities at the expense of natural tone and timbre, but that’s a trade-off many are willing to take. The issue here would obviously be the fact that there’s only 200 out there in the wild, so you’d have to likely buy them second hand. Fantastic job, Hyla Audio.

Full Review: https://audiorambles.com/jh-audio-roxanne/


Introduction
When Jerry Harvey Audio released the JH Roxannes, they were revered as somewhat of a technological marvel. In 2019, while even companies like Knowledge Zenith may be releasing 8-driver IEMs, the audio landscape was vastly different back in 2013. The integration of 12 drivers in a single shell back then was virtually unheard of,combined with Jerry Harvey’s proprietary “Freqphase”, “SoundrIVe” technologies, and an adjustable bass port, the Roxannes made waves round the community.

The Police might fervently disagree, perhaps “put(ting) on the red light” might be necessary to own one, especially with the latest editions selling at $1899 USD, and the initial retail price in 2013 set at $1299 USD. Though there have been multiple revisions since then, the following review is based on the JH Roxanne V1, my personal favourite of the line-up.

Given it’s almost cliché to add a mini write-up about Jerry Harvey and Van Halen on any JH Audio review, we’’ll just get right down to business. While they’d definitely “Sting” your wallet, the Roxannes make it obvious that they’ve effortlessly withstood the test of time.

Build Quality, Fit, Comfort and Isolation


Aesthetics (8.5/10): The Roxannes are beautiful, with JH Audio tastefully implementing a Carbon Fibre faceplate upon a dark, translucent, smoke grey shell, proudly displaying her 12 drivers in all their beauty. Upon the CF faceplates, perch JH’s signature logo on one side, and “Roxanne” in cursive red on the other.

Build Quality (10/10): I’d hesitate to give anything other than a perfect score to the Roxannes for their sturdiness. “Handmade in the USA” has always been a big part of JH’s marketing, and does show in the build quality of their products. Strong and tough shells, proprietary 4-pin cable design with a locking mechanism, and reinforced braided stock cables. I’d doubt it gets any better than this.

Fit and Comfort (9/10): While the sheer size of the Roxannes (any version of them) may have elicited complaints from many in the Community, my ears have perhaps been blessed by Jerry Harvey himself, given the Roxannes fit amazingly well for me, and I often forget they’re even there. Be warned, however, given they’re still behemoths compared to most offerings on the market, and will not sit flush in your ears, and instead protrude a fair bit. The memory wire is not a significant issue as it only encompasses a small part of the braided wire. Auditions before purchase are of utmost importance.

Isolation (9/10): Excellent isolation, blocking out almost all of the noise present on public transportation.



Bass Tuning Port

In short, the bass tuning port works. Using the included tuning tool, bass can be varied for both left and right earpieces respectively, with up to 5 recommended configurations, 8, 10, 12, 2 and 4 o’clock. In essence, each notch adds more bass (both sub and mid), as well as emphasising and warming the lower mids.

At 8 o’clock, the Roxanne sounds almost slightly bass-light in nature. The Roxane still hits with good texture and impact, but quantity just isn’t sufficient for me. Lower mids are more recessed compared to the upper mids, which are perceptually more forward due to the lower treble boost being more prominent. In this configuration, you can expect clearer, cleaner sound, at the cost of a less musical presentation.

At 4 o’clock, the Roxannes are a different beast all together. Bass quickly becomes the emphasis of the show, as it is pushed all the way in front with tremendous impact and power. The lower mids warm up significantly and become quite thick, losing some speed in the process. The upper mids are now recessed relative to the rest of the mix, with the lower treble boost dialled down slightly comparatively.

As you can tell, the bass port does make the Roxannes extremely versatile, almost making it an IEM with two distinctive sonic signatures.

Sound


This review will be based on the Roxannes with the bass adjustment port set at 12 o’clock, what I consider to be the most balanced tuning.

Bass (9.5/10): While I’ve always been a huge proponent of Dynamic Drivers over Balanced Armatures for lower frequencies, the bass on the Roxannes pokes holes at the aforementioned argument. The bass goes as low as sets like the IER-Z1R, and produces similar deep, thunderous rumble on tracks like “Royals” by Lorde.

Midbass slam and impact is more than comparable to the best dynamic drivers out there for tracks like Muse’s “Neutron Star Collision”, which also showcases the sheer speed the Roxannes are capable of while carrying such weight. Midbass bleed into the mids is almost non-existent, it’s clean with little bloat.

Bass never feels slow, instead managing to be resolving while still maintaining natural decay on instruments like Drums or Cellos. It’s extremely detailed, basslines are full and authoritative, while achieving refined texture like that of a Dynamic Driver. Simply fantastic bass.

Mids (8.5/10): The Roxannes belt her lungs out in the midrange department, presenting accomplished male and female vocals alike. The midrange is resolving and detailed, though not quite “in-your-face” in the latter department, preferring to showcase them in the backdrop for listeners to pick up. Transition from bass to the midrange is flawlessly smooth. In the 12 o’clock configuration, it’s a very balanced presentation, with above average note weight.

Deep, weighty male vocals like Andrea Bocelli’s and Michael Buble’s shine on the Roxannes, as they clearly convey their weight, power and texture. The relatively thicker presentation of the lower mids never sounds sluggish or congested. While the Roxannes have a warm tilt to the midrange, female vocals are never compromised. They’re clean and sweet with good air, and have similar presence to their male counterparts, though perhaps on occasion just ever so slightly veiled by the warmth.

Highs (8.5/10): The transition from linear upper mids to slightly boosted lower treble might be slightly jarring initially (especially due to the mild sibilance present in the region), but becomes less of an issue on getting used to it. The trade-off, however, is the gobs of detail which becomes apparent on hi-hat and cymbal heavy tracks like Dire Straits’ “Sultans of Swing” or Air Supply, with some of the most natural decay I’ve had the pleasure of listening to.

Upper treble extension, though perceptually reduced by the relatively darker tuning, is similarly fantastic upon closer inspection. On the bright side, fatigue in the upper treble is a complete non-issue, and the treble is otherwise smooth barring the hint of sibilance on the lower treble.

Soundstage, Imaging, Seperation and Timbre (9/10): The Roxannes casts an amazingly wide stage which is equally matched by its depth and height, creating an out-of-head experience, a true accomplishment for any in-ear monitor. Imaging is no slouch either, with instruments getting their own pockets of space in accurate positions on stage in live recordings, though occasionally marred by the slight warm midrange tint. Complicated, messy tracks like “Little Talks” by Of Monsters and Men are also no match for the Roxannes, who breeze past them with ease. Timbre is natural from top to bottom, with instruments sounding as they should.



In case I haven’t made it obvious enough, I am in love with the Roxannes. The twelve drivers in each shell work in perfect harmony, delivering a big, bold sound that is musical yet detailed. Their warm and slightly dark tint may not be for everyone, especially listeners who prize absolute clarity and detail. If they match your preferred signature however, and their price and size aren’t enough to deter you, they’re a definite keeper, even after all these years.

Full review: https://audiorambles.com/audio-technica-ath-e70/





Packaging and Accessories


The minimalist design on the outer layer is to my fancy, maintaining a sleek yet premium feel to the product. The black cardboard box underneath it houses the IEMs, which can be found nestled within a hard yet malleable foam upon opening. It’s nothing spectacular, but it gets the job done, though for a flagship product, perhaps more could have been desired.

Accessories provided include:

– A small black case

– Comply Foam tips

– A few pairs of silicone tips

-3.5mm to 6.35mm adapter

Similarly, a relatively disappointing accessory haul for a flagship product.

Build Quality, Fit, Comfort and Isolation

Aesthetics (6.5/10): Gorgeous products like the IER-Z1R or the Anole V3 spark a certain type of joy within me, and the E70s are far from having such appeal. The piano black shells are accompanied with a see-through window allowing you to see the circuit board for the crossovers, which of course begs the question: why would I want to see the copper circuit board for the crossovers? Surely they’ll be some tech lovers who disagree with me, but I’d like to stand by my opinions.

Build Quality (8.5/10): While the shells are made of plastic, they’re sturdy and thick, capable of withstanding significant beating. Detachable cables are also always a plus, though Audio Technica opted to install their own propriety MMCX-like connectors instead of the industry standard MMCX ones. Mini-rant though, why make your own proprietary ones unless you can better the industry standard (QDC), or have a perfectly good reason to implement one (JH Audio)? Till then I’ll always see proprietary ones as a cash grab and inconvenience.

Fit and Comfort (8.5/10): Once in the ear, they sit flush and are comfortable for hours on end due to their flat profile and smooth, rounded shape with no jagged edges (looking at you, Campfire). The issue, however, would be the hard, sturdy, and unapologetic memory wires on the E70. Memory wires are a declaration of war against the mental well-being and happiness of humanity, and should be illegal under the United Nations Human Rights Declaration. Don’t use memory wire. I hate memory wire.

Isolation (9/10): With a good seal, the E70 isolates fantastically, blocking out majority of the noise around the user due to its unvented design which sits flush in the ear.

Sound

Disregarding the boosts in bass and lower treble, the E70 sounds quite linear throughout, possessing a warm tilt in the grand scheme of things.

Bass (8.5/10): The lower end of the E70 benefits from a slight boost in the bass region, receiving a healthy bump towards north of neutral. It’s not overly emphasised, but just enough to give most songs a fair kick. While my own personal preferences would lead to me finding them insufficient, most listeners would be more than happy.

Bass on the E70 goes very low, reaching similar depths as the IER-Z1R, for example. There is good rumble on the E70, achieving what many balanced armature setups fail to do with relative ease on tracks featuring heavy deep basslines such as Lorde’s “Royals” or Billie Eilish’s “Bad Guy”. Although E70 maintains a subbass focus, the midbass can and does deliver when called upon to get toes tapping. Slam and impact are very good, and just shy of dynamic driver benchmarks, though they make up for it by preserving the snappy, agile bass response BAs are famous for.

Even though they sport purely balanced armature drivers, the texture of the E70 is extremely close to that of capable dynamic drivers. They are a joy to listen to in that regard, detailed with realistic decay, and some of the best bass you can get on a Balanced Armature IEM.

Mids (7.5/10): While possessing a warm tilt, the midrange of the E70 has very good clarity, and is more resolving than the QDC Anole V3. The midrange is placed slightly forward, allowing for more enthralling vocals, though they never become fatiguing to listen to. Male vocals have good weight to them, capably reproducing the velvety, powerful vocals singers such as Andrea Bocelli belt out. Female vocals have similar presence and are similarly pleasant, sounding breathy and sweet on tracks such as IU’s “Through the Night”. Audio Technica has approached a very balanced and linear approach to the midrange, a tuning which likely aims to please the majority, while maintain good air throughout. Detailing, however, is the Achilles Heel of the E70’s midrange, which can be said to be just “above average”, simply not good enough to command such a high price tag. Otherwise, the midrange is hard to fault.

Highs (6.5/10): I’ve had the displeasure of listening to many poorly tuned sets which can get overzealous in the lower treble, producing bouts of sibilance. Yet, while sibilance is bad, splashy treble, in my opinion, tops it as a crime against humanity. Unfortunately, the E70 has it in abundance, and frequently enough to become a cause of concern. The cause isn’t a trigger-happy boost in the lower treble, but it’s simply that the lower treble is loose and uncontrolled, which is a damned shame, given that the treble is quite accomplished otherwise, with great detail and timbre on instruments such as hi-hats or cymbals on tracks like The Eagles’ “Hotel California”. It’s linear and smooth up till the upper end, where it starts to roll-off, lending the E70 a slightly darker sound. As a result of the treble splash, the E70 is also difficult to listen to on higher than average volumes.

Soundstage, Imaging, Seperation and Timbre (7.5/10): The E70 casts a wide stage, and an above average Z-axis. Height is good but eventually hampered due to the roll-off. Imaging is quite average, with instruments distinguishable but sometimes not occupying their own pocket of space. The E70 also does not handle complicated tracks such as “Little Talks” particularly well, sounding a little muffled occasionally. Timbre, however, is fantastic from top to bottom, with instruments and vocals sounding natural with good note weight throughout.

Conclusions
The splashy treble is ultimately a fatal flaw for the ATH-E70, something not even their genuinely incredible bass response can salvage. For listeners who have a greater lower treble splash tolerance, are after a smoother sound, and comfortable with the fact that the E70 is simply not as technical as many of the sets in its price range, they might be worth a shot. For my sensitive ears however, these are a no from me.

Full Review: https://audiorambles.com/qdc-anole-v3/

Packaging and Accessories


The packaging of the Anole V3 is very well presented. The outer shell of the box is solid, hard cardboard, maintaining a turquoise-black aesthetic. Open flipping the cover open, the IEMs are nested in a malleable yet hard foam. The turquoise cardboard below it hides the generous spread of accessories provided by QDC.

Accessories provided include:

– A rectangular hard leather case

– Earphone Cleaning/Tuning Tool

-Myriad pairs of silicone tips

-Airplane adapter

-3.5mm to 6.35mm adapter

It’s a fantastic haul of accessories, and I especially need to talk about the absolutely gorgeous leather (perhaps pleather?) flip-case QDC provides. The case feels and looks premium, coloured a beautiful shade of brown, and is above all, functional given its compact size and rugged build quality. It’s a premium experience all round.


Build Quality, Fit, Comfort and Isolation

Aesthetics (9.5/10): The Anole V3 is simply beautiful. A brilliant shade of dark blue treated with gold flakes and sparkles throughout the shell. On the faceplates, “QDC” and an artistic impression of “V3″are plated in shiny gold. Simply breathtaking to look at. They also come in various other designs upon requesting customisation, which I’m sure will turn out just as pretty.

Build Quality (9.5/10): The build quality of the Anole V3 is stellar. Tough, resilient shells that look like they can withstand quite the beating. Tuning switches which are negatively profiled so as to avoid unnecessary avoidable surface damage. QDC has also implemented their proprietary cable sockets, which are sturdy and not easily made loose. My only gripe might be the black braided cable provided by QDC in most of their IEM lineup which could be made tougher, but that’s just nitpicking as they are satisfactory for most users.

Fit and Comfort (9.5/10): The custom-universal shape the Anole V3 takes enable them to sit flush and comfortably inside the ear, and from that moment on they’re practically glued in. As a result, you’d often forget they’re in there. Exemplary fit and comfort, perhaps only second to custom-fit in ear monitors. They’re just slightly bigger than average size though, so if you have small ears your mileage may vary.

Isolation (9.5/10): Unvented, sit perfectly flush in the ears, and block out A LOT of sound. Once again, second only to custom-fit in ear monitors.


Sound
The Anole V3 manages to be resolving, yet natural and smooth. It’s not class leading sound at $500 USD, but it’s very capable. The slight U-shaped sound profile of the V3 makes it an extremely relaxing listen for hours on end, although I would never consider the V3 anywhere near bright. It’s a fun and enjoyable listen.

Bass (7.5/10): BA timbre does come across here, and there are noticeable problems especially regarding subbass extension. It goes low, but lacks real sufficient rumble on the lowest registers , as most BA set-ups suffer from. It does try, and it’s audible, but there isn’t enough of it, especially on tracks like Lorde’s “Royals”. Texture and decay is sufficiently natural, and it delivers good impact when called upon. The slam is still lacking compared what a competent dynamic driver can produce as it moves more air, but is more than needed to get your toes tapping. Good detail and control, never sounding overtly loose and bloated (in the default tuning). It’s slightly subbass focused, though a very balanced presentation overall.

The frequency is just mildly emphasised, enough to get you in the rhythm, but will not satisfy any hardcore bassheads. It’s find it a very pleasant amount of low end, enough to make it fun-sounding, yet restrained enough to avoid fatigue.

Mids (7.5/10): The midrange of the V3 can be thought to be just slightly recessed, but not in terms of resolution, detail nor clarity – it just sits a little bit behind the bass and lower treble in terms of placement and emphasis, but is still very very compentent.

On initial listens, the slightly warm tint on the midrange caused me to perceive a thin veil upon the midrange, hampering resolution. As I spent more time with the V3, the clarity became more apparent, especially on acoustical tracks on “Boyce Avenue” playlists. Details are quietly there for you to pick out, though they’re not particularly apparent or in-your-face.

Male and female vocals both sound great, with a greater emphasis on the upper midrange compared to the lower. Vocals are natural, airy, and carry good note weight, with male vocals textured, and female vocals sweet sounding. The slight pushback on the midrange while maintaining it’s quality lends itself to make the midrange of the Anole V3 an unfatiguing and relaxing listen.

Highs (7.5/10): There’s a hump present at lower treble on the Anole V3, but it is never sibilant nor harsh, maintaining smoothness all the way into the upper treble, hitting my personal treble target curve beautifully. It adds a bit of excitement and air to the sound, as well as improves perceived detail. It’s wonderfully tuned, though the upper treble is a little bit rolled-off, but it’s detailed and natural in quality. Hi-hats and cymbals on Daft Punk’s “Random Access Memories” have great decay and air, and are a joy to listen to.

Soundstage, Imaging, Seperation and Timbre (8.5/10): There’s great width to the soundstage, and depth is fantastic, giving the Anole V3 a very holographic presentation especially on live recordings. Instrument placement is very well replicated on tracks like “Killing in the Name” by RATM”. In terms of seperation, despite the relatively slower speed of the Anole V3’s midrange due to its warmer tint, it handles complicated tracks like “Little Talks” competently. Timbre is fantastic on the V3, with a very natural and realistic from top to bottom.


Tuning System Impressions
Strong Bass Mode (1,0): Reduces lower treble quantity, pumps up the midbass and thickens the lower midrange. Bass can be a bit bloated, but it works for just a bit of added fun.

Smooth Vocals Mode (0,1): Brings the entire midrange forward in placement, but in particular the upper midrange. Lower midrange can sound comparatively hollow as a result.

High Sensitivity Mode (1,1): Essentially a treble boost. Upper treble especially becomes more prominent, lower treble becomes a bit more prone to sibilance, though definitely tolerable. Adds a significant amount of airiness to the soundscape, at the expense of timbre as the sound becomes a little thin.

Conclusions
I really like the QDC Anole V3. They score top marks everywhere on the board, and sound great to boot. Easy to listen to for hours on end due to their smooth signature, and look drop dead gorgeous while doing so. The USD $500 price tag is a lot to ask for, however. The asking price range is in a bit of a dead-zone for IEMs – not cheap enough to compete with very good offerings lower than that, yet not amazing enough to compete with IEMs at the top. Try them before you buy them, and if their signature sits well with you, they’ll definitely be a keeper.

Review here: https://audiorambles.com/tansio-mirai-tsmr-3/

Introduction

The Tansio Mirai TSMR3 sport 3 Balanced Armature drivers per side and are tuneable by 3 switches for a total of 7 configurations. And I know of no better way to start a review of the Tansio Mirai TSMR3 than with a personal anecdote.

When I first bought the TSMR3, it came in what Tansio Mirai claimed to be a “balanced positive mode”. (0,1,0 with “1” indicating the presence of a switch flipped on, and “0” otherwise) Now whatever “balanced positive mode” was supposed to mean, I have and had no idea, but I found them to be mid-forward in nature. There was a distinct lack of bass, and the forward midrange was too fatiguing for my liking.




With that, I looked towards their recommended “low frequency strong mode” (1,0,0). Wow, that’s some hard-hitting bass in comparison! But with a pullback on the midrange, sibilance on the TSMR3 became quite apparent. Messaging a friend who had owned the TSMR 3, he recommended a (1,1,1) configuration, which perplexed me given that it wasn’t listed on the Handbook as a recommended setting, but I gave it a try anyway.

As a result, it’s now the default setting I use and will use throughout this review, given that it’s sufficiently bassy, only occasionally sibilant, and represents the most balanced configuration in my opinion.

The anecdote serves to show the sheer versatility of the TSMR 3 – make no mistake, the tuning system works, and a suitable sound signature should be attainable for most people on these IEMs. While such a gimmick would be wholly undesirable should the drivers inside the TSMR 3 produce mediocre sound, I’m pleased to report that the TSMR3 absolutely dazzles as a whole package.

Also, in case you’re curious and wondering why 3 binary switches yield 7 combinations in total, it’s because (0,0,0) is unlistenable, producing sound akin to a concert inside a trashcan.

Packaging and Accessories


The TSMR 3 arrived in what I can only most flatteringly describe as an “unassuming cardboard box”. Upon opening, all the accessories are nested within the included case which is surprisingly large.

Accessories provided include:

– A large black case, and small pleather pouch

– Earphone Cleaning Tool

-Myriad pairs of silicone tips

-A small metal tuning tool

That’s a very decent haul accessory haul, though I personally find the case way too large, and small pleather pouches incapable of properly protecting my gear.

Build Quality, Fit, Comfort and Isolation

Build Quality (8.5/10): The TSMR 3 is built out of sturdy, thick resin shells, and look like they’d be able to weather a fair bit of abuse. The tuning system has a negative profile, ensuring it cannot be easily damaged.

My preferred 2-pin cable configuration is present here, and feel sturdy upon cable insertion or detachment. Speaking of the cable, though, it’s a relatively cheap braided one that can be bought at maybe $10 on sites like Taobao, and they’re a little too thin for my liking. The black, metal, L-Shaped jack it terminates into, however, is a different story, and inspires a great deal of confidence.

Fit and Comfort (7.5/10): They’re quite comfortable, until they’re not. They’re a little large, so wearing them for long periods of time might cause some discomfort, but for short listening sessions, they stay comfortably in my ears without significant issue. They don’t sit flush in my ears like the BGVP DM6, but rather, stick out of my ears a little.

Isolation (8/10): A lack of vents on the TSMR 3 make isolation great, but not amazing. More than sufficient for daily commutes on the tube/subway/train wherever you’re from.



Sound
Overall, the sound signature of the TSMR 3 is can be said to be balanced with an upper-mid focus.

Bass (6.5/10): The subbass of the TSMR 3 is capable, going significantly deeper than, say the BGVP DM6 on tracks like Lorde’s “Royals”. There is still a noticeable roll-off in the lower registers, and there is still a lack of significantly powerful rumble.

In the midbass, the TSMR 3 doesn’t quite have the weight and slam of a capable dynamic driver, and can feel a little lacking on punch on certain tracks. It does however retain relatively natural decay, though maybe just decaying a little too fast for my liking.

Overall though, the bass is fairly detailed, but texture is on the average side. While the bass on the TSMR 3 might satisfy most folks, bassheads should look elsewhere, as they’re always going to being missing that extra bit of impact.

Mids (7.5/10): The lower mids feel slightly recessed compared to their upper counterpart, but they do shine fairly well on their own. A little more body on male vocals such as Ed Sheeran’s opening verses on “One” is desired, but the velvety texture of his voice comes across clean and clear, along with loads of detail. The same conclusion could be reached on Michael Buble’s tracks, such as “Dream a little dream of me”.

The upper mids of the TSMR 3 are mighty impressive, and the real star of the show. There’s a peak in this region, but the TSMR 3 does well to strike a good balance, being energetic while remaining relatively unfatiguing. Female vocals are forward, sweet and detailed on tracks such as Clean Bandit and Zara Larsson’s “Symphony”, avoiding an overly nasal presnetaiton which many sets with upper mid peaks have fallen prey to.

Highs (6.5/10): The peak found in the upper mids of the TSMR 3 also carries over to the lower treble. The region is slightly boosted, and can occasionally be found to be very slightly sibilant. It is, however, very detailed, with instruments such as cymbals crashes on Rage Against the Machine’s “Killing in the Name” a pleasure to listen to given their excellent decay and air.

The transition from lower to upper treble is smooth and easy to listen to due to the dearth of any sudden or harsh peaks. The very top end of the TSMR 3 experiences a roll-off, so trebleheads would be disappointed. It’s something I would appreciate though, given my personal preference for darker signatures.

Soundstage, Imaging, Seperation and Timbre (8/10): The soundstage of the TSMR 3 is wide, but it’s really the depth that is most impressive, providing for an extremely immersive listening experience. Imaging on TSMR 3 is excellent, as showcased in Dire Straits’ “Sultans of Swing”, with each instrument occupying their own unique positions across the soundscape. Seperation on complicated tracks like “Little Talks” by Of Monsters’ and Men left more to be desired, however. Timbre on the TSMR 3 is great, with instruments and vocals sounding natural, though maybe occasionally sounding a little thin on the upper mid/lower treble regions.

*Special Note on the tuning switches: In essence, the switches provide a bass, mid and treble boost respectively, though when used in combination with one another create varying signatures.*



Conclusions
A sonic chameleon, the Tansio Mirai TSMR 3 complements a capable sound signature with a well implemented tuning system, ensuring that a large majority of the population can and will enjoy the TSMR 3. They’re the whole package, with no obvious flaws, and an easy to recommend entry level set for budding audiophiles.

Link for Full Review: https://audiorambles.com/kz-zs10-pro/



I’ve never been a proponent of Knowledge Zenith Products; I’ve always felt the prominent Chinese company exemplified everything that was wrong with majority of Chi-Fi: Unbearable treble peaks to boost perceived clarity, releasing a barrage of low quality products to see which ones the market can tolerate, and a tunnel-visioned focus on driver counts rather than proper, mature tuning.

The KZ ZS10 Pro however, sporting 1 Dynamic Driver and 4 Balanced Armature Drivers, sound fantastic for $50 USD. Out of all the KZ products I’ve heard, I’d say these are probably the best in their lineup (not that they have much competition given how the rest of the product range sounds), perhaps bar the KZ ZS5 V1. These IEMs have really managed to subvert my expectations (Game of Thrones fans in shambles at the phrase) of KZ products. Before, I’d have likely dismissed most things churned out by the company, but I’d be lying now if I said I had no interest, should they maintain similar standards.

Packaging and Accessories


The KZ ZS10 Pro arrived in a tiny cardboard box, with an image of the ZS10 Pro on the front. Upon unboxing, the ZS10 Pros are nested inside a small paper card.

Accessories provided include:

– 3 pairs of (S/M/L) Black Silicone Tips

Kind of expected for a set within this price range, but I guess more could have been included. Still, can’t complain for $50 USD.

Build Quality, Fit, Comfort and Isolation

Build Quality (7/10): The KZ ZS10 Pro look like they’d hold up alright; the shells itself are made out of plastic, and it’s rather lightweight. While they have my preferred 2-pin cable configuration, my prior experiences with KZ in this regard aren’t great as they have a tendency to loosen up over time, so points will be docked for that.

The Stock Cable is well braided, relatively lightweight, and not particularly prone to tangle. The cable terminates in plastic covered 3.5mm jack.

Overall the use of plastic is extensive here, but they should hold up well.

Fit and Comfort (7/10): The shells of the ZS10 Pro are quite large, and after around 45 minutes of wearing them my ears do start to hurt. They don’t sit flush in my ear like the BGVP DM6, but stay on well enough.

Isolation (7/10): Isolation is decent given that they’re vented due to the presence of a Dynamic Driver, they block out sufficient noise on public transport. Expect the occasional chatter to be audible in lulls/quieter parts of your music.

Sound

The overall sound signature of the ZS10 Pro can be described as a “U” shaped frequency response, with emphasised bass and treble, while retaining a very capable midrange.

Bass (7.5/10): The Dynamic Driver of the KZ ZS10 Pro really puts in a remarkable shift. Subbass has great depth, going quite deep on tracks like Lauv’s “Breathe” or Lorde’s Royals”. It’s hard-hitting sub-bass which can be felt rather than heard, and even then it still maintains good control, only occasionally sounding a little loose.

Mid-bass received an even bigger boost on the ZS10 Pro, possessing more body and similar slam and impact. On tracks which require greater speed, the weight on the bass of the ZS10 Pro might be a detriment, but my personal preferences always lean towards a similar low-end presentation. Overall, bass hits with good natural decay and detail, and does nothing to soil the good name of Dynamic Driver bass.

Mids (7/10): The midrange is warmed up by the admirably hard hitting bass of the ZS10 Pro, and midbass bleed is occasionally present, but it’s not a significant issue. The midrange is clear and detailing is quite good.Vocal placement is just right for my tastes, not too far/near.

Male vocals have good body and presence, very adequately conveying the emotions and power of voices such as Andrea Bocelli’s. While Female Vocals sound good due to a gradually increasing peak in the upper midrange-lower treble region, it can also lead some female voices such as G.E.M or Hayley Reinhardt to sound slightly thin and nasally on occasion.

Highs (6/10): As with most KZ IEMs, the notorious Chi-Fi lower treble peak is here to stay. However, it’s not as overdone as many of their other offerings, and does well to give the midrange some air, though it can still sometimes be slightly harsh or sibilant. Keep in mind I’m sensitive to peaks in this region, so for most of you it’ll be less of an issue. It’s not particularly detailed regarding instruments like cymbals, for example in Amy Winehouse’s “Back in Black”, but is still more than capable.

The very top end of the ZS10 experiences a roll-off, though it can still be considered bright on the whole.

Soundstage, Imaging, Seperation and Timbre (7/10): The fantastic width of the soundstage becomes immediately apparent upon putting on the ZS10 Pro. Depth is not particularly impressive, however. Imaging is also a weak point, with instruments and singers mostly found on the extreme left and right panes of the stage rather than spread out across. Timbre is quite good, not the most revealing due to the warmth of the ZS10 Pro, but it remains mostly natural.

Conclusions

The KZ ZS10 Pro will definitely go a long way in changing the opinions of the company for non-believers such as myself, and is an absolute win for KZ. Their sound signature works for most genres of music, though if you’re not one for bright IEMs you’d likely still want to give this a pass. For the rest, however, at $50 USD, these are very, very good.

Full Review on AudioRambles: https://audiorambles.com/xba-n3/

Overall, the XBA-N3 possess a relatively neutral sound signature with a slight sub-bass and lower treble boost. It retains a good amount of warmth, allowing it to never sound muddy but still maintain its smoothness across the board. Where it really excels, however, is in its natural tone and timbre, providing an enjoyable and relaxing listening experience .

Bass (7.5/10): The XBA-N3 showcases thumping sub-bass which goes down low, though it still remains a controlled affair. It may sound very slightly boomy on certain tracks, but it's a tradeoff I'd take any day of the week for that little bit more "oomph". Keep in mind it's not an extravagant hump of any sort, but just the perfect amount to keep your toes tapping.

Mid-bass, however, was tuned to be more neutral in the grand scheme of things, with a very very slight hump to provide it more warmth, but that's about it. Impact and slam is sacrificed to allow for a smooth transition from upper bass to midrange, and an almost complete lack of mid-bass bleed. Bass, however, still maintains good, natural decay, texture and detail, especially evident in Daft Punk's "Instant Crush".

Mids (7.5/10): The XBA-N3 produces such smooth, silky and clear mids. Both male and female vocals are very well presented. Male singers ike Andrea Bocelli have sufficient weight and body, with a velvety texture in its delivery. My personal preference, however, lies in having greater emphasis in this region, as the relative lack of mid-bass causes a slight perceived dip compared to female vocals. Female vocals as a result are slightly more prominent, also in part due to the upper mid/treble peak which adds a good amount of air to the overall soundscape. Diamond Zhang's unique, breathy voice in particular is presented beautifully.

Detail retrieval, while above average and good, is really nothing to write home about due to its smooth tone and signature. There are IEMs out there with better detailing in this price range, but few which will ever compete with the N3's relaxing and non-fatiguing qualities midrange.

Highs (7/10): There's a peak as mentioned previously in the lower treble region, though it at times can be bordering on sibilance. Keep in mind however, that I am sibilance sensitive, so for you normal folks out there this is more than tolerable for you, given I did still enjoy the highs and rarely found them fatiguing/harsh. The treble is smooth throughout with a slight roll-off at the very top end, while still presenting details convincingly.

Soundstage, Imaging, Seperation and Timbre (8.5/10): The XBA-N3 produces a wide sounding soundstage, accompanied by realistic perceived depth. There is good air between instruments, and the XBA-N3 held up well on complicated tracks such as "Little Talks" by Of Monsters and Men and Supercell's "Kimi no Shiranai Monogatari". Staging is fantastic as well with backup singers and instruments in Amy Winehouse's live rendition of "Valerie" highlighting the precision the N3 is capable of. Above all, the N3 has such a realistic and natural timbre to its presentation of instruments, that it is hard to find faults in that regard.

Full Review here at my site: https://audiorambles.com/bgvp-dm6-2/



The BGVP DM6 sports a warm sounding V-shaped signature, with an emphasis on bass and treble frequencies. They are however, in my opinion, severely lacking in the midrange compared to similarly priced offerings on the market.

Bass (7.5/10): The bass of the DM6 is very presented very convincingly for a balanced armature based IEM. It’s definitely well above average, especially in the midbass region. The BGVP DM6 has a midbass emphasis, and has very good impact and slam, reminiscent to that of a dynamic driver, though it doesn’t quite move as much air.

Texture and detail of the bass is also very good, accompanied by very natural decay given the weight of the bass as showcased by tracks like The Script’s “Man Who Can’t Be Moved”. Subbass depth is nothing much to write home about, though still better than most sets in this price range. In Lorde’s “Royals”, the opening bassline can be heard in detail but not quite felt, not quite having the power and impact I’d like.

Mids (5.5/10): To me, the midrange is the heart and soul of the music. Light bass or muted treble wouldn’t bother me as much as a recessed midrange, and a recessed midrange is exactly what we get on the DM6. Male vocals especially suffer, with voices like Andrea Bocelli’s not having the weight and power I’m used to. There is however, no midbass bleed, just some slight warmth carried over from the midbass. Female vocals are more prominent, but will never really sound particularly sweet, just prominent. At times even, vocals can sound strained, and positioned a little too far back in the mix for my liking.

Highs (7/10): The DM6 does well to avoid any harsh peaks, especially in the lower treble which I am rather sensitive too. High hats and cymbals have quite a natural decay to them, though they still lack air and detail. It’s overall on the bright side of the spectrum, but really does well to avoid harshness while maintaining decent extension and smoothness, though a real lack of sparkle in the upper most register means they’re not the airiest of IEMs.

Soundstage, Imaging, Seperation and Timbre (6/10): Soundstage width is good. Perceived depth is a fair bit above average, likely a result of the mids being pushed further back into the mix. Seperation and Imaging also held up well in live recordings such as Scott Bradlee’s Postmodern Jukebox Series. Timbre is also decent, with most instruments sounding as they should, but perhaps just a little muffled due to the recessed midrange.

The BGVP DM6 definitely stray far from my preferred sound signature, but for those who listen to less vocal heavy tracks, such as EDM or perhaps Rock, the DM6 remains a valuable consideration given it’s almost the complete package for an IEM in this price range, regarding sound, build, comfort and so on, if you can deal with the recessed midrange.