KZ Symphony
I was invited by KZ to test the new Symphony hybrid IEM. KZ's recent releases have demonstrated a new direction in tuning with the Krila, Castor and PR3 along with CCA's Rhapsody and Trio being examples of this. The Symphony is the latest model from the company and is a hybrid design combining a 13.2mm Planar unit (as seen in the recent PR3) covering the mid and high frequencies and a 6mm dynamic driver handling the bass region. This configuration is unusual although the new BASN Mix-PD has a similar set-up.

Product link:
https://www.kztws.com/products/kz-symphony

The Symphony comes in a dark grey box which slides open to reveal the earpieces presented in a cardboard cut-out. Below this there is a card cover under which the accessories are stored. The presentation is similar to the packaging seen with the higher-end KZ models but in less premium materials.

The contents comprise:

● KZ Symphony EMs
● Silver plated 2-pin cable
● Three pairs of "Starline" tips (S, M, L)
● One pair foam tips (M) pre-fitted
● Documentation

The IEMs are very well made with a good fit and finish and have a similar build quality to the recent KZ Castor and Krila models. The earpieces themselves are triangular in shape with rounded corners and the metal faceplate has a series of five radiating spokes and two vertical bars, behind which there is a mesh grille. The name "Symphony" is written in white in a script font above the grille with channel identification appearing on the top surface near the 2-pin sockets. The black resin body is almost opaque and the earpieces are fairly bulky with a good weight to them.

The supplied cable is a silver-plated copper type with a clear sheath, clear plastic QDC connectors and a 90° angled white plastic plug and is 1.2m long. Channel identification is provided but is a little difficult to read. The ear guides are rather stiff but do result in a secure and comfortable fit and the cable is less prone to tangling than previous CCA/KZ designs, although there is still no chin slider provided.

The principal source was an Xduoo X20 DAP. A Hidizs AP80 Pro X, a digital radio and a smartphone were also employed. The stock cable and medium Starline tips were used and a burn-in period of 100 hours was allowed to settle down the components. A good fit, seal and isolation were obtained but the sensitivity was lower than average meaning I found the Symphony fairly difficult to drive and a higher volume level than normal was needed to bring the sound to life.

Sound Quality
During testing, I subjected the Symphony to an extened burn-in period. For the first few days, the bass was dominant and coloured the midrange, overshadowing the other frequency ranges. The midrange itself was considerably recessed and the treble was soft, lacking bite and detail. However, on the fourth day there was a remarkable transformation. The bass became tighter and more focused and the planar driver covering the midrange and treble "woke up", displaying the expected tonality and detail I had seen in the PR3 which uses a similar planar driver. Now the midrange was more forward and the treble was much more present. The overall profile changed from a deep V shaping to a more balanced one with plenty of life and clarity and fulfilled the promise of the design philosophy, retaining the benefits of the planar unit with an enhanced bass response courtesy of the dynamic driver.

Bass
The low frequencies were rich, extended and powerful with a warm tonality and a slow decay which produced a good impression of the ambience of the recording venue. Sub bass possessed a good rumble and reasonable texture although a little more definition would have been welcome. The speed was not as snappy as the planar driver in the PR3 but rhythmic ability was of a good standard. Mid bass was a little elevated and influenced the lower midrange with some added warmth while at times the different tonalities and transient qualities of the dynamic and planar drivers gave the impression of the bass being not fully integrated with the rest of the range.

Mussorgsky's "Pictures at an Exhibition" orchestrated by Ravel is a deservedly popular work. "The Hut on Fowl's Legs" is introduced with powerful bass drums and full orchestra and the Symphony delivered an impactful rendition in the version by the Philharmonia Orchestra under Riccardo Muti. The timbre was natural and rich with the resonance of the concert hall and the natural decay of the drums particularly well rendered, creating a believable picture of the acoustic. The rhythmic drive was maintained throughout the piece and the dynamic range at the conclusion leading into "The Great Gate of Kiev" was very impressive.

Jennifer Galatis's "Io" is a colourful and dramatic score to a film about Jupiter's volcanic moon. The powerful anthemic introduction to "Interstellar Voyage" leaves the listener in no doubt of the Symphony's bass prowess. Deep sub bass pulses accompany sweeping synth strings which carry the main theme. A falling four-note motif reminiscent of Vangelis joins the dynamic percussion and as the piece concludes the rich bass tones form a solid foundation in dramatic style.

Midrange
Once the sound had improved after the extended burn in, the midrange performed as expected based on my experience with the planar driver in the PR3. There was good projection in vocals and lead instruments with a lively, clean tonality and crisp natural timbre. The lower region was a little coloured by the bass and there was some recession producing a 'distant' feeling and a slight detachment from the bass. The rest of the midrange was very well presented with the upper region detailed and immediate and a well judged amount of pinna gain leading into the treble.

"Due Tramonti" is a track from the album "Eden Roc" by Ludovico Einaudi. It is a meditative piece performed at a slow tempo. In it, Einaudi is joined by Marco Decimo on violin. The timbre of both instruments was very natural and they blended very well together with the sustain and decay of the piano notes forming an effective backdrop for the lyrical violin melody lines. The contrast between the softer and more percussive passages was handled adeptly by the Symphony demonstrating the ability of the planar driver's dynamic shading.

Cat Stevens's "Father and Son" is one of his classic tracks. Beautifully recorded, the balance between the vocals and the acoustic guitars was perfectly maintained by the Symphony with the story effectively conveyed by Cat Stevens's different vocal characterisations of the father and son which stood out clearly from the accompaniment.The instrumental section in the bridge was very well handled with plenty of attack in the guitar solo and dynamic rhythm section and the subtle backing vocals were clearly audible.

Treble
The treble was extended, detailed and dynamic without a trace of harshness. It was a little brighter than neutral but always remained smooth and clean. It transitioned from the midrange seamlessly and there was a good deal of 'air' in its presentation. Occasionally it could sound over-enthusiastic on certain material and become dominant, producing a deeper overall V profile and unbalancing the tonality. The difference in timbre between the bass driver and the planar unit was slightly more noticeable here.

"Down to the Moon" is an album by Andreas Vollenweider and his trademark electric harp has never sounded better than in this award-winning recording. "Steam Forest" begins with strange sound effects before a medium-paced melody is introduced with bright percussion accents and a solid bass line. The sparkling tones of the harp were captured in a resonant acoustic and the Symphony made the most of it with a lively and entertaining rendition. Fine detail and spacious imaging were the order of the day and the rhythmic qualities of the piece were conveyed with verve and precision, especially in the second half of the piece when the tempo was increased and the Symphony's excellent transient response became more evident.

Rossini's "String Sonata No.1" is a lively and rhythmic work for a small string ensemble. In the version by the Orchestra if the Age of Enlightenment, the Symphony's planar driver delivered a sprightly and incisive performance with the detail of the bowing and the crisp harmonics of the violins to the forefront. It was easy to hear the leading edges in the pizzicato accompaniment and the clarity of the lead instruments contrasted with the details of the counterpoint. The excellent pace and timing ensured
that the rhythmic drive of the piece was preserved authentically.

Soundstage
The soundstage was perhaps the Symphony's best feature. Separation, layering and imaging were all of a high standard and the size of the stage was expansive in all three dimensions. It was easy to follow individual performers and instruments and to pinpoint their locations in the stereo image. Movement within the image was also impressive, especially with electronic music where sound effects were important.

German electronic duo Software featured the musicians Michael Weisser and Peter Mergener. "Space Design" is the title track from their 1993 album. Following an introduction featuring sweeping electronic sound effects, a heavy bass sequence accompanied by drum underpins the piece. Smooth synth string patches are added and percussive synth sequences occupy each side of the image accompanied by space comms. The whole soundstage was filled in a holographic fashion forming a spacious backdrop for the incisive melody line. This was perfect material for the Symphony and showcased its abilities with complex productions.

E.J. Moeran's Symphony in G minor is a wonderful example of British 20th Century music. Written in sonata form, the first movement begins with a vibrant theme and strong rhythms featuring a prominent use of percussion. The Symphony presented this in good style with a real sense of depth and the placing of the different elements clearly discernible. When the second more lyrical theme is introduced the strings were spread realistically across the stage and the woodwind section accurately placed within the image. The ambience of the Bridgewater Hall, Manchester, in the recording by the BBC Symphony Orchestra under Vassily Sinaisky was reproduced very convincingly.

Comparisons
KZ PR3
The new PR3 features an upgraded 13.2 mm Planar unit with a "Nano-level" silver plated membrane and electronic filter tuning. The cable is a silver plated OFC type with a 2-pin 0.75mm connector and a gold plated 90° angled 3.5mm plug.
The PR3 is a semi-open design with a clear resin body. The gunmetal coloured alloy faceplate has a grille of diagonal parallel strips, three gold hex bolts.

The PR3 has a well-balanced, neutral profile with a clean and precise bass, an expressive midrange possessing good timbre and an energetic, bright treble showing excellent detail and extension. The soundstage is spacious with good layering and separation making it easy to follow individual strands in the music. The volume needs to be set somewhat higher than normal, which is often the case with planar drivers.

Compared to the Symphony the PR3 is more neutral/bright. The sub bass has a little more focus and resolution whereas the Symphony is denser and warmer with a slower decay. The Symphony also has a stronger bass presence which is more satisfying but the PR3 has better speed in the low frequencies.

The midrange and treble are broadly similar, which is not surprising when a similar planar driver is used. Both models have a clean and bright quality here with a quick response and decay and they display good technicalities, especially in the treble which is very extended and detailed. Soundstage is roughly equal except for the Symphony's ability in reproducing hall ambience resulting in an even larger staging.

Overall, the Symphony is warmer in nature because it derives some warmth from its mid-bass whereas the PR3 with more of a sub-bass emphasis and a dialled-back upper bass sounds faster and cleaner, especially in the mid-bass and lower mids. The sensitivity is similar also, with both needing a higher than average signal for the best results. The PR3 may be considered as having a reference style tuning compared to the Symphony's entertaining V profile.

TRI i3 Pro
The TRI i3 Pro is a redesigned version of the original i3. Like the first model, it sports an 8mm dynamic driver for the bass, a 10mm planar magnetic unit for the midrange and a custom balanced armature for the treble region. The size has been reduced by more than a quarter and the MMCX connection has been changed to a 2 pin interface. The earpieces are crafted from polished CNC formed alloy and are similarly shaped to the original with subtle contouring but are significantly smaller. The 2-pin sockets are recessed and accept standard connectors. There is a row of four small vents for the dynamic driver on the rear of the earpiece.

The i3 Pro displays a well-balanced mild W profile with powerful sub-bass. The mid bass islower in level and transitions gently into the mids. The mids themselves are slightly forward and well-resolved with a natural timbre. The treble is clean and clear and fairly well-extended with a moderate peak before rolling off smoothly although perhaps a little early. The soundstage is expansive with a little more depth and height than width and separation and imaging are excellent.

The major difference between the i3 Pro and the Symphony is in resolution. The i3 Pro is able to show the timbre and harmonics of instruments more naturally where the Symphony does sound a little artificial in this respect. This is not surprising considering the i3 is in a much higher price band, but the Symphony does still acquit itself well. Also in the bass, the cleaner delivery of the i3 is preferable with more detail on offer at the same time having similar extension. The midrange is much closer with a similar response, the i3 sounding a touch smoother here. The treble of the i3 is just as extended but is sweeter and displays more air. Staging on both models is expansive, the Symphony just edging out the i3 in dimensions, mainly due to the i3's more forward mids which tend to flatten the image.

Conclusion
The Symphony is a well made IEM with an exciting and entertaining sound. There is copious bass, an expressive midrange and an extended treble with good detail. The profile is unashamedly V shaped but the recession in the midrange is offset by the speed and dynamism of the planar driver.

Adding a dynamic driver to augment the bass response of the planar driver has been generally successful, although its speed and resolution could be improved. In heavier bass material there was a thickening of texture and blunting of detail. There was good weight and extension but there was a tonal difference between the two drive units which led to a contrast in timbre. However, none of the above issues affected the ability of the Symphony to deliver a satisfying performance. Indeed I found myself enjoying the music despite any tonal inaccuracies and consider the Symphony as a kind of guilty pleasure which reminded me of the original ZS10 Pro with its bold, cinematic delivery.

CCA Trio
Kate, the social media representative from KZ, contacted inviting me to test the new Trio IEM from CCA.

CCA (Clear Concept Audio) is a sister company of KZ (Knowledge Zenith). The company produces parallel models to KZ as well as original designs. Among its most successful models are the CRA, C16, CKX and the new Rhapsody. The Trio is its latest design featuring three 8mm dynamic drivers and four tuning switches and retails for around $40.

Purchase link:
https://www.kztws.com/products/cca-trio-legendary-3dd-iem

The Trio comes in the familiar CCA/KZ small white box with a monochrome image of the IEMs on the front, the CCA logo at the top and the model name "CCA Trio" below, along with a description of the product in English and Chinese. The specifications and company information are printed on the rear of the box.

Sliding the box open reveals the IEMs in a plastic tray below which the accessories are stored below a cardboard flap.

The contents comprise:

● CCA Trio IEMs
● Silver plated 2-pin cable
● Three pairs of "Starline" tips (S, M, L)
● One pair foam tips (M) pre-fitted
● Tuning switch lever
● Documentation

The IEMs are very well made and have a similar build to the recent KZ Castor and Krila models with a metal faceplate and clear resin body allowing a view of the components within. The earpieces are fairly bulky with a good weight to them. The Trio's glossy black faceplate is attractively contoured and bears the model name in a gold script font. There are three diagonal vents for the dynamic drivers and channel identification is provided on the top of the unit next to the clear plastic 2-pin sockets. The four tuning switches are mounted on the rear of the unit.

Internally, there are three 8mm dynamic drivers fitted in a 3D printed housing, separated by a three-way crossover network covering the sub-bass, bass and midrange/treble.

The supplied cable is a silver-plated copper type with a clear sheath, clear plastic QDC connectors and a 90° angled white plastic plug and is 1.2m long. Channel identification is provided but is a little difficult to read. The ear guides are rather stiff but do result in a secure and comfortable fit and the cable is less prone to tangling than previous CCA/KZ designs, although there is still no chin slider provided.

Tuning Switches
The tuning switches on the earpieces provide a variety of tuning options. Switch 1 increases bass by one level, switches 1 & 2 together increase bass by two levels. Switch 3 increases midrange and treble by one level and switches 3 & 4 together increase midrange and treble by two levels.

The principal source was an Xduoo X20 DAP. A Hidizs AP80 Pro X, a digital radio and a smartphone were also employed. The stock cable and medium Starline tips were used and a burn-in period of 100 hours was allowed to settle down the components. For the purpose of testing, all switches were set to "off". Thus configured, a good fit, seal and isolation were obtained. Sensitivity was slightly lower than average with a somewhat higher volume level than normal needed for the best results.

Sound Quality
From the very beginning, the Trio displayed a natural timbre and a well-balanced tonality which adapted well to a variety of genres. No particular frequency range was overemphasised and the overall profile was on the warm side of neutral. There was a good sense of weight in the bass with fine resolution and texture whilst the midrange was open, spacious and natural. The treble was clean and nicely extended with no undue harshness and there was plenty of detail. Staging was expansive in all three dimensions with the height particularly noticeable. The overall impression was warm, inviting and musical.

Bass
The bass produced by the Trio was rich, full-bodied and weighty. There was good timbre and texture and excellent extension with a natural decay. Sub bass dug deep with a healthy rumble and mid bass provided a satisfying kick whilst speed and transient attack were on point.

"Dusk" by Franz Waxman is a piece from the score of the psychological thriller
"Night unto Night". In the recording by the
Hollywood Bowl Orchestra under John Mauceri, a mysterious and spooky introduction leads into an impassioned part for strings with an emotive violin solo. After a brief quotation of the theme, a dynamic and powerful interlude follows featuring a large percussion section in which the bass drum features prominently. The Trio reproduced this impressively with an incisive initial strike and rebound of the skin while the natural decay merged seamlessly into the hall ambience. The piece ends with a romantic epilogue representing the victory of love over conflict in which the basses and cellos displayed a warm and rich tonality.

Jonn Serrie is an American synthesist best known for his space and planetarium music. "The flow of Time's Arrow" appears on his album "Thousand Star". Delicate high frequency effects and melodic synth patches introduce the track. A gently descending theme is supported by sub-bass tones and lush chordal accompaniment and the weight and depth produced by the Trio really set the scene for an imaginary space journey populated by twinkling electronic percussion and crystalline elements. The deep bass foundation possessed a rich, full texture which was perfect for this kind of material.

Midrange
Following on from the bass, the Trio's midrange emerged from the low frequency region with just a touch of extra warmth which added an attractive bloom to cellos, bassoons and male vocals. The timbre throughout the range was natural and the upper mids were a touch brighter, giving instruments and female vocals some character and projection. There was plenty of detail on offer and little evidence of recession. Separation and layering were of a high standard and there was a good balance between the musical and technical.

"Reverie" is a track from Bruce Mitchell's New Age album, "Earth Heal". It is a romantic solo piano piece in the classical style and is beautifully recorded and performed. On the Trio, the timbre of the piano was very realistic with sustain and overtones authentically reproduced and crisp transients adding a little spice to the proceedings and helping to bring the performance to life. The contrast between the flowing melodic sections and the more dynamic and percussive passages was notable and the whole piece gelled together in a musically satisfying fashion.

Holst's "Moorside Suite" for brass band was composed in 1928. In the recording by the Grimethorpe Colliery Band under Elgar Howarth, the Trio showed its capabilities with a natural timbre to all the instruments ranging from the smooth tones of the trombones and tuba to the more incisive sounds of the trumpets and cornets where there was a real bite and shimmer. The lively folk-inspired melodies were delivered with verve and excitement and the rhythmic qualities of the faster passages came over wonderfully well with the separation in the choral sections handled adeptly and the percussion in the final movement displaying good transient attack.

Treble
The treble flowed seamlessly from the upper midrange without too much "pinna gain", resulting in a gentle transition. The tonality was clean and smooth with good extension and a natural timbre commensurate with a competent dynamic driver. Detail retrieval was above average and there was a good deal of subtlety in the presentation. Separation was also of a high standard with a similar level of resolution. The overall impression was musical but still possessing good technical ability.

Pachelbel's "Canon in D major" is a much-recorded work but has rarely received such an elegant rendition as in the version by the Jean-Francois Paillard Orchestra on Erato. Taken at a slow tempo, it brings out the stateliness of the melody and allows the detail of the counterpoint to be appreciated. The tonality of the strings, the separation of the ensemble and the detail of the harpsichord continuo were all attractively portrayed by the Trio with a clean delivery and plenty of space between the instruments. The balance in the performance was nicely judged and the excellent resolution and extension in the treble brought out the harmonic qualities of the violins convincingly.

German multi-instrumentalist Georg Deuter has produced many albums in the New Age genre. His compilation album "Sands of Time" was released in 1991. From it, "Alchemy" features fast-paced intricate rhythms inspired by Eastern music. Bells, acoustic and electronic percussion combine to produce a hypnotic effect filled out with a subtly changing synthesiser accompaniment overlaid with woodwind and chanting. The Trio managed to present all this as a coherent whole while enabling the individual strands to be followed clearly. The delicacy and detail of the high frequency sounds were adeptly portrayed with sparkle and precision, remaining smooth and totally lacking in harshness while at the same time maintaining a musical quality.

Soundstage
The staging was one of the more impressive aspects of the Trio's performance with a notable height and above average width and depth. Movement within the stage was clearly presented and both layering and separation were of a high standard. Crucially, the Trio reproduced the staging faithfully according to what was in each recording rather than exaggerating it.

"Leeward Sail" is a piece from the album "Dolphin Smiles" by Steve Kindler and Teja Bell. It begins with acoustic guitar high in the centre of the image accompanied by keyboards on the left and strings on the right. An impactful kick drum is added and then the melody is introduced by Teja Bell's guitar and Steve Kindler's violin playing simultaneously, producing a distinctive sound. The Trio reproduced this accurately, retaining the characteristics and the positioning of the two instruments while retaining the effect. Later the two soloists play separately in a kind of dialogue, which was very effective. The stage was filled in a notably three-dimensional fashion and the ambience of the recording studio was conveyed very realistically with excellent separation and layering.

Charles Dutoit's series of recordings with the Montreal Symphony Orchestra on Decca is legendary and his version of Holst's "Planets Suite" is a fine example. Throughout the piece, the atmosphere at St Eustache, Montreal was conveyed authentically and the locations of the various orchestral sections were accurately delineated. The front to back perspective was particularly well realised and the interplay of the woodwind and strings was in perfect balance. The varying timbres of the different instruments as they successively shared the melody were clearly differentiated and the impression of each soloist occupying their own space was another outstanding feature.

Comparisons
KZ Krila
The Krila is a recent design from the company and is a dual hybrid IEM employing a 10mm dynamic driver, the second generation Xun unit, and the latest iteration of the well-known 30095 balanced armature. Like the Trio it has four tuning switches. It is well made with a metal faceplate and resin body and has a similar cable to the Trio. The Krila was set with all switches off.

The Krila has a V-shaped profile. Its detail retrieval is crisp and immediate and different in timbre from the Trio, which is to be expected with a BA, rather than a dynamic driver, handling the high frequencies. It is technically competent and the treble is similarly extended but brighter, with a less natural timbre and sometimes a little overemphasised. The midrange is nicely contoured but has a more noticeable rise in the upper region compared to the Trio. In the bass, the Krila's Xun driver is subtly different with good weight, rumble and impact, and is a touch tighter in its delivery. The Trio is warmer here and perhaps loses just a little bit in definition. Soundstage on both models is of a similar extent with the Krila's brighter top end giving the impression of more detail and the Trio excelling in space and atmosphere and feeling more natural.

KZ Castor
The Castor employs two dynamic drivers in a stacked configuration. Bass duties are handled by a 10mm unit dealing with the frequency range up to 200 Hz while the midrange and upper frequencies are covered by an 8mm driver. It is very well made with an alloy faceplate and resin body. As with the Krila and Trio, all tuning switches were set to the off position.

The profile follows the Harman curve, a generally V-shaped frequency response, but the midrange is only slightly recessed. The treble is brighter than neutral and, like the Krila above, sometimes becomes rather emphasised. The Trio is more neutral with a smoother treble but with no loss of detail and is more extended than the Castor. The Castor's bass is a little more coloured, with a small amount of bass bleed, which is absent in the Trio, possibly due to the separation of the two units dedicated to the bass. In the midrange, the two are fairly similar with nothing much to separate them, except for the upper region which has a touch more pinna gain making it somewhat brighter. Soundstaging in both models is broadly similar with the slight increase in brightness on the Castor flattening the perspective by a small degree.

KZ PR3
The new PR3 features an upgraded 13.2 mm Planar unit with a "Nano-level" silver plated membrane and electronic filter tuning. The cable is a silver plated OFC type with a 2-pin 0.75mm connector and a gold plated 90° angled 3.5mm plug.
The PR3 is a semi-open design with a clear resin body. The gunmetal coloured alloy faceplate has a grille of diagonal parallel strips, three gold hex bolts.

The PR3 has a well-balanced, neutral profile with a clean and precise bass, an expressive midrange possessing good timbre and an energetic, bright treble showing excellent detail and extension. The soundstage is spacious with good layering and separation making it easy to follow individual strands in the music. The volume needs to be set somewhat higher than normal, which is often the case with planar drivers.

Compared to the Trio, the PR3 has a cleaner and brighter quality with a quicker response and decay which gives it a slightly different timbre. It is superior in technicalities, especially in the treble which is very extended and detailed. The Trio is warmer in nature with a more natural timbre but lacks the immediacy of the PR3. Both have a generally neutral midrange but the Trio derives some warmth from its mid-bass whereas the PR3 with more of a sub-bass focus is cleaner in this region. The Trio has a stronger bass presence which is more satisfying but the PR3 has better speed in the low frequencies. The clean and open nature of the PR3 results in an impressive staging which is more precise than that of the Trio. The Trio is easier to drive with the PR3 needing substantially more power to give of its best. In many ways the Trio and PR3 are complementary, each having its considerable merits.

Conclusion
The more recent releases from CCA and KZ have shown a marked improvement in timbre compared to the older models. Gone is the deep V shaping with dominant bass, recessed mids and sometimes aggressive treble with the tuning now more inspired by the Harman curve. The Trio is a good example of that.

Building on a solid bass foundation with a natural timbre and decay, there is a largely neutral midrange which is smooth in character. The treble is clean, smooth and extended with a high level of detail and the soundstage is expansive. There is a satisfying musicality to the presentation. These impressions are based on the switches all in the "off" position and using them will result in different profiles. In general, they will make the final sound increasingly V shaped as they are engaged, thus providing a choice of tonalities.

Well made and comfortable to wear, the Trio ticks all the boxes and performs at a significantly higher level than would be expected at the price and I consider it to be the finest model from CCA I have heard. It is highly recommended.

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

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

Product link:
https://www.kztws.com/products/kz-pr3

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

KZ Castor

I was contacted by KZ recently and invited to review the Castor IEM (Harman Target Version). This product was provided at no cost by Kate, the representative at the company.
Product link:
https://www.kztws.com/products/kz-castor

Knowledge Zenith (KZ) is known for producing excellent value high-performing earphones, including the popular ED range of dynamic driver IEMs and the hybrid series beginning with the ZST. The company has recently taken a new direction in design and tuning and this is reflected in the nomenclature with some newer products given names rather than alphanumeric titles. The Castor, named after one of the twins of Greek legend, is a dual dynamic model with tuning switches and retails for around £20.

The Castor is presented in a compact white rectangular box, as we have been accustomed to seeing from KZ. The front of the box bears a line drawing of the IEMs and the rear features the specifications. Removing the slip cover reveals a white plastic tray with the IEMs inside, below which is a white card box containing the accessories. The contents comprise:

● Castor IEMs
● 2-pin silver-plated copper cable
● Three pairs "Starline" silicone ear tips
● One pair foam ear tips (pre-fitted)
● 2-pin silver-plated copper cable
● Tuning lever
● Documentation

The model tested here is the Harman Target version and it is finished in a silver colour with the name "Castor" printed in black in a freestyle font on the faceplate. The lower half of the earpiece is transparent allowing the inner workings to be seen. There is a large vent on the lower edge of the earpiece similar to that on the Krila hybrid IEM and the four tuning switches are mounted on the rear of the shell. The raised clear plastic 2-pin sockets are fixed to the top of the unit. Due to the stacked design of the drivers, the earpieces are fairly chunky and do protrude a little beyond the ears. The build quality is excellent.

The cable is a silver plated copper type with a 2-pin 0.78mm connector and a gold plated 90° angled 3.5mm plug. The sheath is transparent, revealing the copper wire within. The cable is not as prone to tangling as previous KZ designs but there is still no chin slider.

Internally, the Castor employs two dynamic drivers in a stacked configuration. Bass duties are handled by a 10mm unit dealing with the frequency range up to 200 Hz while the midrange and upper frequencies are covered by an 8mm driver.

The four tuning switches enable the user to adjust the bass, mid and treble as follows:

Switch 1: increases bass by 1dB
Switch 1 + 2: increases bass by 2dB
Switch 3: increases mid/treble by 1dB
Switch 3 + 4: increases mid/treble by 2dB

I discovered that the profile became increasingly V-shaped as the switches were engaged and affected the Castor's neutral balance which I preferred. The mids became recessed and I also felt that the staging was affected, becoming narrower and more shallow. Therefore, during testing, all four switches were set in the off position.

The Castor was tested with Xduoo X20 and Hidizs AP80 Pro X DAPs. A smartphone, via a USB-C dongle, and a digital radio were also used. The IEMs were subjected to a burn-in period of 100 hours before evaluation.

Sound Quality
The Castor was immediately impressive in its presentation with a lively, full tonality, precise transient attack, bright extended treble and a spacious soundstage. It majors on technicalities, and the overall profile was well balanced with a moderate emphasis in the high frequencies and an unexpectedly forward midrange considering that it was designed to follow the Harman Target. The bass reached well into the lower octaves with good impact, the mids were clear with a natural timbre and treble detail was abundant. It was astonishing to hear what can be obtained for just £20. A few years ago this level of quality would have only been available at a much higher price.

Bass
The bass showed fine texture and resolution with good extension. It did not dominate the rest of the frequency range, but remained in balance with the midrange and treble. There was plenty of weight and impact when present in the recording and I did not find it necessary to increase the level by using the switches or applying EQ. The delivery was clean, displaying good speed and a natural timbre.

"Nuvole a Colori" comes from the album "Stagioni de Venezia" by Rondo Veneziano. The track is a fusion of synthesisers and baroque violin, supplemented by electronic percussion. It begins with powerful synth strings and deep bass playing a descending motif in the minor key. Dramatic diminished chords are accompanied by violin arpeggios and the Castor really made the most of the arrangement here with a focused, weighty bass showing fine resolution, detail and texture. There was no boominess or overhang and the delivery was clean and precise. The bass driver's character resembled a BA in its speed and impact yet possessed the natural timbre more associated with a dynamic unit.

Malcolm Arnold's suite of "Four Cornish Dances" composed in 1966, reflects the landscape, people and traditions of the county with a dash of humour added for effect. The third movement is inspired by marching bands and Methodism. The piece begins with a bold theme from the brass section underpinned by a sustained bass drum accompaniment. The Castor dealt with this very well with a healthy rumble and fine rendition of the tuba bass line. The piece rises to a climax and, after a spirited section featuring a solo tambourine, it concludes with a triumphant chord with the full orchestra which was handled thrillingly.

Mids
Although based on the Harman profile, the Castor's midrange was not recessed, and in fact was a little brighter and more forward than expected. There was a wealth of detail, a clean and airy character and excellent separation. The tonality might be described as bright/neutral with an attractive immediacy and never strayed into harshness.

I have always found cello and piano to be good indicators of midrange quality in a transducer. Venezuelan composer Reynaldo Hahn's "A Chloris" is a homage to Bach. In the version by Julian Lloyd Webber and John Lenehan, the Castor's delivery was clean and accurate. The two instruments displayed a natural timbre while the ambience of the recording venue was reproduced authentically, taking the listener direct to the performance. The incisive nature of the bowing brought out a clear depiction of the "rosin" whilst the piano's overtones were equally well rendered, adding to the realism.

Bob Dylan's "Farewell Angelina", performed by Joan Baez, showed what the Castor was capable of with vocals. Accompanied simply by double bass and guitar, Baez's voice retained all its character with her diction reproduced cleanly and precisely. The balance with the accompaniment was well rendered and the emotion of the performance was captured with perfect clarity.

Treble
The Castor's treble was very extended and somewhat brighter than neutral. There was plenty of detail and lively transients, with notes starting and stopping with precision and upper frequencies displaying excellent detail. The presentation was quite forward with some extra brightness at higher volumes occasionally dominating proceedings.

Zimbabwean multi-instrumentalist Hennie Bekker has produced a large catalogue of music in various genres including jazz, film music and New Age. "Summer Dawn" from his album "Summer Breeze" features banks of Synclavier strings, woodwind samples and electronic embellishments. The texture and extension of the treble was a joy to hear and blended perfectly with the solo woodwind samples. Bright synth percussion elements danced across the stage and created a colourful panorama of sound with exceptional clarity.

Lavinia Meijer is a Dutch harpist and has recorded many albums of classical transcriptions and other genres. Claude Debussy's "The Girl with the Flaxen Hair" comes from her 2015 album "Voyage". She has a light and gentle touch and the Castor's reproduction stayed true with a delicate and detailed rendition of the piece. Being a more gentle piece, the treble remained smooth and clean. The fine detail did not escape the Castor's attention with the feeling of the piece taking centre stage and revealing an impressively pure quality of tone.

Soundstage
The Castor produced a spacious, open and atmospheric stage with precise imaging, layering and separation. The effect extended beyond the ears with good depth and height. Movement of elements within the image was reproduced effectively with the location of instruments easy to discern.

Kevin Braheny is an electronic music artist who pioneered the use of analog synths in the early days of the genre, developing "The Mighty Serge," a modular analogue system that he still uses in his music. His output also features the Steiner EWI (Electronic Wind Instrument). These elements come to the fore in "Desert Walkabout" which appears on the compilation album "Western Spaces".

The music is described as "a celebration of the sense of freedom inspired by the timeless beauty of arid vistas" and the Castor certainly managed to convey that impression, with a palpable sense of openness and space. Delicate percussive elements manifested in a cavernous acoustic while the solo EWI soared above the accompaniment in impressive fashion. There was a particularly good portrayal of depth with subtle sounds appearing to emanate from a distance, adding to the atmosphere and emphasising the feeling of isolation.

Anatoly Liadov's beautiful tone poem "The Enchanted Lake" received a wonderful interpretation from the Philharmonic Symphony Orchestra of London under the baton of Charles Gerhardt. This is a particularly fine recording and the Castor did not disappoint. The introduction features bassoons, horns and harp and all their different locations were pinpointed in impressive fashion with a real sense of space and perspective. The bass drum deep in the image, the attractive layering of the strings and the interplay between the various sections of the orchestra were presented in a realistic way, producing a satisfying experience.

Comparisons
Lindy Cromo IEM-75
The Cromo, like the Castor, is a dual dynamic IEM. The bass driver is 15mm in diameter and the treble unit has a 6mm diaphragm. The two drivers are in a dual concentric configuration. The cable is fixed and the large aluminium housing is very comfortable.

The Cromo has a warm and inviting profile with an easy going musical character. The timbre is natural although slightly coloured. The Castor is brighter, more detailed and has a better transient attack and is superior in technicalities. With a comfortable fit and cable down wearing style, it is possible to listen to the Cromo for long periods without fatigue, whereas the Castor's assertive delivery can become tiring after extensive listening. The Castor has a better build quality and detachable cables. The two IEMs are very different animals and are more complementary than rivals, it being a choice between the technical and the musical.

Audio Dynamix Euphony
Audio Dynamix was a company producing high quality Bluetooth speakers and ventured into the IEM market with an ambitious design for the time. The Euphony is again a dual dynamic design also in a stacked configuration, with a 10mm bass driver and a 6mm unit covering the mid/high frequencies. The diaphragm is a Mylar type 6 microns thick. The earpieces are crafted from aluminium and they have a T2 interface which is similar to MMCX but smaller in size. This connection is used by Westone and Etymotic.

The Euphony is quite similar in tonality to the Castor but a little more "laid back" in its presentation. It still possesses a strong and entertaining delivery but is a little more V-shaped in nature. The midrange is only moderately recessed but detail is very good, in fact similar to the Castor but with a somewhat softer quality. Bass goes a bit deeper than the Castor but it has a more "rounded" tonality whereas the Castor is faster and more incisive. Treble and soundstage are similar but the Castor's treble extension is superior.

KZ Krila
KZ's recent Krila is a dual hybrid model featuring the second generation Xun dynamic driver with a 10mm diaphragm, paired with an updated version of the long-running 30095 BA. Housed in a similar shaped earpiece to the Castor, it too, is well made. It has the same 2-pin cable as the Castor.

The Krila sounds different from the Castor, being more V-shaped in profile. Its detail retrieval is on a par with the newer model, but the Castor's midrange presents vocals in a more immediate fashion. In the bass, the Krila's Xun driver is preferable with more weight, rumble and impact, although of course the Castor's bass switches can be used here if more bass is required. The treble is similarly extended but brighter, occasionally straying into slight hardness which sometimes happens with BAs. The Castor is smoother here, with better separation. The Krila and Castor are both excellent models in their price range.

Conclusion
Technology has moved on very quickly in the world of IEMs. In the last few years things have advanced and manufacturers have responded to customer feedback regarding tuning. The Castor is an example of that. To be able to experience this at such a low cost brings high fidelity sound within the reach of everyone.

With a crowd-pleasing profile based on the Harman curve, the Castor also possesses a notable immediacy, presenting music in a lively assertive manner. The four tuning switches allow some adjustment, but at times, I would have liked a function to lower the levels rather than increase them, especially in the treble, which can be a bit over enthusiastic. Lengthy listening did result in a little fatigue but the resolution and detail available here was remarkable. The Castor is definitely one of KZ's best models and is a bargain at the modest asking price.

TRN TA2

I received this unit for review from Fedai at Amazon.com I would like to thank Ben for supplying this item.
Product link:
https://www.amazon.com/gp/aw/d/B0B6HBXX8Z/

TRN TA2

The TA2 is a hybrid design with three drivers, one dynamic driver and two balanced armatures. It has a metal faceplate and detachable 2-pin cable worn over the ear. It comes attractively packaged in a sturdy white box with a slip cover bearing a full colour image of the IEMs on the front. Removing the cover reveals a plain white box with a TRN logo in the centre, inside which the IEMs are displayed in a card cut-out below which is a round metal container holding the 2-pin cable. Underneath is a card box with the spare eartips and a 3.5mm to 6.3mm adapter. In all the box contains:

* TA2 IEMs (one pair eartips pre-fitted)
* 2-pin 4 core OFC silver plated cable
* 3 pairs white silicone tips
* 3 pairs black silicone tips with red bore
* 1 pair grey foam tips
* 3.5mm to 6.3mm adapter
* Round black metal carrying case
* Documentation

This is a generous accessory set and a very nice presentation.

The IEMs are formed from resin and have a magnesium alloy faceplate with a series of four horizontal vents in a triangular pattern in the centre above which is written "TRN Audio". The clear plastic raised 2-pin socket accepts a QDC type plug and the nozzle is gold in colour and has a silver coloured mesh. The dynamic driver, covering the bass frequencies, is an 8mm dual magnetic unit with a CNT (Carbon Nanotube) diaphragm. Two Knowles 33518 balanced armatures, placed within the nozzle, handle the midrange and high frequencies.

The 2-pin OFC cable is silver plated and has a fairly loose braid. The 3.5mm plug is 90° angled and is finished in a brushed aluminium, the Y split and 2-pin plugs are clear plastic and channel identification is provided by embossed "L" and "R" markings on the plugs. These are hard to read and colour coding would have been preferable. There is no chin slider, the cable does tangle easily and the ear hooks are very stiff.

The TA2 was tested with a Hidizs AP80 Pro X DAP, a smartphone and a CD player and a burn in period of 100 hours was carried out, after which the bass became tighter and the soundstage opened up. The pre-fitted tips resulted in a lack of bass, so I used the medium grey/red type, which gave a comfortable fit and a better sound balance. Sensitivity was good with adequate volume obtained from all sources.

Sound Quality
The TA2 displayed a largely neutral/bright mild "W" profile which was well balanced across the whole spectrum. Bass was sub-bass focused with a neutral mid bass, transitioning into the mids without bleed. Midrange was open, slightly forward and very detailed. This excellent detail was retained in the treble which was clean, extended and airy with very good resolution. The soundstage was expansive, extending well beyond the ears with good depth and height. Layering and separation were of the same high standard.

Bass
The TA2 produced a fast, clean and well extended bass response, the CNT driver's tonality blending well with the two BAs and giving the impression of a all-BA model yet retaining the depth and weight of a dynamic unit. Sub bass was a little elevated and mid bass was more neutrally-tuned with good timbre and resolution. There was no evidence of bass bleed.

Jacques Ibert's "Escales" is an entertaining suite of pieces for full orchestra. "Anime" is a lively and expressive piece featuring a powerful percussion section. In the recording by the Minnesota Orchestra under Eiji Oue, the initial strike of the bass drum was incisive and clean with authentic timbre and natural decay and the orchestral climaxes displayed impressive weight. The ambience of the recording venue was realised effectively.

"High Hopes" is the final track on Pink Floyd's album "The Division Bell". After a pastoral introduction, Dave Gilmour's vocal is followed by the chorus in which the bass guitar and drums impressed with their depth, speed and precision, at the same time showing a powerful impact. This continued in the long instrumental section where the bass was well balanced with the steel guitar lead solo and keyboards.

Midrange
The TA2 also impressed in the mids. With superb clarity, an open atmosphere and high levels of detail, vocals and solo instruments were immediate and well projected. The tonality was just a little brighter than neutral with authentic timbre and the lack of bass bleed kept the mids clean and clear. The sense of transparency was notable.

"Morning has Broken" by Cat Stevens received a wonderful rendition from the TA2. Accompanied by bright, detailed and clear acoustic guitar and Rick Wakeman's expressive piano, Cat Stevens's vocal, perfectly centered in the image, conveyed both the character of his voice and the message in Eleanor Farjeon's beautiful words. The studio reverb was particularly well rendered.

The TA2's excellent midrange quality was demonstrated perfectly in "Jag Hor" from the solo album "Piano" by Benny Andersson. The character of his Fazioli instrument was accurately portrayed with a believable timbre and a sense of space around the piano. It was only occasionally in the more percussive passages that a slight sharpness of tonality was present but overall it was a realistic presentation.

Treble
The dual Knowles 33518 BAs really showed their class here. With excellent detail and extension, a clean and airy atmosphere was produced with fine resolution. Only very infrequently on certain material there was a bit of extra sharpness but generally it was well controlled and smooth.

Isao Tomita's electronic versions of classical works always span the full frequency spectrum. Greig's "Solveig's Song" from "Cosmos" is a good example. After a quiet introduction, sweeping string arpeggios swell and cascade with a powerful dynamic range, supporting the lead synth voice. The treble extension here really showed its class with the strings and electronic effects intertwining to great effect and retaining their own character with excellent separation and layering.

"Many Chinas" is the opening track from Mark Isham's classic album "Vapor Drawings". Delicate electronic percussion elements left and right extended well beyond the ears while the punchy synth bass and drums occupied the centre of the image. Subtle sequences appeared in the background with Isham's trumpet taking the melody line. Throughout, the high frequencies remained clear, even in the most complex passages.

Soundstage
The TA2's soundstage was expansive in all three dimensions. Because of the excellent detail, layering, separation and imaging were all of a high standard.


The TA2 managed to create a convincing picture of the orchestra in Erik Fogg's atmospheric piece, "Merok" performed by the BBC Philharmonic under Rumon Gamba. Serene strings accompany the melody line on the oboe which is then taken in turn by cor anglais, flute and clarinet. The individual character of each instrument and its position in the image were conveyed very effectively by the TA2 with a believable sense of perspective.

The poignant cello solo in "Come back to Us" from the soundtrack to "1917" by Thomas Newman was beautifully realised. Set against soft strings and deep synth bass, a haunting atmosphere was created, full of emotion. The precise imaging and resolution and the reproduction of fine detail added to the effect.

Comparisons
Fiio JH3
The JH3 is a hybrid design, employing a large 13.6mm dynamic driver for the low frequencies and two custom balanced armature drivers for the midrange and treble. It has a lively, dynamic sound. The overall profile is V shaped, just on the bright side of neutral, with a powerful and well-textured bass, a slightly recessed but clear midrange and a clean, crisp treble. The soundstage is extensive and imaging fairly precise, with separation very evident.

The TA2 has a more neutral profile with a gentler W shaping and a brighter tonality. The bass is sub bass focused and the mid bass level is less prominent. The mids are more forward, treble a little more extended and the soundstage is more expansive.

TRI i4
The i4 is a dual hybrid employing the Knowles 33518 BA, this time coupled with a 10mm composite DD with a metal dome. The build quality is exemplary with full metal earpieces and secure MMCX connection. The i4 displays a warm and gentle V profile with a spacious stage and a relaxed and “laid back” presentation. The treble is “polite” but remains clear. The midrange is deceptively detailed and the lower region has a mid-bass emphasis with a slight sub-bass roll off.

The TA2 is quite different in character with a cleaner and brighter sound and faster transient response resulting in a more immediate feeling. The bass goes deeper with more detail whereas the i4 has a softer easy-going nature. Treble on the TA2 is brighter, more extended and detailed. Soundstage is similar in both but the brighter presentation of the TA2 gives the impression of better separation.

TRN TA1
The TA1 is a dual hybrid featuring an 8mm micro dual-core dynamic driver and a single Knowles 33518 balanced armature. It is well built and presented. The interface is MMCX.

Like the TA2 it has a W profile with a forward midrange but the treble is not as extended or detailed. Bass is warmer and slower in attack compared to the TA2 and there is a difference of tonality between the DD and BA which the TA2 does not display. Soundstage is excellent but not quite as extensive as the TA2. However, at the price it is still a good performer and worthy of consideration.

Conclusion
The TA2 is a very well-tuned IEM. The CNT bass driver has a tonality which blends well with the two Knowles 33518 balanced armatures and the transitions are seamless, giving it a character reminiscent of an all BA design yet possessing the weight and punch of a dynamic driver in the low frequencies. Transient response is excellent and the neutral/bright profile is detailed, spacious and dynamic.

I did find it tip-sensitive, so experimentation with tip rolling will pay dividends. The TA2 scaled well and was adept enough to show significant improvements with a better cable. I used a TRN 16 core silver plated cable to good effect and the use of a Fedai 16 core balanced cable brought further improvements.

The TA2 improves greatly on its little sister the TA1 with a more even presentation and improved extension at both ends of the spectrum. Well made and with a generous accessory set, the TA2 receives an immediate recommendation in its price range, and is indicative of the improvements in tuning we are seeing in IEMs today.

TRI x HBB Kai
I would like to thank Ann from Keephifi.com for supplying this sample for review.
Product link :
https://keephifi.com/products/tri-x-hbb-kai

Description
The TRI Kai is an IEM produced in collaboration with respected online reviewer Hawaiian Bad Boy (HBB) also known as BGGAR (Bad Guy Good Audio Reviews). It has been tuned to follow HBB's preferred frequency graph which is a somewhat modified version of the Harman tuning. Collaborations with online reviewers are a new trend in IEMs. We have seen CCA, KZ and Tripowin, amongst others, releasing models in conjunction with Crinacle and HBB. This is the first such model from TRI and also its first single DD model.

The Kai employs a 9.8mm dynamic driver featuring a DLC (Diamond Like Carbon) diaphragm, 2-pin connection and all-metal construction. It has an impedance of 36Ω, a sensitivity: 114dB@1KHz and a frequency response of 20Hz - 40kHz.

The Kai comes in a compact white box with a full colour slip cover decorated with a swirl pattern in blue and the product name "Kai" in a script font in white, below which are TRI and HBB logos. Opening the box there is a white card with Kai branding in gold, under which there is a faux leather case inside with the generous contents stored inside which comprise:

* TRI x HBB Kai IEMs
* 4 core OFC silver plated 2 pin cable
* 6 pairs of white silicone tips in different sizes
* Cleaning cloth
* Cleaning brush

It is a very nice presentation.

The IEMs are very well made in CNC formed aluminium alloy. They are smoothly contoured and are finished in a attractive blue and gold colour scheme with three triangular facets. The legend "TRI x HBB Kai" is printed in blue on the gold facet and there is a gold TRI logo on the lower blue facet. The fairly long nozzle has a gold mesh and a pinhole vent near the base. There is another pinhole vent alongside the 2-pin socket. The cable is made of 4 core OFC copper and is silver plated. The 3.5mm plug, Y-split and 2-pin plugs are all finished in gold and the loosely braided cable is silver in colour. There is no chin slider and also no channel identification on the cable or the IEMs.

The Kai was tested with Hidizs AP80 Pro X and Xduoo X20 DAPs, a smartphone and a CD player and a burn in period of 100 hours was carried out to run in the components. I found the pre-fitted tips a little too small and used the next largest size which produced a comfortable fit and good isolation. There was plenty of volume on tap, with a healthy level from all devices and no need for additional amplification.

Sound Quality
The Kai immediately impressed with its deep well textured bass, open and forward mids and detailed, smooth treble. The soundstage possessed good width and height but there was a little less depth. Timbre was warm and natural and vocal presentation was excellent while detail retrieval was deceptively high with layering and separation of a good standard.

Bass
The sub-bass was fairly neutral with good texture, and there was a lively elevated mid bass with good impact. The tonality was on the warm side of neutral, with just a little softness in the transients and a minor amount of bleed into the mids. The mid bass did occasionally become dominant on certain material.

"Skys" is a colourful and imaginative electronic album by Canadian musician Mychael Danna. "Sky 10" begins quietly with gentle chords and gradually builds to a climax in which the Kai delivered a solid bass with impressive weight and good extension. At the end of the piece the atmosphere was very well portrayed as the deep tones subsided.

"The Kentish Suite" is a colourful and varied set of pieces by Hubert Clifford. In the version by the BBC Symphony Orchestra conducted by Martin Brabbyns, the prominent orchestral bass drum in the fifth part, "Greenwich", displayed excellent timbre, good weight and a natural decay, underpinning the lively melody very effectively. The ambience of the hall was well rendered, which added to the enjoyment.

Mids
The Kai projected the mids very nicely, being just a little forward and also very clear. The lower mids received some warmth from the bass while the upper region was brighter with a clean delivery, showcasing vocals and solo instruments. The timbre was largely very authentic.

Linda Ronstadt's pure voice was clearly presented in "Lo Siento mi Vida" from her album "Hasten down the Wind". Accompanied by acoustic guitars and Dobro on each side, her voice was placed precisely in the centre with perfect diction. In the bridge, when she sings in English, the emotion of her performance was beautifully conveyed.

Debussy's "Claire de Lune" is perhaps the best known piece from the "Suite Bergamasque". Ikuyo Nakamichi's performance in a beautiful JVC K2 recording really shone. The timbre of the piano was accurate and the dynamic shading in the piece was very well handled. In the more percussive passages a little more bite would have been perfect but nevertheless the whole piece was very enjoyable.

Treble
The treble was smooth, clear and free of peaks and sibilance (unless present in the recording). It was deceptively detailed, having a somewhat reserved quality but displaying good extension and delicacy.

Mark Dwane is a master of the MIDI guitar synthesiser. His albums on mystical themes are always beautifully recorded in audiophile quality. "Paragons" is a track from "Martian Apparitions" and features incisive electric guitar chords in each channel supporting the lead synth voices. With a good sense of movement the clarity and resolution here was excellent. The accompanying electronic effects and percussion were precise and clean with a believable timbre.

Soundstage
The Kai displayed a stage with good width and average height, but there was some lack of depth, most likely due to the forward nature of the midrange.

Ray Lynch's "Deep Breakfast" is a classic of the New Age genre. The intricate electronic effects in "Tiny Geometries" were very clearly depicted by the Kai with the various tonalities nicely differentiated as they danced across the stereo image. The treble was well balanced against the uplifting synth melody and was always audible, even in the most delicate parts, with a good sense of layering.

The Kai produced an authentic picture of the concert hall in Liadov's beautiful "The Enchanted Lake". Bass trombones and tuba in the background created a menacing atmosphere overlaid by the delicate strings and clear brass parts. The rise and fall of the dynamics in the performance by the Philharmonic Symphony Orchestra of London under Charles Gerhardt were very realistically portrayed with only a little more depth in the staging required to make it perfect.

Comparisons

Fiio FD3
The Fiio FD3 is a single DD IEM with MMCX interface. It has a 12mm “Flagship-level” DLC (diamond-like carbon) diaphragm, front acoustic prism, semi-open acoustic design, interchangeable sound tubes and a 2.5D film coating glass faceplate.

The FD3 regales us with its broad cinematic delivery and rich, vibrant presentation and has a natural sound majoring on enjoyment and entertainment. With a mild V shape, the mids are somewhat recessed but still have good presence. The tonality is natural and the delivery exciting and lively. The Kai is warmer in nature and more U shaped with a more prominent bass, more forward mids and a smoother treble although the FD3 is a little brighter and more extended here.

Moondrop Aria
The Aria employs a 10mm dynamic driver with a liquid crystal polymer (LCP) diaphragm, N52 Neodymium magnet and CCAW voice coil. There is also a dual-cavity brass chamber and high frequency waveguide. It has been tuned to Moondrop's own VDSF curve which is a version of the Harman tuning. With its even-handed presentation it suits multiple genres and it is particularly impressive with classical music. The Aria possesses an attractive musicality which encourages further listening. It has a well balanced, near-neutral shaping with a clean and airy presentation, natural timbre and exceptional clarity. It has unsurprisingly become a frequent recommendation in its price range.

The Kai is quite similar in character with a warm well balanced profile, authentic timbre and smooth treble. Its bass is more extended, the midrange is more forward and the treble is softer but with no appreciable loss of detail. The Aria's bass is more linear and its midrange is slightly recessed, with a deeper staging. The Kai is more exciting to listen to than the Aria which can sometimes sound "safe" and a little more urgency would be preferable.

Whizzer Kylin HE01
The HE01 has a 10.2mm DD with a 1.2 Tesla magnet. The general profile is V shaped and it has a clean, very transparent sound with excellent detail. The bass is impactful, the mids are clear and the treble is detailed and extended. There is a large, spacious and open soundstage. A notable feature is the “dynamic shading” or ability to display subtle changes in volume.

The Kai is warmer in tonality with a more prominent midrange and a smoother treble response. The bass is more powerful and occasionally becomes dominant and has a less expansive staging but its vocal performance is superior. Dynamic performance is comparable but the HE01 has faster transients with a more immediate sound.

Conclusion
In my experience, TRI earphones have always been tuned very well. The Starsea, i3, i3 Pro and i4 all display a natural tonality and well balanced profiles. The Kai is no exception with a warm, inviting sound, solid build and generous accessories. There is a bit of additional warmth in the low frequencies which could be snappier, the staging does lack depth and sub bass could be improved, but overall, it equals or exceeds the performance of most of its competitors and therefore should be high on your short list if you are seeking the best single DD model in this price range.

I would like to thank Ann from Keephifi.com, via Amazon.co.uk for supplying this unit for review.

KBEAR Little Q

Description
The KBEAR Little Q is a wired earbud featuring an all-metal construction, compact enclosure and micro driver. It comes in minimalist packaging, a white cardboard box containing the earbuds fitted in a card cut-out below which are stored the three sizes of eartips and documentation.

The enclosures are solidly built from a gunmetal coloured alloy and are "bullet" shaped with KBEAR branding on the outer face. There is a prominent lip on the nozzle which helps to keep the eartips secure. The rear of the enclosure has a pattern of interlocking hexagons with a pinhole vent in the centre and there is a further pinhole vent on the underside by the cable. Channel identification is provided by embossed lettering "L" and "R" on the rear of the cable exit. Colour coding here would have been helpful as the lettering is difficult to read. The drive unit is a 6mm dynamic type with a composite diaphragm.

The Little Q was principally tested with a Hidizs AP80 Pro X DAP with a Huawei smartphone and CD player also employed. The largest size of the supplied tips were used which resulted in a comfortable fit with a fairly deep insertion, producing excellent isolation and solid bass. A burn in period of 100 hours was used to settle down the dynamic driver. After this the sound quality improved significantly so I would suggest that with the Little Q burning in is mandatory. Adequate volume was obtained from all equipment and the Little Q was adept enough to show a noticeable improvement with a higher quality source, although I did find the sound varied noticeably with different devices.

Sound Quality
The Little Q impressed with a powerful sound belying its size with an impressive bass presentation from the micro-driver. Sub bass had a satisfying rumble, mid bass provided a good kick and the tonality was warm and natural. There was a little bass bleed and the transient response could have been a little more incisive. Midrange was a little recessed with the lower region showing additional warmth from the bass and gradually becoming brighter with frequency. The upper region sounded clear and natural with no sign of peaks. Treble was relaxed and smooth with no harshness or sibilance, but it did roll off a little early. Overall this resulted in a well balanced and relaxing mild V shaping. Soundstage was just a bit above average in dimension with a little more width than height and depth.

Bass
The powerful bass response provided a solid foundation with a deep sub bass response and an elevated mid bass. The first part of "Inhaling Green" by Nick Magnus features wordless female vocals set against a synth/pomp rock instrumental backdrop and the Little Q produced an impressive and expansive sound picture. The warmth of the tonality did affect the detail and resolution and the bass occasionally became dominant, but the overall impression was of a "fun" tuning with good impact.

The deep bass drums in Sibelius's beautiful "The Swan of Tuonela" came across with the requisite menacing feeling in the superb performance by the Lahti Symphony Orchestra under Osmo Vanska's baton. Set against hushed strings and a haunting cor anglais solo, the Little Q created a spacious sound world with a healthy rumble and plenty of atmosphere, although a little more detail and resolution was wanting. The balance here was more natural between the bass and the rest of the orchestra.

Mids
The Little Q's midrange was warm and somewhat recessed, but retained good timbre throughout. With some bleed from the bass, transients were a little blunted but there were no harsh peaks and smoothness was the keyword. The upper region was clearer and more defined and detail retrieval was acceptable but could have been more precise.

The lush synth washes supporting the lead voice in Davol's "Mystic Waters" were very attractively presented with good atmosphere, whilst being just a little distant in the mix. There was a good sense of height in the lead synth voice in the middle of the piece and overall the Little Q turned in a very enjoyable performance.

"It must be Love" in the entertaining version by Madness sounded very good. Set against an infectious reggae backing and imaginative string parts, the Little Q rose to the occasion admirably. Suggs' lead vocal was well projected and was nicely balanced with the rhythmic accompaniment which came over with clarity and attack. The sax solo in the bridge displayed a believable timbre as did the ensuing electric guitar solo, producing an enjoyable rendition. The balance in this production was very much to the Little Q's liking.

Treble
The treble was generally smooth, relaxing and free of disturbing peaks. There was some loss of detail due to a gentle roll off in the upper region and I would have preferred a little more sparkle and resolution here.

In "Blue Saloon" from "Tubular Bells II" by Mike Oldfield, the bass guitar is accompanied by delicate high electronic percussion effects. These just lost some detail and were set back a little more than ideal. The timbre and tonality of the guitars and percussion were accurate and were musically satisfying and the rhythmic elements were well rendered.

Jacques Loussier's superb 1960 recording of Bach's "Air on a G string" recently remastered, features piano, double bass and percussion. The fine details in the brush cymbal work were somewhat distant and subdued, but the piano in the more dynamic passages showed excellent speed and timbre. A little more brightness here would have been perfect. The ambience of the recording venue came over well.

Soundstage
The Little Q produced a stage of average dimension, with the width being greater than the depth, and a decent impression of height. Layering was above average and imaging also of a good standard. Stereo movement and effects were very well portrayed making the Little Q ideal for gaming and movie soundtracks.

"The Fairy Garden" is part of the "Mother Goose Suite" by Ravel. In the electronic version by Isao Tomita from "The Ravel Album", the movement of the electronic effects was impressively conveyed with the deep bass parts sweeping across the image while the high pitched sounds sparkled and danced above them.

"On Air" is an album by the Alan Parsons Project. In the opening track, "Blue Blue Sky" we are greeted by birdsong all around us. A close miked vocal accompanied by acoustic guitar follows and this was exceptionally clear. Finally, towards the end of the piece, two jet aircraft speed across the image from right to left and the effect was very convincing and exciting with a natural and realistic "airy" feel as the sound faded.

Comparisons
The Little Q joins a number of similar models appearing recently, amongst which are the two below that I have chosen for comparison, the Fiio x Jade Audio JD3 and the Moondrop Chu.

Fiio x Jade Audio JD3
The JD3, like the Little Q, is a fixed cable-down IEM. It features a stainless steel “bullet” style housing containing a 9.2mm dynamic driver, a powerful neodymium magnet assembly, a CCAW voice coil and dual cavity construction. It also has a sound reflection absorbing device. The earpieces are vented to increase the soundstage and the build quality is excellent as expected from Fiio.

The JD3 has a fairly standard V shaping with a powerful and rather dominant bass with some bleed into the midrange which is a little recessed. There is good timbre as befits a dynamic driver and the treble is generally smooth with an emphasis in the lower presence region and a roll-off in the upper frequencies. This tuning helps to avoid undue harshness and sibilance. The soundstage is average in dimension. Overall, it displays a warm, easy-going, amenable sound suiting many genres.

In fact, the Little Q and JD3 do sound quite similar, both having a powerful bass, recessed mids and relaxed treble. However, the Little Q has a bit more liveliness in its presentation than the JD3 and its treble is smoother and more natural.

Moondrop Chu
The Chu has a 10mm dynamic driver and fixed cable worn over the ear. It retails for around $20. The compact earpieces are built from zinc alloy and the non-detachable cable is rubbery. The packaging and accessories are excellent at the price and the IEMs themselves are solidly built.

The Moondrop Chu has a neutral bass, somewhat forward midrange and a bright and detailed treble. Due to the forward nature of the midrange, the staging is fairly intimate but the excellent imaging and separation gives the impression of a larger stage. With a bright, clear and immediate sound and an overall well balanced profile, the Chu engages the listener in a lively entertaining way.

Compared to the Little Q, it presents a brighter and more immediate sound with improved detail, and is not as V-shaped as the KBEAR. The Little Q is warmer and more relaxing to listen to but the Chu has better technicalities.

Conclusion
The Little Q surprised me with the scale of its sound, especially in the bass, the 6mm driver really moving the air. The midrange was pleasantly tuned with a warm, natural timbre and to complete the picture, there was a relaxed high frequency range perfect for the treble-sensitive amongst us. Technicalities were not its strong suit with the emphasis being more on musicality, and I felt a little more urgency and sparkle would have been welcome with improved treble extension. However, at the price, these criticisms can be forgiven and some improvements can be obtained with a brighter source. I employed an Xduoo X20 DAP for this purpose with excellent results.

Overall, KBEAR have produced another successful product which performs well above its price. It has a "fun" tuning and is easily driven from a smartphone, making it ideal for music on the move. The Little Q certainly holds its own against the competition in its sector and is a welcome addition to the KBEAR inventory.

IKKO OH1S
I would like to thank Rebecca from IKKO Audio for supplying this review unit.

The OH1S is the latest model in the OH series from IKKO, following on from the OH1 and OH10. Like the previous models, it is a dual hybrid. It features a new 10mm composite dynamic driver with a carbon nano diaphragm paired with a Knowles 33518 balanced armature. It also has IKKO's "Separating Vector Acoustics System" (SVAS) technology, which is a unique cavity design which Ikko claims “improves volume, reflection, and diffusion angles". The interface is MMCX. The OH1S retails for $199.

The presentation is superb. The outer cover features an illustration of a cute girl dancing in front of a night-time cityscape while listening to her music. Inside this is another slip cover with a colour image of the IEMs on a graphic background with the name "GEMS" below. Removing this reveals the actual box which is black with a linen finish and a gold block bearing the words "IKKO DESIGN". Upon opening the box, you are greeted by the IEMs sitting in a card layer with graphics and an IKKO branded metal badge. Below this in a further layer the cable is stored in a simple black box along with the leather storage pouch and nine pairs of eartips.

In all the contents comprise:
* IKKO OH1s IEMs
* Silver plated single crystal copper cable
* 6 pairs of silicone tips
* 3 pairs of foam tips
* Leather storage pouch
* 1 pair replacement filters
* Tweezers for filter replacement
* IKKO branded badge
* Documentation

This is an impressive and comprehensive presentation.

The IEMs themselves are constructed from metal and resin and are available in two colours, purple/grey and blue, which, in the gemstone world might be thought of as "amethyst" and "tanzanite". I received the purple/grey version. The grey metal faceplates have a textured hammered surface and the inner part is formed from resin and is black. Between these elements there is a layer of a rich amethyst colour resin. There are two vent holes for the dynamic driver, one in the centre of the inner face and another on the top edge. The nozzle is unusual in that it has an oval cross section, which accepts the oval shaped silicone tips.

The cable is a 2-core design. The material is single crystal copper and is silver plated and the strands are decorated with red and blue accents. The 3.5mm plug is straight and in black metal with white graphics and there is a cylindrical Y-split and chin slider in black-coloured alloy.

The OH1s was tested with an Xduoo X20 DAP and a burn in period of 100 hours was allowed to settle down the components. A Huawei smartphone and a CD player were also used during the evaluation. The small foam tips were used which provided a comfortable fit and a good seal. Adequate volume was available from all sources but a higher quality resulted with increased power.

First Impressions
The OH1S displayed an unusually transparent and detailed sound with excellent definition. The bass was firm, well-textured and deep, mids were neutral and expressive and treble was clean, bright and extended. There was a very large, airy and spacious soundstage and the profile was linear tending towards a mild W shape. Music was presented in an exciting fashion with superb dynamic range, fast transients and a lively immediacy. The timbre was very natural and there was an overall feeling of refinement and the coherence between the two drivers was seamless. I did find the OH1S unforgiving of poor recordings and that it performed at its best with high quality material. It was also very revealing of the source and I found the neutral profile of my Xduoo X20 a perfect match for the OH1S, preserving its inherent properties.

Bass
The bass was generally linear in nature and reached deep with a good sub bass presence, but it was not overdone and remained in balance with the rest of the spectrum. However, a little more sub bass depth would have been welcome. Mid bass had a solid kick and the transition into the mids was smooth with no evidence of bass bleed. The texture and resolution were of a high standard.

Corciolli is a Brazilian musician specialising in New Age and World music. "Pegasus" appears on his album "Lightwalk". A punchy bass synth sequence accompanied by piano begins the piece and impressed with its immediacy. Later bass guitar and drums join in. The bass guitar was powerful and very well textured and the drums had a notable impact. The transient attack on this track was excellent.

Rachmaninov's Symphonic Dance No.1 received a stunning interpretation from the Minnesota Orchestra conducted by Eiji Oue. The OH1S delivered a thrilling rendition with an almost tangible "live" feeling. The bass drum strikes were clean and incisive with a natural decay but free from boominess, and possessed depth and impact. The power of the orchestra in full flow was palpable in the astonishing Reference Recordings production.

Jean-Michel Jarre's "Oxygene Part 19" explores the full range of his arsenal of synthesisers. At about the half way point a synth descends deep into the sub bass. The OH1S reproduced this with great texture and resolution although a little more depth would have been preferable. This is followed by a fast bass line where each note was clearly defined and reproduced with speed and precision. This was ideal material for the OH1S.

Mids
The OH1S really shone in the mids. They were open and detailed and combined excellent separation with great clarity. The timbre of instruments was very natural and there was a good sense of space.

"Slipping through my fingers", from ABBA's "The Visitors" features a lead vocal by Agnetha. Her voice was clear and precisely placed in front of the backing vocals and the emotion of the lyrics was conveyed directly with excellent diction. The separation in the backing vocals was excellent and the electric guitar solo in the bridge displayed aggression and impact in equal measure.

The superb interplay between the guitars in "I'll see you in my Dreams" by Chet Atkins and Mark Knopfler from the album "Neck and Neck" demonstrated the midrange timbre and detail of the OH1S and showed what an entertaining sound it could produce. Atkins's chordal work combined adeptly with Knopfler's Django Reinhardt-like solos with each note clearly defined with wonderful rhythm and timing and producing a joyful toe-tapping result.

In the beautiful 1977 recording of Schubert's String Quintet, the Melos Quartet is joined by Mstislav Rostropovich. The OH1S demonstrated its fine timbre with the various instruments sounding natural and vibrant, and the concentrated atmosphere of the Adagio was a joy to hear. The contrast of bowed and plucked strings was realised authentically with a perfect balance between the players and a fine reproduction of the ambience of the hall.

Treble
The treble was clean, clear and detailed, exhibiting good extension and being free from harshness or sibilance. It was a little brighter than neutral with an attractive airy quality and remained smooth even during energetic passages. Only occasionally on certain material there was a little extra brightness.

"Mausoleum at Halicarnassus" is the fourth movement of Stuart Mitchell's "Seven Wonders Suite". After a lengthy introduction featuring solo flute, a rising string motif is embellished with a bright triangle. The initial strike and subsequent decay were beautifully captured by the OH1S in this lovely performance by the Prague Symphony Orchestra under Mario Klemens. The flute sounded natural and airy and it was even possible to hear the intake of breath by the flautist. The high string accompaniment was also beautifully conveyed with superb delicacy, detail and timbre. The Knowles BA really showed its class here.

"Starry Night" from "Horizon" by Ed Van Fleet is an atmospheric evocation of looking up at the night sky. The smooth string synth patches were redolent of the expanse of the scene and the accompanying delicate shimmering effects were crisply depicted on the OH1S, displaying good treble extension and fine detail. The contrast between the high frequencies and deep bass tones was enchanting.

“The Glass Hall” from “White Winds”, the third album by Andreas Vollenweider, is an ideal piece for evaluating treble extension, detail and separation. Delicate crystalline sounds filling the soundstage begin the track and the precision and clarity delivered by the OH1S were remarkable with the finest details being revealed. In a typical complex production from the Swiss master of the electric harp, woodwind added colour and a large percussion section provided intricate rhythmic patterns, all of which were presented clearly and harmoniously by the OH1S in an entertaining fashion.

Soundstage
The OH1S displayed a very expansive soundstage with excellent imaging, layering and separation. It was easy to follow individual strands in orchestral music or bands, and vocals were projected well, standing out clearly from the accompaniment. The ambience of recording venues and studios was reproduced accurately.

Delius's beautiful "Walk to the Paradise Garden" received a luminous reading from the Philharmonia Orchestra under Owain Arwel Hughes. The orchestra was laid out convincingly and the interplay between the various woodwind instruments as they took the main theme in turn was clearly depicted with each instrument placed precisely in its own space and position in the image.

"Walking in Space" is part of the "Interstellar Suite" by Amin Bhatia. It is a cinematic work performed on synthesisers resembling a soundtrack to an imaginary film. It begins with sound effects and comms describing the opening of an airlock and an astronaut beginning an EVA. The binaural effects were stunning on the OH1S with a vast ambient space and the stereo imaging in the ensuing instrumental section was remarkable.

"I Robot" is the title track from Alan Parsons Project's second album. A phased synth drone accompanied by wordless female vocals sets the scene. Gradually more tracks are added, a synth sequence in the left channel, percussion and another sequence in the right channel. Choral parts join followed by electric guitar. Soon a bright cimbalom solo is added and throughout, the OH1S managed to display all these elements clearly with excellent layering, a wide stereo panorama and pinpoint imaging. This was very impressive.

Comparisons
Tin Hifi T3
Like the OH1S, the T3 is a dual hybrid, it employs a 10mm composite DD for the low frequencies and the same Knowles 33518 BA for the high frequencies. It is very well made, with a metal barrel-shaped housing and MMCX interface. The stock cable is especially impressive. In traditional Tin Hi-fi style, it has a neutral/bright profile but the sub bass is elevated. The soundstage is large and well-proportioned and detail retrieval is high. The OH1S has a broadly similar character but has a superior staging, more detail, and a better transient performance. It manages to combine musicality with an accomplished technical performance and is a more complete product.

TRI i4
TRI's i4 is another 1DD + 1BA model with the Knowles 33518 unit, this time coupled with a 10mm composite dynamic driver with a bio-cellulose diaphragm. The build quality is excellent and the subtly contoured earpieces are very comfortable. It has a warm to neutral profile which has a vintage "analogue" sound with a slightly recessed midrange and is very attractive and relaxing. The staging is expansive and the treble is smooth yet fairly well detailed. The OH1S is cleaner and more assertive in nature with a wealth of detail, better imaging and a more extended top end. It also has a more exciting and involving presentation with a more forward midrange.

HZ Sound Heart Mirror
The Heart Mirror is a single DD model with a "carbon nanometer" diaphragm. It has a full metal jacket with a polished finish and a 2-pin connection. It performs well above its price bracket and majors on technical aspects with high levels of detail, a neutral/bright signature and excellent timbre. The OH1S matches it in all aspects and improves on it with a much more extensive soundstage, faster transients and a more powerful bass and presents music in a more exciting and involving fashion. It is, if course four times the price of the Heart Mirror so this must be taken into consideration.

Conclusion
With the OH1S, IKKO have managed to produce a neutral, "reference" tuned IEM which also has the entertainment factor normally associated with V-shaped models. It is a powerful combination placing music-making as its priority and imbuing music with a "live" feeling. The tuning here of the Knowles 33518 is the best I have heard and has a natural timbre which matches the clean output of the carbon DD perfectly, resulting in great coherence. This tuning suits all genres, reproducing music with life and energy. The extensive soundstage is another major feature with superb imaging, layering and separation. The only small criticism would be that the sub bass could benefit from a little more depth and extension. Do bear in mind that the best results are obtained with a high quality source and recordings. If you are in the market for a neutrally-tuned IEM in this price range then do not hesitate.

Disclaimer
I would like to thank Kimberly from Fedai via Amazon.com for supplying this unit for review.
Product link:
https://www.amazon.com/gp/aw/d/B09GXTHNXM?psc=1&ref=ppx_pop_mob_b_asin_title
The Angel Wings is priced at $48.99 from Fedai.

CVJ is a relatively new company on the IEM scene and their debut model, the CSA, bucked the trend of the popular V-shaped profile with its neutral/bright tuning. The CS8, CSN and Mirror followed, establishing a "house sound" for the company. They then deviated from this with the ensuing V-shaped CSE and CSK models and now we have their latest dual hybrid, the Angel Wings. It employs a 10mm "Titanium Alloy Composite Dynamic Driver" and the trusty 30095 BA.

The Angel Wings is attractively presented. There is a white slip cover with an outline drawing of an anime type girl with angel's wings and the product name in a brush script. The reverse features a frequency response chart and specifications. Removing the cover reveals a plain black box with a CVJ logo. Inside, the IEMs are displayed in a foam cut-out along with the spare tips and a faux suede pouch with a black CVJ logo. The silver-plated cable with QDC connectors is pre-fitted to the IEMs along with the medium size silicone tips.

The box contains:
* Angel Wings IEMs
* 4-core 4N Silver plated copper cable
* Medium bore silicone tips (S, M, L)
* Faux suede pouch
* Velcro cable tie
* Documentation

The IEMs are formed from black resin and are fairly bulky and there is a vent on the rear surface for the dynamic driver. The faceplates are decorated with a colourful design of iridescent peacock feathers or butterfly wings and the words "CVJ Angel-Wings" in silver. The 2 pin sockets stand proud of the surface. The earpieces seem solid and well made.

The cable is a 4-core silver plated 4N copper type with clear plastic QDC connectors which have channel identification. There is a plastic 90° 3.5mm plug but there is no chin slider which makes it prone to tangling.

The Angel Wings was tested with an Xduoo X20 DAP. A burn in period of 100 hours was carried out. I found the Angel Wings to be power hungry; there was insufficient power via a smartphone and a higher volume setting was needed on my DAP.

First Impressions
Initially, the Angel Wings displayed a warm, gentle sound with a mid-bass emphasis, a pleasant midrange which was not recessed and a soft treble which rolled off with somewhat reduced extension and detail. There was some bass bleed and the soundstage was large and spacious with good imaging. There was the impression of a "vintage" type of sound, reminiscent of vinyl or valve amplifiers and the integration of the two drivers was seamless. After burning in, the bass did tighten up and the tonality became more open. I then added a Topping NX1a amplifier via line out, switched to a KBEAR Limpid Pro pure silver cable, and replaced the stock tips with Spiral Dots. These changes brought significant improvement and this was the configuration used for the review. Once the above changes were made, the lacking treble was largely restored, resulting in a well-balanced profile.

Bass
The Angel Wings displayed a powerful bass with good texture and detail and a warmer than neutral tonality. The focus was on the mid-bass but sub-bass was also present, though the lowest notes were a little rolled off and the profile was fairly linear. The bass did intrude into the lower mids and affected them with some extra warmth.

Aaron Copland's famous "Fanfare for the Common Man" was quite impressive with the bass drum possessing good impact and speed. The decay and reverberation of the skin in the performance by the Eos Orchestra under Jonathan Schaffer came over very convincingly with good timbre and atmosphere.

The character of synth bass, too, was well reproduced. In "Skyland", the opening track from Tony O'Connor's "Windjana", the deep bass drone created a perfect foundation for the didgeridoo, strings and guitar and the texture and power of the bass here was extremely effective.

Nick Mason's percussion in Pink Floyd's "Cluster One" from "The Division Bell" also impressed with good weight and impact and contrasted well with Rick Wright's keyboards and Dave Gilmour's somewhat menacing guitar solo. The bass drum and bass guitar were well separated.

Midrange
The midrange continued in a linear fashion from the bass, carrying with it some warming influence which softened the transients. The timbre was generally pleasant, but this did affect the detail retrieval which was a little blunted. Nevertheless the overall effect was warm, relaxing and musical.

"Spanish Harbour" by Vangelis from "Oceanic" is a good example. It begins with a prominent drum beat and synth chords and a dramatic solo resembling a guitar makes its appearance. This lost just a bit in attack with the "analogue" nature of the tonality reducing the excitement. The percussion also lacked that vital edge, but the wide staging and relaxing warmth was still attractive.

Classical pieces benefited from the excellent soundstage and timbre. Schubert's beautiful String Quintet was suffused in a soft glow and sounded full and rich, but the incisive nature of the playing was slightly softened. Even so, the message of the music was conveyed well through the musicality of the Angel Wings' presentation.

Debussy's "Claire de Lune" received a wonderful performance from Ikuyo Nakamichi. The tonality of the piano in this superb JVC K2 recording was very convincing with the harmonics and decay of the notes authentically realised. It was only in the more percussive passages that a little more attack was wanting to provide some drama and contrast.

Treble
The treble was smooth, natural and free of harshness with no evidence of sibilance. This appeared to result from significant damping of the HF driver and although sounding smooth and gentle, the upper frequencies did lack sparkle and extension. However, there was no trace of a metallic or BA timbre.

The String Sonata No.1 by Rossini is a bright and breezy piece with a strong melody and clever counterpoint. In the version by The Age of Enlightenment Orchestra, the Angel Wings gave a warm and inviting rendition with good separation and the character of the various instruments was presented well, but more urgency and incisiveness would have been welcome to provide an extra bit of colour to the proceedings.

"Hands of Sacred Light" by Patrick Bernard is a track from his "Angel Reiki" album. Delicate zither and harp-like tones populate the stage backed by deep bass drones and warm harmonies. The finest details were discernible but were just a little soft and did not cut through the mix as a more proficient treble response might have done. However, everything was pleasant and mellifluous in keeping with the genre and produced a very relaxing atmosphere.

Mike Oldfield's "Tubular Bells 2" is a 1992 reworking of the original. In the first track, "Sentinel", the main theme is played on an acoustic guitar, and it then segues into a full production with the delicate high frequency sounds dancing across the stage. There was plenty of detail on offer from the Angel Wings, and although displaying a soft tendency, everything remained clean and clear enabling the complex arrangement to be appreciated. Once more, the performance would have been improved with a little more "bite" in the treble.

Soundstage
The soundstage was perhaps the best feature of the Angel Wings. It was large in all three dimensions and displayed very good imaging, layering and separation. The ambience of recording venues was nicely reproduced, preserving the atmosphere of the piece.

The first movement of Roy Harris's Symphony No. 6 is a broad evocation of the American landscape. In the version by the Bournemouth Symphony Orchestra under Marin Alsop, the Angel Wings presented the orchestral colour in a sumptuous fashion with the character of the various instruments clearly differentiated. The imaging in this piece was particularly good with each instrument seemingly surrounded by its own space, and the sense of perspective was faithfully reproduced.

Isao Tomita is best known for his "Electronic Realisations" of classical pieces. His interpretation of Bach's famous "Ave Maria" appears on the album "Bach Fantasy". A prominent lead synth voice states the melody, accompanied by electronic arpeggios in the left and right channels. Brass and string samples ensue and fill the stage. The Angel Wings portrayed the whole piece in a spacious manner with the interweaving of the various elements very well handled.

"I Robot" is the title track from the Alan Parsons Project's second album. It begins with vocal samples and a synth sequence in the left channel. This is joined by guitar chords and another sequence in the right channel. More layers are added including male and female choral parts. Percussion then adds a punchy rhythm. The Angel Wings managed to sort all these out and present them in a coherent way. A bright cimbalom solo comes in next and is layered over the top. This was also very effective and the whole gelled together in a musical way.

Comparisons
CCZ Emerald
The Emerald is another dual hybrid with a 10mm DD and a proprietary BA. It has a well balanced and warm/neutral tonality. The bass has good weight and is smooth in nature and the mids are open and expressive. The treble is also well tuned with good detail and no harsh peaks. The soundstage is very spacious. The Angel Wings sounds broadly similar but more laid back in nature with a softer treble and a more linear bass. The Emerald has more detail but both share a musical, rather than technical presentation and a similar, large and expansive soundstage. As with the CCA CSN, the Emerald is driveable from a smartphone and the stock cable and tips are acceptable.

CCA CSN
CCA's CSN is, like the Emerald and Angel Wings, a 1DD + 1BA hybrid. The bass driver is the new KZ XUN DD which has an acoustic chamber. Like the CVJ, it is paired with a 30095 type BA. It displays a V or W profile with excellent bass from the XUN unit, present mids and a bright energetic top end. The treble is much more evident than in the Angel Wings but does occasionally exhibit some harshness and BA timbre which are absent in the CVJ model. The bass is much more powerful than the linear bass of the Angel Wings. The CSN is easy to drive and does not require amplification or a change of cable.

CVJ CSA
CVJ's debut model, the CSA is also a dual hybrid with a 10mm DD and a "custom" BA. It has a very neutral/bright or linear tuning which established CVJ's "house sound", rare in this price sector compared with the more commonly found V profile. Easy to drive, the bass is firm and well textured, mids are forward and clean and the treble is clear and extended with an absence of peaks. Compared to the Angel Wings, the treble is much more evident and the resolution is finer and more accurate and especially good for vocal music. Its even handed approach also suits many other genres, especially classical music, in which it excels.

Conclusion
In its stock form and used with a low-powered source, the Angel Wings does not fulfil its potential and cannot be recommended but it is capable of good performance when adequately powered and furnished with a high quality cable and wide bore tips. I would also recommend a bright/neutral source. Thus equipped, it does repay the effort with a linear, warm/neutral profile which is relaxing and musical. Of course this will add to the cost so those without such spare equipment may have to look elsewhere but if you are treble sensitive and enjoy a broad soundstage, these may be for you, bearing in mind the above.

I would like to thank Ann from Keephifi.com for providing this item for review via Amazon.co.uk.

The TRI i3 Pro is the new redesigned version of the original i3. Like the first model, it sports an 8mm dynamic driver for the bass, a 10mm planar magnetic unit for the midrange and a custom balanced armature for the treble region. The size has been reduced by more than a quarter and the MMCX connection has been changed to a 2 pin interface.

The i3 Pro comes attractively packaged in a rectangular box with a colour sleeve featuring a graphic recalling a time-lapse picture of the sky. It features circular star-trails with an iridescent effect set against a starry background with the model name "TRI i3 Pro" in the centre. The reverse is printed with specifications. Removing the sleeve reveals a plain black box inside which the earpieces are displayed above the leather case.

In all the package contains:

* TRI i3 IEMs
* 8-core 5N OFC cable with 3.5mm plug
* Leather case
* 3 pairs white silicone tips
* 5 pairs KBEAR 07 silicone tips
* Cleaning brush
* Polishing cloth
* Documentation

This is a generous accessory set similar to that supplied with the TRI Starsea and KBEAR Believe.

The earpieces are crafted from polished CNC formed alloy and are similarly shaped to the original with subtle contouring but are significantly smaller. The 2-pin sockets are recessed and accept standard connectors. There is a row of four small vents for the dynamic driver on the rear of the earpiece. Although I had no problem with the fit of the original i3, the newer model fits very well and I think would suit more users.

The supplied cable is an 8-core single crystal copper type with 2 pin connectors and a red mark on the right plug for channel identification. The 3.5mm plug is in shiny metal and has TRI branding, and the metal Y-split has a trident logo. A metal ring serves as a chin slider but is not as easy to use as the bead type. The cable is supple in use and the ear guides are not too stiff, resulting in a high level of comfort.

The i3 Pro was principally tested with an Xduoo X20 DAP and the stock cable and the pre-fitted medium white tips were used. I also used a Grace-S balanced cable during testing. A burn-in period of 100 hours was allowed to stabilise the components. Like the original, I found the i3 Pro sounded at its best with additional power so drafted in a Fiio A5 amplifier for this purpose.

First Impressions
The i3 Pro displayed a well-balanced mild W profile with powerful sub-bass. The mid bass was lower in level and transitioned gently into the mids. The mids themselves were slightly forward and well-resolved with a natural timbre. The treble was clean and clear and fairly well-extended with a moderate peak before rolling off smoothly although perhaps a little early. The soundstage was expansive with a little more depth and height than width and separation and imaging were excellent.

Bass
The i3 Pro's bass was powerful and visceral with a good sub-bass presence and satisfying rumble. Mid bass was dialled back and gradually became near neutral as it approached the midrange. Transient attack and speed were on point and texture was also very good with a touch of extra warmth.

"Nuvole a Colori" appears on the album "Stagioni de Venezia" by Rondo Veneziano. It begins with a deep and powerful synth bass chord accompanied by descending diminished chords in the minor key. Percussion elements are added and a meandering violin solo plays arpeggios over the top. The bass was very impactful with good weight and depth, providing a perfect foundation for the solo instrument and showcasing the dramatic quality of the piece.

"In Church" is a part of the "Slovak Suite" by Viteslav Novak and features a prominent part for organ. In the version by the Royal Liverpool Philharmonic conducted by Libor Pesek, the depth, texture and power of the instrument was presented realistically and the lowest notes possessed good extension and natural timbre with a good reproduction of decay. The balance of the organ and orchestra was handled very well.

"Rock On" by David Essex has a superb production by Jeff Wayne ("War of the Worlds"). Founded on double-tracked bass guitars in each channel, they plumb the depths and growl menacingly while remaining clearly separated from the kick drum playing simultaneously. The texture and impact of the bass realised by the i3 Pro really impressed and brought the production to life.

Midrange
The i3 Pro continued where the original left off with excellent timbre from the planar driver but this time it was a little more forward and lively. As a result, clarity was improved and details were easier to discern but there was the impression of a narrower or more intimate stage.

Kevin Kern's brand of gentle piano music always enchants with its attractive melodies. "Through the Veil", from the album "The Winding Path", is a perfect example. A solo acoustic guitar plays a simple theme accompanied by the sound of a rain stick and then, after a deep bass drum the piano enters with the beautiful main theme. The timbre of the piano was very well realised as was the warm woody tone of the guitar. The resolution of the individual sounds of the rain stick was notable and the whole piece demonstrated the superb separation and imaging of the i3 Pro's midrange which was testament to the tuning of the planar driver.

"Bring him Home", from "Les Miserables" received a heartfelt rendition from The Piano Guys. The timbre of the cello and piano was very natural and authentic and the i3 accurately reproduced the subtle changes in dynamics which convey emotion, allowing the feeling of the performance to come through. The details of the bowing and of the decay and harmonics of the piano were very well portrayed.

Rafael Fruhbeck de Burgos's colourful transcription of the "Suite Espanola" demonstrated the excellent timbre of the i3 Pro. Performed by the New Philharmonic Orchestra directed by de Burgos himself, the superb vintage Decca recording sounded fresh and full of life. In "Sevilla" the concertante woodwind parts in the central section were clearly depicted with believable timbre. Bright incisive brass and percussion provided an effective contrast while the lively and infectious rhythm drove the piece along in great style.

Treble
The treble on the i3 perhaps displayed the greatest difference from the original, being quite a bit brighter and possessing more detail. There was a gradual rise with frequency up to a moderate peak in the upper region after which there was a gentle roll-off. There was plenty of sparkle and life and the BA timbre was generally very good.

"Natural Light" is the title track from the album by Steven Halpern and Dallas Smith featuring Halpern's keyboards and the latter's delicate Lyricon work. Sustained electric piano tones underpin hypnotic swirling figurations from the Lyricon wind synthesiser embellished by crystalline electronic effects. On the i3 Pro the finest details were delivered with good treble extension and separation, fine resolution and a clean and natural tonality. The meditative feeling of the track was conveyed admirably.

Jacques Loussier's album "Play Bach No.1" was first released in 1959. The superb French Decca remaster from 2000 sounds fresh with remarkable fidelity. In the "Aria" from Suite No.3 in D Major, the subtleties of the brush work and the metallic quality of the cymbals were clearly audible on the i3 Pro although perhaps a little softer than ideal. The highest notes of the piano sounded natural and bright with the atmosphere of the intimate acoustic adding to the experience.

In the classic 1960 Archiv recording by Helmut Walcha, J. S. Bach's famous "Toccata and fugue in D minor" received an impressive display from the i3 Pro. There was a remarkably clean and etched quality to the high notes from the Silbermann organ which were reproduced with accuracy and immediacy. The tonality remained clear and crisp even during the most energetic passages and when accompanied by the powerful pedal tones the reverberation in the St Laurenskerk at Alkmaar was realised very effectively.

Soundstage
The original i3 possessed a very expansive stage and the Pro's was similar in depth and height but it was a little narrower. This derived from the more lively and forward mids or possibly an acoustic effect due to the reduction in size of the earpieces.

Sibelius's "The Swan of Tuonela" is a moody evocation of a Finnish legend. In the superbly recorded version by the Minnesota Orchestra under Eiji Oue, the orchestra was laid out convincingly with the cor anglais solo placed clearly in the centre and the distant bass drums rumbling menacingly in the background producing a feeling of uneasy serenity. The cello solo was very effectively portrayed and the atmosphere of the concert hall reproduced very faithfully.

"Desert Vision" is an album by David Lanz and Paul Speer celebrating the natural wonders of the American South-West. "Carlsbad" showcases Lanz's lead piano accompanied by elaborations from Speer's guitar. Supported by George Deuter's woodwind cameos and Jonn Serrie's lush synth backgrounds, the complex arrangement of the piece was expansively recreated on the i3 Pro with a huge stage and pinpoint imaging and exhibited excellent layering enabling the listener to appreciate the intricacies of the production.

In Clannad's "Theme from Harry's Game", Moya Brennan's ethereal voice is supported by banks of synths and augmented by vocal sections in the chorus. The i3 Pro made the most of this with an atmospheric and spacious delivery presenting the lead vocal clearly and effectively. The central part features powerful keyboards which showed good layering and the whole piece was set in a broad acoustic with impressive reverb and an attractive airy quality.

Change of cable
After thoroughly auditioning the i3 Pro in stock form, I changed to a TRI Grace-S silver plated cable. There was an immediate improvement in resolution in the mids and the treble appeared more extended with a silky quality and an increase in "air". The soundstage expanded, matching that of the original i3, the bass was tighter and cleaner and the background was "blacker". In this configuration I found the Pro preferable to the original i3. I also used the KBEAR Limpid Pro pure silver cable and obtained similar results so would recommend cable rolling to any owners of the new model.

Comparisons
TRI i3 (Original)
The i3 Pro does sound different from the original. Its profile tends more towards neutral with a somewhat forward midrange, a bass which is slightly less prominent and a well-behaved treble with good detail and extension, resulting in a somewhat brighter presentation and good technical ability. The original is warmer and more U-shaped with slightly recessed mids and a polite treble although the excellent planar tonality and timbre shine through in the same way as in the newer model, endowing it with a particularly musical and "cinematic" character. The soundstage on the original appears larger in size and more spacious with the newer model possessing a slightly narrower presentation and imparting a more intimate feeling but at the same time possessing a little more depth. These differences are subtle but audible and the choice between them is a matter of preference rather than anything else.

BQEYZ Summer
The Summer is a tribrid which has a large 13mm dynamic driver for the low frequencies, a proprietary BA covering the mids and a 5-layer piezoelectric unit handling the treble, all housed in a resin shell with 2-pin connection. It has a warm, well-balanced mild W or U-shaped profile with high resolution and expansive staging. Bass is deep, firm and well-textured with a powerful mid bass which sometimes dominates. It has a midrange which is clear and nicely detailed with good BA timbre and an extended treble courtesy of the well-tuned piezo driver. The musical quality is an outstanding feature and music is displayed in a bold "cinematic" fashion, similar to that of the original i3. The treble occasionally displays a thin tonality on certain material. The i3 Pro has a smoother treble, is better balanced across the frequency spectrum and has superior imaging and separation and there is more "weight" in the sub bass, whereas the Summer is faster and more snappy in its delivery with a brighter treble.

MT300
The MT300 is an innovative tribrid. It is beautifully made with a shell-like alloy housing and MMCX interface, and also includes a unique locking cable connection. It features a 10mm carbon DD for the bass, a Knowles 29689 BA covering the midrange and a TDK EST unit for the high frequencies. Its presentation is unashamedly bold and romantic and highly entertaining. It is a V-shaped profile but its resolution and impact are notable. The full-on sound does resemble the original i3 but there is a deeper sub-bass and more prominent mid bass, a recessed midrange which still has excellent timbre and presence courtesy of the Knowles driver, and a very extended, delicate treble with that EST magical tonality. The i3 Pro is more balanced in character with a superior midrange, but the treble is not as impressive as that of the MT300. In bass, it is honours even with the i3 Pro being tighter and more textured and the MT300 majoring on impact and depth.

Conclusion
Thei3 Pro has a slightly different character from the original i3. The emphasis has been shifted subtly from a warm U shaping to a more neutral and technically adept presentation. The bass has been dialled down a touch, midrange has been brought forward and the treble brightened resulting in a "flatter" response whilst still retaining most of the character and musicality of the original. The expansive and spacious quality of the former model has been generally retained with a more accurate profile being created and a change of cable did restore most of the qualities of the original. Add to this the smaller size, more comfortable fit and generous accessories and you have the recipe for a winner. With its unique driver configuration and high quality musical sound, the i3 Pro occupies a special place in the IEM market and is highly recommended.

I would like to thank Ann from Keep Hifi for providing this unit for review. Product link:
https://keephifi.com/collections/in...s-monitors-earbuds-cca?variant=39496811872302

The NRA is the latest model from CCA, the sister company of KZ, and is the first of their earphones to feature an electret driver (also known as a magnetostatic unit), covering the high frequencies. This is complemented by a new design of 10mm dynamic driver with a triple magnet handling the bass region. Until now, IEMs featuring an electret tweeter have occupied a much higher price band so the NRA is a breakthrough product in this regard.

The NRA comes packaged in the traditional KZ/CCA packaging, a small rectangular box with a slip cover bearing a colour image of the IEMs and specifications on the reverse. Removing the slip cover, the earpieces are presented in a card cut-out. Below this is written, "3 magnetic dynamic & electrostatic earphones". Under the card cutout you will find the detachable 2 pin cable, the spare eartips and documentation.

The earpieces are similar to the previous CSN model with an alloy faceplate emblazoned with the CCA logo and a clear resin body through which the components can be seen. They are solidly built. There are no vents on the earpieces' inner surface but there is a small opening on the narrow tip. The 2 pin socket protrudes to accept QDC connectors. The earpieces were very comfortable and because of the short nozzles I used the largest of the supplied tips which provided a good seal and isolation.

The 2 pin cable is a new design and I think is the best yet from CCA/KZ. It is a 4 core silver plated copper type with QDC connectors. It handles well and the ear guides are very comfortable. There is a 90° 3.5mm plastic plug and a chunky plastic Y split but there is no chin slider.

The IEMs were tested using an Xduoo X20 DAP as the source and a burn-in period of 100 hours was allowed to settle down the components. Adequate volume was achieved with no need for additional amplification.

First Impressions
The first thing which struck me was the delicate, airy and ethereal nature of the treble. Bass was powerful, deep and well-textured and the mids were forward, clear and expressive. The general profile was W shaped and the stage was of average dimensions.

Bass
The bass was powerful, with good speed and a touch of warmth. Sub bass displayed some rumble but could have been more weighty, mid bass possessed a satisfying kick and there was a small amount of bass bleed.

Holst’s “Saturn” from the Planets Suite begins with harp, hushed strings and woodwind followed by a mournful descending bass line accompanied by percussion and brass. The NRA displayed an accurate bass pizzicato timbre and managed to preserve the atmosphere of the piece in the Vienna Philharmonic's vintage Decca recording under Herbert von Karajan. Near the conclusion deep organ tones are joined by tubular bells and harp and the whole effect was very well conveyed.

"Suite Gothique” by Leon Boellmann is a large-scale romantic French organ piece and is a severe test of bass. Marie-Claire Alain's performance explores the full range of the magnificent Cavaille-Coll instrument and the NRA rose to the occasion admirably but just fell short in conveying the full weight of the pedal notes, especially in the last four dramatic chords at the conclusion where I felt the sub bass was a little disappointing.

The pulsing bass rhythm and sound effects in "Welcome to the Machine" from "Wish you were here" by Pink Floyd came over well on the NRA providing the track with a solid foundation. It was most effective, especially when contrasted by the menacing quality of Dave Gilmour's guitar chords.

Mids
The NRA's midrange was a little forward but was lively and immediate. It became brighter as the frequency increased. The timbre was brighter than neutral and the forward nature of the reproduction did tend to impact on the staging.

The vocal performance of the NRA was direct and expressive with voices forward in the mix yet not unbalancing the effect. In Rosanne Cash's "This has happened before" her voice was projected well and the acoustic guitars on each side were evenly balanced. The Dobro solo in the bridge was clear and well defined and the backing vocals were also nicely separated. This was ideal material for the NRA.

"L'heure Exquise" is a beautiful duet for cello and piano by the Venezuelan composer Reynaldo Hahn. Julian Lloyd Webber and John Lenehan delivered a beautiful meditative performance set in a reverberant acoustic. The timbre of the cello was bright and clear, highlighting the details of the bowing and the decay and overtones of the piano were very accurately portrayed. As before, simpler pieces seemed to fare better than complex and more dynamic tracks.

In Chloe Hanslip's wonderful reading of the Violin Concerto No.1 by Jeno Hubay with the Bournemouth Symphony Orchestra, her violin was clearly presented above the orchestra in a spacious manner. The tonality of the instrument was bright and immediate but occasionally sounded sharper than ideal and pushed the solo forward in the mix.

Treble
The NRA possessed a clean, airy and detailed treble somewhat brighter than neutral with good extension without being peaky or harsh, but occasionally did become a little over-enthusiastic, especially at high volume and sometimes there was just a hint of unnatural timbre.

The high notes of the electric harp in "Hirzel" by Andreas Vollenweider displayed a delicate and ethereal quality full of detail. The NRA's electret tweeter demonstrated what it was capable of and it was evident how different the tonality was compared to a BA driver. The electric guitar solo later in the piece had plenty of impact and was suitably aggressive without being harsh.

The sprightly violin parts and clever counterpoint in Mozart’s “Eine Kleine Nachtmuzik” were entertainingly presented by the NRA and showcased its excellent clarity. The playing of the Vienna Philharmonic under Karl Bohm was authentically portrayed and encouraged further listening, so much so that I listened to all four movements!

Gerry Rafferty's classic single, "Baker Street" is a great production. The lead saxophone sounded natural, the bass was well textured and vocals were clear. While all this was going on the NRA's precise treble depicted the delicate sound of the celesta with excellent precision.

Soundstage
The NRA's staging was roughly spherical with a reasonable dimension but not extending beyond the ears. The bright treble ensured good separation, imaging and layering. The staging did tend to compress during louder passages, however.

The interplay of the various string sections in Arvo Part's "Cantus in Memoriam Benjamin Britten" was expertly depicted by the NRA in the version conducted by Dennis Russell Davies on ECM. As the piece progressed and the scoring became more and more dense, all the elements remained clearly audible, allowing the complex counterpoint to be appreciated.

"The Cello's Song" is a cinematic piece by Kostia and David Arkenstone with solo cello backed by a colourful electronic and acoustic accompaniment. The staging in this work is very wide with all manner of instruments featuring in a complex production. The NRA presented a fairly expansive interpretation but I would have liked a little more width in the staging.

Aaron Copland's "Fanfare for the Common Man" features a prominent part for bass drum. In the version by the Minnesota Orchestra conducted by Eiji Oue, the impact of the initial strike was very impressive with a believable decay and atmosphere. The ambience of the hall was very well rendered and added to the realism of the reproduction. The distant trumpet solo sounded very spacious with a real sense of depth of field.


Comparisons
CCA CSN
CCA's CSN is a 1DD + 1BA hybrid and features the excellent KZ XUN DD coupled with the familiar 30095 BA. It has a mature, well balanced tuning which makes it suitable for many genres. The CSN's bass is more authoritative with the XUN driver providing more weight in the sub bass. Its treble is not as bright as the NRA's but still retains plenty of detail. The mids are a little more recessed and not as forward. The CSN is more relaxing to listen to.

TRN TA-1
TRN's TA-1 is also a dual hybrid with an 8mm dual magnetic DD for the bass and, unusual at this price, a Knowles balanced armature (33518) for the treble. Its build quality is excellent. Like the NRA its general profile is W shaped but the treble is more conservatively tuned and the bass is stronger. The midrange timbre from the Knowles BA is very good and slightly preferable to that of the NRA. The staging is also a touch wider with good imaging.

KBEAR Lark
The Lark is a dual hybrid (1DD + 1BA). It has a neutral profile with a well balanced sound and a warm/neutral and mature tuning. Compared to the NRA it is more "audiophile" and natural with a neutral bass and a flatter midrange. The treble is delicate and gently contoured and is not as bright as the NRA. Timbre is very natural and open. It has a more measured presentation than the NRA and is more musical rather than technical.

Conclusion
CCA must be congratulated on bringing electret technology to the market at such a low price and achieving such a successful implementation. I did find the NRA was not forgiving of poor material and sounded at its best with simpler pieces and high quality recordings, but this was testament to its technical abilities. I found the sub bass a little shy but the remainder of the spectrum was well balanced with only the occasional bit of extra brightness in the treble and a tendency for the stage to compress at high volume. However, improved results were obtained with a warmer source. The NRA presents an alternative, entertaining and immediate sound with good technicalities. It holds its own against the competition and represents excellent value.

This item was kindly provided by Wendy Li from KBEAR.

Grace-S
TRI is the premier brand of KBEAR and has released some excellent IEMs in the past 18 months or so. In addition to this they produce a range of quality cables. The Grace-S is one of a new pair of cables recently introduced, along with the Grace-C.

Variant reviewed: 2.5mm 2 pin
The Grace-S is a 2-core design constructed from a hybrid mix of 63 strands of 6N OFC silver plated copper and 252 strands of 4N material in a coaxial configuration. There are 630 strands in total. The plug is made from alloy and carbon fibre and there is a chunky alloy chin slider. The 2 pin connectors are also alloy and have colour identification for the channels. The ear guides are gently curved and very comfortable. The cable feels of high quality and is very well made.

The Grace-S was tested with the following IEMs:
1. KBEAR Believe
2. TRI Starsea
3. KBEAR Robin

All IEMs were tested with stock cable and tips before comparison with the Grace-S. The Starsea's switches were set to "Balanced Tuning" (both switches up).

KBEAR BElieve
The KBEAR Believe is technically adept and majors on detail and clarity. Its one minor weakness is the moderately sized staging, but the Grace-S managed to improve this aspect of its performance whilst retaining all the positive attributes of the Beryllium driver and added just a little more clarity and detail. The Believe's superb technicalities were preserved and a little extra sub bass was revealed.

TRI Starsea
The TRI Starsea is a hybrid (2BA + 1DD) which has a high quality Knowles 29869 unit for the mids and a custom TRI HI-A tweeter. It has a neutral/bright profile with excellent staging but in stock form the bass is a little light. With the Grace-S there was an improvement in bass weight, clarity was improved and the staging became even more holographic. Separation, imaging and layering took a step up and the mids gained a bit of extra warmth. The Grace-S and Starsea was a great combination.

KBEAR Robin
The Robin is a 1DD + 4BA hybrid. It has a warm U profile and favours musicality over technical prowess. It may seem strange to pair the Robin with a cable costing twice as much as the IEMs themselves but it is a good experiment. With the Grace-S, there was a tightening of the bass, a brightening of the timbre and an improvement in the transient attack with leading edges more defined. This did affect the treble, which did not have the subtlety of the Starsea or Believe and led to some sharpness of tonality, causing it to struggle to keep up with the extra energy and levels of detail provided by the Grace-S.

The perfect cable would be one with no loss of signal from the source to the transducer. The Grace-S certainly reveals more information than I have heard so far and was particularly successful with the Starsea and if you have that IEM, I would strongly urge you to purchase a Grace-S cable to form the perfect partnership! Based on my experience with the earphones above, the Grace-S should perform well with any high quality IEM. Highly recommended.

I would like to thank Wendy from KBEAR for supplying this unit for review.

KBEAR has emerged as one of the leading manufacturers of quality and well-tuned IEMs as evidenced by the recent Believe, Lark and Neon models. The Robin is the latest release and is a hybrid 1DD + 4BA. The bass driver is a 10mm dual magnetic dynamic unit. The midrange and lower treble is handled by a KBEAR IF-K balanced armature and the high and ultra-high regions are covered by three KBEAR Hi-B BA drivers. A four-way crossover is employed.

The Robin comes in similar packaging to the Lark with a colour sleeve. The reverse has a list of specifications and a frequency graph. Removing the cover reveals a square black box with a gold KBEAR logo. Inside you will see the IEMs sitting in a foam cut-out and two black boxes with gold writing, one long box containing the accessories and another containing the case. The contents include:

* KBEAR Robin IEMs
* 2-pin OFC cable
* 4 pairs of grey silicone tips (S, 2 x M, L)
* 3 pairs of white silicone tips (S,M,L)
* Carrying case
* User guide

The presentation and accessories are excellent for the price and stand apart from the competition.

As expected from KBEAR, the build quality is excellent. The IEMs have a zinc alloy faceplate and a clear resin body. The faceplate has an ombre effect shading from blue to silver and an incised pattern of diamond shapes on the bottom half. There is a circular vent for the dynamic driver on the inner surface and another at the base of the nozzle which is gold in colour, fairly long and has a silver mesh. The earpieces have a bulbous inner surface which sits neatly against the ear and they do protrude slightly, but they are very comfortable and afford a good seal and isolation.

The 2-pin cable is fairly thin and has a chunky white plastic Y-split, 90° 3.5mm plug and hooded connectors. There is no chin slider. The material is 4N oxygen free copper. I found it somewhat tangly in use and not of a quality commensurate with the IEMs.

The carrying case is finished in a grey textured material with a white KBEAR logo and has a zip closure.

The Robin was tested principally with an Xduoo X20 DAP. The pre-fitted eartips were used but I changed to a KBEAR Limpid Pro 8 core silver cable instead of the stock one. A burn in time of 100 hours was allowed. During this time, the bass became tighter and more controlled and the staging expanded.

A healthy volume level was obtained from all sources including a smartphone, with no need for additional amplification, although some benefits were gained with extra power including a tighter bass.

First Impressions
The Robin displayed a rich, full, warm and spacious profile with a powerful bass, well balanced mids and a smooth yet detailed treble which was deceptively extended. Soundstage was roughly equal in all three dimensions with good imaging and there was an overriding sense of musicality. There was a little bass bleed and the low frequencies occasionally dominated on certain material.

Bass
Sub bass was impressive with a good rumble and mid bass was warm and mildly emphasised with a slight amount of bleed into the mids. Texture was nicely conveyed with the timbre of various instruments well differentiated. Due to the very good extension, ambient information was clearly depicted.

"Silent Trees" is a beautiful electronic soundscape by Kevin Kendle from his album "Winter". A stately melody is supported by deep synth bass with delicate accents from Brian Abbott's glissando guitar. In the central climax the Robin managed to display the weight, depth and power of the bass very impressively, evoking the latent power of nature in the depth of winter and one could imagine the bare trees silhouetted against the sky as the light faded.

The late Pete Bardens is best known for being the keyboard player in the prog-rock band Camel. In 1981 he released a single, "Sailplane" under the name OBX. The synth drums in this piece possessed a powerful slam and immediacy and the bass tones were rich and full, providing a solid backdrop for the vocals, string synth and percussive effects, with the whole piece in perfect balance.

The warm and natural timbre of the Robin's bass came to the fore in "Playful Pizzicato", the second movement of Britten's "Simple Symphony". The resonant acoustic of the Snape Maltings was captured beautifully in this classic Decca recording with the English Chamber Orchestra under the composer's baton. The incisive impact of the plucked strings was a joy to hear and the depth of the massed double basses was notable, leaving a lasting impression.

Mids
The Robin's midrange was very well tuned and only slightly recessed. I did not detect any unnatural "BA" timbre and KBEAR's custom IF-K driver managed to deliver an attractive and open tonality from the bass boundary to the upper mids with a smooth and natural quality.

The timbre of the string instruments in Schubert's String Quintet sounded very authentic in the version performed by the Vienna Philharmonic conducted by Karl Bohm. Violins and violas displayed a natural tonality and the pizzicato notes of the cello were nicely portrayed in a spacious manner with a real sense of "being there". The balance of the various instruments was well judged with the musical character of the Robin very evident.

Eva Cassidy's beautiful version of Sting's "Fields of Gold" showed the Robin's considerable ability with vocals. Her clear and pure voice contrasted with her bright guitar accompaniment in the superb production by Chris Biondo and the emotion of the song was conveyed admirably, reminding the listener what a sad loss her passing was.

In an unusual collaboration, Greek keyboard wizard Vangelis performed with Julian Lloyd Webber in "Un apres-midi" on his album, "Encore". The Robin reproduced the beautiful cello melody with a natural and convincing timbre whilst Vangelis's synthesiser accompaniment provided delicate accents and an attractive counterpoint. The whole was presented in a wide and spacious acoustic.

Treble
The treble region was clean, clear and smooth with good levels of detail and there was no evidence of peaks or harshness. It was deceptively extended and possessed an attractive airy quality reminiscent of the TRI Starsea.

Isao Tomita's "Electronic Realisations" of classical works always feature an extensive frequency range. Greig's "Solveig's Song" from the album "Kosmos" is a good example. The swirling synth patches, trademark whistle samples and choral effects were dramatically presented by the Robin with a wide dynamic range. The massed string voices soared majestically yet retained delicate detail and the whole effect was testament to the meticulous production by the Japanese synth master.

Sarah Chang's wonderful expressive reading of Vaughan Williams's "The Lark Ascending" with the LPO conducted by Bernard Haitink produced a luminous performance through the Robin. The violin's tonality was spot-on with good reproduction of those harmonics which define timbre. The message of the music was conveyed in a direct and emotional way with the orchestral accompaniment perfectly balanced.

"I Robot" is the title track from the album by the Alan Parsons Project. After an introduction featuring synth sequences and an offbeat percussion section, the piece builds with electric guitars and choral effects. Eventually the bright and crisp tones of a cimbalom join in and they were presented very effectively through the Robin with the highest notes clear and well-separated, even during the very dense production.

Soundstage
The Robin possessed a wide and spacious stage with an exceptional ability to bring out the atmosphere and ambience in a recording. Imaging, layering and separation were all of high quality.

The Robin revelled in the transcription of Holst's "Moorside Suite" for strings (originally for brass band) by the Northern Sinfonia directed by David Lloyd-Jones. The separation and interplay of the different sections of the orchestra, the clarity of the counterpoint and the realistic atmosphere of the hall were all handled adeptly by the Robin resulting in an entertaining and musically satisfying performance full of life and vitality.

"First Flight" by Alasdair Fraser appears on the Narada compilation album " A Childhood Remembered". It features solo violin supported by synthesisers supported by a whole range of acoustic instruments and percussion. The rhythmic lead melody stood out clearly against the colourful and complex accompaniment and deep synth bass with a palpable sense of space and depth, producing a feeling of being wrapped in sound.

"In the Beginning", the introduction to "Songs of Distant Earth" by Mike Oldfield, begins with a recording of Bill Anders reading from the Bible as he orbits the moon. Accompanied by synthesisers and deep bass drum, sparkling electronic effects spiral around the image. When the lead guitar enters with the main theme in "Let there be Light", the effect was dramatic as the stage expanded and the full instrumentation was brought to bear.

Comparisons
KZ ZS10 Pro
The ZS10 Pro, like the Robin is a hybrid, 1DD + 4BA. It has a 10mm dynamic driver, two 50060 BAs and two 30095 BAs. It has a deep V profile and a bold, exciting sound with a bright treble which occasionally can be aggressive. The Robin has a shallower V profile with a much more refined treble and portrays music in a bold and sumptuous manner without trying to grab you by the lapels as the ZS10 Pro does!

CCZ Plume
Another hybrid with the same configuration, the Plume is an ambitious debut product from CCZ. The drivers are as follows: 10mm dual magnetic DD for the bass, 2 x IF-A midrange BAs and 2 HI-A BA drivers for the high frequencies. The Plume also has a V profile with powerful bass, smooth mids and a polite treble. There is some mid bass bleed and a slightly subdued nature to the upper frequencies. The soundstage is very large and spacious. In comparison the Robin is broadly similar but has a more lively treble, less bass bleed and a similar soundstage. Considering the difference in cost, the Robin comes out well here delivering at least a comparable sound at a quarter of the price.

KBEAR Lark
The Lark is a dual hybrid (1DD + 1BA). It is perhaps the first of KBEAR's models to display the new more mature tuning style seen in their more recent designs. It has a neutral profile with a well balanced sound. Bass is solid, mids are present and open and treble bright without major failings. The Robin shares some of these qualities but adds to this a more authoritative bass, a superior soundstage and improved detail. It is certainly worth the premium over the earlier model and might be seen as a development of, or an upgrade to the Lark.

Conclusion
The Robin is an unqualified success. Blessed with a warm and natural timbre and easygoing personality it presents music in a very attractive fashion. It reproduces the character of a recording venue as well as any IEM I have heard. The key to its appeal for me is its musicality. Despite its V profile, it comes across as well balanced across the frequency range and provides musical enjoyment with every genre you can throw at it. There is some bass bleed and the bass occasionally dominates but these are minor issues. The supplied cable does not bring out the best in the Robin and I would recommend a better one, because it deserves it. I found the KBEAR Limpid Pro 8 core particularly well suited. The Robin must rank as one of the best models currently available in the $50 category. Another winner for KBEAR!

I would like to thank Ann from Keephifi.com ror providing this sample for review. Product link: https://keephifi.com/products/hzsou...r-earphone-earbuds-with-2pin-0-78mm-ofc-cable

The Heart Mirror derives its name from Buddhism, where "The pure heart is like a mirror and can illuminate all things".

The IEM features a 10mm dynamic driver with a carbon nanometer diaphragm and powerful iron-boron magnet. It is clothed in a zinc alloy housing with a reflective finish. The connection is 2-pin 0.78mm. The sensitivity is quoted at 106dB with an impedance of 32ohms and a frequency range of 15Hz - 40kHz is specified.

Description
The Heart Mirror comes in a white box with blue and green accents. There is a full colour image of the IEMs on the front and specifications on the back. A drawer opens with a small tag and inside the box, the earpieces sit in a foam cut out above a dark grey flap below which the accessories are stored. In all the package includes:

* Heart Mirror IEMs
* 2-pin 4 core silver plated OFC cable
* 3 pairs white silicone tips
* 3 pairs black silicone tips
* 1 pair foam tips
* Zipped fabric case
* Carabiner
* Shirt clip
* Velcro cable tie
* 6 spare nozzle filters

This is an impressive and generous accessory set especially at the price.

The IEMs are crafted from a CNC cast zinc alloy and have a highly polished mirror finish. They are very well made, fairly compact in size and quite weighty. The 2-pin sockets are slightly recessed. There is a small circular vent on the inner surface and another at the base of the nozzle which is fairly long. Channel identification (L and R) is also marked on each earpiece.

The supplied cable is a 4-core silver plated copper type and appears to be of good quality. It has a 90° angled 3.5mm plug and an in-line microphone. There is a metal Y-split and a ring chin slider. The 2-pin plugs are plastic and have channel identification but it is very hard to read; colour coding would have been preferable.

The IEMs were used with the stock cable. I initially used the pre-fitted tips, but found them too small for my ears so changed to the medium white silicone tips which resulted in an improved fit and seal and produced a better bass response. The source was an Xduoo X20 DAP and a 100 hour burn-in period was carried out. I discovered that I needed to use an amplifier to bring out the best in the Heart Mirror as doing so improved the bass and the imaging. I used a Fiio A5 for this purpose.

First Impressions
The Heart Mirror immediately impressed me with its remarkable transparency and clarity which seemed to derive from low distortion and a lack of colouration. The tonality was brighter than neutral but displayed a very natural timbre. Detail retrieval was excellent. Bass, including sub-bass, came over with very good resolution and texture, although reduced a little in level. There was no mid bass emphasis which allowed the mids to breathe, and the transition into the midrange was seamless. Treble was bright and clear with no harshness or peaks and was very extended, only occasionally flirting with sharpness. Soundstage, layering and imaging were first-rate.

Bass
The bass was neutral and and somewhat reduced in level relative to the rest of the range but the lower frequencies were reproduced cleanly with excellent texture and resolution and the extension was also notable, with sub-bass very natural.

A perfect example of this was in Albinoni's Adagio in G minor performed by the Guildhall String Ensemble. The deep pedal notes of the organ formed an impressive foundation for the beautiful string melody and soaring violin solo and the climaxes were skilfully handled with superb depth, weight and atmosphere.

Davol is an electronic music artist hailing from Boulder, Colorado. "Another Land" is a track from his second album, "Paradox". It begins with deep drum strikes in a reverberant acoustic accompanied by powerful bass synthesiser. On the Heart Mirror, the effect was thrilling and the fast transients added to the excitement. When the synth bass took over the bass line later in the track there was excellent differentiation in the tonality.

Pink Floyd's "Cluster One" from "The Division Bell" begins with the sound of a crackling fire. A moody David Gilmour guitar solo is joined by Rick Wright on keyboards. The Heart Mirror portrayed the calm yet disturbing atmosphere admirably as the feeling was altered by the entry of Nick Mason's percussion with his bass drum displaying impressive weight and impact.

Mids
The midrange was exceptionally clear and detailed and was totally free of bass bleed. There was a refreshing openness and spaciousness to the sound. Timbre was spot on with the character of instruments well rendered and vocals clear and articulate.

"Judex" from "Mors et Vita" by Gounod features a beautiful flowing melody spanning the octaves. In the version by the Halle Orchestra conducted by Maurice Handford, the brass in the introduction sounded very natural with the requisite bite and shimmer. The string melody was very expressively conveyed and the balance of the orchestra was very natural, taking the listener to the concert hall in an authentic fashion. This was perfect material for the Heart Mirror.

The Heart Mirror reproduced the prominent sax solo beautifully in the bridge of Chris Spheeris's "First Kiss" from the album "Enchantment". The natural timbre of the instrument was excitingly accompanied by swirling synth figuring, deep bass and bright rhythm guitar, forming an extensive tableau drawing you into the music.

Sax also features strongly in the entertaining arrangement of "It Must Be Love" by Madness, and the Heart Mirror rose to the occasion. Set to an infectious reggae beat, the sax solo cut through the dense production in great style with the vocals remaining clear and full of character and pizzicato strings adding a bit of spice to the mix.

Treble
The Heart Mirror's treble was clean and well-extended and brighter than neutral but did not suffer from harshness or disturbing peaks. It was sometimes sharp sounding on certain material, mainly on poor recordings. There was an attractive "airy" quality and a lucid transparency which endowed the sound with an unusual level of clarity and detail.

The delicate synth melody in "Z Op. 1" from "Electromantic" by Gabor Presser received a wonderfully clear performance from the Heart Mirror. Each note was precisely delineated and possessed a crystalline quality which was perfect for the piece. The detail and separation in this track were a joy to hear and the atmosphere was faithfully reproduced.

The Age of Enlightenment Orchestra's performance of the String Sonata No.1 by Rossini is exceptionally well recorded. The Heart Mirror's authentic timbre and excellent transient attack ensured a satisfying rendition with the solo violin displaying clear harmonics and incisive bowing. The counterpoint was also nicely handled with an attractive urgency which drove the piece along in entertaining style.

White Sand and Thunder" is a track from multi-instrumentalist Don Harriss's album "Shell Game". Performed on synthesisers and electronic percussion, it bears all the trademarks of his style with a catchy melody, unusual key changes and lively rhythms. The Heart Mirror managed to separate out all these elements and reproduce the delicate percussion parts with clarity and precision. The castanet details high in the left channel were particularly well rendered.

Soundstage
Due to its excellent clarity and wide frequency range, the Heart Mirror's soundstage was extensive in all three dimensions with very good layering, separation and imaging. The reproduction of ambience and studio reverb was particularly fine and helped to create a more authentic picture of the recording.

Davol's "Mystic Waters" is his debut album and the title track is a calm, spacious piece featuring a guitar-like lead synth voicing over an atmospheric electronic backdrop. The staging in this work is very expansive and the Heart Mirror made the most of it with the height of the solo voice particularly well portrayed in the middle of the piece and supported by swirling electronic effects moving around the image.

Sir Henry Wood's orchestral transcription of Debussy's "The Engulfed Cathedral" has been superbly recorded on the Lyrita label and the performance by the LSO under Nicholas Braithwaite is exceptionally fine. The Heart Mirror presented a broad sweep, laying out the orchestra in convincing style with a believable sense of distance. Each section of the orchestra appeared in its proper place and was clearly depicted in a wonderfully ambient recording space.

Al Stewart's superb album "The Year of the Cat" is a marvellous recording with a fabulous production courtesy of Alan Parsons (producer of "Dark Side of the Moon"). The stereo imaging in the title track came over superbly on the Heart Mirror with each instrument nicely separated and placed accurately, the reverb on the vocals clearly depicted and the layering in the guitar and sax solos convincingly presented, all of which resulted in a satisfying musical performance.

Comparisons

Tin Hifi T2+
The T2 plus has a 10mm "NanoPure Nickel-Zinc" driver, a full metal casing and MMCX interface. It follows the traditional Tin Hifi tuning of a neutral/bright profile but adds an extra bit of warmth with a mid bass lift resulting in a mild V profile. There is a balance between accuracy and musicality. The Heart Mirror displayed a cleaner tonality with reduced mid bass and a more immediate impact. In comparison, the T2 plus sounded a little "safe" and lacking in excitement. The Heart Mirror's detail and definition was superior and the soundstage more immersive.

Smabat NCO
The NCO is an ultra compact barrel-shaped IEM with an 8mm micro driver and graphene diaphragm. It also features Smabat's unique Maze system inspired by transmission line speakers which uses an extended path for the bass frequencies. It has a warm profile which is mildly L-shaped, copious detail and excellent imaging and a very spacious soundstage. The Heart Mirror's neutral profile was in marked contrast and delivered more detail and "air" but the NCO possessed a more "breathy" and weighty bass. Soundstage was about equal in quality but the warmer tonality of the NCO's mids just softened the effect a little. The Heart Mirror's treble was more extended.

BLON BL-05s
The BL-05s, like the Heart Mirror, uses a 10mm carbon DD. An upgrade to the original BL-05, it is clothed in a bright green reminiscent of the 1950s. The bass is powerful and occasionally dominant and the treble has good detail and extension. The BL-05s displays a warmer tonality than the Heart Mirror but its transient attack is similar in impact. The mids are more recessed but still present but the timbre is not as natural. The treble is not as refined, there being a little bit of "grain". Soundstage is impressive although imaging is not as precise as the Heart Mirror.

Conclusion
The Heart Mirror exceeded all my expectations, delivering a superb sound across the frequency spectrum and excelling in all areas. There was good extension both in bass and treble, a natural timbre, high quality staging and a clean and bright tonality with lots of detail and it was difficult to find anything to complain about. Some used to the ubiquitous V tuning which is so prevalent today might find the Heart Mirror's sound too bright but extended listening will reward the user with an extraordinarily accomplished sound at the price. It's laser-like accuracy does mean that poor recordings will sound poor, but that is exactly how it should be. I cannot recommend this model highly enough and urge any lover of high quality sound to purchase one for their collection.

I would like to thank Kimberly from Fedai via Amazon.com for supplying this unit for review.
Product link:
https://www.amazon.com/gp/aw/d/B097ZJBTXC

The CSK is the latest 1DD + 1BA hybrid model from CVJ following on from the recent CSE and the excellent CSA. The dynamic driver is an 8mm dual magnetic design with a titanium coated diaphragm and a field strength of 1 Tesla. The BA is CVJ's custom version of the venerable 30095 balanced armature. The CSK has an impedance of 30 ohms and a sensitivity of 107dB per mW.

Similar to the previous packaging of the CSE, the CSK comes in a small black rectangular box with a sleeve featuring a colour image of the IEMs on the front and the specifications printed on the back. The box has a gold CVJ logo and, inside, the earpieces are presented in a card cutout along with the spare eartips (the medium size being pre-fitted to the IEMs). Below this are stored the accessories.

The contents include:
* CVJ CSK IEMs with medium eartips pre-fitted
* 2 pin black braided 4 core cable
* 2 pairs silicone tips (S, L)
* Faux suede storage pouch
* Documentation

The CSK has a different design of earpiece from previous models. The faceplate is roughly triangular in shape, softly faceted and coloured light purple with the words "Left" and "Right" written in a white script font. The body is in a light blue tinted resin material through which the components are visible. There is a circular vent for the dynamic driver on the rear of the earpiece and another at the base of the nozzle which is made of black metal. The 2 pin sockets are set flush to the surface.

The cable is a 4 core braided type with a 90° black plastic 3.5mm plug and is similar to previous cables from CVJ and TRN. The angled 2 pin connectors are also made from black plastic and there are clear plastic pre-formed ear guides.

The CSK was tested with an Xduoo X20 DAP and at first the pre-fitted tips were used. I found the stock cable limited the quality available and employed a Senlee hybrid cable which revealed more of the true potential of the CSK. A further change of tips to Spiral Dots produced more "air" and improved the staging. A burn in period of 100 hours was allowed to settle down the components. The earpieces were very comfortable and isolation was very good and well above average.

First impressions
Out of the box, the sound was disappointing. The bass was dominant and somewhat loose, and there was a strong bass bleed which coloured the midrange. Also, the mids themselves were recessed and the treble was subdued. However, after a lengthy burn in, these problems largely disappeared. Once settled, the CSK's 8mm bass driver produced a deep and powerful bass which possessed excellent extension with the lowest frequencies reproduced clearly. The mids were warm in tonality due to the influence of the bass but had good timbre and became more forward with time. The treble was quite polite and restrained but was detailed and not harsh or peaky. The soundstage was outstanding, being expansive in all three dimensions with very good imaging, separation and layering. It was hard to believe sound of this quality emanating from such an affordable IEM. Like the recent CCZ Plume, I found the CSK to be very source sensitive and the best results were obtained with a neutral/bright source. I found the Sony NWZ-A15 and Hifi Walker H2 too warm sounding but the Xduoo X20 delivered a perfect balance. I did find myself cranking up the volume on these and felt they benefited from a bit of extra power.

Bass
The bass was deep and powerful but revealed quite a lot of detail and although somewhat elevated, remained musical. Sub bass was very impressive with a healthy dose of rumble available and mid bass possessed plenty of punch and impact. The ability to reproduce ambience and reverberation was notable, especially in cathedral organs which possessed power and majesty in equal measure with the atmosphere of the venue authentically portrayed. Its strong influence was not so noticeable in simpler pieces where the warm and attractive timbre added character and depth, inviting further listening. The transients were very well handled with good impact.

Mids
The mids were suffused by some bass bleed but retained a warm and well balanced profile. The timbre was very authentic and there was plenty of attack and life. The tonality gradually became brighter with frequency but there was no evidence of harshness or sibilance. Male and female vocals were handled equally well and instruments sounded good with bodies of strings nicely separated, brass possessing shimmer and bite and cellos and pianos possessing a believable and natural character, with accurate reproduction of harmonics and overtones .

Treble
The treble tuning was very well done. It was largely gentle in character yet still displayed good levels of resolution and clarity. The lower region was smooth and clear and fairly well detailed but perhaps a little dialled back. However it lacked the expected peaks from the BA placed in the nozzle and was free of harshness. There was no trace of "BA timbre". It rolled off somewhat early which accounted for the polite nature of the presentation, but it recovered in the extreme HF providing some welcome air and sparkle. The tuning of the well known 30095 unit was unusually restrained and was all the better for it.

Soundstage
The CSK's soundstage was surprisingly large and spacious, which was unexpected for an IEM in this price range. Width and height were impressive in extent and depth was good although it did tend to decrease with volume, with more complex pieces experiencing a flattening of perspective. Separation was well above average but did decrease in the same manner as the depth. Layering was of a high standard, as evidenced in the layout of orchestras which were very natural, giving the impression of a seat in the concert hall about half way towards the rear of the hall, and imaging was also well handled, especially at the price, it being easy to discern stereo effects and instrumental positioning.

Comparisons

CCA CSN
CCA's CSN is also a 1DD + 1BA hybrid and features the excellent KZ XUN DD coupled with the familiar 30095 BA. It has a mature, well balanced tuning which makes it suitable for many genres. It is better built than the CSK, having a metal faceplate and a more solid resin body and comes with a better cable. The CSN has a similar overall profile to the CSK but the bass is more controlled and there is no bass bleed. The mids are a little more refined and the treble is more even. It is more expensive than the CSK but if a more neutral profile is preferred it may be suitable. The improved build quality justifies the extra cost. The CSK on the other hand may be considered more exciting and fun and certainly holds its own in comparison.

KBEAR KS2
KBEAR 's KS2 is, like the CSK, a dual hybrid and is built from resin. It features a 10mm dynamic driver with composite diaphragm, partly PU and partly bio-cellulose. The balanced armature is described as a "high end custom unit" and is placed within the nozzle. The KS2 is a classic V-shaped IEM with a appealing dynamic and exciting character. Its presentation will not suit all types of music but it performs well, especially at the price. It does sound similar to the CSK because of its powerful bass which sometimes dominates proceedings, but it also has some bass bleed and that peak in the upper mids and lower treble so often found in affordable hybrids which the CSK does not suffer from. The overall profile is more V shaped but it has, like the CSK, a large and expansive soundstage. Overall the CSK is better balanced and will suit a wider range of genres.

CVJ CSA
CVJ's debut model, the CSA is also a dual hybrid with a 10mm DD and a "custom" BA. It has a very neutral/bright tuning which established CVJ's "house tuning" which is rare in this price sector compared with the more commonly found V profile. Bass is firm and well textured, mids are forward and clean and the treble is clear and extended with an absence of peaks. Compared to the CSK, its resolution is finer and more accurate which is especially good for vocal music. Its even handed approach also suits many other genres, though it does not possess the powerful bass of the CSK and perhaps just misses out on the "fun factor" that the present model displays, but these are two very different IEMs.

Conclusion
At the price, the CSK was a pleasant surprise. With its visceral and impactful bass, expressive mids, large soundstage and smooth yet detailed treble, its expansive and powerful delivery brought out the best in large scale orchestral works, film scores and electronic music.

The out-of-box experience was unfavourable but after burning in, although some bass dominance and a minor bleed remained, everything was in better balance, so I would advise with this IEM that burn in is mandatory and that they should be given some time to reveal their true nature.

Further improvements can be obtained with a change of cable and tips which unlock the CSK's considerable potential, and although this does add to the cost, it is definitely worth pursuing. In addition, the use of a neutral or brighter source will help to achieve a good balance and tame the bass.

At its best, the CSK is outstanding at its price level. It is certainly a departure in tuning from what was the CVJ "house sound" seen in their earlier models like the CSA, CSN and Mirror, but it offers an exciting and entertaining listen for very little money, and must be considered amongst the best entry level IEMs on the market at present. Being so affordable, its minor failings can certainly be forgiven and it is highly recommended.

I would like to thank Ann at Keep Hifi for providing this unit for review.
Product link: https://keephifi.com/products/ccz-plume

Introduction
The Plume is the debut product from a new company on the IEM scene, CCZ. It is an ambitious design retailing for around $200 so faces stiff competition from the established brands in this price sector.

The Plume is a 5-driver hybrid, 1DD + 4BA. The drivers are as follows: 10mm dual magnetic DD for the bass (diaphragm material not specified), 2 x CCZ IF-A midrange BAs and 2 X CCZ HI-A HF BAs for the upper frequencies. All the drivers are designed by CCZ.

Description
The packaging is premium. The large chunky box has a full colour sleeve featuring Chinese characters and golden birds. Removing the sleeve reveals a plain black box which opens with a hinged lid. Inside, the IEMs nestle in a foam insert along with the spare eartips. Below this you will find the leather case with accessories inside and a black box containing the cable and cleaning brush.

The contents include:
* CCZ Plume IEMs
* 6N OCC cable, 2.5mm termination
* 3 pairs standard silicone tips
* 5 pairs of silicone tips with coloured bore
* 4.4mm balanced adaptor
* 3.5mm single ended adaptor
* Leather case
* Cleaning cloth
* Cleaning brush
* Manual

It is an impressive, generous and sumptuous presentation.

The IEMs themselves have a shiny gold finish and there is a large grille on the faceplate above which a CCZ logo is incised. There is a small vent below the nozzle and another behind the fin-like extension on the rear of the earpiece. The 2 pin sockets project just above the surface.

The supplied cable is a 2-core braided design with a fabric wrap and the conductor is single crystal copper. The 2.5mm balanced plug is straight and has a carbon fibre finish which matches the Y split. There is a black spherical chin slider and the 2 pin connectors are angled, formed from black plastic and feature channel identification.

First Impressions
An Xduoo X20 DAP was used as the principal source via both the 2.5mm balanced output and via line out with a Topping NX1a amplifier. A burn-in period of 100 hours was carried out. The Plume was tested using the stock cable and pre-fitted stock silicone tips which provided an excellent fit and seal and provided very good isolation. The earpieces were secure and very comfortable; the fin design was very effective.

The Plume immediately impressed with the size of its soundstage which was very extensive in all three dimensions and displayed notable layering, separation and imaging. The overall profile was V shaped with a bass emphasis, the low frequencies being powerful and well-textured with an impressive sub-bass. The mids had good timbre although they were a little recessed and the treble was smooth and gentle with no noticeable peaks or harshness. The tuning favoured musicality over technical prowess. Output was robust with no need for further amplification although when augmented with a Topping NX1a via line out, single-ended, there was an improvement in the tightness of the low end. I did find the Plume to be source sensitive, as, when played via a smartphone and then a CD player, the bass was more dominant and a little loose but via a DAP it was much tighter and more controlled.

Bass
The Plume's bass was powerful and visceral with a prominent sub-bass. Mid bass was also strong with good impact but it did intrude into the midrange a little. Texture was good but I felt the resolution was just a little blunted by the warm tonality.

"Silencium" is the theme from "Silent Witness". John Harle's arrangement features ethereal female vocals sung in Latin supported by solo violin and strings and a prominent part for bass drum. This had plenty of impact on the Plume with a believable timbre and a slow decay, but the initial strike could have been more incisive.

The flowing synthesiser chords and mysterious atmosphere in the title track from Meg Bowles's "Evensong" are supported by deep sub bass elements which swell and subside. The Plume produced an evocative rendition with plenty of depth and power and a healthy dose of rumble in the lower frequencies whilst preserving the lyrical qualities of the music.

In "Something Inside so Strong" by Labi Siffre, bass synth, bass guitar and drums all combine to produce an impressive backdrop to the inspiring and heartfelt lyrics in this seminal anthem to tolerance. The disparate elements in the bass were nicely differentiated by the Plume and once again displayed impressive depth and power whilst allowing the message to be clearly conveyed.

Midrange
The Plume's midrange was smooth and well articulated and possessed a somewhat warm tonality due to the influence of the bass. It was a little recessed, as befits a V shaped profile, but still retained reasonable levels of detail. Male vocals were warm and female vocals perhaps a little softer than ideal. The transition into the treble was seamless with no harshness or sibilance in evidence.

The introduction to "Venus" from Holst's "The Planets" by the Montreal Symphony under Charles Dutoit was handled beautifully. Solo horn floated effortlessly over hushed strings and harp and each concertante instrument was reproduced with a timbre which was good for a BA driver. I did, however, feel that the smooth nature of the performance occasionally lacked a little bit of detail and could have been a bit more assertive.

The solo saxophone in the bridge in "First Kiss" by Chris Spheeris sounded great with the character of the instrument very evident and producing an impressive tableau when backed by cascading synth strings and acoustic guitar. Solo guitar also impressed with the deep bass adding a solid foundation. The details in the rhythm guitar and synthesisers were also very well presented.

The vocals in "Father and Son" by Cat Stevens were clearly enunciated and the quality of his voice as he portrayed the different characters was effectively conveyed. The acoustic guitar solo was clear and bright and the backing instruments and vocals were also well defined, drawing you into the music and creating a very immersive result.

Treble
The treble was fairly natural in character with a pleasant timbre, but it was a little subdued and although there was a good amount of detail on offer, I felt that the extension could have been a little better (see below). Transients were slightly soft and I did miss a bit of air and sparkle, but there were no disturbing peaks and it was devoid of sibilance.

"Sunday Morning" is the second movement of the "Four Sea Interludes" from Peter Grimes by Benjamin Britten. Brass and woodwind announce a complex rhythmic theme followed by violins in the high register. The atmosphere of the piece in the beautiful recording by Andre Previn and the LSO came over well with an attractive silky tonality in the strings but the syncopated rhythms lost a little of their immediacy due to the rather safe tuning in the presence region.

"Petite Fleur" is an electronic piece by George Deuter from his album "Land of Enchantment". This was much more to the Plume's liking with the music box-like melody possessing a clean timbre and remaining clear above the synthesised accompaniment. Each note was clearly defined and the reverb of the studio recording faithfully reproduced.

"Man Free" by Linton Kwesi Johnson is a dub reggae classic from the album "Dread Beat an' Blood". The playing of the superb rhythm section of Sly Dunbar and Robbie Shakespeare received a stirring rendition with the bass suitably deep and the Plume handling the percussion in an incisive fashion with accurate timbre, especially the complex and detailed cymbal and hi-hat work in the instrumental which was supported by some characteristic "skanking" from the keyboards.

Soundstage
The expansive soundstage was its best feature, being amongst the best I have heard so far with impressive levels of separation, layering and imaging.

"Accumulus" is a large-scale symphonic style electronic work by Matthew Clifford. The first part is in sonata form with an "idee fixe" which occurs as a theme and variations. A veritable arsenal of keyboards is brought to bear and all the different elements were clearly differentiated by the Plume within a vast stage in which everything had its place. Different strands were easy to follow and the imaging was excellent. The focus was on musicality throughout.

The Plume's extensive staging suited film music very well. "Come back to us" by Thomas Newman from the OST to "1917" was a perfect example.
Sustained strings and delicate keyboards introduce the piece. Basses and cellos, augmented by synth bass, form a deep foundation over which a poignant and impassioned cello solo is heard. The Plume recreated a wonderful tableau full of atmosphere and feeling in a broad canvas and when the cello was joined by full orchestra, the effect was thrilling.

"Eve of the War" from "War of the Worlds" by Jeff Wayne is a beautifully produced track. It begins with the imperious voice of Richard Burton describing the start of the invasion. His voice was very well rendered in a resonant acoustic. Following this, synthesisers announce the theme with percussion left and right in the image. More layers are added as the track develops and the Plume kept up admirably, retaining excellent separation and imaging. The whole piece was very excitingly portrayed.

Comparisons
TRI i3
The i3 is an innovative "Tribrid" featuring an 8mm DD, planar driver and BA. Nicely crafted from metal, it, like the Plume, presents a bold and expansive sound picture. The planar unit produces a wonderful midrange timbre, the bass is deep and powerful and the treble deceptively detailed. It does not suffer from bass bleed as the Plume does. It does require amplification to bring out the best in the planar driver but it is more balanced and refined than the Plume and equally as musical in its presentation.

Aiderlot M5
The M5, like the Plume, is a 5-driver IEM but it is an all-BA model using Knowles drivers. It is tuned very differently from the Plume, being very neutral and flat. Bass is not as prominent as may be expected from a BA unit, but it is faster and cleaner. Mids are very clean and detailed and the treble is open and more extended than the Plume. The soundstage is large but not as extensive, though the imaging is very good. The overall sound is open, refined and airy but it does not have the power and depth seen in the Plume.

TRI Starsea
The Starsea is a 3-driver model, 1DD + 2BA. Its USP is the two tuning switches offering four different sound profiles. Comparing it to the Plume, the Starsea was set to the "Amazing Bass" setting which produces the most powerful low end. The result is a mild V shape with solid bass, a very open midrange and extended treble. It is more airy, delicate and detailed than the Plume, and also has a very large soundstage. The Plume is warmer in tonality and more powerful sounding and has a more pronounced V tuning.

Conclusion
The Plume produced a bold, dramatic sound and there was a broad, cinematic sweep to the reproduction. The soundstage was first class and the overriding impression was of a musical and entertaining character. Bass was deep and powerful, though sometimes dominant and the mids were smooth and slightly warm in tonality. This continued into the treble which was conservatively tuned with no harshness or peaks and would suit the treble sensitive amongst us, but I felt there could have been a bit more detail and I often found myself wishing for more air and sparkle, although it was very relaxing to listen to. I did obtain a brighter sound by using a KBEAR Limpid Pro cable and JVC Spiral Dot tips which, for me, brought the sound into a better balance. It may be worthwhile experimenting with cables and tips and a bright or neutral source is recommended.

Beautifully presented, good looking, well made and with a sound which will appeal to many, the Plume is a very impressive debut for CCZ and can be warmly recommended.

The KBEAR Neon is the latest model from the company and is the successor to the F1. Like the earlier model, it is a single BA design. The F1 employed a 32257 type in different versions including Bellsing. The Neon uses a Knowles ED 29869 BA as found in the TRI Starsea.

The Neon comes in similar packaging to the Lark with a colour sleeve showing Chinese characters within a Neon-effect border within which is written " KBEAR Neon". Also featured are "The vocals hit the soul" and "Single BA in-ear Hi-fi earphones" in Chinese and English. The reverse has a list of specifications. Removing the cover reveals a square black box with a gold KBEAR logo. Inside you will see the IEMs sitting in a foam cut-out and two black boxes with gold writing, one long box containing the accessories and another containing the case. The contents include:

* KBEAR Neon IEMs
* 2-pin silver plated cable
* 4 pairs of grey silicone tips (S, 2 x M, L)
* 1 pair of white silicone tips (S,M,L)
* Carrying case
* User guide

The carrying case is finished in a grey textured material with a white KBEAR logo and has a zip closure. The presentation and accessories are excellent for the price and put companies like KZ to shame.

The Neon is a "bullet" style IEM. It has a transparent body through which the components can be seen and is available in three colourways, red/blue, black and purple. The nozzle is fairly long and there is a decorative silver ring with KBEAR branding just below the nozzle. The 2-pin socket is on the rear of the body and protrudes to accept a hooded connector. There are red and blue dots on the underside indicating the channel and polarity.

The cable is silver plated copper with hooded connectors, a straight silver coloured metal 3.5mm plug and metal Y-split with a ring chin slider. It is worn cable down and is very comfortable with little cable noise.

The Neon was tested principally using an Xduoo X20 DAP but a CD player and smartphone were also employed. The stock cable and medium tips were used which resulted in an excellent fit, isolation and seal. A burn in period of 100 hours was used to settle down the components.

First Impressions
The Neon displayed a largely neutral profile with a conservative sub-bass presence but with good speed and resolution. Mid bass through to upper mids were flat with a moderate rise into the treble which possessed good detail and clarity. There was a dip in the upper frequencies after which the level recovered and supplied some sparkle and air. Transient response was quick and agile. Staging was well above average with good separation and layering.

Bass
As may be expected from a single BA, there was a relative reduction in the bass level but there was still a good sense of weight and depth although there was a roll-off in the sub-bass region. Mid bass had good impact and speed whilst maintaining rhythmic integrity, and did not bleed into the midrange.

Jonn Serrie's "Le Tresor" was a good example. Its deep sub-bass foundation was hinted at rather than fully realised but there was good definition, texture and speed. Some of the atmosphere was lost but what remained was very clean and musical, freeing up the mid bass, allowing the piece to breathe and showcasing the overlaying acoustic guitar solo very effectively.

The deep pedal notes of the organ in Albinoni's "Adagio in G minor" possessed good texture and there was a sense of weight but the extension was just a little shy, robbing the piece of its impressive foundation. The timbre of the basses and cellos in the version by the Guildhall String Ensemble was believable with admirable clarity and detail and the piece retained its cohesion even though some of the impact was lost in the lower frequencies.

Mids
Arguably the star of the show, the Neon's midrange was neutral and accurate with good timbre for a BA. There was a moderate rise in the upper region which added some clarity and soundstage, layering and imaging were all very good.

"A Chloris" by Venezuelan composer Reynaldo Hahn is a beautiful duet for cello and piano in the style of Bach. In the performance by Julian Lloyd Webber and John Lenehan, the Neon gave a very good account of itself with excellent clarity. The timbre of the instruments was generally natural and lifelike with only the higher notes of the cello having a sharper "BA" tonality. The atmosphere and ambience of the performance was faithfully reproduced.

Rosanne Cash's sensitive recording of "This has happened before" demonstrated the superb vocal abilities of the Neon. The reverb on her voice, acoustic guitar, Dobro and steel guitars were all convincingly portrayed, and combined nicely to produce an emotional performance worthy of the phrase "The vocals hit the soul". This was ideal material for the Neon.

Treble
The Neon's treble was generally clean and well defined with good detail. There was a notable dip in the upper region before recovering in the extreme HF. This resulted in some variation of timbre but there was still a decent sense of sparkle and "air".

"Many Chinas" from the superb "Vapor Drawings" by Mark Isham begins with bright and detailed percussive elements on each side of the stereo image displaying excellent width. The Neon reproduced these very clearly with precise detail. When the bass, trumpet and keyboards joined in, the whole piece gelled together very well with excellent separation producing a satisfying musicality.

Pachelbel's famous "Canon in D major" can surely not have had a more elegantly paced presentation than that by the J. F. Paillard Orchestra on Erato. The slower tempo revealed so much more of the counterpoint and throughout the piece, the harpsichord continuo was clearly audible and the violin solo placed centre stage displayed excellent timbre.

Soundstage
Along with the mids, the soundstage was perhaps the best feature of the Neon, being expansive in all three dimensions and exhibiting good separation and layering with imaging also being above average.

"Walking in Space", by Amin Bhatia from "The Interstellar Suite", features binaural effects depicting an EVA or spacewalk. It starts with a representation of an airlock being activated and the astronaut beginning his activity, which is then followed by a cinematic musical theme on synthesisers. A huge stage was created by the Neon with the sound effects displaying accurate positioning and delicate sequenced electronic details moving across the image. The whole effect was spacious and very captivating.

The superb series of classical pieces by the Minnesota Orchestra on the Reference Recordings label always display an impressive soundstage. Ravel's dynamic "Alborada del Gracioso" is no exception. Eiji Oue's interpretation is full of drama, orchestral colour and impact and the Neon revelled in the piece with a convincing spread of the orchestra and a believable sense of the hall ambience, forming a solid three-dimensional image which was wonderfully entertaining. The positioning of the concertante instruments was precise and there was a very natural perspective. With just a little more depth and power, it would have been nigh-on perfect.

Conclusion
The Neon improves on its predecessor, the F1, in every way. It has a more extended bass (though still somewhat light), the midrange is clearer and more defined where the F1 was occasionally veiled (this will depend on the BA), and the treble is more extended. Soundstage is much more impressive. The Knowles unit is more refined and linear, and the presentation, fit and cable are also superior. The team at KBEAR and TRI certainly know something about tuning. If the dip in the upper treble could be fixed and a little more extension in the bass could be added, this would be a giant-killer! As it stands, the Neon is still a very good IEM at the price and eminently recommendable.

Disclaimer
This product was supplied as a review unit by Lu Xinyi from BQEYZ via Amazon.co.uk. Product link: https://www.amazon.co.uk/Earphones-Isolating-Balanced-Sounding-Detachable-Black/dp/B08ZD5GGQZ

Introduction
The BQEYZ Summer is the latest development of the triple hybrid design previously seen in the Spring and Spring 2 models. The drivers in the Summer are all new and comprise a revised 13mm dynamic driver with a liquid crystal polymer and PU diaphragm covering the bass frequencies, a second generation balanced armature for the midrange and a new 5-layer piezoelectric unit handling the high frequencies. These drivers are housed in a new resin shell instead of the metal one in the Spring models.

Description
The Summer comes attractively presented in a chunky rectangular box with a printed slip cover. The front features the name "Summer" in a simple font on a blue background and a BQEYZ logo in the top left corner. The reverse has an image of the IEMs and a list of specifications. Removing the cover reveals a simple black box with a silver BQEYZ logo, which opens like a book. Inside, the IEMs are displayed in a foam cut-out in a card insert and under this there is a square carrying case containing the accessories. In a further layer below are stored the spare ear tips. In all the package includes:

* Summer IEMs
* 8 core single crystal SPC cable
* 3 pairs "reference" tips (grey)
* 3 pairs "bass" tips (white with blue bore)
* Zipped carrying case
* Cleaning brush
* Velcro cable tie
* Documentation

The package is quite generous although perhaps some foam tips could have been included.

The IEMs themselves are formed from a smoothly contoured resin with an attractive wave-like pattern on the faceplate. They are shaped somewhat like a leaf and are available in two colours, blue and black; I received the black colour which is in fact a dark purple with silver sparkles and looks very good. There is a small circular vent for the dynamic driver on the top surface near the silver-coloured metal nozzle. The left earpiece features BQEYZ branding and the right earpiece has "summer" written in a white font. The 2-pin sockets are flush with the surface and take a standard connector (not Type C).

The 8-core silver-plated cable is of very good quality and is supple and the ear guides are not too tightly curved. There is a straight metal 3.5 plug and a metal Y-split with BQEYZ branding and a sliding ring serves as a chin slider. The metal 2-pin plugs have channel identification.

The Summer was tested using the stock cable and medium "reference" tips which provided an excellent fit and seal and the earpieces were light and comfortable. An Xduoo X20 DAP was used as the source and a burn-in period of 100 hours was carried out. Adequate volume was achieved without augmentation, but extra power resulted in a tighter, more focused delivery. I found an amplifier with a more neutral sound was preferable and chose a Topping NX1a rather than the Fiio A5 which has a warmer sound.

First Impressions
The Summer displayed a warm, well-balanced mild W or U-shaped profile with high resolution and expansive staging. Bass was deep, firm and well-textured. The midrange was clear and nicely detailed and the extended treble was a notable feature, courtesy of the well-tuned piezo driver. The musical quality of the reproduction was an outstanding feature and music was displayed in a bold "cinematic" fashion.

Bass
The bass was fairly well extended but there was a bit of roll off in the lowest frequencies and a little more rumble would have been welcome. There was a smooth transition into the mid-bass which was somewhat elevated but had plenty of impact and was lively and entertaining. There was a small amount of bleed into the midrange which endowed that region with a bit of warmth and the mid bass did sometimes become dominant.

"Fantasy Passages" is an electronic soundscape by Jonn Serrie from the album "And the stars go with you". It begins with sound effects evoking outer space and includes some extremely deep sub-bass tones. The Summer reproduced these well with good depth and power and free of distortion. The piece then opens out into a joyful anthemic melody with sparkly treble underpinned by deep bass drones. The effect was very atmospheric.

"Anime" is the fourth movement of Jacques Ibert's colourful suite, "Escales" (Ports of Call). It features all the instruments of the orchestra in a varied and lively performance. The version by the Minnesota Orchestra under Eiji Oue features a prominent bass drum. The power and impact of the drum was cleanly conveyed by the Summer with a realistic ambience and decay and the experience of a large orchestra in full flight was beautifully presented. The overall impression was, perhaps, somewhat over-romanticised.

"Welcome to the Machine" by Pink Floyd begins with mechanical sound effects and a deep pulsing bass motif. This was powerfully portrayed by the Summer and when contrasted by the incisive guitar chords, produced a thrilling effect. The foreboding and slightly menacing atmosphere of the piece was authentically preserved.

Midrange
The Summer's midrange possessed a very good natural timbre from the proprietary BA unit. There was plenty of detail and little harshness. The lower region received some warmth from the bass but in general the tonality was natural and smooth.

"Keltic Lament" by John Foulds begins with a duet for cello and harp playing a beautiful melody. In the version by the City of Birmingham Symphony under Sakari Oramo, the timbre of the two instruments was very believable with an attractive "bloom" deriving from the bass influence. When the full orchestra repeated the theme later in the piece there was a wonderful swell to the sound and great dynamic range but it was maybe just a little larger than life!

Benny Anderson's "Piano" is an album of instrumental versions of his compositions. "Thank you for the music" is arranged in an entertaining ragtime style reminiscent of Scott Joplin and it is performed with verve and humour. His Fazioli instrument is placed in a resonant acoustic and the details of the piano's timbre and overtones were perfectly captured by the Summer in Linn Fajal's fine recording with excellent rhythmic integrity.

The ethereal voice of Moya Brennan produced an otherworldly feeling in "Theme from Harry's Game" by Clannad. Her voice was beautifully rendered and contrasted nicely with the dense synthesised accompaniment and well separated backing vocals with the strangeness of the Gaelic lyrics adding to the effect.

Treble
The Summer possessed a very detailed and extended treble with excellent resolution and detail. The piezo driver managed to produce a delicate and airy quality to the upper frequencies and only occasionally displayed a minor thin quality often found in piezo drivers.

Richard Burmer's "A story from the rain" from the "Western Spaces" album begins with the sound of thunder and rainfall. Less accomplished earphones struggle to reproduce the subtle detail here but the Summer succeeded admirably. The piezo driver revealed all the atmosphere of the piece and the speed and impact of the percussive elements later in the track was really impressive.

The classic recording of Charles Ives's "The Unanswered Question" by the New York Philharmonic under Leonard Bernstein received a stunning rendition from the Summer. Set against a serene, sustained string background, the assertive trumpet solos and aggressive woodwind tone clusters produced a startling effect with the various instruments' individual timbres easy to discern and remained clean and clear even in the most dynamic passages.

Canadian synth duo Mychael Danna and Tim Clement have produced a series of electronic albums. "Ice and Air" is a track from their debut album, "A Gradual Awakening". It begins with descending swirling arpeggios in the high registers evoking snowfall. Each sound was cleanly depicted and displayed good separation and extension. The crystalline tones were notable for their detail. As the track continued a powerful bass drone added depth but the high frequencies remained clean throughout and retained their clarity.

Soundstage
The Summer's staging was very spacious and expansive with equal height and depth and a greater width. Layering and separation were very good due to the detail retrieval and fast transients of the piezo driver. Imaging was also of high quality.

"Andalu" by Chris Spheeris from his wonderful album "Desires of the Heart" showcased the excellent soundstage of the Summer. Bass and percussion introduce the track accompanied by piano with each element clearly depicted in its own space. A characteristic guitar solo appears high in the centre of the image and bass synthesised effects enter behind and across the stage. The Summer produced a real three-dimensional effect which was very spacious and enabled the superb production to be appreciated.

Vangelis's score for the Kurosawa film "Antarctica" is one of his best works. "Antarctic Echoes" employs a variation of the main theme in a calm and meditative style. Set in a very large resonant acoustic, the principal synth voice hovers in space accompanied by inventive string patches and electronic effects making full use of every square inch of space and the Summer rose to the occasion superbly, conveying a wide and spacious image with pinpoint imaging and delicate detail.

"Merok" by Eric Fogg is an orchestral piece written in 1929. It is based on a simple yet beautiful theme which is taken by a variety of instruments and accompanied by a soft string backdrop. In the version by the BBC Philharmonic conducted by Rumon Gamba, the Summer took the listener to the concert hall very convincingly with the orchestra laid out realistically and the interplay between the various instruments handled very well. The timbre of the woodwind was especially memorable and the ambience of the recording venue well rendered.

Comparisons
I have not heard either of the Spring models but have compared the Summer with another IEM with a piezo driver, plus two other multi-driver examples.

Elecom CB1000 (1DD + 1 piezo)
The CB1000 has a neutral/warm profile. It is much lighter in the bass than the Summer and does not have a mid bass emphasis, being quite linear. Texture and detail are very good. Mids are also fairly neutral, perhaps a little recessed but possess good timbre. The Summer is preferable here with more detail and resolution and is not as recessed. Treble is similar, the CB1000's coaxial design delivers good coherence and phasing and the transition to the treble is smooth. The extension is not as good as the Summer, though, and there is a thinness of tonality at times. Soundstage is not as expansive but layering and separation are good.

TRI Starsea (1DD + 2BA)
The Starsea's USP is the two tuning switches providing four different sound profiles. My preference is for the "Balanced" setting (both switches on). All comparisons are made with this setting engaged. The Starsea has a neutral and very transparent sound. Bass is fairly linear with some sub bass presence but no mid bass emphasis. Texture and resolution are excellent. The Summer is more emphatic in the bass, with some extra mid bass energy and perhaps a little less resolution. There is a smooth transition into the mids to the Starsea's Knowles 29869 driver which has good timbre, in fact, it is very similar to the Summer in this region and there is little to choose between them. Both have good timbre for a BA with only occasional sharpness in both cases. In treble, the Starsea is preferable with the proprietary TRI "Hi-A" unit delivering a smoother and just as extended response but avoiding the characteristic thin tonality piezo drivers occasionally tend to display. Soundstage is also superior in the Starsea, it is remarkably open and transparent with excellent layering and separation. The Starsea, in my opinion is the best tuned IEM I have heard in this price sector.

TRI i3 (1 DD+ 1 Planar + 1BA)
The i3 has a similar bold and expansive presentation to the Summer. Its bass is more focused in the sub bass region and there is superior extension and rumble. The i3's bass is exceptionally good. The Summer has a mid bass emphasis and there is still a good sub bass presence but it is not as impressive. The i3's planar driver is a true star. When adequately amplified it is accurate in timbre, smooth and detailed. The Summer's BA driver does well with good tonality for a BA but cannot compete with the i3 here. Treble is honours even with the Summer having better extension and excellent detail, but the i3 is deceptively accomplished as well. The smoothness and timbre makes up for the slight roll off in the upper frequencies and is better integrated with the midrange and bass. In soundstage, the i3 is exceptional, even though the Summer is very good in this regard. The overall presentation of the two is similar in the bold, cinematic and expansive quality they both display.

Conclusion
If I could choose one word to describe the sound of the Summer it would be "colourful". The effect is exciting and dramatic. The Summer's well-balanced profile and wide frequency range is testament to its high quality driver combination and excellent tuning and the piezo HF driver is the best implementation of this type I have heard, improving on those in the Elecom CB1000 and Artiste DC1, although there is still that occasional thin tonality associated with piezo units. Combined with the accurate timbre of the new BA unit and the robust performance of the dynamic LF driver, the Summer delivered an entertaining, powerful performance. There is a little extra energy in the mid bass colouring the lower mids, but in general, the tuning is musical and it produces a big, bold and enjoyable sound picture which suits many genres, making it a must for any shortlist of quality IEMs in this price range. It is highly recommended.


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This product was supplied for review by Kiwi from Whizzer Official at AliExpress. Product link:
https://m.aliexpress.com/item/1005001731358565.html

It is also available at Amazon:
HE01 Amazon
https://www.amazon.com/Whizzer-Headphones-Detachable-Noise-Isolating-Smartphones/dp/B08TTPKXY3/

The HE01 is the newest model in the Kylin series from Whizzer. "Kylin" is a mythical Chinese creature embodying both the male essence "ky" and female essence "lin".

The HE01 features a single dynamic driver with a composite metal film/polymer diaphragm 10.2mm in diameter. It is described as a "4th generation" design from the "Bright" series and a flux density of 1.2 Tesla is specified. It also features the HDSS, a tuning system claimed to "improve the sense of sound density and transparency, creating a cleaner and mellow listening atmosphere”. The quoted impedance is 18 ohms and the sensitivity is 112dB/mW and it has "Hi-Res" certification.

The HE01 is attractively presented in a deep, square matt black box embellished with glossy embossed writing. A smart black envelope containing the documentation fits inside the lid and the back of the box features the specifications. The IEMs are displayed in a black tray. Lifting this out reveals the case, in which the supplied eartips are placed in two discs, beside which there is a long black box containing the cable.

The contents comprise:
* Whizzer HE01 IEMs
* 2-pin 4-core 5N OFC detachable cable
* Aluminium carrying case
* Cleaning brush
* 3 pairs silicone eartips "vocal" (S, M, L)
* 3 pairs silicone eartips "reference" (S, M, L)
* Documentation

The build quality is impressive and the appearance very attractive. The earpieces have a silver metal faceplate with a rose gold Whizzer logo in the centre and a rose gold border. The body is formed from a clear resin with the copper-coloured components clearly visible and the nozzle, which has a prominent lip, is also in a matching rose gold colour.

The cable is a 5N OFC 4-core design and is coloured rose gold. The straight 3.5mm plug is finished in a grey metal with a copper accent, as are the chin slider and Y-split. It can be a bit tangly and there was some cable noise. The 2-pin plugs feature a decorative copper ring. A red spot on the right connector matching a similar one on the IEMs, serves as a channel indicator.

The earphones were auditioned using a variety of sources, across a wide selection of musical genres, primarily my Xduoo X20, but also a Huawei smartphone and a CD player. The supplied cable and the medium "reference" tips were used and I obtained a comfortable fit and good isolation. A burn-in period of 100 hours was carried out before evaluation.

First Impressions
The HE01 produced a clean, very transparent sound with excellent detail. The bass was impactful, the mids were clear and forward and the treble was detailed, extended and airy. There was a large, spacious and open soundstage. A notable feature was the "dynamic shading" or ability to display subtle changes in volume. The impression was reminiscent of an all-BA design rather than a single DD, such was the immediacy and speed of the reproduction.

Bass
The bass was deep, resonant and nicely textured with good resolution and possessed a natural tonality and good speed. It was very linear and transitioned into the mids without colouration or bleed.

In Abinoni's famous "Adagio in G minor" performed by the Guildhall String Ensemble, the organ was very naturally portrayed with a clean and fast delivery and plenty of "air". It was easy to distinguish the pedal notes from the lower notes of the keyboard when sounding together which resulted in a very authentic performance. The timbre of the solo violin was unaffected by the bass even in the most dynamic passages.

The bass was powerful and immediate with excellent speed and weight. Jason Edward Dudley's bass-driven "Stargazer" was a perfect example of this with the deep, punchy delivery driving the track along in an entertaining way and the accompanying lead synth and percussive effects remaining clean and precise.

Mids
The midrange possessed excellent timbre, copious detail and an attractive open quality which allowed every detail to come through. Subtle dynamic changes were beautifully rendered, enabling the feeling of the music to be conveyed.

Vocals were very well presented. In "A Great Day for Freedom" from "The Division Bell" by Pink Floyd, David Gilmour's lead vocal was extremely clear with the studio reverb abundantly evident and the double-tracking later in the song was precise and well separated. The balance between the vocals and the keyboards was perfect and the incisive lead guitar solo cut through the production very effectively.

"Forestland" from the album "Purple Sails" by Japanese synthesist Shiho demonstrated the subtlety of the HE01's reproduction. The effect depicted by small changes in volume and dynamics allowed all the emotion of the piece to be appreciated and the excellent layering and separation produced a wonderful atmosphere, with the solo voice set against changing chords and nature effects.

Treble
The HE01's treble was remarkably clean, clear and detailed. There was no trace of harshness and it was very extended, revealing subtle micro-details.

In the conclusion to "Venus" from Holst's "The Planets", performed by the Montreal Symphony Orchestra under Charles Dutoit, a celesta plays descending arpeggios set against rocking string figurations. The clear bell-like tones were perfectly reproduced in perfect balance with the strings and it was even possible to hear the pedal action of the keyboard.

Rossini's "String Sonata No. 1" is a lively and entertaining piece. In the version by the Age of Enlightenment Orchestra, the HE01 showed excellent transient attack with the leading edges incisive and clean and the details of bowing and pizzicato very authentic, endowing the whole performance with a real sense of being there.

Soundstage
The soundstage was exceptionally spacious with precise imaging, separation and layering. The location of instruments was very clear leading to a very natural perspective.

"Mausoleum at Halicarnassus" is the fourth movement of the "Seven Wonders Suite" by Stuart Mitchell. It features a prominent solo flute which was particularly well rendered, floating over an imaginative orchestral backdrop. The hall ambience was nicely reproduced in the recording by the Prague Symphony Orchestra conducted by Mario Klemens, with the percussion section displaying a believable distance and a natural decay in the timpani strikes towards the end of the piece.

"Elsewhere" by Vangelis, from the album "Direct" was very impressive in its depiction of space and stereo imaging. Various electronic effects spiral around in a figure of eight pattern, percussive elements swell and subside and a noble anthemic theme fills the stage. All these were effectively portrayed by the HE01 in a soundstage of prodigious dimensions with a wonderful sense of ambience.

Comparisons

Tin Hifi T4
The T4 employs a 10mm dynamic driver with a carbon nanotube diaphragm within the familiar "bullet" design and MMCX interface. The tonality follows the traditional Tin Hifi neutral/bright profile but with a more powerful sub bass. The soundstage is very spacious and detail retrieval is high. The HE01 is similarly neutral and matches it in detail, but exceeds it in transparency and has a similar treble. It is perhaps better balanced overall although there is not a lot between them.

KBEAR Diamond
The Diamond uses a dynamic driver 10mm in diameter with a DLC coated PET diaphragm. Its profile is strongly V-shaped with powerful bass, somewhat recessed mids which have good timbre and a more relaxed treble which still has good detail. The HE01 is more balanced and neutral with better detail in the mids and a more open and extended treble.

Smabat NCO
The Smabat NCO features an 8mm Graphene diaphragm driver in a very compact housing. Its USP is the Maze system, a mini transmission line labyrinth which produces a deep and powerful bass. The NCO's sound is big, bold and cinematic and is U-shaped with excellent impact. It is warmer than the HE01 which is more detailed and cooler in tonality and arguably more accurate.

Conclusion
The HE01 is impressive in all areas. Well made and beautifully presented, it also achieves sonically. It has a fast tight bass, an open and natural midrange and a clean, detailed and extended treble, and endows music with a "live" quality. Add an expansive and spacious soundstage and it is hard to beat. With its superb coherence, it shows what is possible with a single high quality driver. Highly recommended.

This unit was provided for review by Denise of IZ POP at Amazon.com. Product link:
https://www.amazon.com/gp/aw/d/B08MWPF3HJ

The CVJ CSE is a new 1DD + 1BA hybrid IEM from the company. Like the previous CSA, it is an affordable model. It employs a silicon crystal composite biological diaphragm dynamic driver 10mm in diameter covering the bass and a customised 30095 BA, placed within the nozzle, for the treble region.

In a departure from their previous packaging, the CSE comes in a small black rectangular box with a sleeve featuring a colour image of the IEMs on the front and the specifications printed on the back. The box has a gold CVJ logo and, inside, the earpieces are presented in a card cutout along with the spare eartips (the medium size being pre-fitted to the IEMs). Below this are stored the suede effect pouch, the detachable cable and the documentation.

The faceplates are fashioned from a clear green resin with a wave-like embossed surface and there is a clear amber body through which the components can be seen. There is a small circular vent on the inner surface for the dynamic driver and a gold nozzle with a silver grille. The 2-pin socket for the detachable cable is set flush.

The cable is a black tightly braided 4-core type with a straight metal 3.5mm plug and angled connectors and is similar to those supplied by TRN. There is no chin slider. The earhooks are quite stiff and could usefully be more supple for a better fit.

The CSE was tested principally using an Xduoo X20 DAP. A smartphone and a CD player were also used. The earphones were subjected to a burn in time of 100 hours to settle down the components. The stock cable and tips were used and a good seal and isolation were obtained.

First Impressions
CVJ's earphones, starting with the CSA, have established a "house sound" which is refreshingly different from the sea of V-shaped offerings from the majority of Chi-fi companies, being more neutral/bright and displaying a more mature tuning. The CSN and CS8 followed this philosophy but the CSE is a little more V-shaped and a touch warmer in tonality. The bass was well textured and deep with good impact, the mids were mildly recessed but had good timbre and the treble was generally smooth with good levels of detail. There was adequate volume even from lower-powered devices and no need for additional amplification.

Bass
The bass was elevated with the emphasis between the sub and mid bass. The tonality was warm and engaging with good impact and reasonable speed. There was a small amount of bleed into the mids and the bass did dominate on certain material.

Jeff Wayne's superb production in David Essex's "Rock On" showcases double tracked bass guitars which effortlessly plumb the nether regions of the frequency spectrum. Partnered by staccato string elements, the bass remained clean and incisive and created a powerful and weighty foundation.

The characterful bass line in "Hazard" by Richard Marx displayed excellent depth and texture and was clearly defined against the accompanying bass drum. This rhythm section drove the piece along in great style, providing a solid basis for the instruments and vocals.

Mids
The CSE's mids were somewhat recessed but due to the clarity and detail on offer, still showed good presence. Timbre generally was quite natural. The upper mids were slightly cooler in tone and perhaps a little less convincing.

Debussy's "Claire de Lune" received a wonderful reading from Ikuyo Nakamichi in a superb 20 bit K2 recording. The CSE gave a very good reproduction of the solo piano with an accurate and realistic portrayal of the decay, undertones and harmonics which create a natural timbre. In the climaxes the tonality was clean and crisp with fast transients and good separation in the rapid arpeggios and with only a moderate increase in sharpness in the high notes.

"I know a Rose Tree" by Secret Garden is based on a melody by the mediaeval German composer Michael Praetorius. Fionnula Sherry's violin solos and the Irish choir Anuna, supported by orchestral accompaniment, delivered a beautiful and sensitive rendition of this work and the CSE produced a well defined picture of it, with nicely layered vocals and harmonies and the diction preserved well.

Treble
The treble was largely clean and free from peaks. There was an emphasis in the lower treble and a further elevated region in the upper treble which added detail and sparkle, only occasionally resulting in sharpness or less natural tonality.

Bach's famous Toccata and Fugue in D minor performed by Helmut Walcha in a vintage 1960s recording, sounded great. Very different from the Gothic and Romantic French and British instruments, the clarity and brightness of the Silbermann organ was excitingly and dramatically portrayed with immediacy and impact. The details in the faster passages retained their separation and the tonality was generally clean, with only the more energetic sections sometimes a little over-bright or edgy.

"I Robot" by the Alan Parsons Project is the title track from the album of the same name. Following an introduction with a sequenced synth riff and electric guitars, the distinctive metallic sound of the Cimbalon enters and it was reproduced cleanly and brightly, with good rhythmic integrity and clarity. The layering of the different elements was very precise. This was perfect material for the CSE and was very enjoyable.

Soundstage
The CVJ presented a spacious image with good width and height but a little less depth. There was a good sense of natural ambience. Imaging was good and separation and layering competent. This was a very good performance at the price.

The "Benedictus" from "The Armed Man" by Karl Jenkins sounded very believable. The solo violin set against the string accompaniment, the divided female vocals and their positioning were all depicted authentically within an airy acoustic space. The climax "Hosanna in Excelsis" with bass drum and full choir was handled very well.

The bright tones of Catrin Finch's harp in "Clear Sky" from the album "Tides" were precisely placed high in the centre of the image with the orchestral accompaniment occupying the rest of the stage. When the more dynamic passages were playing and the full orchestra was present, the stage did become crowded leading to a reduction in separation and the tonality became brighter and sharper.

Comparisons
I have compared the CSE with dual hybrids in the same price range.

KBEAR KS2
The KS2 is a classic V-shaped IEM with an appealing dynamic and exciting character. It has a powerful bass approaching basshead levels and an expansive soundstage. However, the mids are recessed, there is some bass bleed and the treble lacks refinement compared to the CSE, occasionally being a bit harsh in the lower treble region. The CSE is better balanced and does not have such a deep V signature.

CVJ CSA
CVJ's debut product offers something different and is neutral/bright with a solid well-textured bass, slightly forward mids, and a clean treble with good extension and detail. The sound is immediate and more balanced than expected and is a mature tuning not normally found at this price level. The CSE has a more V-shaped profile with a more elevated bass and is not as bright in the treble, and the mids are just a little more recessed but still posess good presence and a very natural timbre.

TRN M10
The M10 employs an 8mm micro driver for the bass and the familiar 30095 treble BA unit. The overall sound is mildly V or W-shaped but still retains good balance. The bullet-shaped earpieces, which are nicely crafted from metal, are worn cable down and are very comfortable. The lower region goes very deep and is warm like the CSE but just a little looser and the mids are a little bit more recessed. The treble is not as extended or as smooth as the CSE, and the soundstage is not as large.

Conclusion
The CSE diverges somewhat from the CVJ "house sound" by being more V-shaped than neutral as seen in their previous IEMs. It does retain some of the qualities of the earlier models but adds to this a more prominent bass and treble, in a compromise between their usual tuning and the popular sound profile normally found in this price sector. It is a solid performer and does most things well but lacks the individuality of the CSA which offers something different with its more mature neutral presentation. Even so, the CSE is still a very good choice and should be on your shortlist.