Brainwavz has been hard at work over the past year, having released the HM100 headphones, the BLU-300 Bluetooth earphones, and the Zeta budget earphones over the past 12 months. But we are reviewing none of those today – instead, we'll be taking a look at their latest release, the Koel. Priced at 60 dollars, these earphones are meant to be an entry point into Brainwavz' acclaimed balanced armature line. Given their reasonable price point, will they be a solid gift to give this holiday season? Let's find out.

TL;DR: If you take the time to look past its shortcomings, the Brainwavz Koel with its durable build and balanced, versatile sound, will serve to be a reliable friend for any budding audiophile.

(Full disclosure: Brainwavz sent me a unit of the Koel free of charge in exchange for my honest opinion on this review, with no obligation to explicitly promote their website or their products. The earphones were tested for about two weeks before the publish date of this review. Although I will try to describe the Koel in a way that can apply to you, this review is still based on my own personal experience and will not be exactly the same as yours.)




Right off the bat, the Koel scores points for its perfectly rectangular packaging – just the right shape for easy gift wrapping. Jokes aside though, the outside of the box is simple, with not too many details to speak of besides an embossed logo and "24-month warranty" on the front. Inside you get the standard Brainwavz accessory package – a cable tie, shirt clip, earphone case, six pairs of eartips in three sizes, and a pair of Comply foam eartips.



The earphones themselves, however, are a different story. Like Brainwavz' other offerings in their balanced armature earphone line, the housings of the Koel are crafted using what they call liquid resin 3D printing. A few minutes of research tells me that the process works by solidifying liquid resin layer by layer to create a defined shape. This, Brainwavz says, allows them to create shapes that could otherwise not be achieved by traditional 3D printing. As far as I can tell, they have definitely succeeded on that front. The clear plastic resin makes the Koel a treat to look at, with a housing shape that is quite unlike anything I've reviewed before.



The Koel also impresses in terms of build quality. The housings feel solid and well put together, and the resin 3D printing process ensures that there are no rough edges that can be detected. The cable, which uses much of the same components as those found in Brainwavz' catalogue, is lightweight but not very confidence-inspiring. Despite that, Brainwavz modified this cable to be removable and therefore replaceable, using the industry-standard MMCX connector. This means you won't run out of replacement options should the cable eventually fail, making sure that the Koel will last a very long time.

Before I even received the Koel in the mail, I have had some concerns about the nubs that stick out of the earphone's main candy-like shape. These concerns were confirmed to an extent, as the nubs created a pressure point on my ears that became annoying after a few minutes of listening, although I managed to get used to the sensation and ignored it after a few days of testing. I do have a hard time imagining the Koel without these nubs, however, as they do serve their purpose of helping to secure the earpieces on your ears, working in conjunction with the heat-formed cable ear hooks. Overall I had no issues with the fit or the comfort, although I suggest that you take your time with them so you get used to the nubs. With the way the Koel sounds, though, I doubt you would have any trouble logging in the hours.



For an earphone priced at 60 dollars, the Koel stands out among the crowd for its balanced but ultimately midrange-forward sound. Since the Koel uses a single full-ranged balanced armature driver, a weaker bass impact is not too much of a surprise. However, I find it interesting how Brainwavz is embracing this characteristic and taking it even further, unlike other balanced armature earphones like the MEE Audio A151P and even Brainwavz' own B200 that compensate for the thinner low-end by adding more warmth to the overall sound.

I would like to make clear, however, that midrange-forward is different from midrange-centric, as the Koel is still relatively balanced sound-wise. Sure, the bass takes a few steps back, but it's never out of the picture by any means. As expected of a balanced armature, the Koel's low end lacks the impact and extension more commonly heard in a dynamic driver, but it manages to convincingly reproduce the aggressive moods of heavy EDM styles (see Rogue – Unity, Figure – Must Destroy) without sounding shallow or empty. But as is also expected of a balanced armature, the Koel has a tight, well-controlled bass response that has no trouble speedingx` through recordings with thick basslines, although the drivers do distort quite a bit at higher volumes (see Daft Punk – Giorgio by Moroder, Lose Yourself to Dance).



The rest of the Koel's frequency response does not suffer from the same issues, however. The midrange is clean, direct, and straight to the point in its delivery (if a bit too forward and fatiguing at times), eschewing a smoother, sweeter tone in favour of a more versatile sound that ultimately helps tick the boxes for a wider range of music styles. Despite that, it still renders vocals with the same sort of conviction that reminds me a bit of the FAD Heaven 2, a fellow balanced armature earphone whose midrange tone I am in love with (see M2U – Yoake no Uta (ft. Dazbee), Masashi Hamauzu – The Yaschas Massif). The treble is noticeably smooth and free of any intense peaks besides one at around 7 kHz that adds to the fatiguing feel I mentioned earlier. The Koel also has a pretty good soundstage helped in part by an airy quality in the midrange and treble, resulting in a head space that never feels cramped, but conversely doesn't feel particularly spacious.

With all that said, is the Koel the one-for-all gift earphone? I wouldn't really say so for a few reasons. The stock bass distortion stands out as the most glaring issue, which makes them unacceptable for listeners who might want to boost the bass by even a little bit. The stock cable is also a little too short compared to what I've seen from Brainwavz, and although they are replaceable, doing so is not exactly cheap, coming in at about $20 dollars a pop (before discounts) for Brainwavz' own replacement cables. As I've already pointed out earlier, the nubs are also a mild annoyance, which add to the list of what makes the Koel a bit of a standout earphone in my opinion.



But maybe that's a good thing. Maybe bass distortion at high volumes is a good thing – it might be telling us not to listen to music so loud. Maybe annoying pain on the ears after extended listening sessions is a good thing – it might be telling us to take a short break. Maybe the Koel is all the better for all of the things I dislike about it.

When I think about it, the Koel is kind of like a friend that you've known for a long time. He has a bunch of flaws, both glaring and subtle, that you are perfectly aware of. And although that may be so, you still consider him your friend and wouldn't trade him for the world. And, from my experience with the Koel, I wouldn't trade it for the world either.

Packaging, Accessories: 8/10. Standard Brainwavz package. Has everything you need, nothing you don't.

Design, Build, Microphonics: 8/10. Interesting looks, solid build, good cable (albeit a bit short).

Fit, Comfort, Isolation: 7/10. Pretty good across the board, but the nubs are annoying after a while.

Bass: 6.5/10. Lean, tight, and controlled, but distorts quite a bit at higher volumes.

Midrange: 8.5/10. Clean, direct, and versatile. Can't go wrong with it.

Treble: 8.5/10. Crisp and clean, although slightly fatiguing.

Presentation: 8/10. Good all around, but otherwise unremarkable.

Other Media: 7.5/10. Not sure what's actually exploding, whatever's in the movie or the distortion from the drivers.

EQ Response: 6.5/10. Bass is arguably its only weak point; too bad you can't boost it without the drivers distorting.

Value: 8.5/10. Priced quite competitively for its feature set.

Total: 7.7/10. If you can make it past its flaws, it's a very good IEM that will last you a long time.

Two years ago, I reviewed the P1, MEE Audio's first attempt at a high-end flagship. It stood as the culmination of their experience and expertise in engineering and manufacturing. It was – pun intended – the pinnacle of their capabilities, and it remains the best earphone I have ever reviewed to this day. A year later, they released a new model.

This new model, the Pinnacle P2, was not the P1 successor some of us had expected. This was instead a takedown model, an earphone that lowered the cost of entry into the Pinnacle experience. Priced at half that of the P1 – $100 – we can reliably expect it to leave out some of the details that made the P1 the luxurious earphone it is. Does this apple fall too far from the tree? Let's find out.

TL;DR: The MEE Audio Pinnacle P2 is a fantastic IEM that packages the Pinnacle formula into a more accessible package and a sweeter, mid-centric sound. A formidable competitor at the $100 price bracket.

(Full disclosure: Mike from MEE Audio sent me a unit of the Pinnacle P2 at no charge in exchange for this review. The P2 was tested for about three weeks before writing this review. The purchase links for the P2 in this review are affiliate links, so any purchase made through those links will give me a small commission. If you don’t like affiliate links, you can purchase them through the MEE Audio website.)




The P1 is, to describe it in one word, luxurious. In true MEE Audio fashion, nothing is compromised; every bit of the packaging is presented as elegantly as the earphones themselves. You are simply guided through to them like walking through an opulent ballroom to meet the maiden of the night.

The P2, owing to its half price, understandably cut a few corners in this regard. Unlike the P1, the box is smaller and uses a matte-textured wrap; the carrying case uses fabric and a leather-like vinyl wrap instead of real leather; you get one pair of Comply foam eartips instead of three; and you get one standard cable as opposed to the P1's two braided cables. But beyond that, the P2 doesn't compromise on much, if at all.




Another area that the P2 doesn't compromise on is the build. Sure, the earpieces use plastic instead of the zinc alloy on the P1, but despite that the P2 is still quite the looker with its glossy piano black finish. The plastic does feel a lot lighter, but they are still remarkably solid. The cable, though not braided and makes a lot of cable noise when worn cable-down, feels reassuringly substantial and doesn't seem to have too many weak points.

However, the cable does have one noticeable design flaw that I didn't get to cover in my review of the P1. Simply put, the MMCX connectors (the part that connects to the earpieces) create a strain point on the cable when the earphones are worn around the ear. This resulted in a P1 with two broken cables within a year. Unfortunately the P2's cable also suffers from this problem, so I've resorted to wearing them exclusively with the cable hanging straight down in an attempt to prolong its life.



As far as I can tell, there are two ways to fix this problem. The first is to make the MMCX connectors shorter or more flexible so the cable can curve around the ear more naturally. The second option is to add memory wire to that section of the cable, like what MEE Audio already does with the M6 PRO. This will make the cable rigid, thereby preventing strain from constant pulling.

So, being as (comparatively) cheap as it is, the P2 clearly did away with some of the luxuries that the P1 offered to keep the price at a more accessible 100 dollars. But I will tell you right now that the P2 did not skimp on the sound quality by any means. Mike from MEE Audio has told me before that the P2 was not made to sound like the P1 outright, instead aiming for a warmer tone. But if you were expecting a sound signature similar to the P1, throw those notions out the window, since the P2 is a completely different beast. And I love it.



Unusual for a 100-dollar earphone, bass does not take precedence over everything else on the P2. This is especially evident in dubstep tracks that cram lots of information across the frequency range at the same time. In examples such as "Myosotis (VIP Remix)" by M2U, "Kali 47" by Savant, and "Must Destroy" by Figure, the P2's midrange emphasis seems to overshadow the bass. However, I'm not saying that the P2 is wanting in the lower frequencies, as even in the above recordings the P2 displays a strong punch and excellent reproduction of sub-bass sounds.

Despite this, the midrange still shines the brightest on the P2. Its even tone renders vocals with a sweet colouration that I can't really describe. I *can* tell you, though, that voices ranging from DEAN's slick falsetto in "What2Do" to Post Malone's raw growls in "I Fall Apart" to Karen Carpenter's silky, wide range in "This Masquerade" to Chris Martin's yearning delivery in "Shiver" all sound ridiculously good on the P2.



I should note that the P2 isn't a very warm IEM – in fact, I'd say it has a bit of a colder tone compared to the P1 due to the former's midrange emphasis and the latter's stronger bass presence. This allows the P2 to really capture the atmosphere or "vibe" in a lot of recordings. The expansive synths in Haywyre's "Insight", the loose, laid-back sounds of offonoff's "Cigarette", and the hypnagogic tones of HOME's "Resonance" are all presented with the sort of reverence that really brings them to life. This, I believe, is also helped in part by its soundstage. As the P2 shares the exact same housing shape with the P1, the soundstage feels very similar, if not nearly identical. And it, like the P1, sets the music in a well-defined space that sounds very natural to the ear, regardless of the nature of the recording.

If you have been reading this review so far, you will have noticed that I have been reviewing the P2 mostly in comparison to its more expensive brother. And you might think that, across the board, the P2 is inferior to the P1. And sure, the P2 does have some flaws. The cable is a bit too heavy and suffers from the durability issue as with the P1; the treble can sound a bit splashy at times; and the earphones themselves have a bit of a hard time fitting into the case. But I'm just nit-picking at this point.



On its own, the MEE Audio Pinnacle P2 is a gem. It goes into a unique direction with a midrange so beautifully tuned that it, in my opinion, can even outclass the flagship P1. All the while, it still retains the Pinnacle formula of luxury elegance in its look and feel. And it does this while competing in a lower price bracket.

If I've learned anything from reviewing MEE Audio's fantastic earphones, it's that they seem to have mastered the art of maximising value for money. Each of their products have so much to offer – from the accessories to the outright quality of the earphones themselves – that they always feel like they're worth more than what you paid for them. The Pinnacle P2 serves as further proof of that, and it is a worthy addition to the MEE Audio product line.



As always, thank you so much for reading another one of my reviews, and a huge thanks to MEE Audio for sending out the amazing P2 to review. If my review has convinced you to want to buy these earphones, you can do so by clicking on this link here. (I should note that it is an affiliate link, so I earn a small commission from any purchases made through this link. If you don’t like that idea, you can go through the MEE Audio site instead and purchase through there.)

This has been thatBeatsguy of DB Headphones; thank you for reading and have a great day!

Not too long ago, an earphone design arms race reached a fever pitch. This race challenged IEM designers to cram as many drivers (speaker units) as they could into a single earpiece. This resulted in such incredible earphones as the JH Audio JH16 (with 8 drivers per side) and the Noble Kaiser 10 (with 10 drivers per side). That arms race has since waned, but it has no doubt cemented the idea that more drivers equal better performance.

The question is, why would you need so many drivers in a pair of earphones? The principle behind that is similar to why some cars have V12 engines. Simply put, a larger number of units each doing a fraction of the workload can do the work more efficiently. As a result, V12 engines produce more power and 10-driver earphones sound better. However, such setups have more operating parts, which increases complexity and, in turn, the price – hence why the Ferrari GTC4Lusso and the Kaiser 10 are so expensive.

But what if they don't have to be? This week, we're having a look at the KZ ZS10, the Chinese brand's latest attempt to cram a bunch of drivers into earphones that cost no more than $50. With 5 drivers per side, the ZS10 also happens to be their most complex and most expensive earphone yet at around 45 dollars. Will their efforts pay off in the end, or will this be "just another" KZ?


TL;DR: Yes, you can get a 5-driver earphone for $50. It doesn’t mean it’ll be a good one, though.

(Full Disclosure: The ZS10 was sent out to me by Gearbest.com free of charge in exchange for this review, and to advertise a sale on their website. The purchase link for the earphones is an affiliate link; however, this link was provided by Gearbest and therefore, I will earn no commission from any sales made through said link. The earphones were tested for about a couple weeks.)

KZ was never one to butter up first impressions, instead letting the earphones speak for themselves. This can be seen quite clearly in the packaging for their older earphones like the ED9 and the ATE. And no, they didn't do it to pursue some sort of minimalist aesthetic – it's just basic, cheap packaging.



I will say, however, that the ZS10 looks a bit better. With its little transparent display case, it definitely outclasses its predecessors in the packaging department. Despite this, though, you can still tell that KZ kept its packaging budget very tight: the box print looks pretty cheap, and you only get two extra pairs of eartips as 'accessories'. Having reviewed two of their earphones in the past, this is no surprise to me, but it's still a bummer.



The earphones themselves, though, look great. The translucent housings are sculpted like multi-driver earphones priced in the hundreds of dollars, giving you a peek of the five drivers inside. The outward 'face' of the earphones place the ZS10's crossover circuit on full display, showing you all of the bits that keep the five drivers working in unison. I would have loved to see a clear plastic version of the ZS10 so we could better see all of its internals; regardless, you can definitely tell that KZ put some effort into its design. That said, they're not perfect. The housings, for instance, are bulky and cumbersome, which makes them uncomfortable for those with smaller ear canals. Their cable, while decent, is not very confidence-inspiring and feels pretty cheap.



Knowing how many corners have been cut to cram one dynamic and four balanced armature drivers into each earpiece, have their efforts paid off? I want to think so, but the end result is a bit underwhelming. Its bass has good extension, although it doesn't really punch hard enough and can sound a bit muddy at times; their midrange is nice and clear but is otherwise unremarkable; and their treble is alright in general but lacks a bit of snap.




All in all, it sounds quite good. On paper, it sounds quite good. However, I do have one major problem with the ZS10: it sounds very disengaging. Despite their enjoyable sound signature, the ZS10 can't envelop you in the music it plays. I feel like this could be attributed to its rather lacklustre soundstage. It lacks the space and air to allow each of the five drivers to sing freely, leaving you without that immersive feel. The symphonic instrumentation of Gareth Coker's Fleeing Kuro, the aggressive synthesisers of Haywyre's Sculpted and M2U's Myosotis, the soothing vibes of Meine Meinung's Colorful – all of them just feel lacking through the ZS10.



I have always seen KZ as the kind of manufacturer that proves why jokes about Chinese-made products are still around. Their products are often rough, cobbled-together pieces that cut as many corners as possible to make their earphones as cheap as possible. And at times you get some earphones like the ED9 and the ATE that sound good yet are priced ridiculously low. The ZS10, however, is not priced ridiculously low. Sure, compared to other earphones with five drivers per earpiece it definitely is cheap, but $50 dollars is still a lot of money. For that price, you could get an earphone with all of the bells and whistles you want and all of the sound you need – without needing to cram 5 tiny speakers and a crossover circuit. It's like choosing between a sensible family sedan with a small inline-four and a kit car with a V10 but no air conditioning, no windows, or even doors.

And who would want to buy one of those?



Thanks for taking time out of your day to read another of my reviews, and thanks to Gearbest for sending out the ZS10 to review. If you’re at all interested in buying these earphones for yourself, you can buy them at Gearbest.com right now. I guess I should also have to let you know about their Mid-Year Sale, which will end on July 9th, 2018, so if you want some deals on Chinese-brand gadgets that you probably can’t get through Amazon, click on this link here. But why would you do that?

Until next time, have a good one!

TL;DR: It’s not the best by any means, but the BTC1 ensures your M6 PRO will live on in a world without the headphone jack.

Back in September of 2016, the iPhone 7 was revealed to the world. Along with it came an ominous declaration: "The headphone jack is dead." Since then, all iPhone audio was delivered either through their speakers or through wireless headphones (or through a silly and overpriced dongle, but that's besides the point). This move didn't really bother me, but the fact that just about every major smartphone manufacturer have done the same to their flagship phones seems to suggest that our beloved 3.5mm headphone jack should be put to rest.

And when you do upgrade to such a phone, MEE Audio has you covered. This week, we're taking a look at the BTC1, a Bluetooth adapter made for their earphones with removable cables. The BTC1 is specifically made for their earphones with a 2mm DC connector, referring specifically to their M6 PRO (another variant, the BTX1, is also available for their MMCX earphones like the Pinnacle series and the M7 PRO. Let's get to it.


(Full disclosure: Mike from MEE Audio sent me the BTC1 free of charge in exchange for this review. They were tested for about two weeks prior to writing this review.)



The BTC1 comes in a small box with similar visuals as the M6 PRO packaging, although this one has a window flap on it showing its main features. Besides an instruction manual and a Micro USB charging cable, they don't really come with anything else. This makes sense, considering the BTC1 is merely an add-on to the M6 PRO.

The BTC1 itself boasts a ton of features which, in retrospect, are pretty standard for a typical Bluetooth earphone. It supports Bluetooth connections up to version 4.0, as well as the AAC and AptX codecs for a higher quality audio stream. It has a microphone and remote to control your music player, and has added functionality for taking phone calls and (in some devices) operating the phone's voice control. I, however, am most interested in their dual battery design, which MEE claims will give the BTC1 up to 8 hours of continuous music playback. We'll cover those features later on.



I usually have no problems setting up Bluetooth earphones with my iPad Air 2, and the BTC1 was no exception. The BTC1's spec sheet claims a Bluetooth line-of-sight range of about 30 feet; this held up in my tests, but as with any wireless signal, it will deteriorate with obstacles in the way. I was able to get about 10 feet with the source device a closed wall away, and the signal remained clear even with the source device inside a bag.

As for their hardware, I had no problems either. The cable was easy to switch out on the M6 PRO, and the fit wasn't hard to get right. In fact, I'd say the BTC1 is much easier to put on than the M6 PRO's stock cable, helped in part by the lack of memory wire in the ear hooks and the dual battery design. The second battery, in its separate enclosure, actually adds some weight to the left side, keeping the whole assembly balanced as it hangs around your neck. Seeing as most other Bluetooth earphones in general don't employ this sort of design, I'm again impressed by MEE Audio's subtle yet effective design choices.

Speaking of battery life, the BTC1's secondary battery actually works, allowing it to log a bit over 8 hours of continuous music playback before they tell you the battery is low. If you're not a constant listener, you can feasibly have them on for practically the whole day.



But before you decide on these earphones, there are two things of note that could be a bit of a deal-breaker for the BTC1. First off, there's the sound. Being a Bluetooth adapter, I can't judge their sound as I would a normal earphone, but I did test them on the old and new M6 PRO, as well as the Alpha & Delta AD01. And in all three earphones, I noticed quite a bit of distortion in the bass and treble. It's not noticeable in every song, but when you do hear it, the bass distortion in particular is definitely audible. I mixed and matched different Bluetooth setups to try to fix it, to no avail. As it stands now, it could most likely be an isolated issue, so take it from me and try them out yourself if you can.

And then there's the price. The BTC1 retails for $60 dollars which, interestingly, is more expensive than the M6 PRO itself at $50. Unless you already own an M6 PRO or an earphone with a 2mm DC connector, the price may be daunting. Buyers who want a new wireless M6 PRO will have to shell out $110 in total, so that's definitely something to consider whether you really want to go wireless.



The new M6 PRO is an amazing earphone. Its sound quality alone can compete well above its price point of $50 -- and it's built well enough to last you a couple of years at the very least. Should you wish to go wireless, however, the BTC1 has you covered. Similarly robust and with impressive battery life, it's the perfect complement to the M6 PRO if your phone has left the headphone jack behind. The $60 retail price is something to consider -- although in retrospect, it could very well be the price you have to pay for getting a phone without a headphone jack in the first place. But who am I to judge?

1. As always, thank you for reading this review. A big thank you to Mike from MEE Audio for sending out the BTC1. If you’re interested in purchasing the BTC1, you can do so here.

Until next time, this has been thatBeatsguy of DB Headphones; thanks for reading!

The MEE Audio M6 has grown quite a bit over the years. It started out as an affordable, sport-oriented earphone dubbed the Sport-Fi M6, which was later retooled and released as the M6 PRO, marketed for performers and musicians. The success of the M6 PRO eventually led to the release of the M7 PRO, a higher-end pro audio model with a hybrid two-driver design. That's quite a legacy for a 30 dollar earphone.

Earlier this year, MEE Audio made some tweaks to both variations of the M6 and released them as second-generation models, effectively extending the M6 legacy even further. In this review, we'll be taking a look specifically at the new M6 PRO. How will it stack up to its predecessor? Find out after the jump.

TL;DR: No sophomore slump here – the new M6 PRO sands down all of the rough edges of the previous model, leaving behind all of the ingredients of a formidable $50 earphone. A must-have.

(Full disclosure: Mike from MEE Audio sent me a non-loaner unit of the new M6 PROs for no charge in exchange for this review. The earphones were tested for about two weeks before the publishing date of this review.)



What's in the box. The laser-engraved plates (bottom-right) are an optional purchase.

So, what's changed?

Quite a bit, actually; but before that, let's look at what they didn't change: the packaging. In my review of the previous version, I thought quite highly of the unboxing experience, although I feel like I downplayed their value a bit at the time. I am happy to report that that hasn't changed. You still get a large carrying case, a bunch of eartips (among which are a pair of Comply foam ones), a shirt clip, and two cables. Still impressive value.



A comparison between the old (left side) and new (right side) versions of the M6 PRO.

Beyond that, however, the M6 PRO was thoroughly reworked. The most drastic revisions were made to the housing. In my old review, I noted their rather finicky fit, which forced me into using very large silicone eartips (which were uncomfortable) or the included Comply foam eartips (which wore out quickly, were expensive, and hard to come by). With the new housing design, that was no longer an issue – medium-size eartips now fit my ears just fine. The new housing shape also allows it to sit flush in the ear, making them a bit easier to put on.

MEE also took the time to throw in additional features while they were at it. These new housings now have room for laser-engraved faceplates, which are attached onto the slot on the external side of the housings. These faceplates can be bought along with the earphones for $10 on top of the standard $50, but the $10 plates are only for their "standard artwork" which come in a few varieties. If you want to buy them separately, MEE Audio also sells them at prices ranging from $15 for standard artwork, to $25 for custom text, to $30 for custom artwork. If, however, you think that the prices for these little plates are a bit expensive, know that most customisable earphones usually have prices that start at the hundreds of dollars, so to see such an option in a $50 IEM is both absurd and awesome. Just look at them!



The cables were also tweaked as well, albeit less dramatically. Both cables still seem to use the same wire and insulation as those on the previous generation. This time around, though, the connectors, Y split, and strain reliefs are reinforced with a strong, textured plastic. This no doubt makes the earphones feel bulkier than they used to, but on the plus side they add more protection to likely points of failure on the cable.

Either way, it's hard to find fault in the build quality of the M6 PRO – even in the old version. But in case you accidentally break or lose your M6 PRO outside of its 1-year warranty, MEE Audio has you covered with their Lifetime Replacement Program. This program carries over from the old M6 PRO, and allows you to (under a few conditions) purchase a replacement M6 PRO at half price. It's a sweet cherry on top of an already impressive IEM, and ensures patrons will come back for more.



So it's a good IEM on the outside. How does it do on the inside?

It's hard for me to explain. I've been listening to these earphones for the past couple of weeks, and I can say the "brain burn-in" has done a lot. For those who don't know, brain burn-in is the process of listening to an audio system enough that its sound becomes your "base" or "default" sound. And as I was listening to the M6 PRO, without any comparisons, it started to sound a bit stale to me. That was my mistake. No earphone, headphone, or speaker system can shine on its own. Nothing can be comparatively "better" if there's nothing to compare it to in the first place.

So I compared the M6 PRO. And I understood. This was a properly good IEM.

By far the most impressive characteristic of its sound is its clarity, carried over from the previous model. Thanks to a very effective blend of fast, tight bass and accentuated upper frequencies, the M6 PRO has impressive resolution for an IEM at this price. The aggressive bass lines in Haywyre's Sculpted and Dichotomy are handled with finesse, never lingering on any of the notes for longer than is necessary. In M2U's Magnolia, Myosotis, and Marigold, a trio of powerful symphonic dubstep tracks, the M6 PRO deftly balances between the orchestral and electronic, keeping each one from overpowering the other.

With such impressive control over complex, sonically rich tracks, one would think that they would make short work of simpler orchestrations. Well, you'd be right. The M6 PRO smoothly accentuates the rim shot over the pared-back layers of Elijah Who's I'm not as lonely anymore, and presents the piano and nylon guitar on Yiruma's Indigo with stunning detail. The M6 PRO also separates instruments quite well, as seen in the relatively small but layered instrumentation of Meine Meinung's Colorful.



Is this the perfect $50 IEM, then?

Well, I wouldn't say that – no earphone or headphone is perfect. There are just way too many factors at play, chief among which is personal preference. And no, the M6 PRO is not immune to the "I just don't like it" argument, and I might have a couple ideas as to why.

First off, their sound signature is not exactly what I would call reference-grade. Yes, it's very clear and clean. Yes, it makes small details a lot more noticeable than other earphones at its price point. However, it's not a perfectly neutral earphone; in fact, its strong bass impact and accented high frequencies suggest a V-shaped earphone, although it's more treble-focused than most other earphones under this label.

The M6 PRO, with all the clarity and transparency of a newly-washed greenhouse, also tends to sound rather sterile at times. And I don't mean that in the sense that the sound is not engaging enough (it's actually quite focused); rather, I feel like sometimes, when listening to music through the M6 PRO, my mindset shifts from "enjoying" to "analysing". For some – myself included – that might actually be a plus point, but other listeners might want to take music immersion and 'feel' first and foremost, and the M6 PRO's pseudo-reference sound quality might detract from that.

But that's okay. The M6 PRO, for all intents and purposes, is an excellent IEM. Sure, it might sound a bit bland and lacking in "character", but its clarity presents music with impressive attention to detail, keeping you engaged and involved. If there was an earphone that made you "hear the music as it was in the studio", this is probably the closest you can get at $50.



So how does it hold up to the old one?

Have you heard of the term "sophomore slump"? It's a phenomenon where the second iteration of something fails to live up to the first.

Well, that doesn't happen here. The people at MEE Audio have taken all the right steps to distill and refine the already-great M6 PRO formula. They improved the fit through redesigned housings. They improved durability through reinforced cables. They improved the sound through a toned-down treble. And they did all this while still retaining all of the things that made the old model great.



The M6 has had quite a legacy. From budget sport model to high-end pro audio model, and now a second generation, it's done quite a bit. MEE Audio has proved, with the new M6 PRO, that you don't need to deviate from the formula to improve it, and that even small changes can make big differences.

SCORES:

Packaging, Accessories: 8/10
Practically identical to the previous version. It has everything you need and nothing you don’t, just as it should be.

Design, Build, Microphonics: 10/10
It’s even more durable than the previous model, yet it’s priced the same. And you still have MEE’s awesome replacement policy.

Fit, Comfort, Isolation: 8/10
New housings make them easier to put on and a lot more comfortable.

Bass: 8.5/10
Packs a punch, but is fast, responsive, and very well controlled.

Midrange: 8.5/10
Clean, refined, and detailed. Sounds a bit sterile at times, though.

Treble: 8.5/10
Doesn’t stab your ears out anymore, but still has impressive resolution.

Presentation: 8.5/10
Soundstage is very recording-dependent – an important component of a good mastering-quality IEM.

Other Media: 8/10
They take anything you throw at it very well, in an almost-but-not-really analytical manner.

EQ Response: 8/10
They respond well to EQ, but if it sounds this good, why bother?

Value: 10/10
All this at a price point of $50. Incredible value.

Total: 8.6/10
No sophomore slump here – the new M6 PRO sands down all of the rough edges of the previous model, leaving behind all of the ingredients of a formidable $50 earphone.

---

Thanks for taking the time to read another of my reviews. Before I end, I want to express my gratitude to Mike from MEE Audio for the opportunity to review another of their fantastic products. If you're interested in getting them, you can do so now at http://www.meeaudio.com/all-products/signature/M6PROG2/.

Until next time, that’s all from me. This has been thatBeatsguy of DB Headphones; thanks for reading!

Intro



Chinese electronics manufacturer Xiaomi has, since their inception, a proven track record of providing well-specced gadgets at very competitive prices. Though their earphone lineup is easily outclassed by many other brands both within and outside China, they still have a sizeable following, and I am one of those followers. In fact, their second-generation Piston earphones were one of the first earphones I reviewed over the course of this so far four-year journey. Hence why we will be looking at one of their latest offerings, the Xiaomi Piston Air. Designed not as a successor to the main Piston earphone lineup (we have the Hybrid and Hybrid Pro for that), the Piston Air — also known as the Piston Capsule — is a non-isolating earphone marketed as being free and lightweight, focused on relaxing, all-day comfort. It is an interesting concept, no doubt, but how well has it been executed? Find out after the jump.

TL;DR: An otherwise decent performer at under $15, its overall design limits its usability to one of those earphones you can only use at home – and it’s not really that good there, either.


== Aesthetics ==

Packaging, Accessories



The Piston Air really doesn't come in much beyond a minimalistic cardboard box. No accessories, no carrying pouch, nothing. If you were expecting such accessories then I'm sure you would be no doubt disappointed — especially when you consider that previous Xiaomi earphones were pretty well-equipped. Though a carrying pouch or case may have been nice, the lack of it does sort of drive home the whole "wear all day" marketing pitch. That is, if the Piston Air is as comfortable as advertised, they would spend much more time in your ears than in a pouch or case.


Design, Build, Microphonics



The Piston Air, true to its name, has one of the lightest and most minimal builds I have seen in a while, so much so that they look and feel unusually flimsy for a Xiaomi earphone. However, flimsy does not seem to be in Xiaomi's vocabulary as the Piston Air stands up to a little rough-housing pretty well. Of course, the build quality is not what we're here for — the star of the show is most definitely the Piston Air's unique housing design.

Their metal housings are almost completely draped in an outer "skin" of silicone, which makes sure your ears experience no discomfort or scratching. These metal housings utilise what Xiaomi calls a "spiral damping system" which supposedly improves bass output despite its open-air fit. We'll find out later to see if these actually work or not.


Fit, Comfort, Isolation



One of the key marketing points of the Piston Air is their comfort, and boy do they deliver on that front. The minimal build keeps the entire assembly incredibly lightweight, and their soft silicone housings sit just outside the ear canal for an unobtrusive, barely-there fit. Of course, their half-in-ear design means noise isolation takes a large hit, but this works in tandem with the Piston Air's other key design choices to create what are one of the most comfortable earphones I have ever worn. However, it is also worth noting that Xiaomi is unusually particular with how the Piston Air is to be worn — that is, it must be worn like an earbud as their sound changes quite drastically depending on how you wear it.


== Sound ==

Specs




Equipment, Burn-in

The source devices used for this review are a fifth-generation iPod Touch and an iPad Air 2. The test tracks I use for my assessments are of various genres ranging from classical to electronica, with the audio file formats varying from 256 Kbps AAC to 24-bit FLAC. Some of these test tracks will be linked to in the sound assessments to demonstrate certain points.

Prior to the assessment I listened to the Piston Air for at least 40 hours to get more accustomed to the sound – otherwise known as "brain burn-in" – to dispel any "changes" to the sound after a certain amount of time. No changes were noted over the review period.


Sound Quality



Bass:

Being a half-in-ear earphone, I don't expect a very moving bass performance from the Piston Air; this assumption has proved to be correct as the Piston Air's bass can be described as lean at best and non-existent at worst. Their lack of a seal in the ear canal allows most if not all of the frequencies below 300 Hertz to simply dissipate into the air, leaving only higher-frequency overtones to reach your ears. This makes a majority of high-intensity music such as EDM and metal outright unlistenable on the Piston Air (M2U — Magnolia; Slipknot — Psychosocial), despite how other "half-in-ear" earphones such as the DUNU Titan and the Superlux HD381 series have much more well-rounded bass response.

Midrange:

The midrange, meanwhile, is a different story. Vocals are placed up front-and-centre and are represented with a slight bit of warmth to give lower registers a bit of heft (offonoff — gold; ProleteR — U Can Get It; WRLD — Hideaway), and a slight hint of top-end sparkle to add sheen to the upper octaves (M2U — Yoake no Uta; Heize — Underwater). It isn't the kind of midrange that goes up in your face; it's laid-back, relaxing, and really lets you vibe out to certain kinds of music. Its open-air design does make the midrange quite prone to resonant peaks which is unwanted in most cases, but in my opinion I feel like it gives the Piston Air a sort of light, fluffy feeling that fulfills the earphones' namesake.



Treble:

The treble of the Xiaomi Piston Air is, on its own, quite mediocre. It's quite mellow, doesn't extend very well, and is far from detailed. However, it does fit quite well in the Piston Air in the grand scheme of things. Its laid-back quality makes for a relaxing, fatigue-free listening experience, and this shows through regardless of what you listen to.

Soundstage/Presentation:

The Piston Air has a pretty decent soundstage owing to its physical design. However, one must not wrongly assume that the Piston Air's sound feels a lot larger than it is — that may or may not actually be the resonant qualities of the midrange. Unlike other "half-in-ear" earphones the Piston Air lacks the quality to let you perceive any noticeable "height" in a recording, which in my opinion does detract from the experience quite a bit.



Genre Proficiency:

The lax, laid-back qualities of the Piston Air allows it to work quite well with slow music with strong "chill-out" moods. As of this writing, I find them to work exceptionally well with vapourwave (HOME — Resonance) and chill hip-hop (ProleteR — Miss Her). With this in mind, I expect they will also do quite well with ambient and some acoustic genres, and maybe a bit of psychedelic rock. However, their mid-centric sound signature will not be able to keep up with the dynamics of more energetic music, and as such I cannot recommend them to anyone who primarily listens to those.


Other Media

I'm going to put it simply — unless you watch only meditation or yoga videos and play Dots, Solitaire, or any other game that has a sort of zen-like feel, the Piston Air will fail to satisfy.


EQ Response


The Piston Air is one of the rather rare earphones I have reviewed so far that does not respond particularly well to equalisation. In retrospect, this is no surprise — after all, much of its sound signature is shaped by acoustics (in other words, how it sits on your ear) and not driver tuning.

Value

The Xiaomi Piston Air retails for 69 Chinese Yuan (about $11) in mainland China, but they usually sell for slightly more than that overseas. One of the cheapest sources for these earphones is Gearbest.com, which sells them for about $12. It's a cheap earphone, sure, but it's not exactly what I'd call the bargain of the century.


== Conclusion ==



The Xiaomi Piston Air has a lot of the good bits that make up a great budget earphone: a light build, decent durability, and a comfortable fit. However, it class short because of one thing in particular — its lack of versatility. Its sound signature is something that works with only a narrow band of genres from the wide spectrum of musical styles that exist in the world. Its physical design is also not something that would work in all situations at all times. For instance, its build, while not terribly bad, is not something you'd take out on a morning run. Its lack of isolation means you will have a hard time enjoying this on the commute.

All in all, it's not a dreadful earphone by any means, but if you don't have much else to spend on a nice pair of earphones, you would want to avoid these.

Intro



TL;DR: The KZ ATE sings loud and proud for such a cheap IEM. Despite that, they're one of the most aggressive sounding IEMs I've come across, for better or for worse.

Chinese manufacturer KZ is to headphones what Oppo or Huawei means to cellphones – cheap, of a decent quality, and Chinese. KZ was one of the first who came into the audiophile market riding the wave of distributor-sellers bridging the gap between Eastern manufacturers and Western consumers. They have seen become a staple recommendation for audiophiles with not much cash to burn, offering sound quality of much higher value than what their price tags would suggest.

This week we will be taking a look at one of the older, but still highly recommended KZ models – the ATE. My experience with the KZ ED9 was not a very good first impression (it had channel imbalance issues straight out of the box), so now, let's find out if maybe I simply got off on the wrong foot.

(Disclaimer: the product in review was received free of charge from George at Gearbest.com in exchange for my honest opinion. Please take the following with a grain of salt and always try before you buy.)


== Aesthetics ==
Packaging, Accessories



The KZ ATE arrives in a diminutive box displaying the earphones in question. Inside there's not much to speak of – two extra pairs of silicone eartips to augment the included medium foam eartips and an instruction manual written in the most admirable attempt at English one would expect from a purely Chinese manufacturer. I guess you'd be looking for more, but considering their sub-$15 price, I doubt you'll find anything.


Design, Build, Microphonics



The overall design of the ATE seems to be modelled after the Audio-Technica IM series – a line of studio and stage-grade IEMs which are an order of magnitude more expensive. In fact, many times during their initial release hype, they have been touted as the "Budget IM50", referring to the Audio-Technica earphones.

Upon further inspection, they do seem to be quite well designed. Their cable, which seems to be identical to that of the ED9 I reviewed previously, makes an appearance here. Knowing the cable tends to shift out of place when the earphone is worn around the ear, KZ added gold-coloured weights some length down from the earpieces. Granted, it's not as flush of a design choice as, say, a moulded ear hook, but it gets the job done. By far its only weakness design-wise would be the short cable strain reliefs on the earpieces and the lack of a cable cinch, but otherwise, for this price, they're much better than you'd expect.


Fit, Comfort, Isolation



As expected of its stage IEM design, the ATE provided excellent fit and isolation characteristics. The earphones stayed securely in my ears even during physical activity, although I wouldn't say the same for their cable (for this, I would suggest a shirt clip). My only gripe here, though, is their comfort – the sheer bulk of the earphones prevent them from fitting flush in my ears, and those with smaller ears will definitely see this as a bigger issue. Smooth sailing here, nonetheless.


== Sound ==

Specs:

Headphone Type: Closed-back in-ear monitor
Driver Type: Single dynamic driver (unknown size)
Frequency Response:
Max. Input Power: N/A
Sensitivity: N/A
Impedance:
Cable: 1.2m (~4 ft.) OFC
Connector: 3.5mm (1/8") gold-plated right-angle connector
Accessories:

• 1x set black foam eartips (M)
• 2x sets grey silicone eartips (S/L)
• Instruction manual

Equipment, Burn-in

The source devices used for this review are a fifth-generation iPod Touch and an iPad Air 2. The test tracks I use for my assessments are of various genres ranging from classical to electronica, with the audio file formats varying from 256 Kbps AAC to 24-bit FLAC. Some of these test tracks will be linked to in the sound assessments to demonstrate certain points. The eartips used are the stock foam eartips that come attached on the earphones out of the box.

Prior to the assessment I listened to the KZ ATE for at least 40 hours to get more accustomed to the sound – otherwise known as "brain burn-in" – to dispel any "changes" to the sound after a certain amount of time. No changes were noted over the review period.


Sound Quality



Bass:

For those not new to the Chinese budget IEM scene, you'll have already known of the ATE's reputation as a stellar basshead IEM. Well, this review will be no more than another affirmation of that. By far the ATE has one of the most prodigious bass responses I've heard in an IEM at this price. I have long passed the point on my road to the best sound where bass was the single most important thing to me. That time may be gone, but when I put on the ATE, I hear not much beyond waves of basshead nostalgia fill my ears. And it put a bigger smile on my face than I'd like to admit.

It's loud, it's proud, it's overbearing, and it's not afraid to show it (Haywyre – Sculpted, Dichotomy (Soft Mix); Unlike Pluto – Someone New). Its power and aggressiveness rivals the most bass-heavy earphones in my collection, while its speed and sub-bass extension establishes a level of bass quality that you will very rarely see in an IEM of this price. Ferocious, intense, and invigorating, the ATE is an exemplary basshead IEM.


Midrange:

But what's pretty neat about the ATE is that it's not entirely a one-trick-pony. Believe it or not, the midrange is actually quite clear, and although the bass does affect it as evidenced by its warm tone, the ATE maintains clarity, bass-heavy recording or otherwise (MACINTOSH PLUS – リサフランク420 / 現代のコンピュー; HOME – Resonance; Elijah Who – polaroids).


Treble:

The treble rounds out the ATE’s aggressive V-shaped sound signature with its crisp, bright treble. At times, it does get a bit fatiguing (Desiigner – Panda), but it definitely gets the job done. Beyond that I’ve no complaints.


Soundstage / Presentation:

The ATE's soundstage is, in my opinion, the weakest link in its otherwise solid sound signature. Whether it is due to the superb ambient isolation, the recording, or both, the ATE sounds very closed-in and restricted in its projection of space. This, coupled with its forward sound signature, equates to an overall fatiguing experience. Of course, that's not to say the ATE is bad by any means – in fact, I'm picking at straws here trying to find something not so positive to say about these earphones.



Genre Proficiency:

Being an aggressive, bass-heavy IEM, one would practically expect the ATE to perform best with electronic genres and worst with mellow acoustic genres – and you would not be wrong in expecting such. However, as I've found, the ATEs actually sound best with hard rock, metal, and similarly aggressive genres (Megadeth – Hangar 18, Holy Wars...the Punishment Due; Iron Maiden – The Trooper). The ATE's combination of ferocious, speedy bass and an uncannily clear midrange makes them more than suited for the growling guitars and rumbling drums of those genres.


Eartips:

Using the included silicone eartips on the ATE mellows out the sound slightly, adding a bit more midrange clarity and smoothing out the intensity of both bass and treble. In my opinion I find this setup better than the foam tips I tested the KZ with for this review, but despite that, I did not find the improvement to be significant enough that it changes the sound entirely.


Summary:

The ATE is a dangerous one. It's got a fast, bright treble, clear, weighty midrange, and a bass performance that is so far unrivalled in my collection. It's one of the most aggressive sound signatures I've heard, and as such, a very divisive and specialised sound signature.


Other Media

The KZ ATE's bass-focused sound signature will prove you well with both games and movies, but their lacklustre detail and closed-in soundstage will detract from the immersion that non-music media needs so desperately.


EQ Response



With a reduction in the bass response, one can coerce a lighter, more balanced sound signature from the otherwise heavy, intense ATE. They respond to EQ quite well, even taking up a bass boost without much trouble.


Value

So far my overall tone of the ATE has been not entirely positive. This is because of the point I shall make here. The KZ ATE is, for the low, low price of $10 dollars, absolutely brilliant. Its bass performance has so much raw power and aggression that it alone is more than worth the price of admission. Couple that with an admirable midrange and treble response and you have a very interesting earphone in your hands.


Comparison



Versus KZ ED9 (~$15):

The KZ ED9 was a very promising budget IEM, with its filter feature a key component of its success. I wasn't much of a fan of the IEM in my review, however, although this is mostly due to the fact that the one I got was defective. Nonetheless, the ED9 was a pretty good IEM, which is why they butt heads with the ATE without much indication of who is winning.

With the bass filters on, the ED9 matches the ATE in sound signature, but that's where the similarities end. The ATE simply edges its relative out with more intensity throughout the frequency range. The ED9, however, sounds smoother and less aggressive. It really comes down to personal preference in this matchup, depending on how intense you want your music to sound. Overall, though, the ED9's two filter selections do make it the better overall choice since you have a bit more flexibility with the sound signature without using an EQ.


== Conclusion ==



The KZ ATE is a predator of an IEM. It seems unassuming price-wise, but its rather eye-catching design will make you raise some suspicions. It is only when you put them on and press "Play" that the ATE pounces at you with raw, untamed aggression. With its swift yet prodigious bass and admirable clarity, the ATE is by far one of the most exciting IEMs I've listened to. And to think, all this for a measly 10 dollars.

Nonetheless, the ATE does have some drawbacks. Its intense sound signature clearly is not for every type of listener, and I wouldn't even think of mentioning this when someone asks for a budget IEM for acoustic, jazz, or other similar genres. But it does have its merits, and it will certainly find favour with the metalhead or raver in you.

Scores
Packaging, Accessories: 6.5/10
Design, Build, Microphonics: 8.5/10
Fit, Comfort, Isolation: 7.5/10
Bass: 8.5/10
Midrange: 8/10
Treble: 7/10
Presentation: 6/10
Gaming, Movies: 7/10
EQ Response: 8/10
Value: 9/10
Total: 7.6/10


Post-Review Notes
I would like to extend my gratitude to George at Gearbest.com for sending out the KZ ATE featured in this review. If you like my review please leave a like below, and if you’re interested in having a KZ ATE for yourself, a link to the Gearbest store page can be found here. Otherwise, if you want it or have it, do write up a comment and let me know what you think about them.

This has been thatBeatsguy, and I’ll see you in the next one!

Intro



TL;DR: The Macaw T60 is not a particularly amazing IEM. That is, until you factor in the low, low price of $20, at which point it becomes one of the best bargain Bluetooth IEMs on the market.

In many markets, there is no denying the significant presence of Chinese brands that compose the bulk of its products – and the audio industry is no exception. However, what I feel is unique about the audio industry is the rather broad acceptance of these brands in consumer and critic circles. Brands like HiFiMAN and FiiO have maintained a solid following as full-blown manufacturers, while sellers such as Penon Audio and Gearbest built the bridges between the small-time Chinese manufacturers and the rest of the world.

That's why over the next month and a half, I will be releasing four back-to-back reviews of Chinese-brand IEMs, starting with the Macaw T60, a Bluetooth IEM. As far as I can tell, Macaw has a decently-sized product line being sold by various online sellers, and a particular earphone, the GT100s, has had a decent reception on the forums. Now, with that impression aside, I guess we can say the T60 will be pretty good, right? Let's get to it.

(Disclaimer: the product in review was received free of charge from George at Gearbest.com (whom I would also like to thank) in exchange for my honest opinion. Please take the following with a grain of salt and always try before you buy.)



== Aesthetics ==
Packaging, Accessories



The T60 arrives in very neat packaging, encasing the earphones in a foam cutout and the rest of its paraphernalia in a smaller box. It's simple, it's subtle, and it's honestly quite impressive for an earphone priced at just $20 dollars. Inside the accessories box we get a charging cable, a couple extra pairs of eartips, an instruction manual, and a soft earphone pouch. For what it's worth, it's quite good.


Design, Build, Microphonics

The T60 employs an around-the-neck cable assembly as is typical of Bluetooth IEMs, with the batteries and Bluetooth circuitry housed in either earpiece. The drivers, however, are housed in circular pods extending from the main earpiece housing in an earbud-like fashion, which thereby makes it the key point of its fit. Its plastic housings are lightweight and quite solid, and that paired with their fabric-reinforced cable makes the T60's assembly quite good for the price.


Fit, Comfort, Isolation


Despite seeming like earbuds, the presence of eartips in the design means the T60 is designed to be an IEM; as such their isolation is a bit lacklustre, although listeners who prioritise situational awareness (such as cyclists where earphone isolation heavily affects injury risk) will appreciate this. Speaking of cycling, I found the T60 to be suitable physical activity, although the housings for the Bluetooth circuitry and the battery on each earpiece do weight down a bit on your ears, creating a bit of a pressure point there – for that I would've liked an ear hook of sorts, but otherwise I have no complaints.


Specs
Headphone Type: Closed-back Bluetooth in-ear monitor

Driver Type: Single 12mm dynamic

Frequency Response: 20 – 20,000 Hz

Operating Range: 10 metres (~30 feet)

Battery Life: 80 mAh battery for 5 hours playback; 170 hours standby; <2 hours charging time

Bluetooth Features:
> Bluetooth 4.1 with aptX support
> A2DP, AVRCP, HFP, HSP profile support

Accessories:
> 3x sets silicone eartips (S/M/L)
> Soft carrying pouch
> USB charging cable


Connectivity

With its simple voice prompts and controls, pairing was no issue on the devices I tested the T60 with. Despite their rather short on-paper and in-practice range of 10 metres, the T60 maintains a very consistent signal. They also last about as long as the advertised battery life, and at some occasions I was able to somehow squeeze about another hour from it. Their charging time of under 2 hours is also quite reasonable, and considering their battery life, they're quite good. Just bring one of those "power bank" things with you and you're practically set for the day.

But a key point that makes the T60's Bluetooth circuit so, so, so good, is the fact that you can stick your phone or iPod in your pocket and the T60 will be able to play your music with very few cutouts. Knowing more expensive Bluetooth sets perform less favourably in the same conditions, the fact that the T60 does so well makes it that much more appealing.


== Sound ==
Equipment, Burn-in

The source equipment being used for this review is an iPad Air 2. The test tracks I use for my assessments are of various genres ranging from classical to electronica, with the audio file formats varying from 256 Kbps AAC to 24-bit FLAC. Some of these test tracks will be linked to in the sound assessments as a reference for certain points.

Prior to the assessment I listened to the Macaw T60 for at least 30 hours to get more accustomed to the sound – otherwise known as "brain burn-in" – to dispel any "changes" to the sound after a certain amount of time. So far no changes were noted.


Sound Quality


Bass:
Let's start off with the T60's bass. It's light, lean, and punchy, with enough power to be heard, but not enough to grab the attention of more bass-inclined listeners (WRLD – Everything; The Weeknd – Starboy; AWOLNATION – Sail). Extension in the lower registers is only noticeable at best, and that's only on some of the more bass-forward mixes (M2U – Magnolia). Overall, the T60's bass response is lean enough that I would go as far as to say that it sounds quite balanced.

Midrange:
The midrange has an unusually pleasant quality, clear and with a slightly soft, warm tone. This tone grants them a versatility with various genres, vocals, and instruments that easily make them one of the better earphones in its class that I currently have (Crush – 2411, Sometimes; Coeur de Pirate – Off to Sleep). Some listeners might note some resonance in the upper octaves, but from my observations this is mostly a matter of choice of eartips, which I will cover in more detail later. Nonetheless, they do what needs to be done without any fuss – simple, to the point, and effective.

Treble:
The treble of the T60, as far as my observations are concerned, are quite dependent on both the song and the fit. They have enough quantity to be more than noticed, but are rather average at best in terms of overall crispness and extension. However, they tend to be very (read: very) sibilant, but only in certain recordings (The Weeknd – I Feel It Coming; Desiigner – Panda; Coldplay – High Speed). Otherwise they're quite good and handle the job well.



Soundstage / Presentation:
The T60's soundstage is rather mediocre for what it is. All it does is simply call upon the recording itself to provide a sense of space (HOME – Resonance). However, the earphones themselves don't really do anything to really immerse you in the music. Depending on the eartips used, you might notice a lot of upper midrange resonance, but this can be remedied with an eartip that provides a proper seal. Of course, we must, however, remember that we are talking about a $20 Bluetooth IEM that has so far performed quite admirably.

Genre Proficiency:
The Macaw T60 is honestly one of the least genre-picky Bluetooth earphones I've tried. Their balanced sound signature seems to do well with just about anything. However, their sibilance and overall treble quality does make them picky with specific recordings, instead. Of course, this can be remedied a bit, but so far, so good.

Eartips:
Depending on the eartips you use, the T60 can either sound like a bass-light earbud or a nicely balanced IEM, since their sound (as with all earphones, really) relies heavily on having a proper seal on the ear canal. Without the seal you'll have very lean bass, lots of upper midrange resonance and a very splashy, irritating treble. I also tried on some non-Comply foam eartips on them to hopefully dull their sibilance – it worked to some extent, but it's still there for the most part.

Summary:
Assuming you do get the proper fit with the T60, however, you will definitely have a very good IEM in your ears. With a decently balanced sound signature, the T60 ends up being a generally pleasing IEM. However, if you are absolutely mad about detail retrieval and overall fidelity these earphones won't leave a good impression. A particular negative point lies in its sibilant treble, which will be an annoyance for more than a few listeners. However, if you care not for those things (or at the very least, remember that this is, again, a 20 dollar wireless earphone), then you will like the T60.


Other Media


Lately I've been doing a lot of stuff on my iPad – mostly schoolwork and games, but now I've been writing most of my most recent reviews here because of their portability, convenience, and the ability to use Bluetooth IEMs. One day I was watching a movie on the iPad with the T60 on and noticed how well the audio is synced up with the video. My past experiences with Bluetooth earphones have led me to a conclusion that Bluetooth tech still isn't fast enough to deliver audio within a 100ms latency – there is always a delay of some sort. But the T60 seemed to be a special case. So I had the grand idea to play Cytus (a rhythm game) with them on. Sure enough, the audio is synced well enough (from my experience, definitely below 30ms delay) that I would be able to play rather comfortably. For a Bluetooth IEM, this is absolutely mind-blowing, and to this day I have yet to try an IEM that can do the same. Utterly impressive.


Value
The Macaw T60 can be found for $20 dollars at Gearbest.com. For this price, the T60 simply becomes a gem of a Bluetooth IEM. It's decently clear, nicely balanced, and has excellent signal clarity. And despite its flaws, its price makes it completely justifiable.


Comparison


Versus Brainwavz BLU-Delta (~$45):
The Brainwavz BLU-Delta was a fantastic Bluetooth IEM that cleverly paired the already-excellent sound of the wired Brainwavz Delta with a battery and Bluetooth circuitry with very effective results. Being over twice as expensive as the T60, the BLU-Delta is a very good example of what you can get if you shell out a bit more cash. Its energetic yet clean sound clearly outclasses that of the T60, but despite that the T60 holds its own overall, being an IEM priced far below that of the typical Bluetooth IEM market.


== Conclusion ==


The Macaw T60 is an absolute steal. Even now I have yet to figure out how an actually decent Bluetooth IEM can be priced this low. Yes, it has its flaws. Yes, it has sibilant treble. Yes, it doesn't have much soundstage. Yes, its effective range is short. But none of that really matters since you're paying less than half of what you would normally pay for a Bluetooth IEM with capabilities like this. No Bluetooth IEM that I have tested to date has been able to play music clearly with the source device in a pocket until now. No Bluetooth IEM that I have tested to date has been able to have reasonable enough latency for music games.

For twenty dollars the T60 is so much of a bargain it's practically criminal. Heck, I would probably buy these at 40 or even 50 dollars and I'd still think they're pretty good. If you don't have much cash and want to go wireless, this is the only IEM you will ever need.

Final Scores:

Packaging, Accessories: 7/10

Design, Build: 8/10

Fit, Comfort, Isolation: 6/10

Connectivity: 9/10

Bass: 8/10

Midrange: 7/10

Treble: 6/10

Presentation: 7/10

EQ Response: 8/10

Value: 10/10

Total: 7.6/10


Footnotes
You have just read another thatBeatsguy review. I’d like to again extend my gratitude to George from Gearbest.com for sending out the Macaw T60 for this review. If you like my review please leave a like below, and if you’re interested in having a T60 for yourself, a link to the Gearbest store page can be found [here]. Otherwise, if you want it or have it, do write up a comment and let me know what you think about them.

This has been thatBeatsguy, and I’ll see you in the next one!


Changelog

Intro



TL;DR: The Brainwavz B200 exceeds expectations with its flagship IEM status, providing an excellent all-around package that embodies the very best of Brainwavz.

Brainwavz has long been known for being a manufacturer that consistently releases great-sounding, high-quality earphones at price tags that won't break the bank. This combination has been the core of every Brainwavz release since the very beginning. But what if they decide to take all of that experience and channel it into a set of truly extraordinary earphones? That, my friends, is what I'll be covering here today: the Brainwavz B200.

The B200 is the highest-end model of Brainwavz' brand new balanced-armature B series of earphones, and is priced at a cool $200 – by far the most expensive Brainwavz earphone to date. But does that mean they're the best Brainwavz earphone? Let's find out.

(Disclaimer: the product in review was received free of charge in exchange for my honest opinion. Please take the following with a grain of salt and always try before you buy.)



== Aesthetics ==
Packaging, Accessories



The Brainwavz B200 is packaged in a compact box draped in Brainwavz' classic black and red colour scheme. Details on the box are minimal at best, which gives off a more serious first impression. Interestingly, the packaging is identical to that of the Brainwavz BLU-Delta I reviewed prior, which may be a move by Brainwavz to reduce packaging costs by using the same box for their products. I have yet to confirm this with Brainwavz themselves, so for now this remains my own theory.

Inside is Brainwavz' wide earphone case, containing the B200, five additional pairs of eartips, a shirt clip, and a manual and warranty card. Typical Brainwavz stuff.



Design, Build, Microphonics



At first glance, I had a hard time figuring out what I was looking at. The B200, for a $200 IEM, seemed quite unassuming with its simple, all-black looks. Its construction didn't do much to impress, either, using plastic housings and a non-removable cable setup derived from the XF200 - thirty-dollar IEMs, mind you. However, over the past two weeks I have taken them on a trip out of town, and they held up wonderfully.

From further inspection, I found the B200's build to be focused on being lightweight. The plastic housings place no strain on the cable or the ear hooks, which definitely helps with the lifespan of the cable. The XF200-like cable setup has minimal cable noise and thus allows the B200 to be quite suited to those with more active lifestyles.



Fit, Comfort, Isolation

The custom-moulded plastic housings of the B200 allows it to stay in the ears securely without making any pressure points on the ear. This, coupled with the moulded ear-hooks, makes the B200 by far one of the most comfortable earphones I've ever worn. Being a balanced armature IEM, the B200 also has inherently excellent isolation, which furthers its versatility for active use.



== Sound ==
Specs


Headphone Type: Closed-back in-ear monitor

Driver Type: 2x Balanced Armature (1 woofer, 1 tweeter configuration)

Frequency Response: 12 – 22,000 Hz

Sensitivity: 110 dB at 1 mW

Impedance: 30 Ω

Cable: 1.3m (~4 ft.) OFC cable

Connector: Angled 3.5mm (1/8") gold-plated connector

Accessories:

• Carrying case (Wide)
• 6x sets silicone eartips (S/M/L)
• 1x set Comply T-100 foam eartips
• Velcro cable tie
• Shirt clip
• Instruction manual & warranty card (24 months)

Equipment, Burn-in

The source devices used for this review are a fifth-generation iPod Touch and an iPad Air 2, as well as a Schiit Fulla hooked up to my PC. The test tracks I use for my assessments are of various genres ranging from classical to electronica, with the audio file formats varying from 256 Kbps AAC to 24-bit FLAC. Some of these test tracks will be linked to in the sound assessments to demonstrate certain points.

Prior to the assessment I listened to the Brainwavz BLU-Delta for at least 30 hours to get more accustomed to the sound – otherwise known as "brain burn-in" – to dispel any "changes" to the sound after a certain amount of time.



Sound Quality



Bass:

Balanced Armature IEMs have long been known to have a flatter, leaner bass response compared to dynamic driver IEMs, but the Brainwavz B200 is a unique exception. The B200 has an unusually noticeable bass punch and a surprisingly aggressive low-end extension, and which might catch some listeners off-guard if they are used to more "traditional"-sounding BA earphones (M2U - Magnolia; Rogue - Ultimatum; Knife Party - Sleaze).

Despite this, the B200 still has a lean response and at times does not appear in songs that normally require it (Savant - Kali 47). This unique flexibility allows it to maintain its inherently smooth midrange tonality without any of the warmth from the bass driver showing through (WRLD - Style, Everything; Haywyre - Do You Don't You). This, from my observations, could be attributed to a well-designed crossover between the two BA drivers, or simply excellent tuning from Brainwavz. Either way, I'm impressed.


Midrange:

Throughout my years of reviewing earphones, balanced armature earphones have always impressed me. One IEM in particular -- the Final (formerly Final Audio Design) Heaven II -- remains in my top 3 IEMs that I have ever heard. In my experience with balanced armatures, there is always a certain quality in its midrange texture and tone that is, to me, captivating if not outright hypnotic. The Brainwavz B200 is no different (Yiruma – Scene from My Window, Indigo).

Despite the bass giving the B200 appeal with electronic genres, it is still a balanced armature IEM. And as with all the BA IEMs I've reviewed, as far as midrange frequencies are concerned, the B200 surpasses my expectations. The way it renders vocals is much like that of the Heaven II -- simple and direct in its tone, but effective in its delivery and rendering of emotion (The Carpenters - Those Good Old Dreams; Coldplay – Shiver). With a midrange like this, the B200 is definitely worth a spot on my top 3 IEMs.


Treble:

The Brainwavz B200's treble stands out a bit less in terms of quantity, but does its job of perfectly rounding out the B200's sound signature. It has just the right amount of shine to give you all the details and overtones at the top-end of the frequency spectrum, but not too much that it produces listening fatigue (Sungha Jung – On Cloud Nine). The notable roll-off at the very high frequencies may disappoint those who want more treble extension, but I feel it's a perfect fit for an IEM that does so well with laid-back music.



Soundstage/Presentation:

The B200's soundstage is no DUNU Titan 1, but it's not bad either. Its dual balanced armature drivers do a respectable job of rendering the illusion of space in various songs. However, it does a particularly good job of presenting instruments in that said space (Eagles - Hotel California).


Eartips:

With the included Comply T100-tips, the B200’s sound becomes much more like one would expect from a balanced armature IEM – beautifully midrange-focused while retaining treble crispness. So for the most part it loses much of the bass punch from the silicone tips, but still has some of the sub-bass rumble in some songs.


Summary:

The Brainwavz B200 takes a very brave path with its unusually boosted low-end. However, by whatever sorcery Brainwavz has done in its tuning, the B200 exhibits impressive bass control while allowing its inherent balanced armatures to sing its own brilliant tune. It is a very well-rounded sound signature that very accurately represents the best that Brainwavz has to offer.



Other Media



The B200's versatility extends beyond music, with its smooth sound signature proving itself well with both games and movies. I personally found them to be a blast while playing games, with its great detail retrieval and positioning capabilities combining for an enjoyable gaming experience. However, while enjoyable, they still have its own shortcomings against headphones in this area, particularly in its rendering of space. But if you don't have much else, the B200 will do just fine.



Amp & EQ Response

Because of its low impedance and high sensitivity, the B200 is designed to work with low power sources such as phones or tablets. Because of this they performs well enough without an external amplifier. However, when powered by the Schiit Fulla, the B200's overall sound becomes more intense – the bass gains a more aggressive punch, the midrange gains a slight bit of space, and the treble extension and crispness is improved. With an equaliser filter one can also achieve a similar effect – the B200 is fairly responsive to EQ and can handle most tweaks within reason.



Value



The Brainwavz B200 retails for about $200 on Brainwavz' official website, which thereby makes it the most expensive Brainwavz earphone to date. Now, at this price, is it still a good buy versus, say, the similarly priced MEE Audio P1? I'll make a more direct comparison later, but right now I'm finding the B200 to be a slightly tougher sell than most of Brainwavz' offerings. This is mostly because of the non-removable cable design, which means your B200 has a definite lifespan – once the cable breaks, your $200 is as good as gone. However, I cannot find any fault with the B200 from other angles, so as long as you take care of it, they should last you quite a while. And from my experience, Brainwavz earphones have always been very reliable.



Comparison



Versus MEE Audio Pinnacle P1 ($200):

One of the main reasons I was particularly excited to write this review was because I wanted to see how the B200, Brainwavz' top of the line earphone, would match up against the MEE Audio P1, MEE's top of the line earphone. Knowing that they are both at the same price point, the matchup only becomes more significant in terms of figuring out which earphone to get. But let's not beat around the bush here – all things considered, the P1 is the shinier of the two gems. Simply put, the P1's overall package does so much more for the same price, from its use of premium materials, sophisticated package, and a sound that does so well with everything.

Of course, that does not mean the B200 is without its merits – some listeners may find the P1 to have too harsh of a treble response, for which the B200 would be a better fit. Others may find the P1 to be too heavy to run around in, making the B200's lightweight build more appealing. Others still might not have an amp and would rather have an IEM that does not need one. Ultimately, your choice of earphone will boil down to personal preferences, so always weigh out the pros and cons before you make your purchase.



== Conclusion ==



The Brainwavz B200 is the epitome of great-sounding, high-quality products that are the foundation of all Brainwavz products since their founding. No detail of the B200 was left without purpose. Every facet of its build, every curve in its design, and every nuance in its tuning was done deliberately -- in a way only a company with comprehensive knowledge of their market can. And all of it to make me and you say, "The Brainwavz B200 is the best Brainwavz earphone I've ever heard".

Scores:

Packaging, Accessories: 8.5/10

Design, Build, Microphonics: 8/10

Fit, Comfort, Isolation: 9.5/10

Bass: 10/10

Midrange: 9.5/10

Treble: 9/10

Presentation: 8.5/10

Gaming, Movies: 9/10

Amp & EQ Response: 9/10

Value: 8.5/10

Total: 9/10



About the Company

Brainwavz provides high-end earphones specifically designed for high-quality sound and tailor-made to provide the user with a solution that can be used across a wide range of audio genres and styles at affordable prices. Brainwavz believes in the idea that sound is a deeply personal experience, and strives to provide users with earphones that match their personal inclinations, to inspire with intensity. The Brainwavz name is known in many countries across the globe, and the company is continually committed to providing the best products at the best value.

http://www.brainwavzaudio.com



Changelog

Intro



TL;DR: The Brainwavz BLU-Delta adds Bluetooth functionality to an already-excellent IEM, creating what I would say is a stroke of genius.

Over the past years we’ve covered both of Brainwavz’ prime Bluetooth earphones – the BLU-100 and the BLU-200. Knowing this, Brainwavz gave me the opportunity to have a listen at yet another wireless offering, albeit this time, the product in question is a bit different. This, my readers, is the Brainwavz BLU-Delta – essentially the Brainwavz Delta turned into a Bluetooth-capable, battery-powered cyborg of an earphone. How will it fare in its new market? Let’s find out.

(Disclaimer: the product in review was received free of charge in exchange for my honest opinion. Please take the following with a grain of salt and always try before you buy.)


== Aesthetics ==
Packaging, Accessories



The Brainwavz BLU-Delta arrives in a rather large box – unusual for a BLU series IEM, but not so for Brainwavz’ wired offerings. Inside you’ll get the earphones, a USB charging cable, a manual, and three extra eartips (one of which is a Comply T-400), packaged neatly in Brainwavz’ wide earphone case. All in all it’s pretty standard coming from Brainwavz, and still quite excellent.

From here there are a couple things I found noteworthy – first, the formal mention of a BLU series. Of course, right now it does not hold much meaning, but time will tell whether Brainwavz will release more earphones using a similar formula. Second, there is the brand-new manual, which is very well-written and detailed with regards to how the BLU-Delta works – a very admirable move from Brainwavz.


Design, Build, Microphonics
The BLU-Delta, as confirmed by Brainwavz, retains the housings and cable from its wired counterpart, which explains why a single housing was used for all of the BLU-Delta’s electrical bits. However, with the Bluetooth circuit, the amplifier, the battery, the remote, and the microphone all in one place, the housing ends up rather bulky. This in itself is not a bad thing, but its position on the right side of the earphone means there is a constant weighing down on your right side, unlike that of the BLU-100 and 200 which was more evenly balanced. That, or maybe a larger neckband-type housing would be a better alternative.



Of course, this is not a major concern. What is more worrying is the build. With the Delta being a dainty $30 IEM, its build was not exactly what I would call “heavy duty”. Of course, that doesn’t mean they’re absolutely flimsy – with its new life as a Bluetooth earphone, you will be less likely to damage the cable as they will simply hang around your neck throughout its battery life. And with its slim design and the assistance of the shirt clip, it makes next to no cable noise, even while on the move.


Fit, Comfort, Isolation
The Brainwavz BLU-Delta’s compact earphone housings allow for an easy fit with most ears – another of the many benefits carried over from the wired version. Comfort and isolation are about average at best with the stock silicone eartips, but improve exponentially with the included Comply foam eartips. Either way they remain very securely in the ears, and as such perform very well during active, er, activities.


Specs

The first thing I noticed about the BLU-Delta’s spec sheet was its battery life. An 8 to 10 hour play time on a single charge? I know, I couldn’t believe it the first time either. It was almost too good to be true. But as it turned out, it is. The BLU-Delta sends out a low battery warning at around 5 hours in and powers down. But even though you can still turn it back on beyond this point, they will only run for about 30 minutes before shutting off for good. I know, I couldn’t believe it the first time either. Maybe lowering the audio volume would make it last longer, but I doubt listening to music at 20% volume would be very fun.


Connectivity
The BLU-Delta shows up as “BWAVZ BLU” on a device when you pair it up. On my 5th generation iPod Touch and iPad Air 2, the pairing process was buttery-smooth. General connectivity is quite good, and maintains good signal towards the advertised range of 10 metres, but only in a purely open-air setting. The signal range drops sharply in more “real-world” applications, cutting out even if so much as a hand hovers over the source. Of course, your experience will vary depending on your source device and the amount of EMI (electromagnetic interference) in the area.


== Sound ==
Equipment, Burn-in
The source devices used for this review are a fifth-generation iPod Touch and an iPad Air 2. The test tracks I use for my assessments are of various genres ranging from classical to electronica, with the audio file formats varying from 256 Kbps AAC to 24-bit FLAC. Some of these test tracks will be linked to in the sound assessments to demonstrate certain points.

Prior to the assessment I listened to the Brainwavz BLU-Delta for at least 30 hours to get more accustomed to the sound – otherwise known as "brain burn-in" – to dispel any "changes" to the sound after a certain amount of time.


Sound Quality



Bass:

The BLU-Delta's bass, despite being a generally bass-forward IEM, does not immediately greet you at the figurative door at first listen; instead, it sits back and does its thing until you take notice. And once you do, you'll notice just how unexpectedly good it sounds. With a fast, aggressive punch and deep extension, it works especially well for bass-heavy genres or metal (Haywyre – Dichotomy, Impulse; Rob Scallon – Gas Mask Catalogue). However, the bass is very well-controlled and usually only displays its aggressiveness when the track calls for it (Savant – Kali 47), and in more bass-light genres, only manifests as a noticeable heft and warmth in its tonality.


Midrange:

The midrange, on the other hand, is what meets you up front once you play the first song through the BLU-Delta. It plays often up front and in your face in electronic genres, which may come off to some as sounding a bit too aggressive (Conro – City Lights). However, what really took my attention was their clarity that shone through in just about every genre – whether the track calls for vocals, pianos, guitars, synthesisers, or any combination of those, the BLU-Delta maintains a clean, clear, and slightly warm tone that I found is absolutely beautiful (The Weeknd – I Feel It Coming; Govi - Bumblebeat).




Treble:

The BLU-Delta's treble is sharp and snappy, helping to give the overall sound signature the clarity it has. However, I do find it to be a bit harsh throughout most of my music library, which often forces me to turn down the volume quite a bit to be tolerable (Anna Yvette & Laura Brehm – Summer Never Ends). However, it is not as big of a deal as was the case with the MEE M6 Pro, especially considering this can be fixed by fitting the BLU-Delta with the included Comply eartips.


Soundstage/Presentation:

The soundstage of the BLU-Delta is in my opinion the only real weak point of this IEM. Its soundstage is noticeably cramped and congested, with most of the music packed towards the front and with little extension towards the sides (Francisco Cerda – ‘Round Gunpoint). Despite this, the overall sound is not affected and though it can be improved, it's not bad as it is.


Genre Proficiency:

Despite a bass-oriented sound signature, the BLU-Delta has surprising versatility with various genres. Though its aggressive low end presentation makes it more suited for electronic genres, its clarity through the upper frequencies allows it to perform acceptably with other types of music.



Summary:

The Brainwavz BLU-Delta, having borrowed from its wired counterpart, shares most of its sonic characteristics, most of which are quite excellent. With a lively sound signature and up-front presentation, the BLU-Delta powers through various genres with comparative ease. Its congested soundstage may be a weak point, but is not that big of a deal. If one finds the treble a bit harsh, fitting them with the included Comply eartips will dull the sharp edges and round out the whole sound signature to what I feel is quite excellent.


Other Media
The BLU-Delta does quite admirably beyond the music player, with its sound signature serving it well for games and movies alike. Beyond that there's not much I can add to my opinion beyond what has already been said in this review, but should one intend to use them for gaming or movies on the go, do take note of the audio lag as is inherent with Bluetooth technology.


EQ Response
The BLU-Delta does quite admirably beyond the music player, with its sound signature serving it well for games and movies alike. Beyond that there's not much I can add to my opinion beyond what has already been said in this review, but should one intend to use them for gaming or movies on the go, do take note of the audio lag as is inherent with Bluetooth technology.


Value
The BLU-Delta retails for about $50 on their own website as well as authorised retailers, which places its price point right between the BLU-100 and BLU-200. Even though the sound bits of the BLU-Delta are sourced from a $30 wired IEM, it still remains a bargain at this price considering you get excellent sound with the convenience of Bluetooth tech.


Comparison



Versus Brainwavz BLU-100 (~$50):

The BLU-100 was Brainwavz' first try at a Bluetooth IEM, and even now remains one of the Bluetooth IEMs I think very highly of. In this admittedly close matchup, the BLU-100 scores points for its more streamlined and durable design, but in the end I feel the BLU-Delta only barely out over the BLU-100 with it's clearer, more engaging sound quality. Regardless of how the comparison will sway you, the BLU-100 is still very much worth recommending.




Versus Brainwavz BLU-200 (~$55):

The BLU-200 is the more expensive brother to the BLU-100, and I have to say I found it and the BLU-Delta quite similar in their sound, and thus are also a bit of a close matchup. Points are given to the BLU-200 because of its design, but unlike the earlier comparison, I feel the BLU-Delta beats its opponent with a more significant margin. It could only be my pair, but the BLU-200's soundstage and presentation is a bit too off-putting that it becomes disorienting to listen to after some time. The BLU-Delta simply sounds better and is more comfortable to listen to over longer periods.


== Conclusion ==



The Brainwavz BLU-Delta is, in my opinion, one of the cleverest ideas Brainwavz has ever come up with for a new earphone. By building a Bluetooth earphone on the foundation of an existing wired set, you get all the wireless functionality with none of the flaws of a “pure-blooded” Bluetooth set (i.e. a Bluetooth IEM made from scratch). Brainwavz' decision to use their absolutely excellent Delta IEMs only adds icing to the cake. If Brainwavz continues down this path with more wired IEM-based Bluetooth earphones, I feel Brainwavz will have many more winners down the line.





Post-Review Stuff
As always, my deepest thanks goes out to Pandora and the Brainwavz team for yet another opportunity to listen to another one of their steps to being, in my opinion, one of the most well-rounded earphone manufacturers out there.


Changelog

TL;DR: Though its price tag is a bit hard to justify, the Brainwavz Krudul Duo is a versatile earphone storage solution that you will want if you need one.

Before I begin I would like to thank Pandora at Brainwavz for providing a review sample of the Brainwavz Krudul Duo. I am not directly affiliated with Brainwavz or any of its staff beyond my role as a reviewer, nor was I paid in any form to write this review. All opinions and photos in the review are explicitly my own unless otherwise specified. Finally, please take the following opinions expressed in the review with a grain of salt. Thanks!

On DB Headphones, we've talked about some accessories a few times. One time I talked about some earpads; another time I talked about a headphone hanger. This time we're going to take a look at something similar to the latter. Meet the Brainwavz Krudul Duo.

Now, from the first picture you're probably wondering "What unusual doohickey has Brainwavz brought to your desk now?" The Brainwavz Krudul Duo is an earphone hanger – much like a headphone hanger, but for earphones. It's not that different from the headphone hangers that Brainwavz also sells, such as the Hengja which I previously reviewed, so I'm sure this review will be no different. Let's get to it.





First things first: what's with the 'Duo' in the name?

As you can see from the pictures above, yes, the Brainwavz Krudul Duo is actually a pair of earphone hangers, so that pretty much makes this a two-for-one deal. The Krudul Duo contains two variants, which are aptly named the Krudul Monitor (designed to be hooked up to a computer monitor) and the Krudul Vertical (for most other vertical surfaces).

Unusual nomenclature aside, the Brainwavz Krudul Duo, like the Hengja, is built very solidly, almost to the point where it goes overboard. Unlike. The Hengja, however, the hangers are each fashioned from what seems to be a single piece of aluminium, which contributes heavily to its durability. However, there is still the issue of the build being a bit too durable – although I see the point of it outlasting your earphone collection, I don't see why a similar design in plastic would not be an equally effective and cheaper option. (And then there is the option of binder clips, but I won't go into that today.)



You said this was an "earphone hanger"; how does it work?

The Krudul Duo's business end is its solid aluminium arm and its C-shaped hook – basically, the bits that let the earphone hanger hang the actual earphones. What you're supposed to do is you take the earpieces and the connector together and hang them so that they rest on the hook of the Krudul, as demonstrated by the above picture. The cable is then allowed to simply dangle haphazardly. Design-wise it's not too bad, and I do like how the hook accommodates a lot of earphone sizes as far as my testing goes. However, the rather small width of the opening is a bit worrying when we deal with top of the line earphones such as CIEMs and whatnot – their housings are often quite large and their cables quite thick, so hanging them on the Krudul Duo may be a bit of a problem. Of course, I don't have any top of the line stuff, so I can't say that for certain, but there is still the possibility of such a problem happening.



The other end of the Krudul Duo consists of the adhesive, which Brainwavz describes is a 3M VHB double-sided tape. I can safely say the adhesive works quite well and maintains its grip. Of course, only time will tell if this grip will loosen over time, but so far it does the job. My only concern is the fact that the Krudul Duo is adhesive-based and as such cannot be moved or readjusted after it has been placed like the Hengja. For most this would not be a problem, but for me it is a concern since I don't have any other place to stick the Krudul Vertical to – which will explain why you will not see any pictures of the Krudul Vertical in action (I just don't really have any place for it at this time). However, since the general design of both are the same, I assume the current photos will suffice.



Now let us ask the most important fifteen-dollar question:

"Is the Brainwavz Krudul Duo actually worth getting?"

As much as I'd like to, I cannot give a short answer. Whether or not the Krudul Duo is right for you will depend if you need a way to store your earphones on the open where they will be readily available at a moment's notice. The hook allows you to store the earphones in a variety of ways, and its adhesive-based nature allows you to hang your earphones at an elevation so they can hang safely and tidily away from your desk. The Krudul Duo also comes in two variants, so you can have two different ways to store your earphones, or you can store two different earphones at the same time. If you're like me and you want a way to keep your earphones tidy but on-hand, then the Krudul Duo is for you.

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TL;DR: The Brainwavz XF200 is, in and of itself, an excellent sports IEM that will go the extra mile with you and then some.
 

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Before I begin, I would like to sincerely thank George at Gearbest.com for providing the Xiaomi Hybrid you see in this review in exchange for my honest opinion. Please note that I am neither affiliated with Gearbest or any of its staff, nor am I being paid to write this review. All opinions expressed in this review are my own unless otherwise specified, and all photos in this review were taken by me. Finally, please take my following opinions with a grain of salt. Thanks!
 
Not long after the release of the Pistons 3.0, everyone on the Pistons threads – myself included – was surprised to hear news about a new IEM from Xiaomi. Immediately the “first responders” set up shop and gathered scraps of info quickly, and this new IEM was dubbed the Pistons 4.0 – at least, until the translations came out. No, this is a brand-spanking new IEM from the smartphone manufacturer featuring a hybrid dual driver design at the same price the entire Pistons line was sold at -- $16, or CNY 99. That, in and of itself, is a crazy – and risky – feat to pull off.
 
The question is – did Xiaomi pull it off right? Find out after the jump.
 
(Note: I wasn't able to upload my photos of the Hybrid due to slow Internet speed. You can check out the pictures here, or alternatively look at other photos from other reviewers.)
 
 

== Aesthetics ==

Packaging, Accessories

 
Selling a dual-driver design at a $20 price point is outright insane. At that point, profit margins are already so low you probably won’t notice there’s even any profit from this. Trying to sell one with the same stuff the Pistons 3.0 had and still making a noticeable profit, however, is outright impossible –even Xiaomi seems to acknowledge that. As such, they had to make compromises. And what other place would be so easy to cut costs on than the packaging?
 
To summarise, Xiaomi eschewed the fancy plastic case and neat silicone earphone holder of the Pistons line in favour of a package made almost entirely out of cardboard. As much of a disappointment as it is, it really isn’t that much of a big deal unless you have a pressing need to store the Hybrids when not in use. Even then, the cardboard “case” of the Hybrids seem to do an equally effective job (at least until the cardboard is crushed at some point). If the Hybrids are your first serious IEM purchase, you’d probably be using them as your main IEM, so again, the lack of a proper case isn’t that big of a deal.
 

 
(As a side note, believe it or not, the Hybrid can fit in the Pistons 3.0’s silicone case. We’ll cover why in a bit.)
 
 

Design, Build, Microphonics

 
Design-wise the Xiaomi Hybrid is actually quite similar to the Pistons 3.0 released before it. Their new housings and Y-split aside, the two IEMs share the same remote/mic unit, the same angled nozzles, the same cable, and the same straight connector. The only difference between the aforementioned parts is a colour change, as you can see in the image to the right. These design similarities allow Xiaomi to reduce manufacturing costs by using the same parts from an earlier design, and also allow the Hybrid to fit in the 3.0’s silicone case as I mentioned earlier.
 
On that note, the similarities between the two Xiaomi IEMs in design also translate to similarities in build. As such, I don’t think one would be disappointed in the build of the Hybrids here – they’re about as durable as one could expect of a $20 IEM. The cable still has that Kevlar (or whatever fabric it is) below the Y-split, so expect cable noise similar to the Pistons 3. However, considering the fact that the Hybrid takes from most of the components of the 3.0, I’m a little confused as to why they decided to make an entirely new Y-split in its place – it’s really little more than a tiny, flimsy rubber square (in comparison to the metal-housed Y-split of the Pistons 3.0). In the end, though, it’s still the end user that determines how long an IEM lasts. Care for it well and it should last.
 
 

Fit, Comfort, Isolation

The Hybrid, again having taken from its predecessor’s design, also has similar fit characteristics to the Pistons 3.0. The fit is similarly straightforward, and also quite comfortable. They are mainly worn straight-down, so cable noise might be an issue, but you can wear them around the ear with a little practice (same goes for the Pistons 3.0). The Hybrid doesn’t seem to employ the dual damping system for the Pistons 2.0 and 3.0, so less airflow is permitted through the housing and, as such, better passive isolation compared to the aforementioned IEMs.
 
 

== Sound ==

Specs

 
 
 

Equipment, Burn-in

The source equipment used in this review is a fifth-generation iPod Touch and an iPad 3 directly running the Xiaomi Hybrid, and a PC running iTunes 12 and Foobar2k powering the Jive through a Schiit Fulla DAC/Amp. The EQ apps used in their respective test is TuneShell on iOS and Electri-Q on the PC. The eartips used on the Hybrid are the included medium size eartips. The list of the test tracks I listen to while reviewing the Jive can be found here, although I will include links to specific songs in the review for a more direct point of reference.
 
The Hybrids have been burned-in for at least 50 hours prior to this review, most of which comprised of direct listening sessions. Over that period I noted some changes, which I will explain in further detail below.
 
With everything else said and done, let’s get to the sound.
 
 

Sound Quality

 
Bass:
The Hybrid’s dynamic driver starts off strong with an impactful low-end reminiscent of the Pistons 2.0, but with control more akin to that of the 3.0. Its more restricted venting system allows for better passive isolation, allowing you to hear its great sub-bass extension (Wiz Khalifa – On My Level). Its strength also contributes to the Hybrid’s warm midrange tonality, giving lower octaves a heavier, more viscous response. Similar to the 2.0, I found the Hybrid’s bass to be a little overbearing and excessively thick at times (Coldplay – Magic), but it’s not the worst I’ve ever heard (although from an “audiophile” standpoint, it does come quite close).
 
 
Midrange:
What really piqued my interest in the Hybrid was how the drivers would handle the midrange and treble. But to be honest, when I listened to them straight out of the box, I was not impressed. For me, they just didn’t have the presence that allowed it to shine through any genre of music as the 3.0 was capable of. I mean, sure, they don’t sound particularly bad, but there was just something…missing in the vocals and the instruments in the music that I wasn’t able to put my finger on at first.
 
 
Treble:
But then it hit me. The Hybrids weren’t off in the midrange; they were off in the treble. To sum things up without wasting too much time, the treble frequencies of the Xiaomi Hybrid were tuned to have as little sibilance as possible. No, really, they have practically no sibilance from what I’m hearing. Though having little sibilance is a good thing, there is what they call too much of a good thing. This is what they call too much of a good thing.
 
I have read other impressions of the Hybrids from other owners of the IEM on the primary Head-Fi thread, and a few of them seem to report not much “detail” on these Hybrids. To be honest, this intrigues me a bit, as in my opinion treble “quantity” doesn’t outright mean treble “detail”. Okay, yes, it doesn’t have that much treble detail as far as I can hear, but once I put it up against the other Xiaomi earphones I found they all have similar levels of detail retrieval, or at least, as my ears tell me.
 
In the end, though, the treble dip in the sibilance region still confuses me. This never existed in the old Pistons line, which leads me to think something – or someone – made a suggestion to the tuning that made the Hybrid sound the way it does. Could it be that Luca Bignardi dude that Xiaomi was said to hire according to their official page? All signs seem to point to him. Whoever he is,  I think he’s made it clear to himself and to the entire audiophile community that he does not know how to tune a headphone (well, either that or he just has a weird way of hearing things.
 
 
Soundstage/Presentation:
Being a more closed-back IEM compared to the rest of Xiaomi’s manufactured earphones, their soundstage sounds more compressed and restricted in comparison to the airier presentation of, say, the Pistons 2 and 3. Their spatial imaging is decent, but nothing here stands out.

 
Genre Proficiency:
The overall signature of the Hybrid leans towards a rather dark, bass-heavy sound signature. It doesn’t offer anything special midrange-wise, so you won’t find them to do much justice to acoustic recordings (Yiruma – Indigo, Coeur de Pirate – Off to Sleep). They are, however, clear enough to make electronic genres sound pretty good (Televisor – Deya, 7 Minutes Dead – Sidewinder).
 

Summary:
Overall the Xiaomi Hybrid does not impress me sound-wise. I mean, the Hybrids have pretty controlled bass and a decently clear midrange, but their unusual treble tuning has vocals sounding rather off in my opinion. I know I don’t have any experience with hybrid earphones as of this writing, but I don’t think the Hybrids sound like hybrids – in fact, I think the guys behind the IEM could’ve just left it a single dynamic and it’d probably sound just as good (or as bad, whichever opinion you have). I just don’t think they bring any more to the table than the Pistons 2.0 and 3.0 already do.
 
 

Other Media

My conclusion in this section is the same as that of the main Sound Quality section – the Xiaomi Hybrids sound decent, but nothing about them makes me really want to listen more. For gaming, their rather dark-tilted signature doesn’t really prove helpful. However, I did like how the Hybrids played along with movies. The bass is explosive enough to match that of a half-decent cinema, and all in all it really isn’t all that bad, so a bit of a “meh” here for me.
 
 

EQ & Amp Response

Being an IEM with a 101 dB sensitivity figure, it’s clear they’re designed to work with weaker-powered devices – such as mobile devices – without any fuss. On that note, they don’t seem to improve much with amplification – at least, when I give them the extra power output from my Schiit Fulla. EQ, however, seems to work quite effectively on the Hybrids. With a little tweaking, one can manage to compensate for the treble dip in the Hybrids and bring back the upper registers it’s supposed to have. With that they actually start to sound more like the Pistons follow-up we’ve all been waiting for. But considering the fact that this is after compensation, it’s still a little disappointing to say the least.
 
 

Value

The Xiaomi Hybrids retail for $16 dollars, or 99 CNY – the same price the Pistons 2 and 3 before it retailed for. Now, that’s not a bad price per se – but when you consider its price bracket, now oversaturated and overrun by “hype of the year” and “flavour of the month” IEMs, you really can’t consider the Hybrids to have that high of a price-to-performance ratio. And what really made the Pistons 2 and 3 the budget hits they were – their secret to success – was just that – their insane value for the money. At the low, low price of $16 dollars, you could get an accommodating IEM that does what it needs to and doesn’t leave you hanging (unless you’re a veteran audiophile or just picky). At that same price, you can also get one of the hype-of-the-year brand-less Chinese IEMs that provide high performance, but at the cost of severe reliability issues. 
 
 

Comparison

Versus Xiaomi Pistons 3.0 ($16):
The Pistons 3.0 is, by far, one of my favourite IEMs; there’s no doubt about that. There’s also no doubt that it completely defeats the Hybrid in all aspects. Build-wise the Hybrid is worrying in certain aspects. Sound-wise they really just can’t keep up. To be honest, I’m a little dismayed. I mean, considering the fact that the Hybrids have two drivers at their disposal, you’d expect them to sound phenomenal.
 
 
Versus Xiaomi Pistons 2.0 ($16):
Early impressions from other reviewers pointed to the hybrids being a sort of sound-wise “middle ground” between the more balanced 3.0 and the bass-heavy 2.0. But now that I have the Hybrids for myself I can’t bring myself to say that anymore. These Hybrids are an entirely different monster…and not in a good way. The treble dip still bothers my ears to no end, and the bass, though fine, doesn’t really help in the IEM’s overall sound. The Pistons 2.0, at least, sounds much more coherent and natural (if you can call it that).
 
 

== Conclusion ==

 
In the end, I can’t bring myself to recommend the Xiaomi Hybrid to anyone. They just don’t provide the level of performance you’d expect from a hybrid follow-up to the great-sounding Pistons 3.0, instead sounding more like an experimental prototype than anything. I will admit, though, it is a respectable effort by Xiaomi to break the price limits and provide a hybrid IEM design at a sub-$20 price point – and that is insane. But even then, it still just doesn’t sound that good.
 
 
 
 

Suggestions for Improvement

Improve the tuning.
Kick out the one responsible for the treble dip.
 
 

Shout-Outs, Gallery

Again I would like to sincerely thank George at Gearbest.com for providing the sample unit of the Xiaomi Hybrid you see in this review. You could check out the rest of the images I took during the shoot here (link unavailable), and you could check out some more of my reviews here.
                                                                                                                               
This has been thatBeatsguy of DB Headphones; thanks for reading!
 
 

Changelog

 
 

 

 

Intro

 
One of the myriad of IEMs from the brand I most love to hate, the KZ ED9 offers an otherwise excellent budget package were it not for its manufacturer’s poor (if not outright lack of) quality control.
 
Before I begin I would like to thank George at Gearbest.com for providing the review sample of the Xiaomi Pistons 3.0 shown in this review. Please note that I am neither affiliated with Gearbest or any of its staff, nor am I being paid for writing this review. Unless otherwise specified, everything you see written in this review are my own honest opinion, so please take that with a grain of salt. All photos you see in this review are also my own unless otherwise specified. Thanks!
 
Knowledge Zenith, otherwise known as KZ, is as the title says – an enigma. That’s because we don’t really have that much information about them, and also because they’ve never bothered to release any of that. All we know is that they’re a Chinese manufacturer that makes a crap ton of ultra-cheap IEMs that they sell through online marketplaces like Aliexpress. That, and they have a massive cult following on Head-Fi that practically worship the brand with every post they make on the Asian brand thread or their official appreciation thread.
 
But I’m gonna get straight to the point. I don’t like KZ. I’m not gonna lie about that. I don’t like their lack of presence as a company. I don’t like their lack of ways to contact them. But I couldn’t ignore the cultish hype. It had me curious as to if they really were worth the continuously-spreading hype. And just a few weeks ago, the opportunity presented itself. And so here I am, reviewing one of the many IEMs from the brand I love to hate. Will they stand up to my expectations? Find out after the jump.
 

== Aesthetics ==

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​

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[size=20.007px]Packaging, Accessories[/size]

The ED9 comes in a plastic shield-shaped case devoid of marketing buzzwords and text, save for a list of specifications on the back of the case. It’s no Pistons 3.0, but at least it isn’t a shameless cardboard box. Inside is the ED9 itself, along with its surprising accessories package of three extra eartips and – get this – a pair of extra tuning filters.
 
 

Design, Build, Microphonics

Yes, tuning filters. I know, I couldn’t believe it myself. You really don’t get to see tuning filters – a feature more commonly found in IEMs priced $100 or above – in an IEM priced below 20 dollars. There is nothing on the package that explains what either of them is, but from here on out I’ll just call them the bass filter and the balanced filter. Build-wise, they don’t disappoint either, with rather weighty full metal housings and a surprisingly robust cable. The strain reliefs are built pretty well, although I feel the diminutive Y-split might become a point of failure for the IEMs in the future. As much as I hate to admit it, I’ll say I’m impressed at how much KZ is able to pack into this sub-$20 package.
 
But no audio gear is without its faults, and the ED9 does have its fair share of failures, mostly in the build. Once you go past the first glances, full metal housings don’t really matter anymore when the drivers themselves have a channel imbalance issue straight out of the box. The robust cable doesn’t seem as much of a good thing anymore when it’s practically a partially-uncoiled spring that’s almost impossible to completely straighten out. And worse yet, the audio started to cut out the very first time I plugged it in. (I’m not exaggerating anything – that really did happen the first time I took it out.) But let’s face it – KZ is your typical Chinese manufacturer of cheap products. Knowing this, there’s really no surprise that they have little (if any) quality standards when it comes to mass-producing their products. But if it’s this praised throughout the budget Head-Fi community, this is an issue that becomes all the more important.
 
 

Fit, Comfort, Isolation

The ED9 actually doesn’t fit too badly, staying snug and secure in my ears whether you wear it straight down or loop the cable around the ear (that is, if you can – the cable is incredibly stubborn and literally jumps out of my ears when I try to loop it around the back). However, the ED9 seems to have a sealing or damping issue, as the IEMs do not isolate equally (one side isolates less than the other). I don’t know how exactly this happened, but it has already been like this straight out of the box, so there’s not much else to blame other than poor quality control on KZ’s part. Again.
 

== Sound ==

Specs

 
 
 

Equipment, Burn-in

The source equipment used in this review is a fifth-generation iPod Touch and an iPad 3 directly running the KZ ED9, and a PC running iTunes 12 and Foobar2k powering the Jive through a Schiit Fulla DAC/Amp. The EQ apps used in their respective test is TuneShell on iOS and Electri-Q on the PC. The eartips used on the S3 are the included medium size eartips. The list of the test tracks I listen to while reviewing the Jive can be found here, although I will include links to specific songs in the review for a more direct point of reference.
 
The ED9 was burned-in for around 50 hours prior to writing this review. I noted no changes over this period, so I doubt there would be any more over time. In any case, let’s talk about how they sound.
 

Sound Quality

 
Bass Filter:
The ED9’s sound is honestly really hard for me to assess as the channel imbalance is practically splitting the IEM into two different sound signatures, each channel having its own twist on the sound. And I’ll be honest, I literally have no idea which is supposedly the “correct” sound of the ED9. The right channel is just a bass monster, with massive bass whatever you listen to. Its extension and sub-bass presence is phenomenal, easily taking the “Most Sub-Bass in an IEM Award” in my entire collection. It’s so massive that it tends to overwhelm the rest of the signature with all its slightly-distorted glory (Daft Punk – Motherboard). It’s so massive that I can practically feel the bass in Condukta’s Virtual Oasis. But the strange thing is, they manage to fall back and make way for the midrange when the song doesn’t explicitly have a heavy low-end (Yiruma – Fairy Tale). Its soundstage is also pretty good, with an airy space that reminds me of the Pistons 3.0.
 
The left channel, however, has a much more subdued low-end, sounding quite like the Pistons 3.0. The bass doesn’t overwhelm at all, instead sounding very controlled and refined. Again, I really have no idea which is supposed to be the “correct” sound here, but as the right channel seems to actually seal properly, I’m pretty sure the bass monster should be how the bass filter sounds.
 
 
 
Balanced Filter:
The balanced filters, in my opinion, really bring out the “true” sound of the ED9. The reason why I call it its “true” sound is because the balanced filters, well, don’t have any actual filters – it’s little more than a brass tube to hold the eartips. (In contrast, the bass filters have a black mesh that dampens a treble spike as seen in the image to the right.) The ED9 sans damping filter is more bass-light, bringing out more clarity and focus to the midrange and treble. The bass is still there, but it’s taken a few steps back, really bringing out the rest of the music to life. Guitars sound great (Sungha Jung – Coming Home). Pianos sound great (Yiruma – Indigo). Pretty much everything sounds great (Daft Punk – Give Life Back to Music). Can’t really say much more than that.
 

Summary:
Substandard quality control aside, I’ll admit, the ED9 sounds pretty great (how many times have I said that already?). It doesn’t have the straight-up versatility of, say, the Pistons 3.0, but its two pairs of filters do an equally effective job providing two different flavours of a similarly refined sound. So yeah, I’m gonna say it – the ED9 sounds pretty darn good.
 
 

Other Media

Okay, now I have a really hard time gauging how well the ED9 does here. Simply put, the channel imbalance really messes up the soundstage enough that I simply can’t use this for gaming properly. Audio cues coming from the left are rather distant and hard to pick out. Movies have the same problem. So no, I cannot give a proper rating of the ED9 in this section in its current condition.
 
 

Amp & EQ Response

The KZ ED9 was designed from the outset to work with phones and similarly weak sources, so one will have no trouble using it with your phones or iPods or whatever audio device you might have. Pairing it with the Fulla, I didn’t really notice any major differences sound-wise, beyond them sounding cleaner out of the Fulla’s improved DAC chip. Now, about EQ’ing the ED9…I really don’t see any reason why one would bother to tweak the sound through software when you’ve got an excellent hardware “EQ” from the get-go. So I guess I’ll leave it at that – there really isn’t much more to say at this point.
 
 

Value

The KZ ED9 can be bought from the official KZ store in Aliexpress, or a bunch of other sellers such as Gearbest for under $20. I would say the KZ ED9 offers incredible value at its price point, with its great build, great package, and innovative tuning filter system that really pinches the profit margins. But as much as I’d like to gush about its merits, all of it is shrouded by the fact that it came in partially broken. Is it really worth getting? To be honest, I can’t really bring myself to say yes, despite all the positives.
 
 

Comparison

Versus MEE Audio M9 Classic ($10):
The MEE Audio (formerly MEElectronics) M9 Classic was an impressive budget IEM, offering an unprecedented level of quality across the board at the rock-bottom price of ten dollars. From a sound standpoint, the ED9 easily blows the M9 out of the water with its refinement, its more balanced sound, and its neat tuning filter features. But when you consider the rest – the rest being the ED9’s iffy QC – the M9 ends up standing out as the winner in this face-off.
 
Versus Pistons 3.0 ($16):
I don’t think there’s anything to say here that I haven’t already said throughout the review. In the end, pretty much everything else beats out the ED9 by the fact that it’s not half broken. If, however, you manage to not get a dud pair, the ED9 will give you a brighter, more forward, and more aggressive sound compared to the passive-sounding Pistons 3.0.

 

== Conclusion ==

 
Earlier in this review I called KZ an enigma. But having studied and reviewed their ED9 I can say I have KZ all figured out. KZ is a manufacturer that designs very promising earphones that look to be worth it for the price, but their apparently horrible quality control leaves me still wondering why they have such a massive cult following – a cult following that bothers to spend over $100 dollars on 10 pairs of IEMs instead of two or three actually well-made pairs. They seem to not care about anything beyond designing the IEMs and stuffing them with neat features and an otherwise excellent sound. Beyond that, no, I don’t think they seem to care about actually making their products properly and consistently.
 
Whatever the case, as much as I want to like the ED9, I cannot recommend them under these circumstances. I know my complaints will fall on deaf – or rather, non-existent and foreign – ears, but KZ, straighten up your production process.
 
 

Suggestions for Improvement

FIX THE QUALITY CONTROL. I don’t think I’ve pressed a point any harder than that.
 

Shout-Outs, Gallery

I would like to again thank George at Gearbest.com for providing the sample of the KZ ED9 you see in this review. You could check out the rest of the images I took during the shoot here (link unavailable), and you could check out some more of my reviews here.
                                                                                                                               
This has been thatBeatsguy of DB Headphones; thanks for reading!
 

Changelog