BQEYZ Cloud

I am a fan of BQEYZ brand IEMs. They always strive to create something unique with their offerings. The Autumn model featured innovative tuning filters, while Winter and Wind utilized self-developed bone conduction drivers. Now, with the Cloud, they have ventured into passive radiator territory. However, instead of using that term, they describe it as "air-assisted circulation."



The price of the BQEYZ Cloud is somewhat variable since it started as a Kickstarter project. At the time of writing this review, it can be pre-ordered on Linsoul for $169.

Disclaimers​

The BQEYZ Cloud was sent to me on loan as part of the Turkey Tour of the Audio Geek Review Group. I don't get to keep this tour unit, even at the end of the tour. As always, keep in mind that everyone has biases, so take everything you read with a grain of salt. I aim to be more concise and to the point in my reviews from now on, without worrying about the word count. If you have any questions, please ask in the comments, and I will do my best to answer them.

Packaging, Build and Accessories of BQEYZ Cloud​

BQEYZ has always been generous with their packaging, and the Cloud is no exception. What you receive is similar to what came with Winter and Wind: earpieces, a leatherette case, a fine cable, two sets of silicone eartips on a metal holder, a pair of small foam tips in a separate case, and a cleaning brush. However, I didn't get the premium unboxing experience that I had with the earlier models.

In typical BQEYZ fashion, the shells are made of CNC-machined aluminum. The earpieces are very comfortable and provide a secure fit, but the faceplate design feels like a step back from the elegant look of other BQEYZ IEMs like Autumn and Winter, at least for me.

Sound of BQEYZ Cloud​

Tonality​

The Cloud aims for a clean presentation with a bright tonality. The bass is light and lacks a visceral punch and rumble. Although measurements show decent subbass extension, my hopefully functioning ears perceive a subbass roll off, making the bass suffer overall. The expected bass texture is also missing.

Mid frequencies sound very clean and clear but a little on the lean side. Vocals are highlighted and sometimes shouty depending on the vocalist and listening volume.



Treble on Cloud is emphasized, particularly lower treble. It sounds very lively and energetic at moderate volume, but I imagine it getting grating at higher listening levels. The Cloud excels in providing an airy listening experience with good treble extension.

Technicalities​

If the tonality doesn’t inspire confidence, don't worry—the Cloud makes up for it with technical prowess. Tonally and technically, it reminded me a lot of the Simgot EA1000 and that comparison became a given. Just like EA1000, Cloud’s headstage feels open, airy and spacious. Imaging and layering is also pretty good assuming it would cost less than 200 USD. Detail levels also merits the price tag it has. Timbre is slightly metallic like most of the IEMs with a bright tuning.

Comparisons​

All the comparisons are made by volume matching at 500 Hz.

BQEYZ Cloud vs. Simgot EA1000​

• The EA1000 has more bass impact and subbass extension. The Cloud lacks the bass texture found in the EA1000.
• Although they have similar tuning in mid frequencies, tonal balance makes Cloud sound thinner. Vocals are more forward on Cloud, considering EA1000 is borderline shouty, Cloud is overstepping the bounds. Neither is particularly sibilant but Cloud gets there earlier if volume is pushed.
• Cloud’s treble, although not harsh, is more splashy and uncontrolled and EA1000 isn’t exactly very tidy in that regard.
• Cloud is livelier at moderate listening levels but EA1000 is already lively enough so it might get a little overbearing on Cloud in time.
• In almost every technical aspect, EA1000 is slightly superior, it’s more resolving, has better timbre, imaging and layering. The driver EA1000 uses sounds like a more capable one. Cloud however is slightly more spacious in staging.

BQEYZ Cloud vs. BQEYZ Winter​

• Winter is more neutral in tuning but still has a tighter, more authoritative and more confident bass. Both roll off in the subbass and don’t rumble too much.
• Cloud’s mids are leaner, Winter on the other hand, sounds more full bodied. Vocals are much more forward and shoutier on Cloud. Neither is particularly sibilant but Cloud is more susceptible to sibilance with the increased volume.
• Cloud is much brighter in tonality overall, so it sounds livelier but also more aggressive.
• Winter’s timbre is better, Cloud’s timbre has a metallic tinge to it. Cloud sounds airier and more open. Although Cloud sounds more detailed, winter’s drivers render more info, just not push them forward. Winter’s headstage is deeper and imaging and layering capabilities are better.

Conclusion​

As always, BQEYZ tried to offer something different with the Cloud. It doesn't follow the recent trend of bass-heavy and warm IEMs, instead opting for a clean and airy sound. Although it doesn't quite match the EA1000 in performance, it comes close. At $169, it’s a more affordable alternative for those curious about the EA1000 but reluctant to spend over $200.

Introduction​

The BQEYZ Cloud IEMs, priced at $169.99, present an innovative approach to in-ear monitor design. With a dynamic driver and passive radiator configuration, these IEMs aim to deliver a smooth and energetic sound signature. Let's dive into the specifics of the BQEYZ Cloud and see how they stand out in the competitive IEM market.

Technical Specifications​

• Driver Units: Dynamic Driver + Passive Unit
• Dynamic Driver: 10mm
• Impedance: 32Ω
• Sensitivity: 110dB
• Frequency Response: 7Hz-40kHz
• Cable Length: 1.2m
• Pin Type: 0.78mm-2Pin
• Plug Type: 2.5mm, 3.5mm, or 4.4mm
• Cable Specification: Coaxial mixed cable

What's in the box:

• Earphone x 1 Set
• Cable x 1pc
• Carrying Case x 1pc
• Brush x 1pc
• Silicone Ear Tips (S/M/L) x 6 Pairs
• Ear Tips Holder x 1
• Memory Foam x 1 Pair (S)

Accessories and Packaging​

The BQEYZ Cloud comes with a well-rounded set of accessories, including a selection of ear tips to ensure a perfect fit for different ear shapes and sizes. The packaging is sleek and professional, reflecting the quality and attention to detail that BQEYZ has put into these IEMs.

Design and Build Quality​

The BQEYZ Cloud IEMs are crafted with a high-precision CNC machining process, resulting in lightweight yet durable aluminum alloy shells. The sandblasted, anodized finish gives them a premium look and feel. Available in two exotic colors—Black and Cyan—the Clouds not only sound great but also make a stylish statement. The ergonomic design ensures a comfortable fit for extended listening sessions, aided by a variety of included ear tips.

Driver Configuration and Technology​

The standout feature of the BQEYZ Cloud is its dual-driver setup. Each earpiece houses a 10mm dual-cavity dynamic driver unit with an LCP diaphragm and a 6.8mm passive auxiliary dynamic driver. This passive driver operates on the air movement generated by the active driver, enhancing the overall sound output. The air-assisted circulation system, a hallmark of BQEYZ's innovative engineering, ensures smooth airflow and precise acoustic performance.

Sound Quality​

The BQEYZ Cloud IEMs deliver a sound signature that is both energetic and refined. The treble is lively and well-extended, though it may come across as sharp to those sensitive to high frequencies. The midrange is clear and detailed, making vocals and instruments stand out without being overshadowed. The bass, while controlled and tight, might lack the thump some bass enthusiasts seek due to a slight mid-bass dip.



Bass: The bass response is clean and well-defined, thanks to the dual-cavity dynamic driver. However, the dip in the mid-bass region can lead to a less impactful bass experience, which may not satisfy those looking for a more pronounced low-end.



Mids: The midrange is where the BQEYZ Cloud truly shines. Vocals are rendered with clarity and presence, sitting comfortably in the mix without being overpowered by the bass or treble.



Treble: The treble extension is impressive, offering a sense of airiness and detail. However, the peaks around 5kHz and 8kHz can be a bit too pronounced for some, leading to a potentially fatiguing listening experience at higher volumes.

​

Comparison

SIMGOT EA1000

When comparing the BQEYZ Cloud to the SIMGOT EA1000, both IEMs excel in their own right but cater to different listening preferences. The BQEYZ Cloud, with its dual dynamic and passive driver configuration, offers a balanced and detailed sound signature with an extended treble range, though it can be a bit mid-centric and has a mid-bass dip that may reduce punchiness. On the other hand, the SIMGOT EA1000 delivers a more cohesive sound with more textured and stronger mid-bass, making it ideal for those who seek a fuller sound. Build quality and comfort are top-notch in both models, with ergonomic designs and high-quality materials, ensuring prolonged listening sessions.

Conclusion​

The BQEYZ Cloud IEMs are a solid choice for those looking for an innovative and high-quality listening experience. Their unique driver configuration, combined with excellent build quality and a balanced sound signature, makes them a compelling option in the sub-$200 price range. While the treble peaks and mid-bass dip may not appeal to everyone, the overall performance and attention to detail make the BQEYZ Cloud a worthy contender in the IEM market.

BQEYZ Cloud

Ye this thing looks good af, shell and nozzle is slightly larger than what i would expected, i would say fitting can be hard for a very large ears.

+ i'm a normal asian dude with some music producing background
+ i like clean balanced sound signature with focus on sub bass and lower treble, especially looking for a good dynamism and harmonic playthrough, i like vocal, not necessary mid dominant, can consider myself as treblehead
+ 60-68db listening session
+ Avarage score 4/10 (Quarks/ 7hz Zero) Middle score 6/10 (Tanchjim Kara)
+ Bias score is i like it or not, doesn't sum on overall score

Click to expand...

- Bass (9/10): very balanced tune, lively bass with good texture, maybe not warm enough for old songs or deep enough for electronic based music. I do wish for better extension tho.
- Mid (5/10): mid.
Can described as ... normal iem expected tuning?
- Vocals (9/10): a bit of heft and air would make this perfect - description: natural vocal, not too edgy nor heavy, it just sound as it is, good position and sounds further away from listener
- Treble (6.3/10): it's alright, subtle cymbal strike with good resonance, good overall shimmering and spakle, lack some air and extension.
- Detail (6.8/10): Macro (7.5/10), Micro (6/10)
- Soundstage (4/10): studio like soundstage without windows
- Imaging (7.5/10): good microspacing from left to right, alright layering, lack of height placement.
Bias (6/10): neutral
Overall : 6.8/10

BQEYZ Audio Cloud review and comparisons.

Better Quality Earphones for You Z, or whatever Z means, is what the acronym BQEYZ stands for. It sounds nice to me as I say it in this manner: Bekwez.

As of this writing, the BQEYZ Audio Cloud can be purchased on Kickstarter for a special price of 169 US dollars. This is a single 10mm Dynamic Driver (DD) IEM earphones that use an internal passive radiator to tune the way it sounds. The company refers to this technology as "Air-assisted Vibration technology."

The Cloud seemed warm at first, but after a few hours of burn-in, it started to sound brighter and more neutral. Although the tuning is neutral, there seems to be a very slight warmth in the treble and upper midrange when compared to a set that has very clear sound in those areas. The upper treble is good-sounding but not the most polished I've heard at this price point, and the bass isn't the most extended and textured I've heard. While not as good as more expensive setups, the sound stage and image are still decent for a set that costs about 169 US dollars.

In terms of technicalities, the sounstaging is very good; it offers a spacious sound with good instrument separation within the sound field; and the imaging is good for the price too. I have nothing to complain about here.

I used the black stock tips, which sound good, and I found the white tips sounded a little harsh. I only have limited time with the cloud and have been so busy that I haven't had the time to experiment with many other tips to improve the sound, but the black stock tips seemed adequate.

To make comparisons with other sets more fair, I switched out the default 3.5mm cable with a balanced 4.4mm Tripowin Seraph cable, using my Fiio M15s DAP and Hidizs S9 Pro Plus Martha as my sources.



BQEYZ Cloud vs Simgot EA1000:

Because of their similar tuning and usage of passive radiators, I had difficulty distinguishing them on the initial AB comparative listening test. However, after much more investigation, I learned that the Simgot EA1000, which retails for $220 USD, has a more nuanced and detailed upper treble, but on the Cloud, I occasionally detected a slight roughness and spitting sound. The EA1000's upper midrange and treble seem little veiled to me, while the Cloud sounds even more so. The Cloud sounds somewhat more laid back in the midrange, and the EA1000 punchier and deeper in the bass, but both fall short in terms of bass detail and texture when compared to Dunu Falcon Ultra Ti.

In terms of sound stage and imaging, I found them to be roughly comparable and average at prices ranging from 169 to 220 US dollars.

BQEYZ Cloud vs Dunu Falcon Ultra Ti:

The Dunu Falcon Ultra Ti, which retails for 220 US dollars, is my reference single-DD set. It uses simple vents instead of passive radiators to tune the sound and, thus, doesn't have the coloration of sound that passive radiators seem to add.

In terms of resolution, detail retrieval, and clarity, the Falcon Ultra wins hands down. The bass on the Falcon Ultra is also much more detailed and textured, and when it comes to imaging and soundstaging, the Falcon Ultra is much more precise, stable, and holographic. The size of the soundstage is about the same. I'm using ePro EP00 eartips for the Falcon Ultra Ti, BTW, which helps a lot in improving the imaging and holography.

Yes, this is an unfair comparison, but I did it to see if the Dunu Falcon Ultra Ti is worth its price premium. The only consolation I can give the BQEYZ Cloud is that it has lower audible pinna gain, making the sound more relaxed but less clear.

On the song Ayo by Chris Brown and Tyga, the girl singing "I need you" in the background sounds more precise in imaging and much more holographic in the Falcon Ultra than the Cloud, not to mention that the main vocals are also clearer, more three-dimensional, separated, and palpable in the Falcon Ultra than in the Cloud.

BQEYZ CLoud vs Kinera Celest Phoenixcall:

The Phoenixcall, which retails for 120 US dollars, is a tribrid, made up of three types of drivers: a dynamic driver, a couple of balance armatures, and a microplanar. It has tighter and more textured bass, but the midrange of the Cloud sounds more natural. When it comes to the upper midrange and treble, the Phoenixcall is the clear winner; it has a clearer sound and better technicalities. In the upper treble, the Phoenixcall is more extended, with more micro-details.

The Phoenixcall has a slightly bigger soundstage, and the soundstage is more brightly lit than that of the Cloud. When it comes to imaging, the Phoenixcall has more defined imaging; when it comes to coherence, the Cloud hands down wins due to its single driver, while on the Phoenixcall, I can sometimes hear or feel the different types of drivers sounding a little detached from each other.

BQEYZ Cloud vs Simgot EA500:

The EA500 with the black nozzle sounds slightly V-shaped, while the CLoud is more neutral-sounding. At initial comparison, they are not far apart in sound quality apart from the sound signatures I mentioned, which are obvious to my ears, but upon further comparison, I find the Cloud to have better upper treble extension, as well as better imaging, soundstaging, and tonality that is never fatiguing on a long listening session. In this case, I prefer the cloud. I even heard the LM version of the EA500 briefly and compared it to the old EA500, and they sound very similar, so I would also prefer the cloud over the EA500LM.

BQEYZ Cloud vs Hidizs MP145:

The Hidizs MP145, which sells at a similar price of 170 US dollars, is an IEM with a planar driver inside. The main difference between the two is the sound signature. While the Cloud sounds neutral-bright, the MP145 sounds warm in comparison. The Cloud has deeper bass, while the MP145 has a less accurate, slightly boomy midbass. The Cloud has more forward treble, but the MP145 has a better upper treble extension with more micro details. The MP145 has a slightly deeper soundstage and is about equal in imaging performance, but the Cloud has a more forward imaging presentation than the MP145.

If I were to choose between the two, my choice would depend on which side of the coin wins in a coin toss.



Pros:

- non-fatiguing sound
- nice design and color
- neutral tuning
- engaging and enjoyble to listen to
- elegant design

Cons:

- the bass slightly lacks detail, texture, and tightness.
- a very slight veiling in the midrange and treble, with the emphasis on very slight.

To wrap things up:

This is my first time hearing a BQEYZ product, and I've always been intrigued by their IEMs. I may have been too harsh with the comparisons, but if I get out of my reviewer mode and just listen to the Cloud to enjoy the music, as normal music lovers would, I find nothing to complain about the BQEYZ Cloud; it sounds musical, neutral, engaging, and, most importantly, non-fatuiging. And I would suggest this to friends who have a limited budget of 180 US dollars. That concludes my review of the elegant-looking and great-sounding BQEYZ Cloud.

Happy Listening! Cheers!

Today I present myself and the Bqeyz Cloud to you feeling as if I am a kid coming out of his first day at the Amusement Park.
This is my first experience with a Bqeyz IEM, and also my first review on board of Audio Geek, which for me deserves a calendar time-stamp.
I have always been puzzled by BQEYZ's product development, showing off a great design maturity - by taking meticulous time and attention to all the details that culminate into an IEM that can take the test of time and outlive other brands' short lived hype products. This is to be witnessed with great respect and joy.

Upfront it is a neutral'ish Soft W shape with some extra upper energy that doesn't come at the cost of harshness, polished by the passive radiator that is to be praised.

There is a very sound balance of musicality and technicalities. It is quite technical, more than enough to dwell into textures, sparkle and instrument attack ear candy, and matched with a round W-shape signature that adds light brushstrokes of sub and midbass coloring to keep the sound engaging, as well as some extra upper mid lushness and treble clarity.

One can notice it was built starting off of a neutral-bright base tuning which immediately catered to vocals and upper register instruments, that was then matured into something more elegantly dynamic.

This combo is of great value as it leads to music genre versatility and a clean sound experience.

Not basshead material.

I think the IEM's naming really conveys its tuning, and makes me visualize the following scenario: "it was a very sunny cold Winter morning with blue tinted eye-squinting intense light - and then came a very thin Cloud that mellowed the brightness and allowed my eyes to comfortably open and grasp the details of my surroundings".


Sub-Bass (7/10)

Works wonders in attributing enough body/depth to organic instruments note weight in lower registers, like the double bass and kick drum, however is not intense enough to fully embody low register synthesizer leads or bass lines.

Electronic Music overall sounds complete, it's just that some Ambient or Drone Music with gnarly and bubbling rumble elements aren't as intense as they should (e.g. Lorn - Oxbow B; is missing some extention and intensity).

Kickdrums have enough body, and cellos and double-bass have enough depth to sound full.


Midbass (6.5/10)

Round and snappy but lightweight. Attacks are quite informative and mix cutting, but sometimes lack in body/depth. Roll-off is not especially fast which adds an analogue vibe to it.

This means kickdrums are most of the times natural and evident, they do their part and don't feel forgotten. In the other hand, it is still within the realm of a neutral mid-bass so don't expect much punch or slam. For my taste, it is just enough to add a pinch of dynamic fun, taking it out of boring territory. If it makes me dance to rythmed tune without distracting me into asking for more, I aproove it.

There seems to be some light midbass tucking, one that doesn't distract me. This is to be appreciated as most midbass tucking I've experienced (e.g. Truthear Zero) take away note-weight at the lower mids, this one doesn't. I suspect the combination of a slower roll-off and a very light tucking is to be blamed here.

Ingenious sub to midbass ratio, I would say 55/45 respectively, growing the immersion factor.


Lower Mids (7.5/10)

Mud free, doesn't feel dipped as the note weight feels balanced and coherent, mimicking the rest of the frequency range.

Piano feels even in note weight, including in other frequency regions, and is clearly portrayed even when not the main focus of the song.

Percussion toms are not ultra vivid, same with congas, nevertheless they feel dynamic and don't have a veiled presentation.

These are all signs of a mature and hardworking tuning process. Kudos Bqeyz.


Upper Mids (8/10)

The Cloud definitely caters to vocals, especially females' and soprano males. Very textured, very perceivable candy like lip smacking or "breathalized vocals". It worked a charm over Rosalia's virtuoso singing and studio production around it.

Guitars are airy, tactile and defined, never mushing on chords. Chord's notes spread a lot along the soundstage width.

Snares are mostly harshness free, but get close to discomfort on old R&B Reggaeton.

The only time I felt the upper mids could be fatiguing was when harsh low-fi effects are added to voices, guitars and drums making them "peak" - but this definitely is a mastering issue not the IEM's.


Treble (7.5/10)

I really enjoy how horn instruments behave here, as even Miles' Davis harsh trumpet doesn't poke your ear drum into discomfort while still retaining its harmonics untouched. The passive radiator seems to be playing a huge role here, just impeding distortion at the top, not affecting the timbre nor veiling the treble.

Hi-hats are crisp, they don't mush nor combine into noise when played too fast, and they decay naturally. This means they sound vibrant and clean, however they are still quite forward in presentation, feeling like a bright IEM set. Sometimes they can be distracting.


Technicalities

Great detail retrieval across the whole range, rendering hi-hats and cymbals sparkle and texture, guitars' string resonance, double bass's meaty finger attacks, reel-to-reel tape effects, and even sound recording artefacts. It's all there for your attention to pick up on them, without needing much focus. (7/10)

Layering and separation are acceptably good but not as good as more numerous driver unit configurations on hybrids of the same value. On busier tracks I can notice some ammalgation of instruments that lose definition. This is more evident at the bass and lower mids region. (6/10)

Soundstage (7.5/10) is quite spacious, rather wider than taller, but still quite tall. The sensation of depth is conserved by the sub-bass tuning coloring. Panning sounds from Left to Right feel like they have a lot of "distance to stride". Overall I was impressed by the amount of room for sounds to spread across, which feels like it minimizes the previous impression of lower definition on a busier track.

The soundstage experience is not fully 3D, but has some hints of holography on tracks with more sub-bass and midbass energy like Techno or Psy Trance. On acoustic and live tracks it doesn't feel cozy nor intimate, rather a feeling of a big venue with just two sound sources, one at each side.

Timbre is accurate and coherent across the range.

30 ohms of resistance doesn't make the Cloud hard to drive, behaving quite well in between 1 and 2 VMRS. It is however sensitive to signature flex as I have noticed some distortion if I use too much volume at the High Power setting over the Unbalanced 3.5mm output of my Qudelix 5k (testing with the provided 3.5mm original cable).


Design and Aesthetics

Again, BQEYZ really takes its time to put thoughts together into one big design, from the naming to the looks.

I suspect the name "Cloud" immediately refers to the passive radiator's presence and the effect it has over the sound. It can also represent a bright tune that is toned down by a "cloud".

Aesthetically speaking I find it elegantly "sober". It is not flashy and doesn't really draw much attention, but on closer inspection it is very classy looking. The materials and finish scream quality and perhaps durability.


Comfort and Fitting

Comfort is just top notch, I can have them for 6+ hours straight with no discomfort whatsoever, and with minimal adjustment to the seal.

This has to do with its shape, size and low weight.


Accessories

Comes with a regular sturdy case and 2 types of tips: Ambience and Reference. Ambience has a narrower end, resulting in a bit more warmth and bass retrieval; the Reference one is of a wider bore, making the IEM more "midcentric".
I have enjoyed the Ambience ones more.

The cable is of good quality and is non microphonic.


Quick Comparison

It deserves to be compared to Simgot's single DD unit, the Ea500 (or 500LM, of which I didn't have a chance to hear), and it conveys as many details as the Ea500, however it does so without any midrange or treble harshness, resulting in a more mature and elegant signature. The bass is also more pleasing, fuller. The passive radiator does work and is very well implemented, placing this single DD a level above any other I have tried before.


Final Words

I feel refreshed with the BQEYZ Cloud, it being my first experience with the brand, I am baffled by the sheer detail and maturity they are bringing to the table. I must congratulate the brand for their astute design choices and down to earth marketing. Their products speak for themselves and we audiophiles should all be grateful for your work.

Thank you for reading,
Miguel Esteves

Clouds are natural formation of aerosols consisting of droplets, ice crystals and other particles that were suspended in the atmosphere on a planet. They are also formed from the saturation of cooled air within its dew point along with formation of moisture from water evaporation from a certain area from the effects of its ambient temperature.



Some of you are quite familiar with the audio brand, BQEYZ as it is one of the well-respected audio companies out there with their unusual and different approach on their products as they keep striving for innovation and pursuit of sonic refinement. For every successive release of their products, there will be a new approach on audio technology that they implemented.



What we have here is their latest model from the Weather series and a second one after the Wind. This is BQEYZ Cloud, it has a dynamic driver with a supporting passive-radiator driver along with an air-assisted circulation system with its inner acoustic cavity.




Its dynamic driver has a 10mm LCP (Liquid Crystal Polymer) diaphragm in a dual chambered array that is known for its strength and reliability to deliver a fast, accurate and clear sound quality. Aside from dynamic driver, it was also assisted with a 6.8mm passive radiator in which BQEYZ coined it as a “flexible auxiliary diaphragm unit” in which used to lessen high frequencies peaks and also act as an air flow regulator that also happens to improve the low and midrange frequency responses while maintaining the stability of its sonic qualifies by improving its bass texture and ambient effect.



The drivers were encased in a CNC-milled aluminium alloy shell structure in a quite compact rounded edge trapezium design. The colour variant I have is black one with a turquoise outline on its sides and it appears that it underwent a sandblasting and anodising process that gives a matte-like finish on its surface. It has two vents, one is on the cavity base aligned with an interchangeable port and the other one is a tiny straight slit that is situated at the bottom part of its faceplate. Like all BQEYZ sets, it uses a proven and stable 0.78mm bi-pin for ease of cable swapping.



With its compact design, this is probably the most versatile among the BQEYZ sets that I've tested in terms of fitting and comfort as it really rests well into my lugholes without any discomfort and also offers a good sealing for better passive noise isolation.



On the entirety of BQEYZ sets since the release of SPRING 1, all stock cables of successive models are of high quality including this set. Its stock cable has a 2-core design consisting of monocrystalline copper wires and silver-plated copper wires to have a consistent signal delivery without any loss during transmission. I find its build quality pretty durable, flexible and resistance against entangling. It has a 3.5mm termination plug on its end and it is gold-plated for corrosion-resistant and better conductivity but upon purchasing, you can choose other options like 2.5mm or 4.4mm depending on your requirement.



On its product packaging, it has a bit elongated rectangular packaging box with a sky blue colour scheme on it along with company logo, model name and short description of its features. The contents are well-arranged inside and it offers a quantifying amount of inclusions.



Here are the following contents inside of its packaging box:

• Pair of BQEYZ Cloud IEM transducers.
• Stock cable
• PU-leather storage case
• Eartips plate holder
• Three (3) pairs of “reference” eartips in different standard sizes.
• Three (3) pairs of “atmospheric” eartips in different standard sizes.
• Pair of memory foam eartips.
• Cleaning tool
• User's manual

The BQEYZ Cloud is quite easy to amplify that a source with a usual normal gain power output will be able to drive this one properly. With a sufficient amount of power output, it will sound dynamically at its full range of its frequency spectrum.



As for its overall tonal quality, it seems that this set has a neutralish-bright sound profile that gives more emphasis on the upper mids to the brilliance part of the treble region.




LOWS/BASS:

My initial impression on its bass quality is that it is quite incisive, precise and it has a tight bass response which gives a clean and well-segregated lows from the other parts of the frequency range. It has a deep and rumbly sub-bass presence as I clearly perceived its reverberations that were generated from low octave instruments like octobasses, synthesisers, low tone bass guitars and drum machines.

As for its mid-bass, despite its supposedly tight presentation, it appears that it has a sufficient texture to give an ample note weight in some instruments and a certain male vocal type. Bass guitars have sustaining yet resonant sound as double bass seems to have similar sound character although it has a bit broader sound while bass trumpets have reverberant sound yet it is quite a bit lacking of fullness. Bass kick drums have these thudding, rumbling and resonant sound on them. And for male vocals like bass and bass-baritones, while they have this inadequate fullness and a darker tone on this type of tuning, this set is capable of producing its rumbling and deep resonant voice.


MIDRANGE:

On how the midrange frequency was presented in this one, it is indeed neutral, almost pristine, a miniscule amount of warmth and quite transparent sounding with good clarity and energy. This type of tuning will certainly give some significance to several types of instruments and vocals on their respective tonal colour.

On how the male vocals sounds like on this one, baritones have a consistently smooth and velvety character on their vocals although on lower baritone pitch like kavalier baritones, verdi baritones, dramatic baritones and noble baritones seems to have lack of depth, less warm and less weight on them. Meanwhile on tenors, they sound quite natural as this set is able to playback that clear, bright and dazzling sound these types of vocals are known for whether it is lyrical, spinto, dramatic and heldentenor albeit the latter has a leaner, less depth and has less darker tone in which should have thick and strong but its just my nitpicking. Countertenors sound pretty excellent on this one as it has a tender, sheen and musky as they convey the emotiveness of their vocals. As for female vocals, contraltos have smokey and ample plushiness from their typical low chesty tone register although I'm yearning for more depth on them. Both mezzo-soprano and soprano vocals are impressive on this one as they are depicted to have a realistic tone and timbre on them as the former has fiery, velvety and glowing sound while the latter has silvery, crystalline and shining that lyrical, soubrette and coloratura types have rich, full and bright timbre as they sounds very open and evocative.

In regards to instruments, on strings, guitars have crisp, good overtones and presence sound on them while violins have vibrant, brilliant and sparking sound on every motion on its bow strings. Brasses like trumpets, trombones, tubas and horns sound brilliant, dramatic, hearty and clear respectively. On percussives, tom-toms have a resonant sound with enough warmth on every stroke, snares drums have clear and hard sound, field/tenor drums have hard and sonorous sound, and then kettledrums have resonant and rumbling on them. As for woodwinds, piccolos have clear and brilliant sound while concert flutes sound relatively silvery and airy, clarinets have expressive and bright sound, and then saxophones have sonorous and lively sound on them. Pianos have a bright tone on their key notes as they have a clear and articulate sound.


HIGHS/TREBLE:

While it appears that it was tuned on brighter tonality due to a noticeable accentuated upper-midrange up to brilliance part of the treble region, it seems that was somehow smoothened a bit to avoid any possibility of stridency and to control sibilance that might detrimental to treble-sensitive folk. That boosted upper-mids up to the presence part of the treble region also gives a more definition on attack of instruments and also a clearer and crisp vocals particularly on female ones.

The brilliance part of treble frequency is quite sparkling with a substantial amount of harmonics along with sufficient airy extension on it. Cymbals have a glistening and brilliant sound while hi-hats have its distinctive shortened buzzing and sizzling sound. Glockenspiels have bell-like and silvery sound and then, celestas have ethereal and bright sounds.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

The sound/speaker stage projection on this set is quite spacious as it has a wide lateral span, good height reach and depth as it gives me that roomy spatiality within my aural sphere. The stereo imaging seems to emanate a concave-like presentation where I am able to pinpoint the placement of instruments in a well-layered soundscape with excellent separation on them so that playing some complex multi-instrumental tracks will not be an issue on this set.

The coherency performance on a high performance dynamic driver and passive radiator combo is quite impressive that it is able to deliver a fast transient speed response with good details due precise vibrations while passive radiator works well by taming down those unwanted resonance to sound more balanced.

Resolution capability-wise, The Cloud is pretty resolving on both macro-dynamics and micro-detail retrieval as the former have a proper compression on its note weight while the latter one has a sharp, well-defined on extracting some nuances on like roomy effects, vocal ends and other subtleties hidden from pitch black sonic canvas.


PEER COMPARISONS:

LETSHUOER DZ4

• First, in terms of build materials and the implementation of drivers makes the difference between the Cloud and this set. The DZ4 has three micro dynamic drivers along with a passive radiator driver and its shell chassis are made of acrylic resin that is 3D-moulded by HEYGEARS. Both sets have good quality accessories; they are similarly plentiful in terms of quantity.
• Tonality-wise, the DZ4 has a mild U-shaped sound signature that its bass response is quite similar to the CLOUD which also has a precise, tight and clean bass presentation. Midrange seems to have well-balanced and enough texture on it but compared to the Cloud, it is less energetic and a tad warmer. Treble on this one is also quite well-balanced and has smoothness on it with sufficient clarity and sparkle although not quite airy compared to the CLOUD.
• On technicalities, the DZ4 has moderately sound field size on its overall dimensions, a more 3D-like stereo imaging in a well-layered with good instruments and vocals presentation that I am able to locate them precisely. In terms of resolution capability, the macro-dynamics is more resolving on this set than micro-detail retrieval.

SIMGOT EA1000 FERMAT

• Probably the current dominant player in the IEM game, this set is quite similar to the Cloud in terms of implementation and build quality. Like the Cloud, it has a dynamic driver with newly-developed composite dynamic driver with a passive radiator driver and it is also encased in solid aluminium alloy in a mirror-finished surface. The EA1000 has also a feature of having a detachable nozzle as it offers two types of tuning. This set like the Cloud also offers a substantial amount of inclusions but the latter offers a bit better stock cable.
• EA1000 offers two types of sound profiles and all of them are in U-shaped either standard Harman-type of tuning or their own modification on that said target curve. It seems that it focuses more on sub-bass rather than midbass but due passive radiator that is more attuned on the improvement of the overall bass response to have more texture and darker tone. Midrange seems to be a bit more recessed but it has a transparent, energetic and crisper presentation and a more brighter treble response if it was compared to the Cloud that in some tracks particular on female vocals, it has more instances of having a tad shrill my sound that might be more overbearing to soms treble-sensitive folks .
• As for technical capabilities, while EA1000 has a rather a bit narrower compared to the Cloud in regards to overall soundstage dimension but on stereo imaging, layering, separation and driver coherency, they are very similar that they can take a draw on this one. In resolution capabilities, I think that EA1000 is a bit more resolving, especially on micro-detail retrieval as it has a fine sharper definition on extracting nuances and other details from a sonic canvas.

It seems that BQEYZ is definitely trying to improve their product line-up in a very competitive IEM market right now as there will be constant changes on the audio landscape that makes it more unpredictable as they should stay in the game. And this model seems their candidate in that increasingly competitive portable audio market.

I will absolutely recommend the BQEYZ Cloud if you are a neutral head, female vocal lover, analytical type of listener who values detail and high fidelity or has a fondness on tracking some instruments especially on strings, percussives and woodwinds. But I still encourage other types of listeners who prefer a fun and coloured tuning to try this one out as they might develop a liking for this set in the long run as it has a different take on musicality.


BQEYZ Cloud is now available on some online vendor platforms. I'll provide some unaffiliated links below.

★★ BQEYZ CLOUD - LAZADA ★★

★★ BQEYZ CLOUD - ALIEXPRESS ★★

★★ BQEYZ CLOUD - HIFIGO ★★


Here are my other reviews of BQEYZ products.

■ BQEYZ KC2

■ BQEYZ SPRING 2

■ BQEYZ SUMMER

■ BQEYZ AUTUMN

■ BQEYZ WINTER

■ BQEYZ TOPAZ

■ BQEYZ WIND




SPECIFICATION:

MODEL: BQEYZ CLOUD
IMPEDANCE: 32Ω
SENSITIVITY: 110dB
FREQUENCY RESPONSE: 7Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm, 4.4mm, 2.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (1) PASSIVE RADIATOR MODULE


TRACKS TESTED: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *

P.S.

I am not affiliated to BQEYZ nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like to send my gratitude to ELLE ZHOU of BQEYZ for providing this review unit as a loaner unit. I truly appreciate her generosity and trust towards me and other reviewers.

BQEYZ have provided this review sample to Audio Reviews Downunder for honest assessment, and we thank them for sharing their newest IEM.

Cloud is available for pre order on Kickstarter at significant discounts off full recommend retail. ($268 usd)

https://www.kickstarter.com/project...sive-air-assisted-vibration-tech-earphone-set

Specifications: BQEYZ CLOUD

Drivers: 1 Dynamic driver + 1 Passive radiator

Impedance: 32Ω Sensitivity: 110dB Frequency response: 7Hz - 40KHz



The light aluminium alloy body is quite small and understated. The nozzle is quite short and the fit is secure and comfortable with appropriate tips. It reminds me of the original Moondrop Chu with its muted dark finish and ease of fitting the ear. Using the provided "reference” tips I'd swear I was listening to a multi driver IEM. The sound is energetic but super well balanced.

Cloud comes with a leather feel case with a zipped closure and a reasonable size. It has two sets of tips, called reference and atmosphere.

The cable is a two core with a bit of heft to it but a soft feel. The terminations are elegant metallic finished items with a quality feel, but the neck slider does not want to cooperate with the braided cable itself.

DRIVABILITY
Cloud is easy to drive. 38 on my DAP. Harder to drive IEMs I raise that to 46-50. The Cloud has a certain synergy with Hiby R3 Saber 2022. Using the balanced connection the IEM is smoother and more emotive with details and nuances.



The sound

The implementation of the LCP diaphragm and BQEYZ’s passive radiator (flexible auxiliary diaphragm unit) mix of drivers has given the Cloud a unique combination of a balanced sound with a voluminous airy soundstage and a beguiling vocal presence.





BASS
Bass is punchy and solid with good speed. Mid bass is clean with more thump than slam. Sub bass is rolled off but still adequate. Changing to "Atmosphere" tips, bass improved. Did the clouds part? Not too sure. These earphones certainly have a ton of atmosphere. Last change. Penon Liquor black tips, my current fav. This nice. Very good weight and treble performance. Vocals very natural and first rate.

Treble

Treble is clean and well extended. It has a delicate and detailed quality. Easy on the ears. No problems if you are treble sensitive. And the quality of the treble, which is subtle, crystalline, and seductive.


MIDRANGE/VOCALS


This is a set to listen to vocals. Tone and timbre with both male and females are realistic and expressive. Vocals are pushed forward with energy as is the midrange. They have a prominence on the presentation that is captivating, involving, and dare I say, rather addictive.

Details and imagining.
Imaging is first rate. It's easy to pinpoint locations of instruments in the stage. There is also a corresponding excellent resolution of details in the mix. Small subtleties are present and easily heard. There is a lightness and airiness to the Cloud's sound that makes me want to explore my music catalogue.


Soundstage.

I'm hearing a reasonably wide stage with a good sense of space and left and right projecting. Certainly more than adequate for my tastes. The soundstage has also got good depth and air.



Conclusion
Again, I am surprised by the capabilities of this driver combination. It's equivalent to a good planar but with a subtle and full midrange. BQEYZ has a winner on their hands with Cloud. I’ve actually placed a kickstarter order for a set.

Introduction

BQEYZ - A brand whose name just seems like many different letters were put together randomly - is one of the many veteran players in the chifi world. They have been making a lot of iems with different driver configurations at various but still very affordable price points. Until last year, they were most widely known for their Season collection, where they have 4 iems that named after the 4 seasons: Spring, Summer, Autumn and Winter.

Now, I have before you the latest iem coming from BQEYZ, the BQEYZ Cloud. It has a 10mm LCP dynamic driver and a 6.8mm passive diaphragm unit. At the point of writing this review, it is currently selling for 169$ on Kickstarter.

In this review, I'll go into detail on how the Cloud performs and compare it with iems in a similar price point.

Disclaimer: BQEYZ has sent the Cloud as a touring reviewing unit in Vietnam in exchange for an honest review and feedback. I did not receive any financial benefit as well as instructions on how to do this review. Everything I said in this review is my subjective opinion only.

Packaging

The Cloud comes in a small rectangle box. Inside of it is the iems themselves and a carrying case with all the accessories inside, other than the foam tips.

The accessories included a cleaning brush, a 2 cores cable with 3.5mm termination, two types of eartips in three different sizes. The Atmosphere tips have a short and normal bore width, whereas the Reference tips have a similar length but with a wider bore. Overall, a decent amount of accessories are included for you to enjoy the Cloud.

A small nitpick on my part though. As much as I like the presentation, I would have prefered a plastic tip holder instead of a metal one. For 2 reasons. 1, by using a plastic or paper tip holder, you’d decrease the production cost by a bit (every small bit of money counts) and 2, if it’s a plastic tip holder, I won't have to worry about the shells getting scratched up when put in a case. With the current metal holder like this, I'm afraid that it may scratch up the shell during use

Design/Build quality/Comfort


The Cloud shells are made out of aluminum with an anodized matte finish in a gorgeour teal color. I dont think I've ever seen a teal colored iem before, so this is a really nice change of pace from my usual black/silver color iem.

The shell feels light yet very sturdy. The construction of it seems to be nicely done too. I would like to compliments BQEYZ for adding a chamferred edge around the faceplate, so that it’s not as easy to scratch up and loose the anodize finish overtime.

The shell shape actually reminds me of the Tripowin Olina, but luckily during my test, I did not encounter any condensation issues.

Cable wise, I'm LOVING this cable. It’s a coaxial mixed cable with single crystal copper and silver plated copper as transmitting material. Although it’s in a simple colorway with nothing fancy hardware, the cable is crazy soft, especially for the earhook, which in turn makes the Cloud more comfortable to wear.

As for the shell comfort and isolation, the Cloud has an average isolation but is quite comfortable to wear. I can wear this for many hours straight with no hot spot in my ears.

Sound impression:

Source: Poco F3+UAPP, Dell laptop + Foobar 2000

Dac/Amp: Chord Mojo, EPZ TP50, E1DA 9038D, Hiby FC6

Cable: Stock

Tips: Divinus Velvet, Spinfit W1, EPZ prototype tips

Tonality: Neutral bright

When first listening to the Cloud after a 50 hour burn in period, the first word that comes to mind was “light”. As in the bass is on a more polite side while the midrange and the treble are the star of the iem here. It’s forward, but not fatiguing on the ears.

Bass

As the tonality would suggest, the bass of the Cloud are on a more neutral side. It’s not entirely flat as the graph has already suggested, there are some mild bass boost, but there’s not much. The bass seems to only appear when it is called for. It has a subbass over midbass presentation, with the subbass being gently rolled off.

By using “Chameleon - Trentemoller” and “Why So Serious - Hans Zimmer” as my subbass test tracks, the Cloud shows great proficiency at handling the subbass drop. The subbass texture was fine, there’s no sense of clipping or dragging behind, but you will not meet some head rattling, bombastic moving type of bass drop.

The transition from subbass to midbass is quite linear. Midbass punches are there, but not very authoritative. In rock songs, kick drums don’t pack a lot of force behind them. The plucking of double bass can be felt, however the sustaining pitch and lingering vibration are quite subpar.

With drum instruments like Taiko drums and Chinese traditional, they have a natural timbre to them, each separate hits are easily felt, however the lingering sense is just not much, like they decay a bit too fast. I would have liked for them to be a bit boomier.

All in all, it seems the Cloud is going for a more monitor type of bass.

Mid

Even with that low of a bass boost, the midrange does have some warmth feeling to it. As a whole, I would describe the midrange as clean, clear, smooth and energetic. Female vocals are sublime and the star of the Cloud. Adele, Celine Deon sound vivid and lively without feeling harsh. The contrast between the neutral-ish bass with high pinna gain makes their high notes stand out even more, putting them into the front stage. This is the main reason for the light and delicate sensation on my first listening session.

That being said, with Diana Krall’s “Autumn in New York”, at 1:41, the “AUtumn” just pops into my head all of a sudden, with such high intensity that it makes me startled. So I think this really depends on the mixing and mastering of each songs

Male vocals on the other hand is not quite the Cloud’s strong point. Frank Sinatra, Michael Buble doesn’t sound quite as lush and full bodied.

Instruments like piano and violin have a natural tone and timbre. The noteweight actually seems fine, although they do not feel very dense and have very little coloration to them.

Treble

The treble here is quite nicely done. It’s airy, sparkly without sounding too peaky. It’s energetic, but not as pronounced as the upper midrange. The passive radiator must be doing something right, as the treble felt really smooth and highly refined compared to many other 1DD iem, which makes the guitar distortion quite a treat to enjoy.

The 8k seems to be an artifact of the coupler, as the Cloud does not sound like it has much sibilant at all. With “Caravan - John Wasson”, cymbals strikes and hihats sounds natural with the attack and decay, have great shimmering, yet it didn’t sound too splashy or crunchy. From 4:30 onwards, all the percussion instruments are greatly reproduced with high intensity and briliance, yet do not sound overbearing at all.

Technicalities

Soundstage wise, the Cloud is decently wide with not much height to it. It’s airy, yes, however with songs that have spatial cues that rely on the bass to convey, the Cloud doesn’t give me that quite out of the head feeling.

Imaging is good, with whatever headroom left by the soundstage. Instruments in orchestra tracks has good positioning, although the layering is not the crispess/sharpest.

Using “Bubbles” and “Swashers” by Yosi Horikawa, the Cloud showed me that it has a better micro dynamic rendering than macro dynamics.

Source pairing:

The BQEYZ is a relatively easy to drive iem. Even with a 3.5mm single ended cable, when pairing it with a dongle like EPZ TP50, the Cloud does not feel like it’s lacking in dynamics or underperforming at all. When using it with a stronger source like the Chord Mojo, the treble response seems to be even smoother with slightly more colored mids, but it’s very incremental.

But overall, when it comes to sources, you don’t need much to fully enjoy the Cloud.

Comparison

1/ BQEYZ Wind

Brother from the same mother, the BQEYZ Wind. Different from the Cloud, the Wind has a 1DD and 1 Bone conduction for the bass region.

Soundwise, the Wind has a bassier and darker tonality than the Wind. The bass on the Wind is denser, has more body and lingering sense to it. The quantity is not that much more on the Wind, but with the BC, the bass felt a bit more organic and immersive.

Midrange wise, both of these sounded great for different reasons. If the Cloud brings you this lively, energetic and delicate midrange, the Wind gives you a warmer, more colored midrange with an edge more realistic in acoustic timbre. Lower midrange has a bit more texture and layering to it. Female vocals sound more sublime and velvety with the Cloud.

Treble is easy, the Cloud’s treble just sounds better. It sounds brighter, smoother, better articulate in the attack and decay of percussion instruments. More refined. For whatever reason, there’s this darker edge around the Wind’s treble, making it sounds safer but less engaging as a whole.

Soundstage wise, the Wind is noticeably wider due to that semi open faceplate design. The imaging was kinda blurry, but at least there’s more breathing room between orchestra instruments.

Overall, it depends on one's preference. If you’d like a decently textured bass, well layered midrange with great timbre and dark-ish treble, pick the Wind. Whereas if you’d like a neutral bright iem, with an open, energetic and engaging uppermidrage with an airy yet smooth, not too peaky treble, pick the Cloud.

An additional thing I would like to mention: The Wind thrives more with better, stronger sources from my testing. When using the Wind with an additional amplifier, the bass seems to be liven up more.

2/ Simgot EA1000

Both of these iem have a similar configuration, which is 1DD and 1 passive radiator. The main difference is that the passive radiator that was used in the EA1000 is for the bass region, whereas the Cloud’s PR is for the upper mids and treble region.

Sound wise, I would say the Cloud is just a straight up flatter-or more neutral- Simgot EA1000.

The bass has less thump, less authority on the Cloud. The bass texture is noticeably better on the EA1000, almost like it has that 3D sense to it. The dynamic swing, the plucking of bass guitar or doublebass, the drum hits sound really nice on the EA1000. The bass texture on the Cloud is not bad per se, the Cloud’s bass still sounds very natural and realistic in timbre, but when standing in front of the EA1000, I don't think many can compete with the EA1000’s quick and highly technical bass response.

The midrange on the other hand, sounds a bit more forward on the Cloud. Both of these iem have what I'd called a bright leaning upper midrange. With a lower bass amount, the upper midrange stands out more on the Cloud. Female vocals sound more captivating and emotional on the Cloud, whereas the EA1000 sounds a bit harsher, brighter and more prone to sibilance. Horn instruments like trumpet have more bite on the EA1000, but sounds more realistic on the Cloud albeit with not much warmth.

Treble is another thing that’s easy to spot. Both of these iems treble are airy, well extended and highly energetic, but on the EA1000 with the red nozzle, the treble is noticeably peakier, harsher and more intense. Cymbals and hihats sounds more aggressive, with more splashy feeling to it. Together with the PR, the Cloud’s treble sounds noticeably smoother, more articulate but still manages to sound airy and snappy. The treble on the EA1000 sounds more jagged and rougher around the edges in comparison.

Technicality wise, the EA1000 edges over the Cloud to my ears. It has better macro dynamics, more detail retrieval (although the Cloud is no slouch either), it has more depth and height than the Cloud. Imagine is better on the EA1000 due to a more incisive, tighter driver membrane which gives this sharper sense on the layering.

Conclusion:

The BQEYZ Cloud is far away from my usual sound preference, but that certainly does not stop me from enjoying it. With a monitoring style of bass, a highly captivating midrange and well controlled treble region, the Cloud does stand out on its own, especially in a sub 200$ price range. Personally, the Cloud serves me greatly as a palate cleanser, a nice change of pace from the other iem in my rotation.

If you’re a vocal lover or are looking for a neutral bright iem, one that puts the female vocals into the spotlight and doing them justice, excels in conveying emotion with smooth yet detailed treble, I would highly recommend the Cloud. If you’re anywhere near bass head territory and sensitive to high pinna gain and treble, please look away.

That’s it for my review and thank you for reading.

TONALITY: 8.2/10
TECHNICALITIES: 8.5/10
TIMBRE: 8.5/10
SOUNDSTAGE: 8/10
IMAGING: 8.8/10
MUSICALITY (subjective): 8/10
CONSTRUCTION: 8/10
ACCESSORIES: 8/10
SOUND VALUE: 8.5/10


Intro

BQEYZ might be hard to memorize as a brand name, but they have been around for nearly 10 years now and I've never forgotten about them. This is an experienced IEM (only) company from China that doesn’t do things like other and propose rarely more than 2 products a year, this is due to great R&D time they put in their IEM making, they patent their driver like the dual DD-piezo find in Spring serie, or even bone conduction tech used in Winter and the fabulous Wind (1DD+1BC) that is my favorite release from them yet.

Today I will review their last IEM which is one of a kind of an ‘’hybrid’’ because in fact their 2 drivers but only one that is active, main one is a 10mm LCP (liquid crystal polymer) other one being a passive 6.8mm diaphragm that act in tandem with other driver for controlling air-transmission and suppress excess of highs frequencies resonance and distortion to keep musicality sweet and clean as well as improving overall clarity perception and attack control sustain-release.



Priced 170$, the BQEYZ Cloud promise ‘’Specially tuning for the human voice. Bright treble without harshness, high frequency extension is wide, three frequencies are not obtrusive, exquisite feeling is good. Vocal separation is pure, clean, and intriguing. Low frequency volume sense is moderate and good control, loose and elastic.’’

Let's see in this review if it fulfills its goal and delivers an enjoyable musicality as well as more than potent technical performance for its entry mid tier price.

CONSTRUCTION&DESIGN


The Cloud will not win prime extrovert beauty or originality contests, the construction is all metal and has a sober design, at least in black color while the cyan color is more unique and eye-catching.
Body is made of German 5-axis CNC aluminum alloy and has a smooth matte finish that doesn’t seem easy to scratch ( a plus for aesthetic durability)

On top of the 2 pin connector, my only perfectionist qualm is the slight gap around it. It would have been nice to make it 1mm more recessed and fully embedded in the metal body. Nonetheless, connection is secure, tight but not too hard to connect nor prompt to bent connector pin due to hard alignment, which is easy here.



The nozzle is made of metal, it’s short but not too short yet not really thinked for super deep fit, it’s angled and offers smooth comfort since IEM is not that heavy too, in other words, you can forget you were those after some time.
Like 99.9% IEMs today, these are thinked to be ear hook fit. Passive noise isolation is Ok, but if you listen at very low volume you’ll be able to ear roaring cars etc
.

Then the included cable is very nice quality, I'm not sure yet if it can be selected in another termination than 3.5mm single ended, which will be a bit of a bummer and in all honesty i'm sold for modular cable now, but that could raise the price a bit. (i verify, you can select 2.5mm, 4.4mm or 3.5mm plug, so it’s great!)
Here it’s a 2 cores cable that uses ‘’a coaxial mixed cable structure of 40pcs*0.06mm single crystal copper wire and 38pcs*0.06mm silver plated wire’’. Built is very good, with flexible wire and overall light weight, it feels soft in hand and looks quite elegant. Sound transmission wise, it keeps the current transmission clean, to the point I use this 3.5mm cable with other IEMs.


Then for packaging, it’s very minimalist and comes in a small box with a small ecological footprint. Amount of accessories is generous enough, we have 6 pairs of silicone ear tips (short and long wide bore) and one pair of memory foam eartips. A cleaning too. The nice cable and a basic but big enough carrying case. Nothing to complaint here.



SOUND IMPRESSIONS



The tonality of Cloud is all but cloudy, it’s clean and bright neutral with slight mid bass boost and upper treble boost that add air on top as well as attack sharpness to transient which is quite speedy too.

Musicality wise it lean toward monitor speaker rendering where every instrument has well carved presence, rich and detailed texture and a very focused imaging that permit good trackin of instrument even in complex arrangement.

Due to the fullness of the midrange that can render both low and high pitch instruments and vocals with enough fundamental and harmonic balance, the CLoud avoid sounding plain cold, thin or analytical and achieve a mature musicality that can be called reference too, for once, at an affordable price.

This isn’t basshead IEM at all, we have quality bass over quantity here since the low end is fast and dynamic but does not deliver immense slam nor boost rumble sustain, vibrancy and resonance. In fact, the passive driver pulls out unwanted resonance that mimics natural release and rumble of the sub bass line. So, we have a round and punchy kick should it be acoustic or electronic instrument, this is something I find often lacking with overly U shape tuning that veil kick drum tactile roundness and soften it’s punch immediacy which isn’t the case here.
Acoustic kick drum sounds very realist, while not hard hitting basshead way, it does have well articulate punch when needed which take part of a balanced macro dynamic where nothing really dominates the mix apart perhaps upper percussions if intensely energic in the recording.
The electric bass lines are excellent in layering and easy to track, they aren’t very dense nor popping in the mix in a very tactile and authoritative way. They have plenty of grunt and bite in attack but not a long note release which perhaps underline a slight bass roll off around 40hz. This will make pure tone under 50hz hard to perceive as well as cello feeling scooped in lush infra bass vibrancy mix.
Cello is the only instrument with pipe organ that I feel the Cloud can’t restitute as realistically as other due to slight sub bass roll off.

The mid range is bright and clean with forward yet smooth vocal and instrument presence, the timbre is rich in details, not very colored with warmth but enough filled with lower mids density to make it round and smooth and quite natural overall.
The atmosphere is both open and focused, intimate, not hall like since center stage isn’t distant here, you are close to it without mixed into it which again remind me of good monitor IEM, think of a smoother and less bassy Acoustune RS ONE, it was a technical beast i was very found off apart the edgy upper mids that where too shouty to me, the CLoud isn’t shouty nor sibilant and each word are perfectly articulated for proper intelligibility, with the Cloud i can focus on singer lyric quite easily.
The cloud can cover a very wide range of vocal range from tenor to soprano, none will sound plain thin nor unbalanced in harmonic, the presence of those vocals is centered in the middle of the stage and has its own layer that can cohabit with other instruments without mixing up.
From Gillian Welch to Charlotte Day Wilson to Arianna Savall to Kurt Elling i can’t fault the tone and timbre of the vocal restitution, when it should be thick and breathy it is, when it suppose to be sharp and thin it is, it’s not ruin with sudden spike in some harmonic range as it often happen with harman target IEM for ex.
So this mean the piano sound clean and natural with proper note weight, it’s not overly thicken or warmed, nor too intense in upper harmonic loudness, in Shostakovich piano trio (Janine Jansen, Mischa Maisky, Lucas Debarque) i can follow easily the pianist singularity, their no boosted resonance of it’s not attack that would blur cello or violin, the 3 musician can be tracked with as much presence focus even when playing fastly.
The violin don’t sound scratchy or plasticky at all, its spot on on timbre realist which is rich in texture, the attack as a thick abrasive sustain to it the avoid overly loud stroke and keep violin sound envelope round and clean with just a notch of air vibrancy cream.
Mid range is extremely focused, not stretched in an anamorphic way that will make instrument feel oversized, it’s neutral in that regard too, some might find it lacking in wideness presence which can make vocal full envelope stage and listener but it would ruin this excellent imagery readability which can be summarized as monitor goes musical.

The treble of Cloud is extremely refined in the sense it extends far but not in a spiky, splashy or harsh way. It’s clean and crisp and superbly controlled free of resonance blur after cymbals attack or guitar release.
Again, the passive driver sucks out the unwanted resonance that can induce shouty attack or splashing amplification when reflected to the acoustic cavity.
It’s a lean and edgy treble with effortless micro details that isn’t forced on the listener like with overly analytical or bright IEM, hardcore treble head will not be satisfy with this controlled energy in fact but I applause this since their not too much salt and pepper on top, it’s just the natural flavor fully restitute in high resolution.
With the Cloud, the treble ‘’wow effect’’ is on the long run, you’ll discover new details in your track but perhaps at second listen, it don’t force the listener to be critical yet when i want to find the percussions they are all there, fully restitute, thigh and round in attack and brilliant as they should but the sparkle don’t amplify with release, it get soften with inherent brilliance of metallic string or percussions instruments.
The attack lead isn’t hard and edgy, yet keep its sense of immediacy and note weight without the need of an edgy delimitation of presence, the attack sustain release is elastic and thicken and tight without a long decay, so the top is keeped clean free of resonance mix of mutual cymbals or high pitch instrument attack.
Those percussions stay well layered in the back, easily trackable whatever their speed, it add macro dynamic dimension as well as permit polyphonic ensemble with let say violin quartet playing together to stay well layered in their own singular transient without mixing harmonic peak together due to cleaned resonance.
The brilliance and sparkle is there but cut short in decay too, it’s a sharp and short brilliance that permit acoustic guitar complex play to be easily readable, fans of classical guitar and well classical i general will be delighted of how natural texture and very detailed are acoustic guitar fingerpicking as well as non distorted are the chord stroke of both electric and acoustic guitar.

The soundstage is round and closed around the listener like being in a studio or in front of 2 monitor speakers angled toward the listener direction at less than a meter than him. You're very close to music with those Cloud without mixing up into it. It’s not very wide or tall but has a good sense of depth.

The imaging is a highlight of the Cloud even if it’s not in an overly analytical or aggressively bright way, the transparency of each sound layer is very good and while position isn’t the most spacious in lateral separation, it’s easy to pinpoint each instrument on the small stage.



COMPARISONS



VS MOONDROP KATO (1DD-190$)

The Kato is warmer and a notch more U shape in balance, it has thicker muddier sub bass, more mellow punch and less good bass and mids separation (more warmth).

The bass is sloppier and chunkier as a whole where both bassline and kick mix together to offer a mellow slam where Cloud is more thumpy, as both clearer kick and bass line presence, rounder and better controlled punch.

So the mids sound less clean but a bit thicker while Cloud mids are cleaner and crisper as well as more transparent. Attack speed from bass to mids to highs is notably faster, tighter and snappier with the CLoud that don’t have hazy note resonance that steals air around presence of instrument and percussions.
Mids of Cloud are brighter and have slightly more upper mids energy, yet it's less noisy in timbre, less euphonic and colored for female vocals which are a bit lusher with Kato but overall mids is darker too and can deal with complex busy tracks as effortlessly as Cloud.

Treble is from another league with the Cloud ... .Kato sure feels super cloudy on top! In fact,comparing some tracks I can clearly hear that some sound info disappears with Kato like half of the percussion feel erased, as well the attack is more sloppy so the percussion impact accent is lacking, making it hard to follow the rhythmic section properly. Then we have the upper treble roll off stealing air, snap and sparkle that the Cloud delivers way more.

Soundstage is a notch wider with the Kato, while taller and deeper and cleaner with the Cloud.

Imaging is from another league with the Cloud. I can track instruments and separate them in soundscape more easily due to higher resolution, better attack control and cleaner spatiality.

All in all, the Cloud is notably superior to Kato in term of technical performance from imaging to attack control and speed to resolution and treble extension, as for musicality, mids are a notch lusher and more laid back with warmer Kato while Cloud is more neutralish bright and vivid and ultimately more captivating to listen to.

VS SIMGOT EA1000 (1DD+1 passive radiator driver-220$)

The EA1K is brighter, more W shaped in balance and more analytical in the treble region which has more air and sparkle but more resonance and risk of splashing too.

It’s really a pumped up Cloud we get here, the bass hits harder and has more sub bass resonance and lower mids veil due to this, rumble is more vibrant and densified by this resonance where Cloud has better control but dryer bass line.

One would think more bass would equal more note weight for the mids but it isn’t the case here since mids are thinner and lighter with EA1K but piano will have longer decay as well as a bit more energy in harmonic intensity so attack lead don’t feel as well rounded as the more neutral Cloud which has more natural lower mids warmth.
Cloud upper mids are softer, vocal are lusher but not as wide and transparent in presence, they are less prompt to shouting and sibilance even if quite forwards. Mids are more edgy and detailed with the EA1K, it sounds more open and crisp but not as natural in timbre.

Then the treble is more energetic, vivid, airy, sparkly, snappy with the EA1K but a notch more splashy and exciting in dynamic as well as spiker, less smoothly balanced and rounded with the rest of the sound spectrum. Another proof that graphs don’t tell anything about true dynamic energy since both these IEM graphs are very similar but don’t sound the same at all. EA1K is notably more upfront and analytical in highs, percussions will dominate the mix more easily than the leaner macro dynamic of Cloud, acoustic guitar will sound louder with more emphasis on brilliance and longer decay too with EA1K.

The soundstage is notably wider and deeper with the EA1K.

The imaging of both is on par but due to more analytical tonality of the EA1K percussions and higher pitch instrument will be easier to track but not as clean and accurate in placement so for proper monitoring I will still use the Cloud.

All in all, EA1K is not as smooth and well balanced tonaly wise, it feel more spiky as well as harsher in upper mids and treble which can induce greater hearing fatigue at loud volume, then for technical performance, even if more excited in attack than more controlled Cloud, the treble extended further, resolution is slightly superior, we have more air flow too and deeper (yet boomier) bass. As always, female vocals which IEM i prefer and the Cloud deliver more natural and smoother vocals so i will choose this one.

CONCLUSION


The BQEYZ Cloud is probably the most refined and neutralish sounding IEM release by this talented (and underrated) IEM company.
Smoothly bright and near neutral, those IEM is a statement of clear balanced sound that polished any harshness peak with its secret cleaning tool: the passive air transmission driver, that is everything but gimmick here ... .at least for fine capricious ears like mine.

These are barely not colored, yet the musical brush stroke is fluid and organic as a whole, clean but not cold sounding, with awakened enough bass but a mid centric twist as well as a treble response I've never heard before.

BQEYZ promise vocal specialist performance and they sure fulfill this whole mid range naturalness with forwards but full of substance male and female vocal that are highly intelligible and perfectly carved and forwarded in an intimate and holographic spatiality that i summarize as : monitor performance meeting musical enjoyment. As a female vocal lover, i feel at home with the Cloud and was happy to enjoy variety of vocal range too including some harder to present correctly like raspy vocal of Jessica Pratt, all this free of sibilance, treble resonance or splashing, bass mudd or shouty or trebly attack intensity.

Yes, the Cloud is gourmet for mature audiophiles that seek reference grade musicality at an affordable price with excellent resolution, nice bass line presence, fast round mid bass punch, open forwards mids and crisp and brilliant treble free of boosted intensity.

Only thing I would love more is a slightly bigger soundstage, perhaps a hint more sub bass density and well, even more sparkle cause I never have enough, nonetheless, this would make those a whole different IEM.

Fans of HZsound Mirror or BQEZ Winter seeking for smoother balance without sacrificing technical chops, I think the Cloud is worth your attention.

Highly Recommended.






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PS: I want to thanks BQEYZ for sending me this review sample without any fear about kind of Pros and Cons i can include since they truely care about audiophile feedback, as any serious audio company should. As always, i don't have direct affiliation nor any $ compensation for hours put in this review. The Cloud will not take a pround part of my more than 100 IEMs collection.

You can pre-order the CLoud on Kickstarter here:
https://www.kickstarter.com/project...isted-vibration-tech-earphone-set/description