BQEYZ Wind

DISCLAIMER

I purchased the BQEYZ Wind at a discounted price from Aliexpress.

It can be gotten here: https://www.aliexpress.com/item/1005006042191996.html (no affiliate links).




SPECIFICATIONS

Driver configuration: 10 mm LCP-composite dual-cavity dynamic driver + 10 mm bone conduction driver
Impedance: 38 Ω
Frequency response: 5 Hz - 40 kHz
Sensitivity: 113
Cable: 2-pin, 0.78 mm; single crystal copper-plated silver cable; choice of 2.5 mm, 3.5 mm or 4.4 mm terminals
Tested at $239 USD


ACCESSORIES



Other than the IEM, these are included:
- 1 pair of foam tips
- 3 pairs of "balanced" silicone eartips (S/M/L)
- 3 pairs of "reference" silicone eartips (S/M/L)
- 3 pairs of "atmosphere" silicone eartips (S/M/L)
- Cable
- Cleaning brush
- Carrying case

The accessories are really generous for the price, no complaints here perhaps other than the lack of a modular cable.




A variety of eartips are included. The foam tips come in their own little case, and they provide the best isolation and tame treble (though with a slight compression of soundstage).

3 types of silicone tips are present. The "reference" tips have the widest bore and boost the upper frequencies the most, with an increased soundstage. The "atmosphere" tips have the narrowest bore and provide the greatest bass. Lastly, we have the "balanced" tips, which are a midpoint of the above 2 silicone tips.




A 2-pin single crystal copper-plated silver cable is included. It is very well braided and of sufficient heft. There's a chin cinch for added stability, albeit there's some smattering of microphonics. During ordering, consumers can opt for a 2.5 mm, 3.5 mm or 4.4 mm termination, depending on the source that you use.




To complete the packaging, we have a cleaning brush to remove debris, and a semi-rigid leatherette zipper case. The innards of the case are lined with a velvety material and webbing to protect the contents, whereas externally, it is hardy enough to survive a drop or compression.

The rest of this review was done with the stock cable and stock "balanced" silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Wind's housings are fashioned from 5-axis CNC-machined aluminum alloy. The earpieces are then sandblasted, undergoing anodized oxidation to give a smooth finish. One can choose between a silver or a blue-hued shell. Build is solid and robust. They come in a teardrop-shaped design with some slits along the shell, to mimic a "wind" motif.

Ergonomics are impeccable - the earpieces are extremely light, with no protrusions on the inner aspect to poke the ears. I did not encounter any discomfort despite using them for marathon listening sessions.



2-pin connectors are always welcome in my book, as I've encountered MMCX failure more often in my IEM journey, especially with frequent cable swaps.




The bone conduction driver is housed on the inner part of the shell (see circles above), and this should ideally contact the concha of the ears to transmit soundwaves and add heft to the lower frequencies. As we will read below, this bone conduction driver is not a gimmick unlike some other purported bone conduction tech in other IEMs where there is no contact with the skull or ears.

The Wind utilizes a semi open-backed design, with multiple vents gracing each earpiece. This is a double-edged sword, as it furnishes a very expansive soundstage, but at the expense of isolation. Thus, the Wind is not the best option for noisy environments - or ironically, in windy places as per its namesake - as the outside noise will get in. One will not be getting good sound as such, and users might even be tempted to jack up the volume to compensate for this, which is detrimental to hearing health in the long-run.

I did not encounter any driver flex on my pair.


DRIVABILITY

I tested the Wind with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is modestly easy to drive from weaker sources, though you might need amplification for the Wind to truly flourish - juice provides better bass tightness, dynamics and soundstage.


SOUND & TECHNICALITIES


Graph of the BQEYZ Wind via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Wind can be described as warm neutral. Although the graph above appears to hint at a neutral bright sound, bear in mind that conventional couplers may not adequately pick up the bone conduction vibrations of the lower frequencies.

This IEM is sub-bass focused. Bass is just north of neutral, but not at legit basshead levels. The sub-bass descends well with a visceral rumble, contributed by the bone conduction tech. On some tracks where the bass hits low, it is almost subwoofer like! The bass is on the nimble side, with no mid-bass bleed, but texturing is not class-leading and may smear slightly.

The Wind will be a great option for midrange-lovers. The lower mids are very transparent and clear, with no big bad bass encroachment. Instruments and vocals are superbly layered and easily pinpointed on the canvas of a dark background. Upper mids are forwards without veering to much to shouty territory, allowing vocals to be showcased without being too fatiguing.

The Wind has moderate treble extension, but isn't a trebleheaded set. While it isn't dark, the amount of sparkle or air might be lacking for trebleheads. Sibilance is kept to a minimum, without much splashiness in cymbals or high hats.



Timbral accuracy is excellent. Woodwinds have an airy tail to notes, brasses have metallic overtones, and strings have their typical bowed signatures heard. Indeed, timbre freaks will have a field day, and this is one of the more natural sounding IEMs I've tried.

The Wind handles technicalities like a breeze. The aforementioned semi-open design contributes to an expansive soundstage in all 3 dimensions. The excellent layering and instrument separation also contributes to a spacious soundscape, with zero claustrophobia. Imaging is acceptable for the price, and micro-details are more than decent, considering it isn't a very treble-boosted set.


COMPARISONS

Comparisons were made with gear residing around the $200 USD range.




BQEYZ Winter

The Winter is the predecessor in BQEYZ's stable, and also utilizes a DD + BC setup. However, the Winter's BC driver supposedly handles the upper frequencies, in contrast to the Wind's configuration.

The Winter is lighter in the bass, with greater treble extension. However, the Winter can come across as more fatiguing, with sibilance present. The Winter has a more metallic timbre, but it has slightly better micro-detailing and imaging, though the Wind has a larger soundstage.


Binary X Gizaudio - Chopin

The Chopin is a U-shaped hybrid. The Chopin is sub-bass focused, but has a huge mid-bass scoop out, which results in an anemic lower mids/mid-bass. Music sounds sterile with a thinner note weight as such, resulting in a more "boring" sound compared to the emotional Wind.

The Chopin has BA timbre, and sounds less natural in this department. The Chopin has a more extended treble, though with a bit more sibilance.

In technicalities, the Chopin has a faster and cleaner bass, with better imaging and micro-details. However, it has poorer soundstage compared to the Wind.

Of note, the Chopin has a low impedance of 12 ohms, and it may not synergize well with sources with high output impedance, based on the rules of eights. Anything higher than 1.5 ohms in the source output impedance might skew the frequency response. The Wind is less source agnostic, but requires more power to drive.

The Chopin has a more awkward fit and isn't as ergonomic.


AFUL Performer 5

The Performer 5 is a U-shaped pair. It doesn't fare well in bass texturing too, but has even worse mid-bass bleed with a slower bass. The midrange isn't as transparent, with an artificial BA timbre noted on the Performer 5.

Technicalities are a step behind on the Performer 5. It has inferior soundstage, imaging and instrument separation.


CONCLUSIONS

In the Wind, BQEYZ has created a literal breath of fresh air in the highly-competitive CHIFI scene. The Wind does not need to resort to the hackneyed overused party tricks like Harman curves or waifus to get its sound across. Listeners will be greeted by a very organic sounding set, with superb tonal balance.

The warm neutral signature, with a sub-woofer like bass (courtesy of the bone conduction tech), is pretty unique, coupled with a transparent midrange to die for.

Granted, it isn't the most sparkly or treble-boosted in tuning, and perhaps extreme trebleheads might need to look elsewhere. However, most others (including treble sensitive folk) will appreciate the treble dosing, balancing a fine line of resolution without fatigue.

Additionally, accessories, build and ergonomics are exemplary, and technical chops are also solid. The open-back design confers a great soundstage, and layering is a highlight on a dark background. This open-back concept does sadly contribute to penalties in isolation, and arguably the Wind is not the best IEM to bring to a noisy environment.

Other nitpicks are a bass lacking in texture, and the somewhat power-hungry requirements. While it can be powered off weak sources, one is probably not getting the optimal sonics that way, and amplification is highly recommended.

To conclude, the Wind is one of the better purchases I've made this year, I really appreciate the special melding of an organic timbre, a neutralish signature with the positive quirks of a bone conduction driver, and the dependable technicalities. It is a wind of change for the better, and is something noteworthy amongst the banal weekly Harmanish releases that don't give any value-add.

Introduction

And BQYEZ continues to evolve. Now it has presented its new Weather series, whose models will be Wind, Cloud, Rain and Mist. The first one is already here: it's the Wind. And, well, it seems to have a lot in common with its successful previous model Winter. Yes, it's similar in name and it also uses a bone conduction driver. Although in the Winter, this was piezoelectric and dedicated to high frequencies. In the case of the Wind, the BC driver is dedicated to reproducing the low and mid frequencies, by means of a self-developed 10mm driver. Now, BQEYZ has developed a BC driver with a copper housing and a high-strength steel vibrating reed. It is located on the inner side of the capsule, vibrating directly towards the outside of the headphone housing. In this way, bass and mid-frequency sounds are transmitted directly to the ear cartilage and the surrounding area. The Wind also uses a dual-cavity dynamic driver with a 10mm composite LCP diaphragm. The metal capsule has been made from lightweight aluminium alloy using a German 5-axis CNC. Meanwhile, the surface has been finished using sandblasting, anodised oxidation and hollow-cutting technologies and is corrosion resistant. Finally, the capsules are accompanied by a complete set of accessories, each of which will be described in the following review, as well as, of course, the sound of this great model.



Specifications

• Driver Type: 10mm dual cavity dynamic driver with 10mm LCP composite diaphragm. 10mm bone conduction driver with copper housing and high strength steel vibrating reed.
• Frequency Response: 5Hz-40kHz.
• Sensitivity: 113dB
• Impedance: 38Ω
• Jack Connector: Choice of BAL 2.5mm, SE 3.5mm and BAL 4.4mm.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable Length: 1.2m.
• Cable Composition: Silver plated monocrystalline copper wire.

Packaging

The BQEYZ Wind comes in a medium sized light violet-blue box. Its dimensions are 158x119x54mm. In the centre is the wind symbol (fend). Below, vertically, the model name. At the top left, the name of the brand, in small letters. At the bottom of the box the description of the model. On the back are the specifications, in Chinese and English, the contents and the brand name, as well as the certifications held by the product. After removing the outer cardboard, a textured black box appears vertically, with the brand's lettering in silver ink in the centre, as well as the slogan, at the base. It opens like a book and a blue cardboard cover protects the entire packaging, revealing only the capsules, which are inside a dense, black foam mould. Removing the protective layer reveals the brand's classic black zipped case. It is of sufficient size and has the logo inscribed in its centre. Inside are accessories, but there is also a cardboard case with the rest. In brief, the contents are as follows:

• The two Wind capsules.
• A cable with a 4.4mm balanced connector and a 2Pin 0.78mm interface.
• A metal blister pack containing three pairs of Reference silicone tips sizes SxMxL and three pairs of Atmosphere silicone tips sizes SxMxL.
• Two foam tips.
• Three pairs of grey and yellow core silicone tips sizes SxMxL.
• One cleaning brush.
• Instruction manual.
• Warranty certificate.

One could say that this is a typical presentation of the brand, as for the Winter model it is practically the same. That said, this is by no means a negative comment. I'm very much in favour of the variety of tips the brand presents, as well as the zippered case and the good cable. Pure quality.



Construction and Design

If there is one thing that characterises the brand, it is a very careful design and superior build quality. BQEYZ always tries to recreate a special capsule. In this case it has created an almost triangular-shaped design, with rounded corners and the 2Pin 0.78mm connection interface at one vertex. The size is narrower than previous models. The outer face has irregular veins running through it, revealing a metal grid inside the capsule. Between these veins is inscribed the model name on the right capsule and the brand name on the left capsule. Purists would see a flaw because the letters are incomplete. They have been inscribed on the surface between the machined veins and this space is not always sufficient for the lettering to be printed in full. Perhaps another pattern could have been adopted with the inscription in mind. However, in my opinion, this is a minor detail. The inner side is rounded and contains the driver BC, facing away from the cable connection interface. It is an inscribed circle inside which there are two silver Torx screws and two slightly curved openings. It seems to be mounted behind the bone conductor driver. On the way to the 2Pin connector there is a white mole with the lettering indicating the channel. The mouthpiece is metallic and silver in colour. It has a small base of the same diameter as the body of the capsule, then tapers to a diameter of 5mm. Finally, the outermost part has an outer diameter of 5.7mm. The approximate length is 4.2mm. The mouthpiece is protected by a dense metal grid. At the bottom of the mouthpiece, there is a hole in the body of the capsule.
The cable consists of two coiled strands. One conductor group is silver, while the other is slightly darker. The cable consists of silver-plated monocrystalline copper wire with a diameter of 2.4mm. The number of cores is 0.05mm * 14 Pieces * 7 Parts * 2 Cores * 2 Branches, for a total of 392 wires. The 4.4mm BAL connector is gold-plated, its housing is a smooth, silver-plated cylinder with the marking inscribed lengthwise. The cable is protected by a small plastic sleeve. The splitter piece is of the same style, with the marking inscribed in the same way, but about half as long as the wire. The pin is a matching narrow ring. It should be noted that this adjustment ring is too loose and slips more easily than is desirable for its function. The cable has a semi-stiff plastic coating to give it a shape over the ear. The sleeve of the 2Pin 0.78mm connectors are silver-plated cylinders, matching the rest of the sleeves. They have an inscribed ring at the top, as well as the channel lettering in the centre. The 2Pin connectors are gold plated and are mounted on a translucent plastic base with a notch to indicate the outside of the connection and its polarity.
There is no doubt that the cable reminds me of the one used by Letshuoer in its S12 Pro model, although this BQEYZ is more flexible and less rigid, which increases its value. Lastly, regarding the cable, it comes with a cover to protect the jack and a Velcro strap to hold it in place.
As for the capsules, once again BQEYZ has brought us a beautiful, attractive, more compact and delicious design. The capsules are smaller, with a very pleasant feel and the integration of the BC driver is as curious as it is imaginative, highly interesting. Only the lettering can tarnish the perfection of the capsule construction.



Adjustment and Ergonomics

As I said, the capsules are narrower than the Winter model and do not have an anchor protrusion. In its position is the BC driver and that part is rounded. This eliminates any friction with any part of the ear. However, the anchorage is less and the sensation of rotation appears until it is fully seated in the pinna. Thanks to a good choice of tips, such rotation will not be problematic and the fit will be good. In my case, using my classic large foam-filled tips, the fit is remarkable, the movement, although limited, can happen if you rotate the tips with your fingers. Still, the fit is durable enough for normal use, even for moderate activity. Although this may depend on the tips used and the morphology of each individual.
In the end, the more rounded and free interior, coupled with the smooth surface texture, may mean extra comfort for some. And so it is in my case. The fact that it is also a narrower capsule is visually more integrated into the ears. The sum of all this should make for excellent ergonomics, no doubt about it. But, in my case, that minimal degree of freedom in rotation subtly detracts from a more durable and firmer fit.



Sound

Profile

There is a mixture of a V profile, tending towards W, but always with an inclination towards the second half of the graph, something that could be concluded as a neutral-bright profile. It can be seen that the greatest emphasis is placed on the mid-highs, although there is good control in the treble, which limits any escapist feeling towards brightness, despite the good extension of the high range. I don't find the Wind to be warm, nor do I find it to possess a bass-oriented character. Thus, the result remains a more neutral centre that is well represented at both ends.



Bass

I didn't want to measure the BQEYZ Wind until a few days after receiving them and my surprise was that I had more bass impact than I thought. And, sure enough, in a way, the bass performance improves on the graph, thanks to that mute component called the BC driver. The Wind's bass is slightly coloured, although there is a duality in its behaviour thanks to the mix of both drivers. While it seems that the DD driver is the culprit for the slight colouring, the BC driver adds a dual character that shows a deep, sensory side that can be felt from the lowest LFOs. The behaviour produced by the blend gains in nuance, descriptiveness, texture, even punch and physical feel. And this combined sensation is very pleasant, engaging, even addictive, and is the reason why the bass works so well in the mix, providing a very unique sonority in this segment. The great interplay between the two drivers is the reason why the bass has such a complete behaviour from the lower end of the audible range. On the one hand, there is the physical and sensory capability of the BC driver, which also adds depth, accentuating texture and competence in the descriptive aspects of definition and resolution. On the other, the dynamic driver adds the punch, physical volume and air movement that bass requires. The gentle mid-bass orientation gives it that rounder, slightly colourful edge, which is balanced by the sensory aspect of the BC. In this way the Winds have the best of both worlds without the lower range being predominant. Surprisingly, the marriage of the two never penalises speed in execution, nor does it penalise recovery. On the technical side, the Wind is very good. The hit is fast, compact, very tight, with that slight colour, but with no dampening, yet elastic to maintain a real and unforced behaviour.
I have subjected the Wind to my classic double test of very low frequency pure tones and this is where that dual sensory, physical and texturally maximised sensation is demonstrated. On the one hand, the low end is barely audible, but you feel that deep, physical vibration from the BC. As the frequencies increase, the sound mixes with the vibration and the dual sensation emerges that is both appreciable and powerful. The second classic test is the reproduction of very dirty, powerful and unfiltered bass, where the bass drivers are put against the strings in the worst conditions. The result is even better than I expected. The Winds don't suffer at any point, they even have the ability to sweeten and smooth the passages, without showing a hint of suffering, congestion, smearing or fuzziness. On the contrary, in these bad conditions, the bass responds with such smoothness, speed, definition capacity, generating very agile transitions, fast and completely adapted to reality. It's able to combine the bass punch with the bass lines without mixing them, delimiting both in a very defined way, with a great resolution, vivacity and capacity to generate layers and stratifying the bass in a totally enviable way. Possibly one of the best performances of these complex passages I have ever heard. It just lacks a little more power, darkness, volume and weight to be the perfect bass for a bass lover like me. But for a model whose focus is not on the lower range, the performance is outstanding.



Mids

Another great aspect of the Wind's bass is its low midrange intrusion, although it is true that the first part of the midrange has a good presence contrast compared to the second part, something that can be seen in the frequency response. But, equally, the BC driver seems to rescue the situation once again. Its presence prevents the mids from being as polarised as they might appear. On the other hand, its contribution helps the sound to be very splashy, articulate, vivid, dynamic and fast in its transitions, offering a sense of speed and sparkle that adds a very particular effect of movement that is difficult to find in this price segment.
Even so, the male voices are not free of a certain remoteness, appearing somewhat lean and lacking in physicality and body. Very little would have been enough to make them appear opulent, lush and warmer. Unfortunately, this has not been the case, and this benefit has been relegated to the female voices. It is in them that the full power of the Wind is demonstrated. But going back to the first half of the middle range, they are undoubtedly mid-distance, with a great definition, as well as a good timbre, because it is not brilliant. Although sibilance can escape even in the male voices, if they show any hint of such a drawback. Likewise, the instrumentation of this initial phase is light, without much force or physical sensation, something that detracts from the forcefulness, energy and punch of the sound of this part. This is how a certain immersive capacity, volume and power towards the listener is lost. On the other hand, this is compensated for by the sense of movement and dynamism that I have already mentioned. It is not the body or the energy that surrounds the listener, but rather it is that sense of very articulate, vivid, sparkling, constantly moving sound that makes the music dynamic, rich and splashy. The Wind will never present the music as a wall of sound, but will make it sound like fireworks, with a very high dynamic range and expressiveness. Thus, despite the thinness and middle distance of the first half, this phase is very rich and descriptive, without the timbre being compromised by the clear contrast between low-mid and high-mid. The second phase is another matter, in which the necessary physical strength and presence appear, without losing any technical aptitude. The female vocals sound fuller and meatier, the guitars sharper and more energetic, as do the strings and other instrumentation with their base in this second part.
In terms of expressiveness and definition, the exaltation of the mid-highs elevates the timbre of this part and the sparkling capacity of the sound becomes more analytical and expressive, bringing details and nuances closer to the listener, sharpening them and filling them with energy. It is even possible that this explosion of resolution behaves negatively for the micro-details in the background. Even if the Wind has sufficient capacity to express both, the prominence of one over the other can work against it. This is where this model's enormous sense of openness comes to the rescue. The Wind has a very separate and open sound, where the stage is very wide and volatile. There is room for all these details, despite the difference in energy and planes between them. It is also true that this predominant presence of the upper midrange can compress the layering of the music, but there is still room for them, as long as they do not overlap frequently, as they will then be diluted by the exposure of those closer to them.



Treble

Coming from an excited upper-midrange, it might seem that the treble would be the pinnacle of energy. But, thankfully, this is not the case. The high end tuning is more classical, alternating peaks and valleys to offer control and diminishing extension. There is a nice initial sparkle, tempered by a gentle drop that builds again to add needed harmonics to the mix. The energy level is appropriate, even pleasing after a bold display of vigour such as that at the end of the central range. The positive value is their execution. The Winds have enough resolution and definition to sharpen and thin out the high notes, adding their edge and a controlled crispness that doesn't lose the softness, but is sparkling and with enough punch to be moderately prominent and present. All in all, the timbre doesn't suffer and the treble comes across as realistic and supported, even with a good dose of air and backed by the breadth of the sound, which allows it to become more volatile, gauzy, even subtly penetrating, but without losing that realism that moves between restraint and exposure.



Soundstage, Separation

In this section it is worth commenting on the technical competence of the BQEYZ Wind. While in the low end the cohesion of the two drivers is highly synergistic, helping to present depth, texture, body, energy, punch, stratification, the ability to recreate layers, great definition and resolution; in the upper midrange this capacity is lost a little in favour of a more presential exposure of details and mid-highs, limiting the depth. All in all, the Winds offer a very open soundstage, perhaps because of the grilles on the outer face of the capsules, and also very separated, with great headroom and dynamic feel. As I have already mentioned, the sense of movement and articulation of the notes offer a very vivid and sparkling sound, totally expressive, loquacious and evident. All this generates an immersive sensation, with details that have the capacity to volatilise, but which start very close. Up to a certain point, especially in the lower frequencies, the generation of layers and the sense of stratification is very good. As frequencies rise, they come closer to the listener with greater energy, eclipsing the more distant layered details. However, those are there; when the music offers some respite, they reappear. To be sure, the Wind has the resolving power to show such micro details in quieter settings, but it does not divide well in this energetic zone, despite the outstanding separation it possesses.
Returning to the scene, the sense of laterality and height is impressive. The vividness of detail and the stereo feel is reinforced by the speed and dynamism of the transitions. The music moves swiftly from one ear to the other, like a lightning bolt, and this also adds to the sense of movement and expansiveness of the scene. There is a good degree of depth initially, but it becomes more limited as the frequencies grow. As I say, the separation is evident, but the brightness of the mid-highs and early treble blurs the notes in a gaseous way, helping to fill in gaps that could be darker or quieter. Admittedly, this effect gives the scene an out-of-head, three-dimensional, escapist feel that is valuable, if also subtly unreal.
With such a large stage and appreciable level of resolution, the image is accurate, limited only by that same gaseous, volatile effect, which can blur some elements.



Comparisons

KiiBOOM Evoke

If I want to know the true range of the BQEYZ Wind, the best thing to do is to compare them with the best, or at least with the ones I like the most. And that's why I'm going to pit them against the KiiBOOM Evoke. They may not be people's favourites, but they are among my favourites, both in terms of profile and sound.
The Evoke has a semi-custom capsule made of resin, with an external pattern that can be chosen according to price. It comes with a nice silver-plated cable but cannot be chosen with a 3.5mm SE plug. It also comes with a really big case and a single set of tips. Nothing to do with the classic BQEYZ packaging which surpasses it in all aspects. But it is also true that the regular version of the Evoke is only $169 compared to the Wind's $240. The BQEYZ capsules are made of lightweight aluminium alloy and are smaller than the Evoke capsules. Still, I prefer the more durable fit of the KiiBOOMs.
The Evoke features a classic 1DD (10mm) + 1BA for midrange + 1BA for treble. The Wind has a 10mm full-range dynamic driver, along with a 10mm BC driver for bass and midrange.
In terms of sensitivity, the Evoke is much easier to move than the Wind, which needs more power to sound at the same volume level.
Starting with the low end, it is very curious how the BC driver is able to compensate for the sub-bass deficiency of the Wind compared to the Evoke. I don't want to pretend that the Wind has the same response and punch as the Evoke, but they are closer than what is shown in the graph. It's true that the Evoke has a darker, deeper, fuller bass with more presence and energy. But the Wind's are not short on punch, although their timbre has a bit more colour and there is a hint of that duality in the bass drums. However, they have a more marked texture, they are more compact and faster, with a quicker recovery and less punch. This makes them more technical, with better resolution and definition. Both are very good at delivering complex, rich, unfiltered and powerful bass. Neither loses control, the definition and representation is excellent and the response is very pleasing. I think that the combination of both bass responses could result in one of the best basses in this range, because what one lacks, the other has, and vice versa.
In the middle zone the difference is the thickness of the notes, finer, more delicate, volatile, vaporous in the Wind. The Evoke has more marked notes, also more frontal and attached to a wide scene, but with a more classical and defined structure. This thickness allows the male voices to have more body and physicality, as well as presenting a more forceful and more conjunctive sound. Those male voices in the Wind feel more distant and with a lighter, smoother execution. Everything is broader, more detached and dispersed on the Wind, there is a larger volume that surrounds the head and tends to escape. Even the female vocals also feel closer on the Evoke, despite the Wind's brightness and clarity. But the sound of the KiiBOOMs is more concrete and somewhat drier. The Wind's thin, dispersed sheen gives it that vapour that blurs the notes as they fade away. In this way, the representation of voices and instruments is less consistent, more gaseous, more transparent. It's something at odds with the concrete, analytical point of the Evoke. The detail is fine and evocative in the Wind, it is shown with subtlety and delicacy. The Evoke is more explicit and finite, with a more obvious and marked physicality. The Wind is fickle, with a more articulate sound that manages to flow in a way that manages to be more harmonious even, not as corseted as the Evoke, more tightly bound to a firmer execution. Yes, I think the difference in the mids and highs is in the expansive, slightly distant, gaseous fluidity of the Wind as opposed to the more concrete, close, physical and tight sound of the Evoke. By contrast, the KiiBOOMs are more controlled with their sibilance, while their treble is more homogeneous, thicker, but well controlled and well matched. The Wind's treble presentation and execution is different, with a little more initial energy, but thinner, finer, but more incisive. The treble doesn't feel as full, perhaps a little more devoid of harmonics, but sharper, brighter and a little crunchier, despite that scattered feeling that is not avoided in the high end.
The scene is more frontal in the Evoke, it is wider but more defined. The distances between elements is more fixed. The Wind's scene is fluid and somewhat more diffuse, but it is holographic, expansive and three-dimensional, something the Evoke will never be able to offer. The very fluidity of the sound also gives it superior speed in transitions, being more dynamic, expressive and descriptive, as if it could represent more notes in the same time interval. This gives the Wind a technical superiority, a higher level of resolution and definition, executed in a different, more liquid, transparent and ethereal environment. The image is more concrete and physical in the Evoke, with a more discernible provenance, while in the Wind its recreation is more imaginative, freer and unpatterned. And these characteristics are further virtues of the Wind that differentiate the two great models.



Conclusion

BQEYZ believes in its options and persists in its line of improving its drivers and alternative hybrid designs. This great work is reflected in this new Wind model, 1DD + 1BC completely open, dynamic and surprising. The Wind offers a whole sound experience that will leave no one indifferent. Starting with a low end that is more than it seems, the Wind presents the sound in a very articulate, expressive, vivid, expansive way, offering a mixture of fluid sound, between liquid and gaseous, of great resolution, detail and definition, with a holographic and three-dimensional scene, as well as a great performance in all the bands. Without discussion, one of the best models of the brand and way up there among the competition in its price range that I have been able to test.



Sources Used During the Analysis

• Tempotec BHD Pro.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Aune M1p.
• Burson Audio Playmate II.
• Hidizs S9 Pro Plus.

Purchase Link



You can read the full review in Spanish here

TONALITY: 9/10
TECHNICALITIES: 8.5/10
TIMBRE: 9/10
SOUNDSTAGE: 8.5/10
IMAGING: 8/10
CONSTRUCTION: 9.5/10
ACCESSORIES: 9/10
SOUND VALUE: 9/10

INTRO

BQEYZ is an audio company from China that have about 10 years of audio engineering experience. They've release mostly hybrid IEM from ultra budget one like KB100 to tribrid like Spring2 and lately they've begin to explore bone conduction hybrid with the Winter.
Today I will review the BQEYZ Wind which is their second attempt at bone conduction hybrid.
The WInd use a 10mm LCP dynamic driver and a 10mm coil bone conduction driver that was self developed by them.
Unlike alot of unserious chifi companies, BQEYZ patent their own driver and invest alot of time into research and devlopment, this explain why they release 1 or 2 IEMs a year unlike those mass production chifi maker.
BQEYZ are a visionarry company that don't follow any tread and pursue their own audio engineering quest, don't expect harman tuning from them, nor to look above the shoulders or audio gurus or other competitor, they follow their own path, and this is one of the reason why I respect them.

The Wind is first IEM release of 4 IEM model inspire by weather element.

Let's see in this review if the Wind worth our consideration or will just be one more chifi IEM passing like a breeze.

CONSTRUCTION&ACCESSORIES



The craftmanship of the Wind is exemplary, its all made of CNC machined metal and have great caring about details. It's a complex yet sturdy housing construction. It's true semi open back with a grill.
Front part of housing have the bone conduction driver that need to be in contact with your skin, the shape is small and ergonomic enough to permit a secure fit. While not the best in termof isolation, the unique bone conduction transmission tend to make you less aware of outside noise.

The 2pin connector is only part I feel BQEYZ can improve, their a slight gap around connector that might loosen with time or collect dust.



The included cable is a 4 strand braided silver plated litz copper cable of excellent quality. The strands are thick and smooth, soft and flexible and promise good comfort and don't create any microphonic. As well, you can choose it in 3 plug type: single ended 3.5 or 2.5 and 4.4 balanced.



The packaging is elegant and minimal but accessories are generous. We have this excellent cable. 10 pairs of eartips including one pair of memory foam tips. The carrying case is basic in term of quality and a bit too small for my taste. All in all, construction and accessories are very good.

SOUND IMPRESSIONS



Firstly, their no other IEM that sound like the Wind and if you aren't familiar wiht bone conduction, this could be either underwhelming or overwhelming depending of your psychoacoustic awareness. For me, it's an utterly fascinating and engaging listening experience that feel effortless in holographic musicality that fully immerse me in whole mid range like not other IEMs ever did.

Unlike the BQEYZ Winter that cover treble section with its BC or UM Mext that cover wide range up to 7khz and add alot of presence definition and texture, the Wind BC cover sub bass to upper mids smoothly, organicly, and add lower mids delicacy as well as infra bass density to an overall darkish tonality.

This is a very atypical take and the graph shared by BQEYZ don't translate at all what you will perceive in term of tonal balance, in fact, I don't even think they add the bone conduction vibrations measurement to it.

So we can say warm to dark neutral sound with slight bass, lower and upper mids boost then a flat treble that begin to roll off after 10khz, so don't expect ultra crisp, analytical or snappy highs with the WInd, it's smooth and macro dynamic is organic as a whole, the 2 drivers mixing togheter like a impressionist painting mix it's colors.

The BASS is so unique and offer such a flexibility of attack and effortless layering that it will be main hate or love affaire for consumers here, in the sens the presence isn't very textured yet the tone pop up magically, the ''oomph'' is round and vibrant even in ultra busy track, the sub bass dig very deep and can deliver new dynamic tactility like speed shifting in bass line or when bass line sliding change tone you suddenly are super aware of it.
It feel like your head and mind become your body in a room with proper sub woofer, it's very hard to describe because frequency lower than 200hz aren't bright or full of micro details, this come from treble section which is tamed here. So, while the bass isn't edgy and super thight in presence definition, it's the fundemantal lower harmony that can be perceive, which is about dense round tone release that often get lot in the mix under noisy texture.
Her it's all juicy, bodied and multi layered in a mellow dynamic.
Yes, mellow. These Wind aren't basshead and just slightly bassy, I mean, when the bass is super boosted in a track it will deliver the dynamism, but never in a loud or fatiguing way, you'll feel the hit or boom in middle of spatiality, 3D way, you can barely touch it if you want since it's so tactile and densify with extra weight.
I can feel the dynamic driver mid bass punch mixing with extra bone conduction vibrant density, it improve the layering with bass line, both having their diversify dynamic presentation cohabiting togheter. Kick drum is round and lush, texturing is subtle but natural, it's presence is embossed with lower mids warmth and the lead attack have this well felt assise. It's an excellent fully bodied reproduction of this instrument.
And the cello is another bliss to enjoy, the level of richness here is magnify in both tone, timbre and presence. All the subtilities of this instrument are reproduce in it's whole range without any lower harmonic by passing as it often happen with non bone conduction IEMs. The melodic line are wide and envelopping the listener, entering it's head and opening out of it, vibrancy of air is perceivable, you can't mix cello with violin with the Wind, the soul of cello is fully extract with a clean lush presence and bodied but not overly warmed tone, the bow hit are extracted without harshness of sudden volume boost too.
Hard to restitute lower range percussions like toms and some congas are superbly restitue too, fully opening in natural resonance without the acoustic distortion issue inherent to air resonance, so the rythm line is very articulated in macro and micro dynamic.
The for double bass, it gain extra density in it's extension as if air release get creamier a bit which improve layering but affect a bit natural transparency that should be thinner i feel.

If I praise that much the bass, be ready for even more wow effect with the mid range, which make me conclude the Wind is rather mid centric, at least, bone conduction wise.
In fact, as strange as it can seem, the Wind is near analytical for whole mid range, then become darker from lower treble and up.
It's extremely rare than IEMs extract sound info in lower mid range and it's what we get here, this is very exotic and more you listen to it more you are blown away by level of sound info it extract, sometime it can even be too much for recording thaty over abuse voice doubling since you can perceive it all. Yes, you suddenly have absolute hearing for the mid range, effortless way.This mean whatever number of instruments playing in similar mid range, it will not mix togheter and darken each other, it will flow organically in highly readable sound layering.
When I play Goldberg Variation conterpoint interpretation by String Quartet, i can't believe how easy it was to follow each individual phrasing that interlock melodic line. This was near too much for my mind since those composition can be interpret in multiple way by the listener, here I have full freedom to lisen to each instrument phrasing precisely, with a natural full tone, not a thin brighten one, it was both highly technical and musical, unforced way. You aren't forced to perceive this that clearly, yet, it's there, calmly.
Because at they end, the mids pop in and out of your head in a rather lean and innoffesive way, the upper mids aren't boosted in loudness so when you go listen an harman tuned IEM after the WInd, female feel super shouty and fatiguing.
And those female vocal are wonderfull for sure and always well layered and upfronted softly. The presence embrace you and inteligibility of each word is clean in articulation, this is another aspect that make you perceive harmonic distortion and euphony more with non bone conduction IEM too. So, if you find important to follow lyric of your singer precisely, the Wind is a great answer. From Snoh Aaleegra, to Elina Duri to Arianna Savall to Baby Rose, I always have an intimate and exclusive momentum with the sweet vocals. Even with track that go easily muddy like Fight Club from Baby Rose, the vocal didnt get veiled by dominating bass line nor the presence was too thin or raspy, it was sticked above rest of macro dynamic with a clean precise bass line that don't throw air resonance above the mids.
Same goes for male vocal, which are fully bodied, don't get muddy and have clean fowards presence with excellent transparency.
Their alot of instrument and even percussion that are within 600hz to 4khz section, and this is where the WInd will make your heard things you've never heard. Not only back vocal doubling but new sound layers too like synth pads layers that will fully blossom and float in vast soundscape, or some tabla percussions in lower mid range you don't even know exist, or snare drum fine details, or this obscure woodwind instrument in brass ensemble that wasn't as loud than other, all what is hidden in mid range is gently reveal and it has been problematic for one or 2 songs that I can perceive layers compression unfolding, like same vocal track that should mix with main one but is too easily perceivable.
To comple this wordy mid range covering, i'll end with my favorite instrument: the acoustic piano. The Wind will amaze piano lover with how smooth yet richly and full detailed the presentation is. It's never recessed, we have felt note weight, the presence is fullfill with all harmonic in a natural unforced way and when pianist play damping or sustain pedal, you can perceive the note stop or extra release very easily.
Their no doub that the Wind offer one of most mesmerizing mid range of all sub-300$ IEMs i've test. Holographic, intimate, multi layered and so natural yet never lacking subtilities in timbre. Just sublime.

When it come to treble, the word ''Sfumato'' come to my mind. It's full of contrast, yet a hint hazy and dark. While we don't feel a bone conduction imbalance like the Winter, it tend to cream bass and mids with extra info that blur a bit upperr treble starting around 6khz and then when it go pass 10khz, their a roll off happening that stole air, sparkle and brilliance.
These aren't for treble head even if curious ears addicted to micro details will be please with rich rendering of the Wind.
I'm not certain up to which treble section the bone conduction driver cover, but I have instance of intense micro details that were sharp and cymbals clang are crisper than the sizzle for example.
So the percussions aren't all treat on same resolution level which make some get lost in the mix more easily since above 6khz it seem attack edge goes blurred-softed and it's harder to appreciate fast snappy cymbals, while the snare is notably cleaner and snappier that upper range percussions.
The guitar is hit or miss too, it's full bodied and rich in low and mid harmonic, but when it play higher octave that need cleaner decay and sparklier release it feel foggy a bit.
I would say the Wind is a specialist of violin, saxophone, soprano female vocal and even the very hard to restiture harpsichord which sound full and not thin and distant but lack just a bit of extra air release.
But it isn't for classical guitar nor harp and full range of percussions due to the fact the DD lack extension and the BC put a sheet of sound info that damp attack release including sparkle.
Safe and refined treble for long listening pleasure, not for those that love their highs very boosted, spiky, super snappy or sparkly.

The Soundstage is near impossible to describe, so the over abused word Holographic come to help yet imagine a multi layered spatiality where your in middle of the stage but you are the stage too since music come and go in and out of your head. You have a very wide first macro image that surround you in a U shaped way then center stage is your head, these 2 spatial plans do mix togheter and dont feel 2D but 3D. So its a very circular presentation with an intense immersivity appeal.

The imaging would be better with more treble for sharper definition of separation in stereo direction, but while macro resolution feel thick and slightly homogeneous as a whole, the sound layering is excellent and permit easy separation of mid and low range instrument. Not in a monitor like manneer but about those dense soundwave projection that dont go muddy even if rather warmed in presence. It's not a realistic positioning, its about seing the sound layers flow around you, their color dominating the texture edge.



SIDE NOTES

It's unclear what the sensitive specs are and for impedance, it's stated as 33ohm to 100ohm. Anyway, even before seeking for the specs it was evident the Wind need proper amping. I would suggest a minimum of 100mW@32ohm. The Wind do scale up with source and will not distort with high impedance load, I get incredible result with Hifiman EF600 (5.2W@32ohm)

In term of eartips, the one included are OK and i tend to use wide bore eartips so even with shallow fit the bone conduction drivers is in contact with my skin.

This is important to get the housing in contact with temporal bone, closer it will be, more evenly boosted will be bass and mid range.


COMPARISONS



VS BQEYZ WINTER (1DD+BC-240$)

The winter are brighter and a hint more W shape in their balance so we have edgier mid bass, upper mids and upper treble. Wind feel more warm neutral, more organic in balance and darker on top, less crisp and airy than more analytical WInter.

The bass is more rolled off in sub bass with the Winter, the bass line are not as well layered and articulation isn't as agile and feel sometime compressed in dynamic, strugling more with natural bass extension. Texture presence of those bass line is more boosted with winter yet infra bass ''oomph'' can't be extract in busy music properly unlike Wind that use bone conduction to freely extract sub tone. Strangely, Wind isn't as hard hitting, but do offer better kick drum layering, effortless mellow way.

Mids are brighter and more shouty with Winter, it make us feel female vocal are more upfront but they are just louder through air while fuller, smoother, wider in presence and cleaner with the Wind. Timbre is more natural and less rough with the Wind, the mid range layering is better and can extract more subtilities like multi vocal used for the mix are effortlessly magnify with the Wind, violin quartet of similar range playing toghter too are better layered. Definition is less edgy, lower mids is more boosted in your head and add liquid warmth to sound enveloppe while it's the opposite with WInter, the BC boost presence but make timbre thinner, dryer, brighter. WInd is notably more mid centric than Winter.

Then the treble is more lively and extended with Winter, it extract more micro details and offer edgier-snappier attack. It add a bit of metallic sheen to percussions which sound a bit more artificial than darker rounder one of the WInd. Highs are more airy and open with the Winter, the Wind keep them in the back.

Soundstage is wider and taller with the Wind but notably deeper with the Winter.

Imaging is sharper with Winter, you struggle way less to position percussions properly yet bass line in busy music will be easier to pin point with the WInd, as well as mid range instrument. Nonetheless, WInd is more laid back and not as good for accurate monitoring purpose.

All in all, the Winter might be more treble centric and technical sounding but ultimately it never trigger any emotional response in me, unlike the more mid centric Wind, which is smoother and less fatiguing for long immersive listen, and offer superior bass performance too.

VS UNIQUE MELODY MEXT (1DD-4BA-1 wide range bone conduction-1000$)

OK, this is quite interesting and mind puzzling unfair comparison here, yet not bass wise since the Wind seem superior in that regard, less prompt to unwanted resonance and better rounded, cleaner in punch, in a smoother less boomy way.

But technical superiority stop there, yet timbre and tone wise the Wind is more natural to my ears, more cohesive and less prompt to artificial mix of texture details which is notably more boosted with the sharper sounding Mext.

Suddenly, the WInd feel L shape in balance, with leaner but thicker mids and darker treble, the Mext is notably crisper as well as more lively sounding, less laidback.

The bass is achille's heel of Mext and the DD resonance blur more the roundness of kick impact, which is more tactile and well layered with the Wind even if not as boosted in texture. Mid bass has proper note weight and sub is less boomy.

Mids are more open and clean with the Mext, they are brighter too and less polished in upper mids, vocal are leaner and more creamy, fully in lower mids with the Wind, but imaging isn't as edgy and well define in separation. Ultimately, the breathy or contralto and baritone vocal sound lusher and smoother with the Wind. Woodwind instrument too has more natural tone, less pushed presence, wider yet not as boosted in trasnparency presence.

The treble is notably more vivid, airy and detailed with the Mext, attack is more snappy and edgy, faster and more controlled. Highs are more textured and have more definition bite. Attack edge is more blurred with the Wind and mid range will stole the show and left behind percussions more. Wind is more permissive of bad recording and will not extract unwanted noise artefact unlike the more analytical Mext.

The soundstage is slightly wider with Wind, but taller and deeper with the Mext.

Imaging is notably better with the Mext, positioning is next level precise and overal darker imaging of Wind can't offer as holographic and sharp instrument separation in both X and Y axis.

Well, it was predictable that a 4x pricier IEM would at least offer superior technical performance but once the wow effect has pass, i feel tone and timbre of Wind is more natural and I tend to enjoy it's warmer tonality longer. The Mext extract so much details and texture noise that it can kill the musicality for me, it's the opposite with the Wind that don't force me into high resolution listening.

CONCLUSION




After having listen to about 500 IEMs in my audiophile journey, it's rare I get surprise with a novel type of musicality that I've never heard before. I can say it happen once or so a year and after the UM Mest MK3, it's only IEM that achieve exactly that: delivering me an immersive effortless mid centric holographic musicality like no other.

BQEYZ stand apart in chifi audio realm, and open new acoustic doors with their devlopment of bone conduction driver that are implemented differently. The fact sub bass and whole mid range is magnify by the mix of DD dynamic and BC resolution is a fascinating approach to a new type of musicality.

If like me you feel too often that mid range instrument are half cook, too thin or too blurry or too bright and boosted in presence, the Wind will be a revelation since it's both full tone and smooth presence that are put fowards in an effortless macro rendering.

Im extremely impress by the refreshing musicality of the Wind and highly suggest it to those that can't take more of harman target tuning or too V or too U or too trebly tuning and seek for a lush mid centric tonality that is both exotic and cozzy to listen too.

Very highly recommended!!



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PS: I want to thanks BQEYZ for sending me this review sample. Ive no self benefit involved with this company and as always I don't participate to any affiliated program and these are my 100% honest subjective audio impressions.


You can order the Wind for 240$ here: https://www.aliexpress.com/item/1005006042191996.html