CCZ Melody: For Bassheads but with Flaws
Intro
CCZ is a brand focused on budget IEMs, and today I have the pleasure of informing you about their model Melody, available at KeepHifi for $23 USD. In this case, we'll be looking at how the USB-C version of the Melody performs and I’m excited because I've read many positive reviews about the 3.5mm version from other reviewers.
If you wish to read this review in Spanish, click here
Check out previous reviews here (or in spanish here)
Disclaimers:
- Many thanks to the KeepHifi team for providing the CCZ Melody for an honest review
- Analysis over 4 days – sessions of approximately 2 to 4 hours each
- All music used is lossless (Qobuz > 16bit – 44.1kHz)
- Gear Used: Samsung A50
Unboxing, Build & Comfort
CCZ Melody: It is a very lightweight IEM due to its somewhat plasticky construction. Although I don't consider this a major issue, I've noticed that IEMs in this price range have significantly improved their build quality, and I feel that the Melody is somewhat behind. Additionally, the area around one of the IEMs' 2pin connector receptacles is a bit loose, and it can be moved when the cable is connected, raising questions about its durability.
Despite these drawbacks, let’s talk about its driver composition. The Melody features two drivers: a 10mm dynamic driver (DD) with a dual magnetic circuit and a balanced armature (BA) custom-made by CCZ for reproducing mids and highs. Lastly, its nozzle has a diameter slightly less than 5mm.
Cable: The Melody comes with a 4N-type copper cable, OFC and featuring 4 cores. It has 0.78mm 2-pin connectors and terminates in USB-C in my case. Paying $23 USD, I find it acceptable and would say it's better than what KZ offers with their IEMs.
Eartips: According to the information provided by CCZ, the three pairs of included eartips have a design with an annular opening that allows for more three-dimensional reflected sound. Honestly, I didn't like them and will elaborate in the comfort section.
Comfort: On one hand, the lightness of the Melody model is welcome for extended use. They are somewhat bulky but comfortable in this regard. The other side of the coin is the provided eartips. I couldn't find the right size for my right ear at any point. The small size I usually use didn't fit correctly and kept falling out, while the medium-sized ones went in but gradually slipped out because my ear canal is narrower than that eartip size. Overall, the comfort is good, but in my case, it's a priority to change the eartips to preferred ones, such as the Spring Tips from Moondrop.
Driveability: The USB-C version is designed for a user-friendly experience, making it ideal for use with a smartphone. However, you can change its cable to provide more power, though there's not a substantial benefit (the soundstage opens up a bit more).
Functionality and Sound
Noise Floor
A common aspect I evaluate for both DACs and headphones with USB-C connection. Unfortunately, once again, I find myself in a situation where the noise floor is noticeable, similar to the Moondrop JIU. My typical song to check this is the silent opening of "Swan Lake, Op. 20, TH.12: Introduction" performed by the Boston Symphony Orchestra. With more energetic music, like Tiesto's album "Drive", or in situations where you use these earphones outdoors, the background noise tends to get lost amid electronic sounds or external noise. However, with music that often has passages where the volume of the instruments isn't at its peak, the noise becomes quite noticeable in my opinion.
Sound Description
Credits: Ian Fann
Bass
Two words: bass explosion. I'm sure there must be even more bass-oriented headphones, but these are among the first IEMs I listened to that deliver so much power in the midbass, reaching a literal lack of control. A superfluous punch for those who enjoy dance, dubstep and other electronic genres.
As for the subbass, its extension is average, leaning towards poor, and it is considerably overshadowed by the powerful midbass. In "Like Wooh Wooh", the kick drum that marks the tempo often sounds so strongly that it overshadows the subbass baseline present in the chorus.
Mids
When I mentioned a total lack of control in the midbass, I wasn't exaggerating, and this directly impacts the presence and naturalness of the midrange. I just used "Miss You" by Adele to confirm this: the kick drums take over the scene, leaving Adele somewhat overshadowed. Both female and male voices adopt a soft character that not even high-pitched female vocals can alter. However, vocals tend to be the elements that have the most authority in their reproduction by the Melody.
Albums like those of Sinatra, with various midrange instruments, minimal bass, and a powerful voice like Frank's, highlight that these IEMs have a certain preference for deep voices and specific wind instruments like trumpets and clarinets (although these tend to have a metallic tone from the BA). I'm surprised that despite the peak created around 3kHz, the Melody doesn't achieve a lively and tactile reproduction of strings. Tom percussion in drums suffers a similar fate.
Treble
For this section, I used a different song from the usual Tchaikovsky piece. In this case, the live version of "Live Undead" by Slayer features the song "Black Magic", which begins with the sound of an electric guitar and the constant percussion of ride cymbals. Right from this point, it's easy to notice that the air in the high-end is somewhat lacking due to the deficiency of extension in the sound of the cymbals. The brilliance of the treble is present but won't satisfy any lover of these frequencies. The combination of the mentioned characteristics results in cymbals and bells having somewhat poor definition but remaining easy to hear for users sensitive to the treble region.
Soundstage & Imaging
These are the two attributes that left me satisfied with an IEM that costs around $20 USD. Listening to the live version from Buenos Aires of "Every Teardrop is a Waterfall" by Coldplay, I could accurately perceive the distance between the audience and the stage. The width is average but adequate, as is its depth, allowing my ears to perceive a certain separation between the drums and Chris Martin, as well as the electric guitar to his left. This correct instrument separation is somewhat diminished when a commanding bass is played, as in "The Trooper" from Iron Maiden's "Live After Death", but this is not as severe as I would expect from the Melody's signature.
Comparison vs. Moondrop CHU II
These observations will be more of a summary since the signatures are different enough that it seems like comparing apples to oranges.
Credits: Ian Fann
Primarily, I believe that the tuning of the CHU II will be more sought after by a wide variety of listeners. Having a signature that is a slight V-shape but not deviating too much from Harman allows the CHU II to focus on subbass and bass as its primary strengths without neglecting the rest of the spectrum, particularly referring to the mid frequencies. Because of this, the CHU II is likely to perform better across a wider range of genres compared to the aggressive V-shaped signature of the CCZ Melody. In electronic music or genres with a considerable presence of mid bass, the Melody remains the king, but I doubt that most people dedicate their time exclusively to just one particular genre.
Transitioning to the mids, as mentioned, the CHU II has the advantage by not having a significant bleed towards this range, allowing it to reproduce mid frequencies with prominent naturalness when listening to these earphones side by side. Specifically, instruments capable of reaching high notes (electric guitars) have an extra level of definition that is very welcome in a budget IEM. It may be that the Melody's BA allows winds to sound better on this IEM, but that's the only highlight I can point out in the comparison.
The treble is extremely similar in both models: somewhat dull but safe, in my opinion. Neither stands out in this regard, both lacking micro and macro resolution.
Soundstage and imaging are the minor features in which the Melody comes out on top (although by a small margin). The stage width is practically the same, but the depth created by the Melody stands out compared to the CHU II, providing a more realistic sensation in live songs/albums. As a result, instrument separation tends to be better, and the Melody avoids falling into instrument congestion a bit better (although both struggle with orchestras, as expected).
Conclusion
Strictly speaking of the Melody, the performance it delivers is not at all bad considering its price and the targeted sound signature. For that reason, I want to make it clear that the final score and my decision to not recommend it are not solely based on a subjective preference for other types of sound signatures. Instead, the IEM's construction, some of its accessories, and a lack of refinement in its tuning prevent it from standing out in its price segment, especially given the extensive competition available today.
If you are particularly someone seeking this type of tuning and find the sonic characteristics of this IEM appealing, I would personally recommend the version with a 3.5mm connector to avoid the annoying noise floor present in the USB-C version.
