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  1. DallaPo
    KBEAR KB06 | 1*DD & 2*BA | Rating: 8.1
    Written by DallaPo
    Published Sep 6, 2019
    Pros - generally good sound performance
    mids are not too much withdrawn despite V-signature
    good details and resolution
    fun tuning with pushing mids
    Cons - sometimes too much middle and upper bass, which then pushes too much into the mids
    some peaks that become fatiguing in the long run
    KBEAR hasn't been on the market too long yet and has proven its luck with its previous models, sometimes more, sometimes less. But so far there has not been a complete breakdown. The KB06 is a hybrid, consisting of 2 BA drivers and a dynamic one. Similar configurations can be found in the TRN V30, KZ ED16, HIFI WALKER A7, or REVONEXT RX8s. The KB06, I see behind the RX8s followed by the V30, which makes the KB06 the best KBEAR in-ear so far at a fair price.

    The seat and fit of the KB06 are fantastic. In addition there is the compact design, which shouldn't cause any problems even for small ears. The feel is exceptionally good in the budget range due to the metal plate and the round design, which makes the KB06 a perfect companion in everyday life. However, the cable is a bit fiddly and resembles the one that Knowledge Zenith also adds to its in-ears. You have the choice to order the cable with or without microphone.
    The colours are a silver metal plate on a cyan-coloured synthetic resin housing, or transparent with a black plate.

    The other accessories are very spartan, typical for KBEAR. Cables and three sizes of silicone tips. That's it!

    The isolation is excellent for me with the biggest tips. As with so many Budget-In-Ears, the driver flex is a small drop of bitterness, but it doesn't influence the sound. Admittedly, the Campfire Solaris isn't exempt from this either.

    The KBEAR is not only the best of the company, but also a good one compared to the competition.

    The bass concentrates more on the mid and upper bass, but is also not sub bass shy.
    This makes the KB06 a rather warm representative, which is well absorbed by the BA drivers. Nevertheless, it can sometimes be too much in the upper range, so that the bass sometimes lacks clarity and control in connection with the not quite so present sub-bass. Basically, however, it is very punchy and powerful. But here I like the performance of the TRI i4 more.

    Compared to the recently reviewed TRI i4 (which is also a KBEAR brand), the mids are more "In Your Face" which I like more than when I always have the feeling that I have to look for the mids in the mix, which makes some genres rather exhausting to hear. The KB06 almost manages the balancing act between forward going mids, but without too much sibilants or unpleasant peaks. The latter is unfortunately already present in some songs, especially when high female voices are involved. This leads to fatigue in the long run and does not always guarantee a long listening pleasure, depending on how sensitive you are in the frequency range. The separation and the stage, on the other hand, isn't quite as successful as with the TRI i4, but this is also due to the more present mid-range. If the mids come into play more, this is usually at the expense of a more intimate stage, which is not necessarily bad, but a matter of taste.

    I wouldn't call the highs boring, because they can reveal enough details and give the required airiness to the overall sound. However, some frequencies are sometimes more emphasized than others, which makes them more prominent than they actually have to be and vice versa. This doesn't make them as transparent as one would wish, yet the heard remains interesting at all times. Similar to the mids, peaks appear here and there, which are then also amplified and thus do not always provide a relaxed listening experience.

    If I write that the KB06 are the best of the company, it doesn't automatically mean that one should expect miracles here, because KBEAR was somewhat inconsistent in its previous models. I see the KB06 on a level with the TRI i4, where the KB06 puts the mids better, but doesn't have the precise bass. I find the TRI i4's highs more transparent and homogeneous, but the KB06 has a bit more expansion. Occasional peaks and sibilants both have to offer, which doesn't always make them the most relaxed companions. Of course, the price difference between the two models should not be forgotten. Nevertheless a good in-ear for a good price!

    More reviews: https://david-hahn.wixsite.com/chi-fiear
    Facebook: https://www.facebook.com/CHIFIEAR/
  2. Nimweth
    KB06: Less is More!
    Written by Nimweth
    Published Sep 3, 2019
    Pros - Sub-bass depth
    Dynamic performance
    Excellent soundstage
    Mids not recessed
    Price/Performance ratio
    Cons - Yes, you've guessed it. The same old KZ style cable and minimal accessories!
    The KB06 is the fourth branded release from KB-EAR, a relatively new company. It is a triple-driver hybrid, (1DD+2BA) and shares many features of IEMs from the aforementioned companies.

    It features a 10mm DD with a double magnet design, as seen in the KZ ZS10 Pro, ZSN Pro and CCA CA4. This boasts a field strength of 1 Tesla. Coupled with this are the familiar 50060 BA midrange unit and the ubiquitous 30095 treble balanced armature driver. In this sense, the KB06 is a simplified version of the ZS10 Pro which featured the same bass driver and two of each of the BA units.

    In a move away from the green and black colouring used on the Opal and F1 IEMs, the packaging is now similar to that used by KZ and CCA, a small white box with a picture of the IEMs on the front and some specifications printed on the back. Inside, the earphones are presented in a cut-out with the words “6 Units Hybrid Technology Earphone” printed below. Under this cut-out you will find the detachable cable, a set of three Starline-type tips and documentation. The medium size Starline tips are pre-fitted on the IEMs.

    The KB06 has a matt silver alloy faceplate which is softly curved and quite small. The body of the earphone is made of a clear acrylic in a cyan colour through which the components can be seen. There is a small vent on the rear of the earpiece above which is written “1 dynamic and 2 Balanced Armature”, in a circle around the L and R channel identification. There is a pinhole vent on the inner surface of the earpieces.

    The detachable cable is identical to that supplied with the KZ ZS10 Pro. It has a clear plastic connector (known as “Type C”) with the pins covered in a plastic shield. It is still possible to use other cables, which can be plugged into the protruding sockets on the IEMs. The cable itself is composed of braided copper and has a very long section between the chunky Y-split and the earpieces and as a result is somewhat prone to tangling. The plug is the usual right-angled plastic 3.5mm TRS type.

    The earphones were left burning in for over 72 hours before testing and included tracks of white and pink noise, glide tones and other audio conditioning tracks. After this I used a Hifi Walker H2 DAP with a Fiio A5 amplifier and a Sony NWZ-A15 for evaluation.

    I was unable to obtain a good fit with the supplied Starline tips so used the medium size grey and yellow tips supplied with the TRI i4 which fitted perfectly. Due to my particular ear configuration, I find angled connectors fail to provide a secure fit so also changed the cable to an 8 core hybrid cable from Hifi Hear. This provided improved comfort. Used like this, the seal and isolation were above average. The fit was very comfortable, allowing me to forget that I had earphones in my ears! I experienced a good volume level via the headphone output but I found the sound balance preferable when run through the DAP via line out with a headphone amplifier.

    The KB06 surprised me on first listening with a well-balanced and dynamic presentation full of detail and life. Sub-bass was very impressive, mid bass was controlled well and did not bleed into the mids. Midrange was clean and open with an excellent soundstage and treble was bright and clear with no noticeable peaks or artefacts. This was a great performance, unexpected at this price level. The implementation of the 50060 midrange BA was particularly impressive and the 30095 treble BA showed good control and timbre.


    Sub-bass dug deep and possessed good definition and texture. There was no boominess and decay was natural and well-controlled. Transient attack was fast and incisive, imparting an attractive vitality to the sound. The deep organ pedal notes in Elgar’s “Sursum Corda”, performed by the London Symphony Orchestra under Richard Hickox were powerful and weighty, providing a wonderful foundation for the noble melody. Timpani and bass drum also featured well in this piece and benefited from the KB06’s excellent tonality. “Above the Stars” is an electronic piece by Alexei Zakharov. It features a deep bass drone and synthesised bass drum. The depth and impact were impressive and complemented the delicate high percussion elements beautifully. Mid-bass was nicely voiced with no undue emphasis, therefore allowing a smooth transition into the midrange with no noticeable bleed.


    The midrange was not noticeably recessed. It showed good definition and detail and had excellent clarity. It was a little forward than neutral and this balanced out the overall presentation very well. Soundstage was very well-defined with a notably three-dimensional effect which came to the fore in well-recorded pieces. A perfect example of this was “Music for Orchestra (1967)” by Geoffrey Bush. In a beautiful Lyrita recording with the LPO conducted by Vernon Handley, the orchestral colour and dynamics were wonderfully handled. The solo trumpet and piano parts and the syncopated percussion were remarkably lifelike with a superb dynamic range. This piece is a perfect demonstration track and the KB06 revelled in it, delivering a superbly exciting and entertaining performance. This quality continued into the upper mids where the energetic and clean delivery impressed again. Vangelis’s ”Intermezzo” from his “Nocturne” album showed this with massed string synths soaring and singing against a deep bass backdrop with the excellent separation allowing the smallest details of texture and ambience to be heard clearly.


    The quality of the treble was testament to the progress made in tuning of the familiar 30095 BA unit. Gone are the days of harsh peaks and edgy tonality as in the ZST, ES3 and original ZS10, to be replaced by an extended, clean and open delivery full of detail.. The high synth leads and percussion in Richard Burmer’s “Reunion” from his “Bhakti Point” album illustrated this perfectly. The superb clarity enabled all the subtle elements in the production to be heard clearly and the smoothness of the reproduction made for a relaxing yet animated experience. “Quotation of Dream” is a modern orchestral work by Toru Takemitsu scored for two pianos and orchestra. As its title suggests, it has an impressionistic dream-like quality with subtle piano figurings set against an imaginative orchestral accompaniment reminiscent of Debussy’s “La Mer”. In the version by the London Sinfonietta under Oliver Knussen, the delicacy of the pianos were very well reproduced by the KB06 and created a perfect balance with the orchestra. Detail was handled very well and added to the overall impression.


    The KB06 performed very well here, with an impressively wide and deep soundstage and also possessing a good depiction of height. As a result solo instruments and lead vocals stood out very well from their accompaniment. Stereo imagery impressed with positioning of instruments in the orchestra precisely placed and with a pleasing ambience. Vaughan William’s “Serenade to Music” demonstrated this perfectly. In Richard Hickox’s recording with the LSO the orchestra was laid out wonderfully with a natural spread and the individual timbres of the instruments easy to discern. In “Roxanne’s Veil” by Vangelis and Vanessa Mae, the violin was placed high in the centre of the image which gave good separation from the powerful synthesiser accompaniment and resulted in an exciting presentation. Similarly, vocals stood out well from their backgrounds, Chris Izaak in “Wicked Game” and Richard Marx in “Hazard” being good examples of this with lyrics being clearly enunciated.


    The KB06 certainly punches above its weight and I consider it to be the most successful model so far from KB Ear. With its simpler three-driver configuration I found it preferable to the KZ ZS10 and CCA C10 which use the same drivers but double up on the BA complement. It became a case of “less is more” with the simpler crossover network and driver count delivering a lively, exciting sound while at the same time remaining even-handed across the frequency spectrum. The KB06 embodies some of the qualities of the ZS7 (in the bass) the CCA C10 (in its balanced presentation) and the KZ ZS10 (in its dynamics) and treads a perfectly balanced path between these extremes. With a comfortable fit and seal, at its current price of around $25 it represents superb value and cannot be recommended too highly.
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  3. Wiljen
    KB06 - the best KBear offering to date
    Written by Wiljen
    Published Aug 29, 2019
    Pros - very comfortable for long wear, best KBear to date for sound quality
    Cons - cable is KZ style with splitter too low and no chin slider.

    disclaimer: Thanks to Wendy at KBear who generously sent the KB06 for review. I have previously reviewed the KB10, F1, and Opal offerings as well as the KBear ugprade cable (in queue). I have no affiliation with KBear other than as a user/reviewer of their products.

    Unboxing / Packaging:

    The KB06 comes packaged in a slip-cover style box that is more than a bit reminiscent of the KB10 or CCA packages. Knowing that at least one of the KBear line is OEMed by the same company as CCA makes me think this is likely the case with the KB06 as well. Once the slip-cover is removed, the earpieces sit in a foam tray with everything else hiding underneath. Kit is pretty standard as well, with three sets of star tips in SML, the cable, and instructions and warranty card rounding out the package.

    kbear-kb06-box-front.JPG kbear-kb06-box-rear.JPG kbear-kb06-box-internal.JPG kbear-kb06-kit.JPG


    The KB06 uses a 2 piece shell with the inner shell and nozzle made of smoked transparent plastic and the outer being an aluminum alloy. The outer shells are very labeled "1 dynamic, 2 balanced armatures" with either L or R in the center. The Hoods on the cable are clearly marked as well making mating an easy task. Vents for the dynamic driver are on both the outer shell as a small slot with a screen and two pin-hole vents on the inner shell, one behind the nozzle and the other inline with the bi-pin connector. Nozzles exit the bottom of the inverted teardrop shape with a slight forward rake and a small lip for tip retention. The KB06 is a fairly small and light in-ear and when combined with tip-up wear fit is easy and comfortable. Insertion depth is slightly deep and isolation is better than expected for a vented shell.

    kbear-kb06-under.JPG kbear-kb06-top.JPG
    kbear-kb06-outer.JPG kbear-kb06-ears.JPG kbear-kb06-connector.JPG kbear-kb06-bottom.JPG kbear-kb06-back.JPG


    The KB06 is a triple driver hybrid using a 30095 high frequency balanced armature driver, a 50060 mid frequency driver, and a 10mm dual magnet dynamic driver for bass. Nominal impedance is listed as 24Ω with a sensitivity of 111dB/mW. I found the KB06 to be easy enough to drive with a cellphone or tablet and to scale a little with higher potency sources, but not enough to warrant purchasing an amp specifically for use with this in-ear.



    The cable provided with the KB06 starts with a gold plated 3.5mm TRS jack in a straight housing with a small strain relief. The cable itself exits the jack in a double twist pattern up to the splitter. This is another giveaway as to who makes the cable for KBear as the splitter is too low and in exactly the same position as on other KZ models. The splitter is a small metal barrel though, differing from their standard offering. Above the splitter, the wires are a looser wrapped twisted pair up to the pre-formed earhooks and clear housing for the bi-pin connectors. The connectors are the newer hooded style but differ from the standard in that they use a .75mm connector.

    kbear-kb06-jack.JPG kbear-kb06-splitter.JPG kbear-kb06-bi-pin.JPG




    The KB06 has good sub-bass extension and rumble with roll-off being notable below the mid 40s. Sub-bass is elevated considerably with mid-bass stepping back from the sub-bass but still mildly emphasized in the overall mix. Speed is better on attack than decay leaving a bit of lingering warmth and a definite mid-bass bleed into the mids that while present is not overwhelmingly so. Mid-bass detail is only average with timbre being slightly unnatural at times as it seems a bit thin.


    Lower mids are a touch recessed and combined with the mid-bass bleed can feel a bit crowded at times. As you move up, the upper-mids are pushed more forward in the mix and clarity improves as you move away from the lower mids. As a result female vocals are more present in the mix while male vocals fall back into the mix at times and could use a bit more presence than they are given. Guitars can suffer the same fate as male vocals in the lower registers and then jump toward the listener in the next passage when a higher passage is played. Most of the time this is not extremely noticeable, but on a few tracks with better than average dynamics of those with a pronounced interplay between bass and electric guitar the distance between the two is more evident.


    Treble is a bit uneven with some areas emphasized more than others and while it does give the KB06 a few sharp spots, it also manages to deliver a bit of livelihood to the mix. I didn't find the KB06 to be particular harsh or strident despite the uneven treble, but also didn't find it to be particularly detailed. Cymbals come off slightly flat and a bit less lifelike than I prefer, but this is a trade off made for creating a polite treble.

    Soundstage / Imaging:

    Soundstage is wider than deep which is not uncommon at this price point, but lacks much of any feeling of height in the mix. Seating the orchestra shows some overlaps and a bit of imprecision as the KB06 is better suited to rock/pop than large ensemble. Instrument separation is good up to a point and then seems to get a bit overwhelmed. Imaging is good with spatial cues being well represented and movement around the stage easily tracked. Layering is adequate, but again can suffer as tracks get overly busy.


    I've tried to select a few iems in my collection that are readily available at the same price point to compare against. This should help give readers a better feel for where the KB06 fits in the grand scheme of things.

    KZ Zs6 - Shell is more durable on the Zs6 but also less comfortable as the shape is awkward for some. Both have good sub-bass with the Zs6 having more mid-bass emphasis, a more recessed mid section and sharper treble. The Zs6 can be pretty harsh on the upper end depending on source material while the KB06 tends to be more polite and less strident. The Zs6 could be thought of as more lively while the KB06 is more controlled in its delivery. Neither is great for strings or orchestral pieces.

    Auglamour F300 - Here again we have metal shell vs plastic, but the F300 is much more comfortable compared to the Zs6 so less likely to be a fit issue. Sound wise, the two go toe to toe with the KB06 having better bass depth and a bit more bass emphasis while the F300 has a more even treble and a bit better separation. These two are similar in most respects as neither is going to be light years ahead of the other but based on listening preference, I think people will have a definite preference for one or the other.

    Yinyoo V2 - This is a tougher fight for the KB06 as the V2 brings an all metal shell that is both durable and small enough to be comfortable. The V2 comes much closer to neutral than the KB06 so those looking for a neutral listen will likely prefer the V2 while those enjoying a bit of extra sub-bass presence will like the KB06 a bit better.

    Thoughts / Conclusion:

    KBear has recently come into the market and has delivered a very mixed group of products thus far. I wasn't a huge fan of the Opal, but found the F1 to be quite good, the KB10 has an unfortunate treble tuning that makes an otherwise good signature difficult for me to enjoy, and now we have the KB06 added to that mix. I can easily say that I think the KB06 is the best KBear to date for fit as it is more comfortable for me even when compared to the miniature F1. Signature wise, it has better bass and a more polite treble than the F1 and a much better treble tuning than the KB10. I have to say that I think the KB06 is movement in the right direction and if i were an exec at KBear, I'd focus on the KB06 and F1 for improvements for the next generation of products as I think both have the potential to really shine with a little more tweaking and tuning (oh and a better cable).


    1. KBear-KB06-internals.jpg