KB EAR Robin

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Disclaimer:

• Keephifi sent this unit to me in an exchange for an honest, unbiased review. Rest assured that this review will try its best to deviate from any bias/es.
• The following remarks and observations shall be made and owned only by me.
• No monetary compensation is/was involved before, during, and after the period of creation of this review.
• Your mileage may (and always, will) vary.

Burn-in time: 5-10 hours per day, 5 days.


Source/s used:

• Hidizs AP80
• VE MEGATRON USB DAC
• Zishan U1 USB DAC (AKM Variant)
• Cyberdrive Feather DAC
• Non-HiFi smartphone (realme 5i, Samsung Galaxy On7)
• Local Files via Foobar and Roon, YouTube Music, Deezer, and Qobuz with UAPP.

IEM/Earbud/Setup configuration: Stock white medium eartips, stock cable, any form of EQ or MSEB off, 40-60% volume, both high and low gain, with and without extra amplification.

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Sound signature:

• Balanced-mild v-shaped that leans to the warmer side. Smooth, thick sounding IEM. A very good all rounder IEM for most music.

Lows:

• The lows are the “focus” of the KB EAR Robin. Actually, most KB Ear products leans to the warmer side of the spectrum. The lows here are thick, deep, fairly controlled and smooth. Decay leans to an average to slightly slower side of the spectrum When compared to the KB Ear KS2, the KS2 is more rumbly and leans to a more subbass-sy side of elevation but lacks a bit of control. The Robin however leans to a slight midbass punch, but most of the time the elevations of both midbass and sub bass are equal. This is for sure will cater bassheads and their precious EDM and other bass heavy tracks.

Mids:

• With the lows exhibiting slightly slower decay, the mids also have instances of midbass bleed. However, the lower mids are recessed but never got drowned or muffled. It just added a bit of warmth and thickness to it. This is very evident on male vocals more than instruments. Upper mids are slightly elevated with average clarity, sparkle and air, but greatly avoided any harshness without being lacking. Red Velvet’s “Feel My Rhythm” here sounds musical, smooth, and enjoyable, unlike when listened with neutral or bright IEMs, the sound is a bit harsh.

Highs:

• The treble on the Robin is “naturally” extended. Not too much and not too rolled off either. There is a bit of elevation here but not as elevated as the lows . Decent amount of air extension is also observed in my tests. Detail retrieval is average as you can hear nuances a bit easily. This shows that the KB Ear isn’t for those people who seek for excellent detail retrieval or technical listening. This IEM caters more to the musical side of things while keeping most details present.

Soundstage, Imaging, and separation:

• The soundstage of the KB Ear Robin is average with slightly below average expansion. I am not saying that the soundstage is too narrow, but for this price, it could be better and a bit wider. It is wider than width with a fair amount of height as if you were in a bar or room. Separation here is surprisingly above average because it handled very busy tracks fairly easily with little to no hints of congestion present. Imaging is also above average for me because despite having a below average expansion, it did manage to present the vocal and instrument positioning fairly accurately.

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Pros:

• Warm, non-fatiguing sound quality and signature.
• Full-sounding lows.
• Thick, smooth mids.
• Non-harsh natural treble.
• Above average imaging and separation for its price.
• Matte, new paint finish to avoid any paint chipping.
• Hassle-free fit and isolation.
• One of the best packaging and accessories for its price. IT actually has 2 sets of eartips and a case.

Cons:

• Instances of midbass bleed are present on most tracks.
• Not the best detailed sound for its asking price.
• Trebleheads may find the treble “lacking”
• Soundstage is far from narrow by any means, but could be better in terms of expansion.
• A cable winder would be a treat for everyone (subjective).

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The KB Ear Robin is by far their best offering that I have experienced among their products (I haven’t tried the KB Ear Ink and the Aurora yet, my apologies). Its sound is very easy to get along with because it is an all-rounder, warm sound that will not offend anyone’s ears. This will definitely sound good in most tracks that you play it with as it focuses itself on the musicality itself rather than being too technical like most IEMs in this price range today. KB Ear seems to have a pattern here in terms of their house sound. They do acknowledge the fact that the source really matters and their products need a good synergy to shine. Sure it will sound alright on warm sources, but neutral-sounding sources are the way to go to their products for it to really shine.


Pairing recommendation/s:

• Source: The KB Ear Robin sounds best when paired with a neutral source to lessen the excessive thickness, lesser midbass bleed, and more open sound. It does not need to be too powerful, a dongle like the Jcally JM6 for example, will do.
• Eartips: They give you 2 sets of stock eartips in the box. I prefer the white silicone eartips for better fit and comfort. However, you can always use your preferred eartips (Hint: use wider bore eartips!)

Thank you for reading!

Non-affiliate product link: https://keephifi.com/products/kbear-robin?_pos=1&_sid=c25fdd39b&_ss=r&variant=39449816825902

Hello, mates and welcome to my another IEM review article and I have this product from KB EAR. This is actually my second product from them as I reviewed their previous item, The KB Ear KS1 which was a single DD set-up.

KB Ear is an audio company based on Shenzhen, Guangdong Province in China as we all know that place as one of the most technological hub and a manufacturing powerhouse in the world. They are part of Shenzhen Lingyin Technology Co., Ltd. which also handles another audio brand that caters the midrange and premium segment, TRI.

KB Ear recently gains some traction from audio enthusiasts due to their products that offers a decent quality for a price value. KB Ear BElieve and KB Ear Lark are one of those products that are still popular amongst the audio community. And now they release their latest product, The KB Ear Robin.




KB Ear Robin is somehow a successor of KB Ear Lark as part of their “Bird” series. Like its predecessor, it is also a hybrid driver set-up with a dynamic driver and balanced armature. This IEM has 10mm dual-magnetic dynamic drivers for better bass response and 4 custom balanced armatures for mids and highs for better resolution and clarity.



The materials of its shell are made of good quality translucent polycarbonate in the cavity base and zinc alloy on its faceplate in a blueish hue with debossed multi triangular-like fish scale pattern that aesthetically appealing as minimalist yet classy. It’s nozzle is made of aluminium alloy to ensure ear tips stability and rigidity. Another commendable decision of KB Ear is to implement their own electronic crossover tech which they coined it as “4g electronic frequency” to handle better output signal quality to avoid some distortion. KB Ear Robin uses a proven 0.78mm 2-pin connector for stable and ease for cable replacement.



The fitting of this IEM is comfortable enough to fit into my lug holes but its a little bit loose on insertion due to just short to average nozzle length and quite wobbly whenever I do my daily routine which is brisk walking. The isolation is just average too as I hear 50% of the external noise from the outside environment but this is actually a good thing as it will just let you aware on what happen in your surroundings.

The packaging box of KB Ear is a medium-size one and of a blue colour as it really looks very elegant. It has a well-organised placing of the accessories and the pair of IEMs inside of its box.
The following included accessories are:
• A pair of KB Ear Robin IEMs.
• A three (3) pairs of black ear tips of different standard sizes.
• A three (3) pairs of white ear tips of different standard sizes.
• A four strands 4N OFC cable with a L-shaped 3.5mm termination plug.
• A canvas zippered IEM case.



KB Ear Robin is notably very easy to drive as it can be powered directly to any decent sources like smartphone and laptop. They are already full sounding around 40%-50% of volume steps though it could also benefited from better sources such as DAP and desktop DAC/amps.



The tonality of this IEM is more on slightly V-shape sounding as it has a more emphasis on bass and treble while slight a bit niche midrange. It has warmish sounding and yet with more smoother treble response.
Here are some of my observation on each section of audio frequency range:

LOWS/BASS:
The bass is pronounce in the audio here in KB Ear Robin, more on being borderline boomy, has a decent slam and cogent as I noted.

Sub bass performs sufficiently as I hear to those rumble but not somehow perform less depth reach compare to some dynamic drivers. In any case, It still deliver a cleaner resonating sound without interfering in other audio spectrum. Mid bass has more texture on this one as it gives more authoritative and thunderous sound of a bass kick, an added growl and raspingness of bass guitar, and lastly, a deep and guttural sound bass-baritones and other male type vocals.
In some tracks that I’ve played and listening to, a hint of bass bleeds is salient but not to the point of being bothersome. After all, I still admire its bass performance as I can distinctly the differentiate well between a bass kicks and bass guitar. For a bass I give it a good mark.

MIDS:
The mids has a good texture, warm and articulate but as a midcentric type of listener, I still find it as recessed in my liking especially on vocals.

Male vocals has good texture and well- bodied density as it gives off a more deep and fuller sounding. Female vocals sounds also more luxuriant but it is noticeable that it has less resolution and lacks a bit of energy to sound more open that makes more natural and pleasurable to listen those sweet female voices.
Instrument-wise, they perform well as intended as they sound at least more organic into my lug holes. Acoustics guitar has that “woody” and mellow sound that articulately enough just hear those plucking, a more warm and mellow sound of a piano tone, a brassy sound of wind woods and the finally, most stand-out and the prominent instrument that pays my attention is it snare drum quality. I’m quite astonished on how snare strikes sounds really good on this one, I feel those good groovy beats with its penetrating, precision and shuffling (try John Bonham's or Neil Peart's drumming tracks).

Certainly that I have some reservations on recessed and niche mids but snares really pleasant and intoxicating to listen.

HIGHS/TREBLE:
The treble quality of this one is approaching on being smooth in delivery, absence of harshness and decent detail resolving.
The upper mids and lower treble are somehow has just some elevation a bit as presence of sibilance is almost minimal to none and not a hint of strident sounding. Notwithstanding, the airiness and the treble extension of KB Ear Robin is a bit too lacking and inadequate in my bias on wanting a well-defined and crisp treble, as it seems that whenever a cymbals strikes on most tracks, It has sounds less shimmer in my preference.

Overall, despite of some lacking aspects on its treble, it still manage to sound at least a decent with above average on projecting some resolution.

SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
As I pointing out its perceive dimensions on its overall proportion of its soundstage or sound field, it has an average to above average size on its width, good depth reach and average height. Imagine that you are in a medium-size pub, that’s how I imagine the perceive spaciousness of its size.
Imaging performs decently as I can locate the positions and placement of instruments on its ascertain spatial points but not the most accurate one as I perceived it in more indistinct manner. The capability of its separation and layering of instrument performs satisfactory, not bad nor exemplary, they have just an ample spacing and gaps to gives to give any given distance axes. Timbre quality is more on a natural and broader texture.
Transients speed of drivers are a bit on side between slow and moderate pacing that gives off a more lollygagging decay or roll-off.

As I conclude my assessment on this IEM, All I can say that KB Ear Robin performs very well on its given price point as it delivers a warm tuning, pleasant and relaxing for long listening session and well-balanced set for both casual listener and audio enthusiasts.

Despite of some deficiencies in some points, It does really do represent well on its strong points as it outweighs those drawbacks.

The KB Bear Robin is currently cost at US$55.00/£41.00 and it is available to all e-commerce sites.



SPECIFICATION:
MODEL: KB EAR ROBIN
IMPEDANCE: 18Ω
SENSITIVITY: 110dB
FREQUENCY RESPONSE: 20Hz - 20KHz
CABLE LENGTH: 1.25M
PIN TYPE: 2-PIN CONNECTOR
PLUG TYPE: 3.5mm
DRIVER UNITS: One (1) DYNAMIC DRIVER + Four (4) BALANCED ARMATURE DRIVERS

Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss- A Living Prayer *
Debbie Gibson- Foolish Beat *'*
Led Zeppelin - When The Levee Breaks *'*
Santana - Europa *
Europe - Final Countdown *
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Barry White - Never, Never Ever Give You Up
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Agent Steel - Bleed for the Godz*
Metallica- Fade to Black **
Camouflage - The Great Commandment *
Queen - Killer Queen **
Michael Jackson - Billie Jean *
Bad Manners - Just a Feeling *
Riot- Warrior *
Mariah Carey- Love Takes Time *
Layla Kaylif - Shakespeare in Love *
Stone Temple Pilots - Plush *
David Bowie - Heroes **
Prince - When the Doves Cry *
Exodus - Metal Command *
Marduk - Blond Beast *
P. Diddy - Last Night *
Bone Thugs-n-Harmony- The Crossroads*

P.S.
I am not affiliated to KB EAR 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 thank Wendy Li of KB Ear for providing this review unit, I truly appreciate on her generosity towards me and other reviewers.

If you are interested this IEM product from KB Ear, Just check out the link below:
Ali Express: https://www.aliexpress.com/item/1005002995847825.html?spm=a2g0s.9042311.0.0.607d4c4djAjUtG

Introduction:

The KBear Robin looks like the Lark but mind you it sounds extravagantly different than its elder sibling. The Robin is configured with a 10mm Dual-Magnetic Circuit Dynamic Driver and 4 custom balanced armature drivers covering all the frequencies. The Robin fells relatively clean and fun, although it doesn’t embody the fullness of the tracks in terms of the imaging and separation. But it’s a great add on to any one’s collection!

SPECIFICATIONS:
Drivers: 10mm DD + 4 custom balanced armature drivers
Frequency response: 20 Hz – 20,000Hz
Impedance: 20 Ω
Sensitivity: 110 dB
Cable: 2 Pin 0.78mm, 4N copper cable.
Price: $54 USD


WHATS IN THE BOX:
KBEAR Robin IEM
2 sets of Silicone tips –wide bore and narrow bore
A braided brown 4N oxygen free copper cable
Same IEM case that is included with the Larks

Sound Source:
I used the Robins on my Shanling M3X, on dual DAC and high gain mode. As for the Player Applications, I circled around the Hiby Music App with MQA enabled, as well as the Build-in Shanling App, and at times venturing for a Tidal Playlist via UAPP app. I used the standard ear tips that were included with the KBEAR Robin, as well as the stock cables.


Build Quality and Comfort:
The KBear Robin is almost identical to the Larks that KBear Release some time ago, the only difference would be the designed engravings that they have. Also, upon looking at the Robins you can see the 3 more Bas that are present inside of it. The ports are also identical having a 2-pin port that has a protruded port from the IEM. It is also heavier than the Larks. Comfort wise, the Robins are quite comfortable, the weight is substantial enough, yet it isn’t that heavy. Overall, it has a great front aluminum panel and a semi opaque body letting you visualize the BAs and the DD inside.

My Subjective Impressions:

DISCLAIMER

I would like to thank KBEAR for providing this review unit. It can be gotten at https://www.aliexpress.com/item/1005002995847825.html


EXECUTIVE SUMMARY

The KBEAR Robin is a smooth and non fatiguing set. It doesn’t have the best technicalities, and it is not tuned to be an analytical set, but it is very suited for chilling back and enjoying the music for what it is. Treble sensitive folk will be quite at home with the tuning.


SPECIFICATIONS

• Driver configuration: 10mm dual-magnetic circuit DD + 4 customised balanced armature (BA) drivers
• Frequency response: 20 Hz – 20kHz
• Impedance: 18 Ω
• Sensitivity: 110 dB/mW
• Cable: 2 Pin (0.78mm), 4N oxygen-free copper cable.
• Tested at $54 USD

ACCESSORIES

Other than the IEM, the KBEAR Robin packaging comes with:

• Silicone tips – One set of eartips are wide bore, the other set are narrower bore.
• Cable – The cable provided is quite well braided and is a 4N oxygen free copper cable. It has minimal microphonics and is very usable.
• Semi rigid case

The accessories provided and the packaging are very similar to the older KBEAR Lark. I find it very adequate at this price range, no complaints on my part, as I’ve definitely seen similar priced competitors with worse accessories.

YMMV, as we have different ear anatomies, but regarding the eartips, the narrow bore ones boost the bass, whereas the wider bore ones boost the higher frequencies. It is a nice touch that KBEAR provided 2 different sets of eartips so that one can tiproll to see what suits your sonic preferences.

I liked that the KBEAR Robin’s cable featured a 2 pin connector, I had my fair share of mishaps with MMCX type connectors after switching cables once too often, they ended up like spinning windvanes.

For the purposes of this review, the stock tips and stock cables were used, so as not to change the sound signature with aftermarket gear.


BUILD/COMFORT

The KBEAR Robin’s shell appears externally similar in shape to the KBEAR Lark, but the Robin is heavier and sturdier. Comfort is good, I have used the Robin for hours at a time with no discomfort. I received the blue coloured version and it has a quite unique hue that stands out from the usual silvery/blackish shelled CHIFI IEMs.

I didn’t have driver flex with the KBEAR Robin, but this is a YMMV situation, as driver flex is partially related to the eartips we use and our ear anatomy.


ISOLATION

Isolation is above average, and is quite acceptable considering it is a vented set, it can be used outdoors for sure.


DRIVABILITY

I tested the KBEAR Robin with a Khadas Tone Board -> Topping L30 amp, Sony NW A-55 DAP (Midnight v2 Plus v2 Mr Walkman Mod), smartphone, Shanling Q1 DAP, Tempotec Sonata HD Pro, E1DA 9038D, and a Khadas Tone Board -> Fiio A3 Amp.

At a sensitivity of 110 dB/mW, the KBEAR Robin is easily drivable from a lower powered source, amping is not really compulsory.


SOUND & TECHNICALITIES

The KBEAR Robin is a warm and bassy V shaped set. Tuning is towards laid back and non fatiguing. It kinda reminds me of the CCZ Plume and BGVP DMG in terms of tuning, if you have heard them before. The KBEAR Robin keep the same midbass focused tonality as these 2 sets, but have weaker technicalities than them.

Bass on the KBEAR Robin is midbass focused. The subbass extends quite well for a DD bass, with good rumble, but the midbass is still the predominant frequency. The midbass quantity is quite north of neutral, but it isn’t a true basshead set per se. The midbass speed is on the slower side, texturing is below average, and the midbass does bleed a bit, and encroaches into the lower mids.

For non bassheads or those who want a fast and tight bass, the bass amounts can be tamed to some extent with wider bore ear tips or tightened slightly with amping, but even so, the midbass is still on the boomy side even when amped.

The KBEAR Robin’s lower mids are thickened and warmed by the aforementioned midbass bleed. This may cause some loss of transparency and clarity in the lower mids, and give a bit of a veil. It adds to some lushness in the lower mids, but I understand it is a love it or hate it kind of issue as such.

Upper mids on this set are tamed, nothing shouty like a classic V shaped CHIFI set, so it isn’t fatiguing. Though as a consequence, vocals may not cut thru sometimes, and may sound recessed. Mid lovers will need to look elsewhere for their vocal fix.



The lower treble on the KBEAR Robin continues on from the safe upper mids, it is very relaxed and smooth. Treble borders on dark, sibiliance is minimal and upper treble doesn’t extend that well, and hence there is some loss of sparkle and microdetails. Honestly trebleheads will not be pleased with the resolution of this set, but this is a set that will make treble sensitive folk feel at home.

Technicalities are below average at the $50ish USD price range. Instrument separation, imaging, microdetails and clarity are hazy as mentioned, contributed in part by the midbass bleed encroaching into the mids. Soundstage is also not the best at this price bracket and music could sound congested in complex tracks.

Timbre is actually quite good for a hybrid containing BA drivers, there’s a very slight hint of BA timbre for acoustic instruments for the higher frequencies, but nothing deal breaking in my book. In fact, timbral accuracy is better than quite a lot of similar priced hybrids.


COMPARISONS

I have compared the KBEAR Robin with a few other hybrids. Single DD types were left out of the comparisons as they have different pros and cons among the different transducer types.


KZ ZS10 Pro

The venerable KZ ZS10 Pro has a deeper V shaped tuning, and has a thinner note weight, with slightly better technicalities than the KBEAR Robin. The ZS10 pro is much more aggressive and in your face, compared to the laid back and smoother KBEAR Robin.

The ZS10 Pro can be more fatiguing in the upper mids and lower treble and also has a more artificial timbre for acoustic instruments.


KBEAR Lark

Accessories, build, comfort and even looks are similar between the 2 sets. Even though both sets are named after birds, I wouldn’t call the KBEAR Robin a successor to the older KBEAR Lark, as they are tuned to be very different beasts.

The KBEAR Lark is a neutralish bright set with better technicalities and resolution. Clarity and micro details are better in the Lark, though the Lark has a thinner note weight and can be fatiguing for treble sensitive folk in view of the more pronounced treble quantities. The Lark also has more sibilance than the laid back KBEAR Robin.

The KBEAR Robin on the other hand is a bassier and warmer V shaped set with a smoother and less fatiguing upper mids/treble, with less air and a thicker note weight than the KBEAR Lark.


BGVP DMG

The BGVP DMG has a similar tuning (midbass focused V shaped) as the KBEAR Robin, but it has better technicalities and soundstage than the Robin. I had a poorer fit and less isolation with the BGVP DMG.

The BGVP DMG has some tuning nozzles to change the sound signature , but they are bordering on gimmicky, as the changes are very subtle. Think of the KBEAR Robin as being a baby BGVP DMG.


CONCLUSIONS

The KBEAR Robin is a smooth and non fatiguing set. Build and comfort are good, and the timbral accuracy on this set is quite authentic for a BA containing hybrid. The Robin doesn’t have the best technicalities, and it is not tuned to be an analytical set. It is very suited for chilling back and enjoying the music for what it is.

Trebleheads and midlovers might need to consider alternative options, but treble sensitive folk will like this set. I would have preferred less midbass amounts (so as to give less bleed and a tighter bass), but the KBEAR Robin is a decent set with a unique tuning at this price bracket, in the sea of CHIFI with hyper boosted upper frequencies. In fact, the Robin is sort of a baby BGVP DMG, without the tuning filters.

Introduction

KBEAR is a dynamic brand. And also resourceful, both in terms of models and design. This power and their remarkable development capacity have enabled them to create new products quite quickly. All this has to do with the relationship between the Robin and the Lark: two IEMS that are almost identical on the outside, but different on the inside. My first feeling is that the Robin is a clear and resounding answer to the Lark, a model whose first tuning was not well received (even by me). Quickly, a second version appeared that tried to appease the profile in the most critical points. I never tried it and preferred to wait for a new, better thought-out move by KBEAR. And here are the Robins. As I say and as you can see, they are practically the same on the outside, while on the inside, they have gone from being 1DDD+1BA to 1DDD+4BA, which is a very strong answer to the amateur public. They even dare to put their frequency response on the back of the packaging, as if it were a clear and resounding message: "See? We can do it better and at the same price". And my question is: Are the Robins the right answer? This and other questions will be answered in the following review.



Disclaimer

KBEAR, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.



Specifications

• Driver Type: 1DDD 10mm with dual magnetic circuits + 4BA custom drivers
• Frequency Response: 20Hz-20kHz
• Sensitivity: 110±2dB
• Impedance: 18±2Ω
• Jack Connector: SE 3.5mm gold plated
• Capsule Connection Type: 2Pin 0.78mm
• Cable Material: Oxygen-free 4N copper.
• Cable length: 1.2m
• Colour: Blue, black
• Choice of cable with or without microphone.

Packaging

The Robins come in a box of virtually the same shape and design as the Lark. As will be seen throughout the review, references to this model will be constant. Its dimensions are 133x148x38mm. On this occasion, the design of the front face is a series of blue tones in polyhedral cuts, with the logo in white letters, in the upper left corner and the name of the model and main description, in the lower left corner and in the same way. On the back side, the blue colour, plain and uniform, is used as a background. Above it, white letters describe the specifications, in Chinese and English, as well as the frequency response curve and the data relating to the brand, address, e-mail and website. Only KBEAR with its stylish lettering on the sides. The outside is nothing more than a cardboard box which can be removed by sliding it upwards. Then, a black, latticed box will appear, which has the logo in gold in its centre. It is like a chest, and so it opens, to house a black foam mould, in which the capsules are encased, on the top right; a long black box with accessories, placed on the left side; another rectangular black box, placed on the bottom right, which contains the box. All the contents are summarised below:

• KBEAR Robin capsules, with dark grey silicone tips, medium size.
• 1 x 4N oxygen-free copper cable.
• 3 pairs of dark grey silicone tips, sizes SxMxL.
• 3 pairs of white silicone tips, sizes SxMxL.
• 1 rigid grey zippered cloth box, with brand name and logo written in white letters on the top.
• 1 user guide in several languages.

The presentation is what you would expect from a product of this price. It is not very luxurious, but it has adequate accessories, two sets of tips and a storage box that I like very much. The size is proportionate, not too big, not too small either, although I am increasingly liking smaller packaging that doesn't have superfluous gaps. In this sense Kbear is in the middle ground. For this occasion there is no realistic photo of the capsules on the outside of the box.



Construction and Design

The Robin capsules have a very classic, semi-custom shape, with that strong resemblance in shape to the African continent. It is almost identical to that of the Lark. The difference is in the outer plate, while on the Lark there is a hexagonal patterned part, on the Robin it is replaced by indentations or notches. This outer face of the capsule has been electroplated with a zinc alloy and its gradient colour can be chosen between blue and black. This external "tinting" is delicate and after a few days of use, you can see how the colour of the edges disappears, as a result of small knocks or rubbing. The inner side is made of transparent resin, revealing the interior and the drivers. There are two holes on this side, one coincides with the centre of the DD and the other is located more on the edge. On this edge, the rectangular 2-pin connection plate is placed superficially. It is a small piece of transparent plastic. On the same edge, but on the other side of the adjoining vertex, the name of the model and the letter indicating the channel are written in white letters. The mouthpieces are metallic and gold-plated. They have a height of about 6mm, a maximum diameter of about the same and a smaller diameter of 5.5mm. It is covered by a dense grey metal grid. As you can see, the nozzles are thick, but have a very adequate length.
Inside the capsules there are 5 drivers in each capsule. A 10mm dynamic driver, with dual magnetic circuit and custom 4BA. The material of the DD diaphragm is not specified. Of the 4 BA, one is in charge of the mid and high frequencies, a custom unit by KBEAR, called KBEAR-IF-K BA. For the high and very high frequencies, the other three BAs are in charge. They are also customised and are called KBEAR-HI-B BA units. Finally, the interior also houses a 4G electronic frequency splitter, consisting of one physical and two electronic crossovers.
As for the cable, it is a four-stranded 4N oxygen-free copper braid. The cable is relatively thin and feels like the least valuable part of the assembly: the connector sleeves are white, translucent plastic, as are the splitter and pin, the shapes of which are very common and seen on cables in much more affordable products. The common part of the cable is thin, but this feeling is accentuated after the two-wire split that reaches each capsule. Despite the beautiful colour of the copper, which the transparent coating allows to show through, the feel detracts from the attractive design and sturdy construction of the capsules.



Adjustment and Ergonomics

The size and classic appearance of the capsules, with a semi-custom external shape, with a very rounded interior and no edges or corners, provides a superficial fit, quite free of contact with the external parts of the ear. And, if it does exist, the friction is very soft, due to the smoothness of the material used. This means that, as the hours go by, it does not affect the perception of comfort provided by this model. Thus, the ergonomics are high and quite good. Once fitted, there is hardly any possibility of rotation and, with the right tips, there is no risk of the IEMS becoming detached or falling out. In this respect, due to the 6mm diameter of the mouthpiece, the channel of the used tips must be taken into account in case of changing them.
The size of the capsules is not very large, although they are a bit fat. Their weight is not very heavy, but I would say that the metal plate is noticeable. However, once they are in place, this weight is negligible and hardly noticeable.
With my silicone tips, filled with foam, although the fit is quite shallow, the sealing is very adequate and the level of insulation is high. But due to the length of the mouthpieces, narrower tips could be used to achieve a deeper insertion, although the diameter may prevent this process in narrow ear canals.



Sound

Profile

The Robin profile could vary between a u-v, even a w, all lower case. Personally I'd go with the w. There is a fairly linear low end from its middle to the sub frequencies, there is also the classic valley centred at 1kHz and some peaks in the high mids, first treble and in the first part of the brightness, with their corresponding valleys. One might think that the frequency response is fun and inhomogeneous. But up to the highs there is nothing strange or incoherent. From this point on, things get a bit more disturbed, but fortunately, the situation is more under control than in the first Lark.
The result is an entertaining profile, which is not as uneven or varied as it might seem at first glance. But it doesn't manage to stand out completely in any range. Rather, it is the whole that benefits, rather than any one band.



Bass

The low end has a fairly linear first half, with a good incidence of sub-bass, without it being predominant. Naturally, the beginning of the mid-bass feels more emancipated, but the backing of the LFOs gives it a juicy, brazen and energetic body, resulting in a bass with a good level of energy and presence, as well as sounding quite complete. The but is its speed, without being rubbery, the result stretches a little, leaving some aftertaste, showing a slightly slower recovery, without being worrying. Fortunately, there is a fast decay from 100Hz onwards, which helps the range not to overly contaminate the upper mids. On the other hand, there is a point of colour in that the sub-bass is not as sensory as it is audible, but the effect is slight and the result is within a normal range. All this contributes to the fact that the Robins, without being clearly bass-driven IEMS, allow a clear enjoyment of bass-music and many other electronic styles, EDM and so on.
In complex bass passages, the Robins are uncomplicated and draw an easy path, with a tendency towards smoothness. This highlights that their speed is not very high in this range and that the level of definition/resolution is limited by this effect. This lower response generates a blanket of bass in those saturated passages, which may be pleasing to many, sweetening the sound and adding warmth. But the texture loses descriptiveness, tending to smooth out. In the same way, the different sound planes also get closer together, which limits the final quality of the area.
In short, the bass is pleasant, with warmth, body, a tendency from mid-bass towards sub-bass. Technically, its quality is average, standing out more in fun, colour and smoothness.



Mids

The mid-range is slightly less homogeneous, but also fun. The first half has a more exuberant body, as it drags a certain warmth and bass lingering. The instruments make more use of this part than the male voices, as they are perceived as mid-distance and a little deeper. The female voices feel subtly closer, due to the clarity provided by the emphasis on the upper mids, but without ever taking off. In this way, the vocals feel blended, sometimes behind, sometimes closer, but not in the foreground. While the instrumentation can become more predominant, without being totally in the foreground.
Returning to that emphasis on the upper mids, it is not significantly elevated, nor does it imply a complete polarised sound in that area. It is here that the tuning presents those ups and downs that combine to balance the response, although it may seem otherwise. This alternation provides a point of flash and pause, by way of control, in a particularly sensitive area. This alternation could be the other way around and we would be talking about a different sound. But it is what it is and on this occasion it is positive, because there is no excess and control predominates. The level of clarity is a little on the borderline, without completely overcoming the warmth that comes from the bass, but there is no darkness. In this way, it seems that the mids and the bass are balanced between light and dark, without there being anything that is clearly in the lead, finding a neutrality with a diurnal tendency. And I want to insist on that middle ground in which the Robins constantly move: there is nothing that is completely outstanding, and nothing that is bad. And that makes them good all-rounders, very versatile IEMS, both for many situations and for many musical genres, as long as they don't involve the development of too many technicalities. In this sense, it is clear that, despite the 4 BAs (it is worth remembering that one is in charge of the mids and treble at the same time, and the other 3 are in charge of the high frequencies), the Robins are not analytical. They are capable of extracting a good amount of detail, if you help them a bit with volume or a bit more power, even though they are quite sensitive. So again, the Robins combine smoothness of response with a remarkable level of resolution and definition, but without reaching excellence.
In short, the mid-range is a compendium of many factors, which are mixed to find a balance in which nothing is lacking, but in which nothing stands out. Although, I must say that this is more of a virtue than a drawback, given the price range of these KBEARs, as not all of them are capable of insinuating as much as the present ones.



Treble

The dance, as in the mids, continues in the upper zone, albeit more compressed. The Robins continue with that alternating trend that combines brightness and control, some more powerful flash, to finish with a more limited amount of air. The final result is partially controlled. The first highs are maintained, until a more accentuated peak comes into play, an incidence that will depend very much on the music played, of course. All in all, the sound does not come across as bright, I would say somewhat above neutral. I don't find the timbre wrong, although I think it lacks some freshness. At times, that alternation of flash and control comes across as too confident, losing a bit of fun. This is something that shows up in the sibilance: for the most part, its control is very satisfactory; but on some occasions it can be surprising, especially because the final ensemble is not brilliant.
On a technical and qualitative level, the treble is still in that centred line, without being exceptional, it fulfils its task quite efficiently and with very few complaints, being at the service of the rest of the ranges.



Soundstage, Separation

The scene is presented in the middle distance, with a width that provides good sound laterality, a fact that broadens the image, giving it a good, partially enveloping effect. The depth, without being accentuated, allows to observe elements at different distances, which is surprising in this price range. The amount of air is not very large. If it were larger, the scene would benefit a lot and would put the Robins on a higher rung. In reality, the separation is good, details are visible, while smaller and more subtle elements are hinted at, but without their resolution being complete. Still, the result is more than acceptable, not all IEMS in this price range are able to show as much as these Robins. The height is average and the spatial placement of the elements somewhat superior, although there is a tendency to perceive them at some distance. Nothing is presented very much in the foreground. The spacing between notes and their distance is prudent, but without detracting from the dynamics. Perhaps this is a point that I would have liked to have been higher, a greater dynamic would have given the ensemble a little more strength and freshness, and would even have brought out its virtues more. But the Robins are very polite and not out of the average.



Comparisons

TFZ Live 3

With a very similar tuning, but with a single dynamic driver, at a slightly higher price, are the TFZ Live 3. As usual, TFZ are the champions of the low range and it's hard to beat them there, both in tuning and power. But starting with the physical and aesthetic issues, both IEMS are tremendously similar, with the Robin winning in construction thanks to its metal mouthpieces and external face. But in shape, design and size, they are very similar. The cable is superior in the TFZ, as it is inherited from its older siblings. It is thicker and has better connectors.
Among other things, TFZ knows how to build extremely efficient IEMS, with very little power they are able to generate a very energetic sound. And this is already evident in the sub-bass. If you are used to that feeling, you know what you are missing in other models. And that's what happens in the Robins, after comparing the sub-bass with the Live 3: the punch, speed, retrieval and texture are higher in the TFZs. Also the depth is more pronounced. It's the physical sensation that TFZ delivers, and it's on a par with few other brands. Rewinding to talk about the profile, the Robins are a little brighter and with more prominent mids, in theory. There is more smoothness in the TFZ's profile, except in the sub-bass area, where the emphasis is higher. That makes the mids of the TFZs a little more homogeneous, with slightly more complete, fuller and closer voices. The timbre also seems to me to be more accurate, although the distances are small. In terms of detail and separation, the Robins are superior, as they don't have the smoothness of the TFZs. Both the timbre I am talking about and the mid-range representation of the two IEMS are different. There is more closeness in the TFZs, while the body is lighter and less contaminated in the Robins. In this way, the musical approach is different in both models and the Robins maintain that certain distance in all their elements, although the detail is more visible. In the TFZs, the power of the low end can obscure this detail, which in itself is softer. The Robins, with their higher level of resolution, generated by the BA drivers, as well as their distinctive timbre and execution, provide a cleaner, more separated sound, with better definition and distance between elements, but not as cohesive as the TFZs. This applies to the treble as well as to stage recreation, instrumental and vocal positioning. Despite the Robin's tendency to place them in that middle distance, the spatial location is more precise and determined, thanks to their greater separation and the ability to generate a larger, three-dimensional scene.



Conclusion

These KBEAR Robins have to be appreciated, because it is not easy to achieve a remarkable middle ground, especially in this price range. The Robin is an IEMS that has everything and lacks very little. They don't stand out in any particular way, but they don't lack in any aspect either. And that is their great virtue, it is true that there are more specialised models, but it is very likely that the Robin will end up winning in other areas. In this case, the whole is greater than the sum of its parts and this is what makes this model a great all-rounder and a safe value, compared to other IEMS with a more polarised sound. You could say that Robin is the perfect companion, that ally that never lets you down. And in this world, good friends are not always plentiful.



Sources Used During the Analysis

• E1DA #9038D.
• Tempotec Sonata E35.
• Hidizs S9 Pro.
• Tempotec V1-A + Hidizs DH80S.
• Burson Audio Playmate.
• ACMEE MF02s.

Ratings

• Construction and Design: 84
• Adjustment/Ergonomics: 80
• Accessories: 78
• Bass: 78
• Mids: 81
• Treble: 86
• Separation: 84
• Soundstage: 84
• Quality/Price: 87

Purchase Link

https://es.aliexpress.com/item/1005002995847825.html



You can read the full review in Spanish here:

https://hiendportable.com/2021/09/11/kbear-robin-review/

I would like to thank Wendy from KBEAR for supplying this unit for review.

KBEAR has emerged as one of the leading manufacturers of quality and well-tuned IEMs as evidenced by the recent Believe, Lark and Neon models. The Robin is the latest release and is a hybrid 1DD + 4BA. The bass driver is a 10mm dual magnetic dynamic unit. The midrange and lower treble is handled by a KBEAR IF-K balanced armature and the high and ultra-high regions are covered by three KBEAR Hi-B BA drivers. A four-way crossover is employed.

The Robin comes in similar packaging to the Lark with a colour sleeve. The reverse has a list of specifications and a frequency graph. Removing the cover reveals a square black box with a gold KBEAR logo. Inside you will see the IEMs sitting in a foam cut-out and two black boxes with gold writing, one long box containing the accessories and another containing the case. The contents include:

* KBEAR Robin IEMs
* 2-pin OFC cable
* 4 pairs of grey silicone tips (S, 2 x M, L)
* 3 pairs of white silicone tips (S,M,L)
* Carrying case
* User guide

The presentation and accessories are excellent for the price and stand apart from the competition.

As expected from KBEAR, the build quality is excellent. The IEMs have a zinc alloy faceplate and a clear resin body. The faceplate has an ombre effect shading from blue to silver and an incised pattern of diamond shapes on the bottom half. There is a circular vent for the dynamic driver on the inner surface and another at the base of the nozzle which is gold in colour, fairly long and has a silver mesh. The earpieces have a bulbous inner surface which sits neatly against the ear and they do protrude slightly, but they are very comfortable and afford a good seal and isolation.

The 2-pin cable is fairly thin and has a chunky white plastic Y-split, 90° 3.5mm plug and hooded connectors. There is no chin slider. The material is 4N oxygen free copper. I found it somewhat tangly in use and not of a quality commensurate with the IEMs.

The carrying case is finished in a grey textured material with a white KBEAR logo and has a zip closure.

The Robin was tested principally with an Xduoo X20 DAP. The pre-fitted eartips were used but I changed to a KBEAR Limpid Pro 8 core silver cable instead of the stock one. A burn in time of 100 hours was allowed. During this time, the bass became tighter and more controlled and the staging expanded.

A healthy volume level was obtained from all sources including a smartphone, with no need for additional amplification, although some benefits were gained with extra power including a tighter bass.

First Impressions
The Robin displayed a rich, full, warm and spacious profile with a powerful bass, well balanced mids and a smooth yet detailed treble which was deceptively extended. Soundstage was roughly equal in all three dimensions with good imaging and there was an overriding sense of musicality. There was a little bass bleed and the low frequencies occasionally dominated on certain material.

Bass
Sub bass was impressive with a good rumble and mid bass was warm and mildly emphasised with a slight amount of bleed into the mids. Texture was nicely conveyed with the timbre of various instruments well differentiated. Due to the very good extension, ambient information was clearly depicted.

"Silent Trees" is a beautiful electronic soundscape by Kevin Kendle from his album "Winter". A stately melody is supported by deep synth bass with delicate accents from Brian Abbott's glissando guitar. In the central climax the Robin managed to display the weight, depth and power of the bass very impressively, evoking the latent power of nature in the depth of winter and one could imagine the bare trees silhouetted against the sky as the light faded.

The late Pete Bardens is best known for being the keyboard player in the prog-rock band Camel. In 1981 he released a single, "Sailplane" under the name OBX. The synth drums in this piece possessed a powerful slam and immediacy and the bass tones were rich and full, providing a solid backdrop for the vocals, string synth and percussive effects, with the whole piece in perfect balance.

The warm and natural timbre of the Robin's bass came to the fore in "Playful Pizzicato", the second movement of Britten's "Simple Symphony". The resonant acoustic of the Snape Maltings was captured beautifully in this classic Decca recording with the English Chamber Orchestra under the composer's baton. The incisive impact of the plucked strings was a joy to hear and the depth of the massed double basses was notable, leaving a lasting impression.

Mids
The Robin's midrange was very well tuned and only slightly recessed. I did not detect any unnatural "BA" timbre and KBEAR's custom IF-K driver managed to deliver an attractive and open tonality from the bass boundary to the upper mids with a smooth and natural quality.

The timbre of the string instruments in Schubert's String Quintet sounded very authentic in the version performed by the Vienna Philharmonic conducted by Karl Bohm. Violins and violas displayed a natural tonality and the pizzicato notes of the cello were nicely portrayed in a spacious manner with a real sense of "being there". The balance of the various instruments was well judged with the musical character of the Robin very evident.

Eva Cassidy's beautiful version of Sting's "Fields of Gold" showed the Robin's considerable ability with vocals. Her clear and pure voice contrasted with her bright guitar accompaniment in the superb production by Chris Biondo and the emotion of the song was conveyed admirably, reminding the listener what a sad loss her passing was.

In an unusual collaboration, Greek keyboard wizard Vangelis performed with Julian Lloyd Webber in "Un apres-midi" on his album, "Encore". The Robin reproduced the beautiful cello melody with a natural and convincing timbre whilst Vangelis's synthesiser accompaniment provided delicate accents and an attractive counterpoint. The whole was presented in a wide and spacious acoustic.

Treble
The treble region was clean, clear and smooth with good levels of detail and there was no evidence of peaks or harshness. It was deceptively extended and possessed an attractive airy quality reminiscent of the TRI Starsea.

Isao Tomita's "Electronic Realisations" of classical works always feature an extensive frequency range. Greig's "Solveig's Song" from the album "Kosmos" is a good example. The swirling synth patches, trademark whistle samples and choral effects were dramatically presented by the Robin with a wide dynamic range. The massed string voices soared majestically yet retained delicate detail and the whole effect was testament to the meticulous production by the Japanese synth master.

Sarah Chang's wonderful expressive reading of Vaughan Williams's "The Lark Ascending" with the LPO conducted by Bernard Haitink produced a luminous performance through the Robin. The violin's tonality was spot-on with good reproduction of those harmonics which define timbre. The message of the music was conveyed in a direct and emotional way with the orchestral accompaniment perfectly balanced.

"I Robot" is the title track from the album by the Alan Parsons Project. After an introduction featuring synth sequences and an offbeat percussion section, the piece builds with electric guitars and choral effects. Eventually the bright and crisp tones of a cimbalom join in and they were presented very effectively through the Robin with the highest notes clear and well-separated, even during the very dense production.

Soundstage
The Robin possessed a wide and spacious stage with an exceptional ability to bring out the atmosphere and ambience in a recording. Imaging, layering and separation were all of high quality.

The Robin revelled in the transcription of Holst's "Moorside Suite" for strings (originally for brass band) by the Northern Sinfonia directed by David Lloyd-Jones. The separation and interplay of the different sections of the orchestra, the clarity of the counterpoint and the realistic atmosphere of the hall were all handled adeptly by the Robin resulting in an entertaining and musically satisfying performance full of life and vitality.

"First Flight" by Alasdair Fraser appears on the Narada compilation album " A Childhood Remembered". It features solo violin supported by synthesisers supported by a whole range of acoustic instruments and percussion. The rhythmic lead melody stood out clearly against the colourful and complex accompaniment and deep synth bass with a palpable sense of space and depth, producing a feeling of being wrapped in sound.

"In the Beginning", the introduction to "Songs of Distant Earth" by Mike Oldfield, begins with a recording of Bill Anders reading from the Bible as he orbits the moon. Accompanied by synthesisers and deep bass drum, sparkling electronic effects spiral around the image. When the lead guitar enters with the main theme in "Let there be Light", the effect was dramatic as the stage expanded and the full instrumentation was brought to bear.

Comparisons
KZ ZS10 Pro
The ZS10 Pro, like the Robin is a hybrid, 1DD + 4BA. It has a 10mm dynamic driver, two 50060 BAs and two 30095 BAs. It has a deep V profile and a bold, exciting sound with a bright treble which occasionally can be aggressive. The Robin has a shallower V profile with a much more refined treble and portrays music in a bold and sumptuous manner without trying to grab you by the lapels as the ZS10 Pro does!

CCZ Plume
Another hybrid with the same configuration, the Plume is an ambitious debut product from CCZ. The drivers are as follows: 10mm dual magnetic DD for the bass, 2 x IF-A midrange BAs and 2 HI-A BA drivers for the high frequencies. The Plume also has a V profile with powerful bass, smooth mids and a polite treble. There is some mid bass bleed and a slightly subdued nature to the upper frequencies. The soundstage is very large and spacious. In comparison the Robin is broadly similar but has a more lively treble, less bass bleed and a similar soundstage. Considering the difference in cost, the Robin comes out well here delivering at least a comparable sound at a quarter of the price.

KBEAR Lark
The Lark is a dual hybrid (1DD + 1BA). It is perhaps the first of KBEAR's models to display the new more mature tuning style seen in their more recent designs. It has a neutral profile with a well balanced sound. Bass is solid, mids are present and open and treble bright without major failings. The Robin shares some of these qualities but adds to this a more authoritative bass, a superior soundstage and improved detail. It is certainly worth the premium over the earlier model and might be seen as a development of, or an upgrade to the Lark.

Conclusion
The Robin is an unqualified success. Blessed with a warm and natural timbre and easygoing personality it presents music in a very attractive fashion. It reproduces the character of a recording venue as well as any IEM I have heard. The key to its appeal for me is its musicality. Despite its V profile, it comes across as well balanced across the frequency range and provides musical enjoyment with every genre you can throw at it. There is some bass bleed and the bass occasionally dominates but these are minor issues. The supplied cable does not bring out the best in the Robin and I would recommend a better one, because it deserves it. I found the KBEAR Limpid Pro 8 core particularly well suited. The Robin must rank as one of the best models currently available in the $50 category. Another winner for KBEAR!

KBEar Robin Review

Intro

I believe the name KBear needs no further introduction as they’re an established brand among several chi-fi audio companies. Today the product that I'm going to review is KBear’s Robin. It is a 1 DD + 4 BA in ear monitor. The 4 BAs are customized as claimed by KBear. I will not be doing a tear down so I won't be able to verify the claim.



Specifications


*The snapshot is taken from the AliX store of KBear


Packaging

The packaging is fairly standard with the usual KBear style. Separate box for the accessory. A carrying case within the box, Cables and ear tips in another box. KBear style of packaging similar to Neon. Average and nothing to shout out.


Build/Comfort

The shell of Robin is made out of plastic and the paint on it looks very nice. I do feel that it is kinda easy to chip if it’s not handled with care. Just be extra careful not to drop it or accidentally knock it on something.

Comfort wise, I can wear the Robin for several hours without feeling any discomfort around my ears. Doesn’t feel heavy and there isn't any sharp edge that protrudes that causes any discomfort.

An IEM that is priced at 55 USD, I do expect a little more about the cable, heck, even Neon’s cable looks better than Robin despite having a lower price tag. The cable is thin and above the strain relief, it is very prone to tangling, kinda annoying if you ask me, but not really a big deal compared to Moondrop Aria’s.




Source

Foobar2k -> CX-Pro 31993 -> KBear Robin (Stock cable and ear tip)
Cayin N3 Pro (Solid State Mode) -> KBear Robin (Stock cable and ear tip)


Sound

Putting on and hitting the play button, music is being played and I am greeted with a familiar sounding IEM, the CCZ Plume. Don’t get me wrong, they’re not identical in terms of tuning nor design, it feels more like Robin is a mini Plume, to my ears. Although by design they sport similar driver config. Tonality of Robin is V shaped and a little warm to my ears. First thing that i noticed is the bass of Robin, the mid bass is very prominent and sub bass rumble can be felt and heard. Although the bass is being emphasized, it is still nowhere near bass head IEM nor it severely affects other frequency spectrum.

Onto the mids of Robin, i find that the vocal rendition is being pushed too back and on tracks where it is busy, such as Rage of The Machine’s Bombtrack, the vocal sounded recess when the track gets busy. Is it very noticeable where you can hear the instruments more than the vocals. On some easy going song like Fei Wang’s, the tracks aren’t usually busy and you can clearly hear that the vocal is not being highlighted.

The highs of Robin are detailed and crisp enough, but you can hear that it is on the warmer side. Smooth and not sibilant at all. I enjoyed listening to Gary Cooper’s II. Tempo di menuetto Moderato. Very smooth and pleasant.

Soundstage of Robin feels rather small due to lacking some air. Rendition of the instruments placement puts me right in the middle of the artist that is performing rather than in front of the stage. Imaging is also not a strong point for Robin, instruments overlapping each other, at times sounded muddy when the track gets busy.


Enhancement/Cable Rolling

Well, now that the review is done in stock form. Let’s do some cable rolling and see how much better it can get. I swapped out the stock cable to Venture Electronic’s SPC 2.5 balanced cable, and also switched the ear tips to Audiosense’s S400.

The difference is very evident and i’m not gonna argue whether cable makes a difference or not, try it out yourself and judge them by your own ears. The debate about this is never ending anyway.

What changed then?
- Mids are brought out more, however the recessed vocal is still there, just better than stock form
- Doesn’t sound as congested in busy tracks like Slipknot’s Duality and also RATM’s Bombtrack.

I would say the improvement in terms of percentage is around 10-15% to my ears. If you have extra cables laying around, feel free to try them out, and see which is your preferred signature. To my ears I like it being paired as what I mentioned above.


Thoughts

To be honest, in stock form, the overall experience is not that pleasant, i mean it is passable, but not excellent for sure. The Chi-Fi scene has been really crazy recently especially at the lower priced tier, many companies have been churning out products constantly, they are either similar or they have very bad performance, to me, Robin is just another sidegrade among the IEM within the same price bracket, that’s just my personal view towards this, it does not represent what the company think or other people.

If you like warm and bassy sounding iem, add this into your collection, but if you’ve already had something like this and you are considering whether to get this or not, skip it, not to mention if you are looking at CCZ’s Plume, just get Robin and get yourself a SPC cable and start enjoying. Hope my review is helpful for you guys.

*As always, big thanks to KeepHifi for sending this over in exchange for my honest and un-biased opinion. I do not gain any monetary benefit or am i affiliated with KeepHifi.

If you are interested in purchasing Robin, feel free to head to the site and grab one.

As always, this review is alson available in Spanish on my blog and on YouTube, links at the end of this post.



The KBEAR Robin was sent to me free of charge by KeepHiFi in exchange for the publication of this review. They have not requested anything specific, so, as always, my review will be as sincere and unbiased as possible, however, it is always good to keep in mind that I have received this product free of charge.

As usual, I try to refrain from posting purchase links on websites where I am just a guest but you can see the version of the review posted on my blog for a (non affiliate) purchase link from KeepHiFi.



Intro…

When KeepHiFi offered to send me the KBEAR Robin for review, they also asked if I would like to compare it to the cheaper KBEAR Lark, which they would also send out. As you may know, I already reviewed the Lark back in December last year and I found the highs to be rather disappointing, however, I later found out that there were actually two versions of the Lark (with no way to tell which is which) and one version had the “correct” highs, whereas the other (probably the one I received) had treble issues.

I mentioned this to KeepHiFi and they sent me a set of Lark also so I could revisit them and also compare them to the Robin. As I have mentioned in the past, I like to give products some burn in time and then spend at least a week with them before I post a review. The normal way to do this would probably have been to re-evaluate the Lark first and then move on to the Robin but I am not always (ever?) normal, so I have decided to review the Robin first. Once I have done this review on their own merit, I will spend some time with the new set of Larks (currently on the burn in rig) and post both my updated opinions (if they are in fact updated) and some comparisons to the Robin.



Presentation…

The presentation of the Robin is identical to that of the Lark (I don’t need to revisit them to be able to compare this part), a simple cardboard sleeve inside which a black flip top box is contained. Inside the box we find the IEMs, the cable (in my case without a mic but a version with a mic is also available), various sets of silicone tips and the usual user manual, along with a storage/carrying case that I am quite fond of (the one from the original Larks gets a lot of use).



Build and aesthetics…

The build of the IEMs is also very similar to the Lark, a clear shell with a metal faceplate, although the design has changed and is offered in both blue and black. To be honest, I liked the design on the faceplate of the Lark but I also like the difuminate coloured finish of the Robin. Obviously aesthetics is a very personal thing, so all I can say is that I like them although they are not what I would call the most beautiful IEMs I have ever seen.

The included cable is functional but does not scream quality. However, it is more than adequate for the job and does not need to be replaced unless it is something one chooses to do on a personal level. I have actually been using the cable from the Starfields as the blue cable matches the Robin quite nicely.

As far as comfort, which is obviously also personal, it is just as comfortable as other KBEAR offerings and those from other brands that opt for the same shape shell. In my case I find them comfortable and the shape is something that I am used to.



Sound…

So, on to the important part, how does this sub 50€ hybrid IEM sound?

Starting from the lowest notes, as usual, I find the sub bass to have a slight roll off to it as we dive down into the lowest notes. The sub bass is not absent, it is still noticeable and can still give a bit of rumble when the track calls for it, but I do find it to be slightly lower than the mid bass region.

Putting the Robins through the “Chameleon” work out, increasing the volume levels slightly more than my usual listening levels, there is enough sub bass there to feel the rumble, however, it does not get to the “eardrum resonating” levels that other IEMs do. In fact, I find that the subbass is very similar to the original Larks I have, nicely present but without being overdone. As I said, I haven’t tried the new set of Larks yet, so I am not going to do much comparing, but I did like the lower end and mids of the originals, and the subbass on this set is very reminiscent of those. It is certainly enough for my tastes, although I wouldn’t say it is at the level of what a bass head may want or expect.

Moving into the remaining bass frequencies, these are more present than the subbass, with a bit of an emphasis on mid bass that sometimes seems to roll over slightly into the lower mids. This is not something that stands out, in other words, I wouldn’t necessarily say that these IEMs suffer from bass bleed as such, but there are moments when the bass can just dirthy the lower end of the mids slightly. This is more apparent in songs that use overly extended electronic bass sounds, whereas with electric bass guitars it does not seem to be the case, or in the case of shorter more staccato bass hits (even if they are electronic). For example, the bass of “No Sanctuary Here” sounds great on these IEMs, even if the bass is electronic, and does not seem to interfere with the mids at all.

Moving into the mids, the tonality of instruments is very pleasurable, however, voices do come off as recessed. The vocals seem to always be one step behind the music of the song. A lot of the music I listen to is simple instrumental and vocals, and I find myself enjoying the lower mids and the overall tonality of the guitars, basses, etc. with a nice warm touch to them but do miss a little more presence when the voices come in. Now, this is not something that is terrible, far from it, but I think a little more presence in the higher mids would go a long way to giving vocals that little push to the front.

To be honest, when listening exclusively to the Robins, this is not something that is too apparent, it is more when moving from a set that has more vocal presence that is really stands out. I think that one of the tracks that most exaggerates this from my playlist is “Bombtrack” by Rage Against The Machine, where the vocals are overshadowed by the instruments.

When climbing up into the treble areas, sibilance is avoided for the most part, although “Code Cool” (the usual sibilance test) can produce a few “S” that are slightly too much but in general it is more than acceptable. The extension of the treble is also decent (one of my main gripes with most budget offerings), with a decent sensation of air for a set of IEMs in the sub 50€ price bracket. The Robin are not going to compete with other options that use better BA drivers for the high end but, again, they are better than the majority of options in their price bracket and certainly don’t suffer from the roll off that is present on so many single DD sets.

The soundstage is about on a par with what I have come to expect from IEMs in this price range, nothing spectacular but certainly not bad in comparison to many. The placement of images inside this soundstage is also acceptable, it is not milimetrical but is enough to make tracks such as “Bubbles” enjoyable.

As far as speed and dynamics, the Robins do seem to hold themselves together fairly well, except that, due to the recess of the vocals, when tracks get a little busy and complex in the low end, it can become a little overpowering and give the sensation that they are a little clustered. I feel that this is due to the recess of the vocals more than the actual lack of capability of the drivers themselves as fast moving instrumental passages do seem to be more coherent )or at least avoid that sensation).

The detail is something that also suffers due to this. When listening to simple passages, such as the intro to “All Your Love (Turned to Passion)” by Sara K., there is detail (although they are certainly not detail monsters) but a lot of details seem to get lost once things get busier.



Conclusion…

The KBEAR Robin are another set of IEMs that come in under 50€ and offer plenty of fun for their price. I wouldn’t really say that they are the best at anything but I can see that many people will enjoy them, depending on their music tastes. Personally I don’t find them exciting but at the same time, I have spent all week using them to listen to music while working and haven’t really found myself wanting to take them out.

I feel that the Robin are a set of IEMs that are great for when you are not actually focusing on them but can seem to fall when you pay too much attention to them. I find that EDM and other instrumental music is very enjoyable but the recess in vocals stops me from praising them more for my preferred genres of music.

I will certainly be spending sometime with the new set of Larks soon and will come back with some comparisons once I have done so. If you want to know how they compare, check back in for the Lark Round 2, I will try to throw some other comparisons in at the same time.

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KB Ear Robin is KB Ear's latest budget IEM release. It is a hybrid IEM with a 1DD/4BA configuration and it comes in at $54usd. Upon opening the box, I am presented with 2 different types of silicone tips (black and white), each with 3 different sizes (S, M, L), a 2-pin 3.5mm copper cable, a slim carrying case, and last but not least, the IEM itself. Regarding the tips, I find the black tips to sound better as it sounds fuller and more balanced while the white tips, on the other hand, sounds thinner.

Overall, pretty impressed with the unboxing experience. I think the box is well designed and the accessories given are pretty decent for the price.

With that unboxing out of the way, let's start the review.

*Disclaimer: This review is done using stock black silicone tips and stock cables.

PROS :​

• I would describe the sound signature here to be warm, pleasant, and smooth. It has a warm V-shaped tuning that is quite easy-going, smooth, and pleasing to listen to. Great for days where I just want to sit back and relax.
• In terms of bass, it is quite fun sounding. The bass here is warm, punchy, thick, and well-extended. Love the deep and rumbly bass here, especially for bass-heavy genres like Hip-Hop and Synthwave. However, the bass here is slow. This results in bass bleed which affects the resolution in the mids. Not only that, the bass here is also quite anemic and one-note-y. Meaning, the bass here sounds saturated with a lack of texture and detail.
• In terms of midrange, it is warm, thick, and slightly recessed. The midrange here is a notch behind bass and treble, which results in a smooth and relaxing presentation in the midrange. In terms of vocals, female vocals sound thick and full, while male vocals sound a bit boxy and "overly thick". The boxy male vocal presentation is most probably because of Robin's mid-bass bleed, which not only affects male vocals, but also Robin's overall detail and resolution.
• In terms of treble, it is pleasant, smooth, and non-fatiguing. There are no weird peaks, no sibilance, no harshness. Treble rolls off a bit too early though (at 8kHz), which makes treble sounds a bit dull and boring. If you are a treble head, this is definitely not for you.
• Timbre is a bit warmer than natural. Instruments sound a bit too warm and vocals sound a bit too thick.
• Good accessories set and decent unboxing experience for the price. Love the case provided.
• Fit and comfort of the IEM are great too. Fits my ears perfectly with no signs of fatigue. Can easily use this for hours on end.
• Beautiful faceplate design. Very pretty and elegant.
• Very easy to drive. Can be easily driven with low-powered sources like dongles.

CONS :​

• Bass is too slow and boomy for fast-paced genres like Rock, Metal, EDM. Bass can't seem to catch up to speed and bleeds into the mids. Bass also lacks texture and is pretty one-note-y.
• Treble is too smooth. Lacks any sort of excitement or sparkle.
• Vocals are slightly muffled and male vocals can come off as boxy.
• Soundstage is small. It lacks width and depth. This results in bad instrument separation and layering.
• Imaging is not the best too. Slightly hazy and smoothed out. Can't really pinpoint where instruments are at.
• Detail and resolution aren't the best. The bass bleed smears out a lot of the details in the mids.
• The included cable is a bit disappointing, especially at this price range. I expected something better. Not to mention, the synergy between the IEM's tuning, eartips, and cable does not match well too. KB Ear Robin would be way better off with wide bore tips and SPC/Pure Silver cable (see below).
• IEM shell came scratched OOTB (Out Of The Box). Shell paint might be chipped easily.

BEST PAIRING FOR KB EAR ROBIN :​

• I find Robin to pair best with KZ Whirlwind and KB Ear Limpid 8 core cable.
• KZ Whirlwind will tame down the mid-bass bloat, add air, open up the midrange, and add a bit of clarity back to the midrange.
• KB Ear Limpid 8 core cable will tighten the bass, widen the soundstage, and make the treble sound airier.
• This pairing makes the Robin quite enjoyable. If you are looking to pick up the Robin, I highly recommend trying this combo out.
• Update: NiceHCK 16 Core High Purity Copper Cable pairs well with Robin too. This cable makes everything rendered wide, with better-perceived treble and bass extension. KB Ear Robin does not sound so congested anymore. Quite a nice combo.

KB EAR ROBIN ($54USD) VS CCZ PLUME ($239USD):​

• Both Robin and Plume are quite similarly tuned (FR Graphs below), thus why I have decided to make this comparison. Keep in mind that this is NOT AT ALL a fair comparison as Robin is 4.5x cheaper than Plume.
• CCZ Plume is airer, has sparklier treble, soundstage is way bigger, imaging is more accurate, detail and resolution is slightly better, bass is slightly faster, vocals have better clarity, mids do not sound as recessed.
• KB Ear Robin is smoother, bass is slightly slower and boomier, more anemic and one-note-y, mids are more recessed, vocals sound boxier, soundstage is much smaller, imaging is hazier, treble is smoother, not as airy. Comfort and fit are much better with Robin.
• In short, KB Ear Robin is a less technical CCZ Plume but at a much much much cheaper price (4.5x cheaper! That is $184usd cheaper!)

IN CONCLUSION:​

KB Ear Robin is a decent hybrid IEM that focuses more on smoothness and pleasant tonality rather than detail and technicalities.

If warm V-shaped tuning is your cup of tea, I think KB Ear Robin is pretty good for the price. Sure, it won't satisfy those that are looking for sheer resolution and technical prowess, it has bass bleed, treble lacks air……

but for $54usd, you can't ask for too much.

Not to mention, Robin can achieve almost 70% of what the Plume can do, but at a much cheaper price. Keep in mind that KB Ear Robin is 4.5x cheaper than CCZ Plume. By getting the Robin instead of Plume, you are saving $180usd upfront without missing out on too much. If I were you, I would buy the KB Ear Robin instead and save the $180usd.

Overall, pretty decent for $54usd.


Thank you KB EAR for sending the KB Ear Robin over. I am not at all compensated by them and all thoughts and opinions are my own.


Interested in getting the KB Ear Robin? Here are the purchase links (non-affiliated):

• KB Ear Robin: https://a.aliexpress.com/_mrhWufh
• KB Ear Limpid 8-core Pure Silver Cable: https://a.aliexpress.com/_m0L6k7t
• NiceHCK 16 Core High Purity Copper Cable: https://www.aliexpress.com/item/32954926911.html

Intro

The Robin, is a product of the KBEAR brand, a recent release, which is intended to succeed the KBEAR Lark and boy have they done a good job!



Disclosure and Note
A review unit of the KEAR Robins was sent to me (at a nominal price) by KBEAR on the understanding that I would be free to give my honest opinion of these In Ear Monitors.

All opinions are my own with no influence as I avoid reading other reviews of the same item before I have written my review. I make an effort to ensure that I give the reader factual information.

On the issue of the honesty of a reviewer, I say to the reader of this review, you ought to read multiple reviews on any product you want to buy and read the opinions of those who have bought the item. Ask yourself if the reviews you read have given you, a similar opinion compared to what buyers said about the product. If and when you buy the item, you can then decide whether the reviewer is one who shares your taste in earphones and whether their reviews are consistent with what you hear.

For my part I say what I hear and how I hear it. Does, that mean the product would work with your gear? What about your music? Does your music play well on these? I try as much as possible to tell you how the earphones sound to me with the music I refer to here but I may not have the same source equipment as you do.

My setup for this review
I paired the Robins variously with Samsung galaxy note 10 plus and Fiio M11 (both portable)and SMSL AD18 (fixed), as my sources, and for amplification variably, Fiio BTR5, the HA FEE HA11 and the Littlebear B4X tube dac/amp, 2.5mm balanced on high gain. I used Amazon and Apple Music streaming services and local files on Power Amp and UAPP.

Synergy
An important point on the issue of what we each hear is synergy, the equipment I use is listed and if a set of earphones sound horrid on any of my equipment, I say so. Just so you are aware, I believe in the natural strike and decay as you would have with musical instruments live on stage, not representation of music synthesised for speed, so how fast the bass is on earphones is not what I look for, it is how natural the bass is. You often hear the bass is fast, in my view, that usually means the bass is not allowed its full natural decay. I hope that helps you understand what I listen for, and helps you make your decision.

The Robins are quite compliant, they are not fussy depending on the source. Yes, you will get greater greater detail and clarity with the ESS chips and a slightly darker sound on the AKM chips, but on the whole the Robins do not vary wildly from one source equipment to the next.

Form, Fit and Function

The Robins come nicely packed in a sturdy small size box, with the ear pieces displayed and then you have two further boxes, one containing accessories and the other a good quality fabric case.



The physical form of the Robins is a standard smooth kidney shape (without contours which mimic custom IEMs). For my ears the fit is quite comfortable and snug, although a few more contours would have made for a better seal and more secure. I have yet to test isolation outdoors. The zinc alloy face plate is beautifully done and sits on a resin or plastic inner shell. They have a bit of weight and look very good regardless of the colour you choose.

The Robin is a five driver (per ear piece) hybrid, which comes with 1 dynamic driver (DD) and 4 custom Balanced Amateur (BA) drivers. The DD is a 10mm Dual Magnetic circuit dynamic driver. There are two colours available, black and blue, which I presume is homage to the Robin, the bird, which lays blue eggs.

The Robin comes with detachable cables. The cable in the box is a standard 1.2m braided 4N oxygen free copper cable with a standard 0.78mm 2-pin connection to the ear pieces. At the other end of the cable is a standard 3.5mm gold plated plug. All I can say about the cable is that it is functional and adequate but my advice is get a balanced cable.

The face plate on the Robin is made of zinc alloy, which sits on a transparent resin or plastic shell. They look good and feel sturdy. They are medium sized IEMs, which fit quite comfortably in my ears and look quite good, to my eyes, with bird feather-like or fish scale-like indentations on the metal part of the earpieces, which although different from the Lark, are reminiscent of the Kbear Lark.



The Robins are rather easy to drive with the impedance at 18ohm and 110 decibels of sensitivity. You do not need to amplifier them excessively or at all to get good quality sound out of them. Your smart-phone will be quite adequate.

Prep and Variations from stock for this review

Burn-in - For those ho believe in burn-in. I only burnt them in for abut 24 hours and, at the time, in my view the dual magnetic dynamic driver had settled and produced a good quantity of good quality bass. I thought the drivers had settled, but the story does not end there, read about the tips journey.

Cable - The stock cable is fine for a £40 set of IEMs. Although I think it is useful to know how the IEMs work with everything stock, it is also trying to get the best out of the IEMs. I opted for a balanced cable after using the stock cable for a few days, which was fine but did not do justice to these IEMs. In my view it is worth using a balanced cable to get the true quality of these IEMs, and my review is based on using a balanced cable.

Tips - This was a journey and a half. Usually I stick to stock everything for reviews and then tell the reader what else I used but it was a bit different on this occasion.

After burn-in, I started with the stock silicone tips fitted to the earphones, as they were the only tips I received in the review unit. They sounded bass light for me, so I tried foam tips from the TRI Starlights and they lifted the quantity of the bass. However, burn-in continued showing smaller “improvements” manifesting itself in increased mid-bass quantity, over a week.

I am now back on green Penon silicone tips, to lift the treble a bit. The mid-bass is hard-hitting! Be prepared for your own tips journey.

The sound
In short if you do not want to read the whole review: To my ears, the Robins sound very good. I would go as far as to say they sound as good as IEMs in the $100 range and more.

The dual magnetic dynamic bass is a hard-hitter and the mids and treble are both beautifully presented by the four custom BAs. What more can I say, just read on if you want to know more.

I said in an earlier review that 2021 will be an interesting year for IEMs, if the KS1 were anything to go by. The Robins have kept up the expectations and they are a worthy successor to the KBear Larks.

Sound signature and presentation
The sound can be described as a shallow V-shape with highly prominent bass, mellow mids and sparkly airy treble.

The perception of soundstage is limited, in other words the sense of stage you get is not hugely expansive. However, when it comes to imaging there is a clear and identifiable perception of positioning of instruments within the stage. The imaging is obviously made possible by the clarity and separation of instruments which, to my ears, is better than anything in its price range that I have heard.

Both male and female vocals are smooth and lush without being overshadowed by instruments, as the mids are not excessively recessed. A good solo on the saxophone, or trumpet just bellows clearly and beautifully. Treble on the Robins gives you ample information and detail because of their airiness. Complex guitar solos, piano phrases are clear and detailed, this goes for high hats and cymbals.

Sound check
You may want to put on your monitors of choice and check out the music using the links.

Bass
The sub-bass is present but is less perceptible than you would find on, the Plumes for example. Do not misunderstand me, with the right track sub-bass is perceptible, but the mid-bass is elevated so that you hear more bass than you feel.

Generally, for me the sub-bass is felt as a relic of the bass guitar notes or kick drum impact, rather that at the moment of strike. For my taste the sub-bass could have been given greater presence, but I have to remind myself that the Robins are £40 IEMs. The mid-bass is of very good quality and delivers bass in quality and quantity which makes it easier to forgive the nominal sub-bass or the prominent mid-bass. You just have to beware that you will be hit by some serious mid-bass when playing bass heavy tracks and it has the tendency to overshadow other instruments in some passages. It very much reminds me of the ISN H40 in the extent of the elevation of the mid-bass.

Gregg Karukas - Only You:

This track shows the more sober side of the Robins’ bass. The steady rhythm of bass guitar is delivered with clear distinction in each note and intermittently you get the kick drum hit. Here the Robins show the quality of their bass. Whether you are a fan of the occasional hard hitting bass on the Robins, there is no denying the quality of the bass, the moment it strikes to the natural decay of the notes. I cannot help but enjoy the keyboards as well as the various percussive instruments sprinkled throughout the track.

Mids
The mids on the Robins is quite generous in their elevation for a v-shape, the mids on the Robins stand up quite well without overwhelming the listener. I find the instruments and voices have strong presence here. Female voices are rendered well and male voices no less so.

The bass does bleed into the mid range. However, it can be a question of preference, what I hear is a natural decay of instruments. I think this phenomenon is natural and represents a different sort of tuning compared to the tuning for electronic and pop music which tend to have truncated notes giving the impression of speed. How I hear it is, the note is not allowed to linger and to my ears it is simply more natural. For me that does not represent all listeners and some want to hear what they would hear if they were listening to a group using traditional instruments in a live setting.

Bob James and David Sanborn - Maputo:

This track show the attributes of the Robins in many ways. However, here I have used Maputo to highlight the instruments which generally occupy the mid-range. Specifically the saxophone skills of David Sanborn and piano solos of Bob James. This tracks is delivered smoothly and silk-like by the Robins.

Gregory Porter - Don’t Be A Fool:

I chose this track to illustrate the Robin’s delivery of both the male and female vocals. Despite the prominent bass, the Robin delivers a balanced rendition by Gregory Porter without making his voice sound coloured in any way. The harmony between the male and female voices here is just great, the Robin does this duet justice.

Treble
I love the treble on the Robins for clarity and resolution at this price it must be one of the best. The BAs are referred to as custom BAs. I keep wondering if they use the same BAs as the Starseas.They are seriously good to my ears. As I have said in the past reviews the KBEAR/TRI have got very good in house BAs in the HI-A. The treble is detailed with good separation and clarity.

Comparisons
I have chosen to use similar drivers configuration sets in this comparison. The difficulty is that I do not have 1 DD and multi BA sets in the £50 price range. I have multiple (single and multi) DD sets in that price range.

ISN H40 - 1 DD and 3BAs - The H40s have a beautiful sound and have great technicalities, good sound stage and imaging but like the Robins the mid-bass is, in my view, elevated slightly more than I would prefer, with just perceptible sub-bass, which in turn makes them mid-bass heavy. Although in my view the H40s are marginally ahead of the Robins, sonically, they are not four times ahead of the Robins, the H40s are only just ahead to my ears.

CCZ Plume - 1 DD and 4 BAs - Unfortunately I do not have the CCZ Plumes to hand to compare them, but from memory, the Plumes have more present sub-bass, less elevated mid-bass and are lush in the mid range, and the treble on the Plumes more airy, but at four times the price of the Robins.

Others vaguely in the price range of the Robins are the Tin T4s and Tin T2 Pros and the MT300 (at the reduced price). Apart from the fact that the drivers are different, all those mentioned (apart from the Tin T2 Plus) are more expensive than the Robins, yet the Robins do a good job of matching them in many ways, my only reservation being the elevated mid-bass, which lots of people just adore, if the ISN H40s are anything to go by.

What I am saying here is that the Robins punch well above their price point If you like hard-hitting mid-bass with great technicalities, you would like the Robins very much.

Conclusion
There is no doubt in my mind that the Robins have made a statement to their competitors! These have moved the inexpensive sets closer to the higher priced sets. This is KBEA/TRI showing their tuning skills, again. It remains to be seen if these disrupt the market.

Enjoy your music!