QKZ X HBB Khan

Disclaimers

I bought this iem with my own money. This review is completely subjective.

Build

Khan comes with a plastic body and metal faceplate. It has a bad quality cable.

Sound-Tonality and Technicalities

Khan is a basic, bassy iem. Not much to talk about. Midrange is recessed, treble range is not enough to satisfy listeners.... But bass on this iem is amazing. Texture, amount and quality is very good for 40 dollars.

Going through the traditional technical review is not gonna do justice to khan, so sharing my general thoughts...

I've tried a lot of budget IEMs in the past, always looking for the best sound quality. But I realized that I was missing out on something important - the FUN

That's where the Khan comes in. This IEM is so much different to listen to, I feel like a kid again. The subwoofer really brings out the bass in a way that just makes you want to dance. And even though the tweeter driver is small, the soundstage is surprisingly wide.

But more than that, it's the overall listening experience that makes the QKZ X HBB Khan stand out. It's not just about the technical aspects of sound quality - it's about how the music makes you feel. There may be some solid offerings under 50 usd some of which I own personally but none of them engages me the way khan does. This thing sounds more like home theatre than normal iems. For my taste and playlist, I feel this can be endgame for me for a long while.



If you're someone who's tired of obsessing over sound quality and just wants to have some fun listening to music, then the QKZ X HBB Khan is definitely worth checking out. It's not the most analytical IEM out there, but that's not the point. It's about enjoying the music in a way that goes beyond just the technical specs.




I got emotional trying some of my old playlists, it reminded me of my computer speakers I used to blast full volume and shake my room with some Pitbull, Skrillex , Avicci or David Guetta, those 2013 days : )

Introduction

Until now I had not looked up the history of QKZ, ''Quality Know for Zero Defect''. It is a brand that was born in Bao'an district - China. In 2005, QKZ was divided into two subsidiaries: "QKZ" and "KZ". Currently, QKZ specializes in hybrid technology, balanced armature, zinc alloy earphones, CNC metal earphones, and Bluetooth v4.0 to v5.5.
But if we talk about the current model, the QKZ x HBB Khan is a collaboration between QKZ and the famous audio reviewer HBB (HawaiiBadBoy from "Bad Guy Good Audio Reviews"). It uses a 10mm dynamic driver for bass + a 7.8mm dynamic driver for mid and treble. The cable connection is 2Pin and 0.75mm. It has been manufactured in 4th generation DLP-3D, to create a lightweight, ergonomic, semi-custom design, with an outer panel carved like dragon scales and coated in resin. Let's see what this new collaboration, priced at no more than $40, has to offer.



Specifications

• Driver Type: 10 mm dynamic driver + 7.8 mm dynamic driver, with LCP liquid crystal complex diaphragm.
• Frequency Response: 20-39500Hz.
• Sensitivity: 117dB±3dB.
• Impedance: 10Ω±15%.
• Jack Connector: 3.5mm SE.
• Capsule Connection Type: Recessed 0.75mm 2Pin.
• Cable Material: Oxygen Free Copper.
• Cable Length: 1.2m ± 5%.

Packaging

The QKZ x HBB Khan come in a black box, dimensions 112x162x50mm. On the front side you can see a realistic photo of the capsules. Underneath, the name of the model, in gold lettering. At the bottom, a description of the model and a logo that imitates the Hi-Res logo, but with the HBB logo inside. The brand name is in the top right corner, in holographic ink.
On the back, the model name is repeated at the top, next to the brand name and HBB logo. There is a frequency response graph, product description, specifications and an exploded view of the inside of the capsule. Also visible are the brand name and some other contact information.
Removing the outer cardboard reveals a completely black box, with the brand logo in large print in the centre. After lifting the lid, the capsules are encased in a thick foam mould, covered with black cardboard. Underneath, there is a kind of golden coin with the HBB logo in the centre of a rigid plastic sleeve. Behind this first layer is a white hard plastic case, inside of which are the cable and the silicone tips, both inside plastic bags. The complete contents are as follows:

• The two capsules.
• One 4-strand black oxygen-free copper cable with microphone and control.
• Three pairs of white silicone tips with black core.
• One white hard plastic case.
• One gold coin with the HBB logo.

I don't like this kind of basic cable. I prefer the 0.78mm connection because it is more widespread. Although it's not a problem, I prefer embedded connectors, instead of recessed, because they are more common as well. The gold HBB coin is curious and also the white hard case. I prefer it to cloth bags. Although, being rigid, it does have a rattle effect when you carry it around in your backpack. But overall, for the price it's not bad.



Construction and Design

The capsules of the QKZ x HBB Khan have been 3D printed in an almost translucent material. The outer plate is carved like dragon scales and coated with resin. On the right side is the HBB logo and on the left side the brand logo, both are gilded. There are two horizontal slots at the bottom corner. The 2Pin 0.75mm connection is oval and overhangs. Inside, the contacts are gold-plated. On the edge of the capsule you can read the model name, in gold lettering, together with the channel lettering, inside a circle. The inner face is rounded and smooth. The mouthpieces are quite projected, with a length of 6 mm. They have two diameters, the bottom diameter is 5.75mm and the rim is 6.65mm. The grid is metallic and perforated.
The cable is the classic 4-strand black coiled cable, with semi-rigid plastic over-ear. It has a microphone and control. It's the typical basic cable that comes with the vast majority of IEMS in this price range. It's the kind that screams "swap me!" if you like IEMS. What I don't like is the 0.75mm interface type and the shape of the connectors, I prefer a more common one. But as there are so many models that use this connection, it's not a problem to find compatible cables. But, it's true that the best cables don't use this shape.



Adjustment and Ergonomics

The capsules are very light. I like the projection of the mouthpieces, because they allow an insertion that can be medium. The only thing that can be a bit problematic is the thickness of the mouthpiece lip, as well as its diameter. In particular, I've done great. With my classic foam-filled home-made tips, they fit very firmly to my morphology. In addition, the sound is completely full. The fit is durable and rotation is minimal. Because of the great fit and coupling, the isolation achieved is remarkable. I feel that the ergonomics might be problematic for other users, but, for me, it is almost excellent. Once again, I'm back on the comfort track I seemed to have lost lately.



Sound

Profile

You could say that the profile of the QKZ x HBB Khan has a rounded w-shape. The humped shape of its bass and the precise cut-off at 200Hz is curious. Then, it is completely linear up to 1khz, to rise smoothly towards the upper mids. There is a slight roll-off in the early treble, to burst into a little double sparkle at 9kHz and 14khz. In reality, there are two dynamic drivers, one for bass and one for midrange and treble. It seems that the performance of a frequency crossover between them is clear from the way the bass transitions to the mids. The use of a driver for midrange and treble stretches the frequency range in the air range. The specifications state that they reach almost 40khz.
On the other hand, although it claims to have 10Ω and 117dB sensitivity, it requires a good voltage level to sound comfortable and reach the sound pressure level of its competitors.



Bass

The first thing I find in the bass is a dull and nuanced feeling. It seems that the softness of the upper range influences the bass in a negative way. This sonority makes the music seem darker and sparser than usual. And that's how I feel the lower range, opaque, but punchy. With a good level of energy from the source, the bass returns an energetic, hard, compacted punch with good dryness. For its price range, it's not at all bad on speed and punch. It's not overly sensory and feels coloured by the hump tilted towards the mid-bass. The reproduction of pure tones below 40Hz is not very realistic and it has a BA-like sonority, which detracts from the naturalness of LFO performance. However, it recovers very well at 40Hz and that is the point that gives the sound quality in the bass. In fact, the texture is restored to the point of being rough and attractive.
It’s relatively effective in complicated passages and resolves them with simplicity, but without muddying the sound too much. It doesn't have a very good definition to draw complex bass lines with much precision. But it performs coherently, for its price range, without falling into faults or unpleasant sonorities. It can only sound more boomy than usual, losing a bit of control in unfiltered bass. This can be observed in many Massive Attack songs on the Protection album, where the bass lines reach a level that can be excessive, both in pressure, texture and sonority, vibrating more than necessary on more than one occasion. At moderate listening levels, the control is more accurate.



Mids

In the mids, the dry and dark tendency of the HBB Khan is once again evident. The low incidence of treble is once again the protagonist and the sound feels not very juicy, with limited sparkle. The special tuning decouples the lows from the mids to a good degree, but also distances them from the listener. The combination of the limited expansion of the overtones and this distance to their presence makes the first part of the middle range a bit sterile, especially in the area of vigour and exuberance. But, in the musical aspect, this appreciation can be likened to an analogue warmth, which can be reinforced to a greater or lesser degree, depending on the source used. In my view, and with the intention of counteracting this characteristic, I recommend the use of cooler or more analytical fonts. Under this patina of softness, denser music benefits, as long as the thickness of the notes does not affect the sharpness of the representation. In expositions with fewer instruments, one can distinguish the more muted timbre it possesses. However, it is also an aspect that makes the texture more present, revealing and informative. This thickness can help male voices to have a fuller physical sensation, even if the distance of their focus implies otherwise. In female voices, despite the gentle emancipation of the mid-highs, their physicality is not comparable to that of their male counterparts. In the same proportion moves the response of the instruments. The brighter their timbre, the more pronounced the analogue feel of their presentation. The result is a soft, veiled musical manifestation, without any sibilance, but little extended in resolution, clarity and transparency.



Treble

I'm surprised by the frequency response, in relation to the actual sound of the treble. Without listening to the HBB Khan and only interpreting the graph, I would have thought that the high end would be more represented than in reality. But, perhaps the gentle rise of the mids towards the treble is to blame for the more muffled feel of the music. While there is good extension, expressiveness, energy and sparkle are limited. The result is a high end that doesn't feel bright, nor is it crisp. Its portrayal is soft, measured, very controlled and doesn't help the detail and nuance to be at its best. Although, with time, burning and aural adaptation, the treble seems to improve little by little.



Soundstage, Separation

The scene enjoys adequate width, even a good sense of depth. But it feels eminently frontal. The stereo representation is good and the laterality of the sound is up to par. But let no one look for a lot of three-dimensionality in the musical recreation. The imaging is average. The thick weight of the notes means that the definition is not very high. It also doesn't help that the treble is soft. All in all, the level of transparency, light and brightness is low, offering a not very high level of resolution and a not too evident separation. The perception is of a warm, denser and duller sound, yet soft, even mellow and analogue-leaning. As a result, the image can be a bit fuzzy, as well as the appreciation of details. Even micro details can be penalised and almost invisible.



Comparisons

BLON BL-Max

At a similar price, but with a different frequency response, I have the BLON BL-Max. In common, they are also dual dynamic, with 10mm + 6mm drivers. The construction is metallic, in zinc alloy. Ergonomics and design are not the best. In addition, they are relatively large and heavy. In that respect, I prefer the lightness, ergonomics, fit and shape of the HBB Khan.
In terms of handling, the Blon is much easier to move than the HBB Khan, which requires much more power to shine on par with the BL-Max.
You could say they both have a w-profile, although they are different. The Blons have a more extended tendency towards sub-bass, with peaks throughout the range being more boomy. The HBB Khan, apart from the bass hump, are smoother and more homogeneous.
The Blon has a more realistic and traditional sonority in the LFO range, while in that frequency range, the HBB Khan generates a coloured, shallower and less sensory sound. Although the textural feel of the QKZs is superior, it is not always natural, but feels a little reinforced by that particular behaviour at the low end. Despite this, it seems that the HBB Khan's are able to layer and separate bass better than the Blon's, which become somewhat slow and diffuse in passages with overlapping bass lines, even losing punch comparatively speaking. While I prefer the timbre and bass colour of the Blons, on an objective level, the QKZs have better quality and fullness in complex passages.
There is more light, transparency and clarity in the Blon's midrange, with the timbre less impaired by the Khan's softness. Although they have more bass impact, the cut-off is not as abrupt as in the HBB Khan, they again seem more realistic and with a fuller, more realistic timbre. The HBB Khan's are more sparse, shaded, dense, dark, warm and analogue. They do not possess the sparkle or transparency that the BL-Max do, but they are not paradigmatic in this respect. The Blon's tuning makes the high-mids more present, offering a greater closeness on female vocals and guitars. They also possess a point of greater physicality and body in the first half of the mids. Undoubtedly, for better or worse, this is a more traditional tuning.
There is a clear difference in the treble. The BL-Max have an excitation from the mid-highs, which gives them more clarity and transparency in the mid-range. But if one looks at the graph and averages the area in this zone, one could say that the HBB Khan has more presence in the highs. The actual result is like that and in the sound as well. The highs of the HBB Khan, although soft, sound more realistic than in the BL-Max. The roll-off or control zone of the Blon gives them a sonic clipping that doesn't benefit them and adds a less realistic timbre, as if the treble ends prematurely. But, actually, I don't really like the treble performance of the HBB Khan either, because it's not very defined, they don't have much resolution either. I think they are finer on the Blon and have better resolution, but with worse timbre. So there is no clear winner in this respect.
In terms of transparency, separation and sense of clarity, the Blon scene feels wider. The denser, more homogeneous sound of the HBB Khan's brings together the recreation of their image. In this way, details are freer and more perceptible in the BL-Max, without the BL-Max possessing a revealing analytical capacity. But at least where detail is known to exist, it can be perceived. Whereas, in the HBB Khan, most of them remain hidden. Technically, the Blon are better than the HBB Khan, although this is partly due to more appropriate tuning.



Conclusion

The creation of a new IEM model should have a distinctive feature that distinguishes it from previous ones. What has been the motivation here? Well, it seems that the story about this model is already well known. But, apart from that, what is that distinguishing feature? Actually, it could be several. One could be that the capsule has been 3D printed. But the important thing is the sound, and in that respect, the frequency response is absolutely eloquent. The bass humps at the borderline between sub-bass and mid-bass, and then cuts back sharply at the very moment when the mids begin. From there, the midrange is flat up to 1kHz, then rises almost linearly to the treble. After that, a slight dip and a double sparkle. No doubt, this is a different tuning, which resembles the one we are all thinking of. But, I insist again, why repeat this form, because of power, or because it is really accurate? Personally, I don't believe the latter. IEMS should do some good in some respect, as I started the conclusion. In this case, all that glitters is not gold. But I would highlight the bass, an IEMS signed by HBB should never disappoint in this aspect, no matter how inexpensive it is. Nevertheless, its eloquent FR is also worth mentioning, as well as the smoothness, warmth and analogue feel of the whole. Above all, keep that. But I would also add the level of construction, the case and the price/quality ratio. And, if I may be so bold, also the comfort and ergonomics of the QKZ x HBB Khan. Although, of course, it will depend on one's particular morphology.



Sources Used During the Analysis

• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• TempoTec Serenade X + iFi Zen Can.
• Earmen Angel.
• TempoTec Variations V6.
• ACMEE MF02s.
• xDuoo XD05 BAL.
• Hidizs AP80 PRO-X Red Copper Limited Edition.
• Aune Flamingo.

Ratings

• Construction and Design: 75
• Adjustment/Ergonomics: 80
• Accessories: 65
• Bass: 82
• Mids: 70
• Treble: 70
• Separation: 62
• Soundstage: 70
• Quality/Price: 75

Purchase Link



You can read the full review in Spanish here

QKZ x HBB Kahn Universal IEM

A strikingly new and different attitude:
Yep, did you know IEMs can have attitude? Some IEMs seem to exist to propagate the same-old sound along with offering nothing unique or different for the listener. Some IEMs actually offer many unique traits, but those traits have nothing to do with hearing a correct and natural replay of music. Here we have our share of attitude resulting from a big boisterous sound and propelling the Kahn into noticeability…….and a relatively complete tune getting us a listenable musical stance. After spending roughly 25 days getting to know the Kahn, I feel I can disclose for you what its about!

We can relate to what the Khan is doing. But more than that, there is a sway and demeanor at work, far beyond the humble asking price of $39.99. If the HBB Kahn ends-up delivering your IEM magic in replay………that probably depends on both genres of music used and personal/subjective sound preferences? While the choice here was not to come even close to the regular run-of-the-mill tune choice, such a demeanor quite possibly makes the Kahn not as well rounded. Yet if your smoking just what the Kahn delivers, it could in-fact be heaven.

Features:
10mm bass dynamic driver and 7.8mm midrange and treble dynamic driver
4th generation Driver with DLP 3D Driver technology
In collaboration with HawaiiBadBoy @badguygoodaudioreviews
Detachable 2-pin 0.75mm Oxygen-free copper cable with microphone and touch controls.

Here’s the deal. Companies flounder (fool) around producing a ton of product, some good, some bad, some really good and some really bad. Due to economy-of-scale often a certain “tune” is showcased to be of a value. This means that the manufacture can offer more right from the get-go because they already know that due to the collaborators name on the box, they are going to sell a bunch. Knowing beforehand that a product is going to be successful is insanely important. Why? Because a manufacture like QKZ can scale up production making their R&D monies back due to volume of sales. Due to volume of sales they can also start to give more to you, the consumer. This concept in-and-of-itself simply means more bang-for-the-buck. More bang-for-the-buck because they are selling boatloads of these suckers. One reason they are selling so many is a kind-of guarantee of tune, the tune that’s arrived at by an internet luminary.



The trick, says HBB is the fact that 100 Hz to 200 Hz is tucked-in prematurely…..in essence to bring focus to the (upper-midrange) spike at 4 kHz. In fact creating clear vocals despite the IEM having heavy bass.

HBB:

The BGVP DM6 5BA IEM released in 2018:
I found HBB by accident. I was not really a regular viewer of his channel except I randomly purchased the BGVP DM6 while in a IEM shop in Thailand. I went back to the hotel and did some research on the BGVP DM6. It turned out HBB just reviewed it that day, explaining how the DM6 was a great deal for the asking price. In many ways at this was (also) my introduction to Chinese IEMs………at least my first high-quality set. Thinking back, it’s surprising how the BGVP DM6 and the QKZ x HBB Khan are truly opposites! More on how both can be good and polar opposites later. Turns out the Khan is one of the strongest bass relays of anything collaboration HBB has been involved with. Still this is a guess on my part, being my first HBB collaborative IEM?

Slam + Vocals:
In fact there is no escaping the creation of slam the Khan is capable of. Yet it’s just a fact of life that bass gets positioned (as with the Kahn) and we start to lose bass definition. Is that a deal-breaker, no it is simply just a fact of life……get more bass involment and the over-all tone will move to the ever so slightly less-detailed regions in playback. Literally the fastest most detailed bass I’ve ever heard took place inside a bright and somewhat thin IEM response. It is what it is. Though the exact way the bass is handled (I'm told) is specific to the TruthEar X Crinnicle Zero Collaboration and the Khan.

TruthEar X Crinnicle Zero:
In fact the genesis for this tune came about as HBB emulating Crinnicles Zero IEM, yet they are slightly different than the Zero. HBB contacted Crinnicle and asked if he could copy the Zero. In fact Crinn has two Zero collaborations, only the 7Hz Salnotes Zero a secret collaboration and the TruthEar. Yet detouring from the TruthEar Zero…..the Khan has more bass, it’s said. The Kahn upper midrange peaks at 4 kHz to balance that bass. As it turns out the first HBB x QKZ collaboration was called just that, and here we are witnessing the 2nd collaboration called the QKZ x HBB Kahn. Where the original HBB x QKZ collaboration has a single full-range DD, the Khan has two DDs per-side.

The TruthEar X Crinnicle Zero and Kahn handle Mid-bass the same:
The main feature (in-case you’re wondering) is the fact that the bass DD doesn’t affect the vocals with the midrange. Both the TruthEar and Kahn have a quick rendering of mid-bass energies, they are equals in how they deal with a quick-glide away from any heavy mid-bass energies. This appears like a more drastic bass hump in graphic form as the bass is taken away in the 100 kHz to 200 kHz regions. Note graph. This has an effect on the focus of the upper midrange. Where because the bass is substantial yet trimmed, it’s presented as dryer than with heavy mid-bass focused sets. Such a trick then offers a more noticeable (upper-mids) vocal region due to the contrast with the mid-bass. In November of 2021 a final tuning was arrived at between HBB and QKZ, thus he gave the go-ahead for the company to start manufacturing of the Khan.

We are wittnessing a fairly flat section from just before 200 kHz and 1 kHz, then a gradual rise from 1 kHz to 4 kHz.

Burn-in:
Having and trying out the QKZ x HBB Khan for over 25 days lead to a number of observations. Out-of-the-box the Khan was different sounding in that it was more separated in playback. After 50 hours of burn-in a multitude of changes took place. Probably the most appreciated was the liquidly smoothness that took over. Not only was the bass now but more detailed and lush, the refinement showing bass notes clearer. What was almost a rigid replay of separated features became a congealed spectacle of composure, as composed as this style of replay could maybe be? What sounded almost crunchy at the start, turned to melted chocolate in the end. Mid-burn in I read of others hearing such change, so I decided to give the Kahn the full 168 hour burn-in treatment. If by chance you’re not totally satisfied with the Khan’s sound at the start, I advise at least 50 hours (minimum) as that seemed to make the most difference, yet the full 168 hours is advised. Theoretically the Kahn could in-fact continue (as hours pass) to make small improvements?

Build:
Weighing-in at 7 grams a piece, the Khan is actually fairly substantial in regards to weight. Not that it’s excessively heavy, except I consider low-weight to be in the 4 grams area. Mixed with the very different “flat” textured 3D printed shell, it’s unique in my IEM experience. The size is mid-size and all the ergonomics end-up arriving due to weight, nozzle length and over-all shape. Still I can’t get over the flat texture making the build almost feel warmer in the ear. Not that it’s any form of complaint, it’s just this exact texture here is wildly new and different. Such a flat finish continues up to the nozzle end actually assisting with holding tips on better. We have all seen the shiny resin IEMs that sand the nozzles to hold tips on better. Yet here there is a style of double duty in that there is a nice nozzle ring and the flat finish. No worry about the wire-mesh coming apart with the nozzle screen as there is none. Yep they have moved to a style of perforated disk……..such a disk sets slightly back, out of harms way. The placement (as seen in the photos) is uniform and even in design. One of the most unique things here is noted as no vents have been utilized in construction, except the near each other on the faceplate. Wildly a phone flashlight will enable a view into the rear area allowing visualization of both the 7.8mm midrange and treble driver, and further into the design, the 10mm bass driver. The faceplate is a two-toned affair with an outer chrome ring holding a raised clear plastic section holding the HDD symbol on the right IEM, and the QKZ symbol on the left. Finally in small print is “QKZ x HBB Khan” on both IEMs with R or L markings. The final feature (that may or may not work for everyone) was how the silicone wide-bore ear-tips could be positioned either far back or better yet, positioned further out on the nozzle creating a firm positioning in tip placement due to both the nozzle diameter and the flat finish. Such ear-tips seemed to remain in placement even when placed into the ear, or taken out?





Cable:
The included OFC cable worked fine, as noted the qdc style of connectors are the start of the throwback of the cable positioning, allowing the cable to go over ears with the provided ear-guides. There is a guide to how the single button answers calls with a single press for both answer/hang-up or play pause. A double presses for next song, and a triple press for previous song. One long press allows you to reject calls. Also of course is the option to order the Khan with a cable mic-free. Every single part on the cable (except the qdc 2pins) is metal including the plug barrel, the splitter and the microphone assembly. There is no chin-cinch included. All and all the included cable is very well made and could be put into use when your looking to use the Khan out-and-about with a cell-phone.



Technical Details
MODEL QKZ x HBB Khan
DRIVERS 10mm Dynamic Driver Liquid Crystal Polymer + 7.8mm Dynamic Driver Liquid Crystal Polymer
SENSITIVITY 117dB±3dB
FREQUENCY RANGE 20-39500Hz
IMPEDANCE 10Ω±15%
CONNECTOR Recessed 0.75mm 2pin
CABLE PLUG 3.5mm
CABLE MATERIAL Oxygen-free copper
CABLE LENGTH 1.2m±5%
WHAT'S IN THE BOX

1x stock 3.5mm cable
3 pairs of eartips
1 pair of earphones
1x HBB commemorative coin
1x Small carry case

The packaging included:
The HBB commemorative coin is quite the item. Such extras also enhance the guarantee of authenticity, being that bootleggers would be incredibly troubled to manufacture a coin. Such exists the coin as simply another clue as to how freaking over-the-top this release is. The coin comes in its own plastic case and weights a staggering 34 grams and is emblazoned with the HBB symbol on one side and the QKZ symbol on the other. Also around the parameter is HBB Audio on one side and QKZ audio on the other.

The included plastic case is actually a long running inclusion with QKZ products. Funny how they are both unique and somewhat handy even though incredibly basic in design. On the bottom they say designed by QKZ with the QKZ symbol as well as saying QKZ again with a larger symbol on top.





The Ear-tips:
The three pairs of ear-tips are a well made silicone design which incorporates a black center. The ear-tips come in three basic sizes of L/M and S. Interesting enough looking at the tips you would think they would add to the bass response with the fairly narrow nozzle opening, when in truth they fit amazingly well and somehow didn’t increase the bass, yet my go-to wide-bores did give a slightly better soundstage, so I stuck with those a bit. Still I have to reiterate how the included ear-tips go about to effortlessly arrive at perfect fit (at least for me). In fact after doing some reading I have discovered other reviewers actually using the Khan provided ear-tips for other IEMs on other reviews, if that's not an endorsement, I am not sure what is? There is a flat texture and dual-material build that talks quality. The subtle texture seems to excel at finding correct fit, and while the medium bore nozzle-end my be just right as far as tuning the bass?

Sound design:
Bass:
The roll-off going south of 18 Hz (or so) goes to subdue what would be the 18 Hz to 20 Hz. Such frequencies are not used very often and contribute to distortion often. Normally this style of roll is found in car audio to prevent diver clipping and overall cleans-up what could be simply too much bass influence.

While make no mistake these are bass laden IEMs, it’s done fantastically right. So due to the two tucks (south of 18Hz (or so) and the 100 Hz to 200 Hz) we are left with both clarity and dynamics. These are still bass head IEMs and should be viewed as such, yet with such bass technicalities they can be enjoyed by your average Joe on the street. They sound very much like home theater…….being weighted down by such low-frequency authority. While such frequency displays (will never the less) still create conflict with absolute pace, there is enough bounce to maybe get past it? Still no matter how you view this idea of a tune, it’s going to be an acquired taste and not for everyone. And of course while the curtailments of the bass do leave room for the sound design goals to be reached, this is still a dark and lush response.

Treble:
Analogue and just enough. Nice splashes out to the middle outskirts show staging and correct separation found. Yet I can’t help but want to talk about such note weight and tonality to be the ultimate gift besides the bass going on here. It’s just that the more and more you listen you start to become enamored to the style of treble offered and somehow the Kahn starts to persuade you with the fact that its rendition of treble is correct and everyone else has it totally wrong? Slight fall-off into the edges of the stage and big splashes go ahead and do no wrong. I mean how many IEMs do we hear where they are teetering on sibilance? How many IEMs are there where the treble is the issue at hand……….? And I don’t mean just all the time, but how many IEMs are there where they play five songs correct then get too hot on the sixth song? Yep, none of that being the case here. And…….after correct burn-in there seems to be just the right amount of sonic separation and relief into the stage of all elements involved. And once again it’s the tonality that is critical, they fact that they somehow have got the tone right in the end?

Midrange:
Male and female vocals get uncanny emphasis. Of course you read the theory as to why above, yet to actually hear the Kahn in action goes to add to the realization that this stuff really works and is not just speculation or sales talk. And remember here the midrange is stealing a slight focus left-out by the treble, yet it really is correct. And that is what makes the Khan unique in my experience and illuminated into my collection of what I own and what I have heard. With that said maybe the included ear-tips in the end are really the way to go? Not trying to expand the stage into something it’s not. Still the Kahn will wake to a better cable, and arise to include more of this soundstage and midrange goodness with a midrange centered DAP and Hybrid Copper/Silver cable in the end. Such changes are maybe what are key here, as an avenue to success? I mean it’s always about the midrange right? Even with a bass-centric IEM. Here I’m starting to fall into what the Khan is doing and releasing any handholds due to prior experience? It’s when the right music is playing and everything alines that we are home, home in a place that all-of-a-sudden is totally correct and we are without want or need? Finding a home in the mids is probably the key to the Khan’s success? I mean where else should we find success at? Where is the heart of the music to be found? Where is 90% of the musical information?



Staging:
While (due to midrange and treble character) sonics are not exactly helping put the stage where it maybe could go? The only reason I go ahead and say such things is due to the slight (ever so slight) bunching of high-treble elements together. Now while sonically they just get there with replay, there is none of that projection of itemizations out into the stage. What is happening instead is the midrange kicks into play taking not only upfront and center sonically, but positionally it’s also more of the ultimate focus of this style of replay. Where if your wondering if there could in-fact be cymbals or hi-hats which quaintly find themselves into separation into the stage……..sorry……they are rendered closer to home, yet wonderfully natural and clear. It’s somehow both correct and natural to find things taking such positioning, while still I am more enamored with a higher-up separation, even to the point of added “fake” distancing as a form of entertainment. Still I have to give it to the Kahn for pulling-off such unification of stage, in that while the stage is not super-big, it’s also showing a style of perfection in just how these two drivers have been dove-tailed. Somehow I envision a Kahn 2 with three drivers (lol) maybe doing the same tune yet with even more separation and splendor? Truth to be told, yes, there is an adequate style of staging and staging inherent into our replay………I simply get stuck as a reviewer and forget we are taking about a $39.99 IEM in the end. So? With all that taken into account, then yes, the stage is better than the price-point would have you guess, despite my ramblings as to driver theory nonsense.

The BGVP DM6 Universal IEM:
Why the heck would I pull-out some off-the-wall 2018 5BA $199.00 IEM for comparisons? For one the contrasting differences helps delineate what is good and bad about both IEMs. Yep, even though there is a huge price discrepancy between the two, just their individual existence goes to ultimately define what both are about. While many may feel that putting the QKZ x HBB Kahn against the DM6 would be realistically a waist of time, remember the DM6 came out around November of 2018 and subsequent improvements came along into IEM playback since then. Probably still the person who would buy the DM6 now would be looking for a completely opposite sound from what takes place with the Khan? In that we have one IEM with 5 BAs and the other with two DDs, it goes without saying that these two IEMs are approaching IEM sound relay from opposite directions in the end. Still in comparison we arrive at the realization of what is possible and what is still lacking from both individual IEMs. It’s just a coincidence that HBB would be in fact my introduction to beloved DM6 playback. To compare these two is actually a joy, and you may be wondering as to why I don’t find a more similar sound to the Khan? It's that in actuality I don’t have an IEM that is exactly like the Kahn, so instead I’m going for opposite in contrast.

But to try and localize slightly similar playback a few IEMs come to mind.
1) Tipsy TTROMSO PineStone Sea
2) Sony XBA-Z5

Such playback has similarities simply due to bass amount. And while the tuning is different, there is that over-all theme of a large style bass replay in action, really more so with the XBA-Z5. Where often bass replay is adjustable with ear-tips, the XBA-Z5 ends up asking to leave its bass alone. Such experiments of truth become known, as to thin-out the XBA-5’s bass (with wide-bore tips) leaves frequency room to where the BA rears its head to be found rather harmonically stingy and rough. So in the end, the only way to arrive at a more toned down Z5 bass is to get it a different cable and source, thus leaving the BA divers tone and personality buried. In essence Sony found correct usage of its included bass tips……with any other choices that of found trouble.

Comparison of BGVP DM6 and QKZ x HBB Khan:
My gosh, I got what I asked for, as these two are so different that they are almost not even comparable. The BGVP DM6 shows an absolute separation of elements, a brighter midrange and treble and goes (by contrast) to really put the Khan in its place. While here we are witness to further-out delineations of treble sparkle brought about though instantaneous DM6 imaging and transient ability……….where the Khan is simply doing what it’s capable of. And in essence we find truth in contrasts……back-to-back contrasts no-less. And not to totally ditch the Kahn, the Kahn brings a smoother and more organic display of playback………here we are in witness of almost the quintessential darkness for the sake of darkness in replay………and if anything, this lush (Kahn) darkness somehow takes time to acclimate to? Yet once acclimated (to) once more a stark realization starts to form…………..such truths are not subjective but are found as noticeable as the differences between night and day. The “gold” that the Khan is doing in playback centers around natural tone and timbre fully showing why DDs in such an installation go on to out perform the old 5BA DM6 at even a 5th of its price. And while the contrast of brightness found in the DM6 is at contrast to what the Kahn ultimately does, it’s the realistic timbre in Kahn playback that starts to gain appreciation. It’s just that the DM6 is fake and the Kahn is real. Of course that plasticly (almost shrill) playback of DM6 itemizations are fun, there is no better way to show them for the off-tone they go to parlay, than to place the BGVP DM6 up against the strangely dark neutrality of the winner KAHN! Yep…..lol………..no better IEM to show how and why this Kahn playback works-out, and while the Khan is not perfect, closer to perfect tone is where your $39.99 is going to, besides better fit and build than the DM6.

Sunsets and Cocktails…….the conclusion:
Just like that, HBB delivers the goods……..in essence a tune that delivers both bass and adequate vocals. If this exact mix of fun and excitement is your bag, that’s up to you? Surely QKZ are making a bunch of these, knowing beforehand that they will sell no-matter-what. Is it a classic? In a way it kinda is! Why? Simply being…………..I’ve heard a bunch of IEMs before yet none exactly like what the Kahn is doing. Does that make it a necessity? Depending on your collection and what your trying to obtain, it actually may be necessary to acquire the QKZ x HBB Kahn, especially for its price! Just go into this venture knowing that the HBB Kahn (due to its tuning) will not ever be all things to all people, it doesn’t try to be. Still I’m surprised at how all this tuning magic played out, I mean why is this not done more often? Why has this exact tune never been done exactly like this before? If it has been done before, I’ve not heard it? And that my friends makes the HBB Kahn special, that and the price. Yep, this is a lot of IEM for the money asked............and even more if you relate to what sound profile it does in the end.

$39.99
https://www.linsoul.com/products/qkz-x-hbb-khan?variant=43654409748697

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Kareena of Linsoul for the love and the QKZ+HBB Kahn Universal IEM review sample.
Disclaimer:
These are one persons ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
UA3 Dongle DAC/Amplifier 4.4mm and 3.5mm
Samsung Android Smartphone 3.5mm output

Why the heck would I put my first impressions at the very end of a review? Because they are the farthest from ascertaining the ultimate truth about the Kahn. Yet they are important and the avenue to complete understanding. Looking back after all these weeks they become kinda of a smoke-filled, cloud-edged fantasy of sound replay understanding. A romantic farce in essence……a story or an illusion partaking of only half-truths and half-perceptions. But they are what they are…………

First impressions:
Do you ever imagine the actual dynamic drivers responding next to your ears? You know, little coil-wounds and woofers protruding and recessing to the beat? I do sometimes, but not all the time. Yet with the Kahn, this was one of those times…….while there are applications of three dynamic drivers (per side) in action, here they have made do with two per side. So if you start to use your imagination a little, you can kind-of visualize the movement, the give and take, the attack and decay of the drivers………..Talking about decays, somehow the reverberations in music are attached to these decays…….seemingly farther out delineating the stage, as they take notice………..falling away as complete and natural decays and reverberations of musical elements. This was my first impressions of the Kahn, that this DD was more DD like than many full-range single dynamic drivers. Why? Well because because for under $40.00 you get both a single 10mm dynamic drivers pushing the bass frequencies, then a 7.8mm dynamic driver pushing the mid and high frequencies. So…….upon first listening you have to ask a few questions. Number one is the bass too much? And does the mids and highs get enough representation and actualization here? Does the blending of the two drivers merge the frequency response to place of those intermediate frequencies existing into the stage? Does the FR dovetail together, and most of all regardless of the prior mentioned qualities, are they musical.

Is the Kahn musical?
As HBB has put-out a ton of stuff, collaborations and the like, I’ve never had an IEM joint venture from QKZ and HBB. I have never heard a HBB IEM. In fact the only QKZ IEMs have been a few ultra-budget models I experienced way back in 2015……….to kinda push-start my IEM curiosity. Back then I was a fully fledged full-size headphone listener and only viewed IEMs as devices for out-of-the-house. Since that time I have come to understand what IEMs do different than full-size headphones, and in many ways I accessed my memory of full-size headphone response when listening to the Khan. Why? How could you not do mental summersaults hearing this level of bass authority and take reference to the size of full-size replay? It’s the imaging that started to pull my emotions and cause me to start to reevaluate everything I have ever heard. For your basic jaded headphone reviewer this is good. No wait……this is special, in that after hand-fulls and hand-fulls of IEMs, this may in fact be something slightly new and different. You can only imagine my desire for different, after being bombarded with 10 IEMs that are all Harman tuned and the same sounding only with slight differences in positioning of elements and a different shell.

The difference?
It probably has something to do with the imaging positioning. Yep, there is a uniqueness here with assembly of stage…….the imaginative ideas the Kahn has to parlay the instruments and details, the way the vocals are placed, the positioning of everything is somewhat unique to me………and while at first I took alarm as to this difference in playback, instantly I also thought that possibly I could get used to this new idea of placement. Hearing new headphones is kinda like that, that you have to question what is different yet allow yourself to get acquainted with such differences in playback. At times a new IEM will broadcast a slightly new and different rendition of your favorite songs and you have to take a step back and reevaluate the reality at hand. Is this difference bad, good or simply different. Because often different will come-off wrong just due to the changes taking place, but when you take into account the $39.99 asking price for the Khan, then take into account the tonality presented for that price, the imaging then takes a kind-of secondary concern even if it’s right of wrong. This was simply my first impressions, which are super important. First impressions are important because it’s the Kahn in relation to playback memory of every IEM I’ve heard. The basis for value in relevance to both more expensive IEMs, and lower cost devices. We are estimating value based on sound response and the variables taking place with that first heard sound.

Khan is a historic title that was bestowed upon either on a chief of a large tribe/horde or a warlord that unifies other realms under his rule. This title is prevalent on a great Eurasians steeps especially on Turkic-Altaic cultures and civilizations. Temujin or Genghis Khan was the well-known Mongolian conqueror from the Middle Age who bears this title as he subjugates a lot of kingdoms, tribes and even an empire from East Asia to the outskirts of Eastern Europe.

Click to expand...

This is QKZ X HBB Khan, QKZ's second collaboration project with Chris Ballard a.k.a HBB (Hawaiian Bad Boy) which we all know on the portable audio community who he was and his reputation as a respectable audio reviewer. This is my second product review of a QKZ product but I have owned some QKZ products before as they are quite cheap and sound decent enough for casual listening.




You can check out my review on QKZ X HBB here.


QKZ x HBB Khan is an IEM earphone with dual dynamic driver on its internals. The said dual dynamic drivers are the 10mm driver with LCP diaphragm that handles bass to midrange region and a 7mm driver with the same material on its diaphragm that solely handles the treble part. The internals were housed in a acrylic resin shell chassis with a supporting metal grid to ensure the structural integrity of the device. The shells are actually moulded from the latest generation of DLP-3D printing to make the best possible acoustic chamber design with its exact placement of air vents. The faceplate of each shell has a logo of HBB and a stylised triangular triskelion logo of QKZ. QKZ decided that they implement a QDC-type 2-pin connector on this unit as it also became one of the standard connectors on IEMs in the ultra-budget segment.



Fitting-wise is quite impressive due to the long nozzle that inserts well to my lug holes that its fitting insertion will give a better passive noise isolation. For those listeners who have small ears, they should try to do some tip rolling on this one.




As for product packaging, QKZ Khan seems to have a significant focus on including some decent accessories. The contents are packed in a black-coloured medium-sized box with a cardboard sleeve, the sleeve is where you can check out the product photo, brand logo and product in the front while at the back, it has the FR graph, basic specifications and company address.




Here the following inclusions inside of the box:

■ QKZ x HBB Khan IEMs
■ Black 4-core OFC stock cable with 3.5mm termination plug.
■ White-coloured PVC IEM case.
■ 3 pairs of opaque, narrow-bored ear tips of different standard-sizes.
■ A small commemorative plaque coin bears HBB's logo.



QKZ Khan is quite easy to drive with an impedance rating of 10 ohms which rate this set only requires a decent power output to amplify this set. I've tested this set from my LG phones, USB DAC/Amp dongles and digital audio players and QKZ Khan delivers a considerable amplitude level.

As for tonality, QKZ Khan has a rather U to V-shaped sound signature (in most tracks that I've tested) in which it matches the preferences of the library tracks of HBB which comprises some old school hip-hop, classic rock and pop. Being warmish and fun sounding gives a more analogue-ish and organic sound on those tracks and QKZ Khan have these tonal traits.

Here are some of my observations on its overall sound quality.


LOWS/BASS:

Vigorous! That's my initial impression when I listened to this set. It has a vigorous bass that delivers a good slam, whack and authority. Like almost all HBB collaboration products, bass is the most prominent one as it gives a robust sound on bass-focus instruments.

Sub bass does have that deep reverberating and rumble sound that is quite comparable on a bassy speaker that I've listened to in the past . That delivers a striking guttural sound coming up from low toned bass guitars, synthesisers and electronic drum machines from some tracks that I listen to from my favourite music genres like classic rock, synth-pop and old school hip-hop.

Mid bass has a textured, heft and viscosity that gives a sound definition on bass-centric instruments and deep vocals. Bass guitars really growls on this one as it has this weight and resonant sound, bass drum kick seems to have this thunderous and rumbling sound and bass trumpets have full and resonant sound on either Ska music or orchestral piece. Vocals like bass-baritones appear to have darker, guttural and fuller vocals like Barry White which has that distinct sexy and irresistible one.

Seems like that Khan has a noticeable boominess that gives an apparent warm sound quality but at the same time a tad bass bleeding.


MIDRANGE:

Like all HBB's collaboration tuning, it has a notched midrange response that gives a more distant and less prominent sound on some vocals especially on females and woodwinds instruments and in the overall frequency spectrum. Despite those evident issues, it still exhibits linear, warm and yet smooth characteristics.

With its added warmth, it focuses on the texture of the male vocals rather than female ones. Baritone's vocals have a rich and fuller sound but in some cases it sounds a bit rather a tad mild in my ears similar to the vocal textures in most countertenors singers on which has warmer and soothing sound. Lyrical tenors have a sufficient strength to sound deeply emotive and "heroic" as I listen to some singers in the tenor range like Freddie Mercury (I know, I know he is a baritone…), Paul McCartney and Justin Timberlake. The robust tenor singers like Luciano Pavarotti, Placido Domingo and Andrea Bocelli have a fuller, brassy and rich sound to give an authority and power in our listening experience. Meanwhile on female vocals, it gives more emphasis on contralto singers which have those obvious characteristics are smoky, hefty (for a female vocal pitch) and deep like Tracy Chapman and Toni Braxton. On mezzo-sopranos to sopranos vocal range, The Khan sounds not that enticing on this range as it has the lack of being bright, energetic and detailed as it sounds rather too velvety and musky in my liking.

The sound characteristics of instruments are focused more on percussive and brass ones as they are more pronounced in the overall midrange presentation. Percussives like toms and field drums have a boomy and sonorous sound then snares drums have this palpable dry and hard sound in every hit and strike. Pianos have a rather warmer, rich and velvety sound that reminds me of some antique German pianos. Brass instruments like trombones and trumpets have this fuller, warm and dark sound which gives a more "dramatic and majestic" sound on orchestras. Horn sounds a bit rounded and muffled as it has an inadequacy of being fuller and warmer sound. As for woodwinds, flutes sound more soft, mellow and aspirating as they lack an airy and ethereal sounding while saxophones are rather earthy, plaintive and sombre yet mellow and veiled which are comparable to sound and timbre of bass clarinets. Strings like guitars are rather on warmer and buttery sound as it doesn't give you a crisp and lingering sound that most acoustics guitars are tuned in that aspect while violins have calm and austere sound in my liking as I want a more lively and vibrant sound as it gives a more expressive sound.

To be honest this is not my preferred midrange presentation but if you have similar sound preferences with HBB then this will suit your listening experience well.


HIGHS/TREBLE:

At first impression, it seems that it is dark sounding but when I listen to it carefully, it's rather balanced treble. There is a substantial peak on the upper mids and then a gradual steep within the presence treble region according to my hearing perception that will give a laid-back and smoothness in presentation that treble sensitives will like this tuning positively. There is no hint of sibilance and jarring but it gives a less detail and sounds distant and subdued in my liking.

Cymbals sound rather lustrous and soughing that it has a lack of shimmer and sizzle which give an insufficient air and sparkle on the brilliance region. Hi-hats have shortened dry resonant and buzzing sound as it is natural timbre.

With its safe treble tuning, it has a double-edge sword. For sure that it give you a more pleasant and relaxed casual listening experience but due to its laid back nature, it will not give you that analytical listening experience due to subdued and less detailed sound.



SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

Definitely not the strongest asset of QKZ Khan as its technical capabilities are rather middling and average that it doesn't have a standout feature.

In Sound/Speaker stage dimensions. It has a relatively average size on wideness, a decent height reach and at least a good depth which gives me an average spatial sense within my headstage.

Imaging capability is sort of a typical 2-D stereo panning that I was able to locate the placement of instruments and vocals but not in the most accurate way. It has a decent separation as the elements have acceptable gaps and spacing. Layering aspects are rather mediocre as it does have an indistinctive order in the sonic canvas on both frequency and dynamics layering that will be more problematic on complex, multi instrumental tracks.

Coherency is quite commendable as there is a sense of cohesive performance of its dual drivers to deliver faster transients and decays.

Resolution capability is rather middling on this one. It has a solid and firm macro-dynamics but on micro-detailing are rather blunted and less sharp definition that it has difficulty on displaying the subtle and nuance elements on the overall sonic frequency spectrum. Timbre is rather on the subdued, organic side of tonality.


PEER COMPARISONS:

I only have a few IEMs with Dual DD set-up and they are older ones.

KZ DQ6S

■ This is somewhat a collaboration project of HBB with KZ but due to some unfortunate circumstances, he distances himself on this one. DQ6S has triple dynamic drivers on its internals in a polycarbonate plastic shell. It also uses a QDC-type 2-pin connector which KZ mostly implemented this kind of shell.

■ Like all HBB's tuning, DQ6S has a warm V-shaped sound signature. It also has well-bodied and authoritative bass, a warm and recessed mids and smooth laidback treble response. DQ6S has a noticeable sibilance and hiss on some sibilant-laden tracks which makes the Khan a bit better on this one.

■ DQ6S have rather average and mundane technical performances from soundstage to layering like the Khan. But it is slightly better in detail retrieval as it has a decent sharper definition to exhibit some nuances and shades on the background of the sonic spectrum.


To end my assessment about the QKZ X HBB Khan, like all HBB's collaborations in the entry-level segment. They all have these characteristics; a warm, fun and inoffensive sounding that will suit better on casual listening rather than for critical listening.

As an audio enthusiast like myself who loves a more neutral, better tonal balanced and very technical IEM, this is certainly not my ideal tuning and technical capability on how I describe its tonality and technical aspects. This set will be more suitable to bassheads and casual listeners who want some improvements from their usual preferred tuning on which I think it more logical to endorse it. If you are looking a more authoritative and impact bass response that gives a lively and vibrant sound in your life then QKZ Khan is absolutely for you.

Here are some reviews of HBB's collaboration sets, you can check them out and compare:

◎ KZ DQ6s (disowned)

◎ QKZ X HBB

You can order the QKZ X HBB Khan at LINSOUL, you can check the link HERE.





SPECIFICATION:

MODEL: QKZ X HBB KHAN
IMPEDANCE: 10Ω
SENSITIVITY: 117dB
FREQUENCY RESPONSE: 20Hz – 39.5KHz
CABLE LENGTH: 1.2M
PIN TYPE: QDC TYPE 2-PIN CONNECTOR
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (2) DYNAMIC DRIVERS


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

Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*



P.S.

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

Once again, I would like to send my gratitude to LINSOUL especially to MS. KAREENA TANG for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.

TLDR version on YouTube: TDLR - Ep.163 - QKZ x HBB Khan

The QKZ x HBB Khan were sent to me by Linsoul in exchange for the publication of this review. They did not request anything specific and I will, as always, aim to be as unbiased and sincere as possible.

As usual, you can find a non-affiliate link to the Khan via Linsoul by visiting the version of this review published on my blog, link at the end of this post.



Intro…

The Khan is another collaboration between HBB (of Bad Guy Good Audio Reviews) and QKZ, however, as we will see, this is a bit of a different approach than previous tunings by HBB. Coming in at around 40€ (at the time of this review), placing them inside the ultra budget category (sub 50€), the Khan feature a 10mm dynamic driver for the bass along with a 7.8mm dynamic driver for the mids and highs.

Aimed at being easily driven by cell phone devices (and other small dongles), the Khan has an impedance of only 10 ohms and a sensitivity of 117dB. This easiness to drive, along with the reduced price, makes them a set that can easily be thrown in a pocket or bag for day to day use.



Presentation…

The QKZ x HBB Khan arrives in a box that is nothing really special, although they have restrained from showing quite as much info and publicity than they did on the previous collaboration, the QKZ x HBB.

Upon opening the box, we find something that is quite unexpected (at least for me), in the form of a large gold coin. One side of the coin shows the HBB logo, while the reverse side shows the QKZ logo. I have no idea what the reason is for including the coin but it certainly makes it a little different as far as unboxing and contents go.

Obviously we also get the IEMs, along with the cable, three sets of silicone tips and a rigid storage/carrying case. The case doesn’t exactly feel like a high quality case, made of fairly indelible plastic, but it is more protection than a simple bag, which is about all we can really expect for the price.



Build and Aesthetics…

The shells are 3D printed and very reminiscent of the QKZ x HBB, featuring the HBB logo in gold on the right IEM and the QKZ on the left, both behind a transparent covering but opting for a grid type design rather than the lightning found on the previous model.

The build doesn't scream high end but there are no obvious flaws on my set and I have no complaints about the build at this price point.

Comfort is decent although I did find myself opting for larger tips which seat the IEMs slightly further out of my ear canal as I couldn't get a correct seal sith deeper insertion (at least with the included tips). I did wear them for long periods though and felt no discomfort.

The cable is rather generic and cheap feeling, although the 3.5mm and the splitter are both metal, with a swirl (or spiral) pattern on them. Again, no complaints at this price point.



Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Spotify, etc.)

Here is my usual comparison of the Khan against my personal preference target:



Now that is certainly a break from all the similarly tuned sets we have seen recently!

I expected the bass on these to give me fatigue in a very short time, yet, to my surprise, that wasn’t the case. In fact, I found that these IEMs inspired me to listen to more EDM and Hip-Hop than I have listened to in a long time. I have never really been a huge EDM fan (although at the right time and place, I have enjoyed a lot of EDM) but I was heavily involved in the Hip-Hop scene for many years (a story for another day) and while I still listen to HH, it had been quite a while since I spent a long session (actually multiple sessions) listening exclusively to HH. The tuning of these IEMs actually remind me of the tunings I used to go for in car audio many years ago, where people could hear me before seeing me.

Anyway, let’s get on with the review and take a look at them with my usual test tracks and following the usual steps.

Rather than focusing on the subbass, I am going to mention the low end as a whole, due to the way the upper midbass dip interacts with the lower bass regions. This makes for a very present but also very clean low end. “No Sanctuary Here” provides a very impressive low end rumble, making the bass seem as though it is felt although it stays clear.

That dip around 200Hz does disconnect the bass regions from the mids but it doesn’t do so in a way that seems strange. I sometimes get the feeling that on some sets that have a dip in the midbass can make it seem like someone has set the crossovers wrong on a subwoofer+mains set up, yet the Khan doesn’t give me that impression. It does have a negative effect on some tracks that utilize the roll of the midbass into the lower mids, yet works in favour of other tracks that have a larger presence in those deeper bass regions. The same dip also serves to avoid the boominess found in the low end of things like “Crazy”, where the guitar can become overly reverberant in its lower notes.

The midrange does certainly take a step back in comparison to the lows (and highs). I wouldn’t choose these IEMs for a lot of my vocal and instrument based music as I feel that the vocals don’t have as much presence as I would like, yet female vocals do seem to cut through slightly better than male vocals in this regard. With simpler tracks, this doesn’t really come across as an issue but more complex arrangements, such as “Whole Lotta Love", does seem to overshadow the lyrics to some extent.

The higher midrange is not very present, with the usual climb actually peaking around 3.5kHz to 4kHz, this will accentuate that slight step back in vocals but also keeps things rather smooth.

The higher ranges are actually a lot smoother that I would have expected by looking at the graph. There is a good amount of presence in the high end but is not very “airy”. The sound doesn’t become overly harsh but can seem a little fragile on occasions. Sibilance is in check (as tested with the usual “Code Cool”) but is not subdued, so it will depend on the track.

I can’t say that I find sound stage to be anything above average, as with the vast majority of IEMs to my ears, yet the Khan does a decent job of utilizing that space and keeping things well place, allowing me to identify different layers without too much issue.

Details are not the strongest point of these IEMs, especially those found in the midrange, yet the lower ranges do work well to preserve those that are found in this range. It is not an overly blunted soung in general, in other words, they don’t make you feel like you are missing out on a lot of detail, but they do not stand out either.



Isolation is not actually great in the low end, yet the presence in the same region will mean that you will not notice external noise when listening to music (especially the genres that seem to work best with the Khan). The rest of the frequencies are around average.



Conclusion…

The QKZ x HBB Khan are sort of a double edged sword. On one side, it is refreshing to listen to something that is a break away from so many similarly tuned IEMs in this price range, yet on the other side, I find that it restricts the genres that I would actually use these for.

I can’t say I enjoy them with the majority of my acoustic music (which is a lot), yet I do find that I enjoy them for Hip-Hop and EDM. I am not someone who listens to much EDM or Hip-Hop (at least not recently), so that means that, while they did inspire me to spend more time than usual with these genres, I wouldn’t choose to use them on a daily basis.

A large positive is the price, which means that they are not an expensive set to have around for an alternative tuning for those times you do feel like a bit of bass centric music. I also find that they do not fatigue me, due to that dip in the midbass, so I can enjoy them for more than a few tracks (something that was not possible for me with the QKZ x HBB).

If you are someone who listens to a lot of Hip-Hop or EDM, I think that they are well worth trying out for their price tag. Yet if you are looking for a budget set of all-rounders, then I don’t think these fit that bill.

______
As always, this review is also available in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

Review Of the QKZxHBB Khan​

Introduction​

This market has been well-served by QKZ, a company that has a long history of producing IEMs that are affordable and designed to appeal to budget audiophiles by providing them with Hi-Fi sound in a more cost-effective manner. They have a ton of IEMs available, like the AK6, VK4, DM6,CK7, KD11, etc. According to what I've seen, QKZ stands for Quality Know for Zero Defect, and in 2005 it split into two subsidiaries, KZ and QKZ. However, I'm not sure how QKZ is related to Knowledge Zenith because both companies have websites where they offer goods. However, they gained considerable recognition for its affordable pricing and outstanding tuning following the debut of VK4. They recently worked with notorious audio aficionado Chris, often known as "Hawaiian Bad Boy," who assisted them in fine-tuning their just-released IEM, the QKZxHBB Khan. Additionally, they previously worked with him to release IEM QKZxHBB. I'll be evaluating the QKZxHBB Khan today, but let's go over a few things first.

Disclaimer​

*Since this unit tour was organised by the kindly people at Linsoul, I am grateful to them. And as I've said in all of my evaluations, the same is true for this one: all of the concepts I've expressed below are entirely my own, original ideas that haven't been influenced by anyone else. If interested, go to this link.
*I am not associated with the connection, and I receive no financial assistance from anyone.
*For the remainder of the review, I will refer to these IEMs as "Khan."
*I am using different Ear-tips for convenience and better versatility.
*Finally, I will only evaluate the Khan based on their performance, even though I will explain how it feels and seems physically and aesthetically.

Specification​

The Khan houses a dual driver configuration where both drivers are dynamic drivers. Both dynamic drivers are liquid crystal polymer drivers where the 10mm dynamic driver handles the low frequency whereas the 7.8mm dynamic driver handles the mid range and treble. The shells are made of resin and has a partial metal faceplate, the right faceplate has the logo of HBB and the left side has the logo of QKZ printed. The cable provided is an OFC cable with QDC type connectors ending with a straight 3.5mm termination plug, the cable also has in-line control with mic. The other accessories which comes with the IEMs are three pairs of eartips with different sizes(small, medium and large), a plastic carrying case and a golden metal commemorative coin with QKZ and HBB engraving on both sides. Coming to the technical specifications, the impedance is 10 Ohms with a sensitivity of 117dB. The frequency response ranges from 20Hz to 39.5kHz.

Sound​

The Khan follows the same response as the Truth Ear Zero and has a balanced sound profile with boosted bass, however it has a higher bass shelf. The characteristic sounds virtually even and is quite calming. The treble is well-extended and tonally appropriate. The mid range has a forward motion and produces clear, lovely tones. The bass has a rapid and powerful presentation that sounds like a subwoofer. This style of presentation is new to me, and it sounds extremely good considering the cost. A tonal utopia is created by the dual dynamic, which has a fine, crisp response and an abundance of controlled bass. Let's explore the sound in detail.

Treble​

The treble has good vitality and doesn't sound obnoxious; it is smooth and sounds decent. The vocals and the instruments sound calming and a touch laid back, and the upper treble is not overly extensive but has good clarity across the region. The sound has a tone that feels genuine. The voices are nicely spaced out, have acceptable details, and don't sound distorted or hazy. The same is true with the instruments; while they have good, crisp sounds, they don't sound clean. Even if I occasionally notice that a few notes are missing here and there, the music still sounds fine and has a somewhat hollow feeling. The lower treble is presented in a lively and colourful manner. The sound is precise and abstract, possibly the most detailed component of the entire reaction. While the instrumentation seem somewhat relaxed but natural, the vocals are presented directly and feel alive. The dual dd's aural presentation, in my opinion, is highly aesthetically pleasing and presentable, making them seem natural and unoffensive. The treble area is presented in a calming, organic, and tidy manner overall.

Mid Range​

The midrange gives off an impression of being expressive and forward sounding. In terms of dynamic range, I thought the vocals and the instruments sounded more revealing. The lower treble contrasts with the upper mid range, which sounds very similar. The music and voice have a lively, dynamic sound. There are no sibilance or wispiness indications in the vocals, which seem expressive. However, I noticed certain tunes had a lean tone or a wispy quality, especially the female vocals. The male vocals are excellent, sounding as real as possible because to their girth and note density. Although dense, the lower mid range has a clear tone. Whereas I had expected them to sound muted, the vocals and instrumentation sound approachable. Good bass lines have good note weight and solidity, which makes them sound rich and genuine. The mid range has a melodic identity that makes it enjoyable to listen to and interesting to play. Overall, the mid range region has a lively, organic musical tone.

Bass

These are mind-blowing when it comes to bass; the bass presence is like having subwoofers in each ear. The bass is really nicely controlled and sounds tactile rather than being weak or loose. Although partly in the sub bass range, the bass focus is over mid bass. The lower midrange spills slightly in the mid bass but otherwise sounds clean because the mid bass is very nicely tuned. It's enjoyable to listen to the slams and thump because it sounds so authentically live. Although it doesn't sound as deep, the sub bass extension is enough. Sub bass has a rumbly, powerful effect that will get you pumped up. Not as extensively as I had anticipated, the bass texture and intricacies. The bottom notes have a deep and robust response that maintains it tight and clean and gives it a pleasant feel. Overall, the bass region's response is powerful yet restrained, with good qualities and enough excitement to keep you engaged.

Technical Performance​

The technological aspects in this price range are comparable to those of its rivals; the speed is fast enough to sound startling, but the resolution falls short of expectations. The stage is deep and wide enough, however the imaging is not very clear. Although vocals and instruments are clearly distinguished from one another.



Soundstage, Sound Imaging & Separation

The soundstage is adequate in size and depth, but performs about as well as its rivals. On the other hand, the imaging appears to be a touch soft and not as sharp. Where elements have ample breathing area and the source of the sound can be distinguished, the separation is well experienced.

Speed & Resolution​

The detail retrieval is obviously weak and the resolution is definitely not up to par with its rival, but from what I can tell, Khan makes up for it in the tone department. As long as the twin dynamic drives maintain a steady enough speed, everything moves along at a reasonable speed.

Sound Impressions​

Sources​

Tempotec V6 - The treble was the same with fewer details when paired with the V6, and I thought the signature to be more laid-back and less revealing. While the bass has an explosive quality, it feels controlled, the midrange has an expressive quality. Although the stage was wider and the sound was greater, the technical aspects felt the same. Overall, in my experience, the pairing with the v6 was adequate.

iFi Hipdac - The mid range brightened and moved closer when paired with the Hipdac. The bass grew more pronounced while the treble became less detailed. The entire response seemed less clear and more bassy. Technically, there were not much of a difference besides how close the stage was. Overall, the collaboration with Hipdac wasn't all that horrible. Hipdac would have been my first choice instead of V6 if I just wanted to have fun.

Tracks Used​

Curtis Mayfield - Pusherman
Earth, Wind & Fire - September
Earth, Wind & Fire - Let's Groove
Boston - More Than A Feeling
Fleetwood Mac - Everywhere(Remastered)
Toto - Africa
The Police - Every Breath You Take
George Benson - Affirmation
Daft Punk - Doin' It Right
Daft Punk - Derezzed
Daft Punk - Tron Legacy (End Titles)
GOJIRA - Amazonia
The Mars Volta - Inertiatic ESP
Fergie - Glamorous
50 Cent - In Da Club
Jay Z - Holy Grail
Erbes - Lies
Nitti Gritti - The Loud
Juelz - Inferno

Conclusion​

To sum up this review, choose Khan if you wish to take a trip to a tonal paradise with good musicality and captivating bass. It is an IEM that is quite competent of protecting its territory against rivals, particularly the more expensive Truth ear zero. Khan has a very pleasant tone, and the bass is also very enjoyable. I can highly suggest it.

2DD IEM without mid-bass tuck, please!
Fit is quite deep. Build quality is passable but can't compete with Kiwi Ears Cadenza in that respect.
Cable is atrocious and is the QDC kind so not easy to replace. This is a set you give away to someone who is into bass & treble without giving much thought into the nuances of music reproduction.

QKZ x HBB Khan
Another Take on a 2 Dynamic Driver Sub Focused IEM. Same Old thing or a fresh take?

Hello all: Thanks for reading my feedback.

I share my impressions as I hear them with my ears.
As all our ears are different shapes & sizes so what I hear as bright or bass heavy -you might hear as dull and Vise-Versa; just something to be mindful of.

What makes my ears happy as a sound signature is slightly more aggressive U shape. I love my Bass Sub and Mid Bass love it all actually; and in large quantity. With the Bass I prefer a faster decay the faster the better as to not bleed into the mids., I am treble sensitive and prefer a darker warmer replay with good extension.

I prefer the fast speedy bass of the Beryllium Coated Driver of my Xenns Mangird UP and KiwiEars Cadenza. Of course there are exceptions in the market - as I also find the bass of the Bio Diaphragm used in the Yanyin Canon special - has some special sauce like a 8" subwoofer that feels like a 12" Has the slam and some serious sub bass! And the super cool Copper Alloy Shell IKKO Obsidian OH10 does some magic to the bass.

My music Library is widely varied from; Metallica, Great White, Cowboy Junkies, Pink Floyd, Adelle, Melisa Ethridge, Fleetwood Mac, Five for Fighting, Manskin, Poncho Sanchez, Jimmy Smith, Chopin, The Crystal Method just to name a few.

That dripple being said:
And as such here is my take on the: Khan (Bought with my $)

Sources: E1DA SG3, Shanling UP5, Geshelli JNOG J2 with AKM4493 chip.
DAP/TRASPORT: From Lenovo Laptop with Amazon Unlimited ULTRA HD, iBasso DX160 ,Samsung S22 Ultra with DSD Files.
Amps: LoxjiP20 tube amp and Topping A90D
Tips Used for Best Result and subjective: Short Wide Bore are definitely recommended on this one with the longer nozzle easy to get into your ear-holes I used a M BGVP W01 tip , normally I use L but that Nozzle!

EVALUATION SCORE FOR SOUND IMPRESSIONS: (1-10) ( 1 Lowest - Poor 10 Highest - Mind Blown )

OVERALL SCORE: Out of possible 130 Points : 100.5 / 130 77% Old School Grade B+

BUILD QUALITY: (8/10) Light & Flawless nice shell smooth no flaws and fantastic shape best of all the sub $50 I have tried.
SUB - BASS Quantity: (10/10)
SUB - BASS Quality: (9.0/10)
MID - BASS Quality: (6/10) Recessed by design
MID - HIGH Quality: (7/10)
TREBBLE: (8/10) Too hot & spicy for my preference's I ended up putting on a double 350 Level filter and happy with the results.
EXTENTION: (8/10)
STAGE: (6.5/10) Stage is fairly compressed not very wide and stage is on a single plane and mostly in you head center with not much depth or height but again maybe not a serious negative as some prefer a intimate stage. At his price point this is what to expect. I prefer a much wider & deeper stage with good height differential.
- WIDTH: 6.5
- HEIGHT: 6.5
- DEPTH: 5.5
COHERIENCY (Drivers Blend in together) : (10/10) The twin drivers work well together; well designed implementation and crossed over with nice overlap.
MICRO DYNAMICS: (5/10)
- (How well does the IEM convey a emotional and skillful use of change of volume in the musical piece your listening to make it interesting and bring a tear to your eye.)
MICRO DYNAMICS: (5/10)
- Elements of good Micro-Dynamics (Drums have the snap and impact your feel in your chest and this was observed to be best achieved with a slower attack on the bass notes to add weight and blend the proper attack relative of the rest of the mix; Also how does the IEM express its ability to replay the song mix in a way you can enjoy the dynamics in different volumes not only with the various different instruments ; but as well as give you a sense of space of whether or not your listening to a live recording or a large , medium, small recording studio.
- (How well does the IEM give you the sense of emotion in the overall relay: Does the emotion of the entire song change tone with verses having various rises? Did the engineer make the choruses feel more powerful?)

SOURCE & RECORDING PLAYBACK QUALITY MAKES A MASSIVE DIFFERENCE. AND ONLY SPECIAL IEM'S CAN GET HIGH MARKS ON ABOVE!

MY VALUE SCORE: (20/20) (SOUND/$$$/EMOTION/FIT/COMFORT ) My score purely subjective to current selling price and competition at time of review) 100% AGAIN BASED ON MY PRECIEVED - PRICING / VALUE EQUASION

(1-20) ( 1 Nobody Should Buy This - 10 Good Value as over-all package this IEM will appeal to some who will love It - 20 Easy a blind buy for value if your looking for this sound signature.

- Everyone should have a IEM tuned this way in your library and at the Khan's price point it makes it a excellent value nothing missing here.

SUMMARY FOR : QKZ x HBB Khan

COMPARISIONS: None as I don’t have another IEM with this driver configuration or tuning like (Crin's Colab the Truthear x Crinacle ZERO) and didn’t think it fair to compare non like tuned products.

FINAL THOUGHTS:
The Khan is not my preferred style of tuning , I prefer a warmer replay with lots more fast mid bass and a relaxed treble extension. That being said I really did find the Khan enjoyable to listen to; and defiantly a worthy value to spend your hard earned greenbacks. The Sub Bass really is the star here and there is nothing wrong with the rest of the tuning. Stage could be a lot better; the emotion in the replay could be more dynamic but again for the costing really hard to complain about.
Well done QKZ and HBB BRAVO on a great collaboration!
Cheers TheDeafMonk.

QKZ X-HBB Khan Review​

QKZ X-HBB Khan ($39)​

Intro​

I purchased the Khan off of Amazon US for around $40. Khan just so happens to be the 2nd collaboration in a matter of months from QKZ partnering with the “Hawaiian Bad Boy” from “Bad Guy Good Audio” of YouTube fame. Once again, the Bad Boy himself tuned this latest entry. I happened to watch his video and unboxing along with an explanation of the earphone Internals and my eyes went wide. I couldn’t let this set get away from me. Now, the Khan was tuned somewhat typical to another set which recently went to market garnering a ton of praise, the Truthear X-Crinacle Zero. I went through periods of disliking that set to ultimately really enjoying the Zero. The graphs look almost identical so I was intrigued. Does the Khan live up to my expectations and the HBB name? I will try to answer the former up ahead. Friends thank you for reading… The Khan everyone…

Khan: A title given to rulers and officials.

I love a well named iem. Yes, it doesn’t mean much to the overall enjoyment of a set, but it does set the tone. To me, the name Khan is almost given to prove a point. An exclamation point that is. Khan just sounds tough! A one syllable name that is strong in its inflection while coming across stout as it venerates a certain esteem or reverence. “Khan”. Pretty badass don’t you think? I just thought I’d add my two little cents over a well thought out name. One of the better names in recent memory in my opinion. Very cool. Okay on with the review.

Also, check out Mahir’s review of the Khan HERE.


Full Review of the QKZ X-HBB Khan HERE

Gear used​

–Fiio KA3
–IFi Go Blu
–Ibasso DX240 with Amp8 MK2
–Shanling M6 Ultra

Full Review of the QKZ X-HBB Khan HERE

Packaging ​

The Khans arrived at my home in a larger than normal QKZ box with a graphic of the Khan themselves on the front, some labels, yada yada and on the back is the frequency graph. Open the box and the first surprise hit me. QKZ added in a gold-colored coin which is nicely displayed right away. It’s cool. It has the HBB logo, the QKZ logo and is about the size of a half-dollar in the US. Seriously, I have no clue why they’d add such a random object into the box of a set of earphones but… for some reason it’s cool, it’s different, and it’s nice to see something different. I have zero idea what I will do with this coin but… I have it and I didn’t the day before… well played QKZ!

The rest of the Package​

Anyways, above the coin you will see the confident and macho looking Khan earphones in a foam cut-out. Under the coin you are met with a white carrying case. Open the case and you will notice the cable and eartips. Not too bad at all. Hey, I have certainly bought worse for $40. It won’t change your life or blow your mind but let’s be honest, we are used to some cheapo offerings from QKZ. I think it’s a nice and unusual unboxing and one that I seriously wasn’t expecting. Not the most luxurious but this set is $40.





Carrying Case


The case provided is not the most robust or durable feeling. It is a white colored, flimsy, cheap plastic case which will likely do more harm to your earphones than anything. It isn’t lined with foam or anything nice and soft, just thin/hard plastic. Okay… I suppose they had to cut corners somewhere. Truthfully, it may have been better for QKZ to just leave out the case. It doesn’t go with the theme or the aesthetic of the Khan. It’s an odd choice. You have a black-on-gold colorway with a bright white case. It is nice they added one but leaving it out would have preserved the motif of the design a bit more. Seriously though, $40! Don’t listen to me.

Ear tips​

QKZ decided to add in one set of large, medium & small eartips. They aren’t bad at all; however, I don’t think they match the best with the Khan earphones, sonically. The eartips are a longer, deeper fit eartip, clear in color with a dark gray stem. The bore is narrow, and the flanges have a decent density to them with a nice tackiness. I did get a fantastic seal with these tips. Really these are nice eartips which I’m sure I will use with another set of earphones.

What I used…
I chose to skip the included tips and wound up using a shallow fit and very wide bore eartips or the medium sized Fiio Bass tips. I kept going back and forth. The wide bore opens the sound up a bit and there is less of a veil over the sound, yet the bass has an even softer note outline. So, I mainly used the medium sized Fiio Bass tips (basically KBear 07 tips). The reason why I landed on these is because I found that the Khan really do well when inserted deeper into the ear canal. Plus, unlike the included tips and their narrow bore, these tips have a medium-wide bore with a stiff inner stem. This adds good clarity and a more tactile texture to the mix. The wide bore set is nice, but it is a shallower fit and I seem to lose a bit in dynamism with them. It could be me dreaming this stuff up but that is what I heard. I can say for sure that it did pay off for me to get a deep insertion.

Cable​

The cable is a typical, tightly braided budget chifi cable. It is an Oxygen-Free Copper (OFC) with a detachable QDC style 2-pin connector and terminates with a 3.5 single ended jack. The cable is perfectly fine and sounds fine as well. For myself, to match my balanced sources I decided to go with the cable provided in the Letshuoer D13 packaging. It is a brown 4.4 balanced cable and really matches the look of the Khan in my opinion.

If you are able to upgrade to a balanced cable and provide a bit more power, the Khan will reward you for it. My opinion of course. I did use the included cable for all 3.5 single ended usage, and I really had zero issues with it. There is no need to switch out unless you want a more aesthetically pleasing look paired with your Khan’s, or you need a balanced cable.

Design / Build / Internals / Fit ​

Now we get into the stuff which matters. Starting off with the design. These are sexy. QKZ is stepping up their game people! The Khan is about the size and shape of the Truthear Zero with very slight differences. They mostly retain the shape of the Zero so hopefully that will give you an idea of the size of the Khan. Perhaps the Khan is slightly less thick, if I remember correctly.

Look​

I really love the look and feel of the Khan. HBB and QKZ created a very bold yet ornamental design, very masculine & strong in appearance. There is a dignified look to the Khan which is a bit of a departure from the rock n’ roll look of the first QKZ collab with HBB. The Faceplates are a glass-like resin material inside of a brownish-chrome colored alloy edge decoration which lines the entirety of the Faceplates. The right side features a gold HBB logo while the left side features a gold QKZ logo, and both are contrasted against a dark background. A beautiful looking set, very dapper, very self-assured and confident looking as well. It takes a good eye with good taste to design a set like this.

Build​

The shell is made with a 4th generation DLP-3D printer using a dark but slightly transparent resin. If you have seen the Truthear Hexa then you’ll know what I’m talking about as it is the exact same material. I adore this type of shell body as it has a unique Matte appearance and smooth feel. This resin extends all the way to the nozzle opening as well. You will see a nice metal grill on the nozzle and only a couple vents on the Faceplate. I’m telling you; this set is an upgrade in build from its peers. It’s an upgrade in look as well and I promise you, the other guys out there need to step up in their efforts and design ability to match the Khan. The Khan is a very attractive set and very durable. They invoke this sturdy and robust feeling in hand. Very well done QKZ!

Internals​

One of the selling features of the Khan is the fact that QKZ added two Dynamic Drivers in the Khan. Controlling the low-end is a 10mm Dynamic Driver with an LCP Diaphragm while the rest of the spectrum is being controlled by a 7.8mm Dynamic Driver. Just like the Truthear Zero, the Khan uses this same tuning strategy of having one Driver simply covering the bass region, almost like a subwoofer. The midrange on-out is all taken care of with the smaller 7.8mm Dynamic Driver.


Full Review of the QKZ X-HBB Khan HERE

Drivability ​

I found the Khan to be pretty easy to drive to volume as they are rated at 10 ohms and a sensitivity of 117 decibels. I will say with complete assurance that the Khan does scale well with more power. Using the Fiio KA3 on 4.4 balanced there was obviously plenty of juice for the Khan. In fact, a decently powerful dongle dac will be more than enough to open this set up. Also, listening with the IFi Go Blu sounded fantastic for a portable Bluetooth option as the Go Blu has great output for such a small device. Pairing with the Ibasso Dx240 or the Shanling M6 Ultra as the real treat for me though. I listened mainly on medium gain on both daps and was greeted with a more open and forward sound, deeper basses and a hair more air up top. The stage also broadens a bit as well.

Quick Sound Impressions​

​

One thing I would say straight out the gate is that the Khan is fun. This is a fantastic set for deep bass drops and bobbing your head to your favorite jams. The Khan has more of a light L-shaped tuning. This is certainly a warmer sound with decent energy up top but simply dialed back a bit.

The bass has a lot of force behind it with a ton in quantity. Bass-boys rejoice! It’s big, it’s meaty and it bangs! Stop being gross people, these are earphones! The mids are recessed to a degree yet come across clear enough for me. We have that DD like timbre on the Khan which is fantastic. This is a smoother and more dialed back midrange as a whole, a hair held back but mostly unblemished. The treble is very laid back but has enough energy to not sound closed-in and has good definition and extension. A very non-offensive style treble tuning. Honestly, I don’t hear anything offensive to the sound. I will go into greater detail as you read on in this review.

Before I move on…​

I will add, really quick, this set grew on me. When I first listened to the Khan I thought they were great. However, I was only casually listening to my favorite tracks. Then I let them burn in for a bit (20-25 hrs.), popped them in my ears to actually critically listen to some songs and I really did not like what I heard. Very strange. They sounded closed-in, lacked air, in fact there was a complete lack of presence and energy in the Midrange. It lacked body and form and was almost like listening in a bubble. It’s odd. It sounded as though the music had this detached feeling to it. Nothing at all like the Truthear Zero. They graph the same but didn’t sound the same. I was going to give a not so kind rebuke (in a nice way) of my time with this set. Instead, I decided to give the Khan a good 75-hour burn-in. Then one night I purposed myself to just… sit my butt down and listen, while thinking… “What is it that people like about the Khan”? I put my Shanling M6 Ultra to medium/high gain, balanced cable, tip-rolled and listened.

The result…​

People I promise you; it was like night and day. I was loving what I was hearing. I’m halfway positive someone snuck in my room and switched this set out for another. Everything just… opened up! Bass was less flabby and fuzzy, mids gained some form and body and more visceral presence. The treble perked up a bit. I know my ears; they are mine after all and there was an evident change which occurred. I’ve been an audio crackhead for a very long time, and this has only ever happened a few times to me. One other time was the Truthear Zero… Oddly enough. So, I would suggest giving the Khan some time and burning them in for a good long bit.

Bass​

Sub-bass​

The low-end is basically designed somewhat like a subwoofer. True to form the sub-bass is a BANGER! Flat out and hands down the Khan is A MAN down low. This isn’t some weak audiophile bass; this is a man’s bass! There is this all-encompassing nature to the bass with its dedicated driver. The sub-bass reaches very deep with obvious texture and tactile rumble that vibrates eyeballs and breaks seals… Okay I went a little far there, but you get the point. “Groove” by Ashley Monroe has a deep sub-bass line rumble which is offset by her angelic soprano voice and melodic sound. I’m telling you that the Khan absolutely kills it with this song. Sonorous is the thrumming reverberation showing nice depth to the bassline along with Ashley’s mood inducing and cascading voice, it’s like two opposing forces in perfect concert with each other.

Another test track is “Heavy is the Ocean” by Bush on their newest album. Right away the Khan will reward you with a shuddering, juddering & grumbling bass intro to begin this song, which is all encompassing. Soon after is kick drum hits which boom in rapid-fire succession, getting louder and more resounding as they build up. One after the other the Khan clearly proves it can replay with authority. So cool and fun to listen to as the Khan hits all the sweet spots for me on this track.

Mid-bass​

The mid bass should be dialed back considering the mid-bass tuck or roll-off (going by the graph) but I still hear a punchy mid-bass. No, it doesn’t slam to a bona-fide basshead level, but it still punches… Hard. There is enough mid-bass quantity to not leave out your favorite bass guitar growl and that is what I was listening for. Per the graph the bass guitar should come across lean in body, I don’t completely hear this, however. Possibly snares could use a bit more of that staccato edge and weight, but I hardly can tell. Mostly I hear a full bass throughout. The texture is more like a deep thud on mid-bass drops albiet slightly softer in its note edge. “Billie Jean” by Weezer displays this well. Not a concrete-hard note edge and a hair on the slower side but still it is an atmospheric and authoritative thud.

A fun tuning…​

Obviously with a bass this big it won’t always decay super quickly. Sustain may linger a bit longer. Resonances may be a bit much for you. This tuning isn’t going to give your audiophile senses pure analytical joy. Nah…the point is fun! I love my neutral audiophile type tunings, but I also adore a fun set. I grew up in the nineties with the Geto Boys, Mack 10, Scarface, NWA, Bone, 2Pac, Biggie, Too Short, Metallica, Nirvana, Soundgarden, G&R, Alice n’ Chains…The list goes on. Personally, I like a more balanced approach if I was to create my dream tuning but there has to be a low-end emphasis and I wouldn’t call the Khan balanced. However, I can respect what it brings. Once I wrap my brain around that it is a joy to listen to. With all that said, if a fun bass, which is a hair on the slower side, but very impactful sounds like a good time to you, then chances are you’ll be right at home with the Khan.

Midrange​

The mids are the thinnest of hairs recessed to my ear, especially the lower midrange. There isn’t any bleed from the bass region so what we have is a more unblemished midrange, sounding less robust and thick but also spotless and sublime for the money. Lacking that weight isn’t always a bad thing, especially when there is good definition. However, there is the slightest lack of luminous presence in the midrange. I would say it like this… contrast is good, even clarity is nice, but it is simply not perked up like some sets are, and it is done so in a warmer setting. Track selection plays a big role as well because not every track sounds this way. I would give examples, but this review doesn’t need to be 10,000 words. Also, after a few songs you may not even notice. I am being pretty picky though because I am perfectly happy and content as I listen to my music.

Lower midrange​

Again, the low-mids are a bit on the lean side. The lack of weight and warmth from the low-end is a psycho-acoustic voodoo which makes it seem like there is less body to instruments & vocals. The tucked bass and steep mid-bass roll-off should take away some of that perceived body of a male voice. However, males are defined well with a very kempt & crisp sound and enough density to not miss that warmth. Deep baritones sound natural to my ears like Avi Kaplan in “First Place IGo “. I hear good enough body and a distinctive crispy fullness even with the recession and lack of warmth in this area. Leading edges to notes are decently hard and knife-edged with nice transient decay.

Furthermore…​

Higher pitch tenors like The Avett Brothers in a song like “Morning Song (Demo)” can be a hair unnatural though. Of course, his voice can be a bit piercing and almost metallic on most sets anyways. He comes across clean and resolute but a pinch sharp listening with the Khan. I honestly don’t mind it, but I think some people may. Of course, both examples are extremes. Any average male voice like Dermot Kennedy (nothing average about this man’s voice) in a song like “Rome” sounds very nice with good timbre, sounding more organic. If there was a tiny negative, I simply hear a lack of vibrancy. Just a touch too little. Not bad by any means and the good stuff outweighs the negatives by quite a bit. Still, this issue persists through the entire midrange and out through the treble as well.

Upper-Midrange ​

Females are less recessed and more forward than males and have more exuberant energy. Females can be very nicely energetic with decent shimmer in some tracks while sounding nicely sculpted yet smoother in presentation. There is decent body and firmness to a woman’s voice when needed and while note weight isn’t super lush and thick, it is still well controlled and life-like. I did hear slight sibilance from tracks which are prone to it, but nothing which detracts from my listening. The Khan sounds in control and vibrant enough to replay a song like “High” by Caitlyn Smith and does so with nice agility and pace. During the chorus there is a lot going on and the Khan handles it very well. Also, instrumentation comes across naturally and is pretty well separated.

Treble​

This is one area where its lack of exuberance and shine can affect other areas of the mix. I could use a bit more air up top, but all things considered I can very much appreciate the non-offensive tuning in the treble region. Still, I could use a bit more rise in the treble to offset some of the warmth. There is absolutely nothing which sounds shouty or sheened out. Nothing metallic or overly sibilant or tinny & tizzy either. The only real issue I notice is the slightly less radiant and uplifted sound. Laid back yet still detailed, toned down yet still extended nicely with good info past 8k.

Instruments still have plenty of life, like the secondary harmonics or overtones from cymbals and hi-hats. There is also plenty of body to piano notes as well as violin and flute etc. Again, they may not be as uplifted as I would normally enjoy, but they are certainly not lost in some attenuated abyss. You can blast metal without gouging out your ears or throwing the Khan across a room as well which I can appreciate.

Not much to complain about…​

The treble is not tuned to pick up all the slightest and minutest of details, it simply is not that kind of set. That said, nothing is really lacking in this area either. There are sets in the price range which offer better technical prowess but those sets also have other areas where they lack. The Khan isn’t too dry or analytical yet is still pretty articulate with good transient speed up top while remaining smoother & less emphasized. Really there isn’t much to complain about for the asking price unless you are a tried n’ true treble junkie. Also, after a few songs I began to get used to the Khan and these “issues” didn’t sound like issues at all.

Technicalities ​

Soundstage​

The stage offers good width; however, height isn’t to the moon or anything and comes across about average and the same goes for depth, average. Not 2D, and not a flat plane of sound. Even with average height and depth the sound still comes across subtlety three-dimensional, and certainly 3D enough to sound realistic and appropriate without detracting from my music. These are iems so anyone expecting a stadium will be let down, but that goes for any and every iem on planet earth. I think the stage size of the Khan comes across very well for my library of music.

Separation / Imaging​

Separation is really pretty good with a caveat; the song being replayed cannot be too chaotic. Not that the Khan cannot keep up, but with too much going on, like most DD iems, the transient behavior is a bit more atmospheric and can begin to blend a bit. That said, I hear absolutely nothing which is distracting to me. Furthermore, I wouldn’t call the Khan “Bad” at replaying congested tracks. It simply isn’t its superpower. I’ve gone too long on this though, for something which really isn’t a huge issue. Most tracks sound well separated with defined edges to instruments and decent layering of elements within a stage. Imaging is very good to my ears as well. In my test tracks the Khan was actually spot-on in this regard. As it should be.

Details ​

I’ve already covered this a bit, but I will reiterate quickly. No this is not a detail king, but it’s still pretty nice in this regard. The Khan is an organic and somewhat atmospheric sounding iem with a fun side, which would be spoiled if it was tuned in a more analytical way. If you know what you are getting with a set like the Khan, then expecting the Khan to be something else would be rather odd, and crazy. Still, details are decent with this set. You have a pretty clean & resolute sound with decent speed of the driver, this in turn helps the Khan to pick up some of the minutiae. In tracks with more low-end activity, you may find the bass covering over some details but that’s about it.

Comparisons​

*Note: Any comparison I complete is only to highlight differences to help explain the set I am reviewing. This is not a battle or a head-to-head death match, though at times it may seem that way. Also, I wanted to compare the Truthear Zero but I have it lended out to my friend… Forgive me.

QKZ X-HBB ($19)

Talk about an over-achieving phenom, the X-HBB is just that. A direct sibling of the iem we are reviewing here. Priced at a ridiculous $19 this QKZ product quite literally is awesome. That is, if the tuning fits your preferences. Personally, I absolutely enjoy this ultra-budget set. Luckily, I only speak for myself, and I know myself pretty well by now. The X-HBB is a single DD with a 10mm Titanium-Coated Diaphragm and is also tuned by none other than the Hawaiian Bad Boy himself, aka HBB from “Bad Guy Good Audio” YouTube fame. He did a helluva job on this set which gave so many who had no chance of affording a decently tuned set a shot at… well… A decently tuned set. Check out my full review of the X-HBB HERE

Start with the bass!

As far as differences go, we can start at the bass. The Xhbb is emphasized quite a bit more and the bass has a little bit more of a softer impact. Both are deep, both hit hard but the Khan has better separation and layering in this area. The Xhbb also has much more slam in the mid-bass. Some would certainly refer to the Xhbb as close to basshead levels. Having said that, there is more of a refined punch on the Khan to a degree. Still both sets offer a more of a nice leading edge and good Adsr. I can’t decide which set I like better down low.

Male vocals ​

The Xhbb has a more forward male vocal with better note weight but less articulate, clear and crisp as on the Khan. The Xhbb simply has more energy and vitality with a warmer sound. This is a preference battle here as both earphones take a different approach at tuning.

Female vocals​

Females on the Xhbb sound more forward as well with more vibrance and less toned down compared to the Khan. Again, the Khan has the articulate sound to the Xhbb’s thicker note weight and fuller sound. The Khan is a bit drier to the robust Xhbb. What I like about the Khan is that female vocals seem to be more of a spotlight. No, they aren’t as forward but they seem more zeroed in on. This has a lot to do with the surrounding frequencies. Both replay very nice here, but the more energetic and robust sound goes to Xhbb while the cleaner, leaner and more eloquent midrange comes from the Khan.

Treble​

The ongoing theme is sustained in the treble. You guessed it, the Xhbb has better note weight, more vibrant and better extension through the treble region. The Khan is held back quite a bit more though a graph would tell you otherwise. Khan may be more laid back, but it is quicker and can handle more congested passages better. That said, there is an audible emphasis on the Xhbb compared to the Khan with a more shimmery and sparkly treble region.

Nice at their price point​

These two couldn’t be more different and both are fantastic per their tuning and price points. The Xhbb is geared more toward the mass market and does so extremely well for $19. The Khan has an abnormal tuning which gives us a different take on audio but is equally good at its respective price.

Kiwi Ears Cadenza ($35)​

The Cadenza is an absolute monster in the budget segment. I believe they could have been sold for $65 and it would still be a good set. Inside the Cadenza, Kiwi Ears decided upon a single Dynamic Driver with a 10mm Beryllium Diaphragm. It’s snappy, full and the timbre is very nice. This set is absolutely beautiful, it is a fully resin iem with trippy and cool colors and I got to admit… The Khan has its hands full with this one. But hey… If you’re good than you’ll play against the best so… Kiwi Ears Cadenza meet the QKZ X-HBB Khan.

Check out my full review of the Cadenza HERE

Bass region

As far as basses goes, the Khan is less linear, fuller and has slightly deeper bass. The Khan is a hair slower as well. I think that the Cadenza is simply tuned with a more balanced approach. Actually, it is U-shaped to my ear. The graph would tell you that the Cadenza has the deeper and fuller sounding bass, but real-life listening says otherwise. For instance, by looking at a graph you would assume that the Khan would have less meat to bass guitar growls, but the opposite is true between these two. Make no mistake though, deeper does not mean better. The Cadenza is plenty deep too. The Khan is also a hair softer and wooly at note edges while the Cadenza is a bit more compact. Please understand that these differences are very small. Both sets BANG!

Midrange​

Male vocals have thicker note weight listening on the Cadenza, they are warmer, fuller and just as clean. The Khan is leaner but have more of a knife edge and are a bit crisper in delivery. As for females the Khan has much better control of this area. The Khan has less energy and forwardness, but the Cadenza gets shouty much easier. Glare can pop up on the Cadenza whereas the Khan keeps things in good structure and control. I think as a whole the midrange of the Cadenza is more linear and simply lusher and more robust to my ears. The Khan has the more detailed and agile midrange while remaining very clean and more refined in its transient behavior.

Treble​

The treble region is much livelier on the Cadenza with an airier sound. I say that but the Cadenza isn’t exactly boosted to the stars or anything. The Khan is just so dialed back. That said, extension is better on the Khan. It may be dialed back but more info can be heard in the Khan’s air region. The Khan has a better detailed and technically savvy treble as well as a more analytical and dryer sounding. However, if you would rather have a slightly more vivacious and spirited treble than you’d find that on the Cadenza between the two. The Cadenza has a little more presence and body.

Different Approaches…​

Both sets are very nice for the asking price, both play around in the same price point, and both are direct competitors to each other. Both have different approaches to tuning yet both sets do very well in their own ways. Personally, I’m enjoying the Khan, as it is just different from most any set besides that of the Truthear Zero. I’m quite positive that the Khan is more of an acquired taste and the Cadenza fits more into a mainstream tuning, but both can stay in my ears for hours while I am completely content.

Is the Khan worth the asking price?… ​

Quite simply… Yes. Of course, the tuning style has to be one which you enjoy, like anything. I am answering for myself here so 100% the Khan is worth every penny of its asking price. In truth, QKZ could have asked for more and I wouldn’t bat an eye at it.

There are certainly issues with this set and I spell some of those out. However, what I haven’t been able to express is how darn nice the Khan sounds overall, as a whole. How nice is it to pop these in my ears, medium to high gain on the Ibasso Dx240 and just listen to my favorite tracks. All these issues just melt away. All in all, the Khan can be a very bold, musical, emotional, yet also can be a technically sound set, which can replay many genres well. Built wonderfully and designed with class, the Khan, in my opinion, is one of those sets which perform very well in its price point.

Conclusion ​

HBB has really outdone himself. He took an already good template from the Truthear Zero and made it better. It takes a keen ear and many years of listening to a library of music over and over again to advise on such an endeavor, and to actually create an exceptional product… Bravo! My hat goes off to QKZ and HBB for taking a chance on each other and for the end result. I have to admit that I’ve been a fan of HBB for some time, but I can also verify that this in no way affects my review. I went a hair too hard in some areas and probably held back praise in many others. You know a set is good if after the review is done… You are still listening to that set. For me anyways that is saying something. Oh yeah, the kicker… this set is $40!!!

Other Perspectives​

If you’ve never listened to me before, I urge you to listen to me now… Please listen to, read or watch other reviews of this set. Very much like the Truthear Zero I have a sneaky suspicion that the Khan will be pretty polarizing. You will either love it or not. Really! It is a different tuning then we are used to and may take some time to fully appreciate.

Of all the budget sets which have come out the last 3-4 years I can count on my hand the number which have taken this route. If you ask me, they absolutely nailed a unique and different sound which I have grown to really enjoy, but I’m sure for some reviewers this will not be the case. So, take in other perspectives. Something which I don’t harp on enough is that; we all have been down a different road in our audio journey. This greatly affects how we review and view earphones. Think about it. Also, we all have different gear, we hear different, our music libraries can be different and on and on. Don’t just stop at me, please take in other perspectives. Yes, it’s only $40, but $40 can make or break someone and I want you people to get it right.

Thank You!​

Thank you for reading, I hope this helps my friends in the Audio community to make a better-informed decision. I type exactly what I hear and try my best to do so in a way which makes sense. Maybe one of these days I’ll actually start to get good at it… LOL. Anyways, thank you and please take care and stay safe.

QKZ is a company KNOWN for imitating brands like KZ, copying their iems and selling their own ripoff version. They have been doing this for years now.

The QKZ x HBB Khan seems to be nothing more than a Crinacle Truthear Zero copy.



The HBB Khan has the same huge nozzle, nozzle mesh, the same drivers and even the same exact crossover board as the Crinacle Truthear Zero..

The only difference is the bass is increased on the Khan.

Increasing the bass came at the cost of lowering the upper mids. This is the so-called "seesaw" effect and it's why Khan is so dark sounding.

When i asked Moondrop/Truthear if they had any relationship with QKZ, they told me they had NONE, and that QKZ simply copied their Truthear Zero.

Did a youtuber actually steal another youtuber's iem, and then put his name on top of it?

General Info/Build/Packaging/Comfort
QKZ has another new collaboration with HBB, which is what I have here with me today, the Khan. It is an IEM with dual dynamic driver configuration which sports 10mm DD handling the bass as well as a smaller DD 7.8mm handling the mids and the highs.

The shell is 3D printed with some nice looking faceplate with pseudo carbon fibre. The L side of the earpiece sporting QKZ’s logo while the R side sporting HBB’s logo. In the box, it also came with a “gold” looking coin that has HBB’s logo on it. The shell size is not too big nor small, sits and seals very well in my ears, no discomfort throughout my listening period which spans over 2-3 hours, music, netflix as well as casual gaming with it.

Packaging is quite nice for an IEM that costs 40$, especially coming from QKZ, which normally have packaging style similar to KZ’s. The packaging consist of a hard storage case, 3 pairs of eartips, OFC cable, a HBB’s “Gold” coin, and the Khan itself. The overall unboxing experience of Khan feels like the IEM cost more than 40$



Gears used for this review

• Topping DX1 + JDS Atom Amp
• Topping DX1 + Topping NX7
• Sony Walkman ZX300 with MrWalkman’s Firmware
• iPod Touch 5th Gen
• Macbook Air M2’s 3.5mm port

Foreword
My review is solely based on what I hear via my equipment and I never consider my reviews to be objective in any way rather a subjective approach. Do take into consideration that everyone’s ear anatomy is not the same, so the psychoacoustics perception might be different as well, but i believe it will not stray too far

Sound
Khan sounds a little like a harman tuned IEM with a unique twist to it. In fact it is quite similar to one of the dual DD IEM that I reviewed a few months ago, namely the Truthear Zero. The timbre is quite natural to my ears, although the note weight is slightly lacking in my opinion, but for the asking price, can be overlooked. In terms of tonality, it is slightly warm, the slight warmness does contribute to the bass texture afterall.

Bass

• The sub bass takes the stage here and it does rumble quite a bit and very enjoyable especially listening to EDM track such as Amin Van Bureen’s Ping Pong
• Mid bass is lacking a little punch here as it is very evident on Metallica’s Lux Aeterna,
• Speed is quite good and the bass texture is quite good overall with good control and tight

Mids

• Mid range is neither recessed nor too forward, providing sufficient details and the bass also doesn’t bleed to the mids
• Male vocal is slightly recessed whereas female vocal is more forward and a bit more energetic and lively, both male and female vocal has good texture and note weight
• The mids are generally clean and good, although certain instrument such as piano does sound a little lacking in terms of note weight, but this is just nitpicking

Treble

• Treble is smooth and never sibilant, a very safe tuning, rejoice treble sensitive folks!
• While it’s good to have a safe approach, it also kills off some air which is evident on some busy tracks where everything will sound a little like “mashed” with each other
• Detail retrieval is average, it is good for the price but don’t expect it to be analytical or use it for critical listening

Soundstage/Imaging
Soundstage is slightly out of the head but lacking a little height and depth to my ears. Imaging is average, instruments can be picked up easily but of course it struggles a little on busy tracks.

Driveability
Khan is quite easy to drive, able to get decent listenable volume from any 3.5mm jack. Macbook Air M2’s audio jack is quite capable of putting out decent volume. However, it does scale with better sources as well as amplification. Amping it with JDS Atom, it does exhibited better control in terms of bass tightness and also slightly better imaging

Comparison (Kiwi Ears Cadenza)

• Both are priced quite closely to each other 35$ vs Khan 40$
• Cadenza is a single DD with beryllium plated whereas Khan is a dual DD with a dedicated DD handling the bass and another DD for the mids and highs
• In terms of tuning, Cadenza is a little laid back whereas Khan is slightly more energetic on the top end
• Bass on Cadenza is more linear sounding whereas on the Khan the sub bass is elevated causing the mid bass to sound a little lacking in terms of punchyness, Cadenza retained the punchyness but the sub bass doesn’t rumble that hard compared to Khan
• Mids on the Cadenza is slightly laid back compared to Khan which is a little forward
• Treble is smooth on the Cadenza and also having a little more air compared to Khan, Khan is lacking a little air but both are smooth
• Detail retrieval capability on both set are quite close, soundstage on the Cadenza sounds a little “bigger” due to the extra air from the treble region, this is not to say that Khan is having a small/narrow soundstage, just slightly smaller than Cadenza
• Both are easy to drive and both are good sets in my opinion, at the end of the day, it is just up to you to decide what’s your preference and what you will be listening to most of the time and pick the one for you.

Final Thoughts
I don’t have any problem recommending Khan if you’re looking for some fun and to experience having a “dedicated” woofer handling the sub bass which does produce a very very fun rumble when the track calls for it. However, if you are mainly looking for technical performance, you may skip this set, Khan is not for you, this is not to say that Khan’s technical performance is bad, it’s just that the tuning isn’t focused on being technical. It is a fun set overall and easily likeable by many out there I believe.

*Khan is sent over by @Linsoul Audio in exchange for this review. I thank them for the opportunity as always and I received no compensation to produce this review.

Head over to Linsoul’s store to grab a pair now if you’re interested
QKZ x HBB Khan - Non Affiliated