I recently received the CCA CKX for review. I would like to thank Denise from IZ POP for providing this unit for review.
Product link:
https://www.amazon.com/gp/aw/d/B08VNPVN66?psc=1&ref=ppx_pop_mob_b_asin_title
The CCA CKX is a new multi-driver hybrid IEM featuring a 10mm coaxial bass driver and six balanced armatures. The BAs are: 3 x 30017 covering the mid/high region and 3 x 30095 for the high frequencies. One 30095 BA is placed in the nozzle.
The packaging is similar to that supplied with the CS16 and CA16, a small white linen-textured box with a CCA logo in black. Opening the box, the earphones are presented in a cardboard cut-out below a small envelope containing the documentation. Below this is another small box in which there are the two pairs of spare white silicone eartips and the 2-pin cable (the medium size tips are pre-fitted to the IEMs). There are some specifications printed on the back.
The IEMs are very compact in size considering the number of drivers inside, and are solidly built in CNC cast metal and look and feel as though they will last a long time. They are teardrop shaped and are quite heavy for their size. There is a fairly long nozzle with a prominent lip and a small circular vent for the dynamic driver on the inner surface. An incised CCA logo is placed in the centre of the faceplate and there is a raised socket for the 2-pin QDC connectors.
The supplied cable is the usual 4-core braided type seen on various CCA and KZ models. There is a long run from the chunky Y-split to the QDC connectors and no chin slider and it tangles very easily. It is terminated in a right angle 3.5mm plastic plug. The ear guides are quite tightly curved but fit snugly round the ear.
Testing was performed using an Xduoo X20 DAP and a burn in period of 100 hours was carried out. Adequate volume was achieved with no need for additional amplification. The stock cable was used, but even the largest of the stock tips afforded no seal and consequently there was a lack of bass, so I experimented with various tips, finally settling on JVC Spiral Dots, size L, and this resulted in a good seal and a comfortable fit, with the earpieces fitting snugly in the ear and achieving good isolation.
First Impressions
The CKX displayed a well-balanced profile with solid sub-bass. Mid bass was at a lower level and transitioned into the mids smoothly. Midrange was clean and not notably recessed with good timbre. Treble was bright and extremely detailed and well extended. There was an expansive soundstage with excellent separation and layering. The overall effect was neutral/bright and might be thought of as a "reference" tuning.
Bass
The bass was deep and nicely textured with good definition and with a good amount of 'weight'. It was very well balanced with the rest of the frequency range and the emphasis was on the sub bass, with mid bass more neutral and not bleeding into the mids.
Space music maestro Jonn Serrie's "Flow of Time's Arrow", from his "Thousand Star" album begins with shimmering synth patches and sparkling electronic effects. A stately melody is underpinned by deep synth bass and the CKX delivered a weighty and powerful foundation with a spacious, airy feel, complementing the rest of the production perfectly.
On the CKX, the menacing orchestral bass drums and timpani in Sibelius's "The Swan of Tuonela" produced a perfect dramatic atmosphere in the recording by Osmo Vanska and the Lahti Symphony Orchestra. Set against delicate string figuration and a mournful cor anglais solo, the percussion section displayed excellent separation and the individual timbres of the drums were clearly differentiated.
Midrange
The midrange on the CKX was very well profiled with a consistent level and tonality throughout. The BA timbre was noteworthy, being just on the bright side of neutral with very high levels of detail. The upper mids were marginally brighter and transitioned smoothly into the treble.
Venezuelan composer Reynaldo Hahn's beautiful "L'heure exquise" is a contemplative piece for cello with piano accompaniment. In the version by Mischa Maisky and Daria Hovora, the timbre of the cello and piano was very authentic and the interplay between the two instruments was skilfully handled. The ambience of the recording venue was faithfully reproduced.
The exceptional clarity of the CKX helped to make vocal lines emerge from their backing tracks and enable the lyrics to be heard clearly. A good example of this was in Cat Stevens’s “Father and Son”. The storytelling was beautifully articulated with his voice standing out above the guitar, piano and percussion accompaniment and every detail of the production easy to follow whilst the character of Cat Stevens’s voice was accurately reproduced.
Treble
The CKX's treble was remarkably clear, open and detailed and was free from disturbing peaks or harshness. It was bright and extended with an airy quality and excellent transient attack.
Georg Deuter's "Petite Fleur" begins with a melody reminiscent of a music box. Accompanied by delicate and sparkly percussive elements, electronic effects and synthesisers, the CKX produced an exceptionally clear performance with copious detail and pinpoint imaging and separation. The whole piece gelled together in a very musical way.
Sarah Chang's magical reading of Vaughan Williams's "The Lark Ascending" with the London Philharmonic Orchestra under Bernard Haitink's baton came to life convincingly on the CKX. The violin was admirably depicted in front of the orchestra with a bright yet natural timbre and the delicacy of the highest notes was conveyed clearly in an atmospheric acoustic space. The separation and layering in the string sections was very clear, resulting in a satisfyingly musical performance.
Soundstage
The CKX presented a wide, deep stage with excellent separation and layering and the details of a production were laid bare in a most authentic fashion. Imaging was also impressive with positioning of instruments stable and precise.
Liadov's "The Enchanted Lake" begins with basses, tubas and bass trombone forming a foreboding introduction, and on the CKX there was a real sense of distance and depth. In the version conducted by Charles Gerhardt, there was an expansive three-dimensional image with the horns on the right, the harp on the left and the string section in the centre, taking the listener convincingly to a virtual concert hall.
"Skys" is an album of minimalist electronic music by Mychael Danna. "Sky 10" is a powerful piece based on a simple repeated motif which builds to a majestic climax with prominent parts for electronic woodwind and a deep bass foundation. On the CKX, it was presented dramatically in a spacious acoustic with a superb dynamic range and a wide frequency spectrum, and was very impressive with each element clearly audible.
Comparisons
KZ ZAX (1DD + 7BA)
The ZAX is possibly the best multi-hybrid from KZ so far. It is also V-shaped, but improves on the treble timbre of earlier models like the ZS10 Pro and the rather restrained presentation of the ZSX. It does have a bass which can be dominant and a lower treble which can be occasionally sharp, but it is generally well-tuned. The CKX matches it in detail retrieval but has a more neutral and arguably, more natural timbre, especially in the mids, and sounds cleaner. Though somewhat analytical, it still manages to sound musical.
CCA CA16 (1DD + 7BA)
The CA16 has a warm, well balanced profile with solid bass, well-tuned mids and a gentle, somewhat rolled-off treble. It is a very different tuning from the recent C10 Pro and CS16 which are much brighter. The CKX improves on the CA16 with better build quality, improved detail retrieval, clarity and accuracy. The CA16, on the other hand, has a relaxed presentation which is rich, lush and full-bodied and very easy to listen to. They are very different beasts and can be considered as complementary rather than as rivals.
TRN VX (1DD + 6BA)
The VX has a full-on exciting and addictive V-signature with powerful bass, somewhat recessed mids and a very bright upper register. Once this is tamed a little with the right tips, it can go head-to-head with the CKX in build quality, detail retrieval and bass impact, but its tuning is not as natural or accurate. It would appeal to treble heads and could be described as a ZS10 Pro on steroids. The CKX has superior balance and timbre and a more neutral profile.
Conclusion
After the release of the C10 Pro and CS16, both of which displayed a very bright character, CCA returns to form with the CKX. With its combination of clarity, accuracy, wide frequency range and excellent build quality, it presents music in a near-neutral and authentic way with exceptional detail. It truly deserves the title "In-ear monitor" and can be warmly recommended to anyone looking for a high quality earphone with a reference-type tuning. I consider the CKX to be CCA's finest effort so far.
