BQEYZ Does Not Freeze

Ratings

Pros

• Neutral, musical, rich, slightly warm sound, very well harmonised in all three bands.
• Again, excellent low end, volumetric, deep and punchy.
• Great lateral and stereo feel.
• Impeccable design and construction.
• Outstanding ergonomics.
• Very good accessory set, beautiful cable.
• Excellent value for money.

Cons

• To say the least, he is not a detail monster, nor is his scene three-dimensional or 360 degrees.

Purchase Link

https://es.aliexpress.com/item/1005008056739854.html

Link to the Store

https://bqeyz.es.aliexpress.com/store/4997112

Introduction

The BQEYZ Frost is the third IEMS in their Weather series. Originally, I wrote that this series was going to consist of the Wind, Cloud, Rain and Mist models. Wind and Cloud have already been reviewed by this humble reviewer. The third is not Rain, but Frost, an IEMS with a 10mm dual-cavity dynamic driver, PU and PEEK composite diaphragm, plus a custom microplanar transducer that enhances mid and high frequency performance. Tuning is balanced and detailed. As usual, BQEYZ designs beautiful pieces. For this occasion, the design of the outer plate is new and made of slightly curved, high-transparency crystal glass. Its base is ice blue with a frosted textured pattern that lives up to its name. The body of the capsule is made of aluminium alloy using high-precision 5-axis CNC machining. The aluminium has been anodised to create an oxide film on its surface by electrolysis, making it resistant to corrosion and continuous use. The cable has a mixed coaxial construction of silver-plated and monocrystalline copper wires. The monocrystalline copper wires used are 0.04mm and form a 32-wire strand. The oxygen-free copper wires are 0.05mm and form a 20-wire strand for the inner shaft, while the 0.06mm silver-plated wires are used as a 38-wire mesh to recreate the outer ring. Finally, the outer sheath measures 2.3mm. The capsule interface is the classic and secure 0.78mm 2Pin, with 3.5mm SE or 4.4mm BAL pins. Let’s take a look at what this new BQEYZ model from the Weather series has to offer in this review.

Specifications

• Driver Type: 10mm dual cavity dynamic driver with PU and PEEK composite diaphragm + custom microplanar driver.
• Frequency Response: 5Hz-40kHz.
• Sensitivity: 113dB.
• Impedance: 32Ω.
• Jack connector: Choice of SE 3.5mm or BAL 4.4mm.
• Cable length: 1.2m.
• Capsule Connection Type: 2Pin 0.78mm.
• Starting price: $179.

Packaging

The BQEYZ Frost comes in a white box with dimensions 159x120x48mm. On the main side you can see a real capsule in all its glory, located on the right side. On its left side you can read the model name and a description of the model. The brand name is in the upper left corner. On the back are the model specifications in three languages and the brand name in black letters. When the outer cardboard is removed, a black box appears with the brand name inscribed in the centre. It opens like a book and reveals a black cardboard with an oval at the top, revealing the capsules inserted in a thick black foam mould. Underneath are the name of the model and its description. Underneath the cardboard is the mould and, underneath it, the classic black zipped case with the brand name in the centre. Inside are the rest of the accessories, including the cable and the metal blister with the silicone tips in two models. In short, the complete contents are as follows:

• The two BQEYZ Frost capsules.
• A blue 2Pin 0.78mm cable and 3.5mm SE plug.
• One metal blister pack containing the silicone tips.
• Three pairs of Atmosphere grey silicone tips, sizes SxMxL.
• Three pairs of white silicone Reference tips, sizes SxMxL.
• One pair of medium sized foam tips.
• One cleaning brush.
• One user manual.
• One warranty certificate.

The content is the brand’s classic, but of high quality, without artifice, elegant and very appropriate. The beautiful cable (it’s a pity I didn’t choose the version with the 4.4mm BAL plug), the blister pack containing the silicone strips and the black leatherette zipped case, large enough to fit the whole model without any sacrifice.

Construction and Design

For this occasion, the BQEYZ Frost capsules have a more conventional shape. It is an uneven oval silver-grey capsule with three very rounded corners. It is relatively thick and smooth on the inside. The outer face is made of a slightly curved, highly transparent glass. The dark blue inner base has a classic frost pattern. On the outer side of the right side of the capsule you can read the brand name and on the left side the model in letters in the same ink as the frosted pattern. On the edge is the 2Pin 0.78mm interface, slightly recessed in a rectangular hole machined from the same metal. Next to it is a mole with white lettering indicating the channel and then an oval slot. The inner face is smooth and rounded at the edges. You could say that there is a machined oval in one corner that has a circular hole in its centre. As I say, the inner face is smooth until the nozzles, at which point there is a small sloping elevation. Above it are the mouthpieces, which are made of polished metal, unlike the textured and anodised body of the capsules. The mouthpieces have three phases, the conical base, the central cylinder of 5.1mm diameter and the outer crown of 5.8mm diameter. The approximate length is 5.3mm and the interior is protected by a thick metal grid. Finally, it should be noted that there is another hole at the base of the nozzles.
The cable consists of two coiled strands protected by a 2.3mm bright blue sheath. It is a mixed silver plated and monocrystalline copper coaxial cable. The monocrystalline copper wires used are 0.04mm and form a 32-wire strand. The oxygen-free copper wires are 0.05mm and form a 20-wire strand for the inner shaft, while the 0.06mm silver-plated wires are used as a 38-wire mesh to recreate the outer ring. The sleeve of the 3.5mm gold-plated SE plug is a simple smooth cylinder with a rounded cable exit and a protective translucent plastic sleeve. The name of the brand can be read longitudinally engraved in white. The splitter piece is another cylinder with the same characteristics, but shorter, which also has the brand name engraved on it. The pin is a metal ring with a hole in it that is somewhat large for its use. The sleeve for the 0.78mm 2-pin connectors is another smooth metal cylinder with a groove near the rounded cable exit. The gold-plated 2-pin connector is mounted on a rectangular piece of semi-transparent hard plastic. The cable has ear guides.
There is no doubt about the design power of BQEYZ, capable of creating very elegant, beautiful and eye-catching unique pieces. The Frost are beautiful and their simple frosted pattern goes far beyond their simplicity to become eye-catching. The shiny metal capsules and their subtly rough texture have the perfect finish for the dark blue outer face. The cable is no different, with a thick, shiny blue sheath and metal parts with a smooth, polished and shiny silver finish. It’s a pity I didn’t choose the 4.4mm balanced plug. Last but not least, the cable comes with a black velcro strip to tuck it away and the capsules come with transparent foil to protect the outside of the cable.

Adjustment and Ergonomics

Sometimes, the fact that the capsules have a smooth inner side can be a blessing. The protrusions must be very well calculated to form a secure anchor, but they can be annoying. Frost’s do not have this bulge and are slightly shorter. With a very rounded and stubby shape, they fit very well and evenly in my ear. The design is sized to fit perfectly, resting completely inside the pinna, with no rotation or movement possible. Despite being slightly thick, they fit very well and hardly protrude. The over-ear cable is unobtrusive and surrounds the ears efficiently.
The inclination of the nozzles is very good and the insertion can be average. However, in my case, as usual, I use my home-made large foam-filled tips. With them I get the perfect fit, efficient transmission of sound waves and a high level of isolation. Outstanding.

Sound

Profile

I can’t deny that BQEYZ usually looks for a middle ground between their previous models. On this occasion, the profile of the Frost is very similar to that of the Winter, as you can see, there is also some coolness implicit in the names. It’s a smooth tuning that aims for that neutral W profile, with more upper midrange enhancement and extended treble, after a slight control zone. The profile is very balanced and homogeneous, moving in a sub-10dB band between 20Hz and 12kHz. This indicates the neutrality of the profile.

Bass

BQEYZ usually makes dynamic drivers with tight, precise, concise, technical and fast bass. The Frost’s are clearly of that style. Again, it is not very pronounced in the sub-bass, but slightly focused in the mid-bass, although it is slightly rounded towards the midrange, with an energy below the rest of the frequencies. However, the weight and volume of the bass is easily perceived. It is not a dedicated bass-heads model, but it has a very good bass range, above neutrality, very enjoyable.
In the very low-frequency pure tone test, a slightly oscillatory 20 Hz first tone is observed, but with very little loudness. However, its physical level is evident, one feels the sensory power of the note and its depth. The 25 Hz tone leaves me somewhat cold in its reproduction, but the 30 Hz tone is close to the BQEYZ level I am used to in this kind of tests: a quite pure tone, compact, subtly coloured, full of physical strength, natural and realistic sonority, with very good balance, without sonorous undulating character and with a lot of volume. One can even notice that the texture is there to add more realism to the note. The translation to real music coincides with what was explained at the beginning of the paragraph: the bass drums are dry, quick to play and recover, with no aftertaste, slightly rubbery and elastic, which adds just the right naturalness and enjoyment to the bass, as well as enhancing the volume and depth.
In the dirty, unwieldy and unfiltered bass test, the Frost’s feel like a fish in water, giving a lesson in depth, volume, realism and tuning in the reproduction of complex bass lines. It’s true that the Frost’s good work slightly sweetens the worst conditions, making them even pleasant. But it does so naturally, uncoloured and true to the original. The result is a deft, fast, voluminous, deep, powerful and technically accurate recreation, capable of reproducing all bass lines and layering the layers without blending them.
It’s not neutral bass, it’s not just anything: the Frost’s give more in bass than the frequency response might indicate, especially in terms of volume, energy and depth. But they are also very good technically and capable of separating bass lines and multiple layers. They are very enjoyable for a bass lover like me. And all this while being very respectful of the rest of the frequencies.

Mids

The first half is quite neutral. There is a slight warmth which is matched by the luminosity, transparency and clarity of the whole register. Again, I note an average balance between body, physicality, presence and thickness of notes. The physicality is not very high, but it exists. Presence is not predominant, but the male voices are felt in all their splendour from start to finish, without standing out in the mix above the rest. And the thickness of the notes is relatively delicate, but taut and strong when necessary. In this way, the mids don’t come across as dense or heavy, but expansive, balanced, free and expansive.
Frost also maintains a good balance between the first and second halves of the midfield. It is true that the upper mids are more advanced, but not enough to leave the first half behind. Thus, the female voices are more prominent, but without losing their neutrality to the male voices. The result is a very full mid-range, in which nothing is overemphasised or relegated. There is a good balance between detail, nuances, body, base and harmonics, so that the whole persists in the idea of neutrality and a centred timbre, which does not tend towards anything, but is more natural and realistic.
The brightness is relaxed, but the mix is transparent, the mids are ample and details are perceived as vivid, crisp and well separated. The wide soundstage allows the midrange to feel very explicit, rich, delicate, smooth and musical, despite the large amount of information it offers the listener. This characteristic means that they do not sound intimate and the planes are very well distinguished, as is the stereo recreation, which places great emphasis on the ability to break down the channels independently, but generates the vocals in the centre, at a measured distance from the listener, when the recording suggests it. In this respect, the vocals feel almost tactile, with the instrumentation enveloping them between the channels, achieving a rich and pleasingly immersive sensation, where everything seems within easy reach.

Treble

The treble of the Frost is perceived as softer, maintaining the neutral balance of the rest of the bands. They start with a control zone (slight roll-off) that makes the energy level slightly mitigated. In this way, the treble is not too sharp. However, I feel that there is something in the microplanar driver that corrects the loudness of the treble and makes a more homogeneous and extensive mix than what is shown in the graph. In this way, the treble does not stand out from the whole, but it does show up quite fully and, above all, effectively and extensively in the music. In this way, its timbre comes across as real and the initial softening doesn’t seem to affect its loudness or thickness; the notes feel fine even if their energy level isn’t too high. I think BQEYZ has used the micro-planar driver in the right way to recreate a high end with the virtues of that driver, but neutralising the energy level that could be excessive at times. This is how it achieves a rich, smooth, neutral and balanced upper range with the rest of the strips.

Soundstage, Separation

One of the strengths of the Frost is its special ability to distinguish, isolate and then mix the channels. These IEMs show great skill in recreating the instrumental image, as they are able to discern where the instruments are coming from and on which side they are played. They also know how to blend them so that everything sounds together and balanced. The stage is wide, with a good amount of volume, expansive capacity, great laterality and evident height. But they are not volatile or gassy, but more attached to the stage. In that sense, their stage is more frontal, without being too enveloping or spherical, but more realistic.
There is a good level of separation and a very good sense of volume, depth, transparency and clarity. But this is not an analytical IEMS where the distance between notes is overly wide. I think it is more realistic and restrained in this respect. It’s able to show micro detail, but not in a very obvious or detached way. It feels more analogue, without being confusing. Micro detail is appreciated, but not in an explicit way, but in a more natural and restrained way. But the way the music, notes, instruments and voices are recreated is richer than expected and shows great skill in this regard, showing a lot of detail and nuance very naturally in the scene. In this way, its informative character is high, but realistic and very pleasant.

Comparisons

BQEYZ Winter

This time, the new BQEYZ Frost’s worst enemy is at home. It’s the Winter, an IEMS with a 12mm dual-cavity dynamic driver, PAR diaphragm, plus another 11.6mm PZT bone-conduction driver. In the Winter, the dynamic driver is larger, 12mm versus 10mm in the Frost. The bone conduction transducer has been replaced by a custom microplanar transducer. The new Frost drivers are smaller and have a slightly curved, high-transparency glass outer face. The Winter’s are all-metal, thicker and have a bulge on the inner edge of the capsule. This profile can be critical in the fit for some morphologies and I prefer the smooth surface of the Frost, as well as their smaller size and thickness. The design is beautiful on both models, so it is very difficult to choose one or the other. The cable is not as flashy as the Frost’s, but the Winter’s four-strand grey cable is somewhat softer and more manageable. The rest of the accessories are the same.
The profile of both IEMS is very similar and I think the differences in the graphical comparison might even be negligible. However, the new Frost’s are easier to handle and sound louder with the same power.
For the comparison I used the same home-made foam-filled tips. The differences in fit could also lead to audible differences.
I said that the bass of the Winter was very good, how are the Frost’s? Well, I would say as good or better, at least for my personal taste. It seems that the Winter’s are a bit more sensory in the lower frequencies, but the Frost’s have a bit more power, punch, volume and even more texture. The bass of the Winter is a bit more relaxed, with less energy, with a sonority with a bit more colour, not so dark, but it is also drier, more technical, with a bit more speed, less punch and a quicker decay. The Frost are more fun and also denser, they give the sensation of moving more air, generating more auditory pressure.
The Frost’s greater sense of bass pressure makes the Winter’s sound a little freer and uncluttered. For some, the bass weight may be a plus on the Frost, but it may also be a detriment to those looking for a more neutral profile.
The upper mids of the Winter’s are more splashy and obvious, while the Frost’s are a little more muted. It might seem that the Winter’s should have more detail, but the Frost’s microplanar driver is noticeable in definition, winning out by a little, despite its darker sound. This is noticeable in the first half of the mids, where the Winters seem thinner, but also cleaner, more transparent and brighter. In contrast, the Frost’s are fuller, more physical, fuller and denser, but maintain that relatively darker level. Those who want more clarity will opt for the Winter; I go for that fuller, slightly thicker, sweeter feel at the base of the Frost. There’s no doubt that this affects the timbre of both IEMS, with that shift to a warmer tendency for the Frost and a slightly more neutral/brighter one for the Winter.
The trebles are tuned very similarly, the difference being in the sonority and timbre of their performance. The Frost’s seem a little brighter and thinner, a little punchier, while the Winter’s are driven by the rounder characteristic of the PZT driver.
The Frost’s soundstage has more volume and, being more splashy, the Winter’s are closer, with a more frontal presentation. The Frost’s are notable for their laterality, which makes the soundstage wider and almost surrounds the head, though not in a holographic way.

Conclusion

BQEYZ continues to improve and offers us a beautiful new model that seeks to refine its concept of neutral frequency response with a warm touch. The BQEYZ Frost is a hybrid IEMS from the Weather series that combines a dynamic 10mm dual-cavity driver with a PU and PEEK composite diaphragm and a custom microplanar transducer. With outstanding design and construction, the Frost is a mid-sized IEMS with very good ergonomics and a neutral profile with a slight warm tendency and very well balanced. It is smooth and expressive in the high end, subtly dark, deep, dense, physical and voluminous in the low end, while in the mids, the warmth, richness and informative musicality of the ensemble is noticeable. In addition, the Frost’s are notable for their great sense of lateral openness, which creates a large, enveloping scene for the ears. All this without forgetting the dexterity to show detail and nuance. Yet another success for the brand.

Sources Used During the Analysis

• iFi GO bar Kensei.
• EPZ TP50.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.