- Great low zone.
- Remarkable relationship between the three drivers, with a very appropriate tuning.
- Construction and design.
- All-rounder and actual profile.
- Highly recommended for all types of use: daily, sports, at home …
- Moderate high zone in presence and not very extensive.
- Minimal accessories.
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The BQEYZ K1 are triple drivers, composed by two dynamic drivers and a balanced armature. They have removable cable, using 0.78mm 2pin connectors. Its external shape is inspired by drops of water, with the intention of creating a natural ergonomics but with style. Of course, the cable is on the ear, to facilitate daily use and sports. In addition, it has been manufactured in high purity copper, with special emphasis on the design of the pins, to facilitate their insertion and extraction.
The K1 are the second IEMs of this brand, which I have the pleasure of reviewing. The previous ones were the KB100. On this occasion, these K1 have a different profile, with a greater emphasis on the low zone, but leaving the mid and high zone almost unchanged from those KB100. Thus, the K1 are a great example to adapt and expand the offer offered by the brand, offering different profiles for all tastes.
- Driver: 1 balanced armature + 2 dynamic hybrid driver
- Frequency range: 7-40KHZ
- Sensitivity: 105 dB / mW
- Impedance: 15Ω
- Distortion Ratio:
- Connector: 3.5mm
- Type of capsule connection: 2pin 0.78mm
- Weight: 25±5g
The presentation is the classic BQEYZ: a square box almost black, shiny glitter, sealed in transparent plastic. In the frontal face, the mark is with the letters, in silver in the superior left part. Below, on the right, there is the text «Hybrid Technology In-ear Headphones». On the back of the box come the specifications, which, curiously, are the same as the model KB100. Another curious fact is that nowhere in the box refers to the name of the model.
After opening the box, again, the presentation is the same: the IEMs stuffed in a white cardboard with a foam mould underneath. The cable is picked up behind it. There are four silicone tips embedded in the mold: two large and two small. The medium tips are placed in the IEMs.
Finally, there is a booklet with instructions for use. Neither a bag nor a transport box is included.
As I usually say, minimum and essential packaging. But really the price is very tight.
Construction and Design
The design, except for the outer face, is completely the same as its brother KB100. But change the color, totally black. This time, on these outer faces, you can only read «Hybrid Technology» and the L and R marks, which indicate the channel. The model name and brand are on the bottom edge, in capital and white letters, but of a small size. The nozzles are in another piece, but of the same colour. They have a diameter of 5.5mm and a metallic grid and grey. The construction is perfect, rounded, the edges are soft and the body is chubby.
The cable is made of high purity copper, consisting of four braided wires, each covered with black plastic. The braiding guarantees remarkable flexibility and virtually no microphony. The pin is L-shaped, consisting of a black metal cylinder as a cover. The 3.5mm connector is gold-plated. The divider is another black cylinder with the mark inscribed in white letters on it. At its lower end, the connected cable is protected by a plastic cover. Behind the divider there is a transparent plastic pin to adjust the cable under the chin. The K1 are designed to be used with the cable over the ear, so they have a semi-rigid plastic coating that gives them a circular shape. This form is somewhat closed and, despite the almost non-existent stiffness of the coating, it can get to annoy a little by rubbing, after a moderate time. The good thing is that with time, the rigidity disappears even more.
In short, the construction and design are practically excellent, especially for its price range.
Adjustment and Ergonomics
The shape adopted, based on drops of water, is really natural, pleasant, ergonomic and easily adaptable. The fit is fast and once put on they move little.
The insertion is shallow, although double flange tips can be used to improve this aspect. The only negative point is the width of the channel, 5.5mm can mean a lot to some. Other times, depending on the tips used, it may have a slight tendency to loosen. Then, it is convenient to use another type of tips, or even opt for other foam tips.
Once well fitted, they feel very comfortable and the set they form with the cable is excellent, very light, resistant and perfectly adjustable, suitable for daily use and sports.
The profile of the BQEYZ K1 is in soft V, with slight emphasis on mid bass and high mids. The highs are controlled, both in presence and extension, but they cannot be considered dark IEMs at all times, as they are very clear and enjoy high definition and separation for their price range.
The low zone is moderately linear, with little difference between 30 and 150Hz, offering the same gain at 20 as at 200Hz. This conveys a good dose of power, depth, punch, body and homogeneity. The lower part demonstrates, thus, its great versatility, being suitable for many musical styles, since nothing is missing in it.
Overall, the bass is big and compact, forceful and somewhat thick. The definition is good, it stands out in depth and the presence of sub bass is almost remarkable. As for texture, softness predominates, although almost wild, but without being very explicit or laminated. The planes are not diffuse and the successive bass sequences are well chained, noticeably perceptible individually, but with that characteristic thickness. The speed, in spite of everything, is remarkable and recovery also, something very praiseworthy for its range of prices and, above all, for the general characteristics of the low zone.
Another great feature of these K1 is their optimal combination of dynamic drivers. They can be attributed the lower zone and much of the middle zone. In this sense, and despite the notable presence of bass, the middle zone is not hidden or camouflaged at all. On the contrary, it enjoys enough light and clarity. The separation between the two ranges is perceived as clean and distinguishable. Thus, it is possible to enjoy a great punch in the low zone, without losing an apex of detail and sharpness in the mids, and without noticing interference from one band in the other.
Entering into the description of the voices, their presentation follows the described parameters, being perceived remarkably sharp and clean, with a slight distance, but let’s remember that they are still some IEMs in V, but soft. Apart from the naturalness of their sonority, the homogeneity and a very smooth texture, with a flexible and dynamic body, with a balanced timbre, almost neutral, is remarkable, despite what one might predict.
The emphasis on the high end of the mids provides a lot of freshness and is at a very sweet spot, between presence, width and quantity. All this generates a great balance, free of stridencies and darkness, a very successful way, excellent comfort, relaxed but diaphanous flow, detailed, with a good dose of precision and separation.
After the emphasis of the upper-middle, a gradual fall in the response of the upper zone begins. This limits the range in extent and in presence. Thus, the upper zone is perceived as measured and contained, softened in its peaks, but not disappeared, far from it. The BA driver demonstrates its personality here, providing a generous amount of detail, air, resolution, offering a very safe sound, away from any fatigue or sibilance.
The K1 scene has been improved in depth, due to the good presence of the lower zone. The width is similar to its brother KB100, moderately wide, but with that extra depth that facilitates a presentation more semicircular than flat. In this way, the separation is appreciated more in the three dimensions, being more limited in height.
Again, it is necessary to emphasize a very clean presentation, with body, but with the sufficient silence to demonstrate resolution, sharpness and remarkable detail for the range of price.
The KB100 are almost twin brothers of the K1, the differences in the mids and trebles are almost non-existent, as can be seen in the graphs. In the lower zone and its consequences, it is where they are most distinguished. Both the bass and sub bass of the KB100 are quite linear, with a good feeling of depth. They have good control and let the rest of the frequencies breathe more. The K1 demonstrate their predominance in this area and their influence in the rest is greater, although it does not drown, but its greater relevance is clearly felt. For my taste, the K1 have the low zone that I would have liked the KB100 to have: a wish granted.
In terms of scene, the K1 offer more depth while the KB100 offer more clarity and cleanliness.
In short, both IEMs offer very similar tunings in mids and highs, the lower zone is their big difference. The great virtue of both is that they are able to satisfy our preferences.
The DR2 were a love at first sight, both for their beauty and for their sound, in particular, for their viscerality in the sub bass. In that sense, its disturbing presence surpasses the K1, generating an almost hypnotic and demolishing sensation at the same time, which is hard to get rid of. In this sense, ergonomics greatly influences the perception of sound. The DR2 offers the possibility of a deeper insertion, producing a more immersive sensation that favors it.
In terms of profile, the DR2 have a more V-profile, focused on the sub-bass and upper mids. Thus, there are clear differences between the two. The sound of DR2 is more polarized in those areas, sounding more isolated from the rest, also more unbalanced. While in K1, the gap left by DR2 is filled in the midrange, appreciating the sound with greater cohesion, body, linearity and fullness. In this way, the voices are perceived more complete and present in the K1, with greater warmth. In DR2, the voices sound finer and more distant, as well as being more influenced by the emphasis on the higher mids, as they are brighter. This fact makes the K1 more peaceful and comfortable, soft and complete. On the other hand. That brilliance extolled in the DR2, gives a pseudo sensation of greater detail, which is nothing more than a bright upturn that offers its V sound and sharper highs.
In terms of separation, although the K1s defend themselves quite well, there is a sense of greater openness and clarity in the DR2s. This creates a feeling of more scene, globally more three-dimensional and wider.
Two very similar IEMs in shape, construction and cable. But where the QT2s have vertices and edges, the K1s are rounded for improved comfort and ergonomics.
Again, the QT2s are outperformed in virtually every sound aspect. Being very similar in their frequency response, up to 1kHz, above begins the revolution in favor of the K1. Clarity is simply greater, with no trace of darkness, greater openness and light in the sound, better pitch of voices, more defined details, greater resolution and clarity. All this positively influences to create, also, differences in favor of the K1, as much in scene as in separation.
In short, the QT2s look like a sketch of what the K1s are.
The BQEYZ K1 are energetic, vivid, dynamic, urban IEMs, with good bass punch without losing the clarity and resolution of their KB100 brothers. All at an unbeatable price. Its soft V-profile makes them great all-rounder, also for its great success in tuning and conjunction of the three drivers. Each of them does its job in the best possible way: While the two DD provide a remarkable range of bass and mids, the BA provides the extra quality to raise the range above its market value. They are highly recommended: every good lover of Chi-Fi needs to have a BQEYZ K1, since the sum of its characteristics clearly improves the arithmetic result.
Sources Used During the Analysis
- Burson Audio Playmate
- Ziku HD-X10