Wind In The Capsules
- Great sound experience.
- Very well defined bass, with outstanding texture.
- Open, separated, clean, transparent, very clear and fluid sound.
- Great dynamics, better articulation, fast transients.
- Outstanding expressiveness, technical and descriptive ability.
- Very good definition and resolution.
- High level of construction, good accessories, best cable.
- First stage of the mids somewhat thin and lean, with limited body and physicality.
- Some sibilance escapes.
- The prominence and energy of the mid-highs can hide details of later layers or micro nuances.
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And BQYEZ continues to evolve. Now it has presented its new Weather series, whose models will be Wind, Cloud, Rain and Mist. The first one is already here: it’s the Wind. And, well, it seems to have a lot in common with its successful previous model Winter. Yes, it’s similar in name and it also uses a bone conduction driver. Although in the Winter, this was piezoelectric and dedicated to high frequencies. In the case of the Wind, the BC driver is dedicated to reproducing the low and mid frequencies, by means of a self-developed 10mm driver. Now, BQEYZ has developed a BC driver with a copper housing and a high-strength steel vibrating reed. It is located on the inner side of the capsule, vibrating directly towards the outside of the headphone housing. In this way, bass and mid-frequency sounds are transmitted directly to the ear cartilage and the surrounding area. The Wind also uses a dual-cavity dynamic driver with a 10mm composite LCP diaphragm. The metal capsule has been made from lightweight aluminium alloy using a German 5-axis CNC. Meanwhile, the surface has been finished using sandblasting, anodised oxidation and hollow-cutting technologies and is corrosion resistant. Finally, the capsules are accompanied by a complete set of accessories, each of which will be described in the following review, as well as, of course, the sound of this great model.
- Driver Type: 10mm dual cavity dynamic driver with 10mm LCP composite diaphragm. 10mm bone conduction driver with copper housing and high strength steel vibrating reed.
- Frequency Response: 5Hz-40kHz.
- Sensitivity: 113dB
- Impedance: 38Ω
- Jack Connector: Choice of BAL 2.5mm, SE 3.5mm and BAL 4.4mm.
- Capsule Connection Type: 2Pin 0.78mm.
- Cable Length: 1.2m.
- Cable Composition: Silver plated monocrystalline copper wire.
The BQEYZ Wind comes in a medium sized light violet-blue box. Its dimensions are 158x119x54mm. In the centre is the wind symbol (fend). Below, vertically, the model name. At the top left, the name of the brand, in small letters. At the bottom of the box the description of the model. On the back are the specifications, in Chinese and English, the contents and the brand name, as well as the certifications held by the product. After removing the outer cardboard, a textured black box appears vertically, with the brand’s lettering in silver ink in the centre, as well as the slogan, at the base. It opens like a book and a blue cardboard cover protects the entire packaging, revealing only the capsules, which are inside a dense, black foam mould. Removing the protective layer reveals the brand’s classic black zipped case. It is of sufficient size and has the logo inscribed in its centre. Inside are accessories, but there is also a cardboard case with the rest. In brief, the contents are as follows:
- The two Wind capsules.
- A cable with a 4.4mm balanced connector and a 2Pin 0.78mm interface.
- A metal blister pack containing three pairs of Reference silicone tips sizes SxMxL and three pairs of Atmosphere silicone tips sizes SxMxL.
- Two foam tips.
- Three pairs of grey and yellow core silicone tips sizes SxMxL.
- One cleaning brush.
- Instruction manual.
- Warranty certificate.
One could say that this is a typical presentation of the brand, as for the Winter model it is practically the same. That said, this is by no means a negative comment. I’m very much in favour of the variety of tips the brand presents, as well as the zippered case and the good cable. Pure quality.
Construction and Design
If there is one thing that characterises the brand, it is a very careful design and superior build quality. BQEYZ always tries to recreate a special capsule. In this case it has created an almost triangular-shaped design, with rounded corners and the 2Pin 0.78mm connection interface at one vertex. The size is narrower than previous models. The outer face has irregular veins running through it, revealing a metal grid inside the capsule. Between these veins is inscribed the model name on the right capsule and the brand name on the left capsule. Purists would see a flaw because the letters are incomplete. They have been inscribed on the surface between the machined veins and this space is not always sufficient for the lettering to be printed in full. Perhaps another pattern could have been adopted with the inscription in mind. However, in my opinion, this is a minor detail. The inner side is rounded and contains the driver BC, facing away from the cable connection interface. It is an inscribed circle inside which there are two silver Torx screws and two slightly curved openings. It seems to be mounted behind the bone conductor driver. On the way to the 2Pin connector there is a white mole with the lettering indicating the channel. The mouthpiece is metallic and silver in colour. It has a small base of the same diameter as the body of the capsule, then tapers to a diameter of 5mm. Finally, the outermost part has an outer diameter of 5.7mm. The approximate length is 4.2mm. The mouthpiece is protected by a dense metal grid. At the bottom of the mouthpiece, there is a hole in the body of the capsule.
The cable consists of two coiled strands. One conductor group is silver, while the other is slightly darker. The cable consists of silver-plated monocrystalline copper wire with a diameter of 2.4mm. The number of cores is 0.05mm * 14 Pieces * 7 Parts * 2 Cores * 2 Branches, for a total of 392 wires. The 4.4mm BAL connector is gold-plated, its housing is a smooth, silver-plated cylinder with the marking inscribed lengthwise. The cable is protected by a small plastic sleeve. The splitter piece is of the same style, with the marking inscribed in the same way, but about half as long as the wire. The pin is a matching narrow ring. It should be noted that this adjustment ring is too loose and slips more easily than is desirable for its function. The cable has a semi-stiff plastic coating to give it a shape over the ear. The sleeve of the 2Pin 0.78mm connectors are silver-plated cylinders, matching the rest of the sleeves. They have an inscribed ring at the top, as well as the channel lettering in the centre. The 2Pin connectors are gold plated and are mounted on a translucent plastic base with a notch to indicate the outside of the connection and its polarity.
There is no doubt that the cable reminds me of the one used by Letshuoer in its S12 Pro model, although this BQEYZ is more flexible and less rigid, which increases its value. Lastly, regarding the cable, it comes with a cover to protect the jack and a Velcro strap to hold it in place.
As for the capsules, once again BQEYZ has brought us a beautiful, attractive, more compact and delicious design. The capsules are smaller, with a very pleasant feel and the integration of the BC driver is as curious as it is imaginative, highly interesting. Only the lettering can tarnish the perfection of the capsule construction.
Adjustment and Ergonomics
As I said, the capsules are narrower than the Winter model and do not have an anchor protrusion. In its position is the BC driver and that part is rounded. This eliminates any friction with any part of the ear. However, the anchorage is less and the sensation of rotation appears until it is fully seated in the pinna. Thanks to a good choice of tips, such rotation will not be problematic and the fit will be good. In my case, using my classic large foam-filled tips, the fit is remarkable, the movement, although limited, can happen if you rotate the tips with your fingers. Still, the fit is durable enough for normal use, even for moderate activity. Although this may depend on the tips used and the morphology of each individual.
In the end, the more rounded and free interior, coupled with the smooth surface texture, may mean extra comfort for some. And so it is in my case. The fact that it is also a narrower capsule is visually more integrated into the ears. The sum of all this should make for excellent ergonomics, no doubt about it. But, in my case, that minimal degree of freedom in rotation subtly detracts from a more durable and firmer fit.
There is a mixture of a V profile, tending towards W, but always with an inclination towards the second half of the graph, something that could be concluded as a neutral-bright profile. It can be seen that the greatest emphasis is placed on the mid-highs, although there is good control in the treble, which limits any escapist feeling towards brightness, despite the good extension of the high range. I don’t find the Wind to be warm, nor do I find it to possess a bass-oriented character. Thus, the result remains a more neutral centre that is well represented at both ends.
I didn’t want to measure the BQEYZ Wind until a few days after receiving them and my surprise was that I had more bass impact than I thought. And, sure enough, in a way, the bass performance improves on the graph, thanks to that mute component called the BC driver. The Wind’s bass is slightly coloured, although there is a duality in its behaviour thanks to the mix of both drivers. While it seems that the DD driver is the culprit for the slight colouring, the BC driver adds a dual character that shows a deep, sensory side that can be felt from the lowest LFOs. The behaviour produced by the blend gains in nuance, descriptiveness, texture, even punch and physical feel. And this combined sensation is very pleasant, engaging, even addictive, and is the reason why the bass works so well in the mix, providing a very unique sonority in this segment. The great interplay between the two drivers is the reason why the bass has such a complete behaviour from the lower end of the audible range. On the one hand, there is the physical and sensory capability of the BC driver, which also adds depth, accentuating texture and competence in the descriptive aspects of definition and resolution. On the other, the dynamic driver adds the punch, physical volume and air movement that bass requires. The gentle mid-bass orientation gives it that rounder, slightly colourful edge, which is balanced by the sensory aspect of the BC. In this way the Winds have the best of both worlds without the lower range being predominant. Surprisingly, the marriage of the two never penalises speed in execution, nor does it penalise recovery. On the technical side, the Wind is very good. The hit is fast, compact, very tight, with that slight colour, but with no dampening, yet elastic to maintain a real and unforced behaviour.
I have subjected the Wind to my classic double test of very low frequency pure tones and this is where that dual sensory, physical and texturally maximised sensation is demonstrated. On the one hand, the low end is barely audible, but you feel that deep, physical vibration from the BC. As the frequencies increase, the sound mixes with the vibration and the dual sensation emerges that is both appreciable and powerful. The second classic test is the reproduction of very dirty, powerful and unfiltered bass, where the bass drivers are put against the strings in the worst conditions. The result is even better than I expected. The Winds don’t suffer at any point, they even have the ability to sweeten and smooth the passages, without showing a hint of suffering, congestion, smearing or fuzziness. On the contrary, in these bad conditions, the bass responds with such smoothness, speed, definition capacity, generating very agile transitions, fast and completely adapted to reality. It’s able to combine the bass punch with the bass lines without mixing them, delimiting both in a very defined way, with a great resolution, vivacity and capacity to generate layers and stratifying the bass in a totally enviable way. Possibly one of the best performances of these complex passages I have ever heard. It just lacks a little more power, darkness, volume and weight to be the perfect bass for a bass lover like me. But for a model whose focus is not on the lower range, the performance is outstanding.
Another great aspect of the Wind’s bass is its low midrange intrusion, although it is true that the first part of the midrange has a good presence contrast compared to the second part, something that can be seen in the frequency response. But, equally, the BC driver seems to rescue the situation once again. Its presence prevents the mids from being as polarised as they might appear. On the other hand, its contribution helps the sound to be very splashy, articulate, vivid, dynamic and fast in its transitions, offering a sense of speed and sparkle that adds a very particular effect of movement that is difficult to find in this price segment.
Even so, the male voices are not free of a certain remoteness, appearing somewhat lean and lacking in physicality and body. Very little would have been enough to make them appear opulent, lush and warmer. Unfortunately, this has not been the case, and this benefit has been relegated to the female voices. It is in them that the full power of the Wind is demonstrated. But going back to the first half of the middle range, they are undoubtedly mid-distance, with a great definition, as well as a good timbre, because it is not brilliant. Although sibilance can escape even in the male voices, if they show any hint of such a drawback. Likewise, the instrumentation of this initial phase is light, without much force or physical sensation, something that detracts from the forcefulness, energy and punch of the sound of this part. This is how a certain immersive capacity, volume and power towards the listener is lost. On the other hand, this is compensated for by the sense of movement and dynamism that I have already mentioned. It is not the body or the energy that surrounds the listener, but rather it is that sense of very articulate, vivid, sparkling, constantly moving sound that makes the music dynamic, rich and splashy. The Wind will never present the music as a wall of sound, but will make it sound like fireworks, with a very high dynamic range and expressiveness. Thus, despite the thinness and middle distance of the first half, this phase is very rich and descriptive, without the timbre being compromised by the clear contrast between low-mid and high-mid. The second phase is another matter, in which the necessary physical strength and presence appear, without losing any technical aptitude. The female vocals sound fuller and meatier, the guitars sharper and more energetic, as do the strings and other instrumentation with their base in this second part.
In terms of expressiveness and definition, the exaltation of the mid-highs elevates the timbre of this part and the sparkling capacity of the sound becomes more analytical and expressive, bringing details and nuances closer to the listener, sharpening them and filling them with energy. It is even possible that this explosion of resolution behaves negatively for the micro-details in the background. Even if the Wind has sufficient capacity to express both, the prominence of one over the other can work against it. This is where this model’s enormous sense of openness comes to the rescue. The Wind has a very separate and open sound, where the stage is very wide and volatile. There is room for all these details, despite the difference in energy and planes between them. It is also true that this predominant presence of the upper midrange can compress the layering of the music, but there is still room for them, as long as they do not overlap frequently, as they will then be diluted by the exposure of those closer to them.
Coming from an excited upper-midrange, it might seem that the treble would be the pinnacle of energy. But, thankfully, this is not the case. The high end tuning is more classical, alternating peaks and valleys to offer control and diminishing extension. There is a nice initial sparkle, tempered by a gentle drop that builds again to add needed harmonics to the mix. The energy level is appropriate, even pleasing after a bold display of vigour such as that at the end of the central range. The positive value is their execution. The Winds have enough resolution and definition to sharpen and thin out the high notes, adding their edge and a controlled crispness that doesn’t lose the softness, but is sparkling and with enough punch to be moderately prominent and present. All in all, the timbre doesn’t suffer and the treble comes across as realistic and supported, even with a good dose of air and backed by the breadth of the sound, which allows it to become more volatile, gauzy, even subtly penetrating, but without losing that realism that moves between restraint and exposure.
In this section it is worth commenting on the technical competence of the BQEYZ Wind. While in the low end the cohesion of the two drivers is highly synergistic, helping to present depth, texture, body, energy, punch, stratification, the ability to recreate layers, great definition and resolution; in the upper midrange this capacity is lost a little in favour of a more presential exposure of details and mid-highs, limiting the depth. All in all, the Winds offer a very open soundstage, perhaps because of the grilles on the outer face of the capsules, and also very separated, with great headroom and dynamic feel. As I have already mentioned, the sense of movement and articulation of the notes offer a very vivid and sparkling sound, totally expressive, loquacious and evident. All this generates an immersive sensation, with details that have the capacity to volatilise, but which start very close. Up to a certain point, especially in the lower frequencies, the generation of layers and the sense of stratification is very good. As frequencies rise, they come closer to the listener with greater energy, eclipsing the more distant layered details. However, those are there; when the music offers some respite, they reappear. To be sure, the Wind has the resolving power to show such micro details in quieter settings, but it does not divide well in this energetic zone, despite the outstanding separation it possesses.
Returning to the scene, the sense of laterality and height is impressive. The vividness of detail and the stereo feel is reinforced by the speed and dynamism of the transitions. The music moves swiftly from one ear to the other, like a lightning bolt, and this also adds to the sense of movement and expansiveness of the scene. There is a good degree of depth initially, but it becomes more limited as the frequencies grow. As I say, the separation is evident, but the brightness of the mid-highs and early treble blurs the notes in a gaseous way, helping to fill in gaps that could be darker or quieter. Admittedly, this effect gives the scene an out-of-head, three-dimensional, escapist feel that is valuable, if also subtly unreal.
With such a large stage and appreciable level of resolution, the image is accurate, limited only by that same gaseous, volatile effect, which can blur some elements.
If I want to know the true range of the BQEYZ Wind, the best thing to do is to compare them with the best, or at least with the ones I like the most. And that’s why I’m going to pit them against the KiiBOOM Evoke. They may not be people’s favourites, but they are among my favourites, both in terms of profile and sound.
The Evoke has a semi-custom capsule made of resin, with an external pattern that can be chosen according to price. It comes with a nice silver-plated cable but cannot be chosen with a 3.5mm SE plug. It also comes with a really big case and a single set of tips. Nothing to do with the classic BQEYZ packaging which surpasses it in all aspects. But it is also true that the regular version of the Evoke is only $169 compared to the Wind’s $240. The BQEYZ capsules are made of lightweight aluminium alloy and are smaller than the Evoke capsules. Still, I prefer the more durable fit of the KiiBOOMs.
The Evoke features a classic 1DD (10mm) + 1BA for midrange + 1BA for treble. The Wind has a 10mm full-range dynamic driver, along with a 10mm BC driver for bass and midrange.
In terms of sensitivity, the Evoke is much easier to move than the Wind, which needs more power to sound at the same volume level.
Starting with the low end, it is very curious how the BC driver is able to compensate for the sub-bass deficiency of the Wind compared to the Evoke. I don’t want to pretend that the Wind has the same response and punch as the Evoke, but they are closer than what is shown in the graph. It’s true that the Evoke has a darker, deeper, fuller bass with more presence and energy. But the Wind’s are not short on punch, although their timbre has a bit more colour and there is a hint of that duality in the bass drums. However, they have a more marked texture, they are more compact and faster, with a quicker recovery and less punch. This makes them more technical, with better resolution and definition. Both are very good at delivering complex, rich, unfiltered and powerful bass. Neither loses control, the definition and representation is excellent and the response is very pleasing. I think that the combination of both bass responses could result in one of the best basses in this range, because what one lacks, the other has, and vice versa.
In the middle zone the difference is the thickness of the notes, finer, more delicate, volatile, vaporous in the Wind. The Evoke has more marked notes, also more frontal and attached to a wide scene, but with a more classical and defined structure. This thickness allows the male voices to have more body and physicality, as well as presenting a more forceful and more conjunctive sound. Those male voices in the Wind feel more distant and with a lighter, smoother execution. Everything is broader, more detached and dispersed on the Wind, there is a larger volume that surrounds the head and tends to escape. Even the female vocals also feel closer on the Evoke, despite the Wind’s brightness and clarity. But the sound of the KiiBOOMs is more concrete and somewhat drier. The Wind’s thin, dispersed sheen gives it that vapour that blurs the notes as they fade away. In this way, the representation of voices and instruments is less consistent, more gaseous, more transparent. It’s something at odds with the concrete, analytical point of the Evoke. The detail is fine and evocative in the Wind, it is shown with subtlety and delicacy. The Evoke is more explicit and finite, with a more obvious and marked physicality. The Wind is fickle, with a more articulate sound that manages to flow in a way that manages to be more harmonious even, not as corseted as the Evoke, more tightly bound to a firmer execution. Yes, I think the difference in the mids and highs is in the expansive, slightly distant, gaseous fluidity of the Wind as opposed to the more concrete, close, physical and tight sound of the Evoke. By contrast, the KiiBOOMs are more controlled with their sibilance, while their treble is more homogeneous, thicker, but well controlled and well matched. The Wind’s treble presentation and execution is different, with a little more initial energy, but thinner, finer, but more incisive. The treble doesn’t feel as full, perhaps a little more devoid of harmonics, but sharper, brighter and a little crunchier, despite that scattered feeling that is not avoided in the high end.
The scene is more frontal in the Evoke, it is wider but more defined. The distances between elements is more fixed. The Wind’s scene is fluid and somewhat more diffuse, but it is holographic, expansive and three-dimensional, something the Evoke will never be able to offer. The very fluidity of the sound also gives it superior speed in transitions, being more dynamic, expressive and descriptive, as if it could represent more notes in the same time interval. This gives the Wind a technical superiority, a higher level of resolution and definition, executed in a different, more liquid, transparent and ethereal environment. The image is more concrete and physical in the Evoke, with a more discernible provenance, while in the Wind its recreation is more imaginative, freer and unpatterned. And these characteristics are further virtues of the Wind that differentiate the two great models.
BQEYZ believes in its options and persists in its line of improving its drivers and alternative hybrid designs. This great work is reflected in this new Wind model, 1DD + 1BC completely open, dynamic and surprising. The Wind offers a whole sound experience that will leave no one indifferent. Starting with a low end that is more than it seems, the Wind presents the sound in a very articulate, expressive, vivid, expansive way, offering a mixture of fluid sound, between liquid and gaseous, of great resolution, detail and definition, with a holographic and three-dimensional scene, as well as a great performance in all the bands. Without discussion, one of the best models of the brand and way up there among the competition in its price range that I have been able to test.
Sources Used During the Analysis
- Tempotec BHD Pro.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.
- Aune M1p.
- Burson Audio Playmate II.
- Hidizs S9 Pro Plus.