Warm Winter

Ratings

Pros

• Improved tuning, better balanced and more versatile.
• Very technical bass, darker, with better texture and depth.
• More natural and appropriate overall timbre.
• First half of the midrange with more foundation, physicality, body, density and volume.
• High frequencies perfected in delicacy, richness, thinness and energetic feel.
• Thinner, more comfortable and lighter capsule, improving physical contact.
• Improved implementation of the PZT Bone Conduction driver for midrange and treble.
• Modular cable with interchangeable screw-on plugs.

Cons

• The price is higher than the initial model, somewhat elevated in comparison to its competitors.

Purchase Link

https://bqeyz.net/products/bqeyz-winter2-wired-earphones

Link to the WEB

https://bqeyz.net

Introduction

BQEYZ has launched a new Winter model on the market. It is called Winter II, although it is actually the third model, following the first version and its subsequent Ultra version. These are IEMS with a dynamic driver and a bone conduction unit. The dynamic driver handles the bass and mid frequencies. The bone conduction unit is mainly used as a compensator for mid and high frequencies, and transmits sound in coordination with the bone conduction support and the earphone cavity. The Winter II emphasises vocal rhythm and makes it smoother thanks to its improved filter, providing a full sense of bass volume, vibration space and clarity of the human voice. The aluminium alloy housing has been CNC machined to maximise bone conduction performance thanks to its high rigidity and reduction of unwanted vibrations.
The bone conduction driver is 11.6mm and is designed for mid and high frequencies. It is made from a Japanese silver and palladium alloy for authentic sound reproduction. It incorporates silver and palladium paste imported from Japan with an increased palladium ratio from 2% to 5%, which improves the conductivity of the piezoelectric ceramic speaker. This increases clarity, brightness and sensitivity. The piezoelectric bone conduction unit has a more powerful transmission effect and is easier to handle.
The redesigned earphone housing offers a more secure fit in the ear canal, ensuring more complete bone conduction sound transmission and greater wearing comfort. The compact structure also improves low-frequency density and transient response.
The high-purity monocrystalline copper cable with Litz T2 structure minimises the skin effect, improving high-frequency signal transmission for more complete sound delivery. The Winter II cable has been hand-braided, is soft and thin, and tangle-resistant. Overall, it improves the recovery of audio signal details, reduces high-frequency harshness, and delivers a purer, cleaner sound. With interchangeable plugs (3.5mm, 4.4mm, and USB Type-C option), it is compatible with most audio devices for greater flexibility.
Inspired by the Year of the Snake, Winter II retains the winter sports cable design elements of its predecessor while integrating the shape of the snake with skiing lines, creating more dynamic contours. The five-axis CNC-machined aluminium alloy housing, manufactured in Germany with an anodised finish, offers excellent rigidity and stability.
In the next review, we will go into detail on the rest of the Winter II’s features and, of course, discuss its sound.

Specifications

• Model name: Winter II.
• Transducer type: Dynamic driver with 12mm PAR diaphragm and 11.6mm PZT bone conduction.
• Impedance: 40Ω.
• Sensitivity: 113dB.
• Frequency range: 5-40 kHz.
• Cable length: 1.2m.
• Capsule connection type: 2-pin 0.78mm.
• Plug type: interchangeable 3.5mm SE and 4.4mm BAL. Additional interchangeable USB Type-C plug option.
• Starting price: 319$.

Packaging

The BQEYZ Winter II comes in a grey box measuring 158 x 119 x 57 mm. The background of the front panel is an enlargement of the outer surface of the capsule. The brand logo is in the top left corner, while the model name is in the centre. Below this is the model description in Chinese, Japanese and English. The specifications are listed in these three languages on the back. The product description is repeated in the top right-hand corner and the product details are listed at the bottom. The outer cardboard sleeve can be removed to reveal a black box with the logo in the top left-hand corner and the brand name in the centre. It opens like a book, and the first thing you see is a grey cover indicating that a three-hour burn-in is required before use. After removing this cover, the cartridges are found inside a black foam mould at the top, while at the bottom is the grey leather case with the logo in the centre and the brand name. The case is rigid and opens like a magnetic box. Underneath the foam mould is a box with accessories and, on the lower level, there is another box with the inscription “Product Support”.
The transport box contains the cable and the rest of the accessories are in the other box. The complete contents are as follows:

• The IEMS Winter II.
• A cable with interchangeable 3.5mm SE and 4.4mm BAL plugs.
• A carrying case with magnetic closure.
• A small cleaning brush.
• A warranty card.
• Instructions for the interchangeable plugs.
• An instruction manual.
• A metal plate containing two sets of silicone tips.
• One set of grey Atmosphere silicone tips (S/M/L).
• One set of white Reference silicone tips (S/M/L).
• One set of white silicone tips with grey core (S/M/L).
• One quality certificate card.

There are not many changes in the presentation of this new model, which is based on the first Winter, although the case is different and no longer includes foam tips, but a new set of silicone tips. The brush is smaller and the cable includes interchangeable plugs. I welcome the changes and am glad that the quality of the packaging has been maintained, as well as its compact size.
Finally, I would like to highlight something else that I really liked: the detail written on the inside cover that refers to the burn-in time required for the product to reach its full potential, which is only three hours and not 100.

Construction and Design

The external design of the capsule is very similar to that of the initial model. However, its size has been reduced by 22%. This change is particularly noticeable in the lower thickness of the Winter II capsule.
On the outer face, there is a protruding profile in the centre in the shape of a snake that forks into two lines, leaving a gap in the middle. The edge of the outer face is polished and creates an almost pink reflection.
As mentioned, the capsule is thinner than the Winter model. The inscription with the letters indicating the channel remains on the inner face. There is an elongated hole near the base of the nozzles. On the inner side, there are three more holes near the edge and a final hole at the base of the nozzles. The 2-pin connection is the same: it retains the oval base with the edge protruding outwards. The nozzles are metal, made of a different material and colour to the capsule, lighter and brighter. They have a wider base (7.5 mm), a narrower neck (5.2 mm) and a slightly larger crown (5.7 mm). The grille is also metal. The edge of the right capsule reads “BQEYZ” and the left “WINTER II”.
The inner surface has changed compared to the Winter version: it no longer has a protrusion on the edge, but a more rounded interior that does not rub against the outer parts of the ears.
They are made of aluminium alloy using a CNC machine. Their surface has been sandblasted and anodised. They are available in two colours: grey or green. There are also two additional plug options: two interchangeable 3.5 mm SE and 4.4 mm BAL plugs, or three plugs, with the addition of a USB Type-C plug.
The cable consists of four intertwined strands. Each strand is thick and protected by a dark green PVC layer that reveals the conductor coiled inside. On this occasion, the internal construction of the conductor is not specified, but it is a high-quality cable that is very easy to handle thanks to its low rigidity.
The plugs are interchangeable thanks to a four-pin mechanism and a thread that secures both parts together. The threaded part has a diagonal grooved pattern. Each part of the plug is a grey metal cylinder. The brand name is visible on the plug in white letters, along with a white dot that aligns with another white dot on the other part of the cable. The thread covers the top of this piece when screwed in. The plugs have four pins and all their connections are gold-plated.
The divider piece is a small cylinder with the brand logo in white in the centre, while the pin is a small metal ring that works well thanks to the good size of the strands.
The gold-plated 2-pin 0.78 mm connector sleeves are mounted on a semi-translucent hard plastic surface with a slit in the centre of one side to distinguish polarity. The sleeves are metal cylinders with a white letter inside a circle indicating the channel. Near the cable outlet, there is a circular groove surrounding the cylinder. The cable has guides on the earpiece, and all rigid parts are metal and the same colour.
Overall, the cable appears to be of very good quality: it is flexible, thick and has an excellent finish, notably the very compact screw mechanism of the interchangeable plugs and the option to purchase a third angled USB Type-C plug.

Adjustment and Ergonomics

It’s clear that BQEYZ has made an effort to improve this aspect. It’s now one of the best in terms of ergonomics. The earbuds are lightweight despite being metal, they adapt very well to my morphology, and the fact that they have removed the protrusion from the edge and reduced the thickness increases the fit and long-term comfort. On the other hand, both the ear tips and their angle are very well suited to my anatomy. When I fit my large homemade foam-filled silicone tips, the fit is immediate and there is hardly any rotation. The insertion is shallow, but could be medium. It is true that the ear tips are a little wide, but their length is good for trying them out.
The softness and flexibility of the cable, as well as the adjustment pin to secure it, add to the overall feeling of a long-lasting, comfortable fit and a long-lasting, durable attachment, very suitable for outdoor and everyday use. Well done, BQEYZ, for the improvement.

Sound

Profile

It seems that BQEYZ has sought a silkier sound, with deeper bass and improved non-linear distortion with this new Winter II model. It has also expanded the dynamic range and increased the sound impact. By using a ceramic piezoelectric driver for mid and high frequencies, it has improved the clarity and brightness of these higher frequencies, as well as the overall sensitivity of the product, resulting in greater power in the transmission effect of the bone conduction driver.
When comparing the frequency responses of the first version and this second one, there is a marginal difference in the bass, as well as a difference in power in the Winter II from 2 kHz of 1.5 dB or 2 dB up to approximately 12 kHz. It can be seen that the curves are very similar, with similar behaviour, and that the only difference is in the upper midrange and treble, where the new model stands out from the previous one. BQEYZ is correct when it states that it has sought to improve the clarity and brightness of this new profile, although both the measured sensitivity and impedance are very similar: 113 dB and 38 Ω for the initial model and 113 dB and 40 Ω for version II.
It’s a smooth, almost V-shaped tuning, with the greatest enhancement in the upper midrange and extended treble. The bass remains almost neutral, although it has good impact and high technical quality.

Bass

The first Winter was already characterised by very tight bass. The Winter II continues along the path of very technical, fast and effective bass, with little residue, but with a certain impact and strength.
The very low frequency pure tone test demonstrates the quality of the bass and sub-bass performance. The first 20 Hz note is played with a subtle oscillating murmur, very soft and pleasant, with a low sonority that is perceived as deep and slightly sensory. It has a subtle physicality that enhances the real, natural and organic feel of the pure sub-bass wave. It really feels rich. With the 25 Hz wave, the power increases; you can feel that darkness, but the quality is maintained. The 30 Hz and 40 Hz waves are exemplary, perfectly defined and performed, very sweet, but with an elegant and addictive physical component. You can tell that this is a very technical, precise, fast, dry bass with very low decay. It has great resolution and efficiency. The result is a great sound and performance test that far exceeds this test.
The translation to real music is exactly that: very precise beats, with great resolution, a smooth and silky texture, rounded shapes, slightly elastic, subtly rubbery and delicate, but with a certain impact and physical and sensory component. It is not a very powerful bass, but it is superior.
BQEYZ continues to insist on a curve that does not emphasise the sub-bass, but rather extends the entire range until it is almost flat. When it reaches the midrange transition, its descent is smooth; as the power level is not very high and control is absolute, there is no mixing or bleeding, although some warmth is carried over.
In the dirty, complex and unfiltered bass test, the Winter II’s great technical quality in the bass range is evident: the control is exemplary, and the bass is complex, very rich in information, with great resolution and precision. The tone is very realistic and natural. The high speed of execution generates a very smooth and light texture, so much so that it is very sweet, without any roughness; however, the timbre blends almost perfectly with the darkness and realism of the pure wave. With so much control and resolution, the generation of bass layers and lines is very simple, but with a complex exposure that attests to the richness of the bass. There is a lot of volume, darkness and depth, but also realism, naturalness and great technical skill. Excellent.

Mids

The Winter II headphones persist in the idea of seeking a balance between physicality, presence and thinness. And this is demonstrated in the first half of the midrange. The male voices are not completely physical, but they have a good prominence and a broad presence in my ears, very enriching and deep. I never feel them too dense, but rather delicate and dynamic, with a lot of movement, very fluid and three-dimensional. Their body is not thick and their base is not wide, but graceful, with a volatile appearance, yet also penetrating and persistent. Their fluid tendency is almost gaseous, which limits any sense of physicality, body or density; hence their transparent and clear appearance. However, it is true that they do have a certain weight and impact when necessary, and it is then that a physical sensation is generated that makes male voices a more real and tangible presence.
The harmony with the instruments is very high, as the transients are very fast and there is a great dynamic impression, in which the background is discernible despite its depth and there are many elements in many layers of sound, as well as very close and revealing nuances. The precision and excellent level of resolution create a very clear, clean, neat, bright and transparent atmosphere that favours a three-dimensional and very airy recreation, but which maintains a good physical presence that holds the elements firmly and realistically in place.
There is a touch of warmth, but the Winter II’s unforced light is very capable of bringing dark and warm recordings back to life without the need to increase the gain of the ear cup.
In the upper midrange, a little more energy and warmth are added, flirting with a greater intensity that approaches a certain sibilance. Thus, female voices are perceived as more penetrating, close and incisive, with a more marked, prominent and insistent presence. There is always room in the Winter II for the rest of the elements, there is no doubt about that, but this greater amount of energy means a move closer to the danger zone and a departure from a more harmless neutrality. On the other hand, the limitation of the treble and the first control zone dampen the harshness and the more sibilant edges. However, overall, the upper mids and female voices have a more vivid and prominent role than in the previous version. This may be a slight setback in the timbre of this zone, which until now had been very successful.

Treble

Once again, the ceramic piezoelectric bone conduction driver’s ability to generate treble with a timbre that is diverse and different from other drivers is surprising. It’s true that the Winter II has a little more energy than the first version, but it still has treble whose overall energy level is lower than that of other IEMS. However, the driver generates treble frequencies that, in their initial definition and frequency range, I find crystal clear, crisp, very fine and bright, with a brilliance, delicacy and finesse that make them as distinctive as they are special. In the second half, it declines in the usual control range and equals the initial version in the air range, so the extension is slightly more limited.
In this way, the trebles maintain that peculiar initial brightness, slightly elevated but with restraint, which makes them pleasant and suitable for long listening sessions, in which only the overwhelming resolution and sharp energy of the trebles can cause some fatigue due to high exposure to exaggerated subtle nuances.

Soundstage, Separation

The improved tuning and greater clarity enhance the sensation of a wider, richer and denser soundstage. Without being holographic or overly three-dimensional, the Winter IIs are very dynamic and reveal many details up close, but also create multiple layers with a remarkable level of depth. The soundstage is not 360 degrees immersive, but it clearly exceeds 180 degrees and there are volatile elements that expand in that area, acquiring a gaseous and expansive quality. However, there is a strong sense of foundation that generates an image with poise, substance and physicality that fills the room and adds body and volume to the soundstage.
Without being an analytical sound, the Winter II headphones offer a remarkable level of detail, with subtle elements that are very well defined and positioned between sound planes. The treble and midrange of the PZT driver are very well defined and executed, so that the notes are very fine and delicate, with a good degree of energy and sufficient thinness to show that more analytical and informative point that improves both macro and micro detail.
The level of separation is very good, without reaching that vaporous and overly volatile sensation, but rather striking a balance between density, distance, base and detail, which translates into an excellent sense of dynamics without hollows. In this way, the image is very coherent, well positioned, clearly perceptible and very well drawn and executed.

Comparisons

BQEYZ Winter

The first comparison was obviously going to be with the original model. During the review, I have already outlined the differences between this model and the original in terms of features that are not related to sound. The differences are in the cable, which in the current model has detachable plugs, and in the size of the earpieces, which are smaller and more comfortable for my taste. In terms of sound, the frequency responses do not differ much in the bass range, but they do from 1 kHz onwards. It is true that the Winter IIs are easier to drive and more sensitive: with the same output voltage, greater sound pressure is achieved and a higher volume is noticeable, although the difference is not very significant.
In the bass range, the technical ability is very similar, but the bass of the Winter II is darker, with better texture and also better timbre, with less colour. The very low frequency pure tone test demonstrates the tremendous similarity between the two, as they behave in the same way; I just think that the sub-bass of the Winter II is slightly more physical and a little darker. But the performance is outstanding in both.
In the dirty, complex, unfiltered bass test, I also see no notable differences. The initial version was already very good; I think the current version corrects for a deeper, darker tone with a little more texture that improves the performance and overall impression of the low end, while the technical quality remains excellent.
In the first half of the midrange, the new version offers greater clarity, as well as more light and greater proximity of the male voices. However, there is also a denser and fuller base, with more physicality and body, which makes the voices sound thicker and more extensive. In the first version, on the other hand, there is a lack of strength to fill the low-frequency gap, making them sound thinner and even more nasal. The timbre is again better and there is more fundamental body and physicality in the Winter IIs.
The same thing happens in the upper midrange. Female voices also lack a solid foundation and sound thinner and more inclined. In the Winter II, this is corrected and the spectrum is broader. In fact, the voices and midrange in the new version are broader and more prominent, with better timbre and a fuller, richer tuning.
The treble on the Winter II has more energy, sounding louder and brighter, but it is also finer, thinner, more delicate and crisp. I think the Winter II has gained in refinement and quality in the high frequencies and that, although a little more energy has been added, this does not affect the timbre or make it sound more piercing. I think they even gain harmonics and the entire curve and frequency response is better balanced. The original Winter has more gaps in its tuning and seems to lack strength in some aspects. The new version is more balanced, has more foundation, body and timbre, and there are no noticeable gaps; the sound is more uniform from bass to treble, and the elements have more richness, extension, foundation and detail. Being more coherent, the image and soundstage are more appropriate, with better defined details and more rational positioning. It may be less volatile, but being more physical, it is deeper, more voluminous and also wider, with better representation of planes, both near and far. The detail seems more evident, not because of greater analytical capacity, but thanks to better contrast that generates more dynamics and a darker, cleaner background. The Winter IIs are more versatile and complete than the original Winters.

Hidizs MK12 Turris Limited Gradient-Tint Titanium Edition

The special edition Hidizs MK12 TE costs $249, while the BQEYZ Winter II costs $319. It is clear that titanium is always an extra and that limited editions of Hidizs often use this material to add value to their models. In this case, it has been used for the ambitious initial MK12, which currently retails for $169.
The MK12 TE driver is dynamic, with an external ring and 1.5 T N52 magnetic circuit, and a 12 mm diaphragm made of 91% magnesium alloy. The capsule has a peculiar design: it is larger, thicker and heavier than that of the Winter II, whose design fits perfectly. Despite the size of the MK12, its ergonomics are not bad, but its weight and thickness are its biggest drawbacks. The comfort and fit of the Winter II is superior. I also think that the BQEYZ cable is better, with a very suitable interchangeable screw-on plug mechanism. In my opinion, they have a better design, better accessories and a large case with a magnetic closure. On the other hand, the MK12 TE comes with three tuning nozzles that provide extra sound customisation, as well as various silicone tips. The Winter II also includes specific silicone tips, but what really makes the difference are the nozzles, as the change in sound is more noticeable.
As for sound, I’m going to use the gold reference nozzles for the MK12s. With them, the profile is more V-shaped or W-shaped, while the Winter IIs are more balanced. There is a difference of about 3 dB at the sub-bass end, which evens out at around 300 Hz. The MK12s have a slight dip in the midrange valley and are also more pronounced in the upper midrange plateau, between 2 kHz and 4.5 kHz. From 800 Hz to 2 kHz, both curves are the same; from 4.5 kHz onwards, the differences are more noticeable: the Winter IIs have more energy and extension in the treble. In the MK12s, the control drop is more pronounced, giving them a more pronounced and less balanced V-shaped profile.
There are not many differences in sensitivity; at the same output volume, the sound pressure is similar, although there are noticeable changes in the sound profile. The MK12s have more power in the bass, so their sound is more impactful. The Winter IIs are more balanced across the entire range and stand out for their more complex and present treble.
The bass of the MK12s is darker and more powerful, with a less coloured timbre, deeper and denser from its base. Their technical quality is very good, as is that of the Winter IIs. Both are very fast and technical, but BQEYZ’s inclination towards the mid-bass gives it a slightly more coloured timbre.
The very low frequency pure tone test slightly favours the Winter II, with a more physical aspect and less of a vibrating or undulating sensation in the environment, giving them a purer sound. However, it must be concluded that the performance of both models is outstanding in this test.
The MK12s show great control in the dirty, complex, unfiltered bass test, despite their greater power and energy in this area. The Winter II also performs excellently, with more restrained and neutral power, but with very remarkable expressiveness and ability. However, I think that the Winter II has even greater technical quality and bass performance than the MK12, and its timbre is not displaced at all; in fact, its overall colour is very good and its performance is outstanding.
In the midrange, the Winter IIs have improved their first half, generating a denser base, with thicker and fuller male voices that are also more present and closer. And that’s something I really like. On the MK12s, the male voices are that step and a half away from being so present and prominent. They lack a little strength and foundation, even though they also feel very full, but not stellar or as rich as on the Winter IIs.
Something similar happens with the second half of the midrange. Although there is more energy in the MK12s in this range, the greater balance and enhancement achieved by the bone conduction driver makes all the music in this range feel amplified and closer than in the MK12s, and this cannot be remedied by turning up the volume. The sound is more explicit, full, balanced and expressive in the Winter II, which sound more complete, dense and full, as well as more balanced and spacious.
The treble of the MK12 is perceived as more attenuated, with a more distant sparkle, although dazzling at first. The drop in control is more pronounced, which prevents them from becoming tiring in the long run, but also limits the harmonics of the other elements. The treble on the Winter II is more extensive, energetic and present. It is very delicate, even more physical, with a more distinctive sound supported by its specialised driver.
The more balanced tuning makes the elements more explicit in the Winter II. Thanks to their dynamics, the notes are distributed between the deep, mid and surface planes, but still have enough resolution to extract micro-details from all layers. The MK12s are also very resolute, but their different frequency hollows prevent a more uniform exposure of details; you have to search to discover what is there, but it is not as prominent as in the Winter II.
The sound of the MK12s is perceived as larger and more voluminous, as if those larger capsules generated a wider soundstage. There is more height and greater separation. In contrast, the sound of the Winter IIs is not as expansive or voluminous, and has a better balance, slightly more density, but with a more intimate soundstage.

Conclusion

I feel that BQEYZ takes critics’ reviews into account and tries to make improvements in its new releases. The BQEYZ Winter II is a clear example of this. Firstly, they have improved the external design by creating a smaller capsule that fits my ears better, increasing contact and enhancing the perception of the bone conduction driver. All of this represents a clear improvement in sound quality, which is further enhanced by the technical evolution of the new driver. Secondly, they have perfected the tuning by filling in gaps, creating mids with more body, physicality and thickness in the first half, which gives the sound a greater sense of density, making the Winter II a much more versatile, balanced IEMS. The bass remains a benchmark, with more texture, depth and darkness, while the treble is perceived as finer, more delicate and richer. It is true that the price is higher and that the Winter II are in a very competitive sector. But it is also true that BQEYZ breaks the mould with a tuning that is faithful to its principles, which continues to be distinctive and very valid, far removed from the new META frequency response. And for that reason alone, they are already a great alternative in that price range.

Sources Used During the Analysis

• Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602 + Aune ND7.
• Burson Audio Playmate 2.
• Hidizs AP80 PRO MAX.
• iFi GO bar Kensei.
• NiceHCK Octave.
• EPZ TP50.
• TRI Third Eye TK1.