Dark Labyrinth

Ratings

Pros

• Dense, full, relaxed, warm, smooth and very pleasant sound.
• Compact, dry, fast, concise, energetic and powerful bass.
• Simple, but attractive design, good level of construction.

Cons

• Somewhat short mouthpieces that prevent a superior fit and integration in my ears.
• The cable does not live up to the price, nor to the competition.
• Nuanced, controlled and smooth treble.
• Not a very descriptive planar, not analytical.

Purchase Link

https://www.linsoul.com/products/shozy-p20

Link to the Store

https://www.linsoul.com/

Introduction

There can’t be a brand that doesn’t have a planar IEMS with a 14.5mm driver in its catalogue. And Shozy is no exception. Shozy has been one of the original pioneers of IEM manufacturing in Asia. Composed of a small but dedicated group of audio enthusiasts and engineers, the Shozy team is very enthusiastic about implementing new driver technologies to deliver great sounding audio to their community. The P20 is designed around a new large (14.5mm) planar magnetic planar transducer. This allows for reduced total harmonic distortion (THD) across the entire frequency spectrum, below 0.5% (1 kHz). Shozy’s manufacturing process and strict quality control also guarantee a channel imbalance of less than 1.5dB at 1 kHz. The P20 has an incredibly powerful and textured bass and sub-bass response. However, the overall tonal balance is restrained to be balanced and natural, resulting in a professional sound signature. Thanks to its 2Pin 0.78mm interface, the cable can be interchanged and comes with a choice of 3.5mm SE or 4.4mm BAL plugs. Let’s dive in with a more detailed description of these new Shozy P20s.

Specifications

• Driver Type: Planar magnetic 14.5mm.
• Frequency Response: 5Hz-40kHz.
• Power rating: 5mW.
• Maximum Power: 10mW.
• Sensitivity: 105dB (at 1kHz/mW).
• Impedance: 30Ω.
• Diaphragm thickness: 1 µm.
• Distortion: Less than 0.5% (at 1KHz).
• Total harmonic distortion: Less than 3%.
• Channel Imbalance: Less than 1.5dB (at 1 kHz).
• Jack Connector: Choice of SE 3.5mm or BAL 4.4mm.
• Capsule Connection Type: 2Pin 0.78mm.
• Price: $139

Packaging

The Shozy P20s come in a relatively compact box in dark grey tones. The dimensions are 130x97x52mm. There are different geometric shapes scattered all over the surface in these various shades of grey. The brand logo is in the centre of the main face. On the back side there is not much more information, just the logos of the certifications it complies with and the brand’s contact details. After removing the outer cardboard, a matte black box is revealed which persists with the brand logo in white in its centre. Inside is the brand’s typical large zippered case containing the accessories, all of which are enclosed in clear plastic zip bags. In summary, the full contents are as follows:

• The two Shozy P20 capsules.
• Three pairs of black silicone tips with wide core, sizes SxMxL.
• Three pairs of narrow core black silicone tips, sizes SxMxL.
• One two-strand coiled cable with silver-plated OFC copper conductor.
• One large black case with zip closure.

I like compact packaging and Shozy has gone for a simple and relatively complete presentation. I appreciate the zippered case, although it is a bit big for this model. The cable is too thin for the price and the tips are a bit simple. In the end, it’s a little bit of a tasteless section which is saved by the large case.
On the other hand, there are no specifications on the box and no information about the model itself.

Construction and Design

The Shozy P20s appear to be made of some kind of aluminium alloy. While the outer face has a milling that represents a matte circular labyrinth. They are all black and the outer face has a curious almost semi-circular shape, even larger. There are three holes around the centre of the outer face. The 2Pin 0.78mm connection interface is fully integrated into the rim of the capsule and its connections are gold-plated. It is relatively thick, while the inner face follows the shape of the pinna, including the apex of the rim. The soft, ergonomic inner shape has a hole at the base of the mouthpieces. And they are fully integrated into the body. Their inner diameter is 5.45mm, their crown is 6mm and their length is 4.5mm. The mouthpieces are protected by a thick black metal grille.
The cable is relatively simple, thin. It consists of two coiled strands, transparent PVC sheath and silver-plated conductor. It has ear guides in the same colour. The interface is 2Pin 0.78mm and the 3.5mm SE plug is gold-plated. Its cover is black metal, in the shape of a cylinder depressed in the centre. There is a small black rubber protection at the cable outlet. The splitter piece has the same shape and the same protection at the cable entry. The pin is a matching cone which does its fitting role well. The sleeve of the 2Pin connectors keeps that depressed shape in the middle, but more rounded and larger on the cable entry side. On the side of the 2Pin connectors a coloured base is mounted which indicates the channel and a blue dot indicates the polarity.
The brand logo is written on the pin and on the plug sleeve in white letters.
While the construction and design of the capsules is sober, but elegant, attractive and slightly enigmatic, the cable is too thin, with small and unergonomic sleeves. I think it doesn’t live up to the price, nor the capsules.

Adjustment and Ergonomics

The capsules seem large and heavy, with a shape larger than a semicircle, and would not seem to fit well in the pinna. It is true that it may cause some problems in small ears. But, in my case, the size seems to be tailor-made. The P20s fit without leaving a gap in my pinna. There is no room for rotation, no room for deeper insertion. I have had to resort to a variant of large homemade foam-filled home-made tips, with a longer inner core length, to get a complete seal. The mouthpieces are not very long and the stubby body does not allow insertion beyond the shallow end. The fit can be black or white, there is not much choice. Selecting the right tips can be the key to a perfect fit or a complicated fit. I’ve been lucky and the fit is complete, fair, durable, and provides good isolation.

Sound

Profile

The profile of the Shozy P20s is quite balanced, slightly warm, relaxed from 2kHz onwards. Be that as it may, it can seem dark initially, however it is neat, very well profiled and separated. The frequency range moves in a gain range of less than 10db up to 15Khz, which is a fairly balanced curve. They start with an obvious rise in the sub-bass that extends through much of the bass, while the energy dissipates smoothly into the first mids. The descent is progressive and this means that there is warmth and that this part is not lean, maintaining a more bodily and physical base and presence. The classic ascent to the high mids stops at 2khz, to quickly descend towards the first treble. The upper zone begins distinctly soft and relaxed, falling, generating a very controlled and nuanced treble. In the second part, the energy level rises up to the air zone.
As is usual for planar drivers, the P20s require a certain voltage level to reach adequate volumes.

Bass

The bass is very dry, fast, smooth, with a low texture. There is hardly any decay and they recover quickly. Its extension into the midrange makes it more rounded and mixes a sense of darkness and depth in equal measure. Its energy level is obvious and the hit is powerful and punchy, yet polite and technical. Despite the level of power and volume, it’s agile and dynamic, leaving very little aftertaste and showing resolute skill and plenty of definition.
In the very low-frequency pure tone test, it behaves in a way that takes it away from the sonority of a good dynamic driver. The lower note (20Hz) is slightly sensory, but its undulating character makes it audible. The second note (25Hz) has an unrealistic behaviour. It is not until 30Hz that a more natural reproduction is restored, but not completely. From this point onwards, the P20s begin to perform remarkably well. The undulatory character disappears and the technical performance shows itself in a remarkable way. This result translated into real music makes the deepest bases sound very compact, subtly coloured, very well put together and united. They don’t quite reach the darkness and sensory capability of a good dynamic driver of the same price, but they do surpass it in definition, speed and resolution. In this way, the P20s are able to play bass-heavy music, but still allow the rest of the music to be respected, as there is no loss of control. All of this is demonstrated when reproducing complex, dirty, unfiltered, mixed and multi-line bass. The P20s are able to define every line, every kick drum, every layer quickly and swiftly, without distortion, with great definition and resolution. It may be so academic that it doesn’t sound completely natural, because it’s quite smooth in texture and not dark enough. But it is really very effective in representing these kinds of difficult passages.

Mids

I have always declared myself a bass lover. But I can’t consider an IEMS that doesn’t have a well-represented midrange. Especially in their first half. Most tunings tend to lighten this first phase, either by tilting the bass vertiginously from the sub-bass, sinking the first midranges, and then making an almost impossible climb towards the upper mids. Much of the music’s foundation lies in that initial range. But it is deliberately moved away to achieve a clean bass that does not intrude on this phase. So, the really complex thing is to get an extended bass and a first midrange phase that is present, that doesn’t sound muddy, that has physicality, body and sounds full, but without being too warm. And I think the P20s achieve a lot of that which I like, finding a good balance between bass, early mids and upper mids. Does it sacrifice anything in this task? Of course, the treble. But that will be described in the next section.
The initial midrange phase sounds quite full, full-bodied and grounded. As the frequencies rise, the phase thins out and becomes subtly lean. In this way the male vocals have a very good base, but their development eventually thins out. The peak at 2khz achieves an unusual sense of sharpness. But the overly soft treble tones down the harmonics and even the male voices sound somewhat limited in brightness and brilliance. This is a distinctly relaxed sound, which seeks a rounded, bodily warmth. It achieves it for its own gloating and for those who enjoy a crisp, transparent darkness. For, despite all this, the P20s are quite clean and sound very well-defined, defined, thanks to their high level of resolution and informativeness. The female voices lack that level of sparkle that elevates them. There is no sibilance, but emotion and liveliness is relegated to the background, due to the perceived cutback in brightness.
The best thing about the central range is its presence and balance. But its nature is nuanced and limited in light and harmonics. I find it easy to get lost in this sound for hours on end. But that doesn’t detract from the fact that I miss some bursts of energy and more sparkle. But the P20s certainly don’t go for that effect, they’re just like a twist for clarity at the cost of technical skill, rather than an advantageous tuning that lifts the upper midrange and upper treble. And Shozy achieves that light, that sharpness, that difference, even in the least advantageous conditions. In this way he achieves a dark and pleasing musicality, by candlelight.

Treble

The counterpoint is the treble. The upper range has been deliberately nuanced. The high notes don’t crackle and don’t have too much energy. But somehow it is not an amputated upper range. The treble is rather relaxed and loses its brightness and sparkle. But a base prevails that is supported by a good extension in the second phase. Perhaps that is what achieves a certain muted realism in the treble performance, reaching clearly into the air zone.

Soundstage, Separation

The Shozy P20’s soundstage is not very expansive, its relaxed sound makes it feel neither vivid nor volatile. It feels tight to the base, it’s deep and wide, it has a moderate headroom. But it doesn’t feel three-dimensional or completely open. There is a good degree of sharpness, transparency, cleanliness and separation. It has a remarkable degree of resolution and definition, but micro detail is not obvious and difficult to discern. It is not very adept at recreating background layers and it is here that the fine detail is lost. The macro detail, without being obvious, is perceived quite clearly and that is why the P20s have a remarkable level of information and representation, being warm IEMS. Again, this tuning with another type of drivers would generate a much darker and less resolute sound than the one achieved by Shozy in this model.
In terms of imaging, it is very adequate, correct. There is a good positioning of the elements. But the three-dimensional midrange feel makes this representation not very prominent. But it is never confusing, due to the good degree of transparency and separation achieved.

Comparisons

TinHiFi P1 MAX

TinHiFi was one of the first brands to use a planar driver in their IEMS with their P1 and P2. Those were different from today’s planar drivers and the brand entered the current path with the P1 Max. Now, the P1 MAX II is on the market. But in this section, the Shozy P20 will be compared to the TinHiFi P1 MAX.
We have to distinguish the design of both IEMS, while the P20s are made of metal, the P1s are made of resin. But they have a similarity in the external semicircular shape. It is clear that both are relatively thick, but the P1s are light and somewhat stubbier. The P1s come with a good amount of tips, a slightly better cable, but no zippered case. The P20s do have a case and it is large, as usual.
The price of both is similar, although you can now find the P1s for almost $100, while the P20s are $139.
Ergonomics are good in both, more immediate and lighter in the P1s, while the P20s fit better, with deeper integration in the pinna.
Sensitivity is very similar in both models and a good voltage level is necessary to reach a full volume sensation.
There is a different sonority in the bass. It is deeper, more energetic and fuller in the P20s. But it is also faster and drier. The bass on the P1s is more rubbery and a bit sparser. They don’t have as much volume and feel a bit thinner. In the very low-frequency pure tone test, the P20s are slightly more sensory, although the wave behaviour is similar in both. But the P20s are somewhat darker, more physical and more powerful. In addition, they seem faster and better defined, despite their greater extension and presence.
The P1s are more midcentric, and the ratio of less bass to more upper mids gives a feeling of greater clarity in the central range. The first half of the P20 midrange is warmer and fuller, but it also feels more nuanced, not as light as the P1s. Those looking for more base and a bigger physical feel should look for the P20s. Whereas, those looking for something more natural, neutral and realistic should lean towards the P1 MAX. I may prefer the timbre of the P1s, but I like the slightly darker, denser, yet smooth fullness of the P20s. However, such density is at odds with a greater sense of clarity in describing micro detail. On the other hand, the P1s are more hollow and separated, so that micro detail can be seen more easily. Not that they are very analytical, but they are more transparent and clearer. The sound is more open and expansive in the P1s, while the soundstage is deeper, but more compact in the P20s.
The first part of the treble feels different in both models. The P20s are more muted, nuanced and smooth. The P1s sound freer, with a bit more energy and extension that gives them a more natural timbre and greater finesse.
The FRs of both models follow a somewhat similar shape. But the differences in shape – less bass in the P1 MAX, more upper mids and more treble – are clearly reflected in the sound. There is no clear winner, each has its strengths and weaknesses. It is the differences in each range that will sway the listener towards one model or the other.

Conclusion

Taste often overrides rationality, frequency response, balance and light. The Shozy P20s are planars that have deliberately aimed for smooth, nuanced treble. Taking advantage of the high level of resolution and sharpness of its driver, Shozy allows itself to lower the high end to seek a denser, warmer and somewhat darker sound, perhaps necessary for those who find too much energy in the upper mids and highs of the rest of the planars on the market. Without a doubt, this is a relaxed alternative based on very precise and extended bass, as well as physical and full midranges, although nuanced and somewhat limited in brightness and liveliness. That doesn’t detract from the crispness and clarity, a defined sound, though not the best in micro detail. Undoubtedly, a relaxed and very pleasant alternative in the already extensive range of sub-$150 planars.

Sources Used During the Analysis

• Burson Audio Playmate II.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• EPZ TP50.
• Hidizs S8 Pro Robin.
• Tempotec V3.