Yes, and the NY06 sounds the same as the Revonext QT2. As to the front vent port: allegedly, dmg changed that recently, so both are the same now (cannot confirm this).
That means Grado is for masochist-ophiles
No idea what the Grados sound like, unfortunately.
Bright beyond bright. Cut the bottom off Sennheisers and double the treble.
I’ve got an NY-06 if you’d like to try it out. I found it to be fairly similar to the Revonext QT2. Shoot me a PM with a your address and your welcome to try them.
I’ll see with yinyoo EU to review them
Now I have the zs7 and it’s an awesome Iem
And my French review on YouTube of NiceHCK M6( @Brause thx for fr graph ! ) And a good photo of them
Merci beaucoup, @TechnoidFR!
Murdered the Tennmak Dulcimer: tried to reduce the excessive bass in the left earpiece by widening the front vent. RIP.
I spend quite some time with the Pioneer SE-CH3T-B, which I picked up upon the recommendation of an earphone wizard for $22 CAD (US list price: $29.99).
This single DD earphone is insanely good: slightly warm and a bit bright of neutral, superb clarity, a good depth and therefore 3D reproduction, a good attack, an unobtrusive bass with a natural decay…an overall very cohesive sound and a very natural timbre…with a fantastic fit. Sticklers may find the bass not extended enough.
I have used it mainly for listening to classical music, where it shines in instrument separation and layering. Considering its coherence, I have yet to find a XX driver Chifi earphone to beat it in both tonality and fit (in-ear “condo complex”).
And that at $22 CAD.
Wow. This difference
I’m listening to some acoustic folk with this right now and really enjoying it. If I listen critically I can find faults, but if I just listen for enjoyment these are really all I need. They’re good in an inoffensive way.
Here is my review of the CCA C10:
The CCA C10 is a new design from a relatively new company, Clear Concept Audio, which is a sister company of KZ (Knowledge Zenith), and the C10 shares some components with previous KZ models. It is a hybrid design, with five drivers per side (1 DD + 4BA), hence the name C10 (10 drivers in total). The Dynamic driver is 10mm in diameter and has a dual magnet and titanium diaphragm. The BAs used are 2 x 50060 and 2 x 30095, the same units as the KZ ZS10, but in a different configuration.
The earphones come in a similar packaging to KZ models, in a plain box with a photograph of the earphones, being presented in a tray below which are the 2-pin detachable cable, spare eartips and documentation. The earpieces have a zinc alloy faceplate which is similar in shape to that fitted to the KZ ZSN but with a different surface design, bearing the CCA logo and the words “DDx2 BAx8”. The rear of the earpiece is formed from a clear acrylic material through which the components can be seen, and the words “10 hybrid technology”are written on the side. The cable is a braided copper type with aluminium plugs featuring a knurled design. The fit and finish of the units is very good, being of a much higher quality than the ZS10, for example. Comfort was superb, with the pre-formed ear hooks fitting very well, and the inner surface of the earpieces being smooth and perfectly contoured.
Initial impressions were excellent, the sound being well-balanced with an attractive “live” feel. Detail retrieval was noticeable. There was an overall brightness to the sound. Testing was carried out using a Hifi Walker H2 DAP connected to a Fiio A5 amplifier, via line out. I conducted a 100-hour burn-in before auditioning critically, after which the initial brightness settled down. The pre-fitted tips fitted well, but I exchanged them for JVC Spiral Dots, which gave an improved seal.
I have to say that these are the best IEMs I have so far heard (I have tested more than 25 different models). The overall balance was just about perfect with no part of the frequency range emphasised. The open, airy quality of the sound and balance suited every genre of music equally. In more detail:
The bass was perfectly balanced. It reached deep but never imposed on the midrange. Because there was no mid-bass hump, the bass seemed subdued on first impression, but when real low frequencies came in, the response was excellent. In Albinoni’s “Adagio” by the Guildhall String Ensemble, the organ accompaniment had real depth, impact and texture, providing a perfect backdrop for the soaring strings. Everything was in perfect proportion. Electronic music also benefited from the precision, speed and agility of the bass. Mark Dwane’s “Siren’s Song” from his album “Archives 2” has a fast-moving sub-bass accompaniment. Every note was clean and well-defined with depth and slam and was easily discernible above the electronic and vocal lines. The sound was very different from the V-shaped profile of the ZS10 and was much more musically satisfying.
The mids had a remarkable clarity and detail, not being recessed at all, even though bass and treble were both clear and present. A good example of this was in Charles Ives’s “The Unanswered Question” performed by the New York Philharmonic under Leonard Bernstein. This piece features a hushed string background, punctuated by staccato parts for brass and woodwind. The different timbres of the instruments and their impact were portrayed beautifully, creating a wonderful sense of atmosphere and an otherworldly feeling, exactly as the composer intended. Al Stewart’s classic “Year of the Cat” has a superb production by Alan Parsons. The introduction features piano, percussion and guitar and each strand was clear and easy to follow. Al Stewart’s voice stood out clearly with the studio reverb adding atmosphere and space. The sax and acoustic guitar solos in the middle of the song came over with great impact and immediacy. A wonderful performance.
The treble was reproduced beautifully, with no discernible peaks or harshness. There was good resolution and delicacy, the finest details being presented clearly. Matthew Clifford’s “Accumulus” is a synthesiser work with a classical structure performed on an arsenal of keyboards. The main theme is in a high register and was perfectly clear and smooth. Electronic percussion had clarity and sparkle. In “The Young Prince and Princess” from “Scheherazade” by The Kirov Orchestra, it was easy to hear that the string section was composed of separate instruments, rather than a “block” of sound. The ambience of the recording venue was airy and spacious, giving the impression of a live performance.
The C10 IEM is a total success. It uses the same drivers as the KZ ZS10, but is tuned differently. The ZS10, in comparison, has a noticeable V-shaped profile and the bass seems somewhat detached from the rest of the range. There is an elevated presence region which leads to a pronounced peak in the treble, producing some harshness and sibilance. The C 10 does not suffer from these artefacts. Its internal structure is different, with the BA drivers arranged differently.
With quality build, excellent comfort and superb sound, CCA have come up with a winner. They have now become my#1 IEM and my go-to pair.
Note: I would like to thank Sunny from Better Audio US for providing this sample for review at no cost to me.
@DarthPool I take the 5th. I don’t know anything. How do you like it? I brought my DMG to work with me today. Havent had a chance to use it though. Meetings every minute since I’ve been here.
@Brause The Focal Spark dropped to $20 and same day shipping, so I will be getting it tonight in blue color.
@Torq …and while looking for an add-on product for getting free same day shipping, I added a watch box with drawer. LOL. Drawer for cables and tips I guess.
With the watchboxes being all the rage to store iem’s in I might invest in one in future. They look very neat. I like the look.
They are very comfortable, and sound is also pretty good, I have no complaints at this price point…very fun listen, W shaped…? Only listened to a couple of tracks so far. Also I haven’t messed with the tips yet, just using stock tips…but they are very comfortable…
Edit: did you get a couple different nozzles? I can’t see a difference in them to the others other than color. Ok now I’m listening on my ADI-2DAC through the IEM port…and these are really nice, but the Andromeda is better lol…not a fair comparison. But if I didn’t have the Andromeda, these would be top bill of my current IEMs…this isn’t saying much though…
Speaking of Andromeda…they are soo very sensitive and make it hard to level match A/B, but when I turn the volume up the BGVP DMG is very appealing.
Tin Audio T2 Pro
Yes each filter effect is subtle.
Gold - a little more mid-bass bump and lower treble.
Stock - neutral-ish
White - lower bass response and elevated treble
I like stock the best, by far.
Check out my review for measurements between the filters: BGVP DMG IEM Review
I blame @antdroid too …
And a quick run through the filters, I’m leaning towards the default (body-color) one as well. Bass is still more satisfying (texture, detail, impact) than most of the pure-BA IEMs I’ve heard. Very nice, overall, so far.
Solid pairing with the SR15 as well (all up between the DAP, 512 GB card, Miter case, glass screen protector and the BGVP DMG it’s sitting at almost exactly $1,000 … which is close to the perfect point for what I had in mind).
I hear the LZ filter sets also fit this IEM. I haven’t tried it yet though. I may buy a set since this IEM is still on my rotation while others have come and gone.
I don’t have the super cheap KZ IEM that had filters, but I wonder if those would work too.
The purple ones probably sound the best…