Soundstage is deeper on the Obsidian, imaging is also more accurate. It does require above-average amping to sound its best which is kinda odd for such a budget offering. As for the rest, the housing is metal which is definitely a step up from KS1’s plastic housing, but the cable is non-replaceable and even worse than the KS1 cable so there’s that. Like the KS1, the BL-01 has a warm V-shaped tuning with a mid-bass emphasis, recessed mids and average detail retrieval, but a believable natural timbre. In this respect it resembles the earlier, similar-sounding BL-03. The bass has a mid bass emphasis and is slower than that of the KS1 which has a better transient response. The mids are more recessed than the KS1, but the treble on the two is quite similar. The KS1 achieves a much better fit than the BLON which is problematic with its very short nozzles and poor cable, although the build quality is superior. The more even response of the KS1 just nudges it ahead for me. Warm, slight-v-shaped sound signature. Smooth overall presentation without any hints or instances of fatigue.

The KS1's treble was fairly well-tuned. Detail retrieval was reasonable and there was a minor roll off in the high frequencies, but nonetheless, the overall effect was smooth and easy to listen to with no disturbing peaks. However, I found myself wishing for a little more detail and sparkle. Just like the earlier models, the KZ ZSN Pro X fits comfortably in the ears. The acrylic body of the housing is smooth with rounded edges and feels natural, filling the concha area. There is no pressure buildup or “cabin noise”. Noise isolation is about average and depends largely on how good a seal you get with your selected eartips. Cable The IEM is composed of a lightweight polycarbonate shell that weighs around 3.75 grams per IEM. For comparison, all-metal shelled earphones like the Fiio FH7 weigh more than twice this. That is not to say, at reasonable volume levels, you will have a shouty presentation of the mids, because they are not tuned to focus on the mid range, to my ears. This is an over-ear design iem instead of bullet from Tanya and E500. Very light weight plastic that comes with 2 pin extruded style.These are four Acappelo singers with a DEEEP voice baritone. The presentation by the KS1 is a healthy does of a good voice, which sounds realistic and satisfying to my ears. Lower mids are somewhat obstructed by mid-bass bleed and come across as increasingly recessed as you move up toward the true mids. Guitar tonality is fairly realistic although the slow decay is still evident. Vocals are not accentuated and sometimes fall behind the remaining instrumentation a bit but do have good tonality and texture. If volume is pushed a bit to compensate, it brings vocals up a bit but also increases stridency in the process. The boost in the upper-mids introduces sibilance if the source material has any leaning in that direction anyway. Strings have a bit too much energy as well and tonality comes across as a bit thin and hot on violin as a result. Ultimately the Ks2 is not a mid-centered in-ear and will do well with EDM or house that don’t focus on vocals heavily.

Finally, the treble is inoffensive. It’s just there to make sure that things don’t sound overly dark but it takes the furthest seat in the entire presentation. Cymbals hits sound muted, they easily smear into each other, and there is hints of splashiness despite the recessed treble. It doesn’t draw much attention to it, but when you pay attention to the treble — it’s not good in terms of resolution/timbre. DQ6’s midrange is a little more forward plus it has an additional upper midrange peak for added presence and vocal presentation. The treble response between these 2 IEMs is remarkably similar, right down to the peaks and valleys that measure near identically from 4-12kHz. But because of its leaner bass and upper-mids lift the DQ6’s overall tonality is a tad brighter. Conclusion Vocals are decent but sometimes sound a little far away. Overall, the mids are maybe a little recessed and give way to boosted bass and trouble. For most of the music I listen to (pop, hip hop, rap), this was fine, but some listeners may not like this.My largest issue with the cable is its disposition to tangle, which would happen quite often when unraveling it. If you’re the type of person to secure their cables with hook-and-loop connectors, then I would suspect this wouldn’t be an issue for you, but the wound-round-the-finger types may get quite disgruntled. CONCLUSION: Music is pleasant, good for electronic without too much punch, video and film given the well expressed mids. Definitely not suitable for sound engineers, but given the low price they are a great deal for those who want to listen to music in a decent way. Attachments

KBEAR started their journey off on the wrong foot. From the horrible Opal (which I couldn't be bothered to review, as it should be erased from history) to the very restrictive F1, it seemed that KBEAR won't make it too far before vanishing from existance in the crowded earphones market. KS1’s shells are identical to those of the KBEAR KS2. The moulded acrylic shells are lightweight but feel durable and should have good longevity. There are 2 vents, both on the inner side of the shell. KBEAR have kept the visual elements fairly simple with just a small logo placed on the faceplates. Conclusion: The KBEAR KS2 is a solid performer with much to love considering its very low price. If you want powerful bass , decent mids with that sparkle in the highs that performs politely and smooth this might be for you. Treble is most definitely elevated. It does not create sibilance in my experience but will definitely reproduce any sibilance present in the original mix. If its a bit too bright, try using tips with a smaller bore to even things out. I like the sound these make when the treble is tamed slightly. The mids start to really pop out.Another good example is Yonezu Kenshi's "Flamingo", bass is fast and snappy with a good amount of impact or slam when needed, and coupled with natural vocals, it reproduces this song well. Soundstage: Soundstage height is larger than the typical budget IEM which is quite curious and definitely aids while watching movies and such. Soundstage width is moderate but stage depth is pretty poor. Mids: The mids of the KS2 definitely fall behind the bass but i think its still decent and is not bad. There is not much to say but it can definitely be improved. On first impressions, the KS2 didn't have much of a detailed separation, most of the sound comes out as one cohesive sound with the bass sounding slightly separated due to it being boosted. However, when listening closer, you can actually hear that the separation level here is between the highs, mids level. Highs usually get drowned out on the genres that I listen to, but works better with Rap and RnB. In heavier genres or songs, the sound tend to sound rather mashed up and hence I don't recommend this for heavy genre songs such as Metal.

The cable terminates in a right-angled 3.5mm rubberized plug. Aside from the tangling, the cable handles well enough and you couldn’t really expect much more for an IEM at this price point. Sound The body of the KS2 is made out of plastic and feels pretty lightweight. While this is beneficial in terms of comfort, it does concern me a bit about the fragility/durability of these IEMs. The KS2 is KBEAR's previous entry-level IEM and is a dual hybrid. It displays a similar strong V signature with powerful basshead-style low end, recessed mids and bright treble. Perhaps its best quality is its large soundstage which is very extensive. It has an unashamedly "fun" tuning, not unlike the KS1 itself, but the KS1 is not as V-shaped and has better timbre with a more even sound profile and is preferable.Aaron Copland's famous "Fanfare for the Common Man" received a stirring rendition from the KS1. Though perhaps a little over the top, the bass drum resonated impressively and the timpani were impactful while the brass shimmered high up in the orchestra. The KS1 delivered a dramatic and enervating performance in every way in the wonderful recording by the Minnesota Orchestra under Eiji Oue. The included cable is the upgraded 4-core KZ silver plated copper version. It handles quite well and is less prone to tangling than the older brown cable in my experience. At the top are the hooded, transparent 2-pin connector housings, followed by heat-shrink pre-formed ear guides. The highs are energetic and, in addition to the bass, bring momentum to the music. Sometimes they are a bit too engaged for me, but always stay under control. Silicone tips bring sibilants a bit more into the daylight, whereas foam tips make the bass a bit too authoritarian. Somewhere in the middle is the holy grail. Here you can certainly play something with different tips. All in all, the trebles are alive and create space, for a better separation. Here and there, however, the high frequencies are too artificial for me, but they are quite detailed and lively. The mid-bass is more emphasised and for me it is the quality of the bass which stands out, it does not overwhelm, so that it is not thumpy or lumpy, it is smooth and relaxing.