QKZ X HBB Khan

Going through the traditional technical review is not gonna do justice to khan, so sharing my general thoughts...

I've tried a lot of budget IEMs in the past, always looking for the best sound quality. But I realized that I was missing out on something important - the FUN

That's where the Khan comes in. This IEM is so much different to listen to, I feel like a kid again. The subwoofer really brings out the bass in a way that just makes you want to dance. And even though the tweeter driver is small, the soundstage is surprisingly wide.

But more than that, it's the overall listening experience that makes the QKZ X HBB Khan stand out. It's not just about the technical aspects of sound quality - it's about how the music makes you feel. There may be some solid offerings under 50 usd some of which I own personally but none of them engages me the way khan does. This thing sounds more like home theatre than normal iems. For my taste and playlist, I feel this can be endgame for me for a long while.



If you're someone who's tired of obsessing over sound quality and just wants to have some fun listening to music, then the QKZ X HBB Khan is definitely worth checking out. It's not the most analytical IEM out there, but that's not the point. It's about enjoying the music in a way that goes beyond just the technical specs.




I got emotional trying some of my old playlists, it reminded me of my computer speakers I used to blast full volume and shake my room with some Pitbull, Skrillex , Avicci or David Guetta, those 2013 days : )

Introduction

Until now I had not looked up the history of QKZ, ''Quality Know for Zero Defect''. It is a brand that was born in Bao'an district - China. In 2005, QKZ was divided into two subsidiaries: "QKZ" and "KZ". Currently, QKZ specializes in hybrid technology, balanced armature, zinc alloy earphones, CNC metal earphones, and Bluetooth v4.0 to v5.5.
But if we talk about the current model, the QKZ x HBB Khan is a collaboration between QKZ and the famous audio reviewer HBB (HawaiiBadBoy from "Bad Guy Good Audio Reviews"). It uses a 10mm dynamic driver for bass + a 7.8mm dynamic driver for mid and treble. The cable connection is 2Pin and 0.75mm. It has been manufactured in 4th generation DLP-3D, to create a lightweight, ergonomic, semi-custom design, with an outer panel carved like dragon scales and coated in resin. Let's see what this new collaboration, priced at no more than $40, has to offer.



Specifications

• Driver Type: 10 mm dynamic driver + 7.8 mm dynamic driver, with LCP liquid crystal complex diaphragm.
• Frequency Response: 20-39500Hz.
• Sensitivity: 117dB±3dB.
• Impedance: 10Ω±15%.
• Jack Connector: 3.5mm SE.
• Capsule Connection Type: Recessed 0.75mm 2Pin.
• Cable Material: Oxygen Free Copper.
• Cable Length: 1.2m ± 5%.

Packaging

The QKZ x HBB Khan come in a black box, dimensions 112x162x50mm. On the front side you can see a realistic photo of the capsules. Underneath, the name of the model, in gold lettering. At the bottom, a description of the model and a logo that imitates the Hi-Res logo, but with the HBB logo inside. The brand name is in the top right corner, in holographic ink.
On the back, the model name is repeated at the top, next to the brand name and HBB logo. There is a frequency response graph, product description, specifications and an exploded view of the inside of the capsule. Also visible are the brand name and some other contact information.
Removing the outer cardboard reveals a completely black box, with the brand logo in large print in the centre. After lifting the lid, the capsules are encased in a thick foam mould, covered with black cardboard. Underneath, there is a kind of golden coin with the HBB logo in the centre of a rigid plastic sleeve. Behind this first layer is a white hard plastic case, inside of which are the cable and the silicone tips, both inside plastic bags. The complete contents are as follows:

• The two capsules.
• One 4-strand black oxygen-free copper cable with microphone and control.
• Three pairs of white silicone tips with black core.
• One white hard plastic case.
• One gold coin with the HBB logo.

I don't like this kind of basic cable. I prefer the 0.78mm connection because it is more widespread. Although it's not a problem, I prefer embedded connectors, instead of recessed, because they are more common as well. The gold HBB coin is curious and also the white hard case. I prefer it to cloth bags. Although, being rigid, it does have a rattle effect when you carry it around in your backpack. But overall, for the price it's not bad.



Construction and Design

The capsules of the QKZ x HBB Khan have been 3D printed in an almost translucent material. The outer plate is carved like dragon scales and coated with resin. On the right side is the HBB logo and on the left side the brand logo, both are gilded. There are two horizontal slots at the bottom corner. The 2Pin 0.75mm connection is oval and overhangs. Inside, the contacts are gold-plated. On the edge of the capsule you can read the model name, in gold lettering, together with the channel lettering, inside a circle. The inner face is rounded and smooth. The mouthpieces are quite projected, with a length of 6 mm. They have two diameters, the bottom diameter is 5.75mm and the rim is 6.65mm. The grid is metallic and perforated.
The cable is the classic 4-strand black coiled cable, with semi-rigid plastic over-ear. It has a microphone and control. It's the typical basic cable that comes with the vast majority of IEMS in this price range. It's the kind that screams "swap me!" if you like IEMS. What I don't like is the 0.75mm interface type and the shape of the connectors, I prefer a more common one. But as there are so many models that use this connection, it's not a problem to find compatible cables. But, it's true that the best cables don't use this shape.



Adjustment and Ergonomics

The capsules are very light. I like the projection of the mouthpieces, because they allow an insertion that can be medium. The only thing that can be a bit problematic is the thickness of the mouthpiece lip, as well as its diameter. In particular, I've done great. With my classic foam-filled home-made tips, they fit very firmly to my morphology. In addition, the sound is completely full. The fit is durable and rotation is minimal. Because of the great fit and coupling, the isolation achieved is remarkable. I feel that the ergonomics might be problematic for other users, but, for me, it is almost excellent. Once again, I'm back on the comfort track I seemed to have lost lately.



Sound

Profile

You could say that the profile of the QKZ x HBB Khan has a rounded w-shape. The humped shape of its bass and the precise cut-off at 200Hz is curious. Then, it is completely linear up to 1khz, to rise smoothly towards the upper mids. There is a slight roll-off in the early treble, to burst into a little double sparkle at 9kHz and 14khz. In reality, there are two dynamic drivers, one for bass and one for midrange and treble. It seems that the performance of a frequency crossover between them is clear from the way the bass transitions to the mids. The use of a driver for midrange and treble stretches the frequency range in the air range. The specifications state that they reach almost 40khz.
On the other hand, although it claims to have 10Ω and 117dB sensitivity, it requires a good voltage level to sound comfortable and reach the sound pressure level of its competitors.



Bass

The first thing I find in the bass is a dull and nuanced feeling. It seems that the softness of the upper range influences the bass in a negative way. This sonority makes the music seem darker and sparser than usual. And that's how I feel the lower range, opaque, but punchy. With a good level of energy from the source, the bass returns an energetic, hard, compacted punch with good dryness. For its price range, it's not at all bad on speed and punch. It's not overly sensory and feels coloured by the hump tilted towards the mid-bass. The reproduction of pure tones below 40Hz is not very realistic and it has a BA-like sonority, which detracts from the naturalness of LFO performance. However, it recovers very well at 40Hz and that is the point that gives the sound quality in the bass. In fact, the texture is restored to the point of being rough and attractive.
It’s relatively effective in complicated passages and resolves them with simplicity, but without muddying the sound too much. It doesn't have a very good definition to draw complex bass lines with much precision. But it performs coherently, for its price range, without falling into faults or unpleasant sonorities. It can only sound more boomy than usual, losing a bit of control in unfiltered bass. This can be observed in many Massive Attack songs on the Protection album, where the bass lines reach a level that can be excessive, both in pressure, texture and sonority, vibrating more than necessary on more than one occasion. At moderate listening levels, the control is more accurate.



Mids

In the mids, the dry and dark tendency of the HBB Khan is once again evident. The low incidence of treble is once again the protagonist and the sound feels not very juicy, with limited sparkle. The special tuning decouples the lows from the mids to a good degree, but also distances them from the listener. The combination of the limited expansion of the overtones and this distance to their presence makes the first part of the middle range a bit sterile, especially in the area of vigour and exuberance. But, in the musical aspect, this appreciation can be likened to an analogue warmth, which can be reinforced to a greater or lesser degree, depending on the source used. In my view, and with the intention of counteracting this characteristic, I recommend the use of cooler or more analytical fonts. Under this patina of softness, denser music benefits, as long as the thickness of the notes does not affect the sharpness of the representation. In expositions with fewer instruments, one can distinguish the more muted timbre it possesses. However, it is also an aspect that makes the texture more present, revealing and informative. This thickness can help male voices to have a fuller physical sensation, even if the distance of their focus implies otherwise. In female voices, despite the gentle emancipation of the mid-highs, their physicality is not comparable to that of their male counterparts. In the same proportion moves the response of the instruments. The brighter their timbre, the more pronounced the analogue feel of their presentation. The result is a soft, veiled musical manifestation, without any sibilance, but little extended in resolution, clarity and transparency.



Treble

I'm surprised by the frequency response, in relation to the actual sound of the treble. Without listening to the HBB Khan and only interpreting the graph, I would have thought that the high end would be more represented than in reality. But, perhaps the gentle rise of the mids towards the treble is to blame for the more muffled feel of the music. While there is good extension, expressiveness, energy and sparkle are limited. The result is a high end that doesn't feel bright, nor is it crisp. Its portrayal is soft, measured, very controlled and doesn't help the detail and nuance to be at its best. Although, with time, burning and aural adaptation, the treble seems to improve little by little.



Soundstage, Separation

The scene enjoys adequate width, even a good sense of depth. But it feels eminently frontal. The stereo representation is good and the laterality of the sound is up to par. But let no one look for a lot of three-dimensionality in the musical recreation. The imaging is average. The thick weight of the notes means that the definition is not very high. It also doesn't help that the treble is soft. All in all, the level of transparency, light and brightness is low, offering a not very high level of resolution and a not too evident separation. The perception is of a warm, denser and duller sound, yet soft, even mellow and analogue-leaning. As a result, the image can be a bit fuzzy, as well as the appreciation of details. Even micro details can be penalised and almost invisible.



Comparisons

BLON BL-Max

At a similar price, but with a different frequency response, I have the BLON BL-Max. In common, they are also dual dynamic, with 10mm + 6mm drivers. The construction is metallic, in zinc alloy. Ergonomics and design are not the best. In addition, they are relatively large and heavy. In that respect, I prefer the lightness, ergonomics, fit and shape of the HBB Khan.
In terms of handling, the Blon is much easier to move than the HBB Khan, which requires much more power to shine on par with the BL-Max.
You could say they both have a w-profile, although they are different. The Blons have a more extended tendency towards sub-bass, with peaks throughout the range being more boomy. The HBB Khan, apart from the bass hump, are smoother and more homogeneous.
The Blon has a more realistic and traditional sonority in the LFO range, while in that frequency range, the HBB Khan generates a coloured, shallower and less sensory sound. Although the textural feel of the QKZs is superior, it is not always natural, but feels a little reinforced by that particular behaviour at the low end. Despite this, it seems that the HBB Khan's are able to layer and separate bass better than the Blon's, which become somewhat slow and diffuse in passages with overlapping bass lines, even losing punch comparatively speaking. While I prefer the timbre and bass colour of the Blons, on an objective level, the QKZs have better quality and fullness in complex passages.
There is more light, transparency and clarity in the Blon's midrange, with the timbre less impaired by the Khan's softness. Although they have more bass impact, the cut-off is not as abrupt as in the HBB Khan, they again seem more realistic and with a fuller, more realistic timbre. The HBB Khan's are more sparse, shaded, dense, dark, warm and analogue. They do not possess the sparkle or transparency that the BL-Max do, but they are not paradigmatic in this respect. The Blon's tuning makes the high-mids more present, offering a greater closeness on female vocals and guitars. They also possess a point of greater physicality and body in the first half of the mids. Undoubtedly, for better or worse, this is a more traditional tuning.
There is a clear difference in the treble. The BL-Max have an excitation from the mid-highs, which gives them more clarity and transparency in the mid-range. But if one looks at the graph and averages the area in this zone, one could say that the HBB Khan has more presence in the highs. The actual result is like that and in the sound as well. The highs of the HBB Khan, although soft, sound more realistic than in the BL-Max. The roll-off or control zone of the Blon gives them a sonic clipping that doesn't benefit them and adds a less realistic timbre, as if the treble ends prematurely. But, actually, I don't really like the treble performance of the HBB Khan either, because it's not very defined, they don't have much resolution either. I think they are finer on the Blon and have better resolution, but with worse timbre. So there is no clear winner in this respect.
In terms of transparency, separation and sense of clarity, the Blon scene feels wider. The denser, more homogeneous sound of the HBB Khan's brings together the recreation of their image. In this way, details are freer and more perceptible in the BL-Max, without the BL-Max possessing a revealing analytical capacity. But at least where detail is known to exist, it can be perceived. Whereas, in the HBB Khan, most of them remain hidden. Technically, the Blon are better than the HBB Khan, although this is partly due to more appropriate tuning.



Conclusion

The creation of a new IEM model should have a distinctive feature that distinguishes it from previous ones. What has been the motivation here? Well, it seems that the story about this model is already well known. But, apart from that, what is that distinguishing feature? Actually, it could be several. One could be that the capsule has been 3D printed. But the important thing is the sound, and in that respect, the frequency response is absolutely eloquent. The bass humps at the borderline between sub-bass and mid-bass, and then cuts back sharply at the very moment when the mids begin. From there, the midrange is flat up to 1kHz, then rises almost linearly to the treble. After that, a slight dip and a double sparkle. No doubt, this is a different tuning, which resembles the one we are all thinking of. But, I insist again, why repeat this form, because of power, or because it is really accurate? Personally, I don't believe the latter. IEMS should do some good in some respect, as I started the conclusion. In this case, all that glitters is not gold. But I would highlight the bass, an IEMS signed by HBB should never disappoint in this aspect, no matter how inexpensive it is. Nevertheless, its eloquent FR is also worth mentioning, as well as the smoothness, warmth and analogue feel of the whole. Above all, keep that. But I would also add the level of construction, the case and the price/quality ratio. And, if I may be so bold, also the comfort and ergonomics of the QKZ x HBB Khan. Although, of course, it will depend on one's particular morphology.



Sources Used During the Analysis

• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• TempoTec Serenade X + iFi Zen Can.
• Earmen Angel.
• TempoTec Variations V6.
• ACMEE MF02s.
• xDuoo XD05 BAL.
• Hidizs AP80 PRO-X Red Copper Limited Edition.
• Aune Flamingo.

Ratings

• Construction and Design: 75
• Adjustment/Ergonomics: 80
• Accessories: 65
• Bass: 82
• Mids: 70
• Treble: 70
• Separation: 62
• Soundstage: 70
• Quality/Price: 75

Purchase Link



You can read the full review in Spanish here

QKZ x HBB Kahn Universal IEM

A strikingly new and different attitude:
Yep, did you know IEMs can have attitude? Some IEMs seem to exist to propagate the same-old sound along with offering nothing unique or different for the listener. Some IEMs actually offer many unique traits, but those traits have nothing to do with hearing a correct and natural replay of music. Here we have our share of attitude resulting from a big boisterous sound and propelling the Kahn into noticeability…….and a relatively complete tune getting us a listenable musical stance. After spending roughly 25 days getting to know the Kahn, I feel I can disclose for you what its about!

We can relate to what the Khan is doing. But more than that, there is a sway and demeanor at work, far beyond the humble asking price of $39.99. If the HBB Kahn ends-up delivering your IEM magic in replay………that probably depends on both genres of music used and personal/subjective sound preferences? While the choice here was not to come even close to the regular run-of-the-mill tune choice, such a demeanor quite possibly makes the Kahn not as well rounded. Yet if your smoking just what the Kahn delivers, it could in-fact be heaven.

Features:
10mm bass dynamic driver and 7.8mm midrange and treble dynamic driver
4th generation Driver with DLP 3D Driver technology
In collaboration with HawaiiBadBoy @badguygoodaudioreviews
Detachable 2-pin 0.75mm Oxygen-free copper cable with microphone and touch controls.

Here’s the deal. Companies flounder (fool) around producing a ton of product, some good, some bad, some really good and some really bad. Due to economy-of-scale often a certain “tune” is showcased to be of a value. This means that the manufacture can offer more right from the get-go because they already know that due to the collaborators name on the box, they are going to sell a bunch. Knowing beforehand that a product is going to be successful is insanely important. Why? Because a manufacture like QKZ can scale up production making their R&D monies back due to volume of sales. Due to volume of sales they can also start to give more to you, the consumer. This concept in-and-of-itself simply means more bang-for-the-buck. More bang-for-the-buck because they are selling boatloads of these suckers. One reason they are selling so many is a kind-of guarantee of tune, the tune that’s arrived at by an internet luminary.



The trick, says HBB is the fact that 100 Hz to 200 Hz is tucked-in prematurely…..in essence to bring focus to the (upper-midrange) spike at 4 kHz. In fact creating clear vocals despite the IEM having heavy bass.

HBB:

The BGVP DM6 5BA IEM released in 2018:
I found HBB by accident. I was not really a regular viewer of his channel except I randomly purchased the BGVP DM6 while in a IEM shop in Thailand. I went back to the hotel and did some research on the BGVP DM6. It turned out HBB just reviewed it that day, explaining how the DM6 was a great deal for the asking price. In many ways at this was (also) my introduction to Chinese IEMs………at least my first high-quality set. Thinking back, it’s surprising how the BGVP DM6 and the QKZ x HBB Khan are truly opposites! More on how both can be good and polar opposites later. Turns out the Khan is one of the strongest bass relays of anything collaboration HBB has been involved with. Still this is a guess on my part, being my first HBB collaborative IEM?

Slam + Vocals:
In fact there is no escaping the creation of slam the Khan is capable of. Yet it’s just a fact of life that bass gets positioned (as with the Kahn) and we start to lose bass definition. Is that a deal-breaker, no it is simply just a fact of life……get more bass involment and the over-all tone will move to the ever so slightly less-detailed regions in playback. Literally the fastest most detailed bass I’ve ever heard took place inside a bright and somewhat thin IEM response. It is what it is. Though the exact way the bass is handled (I'm told) is specific to the TruthEar X Crinnicle Zero Collaboration and the Khan.

TruthEar X Crinnicle Zero:
In fact the genesis for this tune came about as HBB emulating Crinnicles Zero IEM, yet they are slightly different than the Zero. HBB contacted Crinnicle and asked if he could copy the Zero. In fact Crinn has two Zero collaborations, only the 7Hz Salnotes Zero a secret collaboration and the TruthEar. Yet detouring from the TruthEar Zero…..the Khan has more bass, it’s said. The Kahn upper midrange peaks at 4 kHz to balance that bass. As it turns out the first HBB x QKZ collaboration was called just that, and here we are witnessing the 2nd collaboration called the QKZ x HBB Kahn. Where the original HBB x QKZ collaboration has a single full-range DD, the Khan has two DDs per-side.

The TruthEar X Crinnicle Zero and Kahn handle Mid-bass the same:
The main feature (in-case you’re wondering) is the fact that the bass DD doesn’t affect the vocals with the midrange. Both the TruthEar and Kahn have a quick rendering of mid-bass energies, they are equals in how they deal with a quick-glide away from any heavy mid-bass energies. This appears like a more drastic bass hump in graphic form as the bass is taken away in the 100 kHz to 200 kHz regions. Note graph. This has an effect on the focus of the upper midrange. Where because the bass is substantial yet trimmed, it’s presented as dryer than with heavy mid-bass focused sets. Such a trick then offers a more noticeable (upper-mids) vocal region due to the contrast with the mid-bass. In November of 2021 a final tuning was arrived at between HBB and QKZ, thus he gave the go-ahead for the company to start manufacturing of the Khan.

We are wittnessing a fairly flat section from just before 200 kHz and 1 kHz, then a gradual rise from 1 kHz to 4 kHz.

Burn-in:
Having and trying out the QKZ x HBB Khan for over 25 days lead to a number of observations. Out-of-the-box the Khan was different sounding in that it was more separated in playback. After 50 hours of burn-in a multitude of changes took place. Probably the most appreciated was the liquidly smoothness that took over. Not only was the bass now but more detailed and lush, the refinement showing bass notes clearer. What was almost a rigid replay of separated features became a congealed spectacle of composure, as composed as this style of replay could maybe be? What sounded almost crunchy at the start, turned to melted chocolate in the end. Mid-burn in I read of others hearing such change, so I decided to give the Kahn the full 168 hour burn-in treatment. If by chance you’re not totally satisfied with the Khan’s sound at the start, I advise at least 50 hours (minimum) as that seemed to make the most difference, yet the full 168 hours is advised. Theoretically the Kahn could in-fact continue (as hours pass) to make small improvements?

Build:
Weighing-in at 7 grams a piece, the Khan is actually fairly substantial in regards to weight. Not that it’s excessively heavy, except I consider low-weight to be in the 4 grams area. Mixed with the very different “flat” textured 3D printed shell, it’s unique in my IEM experience. The size is mid-size and all the ergonomics end-up arriving due to weight, nozzle length and over-all shape. Still I can’t get over the flat texture making the build almost feel warmer in the ear. Not that it’s any form of complaint, it’s just this exact texture here is wildly new and different. Such a flat finish continues up to the nozzle end actually assisting with holding tips on better. We have all seen the shiny resin IEMs that sand the nozzles to hold tips on better. Yet here there is a style of double duty in that there is a nice nozzle ring and the flat finish. No worry about the wire-mesh coming apart with the nozzle screen as there is none. Yep they have moved to a style of perforated disk……..such a disk sets slightly back, out of harms way. The placement (as seen in the photos) is uniform and even in design. One of the most unique things here is noted as no vents have been utilized in construction, except the near each other on the faceplate. Wildly a phone flashlight will enable a view into the rear area allowing visualization of both the 7.8mm midrange and treble driver, and further into the design, the 10mm bass driver. The faceplate is a two-toned affair with an outer chrome ring holding a raised clear plastic section holding the HDD symbol on the right IEM, and the QKZ symbol on the left. Finally in small print is “QKZ x HBB Khan” on both IEMs with R or L markings. The final feature (that may or may not work for everyone) was how the silicone wide-bore ear-tips could be positioned either far back or better yet, positioned further out on the nozzle creating a firm positioning in tip placement due to both the nozzle diameter and the flat finish. Such ear-tips seemed to remain in placement even when placed into the ear, or taken out?





Cable:
The included OFC cable worked fine, as noted the qdc style of connectors are the start of the throwback of the cable positioning, allowing the cable to go over ears with the provided ear-guides. There is a guide to how the single button answers calls with a single press for both answer/hang-up or play pause. A double presses for next song, and a triple press for previous song. One long press allows you to reject calls. Also of course is the option to order the Khan with a cable mic-free. Every single part on the cable (except the qdc 2pins) is metal including the plug barrel, the splitter and the microphone assembly. There is no chin-cinch included. All and all the included cable is very well made and could be put into use when your looking to use the Khan out-and-about with a cell-phone.



Technical Details
MODEL QKZ x HBB Khan
DRIVERS 10mm Dynamic Driver Liquid Crystal Polymer + 7.8mm Dynamic Driver Liquid Crystal Polymer
SENSITIVITY 117dB±3dB
FREQUENCY RANGE 20-39500Hz
IMPEDANCE 10Ω±15%
CONNECTOR Recessed 0.75mm 2pin
CABLE PLUG 3.5mm
CABLE MATERIAL Oxygen-free copper
CABLE LENGTH 1.2m±5%
WHAT'S IN THE BOX

1x stock 3.5mm cable
3 pairs of eartips
1 pair of earphones
1x HBB commemorative coin
1x Small carry case

The packaging included:
The HBB commemorative coin is quite the item. Such extras also enhance the guarantee of authenticity, being that bootleggers would be incredibly troubled to manufacture a coin. Such exists the coin as simply another clue as to how freaking over-the-top this release is. The coin comes in its own plastic case and weights a staggering 34 grams and is emblazoned with the HBB symbol on one side and the QKZ symbol on the other. Also around the parameter is HBB Audio on one side and QKZ audio on the other.

The included plastic case is actually a long running inclusion with QKZ products. Funny how they are both unique and somewhat handy even though incredibly basic in design. On the bottom they say designed by QKZ with the QKZ symbol as well as saying QKZ again with a larger symbol on top.





The Ear-tips:
The three pairs of ear-tips are a well made silicone design which incorporates a black center. The ear-tips come in three basic sizes of L/M and S. Interesting enough looking at the tips you would think they would add to the bass response with the fairly narrow nozzle opening, when in truth they fit amazingly well and somehow didn’t increase the bass, yet my go-to wide-bores did give a slightly better soundstage, so I stuck with those a bit. Still I have to reiterate how the included ear-tips go about to effortlessly arrive at perfect fit (at least for me). In fact after doing some reading I have discovered other reviewers actually using the Khan provided ear-tips for other IEMs on other reviews, if that's not an endorsement, I am not sure what is? There is a flat texture and dual-material build that talks quality. The subtle texture seems to excel at finding correct fit, and while the medium bore nozzle-end my be just right as far as tuning the bass?

Sound design:
Bass:
The roll-off going south of 18 Hz (or so) goes to subdue what would be the 18 Hz to 20 Hz. Such frequencies are not used very often and contribute to distortion often. Normally this style of roll is found in car audio to prevent diver clipping and overall cleans-up what could be simply too much bass influence.

While make no mistake these are bass laden IEMs, it’s done fantastically right. So due to the two tucks (south of 18Hz (or so) and the 100 Hz to 200 Hz) we are left with both clarity and dynamics. These are still bass head IEMs and should be viewed as such, yet with such bass technicalities they can be enjoyed by your average Joe on the street. They sound very much like home theater…….being weighted down by such low-frequency authority. While such frequency displays (will never the less) still create conflict with absolute pace, there is enough bounce to maybe get past it? Still no matter how you view this idea of a tune, it’s going to be an acquired taste and not for everyone. And of course while the curtailments of the bass do leave room for the sound design goals to be reached, this is still a dark and lush response.

Treble:
Analogue and just enough. Nice splashes out to the middle outskirts show staging and correct separation found. Yet I can’t help but want to talk about such note weight and tonality to be the ultimate gift besides the bass going on here. It’s just that the more and more you listen you start to become enamored to the style of treble offered and somehow the Kahn starts to persuade you with the fact that its rendition of treble is correct and everyone else has it totally wrong? Slight fall-off into the edges of the stage and big splashes go ahead and do no wrong. I mean how many IEMs do we hear where they are teetering on sibilance? How many IEMs are there where the treble is the issue at hand……….? And I don’t mean just all the time, but how many IEMs are there where they play five songs correct then get too hot on the sixth song? Yep, none of that being the case here. And…….after correct burn-in there seems to be just the right amount of sonic separation and relief into the stage of all elements involved. And once again it’s the tonality that is critical, they fact that they somehow have got the tone right in the end?

Midrange:
Male and female vocals get uncanny emphasis. Of course you read the theory as to why above, yet to actually hear the Kahn in action goes to add to the realization that this stuff really works and is not just speculation or sales talk. And remember here the midrange is stealing a slight focus left-out by the treble, yet it really is correct. And that is what makes the Khan unique in my experience and illuminated into my collection of what I own and what I have heard. With that said maybe the included ear-tips in the end are really the way to go? Not trying to expand the stage into something it’s not. Still the Kahn will wake to a better cable, and arise to include more of this soundstage and midrange goodness with a midrange centered DAP and Hybrid Copper/Silver cable in the end. Such changes are maybe what are key here, as an avenue to success? I mean it’s always about the midrange right? Even with a bass-centric IEM. Here I’m starting to fall into what the Khan is doing and releasing any handholds due to prior experience? It’s when the right music is playing and everything alines that we are home, home in a place that all-of-a-sudden is totally correct and we are without want or need? Finding a home in the mids is probably the key to the Khan’s success? I mean where else should we find success at? Where is the heart of the music to be found? Where is 90% of the musical information?



Staging:
While (due to midrange and treble character) sonics are not exactly helping put the stage where it maybe could go? The only reason I go ahead and say such things is due to the slight (ever so slight) bunching of high-treble elements together. Now while sonically they just get there with replay, there is none of that projection of itemizations out into the stage. What is happening instead is the midrange kicks into play taking not only upfront and center sonically, but positionally it’s also more of the ultimate focus of this style of replay. Where if your wondering if there could in-fact be cymbals or hi-hats which quaintly find themselves into separation into the stage……..sorry……they are rendered closer to home, yet wonderfully natural and clear. It’s somehow both correct and natural to find things taking such positioning, while still I am more enamored with a higher-up separation, even to the point of added “fake” distancing as a form of entertainment. Still I have to give it to the Kahn for pulling-off such unification of stage, in that while the stage is not super-big, it’s also showing a style of perfection in just how these two drivers have been dove-tailed. Somehow I envision a Kahn 2 with three drivers (lol) maybe doing the same tune yet with even more separation and splendor? Truth to be told, yes, there is an adequate style of staging and staging inherent into our replay………I simply get stuck as a reviewer and forget we are taking about a $39.99 IEM in the end. So? With all that taken into account, then yes, the stage is better than the price-point would have you guess, despite my ramblings as to driver theory nonsense.

The BGVP DM6 Universal IEM:
Why the heck would I pull-out some off-the-wall 2018 5BA $199.00 IEM for comparisons? For one the contrasting differences helps delineate what is good and bad about both IEMs. Yep, even though there is a huge price discrepancy between the two, just their individual existence goes to ultimately define what both are about. While many may feel that putting the QKZ x HBB Kahn against the DM6 would be realistically a waist of time, remember the DM6 came out around November of 2018 and subsequent improvements came along into IEM playback since then. Probably still the person who would buy the DM6 now would be looking for a completely opposite sound from what takes place with the Khan? In that we have one IEM with 5 BAs and the other with two DDs, it goes without saying that these two IEMs are approaching IEM sound relay from opposite directions in the end. Still in comparison we arrive at the realization of what is possible and what is still lacking from both individual IEMs. It’s just a coincidence that HBB would be in fact my introduction to beloved DM6 playback. To compare these two is actually a joy, and you may be wondering as to why I don’t find a more similar sound to the Khan? It's that in actuality I don’t have an IEM that is exactly like the Kahn, so instead I’m going for opposite in contrast.

But to try and localize slightly similar playback a few IEMs come to mind.
1) Tipsy TTROMSO PineStone Sea
2) Sony XBA-Z5

Such playback has similarities simply due to bass amount. And while the tuning is different, there is that over-all theme of a large style bass replay in action, really more so with the XBA-Z5. Where often bass replay is adjustable with ear-tips, the XBA-Z5 ends up asking to leave its bass alone. Such experiments of truth become known, as to thin-out the XBA-5’s bass (with wide-bore tips) leaves frequency room to where the BA rears its head to be found rather harmonically stingy and rough. So in the end, the only way to arrive at a more toned down Z5 bass is to get it a different cable and source, thus leaving the BA divers tone and personality buried. In essence Sony found correct usage of its included bass tips……with any other choices that of found trouble.

Comparison of BGVP DM6 and QKZ x HBB Khan:
My gosh, I got what I asked for, as these two are so different that they are almost not even comparable. The BGVP DM6 shows an absolute separation of elements, a brighter midrange and treble and goes (by contrast) to really put the Khan in its place. While here we are witness to further-out delineations of treble sparkle brought about though instantaneous DM6 imaging and transient ability……….where the Khan is simply doing what it’s capable of. And in essence we find truth in contrasts……back-to-back contrasts no-less. And not to totally ditch the Kahn, the Kahn brings a smoother and more organic display of playback………here we are in witness of almost the quintessential darkness for the sake of darkness in replay………and if anything, this lush (Kahn) darkness somehow takes time to acclimate to? Yet once acclimated (to) once more a stark realization starts to form…………..such truths are not subjective but are found as noticeable as the differences between night and day. The “gold” that the Khan is doing in playback centers around natural tone and timbre fully showing why DDs in such an installation go on to out perform the old 5BA DM6 at even a 5th of its price. And while the contrast of brightness found in the DM6 is at contrast to what the Kahn ultimately does, it’s the realistic timbre in Kahn playback that starts to gain appreciation. It’s just that the DM6 is fake and the Kahn is real. Of course that plasticly (almost shrill) playback of DM6 itemizations are fun, there is no better way to show them for the off-tone they go to parlay, than to place the BGVP DM6 up against the strangely dark neutrality of the winner KAHN! Yep…..lol………..no better IEM to show how and why this Kahn playback works-out, and while the Khan is not perfect, closer to perfect tone is where your $39.99 is going to, besides better fit and build than the DM6.

Sunsets and Cocktails…….the conclusion:
Just like that, HBB delivers the goods……..in essence a tune that delivers both bass and adequate vocals. If this exact mix of fun and excitement is your bag, that’s up to you? Surely QKZ are making a bunch of these, knowing beforehand that they will sell no-matter-what. Is it a classic? In a way it kinda is! Why? Simply being…………..I’ve heard a bunch of IEMs before yet none exactly like what the Kahn is doing. Does that make it a necessity? Depending on your collection and what your trying to obtain, it actually may be necessary to acquire the QKZ x HBB Kahn, especially for its price! Just go into this venture knowing that the HBB Kahn (due to its tuning) will not ever be all things to all people, it doesn’t try to be. Still I’m surprised at how all this tuning magic played out, I mean why is this not done more often? Why has this exact tune never been done exactly like this before? If it has been done before, I’ve not heard it? And that my friends makes the HBB Kahn special, that and the price. Yep, this is a lot of IEM for the money asked............and even more if you relate to what sound profile it does in the end.

$39.99
https://www.linsoul.com/products/qkz-x-hbb-khan?variant=43654409748697

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Kareena of Linsoul for the love and the QKZ+HBB Kahn Universal IEM review sample.
Disclaimer:
These are one persons ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
UA3 Dongle DAC/Amplifier 4.4mm and 3.5mm
Samsung Android Smartphone 3.5mm output

Why the heck would I put my first impressions at the very end of a review? Because they are the farthest from ascertaining the ultimate truth about the Kahn. Yet they are important and the avenue to complete understanding. Looking back after all these weeks they become kinda of a smoke-filled, cloud-edged fantasy of sound replay understanding. A romantic farce in essence……a story or an illusion partaking of only half-truths and half-perceptions. But they are what they are…………

First impressions:
Do you ever imagine the actual dynamic drivers responding next to your ears? You know, little coil-wounds and woofers protruding and recessing to the beat? I do sometimes, but not all the time. Yet with the Kahn, this was one of those times…….while there are applications of three dynamic drivers (per side) in action, here they have made do with two per side. So if you start to use your imagination a little, you can kind-of visualize the movement, the give and take, the attack and decay of the drivers………..Talking about decays, somehow the reverberations in music are attached to these decays…….seemingly farther out delineating the stage, as they take notice………..falling away as complete and natural decays and reverberations of musical elements. This was my first impressions of the Kahn, that this DD was more DD like than many full-range single dynamic drivers. Why? Well because because for under $40.00 you get both a single 10mm dynamic drivers pushing the bass frequencies, then a 7.8mm dynamic driver pushing the mid and high frequencies. So…….upon first listening you have to ask a few questions. Number one is the bass too much? And does the mids and highs get enough representation and actualization here? Does the blending of the two drivers merge the frequency response to place of those intermediate frequencies existing into the stage? Does the FR dovetail together, and most of all regardless of the prior mentioned qualities, are they musical.

Is the Kahn musical?
As HBB has put-out a ton of stuff, collaborations and the like, I’ve never had an IEM joint venture from QKZ and HBB. I have never heard a HBB IEM. In fact the only QKZ IEMs have been a few ultra-budget models I experienced way back in 2015……….to kinda push-start my IEM curiosity. Back then I was a fully fledged full-size headphone listener and only viewed IEMs as devices for out-of-the-house. Since that time I have come to understand what IEMs do different than full-size headphones, and in many ways I accessed my memory of full-size headphone response when listening to the Khan. Why? How could you not do mental summersaults hearing this level of bass authority and take reference to the size of full-size replay? It’s the imaging that started to pull my emotions and cause me to start to reevaluate everything I have ever heard. For your basic jaded headphone reviewer this is good. No wait……this is special, in that after hand-fulls and hand-fulls of IEMs, this may in fact be something slightly new and different. You can only imagine my desire for different, after being bombarded with 10 IEMs that are all Harman tuned and the same sounding only with slight differences in positioning of elements and a different shell.

The difference?
It probably has something to do with the imaging positioning. Yep, there is a uniqueness here with assembly of stage…….the imaginative ideas the Kahn has to parlay the instruments and details, the way the vocals are placed, the positioning of everything is somewhat unique to me………and while at first I took alarm as to this difference in playback, instantly I also thought that possibly I could get used to this new idea of placement. Hearing new headphones is kinda like that, that you have to question what is different yet allow yourself to get acquainted with such differences in playback. At times a new IEM will broadcast a slightly new and different rendition of your favorite songs and you have to take a step back and reevaluate the reality at hand. Is this difference bad, good or simply different. Because often different will come-off wrong just due to the changes taking place, but when you take into account the $39.99 asking price for the Khan, then take into account the tonality presented for that price, the imaging then takes a kind-of secondary concern even if it’s right of wrong. This was simply my first impressions, which are super important. First impressions are important because it’s the Kahn in relation to playback memory of every IEM I’ve heard. The basis for value in relevance to both more expensive IEMs, and lower cost devices. We are estimating value based on sound response and the variables taking place with that first heard sound.