BQEYZ Cloud Review
Intro
This review and feature covers the BQEYZ Cloud from the audio brand BQEYZ. The Cloud comes in with an MSRP of right around $169 and comes equipped with one dynamic driver as well as one passive radiator. Before I begin the intro, I want to state that I am well aware of how late I am to the party in this set. I suppose I’m late to most iem debuts. In truth I honestly didn’t know if I’d be able to check out the Cloud. However, I have to extend a huge thank you to BQEYZ as well as Audio Geeks as I am part of the US Tour of Audio Geeks. Audio Geeks provides many reviewers the chance to check out sets that they’d otherwise never have an opportunity to review. So again, thank you to both entities, I greatly appreciate it and so does mobileaudiophile.com.
BQEYZ
Folks let’s get one thing straight; BQEYZ doesn’t play around. Always this is a brand that will be on the tips of everyone’s tongues and on the lips of audio hobbyists with every new release. It’s a given. Without question every single last release from BQEYZ will create some buzz, some hype, and many opinions. I’ve only had the luxury of reviewing one of their models in my reviewing history. Oddly enough. That set was the BQEYZ Topaz (Topaz Review). Now, I’ve owned many of their sets and have spent quality time with many of them. My BQEYZ listening began with the BQEYZ KC2 which is still one of the better vocal sets in the price point. Certainly, an acquired taste, but good for what it was. In fact, I’ve owned many of their earlier budget sets. However, I also dipped my toes into their more mid-fit sets. Like the BQEYZ Summer, BQEYZ Autumn, BQEYZ Winter, BQEYZ Wind, and now the BQEYZ Cloud. So, I have plenty of understanding about this brand despite my lack of actual reviews. I actually don’t know much about where they began or what their mission statement is, but what I do know is that they operate with a level of class and sophistication that is almost unrivaled in the price segments that BQEYZ sticks to. It seems that the $150 to $300 price point is their bread and butter, and their success says that I’m right. To be honest, I haven’t heard a set from BQEYZ in which I wasn’t at least marginally impressed. So, needless to say I cannot wait to hear the Cloud and spend good time with them.
Competition
Of course, what’s a good release above $150 without the mention of some good competition. Heck, there’s good competition for the Cloud within the same brand. I think anyone who’s been paying any attention to the market will know that there are many sets which battle for your attention and more importantly for your dollar. I will do my absolute best to try to help describe the Cloud in a way which makes at least some semblance of sense against the field of iems within the price range. No doubt BQEYZ goes into this battle with full armor on, they know the market very well and seemingly prepare every new release with the market in mind. Now, does the Cloud compete mainly against other single DD’s (yes, I consider the Cloud a single DD)? Or do most prospective buyers usually look at every driver configuration to figure out how best to spend their money. The answer to that question changes the field dramatically. If we are looking at single DD’s alone then there really isn’t many in this exact price point. We have a ton around the $100 price and a bunch around the $200-$250 price point. How much does the competition change when we consider every configuration? It’s one of the questions I ask myself when reviewing. Trying to think like a buyer where every purchase has to matter and gives me the best bang for my buck. That said, it’s an interesting thing to ponder. However, either way BQEYZ has to have their A-game at $169. I can tell you one thing for sure; I am truly happy to try to figure that out. With that said I’m ready for critical listening. The BQEYZ Cloud everyone…
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Disclaimer:
I received the BQEYZ Cloud from BQEYZ Audio as part of the Audio Geeks US Tour. The Cloud is a touring review sample with which I will conduct a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. This set is a review sample iem. BQEYZ has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own, though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to the very kind people of BQEYZ and Audio Geeks and thanks for reading.
Cloud Pros
-Build Quality is great
-Design is gorgeous in my opinion
-Nice accessories / unboxing
-Bright yet nicely balanced tuning
-Very nice timbre and lean-lush style note density
-Punchy and fast bass region
-Very nice midrange with nice musicality
-Treble is fantastic, brilliant yet non-offensive for most listeners
-Fantastic imaging capabilities
-Detail Retrieval is better than I would’ve thought
-Very airy sound with good separation
-Just a nice overall tuning
Cloud Cons
-Warm or rich lovers will likely want to pass
-Not the most guttural or deep bass
-Can become a tinge bright for those very sensitive to it (not for me)
-Not many more cons with this one
Gear used for testing
–Ifi Go Blu
–EPZ TP50
–Simgot Dew4x
–Aful SnowyNight
–Fiio Q15
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
One thing you can count on is a solid unboxing experience from BQEYZ. Once again, they haven’t failed because I quite enjoyed opening the package up. Now, please forgive me as I cannot do a true to life unboxing description because this was a tour unit, and nothing was where it was supposed to be… Lol. So, I can just tell you that the medium sized rectangular box is a soft light blue color with “Cloud” written in a soft white at the bottom. No doubt to mimic our skies. So, take off the box top and what you’ll see is the Cloud earphones looking all dapper sitting in cardboard cut-outs. Take off that layer and you’ll see the carrying case and right next to the carrying case is an accessory box. Now, I have zero idea what comes packaged where, but it does come with tips which are arranged on an aluminum eartips holder of sorts, a cleaning tool, and the cable. I realize that I didn’t really spruce up my words here, but the unboxing is quite good and fitting of a $169 iem.
Eartips
SO BQEYZ adds in a total of seven pairs of eartips in the packaging. First, they provide one pair of medium sized slow rise foam tips which come in a little plastic holder. The next type of eartips provided are what BQEYZ refers to as their “Atmospheric” tips. They are three pairs (S, M, L) of gray eartips with a narrow bore and are a longer eartips for a deeper fit with a firm flange and a rigid stem. I like this set, but I much rather would use at least a semi-wide bore tip. More on that in a second. The next type of tips provided are three pairs of white shallow fit wide-bore eartips. Now these tips are a semi-firm at the flange which doesn’t typically work for me. I need firm for my ears. Although, I do like the idea of wide-bore with this set but these tips simply didn’t seal for me. Still nice tips and good enough quality which I’m sure will fit many folks just fine. However, after going through a multitude of my own tips, from the S&S tips to the Divinus tips, Final E-tips, and a slew of others I finally landed on the tips which fit me no matter what. That is the KBear 07 tips. I really feel that semi-wide bore is perfect for this set. Of course, your mileage may vary. However, semi-wide offers just enough openness as well as restriction, I think. I did like the S&S tips from Dunu with the Cloud as well but for whatever reason the fit was awkward with them. So… KBear 07’s it is.
Carrying case
The carrying case provided is a nicely sized black zipper case with what appears to have faux leather covering it. It’s your average run-of-the-mill sized case. Definitely a nice inclusion and certainly large enough to fit the Cloud earphones and cable as well as some extra tips, maybe a small dongle dac can squeeze in there as well. Not bad at all. Not too big and bulky but reasonably sized.
Cable
Now, the cable provided is actually a bright spot. Of course, I wish it was a modular cable, and I would’ve liked the set I was using to have a 4.4 balanced connector on the end. Nevertheless, it’s a very nice cable. Gorgeous actually and nicely pliable, nicely thick, and pretty to look at attached to the Cloud. Made of single crystal copper wire and plated with silver it is very nice with the Cloud sonically speaking. Now, you can purchase this white beauty with either 3.5 single ended, 2.5 balanced, or 4.4 balanced connectors. Truly a very nice addition. Having said that, my sources are almost all balanced sources and so I had to choose a balanced cable of my own. So, I do what I do and went through what seemed to be about 15 different cables and what seemed to take about two hours of my life that I won’t get back. At any rate, I went with one of my favorite branded cables on the market with the FSIjiangyi fully copper 4.4 balanced cable. The look is stunning with the Cloud and the sound surpasses the included cable for me. I suppose that is due in part because the Cloud does scale with power. However, I also think that a full copper cable also helps the sound. I realize this doesn’t help you at all but if you need a second cable for this set I recommend a fully copper cable. Again, the included cable is quite nice.
Build / Design / Internals / Fit
Build Quality
Now we get to the build, and I feel this is a highlight of this set. My opinion of course. Crafted using what BQEYZ refers to as “state of the art” German 5-axis cutting technology and made 100% out of aluminum alloy except the nozzles. I feel like I’ve seen enough sub $200 iems to know when I see a solidly built set. The feel, the structure of it, the shape and size are all toeing the line of premium. The Cloud was made with medium length nozzles which should fit most ears just fine. I wouldn’t think they’d be an issue. The nozzles are fully metal with what appears to be a brass coating. Also, I do see two vents. There’s one closer to the nozzle and one situated on the back side of each earphone. Really friends, this is a well built iem. Something BQEYZ is well acquainted with crafting.
Design
Now the design is also fairly striking. Well, at least the color green colored set that I received. Now, the Cloud comes in two vastly different colorways in black and what BQEYZ calls green. Really, it’s more like a sapphire, or a light version of teal more than anything. Something akin to the color of the sky I suppose. Which is appropriate considering the name. How black fits into the naming scheme is beyond me, but I digress. I do feel the sapphire color is much more enticing to the eye. While the black looks a bit less unique. Not that the black is ugly either, just not as effervescent or charming as the green (sapphire). That said, this is a simple design. Nothing crazy, no huge logo on the faceplates, no steam punk look, nothing glittery or glam. It’s simple, minimalist, and somehow completely refined looking. Leave up to BQEYZ to design a gorgeous alloy set. Again, something they are well acquainted with making. In fact, look at all of their sets! They are all wonderfully designed. Each and every one of them are not flashy but instead are classy to the core. Truly a cool looking iem in my opinion. Also, that cable goes with the design absolutely perfectly. I couldn’t have picked a better cable to pair with aesthetically. Great job BQEYZ!
Internals
Like I said earlier, the BQEYZ Cloud has a single DD configuration with an extra passive radiator as well. To be exact the Cloud has a 10 mm LCP (Liquid-Crystal Polymer) dynamic driver as well as a 6.8 mm passive radiator driver. Let’s not get it twisted, BQEYZ uses nice drivers and the LCP they decided to go with is obviously a very nicely controlled and dynamic addition. Now, the passive “auxiliary” radiator 6.8 mm driver actually works with the air flow inside the acoustic chamber regulating and balancing the internal air pressure which works in concert with the inner cavity’s “circulation system”. Of course, we’ve seen PR drivers on a number of iems but what the Cloud aims to balance out is the high frequency ranges thus making them less edgy and smoother while still being able to bring some good brilliance and lift in those regions as well. You know, you really don’t know how important the treble region is until you’ve heard a set that can really give you quality treble. Maybe that’s a slight prognosis for later in this review, and maybe it isn’t. We shall see. Anyways, it’s hard not to like the effort BQEYZ sound engineers etc. put into this set.
Fit / Comfort / Isolation
Okay, so at first, I didn’t feel this was an easy set to make seal. To be perfectly honest it is very rare that I have a set which doesn’t seal for me. However, the Cloud gave me some fits. Okay, it was short lived. Literally it took me a few different tip choices and the seal was perfect. That said, one of the real nice attributes of the Cloud is how light they are in the ear. They really feel like nothing. Very comfortable. As far as passive sound isolation, I’d say the Cloud is average at best. I mean, once music starts the world will shut down and music is all that matters and so isolation really isn’t an issue.
Drivability / Pairings
Output power
The BQEYZ Cloud is rated with an impedance of roughly 32 ohms and a sensitivity of 110 db’s which means they are a very sensitive set. Not hard to drive at all. Folks, I used my iPad, and it drove this set to volume quite easily. Literally every device I own was able to drive the Cloud with zero issues. So that’s a nice thing to see. Notwithstanding, the Cloud also scales with more juice. I find that darn near all iems do the same. It seems that once I give the Cloud a bit more power they seem to tighten up, while opening up the treble. I think it may have to do with the airflow and air pressure on the Cloud, but they do scale very well with power. On all of my daps which are all around 1 watt in output or more, I put them all in medium gain and it made all the difference for me. Nevertheless, I would try to find a decent Dongle Dac if you can. Preferably something slightly warmer. But more on that next…
Tonal source pairings
Like I said, you may want to give the Cloud a slightly warmer source device if possible. This is not a requirement either as brighter sources worked very well too. However, I do like the offset of a warmer source device against the brighter hue of the Cloud. I used many different sources and none of them were outright bad, yet some were better than others (for me). Using something like the IFi Go Blu, EPZ TP50, iBasso DC07, Simgot Dew4x, Aful SnowyNight, are all great source devices which aren’t too bright. They are actually more like neutral to warm neutral, and they all replayed wonderfully. Listening with my daps I found the Shanling M6 Ultra was by far the best sounding unit with the BQEYZ Cloud. Those two simply SANG together! Like they were meant for each other! On the flipside, the more neutral iBasso DX240 and Fiio Q15 really brought a surprisingly nice energy that never seemed to get too rambunctious. Let’s put it this way, sources closer to neutral didn’t seem to exaggerate the Cloud’s already brighter sound all too much. Instead, they seemed to simply bring out a hair more details and basically illuminate the technical side of this set a bit more. So, take this for what you will folks, but I really feel the the Cloud has this hidden musicality not usually heard in a brighter source and using a warmer source device does help.
What do you need?
I feel like I’ve answered this. Like I said, get yourself a decent Dongle Dac, it doesn’t have to cost ten million dollars either. Nowadays you can find cheaper devices which are actually quite awesome. Also, I feel that more power does open this set up a bit and so finding a device which incorporates a 4.4 or 2.5 balanced jack would also be beneficial. Again, this set is very easy to drive and so if all you have is a smartphone then you’ll be in business. The sensitivity of the Cloud is certainly a nice thing to see.
Sound Impressions
When I first received the BQEYZ Cloud I really didn’t know what to expect. I hadn’t done even a moment of research on them simply due to the fact that I didn’t think I’d get a chance to review them. I have so many backlogged sets that extra homework simply isn’t my idea of a good time. However, count me pleasantly surprised when I put them in my ears and hit play on Weezer‘s cover of Toto‘s remarkable song “Africa”. This is a track which can get very piercing in the chorus, and I found the Cloud certainly got bright, yet somehow it never reached the uncomfortable stage. On top of that, the kick drum had some bounce to it, some punch too. It was not what I was expecting. So, with that said, I find the Cloud to be neutral/bright yet with an extra slathering of low-end amplitude. There’s some bass lift but it never comes anywhere near enticing the tonal coloration of this set. I also find the Cloud to be a very clean sounding iem with great texture to every note. Like chiseled note outlines with glass lined smooth edges rather than velvet smooth. There is most certainly density of notes, there’s some lean mass, some real good contour to each note as well. I hear this from the sub-bass to the upper treble. Really a well-done bright sound.
Bright, but not… bright
This is a technically inclined iem as well. I would think a tuning like this would hover closer to an analytical style, but actually the Cloud comes across very melodic and engaging. Yes, it’s neutral, yes, it’s brighter, yes, the energy is high, but there’s this rigidity to certain frequencies which adds weight to the sound. It’s quite rare actually to have these descriptors and still carry some semblance of musicality. Now, please do not get me wrong as there will be those who are sensitive to a brighter display that will not enjoy this sound. It is polarizing in this respect. Even though I have nothing but good things to say about how well BQEYZ tuned this treble region, I still know many people who detest anything even approaching sparkly, airy, luminous or… well… bright. Yet it’s the illumination of the upper frequencies which enables the subtleties to rise to the surface. No doubt micro-dynamics are fantastic as even subtle low volume shifts are able to be heard.
Condensed Sound Between the 20’s
At any rate, this is the point of my reviews where I condense my findings of the whole of the mix to just one paragraph. I do so to give the reader a little preamble to the rest of my findings which I cover in detail in the later sections.
The lows on the Cloud are most definitely NOT for bassheads, or even moderate bass rumble lovers. The Cloud won’t give you that big and deep resonance and weight. Instead, the lows are fast, tight, punchy, with rounded notes, clean notes, decently dense, well defined with moderate rumble and slam. Looking at the midrange, there’s a certain symphonic energy to this set. It’s airy, open sounding and neutral throughout the midrange. Note weight is lean, yet it’s also compact and rigid in that slightly lean replay. I also find the midrange not to be overly harsh, or glaring. Great for vocals too. Transients are tighter than they aren’t with good crispness. Now, the treble is very nice. You have this controlled brilliance from the Cloud’s treble region with good note body. Each treble note comes with a solid attack followed by a short decay and none of that comes across splashy, shrill, or over the top in brightness. Really a solid treble. Details are easy to come by with a very resolute playback from the Cloud. Same goes for separation of instrumentation and even more so with the Clouds imaging ability. The stage isn’t the grandest, about average with minimal depth to the sound. About average in that regard. All in all, this is a very nice listen, if you ask me. However, without question the BQEYZ Cloud will NOT be for everyone.
Bass Region
As I said a couple sentences ago, the BQEYZ Cloud’s bass region is not going to bring the bass-bois out of the woodwork. Not for bassheads, got it! Nevertheless, I do believe the bass region will appease those who really like a tight and punchy bass or a low-end which will not get in the way of other frequencies. It’s certainly clean in that way. As far as actual weight, the Cloud comes through with a light density, but also decent texture from the roundness of each note. Basically, the Cloud offers a bass which is lighter in body, lesser in rumble, faster in transient intensity but also fairly palpable in note delivery. There’s a clean, yet raw and realistic feel to the bass… which I happen to enjoy. Not every set is tuned in this manner. So, no, it isn’t that ultra fun and boom inducing bass that’ll satisfy the child within. No sir, this is a mature and effortlessly well-defined low-end that’ll keep up with most any track you throw at it. Within reason.
Sub-bass
So, this is one area that may feel lacking to some. However, don’t let those words dismay you. At least not yet. No, the bass isn’t extended and deep, capable of dark and dirty rumble resonance. The Cloud certainly has somewhat of a sub-bass roll-off. I did say “somewhat”. The sub-bass is there, it’s not non-existent. It also can’t really add weight or a sub-bass coloring foundation to your music either. Now, the Cloud will rumble when a track says it’s time to. It can do that. The Cloud will take a bass heavy and bass gritty track like “Groove” by Ray Wylie Hubbard and sound pretty gravely and weighted. It’ll even feel pretty deep and come across marginally physical. That said, there won’t be any guttural weight like some more emphasized sets have. You’ll still hear some haptic feel to the sub-bass rumble on a track like this, but it won’t steal the focus of the track. If that makes sense. So, it’s not extra heavy or super low droning.
Sub-bass cont…
But for all of that, let’s get one thing clear… the Cloud has some nice sub-bass realism with a clean attack and a glass lined crest at each notes peak, followed by a non-fatty decay and a recovery sustain which cuts off most bulbous or wide resonances. Basically, it’s clean, centered, and has enough fullness to satisfy most genres. I will add that the Cloud’s sub-bass is not going to influence other areas of the mix. No bloat, no mud, no masking. Now, despite the good stuff, there will always be those who yearn for more. Shoot, there’s plenty of tracks that I’d like a smidgen more sluggishness, resonance, and overall weight. Still, I couldn’t lie and say the Cloud doesn’t have a nice sub level of the bass region. To add to that, the sub-bass makes sure to leave a clean sound field for the mid-bass. Still, there is some apparent sub-bass “roll-off” and so you may want to take note of that.
Mid-bass
Now we move on to the mid-bass which offers a lean and punchy sound with plenty of compacted density. However, just like the sub-bass I’m not hearing those lingering harmonics which can muck up the air between notes. Again, just like the sub-bass (and partially due to the sub-bass), the mid-bass is simply clean. In fact, if I could pick one word to describe the mid-bass it would have to be… “clean”. I wish describing what I hear was that easy. Really there’s a bunch of words which capture the essence of this part of the frequency. Words like punchy, articulate, rigid, kempt, firm, taught, stout, and lean. So, it’s both firm and lean which helps tremendously in its ability to sound articulate. It has rigidity to its mid-bass notes while sounding taught, making each note come across both punchy and stout. Again, not for bassheads, but certainly for good bass enjoyers. Kick drums generally sound authentic enough to life with that satisfying tactility, yet possibly lacking in actual weight. Also, bass guitar may sound a hint lean. So, there’s a give and take. Yet even in that leanness, each bass guitar groove still carries an abrasive growl which in my opinion is pretty realistic.
Mid-bass cont…
So, a heavy kick drum track like the beginning of “Move Along” by The All-American Rejects actually comes across well on this set, if not a bit less impactful. You have that moist and tacky initial attack, swiftly followed by a quick decay. Whereas other sets may extend that hollow boom a bit longer and even come across more thundering to the ear. I guess it all comes down to what you want in your earphones. That said, I’m sure many big bass folks have already stopped reading. Bass is always one of the most polarizing frequency ranges.
Downsides to the Bass Region
The obvious downside to a bass region like this would be for those who truly adore a gratifying and heavy bass. Coincidentally, that also may be the only true “con”. If you can call it that. I suppose I’d also say that some people do enjoy a bass region which can offer a more organic or atmospheric sound. Also, one could say that the Cloud’s bass region lacks a bit of depth and extension for some instruments, and I wouldn’t argue that at all. Still, I happen to really enjoy the Cloud’s leaner but punchy demeanor. Yet nothing can please everyone. I really think that’s the only real “subjective” issue for the Cloud’s bass region.
Midrange
Now the midrange is what I would call neutral/organic with a brighter hue and very tuneful. Not just another bright set either. I don’t hear any real recession as the midrange is closer to the listener, which makes vocals sound as though they have a lively and highlighted presence against the rest of the mix. The Cloud has good bones, good structure, some ductility, good agility, and quick note recovery speed. But really… it’s just clean folks. I know I’ve said that a lot, but that’s the word which keeps popping up. It’s clean. Note weight is lean yet still has a solid body to most midrange notes, some dimension, some roundness to it. There is the tiniest tinge of warmth in the lower midrange which gives that portion of the mix just enough body to spruce up the midrange keeping the region from coming across a touch too thin. The midrange has nicely compact notes with a smooth demeanor throughout, yet crisp when it needs to be. I’d say crisp for the snap on percussion, or for the satisfying abrasive edge required for a nice guitar track etc. However, the midrange comes across smooth like glass, not velvet smooth, if that makes sense. Very clean note outlines without grain, fuzz, or sibilance.
Mids cont…
The Cloud has a nice sound in this range coming across melodic in a very effervescent type of way, in my opinion of course. Many folks will enjoy the replay of the Cloud’s midrange. Now, is it my personal favorite? Not exactly, but I really enjoy the Cloud’s mids when spending time with them. Usually, I like a hair more actual weight, but I find it easy to get on board with this set. I called it “tuneful” because tuneful seems to describe the mids very well for me. Beyond the timbre and tonality, the midrange is also very detailed. Very precise in each note’s attack and release, very airy and open sounding, very definitive and transparent with its clarity for the price of $169. Imaging is also something nice too. Placement of midrange Instruments is done very well. Now, speaking of instruments, each track will come across slightly differently. So, just picture your favorite instrument and then think of them clean-cut, slightly more vibrant, more elated too. This bodes well for some instruments and not as well for others. Good for that crisp snap on percussion, or the body of a cymbal, the abrasive silvery goodness of a violin. Yet less good for any instrument that needs that warmth and weight to sound authentic. I won’t go through all of them, my reviews are already way too long.
Lower-midrange
Looking at the lower-mids I find them to be mostly unsullied and rather pristine. Like I said, I could use a hair more actual weight to notes in this region, but I still hear that nice rich sound. Leaner but dense, solid, and with some good note structure. Not as soft and docile in presence as I hear a lower mids with really nice energy. There’s nothing boring here. Male vocals sound in front, commanding, prominent, and really, they can just grab my attention on some tracks. Many sets low-mids are usually the most boring area of the mix but the Cloud is tuned to lift up male voices very well.
Male voices in the low-mids
However, it isn’t the type of energy and lift which exaggerates the edginess in some singers. Vocalists like Chris Stapleton in the track “Sometimes I Cry” can (at times) come across a bit knife-edged and coarse with some sets. Whereas the Cloud seems to uplift his voice projecting the inflections without causing more abrading scratch to the crest of his notes. Most notably in those moments of this track where he is belting his heart out. Other singers like Dermot Kennedy in the track “An Evening I Will Never Forget” seem to have such a well composed and palpable substance to his voice with the Cloud in my ears. Again, not rich as in “weighty and warm”, but rich in the form of “lean and dense”. Add to that the timbre is really something nice. There’s a natural air and transparency to the sound which I have certainly heard in other sets. I’m not trying to make the Cloud out to be some male vocal phenomenon. However, I can’t just slide past the fact that there is some really nice vocalization happening. Not perfect, but nice to listen to and not like every other set. Males just sound good…most of the time… to me.
Upper-Midrange
This brings us to the area where most female vocalists seem to encompass. That of course is the upper midrange. The upper-mids are bright, but not glaring. Maybe not completely natural sounding, but nice nonetheless. They’re luminous and shimmery without sounding scathing to the ear. This is a very nice thing to be if you’re an upper midrange. That said, females can also come across too forward for some. Perhaps. This is a forward and full brightness. Yet in that brightness and energy I find the vibrance here shines with a bridled control. All of the excessive and inflated resonances and exaggerated harmonics seem to be cut short and tamed which I’m assuming has a lot to do with the passive radiator. Like the upper midrange has been somewhat sculpted, where each note goes right to the brink of being “too much” but capped right before any sharpness. Don’t get me wrong, the Cloud can sound sharp. Especially if you are sensitive to this area of the mix. There’s still a pretty tall 12 dB pinna rise against an 8 dB bass shelf. So, keep that in mind. However, I find female vocals to be fantastic on most tracks. There’re so many ways to listen to females and enjoy them on so many different sets. Different tonalities, signatures and different energy levels and they can all sound great. But for a brighter display I find the Cloud is done right.
Upper-mids cont…
Female vocalists like Rachael Price from the amazing band Lake Street Dive sings “I Can Change” and folks, she sounds so contoured and forward, with every syllable sung with etched out clarity. Somehow in this vibrant display the emotion isn’t lost in this song and is still fully represented. Her voice isn’t dry, or papery and her voice still has that saturated feel to it. Very nice presence. Again, her voice is forward, brighter than natural, but also very sweet-toned, charming and catchy. Obviously much has to do with the song and the singer, but I find the Cloud adds an extra element to that charming voice. Some kind of canorous euphony. Having said all of that, you still have to enjoy this type of presentation. I really mean that. This is not going to resonate with every hobbyist. Also, I really feel that this sound will have to be an acquired taste for some. Maybe some brain burn is needed here. I have the fortune of being able to review many different sound signatures and have come to truly enjoy almost all of them, so long as they are done well. Yes, even neutral/bright sounding sets. If you are like me, listening to the Cloud, then there may just be a moment that you recognize the sentiment I’m putting out in this review. You’ll catch the right song, the right moment, and you’ll hear how nice female voices can come across on this set. Again, are they perfect? Absolutely not. Are they really damn good for those who can appreciate this type of sound? You betcha.
Downsides to the Midrange
The downsides are obvious. This is easy to answer with a polarizing set. Polarizing in the way that it isn’t tuned for the masses. It’s bright, uplifted, but also pretty sharp at times too. You have to be okay with that. So please don’t say I didn’t tell you so. So many of you want a warmer and more robust sound and I get it. Often that’s what I want too. Sometimes I’m not in the mood for luminous and sparkly. I’m just not. Doesn’t make this set bad either. If it doesn’t jive with your preferences that is. Reviewers too. So many reviews condemn a set because it doesn’t fit perfectly to the reviewer, and I believe wholeheartedly that this is a disservice. Not saying I do it right either. Lord knows I have a lot to learn as well. Still, I cannot in good conscience speak badly on the Cloud. It is very well composed. That said, there are subjective downsides to it. Some may not enjoy a thinner style of density; some may not want a more analytical lean to their music. Some may hate the name “Cloud” … who knows. I think it sounds great for what it is and for the price.
Treble Region
Another area of the frequency which walks the absolute way of controlled crispness and brilliance without all of the harsh peaks and shrillness. I think we’ve established that the Cloud is on the bright side. Hopefully you haven’t read this whole review without gathering that little tidbit. She’s bright folks. Yet in that brightness the Cloud is marvelous. This vibrant portrayal of the treble region comes with notes that have dimension to them. Each note has a defined bite and definitive punch. Well, if the track calls for it. Still, the Cloud is well capable of this. The Cloud from BQEYZ treble region is somehow NOT shouty in the traditional sense that bright things in this hobby are shouty. It’s controlled, constrained, and the lift and emphasis in the treble region come across almost tethered to the overarching structure of the sound as a whole. Basically, the treble fits the overall tuning wonderfully and doesn’t enhance all of the shrill and hazy treble style sheen which so many brighter sets come packaged with. It’s emphasized, extended, pushed to the limits of most folks’ treble brightness ceiling and it does so with great clarity. This clarity comes from the fact that the Cloud doesn’t seem to smear it’s treble between notes with a clean air gap and delineated instruments. The treble is lifted to a degree that may be uncomfortable for some but no more than something like the Simgot EA1000 is lifted. It’s quite similar actually. Just more composed in this region.
Fluid density and details
The treble comes across with fine details as even small volume shifts and micro-dynamics subtleties have a clean canvas and details shine through very nicely. I suppose on some more energetic and treble heavy tracks that those details aren’t as easy to discern, but those tracks will do the same in most any set. Having said all of that, I honestly don’t find this set to be overly analytical and clinical in its approach. I really don’t. There is a fluidity and rhythmic style to the Cloud’s treble region which allows musicality to shine through. You see, I hear details, but the note structure isn’t such that it has to be abrasive in its exactness and precision. The beauty of this treble region lies in its ability to attack and decay quickly yet with fluid density. Notes have this lean-muscle style mass that can stop and go on the dime and recover quickly while not widening out in overdrawn harmonics. Man, I hope this makes sense to you because I don’t know many other ways to say it at the moment. The Cloud are in my ears right now and I’m listening to “Magnetic Fields Pt. 1” by Jean Michel Jarre and the precision of each note is just great. Before this track I was listening to “Evil Twin” by the amazingly talented Lindsey Stirling. The Cloud was able to put on a show. Every note is smooth enough to comfortably take in without being forced to strain my attention to those notes. While at the same time each note is etched out with strict accuracy and comprehensibility. Details are there when I want to find them, yet they aren’t the focal point.
Extension
Also, extension into the upper treble is quite nice. That’s if you enjoy extended treble. As for me, I happen to like it. I like hearing the secondary harmonics of a cymbal strike not come across splashy and full of extra treble tizz. I enjoy hearing the mandolin with bodied notes and good tonality in this region. Not every set can recreate the upper highs convincingly, especially for single DD’s. To be honest, I would’ve sworn this set had a hidden balanced armature driver in there somewhere. The extension is very nice to hear and simply adds another dimension to my music. Of course, other sets have this ability but it’s still nice attribute to have in a set of earphones. Especially for $169.
Downsides to the Treble region
The common theme is recurring in this region just as it was in the last (midrange). The Cloud is bright. Granted, that brightness doesn’t overkill in my mind. But I’m not you. You may only want warm, rolled-off, or even dark. I always speak with folks who can’t stand a brighter treble. They loathe it, detest it, and run as far as they can away from it. I’d say the Cloud isn’t for them. Again, an acquired taste. Yet still very tasty. The treble has some pepper, some cayin, some zestiness that brings you right to the brink of being too spicy… only to reign it all in with a glorious aftertaste. Folks, I think the treble is either the highlight of this set or it’s one of the best parts about it. Truly a special treble for this price point. It’s very well detailed, very composed, each note is very well contoured and very clean. The transient agility and speed are emphasized even more by the Cloud’s ability to exactly mute certain resonances. Attack has bite and crispness all the while remaining oddly fluid to the ear. A job well done BQEYZ!
Technicalities
Soundstage
This brings us to the soundstage section. Now, the soundstage is not one which will make soundstage fiends to jump for joy. This isn’t some hugely wide stage. It isn’t narrow by any means, but it is about average in width. Also, depth is not going to win any awards, but the sound does have depth. There are layers to the sound as I can clearly hear this when listening. However, The Cloud’s soundstage still has a slightly immersive quality to it. The sound is still full. I hear a psycho-acoustically rendered sound field which envelopes the whole of my mind space. The thing is, it’s closer to the listener. Like I’m in a small room but the band has my complete and utter attention. Not so huge that I feel it’s vast or outstretched. In that sense the soundstage isn’t as good as quite a few sets in the price point. However, a wide stage and a hugely deep stage doesn’t make the stage good. It all has to come together per the tuning. This is what BQEYZ has succeeded with when it comes to the Cloud. Having said all of that… it’s a very nice version of “average”.
Separation / Imaging
Now, separation of elements within that psycho-acoustically rendered stage are nicely partitioned off from one another. I hear an instrument here, an instrument over there, and only in the most complicated and congested recordings do those sounds converge or blend. The Cloud has tight transients, it’s uplifted and relatively airy sounding, great clarity and transparency, and all the while extra resonances are cut slightly short so that they don’t smear the width-presence of those elements of that stage. All of these factors help to separate instruments and voices. This leads me to imaging which in my mind is very good on the Cloud. There is absolute exactness in the Cloud’s placement of instruments. There is also layering of instruments as well, even with the not hugely deep stage. I actually feel that the Cloud is one of the best sets for the purpose of sound field imaging that I’ve heard in the price point.
Detail Retrieval
Do I even have to speak on this… again. I feel I’ve literally touched on “details” in every section of this review. Oh well, I don’t mind saying it all again. Anyways, detail retrieval is exceptional on the Cloud. There isn’t one area of the mix which stands above any other. Not to the degree that masking, blending, blurring, or muddying occurs. There’s a very nice balance along with great note integrity, cleanliness, precise note structure, contour, speed, and an overall very transparent sound which helps the Cloud to illuminate the minutiae within my music. Having said that, as good as the Cloud is, I still don’t feel that details steal my attention. Like I said, there’s some fluidity to the sound of this set. As nicely fine cut as the details are, I really don’t feel that I hear some ultra dry and analytical sound. At any rate, detail retrieval is very well done.
Comparisons
BQEYZ Winter ($239)
The BQEYZ Winter is a very special iem. Now it’s a slightly older set and certainly a big brother to the Cloud but I felt it was one which may help to explain the Cloud a bit better. Maybe. Anyways, the Winter is a dual driver set featuring a 12.6 mm large dynamic driver and a 11.6 mm piezoelectric bone conduction driver. Truly an advanced iem that has been loved by many over the last couple of years. I happen to feel it’s one of BQEYZ best sets they’ve ever made but they’ve made a lot and so that’s debatable even in my own mind. At any rate, this really isn’t the fairest comparison, but it does help the reader to get a gage on how the Cloud sounds.
Differences
The first difference is in the build. The Winter is a bigger iem and heavier too. Not by much but there’s a difference. Both sets are built ridiculously well. That said, I do think the Winter takes the win here. It’s just a very well-built set. As far as looks, that’s up in the air. For me personally, I like the Winter’s design a bit better. It’s more unique I would say. Despite that, I really do think both iems are dope looking. Both sets are accessorized almost identically other than coming with different cables. I do like the Cloud’s cable a bit more. Yet there’s the same number of tips, but the actual included tips change a hair. Also, the case is the same. So very much similar. Of course, the Cloud is a dual driver with a passive radiator while the Winter is a dual driver with a bone conduction driver and so there is definitely different tech involved with both sets. Also, the Winter costs quite a bit more. Granted it’s older and so the price has come down a bit from $279 to $239, but it’s still quite a bit more expensive than the Cloud. Obviously, that’s something to consider.
Sound Differences
This brings us to the sound differences. First, the Cloud is brighter, with a more vibrant sound whereas the Winter is closer to neutral. I just find the Winter has better control to the more aggressive and energetic Cloud. It’s a matter if taste if course. Macro-dynamics are livelier on the Winter however, even with the increased energy of the Cloud.
Bass
Now, the bass region of the winter is more authoritative by the smallest of margins. The graph says something different but I’m sure a lot has to do with the PR driver. Make no mistake though, both sets will not amaze you with their sub-level-rumble. They are both slightly light in this regard. I simply hear more of a low droning haptic feel and robustness on the Winter.
Mids
As far as the midrange, I hear a more forward Winter with a richer and fuller note weight to the Cloud’s slightly thin replay. Vocals are decent to good on both sets, just different versions of what decent to good sounds like. The Cloud is a bit more vibrant, yet well controlled against the better timbre of the Winter, more natural and smoother overall. Still, detail retrieval in this area goes to the Cloud with tighter transients. Instruments seem to sound more natural on the Winter with more note body to bring a hint more realism to my listening sessions. Plus, the Winter has more depth of field. Not to say the Cloud has anything to be ashamed of. There’s a pretty massive price difference here. Both are very nice per their price and distinct tunings.
Treble
This is an area which could go either way for you. I’d think treble heads would. Probably enjoy the Cloud a bit more though both sets have a talented treble region. Yet again, just different styles and tuning. The Cloud is without question brighter to a large degree with a more energetic, lively, and more detailed treble. The Winter has that good feel to the treble with better bite and punch. That bone conduction driver doesn’t need the huge rise in this area to enhance the treble. Extension is better in the Cloud as well.
Technicalities
Technically speaking these two trade blows. On one hand the Cloud is certainly the more detailed, more analytical style with leaner notes, more vibrance and just as clean. The Cloud also has just as good instrument separation (if not a hair better) and imaging is fantastic on both sets. Transients are tough to discern as both are relatively “perceivably” tight. Both are good here. I do hear better layering on the Winter to a degree. Soundstage is wider on the Winter with a slightly more 3D stage. I’d say the Winter also has a bit more depth.
Final thoughts on this comparison
I don’t know if I should’ve compared these two. It may have been the wrong choice. I only have so much time and there is a slew of sets which probably would’ve made more sense. For whatever reason I feel it necessary to compare between sets of the same brand. I have to stop doing that. Anyways, obviously the Winter is probably going to be looked at as the better set by more folks. It is tuned a bit more even, musical, and has an even more balanced approach. Yet it also costs quite a bit more. Original MSRP is over $100 more. So, it stands to reason that it’s also the better set. However, this takes nothing away from what the Cloud is and how attractive it will be for those who prefer its tuning. Both are fantastic iems at their price points.
Is it worth the asking price?
At $169 against a flooded market with some very good iems I can say without the shadow of a doubt that the BQEYZ Cloud is worth what they are asking. It’s a good buy. With a few conditions. I’d say it’s worth that amount if you enjoy the sound signature. Do you want a neutral/bright sound that’s snappy, transient-swift, and very well detailed? Do you value clarity in your music? If you desire a less intense bass, but quick & mature. If you enjoy a forward midrange with vivid and prominent vocals. Also, I’d say the Cloud is worth the $169 if you enjoy a brilliant treble-focused set which is very talented, detailed, and very clean without feeling forced, along with solid upper treble extension. It took me all of about 10 minutes to know that $169 is a good price for this set. Even against the field. However, the Cloud is most definitely not going to please everyone. Surely there are those who won’t feel the Cloud fits their listening preference and those folks will obviously not be as smitten with this set as I may have been. Still, I find it a very easy conclusion to come to that the price is very nice. Especially considering that the Cloud can quite easily go toe-to-toe with some of the better $150 to $200 iems. So yes, in my opinion the Cloud offers a very good value per the performance and against the field.
Final Comments
As much as I can enjoy this set, I have to admit that it is not my favorite. However, I cannot listen to this set for as long as I was able and call it anything but good. One thing I’ve learned over my time reviewing earphones nis that…it isn’t always about me. To be totally honest, there are a number of sets I’d pick up within the price range before this set. Yet even in that I still love to chill with the Cloud in my ears and I’m quite positive that many folks will consider this set one of the best money can buy under $200. BQEYZ did an awesome job on the Cloud, and they should get their flowers for it. I feel that the Cloud is a very competitive iem which will not simply get forgotten by time because it has something that other iems don’t seem to have; the Cloud has true talent and a true answer to many issues that traditionally brighter sets are plagued with. I have had a blast revieing this set and I’m happy to say that if you dig a brighter display than the Cloud gets my instant and easy recommendation. Let’s take a look at my ratings and close this one out shall we…
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the BQEYZ Cloud ratings below, that would be $150-$200 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5-6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $150-$200 is a large sized scope of iems. So, It should be a nice surprise to see a rating above a “9.0”. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings will be unique to that review. Basically, I create a Rating that makes sense to me.
Aesthetic
–Build Quality: 9.3 Built very well.
–Look: 9.0 Dope industrial design.
–Fit/Comfort: 9.2 Fit and comfort is great for me.
–Accessories: 9.1 Accessories don’t matter at this price.
–Overall: 9.2🔥🔥
Sound Rating
–Timbre: 9.0 Natural/bright
–Bass: 8.8 Good clarity, definition, & punchy.
–Midrange: 9.3 Detailed, clean, great presence.
–Treble: 9.6 Treble is flat-out great.
–Technicalities: 9.2 Technically very nice.
–Musicality: 8.9 Still pretty musical.
–Overall: 9.1🔥🔥🔥
Ratings Summary:
This is a set that could get quite a few ugly words from the peanut gallery over some of my ratings above. It’s a set that most folks will either totally adore or perhaps, they may dislike. Now, I used the $150 to $200 price point to rate the Cloud against. I also threw in a couple sets just over $200 as well. It’s a very tough price bracket which encompasses what I feel is one of the more competitive ranges as well. Having said that, I do feel the Cloud fares nicely against the competition. This is also a price bracket that changes frequently. Sets will come in with an MSRP in this range and within 6 months they usually drop under the $150 range and so it’s a moving target and one that ratings should almost be ignored. I wouldn’t trust them. Shoot I barely trust my own ratings. Lol.
My ridiculous method
What I do is lay out in front of me all of the sets that I own in the range specified and I go to town listening to each set with a track, or a portion of a track that I feel represents each category. Full disclosure, I’ve used the same tracks for almost all ratings. Not that anyone cares. Anyways, in this review I actually have quite a few $150 to $200 sets to compare against. Friends, please understand that I subjectively rate these sets. Also understand that these ratings could change and vary be the day, by the mood I’m in, by the hour. I say it in all of my reviews that you shouldn’t make any Purchasing decision based on ratings, and I stand by that. That said, I actually enjoy doing this. It’s fun. Going set to set, track to track and judging them… It’s fun for me. I get to re-hear some sets I haven’t spent time with in a while, which is nice. Still, do not under any circumstances take my ratings as gospel. These numbers above are opinions that I gather very quickly. Grains of salt folks. With that all said, the Cloud did well.
Explain Yourself!
So, the first rating which will absolutely get me some sideways looks is the “Bass” rating. I gave the Cloud a fairly high “8.8”. I gave it this rating for its clean and punchy accuracy and speed. It’s maturity over guilt pleasure, or quality over quantity. Obviously, those who enjoy a more authoritative bass region would not likely give the Cloud an “8.8”. So that’s certainly a debatable rating.
No metric
Next, I could see the “Timbre” rating (9.0) above also argued against. What is good timbre? How does one quantify good timbre? The answer is… It’s purely and 100% subjective. There is no grand standard to judge timbre and tonality and to be honest it’s kind of a crap shoot. What is good to one may not be good to another. I happen to feel the Cloud has very nice timbre. Yes, it’s brighter and not as full or weighted and yes, sometimes that brightness and energy can make that timbre sound a hint artificial, or too luminous. Still, there’s no metric for timbre and it all comes down to individual ears and individual opinions. In my opinion, the Cloud’s timbre is at a “9.0” against the field of iems that I’ve heard and understand.
It’s all subjective
Lastly the “Midrange” rating of a very lofty “9.3” is another that some will flat-out disagree with. So many enjoy an even more musical and warmly weighted sound with an even smoother and rhythmic cadence. I totally understand too. Usually, I would rather listen to a more weighted delivery too. However, the midrange on this set is wonderful. It truly is. Vocals are fantastic, details are in abundance, the separation, the imaging, the everything is just plain good. I know there are those who would refute that and that’s okay. I wouldn’t argue it at all. It’s subjective folks and it always will be. Hence why ratings really shouldn’t hold much water.
Conclusion
Now that I am done with my feature and full written review of the BQEYZ Cloud, I have to again thank the good people of BQEYZ for providing Audio Geek with a tour sample to be passed along amongst reviewers. Thank you so much BQEYZ, you made a fine iem. I also need to thank Audio Geek as well. Again, I’m part of the US tour for Audio Geek and it gives me the chance to hear iems or audio devices that I usually wouldn’t be able to hear. So, thank you very much! Next, I need to thank you, the reader. Thank you so very much from both me and from my partners at Mobileaudiophile.com. It means the world that you click the link and stay for a while and hopefully you have taken something valuable away from reading our thoughts. That’s the hope anyways. Each click is valuable, and time spent is also very valuable too. So, much appreciation to all of you.
Other perspectives
So now that you’ve read this review of the Cloud, I want to ask you to read other reviews and opinions of the BQEYZ Cloud. It’s hard to get a clear understanding of a set from one review. I don’t think you can get a good gage on what a set or device is with one opinion. We are all so very much different. We all have our in-grown biases and each of us has our own personal opinions. Each of us has our own likes and dislikes, we have different gear and sources used, we have different musical libraries, different hearing abilities and most importantly, we all have been down a slightly (or not-so-slightly) different journey through audio. This journey helps shape our perspectives. There are so many variables my friends. So please, do yourself a favor and check out other thoughts on the Cloud. There has to be a mountain of reviews of this set and I’m sure you can gain a good understanding with a little homework. With all that said, I am now done. Please take good care, stay as safe as possible and always… God Bless!
