CCA Rhapsody
Intro
Hello, the set I have before me today is one of KZ/CCA‘s latest Hybrid iems, the “CCA Rhapsody”. I just reviewed the most recent hybrid, the KZ ZAT (ZAT Review) a month or so ago and I was impressed. There are some slight issues but it’s a nice set. I am very curious what we will be seeing with this latest iteration in KZ/CCA’s lineup and how KZ/CCA builds upon past hybrids.
I want to thank KZ for sending me the Rhapsody in exchange for a full written review. Just a disclaimer; I received no monetary gain in exchange for writing this review and I’m not affiliated with KZ in any way, shape, or form. It’s a fair deal and a good relationship in which I tell my truth about the product and the brand (KZ) gets the word out. Please understand there will always be biases in every review, flirting one way or the other, but I can assure you that every word I write comes from a place of honesty.
CCA & KZ
If ever there was a company which was more polarizing than KZ or their sub-brand CCA then I haven’t heard about it. However, this is a company who has always been good to me and very fair and has never shunned me for handing out a less than stellar review. I have found that KZ/CCA is always seemingly getting better. Obviously not everything works for everyone and not everything will fit everyone’s preferences from the company, like any brands iems. However, in general KZ is a company who seems to get better and learn from past tuning ventures. I have actually reviewed a number of their sets over the last few years and below is a link to those reviews if you’d like to check them out.
- –KZ AS16 Pro
- –KZ VXS
- –CCA CRA+
- –KZ PR1 Hifi
- –KZ EDCX
- –KZ Linglong
- –KZ ZVX
- –KZ D-Fi
- –KZ X-HBB PR2
- –CCA Duo
- –KZ EDXS
- –KZ AS24
- –KZ Krila
- –KZ AZ20
- –KZ ZAT
Relatively good
That’s just to name a few and guess what… they’re all relatively good. Each one of them. Well done products for their respective price points that put up a serious fight against any set they are priced around. It’s just the truth folks. KZ/CCA seems to always seek to outdo the last set of every series every time they craft a new set. They build off the last iteration and with incremental changes that progressively get better and better. The good thing is that KZ/CCA is making affordable iems or products that most any pocketbook can obtain. One last thing… ethics and drama are not what I’m reviewing folks. As with every set, I do a deep dive on exactly what’s in front of me. Nothing more and nothing less.
Anyways, the CCA Rhapsody is a hybrid iem which comes hot off the heels of a well-received KZ Castor and I’m very curious if the same formula was used for this set as well. With all that said let’s get into it, the CCA Rhapsody…
Purchase Links
Disclaimer: I received the Rhapsody from KZ in exchange for a full review. I have not received any payment or any other form of compensation for this review. This set is a sample iem. KZ 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. Thank you to KZ and thanks for reading.
Rhapsody Pros
-Price to performance is outstanding
-Build Quality is nice for the price
-Smooth and fun tuning
-Note weight is rich and juicy
-Very good cohesion for multiple drivers at this price
-Very musical sound
-Hard hitting & deep palpable bass
-Nice thick presence for vocals
-Decently extended treble region
-Nice sized soundstage
-Non-fatiguing
Rhapsody Cons
-Accessories won’t surprise you here
-Not the airiest sound that KZ has ever crafted in an earphone
-Anyone allergic to bass will want to stay away
-Treble heads will not be impressed
-Not the best resolution
-Average detail retrieval & separation
-This set is large and may be a problem for smaller ears
Gear used for testing
–iBasso DX240 with Amp8 MK2
Packaging / Accessories
Unboxing
This should be no surprise to anyone, but the CCA Rhapsody comes in the usually very small black CCA box with the company “CCA” logo on the front sleeve. Take off the sleeve and you’ll see the Rhapsody lookin’ all fly in foam cut-outs. Under the earphones you’ll notice the cable and eartips wrapped up in cellophane. CCA also provides a dip-switch tool in the package to help with changing up the sound to suit your preferences. Along with that is a little card showing what the switches actually do. So, there ya’ go, nothing crazy or world changing and exactly what I expect from this brand. It’s all good folks. KZ tends to put the money towards the earphones themselves rather than giving a better unboxing experience.
Eartips
The last couple years KZ/CCA has been adding in some very useful and legendary tips, the KZ Starline tips. CCA provides you with three pairs (S, M, L) in total. I find the Starlines work just fine but I instead opted for a slightly wider bore to hopefully prop up the upper mids a hair more. Instead of the Starlines I chose to use my all-time favorite eartips, the KBear 07 tips in the medium size for deeper insertion. The 07’s are pretty well known for increasing the mid presence as well as adding some punch to the mid-bass. The stem is very firm and thick which helps add a harder lined response and the bore is slightly wider which does open up the sound a hair. To be honest the Starlines are just fine, and I didn’t notice a monumental change when tip rolling. Still, if I have an option to use the 07’s, Imma’ use the 07’s.
Cable
This was also no surprise. I’ll keep this relatively short because CCA once again added the same QDC cable that they have used for years now. Not a bad cable at all but I just don’t like the aesthetic of it. Is it usable? Absolutely! The included cable is this white/opaque Silver-Plated Copper (SPC) cable that isn’t braided or thick or fun to look at either. It sounds perfectly fine though. Let’s put it this way; if you only have the included cable and cannot afford a better-looking cable… You’re perfectly fine. I instead went with the TRN Redchain modular cable which looks a bit better paired with the Rhapsody. Also, I can use this cable with balanced sources which is a win-win.
Build / Design / Internals / Fit
Build Quality
One thing that KZ/CCA never skimps on is build quality. The build structure and mold seem to be the same that they’ve used for multiple iems of late. It has the same basic shape as the KZ ZAT, AS16 Pro, AS24 etc. So that’ll tell you right away that this is a large set. The shell cavity is made by way of 3D printing out of a hard plastic/resin material which feels very solid. The faceplate is made out of some sort of an alloy. I would assume aluminum, but I don’t know for sure. It’s nice, that much I know. You’ll see a small round vent on the back end of the faceplate with a metal mesh grill covering it. On the backside of the Rhapsody, you can see the four dipswitches which are nicely inlaid into the resin.
Design
The overall design is one of the better that KZ/CCA have come out with. First off, the Shells once again give you the ability to peer into the inside and see the inner workings of the Rhapsody. You can see the DD’s as well as some of the BA drivers which I think is pretty cool. The faceplate design was a great idea as CCA decided upon a shiny metal with only the name “Rhapsody” written on the bottom of the faceplates. The design is simple, it’s not gaudy or too bougie but it’s classy. Just the name, a vent, and shiny metal and you’re good. I think this set looks nice.
High-Precision 3D Printed Cavity
CCA Promotional
The high-precision 3D printing technology ensures detailed and accurate shells, enhancing overall product quality. Complex internal ducts are precisely printed, guaranteeing accurate sound transmission.
Ergonomic Design for Comfort
The classic ergonomic design ensures a stable and comfortable fit to the ear. Coupled with memory foam ear tips, it effectively isolates external noise, providing a comfortable and immersive listening experience.
Dip-Switches
Like I said the Rhapsody comes with four dipswitches in total which help to switch up the sound to your liking. I find the dipswitches do a nice job of tailoring the sound, for the most part. KZ has had plenty of sets which have working dipswitches to figure it out and get this tech right. In fact, I’d probably say that the switches on the Rhapsody are probably one of their better implementations. The first two switches affect the bass region by adding what CCA refers to as “1 level” up of mid-bass amplitude per switch. I’m assuming they are 1- or 2-dB increments. I could be wrong. The 3rd and 4th switches are the same only they affect the mid/high frequencies. Each switch can either be flicked “up” which means it’s “on” or “down” which means that switch is “off”. For review purposes a “1” will mean “on” and a “0” will mean “off”. For instance, a “1111” means all switches are “on”.
Don’t waste the digital ink
I won’t waste the digital ink going through each variation of switch settings because it is very boring to write about and even more boring to read about. Just know that there is a decently substantial change which takes place with these settings. However, you are not getting multiple different tunings but instead slight variations of the same tuning depending on what switch alignment you choose. The low-end switches add some slight note weight and low-end oomph and fullness while the last two switches add some slight levity to the mix up top by lowering the bass shelf. I don’t have a graph showing all the different settings unfortunately but by hearing I can tell the upper-mid/lower-treble area is being affected with those switches. It turns out I’m a bit more partial to a couple settings. I mostly feel that “1111” resonates with me the best as well as “1001”. I will allude to different switch orientations throughout the review but mostly I stuck to “1111”. That setup seemed to suit me the best.
Internals
The CCA Rhapsody is a six driver per side hybrid iem that comes with two dynamic drivers as well as four balanced armature drivers. CCA chose two 8mm dynamic drivers to operate both the low-end as well as the midrange. They did this to allow some separation of the frequency between the low-end and midrange. It helps to clean things up a bit without any overlap or blending. It’s just cleaner. One DD for the lows and one DD for the mids. It’s a more organic approach rather than using a BA for the midrange. The four balanced armature drivers are 31736 BA’s which are used to operate both the treble as well as the upper-treble. The thought is to break up the frequency and hopefully clean things up, separate the sound a bit. Each BA focuses on a specific area of the mix.
Now, this is great and it’s good to see multi hybrid sets for cheap ($49), but the tough thing is adding so many drivers and keeping some level of coherency between all of the drivers. Dynamic drivers have a certain tonal quality as well as balanced armature drivers. Tuning all these drivers to mesh and marry the sound altogether is a tough task. Not that I’ve ever tuned anything but… So, I’m told. I can tell you right now that CCA doesn’t have any issues with coherency. Good job CCA.
Fit / Isolation
The Rhapsody fits me like a glove. They really do. Now, the nozzle fits a hair deeper than most and so that may be something you need to consider but for the most part this set fits great. Keep in mind, this set is huge! Like, really huge. If you have smaller ears this may pose an issue. I have what I would call medium sized ears and I feel the fit couldn’t get much better, but hay is just me. I’m sure some folks will have an issue. I find isolation to be about average. Nothing to write home about. I mean, the Rhapsody has a good-sized vent in the back, so it stands to reason that you won’t get amazing isolation. For the most part I think that most hobbyists will have no real issues fitting this set.
Drivability
The CCA Rhapsody is rated at 15-20 ohms and a sensitivity of 102 dBs. Therefore, the Rhapsody fairly easy to drive. I have to add a hint more volume than usual but for the most part the Rhapsody isn’t a problem driving. If you at least have a decent Dongle Dac you should be fine. I don’t hear any huge scaling with additional power. Perhaps using my daps (DX240 & M6 Ultra) gave it a little bit more refined sound but I don’t think you need a big power supply.
Mobile Listening
Listening with something like the IFi Go Blu or the Qudelix 5k will put you in a fantastic spot with the Rhapsody. I never really needed to go to a balanced connection as the 3.5 single ended was enough. However, much of my critical listening was done using a 4.4 connection. Again, there wasn’t any crazy uptick in auditory ability with more power. I used a 4.4 connection when I listened to Moondrop Dawn 4.4, and I simply love the synergy between these two. The Rhapsody seems to play well off of a more neutral canvas.
Daps
My favorite way to listen to the CCA Rhapsody was with my daps. My music is all there, ready to go, but also these are my two most sonically gifted devices as well. However, I adore how well the Rhapsody’s warmer replay took to the velvet and resolving M6 Ultra.
In the end
Like I said, a decent Dongle Dac will suffice. If you don’t have one there are some good setups costing as low as $25 to $50. If all you have is a phone with a 3.5 connection, then I think you can get the Rhapsody to volume okay. Like I did on my iPad 6th gen, but you really aren’t getting the dynamic capabilities of the Rhapsody.
Sound Impressions
The CCA Rhapsody comes across warmer than it isn’t. There’s a pervasive and inviting warmth which cascades the entire frequency and good representation from each area of the mix. I know that what I’m going to say really doesn’t help you at all and it’s about as subjective as subjectivity gets but… The Rhapsody has a very enjoyable and very musical tuning. I would say that the Rhapsody is probably V-shaped to a warm U-shape depending on your switch orientation. However, the one thing which remains no matter the settings used is that the Rhapsody is a non-offensive, non-fatiguing, and an altogether easy listening iem. This isn’t dry, not analytical, not bright but also not the airiest either. I wouldn’t consider the Rhapsody a technical sounding set though the technical side of listening isn’t entirely lost. There are some caveats to that, and I will explain more later.
Emotionally charged
I would consider the greatest attribute of the Rhapsody is something that I haven’t really heard in a hybrid from KZ/CCA and that is very nice coherence across the range. I get no hints of BA timbre or anything metallic when I listen. Friends, I really think this is a good job on CCA’s part of tuning two DD’s and four BAs without any real issues in this regard. I hear nice transitions from the bass to mids and mids to treble. The sound is certainly a form of a V-shape sound but there is a good dynamic balance where no one region truly dwarfs another, on some settings that is. Yes, it is a bassier set (which I love) but it’s also a warm-musical set. I think we throw that word (musical) around too much to be honest. There are different forms of musicality, and it doesn’t always have to be a warmer set that gives off a moody, passionate and melodious type listen. Still, in the case of the Rhapsody I feel CCA really nailed an emotionally charged and musical sound.
Between the 20’s
KZ/CCA has come a long way by slightly improving their tuning set by set and the Rhapsody seems to be a perfect example of that. Starting off with the bass; the Rhapsody has plenty of thump and rumble. Not the speediest of all bass replays but very satisfying. Not quite basshead but it has great representation per the tuning CCA was going for. The midrange is recessed only slightly but it isn’t the type of recession that sounds attenuated or too pushed back in the sound field. The mids have a nice presence in the mix and fit the overall sound very well. Note weight is lusher and richer in this region giving vocalists plenty of realistic body to their voices. The treble area also is smoother with some hints of shimmer and shine yet never crests over into brightness. The Rhapsody stays the course and provides a treble that meshes very nicely. Not the most detailed but with a pretty good extension. It also doesn’t have the sharpest attack bite either, but it does have decent body up top.
Bass Region
The bass comes across emphasized and fun. Depending on your switch settings the bass can really deliver a big, bold, and even bulbous response. Or it can come across slightly less warm and a hint leaner, but always physical. Basically, the Rhapsody has the ability to give off a good rumble on most tracks no matter the settings. This will appeal to those who want a set that can thump and simply have a little fun with. In the same breath the Rhapsody is reasonably detailed in the “macro” sense. Per the quantity that is.
The low-end is warmer, atmospheric, and not technically the speediest of low-end bass replays. Decay/sustain sounds a bit more spread out and prolonged while the leading edge of attack is relatively solid. It isn’t a crystalline and concrete note definition with an exact or precise note edge, but it’s solid. When the bass drops you have a fairly hard initial hit followed by a slightly lingering decay. Obviously, this depends on the track and the type of bass (kick drum, synth, bass guitar, etc.) coming through the Rhapsody. The sound is pretty deep, big, and fun. If that descriptor is not what you are after, then I would not think this set is up your alley. Just my opinion.
Sub-bass
The lowest of the lows has a nicely deep resonant drone on a track like “Groove” by Ray Wylie Hubbard. It’s that guttural type of gravely fullness that I really dig. It’s just fun. It isn’t the speediest of sub-bass replays and technically it won’t blow your mind, but it is nice to listen to. Also, take what I just said as a grain of salt because the word “technical” can be taken way out of context. It’s a clean bass, it’s an engaging bass, but it isn’t tuned for details, that’s all I meant by that. For what it is, the Rhapsody and those who tuned it have nothing to be ashamed of. After all, what do you want out of a sub-bass? For me, I simply want some representation in the area and some haptic feedback that isn’t hollow or pillowy. By-and-Large the Rhapsody has a good and controlled-resonant meat to it. It’s sonorous and can reach a fairly low pitch. The sub-bass doesn’t come across too knife edged or on the flipside… fuzzy. The Rhapsody has a clean enough note definition to not sound blended or simply one-noted against the mid-bass either. It isn’t a mishmash of bass sound, it’s tidy for what it is.
Mid-bass
The mid-bass carries the majority of the low-end emphasis. Again, depending on your switch settings the mid-bass can sound very well balanced in the mix or slightly dominant. I like the “1111” bass which actually isn’t as emphasized but still very strong down low. If I turn only the first two switches the sound becomes much more boomy and broad and bulbous. Depending on your switches the Rhapsody can sound pretty agile and dexterous, or it can sound almost too emphasized (to some folks anyways). I happen to think it sounds fantastic for the price. I really mean that.
“2040” by Lil Durk is a BANGER, and the Rhapsody does not disappoint. No matter the switch setting this track hits hard on the Rhapsody. I can hear all the thunderous, undulating, and thrumming rumble without feeling the entire track is caked in bass. “Feelin’ the Miles” by The Wilder Blue has a great bass guitar riff which shows off the Rhapsody’s ability to be nimble as well as robust as it manages a relatively clean rolling bass guitar that sounds full and authoritative in its expression yet also spry and agile. I really enjoy the sound folks. This is not a cheap sounding “big bass” folks. Now, I do feel that the Rhapsody can flirt with bassheads and I don’t say that lightly. Of course, it all depends on your switches and what you consider is a basshead set.
Further thoughts on the bass region
This is a bass for fans of a good strong bass. This is not a set that will appeal to a quick styled “hit-it-n’-git-it” type of bass. It doesn’t have that analytical, rapid fire, or quick thump sound & polar opposites to some of the planar or BA Bass replays on the market. This is a DD doing exactly what a low-end boosted DD does. However, this one at least sounds pretty compact for the price. Fans of smooth jazz, hip-hop, to an extent edm, r&b etc. or fans of a fuller bass response will dig this set. One thing I should also add is that the bass does have a nice ever-so-slight spill over into the midrange that is not a detriment for me. Now that could be an issue if you don’t want that moderately warm midrange, but I should at least speak on it. I would assume that bassheads will probably dig the Rhapsody, especially in a couple of the more bass heavy switch settings. I feel it just scrapes that basshead moniker. The priceless thing is that the settings can also yield a balanced sound with the rest of the mix. CCA really did a great job on these switches.
Downsides to the Bass Region
The first and biggest downside in my mind is the amount of low-end rise we have on the Rhapsody. There are a ton of hobbyists who don’t like this type of sound. They may think it sounds borderline muddy, maybe bloated, too warm, not defined and detailed enough. I get that too. So I definitely understand those folks who may not enjoy the Rhapsody. It takes all types in this hobby. Many folks want a more flat and linear bass that has a tight and even more nimble transient attack through sustain. Understandable. Perhaps the low-end could have a more hard-edged note definition but I’m really reaching for “downsides” at the price of $50. With this emphasis? Trust me I’m reaching. All in all, the bass sounds great to my ears. It is as tight as $50 can give you for the amount of bass the Rhapsody has. CCA squeezed every last bit of definition they could muster out of this fun bass. Please don’t misunderstand, there are sets at the price point which can give you a bigger and more bullish bass and there are also sets which are more clearly defined too. The Rhapsody’s beauty is in its cohesion across the mix and the way it “all” comes together.
Midrange
After many hours of listening, it’s easy to hear that the midrange is a smooth (you’ll hear this word a lot) and melodious affair that honors musicality over everything else. The midrange has this cascading and umbrella like warmth over the whole of the midrange which leans out a hint in the upper mids. Of course this will vary with your switch settings. The mids have very nice note weight which is not the most crisp or exact in the heavier bass settings. However, the midrange does tighten up and clean up as you pull that bass down. I don’t hear the most detailed or resolving midrange, but that is what you have to live with for this type of warm and emotional sound. The switches can change things up a bit and level out the mix a hair depending on your settings but for the most part it is smooth, rich, prioritizing lushness and musicality over cleanliness and detail.
Smoothly rendered presence
The midrange is recessed to a degree but not nearly to the point that I would declare them attenuated or too far back in the mix. To my ears they generally occupy a good place in the overall stage with a lusher and more smoothly rendered presence. I find the leading edge of attack can go from slightly blunted too slightly crisp. Listening with “1111” I hear a slight crispness which enhances a smooth and weighty undercurrent. The macro-dynamic amplitude is not one which is brighter or sprightly or sheened out in shimmery ampleness. Instead, the macro-dynamics are profuse in a more saturated way, yet still fun and bountiful. The stage helps with the big width and good height which broadens the sound to my ears. Vocals are actually better than decent too. Maybe not as enhanced as I’d like but still very good.
Lower-midrange
The lower midrange can go from lean-lush to fairly thick and milky. Scratch that… They are always full, it’s just that in some settings there is less of a coating of warm energy. I find males to be pretty virile in sound which helps a masculine voice to be… well… masculine. Using “1111” a male’s voice has a cleaner and less warmly veiled energy yet still comes across rich in tone. Take “Sand in My Boots” by Morgan Wallen. His voice is naturally thinner, raspy, edgy and the Rhapsody easily manages a realistically weighted sound. His voice is well executed and closer to organic than any other word I could use. I don’t hear any extra metallic grain crudding up the note definition either.
Low-mids cont…
“I Still Haven’t Found What I’m Looking For” by Home Free (U2 acapella cover) is an excellent song to test male vocals and I feel this track found a home with the Rhapsody. Each male voice, from tenor to bass, is very clean on this track. There’s depth for layering and good transparency. Granted this is a very well recorded track and most sets sound pretty darn good listening to it. However, what strikes me is the timbre to the voices and this laid-back dynamism (best I could do) sounds utterly poised and stout. There is a crispness in the attack edge that is like the “cherry on the top” to the smooth and rich body with realistic harmonics. Also, when I say “crisp”, I don’t mean edgy, metallic, or glassy either. I mean there is a crystalline bite that’s clean. Eh, I’m still not perfectly happy with my description. Just know that it sounds good.
Upper-Midrange
I usually concentrate on vocals in my lower and upper midrange sections. It probably isn’t the best way to go about it but it’s what I’m looking for in a set. Vocals are important to me. Females are usually the focal point of the upper-mids but that isn’t always true. Still, it’s females we generally look for in this region. The Rhapsody actually has a decent amount of controlled shimmer and females do have some vibrancy to them. They sound more elated and a bit leaner than males, also a bit more forward in the mix but only slightly. “Breathing Song” by Samia is a track that props up her voice as though it’s on a pedestal. The Rhapsody centers her voice so well, catching every inflection with good control and actual realistic sounding timbre to my ears. Possibly some people may think it’s just a slight hint too boosted for natural, maybe. However, she sounds hauntingly silvery and very pleasant.
Upper-mids cont…
“I’ve Drawn Your Face” by Rachael & Vilray portrays a female lead who is a bit lower in register, to a degree. Her voice is prominent against the slow picks of the guitar and the Rhapsody does an admirable job of highlighting her voice with good note weight, good tonality and a clean approach. She really sounds nice. I hear every pluck of the guitar, every finger slide. Of course, this is a very simple song and so you should be able to catch that stuff. The point is, females like her come across almost velvety, but not soft. Smooth, but more like porcelain smooth rather than buttery. I hope that makes sense to you. She sounds clean with appropriate thickness and what I feel is good timbral qualities.
Instrumentation
I won’t go too long into Instruments as it is kind of a loaded and broad stroke type of thing to describe. My descriptions will be very general as I’m not going to cite every song for every type of instrument. I could just tell you this; most instrumentation sounds very well played. Nothing sounds out of the ordinary or too artificial. Strings have just enough of a sharpness with fluid harmonics. Electric guitars with or without distortion aren’t too sheened-out or glaring though may be a hint too bright depending on the track and your taste. I don’t find them bad. “Sabotage” by The Beastie Boys is easy for my brain to accept. Nothing glaring. Percussion has a snap to it. Most snares have that pointed “pang” and weighted body which is satisfying. Cymbals don’t sound splashy at all to me. Violin can sound steely and edgy rough but also clear and resonant. I could keep going but this section won’t be the same for everyone. We all have our idea of what the correct sound is and while the Rhapsody isn’t perfect by any stretch, I don’t hear anything that sounds “off” to me. So, forgive me for cutting this short.
Downsides to the Midrange
Let’s see, if I were to nitpick, I could easily say that the Rhapsody is not the most detailed sounding set. I realize the songs I chose I described as being mostly clean alluding to good resolution. But this isn’t always the case. The sound altogether is mostly warmer, smoother with less fine lines. Granted, details aren’t bad at all. Also, this isn’t the quickest or transient swift midrange and so complicated tracks may blend a bit. This simply isn’t the most technically inclined sound. Being more musical sometimes steals some of the separation and nimbleness. It’s a give and take folks. With the bass switches up the sound may be too warm veiled or stuffy for some folks. It isn’t the most open sounding in that orientation. Also, please remember this is a $50 iem and please try to put my words to some sort of a context. My descriptions are tallied with the mindset of other $35-$55 iems. Of course, good sound is good no matter the price.
Treble Region
The upper regions of the CCA Rhapsody are fairly airy but in a warmer and smoother sense. Basically, it isn’t the brightest treble, which in my opinion is mostly a departure from some KZ/CCA iems of the past. I feel it takes a more natural glide through the treble, to an extent. Certainly not as polished as some sets but has a nice tonality to my ears. The treble is more soothing and not at all fatiguing. There’s moderate levels of vibrant sheen and some immediacy in the attack bite. I find the rise up top is enough to elevate the overall sound, as though CCA tuned this set to have just enough levity. The leading edge at attack is slightly softened but with good presence depending on the track. This isn’t a treble that will come across oversaturated or artificial, but more of a natural lift and decline. Of course, this is while using the “1111” switch setting so take that into account. The sound can get a degree more airy and slightly leaner with a bit more brilliance. However, for the most part CCA did keep this more safe and easier to digest.
Not for treble heads
Let’s put it this way; treble heads and those who desire that ultra clean, precise, contoured and shimmery treble will likely want to keep looking. I say that but I can also confidently say that the treble is well emphasized to coherently fit the tuning. However, those who enjoy a treble that isn’t overbearing, without any piercing glare, isn’t even close to tinsley or splashy, but is still able to bring some air to the mix… then maybe this is a treble for you. But no, it is not for treble heads or even moderate fans of treble leaning tunings.
Example
Listening to “Keel Over and Die” by Old Crow Medicine Show actually sounds quite nice and the Rhapsody seems to be able to keep up pretty well to the fast instrument play. I don’t think it compares to other sets in the price point that are literally tuned to illuminate the treble with more of a compacted and boosted sense of luminance. I’ve heard many that will separate a titch better or bring out some micro details better as well. That said, for CCA to tune the Rhapsody in such a musical and rich manner I find the treble perfectly suitable for this track. To be honest I enjoy that certain peaky areas of the song are easier on my ears.
The treble should sit well with folks who value tonality and timbre above technicalities. Not to say the Rhapsody is deficient in the technical aspect but that was not how the Rhapsody was tuned. I don’t hear any sibilance or undue spikes and I don’t get any sense of that BA timbre or metallic edge to notes. It’s actually pretty pleasant. It has a fairly transient fast and contoured sound, yet it does so in a safer manner. For long listening sessions this is a nicely smooth sound that still has enough emphasis to sound balanced with the rest of the mix. Extension into the highest of highs isn’t going to change your life but it isn’t bad by any stretch. For instance, the secondary harmonics of a cymbal strike don’t sound splashy and depending on the track don’t come across attenuated or dull. Basically, harmonics in the upper treble are decent.
Downsides to the Treble Region
The first thing which comes to mind I’ve pretty much expressed and that is the treble is not going to be bright enough for some people. The Rhapsody doesn’t have that chimy brilliance and doesn’t have that “treble head” type of lustrous vibrance. It is partially subdued and so I do believe that will be a turn off for some. This isn’t an analytical treble region at all and won’t be a situation where you are hearing details you haven’t heard before. It isn’t that. While the minutiae within a track can be heard to a degree this won’t come across like a detail king. In the end, this also isn’t a treble that is super refined with that haptic sort of feel to the attack edge. It isn’t really a physical treble. However, for the price and considering the overall signature, I feel the highs on the Rhapsody fit the overall dynamic of this set very well and very coherently. There isn’t any sibilance, no shout or pierce and no real BA timbre. At least that I’ve noticed.
Technicalities
Soundstage
The soundstage will probably surprise some folks. It is actually pretty wide. Certainly, outside of my ears. Height is about what I would call average and there is some decent depth. Nothing which will usurp Kilo-Buck sets but better than a lot you will find in the price point. The psycho-acoustic rendering of the soundstage gives a round portrayal of my music and it all just feels “big”. There are full sounding macro-dynamics that are very expressive. The music is a bit closer to the listener, not pushed back or distant. The sound field doesn’t entirely sound “in-front” of me but instead it’s all around and seems to use all of my head space. If that makes sense. If not, then I’m sorry. The sound is closer but fuller too. The stage is very nice. I feel nothing cramped at all! Nothing feels congested either. CCA did a nice job getting all they could out of this set.
Separation
I feel the only two words I could use to accurately describe Rhapsody’s ability to separate and partition off elements of a stage would be… “appropriately-average”. Not bad by any stretch, especially for the type of warm, thick, lush tuning. It’s average in the grand scope of things. Much better on simpler tracks but a bit more blended on really complicated stuff. It won’t blow your mind and sort-of follows the overall technical sentiment of this set. It’s a musical sound, more organic, full, softer lines and smooth undertones. Within that lens I feel that the Rhapsody does very nicely for what it is. You have to spend a lot more money to feel such richness but also focus on perfect and distinct separation. However, I say that, but I also have to stress… This is a $50 iem. This isn’t $500. For $50 I feel I lose nothing with this set. Now, if you are a constant critical listener who loves to focus pointedly on certain instruments or vocals and “need” that clean separated sound, then I’m afraid you will probably have to keep looking. Appropriately-average is great for what the Rhapsody is.
Imaging
Imaging fares pretty well. I really have no issues either with left to right or even front to back. There is some depth for layering to a degree which is very helpful for placing instruments and voices. I haven’t heard anything that would counter that thought. The stage is pretty well drawn out and I dont hear any odd placement of instruments and vocalists. This is one area that I think is a plus for CCA and the Rhapsody.
Detail Retrieval
When trying to listen for the finite and subtle little details the Rhapsody does just fine. I feel you probably already know what my thoughts are if you’ve read this far. Still, I’ll reiterate that in complicated and congested or poorly recorded tracks there always exists a possibility of some blending. Also, in heavier bass jams you may hear some masking of sounds which takes away from your ability to actually hear details in the first place. It really depends mostly on the track and to an extent the genre. So no, the Rhapsody will not be the best set if detailed and critical listening is your favorite way to listen to music. Again, this set simply isn’t tuned for that. Now, I say that, but I’ll also say that the Rhapsody isn’t bad at all. I think we go too far with detail retrieval when so much has to do with the music and to a lesser degree also the source device. Thankfully CCA created a very musical sound with a fun signature while still doing a commendable job of bringing out the details.
Is it worth the asking price?
The answer to this question is yes. Despite that, for those folks who don’t subscribe to this type of sound I think that’s an easy no for them. Still, if I’m answering this question for me then absolutely yes, it’s worth the cost of $49-$50!
The Why
To start, the sound quality is fantastic for the price. You’d be very hard pressed to find anything like the Rhapsody anywhere near the price that CCA is asking. You just won’t find it. Folks, this is a 2DD/4BA hybrid iem and it ONLY costs $49! The bonus is that the sound isn’t just good… it’s great. Again, it won’t be for everyone, but the sound is very mellifluous and melodic with such an engaging emotional tilt to my music. I really am impressed! The sound is wonderfully coherent. Yes, I said “wonderfully”. I’ll say it again if I have to. The sound is coherent between all of these drivers and the sound is rich and non-offensive to the core. Just a nice and easy listen. You have a great build with actual working dipswitches and a classy and cool appearance as well. The accessories won’t be the best and the cable will likely be swapped out by most folks, but beyond that, I think the Rhapsody is one of the better sets under $50. I would go further with that, but I’ll try to play it cool.
Other fish in the sea?
The Rhapsody is an easy rec from me. If a warm to neutral/warm and wholly musical sound is up your alley, then I wouldn’t wait on this one. It’s good folks. Now, there is a sea of great sets in the price point and many of those great sets have different signatures and are good for their own reasons. You have the Rose Technics QuietSea (QuietSea Review), Simgot EW200 (EW200 Review) the BGVP P05 (P05 Review) EPZ Q5 (Q5 Review), Reecho SG-01 Ova (SG-01 Ova Review), Kiwi Ears Cadenza (Cadenza Review) and that is only to name a few. Listen folks, those are all great sets, each one of them.
Each set highlighted above has its own distinct sound, driver configuration, style and each has a good reason to be placed near the top of most folks “Best Under $50 List”. Obviously, there are quite a few I left out because I’m not going to spend too much time on it. However, none of those are exactly like the Rhapsody. None of them. The Rhapsody is an altogether different animal and that is one of the reasons that I say… Not everyone will dig the sound like I and others enjoy it. I would even go so far to say that the Rhapsody may be a hair polarizing to the consumer public. For me… I think the Rhapsody is priced very competitively and is definitely a set to get for your collection.
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 CCA Rhapsody ratings below, that would be $35-$55 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” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $35-$55 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.
Aesthetic
-Build Quality: 9.0 One of the nicer builds in the price point.
-Look: 9.0 This set looks very classy in a minimalist way.
-Accessories: – – Accessories don’t matter at this price.
–Overall: 9.0🔥🔥
Sound Rating
-Timbre: 9.2 The timbre and tonality are very good.
-Bass: 9.1 Big in quantity & doesn’t lack quality.
-Midrange: 9.5 The mids are great on this set.
-Treble: 7.9 Nice & non-offensive treble with good energy.
-Technicalities: 7.0 Musical over technical but above average.
–Overall: 8.5🔥🔥
Ratings Summary:
Folks, this is one set of ratings which absolutely demands some sort of an explanation. I did say that the Rhapsody is one of the best in the price point yet individual ratings aren’t as high as this would indicate. What gives? Well, this is why I always say that ratings don’t tell the whole story. The Rhapsody isn’t a set to judge in separate areas like this. This is a set you judge as a whole. The Rhapsody’s goodness is in how it all comes together. It is when all of the frequencies combine to form the end product. No doubt when judging this set, I went through each Rating against every set I’ve ever heard or owned, and that is a lot. Simply put, other iems beat out the Rhapsody in individual rating areas. Others specialize in certain areas. Another thing that I need to stress to you, this is MY idea of what constitutes “Good” and MY thoughts against other iems. I promise in a room of 20 that 10 may disagree with me. Please take that into account. I don’t want any DMs from you guys saying I steered you wrong.
Explain yourself!
Anyways, to begin I would say that the bass is an area of contention. I gave it a “9.1”. Those who want a snappy and quick bass with a concrete punch but don’t want all the quantity may give this set a “5.0”, or less even. Not everyone wants a thick and muscular low end. I gave it my rating because it’s big, bold, meaty and yet it’s tight for such a quantity, with a nice relatively solid edge to notes down low. It’s clean for its breadth and can reach deep. To me it is very good. At times I like that more transient swift low-end with better breathing room for the mids as well. But I can’t help but love what I hear on this set. One thing to also consider is that I can dial back the switches a bit on the Rhapsody which does lean it out a hair.
The next area people could have an issue is the “Technicalities” rating. I gave the Rhapsody a “7.0” but in my review I basically called it all average, which should be a “5.0”. However, it’s the soundstage which saved that score. The stage alone is one of the better stages you’ll hear in the price point. Also, imaging is actually good on this set. So… “7.0”. Sounds good to me.
Note: I did not complete any comparisons due to time constraints. Please message me for any questions or quick comparisons and I will be glad to help you out if I can.
Conclusion
To conclude this review of the CCA Rhapsody I have to first say thank you to KZ/CCA as well as Tyvan Lam for providing the Rhapsody for a full feature at Mobileaudiophile.com. Friends, I want to assure you that what I write is my own thoughts. I’ve never been paid a cent, never had any company pre-read or approve my reviews either. If either of those two things were required, I would not even consider touching their products. KZ doesn’t ask this out of me and have never requested I speak highly on their devices or favorably. I also want to thank anyone who chose to read a word that I wrote. I put quite a bit of time into each review, and I do so in hopes it helps you to make a purchasing decision. However, it was you who clicked the link and for that I as well as mobileaudiophile.com are grateful.
Other perspectives
One more thing, I always end my reviews with a plea that you would now close this review and read, watch, or listen to other thoughts on this set. We all have varying thoughts about everything in this entirely subjective hobby, and it’ll serve you well to listen to other perspectives. I give the CCA Rhapsody a recommendation and do believe it is one of the more unique sets at its price point. Please take care, stay as safe as you are able and always… God Bless!
