The age of collaborations produced excellent results, and this time the second generation of a collaboration known as QKZxHBB Khan is the recent example. Khan’s time began following the success of QKZxHBB. Let’s hear the details below. Thanks to Linsoul Audio for the sample.
V to weak W signature
Tuning that lets mids shadowed
Timbre range from dark to neutral, thumping basses. The background is very close to being completely dark. You can differentiate the tones of the guitar solo and the two blown instruments that are layered on top of each other in the mix. (Pitch black is limited for a certain brand.) Its construction is helpful in gaining a grasp of nuances like these. The amount of layering is further above fifty dollars, with the price gap reflecting the record quality. However, extensions, just like their content, will almost always extend in the right manner and maintain their tone. Cymbals are the best instrument for you to hear this. However, you are not submerged in a sea of harmonics. Everything comes to a halt just a quarter of an inch longer than it hits. Therefore, you won’t experience anything ethereal even if you try. However, there is no need to be rather concerned because, in the end, YGWYPF. Because of this quality, we refer to it as “crispy.”
Its respectful to the frequency distribution of the track, with +1 on the low end. Gold on the Ceiling is a fun igniter with its bassy atmosphere. Dubstep is fantastic, needless to say. Yes, the bass is powerful, but it isn’t drowning out other effects in the track, such as virtuals or sustains. Only slightly overshadowing them because of its tuning. (But truth be told, this is not an Ety with 3 digits.) The bass in funk music isn’t ruining its fun factor, either.
Not ethereal, and what you hear varies on the record without it coloring the sound to hurt mobile audiophile ears that much. But we wouldn’t say no to proper W signature. The dark to neutral timbre, on the other hand, speaks for itself in joyful organic tracks. Many instruments are ordered to keep their heads down. My experience with the iPad Pro told me so. Your experience might vary. London Philharmonic Orchestra has different ideas on QKZxHBB Khan’s mid performance. Sad but hope inspiring tones can be caught too whenever the track is composed this way. And “Face it Alone” confession of Mercury can be a mood breaker, with Khan’s mid-tonal power unexpected for its price.
Sami Yusuf’s Karitas is a major treble reference track (along with other parameters), and middle eastern tefs or wooden blown ney reaching up to high registers aren’t distorting. Well, they aren’t giving you a party full of life and dynamic action, but they are doing more than they can. But even though you can’t get a treble fest, London Phil. Orchestra is using all trebles at their disposal to sound The Four Seasons, Op. 8 “Spring”: I. Allegro is as majestic as possible, and Khan is helping them with maximum effort. Swingin’ Vivaldi is a fusion full of joy with Khan without much bass after the intro section. And I believe you have never heard “Someday, Somehow” in Taro Hakase’s treble loaded cover with a fatigue free performance before.
vs Pandamon: Panda is more polished, but Khan is noticeably clearer and boasts far improved extension capabilities and 3D imaging. In the backdrop of Khan’s sound is a booming bass sound, in contrast to the Pandamon’s sound, which is much more subdued.
vs Cadenza: It looks like Khan has met its close counterpart in a competitor who possesses a somewhat more sophisticated sense of instruments. Cadenza does not have the same crispness or jaggedness as QKZxHBB Khan. However, it is much more challenging to drive, and the mids are somewhat more recessed than they were before.
vs QKZxHBB: The QKZxHBB seems to be more bright and easier to drive. Neither as jagged nor as sharp as the Khan, who, like other Khans in history, has a nasty temper. The level of technical expertise is not as great as Khan’s. The instruments lack the 3d effect Khan has. On the other hand, there is no rumbling bass that lies beneath the base in QKZxHBB. And because of this, there is more room for niceness.
vs KZ PR1 Hifi: Much more difficult to drive, with 30% less layering & other technicalities.. More similar to 2D, and without the dynamic that gives the others their character. However, the sound that we are referring to here is not something that is harsh and aggressive like that of a DQ6 or a KZ10 Pro, complete with piercing monotone treble and savage bass impacts. It is obvious to recognize that the KZ men are attempting for the
vs Truthear Zero: TZ is slightly more uncomfortable, but T speaks with better technicalities, save layering. Basses have greater vertical penetration, whereas Khan’s are horizontal. Khan is a darker sounding iem than TZ. TZ’s basses, on the other hand, can cause chokes in electronics.
vs Thor Mjörlir mk2:This is a joke and also a test on his capacity to handle burden at the same time. The Mjölnir mk2 is one of the easiest iems to drive. The clarinet rushes like water. However, the technicalities aren’t that impressive, and the mid segment is a little bit weak. On the other hand, critical listening enables one to separate the sound of one stick striking another stick from the sound of everything else flowing around. I still recall my first impressions of it, as well as the solution I found by listening to V-compatible genres in a casual setting. Not smooth jazz.
QKZxHBB Khan is superior in terms of technicality, period. Additionally, the presentation is more upfront, more lively, and nearly enveloping. Both are completely incapable when it comes to smooth jazz bass. Khan is capable of climbing to greater heights. Khan timbre in the dx300 ranges from bright to neutral, in contrast to the iPad Pro’s timbre, which ranges from dark to neutral. And with a greater amount of vigor, the drummer is striking the metallic surfaces in QKZxHBB Khan. In contrast to it, Mjörlir Mk2 has a more relaxed attitude. However, neither of them are bringing the keyboard solo to life on a satisfactory level. But salute to the headbanging effect of Khan in Highway to Hell, along with its sizzling cymbals.
QKZxHBB Khan Review
Khan is yelling fun with technicalities. And this claim isn’t without proof. It is my second iem after Cadenza I could listen for hours without any sonic discomfort or regret with a critical approach. Its price is set in stone, and while the preceding principle applies, it exhibits some surprising technicalities, most likely due to its 2 DD configuration. 1DD is the usual DD, and the other is an acting BA in the form of DD..Thanks to Linsoul Audio as said. Here is the non affiliated link if you like.