Review on 🎧 CVJ CSN All Metal Earphone 5BA 1DD 6-Drive HiFi Bass IEM - Professional Quality In-Ear Monitor with Detachable Cable (Blue) by Shay Adams

CSN IEM is the second new version of CVJ. A more ambitious design than the previous Dual Hybrid CSA, this features six drivers per channel (1DD + 5BA). The driver set consists of a 10mm dynamic bass driver with a double magnetic design using N52 neodymium. Two symmetrical 50060 armatures cover the mids, while three 30095 BAs are used for the highs. Like the previous model, the headphones are presented in a sturdy hard fiber box with a black craquelure edge and silver lettering. Lifting the lid reveals the headphones integrated into the map cutout, as well as two sets of medium-sized black and red earbuds. The third nozzle set is preinstalled on the IEM. The earbuds come in an attractive light blue metallic color and are made of magnesium and aluminum alloy. They are very well done. In the center of the bezel is a small air vent made up of four triangular sections that converge in the middle, reminiscent of TRN's BA5 and ST1 models. Another small vent is located at the base of the nozzle. The bezel features the CVJ logo and "12 Hybrid" in lowercase along the bottom edge. The connector is standard 2 pin and the cable is 4 core braided identical to that supplied with the CSA model and similar to that supplied by TRN or BQEYZ. The black 3.5mm metal connector features the CVJ logo and the Y-shaped connector is also metal. The section between the Y-connector and the plug is quite long and the chin is missing a slider, so the cable gets a bit tangled. Also included in the box were three sets of silicone tips (also similar to TRN's), a brown carrying case, a Velcro zip tie, and documentation. All in all a good presentation. However, as this is a premium model, I would like to see a higher quality cable at a higher price point. Xduoo X20 DAP. The standard cable was of acceptable quality but I wanted to maximize the potential so I used a high quality balanced hybrid cable. Pre-installed medium silicone tips were used. Having been impressed with their earlier CSA model (particularly given the largely neutral sound profile), I had high hopes for the premium model. I have to say that I was not disappointed. CSN also showed a neutral character with a touch of extra brightness. The detailed search was excellent and the transients were instantaneous and immediate. The bass range was slightly sub-bass accented with neutral mids, the mids were slightly ahead and the highs were clear and well stretched. which was largely neutral in nature and resulted in a very clear and detailed presentation. The texture and resolution were first rate, as evidenced by Richard Souter's The Long Riders, where deep synth bass and bass guitar provided a weighty and solid foundation for the cello's lead melody. During the lavish production, the bass retained its direction and clarity. Famie Gow's "Regreso a Chile" also impresses with the deepest notes of her piano, which have an excellent timbre and natural decay. The harmonic reproduction was impressive here and perfectly preserved the character of the instrument. In Rachmaninov's Symphonic Dance No. 1, performed by the Minnesota Orchestra under the baton of Eiji Oue, impressed double basses, bass drums and timpani alike with their directness and testified to the rapid transient response of the dynamic driver. In terms of speed, it was more like a BA rider. The excitement and life in this excellent piece of reference recording at 88kHz was breathtaking. Midrange Like its little brother, the CSA, the mids exhibited a neutral to slightly bright tone, slightly ahead of the bass and treble. Clarity and detail were the order of the day here, and the instruments sounded very natural. However, sometimes I would have wished for a little more warmth. The timbre of the cello solo on Julian Lloyd Webber's beautiful Holst's "Invocation" was full of subtlety and surprisingly rich, with every nuance meticulously engraved. The imagery of this recording was very evident, allowing the cello's connection with the orchestral accompaniment to be fully appreciated. Shostakovich's Piano Concerto No. 2 was another excellent example of the recording of I Musici de Montreal with the composer's grandson on keyboards. The solo instrument was presented well above the orchestra and again showed a very natural timbre. The scale of the minor orchestral strings was very impressive. As a result of this mid-range purity, the vocals were clear and articulate, allowing the lyrics to be heard perfectly. Cat Stevens' "Father and Son" was very enjoyable, with the contrast between his portrayal of the father and son's voice being an octave up, which really tells a story. The shifting tone of Kat Stevens' voice was easily discernible amidst the bright and detailed guitar accompaniment. Treble The bright and clean nature of the CSN's high frequencies was enhanced by excellent transient response and good extension, conveying "air" and detail in the peaks. There were no peaks in this area and noise only appeared when present in the recording. The immediacy of the digital piano in Rick Erlien's Introduction to Yosemite was striking. Impact and Attack made the work stylish, alive and vital. "Introit" by Gerald Finzi is a piece for solo violin and orchestra. Leslie Hatfield's violin sounded clear and expressive, and the subtle high overtones at the end of the piece were beautifully reproduced, once again demonstrating the natural timbre on offer. Rosetta by Vangelis is an electronic work inspired by the cometary probe of the same name. "Exogenesis" sounded great with synthesizer woodwinds, percussion and a dynamic, complex bassline combined to great effect. The tonality of the cymbal-like effects had a beautiful metallic tone, and the intricate detail added to the enjoyment. Soundstage The CSN's soundstage was equal in width and depth and slightly larger in height, giving the sound a very voluminous quality. Emmanuel Chabrier's rhapsody "Espana" in the Minnesota Orchestra's version transported the listener directly into the concert hall with a rich and full performance of the orchestra in full flow. Bass, percussion and strings took their places and brass shone brightly above them. The high points were fast and powerful while still retaining detail and balance. The atmosphere of the shooting location was perfectly reproduced. Robert Eolus Myers' song "Of Angels Made Human" is a complex electronic soundscape with delicate woodwind figures intertwined with electronic effects and accented by a bass boom. CSN has managed to take everything apart and present all elements separately, but at the same time integrate them into the musical whole. Anne Murray's distinctive hoarse voice on "You Needed Me" was well centered and slightly above the guitar and bass accompaniment. The string sections added depth and harmony, and the overall picture was very balanced, while the solo voice was still prominently presented with a well-defined reverberation that adds space. known and respected. Recently joined by TRN's VX and CCA's latest CA16, the multi-driver arena is now more competitive than ever. However, with its neutral/bright setting and excellent clarity, CSN offers an interesting alternative. With a similar sound profile as Tin Hifi T3 and T4, it goes against the trend of the V-shaped IEMs that are common in this sector. DNS had excellent consistency with a smooth transition between different drivers. In comparison, the CCA C12 is more V-shaped with a strong upper-mid/low-high emphasis. By boosting the mid-bass it has a little more warmth. KZ's ZSX, on the other hand, has a warmer, friendlier tone and is very smooth, but sometimes lacks definition. CSN emphasizes detail and precision, more like an all-BA kit like the CCA C16 or A10, but with less harsh highs and more powerful DD lows. It indeed sounds very similar to TRN's BA5 (and resembles it in looks) and will therefore appeal to those looking for a well-balanced, mid-mid IEM. Basheads, of course, will have to look elsewhere. The first two CVJ releases were very successful and seem to have established a neutral "house" sound. Their next model is eagerly awaited.