Today we’re checking out one of the more impressive products to have crossed my plate this year, the Spring II from BQEYZ.
My first experience with the brand was through the KC2, a very well-tuned quad-driver hybrid that recently saw a resurgence in popularity. I quite enjoy it and still pull it out for the occasional listen and comparison to more current gear. Why? Well, because it is still relevant. I suspect the same thing will happen with the Spring II years down the road because this earphone is the complete package. It sounds awesome, is built well, and has impressive tech and specs that I am confident will ensure it remains relevant for years to come.
Let’s take a closer look, shall we?
What I Hear I’ve not really been a fan of piezo-equipped earphones in the past. When it comes to raw detail and clarity, they certainly haven’t disappointed. Where the tech lost me was that every single one was seriously boosted in the brilliance region making them sound thin, extremely tiring, and uncomfortable at anything but quite low volumes. They tended to sound pretty unnatural too. A recent example that bucks the trend for the most part is the LZ A7. While still quite bright, it’s not harsh or unnatural. The Spring II takes things a step further in the right direction by turning down the emphasis allowing it to blend in well with the other driver technologies BQEYZ utilized with the Spring II.
I still hear a peak in the upper treble, but it doesn’t lead to anything sharp or unpleasant, instead giving the Spring II a satisfying shimmer and sparkle on cymbals and chimes. Detail and clarity are fantastic with fine details coming through clean and clear. Note control is impressive thanks to very crisp attack and decay properties, easily besting armatures used by the competition and hanging with the tuning found in more pricey gear. It works just as well with the synthetic effects on “Enter The Warrior” by The Prototypes ft. B3NDU, as it does with the chaotic hit hats on Havok’s “No amnesty”. This is hands down the best tuned piezoelectric driver I’ve heard to date.
The midrange of the Spring II is handled by a single balanced armature which is awesome. This is where armatures excel so it makes sense to have it handle this region. The presentation is not entirely linear with the extremities being pulled back to sit in line with the surrounding frequencies. This leaves a small bump around that 2k that works wonders in my opinion. Vocals are adequately dense and weighty with amazing coherence that cuts through the thundering bass and treble shimmer. While both male and female vocals are represented fairly evenly, I find the latter to sound a bit sweeter and carry a hint more emphasis. Timbre is another strong point with the Spring II avoiding the plasticy, dull edge that some find common to armatures.
Bass out of the Spring II is elevated with good extension. On tracks that dip deep like Ludacris’ “How Low” you get plenty of physical feedback via a thundering, rumbling sensation that tickles the ear. Mid-bass is a little more elevated than I prefer, but it mostly stays away from the mids and avoids sounding bloated. Where the low end of the Spring II is less impressive is in texture. It is smooth, has a natural attack and decay, and is well controlled, but lacks micro-detail which leaves it feeling a bit flat. I still enjoy it, but it falls short of best-in-class here.
Heading into the sound stage the Spring II remains very competent. It doesn’t come across as massive and sprawling, nor closed in and intimate, instead finding a nice middle ground. When a track needs to be intimate, the Spring II can pull it off, such as on Culprate’s “Undefined”. When it needs to pull back and portray space and allow congested tracks room to breath, such as on BT’s experimental “13 Angels On My Broken Windowsill”, it can do that too. This versatility has made them an excellent companion for gaming since the excellent imaging qualities kept effects where they needed to be allowing me to accurately track my opponents in War Thunder and other games. Layering and instrument separation qualities are also above average ensuring the Spring II avoided congestion.
Overall I find the Spring II to be a pretty outstanding sounding earphone. I’m super impressed with the coherency between the three driver technologies in use, and that BQEYZ managed to get them to play together so well. Unlike some other products where it is obvious multiple driver technologies are in use thanks to differing tonalities that just don’t play well together, that absolutely is not the case here. It’s all very coherent and matched beautifully. The only complaint I can levy at the way the Spring II sounds comes down to the dynamic driver which would benefit from additional texture and detail.
Compared To A Peer (volumes matched with Dayton iMM-6)
TinHiFi P1 (169.00 USD): The P1 follows Tin’s popular tuning of a neutral-bright, bass-lite sound. As a result the Spring II offers up a much more robust low end. It digs deeper, hits harder, but doesn’t offer up quite as much texture as the P1. Only with a significant bass boost, such as that provided by the iFi hip-dac’s XBass feature, can the P1 compete with the Spring II when it comes to bass. Looking to the mids I feel the Spring II continues to best the P1. While the P1’s mids are more forward, clarity is only about on par with the Spring II. BQEYZ’s offering brings in a more natural timbre, warmth, and thickness, leaving it the more satisfying listen to my ears. Treble is another area where I feel the P1 remains behind the Spring II. The P1 has a sharp peak in the brilliance region that tilts what is otherwise a balanced tune towards brightness. The Spring II’s piezoelectric driver doesn’t quite match the P1’s planar when it comes to raw detail, but upends it when it comes to control and cleanliness of each note. The P1’s treble sounds a hint loose and uncontrolled in comparison (and yes, it is getting more than enough power). Where the P1 has a clear advantage over the Spring II is in its sound stage which is notably wider and deeper. Imaging on the P1 is slightly more precise. The Spring II does a better job with instrument separation and layering though.
Overall I much prefer the Spring II. If the P1 didn’t require a ton of power and some serious EQing or bass boost feature to give the low end some grunt, this would be a closer fight.
Shozy Rouge (179.00 USD): The Rouge is a more balanced, technical take on Shozy’s Form models to my ears with differences that are similar to the Spring II. BQEYZ’s offering is warmer and bassier. Sub-bass on the Spring II has more emphasis and mid-bass more punch. The Rouge offers more speed, texture, and better control. Heading into the mids the Rouge is leaner and gives vocals a cooler, more detailed presentation. Timbre out of the Spring II is more natural. Treble on the Spring II is smoother with more upper end sparkle vs. the Rouge which seems to focus more on the presence region. As such I find the Rouge more detailed. In terms of speed and cleanliness of the notes each present, the Spring II gets the nod. The sound stage of the Rouge is wider and deeper with a more evenly rounded appearance. Imaging out of the Rouge is also more nuanced with clean channel-to-channel transitions. I also find it to offer slightly better layering with similarly good instrument separation.
Overall I find the two to be more-or-less equals with each model excelling in different areas. I could pick up either and be perfectly happy, though as an all-rounder the Spring II gets the nod thanks to it’s heavier low end.
In The Ear The Spring 2’s moon-shaped metal shells are fairly small and dense with a reasonable heft that gives them a quality feel that plastic earphones can rarely match. Fit and finish is seriously impressive with seams for the individual components and nozzle tighter than a measurebater’s poop chute. While fairly simple, there are some flourishes to the design that give the Spring II a satisfying visual appeal, like the recessed cutout on which the brand (right earpiece) and model name (left earpiece) are laser etched, or the tapered reflective red band that wraps around the edge of each shell. Along the inner half of the shell you find three small vents set just around a small dip to help ensure they aren’t blocked when the Spring II is in use. The vent closest to the nozzle is slightly larger than the usual pinhole vents on other products, and is filled with a clearly visible, fine white mesh. L and R notifications can be found between the vents, backing up the easily read channel indicators already present on the cable.
And speaking of the cable, it too is gorgeous and something I would find perfectly acceptable if included with the top of the line products I’ve been covering recently. While it follows a trend I dislike, that being loose braiding, the quality of the braid is flawless with none of the usual oddities I’ve seen from other brands. The sheath is impossibly soft and flexible with little noise transmission when rubbing against your clothing. The hardware is top tier too, from the compact metal, BQEYZ-branded straight jack to the comfortable pre-formed ear guides that lead into compact 2-pin plugs adorned with clear channel labels. Strain relief at the jack is mediocre and absent at the y-split, but this style of cable doesn’t really benefit from it anyway so no big loss. Lastly, a bead-style chin cinch can be found resting just above the y-split and does a stellar job of tightening up the fit when necessary.
While the Spring II is a comfortable earphone, ergonomics feel just a little “off”, at least for my ears. I’m not sure if it’s the nozzle length, angle, or maybe just the half-moon shape. Whatever it is keeps the Spring II from feeling 100% stable at all times, particularly in my left ear which requires fairly regular fiddling to return a proper seal. All that said, there are no sharp edges or hot spots that cause discomfort and I can wear them pretty much indefinitely without issue, save for the fiddling with fit.
Isolation is slightly below average, not completely unexpected given the shallow fit and ample ventilation. With no music playing, I can clearly hear chatter nearby, the snicking of key caps on my laptop while I type, and other ambient noise. It’s all dulled somewhat, just never fully blocked. Turning music on obviously helps, but in particularly noisy locations like a busy coffee shop, I found a bump in volume necessary to counter the noise. As expected, foam tips also help to improve passive isolation and work wonders in making the Spring II more suitable for use outside quiet environments.
In The Box BQEYZ has certainly stepped up their packaging game since I last reviewed one of their products (KC2). The exterior sheath has a tasteful design. Dead centre on the front is Spring 2 with Spring written in slender cursive and placed at a 45 degree angle along side a large 2. In the top left corner is the BQEYZ brand name, and in the background what looks like a delicate wisp of smoke. On the back of the sheath is a wire frame image of the ear pieces, a list of package contents, and important specifications.
Sliding the sheath off reveals a textured black box with BQEYZ in silver foil set in the top left. Lifting the lid uncovers the Spring 2’s earpieces set within a foam insert, along with a cardboard shield hiding a decently spacious carrying case. Inside the case is all of the accessories. In all you get:
- Spring 2 earphones
- Carrying case
- 0.78mm 2-pin cable
- Wide bore single flange tips (s/m/l)
- Medium bore single flange tips (s/m/l)
- Foam tips (s) with carrying case
- Cleaning tool
- Velcro cable tie
Overall I found this to be a pretty satisfying unboxing experience. The packaging itself is pretty simple and straightforward with little waste and a clean, attractive design. Once inside, you are greeted to a fairly robust accessory kit with some premium touches, such as the metal plate used for storing the silicone tips. This is something included with more expensive products from more premium brands, like RHA, and only the occasional similarly priced competitor that I’ve come across, such as Whizzer with their A15 Pro. As a special mention, that clean tool is beast and wayyyy overbuilt for the purpose. Love it.
Final Thoughts The Spring II is the result of a thoughtful production period that has created a well-rounded, versatile earphone. Outside of a desire for additional low end texture, there is little for me to complain about. Detail and clarity is excellent through the treble and mids, vocals are weighty, and there is no lack of sub-bass. A good sound stage is backed by a capable technical performance. Most importantly, the three types of driver technology found within work together in a cohesive manner that was entirely unexpected.
In addition to the Spring II’s strong sonic performance, it is well built and comes with a wonderful accessory kit that includes a decent ear tip selection and quality cable, among other items. It doesn’t feel like any corners were cut to meet the 169.00 USD price tag which is always a relief. Few products feel as complete as the Spring II in this price range and as a result it gets an easy recommendation from me. Great job BQEYZ!
Thanks for reading!
Disclaimer A huge thanks to Elle with BQEYZ for arranging and sample of the Spring II for review. The thoughts within this review are my subjective impressions based on a couple months with the Spring II. They do not represent BQEYZ, Amazon, or any other entity. At the time of writing it was retailing for 169.00 USD. You can check it out here: https://www.amazon.com/Equipped-Detachable-Isolation-Audiophiles-Musicians/dp/B089NDGC1P/
- Drivers: 13mm coaxial dynamic + nine layer piezoelectric + balanced armature
- Impedance: 32 ohms
- Sensitivity: 110dB
- Frequency Response: 7-40kHz
- Cable: 0.78mm 2-pin connector, 4 core single crystal copper wire with 3.5mm gold jack straight plug
Gear Used For Testing LG Q70, FiiO M3 Pro, FiiO BTR3K, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – F****d Up Friends