Disclaimer: This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.
Good quality included cable
Comfort and fit
Dissonant, uneven treble
Bass lacks authority
Impedance: 32 Ω
Cable Length: 1.2m
Pin Type: 0.78mm-2 Pin
Plug Type: 3.5mm
Driver units: 5-layer piezoelectric unit, Coaxial 13mm dynamic driver with PU+LCP diaphragm, and new version balanced armature customized unit
Packaging & Accessories
The BQEYZ Summer comes in a textured black box with a blue cardboard sleeve. On the front of the sleeve is just the model name and on the back is a list of specifications. Here’s what you get inside the box:
BQEYZ Summer earphones
Detachable 8-core SPC 2-pin cable
6 pairs of silicone eartips
Available in two colours (black and blue), the BQEYZ Summer shells are made from a lightweight, transparent resin. There’s a wave-like texture on the faceplates which is about the only visual feature worth mentioning. As far as most current earphones go, Summer’s design seems somewhat uninspired. But for anyone looking for a visually low-key IEM this would be ideal.
There are 3 vents in total on the shells: one near the base of the nozzle and another two near the top of the inner shell. The nozzles are aluminium and have the obligatory metal mesh to prevent any ear wax or debris from entering the shells.
As far as comfort goes, Summer has the best ergonomics of all the BQEYZ earphones I’ve tried until now. The shells fit naturally to the shape of my ears and I can easily wear them for hours at a time. When it comes to passive noise isolation, it’s a bit below average and doesn’t block much external noise. However, it’s more than enough for normal everyday situations and there’s very little noise leak.
Included in the box is an 8-core silver-plated copper (SPC) 2-pin cable. The 2-pin connectors, Y-split, chin slider and straight plug are all matching aluminium. The braid is tidy and uniform throughout. When it comes to handling, the cable is soft, flexible and has no noticeable microphonics. This is a nice cable and one of the better ones you’ll see at this price point.
BQEYZ Summer has a clear, energetic sound with a V-shaped signature. It has a slightly elevated bass, clear midrange and boosted treble. Summer has clarity in abundance, loads of detail and good definition throughout. But is it all warm and golden sunshine or are there other aspects to this IEM?
The bass hovers near the neutral mark in terms of quantity. The transition from sub-bass to mid-bass is fairly linear but neither has much in the way of ultimate weight or impact. In fact, in some ways, Summer’s bass sounds similar to a balanced armature type bass with good speed and tone, but it offers little in the way of overall authority.
Although the bass is faster and tighter than the BQEYZ Spring 2, it’s not as textured or commanding. Instead it sounds relatively smooth and doesn’t convey a great deal of aural information. Tracks like Aes Dana’s “Jetlag Corporation” demonstrate Summer’s ability to extend down low but it’s purely audible and lacks any visceral feedback or physicality.
Like a balmy summer night, the midrange is slightly on the warm side of neutral. It’s more dynamic than it was on Spring 2, due partly to improved separation from the upper bass to the lower mids. Clarity has improved as well, making vocals more articulate and instruments sound more lively, particularly in the upper registers.
There is still a slight disconnect between the slightly rounded midrange notes and the sharper, hard-edged treble. However, just like other BQEYZ models, the midrange resolution remains a strong point.
The treble is where Summer stumbles. Whether it’s a weakness of the piezo driver or simply the tuning, the treble often sounds peaky and dissonant. Just like its namesake, the Summer can glare and sizzle.
On certain recordings, it kind of feels like when you go out on a hot summer day and forgot your sunglasses. Sibilance rears its ugly head, certain sounds break ranks and crash cymbals become thin and brittle. It doesn’t happen on every song but it happens often enough to be a deal-breaker, in my opinion.
For example, Michael Jackson’s P.Y.T is a pretty lively song and it sounds just fine with Summer. However, the same can’t be said for Anathema’s “Angels Walk Among Us” where every “S” and “T” uttered pierces into your brain with laser intensity plus crash cymbals sound brittle, lacking both body and density.
The soundstage is reasonably large with a neutral position. Stage width is average but the depth is surprisingly good, forming a rounded space that’s quite convincing. Instrument separation and imaging are decent but nothing out of the ordinary.
NICEHCK NX7 MK3 ($119)
The NICEHCK NX7 MK3 is a hybrid 7-driver IEM with 4BA + 1x Dual DD+1 piezoelectric driver. From the get-go, the NX7 MK3 is noticeable warmer and smoother. It has more bass presence in comparison to the Summer, particularly in the sub-bass. There’s isn’t a large audible difference in bass quantity but the NX7 MK3 feels more powerful in terms of rumble, impact and decay.
There’s more body and fullness to the NICEHCK’s midrange despite it maintaining a similar neutral position in terms of the soundstage. Vocals have similar note size but in the absence of any ‘piezo glare’ it sibilance that the Summer exhibits.
While the NX7 MK3 shows a similar 7-8kHz peak on the graph, it’s more in balance relative to the bass and midrange. The warmer overall tonality of the NICEHCK counterbalances its treble peak and as a result, the treble has a more accurate timbre. Soundstage is slightly larger and more natural on the NX7 MK3.
FiiO FH3 ($129)
The FiiO FH3 is a triple-driver hybrid IEM with 1DD+2BA drivers. The FH3 has better sub-bass extension and authority, as well as improved overall bass texture. Both the sub-bass and mid-bass pack more impact and punch on the FiiO.
Vocals and the midrange in general are more forward and full-bodied on the FH3. Overall resolution is similar on both IEMs. The treble timbre sounds more natural and accurate on the FiiO, whereas the Summer has an artificial metallic edginess to it that permeates the sound as a whole. The FH3 has a slightly smaller soundstage but it’s more stable and has better imaging and layering.
TRI Starsea ($129)
The TRI Starsea is a hybrid triple-driver IEM with1DD+2BA drivers. First impressions when listening side by side with the Summer is that the Starsea has a more natural tonality and timbre. The TRI also has superior resolution and instrument separation.
Both IEMs have a fairly light and fast mid-bass but the Starsea has greater sub-bass extension and impact. Vocals on the Starsea are more forward and have a richer tone. It’s in the midrange where Starsea’s better resolution is really noticeable as it creates more space around each instrument and makes them easier to identify.
Starsea’s treble notes are rounder and softer, making them sound more cohesive with the bass and midrange compared to Summer. In comparison, Summer’s stark, contrasted treble sounds disconnected, in addition to adding glare to notes throughout the audio spectrum. Starsea has stronger placement and imaging despite having more forward vocals and a narrower soundstage.
The BQEYZ Summer is the brands latest product in their tribrid lineup and comes in at a slightly lower price. Reflected in that lower cost are a somewhat uninspired design and resin shells compared to the metal shells of Spring 1 and Spring 2.
Summer has a clear, energetic sound and will appeal to those who prefer a crisper treble presentation. While it’s a decent earphone in its own right, there are several more compelling options at this price point.