BASN BMASTER 5 Review: Bassy euphony with pentaconn connectors

Pros: 
-decently balanced V shape balance that is neither too bassy or trebly
-warmed mid range that can go lush for some singers and wind instruments
-not fully scooped mid bass punch
-decent treble layering
-some sense of macro dynamic due to 5 drivers set up
-good construction quality (feel sturdy)
-impressive accessories number

Cons:
 -lower than average technical performance
-rolled off wonky sub bass
-overly warmed mid bass with mellow punch (poor bass control)
-euphonic timbre with few texture details
-imprevisible mid range rendering (vocal can go both recessed or forwards)
-congested macro dynamic
-non clean mid range
-lot of harmonic distortion is going on (we call this euphony)
-treble isn’t snappy nor sparkly nor airy
-small soundstage and average imaging
-pentacon cable (I will never know if the IEM can scale up with cable or balanced source)
-non competitive sound value (better go KZ hybrid for a fraction of the price-and im a KZ hater)

TONALITY:7 /10
TECHNICALITIES: 7/10
TIMBRE: 7/10
SOUNDSTAGE: 7/10
IMAGING: 7/10
MUSICALITY (subjective): 6.5/10
ACCESSORIES: 8.5/10
SOUND VALUE: 6.5/10

BASN is an IEM company based in the USA but most likely manufacturing their IEMs in China. They seem to target musician with their products and this is their introduction:

‘’BASN is a professional brand specializing in high-quality in-ear monitor (IEM) headphones, dedicated to delivering an unparalleled audio experience for both musicians and audiophiles. Our team of expert engineers has meticulously analyzed thousands of custom earphones to create a design that offers an ideal fit for most users. Partnering closely with vocalists, drummers, guitarists, keyboardists, bassists, and audio mixers, we’ve refined our sound to meet the high standards of live performance and studio settings.

Our signature model, the “Bsinger,” laid the foundation for an expanding line of IEMs, including the triple-driver “Bmaster” and “MMCX” series, the quad-driver “Metalen,” the five-driver “Bmaster 5,” and the planar driver series “ASONE” and “MTPro.” Each series is uniquely crafted to enhance the listening experience, with new models launching soon to elevate your sound further.

Beyond headphones, BASN is also expanding into wireless microphones, condenser microphones, and in-ear monitor receivers, continually innovating to meet the dynamic needs of today’s performers and sound professionals. At BASN, we’re driven by a passion for precision and comfort, helping you perform at your best, whether on stage or in the studio.’’

I’ve reviewed their planar IEM called MTpro in the past, it was a fun and bassy musicality that was warmer than other planar offerings.

Today I will review their 5 driver hybrid IEM called Bmaster 5. Priced 200$ but often on sale, the Bmaster 5 is follow up of Bmaster 2 and uses 1x10mm DLC dynamic driver + 4 custom balanced armature (most likely bellsing).

Let’s see in this review if the Bmaster 5 offers a balanced musicality and most of all good technical performance for its price.

CONSTRUCTION&ACCESSORIES

While the flashy design with pirate skeleton motif might not be for everyone, the construction of Bmaster 5 is good and sturdy, using thick resin plastic and well crafted back plate. The finish is smooth in hands and shell size while chunky has an organic shape and light weight that permit a comfortable fit.

On top of the shell we have a pentaconn connector. This might be a plus if you already own an IEM with this kind of cable connectors, but if it’s not the case like me (that owns 300 IEMs), this means you can’t upgrade stock cable nor use a balanced one, which is a con. As well, I’m not a fan of how easy it is to disconnect these connectors, I prefer MMCX that click when properly connected, and ultimately 2pin which is the most common connector type nowadays.

But Basn included 2 cables, one 4 cores silver plated OFC cable of good quality, but it came 3.5mm single ended and it’s a very long 1.5m cable, as if solely thinked for studio use and less so for on-the-go portability. Another cable might be the one thinked for portability though it’s still 1.5m long, but it’s a cheap cable with a mic that I don’t even care to try.

If Basn excels at something, it’s to spoil its consumers with impressive packaging and accessories. We have a very glorious carrying case made of metal that looks like a mini suitcase and has plenty of space for more than one IEM and cable. It includes plenty of ear tips (12 pairs in 4 models including memory foams), a 6.35mm jack, those 2 cables and a cable clip.

SOUND IMPRESSIONS

The Master 5 offers a warm V shape tonality that isn’t overly bass heavy nor enters basshead territory, warmth comes from mid bass bleed which darken and thickens energetic mids, presence brightness boost do it’s best to pass through a thick and air less macro dynamic.

4 BAs advantage is perceivable in multiple sounds layer that built up like a juicy big mac, in the sense their not enough transparency to upgrade imaging capacity nor offer a n open holographic spatiality, readability is more about macro than micro rendering here, you can’t use these to properly monitor anything.

SO we are into a weird guilty pleasure territory where bass fun isn’t really there nor treble impress with it’s detail retrieval, the technical performance expected with such drivers configuration and such price range isn’t met and one would wonder if a simple KZ ZS10 would be the upgrade for this IEM, which is upside down sound value rationality.

But this doesn’t mean Bmaster5 is plain mess tonal balance wise, for a multi BA with energetic upper mids it doesn’t go sibilant nor overly aggressive, overall tonality is well rounded and can even trick the mind thinking this is a single DD IEM, so the coherence being glued with warmth work in this aspect. BA’s are euphonic sounding, not boxy nor metallic, sure, we have a notch of plasticky subtle texture in sustain of instrument and vocal, like breathy vocal, but it’s still not overly spiky or harsh, in fact we are near lush mids.

The bass is a bit of a let down since i was expecting better performance from DLC DD, these don’t offer clean controlled bass nor round and hard punchy one, as well sub bass is rolled off.

So we have more mid bass focus in terms of dynamic, it hits in a mellow and heavy way but definition isn’t very round, it’s loose, thich and warm and separation is average, transition into mids is gluey. Kick drum texture is warmed so there are not a lot of presence details.

Sub bass has short sustain release, which is vibrant and compressed for both rumble and bass line, this isn’t sub bass that widen in the space nor extend deep and clean, the double bass in jazz trio will not release properly it’s attack which cut short and distant with a peak in attack lead, which is more energetic than rest of presence rendering.
Same for Cello, lower range vibrancy that embodied tone rendering isn’t there, this time BA timbre is more evident as if DD is left out for completing fullness of instrument presence, which is a bit boxy for solo cello album i listen to from Anja Lechner.

This kind of unrefined bass response is more appropriate for pop music, it can’t deal with speedy complex tracks nor induce enough engagement for bass heavy ones. That’s a bass that exists, and harmonic distortion is there, this adds euphony to loud impact as well as avoiding proper layering of bass and drum instruments.

The mids are very centered in the stage, presence isn’t wide nor very transparent. It’s not open sounding mids, nor crisp one. Timbre is dark and the definition of each instrument is a bit hazy, the BA sustain-release is loose here, don’t expect sharp and controlled attack nor well define attack lead from piano, violin, guitar, drums etc. Female vocals are more upfront than lower range one male and female which goes warm and thicker, darker, lusher in presence. Note weight is there but you can’t position clearly the impact due to this softed attack bite.

While this softed attack abrasivity avoids sibilance or aggressive spike, it does make fine intelligibility of vocal less well articulate as well as agility of instruments melody less capable, the violin feel drafted and not fully restitute in attack sustain-release amplitude curve. Still, in bass less music track instrument layering can be good enough for an intimate holographic presentation that never goes spectacular nor high fidelity.

Mediocre yet non disastrous mids are best way to describe this range, it specialize in vocal and instrument in similar range that don’t need accurate rendering to be enjoy, but anything from piano to violin will be a let down so those aren’t suggested for classical (especially symphonic), complex rock or metal, complex jazz with piano or guitar (do OK with saxo trio).

In other words, acoustic music isn’t the talent of Bmaster and it’s better with R&B, pop, soul, electronic and some indie music.

Treble is most lively part of Bmaster5, in the sense it’s the most dynamic sounding and most multi layered too, it add some air on top even if it’s still lacking alot since upper treble pass 10khz is rolled off. This mean we don’t have sparkle and brilliance on top for percussions release nor for acoustic guitar which sound dry. Attack isn’t the most snappy and fine details are lacking. It’s rather rough treble that draft sound info there and there but don,t reveal full picture of music. Some percussions can get lost in the mix due to treble spike that will sharpen more certain range. With simple music percussions line can be well layered but it will still lack a clean attack lead (snap) to it. So we have a dark but energic treble rendering, it’s not crisp nor shinny, it’s crunchy and speedy with average control. Those aren’t for treble head nor sparkle lover.

Soundstage is nothing to write about, it’s average wide and tall and lack any sens of depth.

Imaging is average too, macro layering is hazy and lack proper sens of transparency as well as fine resolution for precise positioning.

COMPARISONS

VS KOTORI ZEPHYR (1DD+1 knowle BA-150$)

The Kotori is more mid centric and natural sounding, balance is less energetic and smoother.

The bass is more rounded mid bass, more textured and well defined, speedier and less warm in punch too, sub bass is cleaner and leaner but rolled off to. Basn mid bass is more mellow and diffuse in punch, not as hard hitting nor as well layered, in terms of sub bass these are on par though bassist sound warmer and more euphonic.

Mids is where the Basn is put to real shame, it sounds darker and more recessed, muddier and not as open, presence lacking rounded definition of better resolved mids of Zephyr. This Zephyr offers wider lusher vocals, better macro layering, their more air around the instrument, more space to breathe, mids aren’t as compressed and timbre is more textured while being less plasticky too. All instruments’ timbre sound more natural with Zephyr, while low or high harmonic imbalance will affect more negatively the tone for Basn, which offer warmer and darker mid range that is more box in presence rendering. Natural resonance of attack release is as well clearer and more stable in dynamic with Zephyr too.

With 3 BAs more, one would expect Basn to be notably superior in treble response but apart from more sound info rushed to the listener in a euphonic way and denser macro layering that could have been holographic if not as congested, there none. The BAs in Master 5 are cheap custom one which have less clean transient response and inferior resolution capacity, so the Zephyr deliver fuller treble response in term of percussions presence, it sound more airy and open on top too, micro details are less in number but easier to fully appreciate as well as less spiky and notably better balanced and cohesive.

The soundstage is wider, taller and deeper with Zephyr, Basn feels concentrated in the middle of spatial cues.

Imaging is more accurate with Zephyr, though both these IEM don’t excel in that department.

All in all, better use 2 good quality drivers than 5 mediocres ones, this comparison is a literal proof that underlining more drivers doesn’t equal better sound. Zephyr is mile ahead in term of tonal balance, timbre and musicality that create emotional reach due to more focused and natural sounding mid range, yet technical performance too is slightly superior due to lower harmonic distortion, better and more open macro dynamic balance and more controlled attack from DD and BA.

VS SIMGOT SUPERMIX4 (1dd1ba1pl1pz-150$)

The SM4 is more balanced sounding yet more W shape as well as less V shape mid bass wise.

Sub bass is more boosted, digs deeper, rumbles more vibrantly and has a more natural timbre. Bass lines are fuller and more defined, better layered too. Mid bass punch is even more mellow but it’s more textured and rounded still, it’s easier to pinpoint kick drum due to less warmth, distortion and euphonic excitement in kick impact. Basn mid bass is thicker and notch more tactile due to louder dynamic impact.

Mids are more compressed and centered, less lush and wide with Basn, less open in spatiality, they are more spiky in upper mids loudness so female vocals are more energetic.SM4 layering is more transparent even if timbre is richer.

The treble is more airy and snappy with SM4, percussions are better controlled and faster in attack due to planar and piezo driver, cohesion and balance is superior too.

SO undstage is notably wider, taller and deeper with SM4.

Imaging has more space between instruments and more accurate and clearer positioning with SM4.

VS ROSE TECHNIC QT9MK3 (1dd4BAs-160$)

Now time for proper hybrid fight since both of these are in the same price range, yet Rose uses high quality tesla DD and sonions and knowles BAs.

I’ll not be too wordy here since QT9 MK3 is so much from another league in terms of technical performance it’s plain ridiculous…bass is speedier, more textured, more boosted in sub bass which dig deeper cleaner cleaner way while punch is similar but less thick and warm mid bass wise.

Mids are notably crisper, more detailed and clean, superior in resolution next level way, more controlled and snappy in attack and again notch thinner in presence which is less euphonic, dark and macro dynamic muddy. Timbre is dryer, less warm, more textured and transparent, presence is as wide too this time it stays centered.

Treble is more extended, brighter, way faster and snappier in attack, crunchier in attack lead too so electric guitar feels less scooped and hazy. It’s more airy and has notably better macro layering which has a sense of holography.

Soundstage is wide and tall but deeper with QT9.

Imaging is next level superior, no competition here, positioning is sharper, layering cleaner and more articulate, depth cleaner and resolution crisper.

All in all, this is where the sword really hit hard, I just can’t believe both these IEM are from the same price range. Unless you are seeking for more colored musicality with way poorer performance, it would be extremely counterintuitive to bet on Bmaster5. From monitoring purposes to engaging audiophile level musicality, the QT9 MK3 stands head and shoulder above the Basn. Not a single doubt about this.

CONCLUSION

The Basn Bmaster 5 is an IEM that do nothing really wrong when you listen to it casually and don’t care much about critical listening, it offer a lively and punchy musicality with warm and forwards mid range that isn’t veiled nor lacking energy in presence and the catchy treble do add extra details and stage layer that will impress some audio enthusiast.

Yet, audio world has change with the time and bar have raise in term of performance ratio, so sign of time is evident with these 2023 IEMs and when this product fall into audiophile ears, it’s hard to undersee limitation of drivers in term of resolution, attack control and harmonic distortion. As well, the Bmaster musicality don’t favour acoustic instrument in term of tone naturalness, so this isn’t suggested for piano or violin lover, nor for guitar and cello and clavichord lover, vocal and wind instrument wise, the definition of presence isn’t as important and Bmaster5 do well enough.

Simply put, the Master 5 are masters of nothing apart from bringing an average V shape musicality from the driver’s configuration they choose. It’s overpriced for the performance it gives, but not as much as less warmed multi BA hybrids that are just plain unlistenable. Those are listenable, the bass punch, the mids pop out with some lushnest to it and the treble has more dimension than an average single DD IEM in its price range. If we look through this positivist glass, the Bmaster5 aren’t that bad and certainly not the worst chifi IEM in the market and for that worth a check from audio enthusiast pals around.
I guess.

 

 

Article written by rikfictif

Reprint from website: https://nobordersaudiophile.wordpress.com