I got the FROST from BQYEZ for an exchange of an honest review. I am reviewing this product with rigorous testing & ample number of listening sessions. No one paid or influenced me to say anything positive or negative about the product. I can express anything I feel right fit for this product without any intervention of any person or entity in any way or form.

All thoughts and opinion are mine and honest to my findings at the current circumstances. I hardly ever change my opinion on an IEM in the future, but if it happens, I promptly update the review in no-time, so rest assured that this review is the most up-to-date impressions you can get from my understanding.

I always approach to write the sonic analysis with perfect choice of words instead of going to the extreme, which leads to either bashing or shilling of the product & doesn’t portray true reflection for most of the users. I will include a brief reaction while starting the review which can give you my concise yet subjective perspective to evaluate & understand how I see this IEM in the current market competition considered the price range.

If you have any questions, ask me in the comments and I will try to answer them. Leaving all this aside, Audio is a subjective hobby, but I prefer objectivity, and you can see the reflection of this trait in my writing. Hope you enjoy the review.

Access - Argha - Ranking List

I mostly rank the IEMs that I review in

• Tonality (Objective Performance)
• Technicalities (Subjective Performance)

Other than these two main sections I also rank them by

• Bias (To portray my personal liking)
• Value (Addressing current market situation)
• Rating (Average of 10 individual aspects in Sound Quality)

I made this ranking system while keeping the balance of my subjective likability & objective adaptation (approximation) in mind, which might not portray conclusion to judge any equipment.



MY EARS & PREFERENCE

Things I don’t like

• Very high amount of bass
• Lean lower midrange
• Muted upper midrange
• 5-6khz elevation
• 10khz dip

Things I like

• Natural & Life-like Timbre
• 2nd Order Distortion
• Treble like JM1-DF
• Hint recessed 1khz region
• Resolution

I always prefer a clean sounding transducer that doesn’t sacrifice one region to give benefit to another region. I don’t have a direct likability correlation with the technicalities of the IEM, I prefer judging the technicalities in respect of the tonality. Although I crave for resolution and details in music, I don’t need loads of it, but blunted/blurred details turn me off. You can watch my ranking list to learn more about my preferences.



Gears Used for Review

• Low Powered Dongle – Venture Electronics Abigail PRO
• Moderately Powered Dongle – Moondrop Dawn PRO
• High Powered Dongle – DITA Navigator
• Portable DAC/AMP – Chord Mojo 2
• Desktop AMP – JDS ATOM 2
• Desktop DAC / AIO – Rose Technics RT5000
• All these Equipment are fed by USB after filtering through JDS Synapse

BQEYZ has made a name for itself by providing products that bring more than they promise, and the Frost is no exception to this rule. This planar magnetic/dynamic hybrid IEM delivers a unique sonic identity that prioritizes music over analytical detail.

SOUND : OBJECTIVE

The BQEYZ Frost provides a mature and refined sub-bass performance. Though it will not appeal to those who crave chest-thumping physicality, it impresses with its extension into lower frequencies. The sub-bass is delivered with a natural, unforced quality, possessing analog-like attack and decay traits characteristic of a well-tuned dynamic driver. Detail retrieval is capable, enabling listeners to differentiate between various bass instruments without generating a monolithic blob of low-frequency energy.

Most notable is the way the Frost holds a distinct, separate bass layer without encroaching on the mid-bass or bottom midrange. This disciplined separation is indicative of good tuning skill. Controlled presentation keeps listening fatigue at bay while providing sufficient foundation warmth to create a listening atmosphere. Massive Attack's "Angel" is an example of the Frost's low extension capabilities along with composure, although it doesn't impart the complete physicality some would want.

The Frost's mid-bass is firmly thumpy with good impact that provides kick drums and basslines with proper weight. This fullness provides a solid foundation especially useful for rock, pop, and electronic music. The White Stripes' "Seven Nation Army" bass riff, for instance, has real heft and presence through these IEMs.

Like the sub-bass, the mid-bass has an analog-like character in its attack and decay—neither unusually fast nor tediously slow. This quality lends to an enveloping quality in which the mid-bass encircles you for a transportive listening experience. Its warmth provides comfort for lengthy sessions to be enjoyable and non-fatiguing.

It's this warmth that accompanies trade-offs. The mid-bass is not very resolving and has some textural lack of finesse. Its control is a bit loose on the side—a apparently conscious decision that has some warmth bleed into the lower midrange, enriching male vocal parts but sometimes overcrowding the soundstage when songs get dense.

The lower midrange has a fairly mixed performance. On paper, the amplitude is natural without overt recession, but male vocals occasionally sound rolled back in the overall presentation. This isn't catastrophically bad but is apparent when compared to the more forward mid-bass.

Textures in this range are well represented—you can hear rasp in male voices or woody resonance in cellos with good realism. Even with the heat radiating from the mid-bass, the lower midrange itself is a bit lacking in inherent richness and sometimes sounds almost neutral or even cool. Instruments and vocals during bass-heavy material in this range can be faintly obscured by the strong bass presentation, so guitars and other midrange instruments tend to lose some definition in competition with playing bass lines.

Female vocals cut through the Frost with crystalline clarity and controlled brightness that puts them in the front. Although these vocals have great presence and intelligibility, they occasionally lack body even though they are clear—there is lots of articulation but sometimes not enough foundational weight.

One of the main strengths in this area is the utter lack of sibilance. Those potentially harsh 's' and 't' sounds are perfectly in check, creating a much better listening experience, particularly with contemporary pop records that tend to have hotly mastered tracks in this domain. In the same way, the Frost has good control over metal artifacts such that instruments like cymbals do not gain an artificial, tinny quality.

There is a subtle peak around the 3-4kHz mark that can occasionally make certain tracks sound slightly more aggressive than strictly neutral. Resolution and detail retrieval in this range are competent without being outstanding. The focus appears to be on overall musicality and smoothness rather than forensic analysis.

The lower treble area is somewhat uneven, with no smooth linear progression through these frequencies. Minor peaks and dips introduce occasional discontinuity where the transition from upper midrange to lower treble does not feel completely seamless. Nevertheless, the lower treble is articulate enough to make sure that individual notes retain their individuality, most evident in well-recorded jazz tracks with complex hi-hat patterns.

The Frost provides warm, crunchy bite and snap for electric guitars and snares, with added excitement and realism to metal and rock styles. The irregularity, though, causes the lower treble to occasionally fall short of shimmer and brilliance at all times. It can provide detail but doesn't always offer it with the smoothness or nicety that some people might desire.

The highest treble area is the Frost's weakest point. The area comes across as rough and sometimes tinny, missing out on smoothness and extension for a high-end listening experience. The presentation sounds dark in certain areas and a little raw bright elsewhere, leading to an unpredictable and unnatural rendition of high-frequency information.

Resolution is worse here, the asymmetrical response blurring details and subtleties. "Air" and "space" that good high-frequency extension gives to soundstage are lost. On classical or electronic music with heavy high-frequency content, cymbals aren't fully metallic in appearance or in decay, sounding more choppy than life-like. This range ends up detracting from what is otherwise a generally good performance in other frequency ranges.

The BQEYZ Frost's hybrid driver configuration produces mixed performances when it comes to recreating the natural character of instruments. Drums receive good low-end impact and weight, although cymbals and hi-hats sound a little blunted in their upper regions. String instruments such as violins possess pleasant sweetness, though their highest notes don't quite soar with complete ethereal quality. Guitars sound fairly good, with sufficient crunch for electrics and pleasant warmth for acoustics, although they lack some of the zingy brightness in their highest harmonics. Piano rendition is less good, sounding somewhat unreal with darker upper octaves and lacking the genuine hammering force in lower ranges. Saxophones produce fundamental notes quite well but lack some of their distinctive rich, reedy texture and full-bodied presence.

For drums, the Frost provides a generally pleasing representation. The low-end punch, particularly from kick drums, is excellent, with that thumpy mid-bass and reasonably extended sub-bass helping out. There's good weight and power. The drum body, especially toms and snares, is also well represented, sounding full and resonant. Yet, the cymbals and hi-hats in particular within the top of the kit will tend to be somewhat dull. This most likely stems from the roughness and unsmoothed character within the lower and top trebles. The original attack may or may not be there, yet shimmer, decay, and their room for air all can appear truncated, and a bit devoid of metallicity and yerine zing. So, although the percussive bite is excellent, the higher frequency aspects of the drum sound aren't its greatest strength.

Violins, and strings in general, sound really nice on the Frost. They have a good sweetness to them, and the fundamental notes sound well-represented. Yet the pinna recession, or that subtle dip too often around the 2-4kHz area which may impact the transition from upper-midrange to lower-treble, appears to influence the complete extension and brilliance of the violin's very highest notes. While the body and much of the violin's personality are there, that flighty, otherworldly nature of the highest registers may be slightly held back. It's an orchestral offering, to be sure, but maybe not as revealing a performance of violins that you'll likely ever hear.

Acoustic and electric guitars tend to sound quite good through the Frost. There's ample crunch and snarl, and particularly for electric guitars, which makes rock and blues a fun listen. Acoustic guitar bodies are also conveyed well, and with a rich warmth. Though, just like with the cymbals, guitars are capable of lacking a bit of that "zingy-ness" or glitter from the very top harmonics. The low-end foundation tones and overall character are there, and the separation between the instruments is reasonable, but that final touch of airy detail and metallic glint from the strings could be ever so slightly suppressed. For rhythm guitars, fullness is enjoyable, but where detailed high-frequency information is critical in intricate lead playing, some of that brightness could be lost.

The piano is a tricky instrument to duplicate realistically, having a broad frequency range. The piano timbre on the BQEYZ Frost is a little disappointing, and it sounds artificial. The treble extension, which we've been talking about, isn't its strength, and this comes across as a piano sound that can sometimes be a touch dark or not very brilliant in its higher octaves. The top notes may not possess that crystalline clarity or the room they need around them. Also, the hammering in the lower registers, the percussive thud of the hammers striking the strings, doesn't quite feel fully natural. It may be lacking in the definition and weight of an actual piano. The presentation as a whole can be somewhat smoothed out and less lively than it needs to be.

Saxophones on the Frost are what I would say are "okaish." The basic tone is fairly well-attained, and there isn't any obnoxious harshness. But the body of the saxophone, that reedy richness and fullness, can be missing somewhat. It may sound a little more anemic or less forceful than it could, without that commanding presence that a properly recorded saxophone can possess. The bite and rasp are present to some degree, but the overall presentation fails to fully deliver the instrument's power and richness.

In general, the Frost is a musical and smooth tonal presentation over strict accuracy, with its treble limitations making the naturalism of many instruments less than ideal.

SOUND : SUBJECTIVE

The Frost's imaging is capable but not great. Instrument positioning is usually clear enough to identify positions in the mix, but identifying exact positions with laser accuracy can prove difficult. The stereo separation between the left and right channels is good, working positively on the soundstage width.

Where imaging falls short is in spatial acuity, especially during multisonic passages where numerous instruments play as one. Individual positions are generally intact but lack the crisp definition and absolute clarity of IEMs that are best at imaging. For all but the most discerning listeners, this level of performance will be more than satisfactory, although imaging aficionados may wish for greater specificity.

Dynamic capability is among the stronger traits of Frost's. Micro-dynamics—those small changes of volume and strength—transmit well, laying bare subtle vocal inflections and varying attack strengths on instruments. Macro-dynamics also do very well, easing through changes of dynamic range from soft passages to thunderous crescendos with dignity and fitting effect.

The presentation retains a natural character rather than an artificially hyperrealistic one. Music sounds energetic with proper weight to notes and natural volume changes instead of unnaturally severe contrasts. This dynamic ability makes the Frost interesting in multiple genres, especially those dependent on dynamic contrast such as classical music or well-mastered jazz records.

The planar magnetic driver promises well for high detail retrieval, but tuning decisions—especially the treble anomalies—hide some of this potential. Without equalization, the overall resolution fails to achieve the heights one would anticipate from the driver technology. The IEM is not muddy or congested but fails to deliver the crystalline clarity and forensic detail excavation that detail-pursuing listeners may desire.

The emphasis seems more towards smooth, musical presentation than unearthing every microdetail in recordings. With careful equalization compensating for the treble irregularities, the perceived resolution could enhance significantly, but in its factory state, it provides good but not great detail retrieval.









PACKAGING & INCLUDED ACCRSSORIES (Very Average Tip & Case Quality)

The BQEYZ Frost provides a unique listening experience with clear strengths and weakness. Its powerful bass foundation, silky midrange, and stimulating dynamics present a musical staging appropriate for multiple listening sessions. The immersive soundstage and non-fatigue characteristics further recommend it for daily use across genres.

Still, critical weaknesses in the upper treble range, sometimes recessed lower midrange, and low resolution persist to keep it from reaching high levels of excellence. The timbre irregularities between different instruments also point to the trade-offs inherent in its tuning philosophy.

For those listeners who value musicality, warmth, and bass presence over analytical insight or treble extension, the Frost is a consideration. It's not for bassheads wanting earth-shaking rumble or treble freaks and detail-seekers analyzing every recording subtlety. Rather, it sits in a middle ground that focuses on fatigue-free listening pleasure with sufficient technicality to meet most non-critical listening applications.

The BQEYZ Frost is ultimately a laudable effort that lends its own unique personality to the competitive IEM field. Not ideal, but with an attractive sound signature and technical proficiency in some areas, it is an interesting choice for those whose tastes overlap with its own specific sonic bent.