EPZ P50 VS Epz K9

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EPZ K9 brings a flashy spec sheet and premium feel: a 9-driver hybrid (1DD+8BA) dressed in a world-class shell that fits securely, vents properly, and looks gorgeous with its blue-white case. The stock cable offers swappable 3.5↔4.4 termination and a steady chin slider, though the fabric sheathing and barely visible L/R markers are quirks. Originally teased near $300 and now closer to $400, the package screams polish more than compromise.

Sonically, this is a V-shaped tuning with rich bass, thick lower mids, and extra energy in the 3–6 kHz band that can make stick hits and sibilants feel a touch sharp. The midrange clarity is only decent and the upper-air/treble extension is just okay, but staging comes across pleasantly open. Graph comparisons paint the picture: versus EPZ’s own P50 (safer, flatter upper mids) and the more majestic, warm-lean V of the EPZ 530, K9 pushes that presence region a few dB higher. Sets like Afu Dawn X flatten that band while extending air; Softears Volume offers a very similar profile but even more 5–6 kHz energy; and options around this price—Magic Top Pro, Yu9 Chua—show alternate takes with either dipped presence or stronger bass/1 kHz support.

In practice, K9 aims for excitement: weighty bass, a forward upper-mid/low-treble bite, and a lively stage. Listeners craving a crisp, energetic V will find plenty to enjoy, while those sensitive to brightness or seeking mid clarity and airy refinement may prefer the P50, 530, or similarly priced competitors. Stunning build and respectable performance, but the tuning choices make it a taste-dependent recommendation rather than a universal pick.

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The EPZ P50 comes in hot as a new tribrid and a potential $200 neutral benchmark, trading sterile restraint for a more vocal-centric presentation. Versus the MEGA5EST, vocals sit a touch more forward—adding emotional weight and clarity—while the MEGA5EST still edges it on sheer smoothness and EST “air.” Compared to Meteor, the P50 fills in the lower mids, dials back 1–3 kHz glare, and opens the top end a bit; Meteor stays a hair softer up top. The catch is bass: the P50’s DD is competent but not a sub-bass shaker—expect clean rather than authoritative slam.

Against peers, the P50 sounds fuller and more natural than Supermix 4 (which is brighter and more “hi-fi” energetic), and it trades blows with Odyssey: Odyssey brings better bass texture and treble micro-detail, while the P50 delivers superior vocal clarity and a touch more air. It excels at mid-volume listening—Volume S needs more gain to bloom—and outclasses lighter, air-tilted sets like “K4” style tunings when male vocals or body are the priority. Accessory game is strong too: a nicer cable and a genuinely sturdy hard-leather case sweeten the deal. Not the most “unique” flavor and not for bassheads, but as a balanced, clean, vocal-forward option around $200, P50 is an easy recommendation for those chasing neutrality without the vanilla.

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EPZ K9 lands as a sweet, balanced all-rounder with a tasteful, slightly V-shaped tilt. Bass is snappy and well-controlled, with a mid-bass fill that adds natural note weight to vocals and drums without muddying the mids. Treble extends cleanly with a hint of air, steering clear of both dullness and sharpness, while imaging is a touch sharper than entry peers. Think EM6L’s vibe but less shouty up top, a bit more resolving, and a clear upgrade path from sets like the Clean/EW300.

Against rivals, K9 takes a more vocal-centric approach: fuller mid-bass, smoother presence, and better slam/body on drums. Astral counters with stronger sub-bass texture, extra air, and a tamer upper-mid for high-energy genres; both trade blows on detail with K9 edging imaging. Versus Odyssey, K9 offers cleaner treble extension and forward vocals, while Odyssey is bassier, with deeper sub-bass texture and louder-volume scaling. Overall technicals sit around Pilgrim/Dusk level, which is solid for the price, especially with the nicer cable, case, and a black color option.

Usability is largely easygoing—tip-rolling is flexible and the stock clears keep things smooth—though the shell edge can feel uncomfortable over long sessions. Best at mid-volume listening (around 60–65 dB); push higher and upper mids/treble can get lively on K-pop/EDM, while R&B/indie scales sweetly up to ~75 dB. Compared with bass-tilted sets (Tea Pro/Hype 4/Estrella/Punch/Martello), K9 is cleaner, tighter, and more mid-range focused; versus neutral leaners (Pilgrim/Dusk/Canon Pro/“5+2”), it has a more complete upper-mid for vocals. Not a market-breaker in pure price/perf, but as a refined, musical package with balanced tonality and comfort-adjacent caveats, K9 is a very solid all-rounder.

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EPZ P50 comes as a tribrid at $185 with a surprisingly complete kit: a sturdy leatherette case, modular 3.5/4.4mm terminations, three silicone tip sets, and a cleaning cloth. The resin shells are semi-custom with aluminum faceplates; comfort is generally good but anatomy-dependent, and the stock cable—while well finished—runs on the stiff side. A standout twist is the factory customization option (~$225 total for the “Grindphones” style), which notably doesn’t alter the tuning in any meaningful way. The set is easy to drive, shows minimal change with impedance adapters (a touch warmer/more vocal-forward), and avoids pressure issues thanks to smart internal venting.

Sonically, tuning sits as a controlled, mild V: bass is just north of neutral with pleasing texture and impact, mids stay clean with an engaging female-vocal emphasis, and treble adds airy sparkle without turning tizzy—though insertion depth can trigger length-mode variability for some ears. Technical chops impress at the price: detail retrieval punches up, imaging is precise with good separation, and stage reads average but coherent. Against peers, P50 feels more resolving than Kiwi Ears K4 (trades bigger bass/sparkle for better mid clarity), brighter and more vocal-present than the neutral-leaning Ziigaat Lush, and echoes a Dunu Da Vinci vibe with less bass. Verdict: tremendous value and a terrific pick for vocal-centric libraries—highly recommended to audition first if treble sensitivity or fit quirks are a concern.

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EPZ’s P50 feels like a breakout for the brand: a compact, medium-small shell with a vented faceplate that’s marketed as “open-back,” yet isolates like a typical IEM. The unboxing is tidy at this price—carry puck, a real microfiber cloth, and two sets of generic tips—while the modular cable (screw-lock swappable termination) is handy if a bit thin, stiff, and kink-prone; the 2-pin plug sits slightly proud of the socket and the “R” marking is visible on the outside. The long nozzle (~5.5 mm diameter) can push fit depth, so shorter tips (e.g., NF Audio-style) help; once set, stability and comfort are excellent. Overall build looks clean and modern, if a touch editorial compared with EPZ’s other shells.

Sonically, P50 embraces the current tilted diffuse-field “new meta” with a mostly neutral, natural presentation and a later-rising, sub-bass-centric lift that gives bounce rather than mid-bass thump. There’s a hint of extra presence around the 4–5 kHz region that adds macro-contrast—vocals pop with definition and separation is crisp—while upper treble stays safe: cymbals are clean but a bit light in weight. Bass is tight and incisive rather than slammy; micro-texture on vocals is good, though the set favors that big, “stagey” contrast over ultra-fine grain. It’s easily EPZ’s best tuning so far: clear, organized, and engaging without drifting from neutral-ish aims.

Against peers, Kiwi Ears K4 tracks a similar target but sounds lower-contrast and can blur on dense mixes; P50 hits harder on transients, images more cleanly, and keeps busy tracks sorted, while K4 offers a richer midrange with “frothier” treble. Versus the Binary Chopin, Chopin is warmer, fuller, and more mid-bass driven—more “analog” and atmospheric—with deeper perceived space but a bulkier fit; P50 is leaner, clearer, and the least bass-forward of the three. Verdict: a confident 4/5 for delivering a small, comfy fit and a clean, contrasty neutral that competes squarely around $200–$250. If the brief is “neutral with a bit of drama,” this is a strong pick—and a promising sign of where EPZ can go next.

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The EPZ P50 arrives as a ~$200 tribrid with a slick presentation: FR graph on the box, a puck-style case, plenty of tips (oddly two identical sets), and a nice microfiber cloth. Build leans premium with a semi-open back and a faceplate that gives “arc reactor” vibes. The custom shell offers a secure fit for most, though very small ears—or anyone sensitive to an inner wing—may need caution. The modular cable (3.5/4.4 mm) is practical yet slightly stiff and retains some memory; isolation is typical of sealed IEMs despite the semi-open styling.

Sonically, the P50 goes for a warm-balanced tuning. Bass quality impresses: bouncy with deep sub-bass reach, prioritizing texture and control over sheer quantity (more thump is possible via an impedance adapter). Mids read natural with a touch of warmth—male vocals shine—while female vocals can feel a bit lean due to a more relaxed upper-mid energy. Treble is smooth, inoffensive, and “planar-clean” without planar timbre, with only a slight wish for more top-end extension.

Technical performance is the star. The micro planars pull out micro-detail unusually well for the price; imaging, separation, and overall resolution feel confidently executed, making guitars pop and busy mixes easy to parse. That clarity translates to gaming, where positional cues and crowded soundscapes (think battle royale chaos) remain intelligible—worthy of a two-controller gaming nod. Overall, the EPZ P50 is a solid contender at this price: balanced tuning with standout detail retrieval and imaging, tempered only by mids that play it a little safe. For listeners unbothered by a gentler upper-mid lift, it’s well worth the money—a two-star recommendation.