EPZ P50 VS Ziigaat Odyssey 2

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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 Ziigaat Odyssey 2 arrives as a collab between Ziigaat and Hangout Audio (tied to Crinacle), essentially a Crin-influenced set in disguise; it’s a 1DD + 3BA hybrid priced around $250. Accessories are thoughtful—three ear-tip sets, spare adhesive filters, and swappable 3.5/4.4 terminations—though the long, friction-fit plug feels awkward. The metal shell is medium-sized with a short nozzle for a shallow fit; comfort is easy, stability average, and the thin green cable is softer than prior Ziigaat attempts with a chin slider that actually holds.

Tonally it lands squarely in the tilted diffuse-field “meta” neutral camp: natural vocals, tame upper-treble, and a slight 4–6 kHz lift that adds clarity and a more contrasty/clinical edge without harshness. Imaging and separation are clean for the price, but the sub-bass-focused boost leaves the low end marshmallowy—tactile yet soft, with kick drums short on slam. Overall balance is convincing and easy to live with, just not especially exciting.

Versus Ziigaat Lush, Odyssey 2 is crisper and more defined where Lush sounds darker, smoother, and a bit low-res, though Lush hits mid-bass a touch harder. Against Softears Volume S (costlier), Volume S wins on bass grip and midrange texture, sounding fuller and more engaging while Odyssey 2 stays cleaner but more clinical. Conclusion: a very good set in a crowded mold—3/5 for a refined meta tune with agreeable timbre but modest bass impact.

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Ziigaat x Hangout Audio Odyssey 2 comes as a 1DD + 3BA hybrid in a fully metal shell with a matching metal nozzle, venting, and a comfortable, familiar Ziigaat fit. The package is generous: a handsome new case (seen on Luna/Crescent), 4.4 balanced with a swappable 3.5 adapter, multiple tips, and spare filters. The flat 2-pin cable looks good in black/green but is a bit memory-prone/tangle-happy; functional, yet a likely swap for cable sticklers.

Sonically, Odyssey 2 skews punchy in the bass with clean, thick mids and well-controlled upper-mids; the treble is smooth and gently rolled with limited airy “sparkle,” giving a more studio-like presentation. Versus the original Odyssey, this tuning is less U-shaped, with dialed-back excitement and upper treble—safer, calmer, and easier long-term. It’s a well-built, well-accessorized set at a reasonable price that many will find effortless to enjoy, even if thrill-seekers may want more bite up top.

In context, it parallels Lush on upper-mids (no urgent need to switch unless craving a touch more sub-bass or a different treble flavor), feels safer than Performer 7 (which has spicier 8k), and sits under the more vivid Odyssey (OG) and the slightly brighter, airier Crescent. It doesn’t reach the extra sub-bass/air of the Dusk DSP but improves on the original Dusk’s flatter treble character; meanwhile, Ziigaat’s Horizon trends richer and crisper up top. Overall verdict: a solid 8.0/10—mids are the star, bass is engaging if not rowdy, and upper-treble restraint keeps fatigue low. Not the most electric choice at ~$225, but a clean, safe, studio-leaning option with broad appeal.

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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.

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ZiiGaat × Hangout Audio Odyssey 2 brings a 1DD + 3BA configuration to the ~$220 bracket with a generous kit: big leather case, three tip sets, nozzle filters, and interchangeable plugs. The green/black glitter faceplate looks slick and the metal shell feels solid—though a touch less premium than some rivals—and the fit skews large, which may fatigue smaller ears. The new black-and-green cable feels nicer than older ZiiGaat parts, has some memory, but is fully usable.

Voicing is non-offensive and slightly warm-leaning, with sub-bass emphasis and more neutral mid-bass that trades punch for a thumpy, rumbly foundation. Mids are natural with fuller male vocals; female vocals read clean yet not especially gripping. Treble stays relaxed and smooth with enough air, though a faint edginess can pop up on orchestral recordings. Technicals sit around class-average, but the notably wide soundstage (≈4/5) and accurate imaging make it friendly for casual gaming.

Against peers, the original Odyssey runs a touch more mid-bass and treble, coming across less dull; it remains the safer pick for some. DUNU DaVinci at similar money hits harder, feels more exciting, and carries a nicer midrange; AFUL Performer 7 offers a mild-V that’s more balanced overall with a more natural bass but a brighter top end. Recommendation: choose Odyssey 2 if a warm, easy, sub-bass-tilted listen is the goal; skip it if chasing fun and energy. Like unflavored sparkling water, it’s refreshing yet low on flavor—ultimately a two-star value pick: solid and safe, but not especially distinctive.

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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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Odyssey 2 shifts the OG’s recipe toward a more mid-centric, vocal-first tuning with a gentle sub-bass lift and smoother treble. Bass hits with less slam than the original but feels tighter, quicker, and cleaner, keeping texture competitive for the price. The top end is calmer—less bite, still adequately extended—trading sparkle for an easy, natural presentation.

Clarity steps up in the mids: vocals pop, separation improves, and detail comes through more plainly, while the OG keeps an edge in bass/treble “texture.” It’s a higher-volume scaler; give it juice and it opens up, especially for ballads, acoustic, indie, and pop—less ideal for hip-hop/R&B/jazz where extra weight and contrast help. Tip rolling that adds a touch of low-end/treble energy can inject the missing excitement without upsetting the balance.

Against similarly “safe” sets (Daybreak, P50), Odyssey 2 leans more vocal-centric with better bass texture; versus value champs (Supermix 4, Nova, Chopin), it sounds fuller and more natural but isn’t the value king. Lush gives more air up top, Arcanis/Luna serve as pricier “special sauce” paths if treble bite or OG-style warmth is desired. Verdict: a safer pick and polished all-rounder—objectively as good or slightly cleaner than OG—but for die-hard OG fans, more of a refined sidegrade than a direct, high-octane upgrade.

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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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Ziigaat Odyssey 2 lands as a premium-feeling set: a CNC-milled aluminum chassis with a sparkly blue/silver faceplate, solid two-pin cable with interchangeable 3.5/4.4 plugs, spare nozzle filters, and a roomy new brown carrying case. The stock cable is nice—though its green tint doesn’t quite match the shell’s aqua tone. Tip selection is generous (foam plus two silicone sets), and the newer silicone tips are a standout. Overall, a tidy package for the price.

Tuning follows the current “new meta”: energetic low end with a cleaner sub-bass attack/decay than sets like ZENs Top/Top Pro, which helps in games. Bass stays punchy yet controlled, so imaging and separation/layering come through well, though gunfire can still push forward. For pure music the bigger, rumblier sets may feel livelier, but for competitive play Odyssey 2 reads space more cleanly and keeps clutter down better than bass-heavier rivals.

Title by title: in Valorant it sounds natural and punchy with tighter gun reports and better map imaging—footsteps are a bit thicker and light taps could cut more—earning a B+. In Apex it’s cleaner than ZENs Top Pro and fine in 3v3s, but big third-party fights expose some separation limits; call it a strong B (bordering B+). In CS2 the positional read improves over ZENs Top Pro, though lighter surface cues and gunfire depth could be crisper—solid overall. Call of Duty plays to its strengths: warmer timbre, wide/deep stage, excellent layering during streaks, with only occasional gunfire masking—another B+. Net result: placed in the B+ tier on the WallHack list, at the lower edge bordering B, similar to the original Odyssey’s standing.