Disclaimer
A big thanks to BQEYZ for sending me the Frost for review. BQEYZ provided this unit for an honest and unbiased review, and at no point did they ask or influence me to say anything specific. Every observation in this review is purely based on my personal experience from using the IEM daily. The thoughts and opinions shared here are entirely my own, formed during the time I spent testing the Frost.
If you’re interested in learning more about BQEYZ and their products, you can visit their official website.
For those considering purchasing the BQEYZ Frost, you can grab it from their official AliExpress store. If you’re in Bangladesh, Geek Mart is a great option. They offer official warranty support and ensure hassle-free delivery of BQEYZ products directly to your door.
Build quality and Design
The BQEYZ Frost has a solid feel right out of the box. The material used is CNC aluminum alloy, and frankly, you can tell it is not just for aesthetics because this thing feels like it can take a few accidental drops without issues. The anodized finish gives it that extra bit of robustness to keep scratches and corrosion away. I have used a couple of IEMs with similar builds, like the Ikko OH10s and the Simgot EA1000, and this one feels right up there with them. After some pretty regular use, there’s barely a mark on it. Also, the matte finish on the inside? Yeah, that’s great because it means no annoying fingerprints smudging everything up. It’s the kind of build where you feel like you got your money’s worth.
Now, about the design – this is where Frost really flexes a bit. The faceplate is just… nice. It’s got this high-transparency crystal glass with an ice-blue color underneath that catches light in a way that makes it look fancy but not over the top. There’s this frosted pattern on the glass – a mix of regular and irregular shapes – and depending on how the light hits it, it kind of glows. It’s subtle but cool. Feels like something you’d actually want to show off. The design isn’t trying too hard, but it’s definitely not boring either. It’s just one of those IEMs which sound as good as they look, which honestly doesn’t happen that often.
Fit and Comfort
The Frost has a relatively small shell design, so I believe most people should have an easy time with this in terms of fit. It fit my ears very comfortably, and I did not have problems even after long listening sessions. I could even use it lying down, and honestly, I do not have a single bad thing to say about its comfort. That’s where the comfort is on a high level for me.
That being said, speaking of fit, one thing that needs mentioning is that the stock tips did not work at all for me. They were always slipping out of my ears, and it was somewhat annoying. I feel like without the proper ear tips, you may experience some issues with fit. This IEM really relies upon the tips and cable for staying secure in your ears, so if neither of those fits well, there is a good chance that the IEM will be falling out of your ears repeatedly.
I played around with a variety of tips, and the best fit for me personally is the ePro EP00 and Final E (clear/pink). If you have any of these, definitely try them. Experiment with others you may have in your inventory to find one that is most comfortable in your ears.
Cable
The Frost has, well, a really strong cable. It’s all blue in color to go well with the faceplate. I think white might fit better with the design and faceplate but nothing at all to complain about there on my part. Beyond that, it’s really quite solid, so at this price, I truly never felt the urge or any need to replace it.
The cable itself is a simple 2-core design – one core on each side – which keeps the look very minimal and functional without adding any extra bulk. It has no microphonics and generally behaves well. You can choose between 3.5mm or 4.4mm terminations upon purchase, but there’s no interchangeable termination system. This might have added more functionality, but given the price, what’s available is adequate.
The Frost comes with a stock cable that pairs rather well, and I seriously doubt anyone would feel the need to immediately upgrade. However, if you have some high-quality copper lying about, you might want to pair it up just for kicks and see if it enhances the sound even further.
Tips
Honestly, very few brands have been able to impress me in this regard, and BQEYZ is no different. The stock tips felt like trash to my ears. I tried them once and never used them again during testing. I highly recommend experimenting with different tips from your collection after purchasing the Frost. Without the right ear tips, the fit and comfort might be less than ideal.
I did finally settle on Final Clear (pink) and ePro EP00 and ePro Horn-Shaped tips. These sound greatly improved to me. I hope you have one or more of these tips to try on the Frost. Of those I tried, the best for me is the ePro EP00. The Final tips also sounded very good but would slide out a bit when worn and had to be readjusted.
Source compatibility
The Frost doesn’t require much power, making it an efficient IEM. I even tested it with BQEYZ’s $13 Lin dongle, and it sounded surprisingly good. The dynamics and resolution weren’t bad at all. That said, if you have a better DAC or DAP, you will get even better output.
Avoid pairing the Frost with bright, analytical, or overly digital-sounding sources, as this can make the IEM sound too sharp. For example, I found that pairing it with devices like the Questyle M15, EPZ TP50, or Moondrop Dawn Pro resulted in excessive sharpness.
Cowon Plenue R2 with KAEI-TAP2
Testing Source
- Cowon Plenue R2
- Astell & kern SP1000M
- Cayin N3 Ultra
- Ibasso DX180
- Hiby R3 ii
- Ibasso DC Elite
- Cayin ru7
- Questyle M15
- ONIX Alpha Xl 1
- KAEI-TAP2
- Shanling H5
- IFI Hip DAC V2
- Xduoo xd05 basic
- Fiio btr7
- IFI Go Blue
- Ddhifi TC44 PRO E2
- Dunu DTC 480
- Fosi audio ds1
- Kinera CD20 And CD10
- Epz Tp35
- Epz Tp20 pro
- Moondrop Dawn Pro
- Bqeyz Lin
Bass Response
Sub-bass
Immediately upon looking at the graph of the BQEYZ Frost, I would think that it has quite a significant amount of roll-off in sub-bass. Usually, a pair of IEMs having such a roll-off can easily render it somewhat loose in terms of musicality. But eventually, when I was able to listen to it properly, I found out that I judged the graph wrongly. It really surprised me that the sub-bass quality of the Frost wasn’t overdone but adequate in quantity to satisfy.
On the Frost, the sub-bass is agile, rumbling along effortlessly, and it’s well-controlled and deep. It is not a slammy or overweight presentation for the hardcore bass heads out there, but it sure is well-balanced, classy, and integrates well into the general sound signature. What’s more important is that it does not bleed into the mids; things are clean and coherent.
Listening to “A Groovy Kind of Love” by Phil Collins, soft thumps of the kick drum felt precise, while the bass guitar was resonating with just enough depth to emotionally root the track without taking too much attention from those fragile piano tones. At the opposite end of the spectrum, “Praise The Lord” by A$AP Rocky and Skepta showed how the Frost handles modern bass-heavy music. The bass line was groovy, had its rhythm, and wasn’t too dominant in this track. The sub was tight, textured, providing the impact to kick drums without hogging too much space and allowing the vocals and hi-hats to pop.
If you value controlled, clean, and musical sub-bass over sheer quantity, the Frost delivers: a sub-bass you feel, perhaps, rather than one that punches you in the chest.
Note: If you’re a bass head who prioritizes warm and impactful bass above all, the BQEYZ Frost might not fully satisfy your preferences. While its sub-bass is of good quality and offers decent depth, it doesn’t deliver the heavy, dominating bass response that some enthusiasts seek.
Mid-bass
The mid-bass of the BQEYZ Frost is surely one of its high spots: it is tight, punchy, and textured, keeping great control. What I most appreciate, though, is that it keeps in its place—never bleeding into the mids or overpowering the rest of the sound. Attacks are fast and sharp without any indication of sluggishness, which makes the Frost a very good performer for busy and fast tracks.
On “Lux Æterna” by Metallica, the Frost easily took in Lars Ulrich’s rapid double bass kicks. The bass guitar had just enough heft and texture to give it some decent anchor, not quite smearing into the intricate lead guitar riffs, with each kick nicely impactful. But here, the true star was actually the speed of the mid-bass response in keeping up with the relentless tempo of this track and maintaining clarity across it.
Also, listening to “Droppin’ Plates” by Disturbed, the punch of the kick drum was visceral and the bass line very well-presented with much tactility to push the song energy. Yes, even in those heavier and busier parts where the guitars and drums aggressively interplay, the Frost kept them separated and clear without losing one single detail. For rock, metal, or anything with energetic, complex tracks, the mid-bass offers good backbone to the Frost. Quick, controlled, and powerful, it will add excitement without ever getting out of control.
Mid-Range
Male vocals
Most of all, it’s this midrange performance that really impresses me as special and unique from the BQEYZ Frost. One of the first things I noticed was how distinctly separate the vocals were from the bass and instruments—like the vocals are playing from a different room altogether. That gives the midrange a certain natural sense of depth and dimension while being captivating.
On “Call Me Irresponsible” by Michael Bublé, the vocals of the male lead sound weighted and rich but never full or bloated. Double bass lingers soft behind while the piano underlines the vocal soft and shy to let the voice of Bublé shine. There is something sweet in the way his lower registers ring with warmth, textured and smooth, sans hints of sounding muddy. The horns enter quietly, never in competition with the vocal line, doubling and furthering that layered separation.
This is really driven home by Grover Washington’s “Just The Two Of Us.” The saxophone cuts through effortlessly in the upper mid-range, while the rhythmic electric piano hums below. The voice of Washington is organic in nature: clear, full-bodied, and without artificial boosts. The voice clarity holds intact even on the sax solo parts, which seem to breathe free around the voices.
Female vocals
Female vocals sound great on the Frost: very alive, dynamic, and smooth without any harshness or sibilance. For example, Chantal Chamberland’s “Simply Falling” simply shines. Her voice is floating above soft plushy strokes of upright bass with silky edges, never sharp even on high notes. Acoustic guitar strokes are articulate, and one can clearly feel each string vibration against her voice.
On “Day Breaks” by Norah Jones, the voice comes back—the warmth that fills her voice into every word, soft and intimate, framed by soft piano chords and snare tapping light. Frost gave her performance air because of the upper mids, with enough sparkle not to cross over into brightness. That is quite a delicate balance, as Jones’ voice is so intimate, nearly as if she sings in your space.
Equally unobtrusive yet not less impressive instrumentally, with the mid-range clarity rich with instruments such as acoustic guitars, pianos, and saxophones, Frost truly does make good use of its ability to separate the layers without losing coherence. No sharp edges, no unwanted peaks, just clean, melodic, engaging sound.
Where Frost really gets going is on vocal-forward tracks. Male vocals have a body and a presence to them, while female vocals soar in elegance. If your listening is all about the vocals, then the Frost breathes life into them with depth, texture, and emotions.
The Treble
The treble of the BQEYZ Frost is prominent, but it’s not shouting for unnecessary attention. It extends rather well, carries air with it, and brings out those minute details without any hint of harshness or sibilance. Smooth, yet not hindering the clarity that lets the finer elements in the track shine through naturally, such as:
“Man In The Moon (Live) 1997″ by Nils Lofgren – Acoustic guitar work is textured and alive, and you can catch soft shimmers of harmonics and the faint scrape of fingers moving along strings. It’s not overly bright, yet has enough treble extension to let the upper end of each note breathe. There’s a rawness to the performance that comes through, almost like you’re picking up details that aren’t meant to be front and center but add to the live feel.
In “Spring 1 (2022)” by Max Richter, the violins feel crisp and airy, cutting through the orchestral layers without overpowering them. The treble carries the strings with a lightness, allowing the upper harmonics to stretch naturally. The strings rise and decay in such a natural manner, almost not forced or artificially boosted, and with a proper sparkle to really make the bowing texture pop, granting the track a great deal of space without sounding acutely sharp.
That said, cymbals there tend to hold their shape rather well. The decay is soft, yet not rolled off or muffled in any way, but rather it’s just that Frost knows when to show or not show the treble, which ultimately avoids fatigue in longer sessions.
Overall, the treble feels well-balanced – detailed enough to highlight intricate parts of a track but restrained enough to avoid becoming fatiguing. It plays more of a supporting role, adding to the sense of space and air rather than demanding attention.
Technical Performance
Soundstage
The Frost presents a balanced soundstage—neither too wide, nor intimate. It leaves space enough for the instruments to breathe but does not place them unnaturally far apart.
In “Is This The World We Created…? (Live In Rio, January 1985)” by Queen, Freddie Mercury’s vocals feel close, yet the acoustic guitar and crowd noise extend slightly outward. This creates the sense of being in the audience without losing the personal touch of the performance. Crowd ambiance adds just the right amount of width, keeping the live atmosphere intact without sounding distant.
Imaging
IImaging is accurate, with instruments correctly placed. Each element on a track feels properly emplaced, with good separation between layers.
In “Time” by Pink Floyd, the individual clock sounds pan distinctly from left to right, creating a realistic sense of movement. When the drums and guitar enter, they stay well-defined in their respective positions. Gilmour’s vocals sit firmly in the center, while the guitar solo floats slightly to the right, demonstrating the Frost’s ability to map out sound with precision.
Speed and Dynamics
The Frost handles fast, complex tracks with ease. It keeps up with rapid transitions and maintains clarity even during busy sections, avoiding any sense of smearing.
“Just Let Me Breathe” by Dream Theater pushes the limits with its fast-paced drumming and aggressive guitar riffs. The Frost captures every drum roll, bassline, and guitar note distinctly. The transitions between loud, energetic parts and quieter sections are smooth, reflecting the earphones’ dynamic capabilities. There’s no lag – it stays sharp and responsive.
Detail Retrieval
Detail retrieval is well-tuned – enough to expose subtle elements in a track without becoming overly analytical or harsh.
In the intro of “Stairway to Heaven” by Led Zeppelin, it brings out the soft slide of fingers over guitar strings and the crisp taps of percussion. Moving further along the track, the Frost preserves detail in the layered guitars and the filling drums so that each is brought forward without obscuring the overall feel of warmth that underlies this mix. It does not accentuate the details but lets them appear within the global picture.
Conclusion
Honestly, one of the biggest reasons I ended up liking the BQEYZ Frost so much is the mid-range. There’s something about it that just feels. different. In a good way. As a reviewer, I go through a lot of IEMs, and after a while, things start to blur together. Same old sound, same kind of tuning – it can get boring real quick. But the Frost? That took a load off me from that. The midrange here really sounds special, almost in a league of its own. Because it did that, listening to anything really turned up the fun and interest value for me.
Besides all that, the Frost keeps up quite well in those other areas—build feels robust, the design looks swell, and it sounds great. Yeah, the stock tips weren’t exactly great, but once I swapped those out for something better, comfort and fit got a lot better. If you’re going to pick one up, I’d say try a few different tips right away—trust me, it makes a difference.
The treble’s detailed, the soundstage feels spacious enough, and that smooth mid-range just ties everything together nicely. It’s not the kind of IEM that tries too hard to impress, but it somehow does anyway. Whether you’re into laid-back acoustic tracks or more complex stuff, the Frost holds its ground.
If you’re thinking about grabbing one, I really think it’s worth a shot. Just don’t forget – tips matter.
Awesome review on the Frost.