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We compare products from their published specs and features; the verdicts below are our independent editorial opinions.
Updated: 2026-10-03 · 7 min read · Independent comparison
• TAKSTAR CM-60 — biggest strength: a gold-plated diaphragm cardioid condenser with a 30Hz–18kHz response, 130dB peak SPL handling and a transformerless, low-impedance XLR output built for long cable runs without picking up interference.
• TAKSTAR CM-60 — biggest trade-off: it is a corded, phantom-powered studio tool. It needs 48V phantom power and an XLR interface, so it is not something you plug into a phone or laptop jack and go.
• Bawjog KZ AS16 — biggest strength: eight balanced armatures per earbud with three-channel electronic frequency division, a 20Hz–40,000Hz range and a detachable silver-plated OFC 2-pin cable.
• Bawjog KZ AS16 — biggest trade-off: it is a wired 3.5mm in-ear monitor, not a microphone, and the passive noise cancellation (rated over 26dB) only helps if you get a proper seal with the tips.
• Pick the CM-60 if you record instruments, vocals or stage performances and already own an audio interface or mixer.
• Pick the KZ AS16 if you monitor, mix, game or listen on the move and want a high-impedance IEM you can cable-swap later.
The CM-60 is a purpose-built recording microphone, and its whole design story is about clean capture. The gold-plated diaphragm and cardioid (unidirectional) pickup pattern are there to grab the source in front of it while rejecting what is happening behind it. That is exactly what you want when you are tracking an acoustic guitar, a snare, a piano or a vocalist in a room that is not perfectly treated — the pattern does a lot of the noise rejection for you before you touch a fader.
The numbers back up the "does not fall apart when things get loud" claim. Peak SPL is rated at 130dB, sensitivity is listed at -38dB±3dB, and the frequency response runs 30Hz–18kHz. In plain terms: it can sit in front of a loud source without the capsule distorting, and it will still resolve detail. The transformerless output line is the detail I care about most for a home or project studio — it reduces electromagnetic coupling, which is the usual culprit behind hum and radio-frequency noise sneaking into a cheap mic chain. Combined with the low output impedance, the CM-60 is designed to run over long cable distances without those interference problems degrading the signal.
Bawjog KZ AS16: Who It's For
The KZ AS16 Pro is the opposite kind of product: it is what you put in your ears, not in front of your instrument. Bawjog's pitch here is density — eight balanced armature drivers per earbud, split by type and tuned across a three-channel structure with electronic frequency division. Two 22955 bass units handle the low end, 29689 mid units carry vocals and instrument separation, and 31736 treble units cover the top with what the spec sheet describes as strong resolution and good extension. The result, on paper, is a claimed 20Hz–40,000Hz range — well past what human hearing needs, but a sign of how much headroom the driver array is built to cover.
The impedance story matters for the keyword here. The standard version is listed at 18Ω, while the high impedance version is 30Ω, with sensitivity dropping slightly from 114dB±3dB to 111dB±3dB. Higher impedance generally makes an IEM less fussy about the output stage feeding it — it draws less current and can behave more consistently across different sources, which is why buyers specifically seek out the high-impedance variant. It is still a 3.5mm wired earphone, so it does not demand a headphone amp the way genuinely hard-to-drive studio cans do, but it is a meaningful difference for anyone who cares about matching gear.
Physically, the AS16 Pro uses a metal-and-plastic laminated shell with diamond-cut styling, comfortable per the manufacturer's ear-sampling data, and passive noise cancellation rated above 26dB once sealed. The cable is detachable — a 0.75mm 2-pin, silver-plated OFC braid chosen to lower resistance and signal loss — and the model comes with a microphone and push-button controls. Buy it if you monitor, mix, game or commute and want a high-impedance IEM you can upgrade with a new cable. Skip it if you actually need to capture sound; there is no microphone capsule here in the recording sense, just an inline mic for calls.
• Best for recording instruments and vocals → TAKSTAR CM-60. It is the only one of the two that captures sound.
• Best for monitoring and critical listening → Bawjog KZ AS16. Eight BAs and a 20Hz–40,000Hz range are built for playback, not capture.
• Best for high-impedance buyers → Bawjog KZ AS16 (high impedance version). 30Ω versus 18Ω on the standard model, with 111dB±3dB sensitivity.
• Best for long cable runs without interference → TAKSTAR CM-60. Transformerless output and low impedance are designed exactly for that.
• Best for loud sources → TAKSTAR CM-60. 130dB peak SPL handling and low-noise design prevent overload distortion.
• Best for isolation while you work → Bawjog KZ AS16. Passive noise cancellation rated above 26dB with a good seal.
• Best for upgradability → Bawjog KZ AS16. The 0.75mm 2-pin detachable cable lets you swap cords; the CM-60's XLR connection is fixed by design.
• Best for a phone or laptop → Bawjog KZ AS16. It is a 3.5mm wired earphone; the CM-60 needs 48V phantom power and an interface.
In my opinion, these two products are not really competing — they solve different problems, so the honest answer is to buy the one that matches your job. If your goal is to record, the TAKSTAR CM-60 is the pick: the cardioid pattern, 130dB peak SPL and transformerless low-impedance output are the right ingredients for a clean studio signal, and 48V phantom power is a normal cost of doing business in a real recording chain. If your goal is to listen, mix, game or monitor, I would take the Bawjog KZ AS16 in its high impedance version — 30Ω, eight balanced armatures per side and a swappable cable make it the more flexible daily driver. Buy the CM-60 to capture. Buy the AS16 to hear.
do high impedance headphones sound better
Not automatically — impedance is about how a headphone interacts with your source, not a direct measure of sound quality. The Bawjog KZ AS16's high impedance version runs at 30Ω versus 18Ω on the standard model, which can make it behave more consistently across different players. Whether you prefer the result is a matter of matching, not a guarantee.
is high impedance good for headphones
It can be, depending on your source. Higher impedance generally means the headphone draws less current and is less sensitive to the output stage driving it, which is why some buyers specifically choose the 30Ω AS16 over the 18Ω version. For in-ear monitors like the AS16, it is a gentle difference rather than a dramatic one.
are high impedance headphones better
Not universally. Impedance is one spec among many — driver design, tuning and fit matter just as much. The AS16's real story is its eight balanced armatures per earbud and three-channel frequency division across a 20Hz–40,000Hz range, not the impedance number alone.
why are high impedance headphones better
The usual argument is cleaner behaviour with a wider range of amplifiers and less current draw, which can reduce noise and distortion from a weak source. On the AS16, the trade-off is a slight sensitivity drop from 114dB±3dB to 111dB±3dB on the high impedance version, so it may need a touch more volume. For the TAKSTAR CM-60, low impedance is the deliberate choice — it lets the mic run long cable distances without interference.
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