Many thanks for your thoughts! That’s quite consistent with the other reviews I read - fortunately I prefer a bit more of treble (over 10, 12kHz and all the way to the top I can hear ~17kHz), and I like using foam tips so I personally will probably enjoy the boosted treble, but it is likely that the treble will be too much for many - it goes down to personal preferences eventually.
Although I haven’t heard many things about the spatial depth of the treble, sounds like the decay in the treble region is too quick so some spaciousness feeling is lost - I don’t know if that is the right way of explaining it, but I will pay more attention to it when I get my set.
By the way, from all reviews I heard that proper (>50hrs) burning in and using form tips helps with the treble region. Are your concerns with the treble with or without applying these tricks (i.e. how bothering is the treble still after the modding and burning in)?
Also just to emphasis a few points you wrote and add a few more where other reviewers pointed out, which I found worth mentioning for potential buyers:
power, power, and power. Power fixes mids, extends sound stage, detail, and dynamics. Without a powerful amplifier, many shining points of P2 will not stand out and you will probably perceive more downsides of P2.
form tips and long burning in are almost a must to fix the treble specifically.
theoretically P2 should be good for all sorts of genres (according to other reviews), but it will benefit more from those with larger stages and dynamics, and perhaps more complex compositions. Good recording, mixing and mastering quality of music are also required - many reviews say this is a resolving set that won’t hide the bads in the music from you.
like P1, this set is not for everyone and there will be lovers and haters. How this set will appear to you will largely depend on your preferences on different aspects of an IEM and the types of music you listen to the most (is sound stage important to you, do you like treble, do you like form tips, how important are portability and drivability to you, is a faster and more pronounced bass going to benefit the music you listen to, etc.). In other words, only choose this set if you know yourself well, the reviews out there is probably enough to tell you how this sets will sound to you.
I will need to wait for quite a while for my P2s to arrive and hope they are not far from what I expect them to be
Hi @Corwin, the thoughts from @Pigeon_x are quite detailed and also consistent with the other reviews I read, I completely trust him/her with the thoughts.
Regarding to the types of music I like, I prefer OSTs and interludes from movies and animes the most, then anime op and ed, then some other songs from different genres with good compositions.
Some examples of my favorites:
Sea Wall from Blade Runner 2049 where K’s chasing back of Rick Deckard beneath the huge wall against the sea happens.
No Time For Caution from Interstellar where the docking scene is.
What’s Up Danger from Spider-Man: Into the Spider-Verse at Miles’ leap of faith.
Hanezeve Caradhina from Made In Abyss in the very end of the first season.
Both of you, Dance Like You Want to Win! from 1995 Evangelion in episode 09 where Asuka and Shinji synchronized in that 62 seconds.
竈門炭治郎のうた from Demon Slayer episode 19 where one of the best scenes from anime in these years revealed to the world.
wind, glass, bluebird from Liz and the Blue Bird in the very beginning where Mizore meets Nozomi and follows her all the way to the practicing room.
傀儡謡-阳炎は黄泉に待たむと from Ghost in the Shell 2: Innocence in the end of the movie.
There are also OSTs from Gundam UC, Promare, 魔法少女まどか☆マギカ, and some others that I like a lot. These music brings up vivid memories of those movies and animes along with the emotions I felt when watching them (and more). Hence I enjoy the most out of these music. Besides, I also appreciate the great composition, mixing and mastering the artists put into the music.
So you see why am I interested in P2 (that bigger sound stage, fuller bass and better detail retrieval, with some existing advantages from P1 will fits my library well), and how different will my thoughts be comparing to BGGAR’s. I even believe that “a faithful reproduction of music” means different things to BGGAR, to me, and probably to you and to different individuals with different lives. BGGAR has probably been to many live houses and live stages while I only had one chance listening to a open live stage when I was very young and a few times listening to some orchestral in some relatively wide spaces. What a natural sound is to BGGAR is probably different from what a natural sound to me, despite personal preferences and the physical differences in the shapes of our ear canals, boosting different frequencies of the sound coming out from the IEMs… What a subjective, complex, and tricky hobby, isn’t it…
Not sure if the burn in has had an effect, but I’m confident I’ve had it running for at least 50 hours. I can say though that my initial impressions were good. I was immediately impressed out of the box. and the issues became apparent after some listening. The treble is improved after using the complys with accoustic foam. but it’s not a perfect fix. I still skip some tracks because its still very bothersome at times. But perhaps that speaks to your #3 - that these are just very revealing, and point out when something isn’t well mixed.
@Pigeon_x And that actually reminds me of something people don’t often talk about - many of the experienced producers who mixes and masters music are quite old and their hearings tops out at maybe 15, 16kHz so they physically can’t hear those very high treble regions. Also one of my friends who do produce some music told me that he himself and his lecturers back in the days don’t care that much above 10kHz when they are mixing the music - they are producing music for a wide range of media and 10kHz above isn’t where most critical things happen in the music. So they can still produce some fantastic music without caring much in that high treble area.
In most cases that has no problem at all, until they meet earphones like P2… Although the issues you hear in the treble might actually be P2’s fault, I won’t be surprised if those are just some hidden errors in the music, and that might explain Crinacle’s comment “tracks are peppered with seemingly random instances of painful spikes and esses” which he further comments that “this may not apply if your listening tops out at under 15kHz or so” in his initial impressions.
@Pigeon_x Also Zeos still describe P2s as mid-forward, while some other reviews call it balanced and neutral. What amp are you using for driving them? I’ve heard that not enough power will cause mids to sound lacking.
I found that the P1 I picked for super cheap used is indeed a tough one to drive relative two of my other IEM’s which compete with it, the Tape and the oBravo Cupid, but if I crank up the volume on a little ES100, it sounds pretty ding dang good with foam tips and pushing them up in there which I’ve gotten used to after getting an Etymotic ER4XR (though those are really deep insertions granted).
The more I listen to the p2 the better it gets. But I’ve been listening on the es100 lately, which a) still sounds plenty good and b) sounds less abrasive in the treble and less shouty in the upper mids than on the xd05plus
or a 
?