Knowledge Zenith (KZ), CCA, Tripowin and Associated Brands Discussion

[SenyorC]

I have just finished the review for the ZS10 Pro and uploaded it to my blog in Spanish and English.

Based on what I have read about this elsewhere, I think I may be the odd one out here but I can only really be honest to what I feel I am hearing.

I have re-read the review and some of it probably doesn’t make much sense but I am still going to post as is because this is what I felt at the time of listening and writing. Please forgive any random rambling!

So, if anyone is interested in the ZS10 Pro, I suggest you read other peoples reviews to get a better idea as to what the majority feel about this IEM.

Anywhoo…

KZ ZS10 Pro Review

While I have various IEMs that are awaiting reviews, I thought I would do the ZS10 Pro as they are still relatively new (for KZ I mean) and to be honest, they are the most detailed and clean <50€ IEMs I have tried to date and are certainly worth considering when making comparisons to other IEMs.

As always, I’ll get to the sound in a minute but let’s go through the usual steps so I don’t forget anything!

Disclaimers and info

I purchased these IEMs with my own money, direct from China, so there is no influence in regards to my review. I did (and still do) read a lot of hype about the ZS10 Pro which could maybe play a part in whether or not these meet my expectations but, as always, I will try to be honest to what I hear. I have also ignored graphs posted by others to avoid having too much of a predefined expectation.

Unboxing and first impressions

The ZS10 Pro arrived in a box that is basically identical to the one that the ZSN arrived in. They are presented in the packaging the same way and include the same accessories and cable. In fact, if it wasn’t for the fact that it says ZS10 Pro on the box and that the IEMs are blue and shiny silver, it would be almost impossible to tell them apart at a simple glance.

Again, as with the ZSN, the first impression is of a well built item, showing a quality that is above what I have become to expect in this price range (although KZ is changing my expectations in this regard).

I am not a fan of the shiny plates that are on the exterior, in fact, that was one of the reasons that stopped me from buying the Kanas Pro for so long, I just don’t like the “shinyness”. However, recently KZ has released another version with a blue plate which may be more suitable for those who don’t like shiny things in their ears (like me).

Build quality

As said above, as is with the ZSN, the sensation of a quility build continues when using the ZS10 Pro. The cable is the typical bronze coloured cable that KZ are including lately, and while it does get tangled pretty easily, it does its job and is fine for the purpose.

The ZS10 Pro also uses the same connector as the ZSN (Para C) which has the pins slightly recessed and creates a sensation of being more robust than older versions.

There are no sharp edges to be found and in general it is a well built IEM, or at least that is the impression I get.

Comfort

AS the ZS10 Pro is the same shape and size as the ZSN, the comfort is the same. I find the IEMs comfortable and they are a good fit, however, they are not so comfortable that they just “disappear” and I forget that I am wearing them.

I find that swapping the stock cable for a NiceHCK cable (balanced in my case) helps a little over long periods as the over ear hook is covered in a much softer silicone and is not as rigid.

Power requirements

I find that the ZS10 Pro work fine from my phone, although I do notice an improvement when running them from a more powerful source such as the M2X or the Atom.

I would say that an amplifier is not needed for these IEMs but I do think it gives them a little more freedom (if that makes any sense).

General listening

I have listened to these sporadically since I got them about a month ago but for the last 10 days or so they have been used for various hours a day, mainly running from the M2X.

My first impression of sound when I put them on was “wow, these are clean!” and as time has passed (I probably have 100 hours on them now) I still feel that these are very clean and have much more detail than any other IEM I currently own.

But… and I am not quite sure where this but comes from… I don’t find that I enjoy them for long listening periods.

Whilst I love the detail and how clean the ZS10 Pro sounds, I find that after a while I start to become fatigued while wearing them. In part this is due to the comfort (after 2 or 3 hours I start to get irritated) but at the same time it is due to the sound signature of these IEMs.

They don’t seem to be overly boosted in any frequency (I guess we’ll find out in the measurements) but there is something that just makes me feel that they are harsh. I am not sure why I feel this way with the ZS10 Pro when headphones like the DT1990 (which is very detailed and can be harsh) don’t make me feel this way.

This feeling of harshness is especially present to my ears when listening to tracks that have a lot of instruments, especially acoustic instruments, as sometimes it just feels like the track I am listening to is unfinished, it reminds me of when I am producing music and the song is finished but in need of a final eq and polish. I thought this was probably due to the quality of the tracks I have been listening to but I have tried the same tracks through other headphones, IEMs and studio monitors, none of them seem to exhibit the harshness as much as the KZ ZS10 Pro. Having said this, I want to make it clear that I don’t feel that these sound bad, I just don’t think that they are always a true representation of what the actual overall sound of the track is.

On the other side of the coin, this extreme detail is great for monitoring or even mixing to some extent. I have found these to be a good option for monitoring when playing bass and being able to clearly define what is going on around me. I will try and do a comparison at some point between the IEMs I have and how they stand up to a live musician setting. I could also see these as being a great portable option when working on cleaning up tracks that I have recorded while travelling.

Detailed and Comparative Listening

For the majority of the comparisons and detailed listening, these have been done with either the D10 feeding the JDS Labs Atom or directly from the M2X. While I completely trust the D10+Atom and I prefer to do my comparisons with this set up, I find that sometimes using my DAP helps control the volume a little better (IEMs can get rather loud rather quickly with the Atom!). Please take into consideration that I have only used foam tips with the ZS10 Pro as I do not like silicone tips.

BASS: The ZS10 Pro has bass, it is clean and well defined, however, it is a little lacking in comparison to other IEMs such as the ZSN or the DT6, especially in the sub-bass range. While listening to EDM or hip hop, I sometimes feel that it could do with just a few dB more in the lower registers and please note that I do not consider myself a basshead by any means.

I don’t mean that EDM or Hip Hop doesn’t sound good through the ZS10 Pro, it is just that at times, mainly due to the clarity and extreme detail mentioned above, it can feel like the voices are excessively overpowering and could do with a little more in the lows to balance the sound out (this is particularly present in Hip Hop where voices are usually not the most musical).

When listening to Busta Rhymes “Hot Shit Makin’ Ya Bounce”, the bass is clear and well defined, but when listening to other tracks that are dependent on more sub, it sounds a little thin.

In the case of “Ace Of Spades” by Motorhead, the track sounds overly harsh. I know that Motorhead are not exactly known for the low registers as Lemmy EQ’d his bass to be mostly mids and ran through Marshall stacks, but I would still pick something with a little more bass (maybe even overly present bass) to listen to this specific sound signature.

MIDS: Now, here is where I am a little confused. As I said before, a little more bass would help with songs that are overly mid present, however, the ZS10 Pro seems to be slightly recessed in the mids where the body of voices are located but overly boosted in the higher mids where the presence of vocals is usually found. To be honest, I think that this “overly present” voice in the higher mids is what actually makes these IEMs tiring for me.

As I listen to a lot of female vocals and acoustic music, I find that these are lacking a little bit of smoothness when transitioning from lower mids up to the higher mids at around 2 or 3kHZ. However, when listening to the new album by Madonna “Madame X”, I found that her voice was less tiring than other voices such as those found on Acoustic Jazz recordings.

HIGHS: There is no lack of highs with the ZS10 Pro but I don’t find them to be ovelry done either. While tracks that are sibilant by nature are also sibilant on these, there seems to be no extra sibilance on tracks where I haven’t noticed it before (especially in comparison to the DT1990, where sibilance can appear on tracks that I never even thought could be classed as sibilant). For example, songs such as “China In Your Hand” or “Papa’s got a brand new pigbag” are no more irritating on the ZS10 Pro than they are on other alternatives and songs like “Only Time” by Enya are no worse on the ZS10 Pro than other less detailed IEMs (such as the ZSN).

There is plenty of air and space in the upper registers and this leads me to again think that it is the upper mids that “disturb” me.

SOUNDSTAGE, IMAGING AND OTHER: I feel that soundstage and imaging is better on the ZS10 Pro than it is on the ZSN, or even the T2, but I wouldn’t consider the soundstage to be overly wide (I am yet to find an IEM that I consider to have a wide soundstage”.

When speaking about other specifics, I would point out the fact that well recorded drums sound excellent on the ZS10 Pro, as do electronically produced songs, whereas acoustic instruments (mainly Piano and stringed instruments) just don’t sound quite as they should. When listening to flamenco or classical music, I find that the instruments can sound rather artificial.

Finally, one other comment regarding detail… I was listening to the song “Dark Ballet” from the Madame X album I mentioned above. In the middle of the song there is a part that is a piano solo. During this part, specifically at 1:44 and 1:58, I noticed that the left channel is slightly distorted. I checked this with other IEMs and headphones and it is not really noticeable unless you really listen for it but with the ZS10 Pro it stands out and is easily noticeable. I also asked @Torq, who has the album from another source, if it is present on his version, which he says it isn’t, so it seems to be a fault with the version on Spotify. I just wanted to use this example to give an idea of how well the ZS10 Pro show flaws, making them great for editing on the move.

Measurements and graphs

As always, please note that the measurements posted below should not be compared with measurements taken by any other party. My measurement set up is different to that used by others and is not calibrated in the same way, so any graphs should only be compared to other graphs posted by me.

My measurement set up is Windows 7 laptop running REW > Topping D10 > JDS Labs Atom > IEMs > EARS > REW. The measurements have been taken using the stock cable and NewBee foam tips.

I am surprised to see on the graph that the bass does not roll off more. Based on my listening to these, I would have thought that the bass would start to roll off around 80 or 90Hz and be down by about 3 or 4 dB by the time it reached the 20 or 30Hz zone. According to the measurements this does not seem to be the case.

The mids are also not as recessed in the lower regions, however, the boost around 2.5kHz I think is what is making these feel tiring to me. Saying that though, the ZSN has even more around the 2.8kHz area and I don’t feel the same way about them. This seems to be a case of my hearing not agreeing with the measurements.

If we overlay the ZSN on the ZS10 Pro graph, we see the following:

These IEMs were calibrated the same and I have redone the measurements to see if the differences shown are really that much and according to EARS and REW they are.

Looking at the FR of both of these, it is easy to see that the tuning is very similar but the ZSN has a higher reading in the majority of frequencies, just slightly moved to the right of the FR graph.

Obviously graphs are not a true representation of how something sounds, it is just a guidance to their frequency response, however, I would never have guessed that the ZSN and ZS10 Pro would be so similar on paper. The detail of the ZS10 Pro really does make a huge difference that is not reflected on the graph.

Conclusions and final notes

As I said at the beginning, my first reaction to the ZS10 Pro was “wow, these are clean!”. After a month or so with them, I still find them to be extremely clean and detailed, however, I can’t say that I am madly in love with them, at least not for just sitting back and listening to music.

For specific genres, the detail and separation of these can be amazing but at the same time, other genres sound overly artificial and “unfinished” (I can’t think of a better description).

If I need to do some editing on the go, or if I need to use IEMs for playing or rehearsing live, then I have no doubt that the ZS10 Pro would be the top of my list at the moment, as I really think that they provide enough detail to hear the separation of instruments and pick up on changes. However, for music listening, I am not so sure.

I will continue to evaluate these over the coming months in comparison to other alternatives and I may revisit my review but at the moment my conclusion is this…

If you want some <50€ IEMs that have extreme detail and allow you to pick up on every detail, then these are for you. If you prefer to find some <50€ IEMs that help you relax and listen to music without dissecting it, then I would look at other alternatives.

[generic]

BA drivers have a narrow and peaky response profile. Lots of saw teeth. The cheap ones cause fatigue for me too.

[prfallon69]

Nice review.

[tjsgarden]

I really enjoyed both reviews. Thanks for the time and effort you put into writing an excellent evaluation.

[pwjazz]

Just picked up a pair of ZS 10 Pros. Quick impression is that it’s a more comfortable, less bassy and slightly brighter ZS7 without driver flex. The rounded shell feels good against my outer ear and the longer sound tube allows me to go down one size on my tips and still get a good seal, which helps to reduce pressure on my ear canal a bit.

Sound out of the box is pretty good. I still have to EQ a bit to hit my preferences, but so far I’m adjusting no more than 2dB here or there.

[antdroid]

Knowledge Zenith ZSX

First Impressions:

The latest KZ, dubbed the “Terminator”, has a new shell design that is pretty comfortable despite looking a tad ridiculous. Similar accessories as usual.

• Feels nicer than I’d expect at $50
• Tuning is balanced and surprisingly well done
• Slightly hot occasionally in treble region
• Bass is warm but lacks definition
• Generally it’s well tuned, and similar sounding to me to the Solaris or Z1R, but with much worst technicalities, resolution, etc.
• Surprised by this effort by KZ
• Measurement posted here: https://measurements.antdroid.net/2019/09/knowledge-zenith-zsx.html

[antdroid]

KZ ZSX REVIEW

The Terminator is here. The latest KZ ZSX, dubbed, The Terminator, is a 6-driver hybrid in-ear monitor earphone with a single dynamic driver and 5 balanced armature drivers feeding it through a rather large shell. The new shell design has a silver triangular look to it that looks a little strange to me, but feels well made at the same time.

The fit itself is a bit of a problem. It’s larger than other IEMs I’ve tried outside of say the Campfire Solaris and my current daily driver, the qdc Anole VX, and the highly praised Sony IER-Z1R, but it’s in the same realm as those in terms of size. The main issue for me is that the angle of the nozzle spout is not in the most optimal direction for my ear and that its not only long, but also has a large diameter. Now, long nozzle shafts don’t bother me, as something like the Moondrop Kanas Pro is really comfortable for me, and so are things like the Campfire Andromeda Gold and IO. Large diameter IEMs are also not a problem, but the combination of the two, with the angle choice, makes it a tough fit for me, and limits my time wearing these to shorter spurts – much like the issues I faced with the Campfire Solaris previously.

Judgement Day Sound

The ZSX has a full-bodied sound that isn’t too far away from some of my favorite top of the line tunings like the ones presented by Solaris and the IER-Z1R – which both present a warm, balanced sound with treble energy and thick lower mids. Of course, the significantly cheaper KZ ZSX is nowhere near the other two when it comes to things like resolution, speed, imaging, and detail. In fact, its quite a step back, but still, the ZSX is impressive for a product made by KZ and of a $50 price tag.

The bass is punchy and elevated, however not bolstered enough to be considered a super bassy IEM. It has good subbass and a downward slope to the mids that has gives impact to drum kicks and has a mild slam to it – more so than the Solaris did. The bass resolution is pretty mediocre though, and the speed of the driver is a tad slow, leaving bass notes to hang out a little longer than I would like. I do tend to prefer nimble, quick, and agile bass responses that provide plenty of detail and textured layering, and the ZSX sounds more like bass noise than bass resolution.

The mid-range is warm, rich and full of body. I never found the mid-range to be too recessed – in fact, I actually like how it’s presented. Male vocals have girth to it, and female vocals do shine and are forward with a response curve that starts sloping upward at 1KHz and almost follows a Diffuse Field type curve until the about 3.5KHz where it has a small drop. This does help it from being too forward and too harsh for me, and gives it a little bit more breathing room from possible congestion.

There is a slight bit of harshness due to an elevated treble peak that can make things a little spicy at times. I never found it overly bright and fatiguing, but just note that it’s not as smooth sounding in that area as say the Solaris or the VX, which I really both enjoy it’s tuning. It’s more along the lines of the Sony IER-Z1R, with its slightly bright tuning in that area. Again, I’m just using some of these known IEMs as a base line and I am not saying the ZSX is of the same caliber. It’s just a similar overall tuning from a high-level overview shot of the IEM’s sound.

I found the ZSX sounding best with rock and country music. The elevated bass that isn’t over done gives drums and bass guitars the needed bump, while the punchiness gives the kick needed to steer rock songs, while the tuning of the upper-midrange and treble gives clarity to guitars and cymbals. It works well for these popular genres.

Overall

The ZSX is a nice choice for a budget IEM, and easily my favorite of one from KZ. It actually is very similar in tuning to the ZS10 Pro, my previous favorite, but downplays the treble a bit, which makes this one not as harsh and fatiguing as the ZS10 Pro was.

The fit, however, is large and should be something to look out for. It’s not going to fit with some people’s ears, including mine, and that could make this a non-starter to begin with. I do have smaller ear canals than a lot of people, and typically wear small ear tips, so the larger nozzle shape and angle really don’t do me any favors here.

So, if you can deal with that shortcoming and your budget was around $50, and you like this type of tuning, this could be a decent set to look out for. It falls in-line with tuning of some of my favorites, and that’s half the battle for me, and that’s why this was instantly one that I enjoyed when I first heard it.

Credits

The KZ ZSX was provided to me by Linsoul as a review unit. You can find the KZ ZSX on the Linsoul store at http://www.Linsoul.com or on their Amazon Store Page.

[darmanastartes]

My KZ ZSX review is now up on my blog. It is a good budget hybrid (5BA +1DD) in-ear monitor with no deal-breaking flaws at its price point. It has a temperate V-shaped tuning that is engaging without being exaggerated. My full review includes measurements, pictures, and comparisons with the Blon BL-03 and TRN V90.

[Fc-Construct]

This is a review of the KZ ZSX, a $50 KZ IEM that contains 5 BA and 1 DD. I got this as a review unit from Linsoul. If you’re interested in it after reading this review, you can grab one here.

Overall Sound Signature: A very enjoyable and unapologetically energetic V-shaped IEM that is unfortunately marred by BA timbre.

Bass: The bass on the ZSX is elevated and at the forefront of its presentation. The DD is quick and provides a deep punchy bass response with great subbass extension. Decay is quick and the ZSX never gets boomy nor bloomy. However, like the many other KZ models, it suffers from a one-notedness to the sound quality, lacking the nuance in note timbre found in higher quality DD’s (or even its budget friend the BLON BL-03). Midbass response is likewise pushed forward and the tightness of the DD helps bring out note clarity in quick bass lines. There isn’t much bass bloat or muddiness, with the DD having a distinction from the BAs of the mids.

Mids: The lower mids have a slight incoherency issue as the midbass transitions into the lower mids and the BAs take over from the DD. At times, you can hear when notes are caught in that midpoint where the note timbre sounds distinctly off. Although the lower mids are elevated as part of the tuning, the ZSX doesn’t sound too warm thanks to its pronounced upper mids. Vocals are forward and clear with surprisingly good vocal separation. Electric guitars are crunchy without lacking body. Once again, however, the BA timbre does shine through and doesn’t sound fully natural.

Treble: As a V-shaped IEM, the ZSX is a little odd in that it has lower treble in spades but quickly drops off when it comes to the higher registers. The lower treble on the ZSX is crisp and distinct, especially when it comes to the cymbals/hats with nice definition upon the initial attack of the lower notes. However, sustained playing on the cymbals/hats at higher frequencies gets relegated to the background almost as a messy noise since the ZSX simply doesn’t emphasize the frequencies there. The upside to this is that the ZSX doesn’t have any sibilance in the vocals for me, is not peaky, and is not fatiguing to listen to. That said, it’s not as if the ZSX doesn’t have upper treble, it’s just much less pronounced in comparison to its forward upper mids/lower treble.

Staging and Imaging: Like many other KZ models, the staging and imaging are that of traditional IEMs. That is to say, average at best. Nothing to complain about, but nothing great either.

Resolution and Separation: The resolution of the ZSX is definitely above that of similarly priced IEMs thanks in part to speedy BAs and the lower treble emphasis, making it feel clean compared to the smeariness of other budget models. As mentioned earlier, separation is great for vocals and other instruments with a distinct upper mid focus but can get fuzzy at crossover points like the lower mids or at in the treble.

Build and Fit: KZ seemingly has evolved their products to have a very standard style nowadays, and the ZSX is no different. It sports an over-ear design with a largish ergonomic shell design that seals easily for me. However, the issue I have with the ZSX is that it is relatively shallow fit while having a large nozzle that is uncomfortable to wear for longer periods of time. The cable and included tips are standard KZ, so nothing special there.

Should you buy it?: For $50, I highly recommend it. I think the KZ ZSX is a great value with a fun tuning that fits almost everyone. I very much enjoyed listening to the ZSX, something that I can’t say for any of the past KZ products I’ve had to listen to before. It’s simply a solid V-shaped IEM that you can’t go wrong with, either for yourself or as a gift. While it may not be as technically proficient as the BLON BL-03, I do personally prefer the ZSX’s more energetic tuning, especially for rock. Just watch out if you really care about bass quality and a more natural sound than what BAs provide.

[prfallon69]

Nice writeup.

[SenyorC]

I think I may have to give the ZSX a try, I do like the ZS10 Pro but find them fatiguing after a while.

Thanks for the reviews

[antdroid]

[SenyorC]

KZ ZEX Pro a.k.a KZ X Crinacle CRN (ZEX Pro)

This is also available in Spanish on my blog here and on YouTube here.

The KZ ZEX Pro has been sent to me by Linsoul in exchange for publishing this review. As usual they have not requested anything specific, therefore, as usual, my review will be as honest and unbiased as possible but it is always good to consider the fact that these IEMs have not cost me anything.

To find the KZ ZEX Pro, also known as the KZ X Crinacle CRN (more on that in a moment) via Linsoul, check my blog for the (non-affiliate) link.

Intro…

As I just said, the KZ ZEX Pro is also known as the KZ X Crinacle CRN, something that has led to a bit of confusion in regards to these IEMs and whether or not they are identical. Crinacle published this a few days ago, which serves to clear up any misunderstandings but in case you haven’t read it (and don’t want to), the quick recap is that the KZ ZEX and the KZ X Crinacle CRN are exactly the same IEMs, with the exception of the Crinacle logo on the CRN version.

Basically the KZ ZEX Pro was tuned by Crinacle but was released before the announcement was made public, the idea being, according to Crinacle and KZ, to see how the tuning was received before Crinacles name was linked to it. This was to see if the tuning was well received without using the “Crinacle” name or to see if it depended on his name to become a hit. I guess that it is sort of like Richard Bachman seeing if he could become a best selling author before telling everyone it was just Stephen King under a pseudonym. Yes, there is a bit of a difference between Stephen King and Crinacle but you get the idea.

I got sent the KZ ZEX Pro before the announcement was made, therefore my set does not show any mention (or logo) of Crinacle, but again, the IEMs are exactly the same.

Confused?

Ok, now let’s get on with the review of the “KZ ZEX Pro a.k.a KZ x Crinacle CRN (KZ ZEX Pro)”

Presentation…

I am not sure if there is any difference in the presentation of the CRN branded version but the ZEX Pro arrives in a packaging that is identical to that of the ZEX, with the same contents.

The typical white KZ sleeve from which a tray slides out to reveal the ZEX Pro IEMs covered by transparent plastic, underneath which we find the usual user manual, a couple of spare silicone tips and the cable that KZ includes recently with all of their products, in my case with an inline microphone.

Nothing special or out of the ordinary but we are talking about a set of 30€ IEMs (about 2€ more if opting for the CRN version), so there are no complaints from me regarding contents.

Build and aesthetics…

The shape of the IEMs does differ from the original ZEX, this time opting for a shell shape that was used on the KZ DQ6. As far as looks, both are (the ZEX and the ZEX Pro) are decent looking simple IEMs in my opinion, I really can’t say I prefer one over the other as far as looks.

As far as comfort, they are again both fairly comfortable, with no specific complaints from me, although I do find that the original ZEX sits inside my ear a little better, being a little smaller.

I have already mentioned the new KZ cables a few times in previous reviews and my opinion hasn’t changed. They are not the best cables in the world but are far superior to previous cables used by the brand.

Sound…

First off, let me start by saying that the ZEX and the ZEX Pro are tuned completely differently, therefore there really isn’t much to compare between them. I mean, I could list the differences but it would not really be very useful, as it is different in almost every part of the frequency range. Where the original ZEX has the usual KZ emphasis on the mid bass, running into the lower mids, with quite a dip in the center of the mids to later climb up and complete their usual V shaped tuning, the ZEX Pro follows a curve that matches my personal tastes more than the originals.

Starting off with the subbass, I like the fact that the presence starts to climb around the 100Hz mark and continues to rise the lower the notes get. This works well to give the subbass a nice balance, counteracting the natural roll off of our hearing as we go low, giving presence to the lower registers without actually overpowering any of the mid bass and lower mid frequencies.

Tracks that have plenty of info in the subbass realms come across nicely and I don’t find myself needing more in tracks like “Chameleon”, “Royals” or any of my other subbass test tracks.

Moving into the mid bass, it is slightly below what I would consider perfect (for my personal tastes of course) but only slightly. In general, the subbass and midbass follow my preferences very closely. It is also clean and articulate, without seeming to fall apart on busier tracks. The bass on “Killing In The Name” is a good sample of how the ZEX Pro keeps it clean and articulate in the low end.

Moving into the lower mids, the transition is clean and well defined. Crinacle mentions that he likes to boost bass in the lower ranges to keep the 300Hz area clean and avoid bass bleed, and it works well. I don’t get the impression that the bass bleeds into the lower mids at all. I do sometimes miss a bit of body when listening to purely acoustic guitar based music but that is the price to pay of the presence being slightly below my preferences in these frequencies. However, I would much rather it be lean in this regard than bloated.

Moving into the higher regions, here is where my first real complaint comes. There is a harshness that appears on occasions and can make vocals become a little shouty and too upfront. Now, the strange thing about this is that I have measured and compared graphs and don’t see any specific spike on paper that would cause this. It is also not on every track, or all the time, it is just with specific songs where things sound suddenly harsh and actually painful at times. I have found myself checking quite a few times if I had any EQ on by accident but it wasn’t the case.

An example would be the voice of Rag’n’Bone Man on “Human (acoustic)”, where his voice has a harshness that I don’t find on other sets.

As far as sibilance, I do find it to be a little too hot for my personal tastes, but again, it is only slightly. “Code Cool” does present a little sibilance throughout the track but it is by no means terrible in this regard. I would just prefer it to be a little tamer in this range.

As far as soundstage they are around average but with slightly higher than average image placement. The soundstage is not huge but does at least give the sound enough space to play around, with the images being placed fairly well, making the most of the space they have. “Bubbles” is enjoyable and the ZEX Pro are good enough to appreciate the intent of the song, something that I feel is very important.

The overall detail is also decent, especially if we consider the fact that they cost just over 30€. They are not detail monsters but I didn’t find myself feeling that I was missing anything, nor did I have to focus too much to appreciate the overall detail of the music I was listening to.

Conclusion…

The 30€ price bracket of IEMs is getting more and more crowded by the day, with some models offering a performance that is far more than one would expect for the price. The ZEX Pro is a set of IEMs that directly aims to compete with the better sets in the price bracket. In fact, I have heard sets costing far more that sound less impressive.

I feel that the tuning is very close to my personal preference and while I would prefer to somehow tame that harshness and slight sibilance in the higher regions, those are really my only complaints.

I can’t say that these have suddenly become my favourite IEMs but I also cannot deny the fact that for their price, they are a very good set of IEMs. The “KZ ZEX a.k.a KZ X Crinacle CRN (ZEX Pro)” are certainly worth a listen if you want to find out what the extreme budget section of IEMs is capable of nowadays.

[darmanastartes]

The KZ CRN is a dramatic step forward for KZ, but the treble balance, timbre issues, and average technical performance keep the CRN from being an unqualified recommendation from me. These issues can be remedied with PEQ, but if you have access to PEQ the need for such a strong starting point in terms of base tuning is much less, and you might do better to pick something more technically proficient instead.

My full review, with measurements, a comparison with the Tanchjim Tanya, and additional images, is available on my blog:

KZ CRN (ZEX Pro) Review

[SenyorC]

KZ AS16 Pro

The KZ AS16 Pro have been sent to me by Linsoul in exchange for the publication of this review. They have not made any specific requests or comments, meaning that I will do my usual best to be as unbiased as possible, always considering the fact that these IEMs have not cost me anything.

You can find a non-affiliate link to the AS16 Pro via Linsoul by visiting the version of this review published on my blog.

Intro…

At this point, I don’t think that KZ needs any introduction. Anyone who has looked at the budget end of the IEM world will know of KZ, it is difficult to not come across them, as they have so many models and a constant presentation of new models.

While KZ may have done some things very wrong over their time manufacturing IEMs, they have also done a lot of things right, being a first step into the HiFi world of IEMs for many people.

The model I am reviewing today is the AS16 Pro, a set of IEMs with 8 Balanced Armatures per side. This model, as with so many others that end in “Pro”, “Plus” or “X”, is an updated version of the original AS16, also featuring 8 BA’s per side, which is actually still available and is priced around 130€. The AS16 Pro sells for around 55€, so we are talking quite a large reduction in price for the new model. I have never heard the original AS16 Pro, so I am not going to be able to compare I’m afraid.

Presentation…

The presentation of the AS16 Pro reminds me a little of the KZ ZAX that I did review a while ago. Packed in a black box, already giving it a bit more of a premium feel than the simple white boxes of the cheaper models, there is not a lot in the way of contents but enough to at least enjoy the IEM straight out of the box.

We get the AS16 Pro IEMs, the usual cable that KZ includes with their recent models (something they call “High purity braided silver-plated cable with 2 pin changeable interface design”), three sets of the KZ “star” tips and the usual user warranty documents etc.

Build and aesthetics…

The shells of the IEMs are on the large side, with a shape that resembles something between a triangle and half a heart. I’m afraid that I find the result rather uncomfortable. Obviously this is going to be different for each person, as everyone’s ear anatomy is different, but in my case, they feel like the are digging into my ears and become rather painful after a while. Looking at photos, they do seem to be a very similar shape to the original AS16, so if someone already has a KZ with this shape and is looking for an upgrade, the fit should be fine.

The build quality is the usual KZ standard, nothing extraordinary but seemingly well built. I can’t say I have ever had an issue with the build quality of a KZ IEM, so I don’t have any reason to not expect these to be of the same level over time.

As far as aesthetics, something that is again very personal, I don’t mind them. I haven’t really fallen in love with the way they look but at least they seem to have an original design to them, using a semi transparent shell, with a design on the front plate surrounded by a metal plate.

As usual with KZ, they are as good as, or better than, what can be expected as far as build quality but aesthetics and comfort will be down to each individual.

Sound…

(All tracks mentioned are clickable links that will open the song for reference in the streaming service of your choice)

Let’s take the usual look at the AS16 Pro compared to my personal preference target (remembering that my target is just a guide and not a “be all, end all” as far as my tastes):

Starting from the subbass, using the usual “Chameleon” as a reference, there is a fair amount of it and the BA drivers do keep it fairly clean, however, I really am not a fan of the tonality of the BA bass, at least usually and that includes this set. There really isn’t much rumble to this song, which is something that I feel that the track actually needs.

Moving up into the midbass realms, it is a similar story. The bass is there but it is lacking life in my opinion, at least in comparison to a good dynamic driver in these frequencies. Don’t get me wrong, listening to something like “No Sanctuary Here”, the bass is there and it is fairly clean, it is just not exciting, it is rather polite.

The mids do have a fairly large dip in the center, pushing the overall tuning towards a V shape. This makes certain vocals seem to miss a bit of life in the lower ranges. The same happens with acoustic guitars and other acoustic instruments, there is a little hollowness in the center with a low end that is not warm enough to give them the necessary “body” that they need to seem natural.

As we move up to the higher end of the mids, the AS16 Pro brings vocals a little bit too far forwards. It is not terrible, there are far worse out there, but I do notice a little bit of harshness on tracks like “Don’t You Worry Child” by Beth. Her voice has a habit of becoming harsh on many IEMs and the AS16 Pro are no exception in this regard. They do avoid the 5kHz peak that I am quite sensitive to, so the harshness is not overly irritating for me personally, just a little too hot.

The upper ranges do extend quite nicely and, although the treble is not overly detailed, there is a sensation of clarity and air in the treble. It is nice to see that KZ seem to have left that metallic shine of yesteryear behind them in the upper frequencies, making things seem a lot smoother and more realistic in this regard.

Soundstage is about on a par with the usual KZ offerings, behind some of their more “open” sets yet still better than many other options. “La Luna” does not give a huge sensation of space yet it is still nicely placed, making the binaural recording something to appreciate.

Isolation is pretty decent, meaning that these IEMs work fairly well while outdoors and moving around. You can check out the isolation graph (and compare to others) by following the link at the end of this review.

Conclusion…

I can’t really say anything too bad about the AS16 Pro, they are a set that performs pretty well for their price and if you are looking for a V shaped sound signature, then you can do a lot worse than these.

However… I just find them to be lacking life for a lot of my preferred music. It is not the tuning, as the graph shows that there is plenty (more than enough) of low end to give weight and body to guitars, basses and even drums, it just seems that the bass from the BA’s is a little dull. Not dull in the sense that it isn’t there, or that it doesn’t perform well, just dull in terms of it not sounding very natural to me. I have always said that I am a big fan of dynamic drivers for low ranges and the AS16 Pro just reinforces that feeling.

Another issue that affects my overall impressions of these IEMs is comfort. Obviously this is a very personal thing but it does make it difficult to focus on the positives when you can’t ignore the fact that they are causing pain. Again, this will be very different from person to person but I can only speak for myself.

As always, this review is also available in Spanish both on www.achoreviews.com and on www.youtube.com/achoreviews.

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[InvisibleInk]

I must have got a bad pair of AS16 Pros. I had high hopes for these as an upgrade to my AS10 and BA10, but these just sound patently awful to me, with any tips or cables. If I hook up the cable to a 25 ohm impedance adapter, they do sound a somewhat better. A 75 ohm impedance adapter a tiny bit better than than that, but I still can’t say they are fixed.