# The Ultra Cheap IEM Thread **URL:** \ **Category:** General IEM Discussion\ **Tags:** iems\ **Created:** [August 24, 2018, 11:42pm UTC](https://forum.headphones.com/t/the-ultra-cheap-iem-thread/1963 "2018-08-24T23:42:36Z")\ **Posts on this page:** 1\ **Showing post:** 1454
**Author:** ![Nimweth](https://avatars.discourse-cdn.com/v4/letter/n/a587f6/32.png) [@Nimweth](https://forum.headphones.com/u/Nimweth)\ **Post date:** [July 18, 2024, 4:29pm UTC](https://forum.headphones.com/t/the-ultra-cheap-iem-thread/1963/1454 "2024-07-18T16:29:20Z")
KZ AS10 Pro I was contacted by Kate, the social media representative at KZ, and was sent a review sample of the new AS10 Pro. It is a 5BA set and retails for around $50. The Packaging The AS10 Pro comes in the familiar KZ small black box with a white sticker on the side bearing the product information. Sliding the box open reveals the IEMs in a foam cut out, below which the accessories are stored below a cardboard flap. The contents comprise: ● AS10 Pro IEMs ● Silver plated 2-pin cable ● Three pairs of “Starline” tips (S, M, L) ● One pair foam tips (M) pre-fitted ● Documentation Build and Design The AS10 Pro is a completely new design. The earpieces are triangular in form with rounded corners and finished in a shiny gunmetal colour with the model name “AS10 Pro” in a white script font. There is a narrow triangular vent with a mesh and channel identification can be seen in the bottom corner of the faceplate. The clear plastic 2-pin socket is on the top of the faceplate which is made from alloy and the rest of the earpiece is clear resin, enabling the BA drivers to be seen. The nozzles are gold-colouref metal with a silver mesh and there is a gold KZ logo on the underside. Like most of the recent KZ releases, the earpieces are very well made. The original AS10 has been around for a while. The drivers used in that are: 22955 for bass, 29869 for mids, 31005 for mid/high and 2 x 30095 for the high frequencies. This was also the configuration for the BA10. The AS10 Pro uses the 22955 and 29689 like the original, but mid/high frequencies are handled by a dual 31736 array while the upper range is covered by a single 30019 BA. There are no BAs placed in the nozzle as in some previous models. The cable is a silver plated copper type with a 2-pin 0.78mm connector and a gold plated 90° angled 3.5mm plug. The sheath is transparent, revealing the copper wire within. The cable is not as prone to tangling as previous KZ designs but there is still no chin slider. Fit and Isolation The AS10 Pro has quite long nozzles and I could not get an acceptable fit with any of the supplied tips. After some experimentation I settled on a pair of KBEAR wide bore tips with which I obtained a comfortable and secure fit with excellent isolation. These tips also allowed the earpieces to sit much closer to the ear. External sounds were substantially attenuated, with even loud traffic noise while walking barely audible. Sound Impressions The AS10 Pro was tested with Xduoo X20, Sony NWZ-A15 and Hidizs AP80 Pro X DAPs. A smartphone, via a USB-C dongle, and a digital radio were also used. I found the IEMs to be rather source-sensitive with the Hidizs AP80 Pro X sounding a little too soft and the Sony losing a little in impact, whereas the Xduoo X20 displayed good synergy and provided some extra power. The IEMs were subjected to a burn-in period of 100 hours before evaluation. The sensitivity was just a little low with a moderate increase in volume necessary to obtain a healthy signal. I also found the AS10 Pro to be very fussy with regard to cables and the best result was obtained with a NiceHCK Black Cat. Tonality The AS10 Pro was impressive straight out of the box. It displayed excellent detail and immediacy with a very natural timbre, especially in the bass which was deep, resolving and fast with an almost DD-like quality and natural decay. Both mids and treble were extremely clear and somewhat forward but totally lacking in harshness and displaying abundant detail and projection, giving the impression of a live performance. Staging, because of the transparency in the mids and treble, was fairly spacious with excellent positioning of elements within the image but there was a reduction in depth. Bass Although using only one 22955 bass BA, the low frequencies were punchy, dynamic and speedy with a natural warmth and decay similar to that of a dynamic driver and a rich sub bass response seldom found with a BA. Resolution and texture were of a high standard and instruments displayed a natural timbre. The reproduction of studio and hall ambience was very convincing. “Seven Passages” from Iranian composer Behzad Ranjbaran’s “Persian Trilogy” is based on an episode in the 11th century poem “The Book of Kings”, titled “The Seven Trials of Rostam”. It is a richly scored work which is reminiscent of Rimsky-Korsakov’s “Scheherazade”, both thematically and in orchestration. On the AS10 Pro, the dramatic opening came to life with the powerful percussion section to the forefront, the timpani and bass drum sounding forceful and full of impact. The decay of the drums and ambience of the hall were realistically conveyed with a natural timbre and tonality similar to that of a good DD but with the speed and precision of a BA. “EVA” from Jonn Serrie’s spacemusic album “Elysian Lightships” showcases the AS10 Pro’s ability to produce a deep and satisfying bass response. The introduction features smooth, ethereal synth patches evoking the vast dimensions of space. Soon a deep sub bass drone forms a solid foundation and there was a definite sense of weight with good texture and definition. The bass never dominated proceedings and always stayed perfectly in balance with the other elements in the production. Midrange The AS10’s midrange was exceptionally clear and transparent with a high level if detail. As a result, imaging and movement were particularly well rendered. The tonality was a touch brighter than neutral but totally lacking in harshness and there was no bleed from the bass region. The timbrexwas largely natural with a slight warmth in the lower mids and becoming brighter with frequency. There was a moderate rise towards the treble boundary which was nicely contoured and dovetailed smoothly into the treble. “A Chloris” by the Venezuelan composer Reynaldo Hahn is a homage to Bach. In the recording by John Lenehan and Julian Lloyd Webber, the timbre of the cello and piano sounded realistic and natural. The sense of space in the recording venue was accurately reproduced and a touch of extra brightness from the AS10 Pro gave the impression of attending a live performance. The expressive and slightly forward nature of the midrange ensured that vocals came over very well. Chris Izaak’s “Wicked Game” was a good example of this, with his voice clearly focused above the guitar and bass accompaniment. James Wilsey’s haunting vibrato lead guitar set the scene and the subtle backing vocals were in perfect balance in this excellent production. The emotional expression in Izaak’s voice was convincingly conveyed with the dark and brooding atmosphere of the piece effectively communicated. Treble The treble was characterised by speed, high levels of detail, excellent extension and fast transient attack. At times, it did stray close to the edge in terms of brightness but never crossed the line into harshness and did not display a tendency for sibilance. There was good extension with a definite sense of “air” and precise separation. “A Gradual Awakening” is the first album from Canadian synth duo Mychael Danna and Tim Clement. It was released on the now-defunct Fortuna label. It is an album of electronic music inspired by the landscapes of Canada. “Ice and Air” begins with descending swirling arpeggios in the high registers evoking snowfall. Each sound was cleanly depicted and displayed good separation and extension. As the track continued a powerful bass drone added depth but the high frequencies remained clean throughout and retained their clarity. The detail in the various melodic strands was nicely differentiated with each part having its own character. Charles Ives’s “The Unanswered Question” is a remarkable orchestral piece. The classic recording by the New York Philharmonic under Leonard Bernstein came over dramatically on the AS10 Pro with the quiet and contemplative introduction punctuated by the atonal trumpet solos and powerful declamations from the woodwind which produced a startling effect just as the composer intended. During these interludes, the individual timbres of the various instruments were easy to discern, remaining clean and clear even in the most dynamic passages. Soundstage and Imaging The AS10 Pro’s stage was of reasonable size, thecwidthbeing most noticeable an̈d with a good impression of height. However the depth did suffer from some compression due to the forward nature of the midrange. Imaging was notable feature, while both separation and layering were of a high standard, as befits a multi-driver design. “Genesis Ch.1 v32” appears on the album “I Robot” by the Alan Parsons Project. In the introduction sustained phased synthesisers fill both sides of the image. As the track progresses, with each bar more layers are added: twelve string guitar, vocal samples, solo guitar, bass, percussion and sound effects, ending in a very dense production. Throughout, the AS10 Pro managed to retain a hold on all the disparate elements and present them as a coherent whole with precise layering and separation. The gradual rise in intensity towards the climax was very well portrayed which allowed the drama of the piece to be appreciated. “Luzon” by Henry Mancini is a colourful orchestral piece evoking a tropical panorama. After an introduction featuring various percussion instruments, a lush string accompaniment creates an atmosphere redolent of a romantic interlude in a spy movie. The AS10 Pro made the most of this providing a rich and smooth rendition filling the soundstage while the position of all the different sections of the orchestra were clearly defined. Throughout this, alongside the excellent technical performance, both the musicality and feeling of the piece were retained. Comparisons All comparisons were made using an Xduoo X20 DAP with a NiceHCK Black Cat cable. KZ BA10 The BA10 is a 5BA model which uses: 1 × 22955 bass driver, 1 x 29869 midrange BA, 1 x 31005 mid/high unit and 2 x 30095 for the high frequencies. This is the same configuration as the original AS10, although in a different shell. There are no BAs placed within the nozzle and the shell is vented. Its unusual shell, though very well built, can cause fit ssues for listeners with small ear canals, but fortunately I obtained a good comfortable fit with this model. The BA10 has a well balanced mild V shaped profile. Bass is very natural in tonality, with good impact and timbre resembling a DD. The midrange is perhaps its best feature, being open, smooth and detailed with excellent layering and treble is also well controlled with the two 30095 BAs tuned less aggressively than customary. Soundtage is of smaller dimensions than the AS10 Pro and is perhaps it’s weakest feature. The AS10 Pro improves on the BA10 in every department, with a larger, more expansive stage, a higher level of detail, a noticeable increase in clarity and a more natural timbre throughout. The bass is deeper and has a more believable decay and tonality. KZ’s tuning has improved in recent times and the AS10 Pro is a perfect example of this. KZ AS12 The AS12 is a six-driver IEM. The BAs employed are 2 x 22955 for the bass, 2 x 29869 for the mids and 2 x 30095 for the treble. The shell is similar to the AS16 and CCA C16 and is not vented. All the drivers are housed within the shell. The AS12 is a neutral/bright IEM which majors on detail and clarity. Bass shows good speed and depth, the midrange is detailed and clean and the treble well extended and bright. There is a touch of “BA timbre” in its presentation which is totally absent in the AS10 Pro, which has a warmer and more natural tonality across the frequency range. The AS12, because of its cooler and more forward midrange, has a shallower stage and also loses a little in separation in busy passages whereas the AS10 retains a grip on proceedings, with better layering and imaging. The AS12 also can become fatiguing over longer listening periods, whereas the AS10 Pro is more relaxing and is more suitable for longer sessions. TRN X7 The seven-driver X7 is equipped with the following BAs: 1 x 22955 (bass) 1 x 29869 (mids), 2 x 50060 (mid/high) and 3 x 30095 (treble). Like the AS12 and BA10, no BAs are placed within the nozzle, but the output from the BAs is channelled through 3D printed sound tubes to the nozzle. With the supplied tips, it is very comfortable to wear for long periods. Th X7 has a well balanced profile with a lively and detailed character. Sub bass is very capable, especially for a BA and there is good weight in the mid bass, giving a warm and rich quality to the low frequencies. Midrange is again well contoured with a nicely judged rise into the treble and a clean delivery with good timbre. The treble is smooth but lively and there is an overall feeling of immediacy. It is broadly similar to the AS10 Pro but has a little more mid bass warmth. The sub bass is not as deep but the soundstage is considerably larger in all three dimensions. The treble is smoother and softer giving the impression of being not quite so detailed but it is less prone to fatigue. The choice between this and the AS10 Pro is more a matter of taste. Conclusion The AS10 Pro is another example of the improvement in tuning displayed by the more recent releases from KZ such as the Castor Harman, CCA Trio and PR3. There was no evidence of “BA timbre”, the bass possessed a depth, power and texture more usually associated with a good DD and the midrange was clean, clear and detailed and showed only minimal recession. There were a couple of minor issues; the soundstage was a little shallow and he upper mids/lower treble occasionally became more emphasised, but this only occurred with certain material. I have not heard the original AS10 so cannot say whether the Pro is an improvement but I feel it is preferable to the BA10, AS16 Pro and AS12. However, I also think that it is the best all-BA design from KZ I have heard so far and it comes highly recommended. ![IMG_20240701_150720](https://us1.discourse-cdn.com/flex016/uploads/headphones/original/3X/9/3/93dee2ae83a0e2507b89d40a84492021dd977fc5.jpeg) ![IMG_20240701_150816](https://us1.discourse-cdn.com/flex016/uploads/headphones/original/3X/4/2/421ff855a02544c0303af5ed49c667a4ec28212c.jpeg) ![IMG_20240701_150926](https://us1.discourse-cdn.com/flex016/uploads/headphones/original/3X/4/c/4cb09994b212226f6405b19fb57caab55029eec5.jpeg) ![IMG_20240701_151003](https://us1.discourse-cdn.com/flex016/uploads/headphones/original/3X/b/0/b013953f615d7fed333a4fb6073cc292fddb865e.jpeg) ![IMG_20240701_151041](https://us1.discourse-cdn.com/flex016/uploads/headphones/original/3X/d/8/d8204d12141009ca7e3dbb8ea5a9232beee74ffd.jpeg) ![IMG_20240701_151323](https://us1.discourse-cdn.com/flex016/uploads/headphones/original/3X/a/5/a55032a1d123aa082c144a2e83af867472d426f1.jpeg) --- _[View the full topic](https://forum.headphones.com/t/the-ultra-cheap-iem-thread/1963)._