thank you for the review.
this sounds like a good present for my wife. turkoise is her colour and the cable looks nice
maybe can get her this way into iems
from looks, I would say, that isolation is not strong with the ported design, right?
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Thanks! Glad you enjoyed it. I am now using the KB06 as my âdaily driverâ!
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To a degree, yes, but itâs worth âtip rollingâ as the small size of the earpieces gives a deep insertion.
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TRI I4 REVIEW
Tri is a brand I had not heard about until Kinboofi and KB Ears both requested to send me a set to review of their new I4 In-Ear Monitor. This specific set was provided to me by Kinboofi, who are a retailer on Amazon as well as making several audio cables that I actually have bought and enjoyed in the past.
The $69 Tri I4 is a dual driver hybrid. It features a single Knowles BA and a single 10mm biocellulose dynamic driver, and these are housed in a CNC aluminum alloy shell. This shell features mmcx connectors and comes with a detachable cable. One thing to quickly note is that this specific cable looks very reminiscent of the new Campfire Audio cables packaged with this yearâs IO, Polaris and the latest Andromedas. In fact, I thought they were the same cable as the one that comes with the Campfire IO, which I reviewed in previously.
Being similar to this cable is a good thing, as I really enjoyed this cable when I was demoing and preparing the review of the IO. In fact, the shell is also well designed and extremely comfortable as well, giving this set a thumbs up on ergonomics and comfort.
Sound
The I4 reminds me of a warmer, punchier, diffuse-field tuned earphone. It actually reminds quite a bit of the Custom Art Fibae 7 I recently reviewed in terms of sound profile. With the Fibae 7, I thought it was a very well done, reference-like tuning. But itâs also quite a bit more expensive than the Tri I4.
The I4âs biocellulose dynamic driver is very quick, and I feel like the bass notes are clean, and responsive. I tend to think the bass decays a bit too quickly. There is extension into the subbass, and that provides a small amount of rumble that I really like. Thereâs just a slight bump in the midbass that provides some punch to an otherwise flat bass response that some may find lacking. The slight hump is within my acceptance, as Iâm not a big fan of the mid-bass bumps that provide that heavy punch and slam, mostly because this can cause the lower mid-range to become quite muddy.
In the I4âs case, this isnât an issue at all. The midrange from bottom to top is very smooth and coherent, although a little lacking in body. The I4 features a mid-forward sound signature, with extra emphasis on female vocals, guitar strings, and the like. This makes those sounds very up close and personal, though, not enough to be come totally congested.
A good representation of this is The Civil Wars â20 Yearsâ, which is an acoustic folk track with some tight guitar plucks that seem to resonate and screech within my head. John Paul Whiteâs voice doesnât have the thick grittiness I would normally like, and does have a little bit of a treble-induce fringe to it, which is mostly due to the slightly bright treble response in this in-ears. Joy Williamsâ voice sounds just a tad closer to the front of the scene, but sounds accurate and what I would expect.
Now the treble is a tad bright though not terribly harsh. In my previous review of the Fibae 7, I said that Custom Art tuned it to push the boundaries of what I find harsh without ever going over that line. In retrospect, I find this to be accurate and the Tri I4 is what is just beyond the threshold. Itâs not far over, like say, the RHA CL2, or the BGVP DM6, but itâs just slight above my level of brightness that makes me happy. This makes some notes just a small bit strained and over emphasized to my liking.
For example, if I had to listen to Liz Fraser for a long time with these, I may find it fatiguing, where on my current daily driver, the qdc Anole VX, I can listen to it for hours. Speaking of which, one âFifty-Fifty Clownâ, a track off of The Cocteau Twinsâ Heaven or Las Vegas album, I find the cymbals to be a little over splashy and just overall a tad brighter than I prefer. The bass lines on it actually do extend well down and have a small bit of rumble and definite punch to it that I am not normally listening to on my other IEMs (again, I donât prefer mid-bass).
The soundstage of the I4 is weird. Itâs definitely midforward and some instruments and voices are very closed in, in that itâs not a wide soundstage, but there is still decent to good separation. I wouldnât say the imaging is great, but itâs average, especially at the price tag weâre talking about here.
Overall
While it may seem like I am being very critical of the Tri I4, I do find it a rather good performer for a budget priced in-ear. Thereâs not a lot of stellar competition in itâs price range of $69, and youâd have to look at the Tin Hifi T3, T2, and the KZ ZS10 Pro as similar and perhaps better options. That said, the T3 is the closest in-terms of sound profile, while the other two are leaner (T2) and much warmer and thicker (ZS10 Pro).
If the tuning was just a shade less bright, Iâd easily recommend these to anyone, as I find them to be a nicely done and decent resolution of the price point. Since the tuning is a tad bright, I would say that if you can handle a little treble sharpness, then go for it, and if youâre treble sensitive, you may want to stay behind.
As mentioned above, Kinboofi provided a review unit to me. If youâre interested in this IEM, you can find it on Amazon.com: https://www.amazon.com/Earphone-Balanced-Armature-Headphone-Champagne/dp/B07V4Q3FX3
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These sound like an iem I might have to try. Excellent review by the way. A great read as always and as ever very detailed.
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I have recently acquired the KZ ZSX and the CCA C12, the latest flagship hybrid models from these companies. They are bothe very impressive and share many similarities while at the same time having their own character. Here is my take on the ZSX:
The ZSX is the latest flagship hybrid design from KZ (Knowledge Zenith). Dubbed âThe Terminatorâ it is a 6 driver IEM (1DD + 5BA). Whether the name âTerminatorâ denotes that no further hybrid models will be released is unknown. The Dynamic driver is 10mm in diameter and is a development of the unit featured in the ZS10 Pro, a dual magnet design with a field strength of 1 Tesla. The balanced armatures include two sets of the dual DWEK BA, a mid-high frequency design, coupled with a 30095 driver covering the extreme HF.
The IEMs arrive packaged in a black box similar to that supplied with the ZS7 with the earpieces displayed in a foam cut-out above the KZ plaque seen in other premium models. The words â12 Units Hybrid Technology Earphoneâ are printed below. Under this cut-out you will find the detachable cable, a set of three Starline-type tips and documentation. A set of plain soft silicone tips with a medium bore are pre-fitted on the IEMs. The shell is a new design with the faceplates finished in a matt charcoal colour with â12 hybridâ written on it and the resin underside finished in a deep greenish colour (called cyan). They look very smart indeed. There are two pinhole vents on the inner surface of the earpieces. The fit was very comfortable with the âfinâ on the end of the earpiece providing stability. Isolation was also very good.
The detachable cable is identical to that supplied with the KZ ZS10 Pro. It has a clear plastic connector (known as âType Câ) with the pins covered in a plastic shield. It is still possible to use other cables, which can be plugged into the protruding sockets on the IEMs. The cable itself is composed of braided copper and has a very long section between the chunky Y-split and the earpieces and as a result is somewhat prone to tangling. The plug is the usual right-angled plastic 3.5mm TRS type. It would have been good to see a more premium cable with a flagship model, and please, KZ, can we have a chin slider?
The earphones were left burning in for over 72 hours before testing and included tracks of white and pink noise, glide tones and other audio conditioning tracks. After this I used a Hifi Walker H2 DAP with a Fiio A5 amplifier and a Sony NWZ-A15 for evaluation. The supplied tips were used but I changed the cable to a 16 core silver plated one from TRN.
The immediate impression was of a huge soundstage, powerful bass and a lively engaging presentation. It reminded me of my favourite KZ so far, the ZS7, but with an improved more forward midrange, better staging and layering and a more extended treble. Sensitivity was good with adequate volume obtained via the headphone socket of my DAP but a more authoritative and controlled sound was obtained using an amplifier.
Bass
The bass performance of the ZSX was excellent. Starting in the sub-bass, extension and power were first-rate. Depth was impressive while still retaining good texture and clarity. A good example of this was in Jonn Serrieâs âLand of Lyssâ from his âMidsummer Century album. This track contains some of the deepest sub-bass you will hear and the ZSX handled it with aplomb. I was able to hear more detail here than ever before with the deepest notes being reproduced cleanly and with low distortion. Orchestral bass instruments also benefited from the ZSXâs ability in this region. The bass drum and timpani in Holstâs âUranusâ performed by the LSO under Andre Previn were very impressive and possessed great impact and immediacy along with weight and power. The mournful trudging of the double basses in âSaturnâ were also testament to the cleanliness of the bass with remarkable detail and resolution. Popular music too, sounded good with the bass guitar and bass drum rhythm section in Al Stewartâs âYear of the Catâ being nicely separated and defined, yet combining to produce a very satisfying foundation to the track.
Midrange
The midrange performance carried on where the bass left off with good resolution and separation, and not suffering from any bass bleed. The complex guitar arrangement in Ray Lynchâs âOver Easyâ depicted this perfectly. Each instrument was clearly defined and at the same time, beautifully integrated with the whole. There was good transient attack, excellent portrayal of studio ambience and accurate stereo imaging. Electronic music enjoyed a particularly clean reproduction, with Mark Dwaneâs âGeoglyphsâ from the âVariantsâ album displaying superb âslamâ in the percussion and clearly-defined synth layering. The whole combining to produce a really entertaining result. The tuning of the new DWEK dual BAs certainly seems to be very successful. There was a little emphasis towards the upper midrange which occasionally resulted in a sharper tonality but this only occurred on certain tracks. In general the midrange was very well-tuned. The modern tonalities in Elizabeth Maconchyâs âProud Thamesâ overture played by the LPO displayed excellent timbre and the differentiation of the brass and woodwind sections was well handled with good integration and thus preserving the musicality of the piece.
Treble
The treble was clean and well-extended, which was, I feel, due to sharing the upper register between the DWEK units with a single 30095 driver which, I would guess, has a higher crossover frequency than in former designs like the ZS10 Pro. This resulted in a very clean reproduction with few of the harsher or peaky artefacts seen in earlier KZ models (excepting the ZS7). The 30095 unit would appear to have been well-tuned here. Richard Burmerâs âThe Forgotten Seasonâ from the album âOn the Third Extremeâ possessed a clean, smooth tonality in the treble with excellent separation and detail, having a kind of âetchedâ quality. This also manifested itself in Matthew Cliffordâs âAccumulusâ, a kind of synthesiser multi-tracked symphony from 1989. Incisive flute-like synth patches soared above the bass accompaniment in superb style. The high string melody in Brittenâs first âSea Interludeâ played by Andre Previn and the LSO was clearly depicted. Set against the scurrying woodwind figurations and supported by deep bass drum, it retained its detail well and stood out clearly from the accompaniment.
Soundstage
The soundstage of the ZSX was one of its best features. In fact it possessed the most impressive spread I have heard in an IEM. Width, depth and height were all of high quality, enabling the production and the character of the recording venue to be appreciated fully. This airy soundstage endowed the ZSX with an open, relaxed presentation and well-recorded pieces displayed an impressive sense of space. Vangelisâs âTheme from Antarcticaâ was a perfect example. Synthesised bass, drums, lead voices and percussion effects assailed the ears from all directions, all contained within a huge, cavernous acoustic. Classical music also benefited from this with accurate imaging and positioning of instruments within the ambience of the concert hall clearly defined. The second movement of Brittenâs âSinfonia da Requiemâ was very impressive in this regard, with the brutal percussion scoring impressively powerful and precisely placed within the stereo image.
Conclusion
The ZSX impressed in all areas. With new components, including a revised dynamic driver and DWEK dual BAs, KZ have really ânailed itâ with this model. Powerful yet controlled in the bass, clean and articulate in the midrange and smooth and detailed in the treble, added to this was a wonderfully expansive soundstage. All of this came together to produce an impressively musical IEM which combines the impact and entertainment of the ZS7 with the detail and resolution of an all-BA design like the CCA C16 or A10.
Released at the same time as the CCA C12, it is tempting to compare the two. These two IEMs share the same components but in a different shell design and internal configuration. Traditionally, KZ IEMs have been âV-shapedâ whereas CCA models have been tuned with a more neutral signature. This is also the case here.
The ZSX has a gentle V profile but does not suffer from bass bleed, nor is the midrange notably recessed. There is a slightly emphasised bass region and a mildly raised upper midrange and treble but this did not produce an unbalanced presentation. The soundstage is very large and the tonality somewhat warmer than neutral. As a result, the ZSX displays a very musical character. In fact, âcharacterâ is a quality with which the ZSX imbues each track and the overall tonality more resembles a full-range DD design rather than a hybrid.
The CCA C12 on the other hand, sounds clean, clear and detailed in the manner of an all-BA IEM. The overall effect is like adding a DD to the existing A10. The tonality is brighter than the ZSX which gives the impression of more detail, though when examined closely, the ZSX does not lack any resolution in this area.
The similarities between these two, I feel, are closer than the differences, which is unsurprising given that the same units are employed in both models. It is more a nuance than an obvious contrast, but the differences, though subtle, are there and may influence a choice between them according to taste. However that may be, it is undeniable that the ZSX is the finest IEM to date from KZ.
8 Likes
I forgot to provide a link to the product for my ZSX review. It was provided by Sherry from Nex audio and the link is: https://www.amazon.co.uk/gp/aw/d/B07XBY7Z8Z?psc=1&ref=ppx_pop_mob_b_asin_title
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Really great review. I seriously nearly bought this. But I dont need any more iems right now. It does sound like itâs going to be popular though.
thank you for the review - the soundsignature sounds like my prefered
while I prefer MMCX IEMs, I could see me adding this in future to my entry level micro-mini-iem-collection
I like the green shell with these dark sprinkles and a third party bright-copper balanced 2PIN cable could add to the design
for the price a no brainer
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Thatâs a thought! Iâll try the copper cable from my Revonext QT5, that should look great! Glad you found my review informative.
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Thanks. You may want to wait a while and see my review of the CCA C12 which is on the way!
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I will thanks.
Here it is: My review of the CCA C12.
The C12 is the latest flagship hybrid design from CCA (Clear Concept Audio) and it is a 6 driver IEM (1DD + 5BA). The Dynamic driver is 10mm in diameter and is a development of the unit featured in the CA4, a dual magnet design with a field strength of 1 Tesla. The balanced armatures include two sets of the new dual mid-high frequency design, named in Knowles-style as DWEK. These are coupled with the well-known 30095 driver covering the highest frequencies.
The C12 comes packaged in a black box the same size as the usual CCA/KZ packaging with an outline drawing of the IEMs in silver on the front. Sliding open the box, you are presented with the IEMs in a foam backing. The words â12 Units Hybrid Technology Earphoneâ are printed below. Under this foam insert you will find the detachable cable, a set of three Starline-type tips and documentation. A set of plain soft silicone tips with a medium bore are pre-fitted on the IEMs. The shell is very similar to that of the CA4, with the faceplates finished in a brushed metal with gold accents. There is an indented CCA logo in the centre filled with gold colour. Along the edge of the earpieces you will see the words â12 hybrid technologyâ. The resin underside is finished in a smoked grey colour which matches well with the faceplates. There are two pinhole vents on the inner surface of the earpieces.
The detachable cable is identical to that supplied with the CA4. It has a clear plastic connector (known as âType Câ) with the pins covered in a plastic shield. It is still possible to use other cables, which can be plugged into the protruding sockets on the IEMs. The cable itself is composed of braided copper and has a very long section between the chunky Y-split and the earpieces and as a result is somewhat prone to tangling. The plug is the usual right-angled plastic 3.5mm TRS type. It would have been good to see a more premium cable with a flagship model, and please, CCA, can we have a chin slider?
The earphones were left burning in for over 72 hours before testing and included tracks of white and pink noise, glide tones and other audio conditioning tracks. After this I used a Hifi Walker H2 DAP with a Fiio A5 amplifier and a Sony NWZ-A15 for evaluation. The supplied medium Starline tips were used but I changed the cable to a 16 core silver plated one from TRN. (See below)
The C12 displayed a clean, clear sound profile with a powerful bass foundation, open midrange and extended upper frequencies. Detail retrieval was excellent and separation very good. The soundstage was three-dimensional and extensive.
Bass
The bass was well-controlled and displayed good extension, with the lowest frequencies handled cleanly and with good texture. Messaienâs âDesseins Eternelsâ performed by Louis Thiry has some extremely low organ tones and the C12 passed this severe test with flying colours, reaching down to the lower 30Hz regions at the same time maintaining good timbre and resolution. In 1989, Canadian electronic music duo Francois Kiraly and Charles Crevier released a beautiful spacemusic album âCalypsoâ. âCastawayâ ffeatures a plaintive melody underpinned by deep bass synth patches ON the C12, they possessed depth and impact and complemented the string and flute sounds perfectly. David Essexâs âRock Onâ benefits from a superb production by Jeff Wayne (âWar of the Worldsâ). A prominent deep bass guitar forms the foundation for this track and it was beautifully reproduced by the C12 with an attractive âgrowlâ. Brass and percussion remained clean and incisive with good stereo imagery.
Midrange
The midrange was perfectly balanced with the bass and treble and did not suffer from bass bleed, nor was it recessed. It displayed a typical CCA tonality with good clarity, detail and resolution. There was a mild lift towards the upper boundary with the treble which endowed this area with âsparkleâ, and brought vocals somewhat forward in the mix. Enyaâs âEchoes in Rainâ from her âDark Sky Islandâ album was a good example of this with lyrics clearly enunciated even allowing for the very powerful bass-driven accompaniment, and the character of Enyaâs voice nicely preserved. MIDI guitarist Mark Dwane has revisited his first album âMonuments of Marsâ in his latest opus, âMartian Apparitionsâ. Well-known for his audiophile standard recordings, this certainly applied here. In âGalaxis Chaos" the crisp, clean lead synth line stood out clearly from the powerful driving accompaniment, resulting in a very exciting presentation. Classical music also fared well, with Baxâs âTintagelâ showing an orchestra in full flight. Swirling string parts combined with snarling brass interjections in the dramatic introduction, to be followed by a beautifully expressed main theme in the strings set against a rocking woodwind accompaniment.
Treble
The treble had good extension and timbre. Separation was above average, enabling subtle details to emerge. In the Minuet from John Irelandâs âDownland Suiteâ by the English String Orchestra, the lead melody was nicely detailed with the differentiation of various instruments clearly defined. The lively accompaniment showed excellent timing and the counterpoint was easy to follow. Deuterâs âPetite Fleurâ from the album âLand of Enchantmentâ features a lead melody resembling a music box. The attractive theme shone out clearly above the guitar and synthesised background and displayed a well-reproduced ambience. The high synth tones towards the conclusion were clear and pure in tone. The drums and percussion in Linton Kwesi Johnsonâs âMan Freeâ cut through the production wonderfully. Sly Dunbarâs drumming here was exemplary, dovetailing beautifully with Robbie Shakespeareâs bass, with the high hats in the instrumental break superbly clean and incisive.
Soundstage
The C12 possessed an extensive panoramic soundstage, excellent layering and first-class separation. Jean-Michel Jarreâs âFirst Rendezvousâ impressed greatly in this regard with the initial deep synthesiser drone echoing menacingly and the various string synth layers well-defined. Stereo imaging on this track was superb with electronic effects moving around the stage in entertaining fashion and the dynamic conclusion to the piece powerfully portrayed. The beautiful flute solo in Stuart Mitchellâs âMausoleum at Halicarnassusâ from his âSeven Wonders Suiteâ floated delicately above the orchestral accompaniment. Breath sounds could be heard clearly and the ambience of the recording venue added to the atmosphere, especially at the end of the track where the natural decay of the timpani could be heard in the distance. Dave Brubeckâs âTake Fiveâtook you to the sudio in authentic style with the performers laid out in a natural acoustic. Saxophone solo and bass in the centre, drums on the left and piano on the right. Joe Morelloâs amazing drum solo came over superbly with a wonderful metallic sound to the cymbals and the timbre of the various drums nicely differentiated.
Conclusion
CCA seem to raise the bar with each successive release. After the impressively-detailed C16 and the accurate âwarts and allâ sound of the A10, the C12 adds a powerful bass foundation to the detail and precision of the earlier models. Boasting an impressive soundstage with excellent layering and separation, it has a largely neutral signature with an attractive sparkle in the upper register, and I feel it is the most accomplished IEM from CCA so far. Its closest competitor is the new KZ ZSX which shares the same components housed in a different shell and configuration. The ZSX has a deeper sub-bass presentation, a warmer overall tone and an immense soundstage, but does not display the same precision or detail retrieval as the C12. It makes for a more relaxing listen, whereas the C12 majors on detail and has a more incisive transient nature. Both are excellent IEMs and the choice between them will be largely a preference of sound signature.
N.B. The comparison between the ZSX and C12 was carried out using the stock cable and tips on both models to obtain an accurate appraisal as possible.
Product link: https://www.amazon.com/dp/B07XPSYH6Z
6 Likes
Another very good review. This one would seem to suit my tastes a little more than the KZ ZSX. I may have to try a pair in the near future. I may get some for my son and sneak a few hours with them.
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Hello, Iâm looking for some new IEMâs and looked through this thread and saw some good things about the kz zsnâs. However I donât want to look through almost 700 replies to see if anything has changed so I was wondering if the kz znsâs are still the go to ultra cheap IEMâs. I can get my hands on them for ÂŁ10 if that matters
Hello and welcome Posko. Nothing has changed, but I got my ZSNs for under $20. They sound OK for that price, but they do get fatiguing. If you can afford more, Iâd look at the $40-$50 IEMs reviewed more recently in this thread.
I bought 3 pair of the ZSNs. Iâm keeping one, I gave away another to an 11 year old who needed IEMS for school, and she loves them, listening to music on her iPad. Not high end music. I have one more pair saved for a stocking stuffer.
You get a lot of bang for the buck with the ZSN, but they are not a sophisticated or a long term love affair IEM.
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Hello and welcome @Posko. Itâs nice to have another Brit onboard. You may want to take a look at @antdroid and @Nimweth amongst others (sorry if I missed you other iem experts out) they have great experience with Ultra Cheap iems.
Thanks for the reply pennstac. Unfortunately I cannot afford any IEMâs in the ÂŁ40 range right now, but I have heard great things about some of them such as the KZ ZS10 Pro and the tin hifi t2 so there is a good chance I will get my hands on them when I can afford to do so. Itâs not a big problem since I will only really use them for listening on the go since I already have a nice pair of SHP9500âs to keep me going at home.
However I am a bit worried about the fatigue problems you mentioned. Comfort is a big factor for me and I thought that the ZSNâs were some of the most comfortable in this price range (or at least compared to other KZâs)
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Hi and welcome !!! I own the ZSN and in the 20 dollars range they are the best I ever try, they could be fatiguing but after a long period of time, like 2 or more hours.
KZ ED16 are also in the same range of price and like the ZSN, excellent for the price and in my experience they are more confortable than the ZSN, but cable sucks.
I donât know the conversion rate from ⏠to , but both of them for less than $20 are a steal .
Good luck.
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I have several pairs of low-end BA IEMs, but have drifted away from them for everyday use. While they are amazingly clear, BAs tend to be narrow and spiky in frequency response. They work great for some recordings and genres, but not well for others.
Mainstream economy audio products often use a single dynamic driver for a generally comfortable tone, and accept compromises on range and clarity (e.g., Bose, low end Sony).