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I tried the KZ AS10 with the following equipment: Topping DX7, Venture Electronics RunAbout 2.0bl, Cayin N5ii, Aune M1s. Source files were standard resolution FLACs for the better part. Though it is useless, I ran break-in for 100 hours. KZ AS10 This and the ED16 are the best KZ mids to date. Whoever at the factory that was supposed to scoop the mids must have had the day off as they are more present in the mix than any other KZ in memory. I still hear the ES4 as a V (and the FR graphs prove that out as the mids are nearly 5db behind the treble and 7-9db behind the bass) but the sound is so well proportioned that it does not listen like a big V but more like a shallow V with a lively presence region. I would say that the KZ ZSN are good for most genres; their V-shaped tuning makes them especially apt for modern genres, but it’s up to one’s taste in the end. The KZ ES4 belongs to the newest generation of KZ in-ear monitors and shares some design similarities with the KZ ZS10 , like the transparent housings and the characteristic divider board with the KZ logo which can be found inside the rear section of the housings. Wide with tenmak, deep with star lines. Its good, actually better than AAW nebula 2. Its a V shape iem with fairly wide and moderately deep stage.
KZ ZSN review: a step in the right direction KZ ZSN review: a step in the right direction
Noise isolation of the KZ ES4 is highly efficient, with a level of reduction of surrounding noises far stronger than most average earphones. You can set your volume within moderate and they will still provide a near absolute isolation, by cranking the volume just a bit higher the will isolate you completely from noises. The KZ ES4 mids have full bodied sound with a warm personality and very crisp higher mids. Lower vocals sound energetic and alive despite a mild presence of mid-bass bleed. If you were not into KZ’s new approach with the tuning of the KZ ZS10, you will be happy to know that the KZ ES4 has KZ’s sound signature that everybody loves. The KZ ES4 has a very strong output and if you crank the volume you will feed their crisp higher mids into some harshness. Speaking of technical ability, the KZ AS10 is not half bad by any means. Soundstage does not extend to far-reaching distances and does not reproduce the feeling of being in a large hall, and neither has enough extension to the sides and depth to recreate a feeling of being in a space, rather than having the music played directly in your ears. It often feels a bit congested, as if music was compressed in a small space. Imaging is good enough to come to soundstage’s aid in allowing the listener to locate the instruments with acceptable precision. The dynamic driver has a 10 mm diameter and KZ says there is a layer of graphene over it – I highly doubt it, since graphene is still not suitable for industrial applications and is confined to research labs around the world. It seems KZ is using the same balanced armature as that on the ES3: the Knowles 30095. They say it is a custom unit and I hope so, as the entry for the 30095 on DigiKey reports a frequency response of 120 – 7,400 Hz, which appears quite disappointing.
Midrange is certainly recessed, but not as much so as to sound distant or as to make you wish for more volume. The signature is balanced enough to leave midrange enough room to breathe; instruments (including voices) are placed in the mix so that they are always clearly audible. Tonally-wise, midrange is on the warm side, but gently so: mids stay balanced and the upper range is not too far behind the lower range. This presentation is quite relaxing and enjoyable, especially if you listen to acoustic instruments. It’s decent even if we take a few other matters into account: detail is good enough to deliver the necessary nuances, but you never get to taste the finer ones. Even a few smaller details get lost in the mix, though that’s to be expected. Speed is good, though, so fast transients are rendered with impressive accuracy for the price range the KZ ZSN are in.
KZ ES4 – In-Ear Fidelity KZ ES4 – In-Ear Fidelity
Isolation-wise the KZ ZSN are decent, but alas distant from the 26 dB noise reduction touted by the manufacturer. Ambient noise gets reduced by a little bit, but I could not avoid raising the volume while on public transport. Sound & Specs I would like to say that KZ finally nailed it with the ES4. Alas, that would not be true. The KZ ES4 is still plagued by a superficial tuning job that does not unchain the true potential of the drivers. This is not to say that it sounds bad, though, as I enjoyed listening to it and I still think this may well be one of the best earphones made by KZ – I consider it way better than the ZS10 in terms of tuning. The KZ ES4 is the newer updated version of the KZ ES3 , inheriting some of their main technical specifications like: dual driver, plastic housings, detachable cables.With a form factor very similar to the KZ ZST , the KZ ES4 offer the same outstanding level of comfortable and secure fit. Regarding size, the KZ ES4 are not as large as the KZ ZS10; instead, they have a footprint more inline with the KZ ES3, KZ ED12 and smaller than the KZ ZS6.
KZ ES4 | Audiofool Reviews
With an EQ you will be able to customize their lower mids and male vocals into absolutely clear and free of mid-bass bleed. Higher mids can be EQ’ed to calm down some of their harshy peaks without getting recessed. An EQ adds a jaw dropping amount of brightness and become noticeably more detailed. Piercing highs can also be efficiently eq’ed to reduce their strength. KZ ZS4: the ZS4 are much more heavily V-shaped, with bass and treble that are much more prominent than mids. Those appear heavily recessed and a bit distant. Bass is almost overbearing, leaking over the mids, while treble is not really detailed despite its large presence. The ZSN are much more balanced, and they have better technical ability, too. Though it is not a radical difference, the ZSN offer slightly wider soundstage, better imaging and better instrument separation. They’re also faster, which leads to percussion instruments being more lively. Females vocals can get sibilant(yes they can, CardiB went sibilant on Dinero by JLo). They are too sharp, sharper than ZST. But the best part is that you can hear breathe of singers. The ES4 is made out of a hard plastic shell and comes with a removable cable. These earphones feel pretty solid, but with such a hollow and large casing I would be afraid to step on them. Comfort is rather good, I especially like the ergonomic shape and the lighter weight of the plastic casing compared to metal earphones that often fall out.Given their warm yet balanced tuning, the KZ AS10 are good all-rounders that can take on most genres. KZ opted for their usual V-shaped approach, but this time they finally got it right by avoiding the usual blatant unbalance that plagues most of their headphones. These are still heavily coloured headphones, but at least they’re enjoyable and don’t display excessive peaks or dips. Extremely tight, if you are moving from single dynamic driver. It extends when required and doesn't interfere with musicality. But when called for, it shakes. Bass drops and bass line is crazy plus it stops somewhat pretty correctly.
KZ Bluetooth 4.2 Cable | Fast worldwide delivery! KZ Bluetooth 4.2 Cable | Fast worldwide delivery!
The ES4 sounds like a downgraded ZS10 in terms of technicalities; instrument separation is good but not exceptional and it can’t withstand complex situations without muffling things up a bit, while soundstage has limited width and imaging can only give you a hint of the instrument’s position. KZ ED16: the ED16 stand out because of their instrument separation and soundstage, which are way better than those of the ES4. Detail is also better in the treble and bass regions, while in terms of tuning, they have more emphasis on the usual region across midrange and treble. Midrange also pops out more, yet the general impression is not that of better balance. What really prevents the ED16 from being better is the relative unbalance. Yinyoo Pro: I’ve read many people praising these earphones. I think they belong in the trash bin (sorry if I’m a bit harsh with that). The KZ ES4 are better in every possible way, there’s no contest.Seperation was good throughout my audition with only mild crowding on large orchestral pieces. (This again unlike some previous attempts that sounded as if the philharmonic had been crammed in Volkswagen bus and then asked to perform). Instruments can be a little coloured in image but are precisely placed in stage and not like ZS10 weird stage effect. Pace, Rhythm and Timing is also good, but overall it is a little incoherent(way better than many hybrids, but still, not like my 64audio). Shozy Hibiki Mk2: the Hibiki Mk2 are, among the headphones presented in this comparison, the most similar to the AS10 in terms of tuning. There are some key differences, though: the AS10 are more balanced, thanks to more treble presence and better extension; midrange is also less warm, and bass is a bit more controlled. In terms of quality, the AS10 seems to have better detail and better instrument separation, which lead to clearer sound. Soundstage is where the Hibiki win, as they are able to present music in a relatively wide space.
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