I have been testing the new PR3. Since there is at present no showcase page for it, I am posting my review here.
KZ PR3
I was contacted by Kate, the social media representative from KZ and invited to test the new PR3 Planar IEMs.
KZ has embraced the recent trend for Planar drivers with its PR1 and PR1 Pro models and the HBB PR2 collaboration. The new PR3 features an upgraded 13.2 mm Planar unit with a "Nano-level" silver plated membrane and electronic filter tuning. The frequency response is quoted as 20Hz - 40KHz with a sensitivity of 98 dB and an impedance of 15 Ohms. It retails for around £40.
Product link:
https://www.kztws.com/products/kz-pr3
The PR3 comes in the standard KZ packaging, a compact white rectangular box. The front of the box bears an image of the IEMs and the rear features the specifications. Removing the slip cover reveals a white plastic tray with the IEMs inside, below which is a white card flap under which the accessories are stored. The contents comprise:
● PR3 IEMs
● 2-pin silver-plated copper cable
● Three pairs "Starline" silicone ear tips
● One pair foam ear tips (pre-fitted)
● 2-pin silver-plated copper cable
● Documentation
The PR3 is a semi-open design with a clear resin body. The gunmetal coloured alloy faceplate has a grille of diagonal parallel strips, three gold hex bolts and the words "Planar Technology" written around the border in a white sans serif font. There is a grille and mesh on the side of the earpieces and a pinhole vent in the centre of the underside. The raised 2-pin socket is also coloured gold and there is a white filter over the nozzle. The overall shape of the earpieces is reminiscent of earlier KZ designs such as the ZS10 Pro X and ZAX and the build quality is very good, as it was with other recent acquisitions, the Krila, AS16 Pro and Castor.
The cable is a silver plated OFC type with a 2-pin 0.78mm connector and a gold plated 90° angled 3.5mm plug. The sheath is transparent, revealing the wire within. The cable is not as prone to tangling as previous KZ designs but there is still no chin slider.
The PR3 was tested with Xduoo X20 and Hidizs AP80 Pro X DAPs. A smartphone, via an Aiderlot DC02 USB-C dongle, and a digital radio were also used. The IEMs were subjected to a burn-in period of 100 hours before evaluation. The stock cable and medium Starline tips were used which resulted in a comfortable fit and good isolation.
Sound Quality
Fed from the Xduoo X20 (which gave the most pleasing results), the PR3 displayed a well-balanced, neutral profile with a warm and natural bass, an expressive midrange possessing good timbre and a smooth, relaxed treble showing excellent detail and extension. The soundstage was spacious with good layering and separation which made it easy to follow individual strands in the music. The volume needed to be set somewhat higher than normal, which is often the case with planar drivers. The PR3 proved itself capable of revealing the different sounds of the various sources. The output from a smartphone worked best when augmented by a USB dongle, which provided the necessary power. Further improvements were gained from using a 2.5mm balanced cable which increased the power and expanded the staging.
Bass
The PR3's bass produced a weighty sound which was a combination of the warmth and depth of a dynamic driver and the speed and resolution of a balanced armature. Timbre was natural and extension also very good. Sub bass rumbled healthily and transitioned smoothly into the midrange with no bleed.
"Mirage", by Hennie Bekker, is an album of imaginative synthesiser pieces featuring attractive melodies and intricate rhythms. The title track begins with smooth synth patches and delicate percussive elements. Soon these are joined by a very deep and resonant bass which was nicely reproduced by the PR3 and produced a perfect foundation for the semi-melodic chord progressions and sparkling electronic effects. The whole piece gelled really well with everything in perfect balance.
Sir Alexander Gibson's wonderful performance of Sibelius's "The Swan of Tuonela" with the London Festival Orchestra received a full and atmospheric rendition from the PR3. At the beginning a solo cor anglais plays a meandering melody supported by hushed and mournful strings. Sustained menacing bass drums rolled threateningly in the background like distant thunder and these were captured effectively by the PR3, conveying the mystical message of the Finnish legend which inspired the piece.
Midrange
The PR3 possessed a smooth, open and expressive midrange typical of planar drivers. There was very little recession with vocals standing out from their accompaniment clearly and with lyrics easy to discern. Studio effects such as reverb and panning were particularly well-rendered and the timbre was natural and accurate, while the tonality was very even throughout.
"In the arms of Mary", by Sutherland Brothers and Quiver showcased the excellent vocal capabilities of the PR3. Ian Sutherland's soulful lead vocal was precisely delineated enabling the words to be clearly heard while the guitars, bass and drums all occupied their correct places in the stereo image. The lead guitar solo was crisp and incisive, cutting through the mix without affecting the overall balance of the production.
The piano is always a useful instrument for determining the midrange timbre of an IEM. "I Gott Bevar" from Benny Andersson's solo album "Piano" demonstrated this perfectly. Set in a reverberant acoustic, Andersson's Fazioli instrument sounded natural and clean and the gentle melody was nicely presented by the PR3 with a natural tonality. At the climax of the piece the melody line is supported by full arpeggios spanning the octaves and the PR3 handled this admirably with a perfect balance between the percussive and lyrical aspects. There was believable dynamic shading and the sustain and decay of the notes was reproduced accurately.
Treble
The PR3's treble was clean, detailed and airy with no evidence of harshness or sibilance and very good extension. Disparate elements were well separated with an attractive sense of space and remained so even during more energetic passages. The level was in good balance with the midrange and bass. Occasionally in more dynamic pieces, there was a little congestion and a slight flattening of perspective.
"Equinoxe 5" by Jean-Michel Jarre features all the trademark elements of his music with a sequenced foundation, typical synth voices and complex rhythmic patterns. The high frequency sounds were beautifully precise on the PR3 with the stereo imaging particularly impressive. The movement across the stage was excitingly portrayed and the whole piece was presented in a lively and entertaining fashion.
"Music for Orchestra" by Geoffrey Bush is in the form of a "concerto for orchestra" with a cameo for each instrument featured in succession. In a superb Lyrita recording with the London Philharmonic Orchestra under Vernon Handley, the piece came to life dramatically in the hands of the PR3. The piano came through clearly above the accompaniment and percussion possessed good impact and clarity, imparting the whole piece with a "live" feel and demonstrating what a fantastic recording this is. The dynamic range here was especially notable and the ambience of the recording venue was convincingly realised.
Soundstage
The PR3's soundstage was expansive and spacious. The width spread beyond the ears and there was a fine impression of depth with good height as well. Imaging was precise and movement within the image well handled. Layering was also of a high standard, with the positions of individual instruments and orchestral sections clearly differentiated.
"3 circles" is a track from Patrick O'Hearn's album "Trust". It begins with a heavy bass synthesiser occupying the centre of the stage with high frequency percussive effects placed in the extreme left and right. A smooth synth chord progression joins in and a sparkling rhythm sequence propels the piece along while the lead synth voice plays the theme. The PR3 managed to arrange all these elements into a coherent whole with plenty of space around them, creating a spacious and enveloping result while retaining rhythmic drive. This was very impressive.
"Mausoleum at Halicarnassus" is the fourth movement of the "Seven Wonders Suite" by Stuart Mitchell. The piece begins with an extended flute solo supported by a lush orchestral accompaniment. The solo instrument seemed to float above the strings and the triangle and harp accents were airy and well-defined. There was a real sense of distance in the performance by the Prague Symphony Orchestra under Mario Klemens with the timpani in the rear of the hall displaying a natural ambience and realistic decay.
Comparisons
As this is the first single driver planar IEM I have auditioned, I have selected three different types of IEMs for comparison.
TRI i3
The TRI i3 is a tribrid design with an 8mm dynamic driver for the bass, a 10mm planar unit for the midrange and a balanced armature for the high frequencies. It is housed in a shiny silver coloured solid alloy shell and has an MMCX interface. Although retailing for four timed the price of the PR3, it is included here because of the similarities in the midrange produced by the planar driver and the fact that both the i3 and PR3 need a healthy signal to give of their best.
The i3 has a big, bold cinematic sound with a huge soundstage, powerful sub bass and a well-extended top end. It sounds "bigger" and more refined than the PR3 and its staging and bass are addictive. In the midrange, however, the two sound very similar. The PR3 is slightly brighter and not as weighty in the bass. Its treble is a little thinner in tonality but it performs well at the price. Some may find the i3's very large earpieces problematic whereas the PR3 is very light and comfortable.
KZ Castor (Harman Edition)
The Castor employs two dynamic drivers in a stacked configuration. Bass duties are handled by a 10mm unit dealing with the frequency range up to 200 Hz while the midrange and upper frequencies are covered by an 8mm driver. It is very well made with an alloy faceplate and resin body.
As befits the name, the profile follows the Harman curve, a generally V-shaped frequency response, but the midrange is only slightly recessed. The treble is brighter than neutral and sometimes becomes rather emphasised. The PR3 is much more neutral with a smoother treble but with no loss of detail. In fact it is more extended than the Castor. The Castor's bass is stronger but a little more coloured, with a small amount of bass bleed. Midrange goes to the PR3 with superior timbre and layering. In soundstage, the PR3 is more defined than the Castor with better imaging, but the Castor is easier to drive with the PR3 needing substantially more power to shine.
KZ AS16 Pro
The AS16 Pro is an all-BA design with eight drivers per channel. There are two bass units, two midrange and four treble drivers. The shell is rather large but comfortable with the correct tips. It has a bright, detailed sound signature with excellent detail and speed. The bass is surprisingly powerful for a balanced armature IEM and there is very little evidence of "BA timbre" with a clean and precise delivery. It is brighter than the PR3 and is more immediate with a snappy transient response but can sound "clinical". The PR3's bass is warmer with more weight and a more natural decay, the midrange is more forgiving and the treble is smoother. The two IEMs have different personalities and are complementary in that respect. Preference is a matter of style and both are good examples of their kind, but the PR3 is more musical and the AS16 Pro more technical.
Conclusion
Possessing a neutral, well-balanced profile, the PR3 shows the advantages of planar technology. The full-range driver displays excellent coherence, fast transients and a wide frequency response with good extension at both ends of the spectrum. There is no bass bleed or mid-bass bloat (often found with dynamic drivers) and the sometimes artificial timbre of balanced armatures is totally absent. There was a good balance between technicalities and musical expression and the soundstage is exceptionally proficient.
It is solidly built and comfortable in use with good isolation. The packaging is rather basic and the cable could be improved (chin slider please, KZ) but these are minor issues. Overall the PR3 is an excellent IEM and an ideal way to sample the planar sound without breaking the bank!
