Reviews by Nimweth

KZ AM16
I was contacted by Kate from KZ and was sent a review sample of the new AM16. It features 8BAs per channel and retails for around $56. It is available in two versions, the "balanced" model reviewed here, and a "bass enhanced" variation.

The Packaging
The AM16 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 cut out, below which the accessories are stored under a cardboard flap.

The contents comprise:

● AM16 IEMs
● Silver plated 2-pin cable
● Three pairs of "Starline" tips (S, M, L)
● Documentation

The packaging is rather basic and the foam tips included with previous similar models are now not supplied. I would have preferred the new braided 784 core blue/silver cable which came with the Sonata, as it is a much better cable.

Build and Design
The AM16 has a resin body and a gunmetal-coloured alloy faceplate featuring a reticulated design of triangles behind which there is a mesh. A silver-coloured knurled screw is mounted on the front edge (on the bass enhanced version, the screw is gold). The earpiece is very similar to the single DD Zenith in design. The product name, "AM16" is written on the top edge of the faceplate in a white upper case script font and the 2-pin socket is mounted on the top surface, beside which there is channel identification. The earpieces are very well built and have a bit of solidity to them.

Internally the BA driver complement comprises:

1 x new 22955 BA for the bass frequencies
1 x 29869 BAs for the midrange
1 x 31736 dual BA for mid/high area
4 x 30019 BA for the ultra high region

The BAs are connected to the nozzle by a multi-path internal structure and there are no BAs within the nozzle. The specifications are as follows:

Freqency response: 5-45000Hz
Sensitivity: 104dB
Impedance: 22Ω

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 wire within. This is the same cable which is supplied with KZ's most basic models and it is rather disappointing that it is included here. The cable is not as prone to tangling as previous KZ designs but there is still no chin slider. There was no problem with microphony during use.

Fit and Isolation
The AM16 was tested using the pre-fitted medium Starline silicone tips and supplied cable and I obtained a comfortable fit with good isolation, external sounds being considerably muted. The earpieces are fairly large and bulky but did not protrude from the ears.

The principal source used for testing was a Hidizs AP80 Pro X in conjunction with a Penon OS133 USB-C dongle DAC. A Ruark R1 digital radio was also employed for burning in and a period of 100 hours was carried out before evaluation. During the burn-in period there were significant changes. Initially the bass was very dominant and not well defined and the treble was very bright. After about 48 hours it settled down and became cleaner and more balanced. This improvement continued throughout the whole process.

Sound Impressions
Tonality
With the AM16, KZ have changed direction from the Meta-style tuning of recent releases such as the Zenith, PRX and Sonata to a more entertaining and "fun" sound reminiscent of some of their older models but without the harshness and poor timbre sometimes associated with them.

The AM16 displays a V profile with powerful bass courtesy of the new 22955 BA and a bright, detailed and exciting treble without disturbing peaks. The midrange is a little recessed but this does vary according to the material being played and sometimes the profile becomes rather W shaped instead. It does not sound like a typical all-BA set but resembles a hybrid. The timbre is generally very good with just a hint of sharpness in the treble. The eight drivers are very well integrated and blend smoothly through the complete range.

It thrives with a bit of extra juice when the transient attack comes to life and I found I had to increase the volume quite a bit to obtain the best result. I really enjoyed my music listening to these.

Bass
The new 22955 BA has to be considered a success. It does not sound like a typical armature but resembles a good DD while at the same time displaying the speed and attack characteristic of a BA. The bass is deep, textured and powerful with a good amount of weight plus a visceral quality providing a physical presence which should appeal to bass lovers. There is a touch of warmth in the tonality, the decay is largely natural and the mid bass is lively and impactful with good speed, not bleeding into the midrange.

"Libera Me" is part of Faure's Requiem. In the electronic interpretation by Schonherz and Scott from the Windham Hill compilation album "The Impressionists", the beautiful and solemn melody is supported by a throbbing synthesised bass line. The depth and power of the notes came through very impressively with plenty of weight and impact while remaining clear and precise. Leading edges were crisp and there was an attractive fulness in the delivery and the very lowest notes were suffused with a warm and rich resonance.

"Benedictus" from Karl Jenkins's "The Armed Man" is a thoughtful choral interlude. At the beginning, a violin takes on the principal melody which is later succeeded by alternating female and male vocals in antiphonal style. After a number of bars quoting the sacred text, the piece builds to a climax with a powerful strike of a bass drum and a soaring choral passage. The AM16 rose to the occasion admirably, with the initial strike clean and crisp and followed by a natural decay with the requisite weight and impact to convey the composer's intention. The effect was reminiscent of a high quality DD but with the attack and speed associated with a balanced armature.

Midrange
Although the overall shape was a V and there was some recession, the midrange did not lack projection and showed plenty of detail. It was exceptionally clear with a slightly emphasised presence region which in certain material became more forward in nature and produced a W profile. The tonality became brighter through the mids with a fairly marked pinna gain but never became piercing or harsh. The timbre was not always entirely natural but the effect was exciting and entertaining and vocals were extremely articulate.

"Field of Gold" is a track from "Between Tides" by Roger Eno. This rather minimalist piece begins with rhythmic piano arpeggios in a diatonic chord progression. A violin joins in, playing an attractive melody and the timbre of the instruments was clean and bright and very well defined. The two instruments dovetailed effectively and as the piece progresses it reaches a climax with a denser orchestration augmented by cello and strings. During this passage the AM16 managed to organise all these separate elements into a harmonious whole with each instrument clearly defined.

The AM16 certainly shines with vocals, projecting them clearly and in their own space. "On Air" is an album by The Alan Parsons Project from 1996. The final track, "Blue Blue Sky (Reprise)" features Eric Stewart's vocals supported by bright acoustic guitar. The AM16 presented a perfect balance between the voice and the accompaniment with both elements coming over with clarity and detail. The timbre of the guitar was very natural with just a touch of extra brightness while the quality of Eric Stewart's vocal was very well reproduced with lip and breath sounds adding to the character of his voice and the diction was perfectly preserved.

Treble
The AM16's high frequencies were clean, well-defined and highly detailed. The extra touch of brightness, although not strictly accurate, added to the effect and gave the impression of a higher resolution. In more energetic passages this flirted with harshness but just fell short, demanding attention and producing an exciting result. Extension was above average and micro-detail also praiseworthy. The bright nature of the treble was nicely balanced out by the powerful bass.

Jeffrey Clarkson’s "Enchanted Forest" appears on his album "Peace and Quiet". Introduced by nature sounds, a soft synthesised background is embellished with high frequency tones and percussive elements. A gentle melody joins played by a woodwind-like synth voice and the clarity and extension provided by the AM16 was a joy to hear with each sound precisely defined with an "etched" quality allowing it to stand out clearly from the accompaniment and nicely placed in its own space. The tonality was very attractive here with a combination of brightness and smoothness.

The definition of the delicate harpsichord continuo and the soaring principal violin in
Bach's Brandenburg Concerto No.3 were beautifully presented by the AM16. In the astonishing 1960 recording by the Saar Chamber Orchestra under Karl Ristenpart, the solo instrument was clearly audible above the dense orchestral accompaniment which was underpinned by a wonderfully joyful bass line propelling the piece along in a most entertaining fashion. This is surely one of the finest versions of this music and the AM16 really made the most of it.

Soundstage and Imaging
This was another highlight of the AM16's performance. The stage was large and spacious with roughly equal dimensions of width, depth and height. Imaging was precise with excellent placement of instruments and a good sense of stereo movement within the space. The presentation of front to back perspective was particularly well done with classical orchestras where the instruments appeared to be authentically laid out, recreating the feel of a live performance.

The March from the H.G. Wells film "Things to Come" (1936) by Arthur Bliss is a dynamic and exciting piece featuring prominent use of brass and percussion. In the version by the LSO under the composer's baton, the rhythmic introduction with strings and brass in opposing channels soon built up to the main theme. On the AM16, the combination of snarling brass, sweeping strings and powerful bass drum was very well conveyed and maintained a perfect balance between all the orchestral sections which were arranged very accurately in the picture. The calmer passage in the middle, with the plodding bass accompaniment and harp, was very spaciously presented and the layering, with strings at the front, brass further back and the percussion at the rear of the hall, was especially effective. All the while the individual sections all occupied their own space.

MIDI guitar maestro Mark Dwane's brand of electronic music is in a style all his own and is inspired by mystical and occult themes. "Mists of Uncertainty" comes originally from his album "The Sirius Link" which is based on the legend of the Dogon tribe. The remaster from "Variants" begins with smooth gliding synth patches. More layers are added and a woodwind sample plays a flowing theme over the top. The AM16 organised all this with a balanced quality allowing all the elements their own space and at the same time managing to present them all with each part clearly depicted within the stage. A plucked voice takes on the melody, accompanied by bright percussive tones and the sound of flowing water. The holographic effect produced by the AM16 here was reminiscent of full-size headphones with a cavernous acoustic.


Comparisons
KZ Sonata (14 BA)
This is KZ's latest flagship all-BA design. Internally, there are 14 balanced armatures per channel in the following configuration:

1 x 22955 BA (Low frequency)
2 x 29869 ( Mid-frequency)
1 x 30019 (Mid-high frequency)
5 x 31736* (Ultra-high frequency)
* dual BA array = 10 units

The Sonata has a huge, expansive soundstage and the midrange displays excellent detail and expression. The treble is highly resolving yet smooth and clean, the bass is nicely textured, deep and impactful and there is an overall feeling of refinement and maturity. The timbre is natural and musical.

The Sonata presents a more reserved and balanced, "meta-style" tuning as opposed to the more lively V profile of the AM16. Mids are more forward yet not as bright. There is no loss of detail, but the softer approach does diminish the sense of urgency in the music compared with the exciting presentation of the AM16. Bass is warmer and not as tight, and does not have the weight and power of the new model and the somewhat polite tuning of the treble takes a little of the fun element away, even though it is perhaps not as accurate. Once again there is noting lacking, but the presentation makes all the difference. In soundstage, things are on a par with the Sonata's remarkable transparency, layering and separation vying with the AM16's impressive stereo movement and imaging. Overall, it must be said that the two IEMs are very different in their philosophy and are complementary rather than rivals and is really a matter of taste.

KZ AS24 Pro (12BA)
Also a former flagship model, the AS24 Pro is a 12 BA per channel design. Internally the BA driver complement comprises:

1 x 22955 BA for the bass frequencies
2 x 29869 BAs for the midrange
4 x 31736 dual BAs for mid/high area
1 x 30019 BA for the ultra high region

The AS24 Pro is much closer in sound to the AM16 than the Sonata. It is similarly V shaped with solid bass, a detailed and open midrange and a very clean, bright treble. The low frequencies cannot compete with the AM16's new bass driver and do not have the same level of punch and depth. They are still very good for a BA, but lose out in terms of impact and weight. Mid bass, which is a little elevated, is vaguely similar, and the midrange is also slightly recessed but still very articulate.

The AS24 Pro's treble is brighter and not quite as airy or detailed as the AM16, but is a little smoother, probably as a result of the extra number of drivers. It is also technically very good but somehow not as immediate or engaging compared to the more "daring" and exciting presentation of the AM16. In terms of soundstage, the AS24 Pro is very capable but it is not as expansive as the new model, nor is the imaging up to the same standard. In general, the AS24 Pro is less direct in character, being somewhere in between the AM16 and the Sonata, still rather V shaped but having some aspects of the Meta tuning.

The three IEMs all have their merits, the Sonata being the least adventurous but amenable to more genres, the AM16 going for all-out entertainment while giving up a little accuracy and the AS24 Pro straddling the line between the two.

Conclusion
The AM16 comes as a bit of a surprise with a definite change of direction in tuning. Eschewing the recent adherence to the Meta philosophy, it harks back to earlier "fun" tuned models such as the ZS10 Pro with its almost "over the top" excitement but at the same time possessing a much better timbre without the excesses of tonality found in previous BAs like the old 30095. The tonality is not strictly accurate or completely natural but is tuned to produce an exciting and entertaining effect and in this respect it is successful.

I found myself enjoying music with these more than any of the recent KZ releases such as the Sonata and AS24 Pro above, the Zenith and PRX. The new bass driver, especially, impressed with a powerful, deep and weighty delivery, sounding like a high quality DD and giving the impression that the AM16 was a hybrid! But instead it is one of the best all-BA designs from the KZ stable. The eight drivers all work in harmony to produce an enjoyable and musical sound which is not lacking in technicalities.

KZ's byline is "Don't forget that the original intention of using earphones is to enjoy music." This has never been more appropriate than with the AM16 and it can be heartily recommended to music lovers.

Ziigaat Lush
ZiiGaat has been an OEM company for some time and later created its own brand. Since its inception, ZiiGaat is perhaps best known for its collaborations such as the Estrella, Arete, Arcadia and Odyssey. The Lush featured here is a hybrid IEM (1DD + 4BA) and retails for around £137 ($179).

The Packaging
The Ziigaat Lush comes in a compact rectangular with a printed sleeve featuring a large image of the IEMs overlaying a repeating product name in an outline font. The Ziigaat logo appears at the top centre and the product name, "Lush" in a bold font at the bottom left. The other sides of the box carry specifications and product features and the rear shows company information.

When the sleeve is removed, a plain black box with a metallic silver Ziigaat logo in the centre can be seen. Inside, the IEMs are presented in a cut-out below which there is a black box containing the zipped carrying case, inside which you will find the cable and tips.

In all the package contains:
● Ziigaat Lush IEMs
● 2-pin 4-core black braided cable with 3.5mm termination
● Three pairs of grey silicone tips (S,M,L)
● One pair black foam tips (medium size)
● Zipped branded carrying case

Design and Build
The Lush is constructed from a shiny 3D printed medical grade black resin. The faceplate is decorated with a hand-painted geometric design and sparkly grey texture and features the Ziigaat logo. The recessed 2-pin sockets accept a standard 2-pin connector. There is a small circular vent with a mesh on the back of the earpiece and there is channel identification on the underside. The earpieces feel solid and well made and are not too heavy, although they are a little bulky.

The Lush employs a 10mm dynamic driver with a PET diaphragm for the bass which covers the 20Hz to 200Hz region. The midrange frequencies from there up to 1kHz are handled by a custom dual balanced armature and a dual balanced armature tweeter combination takes care of the high frequencies which top out at 25kHz. The sensitivity is quoted as 103dB with an impedance of 17 Ohms and a THD of 0.52%.

The black braided 2-pin 4-core cable is slightly stiff and the cable material is not specified in the supplied product information. The 3.5mm plug is finished in black with the Ziigaat name and there is a matching Y- split and ring-shaped chin slider. I did find the cable tended to tangle fairly easily.

Fit and Isolation
I found the Lush to be very comfortable to wear and although the earpieces are bulkier than say, the Kiwi Ears KE4, they remained securely in place. Using the medium size of the supplied silicone tips, the earpieces fitted securely and snugly in my ears with good isolation and maintaining a good bass response.

Sound Impressions
A burn-in period of 100 hours, with music from a wide variety of genres, was carried out before evaluation using a Ruark R1 digital radio. A Samsung smartphone was also used during testing and a number of different sources were tried. Because of its accurate and neutral character the Lush was able to differentiate between the sources and I spent quite some time choosing one which provided the best synergy. I started with an Xduoo X20 DAP. Although some pieces sounded excellent, there was a lack of consistency with this device. I then switched to a Hidizs AP80 Pro X DAP as a transport in conjunction with the Kiwi Ears Allegro Pro DAC/AMP. This was more successful with a more lively and engaging delivery but it emphasised the technical qualities to the detriment of the music. I found the "sweet spot" with the AP80 Pro X and the Penon OS133 USB-C dongle and the review was carried out with this combination. The Lush produced adequate volume in this mode and I did not need to use additional amplification. The stock cable and medium silicone tips were fitted.

Tonality
The Lush is marketed as a neutral, "studio grade" IEM and in general the delivery conforms to the "Meta" philosophy but with just a little more energy in the upper mids and treble. Bass is tight, speedy and extended although sub-bass could benefit from a little more depth and mid bass has a nice "kick" while not interfering with the lower mids. The midrange is the highlight, being open, natural and accurate. Vocals are well projected and solo instruments stand out clearly from their accompaniment. The treble segues smoothly from the mids. It is detailed, airy and clean and is more energetic than might be expected from the Meta style of tuning. A little more sparkle would have made it perfect. Soundstage is another area where the Lush excels with a spacious presentation and excellent imaging.

Bass
The Lush's bass was rich, resonant and clean with a high degree of resolution. There was a definite quality of speed and impact and the extension was also very good, although a little more visceral "rumble" would have been welcome. Mid bass was also entertaining and snappy with a healthy kick and there was no evidence of "bass bleed".

"Escales” is a colourful suite of lively orchestral pieces by Jacques Ibert depicting exotic locations. The third movement, “Anime” is inspired by the city of Valencia in Spain. Full of characteristic Iberian rhythms and melodies, the full range of the orchestra is exploited in a dynamic and powerful performance. In the wonderful recording by the Minnesota Orchestra under Eiji Oue, the bass drum displayed excellent depth and impact as well as an impressively natural decay. The initial strike was clean and incisive and the ambience of the recording venue was beautifully rendered.

"From Above" appears on the album "Earth to Infinity" by Jennifer Galatis. The album portrays an imaginary journey to the star Omicron Ceti. Electronic sound effects and smooth synth patches introduce the piece, providing an atmosperic background to the piano arpeggios which alternate between major and minor keys. Produced in a reverberant acoustic, the solo instrument is supported by a deep bass element which the Lush reproduced with texture, depth and resonance. There was a real sense of weight to the bass which was beautifully balanced with the piano and keyboards, resulting in a most satisfying experience.

Midrange
The Lush excelled in the midrange with a balanced, open and detailed delivery, a natural timbre, high levels of detail and pinpoint imaging. Vocals were particularly notable with the solo performers clearly presented in front of their accompaniment. The pinna gain was very well judged, providing just the right amount of presence without straying into harshness and was succeeded by a gentle rise into the lower treble. The whole effect was relaxing without being anodyne.

"Love song After JE" comes from the album "In a Landscape" by Max Richter. It begins with a chordal progression in the minor key on the piano. Soon a violin plays a doleful melody redolent of the theme from "Schindler's List" and a bowed cello accompaniment in the lower register is added. All three instruments displayed an accurate and natural timbre while at the same time being in perfect balance and dovetailing beautifully, creating a melancholy but enchanting effect. The Lush really excelled here and this track was testament to its neutral and "reference" quality.

Ian Lynn is a British pianist, composer and producer. "Celebration" is the third in a trilogy of albums inspired by the seasons. "Time Was" is a beautiful, nostalgic and evocative ballad introduced by delicate DX7 keyboards. The vocal was centrally placed with a good impression of height and the Lush reproduced every detail with clarity and precision. Breath and lip sounds were clearly audible and the diction was well defined, while the reverb on the vocal was very evident. The balance between the voice and backing was perfectly judged. Just near the conclusion of the piece an acoustic guitar solo appears and the tonality was very natural.

Treble
The treble was somewhat linear in nature, with only a minimal rise in the upper mids and lower treble, after which the level was maintained evenly to beyond audibility. Detail retrieval was excellent and there was no evidence of harshness or unnatural timbre. Although displaying a neutral profile, there was no lack of involvement and the smooth, natural tonality encouraged extended listening.

Violin Concerto No.1 by Jeno Hubay is a colourful and melodic work. In the version by the Bournemouth Symphony Orchestra with Chloe Hanslip, the violin was clearly presented in front of the orchestra with a clear sense of space around it. The tonality of the solo instrument was conveyed very naturally by the Lush and there was enough detail to show the high harmonics on the violin helping to produce a natural timbre. Towards the end of the movement, the interplay between the violin and the woodwind was attractively handled with an excellent balance between them.

Robert Carty is an electronic music artist based in Utah. He has more than 40 albums to his name and his style of music follows the "cosmic" genre with long epic tracks reminiscent of Tangerine Dream. "Beautiful Attractor" is an complex piece from his album "In Neptune's Wake". Placed within a wonderfully spacious acoustic, swirling electronic effects form an intricate background for the meandering synth lead. Crystalline percussive elements filled the stage, with other effects circling around it. To complete the scene, a richly-textured bass drone provided a solid foundation. The detail, separation and projection of the high frequencies was a joy to hear with so much occurring all at once, but the Lush managed to presentbit all in an organised way without being too technical.

Soundstage and Imaging
Along with the midrange, this was another highlight of the Lush's performance. The stage was wide and deep with also a good impression of height. Imaging was particularly fine, with orchestras laid out in a most authentic way with an accurate perspective while both separation and layering impressed in equal measure.

The intricate and spacious production of Pink Floyd's "High Hopes" from "The Division Bell" was a good example of the Lush's ability to organise multiple elements and bring them together in a cohesive fashion. Piano chords, tolling bells and nature sounds filled every available space in the image and the Lush was able to place the various sounds in their allotted positionsls, producing a wonderful spacious effect. David Gilmour's vocals stood out clearly from the background with the reverb on his vocal track very well-rendered and his slide guitar solo came over very impressively even in the presence of the complex backing.

Stuart Mitchell’s “Seven Wonders Suite” is an imaginative collection of pieces inspired by the famous monuments of the ancient world. “Mausoleum at Halicarnassus” begins with romantic string chords and innovative use of percussion. The main theme, played on the flute, floated delicately above the orchestral accompaniment with breath sounds clearly conveyed and the ambience of the recording venue adding to the atmosphere, especially at the end of the track where the powerful strike and natural decay of the timpani could be heard in the distance. The beautiful recording by the Prague Symphony Orchestra under Mario Klemens really showed its quality, underlining the Lush's accurate "reference" tuning.

Comparisons
For comparison, I have chosen two hybrid models from Kiwi Ears, in the same price range as the Lush.

Kiwi Ears KE4 (£150)
The KE4 uses two 10mm dynamic drivers for the bass frequencies, arranged in an isobaric configuration. The midrange is handled by a custom RAB 32257 vented balanced armature and the treble is covered by a Knowles RAD 33518 BA. There is a three-way passive crossover system and a network of three sound tubes channeling the sound.

The KE4 has a natural timbre, a well-balanced profile and no particular frequency band e1mphasised above the others. It is a good example of the "Meta" philosophy. The bass is deep and solid and the midrange is clear and open. Add to this an airy and well extended treble and it results in a very musical presentation with a seamless transition between the drivers and a consistency of tonality across the range. The soundstage is expansive and enveloping.

Compared with the Lush, the KE4 has a warmer character and is more musical in its presentation, whereas the Lush, with its neutral tonality, has a more natural and accurate balance. The warmer quality of the KE4 does take the edge off dynamic passages but results in a very relaxing sound. The Lush provides a little more detail and its imaging is more precise. Its "reference" tuning makes it amenable to a wider range of genres while the KE4 is not at its best with more exciting material, slightly blunting the impact.

Kiwi Ears Airoso (£129)
The Airoso is also a hybrid design with the same configuration as the Lush, 1DD + 4BA. It employs a dynamic driver with a composite LCP and PU diaphragm covering the bass frequencies, two "custom" balanced armatures for the high frequencies and twin "custom" BAs for the ultra-high frequencies. It uses a combination of physical and RC crossover technology.

The Airoso has a solid, speedy bass, an open and spacious midrange and a detailed and extended treble. The five drivers are well integrated giving the impression of a single unit and the overall shape might be termed "W" with a slight forward emphasis in the mids and somewhat elevated lower bass and upper treble. The staging is very good with a notable three dimensional effect and roughly equal width, depth and height. Imaging and movement are well rendered and there is a good balance between the musical and technical. C

Compared to the Lush, the Airoso sounds brighter and more immediate, with a lively presentation and considerably more energy in the high frequencies. The bass is tighter and faster but rolls off earlier, reducing the sub-bass. This results in a slightly thinner sound. Mid bass is more emphasised than the Lush and there is some influence in the midrange. Because of the forward nature of the mids, the soundstage sometimes loses a little depth. The resulting W shaping is very entertaining, but the upper range can become a bit intense with certain material. The Lush, actually, falls almost exactly between the Airoso and the KE4 in tonality, giving the best of both worlds without the disadvantages.

Conclusion
The Lush walks a perfect line between the warm/neutral "Meta" tuning and an energetic W or V profile. It is neutral without being boring and accurate without being too technical. As a result it suits multiple genres of music and is a talented all-rounder. Because of its "reference" style of tonality, it fares better with high quality recordings, tending to show up defects in poorer material, but when you think about it, that is how it should be.

There are not many negatives here, perhaps there could be a bit more weight in the bass and some extra sparkle in the treble. The accessories are fairly modest, and it would have been nice to see a modular cable included at this price level. The supplied cable is disappointing and tends to tangle easily.

Overall though, an IEM should be judged on its audio performance and the Lush certainly delivers in this regard.

Kiwi Ears Allegro Pro
Kaitlyn Wu from Linsoul Audio invited me to review the new Kiwi Ears Allegro Pro DAC/AMP. The Allegro Pro is the upgrade to the original Allegro mini and retails for £60.
Product link:
www.linsoul.com/products/kiwi-ears-allegro-pro

The Packaging
The Allegro Pro is presented in a neat square box with a teal-coloured background. The front bears an image of the product along with branding and a list of the salient features. Specifications and other product details are printed on the other faces of the box. Inside, the dongle nestles in a foam cut-out.

Build and Design
The Allegro Pro has an all-metal construction and is very well made. The top features a 3D Kiwi Ears logo with what appear to be functional buttons but they are purely decorative. There are two outputs, 3.5mm single-ended and 4.4mm balanced. There is a small button on the underside which toggles between the various digital filters (see below).
The unit can also be used in standard mode with the function switched off.

The unit connects via a male USB-C plug and derives power from the host device.

Internally there are two ES9603 op-amps, and a "high quality digital to analogue converter" (type not specified). The unit is compatible with DSD up to DSD 128 and PCM up to 32bit/384kHz and features Nintendo Switch compatibility.

In Use
The unit was auditioned with a Hidizs AP80 Pro X DAP and various IEMs, principally the Kiwi Ears Airoso, via the 4.4mm balanced output with a pure copper cable. The power drain was very low compared to my other dongles and resulted in a much more extended play time. The Kinera Celest CD20 and Penon OS133 both depleted the AP80 Pro X's battery much more quickly. The Allegro Pro proved to be very efficient with even the most demanding IEMs such as planars being powered adequately at moderate settings of the volume dial. The sound Impressions below were auditioned with the sound modes switched off.

Sound Impressions
Right from the first few bars of music the Allegro Pro displayed an extraordinary level of detail and information. There was a notable sense of immediacy and speed in the reproduction which surprised me and transformed the sound of the IEMs used with it. Based on a powerful transient attack, the bass was deep, tight and impactful, midrange was open, informative and natural and the treble was highly transparent and extended with copious levels of detail. There was a touch of "spice" in the upper range which was rather addictive and the vocal performance was outstanding with both male and female voices clearly projected above their accompaniment and displaying impressive clarity. This also applied to solo instruments which were full of detail with a natural timbre.

The soundstage and imaging were first class and there was a good balance between the technical and musical. The overall sound profile was neutral/bright and airy with a wonderful "freshness" in the presentation.

Sound Modes
In addition to the standard mode, the Allegro Pro features three switchable sound modes which are indicated by different coloured LEDs. These are as follows:

Game Mode: Blue LED
Movie Mode: Green LED
Music Mode: Red LED

The differences between the various modes were subtle but audible. This is what I found, compared to no selection.

Game Mode:
The most noticeable change was in the soundstage which became wider but more shallow, emphasising left to right movement but reducing depth. There was a slight brightening of tonality which sometimes became thin in nature.

Movie Mode:
There was an increase in atmosphere with a more immediate impression. The tonality was warmer and more natural with a larger soundstage. I preferred this setting to the others.

Music Mode:
Transient response was a little softer, and there seemed to be a reduction in treble energy leading to a loss of detail, although the overall effect was more relaxing to listen to, with the final result similar to a "meta" style tuning.

Partnering IEMs
The Allegro Pro was revealing and neutral in character and was able to display the individual sound of different IEMs in an authentic fashion. Due to its inherent tonality, IEMs with a warmer sound were the best match whereas cooler-tuned models lost a little in musicality with the technical aspect magnified by the Allegro Pro's own character.

Kiwi Ears Airoso
The Airoso was the principal model used in testing, although the similarities between the IEM and source were sometimes "too much of a good thing", with a laser-like transient performance, high levels of detail and a bias towards the upper part of the spectrum and I found myself wishing for a little more depth and weight. However the excitement factor and engagement were addictive and I frequently returned to the Airoso after auditioning other models.

KZ PRX
Planar models are notorious for their thirst for power and the PRX was no exception. However the Allegro Pro proved more than capable of driving it to high volume levels where its abilities became more evident. The profile was more balanced than the Airoso above with a deeper and warmer bass region. Mids were a little recessed but still displayed good projection and the treble was nicely judged with plenty of detail and no trace of aggression or harshness. The staging was expansive with high levels of separation and precise imaging.

KZ Zenith
The "New Meta" style tuning of the Zenith blended very well with the assertive and detailed nature of the Allegro Pro. This resulted in a natural easy going and relaxed sound yet not lacking in detail and enjoyment. There was a little more bass presence which added some welcome weight and the rest of the frequency range was well balanced with a gently rolled off treble. There wad a little less detail here but the pleasing balance encouraged extended listening.

Fiio FD3
This powerful single DD proved to be an excellent match for the Allegro Pro. Its warm, mild V shaping received some extra life and verve which lifted its performance to a higher tier. The inherent authentic timbre of the FD3 lost none of its authenticity but gained in speed and impact with improved levels of detail. The overall profile was more well balanced with the recessed mids becoming more forward and producing a very satisfying result.

Tin Hifi T3
This model is now approaching six years old but the Allegro Pro breathed new life into it with the end result very similar to the Kiwi Ears Airoso. Bright, immediate, speedy and detailed were the keywords here with an extra bit of depth and power not present in the Kiwi Ears model. Staging and other technicalities also improved and there was a high level of enjoyment. This served to remind one of the importance of a quality source, which the Allegro Pro most certainly is.

Comparisons
As not all the models compared below have a balanced facility, these comparisons were made using a single-ended 3.5mm termination. The Hidizs AP80 Pro X DAP was used as a transport.

Penon OS133
This dongle employs the CX31993 DAC chip and is a simple USB-C plug and play design. It has a high quality cable and is well made. Its power drain is fairly modest giving a decent length of play time. In contrast to the Allegro Pro, the OS133 has a warm, musical presentation with a very spacious stage. Although not overtly or obviously detailed, close listening reveals that nothing is really missing in comparison with the Allegro Pro, it is just presented in a less assertive fashion and the music has a more flowing character with less emphasis on the technical aspects.

Kinera Celest CD20
This DAC/AMP uses the latest ESS chip, the 9039Q2M, and is more fully featured than the Allegro Pro, having a gain control and volume buttons. It has a 4.4mm balanced output in addition to a standard 3.5mm single-ended socket. The CD20 is very powerful and has a broadly similar sound to the Allegro Pro, being clean, bright and technically adept with a speedy transient response. Where it differs from the Allegro Pro is in the bass where there is a weightier presentation and a fine texture. The staging is deeper with a fine representation of studio ambience, the Allegro Pro having a shorter decay. In mids and treble, they are equal in quality with a very similar tonality. The CD20 draws a lot more power than the Allegro Pro and as a result, the play time is shorter.

Fiio KA11
This simple USB-C dongle is equipped with the CS43131 DAC unit and, like the Penon model above, is a plug and play device. It has a robust output and is capable of driving IEMs of low sensitivity very well. It does draw more power than some other dongles and gets quite warm in use. The sound profile is very different from that of the Allegro Pro, having a noticeable mid-bass emphasis, a forward midrange and a bright treble which is not as refined as the Kiwi Ears design. The staging is not as expansive as the other models here and extended listening sometimes results in fatigue. It is more suited to rock and modern music than classical or ambient material.

Conclusion
Well made and competitively priced, the Allegro Pro acquits itself very well across a range of genres. Its lively, impactful, highly detailed and resolving delivery both enchants and entertains in equal measure. It is very economical in drawing power from the host device, resulting in extended play time. If a gain facility and volume controls had been featured, the Allegro Pro would have been almost unbeatable in its price bracket. However, it is still a high-performing DAC/AMP with a neat and convenient form factor and is highly recommended.

Kiwi Ears Airoso
I was contacted by Kaitlyn from Linsoul Audio and invited to test the new Kiwi Ears Airoso IEM. It is a hybrid design, 1DD + 4BA and retails for around $129.

Product link:
Kiwi Ears Airoso: https://www.linsoul.com/products/kiwi-ears-airoso

The Packaging
The Airoso comes in a compact square box with a printed sleeve in a purple colour. There is an image of the IEMs overlaid by the product name "Airoso" with the Kiwi Ears logo in the top left corner. A brief product description appears at the lower right. Other faces of the sleeve carry product information and specifications.

Removing the sleeve reveals a plain black box with a metallic silver Kiwi Ears logo in the centre. Inside, the IEMs are presented in a cut-out below which there is a black box containing the cable and tips.

In all the package contains:
● Airoso IEMs
● 2-pin black braided cable with 3.5mm termination
● Three pairs of white silicone tips
● Three pairs of black silicone tips
● Three pairs of grey silicone tips
● Zipped branded carrying case
● Documentation

Build and Design
The earpieces are constructed of glossy black resin which is 3D printed and there is a smooth silver-coloured CNC and titanium faceplate with a central bar featuring Kiwi Ears branding and a small horizontal vent. The 2-pin socket is flush with the top surface and there is a small circular pinhole vent near the base of the nozzle. The nozzles themselves are made of a silver-coloured metal and have a prominent lip to secure the tips and a mesh filter. The earpieces are quite light in weight which aids comfort.

Internally, there is a dynamic driver with a composite LCP and PU diaphragm (the diameter is not specified) which covers the bass frequencies. The high frequencies are handled by two "custom" balanced armatures and twin "custom" BAs are employed for the ultra-high frequencies. The types of BA are not disclosed. The frequency division uses a combination of physical and RC crossover technology.

The stock cable is a 4-core black braided type with a straight 3.5mm plug and is 1.2m in length and there is a small black chin slider below the Y split. The cable material is not specified. It is not as high quality as the cable supplied with the KE4 and is somewhat prone to tangling. However, the cable is supple and sits very comfortably around the ear.

Fit and Isolation
After working through the selection of tips, I found the medium size of the grey/red silicone tips to give the best fit. Isolation was fairly good but could have been improved while the fit and seal were secure with bass frequencies coming through well. It would have been nice to have a set of the white tips with a grid which came with the KE4 as I found these to be very good.

Specifications
• Frequency Response : 20Hz ~ 20 kHz
• Sensitivity: 105dB SPL/mW ±1dB
• Impedance: 15Ω ±1Ω

Sound Impressions
The principal source used for testing was a Hidizs AP80 Pro X DAP as a transport in conjunction with the Kiwi Ears Allegro Pro DAC/AMP. A Ruark R1 digital radio and Samsung smartphone were also used and a burn-in period of 100 hours was carried out before evaluation. After a short audition with the stock cable I found the tonality to be a little bit "thin" so I replaced it with a pure copper cable which brought more warmth and a better soundstage. The 4.4mm output of the Allegro Pro was used with the "Movie" mode (green LED) and this was the configuration employed for the review. The extra power afforded via the balanced output was very beneficial as I found the Airoso fairly hard to drive.

Tonality
The Airoso displayed a well-balanced profile with solid, speedy bass, an open and spacious midrange and a detailed and extended treble. The five drivers were well integrated giving the impression of a single unit and the overall shape might be termed "W" with a slight forward emphasis in the mids and somewhat elevated lower bass and upper treble. The staging was very good with a notable three dimensional effect and roughly equal width, depth and height. Imaging and movement were well rendered and there was a good balance between the musical and technical.

Bass
Sub-bass possessed a satisfying rumble with good texture and a fairly quick decay, the speed of the driver resembling that of a BA while still retaining the tonality of a good DD. There was a slight roll off in the lower frequencies which resulted in a loss of weight in the sub-bass region. The fast response continued into the mid bass which showed a nice kick and attack and an impressive agility. There was very little influence of the bass into the midrange which produced a very clean presentation. This clarity enabled the Airoso to easily discriminate between a bass guitar and kick drum when playing together and displayed a high level of resolution.

"Music from the Sky" is the title track from the spacemusic album by François Kiraly and Charles Crevier. It is an atmosperic piece featuring a very deep bass accompaniment. The track begins with spacious semi-melodic synth chords quoting a falling theme. Electronic effects join in, shifting and morphing across the image. When the theme is repeated more assertively, there is a powerful deep bass rumble which the Airoso handled very well with a lot of detail. The very lowest frequencies, perhaps, could have been more present and a little more weight would have been welcome but the clarity and resolution on offer were very impressive.

Stravinsky's "Firebird" is a lush, richly orchestrated score for large forces. The Finale is characteristic and after a romantic interlude for strings a more rhythmic and animated section ensues with staccato brass, incisive timpani and a powerful bass drum. In the version by the Minnesota Orchestra under Eiji Oue, the Airoso managed to present a realistic impression of the ensemble in full flow with the impact, ambience and decay of the bass drum thrillingly reproduced. The rebound of the skin and atmosphere of the recording venue were accurately portrayed and only a little more weight was wanting to complete the picture.

Midrange
The Airoso's midrange was somewhat forward in nature with excellent projection of vocals and solo instruments, placing them well to the front while retaining a good balance with the accompaniment and a real sense of perspective. There was copious detail and a natural timbre. The separation between the various elements in a production was very well handled, enabling the separate strands to be easily followed. The tonality was just on the brighter side of neutral with a fine transient attack.

"Like an Angel Passing Through my Room" is the final track on ABBA's last album, "The Visitors". It begins with the sound of a ticking clock accompanied by a "music box" type melody. Placed centrally in the image and with an intimate closeness, the character of Anni-Frid's vocal came over convincingly on the Arioso with her dark, husky tones perfectly suited for the rather sombre nature of the lyrics and creating a wonderful foil for the accompanying arrangement. Embellished by Benny Andersson’s keyboard flourishes, the atmosphere of the track was perfectly preserved and one could easily imagine oneself sitting in a dark room by the fire reminiscing.

Vaughan Williams's beautiful "Fantasia on a theme of Thomas Tallis" is a landmark in 20th century English music. The recent recording by the Royal Philharmonic Orchestra under Pinchas Zuckerman is a fine performance and the Airoso's accurate timbre and even tonality enabled the listener to appreciate its complex antiphonic arrangement. The interplay between the string quartet and full string orchestra was very well handled with the balance between the various sections perfectly handled. The ebb and flow of the piece benefited from the slightly forward nature of the midrange as well as the fine dynamic range and the copious detail presented by the Airoso.

Treble
The combination of the Airoso's four BAs covering the high and ultra-high ranges certainly bore fruit with a clean, bright and extended treble response. The tonality was a touch above neutral in brightness but never became harsh or aggressive and t. here was no evidence of "BA timbre" at any time. Appropriately, the sound was "airy" and spacious with very good resolution and the snappy transient attack endowed the upper region with an attractive immediacy. The overall effect of this was in an exciting delivery maintaining a musical quality.

Jacques Loussier's "Play Bach" dates from 1959. The recent Decca 20 bit remaster sounds fresh and remarkably modern. On the Airoso, the delicate brush and cymbal work in Bach’s “Air on a G string” had a natural and airy quality contrasting well with the incisive piano runs in which each note was precisely defined. Even during the most dynamic passages accompanied by the double bass, the percussion was precise and clearly audible.

"Dancing with the Lion" is Andreas Vollenweider's fourth studio album. "Dance of the Masks" is a lively and rhythmic piece and the Airoso made the most of it with a clean and bright presentation of the harp, each note being crisp and clearly defined. The accompanying percussion was particularly well rendered with the cymbals and drums displaying an attractive delicacy. The transient attack in the piano chords and guitars was also notable with a snappy and incisive delivery confirming the speed and quality of the Airoso's BAs.

Soundstage
The staging was one of the best features of the Airoso's performance. It was expansive in all three dimensions with a high degree of separation. Due to the excellent detail retrieval, layering and imaging were also very good. The forward nature of the midrange did result in a slight flattening of perspective and a reduction in depth but this was only with certain kinds of material. Stereo movement was well rendered and recorded ambience clearly defined.

Malcolm Arnold's suite of Cornish Dances is a colourful tribute to the landscape and traditions of the county. The third dance, "Con moto e sempre senza parodia" refers to the male voice choirs, Methodism and brass bands found there. After a powerful introduction with bass drum rolls the theme is stated which becomes more assertive. At the climax a tambourine is struck repeatedly and the Airoso handled this very well, the front to back perspective reproduced beautifully with a real sense of distance. The ambience of the hall in this superb Lyrita recording with the LPO under the composer's baton was delivered dramatically with an authentic decay.

"I Robot" is the title track from Alan Parsons Project's second album. A phased synth drone accompanied by wordless female vocals sets the scene. Gradually more tracks are added, a synth sequence in the left channel, percussion and another sequence in the right channel. Choral parts join followed by electric guitar. Soon a bright cimbalom solo is added and throughout, the Airoso managed to display all these elements clearly with excellent layering, a wide stereo panorama and pinpoint imaging, highlighting the superb production typical of Alan Parsons's work.

Comparisons

Kiwi Ears KE4 (£150)
The KE4 uses two 10mm dynamic drivers for the bass frequencies, arranged in an isobaric configuration. The midrange is handled by a custom RAB 32257 vented balanced armature and the treble is covered by a Knowles RAD 33518 BA. There is a three-way passive crossover system and a network of three sound tubes channeling the sound.

The KE4 has an unforced delivery with a natural timbre, a well-balanced profile and no particular frequency band emphasised above the others. This "new meta" approach is certainly an improvement on the regular Harman-type curve with none of the mid-bass emphasis, recessed mids and rolled-off treble characteristic of that profile. There is a deep and solid bass, an exceptionally clear and open midrange and an airy and well extended treble. This results in a very musical presentation with a seamless transition between the different drivers and a consistency of tonality across the frequency range and the soundstage is expansive with excellent imaging and layering. Compared with the Airoso, the KE4 has a warmer tonality and is more musical in its presentation, whereas the Airoso majors on technicalities with a more detailed and precise delivery which many will find more exciting. However, the KE4's more relaxing and easy-going style can be more appealing when you want to kick back and chill out. The two models are very different and might be thought of as complementary rather than rivals.

TRI Starsea (£100)
The Starsea is a hybrid IEM employing a 10mm LCP DD for the bass, a Knowles 29869 BA for the midrange and a TRI Hi A custom BA for the high frequencies. There are two tuning switches giving four different tuning profiles.

For the purposes of comparison, the "Amazing Bass" setting was chosen. In this mode, the profile was mildly V-shaped with a bass a little north of neutral, an open and detailed midrange and an extended and detailed treble. In some ways it is similar to the Airoso but has a somewhat reduced bass presence, and is less prominent in the midrange, which is a little recessed where the Airoso is more forward here. In the treble, it is honours even with both exhibiting excellent extension. The Airoso is slightly brighter in tonality with a faster response whereas the Starsea is more relaxed in character. The Airoso has a superior speedy mid bass which kicks hard and delivers a good deal of excitement. The Starsea is rather restrained in this regard but it's neutrality does have its attractions.

Tin Hifi T3 (£54)
Although now a little long in the tooth, the Tin T3 still has much to offer. It is a dual hybrid (10mm PU/PEK DD + Knowles 33518 BA) and is a bullet- shaped IEM with a full metal shell and MMCX connection. The stock cable is of very high quality.

In terms of sound, the T3 may be described as warm/neutral. The bass is sub-bass focused with a more dialled back mid bass but still possesses a "kick" in that region. Bass texture is very good, as is speed and resolution. The midrange is open and detailed with good separation and imaging and the 33518 BA is very well tuned. Via the Allegro Pro, the T3 gains in quality enough to challenge the Airoso in most areas, especially in detail retrieval and vocal projection. Bass is slightly less prominent and the midrange is only slightly recessed which helps with its staging. The Airoso's forward midrange highlights solo instruments and voices more so than the T3 which comes over more balanced in nature. It is difficult to choose between these two models, especially when fed by the Allegro Pro, and when the T3 can be purchased for around £54 it does represent very good value.

Conclusion
Kiwi Ears has released a number of new models recently and the Airoso has not just rival designs to contend with, but also models from its own stable. Chief among these is the KE4 which is a perfect example of the "Meta" tuning.

The Airoso deviates from this with a much brighter, assertive tuning which addresses and contrasts with the laid-back style of the Meta philosophy. It has an attractive immediacy with sharp imaging, a fast response and a lively, engaging W-shaped profile. It has a natural timbre and the drivers are well integrated. It is technically adept and highly detailed.

On the negative side, there is some roll-off in the sub-bass which robs the presentation of some weight and there is a slight flattening of perspective in the staging during energetic passages. The supplied cable is not the same quality as that supplied with the KE4 and I felt that this was a limiting factor in the Airoso's performance. Once I replaced it with a pure copper cable the sound improved significantly. The Airoso also proved to be rather tip-sensitive so tip rolling may bring further benefits.

Overall, the Airoso is a fine product. It is well made, light and comfortable to wear and achieves a high level of sound quality. It has a "fun" aspect which differentiates it from its stablemate the KE4 and is offered at a lower price. It has to be regarded as good value and should be on your shortlist if you are looking for a high-performing IEM in this price range.

KZ Zenith
Introduction
The Zenith is the new top of the range single DD model from Knowledge Zenith which is named after the company in celebration of its 12th anniversary. It features a new design of 10mm dynamic driver with a number of technological advances, a full alloy shell and four tuning switches and retails for $65.

Purchase link:
https://www.kztws.com/en-gb/products/kz-zenith

The Packaging
The Zenith comes in the new premium style packaging as seen in the recent Sonata model, and is more substantial than that of previous KZ IEMs. There is a rectangular black box with a printed sleeve featuring a large image of the IEM, below which some of the salient features are displayed. The KZ logo appears in the top left and there is branding on the sides as well. The reverse shows the specifications and a frequency response curve.

Removing the sleeve reveals a plain black box with a textured finish and a simple embossed KZ logo in the centre. The box has a hinged opening and inside, the IEMs are displayed in a cut-out. Below this is a grid holding the eartips. On the left in a plain grey box you will find the blue leatherette carrying case in which the cable and the tuning switch are stored.

● KZ Zenith IEMs
● Flat QDC silver plated cable
● Three pairs black memory foam tips
● Three pairs black "Starline" silicone tips
● One pair black "M" silicone tips (pre-fitted)
● Leatherette zipped case
● Tuning lever
● Documentation

This is a much improved presentation, but it was a little disappointing not to have seen an upgraded or modular cable included, considering that this is a premium model.

Build and Design
The Zenith has a full alloy shell with a faceplate featuring a reticulated design of triangles and a gold-coloured knurled screw. The legend "New Era Tech • Zenith" is written along the rear edge in a white sans serif font. The 2-pin socket is mounted on the top surface and there is a small circular vent at the base of the nozzle. The earpieces are very well built and have a bit of a "heft" to them.

Internally, the 10mm dynamic driver, "Driver X", features an enlarged voice coil, a larger volume neodymium magnet and a narrow suspension edge. It also has a reduced magnetic gap of 0.15mm. The ultra-thin PET diaphragm features surface patterns which enhance its vibrational rigidity.

The four tuning switches are mounted on the rear of the shell and operate as follows:
Switch 1 on: Bass up by 1 dB
Switch 1 & 2 on: Bass up by 2 dB
Switch 1, 2 & 3 on: Bass up by 3 dB
Switch 1,2,3 & 4 on: Full range boost

The supplied cable is the standard KZ type as seen in most of the newer models and is an OFC type with a 2-pin 0.75mm QDC connector and a gold plated 90° angled 3.5mm plug. The sheath is transparent, revealing the copper coloured wire within. The cable is not as prone to tangling as previous KZ cables but there is still no chin slider. It handles slightly better than the white silver plated cable supplied with other recent KZ designs.

Specifications:
Impedance: 41ohm
Frequency response: 20 - 40KHz
Sensitivity: 128dB±2dB

Fit and Isolation
The Zenith is pre-fitted with a set of medium silicone tips. They are different from the standard Starline type tips and I found them very good, so they were used for the review.

The earpieces are fairly heavy but with the pre-fitted tips, I obtained a very stable fit. The earpieces settled snugly in my ears (I have large ear canals) and were very comfortable. Isolation was good but not totally so since the earpieces are vented. A moderate increase in volume was necessary to mask exterior sounds.

Though serviceable, I did not feel that the supplied cable was of high enough standard to use with the Zenith so replaced it with a Faaeal Hibiscus pure copper cable which matched well with the Zenith's tonality.

I found the Zenith to be particularly source-sensitive. I tried three different USB-C dongles with a Hidizs AP80 Pro X but was not satisfied with the results. After switching to an Xduoo X20, the Zenith began to perform at its best. A burn-in period of 100 hours was carried out before evaluation during which a wide range of music genres was used including some audio conditioning tracks and white noise. After some experimentation with the tuning switches, I decided on 1111 which produced the desired result.

Sound Impressions
Tonality
With the Zenith, KZ have adopted the philosophy of "quality over quantity". The bass is not excessive, even with the switches set to the maximum boost, but it has good extension, texture and resolution and good speed. Mids are nicely judged with a well balanced tuning and a warmer lower region where there is a touch of bleed. There is a moderate pinna rise and the treble is smooth, displaying good timbre and a high level of detail. Soundstage is extensive and natural in size with competent layering and separation and a very good impression of depth.

Bass
As mentioned above, the Zenith's bass is carefully tuned to provide depth and extension without being dominant. It has a pleasant richness of tonality, moderate weight and good resolution. Bassheads will need to look elsewhere but the level is in good balance with the rest of the frequency range and is there when the material demands.it. Mid bass showed a healthy kick when required, adding a dose of fun to the proceedings but did bleed slightly into the midrange.

"Meditation" is the title track from "Liquid Mind's tenth album. "X". In this piece we are treated to Chuck Wild's trademark combination of floating synth washes, gentle melodic chord progressions and deep sub-bass undertones. The Zenith presented an authentic reproduction of this with a sonorous, textured sub-bass with a pleasing sense of weight which underpinned the subtly shifting diatonic harmonies characterising this artist's work. Always in perfect balance with the changing melodic patterns, the low frequencies endowed the music with a solid and rich foundation evoking a sense of peace and tranquility.

The Minnesota Orchestra's version of Aaron Copland's famous "Fanfare for the Common Man" under the baton of Eiji Oue is a wonderful recording with the percussion taking centre stage. The bass drum and timpani here sound amazingly lifelike and the Zenith conveyed the depth and impact accurately with just the right amount of weight. The initial strike was clean and incisive and the decay of the drums was nicely reproduced whilst at the same time preserving a palpable sense of the hall ambience.

Mussorgsky's "Pictures at an Exhibition" has been transcribed many times but perhaps not in such an extraordinary way as that by Jean Guillou. His colourful and exciting version of this popular work performed on the great organ of the Tonhalle, Zürich, came over thrillingly on the Zenith with the deep pedal notes cleanly reproduced. Delving down into the lowest octaves, the tonality was clean, well-textured and immediate. There was no evidence of bloating or unwanted overhang and the resonance of the hall acoustic added to the realism.

Midrange
The Zenith's midrange was open, lush and musical with a good amount of detail. Imaging and layering were of a high standard and the timbre was very natural. The lower region, coloured a little by a small amount of bleed, derived some warmth from the mid bass, endowing male vocals and cellos with some extra weight whereas the upper mids were clean with a moderate pinna gain, as expected from the "meta-style" tuning recently adopted by KZ.

The lush multi-tracked vocals in "All the Love in the World" by the Korgis received a clean and open rendition from the Zenith.
After a short instrumental introduction James Warren's lead vocal is supported by a sweeping string accompaniment and percussion and the layering and separation of the vocals was very well reproduced with a good sense of perspective. In the short instrumental break, a guitar solo cut through the dense production backed by close vocal harmonies and strings and on the Zenith everything gelled together most effectively.

The Zenith's midrange timbre was demonstrated admirably in John Foulds's "Keltic Lament", the second movement of his "Keltic Suite, Op.29 (1914). The piece begins with a sustained and lyrical melody for cello accompanied by harp. The tonality of the instruments was convincingly presented with a natural quality. The melody is then repeated with a rich and sonorous string accompaniment and the dynamic shift as the piece reached its climax was handled with aplomb, giving a real sense of the power of an orchestra in full flow. In this fine recording by the CBSO under Sakari Okamo, the cello remained clearly in the centre of the image with the orchestra laid out in a spacious manner, displaying the layering of the Zenith to good effect.

Piano is another instrument where the quality of timbre can be assessed. "The Day before You Came” from Benny Andersson’s “Piano” album explores the whole range of Andersson’s Fazioli instrument. This solo rendition of the ABBA song came over on the Zenith in a clear and open fashion with an authentic timbre. The reproduction of the overtones and natural decay of the notes added to the realism of the performance and at the same time the contrast between the dynamic and more lyrical passages was well conveyed. The atmosphere of Linn Fajal’s wonderful recording was captured very impressively, taking you right into the room and drawing you in to the music.

Treble
The Zenith's treble was nicely contoured, rising gently from the mids and showing a smooth clear tonality with no harshness or tendency to sibilance. After a gradual dip the treble recovered in the upper region, adding some sparkle and air to the higher frequencies and greatly helping with detail retrieval.

The quality of the Zenith's treble was clearly demonstrated in Gerald Finzi’s beautiful “Introit”, performed by Lesley Hatfield with the Northern Sinfonia under Howard Griffiths. The solo instrument was in perfect balance with the orchestra and displayed a convincing tonality with the song-like principal melody blending perfectly with the rest of the players. The high violin harmonics at the conclusion to were wonderfully reproduced, giving a natural and believable timbre to the instrument within an open, airy acoustic.

German multi-instrumentalist George Deuter has produced a large number of albums in the New Age genre, always immaculately recorded and produced. “Petite Fleur” from his “Land of Enchantment album is a good example with the delicacy of the woodwind and percussion sounds coming over cleanly and precisely via the Zenith and each note clearly etched. The lead melody resembles a music box and the attractive theme shone out clearly above the guitar and synthesised background displaying a well-reproduced ambience which was testament to the excellent detail retrieval. The high synth tones towards the conclusion were clear and pure in tone, possessing a clean and sparkling tonality with plenty of "air".

Exo Genesis” appeas on the album “Rosetta” by Vangelis. The track begins with fragmented piano arpeggios in a complex sequence featuring cymbals and electronic effects. The metallic sheen of the cymbals exhibited focus and clarity contrasting well with the keyboards. The rhythmic element in a minor key contrasted with a powerful anthemic melody in the major key and it was very effectively portrayed by the Zenith. Underpinned by sub bass rumbles, the treble elements remained clear and crisp even in the most dynamic passages and created an enchanting tableau full of colour and drama.

Soundstage
The staging was one of the best features of the Zenith's abilities, being spacious and dramatic with an unusually fine depiction of depth which enhanced the layering and separation and was particularly effective in displaying the intricacy of productions and the layout of orchestras. Imaging was also of a high standard making the most of good recordings and recreating the atmosphere of the original performance.

“Mausoleum at Halicarnassus” is the fourth movement of the “Seven Wonders Suite” by Stuart Mitchell. It features a prominent solo flute which was placed precisely in the centre of the image and supported by strings and percussion laid out impressively within the recording venue. A rising string motif follows, embellished with a bright triangle. The initial strike and subsequent decay were beautifully captured. The solo instrument was particularly well rendered, floating over an imaginative orchestral backdrop. The hall ambience was nicely reproduced in the recording by the Prague Symphony Orchestra conducted by Mario Klemens, with the percussion section displaying a believable distance and a natural decay, especially in the timpani strikes towards the end of the piece which showed an authentic weight and decay.

In "Come back to us” by Thomas Newman from the OST to “1917”, sustained strings and delicate keyboards introduce the piece. Basses and cellos, augmented by synth bass, form a deep foundation over which a poignant and impassioned cello solo is heard. The Zenith presented a wonderful tableau full of atmosphere and feeling in a broad canvas and when the cello was joined by full orchestra, the effect was thrilling, creating a haunting atmosphere full of emotion.

The production in "Just a Girl" by the Pale Fountains (1982) was laid bare by the Zenith. After a short introduction featuring trumpet and acoustic guitar, Mick Head's distinctive vocal takes centre stage with rhythm guitars in each channel supported by trumpet and guitar. In the instrumental break, there are cameos from violin and guitar which were reminiscent of Stephane Grapelli and Django Reinhardt and further accents from Andy Diagram's trumpet. All the instruments were accurately positioned in the Zenith's image within their own space and demonstrated what a great production this is.

Comparisons
WG T-one
WG's T-one is also a single DD model with a 10.2mm driver which has a composite film diaphragm, a rear cavity enclosure and a Tesla grade magnet. Originally priced at around $100, it has been available recently for as little as $30. The shell is very solidly built from metal with a wave-like design on the surface. The interface is MMCX and there is a high quality cable.

The T-one has a warm and powerful bass range, pleasantly tuned mids and a smooth but extended treble and has very few minuses in its overall performance. The treble occasionally exhibits some sibilance (on my equipment) and there are some anomalies in the staging which is not as stable as in the Zenith. Sub bass is richer but looser than the Zenith, with a heavier rumble but less control. Mid bass, like the FD3 below, is stronger than that of the Zenith but there is no evidence of bass bleed. The mids are well tuned and quite similar to the Zenith in the lower range but the pinna gain is greater in the upper region which adds a bit more bite in this area. The timbre is largely natural except in the upper mids where there are some issues. The Zenith's consistency is preferable here.

Fiio FD3
The Fiio FD3 features a single dynamic driver with a 1.5 Tesla magnet and a 12mm DLC diaphragm. It has a front acoustic prism and a semi-open acoustic design with interchangeable sound tubes and retails for $109. It is very well made, solid and compact. The cylindrical metal body is nicely finished and the interface is MMCX.

The FD3 has a prominent bass and a clear detailed treble with a slightly recessed midrange and the overall tonality is on the warm side. The delivery is natural and unforced with a refined quality but still retains a touch of extra warmth which adds an attractive bloom. The dynamic range is particularly notable, climaxes being handled effortlessly with plenty of headroom and in this respect is very similar to the Zenith. Its broad cinematic delivery and rich, vibrant presentation has a natural sound majoring on enjoyment and entertainment. It sounds warmer than the Zenith, having an elevated mid-bass and a more "V-shaped" profile compared to the Zenith's "meta" tuning. The Zenith has a superior treble which is very extended with better details and a tighter and more controlled bass. The FD3's venting produces a wider and deeper soundstage but the Zenith's imaging is more precise. It is difficult to choose between the two as each has its merits and there are both similarities and differences to take into consideration.

Conclusion
The Zenith is KZ's first "premium" single DD model. It is a step up from the heritage ED range and is marketed in a higher tier than other recent DDs such as the Libra and Saga models. Very well made and presented, its sound quality is commensurate with its price and indeed, it matches or outperforms models in the $100 range, as can be deduced from the comparisons above. The tuning is well balanced and detailed with an expansive soundstage and there was a good balance between technicalities and musical expression. The various technical advances brought to bear on this model really seem to have borne fruit and the Zenith must be considered a serious contender for a single DD in its price range.

KZ Sonata

Introduction
I was invited to test the new 28 BA IEM from KZ. The Sonata is the company's latest flagship model, replacing the AS24 Pro at the top of the range. It is an all-BA design with 14 units per channel and retails for $150. Two versions are available, "Standard" and "Tuning". The Tuning version has four adjustable tuning switches. The model tested here is the tuning version.

Product purchase link:
https://www.kztws.com/products/kz-sonata

The Packaging
The packaging is far more substantial than any KZ IEM to date. A large rectangular black box with a printed sleeve which shows a large image of the IEM, below which some of the salient features are displayed. The KZ logo appears in the top left and there is branding on the sides as well. Removing the sleeve reveals a plain black box with a textured finish and a simple embossed KZ logo in the centre. The box has a hinged opening and inside, the IEMs are displayed in a cut-out. Below this is a grid holding the eartips. On the left in a plain grey box you will find the blue leatherette carrying case in which the two cables and the tuning switch are stored.

The contents comprise:
● KZ Sonata IEMs
● Flat QDC silver plated cable
● Braided 784 core blue/silver cable
● Three pairs black memory foam tips
● Three pairs black "Starline" silicone tips
● Leather zipped case
● Tuning lever
● Documentation

Build and Design
The earpieces are constructed of black resin and have a smooth glossy surface. They are somewhat bulky but they have to accommodate 14 drivers! The front of the shell has a clear section behind which is a decorative silver panel of triangle shapes. The name "Sonata" appears on the top edge in a script font along with a narrow horizontal grille. There is a small circular pinhole vent on the underside and the clear plastic 2-pin socket is mounted on the top surface. The four tuning switches are mounted on the rear of the shell and operate as below:

Switch 1 On: Bass increased by 1dB
Switch 1&2 On: Bass increased by 2dB
Switch 3 On: Ultra-high frequency reduced by 1 dB
Switch 3&4 On: Ultra-high frequency reduced by 2 dB

Internally, there are 14 balanced armatures per channel in the following configuration:

1 x 22955 BA (Low frequency)
2 x 29869 ( Mid-frequency)
1 x 30019 (Mid-high frequency)
5 x 31768* (Ultra-high frequency)
* dual BA array = 10 units

• Impedance: 22-50Ω
• Sensitivity: 110dB
• Frequency Response: 20Hz - 40KHz

A 4-way crossover network separates the various frequency bands. The 3D printed structure includes a series of sound tubes to channel the sound to the nozzle.

Two cables are included, the standard KZ silver-plated type with a 90° angled 3.5mm plug and a high quality silver/blue braided 8-core cable which features 48 strands per core (a total of 784 strands). It has a straight 3.5mm plug. I would have preferred a modular version of the high quality cable instead of having the two different cables, which would provide balanced operation.

Fit and Isolation
The Sonata comes with a set of medium foam tips pre-fitted. I prefer silicone tips and fitted the supplied medium Starlines. I did not obtain a good seal so changed to the large Starlines. Having decided on these I turned my attention to the cable. The supplied silver/blue cable was used and provided a well balanced profile with solid bass. Thus equipped, I obtained a very comfortable fit with excellent isolation. Although bulky, the earpieces remained stable and snug.

The principal source used for testing was a Hidizs AP80 Pro X in conjunction with a Penon OS133 USB-C dongle DAC. A Ruark R1 digital radio was also employed and a burn-in period of 100 hours was carried out before evaluation.

After some experimentation with the tuning switches, I settled on 1100. This enhanced the bass and brought it in good balance with the mids. Turning off switches 3 and 4 restored the upper frequencies and provided a superbly wide and spacious soundstage.

Sound Impressions
Tonality
As soon as I put the Sonata in my ears I was greeted by a huge, expansive soundstage and the midrange caught my attention with its excellent detail and expression. The treble was highly resolving yet smooth and clean, while the bass was nicely textured, deep and impactful. There was an overall feeling of refinement and maturity not often met with and the timbre throughout was natural and musical. Because of the remarkable transparency, the layering and separation was very impressive, with instrumental positioning accurate and imaging clear and precise. The overall profile was neutral with a somewhat forward midrange.

Bass
Although possessing only a single 22955 driver for the low frequencies, the bass was well balanced with the rest of the range. It was well-textured, clean and resolving with the speed expected from a BA. There was some weight in the delivery which helped to fill out the lower octaves and the extension was good with the level slightly north of neutral.

"En route to Delta Pavonis" appears on the album "Thousand Star" by the spacemusic great Jonn Serrie. The track begins with sweeping synth patches evoking the vastness of space and are soon joined by a deep rumbling in the sub bass perhaps representing a powerful spacecraft engine. The Sonata reproduced this with precision, clarity and texture, as may be expected from a BA driver but there was also a good deal of weight which enhanced the presentation and was not dissimilar from that of a DD unit. Later in the track there is a section featuring space comms accompanied by a deep sub bass which once again impressed with its clarity and resolution. The level remained in perfect balance with the rest of the spectrum but never reached "basshead" levels. The tonality was a tad warmer than neutral with excellent detail.

In Mike Oldfield’s “Tubular World” from “The Songs of Distant Earth”, the bass reached down to the nether regions with excellent weight in the synth bass, the rhythmic integrity maintained well and the texture of the bass guitar nicely rendered. The synthesised low frequency percussion in this piece displayed excellent impact and remained clean and precise, being conveyed with depth and power and a real sense of weight with the delicate electronic effects remaining clear and distinct even during the most dynamic passages.

Classical music was also enhanced by the Sonata's excellent resolution. “The Swan of Tuonela” by Sibelius, performed by the Lahti Symphony Orchestra conducted by Osmo Vanska, was a perfect example.
The brooding atmosphere was captured very well with the menacing bass drum rolls at the beginning providing a satisfying rumble with a sense of foreboding, evoking distant thunder. Basses and cellos displayed excellent texture with bowing very well portrayed with the beautiful and haunting cor anglais solo clearly presented over the supporting orchestral backing.

Midrange
The midrange was a real highlight in the Sonata's performance. The twin 29869 BAs were very well tuned here, providing a wonderful open quality with high levels of detail, a natural timbre and pinpoint imaging which opened a clear window into the music. At the same time, layering and separation were as good as I have heard from an all-BA IEM with each element precisely placed within the image. The size of the staging was another high point, with the music presented in a huge space with incisiveness and delicacy. Vocals, in particular, benefited from this with the voices clearly delineated above their accompaniment and diction unusually well defined.

The character of Colin Blunstone’s voice in his classic single “Say you don’t Mind” was beautifully conveyed by the Sonata with lip and breath sounds clearly discernible and dynamic changes very evident. Set against a clever and imaginative string arrangement by Christopher Gunning, the balance between the vocals and the accompaniment was nigh-on perfect with the diction always precise, resulting in an entertaining and satisfying performance. The instrumental section was incisive and lively and the falsetto ending to the song was reproduced with excellent clarity.

Cello and piano are excellent indicators of midrange timbre and Reynaldo Hahn’s beautiful “A Chloris” is a perfect piece to display the midrange timbre of the Sonata. Written in 1913, it is a homage to Bach and has a real baroque feel. As the graceful melody dovetails with the bass line, the rich woody tones of Julian Lloyd Webber’s cello combined wonderfully with John Lenehan’s sensitive piano accompaniment. The Sonata's accurate reproduction of harmonics and unusually clear midrange allowed the character of the cello and the natural decay of the piano notes within a believable acoustic to be fully appreciated in this wonderfully concentrated performance and recording.

The natural timbre of the Sonata's midrange was further displayed in "O fim das coisas" by Brazilian violinist Marcus Viana. A prolific artist, he has an impressive number of albums to his name across various genres. This piece appears on his album "Trilhas e Temas" (Tracks and Themes) on which his trademark violin solos are supported by a lush electronic accompaniment. The piece opens with a romantic string arrangement, after which a synth guitar voice states the theme supported by bass and synthesised strings. The lead voice was clearly projected above the backing and as Viana's violin combined with the lead melody the two voices produced a romantic and wistful effect which was beautifully portrayed by the Sonata with the natural timbre of the violin showcasing the soloist and highlighting the emotion of the music.

Treble
With an arsenal of 10 31736 BAs singing in unison, the Sonata's treble displayed an unusually delicate and airy quality with superb resolution, precise transient attack and an authentic timbre. Nothing escaped its attention with the finest details clearly discernible and an attractive shimmer in the tonality. This high level of technical ability was matched by an attractive musicality, a combination not often met with.

"White Winds” is the third album by the maestro of the electric harp, Andreas Vollenweider. “The Glass Hall” features a wealth of crystalline percussion sounds
which spread across the stage. Through the Sonata, these were amazingly precise and clear and reproduced with astonishing realism. After this, there is a woodwind solo before the harp enters, supported by percussion and wordless female vocals. Transient attack and dynamic range were also evident in the more dynamic concluding section with every tiny subtle detail captured during this complex and intricate production with the whole blending together in a most satisfying and musical way.

The Sonata managed to create a realistic picture of a classical orchestra, where the superb treble response was clearly demonstrated. In Charles Ives’s “The Unanswered Question” performed by the New York Philharmonic under Leonard Bernstein, the different timbres of the instruments were authentically presented with a clean and sprightly quality and thrilling immediacy. The strange effect of the haunting trumpet solo over the serene and hushed string background was portrayed beautifully, punctuated by staccato parts for brass. The contrast between the tonal string parts and the atonal woodwind was particularly well handled, with the aggressive woodwind tone clusters cutting through the peaceful orchestration in a striking and incisive fashion. This created a wonderful sense of atmosphere and an otherworldly feeling with a disturbing emotional effect.

Percussion certainly benefited from the Sonata's clean and detailed character, with the delicate metallic timbre of the cymbal work and subtle brush sounds in Jacques Loussier’s “Air on a G string” being wonderfully true to life. This beautifully remastered 1960 Decca recording, in a three-dimensional acoustic with double bass and piano, was a joy to hear. The high frequencies had an airy quality which contrasted well with the incisive piano runs in which each note was precisely detailed and defined and even in the most dynamic passages accompanied by the double bass, the percussion was still clearly audible.

Soundstage
The Sonata's soundstage was really something special and perhaps its stand-out feature. An expansive stage in all three dimensions displayed precise imaging, excellent separation and realistic layering with a natural perspective and depth. Positioning of instruments within an orchestra were authentically presented giving a believable picture of a live performance.

Anatoly Liadov’s “Enchanted Lake” in a very natural recording with the Philharmonic Symphony Orchestra of London conducted by Charles Gerhardt showed what the Sonata was capable of. Bass trombones and horns floated at an attractive distance with excellent timbre and harp and horns appeared on each side of the orchestra in their natural positions. Closing your eyes, you could imagine yourself in the concert hall with the orchestra spread out before you. The recorded ambience on this piece came over very well, with a believable hall acoustic and the stereo imaging was very precise. The front to back perspective on this piece was particularly well portrayed.

The holographic soundstage in “Enchanted Forest” from Jeff Clarkson’s electronic album “Peace and Quiet” produced a remarkable sense of space and movement with a variety of electronic sounds and percussion accompanying the synth strings and woodwind leads. The superb sound quality of the recording combined with the spacious and detailed arrangement created a magical atmosphere which the Sonata conveyed perfectly.

The Sonata's superb stereo imaging and layering came to the fore in Bert Kaempfert's "A Swinging Safari". In this recording reminiscent of the stereo demonstration tracks of the 1970s, each element was defined in its own space while gelling together as a unit. The lead melody is taken by woodwind, set against a lively rhythm section featuring double bass and bass guitar. Their contrasting timbres were nicely differentiated by the Sonata while the percussion was particularly clear with bass drum being impactful and brush work easily discernible, resulting in a really entertaining performance. The lively trumpet solos added interest and were accurately positioned within the wide stereo image.

Comparisons
KZ AST (12BA)
The AST is a former flagship model and features 12 BAs per channel. The BAs are the "s" type "black" and are arranged in the following configuration:

Bass: 1 x 22955s
Midrange: 1 x 29869s
Mid/High frequency: 2 x 30017s
High frequency: 6 x 50024s (matrix)
High frequency: 1 x 30019s
Ultra high frequency: 1 x 30095s

The AST is smooth, warm and well-balanced and the integration of the 12 drivers is very good. The bass is firm and solid, being just a little softer and warmer than that of the Sonata, with a more emphasised mid bass. Midrange is less forward than the Sonata and just a bit recessed, but is easy-going and smooth. The treble is not as extended, but still displays a good amount of detail. The overall presentation is gentler and very amenable and there is no listening fatigue, but it loses out to the newer model in terms of resolution. The staging is well done but not as expansive, and falls short in terms of layering and separation. However it is very relaxing to listen to. The two models are very different in their presentation.

KZ AS24 Pro (12BA)
Also a former flagship model, the AS24 Pro is another 12 BA per channel design. Internally the BA driver complement comprises:

1 x 22955 BA for the bass frequencies
2 x 29869 BAs for the midrange
4 x 31736 dual BAs for mid/high area
1 x 30019 BA for the ultra high region

The AS24 Pro impresses with deep solid bass, a detailed and open midrange and very clean, bright treble. Its profile is brighter and somewhat more "V-shaped" than the Sonata, with the midrange just below the level of the bass and treble. The bass, which is slightly stronger than the Sonata, is also a little warmer due to a mid bass lift but it is not as detailed or textured. Sub bass is well defined and mid bass is on a higher level, whereas the Sonata's mid bass is more laid back allowing the sub bass to come through and resulting in a cleaner midrange. The midrange is slightly recessed but still very articulate, but the more forward mids of the Sonata impress more with their resolution and detail. With its 10 drivers, the Sonata has a smoother and more extended treble than the AS24 Pro whose treble is brighter and not quite as airy or detailed. In terms of soundstage, the AS24 Pro is very capable but set against the outstanding staging of the Sonata, there is only one winner here.

Conclusion
Although released quite soon after the AS24 Pro, the Sonata is its worthy successor as the flagship model in the KZ range. Attractively presented with a good selection of accessories, it continues the advance in tuning we have seen recently from the company. The tuning switches are very effective and produce a range of different sound profiles which should suit many listeners.

Possessing a superb expansive stage, high resolution and well balanced and refined profile, it is a real step up in quality and elevates the KZ brand to a higher tier. It shows what can be achieved with multi-BA designs when correctly implemented.

There really is very little to criticise here. Although the earpieces are attractively designed and well constructed, perhaps they could have been made of metal, and bass lovers may find the Sonata a little disappointing even with the bassiest switch setting. However, overall the Sonata's delivery joins technical excellence with a musicality and refinement which encourages further listening. I consider this to be the finest model I have heard so far from KZ and is a serious contender in its price range.

Introduction
The Dawn is a new fixed-cable IEM from KZ. It has a 10mm dynamic driver and resin shell and is available for an extremely low RRP of £9. It comes in two versions, with a silver-plated conventional cable or an OFC flat cable. The model tested here is the silver plated version.

Product link:
https://www.kztws.com/en-gb/products/kz-dawn
https://www.aliexpress.com/item/1005007950931803.html

The Packaging
The packaging is about as basic as it can get. Inside the very compact white box which has a line drawing of the IEMs on the front, you will find, in a small plastic tray:

● Dawn IEMs
● Fixed silver plated cable with 90° angled 3.5mm plug
● Three pairs of Starline tips (Size M pre- fitted)
● Documentation

And that's it!

Build and Design
The Dawn has a transparent resin earpiece. The dynamic driver is visible through the shell and the model name "Dawn" is featured in a white script font. The fixed cable is similar to the detachable type supplied with other KZ models and has a clear sheath revealing the silver plated wire inside. There is a small circular pinhole vent on the rear of the shell.

The 10mm dynamic driver is described as "Super-Linear" with a high sensitivity and features a large voice coil with powerful Neodymium magnets. The specifications are as follows:

Frequency Response: 20-40000Hz
Sensitivity: 108±3dB
Impedance: 23±3Ω

Fit and Isolation
The earpieces are very light and comfortable. The pre-fitted medium Starline tips were used for testing and provided an acceptable comfort and seal with reasonable isolation with the ear guides being flexible and supple.

Sound Quality
The majority of the testing was carried out with the Hidizs AP80 Pro X DAP and Penon OS133 USB-C dongle and the IEMs were subjected to a burn-in period of 100 hours before evaluation.

Tonality
The Dawn possessed a warm, V shaped profile. There was a prominent bass centred around a powerful mid-bass with the sub-bass rolling off a little and somewhat lacking in definition and weight. There was a noticeable bleed into the mids which coloured the lower part of that region. The true mids fared a little better with a more natural tonality and were more forward, whereas the upper mids were brighter and slightly thinner in character. This continued into the treble which was quite bright and a little brittle and the extension was a touch curtailed which resulted in a lack of "air". The staging was fairly narrow and this resulted in some congestion in busier tracks and due to this, layering and separation suffered. Overall, however the standard was acceptable for the price.

Bass
The mid-bass was the most prominent feature of the low frequencies. It was well above the level of the sub-bass and did bleed into the mids. There was a slightly fuzzy quality to the lowest octaves which occasionally produced some distortion at higher volumes.

Max Richter's "They will shade us with their wings" from " In a Landscape" is a good example. The powerful sub bass lost a little definition while the mid-bass overshadowed the lower mids. Later in the track the upper mids became more in balance as the bass subsided but the tonality was affected by excessive warmth in the lower region.

The tonality was very track-dependent as pieces with bass at a lower level were much more appealing. On "Too Close to the Sun" from "On Air" by Alan Parsons, the balance was just about right with the mid-bass clean and punchy and in much better balance with the mids and treble. Although the staging was a bit flat, the track moved along in an entertaining fashion with the bass guitar and drums displaying good speed and attack.

Midrange
The Dawn's midrange varied in tonality from the lower region warmed by a significant influence from the bass, to a central area which was quite natural and a bit more open in character through to the upper region which was more elevated and displayed some sharpness and sibilance on certain material. Male voices were slightly "chesty" and female singers were bright with a little edge. Strings sounded more like a BA with good detail and transients but lacked natural harmonics.

Richard Harvey's "Concerto Antico" for Guitar and Orchestra performed by the LSO under Paul Daniel's baton is a good example. The rather doleful introduction was atmospheric with good detail and led into a passage with the cello stating the theme. This showed a very natural timbre and following this, John Williams's guitar featured strongly in the centre of the stage with an authentic tonality. There was plenty of space around the solo instrument. During the more energetic sections there was a feeling of congestion with a flattening of perspective and the Dawn did much better in the quieter moments where the staging was not compromised.

"Jag Hor" appears on Benny Andersson's solo piano album "Piano". This is a beautiful recording and the solo instrument is captured in a reverberant acoustic. On the Dawn, the soft introduction was handled well with a natural timbre. However, when the principal melody was taken up an octave, there was a hardening of tonality and in the climax of the piece it became more brittle and edgy. The lower notes sounded better and this piece revealed the uneven tonality across the midrange which was both frequency and volume dependent and in addition, the ambience of the recording venue was lost.

Treble
The Dawn's treble was elevated in the lower region, being somewhat above that of the mids. The tonality was similar to the midrange, in that it varied according to the material being played and also was subject to a sharpness of timbre in more energetic passages. The upper treble rolled off a little early, robbing the presentation of some air and, like the midrange, there was a lack of harmonic richness which affected the timbre, leading to a slight unnatural tonality.

"Cicada" is an album of new age music by Herman multi-instrumentalist Georg Deuter. The title track evokes the atmosphere of a rainforest with the sounds of insects, birds and running water. All these sounds have been created electronically. The track begins quietly with nature sounds and gradually a simple melody appears performed on an acoustic guitar. The Dawn managed to reproduce this quite nicely with a fair level of resolution. As the track progressed, the melody was repeated and became more prominent, accompanied by synthesiser flourishes. The high frequency tones came over well but as more layers were added, there was some loss of definition. As before, simpler material suited the Dawn's presentation.

Helmut Walcha's astonishing recital of Bach’s famous “Toccata and Fugue in D Minor” in a superb 1959 recording is a stern test for any IEM. The lively and dynamic performance, with the soloist blind and playing entirely from memory, is surely a classic of its kind.
The crisp and brilliant tones of the Silbermann organ at St Laurenskirk, Alkmaar lost some of their brilliance on the Dawn, diminishing the excitement of the performance. There was a softness in the upper register and I found the sense of speed and attack somewhat wanting. At the same time, there was a lack of authority which characterises this recording and the busier passages did suffer from some congestion.

Soundstage
“Words of a Mountain” is a New Age style album by longtime Level 42 keyboard session musician Wally Badarou. “Feet of Fouta” begins with dynamic drum strikes in alternate channels and the Dawn gave a good impression of space around the instruments. The complex keyboard and percussion patterns in the piece were clearly separated, enabling the various strands to be followed with ease, and in the concluding section of the track the infectious African rhythm bounced along in a joyful fashion. There was an attractive warmth to the presentation with the bass providing a solid foundation.

“I am a Camera” can be found on "Adventures in Modern Recording" by The Buggles. Trevor Horn’s superb production came over entertainingly with the vocals placed atmospherically over the spacious soundscape populated by electronic effects, studio reverb and Geoffrey Downes’s accompanying keyboards. Near the end of the track, Trevor Horn’s vocals are set deep in the stage. This came over well with a real sense of distance in the image. The final section features somewhat foreboding keyboard chords producing a rather unsettling feeling.

Comparisons
KZ Saga
The Saga is one of the latest models fom KZ and is a single DD IEM. It can be purchased online for a similar price to the Dawn. It is very well built with a glossy gunmetal coloured zinc alloy shell shaped like a triangle with rounded corners. The 10mm dynamic driver is described as "Inner Magnetic" and is claimed to have an ultra-wide frequency range and 360° "panoramic surround sound technology".

The Saga displays a very well balanced and warm "L-shaped" profile. There is a deep and powerful sub bass, and a mid-bass with a solid and satisfying "kick". This contrasts with the Dawn where the focus is on the mid bass and the sub bass is at a lower level. The Saga's timbre is largely natural and there is some bass bleed but not as marked as in the Dawn's, with the tonality more consistent across the range. The upper mids show a gentle rise and lead into the lower treble smoothly, compared to the more elevated presentation of the Dawn. The treble itself is much smoother and more detailed and is very easy on the ear with no sharp peaks or harshness, unlike the slightly thin tonality displayed by the Dawn. The soundstage is expansive and spacious with excellent perspective and is not affected by narrowing at higher volume. All things considered, the Saga beats the Dawn comprehensively in all departments.

Tripowin Piccolo
The Piccolo is a single DD IEM employing an 11mm dynamic driver with a liquid crystal polymer (LCP) diaphragm and a dual- chamber inner structure. The shell is very well made in full metal with an incised design. The original price was about $35 but is available for the extremely low price of $10, which is what I paid.

The tonality is lively, bright and engaging with a powerful bass, open midrange and a bright extended treble. The soundstage is of average size. Compared to the Dawn, the overall tonality is more dynamic, brighter and more energetic. The bass is faster and tighter than the Dawn's with higher resolution. The mids are not recessed and there is more detail here. The same applies to the treble which feels more extended with better resolution. Like the Dawn, it occasionally becomes "thinner" in tone but is more natural with better harmonics. The Piccolo is immediate, exciting and lively with a more open staging. Like the Saga above, the Piccolo is a far better propostion than the Dawn, especiallyat the current low price.

Conclusion
I found the Dawn rather perplexing. On some material it performed really well and on others there was a lack of engagement.
Technical abilities such as soundstage and layering varied considerably according to the type of music played and this inconsistency affected the enjoyment. Like the Curate's Egg, it is "good in parts".

Although the Dawn performs reasonably well at the price it cannot be recommended ahead of other superior models like the Piccolo and Saga above. There are also other preferable models from the KZ stable which are available for the same amount, such as the excellent Castor Harman. All of these have detachable cables, a better build and presentation and improve upon the Dawn across the board with a more reliable performance.

KZ Saga
As a regular reviewer for KZ, I was sent a review sample of the new Saga single DD IEM. The Saga is available in two versions, Balanced and Bass Enhanced. The model tested here is the Bass Enhanced version.
Product link:
KZ Saga: https://www.aliexpress.com/store/1100915423

The Saga comes in a very small 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:

● Saga Bass Edition IEMs
● 2-pin silver-plated copper cable
● Three pairs "Starline" ear tips
● Documentation

As usual with KZ, the accessories are minimal with the cost focusing on the IEMs themselves.

The IEMs are very well built with a glossy gunmetal coloured zinc alloy shell shaped like a triangle with rounded corners. The faceplate bears the name "Saga" in white in a script font. There are three vents on the lower edge of the faceplate and a small circular pinhole vent at the base of the nozzle, which is also metal, and has a fine silver coloured mesh. The raised 2-pin socket, accepting a QDC connector, is made of transparent plastic.

The 10mm dynamic driver is described as "Inner Magnetic" and is claimed to have an ultra-wide frequency range and 360° "panoramic surround sound technology". There are no specifications regarding the diaphragm material.

The supplied cable is an OFC type with a 2-pin 0.75mm connector and a gold plated 90° angled 3.5mm plug. The sheath is transparent, revealing the copper coloured wire within. The cable is not as prone to tangling as previous KZ cables but there is still no chin slider. It handles slightly better than the white silver plated cable supplied with other recent KZ designs.

The Saga was tested with Xduoo X20 and Hidizs AP80 Pro X DAPs. A smartphone, a Penon OS133 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 supplied cable, although servicable, was replaced with a TRI Through silver-plated cable. The large stock Starline tips were used for testing and resulted in a comfortable fit and good isolation. The majority of the testing was carried out with the AP80 Pro X and Penon OS133 USB-C dongle.

Tonality
The Saga displays a very well balanced and warm "L-shaped" profile. There is a deep and powerful sub bass leading into a mid-bass with a solid and satisfying "kick". There is some influence from the bass into the lower mids which adds "body" to cellos, the lower notes of pianos and male vocals but does not colour the sound too adversely, although in certain material the mid bass does become dominant. The upper mids show a gentle rise and segue into the lower treble very smoothly. The treble itself is smooth and fairly detailed and is very easy on the ear with no sharp peaks or harshness. It is a very "analogue" type tonality with a natural timbre which prioritises musicality over technical prowess, although at times it can come over as a little bit soft. The soundstage is a stand-out feature, being very expansive and spacious with excellent perspective.

Bass
The Saga Bass Enhanced Edition certainly lived up to its name with a strong, deep and rich sub bass displaying good extension and texture. Mid bass was also lively with good impact, but it did bleed slightly into the lower midrange. Tonality was warmer than neutral which did affect the sense of speed and decay and tended to mask detail.

"Rock On" by David Essex has a superb production by Jeff Wayne ("War of the Worlds"). It is founded on an innovative bass riff from Herbie Flowers's double-tracked bass guitars in each channel and in this revolutionary arrangement, there are no instruments playing chords, giving it a concentrated and pared down feel. The Saga's powerful bass allowed the notes to plumb the depths and growl menacingly while remaining clearly separated from the kick drum playing simultaneously. The syncopated strings and brass with minimalist vocals provided a contrast which was handled very adeptly by the Saga, although a little more definition would have been welcome.

"Flight over Jupiter" by Vangelis is the soundtrack to a video using images from NASA’s Juno mission to recreate what it might have looked like to ride along with the Juno spacecraft as it performed its 27th close flyby of Jupiter on June 2, 2020. Opening with deep sub-bass tones, timpani and characteristic Vangelis synth chords, a cathedral pipe organ follows with a classical "toccata" motif. The Saga reproduced all these with depth, power and texture, reaching well down into the lowest octaves. A moody theme on synth strings with deep bass comes next, supported with more deep chords. The separation and ambience here was very well portrayed as the piece ended with powerful deep space rumblings.

Midrange
Receiving some influence from the bass, the Saga's lower midrange was warm and inviting. Coming from a punchy mid-bass, there was some colouration and "bloom" which did become slightly dominant on some material. The rest of the mids were very well presented, with a decent amount of detail and a pleasant timbre. There was a moderate pinna gain into the upper range which ensured there was no harshness or sibilance on vocals and the overall tonality was rich and full, although a little more urgency, definition and detail would have been welcome.

The original version of "You Raise me Up" by Secret Garden is a wonderful production. The lead vocal, by Brian Kennedy, is sung very expressively with excellent diction. Recorded in a resonant acoustic, the Saga conveyed the space around the soloist very effectively while retaining all the emotion in his voice. There then follows a beautiful solo by Fionnula Sherry where the Saga displayed a very natural timbre on the violin. In the middle of the track the Irish choir Anuna sing a full choral version of the theme and the separation of the voices and dynamic range were dramatically presented here. Accompanied by full orchestra and Uilleann pipes, the effect was breathtaking filling all the available space in the image. At the conclusion, Brian Kennedy's solo vocal returns with an intimate and emotional rendering of the final verse and the Saga conveyed the feeling admirably.

In Chloe Hanslip's wonderful reading of the Violin Concerto No.1 by Jeno Hubay with the Bournemouth Symphony Orchestra, her violin was clearly presented above the orchestra in a spacious manner. The tonality of the solo instrument was conveyed very naturally by the Saga and there was enough detail to show the high harmonics on the violin which helped to produce a natural timbre. Towards the end of the movement, the interplay between the violin and the woodwind was attractively handled with an excellent balance between them.

Treble
The Saga's treble was smooth, fairly well extended and free from sibilance and harshness. Detail retrieval was good, however, a little more definition would have helped to produce a more incisive performance and produced a more spacious and airy result. The timbre was largely natural but during more energetic passages there was a reduction in clarity with some congestion occurring.

Kevin Kendle is an English electronic music artist who has an extensive catalogue of albums inspired by nature and landscapes. He has also recorded a series of spacemusic albums in the “Deep Skies” series and a collection of albums depicting the seasons.

“January Sunrise” from his “Winter” album is a typical example of his atmospheric and melodic style. It begins with crystalline tinkling sounds evoking ice and snow. A gently flowing tune ensues and the Saga conveyed a believable picture of the scene with a clean and precise portrayal of Nature in January. The high frequency sounds were delicate and well separated, forming a perfect backdrop for the melody line. At the conclusion, the full theme is presented, supported by string synths and woodwind samples. The production becomes more densely scored and throughout all this, the high frequencies remained clearly articulated.

Walter Leigh's Concertino for Harpsichord and Strings, written in 1934, is perhaphis best-known work. The second movement, in the style of a Sarabande, is a thoughtful piece with a mediaeval feel. It begins with solo harpsichord which was clearly reproduced by the Saga and then the theme is taken up by the orchestra with a lively accompaniment from the solo instrument. The excellent Lyrita recording, with Trevor Pinnock at the keyboard with the LPO conducted by Nicholas Braithwaite, came to life with the Saga and at the conclusion, the clean and bright arpeggios on the harpsichord shone through against the rich harmonies of the strings.

Soundstage
In the Saga's promotional information, it claims to "deliver a solid performance as good as the Stereophonic Cinema" and provide "an immersive soundstage beyond traditional limits" with a "360° Panoramic Surround Sound for Total Audio Immersion". I have to say that there is some truth in this as the Saga produced a wide, deep and tall stage with good impression of movement and imaging. The separation was limited somewhat by the warmth in the midrange which tended to coalesce in more complex pieces and led to some congestion, especially at higher volume. In general though, the staging was of above average in dimensions.

"Clouds below your Knees" is a track from the album "No Blue Thing" by Ray Lynch. Lynch's unique blend of acoustic and electronic instruments is based on strong melodies and a basis in classical music. This piece is founded on a lively rhythm punctuated by bright electronic sounds and features solos for woodwind and viola. The Saga managed to put all these elements together and present them in an entertaining way with a notable sense of movement and forward progression. The solo parts were highlighted very effectively and stood out from the background well and the interweaving of the various instruments and rhythms came over very pleasingly.

The unashamedly romantic ballad "And I love you so" by Perry Como was delightfully portrayed by the Saga. There was the impression of a sphere with the lead vocal placed centrally and surrounded by strings, percussion and guitar. The character of Como's voice came through authentically with the emotion evoked by the tender and poignant lyrics clearly evident. The quality of the production was also nicely conveyed with a lush, warm and slightly soft atmosphere created by the Saga, which suited this material perfectly.

Comparisons
Tripowin Piccolo
The Piccolo is a single DD IEM employing an 11mm dynamic driver with a liquid crystal polymer (LCP) diaphragm and a dual-chamber inner structure. The shell is very well made in full metal with an incised design. The original price was about $35 but is currently available for the ridiculous price of $10, which is what I paid.

The tonality is lively, bright and engaging with a powerful bass, open midrange and a bright extended treble. The soundstage is of average size. Compared to the Saga, the overall tonality is more dynamic, brighter and more energetic. The bass is not quite as deep but is faster and tighter. Mids are more forward which does make the staging a little more shallow, but there appears to be more detail here. The same applies to the treble which feels more extended with better resolution, but occasionally becomes "thinner" in tone. The two IEMs are different in character, the Saga being warm, relaxing and enveloping, whereas the Piccolo is immediate, exciting and lively. They are complementary rather than rivals.

WG T-one
WG's T-one is also a single DD model with a 10.2mm driver which has a composite film diaphragm, a rear cavity enclosure and a Tesla grade magnet. Originally priced at around $100, it has been available recently for as little as $30.

The shell is very solidly built from metal with a wave-like design on the surface. The interface is MMCX and there is a high quality cable. The T-one is in many ways a combination of the Piccolo and the Saga. It has a warm and powerful bass range, pleasantly tuned mids and a smooth but extended treble. Of the models mentioned here, it is the most balanced of the three with very few minuses in its overall performance. The Saga goes deeper in the sub bass but is not as resolving. The mids on the T-one are more open and detailed than the Saga and the treble is more extended and detailed. The Saga does beat it in terms of soundstage but the T-one has a better sense of layering and separation due to the higher resolution. Build quality is superior, as is the cable. With excellent comfort and more accessories, it is preferable to the Saga at the recent low pricing, even with the extra cost.

Conclusion
With a solid build, appealing warm L-shaped profile and a low price, the Saga is another attractive model from the KZ stable. Relaxing to listen to, it is perfect for lengthy listening sessions. It is not the last word in resolution, nor does it challenge more expensive and refined designs, but it does represent great value. Amongst the avalanche of recent releases from KZ, it stands out as something a bit different in terms of tuning and is a refreshing change from the plethora of Harman, JM1 and New Meta IEMs currently flooding the market. As usual, there is little in the way of accessories and the cable does not do justice to the IEMs, but its presentation is enjoyable and can be recommended for those who prefer a relaxing sound with no major shortcomings.

Westone AM Pro X30
I was contacted by John Creigan from Jackrabbit Media and invited to review the Westone AM Pro X30 IEM.
Westone is a brand best known for its IEMs designed for stage musicians. Currently its inventory includes the AM Pro X, Pro X and MACH ranges.
The AM Pro X30 featured here is the highest model in the Pro X series, equipped with three balanced armature drivers per channel, one each for the bass, midrange and treble. A three-way passive crossover divides the signal amongst the three drivers. A frequency response of 20Hz-18kHz is specified along with an impedance of 56Ω and a sensitivity of 124dB @ 1mW. The AM Pro X30 retails for £448.

The Packaging
The X30 comes in a fairly chunky box with a slip cover bearing a two-colour image of the product along with the company logo and description with product information and specifications on the reverse. Removing the slip cover reveals a plain white box emblazoned with the Westone Audio logo and the box opens with a magnetic tab. Inside, the earphones are stored in a foam cut-out with the cables attached, above which is the red plastic Mini Monitor Vault containing the rest of the accessories. The contents comprise:

● Westone AM Pro X30 monitors
● Linum SuperBAX T2 cable
● 5 pairs silicone tips (XS, S, M, L, XL)
● 5 pairs foam tips (XS, S, M, L, XL)
● “Mini Monitor Vault” case
● Ear wax removing tool
● Cloth storage bag

Design and Build
The earpieces are formed from clear plastic allowing the balanced armatures and internal wiring to be seen. The sockets for the T2 cable are positioned on the top of the capsule and have a pronounced forward rake. There is a green-coloured sound tube leading to the long narrow nozzle and a black boss in the centre of the faceplate bearing the Westone logo. The earpieces are very compact and lightweight.

The supplied cable is Westone’s proprietary Linum SuperBAX design, a silver-plated copper cable with T2 connectors which are similar to MMCX but smaller. The cable is quite thin with a black rubberised covering and there is a Y split and chin slider and a 90° angled 3.5mm plug. The SuperBAX cable is not as prone to tangling as the cable on the AM ProX10 and handles better. The connection was stable and secure.

Fit and Isolation
The X30 needed to be placed perfectly horizontally and once in position, it fitted snugly inside my ear. The long nozzles and extended eartips produced a deep insertion which was very comfortable. I experimented with the supplied tips and obtained the best result with the largest silicone type with an orange bore. Thus fitted, a healthy bass response was obtained with good isolation, although external sounds still remained discernible as intended with the "passive ambiance" feature. The long thin nozzles did not allow me to try standard IEM tips so “tip rolling” was not possible.

Sound Impressions
Tonality
The X30 was tested initially with an Xduoo X20 DAP. However, the neutral profile of the X20 combined with the similar nature of the X30 resulted in a clean but somewhat sterile presentation. Switching to a Hidizs AP80 Pro X DAP produced the desired result with a warmer more musical effect and a deeper bass. A running in time of 100 hours, using a range of musical genres and white noise, was allowed to settle in the components. I found that a higher volume level was necessary to get the best out of the X30 with a more solid and authoritative delivery as a result.

The X30 displayed an attractive tuning with good extension at both ends of the spectrum. There was a breathy, impactful bass, a somewhat forward midrange and a detailed, clear treble. There was no bass bleed and the resolution was notable. After an extended running in time, the staging improved, having been a little two-dimensional to begin with. Layering and separation were of a high standard allowing the intricacies of production to be appreciated, and appropriate for an IEM designed for musicians, while detail retrieval was excellent. As with earlier Westone designs I have heard, the tonality was very natural with no trace of "BA timbre" and the three drivers worked seamlessly to produce a well-balanced output across the frequency range.

Bass
In the bass, the X30 showed what a well-designed BA can be capable of. Sub bass, although somewhat rolled off, displayed good extension and texture with some impression of weight while remaining in good balance with the mid bass, which was dynamic and speedy. The bass did not display the visceral imact of a good DD but the incisive transient performance typical of a BA endowed the lower frequencies with an addictive immediacy revealing texture and detail rarely heard before. The reproduction of recorded ambience was also done very well, allowing the character of the recording venue to be appreciated.

Stravinsky's "The Firebird" is a beautifully scored ballet, richly orchestrated, with the powerful finale including a prominent part for bass drum. In the version by the Minnesota Orchestra under Eiji Oue, the timpani introducing the final section sounded very natural and following this, the X30 managed to convey the full force of the impact of the bass drum with a realistic decay and timbre more usually associated with a good DD. The final strike was particularly impressive both in power, tonality and atmosphere.

Kevin Kendle is a British electronic music artist with over 30 albums to his name. "Eventide" is one of his early albums and "Homeward" is characteristic of his style. Unashamedly melodic, the piece is tranquil with a gentle rhythm underpinned by a deep bass pattern. The X30 reproduced this with both depth and warmth, added to which there was a good sense of weight. The bass line remained clear and detailed even during more complex passages where sparkling electronic effects and a sinuous melody line were present and there was an overriding feeling of musicality.

Midrange
The X30's midrange was unusually open and transparent, bringing the details of a production clearly into focus. Separation and layering were top class and imaging was also of high quality. The tonality throughout the region was very consistent, transitioning smoothly from the upper bass and dovetailing into the treble with no noticeable peaks or troughs. Pinna gain was well handled with a gentle yet well judged rise. Vocals were particularly well reproduced with great clarity and projection.

Eva Cassidy's "Songbird" is the title track from her best-selling album. The intimate, stripped down recording came vividly to life with the X30 with the vocal a little forward giving a perfect balance between the singer and the bright and clear guitar accompaniment. Even though it is a close-mic'd recording, it was possible to imagine the space around the performer, evoking the feeling of a live performance. Lip and breath sounds were clearly reproduced, adding to the realism.

Solo instruments in concertos are always a good test for midrange timbre. In the "Concertino Antico for Guitar and Orchestra" by Richard Harvey, John Williams's guitar was projected well into the foreground with a very natural timbre. The contrast between the percussive sections and the more lyrical passages was depicted very well with adept dynamic shading and the speedy transient response highlighted the rhythmic expression, helping to propel the piece along in a lively fashion.

Treble
The X30 displayed a well-tuned high frequency range with excellent detail, good extension and "air". There was good rhythmic agility with notes starting and stopping with precision and there was no evidence of sibilance or harshness, except when present in the recording. There was an attractive delicacy in the extreme HF and the timbre was unforced and natural. The treble emerged from the upper midrange with no audible crossover artefacts.

Frank Steiner Jr's "I Ging Symphony" is inspired by the trigrams of the ancient method of divination. The first track, "Chi'en" (Heaven) begins in serene fashion with gentle Chinese type strings accompanied by smooth synth patches. Bright string arpeggios follow announcing the main theme in a woodwind voicing. The separation of the rapid chords was very well portrayed by the X30 with each note clear and precise. A full orchestral section ensues during which the high frequency tones remained open and articulate even in the most dynamic passages.

"The Shining Ones" appears on Mike Oldfield's album "The Songs of Distant Earth". Introduced by a repeating synth motif, delicate electronic effects swirl around the image along with bell-like percussive sounds. The X30's detail retrieval here was excellent with the finest elements nicely delineated and in perfect balance with the accompaniment. Guitars appear in each channel with a solid bass foundation forming the rhythm and everything was presented in a spacious acoustic with high levels of detail and a distinct impression of "air".

Soundstage and Imaging
The X30's excellent treble extension helped to create an impressively expansive soundstage. The image spread beyond the ears laterally while both height and depth were well rendered. Stereo imaging was admirable with movement clearly audible and both layering and separation were of a high standard. As befits an IEM designed for stage use, the positioning of instruments within an ensemble was accurately depicted.

"Joanna" is a classic song by Scott Walker. This recording is beautifully produced with percussion and bass on the left, strings and woodwind in the right and the lead vocal clearly positioned high in the centre of the image. Scott Walker's characterful voice was authentically presented by the X30, enabling the listener to hear his superb phrasing with the diction precise and intelligible. The dynamic range on this track was handled adeptly with the string backing particularly impressive and a realistic impression of the studio acoustics.

"Remember" from the album "Tide" by Antonio Carlos Jobim, is a lively piece in a samba rhythm. It begins with piano on the left and drums and bass on the right. Various instruments take the melody line which appears dead centre of the image and other elements are added. The X30, with its excellent rhythmic agility, gave a believable picture of a live performance with each instrument in its own space within a stable three-dimensional presentation and it was easy to follow the individual musicians while at the same time appreciating them gelling together as a unit.

Comparisons
Westone AM Pro X10 (1BA)
The AM Pro X10 is the entry level model in the range with a single full-range BA. It shares the same design of earpiece as the X30 and a similar set of accessories but uses the LinumBAX cable rather than the SuperBAX.
The X10 produces a surprisingly big sound from its single BA. Unlike previous IEMs with such a configuration I have heard in the past, the X10 demonstrates a wide response with good output at the frequency extremes. Although a little reduced in level, sub bass possesses some rumble, the midrange, like the X30, is forward and detailed and the treble is clean and clear but a little rolled off. The soundstage is expansive and spacious. It shares Westone's character of a natural tonality with no sign of the “BA timbre” so often found in many other brands. The use of a single driver ensures great coherence across the range with a good balance between technical ability and musical expression.
The X30, with its additional dedicated bass and treble drivers extends the output and improves on its little brother in every way with a deeper, more impactful bass, a more "present" midrange and a more airy and detailed treble with superior extension. This also improves the staging and results in a more mature and authoritative character.

Aiderlot M5 (5BA)
The M5 is a high quality five-driver IEM using premium Knowles drivers. It is equipped with one 22955 bass driver, one 29869 midrange unit, two 30017 mid/high BAs and one 30095 ultra high frequency armature. It also features three different tuning nozzles, “Reference”, “Bass” and “Treble”. I found the bass tuning to be the best balanced and in this mode the Airderlot M5 is an ultra flat IEM with a linear bass profile, a midrange not recessed at all and a very extended treble.
The soundstage is of average dimensions and smaller than that of the X30. Bass output is reduced in comparison, mainly focusing on accuracy and detail. The overall tonality is clean but somewhat sterile whereas the X30 is warmer, more natural and authentic. The M5 can become fatiguing after extended listening but the X30 is perfect for longer listening sessions.

Hidizs MD4 (4BA)
The MD4 has a fairly balanced profile with a slightly forward midrange, a neutral bass and clear, smooth treble. There is an emphasis in the upper midrange and lower treble and a rather steep roll off in the higher frequencies which slightly unbalances the presentation, reducing the impression of detail. It is also quite fussy in partnering sources and needs a little experimentation to extract its potential. When enhanced with additional power or balanced operation and fed with high quality material, it certainly holds its own with other models in its price range.
The X30 has a wider frequency range with superior extension at both ends and is also more lively and vibrant in its delivery. It surpasses the MD4 in the bass with a deeper and more energetic delivery, is more open in the midrange with better technicalities and the treble is more detailed and natural, whereas there is a touch of BA timbre in the MD4's high frequencies. The X30 also excels in staging with a much more expansive and orbital presentation.

Conclusion
Building on the natural and open Westone "house sound", the X30 proves itself to be a true "studio monitor" with an extended frequency response, following the philosophy of "nothing added, nothing taken away", with a delivery as close as possible to the original. As a result it fares better with high quality material, the "warts and all" approach tending to show up inadequacies in poor recordings. With a slightly rolled-off sub-bass, the midrange is free of colouration and the X30 really excels with vocals and rhythms.

Its tuning does not follow the popular "Harman" or Diffused Field pattern but instead has a highly accurate warm/neutral profile which gets to the heart of the music. Designed for stage use, it certainly succeeds in that regard but it is equally satisfying to the listener who wishes to hear music as the artist and producers intended.

KZ PRX
I was contacted by Kate, the social media representative from KZ and invited to test the new PRX Planar IEMs.

Product link:
KZ PRX: https://www.aliexpress.com/item/1005007846409902.html

KZ Planar driver IEMs include the PR1 and PR1 Pro models, the HBB PR2 collaboration and the PR3. The new PRX features an upgraded "fourth generation" Planar drive unit with a silver-plated vacuum electroplated diaphragm. The frequency response is quoted as 20Hz - 40KHz with a sensitivity of 94dB and an impedance of 15 Ohms. It retails for around $54.

The PRX 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:

● PRX 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 PRX is a semi-open design with a clear resin body. The planar driver, which is a turquoise colour, can be seen through the shell. The gunmetal coloured alloy faceplate has a grille of diagonal parallel strips, three gold hex bolts and the words "Planar Magnetic Tech" written around the border in a white sans serif font. There is a three-section grille and mesh on the side of the earpieces with a blue detail, a pinhole vent in the centre of the underside and a network of vents with a mesh on the rear of the shell.

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, being similar to that of the previous PR3.

The cable is a silver plated OFC type with a 2-pin 0.75mm connector and a gold plated 90° angled 3.5mm plug. The sheath is transparent white, revealing the silver wire within. The cable is not as prone to tangling as previous KZ designs but there is still no chin slider.

The PRX was tested with Xduoo X20 and Hidizs AP80 Pro X DAPs. A smartphone, a Penon OS133 USB-C dongle, and a digital radio were also used. Due to the low sensitivity, I tested the PRX with an amplifier and a Topping NX1a was used for this purpose coupled with the Hidizs AP80 Pro X via line out. The IEMs were subjected to a burn-in period of 100 hours before evaluation. Initially the stock cable was used but after some experimentation I found it to be a limiting factor and I replaced it with a Faaeal Hibiscus cable. The large stock Starline tips were used which resulted in a comfortable fit and good isolation.

Tonality
Right from the outset, the PRX impressed with an exceptionally clean and clear presentation. There was a healthy sub-bass rumble with good texture and resolution, plus a notable sense of weight and physicality. Mid bass was speedy with a good "kick" and there was a small amount of influence from the bass which lent some weight and warmth to the midrange, which was also open, clear and detailed. Transients were fast, precise and snappy, lending an attractive urgency to the performance. This quality continued into the treble which was very well tuned. There was plenty of detail, precise imaging and separation and fine extension. The balance between technicalities and musical expression was well judged and there was a moderate pinna gain. Soundstage was very spacious, with all three dimensions of approximately equal size and a good display of stereo movement where present in the recording.

Bass
The bass was one of the standout features of the PRX. It displayed excellent depth and power with a satisfying weight which gave a real feeling of solidity and provided a good basis to the music. There was excellent texture and good extension which gave a realistic impression of studio ambience. The tonality may be described as a combination of DD timbre and depth with the speed and precision of a BA.

Liquid Mind (AKA Chuck Wild) has produced a series of albums featuring flowing chords, floating soundscapes and subtly changing melodies. "In the Silence of my Soul" from "Liquid Mind X" is a typical example. Soft chordal progressions shift and change, hinting at a melodic theme. Soon, a powerful bass element is added and the PRX reproduced this with clarity and precision. Its resolution allowed the texture and detail to come over clearly and provide a perfect foundation for the ethereal synth patches overlaying it. As the track progressed, the balance was nicely judged with the bass supporting but not dominating and at the same time providing a subtle ambient quality enhancing the atmosphere of the piece.

Roy Harris's Symphony No.6 (Gettysburg) is a colourful and descriptive work scored for a large orchestra. In the version by the Pacific Symphony Orchestra under Keith Clark, the PRX flexed its muscles in a most impressive fashion. The second movement, "Conflict", begins with mournful chords from the string section accompanied by percussion in the style of a March to the Scaffold. A passage of syncopated strings with aggressive brass intersections follows, announced by a massive bass drum strike. The PRX reproduced this with precision and power, managing to convey the depth and resonance very convincingly. The piece increases in speed and reaches a tremendous climax and the PRX dealt with it composedly with clarity and low distortion.

Midrange
The PRX's midrange was open and detailed with very little recession. The lower region was warmed with just a little influence from the bass, and became brighter with frequency. The timbre was very natural and clean with vocals standing out from the accompaniment very clearly and possessing an "etched" quality. Detail retrieval was high and the pinna gain was smoothly applied with no harshness.

Nat 'King' Cole's classic "When I fall in Love" received a wonderful rendition from the PRX. The vocal was clearly placed high in the centre of the image with great clarity and definition, revealing the character of Nat's voice very authentically. Supported by a lush and romantic string accompaniment, the diction was perfect and tonality absolutely on point. The quality of the 1956 recording was astonishing with copious detail and precise imaging provided by the PRX, confirming the ability of the IEMs to adapt to many genres.

"The Secret" by Adam Hurst is an album of thoughtful cello pieces accompanied by the Array Mbira. It is a modern redesign of the Shona African mbira from Zimbabwe and was developed in the 1960s and produces vibrant bell-like tones when plucked. "Two Figures" is a representative track from the album and the PRX's fine timbre highlighted the quality of Hurst's bowing with the resonant and woody sound of his cello nicely contrasted with the pure ringing sound of the mbira. The transient abilities of the PRX came over very well with the leading edges well defined and the acoustic of the recording venue naturally reproduced.

Treble
The treble on the PRX was clean, clear and detailed with very good extension. It was similar to that of the previous PR3 but was smoother and more in balance with rest of the frequency range. It possessed good transient attack, accurate timing and a believable timbre with no noticeable peaks or harshness.

Peter Warlock's "Serenade for Strings" was composed in 1922 to celebrate the 60th birthday of Frederick Delius. Set in a lilting and attractive rhythm, the scoring is dense with rich chromatic harmonies. The fine recorby the LPO under Vernon Handley was definitely to the PRX's taste. It managed to convey this with good separation and a high level of detail, especially in the upper register which was crisp and clean yet remained smooth with an airy quality and an attractive delicacy. Even in the most energetic passages, the detail remained clear and well defined and a good balance was maintained.

"Crescent Moon" is a track from the album "Autumn Magic" by Hennie Bekker. Bekker is a multi-instrumentalist who has produced a large volume of work in film soundtracks, Jazz, World Music and New Age/Ambient. He is a master of the Synclavier and this track is a good example. Nature sounds set the scene, creating a wide ambient soundscape in which Bekker's melodic and smooth Synclavier chords vie with bright woodwind samples and ethereal high frequency effects. The PRX handled all this with aplomb, delivering the bright treble details with crystalline purity and clarity, enabling them to stand out clearly from the sound effects of running water and nocturnal birds.

Soundstage
With a wide, deep and spacious staging, the PRX scored highly in this department. Stereo imaging was notable with separation, layering and movement also of high quality. The soundstage extended well beyond the ears and as well as a good impression of height, the depth allowed an accurate picture of the recording venue with good front to back perspective.

The 4th movement of Bela Bartok's "Concerto for Orchestra really showcased the PRX's ability to portray an authentic picture of the layout of a symphony orchestra. In the wonderful RCA "Living Stereo" recording by the Chicago Symphony Orchestra conducted by Fritz Reiner, the various sections of the orchestra were pinpointed precisely. The interplay between the staccato strings and crisp brass chords came over very realistically on the PRX and the contrast between the tremulando passages and lyrical string melody really brought the performance to life, with the PRX's fine transient response adding to the excitement.

Vangelis's score to the Kurosawa film "Antarctica" is one of his finest works. The main theme recurs as an "idee fixe" in different ways as a series of variations. In "Antarctic Echoes" we are treated to a thoughtful rendition of the theme set in a vast acoustic. Fragments of the melody introduce the track with long sustained notes. The principal theme is then presented in a stately fashion and the PRX placed the lead voice clearly in the centre, supported by ethereal string patches evoking the wide and desolate landscape. With its fine reproduction of depth, the PRX conveyed this very effectively with the sustain and decay of the bell-like melody seeming to hang in the air whilst deep evocative chords resonated in the background, creating a real sense of space and distance and a poignant feeling of loneliness.

Comparisons
KZ PR3
The PR3 has a well-balanced, neutral/bright profile. There is a sub-bass emphasis and a moderate mid bass leading into a warm expressive midrange possessing good timbre and a smooth, bright treble showing excellent detail and extension. The soundstage is spacious with good layering and separation making it easy to follow individual strands in the music. The volume needs to be set somewhat higher than normal, which is often the case with planar drivers. The PRX, in many ways, is similar but has a deeper and more powerful sub bass with a visceral quality and more weight. There is some influence from the bass in the mids which are articulate, clean and detailed. The PRX's treble is less intense than that of the PR3 and is smoother, but loses nothing in terms of detail and extension. Because of this, the PRX has a better balance overall and is preferable, with a touch more "control". Soundstage is similar in extent on both models, but there is a little more "space" in the PRX's presentation. The PRX is also, perhaps a little more demanding in power.

TRI i3 Pro
The TRI i3 Pro is a redesigned version of the original i3. Like the first model, it sports an 8mm dynamic driver for the bass, a 10mm planar magnetic unit for the midrange and a custom balanced armature for the treble region. The size has been reduced by more than a quarter and the MMCX connection has been changed to a 2 pin interface.

The i3 Pro has a well-balanced mild W profile with powerful sub-bass. The mid bass is lower in level and transitions gently into the mids. The mids themselves are slightly forward and well-resolved with a natural timbre. The treble is clean and clear and fairly well-extended with a moderate peak before rolling off smoothly although perhaps a little early. The soundstage is expansive with a little more width and height than depth and separation and imaging is of a high standard. Itbis not as full and "cinematic" as the original i3 and occasionally some thinness does occur.

In comparison, the PRX also has a powerful lower region, although, being a planar, it has a slightly different timbre from the DD used in the i3 Pro. The midrange on the PRX is very pure and its speed is noticeable, even though the i3 Pro also uses a planar unit for this range. The i3 Pro's high frequency BA is not quite as smooth or extended as the PRX, and at times, the integration of the three drivers is not as seamless as it might be, whereas the PRX with its single driver is more consistent. The soundstage is also more expansive in the PRX due to the forward nature of the i3 Pro's midrange which tends to flatten the image, especially in more complex pieces.

Conclusion
With the PRX, the evolution of KZ's planar series continues. The "fourth generation" driver certainly shows its class with great transient attack, a wide frequency response and a fine implementation with a natural timbre. There is an attractive purity of sound which marks it out as something special. There is a good compromise between technical ability and musicality.

If you are thinking of sampling one of KZ's planar models, then I would strongly recommend this one. Of their previous models, I have only heard the PR3 but the PRX improves upon it in most areas. The usual comments regarding KZ IEMs apply, like minimal accessories, a serviceable cable at best and basic presentation, but the money has been spent on the IEMs themselves. To maximise the performance, purchasers must factor in the price of a replacement cable and will need a powerful source but once so equipped, the PRX should give much enjoyment.

Kiwi Ears KE4
I was contacted by Kaitlyn Wu from Linsoul and invited to test and review the new Kiwi Ears KE4 IEMs.

Product links:
Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER

Kiwi Ears is a company specialising in crafting superior audio products, particularly in-ear monitors and earphones. Their dedication lies in presenting natural and balanced sound, prioritising efficient performance and cost-effectiveness.

The KE4, their latest product, is a hybrid IEM (2DD + 2BA) which has been tuned to a modified version of the Harman profile, known as the "new meta". It employs two 10mm DDs in an isobaric configuration and two BAs covering the midrange and treble. It retails for $199.

The Packaging
The KE4 comes in a chunky rectangular box with a card sleeve featuring the IEMs prominently displayed along with the product name and the legend: "Live the music". Removing the sleeve reveals a plain black box with a metallic Kiwi Ears logo, inside which you will find the IEMs set in a removable card cut-out. Under this the zipped carry case is stored, containing the 2-pin cable and the silicone eartips.
For an IEM retailing for around $200 the packaging is perhaps rather basic. It includes:

● Kiwi Ears KE4 IEMs
● 2-pin silver-plated copper cable
● Three pairs "Flex" white silicone ear tips
● Zipped carrying case
● Documentation

Design and Build
The KE4 is well-constructed in an opaque medical grade black resin with a metallic/pearl effect faceplate bearing the Kiwi Ears logo. The 2-pin sockets are recessed and accept a standard 2-pin connector. There is a small circular vent with a mesh on the back of the earpiece and there is channel identification on the underside. The earpieces are fairly light in weight.

The KE4 uses two 10mm dynamic drivers for the bass frequencies, arranged in an isobaric configuration. The midrange is handled by a custom RAB 32257 vented balanced armature and the treble is covered by a Knowles RAD 33518 BA. There is a three-way passive crossover system and a network of three sound tubes channeling the sound.

The 2-pin 4-core cable is supple, handles well and appears to be of high quality. It is constructed of silver-plated OFC copper. The 3 5mm plug is finished in a chrome effect and there is a matching Y- split and ring-shaped chin slider.

Fit and Isolation
The KE4 proved to be very comfortable in use. The supplied silicone tips have a mesh-like feature in the opening and were soft and pliable with good grip. With the medium size installed, the earpieces fitted securely and snugly in my ears with good isolation. The stock cable also felt secure and comfortable.

Sound Impressions
The IEMs were tested with a variety of sources including three different DAPs, a smartphone, digital radio and a Penon OS133 USB-C dongle. Although adequate volume was obtained from all the sources, I did also include an amplifier and the Little Bear B4-X was employed for this purpose. A burn-in period of 100 hours was used to settle down the components and the earphones were auditioned with music from a wide variety of genres. The majority of the review was carried out with a Hidizs AP80 Pro X DAP with the Penon OS133 USB-C dongle which furnished the IEMs with adequate power.

Tonality
The immediate impression was of an unforced delivery with a natural timbre, a well-balanced profile and no particular frequency band emphasised above the others. This "new meta" approach was certainly an improvement on the regular Harman-type curve with none of the mid-bass emphasis, recessed mids and rolled-off treble which I find characteristic of that profile. There was a deep and solid bass, an exceptionally clear and open midrange and an airy and well extended treble. This resulted in a very musical presentation with a seamless transition between the different drivers and a consistency of tonality across the frequency range. The soundstage was expansive with excellent imaging and layering.

Bass
The KE4's bass was deep, resonant and speedy. Sub bass displayed good rumble and definition and the timbre was natural. Mid bass possessed an entertaining kick with snappy rhythmic attack and it did not bleed into the midrange. The texture was nicely judged and the overall feel was very natural.

The score to Stravinsky's ballet "The Firebird" is a colourful work for large orchestra with prominent use of percussion. The Finale begins in a serene fashion with a gentle theme on strings and woodwind. Soon it becomes more rhytmic and forceful, announced by timpani strikes and staccato brass figurations. A powerful strike of the bass drum follows, leafing to a climactic finish. In the version by the Minnesota Orchestra under Eiji Oue, the bass drum displayed extraordinary power and slam with a long resonant decay. The rebound of the skin and the airy ambience and sustain were beautifully handled by the KE4, proving the success of the isobaric twin driver set-up.

"Evensong" is the title track from the ambient electronic album by Meg Bowles. Smooth airy synth patches glide and mutate above a bass drone overlaid with a semi-melodic series of chord progressions. As the piece develops, a deep sub bass element is added to the layers and it came over very convincingly on the KE4. There was an impressive sense of potency and depth which enhanced the somewhat spooky atmosphere of the piece and formed a perfect foundation. The texture produced here was exactly what the piece demanded.

"Cluster One" is the opening track on "The Division Bell" by Pink Floyd. This instrumental piece begins with the sound of a crackling wood fire accompanied by atmospheric electronic effects. A chordal drone joins in followed by a minimalist minor key theme from Dave Gilmour's guitar. Rick Wright's piano enters into a kind of antiphonal conversation with the guitar and the two instruments intertwine. This is then supported by deep rhythmic elements from Nick Mason's drums bringing the whole piece together. The depth and kick from the percussion reproduced by the KE4 was extremely impressive with good speed and impact.

Midrange
The KE4 excelled in the midrange. It was open and transparent with a natural timbre and copious detail. Vocals were reproduced wonderfully well with fine detail such as lip sounds and reverb adding to the realism. There was a consistency of tonality throughout the range with a well judged pinna gain resulting in a relaxing yet engaging delivery.

Pluto Shervington's "Your Honour" is an amusing tale of a wrongly-accused person who was "inside the closet" when the crime was committed. Beautifully recorded and produced and set to an infectious reggae beat with a fast-paced backing, the KE4 made the most of it with the lead vocal clearly defined and supported by snappy rhythms, incisive percussion and punchy bass guitar. The openness of the reproduction conveyed the humour of the story in a very entertaining fashion with the vocal nicely projected above the accompaniment.

Cello and piano are testing instruments in determining timbre. Reynaldo Hahn's "L'heure Exquise" is a wonderful concentrated piece of emotional writing. In the recording by Mischa Maisky and Daria Hovora, the KE4 regaled the listener with a natural tonality and clean transient attack. The decay and sustain of the instruments, combined with the sensitive playing, brought the musicians direct to my ears with a real sense of presence whilst at the same time communicating the beauty of the music.

Brazilian violinist Marcus Viana has recorded 55 albums in several genres such Progressive Rock, World Music, New Age, Classical and Instrumental. "O fim das coisas" from his album "Trilhas e Temas" (Tracks and Themes) features his trademark violin solos supported by a lush electronic accompaniment. Opening with a romantic string arrangement, a synth guitar voice states the theme, underpinned by bass and further string layers. Soon Viana's violin joins in and echoes the lead melody. The intertwining of the two voices was wonderfully captured by the KE4 with the natural timbre of the violin highlighting the soloist and communicating the emotion of the piece. At the conclusion the guitar voice plays a falling arpeggio and the piece subsides into silence.

Treble
The KE4 surpassed my expectations with superb extension, an authentic timbre and a smooth delivery. Detail retrieval was top class with an attractive delicacy and the transition from the midrange was seamless. The pace and timing evident in the bass and midrange was also present here, endowing the high frequencies with an addictive urgency and there was an atmosperic and airy quality throughout the range.

"Lady d'Arbanville" is a classic track by Cat Stevens. The acoustic guitar introduction came over precisely with a notable immediacy, endowing the piece with a live feel. Cat Stevens's vocal was perfectly positioned in the centre with his diction clear and the character of his voice clearly defined. During the instrumental break, the steel strings of the acoustic guitar were clearly delineated with a crisp leading edge which was testament to the fine treble extension and the fine detail on offer allowed the playing of the instrument to be appreciated.

Steven Halpern and Dallas Smith collaborated on the album “Natural Light” featuring Halpern’s gentle keyboards and Smith’s intricate Lyricon solos. The title track is characteristic of the album's style and the KE4, with its superb extension and detail ensured that even the highest notes remained audible whilst remaining clean and precise in nature. The balance between the keyboards and Lyricon was well judged and the spiralling and reverberating solos set against the synthesised bass produced a magical hypnotic effect drawing the listener into the music. The Knowles 33518 BA really showed its class here with the ethereal quality of the high frequencies extending beyond audibility.

Ernest Moeran’s Symphony in G minor is a superb example of 1930s British music, replete with syncopated rhythms and lyrical interludes. The The third movement is a bright and playful scherzo with a prominent woodwind presence. The KE4 rose to the occasion presenting a light and spacious picture with a sprightly dance-like quality and Sir Adrian Boult’s superb interpretation in a sumptuous Lyrita recording with the LPO came to life with lively pizzicato strings, bright brass and crisp percussion. The KE4's treble was airy and extended, being perfectly suited to the score and adding to the atmosphere of the recording venue.

Soundstage and Imaging
The KE4's wide frequency response, extended treble and deep textured bass produced an attractive and expansive soundstage. Layering and separation were on point and stereo imaging was of a high standard allowing the positioning of instruments to be clearly defined. Studio ambience, due to the fine bass extension, added atmosphere to the reproduction especially in classical music.

"Judex" from "Mors et Vita" by Gounod is a beautiful melodic piece for full orchestra. In the version by the Halle Orchestra under Maurice Handford, the KE4 laid out the players in a most convincing fashion with the positioning of the various sections true to life. This was considerably helped by the superb recording produced by Mike Clements ( also known as Mr Bear) with the prominent brass fanfares, bass drum and percussion and the lyrical string melody combining to produce an authentic picture of the orchestra and give a real sense of "being there". The main theme, spanning the octaves, was sensitively portrayed and the whole piece gelled together very well.

Al Stewart's seminal album "The Year of the Cat" is an all-ime classic with a wonderful production by Alan Parsons (producer of Pink Floyd's "Dark Side of the Moon"). "On the Border" begins with a fast-paced bass riff accompanied by percussion. Acoustic guitar comes in and then Stewart's characterful vocals are added. On the KE4 the various elements filled the stage in a very impressive way with each part clear and well defined and always in balance with each other. Peter White's wonderful guitar solo in the bridge was nicely highlighted with a good sense of ambience and the track was propelled along with excellent pace and timing.

Davol is an electronic music artist hailing from America's Pacific Northwest. His first album, "Mystic Waters" was released in 1989 on Silver Wave Records. The title track features a guitar-like synth lead, supported by lush electronic soundscapes, percussion and electronic effects. The KE4 presented the stately main theme very clearly with the lead voice positioned high in the image whilst swirling synth strings moved around the stage. The tonalities of the various synth voices were nicely differentiated and contrasted, resulting in a very atmospheric presentation with a good sense of space and fine detail.

Comparisons
TRI Starsea
The Starsea is a hybrid IEM employing a 10mm LCP DD for the bass, a Knowles 29869 BA for the midrange and a TRI Hi A custom BA for the high frequencies. There are two tuning switches giving four different tuning profiles.

For the purposes of this review, the "Amazing Bass" setting was chosen. In this mode, the profile was mildly V-shaped with a bass a little north of neutral, an open and detailed midrange and an extended and detailed treble. In someways it is similar to the KE4 but has a cooler tonality with a much reduced bass presence.

The KE4 has a superior bass and a better overall balance, is warmer and more amenable to different genres, whereas the Starsea lacks the punch and presence for most modern styles. The Starsea matches the KE4 in soundstage and treble extension and has a comparable midrange but because of its versatility, the KE4 is preferable.

TRN TA2
The TA2 is another hybrid, 1DD + 2BA. The bass driver is a 10mm carbon nanotube type (CNT) and the midrange and treble are handled by two Knowles 33518 drivers, placed in the nozzle. The shell is full metal and is vented.

The TA2 is tuned more conservatively with a warm/neutral tonality and the treble is less extended than either the KE4 or Starsea. The midrange is thicker with a little less detail but is very musical and relaxing. There are no harsh peaks in the response and the bass is also full and mellow. This relaxing profile allows for extended listening but does miss out in terms of resolution and detail. The KE4 manages to be resolving and detailed while still delivering a musical and entertaining profile. Once more, the KE4 is the preferred choice.

Tin Hifi T3
Although now a little long in the tooth, the Tin T3 still has much to offer. It is a dual hybrid (10mm PU/PEK DD + Knowles 33518 BA) and is a bullet- shaped IEM with a full metal shell and MMCX connection. The stock cable is of very high quality.

In terms of sound, the T3 is closer to the KE4 than the Starsea or TA2 models described above. The bass is sub-bass focused with a more neutral mid bass but it still possesses a "kick" in that region. Bass texture is very good, as is speed and resolution. The midrange is opening detailed with good separation and imaging and the 33518 BA is similarly tuned to that in the KE4. Though it was released in 2019 it still holds its own in terms of sound quality. Where the KE4 improves on it is in the bass, where the isobaric set-up delivers more depth and speed and in the treble which is more detailed and delicate. Of course, the KE4 is around four times the price of the T3 but still represents excellent value.

Conclusion
When an IEM comes along which matches one's preferred tuning it is difficult to find anything negative to balance out the positive comments. Personal bias is a powerful thing. If I were to specify the qualities it should have to suit my preferences, it would have deep, solid and powerful sub bass, a punchy mid bass which does not bleed, transparent and detailed mids with excellent layering and vocal projection. There would be a moderate pinna gain and a smooth, airy and extended treble and the soundstage would be spacious with a transient attack which is speedy and precise. The KE4 is such an IEM.

The accessories are a little disappointing at this price, as others at this level include a modular cable and a richer experience, and perhaps the shell could have been all-metal, but overall the KE4 is a fine product.

The Knowles 33518 treble driver was very well tuned in the KE4. Being familiar with it in previous IEMs such as the Tin Hifi T3 and TRN TA2, I was expecting a good performance and I was not disappointed.

It is likely that some may find the tuning of the KE4 a little bit "safe" and perhaps wish for a little more excitement, but that would involve a degree of colouration which would, I feel, unbalance the presentation. Sound quality, of course, is the most important factor and the KE4's delivery is perhaps the definition of balanced tuning, as intended with the "new meta" approach, and as such it must be considered a success and is highly recommended.

KZ AS24 Pro
I was contacted by Kate, the social media representative at KZ, and was sent a review sample of the new AS24 Pro. It features 12BAs per channel and retails for around $115. There are two versions, one with tuning switches and one without. The model reviewed here is the tuning version.

The Packaging
The AS24 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 cut out, below which the accessories are stored under a cardboard flap.

The contents comprise:

● AS24 Pro IEMs
● Silver plated 2-pin cable
● Three pairs of "Starline" tips (S, M, L)
● One pair foam tips (M) pre-fitted
● Tuning lever
● Documentation

The packaging is rather basic and although acceptable for KZ's more affordable models, it is disappointing at this price.

Build and Design
The KZ AS24 Pro has a black resin earpiece which is a similar shape to earlier models such as the AS16 Pro. The faceplate has a geometric design with a gold-coloured 3D pyramid effect and below this, the model name "AS24 Pro" is written in a freestyle font along with channel identification. The BA drivers are visible through the smoked grey body and the four tuning switches can be found on the rear of the capsule. The black nozzles, which are rather short, have a white filter and the clear plastic 2-pin socket is mounted on the top surface. There is a small pinhole vent in the centre of the underside.

Internally the BA driver complement comprises:

1 x 22955 BA for the bass frequencies
2 x 29869 BAs for the midrange
4 x 31736 dual BAs for mid/high area
1 x 30019 BA for the ultra high region

The BAs are connected by 3D printed sound tubes and there are no BAs within the nozzle. There are four tuning switches on the rear panel and they operate as follows:

Switch 1: increases bass by one level
Switch 1 & 2: increases bass by two levels.
Switch 3: reduces ultra-high frequency by one level.
Switch 3 & 4: reduces ultra high frequency by two levels.
All switches off: Basic tuning.

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 wire within. This is the same cable which is supplied with KZ's most basic models and it is rather disappointing that it is included here. The cable is not as prone to tangling as previous KZ designs but there is still no chin slider. There was no problem with microphony during use.

Fit and Isolation
The AS24 has rather short nozzles, so after removing the pre-fitted foams and substituting some large wide-bore silicone tips, I obtained a comfortable fit with good isolation, external sounds being considerably muted. The earpieces are somewhat bulky and do protrude from the ears but they have to accommodate 12 BAs!

Sound Impressions
The AS24 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 and the IEMs were subjected to a burn-in period of 100 hours. The source used for the review was an Xduoo X20 DAP. Using the stock cable and tips, I found the tonality a little thin and bright, so after trying various cables and tips, I settled on a hybrid copper/silver cable and large wide-bore tips. This produced the desired result. After some experimentation I set the switches to 1100 which gave a better balance and deeper bass.

Tonality
Once the correct tips and cable were fitted, the AS24 Pro impressed with deep solid bass, a highly detailed and open midrange and very clean, extended treble. Technicalities were also excellent with superb separation, layering and imaging. The coherence between the 12 BAs was seamless with the drivers giving the impression of a single unit.

Bass
With the switches set to 1100, the AS24 Pro proved itself capable of a healthy bass response with a deep sub-bass rumble while at the same time displaying excellent speed and control, as would be expected from a BA. Mid bass was fast and punchy displaying good impact with texture and resolution top-class and the reproduction of studio ambience very well handled. Timbre and tonality were very natural.

Andrew Forrest is an electronic music artist based in New Zealand. His music falls into the "Cosmic" or "Berlin School" category, featuring longer tracks with the prominent use of sequencers. "Through the Seventh Stargate", from his album "Infinite Octaves" is a typical example. Beginning with swirling electronic effects and sparkling percussive touches, a slowly descending theme appears, supported by a deep sub-bass drone. The AS24 Pro reproduced this in great style with good texture and resolution. As the piece comes to a climax, the bass synths reappear, supporting the powerful minor key melody and the AS24 Pro rose to the occasion admirably with a solid and weighty rendition, bringing out the drama of the composition.

Jacques Ibert's "Escales" (Ports of Call) is a lively and colourful suite of pieces inspired by travel. The third part, "Valencia" evokes a scene imbued with Spanish culture, featuring characteristic rhythms and melodies. The orchestration is rich and full with prominent parts for tuba, timpani and bass drum. All these were brought vividly to life by the AS24 Pro in the wonderful recording by the Minnesota Orchestra under Eiji Oue. The resonance, decay and timbre of the bass drum was a joy to behold and the crisp edges of the tuba very realistic, all within a believable natural acoustic with the bass BA giving a performance worthy of a top quality dynamic driver.

Midrange
The midrange was open, clear and highly detailed with no recession, nor was there any evidence of bass bleed. The tonality was consistent across the range from the mid-bass to the boundary with the treble, stereo imaging and separation were exemplary and the timbre throughout was natural with a slight tilt towards brightness which endowed the sound with a "live" feeling. Vocals, both male and female, were well presented with an "etched" quality which brought them slightly forward in the mix whilst displaying excellent clarity and diction.

Al Stewart's "Year of the Cat" is perhaps his finest album. The second track, "On the Border" begins with a fast-paced rhythm on piano and percussion backed by strings. A lively bassline is added followed by Al Stewart's vocals. The AS24 Pro handled this well with the vocal located precisely in the centre of the image with clear diction and in perfect balance with Alan Parsons's complex and imaginative production. All the detail of the accompaniment was audible and there was an attractive urgency in the presentation. Peter White's acoustic guitar solo came through very effectively and the character of Stewart's voice was preserved very well, adding to the enjoyment.

E.J. Moeran's "Sinfonietta", written in 1944, is inspired by the landscape of the Welsh Marches. The second movement, Theme and Variations, is replete with rich harmonies and features a lyrical pastoral melody with a Celtic flavour. The tonality of the various instruments was conveyed accurately and satisfyingly by the AS24 Pro with bright, crisp brass, smooth well separated strings and characterful woodwind. There is a section later in the work where a sustained melody is accompanied by a series of chords exploring remote harmonies. This was particularly impressive on the AS24 Pro and the richness and colour of the orchestration was portrayed charmingly with depth and feeling in this classic recording on Lyrita by the New Philharmonia Orchestra conducted by Sir Adrian Boult.

Treble
The treble performance was exceptionally clear and extended. Resolution was also superb with the finest details coming through with an attractive delicacy. The tonality was just a tad on the bright side of neutral but remained smooth and airy without displaying any undue harshness. Sibilance was well controlled, only appearing when present in the recording and there was good speed and transient attack.

Iasos (Joseph Bernadot) was a pioneer of New Age music and described his compositions as "concentrated beauty patterns". His first album, "Inter-dimensional Music" was released in 1975, at around the same time as Steven Halpern's "Spectrum Suite". "Realms of Light" (2001) is typical of his style. "The Fountain of Creation" begins with a rising arpeggio which extends well up into the extreme treble. The AS24 Pro reproduced this thrillingly with a clean and precise delivery. Set against swirling synth chords, a stately melody shifts and changes, backed with rich harmonies. During this section, the high frequencies remained clear and articulate even within the more dense and complex passages

Samuel Barber's "Adagio for Strings" is a frequently recorded piece and rightly so, but it has perhaps never received such a performance as that by the New York Philharmonic under Leonard Bernstein. The measured pace brings out the feeling of the piece, allowing the emotion to build. At the climax, the high strings reach a cathartic point and the clarity, separation and detail provided by the AS24 Pro really conveyed the message in the music and the contrast in the final bars was beautifully depicted.

Soundstage
Although being a pure BA design, the AS24 Pro's staging more resembled that of a vented hybrid or dynamic driver IEM with an expansive presentation featuring excellent imaging, layering and separation with a very good representationof height. Movement was particularly well rendered due to the high level of detail on offer. There was plenty of "air" in the upper register and recorded ambience was very authentic due to the good bass extension.

"Dawn"" is the final track on the album "Summer Suite" by Sky Canyon (formerly Rising Sun). Deep synthesised bass tones introduce the piece, accompanied by electronic beeps and percussive elements dancing around the image. Teja Bell's acoustic guitars and Dallas Smith's Lyricon appear and the piece becomes more densely orchestrated as bass and more electronic voices are added. The AS24 Pro handled all this with aplomb with each strand easy to follow, maintaining treble clarity while the whole piece gelled together musically.

Gerald Finzi's "Severn Rhapsody", written in 1923, is a characteristic pastoral idyll with luminous textures and obvious folksong influences. In the version by the LPO under Sir Adrian Boult, the AS24 Pro presented this beautiful Lyrita recording in all its glory. The positioning of instruments within the orchestra was authentic and accurate with each instrument revealing its own character in its own space. Woodwind was particularly well reproduced with plenty of air and natural timbre. The ambience of the hall came over convincingly with a realistic sense of front to back perspective and a real feeling of atmosphere.

Comparisons
KZ AS16 Pro
The AS16 Pro, with 8 BAs per channel, is a redesign of the original with a new faceplate. It also uses a different array of BAs as below:

4 × 31736 BA (treble)
2 × 29689 BA (midrange)
2 x 22955 BA (bass)

The AS16 Pro has an assertive V-shaped profile with solid bass, forward mids and bright treble. There is a mild "hardness" in the stock configuration. The tuning is more traditional KZ style than the more recent releases. The AS24 Pro has more detail, a more extended treble and a larger stage. The AS16 Pro has a similar level of bass even though it has an extra driver, but the tonality is not as natural as the 24 Pro. The shortcomings can be alleviated by the use of a 30 ohm impedance adaptor and a pure copper cable which add warmth and tame the upper register. However the 24 Pro improves on the 16 Pro in all areas. Price is a consideration, but the 24 Pro is definitely worth the difference.

KZ AST
The AST is KZ's former flagship 12 BA design. It employs the "black" s-type BAs in the following configuration:

1 x 22955s low-frequency BA
1 x 29689s medium-frequency BA
2 x 30017s medium/high frequency BAs
6 x 50024 high-frequency matrix BA
1 x 30019s high-frequency BA
1 x 30095s high-frequency BA

The AST is tuned to be smooth, warm and well-balanced. The bass is firm and solid and is just a little softer than that of the 24 Pro. Midrange is less forward than the current model and sounds easy-going and smooth. The treble is not as extended as the 24 Pro, but still displays a good amount of detail. The presentation is gentler and very amenable with no listening fatigue. Staging is well done but not as expansive as the 24 Pro and just falls short in terms of layering and separation. However it is more relaxing to listen to and performs perfectly well in stock form. In a sense these two are complementary rather than rivals.

KZ AS10 Pro
The recent 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. The 10 Pro in stock form is quite similar to the AS16 Pro with a similar level of bass, a revealing well-tuned midrange and good treble extension. Tonality is largely neutral with a slight bright tinge in the upper mids/lower treble but, as with the AS16, use of an impedance adaptor and a copper cable bring improvements and in this form it is one of KZ's best models. I also found tip rolling to be rewarding with a wide bore type giving the best results. The 24 Pro is brighter and more detailed, has higher resolution and a better well-controlled bass (with switches at 1100). Staging is also superior. The comments above regarding price of the AS16 Pro also apply here but the 10 Pro is preferable to the 16 Pro.

Conclusion
The AS24 Pro continues the "new direction" in tuning we have seen from KZ recently. With the latest designs like the Castor Harman, CCA Trio, PR3 and AS10 Pro, the strong V-shape profiles have become a thing of the past with now a more natural FR and timbre. The AS24 Pro continues that trend with a superb combination of accurate timbre, excellent technicalities, a high level of detail and an addictive musicality.

The packaging, it has to be said, is unacceptable at the price and the cable is not up to the standard of the IEMs. Also the nozzles are rather short which can lead to difficulties with tips. The tonality in stock form (with my source) was a little bright but I discovered that tip rolling and a hybrid cable reaped benefits. I also found that an extended burn-in was beneficial even though it is an all-BA design.

Most users will have alternative cables and tips without having to add to the purchase price and, once so equipped, it impresses with solid bass, open mids and a very extended, detailed treble. Add a wide, deep and high soundstage with excellent technicalities and you have a very complete IEM.

KZ has really "knocked it out of the park" with this model and it must be considered as the best all-BA set from the company so far, supplanting such classic models such as the AST, BA10 and CCA C16. If you are a fan of all-BA IEMs, it comes highly recommended.

I was contacted by John Creigan from Jackrabbit Media and invited to review the Westone MACH 60 IEM.

Westone is a brand best known for its IEMs designed for stage musicians. Currently its inventory includes the AM Pro X, Pro X and MACH ranges.

The MACH range itself has two categories, Premium Reference, which includes the MACH 20, 40, 60 and 80 and Premium Bass, comprising the MACH 10, 30, 50 and 70. The Premium Reference series tuning is designed to be neutral whereas the Premium Bass line has a warmer tonality.

The MACH 60 featured here is the second highest model in the Premium Reference series, equipped with six balanced armature drivers per channel, two each for the bass, midrange and treble. A three-way passive crossover divides the signal amongst the six drivers. A frequency response of 8Hz-20kHz is specified along with an impedance of 35Ω and a sensitivity of 100dB @ 1kHz. The MACH 60 retails for £1099.

The Packaging
The MACH 60 comes in a large rectangular box with a full-colour sleeve featuring a montage including an image of the IEMs and the model name MACH 60 displayed in a modern sans serif font. The rear of the box shows the specifications and a list of the contents. Removing the sleeve reveals a black box bearing the Westone Audio logo and the legend “Inspired by Lucid Hearing”. Within you will find a large black pelican case inside which you will find:

● Westone MACH 60 IEMs
● Estron Linum SuperBaX T2 cable
● 5 pairs of foam tips
● 5 pairs of silicone tips
● Carabiner
● Soft protective bag
● Velcro cable tie
● Cleaning tool
● Card with QR link to manual

Design and Build
The MACH 60 IEMs have a shell made from a durable plastic material in black and grey. The faceplate is metal with the right side featuring the Westone logo and the left bearing the model name MACH 60. The gold-plated T2 cable socket has a pronounced forward rake and the earpieces are lightweight and comfortable.

The Linum SuperBaX cable has a 4-core construction with 168 strands of silver-plated copper and has a braided black covering. The T2 termination and right-angled 3.5mm plug are gold-plated and the two-part Y-split detaches to provide a chin slider. The cable is approximately 1.2m in length and is very light with a weight of 9g and has a low impedance of 0.75 ohms. Bearing in mind the price level of these IEMs, I was disappointed that a modular cable was not included, which would have facilitated balanced operation.

Fit and Isolation
Once the MACH 60 was placed perfectly horizontally, it fitted snugly inside my ear. The long nozzles and extended eartips produced a deep insertion which was very comfortable and after a short time it was easy to forget that the IEMs were there. I experimented with the supplied tips and obtained the best result with the largest silicone type with an orange bore. Thus fitted, a healthy bass response was obtained with superb isolation. Westone’s long thin nozzles did not allow me to try standard IEM tips so “tip rolling” was not possible.

The MACH 60 was tested with a variety of sources: three different DAPs, a digital radio and a smartphone via a USB-C dongle DAC. A “burn-in” of 100 hours was performed to run in the components and the sound continued to improve throughout the burn-in period. Sensitivity was a little low, with a higher volume level necessary compared to the MACH 70. After a lengthy evaluation, I settled on the Xduoo X20, which provided more power and gave the most pleasing results, as the primary source.

Sound Impressions
Tonality
The MACH 60 immediately impressed with a well-balanced and neutral profile and good extension at both ends of the spectrum. Detail was copious with an attractive delicacy in the high frequencies and the soundstage was expansive with impressive stereo imaging. There was a solid impactful bass, open and expressive midrange and an airy smooth treble. The tonality throughout was very good with no evidence of "BA timbre". In fact the MACH 60 shared the same Westone house sound with a similar character to that of the MACH 70, AM Pro x10 and AM Pro X30. The overall impression was of accuracy and refinement, commensurate with a high quality in-ear monitor.

Bass
The MACH 60's bass was clean, detailed and fast, as expected from a balanced armature driver, whilst displaying a very natural timbre and accurate reproduction of decay and texture. The bass profile was largely neutral or "reference" style with good extension, but more or less on the same level as the midrange. Compared to the popular Harman curve, sub bass was somewhat rolled off but mid bass displayed good energy and impact and it did not bleed into the lower midrange. Orchestral basses and cellos displayed a natural warmth and accurate timbre with rich harmonic expression.

Aaron Copland's popular "Fanfare for the Common Man" is a tour de force for brass and percussion. It has been recorded many times but the performance by the Minnesota Orchestra under Eiji Oue is perhaps one of the finest. This remarkable recording came to life in dramatic fashion on the MACH 60 with the initial strike and rebound of the bass drum's skin beautifully rendered. The timpani displayed superb speed and impact, forming a perfect backdrop for the sparkling brass melody.

"Desseins Eternels" is the third movement of "La Nativite" by Olivier Messaien. It is a gentle, meditative and slow-paced piece exploring chordal harmonies. It features a somewhat meandering theme underpinned by deep pedal progressions. In the version performed by Louis Thiry at the organ of Geneva Cathedral, there was good texture and resolution from the MACH 60 but the very lowest notes were more distant sounding than ideal, though possessing an accurate timbre. This neutral bass tuning resulted in just a slight lack of "body" softening the impact of the piece and lessening its "gravitas".

Kevin Kendle is a British electronic music artist with over 30 albums to his name. "Silent Trees" is a beautiful soundscape from his album "Winter". A gently descending melody underpinned by a solid bass line gradually becomes more prominent with a more complex accompaniment. Brian Abbott's guitar accents add interest and in the climax of the piece a deep sub bass foundation evokes a sense of foreboding. The MACH 60 handled this very well with a palpable sense of power and texture although a little more weight would have been welcome.

Midrange
With its reference-style tuning, the MACH 60's midrange was clean, transparent and detailed with good detail. There was no evidence of recession and the tonality was consistent throughout the range. There was no warming influence from the bass and pinna gain was gentle with no excessive brightness towards the treble boundary. Voices were nicely projected above the accompaniment with male vocals possessing good weight and female vocals open and clear. Woodwind and brass instruments came over crisp and airy in character while strings possessed a realistic bite and resonance.

"Winter Light" is the theme song from the film "The Secret Garden". Linda Ronstadt performs it wonderfully with an ethereal vocal delivery. The MACH 60 made the most of this with a detailed rendition marked by clarity and precision, full of atmosphere and emotion. Zbigniew Preisner's beautiful orchestration sounded lush and spacious, forming a perfect backdrop for Linda Ronstadt's beautiful vocal performance.

The Adagio fom Schubert's String Quintet is a classic piece with a notably concentrated quality. In the version by the Melos Quartet with Mstislav Rostropovich, the MACH 60 brought the piece to life in dramatic fashion with the various instruments sounding natural and vibrant, and the atmosphere of the recording venue a joy to hear. The contrast of bowed and plucked strings was realised authentically with a perfect balance between the players and a fine
reproduction of the ambience of the hall. Violins and violas displayed a natural tonality and the pizzicato notes of the cello were nicely portrayed in a spacious manner with a real sense of "being there". The balance of the various instruments was well judged.

The Piano Guys presented an enchanting version of "Bring him Home" from "Les Miserables". Performed on cello with piano accompaniment, the listener was drawn in by the atmosphere and simplicity of the presentation. The MACH 60 delivered a warm and emotional performance with a perfect balance between the two instruments. With a believable timbre, the cello and piano came over as natural and authentic and in the central section, the rich tonality of the lower notes of the piano was particularly enjoyable.

Treble
With a detailed and accurate delivery and deceptively fine extension, the MACH 60's treble was one of its best features. The speedy transient attack ensured that leading edges were reproduced with precision and verve producing a sound redolent of a live performance. The inherent smoothness ensured that there was no listening fatigue while still revealing abundant detail and air.

The MACH 60 produced a clean and crisp string timbre in Rossini’s “String Sonata No.1”. The natural harmonics defining the various instruments were accurately conveyed in the excellent recording by The Age of Enlightenment Orchestra. Each instrument displayed real character and the excellent transient attack with incisive and clean leading edges endowed the whole performance with a "live" quality. The details of bowing and pizzicato were authentic and micro-detail was also effective here with the subtle and delicate effects in the counterpoint easy to discern.

Vaughan Williams's "The Lark Ascending" is a much-recorded work. Sarah Chang's performance with the LPO conducted by Bernard Haitink is unusually vivid and dynamic and there was an attractive immediacy casting a different light on the work which is often portrayed in a more languid fashion. Once again, the MACH 60's ability to reproduce harmonics accurately came to the fore with Sarah Chang presenting the work in a very direct and emotional way and the MACH 60 made the most of it with a most believable rendition of the soaring solo instrument set against a perfectly balanced orchestral accompaniment. The final few notes as the violin portrayed the ascent of the bird into the sky were communicated in a most sensitive and delicate manner.

"Vapor Drawings" is an album by Mark Isham combining new age, electronic and jazz elements. The opening track, "Many Chinas" begins with intricate electronic effects in the extreme left and right of the stage. The MACH 60 reproduced these with precise detail. Following this, a trumpet theme is introduced, supported by punchy bass lines and keyboard embellishments. The whole piece came together really well with excellent clarity within an expansive and airy soundstage while the MACH 60's incisive transient response ensured that the rhythmic integrity of the piece was faithfully communicated.

Soundstage and Imaging
The MACH 60 produced a large stage with a good representation of width and height. Due to the forward nature of the midrange, I found there was a slight lack of depth which affected layering and the perception of the position of instruments within an orchestra. Recordings of smaller ensembles did not suffer from this effect but this was still only a minor issue. Separation was very well reproduced and movement within the stereo image convincingly handled.

"First Flight" by Alasdair Fraser appears on the Narada compilation album " A Childhood Remembered". It features solo violin supported by synthesisers supported by a whole range of acoustic instruments and percussion. On the MACH 60, the rhythmic lead melody stood out clearly against the colourful and complex accompaniment and deep synth bass with a palpable sense of space, producing a feeling of being wrapped in sound. Each of the disparate elements in the recording occupied their own space and were easy to locate within the overall picture.

In Anatoly Liadov's beautiful "The Enchanted Lake", bass trombones and tuba in the background created a menacing atmosphere overlaid by delicate strings and clear brass parts with the horns placed wide in the left of the stage and harp figurations adding to the drama. Later in the piece the woodwind arpeggios accompanied by brass chords produced a most pleasing effect. The dynamic shifts in the performance by the Philharmonic Symphony Orchestra of London under Charles Gerhardt were very realistically portrayed by the MACH 60 with only a little more depth in the staging required to make it perfect.

"On Air" from 1996, is the second solo album after the Alan Parsons Project split up and is inspired by the history of airborne exploration. The Alan Parsons Project's series of progressive music albums feature a wide range of musical styles, all beautifully recorded and produced. "On Air" is in a similar vein. The opening track is a shortened version of the last track on the album. "Blue Blue Sky" begins with birdsong in the open air. The MACH 60 presented this very naturally with a real sense of space and a close miked vocal by Eric Stewart follows, with an exceptionally clear acoustic guitar accompaniment. After the final bars of the song, two jet aircraft speed across the image from right to left and the effect was very convincing and exciting with a realistic "airy" feel as the sound faded and reverberated in the air with a very natural decay.

Comparisons
Westone MACH 70
The MACH 70 is equipped with one BA for the bass, two BAs for the midrange and has four treble drivers. The packaging, contents and earpieces are identical to those of the MACH 60 apart from the cable which is the Linum Estron UltraBaX.
A frequency response of 5Hz-22kHz is specified with an impedance of 42Ω and a sensitivity of 110dB @ 1mW.

The MACH 70 sounds warmer than the '60, with a deeper sub bass, more prominent mid bass, a slightly recessed midrange and a smoother treble. The staging is very similar but it has more depth due to the moderate recession in the midrange referred to earlier. A major difference is in power requirements with the '70 needing far less power to sound at its best. Fit and comfort are identical to the '60, being the most comfortable IEMs I have tried and enabling the listener to enjoy music for long periods without fatigue. In a sense, the '60 and '70 are complementary with very different tunings, but both are very enjoyable with their different characteristics and applications. The neutrally-tuned '60 is more suitable for monitoring and has a better reproduction of detail whereas the '70 is aimed more towards musicality.

Westone AM Pro X30
The AM Pro X30 is the highest model in the Pro X series, equipped with three balanced armature drivers per channel, one each for the bass, midrange and treble. A three-way passive crossover divides the signal amongst the three drivers. A frequency response of 20Hz-18kHz is specified along with an impedance of 56Ω and a sensitivity of 124dB @ 1mW.

The MACH 60 and X30 do sound very similar in their tuning, which is designed to be neutral, focusing on accuracy with excellent technicalities. The major difference derives from the "passive ambience" feature in the X30 which allows some external sounds to be heard. The '60's isolation is nigh-on perfect and this affects the staging. The X30's stage is more expansive than the MACH 60 and comes across with more depth. This I believe, can be imputed to the fact that the passive ambience feature acts like a vented earpiece simulating the staging of a full-sized headphone. In most other respects the two are equal in ability except for the bass which is more extended on the MACH 60. The X30 does give the impression of being truly neutral whereas there is a touch more warmth in the MACH 60's presentation.

Conclusion
Westone’s MACH series of balanced armature IEMs features eight models, all of which have individual tunings. The MACH 60's tonality is designed to be accurate and neutral/warm with an expressive midrange. It succeeds in this respect with a near flawless performance, only wanting that last octave of sub-bass and a little more depth in the staging to be perfect. It is supremely comfortable, does not induce any listening fatigue and, like its stablemate the MACH 70, has a very natural timbre.

Sitting near the top of the MACH range, the MACH 60 is a considered purchase. It is not for "bassheads" or those who enjoy a V-shaped or Harman-type profile. However, if you value accuracy and technical prowess without abandoning musical satisfaction, then it comes highly recommended.

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.

"Lujon" 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 for me 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.

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 for me 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.

KZ Symphony
I was invited by KZ to test the new Symphony hybrid IEM. KZ's recent releases have demonstrated a new direction in tuning with the Krila, Castor and PR3 along with CCA's Rhapsody and Trio being examples of this. The Symphony is the latest model from the company and is a hybrid design combining a 13.2mm Planar unit (as seen in the recent PR3) covering the mid and high frequencies and a 6mm dynamic driver handling the bass region. This configuration is unusual although the new BASN Mix-PD has a similar set-up.

Product link:
https://www.kztws.com/products/kz-symphony

The Symphony comes in a dark grey box which slides open to reveal the earpieces presented in a cardboard cut-out. Below this there is a card cover under which the accessories are stored. The presentation is similar to the packaging seen with the higher-end KZ models but in less premium materials.

The contents comprise:

● KZ Symphony EMs
● Silver plated 2-pin cable
● Three pairs of "Starline" tips (S, M, L)
● One pair foam tips (M) pre-fitted
● Documentation

The IEMs are very well made with a good fit and finish and have a similar build quality to the recent KZ Castor and Krila models. The earpieces themselves are triangular in shape with rounded corners and the metal faceplate has a series of five radiating spokes and two vertical bars, behind which there is a mesh grille. The name "Symphony" is written in white in a script font above the grille with channel identification appearing on the top surface near the 2-pin sockets. The black resin body is almost opaque and the earpieces are fairly bulky with a good weight to them.

The supplied cable is a silver-plated copper type with a clear sheath, clear plastic QDC connectors and a 90° angled white plastic plug and is 1.2m long. Channel identification is provided but is a little difficult to read. The ear guides are rather stiff but do result in a secure and comfortable fit and the cable is less prone to tangling than previous CCA/KZ designs, although there is still no chin slider provided.

The principal source was an Xduoo X20 DAP. A Hidizs AP80 Pro X, a digital radio and a smartphone were also employed. The stock cable and medium Starline tips were used and a burn-in period of 100 hours was allowed to settle down the components. A good fit, seal and isolation were obtained but the sensitivity was lower than average meaning I found the Symphony fairly difficult to drive and a higher volume level than normal was needed to bring the sound to life.

Sound Quality
During testing, I subjected the Symphony to an extened burn-in period. For the first few days, the bass was dominant and coloured the midrange, overshadowing the other frequency ranges. The midrange itself was considerably recessed and the treble was soft, lacking bite and detail. However, on the fourth day there was a remarkable transformation. The bass became tighter and more focused and the planar driver covering the midrange and treble "woke up", displaying the expected tonality and detail I had seen in the PR3 which uses a similar planar driver. Now the midrange was more forward and the treble was much more present. The overall profile changed from a deep V shaping to a more balanced one with plenty of life and clarity and fulfilled the promise of the design philosophy, retaining the benefits of the planar unit with an enhanced bass response courtesy of the dynamic driver.

Bass
The low frequencies were rich, extended and powerful with a warm tonality and a slow decay which produced a good impression of the ambience of the recording venue. Sub bass possessed a good rumble and reasonable texture although a little more definition would have been welcome. The speed was not as snappy as the planar driver in the PR3 but rhythmic ability was of a good standard. Mid bass was a little elevated and influenced the lower midrange with some added warmth while at times the different tonalities and transient qualities of the dynamic and planar drivers gave the impression of the bass being not fully integrated with the rest of the range.

Mussorgsky's "Pictures at an Exhibition" orchestrated by Ravel is a deservedly popular work. "The Hut on Fowl's Legs" is introduced with powerful bass drums and full orchestra and the Symphony delivered an impactful rendition in the version by the Philharmonia Orchestra under Riccardo Muti. The timbre was natural and rich with the resonance of the concert hall and the natural decay of the drums particularly well rendered, creating a believable picture of the acoustic. The rhythmic drive was maintained throughout the piece and the dynamic range at the conclusion leading into "The Great Gate of Kiev" was very impressive.

Jennifer Galatis's "Io" is a colourful and dramatic score to a film about Jupiter's volcanic moon. The powerful anthemic introduction to "Interstellar Voyage" leaves the listener in no doubt of the Symphony's bass prowess. Deep sub bass pulses accompany sweeping synth strings which carry the main theme. A falling four-note motif reminiscent of Vangelis joins the dynamic percussion and as the piece concludes the rich bass tones form a solid foundation in dramatic style.

Midrange
Once the sound had improved after the extended burn in, the midrange performed as expected based on my experience with the planar driver in the PR3. There was good projection in vocals and lead instruments with a lively, clean tonality and crisp natural timbre. The lower region was a little coloured by the bass and there was some recession producing a 'distant' feeling and a slight detachment from the bass. The rest of the midrange was very well presented with the upper region detailed and immediate and a well judged amount of pinna gain leading into the treble.

"Due Tramonti" is a track from the album "Eden Roc" by Ludovico Einaudi. It is a meditative piece performed at a slow tempo. In it, Einaudi is joined by Marco Decimo on violin. The timbre of both instruments was very natural and they blended very well together with the sustain and decay of the piano notes forming an effective backdrop for the lyrical violin melody lines. The contrast between the softer and more percussive passages was handled adeptly by the Symphony demonstrating the ability of the planar driver's dynamic shading.

Cat Stevens's "Father and Son" is one of his classic tracks. Beautifully recorded, the balance between the vocals and the acoustic guitars was perfectly maintained by the Symphony with the story effectively conveyed by Cat Stevens's different vocal characterisations of the father and son which stood out clearly from the accompaniment.The instrumental section in the bridge was very well handled with plenty of attack in the guitar solo and dynamic rhythm section and the subtle backing vocals were clearly audible.

Treble
The treble was extended, detailed and dynamic without a trace of harshness. It was a little brighter than neutral but always remained smooth and clean. It transitioned from the midrange seamlessly and there was a good deal of 'air' in its presentation. Occasionally it could sound over-enthusiastic on certain material and become dominant, producing a deeper overall V profile and unbalancing the tonality. The difference in timbre between the bass driver and the planar unit was slightly more noticeable here.

"Down to the Moon" is an album by Andreas Vollenweider and his trademark electric harp has never sounded better than in this award-winning recording. "Steam Forest" begins with strange sound effects before a medium-paced melody is introduced with bright percussion accents and a solid bass line. The sparkling tones of the harp were captured in a resonant acoustic and the Symphony made the most of it with a lively and entertaining rendition. Fine detail and spacious imaging were the order of the day and the rhythmic qualities of the piece were conveyed with verve and precision, especially in the second half of the piece when the tempo was increased and the Symphony's excellent transient response became more evident.

Rossini's "String Sonata No.1" is a lively and rhythmic work for a small string ensemble. In the version by the Orchestra if the Age of Enlightenment, the Symphony's planar driver delivered a sprightly and incisive performance with the detail of the bowing and the crisp harmonics of the violins to the forefront. It was easy to hear the leading edges in the pizzicato accompaniment and the clarity of the lead instruments contrasted with the details of the counterpoint. The excellent pace and timing ensured
that the rhythmic drive of the piece was preserved authentically.

Soundstage
The soundstage was perhaps the Symphony's best feature. Separation, layering and imaging were all of a high standard and the size of the stage was expansive in all three dimensions. It was easy to follow individual performers and instruments and to pinpoint their locations in the stereo image. Movement within the image was also impressive, especially with electronic music where sound effects were important.

German electronic duo Software featured the musicians Michael Weisser and Peter Mergener. "Space Design" is the title track from their 1993 album. Following an introduction featuring sweeping electronic sound effects, a heavy bass sequence accompanied by drum underpins the piece. Smooth synth string patches are added and percussive synth sequences occupy each side of the image accompanied by space comms. The whole soundstage was filled in a holographic fashion forming a spacious backdrop for the incisive melody line. This was perfect material for the Symphony and showcased its abilities with complex productions.

E.J. Moeran's Symphony in G minor is a wonderful example of British 20th Century music. Written in sonata form, the first movement begins with a vibrant theme and strong rhythms featuring a prominent use of percussion. The Symphony presented this in good style with a real sense of depth and the placing of the different elements clearly discernible. When the second more lyrical theme is introduced the strings were spread realistically across the stage and the woodwind section accurately placed within the image. The ambience of the Bridgewater Hall, Manchester, in the recording by the BBC Symphony Orchestra under Vassily Sinaisky was reproduced very convincingly.

Comparisons
KZ PR3
The new PR3 features an upgraded 13.2 mm Planar unit with a "Nano-level" silver plated membrane and electronic filter tuning. The cable is a silver plated OFC type with a 2-pin 0.75mm connector and a gold plated 90° angled 3.5mm plug.
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.

The PR3 has a well-balanced, neutral profile with a clean and precise bass, an expressive midrange possessing good timbre and an energetic, bright treble showing excellent detail and extension. The soundstage is spacious with good layering and separation making it easy to follow individual strands in the music. The volume needs to be set somewhat higher than normal, which is often the case with planar drivers.

Compared to the Symphony the PR3 is more neutral/bright. The sub bass has a little more focus and resolution whereas the Symphony is denser and warmer with a slower decay. The Symphony also has a stronger bass presence which is more satisfying but the PR3 has better speed in the low frequencies.

The midrange and treble are broadly similar, which is not surprising when a similar planar driver is used. Both models have a clean and bright quality here with a quick response and decay and they display good technicalities, especially in the treble which is very extended and detailed. Soundstage is roughly equal except for the Symphony's ability in reproducing hall ambience resulting in an even larger staging.

Overall, the Symphony is warmer in nature because it derives some warmth from its mid-bass whereas the PR3 with more of a sub-bass emphasis and a dialled-back upper bass sounds faster and cleaner, especially in the mid-bass and lower mids. The sensitivity is similar also, with both needing a higher than average signal for the best results. The PR3 may be considered as having a reference style tuning compared to the Symphony's entertaining V profile.

TRI i3 Pro
The TRI i3 Pro is a redesigned version of the original i3. Like the first model, it sports an 8mm dynamic driver for the bass, a 10mm planar magnetic unit for the midrange and a custom balanced armature for the treble region. The size has been reduced by more than a quarter and the MMCX connection has been changed to a 2 pin interface. The earpieces are crafted from polished CNC formed alloy and are similarly shaped to the original with subtle contouring but are significantly smaller. The 2-pin sockets are recessed and accept standard connectors. There is a row of four small vents for the dynamic driver on the rear of the earpiece.

The i3 Pro displays a well-balanced mild W profile with powerful sub-bass. The mid bass islower in level and transitions gently into the mids. The mids themselves are slightly forward and well-resolved with a natural timbre. The treble is clean and clear and fairly well-extended with a moderate peak before rolling off smoothly although perhaps a little early. The soundstage is expansive with a little more depth and height than width and separation and imaging are excellent.

The major difference between the i3 Pro and the Symphony is in resolution. The i3 Pro is able to show the timbre and harmonics of instruments more naturally where the Symphony does sound a little artificial in this respect. This is not surprising considering the i3 is in a much higher price band, but the Symphony does still acquit itself well. Also in the bass, the cleaner delivery of the i3 is preferable with more detail on offer at the same time having similar extension. The midrange is much closer with a similar response, the i3 sounding a touch smoother here. The treble of the i3 is just as extended but is sweeter and displays more air. Staging on both models is expansive, the Symphony just edging out the i3 in dimensions, mainly due to the i3's more forward mids which tend to flatten the image.

Conclusion
The Symphony is a well made IEM with an exciting and entertaining sound. There is copious bass, an expressive midrange and an extended treble with good detail. The profile is unashamedly V shaped but the recession in the midrange is offset by the speed and dynamism of the planar driver.

Adding a dynamic driver to augment the bass response of the planar driver has been generally successful, although its speed and resolution could be improved. In heavier bass material there was a thickening of texture and blunting of detail. There was good weight and extension but there was a tonal difference between the two drive units which led to a contrast in timbre. However, none of the above issues affected the ability of the Symphony to deliver a satisfying performance. Indeed I found myself enjoying the music despite any tonal inaccuracies and consider the Symphony as a kind of guilty pleasure which reminded me of the original ZS10 Pro with its bold, cinematic delivery.

CCA Trio
Kate, the social media representative from KZ, contacted inviting me to test the new Trio IEM from CCA.

CCA (Clear Concept Audio) is a sister company of KZ (Knowledge Zenith). The company produces parallel models to KZ as well as original designs. Among its most successful models are the CRA, C16, CKX and the new Rhapsody. The Trio is its latest design featuring three 8mm dynamic drivers and four tuning switches and retails for around $40.

Purchase link:
https://www.kztws.com/products/cca-trio-legendary-3dd-iem

The Trio comes in the familiar CCA/KZ small white box with a monochrome image of the IEMs on the front, the CCA logo at the top and the model name "CCA Trio" below, along with a description of the product in English and Chinese. The specifications and company information are printed on the rear of the box.

Sliding the box open reveals the IEMs in a plastic tray below which the accessories are stored below a cardboard flap.

The contents comprise:

● CCA Trio IEMs
● Silver plated 2-pin cable
● Three pairs of "Starline" tips (S, M, L)
● One pair foam tips (M) pre-fitted
● Tuning switch lever
● Documentation

The IEMs are very well made and have a similar build to the recent KZ Castor and Krila models with a metal faceplate and clear resin body allowing a view of the components within. The earpieces are fairly bulky with a good weight to them. The Trio's glossy black faceplate is attractively contoured and bears the model name in a gold script font. There are three diagonal vents for the dynamic drivers and channel identification is provided on the top of the unit next to the clear plastic 2-pin sockets. The four tuning switches are mounted on the rear of the unit.

Internally, there are three 8mm dynamic drivers fitted in a 3D printed housing, separated by a three-way crossover network covering the sub-bass, bass and midrange/treble.

The supplied cable is a silver-plated copper type with a clear sheath, clear plastic QDC connectors and a 90° angled white plastic plug and is 1.2m long. Channel identification is provided but is a little difficult to read. The ear guides are rather stiff but do result in a secure and comfortable fit and the cable is less prone to tangling than previous CCA/KZ designs, although there is still no chin slider provided.

Tuning Switches
The tuning switches on the earpieces provide a variety of tuning options. Switch 1 increases bass by one level, switches 1 & 2 together increase bass by two levels. Switch 3 increases midrange and treble by one level and switches 3 & 4 together increase midrange and treble by two levels.

The principal source was an Xduoo X20 DAP. A Hidizs AP80 Pro X, a digital radio and a smartphone were also employed. The stock cable and medium Starline tips were used and a burn-in period of 100 hours was allowed to settle down the components. For the purpose of testing, all switches were set to "off". Thus configured, a good fit, seal and isolation were obtained. Sensitivity was slightly lower than average with a somewhat higher volume level than normal needed for the best results.

Sound Quality
From the very beginning, the Trio displayed a natural timbre and a well-balanced tonality which adapted well to a variety of genres. No particular frequency range was overemphasised and the overall profile was on the warm side of neutral. There was a good sense of weight in the bass with fine resolution and texture whilst the midrange was open, spacious and natural. The treble was clean and nicely extended with no undue harshness and there was plenty of detail. Staging was expansive in all three dimensions with the height particularly noticeable. The overall impression was warm, inviting and musical.

Bass
The bass produced by the Trio was rich, full-bodied and weighty. There was good timbre and texture and excellent extension with a natural decay. Sub bass dug deep with a healthy rumble and mid bass provided a satisfying kick whilst speed and transient attack were on point.

"Dusk" by Franz Waxman is a piece from the score of the psychological thriller
"Night unto Night". In the recording by the
Hollywood Bowl Orchestra under John Mauceri, a mysterious and spooky introduction leads into an impassioned part for strings with an emotive violin solo. After a brief quotation of the theme, a dynamic and powerful interlude follows featuring a large percussion section in which the bass drum features prominently. The Trio reproduced this impressively with an incisive initial strike and rebound of the skin while the natural decay merged seamlessly into the hall ambience. The piece ends with a romantic epilogue representing the victory of love over conflict in which the basses and cellos displayed a warm and rich tonality.

Jonn Serrie is an American synthesist best known for his space and planetarium music. "The flow of Time's Arrow" appears on his album "Thousand Star". Delicate high frequency effects and melodic synth patches introduce the track. A gently descending theme is supported by sub-bass tones and lush chordal accompaniment and the weight and depth produced by the Trio really set the scene for an imaginary space journey populated by twinkling electronic percussion and crystalline elements. The deep bass foundation possessed a rich, full texture which was perfect for this kind of material.

Midrange
Following on from the bass, the Trio's midrange emerged from the low frequency region with just a touch of extra warmth which added an attractive bloom to cellos, bassoons and male vocals. The timbre throughout the range was natural and the upper mids were a touch brighter, giving instruments and female vocals some character and projection. There was plenty of detail on offer and little evidence of recession. Separation and layering were of a high standard and there was a good balance between the musical and technical.

"Reverie" is a track from Bruce Mitchell's New Age album, "Earth Heal". It is a romantic solo piano piece in the classical style and is beautifully recorded and performed. On the Trio, the timbre of the piano was very realistic with sustain and overtones authentically reproduced and crisp transients adding a little spice to the proceedings and helping to bring the performance to life. The contrast between the flowing melodic sections and the more dynamic and percussive passages was notable and the whole piece gelled together in a musically satisfying fashion.

Holst's "Moorside Suite" for brass band was composed in 1928. In the recording by the Grimethorpe Colliery Band under Elgar Howarth, the Trio showed its capabilities with a natural timbre to all the instruments ranging from the smooth tones of the trombones and tuba to the more incisive sounds of the trumpets and cornets where there was a real bite and shimmer. The lively folk-inspired melodies were delivered with verve and excitement and the rhythmic qualities of the faster passages came over wonderfully well with the separation in the choral sections handled adeptly and the percussion in the final movement displaying good transient attack.

Treble
The treble flowed seamlessly from the upper midrange without too much "pinna gain", resulting in a gentle transition. The tonality was clean and smooth with good extension and a natural timbre commensurate with a competent dynamic driver. Detail retrieval was above average and there was a good deal of subtlety in the presentation. Separation was also of a high standard with a similar level of resolution. The overall impression was musical but still possessing good technical ability.

Pachelbel's "Canon in D major" is a much-recorded work but has rarely received such an elegant rendition as in the version by the Jean-Francois Paillard Orchestra on Erato. Taken at a slow tempo, it brings out the stateliness of the melody and allows the detail of the counterpoint to be appreciated. The tonality of the strings, the separation of the ensemble and the detail of the harpsichord continuo were all attractively portrayed by the Trio with a clean delivery and plenty of space between the instruments. The balance in the performance was nicely judged and the excellent resolution and extension in the treble brought out the harmonic qualities of the violins convincingly.

German multi-instrumentalist Georg Deuter has produced many albums in the New Age genre. His compilation album "Sands of Time" was released in 1991. From it, "Alchemy" features fast-paced intricate rhythms inspired by Eastern music. Bells, acoustic and electronic percussion combine to produce a hypnotic effect filled out with a subtly changing synthesiser accompaniment overlaid with woodwind and chanting. The Trio managed to present all this as a coherent whole while enabling the individual strands to be followed clearly. The delicacy and detail of the high frequency sounds were adeptly portrayed with sparkle and precision, remaining smooth and totally lacking in harshness while at the same time maintaining a musical quality.

Soundstage
The staging was one of the more impressive aspects of the Trio's performance with a notable height and above average width and depth. Movement within the stage was clearly presented and both layering and separation were of a high standard. Crucially, the Trio reproduced the staging faithfully according to what was in each recording rather than exaggerating it.

"Leeward Sail" is a piece from the album "Dolphin Smiles" by Steve Kindler and Teja Bell. It begins with acoustic guitar high in the centre of the image accompanied by keyboards on the left and strings on the right. An impactful kick drum is added and then the melody is introduced by Teja Bell's guitar and Steve Kindler's violin playing simultaneously, producing a distinctive sound. The Trio reproduced this accurately, retaining the characteristics and the positioning of the two instruments while retaining the effect. Later the two soloists play separately in a kind of dialogue, which was very effective. The stage was filled in a notably three-dimensional fashion and the ambience of the recording studio was conveyed very realistically with excellent separation and layering.

Charles Dutoit's series of recordings with the Montreal Symphony Orchestra on Decca is legendary and his version of Holst's "Planets Suite" is a fine example. Throughout the piece, the atmosphere at St Eustache, Montreal was conveyed authentically and the locations of the various orchestral sections were accurately delineated. The front to back perspective was particularly well realised and the interplay of the woodwind and strings was in perfect balance. The varying timbres of the different instruments as they successively shared the melody were clearly differentiated and the impression of each soloist occupying their own space was another outstanding feature.

Comparisons
KZ Krila
The Krila is a recent design from the company and is a dual hybrid IEM employing a 10mm dynamic driver, the second generation Xun unit, and the latest iteration of the well-known 30095 balanced armature. Like the Trio it has four tuning switches. It is well made with a metal faceplate and resin body and has a similar cable to the Trio. The Krila was set with all switches off.

The Krila has a V-shaped profile. Its detail retrieval is crisp and immediate and different in timbre from the Trio, which is to be expected with a BA, rather than a dynamic driver, handling the high frequencies. It is technically competent and the treble is similarly extended but brighter, with a less natural timbre and sometimes a little overemphasised. The midrange is nicely contoured but has a more noticeable rise in the upper region compared to the Trio. In the bass, the Krila's Xun driver is subtly different with good weight, rumble and impact, and is a touch tighter in its delivery. The Trio is warmer here and perhaps loses just a little bit in definition. Soundstage on both models is of a similar extent with the Krila's brighter top end giving the impression of more detail and the Trio excelling in space and atmosphere and feeling more natural.

KZ Castor
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 with the Krila and Trio, all tuning switches were set to the off position.

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, like the Krila above, sometimes becomes rather emphasised. The Trio is more neutral with a smoother treble but with no loss of detail and is more extended than the Castor. The Castor's bass is a little more coloured, with a small amount of bass bleed, which is absent in the Trio, possibly due to the separation of the two units dedicated to the bass. In the midrange, the two are fairly similar with nothing much to separate them, except for the upper region which has a touch more pinna gain making it somewhat brighter. Soundstaging in both models is broadly similar with the slight increase in brightness on the Castor flattening the perspective by a small degree.

KZ PR3
The new PR3 features an upgraded 13.2 mm Planar unit with a "Nano-level" silver plated membrane and electronic filter tuning. The cable is a silver plated OFC type with a 2-pin 0.75mm connector and a gold plated 90° angled 3.5mm plug.
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.

The PR3 has a well-balanced, neutral profile with a clean and precise bass, an expressive midrange possessing good timbre and an energetic, bright treble showing excellent detail and extension. The soundstage is spacious with good layering and separation making it easy to follow individual strands in the music. The volume needs to be set somewhat higher than normal, which is often the case with planar drivers.

Compared to the Trio, the PR3 has a cleaner and brighter quality with a quicker response and decay which gives it a slightly different timbre. It is superior in technicalities, especially in the treble which is very extended and detailed. The Trio is warmer in nature with a more natural timbre but lacks the immediacy of the PR3. Both have a generally neutral midrange but the Trio derives some warmth from its mid-bass whereas the PR3 with more of a sub-bass focus is cleaner in this region. The Trio has a stronger bass presence which is more satisfying but the PR3 has better speed in the low frequencies. The clean and open nature of the PR3 results in an impressive staging which is more precise than that of the Trio. The Trio is easier to drive with the PR3 needing substantially more power to give of its best. In many ways the Trio and PR3 are complementary, each having its considerable merits.

Conclusion
The more recent releases from CCA and KZ have shown a marked improvement in timbre compared to the older models. Gone is the deep V shaping with dominant bass, recessed mids and sometimes aggressive treble with the tuning now more inspired by the Harman curve. The Trio is a good example of that.

Building on a solid bass foundation with a natural timbre and decay, there is a largely neutral midrange which is smooth in character. The treble is clean, smooth and extended with a high level of detail and the soundstage is expansive. There is a satisfying musicality to the presentation. These impressions are based on the switches all in the "off" position and using them will result in different profiles. In general, they will make the final sound increasingly V shaped as they are engaged, thus providing a choice of tonalities.

Well made and comfortable to wear, the Trio ticks all the boxes and performs at a significantly higher level than would be expected at the price and I consider it to be the finest model from CCA I have heard. It is highly recommended.

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 0.75mm 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!

KZ Castor

I was contacted by KZ recently and invited to review the Castor IEM (Harman Target Version). This product was provided at no cost by Kate, the representative at the company.
Product link:
https://www.kztws.com/products/kz-castor

Knowledge Zenith (KZ) is known for producing excellent value high-performing earphones, including the popular ED range of dynamic driver IEMs and the hybrid series beginning with the ZST. The company has recently taken a new direction in design and tuning and this is reflected in the nomenclature with some newer products given names rather than alphanumeric titles. The Castor, named after one of the twins of Greek legend, is a dual dynamic model with tuning switches and retails for around £20.

The Castor is presented in a compact white rectangular box, as we have been accustomed to seeing from KZ. The front of the box bears a line drawing 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 box containing the accessories. The contents comprise:

● Castor 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
● Tuning lever
● Documentation

The model tested here is the Harman Target version and it is finished in a silver colour with the name "Castor" printed in black in a freestyle font on the faceplate. The lower half of the earpiece is transparent allowing the inner workings to be seen. There is a large vent on the lower edge of the earpiece similar to that on the Krila hybrid IEM and the four tuning switches are mounted on the rear of the shell. The raised clear plastic 2-pin sockets are fixed to the top of the unit. Due to the stacked design of the drivers, the earpieces are fairly chunky and do protrude a little beyond the ears. The build quality is excellent.

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.

Internally, 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.

The four tuning switches enable the user to adjust the bass, mid and treble as follows:

Switch 1: increases bass by 1dB
Switch 1 + 2: increases bass by 2dB
Switch 3: increases mid/treble by 1dB
Switch 3 + 4: increases mid/treble by 2dB

I discovered that the profile became increasingly V-shaped as the switches were engaged and affected the Castor's neutral balance which I preferred. The mids became recessed and I also felt that the staging was affected, becoming narrower and more shallow. Therefore, during testing, all four switches were set in the off position.

The Castor was tested with Xduoo X20 and Hidizs AP80 Pro X DAPs. A smartphone, via a USB-C dongle, and a digital radio were also used. The IEMs were subjected to a burn-in period of 100 hours before evaluation.

Sound Quality
The Castor was immediately impressive in its presentation with a lively, full tonality, precise transient attack, bright extended treble and a spacious soundstage. It majors on technicalities, and the overall profile was well balanced with a moderate emphasis in the high frequencies and an unexpectedly forward midrange considering that it was designed to follow the Harman Target. The bass reached well into the lower octaves with good impact, the mids were clear with a natural timbre and treble detail was abundant. It was astonishing to hear what can be obtained for just £20. A few years ago this level of quality would have only been available at a much higher price.

Bass
The bass showed fine texture and resolution with good extension. It did not dominate the rest of the frequency range, but remained in balance with the midrange and treble. There was plenty of weight and impact when present in the recording and I did not find it necessary to increase the level by using the switches or applying EQ. The delivery was clean, displaying good speed and a natural timbre.

"Nuvole a Colori" comes from the album "Stagioni de Venezia" by Rondo Veneziano. The track is a fusion of synthesisers and baroque violin, supplemented by electronic percussion. It begins with powerful synth strings and deep bass playing a descending motif in the minor key. Dramatic diminished chords are accompanied by violin arpeggios and the Castor really made the most of the arrangement here with a focused, weighty bass showing fine resolution, detail and texture. There was no boominess or overhang and the delivery was clean and precise. The bass driver's character resembled a BA in its speed and impact yet possessed the natural timbre more associated with a dynamic unit.

Malcolm Arnold's suite of "Four Cornish Dances" composed in 1966, reflects the landscape, people and traditions of the county with a dash of humour added for effect. The third movement is inspired by marching bands and Methodism. The piece begins with a bold theme from the brass section underpinned by a sustained bass drum accompaniment. The Castor dealt with this very well with a healthy rumble and fine rendition of the tuba bass line. The piece rises to a climax and, after a spirited section featuring a solo tambourine, it concludes with a triumphant chord with the full orchestra which was handled thrillingly.

Mids
Although based on the Harman profile, the Castor's midrange was not recessed, and in fact was a little brighter and more forward than expected. There was a wealth of detail, a clean and airy character and excellent separation. The tonality might be described as bright/neutral with an attractive immediacy and never strayed into harshness.

I have always found cello and piano to be good indicators of midrange quality in a transducer. Venezuelan composer Reynaldo Hahn's "A Chloris" is a homage to Bach. In the version by Julian Lloyd Webber and John Lenehan, the Castor's delivery was clean and accurate. The two instruments displayed a natural timbre while the ambience of the recording venue was reproduced authentically, taking the listener direct to the performance. The incisive nature of the bowing brought out a clear depiction of the "rosin" whilst the piano's overtones were equally well rendered, adding to the realism.

Bob Dylan's "Farewell Angelina", performed by Joan Baez, showed what the Castor was capable of with vocals. Accompanied simply by double bass and guitar, Baez's voice retained all its character with her diction reproduced cleanly and precisely. The balance with the accompaniment was well rendered and the emotion of the performance was captured with perfect clarity.

Treble
The Castor's treble was very extended and somewhat brighter than neutral. There was plenty of detail and lively transients, with notes starting and stopping with precision and upper frequencies displaying excellent detail. The presentation was quite forward with some extra brightness at higher volumes occasionally dominating proceedings.

Zimbabwean multi-instrumentalist Hennie Bekker has produced a large catalogue of music in various genres including jazz, film music and New Age. "Summer Dawn" from his album "Summer Breeze" features banks of Synclavier strings, woodwind samples and electronic embellishments. The texture and extension of the treble was a joy to hear and blended perfectly with the solo woodwind samples. Bright synth percussion elements danced across the stage and created a colourful panorama of sound with exceptional clarity.

Lavinia Meijer is a Dutch harpist and has recorded many albums of classical transcriptions and other genres. Claude Debussy's "The Girl with the Flaxen Hair" comes from her 2015 album "Voyage". She has a light and gentle touch and the Castor's reproduction stayed true with a delicate and detailed rendition of the piece. Being a more gentle piece, the treble remained smooth and clean. The fine detail did not escape the Castor's attention with the feeling of the piece taking centre stage and revealing an impressively pure quality of tone.

Soundstage
The Castor produced a spacious, open and atmospheric stage with precise imaging, layering and separation. The effect extended beyond the ears with good depth and height. Movement of elements within the image was reproduced effectively with the location of instruments easy to discern.

Kevin Braheny is an electronic music artist who pioneered the use of analog synths in the early days of the genre, developing "The Mighty Serge," a modular analogue system that he still uses in his music. His output also features the Steiner EWI (Electronic Wind Instrument). These elements come to the fore in "Desert Walkabout" which appears on the compilation album "Western Spaces".

The music is described as "a celebration of the sense of freedom inspired by the timeless beauty of arid vistas" and the Castor certainly managed to convey that impression, with a palpable sense of openness and space. Delicate percussive elements manifested in a cavernous acoustic while the solo EWI soared above the accompaniment in impressive fashion. There was a particularly good portrayal of depth with subtle sounds appearing to emanate from a distance, adding to the atmosphere and emphasising the feeling of isolation.

Anatoly Liadov's beautiful tone poem "The Enchanted Lake" received a wonderful interpretation from the Philharmonic Symphony Orchestra of London under the baton of Charles Gerhardt. This is a particularly fine recording and the Castor did not disappoint. The introduction features bassoons, horns and harp and all their different locations were pinpointed in impressive fashion with a real sense of space and perspective. The bass drum deep in the image, the attractive layering of the strings and the interplay between the various sections of the orchestra were presented in a realistic way, producing a satisfying experience.

Comparisons
Lindy Cromo IEM-75
The Cromo, like the Castor, is a dual dynamic IEM. The bass driver is 15mm in diameter and the treble unit has a 6mm diaphragm. The two drivers are in a dual concentric configuration. The cable is fixed and the large aluminium housing is very comfortable.

The Cromo has a warm and inviting profile with an easy going musical character. The timbre is natural although slightly coloured. The Castor is brighter, more detailed and has a better transient attack and is superior in technicalities. With a comfortable fit and cable down wearing style, it is possible to listen to the Cromo for long periods without fatigue, whereas the Castor's assertive delivery can become tiring after extensive listening. The Castor has a better build quality and detachable cables. The two IEMs are very different animals and are more complementary than rivals, it being a choice between the technical and the musical.

Audio Dynamix Euphony
Audio Dynamix was a company producing high quality Bluetooth speakers and ventured into the IEM market with an ambitious design for the time. The Euphony is again a dual dynamic design also in a stacked configuration, with a 10mm bass driver and a 6mm unit covering the mid/high frequencies. The diaphragm is a Mylar type 6 microns thick. The earpieces are crafted from aluminium and they have a T2 interface which is similar to MMCX but smaller in size. This connection is used by Westone and Etymotic.

The Euphony is quite similar in tonality to the Castor but a little more "laid back" in its presentation. It still possesses a strong and entertaining delivery but is a little more V-shaped in nature. The midrange is only moderately recessed but detail is very good, in fact similar to the Castor but with a somewhat softer quality. Bass goes a bit deeper than the Castor but it has a more "rounded" tonality whereas the Castor is faster and more incisive. Treble and soundstage are similar but the Castor's treble extension is superior.

KZ Krila
KZ's recent Krila is a dual hybrid model featuring the second generation Xun dynamic driver with a 10mm diaphragm, paired with an updated version of the long-running 30095 BA. Housed in a similar shaped earpiece to the Castor, it too, is well made. It has the same 2-pin cable as the Castor.

The Krila sounds different from the Castor, being more V-shaped in profile. Its detail retrieval is on a par with the newer model, but the Castor's midrange presents vocals in a more immediate fashion. In the bass, the Krila's Xun driver is preferable with more weight, rumble and impact, although of course the Castor's bass switches can be used here if more bass is required. The treble is similarly extended but brighter, occasionally straying into slight hardness which sometimes happens with BAs. The Castor is smoother here, with better separation. The Krila and Castor are both excellent models in their price range.

Conclusion
Technology has moved on very quickly in the world of IEMs. In the last few years things have advanced and manufacturers have responded to customer feedback regarding tuning. The Castor is an example of that. To be able to experience this at such a low cost brings high fidelity sound within the reach of everyone.

With a crowd-pleasing profile based on the Harman curve, the Castor also possesses a notable immediacy, presenting music in a lively assertive manner. The four tuning switches allow some adjustment, but at times, I would have liked a function to lower the levels rather than increase them, especially in the treble, which can be a bit over enthusiastic. Lengthy listening did result in a little fatigue but the resolution and detail available here was remarkable. The Castor is definitely one of KZ's best models and is a bargain at the modest asking price.

TRN TA2

I received this unit for review from Fedai at Amazon.com I would like to thank Ben for supplying this item.
Product link:
https://www.amazon.com/gp/aw/d/B0B6HBXX8Z/

TRN TA2

The TA2 is a hybrid design with three drivers, one dynamic driver and two balanced armatures. It has a metal faceplate and detachable 2-pin cable worn over the ear. It comes attractively packaged in a sturdy white box with a slip cover bearing a full colour image of the IEMs on the front. Removing the cover reveals a plain white box with a TRN logo in the centre, inside which the IEMs are displayed in a card cut-out below which is a round metal container holding the 2-pin cable. Underneath is a card box with the spare eartips and a 3.5mm to 6.3mm adapter. In all the box contains:

* TA2 IEMs (one pair eartips pre-fitted)
* 2-pin 4 core OFC silver plated cable
* 3 pairs white silicone tips
* 3 pairs black silicone tips with red bore
* 1 pair grey foam tips
* 3.5mm to 6.3mm adapter
* Round black metal carrying case
* Documentation

This is a generous accessory set and a very nice presentation.

The IEMs are formed from resin and have a magnesium alloy faceplate with a series of four horizontal vents in a triangular pattern in the centre above which is written "TRN Audio". The clear plastic raised 2-pin socket accepts a QDC type plug and the nozzle is gold in colour and has a silver coloured mesh. The dynamic driver, covering the bass frequencies, is an 8mm dual magnetic unit with a CNT (Carbon Nanotube) diaphragm. Two Knowles 33518 balanced armatures, placed within the nozzle, handle the midrange and high frequencies.

The 2-pin OFC cable is silver plated and has a fairly loose braid. The 3.5mm plug is 90° angled and is finished in a brushed aluminium, the Y split and 2-pin plugs are clear plastic and channel identification is provided by embossed "L" and "R" markings on the plugs. These are hard to read and colour coding would have been preferable. There is no chin slider, the cable does tangle easily and the ear hooks are very stiff.

The TA2 was tested with a Hidizs AP80 Pro X DAP, a smartphone and a CD player and a burn in period of 100 hours was carried out, after which the bass became tighter and the soundstage opened up. The pre-fitted tips resulted in a lack of bass, so I used the medium grey/red type, which gave a comfortable fit and a better sound balance. Sensitivity was good with adequate volume obtained from all sources.

Sound Quality
The TA2 displayed a largely neutral/bright mild "W" profile which was well balanced across the whole spectrum. Bass was sub-bass focused with a neutral mid bass, transitioning into the mids without bleed. Midrange was open, slightly forward and very detailed. This excellent detail was retained in the treble which was clean, extended and airy with very good resolution. The soundstage was expansive, extending well beyond the ears with good depth and height. Layering and separation were of the same high standard.

Bass
The TA2 produced a fast, clean and well extended bass response, the CNT driver's tonality blending well with the two BAs and giving the impression of a all-BA model yet retaining the depth and weight of a dynamic unit. Sub bass was a little elevated and mid bass was more neutrally-tuned with good timbre and resolution. There was no evidence of bass bleed.

Jacques Ibert's "Escales" is an entertaining suite of pieces for full orchestra. "Anime" is a lively and expressive piece featuring a powerful percussion section. In the recording by the Minnesota Orchestra under Eiji Oue, the initial strike of the bass drum was incisive and clean with authentic timbre and natural decay and the orchestral climaxes displayed impressive weight. The ambience of the recording venue was realised effectively.

"High Hopes" is the final track on Pink Floyd's album "The Division Bell". After a pastoral introduction, Dave Gilmour's vocal is followed by the chorus in which the bass guitar and drums impressed with their depth, speed and precision, at the same time showing a powerful impact. This continued in the long instrumental section where the bass was well balanced with the steel guitar lead solo and keyboards.

Midrange
The TA2 also impressed in the mids. With superb clarity, an open atmosphere and high levels of detail, vocals and solo instruments were immediate and well projected. The tonality was just a little brighter than neutral with authentic timbre and the lack of bass bleed kept the mids clean and clear. The sense of transparency was notable.

"Morning has Broken" by Cat Stevens received a wonderful rendition from the TA2. Accompanied by bright, detailed and clear acoustic guitar and Rick Wakeman's expressive piano, Cat Stevens's vocal, perfectly centered in the image, conveyed both the character of his voice and the message in Eleanor Farjeon's beautiful words. The studio reverb was particularly well rendered.

The TA2's excellent midrange quality was demonstrated perfectly in "Jag Hor" from the solo album "Piano" by Benny Andersson. The character of his Fazioli instrument was accurately portrayed with a believable timbre and a sense of space around the piano. It was only occasionally in the more percussive passages that a slight sharpness of tonality was present but overall it was a realistic presentation.

Treble
The dual Knowles 33518 BAs really showed their class here. With excellent detail and extension, a clean and airy atmosphere was produced with fine resolution. Only very infrequently on certain material there was a bit of extra sharpness but generally it was well controlled and smooth.

Isao Tomita's electronic versions of classical works always span the full frequency spectrum. Greig's "Solveig's Song" from "Cosmos" is a good example. After a quiet introduction, sweeping string arpeggios swell and cascade with a powerful dynamic range, supporting the lead synth voice. The treble extension here really showed its class with the strings and electronic effects intertwining to great effect and retaining their own character with excellent separation and layering.

"Many Chinas" is the opening track from Mark Isham's classic album "Vapor Drawings". Delicate electronic percussion elements left and right extended well beyond the ears while the punchy synth bass and drums occupied the centre of the image. Subtle sequences appeared in the background with Isham's trumpet taking the melody line. Throughout, the high frequencies remained clear, even in the most complex passages.

Soundstage
The TA2's soundstage was expansive in all three dimensions. Because of the excellent detail, layering, separation and imaging were all of a high standard.


The TA2 managed to create a convincing picture of the orchestra in Erik Fogg's atmospheric piece, "Merok" performed by the BBC Philharmonic under Rumon Gamba. Serene strings accompany the melody line on the oboe which is then taken in turn by cor anglais, flute and clarinet. The individual character of each instrument and its position in the image were conveyed very effectively by the TA2 with a believable sense of perspective.

The poignant cello solo in "Come back to Us" from the soundtrack to "1917" by Thomas Newman was beautifully realised. Set against soft strings and deep synth bass, a haunting atmosphere was created, full of emotion. The precise imaging and resolution and the reproduction of fine detail added to the effect.

Comparisons
Fiio JH3
The JH3 is a hybrid design, employing a large 13.6mm dynamic driver for the low frequencies and two custom balanced armature drivers for the midrange and treble. It has a lively, dynamic sound. The overall profile is V shaped, just on the bright side of neutral, with a powerful and well-textured bass, a slightly recessed but clear midrange and a clean, crisp treble. The soundstage is extensive and imaging fairly precise, with separation very evident.

The TA2 has a more neutral profile with a gentler W shaping and a brighter tonality. The bass is sub bass focused and the mid bass level is less prominent. The mids are more forward, treble a little more extended and the soundstage is more expansive.

TRI i4
The i4 is a dual hybrid employing the Knowles 33518 BA, this time coupled with a 10mm composite DD with a metal dome. The build quality is exemplary with full metal earpieces and secure MMCX connection. The i4 displays a warm and gentle V profile with a spacious stage and a relaxed and “laid back” presentation. The treble is “polite” but remains clear. The midrange is deceptively detailed and the lower region has a mid-bass emphasis with a slight sub-bass roll off.

The TA2 is quite different in character with a cleaner and brighter sound and faster transient response resulting in a more immediate feeling. The bass goes deeper with more detail whereas the i4 has a softer easy-going nature. Treble on the TA2 is brighter, more extended and detailed. Soundstage is similar in both but the brighter presentation of the TA2 gives the impression of better separation.

TRN TA1
The TA1 is a dual hybrid featuring an 8mm micro dual-core dynamic driver and a single Knowles 33518 balanced armature. It is well built and presented. The interface is MMCX.

Like the TA2 it has a W profile with a forward midrange but the treble is not as extended or detailed. Bass is warmer and slower in attack compared to the TA2 and there is a difference of tonality between the DD and BA which the TA2 does not display. Soundstage is excellent but not quite as extensive as the TA2. However, at the price it is still a good performer and worthy of consideration.

Conclusion
The TA2 is a very well-tuned IEM. The CNT bass driver has a tonality which blends well with the two Knowles 33518 balanced armatures and the transitions are seamless, giving it a character reminiscent of an all BA design yet possessing the weight and punch of a dynamic driver in the low frequencies. Transient response is excellent and the neutral/bright profile is detailed, spacious and dynamic.

I did find it tip-sensitive, so experimentation with tip rolling will pay dividends. The TA2 scaled well and was adept enough to show significant improvements with a better cable. I used a TRN 16 core silver plated cable to good effect and the use of a Fedai 16 core balanced cable brought further improvements.

The TA2 improves greatly on its little sister the TA1 with a more even presentation and improved extension at both ends of the spectrum. Well made and with a generous accessory set, the TA2 receives an immediate recommendation in its price range, and is indicative of the improvements in tuning we are seeing in IEMs today.