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.
. So, thank you, the reader, for visiting my review, and happy listening!
