Redcarmoose July 10th, 2023
Welcome to another Knowledge Zenith review. Back in mid July of 2016 I reviewed my first KZ, the KZ-ATE Copper Driver RQ:016NBM IEM. Such a review was also my very first front page exposure here at Head-Fi. Nowadays I wish I still had the old KZ-ATE, but I gave it away and it was subsequently damaged in a skateboarding mishap. Luckily my friend wasn’t hurt, but the KZ-ATE with its non-removable cables was.
You see I had no way of knowing (then) that this particular brand would evolve to the extent that it has today. In fact for the longest time I simply didn’t give the brand much notice or respect. In 2018 I would laugh at a few of the KZ designs, and only give them so much as a minute or two of listening before disqualifying them. They simply seemed cheap, because they were fairly cheap. But more than that, the Knowledge Zenith designs seemed strange and different? And not in an enchanting different way, but more in a toy-like fashion. They didn’t seem like real audiophile IEMs? Also at the same time my personal taste for ear-phones was evolving, I had more experience and was slightly more critical. So as far as the Chinese IEM market place, there needs to be winners and losers. Also with-in our own personal buying trajectory there are the winners and the losers. There needs to be ones that sound better, and the IEMs that (due to their performance) get left on store shelves.
The 2022 driver scandal:
In March of 2022 there was also the fake driver scandal, which I won’t get into, except there is room for redemption here, I mean when Knowledge Zenith puts out so many models and replicates so many units per month, there is a good chance at controversy. Somehow I have bypassed most of this heat. Meaning I hold Knowledge Zenith in good light as my personal experience with the manufacture (while not obtaining that many) has been parallel to their goals. Don’t quote me on this, but their goals are to offer a normally expensive product at reasonable prices. And in so many ways that has been my experience? A couple of the last few Knowledge Zenith IEMs have been high level review items. The KZ ZS10 PRO X I reviewed back on October 23rd of 2022 and received a full 5 stars. The KZ AS16 Pro also received the full 5 star treatment from me on August 2nd, 2022! This new-boost in performance basically stated that KZ was somehow new and improved? Improved because a lot has happened to the value budget IEM market in the last 2 years and somehow Knowledge Zenith has been riding that wave too?
Don’t be negative kids!
That is my motto for Knowledge Zenith products, as in my experience you get more than you pay for. So maybe here we have a little redemption with the AS24? Knowledge Zenith producing an unheard of TOTL Flagship product for us!
- 1) The action of saving or being saved from sin, error, or evil."God's plans for the redemption of his world"
- a thing that saves someone from error or evil."his marginalization from the Hollywood jungle proved to be his redemption"
- 2) The action of regaining or gaining possession of something in exchange for payment, or clearing a debt."the peasants found the terms of redemption unattractive"
So that means I’m really not an expert when it comes to judging KZ IEMs. Over the years there have been countless models, more KZs that you (or I) can remember, and there have been more models of KZs since the AS24..........to come out since, and the AS24 is fairly recent? Also let's not forget the sub brand of Joyodio, for which I found incredibly enjoyable, if you’ll pardon the phrase.
With the Joyodio Shine costing $79.99 it shows KZ walking into new territory. And if I can, in my own humble way I see KZ adding more sophistication to these IEMs, that is why I want the old KZ ATE from 2016…..for reference. And while this new AS24 doesn’t have 24 drivers per-side……..that reality is maybe just a year off? Lol
Star Wars: The Force Awakens OST
96kHz - 24bit
So it’s not going to surprise you when I talk about what the AS24 does well! A big and roomy stage for all to take place. Cellos find a lower midrange we didn’t even know was there. To back track here, at 00:40 the flute sounds overall correct and alive. Right before the harp strings accented and were found to be full and accurate? Really this style of playback is where the money is. And if someone was always going to listen to this style of playback……all day long, this would be paradise. At 1:38 there is a lot going on, more than I want to take the effort to describe for you. But rest assured it is well done, all in place and decent in timbre. At 02:40 a harp strum takes place only into also have you notice a slight faint synth background. The delicacy and smoothness are of value here, and combine as one of the most redeeming qualities of this playback. The trick that putting all these BAs in is that they create size, size of playback. Size of soundstage, and size of each and every one of these instruments replayed. Simply spread-out and wide, offering a vista to view it all, to take it all in. Also this style of music somehow makes BA bass fun. The bass is more focused than DD bass, way faster than DD bass, becoming polite in a way. The speedy change-ups and transients take place adding to the sonic charms.
The Dark Knight Rises OST
On Thin Ice
192 kHz - 24 bit
Here we are met with classic broad stage, though not too deep, or even really that reaching that far up or down. Still the separation here is what makes the AS24 a spectacle and a value for the money asked. Also the distinct ability for BAs in a group to finite focus each and every frequency present. Now this song is typically one I would use to test bass, and in a way I am testing how the bass transfers sound. They are given an exotic display of detail which makes-up for the lack of authority. Yep, lesser on the authority and maximum detail. The bass notes here are different from your typical rock song as the sound is really a composite of sorts, made up of many instruments following along…….at the 01:50 mark the added bass of cellos start to approach. At 02:16 the next level hits with drums added to reinforce the bass. While all this is really farther out in placement. Meaning Classical and OSTs take to this style of grandeur yet everything is farther away than the upfront 3D Kiwi ears Quintet IEM gives you……….the information at times is at a distance, the softness resulting………….is either wanted or despised depending on the listener.
1972 (Greatest Hits)
44.1 kHz - 24 bit
This album is partially the reason I put these music reviews at the start of the review. A remastered version of the late Marc Bolan’s hits. Here we are gifted with one of Marc’s greatest and lasting musical statements. The Slider was also of immense surprise when reviewing the KZ AS24. While modern Rock is often felt not as complete due to the tailored low-end, this style of music comes alive. The surprise here was I didn’t land on this album until my second day of listening with the AS24. To you the consumer, that previous statement means you should really give the AS24 a few days to understand. This absolutely is one IEM you can’t judge by a 5 minute listening test……its charms are elusive and hidden yet potent and real. While not that well rounded, when you do hit gold, it’s solid gold….as to follow!
What makes this tick is the spatialization of items found taking their life segregated and alone unto themselves in the stage. This separation must be from the sheer number of drivers used, as each has a job to do and when heard in a pack, the number of drivers tells a story. Ridiculously I was contemplating writing a mini-review of each and every song on this greatest hits package. I could if I wanted to, who would stop me? And such a description would serve a purpose showing the AS24 has the ability to showcase an entire album of hits, nonchalantly grabbing full-realism in playback. Now when this review continues we will be getting to why I gave the only four stars instead of five. We will be delving into why and how the AS24 only has limited uses. Now though at this point in time none of that matters. Why? Because really the AS24 does some music perfect, that's why.
At 00:04 the bass groove joins in. And while not as deep or physically daunting as in other replays, it’s the imaging and spacial fireworks that make this work. There is a wonderful balance in this rhythm metronome including each and every one of these musical elements. The pace, the instrument tone, the definition…..and of course the vocals! There is this watch-works syncopation at hand where each and every element is both needed and essential, yet heard in its BA glory due to the pace offered by the AS24. It is the attack and decay, and the imaging placement that makes this entire song special………………..and replay with the AS24 a personal event!
1972 (Greatest Hits)
44.1 kHz - 24 bit
While maybe different in overall vibe here, due to the lacking lows, we are still gifted with entertaining and listenable replay. The bass is still heard but actuates a rhythm by almost touching the emphasis instead of dominating the frequency band. BAs have a way of doing this where the tone gets in……..and gets out just as fast. And while of course this is not a modern Pop/Rock recording, which means that often maybe the vocals will not be as forward or showing a physique kin to reality. So in a way this is musical excavation here, the unearthing and digging-up of sonics. And in so many ways that’s the message here……the clearness and romance found in a digital extraction.
Already at the 00:06 mark we can hear two separate guitars. One echoing off to the behind left, and a more treble mixed upfront one, just as Marc supplies the oooooos. In reality there are a few guitar tracks and at the 00:28 section we are surrounded by them, encased in the rhythm they promote. If this was the first time a listener was hearing this song, the bass may actually seem proper. And while I have obviously heard this with a thicker low-end, just having this experience is rewarding. When the chorus takes place at 00:52 it’s fine with the bass guitar still adding just the necessities.
44.1 kHZ - 24 bit
It’s super important that this demonstration song gets included here.....and for that reason I’m putting it at the end of the music reviews. Dub music uses bass as the theme to almost all of its character. This can be a challenge for the bass deficit IEMs……in just that there is no movement forward. Also this particular album in general sends a message to readers that there is sub-bass found, more than mid-bass…..which in essence makes this style of music work. Now you may be thinking I’m placing this number here out of desperation to make a point……to make a point about the bass character……when I in-fact have pretty much commented on everything already. In the IEM comparison section you’re going to read, I’m using comparisons with other IEMs to get more of that same point across. The point? Simply that the KZ AS24 is not well rounded, yet offers a spectacular window into possibly 50% of your music, you just have to pick which albums to listen to. I still look at it as a total value except take away one star due to these deficiencies. Oh, and if that 50% of music is all you listen to 100% of the time, you win here.
I have tried to cover a few examples of different musical genres, playing OSTs, Rock and Dub. I even went and tried EDM which at times was really really good, despite your understandable fears on the subject.
At 00:00 the toms kick this number off, being big, fast and fun. At exactly 00:01 the bass drops…..yep, all of it. And at that exact moment you come to realize the sub-bass present, well at least enough of it to move this little number along. And this brings us to another concept in the understanding of IEM replay. That often IEMs that lack bass tone will get it from the music file to come-off more complete. In reality it’s a gargantuan amount of bass in the song, adding a utilitarian amount of bass to seemingly add balance. And in many ways that is what is going on here. Except when it’s good it’s good and we are getting the needed tones. So am I desperate to make a point? No, I just like the replay so I’m listening for my own enjoyment.
All music testing was done with the Sony WM1Z and OSG cable in 4.4mm.
KZ AS24 Universal IEM
12 BA High-end Tunable In-Ear Monitor
- Four 31736 Balanced Armatures Hybrid Drivers & Two 29689 Balanced Armatures Drivers
- 22955 Balanced Armatures Driver & 30019 Balanced Armatures Driver
- Two Versions Available, Main & Auxiliary Turners
- Medical-grade Materials 3D Printed Housing
- Silver-plated OFC Cable
AS24(Standard Version/Tunable Version)
Standard Version: 112±3dB
Tunable Version: 109±5dB
Standard Version: 112±3dB
Tunable Version: 109±5dB
Plug Type 3.5mm
Pin Type 0.78mm
Cable Type Silver-Plated Cable
Cable Length 120±5CM
12 drivers a side:
There are 12 drivers per side, and that is a lot. But to simplify things, yes the sound of the AS24 is slightly bigger than the AS16 Pro and ZS10ProX, and while it doesn’t have the smooth low-end of the ZS10ProX, it’s nice and adequate nonetheless.
31736 X 4
29689 X 2
The end results here are actually fairly sophisticated and refined? I mean the first question you ask yourself is………is this correct and nice sounding? Where the AS24 responds with almost overly subtle and detailed demeanor. Especially with Orchestral Music……the sound is complete, expensive sounding and well filled-in. Though keep in mind the AS24 may not be the very best at times for genres like Rock or EDM. Where it takes a little choosing in the Rock genre to find synergy, what you’re given still borders on a style of overly precise midrange energy. Such a double-edged sword goes ahead and shows refined edge harmonics and clarity in guitar, but leaves a little down-home thickness and even sloppiness (to be) desired. Yep, you are gifted with razor sharp technicalities, only those tones are what the BA experience has always delivered. Fast attacks and instant fall-offs……..where echos are the ones from the room the music was recorded in, and shown for accurate spatial positioning with-out an ounce of error.
Yep, the stage is big, really big afforded by the mid-range emphasis as well as 12 miniature sound making devices all firing-off at once. While bass is both detailed and holding softer edges in finite correctness, there is none of that woody bounce normally accounted for in Rock tracks.....instead we are witnessing clinical refinement.
Still these sound like money, a lot of money. I keep trying to find a hole where they leave something out? But still as somewhat disclosed prior, Rock tracks may leave some people out in the cold, so to speak.
The promotional drawings don't show the bubbles next to the drivers. Now I don’t count that as a huge deal, but studying the pictures here should give you a realistic view of both the good and bad features of the build. Gone are some of the older ideas to sound tubes. Now exiting the drivers are real 3D printed sound tubes. KZ calls the process making an internal cavity structure, as it is all one.
Now each (of the 3) bands has both an electronic crossover network and tubing made into the actual shell of the IEM. Prior to these (pre-formed) 3D tubes, there was in-place actual tubing made of a different material, having to placed around the exit ports of the individual drivers, or at times joining whole groupings of drivers. So in a way this design bypasses the use of those tubes, possibly streamlining production. There is also an acoustic chamber area which has been fogged over with a semitransparent treatment. Such an area gives clues to its use with the foggy view of wires. There is a single air-vent placed in contact with this chamber of secrets, as maybe the drivers or sounds vent into this fogged-over area? With such specific venting the KZ AS24 shows great outside noise occlusion and no pressure build-up like from (as an example) the Kiwi ears Orchestra Lite un-vented model.
Here is once again the standard silver-plated oxygen-free copper affair. And while we are reaching the level of cost that we start to wonder if Knowledge Zenith will ever introduce a different cable? While there is nothing wrong with it, the primary part of my tests used 4.4mm, which means I needed to change cables. Really at this price we see competitors offer 2.5mm balanced, and 4.4mm balanced as an option.
Call me spoiled......but most competitors will offer a nicer more elaborate cable with a $112.00 IEM. At least make it seem to look better than the typical cable that comes with a $20.00 IEM.
While the regular Knowledge Zenith S/M/L ear-tips were nicely included, a special single set of foams were mounted directly onto the IEMs. Such ear-tips can at times create the ultimate bass and soundstage experience by giving the listener a better air-tight fit. Out of curiosity I tried the foams..........just to learn about them. They worked......but nothing too far out of the ordinary. Still this kind-of started me on a foam mission of sorts………….finding and pulling out the Sony Hybrid tips. Such a novel tip uses a silicone core surrounded by a style of foam, yet shaped like a regular IEM ear-tip, with simply thick foam walls. Once I got them Into place I could tell something was a little different. Very, very nice. One reason I don’t use the Sony Hybrids regularly is due to the narrow exit nozzle port which can diminish soundstage. The other reason is they are not long lasting, needing to be cleaned and maintained, opposed to regular silicone ear-tips. Yet in this situation the Sony Hybrids offered a more focused bass, where it was slightly condensed, along with a different style of imaging, that would be hard to explain. But what was found was better separation and less BA-ness. The more I use the Hybrid tips the more I realized that the bass is slightly better? I also used a random pair of yellow medium-bore silicones for a big part of testing.......reason being they offered slightly more bass and a better fit than my regular wide-bore silicones.
Top row left to right: KZ AS16 Pro and KZ ZS10ProX
Bottom row left to right: KZ AS24 and Kiwi ears Orchestra Lite
1) KZ ZS10ProX
2) KZ AS16 Pro
3) Kiwi ears Orchestra Lite
Grabbing the ZS10ProX just to see if Rock tracks were given a warmer light? Well, well………it is instantly noted why the ZS10ProX got such a fantastic review. While seemingly incomplete in a way, there is a definite midrange smoothness that is the Yin to the AS24’s yang. While the incompleteness is ever so apparent in the KZ ZS10ProX’s playback, but still? The bass drops are way bigger and of greater intensity than the AS24 ever dreamed of............due to the single 10mm DD. And while yes, you can hear that everything is slightly underwater and not as forward..............I just may like parts of this playback better? I mean on paper the AS24 is clearly the superior IEM, and there is even a slight togetherness arrived at with the (all BA) similar AS24 driver methodology? It’s just that maybe the KZ ZS10ProX has a tad more musicality, despite it not being totally filled-out? Is this a question of taste? I will say if someone was specifically listening to classical or OSTs.............and wanted more completeness and viewed the incomplete playback of the ZS10ProX as wrong, then yes, the AS24 is the better choice.
The KZ ZS10ProX
The ZS10ProX is only $39.00 compared to the $112.00 of the basic AS24 model. Prices climb on the AS24 as you add a microphone to the basic model priced at $114.00, then an additional price for the black tunable model at $122.00, or $124.00 with microphone. So it may be a curiosity as to why I would even be comparing the ZS10ProX to the AS24? Reason being there is a pathway to understanding KZ, for myself anyway, and maybe you too? Where the ZS10ProX was not perfect, the AS24 is not perfect either. In case you don’t know Hybrids are my favorite way to go. But all BA IEMs take a quick second with Muti-DDs starting to possibly overcome BA methods (in my personal choice) of design. So with Hybrids as my favorite, I’m basically basking in the simple ability of the DD being able to do a darn good job at the lows combined with BAs to add that instantaneous treble and midrange attacks. Yep, full fast fall-off of those midrange notes and well done itemizations followed through with the treble.
As at times a cable change can align a response to more of a wanted tone…..seemingly adding almost (the) perfection. Then at other times the playback is still relatively the same with the IEM character un-moveable.
But to get to my point, there seemed to be an effect of the ISN G4 cable that seemed to really be everything for the KZ ZS10ProX……... Yes, I’m combining a $39.00 IEM purchase with a $99.50 aftermarket cable purchase. Reason being is the G4 just seems to get the most out of what the KZ ZS10ProX is trying to do. So imagine with me for a second, as to why I’m drawn to the ZS10ProX. It’s a Hybrid, it’s not complete and showing almost full-on holes in playback, only with this Graphene cable, the most is found. Better airy midrange and better specialized treble itemizations. A bigger stage than the included cable, even somehow apparent timbre improvements. The reason for the improvements are adding energy to a regularly slightly too warm and underachieving treble and midrange, somehow dialing them into almost perfection? I don’t want to make this a cable review, except I just want to put down how I’m getting to the places I’m at, that I have a reason for falling in love with what the ZS10ProX does, that I’m not crazy for liking this $39.00 IEM, except I have also matched it with the Sony WM1Z to finish this effect-off.
KZ ZS10ProX v KZ AS24:
As mentioned earlier in the review the KZ ZS10ProX offers a slightly different response centering around a more buried BA profile. That’s right kids, burying the BA treble and midrange to come about a smoother and slightly less bright idea. Now the thing is the AS24 is more complete and possibly technically superior, except bass is way different between the models. BA bass, just can’t compete with DDs, no matter which review I’m writing. Is that a deal breaker for the KZ AS24? My idea is it’s just something to think about, and possibly makes the KZ AS24 not as well rounded. Because if you were to happen to land on Orchestra playback or a nicely recorded OST, with a bunch of room reverberations and violins going off, you very well could choose the KZ AS24, because the added fullness and technicalities are real. The stage is different to between the two IEMs, with the KZ AS24 offering a fuller experience, and not found is the slight reaching found in disjointed Hybrid playback………….the AS24 with all those BA…….sounds like brothers and sisters, all being of the same BA methodology and all.
AS24 BA togetherness:
Apparent when Orchestra music comes on, and the bass is less bombastic than the KZ ZS10ProX. The AS24 seems to go with the refined bass found in OSTs and Orchestra music? Even violins can achieve a wash of splendor, hearing small bells impeded in playback, something the KZ ZS10ProX could never do. The KZ ZS10ProX wouldn't offer the size and majesty found.
Still on Rock tracks there can be something the AS24 leaves out, and that’s where the musicality over technical abilities of the KZ ZS10ProX really shines. I mean to come down to it, the bump and groove of rock is of lesser refinement and needs that mid-bass bump to grab some pace and sway. Where the attention of the AS24 seems to forget about those needs, as they are just not there as a quality. Less grooves, less bounce, even less musicality to be found.........replaced by a specific completeness of playback, more for certain musical genres.
The KZ AS16 Pro
KZ AS16 Pro v KZ AS24:
This is going to be good! Fun anyway you choose to look at it. First off, I’m in love with what the AS16 Pro does. It’s darker than what the AS24 is doing, and consequently becomes more well rounded. Once more KZ is burying the BA metallic timbre here. And with the KZ AS16 Pro, it could almost be an example of more drivers not meaning schiss. That’s German for crap. The KZ AS16 Pro is another favorite that got an incredible review from me. The BA bass of the KZ AS16 Pro almost seems like more.......as it’s not competing with a huge grouping of middle and top-end treble drivers. The downside here is yes, the KZ AS16 Pro is slightly rudimentary in stance, but believe it or not that stance does Rock better? Not as filled in as the AS24, not offering the stage and size of the AS24, but I totally understand why the KZ AS16 Pro got the review it did from me. I still feel the same way about it. The KZ AS16 Pro is about 25% smaller too, and fits better. At $56.00 it is half the price of the AS24.....and while still all BA, I almost like the overall tone even better than what the AS24 has on offer. Why? Simply smoother and while not offering every detail, there is a likable demeanor that goes with more styles of music.
Still in defense of the AS24, there is a more full response that with the right music becomes truly captivating. Bigger more spread-out size and stage, bigger imaging and authority. Going to Rock tracks once more I’m hearing AS24 guitars more forward and sizzling, yet also hearing more BA timbre? Where both IEMs are all BA driver models, this all makes me wonder what a more filled out and replicated tune like the KZ AS16 Pro sound would have been? Would it have been possible to tune all these drivers to make a KZ AS16 Pro response? Would it be a waist of drivers……I don’t think so?
The Kiwi ears Orchestra Lite
Kiwi ears Orchestra Lite v KZ AS24:
At $249.00 and famous, the Orchestra Lite may be just the wrong comparison, as some have exclaimed (the Lite) was in a totally different league altogether. Well they are both mid-focused all BA affairs..........and quite possibly (the Lite) would be a choice as to the person who wants to double his expenditure. The Lite really gets into a more developed example of the IEM art. At times I choose these battles by instinct, but also curiosity, as I simply want to hear a back-to-back just for the results!
Kiwi ears Orchestra Lite v KZ AS24:
The Lite is smoother and bigger and more finessed. Those guys were right saying the Lite was in a different league altogether. Only 8 BAs a side, opposed to the KZ AS24's 12. But to salvage any usable information from this arranged bloodbath, there still are a few shared commonalities to behold. If anything the Lite can go ahead and lead by example as to the tuning here. And in many ways this side by side has helped me personally come to a style of enlightenment as to the issues with the KZ AS24. Maybe I should have gotten the tunable model instead? This criticism was started-off way earlier with the other older KZ production models compared to the AS24. The fact that while big and beautiful in replay, there can be a slight intensity to the midrange that the more laidback KZ AS16 Pro and KZ ZS10ProX benefit from not offering?
When in reality I have selected IEMs to both outline the KZ AS24’s demeanor and to show fault when present. Now the difference between the mid-energy of the Lite and the mid energy of the AS24 is not that much different, yet that difference displays a thinness that is simply not found with the Orchestra Lite. Once more it is simply making our playback of such that is less well rounded. Yet when you do find the files the KZ AS24 relates with, a kind of budget paradise is found.
To be real here, maybe most of what is going on surrounds the use of BAs……I mean the exact model of BAs chosen by KZ to use in the AS24. Going back and forth between all these IEMs then changing songs and switching IEMs again has led me to understand it’s really an issue with tonality (BA timbre) and maybe not so much the intensity of the midrange levels. Where with the prior IEMs from KZ (KZ ZS10ProX and KZ AS16 Pro) showed a calculated lackluster which just by the tune seemed to let the BA timbre fall into a better tone. Not so out front, and not so nude. The Lite also quickly showed that it was possible that it was a timbre issue and maybe not (all-together) a volume level thing. But keep in mind the two KZs prior did show a more natural integration, while still being slightly incomplete. I mean, I knew this was how the KZ ZS10ProX and KZ AS16 Pro were to begin with, that they selected to included some tone without making a high profile fuss out of timbre quality.
The engineers in the back office must be following through with the requests of the upper management. I can hear them saying.....we need more drivers to get a more thorough sound, bigger, more robust realization of vocals and instruments. Our order from management was a memo that read……..put more drivers in, make it bigger and make it beautiful. Half the models will have all kinds of dip switches, the other half will cost slightly less and have none. At the bottom the memo reads…….find a balance of sound and cost that will let us move forward with a TOTL Flagship.
While in truth the AS24 is a little big and weighty at 8 grams each, though maybe not too cumbersome in use......still there is no understating the size here. The AS24 has many of those natural qualities found in all BA IEMs. The exquisite pace, the separation of sonic items, the positioning elements into the stage, a far-away-ness and softness which is simply the character of the AS24.
Yet with-in that softness is found detail and texture, that while subtle…..is maybe the true magic found here?
Subtle outlines and clear definitions:
Other times there is a wonderful show of particular subjects outlined and filled into the playback, an up-front and personal (midrange and treble) playback…….that becomes endearing and involving. The reality is the AS24 is not perfect, yet it IS showing what is possible with 12 BAs a side, a sophistication and a character of expression.
12 BAs v 8 BAs:
Look I compared the AS24 to the 8 BAs a side KZ AS16 Pro, and while they are tuned differently, there is a noticeable difference in a style of filled-in evenness to having the extra 4 BAs added. Yet the darker and more even tempered KZ AS16 Pro was more well rounded, playing with every DAP and music file, a more popular kid on the block. Yet if you have a few genres that you’re into, the singleness of purpose actually becomes a value ordering a higher level of playback found with-in those few favorites, seemingly looking down and laughing at KZ AS16 Pro playback.
This review was different at Redcarmoose Labs being the AS24 is one of the very few IEMs I have asked for. You see I was so smitten with the found abilities of both the KZ AS16 Pro and KZ ZS10ProX that my curiosity got the best of me. I just had to know if adding more drivers was better. Yet Knowledge Zenith had other tuning ideas in store, always attempting to improve, never resting. And while not quite as good as the Kiwi ears Orchestra Lite, interfacing the two helped into the realization of how Knowledge Zenith arrived at a tune. Probably it could be the tune and the quality of BAs used that gives the Orchestra Lite a push up-to-the-next-level? And while both IEMs could be considered midrange focused, there is still a difference in character (enough) to make owning both interesting and rewarding. Should you get all the switches model instead? I really can’t say as I’ve never heard it.
The Knowledge Zenith AS24 is a very special example of the current IEM state-of-the-art. Nothing I know of does just what the AS24 does, and if you think it may do the genres you’re into, then you have nothing to lose, order yours today!
As tested $112.00
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?i=merchant-items&me=A267P2DT104U3C
I want to thank Kareena of Linsoul for the love and the Knowledge Zenith AS24 review sample.
These are one persons ideas and concepts, your results may vary.
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