Ask three different "audiophiles" for their opinion on an IEM and you will get four different answers. As an audio enthusiast sharing my thoughts on the BA10 do consider them to be more "food for thought" rather than gospel truth.
All of the metal-finished IEMs from KZ Acoustics that I own (ED3 "Perfection", ED3 "Acme", ED4, ED8, ED9, ED10, HDS1, HDS3 & ZS6) I have enjoyed, the only exception being the HDS2. For me the ZS6 is so ridiculously good at its current $33 price-point that I can hardly fathom where KZ Acoustics would have to venture next to outperform it. The ZS6's build, clarity and price-to-performance ratio make it one of the most competitive IEMs in the marketplace for budget-minded audio enthusiasts.
The question has to be asked.
Can lightning strike twice for KZ with their newly designed BA10 in-ear?
Before we get into the review you should know upfront that I own and enjoy several of KZ's hybrid IEMs (ZS6, ZST, ES3, ZS5(v1) & ZSR) and I have no issue with the treble present in any of these models. I am a micro-detail junkie that enjoys a bright sound signature IF......IF there is enough weight and density present in the midrange and lower extremities. I mention this because those of you who are sensitive to forward treble would be wise to keep in mind my preferences and properly absorb this review through the filter of your own preferences.
About me:
I tend to prefer a relatively neutral sound signature with a slight emphasis in both bass and lower treble, which is basically a mild "U" shaped sound signature where midrange frequencies are left intact and unaffected. I find that an absolute neutral sound signature usually lacks enough energy for the genres I enjoy most, which are Classic Trance and Progressive (early Tiesto, Markus Schulz, Otello, DT8 Project), Chill Out, Breakbeat (Hybrid & Burufunk Remixes) and 80's & 90's (New Order, Secession, The Cure, Siouxie & The Banshees, Depeche Mode). Sure I listen to Verve Remixed, Sade, Bach, Ella Fitzgerald and everything in between, but as of late the bulk of my listening pleasure is focused on the aforementioned genres.
About IEMs:
Take note when you read IEM reviews that when the reviewer gives his/her opinion regarding the sound that there are many factors that shape the final sound an IEM delivers to one's ear.
Those factors include:
1 - Shape & size of reviewer's ear canals. (shallow/deep, wide/narrow)
2 - Shape & size of eartips (round/cone, single, double or triple flange)
3 - Materials of eartips (silicone/foam)
4 - Shape of IEM (and/or angle of nozzle) can cause fitment issues for some.
5 - Source (quality of DAC in smartphone, laptop, digital audio player)
6 - Source (power rating) is it amplified/unamplified.
7 - The IEM itself (driver flex/trapping air in canal causing muffled sound.
8 - The Reviewers ability to hear all frequency ranges (age plays a factor).
Most consumers are unaware of how much weight each of these factors hold in rendering a final verdict. This is why there is such a wide variance in not only ratings, but the description of an IEMs sound. An unaware consumer purchases a perfectly fine IEM but has difficulty keeping the IEM in the ear or he/she does not satisfactorily seal the ear canal with the included silicone eartips (this is a common occurrence) and the consumer summarily dismisses the IEM as sub par. Another consumer purchases the same IEM but experiences a perfect fit and seal and has nothing but praise for the same IEM. Sealing the ear canals AND HAVING THE EARTIP FIRMLY AFFIXED to the IEM nozzle is the only proper way to use in-ear monitors. I can think of no audio equipment that is subjected to such praise or ridicule as the in-ear monitor. As if that's not enough, there is no "one-size-fits-all" when it comes to IEM eartips.
Materials (silicone/foam) have different dampening effects on final sound.
Shape of the eartips (olive-shaped, cone-shaped or other-shaped) can have different dampening effects on final sound based on how much space is between the IEM nozzle and your eardrum and how well the eartip has sealed the ear canal.
The aperture of the eartip's opening (wide-bore/narrow-bore) will have dampening effects on the final sound.
The easiest way for you to experience the different effects I am discussing is to take your current on-ear headphones or over-ear headphones, pick a song full of energy, put the earphones on and let them sit naturally over or on your ears. Listen to the music for two minutes. After two minutes, using your hands, slightly press the headphones closer to your eardrums. Notice the change in the sound. Is there more/less bass? Is there more/less treble? Did the vocals slightly slip forward/back?
Consider that on-ear and over-ear headphones have a driver that sits approximately 1 1/2 inches to 2 inches from your eardrums and by pressing the headphones 1/4" closer to your eardrums the sound changed. Now consider that an IEM driver sits anywhere from 3/4" to 1/4" from your eardrums and the slightest changes (angle, depth, shape, material) can have up to three times more of an effect due to the proximity of the IEM to the eardrum.
For this reason, I think it is wise to invest a nominal dollar amount on different eartips to find an eartip that works well for your particular ear's anatomy. This way you experience everything the earphone tuner intended for you to experience. Some IEM manufacturers supply multiple sizes (S/M/L) and/or materials (silicone/foam) of eartips to increase the odds that the consumer achieves a satisfactory seal, but even this is not foolproof. If this information holds any interest for you, there are a plethora of aftermarket eartip brands to look into, such as "JVC Spiral Dots", "Spinfits", "Comply Foam Eartips" or "Znari Foam Eartips", "Creative Aurvana" and others. If you really want to fine tune things, then you might find yourself doing what I do, which is scouring Amazon for inexpensive earphones that appear to have silicone eartips that have a shape that typically work well with my ear's anatomy.
Those factors include:
1 - Shape & size of reviewer's ear canals. (shallow/deep, wide/narrow)
2 - Shape & size of eartips (round/cone, single, double or triple flange)
3 - Materials of eartips (silicone/foam)
4 - Shape of IEM (and/or angle of nozzle) can cause fitment issues for some.
5 - Source (quality of DAC in smartphone, laptop, digital audio player)
6 - Source (power rating) is it amplified/unamplified.
7 - The IEM itself (driver flex/trapping air in canal causing muffled sound.
8 - The Reviewers ability to hear all frequency ranges (age plays a factor).
Most consumers are unaware of how much weight each of these factors hold in rendering a final verdict. This is why there is such a wide variance in not only ratings, but the description of an IEMs sound. An unaware consumer purchases a perfectly fine IEM but has difficulty keeping the IEM in the ear or he/she does not satisfactorily seal the ear canal with the included silicone eartips (this is a common occurrence) and the consumer summarily dismisses the IEM as sub par. Another consumer purchases the same IEM but experiences a perfect fit and seal and has nothing but praise for the same IEM. Sealing the ear canals AND HAVING THE EARTIP FIRMLY AFFIXED to the IEM nozzle is the only proper way to use in-ear monitors. I can think of no audio equipment that is subjected to such praise or ridicule as the in-ear monitor. As if that's not enough, there is no "one-size-fits-all" when it comes to IEM eartips.
Materials (silicone/foam) have different dampening effects on final sound.
Shape of the eartips (olive-shaped, cone-shaped or other-shaped) can have different dampening effects on final sound based on how much space is between the IEM nozzle and your eardrum and how well the eartip has sealed the ear canal.
The aperture of the eartip's opening (wide-bore/narrow-bore) will have dampening effects on the final sound.
The easiest way for you to experience the different effects I am discussing is to take your current on-ear headphones or over-ear headphones, pick a song full of energy, put the earphones on and let them sit naturally over or on your ears. Listen to the music for two minutes. After two minutes, using your hands, slightly press the headphones closer to your eardrums. Notice the change in the sound. Is there more/less bass? Is there more/less treble? Did the vocals slightly slip forward/back?
Consider that on-ear and over-ear headphones have a driver that sits approximately 1 1/2 inches to 2 inches from your eardrums and by pressing the headphones 1/4" closer to your eardrums the sound changed. Now consider that an IEM driver sits anywhere from 3/4" to 1/4" from your eardrums and the slightest changes (angle, depth, shape, material) can have up to three times more of an effect due to the proximity of the IEM to the eardrum.
For this reason, I think it is wise to invest a nominal dollar amount on different eartips to find an eartip that works well for your particular ear's anatomy. This way you experience everything the earphone tuner intended for you to experience. Some IEM manufacturers supply multiple sizes (S/M/L) and/or materials (silicone/foam) of eartips to increase the odds that the consumer achieves a satisfactory seal, but even this is not foolproof. If this information holds any interest for you, there are a plethora of aftermarket eartip brands to look into, such as "JVC Spiral Dots", "Spinfits", "Comply Foam Eartips" or "Znari Foam Eartips", "Creative Aurvana" and others. If you really want to fine tune things, then you might find yourself doing what I do, which is scouring Amazon for inexpensive earphones that appear to have silicone eartips that have a shape that typically work well with my ear's anatomy.
My Ears:
You should also know a little bit about my ears since yours may differ. Below I have included two images. One image of an ear canal of typical length and the other image showing a more shallow ear canal. My ear canals resemble the more shallow of the two.
Keep this in mind when reading this review. I have no scientific evidence to back this up but I'd bet that ear canal length can play a part when it comes to resonance hotspots.
Keep this in mind when reading this review. I have no scientific evidence to back this up but I'd bet that ear canal length can play a part when it comes to resonance hotspots.
Some of my favorite silicone eartips are the Tennmak Whirlwind eartips.
https://www.amazon.com/Replacement-...nd+eartips&dpPl=1&dpID=51Sqh-+7i0L&ref=plSrch
The KZ BA10 is approximately $80+/-. If that is outside of your current budget then I highly recommend sifting through the moderately priced but numerous KZ models listed below. Prices range from $10 for single dynamic driver configurations up to $70 for hybrid (1BA+1DD, 2BA+1DD & 4BA+1DD) configurations and $80+/- for this BA10 model.
KZ In-Ear monitors:
B9's blog - The Contraptionist (required reading for the unintiated)!
https://thecontraptionist.blog/category/knowledge-zenith/
EDR1 - https://www.head-fi.org/showcase/knowledge-zenith-edr1-in-ear-monitor.22987/
EDR2 - https://www.amazon.com/review/RWFUWN0QH5ZP1
ED3 "Perfection" - https://www.head-fi.org/showcase/knowledge-zenith-ed3-perfection.22988/
ED3 "Acme" - XXX
ED4 - https://www.head-fi.org/showcase/knowledge-zenith-ed4.21296/reviews
ED7 - https://www.head-fi.org/showcase/knowledge-zenith-ed7-in-ear-monitor.23035/reviews
ED8 - XXX
ED9 - https://www.head-fi.org/showcase/kz-ed9-tunning-nozzles-in-ear-headphones.20807/
ED10 - https://www.head-fi.org/showcase/knowledge-zenith-ed10.22990/
ED15 - XXX
ED16 - https://www.head-fi.org/showcase/kz-ed16.23179/
ES3 - https://www.head-fi.org/showcase/knowledge-zenith-es3.22976/
ES4 - https://www.head-fi.org/showcase/kz-es4.23181/reviews
HDS3 - https://www.head-fi.org/showcase/knowledge-zenith-hds3.23017/
https://www.amazon.com/gp/aw/review/B01EJHLOPE/R7E4KEB1RJ88Y?ref=pf_ov_at_pdctrvw_srp
ATR - https://www.head-fi.org/showcase/knowledge-zenith-atr-in-ear-monitor.23032/reviews
ATE - https://www.head-fi.org/showcase/kz-ate-in-ear-monitors.21174/
HDS1 - https://www.head-fi.org/showcase/bi...ic-pronunciation-ear-headphones-silver.21143/
ZSA - https://www.head-fi.org/showcase/kz-zsa.23180/reviews#review-20770
ZST - https://www.head-fi.org/showcase/kz-zst.22435/
ZSR - https://www.head-fi.org/showcase/kz-zsr.22905/
ZS3 - https://www.head-fi.org/showcase/kz...et-bass-earbuds-with-microphone.21763/reviews
ZS5 - https://www.head-fi.org/showcase/knowledge-zenith-zs5.22479/
ZS10 - https://www.head-fi.org/showcase/kz-zs10.23034/
AS10 - https://www.head-fi.org/showcase/knowledge-zenith-as10.23246/reviews
https://thecontraptionist.blog/category/knowledge-zenith/
EDR1 - https://www.head-fi.org/showcase/knowledge-zenith-edr1-in-ear-monitor.22987/
EDR2 - https://www.amazon.com/review/RWFUWN0QH5ZP1
ED3 "Perfection" - https://www.head-fi.org/showcase/knowledge-zenith-ed3-perfection.22988/
ED3 "Acme" - XXX
ED4 - https://www.head-fi.org/showcase/knowledge-zenith-ed4.21296/reviews
ED7 - https://www.head-fi.org/showcase/knowledge-zenith-ed7-in-ear-monitor.23035/reviews
ED8 - XXX
ED9 - https://www.head-fi.org/showcase/kz-ed9-tunning-nozzles-in-ear-headphones.20807/
ED10 - https://www.head-fi.org/showcase/knowledge-zenith-ed10.22990/
ED15 - XXX
ED16 - https://www.head-fi.org/showcase/kz-ed16.23179/
ES3 - https://www.head-fi.org/showcase/knowledge-zenith-es3.22976/
ES4 - https://www.head-fi.org/showcase/kz-es4.23181/reviews
HDS3 - https://www.head-fi.org/showcase/knowledge-zenith-hds3.23017/
https://www.amazon.com/gp/aw/review/B01EJHLOPE/R7E4KEB1RJ88Y?ref=pf_ov_at_pdctrvw_srp
ATR - https://www.head-fi.org/showcase/knowledge-zenith-atr-in-ear-monitor.23032/reviews
ATE - https://www.head-fi.org/showcase/kz-ate-in-ear-monitors.21174/
HDS1 - https://www.head-fi.org/showcase/bi...ic-pronunciation-ear-headphones-silver.21143/
ZSA - https://www.head-fi.org/showcase/kz-zsa.23180/reviews#review-20770
ZST - https://www.head-fi.org/showcase/kz-zst.22435/
ZSR - https://www.head-fi.org/showcase/kz-zsr.22905/
ZS3 - https://www.head-fi.org/showcase/kz...et-bass-earbuds-with-microphone.21763/reviews
ZS5 - https://www.head-fi.org/showcase/knowledge-zenith-zs5.22479/
ZS10 - https://www.head-fi.org/showcase/kz-zs10.23034/
AS10 - https://www.head-fi.org/showcase/knowledge-zenith-as10.23246/reviews
KZ Acoustics leads the way on what can be achieved by pushing the envelope in price-to-performance offerings and the new BA10 is no exception. The Chi-Fi in-ear monitor market is one of the most exciting market segments to dabble in because the advances in sound quality rises month after month after month while the price for picking up an excellent sounding IEM gets lower and lower with said passing months.
Two years ago the entry-level price for a multi-balanced armature IEM was well into the hundreds of dollars.
Audio-Technica ATH-E70 - Triple-driver ($400)
Shure SE425 - Triple-driver ($270)
Shure SE535 - Triple-driver ($450)
Shure SE846 - Quad-driver ($900)
Westone UM Pro 20 Dual-Driver ($300)
Westone UM Pro 30 Triple-Driver ($400)
Westone W40 Quad-driver ($499)
Westone UM Pro 50 Five-Driver ($650)
Westone W60 - 6 BA model ($999)
In June (2018), just prior to KZ releasing the BA10 and AS10, the minimum entry fee for a 5 balanced armature IEM had dropped to an unheard of $110 (HiSenior B5+), however, in August and September of 2018 KZ released the AS10 and BA10, respectively. KZ's two new models (AS10 & BA10) are the first sub-$100 in-ear monitors to sport 5 balanced armatures.
The Knowledge Zenith BA10:
KZ's new BA10 model sports 5 balanced armatures per earpiece bringing the total to 10 for the set. You can see from the photo above that there are four different BA transducers used to sculpt the sound signature of the BA10 but the balanced armatures are not alone in sculpting the sound that pours out of the BA10's aluminum nozzle. What I find most interesting is the BA10's triple-vented faceplate and the open space in the cavity of the shell. Minor design variations like this help to shape the BA10's nuanced delivery.
The BA10 and AS10 may share the same driver set-up and perhaps even the same crossover set-up but the AS10's housing is sealed resin while the BA10's housing is a semi-open machined aluminum housing.
The AS10 design is compact and the 5 balanced armatures take up most of the space inside the sealed housing.
The BA10, on the other hand, sport not only triple-vented faceplates but there is a great deal of open space for soundwaves to reflect and bounce off of.......and in a metal case no less.
The AS10's resin/plastic housing will certainly absorb some of the energy before the soundwaves exit the nozzle whereas the BA10's aluminum housing will certainly absorb less and reflect more of said soundwaves. I haven't sampled the AS10 as of the writing of this review but it would come as no surprise to me IF the AS10 presentation is slightly more intimate or conversely the BA10 presentation gives instruments more room to breathe
The general consensus, as of the writing of this review, is that the AS10 is slightly brighter with slightly more energy than the BA10 which is counterintuitive given the aforementioned materials and designs used, all other things being equal.
What gives?
I did a little poking and prodding with my BA10 and here is what I found.
The BA10 nozzles are fitted with foam inserts just as the ZS3(v2) was. As you can see in the photo I used a sewing needle to lift the screens from the nozzles. The foam was affixed to the screens via a mild adhesive so the foam lifted out with the screen removal.
Removing the foam was like giving the BA10 the kiss of life because the BA10 began to breathe wonderfully. The presentation itself remained relaxed and warm but the detail and clarity shone through without restriction.
What a treat!
Before I received my BA10 I had high hopes that it would be built just as solid and it would sound just as clean as my cherished ZS6. I was ultimately hoping for something equal to my ZS6 but with a variation in the presentation . In the end I got just that, a well-built aluminum IEM with a somewhat nuanced presentation. In some respects the BA10's informal presentation is the counterpoint to the ZS6's more disciplined approach. Even so, both IEMs offer a high degree of superb detail.
Be that as it may, the BA10 "in stock form" is quite a departure from the ZS6. In stock form the BA10 is indeed a very good IEM and, yes, I enjoyed it in stock form.......but after listening to the BA10 for a week or so I knew it could sound better.
Over on the KZ Thread I posted my initial impression of the BA10. I stated that the BA10 is a very refined ZS3 sound signature. Indeed, KZ started with the ZS3 sound signature and improved everything across the board by giving the BA10 better resolution, better separation and improved imaging with a creamy detailed midrange.
This is somewhat anecdotal and these are not my graphs but they more or less confirm what I am hearing from the BA10.
You'll note that the BA10 FR graph and ZS3 FR graph share very similar peaks and valleys in the same locations.
In stock form the BA10 has a dense and deep bass with a warm and rich midrange. The upper extension is clearly audible until you hit approximately 8khz where things begin to taper to keep the treble polite.
In all candor, half of my listening time was filled with thoughts like "it's good but it needs more oomph". Remember that I love micro-details. I would almost liken the BA10 presentation in stock form to running with your hand over your mouth; you're not able to breathe freely so you're restricted in how fast you can actually run.
As usual, my first thoughts drifted to tip rolling and indeed as I cycled through several eartips I found that, just like the ZS3, the BA10 is extremely tip sensitive. Some eartips brought on a thick and warm presentation with the treble rolled off even further. Still other eartips diffused the bass presentation but brought forth the detail in both the midrange and the treble.
I was listening to Van Halen's "Girl Gone Bad" enjoying the detail presentation of the cymbals when I noticed that after the 0.44 second mark that the cymbals seemed to blur as the track became more complex.
Cycling through several eartips afforded some improvement but I still could not clean up and release those cymbals. Then I remembered the ZS3 "Slater-mod" and wondered if such a modification would improve the BA10.
It did.
By the way, if you gaze at the photos intently you'll notice that KZ chose, correctly I might add, not to position the high frequency BA's in the nozzle.
Bass:
KZ's new low frequency balanced armature loses none of its potency with this minor modification. Both sub-bass and mid-bass come through with excellent depth and richness with good attack and decay, as is typical of balanced armatures, but the delivery is eerily reminiscent of a well-tuned dynamic driver.......a considerably clean dynamic driver.
In short, yeah, these puppies can really kick!
Testing for impact, texture and slam I loaded Julie Thompson's Blackhole Recording "What Will I Do". I pressed play and when the bass kicked in I thought
"this is like.......it's like a legal drug".
KZ's new low frequency balanced armature digs deep, plays clean and lends a lot of warmth to the sound signature, all the while delivering a healthy dose of detail in those lower frequencies. The texture and the slam is, again, wholly evident in Delerium's "Dust In Gravity".
Like I said, the clean yet hard-hitting bass is a legal drug.
Moving on from EDM I thought I'd test more mainstream music to hear whether or not natural guitars and other instruments would get lost in the mix. I found that despite the BA10's sense of smoothness and warmth the guitars and vocals in Vertical Horizon's "Everything You Want" lost none of their allure.
Midrange:
I would describe the BA10 midrange as having able-bodied density that is rich in detail. It also remains on equal footing with the full-bodied bass. To my ears the midrange is not recessed because the bass and midrange both share the spotlight on the BA10. In fact this is the one area that the BA10 can be an improvement over the ZS6's midrange. I say "can be" because this is also the one area where the proverbial "double edged sword" can come into play. More on that in a moment.
On most tracks the midrange is sublime and even grand in its delivery (retest "Everything You Want" and "Dust In Gravity"). As an example to get a good sense of texture.....to get a good sense of intimacy I loaded Morcheeba's "Blindfold".
The BA10 did not disappoint. Skye's voice had a good balance of weight keeping the presentation from being either too boxy or too thin.
Counterpoint to the ZS6 indeed! The BA10 presentation is creamy but it still retains good detail. Despite the BA10's warmth you can still hear lots of detail in the voices and various samples throughout the abstract but fun "Frontier Psychiatrist" performed by The Avalanches. Nothing sounds thin and their is sufficient weight in all vocals and instruments.
.......and that bass, though!
So, what about that whole "double edged sword" thing I spoke about? Well that came into play when using the BA10 with either my smartphone or my ZuneHD. Both are power-efficient devices that exaggerated that upper midrange peak you saw in the frequency response graph above. I'd really like to see the impedance curve on these IEMs because with "my" power-efficient devices the upper-midrange goes just over the edge if sibilance is present in the recording. Some such recordings are quite off-putting but I should add that, to my surprise, several tracks that I know have sibilance actually displayed none.
Case in point: Diana Krall's "I Miss You So", which I am quite familiar with, was presented with absolutely zero wince-inducing sibilance. The "Sssssss"still came through but they were of no concern on the BA10. What's also noteworthy is how creamy the presentation of Diana's voice is on the BA10.
A great track to sample for richness in both male and female vocals is Barbra Streisand and Neil Diamond's "You Don't Bring Me Flowers". The BA10's laid-back presentation compliments the melancholy mood without masking a thing.
.......but Nina Simone's "See Line Woman (Masters At Work Remix) was difficult to get through with my phone or ZuneHD.
To be fair, I have to recognize all of the machinations the producers had to go through to mash-up a decades-old recording with current EDM dynamics for this track. Reasons or not, I didn't enjoy the experience with my phone. Oddly enough I haven't had that particular experience with the song with any of my other IEMs.......errrr, except the modded ZS3 but it wasn't as pronounced on the ZS3 as it is on the BA10 (on my ZuneHD or smartphone).
Hmmm.....
It seems the BA10 inherits the ZS3's strengths as well as it's weaknesses and magnifies said strengths and weaknesses in orders of magnitude IF you pair the BA10 to a power-efficient device.
You could be pardoned for thinking that an IEM which offers a warm presentation would be more forgiving of less than perfect recordings but oddly enough the BA10 is not such an IEM when paired to a power-efficient device. The vocals/midrange come forward and sometimes to their detriment.
I make a point to repeatedly use the phrase "paired to a power-efficient device" so you remember this part of the review in particular. In my opinion, the BA10 is best when paired with a low impedance device with sufficient power. External headphone amplifiers tethered to your phone or LG's quad-DAC smartphones should suffice.
Of course you could always use your phone with an EQ app like the Onkyo HF app.
I encountered no (sibilance) when using my Fiio X3(i) to play the same exact track ["See line Woman (Masters At Work Remix)"]. The strident bite had vanished.
Fiio X3(i) specifications :
Output Power:
>540 mW (16 Ω/THD+N<1%)
Output Power 2:
>270 mW (32 Ω/THD+N<1%)
Output Power 3:
>30 mW (300 Ω/THD+N<1%)
Frequency Response:
20 Hz~20 kHz
SNR:
>105 dB ( A-weighted)
Output Impedance:
<0.3 Ω(32Ω
Crosstalk:
>75 dB (1 kHz)
THD+N:
<0.005% (1 kHz)
MAX Output Voltage:
>8 Vp-p
MAX Output Current:
>250 mA (For reference)
>540 mW (16 Ω/THD+N<1%)
Output Power 2:
>270 mW (32 Ω/THD+N<1%)
Output Power 3:
>30 mW (300 Ω/THD+N<1%)
Frequency Response:
20 Hz~20 kHz
SNR:
>105 dB ( A-weighted)
Output Impedance:
<0.3 Ω(32Ω
Crosstalk:
>75 dB (1 kHz)
THD+N:
<0.005% (1 kHz)
MAX Output Voltage:
>8 Vp-p
MAX Output Current:
>250 mA (For reference)
Treble:
The treble extension on the BA10 is good but these IEMs are tuned for comfort and long listening sessions at moderate volume levels. All that really means is that the treble is "polite". Lower-treble is present and there is some mid-treble shimmer but the sparkle and brilliance of the upper-treble is, for all intents and purposes, present but rolled off. Such are the tradeoffs when choosing an IEM with a warm sound signature. If micro-detail minutiae is your thing, and it is for me, then the ZS6 will be happy to oblige. The BA10 is focused more on providing a highly detailed but pleasant listening experience for those who are treble-sensitive to enjoy the ZS6.
The chimes or bells (micro-detail) found in Toni Braxton's "He Wasn't Man Enough" were present but because the treble is "polite" the chimes have less brilliance than is typical for the recording.
Likewise for Michael Jackson's "Wanna Be Startin' Something".
Tapering the micro-details isn't a bad thing (if you're treble-sensitive). The BA10 is loaded with plenty of detail from 20hz to approximately 8,000hz. I can only assume that KZ rolled off the upper-treble in response to the complaints about the hyper-treble extension some folks have issue with on KZ's ZS6 model.
Basement Jaxx' "Stay Close" is chock-ful-a low end, midrange and treble details that sound glorious through the BA10!
Soundstage:
Soundstage can be very tricky when it comes to warm-leaning IEMs. In the BA10's case I had to do extensive tip rolling. Some eartips sealed perfectly but the bass became so concentrated that things got muffled. Other eartips had a mediocre seal and the bass impact diminished considerably. Of course bass can have a huge impact on clarity and airiness so you have to get this right or everything comes off half baked. You'll notice in this reposted photo that next to the Whirlwind eartip is a silicone collar that I separated from another unused eartip.
In order for me to get the best presentation from the BA10 I had to first place the silicone collar over the nozzle and then install the Whirlwind eartip. If I didn't put the collar on the nozzle first the Whirlwind eartip would slide up or down a bit too freely on the nozzle. Once the eartip slid down the collar the bass became more dense and the airiness would disappear. The silicone collar kept the eartip securely fastened toward the top of the nozzle and in this position there was an excellent balance of being "airy" AND being "full-bodied".
I found the soundstage to have above average width and average depth.
Comparing the BA10 to the ZS6 it is as if someone at a mixing board slightly pushed everyone on stage forward. This one comes forward a bit and that one over there moves forward and more toward the center. And, hey backup singers, can you move forward and further to the right. This sort of jostling, if you will. The best description of the BA10's presentation is that it delivers a virtual "wall-of-sound" presentation whereas the ZS6 spreads everyone in a deeper and wider semi-circle configuration on stage (more depth). My odd description will make more sense once you sample these tracks with your ZS6 and then sample them with your BA10.
"Past & Future Things (Ananda Project Mix)" by Santal came through with a good sense of airiness and instrument positioning. The richness of the lower-midrange and sense of presence in male vocals is evident in this track as well.
Likewise with the upper-midrange in Above & Beyond's "We're All We Need".
I really enjoyed how the BA10 keeps the guitars way out on the peripheral edges throughout the presentation of Aerosmith's "Dream On".
One final word of caution. As great as the BA10 is I would not necessarily recommend them for 60's, 70's & 80's hard rock (classic rock, metal, etc.). To my ears, guitar crunch simply lacked the bite necessary to convey any pent up energy. Guitars will come in clean but the BA10's laid-back nature seemed to betray the transparency of an electric guitars full intention in earlier rock recordings. The upper midrange and tapered upper-treble make the BA10 a bit too laid back for most hard rock recordings of the 60's, 70's and 80's. Yes, I can listen to those tunes on the BA10 and they will sound "good" but the ZS6 is a much better match for transparency.
I tried to get into the following tracks. All the notes were present but most of the energy was on a bus headed for another city.
Don't get it twisted though. The BA10 is excellent for 90's and newer rock. The aforementioned Vertical Horizon track above is a good example and Lifehouse sounds alive and energetic on the BA10.
GET THE ZS6 for Classic Hard Rock !
All in all, I appreciate the BA10's varied presentation from the ZS6. It keeps things interesting when I want to choose an entertaining IEM.
If you:
are sensitive to the treble region above 8khz
don't have small ears
have a DAP or listening device with sufficient power and low impedance output
then your IEM has just arrived.
You may not need to remove the foam as I did. Remember I am a self-proclaimed micro-detail junkie so I want my IEMs to get as close as possible to that sound. The treble-sensitive may find the BA10 to be perfect in stock form. To each his own.
In the end I would almost put these on the same level as the ZS6.
Almost.
In some ways the BA10 offers a more rich/dense presentation of the midrange when compared to the ZS6. For me the difference is that my ears are not sensitive to the ZS6's lower-treble extension but at times my ears are sensitive to the BA10's upper-midrange extension. Again, this usually comes into play on power-efficient devices that may have a questionable output impedance, so...
...... 4.25 stars.
In the end I took off half a star because folks with smaller ears are excluded from enjoying these, which is a pity. In addition I took off a quarter of a star because, in my opinion, these will not perform their best when tethered to a smartphone. I know that I'm painting with a broad brush when I make that statement but you should proceed with caution if you have no intention of coupling a headphone amp to your smartphone, upgrading to something like an LG V30 (or equivalent) or coupling the BA10 to a dedicated powerful and low impedance output DAP. A good dedicated DAP balancesthe BA10 wonderfully.
A GOOD SOURCE IS CRUCIAL!
GOOD EARTIPS ARE EQUALLY IMPORTANT!
Cable:
The included cable is probably the best cable that KZ has included with any of their previous IEMs. That said, at the $80+/- asking price KZ should be including their flagship cable with their flagship IEM.
Those caveats aside, pick a set of these up. Just remember that most of you should be looking at foam eartips since these are full BA in-ear monitors. KZ should have included a set of foamies as it is standard practice to offset the analytical nature for multi-BA in-ears with foam eartips. Just sayin'...
KZ has pushed the envelope once again with their well-built and well-tuned 5 balanced armature BA10.
So...has lightning struck twice?
Almost. With a good source you could count these as KZ's flagship due to their technical capabilities.
In the meantime, all I can do is wait for KZ to release the new ZS7 and hope that that lightning strike will be a direct hit.
In closing I'd like to offer up some friendly advice to KZ.
I'm certain that the folks at KZ are proud of their flagship IEM but the plaque is useless.
KZ, if you want to make a good impression and expand your fanbase then please do the following:
1) increase the interior volume of your waterproof resin clamshell case by 50% and include it with all IEMs over $25.
2) include your flagship cable with your upper-end or flagship IEMs.
All of the extra space inside the BA10 packaging could have easily accommodated both items.......and we would have been much happier with useful and quality accessories.
Otherwise, great job as usual KZ!
Hope this was helpful.