KZ Krila: the IEM king?
Intro
KZ, following a formula similar to previous releases (D-FI and AS24) and backed by a fairly aggressive marketing campaign claiming that these IEMs have no rivals under $1000 USD, launched the Krila, which are currently available for $19 USD. How did they fare following the trend of switches?
If you wish to read this review in Spanish, click here
Check out previous reviews here (or in spanish here)
Disclaimers:
Unboxing, Build & Comfort
To be honest, there isn't much to say in this section, as my opinions and comments are exactly the same as those I wrote for the KZ D-FI, since the housing, switches, cable, and eartips are identical.
In summary: These IEMs have a faceplate constructed with a metallic alloy and a transparent resin body. They feature a QDC-type connector and come with a generic KZ silver-plated copper cable (which I immediately replaced). The package includes three pairs of Starline tips and one pair of foam tips, along with a tool for adjusting the switches.
What changes in the Krila is that it implements a second-generation 10mm XUN dynamic driver and a 30005 balanced armature (abbreviated as BA) for the high frequencies.
Sound Description
Once again, just like the KZ D-FI, the Krila offers 16 sound configurations. As I found with the previous iteration I reviewed, several configurations are virtually indistinguishable from one another. Therefore, I chose to analyze three configurations that provided distinct presentations:
Credits: Ian Fann
(Switches turned on are denoted by the letter "U", while switches turned off are denoted by the letter "D").
DDDD: Stock signature, nearly neutral, closely following the new "IEF Neutral 2023" curve with a very subtle bass lift.
DUDU: A configuration with slightly more bass elevation than DDDD, primarily focused on the sub-bass region, aiming to provide a well-balanced full-spectrum sound.
UUUU: The configuration with the most bass, where it has the greatest presence but still falls far from being at a basshead level that would negatively impact the overall signature.
Gaming
It's been a while since I delved into the gaming segment, and I thought of trying out the Krila in their DDDD configuration while playing Battlefield I to evaluate their soundstage and accuracy.
Since it's a rather chaotic video game, it's challenging for almost any headphones to pinpoint the exact source of each shot, explosion, or shout, so I won't blame the Krila for that situation.
In Verdun Heights, it demonstrated the spacious soundstage it can create, extending well in a two-dimensional manner to each side. In more confined maps like Fort De Vaux, the image becomes somewhat blurred amidst all the simultaneous gunfire. However, in situations where you're alone, and the enemy is approaching from another room, you can reasonably determine the direction of those approaching footsteps and how close you are to a face-to-face encounter with the opponent.
The depth and height of the soundstage are decent for the price, on par with what other IEMs in this price range achieve. It was more than sufficient for me to discern the positions of the other players.
Music
Albums used:
“30” – Adele
“Frank” – Amy Winehouse
“Romanza” – Andrea Bocelli
“Antonio Vivaldi : Les quatre saisons” – Fabio Biondi, Europa Galante
“Tchaikovsky: Swan Lake, Op.20, TH.12” – Boston Symphony Orchestra, Seiji Ozawa
“Take Me Back To Eden” – Sleep Token
“Drive” – Tiesto
“Dirt Femme” – Tove Lo
“Alta Suciedad” – Andrés Calamaro
“Live After Death” – Iron Maiden
DDDD
The bass drum is usually perceived with a mild presence. For subbass lovers, this tuning is not recommended at all. It focuses on the bass, but since the signature follows a fairly neutral target, the bass doesn't stand out either. That's why I wouldn't recommend this configuration for current genres like pop or any subgenre of electronic music. The driver is fast enough to deliver the subtle bass without losing the rhythm in the music I listened to.
Female and male voices that belong to a similar vocal range, close to what is considered less sharp registers, have a smoother reproduction and may go somewhat unnoticed, while tenors and higher-pitched vocal registers shine a bit more when played.
The configuration in which I'll focus more on the mids: when listening to orchestras like the Boston Symphony, strings and wind instruments like the flute and oboes maintain a smooth and silky quality, while trumpets can have a hint of aggressiveness (a timbre issue from the BA). I've heard better string definition in other IEMs, but this prevents any particular instrument from taking a dominant role, resulting in better harmony within the ensemble. Overall, the perceived level of detail is slightly better than the average $20 USD earphones.
The tactile sensation of each note from electric guitars has moments of clarity, although it can feel a bit blurred at times.
There is good air and extension in the highs, bringing detail to the forefront. However, the use of a BA makes bells and cymbals sound somewhat metallic in their reproduction. Personally, I didn't find them piercing at low to moderate volume levels. The 8kHz peak can be found in certain passages where soloists sing a capella (or with soft instrumental accompaniment), slightly elongating the "S" or "T" sounds, but it's not a significant issue.
UUUU
The subbass takes a noticeable lead in the signature. There is a slight improvement in the differentiation between subbass and bass, which is noticeable when both are played simultaneously (e.g., in the chorus of “All Nighter”).
Regarding the mids and highs, two scenarios exist:
1 If the song has abundant low frequencies, the voices/instruments can feel somewhat overwhelmed by the bass. Honestly, this didn't cause conflicts in my enjoyment of the music because the boost in the bass wasn't excessive, merely adding a warm tint to the signature. Cymbals tend to sound somewhat more subdued in situations like this, which can be favorable. It alleviates the issues of "S" and "T" sibilance.
2 For songs with few or no bass, I noticed significant similarity in this mode to the DDDD mode. The vocals are quite prominent, with some instruments like strings or drum toms standing out slightly more than the vocals in their reproduction (DDDD places instruments and vocals on a more equal footing in comparison). Highs are similar, if not the same.
DUDU
The distinction between subbass and bass is "subtly worse" (in quotes because the difference is very slim) than in the UUUU configuration, which may be due to a less aggressive focus in that range.
In fact, taking the last words of the previous sentence, the DUDU configuration strikes a good balance across the entire frequency spectrum. This doesn't mean that the issues with the highs are entirely resolved with this configuration, but they tend to be slightly more subdued than in the stock signature (DDDD). Furthermore, the achieved balance allows a wide range of music genres to sound pleasing to the ear without the need to switch between configurations.
In terms of the mids, the bass takes a backseat to vocals and is on par or slightly behind instruments depending on the situation (in songs like "Flaca" and "Con te partirò", bassists are just slightly behind guitarists). As expected, the clarity of mid-range instruments is somewhat reduced compared to DDDD (for example, it's a bit more challenging to find the guitars at 1:30 in "Vivo per lei" behind the drums and bass).
Soundstage & Imaging
The Krila is an IEM that manages to create a fairly wide soundstage (even slightly wider than the 7Hz Zero), effectively conveying the sensations of a real stage. Like other IEMs in this price range, it doesn't achieve significant depth in the album "Live After Death," resulting in the drums having an unrepresentative distance from the singer (this aspect is better polished in the 7Hz Zero).
Furthermore, the width of the soundstage allows for above-average imaging and separation in this price range (an aspect where the Krila clearly outperforms the Zero).
Comparisons
To be completely transparent, KZ asked me to make comparisons with higher-priced IEMs so that you can understand how the Krila competes against them (for those who may not know, the KZ Krila was promoted as the IEM that would dethrone any IEM under $1000 USD, according to KZ...).
vs LETSHUOER S12 PRO ($135 USD)
For this comparison, I used the UUUU configuration of the Krila since that's the closest to the tuning of the S12 PRO.
Credits: Ian Fann
I typically provide insights on each frequency and how each IEM performs against the other. However, in this case, that's not necessary. The only advantage I can give to the Krila is a smoother transition with less bleed between bass and mids. Other than that, there's no need for discussion: the S12 PRO's details are superior, not by leaps and bounds but enough to justify its price of $135 USD. It offers a wider and deeper soundstage, creating an almost realistic stage for live albums, which leads to exceptional separation and imaging, thanks to the beautiful planar magnetic driver. The treble is less aggressive but with more extension and air. However, I believe the Krila does a good job in microdynamics, although it doesn't achieve the natural timbre of the high registers that the S12 PRO has.
In conclusion, the difference is noticeable, and switching from one to the other is essentially an upgrade, so in my opinion, the Krila doesn't pose much competition.
vs Ikko Opal OH2 ($80 USD)
A more equitable comparison is with Ikko Audio's OH2, using the stock configuration (DDDD) of the Krila.
Credits: soundcheck39
In general, this was a closer match, and I would say that the Krila is a good choice for those seeking a more analytical listening experience. On the other hand, the OH2 offers a relaxed presentation and doesn't exhibit that artificial timbre in the high frequencies which the Krila sadly has.
Conclusion
I've already discussed this with other people, but I'm not a fan of the implementation of multiple sound signatures, especially in this case where I doubt an average user would spend their time cycling through the 16 possible configurations. Nevertheless, the sonic capabilities of the IEM are well executed, and it feels like a small upgrade compared to the KZ D-FI in terms of treble extension. I can't overlook the metallic timbre in the high mids and highs, but in my opinion, this is an IEM that excels at being analytical and detailed for its attractive price, without being boring for the listener.

Intro
KZ, following a formula similar to previous releases (D-FI and AS24) and backed by a fairly aggressive marketing campaign claiming that these IEMs have no rivals under $1000 USD, launched the Krila, which are currently available for $19 USD. How did they fare following the trend of switches?
If you wish to read this review in Spanish, click here
Check out previous reviews here (or in spanish here)
Disclaimers:
- Many thanks to the folks at KZ (especially Kate) for sending me this product to provide my honest opinion. You can find the Krila here: https://www.kztws.com/products/kz-krila?_pos=1&_sid=a865e9638&_ss=r&variant=44688778952955 (Official KZ Website)
- Analysis over 4 days - Sessions of approximately 2 to 4 hours
- All music is lossless (Qobuz > 16bit - 44.1kHz).
- Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec Sonata HD PRO (dongle)
Unboxing, Build & Comfort
To be honest, there isn't much to say in this section, as my opinions and comments are exactly the same as those I wrote for the KZ D-FI, since the housing, switches, cable, and eartips are identical.


In summary: These IEMs have a faceplate constructed with a metallic alloy and a transparent resin body. They feature a QDC-type connector and come with a generic KZ silver-plated copper cable (which I immediately replaced). The package includes three pairs of Starline tips and one pair of foam tips, along with a tool for adjusting the switches.


What changes in the Krila is that it implements a second-generation 10mm XUN dynamic driver and a 30005 balanced armature (abbreviated as BA) for the high frequencies.
Sound Description
Once again, just like the KZ D-FI, the Krila offers 16 sound configurations. As I found with the previous iteration I reviewed, several configurations are virtually indistinguishable from one another. Therefore, I chose to analyze three configurations that provided distinct presentations:

Credits: Ian Fann
(Switches turned on are denoted by the letter "U", while switches turned off are denoted by the letter "D").
DDDD: Stock signature, nearly neutral, closely following the new "IEF Neutral 2023" curve with a very subtle bass lift.
DUDU: A configuration with slightly more bass elevation than DDDD, primarily focused on the sub-bass region, aiming to provide a well-balanced full-spectrum sound.
UUUU: The configuration with the most bass, where it has the greatest presence but still falls far from being at a basshead level that would negatively impact the overall signature.
Gaming
It's been a while since I delved into the gaming segment, and I thought of trying out the Krila in their DDDD configuration while playing Battlefield I to evaluate their soundstage and accuracy.

Since it's a rather chaotic video game, it's challenging for almost any headphones to pinpoint the exact source of each shot, explosion, or shout, so I won't blame the Krila for that situation.
In Verdun Heights, it demonstrated the spacious soundstage it can create, extending well in a two-dimensional manner to each side. In more confined maps like Fort De Vaux, the image becomes somewhat blurred amidst all the simultaneous gunfire. However, in situations where you're alone, and the enemy is approaching from another room, you can reasonably determine the direction of those approaching footsteps and how close you are to a face-to-face encounter with the opponent.
The depth and height of the soundstage are decent for the price, on par with what other IEMs in this price range achieve. It was more than sufficient for me to discern the positions of the other players.
Music
Albums used:
“30” – Adele
“Frank” – Amy Winehouse
“Romanza” – Andrea Bocelli
“Antonio Vivaldi : Les quatre saisons” – Fabio Biondi, Europa Galante
“Tchaikovsky: Swan Lake, Op.20, TH.12” – Boston Symphony Orchestra, Seiji Ozawa
“Take Me Back To Eden” – Sleep Token
“Drive” – Tiesto
“Dirt Femme” – Tove Lo
“Alta Suciedad” – Andrés Calamaro
“Live After Death” – Iron Maiden

DDDD
The bass drum is usually perceived with a mild presence. For subbass lovers, this tuning is not recommended at all. It focuses on the bass, but since the signature follows a fairly neutral target, the bass doesn't stand out either. That's why I wouldn't recommend this configuration for current genres like pop or any subgenre of electronic music. The driver is fast enough to deliver the subtle bass without losing the rhythm in the music I listened to.
Female and male voices that belong to a similar vocal range, close to what is considered less sharp registers, have a smoother reproduction and may go somewhat unnoticed, while tenors and higher-pitched vocal registers shine a bit more when played.
The configuration in which I'll focus more on the mids: when listening to orchestras like the Boston Symphony, strings and wind instruments like the flute and oboes maintain a smooth and silky quality, while trumpets can have a hint of aggressiveness (a timbre issue from the BA). I've heard better string definition in other IEMs, but this prevents any particular instrument from taking a dominant role, resulting in better harmony within the ensemble. Overall, the perceived level of detail is slightly better than the average $20 USD earphones.
The tactile sensation of each note from electric guitars has moments of clarity, although it can feel a bit blurred at times.
There is good air and extension in the highs, bringing detail to the forefront. However, the use of a BA makes bells and cymbals sound somewhat metallic in their reproduction. Personally, I didn't find them piercing at low to moderate volume levels. The 8kHz peak can be found in certain passages where soloists sing a capella (or with soft instrumental accompaniment), slightly elongating the "S" or "T" sounds, but it's not a significant issue.
UUUU
The subbass takes a noticeable lead in the signature. There is a slight improvement in the differentiation between subbass and bass, which is noticeable when both are played simultaneously (e.g., in the chorus of “All Nighter”).
Regarding the mids and highs, two scenarios exist:
1 If the song has abundant low frequencies, the voices/instruments can feel somewhat overwhelmed by the bass. Honestly, this didn't cause conflicts in my enjoyment of the music because the boost in the bass wasn't excessive, merely adding a warm tint to the signature. Cymbals tend to sound somewhat more subdued in situations like this, which can be favorable. It alleviates the issues of "S" and "T" sibilance.
2 For songs with few or no bass, I noticed significant similarity in this mode to the DDDD mode. The vocals are quite prominent, with some instruments like strings or drum toms standing out slightly more than the vocals in their reproduction (DDDD places instruments and vocals on a more equal footing in comparison). Highs are similar, if not the same.
DUDU
The distinction between subbass and bass is "subtly worse" (in quotes because the difference is very slim) than in the UUUU configuration, which may be due to a less aggressive focus in that range.
In fact, taking the last words of the previous sentence, the DUDU configuration strikes a good balance across the entire frequency spectrum. This doesn't mean that the issues with the highs are entirely resolved with this configuration, but they tend to be slightly more subdued than in the stock signature (DDDD). Furthermore, the achieved balance allows a wide range of music genres to sound pleasing to the ear without the need to switch between configurations.
In terms of the mids, the bass takes a backseat to vocals and is on par or slightly behind instruments depending on the situation (in songs like "Flaca" and "Con te partirò", bassists are just slightly behind guitarists). As expected, the clarity of mid-range instruments is somewhat reduced compared to DDDD (for example, it's a bit more challenging to find the guitars at 1:30 in "Vivo per lei" behind the drums and bass).
Soundstage & Imaging
The Krila is an IEM that manages to create a fairly wide soundstage (even slightly wider than the 7Hz Zero), effectively conveying the sensations of a real stage. Like other IEMs in this price range, it doesn't achieve significant depth in the album "Live After Death," resulting in the drums having an unrepresentative distance from the singer (this aspect is better polished in the 7Hz Zero).
Furthermore, the width of the soundstage allows for above-average imaging and separation in this price range (an aspect where the Krila clearly outperforms the Zero).
Comparisons
To be completely transparent, KZ asked me to make comparisons with higher-priced IEMs so that you can understand how the Krila competes against them (for those who may not know, the KZ Krila was promoted as the IEM that would dethrone any IEM under $1000 USD, according to KZ...).
vs LETSHUOER S12 PRO ($135 USD)

For this comparison, I used the UUUU configuration of the Krila since that's the closest to the tuning of the S12 PRO.

Credits: Ian Fann
I typically provide insights on each frequency and how each IEM performs against the other. However, in this case, that's not necessary. The only advantage I can give to the Krila is a smoother transition with less bleed between bass and mids. Other than that, there's no need for discussion: the S12 PRO's details are superior, not by leaps and bounds but enough to justify its price of $135 USD. It offers a wider and deeper soundstage, creating an almost realistic stage for live albums, which leads to exceptional separation and imaging, thanks to the beautiful planar magnetic driver. The treble is less aggressive but with more extension and air. However, I believe the Krila does a good job in microdynamics, although it doesn't achieve the natural timbre of the high registers that the S12 PRO has.
In conclusion, the difference is noticeable, and switching from one to the other is essentially an upgrade, so in my opinion, the Krila doesn't pose much competition.
vs Ikko Opal OH2 ($80 USD)

A more equitable comparison is with Ikko Audio's OH2, using the stock configuration (DDDD) of the Krila.

Credits: soundcheck39
- It's noticeable that the bass bleed is much more pronounced in the OH2, making it more invasive in the signature. In contrast, the Krila focuses on subbass and not so much on the bass in the lower end of the spectrum, allowing voices and instruments to shine with greater clarity.
- The impact of kick drums and basslines has a more significant presence in the OH2, making them suitable for bass-focused music. However, this comes with the issue I mentioned earlier in other songs.
- Details in the subbass department go to the Krila, while in the bass section, it's a tie.
- Both IEMs achieve a level of naturalness, but they are not without their flaws. As I mentioned earlier, the Krila exhibits a metallic tonality in wind instruments like trumpets, whereas the OH2 doesn't have what I would call detailed mids for its price. So, the perception of details and perhaps naturalness (due to having less pronounced bass) goes to the Krila, while the OH2 delivers more realistic and upfront vocal reproduction, which also avoids the metallic timbre in the upper mids.
- The treble offers two completely different presentations, with the OH2's treble appearing "darker" in comparison. While it's enjoyable to extract details from a variety of songs when listening with the Krila, I preferred the relaxed and more natural reproduction of the OH2.
- The soundstage is wider in the Krila, while the depth is slightly less than that of the OH2. Image accuracy, overall, is decent in both, with the OH2 suffering more in my opinion as instruments from both sides tend to compact in the scene.
In general, this was a closer match, and I would say that the Krila is a good choice for those seeking a more analytical listening experience. On the other hand, the OH2 offers a relaxed presentation and doesn't exhibit that artificial timbre in the high frequencies which the Krila sadly has.
Conclusion
I've already discussed this with other people, but I'm not a fan of the implementation of multiple sound signatures, especially in this case where I doubt an average user would spend their time cycling through the 16 possible configurations. Nevertheless, the sonic capabilities of the IEM are well executed, and it feels like a small upgrade compared to the KZ D-FI in terms of treble extension. I can't overlook the metallic timbre in the high mids and highs, but in my opinion, this is an IEM that excels at being analytical and detailed for its attractive price, without being boring for the listener.