KZ Symphony 1 Planar + 1DD

KZ Symphony
1DD + 1Planar
$59

Before I begin this review, let me thank KZ for sending the Symphony in for review.
Rest assured, my review is 100% my own personal opinion.
Just in case you're interested on getting this IEM, you can get it here
https://www.kztws.com/products/kz-symphony

Unboxing
Build Quality

The faceplate is from metal, it looks kinda open, but I'm not sure if its really open or only just for aesthetics.
While the main shell is made from plastic, it is a decent feeling plastic.

Cable is just MEH.
It is the KZ "bihun" cable, its usable but c'mon...

Comfort
Despite its large shell, I can wear the Symphony for long listening session no problem, though maybe if you have smaller, you might get some comfort issues.

Sound

Tested using FIIO M23, Kiwi Ears Allegro, Stock Cable, Stock Eartips
Music is mostly from Apple Music (J-Pop, J-Rock, K-Pop, EDM, Rap, Metal, Jazz)

Tonality in General : V-Shaped
Bass has strong bass boost, ranging from sub bass to around 300hz
Bass presentation is pretty bold, thick and full bodied.

Bass speed is normal, not that fast but not slow either, it still can be used with double pedal music, but for that kind of genre, I think the bass quantity is a bit too much.

Midrange is a bit weird here, the lower part is scooped out while the upper midrange is a bit boosted, it gives sense of spaciousness and clarity but at the same time it makes the overall body a bit thin.

Some vocal can get a bit sibilant from the treble boost, not all vocal but sometime its there.
Thankfully the vocal is not shouty.
While instrument sounds a bit intense, has good clarity but thin on the body.

Treble is boosted around mid treble area, its sounds sparkly, airy, forward and can be intense at times.
Though due to its boost and the planar driver used, it feels like the treble has superb detail retrieval, but in cost of the forwardness.

Technicalities
For its price, I can say the technicalities is very good.

Stage : Stage layering is decent / good.
Stage size is on the large side, also symmetrical in shape (width – depth).

Imaging : Good.
with the FIIO M23, it sounds holographic no joke, but with inferior source such as Kiwi Ears Allegro, it sounds 2.5D sounding to my ears.

Detail Retrieval : Very Good.
It has lots of textures and micro details, especially on the treble region (well probably thanks to its boosts and forwardness)

Positioning and Separation : Very Good.
Thanks to its large stage size, positioning an object and separating them is a breeze, tested on music and games (Valorant).

Conclusion

Is the KZ Symphony worth it?

YES, kind of.
If you're looking for an aggresive V-Shaped tuning profile then yeah sure go ahead grab this IEM.
It has bold satisfying bass and forward treble BUT with very good detail retrieval.

The only concern or nitpick I can give to the Symphony is that the shell is somewhat very large, so if you have smaller sized ears, the Symphony might not fit your ears.

thanks for reaching this far !

Just in case you're Indonesian or understand Bahasa Indonesia, you can check the video review of Symphony here


-littlenezt.

KZ Symphony Review​

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KZ Symphony ​

Intro​

Hello everyone, today I have with me one of the latest KZ/CCA iems, the KZ Symphony. It took me a bit longer to get to the Symphony as I was taking my time really getting to understand this iem and the direction that KZ was going with it. I try to have enough listening time to feel comfortable with the words that I write. The KZ Symphony is a dual driver hybrid iem which consists of a 13.2 mm Planar driver as well as a 6 mm dynamic driver. A very unique mix of driver tech, especially with such a small DD. Because of this driver configuration I was actually very ready to hear this set. Not every day you actually have the ability to hear a 1DD +1PL for roughly $60.

KZ ​

KZ has been on a couple year tear through the budget segment basically contending in every price point under $100 and that tear persists. Especially lately. It is actually hard not to be impressed by what KZ/CCA has been able to accomplish. Ya know, one great thing about this company is that they consistently add some of the best sets per their respective price points which gives the consumer the chance at owning a very nice sounding iem for cheap. It’s just the truth. I’ve personally reviewed quite a few over the last year. Ahead are some of those reviews:

– AS16 Pro
– VXS
– CRA+
– PR1 Hifi
– EDCX
– Linglong
– ZVX
– D-Fi
– X-HBB PR2
– Duo
– EDXS
– AS24
– Krila
– AZ20
– ZAT
– Rhapsody
– PR3
–ZSN Pro 2
–CCA Trio

I’ve had a little bit of experience with KZ iems and I’d say that they have really turned out some solid choices in multiple price points. However, now we shall see how well that the KZ Symphony stacks up against the current crop of under $75 iems. I think I’m going to cut this intro short and get into it folks. The KZ Symphony everyone…

Gear used for testing ​

–Ifi Go Blu

–EPZ TP50

–Aful SnowyNight

–Fiio Q15

–iBasso DX240 with Amp8 MK2

–Shanling M6 Ultra

Packaging / Accessories ​

Unboxing ​

The unboxing experience is the same as most KZ/CCA unboxing experiences, pretty cut n’ dry. Only this time around the Symphony came packaged in a black box with a simple KZ logo on the front sleeve. Take the sleeve off and you are met with the Symphony which are sitting pretty in some foam cutouts. Under the earphones you’ll find the eartips as well as the cable. That’s about it folks. Not a lot but also, we probably shouldn’t expect a lot.

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Eartips​

The tips provided inside the box are the regular KZ Starlines tips (S, M, L). I of course love these tips and do make use for them. Whether it be reversing them to use as Reverse Starlines or use them as-is on another earphone. I’ve always liked them, and they do have their use cases. The Starlines are very well known in the hobby with just about everyone having at least a few sets of them by now. KZ also added in one set of medium sized foam tips which are actually decent. I’ve always used KZ’s foamies. For my listening purposes I went with the included foam tips. I just found that the foams knocked down some of the rougher edges which would otherwise be a hint too bright and edgy. In fact, I’ll go a step further and declare that the foamies are the only way to go with the Symphony. I tried silicone tips, and the treble was simply too much. However, it may pay to tip roll with these little bad boys as the sound is very particular. We will talk about that later.

Cable ​

The cable which comes packaged is your standard fare which has come with just about every KZ set for years now. This is one area that we simply never see upgraded. I would think that KZ does this for a reason. They know we’re swapping cables. They must! Anyways, the included cable is the same opaque/white silver-plated copper cable. It’s a QDC 2-Pin cable with a 3.5 single ended right-angle jack. Honestly, it isn’t a bad cable. For the price it’s not bad and does the job. However, for my purposes I did swap cables to a Youkamoo 4.4 balanced SPC cable which looks really great paired with the Symphony. It’s a dope looking cheaper cable and the Symphony is a dope looking set. Not bad at all. I also used the Tripowin C8 balanced cable as well. Both were great pairings. That said, I only use the balanced cable for balanced sources. You do not need to go that far at all. If all you have is a phone or 3.5 single ended source, then you’ll be perfectly fine using the included cable.

Build / Design / Internals / Fit ​

Build Quality ​

The quality of the build is as always pretty good. KZ usually crafts iems which have a solid build. Seriously, every set has some sort of alloy, usually the faceplates. While the Shells are almost always made of a hard formed plastic. The Symphony is no different. However, the Symphony shells are also made by way of 3D printing which helped to mold the internal cavity. Inside you’ll also see some sound tubes created into the mold as well. The overall size of the Symphony is rather large, similar to the Rhapsody in almost every way. If they are the same as the Rhapsody then they are the same as the AS24, the ZAT and many other sets which have the same general mold. It’s a good shape that fits most ears. Hence, why KZ still uses it… constantly. The nozzles are average length with some good-sized tips. It’s a nice build. Nothing that will wow you or change your life but it’s good for $60.

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Design ​

Possibly one of the best aspects of the Symphony (other than the name) is the actual design and aesthetic of this set. Of course, this is very similar to other recent models like the KZ PR3 in that the faceplate has that industrial sleek look with the apparent grating used as the grill. It’s a very cool design. This is another area that KZ/CCA seems to excel at. The Shells are a darker amber/brown and are semitransparent. Clear enough to see the planar and dynamic drivers within. There are a lot of nice little classy touches on the Symphony. Like the cursive “Symphony” in thin white writing about the faceplate grating. The faceplates themselves are almost a chrome silver polish which is definitely a fingerprint trap. Under the faceplates is what appears to be a mesh of some sort. Now, I have zero idea if this is only for the purpose of design or if the Symphony really is an open back style. I am assuming it’s for the design though.

Internals​

Now, we get to the meat and the true purpose that I was so happy to get this set in my ears. Like I stated earlier, the KZ Symphony is a hybrid iem which consists of one 13.2 mm planar magnetic driver as well as one 6 mm dynamic driver. The dynamic driver is meant to specifically aid in the bass response. I can see where KZ was trying to go with this. For all intents and purposes, the drivers seem capable enough.

Fit​

Speaking for myself, I have a nice fit with this set. I also had a great fit with all the other KZ/CCA iems that used this body style. They seem to sit perfectly in my ears. Now I have no idea if the Symphony is going to fit you. I would assume that most folks would have a decent fit anyways. Yes, they are a hair on the large side of things, but the nozzle doesn’t reach super deep into the ear. Just find the right tips and you are in business. As far as isolation is concerned, I’d say that the Symphony has average passive isolation. Not better or worse than your average iem nowadays.

Drivability ​

The KZ Symphony is rated at 18 ohms but a sensitivity of only 95 db’s. However, the low impedance does help the Symphony to not be very hard to drive. Having said that, I definitely feel you need at least a decent dongle dac or Bluetooth dac/amp. Even better to have more juice though. That said, the best I have heard the KZ Symphony was with the Fiio Q15 and the Shanling M6 Ultra, both in high gain. This set turns into its best self with more power. I don’t feel that either driver comes alive unless you have more output. Anyway, I used the IFi Go Blu as well as the Qudelix 5k quite a lot while listening to the Symphony. Only due to the fact that I was doing a ton of housework and fixing up stuff around my home. Without question I felt the Go Blu sounded better with better synergy when using the X-Bass button. Without power the bass feels disjointed a hair. The 5k didn’t work for me, only due to the highs on this set as the 5k had a bit too much of the dual ES9219 dac chips and this embellished the highs a hint more. The Go Blu sort of rounded those edgy peaks off a hair. Plus, it has a hint more power too, which definitely helps.

Dongle Dacs​

I also used many dongle dacs. However, I used two almost predominantly, those are the Aful SnowyNight and the EPZ TP50. I actually listened to the TP50 the most for a review I was working on and so it was a constant in my ears while in my office. Folks, that brand new CS43198 dac chip within the TP50 and SnowyNight is so nice. They work pretty well on the Symphony. Both sounds very similar and offer a similar experience. Using high gain on both devices seemed to tighten up the bass a hint as well as contour the upper mids as well. To a degree. The Symphony is a set which could use a bit more power to perform at its best, along with foam tips. I do feel that finding the right source tonality to fit your preferred sound is a must with the Symphony.

A bit more juice​

For instance, listening to the iBasso DX240, Shanling M6 Ultra and Fiio Q15 each gave me a slightly different overall sound. Between them, I certainly liked the Q15 the most. It has that robust yet resolving sound with a great technical chops which seemed to pair perfectly with the Symphony. You have to consider synergy as it is always a cog in the listening experience and how well that experience brings you the greatest joy.

What do you need? ​

Like I said, at the very least you should find a cheap dongle dac. They are very inexpensive anymore and there are quite literally thousands on the market. However, I do feel that the more power you have, the better. The Symphony houses that 13.2mm planar which just like any planar… needs and wants a bit more power output. Still, to simply get this set to volume and begin listening I would tell you to use what you have. Just remember, more power the better. At least it is to an extent.

Sound Impressions ​

The KZ Symphony has a unique driver configuration as this is KZ’s 1st attempt at bringing a hybrid planar and DD combo. A very interesting mix with a full sized planar but yet a very small 6 mm dynamic driver. I find that most smaller DD’s usually won’t push as much air leaving some of the deep sub-bass rumble out. This is not a forgone conclusion though as there are definitely outliers that sound fantastic. So, I suppose it’s all in the implementation. As far as the Symphony is concerned, it’s most certainly a V-shaped overall sound signature with heavily emphasized sub-bass and a very uplifted treble region. However, this low-end emphasis doesn’t really come across with the meat that a larger 10 mm driver would have, unless you crank the power. This helps the drivers to balance out I feel. I hear very good detail retrieval with pinpoint imaging and good separation and a larger than average soundstage. There are some very good points to the sound as well as some things which will be issues for some folks. The sound comes across slightly disjointed between the bass, mids, and highs to a degree, but I like where KZ is headed here and very curious to see where they go.

Prerequisites ​

I should also add that prior to giving this set some real power, listening at lower volumes rather than what I usually listen, and using foam tips does help. Honestly, I thought it was one of the worst sets that KZ has ever made prior to that. I still don’t think it’s their best and certainly isn’t my preference, but I also think that it’s not bad at all. I’m telling you people, with high gain enabled on my almost 1-watt Shanling M6 Ultra and high gain enabled on my 1.6-watt Fiio Q15 the Symphony did in fact sound much better. The bass almost equaled the dynamic balance of the treble which is what was needed. Of course, the treble is still too much for me, but I could see how people would like this set. With the conditions I outlined. Also, higher volumes things get a bit out of cohesion I’ve noticed. Prior to that, I was not happy and bounced around even reviewing this set. I don’t review stuff I don’t like and so I was about to send them away and let KZ know that they just don’t jive with me. However, using foamies, lower volumes and power helped. Remember, this is a 6 mm dynamic and a 13.2 mm planar set. I cannot imagine it’s easy to make these two plays along cohesively. I do wish that KZ would’ve bumped up to a larger DD but that’s not the case. Please don’t take my words as though I’m rec’ing this set. That’s not what I’m saying. I am saying that I can see how v-shaped folks would like them.

Condensed Sound Between the Two 20’s ​

Beginning with the bass region, the Symphony has huge sub-bass rumble and deepness, but the mid-bass seems to lag a bit behind. The mid bass can still slam and boom, but not as earth shaking as the graph states. This is a reasonably tight bass with only a slightly lingering decay. The midrange is slightly recessed, like most V-shaped iems. There isn’t a ton of bleed over from the low-end into the mids as well which makes them a bit thin. The Symphony has a slightly warmer low-mids and a bit more shimmery and thinner upper-mids. The treble is very bright with a persistent treble sheen which overlays that region. Definitely enough to bring some levity to the sound as a whole. That’s putting it politely. Basically, the treble will be too much for some. Again, unless you have some foam tips which do knock down that treble enough and keep the volume down to a reasonable level. Details are actually very good apart from any heavy bass tracks. Imaging is spot on, and separation of instruments and vocals is good for the price too. I find the stage size to be above average to very good in all ways. There are certainly some issues to note, and I do cover those in the next few sections.

Bass Region ​

The low-end of the KZ Symphony has a very thick feel to it. A sub-bass beast wh3n powered well. For me that was high gain on the Shanling M6 Ultra and Fiio Q15. The bass generally is slower to decay and has a wide presence. It makes its presence felt. This is a very warm bass region that is closer to syrupy rather than compact and dense. I want to say that it is big, bulbous and unnervingly grandiose. Look at the graph! It looks like a low hanging pregnancy if you flip it up on its vertical. It should be the type which rattles the wax out of your ears. This boggles my mind wondering why there was this detached feeling to the bass region. With enough juice It is dynamic in its presence with that localized and dense vibrance down low. Without power it feels held back and pushed back. Then it dawned on me that we are in fact dealing with a 6 mm dynamic driver covering the low-end. You simply don’t get a huge amount of air and sound pressure. The surface area of a 6mm driver simply doesn’t produce the same experience. Like I said, I would’ve loved to see a slightly larger DD. Anyways, feed the Symphony some power and both drivers seem to come together a bit better, the sub-bass gets flat out nasty deep too. Still a slight lack of cohesion, but this is what worked for me.

Sub-bass ​

The lowest of lows can flat out bang! Now, with less power I didn’t get this, and the sub-bass felt held back and almost pushed behind everything else. It wasn’t until I began playing around (without EQ) to try to make this set work for me. The sub-bass can growl very deep and become pretty overbearing and boomy which does cover up and mask some frequencies. This won’t be a problem for folks who enjoy more bulbous and grumbling bass down low. Listening to “Groove” by Ray Wylie Hubbard you can hear and feel the haptic vibration that this little 6 mm driver can put out when pushed a bit. This track has a pretty deep bassline that moves along to Ray’s deadpan vocals. I did not get any masking of his voice, which is good, and I was impressed by the deepness of the bass. This can work for some genres. Granted, it isn’t my favorite type of bass but again, I can see how some would enjoy it.

Mid-bass ​

The mid-bass has a bit less weight to it than the sub-bass levels and does feel a little held back. Oddly enough, this isn’t all the time. Some tracks come across better than others to where the Symphony sounds like a fun set. Anyways, the Symphony has a bass that’s hard to pin down. Timbre-wise it is just fine, no issues there. The transient attack through sustain is reasonably quick and without a huge amount of decay drag and so the mid-bass doesn’t come across slow. I wouldn’t call it that. “I Can’t Stop” from Big Boss Vette off of the Across the Spider-Verse Soundtrack showcases a round, tight and springy bass which keeps up well with the surrounding digital melody and doesn’t mask over anything. Also, in “Stereo Colour Cloud” by Sampha, this is a bass that can easily begin to mask as the bass is the foundation to this track. The lead’s voice is never cast in veil, and it all comes across clean enough. The only slight subjective issue is that the bass sounds a hint pushed back. Still authoritative against the rest of the sound field. I figured that was worth noting.

Downsides to the Bass Region ​

This has been an up and down review of the bass region so far. There’re some good aspects as well as some not-so-good aspects of the bass. One thing I didn’t really speak on enough is that in bass heavy tracks the low-end can get pretty over saturated which can mask other frequencies. Then the mid-bass doesn’t sound like I’m getting that nice transition from the sub-bass. On the bright side, the bass doesn’t sound flabby or pillowy and has great density, especially in the sub-bass. Not at all perfect and I do think that KZ will have to go back to the drawing board but, not horrible either. Also, this is a first try at this driver configuration and so you’ll see some issues. It’s like anything else.

Midrange​

The midrange doesn’t get a whole lot of warmth and weight from the bass due to the more dramatic roll-off of that bass into the midrange. To my ears I hear a pretty hard recession which isn’t their best tuning to date unfortunately. I think fans of ole school V-shaped iems who don’t mind some thinner scooped mids, will find this appealing, but anyone looking for balance may think about moving on. Or, even checking out some of KZ’s very well-tuned iems. That said, I don’t want to beat a dead horse here. Also, after a while my brain adapts, and I can listen just fine. Is it my favorite? No, it isn’t. I like a balance, more forward style mids with a hint of warmth from the low-end. I like a hint more smoothness as well. However, here we are. The midrange is kind of thin, pretty resolute and fairly detailed but it will not give you that hearty note weight and is actually leaning to the artificial side of the aisle within the timbre. Similar to the KZ PR3, so if you enjoy the PR3 then you’ll like the Symphony.

Lower-midrange ​

Listening to the lower midrange I hear a certain thinness in this region compared to recent KZ/CCA releases. Kind of a departure from a winning tuning philosophy. Like I said it takes me a minute to gather my senses and get with the tuning. Anyways, it’s thinner and the note density isn’t there like I’d like. They just feel less present, less proportionally weighted across the spectrum with boosted highs and not a lot of warmth to counterbalance the mix.

What you end up with is Chris Stapleton coming across thin and a hair edgy on “Tennessee Whiskey”. His voice needs body and his voice needs just a hint of smoothness and warmth to really carry the inflections in that voice. Also, the sub-bass reverberant growling drone of the bass guitar is a bit much on this track, while the strumming guitar sounds almost a hint too thin and tinsely. I am being beyond picky here. I simply want you to know what you’re getting. Even deeper pitched singers like the bass singer Avi Kaplan (which I always use for review purposes) sounds a bit too lifted. The track “First Place I Go” sounds only slightly resonant and I’m missing that deep drone to his voice. Ya know, he has a voice with a fundamental frequency somewhere in the bass to low-mids, but his harmonics live in the midrange. Avi’s voice sounds a bit too pushed back in the sound field, thinner than usual, and his voice is less sonorous and more artificial vibrant than anything.

Then again… ​

On the other hand, The Paper Kites sing “Pocket Full of Rain” which truly comes across beautifully when the Symphony is in my ears. The tuning really fits the mellow sound of the track. Almost adding a slight vibrance to the otherwise more mundane and dull sound. The lead’s voice sounds natural and organic and just sounds great. This is the stuff you run into folks. On one hand I’m telling you thin, vibrant, artificial, and on the other I’m telling you something different. More mellow tracks sound fine. Tracks which won’t pull in those upper frequency notes.

Upper-Midrange ​

From the mid-mids to the upper midrange is closer to appropriate as far as presence. Females for example are generally more forward in the mix from their male counterparts. This isn’t an across-the-board truth, however. Generally, it’s true though. Now, having said that, I also find females still don’t come across as timbre accurate as I think most hobbyists would enjoy. Perhaps KZ needed a hint less treble emphasis and a hint more of a gradual slope from the bass to the midrange. However, once again this is not an across-the-board theme. The sound of some females is great. For instance, Olivia Rodrigo in the track “Teenage Dream”. Her voice sounds very melodic as the entire track is more reserved and withdrawn. This is an emotional track with this reticent style singing from Olivia which keeps the vibrance down and so it is a winning combo on the Symphony. However, once you play a track like “High” by Caitlyn Smith, you begin to hear that vibrance which also happens to bring out some sibilance and planar timbre. Especially in the more strident and vivacious areas within the chorus. Just a bit too much of that treble footprint shows up in the upper mids.

Downsides to the Midrange ​

The biggest downside of the midrange is that it is recessed a bit too much in the lower midrange which gives off a slightly distant feel. I realize this won’t bother everyone and some may actually really enjoy the sound. I don’t want to discredit you at all. But it’s just a bit recessed. Not horrible. The midrange also has some planar timbre show up which I assume comes from not enough balance in the mix. It truly isn’t always bad and there are plenty of tracks which come across beautifully on the Symphony. It’s when you push it a bit too much in the vibrance area that things start to become sheened- out and sibilant. Again, I am definitely talking up some of the worse infractions of the midrange and I don’t think it’s as bad as I make it come across in my words. It’s simply a departure from the great tunings we’ve seen lately.

Treble Region​

The treble of the KZ Symphony is very bright and very lifted, especially when pumping up the volume. Even with foam tips it can be a bit too much. Now, this isn’t every track. For instance, I was just listening through some critical listening playlists I happened upon one of the harsh tracks. Friends, it was far too bright. Of course this was also at higher volumes too. Without question the Symphony treble is better heard with less volume. This is a treble that is over emphasized, which contrasts in a negative way against the bass, and so you don’t have that nice balance and smooth transition. Almost like the 6mm DD is trying hard to play catch-up to the planar. So of course, the track that you are listening to plays a part and so does your source to a degree and the tips you use. However, I think it’s clear that the treble is pretty jarring at times. The treble is very tinsely and chimney rather than controlled brilliance. Simply too much of a direct disconnect and lack of cohesion between the frequencies for my personal taste. Again, it all comes together a bit better at lower volumes for me. I could certainly see some people who enjoy this though. Hence why I’m reviewing them. If I didn’t think anyone would enjoy them, I would not review them. Plain and simple. There are a number of sets where the treble doesn’t play as big a role and those usually sound okay. However, even without treble activity on a track doesn’t mean that the treble doesn’t affect other frequencies to a degree.

Redeeming Qualities​

On the good side the treble has fantastic extension. Yes, it’s a bit splashy but we are focusing on the good stuff. Also, this is a treble that is very well detailed and well defined with some very good note separation as well. I do feel that treble heads who enjoy some forced treble would also enjoy the Symphony as well. Another thing that the Symphony treble region excels at is in complicated tracks. This is a planar driver which can move pretty quick and doesn’t miss much. Billy Strings song “Secrets” has some fast paced near treble banjo play and the Symphony cooks right along without skipping a beat. So, there are certainly redeeming qualities here.

Downsides to the Treble Region ​

I feel like this section has been a downside and I never want to point out flaws over an entire section. Especially for KZ who has always been very good to me. Certainly, it isn’t personal. I don’t jump on the “hate KZ” bandwagon. I’m not that guy. I have heard way too many good sets from them. I mean way too many. Also, I’ve given rave reviews countless times for their products. So, I won’t list all those things again. You get the picture. Treble is bright. High volumes are a bit much and lack cohesion too.

Technicalities ​

Soundstage ​

The next couple sections are where the Symphony actually fares very well. Looking at the soundstage in particular, it’s a good-sized stage. I hear good width, good height and even a slight bit of depth. Which is not the norm for a planar. Even more-so with more juice. I wouldn’t call this a grand stage or a coliseum type of stage breadth, but for an in-ear costing $60…its big enough and it does make a difference in your listening.

Separation / Imaging ​

Another area where the Symphony shined. I felt it was very easy to pick apart different instruments with a fine lined control. The Symphony does a great job of making distinct elements of a stage that don’t seem to overlap or get confused. Even on more complicated tracks I was quite happy with what I heard. The only real caveat would be overtly bass heavy jams. Those types of tracks did have some masking going on and so separation was a bit more difficult to discern for me. Imaging is another bright spot as well. I feel that I haven’t had an issue with the placement of elements of a stage which is a good thing to hear. Left to right and even front to back (to a small degree) sounded as though everything was in its place pretty much all the time.

Detail Retrieval ​

Hearing all the subtle little details in my music really isn’t hard on this set except when the track I’m listening to has a lot of bass presence. Heavier bass jams will mask some frequencies at times but that is to be expected with a more elevated low-end. Other than that, the Symphony does have tighter transients, a wider and more separated stage, resolution is nice, and the treble is lifted which will always help to bring out some of the finer things in my music. All of this helps the Symphony to come across a bit better than most iems in the price point with detail retrieval. Certainly, above average.

Is it worth the asking price? ​

I can only answer for myself folks. This is always a tough thing to answer but I will come right out with it… no I don’t think so. For me personally. To be fair, the only reason I say this is because it simply isn’t my favorite sound signature. I don’t enjoy the ultra-bright treble and there really needs a bit more mid-bass emphasis to balance things out. There are so many other iems out there in the Audioverse at the same price point which make more sense. Shoot, there are KZ/CCA iems that would make more sense. Sets like the CCA Trio, CCA Rhapsody, KZ ZAT among many others. Now if it’s simply the planar tech that is driving you to get this set and you enjoy a hearty sub-bass with a bright treble, then yes, it’s worth it. I do think it’s an upgrade from the KZ PR3. However, I said the PR3 wasn’t my favorite sound signature as well. Now, does the Symphony have redeeming qualities? Absolutely it does. Also, it’s easy to EQ and takes to EQ very well, like most planar magnetic earphones. I actually increased the mid-bass and dropped the frequency past 4k down a few db’s and I can get this set to where it makes sense for me.

The Why… ​

If I’m answering “why” the KZ Symphony is worth the money that KZ is asking I would have to put myself in the place of a person who enjoys that brighter treble and deep sub-bass kick. Perhaps someone who loves the KZ PR3 but simply needs some oomph down low. The Symphony is worth it to the person who loves crisp over smooth and a highly resolute playback over musicality. The reason the Symphony would be worth every penny is because this set has a very unique driver configuration which is a great addition to a collection. Also, the Symphony takes to EQ very well. This is not a bad set folks. In fact, it’s quite good. However, it is simply a stretch that this tuning was going to appeal to many hobbyists. However, for those who do enjoy what I’ve described, you’re in luck because the KZ Symphony is a very cheap planar hybrid.

Ratings (0-10)​

Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the KZ Symphony ratings below, that would be $40-$75 iems in any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5-6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $40-$75 US is a huge scope of iems that is extremely competitive, and so seeing a Rating above a “9.0” better mean something very special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings will be unique to that review. Basically, I create a Rating that makes sense to me.

Aesthetic ​

–Build Quality: 8.8 Built well, as per usual with KZ.

–Look: 9.2 This set is dope looking.

–Fit/Comfort: 8.9 Fit and comfort is great for me.

–Accessories: 5.5 This is expected, no big deal.

–Overall: 8.1

Sound Rating ​

–Timbre: 6.5 Some artificial timbre, planar timbre.

–Bass: 7.9 Beefy sub-bass that rumbles.

–Midrange: 7.0 Recessed low-mids, not bad, a little artificial.

–Treble: 7.4 Very bright but also technically very good too.

–Technicalities: 9.5 Technically a very fine set.

–Musicality: 6.3 Technicality over musicality.

–Overall: 7.4

Ratings Summary:​

To summarize the ratings above I first want to say that comparing any and all iems of any driver configuration at the price of $40 to $75. There are a ton of iems which sit very comfortably in this price range. Oh, and by the way, this also happens to be smack dab in the middle of one of the most successful and heralded price points in all of audio between $50 & $100. It’s simply a loaded range to try to come in with anything that isn’t perfectly stellar. So, the ratings may appear a bit lower but there is a good reason for that.

Okay, so there are some very debatable ratings above. One would be the bass rating. I could see this go either way. I could see folks Rating this much lower and much higher. It all depends on your likes and dislikes. The bass has such a heavy-handed sub-bass, but the mid-bass doesn’t really show up as much. Some folks will drool over this. Hence, a “7.9”. Still a great score. The treble rating is another which some will think I’m nuts. Treble heads may think the treble is great and I understand that. For me it’s simply a few db’s too boosted across the upper ranges but I know plenty of folks who love this type of sound. The rest of the ratings are pretty reasonable I suppose.

Conclusion ​

To conclude my full written review of the KZ Symphony, I have to first thank the kind folks of KZ as well as Tyvan Lam. KZ has always been good to me, and I have enjoyed listening to their sets for a long time. By and large I enjoy them and never got onto the KZ-hate bandwagon. I don’t do that sort of stuff. I follow my own lead and look at things from a perspective that I understand. Not like some other reviewers who feel they get bonus points from the peanut gallery if they put KZ down. Really strange. So no, I don’t play that game. KZ has made so many great sets for far cheaper than anyone else giving people of less fortunate situations the ability to have good sounding in-ears, in their ears. It’s a beautiful thing. How can you hate that? I’m telling you it’s weird folks. Also, who cares about their public relations? I hear worse at the jobsite by 8am then KZ has ever said and done. It’s time we grow up. Be tough. Also, thanks KZ for sending out this unit in exchange for a feature at Mobileaudiophile.com. Thank you for never asking me to change my words and always being content with my thoughts, no matter what those thoughts look like. I can respect that. Folks, I can count on my hand the number of brands who are similar in this respect.

Other perspectives ​

As always, please check out other reviews of the KZ Symphony. Please do this. Especially, because I told you all through this review that the tuning does not fit me. Please listen to, read, or watch other reviewers who may actually love this set. I know they are out there. It will only pay off for you to hear more voices concerning this set. With that, I think I’m done. Please take good care, stay as safe as possible and always…God Bless.

Introduction
Where to begin? It's been a while since KZ has produced such a divisive pair of IEMs. Lately, they have been crafting really good IEMs, and it doesn't help that the Symphony is overall on the pricier side compared to other models made by KZ. The idea behind the Symphony is quite straightforward: "Our previous planar models were found to be lacking in the bass department. What if, by combining a Dynamic Driver with our Planar one, we could have the best of both worlds in one pair?" With this simple yet effective idea, the Symphony has come into existence.


Disclaimer: I bought the KZ Symphony with my own money.

Technical Specifications
・Drivers: 1 x 13.2mm Planar driver + 1 x 6mm Dynamic Driver
・Impedance: 18 Ω
・Sensitivity: 95 dB

Packaging
The KZ Symphony comes in a different than usual black box, but it shares the same contents as the KZ standard one, which includes:
・The IEM (KZ Symphony)
・3 pairs of KZ Starline silicone ear tips (S, M, L) and one set of medium-sized foam tips
・A QDC 3.5 silver-plated cable

Gears I used for the review:

Drivability
I would highly suggest pairing the Symphony with a good DAC/AMP, as it is almost as power-hungry as the PR2. Needless to say, a good DAC will also improve dynamics and detail retrieval compared to integrated ones. If you have a DAC/AMP that supports a balanced connection, even better! Compared to the 3.5mm unbalanced connection, the soundstage of the Symphony improves massively when used on the balanced port (2.5mm, 4.4mm).



Sound Signature
The KZ Symphony delivers a more “classic” KZ sound, characterized by a distinct V-shaped tuning. The bass presence is noticeable without becoming overwhelming. It provides a solid foundation for the overall sound signature. The midrange, however, takes a step back, residing more recessed and subtly in the background. This contributes to creating a sense of spaciousness and separation. As for the treble, it is crystal clear and with exceptional extension. In summary, the KZ Symphony embodies a classic “fun” signature, and what makes it even more captivating is the expansive soundstage it offers.

Bass
The KZ Symphony showcases a full-bodied bass that manages to strike a balance between precision and control. It performs admirably across both the sub-bass and mid-bass ranges, without encountering any significant issues. Notably, the bass delivers a solid punch, which adds an engaging dynamic to the overall sound. Additionally, it synergizes effectively with the planar driver, introducing a touch of warmth to the IEM. This warmth is particularly valuable, as planar drivers can sometimes lack it on their own. An important observation is that there is no midrange bleed. This means that the bass doesn’t spill over into the midrange frequencies, preserving clarity and separation. In summary, the KZ Symphony’s 6mm driver impresses with its bass performance, offering a well-controlled and punchy experience.

Midrange
As per other reviewers, the midrange in the Symphony is recessed. However, I’d like to emphasize that it’s slightly more recessed than what you may typically encounter in other v-shaped IEMs. In my opinion, the Symphony could have benefited from a subtler V-shaped tuning to cater to a broader audience. But to be honest, I’ve grown to appreciate this tuning over time. Male vocals, lower-stringed instruments, and even female vocals may appear a tad more distant and subdued than usual, yet there’s an undeniable charm to this tuning. Ultimately, the Symphony’s mids, though recessed, are executed with finesse. They serve as a canvas, allowing the lows and highs to truly shine.

Treble
Some individuals have criticized the Symphony’s treble, but I respectfully disagree. For me, the treble is not a drawback; in fact, it stands out as a highlight of this IEM. It shares the same quality that can also be found in the PR3 (same planar driver): the treble is crystal clear with exceptionally good extension. However, it’s essential to recognize that individuals who are treble-sensitive might perceive it as fatiguing. But I believe this is more of a preference issue rather than an inherent flaw of the product. As a side note, I would say that when compared to the PR3 and especially the PR2, the treble can be perceived as a bit ‘tamer’. This effect is due to the fact that it is better counterbalanced by the bass of the 6mm dynamic driver in the Symphony.

Soundstage
The soundstage of the Symphony is remarkably expansive and incredibly immersive, boasting a generous width and really good depth. Additionally, the imaging is excellent, aligning well with other models in the same price range.


Conclusion
The KZ Symphony is a highly competent IEM for the price (I purchased it on sale for $55). In fact, I would even say it’s exceptionally good. It provides a well-rounded, fun and enjoyable listening experience. While I do believe that a less V-shaped tuning might have made it less controversial and divisive, over time, I’ve come to appreciate its uniqueness, and it has become more of a pro than a con for me. So, in the end has the idea behind this hybrid worked? Yes, the Symphony is a KZ planar IEM that doesn’t fall behind in the bass department, while still offering a good performance in the mids and an exceptional one in the treble region, thanks to its very capable planar driver. Does the Symphony still have room for improvement? Undoubtedly, and I’m sure KZ will capitalize on that with a next iteration. But for the time being (especially if you like really good V-shaped IEM) the Symphony has got you covered.

Introduction​

KZ has landed with their first IEM featuring a Planar/DD hybrid configuration called “Symphony”. This comes after many different planar IEMs (PR1, PR1 Pro, PR2 x HBB, PR3 and so on…) that they have used to improve and refine their in-house planar driver in order to follow a market trend that has brought us to sets that sport both planar drivers and DDs or BAs (combining the different strengths and weaknesses of them).
Let’s see how the Symphony fare against the competition.

Disclaimer: the KZ Symphony were sent to me by KZ free of charge so that I could write an honest review. This review represents my personal opinion on the set and it is by no means a promotional or paid content.
At the time of the review, the KZ Symphony were on sale for around 59$ at KZ’s official webstore.

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Technical Specifications​

• Driver Configuration → 1 x 13.2mm Planar driver + 1 x 6mm DD
• Impedance → 18 Ω
• Sensitivity → 95 dB
• Frequency Response Range → 20Hz-40kHz
• Cable → 1,20m 5N copper silver plated cable with 0.75mm 2-PIN QDC connectors
• Plug Type → L-type gold plated 3.5mm jack connector

Packaging​

The KZ Symphony come in a very minimal cardboard box that contains:

• The KZ Symphony
• One pack of starline eartips (S, M, L) and one set of medium-sized foam tips
• The detachable 3.5mm cable with 0.75mm 2-PIN QDC connectors
• User manuals and instructions

Design, Build Quality, Comfort and Isolation​

The KZ Symphony are for sure on the bigger side with average nozzle width and pretty short nozzles considering the overall size of the shells.
They look pretty good and the build quality is very nice, and there are no switches unlike most of the recent releases from KZ.
There’s a perforated grill underneath the faceplate which suggests that the Symphony are quasi “open-back”. I am not sure about this, but the fact that the isolation is also just “average” seems to confirm this. Comfort is ok if you have medium-to-big sized ears, whereas it is a big no if you have smaller ears.

Cable​

The stock cable is nothing special: it’s the same cable that KZ and CCA have been including for ages now, and even though it’s not bad (per se), I still think a small effort to include an even better cable could be done, since other brands have already done that in this price bracket (and also in lower brackets).

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Truthear SHIO
• Portable DAPs: Benjie S8/AGPTEK M30B
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR, KZ AZ10

Do they need an amplifier?
The KZ Symphony don’t need an amplifier, but warmer sources are a must if you want to use them and push the volume a bit (see why in “Sound Signature”).

Sound signature
The KZ Symphony are V-shaped but it seems like the equilibrium between the frequencies highly depends on the volume.
It really seems like the 6mm dynamic driver and the 13.2mm planar driver don’t scale the same way with volume, and this becomes very evident when increasing the volume: at lower volumes, the Symphony sound pretty balanced, whereas things become messy when the volume is turned up as treble gets much louder than the rest (foam tips are mandatory, since the starline tips kinda emphasize the treble even more).
Let’s say it’s the first time I wish there were some switches in order to try compensating for this issue, and in fact there are already some EQ suggestions around on the web.

Lows
Sub-bass comes across with lots of control and there isn’t any exaggerated rumble. The bass has nice punch and slam, textures are decent and everything feels tight enough not to sound loose. Still, the dynamic driver is only 6mm and even though it’s probably doing something, it’s still not enough as the low-end needs a bit more weight.
All in all, these aren’t basshead stuff for sure, so beware of this if you’re searching for something that can really shake your head. I bet that some impedance adapters can improve these but since I don’t have one with me, I can’t be sure about it.

Mids
The lower midrange is recessed even though the bass shelf kinda helps with male vocals and acoustic instruments, albeit not giving them enough depth and warmth to sound as natural as they should be. Female vocals are full of energy and sound pretty good, but the treble emphasis makes sibilance episodes a lot more common than they should be.
The Symphony are spot on when it comes to instrument separation too, which is good news.

Highs
Here’s where the real issues come alive.
The highs are really too bright, and if we add the fact that the two drivers don’t scale consistently then you easily understand that the issues related to the tuning are instead caused by an immature implementation of this driver configuration.
If it wasn’t for this issue, for sure the treble would have been very bright, but we would have also had more low-end to counter that.
The detail retrieval is crazy good and the sound is very airy, but it’s too harsh for most people and often introduces sibilance especially when listening to female vocals.

Soundstage has good width and average depth and height, whereas imaging is on point for the price tag.

Some comparisons:​

KZ Symphony vs CCA Rhapsody UUUU
These are very different, with the Rhapsody being warmer and more powerful in the low-end, with better sub-bass extension and a punchier bass. Male vocals have more warmth on the Rhapsody, whereas female vocals, albeit energetic on both, sound slightly better on the Symphony (both have some episodes of sibilance though). The highs are more detailed and a lot more open on the Symphony, but they are also very fatiguing.
Soundstage is slightly more “cavernous” on the Rhapsody, but the Symphony have a bit more depth. Imaging is hands down better on the Symphony.
I’d also add that the Rhapsody feature a very good implementation of the driver configuration, and in fact they also scale much better when the volume increases (thing that doesn’t happen on the Symphony).
Build quality, comfort, isolation and design are comparable and they also come with the same cable.

KZ Symphony vs Moondrop May (PEQ=0, stock 3.5mm tuning)
Again, completely different.
The May are airy yet not bright, with a pleasant bass shelf and a Harman-ish signature that may appeal most customers. The Symphony are brighter, more detailed and more open sounding, even slightly more technical but ten times more fatiguing than the May and also less natural sounding.
The hybrid configuration of the Moondrop May is definitely more refined with perfect scaling when the volume increases, so there’s no competition under this point of view.
Imaging is slightly superior on the Symphony, with the May taking the lead in terms of soundstage thanks to their more natural space representation.
Build quality is great on both sets, design is very subjective, comfort is generally better on the smaller Moondrop May and the stock cable provided with the May looks better, feels better and also has a built-in DSP.

KZ Symphony vs Celest Gumiho
This is an interesting one because both have some issues here and there, especially in the overall timbre and coherency between the drivers.
The KZ Symphony sport a more pronounced low-end shelf but the overemphasized treble and the lower midrange recession lead to a thinner bass overall. In fact, the Gumiho reproduces a full bodied bass that is hard to replicate, and while the Symphony does good with transients and tightness, the Gumiho still win hands down when it comes to the impact, the punchiness and the overall bass timbre.
The midrange is more linear on the Gumiho, more energetic and aggressive on the Symphony, even though KZ’s hybrid manages to separate instruments slightly better. Sibilance is frequent on both sets, especially on the Gumiho.
When it comes to the treble region, both have some unnaturalness here and there, but the Gumiho are less fatiguing than the more detailed, airier and more analytical Symphony.
Soundstage is a tad wider on the Symphony, imaging is comparable.
Both have small issues with volume, since the Gumiho has some distortion at higher volumes whereas the Symphony has some scaling issues that lead to inconsistent volume between the two drivers, but Symphony’s issue has a more negative impact on the listening experience.
Both look good and feel sturdy, both are just ok in terms of comfort (Gumiho have strange shells and Symphony are huge), and the isolation highly depends on how one manages to fit them. In general, anyway, the Gumiho insulate a tad better. The stock cable of the Gumiho is better.

KZ Symphony vs KZ PR2
The PR2 were among the most criticized sets from KZ, mostly because of the fact that they were a collaboration with HBB but the promised tuning wasn’t the one that many people experienced with their brand new PR2 (from here, the mesh drama).
The PR2 have better sub-bass extension, a slightly less emphasized bass response and a more linear and warm lower midrange, all of this combined with a less energetic upper midrange.The lower treble is slightly more accentuated on the PR2 whereas the Symphony have a lot more mid-treble. The upper treble, instead, is comparable. The Symphony are generally more detailed, they have better instrument separation and sound slightly airier, but the PR2 are less fatiguing over long listening sessions.
Imaging and soundstage are better on the Symphony.
The PR2 need less power to run properly and have no issues with scaling since they have a single driver, so there isn’t any volume mismatching issue between the two drivers.
Build quality and design are very similar, whereas comfort is hands down better with the PR2 in the ears. Isolation is comparable, maybe a bit better on the Symphony. The stock cable is identical.

An opinion on KZ/CCA products turnover​

While I appreciate the fact that KZ has shown lots of improvements in the last couple of years, I cannot deny that their very high product turnover is not healthy (both for the market and for the customers).

The more the market becomes competitive, the more difficult it is to recommend some products over others, because competition forces brands to adhere to some standards and fight for the best price in order to become value kings.
Specifically, since I am speaking about a KZ product in this review, I think they should slow down and settle with a certain driver configuration trying to get the most out of it. Usually, in less than a week or two a new version of the same IEM is likely to pop-up and start a new hype.
Somehow, their marketing strategies still work because they offer fun sounding IEMs at affordable prices and their name is quite popular online, but the truth is that I really wish they could focus more on less products, showing more attention to details and higher quality standards on fewer models.

All in all, I don’t like the fact that there’s a really short timeframe between two releases, as this leads to very similar products with few-to-none advantages in buying every model, but this isn’t something we can control and I am not sure KZ is going to slow things down in the near future. I know it’s a very competitive market, but understanding when it’s time to steer and make smart moves is crucial for a company of this size.

Final Thoughts​

This is my first “bad” review on a recent KZ product, and this is no surprise since KZ has done lots of great IEMs in the last couple of years.. Lemons or bad apples sometimes happen when you are experimenting, and the Symphony are an example of this: they have tried to put nice ideas into practice, but the final product still has some major issues that need to be addressed. I would have really liked giving these a better vote, but I seriously need to see some more efforts on this kind of configuration and I genuinely know that KZ has the knowledge to do so.

The crucial topic about the Symphony is that the drivers need to walk hand-in-hand while the volume increases, since on this set the signature varies (and it’s almost impossible to keep the volume very low as the bass doesn’t shine properly, which is a shame in a V-shaped set) at different volume levels, and also for this reasons the Symphony don't really sound as the promotional graphs say (another reason why I always suggesting waiting some time before buying everything).

Apart from my brutally honest take, I personally enjoyed the Symphony at lower volumes, but it’s also true that I have a very high tolerance for treble peaks and brightness so I am not a benchmark by any means; in fact, their technical performance is a sign of KZ stepping into direction, and the same applies for the bass quality, which is better than previous sets like the PR2, but this now has to be paired with a nicer implementation of the driver configuration and a more refined tuning, things that weren’t done quite right on the Symphony.

As a honest side note: if you really want something from KZ, get the Rhapsody or the Trio, for a great V-shaped set or a more natural U-shaped set respectively: they are the true kings in KZ/CCA (even better than PR2, Symphony and so on) lineup and deserve my thumbs up hands down.

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

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

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

The contents comprise:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Comparisons
KZ PR3
The new PR3 features an upgraded 13.2 mm Planar unit with a "Nano-level" silver plated membrane and electronic filter tuning. The cable is a silver plated OFC type with a 2-pin 0.75mm connector and a gold plated 90° angled 3.5mm plug.
The PR3 is a semi-open design with a clear resin body. The gunmetal coloured alloy faceplate has a grille of diagonal parallel strips, three gold hex bolts.

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

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

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

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

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

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

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

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

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

𝐒𝐩𝐞𝐜𝐬
Model:KZ Symphony
Impedance:18Ω
Sensitivity:95dB
Frequency:20-40000Hz
Plug type:3,5mm
Pin type:0.75mm
Cable type:Silver-plated cable
Cable length:120±5cm

The new KZ Symphony is an in-ear monitor consisting of a 13.2mm Planar Driver + 6mm Dynamic. It is on the larger size and may not fit all ears well, that said it was not a problem for me. I found it reasonably comfortable, and isolation was decent. Build quality is good as expected of the Black box flagships from KZ. I do wish they included one of their better cables instead of the classic silver dual one that basically is in every box. I really liked the one that came with the ZAR. Look wise the Symphony is very modern looking with its angled grill. The smoked resin back allowing you to see the planar in a certain light. Included in the box is the typical cable and tips.



Sound wise:
The Symphony is a decent performer with Bass and mids are of course recessed, the vocals are clear and have sufficient weight and details but are far from focused upon this area and treble hits and rolls off quickly. there is a wide soundstage with good placement and air. This is by far not the worst IEM i have heard but I rally was hoping for them to level-up from the amazing Rhapsody. Instead, what we got is an IEM that has a fun signature that for casual listening is fine. Many will of course not like the midrange because its lacking. It also should be noted that this is a fickle IEM and on certain sources it sounds much better than others and fuller and less scooped. on the Gryphon it was much more enjoyable than on the M15 dongle. its not a power thing because it doesn't need much power. I think there will be a split between those that hate it and those that will enjoy its non-serious nature.
All and all its not as bad as many have said, it's fun and can be enjoyable with certain types of music. I personally like the D-Fi better.

Mar 10, 2024
The following review is an expanded version of the review I posted on the kztws website. I could only use 2000 characters there so I'm expanding my thoughts here.

MY RATING: 9/10 STARS. So I've heard a LOT of criticism about the Symphony... As a casual music listener I hope to dispel some of the concerns with my honest review. I bought these with my own money.

BUILD: 10/10. These look stunningly handsome and professional. I love the metal grille and underlying mesh. The build quality is very good like all KZ products I've tried.
FIT: 8/10. Yes these are large buds, but they fit my ear well and the medium silicone tips create a perfect seal. I've never liked memory foam tips, and the ones included with these don't work for me either. I've noticed only slight fatigue in my ear canals during long listening sessions. Paired with the KZ AZ20 Bluetooth adaptor, they are overall a quite comfortable earbud and has no risk of falling out.

OVERALL SOUND: 9/10. I am not an audiophile but I like good sound quality. I do NOT use a DAC or other amp, and use Amazon Music for much of my music. I do use an EQ on my other music apps, and these IEMs are very responsive to EQ changes. These benefit from a "vocal booster" EQ but on Amazon Music with no EQ, they still sound great. On the AZ20, I always use the "full power mode" which enhances the sound quality. I don't feel like they are too "hard to drive," and they sound good both on the Bluetooth adaptor and wired with an Apple 3.5mm dongle. You simply have to have the volume set a little higher than with other earbuds. The overall sound is pristinely clean and clear, and rival multi-armature driver sets in detail. This my first time owning a planar driver IEM and I can say I love the sound they produce, and look forward to trying some other planar driver sets in the future.

BASS: 9/10 These have more bass than the EDX. I'm talking SUBWOOFER-level bass. That 6mm DD that YouTubers derisively call a "pencil eraser driver" really can pump out quality bass. At times though, the bass can be almost too much for even me! These are what I would consider "bass-head" earbuds, but sometimes I want to turn the volume up but can't because the bass is at my max comfort level. Sometimes I enjoy heavy bass, and while the bass response here is amazing, I'm docking one star from an otherwise perfect score because it can be just a bit too much on some songs.

MIDS: 7/10. Yes, the mids are a bit quieter than the bass and treble, but they are accurate and pleasantly warm. Like I said earlier, they do sound better with a slight boost in the mids with EQ, but the mids certainly aren't overly recessed, muddy, or vague like some cheaper sets I've heard.

HIGHS: 9.5/10. I hesitate to give a perfect score here, but the high end is really perfect: not too harsh or shrill, but elevated enough to give sparkle and shine to the music. They don't have the celestial highs of the ZS6, (which many have rightly criticized as being overly extended) but are still very pristine and a delight to the ears. The planar driver can compete quite well with armature drivers in this regard.

CONCLUSION: These aren't a "monitor" set. They are excitingly dynamic and outshine all of KZ's older sets I own. (EDX, ZS6, ZS10, SKS, ES4, EDX PRO X) They really sold the planar driver for me, and now I want to hear one of the PR sets to see how the bass response sounds without the in-ear 6mm subwoofer!