KZ Zenith

kesobie

100+ Head-Fier
Pros: The most refined KZ single DD
Good unboxing experience and accessories
Unique design
Premium construction
Neutral to balanced sound
Versatile tuning
Good technicalities for the price
Great reference KZ set
Cons: Crappy stock cable
Not the best quality eartip selection
Occasional electric zaps when paired with a high powered amp
Not the most exciting IEM
Not the smoothest treble presentation
Not class leading in terms of technicalities

KZ ZENITH REVIEW: THE BEST OF THE ZENITH​

PROS:​

  • The most refined KZ single DD
  • Good unboxing experience and accessories
  • Unique design
  • Premium construction
  • Neutral to balanced sound
  • Versatile tuning
  • Good technicalities for the price
  • Great reference KZ set

CONS:​

  • Crappy stock cable
  • Not the best quality eartip selection
  • Occasional electric zaps when paired with a high powered amp
  • Not the most exciting IEM
  • Not the smoothest treble presentation
  • Not class leading in terms of technicalities

WHO THIS UNIT IS FOR:​

  • People who want the best single DD KZ
  • People who like a reference neutral tuning
  • People who like a well-built IEM
  • People who want a versatile sounding IEM

WHO THIS UNIT ISN’T FOR:​

  • Treble sensitives
  • People who don’t like QDC connectors
  • People who want a more fun and exciting set’
  • People who want the most technical IEM for the price

RECOMMENDED GENRES:​

  • Vocal pop
  • Jazz
  • Funk
  • Modern Pop

SHORT REVIEW:​

KZ’s “flagship” single DD finally means something as Zenith achieves what the D-Fi aimed to achieve 2 years ago. Well-balanced KZ “neutral” sound signature with an actually compelling unboxing experience, solid build and a solid technical performance that allows for it to compete with its single DD peers. While it can’t totally compete with the single DD gods, you can’t deny that KZ have considerably improved upon their single DD formula considerably over the years. RECOMMENDED!

FULL REVIEW:​

AD_4nXchf5gJH9BN8lBYwVch9_dJZHnsMQ-gLPphl6T1dJTnHuNE-w10crujD0oCi8pdQ1Vl4CQDJVclO03FE67ASoCmddAxFvklM-P9x7YIlQf_1i1j7Jf8VtR_ZystZ4Z_L-bGt70_Bg


The butterfly effect is something that many attribute to “what if’s” in not only their lives but in others. What if this one thing did or didn’t happen and completely changed the course of history?

That’s what I personally imagined with KZ if they had only started off with the tuning they’ve been making in the last few months. But the more I think about it, the more I see it as a “what if” and more as a “how far can they grow” as management seems to have shifted from trying to follow trends to refining their existing products and innovating new products.

The Zenith is one such product that aims to refine the tried and tested “flagship single DD” formula that started way back in 2022 with the D-Fi. I touted that as the best KZ IEM ever tuned, but the Zenith seems to be the IEM to finally dethrone that.

A TO ZENITH​

AD_4nXeH13lhTq4GnwEXwg_l04v66X7Ai9gbPCARjhgTzW8Hgdevf5o-LT1QBChP-eG6GUjoZFRo5oE76OKM-teF58xpSMbMyvX6nqWfNpH5OdnPooYMLfzh88Be4iDcaqT07keorDK-6A


To talk about the Zenith, we must talk about those that preceded it. The KZ D-Fi was the first in line with this “diffused field” style tuning that seemed to be alien to the usual v-shaped tuning that KZ had. The D-Fi was, for all intents and purposes, the pioneer to what KZ is today.

AD_4nXd2V0e-aH9blCD78rAcn-EFf2Auozu2X4tTPDfzw3cvtJxlvPkfF624uPZ7BeeKojINW81tEQIoilYiFU5U7uZg3iG9Zazd9WYRWJ9DtheBvvNG6nxMYeToo40WinhFoO1VtJi__w


This was eventually followed by the Krila, a set that divided the community as it followed the same “DF” tuning but added in an extra BA that hailed from their other sets like the ZS series of IEMs. This added a level of technicalities that the D-Fi could not achieve, in exchange for a clearly worse timbre.

AD_4nXeqKAolHiG4Fm6lnolaGxoT-aCgonvxdaZPYvYeo8eqwI5Z6Bllj8qgeUqEI9C9X9QOlW7hkFRMmQxvq3iUDS0tn9wYTBy1OgQHW_CWCl9FvrOOL0kZRY8nNIyfdFxyfjBskJCUPQ


Then came the cheaper but still equally “neutral” Polaris that, at one point, was the best budget IEM that KZ has in terms of tuning. Same tuning switches, same DF tuning, plastic body and under $10? It sounded like a dream, at least until the EDC Pro took that place by having no tuning switches and a flat b-pin connector for even more affordable.

AD_4nXcbkuFpcVvyFCniFcjYoc3WnUOab0oud2p_-Wg55Cy3yW92ep1z25M6CiFYlQZi6RlhwZxf9W2AFEChn-_KGPxFkqBqXq5PxQp2pE4NoEEDsZiuiMpNRvesjcADc35p_9N1-8xHuQ

AD_4nXdqGjHOCW_bfpq1_2O6q5RqS5vcd6nasfmzZHdw7ywDHxbqfwOIaE6hIuAj7AhGoWC9V7aCjHsC4BbFgmnakFVGX4tMWA8ZmpPezko-LSzohocnuZVGl70ortPZnvmXCRm2a6mdlA


KZ then had a series of hybrids and more “fun” tuned IEMs like the Saga Bass and the weird Merga and Vader High Resolution single DD that was more akin to the brighter leaning Pianist. Not my favorite from their single DD.

And finally, their current flagship DD, the Zenith. This boasts more than just improved sound. They’ve improved nearly everything in this IEM.

UNBOXING​

AD_4nXfoL5mj7H3IAUHzFf9SADqIeR55B5kCNE8NoYvgodXEEZ-_mo94X8XMOg_XZjBkDSp2LmU_cn5n3Ork1C9pHIYXynJUbAEiylpV1CbSoGMApr5cNqXXExPrb0BUsovCTaG8OA6d-Q


Figure number 1, the unboxing. I was weirded out at first when I noticed that the box that KZ sent over was larger than usual. I thought to myself, “is this a different IEM? I’m not expecting a product other than KZ today, what could this be?” Lo and behold, it was the Zenith with its massive packaging, which only meant one thing:

HERE’S A FULL LIST OF THE ACCESSORIES:
  • IEMs
  • Cable
  • Carrying Pouch
  • 6 pairs of Eartips
  • Tuning Tool

This is a monumental moment for KZ. I know they did this too with the Sonata, but the Zenith is my first time experiencing a KZ with an actually compelling unboxing experience. Do I think they’ll keep this up? Not at the budget segment, that’s for sure. But I’m just glad to see that after all these years, they finally gave you a decent amount of accessories and a freaking case.

AD_4nXc_IhslSNfK_anXhTGkH44wV5i4yU7W8QhBM1nQESaxKiD4qNo6YTV3J7OKxbRsW2bhzO1oy_-m8s3xYa3fb0P-enBjLvA9uf41nDJgL2RMTn2MPSpwJ4uLPOidyA6S2SKF_96x


The foam eartips aren’t very good, though. Paired with the case that holds the eartips, you’re guaranteed to rip apart the foam eartips that come with the product.


AD_4nXevVjiuE29DZgeE3XHdmD_-BnEeBN1cnRdCDKx6X21_cMG28yQIYPLSB5eIhLTh5gZPh6fsnOGriShSmb3bF9JS834WlGiad4LBtMUFmUzXkXKQ4w_BMfp50nyHT7o_dYPgbfDCwQ

The case is good, but it follows old Dunu-style cases where it doesn’t open all the way. It’s stupid and I hate it, but beggars can’t be choosers when they’ve literally never included a case in their modern IEMs ever.

BUILD & FIT​

AD_4nXdpg5g5C_K6nJGwQPK3RLV2KN47NhNSIJebXRe28BmG0o_-jL7ElYyxmjtioaawBqFDxLgLIWSmKuQnhUkRvzBk7TWxYCukY6CinFHjdt51Oa_e-9fd8Qc1XkshiAI_N2MjSEd2gg


Another similarity that the D-Fi and Zenith have is its build. Bask in the Zenith’s full-metal-glory and an actually mesmerizing faceplate that competes with the PR series of IEMs for having the best looking aesthetics. Mainly because there’s no stupid font on the IEM.

Before I proceed with the build, I want to mention the internals of the KZ Zenith. This is because they’ve spent a considerable amount of ink talking about how different this DD is from other DDs.

AD_4nXd2u5tHAR5X9Bwsmm7y_OZBduSIzE9uKBAC9qCDgBT3YPWhtUeG9VqKMQM6RqueDMUfvcRPKo82GXFcOSvkxv0lvMG8KmTM92cs7wCmIrY3c-5XYPT7SYb5K2azW6A_jknPZ3HH


This full range ultra linear “Driver X” has a larger voice coil and larger neodymium magnet that apparently allows it to produce less distortions and a cleaner overall sound. Does it do that? We’ll talk about it soon. But seeing them R&D their DDs out of everything is something I’m glad to see because that means it’ll eventually begin to show up in the sub $20 range and provide an even better value for the consumers.

AD_4nXeTfJv6nARCt00skW-d6_LZfli6RTR6jRgYVp8T9n9KzmXey2TYgXXvAvMql5B4EKTydTvewpCszaUm8J2e6LWPREKgLYiWFIrLYZZSNChGgbAH8G02iXQUdhW9PbUPv6nvKFhrJQ


Continuing with the build, the Zenith’s overall shape is in the medium range for KZs. Not as small as something like the Saga, but not as massive as the Symphony. I quite like it. It’s not super snug nor does it seal perfectly, but it’s comfortable enough for long listening sessions without any fatigue or discomfort.

AD_4nXdH-AlX2Z85EOoY_1oQEMbfgkBdc_4Zjo62Itgw4V3mKsoVbfBFvdsNccTW1lzgmIEf2uSZMQGFk1Bwb7RqUJL7uuw3_3uvkHnYp16YEQ4qCmCBKsjdmFAadbq-c9_lTBPYm1cZ


I will choose to not talk about the cable because quite frankly, out of all the things KZ could have improved, the cable was NOT one of them. Am I disappointed? Yes, but I’m not surprised either.

SOUND​

Sound Signature​

AD_4nXctVnyM6uQ9D6ZlydX65MghBBc7_DAB0tIOx2Owir7HPe8UyLCH8ZxP08MA0tThcCYWPTjCc6N_774EgLr37-M626YbIVAxiBbqwQHAR8sA-5s4NL4WdSLCqlCxxZBuy3I6j_84zw

The KZ Zenith follows the “diffused field” tuning of its predecessor and refines it to the level that I never knew KZ was capable of. Impeccable timbre, great detail retrieval, consistent tonality and tuning switches that mildly changes the overall sound. It’s just a really well-tuned IEM. At least, with the small issue of KZ’s treble still causing a bit of edge which in turn gives the Zenith a more prominent detail retrieval.

Drivability​

One thing that these series of KZ’s IEMs is just how hard they are to drive. A friend of mine measured the D-Fi’s impedance and it reached a whopping 112 ohms. That’s insane for an IEM, but understandable considering how well it scaled. The same can be said with the Zenith as pairing this with a balanced cable and good power brings the best out of the IEM’s sound characteristics and further smoothens the edges. This IEM is also a blank canvas for sources and perfect to compare between darker, brighter, smoother and more nuanced sources. This, unfortunately, means that lower quality amps won’t bring the best that the Zenith has to offer.

Volume Scaling​

Due to that impeccable tuning, the Zenith has great volume scaling. I can crank the volume knob on the Zenith on my DAPs on high gain and go 60-70 with little to no fatigue. There’s a bit of edge in the treble, but generally tolerable even at higher volumes

Listening Experience​

My first few days with the Zenith seemed a little lackluster as I had been simmering in pricier sets like the DK3001BD and NX8 with impeccable techs and tuning or weirder IEMs like the Kotori IEMs. The Zenith completely breaks free from that by… being boring?

Okay, boring is not the way I’d describe the Zenith per se, but this tuning has been done countless times. The main difference between those that came before and the Zenith is how refined it sounds.

The bass is very clean and the slope is just perfect for most genres, the mids bring most vocals and instruments in a very linear way that avoids unnecessary recessions or overemphasis and the treble is crisp but natural sounding. The only pain point that I could realistically point out is that treble being a little too edgy.

The albums I spent the most time on the Zenith are Time and Pace by flu and Geordie Greep’s The New Sound. Two very contrasting albums in vibes and complexity but two albums that I slowly grew to love over time as I disliked both of them at the start. Time and Pace changed the recording and mixing of the original songs released a few years ago and The New Sound just sounded so weird and not vibey. But the more time I spent, the more I appreciated both albums for what they were.

AD_4nXdaTBNw9ynxi6nB4yk9K5reP9I0lkHLOZE3yhb6sBjMomZZj3jsjZymdrBqyyE5P8hmKwodF46caMsJTqL9ORKtvk7peOBTXVGeQQCozARbIv-T15xRBl7Lgv-7jgRLpPvgEPwo


The Zenith performed majestically on both albums, but I particularly loved it on Time and Pace because of how much I’ve listened to this album on the Zenith. I was essentially losing my passion for the album a few weeks prior to getting the Zenith and the Zenith brought back that passion. The tuning is, once again, nothing special, but the “normalness” made me appreciate just how well-mixed this album is. The Zenith’s tuning was perfect for Time and Pace’s less complex but musically rich mixing. It’s not the most nuanced or tactile IEM I’ve heard for this album as you’ll see in my comparisons, but it does the album justice in more ways than one. The only gripe I had was on brighter sections with sharper cymbals and hi hats, the Zenith can get a little hot. Details are fantastic in turn, but fatigue can be induced if you really push the volume or you’re just that sensitive.

AD_4nXdVZQgJRInbyJA6lVxVtspy9zxnDRjgPRSHFvYzHCV1PbmEDWQAAwOFRIOMm2UhlrWCbA_6orbR7xR-6H38oPfoXWt75x9_VkaDZe51Apz3FinXunaTRXPbmSJz1PbA9hTq9X-F


The New Sound, on the other hand, showcased its capability to play complex tracks while sounding quite natural and clean. The self-titled track's rather complex composition was quite a treat to listen to on the Zenith, but also showcased the Zenith’s limitations when it comes to its technicalities. It’s no slouch, especially for the price, but there are definitely better single DDs to handle complex tracks. What the Zenith goes for is how consistent it sounds. Edginess be damned, I never found myself feeling like something stood out more than it does on other IEMs I’ve listened to with a similar neutral tuning. And most of those IEMs are far more expensive than the Zenith.

So aside from being pushed to the edge on complex compositions and the occasional edge in the treble, the Zenith is a solid IEM overall. Tactility is acceptable, especially for the price and consistency is phenomenal. It doesn’t distract from the music that you listen to which is perfect if you just want to plug and play. That also means that this IEM is not for those looking for a specialized sound with bigger, boomier bass or sharper and snappier treble. But that’s the beauty in the Zenith’s sound. It just works and it works really well.

COMPARED TO THE OTHER TUNING MODES​


I enjoy the simplicity and logic behind the tuning switches of the Zenith and its predecessors because it just makes sense. You flip the far left switch and the bass goes up, almost like a 4 band EQ. Well, exactly like a 4 band EQ.

AD_4nXdPhP1uNcTVUkQzOxMJKRCPQpGEHS_lKv0_26BS_48KzxKoXQq0sQ-Bitizl5Wdb5b3xeXvDGjJP8mfj0omNJiTnREzGUN99fv568E_1dG-wv3LEnSvldqnVMjxrlTQvzVQrmX2


Unfortunately, the Zenith falls under the same issues that those kinds of tuning switches have which is that it barely changes the sound. I normally talk about it more in depth, but the real-world experience is so minor that I can just chalk it up to “it increases the subbass a bit”

COMPARISONS:​


vs KZ D-Fi​

AD_4nXfGLYbIJ2Tp05ipTMP2nS4ZBqwX2_nvcUJzC3PSJyUAYqFKoIqldb2l6hCgsivSv6xcXeUp-anmKTLg76mxhLsl7St7ELTh--jgbHrN8IWmFTx4hc-t5aTL2mYx63ZkpyJb7jJryw

Obviously, I HAVE to compare it to the grandaddy of KZ”s single DD. And as you might expect almost 3 years after the first, the Zenith is a far better sounding IEM. Bass is far tighter, cleaner and more consistent, the mids doesn’t get as congested and the treble is smoother and more refined with better resolution. It’s fascinating to see the growth of the “flagship” DD of KZ and how much they’ve actually improved.

vs Simgot EW200​

AD_4nXfQ5ZWtVt_SXfGc8TQ8UBjS-JXA23jivZoP_4V4nACVETDyMKE8ZrxuiAweueCwmvPK1ecHkPg3DajpjT_GoDFGcR7TH3-c7mg3jWZ6GpXvMrgx1_keb0kJHcfRRlP9m06Q7Tec

Compared to the budget single DD goat, the EW200 is still the “technically” superior IEM between the two but the timbre of the Zenith is just more consistent overall. Nuance is better on the EW300 from bass tactility to treble definition, but the Zenith is an IEM that you can listen to for much longer. So it then comes down to whether you want a tech budget DD or a timbre budget DD with both ends completing each other’s cons

vs EPZ Q5/Q5 Pro​

AD_4nXdD0ghIhFW_dh3ZdzSO9ntmdkaIiNF03fqJikgdjyaYaPEsN_6KA4DHZPObxy_fEmLSZbhMkDdWqZHBu7r5_AeIwCUIohtgQxsq7UrMtyRXYmJGplno7GcJkjQPblnROxUMdyI9Lg

Basically the same story as the EW200, but the Q5 leans closer to a brighter tone than the Zenith which would cater to trebleheads better. The same can be said for the EW200, but the Q5 is a brighter and more “detailed” overall set compared to the Zenith. More fatiguing too which would make it a very clear decision between the two

vs EPZ Q1 Pro​

AD_4nXfPzNVwEwmPuJ2YEAQMJ8ONvKh8uJA8MxnKtI2b2ZhOs9lrS99PQf1KFTCPTq2nW01bZYDE8l_j_l-OgRfR_VhDMgAWDwY440mKBGOFBAAqu5Bimr8hgNqxzppJ0avNde1SR5drxg

The Harman god doesn’t stand a chance in terms of timbre and consistency against the Zenith, but does beat the Zenith out in raw details and resolution. Externally, the fit of the Q1 Pro is also far better than the Zenith while the Zenith is better built, but I wanted to mention the fit specifically as it saves the Q1 Pro from being totally outclassed by the Zenith in every regard.

vs Kefine Klean​

AD_4nXfNDw1DluJfwODuwBopm5cRaMXgXV6QBTYGL7tv6BhAW8g5PfasobO_rL7Pi_FnPhINon9sY7yazrIZ03wlZCDYdmc3fAvP4U5m7mtgCuVRhPuwaERSmr_WWQaCtpaEtVtBISQmiA

Compared to the little brother of the Delci, the Klean is a far warmer, more relaxed but equally flawed in the treble region. Unfortunately, the Klean’s lower eargain emphasizes that peak far more than the Zenith does and causes than “low-res” sound that budget single DD’s with low eargain suffer from. The Zenith doesn’t have nearly as much musicality and warmth as the Klean, but the upper mids mask that treble region a bit better. Technically, they’re about on par with each other

vs Truthear Zero RED​

AD_4nXeGIq7liILlDtMdfKfjCk-3eieU3BoPVzO3r2bUoi0Y5-VXKbOfTE-HE-pTSQdf-gpi-qyvqNIet0lIj3pTw1pGtPhwP9R3Vs0_OlWlYqYdXn7t9z8dgf8Fu5iZZKj9X-1ty-gQnQ

Compared to the universal sub $100 competitor, the Red is a far smoother, more musical but also slightly less detailed IEM compared to the Zenith. The Zenith’s detail retrieval is a half step up better than the Red while the Red’s tonality is much warmer and fuller, especially when throwing an impedance adaptor.

vs Simgot EW300 on Silver nozzle​

AD_4nXfJCgLW0NMTyolYZzereLAZswBmvTl5PnfnxtekJxIyPr58KS0W_w7hvP-Qoln1gSmmZ2Kh3gFh1wNKVz00DzPiCmNezzxTlPJOPpf-MlT8zGlmdUtF-YJQHwMzYndpekUxVPrO

I wanted to specifically mention the silver nozzle variant of the EW300 as, quite frankly, the EW300’s silver nozzle follows the Zenith perfectly. Now you might expect that they’d sound exactly the same, but the difference in driver configuration and implementation means the EW300 will be a more “relaxed” and “refined” set compared to the Zenith. The bass is more “nuanced” on the EW300 with smoother but less defined treble details and better technicalities overall.

CONCLUSION:​

AD_4nXdfOoM-i45qAUHQRoyAHBKGqHXO73tTEWFKOOkF2AwBkKbfc_m0yhxqR0f9RjPwVMJG6Yj9vNhBQ0KarnUQ23xZk_p5xyDP0AJrFSZ6aQswBbT_S3kQbKmWhZANkS1qTnewbFS8hA


On one end, KZ’s improvement and refinement of their single DD formula gave birth to probably their best single DD IEM to date. I cannot think of a single IEM that KZ has released with a single DD that captured my heart as much as the D-Fi did, at least until the Zenith came out. Impeccable tonality, an actual decent unboxing and phenomenal build quality.

But take the Zenith into the real world and you see that it’s bound to be a small fish in a big sea. I don’t want to discount the efforts KZ have made to make the Zenith as good as it is, but IEMs in this price range really have to stand out to be worth getting. The Zenith is worth getting, but there are IEMs like the EW200 breaking sub $100 IEMs ankles and the Red continuing to be THE sub $100 reference along with the Hexa. It’s a safe set to get and one that KZ lovers would absolutely fawn over, but a set that plays by KZ’s mentality of slow and steady wins the race.

Thank you for reading my full review on the KZ Zenith. If you would like to order one, you can use the non-affiliated link below:
https://kz-audio.com/kz-zenith.html

WATCH FULL REVIEW HERE:

  • Like
Reactions: syd67 and Colin5619

nxnje

500+ Head-Fier
KZ Zenith - KZ's full-packaged DD
Pros: Mature, well balanced, full-sounding IEMs with good technical performance, good bass quality and timbre
Unique design and great build quality
The new KZ packaging is finally up to par with the expectations
Cons: The basic curve is kind-of polite and the female vocals could use a touch more energy/vividness
The cable is worse than most cables in this price range

Introduction​

KZ has been changing something in the direction of their products lately, and the KZ Zenith is another one that popped out from nowhere during this silent revolution of the brand’s portfolio.
Disclaimer: the KZ Zenith were sent to me by KZ so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the KZ Zenith were sold for about €70 at
KZ-audio.com.
DSC01888.jpg

Technical Specifications​

  • Driver Configuration → 1 x DD
  • Impedance → 23 Ω
  • Spec-sheet Frequency Response → 20Hz-40kHz
  • Sensitivity → 108 dB
  • Cable → 1.25m OFC cable with QDC 2-PIN connectors
  • Plug Type → 3.5mm

Packaging​

The packaging of the KZ Zenith represents a steep change of direction in the packaging. It’s a well done packaging considering that we’re talking about a KZ set, and it’s much better than their classic packaging. The box contains:
  • The KZ Zenith
  • The detachable cable
  • One set of starline silicone tips (S, M, L sizes)
  • One set of foam tips (S, M, L sizes)
  • Hard carrying case
  • User manual
DSC01874.jpg
DSC01875.jpg
DSC01877.jpg
DSC01878.jpg

Design, Build Quality, Comfort and Isolation​

The KZ Zenith are probably the best-looking KZ IEMs to date, especially when it comes to the design. The manufacturing is honestly excellent as well and I struggle to say something wrong about it (in fact, there aren’t any complaints in that regard).
Unlike other KZ sets, it’s the first time KZ speaks about the ventilation and the grills underlying the faceplate look like they are perforated. Since this should lead to a semi-open back design, this would explain why the isolation from external noises isn’t excellent with the Zenith in the ears.
The earpieces are also pretty comfortable, even though the angle near the golden screw could probably bother those with very small ears during prolonged listening sessions (no issues at all in my case).

DSC01882.jpg
DSC01883.jpg

Cable​

The cable is the same low quality cable all over again, and I really suggest KZ to upgrade it. It’s not only about the appearance, it’s also a matter of perceived quality and absence of a chin slider (which is usually good to have instead).

DSC01879.jpg

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, Fosi DS2, Hidizs XO
  • Portable DAPs: Benjie S8/AGPTEK M30B
  • Bluetooth Adapters: KBEAR S1, KZ AZ10
  • Other sources: Presonus AudioBox iONE, Elgato Wave XLR
Amplifier needed?
An amplifier is not strictly needed but I felt like the Zenith were performing slightly better with a tighter and cleaner low-end and better overall dynamics while using a good quality dongle with respect to the average jack port of a laptop or older phone.

Let’s speak about the sound.
I will refer to the 1110 configuration since I really think it’s the most attractive for this set. I will then speak about the impact of the various positions so that you can have an idea on how the sound changes when the switches are used.

The Zenith are the result of what KZ has been changing lately: it’s a well balanced, full-sounding set that never feels overly bright nor too dark, not lacking bass without being bassy, not lacking treble without being annoyingly bright. And yes, the mids are there!
Starting from the low-end, in fact, we get a proper sub-bass extension that is far from sounding exaggerated: it retains nice control even when reaching very low notes, and even though it’s not the most surprising set you can buy if you want to dig super deep, you won’t feel it’s lacking something.
The bass has good weight, it’s present in the mix yet not to the point of being the star of the show, which is surprising if we consider that this is a KZ set. The bass texturing is nice for the price, there’s enough punch to the bass and what surprises me more is the overall naturalness and realism of the bass (I have never heard such good bass quality on a KZ DD set).
The midrange is not as recessed as on other KZ sets, and thanks to the well mannered bass you get the benefits of the added warmth in the lower-midrange without having a bloated midrange. Male vocals are well done with the right amount of warmth and female vocals sound natural without becoming hot nor sibilant. If anything, a touch more air during the reproduction of female vocals would have been the icing on the cake.
The treble is another selling point of the Zenith being non fatiguing, very smooth and natural. The Zenith aren’t detail-monsters but they aren’t even treble cannons like KZ IEMs used to be, and this natural manner of managing the whole treble (and its extension) without extracting artificial detail is probably what really distinguishes the latest KZ sets from their older products.

The technical performance is pretty good for a single DD set, with a well-rounded soundstage, on point imaging and enough space between the instruments to have proper instrument separation. If anything, the layering is only average as it struggles a bit with multiple instruments’ layers (its peers in the same price range are almost on the same level).

How do the switches affect the sound?
Basically, all the switches off mean basic curve with a very linear bass. I think that the basic curve lacks some depth and weight in the low-end, but maybe those who don’t really dig a thicker low-end will like it.
Then this is how it works:
  • First switch ON → +1dB bass boost
  • First and second switches ON → +2dB bass boost
  • First, second and third switches ON → +3dB bass boost.
The last switch, in combination with the other switches, provides for a full range boost. So if you have all the switches ON you will basically boost the low-end also and have a louder sound.
If you use the first 3 switches separately, then you still get small bass boosts depending on how many of the 3 switches you're activating, and if you activate the 4th switch alone then you just make the earphones louder no matter the position of the other switches.

I think the basic curve has its own advantages, such as a tighter and slightly speedier low-end, and maybe the upper end has slightly more recognizable smaller nuances. However, the +3dB bass boost with all the three switches on provides for a fuller, richer and more mature sound with better note weight and depth, even though some tightness and speed are partially lost.

Are they something I would use considering my taste and preferences?
Yes, of course.
It’s a well done IEM overall: solid technicalities for the price, natural timbre, smooth treble, enough bass and good midrange presence. It’s a set of IEM that does most things right and I would really struggle to find reasons not to use them if I didn’t have more expensive (and well tuned) sets around me.

Some Comparisons​

KZ Zenith (UUUD) vs KZ Saga Bass
Upgrade or not? Well, if you like the super energetic and fun-sounding Saga Bass, you may find the Zenith “too balanced” at times, but in terms of timbre and technicalities the Zenith are way above. Comfort is good on both sets, isolation is better with the Saga Bass in the ears. Even though the Zenith come with better packaging, the cable is the same and this is weird.
I find the Saga Bass more fun to listen to, but the Zenith are technically superior and this is undeniable.

KZ Zenith (UUUD) vs Kefine Klean
The Kefine Klean have a touch more extension in the sub-bass region and slightly more treble energy, so the Zenith actually end up being “thicker” in comparison since the smoother and more rolled-off upper end provides for an overall warmer sound. Bass quality and textures are better on the Zenith, female vocals are more energetic and emotional on the Kefine Klean.
Imaging and instrument separation are mostly on par whereas the soundstage is bigger on the Zenith. Build quality is good on both sets, Klean’s stock cable is better, comfort is better on the Zenith and isolation is better with the Klean in the ears.

KZ Zenith (UUUD) vs Sivga Que
Go with the Zenith.
The Sivga Que are nice and kind-of unique in their price range but in terms of technical performance and overall sound, the Zenith sound fuller and more mature with a smoother and more versatile tuning. Technicalities are also slightly better on the Zenith.
Build quality is very good on both sets, comfort is better on the Zenith and isolation is better with the Que in the ears. The Que come with a much better cable.
It’s not that I don’t like the Que, in fact I actually do, but you get a higher value for a similar price if you buy the Zenith.

KZ Zenith (UUUD) vs Simgot EW200
The Zenith sound pretty warm, the EW200 sound pretty bright.
The low-end response is kinda similar but the emphasis on the mid and upper treble on the EW200 make the Zenith sound a bit thicker overall. Male vocals and acoustic instruments are better on the Zenith, whereas female vocals, violins and electric guitars are better on the EW200: pick your pill.
Technical performance is on par more or less, even though the resolution of the EW200 is still amazing for the price, especially considering that spring 2025 will mark their 2years anniversary. The soundstage, however, is bigger on the Zenith, as they can offer better width, depth and height.
Build quality is good on both sets but the Zenith have a unique design. EW200’s stock cable is better. Comfort goes to the Zenith, whereas isolation is a tad better with the EW200 in the ears.
As a small sidenote, I’d really like to point out how good the EW200 are, being able to compete with recent IEMs without struggling too much. Hopefully we’ll see more sets like it in the future as we really need stuff that stands the test of time.

Final Thoughts​

The Zenith were a surprise, both thanks to the tuning and to the technical capabilities. It’s a set that has so many good things, such as the timbre, the bass quality, the treble tuning and everything lead to an IEM that is hard to dislike or criticize.
If anything, the basic curve isn’t very attractive or particularly inviting and female vocals aren’t the most refreshing out there, but I really struggle to find real cons and it wasn’t usually the case with KZ.
I really like the new roads that KZ is exploring and hopefully we’ll see better and better stuff from them.

Ceeluh7

500+ Head-Fier
KZ Zenith Review
Pros: -Build Quality is phenomenal

-Design and aesthetic are very unique, really an awesome looking set.

-Very nicely balanced U-shaped sound

-Clean, punchy, well defined and textured bass region

-Midrange is nicely detailed with a very pristine note definition

Treble is non-offensive yet very resolving, nice extension

-Imaging

-Detail Retrieval for an under $100 single DD

-Nice spatiality, with a layered and well-proportioned soundstage
Cons: -May be too heavy, bulky for some folks

-Cable does not do the Zenith justice

-Bassheads will not enjoy this set

KZ Zenith Review

By: Chris Love

Zenith Featured Image


Zenith Review

KZ Zenith Review

Intro

Hello everyone, this review and feature covers the latest from KZ Audio named the KZ Zenith. The Zenith is a single dynamic driver earphone equipped with some special upgrades from previous dynamic drivers within the KZ lineup. I’ll of course explain those as I go along within this review. I’d say that KZ puts a pretty high level of importance on the Zenith as it quite literally is their namesake. Of course, “Zenith” is derived from the full name of KZ, that’s… “Knowledge Zenith”. Not everyone knows that. I can tell you right now after speaking with some folks from KZ that the Zenith represents a more premium product in which much R&D and expertise went into the crafting of this set. From the beautiful all metal build, to their brand new “Driver-X” which is a new ultra-linear dynamic driver, the Zenith is set to take on some of the best from its price point. KZ’s website has the Zenith’s MSRP set at $99 but the initial sale is asking for a low $55. In fact, there are a few different prices depending on the website. For now, kz-audio.com has the cheapest ($55) which I’m sure is an initial sales price. I will treat this set like a $99 iem and compare it that way as well. I am in the middle of burn-in at the moment and haven’t spent enough time to report if the Zenith can take on the best. However, I can assure you that I am going to really dive deep into this one.

Knowledge Zenith

KZ and their sub-brand CCA have been hitting the market like a fully automatic machine gun as they bring to market more sets than any brand, just about every year. That said, I can’t sit here and say that I haven’t been impressed with their releases the last few years. Especially this last year. In fact, they started out the new year with one of the best all-BA iems under $200 in the KZ Sonata (Sonata Review). Truly a special iem and certainly KZ’s most flagship offering to date. Beyond that, within the last year KZ just kept getting better, as they do. From the ultra-budget range on up past the $100 barrier KZ has been nailing their tunings of late. Folks, KZ was the first iems that brought me into this hobby years ago. I was hooked from the jump. From then on it was me doing everything in my power to hear my music with the best fidelity possible. KZ is a huge reason that I’m even writing reviews today. I think that many of us have similar stories. The great thing is that all KZ has ever done was improve. I have complete confidence that this trend will continue.

Something new …

With that said, I have a sneaky suspicion that KZ has begun moving in a different direction with their tunings. I’ve noticed a tilt towards the mature, better drivers, better materials, and a more balanced approach. I’m not the only one though. Others on Facebook, Reddit threads etc. have also noticed a shift. How many KZ sets “outside” of the ultra-budget class of iems are straight up V-shaped bangers anymore? Folks, KZ has turned a corner, which is great for the community and the consumer. Granted, they always had nicely tuned sets in the past but with some of their later iems KZ seems to be taking a different approach. With all of KZ’s resources and expertise at their disposal along with the fact that they operate their own factory where they make their products from top to bottom. What happens when a brand like that decides they’re going to begin tuning their products in a much more polished, refined, and seasoned manner? This is not to say that KZ hasn’t been upgrading their tunings, drivers, designs for years now. In fact, that’s kind of their MO. Upgrade, upgrade, upgrade. Every new release is an incremental improvement over the last. However, these last couple sets seemed to have sparked something new. I don’t want to go any further with any of this, but I like what I’m seeing, and… hearing.

Competition

I suppose the only other real issue standing in the way for the Zenith happens to be the same issue for every iem in every price segment. That is… “competition”. Every other week a new promising iem hits the market in every price bracket and each one seems to be the new top class set. At least, that’s how it seems at times. This is the major problem for every iem. However, it is a very good thing for us, the consumer. Competition has effectively upped the ante, so to speak. Thus, we are seeing some of the best price to performance iems in quite some time. Especially under $100. In my opinion, the under $100 price range is the hottest range in all of audio. I’d say anywhere from $50 to $100. I don’t have enough fingers to count all of the iems which could be considered the best within the class. The truth is competition has sparked better products. Coincidentally, the audio community is very diverse. Basically, there’s something for everyone. So, I suppose it isn’t about what is best. In fact, is there a “best”? For such a subjective question I’m leaning on “probably not” as my answer. The only “best” set is the one which is “best” for you and your own unique preferences. Hopefully this review, as well as a hundred other opinions on different iems will help you narrow down your search. That said, no doubt the Zenith has a lot of sets to contend against. I’m excited to see where it stands. With that, I think I’m ready to get into this review folks. So, without further ado, the KZ Zenith everyone…

Non-Affiliated Purchasing Links:

Aliexpress
KZ-audio.com
Amazon

Disclaimer:

I received the KZ Zenith from KZ Audio as a review sample and in exchange I will conduct a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. This set is a review sample iem. KZ Audio has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own, though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to KZ Audio, and thanks for reading.


KZ-Zenith-Review-Pic-67.jpg

20250118_181443.jpg


Gear used for testing

Ifi Go Blu

EPZ TP50

EPZ TP35

Aful SnowyNight

Shanling H0

Fiio Q15

Hiby R4

iBasso DX240 with Amp8 MK2

Shanling M6 Ultra


Zenith is one of the best looking sets
What a gorgeous iem!



Packaging / Accessories

Unboxing

The KZ Zenith arrived at my door in a larger box than I’m used to seeing. KZ has certain packaging which obviously applies to their more premium line of iems. The Zenith most certainly falls into that category. It’s a larger than usual black box with a graphic of the Zenith on the front sleeve as well as some specs on the back. Take off the sleeve and you are met with an all-black box. Open the box and you’ll see the awesome looking Zenith staring back at you while nestled tightly in some cut-outs. Next to the Zenith you’ll see a cardboard box which contains the carrying case. Inside the carrying case you’ll find the cable as well as the dip-switch tool. Also next to the earphones you’ll see the eartips holder which is a very nice touch. Altogether the package and its contents are very nice for the cost. I like what KZ did here. Certainly, a better unboxing than we’ve historically seen from KZ. Of course, the Sonata came in a similar package with a similar layout as well. Not bad at all.

KZ really upgraded the packaging
Another set which comes with KZ’s more premium unboxing experiences.


Eartips

Foam and Starlines eartips

KZ provided a total of six eartips within the packaging of the Zenith. To be exact, that’s three pairs (S, M, L) of slow-rise foam tips. Now, I really don’t enjoy foam tips. Never have. I know some of you adore them, but they’ve never been for me. I suppose I use them when I absolutely have to and no doubt there’s plenty of situations which call for foamies. However, they aren’t usually my bag. Though I will say, KZ’s slow-rise foam tips are actually very good additions to a collection. They seal great and they really do form to the inner ear perfectly. Next, KZ added in three pairs (S, M, L) of KZ’s own KZ Starline eartips. These tips are named after the Star pattern at the opening. They are black silicone eartips with a narrow bore and usually will add some meat to the low-end as well as sand down the peaks in the treble. Of course, this isn’t always the case. At any rate, the Starlines are truly awesome tips to have laying around. No doubt about it there will come a day when the Starlines come in super handy. That said, I didn’t use either of the included tips. I actually decided upon my personal favorite cheap eartips, the KBear 07 tips. Without question the 07’s helped the Zenith rather than hurt them and the fit I get is wonderful. Obviously, you and I are probably fairly different in our ear anatomy, but it does pay to at least try other tips with the Zenith.

Carrying Case

Carrying case

Another nice addition into the overall packaging is the carrying case. This is a case that we’ve seen a few other times from KZ or from some of KZ’s sister brands, like Joyodio. So, the case is a nice deep indigo blue and made of a faux leather material. Very sturdy and certainly what I’d consider a hard case. This case also has a nice silver zipper which poses as a nice color contrast. It’s just a nice-looking case. Large enough to fit the Zenith, the cable, some extra tips and maybe (if you’re good) you can fit a very small dongle dac. Something like the EPZ TP35, for example. At any rate, nice case, zipper works, looks cool, not bad at all.

Cable

Included Cable

The cable provided is what you get with 99% of KZ iems. That is the same QDC style, 2-pin, SPC (silver-plated-copper) cable which comes in a white colorway. You can purchase the Zenith with, or without, the microphone and one button controller. The mic gives you the ability to play/pause, skip tracks, answer/hang-up calls, etc. The included cable does its job perfectly fine and really, I’ve never had any true complaints about it. However, I did swap the Zenith cable with the Nicehck IcyMoon 4.4 balanced cable. I couldn’t resist. The Zenith seems to scale well with adequate power and so a balanced cable is a good way to get that power with my sources. Also, you have this really handsome set of earphones, and it just compels me to put a handsome cable on it. That fat white and perfectly pliable IcyMoon cable is outstanding for this set. Not to mention the sonics when the Zenith is on the IcyMoon. There’s a few other budget “under $40” cables which really sound and look good with the Zenith, but for me the IcyMoon just hits that sweet spot both aesthetically and sonically with the Zenith. However, I also really enjoyed the Artti balanced cable (you’ll see some pics with it) with the Zenith, but it was the IcyMoon which stood out the most. So, there’s certainly options. However, please understand that for the simple purpose of listening to your music, the included cable is perfectly fine and serves its purpose perfectly. You definitely don’t “need” to swap cables. I am at least a marginal cable snob, so please don’t feel you have to follow my lead.


The IcyMoon cable attached to the KZ Zenith
The KZ Zenith with a 4.4 balanced IcyMoon cable attached to the Hiby R4.


Build / Design / Internals / Fit

Build Quality

As far as the build “quality” is concerned, folks, I don’t think you can get a better build at this cost. Most certainly KZ maximized what they could create. Friends, the Zenith is 100% all-metal on the shells, faceplate, and through the nozzles. Truly, the Zenith is actually built like a tank. The Zenith weighs right around 12.5 grams which is actually lighter than I thought. Still, the weight is more than most iems. No where near the heaviest, but substantial. I only say that for full disclosure because you may be the type who doesn’t enjoy heavier iems. Also, the Zenith is not a small set of earphones. The weight is substantial, and the size is above average for a single DD in my estimation. That said, it’s built wonderfully. Again, metal everywhere. The nozzles are about medium length, not too long, not too short either and they measure about 5.8mm in width. So pretty much standard size. You’ll also notice the four dip-switch panel on the rear side of the Zenith. I would think that the switches take up some room making the Zenith a hair larger as well. However, I feel that KZ did a very nice job on the build. It’s very clean and screams “premium” when in the hand.

Zenith Build Quality is premium



Design

Now we get to the design and aesthetic of the KZ Zenith. In my humble opinion I feel that KZ did a very solid job on the design. The first thing which stands out are the faceplates. They are an easy focal point. You have this metal webbed design made of metal which consists of abutting triangles cut-out and adjoined which makes for a very nice pattern. Very cool looking. Truly an awesome design folks and about as premium as a design can get for the cost. Now, KZ states that the faceplate is actually open using a metal mesh under the faceplate. This helps to provide a more open sound with proper airflow. There is also some very small writing which lines the edge of the faceplate saying, “New Tech * Zenith”. Very small white lettering. Another cool feature of the faceplates is the large brass colored screw which I don’t think is only decorative though I haven’t tested that theory. Once again, the Zenith has QDC style male connectors at the top of the Shells too. Truly a great design. I give it an easy two thumbs up.

Internals

KZ employed their brand new (made in-house) driver inside of the Zenith named “Driver-X”. Driver-X is a newly devised ultra-linear driver and clearly it is a high-quality driver. In fact, I feel that the driver is one of the components which makes the most difference in sound. Coupled with the rest of the structural acoustic cavity design used in the Zenith. KZ also increased the size of their voice coil up to 7mm from the traditional 5mm that we always see. In addition, KZ used larger magnets of increased size as well as an ultra-narrow diaphragm suspension which is said to dramatically decrease sound distortions. Of course, you also have the dip-switch panel as well. So, there is a lot of new tech happening here and it all goes into the end result. That is, better sound. I’m telling you all right now, this driver is a very good one. I’d love to hear it in other situations, but I do think that KZ maximized its output in the Zenith to the target they were going for. Very nice.

Tuning-Switches

Tuning Switches settings for the Zenith

Like I said earlier, the KZ Zenith comes with a total of four dip-switches or tuning switches, whatever you want to call them. For review purposes when a switch is flipped “on” it will be represented as “1”. When a switch is flipped “off” it will be represented as “0”. So, for example, if all four switches are on then for review purposes, I will call it “1111”. Naturally, if all switches are off then I will call it “0000”. Now KZ makes this set very easy to use and understand. I say that because all the switches generally do is control the bass region. To break it down, if you flip the 1st switch then you’ll add 1 db to the low-end. If the #1 and #2 switches are flipped on, then you’ll be adding 2 db’s. This also applies to the 3rd switch. Flipping it on will give you 3 db’s of emphasis afforded to the low-end. Now, if you flip the last switch on then it says it increases the entire spectrum. KZ calls it a “full-range boost”. They’ve added this in the past, but it makes the Zenith a bit more sensitive, among other things.

Subtle changesKZ Zenith Review Pic (28).jpg

For the critical listening I did have the first three switches on and the fourth switch off (1110). I simply like this configuration the most as it fits my preferences a bit better at the moment. Again, the switches are ridiculously easy to use and understand and they make subtle differences (3db sub-bass lift) in your listening session which is nice. However, the difference is not nearly enough to change the overall sound signature and not enough to steal the balance that the Zenith has. Make sure to use the switch tool provided in the packaging to flip the switches.

Fit / Comfort

Like always, I include this ridiculous section. It makes no sense to tell you all how the Zenith fits me when you and I are likely not the same. However, I should add that the Zenith fits me very well. I got a solid seal once I found tips which fit me perfectly and the weight distribution is great on this set. Basically, once they are in the ear the Zenith feels great. So, comfort is good. Now, it is an all-metal shell and so colder environments just be aware that the Zenith will also get very cold. Just some things to think about. I think they fit great but I’m not you.



KZ-Zenith-Review-Pic-64.jpg

The Zenith works well with most sources
The KZ Zenith performs well with many different source devices.


Drivability

Output Power

The KZ Zenith is a very sensitive set. Well, it’s not hard to drive. It is rated with an impedance of roughly about 41 ohms and a sensitivity of around 128 db’s. Give or take. This means that the Zenith is a very sensitive set. To an extent that is. No more sensitive than most iems at this cost, but sensitive enough for a smartphone, nonetheless. I even tried out my iPad briefly and had zero issues along with some Android tablets. Again, no issues, good headroom in volume too. However, as I suspected the Zenith most certainly scales to the power and ability of a stronger and better source. Without question the Zenith seems to get better with more juice and oddly enough, when I pump up the volume a bit. I almost always used the 4.4 balanced IcyMoon cable during listening effectively providing more power from my sources. The difference is better layering (to a degree), separation, cleaner and more punchy bass, deeper bass, more sparkly highs too. Now, I don’t want to lead you astray because using a 3.5 single ended cable on a good dongle dac will most certainly suffice as well. I simply have so many 4.4 balanced sources that it’s kind of my go to. I adore this set on the Shanling H0, EPZ TP50, as well as the Aful SnowyNight. It really sounds great paired with those CS43198 dac chips, it seems. So, rest assured at least with some good dongle dacs the Zenith sounds pretty awesome. However, medium gain on the iBasso DX240, Shanling M6 Ultra, Fiio Q15 and the Hiby R4 is where my listening really scaled. Particularly with the M6 Ultra. Really a wonderful pairing.

Source pairingKZ Zenith Review Pic (65).jpg

As far as source pairing, I found that any brighter source attached to the Zenith wasn’t to my liking. I have some cooler/brighter ESS Sabre dac/amps which tend to make the sound a hair artificial. Now, I used neutral sources like the iBasso DX240, EPZ TP50, TP35, among others and the pairing was pretty great for me. However, personally I enjoy a source closer to warm/neutral. This is why the M6 Ultra worked out so well and seemed to bring out the best in the Zenith, to my ears. I don’t think the Zenith is very picky though. You don’t have any crazy peaks which can get exaggerated by source tonality or coloration. The Zenith is right around neutral to warm/neutral (depending on switch orientation) and so they pair fairly well with most sources. Like I said, anything which leans brighter really didn’t agree with me. However, that’s me. You may feel totally different.

What do you need?

If I were you, I’d try to get my hands on a decent Dongle Dac. Personally, I like to give the Zenith more power as I do feel it helps to bring the most out of this set. However, I also feel the Zenith will reward your listening if you use better sources. This is a quality set folks, with a quality tuning, quality drivers too, and so you can push it a little bit. I don’t hear any undue distortions at high volumes and the Zenith seems to only get better with better source devices. So, try to get a decent Dongle Dac if you can. That said, if you cannot then please don’t think the Zenith won’t sound perfectly fine out of a smartphone or similar device.


KZ-Zenith-Review-Pic-9.jpg



Sound Impressions

*Note: Before I get into the reason why everyone is here, I want to first inform you all that I certainly did give the Zenith plenty of burn-in. Anywhere from 60-70 hours. Best guess. This involves simply leaving it connected to my burn-in station for days on end. I honestly don’t feel this helped all that much, but also, it was days in between listening so take it all with a grain of salt. I always burn-in for reviews whether it helps or not. My critical listening switch settings were “1110”, for the most part. Also, I use flac or better files stored on my devices for all critical listening. Most of my devices have UAPP (USB Audio Player Pro) installed on them which is my preferred music player app. Of course, some dongles I use Hiby Music Player as well as Poweramp at times too. Beyond those things, I did use KBear 07 tips and cable swapped to the IcyMoon 4.4 balanced cable.

How does it sound?

The KZ Zenith has a nicely balanced tuning. Lately we’ve seen a more balanced and mature approach than previous years from KZ and it’s a very nice change of pace. I hear a mostly organic sound out of the Zenith, leaning natural. Also, I’d probably say that the Zenith has a U-shaped sound signature. Now, the bass is slightly emphasized, mids don’t sound recessed or distant and the treble has a smooth and semi brilliant emphasis of its own. What that correlates to is a solid dynamic balance, which is great to hear. However, couple that with very nice texture, spatial imaging, and even some layering of the sound field and what you get is a very well-tuned single dynamic driver earphone. I’d say the Zenith is smoother than it is crisp, but it’s not without crispness and adequate snap for certain instrumentation. There seems to be a very nice symmetry across the mix, or a symphonic parity with the Zenith. However, that’s just another way of telling you that there’s a balance. Furthermore, I hear no one frequency which really dominates the spectrum. There isn’t any one focal point to my ears. The focal point is the whole spectrum in melodic cohesion. A single dynamic driver portraying each area of the mix with very nice continuity, clean lines, natural transients, and with subtle contrasting dynamics to the sound which never magnify edginess, peakiness, sibilance or shout. This balance helps with imaging, detail retrieval, and note separation when paired with the Zenith’s solid driver control. Is the Zenith the best KZ single DD? Um… yes!

A new philosophy? KZ Zenith Review Pic (46).jpg

As far as tonal coloration goes, I find the Zenith to be anywhere from neutral to warm/neutral depending on your switch settings. The Zenith has a mostly unsullied sound, while at the same time I hear a very nice and natural note weight. Nothing too thick, and nothing too thin. Also, there’s nothing veiled and nothing too strident. Like I said earlier, it’s natural sounding, with a more organic constitution and again, no crazy peaks to disjoint that balance I keep talking about. Panning out and looking at the Zenith as a whole, I think this tuning is refreshing for a brand like KZ, as in the past KZ had slightly different tuning, but also the driver tech is getting better. Now it’s about maturity, control, glass lined definition and a more balanced distribution of the frequency. So, you won’t hear that screaming treble adding undue brightness and forced resolution. Also, you won’t hear that bulbous bass muddying up the mix or recessed and less pronounced mids. It’s a very even keeled tuning with nicely taut notes which meander through just about every track with solid control (for an under $100 single DD) and a higher-res depiction of my music library. This is what updated drivers, and a more balanced philosophy will afford you. At least that’s how I hear it.

Nice resolution

I hear a layered sound with clean note outlines, which comes across mostly rounded in body, giving off the illusion of dimensionality. I also hear good texture to the sound. From the low-end through to the treble each frequency range has some actual texture. It isn’t some flat, dull, deadpanned and anemic sound. Less soft note edges, nothing pillowy, wooly, hazy, and nothing grainy with seemingly no overlapping or blended notes. Instead, the Zenith has solid note density while also being able to take on complicated tracks rather well. Certainly, much better than I would’ve thought. Once again, very nice note definition and clarity along with a heightened resolution. Is it a detail beast? Well, no, it’s not exactly that. The Zenith most definitely is not an analytical style sound. However, the Zenith has a sharper note contour than we are used to hearing which does aid resolution making details and other technical aspects of the sound easier to hear.

*Note: the below graph only shows the Zenith without the bass witches enabled using the “0000” switch configuration. My critical listening was completed using “1110”. Basically, picture about 3dbs of extra low-end emphasis.

Zenith Graph
Graph courtesy of Paul Wasabii, Thank You!

Zenith is handsome



Bass Region

The bass region is one which won’t win any basshead awards and won’t appeal to your inner “guilty pleasure” style need for some raucous bass. It isn’t basshead. The low-end sounds like it’s moderately lifted, it’s somewhat guttural and adequately deep in extension and it has some slam too. But that has more to do with emphasis. What the Zenith does well is keep a very nicely controlled bass. Certainly, quality over quantity. The low end is punchy, tightly wound, and reasonably pronounced while never encroaching upon the midrange in a detrimental manner. No doubt the bass does glide right into the midrange in a very subtle manner adding a touch of warmth and body to notes. Nothing egregious though. The bass has some fast-twitch snap to it, good clarity for the cost, and a more tactile nature to it. Not the type which makes its presence felt within each region but more so shows up when called upon. Even with all three bass switches flipped “on”. You are only adding roughly 3dbs of extra lift and so you never really get a dominant bass region. That doesn’t make it bad though. Not even close. No sir, the low-end has some real speed to it as it can take on quicker bass tracks with conviction yet at the same time, I don’t feel that transients are lightning quick or anything like that. There’s a natural decay. Again, the bass does carry some density along with palpable and rounded notes. I haven’t heard anything that I’d consider one-noted either. Just a clean bass. Just enough muscle and authority. Of course it won’t be for everyone, but those who enjoy a nicely balanced low-end with solid definition should enjoy the Zenith.

Sub-Bass

Like I said, the sub-levels of the low-end don’t grumble and rumble to the deepest extents of the frequency. The sub-bass can get guttural when a track calls for it though. It’s simply not bass-boi in the way it performs those tracks. Plenty satisfying for me though. Maybe not the best for a convincing double bass all the time, but very well controlled, nonetheless. That said, there’s plenty of weight and droning depth for the bass guitars in “Kick It” by Collective Soul or “I Still Exist” by White Denim. I get that haptic judder, that tactile feel to these tracks and even some substantial enough fullness. Yet what strikes me the most is how tailored and formed each note is. Nice timbre too. Again, nothing that is going to rattle your eyeballs. Remember, this is a balanced tuning here. So, I could see some folks yearning for a more deeply shuddering and quavering sub level bass, but I am perfectly happy. What’s nice is how well contoured and detailed this region is and that detailed approach enters in a linear manner right into the mid-bass. Really a nicely done job here by KZ. I know it’s tempting to tune some extra meat into this region but that would also throw off what makes this set special. Not bad at all.

Mid-Bass

Just like the sub-bass, the mid-bass has a moderate level of convexity and bullish slam. Yet it can still rise to the occasion and hit pretty hard for my tastes. Granted, I like most any sound signature. Yet the mid-bass can at times scratch that itch. Listen to Ice Cube‘s “So Sensitive”. Friends, it is so very satisfying. The Zenith hits those exact and pronounced bass drops with exactness and some real nice punch. It has that tacky snap on attack yet with a meaty fundamental tone. Edgy note outlines encase the body to each sonorous and deep-toned beat. To add to that, the Zenith shows off a perfectly clean surrounding Melody, well separated, and each note sounds distinct. I’m telling you this is a quality low-end. “The Hardest Part” by Washed Out is another which shows the Zenith’s ability to show up when called upon. However, it doesn’t just minimally show up. What the Zenith does is hit each bass guitar with fullness and mass. There’s a fast twitch density that the Zenith has which never seems to overstay its welcome. So no, it isn’t the most robust of mid-bass replays, but it contrasts the other regions wonderfully and does so in a very clean manner, with great note definition, great texture, and that hard and precise punch which is nice to hear.

Downsides to the Bass Region

Of course, the downside is the same downside that I’ve been talking about within the last few paragraphs. Like I said, the Zenith won’t be for everyone. If you need, require, and absolutely have to have a meaty and booming low-end then the Zenith won’t be for you. Even with all bass switches turned on. In fact, those switches don’t affect the balance at all in my opinion. Furthermore, I’d say the bass switches turned on provides the best balance. Without them the sound veers into slightly bright territory yet stays within the bounds of what I’d call neutral. At any rate, I digress. The truth is that the Zenith is not a heavy hitter and certainly could use a few more db’s down low. For those who desire a hint more warmth, some deeper and more bullish sub-bass, a more rotund and resonance-fueled listening session. Those folks probably will want to keep looking. No doubt there’s no shortage of heavy hitters in the price range. However, I cannot in good faith knock what KZ did here. I think it’s a fantastic bass region for many reasons. Well, resolved, well defined, well textured, and enough weight to play most any genre convincingly.


The KZ Zenith and the iBasso DX240



Midrange

The midrange on the KZ Zenith is a story of neutrality with a touch of warmth, cleanliness, streamlined, glass-lined, and clean-lined musicality with plenty of technical chops for most folks. Really nice for a single dynamic driver earphone. If there was a focal point to this set, it would likely be the midrange. Something I don’t usually say in a KZ iem. I like how the midrange is not pushed back into the sound field, but instead it is rendered a bit closer to the listener. This does a few things, but most importantly it helps vocalists to sound well highlighted against the rest of the track. Also, vocals are perfectly centered at all times unless a recording tells it otherwise. However, the midrange capitalizes on the awesome control that this Driver-X is able to provide my music. From the low-mids to the upper-mids the sound is very clean, and I hear an almost holographic or 3D presentation. I’d actually say that this is one of the better tuned midrange performances that KZ has come up with and certainly the best from any of their single dynamic driver earphones. Very precise without losing the emotional pull that some tracks need.

Musical/Technical

Certainly, there are more musical midranges from some other sets out there. However, the Zenith has this awesome knack for being one part musically driven and one part technically adept. The technical side comes from the awesome clarity that the Zenith possesses along with this highly resolving and tight note delivery. Not to mention the staging is really nice on this set. There’s also a non-abrasive controlled and acute sharpness to most notes along with a mostly black background. Together the Zenith seems to pronounce the clarity really well. Yet it still has an emotionally gratifying feel to any song which requires it. So definitely the Zenith doesn’t lack musicality at all in my opinion. Also, the Zenith shows off a nice technical ability. Detail retrieval is very good in the midrange. Separation of instruments and vocalists is also very solid. Imaging and placement of elements within the sound field along with nice layering of sounds is also very well done. This Driver-X is obviously a very nice driver, and I feel that KZ got the most out of it.

Lower-Midrange

The low-mids are not the type which are overly aided by warmth cast upon them from the bass region. You won’t hear the thickest or most rich sounding low-mids either. Be that as it may, I don’t hear anything thin or papery either. There’s an element of moistness to the sound, very nice timbre, and etched-out lean muscle mass which helps to provide a semi-rich note body that has good contrast to it. It’d be one thing if the sound was frail, or dry, or dull and boring. But it’s none of those things. The song “How it Feels” by Zayn is great with the Zenith in my ears. His voice is hearty, raspy, and sentimental in his artistic expression which almost sounds blues influenced. The Zenith portrays his voice very well, great presence in the mix, each lingering breath is heard. Every up and down harmonic shift in his voice comes through with that rasp, semi-rich but well bodied, and the emotion is not lost on the Zenith. It’s a similar story for most male singers within the region. They have just enough weighted authority to sound like males but also, they come across nicely etched against the backdrop of a track. I know there are plenty of people who desire warm, thick, and lush in this region but for a balanced approach the Zenith is very nice.

Upper-Midrange

The upper-mids have a very easy lift in the pinna rise. Such a nice and gradual climb. Man, KZ did a nice job in “not” tuning the Zenith with more of a tight vertical pinna climb, and they kept the pinna rise in nice balance with the bass. Really nice to hear. I say that because this region has a natural helping of shimmer, natural level of levity to female voices, just enough sparkle for instrumentation. Certainly, the upper-mids are a hair more forward and present than the low-mids. They are tuned with a touch more vibrance and energy. All the same, I never feel like the Zenith veers towards shout. There’s a point where an iem can go past. An imaginary ceiling, if you will. Where a set can go from shimmery with controlled vivacity, to artificially boosted and glaring. The Zenith never does that, it never seems to cross that line. It does gain some extra luminance with the bass switches turned off, but it’s never outright sharp to my ears. The timbre remains intact, hovering around natural, colored towards neutral, clean as can be. Females have just enough weight for their voices too. Norah Jones sings her hit “Don’t Know Why” and the Zenith just eats this track up. Her voice is so well pronounced, breathy, feathered into the melody surrounding her so nicely to my ears with the Zenith. Every inflection, every nuance of her silky voice is heard. So, females do very well.

Instruments

Most midrange instruments come across organic, closer to natural. This region is so well contoured with each note, very taut, tight, and glass-lined. You can hear every last intonation to every instrument. I like that notes are relatively tight without losing out on harmonics. Like I said earlier, there’s a natural transient behavior on the Zenith. Strings generally have a slight sharpness or satisfying abrasiveness when needed along with a very woody and natural resonance to them. Acoustic guitar decays with such a nice and earthy sustained harmonic. Violin is similar, at times, though violin play can also sound silvery, mellifluous and always with nice projection and intonation of the timbre. Percussion has that snap I was talking about. Not to an ultra-energetic or vibrant extent, but there’s some crisp snap on attack. I hear nice body to percussion as well, they aren’t dulled or hollow. Really all instruments benefit from the Zenith so long as they don’t require a ridiculously deep bass. Honestly, the midrange instruments all sound nice for a single DD at this price. Very clean, with the right amount of sharpness, very precise without sounding dry and clinical, or too analytical. Sure, piano could use a hint more warmth but still can sound resounding when it needs to and always seemingly very tuneful. I am not going through every Instrument here as it takes too long, too generalized, and every track can display them differently. That said, I am very happy with the timbre and the overall natural tinge to my music.

Downsides to the Midrange

The biggest gripe that I can hear would be the fact that the midrange doesn’t have that warm, lush, and rich timbre that so many desire. Note weight is not going to be thick and weighted. You won’t hear that ultra-authoritative male voice. Granted, I don’t mind it at all but I’m not you. I’d also say that anyone who desires an even more analytical style sound may want to keep looking. Those who are absolute detail lovers, those who tend to like a more bright, thinner and more clinical sound may want to look at other options. The Zenith is somewhere in the middle. Good at all aspects but not really a true master of any. Truthfully, I love what KZ did here and it’s a breath of fresh air to my ears. At least from a tuning standpoint. Yes, it could use a little of this here, and a little of that there, but altogether I find the midrange on the Zenith is probably the jewel of the tuning. Not bad at all.


KZ-Zenith-Review-Pic-68.jpg



Treble Region

This brings us to the treble region. I feel the Zenith does well for a single DD at trying to replicate a tough region to get right. Probably the toughest to get right. Especially for a single dynamic driver. The Zenith does have some treble bite to notes, some crispness too. Without question this is not a treble head’s delight, however. KZ added just enough influence from this region to counter the bass, to bring levity to the rest of the mix, to add enough openness to the sound, and enough to illuminate some details. Truth is that the treble is actually quite good. I like that there is plenty of brilliance in the treble to provide levity to the rest of the mix. When you add in the fact that note definition is also very well defined, notes also have at least some semblances of roundness to them. Granted, the treble is smoother than it isn’t as there’s certainly some limitations to a single DD. However, the Zenith actually has some presence of treble punch and some slight haptic recognition as well. There is some feel to notes, almost like some notes are embossed within that smoothness. I don’t want to oversell here either. You won’t get the type of technical treble that you’d get from a good balanced armature, planar, EST, or some piezo drivers. But you will get solid timbre and very nice tonality from the Zenith along with perfect cohesion which is just as important to me.

It fits…

There’s an uplifting quality to this region with plenty of sparkle, while never forcing it down our throats. So often we hear artificially boosted treble in an attempt to glean some details with forced resolution, all to extract the subtleties from music. It’s something that KZ themselves have done quite a bit in the past. Now, that type of tuning has its fans and it isn’t all bad, but by-and-large with an overly boosted treble you’ll likely have some sharpness. One thing I can say for sure is that the KZ Zenith never seems to step over that line for me. I don’t hear anything too harsh or piercing for my tastes. Yes, the treble is boosted, but not to the point of annoyance, and not even close to artificially boosted. Again, it all goes back to the balance. Across the spectrum nothing stands out as a surefire focal point of this set and the treble is no different. I’d actually say it’s boosted just enough to fit the overall character of this set as the treble just… fits.

Technically astute

Beyond the emphasis I am also pretty impressed with the Zenith’s technical ability up top. For one, I hear some nice extension into the upper treble. Stuff like the secondary harmonics of a cymbal strike never sound splashy, tizzy, or tinny. I don’t ever get that washed out treble tizz from this set. Also, I can hear those harmonics pretty well. The extension isn’t game changing or anything but it’s solid enough to stretch the stage a bit and provide some of that info which gets lost on so many budget iems. Of course, there are iems which are literally tuned to illuminate the highest of highs a lot better and I’m sure treble heads already know all about those sets. So, no… the Zenith isn’t perfect and if I’ve sounded as though I’m saying that then please forgive me. This is an under $100 single DD and expectations should be corralled a bit. Again, it has its limitations. Nevertheless, for what it is, the Zenith does a fine job with reaching out past 10k and not coming across exaggerated or too intense. Also, detail retrieval is quite nice. Certainly not the best and KZ didn’t exactly tune this set to extract every last detail, but there are so many instances where the Zenith surprised me. The micro-dynamic subtle volume shifts and micro-details can be heard nicely so long as the track isn’t too complicated, too congested, or ultra bass heavy. Separation of instruments is once again good as well.

Downsides to the Treble Region

I’d say the biggest downside will be for those treble heads who love a shiny treble with all the bite, punch, and roundness that they can get. I feel the Zenith is great for what it is, but it won’t make those people happy. Also, dark treble lovers or those who desire a rolled-off treble will not find that here. I know so many folks who are very sensitive to any brightness, and I do think that the Zenith can exhibit enough brilliance to be a problem for them. Especially in the “0000” configuration. That all said, I find it hard to criticize what KZ was able to do here. I feel they did a solid job tuning a treble which works nicely with the rest of the mix and doesn’t induce fatigue. Not for me anyways.

Such a cool faceplate design

KZ Zenith Review Pic (96).jpg


Technicalities

Soundstage

I’d say that the KZ Zenith has a nice sized stage. I’d say it’s roughly average to above average in overall perceived size and grandeur. However, the Zenith has a more Intimate stage. It’s wide, and tall, nothing congested, and there’s good space between instruments, very nice layering of sounds too. Yet the stage is a little closer to the listener. The midrange isn’t really recessed but instead it’s pushed a hint forward which makes things a hair more intimate. That said, I really like the way the sound field comes across for my music library. It is not some vast and enormous stadium sized venue in my head. Of course, I don’t know many iems that will give you a huge stage. But size isn’t the greatest determination of what makes a soundstage “good”, in my opinion. Much has to do with spacing, depth, and layering too. Thankfully the Zenith actually has good depth. At least enough to perceive layers within my music. Obviously, not all types and genres are filled with layers, but if they are there, the Zenith will usually reciprocate. One thing is for sure, I don’t hear a stage that sounds compressed, or blended and nothing sounds congested. For the most part it’s a nicely laid out stage.

Separation / Imaging

Another bright spot to this high-budget oriented single DD is that it actually has some nice instrument separation and imaging. Both skills come across very well on the Zenith. Again, this is a very competent driver with a solid tuning. The balance alone helps tremendously for the Zenith to sound well separated with partitioned-off elements of the soundstage. I hear very nice layering of sounds for the cost of the Zenith too. Certainly, better than I expected. You have great clarity, high resolution, clean transients, a nice stage size, very nice macro-dynamics, and you have a mostly black background which all comes together to help the Zenith in separation. Imaging follows suit with very well-placed elements of the stage. Vocals are always centered well. At least that I paid attention to. Really a nice job on KZ’s part with these two important attributes to the sound.

Detail Retrieval

Once again, I have nothing bad to say about the Zenith for detail retrieval. For all the reasons it’s solid in separation of instruments, it is also solid in illuminating the subtleties and bringing the details to the surface. Obviously on seriously congested or complicated tracks you won’t hear the finest details, or in heavy bass driven music also. That should go without saying. Also, single DD’s are already at a slight disadvantage when it comes to resolving tiny details and all technicalities for that matter. Yet when tuned well, like the Zenith is tuned, you may just be surprised. Certainly, the Zenith is above average in its ability to retrieve details.


KZ-Zenith-Review-Pic-8.jpg



Comparison

Comparison between the Zenith and the Kima 2
Dunu Kima 2 / KZ Zenith


Dunu Kima 2 ($119)

Kima 2 for comparison

The Dunu Kima 2 (Kima 2 Review) is one of those sets which really surprised me. Truly a timbre beast which provides some of the most natural timbre available for the cost. I have so many comparisons which I could pull but the Kima 2 seems like the perfect set to pair the Zenith against. Yes, it is more expensive, but I think the two are right in line with each other on sheer ability. Now, the Kima 2 is also a single dynamic driver earphone which consists of a 10mm DLC dynamic driver and one of the better unboxing experiences that $100 can afford. Now, the Kima 2 is part of the Kima series of iems which has been a major win for Dunu. Really each iem in this series has been a hit. However, it’s the Kima 2 which took the series to the next level and one that I personally really enjoy. Let’s look at some differences.

Differences

To begin, the build of both sets is off the charts. I do find the Zenith to have the “seemingly” better build, but that’s by a micro-fraction. Both are truly built awesome. The design of both is also equally great in my opinion. However, I personally enjoy the look of the Zenith here too. Again, I love them both, but the Zenith design is simply too intricate and unique to not give it the nod. Now, as far as unboxing experiences go, I definitely think the Kima 2 wins out. They provide a really nice modular cable, awesome case and a truck load of eartips. Not that the Zenith is bad, but the Kima 2 is on another level. Perhaps that’s where the cost increase goes. Again, the Kima 2 is a little bit more expensive than the original MSRP of the Zenith ($99). However, remember that right now you can get it for only $55. If it was me, that would seal the deal between the two. Still, I have to measure each other against the actual MSRP. So far, these two are really neck and neck for me. Let’s check out the sound difference between both sets.

Sound Differences

To begin, both iems are very similar. It isn’t until you spend quality time comparing that you hear the distinct differences. Anyways, the Zenith has a more guttural, and more well defined low-end with a slightly cleaner approach. Note that this is with the bass switches turned on. Without the bass switches it is hard to tell a difference other than the slightly denser bass of the Zenith. As far as midranges go, the Kima 2 truly specializes in its ability to render vocals beautifully and so it does have the edge there. Slightly more realistic timbre, more natural by a slight degree too. However, the Zenith is a better balance of technically adept and musical. Most certainly better detail retrieval, slightly better layering of sounds too, slightly more open. The treble is also a hair more pronounced on the Zenith. A touch more airy, better bite and more crispness. While the Kima 2 shows off a wonderfully smooth and non-offensive sounding treble, the Zenith adds a touch more bite. Both sets have very nice extension into the upper treble and neither sounds splashy. Technically the Zenith seems to win out here. But man is it by the slightest of margins. On the flipside, the Kima 2 wins out for timbre and tonality. The Zenith and the Kima 2 both have nice soundstage, but the Zenith has a touch more depth.

Final thoughts on this comparison

I felt this was an appropriate comparison. Both iems are absolute baller sets for their respective prices. Both have their own sway to the sound which sets them apart. It really comes down to whether you want to pay more for a more timbre accurate and wholly musical iem that doesn’t even sniff at being offensive in the Kima 2 and a better unboxing, awesome cable. Or do you want a less expensive and completely clean, punchy, well defined and resolute iem in the Zenith. Also, better details on the Zenith while not missing out in musicality. Again, these differences are so very slight. Also, it would change by the day which one I like more. I guess it depends on my mood. Both sets are personally highly recommended by me (if that means anything) and both are very nice sets for any collection.

Kima 2 & Zenith Graph Comparison
Graph courtesy of Paul Wasabii, Thank You very much!!

KZ Zenith Review Pic (7).JPG


Is it worth the asking price?

The $55 sale price and $99 MSRP are both absolutely worth the cost of ownership. There’s no doubt in my mind. I’m telling you; the KZ Zenith is a very high caliber set for the cost. At $55 it is one of the more insane no brainer that I’ve come across. Akin to the Kefine Klean (Klean Review) in how awesome that price is. Only the Zenith is actually more refined to my ears. Which is saying a lot because the Kefine Klean is a wonderful iem. Anyways, the KZ Zenith does have a boatload of iems which all hustle for your dollar. So many great single DD’s like the Simgot EA500LM (EA500LM Review), the Kefine Delci AE (Delci AE Review), the Fiio JD7 (JD7 Review), the Dunu Kima 2 (Kima 2 Review) is close in price too. I could sit here for a while naming off quality sets. However, there’s also planars, a couple all-BA sets, and some very nice hybrids, dual/triple DD sets etc. which occupy this space. Sets like the Shanling Tino (Tino Review), the QOA Mimosa (Mimosa Reviewc), Artti R1 (R1 Review), Letshuoer DZ4 (DZ4 Review), ivipQ Q14 Shanhai (soon to be reviewed), Simgot EW300 (EW300 Review) and the list goes on and on. So, no shortage of competition. However, I do think the Zenith is set apart a little bit and I’ll try to make that case below.

The Why…

Because the build quality is truly second to none at this price point. Whether at $55 or $99 the Zenith is built like it should cost three times as much. I am so impressed at the all-metal build! The intricately laid out faceplate is so stellar! Just holding them in your hands feels like a premium set. KZ also updated the driver to the brand new (also stellar) Driver-X. It’s the new ultra-linear driver made in house by KZ and folks, it’s very nice. In fact, the driver is one of the largest reasons why the Zenith performs the way it does (yes, I’m captain obvious). Also take into account the dip-switches. You have a nice unboxing too. You may want to upgrade the cable, but the presentation is nice. There is quite a bit more upgrades they made to make the Zenith what it is.

That sound!!

However, as always, it’s the sound which truly takes this set and sets it apart. Now, I’m not saying it’s the best in the price point. Though the Zenith does have a case for it if you enjoy the sound signature. It has a very clean, tidy, very punchy bass that keeps up well with complicated tracks. I hear awesome texture out of the bass. Really well done. Next, you have a forward and pristine midrange with a natural note weight, clean transients, non-offensive and good for vocalists. I hear solid details, Imaging, and separation with nice layering for a single DD at this price. Also, the treble has nice extension, has its fair share of treble bite and punch with just enough crispness while displaying a mostly smooth and easy listening treble region. Yet it’s how this set brings it altogether which helps it to really make its mark. Great technically, still very musically gifted too though. Now, besides a slight lack in bass weight and depth, the sound is super clean, black background, highly resolute, and almost perfectly balanced. I gotta say, the Zenith is a very nice offering and if you can get it for $55 then it is a wild steal. Without question the Zenith is worth every last penny.

Zenith paired with the Hiby R4

KZ Zenith Review Pic (108).jpg


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 Zenith ratings below, that would be $50-$99 single dynamic driver earphones. 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. $50-$99 single dynamic driver sets are a fairly large sized scope of iems. So, It should be noteworthy to see a rating above a “9.0”. 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: 9.9 Well built, 3D printed, clean build

Look: 9.8 Very unique and cool design.

Fit/Comfort: 9.1 Fit and comfort is very good for me.

Accessories: 8.9 One of the best KZ unboxing experiences.

Overall: 9.4🔥

Sound Rating

Timbre: 9.3 Great timbre.

Bass: 9.3 Punchy, textured, clean.

Midrange: 9.4 Highly detailed, great clarity, tuneful.

Treble: 9.3 Non-Offensive, sparkly, extended well.

Technicalities: 9.3 Technically astute iem, great details.

Musicality: 9.0 Musicality is nice, rhythmic sound.

Overall: 9.3🔥🔥🔥

Ratings Summary:

To summarize my ratings for the KZ Zenith I should point out what I said in the note before this section. I said that I’m rating the KZ Zenith against any single dynamic driver earphones between the price of $50 and $99. I would have gone higher but I’m not sure what the final price will be. I’m quite positive that KZ will likely keep it under $60 but I’m simply not sure. So, it made sense to me to go from $50 to $99. I had all of the better single DD iems within this price point right in front of me to complete this rating, which is helpful to have. I listen to a track for each rating category and go through each set quickly to establish some fairly fast ratings. It usually takes me about 1-2 hours. I actually enjoy this portion of every review. That said, I don’t advise that you take these ratings as gold. They are not. They are one man’s opinion. A biased opinion at that. Ratings never made much sense to me as all of the nuance and intricacies don’t get addressed and so many people base buying decisions off of ratings. Of course, they have their place, and I love “best-of” ranking lists. However, take these ratings above as a grain of salt. In fact, skip ahead.

Explain Yourself!!

Without a doubt the most flak I get over any ratings… is always the “Bass” rating. I could certainly see that happening on this set. I gave the Zenith a “9.3”, which is high. Why did I give the Zenith a “9.3”? Well, it wasn’t for its quantity, I can tell you that. I gave it that score because of how nicely refined the bass is. You have actual good texture, clean attack through decay, well defined, not even close to one-noted, and able to resolve subtleties within the region better than most sets under $100. There are a couple sets I had rated either the same or higher but a “9.3” is great and the Zenith deserves it… in my humble opinion. The rest of the ratings speak for themselves, and I don’t think they need explanation. If you read my review, then you’ll know why I scored the Zenith so high against other single DD’s.

One more thing, friends, try to remember the lot of iems I am rating the Zenith against. So often I get messages asking about why I rate a set so high by people who never take the time to read the note above this section. Remember, I am not rating the Zenith against any and every driver configuration. Only against other single DD’s. This drastically changes the rating as the pool of sets is so much smaller. Not a big deal though but I feel I need to explain myself a bit. I’m definitely considering stopping these ratings.

A gorgeous iem
What a handsome set. This design is insanely cool.


Conclusion

Thank you!

To conclude my full written review and feature of the KZ Zenith, I first have to thank the people of Knowledge Zenith for providing the Zenith for review. I also want to personally thank Tyvan Lam. Thank you very much, KZ is truly doing awesome! Also, I want to thank you, the reader, for clicking the link and spending time here. Mobileaudiophile.com survives off of clicks and we really want to grow our reach. To do that we need to get in line with the Google algorithm. However, to do that we need clicks and time spent from you. I promise you it means the world to us. Thank you. Also, I really do hope it helps you. I cannot say that I review without bias, but I definitely tell you exactly how I feel about any and every product that I feature. I know I can say the same for my partners. Mobileaudiophile.com is a place where you can go for a truthful opinion. Thank you.

Other Perspectives

Now that you’ve read this review, I encourage you to go and check out other thoughts. Friends, this is very important. Get other perspectives from other people. We are so very different. Each one of us. Just because I enjoy something doesn’t mean that the next guy will, or that you will. I give you my opinion. Granted, that opinion comes from many reviews, but it’s an opinion, nonetheless. I will always see other reviewers who differ from me. Guess what… that’s okay. In fact, I wouldn’t have it any other way. We want you to find what works for you and if figuring that out means looking at 5-7 reviews, then good. You figured it out. So, with that all said I think I’m done. Please comment below any questions that you may have, and I’ll be happy to answer. I don’t always see those questions but eventually I’ll get to them. Beyond that, please take good care, stay as safe as possible and always… God Bless!

KZ Zenith Review Pic (97).jpg

Nimweth

Headphoneus Supremus
Full "Meta" Jacket!
Pros: Well balanced "meta" style profile
Solid clean bass
Open and detailed mids
Clear and extended treble
Large soundstage
Well made and presented
Good accessories
Cons: A little bass bleed
Bass could be a bit stronger
Poor cable ( a modular or upgraded one would have been nice)
KZ Zenith
Introduction
The Zenith is the new top of the range single DD model from Knowledge Zenith which is named after the company in celebration of its 12th anniversary. It features a new design of 10mm dynamic driver with a number of technological advances, a full alloy shell and four tuning switches and retails for $65.

Purchase link:
https://www.kztws.com/en-gb/products/kz-zenith

The Packaging
The Zenith comes in the new premium style packaging as seen in the recent Sonata model, and is more substantial than that of previous KZ IEMs. There is a rectangular black box with a printed sleeve featuring a large image of the IEM, below which some of the salient features are displayed. The KZ logo appears in the top left and there is branding on the sides as well. The reverse shows the specifications and a frequency response curve.

Removing the sleeve reveals a plain black box with a textured finish and a simple embossed KZ logo in the centre. The box has a hinged opening and inside, the IEMs are displayed in a cut-out. Below this is a grid holding the eartips. On the left in a plain grey box you will find the blue leatherette carrying case in which the cable and the tuning switch are stored.

● KZ Zenith IEMs
● Flat QDC silver plated cable
● Three pairs black memory foam tips
● Three pairs black "Starline" silicone tips
● One pair black "M" silicone tips (pre-fitted)
● Leatherette zipped case
● Tuning lever
● Documentation

This is a much improved presentation, but it was a little disappointing not to have seen an upgraded or modular cable included, considering that this is a premium model.

Build and Design
The Zenith has a full alloy shell with a faceplate featuring a reticulated design of triangles and a gold-coloured knurled screw. The legend "New Era Tech • Zenith" is written along the rear edge in a white sans serif font. The 2-pin socket is mounted on the top surface and there is a small circular vent at the base of the nozzle. The earpieces are very well built and have a bit of a "heft" to them.

Internally, the 10mm dynamic driver, "Driver X", features an enlarged voice coil, a larger volume neodymium magnet and a narrow suspension edge. It also has a reduced magnetic gap of 0.15mm. The ultra-thin PET diaphragm features surface patterns which enhance its vibrational rigidity.

The four tuning switches are mounted on the rear of the shell and operate as follows:
Switch 1 on: Bass up by 1 dB
Switch 1 & 2 on: Bass up by 2 dB
Switch 1, 2 & 3 on: Bass up by 3 dB
Switch 1,2,3 & 4 on: Full range boost

The supplied cable is the standard KZ type as seen in most of the newer models and is an OFC type with a 2-pin 0.75mm QDC connector and a gold plated 90° angled 3.5mm plug. The sheath is transparent, revealing the copper coloured wire within. The cable is not as prone to tangling as previous KZ cables but there is still no chin slider. It handles slightly better than the white silver plated cable supplied with other recent KZ designs.

Specifications:
Impedance: 41ohm
Frequency response: 20 - 40KHz
Sensitivity: 128dB±2dB

Fit and Isolation
The Zenith is pre-fitted with a set of medium silicone tips. They are different from the standard Starline type tips and I found them very good, so they were used for the review.

The earpieces are fairly heavy but with the pre-fitted tips, I obtained a very stable fit. The earpieces settled snugly in my ears (I have large ear canals) and were very comfortable. Isolation was good but not totally so since the earpieces are vented. A moderate increase in volume was necessary to mask exterior sounds.

Though serviceable, I did not feel that the supplied cable was of high enough standard to use with the Zenith so replaced it with a Faaeal Hibiscus pure copper cable which matched well with the Zenith's tonality.

I found the Zenith to be particularly source-sensitive. I tried three different USB-C dongles with a Hidizs AP80 Pro X but was not satisfied with the results. After switching to an Xduoo X20, the Zenith began to perform at its best. A burn-in period of 100 hours was carried out before evaluation during which a wide range of music genres was used including some audio conditioning tracks and white noise. After some experimentation with the tuning switches, I decided on 1111 which produced the desired result.

Sound Impressions
Tonality
With the Zenith, KZ have adopted the philosophy of "quality over quantity". The bass is not excessive, even with the switches set to the maximum boost, but it has good extension, texture and resolution and good speed. Mids are nicely judged with a well balanced tuning and a warmer lower region where there is a touch of bleed. There is a moderate pinna rise and the treble is smooth, displaying good timbre and a high level of detail. Soundstage is extensive and natural in size with competent layering and separation and a very good impression of depth.

Bass
As mentioned above, the Zenith's bass is carefully tuned to provide depth and extension without being dominant. It has a pleasant richness of tonality, moderate weight and good resolution. Bassheads will need to look elsewhere but the level is in good balance with the rest of the frequency range and is there when the material demands.it. Mid bass showed a healthy kick when required, adding a dose of fun to the proceedings but did bleed slightly into the midrange.

"Meditation" is the title track from "Liquid Mind's tenth album. "X". In this piece we are treated to Chuck Wild's trademark combination of floating synth washes, gentle melodic chord progressions and deep sub-bass undertones. The Zenith presented an authentic reproduction of this with a sonorous, textured sub-bass with a pleasing sense of weight which underpinned the subtly shifting diatonic harmonies characterising this artist's work. Always in perfect balance with the changing melodic patterns, the low frequencies endowed the music with a solid and rich foundation evoking a sense of peace and tranquility.

The Minnesota Orchestra's version of Aaron Copland's famous "Fanfare for the Common Man" under the baton of Eiji Oue is a wonderful recording with the percussion taking centre stage. The bass drum and timpani here sound amazingly lifelike and the Zenith conveyed the depth and impact accurately with just the right amount of weight. The initial strike was clean and incisive and the decay of the drums was nicely reproduced whilst at the same time preserving a palpable sense of the hall ambience.

Mussorgsky's "Pictures at an Exhibition" has been transcribed many times but perhaps not in such an extraordinary way as that by Jean Guillou. His colourful and exciting version of this popular work performed on the great organ of the Tonhalle, Zürich, came over thrillingly on the Zenith with the deep pedal notes cleanly reproduced. Delving down into the lowest octaves, the tonality was clean, well-textured and immediate. There was no evidence of bloating or unwanted overhang and the resonance of the hall acoustic added to the realism.

Midrange
The Zenith's midrange was open, lush and musical with a good amount of detail. Imaging and layering were of a high standard and the timbre was very natural. The lower region, coloured a little by a small amount of bleed, derived some warmth from the mid bass, endowing male vocals and cellos with some extra weight whereas the upper mids were clean with a moderate pinna gain, as expected from the "meta-style" tuning recently adopted by KZ.

The lush multi-tracked vocals in "All the Love in the World" by the Korgis received a clean and open rendition from the Zenith.
After a short instrumental introduction James Warren's lead vocal is supported by a sweeping string accompaniment and percussion and the layering and separation of the vocals was very well reproduced with a good sense of perspective. In the short instrumental break, a guitar solo cut through the dense production backed by close vocal harmonies and strings and on the Zenith everything gelled together most effectively.

The Zenith's midrange timbre was demonstrated admirably in John Foulds's "Keltic Lament", the second movement of his "Keltic Suite, Op.29 (1914). The piece begins with a sustained and lyrical melody for cello accompanied by harp. The tonality of the instruments was convincingly presented with a natural quality. The melody is then repeated with a rich and sonorous string accompaniment and the dynamic shift as the piece reached its climax was handled with aplomb, giving a real sense of the power of an orchestra in full flow. In this fine recording by the CBSO under Sakari Okamo, the cello remained clearly in the centre of the image with the orchestra laid out in a spacious manner, displaying the layering of the Zenith to good effect.

Piano is another instrument where the quality of timbre can be assessed. "The Day before You Came” from Benny Andersson’s “Piano” album explores the whole range of Andersson’s Fazioli instrument. This solo rendition of the ABBA song came over on the Zenith in a clear and open fashion with an authentic timbre. The reproduction of the overtones and natural decay of the notes added to the realism of the performance and at the same time the contrast between the dynamic and more lyrical passages was well conveyed. The atmosphere of Linn Fajal’s wonderful recording was captured very impressively, taking you right into the room and drawing you in to the music.

Treble
The Zenith's treble was nicely contoured, rising gently from the mids and showing a smooth clear tonality with no harshness or tendency to sibilance. After a gradual dip the treble recovered in the upper region, adding some sparkle and air to the higher frequencies and greatly helping with detail retrieval.

The quality of the Zenith's treble was clearly demonstrated in Gerald Finzi’s beautiful “Introit”, performed by Lesley Hatfield with the Northern Sinfonia under Howard Griffiths. The solo instrument was in perfect balance with the orchestra and displayed a convincing tonality with the song-like principal melody blending perfectly with the rest of the players. The high violin harmonics at the conclusion to were wonderfully reproduced, giving a natural and believable timbre to the instrument within an open, airy acoustic.

German multi-instrumentalist George Deuter has produced a large number of albums in the New Age genre, always immaculately recorded and produced. “Petite Fleur” from his “Land of Enchantment album is a good example with the delicacy of the woodwind and percussion sounds coming over cleanly and precisely via the Zenith and each note clearly etched. The lead melody resembles a music box and the attractive theme shone out clearly above the guitar and synthesised background displaying a well-reproduced ambience which was testament to the excellent detail retrieval. The high synth tones towards the conclusion were clear and pure in tone, possessing a clean and sparkling tonality with plenty of "air".

Exo Genesis” appeas on the album “Rosetta” by Vangelis. The track begins with fragmented piano arpeggios in a complex sequence featuring cymbals and electronic effects. The metallic sheen of the cymbals exhibited focus and clarity contrasting well with the keyboards. The rhythmic element in a minor key contrasted with a powerful anthemic melody in the major key and it was very effectively portrayed by the Zenith. Underpinned by sub bass rumbles, the treble elements remained clear and crisp even in the most dynamic passages and created an enchanting tableau full of colour and drama.

Soundstage
The staging was one of the best features of the Zenith's abilities, being spacious and dramatic with an unusually fine depiction of depth which enhanced the layering and separation and was particularly effective in displaying the intricacy of productions and the layout of orchestras. Imaging was also of a high standard making the most of good recordings and recreating the atmosphere of the original performance.

“Mausoleum at Halicarnassus” is the fourth movement of the “Seven Wonders Suite” by Stuart Mitchell. It features a prominent solo flute which was placed precisely in the centre of the image and supported by strings and percussion laid out impressively within the recording venue. A rising string motif follows, embellished with a bright triangle. The initial strike and subsequent decay were beautifully captured. The solo instrument was particularly well rendered, floating over an imaginative orchestral backdrop. The hall ambience was nicely reproduced in the recording by the Prague Symphony Orchestra conducted by Mario Klemens, with the percussion section displaying a believable distance and a natural decay, especially in the timpani strikes towards the end of the piece which showed an authentic weight and decay.

In "Come back to us” by Thomas Newman from the OST to “1917”, sustained strings and delicate keyboards introduce the piece. Basses and cellos, augmented by synth bass, form a deep foundation over which a poignant and impassioned cello solo is heard. The Zenith presented a wonderful tableau full of atmosphere and feeling in a broad canvas and when the cello was joined by full orchestra, the effect was thrilling, creating a haunting atmosphere full of emotion.

The production in "Just a Girl" by the Pale Fountains (1982) was laid bare by the Zenith. After a short introduction featuring trumpet and acoustic guitar, Mick Head's distinctive vocal takes centre stage with rhythm guitars in each channel supported by trumpet and guitar. In the instrumental break, there are cameos from violin and guitar which were reminiscent of Stephane Grapelli and Django Reinhardt and further accents from Andy Diagram's trumpet. All the instruments were accurately positioned in the Zenith's image within their own space and demonstrated what a great production this is.

Comparisons
WG T-one
WG's T-one is also a single DD model with a 10.2mm driver which has a composite film diaphragm, a rear cavity enclosure and a Tesla grade magnet. Originally priced at around $100, it has been available recently for as little as $30. The shell is very solidly built from metal with a wave-like design on the surface. The interface is MMCX and there is a high quality cable.

The T-one has a warm and powerful bass range, pleasantly tuned mids and a smooth but extended treble and has very few minuses in its overall performance. The treble occasionally exhibits some sibilance (on my equipment) and there are some anomalies in the staging which is not as stable as in the Zenith. Sub bass is richer but looser than the Zenith, with a heavier rumble but less control. Mid bass, like the FD3 below, is stronger than that of the Zenith but there is no evidence of bass bleed. The mids are well tuned and quite similar to the Zenith in the lower range but the pinna gain is greater in the upper region which adds a bit more bite in this area. The timbre is largely natural except in the upper mids where there are some issues. The Zenith's consistency is preferable here.

Fiio FD3
The Fiio FD3 features a single dynamic driver with a 1.5 Tesla magnet and a 12mm DLC diaphragm. It has a front acoustic prism and a semi-open acoustic design with interchangeable sound tubes and retails for $109. It is very well made, solid and compact. The cylindrical metal body is nicely finished and the interface is MMCX.

The FD3 has a prominent bass and a clear detailed treble with a slightly recessed midrange and the overall tonality is on the warm side. The delivery is natural and unforced with a refined quality but still retains a touch of extra warmth which adds an attractive bloom. The dynamic range is particularly notable, climaxes being handled effortlessly with plenty of headroom and in this respect is very similar to the Zenith. Its broad cinematic delivery and rich, vibrant presentation has a natural sound majoring on enjoyment and entertainment. It sounds warmer than the Zenith, having an elevated mid-bass and a more "V-shaped" profile compared to the Zenith's "meta" tuning. The Zenith has a superior treble which is very extended with better details and a tighter and more controlled bass. The FD3's venting produces a wider and deeper soundstage but the Zenith's imaging is more precise. It is difficult to choose between the two as each has its merits and there are both similarities and differences to take into consideration.

Conclusion
The Zenith is KZ's first "premium" single DD model. It is a step up from the heritage ED range and is marketed in a higher tier than other recent DDs such as the Libra and Saga models. Very well made and presented, its sound quality is commensurate with its price and indeed, it matches or outperforms models in the $100 range, as can be deduced from the comparisons above. The tuning is well balanced and detailed with an expansive soundstage and there was a good balance between technicalities and musical expression. The various technical advances brought to bear on this model really seem to have borne fruit and the Zenith must be considered a serious contender for a single DD in its price range.

Attachments

  • IMG_20241223_125209.jpg
    IMG_20241223_125209.jpg
    2 MB · Views: 0
  • IMG_20250109_193843.jpg
    IMG_20250109_193843.jpg
    2.5 MB · Views: 0
  • IMG_20250109_144311.jpg
    IMG_20250109_144311.jpg
    3.1 MB · Views: 0
  • IMG_20250109_193512.jpg
    IMG_20250109_193512.jpg
    3.3 MB · Views: 0
  • IMG_20250109_193212.jpg
    IMG_20250109_193212.jpg
    3.5 MB · Views: 0
  • IMG_20250109_144529.jpg
    IMG_20250109_144529.jpg
    1.8 MB · Views: 0
Last edited:
FreeWheelinAudioLuv2
FreeWheelinAudioLuv2
KZ is embracing the new meta tuning harder than running into your long lost favorite ex-girlfriend.
  • Like
Reactions: r31ya
sfrsfr
sfrsfr
In your "Fit and Isolation" section you did not write anything about fit or isolation.
Nimweth
Nimweth
sfrsfr: oops! I have added that information.
  • Like
Reactions: sfrsfr
Back
Top