KZ ZS10 Pro 2

Introduction

Believe it or not, it's been more than 5 years since I created my blog dedicated to portable audio and I still haven't reviewed any KZ model. What used to be the brand I bought the most as a hobbyist, the salt and pepper of the most tasty and primitive Chi-Fi, has never been reviewed in this blog. Actually, KZ, the brand under which Guangdong-based Dongguan Yuanze Acoustics Technology Co., Ltd. operates, was founded in 2008, making it a legacy brand by Chi-Fi standards. Its founders are Keith Yue, a former Audio-Technica engineer, and Zen Li, a Western-trained classical musician. The name KZ is not only a nod to the founders' initials, but also an abbreviation for "Knowledge Zenith". The company offers an impressive range of low-priced headphones that mimic the shape of many moderately priced headphones from leading brands. KZ originated, in 2013 advocated the ultimate, fashion and simplicity focusing on the faith of revolutionary pursuit of the ultimate attitude towards life forward. Truly, there are few brands that represent Chi-Fi in its purest state like KZ. But, really, the brand persists in a continuist idea of models within an own style that allows any fan to say: you can tell that this model is KZ. Its seal of identity is very strong, but it could also be a brake on its evolution. The model I am going to review is the KZ ZS10 Pro 2. As a good fan, I have the first version of the ZS10, a classic and sharp analytical version within KZ. Many years later, the KZ ZS10 Pro 2 is my first KZ that I am going to review. Now my mind is clear from the frenzy with which I used to buy many KZ models and after more than 100 reviews I have a different perspective on this legendary brand. Let's see what these new KZ ZS10 Pro 2 can do.



Specifications

• Driver Type: 10mm dynamic driver + Dual 31736 BA x2.
• Precise 3-way crossover technology.
• Custom 4-level tuning switch.
• Frequency Response: 20Hz-40kHz.
• Sensitivity: 108±3dB.
• Impedance: 25-28Ω
• Jack Connector: SE 3.5mm
• Capsule Connection Type: 2Pin 0.75mm
• Cable Length: 120±5cm.
• Cable Type: silver plated conductor.
• Price: $50.39

Packaging

KZ is distinguishable from its presentation. The KZ ZS10 Pro 2 comes in that classic small white box, measuring 94x73x33mm. There is a real photo of the IEMS on the front, specifications and other brand information on the back. This case slides vertically and features the IEMS inside a plastic mould at the top and a box at the bottom. It is protected by a transparent plastic sheet that acts as a lid. Inside the box are the accessories, which are:

• The two capsules KZ ZS10 Pro 2.
• One cable with remote control and microphone.
• One pair of black foam tips.
• Two pairs of silicone tips type KZ, medium and large sizes.
• One metal pin to operate the switches.
• One instruction manual.

KZ power: capsules inside plastic moulds, instead of using foam moulds. Cable still looks too basic, even though it is silver-plated. No carrying case, no bag. Just 2 pairs of KZ tips and, best of all, the metal pin and the foam tips. A step forward would be to improve the cable, as, in my opinion and although I am not a believer in cables, it limits the potential of the model.
Low level of accessories for a model that already costs 50$.



Construction and Design

The capsule shape of the KZ ZS10 Pro 2 is semi-custom. The outer face appears to be made of a metal alloy. The surface is polished, smooth and shiny. It has 5 slots which are protected by a grille underneath. There are 3 Torx screws that anchor the outer face to the body of the capsule. On the edge you can read "NEW GENERATION HYBRID". The inner face is all transparent plastic. The rim is thick to accommodate the 4 switches. The capsule connection interface is typical KZ, with the 2Pin 0.75mm connectors mounted on an oval that overhangs the capsule. The inner face is smooth and rounded, not seeking a wavy shape beyond the edge, with no protrusions. The nozzles are integrated and made of the same material. They have two diameters, the initial diameter is 5.3mm and the crown is 6.1mm. The approximate length is 4mm. The nozzles are protected by a fine metal grid. There is a hole in the centre of the inner face, which coincides with the centre of the dynamic driver.
The cable is a classic two-stranded soldered cable with a silver-plated conductor. This is perhaps the most relevant thing about the cable. The rest is the typical 90-degree plug made of translucent white plastic. The splitter piece is a piece of transparent plastic. It has a remote control and microphone mounted on an elongated white plastic piece. The connectors are the classic angled connectors. All connectors are gold plated.
The cable is stiff and takes shape. I don't like microphone cables although I understand that they can be really useful. But KZ could improve on this and make better microphone cables. Very few brands have invested in improving an accessory like this. It may seem obsolete in the widespread use of TWS. But I think that improving the microphones of IEMS cables is a very good idea. In my opinion and beyond the usefulness of the remote control and the mic, the cable begs to be replaced immediately.
The capsule's construction is classic, with a plastic inner face, whose greatest virtue is its level of transparency, allowing the drivers, cables and crossover to be seen. The elegant and distinctive seal is set by the outer grille which, with its grooves protected by slots, generates a more open sound. KZ is true to its designs and remains anchored in a look that moves on the edge of the more economical price point, both in external construction and accessories, perhaps to maximise the technology used in the drivers that produce the sound. However, all of the drivers are also manufactured in-house, so it is possible that much of the price is invested in R&D. But that doesn't detract from the fact that the look of the IEMS KZ still has that well-finished, but cheap look.



Adjustment and Ergonomics

Capsule of medium size, light, semi-custum on the outside, but smooth and curved inside, without protuberances on the rim. Good inclination of the nozzles. The length is suitable for a shallow to medium insertion. Thick rim due to the 4 switches. Allows some rotation until it snaps into its end point. With the right tips the fit is remarkable, with a good fit and good insulation. The classic internal shape, the good orientation and size of the nozzles ensure a very proven and reliable ergonomics, without artifice, but without a superior fit in its anchorage. KZ has adopted the safety of a design without internal protrusions and this gives it a wider and more universal comfort index.



Sound

Profile

With 4 switches, the KZ ZS10 Pro 2's move from a bright mid-centred profile to an excited and rising W-profile. The switches barely modify the treble, but modify the lower range down to 500Hz or 600Hz. The first three positions only add 2dB at the lower end of the subwoofer, while the fourth position has a difference of about 4dB from the previous step. I would have preferred more distance between each step and a fourth step with more bass boost, almost at Bass-Heads level, to gain versatility. Undoubtedly, and coming from previous reviews that I alternate powerful IEMS in bass, with neutral IEMS in bass, this time I go back to the fold and prefer the tuning with the switches in the higher bass position (1111 or 1110). As the ZS10 Pro 2's profile is excited in upper midrange and treble, I prefer this tuning with higher bass to compensate. It is true that three of the tunings are lighter in bass and I might be skipping the more balanced profiles. But as a good bass lover, if I have a choice, I usually go for the more bass-heavy profile.



Bass

The ZS10 Pro 2's bass is quite dense and deep, generating a good sense of volume, presence and also enjoying a noticeable level of darkness, something that supports that more corporeal and physical feel. There is a certain rubbery character that gives a subtle rougher feel, with a more pronounced texture. However, the impression that strikes me the most is that dark colour, which creates a dry, full and hard appearance, as if it were a rather deep barrier. In the pure tone test you can see that strength from the lowest note. There is an obvious, strong, powerful sensory character at the lower end, quite dark, but this is coupled with a more audible ripple effect that slightly spoils the very physical, yet good, experience. This is possibly some of the deepest, most sensory bass I've tried lately. And that's commendable in a mere $50 IEMS. In this test, the demonstrated behaviour has been excellent for the price, as it has been powerful, physical, sensory, quite shattering, very deep and dark. On the other hand, it is not a slow bass, it is not the fastest either, but it has quite good control. So you could say that it is somewhere between a medium-fast bass in its execution, with a little bit more punch due to its level of power and energy. It is true that when executed it can take up quite a bit of space, which can cause a certain level of fatigue. However, it picks up quite well for all the volume it takes up and the strength it demonstrates. And that's something that comes through in the dirty, complex and unfiltered bass test. The ZS10 Pro 2s perform remarkably well in these more difficult passages, demonstrating very good control, keeping the bass in check, despite its power. It's true that it tries to simplify it slightly, losing some ability to follow all the faster bass lines, but it doesn't lose pace or go off script, inventing things that don't exist, but in the faster passages it tends to simplify the performance. In quieter passages you feel a better layering and a more efficient generation of layers.
In my opinion, the bass is quite enjoyable for its power, presence, dark colour, density, depth and punch. Undoubtedly, the ZS10 Pro 2s have a thunderous sub-bass that is worthy of note. It may not be the most skilful, resolving or authoritative, but it does offer a distinctive experience that has a certain magnetic appeal as a bass-lover.



Mids

The midrange carries a certain level of darkness and warmth from the bass, which is combined with a restrained character in the transition from the upper midrange to the first treble. There is a clear control zone that shades this transition, something that affects the overall colour of all the midranges. In my opinion, for the better. The ZS10 Pro 2s have a peak at 3kHz that contrasts with a 10dB difference at the 800Hz mark. There is obviously some imbalance, but the first part of the midrange is better represented. In this way I cannot say that the male voices are lean or light. They are not completely full, but they do have a good sense of body, a juicier base, with a presence closer to the listener and a more realistic and natural timbre. Admittedly, that conjunction between the nuanced early treble and the level of darkness in the lows makes the first half of the midrange more muted, but also richer and more complex. In contrast to many lighter IEMS in this area, I have to say that I was pleased to hear again a denser and fuller first half of midrange than on those previous occasions, without it really being a full first half. But it is a big plus. It is clear that this is achieved with the 1110 or 1111 switch positions.
On the other hand, that sense of darkness is mixed with a certain overall airlessness in the midranges. There is good definition, but also a somewhat nuanced character that limits the brightness and sense of transparency. The early treble has been sieved and, as I have already mentioned, it has a double effect, maintaining that initial level of darkness, providing a little more body and physicality, but also limiting the amount of brightness, transparency and energy. The notes have a midrange thickness in the midrange, slightly rounded at the top. However, there is a higher, final sparkle that gives it a less realistic metallic character. There is a slight mismatch in the representation of the higher harmonics, which prevents it from sounding more natural. If one can survive this alternating sensation, the midranges can become pleasing. Otherwise, one may get the impression of a certain incoherence in that more explicit brightness. However, that can be fixed by using other tunings with less bass. In that respect, the switches will return all that glare that is counteracted in the maximum bass position. In this respect, the upper midranges will again be splashy, more transparent and clearer. But they will also reveal that more BA, sibilant and penetrating character of the KZ drivers. So the end result becomes a series of advantages and disadvantages, which don't quite work out.



Treble

KZ does not get rid of this BA quality in its treble, although it tries to soften it. Perhaps a less energetic extension would have been more appropriate. The transition from the upper midrange to the first treble is slightly controlled. KZ has sought to reduce the energy level of the first treble. And it has succeeded in doing so for the lowest tuning. For the rest of the tunings, a powerful presence persists. But there is something that doesn't quite add up, a certain overall incoherence. And the downside may lie in a rather emphasised second part that prolongs a thinner and more powerful treble, towards a somewhat more dangerous extreme. At the end, again, another contrast in a deeper air zone. The result is a thinned treble, subtly sly at first, elevated and more energetic later and slightly stifled at the end. Perhaps not the best response for the rest of the range. Nor is it the best performance from the KZ drivers, which still show that typical KZ character. I would have preferred a more coherent and balanced tuning in this upper range, but the obvious W profile is evident with a final peak at a point somewhat more unpleasant for some listeners.
It is clear that the switches make the treble more dominant in the overall sound. It should be remembered that the ZS10 Pro 2's move from a bright mid-centre profile, all the way up to a sharp W. The increased bass presence can drown out/counteract the treble. The increased bass presence can drown out/counteract the treble. But as the switches are turned off, the upper midrange and treble stand out in clarity and feel more energetic.



Soundstage, Separation

KZ with their BA drivers have always been an example for the level of resolution. In this case there is a clear focus on macro detail. While micro detail is discernible, but not in a completely obvious way. In the lower bass switch positions, the upper midrange and exalted treble are more penetrating and the detail in this area is persistent. On the other hand, midrange details feel more distant and overshadowed by more powerful and obvious nuances. The loss of depth due to the lack of bass means that the layering is not as good and those background details are diluted. The scene gains in depth at positions 1110 and 1111, some level of transparency and clarity is lost. But I don't perceive a very large scene size. I have a feeling of a rounded scene, with good laterality and height, but with a depth in the line. Hence the sound layering is not very powerful. On the other hand, there is a certain sense of openness, of a certain more spacious character, and this may be due to the external grilles, which can give the sound a certain more gaseous or volatile capacity, adding a pleasantly more surrounding sensation to the whole.
There is a good level of precision and resolution. But the mix of more powerful bass and energetic treble creates some muddiness to the sound and a little more airy feel is missing. The imaging is good, remarkable for the price, becoming evident depending on the position of the switches.
However, I was hoping for a little more micro detail and more obvious informative power, something I remembered from the earlier ZS10s.



Comparisons

Simgot EA500 LM Gold Filter

The frequency response of the KZ ZS10 Pro 2 with the switches in the 1111 position is quite similar to that of the Simgot EA500 LM with the gold filter. It is true that the Simgot costs $80 and the KZ $50. The difference is justified by a rather good metal construction, more complete packaging and accessories. It is true that the LM can also be tuned differently, but using different types of mouthpieces, which is not as quick as changing a switch, as is the case with the KZ.
The ergonomics of the KZ are quite good, with a very light weight. The downsides are that they are slightly larger than the Simgot and they are also thicker. The LM's are heavier, but smaller and less thick, which makes them fit better in my ears. In the long run, despite the heavier weight, the LMs are less uncomfortable for me.
The LMs are somewhat more sensitive than the KZs, at the same amplifier volume, they sound louder.
As you can see in the FR comparison, both have a similar profile. There is a little more sub-bass in the KZs, with a slightly cleaner bass. There is more energy in the transition from upper midrange to first treble in the Simgot, but then they are somewhat smoother, avoiding that peak in the second treble that the KZs do have.
Bass is thicker, darker, more sensory and deeper in the KZs. The Simgot's bass is drier, more restrained, tighter and quicker, with less punch and a quicker fade. Great behaviour in the pure tone test in both models, with very good behaviour and a similar execution of each tone. The KZs are slightly darker and slightly more sensory. But the level of resolution and technical skill falls on the side of the Simgot.
In the first half of the KZ midrange there lingers a halo of warmth, a touch of darkness and a thicker presentation. The Simgot is subtly thinner, but clearer, sharper and more vivid, with better definition.
In the upper mids, the KZs are not as clean and crisp as the Simgot. The KZs, comparatively speaking, sound a bit nuanced in this area, less transparent. They are less projected and have a lower energy point in this area. The Simgot are more vivid, splashy and dynamic in this area, they have more projection and lift. But the greater power also implies a more fatiguing, perhaps more sibilant point. Still, I prefer the timbre in this area of the Simgot. You feel a higher level of resolution in the Simgot, something that gives it a higher point when it comes to revealing micro details. They also have a wider, more extended soundstage, more distant from the listener. They sound bigger. The KZs offer a sense of open sound, but the soundstage is more intimate. Details are closer together, less separated, their background less discernible. Technically speaking, LMs are superior.
In the treble, the timbre of the KZ seems to me a bit weirder and unbalanced. With an initial nuanced control and more energy in the second part, the first treble is thicker and the second is sharper, generating a point of imbalance for my taste. The Simgot have a behaviour more suited to my tastes, with a more natural and crunchy initial expressiveness, then they sift smoothly, although they have a better airy feel than the KZ.



Conclusion

The KZ ZS10 Pro 2 is a good example that KZ is not on the wrong track. I still find it to be a genuine KZ model, both in its aesthetics and in its sonic background. Widely versatile with its 4-switches, with a profile that goes from bright mid-centric to a rising W. KZ seeks to nuance the classic sound of their BA drivers, but that chink persists in the brightest positions. On the other hand, they become quite resolving IEMS for their price level. I really like their bass in the highest position. They may be too much for some, but they show a great behaviour and have a great weight that gives the sound a lot of personality, body and presence. The first midranges carry that goodness and maintain that physicality that I miss in even more expensive models. The second half of the midrange is combined with a somewhat controlled entry into the treble, which gives the sound a certain nuance, a search for smoothness. But, in the end, it feels somewhat unbalanced due to a more energetic second treble. The second part of the sound may be very good for many. But I find it too energetic in the switch positions with less bass and somewhat less coherent in my preferred 1110 or 1111 position. Still, that doesn't detract from the fact that they are a remarkable and very versatile set for a price of $50. The question is whether KZ will ever stop opting for their classic minimalist packaging and very fair level cables. On the other hand, I've always been a big fan of KZ tips. When will KZ tips with foam-filled grooves be available?



Sources Used During the Analysis

• EPZ TP50.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here

thaslaya's star rating system:
☆☆☆☆☆ - Fantastic!
☆☆☆☆ - Recommended
☆☆☆ - There are buyers but not for me
☆☆ - Can't see the appeal
☆ - Product is a failure

Disclaimer:
This set was provided by Linsoul in exchange for my honest and impartial review. I recieve no compensation and all thoughts and opinions are my own. Non affiliate link for those interested: https://www.linsoul.com/products/kz-zs10-pro2

Gear used:
●LG v30+
●Samsung Galaxy s22 Ultra
●Samsung dongle
●Hiby FC4
●Letshuoer DT03

Source:
●Listening was done through Amazon Music HD or Ultra HD.


Introduction:
KZ is KZ. Almost everyone in the audiophile community has heard of this brand by now, as well as their sister company, CCA. They are well known for churning out new budget iems almost weekly. Some of their recent releases have been very well-received and garnered a lot of positive feedback, such as the Trio, Vader, and Hydro, to name a few. But there are also many products that don't quite stand out and are quickly forgotten. The ZS10 Pro 2 is one of KZ's newer iems on the market. The Pro 2 is a retune and features a 10 mm dynamic driver, two balanced armature drivers, and four tuning switches. It's currently available on Linsoul for $54.99 but can also be found elsewhere. Let's break down this KZ model and see which category it falls into.


Build, fit, ergonomics:
In standard KZ fashion, the ZS10 Pro 2 comes in quite minimal packaging, and there's not much to unbox. It's just their standard, simple packaging, which includes the IEMs, a cable, a few ear tips, and a metal piece for toggling the switches. The shell has an ergonomic shape, and the size is about average, not too big or too small. It's made of clear resin with a vented metal faceplate and features a somewhat industrial aesthetic. It is fairly lightweight for its size, but the build quality is lacking.It feels cheaper in hand than even the lower priced CCA Trio, which actually has impressive build quality for its price. The nozzle is about average in width and slightly short in length, but it still feels comfortable for longer listening sessions. The nozzle does at least include a lip to help tips stay in place. Like most KZ/CCA iems, the Pro 2 uses QDC-style 2-pin connections. The stock cable is the same low-quality cable included with the CCA Trio. As I did with my Trio review, I swapped out the cable for the Simgot EM6L stock cable, which is of much better quality. The tips are the standard three pairs of silicone and one pair of foam that is included with other KZ iems. They don't work well for me, so I opted to use my preferred Penon Liqueurs for a better fit and seal.


Sound impressions:
After testing the ZS10 Pro 2 with different switch configurations, I found that the UUUD configuration best suits my preferences. To my ear, this configuration boosts the bass and mids to better balance the elevated treble presence and gives the frequency response more of a U-shaped profile. Even with the added bass, it still cannot be considered close to a basshead set. All of the following impressions were based on these settings, as taking the time to provide impressions on every configuration would be an exhaustive effort. That's one of the fun things about switches: the tuning can be better tailored to each individual's preferences. The adaptability and customization that switches offer can be a great feature.

The timbre is a bit unnatural and has an artificial sound. The vocals and instruments, namely the piano, just don't sound quite right. The note weight is also too thin for my liking. The Pro 2 remind me of some of the lower budget TWS sets I've tried in the past. The detail retrieval is just okay, but I can't really fault it too much for the price. The imaging is accurate, but the dynamics are a bit lackluster, with many things presenting as either too loud or too quiet. The separation is also not that great, as things can start to run together on busy tracks, and I don't feel that the frequencies have room to breathe. The soundstage width and depth are actually decent and do create a nicely spacious sound.


●Lows - Sub-bass and mid-bass are about equal in quantity to my ears, with neither taking the spotlight. The bass is slightly pillowy, soft, and unrefined. It lacks some impact and body. The sub doesn't have a deep extension and lacks a nice reverberation on bassy tracks. There is a little bleed into the mids, and it could use cleaner separation. The speed and decay are about average. It's not the worst bass in the budget by any means, but it's also not the highlight of the tuning.

●Mid - The mids have good presence and are well-balanced with the other frequencies. Vocals are clear but not as forward as I would prefer. There are some faults in their presentation, such as harshness or shoutiness at higher volumes. The timbre issue is most noticeable in the midrange, where instruments and vocals sound unnatural and have an artificial quality. Breathy vocalists also sound harsh and piercing and are much too thin for my liking. The midrange sounds much better at lower volumes, but I am not a low-volume listener personally. Turn up the volume, and the midrange issues rear their ugly heads.

●Highs - Using the switch configuration I used tames the treble the most; however, there is still some sibilance in this configuration, and it's just overall too bright for my preferences. Particularly, the snares and cymbals have too much bite and edge and can be fatiguing. Female vocals exhibit sibilance at higher volumes. Again, this is definitely a set that sounds better at lower volume levels. To their credit there is plenty of air with good extension. It might definitely be a contender for trebleheads on a budget, especially with the various switches and tunings to tailor the frequencies. I am fairly sensitive to sibilance, so other less sensitive listeners might find more to love here.



In conclusion:
KZ and CCA have been doing fairly well lately with their recent releases. I still prefer the Trio over the Pro 2 but that's probably due to my preference for thicker note weight, analogue style sound, and a bigger bass. I think there can be things to like about the KS10 Pro 2, particularly for those that prefer a bit leaner and brighter tuning. If this set had come out 5 years ago, many might consider it the benchmark to beat. However, the budget tier is growing increasingly competitive and iems are getting better with each subsequent release. In my opinion, the Pro 2 falls short in todays market. My main issues are the artifical timbre and that theres only 1 switch configuration to tame the treble to a level that is slightly enjoyable for me. But in utilizing all the switches, the bass and mids sound artificially boosted. This is not a set I personally enjoy or can listen to for long periods. I can maybe recommend them to treble enthusiasts on a budget. Also, low volume listeners will probably find more enjoyment since they can get shouty when cranked up. At the end of the day, my tastes just resonate more with the CCA Trio. For me, there's not much to love about the ZS10 Pro 2, so I rated it two and a half stars. I know there are people who will enjoy this iem (the Head-Fi Discovery thread confirms this), but I can't really get my head around it. There are many sets in this price range more deserving of your time.

In October of 2022 I introduced the KZ ZS10 Pro X to the Head-Fi world. Since then the review has garnered just under 38,000 views.

We now have a Pro 2 model……….time to get excited!



^^^^^KZ ZS10 PRO X above^^^^^

Look here they still sell the $39.00 Pro X
https://www.linsoul.com/products/kz-zs10-pro-x

KZ ZS10 PRO X
UPGRADED 1DD+4BA HYBRID DRIVER HIFI IEM

• 10mm Dynamic Driver+4 Custom Balanced Armatures
• Classic Alloy Faceplate+Resin Shell
• Enhanced Detachable 0.75mm 2Pin Connector
• Ergonomic Shape, Wide Compatibility

$39.00 USD
https://www.head-fi.org/showcase/the-new-kz-zs10-pro-x-universal-iem.26128/

To compare the KZ ZS10 PRO X and this new KZ ZS10 PRO 2. They are just two very different IEMs, and the PRO 2 goes and adds a boatload of DIP-Switches and stock has way more itemization into the treble. Really this is going to be an incredible review. Sure it has a little BA timbre, but the bass is so exciting and the way high up small treble details make the PRO 2 a whole different beast. Man-o-man am I excited. This IEM needs justice served. I mean really for the price most folks should have it in their collection. I don’t care what KZ history is, they have bribed me with this new sound quality!

$54.99 without mic, $55.99 with microphone.
https://www.linsoul.com/products/kz-zs10-pro2



So let’s start out by simply telling a tale of first impressions and a few weeks of usage. Number one, yes these seemed to smooth out with a few days of burn-in. So even if you believe in burn-in or not, there is nothing wrong with giving the PRO 2 a few days of run-in. What burn-in did was add a more overall cohesive sound, smooth-out the highs a little and add bass smoothness. I went through a stage where I questioned KZ’s ideas as to tuning as a departure from the immensely impressive (and popular) KZ ZS10 PRO X. They (the KZ company) simply added clarity in the form of driver tuning offering a set-back lower midrange and a push in both vocals and treble itemization. The resulting actions are an IEM which demands slightly less volume of comfortable listening, to where the KZ ZS10 PRO X allowed for a few clicks more volume. Sure there is a tad off timbre due to BA drivers, which the old KZ ZS10 PRO X went and subdued due to tuning. But it is safe to say KZ went for it this time, offering a tune very different from the place the KZ ZS10 PRO X went to, a brighter and even more detailed place.

Comparisons:
Here it is a little different that my first ideas were to simply compare the KZ ZS10 PRO X to the KZ ZS10 PRO 2. Yet I was able to do that (earlier) with a few sentences instead. Really that would be almost boring and getting a few different price-points involved, and a few new signatures involved would give more (excitement) to write about!



Side-by-sides:
Left to right:
Left to right:
Top row: INTUAURA Splendor Il, KZ ZS 10 PRO 2
Bottom row: ZiiGaat x Fresh Reviews Arete, TWISTURA-D-Major

Testing methods:
To simplify things I’m using the WM1A with the same long wide-bore silicone ear-tips. The cable will be the 4.4mm SIMGOT AUDIO LC7 Modular Cable System. Both the USB TypeC extra DSP providers, one in 4.4mm for the INTUAURA Splendor Il, and the smaller 3.5mm DSP for the TWISTURA-D-Major will not be used. As sure in some ways they both activate a special personality for both IEMs, yet people also prefer the IEMs amped in other ways. Funny too, as far as DSP response they do opposite duties………as the TWISTURA-D-Major does a brighter stage expansion, and the INTUAURA Splendor Il actually decreases stage and adds bass definition.

1) INTUAURA Splendor II $259.00 - Single Full-range DD IEM
2) KZ ZS 10 PRO 2 $54.99 - 1DD x 4BA IEM
3) ZiiGaat x Fresh Reviews Arete $249.00 - 1DD x 4BA IEM
4) TWISTURA D-Major $49.00 - Single Full-range DD IEM

So it may be confusing due to various price-points being used? Yet if you look closely two are Hybrids of each representing different prices, the ZiiGaat with the name brand Knowles BAs. And two are DD in which one is $210 more money. So not only do I need to review each product here, I need to go over the good points and bad points, and describe each individual demeanors accordingly. As it just so happens the usefulness of these 4 comparisons allows for (somewhat of) a copy and paste across each of their respective reviews. And sure each came at the same time, but just their existence confirms and delineates each of their strengths and weaknesses. As we all know money is not always the determination of sound quality. In fact up to this point I have spent three weeks getting to know each one and have my own opinions about them.

The INTUAURA Splendor II $259.00 - Single Full-range DD IEM:
In relation to the KZ ZS 10 PRO 2 really much of this tuning is very close to the same, using memory only. Yet upon closer side-by-side inspection we find the Splendor II to offer a smoother vocal response than the KZ. It is that forwardness that is new for the KZ manufacturer. Yet here and with this song with this cable and with this DAP I’m not hearing any off KZ timbre in the vocals, only bright, yet a smooth style of success. Sure the KZ ZS10 PRO 2 has a recessive lower midrange compared to the Splendor II, which seems to add to this KZ vocal luster? Of course here we are seeing the classic comparison from Hybrid v Single Full-range. And yes, the Splendor II has a larger stage, and the lower midrange and bass help emphasize that soundstage stage going on. Where the KZ is running with a typical wide-midrange stage showing the width holding slightly thinner density and weight. Yet there are differences, it is the challenge of the Splendor II diminishing returns for the money here. And what is crazy is the Splendor II has that added DSP, yet even with-out it we are ahead of what the KZ is trying to do bass wise. It is just part of this whole KZ tune, that the bass is there and nice, but part of why the KZ sounds so detailed is due to the hold-back of lower frequencies. That even with songs like below, which showcase both low end and vocals, we are witnessing the lows take a backseat to these profound vocal activities.


Timestamps refer to original song, not the Youtube video.


Dead Can Dance
Anastasis
All In Good Time
44.1kHz - 24 bit


Intermission:
Before I go any further, I just wanted to point out that truly the KZ ZS10 PRO 2 is fairly balanced and filled in as far as frequency goes. That during comparisons it is often the case where you forget you are reading about the small differences between the two IEMs, and so there can be perceived this right or wrong, but it really is not so extreme, just differences in correctness only to a point.

The ZiiGaat x Fresh Reviews Arete $249.00 1DD x 4BA IEM:
Here the very first thing you notice is the Arete has more bass. And the intriguing thing is the Arete is going about with a smoother vocal detail spread out (a little more) but able to gain this vocal illumination just from Arete stage size. So imagine the KZ as a little more reserved in stage size, and due to that size holding a slightly brighter vocal out front, where a smoother broader Arete has those vocals coming from a larger image size inside the stage and that size allows for clearer examination.

Switching to guitar instrumentals, I thought the Knowles Arete BAs would jump way, way ahead of our less expensive KZ, yet the only thing was missing was the Arete was more large in stature of stage drama, where maybe there was a little off timbre with the KZ, but due to being of thinner consequence, the guitar was still drawn out into contrasts in the stage, just not as big or involving. All and all the KZ has its place, as it is not the giant killer as maybe first impressions lead a person to believe, yet at the same time, there is a lot of IEM here in the under $55.00 realm.



TWISTURA D-Major $49.00 - Single Full-range DD IEM:
Finally we come to the D-Major IEM. Where really the D-Major is the single IEM that tune can in many ways be comparable to the brightness of the KZ ZS 10 PRO 2. But due to a single full-range build this brightness comes across holding slightly less metallic tone. Where both the TWISTURA D-Major and KZ ZS 10 PRO 2 are on the thinner side of male vocals, female vocals are emphasized. And between the two the D-Major has even thinner male vocals and less low end. And while I’m still exploring the D-Major, that high pinna gain does give the female vocal ability a stand-out drama in playback, so far it seems the DSP add-on goes one step further to even accentuate those vocals one step more? While at times the D-Major can offer an off timbre in this vocal section, even coming off as forced, it really depended on the sources I used. And amazingly compared to the TWISTURA D-Major, the PRO 2 held even slightly more reliability to source, while still changing its stance, never quite going to the place found with the D-Major.



Cable:
The included cable was OK, but due to wanting to try 4.4mm cables I used another brand's GD849. Meaning one or two less notches are not needed to be utilized for enjoyable sound. And while the GD849 does not cure the thinness issues, it makes them 80% more in the perfect direction here. Just how instruments emerge into the stage, holding better separation and even reverberations!



The GD849 Cable:
The G in this cable description is representative of Gold. The substance that adds weight, note weight in playback. As such we are now basking in a thicker realm of playback, that while you can still hear the basic demeanor of the PRO 2, we are gifted with an extenuation of weight and clarity……to which finding the results the very best yet.

Packaging:
A set of nice foams in included!

Construction:
Weighting in at just 6 grams each the KZ ZS 10 PRO 2 finds itself remarkably comfortable.The form is truly on the smaller side of medium. Can you say vented! Yes the most apparent thing is the use of large vents which are in strict contrast to the original KZ ZS 10 PRO X design. Such an idea is to generate air space and reduce bass vibrations maybe? The nozzles are just ever so slightly short, though I have a choice in ear-tips and are not forced to use longer tips. In addition there is one rear vent on the back.

Old PRO X model:

Conclusion:
Look, the KZ ZS 10 PRO 2 at $54.99 is a large amount of sonic fun for the money. Sure you may have to drop your listening volume by a notch or two or three to deal with the slight brightness. Yet at the same time we are here for that exact brightness…….in that it used to be what (details) were left out of the under $100 IEM crowd. Heck the KZ ZS 10 PRO 2 has upper echelon details normally not seen even under $300.00. That is the very reason why they are the talk of the town at this very moment on Head-Fi. That KZ has used their buying power and tuning skills to make a unique and fun IEM, way different from anything I ever heard from Knowledge Zenith. The PRO 2 is far from perfect, but the fun happens once you realize that this is $54.99 trying to be a TOTL Flagship product. The truth is the timbre is not at all that bad, not as bad as you think, and actually fairly spot-on in my book, and that is the crazy part. In the weeks I had the KZ ZS 10 PRO 2 I have had conflicting options. Where at first I was amazed at just KZ’s technicalities put into this model, as it was the very first I have heard of KZ going into the high trebles and sculpturing details for all to hear. I actually thought they had really done it………..



Later I came down to Earth and maybe still thought the KZ ZS10 PRO X was still the safe purchase and this PRO 2 more experimental? Yet then I tried new cables after burn-in and with much of my music I was OK, actually better than OK, I was styling with a sound basically unheard of for this level of money. And to conclude this review, I still feel that way, yet once in a while I need to lower the volume just because the total brightness is often still there and noticeable. But I can still see the masses buying this and learning the ropes that will hoist you up……up to that level of amazement, especially with the treble details, that and really how the whole signature is done. That yes, it is slightly less bass intense than many, but that sub-bass is still gloriously there and unstoppable. With this subtle V enhanced, midrange energy and treble energy resulting in those 2 features taking noticeability.

$54.99 without microphone, $55.99 with microphone
https://www.linsoul.com/products/kz-zs10-pro2

Disclaimer:
I would like to thank Kareena from Linsoul for the love and the KZ ZS 10 PRO 2 review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Disclaimer:
DIP-Switches set at 123 on and #4 off.

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm balanced and 3.5mm
Samsung Phone 3.5mm
HiBy R3 II DAP 4.4mm balanced
ifi hip dac DAC/Amplifier 4.4mm balanced

KZ ZS10 Pro 2
Crafted for Seasoned Audiophiles
The Second-Generation 10-Driver Professional DD & BA Hybrid IEM

• 10mm Internal Magnetic Dynamic Driver
• Dual 31736 Balanced Armature Drivers (x2)
• Precise 3-Way Crossover Technology
• 4-Level Custom Tuning Switch
• Exceptional Acoustic FR Curve
• Classic Design Aesthetics