KZ ZS7 (Knowledge Zenith)

Disclaimer: I would like to thank the linsoul team for providing a free unit in exchange for an honest review here at headfi. I have no affiliation with linsoul or any other companies and the review is completely only subjected by my honest thoughts.

Hello there fellows! Today we will be reviewing the kz zs7 from knowledge zenith. This iem is a hybrid iem with a combination of 4 balanced armature drivers and one dynamic driver. Its shell has two colours which are the dark rich blue and the black which is more in the inside area of the iem.


Specifications:

• Driver unit: 1DD+4BA hybrid driver unit
• Impedance: 24Ω
• Earphone sensitivity: 105dB/mW
• Frequency range: 20-40000Hz
• Earphone interface: 2Pin Interface
• Cable Length: 1.2m±5cm

Packaging and Accessories:
The kz zs7 comes in a luxurious black box with the brand logo "kz" in the front of the box. Opening the front flap reveals the earphones seated in a soft, black foam insert. Down at the bottom is the now-familiar kz metal plaque.
The accessories that come with the kz zs7 are:
-kz starlight tips: small medium and large.
-0.75mm detachable brown cable
-User guide
-Warranty card
-Qc pass

I was really disappointed to see kz coming back to the ugly memory wire cables

Build quality and design:
The KZ ZS7 sports all-metal housings that are similar to the previous ZS6 model. It has 3 angled vents on the faceplate and 3 screws attaching the faceplate to the shell. There is only one choice of colour available

The earpieces have a little bit of heft to them without feeling heavy and overall they feel very well built for the price. On the inside of the shell, there is a single pinhole-sized vent close to the base of the nozzle.

Comfort and noise Isolation:
I find the ZS7 to be a lot more comfortable than I was expecting. In pictures, it looks quite chunky and angular but in reality, the edges are smooth and the shape of the earpieces fit naturally in your ears. I have not problems listening all day with this earphone when it comes to comfort.

Noise isolation is about average for this type of in-ear monitor. Outside noise is partially blocked but once the music is playing you won’t hear much else. For use in transit, on public transport and most everyday environments, it will be just fine.

There is a bit of noise leak but it shouldn’t be of any concern unless you’re really blasting your music in a quiet place.

Sound:
The gear used in this review are my trusty sony wm1a, shanling m0 . sony nwa 55 and fiio q1 mark ii.
The KZ ZS7 has a V-shaped sound signature that’s big and bold from top to bottom. A solid, enhanced bass, recessed but clear midrange and a smooth, somewhat laid back treble add up to a sound that is tuned for frivolous fun but is also deceptively technically adept.

Bass:
The ZS7 manages to bring a large quantity of bass when needed but doesn't overwhelm the rest of the tracks. Like I said before there is no mid-bass bleed and these go plenty low. They deliver a nice punch to your music. This is very much appreciated for people like myself who like bass but don't want the rest of the music to be overwhelmed by it.

Mids:
The mids are nice but nothing is standing out to me either good or bad. They have a good amount of detail retrieval in the vocals due to a little bit of sparkle in the upper mids. They sound a bit recessed to me though. The image separation is also really good and the sound stage is nice and large.

Highs:
The ZS7 doesn't suffer from the piercing highs that many in KZ's lineup did like the kz zs6. The rolled off the treble earlier which keeps any form of sibilance or piercing from being produced which is good.

Conclusion:
The ZS7 has managed to come out as a well rounded IEM that can deliver a punch on the low end. There are some negatives like the slightly recessed mids and in my opinion bad cable but overall its a very nice sounding iem.

KZ ZS7 vs CCA C10:
The CCA C10 has much less sub and mid-bass which is also less textured than the ZS7’s bass. Its midrange is less recessed and has thicker notes but is still very resolving with excellent instrument separation. Vocals are smoother and sound more rich and vibrant on the C10.

Thanks for reading

So, I can't really add too much to the detailed reviews of the sound profile of the ZS7s, but I will offer my perspective as a musician. I studied opera and jazz in college, and after not focusing on too much music for about 5 years, I've been playing bass for a few years now. I used Shure 215 IEMs at our old church a couple years ago, and I was always disappointed with the balance and isolation, but it wasn't terrible. I'd been thinking about spending $300-400 for some good Westones or possibly more to get some custom in-ears, and my wife was interviewing for a position as the worship leader for another church where the main campus pastor had bought everyone in the band some KZ ZST earphones. My wife found those were easily as good as the Shure 215 earphones for 1/5 of the cost.

Fast forward a bit, and after I bought several different types of KZs to go with my previous collection (I have owned Etymotic, Shure, Ultimate Ears, Monster, Sennheiser, Sony, Beyerdynamic...), I bought 3 pairs of ZS6s to stop my wife from breaking the plastic-shelled earphones when she stepped on them. Eventually, every band member had bought a set of the ZS6 earphones, and I kept watching thephonograph.net to see when the next pair was coming out, and I saw the ZS7s announced.

Yeah, they're better than the ZS6s: the highs aren't quite as sibilant, and I don't get the same high noise floor as I did with the ZS6s in quiet parts of the music. I don't have to turn up my wireless pack as hot due to the isolation and high sensitivity, and it's just a better and more clear sound overall. For $40-50, they're the best value IEM that I've tried so far. I still use my Beyerdynamic DT770 80 for monitoring purposes when I'm not playing, but when you don't want to wear full headphones, these are some of the best you can get unless you're going to spend a LOT more money.

The five-driver ZS7 is the latest flagship hybrid design from KZ (Knowledge Zenith). It employs one 10mm dynamic driver for the bass region, one 29689 midrange balanced armature, one 31005 mid/high frequency BA and two 30095 BA treble units in a four-way configuration. This contrasts with the former model, the ZS10 which uses two 50060 midrange BAs and two 30095 BAs in a three-way arrangement. In some ways, the ZS7 is a combination of the AS10 (5BA) and ZS10 in the shell of the ZS6.

The ZS7 comes in new packaging which has a more premium feel than that used in the ZS10 and other recent KZ designs. The charcoal-coloured box opens with a lid revealing the earpieces nestling in a foam cut-out below which is a KZ ZS7 identification plate. Lifting up the foam insert reveals the detachable 2-pin (0.75mm) cable which is a copper-coloured braided type featuring a right-angled 3.5mm plug. The section of cable closest to the ear is furnished with a wired ear guide, which is rather stiff. Also included is some documentation and three pairs of the Starline tips, the medium size being pre-fitted on the earpieces.

The earpieces themselves are similar to that of the ZS6 with an angled design inspired by the Campfire Andromeda. They have an attractive blue anodised faceplate and are very well constructed in a light alloy material with all components perfectly aligned. The body of the earphones is finished in black with “ZS7 1DD+4BA” written in white in a sans serif font. There are three angled vents for the dynamic driver on the rear of the earpiece which should provide an improved soundstage. There is a small pinhole vent at the base of the nozzle.

I found the pre-installed Starline tips did not give me a good fit and so I replaced them with the medium silicone tips from the TRN V80, which I have also used successfully on other IEMs. These gave a very good seal and fit and good isolation. The supplied cable is very long from the Y-split to the 2-pin plugs and is prone to tangling, so I also replaced this with a high quality silver-plated cable.

The earphones were left burning in for 100 hours before testing and included tracks of white and pink noise, glide tones and other audio conditioning tracks. After this I used a Hifi Walker H2 DAP via line out with a Topping NX1a amplifier for evaluation.

My first impressions were of a powerful, engaging sound full of detail and space, with an attractive “bloom” which endowed the lower frequencies with a rich, woody tone. The midrange had plenty of detail and the treble was extended, clean, detailed and smooth. I would describe the overall balance as mildly V-shaped but still retaining a good midrange presence. In more detail:

Bass

The bass performance of these was superb, being deep, impactful and very well textured. There was a real sense of weight, with sub-bass reaching down to the depths. A good example of this was in Kevin Kendle’s “Deserts” from his electronic album “Terra”. This is a portrait of the windswept dry landscapes of the earth. There was bass you could feel as well as hear providing a perfect foundation for the panoramic sweep of the accompanying electronic effects. Orchestral music also benefited from this superb bass extension, lending the recording an attractive vinyl-like bass response with excellent recorded ambience. The timpani at the conclusion of “Mausoleum at Halicarnassus” from Stuart Mitchell’s “Seven Wonders Suite” displayed real depth and power as well as a wonderful spatial quality. It was easy to discern the positioning of the percussion section in the recording venue. The deep bass drum and keyboard washes of “Cluster One” from “The Division Bell” by Pink Floyd were very impressive with all the atmosphere of this moody instrumental piece being conveyed beautifully.

Mids

The midrange carried on where the bass left off with a lush and highly entertaining quality and superb dynamic range. Climaxes left a great impression with impact and power. The lower mids were free from bass bleed and displayed a pleasing open quality with good separation. In “Boisterous Bouree”, the first movement of Britten’s “Simple Symphony”, the definition of the string parts was excellent, enabling the lively counterpoint to be heard clearly. The sound had great transient attack and was full of life. The ambience of the recording venue, The Maltings at Snape, was reproduced beautifully with a wide and deep soundstage. Andrew Heath is a British music artist who has produced a series of albums of ambient music featuring “found sounds” and a quiet, atmospheric quality. In “Always Falling” from his latest work, “Evenfall” the soundstage was wonderfully three-dimensional with subtle electronic and natural sounds appearing all over the stereo image. Piano and guitar notes followed a gentle melodic path which was delivered with grace and precision, enabling the listener to get lost in the music.

Treble

The high frequencies of the ZS7 were very extended, lending this part of the spectrum a clarity and sparkle which contrasted well with the powerful bass and expressive midrange. The resolution was very good with excellent micro-detail. There was no sign of harshness or sibilance and no discernible peaks. The treble was a little above the midrange in level but not so much as to dominate, in fact, the effect was quite well-balanced. Jonn Serrie’s “Fantasy Passages” from his album “And the Stars go with You” begins with deep bass and electronic effects and then opens out into a strong melody, accompanied by sparkling synth effects which came over beautifully with real incisive impact. The clean tonality and crisp sonorities were testament to the ZS7’s treble extension. The high violin harmonics at the conclusion to Finzi’s beautiful “Introit”, performed by Lesley Hatfield with the Northern Sinfonia under Howard Griffiths were wonderfully reproduced, giving a natural and believable timbre to the instrument and an open, airy acoustic.

Soundstage

The ZS7 had a superb soundstage and stereo imaging. Listening to “The Watchers” from Jean-Michel Jarre’s “Equinoxe Infinity” my ears were assailed from all sides by electronic effects, synth washes, percussion beats and lead synths, producing a jaw-dropping experience! Recorded ambience was also excellent, with instrumental positioning being precise and well-rendered. “Enchanted Forest” from Jeff Clarkson’s electronic album “Peace and Quiet” had a holographic soundstage with nature sounds and electronic percussion accompanying the synth strings and electronic woodwind leads. The sense of space and movement was remarkable and created a magical atmosphere. The positioning of instruments of the orchestra in Holst’s “Saturn” in a recording by the Vienna Symphony under Herbert von Karajan was very impressive, with each orchestral section occupying its correct place in the beautifully spacious stereo image.




Comparisons

ZS10

The ZS10 was the first five-driver model from KZ and has a 10mm dynamic bass driver and four balanced armatures (2 x 50060 and 2 x 30095). Its bulbous body and short nozzles make choosing tips problematic, but with an acceptable fit a good result can be obtained. It does carry the classic KZ DNA, however, of a prominent lower bass and a mid-bass emphasis which can bleed into the mids, which tend to be recessed. The treble does suffer from some harshness and peaks with an emphasis in the presence region and spikes around the crossover region which can cause some edginess. It is a classic KZ V shape as seen in the ZST, ES3 and ZS4. The tuning of the 30095 BAs has certainly been improved in the ZS7 which does not suffer from these artefacts.

CCA C10

The CCA C10 is, like the ZS7, a five-driver IEM, with a 10mm dynamic bass driver and four BAs (2x 50060, 2x 30095). Its signature is well-balanced and it has a mild V shape with a warm bass and relaxed treble, which, although rolled off, displays plenty of detail and air. It is not as extended in the bass and treble as the ZS7, but its genre-friendly tonality makes it a relaxing listen. The 30095 BAs have been tuned very well here. There is good separation and imaging in the mids and it is one of the most accomplished IEMs in its price range and is certainly preferable to the ZS10. It does not have the impact and flair of the ZS7, however and might be considered as having a “safe” tuning in comparison.

CCA C16

The C16 is an ambitious design featuring eight BAs per side, and has been voiced with a natural, neutral tuning with a bright upper register. Its detail retrieval is probably its strongest suit along with its clean, tight bass and excellent soundstage. Separation, precision and imaging are top class. The ZS7 is warmer in tone with greater impact. In comparison the C16 can sound slightly clinical and analytical. Having recently been using the CCA C16 as my reference IEMs, the bass impact of the ZS7 was a revelation. The C16 has a clean, accurate and neutral sound in the bass but does err on the safe side. The ZS7 has a more extended response at both ends of the spectrum, leading to a more V-shaped profile, but with the midrange still clearly delineated. At around half the price of the C16, the ZS7, although having a different presentation (V shaped rather than balanced) represents excellent value.

Conclusion

The ZS7 is the newest hybrid model from KZ and is their best so far that I have heard (I have not heard the AS10). Its presentation gives music, especially large-scale orchestral works and instrumentals, a wonderful cinematic feel, in the words of the song “Stereophonic Sound” from the film “Silk Stockings”, you get “Breathtaking CinemaScope, Glorious Technicolor and Stereophonic Sound”. It is a presentation which is larger than life, and although V-shaped in the traditional KZ style, the midrange does not come over as recessed. It is certainly, as some have described, a “fun tuning” but does display excellent detail retrieval and an unusually fine soundstage. It is a different tuning from the more neutral and balanced C16, C10 and **** which I have been listening to recently but it has reminded me just how important it is to enjoy music as well as appreciate the technical prowess of a set of IEMs. These are definitely earphones for music lovers!

This is my first post here on head-fi.org. After scrolling through so many of the reviews on this amazing website i decided to post my first.

Background:

First pair of kz's came in the form of the ATE's. After listening to relatively expensive iems like the One More Triples & Audio Technica CKS550is, M50x, M40x, M20x a few budget chi-fi favorites like The TTpod T1, KZ ED9, ZS3, ES4, AS10 (Sold, nothing special), Rock Zircon (Broken), **** ****, Revonext QT2 (Sold, Hot Treble), TFZ T2, Tin T2.

DAC: Fiio K1, Fiio M3k

I'm going to go straight into the sound, as there are a lot of people describing other aspects very well and in detail here.

Slight Modifications and Pre-requisites: (Important)

Before talking about sound, first thing, these definitely needed burn in. Because when i got them they sounded horrible and congested. And the original tips were to be banished forever in the depths of the nether realms. Replaced with a pair of foam eartips which Increases the space between the nozzle and ear inlet. So that the treble isn't as piercing. The foam also helps control the bass, makes it less boomy and vastly reduces quantity. The foam gives it a bigger soundstage as well. Comes with one con. They won't isolate very well unless you use complys. Cause I normally just shove the regular tips in without squeezing. With the complys I get better isolation, bass is just the right amount. Not too much, not too less.

Sound:

I can say the KZ ZS7 is a bassy, mid present and a rolled off treble kind of sound signature. Bass is absolutely mind blowing, adequate texture, good impact and depth. Mostly mid and sub bass here. Midrange is slightly recessed but not so much that it vanishes in the mix of instruments. Upper mids have a striking presence in the mix. Highs are non offensive yet detailed. Overall a warm sound signature. Good details on these, because of the balanced armature drivers. I'd say even better than the T2's. Then comes the instrument separation, where each of them are well separated with no sense of congestion. Imaging is not as great compared to the Tin T2 because of the upper end roll off. But again the Tin T2's are far away in terms of bass quantity and sub-bass impact from these. Soundstage is improvised after the foam tips are used, sounds can be pin pointed in the head pretty well, gives you the feeling that you are surrounded by instruments with good distinction.

No signs of sibilance at all. Few peaks may show up depending on the track.

Target Audience:

Who should buy this. A stage performer (bass Oriented instrument) because of the forward sound, casual listener. Good DAC's are an improvement but not necessary. Use with a smartphone is doable as well. They are very sensitive and pick up on noise easily as well.

Comparisions:

Compared to the Tin T2's these are a different kind of beast. Tin T2's dont offend makes you feel like you are part of the music. Almost flat bass (rolled off), with healthy amount of dynamism. Very noticeable mids and bright highs. Basically if you mirrored the frequency response on the Tin T2 they would sound like the KZ ZS7. I use them mostly for gaming because of the good imaging.

Compared to the TFZ T2. The T2s have a clearer stage but at the same time a little less forgiving since the mids and upper mids are a little more forward. Voices are much clearer on these. Also imaging is a level up from kz. Overall the T2 sound richer, dynamic and to a certain extent artificial leading to a more "pleasing" listen. Advantages ZS7 have over TFZ T2 are: better textured bass and layering, different soundstage layout (still smaller than TFZ T2). If you love your details and are treble sensetive, want to hear instruments better than voices, the ZS7 is the one to get.

The foam tips are good, but there is too much detail and information lost. Also silicone tips make the bass leaner and tighter. Rubber ones make them boomy.

I tried using different tips and cables on the TFZ T2, turns out they sound the best with the stock setup relative to the modded versions.

Ranking in terms of sheer amount of Bass KZ AS10 >ZS7 > TFZ T2 >>Tin T2

AS10 with highest amount of mid bass (extremely punchy, too much!) ZS7 with highest amount of sub-bass. TFZ in between (still ZS7 better in quality) .Tin T2 far lesser but good quality (Tin T2 bass is not a fair comparison with the others)

Ps: The AS10 suck for music listening imo. And no casual listener should buy it. I find the all BA setup to produce very harsh sound. It's good for stage performances and maybe,just maybe for monitoring.

Update: After a lot of experimenting and burning in over a month (I don't actively burn in iems overnight. Just use them when I want to listen to music, etc.) went to kz silver cable and spinfit tips. Also important to get the polarity correct when inserting the cable.

If you read my introduction in the "rec" forum yesterday, you know I have a few KZ earphones. Probably a dozen by now. One of the IEMs I have is the ZS6. So when I read all the hype about how the ZS7 is the best KZ ever and marries the AS10 to a ZS6, I had to try it.

Background: I like the ZS6 earphones. A lot. I wanted to like the ZS7s, I really did.

Experience: But once I got them, I heard a click as they were inserted in the right ear. Maybe it's the tip. Switched tips to other ear, same click every time I moved the right ear. Ok, fine, it's chi-fi, quality isn't perfect, get past it and listen.

Then listened to music. Now, this wasn't hooked up to a Fiio 10,000 DAC connected over a cable of titanium. It went directly to my phone using stock cable to my ears. But the music from my sample tracks (mostly rock) was good not great. Not blown away. When I first hooked ZS6 up for a listen, I was impressed. Truly. I did not have the same experience with the ZS7.

Note: everyone is writing that the the ZS6s had major problems that were fixed by these. I never experienced those problems, probably because I'm simple and unrefined and can't hear the sound of a gnat landing on a pomegranate at 100 meters. I just want good sound and for me, the KZ6s were and still are enjoyable.

<pretend there's a picture of your ZS6 here but in blue that's all this is>

Fit: While I read and saw that these ZS7s are pretty much the same metal shells as the ZS6, they didn't stay in my ear the way the ZS6s do. Maybe the shells are slightly larger, maybe the build quality isn't uniform, maybe my ears are morphing to the cartilage of an elephant. Regardless, something was off.

Conclusion: Are these bad earphones? No. They're good, but given problems with fit, quality, and let's face it, sound-wise there was not the angels-singing step-up from the ZS6s I read about. If you have the ZS6s and are mostly happy with them, keep them. If you have the AS10s and are happy with them, keep them. If you have neither, have dabbled with under-$25 stuff and are wondering what a step-up from $20 headphone sounds like this, may be a good leap for you. Sometimes a higher model number means a breakthrough, sometimes it just means the car company just wants you to buy something because it's new.

This was my first review, thank you for reading.

Hello everyone!
After a long and painful waiting, my KZ ZS7 IEMs have just reached my hands and my ears, so after some days of use i've decided to write my thoughts and impressions about'em.
The review will be a deep look into them but i will try to make a comparison with the ZS6 everytime i can, as i know that many people that read ZS7 reviews, do that because they want to upgrade from their ZS6, so that can be a good way to have one more opinion about them compared.

The KZ ZS7 were sent me with a good discount by AK AUDIO STORE, an Aliexpress store which i used to buy from and which is well known for their awesome customer service.
I leave you the link of the ZS7 on their store, where you can even buy them for a discounted price writing "nxnje review reader" in the buying notes before paying, so the seller can fix the price: prices (with discounts) are 37$ for the non-mic version and 38$ for the mic version (Instead of 44$/45$).

https://www.aliexpress.com/item/AK-...94-410e-8cb0-7cb0eb468a43&transAbTest=ae803_4

I just wanna precise that my impressions are subjective and that listening experience can change depending on ear canal, tips, source and so on.

Tests have been done with:
- smartphone: Samsung Galaxy S7 Edge with Neutron Music Player che con Neutralizer
- AGPTEK m20 (Benjie S5) DAP
- Presonus Audiobox iONE: external USB interface with no enhancements on

Technical specs for this new KZ model are:
Drivers: 1DD+4BA (1DD for the low-end, 2BA for the mid-range, 2BA for the upper-range).
Sensitivity: 105dB
Impedance: 24ohm
Frequency Response: 7 Hz - 40000 Hz
Cable lenght: 1.2m
Plug Type: L Bending
PIN type: 0.75mm, A type

PACKAGING
It made me happy this time.
I used to see people opening this "book-like" package in the past, probably old special versions for China customers.
Now they've come in that package, in which we find: IEMs, cable, some informative papers with the warranty, a metal plate with the KZ logo and the usual Starline tips from KZ.


CABLE
Cable has changed if we compare it with the one that used to be sold with the ZS6.
It's the one that KZ has been selling as upgrade cable, the same featured in the ES4, ZSA and so on.
It is a copper cable with a good rubber touch, not sticky like the old one and actually not microphonic.
There isn't any slider and the Y split is way too low; a handmade velcro chin slider can be easily bypass this little "lack".
I still prefer the TRN v80 cable but that said, this is an improved cable if we compare it to the old one.
Cable ends with a gold plated L-angled 3.5mm jack.
Ear hooks are helped by the memory foam sheath, which guarantees a good grip around the ear: hooks are flexible and can be adapted, and are not pre-made like the ones in the TRN v80's cable.
My cable features an average quality microphone with a single button that can be used for answer to calls or play/pause music, but you can even choose the non-mic version.
I'm sorry for photo but i couldn't find a way to "round" the cable, really hard to make it tidier.



CONSTRUCTION AND INTERNALS
Not far from the ZS6: a good metal case which doesn't get heavy.
People online reported some bad assembled samples, but mine was great.
Nozzle finally got a lip on it that improves tip grip and features the usual grill which prevents earwax and dust to end into the shell.
Backplate vents are more inclined and seem to have gained a little space: the sub-bass and bass response can gain from this.
Connection PINs always show L and R letters for a correct connection of the cable.


COMFORT
I don't have the ZS6 anymore but i can approximately say that these are pretty the same: who's comfy with the ZS6 should find the same comfort on the ZS7 as fitting is really similar.
Winter can be really painful at first fit as the shell gets very cold at morning: it feels like touching your ear with an ice cube.
Nozzle doesn't seem to be different (or if it is, the difference is really microscopic), at least from what i remember.


SOUND
Let's get into it.
Now the critical factor that decides if something has to be tried or not: how do they sound?
I mainly listen to EDM subgenres, Dupstep, Future Bass, Euphoric Hardstyle, Bass House, Midtempo and downtempo, darkwave, drum'n bass, but i even listen to many vocal tracks, moreover female ones.
I always search for IEMs that have a little bit of emphasis in the lower region, and can sacrifice mids with some recession if they still sound clear and natural. I love vivid and sparkling highs if they're not at a headache level. Soundstage has to be at least average with a bit of air.
V-shape signature is my favourite one.

Low-end: WOW. ZS6 were already satisfying but these.. The ZS7 are really a step up in the lower region in terms of coherence and performance.
Sub-bass is more refined and shows great extension. It sounds when called in and it does it amazingly, rumbling without getting overwhelming.
Listening to 40hz-50hz sub-bass mixed samples the ZS7 sounds really engaging and precise at the same time: KZ nailed it in the low-end, improving the already great ZS6.
There's less bleed into the mids: kickdrums are less intrusive and avid in terms of space, they are full bodied, fast and not boomy, impactful and well textured.

Mid-range: V-shape can be heard here. Mids are recessed, but they still sound natural and clear. Voices sound a bit in the background but don't lose clarity and feel anyway musical. Male voices are really good, taking a good warm feeling in the space.

Upper-end: KZ finally heard our praises. After many bad words about the treble tuning of the ZS6, KZ decided to make their customers happier.
The upper part of the spectrum is now well suited for everyone: i didn't find a head scissor like the ZS6, no painful peaks, much detail, near 0 sibilance (apart from certain tracks which are aggressively mastered on the high frequencies).
KZ opted for a lower roll-off for the upper region that can maybe be felt going up with frequencies. I don't miss detail at the moment and the things i used to hear with the ZS6 are just there with the ZS7.
Soundstage: wider and taller than the one already featured in the ZS6 with the same good depth.
Nice separation and pinpointing, that can be even appreciated in gaming sessions, even if i prefer the HIFIHEAR F30 for that purpose (you can find their review here on the forum).
As i do not have an amp at the moment, i can't test if the ZS7 improves their SQ while amped. Reading the specs and some opinions online, it seems that amping improve the soundstage and the air of the sound that the ZS7 produce.
Their well-done tuning makes them less tip-sensitive compared to the ZS6. Low-end still depends on tip comfort like in any other case (i use the stock tips and the v80 tips some times, and i find myself good with both types).

SUMMARY
I was searching for a good alternative to my old ZS6 that i returned back to amazon due to some technical problems, without buying something i shoul tip-roll for ages in order to get a good balance that fits my tastes.
Personally, i didn't dislike the ZS6 highs, but in many situations they were really painful.
As soon as i've seen the ZS7 out i just jumped on them and i still thank AK AUDIO STORE which gave me the chance to get them at a discounted price.
ZS7 are definitely an upgrade from the ZS6 (at least this is my 2$), even if the upper region is not really comparable: the ZS7 has a warmer presentation.
They are a more refined ZS6, which don't lose the "Rock'n-Roll" spirit and the fun the ZS6 had: a fun sounding IEM with a solid build, easy to drive and probably one of the best sub 50$ IEMs.
If you even get it with the discount then.. for the price it is a steal!

Build Quality earns this IEM a 4. Sound gets it a 4.5.

I was sent the KZ Zs7 by Kinboofi via their Amazon Shop for review. Kinboofi has recently started to sell most of their product line through Amazon giving those of us that live in the US a faster shipping option since most are available with Prime!. From the time I discussed reviewing the Zs7 to arrival was a mere four days. This may present a good option for our Canadian neighbors as well.



Unboxing / Packaging/Kit:

KZ has upgraded their packaging for their flagships of late and the Zs7 is no exception. Gone is the white box with the line drawing of the iem, replaced with a book-fold design. The outside of the box is flat black with a gloss KZ logo. When opened a foam tray houses the earpieces (which have mid sized tips pre-installed) and a small KZ plaque that annouces the Zs7 and its 10 driver hybrid design. A small tab at the bottom of the foam makes it easy to life out the tray and reveal the tips (S and L Silicone tips), manual, warrantee card, and cable hiding beneath. The cable is also of the new design and is a significant upgrade from their earlier designs.



Build/Fit:

Those familiar with the Zs6 can skip this part of the discussion as the Zs7 uses the same shell. The only difference that I could find is the vents cut in the faceplate which are vertical on the Zs6 and angled on the Zs7. This change may give the Zs7 slightly larger vents but this is a hard thing to measure accurately and visually, if they are larger, it is only minimally so. The pinhole vent on the inside is the same size and in the same position as that of the Zs6 so the inside shell appears to be exactly the same as the 6. The good news is the 7 does have a lip on the nozzle as had previously been omitted so that was a nice touch. The bad news is the shell is not perfectly aligned as can be seen in the photo below of the bi-pin connector. This doesn’t effect performance, but is a bit unsightly.


Internals:

The Zs7 is a 5 driver per side design with an electronic crossover. A single dynamic driver handling sub-bass responsibilities and 4 Balanced Armatures handling everything above the basement. Nominal Impedance is listed as 24Ω with a sensitivity of 105dB/mW. This makes the Zs7 easy enough to drive with a cell phone, but it definitely opens up more with more potent sources. I took one faceplate off to try and see more details of the crossover but was unable to do so due to it being hidden under other parts.



Cable:

The cable shipped with the Zs7 is the upgrade cable KZ has been selling of late. Gold plated .75mm pins at the upper end, followed by earhooks with a memory wire. a two wire twist pattern down to the splitter followed by a four wire braid down to the 90º 3.5mm jack. If there is a drawback to the cable it is the position of the splitter which is too low on the cable and no chin slider is provided above it. My model does not have a microphone or remote but both are available should you so choose.



Sound:

All notes were collected using the large starline tips provided with the Zs7.

Bass:

Sub-bass is very present but well controlled and gives the Zs7 a very visceral feeling when called upon to do so. Sub-bass is well extended with rolloff not being pronounced until well into the lower 30Hz range. Mid-bass is mildly elevated but well controlled with good attack and decay and very little bleed into the mids. Here the trade of the Zs6’s mid-bass dynamic for a balanced Armature seems to have really improved an already good bass. The Zs6 had good extension and bass quantity but suffered from significant bleed. The Zs7 improves the bass timbre and sounds more natural than the previous generations and is the best bass presentation of anything KZ has made and I find it on par with or better than many iems costing signifcantly more.

Mids:

Mids were good on the Zs6 but were overshadowed by both the mid-bass and the treble. The Zs7 shares those mids but does away with the bass bleed that obscured some of the lower mid detail and the overly exuberant treble of the Zs6 to really allow the details to shine through. The mids are slightly behind the mid-bass but with as much presence and detail as it present, it is hard to refer to them as recessed. Upper mids are pushed forward and give vocals a bit of extra push and bring them to the front so the Zs7 feels like sitting in the first couple rows of the show.

Treble:

The lower treble plateaus from the upper mid push and unlike a lot of other IEMs in its class does not continue to climb. This makes for a much more polite treble than the previous generations. Gone are the big spikes replaced with a mild lower treble elevation and an open and airy top end with a roll-off above about 14kHz. Cymbals are well rendered and don’t sound tinny like the Zs6 can.

Soundstage / Imaging:

Soundstage is good and seems to be slightly wider than deep but fairly large in both dimensions with a good sense of height. Instrument separation is extremely good with no sense of crowding as tracks get faster and busier. Layering performance is better than expected and easily on par with models costing considerably more. To me the Zs7 is in the class with the Flc8s and b400 in layering and imaging if not the same overall signature. Placement on stage is good with most instruments being easy to identify and place even during busy passages.



Comparisons:

Zs5v1 vs Zs6 vs Zs7



Lets face it, this is the comparison everyone wants to see. The arguably three best Kz’s to date head-to-head. And realistically this graph tells most of the story. These three were all run using the Umik-1 with a silicone adapter, standard starline large tips, REW 5.2 beta 4, Creative CTX sound card, and the standard KZ cable from the Zs7. No settings were touched between runs so differences in amplitude are strictly the result of the earphone and not of adjustments.




Starting at the bottom end, the Zs7 shows a bit less roll-off than the previous generations. All show a bit of a V shape with a slightly larger dip in the mids when compared to sub-bass peak in the Zs7 when compared to previous generations. From there, all three iems are very similar until they reach 7kHz where they take very different paths. The Zs7 has a mild and wide plateau from 8 to 11 Khz while the Zs6 and Zs5v1 both exhibit the rather prominent 11kHz spike that has dominated the signature and the conversation about these two models since their release.


BQEYZ BQ3 vs Zs7

I chose the BQ3 to compare against as the two are more similar than not in signature. The Zs7 rolls-off lower at the bottom end than the BQ3 and has a bit more visceral feeling to the low end so will please those looking for more thump than the BQ3 can bring. Both have similar shape to the mids with the Zs7 showing a bit better detail retrieval and not quite as much push of the upper mids forward. Treble is where the two diverge the most in that the Zs7 plateaus where the BQ3 continues to rise giving the BQ3 a bit more treble presence but at the cost of sometimes being a bit more strident. Both have similar size stages while the Zs7 to my ear has a bit more height. Imaging and layering both favor the Zs7 although the BQ3 is only marginally different in imaging. Layering is considerably better on the Zs7 with particularly fast tracks and for fans of death metal this will be a plus where the BQ3 can sometimes feel a bit congested.


NiceHCK M6 vs Zs7

The sub-bass is a bit better extended on the Zs7 while the mid-bass is a bit more emphasized by the M6. (Note, I am referencing the green filter and not going into all the possible tunings of the m6 here.) Texture of the bass is a bit better on the Zs7 while speed is about even between the two. Mids still go the the M6 as it has a bit better timbre and is slightly more natural sounding to my ear, but not by a large margin. Treble goes to the Zs7 which brings adequate sparkle without being strident or over-stated as the M6 is by default. Again the M6 offers tuning options that the Zs7 does not, but the downside to the M6 is it needs them to be as good a signature as the Zs7 manages straight out of the box.


Kz AS10 vs Zs7

Sub-bass is better and mid-bass is slightly less emphasized on the Zs7 compared to the AS10. Both share the same nicely textured mid-bass but the Zs7 is capable of digging a bit deeper than the AS10 at the low end. Mids have improved on the Zs7 as well with more detail than was present on the AS10 and a bit less recessed. Treble, is a mixed bag. For those that like a bit of extra treble energy, the AS10 has a bit more going on than the Zs7. For those that want for something a bit less strident, the Zs7 will get the call.


Thoughts / Conclusion:

I have to say that either KZ really listened to the feedback from the Zs5 and Zs6 when designing the Zs7 or this is the happiest accident for KZ yet. I chose to think it is the former and that KZ is making headway in improving their IEMs as we have seen several recently (As10, As06) that follow this trend. To my ear, the Zs7 is the best KZ yet and makes a statement that the budget king now firmly competes in the $50 market. There is a lot to love about the Zs7. For those that like the Zs6, all the best things about the 6 are still there. For those that found the Zs6 piercing or harsh, the Zs7 refines the treble so it is not in the same category. To top it off, detail retrieval is the best yet for KZ. If you think I like the Zs7, you’d be right. I’ve already placed an order for another pair at my cost this time since I have a policy of not keeping free samples. (They all go to high school band students, or hospital patients so somebody gets good use out of them and I can honestly say I don’t have a financial interest in the review.)

INTRO
Some time ago KZ caused some confusion with the ED16, because it was marketed as ED16, but ZS7 was written big on the In-Ears. Now KZ has solved the mystery by releasing the right ZS7. This has 5 drivers (1*DD & 4*BA) which are the dynamic drivers of the ZS10 and the BA drivers of the AS10. This is KZ's reaction to the split criticism that the bass of the AS10 is too analytical, dry and does not offer enough sub-bass. So it's very obvious to take the old dynamic driver and combine it with the rest of the otherwise highly praised AS10. They use the proven design of the ZS6. More internal theft is not possible. Whether the fusion of the individual elements to a new flagship will be enough we will now have a look.

HANDLING
The design of the Campfire Andromeda has often been copied by other companies and has often been very popular. Even if it is not the own design, the ZS6 is one of the most beautiful designs and with the most valuable haptics of the company. Since the ZS5 the design is already available in the series and so it seems only consistent to continue this.
The openings on the back have become a little more sloping compared to the ZS6. Otherwise, we are holding the same in-ear in our hands on the outside. That means we get a full metal body despite the somewhat bulky construction a comfortable fit, as well as detachable cables.
The latter is no longer a big criterion, but KZ has to explain to me why, after the introduction of the new cables, they fall back on this damn cable with the metal reinforcement. That's outdated and makes the insertion fiddly. For that you get the new packaging, which doesn't have more content to offer like all other models, but it's a bit nicer.

The isolation to the outside is not the best due to the open construction (air shafts), but has positive sound characteristics. The outside world is very well shielded as soon as the music starts.

SOUNDS
The ZS7 is really a positive surprise in terms of sound. KZ didn't have to go to much trouble either, as they simply combined three existing, very good in-ears. However, they didn't put anything together, but combined the positive features of the AS10 and ZS10, as well as the outer features of the ZS6.

The bass doesn't necessarily have more impact than the AS10, as it was already more than decent in terms of midrange, but it plays deeper and is much more dynamic. The correct increase is at just under 20 Hz, but it only develops the right amount of pressure at 30 Hz. But this should be sufficient for many genres. With Joachim Pastor's "Millenium" it rattles more than sufficiently in the positive sense, because the bass stays under control. At the lowest notes of Trettmann's "Billy Holiday" it decreases a bit, but they are still clearly audible.
It gives the ZS7 a nice warmth and stays away from the midrange as far as possible.

The mids are basically the same as those of the AS10. I would call them a bit more reserved in the lower frequencies, because the bass doesn't push too much upwards, but the mids also lose some body. Instrumental pieces by Hans Zimmer have a wonderful separation and above all a stage. For me, this is also an improvement compared to the AS10, which is probably due to the large openings on the back, which gives the sound some room to breathe.
The higher mids unfortunately share the small deficiency of the AS10. They are a bit too prominent at higher volume, which becomes a bit unpleasant in the long run. This is noticeable, for example, in the Xylo¬phone of the movie theme "You're So Cool".
Voice reproduction has also been successful, both for women and men. They lie well in the room and fit in well with the overall sound.

The treble actually has everything you could wish for. They are clear, detailed with good extension. However, as is usual with the AS10, they do not tend to any strenuous peaks. Fine micro details can be noticed in the songs when they are hidden inside. The sibilants are not emphasized, which I prefer to check with Iggy Azalea's "Impossible Is Nothing", because they are strongly pronounced in the song. Also "Fire" by Ayo is bearable, but that's to be rated as good, because I found only a few in-ears so far who can do this, like the Tin AUDIO T2. The highs aren't particularly wide, or brimming with brilliance, but they are simply pleasant and offer a lot at the same time.

OUTRO
For about 40€ you get everything you can wish for. Dynamic, detailed sound, deep, clean bass and clear, pleasant treble measured against the KZ universe. In addition a wide stage and great 3D-location. Although they are a bit warm, which might deter purists, they climb to the top of the KZ rankings for me and are also cheaper than the pure BA models (BA10 & AS10). Knowledge Zenith can be mainstream!

With the code: CHI-FIEAR you can get the ZS7 on Ali-Express for 33€. To do this, go to other payment options when paying and then cancel the payment. The seller then adjusts the price.

BUY HERE: MISSAUDIO STORE

Used Songs:
Shallow – Lady Gaga & Bradley Cooper
I Dare You – The xx
Billie Holiday – Trettmann
Millenium – Joachim Pastor
I Will Remember – Toto
Paralyzed – KWAYE
Bad Liar – Imagine Dragons
Innocent Of Being Jack Sparrow – Hans Zimmer
You’re So Cool – Hans Zimmer
Impossible Is Nothing – Iggy Azalea
Finally Free – Nial Horan
Ayo – Fire

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