General Information


Dual-cavity carbon Nano tube CNT diaphragm dynamic, responsible for low frequency

The low frequency uses a dual-cavity carbon Nano tube diaphragm dynamic, which makes the earphones emit full low frequency and excellent low frequency atmosphere.

Three professional Knowles's balanced armature, responsible for medium frequency and high frequency

Two Knowles's balanced armatures are responsible for the medium frequency, and one Knowles's balanced armature is responsible for the high frequency. Three high-cost Knowles's balanced armatures ensure the fineness of the medium frequency and the rich details of the high frequency!

LZ A4 PRO four-driver earphone, the charm of the sub-flagship

Compared with the flagship product, the sub-flagship A4 PRO is also carefully designed! From the sound quality tuning, cavity design, and its unique front and rear mixing and tuning gameplay, all these are destined to the extraordinary charm of A4 PRO.

Front and rear mixed and adjustable sound design, replaceable tuning nozzle + replaceable cavity tuning hole

The LZ A4 PRO has four tuner nozzles in red, black, gold and blue, and it also contains three replaceable cavity tuning holes in red, black and blue. The front and rear mixed and adjustable sound design, the gameplay is rich and fun.

3D printed pure resin shell, light and delicate

The A4 PRO earphone shell adopts high-end 3D resin printing technology, the body is light and delicate, the texture is excellent, and the color is colorful.

Standard high-end 8-strand graphene copper-silver alloy cable

The standard high-end 8-strand graphene copper-silver alloy cable, selected materials, make the sound quality of the earphones to a higher level.

Mainstream 0.78mm 2Pin detachable cable design

LZ A4 PRO adopts the mainstream 0.78mm 2Pin detachable cable design, buyers can change the cable by themselves and enjoy a richer gameplay!


  • Model: LZ A4 PRO
  • Driver: low frequency CNT dynamic + 2 medium frequency balanced armature + 1 high frequency Knowles balanced armature
  • Frequency response: 20-20kHz
  • Impedance: 26ohm
  • Sensitivity: 112dB/mW, @1kHz
  • Channel error range: ±0.5dB
  • THD: <1%
  • Connector: 2pin 0.78mm
  • Plug: 3.5mm
  • Cable: 8 strands graphene copper silver alloy cable
  • Cable length: 1.2m


LZ A4Pro

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Latest reviews


Headphoneus Supremus
Pros: Very laid-back with sub-bass focus (rare tonality/niche)
Non-offensive treble, long listening sessions no problem
Vent tuning, more/less bass if you want
First decent looking LZ iem
Cons: Detail
Not versatile (red filter)
Other filters are even worse

Disclaimer: I received this review unit for free from HifiGO, thank you very much.

Price: 260 usd


>Impedance: 26Ω.

>Sensitivity: 112dB/mW.

>Frequency response range: 20Hz-20kHz.

>Channel error range: ±0.5dB.

>THD+N: <1%.



S/M/L fake Sony tips

S/M/L narrow bore silicone tips

S/M/L wide bore silicone tips


Cable: 0.11 ohm, this is (99,99% sure) the XINHS 8-core graphene cable. Pretty much one of the best cables out there you can get. Has a working chin-slider and metal divider and 3.5mm connector and plastic on the 2-pin connector.




Build: Resin build, metal nozzle/filters. Changeable nozzle and “vent”. It is not particularly big, but it is tall.

Fit: Good, no problems normally but not secure enough for physical activities.

Comfort: Good and not an issue for me even during longer sessions.

Isolation: Average, nothing special.

Setup: Schiit Asgard 3 (low-gain, volume around 8 o´clock), Sony EP-EX11 tips L, stock cable 3.5mm, Red filter + Black vent

graph - 2021-11-04T190906.650.png

Combinations: There is a configurable vent and filter on it. The vent is simply controlling how much bass you will get, blue has the lowest amount and red is the one with the most elevated bass. While the filters mostly affect the treble. 3 vent and 4 different filters, 12 possible combinations. Although, unfortunately most of the filters aren’t that different, so its basically only 2 different treble tunings and 3 different bass tunings. The config I am using, red filter + black vent is the one I preferred the most. Due to the treble tuning on the other filters being very poorly tuned due to them being too elevated at 2k for me and also because the perception of BA timbre is more noticeable with them.

It is possible to use the older filters from LZ´s older iems, and the tonality does get better but it unfortunately does not solve (spoiler alert) the lack of technicalities issue it has.

Lows: Sub-bass focused, is on the tighter and faster side but due to the dark treble it is pretty muddy. Not for bassheads nor for neutral-heads, but is for the one that wants a dark iem with a sub-bass focus.

Mid-bass: Metallica – fight fire with fire (01:11-01:52), muddy, the bass is not clean enough, most likely due to the low treble quantity rather than the bass itself as it is pretty decent in speed/tightness. Texture is slightly lacking but quantity is pretty good. The (02:55-03:01) section with the chopper is unclean and not very forward.

Hiroyuki Sawano – Pretenders (01:18-01:47), quantity is elevated and would be fun, but is muddy, due to the dark treble. Texture is decent.

Sub-bass: Djuro – Drop that bass (01:15-01:30), extension is below average and rumble is lacking but exists. Punch quantity and texture are lacking, speed and tightness are decent but not very clean.

Will Sparks – Sick like that (03:08-03:22), more texture and quantity would be better. Speed and tightness are average.

Mids: recessed, both male and female vocals. Lacking clarity and details, bleed from the bass. Timbre is the saving grace, but yeah…its not good.

Female-vocals: Hiroyuki Sawano – OldToday (01:25-01:52), vocal timbre is pretty good but lacking in quantity (recessed) and tonality (too warm). Instrument tonality and timbre are pretty good, but lacks in detail and clarity, there is some bleed from the bass.

Yuki Hayashi – MightU (01:58-02:55), vocal tonality is too warm, lacking in quantity and clarity. Instrument tonality is also too warm and lacking clarity. Timbre is pretty good for both though.

Evanescence – Bring me to life (01:18-01:35), zero fatigue, zero peaks, zero shout. (Tonally wrong due to that, this is too laidback.)

Hiroyuki Sawano – Crescent (02:07-02:26), very slightly peaky.

Male-vocals: Hiroyuki Sawano – Pretenders (00:57-01:17), vocal tonality is too warm and slightly recessed, lacking in clarity as well. Instrument tonality and timbre are pretty good but clarity is lacking.

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal tonality and timbre are very good but is recessed and lacking in clarity. Instrument tonality and timbre are also very good but lacking in clarity and detail.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), not peaky or fatiguing at all. Too smooth to be natural though.

Deuce – America (03:03-03:16), very chaotic due to bass bleed and poor separation/imaging.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality, texture and timbre are very good, but lacking in detail and clarity. Violin tonality is too warm, lacking in texture/clarity/detail and treble-extension is below average.

Hiroyuki Sawano &Z (02:18-02:57), tonality is too dark, lacking in a lot of clarity and detail. Timbre is ok.

Soundstage: average, nothing special at this price range.

Tonality: Dark V-shaped, note-weight is on the thicker side. Not a very versatile tonality due to that. Timbre is pretty good for a hybrid.

Details: Very lacking, bottlenecked by the tonality.

Instrument Separation: Very lacking (both imaging/separation), bottlenecked by the tonality.

Songs that highlight the IEM:

Good genres:
R&B, (slightly decent for rock/metal)

Bad genres: everything else in my library


IEM: LZ Z04A (Low-density tuning foams), Elecom EHP-CAP20 tips L, cable B7 4.4mm

graph - 2021-11-03T180041.542.png

Bass: Djuro – Drop that bass (01:15-01:30), extends lower and rumbles a lot more on the A4P. Punch quantity is a lot higher on the A4P, but a lot tighter and faster as well as more textured on the Z04A. A lot cleaner and tonally correct on the Z04A as well as a bit better timbre.

Hiroyuki Sawano – Pretenders (01:18-01:47), a lot cleaner on the Z04A due to the faster and tighter bass along with less quantity but more texture on it. More tonally correct on the Z04A.

Metallica – fight fire with fire (01:11-01:52), Very muddy on the A4P compared to the Z04A that is a lot cleaner/detailed due to the much faster/tighter and lower bass quantity. Texture is also better on the Z04A.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), more forward vocals, cleaner and more detailed as well as more correct tonality on the Z04A. Instrument tonality is slightly better on the A4P but bleeds and is unclean.

Evanescence – Bring me to life (01:18-01:35), More relaxed and less fatiguing on the A4P.

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal and instrument tonality are more accurate on the A4P but much cleaner on the Z04A as well as a bit forward vocal.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), more tonally correct and better timbre on the Z04A but also more fatiguing.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality, timbre and texture are better on the A4P but a lot cleaner and a bit more detailed on the Z04A. Violin tonality, timbre, texture, detail, clarity and treble-extension are a lot better on the Z04A.

Hiroyuki Sawano &Z (02:18-02:57), more tonally correct better timbre, cleaner and more detailed on the Z04A.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), a lot wider on the Z04A but a bit deeper on the A4P. Detail and separation are a lot better on the Z04A as well as timbre, while imaging is slightly better on it.

Overall: Z04A is tuned a lot better, has better timbre and is also better in technicalities.

A4 pro (Red filter + Black Vent)Z04A (low-density tuning foams)

IEM: LZ A7 (pop-red), Elecom EHP-CAP20, Cable A3 4.4mm
graph - 2021-11-03T184122.856.png

Bass: Djuro – Drop that bass (01:15-01:30), extends lower on the A7 but rumbles more on the A4P. Punch quantity is higher on the A4P but more textured on the A7 while speed/tightness are similar, a lot cleaner on the A7 and more tonally correct, timbre is slightly better on the A4P.

Hiroyuki Sawano – Pretenders (01:18-01:47), more quantity on the A4P but much cleaner on the A7 and also more textured. More tonally correct on the A7.

Metallica – fight fire with fire (01:11-01:52), a lot cleaner on the A7 due to the lower bass quantity, faster and tighter bass. Texture is also better on it, as well as more tonally correct.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), more forward vocals, cleaner, more detailed as well as more tonally correct on the A7 but slightly better timbre on the A4P. Instrument tonality is better on the A7, cleaner and more detailed but timbre is better on the A4P.

Evanescence – Bring me to life (01:18-01:35), more relaxed and less fatiguing on the A4P.

Hiroyuki Sawano – Scapegoat (00:57-01:17), more tonally correct on both vocals and instruments on the A7, along with more detail, clarity and more forward vocals.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitars are more tonally correct on the A7 as well as cleaner and more detailed but timbre is similarly, slightly unnatural on both.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality and texture are better on the A4P but timbre, detail and clarity are better on the A7. Violin tonality, detail, clarity and treble-extension are a lot better on the A7, both have some unnatural timbre (BA for A4P and piezo for A7).

Hiroyuki Sawano &Z (02:18-02:57), tonality, detail and clarity are a lot better on the A7.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), a lot wider on the A7 but deeper on the A4P. Imaging, separation and detail are leagues ahead on the A7. Timbre is an edge better on the A4P.

Overall: The A7 does literally everything better than the A4P (except timbre), just go up to the A7, they are priced close enough.

A4 pro (Red filter + Black Vent)A7 (Pop-red)

Despite all the 12 different combinations, I absolutely cannot recommend this iem at the price it is at. It is lacking too much in technicalities and the tonality (at least for my library) really isn’t good and is beaten pretty badly even by iems at around 10x cheaper. Even if they removed the cable (they are selling it at 130 usd (and it is sold for around 80 usd with XINHS)), I don’t see its value in this tough iem world. Even if it was sold at 50 usd, it would still be a very niche recommendation at most. Thanks for reading.


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Cable source:

Reference/test songs:
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It can be clearly seen that he and I do not share the same opinion about this product. But all opinions should be respected. I think it is possible to report disagreement with an opinion in a more polite way, without having to get to any kind of disqualifications.
Obviously, @RikudouGoku has stated his opinion about these IEMS and he does not like them. He has also insinuated that there are other reviewers who promote the product. I think he means to say that such promotion includes favored treatment towards it. I do not agree with him in this regard.
Many times I have put some products wrong and also received the criticism from the brand as he has commented. There is no right to that either. If a product is given for review you have to keep in mind that there can be opinions for all tastes and not receive pressure to evaluate it better or worse, just because it is a sample.
What he says has also happened to me and in the end I adopted another position, so as not to have to reach that point.
With all this, I did not like reading your comment. You may be right in some parts, but some words are too many. As a regular reviewer, I am in the position to build and not destroy.
It's just my opinion and I'm not looking for any confrontation.

I don't intend to "destroy" anything, but it's also important to point out these things when they seem to stand out.


Headphoneus Supremus
LZ A4pro
Pros: 12 different tuning variations using 3 bass caps and 4 nozzle tuners. Highly detailed with an excellent carbon nanotube dynamic doing bass duties. Good technicalities. Tunings can vary from neutral warm, bassy neutral, neutral bright to bassy bright. Bass can be boosted up to 12db for sub bass which does not encroach on the mids. Excellent customized graphene 8 core silver plated copper cable which matches well with the A4 pro.
Cons: Tuning options are either bright or a bit warm and nothing in between.- confirmed more nozzle options available from some LZ A4pro sellers. Blue and red nozzles for the tunings are fairly useless as they represent extremes on both ends of the nozzle tunings. Too bright or mushy warm. No balanced option for the included cable.
LZ A4 pro.

LZ A4 pro much like their previous LZ A4 earphone is a tunable earphone this time incorporating 3 BAs and a single dynamic doing bass duties In a semi custom resin shell. These are labeled as a sub flagship for LZ. Which means the sound has to live up to their LZ A7 in performance. LZ is all about giving the enthusiast options for their sounds as the new pro model incorporates 3 bass vent caps and 4 tuning nozzles to change up upper mids and treble which gives a good variety of 12 different sound variations to the A4 pro sound.

I would like to thank NiceHCK for the A4 pro, it was sent to me for review purposes. You can purchase an A4 pro on NiceHCKs Aliexpress webpage here. The sound was evaluated using my sources: IBasso DX300Max, Fiio F15, Shanling M6pro, M5s, M3s, Acmee MF02, Sony ZX300, IBasso DX160, IFI Black Label for amping.

What you get.
The package includes the semi custom resign body with 4 nozzles and 3 bass vent caps and a mini flat head screw driver to install the caps with. LZ canister case. 3 sets of different silicone tips. A very nice 8 core graphene copper silver alloy cable in single ended. This cable matches extremely well with the A4pro. Negative is that they do not come in any balanced configurations.

Tunable earphones are ideal since we all have different likes in a sound, why not offer the ability to tune a sound to your liking. It is a bit like EQing but on a hardware level. I have seen a few manufacturers attempt this idea on their IEMs with varying results but with LZ, we kind of expect it. I was surprised not to see a nozzle tuning option for their recent LZ A2 pro they released recently you can read about here. The tuning angle on the newer LZ phones are actually more similar than different. Which was a surprise to me. They both have a upper mid rise at the 2khz range but the difference there is the LZ A4 pro seems to have a upper mid to lower treble shelf to about 4Khz that helps even out the tonal balancing a bit more so.

Base sound design is a variation of the w shaped to a neutralish signature with the use of tuning nozzles and venting caps you can go from a fairly neutral emphasis in their red nozzle and blue vent caps to an upper mid enhanced bassy signature using the red vent caps and standard black nozzle.

The three vent caps for the bass emphasis is brilliant as it allows the user to have 3 completely different bass profiles affecting the main heart of bass emphasis from 250hz all the way to 20hz. The Red=12dbs of lower bass, The Black=7dbs of lower bass, The blue= 0dbs neutral flat. Utilizing a dual cavity single carbon nanotube dynamic. The bass dynamic used is powerful, agile and has good reach. The ability to go from absolutely flat bass to 12dbs of sub boost here just by changing out the caps is very awesome. Mid bass characteristics are less impacted by the caps vs the sub bass so this design is very music friendly and provides good separation from bass to mids.

The mids maintain their integrity meaning there is no bass bleed. I can tell these guys did a lot of RnD to figure this one out to be this precise. Then you add to the fact that upper mids and treble can get an increase or decrease using 4 nozzle filters and you get a nice variety of sound profiles to choose from.

Though the drop off from the stock black nozzle to the red neutral nozzle is pretty substantial. I do wish there was a nozzle for something in between. As they are, it is difficult to like the red nozzle filter as it pretty much neuters the 2 khz pinna gain and sound becomes a touch muted.

Trebles has good presence for the sound and has the most presences for lower treble and then sees an anti fatigue dip with a lesser emphasis for the mid trebles and a gradual lessening of emphasis for the upper trebles from there. This works well to get a good usable treble emphasis minus some treble glare that can happen with a bit much lower trebles using the open blue nozzle. This treble tuning was also evident for their A2pro as well but the main difference is that this time around it has more lower treble emphasis which in general means it has more treble presence. This does two things for the A4pro sound: it balances the tonality to sound more cleaner and detailed which counters any darkness to the tuning that can happen with a lopsided too much bass and not enough treble emphasis. The other is that this region of treble emphasis will be tunable based on ones preference with varying degrees of emphasis. The selection here though is not as varied as I would have liked. The blue, silver and black all have the most upper mid emphasis while the red nozzle almost has none with the least amount of treble emphasis.

A4 pro treble can be a bit on the bright and glary using the blue nozzle all the way to a smoothed out 2Khz region using the red nozzle. The differences going from the red nozzle to the next nozzle, the base black nozzle, is pretty substantial. The other two nozzles after that seem to add to the upper mid treble gain from there with minor emphasis addition to the black nozzle. And this is the reason why I was hoping there was something in between the red and the black one but that is not a choice unfortunately. With some experimentation you can use the nozzles from LZs previous A7 both red and gold nozzles which are both somewhere between the black and red nozzle on the A4pro.

Trebles has good presence overall, detailed, with an agile attack however has just a touch of dryness to the treble tonality. It has very good ability for trebles but does emit a BA timbre for trebles which results in a bit of clinical treble presentation that is not exactly smooth but not edgy sounding either at the same time. It's got a good extension for trebles and has good fundamental detail for the trebles region. Again utilizing the advantages of BA precision for trebles. The single BA used for the treble represents the high notes and has a good amount in presence and quality to the mix. If I was to complain I would say the Blue nozzle and the Red will be basically useless for most folks so I do wish they focused on more varieties in between instead.

The nozzles affect the upper mids of the LZ A4pro and can sound bright for mids again blue nozzle and or a touch muted the red nozzle. This area of upper mid gain gives out a vocal lift using the silver nozzle a bit less using the Black nozzle. Overall the Mids has good presence for the A4pro sound tuning. It has a medium amount of body and weight to the sound vs being too thin or too thick. It does have the classic W shaped more upper mids vs lower mids in tuning. Mids using two Knowles BAs sounds overall clean and well organized in imaging and detail. It can sound warm when using a combination of red nozzle and red enhanced bass caps but sounds a bit mushy and not as clear and precise as using the other nozzles. Mids tonal character is decidedly BA a touch bright but again this is due to not being provided usable nozzles that would make it sound more natural and more neutral in tone vs the majority of these nozzles having a brighter effect on tonality.

On one hand I can clearly make out that they are using BAs due to a distinct BA timbre but at the same time I doubt you can get this same versatility using a single dynamic for the sound tuning. Mids overall has good detail and its imaging is a standout due to both BAs firing off for the region. Clarity, and sound separation is average for BAs with good presence which can sound slightly cooler in tone to slightly warm depending on what nozzle you choose but overall the mids are consistent with their presentation and is the one mainstay of the presentation that seems to hold all the tuning variations to be cohesive.

Bass is represented using a dual cavity carbon nanotube dynamic which was a good choice by LZ. Carbon nanotubes have an excellent ability for bass production from my prior experiences from the material and it shows on the A4 pro. Bass is tight and speedy for dynamics and can be boosted up to 12dbs for the sub bass using the red caps. Since the bass stays away from the mids using any of the caps I prefer using the boosted red caps. Listening to bass genres, this cap in combination with the stock black nozzle I get a great combination of clarity, detail a punchy mid bass with a very good sub bass presence. Due to the upslope for sub bass it's got less mid bass which is ideal to stay away from the mids. Bass has a speedy attack with an above average tightness, nicely defined with a moderate amount of sub bass decay. The bass using the red bass cap is ideal for all sorts of bass infused music. This being said the cohesion here is not the best going from the cooler mids presentation to the bass presentation. A bit better with less emphasis.

The stock black caps give a moderate roughly 7db sub bass boost and these are ideal for more acoustic, jazz and rock presentations. Less boost means speedier performance and here is a middle ground of enough emphasis to sound complete but not as good for bass genres like the red caps provide. Many will prefer this cap vs the red but either way you're getting good bass performance. For absolute analytical flat bass you can use the blue caps. There is zero maybe a minus sub bass here in performance meaning might be some sub bass roll off below neutral using these. Can’t see a scenario where if you actually listen to music how these can be useful but it's there for folks that want no bass emphasis. It's an option.

Technicalities for the A4 Pro are solid for the given design which relies on the strengths of the Knowles balanced armatures for the mids and treble. Two BAs are ideal to get better imaging for the mid range with a higher end focus for the mids and the A4 Pro sounds engaging for its intended purpose. Stage is moderate in width and shows good depth with average height for sonics. Instrument separation is good again here with a good level of detail and imaging. I would say they can hang with their previous A7 in technicalities but not quite as smooth or as coherent as the A7. It has nicely imagined spacious slightly analytical sound presentation with a forward vocal projection especially for female vocals. Lower mids lack a touch of body, a bit less so when using the more neural red nozzle.

LZs A4pro is a solid entry into their line of tunable earphones that you would expect from the group. Its bass caps vents are done extremely well. It is remarkable just how much sub bass boost these caps can emit without touching any of the mids and in return gives even more varieties of tunings from the standard nozzle tuning ability. Its nozzle tunings are good but there should have been more varieties thrown in. As they are, it does give a decent variety of tuning options and the ability to adjust how much bass you prefer with how much upper mids makes the A4 pro versatile. The issue here is LZ did not go all the way with the nozzle variety. There is too much similarities in the blue, silver and black nozzle and then a complete drop off for the upper mids in the red. What they should have done is not include the blue one and include two nozzles that fit somewhere between the black and the red nozzle. This would have make a huge difference imo.

As they are you really get a choice of either bright or warm but nothing in between is my point. Given their overall sound A4pro has much potential but I can’t help feeling this one was a bit of a rush job and not really thought out, especially the nozzle variations or the lack thereof.. In any case I did get word that LZ is considering releasing more nozzle variations for the A4pro. Too little too late? With ever increasing competition and new releases of earphones on the daily. Not including something that gives a proper tone to the A4 pro was a mistake from the get go. I would like to see an addition of one more vent cap and two to three more varieties of nozzles. We will see what happens as so many LZ fans were waiting for this one to shine. Thanks for reading.
For those of us who bought these IEMs before they offered this, is there a way to buy a gold nozzle separately that anyone is aware of? I use the black nozzle but agree something between the black and red would be ideal w the red outer plug and may be interesting w the other outer ones >.<
Ask at ask them if you can buy the gold nozzle. Will be worth it if you got the A4 pro. it is exactly what they needed.
I got the A4 Pro back in October, so definitely excited to see if they can sell the gold nozzle individually :) I'll report back! Thanks :)
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500+ Head-Fier
Drivers, Mouthpieces and Other Back Caps
Pros: 12 different tunings possible, some of them very varied.
- Analytical and very detailed sound, but realistic and never unnatural.
- Great low end quality.
- Very good isolation and occlusion level, the sound does not leak out.
-Good cable.
Cons: No choice of balanced cable.
- Lack of body in the low-mids of some tunings.

LZ HiFi Audio (Lao Zhong HiFi Audio) is introducing its new IEMS for 2021 and has recently released the LZ A2 Pro and the present LZ A4 Pro. One of the obvious changes is the change in shape and material. Previous LZ models used to have particular shapes and were made of metallic materials. Now, both models have been made of resin, with a semi-custom, more conventional shape. The outer face of the A4 Pro has been decorated with a beautiful flowing pattern in shades of blue, black and white. Internally, it features Knowles 3BA and a dual-cavity dynamic driver with a CNT nanotube diaphragm. It is clear that the DD is used for the low frequencies, while two BA are used for the mid frequencies and the third for the high frequencies. But one of the most relevant features of this new A4 Pro is the possibility to change its tuning by means of mouthpieces and rear caps. With the mouthpieces the mid/high frequencies can be adjusted, while with the back caps the low frequencies can be adjusted, thanks to their effect on the internal cavity. There are 4 different mouthpieces and 3 back caps, which results in 12 different tunings. But the good news doesn't end there: LZ wanted to accompany this new sub-flagship model with a cable to match. This is a high-end standard 8-wire graphene alloy and silver cable, with a 2Pin 0.78mm connection, which matches the characteristics of the different tunings of the A4 Pro. Let's see what the result of all these great qualities is in the following review.

LZ A4 Pro 01__r.jpgLZ A4 Pro 02__r.jpg


Penon Audio Store, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

LZ A4 Pro 05__r.jpgLZ A4 Pro 06__r.jpg


  • Driver Type: 1 CNT dynamic driver (bass) + 2 BA Knowles (mid) + 1 BA Knowles (treble).
  • Frequency Response: 20-20kHz
  • Sensitivity: 112dB/mW, @1kHz
  • Impedance: 26 Ω
  • Channel error range: ±0.5dB
  • THD: <1%
  • Jack Connector: 3.5mm
  • Capsule Connection Type: 2Pin 0.78mm
  • Cable: Standard high-end 8-wire graphene alloy and silver.
  • Cable length: 1.2m

LZ A4 Pro 07__r.jpgLZ A4 Pro 07__r.jpg


The LZ A4 Pro comes in a white, medium-sized box with dimensions 170x116x45mm. On the front side you can see a real photo of the capsules in the centre. In the top left corner is the brand logo. At the bottom is the name of the model, written in a holographic silver ink, in a bluish tone. Underneath is the product description, in Chinese and English. On the back side, the logo has been moved to the top right corner, while the rest of the side is completed with the product specifications in Chinese and English, as well as the brand's contact details at the bottom. After removing the wrapping cardboard, a complete white box is revealed, with only the brand logo in the centre. After opening it, you can see a dark, round, rigid case with the brand name in white letters. It is protected by a dense black foam, as are the two capsules on top of it. On top of it is a warranty certificate card and a user's manual. Underneath is a small plastic box with a variety of silicone tips. Inside the case is the cable and a black metal rod, which contains the filters screwed to it. The complete summary of all the contents is as follows:

  • The two A4 Pro capsules.
  • One 8-wire graphene-silver alloy cable with 2Pin 0.78mm connectors and 3.5mm plug.
  • 3 pairs of grey silicone tips sizes SxMxL.
  • 3 pairs of black silicone tips sizes SxMxL.
  • 3 pairs of grey silicone tips and blue and large core, sizes SxMxL.
  • A black metal rod to screw on the filters.
  • 2 red nozzles.
  • 2 champagne nozzles.
  • 2 blue nozzles.
  • 2 black nozzles.
  • 2 black back caps.
  • 2 red back caps.
  • 2 blue back caps.
  • 1 mini screwdriver.

The size of the packaging is medium and is appropriate for the amount of accessories that come with it. 3 sets of tips are fine, but I miss a set of foam tips. The cable is up to the quality of the capsules and except for the lack of a balanced plug, it would not be necessary to replace it with another one. I think that all brands should think about incorporating a balanced plug and some kind of SE adapter, due to the great demand of balanced sources that exist nowadays.
As for the number of mouthpieces, there are 4, which is quite a lot, plus 3 back caps that allow a lot of different tunings. Finally, the mini screwdriver is a flat screwdriver; a cross screwdriver would have been safer and more suitable for the rear plugs, as they also have cross slots.

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Construction and Design

The A4 Pro capsules are 3D printed in pure resin. Their shape is semi-custom, medium to large in size. The outer face adopts a flowing pattern made up of various colours, such as blue, white, black and teal. There also appears to be some slight admixture of fine glitter. The shape of the face resembles the African continent, but more stylised. At the base of one side you can see the name of the brand, in silver lettering, set inside the flowing motif. Close to the mark, but turning the rim, on the side face, there is a small hole. On the opposite side face is the recessed, rectangular opening, which locates the 2Pin 0.78mm connection. On the adjacent side is the interchangeable rear plug.
The inner side is dark and semi-translucent. It is difficult to see the inside of the IEMS, some BA drivers and the dynamic driver. This side is very ergonomic and has a protrusion to anchor the IEM to the upper edge of the pinna.
The mouthpieces are metal and interchangeable. They are all the same size and shape, but the inside is what changes, apart from the colour. The height is 5mm, the maximum diameter is 5.5mm and the minimum is 4.7mm. There are 4 pairs in total and their colours are red, black, blue and champagne. There are three pairs of metal back caps, coloured red, black and blue. They have a diameter of 4.2mm, a hole in the centre and an inscribed cross for easy screwing with the mini screwdriver. Both nozzles and caps are screwed onto a black, rectangular metal bar. The mouthpieces are screwed on two opposite sides and the rear caps on the other two.
The entire capsule is soft and smooth, made of light, polished resin, which fits carefully to the ears.
Internally, each IEM has 1 CNT dynamic driver for bass, 2 Knowles BA for midrange and 1 Knowles BA for treble.
The cable is 8 wires of graphene alloy and silver, with 2Pin 0.78mm connectors and 3.5mm plug. Despite these 8 wires, it is quite manageable and does not take shape. The cap of the plug is straight, a black metal cylinder with a smaller diameter in the middle, the shape tapers down to that point. The marking is written lengthwise in white letters. The dividing piece has the same shape, colour and material, but is approximately half the length. This time it is the logo of the brand that is written on it. The pin is a transparent resin sphere with a through hole. The cable, close to the 2Pin 0.78mm connectors, has a semi-rigid transparent protection, shaped like an ear. The sleeve of the connectors is a smooth, metallic, black cylinder with the channel lettering written in white. The 2Pin connectors are mounted on a rectangular, transparent plastic base. Finally, it has a strip to collect the cable, made of grey Velcro, with the logo and the brand written in white along it.
I believe that the previous LZ models were not made of resin and their shapes were varied. Now, they have returned to a classic coherence, with the use of the semi-custom shape, built in resin. There is no doubt that metal is always appreciated, but a good resin construction is a bit warmer, more comfortable and not necessarily less resistant. Also worth mentioning are the cable, the nozzle bar and the construction of the nozzles and caps themselves, which, being made of metal, will last longer.
I will take advantage of this section to discuss the use and assembly of the nozzles and back caps. The nozzles are easy to assemble and do not require much skill. I would have liked to see more rubber washers, because it is an element susceptible to breakage. A bit more complicated is the disassembly/assembly of the back caps, because they are smaller parts to be handled with the fingers. It may require the use of tweezers and some patience, for those with large or thick fingers.

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Adjustment and Ergonomics

The semi-custom shape fits my ears like a glove. The size and length of the nozzles allow a very secure insertion, which can range from shallow to medium, depending on the size of the tips. Once in, the sensation is light, the weight is not noticeable, although the friction is somewhat perceptible with the outer ear parts, due to the size of the capsules. I only found some discomfort after hours of use. The level of isolation is high, as is the occlusive capacity of the set.
All in all, very good fit, firm and durable, great insulation and only slight discomfort after several hours of use. However, you also get used to them and this discomfort tends to disappear.



With 4 nozzles and 3 back caps, 12 different tunings can be achieved. The black, champagne and blue nozzles tune the sound from 1kHz upwards, while the red nozzle modifies the sound from the sub-bass. The rear caps have their range of action from the sub-bass up to about 250Hz.
Starting from the default black cap/black nozzle profile, whose curve could be called a light V or W, the LZ A4 Pro, thanks to these nozzles and caps, can become a bass IEMS (red cap/red nozzle), going through a more pronounced V profile (red cap/blue nozzle), even reaching a more balanced and neutral, almost midcentric profile (blue cap/black nozzle). To my mind, the more extreme combinations such as those produced by the blue cap and the red nozzle are a bit out of my taste. Whereas I find the combinations between the red and black caps and the black, champagne and blue nozzles much more appealing and attractive. But there can always be an audience for all combinations.
All in all, the sound of the A4 Pro could be classified as technical/analytical IEMS, due to the precision of its BA drivers, without underestimating the ability of the dynamic carbon natotube driver.

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As I mentioned, the bass can become anaemic with the blue cap, to become much more noticeable with the red cap. Somewhat beyond the middle is the black top. The bass range, as such, shines with the black and red caps. But they don't turn the A4 Pro into an IEMS for bassheads, as long as they don't join with the red nozzle. Beyond the different tunings is the profile of each cap. While the blue top provides a very light low end, with little noticeable sub-bass and a neutral energy punch, it still manages to provide a distinctive personality. This personality is enhanced by the black filter, which already provides a remarkable authority and shows off its virtues. These include speed and restraint. The decay is fast and the texture is quite good, despite the agility of the driver. In fact, the driver's sonority matches quite well with the A4 Pro's analytical skills. And the best thing is that these are not lost when you switch to the red top, but can even be enjoyed more, but with more energy. The sub-bass emphasis achieved with this tuning is moderately powerful. Thanks to its dryness, the punch is hard and controlled, with a remarkable level of authority, which does not lose resolution or analytical ability. In this way, the bass is drawn with very good depth, with a precious and detailed execution, which does not stray from naturalness, despite the technical level it possesses. The level of control, associated with the amount of energy it is able to emanate, is responsible for a timbre that could pass for that produced by an excellent BA driver, but with the power of a great dynamic, as is the case. Thus, the sonority is in that realistic/analytical range, which integrates seamlessly with the rest of the band. Thanks to the excellent level of definition, the number of recreated planes multiplies with each note change, but disappears with the typical BA driver speed. As a result, there is no aftertaste and no bass intrusion in the midrange. If the A4 Pro's low end is anything to go by, it's its texture, although it's quite descriptive, the pronounced control prevents a higher emotion, a more pronounced roughness that would provide a more passionate and unbridled point. But surely it would not have married so well with the character of this model.

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As I said, a near midcentric tuning could be achieved by using the blue back cap and any of the black, champagne or blue nozzles. The result would be easy to place and would provide a very prominent midrange. But the great role of the low end and the excellent division of drivers allows the midrange to shine individually, despite the filters/covers used (except for the red nozzle). My favourite combination for the midrange is the black back cap with the champagne nozzle. Although the reference all-black combination is not to be underestimated either, not even the black cap/blue mouthpiece combination, which turns the IEMS into a brighter midrange. But back to the champagne nozzle, which has a boost at around 2kHz and a very slight high end shading. In this way, vocals become closer and filled with more body. Although the first half of the midrange is softly distant and there is no trace of warmth in the sound. In this way, the initial mass has a light weight, which tries to be corrected by this higher emancipation. While the substance has a light base, the projection has a greater range, hence the closeness of the voices, especially the female ones. However, if there is one thing the A4 Pro's mid-range excels in, it is its resolution and definition, characteristics that make it a very detailed and analytical IEMS. Without being artificial or overly cutting or penetrating, due to their level of precision, these LZs maintain a very disciplined edge, where details and micro nuances are executed with a high degree of cleanliness. The result is a very clear, crystalline, concise, rigorous, meticulous and detailed sound, which is at the same time fast, quick in its execution and disappearance. There is no doubt that technically, the double BA midrange sounds as one and there is no hint of smearing, dullness or muddiness in the sound.
The cool texture is highly recognisable and is explicitly exposed, leaving no hint of it undiscovered. This overt sound can lack passion, something that can be noted in the thinner first half of the mids. In this way, the result can be detrimental to some genres, as they could be represented in a thinner form, with less sustenance and a less corporeal base. Although this is something that could be corrected by switching to the black nozzle, or even adding the red cap, the high cleanliness and subtlety of the initial part does not allow for a more complete solution on those rare occasions. It is thus clear that you cannot have warm and analytical IEMS at the same time, but you have to choose, despite the many options that these LZs offer.

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For more emphasised treble, the black or blue nozzles can be used. But it is the latter that achieve a superior effect. And while they also emphasise the upper mids, the highs get more sparkle and energy. Add to this the analytical character of the A4 Pro and the level of expressiveness of the high end becomes clear. The W-tuning of the treble has narrow, sharp peaks. Although it presents that classic valley after the initial impact, this first zone enjoys a high energy, which makes them quite crisp and sharp. Moderation can be gained by using the champagne nozzle, but I think the mid-range of the black nozzle is the right reference for those who find the treble too expressive. Sometimes, though, that's what it's all about, gaining power and brilliance in the high end. So we have a shimmering, sparkling treble with the blue nozzle, which has a blazing speed, a modicum of control and can become quite sharp. In this way, the A4 Pro's analytical character is elevated to its maximum expression.
The extension is quite good, but I find the amount of air somewhat more limited, perhaps lacking a little more transparency in the sound, or a quicker dissipation of the treble in the ambience.

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Soundstage, Separation

The scene has excellent width and remarkable depth. Depending on the filters used, either three-dimensionality or height can be gained, without both characteristics being very pronounced. The sound is very clean, with a significant level of transparency and separation, as is usual for analytical IEMS. But I don't find the recreation to be very holographic or corporeal. There is the ability to recreate a number of planes, but they are thin and with a relative distance between them. Both the speed and the precision of the sound provide good instrumental positioning, but one misses some more air to vaporise the notes, to gain three-dimensional spaciousness and a more ethereal feel. It is clear that the clarity and lightness of the IEMS, as well as the great low end, prevent any noticeable congestion in the sound of the LZ A4 Pro. But perhaps their high occlusiveness is somewhat counter-productive in enhancing their image, giving a sense that the sound could be more open or expansive.
However, there is little or nothing to complain about in terms of resolution, detail or micro nuances. This is where this model really shines. The level of definition can be fine-tuned almost to taste using the different nozzles. You can even adjust in which band you want more detail. While with the champagne nozzle you get more detail in the middle range, with the blue nozzle it expands to the upper range. With the black nozzle you get softer, but without losing it. Without a doubt, this is an achievement beyond the reach of any IEM.

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NiceHCK Lofty

The Lofty is one of NiceHCK's latest flagship IEMS and uses a 10mm dynamic driver with a pure beryllium diaphragm and a dual 1.8T magnetic circuit. Their price range is the same as the A4 Pro. As the brand's flagship, it is presented and built to match its price. As for its sound, although its performance and features are remarkable, it has been widely criticised for its unevolved profile. The present LZs can be tuned in much the same way as the NiceHCKs, using the red back cap and black or champagne nozzle. For the comparison I opted to use the red back cap and the black nozzle.
Going into a bit more detail on the construction differences: metal capsule on the Lofty vs. resin capsule on the A4 Pro; 4-strand nylon-coated cable on the Lofty vs. 8-strand plastic-coated cable on the A4 Pro; single dynamic on the Lofty vs. 1DD+3BA on the A4 Pro; fixed configuration on the Lofty vs. interchangeable nozzles and back caps on the A4 Pro; choice of balanced cable on the Lofty vs. single 3. 5mm SE single plug.
In terms of fit/ergonomics, I prefer the fit/ergonomics offered by the LZs, due to their lighter weight, more occlusive and permanent fit, as well as a somewhat deeper insertion.
In the low end there are obvious similarities, in terms of technicality and even sonority down to the mid-bass. There is more energy, depth and naturalness in the sub-bass of the LZs, while the Lofty's feel slightly coloured. Texture is more perceptible and resolving in the A4 Pro's and that is something that provides superior value to their low end. In addition, the Lofty low end has a tendency to shift in presence, especially vocals. Possibly this is due to the greater warmth they have and the more focused tuning in the mid-bass, as well as the greater extension of the lower range.
In the midrange there is a greater smoothness in the Lofty, while the A4 Pro's level of definition gives it a higher level of clarity and transparency. Vocals are much sharper and crisper on the LZs, where the NiceHCKs are almost fuzzy. There's more warmth in the Lofty's mids and that's something that brings more body to the instruments and vocals, but the LZs offer a more focused, spread out and lead recreation, vocally speaking. And that's noticeable from the black nozzle onwards. Thus, I prefer the vocal fullness of the LZs to that of the Lofty, and only in some genres of music would I prefer the warmth of the NiceHCKs to the thinner body in the first half of the A4 Pro's mids. But even so, with the red back and black nozzle combination, this section is pretty evenly matched.
In the treble area, with the black nozzle, the excitation is smoother than with the Lofty. In the latter, a higher brilliance is noticeable. If you switch to the blue nozzle, the result is equal, although the LZs enter the control zone earlier. Despite the good performance of the beryllium driver, I think that the treble is faster on the A4 Pro, with a point of greater precision. I also think that the amount of air is greater in them.
In terms of detail, the Lofty has a very good level and outperforms the black nozzle combination right off the bat. Using the champagne or blue nozzles, the result is that all the nuances are enhanced and become more explicit. However, the Lofty achieves a good balance between the level of detail and the excitement of the mid-highs and highs. Surprisingly, with such a degree of smoothness, they are on a par in this respect against more analytical IEMS. Including the micro details, which are easily seen in the NiceHCKs, where they can become muddled amidst so much overexposed surface nuance in the LZs.
The Lofty scene is more expanded from the middle zone onwards. The softer, more pleasing exposure of this zone gives it a sense of extension, height and immersion that overcomes the greater analytical capacity of the LZs. The LZs appear more defined and finer, giving the sound greater transparency, but appear less homogeneous, more naked. The sound is more fluid in the Lofty, which aids a more gaseous, three-dimensional feel. However, the expansion and depth is greater in the low end of the LZs.

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The A4 Pro's sound profile is attractive and can be modified to suit individual tastes, either by boosting or reducing the bass or mid-range and treble. This is not an isolated or new development, but the combination of the two is a way of adding dynamism and added value to a price segment where the competition is really fierce.
The LZ A4 Pro is more than just 4 drivers per capsule, 4 pairs of nozzles, 3 pairs of back caps, a remarkable cable and a very comfortable semi-custom capsule. It's an analytical alternative, in a trend towards more organic or analogue profiles. In times of a return to simple dynamic drivers, the use of BAs should be strengthened by their intrinsic properties, i.e. a high level of resolution, definition capability and a lot of detail. If there is also a respect for the timbre and if there is no artificiality, as is the case here, there can already be 12 tunings, because the objective is far surpassed.

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Sources Used During the Analysis

  • Burson Audio Playmate.
  • Tempotec Sonata E35.
  • Hidizs S9 Pro.
  • Earmen Sparrow.
  • S.M.S.L Sanskrit 10th MKII + iFi ZEN CAN.
  • Tempotec V1-A + Hidizs DH80S.
  • Zishan Z4.
  • ACMEE MF02s.
  • E1DA #9038D.

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  • Construction and Design: 90
  • Adjustment/Ergonomics: 83
  • Accessories: 88
  • Bass: 91
  • Mids: 89
  • Treble: 88
  • Separation: 91
  • Soundstage: 92
  • Quality/Price: 93

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Purchase Link

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You can read the full review in Spanish here:

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Nice review, i just blind buy this guy and satisfied with how its perform.
Whats your favorite combination?
Also, for what profile/character is Champagne Nozzle?
Thank you for your words.

Just as the champagne mouthpiece enhances a peak at 2kHz and lowers the treble slightly, it implies an upturn in the middle zone that favors voices, especially female ones.

You can visit the link to my review in English or Spanish on my website to see the frequency response graphs.


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