[Mellowship]

My black ZST have all the holes in the right places...

(I mean, one on each plate, one on each shell)
(and they let some sound out for sure!)

Regarding cables and the old discussion about differences in sound, I tend to be very skeptical and to not trust reported differences. The theoretical standpoint where I am is that, a cable that has the right specs for what is intended to do, will perform right. If one has a cable with the right technical specs and changes to another cable and notices differences in sound, these differences are usually attributable to one or more of the following:
1) placebo;
2) expectable lack of sonic memory;
3) the "different" sound coming from the "new" cable is, in fact, affected by technical defects in that cable in a way it is acting as a resistor or as a condenser on top of acting as a conductor.

Regarding nr. 3, I believe the "sound" being affected by that particular design might be perceived as "better" or as better suiting the listener's taste in audio. It does not mean the cable is better in technical terms.

Like everything in audio, the relation between what measures good and what "sounds" good is not linear by any means.

Coming from several years of experimenting with hi-fi, mainly with amps, speakers, speaker and IC cables, I've came across many designs that were flawed in what should be considered a technically good component, but did they "sound" right! Others not so, indeed. When cables come to mind, I remember testing a pair of Transparent ($$$$$) speaker cables with some mysterious filters, and the silence in the background was frightening, even with tube amps... But something wasn't right... going back to a pair of cheap low-capacitance solid-core cables that complied with the technical specs to what they were intended to do, it became clear the macro-dynamic of the music was being respected, and maybe those filters were "filtering"(?) too much. After testing many other high-end equipment, I came to the conclusion that, concerning highend standalone equipment, there are two types of audiophiles: those who like "sounds" and go the extra mile to be able to listen to that detail, to Diana Krall's spit landing on the D# of her piano and whatever, and those who like music. Equipment that suits both groups is very rare to find...

 

[1clearhead]

I once sealed up some holes similiar to those shown in pictures above and after I did that... everytime I put them in my ears or moved my jaw/swallowed the driver would crinkle. just thought i'd throw that in here.

My theory on the holes (or ports):
They might make some difference in sound pressure changing ever so slightly the typical sound that it's suppose to represent. But, we all must keep in mind the deeper reason for most of the holes are to keep the drivers from the pressure of "driver flex", which keeps them from getting damaged in the long run.

 

[SybilLance]

With work done, logged in and encountered a flurry of posts about ZSN holes—or the lack of them—in all 3 variants.

Right away I checked mine and was relieved the holes are there.

I read the posts I missed and thereafter decided to try a simple experiment; taping the vent holes with tiny strips of surgical tape, and trying to hear what changes there may be in the sound. Please note: not much science, just subjective impressions from someone who last year could still hear a 15 KHz test tone but now can’t.

At an average of a little over 5 hours a day every day since I received them last November 20, I may have logged ~100 hours on the purple ZSN. During this time I have listened to albums and tracks I’m intimately acquainted with several times, and I daresay I’m familiar with how the ZSN reproduces them by now.

My hypothesis is that covering the vent holes situated on the inner plastic portion of the ZSN housing will change its bass signature and perhaps its midrange as well.

I therefore prepared a playlist of 6 tracks (FLAC) from my collection that would tend to show changes in the bass, midrange and treble (if any):

1. “The Saga of Harrison Crabfeathers” Brian Bromberg, Wood (Artistry, 2001) – The double bass (particularly the intro), then the piano and cymbals is a nice test for timbre, attack and decay.

2. “Caravan” Brian Bromberg, Wood II (Artistry, 2006) – Incredible speed on the double bass is a test for how the system would resolve complex bass notes together with the distinct sound of the fingers on the fingerboard.

3. “Annabelle” Macy Gray, Stripped (Chesky, 2016) – That acoustic bass in your right ear after the electric guitar intro in your left and then Gray’s raspy vocals at your front with the drums providing texture further at the back, all done at a measured, deliberate pace in this binaural track constitute one of the best first 60 seconds of a recording I’ve heard; each note from each of the front instruments—the guitar, the voice and the bass—so clear and so distinct.

4. “Spanish Harlem” Rebecca Pidgeon, The Ultimate Demonstration Disc (Chesky, 2015 Remaster) – Resolution, across the entire frequency range.

5. “Blue Rondo á la Turk” The Dave Brubeck Quartet, Time Out (Columbia, 1959; 2007 Remaster) – Piano, alto sax, acoustic bass and drums—and those cymbals.

6. “24K Magic” Bruno Mars, 24K Magic (Atlantic, 2016) – Curious as to how ZSN handles Funk from the 2018 Grammy Best-Engineered Recording (non-classical) winner.

I first listened to all tracks in the order given above with the ZSN as is, with this setup: Cayin N3 (low gain, Super Slow filter, EQ off) line out to Topping NX4 (low gain, Bass Boost off, Volume pot set at 10:00 o’clock) phone out to the purple ZSN with stock copper cable and wide-bore foam bullet/ball eartips.

Next I listened to the same tracks in the same order with the same setup but with the vent holes found at the inner purple plastic housing of the ZSN covered by 5 mm2 patches of 3M Micropore surgical tape.

Impressions.

Firstly, no crackling or crinkling sound upon insertion into ears. No vacuum or suction effect either.

Bass presence slightly increased, notably the sub-bass.

In the first 2 tracks by Brian Bromberg there seemed to be a more palpable impact by the double bass but there also seemed to be a slight corresponding loss of definition. The plucks on the fingerboard became less distinct and in the second track particularly during the fast portions the bass notes seemed to merge into each other and there’s an overbearing persistent thump to everything; I suppose I’m describing congestion and boominess.

The same impression is evinced when the bass enters the stage in Macy Gray’s “Anabelle”, and the granularity of Gray’s voice increased, from raspy to gravelly. The guitar sounded even better, though.

In “Spanish Harlem” the same quantity increase/definition loss trade-off occurred with the bass but I could not tell any other difference with the other instruments. The inherent sibilance of Pidgeon’s singing which was barely noticeable before was still the same.

Congestion and loss of definition of bass was most pronounced in “Blue Rondo á la Turk”. No other differences noted.

Bruno Mars’ “24K Magic” was a revelation. I did not detect any loss of definition or congestion. If there was boominess I didn’t hear any because I was too busy rolling my shoulders, snapping my fingers and wiggling my hips in time to the music.

Thoughts.

The natural timbre, attack and decay of an acoustic instrument such as the acoustic bass are difficult to reproduce and resolve by any transducer. An external attempt to markedly increase bass output alone oftentimes results in loss of perceived definition of such instrument. Since I am quite intimate with the tracks I used, I noticed these changes. Others may not.

There was only one instance where I heard a corresponding change in the midrange, and that was with "Anabelle" of Macy Gray, whose singing voice is already low in register to begin with, and with the electric guitar, the tone of which seemed to have been enhanced.

Dave Brubeck’s "Blue Rondo á la Turk" is oftentimes used as a reference for cymbals but alas the quality of the bass really suffered when its quantity was increased. I could barely hear the finger plucks and those abrupt presses at the top of the fingerboard. Perhaps it’s because of the nature of the 2007 remaster from the original 1959 analog tapes. I don’t know. There seemed to be no other audible change.

I was surprised, however, by the marked improvement of Bruno Mar’s 24K Magic. Could it be attributed perhaps, to the fact that the first four tracks used an acoustic bass, while the bass foundation for the last is electronic? Hence the positive, pleasing effect I experienced?

Could this then mean that covering the vent holes at the inner shell of the KZ ZSN would lend to a positive effect with regard to electronic source music?

One other thing that I noticed is that the effect of the covered vent holes is akin to toggling on the Bass Boost of the Topping NX4, then attenuating by a decibel or two. Certainly the same dynamic sway with “24K Magic”.

Conclusion.

Covering the vent holes found at the inner plastic shell of the KZ ZSN purple does increase the bass. As to what measurable degree, I have no way of ascertaining as I have no measuring gadgets, meters or graphical displays, only my li’l ol’ ears wired to my brain. One inference may be that these vent holes are for tuning the bass, and give the ZSN Purple that sound signature unique among its KZ siblings; fast, resolving bass and only ever so slightly-recessed midrange.

At this point I should like to reiterate that the degree of variations I perceived with the vent holes covered were not that significant. As mentioned I noticed them because I knew where to concentrate and focus my attention. I should also like to emphasize that in my case the ZSN is a natural fit, as if custom-built for my ears. All I have to do when putting them on is to position the tips at the meatus (entrance) of my ear canal with the projecting connectors perpendicular to the ground, then give a slight twist backwards and downwards so that the connectors project and naturally sit at that groove between the helix and tragus of my ear, and the seal is perfect. This way the inner portion of each shell is also seated flush against my concha, which means the vent holes may be partially covered or even closed by the walls of the conchae. Therefore, it’s probably not much of a difference for me whether the vent holes are covered or not.

With others, though, it may be. In other words, the ZSN with vent holes covered might be a basshead’s dream.

Perhaps others, by doing the same vent mod, could duplicate, add to, improve or disprove these observations and impressions? With FR graphs even, like what crabdog, antdroid, hakuzen, et al., have previously done?

 

[vladstef]

ZSN is a very good surprise. Looks amazing (though cable still sucks - black version) and sounds better than ZS10 by a lot. It's even better than ZS5v1 imho (except the soundstage).

I'd even take it over TinAudio T2...

 

[CoiL]

With work done, logged in and encountered a flurry of posts about ZSN holes—or the lack of them—in all 3 variants.

Right away I checked mine and was relieved the holes are there.

I read the posts I missed and thereafter decided to try a simple experiment; taping the vent holes with tiny strips of surgical tape, and trying to hear what changes there may be in the sound. Please note: not much science, just subjective impressions from someone who last year could still hear a 15 KHz test tone but now can’t.

At an average of a little over 5 hours a day every day since I received them last November 20, I may have logged ~100 hours on the purple ZSN. During this time I have listened to albums and tracks I’m intimately acquainted with several times, and I daresay I’m familiar with how the ZSN reproduces them by now.

My hypothesis is that covering the vent holes situated on the inner plastic portion of the ZSN housing will change its bass signature and perhaps its midrange as well.

I therefore prepared a playlist of 6 tracks (FLAC) from my collection that would tend to show changes in the bass, midrange and treble (if any):

1. “The Saga of Harrison Crabfeathers” Brian Bromberg, Wood (Artistry, 2001) – The double bass (particularly the intro), then the piano and cymbals is a nice test for timbre, attack and decay.

2. “Caravan” Brian Bromberg, Wood II (Artistry, 2006) – Incredible speed on the double bass is a test for how the system would resolve complex bass notes together with the distinct sound of the fingers on the fingerboard.

3. “Annabelle” Macy Gray, Stripped (Chesky, 2016) – That acoustic bass in your right ear after the electric guitar intro in your left and then Gray’s raspy vocals at your front with the drums providing texture further at the back, all done at a measured, deliberate pace in this binaural track constitute one of the best first 60 seconds of a recording I’ve heard; each note from each of the front instruments—the guitar, the voice and the bass—so clear and so distinct.

4. “Spanish Harlem” Rebecca Pidgeon, The Ultimate Demonstration Disc (Chesky, 2015 Remaster) – Resolution, across the entire frequency range.

5. “Blue Rondo á la Turk” The Dave Brubeck Quartet, Time Out (Columbia, 1959; 2007 Remaster) – Piano, alto sax, acoustic bass and drums—and those cymbals.

6. “24K Magic” Bruno Mars, 24K Magic (Atlantic, 2016) – Curious as to how ZSN handles Funk from the Best-Engineered Recording (non-classical) of 2017 Grammy winner.

I first listened to all tracks in the order given above with the ZSN as is, with this setup: Cayin N3 (low gain, Super Slow filter, EQ off) line out to Topping NX4 (low gain, Bass Boost off, Volume pot set at 10:00 o’clock) phone out to the purple ZSN with stock copper cable and wide-bore foam bullet/ball eartips.

Next I listened to the same tracks in the same order with the same setup but with the vent holes found at the inner purple plastic housing of the ZSN covered by 5 mm2 patches of 3M Micropore surgical tape.

Impressions.

Firstly, no crackling or crinkling sound upon insertion into ears. No vacuum or suction effect either.

Bass presence slightly increased, notably the sub-bass.

In the first 2 tracks by Brian Bromberg there seemed to be a more palpable impact by the double bass but there also seemed to be a slight corresponding loss of definition. The plucks on the fingerboard became less distinct and in the second track particularly during the fast portions the bass notes seemed to merge into each other and there’s an overbearing persistent thump to everything; I suppose I’m describing congestion and boominess.

The same impression is evinced when the bass enters the stage in Macy Gray’s “Anabelle”, and the granularity of Gray’s voice increased, from raspy to gravelly. The guitar sounded even better, though.

In “Spanish Harlem” the same quantity increase/definition loss trade-off occurred with the bass but I could not tell any other difference with the other instruments. The inherent sibilance of Pidgeon’s singing which was barely noticeable before was still the same.

Congestion and loss of definition of bass was most pronounced in “Blue Rondo á la Turk”. No other differences noted.

Bruno Mars’ “24K Magic” was a revelation. I did not detect any loss of definition or congestion. If there was boominess I didn’t hear any because I was too busy rolling my shoulders, snapping my fingers and wiggling my hips in time to the music.

Thoughts.

The natural timbre, attack and decay of an acoustic instrument such as the acoustic bass are difficult to reproduce and resolve by any transducer. An external attempt to markedly increase bass output alone oftentimes results in loss of perceived definition of such instrument. Since I am quite intimate with the tracks I used, I noticed these changes. Others may not.

There was only one instance where I heard a corresponding change in the midrange, and that was with "Anabelle" of Macy Gray, whose singing voice is already low in register to begin with, and with the electric guitar, the tone of which seemed to have been enhanced.

Dave Brubeck’s "Blue Rondo á la Turk" is oftentimes used as a reference for cymbals but alas the quality of the bass really suffered when its quantity was increased. I could barely hear the finger plucks and those abrupt presses at the top of the fingerboard. Perhaps it’s because of the nature of the 2007 remaster from the original 1959 analog tapes. I don’t know. There seemed to be no other audible change.

I was surprised, however, by the marked improvement of Bruno Mar’s 24K Magic. Could it be attributed perhaps, to the fact that the first four tracks used an acoustic bass, while the bass foundation for the last is electronic? Hence the positive, pleasing effect I experienced?

Could this then mean that covering the vent holes at the inner shell of the KZ ZSN would lend to a positive effect with regard to electronic source music?

One other thing that I noticed is that the effect of the covered vent holes is akin to toggling on the Bass Boost of the Topping NX4, then attenuating by a decibel or two. Certainly the same dynamic sway with “24K Magic”.

Conclusion.

Covering the vent holes found at the inner plastic shell of the KZ ZSN purple does increase the bass. As to what measurable degree, I have no way of ascertaining as I have no measuring gadgets, meters or graphical displays, only my li’l ol’ ears wired to my brain. One inference may be that these vent holes are for tuning the bass, and give the ZSN Purple that sound signature unique among its KZ siblings; fast, resolving bass and only ever so slightly-recessed midrange.

At this point I should like to reiterate that the degree of variations I perceived with the vent holes covered were not that significant. As mentioned I noticed them because I knew where to concentrate and focus my attention. I should also like to emphasize that in my case the ZSN is a natural fit, as if custom-built for my ears. All I have to do when putting them on is to position the tips at the meatus (entrance) of my ear canal with the projecting connectors perpendicular to the ground, then give a slight twist backwards and downwards so that the connectors project and naturally sit at that groove between the helix and tragus of my ear, and the seal is perfect. This way the inner portion of each shell is also seated flush against my concha, which means the vent holes may be partially covered or even closed by the walls of the conchae. Therefore, it’s probably not much of a difference for me whether the vent holes are covered or not.

With others, though, it may be. In other words, the ZSN with vent holes covered might be a basshead’s dream.

Perhaps others, by doing the same vent mod, could duplicate, add to, improve or disprove these observations and impressions? With FR graphs even, like what crabdog, antdroid, hakuzen, et al., have previously done?

Did You tape ALL 4 holes (1 in plastic shell, 3 in metal faceplates)?

Haven`t tried covering all holes yet but I`m guessing You will be right about bass raise. Will try it when I have time.
But covering only 3 faceplate holes doesn`t change anything in sound if plastic body vent is open and free from ear, IMHO.

For what it`s worth... IMHO, faceplate hole differences make NO difference. I have replaced my purple ZSN faceplate with ZST faceplate and I didn`t notice any difference.
Will do more testing against cyan ZSN and report back after some playtime so they are "equal".

But WHY there is no difference? Well, it`s pretty logical.

Those vent holes @ plastic body are in same chamber as faceplate vent holes, so, + 3 vent holes @ faceplates with slight difference really make no difference! Come on, it`s logical.
IF those all holes would have some filter material (like IT01 has), then maybe there would be difference because of vent hole sizes, but since they are totally open - no difference.

Since I have opened many KZs and tested/tweaked them, I can claim that differences could be in slightly different filter fabric applied to DD back or not same quality installed.
The other factor could be also previously mentioned cable difference, which, by hakuzen measurements could make slight difference but depending on gear output impedance, amping etc. might not be noticeable to many. But that doesn`t mean cable doesn`t make any difference. With my gear (very low output impedance) and powerful opamps, with certain IEMs, cable impedance difference (for example 0.8 Ohm vs. 0.4 Ohm) can make noticeable difference in sound (for example **** 4in1).

Now, about those vent holes being closed @ plastic body + 3 holes @ faceplates - they probably make no difference in sound, so, don`t be so alarmed about that "issue"
And since our ear shapes are vastly different, some ppl probably have those "inner" vents closed anyway against their ear.

 

[1clearhead]

In my experience, I switched the cables back and forth between all three ZSN's, and the one that always had the clear-copper cable mounted sounded different from the other two dark brown cables. So, that's why I decided to get two clear-silver cables to even the score towards that beautiful balanced signature that only the clear-copper presented to me at the time.
No regrets on my extra purchase!

 

[BadReligionPunk]

How are these TRN BT20 with ZSN? And did you get 0.75mm ones or 0.78mm?

To me the BT20 has sounded good with everything I have thrown at it. The ZSN, at the volumes I listen to have the same character. Have not extensively A/B any of the iems I have used on them, to their wired counterparts, but everything sounded good. I bought the .78 as I have never had an issue using them on both .75 and .78 iems.

ES4 with 8 core KZ braided silver cable - I just changed the stock tips to the Spinfits. The sound is much brighter, with a wider more natural soundstage, more details... but the "piercing" brightness may hurt the sound, to me.The stock tips are more neutral and warmer and potentially have longer usability (warmer sounding, no brightness), but the Spinfits… wow, the detail. The brightness... ugh.

The ES4's now stick out of my ears like a second pair of dumbo ears (the first pair are my own) because of the Large spinfits. Maybe I should have ordered medium? I'm also noticing itchiness which I didn't feel with the stock tips.

Spinfits are a good investment for sure however putting the Spinfits on the ES4 nozzles was a pain in the ass. I even felt it on my backside. Because it took like an hour!

PS: On the "bright side" the Spinfits act as Q-Tips when I pull them out of my ears! Earwax blockage was dampening the sound quality before!

PPS: I wonder what the JVC Spiral Dots will sound like when they arrive from Japan? Will my music go from English to Japanese?

I use jvc spiral dots on my es4. Mostly for comfort. They are super soft. I describe es4 with them on, as big bass and warm with warm upper mids and a somewhat darkish treble. To me a warm L shape. However once the volume is pushed high, these things can break out and go V. Upper mids and treble wake up and there is a good energy there. It's just too high volume for me to enjoy for more then like 30 minutes. Really want to order some spinfits now and try those. What volume do you listen at?

 

[Wiljen]

I have two ZSN. The Purple and the Cyan. I bought the Cyan so I would have a backup but I would like to get a balanced cable for it. Two of my daps have balanced output. Because the connectors are different on the ZSN I am wondering if I will have to wait for KZ to make a balanced cable for it.

I think you could probably use a standard cable as the ZSN's hood basically protects the pins. It might not be as stable as it wouldn't have the shield around the connection, but the pins are standard .78 pins.

 

[Podster]

I think you could probably use a standard cable as the ZSN's hood basically protects the pins. It might not be as stable as it wouldn't have the shield around the connection, but the pins are standard .78 pins.

Which is a departure from their standard .75 pin, they tried .78 once before and really upset the community by having one odd man out! Once you have stretched to the .78 it's really hard to go back without surgery

 

[Wiljen]

Which is a departure from their standard .75 pin, they tried .78 once before and really upset the community by having one odd man out! Once you have stretched to the .78 it's really hard to go back without surgery

Seems the ZSN was a departure from the KZ norm in several respects.

 

[trumpethead]

I'm surprised you don't like the QNGEE... other than being bright (which is bad.) Why don't you like about it? The Benjie S5 is pretty amazing but if you don't need something compact there are a lot better choices. Apparently Benjie S5/Agptek M20 have newer versions now.

Question, is Benjie S5 Bluetooth have the same sound quality as the non Bluetooth? Enquiring minds.....Thanks

 

[CthulhuNinja]

My understanding is that your Fiio X3iii is a bright-leaning DAP. How well does it pair (synergy) with your ZSN?

Well what can I tell you on Metal,80/90 Dance, orchestral Classical and Jazz (not like single instrument) it fares very well even without EQ. If there is a single or majority of high treble instruments, then I switch to ES4, with loss of soundstage width

 

[Podster]

Since we are on the subject of ZSN and Holes upon I have inspected my black ones and mine indeed do have the single hole in the back and the three holes on the face plate however I cannot tell if the face plate holes penetrate the plate or are just part of the design, I received 3 of the 5 green and purple ones but I'm not opening Christmas gifts just to verify the difference in those and the black ones

 

[khighly]

No, your quote is not exactly what I wrote...

All three ZSN's sounds the same, but the cable that comes with the Silver/Purple does alter the sound signature to sound even more accurate and balanced with better overall details. Plus, the cable is a clear-copper and it's also thicker than the one that comes with the other two, which are thinner dark brown cables.

That's your personal opinion if you believe what they say. But, just to remind you, if you know the different value of metals out there? Gold is the best conductor for longtivity, but eventually they'll be too expensive to make as replaceable IEM cables.

It's exactly what I said. It's not really an opinion once it's been replicated in a scientific manner like that.

Anyone that studied the value of different metals would know that "GOLD" maintains a steady premium flow of electricity due to the properties that it doesn't oxidize while other metals corrode in time. So, the audio signal travelling through cheap cables IS NOT THE SAME as audio signal going through expensive quality cables.

Are you trolling? If you're actually serious, can you please provide any evidence or studies to this claim?

We really don't need this pseudoscientific stuff in here.

 

[1clearhead]

Are you trolling? If you're actually serious, can you please provide any evidence or studies to this claim?

We really don't need this pseudoscientific stuff in here.[/QUOTE]

@khighly

Trolling? ...We are all gathered here to share are own personal opinion and experiences with the products we purchase so that others may enhance their enjoyment in the same products as well. So, if you think I'm going to provide you the research and time just because you decided to believe what another website claimed, that's your business. I'm sure you're capable of making time in researching this information yourself just as you decided to research and believe what the other website claimed.

So, just some simple advice...don't get this forum locked! Please abide by the rules before you make strong comments and arguments. Everyone here is opinionated and some are well respected with plenty of useful experience.

Hope you understand head-fi administrations point of view.


-Clear