YinyooKZ ZSX Hifi In Ear Earphones Hybrid 5 Balanced Armatures and 1 Dynamic Drivers Headphone, KZ Earbuds High Fidelity with Detachable 2 Pin Cable(No Mic, Black)

The ZSX is the latest flagship hybrid design from KZ (Knowledge Zenith). Dubbed “The Terminator” it is a 6 driver IEM (1DD + 5BA). Whether the name “Terminator” denotes that no further hybrid models will be released is unknown. The Dynamic driver is 10mm in diameter and is a development of the unit featured in the ZS10 Pro, a dual magnet design with a field strength of 1 Tesla. The balanced armatures include two sets of the dual DWEK BA, a mid-high frequency design, coupled with a 30095 driver covering the extreme HF.The IEMs arrive packaged in a black box similar to that supplied with the ZS7 with the earpieces displayed in a foam cut-out above the KZ plaque seen in other premium models. The words “12 Units Hybrid Technology Earphone” are printed below. Under this cut-out you will find the detachable cable, a set of three Starline-type tips and documentation. A set of plain soft silicone tips with a medium bore are pre-fitted on the IEMs. The shell is a new design with the faceplates finished in a matt charcoal colour with “12 hybrid” written on it and the resin underside finished in a deep greenish colour (called cyan). They look very smart indeed. There are two pinhole vents on the inner surface of the earpieces. The fit was very comfortable with the “fin” on the end of the earpiece providing stability. Isolation was also very good.The detachable cable is identical to that supplied with the KZ ZS10 Pro. It has a clear plastic connector (known as “Type C”) with the pins covered in a plastic shield. It is still possible to use other cables, which can be plugged into the protruding sockets on the IEMs. The cable itself is composed of braided copper and has a very long section between the chunky Y-split and the earpieces and as a result is somewhat prone to tangling. The plug is the usual right-angled plastic 3.5mm TRS type. It would have been good to see a more premium cable with a flagship model, and please, KZ, can we have a chin slider?The earphones were left burning in for over 72 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 with a Fiio A5 amplifier and a Sony NWZ-A15 for evaluation. The supplied tips were used but I changed the cable to a 16 core silver plated one from TRN.The immediate impression was of a huge soundstage, powerful bass and a lively engaging presentation. It reminded me of my favourite KZ so far, the ZS7, but with an improved more forward midrange, better staging and layering and a more extended treble. Sensitivity was good with adequate volume obtained via the headphone socket of my DAP but a more authoritative and controlled sound was obtained using an amplifier.BassThe bass performance of the ZSX was excellent. Starting in the sub-bass, extension and power were first-rate. Depth was impressive while still retaining good texture and clarity. A good example of this was in Jonn Serrie’s “Land of Lyss” from his “Midsummer Century album. This track contains some of the deepest sub-bass you will hear and the ZSX handled it with aplomb. I was able to hear more detail here than ever before with the deepest notes being reproduced cleanly and with low distortion. Orchestral bass instruments also benefited from the ZSX’s ability in this region. The bass drum and timpani in Holst’s “Uranus” performed by the LSO under Andre Previn were very impressive and possessed great impact and immediacy along with weight and power. The mournful trudging of the double basses in “Saturn” were also testament to the cleanliness of the bass with remarkable detail and resolution. Popular music too, sounded good with the bass guitar and bass drum rhythm section in Al Stewart’s “Year of the Cat” being nicely separated and defined, yet combining to produce a very satisfying foundation to the track.MidrangeThe midrange performance carried on where the bass left off with good resolution and separation, and not suffering from any bass bleed. The complex guitar arrangement in Ray Lynch’s “Over Easy” depicted this perfectly. Each instrument was clearly defined and at the same time, beautifully integrated with the whole. There was good transient attack, excellent portrayal of studio ambience and accurate stereo imaging. Electronic music enjoyed a particularly clean reproduction, with Mark Dwane’s “Geoglyphs” from the “Variants” album displaying superb “slam” in the percussion and clearly-defined synth layering. The whole combining to produce a really entertaining result. The tuning of the new DWEK dual BAs certainly seems to be very successful. There was a little emphasis towards the upper midrange which occasionally resulted in a sharper tonality but this only occurred on certain tracks. In general the midrange was very well-tuned. The modern tonalities in Elizabeth Maconchy’s “Proud Thames” overture played by the LPO displayed excellent timbre and the differentiation of the brass and woodwind sections was well handled with good integration and thus preserving the musicality of the piece.TrebleThe treble was clean and well-extended, which was, I feel, due to sharing the upper register between the DWEK units with a single 30095 driver which, I would guess, has a higher crossover frequency than in former designs like the ZS10 Pro. This resulted in a very clean reproduction with few of the harsher or peaky artefacts seen in earlier KZ models (excepting the ZS7). The 30095 unit would appear to have been well-tuned here. Richard Burmer’s “The Forgotten Season” from the album “On the Third Extreme” possessed a clean, smooth tonality in the treble with excellent separation and detail, having a kind of “etched” quality. This also manifested itself in Matthew Clifford’s “Accumulus”, a kind of synthesiser multi-tracked symphony from 1989. Incisive flute-like synth patches soared above the bass accompaniment in superb style. The high string melody in Britten’s first “Sea Interlude” played by Andre Previn and the LSO was clearly depicted. Set against the scurrying woodwind figurations and supported by deep bass drum, it retained its detail well and stood out clearly from the accompaniment.SoundstageThe soundstage of the ZSX was one of its best features. In fact it possessed the most impressive spread I have heard in an IEM. Width, depth and height were all of high quality, enabling the production and the character of the recording venue to be appreciated fully. This airy soundstage endowed the ZSX with an open, relaxed presentation and well-recorded pieces displayed an impressive sense of space. Vangelis’s “Theme from Antarctica” was a perfect example. Synthesised bass, drums, lead voices and percussion effects assailed the ears from all directions, all contained within a huge, cavernous acoustic. Classical music also benefited from this with accurate imaging and positioning of instruments within the ambience of the concert hall clearly defined. The second movement of Britten’s “Sinfonia da Requiem” was very impressive in this regard, with the brutal percussion scoring impressively powerful and precisely placed within the stereo image.ConclusionThe ZSX impressed in all areas. With new components, including a revised dynamic driver and DWEK dual BAs, KZ have really “nailed it” with this model. Powerful yet controlled in the bass, clean and articulate in the midrange and smooth and detailed in the treble, added to this was a wonderfully expansive soundstage. All of this came together to produce an impressively musical IEM which combines the impact and entertainment of the ZS7 with the detail and resolution of an all-BA design like the CCA C16 or A10.Released at the same time as the CCA C12, it is tempting to compare the two. These two IEMs share the same components but in a different shell design and internal configuration. Traditionally, KZ IEMs have been “V-shaped” whereas CCA models have been tuned with a more neutral signature. This is also the case here.The ZSX has a gentle V profile but does not suffer from bass bleed, nor is the midrange notably recessed. There is a slightly emphasised bass region and a mildly raised upper midrange and treble but this did not produce an unbalanced presentation. The soundstage is very large and the tonality somewhat warmer than neutral. As a result, the ZSX displays a very musical character. In fact, “character” is a quality with which the ZSX imbues each track and the overall tonality more resembles a full-range DD design rather than a hybrid.The CCA C12 on the other hand, sounds clean, clear and detailed in the manner of an all-BA IEM. The overall effect is like adding a DD to the existing A10. The tonality is brighter than the ZSX which gives the impression of more detail, though when examined closely, the ZSX does not lack any resolution in this area.The similarities between these two, I feel, are closer than the differences, which is unsurprising given that the same units are employed in both models. It is more a nuance than an obvious contrast, but the differences, though subtle, are there and may influence a choice between them according to taste. However that may be, it is undeniable that the ZSX is the finest IEM to date from KZ and can be heartily recommended.

Luckily these don't require a good amp to sound as great as they do. I just use mine as I have it.These are wonderful IEMs. Best sounding earphones I have used for under £100. Main reason convincing me to these were the audiophile reviews, and they all referred to this price. So cheap and for that quality! I previously owned RHA MA 650s. They were bulky, strong cable and sound quality reasonably good, but flat and not so detailed. Now with the KZ ZSX that quality bumped up in all fronts and for even half the price. The serial is close, if not better than my bigger headphones in some aspects, I use sennheiser hd 598s!Only draw back is the kids which are hard to beat on bigger headphones. But detail, bass and low sounds are much better and clearer in kz zsx. It is mostly due to their unique architecture, the separate tweeters and dynamic driver doing the job of separating everything nicely.The cable is a little thin but still good quality for these, It has a nice feel and bends well. It's detachable so you can replace it with a new or better one, and problem solved. Still fits in better for this price.Only fault I found is the shape of the ear may not always match the earphone, it has this little part sticking out in the plastic form that holds in you ear lightly. It fits mine but heard it doesn't work for everyone. Also these aren't meant to be pushed into your ear too hard, it's the same for most earphones, just push them into the canal lightly until they feel firmly in place and leave it at that. Pushing too hard can cause some irritation over long periods of listening. If you push the plastic against the outside of you ear too much. Just rely on the cable to hold them in your ear too and push them in lightly, not until you force them into your ear and push against your canal etc. Just some advice for those who may not know it.Definitely a good buy!

These were the 3rd set of IEMs from KZ I brought. I got ZSN Pros and ZS10 Pros but both of those had a very bizzare problem, the right side dynamic driver blew.I used the cable supplied with the earphones and used a different device for each set.The ZSX sound alot better then the other 2 sets mentioned above, but after just 3-4 hours of listening to music and playing osu!, the right dynamic driver blew again!I think this is not an issue with the earphones, more of an issue with my ears. I can hear bluetooth, maybe this has a part to play in all 7 sets of earphones (3 IEMs, 2 Apple branded earphones, 2 overear headphones) I've owned that had THE SAME PROBLEM.Knowing this, I got a refund for these and brought a pair of KB EAR KB10s, earphones that don't have a dynamic driver.If you have hearing as sensitive as mine, don't stick magnets in your ears!

My first venture into the I.E.M. minefield. Watched loads of reviews on different budget offerings (£50 isn't really cheap for most people though) and plumped for these. Things to note, make sure your earbuds fit so you get the best sound, it really does make a difference.Also the cable, while functional and does the job it doesn't really come off as premium so to complete the look you really need to splash a bit more cash on an upgrade. I went for a tripowin C8 which is a bit more then I wanted to spend but once it arrived I felt it was worth it (absolutely no difference in sound just better build/look and feel and you know you deserve it).On to sound. Very detailed but I don't find them a wide soundstage, bass is good and not over exagerated.When it comes to the highs, on some mixes these can be very bright so may need eq'ing back slightly.I listen to mainly trance/dubstep and find them excellent. I've also tried a myriad of other genres from classical film scores to balads and they are handled well.All in all a good purchase! Cheers!

Use now for 3/5 months in live band as IEMs. Most comfortable ones I’ve had and with some eq tweaks on desk guitar sounds good. Would recommend (and have!).

Diante da propaganda dos comentários deste produto, esperava que entregasse melhor qualidade sonora. O produto foi super avaliado pelo fabricante e tenho outro produto de linha tida como inferior, com custo bem mais baixo, que entrega qualidade sonora quase 100% igual a este.

Excellent IEM, le son est pur et précis pour le prix vous ne trouverez pas mieux !

Très surpris de la qualité de ces in-ears qui ont immédiatement remplacé les miens d’une marque très connue (spécialisée dans les micros chant) et qui sont 3 fois plus chers… Du coup j’ai acheté 2 autres paires de ces in-ears KZ. Je recommande, c’est un excellent rapport qualité prix

I am not a hoarder but I do like using a good IEM. I bought the first of these many years ago, and use often with my phone. But then due to one reason or another, sometime there was a discount on a new color, sometime it was just getting a backup, whatever, I now have all three variants of this with me.Sound-wise: I have never heard anything better! I am definitely not an audiophile, but I almost can't justify listening to some types of audio using anything else! There are sounds that I can hear and feel better (if at all!) with these ones than any other of my headphones or earphones (which, granted, are not very audiophile-grade anyway, and I don't have many other anyways). Some purely spoken stuff do sound a little harsh to my years some times though. But the Bass is fantastic!Convenience: well, probably not as convenient to use day-to-day or during any heavy activities, considering that these are not wireless. But then you are forced to use them only deliberately, and damn are these enjoyable when you put the effort into it. I even chose to splurge on a FiiO BTR-5 because I happened to value the sound that came from these ... and did not need much additional convenience (because the FiiO is big and heavy, not to say, an extra thing you have to carry on yourself, and doesn't have that strong of a Bluetooth reception).Comfort: these fit my ears pretty well, but I still can't wear them for more than 2 hours straight, at least not deliberately. Being in-ear type, my ears' entrances start to hurt (slightly). Any sweat just ruins the experience. Most importantly, these things are heavy! Or at least heavier than I believe I like (I have not tried any other IEMs since getting the first one of these). But maybe that's a built-in reminder for you to limit the time you spend lost in the sounds these make! One more thing... I do very much like the over-/around-ear looping thing you have to do to wear these, but I have found (to my horror) that some people do not like that at all!Price: these are not cheap (most of the time), especially if you would have to buy extra hardware to be able to use them (headphone jacks are becoming rarer and rarer). But these are a complete steal if you can use them, because I am sure that these will ruin your favorite sounds for the better. Maybe start with the baby-KZ stuff, that's how I started! Those will already make you cry out of joy if you've never heard you favorite sounds through good IEMs before, and then these big-boy-KZ will make you cry even harder after that.

Sono un musicista e li sto usando live.Ho un ascolto molto fedele al tipo di musica che eseguo in live band (Rock/Pop/Jazz).Ottima risposta di frequenze, forse un po’ troppo nelle frequenze basse, esattamente da 45hz a 74hz, ma per chi come me utilizza un mixer digitale diventa un problema facilmente risolvibile.Ottima la pressione sonora, molto potenti, generalmente con in-ear di marca professionale nell’ambito musicale, uso un volume pari a 3/4, adesso poco meno della metà.Molto comode, forse un po’ troppe perché a volte dimentichi di averle indossate rischiando di sfrangiare il cavo alzandoti dalla propria postazione. 😜Li consiglio al 100% oltre a musicisti anche ai DJ.