KZ AS10 Pro Review
Intro
The set I am reviewing today is another from the audio brand KZ Audio named the KZ AS10 Pro. The AS10 Pro is somewhat of a successor to a set which was one of KZ’s more famous offerings, appropriately named the KZ AS10. Having said that, the AS10 “OG” is six years old and so the newer AS10 Pro feels much more like a new and fresh thing which is simply tagged with the AS10 moniker rather than a refresh of an old but completely gold set, nostalgically speaking.
All-BA
Many moons ago I actually owned the OG AS10 which I almost had forgotten about as so many sets come and go and sometimes it’s hard to keep track. Especially a set that’s roughly six years old now. However, I didn’t forget how awesome the OG was for me at the time. The OG AS10 was my first look into an all-BA iem. Five per side to be exact. I loved it. I just liked the idea of multiple balanced armature drivers. Of course, back in the day I wasn’t as clued into what good sound was at the time. Shoot, I don’t know how “clued-in” I am now. At any rate, I will always love DD’s (first love style), but I’d heard dynamic drivers as long as I’ve been into audio. I enjoyed that this other driver tech could pump out such a dynamic sound, such beefy bass, such extended highs. Quick, tight, taught-decay, snappy, punchy and just… different. All these years later I still feel the same way. I love all balanced armature sets.
Impressive
Now, KZ/CCA has been doing some impressive things with their recent releases. I’m sure anyone reading is privy to how well tuned some of their recent iems have been. I’m talking about the KZ AS24 (AS24 Review), CCA Trio (Trio Review), CCA Hydro (Hydro Review), and the KZ Vader (Vader Review) to name a few. I could keep going but the point remains, KZ/CCA are once again putting price to performance ahead of all other priorities and tuning iems that truly contend within their respective price points. Each one of the sets listed above is one I could get lost listening to. Considering all of that, I find myself wondering what KZ was going for with the AS10 Pro. You don’t just recall a set like that and not do something special with its tuning. Fortunately for KZ, they have many of these legend type sets which they can add new versions of with just a “pro”, “plus”, etc. slapped onto the name. I’m okay with that. I’m also ready to review this set, the AS10 Pro…
Non-Affiliated Purchasing links:
Disclaimer:
I received the KZ AS10 Pro from KZ Audio as a review sample and in exchange I will conduct a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. This set is a review sample iem. KZ Audio has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own, though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to KZ Audio and thanks for reading.
AS10 Pro Pros
-Build is always pretty nice
-I think the design is nice, simple
-KZ is using nice sounding BA drivers
-Big, agile, full bass region
-Emphasized treble, detail, extended
-Very well detailed for the price
-Soundstage is above average
-Separation
AS10 Pro Cons
-KZ’s large style shells will not fit everyone’s ears
-Bass may be too much for some
-Treble is emphasized a lot, probably too much for most listeners
-Timbre, slightly unnatural, metallic
Gear used for testing
–iBasso DX240 with Amp8 MK2
Packaging / Accessories
Unboxing
Once again, KZ provides a pretty utilitarian style unboxing with the AS10 Pro. Nothing that would blow anyone’s mind. You get the usual small box with some specs on it. Open the box and you’ll see the AS10 Pro staring back at you. Under the AS10 Pro is the cable and the eartips. That’s about it. Folks this is a $60 set and while there are brands which add in a lot of goodies into the packaging, KZ is good with just providing the essential ingredients. No case, same cable as all of their sets, same tips. To be honest, I wouldn’t expect anything more at this price. Especially if it is apparent that they are putting the cost into the actual earphones while keeping the price down. I’d much rather have that. Of course, this also usually means I’m cable swapping and tip-rolling. No issue though.
Eartips
KZ provides the same tips as they always have. You get one pair of medium sized foam eartips. They are the slow-rise foam, nice if you enjoy foam tips. I definitely do not like foam tips. KZ also provides three pairs of KZ Starlines black silicone tips. If you’ve seen any of my reviews, then you probably know that I do think very highly of the Starlines and when you need them, they will be a huge benefit to have in your collection. However, I did not like the Starlines with the AS10 Pro. I instead opted for the Dunu S&S tips. Due to the heavy bass presence, I noticed that the wide bore of the S&S tips and deeper insertion really helped to dial in the AS10 Pro. At least as much as I was able without using EQ or any other modifications. So, the Starlines are valuable tips to have and work great but not so much for the AS10 Pro, my opinion of course.
Cable
I won’t spend very long on this because you are getting the same cable as KZ hands out with every set in their arsenal. No matter the price or the style of set. What you get is the same opaque/white QDC style 2-pin cable terminating with a right angle 3.5 single ended jack. This cable is an SPC (silver-plated copper) and actually isn’t a bad cable at all. It works folks. We speak pretty badly about the cable choice that KZ sends out but, in all reality, it isn’t bad at all. This cable may also be purchased with a mic attached for phone calls and for calling on your personal assistant. The mic also allows you to play/pause, skip tracks, answer and hang up phone calls. I never get the mic version and so I have zero idea how your voice comes through the mic.
What’d I use
Of course, for me personally, I have quite a few balanced sources and to use those sources I did have to swap cables. I have a ton of the TRN Redchain modular cables and they are perfect for these KZ sets. Actually, I have a Redchain on most of my KZ sets. This one is no different. I can quickly swap to 3.5 single ended if I want but I stuck with the 4.4 adapter for the entirety of this review. Again, the included cable isn’t bad, it sounds fine, isn’t really microphonic and it does the job. So, if all you have is enough to purchase the AS10 Pro and nothing more, you’ll be more than fine simply using the cable provided.
Build / Design / Internals / Fit
Build Quality
Now we get to the build, the structure of the AS10 Pro. Folks, one thing KZ always gets right is build quality. You can see the housing is absolutely huge on this set. This is actually the exact same build shape and size of their other larger style sets. Those being the CCA Rhapsody, KZ AS24, CCA Hydro, KZ ZAT, etc. Of course, the number of drivers (five) held within the housing requires a bigger shell. Anyways, the shell itself is a resin material, clear and easy to see inside. The faceplates are made if what I assume is aluminum and is brought to a nice polish. If you look inside of the housing, you can see what KZ refers to as a “structural bracket” which basically holds the balanced armature drivers in place. The nozzle is a hair longer than medium in length as the AS10 Pro can reach pretty deep in the ear. The nozzle width is about 6mm, which is pretty normal. All things considered the build is nice.
Design
As far as the design is concerned. The AS10 Pro is very much like the design language of the Vader, Trio, and the Hydro. I think a couple others in KZ/CCA’s lineup feature this style design too. I’m talking about the mirror polish faceplates with the name elegantly written on them. It’s a classy look, even if we’ve seen it a few times now. I have to look at it from the viewpoint of a person who doesn’t have them sent to them and doesn’t have them all. It has a nice appearance. Nothing extravagant or world changing, but nice, nonetheless. The AS10 Pro does have the transparent body which gives you a look into the inner workings of the shell a bit. I also notice a metal mesh piece on the faceplate that looks like a vent, however I don’t think it is anything other than ornamental. Again, this is a big set, mirror polish, and small, elegant writing which makes it nice to look at. Certainly not ugly. Not in my opinion anyways.
Internals
Like we’ve gathered thus far, the AS10 Pro is a Five driver all balanced armatures set. Each of these drivers has been majorly improved over the years in my opinion. Anyways the AS10 Pro is featuring KZ’s 22955 balanced armature driver controlling the lows. They went with their 29689 BA covering the midrange. The treble or “highs” are covered by their 30019 BA, while their high to ultra-high BA is the 31736 drivers. KZ also uses an electronic crossover to separate the frequencies. I’m sure that most of you could care fewer what drivers are used but, for those who do… there ya go.
Fit / Isolation
The fit is very good for me. Of course, all of the KZ/CCA sets that are in this shape and size fit me like a glove. I usually try to use one size smaller than I usually use and do a little deep insertion. It really does fit me well. Then again, most iems fit me pretty well. I suppose I just have that type of ear. Of course, I have zero idea how this set fits you. I guess you could say that if the AS24, Rhapsody, ZAT or Hydro fits you, or not, then this set will be the same. Isolation is pretty good too. As far as iems go anyways.
Drivability / Pairings
The KZ AS10 Pro is rated with an impedance of 26 ohms and a sensitivity of 109 db’s which translates to a pretty darn sensitive iem. For instance, I had zero trouble using the KZ AZ20 Bluetooth adapters with the AS10 Pro. I had a few clicks of headroom and if any of you know, the AZ20 is not the most powerful set of adapters and are mainly used for more sensitive sets. I don’t feel you need some massive amount of power for the AS10 Pro to all of a sudden blossom and sound much better. In all honesty, I feel all you really should need is a decent dongle dac.
Mobile Listening
I used many different source devices during critical listening, and I was happiest with neutral/warm sources. The IFi Go Blu was a nice compliment to this set. However, any source with that classic ESS dac sound was not a huge help in the upper frequency for me. I really liked some of the Cirrus Logic CS43131 chipset sources like the Go Blu, the Moondrop Dawn 4.4, or even the Hidizs S8 Pro Robin. Or the CS43198 chipset sources like the Simgot Dew4x, EPZ TP50, etc. Also, many AK devices seemed to react well. I did not like the Qudelix 5k for whatever reason (which is rare), or the Fiio KA3, even to a lesser extent the Hidizs S9 Pro & S9 Pro Plus as there is some BA timbre up top which seems to be exaggerated to a degree. However, these are only my opinions, and you may thoroughly enjoy these devices paired with the AS10 Pro. My favorite dongle dac out of my collection paired with the AS10 Pro was the Simgot Dew4x. They just hit the sweet spot for me and brought the AS10 Pro to the best place sonically. The EPZ TP50 and the Aful SnowyNight were also very nice performers even though those two are closer to neutral whereas the Dew4x leans a touch warmer, just a shade. So, take that for what you will. We are all very much different in how we perceive our music, but I can only tell you, my thoughts.
Daps
Out of my daps and larger power source devices I really enjoyed the velvet sound of the M6 Ultra paired with the AS10 Pro and did the greatest portion of my listening with this dap. It carries a velvet AK4493SEQ flagship chipset and really does offer a smoother portrayal of my music. The brightness of the AS10 Pro’s treble region was soaked up a bit by that velvet sound of the M6 Ultra. I didn’t enjoy the iBasso DX240 as much (another rarity). Just a hint too metallic at times. The Q15 from Fiio also did quite well and was a nice device to listen to.
What do you need?
Like I said, a decent Dongle Dac. This set doesn’t require some huge amount of amperage to bring it to its glory. I would probably advise against colder sources but that’s just my opinion. I’m sure even with a smartphone the AS10 Pro could sound decent as well. However, neutral to neutral/warm seems about right with this one.
Sound Impressions
The KZ AS10 sounds like a highly V-shaped iem with a boosted bass region and a boosted treble. Coming across with a slight warmth down low while sounding brighter as you work your way up the frequency. I feel the AS10 Pro carries a smoother midrange, slightly thick note weight with a pretty obvious spill over into the mids from the bass. To be totally honest, this is more of a nod to former tunings from KZ if you ask me. You have some pretty bright treble that does come across a bit more tinselly and tizzy at times. Hence why I enjoyed less treble focused sources. The sound does carry some crispness and fine lined detail with a hi-res type of style. Not a bad sounding set per se, and in my opinion it is a definite upgrade from the former AS10. But there are sets in the price range which fit my preferences a bit better. Still, if you are into V-shaped all balanced armature sets with emphasized lows and resolute highs with decent extension into the upper treble, this may be the set for you. Obviously, there is much more to say about this one and I will try to cover it as best I can going forward.
Condensed Sound Between the 20’s
Beginning with the low-end, it hits pretty hard but is not in basshead territory. The bass digs pretty deep yet without the full haptic recognition that you’d get with a dynamic driver. Still pretty guttural. The bass has nice punch though with a tacky and hard impact along with tight transients for such an emphasis. Nice definition. The midrange sits a bit back as there is some recession happening. I don’t hear a ton of bass bleed, maybe just enough to add some warmth to the low-mids. So, the midrange is very clean and has decent note weight, certainly not lean. The mids are one part smoothened and another part crisp with a tight transient attack through decay. The upper mids are much more forward than the lower mids which gives them some certain sparkles and shimmer and can produce some shout at times as well as some metallic timbre but honestly, I don’t find it really bad. That said, the treble is overtly boosted. Some may say that you have yourself some forced resolution going on. I just call it V-shaped, well, heavily V-shaped. Yes, the treble is bright, but it’s also detailed, clean, well extended and with an open and airy quality. Perhaps a hint splashy along with some treble tizz (similar to bass mudd) up top. Detail retrieval is quite good so long as you aren’t jamming out to an ultra-bass heavy track. Resolution is great in the midrange and all things considered, the AS10 handles details nicely. Separation is very nice though imaging is about average to my ears. I find the soundstage to be good overall with good width, nice height, and some slight depth to the sound too.
Someone will like it
So, there is my condensed version of my thoughts, but I do cover the AS10 Pro in greater detail moving forward in the review. To be honest folks, if you really enjoy a V-shaped sound with slightly pronounced bass, hi resolution midrange yet slightly recessed as well as a bright, possibly fatiguing treble that adds some pointed and energetic sound to the mix then maybe the AS10 Pro is for you. Ya know, the graph is pretty intense and to be honest, for me, the AS10 Pro is certainly tolerable and doesn’t come across as intense as I think the graph would indicate. Perhaps a lot has to do with my source choices, but I don’t feel overly burdened by brightness. If that makes sense to you. It is a bit much, but I can deal with it just fine and always end up enjoying my listening time. Hence why I’m reviewing this set at all. Someone will like the AS10 Pro a lot and it’s for those folks that I’m featuring it. So, moving on.
Bass Region
Well friends, this is most certainly a balanced armature bass. Now there are some people who absolutely love this style of sound down low. I have to admit that on many sets I am actually partial to their BA bass. However, it’s generally true that you don’t get the same organic and haptic feel to the bass as you do with a dynamic driver and even some planars as well (to a much lesser degree). Though DD’s will always rule the roost as far as low-end kingship is concerned. Despite that, the AS10 Pro is not some weak and frail set in the low-end. In fact (a fact to me), I’d say the BA bass of the AS10 Pro is almost to the level of a decent DD. Now that I’ve said all of that there’s a few reasons why one would gravitate to the sound of a BA. For one, the transient attack, decay, and release is generally faster, perhaps less atmospheric, but they generally can handle quicker passages of bass and usually have that pointed impact to them. Hence why I do enjoy a good BA bass from time to time. The AS10 Pro is just that in this region. It’s pretty fast, full sounding, and pointed in its attack. This isn’t some wooly, plastic, pillowy or soft bass. Though the fullness and girth of each bass drop does smooth it over a hair at times based on what you are listening to. But all things considered, the AS10 Pro’s low-end has some good points about it.
Not basshead… got it…
I should note that this isn’t a basshead iem. Definitely it’s emphasized, definitely it is heavy enough. However, the bass also isn’t as deep and extended with vibratory goodness. This isn’t really an atmospheric style bass where harmonics linger to every note’s supposed completion. Some harmonics are cut a hair short (you may not even notice) and no you won’t feel that deep pitched growl as you would a DD with the same emphasis. But you do get a very agile, peppy, and boosted low-end with an almost ductile quality that can maneuver around most tracks with relative ease. But not basshead. I’d even venture to say it’s not even close to basshead. That moniker is reserved mostly for dynamic drivers in my opinion.
Sub-bass
It’s the sub-bass which draws the greatest distinction between driver types. I’d say the AS10 Pro can dig pretty deep and hit those lower notes to a degree, but it simply won’t have the oomph and rumble that satisfies so many people who are used to DD bass. Not saying it isn’t there either, it’s just not going to tickle your brain stem from shuddering and tremulous bass lines. Good for a BA though. What the sub-bass does do relatively well is keep a defined edge to it when a track calls for it. This sub-bass has definition and good macro details with evident texture to each note. Now, keep in mind that the emphasis does expand the presence of each note and so this isn’t some wiry and rapid-fire type bass either. It’s emphasized enough that it begins to intercede with the mid-bass on big bass tracks. However, good texture, good speed and nice separation for a bigger bass does come across very nicely in something like “Mancey” by Andrew Bird or the speed and recovery needed to really do nicely on a track like “Use Me Up” by Lake Street Dive. Not bad for a BA folks.
Mid-bass
The mid-bass carries some impact. Meaning, that forward and vibrant slam that sounds nice to the ear has a palpable and exclamation style note impact. Enough to sound great with a song like “Move Along” by The All-American Rejects. Those big and bulbous kick-drums carry the tacky edge and chasmic hollow boom which resonates nicely for a $60 BA. I like the fullness and meatiness of the mid-bass for a track like that. In fact, most kick drums sound nice. Again, maybe not as nice as some DD’s, but nicely textured and robust enough for my tastes. The mid-bass also doesn’t mask over other areas of the mix nearly as bad as some DD’s of the same emphasis can. The notes are shorter, tighter, less laggy decay, and this does add space at a macro level. I felt there was a touch of oomph missing in the track “2040” by Lil Baby and Lil Durk, but the AS10 Pro still has enough to not come across weak. Bass guitar also has that mid-bass fullness to add body to the sound much like the AS10 Pro was able to do in Alice in Chains “Nutshell (Unplugged)”. It gets dirty, gritty enough, tactile enough at the note edge but maybe missing a slight hint of depth. For my taste it sounds very good though.
Downsides to the Bass Region
As far as downsides to the low-end of the AS10 Pro. I would think that there is most certainly a huge swath of hobbyists who simply don’t get down with balanced armature bass. It’s just the truth. Many people really rely on that dynamic driver style bass which “can” provide that earthy drone and weighted vibratory judder that a balanced armature doesn’t seem to do as easily. Now, I don’t think that there’s a majority in this boat, but there’s a healthy amount of people who feel this way.
Too much?
Another downside is the fact that the bass may be too far emphasized on the AS10 Pro. Yes, most definitely there are those who would like a much more rapid-fire style clean-cut and better detailed bass that moves along at breakneck speeds and gets tripped up over nothing. Even tighter than the AS10 Pro. Still, the AS10 is quick… for its size. Yeah, it’s a BA bass and yes, it’s tight in its transients, but it’s also heavily emphasized. About 10-13 db’s of bass shelf depending on what graph you are looking at. That kind of emphasis simply expands a notes body, width, and space in the sound field, DD, BA, Planar, or whatever driver you are listening to. Of course, I’m talking about folks who really want that kempt and speedy bass which comes across more like little speed bumps rather than something more realistic and bodied. I could also say that the bass doesn’t really have that organic timbre, or the earthy decay. Some harmonics do cut off a hint early and maybe don’t complete a note in a perfectly life-like manner. However, for a BA bass the AS10 Pro sounds very good and I do feel it’s one of the best things about this set. If you’re into that.
Midrange
The mids are definitely V-shaped. I do hear a low-mid recession while the upper-mids coming across forward to my ears. Really the midrange is pretty clean and clear with a slight warm hue towards the bottom half and brighter and more strident towards the top. I’d say they are semi-lush as there is a hint of bass bleed over into the midrange but it’s very slight. Just enough to add some warmth and body to notes. To a degree anyways because the upper-mids veer more into the energetic side with plenty of shimmer cast from the treble region. I’d say the midrange is equal parts smooth and crisp. The AS10 Pro has nice cleanliness but never that completely plumb-level organic timbre. The upper mids shine through and skew that sound a bit towards the unnatural. It’s tough dealing with balanced Armatures at times, and while the drivers that KZ uses seem to be well developed and very nice, they are also pushed pretty hard in certain areas. Namely the treble and the bass regions which does affect the midrange quite a bit. So, on some tracks I get an almost organic warmth in tonal color and others I get a bit of metallic sheen and edginess.
Detailed mids
One thing which is very evident is the fact that the AS10 Pro is a very detailed listen with nice separation in the midrange. The only caveat is when I’m listening to some bass or treble heavy tracks which sometimes tend to mask over certain areas of the mix. Not to any detrimental degree but it’s obviously a by-product of this more aggressive V-shaped tuning. That said, each note in the midrange also has very nice texture and is highly resolute as well. So, it’s a give & take situation.
Lower-midrange
The lower midrange comes through a bit recessed. I wouldn’t say that it’s plainly obvious, but the low-mids are less energetic than other areas of the midrange and that is pretty apparent at times. That said, the low-mids also have decent note weight to them. I don’t hear anything thin, dry, or anemic either, as this is definitely not an analytical style tuning. There’s some meat to lower midrange notes which sounds pretty good for male vocalists and certain instruments as well. Males like Chris Stapleton in the track “Tennessee Whiskey” gives his voice that nice body but I noticed that the higher pitch inflections to his voice can come across a bit aggressive. Maybe a hair knife edged. I hear this a lot with his voice on different sets which is one reason why I use his voice for some test tracks. His voice runs the whole of the midrange at times and in this case that upper mid energy seems to have made its way through a bit. However, there is a nice underlying smoothness for all those other moments and great separation from the other instruments. So, the low-mids do tend to be less vibrant and less enthused sounding, but they do have some weight and timbre isn’t too out of whack for my tastes.
Upper-Midrange
The upper-midrange is well lifted and vibrant which is a result of a 15 to 17 dB pinna rise, and a lot of treble emphasis. You can hear the evident treble energy bleeding into the midrange quite a bit which does create a very high-resolution listening experience. In the same breath, the sound can also become a bit too strident and lustery for some folks. Some females tend to sound a bit metallic, sibilant, and too edgy at times with a touch of BA timbre. Though KZ did a nice job of skirting around that as best they could. So be aware of that. Especially higher pitch females and instruments which dabble in the upper portions of the midrange.
Upper-mids cont…
For instance, Caitlyn Smith in the track “High” is one where her voice builds from feathery soft in the main verse to ballad style in the chorus. This is another track I like to use simply for how versatile it is for a reviewer. The AS10 Pro really does fantastic in those less vivacious early main verse moments. However, when the chorus hits, her voice, as well as instrumentation starts to sound a bit more blurred with upper-mid & treble sheen. There’s a lot going on at once with this track’s chorus section and everything slightly sounds like a mishmash of upper midrange and treble glare. To an extent anyways. Just a hair too much for me, but I know many who love this type of energy. Now, strings have good bite and are full enough, piano is resounding enough, yet maybe a hair too processed sounding on some tracks (that’s up for debate), percussion has a very nice snap at attack with impactful energy. So, there’s many pluses to the sound, yet in the same sentence, there’s some subtle issues.
Downsides to the Midrange
The real issue in my mind for some people is going to be the rise in the upper midrange to lower treble, causing some fatigue. Along with fatigue it “can” give off a less natural sound. I have a few tracks which have this effect, but by-and-large the midrange comes across with good note weight, energetic and very well detailed with good resolution and instrument separation. For much of my music library I’m perfectly happy. Yes, the midrange timbre isn’t perfect, but it also isn’t a glaring problem either. Everything in this audio game is a give and take, a push and pull, and it shows up more easily on sets with more pronounced areas in their tuning. Of course, there are plenty of upsides to the AS10 Pro as well. Transients are very speedy, with clean cut note outlines, glass lined, and very agile. Separation of instruments and voices comes across great and the midrange has awesome texture to the sound as well.
Treble Region
The treble is exactly as I’ve stated throughout this review, it’s bright, it’s boosted, it’s noticeably brilliant against an otherwise warmer canvas. I think KZ was trying to offset the low-end a bit, which makes sense. However, in the process they added a bit more treble energy than some may like. Now, I am able to listen for quite some time simply due to the fact that I’m not very sensitive to treble glare. It honestly doesn’t bother me too much. Yet the treble is boosted and emphasized enough to likely be a problem for anyone even close to sensitive to it. Looking at the graph you’d think the treble would be unbearable, but for whatever reason it doesn’t come across as aggressive as the graph suggests. However, it is heavily boosted. Beyond that, the treble also is well extended into the upper treble and air regions adding a sense of openness to the AS10 Pro.
Not for everyone
People probably already know if this set is for them, and they’ve probably stopped reading by this point. That leaves us with V-shaped fans and those who love some heavily boosted treble. I’m trying really hard to get across just how lifted the treble is, while also trying to get across how skilled this region is as well. Some call it forced resolution which is basically boosting the upper regions in hopes to illuminate some of the finer details, create an airier and better separated sound as well as provide a bit more crispness. The AS10 Pro is all of those things. However, there are moments that the timbre is simply a bit too artificial and tinselly. It’s chimey and splashy at times too with moments of sibilance as well. This rise affects the entire frequency as it bleeds into the midrange creating some artificial upper mids to a degree. So, if you can bare this type of lift and are a treble head who loves a brighter treble and wants to dabble in an all-BA set, then I suppose keep reading.
Speedy
The upper regions (treble) of the KZ AS10 Pro have some very quick notes and can handle faster passages of music fairly easily. These BA’s are far from laggy folks. They are fairly rapid fire in their attack through release and they recover very quickly. For a $50 to $70 set. There’s also a good measure of crispness when needed up top as well. It may not have the perfect bite and treble punch and may come across a bit smoother across the treble, but there’s still some crispness and definition when needed. More complicated songs are handled well enough.
Examples
Tracks like “Ice Bridges” by Billy Strings highlight the AS10’s abilities. Each successive banjo note comes at blistering speeds and the AS10 Pro creates well rounded notes without breaking a sweat. Another is Lindsey Stirling in the song “Eye of the Untold Her”. Folks, the AS10 Pro takes this gorgeous and emotional track and nails every transient, every note is accounted for, and the best part is that the rest of the mix flows very nicely on this track. Every detail is displayed very well for a $50 to $70 iem. Perhaps the violin isn’t perfectly natural, but that determination comes from the ear of the beholder. Also, who cares. Does it sound good? Does this set spark the emotional response you want? I could add quite a few more songs which feature some good treble activity, and each are handled well enough by this set. The only real issue are songs with a lot of treble activity at once. I should say “more congested treble activity”. Those tracks can slightly mash together, and treble tizz or treble fuzz can come of it. That’s the technical way to say it anyways. Lol. I think I’ll combine the two and start calling it “treble-fizz”. Kinda has a ring to it.
Downsides to the Treble Region
Again, there are plenty of folks who love this type of sound and so trying to get what I hear across without alienating a whole fan base is not the easiest thing to do. If I’m being honest, this type of treble is not my favorite. A bit too artificial, too brilliant and too sibilant at times. It is an overly boosted treble region which will either be a quality you love, or a quality you don’t love. There is most definitely some sharpness as well as some splashiness in stuff like the secondary harmonics of a cymbal strike etc. Not in every track but it does show up in the more rambunctious and energetic songs. Just things to be aware of.
Technicalities
Soundstage
The AS10 Pro carries a good-sized stage. You have some pretty good extension both ways which does seem to create the psycho-acoustic illusion of space. At least that’s how I explain it to myself. At any rate, the stage has good width, good height and even some depth. I wouldn’t call it holographic, but I also wouldn’t call it anywhere close to congested. It’s a nice stage size. Obviously, these are in-ears and so you are hampered to a degree on how large that stage is ever going to come across to the listener. Still, for an in-ear it’s what I’d call above average.
Separation / Imaging
Separation of elements within the stage are very well laid out on this set. Transients seem to decay quickly, the note weight isn’t too heavy, the sound has good transparency, it’s not veiled or overcast, and the sound is well detailed and resolute. I feel all of these attributes help to create a feeling of space between instruments. Imaging is about average to me, and average is good. Let’s put it this way, it definitely isn’t bad. Left to right has decent positioning and separation and there’s even a slight bit of depth to my music adding some layering. Of course, so much will depend on your music and the track you are listening to and to a slightly lesser degree your source will make a difference in how the sound comes across.
Detail Retrieval
One thing that is very nice is the detail retrieval of the AS10 Pro. It has well delineated and clean notes that are well defined and textured which helps in perceiving some of the subtleties within my music. There are some caveats that I’ve noticed. For one, any really heavy bass tracks may or may not mask some of those finer details. It really all depends on the song and how it was recorded. Also, tracks with a ton of treble activity can come across a bit blurred causing the same issues. These are not the norm however as the great majority of the time the AS10 Pro does a very nice job of displaying details. Especially for a $50 to $70 set.
Is it worth the asking price?
Ugh, the dreaded question that I don’t ever like answering. I suppose I can go a couple of ways with this. I’ll just say right now that this isn’t my favorite tuning, and I probably wouldn’t fork over the money for this set. However, that’s me and my particular taste. Also, I enjoy this set for a lot of my music, but it is just a hint too lifted up top for my taste. Now I feel the bass is great for an all-balanced armature set, and the midrange isn’t bad either but a touch artificial on some more energetic tracks. To be honest, outside of those energetic tracks the timbre really isn’t bad at all. All that said, there are plenty of folks who greatly enjoy this brighter type of treble, boosted bass, hi-res sound and perhaps those folks don’t own an all BA iem and would like to dabble in a set like this. Or if you are new to the hobby and want to try an all-BA set, this would be a perfect starter iem to get your feet wet with. For those people the AS10 Pro is worth every penny. Thankfully you can own the AS10 Pro for only $50 to $68 depending on where you get it.
The Why…
Because the AS10 Pro is built very well for a lower cost budget set and has five balanced armature drivers squeezed inside of it. This is a great set to try out this type of driver tech for the 1st time. The AS10 is a fun sounding and very energetic listen with big and weighted bass that has some very satisfying impact with plenty of punch. You even get some tight rumbles down low which really do add a nice dimension to music. This is a wholly detailed iem yet doesn’t skimp on note weight as it is relatively lush, all the while the AS10 Pro is highly resolute too. The upper-mids through treble add some luminance and brilliant energy that feels open and airy without creating a dry sound. It’s actually quite nice. Transients are quick to decay and the AS10 Pro can take on most any track you throw at it.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the KZ AS10 Pro ratings below, that would be $40-$70 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5-6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $40-$70 US is a huge sized scope of iems, and it’s also pretty competitive, so it should mean something pretty special to see a rating above a “9.0”. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings will be unique to that review. Basically, I create a Rating that makes sense to me.
Aesthetic
–Build Quality: 9.0 Built well, KZ style.
–Look: 8.7 Very nice and simple design.
–Fit/Comfort: 8.5 Fit and comfort is great for me.
–Accessories: 6.0 KZ isn’t known for their accessories
–Overall: 8.0 🔥🔥
Sound Rating
–Timbre: 7.5 Slightly artificial but decent for an all BA.
–Bass: 9.0 Emphasized, authoritative, clean, defined.
–Midrange: 7.8 Very clean, good note weight.
–Treble: 8.5 Resolute, extended, highly detailed.
–Technicalities: 9.7 Technically great, better than most.
–Musicality: 8.4 Has its moments of nice musicality.
–Overall: 8.5 🔥🔥🔥
Ratings Summary:
Looking at the ratings above, I don’t think there’s much to talk about here folks. I rated the KZ AS10 Pro against a mountain, or an ocean of iems. I went with any set of any driver configuration between the amount of $40 and $70 US. That’s a boatload folks! I could list out all of them that I considered while conducting this rating and I would make this review much longer, and more boring. Nevertheless, I have a boatload in hand to actively compare. Usually this involves laying them in front of me and picking an aspect of sound that matches each rating and I quickly listen. So, take these ratings as less than a grain of salt. I rate because I have to. Not because I want to or because I think it’s helpful. Still, it’s fun going through this process. I enjoy going through my collection finding sets to compare against. Having said that, I also haven’t heard everything at this price point. So, once more… grains of salt. Okay, enough needless info, moving on.
Explain Yourself!
The first rating which will be a problem is always the rating which is a problem and that’s the bass. I get actual DMs from some of you about certain ratings. Granted, they are usually kind and even constructive, but I still get them, which is wild. Anyways, I gave the bass a super high rating of “9.0”. Now, picture every set between $40 and $70. This is how highly I value the bass on the AS10 Pro. Getting anything around a “9.0” should be difficult with this vast selection of sets within this price range. It’s difficult to rate things because then the question of “what criteria are these sets being evaluated?” and “are you rating for quality of bass or quantity of bass, or both?”. Hence, the “Explain Yourself” section. I like the bass. Plain and simple. No, it doesn’t shudder my eyeballs but it’s tight and controlled with good texture and definition for its quantity. I like it. But I won’t argue with anyone about it. If you disagree… you’re correct. I honestly don’t feel there are many other issues with the ratings above but feel free to constructively message me, I’m always happy to read your thoughts.
Conclusion
To conclude my full written review of the KZ AS10 Pro, I need to thank the people over at KZ Audio. Say what you will about KZ folks. I can promise you this, it isn’t anything they haven’t heard before. Oh, and guess what, they are still doing their thing and crafting sets at a torrid pace. They’ve had every label thrown at them, looked at with a microscope, publicly questioned, the whole nine yards, and they still keep moving right along. I like KZ because they don’t stop dealing with me over a less than stellar review. Never once have they pushed me to review in a positive light. Nor have they ever asked me to change a thing or stop working with me. Granted, many of their sets are positive. However, this review was not gloriously positive. If you’ve read it, then you know. KZ takes it on the chin and tries to get better. Look at the AS10 Pro, they tried something different. This is a vast difference to the KZ AS24 (another all-BA set). They tried something slightly different in their tuning and in this case didn’t perfectly jive with me. But guess what, we are all very much different and I can promise you that this sound will be adored by plenty of people.
Thank you
I also want to thank anyone willing to read one of my reviews. They are long and sometimes there are some major editing errors, misspellings, and they are longer than they probably have to be. I am flawed, my friends. At any rate, thank you. It means more than you know. I put a lot of effort and thought into these reviews and whether you are or disagree, they are my actual subjective thoughts and I really hope those thoughts resonate with you and help you in a purchasing decision. Anyways, thanks again for clicking the link. Mobileaudiophile.com thanks you too.
Other perspectives
Okay, now that you’ve read this review, please go and click the link on another review. I cannot tell you how vastly different we can be between reviewers as there can be a giant chasm between one review to the next. I mean, there will be reviews that I am polar opposite to. Completely different. Also, there are so many knowledgeable people in this hobby who can also help you. Please check out other thoughts. There is no hobby like this guys and gals. It will help you tremendously to get it right, simply by checking out other perspectives. I hope each and every one of you is doing well. Stay as safe as you can and always… God Bless!
