YinyooKZ ZS10 Pro IEM Five Driver 4 Balanced Armature and 1Dynamic Drivers Headphones, High Fidelity in Ear Earbuds with 2pin Earphone Replacement Cable (Glare Gold, No mic)

Firstly I am a drummer, been involved in bands and music for over 40yrs so I think I am well placed to judge this product. I switched to IEMs around 10 years ago and haven't looked back since. I have tried numerous products both expensive and cheap so I have been trying to find some mid-priced ones to try. It didn't seem to matter if I spent £30 or £250 they lasted around the same time. I.E. 2 years or so with regular weekly gigging and rehearsals in between (some really cheap ones just over year or so) so I've been trying to find a set that have the sound quality I need but won't break the bank if I have to replace them every couple of years. Well, I got a recommendation from a you tube channel who tested IEMs in 3 different price bands and they recommended these. So I thought I'd give them a try. I am not disappointed. They sound fantastic and not "just for the money". They are truly of professional quality and their performance far exceeds their price. They have 2 drivers in each ear piece but each ear piece has 5 frequency filters or "crossovers" as we call them in the trade, which separates the sound so you get crystal clear clarity in each of those frequency bands. I am so impressed I have just ordered a second set just in case the price goes up. I would put these on a par with higher priced Westones which I have used some years ago but are around 6 times the price. Yes they were better but not by as much as the price suggests. Time will tell of course as to how long these will last but so far I have used them several times in rehearsals and at home practising and also at a couple of gigs and they are performing superbly. I am able to have the volume up quite a bit louder compared to my old IEMs without any break up or distortion of sound. They came with 8 sets of buds and I was able to find a pair that fitted snugly. Very important when setting up your IEMs. Fit is key, People complain that there isn't enough "bottom end" or the high frequencies are missing .... well, the actual fit is most important. If they work their way out just a little bit then you will lose the "seal" and that tonal quality and hence complain about them. Having them fitted right in with the ear canal fully open results in outstanding sound quality across the full sound spectrum from deep bass to top highs. They are lovely. Get the fit right and you wont regret it because it will be time well spent. They seem to be made of decent materials, have a nice weight to them and the cables also seem very well made. In most of my experiences, its the cable that tends to break down or the actual connections on the IEMs themselves. They have removeable cables which is a must these days and if I have just one complaint, and it is relatively minor, then I would like the cable to be at least half as long again just to make sure that the cable is tucked down safely and snugly under my clothes to my micro amp on my belt area but I can use an extension cable for this. The cable will reach down to your waste quite comfortably but its when you have to "route" it around your body where it falls short. For reference, these are plenty loud enough for on-stage use. As stated, I have a decent micro amp and I have also used them connected directly to my Samsung S20FE phone with a short usb-c to 3.5mm female adaptor lead and they are superb for this as well. In summing up, I am really pleased with these and in my own experience and for the uses I need them for then I can highly recommend them.UPDATEThe second pair that arrived sadly had one faulty ear piece. I bought a blue set for a change as my first set were black, not that this should make any difference but it is what it is. It did not put me off getting a 2nd pair. I was refunded quickly and I sourced another pair seeing as the first set were so good.2nd UPDATEReplacement pair arrived, of exactly the same colour and type as my first pair and work perfectly. I said it before, these are superb quality. The 2nd pair that I ordered that were faulty but didn't put me off at all. Things happen from time to time and whilst it can sometime be frustrating, the refund was hassle free and very quick. All is still good with my first pair which I have so far had somewhere around 100 plus hrs of usage with no problems and they actually sound quite a bit better now that they have had a chance to "burn in" as we say in the trade. Great find.

The ZS10 Pro is one of the latest models in a new series of IEMs from KZ (Knowledge Zenith) featuring metal faceplates, revised drive units and a new type of connector. It is an update to the original ZS10 and like the earlier model, is a five-driver hybrid (1DD + 4BA). The dynamic driver is a new 10mm dual magnet design which is claimed to be equivalent to a 14-15mm unit. It is the same as that used in the new KZ ZSN Pro and the CCA CA4 and has a field strength of 1 Tesla. Two 50060 balanced armatures cover the midrange frequencies and two of the familiar 30095 units are employed for the treble region. The BAs are revised versions of the originals. This configuration is similar to that in the original ZS10 and the CCA C10, but with updated drivers.The packaging is the usual KZ small white box with an outline drawing of the IEMs on the front and some specifications printed on the back. Inside, the earphones are presented in a cut-out with the words “10 Units Hybrid Technology Earphone” printed below. Under this cut-out you will find the detachable cable, a set of three Starline-type tips and documentation. A further set of soft silicone tips is pre-fitted on the IEMs.The ZS10 Pro has a polished stainless steel faceplate which has three screws and three indented chevrons on its surface and is very well made. The shape is similar to that of the CCA C10 and ZSN Pro and the body of the earphone is made of a clear acrylic through which the components can be seen. The words “10 Hybrid Technology” appear on the edge of the earpieces. My particular example came in the purple option which contrasted well with the polished metal faceplates. The words “stunning hifi configuration” are printed on the side of the shells. The overall apperance is really cool.The detachable cable is the new design, initially adopted on the above-mentioned ZSN. 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 just plug into the protruding sockets on the IEMs. The cable itself is the usual KZ type 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. It would be nice to see an improvement in this area. The plug is a right-angled plastic 3.5mm TRS type.The earphones were left burning in for over 50 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 for evaluation.The ZS10 Pro was tested using the pre-fitted tips and a 16 core silver plated cable which provided improved comfort. Used like this, the seal and isolation were above average. The fit was very comfortable, allowing me to forget that I had earphones in my ears! I experienced a good volume level on various devices, including a Sony NWZ-A15, the above-menioned Hifi Walker H2 and a Moto G3 smartphone. However, I found the sound balance preferable when run through the DAP via line out with a headphone amplifier.The ZSN10 Pro displayed a V-shaped response, in traditional KZ style. In this respect the sound resembled that of the earlier ZS7 model with strong but not too dominant bass. The lower mids were slightly recessed but remained articulate, and the treble was bright and largely free of peaks or other artefacts. The sub-bass showed good extension and texture and the mid bass had plenty of impact but did bleed a little into the mids. The midrange itself was clean, clear and well-detailed with a wide but not so deep soundstage. The treble was brighter that of the ZS7 with good extension and plenty of detail and sparkle. The 50060 and 30095 BAs have been tuned with a bright tonality and certainly produce a more preferable sound to the original ZS10 and the CCA C10, which use the same drivers. The overall effect was dynamic and lively and quite forward. To be more specific:BassThe bass resembled that of the KZS7 but had more of a mid-bass, rather than a sub-bass emphasis. It sounded tight and immediate. The new double magnetic driver seems to be particularly well implemented here and improves upon the CCA CA4 and KZ ZSN Pro, which use the same unit. The bass drum and timpani in “Castilla”, the first movement of the “Suite Espanola” by Albeniz, had superb impact and life, with a very natural timbre. This created a perfect foundation for the fast-paced rhythm of the piece. The deep bass accompaniment in Jonn Serrie’s “Flow of Time’s Arrow” from his album “Thousand Star” took the same role, creating a solid foundation for the synth patches and sparkly electronic effects floating over the top in impressive fashion. The bass section in “The Cello’s Song” by Kostia and David Arkenstone had good timbre and presence. The natural tone of the cello and the string accompaniment completed a very satisfying performance.MidsThere was some bass bleed from the strong mid-bass which tended to make the lower mids somewhat recessed and gave a little extra warmth, but due to the gradual rise into the treble region, a fairly balanced picture emerged. There was plenty of detail on offer here and the clean nature of the presentation allowed all the different layers to be heard clearly. The spacious soundstage was another notable feature, which came to the fore in Vangelis’s “Celestial Whispers” from his “Rosetta” album. The stately melody progressed attractively, accompanied by clear percussive elements, all set within an attractive acoustic. The wide soundstage also showed its merits in the first movement of Roy Harris’s Symphony No.6, performed by the Pacific Symphony Orchestra conducted by Keith Clark. The orchestra was spread beautifully across the stereo image and the tonality of the various instruments was depicted very well. However, in more energetic pieces, the perspective tended to flatten and the higher frequencies tended to dominate. Very occasionally there were some more strident elements.TrebleThe treble continued where the mids left off with a bright, energetic presentation. The sharp and immediate nature of the upper frequencies was very effective in Mark Dwane’s “Planetary Rulers” from his album “Astrology”. Mark is a master of the MIDI guitar and his recordings are of audiophile quality. Percussion strikes were fast and incisive with good detail and guitars displayed impressive attack. This kind of material was perfect for the ZS10 Pro, which revelled in the complex arrangement. The bright string sonorities of Rossini’s “String Sonata No.1” performed by the Orchestra of the Enlightenment were clean and crisp and possessed an attractive timbre with the rhythmic qualities of the piece being preserved very well. As with the midrange, sometimes a harsher tonality emerged but this only occurred infrequently.SoundstageAs mentioned above, the soundstage displayed good width and height, but a less well-delineated depth. The stereo presentation was very good, especially the left to right spread which helped with effects which moved around the image. A good example of this was in “Time” from Pink Floyd’s seminal “Dark Side of the Moon”. The tuned tom-toms danced around the image very effectively. All the elements of Alan Parsons’s excellent production could be heard clearly with good separation. It was only in more complex and energetic passages that the image condensed a little and there was a flattening of perspective. In general though, the ZS10 put in a good performance here.ConclusionThe ZS10 Pro is the third IEM from KZ and CCA featuring a dynamic driver coupled with two 50060 BAs and two 30095 BAs. The CCA C10 has a more balanced, safe tuning with a gently rolled-off treble, a warm but well-textured bass and a clear more neutral midrange. The original ZS10 was a true V-shaped IEM with powerful bass which occasionally became dominant, a recessed midrange which sometimes displayed an odd tonality, and a bright treble in traditional KZ style with the tendency to display peaks. The ZS10 Pro addresses these issues and has a punchy mid-bass, and a clean upper register with few artefacts, resulting in a more balanced sound which is entertaining as well. It is quite full-on, however, grabbing you by the lapels, and sometimes forgetting to let go! This “full throttle” approach was occasionally fatiguing on more lively material.It is tempting to compare the ZS10 Pro with KZ’s earlier ZS7 model. It has a different driver configuration, employing a 10mm DD coupled with a 29689 mid range BA, a 31005 mid/high BA and two 30095 treble units. The ZS7 has a superb sub-bass region and a flatter mid-bass with no bleed. The midrange is more subdued but still displays great detail. The treble is gentler but still shows sparkle and life. It also has a more three-dimensional soundstage, due to the vented earpieces. The two earphones offer a real alternative in the “fun” tuning category. Both have their merits and advocates. For a lively brighter sound with a mid-bass emphasis, the ZS10 Pro is for you. If you prefer a sub-bass presentation and an overall “darker” sound, then choose the ZS7.

I've been looking for reasonably priced IEMs for bass playing, at home practice and stage use.The problem is not so much the audio quality as the physical fit.They must be comfortable to wear for several hours, fit well enough to block outside sounds and allow me to hear my bass playing.These are the third pair I've tried and they are, finally, working for me.The stock medium silicon tips are a great fit and the slightly heavy bass response works, allowing me to hear myself.At under £50 they are a sixth the price of the AT-E70s tried previously.Highly recommended for bassist IEM use.

Use these as in ear monitors (IEM’s) when I play with my rock n roll band. Great fit and they stay on - despite me having tiny ears that most earplugs and headphones fall out of! The rubber tips come in loads of different sizes. Went with these blue ones to match my guitar. They’ve transformed my gig set up and means I can look after my ears better whilst still rocking out. Big recommend! Most of my band use this brand now! Happy playing!

hidden gem,good sounding iem worth every penny, only stock ear tips are awful need be replaced or not used at all

Fantastic cheaper option for live shows.I know a few function bands that use these as well as I do. Great sound quality but feel really uncomfortable after a couple of hours of playing live.