![]() ![]() Other than the gold faceplate and different color cable, it offers nothing that wasn’t in the previous generation. The ZSN Pro X is a cosmetic upgrade to the original ZSN pro, but is otherwise unchanged. ![]() Layering is good but not spectacular again as well. Instrument separation is good and again on par with what we saw from the original Pro model. It takes some listening and the right tracks to really nail down the stage size so don’t be surprised if initial impressions don’t reflect this. It is track dependent but when fed good source material, it can be 3D and well proportioned. Soundstage on the Pro X retains the quality of the Zsn pro, which was quite good. ![]() Sibilance will present itself when the recordings tend that way, but not otherwise. Fatigue shouldn’t be an issue unless the listener is more treble sensitive than average. The treble extension is enough to give the Pro X a bit of air at the top but sparkle is limited at best. Treble detail is good and timbre of snare is acceptable but cymbals can get a bit metallic and clicky at times. ![]() Treble matches the mid-bass in quantity and gives the Pro X a deep V shape as a result. Upper mids do climb forward and give female vocals a more forward push, but here again, not distinguishably different than the Zsn Pro. Here again A/B testing shows the same pattern established by the Zsn Pro and while I would have loved to see mids recessed a bit less, I can’t say they are any different than on the previous generation. A/B compares with the Zsn Pro show these two as twins.Īs we move from mid-bass into lower-mids, the emphasis is removed and as we move into the true mids the move back even further. Mid-bass is pushed forward and is still a bit loose at times with some bleed into the mids providing a bit of warmth in an overall bright signature. Speed is not perceptibly different from the previous generation as attack is still slightly faster than decay leaving a bit of lingering weight and warmth. Sub-bass depth and quantity is quite good on the Zsn Pro X with roll-off only becoming perceptible below 45Hz. My notes are based on the provided large tips as I know not everyone will have access to the Shure tips but for those who do, I recommend a swap. The good news is EQ and tips do a lot for mitigating that if you should wish to do so. I found that I liked what Shure large Olives did for the sound of the Zsn Pro as by default it is a little too mid-bass forward for my tastes. My sample does not have the mic, but that option exists for those who prefer one. The other end of the cable sports pre-formed earhooks with clear hooded bi-pin connectors. The Jack is the standard 3.5mm TRS 90º connector standard on all KZ cables these days. (If anyone at KZ is listening, please, please, please move the splitter up!). This makes the cable entirely more tangle prone than it should be and would be easily cured by moving the splitter about 8 inches further up the cable toward the earpieces. The splitter is still way too low to be practical and no chin slider is present. It is well made with a 4 strand braid below the splitter and twisted pair above it. The cable is the standard KZ too although it is now silver plated and in a clear housing rather than the standard brown. I found the Zsn Pro really did not scale particularly well and the Pro X is no different so those using a phone or tablet are probably getting the same experience as those using a dedicated DAP or AMP. Sensitivity is still the same at 112dB/mW making the ZsN Pro X fairly easy to to drive from smartphones or tablets. The ZsN Pro X uses the same 2nd generation 10mm titanium coated diaphragm dynamic driver and customized 30095 balanced armature as the ZSN Pro, but curiously now lists the impedance as 25Ω rather than the 24Ω of the ZSN Pro. ![]()
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