The KZ ZS5 was indeed a very popular product from KZ (knowledge zenith), which is a brand different from many other brands that are providing consumers with affordable and excellent IEMs for good sound quality. Among the models offered, the ZS5 became a much-talked-about gadgets for audiophiles and casual listeners alike because of its pretty attractive shape, multiple drivers, and value-for-money proposition. Most important is the frequency response of the IEM since it has a major influence on the overall sound signature and the way to experience the same at the time of listening.
In this review, we would discuss how the KZ ZS5 responds to frequency as we dissect its bass, midrange, and high-end performance. The hybrid driver configuration will also be taken into consideration on how it shapes the sound, along with comparisons to other IEMs under the same budget class, and lastly with regards to variations on the response frequencies related to different music genres.
1. Understanding Frequency Response
Before going into the details of the frequency response of KZ ZS5, one should know what these words, “frequency response”, mean in audio devices. They stand for how the diodes reproduce sounds-from the lowest bass to the highest treble- at different frequencies within the audio context. The range of frequencies true for human ears is 20 Hz (the lowest bass) to 20,000 Hz (20 kHz, the highest treble).
An IEM’s frequency response curve shows how much certain frequencies are considered ‘louder’ compared with others in this spectrum. A flat frequency response entails that all frequencies would be reproduced at the same volume level, creating a neutral sound; however, such is likely not the case with most IEMs, which have peaks and dips within their frequency response, causing variations in sound signatures — some emphasizing bass, others emphasizing treble, and so on.
2. For the Driver Configuration of the KZ ZS5
A hybrid configuration is what KZ ZS5 offers as an earphone feature at its price point. This particular earphone has a total of four drivers in every ear, of which two are dynamic drivers while the other two are balanced armature drivers (BA). This is a mixture of dynamic and BA drivers that is expected to enable a more extended response in frequency; the low frequencies are captured by dynamic drivers, while the other frequencies are handled by BA drivers in mid and high ranges.
This means smaller distortion at high volumes while providing sound output more detailed and accurate across the whole frequency spectrum. But how does this work in real-time listening? Let’s discuss this.
3. Bass Response (20 Hz – 250 Hz)
A. Sub-Bass (20 Hz – 60 Hz)
The sub-bass region essentially incorporates the lowest frequencies of bass – the frequencies that are usually felt instead of heard. In this range, the KZ ZS5 lights up, but not to a point where it becomes overbearing. The dual dynamic drivers have the capability of reaching such low frequencies with authority, providing a rumble that treasures bass in genres such as EDM, hip-hop, and electronic music.
Bassheads would like the weighting in this region, though the sub-bass is quite well controlled. While low frequencies are slightly boosted, they do not have that muddy overpowering sound that some IEMs tend to produce when over-bassing. However, the ZS5 can’t match those high-end models when it comes to delivering the tightest sub-bass response: precision and detail are of the utmost importance.
B. Mid-Bass (60 Hz – 250 Hz)
All that being said, the mid-bass sometimes bleeds over into the lower midrange, which might slightly inhibit the clarity of vocals and other instruments in certain tracks. Not a deal-breaker entirely, but it laughs at the notion of the KZ ZS5 being the most neutral IEM when it comes to bass. This tuning would find favor with those preferring their aural experience to be on the “V-shaped” side that augments both bass and treble in relation to mids, though audiophiles could find the mid-bass just a tad heavy.
4. Midrange Reactions (250 Hz – 4 kHz)
A. Lower Mids (250 Hz – 1 kHz)
The lower midrange is all-important towards giving life and verity to male vocals, guitars, and all sorts of instruments that fall within this frequency band. These lower mids of the KZ ZS5 are retained slightly recessed, such as generally all KZ IEMs show a V-shaped sound signature. So, at times lower male vocals might sound distant and some instruments like acoustic guitars and some pianos might lack full-bodied warmth that other IEMs with a much more neutral tuning make available.
This is not to state that the middle range of ZS5 is at fault; it’s just clear that the bass and treble does more of the work. Those who enjoy listening to bass along with the heights will probably enjoy this recess in midrange as it gives an idea of space and separation. But it might not be the right choice for those preferring the clear definition of midrange and vocals.
B. Upper Mids (1 kHz – 4 kHz)
Upper Midrange is the region where resides female vocals, phenomena on higher-pitch instruments, and the presence region of the sound. The KZ ZS5 does fairly okay in this area as it has a certain peak around 2 kHz to 3 kHz. Therefore, one experiences a little excess presence and clarity by these vocals and certain instruments like violins and lead guitars compared to the lower mids.
However, this upper-mid peak is not as ostentatious or exaggerated as in certain other models from KZ, which saves the ZS5 from the too-sharp harshness or sibilance that may afflict such an IEM. This, of course, is the among positive frequencies of this ZS5 for the listeners whose moderate listening does not tend toward ear fatigue.
5. Treble Response (4 kHz – 20 kHz)
A. Lower Treble (4 kHz – 8 kHz)
The lower treble region goes in for creating that sparkle and definition within the sound, and KZ ZS5 presents a little added bump in the delivery of this area. Cymbals, hi-hats, and other high-frequency percussion instruments come through with good clarity, giving tracks a sense of brightness and airiness. This has helped balance-out the relatively bass-heavy tuning, ensuring that the ZS5 doesn’t sound too dark or muddy.
Some users might find the treble a little too much, especially when played back at high volumes. And while the ZS5 goes into descriptions of harshness and piercing highs found in some other budget IEMs, just having a bit of that edge might be a little tiring for sensitive treble listeners.
B. Upper treble: 8 kHz – 20 kHz.
It is here in the upper treble region that KZ ZS 5 shone, because the upper treble component contributes to that sense of air and openness in a soundstage. So, the ZS5, as far as soundstage is concerned, really managed to pull an impressive space for an IEM in this budget, courtesy of the included balanced armature drivers handling the higher frequencies. The exceptionally long extension into the upper treble offers a level detail and separation that leaves other contenders at a similar price significantly behind.
It’s slightly bright on occasion as well, though not quite as offended with tiredness as most over-the-top busy treble tuned IEMS: it might not however qualify for all listeners who want a warmer and rather laid version of the sound signature.
6. Soundstage and Imaging
The sound stage of KZ ZS5 is above average for an in-ear monitor due largely to hybrid driver configuration and emphasis on treble. The ZS5 creates a sense of space that is not quite like many budget IEMs, in that it seems to place the listener within it rather than outside and filling the entire soundstage with an impression of distance from the ears.
Imaging-the property that allows instruments and voices to be placed in their proper location in the sound stage, is also okay altogether. It does not match the costs incurred by much more high-end multi-driver IEMs or over-ear headphones, but when separating different elements in the mix-say the vocal and instruments-it is pretty good.
The ZS5 is, therefore, quite a good option for genres such as classical, jazz, acoustic, and other similar genres, where soundstage and imaging contribute greatly to an all-immersive listening experience.
7. Comparative Study: KZ ZS5 versus Rivals
While seeing how the frequency response of the KZ ZS5 stacks up with others of its ilk at a price level, one can note certain prominent differences.
A. KZ ZS5 versus KZ ZS6
The KZ ZS6 is often seen as a replacement for the ZS5, though it shares a similar hybrid driver configuration. However, the ZS6 has much more aggressive treble tuning, which some may find too harsh; the ZS5 has a smoother, more relaxed treble that makes it better for anyone who prefers a less fatiguing signature.
In terms of bass, both models are very similar in their sub-bass and mid-bass emphasis, but in general, the ZS6 would have slightly more controlled bass, whereas the ZS5 during mid-bass can be somewhat bloated.
B. KZ ZS5 versus Tin T2
The Tin T2 is another favorite IEM within this price segment, much like the KZ ZS5, but fundamentally different in terms of sound signature. V-shaped, with a boosted bass and treble, the KZ ZS5 presents a dramatic contrast to the Tin T2, which is renowned for a more neutral, balanced sound. The Tin T2 has a much more flat frequency response, thus making it compatible with the listener who prefers accurate and detail-rich sound not favoring any frequency.
The Tin T2 is much less bass-heavy than the KZ ZS5. It has much tighter and more controlled bass, but doesn’t offer the punch or sub-bass rumble to match the ZS5. Therefore, bass heads tend to be drawn more towards the pleasure of the KZ ZS5, while the devotee of clarity and precision would be more inclined towards the Tin T2.
During the midrange, the Tin T2 produces tonally forward and detailed mids, especially in vocal sounds. According to the Tin T2, both gender’s vocals come out much more naturally and present compared to the KZ ZS5’s recessed mids. The Tin T2 seems the better option to choose among vocals dominant genres like jazz, folk, and classical.
Treble-wise, the Tin T2 offers an even-smoother and laid-back treble in comparison to the bright and energetic KZ ZS5 treble. While the ZS5’s treble enthralls and sparkles, it often tests the patience for some listeners. The Tin T2 carries more refined treble, so the listener would not experience listening fatigue, thus making it a better-friendly option for long listening periods.
C. KZ ZS5 against the BLON BL-03.
The BLON BL-03 is another budget IEM that is well-accepted. It has a much warmer and smoother response as much as it can be compared to the KZ ZS5. Compared to KZ’s ZS5, the mid-focust tuning by the BLON BL-03 is less pronounced in that it tends to have a V-shape. Therefore, the sound is more cohesive with smoother transitions toward bass, mids, and treble.
At the low end, the level of mid-bass punch ties up with the BLON BL-03, but it tends to be slightly more natural and textured. While the BL-03’s bass is not booming, it is far more controlled than the KZ ZS5 making it a much better option for those who want the bass response to be refined and not overly bloat-affected as it is often with the ZS5.
Well, the midrange is where this BLON BL-03 shines. And definitely, they would sound much more alive and closer, compared to the ZS5’s more recessed mids, in terms of vocals and instrument sounds. The BL-03 gives a more balanced and natural playback specifically for acoustic, classical, and vocal music genres.
While BL-03 treble is softer compared to ZS5, it presents a smoother graceful high aspect. Even if ZS5 treble furnished more sparkle and details, BL03 treble became less fatiguing and made inadequate recordings less punishing; hence, the overall sound signature of the BLON BL-03 is for more relaxed and laid-back listening pretenses than the aggressive V-shaped tuning in which the KZ ZS5 is made.
8: Best Use Cases for KZ ZS5
Clearly, the KZ ZS5 carries a unique shape in the mixture of sound signatures suitable for certain genres of music, while these genres are significantly enhanced by its bass and treble scales. This makes them well-suited for use in music forms heavy on dynamic energetic soundscapes, like the following:
Electronic Music: The booming sub-bass and punchy mid-bass combination of the ZS5 fits well into EDM, house, and dubstep. Deep bass response is needed to drive home the sound and impact into electronic tracks while the treble adds excitement to high-frequency synths and effects.
Rock and Metal: ZS5 brings energy and drive to rock and metal, which produce aggressiveness and heaviness with heavy distorted guitars, drums, and vocals. Mid-bass punch contributes weight to guitar riffs and kick drums and the elevated treble adds clarity to cymbals and high-pitched vocals.
Hip-Hop and R&B: The sub-bass gives rumbling lower-end sounds for trap beats, while the mid-bass reinforces damage to rhythmic elements in most hip-hop and R&B songs. Therefore, the ZS5’s bass response is a striking feature that makes it an option in the bass-heavy hip-hop, as well as in R&B tracks packed with bass response.
Nevertheless, the KZ ZS5 is probably not going to be everyone’s musical panacea. Its recessive midrange quality takes away that suitable ear touch for vocal-centric genres like jazz, folk, and classical, which always call for a more approaching and detailed midrange. In addition, some listeners who would prefer a sound signature that is more neutral or balanced may view the exaggerated coloration of the V-shaped tuning of the ZS5 as too excessive for their tastes.
9. Customization and Equalization
One merit of IEMs such as the KZ ZS5 is that you can customize the sound by equalization (EQ). Having altered the frequency response by EQ to either enhance or flatten out some parts of that ZS5 signature sound, you now have a different listening experience.
Enhancing the Mids: Booster Boosting the 500 Hz to 2 kHz spectrum for people bothered by lower midrange brings vocals and midrange instruments forward in the mix. This is a method of providing a more balanced sound in those genres that are so-called vocally and acoustic dominated.
Soothing the Treble: If the treble has crossed the boundary of aggressiveness and developed into persistent fatigue, try to cut down from about 6 kHz to 10 kHz, and it has a very nice tendency to smooth out the upper frequencies, leaving you with a more easy-going kind of listening experience. For especially sensitive listeners to treble, or those who like to enjoy music at higher gains.
Tampering with Bass: If the bass is too booming or overwhelming, slight turning down of the 60 Hz to 250 Hz range could help tighten bass response while avoiding bleed into the midrange. Such an act can produce a somewhat cleaner and controlled low-end response, especially over genres that need a lot of precision and clarity.
That is why KZ ZS5 is a great IEM when it is paired with different EQ settings; listeners can tweak settings according to their preferences for more generic sound profiles and for optimizing versatility to suit different musical types.
10. Conclusion: Will KZ ZS5 Be the One To Buy?
The KZ ZS5 is a solid dog among budget IEMs and boasts a hybrid driver-plus-V-shaped sound signature at an affordable price. Strong bass, buffed treble, and good soundstage make it a great sonic tool for dynamic, up-front listening heavy in bass and treble.
The ZS5 has got cons too. Its recessed midrange and slightly bouncy bass may not excite sound texture lovers interested in a more neutral or balanced sound. Moreover, its treble could be on the aggressive side for some, particularly when cranked up with more volume. Overall, however, it’s a value-for-money offering, and this one is a heavyweight in the budget IEM segment.
For people who love to listen to some bassy stuff like electronic, rock, or hip-hop tracks, this IEM will suit them perfectly because it’s going to give the attention to the sound from with bass and treble, while those who prefer a more balanced-mixed sound should check out the Tin T2 or BLON BL-03 in the same price range, which can probably serve better to their needs. In a nutshell, the KZ ZS5 is very versatile to a lot of people in frequency response, but most of the luster is in genres where bass and treble keep the show going.