Sound impressions and Photos of the LZ A4


The LZ A4 presents a simple yet well done filter tuning system. It consists of 3 bass filters for the dynamic driver placed at the rear/outer part of the shells, and 6 nozzle for the dual BA driver at the front/inner part for midrange and mostly treble tuning. While the frontal filters are needed as a nozzle, the bass port can be used without a rear filter as an extra tuning option. The main effect of different combinations of front and back filters is on the quantity of lows and highs, with some changes on the midrange region, but in terms of quality and extension the sound remains mostly unchanged. It’s difficult to describe the overall signature of the A4 as it can go from a bassy (a bit heavy-bass) and smooth sound, v-shaped, neutral and even slightly bright and lean and more open sound.


Regardless the rear bass filter the bass extension on the A4 is great. It gets deep to the lower sub-bass regions and also effortlessly, with strong impact and very good rumble quality and layering. Mid-bass is well controlled articulate and accurate with good speed that matches well the fast BA counterpart. With blue and even black filters, the mid and upper bass has enough weight that still presents the sound from overshadowing the midrange; with red filters it can get a bit overboard, however some tip rolling helps in this regard. Overall, it’s a well presented bass that works well with all genres and doesn’t distract from the rest of the music. Personally, I found the Blue filters to give the best balance, and even though I’d prefer the no-filter setup for a cleanest bass quality.



Despite the change in sound with the different filters combination, the midrange remains pretty much the same in terms of tonality, quality and texture, and probably the best part to be found on the LZ A4. While forwardness or recession can be changed deepening on the filter combo, the mids remain well balance with the rest of the frequencies. Quality is great giving enough weight for any kind of instruments or vocals with a fairly natural texture and almost free of grain or sibilance. Timbre is good, however not the best part of the A4, which is not unexpected for a triple hybrid IEM with this dual DTEC Knowles BA. The A4 can still be set up for a more mid-forward sound signature with the right filter combination, but might lose the more open and wide presentation. Whichever way, the A4 doesn’t compromise with any kind of music.


Even with the red filters, the highs extension is very good and gets much better when getting to blue ones. Overall it mixes very well a smooth texture with good layering and rich details, getting above average level of resolution which is almost free of harshness or sibilance. With the treble filters, the dual BA drivers on the A4 are capable of bringing either a laid-back smooth treble, a bit hot treble or simply a bright yet well controlled treble at the user preference, without leaving the rich and musical presentation.

Stage and Presentation

Soundstage width and depth are great, without sounding unnatural, and height is above average for an IEM at this price point. Airiness and 3D effect are very good as well, just behind the DN-2000 (which I still consider an excellent hybrid in-ear). Imaging suffers a bit from the wider soundstage but positioning is still very coherent; the DN-2002 is still the best in this regard, but for the half price the A4 holds its ground really well. Even on more complex tracks are not an issue for the LZ and the handles very well the coherence between both types of drivers.
On a last note, I got to try the A4 in balanced mode from the Aune M1s 2.5mm output, and things are taken to an even higher level.