CCA Phoenix VS KZ ZS12 PRO 2

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The KZ ZS12 Pro 2 comes across as a well-put-together hybrid set with solid build quality and comfort. The shell feels durable, has a flat back that isolates well, and the metal nozzle paired with the KZ QDC-style connector gives it a more distinctive look, even if it limits easy cable rolling. Stock cable and tips are serviceable but unremarkable, and the option of a ~$30 upgrade cable makes sense here for those wanting a more complete package.

Sonically, this is a strongly V-shaped IEM with a lot of bass and a significant amount of upper-mid and treble energy, pushing it firmly into the more energetic and bright category. There is good clarity and detail, and the set can sound open, exciting, and engaging, with vocals coming through clean and forward on the right tracks. At the same time, the rising 3–6 kHz region and elevated upper treble can make some material come across as sharp or fatiguing, with drums and high-frequency hits occasionally turning fizzly or sizzly, especially on already bright or bass-heavy mixes.

In terms of positioning, the ZS12 Pro 2 offers a unique tonality that will appeal most to treble heads and listeners bored of safer, flatter tunings. Compared with alternatives like KZ’s own Zenith or Dwanic, or sets like Softears Volume and various NF Audio models, this KZ feels more “on the edge” – fun and dynamic, but not as rounded or relaxed. At around $45–$60, it’s a compelling option for those who actively want extra upper energy and a sharp V-profile, while more sensitive listeners or those preferring a smoother balance may be better served by flatter, less aggressive competitors or by applying EQ to tame the top end.

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CCA Phoenix marks a fresh start under ND Audio with a polished metal shell, normal 2-pin socket, improved accessories, and a budget LCP single dynamic driver. On the graph it rides above the Harman target from the upper mids through treble, which reads bright at higher volume; low-volume listening is more agreeable. The driver quality is the story: fast, controlled, and unusually clean for the price, and with a touch of EQ it shows notably better clarity and composure.

Bass is a tilted profile with less sub-bass and a modest mid-bass lift, giving a tight, bouncy punch that suits pop, EDM, and hip-hop. The leaner shelf reveals the mids with good separation and minimal bloom, while the treble extends strongly but is too energetic in the 3–7 k region, flattening stage at louder levels. Trim the 3–20 k region by about 2 dB and staging gains dimension and imaging snaps into place. As a sub-30 USD set for tinkerers, Phoenix is a standout driver held back by hot tuning out of the box.

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KZ ZS12 Pro X takes the ZS10 Pro 2 shell and turns it into a flat black all metal build that feels very solid and a bit weighty, adding a fifth balanced armature in the nozzle on top of the super linear dynamic driver and four corner armatures. The fit and nozzle dimensions are essentially the same, but the extra driver and brighter tuning push this version into a more analytical, detail focused direction while only costing roughly ten dollars more. The adjustable switch system still allows a generous bass shelf, so the overall signature leans v shaped with fun low end and elevated treble energy.

The bass keeps that fast, punchy KZ character, with the switches letting listeners move from more explosive, fun low end to a leaner presentation that clears space for footsteps and cues, making the set very attractive for gaming. Where it diverges most from ZS10 Pro 2 is in the mids and treble: the ZS12 Pro X sounds sharper, more resolving and more dynamic, with stronger macro and microdynamics and clearer separation, but it sacrifices some of the cohesion and natural timbre that made the older hybrid feel more relaxed and coherent. Vocals and instruments sit between a heavy bass floor and a more assertive upper range, and the balanced armature in the nozzle carries more treble energy out into the upper registers for extra detail and extension at lower listening levels.

That extra treble and nozzle driver also bring clear trade offs. At moderate volume the upper range slope keeps things exciting and spacious, with plenty of resolution and a stage that feels larger and more open than the softer tuned ZS10 Pro 2. Push the volume up and the upper range can become too intense and saturated, the stage begins to flatten, and imaging and balance suffer, making this a more volume limited, treble forward hybrid that will not suit treble sensitive or high volume listeners. For those who prefer a bright, analytical hybrid with strong detail retrieval, adjustable bass and a rugged metal shell, the ZS12 Pro X comes across as a fun, resolving option, while fans of smoother timbre and effortless volume scaling will likely remain happier with the more relaxed ZS10 Pro 2.