Kiwi Ears KE4 ($199): A first for me, but hopefully not a last.
Pros:
Smooth “meta” signature
Good bass
Excellent mids
Treble rolled to my liking
Long listening sessions
Cons:
Bass bleeds into lower mids, which may not be for all. Plus, that can hinder the very good mids
No 4.4mm bal cable/jack
Shells are fingerprint-prone
Kiwi Ears KE4 ($199):A first for me, but hopefully not a last.
4.3 stars.
KE4
Intro:
This is the first model from Kiwi Ears that I have heard. Many have waxed about previous models, and I did come to appreciate what the company brought to the market with this model. I also realize some of the company’s past iterations can be polarizing. This unit will be judged on its merits, alone. The unit is mine to keep as I see fit, but may be asked back for at any time. This unit will not be flipped after reviewing, as that is still really, REALLY uncool to do.
I thank Kiwiears for the opportunity to review the KE4 and look forward to more options in the future.
Specs:
Drivers: 2 Balanced Armatures, 2 Dynamic Drivers, 1 Knowles RAD-33518, 1 Customized RAB-32257
Driver Details: 1 Uitra-High Frequency Driver, 1 Mid-High Frequency Driver, 2 Low Frequency Drivers
Crossover: 3-Way Crossover Network
Sensitivity: 102dB (±1dB)
Impedance: 28 ohms
In The Box:
Kiwi Ears KE4
3.5mm se cable
Case
3x silicon tips
2x Nozzle filters
Gear Used/Compared:
Shanling MG100 ($159)
QoA Aviation ($199)
LetShuoer Cadenza 4 ($249)
HiBy R4
MBP/HiBy FD5
Music used:
Yes.
Unboxing:
The KE4 comes in a small, mostly square box with the venerable slide-off paperboard sleeve. With the IEM on the front, measurements on the side, and other information on the back, it is par for the course.
Taking the sleeve off and lifting the lid, you are presented with a protective foam/paperboard cradle housing the IEMs. Underneath, the case carries the cable, tips, and nozzle filters.
There is nothing special about it, but I like the efficiency of the packaging.
Design/Tech details:
The bass is handled by dual dynamic drivers, while the midrange and lower treble use a customized RAB-32257 balanced armature driver. A Knowles RAD-33518 balanced armature driver carries the upper treble region, rounding out the four drivers per side.
A 3-way crossover network ties the drivers together, which also operate via three independent sound tubes.
The larger black shells carry a silver faceplate on the back, along with a nib on the inside. There is also a grated vent hole for the dual dynamic drivers, which you could theoretically apply to the nozzle filters. Since four are included, you could vary the amount of bass by covering the vent hole, nozzle, or both.
Some say the fit is exceptional. I found it a tad big for my ears, and the nib to be a bit big. I would have preferred a smaller nib, which I believe could have countered the larger size, and pressure I felt when wearing for long sessions.
The 2-pin connection is tight, and one must take care when connecting the cables, but once done, microphonics are non-existent, and isolation was excellent using the included medium tips. I found no driver flex upon inserting either, as some have noted in their reviews.
The molded resin shells, combined with the flexible, pliable cable, make for an understated IEM, that could bely what follows.
Sound Impressions:
Listening impressions were made on the HiBy R4 and MBP/HiBy FD5 combinations, along with the Cayin N6ii, A01 motherboard.
Summary:
Some have labeled the KE4 as open with a more neutral signature, while others mention a smoother, bass-oriented signature. Tip choice plays a part in this, but the signature is not neutral to me other than the fairly smooth sound graphs that many produce. I find the good bass bleeds into the lower mids, which can either enhance or hinder your experience whether you like that or not. To me, the mids are the star, and this hinders slightly, but the bass quality is such that it can also be a positive.
Timbre:
As mentioned above, many find the sound neutral, with a smooth character that promotes a bit of warmth. I do find there is some warmth to the signature, but the bass overrides the neutral character to me. The dual dynamic driver allows the low end to shine with a good thump. The midbass is full and robust, mimicking the “Harmon target,” which, in this case, I like. The bulbous feel to it allows that thump to drive the foundation without promoting too much into the lower midrange.
The tight control of that bass in a speedy attack and decay allows the lower mids to shine. I find this to be the best part of the signature, as others have mentioned (there are many parts in which we agree). Vocal treatment is especially good here, as are acoustic guitar sounds in this range. Again, the word control comes to mind, which may seem a bit antithetical to the warmer signature. At least in my mind.
The natural character of the whole midrange is one of the best I have heard of late, and never did I tire of listening at multiple volume levels. That warmth in the upper midrange may not be to everyone’s liking, but for me, it hits all of the sweet spots in warmth, and a lack of intrusion upon my listening enjoyment.
The 3-6 kHz region is elevated, and some will not like this hit, but to me, it promotes the movement into the lower treble regions without becoming gritty or too obtuse. That said, female vocals in this region can come off slightly harsh, but I make it a point to listen to the whole signature without focusing on any seemingly short temperamental discrepancies. Some will like that fuller note of female vocals and the weight that grit provides. I am one of those who do.
There is a push in the upper treble, which mimics the push down low, making for a more U-shaped signature than a tighter V-shaped one. This leads to the smoother, more laidback character of the overall signature to me.
A term thrown around, which I was not previously aware of, is “new meta” in IEM tuning, which adds to the midrange tuning, moving slightly away from the typical Harman Target. What I find here is that the midrange is sumptuous to me, while the “more typical” high and low tuning affords a coherent overall signature. I am a fan of not using the Harman Target as a choice, especially since I prefer a warmer signature. And in that regard, the KE4 matches my preferences.
Staging & Dynamics:
With a smoother signature IEM, you run the risk of not having clearly defined layers, which can hinder transient response across the spectrum. The KE4 does suffer in that regard, but I find the melding of those layers as complimentary to each other as opposed to separating. Since the character, to me, is slightly smoother, it is natural to have less differentiation in the layers, presenting a more thoroughly mixed signature than defined layers.
This hurts in defining the exact placing of instruments, but again, I look at the overall signature as opposed to the individual parts. If a more analytically accurate signature is what you want, then you should probably look elsewhere. The KE4 is about musicality across the three dimensions, and it does so with aplomb.
Griffin Silver in his excellent review of the KE4 for Headphones.com mentioned this regarding soundstage: “Now, spaciousness or “soundstage” are very subjective qualities. Even if we hear the tone fairly similarly between us, we’re not guaranteed to unpack the same features the exact same way. For example, instead of perceiving a difference between tonal regions as “distance,” I could very well see a listener perceiving this kind of tone as just “claustrophobic due to excess lower midrange, or a deficit in the upper midrange.” That said, KE4 struck me as one of the more spacious IEMs I’ve tried, so if you’re the kind of listener that cares about that, KE4 might end up being a good choice for that.”
I have to agree with this assessment and understand the necessity of quantifying soundstage for listeners. We hear things differently, and perceive “distances” of stage differently, too. As such, I agree that the KE4 presents itself as
Pairings:
The KE4 paired easily with everything I tried, from my MBP to the HiBy R4 and FD5 (tethered to my MBP). It also worked well with my older Cayin N6ii.
I never felt a lack of power using any sources, and the sound coming through matched my observations above. I also wouldn’t say there was a single favorite of mine, which means it scales quite well across sources.
Select Comparisons:
Shanling MG100 ($159)
Courtesy of my Headfonics review
MG100
When I reviewed the MG100, it was a step back in the right direction for Shanling, one of my favorite companies. I also felt the price point was quite good, too, making for a very good listen. Much of what is listed below comes straight from my Headfonics review but with added comparisons between the MG100 and KE4.
Technical:
The Shanling MG100 uses a 10mm dynamic driver and HCCAW voice coil with a lightweight temperature-resistant ceramic diaphragm enclosed within a dual magnet design.
Instead of the MG800’s titanium, the MG100 reverts to a 7000-series aluminum carved on a 5-axis CNC machine for the sound chamber.
The MG100 is rated for an impedance of 16Ω and sensitivity of 113+/-3 dB @1kHz making it an easy-to-drive IEM out of most sources, be it a dongle or a DAP.
Add in two filter choices in brass for a balanced/universal sound or stainless steel for a bassy engaging signature, and the MG100 has the additional benefit of being able to offer two distinct sound signatures.
Design:
One good thing I know about metal is that 6000-series and 7000-series aluminum are light and easy to work with. This means it is perfect for the housing on the MG100.
Using 5-axis CNC machining for precise shaping, the aluminum allows for consistency in manufacturing. You can also tailor the sound chambers acoustically, which is what Shanling has done in the smaller teardrop-shaped shell.
The MG100 build quality is top-notch with deep glossy black coloring, which, while fingerprint-prone, does look stunning in a subdued manner.
A single vent hole is hidden on top of the faceplate, and the precise fitting of the two “halves” allows for the MMCX connection point to fit into its slot without issue.
The screw-in filter choices also function without bother, and I switched between the brass and stainless steel easily. Mounting any of the four choices of tips was fairly easy, and secure due to the quality craftsmanship and a good lip on the nozzle.
Performance:
When I heard the older ME100, I quickly discovered that Shanling was taking the build and sound of their IEMs seriously. Since then, Shanling has developed many new IEMs, most at a higher price.
The MG100 I like to think hearkens back to the company’s roots: quality sound and build at an affordable price.
Understanding that tip and filter choice change the signature, sometimes dramatically; the MG100 comes across with two distinct signatures, changed a bit by tip choice (as expected).
I found the bass-oriented (stainless steel) filter to indeed enhance the MG100 bass amount. The thumping bass did bleed into the mids, but not without control. I enjoyed the enhanced low-end and bass ear tips as well.
The brass filter (balanced) added distinct textural notes to the music, with better definition and clarity, which was missing with the bass filter. The ear tip choice was the same (bass tips), which made the change a bit more remarkable to me.
Compared to the KE4, the MG100 is much more energetic, with a thinner note quality. The midrange is pushed up and forward, almost too much in comparison. This has what I would consider a more “Far East” energy to it, and while it does not fit my tuning preferences, it still comes across as accurate.
I found the bass to be under tight control, more so than the KE4, but in less quantity. That note control carried across the spectrum, making the MG100 sound a bit more accurate, but with thinner note qualities to it. I will admit I prefer the KE4 to the MG100 after listening extensively.
QoA Aviation ($199)
Courtesy of my Headfonics review
The Aviation was the first QoA product I had heard, and I came away impressed by its full note, with adequate bass. I can see why many are impressed by the marque, and feel this is a very good competitor to the KE4.
Technical:
The QoA Aviation is a 4-driver per side universal IEM with a bulbous fitting shell. It houses one dynamic driver. (8mm, full range), and three balanced armatures (dual Knowles 32873 drivers for midrange and treble response, and one Knowles 33518 for the ultra-high frequency band).
The Aviation has a sensitivity of 118 dB @1kHz and a somewhat high (for an IEM) 39Ω impedance rating, but overall, it is a sensitive and fairly easy-to-drive IEM on paper.
Design:
The Aviation has a 3D-molded, printed shell smoothed by hand polishing. It comes in two stunning hand-painted colors, Mirage and Galaxy (our review sample). The typical conch nub is present to help fit inside your ear.
The three-piece unit fits together smoothly due to hand polishing. A vent hole is on the back side, as opposed to the inside, allowing the dynamic driver to breathe.
The silver nozzle has an ornate silver ring around the three-hole patterned sound tubes, which is the first I have seen. Those sound tubes are inset into a molded form and set inside the nozzle ring.
The overall design is as expected at this price. I had no trouble wearing the Aviation for long periods, even if the bulbous shape was a bit larger than I preferred. The unit stuck out slightly from my ears, but not by an unacceptable amount.
Performance:
The QoA Aviation presents a vibrant, smooth character with an even frequency response. A small peak at 3kHz gives resolve to the upper mid-region.
Another fairly steep peak at the 8kHz region (then drop) adds brilliance in the treble region but without too much peakiness or sparkle. The drop after the 8kHz peak makes for a vibrant, but not overly exuberant, signature.
To me, the tuning is very similar to the KE4 but with more of a veiled sound. The bass is under better control to me as well, without carrying into the lower mids, which may fit some tastes better. The KE4 comes across as smoother overall, but the Aviation has an organic feel to it, which seems slightly more detailed. I cannot say I have a preference, other than there is a certain note of analytical artificial quality to the percussion instruments on the Aviation.
LetShuoer Cadenza 4 ($249)
I also came away impressed with the S15’s “little brother.” The full noted signature comes across with an energetic response, which makes for a pleasant, peppy listen.
Technical:
The Cadenza4 is a hybrid universal in-ear monitor using a 10mm dual-chambered beryllium-coated dynamic driver and 3 BA drivers.
The proprietary dynamic driver exhibits the qualities of being lightweight and exceptionally rigid. You get a mix of BA drivers, 1 from Sonion and 2 from Knowles using a series of 3D printed nanometer acoustic tubes combined with a 4-way electronic crossover.
The Cadenza4 has an impedance of 15Ω @1kHz and a sensitivity rating of 102 db/Vrms so it is quite an easy IEM to drive.
Design:
The Cadenza 4 is made from a 3D-printed resin, in a typical teardrop shape, with a larger nub to help with fit. A narrow nozzle helps with insertion, and the overall quality is good with three well-fitting parts. The faceplate shines in silver with the LETSHUOER logo in black on both the left and right sides. The Fit of the faceplate seems off, but when you feel for a gap between the shell and faceplate there isn’t one.
The shell fits nearly flush in my average-sized ears, with no discomfort, which led to long listening sessions. Thankfully there is a dedicated sheath for an ear hook, too. This made the cable lay in a much better position behind my ear, even wearing my reading glasses.
There are minor microphonics associated with the cable, but not as much as some in this category. The cable has a clear plastic rectangular cinch, which works quite well above the burnished silver Y-splitter. The two-wire cable contains 392 strands per cable of silver-plated monocrystalline copper.
As many companies are doing, there are three jacks included as mentioned above. Instead of sliding in, complete with a slot and having a screw cover; the Cadenza 4 only has the slide-in part. But I did not worry about it coming loose since the two parts fit together with good pressure.
The cable laid nicely when unwound, but it did take a bit to do so. I found that if you ran your hand down the cable as you unwound it, the shape immediately went straight.
Combine all of this, and I think the Cadenza 4 fits and functions very well.
Performance:
The Cadenza 4 sounds more towards the neutral part of the sound spectrum, with a natural uncolored feel to it, which departs from some of LETSHUOER’s previous offerings. While not bass-shy, it evenly presents both ends to make for that balanced signature. Think “just right” in the realm of Goldilocks.
There is no denying the full noted signature of the Cadenza 4. Coming through thick and layered, it may be too much for some. The bass hits fairly low but is under excellent control when compared to the KE4, but there seems to be a lack of vibrancy to it. The Cadenza 4 comes across as safe, without a lot of excitement comparatively.
I also note that tendency for an artificial quality to the percussion here, something that lacks an organic feel to it. Even though the KE4 sounds much more laidback, I preferred it due to what I might call a boring signature for the Cadenza 4, comparatively.
finale:
As stated above, this is my first encounter with the Kiwi Ears brand. I came away impressed with pretty much everything about the brand and the KE4. The low end comes across with gusto and bite, even if there is a slight bleed into the mids.
And to me, that midrange is the star. Vocals come across with sublime levels of clarity and detail in a thoroughly organic and accurate manner. Instruments in the same plane sound sumptuous in a complimentary fashion, making for an almost lusty quality to it.
While I do wish for a bit more bite up top and a further stretched treble note (which is odd for me to say since I prefer a more rolled-off top end), which might make this the best in class. As such, it is still at or near the top but misses that final polish.
Another way to look at that though, is the smooth laidback character compliments the midrange like not much else that is out. This is an IEM equally at home for the commute in the morning, giving you confidence as you start the day; or once you return for that sit down with your favorite single malt. The KE4 can fulfill both roles, without bother and that may be its best quality.
I thank Kiwiears for the opportunity to review one of their fine wares. I thoroughly enjoyed the listen and look forward to their future endeavors.
Cheers.