KEFINE KLEAN SV: A Silvery Take

KEFINE was established four years ago and became one of the emerging audio companies around as they successfully released some of the best models in under $100/£80 due to their solid line-ups of IEM models with good build quality and excellent sound quality at affordable price. And one of those successful models that they released was the KLEAN and it is a single driver IEM that features a detachable tuning filter nozzle that makes it more versatile as it offers two types of sound profiles to cater our appreciative listening.

Then after two years, KEFINE released its latest iteration, The KEFINE KLEAN SV.  And like its original model, it retains the driver set-up, design profile and the detachable tuning filter nozzles, but KEFINE did some refinement on these features like improving its driver structure for better acoustic performance, an additional sound profile on its detachable tuning filter nozzles, and a different construction method on its shells.

The KEFINE KLEAN SV still features a dynamic driver with the same diaphragm material but KEFINE did some tweaking to improve its performance for better clarity and extension. The said transducer is a 10mm dynamic driver with dual chambered structure, equipped with a high grade neodymium magnet along with a copper-coated aluminium voice coil supplied by DAIKOKUDENSEN which improves the movements of its DLC (Diamond-Like Carbon) diaphragm whose material known for its lightweight, rigidity and tensile strength that greatly decreases distortion that delivers a fast, clear and detailed sound with well-extended highs.

The driver was then encased in a metal injected moulded shell structure as it has a seamless alignment between the cavity base and the faceplate with an excellent durability and an ergonomically contour shape design. And also, it has matte-like finish on its surface as it underwent a sand-blasting process to achieve its texture for less visibility of fingerprint marks and resistant to light scratches. KEFINE still keeps that design profile of the previous KLEAN as it has a compact size that makes it more fitting-friendly to all ear sizes and a minimalist approach to its overall layout.

As I mentioned a while ago, it still retains its detachable tuning filter nozzle feature that offers different types of sound profiles and it has three of them to choose from. The KLEAN SV still utilises a 0.78mm 2-pin connector as its interlocking mechanism for attaching and unfastening on its detachable cable.

When it comes to its wearability, with its compact size and ergonomic curves on its shell, it offers a custom-like fitting as it rests well comfortably inside on my lugholes for a long listening session without encountering any discomforts at all. With the sufficient length of the nozzles, it gives me enough deep insertion to latch properly on my outer ear canal as I have a good passive noise isolation that is able to block unwanted external noises from the outside.

The stock cable is has lean texture but flexible and it is made of high purity silver-plated copper conductors that are sheathed with a clear PU insulator shielding, and it is in two-core structure that are braided that ensures seamless transmission of audio signals for clean and pure sound quality output with no interferences, no distortion or not a hint of microphonics. It has a 3.5mm SE plug on its end and it doesn't have a modular termination but KEFINE also offers a 4.4mm balanced termination on this one as it was also sold separately.

The product packaging of KLEAN SV is rather minimalist but it has a substantial amount of inclusions inside of its packaging box. The contents inside have their own compartment that makes them look more presentable during the unboxing process.

These are the following contents inside of its packaging box:

• Pair of KEFINE KLEAN SV IEM transducer earpieces
• Stock cable (3.5mm SE plug)
• Canvas fabric storage case
• Pair of silver-coloured tip (Balanced) tuning filter nozzles (already installed on the shells)
• Pair of gold-coloured tip (Transparent) tuning filter nozzles
• Pair of black-coloured tip (Warm & Immersive) tuning filter nozzles
• Paperwork like quality control and instruction manual.

Aside from the packaging box, KEFINE additionally sends an extra cable with a 4.4mm termination and it has similar structure with the stock cable of KLEAN SV which is also a two-core high purity silver-plated copper conductor wires with a sheathed PU insulator.

Not just that they send an extra cable but also a 3.5mm to USB Type-C dongle adapter called KA1, which has a Conexant CX31993 DAC chip, a popular audio IC known for excellent value and price-to-performance option that was usually implemented on budget and affordable headphone dongles that can be used through plug-n-play, and known for its neutralish-bright sound with a low distortion. This audio chip can decode an audio resolution up to 32-bit/384kHz on a PCM format.

In regard to its driveability and amplification requirement, with an impedance of 32 ohms and a sensitivity rating of 107dB, this set is fairly sensitive that it can be driven from sources even with standard gain of output power. Even at medium volume level with an optimal amplification, this set will have a very dynamic, clear and a wideband sound quality.

As for its tonal profile, the KEFINE KLEAN SV features a detachable tuning filter nozzle, and each of them have specific sound target styles from “balanced” U-shaped up to warm V-shaped. For sound analysis, I'll use three testing tracks that I'm quite familiar with.

• Dr. Dre - What’s The Difference: Sub bass and Mid bass (synths and drum machines)
• The Cranberries - You And Me: Female vocals and instruments (mezzo-soprano vocal, horns, bass guitar, snare and tom-toms drums, acoustic guitar)
• Def Leppard feat. Royal Philharmonic Orchestra - When Love & Hate Collide: Male vocals and instruments (tenor voice, brass, strings, percussives, woodwinds)

SILVER TIP TUNING NOZZLES:

In this setting, it has a “balanced” mild U-shaped sound signature that tilts a bit on the brighter side of treble tuning. It has a balanced bass presentation with an adequate warm and energetic midrange, and then, a bright and shimmering treble response.

• It has a proportionate low frequency distribution as it has a sufficient sub bass depth and a texture mid bass to give a rumble, precise and punchy response.
• On its sub bass section, I definitely clearly felt those reverberating and vibration generated from “What’s The Difference” synth bass as its ultra-low frequency energy delivers that subwoofer-like trembling foundation, a perceivable resonating deep low-tune bass on the basslines from bass guitar on the “You And Me” and also on “When Love & Hate Collide” with some added strings either from double-bass or cello.
• The mid bass texture of this one has rich and full sound that it gives a monotonous and thunderous sound on the bass kick drum part on “What’s The Difference”, a resonant and pounding sound on bass kick drum line on “When Love & Hate Collide” and along with its weighty and dark sound on its basslines like bass guitar, double-bass or cello, and then the bass guitar line on the ‘You And Me” track, it sound heavy and earthy sound.
• The adequate warmth on its low midrange and an energy on its upper mids gives enough vocal weight and sheen on both male and female, as Elliot Joe’s distinctive raspy tenor voice has a juicy and spicy sound on his singing line on the “When Love & Hate Collide” while Dolores O’Riordan’s mezzo-soprano voice sounds lilting, sultry and a bit coppery on the track “You And Me.”
• As on the instrument sections, both guitars lines on the “You And Me” and the “When Love & Hate Collide” sound crisp, bright and lingering, while some orchestra string sections on the latter track has a vibrant and sweet sound, and then on percussives, “You and Me” has that sharp and resonant sound on the drums, while on “ When Love & Hate Collide” track, there’s a sharp and crackling sound from snares, a resonant and tight sound on tom-toms, and also on its brass section, there's a rich and resounding sound from trumpets.
• The treble response of this is definitely bright as it gives some sense of clarity, vividness and shimmer as it has a bit of an intensity of sparkle and a moderate airy extension on its brilliance.
• On the cymbals and hi-hats part on the “You And Me”, the latter instrument was the most prominent in the mix as you hear it consistently as it has soughing, crisp and sharp sound, while the former has a brilliant sound, whereas on “When Love And Hate Collide” track, the cymbals sound resonant and sizzle, and then the hi-hats has a crisp and snappy sound.

BLACK TIP TUNING NOZZLES:

As in this setting, this one has a warmest tuning among three while maintaining a U-shaped sound signature. It has a bit more emphasis on mid bass section, a warmer but a tad less energetic midrange and a smoother but a bit less sparkly treble response.

• This one has a mid bass texture to deliver a more rounded, slamming and impactful bass response, while its sub bass presence is less prominent on this one.
• The sub bass section on this one has less presence but enough to generate a bit faint of reverberating and rumble generated from “What’s The Difference” synth bass, while there are some decent rumbly presence on the low-tune bass on the basslines from bass guitars on the “You And Me” and also on the “When Love & Hate Collide”
• The mid bass on this one has ample as it gives more body and warmth  on the bass-clef instruments texture that it gives a monotonous and thudding sound on the bass kick drum part on “What’s The Difference”, a more resonant and thudding sound on bass kick drum line on the “When Love & Hate Collide” and along with its broad and sombre sound on its basslines like bass guitar, double-bass or cello, and then the bass guitar line on the ‘You And Me” also have deep resonant sound on its bass foundation.
• On its midrange, there is more warmth and fullness on its low midrange to give more lush and depth on the male vocal texture while the upper mids seems to a bit lessened but still can give an energy on both vocals and instruments albeit smoothen as Elliot Joe’s distinctive raspy tenor voice has a some added warmth on its already spicy sound on his line on the “When Love & Hate Collide” even in some belting parts of the song to express his passion. while Dolores O’Riordan’s mezzo-soprano voice sounds more velvety, musky and mild on the track “You And Me.”
• The instrumental parts as strings like guitar lines on both the tracks “You And Me” and the “When Love & Hate Collide” has balanced, a bit warm and somewhat buttery sound crisp, while some supporting orchestral string sections on the latter track like the violins have a lustrous and sensuous sound on them, and then on percussives, “You and Me” has that warm and resonant sound on the drums, while on the “When Love & Hate Collide” , a hard and rustling sound on snares, a warm and sonorous sound on the tom-toms, and on its brass section, there's a full and a bit rounded sound from trumpets.
• The treble response of this one is a bit smooth in terms of presentation but it still maintains some sense of clarity and gleam although the intensity of its sparkle is a bit dampened but not to the point that its sound dull, and also its airy extension on its brilliance section is somewhat restrained.
• On the cymbals and hi-hats part on the “You And Me”, they sound lustrous and warmer respective, while on “When Love And Hate Collide” , the cymbals sound resonant and undulating, and then the hi-hats have a crisp yet slurry sound.

GOLD TIP TUNING NOZZLES:

This setting has the brightest tuning among the three as I noticed it on some vocals and instruments as they sound more gleaming and brilliant, but it still retains that U-shaped sound profile albeit a brighter one. It is noticeably that it has more emphasis on the mid bass with less sub bass depth, a less warmer but more energetic midrange that sounds a bit more leaner and then an intensely bright and more airy treble response.

• This one still has a more mid bass-focused bass tuning with less sub bass presence but its overall response sound a bit tighter, incisive and less impactful.
• The sub bass section on this one has even less presence that it barely to feel its faint reverberation and rumble  from “What’s The Difference” produced from synth bass, and almost the case with other testing tracks,“You And Me” and “When Love & Hate Collide” as I barely felt those rumbly end on the low-tuned bass guitars on their respective basslines.
• The mid bass section has an enough texture as it has a decent body but its has less warmth as they sound a bit soft and hollow that it really affects the tonality on the bass-clef instruments that it gives a soft and dry sound on the bass kick drum part on “What’s The Difference”, a more resonant but hollow sound on bass kick drum line on the “When Love & Hate Collide” and along with its less weight and mellower sound on its basslines like bass guitar, double-bass or cello, and then, the bass guitar line on the “You And Me” also have hollow and aspirating sound.
• On its midrange, there is a less warmth on its midrange presentation  that won't give more plush and rich on the male vocal texture while the upper mids is accentuated as it is brimming more energy for a livelier and to open sounding on both vocals and instruments that gives an impression that the midrange has a tad lean presentation, and Elliot Joe’s distinctive raspy tenor voice has a bright and ringing sound on the “When Love & Hate Collide”  track that on some parts in which he does belting to convey his emotionally intense narrative. while Dolores O’Riordan’s voice sounds more glowing and ethereal on the “You And Me.”
• As for the instrumental sections, the strings like the guitar lines on both the tracks “You And Me” and the “When Love & Hate Collide” sounds bright, crisp and sustaining, while some string sections on the Def Leppard’s track, particularly the violins have a brilliant, glassy and clear sound, and then on percussion section, The “You and Me” track has that dry, cracking and resonant sound on the drums, while on the “When Love & Hate Collide” , a bright and penetrating sound on snares, a dry and resonant sound on the tom-toms, and on its brass section, the trumpets seems to sound a bit brighter and clear.
• The treble response of this one is absolutely bright as to how it was tuned as it has elevated parts between upper mids and brilliance that add clarity and detail on both vocals and instrument albeit it has an intense sparkle that might produce some unwanted tinniness, shrill and sharp sound to some treble-sensitive folks, but it also has more airy extension on its brilliance section.
• On the cymbals and hi-hats part on the “You And Me”, the former sound brilliant and a bit metallic, while on “When Love And Hate Collide”, the cymbals has a glistening and hissing sound, and then the hi-hats have a crisp and sharp sound.

SOUNDSTAGE, IMAGING & OTHER TECHNICALITIES:

The KLEAN SV is quite capable in this aspect as it can deliver a satisfactory performance given its driver configuration. Overall, this one is somewhat a refinement  and improvement from the original KLEAN in which I consider its technical performance as a passable one.

• The perceived soundstage projection is fairly roomy enough that it has a moderately wide lateral span from left to right, good height reach and sufficient depth enough to determine its distance from front-to-rear.
• It still presents a concave-like stereo presentation on its imaging but it has a fairly stratified soundscape with a good separation of instruments and vocals in which I was able to locate their placement accurately within its auditory ambience, therefore playing some of the complex tracks will be played a breeze.
• The coherency of its driver is exceptional and efficiently that it can deliver a fast transient response on its bass response, and then a clear and detailed sound without distortion.
• As for its resolution capability, on its macrodynamics, it has relatively punchy and firmness on its volume scale as it was able to highlight its chorale lines and instrumental passages in a varying degree from the quietest section up to its loudest level, while its microdynamics has a sharp definition on capturing fine details and other subtleties like notation attacks, note textures, vocal delays and instrumental reverb tails.

PEER COMPARISONS:

KEFINE KLEAN

• The predecessor of KLEAN SV and it also has a single driver set-up.
• It also has a 10mm dynamic driver with a  diaphragm also made of DLC (Diamond-Like Carbon) and it is also encapsulated in the same shell chassis of the KLEAN SV.
• The product packaging is quite similar to the KLEAN SV in terms of presentation and inclusions but the minor difference is that it only has two pairs of detachable tuning filter nozzles in which its successor model has three of them.
• It offers two sound profiles as it has detachable tuning nozzles ; a mild U-shaped sound (Silver Tuning Filter) with a balanced-warmish tonality and a U-shaped sound with a bright tonality (Black Tuning Filter).
• If I compared this one to its successor in a “stock” tuning filter nozzle setting (Silver Tuning Filter), this one has punchier bass, a full, rich and warmer midrange presentation but with less energetic tuning, a smooth but less airy treble response.
• Technicality-wise, again if compared to the KLEAN SV, this one has a bit narrower soundstage size but it has slighter better depth, a fairly layered soundscape in a concave-like stereo imaging but it has a well-defined placement of instruments and vocals in we can locate it accurately and it has less sharper definition on its micro-detail retrieval (Silver Tuning Filter)

KEFINE DELCI AE

• An older model from KEFINE and it also has a single driver set-up just like the KLEAN SV.
• It also features a 10mm dynamic driver with a DLC-coated PU diaphragm housed in a solid metal alloy shell.
• It has a similar product packaging with the KLEAN SV with the number of contents inside but it has only two pairs of detachable tuning filter nozzles.
• Since it also features detachable tuning filter nozzles, it offers two sound profiles; a warm U-shaped (Silver Tuning Filter) and a bright U-shaped sound).
• If this one is in Silver Tuning Filter Setting compared with KLEAN SV’s Silver  Tuning Filter set-up, this one has a more rumbly and even punchier bass response, a warmer and full midrange albeit it has a bit recessed presentation with less energetic tuning, and smoother but less airy treble response.
• On its overall technical performance, it has a bit narrow and intimate soundstage size, a holographic stereo imaging but less layered soundscape, and a bit blunted micro-detail definition on its microdynamics compared to KLEAN SV.

HIDIZS MK10 ARCSONICS

• One of the latest entry-level IEM models from HIDIZS with a single driver configuration.
• It has a newer type of dynamic driver with a silicone carbide diaphragm encased in a zinc-alloy shell chassis with a bolder and utilitarian aesthetic.
• On its product packaging, it has a similar amount of accessories inside but it doesn't have a hard carrying case as it still offers the usual PU-leather storage pouch with magnetic clasps that HIDIZS offer on their entry-level to initial-level midrange models.
• Detachable tuning filter nozzles are the main features of HIDIZS models since the introduction of the MS5, and it offers three sound profiles; a balanced-warmish U-shaped, a warm V-shaped and a bright U-shaped sound.
• On its balanced-warmish setting, if it is compared with KLEAN SV's Silver Tip, this one has punchier and rumbly bass response, a bit recessed but a balanced midrange with a warm and rich sound for male vocals and also an energetic tuning for crisper, bright and open sounding female vocals and instruments like strings and woodwinds, and then a bright, sparkling and airy treble response.
• As for technical capabilities, it has a perceived above-average soundstage size that makes it somewhat a bit intimate in terms of presentation compared to KLEAN SV, but it has fairly-layered soundscape on stereo imaging and a similarly sharp definition of micro-detail retrieval.

To sum up my review on KEFINE KLEAN SV, it seems that KEFINE tried to fully-optimise the proven design of original KLEAN while refining its sound profile by making it sound more clearer, brighter and well-extended, and I think that they succeeded. Compared to the previous KLEAN, this set has three sound profiles that will cater to your listening preferences, as this improved model makes it more versatile to all types of music genres.

I will recommend this model to other audio enthusiasts if this will be their first product from KEFINE or simply wants to experience a KEFINE product experience with its good tuning capabilities with robust build quality, but if you already have the DELCI AE or the original KLEAN, I don't think it's a total upgrade as it still retain its coultuning profile with some slight adjustments and it still depends upon your tonal preferences, and moreover, I also noticed some slight improvements on its technical performance compared to previous generation of KEFINE products.

But given the pricing of the KLEAN SV as it still offers that value for money for its tonal performance and technical performance alone that makes this one more convincing to be purchased.

THE KEFINE KLEAN SV is now available and I provided a link below.

LINK:

https://www.kefineelec.com/en/ProductDetails.aspx?iProId=27

SPECIFICATION:

MODEL: KEFINE KLEAN SV

IMPEDANCE: 32Ω

SENSITIVITY: 107dB

FREQUENCY RESPONSE: 20Hz – 20KHz

CABLE LENGTH: 1.2m

PIN TYPE: 0.78mm 2-PIN CONNECTOR

PLUG TYPE:  3.5mm, 4.4mm

DRIVER UNIT(S):  (1) DYNAMIC DRIVER,

PROS:

● The shells’ build quality is solid with an almost seamless construction.

● Its relatively compact size and smooth angular contours offers a comfortable fitting.

● Affordable pricing for budget-conscious audio enthusiasts looking for a set with a strong value for money performance.

● Detachable tuning filter nozzles for tuning versatility.

● Three sound profiles to choose from

● It has a well-done coloured tuning, an engaging, resolving and lively sound quality.

● A balanced bass presentation, reverberating and punchy (SILVER TIP NOZZLE)

● Tight, precise and clean bass (GOLD TIP NOZZLE)

● Full and well-bodied bass (BLACK TIP NOZZLE)

● Energetic midrange tuning for bright and clear sound on vocals (tenor and mezzo-soprano, based on the tested tracks that I'm using as references) (SILVER & BLACK TIP NOZZLES)

● Crisp, balanced and lingering sound on guitars and then, a lustrous and sweet sound on violins (SILVER TIP TUNING)

● Sonorous and punchy sound on percussives (BLACK TIP NOZZLES)

● Bright, shimmering and airy treble extension (GOLD TIP NOZZLES)

● A bit smoother and less offensive treble response (BLACK TIP NOZZLES)

● An improvement of its overall technical performance over its predecessor, a wider soundstage, well-defined layering and a sharper detail definition 

CONS:

● The accentuated parts on the upper mids up to treble section on the two nozzle settings (SILVER & GOLD TIPS) will give a brighter presentation that might sound a bit too intense to some treble-sensitive folk out there.

● Less punchy and impactful bass tuning compared to the previous KLEAN (SILVER & GOLD TIP NOZZLES)

● Less warm texture on the midrange that might sound too lean especially if you are into a warmer tuning profile.

● Certainly too coloured sounding for neutral heads.

● Only two choices of ear tips to choose from, it should have a wide bore one.

TRACKS TESTED: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *

Jade Wiedlin - Blue Kiss**

Led Zeppelin - When The Levee Breaks **

Mountain - Mississippi Queen *

Queen - Killer Queen **

Guns N' Roses - Patience *'*

Eric Clapton - Tears in Heaven '*'

Sergio Mendes- Never Gonna Let You Go '*'

Pearl Jam - Daughter **

Roselia - Hidamari Rhodonite *

Assassin - Fight (To Stop The Tyranny)*

Celtic Frost- Visual Aggression *

New Order - Blue Monday *

The Corrs- What Can I do (unplugged version) *

Jimi Hendrix Experience - Voodoo Child *

The Madness- Buggy Trousers *

Metallica - Motorbreath **

Mariah Carey- Always Be My Baby *

Destiny's Child - Say My Name *

Malice Mizer- Au Revoir *

Mozart - Lacrimosa *

New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *

Eva Cassidy - Fields of Gold (Sting cover)*

Michael Jackson - Give In To Me *

Exciter - Violence and Force *

Diana Krall - Stop This World **

Debbie Gibson - Foolish Beat *'*

The Sisters of Mercy – Lucretia My Reflection**

Suzanne Vega – Luka **

Lauren Christy – Steep *

Ottoman Mehter - Hucum Marsi *

Diana Damrau - Mozart: Die Zauberflöte*

Type O Negative - Black No.1 *

Felix Ayo - Vivaldi: Presto **

Three Tenors - Nessum Dorma *

Mercyful Fate - Witches' Dance *

P.S.

I am not affiliated to KEFINE AUDIO nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like to send my gratitude to KEFINE for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.