KIWI EARS CADENZA II: Carving A New Identity From Its Antecedent

My first introduction of  KIWI EARS  product was the original  Cadenza  back in 2022, and at that time, the Harman target curve was the most prevalent tuning at that time in which this model followed but it has some slight tweaks on it. And now after four years, they finally release a successor model in which the star of this product review article.

What we have here is KIWI EARS' latest entry-level model, The  KIWIEARS Cadenza II  and compared to its preceding model, it has some noticeable changes like the shells and the driver that they implemented as this type of transducer also evolving as new materials were integrated to improve its overall performance. The Cadenza II still showcases a single driver configuration in which the original Cadenza also has on it inside its earpiece.

The Cadenza II features a 10mm dynamic driver just like its predecessor, but it uses a PET (polyethylene terephthalate) diaphragm with a titanium coating as the previous model uses a beryllium-coated diaphragm. The PET is a type of plastic polymer that it is commonly used in the industry particularly on bottle beverages known its high strength, flexibility, shatter-proof and transparent appearance that makes an excellent material for a diaphragm on a dynamic driver that it could deliver as faster transient response for better sound fidelity across the frequency response as it provides a deep bass, full and clear sound from vocals and instrument, and detailed highs. KIWI EARS also take a cue feature from their previous model, the Singolo which is the KARS (Kiwi Ears Resonance System), and this one is an acoustic tubing based on a Helmholtz resonance principle that allows to regulate airflow generated with its acoustic conduit network from its high performance dynamic driver for a tighter, rumbly and deeper bass response.

Then the driver is encapsulated in a medium-size composite shell chassis consisting of a polycarbonate cavity base and a CNC-milled aluminum alloy on its faceplate with a laser-etched vine plant-like pattern on it. Like all KIWI EARS products, it still uses a 0.78mm bi-pin connector as its interlocking mechanism which is pretty sturdy and stable for attaching/detaching with its removable cable.

As for its wearability, the shell fits well into my lughole snugly without any discomfort as I was able to wear it for a long listening session. It also provides a good sealing that I was able to have this passive noise isolation as it blocks unwanted noises from the outside surroundings.

The stock cable of this one is noticeably an upgrade from the previous Cadenza as it is now a bit thicker and flexible. It is constructed into 4 strands that are braided and it is made of monocrystalline oxygen-free copper for clear and interference-free lossless signal transmission, and also, it has a gold-plated 3.5mm plug.

The product packaging of this one is still minimalist just like its predecessor as it includes basic inclusions inside of its packaging box and here are the following contents that we can find inside of its packaging box:

• Pair of Kiwi Ears Cadenza II transducer earpieces
• Stock cable
• Three (3) pairs of balanced bore silicon eartips in different standard sizes (S, M, L)
• Three (3) pairs of wide bore silicon eartips in different standard sizes (S, M, L)
• User Manual

The Cadenza II, like its predecessor is somewhat fairly sensitive that it can be driven with a standard gain mode of amplification and its dynamic driver is quite power efficient due to its strong magnetic flux. With enough power out, it is already capable of a full range and dynamic sound that this set could deliver.

When it comes to its tonal profile, the Cadenza II has a mild U-shaped sound signature as it has some more emphasis on both low and high frequencies, although it has noticeable differences with the original Cadenza in terms of tuning which make this one sound more balanced.

LOWS/BASS:

The bass profile of this one is more focused on the mid bass texture over the depth and presence of its sub bass. Overall, its bass response is pretty punchy, precise with some decent reverberating feedback.

• I've mentioned before that the sub bass presence isn't the focal point of its general bass tuning, it is still able to give enough rumbly sensation that were generated from electric and string instruments like synthesisers, drum machines, double-basses and bass guitars.
• Given its bass tuning inclination towards the mid bass section. Its ample texture gives more weight and fullness for bass-clef instruments and low octave male vocals without being too muddy or boomy in my liking as it maintains that tidiness and segregation from the lower midrange.
• With regards to instruments, double basses sound sombre, while bass guitars sound raspy and then kick bass drums have a thudding yet soft sound.
• As to male vocals particularly on bass and bass-baritones, they have enough warmth and depth on their vocal texture to give a rich and full albeit a bit lacking of that dark timbre to sound more dense, marbled and woolly sound that these voices should sound like.

MIDRANGE:

While the midrange presentation of this one is a bit slightly recessed on its entire frequency response, it retains a warmth and enough energy that makes it a more coherent and well-balanced sound. The midrange quality of this one is somewhat rich, transparent and clean sound as it allows both vocals and instruments to sound more natural and engaging.

• Male vocal types like baritones and lowest female vocal type, the contraltos were most likely suitable on this type of tuning due to its warm and rich that these kind of vocals will be almost reproduced as the baritones have a strong, smooth and lush sound from noble, dramatic and cavalier baritone baritone types, while it gives more strength, smoky and bit husky sound from contraltos from their chesty vocals.
• With less energetic sound due to less upper mids bump it gives less lively and bright sound on some tenor types, countertenors and soprano vocals as the sound more sweeter, a bit mellow and less expansive as if that you will feel that less soaring with their resonating voices, although the mezzo-sopranos and to some extent, counter tenors still retain their musky, velvety and tender voice quality.
• In regards to instruments, on the string ones, guitars sound more meaty but still has a sustaining sound, violins sound calm and sensuous, and the cellos have a warm and full sound, whereas on the percussives, snares have a hard and incisive sound, tom-toms have a warm resonance sound on every stroke, field drums have sonorous sound, and kettledrums have those warm and velvety sound.
• Again on instruments, it is apparent that it the woodwind instruments like the flutes, piccolos and clarinets sounds a bit mellower that it loses some of its brilliance and airiness, while on brasses, trumpets, trombones and horns, they sound full, rounded and ponderous respectively.
• Pianos seem to have a pretty warm sound as it has a rich, full and mellow tone akin to some antique European pianos.

HIGHS/TREBLE:

The treble quality of this one on a rather balanced side as it is neither too bright nor too dark, although I bet treble-headed audio enthusiasts will find it too dull and lukewarm on the lacking. This safely-tuned treble tuning delivers a smooth, inoffensive sound which makes it more ideal for treble-sensitive folk that they will be able to enjoy for a long listening session.

• Despite its smooth treble tuning, there is a slight bump between upper mids and presence section on the treble region enough to give some clarity and definition on the attack on instruments and articulation on vocals.
• With a safe treble tuning, we won't encounter any sibilance, harshness and piercing sound.
• As for its brilliance section, it has a modest airy extension with enough sparkle not to sound brittle or harsh but still give some definition on treble-noted instruments.
• On selected treble-clef instruments, cymbals sound soughing and undulating, while hi-hats have a mellow and warm tone on its chick-y sound.

SOUNDSTAGE, IMAGING & OTHER TECHNICALITIES:

All I can say is that its overall technical capabilities are pretty standard for a single driver set-up as it has an average soundstage size within my aural perception and a bit softer macro-dynamic. But its strongest assets would be its driver coherence and layering that makes it more impressive for a dynamic driver.

• It has a fairly average size sound field dimension within my aural perception, a rather median width lateral span, a moderate height reach and an ample depth.
• Stereo imaging was presented into a concave-like stereo presentation with an adequately-layered soundscape and good separation of musical elements like vocals and instruments.
• Driver coherence is excellent given how responsive its transients are from the speed of its bass attack, and then clarity and impact from the rest of its frequency response.
• Resolution capability of the Cadenza II is adequately competent as on how its macrodynamics differentiate the volume on the chorale section and instrumental passages from the quietest part up to its loudest level, while on its microdynamics, it has decently sharp definition on retrieving fine details, grains and other nuances like notational attacks and instrumental reverb tails.

PEER COMPARISONS:

KIWI EARS CADENZA

• The predecessor of the CADENZA II and the inaugural model of KIWI EARS, and it has a single driver set-up just like its successor.
• It uses a different dynamic driver as it has a beryllium-coated diaphragm and it was encased in a 3D-printed resin shell structure.
• On its product packaging, while it includes three different types of silicone eartips compared to its successors' two types only, its stock cable is rather modest in terms of build quality.
• It has a mild U-shaped sound signature but it has more emphasis on the sub bass presence rather than mid bass as it produces more rumbly and tighter bass quality, a recessed and a bit energetic midrange as it gives more air and gleam on some vocal types like tenors and sopranos, and also on instruments like strings and woodwinds, and then, a tad brighter treble tuning.
• As for its technical performance, it has an average soundstage size, less defined layering and similar resolution capability with its successor in both macrodynamics and micro-detail retrieval.

TINHIFI C2 2025 MECH WARRIOR

• A second version of the C2 MECH WARRIOR model and like the CADENZA II, it also has a single driver set-up.
• This one has a composite diaphragm on its dynamic driver made of two types of thermoplastics, the PU (Polyurethane) and LCP (Liquid Crystal Polymer), and the driver is housed in a CNC-milled aerospace-grade aluminum alloy.
• It has a similar product packaging with CADENZA II in terms of numbers of inclusions, but its stock cable is pretty basic with a leaner build quality.
• This set has a U-shaped sound signature that almost aligns with a Harman target 2019 as it has more sub bass focus bass response as they sound tighter yet rumbly, a recessed and a leaner midrange with an energetic tuning as it gives more brighter and airy sound on vocals, particularly on tenors and sopranos, and also on string and woodwind instruments, and then it has bit brighter and shimmering treble response.
• When it comes to technicalities, it has an average-sized soundstage, less defined layering and separation, but somehow it has similar resolution capability with the CADENZA II.

 HIDIZS MK10 ARCSONICS

• One of the latest entry-level models from HIDIZS, and like the CADENZA II, it has a single driver configuration.
• It uses a rarer type of dynamic driver which has a silicone carbide diaphragm inside its structure, and it was encapsulated in a solid Zinc alloy shell chassis which also features a detachable tuning nozzle just like most HIDIZS models.
• For an entry-level set, its product packaging is fully packed with accessories that also include a PU-leather pouch, other types of detachable tuning filter nozzles and a good quality cable.
• Due to its detachable tuning nozzle features, this one offers a three sound profiles; a red one which as a more warm V-shaped sound as it has a fuller bass and warmer midrange, a black one which has more V-shaped shaped as it has more emphasis on the upper mids and highs as it has more more airy and sparkling treble response, and a white one has a more U-shaped sound with a brighter tonality as it has a bit tighter yet precise bass, an energetic with less warmth on it midrange and then, it has a brighter and shimmering treble response with good amount of air although it might sound a bit dry, tinny and shrill-y to some listeners particularly on treble-sensitives.
• Regarding its technical performance, it has a moderately spacious head stage, an adequately-layered sound field and pretty resolving resolution capabilities.

As I conclude this product review, KIWI EARS made some noticeable improvements on this model compared to its predecessor from better shell materials and the quality of the stock cable which is probably one of the best out there at its price. And also, there are some drastic change of its tuning in contrast with original Cadenza as this one has fuller and punchier bass response although it won't qualify as a bassy set, a warmer midrange which add more vocal weight and texture on male vocals that makes it more natural sounding and safe treble response which is more listening-friendly towards treble-sensitive folks. But it's not all rainbows and sunshine about his model, as it is still a bit colored for strictly neutral heads, less sparkle on its treble response and barely technical sounding as there are some models with single dynamic driver offers better technical performance, but still despite these drawbacks, it still has its own charm that if you are looking for a fun, engaging and colored set at an affordable price, this one is a good recommendation.

KIWI EARS CADENZA II is now available at LINSOUL, and for those who are interested in purchasing this product, check out the link below.

LINK:

https://www.linsoul.com/products/kiwi-ears-cadenza-ii

SPECIFICATION:

MODEL  : KIWI EARS CADENZA II

IMPEDANCE:  18Ω

SENSITIVITY:  106dB

FREQUENCY   RESPONSE:  10Hz – 29KHz

CABLE   LENGTH:  1.2m

PIN TYPE  : 2-PIN CONNECTOR

PLUG TYPE:   3.5mm

DRIVER UNIT(S):  (1) DYNAMIC DRIVER

PROS:

● Its composite shells are pretty lightweight yet sturdy.

● Comfortable wear due its modified UIEM-style shell design.

● Good quality stock cable which is a big improvement from the original CADENZA.

● A well-balanced sound signature as it has a warm yet natural tonality.

● Punchy and precise bass response.

● Full and well-bodied sound on bass-clef instruments and low-octave male vocals.

● Smooth, warm and plush midrange presentation.

● Quite an all-rounder to almost all types of vocals on both male and female.

● Natural and realistic timbre on instruments.

● Smooth and inoffensive treble response.

● Not a hint of sibilance or stridency on its overall sound quality.

● Good driver coherency.

CONS:

● It has an inadequate airy extension on its brilliance section.

● Might be too smooth and dark-sounding for treble-loving audio enthusiasts. 

● Like its predecessor, most of its technical capabilities are rather subpar in my opinion.

● Again, not a single storage nor a pouch just like the original CADENZA.

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) *

The 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 KIWI EARS 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 the LINSOUL REP for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.