KIWI EARS X B_MEDIA CHORUS: Unpretentiously Coloured Sounding

As I previously published a review on one of the KIWI EARS’ latest budget entry-level IEM, the Cadenza II some few weeks ago, and now I have another product from them which is again another budget entry-level IEM. This is KIWI EARS x B_MEDIA: CHORUS and like the CADENZA II, it also has a single driver set-up and it also features a detachable cable just like the majority of their IEM line-up. And this IEM is a collaboration project between KIWI EARS and B_MEDIA, an audio reviewer from YouTube.

Each side of earpiece of CHORUS is equipped with 10mm dynamic driver in a dual magnetic, dual cavity structure with a composite polymer with DLC (Diamond-Like Carbon) coating known for its thin, lightweight, rigidity and stiffness that is capable of producing a fast, precise, clean, detailed and well-extended treble with low distortion. In this regard, we will expect a good quality sound with snappiness, clarity and responsive performance.

The driver was then housed in compact size, semi-open back design, composite shell chassis in a modified UIEM-type shape, and it consisted of plastic resin on its cavity base, and a metal faceplate. The cavity base has a stabilising fin to latch securely on the folds of our ears namely on upper concha part, and it has tiny vent hole for releasing some excess on air pressure build-up inside of its acoustic chamber, while its faceplate is made of CNC-milled metal alloy (either its aluminium or zinc) with a multi-hole filter on the large vent hole on its centre with a stylised dispersing frequency energy ray on its design. Just like all the KIWI EARS products that I have reviewed for the past three years, it still utilised a 0.78mm bi-pin connector as its interlocking mechanism for its detachable cable.

The stock cable that was included with the CHORUS is somewhat of a good quality that it has a balanced texture build, flexible and it has a tangle resistance, and it has two-core structure that were braided and a bit twisted. The cable is made of high purity silver-plated copper conductor wires sheathed with PU insulator coating and with quality of the conductive materials, it offers a seamless transmission of lossless audio signal for a pure, clean and clear audio output without any interference or distortion that I don't encounter any microphonic effects even it is in contact with a fabric of my clothes.

The cable that I have in my CHORUS is a USB type-C variant in which it supports plug-and-play protocol for ease of connectivity and it has a built-in HD microphone with a key button for receiving calls and also for basic media playback control for play and pause. It also has a KT Micro USB audio codec chip (either its KT0200 or the latest KT0211) that integrates stereo analogue output, digital-to-analogue conversion processes of audio signals and a microphone system for a crystal-clear and detailed sound.

As for its wearability, the compact size and smooth contours on the outline of its shell structure offers a comfortable fitting as it rests well into my lugholes that I am able to wear it for a long listening session without encountering any discomfort at all. I was able to have a firm seal on my outer ear canal that I’m having a good passive noise isolation as it was able to block unwanted external noises from the outside.

On its product packaging, KIWI EARS has an elementary and minimalist approach on this one as its packaging box reminds me of KZ and TRN’s product packaging on their budget-friendly entry-level sets.

These are the following contents:

• Pair of KIWI EARS CHORUS IEM transducer earpieces
• Stock cable with USB Type-C and built-in HD mic
• Three (3) pairs of narrow bore black silicone eartips in different standard sizes
• Three (3) pairs of balanced bore white silicone eartips in different standard sizes
• Paperwork like warranty card and user manual

When it comes to amplification and power requirement, with an impedance of 32 ohms and sensitivity rating of 103dB, this one is fairly easy to drive that even the built-in KT audio chip is capable of delivering a strong output that it siphon off from the power source of its host devices with efficiency. I was able to set the volume on my phone at medium level and it will already provide ample power for a dynamic sound quality with a full range frequency band on it.

The sound profile of this one has a V-shaped tuning with a warmish tonality with a hint of brightness. The low and high frequencies are elevated across the frequency range while the midrange are in the lowered presentation.

LOWS/BASS:

The bass region on this set is definitely boosted as it has some sub bass presence and mid bass texture that are equally presented across its frequency range. And the overall bass response this one is relatively reverberating, punchy and striking.

• The sub bass depth on this one can be felt clearly as its rumbling and vibration produce from sub bass-focused instruments like drum machines, synthesisers and low-tuned bass guitars.
• The mid bass is well-textured that it has a warmth, body and richness to give some fullness on the bass notes for instruments and low-octave male vocals, although there are some noticeable mild mid bass smudging across the lower midrange section.
• On the instruments, bass guitars sound resonant and weighty and bass kick drum produced a thudding and rumbling although I noticed that it has some slight soft impact, while on male vocals, both bass and bass-baritones have deep resonance from their voice but it is lacking a bit of a dark tone that gives more gravelly and robust quality, but at least it has enough dense and warmth on them.

MIDRANGE:

The midrange presentation on this one is noticeably recessed and dipped on its overall sound profile but due to the mild mid bass bleeding, it gives some warmth and the low frequency that will counteract the elevated upper midrange section that gives more energetic tuning. In general, the midrange quality of this one is full, lush and vibrant.

• The male vocals have a full, warm and rich vocal texture as it gives more plush and steel-y sound on baritones, a bright and dazzling sound on tenors, and then a clear and delicate sound on countertenors on their falsettos.
• As for female vocals, with its energetic tuning of it midrange, it gives more spacious and brilliance sound on them as contraltos have full and smoky sound from their chesty voices, while mezzo-sopranos have coppery and fiery sound from their vocals, and then the sopranos have a gleaming and shimmering voice quality that gives us those powerful and lively vocal projection.
• About the instruments as on how they sounds like, on the brasses, a full with metallic brilliance on trumpets, and a full and penetrating sound on trombones, while on the woodwinds, a bright sound on concert flutes, a brilliant and delicate sound on piccolos, and then a mild and reedy sound on saxophones.
• With regard to other types of instruments as on how they will sound on this tuning, on the strings like guitars and violins, the former sound warm, crisp and sustaining, while the latter has a vibrant, lustrous and sweet sound, and then on the percussives, a warm resonant sound produced from tom-toms on every stroke on their drumhead, a hard, bright and rustling sound from snare drums and then a warm, rich and sweet sound from the pianos.

HIGHS/TREBLE:

As I mentioned in my initial notions on its sound profile, the treble frequency on this is undoubtedly elevated as it gives a bit bright yet somehow a tad smooth presentation with a fairly airy extension. On this point, the treble response of this one is indeed shimmering, detailed and somehow well-controlled.

• The elevation of the upper mids up to the presence section and then the gradual dip slope towards the brilliance section gives that lustre sound characteristic and also, it highlights the clarity and definition on both vocals and instruments.
• The sibilance is kept under control and there’s not a hint of piercing or harshness on it although there are some presence of mild tinny sound.
• On its brilliance section, there’s a sufficient amount of sparkle and a moderate broadening of its treble air.
• As for the treble-clef instruments, cymbals have a bright and metallic sound, while the hi-hats have a shortened crisp, snappy and sizzling sound on them.

SOUNDSTAGE, IMAGING & OTHER TECHNICALITIES:

The overall technical capabilities of this one is rather good for its asking price as it can deliver some positive aspects on this one although there are some limitations. For a single dynamic driver, this one is relatively adequate for its overall sound quality.

• Its perceived soundstage size within my aural perception is rather intimate and a bit confined as it has a narrow lateral span from left and right, good height ceiling and an engaging depth from front to rear.
• On its stereo imaging, it presents a somewhat linear two-dimensional stereo presentation with less distinct layering on its soundscape with a decent separation and placement of instruments and vocals but not the most accurate and there are some complex tracks like jazz and philharmonic orchestra recordings that this set struggles a bit for playback.
• The coherency of its driver performance is pretty excellent as it is capable of delivering a fast transient response for better bass attack definition and then clarity and fairly detailed sound on both midrange and highs.
• As for its resolution capabilities, this one has firm and punchy macrodynamics as it was able to highlight the varying degree on its volume dynamics from its quietest section up to its loudest volume for both its chorale lines and instrumental passages, while on its microdynamics it has a less sharp definition to extract more fine details, grains and other subtleties from an audio track like vocal delays, note textures and instrumental reverb tails.

PEER COMPARISON:

KIWI EARS CADENZA II

• Another latest entry-level set and a successor of KIWI EARS inaugural product, and also, it has a single driver configuration.
• This one uses a 10mm dynamic driver with a titanium-coated diaphragm inside of its composite shell chassis.
• On its product packaging, it has the same number of inclusions inside, and it also includes a good quality stock cable.
• This set has a mild U-shaped sound profile that makes it a bit more balanced sounding compared to the CHORUS.
• Compared to the CHORUS, it has a bit tighter and cleaner bass despite of being a mid bass-focus tuning, a less recessed midrange presentation but also has a less energetic tuning on this particular frequency region, and then a smoother, relaxed and a modest airy extension.
• On its overall technicalities, this one also has a perceived narrow soundstage size, but it has a bit better stereo imaging, layering and separation as it presents a concave-like, more defined layering and better separation on its soundscape in comparison with the CHORUS.

YUANDAO TEARS (DSP VARIANT)

• The latest entry-level contender from the parent brand of NICEHCK and like the CHORUS, it has a single driver configuration.
• It features a 10mm dynamic driver of a newer design and it was encapsulated in an asymmetrical pentagon-shaped ABS shell casing with a maze-like structure inside of its acoustic chamber.
• While it has almost a similar number of contents inside of its packaging box, this one has a IEM storage pouch unlike the CHORUS that doesn't have a storage case at all out of the box.
• This one also has a V-shaped sound signature like the CHORUS.
• In comparison with the CHORUS, this one has a punchier, fuller and impactful bass, a recessed midrange presentation as it has warm and energy on its tuning for its vocals and instruments to sound almost natural and engaging, and then a bright, more sparkly and even has more brilliance air on its treble response.
• In regard to its technical performance, compared to the CHORUS, this one has a bit broader soundstage width, a concave-like stereo imaging, a more defined and distinctive layering and separation in which I can pinpoint the exact placement of musical elements and it has more resolving resolution capabilities.

TANGZU WAN’ER S.G. Studio Edition

• One of the variants of the TANGZU’s highly-popular entry-level model, the WAN’ER S.G. And it has a single driver set-up.
• It has a 10mm dynamic driver with a PET diaphragm on its compact polycarbonate shell.
• This one also has a bare bones inclusion inside of its packaging box with a stock cable of a bit lesser quality compared to the CHORUS stock cable but at least it has a cleaning cloth that was included out of the box.
• When it comes to its sonic profile, this one has a very contrasting frequency response with CHORUS as this one has a fairly neutral sound.
• Compared with the CHORUS, this one has a tighter, precise and cleaner bass response, a more balanced, transparent and almost uncoloured midrange presentation as it has enough warmth and energy and then, a lustre and more airy treble response.
• In terms of overall technicalities, in comparison with the CHORUS, it has a more roomy soundstage but it has less depth, with even better layering and separation on its concave-like stereo presentation, and even more resolving resolution capabilities especially on microdynamics as it has a sharper definition for extracting details and other nuances.

In conclusion on this product assessment, this set is built for casual listeners and melophiles alike as they would simply enjoy listening to their favourite tracks for convenience and being emotionally engaged without too much analysing sonic accuracy and high fidelity in which audiophiles are known for. It has a proven dynamic driver technology known for its exceptional performance in which I can attest its transient, clarity and detail without distortion. But to be honest, I'm a bit of a neutral head in which this set has a contrasting sound signature to my tonal preference but there are some coloured sounding set that I'm quite enjoyed on listening, but I will still recommend this set if someone is looking for a fun, engaging and lively sound with a coloured tonality.

KIWI EARS x B_Media: CHORUS is exclusively available in LINSOUL, Check out the link below.

LINK:

https://www.linsoul.com/products/kiwi-ears-x-b_media-chorus?srsltid=AfmBOorIWfg7mfCZeiTk3tuvCci5eb3cAcRILkTMytBuHoCX71c4ts8j

SPECIFICATION:

MODEL: KIWI EARS CHORUS

IMPEDANCE: 32Ω

SENSITIVITY: 103dB

FREQUENCY RESPONSE: 20Hz – 20KHz

CABLE LENGTH: 1.2m

PIN TYPE: 0.78mm 2-PIN CONNECTOR

PLUG TYPE:  3.5mm, USB TYPE-C

DRIVER UNIT(S):  (1) DYNAMIC DRIVER

PROS:

● The shells seem to be pretty well-built and lightweight.

● A modified UIEM-style shape will offer a comfortable wear

● Good quality stock cable with built-in HD mic and an audio chip for decoding PCM audio format up to 24-bit/192kHz.

● This one has a pretty coloured tuning that gives you a fun, engaging and lively sound profile.

● Punchy and striking bass response.

● Warm midrange for full and rich sounding male vocals and a hard-hitting percussion. 

●  Sufficiently bright and clear female vocals and string instruments.

● Excellent driver coherency 

● Reverberating, punchy and tactile bass response.

● Firm with energetic punchiness on its macrodynamics.

CONS:

● Too coloured sounding for neutralheads.

● That built-in audio chip does not support Native DSD decoding.

● Mild mid bass smearing across the frequency range.

● Recessed midrange presentation.

● Instances of dry and a bit tinny sound on some tracks.

● Barely passable technical performance.

● Oh come on, not a single storage case or even a pouch of this 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 LINSOUL 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 the LINSOUL REP for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.