A New Triple Driver

Ratings

Pros

• Very good low end, deep, dark and smooth, with good technicalities.
• Very good female voices.
• Clarity, cleanliness, precision, speed, separation and transparency.
• Good set of accessories.
• Excellent ergonomics.

Cons

• Although the sound is remarkable in technicality, the micro-detail is not the most obvious.
• The tuning seems to limit the capabilities of the drivers.
• It lacks a point more emphasis in the lower mids to be considered fully “vocal-centric”.
• The cable is a bit plain and there is no balanced option.

Purchase Link

https://kiwiears.com/products/kiwi-ears-canta

Link to the Store

https://kiwiears.com/

Introduction

It’s been more than a year since I reviewed my first Kiwi Ears and the brand still seems quite new to me. However, thanks to its good work, it is making a niche in most headphone stores and also in the drawers of portable audio enthusiasts. On this occasion, the model I am going to review is the Kiwi Ears Canta. As the brand comments, “Translated from Italian, the name Canta is inspired by its excellence in vocal performances.” These are 1DD+2Planar hybrid IEMS in which Kiwi Ears have sought a vocal-centric tonality, highlighting male and female voices in any musical genre. They have a smooth transition into the upper treble, a sub-bass with a powerful impact, with a warm continuation into the mid-bass and mid-range. The capsules are meticulously handcrafted from medical grade resin. It uses a 2Pin 0.78mm connection interface and the cable has 4 strands of OFC copper with 3.5mm SED connector. Let’s take an in-depth look at everything that “sings” about this new model.

Specifications

• Type of Drivers: 1 dynamic driver + 2 planar drivers.
• Frequency Response: 20Hz-20kHz.
• Sensitivity: 104dB SPL/mW (1kHz).
• Impedance: 14Ω (1kHz).
• Jack Connector: SE 3.5mm gold-plated.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable Length: 1.25mm.
• Introductory price: $89.

Packaging

Kiwi Ears continues to use fairly restrained packaging, with a black background and a somewhat strange pattern. The brand name is in the upper left corner and the slogan to its right. Floating among the background is a realistic photo of both capsules, while the model name is at the bottom, in large letters. Underneath, just a description of the drivers used. All text is white. On the back side there is not much more information, logos of the specifications it meets and the brand and distributors’ contact details. After removing the cardboard, the black box with the brand logo in silver is visible again. Once the lid is lifted, the capsules are on top, embedded in a dense black foam mold lined with black cardboard. Underneath is a box of the same material with the same brand logo. And inside are the accessories:

• The two Kiwi Ears Canta capsules.
• A user’s manual.
• A black leatherette zippered case.
• One 4-strand cable with 3.5mm SE connector and 2Pin 0.78mm interface.
• Three pairs of black silicone tips sizes S*M*L.
• Three pairs of white silicone tips sizes S*M*L.
• Three pairs of gray silicone and red core tips sizes S*M*L.

With respect to the Kiwi Ears Singolo and for $10, the brand has incorporated a nice zippered case and one more set of silicone tips. The cable is nothing special, but it is flexible and with four strands it fulfills its main purpose. I guess the price difference between the Singolo model and the current Canta is not only because of the accessories. But either way, I can’t fault Kiwi Ears for anything in terms of accessories this time around. A better cable with a balanced connection? We’d better wait for the sound section.

Construction and Design

Kiwi Ears has not been very complicated in the external design of the Canta, but it is clearly functional and appropriate. The outer face is composed of a metal plate with three diagonal grooves, one in the center and the others near the edge. Near one vertex is the brand logo in white. The external shape is typical of an equilateral triangle with very rounded corners. The internal shape is also the classic semi-custom shape, with a minimal bulge at the rim and projected nozzles at its midpoint. They are integrated throughout the resin body, have a smaller diameter of 5.3mm and an outer crown of 6.5mm. The nozzle grid is metallic and perforated. There is a hole at the bottom of the nozzle and another hole next to the cable connection interface. This interface is fully embedded in the body and consists of the conventional translucent, rectangular plastic block with gold-plated tubes.
The cable is simple, consisting of four black plastic-coated strands, fully wound together. The gold-plated 3.5mm plug sleeve is metallic, black and cylindrical, with a groove near the cable exit. This exit is protected by a black rubber cylinder. The splitting piece is a medium-sized black metal cylinder and the pin is a plastic ring, also black, with a double hole through it in the shape of a figure eight. It has translucent over-ear guides and a separate black Velcro strap. The 2Pin 0.78mm connector sleeves are typical metal cylinders, slightly tapered at the cable exit, with two grooves near that point. The two connectors are mounted on rectangular plastic blocks, translucent for the left channel, red for the right.
That said, fully functional design, good construction in elegant black, with a stronger outer plate and a simple, effective, yet manageable, smooth and low stiffness cable. For what else.

Adjustment and Ergonomics

The semi-custom shape and hybrid construction of metal plate and smooth medical grade resin inside produces excellent ergonomics. The capsules are somewhat stubby, but their size fits perfectly in my pinna. The weight is very low and not noticeable. The over-ear guides do not get in the way. With my large foam-filled silicone tips I get a very good isolation, fit and comfort. Sometimes, the simple and conventional, proven and effective, can be the most appropriate.

Sound

Profile

According to the brand itself, the Kiwi Ears Canta have a vocal-centric tonality. In my opinion they possess a W profile with excited sub-bass, upper-mids and the mid-treble phase. On the other hand, if it were totally vocal-centric, the lower mids would have a bit more presence. It is true that there is a clear dip at the treble input, something that seeks to isolate the midrange, as well as that pronounced rise in the sub-bass. But something more than 10dB between the lower mids and the upper mids make me doubt that profile described by the brand. On the other hand, this disagreement is only in that definition, because this tuning is not bad at all.

Bass

It is worth remembering that the Kiwi Ears Canta are hybrids composed of a dynamic driver and two planar micro drivers. It is understood that the dynamic driver is in charge of the bass and the planar drivers of the rest. But the reality is that all drivers may be capable of reproducing the entire spectrum and the brand does not detail this aspect. Be that as it may, what the brand has sought are deep and clean bass, focused on the sub-bass. And that is how they sound, full of realism, with a good level of darkness and weight, average in amount of volume and elasticity. The texture is relatively smooth, not too much roughness is perceived and that increases the feeling of cleanliness and precision of the lower range. Despite the sub-bass boost it has, it is not a bass head level, but it is not a neutral bass either. The weight is felt in the mix and not quite cornered, despite the good physical and sensory character it possesses. This aspect comes through clearly in the very low frequency pure note test. At the audible end the Canta conjures up a realistic, dark, physical sensation with hardly any ripple coloration. The sense of depth and emerging strength merges with the naturalness of the sound, offering a great result, both sonically and in its behavior. Extrapolated to music, the bass of the Canta is relatively fast, slightly rubbery, but also dry, allowing a good level of precision. It does not generate too much ambience as it does not occupy much volume, just a little more than enough to be noticed in the aspect of punch and weight. On the other hand, its decay is not prolonged, leaving little aftertaste and disappearing adequately from the sound. It is clear that the drivers do not interfere with each other and, in the absence of a crossover, the bass sound is quite harmonious and balanced, as it does not feel affected by a bad behavior of any of the drivers.
In the dirty, complex and unfiltered bass test, the work of the Canta is very good. On the assumption that his role does not seek to be protagonist, the female voices are, he knows how to be relegated to a close second, without losing his composure and always responding effectively, naturally and realistically. He is able to handle complex situations with a precise and reliable behavior, being able to clearly discern bases and different bass lines, as well as differentiate layers regardless of their complexity. With a very good level of precision, resolution and detail, coupled with the smoothness of its texture, these complex situations never feel overwhelming, cluttered or chaotic. It knows how to put all this bass in its place, while maintaining a savoir-faire in front of the voices.

Mids

As I mentioned in the profile section, the Canta’s seek a vocal-centric tonality. They emphasize the sub-bass, the upper mids and sink the first treble. But they forget a bit about the lower mids, a region that is the base of male voices. The bass transition is clean enough, there is hardly any transfer. There is a bit of warmth, but the male voices are a bit thin, being overshadowed by other instruments, such as string instruments, which are higher pitched. Again, I miss again some more weight, thickness, strength, physicality and base in the lower mids. The difference between them and the upper mids is 10db, something that is supposedly to blame for such a recession. It is true that the bass descent in the curve is not the fastest and some energy is maintained at the beginning of the mids, something that gives naturalness to the timbre and prevents it from being too thin. But, for an IEMS that sells itself as vocal-centric, it is not enough. But it is, if this forced adjective is not taken into account. It is true that the sinking of the first treble helps to isolate the voices, preventing the details from taking over the limelight. The flashes are cut in the first instance and also the stridencies, leaving somewhat more naked voices, but also rounder, fleshy and analogical, free of sibilance. The rest of the instrumentation is no stranger to this behavior. But, far from sounding dry, I think that the clarity achieved with the drivers, provides a remarkable brightness and transparency, within a profile that does not feel vivid or splashy, but more restrained and smooth. The result is an organic, pleasant and musical midrange, where the female voices stand out with greater splendor and juice, expanding their body and base in a more differentiated way, but without feeling thick or heavy. In that sense, the good work of the drivers generates a capacity for precision that combines with a good level of resolution, clarity and sufficient unforced transparency, to recreate a more ideal environment for these female voices.

Treble

If you look at the graph, there is a clear containment in the first highs, a descent that limits the flare at its initial point. However, there is a sudden rise and a good extension into the incipient air zone. The result can be a bit unnatural at times. But, it is better than I could have hoped for. I understand that there is a game on the part of the brand, based on isolating the central range to look for more protagonist voices at the cost of reducing that initial brightness. As I said, it seems that something is achieved, but you also pay a small price for it, mitigating a range of treble in its initial phase and highlighting the second half. The result is a treble without too much initial shimmer, softened, but with power and energy in the later area to regain brightness and color. But, somehow, it may seem to end up losing some balance and homogeneity throughout the range. In the end, that initial softness limits the sibilance, favoring the reproduction of the voices and the second seeks to restore the lost harmonics.

Soundstage, Separation

The Kiwi Ears Canta draws a wide scene, with good depth and layering capability. It is accurate, airy, clean and resolving. It is very informative at the macro detail level, but incipient in micro detail, most of the time it can be intuited, but remains somewhat rounded or elusive. At first glance, its neatness and technical skill stand out. In the background, it lacks a little more depth, height and enveloping ability to generate a wider scene. For the price point, though, it’s remarkable. There is that planar precision and that clean, transparent, evident and clear reproduction. But it struggles to resolve the fine details. At times, it’s easy to think that that sinking in the treble can prevent that sparkle. At other times, it just feels diluted. But, hey, the competition isn’t much better either.
Imaging is concise, the skill of the drivers allows for obvious and appropriate positioning. Provenance is clean and well defined, though perhaps a bit too up front.

Comparisons

TinHiFi T5s

Despite that drop in the early treble, I can’t deny that I like this profile, with a few tweaks. And, as I say, I can’t deny it because I have given good marks to other IEMS with similar frequency response. The first and oldest, the NS Audio NS3, with a very similar drop between mids and treble, but with less extension in the upper range. It remains sparser, drier and less juicy, and technically more limited. In second place are the recent TinHiFi T5s, some IEMS that I enjoyed very much during their review. And these are the ones chosen for this comparison.
On the physical side, the T5s are built like a tank in lightweight aluminum with a pronounced semi-custom shape. If their design fits in the ears, their ergonomics will be very good. The Canta’s are simpler, lighter, smaller and do not have such a pronounced shape on the inside. This means more freedom in the fit and fewer parts that physically touch our ears. This, together with the lower weight, gives it a superior point in comfort, although the fit is not so strict and unique. The shape of the T5s only allows for one position inside the ears and if it fits it’s perfect. But perhaps not so universal.
The price of the T5s is higher at $129, it has a better cable, a slightly more premium case, two sets of silicone tips, a pair of foams and some other miscellaneous accessories. The Canta has a good, classic brand case, three sets of tips and a thinner cable. They are only $89.
It can be seen that the curves are similar. The T5s have a bit more sub-bass and a steeper bass roll-off. However, it is smoother in the upper mids, with a more subdued decay in the early treble, albeit with less air. The Canta’s have slightly more weight between the bass and lower mids, more excitement in the upper mids, and more treble extension. The Canta’s are easier to move than the T5s.
The bass of the T5s has some roughness and more texture than the Canta. The Kiwi’s are smoother, somewhat rounder, perhaps darker, but less physical. The roughness of the T5s gives it a more enjoyable air of realism and elasticity. The Canta’s seem more technical, restrained and tight. Great behavior of both in the very low frequency fixed tone test, with a little more power in the T5s. Also very good behavior in the dirty and unfiltered bass test. Very good performance in both, with that difference in the bass surface, a little more overall presence and color in the T5s.
You have to recognize the value of the Canta’s in the vocal aspect versus the competition. On many occasions I have commented that I find the lower mids somewhat hollow. Neither model escapes this sensation, but in the Canta this effect is less pronounced. It is also conjugated with somewhat sparklier upper mids and better driver resolution in them. The T5s are somewhat softer, a bit more diffuse and subtly darker.
The treble of the T5s is more diffuse, softer and cleaner. There is a bit more energy in the Canta’s, they are thinner and less rounded, generating a different, oddly enough, more excited timbre. It is clear that the skill of the drivers plays its role in the Canta, offering superior technical performance, greater cleanliness, cleanliness, transparency and separation. The background is more diffuse in the T5s, losing some resolution and sharpness in the background. The image is clearer and more obvious in the Canta.

Conclusion

Kiwi Ears has used a great set of drivers for the Canta. And they have taken a risk with a tuning they call vocal-centric. Starting from a great lower range, the transition to the mids is smooth and a bit thin. While most of the weight is put on the upper mids, but in a controlled way. The first treble is recessed, although the second half recovers with strength and extension. This profile seeks to give prominence to the voices. With female voices it clearly achieves this, while with male voices it surpasses its opponents, but it is not distinctly “vocal-centric”.
The drivers work very well and all of them are very accurate, resolute, informative, efficient, crisp, transparent and clean. But they feel victimized by their tuning. One may think that, with another tuning, the result of the Canta’s would be superior. Virtues are not lacking.
Finally, excellent ergonomics, light weight, a good set of accessories and a decent cable are worth mentioning.

Sources Used During the Analysis

• EPZ TP50.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Aune M1p.