Fruit Vibrations

Ratings

Pros

• Interesting implementation of Kiwi Ears’ KVT.
• Sound with a clear physical component that sets it apart.
• Quality of the drivers used.
• Good level of resolution, informative and technical capacity.
• Outer face design.
• Value for money.

Cons

• The physical impact of KVT goes beyond the bass.
• You can hear echoes, loss of control, and more or less pronounced resonance with powerful bass and high volume.
• It’s more of a fun experimental combination than an enhancement of sound fidelity.
• A set of silicone tips, typical and basic cable from the brand.
• The capsules are relatively large for smaller ears. Perhaps they lack weight and density for better control of the KVT.

Purchase Link

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

Link to the WEB

https://kiwiears.com/

Introduction

What would a month of this year be without a new Kiwi Ears model? Well, the most prolific brand on the market is now venturing into new territory with a special new model. Introducing Kiwi Ears Étude, hybrid IEMS with a 10mm beryllium-coated dynamic driver that acts as a subwoofer, custom balanced armatures, and the innovative Kiwi Vibration Transducer (KVT). The KVT (Kiwi Vibration Transducer) in the Étude represents a major advance in vibration technology. Unlike traditional bone conduction drivers, the KVT works similarly to the miniature vibration drivers found in Bluetooth speakers. It uses powerful N52 neodymium magnets suspended by high-tension spring systems, which physically vibrate a conduction plate when activated by electrical currents. This innovative technology provides tactile vibrations, adding depth to the mid-low frequencies and enhancing the overall acoustic experience with a physical dimension to the sound.
At the heart of the Étude’s bass performance is a 10mm dynamic driver with an electroplated beryllium diaphragm, specifically designed to act as a subwoofer. This driver produces incredibly precise bass drum attacks and bass notes with body, speed, and control. When combined with the KVT vibration transducer, the bass takes on a deep rumble and three-dimensional imaging, delivering a surrounding and tactile listening experience that brings low frequencies to life.
Equipped with internally developed balanced armature drivers, the Étude delivers precise and dynamic sound reproduction. A single high-efficiency midrange driver ensures powerful, distortion-free fundamentals, making vocals and instruments sound full and accurate. This is complemented by a dual ultra-high-frequency tweeter that reveals the delicate micro-details and airy textures of music. Together, these drivers create a natural and coherent sound across the entire frequency range, with smooth transitions and exceptional clarity.
Kiwi Ears has meticulously designed the Étude to achieve an ideal tonal balance that combines precision and musicality. The sub-bass is boosted by 8 dB, giving it enough power to add depth without sacrificing clarity. A 250 Hz crossover ensures that the mids remain flat and neutral, preserving the natural character of vocals and instruments without coloration. The treble is finely tuned for comfort and resonance, completing the Étude’s refined and well-balanced sound signature.

Specifications

• Driver Type: 1 DD with 10mm electroplated beryllium diaphragm (subwoofer) + 3 BA manufactured in-house (midrange, treble, and ultra-treble) + 1 KVT vibration transducer.
• Frequency Response: 20Hz – 20kHz.
• Sensitivity: 104dB SPL/mW.
• Impedance: 5Ω.
• Jack Connector: 3.5mm SE.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable Length: 1.2m.
• Starting Price: 119$.

Packaging

The Kiwi Ears Étude come in the brand’s classic box, measuring 117x133x49mm. On the front, you can see a real photo of the two capsules on a background that varies in color from orange-pink to orange-yellow. At the bottom is the model name in large yellow letters. At the bottom there is a black strip with the full name of the model and its drivers. In the upper right corner is the brand logo on a black background, below which, on a white background, is a description of the model. On the back, at the top, are all the logos of the regulations that the product complies with, followed by the name of the product and its drivers. Next are the brand and importer details. The specifications are on one side and the model description is on the other side. After removing the cardboard, you can see a black box with the brand logo in silver. Once the lid is lifted, there are two parts: the upper part contains a foam mold lined with black cardboard that holds the two capsules. The lower part is a black cardboard box with the brand logo in silver ink. This box contains the accessories. The complete contents are as follows:

• The two Kiwi Ears Étude capsules.
• A black PU case with a zipper and the brand logo in white.
• A warranty card.
• A user manual.
• A quality control card.
• A set of gray silicone tips with red cores in sizes SxMxL.
• A set of black silicone tips in sizes SxMxL.
• A set of white silicone tips in sizes SxMxL.
• A coiled cable with four black strands, a 3.5mm SE connector, a 2-pin 0.78mm interface, and Velcro tape.

The contents are standard for this price range. For example, they are the same as for the Airoso model. Good case, somewhat standard cable, three sets of silicone tips. Nothing to complain about, except for the repetition.

Construction and Design

The Kiwi Ears Étude are IEMS made of semi-translucent black resin. The outer face reminds me of the Aether but with a different color combination. It features a glitter design layered in slightly wavy layers, combining various shades of gold, black, and light gray. In the middle is the brand logo in silver. This time, the edge of the outer plate is simpler and thinner, but with this shiny metallic touch. The shape of this face is triangular with rounded, ergonomic corners.
The inner surface is semi-custom with a slight protrusion on the edge. The capsules are relatively thick. The 2-pin 0.78mm interface is fully integrated into the capsules. Next to it is a hole, and there is another one on the edge, but on the narrow side. The nozzles are part of the body and are made of the same translucent resin material and have three holes. Their dimensions are difficult to measure due to the slight irregularity of the resin body, but they are approximately 5.8mm in diameter at their narrowest point, 6.4mm at the crown, and approximately 4.5mm in length. If you look at the capsules against the light, you can see the drivers and the electronic circuit board that forms the frequency crossover.
The cable is simple, consisting of four strands covered in black plastic, completely twisted together. The gold-plated 3.5mm plug casing is metallic, black, and cylindrical, with a groove near the cable outlet. This outlet is protected by a black rubber cylinder. The splitter is a medium-sized black metal cylinder, and the pin is a black plastic ring with a double hole in the shape of an eight. It has translucent guides on the ear and a separate black Velcro strap. The covers of the 2-pin 0.78 mm connectors are typical metal cylinders, slightly conical at the cable outlet, with two slots near that point. The two connectors are mounted on separate rectangular plastic blocks, translucent for the left channel and red for the right.
Perhaps what stands out most is the pattern on the outer surface, repeating the “success” of the Kiwi Ears Aether.

Adjustment and Ergonomics

The shape of the inner surface reminds me a lot of the Quartet model capsules, except that the Étude ones are larger and thicker. This means that the protrusion of the edge extends further and does not remain so close to the nozzles, improving ergonomics, as the edge does not touch the parts of the ear so fully. The nozzles are short, not too pronounced. But the softness of the inner surface and these more relaxed curves, despite the large size, fit my ears better. The surface of the capsule has quite a lot of contact with parts of my ear, which makes the vibration transducer feel quite clear. The amount of contact is essential for the physical sensation caused by the KVT and its bone conduction to be perceived to its fullest extent. That is why it is crucial that the capsules fit well in the ear, seeking to find tips that allow sufficient surface insertion so that they do not float. It is true that size can make it difficult for this transmission to be more or less complete. But, to a large extent, the secret to the success of this model lies in achieving the best fit and the largest contact surface. In my case, this is achieved to a high degree. It is even more comfortable than the smaller Quartet models.
Another thing to note is that the capsules resonate, even without music, with a click of the teeth can resonate. So I do not recommend these IEMS for use while eating, playing sports, or performing movements that can generate vibrations. The recommendations for use are in situations that are as static as possible.

Sound

Profile

The Kiwi Ears Étude are warm IEMS, slightly U-V shaped, with present mids that come forward early, while their highs are smooth. Their low end has a fairly extended sub-bass, far from being too inclined, which remains towards the mid-bass, enhancing the lower range. On the other hand, the capsule and KVT driver are capable of increasing the presence and power of the bass to a more physical level thanks to their resonant effect. It is clear that this property must be taken into account, as vibration can be a controversial factor. Its speed is not so well suited to rapid changes, which is something to bear in mind. However, in many situations, it provides a completely different sensory and physical experience that can be pleasant and distinctive.
The upper midrange excites more quickly than usual, but with a controlled amount of energy. The treble is smooth, with a medium energy level that tends to be on the low side, but achieves adequate extension.
In the frequency response, an artifact can be seen at approximately 175Hz. This may appear to be an artifact generated by the KVT driver effect and may be more or less pronounced depending on how much power is applied to the IEMS or how freely the capsules, which are responsible for propagating this physical vibration, can move.
The resonant effect can be minimized by using foam tips or similar accessories, as they absorb vibrations.

Bass

One of the biggest problems with vibration transducers is their behavior with heavy bass and certain bass frequencies, which can sometimes create unwanted resonance. I tend to consume large doses of electronic music, and testing the bass with my usual songs is a torture from which it is not easy to emerge unscathed if you have a driver like the KVT. In this case, the best and worst come to the fore with them. In most songs, the Études follow the bass, generating a resonance in accordance with the frequency reproduced. This vibration is also maintained for an appropriate amount of time, which tends to slightly lengthen the notes and amplify the power and physical sensation of the bass. However, there are times, with certain bass notes in specific songs, when the KVT driver generates a vibration that is not in tune with the acoustic frequency it reproduces, creating a dissonance between the audible waves generated by the DD driver and the audible and physical waves generated by the KVT driver. This resonance is perceived as the sound of a drum and is the result of uncontrolled vibration of the capsule. If the capsules are held tightly against the ears, this sensation almost disappears. Also, the amount of energy supplied has a lot to do with it, as the vibration level of the KVT will depend on the volume.
In very low frequency pure tone tests, the Étude performs better than expected. The LFOs (low frequency oscillation) have a slight audible wave-like character, combined with a truly realistic sound. During this test, the sound response seems to follow the vibration response efficiently, and only this wave-like character, which is both audible and sensory, negatively affects the final result. Another point to consider is the echo generated by the vibration of the capsule. This can be observed by tapping the outer surface of the capsules with your finger or fingernail: a clicking sound with an echo will be produced that will expand through your ear. Sudden changes in bass can generate a similar sensation, and this effect produces the feeling that the vibrations follow the bass, as their effect occurs a moment later, like an echo. I would also like to emphasize again that a greater amount of energy will generate more pronounced artifacts of this type. Minimizing the effect of KVT, the Étude headphones have deep, relatively fast, compact bass with a decay that feels altered by the operation of KVT.
In the dirty, complex, unfiltered bass test, the Études perform remarkably well, with no negative impact from the KVT. It is clear that the deepest, slowest frequencies do not cause any problems. On the other hand, the most dynamic, strong, dense, wide-frequency, and fast bass lines are the most difficult for the Études to reproduce, as they are potentially more resonant. The Étude handles complex passages with considerable skill, although the KVT sometimes does not follow the DD driver faithfully, generating that perceptible sonic duality. The result is a very capable dynamic driver, but a KVT that is not quite ready to keep up with the pace and, above all, the power handling of a wide variety of electronic music with bass of all kinds.

Mids

It is curious to note that the KVT transducer also has an impact on the midrange, even in the absence of bass. In acoustic compositions, deeper male voices are capable of activating resonance and adding a physical sensation that can vary between pleasant and slightly disconcerting until one becomes accustomed to the effect of the vibrations in our ears. Despite this, the first half of the midrange is quite full, with a good balance between thickness, body, physicality, and naturalness. The midrange begins with a clear sense of transparent warmth that tends toward exuberance, generating a very pleasant and complete analog musicality. There is hardly any dip or hollow in the mids, and despite those 9dB of ear cup gain, it seems that the KVT driver is responsible for adding a strong physical foundation to the sound of the lower mids. The KVT transducer moves more skillfully in the mids and in genres such as metal, injecting its physical strength as an extra boost of energy that amplifies the sound experience to a higher level.
On the other hand, it might seem that those 9dB of horn gain could be excessive and generate a sound that is too splattered, vivid, and bright. But the high-frequency tuning balances the result. The Études are not sibilant, but controlled and serene. They also have a good balance between the first half of the mids and the second half: while the low mids have a good presence, the upper mids are the star of the show, but without crossing that forced and bright line of other IEMS. If male voices tended to take center stage, female voices are clearly the protagonists, sounding dense, full, rich from start to finish, and loaded with strength, foundation, and nuance. But they are also controlled in terms of brightness, which makes them a little drier, but also more pleasant, musical, and sustainable over time.
Of course, the instrumentation is also very broad, complete, and extensive in the Étude’s midrange. Yu also benefits from the KVT transducer’s result, incorporating that playful physical aspect.

Treble

The highs of the Étude are in that smooth but rich range. These trebles are controlled in energy, but have enough sparkle to sound relatively fine, thin, incisive, and natural, without sounding false, dull, nuanced, or rounded. They have a slight crackle and an incipient sparkle that enhances and completes the other ranges, without a feeling of excessive brightness, but with a neutral and pleasant tendency.
The greatest amount of energy is found at the beginning, ensuring a more natural and believable feel. The energy level remains fairly stable, with a slight drop at 8kHz, but without generating hollowness or sounding unnatural. The treble is extended up to the airy region, but maintains a gradually decreasing amount of energy that ensures realism, guaranteeing bite, as well as careful refinement for its price level. It is true that the treble will not delight Treble-heads, but it will satisfy those looking for smooth, pleasant, musical treble, but with a touch of life, color, and sparkle.

Soundstage, Separation

The Étude’s soundstage is enhanced by the physical nature of its KVT transducer, which expands the soundstage in depth and adds an additional physical and volumetric component. An increase in the holographic impression of the sound can also be observed in certain situations. As the treble is not very prominent in the mix, the airy and volatile impression of the whole is somewhat more limited. The level of transparency is obvious, but it is associated with the remarkable separation of the elements rather than with the overall sense of brightness and light, as this aspect is more limited.
The macro detail is evident and pronounced, but without being heavy or overwhelming. It is more of a natural sound, exuberant and rich, but restrained, with a warm, pleasant, and musical tendency. Micro detail exists but struggles to emerge due to the echoes of the KVT transducer, and I think it could be more decisive in the absence of vibrations. It is not an analytical sound, but the DD+BA driver combination performs well in terms of information and clarity without reaching very detailed limits.

Comparisons

Apevoix Grit

If there is a benchmark for me in tri-hybrid models with vibration and bone conduction units, it is the Apevoix Grit. With an internal configuration of 1DD+4BA+1BC and a starting price of $219, just $100 more than the Étude. The Grit comes with a great cable, a set of silicone tips, a pair of foam tips, and a huge Pelican-style case. Both are relatively large and thick models. Their capsules have a different design, the Grit has slightly longer nozzles and the Étude has a more pronounced and curved inner surface. The Grit is a little larger and will be worse for small ears, but for me it is subtly more comfortable.
The profile of both models is very similar, with a very similar low end. The differences are in the upper mids and highs. The upper mids of the Étude are more advanced, have more energy, as do the highs, which are also more extended. The Grit are warmer. However, there is more favorable performance and better integration of the bone conduction driver in the Grit.
For some reason, it seems that the Grit capsules are denser and their BC does not have as clear an impact on the sound as the KVT in the Étude. Just as the bass in the Grit is more realistic and with much less vibrational echo, the Étude generates extra and more colored vibration. The Grit sound in unison, while the Étude, depending on the conditions, sound disparate and more uncontrolled.
The performance in the very low frequency pure tone test is quite good in the Étude. While the Grit are darker, they have a more uniform and diffuse sound. The Étude have a more pronounced undulating character and an echo with the KVT well matched.
In the dirty, complex, unfiltered bass test, the Études perform remarkably well, but their KVT gets out of control in extreme conditions. The Grits always remain in control and feel well-matched.
In the midrange, the BC of the Grit does not have such a clear impact, although its density is very high, which is perhaps a consequence of the use of its BC. In the Étude, its KVT is clearly noticeable, generating a volatile echo that subtly distances itself from the sound to refine it. While the Grit sound more complete, physically reinforced by their BC, the Étude sound more artificial and marked by the character of their KVT.
There is more energy and extension in the Étude’s treble, but the Grit achieve a smooth effect in energy, yet full in controlled brightness that is on par with IEMS of their class.
The expansive soundstage supported by the Étude’s KVT falls a little short when compared to the volume, weight, depth, and extension of the Grit’s soundstage. The Étude offers very good detail, resolution, and separation, although the Grit is better in terms of micro detail, precision, and, above all, realism and sound fidelity. The $100 difference is noticeable.

Conclusion

The Kiwi Ears Étude is perhaps one of the most interesting models from the brand and also in its price range. Kiwi Ears has notably integrated the KVT vibration transducer, and the physical sensation it transmits is obvious and evident, generating a perception of sound that goes beyond sound waves. However, the control is not absolute and the mix is more curious, fun, and striking than realistic, controlled, and reliable. Sometimes, the physical behavior of the KVT shifts from the actual sound of the other drivers, generating an echo sensation that is enhanced with volume. I would have liked denser capsules, where the resonance level was not so pronounced.
However, for the price range, the drivers that accompany the KVT are of very good quality and generate great sound on their own, while the KVT reacts in its own way depending on the music being played and the power level at which it is fed.

Sources Used During the Analysis

• iFi GO bar Kensei.
• EPZ TP50.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602 + ifi ZEN CAN 3.
• Tempotec MARCH V.
• Tempotec V3 Blaze.