A Quabrid With Five Drivers

Ratings

Pros

• More luminous and brighter tuning compared to the new META tuning.
• Very technical, well behaved and sufficiently textured bass.
• Very high clarity, separation, transparency and resolution in the mids.
• Crisp treble.
• Excellent separation and stage.
• Size and ergonomics.

Cons

• The first half of the mids can be a bit thin and lean.
• The zippered case is a bit narrow for the size of the capsules.
• There is no balanced plug option.

Purchase Link

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

Link to the WEB

https://kiwiears.com

Introduction

Kiwi Ears again. After reviewing several new models from the brand, I was keen to try one of their previous successes: the Kiwi Ears Quintet. The Kiwi Ears Quintet are a quabrid, as they use four different types of drivers. They are called Quintet because there are five drivers in total: 1DD + 2BA + 1 Planar + 1 PZT. For the dynamic driver a 10 mm DLC (Diamond-likeCarbon) diaphragm is used. The two BA drivers are made by Knowles and take care of the midrange. The planar driver uses the new Micro Planar Transducer (MPT) technology and is responsible for reproducing the treble. Finally, the piezo driver is used via bone conduction and is responsible for reproducing the higher treble, the micro-detail and the air area. The capsules have a semi-custom shape and are 3D printed. For the outer side, a metal plate has been used. The interface is the classic and popular 2-pin 0.78 mm connector. From its frequency response, it looks like the predecessor of the latest model, the KE4, but with a more classic frequency response and bright upper mids. Let’s take a closer look at this fine model from last year.

Specifications

• Driver Type: 1 dynamic diamond-like carbon (DLC) driver, 2 balanced armature (BA) drivers, 1 planar magnetic driver and 1 piezoelectric bone conductor (PZT).
• Frequency Response: 20Hz – 30kHz.
• Sensitivity: 108dB (1kHz/mW).
• Impedance: 32Ω
• THD: <1% (1kHz).
• Nominal power: 5mW.
• Maximum power: 10mW.
• Jack Connector: SE 3.5mm
• Capsule Connection Type: 2Pin 0.78mm
• Cable: high quality oxygen free silver plated copper.
• Cable Length: 1.2m.
• Starting price: $219.

Packaging

The Quintets come in the usual Kiwi Ears packaging, measuring 112x131x65mm. On the front is a realistic photo of the capsules. The brand logo is on the top left. To its right is the brand slogan. At the bottom, the model. On the back of the box there is hardly any information, apart from the brand name, while the specifications are on the side. The entire outer cardboard is grey and the tone is black and white, and the lettering is white. The inner box is black with the logo in silver. When you lift the lid, you see the capsules in a foam mould lined with black cardboard, with the white logo on the bottom right. Behind this layer is the classic zippered case. Inside are the rest of the accessories. In a nutshell:

• The two Kiwi Ears Quintet capsules.
• One 4-strand cable.
• One set of narrow channel black silicone tips, sizes SxMxL.
• One set of wide channel black silicone tips, sizes SxMxL.
• One black zippered carrying case.
• One instruction manual.

Two sets of tips are not bad, but for a price of more than 200$, it can be improved. The cable is not bad, but I still miss a balanced connector, or at least the option. I like the zippered case.

Construction and Design

The capsules of the Quintet are 3D printed in black resin. The outer plates are metallic and grey. The brand logo is inscribed on the right capsule and the model name on the left. The shape of the capsule is semi-custom, but the outer face is more triangular and elongated than usual, with nicely rounded corners, but without that African continent shape. The connection interface is fully assembled on the edge of the capsule, almost flush. There is a small hole next to this connection plate and there is another one beyond, in the curve. The inner face is smooth and shiny, with a bulge at the edge and the nozzles are well projected and raised. They have two diameters: the inside is 5.55mm, while the crown measures 6.4mm. The grille protecting the interior is black and metallic.
The cable is the brand’s classic. It has four intertwined strands, each of which is a dark copper colour. The plug sleeve is a smooth, shiny metal cylinder. It has a recessed ring on the side of the 3.5 mm SE gold-plated connector, while the other end has two and a transparent plastic protecting the cable outlet. The splitter piece is of the same type, but half the size. The pin is a shiny metal disc with two holes inside that does a good job of fitting the cables, as it is not easy to slip. The sleeves of the 0.78mm 2Pin connectors are smooth, shiny cylinders with two slots near the cable outlet. In the continuation of these, their shape becomes slightly conical. The two pins are mounted on rectangular black plastic bases. The cable has over-ear guides.
Ultra-lightweight capsules, slim and simple design. It’s a good cable, but I still miss the balanced plug option.

Adjustment and Ergonomics

The Quintet capsules are somewhat slimmer and have a semi-custom design, but are more triangular and elongated in shape, which seems to improve ergonomics. The mouthpieces are more projected and, when coupled with suitable tips, the fit is superior, very snug, durable and occlusive, allowing a high level of isolation to be achieved. Only the protrusion of the rim that serves to anchor the capsules to our ears might compromise comfort. However, the thinner, slimmer and more streamlined shape of the earcups allows for a better fit and ergonomics, without allowing for movement. It’s a shape that’s well-suited for hours of outdoor use, even for sports, thanks to its durable fit and low weight.

Sound

Profile

The Kiwi Ears Quintet has a similar profile to the Harman Target 2019. It is a U-profile with upper mids and first highs that are pronounced and full, but without being bright. They show a good level of balance, with a 10 dB deviation from 20 Hz to 8 kHz, without significant peaks, which gives an idea of their homogeneity. It is focused in the sub-bass and also in the first treble range, generating a clean, vibrant, informative and bright sound. The Quintets move away from the darker profile that is a current trend, like their KE4 siblings, where the energy level is significantly reduced from 1000 Hz onwards. They may not have as full mids as those KE4s, but they definitely have more light, transparency and brightness, with a similar amount of bass. In my opinion, the Quintets are more neutral than the KE4s, with less warmth and more of a regular tone throughout the frequency range.

Bass

I find it increasingly difficult to say anything different about the bass of the IEMS I review, I have to admit. The Quintet uses a dynamic driver with a 10 mm DLC (Diamond-likeCarbon) diaphragm. This type of driver is known for its high responsiveness, tensile strength and fast decay rate. This results in agile, fast, low-damping, dry and tight bass. Its colour is not too dark or deep. It tends to be more clean than full and the amount of volume is not very extensive. It is not a bass that floods the low end, but rather focuses more on the sub-bass, though without being definitely too noticeable. It has a certain level of texture and is not characterised by being blatantly smooth or dense. As it is not very present in the mid-bass, its extension, weight and quantity are not perceived as very high, and it is very permissive with the rest of the frequencies. It has a good level of impact, but will not be remembered for its punch, presence or energy. Despite the increased sub-bass, the level of cleanliness and ability persists.
In the very low-frequency pure tone test, a very sensory first tone stands out, barely audible and with an excellent physical behaviour, which implies a sensation of colouration that is practically null. The vibrational character is low and does not influence too much, so the reproduction is quite natural, although it lacks a little more darkness, depth, density and volume.
In the dirty, complex and unfiltered bass test, the cleanliness and focus in the sub-bass is noticeable. The bass is never dense and gives way to the upper frequencies. It is neither invasive nor predominant. The lines are well marked, but very sub-bass oriented. A presence persists that is neither dark nor too deep, but shows a great ability to follow and reproduce the dirtiest and most complex bass with great ease and fluency. The representation of the bass lines is crisp, somewhat thin, very well delineated, with an excellent level of resolution and precision. Bass drums are very concise, but have a good sense of texture that prevents them from being too dry or sterile. Speed and very low decay are obvious. Thus, stratification, layering and separation between the dirty bass lines and the kick drums are evident. Without a doubt, this is a technically very good low end, albeit somewhat tighter in presence, volume, energy and power.

Mids

The Quintet’s excellent bass cleanliness allows the midrange to unfold clearly and prominently. There is no intrusion or bleeding in the treble. The sense of warmth is relatively low. The mids are not distinctly bright, but there is a remarkable sense of balance that generates a perception of neutrality in tone and timbre.
Starting with the male voices, their portrayal falls somewhere between thinness and a more physical feel. The first part of the mids is not very warm, nor thick, nor dense, nor physical. But it’s not completely lean either, hence that neutral feeling. Admittedly, I like it to have more body in this zone, but the level of cleanliness, crispness and clarity is very well achieved and offers a sense of air, separation and space in the early mids. The instrumentation in this zone is perceived as very well defined, with a very measured and tight physical part, with a presence two steps away from the listener, but very well represented. But, perhaps, the most remarkable thing about this part is the control and timbre: everything is very well defined and shaped, so that it sounds remarkable, without being remarkable in presence, and, most importantly, without having an analytical profile at all. In this way, the best way to define this first half of the mids would be to use the word ‘purity’. I certainly think it is a neutral, measured, clean, concise, harmonious and rather rich purity, which manages to avoid sounding dry, austere or sterile.
In the upper mids, that sense of clean neutrality is maintained, despite its greater excitement. A low physical presence persists, but with a very controlled level of brightness. There is undoubtedly a higher amount of energy in this second half, albeit without a predominance of detail over base. And this is another of the Quintet’s strengths: how it achieves great balance throughout the harmonic range. Here there is no sense of forced excitation of the details, but they form part of the sound in a more organic and natural way, much more homogeneous and cohesive. In this way, the level of neutrality and purity is reaffirmed, and the musicality is enhanced, as the notes are projected from their base to a very well extended harmonic end, always under a level of energetic restraint that is sufficiently restrained so as not to sound excited, vivid or too splashy. Another good virtue is how it sounds transparent and luminous, without being too sibilant. Again, it fully exposes the great control over the range drivers and the great tuning of the BA’s to sound quite natural and very rich.

Treble

One could say that the Quintet’s treble is crisp, but in moderation. I can’t deny a remarkable level of energy and brightness, but under an umbrella that prevents it from being too penetrating or subtle. It’s all about power under control. The first part of the treble is very explicit, then there is a clear zone of control, very well calculated, that prevents the high end from sounding clipped or unnatural. Later on there is a quick recovery in the air zone, which justifies that fuller, naturally bright and cautious sonority. Kiwi Ears has undoubtedly managed to enhance the virtues of each driver used for each frequency range. Here, the micro planar driver (MPT) brings out its full potential, generating a high end that is full of energy, but very finely tuned and limited at just the right point of neutrality, a little brighter. The PZT piezo driver then takes care of the ultra-high frequencies.

Soundstage, Separation

The Kiwi Ears Quintet have a somewhat thin presentation of notes. From bass to treble, the elements are fine, moving away from dense or bushy exposition. This creates a rather noticeable sense of separation, with concise, well-defined elements and a high level of resolution. I don’t think this is a purely analytical sound, but the level of precision of all the transducers used is unquestionable.
The sound has a fairly rounded sound stage, with a semi-spherical impression in which nothing seems to stand out (depth over width, although the height is somewhat less). The certain dryness of the sound makes the notes feel attached to their development, something that makes their definition very marked, precise, very well outlined and limits the sensation of volatility of the whole. Thus, the image of the elements is very well focused, with a clear perception of their origin.
Macro detail is very good, without sounding overwhelming or forced, but quite natural. Micro detail is less than excellent, perhaps because of the easy and quick perception at the macro level that can obstruct or overlap the smallest objects. However, so much separation and such well-defined definition provides a very discernible background that favours the advantageous display of much detail.

Comparisons

Simgot SuperMix 4

It was clear that the Quintet’s most direct competition is the Simgot SuperMix 4, another quabrid but newer. Both have 1 DD + 1 BA + 1 Planar + 1 PZT, but the Quintet has one more BA, and the Simgot costs $150, compared to $219 for the Kiwi. Both models are simple in terms of accessories. The Quintet has two sets of silicone tips, versus just one set for the Simgot. I prefer the Simgot’s cable and case, although the Quintet is fine with both. However, the SuperMix cable is thicker, compared to the softer and more manageable cable of the Quintet. The Simgot’s larger and roomier oval case also seems superior to me.
The construction of both models is similar: resin on the inside and metal on the outside. The Quintet looks more streamlined and a little less thick. The Simgot are slightly rounder and with a more pronounced inner shape. There is a noticeable change in the inner ergonomics and the angle of the mouthpieces, because the Simgot seem to fit a little deeper than the Quintet, which seem to float a little more. As a result, the fit seems to be a little more perfect on the Simgot.
The profile of both models is very similar up to 1000 Hz. Thereafter, the Simgot has a more pronounced rise, while the Quintet maintains a higher energy level in the initial high frequencies. At that same point, the Simgot is softer and offers a more sedate and relaxed treble, but with very good extension.
Both models generate a very similar amount of sound pressure at the same power. But the Quintets are slightly easier to move.
As I said in my review, the Simgot’s bass is cornered in the sub-bass. I haven’t commented on that about the Quintet. It is clear that sensations change over time, even within weeks. It is possible that my comments about the SuperMix 4’s bass might have seemed negative. That was not my intention. It was just a sense of frustration, as if the bass, so capable, fell short of something better for my taste. With the Quintet, on the other hand, I have been somewhat more positive. But now, face to face, I find many similarities between the two models. The technical level of the bass is very similar, and the sub-bass orientation makes them very clean and with little volume. I miss a bit more darkness in both models. In the very low-frequency pure tone test, the resemblance is tremendous; they sound the same. However, I would say that the Quintet’s bass has a little more texture, a little more impact, while the Simgot’s have a little more darkness and depth. But the differences are subtle.
The first half of the mids is also perceived in a similar way. The difference is in the harmonics and, perhaps, in a greater clarity and precision in the Quintet. The Simgot’s sense of darkness makes their sound more cohesive, more compact and somewhat denser. The Quintets are a little more volatile and that gives them a little more projection, generating a little more space on the stage, as well as a point of greater freedom.
The earlier elevation of the upper mids of the Simgot gives them a point of more liveliness and grounding in the female voices. However, the Quintet offers a higher projection, more light, more clarity and a point of brilliance. Thus, the notes sound a little thinner, but more defined and precise. The Simgot, on the other hand, have a point of warmth that brings a calmness and a differential musicality. These are two slightly different tastes.
The Quintets have a more energetic, expressive, fine and crisp treble that will delight treble-heads. The Simgot, on the other hand, are softer, less bright, somewhat thicker and more controlled, but with very good extension, definition and informativeness.
There is more separation, resolution, transparency and precision in the Quintets. This gives them an advantage in terms of scene size and micro-detail. The Simgot’s sound is a little denser, a little warmer and more cohesive, less volatile and a little drier. Those looking for a softer, less sharp and somewhat more neutral, slightly heavier sound will find the SuperMix 4s an advantage. Those who want a slightly more analytical, expansive, bright, transparent and thin profile will enjoy the Quintet.

Conclusion

There is no doubt that, with models like these Quintets, Kiwi Ears has a hard time surpassing itself. While it is true that the Quintet is a model from last year and the KE4s are recent, the level they offer in this price range is very high for such a relatively new brand. The Quintet is a five-driver quabrid with a very clean, technical, low-end oriented bass. The mids are of excellent transparency, very well separated, crisp and clear. There is a slight excitation in the upper mids, which is more noticeable in the upper mids, an area that will be very welcome for the treble heads, thanks to its delicacy, finesse, informativeness, energy, extension and, of course, crunchiness.
The Kiwi Ears Quintet are based on capsules that keep in line with their great and previous creations, without too many surprises, with a combination of resin for the inside and metal for the outside, with a semi-custom design, excellent ergonomics and low weight. The accessory set is as usual, perhaps a little fair for the price, but totally adequate, except for the absence of a balanced plug.
Without a doubt, the Kiwi Ears Quintet is a brighter and more luminous alternative to the new META trend.

Sources Used During the Analysis

• iFi GO bar Kensei.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.