Kiwi Ears Atheia
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Kiwi Ears Atheia
For those who prefer vegging-out
Intro & Disclaimer
This is Kiwi Ears’ third wired headphone and enters the unpredictable Wild West of Headphone Mid-Fi.
The Atheia is a 2-way medium sized closed-back vented headphone.
Many thanks to Kiwi Ears for sending over a review sample.
Product Information can be found here - [non affiliate link]
Build, Design & Ergonomics
The obvious standout feature of the Atheia is the design.
Their wooden walnut cups and extremely elegant suspension headband are well above what we’re used to seeing in this price bracket.
Some might say the wooden cups have been under-worked as they retain a very natural finish, which may be a welcome departure from the more common high-gloss varnish wooden cups which also helps keeps the final cost down.
Personally, I prefer to see the natural wood grain shown off in this way which is neither unfinished or too gaudy.
The auto-adjusting suspension strap is actually awesome.
Not only does it auto-adjust, but the adjustment slider have a smooth action with high friction resistance, and the distance between the headband arch and the suspension strap is tiny, making these arguably one of the very best looking suspension straps ever made, and something I wouldn’t bat an eye at if I saw someone wearing these outdoors.
My only concern is how these will look in 5-10 years as while the under-side is coated in a very well cushioned synthetic suede, the topside is pleather, which may not last quite as long.
At a glance, the cable looks a bit strange but I can assure you that it is anything but.
To start with, all the unique custom hardware is excellent and looks very high quality with it’s left right and colour coding, strain relief and knurled edges.
The main part of the cable is sheathed in a hard-wearing synthetic fabric weave which is stronger than rubber and resists stretching.
After the Y-split, the cable changes to semi-transparent rubber which is more flexible and resists transmitting friction noises up to the headphone, so this is a unique cable that actually combines the best properties of different materials where they are needed most.
The ear pads are quite large and very comfortable, definitely bigger and deeper than portable headphone pads, but not quite as cavernous as typical full-sized closed-back headphones.
They are made of synthetic leather, are extremely soft and have the typical ear mount ring, so pad-rolling is possible.
Unfortunately I wasn’t able to find a perfect replacement ear pad, more on that later.
Taking the pads off reveals the coaxial 14.5mm planar tweeter and 50mm dynamic driver, which appears to have a composite fibrous dome.
Removing the driver baffles reveals how the cups have been milled so that all other parts come together around the cups, which might be world first.
Usually wooden cups are decorative parts added to a plastic or magnesium frame, but in this case, the wooden cups are the starting point that the whole headphone is built upon, and one great small attention to detail you don’t see very often are the foam gaskets to ensure a consistent seal.
The Sound
I’ve heard way too many dual-driver coaxial headphones.
There’s only a handful of such vintage models I haven’t heard, and not for a lack of trying, because in principle more drivers is more surface area and more potential for exciting tuning tricks and interesting designs and therefore more fun!… in principle.
One of my favourite vintage closed-back headphones is the Technics RP-F1 from 1993 which uses it’s 50mm dynamic driver like a bandpass-subwoofer system and the 30mm dynamic driver takes care of the mids and treble, so it has a uniquely deep thunderous sub-woofer-like bass that almost no other headphone has ever replicated aside from the JVC HA-SZ2000.
The Atheia does things more conventionally, no tuning tricks beyond the paper damping around the tuning lens with no extra special porting or venting that I can see.
The benefit of doing things this way is that the presentation is also very conventional. There are no surprises in the imaging or soundstage and I’m very relieved to hear that the relationship between the two drivers is entirely cohesive; I don’t hear any obvious point in the tonal range where the planar takes over or interferes with the response of the dynamic driver.
This is where things get controversial.
The tuning is very weird.
I strongly feel it’s almost as if Kiwi Ears tuned this in the same way they tune IEMs.
For whatever reason many IEMs from many IEM brands always have to be different from the previous one in shape, size, colour and of course tuning.
Sennheiser would be the antithesis to this methodology, where so many of their headphones and IEMs look similar, feel similar on the head and sound similar, bordering on sounding the same in many cases because they’ve found that perfect relaxing middle-ground average that most people either like or can agree on.
So going back to the Atheia, it’s kind of extreme.
The treble is very dark, on average playing about 10dB lower than bass and mids.
On the whole, despite the obvious peaks and dips, enough of it plays at the right volume in the right places that it doesn’t actually sound bad.
Both timbre and detail are excellent, which is not something obvious until you crank it up using some tone controls or EQ.
The midrange is gently mid-weighted with a touch less energy above and below 1000hz, so it also doesn’t sound technically wrong. The 50mm driver is highly capable, rendering instruments and vocals that only sound very distant.
The bass I feel will be the most contentious part of this headphone’s tuning.
The almost overwhelming low-bass hump is the stand-out feature.
This will make or break the music for you depending on your taste, exactly what you’re listening to, and how much EQ you’re willing to use.
Thankfully it’s not in the mid-bass.
If you EQ this headphone with a more normal, linear bass shelf and bring out some more treble in the right places, these sound freaking fun, edging closer to high-end.
If you don’t EQ them, some songs almost have an under-water kind of quality. That might sound completely unattractive to some of you, but I’ve met people who actually enjoy that kind of presentation, so while they’re not objectively correct, it’s always best to reserve judgement and be patient with new headphones.
Another way to understand this kind of stock tuning is how some large floor-standing loudspeakers sound like.
With that in mind, I’m immediately reminded of the Bowers and Wilkins P9. Don’t get me wrong, the Atheia sounds nothing like those abominations, but I think the Atheia is almost exactly what the P9 should have sounded like.
It’s a much more refined attempt at making a wildly unconventional tuning.
Comparison
I can only think of one headphone I own that I want to compare this with, as it is also a wooden cup, medium sized closed-back, the JVC HA-SW01; almost suitably it also has an unconventionally warm tuning.
Switching between the two, it’s obvious that the Atheia is voicing instrumentals and vocals with more distance and scale.
Not only does the singer sound further away but the staging is a touch larger.
The JVC sounds more immediate, forward and detailed with focus on accuracy and technicals, while the Kiwi sounds bigger, smoother and more relaxing.
The SW01 is like big, technical paper-cone bookshelf speakers.
The Atheia is like big floor-standing speakers in an even bigger room.
Pad Rolling
I won’t waste your time with impressions or comparisons, let’s just get stuck into it.
I found three pads I have that were quite good replacements.
All of them are recommended.
Conclusions
I don’t like these headphones.
OK, that’s not entirely true. I don’t like the stock sound.
Using these at home, I have to feed them with my Fosi Audio SK01, I crank up the treble to 3 o’clock, and depending on the music I might turn the bass down a touch.
At that point, I like them, I just don't love them.
They’re smooth, fun, extremely bassy, deceptively detailed and above all very comfortable to wear for extended periods of time.
Something you only realise after weeks of listening is that since the emphasis is on the lower-bass instead of the sub-bass, that makes these actually less fatiguing, so longer listening sessions are possible.
It also means that low-volume listening is still very punchy, fun and even more balanced sounding, although still not completely technically accurate.
I’m not going to tell everyone to run out and get these because they’re not for everyone, but if you’ve reached this point in the review you should probably know by now if these are for you or not.
For those who prefer vegging-out
Intro & Disclaimer
This is Kiwi Ears’ third wired headphone and enters the unpredictable Wild West of Headphone Mid-Fi.
The Atheia is a 2-way medium sized closed-back vented headphone.
Many thanks to Kiwi Ears for sending over a review sample.
Product Information can be found here - [non affiliate link]
 |  |
 |  |
Build, Design & Ergonomics
The obvious standout feature of the Atheia is the design.
Their wooden walnut cups and extremely elegant suspension headband are well above what we’re used to seeing in this price bracket.
Some might say the wooden cups have been under-worked as they retain a very natural finish, which may be a welcome departure from the more common high-gloss varnish wooden cups which also helps keeps the final cost down.
Personally, I prefer to see the natural wood grain shown off in this way which is neither unfinished or too gaudy.
 |  |
The auto-adjusting suspension strap is actually awesome.
Not only does it auto-adjust, but the adjustment slider have a smooth action with high friction resistance, and the distance between the headband arch and the suspension strap is tiny, making these arguably one of the very best looking suspension straps ever made, and something I wouldn’t bat an eye at if I saw someone wearing these outdoors.
My only concern is how these will look in 5-10 years as while the under-side is coated in a very well cushioned synthetic suede, the topside is pleather, which may not last quite as long.
 |  |
At a glance, the cable looks a bit strange but I can assure you that it is anything but.
To start with, all the unique custom hardware is excellent and looks very high quality with it’s left right and colour coding, strain relief and knurled edges.
The main part of the cable is sheathed in a hard-wearing synthetic fabric weave which is stronger than rubber and resists stretching.
After the Y-split, the cable changes to semi-transparent rubber which is more flexible and resists transmitting friction noises up to the headphone, so this is a unique cable that actually combines the best properties of different materials where they are needed most.
The ear pads are quite large and very comfortable, definitely bigger and deeper than portable headphone pads, but not quite as cavernous as typical full-sized closed-back headphones.
They are made of synthetic leather, are extremely soft and have the typical ear mount ring, so pad-rolling is possible.
Unfortunately I wasn’t able to find a perfect replacement ear pad, more on that later.
 |  |  |
Taking the pads off reveals the coaxial 14.5mm planar tweeter and 50mm dynamic driver, which appears to have a composite fibrous dome.
Removing the driver baffles reveals how the cups have been milled so that all other parts come together around the cups, which might be world first.
Usually wooden cups are decorative parts added to a plastic or magnesium frame, but in this case, the wooden cups are the starting point that the whole headphone is built upon, and one great small attention to detail you don’t see very often are the foam gaskets to ensure a consistent seal.
 |  |  |
The Sound
I’ve heard way too many dual-driver coaxial headphones.
There’s only a handful of such vintage models I haven’t heard, and not for a lack of trying, because in principle more drivers is more surface area and more potential for exciting tuning tricks and interesting designs and therefore more fun!… in principle.
One of my favourite vintage closed-back headphones is the Technics RP-F1 from 1993 which uses it’s 50mm dynamic driver like a bandpass-subwoofer system and the 30mm dynamic driver takes care of the mids and treble, so it has a uniquely deep thunderous sub-woofer-like bass that almost no other headphone has ever replicated aside from the JVC HA-SZ2000.
The Atheia does things more conventionally, no tuning tricks beyond the paper damping around the tuning lens with no extra special porting or venting that I can see.
The benefit of doing things this way is that the presentation is also very conventional. There are no surprises in the imaging or soundstage and I’m very relieved to hear that the relationship between the two drivers is entirely cohesive; I don’t hear any obvious point in the tonal range where the planar takes over or interferes with the response of the dynamic driver.
This is where things get controversial.
The tuning is very weird.
I strongly feel it’s almost as if Kiwi Ears tuned this in the same way they tune IEMs.
For whatever reason many IEMs from many IEM brands always have to be different from the previous one in shape, size, colour and of course tuning.
Sennheiser would be the antithesis to this methodology, where so many of their headphones and IEMs look similar, feel similar on the head and sound similar, bordering on sounding the same in many cases because they’ve found that perfect relaxing middle-ground average that most people either like or can agree on.
So going back to the Atheia, it’s kind of extreme.
The treble is very dark, on average playing about 10dB lower than bass and mids.
On the whole, despite the obvious peaks and dips, enough of it plays at the right volume in the right places that it doesn’t actually sound bad.
Both timbre and detail are excellent, which is not something obvious until you crank it up using some tone controls or EQ.
The midrange is gently mid-weighted with a touch less energy above and below 1000hz, so it also doesn’t sound technically wrong. The 50mm driver is highly capable, rendering instruments and vocals that only sound very distant.
 |  |
The bass I feel will be the most contentious part of this headphone’s tuning.
The almost overwhelming low-bass hump is the stand-out feature.
This will make or break the music for you depending on your taste, exactly what you’re listening to, and how much EQ you’re willing to use.
Thankfully it’s not in the mid-bass.
If you EQ this headphone with a more normal, linear bass shelf and bring out some more treble in the right places, these sound freaking fun, edging closer to high-end.
If you don’t EQ them, some songs almost have an under-water kind of quality. That might sound completely unattractive to some of you, but I’ve met people who actually enjoy that kind of presentation, so while they’re not objectively correct, it’s always best to reserve judgement and be patient with new headphones.
Another way to understand this kind of stock tuning is how some large floor-standing loudspeakers sound like.
With that in mind, I’m immediately reminded of the Bowers and Wilkins P9. Don’t get me wrong, the Atheia sounds nothing like those abominations, but I think the Atheia is almost exactly what the P9 should have sounded like.
It’s a much more refined attempt at making a wildly unconventional tuning.
Comparison
I can only think of one headphone I own that I want to compare this with, as it is also a wooden cup, medium sized closed-back, the JVC HA-SW01; almost suitably it also has an unconventionally warm tuning.
Switching between the two, it’s obvious that the Atheia is voicing instrumentals and vocals with more distance and scale.
Not only does the singer sound further away but the staging is a touch larger.
The JVC sounds more immediate, forward and detailed with focus on accuracy and technicals, while the Kiwi sounds bigger, smoother and more relaxing.
The SW01 is like big, technical paper-cone bookshelf speakers.
The Atheia is like big floor-standing speakers in an even bigger room.
Pad Rolling
I won’t waste your time with impressions or comparisons, let’s just get stuck into it.
I found three pads I have that were quite good replacements.
| One was the Altiat Cal.1H velour pads. They made a smoother W-shaped tuning with a slightly more relaxed sub-bass. |  |  |
| Next was a random aftermarket fabric mesh pad I had lying around. It was actually a full-sized round pad, but it made a significant improvement to everything. I’m quite sure a similar oval shaped pad would bring similar results. |  |  |
| Finally, the aftermarket sheepskin leather RS195 ear pads produce the closest tuning to the stock sound, reducing the bass just a touch and boosting lower treble a tiny bit. |  |  |
All of them are recommended.
 |  |
Conclusions
I don’t like these headphones.
OK, that’s not entirely true. I don’t like the stock sound.
Using these at home, I have to feed them with my Fosi Audio SK01, I crank up the treble to 3 o’clock, and depending on the music I might turn the bass down a touch.
At that point, I like them, I just don't love them.
They’re smooth, fun, extremely bassy, deceptively detailed and above all very comfortable to wear for extended periods of time.
Something you only realise after weeks of listening is that since the emphasis is on the lower-bass instead of the sub-bass, that makes these actually less fatiguing, so longer listening sessions are possible.
It also means that low-volume listening is still very punchy, fun and even more balanced sounding, although still not completely technically accurate.
I’m not going to tell everyone to run out and get these because they’re not for everyone, but if you’ve reached this point in the review you should probably know by now if these are for you or not.
Preface:
You can purchase Atheia at the following link (not an affiliate link):
https://www.linsoul.com/products/kiwi-ears-atheia?_pos=1&_sid=f5dd61406&_ss=r
I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.
Disclaimer: This is a review unit from Linsoul however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by Linsoul, Kiwi Ears or any other entity for this review. My assessment is based solely on my personal experience with the product.
I do get to keep the unit after review but that had no influence over the opinions expressed below.
Sources used:
Kiwi Ears has become a notable name in the community, celebrated for their innovative and high-performing IEMs. They've consistently pushed boundaries, delivering impressive sound and design at accessible prices. I've been consistently impressed with their IEMs, from the Cadenza to the Orchestra Lite, Quintet, and KE4. Now, Kiwi Ears is channeling that innovative spirit into the over-ear headphone category. This year, they've launched a range of headphones: the Division (which I've already reviewed), Ellipse, Aventus, Ardor, and the Atheia, the focus of this review. It's a significant expansion for the company, and I'm eager to see how their design philosophy translates to a full-size headphone.
Box Contents:
Design and Build:
Okay, now let's talk about the headphones themselves. The wooden ear cups, crafted from Walnut, immediately caught my eye. There's something undeniably premium about real wood. The Kiwi Ears logo is etched into the wood. The ear cups attach to aluminum yokes, providing a mix of swivel in one direction and partial swivel in the other. The headband is a suspension style, which, in my experience, usually spells comfort.
The cable is where things get... interesting. It's a dual-material affair. The bottom half is a cloth material, thin but sturdy, in a black and white pattern. It feels nice in the hand. Then, it transitions to a plasticky, rubbery material for the top half. I'm not entirely sold on this. It can feel a bit odd against the skin, especially if you're wearing something with a collar. The cable uses a 3.5mm connector and features a chin slider—but why?. The connectors lock into the headphone, ensuring a secure fit, which is great until you want to use another cable.
The build quality, though? It's genuinely impressive. The Atheia feels solid, well-constructed, and worthy of its price tag.
Wearing Comfort:
The suspension-style headband is designed with support in mind. There's padding, and that's a plus for preventing those dreaded hotspots on the crown of your head. In fact, the padding is decent and definitely comfortable, though I would've preferred a thicker padding for even more plushness.
It's also worth noting that I have a relatively medium-sized head (lengthwise), and there's only about 20% room left for height adjustment. Those with larger heads should definitely take note of this, as it could be a limiting factor.
The ear cups themselves are generously sized, and the vegan leather pads are undeniably soft and plush. They offer a decent amount of give, and most ears should settle in comfortably. However, if you're unlike me and blessed with larger ears, you might notice they don't quite disappear inside the pads. It's not a deal-breaker, but it's something to be aware of. Also, be prepared for a bit of warmth. These pads, combined with the closed-back design, can lead to some heat buildup during those extended listening sessions. It's the nature of the beast, but something to keep in mind for those warmer days.
The clamp force strikes a middle ground—not too tight, not too loose. It's sufficient for casual listening, but if you're planning on any vigorous headbanging sessions, you might find them a tad unstable. The weight distribution, with those solid wooden ear cups, contributes to this. They tend to stay put, but the rest of the headphone can shift a bit during more intense movement.
Drivability:
Let's talk power! The Atheia, with its 32-ohm impedance, is easy to drive. The 3.5mm headphone out of my Mac Mini had no problem pushing it to satisfying volume levels. So, you don't need a dedicated amp to enjoy these. However, this is where things get interesting. I also plugged it into my Hugo 2, DC Elite, and Violectric V590 V2.
Here's the deal: while you can use portable sources, the soundstage and detail retrieval definitely improve a little with a good desktop setup. The control, the separation, the sheer authority of the sound is on another level. It's like going from a decent street performance to a well-rehearsed orchestra in a concert hall. You get the gist!
Sound Analysis:
Tonality:
The overall sound signature of the Kiwi Ears Atheia is, to my ears, definitely colored. It's not a neutral presentation by any stretch. If anything, I'd characterize it as an M-shaped signature. There's a prominent mid-bass emphasis, a leaner lower midrange, and a boosted upper midrange. It's a distinct departure from a flat or even a typical V-shaped response. Personally, I find this tuning somewhat uneven. It brings a certain excitement, but it also introduces colorations that might not suit everyone's taste. For instance, in tracks where the mid-bass is very prominent, it can sometimes overshadow the nuances in the lower midrange.
Sub-Bass:
The sub-bass in the Atheia is like a foundation that's present but not as robust as I'd prefer. It provides a sense of underlying rumble, but it doesn't deliver that deep, chest-thumping sensation. I find myself wanting a bit more of that visceral experience, that feeling of the air moving. It's a clean presentation, but it leaves me desiring a bit more weight and impact in those lowest frequencies. To be honest, it lacks a satisfying rattle.
For instance, listening to Hans Zimmer's "Why So Serious?" from The Dark Knight soundtrack, the deep, synthesized bass notes are there, but they don't hit me with the same intensity as I'm used to. It's a clean presentation, but it leaves me wanting more oomph in those low frequencies. On the other hand, in James Blake's "Limit to Your Love," the sub-bass pulses are present, but they lack the visceral, room-filling rumble that truly makes the track impactful.
Mid-Bass:
The mid-bass is where the Atheia injects a lot of its character. It's punchy, impactful, and energetic. It gives a strong rhythmic drive, making tracks with a prominent beat incredibly engaging. However, I also notice that this strong mid-bass can sometimes mask other frequencies, leading to a somewhat uneven sound. At times, it feels a bit boomy, which can cloud the clarity of the lower mids.
In a track like Daft Punk's "Get Lucky," the driving bassline and kick drum have a definite punch. It propels the song forward with a lot of energy. However, that mid-bass emphasis occasionally obscures some of the finer guitar details for me. Similarly, in rock tracks like AC/DC's "Back in Black," the mid-bass emphasis gives the drums a satisfying thump, but it can also make the guitars sound less prominent in the mix.
Lower Midrange:
The lower midrange on the Atheia often takes a step back, sounding recessed or lean. It lacks some of the warmth and body that I typically appreciate, which affects the presentation of male vocals and instruments in this range. Male vocals can sound a bit thin, missing some of that full-bodied weight. Acoustic instruments might lack some of that rich resonance. On the plus side, I do find the lower mids to be relatively clean.
When I listen to Leonard Cohen's "Hallelujah," his iconic voice sounds clear, but it doesn't quite convey the same level of depth and emotion. The acoustic guitar, while present, lacks some of its natural warmth. Likewise, in Norah Jones' "Come Away With Me," the piano in the lower registers sounds clean, but it lacks some of the richness and body that I'm used to hearing.
Upper Midrange:
The upper midrange is definitely a focal point on the Atheia, often pushed forward in the mix. It brings female vocals and certain instruments into the spotlight. Female vocals can sound very clear and detailed, which I enjoy for certain genres. However, I also find that this emphasis can occasionally lead to a shouty tonality, which I can find a bit fatiguing after a while. It can also make distortion pedals on guitars and other instruments in this range more prominent.
In a song like Alanis Morissette’s “You Oughta Know,” her powerful vocals cut through with intensity, but the overall presentation can become a bit much after extended listening. Similarly, in Taylor Swift's "Style," her vocals are brought forward, but at times they can sound a little shouty, especially in the louder parts of the song.
Lower Treble:
The lower treble on the Atheia generally aligns with the overall treble presentation: it's often subdued or rolled-off. It avoids harshness, which is a definite positive, but it also seems to lack some detail and presence. The initial attack of percussive instruments, like the crisp snap of a snare drum, is slightly softened.
For example, cymbal crashes in jazz pieces don't have that sharp attack and shimmer I expect. In rock music, the electric guitar riffs lack a bit of bite and edge. The detail is there, but it's presented in a more relaxed manner.
Upper Treble:
The upper treble continues this relaxed approach. It's generally not sibilant, which is good for avoiding harshness. However, it also lacks some extension, sparkle, and airiness, which contribute to a sense of openness and detail. I find it a bit recessed, and this impacts the overall resolution.
In a classical piece like Mozart's "Requiem," the violins and higher-pitched instruments don’t have the airy quality and extension that I'm used to. The shimmer of cymbals and the decay of high-hats in jazz music also sound a little subdued. While this makes for a smooth listening experience, it sacrifices some of the finer details and the sense of air.
Soundstage:
For a closed-back headphone, the Kiwi Ears Atheia often surprises with its soundstage. It offers a decent sense of width and depth, creating a more open feel than typical closed-back designs. The sound doesn't feel entirely trapped inside my head, providing some sense of space and separation.
Listening to a live recording like Eagles' "Hotel California (Live)," I can appreciate the sense of space and the placement of instruments on the stage. It's not as expansive as an open-back, but it's more open than many closed-backs I’ve experienced. Similarly, in Pink Floyd's "Dark Side of the Moon," the soundstage creates a sense of space, allowing for some instrument separation, although it doesn't reach the expansive, open feel of open-back headphones.
Layering and Separation:
The Atheia's layering and separation are decent, but not the best I've encountered. In complex tracks with many instruments and vocals, the individual elements can sometimes blend together, losing some of their distinctness. Imaging, or the ability to pinpoint the location of sounds, is generally accurate, but it could be more precise. Vocals are often placed forward in the mix, which affects the overall sense of layering.
In a complex orchestral piece like Gustav Mahler's Symphony No. 5, the various instrumental sections can merge, and it becomes challenging to focus on each individual part. In busy electronic tracks with many layers, like those from The Chemical Brothers, the distinct layers can become a bit muddled.
Timbre:
Timbre, or the perceived naturalness and realism of instruments and voices, is where I find a noticeable coloration with the Atheia. It can sound a bit colored or unnatural, a direct consequence of its specific tuning. This coloration, caused by the uneven frequency response and emphasis in certain areas, alters the perceived sound of instruments and voices. While it's not unpleasant, it doesn't deliver the accurate and realistic representation of acoustic instruments and natural voices that I prefer.
For example, a saxophone in a jazz recording doesn't have the precise brassy timbre, and a piano sounds a little off. The woodwind instruments in classical music also sound a bit colored, lacking the naturalness I expect.
Coherence:
The Atheia's coherence is an interesting point, influenced by its hybrid design with both a dynamic and a planar magnetic driver. While the drivers generally work together, there are moments where the transition isn't seamless, leading to inconsistencies. This manifests as tonal character inconsistencies across the frequency spectrum, where different frequencies sound like they're coming from different sources. The midrange, handled by the planar driver, can have a different character from the bass, handled by the dynamic driver, creating a sense of disjointedness.
It's like listening to a band where the instruments are slightly out of sync or have different tonal qualities. The bass guitar might sound disconnected from the vocals, or the treble frequencies might seem detached from the rest of the mix.
Detail Retrieval:
The Atheia offers good detail retrieval, but it's not exceptional, especially compared to others in its price range. It presents the main elements of the music with clarity, but the subtle nuances and micro-details aren't always as apparent. It's not as resolving as some headphones, and it doesn't reveal all the tiny details that I enjoy discovering in familiar tracks.
It's like seeing a painting from a distance – you get the overall picture, but you miss the finer brushstrokes and textures. Subtle nuances in recordings, like the reverb tail on a snare drum or the subtle inflections in a singer's voice, aren't as clearly presented as they could be.
Microdynamics:
Microdynamics, the subtle variations in volume that contribute to the expressiveness and nuance of music, aren't a strong suit of the Atheia. The emphasis on the mid-bass and upper midrange overshadows these finer dynamic shifts, making the overall presentation less nuanced. Louder parts are emphasized, and the quieter, more subtle parts are less pronounced.
It's like a performance where the loud parts are emphasized, but the quiet, intimate moments are lost. Subtle dynamic changes in a singer's delivery or the delicate variations in a piano performance are less noticeable.
Macrodynamics:
Macrodynamics, the larger swings in volume that create a sense of impact and scale, are generally handled well on the Atheia. It delivers punch and impact, especially in the mid-bass region. Explosions in movies or the impact of a drum hit are conveyed with a satisfying sense of scale and energy.
Think of a symphony orchestra. The Atheia captures the grand crescendos and powerful bursts of sound, but it might not convey the delicate pianissimo passages with the same finesse. The large dynamic swings in action movie soundtracks or the powerful drum hits in rock music are rendered with good impact.
Comparisons:
Kiwi Ears Atheia vs. Sony MDR-M1
So, where do we land with the Kiwi Ears Atheia? It's a headphone that brings a lot to the table. You get a really solid build, those wooden ear cups are undeniably classy, and the unboxing experience definitely feels premium.
However, the sound signature is where things get interesting, and potentially divisive. That M-shaped tuning, with its punchy mid-bass and emphasized upper mids, can be a lot of fun for certain genres, especially if you love female vocals to really pop. But it's not a neutral sound, and it might not be the best choice if you're chasing flat accuracy or a more balanced presentation. The sub-bass can be a bit lacking, and the mids can sound uneven.
Ultimately, whether or not you should consider the Atheia really depends on your priorities and preferences. If you value a unique, colored sound with a focus on mid-bass energy and forward upper mids, and you prioritize build quality and comfort, then they're definitely worth a listen. But if you crave a more neutral, all-arounder, or if you're sensitive to that kind of tonal emphasis, you might want to explore other options.
Linsoul Store links (None of them are affiliate links):
Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER
You can purchase Atheia at the following link (not an affiliate link):
https://www.linsoul.com/products/kiwi-ears-atheia?_pos=1&_sid=f5dd61406&_ss=r
I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.
Disclaimer: This is a review unit from Linsoul however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by Linsoul, Kiwi Ears or any other entity for this review. My assessment is based solely on my personal experience with the product.
I do get to keep the unit after review but that had no influence over the opinions expressed below.
Sources used:
- Mac Mini 3.5mm headphone port
- iBasso DC Elite
- iBasso D16 Taipan
- Hugo 2 + 2go
- Violectric V590²
Kiwi Ears has become a notable name in the community, celebrated for their innovative and high-performing IEMs. They've consistently pushed boundaries, delivering impressive sound and design at accessible prices. I've been consistently impressed with their IEMs, from the Cadenza to the Orchestra Lite, Quintet, and KE4. Now, Kiwi Ears is channeling that innovative spirit into the over-ear headphone category. This year, they've launched a range of headphones: the Division (which I've already reviewed), Ellipse, Aventus, Ardor, and the Atheia, the focus of this review. It's a significant expansion for the company, and I'm eager to see how their design philosophy translates to a full-size headphone.
Box Contents:
- Kiwi Ears Atheia
- Dual 3.5mm male to 3.5mm male headphone cable
- Carry case
- User Manual
Unboxing Experience:
The unboxing experience? It's surprisingly refined. You're greeted with a carry case, which is a nice touch. Inside the case, the headphones sit snugly and the cable in between. The case itself feels pretty decent, offering a good amount of protection for those times when you decide to throw the headphones in your backpack.
Design and Build:
Okay, now let's talk about the headphones themselves. The wooden ear cups, crafted from Walnut, immediately caught my eye. There's something undeniably premium about real wood. The Kiwi Ears logo is etched into the wood. The ear cups attach to aluminum yokes, providing a mix of swivel in one direction and partial swivel in the other. The headband is a suspension style, which, in my experience, usually spells comfort.
The cable is where things get... interesting. It's a dual-material affair. The bottom half is a cloth material, thin but sturdy, in a black and white pattern. It feels nice in the hand. Then, it transitions to a plasticky, rubbery material for the top half. I'm not entirely sold on this. It can feel a bit odd against the skin, especially if you're wearing something with a collar. The cable uses a 3.5mm connector and features a chin slider—but why?. The connectors lock into the headphone, ensuring a secure fit, which is great until you want to use another cable.
The build quality, though? It's genuinely impressive. The Atheia feels solid, well-constructed, and worthy of its price tag.
Wearing Comfort:
The suspension-style headband is designed with support in mind. There's padding, and that's a plus for preventing those dreaded hotspots on the crown of your head. In fact, the padding is decent and definitely comfortable, though I would've preferred a thicker padding for even more plushness.
It's also worth noting that I have a relatively medium-sized head (lengthwise), and there's only about 20% room left for height adjustment. Those with larger heads should definitely take note of this, as it could be a limiting factor.
The ear cups themselves are generously sized, and the vegan leather pads are undeniably soft and plush. They offer a decent amount of give, and most ears should settle in comfortably. However, if you're unlike me and blessed with larger ears, you might notice they don't quite disappear inside the pads. It's not a deal-breaker, but it's something to be aware of. Also, be prepared for a bit of warmth. These pads, combined with the closed-back design, can lead to some heat buildup during those extended listening sessions. It's the nature of the beast, but something to keep in mind for those warmer days.
The clamp force strikes a middle ground—not too tight, not too loose. It's sufficient for casual listening, but if you're planning on any vigorous headbanging sessions, you might find them a tad unstable. The weight distribution, with those solid wooden ear cups, contributes to this. They tend to stay put, but the rest of the headphone can shift a bit during more intense movement.
Drivability:
Let's talk power! The Atheia, with its 32-ohm impedance, is easy to drive. The 3.5mm headphone out of my Mac Mini had no problem pushing it to satisfying volume levels. So, you don't need a dedicated amp to enjoy these. However, this is where things get interesting. I also plugged it into my Hugo 2, DC Elite, and Violectric V590 V2.
Here's the deal: while you can use portable sources, the soundstage and detail retrieval definitely improve a little with a good desktop setup. The control, the separation, the sheer authority of the sound is on another level. It's like going from a decent street performance to a well-rehearsed orchestra in a concert hall. You get the gist!
Sound Analysis:
Tonality:
The overall sound signature of the Kiwi Ears Atheia is, to my ears, definitely colored. It's not a neutral presentation by any stretch. If anything, I'd characterize it as an M-shaped signature. There's a prominent mid-bass emphasis, a leaner lower midrange, and a boosted upper midrange. It's a distinct departure from a flat or even a typical V-shaped response. Personally, I find this tuning somewhat uneven. It brings a certain excitement, but it also introduces colorations that might not suit everyone's taste. For instance, in tracks where the mid-bass is very prominent, it can sometimes overshadow the nuances in the lower midrange.
Sub-Bass:
The sub-bass in the Atheia is like a foundation that's present but not as robust as I'd prefer. It provides a sense of underlying rumble, but it doesn't deliver that deep, chest-thumping sensation. I find myself wanting a bit more of that visceral experience, that feeling of the air moving. It's a clean presentation, but it leaves me desiring a bit more weight and impact in those lowest frequencies. To be honest, it lacks a satisfying rattle.
For instance, listening to Hans Zimmer's "Why So Serious?" from The Dark Knight soundtrack, the deep, synthesized bass notes are there, but they don't hit me with the same intensity as I'm used to. It's a clean presentation, but it leaves me wanting more oomph in those low frequencies. On the other hand, in James Blake's "Limit to Your Love," the sub-bass pulses are present, but they lack the visceral, room-filling rumble that truly makes the track impactful.
Mid-Bass:
The mid-bass is where the Atheia injects a lot of its character. It's punchy, impactful, and energetic. It gives a strong rhythmic drive, making tracks with a prominent beat incredibly engaging. However, I also notice that this strong mid-bass can sometimes mask other frequencies, leading to a somewhat uneven sound. At times, it feels a bit boomy, which can cloud the clarity of the lower mids.
In a track like Daft Punk's "Get Lucky," the driving bassline and kick drum have a definite punch. It propels the song forward with a lot of energy. However, that mid-bass emphasis occasionally obscures some of the finer guitar details for me. Similarly, in rock tracks like AC/DC's "Back in Black," the mid-bass emphasis gives the drums a satisfying thump, but it can also make the guitars sound less prominent in the mix.
Lower Midrange:
The lower midrange on the Atheia often takes a step back, sounding recessed or lean. It lacks some of the warmth and body that I typically appreciate, which affects the presentation of male vocals and instruments in this range. Male vocals can sound a bit thin, missing some of that full-bodied weight. Acoustic instruments might lack some of that rich resonance. On the plus side, I do find the lower mids to be relatively clean.
When I listen to Leonard Cohen's "Hallelujah," his iconic voice sounds clear, but it doesn't quite convey the same level of depth and emotion. The acoustic guitar, while present, lacks some of its natural warmth. Likewise, in Norah Jones' "Come Away With Me," the piano in the lower registers sounds clean, but it lacks some of the richness and body that I'm used to hearing.
Upper Midrange:
The upper midrange is definitely a focal point on the Atheia, often pushed forward in the mix. It brings female vocals and certain instruments into the spotlight. Female vocals can sound very clear and detailed, which I enjoy for certain genres. However, I also find that this emphasis can occasionally lead to a shouty tonality, which I can find a bit fatiguing after a while. It can also make distortion pedals on guitars and other instruments in this range more prominent.
In a song like Alanis Morissette’s “You Oughta Know,” her powerful vocals cut through with intensity, but the overall presentation can become a bit much after extended listening. Similarly, in Taylor Swift's "Style," her vocals are brought forward, but at times they can sound a little shouty, especially in the louder parts of the song.
Lower Treble:
The lower treble on the Atheia generally aligns with the overall treble presentation: it's often subdued or rolled-off. It avoids harshness, which is a definite positive, but it also seems to lack some detail and presence. The initial attack of percussive instruments, like the crisp snap of a snare drum, is slightly softened.
For example, cymbal crashes in jazz pieces don't have that sharp attack and shimmer I expect. In rock music, the electric guitar riffs lack a bit of bite and edge. The detail is there, but it's presented in a more relaxed manner.
Upper Treble:
The upper treble continues this relaxed approach. It's generally not sibilant, which is good for avoiding harshness. However, it also lacks some extension, sparkle, and airiness, which contribute to a sense of openness and detail. I find it a bit recessed, and this impacts the overall resolution.
In a classical piece like Mozart's "Requiem," the violins and higher-pitched instruments don’t have the airy quality and extension that I'm used to. The shimmer of cymbals and the decay of high-hats in jazz music also sound a little subdued. While this makes for a smooth listening experience, it sacrifices some of the finer details and the sense of air.
Soundstage:
For a closed-back headphone, the Kiwi Ears Atheia often surprises with its soundstage. It offers a decent sense of width and depth, creating a more open feel than typical closed-back designs. The sound doesn't feel entirely trapped inside my head, providing some sense of space and separation.
Listening to a live recording like Eagles' "Hotel California (Live)," I can appreciate the sense of space and the placement of instruments on the stage. It's not as expansive as an open-back, but it's more open than many closed-backs I’ve experienced. Similarly, in Pink Floyd's "Dark Side of the Moon," the soundstage creates a sense of space, allowing for some instrument separation, although it doesn't reach the expansive, open feel of open-back headphones.
Layering and Separation:
The Atheia's layering and separation are decent, but not the best I've encountered. In complex tracks with many instruments and vocals, the individual elements can sometimes blend together, losing some of their distinctness. Imaging, or the ability to pinpoint the location of sounds, is generally accurate, but it could be more precise. Vocals are often placed forward in the mix, which affects the overall sense of layering.
In a complex orchestral piece like Gustav Mahler's Symphony No. 5, the various instrumental sections can merge, and it becomes challenging to focus on each individual part. In busy electronic tracks with many layers, like those from The Chemical Brothers, the distinct layers can become a bit muddled.
Timbre:
Timbre, or the perceived naturalness and realism of instruments and voices, is where I find a noticeable coloration with the Atheia. It can sound a bit colored or unnatural, a direct consequence of its specific tuning. This coloration, caused by the uneven frequency response and emphasis in certain areas, alters the perceived sound of instruments and voices. While it's not unpleasant, it doesn't deliver the accurate and realistic representation of acoustic instruments and natural voices that I prefer.
For example, a saxophone in a jazz recording doesn't have the precise brassy timbre, and a piano sounds a little off. The woodwind instruments in classical music also sound a bit colored, lacking the naturalness I expect.
Coherence:
The Atheia's coherence is an interesting point, influenced by its hybrid design with both a dynamic and a planar magnetic driver. While the drivers generally work together, there are moments where the transition isn't seamless, leading to inconsistencies. This manifests as tonal character inconsistencies across the frequency spectrum, where different frequencies sound like they're coming from different sources. The midrange, handled by the planar driver, can have a different character from the bass, handled by the dynamic driver, creating a sense of disjointedness.
It's like listening to a band where the instruments are slightly out of sync or have different tonal qualities. The bass guitar might sound disconnected from the vocals, or the treble frequencies might seem detached from the rest of the mix.
Detail Retrieval:
The Atheia offers good detail retrieval, but it's not exceptional, especially compared to others in its price range. It presents the main elements of the music with clarity, but the subtle nuances and micro-details aren't always as apparent. It's not as resolving as some headphones, and it doesn't reveal all the tiny details that I enjoy discovering in familiar tracks.
It's like seeing a painting from a distance – you get the overall picture, but you miss the finer brushstrokes and textures. Subtle nuances in recordings, like the reverb tail on a snare drum or the subtle inflections in a singer's voice, aren't as clearly presented as they could be.
Microdynamics:
Microdynamics, the subtle variations in volume that contribute to the expressiveness and nuance of music, aren't a strong suit of the Atheia. The emphasis on the mid-bass and upper midrange overshadows these finer dynamic shifts, making the overall presentation less nuanced. Louder parts are emphasized, and the quieter, more subtle parts are less pronounced.
It's like a performance where the loud parts are emphasized, but the quiet, intimate moments are lost. Subtle dynamic changes in a singer's delivery or the delicate variations in a piano performance are less noticeable.
Macrodynamics:
Macrodynamics, the larger swings in volume that create a sense of impact and scale, are generally handled well on the Atheia. It delivers punch and impact, especially in the mid-bass region. Explosions in movies or the impact of a drum hit are conveyed with a satisfying sense of scale and energy.
Think of a symphony orchestra. The Atheia captures the grand crescendos and powerful bursts of sound, but it might not convey the delicate pianissimo passages with the same finesse. The large dynamic swings in action movie soundtracks or the powerful drum hits in rock music are rendered with good impact.
Comparisons:
Kiwi Ears Atheia vs. Sony MDR-M1
- Tonality: The Atheia presents an M-shaped sound signature, characterized by a boosted mid-bass, a leaner lower midrange, and a more emphasized upper midrange. In contrast, the Sony MDR-M1 generally aims for a more neutral and balanced sound. The Sony headphones are known for their relatively flat response, which is preferred by those seeking accuracy for monitoring or critical listening.
- Bass Response: The Atheia delivers a punchy and energetic mid-bass. This can be quite engaging for certain genres, but it might lack the sub-bass depth and rumble that some listeners crave. The Sony MDR-M1 typically offers a tighter, more controlled bass response, prioritizing accuracy over emphasis. The Sony headphones often extend deeper into the sub-bass region with better definition.
- Midrange Presentation: The Atheia's midrange is uneven, with a leaner lower midrange and a more prominent upper midrange. This can result in female vocals and upper midrange instruments being pushed forward, sometimes at the expense of warmth and body in male vocals and lower-midrange instruments. The Sony MDR-M1 generally provides a more even and natural midrange presentation, with greater balance between the lower and upper midrange frequencies. Vocals and instruments tend to sound more realistic and less colored on the Sony.
- Treble Performance: The Atheia's treble is generally subdued and relaxed, which helps to avoid harshness and fatigue. However, this can sometimes come at the cost of detail and airiness. The Sony MDR-M1 usually offers a more extended and detailed treble response, providing greater clarity and sparkle without necessarily becoming harsh.
- Detail Retrieval: The Atheia provides good detail retrieval, but it might not be exceptional compared to other headphones in its price range. The Sony MDR-M1 is often praised for its clarity and detail retrieval, especially in the midrange and treble, allowing for a more nuanced listening experience.
- Soundstage and Imaging: The Atheia can offer a surprisingly spacious soundstage for a closed-back headphone. Imaging is generally accurate but might not be as precise as some competitors. The Sony MDR-M1 generally provides a well-defined soundstage with precise imaging, contributing to a more accurate sense of instrument placement.
- Tonality: As mentioned a lot of times now, the Atheia has an M-shaped sound signature with boosted mid-bass, recessed lower mids, and emphasized upper mids. The Focal Azurys, while also a closed-back headphone, often aims for a more balanced or slightly V-shaped sound. Focal headphones generally prioritize dynamics and detail.
- Bass Response: The Atheia's mid-bass emphasis gives it a punchy and energetic feel, but it may lack sub-bass depth. The Focal Azurys typically delivers a more refined and controlled bass response, with good extension into the sub-bass and a focus on clarity and impact.
- Midrange Presentation: The Atheia's uneven midrange, with recessed lower mids and boosted upper mids, contrasts with Focal's approach. Focal headphones often prioritize a detailed and engaging midrange, though the exact presentation can vary by model. The Azurys is likely to provide a more forward and detailed midrange than the Atheia, though it might not be as relaxed.
- Treble Performance: The Atheia's relaxed treble aims to avoid fatigue but might sacrifice some detail and air. Focal headphones are known for their detailed and extended treble, which can sometimes be perceived as bright but contributes to their sense of clarity and excitement. The Azurys is likely to have a more lively and detailed treble than the Atheia.
- Detail Retrieval: The Atheia offers good detail retrieval but might not reach the level of the Focal Azurys. Focal headphones generally excel in detail retrieval, providing a clear and nuanced presentation of the music.
- Soundstage and Imaging: The Atheia's soundstage is surprisingly spacious for a closed-back, and imaging is decent. Focal headphones often provide a more precise and well-defined soundstage with accurate imaging, contributing to a more immersive listening experience.
So, where do we land with the Kiwi Ears Atheia? It's a headphone that brings a lot to the table. You get a really solid build, those wooden ear cups are undeniably classy, and the unboxing experience definitely feels premium.
However, the sound signature is where things get interesting, and potentially divisive. That M-shaped tuning, with its punchy mid-bass and emphasized upper mids, can be a lot of fun for certain genres, especially if you love female vocals to really pop. But it's not a neutral sound, and it might not be the best choice if you're chasing flat accuracy or a more balanced presentation. The sub-bass can be a bit lacking, and the mids can sound uneven.
Ultimately, whether or not you should consider the Atheia really depends on your priorities and preferences. If you value a unique, colored sound with a focus on mid-bass energy and forward upper mids, and you prioritize build quality and comfort, then they're definitely worth a listen. But if you crave a more neutral, all-arounder, or if you're sensitive to that kind of tonal emphasis, you might want to explore other options.
Linsoul Store links (None of them are affiliate links):
Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER
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