Pros: Very good technical bass and treble performance.
- Female vocals are forward and clear.
- More than acceptable level of separation.
- Very good ergonomics and low weight.
Cons: I perceive hollowness in the central range, something that offers a different representation of male and female voices, as well as less instrumental presence in the first part of the mids.
- The upper-mids might become a bit "hot" for some.
Introduction
The Kiwi Ears Dolce are the second IEMS I'm going to review from the brand based in Ireland and Manchester, but manufactured in China. There are now about 6 models of the brand. My first contact with them were the remarkable Quartet and I would have loved to try the Quintet, but it was not possible. On the other hand, I am lucky enough to be able to review the Dolce, IEMS that cost almost 9 times less... Yes, their price is 25$, so they are within a fairly low budget, although there is also a lot of competition in this range. What has Kiwi Ears done to try to stand out in this segment? Well, the Dolce has a 10mm dynamic driver with LDP (LDPE+LCP) diaphragm. This is an "innovative composite driver developed by cross-linked crystallisation of low-density polyethylene (LDPE) foils in a similar way to liquid crystal polymers (LCP). This strengthens the ultra-thin films chemically, ultimately improving their tensile strength and elasticity. Combined with powerful neodymium magnets, the LDP diaphragm driver delivers incredible performance with low total harmonic distortions across the entire frequency band. The LDP transducer is the next dynamic transducer solution for optimal audio resolution and tonal balance." On the other hand, They have been called Dolce alluding to their sweet, warm and rich character, yet also aiming for clarity, balance and naturalness. Let's see what is true in this introduction.
Specifications
Driver Type: Dynamic driver with 10mm LDP diaphragm.
Sensitivity: 102 ± 3dB.
Impedance: 16Ω ± 10%.
Jack Connector: 3.5mm SE gold plated.
Capsule Connection Type: 2Pin 0.78mm
Cable: High purity OCC cable.
Packaging
The Kiwi Ears Dolce come in a small box, whose dimensions are 80x91x35mm. The front side has a gradient blue background with curved lines that look like contour lines. In the centre is a realistic photo of the capsules. At the top, near the centre is the brand logo. To its right, the slogan "Live the music" and below it the model name as well as the diaphragm material, all in white lettering. The pattern is the same on the back and there is little information about the model on the back. Just icons of the certifications it holds, the model name, that it is made in China and the address of the brand's headquarters. After removing the outer cardboard, a white box appears with the brand logo in large green letters. After opening the box, you can see the capsules inside a black protective base, a black cardboard box and a warranty card. Inside the black box are the accessories, i.e. the cable and the set of tips to complete the three SxMxL sizes. Nothing else. It's also hard to expect anything else for 25$.
Construction and Design
The Dolce capsules are made of ultra-durable, 3D printed, medical grade resin. Their shape is semi-custom, medium-sized, even in thickness, very light. Their outer face looks like plastic and is painted with a gradient blue. The shape of this face is subtly pyramidal. However, it is actually made up of three faces: the two at the ends are flattened and the central one curves from one side to the other. Between them, they all describe the usual African continent outline. The inner side of the capsules is transparent. The 2Pin 0.78mm connection is a shallow QDC connection, which limits the choice of a spare cable. On the curved part next to the connector you can see the brand logo and the lettering indicating the channel inside a circle, all in grey ink.
The base of the nozzles has a good length, is designed for a good ergonomic feel and forms an integral part with the whole of the inner face. A small hole can be seen at the foot of the nozzles. The mouthpieces themselves have two levels, the first and narrower one has a diameter of 4.6mm and the second and outer edge has a diameter of 5.7mm. To protect them, they are covered by a dense metal grille.
The cable is somewhat more than the most basic. It is detachable and, as mentioned above, 2Pin 0.78mm QDC. It is made of high purity OCC copper. It consists of a 3.5mm SE gold-plated connector, with an L-shaped plastic sleeve. It is made up of two strands joined by a transparent sleeve. The splitter piece is a small black oval plastic piece. It has no adjustment pin, only that the wires are joined together up to a certain height. The 2Pin 0.78mm connectors have the classic QDC black plastic L-sleeve. On the inside of the sleeve, near the end, is the lettering indicating the channel, embossed. Needless to say, I am not a big fan of this variant of the 2Pin connection, because it limits the possibility of using any type of cable, although it is true that there are many options with this variant, it is not the most widespread. Although it is also true that the cable seems to be of sufficient quality not to change it: it has a good thickness, it is not very rigid, it is attractive and the microphony is low.
Adjustment and Ergonomics
This is perhaps one of the most remarkable non-sound aspects of this model. Actually, the ergonomics are very good. The shape is adequate, the weight is very low, the projection of the mouthpieces and their angle is almost perfect. The adjustment is immediate and does not require any repositioning, just insert and it's done. Once adjusted there is no rotation. I could say that this is one of the most suitable sets for intense, daily use, even for sport, running, etc. If you can find the right tips, the seal can be quite occlusive and the soundproofing high. The low weight of the cable and plastic sleeve also helps in this respect, making the Kiwi Ears Dolce IEMS very comfortable and lightweight.
Sound
Profile
The Kiwi Ears Dolce's profile leans towards a slightly brighter V. Although there is some linearity in the bass I don't think it adopts a U-profile, for that it should have a little more lift in the sub-bass and during my actual testing this was not the case.
On the other hand, I noticed something remarkable in the sound of the Dolce. In general, it is a bit dry, as if it lacks a bit more salt, sparkle, light or clarity, despite the good projection of the upper-mids and highs, I find that it lacks some juice in the whole frequency range. Although this may be because I'm not very used to IEMS of this budget range and "feel" like I'm missing "something" that is hard to describe. With the passage of time and a better brain burning I have managed to get into its kind of sound, to end up discovering the qualities it possesses.
Bass
As can be seen in the graph, the lower range is notably represented, although it is not the most present. It has good linearity from the sub-bass and this results in ample, if less sensory, bass. It also limits its speed and sense of precision. Don't get me wrong, the performance on a technical level is surprising for $25. The feel on every hit, the dryness and the compact bass effect are there. The limits are in the timbre. Although the behaviour of the pure low frequency tones is quite natural, with a quite realistic behaviour, on a sensory level it feels a bit of colour rather than physical impression. But again I would like to emphasise the good behaviour and the realistic sound of the set during this test, reproducing the LFOs with simplicity, but without any failure whatsoever. Coming back to the bass present in the music, its representation is quite tight, they have a little punch and a good impact, although not at bass-head level, but enough to make the music fun. The thickness of the low end moves between thin and mid-bodied, due to the extension it possesses, where the low-mid is the most representative area.
During the reproduction of complex and unfiltered bass passages, the Dolce has held its own without any problems and is able to maintain musicality without consequences. This means that they have the ability to respect the music and reproduce it without any problems. In this respect the technical progress in aspects such as resolution and definition in the lower range, for such an affordable price segment, is exemplary. And the Kiwi Ears Dolce is a great example of this progress.
Mids
The V-shape is most clearly expressed in the mid-range. There is a slight dip towards the first half of the midrange, coming from a rather linear bass. But the upper part of the mids is clearly emancipated on a centre that is certainly sunken. This generates a slight imbalance between the voices, in favour of the female voices, as well as a certain feeling of hollowness in the central part. In this way, one notices a lighter body in the instruments in that area, as if they lacked pulp or base. On the other hand, this tuning gives the voices more prominence, as if they were a step further forward. And this is something that also happens in the male voices, although to a lesser extent. I wouldn't say that the Dolce's sound is clearly warm, but neither is it completely luminous. I would say that it is sweet, slightly soft and harmonious. Despite the contrast between the two parts of the midrange there is no loss of musicality and the whole is still quite full, pleasant and competent. Although, in reality, it lacks weight and presence in that first half, which affects the upper-mids, female voices and the instrumentation in this area, generating that hollowness and a certain sensation of remoteness and less presence, body and weight in the beginning of the range. In reality, this tuning tries to thin out the music in this part, to subtract density and gain clarity in a somewhat truculent way. And in part, it achieves this without the results being bad, and it is here that the V-tuning takes on its most evident character.
On the other hand, the Dolce does not fall into the facile recreation of mids based only on details, losing the basis and the substance of things. In that sense, the tuning as a whole is to be congratulated because both the nuances and the body keep a good relationship and one does not feel that there is a clear predominance between them, which confers a balance that is pleasant and abounds in the musicality of the IEMS in the middle zone.
In terms of sibilance, the more distant level of the male voices compensates for its presence. In the female voices it can feel higher and closer, though the Dolce take care to nuance the last instance of energy so that the end result is neither unpleasant nor fatiguing. It's all about sweetening the music.
Treble
Perhaps the Dolce are not inoffensive or muffled in the upper zone. After the emancipated upper-mids comes a slight dip or control zone that should slightly nuance the treble. But, coming from a high level, as well as adequate treble extension, even beyond 11khz, the treble feels present, even in the foreground of the mix. The extension is evident and so is the energy level. There is sparkle and brightness here, but also a good level of naturalness and a point of subtlety that keeps the treble from being too persistent or lacerating. It's called Dolce for a reason. The band is the protagonist, though, both in terms of closeness and behaviour.
Soundstage, Separation
The scene is presented eminently frontal, there is a certain height and a more than acceptable level of laterality and depth. There is a certain cohesive feel to the sound that prevents it from being perceived as more separate and clean, preventing the distance between elements from being more obvious and discernible. There is no sense of a clean background, but rather the sweetness of the sound and the limited level of resolution of the ensemble prevents this. But it is not a congested or dark sound by any means. It is pleasant and one understands that such limitations are implicit in a $25 budget.
The stage is wider horizontally than it is deep, which implies a limitation in the levels of layering, something that implies a certain sense of seclusion and intimacy, aggravated by the feeling of hollowness in the central area of the mids.
The image and positioning of the elements is quite adequate. There are no flaws and everything is coherent, although not in a perspicuous way. In this sense, I stress again the limitations of resolution and definition, being good in macro aspects, but not skilful or capable in aspects of micro detail or tiny nuances, although with good sources it is capable of doing a good job in trying to scrutinise such small aspects. But it must be understood that these limitations are present alongside other technical aspects. All in all, though, the overall package is more than acceptable, even pleasant and with the feeling that "there is something more", something that can help to introduce neophytes to the audiophile world.
Comparisons
TinHiFi C2
I like to compare similar models to establish a benchmark. In this case, for price and performance, I have chosen the TinHiFi C2s as a rival to the Dolce. While the curve is relatively similar, especially in the treble, the sound is not quite the same. The C2s are more balanced, less V-shaped, with softer ranges, something that influences a low end that seems more emphasised and noticeable. The Dolce has a slightly clearer and subtly more polarised tendency.
On a physical level there is a clear difference, the Dolce's are made of resin and the C2's are made of metal. But basically they are similar in size and the ergonomics are good in both. But the lighter weight and more perfect fit of the Dolce puts them above the Dolce.
The C2s are easier to move and at the same volume from the same source they sound louder.
In terms of sound, the Dolce seems to reach the extreme sub-bass more easily and is more focused in that area than the C2, whose bass is wider and more extended towards the middle of this range. This gives a different sonority between the two IEMS. The Dolce sounds more compact, the C2's extension makes it linger a little longer in the room, but makes its texture and descriptive character superior. It feels a little more visceral, with more body and presence. But technically speaking, the Dolce is more refined, although the fun factor falls on the side of the C2. The Dolce's better technical ability is noticeable in pure tone reproduction, as it has a more concise and controlled LFO behaviour, with more controlled and faster definition, speed and decay. The C2s, in these conditions, generate slightly more reverberation which gives it that greater fun factor, with that higher energy and roughness, but more controversial definition and control. In the end, preference over the end result can tip the balance one way or the other. I'll take the fun factor of the C2, but I recognise the technical level of the Dolce.
The central range of the C2s is more homogeneous and there is no hollowness in the middle of the midrange. The sound is denser and also more fluid, there is a greater overall presence and completeness of all the elements in the mids of the C2s, as opposed to a more polarised representation in the Dolce. The male voices are more full-bodied and grounded in the C2s and the female voices are closer in presence. There is more clarity but also a subtle imbalance between the voices in the Dolce, but there is also a greater sense of vibrancy in the Dolce, more sparkle and less darkness. But in the C2s there is more balance between voices and also between instruments.
If you look at the graphs, there is a certain similarity in the treble. But it turns out that this is an area where the mics used can have some problems. The end result is different. The Dolce's come from a more emphasised upper-mids and the highs seem to integrate better. Whereas the C2s seem to stand out more, coming from a lower plateau. While the extension is similar, the initial sparkle does not have the same colour. I think the Dolce has a better implemented treble, which sounds a bit more realistic and more in tune with the sound and less impostured. It is even a little thinner and more incisive, thinner and a little more technical. And, believe it or not, that gives it a greater sweetness, assurance and beauty in this upper region.
The C2s offer a wider musical wall, that strength, density, fluidity and homogeneity gives it a scene that seems wider and higher. It is still frontal, but it looks bigger and more powerful, but it loses a little depth. The Dolce has a slightly more dynamic scene, with a little more movement and distance. There is more separation and more room for the development of details, which have more space and stand out a little more. Although, in the end, the level of resolution is not very different, there are no more details in one than in the other, but in the Dolce they are easier to glimpse, as they are cleaner and freer. All this affects a more accurate image and also a greater sense of depth.
There is no clear winner between the two IEMS and the small differences discussed above will determine the preference for one set or the other.
Conclusion
It's nice to find so many alternatives in the low-budget range that manage to do as decent a job as the Kiwi Ears Dolce. These IEMS are a very comfortable model that possess a certain sparkle within a technically sound midrange and treble. And, as the name suggests, that technical prowess is not stark, but spiced with sweetness. There are times when a high level of resolution is harsh, but the Dolces know how to combine all the virtues so as not to fall into a single one and thus elevate the overall result. Their strengths are clear, concise basses, forward female voices, trebles with extension and representation. They are not the classic all-rounder ensemble, but that is another virtue, possessing a certain distance from the pack to be able to stand out. Added to this is a very high comfort and a very low weight. A lot of virtues for a very low price.
Sources Used During the Analysis
Tempotec MARCH III.
Tempotec Sonata BHD Pro.
Burson Audio Playmate II.
Aune M1p.
HiBy R3 Pro.
Linsoul Audio Store, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.
Pros: Great natural tone/timbre, especially for the price
Superior note-weight
Gorgeous fit and build
Super reverberations that come natural with a 10mm LDP
Plays all styles of music, even adding note weight to thin files
Somehow pulls off decent pace besides what you may expect
Think laid-back but not to a fault
Cons: Vocals don't totally snap out at you
Bass is not as defined as some in price bracket
Could be on the slightly sleepy side, in comparison to some other IEMs
Coming in at $24.99 we are going to find out how the Dolce fairs against its competitors, namely the $22.99 7Hz Salnotes Zero and $19.00 TANGZU Wan’er S.G.
Also while I’m at it I’m going to suggest a slight upgrade to your quest. Yep, what would you get spending slightly more? I’m going to throw in the new SIMGOT EW200 into the mix at $39.99. You may say “It’s way more money!”……and you would be right. But maybe spending a little extra could be worth it, getting something you’re truly happy with? Also what about simply getting the Zero for $22.99 or the TANGZU Wan’er S.G for a little less money? Let's find out.................
The contenders:
The 7Hz Salnotes Zero
The TANGZU Wan’er S.G SIMGOT EW200
The 7Hz Salnotes Zero
The TANGZU Wan’er S.G
SIMGOT EW200
Reviews and comparisons:
You see this review thing is both easy and hard to do. Easy because all I have to do is group these four IEMs together and listen. The hard part is to try and be objective. Objective means staying close to what I think everyone would enjoy as a sound. Now truly everyone has preferences and music genres are demanding of various aspects of IEM playback. They're are fit/comfort issues which could also be slightly different person to person. Then there are aesthetics, you know those little things that either get you going, or turn you off. Amazingly of the four IEMs in question I already know which is the best. Yep, it’s the SIMGOT EW200.
And in many ways I could shut this review down right here and now………simply write forget the rest and go buy the SIMGOT EW200! And if your short on time or interest in this subject……..go ahead, get the SIMGOT EW200…..really go do it.
But there could be other factors involved and because I’m not you, I don’t know which area is going to be important……and that my friends is why at times reviews are longer. Also each IEM is a small story, a success story in a small way….yet in my eyes some are slightly more successful than others. Yep, I mean the three of the four all got stellar reviews from me, the EW200, the Wan’er S.G and the 7Hz Zero. All three did stuff very well and they are rewarded in being top sellers, because there are more people out there willing to take a chance at an under $40.00 IEM than there are $400.00. The other thing is depending on who you are, these are the getting your feet wet purchases. They can be stepping stones to finding your IEM identity before you go all in. That or they simply represent great sound per dollar spent, which may lend itself to going out of the house into the danger, where expensive IEMs could get tugged-on......maybe? But if you want to know the true magic to this hobby, if you wanted to know the secret, the above IEMs are actually really good sounding...........in that they show an advancement in the field of producing great sounding low-cost noise makers. They are fun, and offer sonic rewards far greater than price would have you guess. So let’s get started.
Later I will get into construction and packaging for our Kiwi ears Dolce, but let’s find out where it ranks first.
Comparisons: The Dolce while organized and smooth offers a leaning towards probably the most smooth of the grouping of four. The 7Hz had this naturalness about it while at the same time a slight unnaturalness in other parts. But once again the 7Hz pulled ahead with just what it does with midrange, there was also (while slightly brighter than the Dolce) an accessibility and an honesty that was really special. The Wan’er was warmer than the 7Hz but less warm than the Dolce………and that is really saying something about the Dolce’s warmth. Yet above and beyond everything was the EW200. The way the EW200 would draw instruments……way more vibrant and sculpted than anything in the group, of course it’s more expensive but the value here is real. The affects of difference were so absolute and obvious that I had to stop myself from making an opinion too soon, and let the music keep playing for the sake of fairness.
I mean most of us kinda already know the successful tune of the 7Hz Salnotes Zero, though to hear it in action again next to its contemporaries was once again special. And I kept thinking about stuff that I read, like many wanting a change from the TANGZU Wan’er S.G due to lusting after more treble involvement? I still didn’t get that? But my main issue in comparison to the Dolce was the TANGZU didn't really have the most natural tone, the Dolce beat it! And while the most laid-back in todays testing was the Dolce........still there was not necessarily that much wrong with it. It would be hard to go up against the 7Hz Zero’s mids and the way the Zero offered a style of separation that the Dolce just couldn’t perform. It was probably that Dolce (lack of) vocal separation and delineation into the stage in comparison to what the 7Hz simply does all the time that showed who is boss. Still remember the EW200 was king, I mean it wasn’t even a contest here. Where we could throw all the positive points about the midrange with the 7Hz out the window for the pure technicalities performed easily by the EW200. The EW200 was just that good. Due to the EW200 contrasts, textures, soundstage............both in wideness and forwardness, as the reality the EW200 performed, was not even arguable or a matter of taste, it was simply better across the board. Where sure the Wan’er. S.G had more lows than the 7Hz, and the Dolce had more lows than the Wan’er S.G………..and in many ways it made the Dolce the sleepiest of the bunch. If your in the mood for a lot of laid-backness the Dolce is your choice. All fit the same, except at 9 grams each the EW200 was clearly a different animal. I mean the Wan’er S.G is known for fitting everyone, and while slightly less good fitting than the 7Hz Salnotes Zero........Wan’er S.G fits fine. Where the Dolce fit wonderful and very semi-custom, it’s bigger than the Zero or Wan’er, but of course more low weight than the EW200.
Packaging:
The Kiwi ears Quintet and Orchestra Lite are not strong on packaging, yet that’s not why we buy them, right? Sound! It’s the sound that we are all here for. Yet we are given the bare necessities and all and all it’s not bad. A cable, three pairs of tips and a QC card which is stamped. Also the box is well made and serves to protect the IEMs in transit.
The Cable:
The cable is fine, though for (some) testing above I used 4.4mm output so that every IEM shared the same amp, cable and ear-tips. Though one funny thing is the cable is not supplied with a chin-cinch resorting to tearing the cable back farther if more room is needed. I almost never are given a cable of such style? But the good point, is it really handles well and stays in line. The QDC style 2Pin come at the end of nice ear-hooks.
Build:
A lot of my testing in regards to build quality is simply discovered placing the IEMs in my ears, with no music playing. The great part about the Dolce is it actually fit my favorite ear-tips, though there is very little noice occlusion……even less than I remember them with other IEMs? Though I did resort to other tips and got another 25% reduction in noise occlusion, making them actually quite acceptable. There is found a three piece design weighing-in at a low-weight of only 4 grams. The three piece makes up a top-plate, a shell and a 2Pin QDC cable mount. There is a side air-vent as well as a back air-vent. There is a wire mesh screen sitting protected inside the nozzle, and the nozzle lip held-on a wide range of different ear-tips surprisingly well. The is also the R and L makings with the company logo printed on the shell side. The faceplate holds considerable weight of the 4 grams being it is probably made of metal. All and all I give the build as well as the fit and finish a 10/10. The design is well orchestrated too, with a two tone paint scheme and geometric design to the faceplate. There is something very satisfying about a low weight yet almost medium size build that simply feels right in the ear?
Sound:
Insomnium
Argent Moon EP
The Conjurer 44.1 kHz 24 bit
Anything I wrote in the past (above) is true. But there is a style of comfortability that takes place when you get an IEM out on its own, away from the pack. That is if the IEM is even, complete and correctly well rounded. Now I don’t want to make the Dolce more or less than it is. Still this style of playback is well done and showcasing the subtle soundstage expansions at 02:32. Such a break has to do with adding piano, but it’s also a sequence where till 02:42 or so there are no drums. This is in fact the second time they have used this break in the song already. Such opportunity leaves an opening for vocals, guitar picking. Finally at the 02:47 marks an emphasis to the whole song structure taking place. Where even at the start a wonderful swaying guitar intro took place up till 01:07.........but its job was different and possibly less important to the song than what we are now in store for. A style of picking and rhythm guitar…..with soaring female vocals performed. At 03:54 we are met with the a substantial break once more, except now we are furnished with accent drums. The melody same as the start, but there is more. Finally at 05:01 the guitar lead hits. And while this song has been performed by other IEMs more technical and real. This still is totally acceptable and enjoyable for what it is. I mean this isn’t a style of music for every reader, and we will move on to more mainstream examples, yet I need to place this here……simply because it’s good. It’s good and I have no issues with it at all. Probably due to the sound character from the 10mm (LDPE + LCP) doing great tone/timbre. What I’m saying is if timbre is good (and it really is) it can make-up for any loss in the rest of the technicalities department. Yes, these are laid back, but the vocals are still well heard, there is a slight loss in definition of bass accents, to the point of where they almost blend into one another……..yet if the tone is right, all is well, we can forgive such issues.
Don’t know if you noticed but all four IEMs today are 10mm DDs.
Manufactures will often offer more advanced models by adding another DD or a BA driver, but at the same time it offers compilations and another set of issues. There is a purity here that is well noted and accounted for.
DCD
Anastasis
All In Good Time 44.1 - 24 bit
Here is a test song that I often use to judge bass. Now it’s not the fastest, but the bass has character to inject by the IEM none the less. By the way I have returned to this music testing section with the original 3.5mm cable and the Sony WM1A. So this is very much the way the IEMs are straight out of the box with 5 days of burn-in. The only difference is my preferred ear-tips, which I almost use on everything to get bass attenuation and the widest stage possible.
So this is not a song about bass pace, yet it is a song showcasing bass tone and texture. In fact at the start a singled out bass is all you hear. I hear this song (it seems) at a minimum 10 times a week on average with all styles of IEMs and here it is performed well, nailing the actual timbre of the notes. I mean if anything Kiwi ears is known for both a value and a style of correct tuning and here is no different. While not as forward and 3D as more expensive sets, there is still nothing wrong here, at all. Why? It all comes down to tone….it really does. The FR is dynamite! At 00:29 the vocals come in. Brendan Perry sounds like himself. This is an incredibly detailed song as far as vocals go, and of course I can tell where the Dolce is tree-topping detail, yet it’s OK as it simply is what it is, in comparison to more pricy sets, yet nothing is offensive or wrong…….stuff is simply left out. Though what single full-range DDs do is get the reverberations right. And reverberations are what this little number is all about. There is a beautiful way he does vibrato and the Kiwi ears Dolce actually captures that somehow? When he sings (the word) RAINBOW….it is actually done well? I mean a lot of this playback is comparable to having a meal. You need to have a variety (mixture) of food, or something is wrong, well here despite this IEM price-point being ultra-value, all in included as far as the mood and the general feeling of the song.
King Buffalo
Regenerator
Mercury 48 kHz - 24 bit
Finally we have some bass and drum interaction to judge the bass tightness. Even at the 00:18 there is a fast tight activity of drums and bass to get a hold of. Such dispersions of rhythm guitar also adds to the echo-laden effervescence. It’s almost like jazz, the way the bass player has decided to accent this. And while the stage is not the biggest, it’s fine for what we have to hold onto here. The accent of the cymbal right exactly at 00:28 sprays off in obviously not the most forward of tone, yet it is still identified and serves a purpose. And while this in not the most technical of sets, it’s listenable and has a groove. At 00:36 the vocals arrive. And while not the most forward or even 3D, they are not exactly bad in anyway. I mean this was the personality arrived at the vary start in comparison to the 7Hz Zero, yet the 7Hz doesn't contain anywhere near this style of low end. So it really is 50% of one, 50% of another. Ether you’re happy with the Zero lows, or you whine. At 01:43 the mother of all rhythm guitars hits. Pure fuzz, like the style your Mom told you to turn down while living at home. And it is somehow double tracked, way off to the right and left, having us sit in place at the center. I mean they were siting back and waiting, waiting to unleash this startling sound effect. The song is way more than 1/3 over…….and they went and did this! As expected there is no bite to anything going on here, yet all instruments involved hold a sonic stance right into place……the cymbals, yep. The same ones at the beginning, the bass……same too. Yet at this point they are all puzzle-pieced together and all doing their jobs. At 03:15 all the instruments come back with even the vocals, maybe they went for a water break? And sure enough our wall of two twin guitars is a working too, being one of the highlights found here. AT 03:43 the vocals try and add their part, and it’s not too much or too little as again, everyone has their duty. At 04:04 the bass is somehow louder…..then it ends. I lucked out and found the perfect song for the Dolce. Maybe there are more examples?
Hans Zimmer & Benjamin Wallfisch
Blade Runner 2049 OST
Mesa
44.1 kHz - 16 bit
In a way this song is cheating. I mean it’s big and it makes IEMs sound big. But at the same times the song also will give you a view into a style of reality, the reality of performance. Why? Because there is more to the song than the $24.99 Dolce can perform. Is it bad? No it’s just showing our limits more than other songs. Still those same sonics that challenge the Dolce also give drama, and make the Dolce on the edge of all it can be. What we are gifted is a form of entertainment, yet at the same time we can now hear the bass roll-off. Yep, there is a lot in this Mesa, stuff made for big movie houses with a lot of equipment. And while it is even questionable if headphones can even perform this? Like the time you were over at a friends house and heard his mega system and thought…..ohh, this is how it is supposed to sound. The textures, the drama, more complete than you have heard before on any headphone. Still in our own humble way this holds excitement, why? Because it is closer to us. It’s more personal than far away speakers in a room. Just the beginning when that blast hits at 00:08….of course it’s rolled off…the speakers are 10mm. Still I like it, and then………again at 00:16. I don’t want you to get the idea that these are even remotely close to bass-head headphones because their not. And in fact of the super lows of the TANGZU Wan’er S.G does this song slightly cleaner and clearer in the bass department, but the problem is that guitar in the last song, the King Buffalo song, the tone/timbre was off. That and even though the Dolce can’t do as clean of lows here, it does have more note weight across the board than the TANGZU Wan’er S.G. Don’t even ask how the bass parts are revealed in Mesa with the 7Hz Salnotes Zero.
OK, I’ll tell you.............it sounded like someone three rows back crumpling a paper bag. Basically nothing!
Conclusion: So there you have it. Better timbre than the TANGZU Wan’er S.G, not as good of midrange as the 7Hz Zero, but better bass, and no contest with the SIMGOT EW200 as being the very best out of todays contestants. Soundstage? Really the TANGZU Wan’er S.G has less than the Dolce. The TANGZU Wan’er S.G has thinner and smaller imaging with less note-weight. The 7Hz Zero has greater separation due to the mids, which enhances the stage. And truly the wining points (besides the EW200) go to the Kiwi ears Dolce for fuzzier bass, note weight and natural timbre across the board.
Disclaimer:
I want to thank Kareena of Linsoul for the love and the Kiwi ears Dolce review sample.
Disclaimer:
These are one person's ideas and concepts, your results may vary.
Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 3.5mm and 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 3.5mm and 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Shanling UA3 Dongle DAC/Amplifier 3.5mm and 4.4mm
Disclaimer: Linsoul loaned me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.
Introduction & Packaging
Kiwi Ears Dolce ($25) is the cheapest IEM in the Kiwi Ears lineup, a full $10 cheaper than the well-received Kiwi Ears Cadenza, which happens to be one of my favourites. Considering the super competitive market for sub-$50 recently, does this latest 1DD IEM from Kiwi Ears have what it takes to compete? Let's find out...
The Dolce came with a very barebone packaging, only the IEM, cable, and 3 pairs of eartips in S/M/L sizes. It can't be more barebones than that. The included cable is quite stiff and tangly, and honestly you'd better off getting an aftermarket cable. The eartips are very snug and I have no complaints about them. There is no included carrying case, sadly, but at this price point, I am totally fine with it.
The IEM itself seems to be really well-built. The housing is made out of 3D printed resin, with a metallic backplate. What I didn't really like was the colour and overall design; I'm more of a fan of Kiwi Ears's previous all-resin design. The termination is also the QDC-style instead of the standard 0.78mm 2-pin, which I am not a big fan of. However, all these are my personal opinions, and it is still a very solid IEM when you touch and feel it. The driver configuration is a single dynamic driver, with a brand new composite material called LDP, which is a combination of low-density polyethylene and liquid crystal polymer.
Sound Impression
Sources: Xduoo XA-10, Fiio M11S, L&P W2-131, Musehifi M1 (all single-ended) Setup: Large stock eartips, stock cable Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless
The IEM has undergone a 20-hour burn-in at a medium volume for prior to the review.
Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.
"Dolce" means "sweet" in Italian, which Kiwi Ears claims to be the direction of their tuning with this IEM. Overall, I find the sound to quite V-shaped, with plenty of warmth in midbass and ample note weight. The driver is also quite capable with decent technicalities all across the board, a pretty solid showing for a new driver material. I would like to see this LDP diaphragm to be more optimized in the future and used more widely.
Bass
The bass in Dolce is sounding full with a good subbass extension and midbass emphasis. Going with the "sweet" direction, the bass does not decay too quickly and allows for a more mellow presentation. The bass texture is also very well done, sharing some characteristics as LCP drivers.
Midrange
The midrage is not the cleanest with some midbass bleed, but nothing disturbing. Male and female vocals equally get an extra thickness, making them sound fuller and hence, sweeter. There is no shoutiness or pierce in the upper mids.
Treble
The treble extension is actually really good regardless of the price point. There are plenty of air and treble details, but some treble-sensitive people might find it overdone. I personally didn't find the treble to be overly spicy.
Technicalities
Overall technicalities are great for the price. The resolution and imaging are excellent among the competitors in similar price range, while the soundstage is average. Timbre is natural and pleasing overall.
Driving Requirements & Pairing Suggestion
Dolce is a very easy-to-drive IEM and would be easily driven even from a standard 3.5mm output from a mobile phone. I don't find the Dolce scales very well with sources, and in fact, it does show some fuzziness when paired with a more powerful source like a desktop amp. A simple, neutral dongle like the Musehifi M1 would be ideal to bring out the best out of Dolce.
Select Comparisons
CCA CRA ($16):
When I think of a budget IEM that has technicalities way beyond its price, I'd think of the CRA. I would say that Dolce would be in similar position with both having an excellent treble extension and detail retrieval. I do find CRA to be spicier in the upper treble and generally bassier, hence even more V-shaped. Dolce in comparison has better timbre and note weight in my opinion. Overall, I would go with Dolce.
Kiwi Ears Cadenza ($35):
Compared to its senior, I find that Dolce sound noticeably more V-shaped and Cadenza more neutral. The Dolce has a better treble details and more airiness. That said, ironically, I do find Cadenza to be sweeter sounding overall with a cleaner mids and fuller vocals in my listening comparison. This is a harder choice to make; I would go with Dolce for technicalities, but I'd rather go with Cadenza for overall musicality.
Simgot EW100P ($20):
One of my new favourites, EW100P is also another great value choice. I find that the Dolce to be more V-shaped again compared to EW100P, giving the Dolce a more exciting presentation. I do find the Dolce to be better in technicalities, but I think EW100P does scale better with different sources. That said, Dolce still have a slight edge over EW100P in the timbre and technicalities.
Conclusion
Dolce is a very enjoyable IEM for those who like V-shaped tuning, featuring a unique driver with a new material at the time of writing. I do believe that this is a proof-of-concept product from Kiwi Ears to flex their driver development and I do commend them for the effort.
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