Kiwi Ears Septet

Disclaimer​

Hello everyone! I have to note that Kiwi Ears sent over the Septet for me to review. I’m not being paid for this, and Kiwi Ears hasn’t tried to steer what I say, set any deadlines, or even asked for a sneak peek at my draft.

Everything you’re about to read comes straight from my own experience and time spent with the Septet. I do my best to stay as fair and objective as possible, but remember, sometimes there is something personal in it, so think of this as one music lover’s take.

Big thanks to Kiwi Ears for the amazing opportunity, and a huge thanks to you for reading and supporting what I do. It really means a lot to me!

The full review can also be found on https://mobileaudiophile.com/, via this link

Introduction​

Recently, Kiwi Ears has been pushing a lot of new products into the market, and today it just so happens I have their seven-driver, quadbrid, five-way-crossover madness in for a review, and that’s exactly what got me excited about the new Septet. Each side is equipped with a 10 mm dynamic woofer, four balanced-armature mids/trebles, a micro-planar tweeter, and a PZT super-tweeter, all stitched together by a five-way crossover with a three-tuning-tubes design. Kiwi Ears says it took them almost two years of tinkering to make all those drivers play nicely together.

What really drew me in is that the shells are vented like an open-back headphone, so they’re supposed to feel more spacious and airy. The price is surprisingly reasonable at $269 USD, and in my opinion, the Septet looks like Kiwi Ears’ most unique player yet.

I love Kiwi Ears products, so I’m heading into this review with high hopes. Time to see if this seven-driver quadbrid actually sings or just shows off on the spec sheet.

Unboxing​

The Septet comes in the familiar Kiwi Ears style box: very small and minimalistic design, with just the essentials you need. Sliding the sleeve off and opening it up reveals the IEMs, which are tucked into a dense foam so they don’t rattle around in transit.

Under the foam sits a black, semi-hard carrying case. Inside the case I found the very beautiful, brown, and soft 5N OCC copper cable with the 3.5 mm plug, plus a 4.4 mm balanced one. Kiwi Ears went modular this time, and it feels premium in the hand.

Inside the case, there are also eartips (three sizes of two different silicone styles for a total of six pairs), regular eartips, and wide-bore ones. To be honest, I don't like these stock tips, because the thing I hate the most about basic eartips is the mold line across them. It's just very uncomfortable for me; I feel it scratching and tingling my ear, and I can't stand it. Oh, and there's also a little user manual. That’s it, no cleaning brush or other extras, but honestly I’d rather they keep the box simple and spend the money on the IEMs themselves.

The shells

First impressions of the shells? Lightweight, full metal with those open-back vents on a copper-looking plate with a grey smoked finish outer shell. In my opinion, it’s tasteful, not shouty, and slick-looking.

Overall, it’s a clean, purposeful unboxing, with nothing over the top, yet everything I actually need is right here and well protected. Time to burn them in and get listening.

Technical Specifications​

Specs:​

• Driver array:
  • 1 × 10 mm dynamic woofer
  • 4 × balanced-armature drivers (mid/treble)
  • 1 × micro-planar magnetic tweeter
  • 1 × PZT super-tweeter
• Crossover: quadbrid, 5-way-crossover with three acoustic tuning tubes
• Frequency response: 8 Hz – 30 kHz
• Impedance: 15 Ω
• Sensitivity: 95 dB @ 1 kHz / mW
• Total harmonic distortion: < 1 % @ 1 kHz
• Rated / max input power: 5 mW / 10 mW
• Connector: 0.78 mm 2-pin
• Cable: 1.2 m (± 5 cm) 5N OCC copper, modular ends (3.5 mm single-ended & 4.4 mm balanced plugs included)
• Shell material: Full metal case with a rear-vented “open-back” style.
• MSRP: $269 USD

Driver layout:​

Seven drivers per side and 4 different ones mean Kiwi Ears had to lean on a serious crossover, which ended up being a 5-way crossover and separate three sound tubes. That engineering keeps each driver working in its sweet spot instead of trampling the others. The Septet is also not your typical, easy-to-drive IEM, as it's quite hard to drive and needs more power in order to truly shine.

Vented shells:​

Those tiny rear vents, which looks kinda like planar headphone vents, act like a mini open-back, letting the Septet breathe a bit, and, at least on paper, widening the stage, but at the cost of isolation.

Cable:​

Big thumbs-up for the stock cable, which is a 5N OCC copper with swappable 3.5 mm and 4.4 mm terminations. I can jump between single-ended and balanced in seconds, and it is a nice-looking, nicely thick, soft cable that feels very buttery and not too heavy.

Sound Performance​

Bass​

Kicking things off with “ENTROPYYY” by Lorn, I can feel right away that the Septet isn’t here to flex pure sub-bass muscle. Those really low notes show up, but they don’t shake my brain like a bass-head set would. I’d love a bit more rumble, honestly. What it does give me, though, is speed and texture: every bass drop lands clean, very fast, and never muddies the mix.
Where the Septet punches back is the mid-bass. There’s a tasteful little lift that keeps things warm and prevents the overall tuning from feeling thin. On “The Stage” by Avenged Sevenfold,” Brooks Wackerman’s double-kick runs hit so fine, with great texture and speed, and the bass is so well-controlled that the guitars and vocals stay crystal-clear. I’ve replayed that drum intro a couple of times just to enjoy how tight it sounds.

Mids​

Here’s where the trade-off shows. The upper mids are pulled a step back to make room for the treble up top. On Patty Gurdy’s “Grieve No More,” her voice sits a little farther away, and it can feel a bit dull sometimes, but when she gets to those high notes, it truly shines through. The thing is, that dip in the upper mids is what keeps the Septet from turning into a shouty mess once the high notes kick in.
Because there’s good mid-bass body underneath, guitars and lower vocals still keep some weight. Male singers sound full enough, just not front-row. It’s like Kiwi Ears intentionally parked the upper mids at the back so the highs could take the spotlight without everything clashing. I’d prefer them a hair more forward, but I get why they did it.

Highs​

This is the Septet’s party trick. The treble is bright, airy, and super-detailed, but somehow it doesn’t get nasty or piercing. On big cinematic tracks like “Gravity” by Steven Price and “Night of The End” by Kohta Yamamoto, the shimmer on strings and the vocals just floats with tons of air, crazy extension, and a sweet, natural-sounding decay.
Back to Patty Gurdy: when she climbs into those high notes near the end of “Grieve No More,” the Septet absolutely nails that lift. Goosebumps every single time. I have to admit, sometimes I had to lower the volume because it started to get a bit fatiguing for me, but that top-end sparkle stays smooth, with no hissing S’s and no sharp peaks.

Technicalities​

The soundstage is wide for an IEM, really bigger than your normal IEM. On “Rust” by Hans Zimmer & David Fleming, I can pick out drums far left, horns dead-center, and eerie metallic hits drifting off to the right. Imaging is good enough that I can close my eyes and picture where stuff is happening.
Separation and detail are strong, too. Even in “The Stage,” every cymbal crash and background riff keeps its own lane. I never feel like the Septet is smearing busy passages together. Resolution is, really, in my opinion, on par with higher-end flagships, and for a $269 set, it’s truly impressive.

Overall, the Septet gives me a bright, spacious listen with quick, tasty bass and sparkling highs that steal the show. It’s not a perfect all-rounder, but when I’m in the mood for detail, speed, and a big airy stage, this thing gives me that.

Comparison​

Septet vs. AFUL Performer 7 (P7)​

Switching back and forth between the Septet and AFUL’s Performer 7, the biggest thing I feel is the overall tone shift: the P7 leans darker and smoother, while the Septet sounds breezier and brighter. The P7’s bass feels a hair quicker, but the Septet’s mid-bass lands with a firmer, punchier thud, so kick drums have more physical pop. Vocals sit closer on the P7, giving male and female voices that cozy, up-front warmth, whereas the Septet keeps the upper mids a step back to leave room for all that treble sparkle. Up top, the Septet simply shines, with cymbals trailing off with extra shimmer and extension, and compared to the P7, it makes the P7 feel a bit veiled when I swap back to it. If I’m settling in for a laid-back, no-fatigue session, the P7 still wins, but for air, detail, and a bigger sense of space, the Septet is way more exciting.

Septet vs. Kiwi Ears Astral​

Comparing the Septet to Kiwi Ears’ own Astral feels like lining up two siblings with different personalities. The Astral clearly reaches lower and hits harder in the sub-bass—“ENTROPYYY” by Lorn actually rumbles and shakes my brain (maybe I feel so because the Astral is a better sealer). Astral pushes vocals forward, so Patty Gurdy’s voice on “Grieve No More” sounds more intimate and lively, whereas the Septet’s recessed upper mids leave vocals a notch farther back but open the door for brighter treble. That means the Septet can get a bit more fatiguing on some sibilant recordings, while the Astral stays smoother and easier on the ears during long sessions. The flip side is staging: the Septet spreads instruments wider, but it also leaks in some outside noises and the music I'm listening to into the environment, so it’s less useful in public places, something the Astral handles with ease.

Septet vs. Rose Technics QT-X​

The battle with Rose Technics’ QT-X is all about fun. The QT-X rocks a pretty classic V-shape: big low-end slam and crisp highs, with mids sunk back in the mix. That means electronic music hits harder than on the Septet, but male vocals in particular can feel a bit dry. The Septet still has a mid-bass bump for warmth, yet its bass is cleaner and less boomy, letting guitars and vocals stay clearer even when a track gets busy. Treble is where they diverge most: QT-X rolls off earlier, so it gives sparkle without much air, while the Septet keeps climbing, letting cymbals and strings hang in the air with a longer decay. Add in the Septet’s wider stage and better layer separation, and it feels more refined—even if it can’t match the QT-X’s sheer "fun" sound. If I want to listen to electronic music, the QT-X does it for me, but for lighter, brighter detail with real space to breathe, the Septet takes the lead.

Conclusion​

After a solid couple of weeks with the Septet, I feel like I know exactly where it fits in my collection. This thing lives for sparkle and space: the airy treble, probably that semi-open shell, and the wide stage all work together to make everything sound bigger than an IEM usually can. It’s not perfect—sub-bass lovers will want more rumble, vocal lovers might find the upper mids a bit too laid-back, and the open vents mean that it’s not really meant for public places. But when I’m at my desk or on the couch and I want detail, speed, and a bright, lively presentation that doesn’t turn harsh, the Septet hits the spot. Add the swappable plug, beautiful and soft OCC cable, comfortable lightweight shells, and a fair $269 price tag for what it brings, and Kiwi Ears has cooked up a pretty compelling “specialist” set. It won’t replace my darker, warmer IEMs or balanced IEMs like the Astral, but when I’m in the mood for air, sparkle, and a roomy stage, the Septet is the one I reach for, and I don’t see that changing anytime soon.



Where to buy: (Non-affiliated! None of my reviews use affiliated links!)
Official Kiwi Ears Store

KIWI EARS SEPTET

The successor to Quintet ?

Pros:
- Laid-back, balance signature.
- A good bass accompaniment; deep, punchy, beefy, well-behave.
- Neutral & Natural vocal rendition.
- Seamless treble experience. Smooth yet detailed highs.
- Organic tone and timbre.
- Solid layering and separation.
- Great stage dimension.
- Hit the right balance between musical & technical.
- Cohesive sound with minimal timbre contrast.
- Scale well on higher volume.
- Good value.
- Simple but well accessorized.

Cons:
- Power hungry; underwhelming dynamics when underpowered.
- Sub-bass leak, perhaps?
- Controlled dynamics. Not the most engaging.
- Potential fit issue due to its size.
- Open-back grills tend to collect dust.


[MY PERSONAL HEAD-FI GRADING]

1 ★ - Appalling! please avoid this!
2 ★★ Subpar offering, there are better options out there!
3 ★★★ Decent with some caveats! Not a bad pick!
4 ★★★★ Not perfect but solid choice! This should be in your shortlist. A nice addition to your collection.
5 ★★★★★ One the best in class! You should go right ahead & buy one! A must have!

Kiwi Ears SEPTET 4★★★★
Driver Configuration : 10mm Dynamic Driver + 4 Balanced Armatures + 1 Micro-Planar + 1 PZT (Open Back IEM)
MSRP : $269.

DISCLAIMER
~ This unit is sent by Kiwi Ears @EvelynZ for a review.
~ Assessment took place after 100 hours of burn in for better sound stability.

▓▒░ SOUND-SIGNATURE ░▒▓
A laid-back balance signature. Sub-bass oriented with mid-treble emphasis. The mid-range has a more laidback-neutral tone without overemphasized warmth and brightness.

▓▒░ BASS/LOW-END ░▒▓
- Like its predecessor, the Quintet, the Septet prioritizes bass precision, control, and clarity over sheer power. While it offers a tasteful sub-bass boost, the focus remains on providing a harmonious accompaniment rather than asserting dominance to the mix.

- The sub-bass is generally well-textured but lacks substantial attack/pressure and sustain, resulting in less intense rumble, drone, and hum effects. Bass-heads seeking deep engagement in genres like EDM, hip-hop, or cinematic soundtracks might find this aspect lacking. This could be attributed to its semi-open-back design, which may cause some sub-bass leakage.

- With a sub-bass-oriented bassline, the mid and upper bass regions are less prominent. However, kick drums retain a decent punch, and drum strikes deliver ample slam in the background. Bass guitars, on the other hand, have a more subdued presence in the mix. Bass drops and ghetto bass elements exhibit a subtle bounciness to the tone, while bass distortion is well captured.

- In summary, while the bass definition may not be top tier, it compensates with excellent control and subtle low-end layers that support the bassline. Regardless of the track, it avoids smearing the mid-range with unwanted mud or bloat. Instead, it provides the essential warmth that gives vocals and instruments their fundamental body. This bass presentation aligns well with its laid-back character.

On a side note, increasing the amplifier's gain or volume can enhance bass dynamics. At lower settings, the bass may sound somewhat lifeless, which is worth considering.

Click to expand...

▓▒░ MID-RANGE /VOCAL ░▒▓
- The mid-range presents a relaxed, neutral tone without overemphasized warmth and brightness. It focuses more on clarity, smoothness and naturalness. Such tonal balance allows its mid-range to reveal subtle nuances on vocal phrasing and instrument plays in a delicate manner, free from harshness and grains. Whilst it is not the most lush or rich, it consistently delivers a pleasant tonality, ensuring vocals and instruments never sound thin or dry. This approach offers a soothing listening experience.

- It does a great job separating vocals from the background elements, granting them to come through distinctly on stage. Their placement is spot-on—not too forward nor too distant.

- As for nit-picks, due to it’s relax, leaner ear-gain, the initial attack can be somewhat subdued. At times, it can sound a little too restrained, reducing tonal variation or expression on vocal and instrument, which can be less effective for genres like folk, pop ballads, or acoustic music, where emotional delivery and lyrical clarity are paramount. This is particularly noticeable with male vocals, guitars, and pianos. Conversely, female vocals tend to perform more rewarding, benefiting from a slightly wider dynamic range. Additionally, the system handles shout, scream, and sibilance with ease, even at higher volumes.

- All things considered; The mid-range remains a solid performer. It avoids any off-putting tonality that could deter vocal enthusiasts. Sometimes, a natural, laid-back presentation is exactly what one needs on a tiring day, and it delivers just that.


▓▒░ TREBLE/HIGHS ░▒▓
- What carries this set isn't its bass quality or midrange/vocal rendition, but the way its response to treble. The integration of the PZT and MPT drivers delivers remarkable high-frequency reproduction, offering ample treble brilliance without overwhelming brightness or forwardness. The air extension is extensive, imparting an open and airy quality to the soundstage.

- It has an amazing balance of crispness and smoothness, resulting in a textured yet refined presentation.

- Treble elements are clearly laid-out without sounding force. It doesn't have the “overprocessed" quality that can make the upper registers unnecessarily sharp or harsh. There is a notable absence of peaks, graininess, haziness, metallic sheen, or distortion—common issues with balance armature and planar drivers. The treble remains clear and well-articulated.

- This translates to a pleasing and natural instrument replay. Cymbals and hi-hats possess a captivating timbre. The gentle touch on high-end shimmers and sizzles is soothing to the ears. Drum snares are no different with its crispy high-pitched rattle. While swishing and swooshing of drum brushes reminiscent of a gentle breeze. The glockenspiel retains its bell-like dings. Synthesizers like electronic zings, rings, buzzes, as well as electric guitars, come through with a rounded edge and acceptable bite.

- Despite its refined treble, it can discern between poorly and well-mastered tracks, though it remains more forgiving compared to some other bright sets.

- It allows treble-sensitive folks like me myself to enjoy high frequencies without causing fatigue or discomfort.

- Treble-heads might argue for more bite, but that will defeat the purpose of its tuning in mind.

- While it may not be the last word in treble definition, its level of refinement combined with a smooth, yet natural timbre makes up for a seamless treble experience.

✧ ════ •TECHNICAL PERFORMANCE• ════ ✧

One the key strength of the Septet is its expansive SOUNDSTAGE. It offers a wide, open presentation with a slight out-of-the-head experience, providing excellent headroom and a believable front-to-back layering that enhances stereo depth.

While its IMAGING capabilities are solid, they are not outstanding. Image placements are generally accurate, but the sharpness of the imaging could be more pronounced. The transition of sound between channels is well-articulated, with vocals occupying a distinct center stage and instruments set against a sufficiently dark background.

The expansive stage facilitates effortless INSTRUMENT SEPARATION. Each sound element is given ample space, preventing overlap and ensuring clarity. This consistency is particularly beneficial in complex genres like progressive rock or symphonic metal, where intricate arrangements are common.

DETAIL RETRIEVAL is handled naturally. Macro-details are presented clearly, while micro-details are laid out with subtlety and precision. This approach ensures that even the finest nuances are discernible without being forced.

DYNAMICALLY, the Septet isn't tuned to be overly energetic or aggressive, but it isn't overly relaxed either. It maintains enough engagement to keep the music lively and effectively distinguishes between soft and loud elements in the mix.

Despite housing 7 drivers per side, the overall TONE AND TIMBRE are surprisingly natural. It delivers a unique sound, akin to the Quintet, with a balance of speed and warmth. The attack is subtle yet distinct, decay is mostly accurate, and notes have good sustain and are nicely weighted.

The Septet SCALES WITH VOLUME reasonably well. The tri-frequency response steps up in a linear manner, allowing for higher volume levels without significant distortion. [YMMV]

The synchronization between the seven drivers is profound, achieving nigh perfect PRaT. While there is a slight timbre contrast, they are negligible. The level of COHERENCY is remarkable, with no indication of cheap drivers being used.

In terms of DRIVABILITY, the Septet is a beast of a set. It requires 15-30% more power than usual just to perform optimally. Underpowered, its performance will be halved. If dynamics seem dull, it's advisable to check your source. A proper amplifier will greatly enhance the Septet's performance more than one might think.

✧ ════ •BUILD/ PACKAGING/COMFORT• ════ ✧
- This must be one of the most premium-looking offerings from Kiwi Ears to date. It’s cold-to-the-touch shell exudes a satisfying heft, contributing to its substantial feel. Remarkably, this isn't even their flagship model. However, it's worth noting that the shell isn't designed for universal fit. Some users have reported discomfort due to its size, though this can often be mitigated through tip rolling.

- In line with recent Kiwi Ears releases, the SEPTET's packaging includes most of the accessories you'll need. A notable addition is the new swappable termination cable, marking Kiwi Ears' introduction of a 4.4mm balanced cable—a welcome inclusion for audiophiles seeking balanced connections.



<BASS>
● Bass-Shelf : AS > ET > SEP
● Tonality (Warm-Neutral-Dry) : ET (WN) > SEP (WM) > AS (N)
● Subs Extension/Quantity: AS > ET > SEP
● Subs Attack : AS > SEP > ET
- AS has the highest pressure, SEP is close behind. ET is the softest, not as tight.
● Sub-bass detail/texture: AS > SEP > ET
- AS subs have ever so slightly better clarity and detail than SEP. ET rumbling detail & texture has a smoother edge.
Sub-bass Kick : AS > ET > SEP
- AS has the best tactile to the kick with the right body, decay and sustain. ET kicks softer than AS while SEP hits a smidge harder but not as full as ET.
● Mid-bass Presence: ET > SEP > AS
● Mid-bass Attack (Punch/Slam/Thud): ET > AS > SEP
- ET hits bigger and thicker than SEP. But SEP hits slightly faster, sharper and deeper. Meanwhile AS character is closer to SEP but with less substance or body.
● Mid-bass detail/clarity: AS > SEP > ET
- ET sounds the clear but slightly fall short in terms layering. AS micro-detail is the best of the of 3 while SEP is somewhere in between.
● Ghetto Bass (elasticity/decay rate): SEP > AS > ET
- ET has a flatter rebound rate. SEP is the bounciest while AS is slightly behind SEP due its quicker decay.
● Bass Distortion: AS > ET > SEP
- AS managed to retrieve them the best, while ET is close 2nd. SEP is the least clear.
● Bass Drop: AS > SEP > ET
● Overall Bass Quality : AS > SEP > ET
- ET has great bass presence with overall texture is abit smooth out. AS has the best bass dynamics and layering but lacks a touch of warmth and body that ET and SEP has. SEP has great bass control but not as vibrant as SAP nor as atmospheric as ET which makes it the most balance of the 3.

<MID-RANGE/VOCAL>
● Mid-Range/Vocal Intimacy = AS > ET > SEP.
● Male Vocal: SEP > AS > ET.
- On ET, chesty male vocals can sound abit hollow in body. The AS though has energy and sufficient body can sound abit sharp due it analytical nature. SEP however has the best balance of everything.
● Female Vocal: ET > SEP > AS.
- On ET, its beautiful. ethereal. The most musical female vocal of the 3. SEP sound the most correct and balance. The AS has more analytical nature with less emotional depth due to more subdue upper-range.
● Energy/Dynamics : ET > SEP > AS.
- AS has better energy on lower-region of the mids. But overall ET has the best micro-dynamics here. While SEP took the more laid-back and balance approach.
● Transparency: AS > SEP > ET.
● Clarity: ET > SEP > AS.
- The vocal on ET is super clear. While on AS there a hint layer of haze or low noise. While on SEP it is not as focus as the ET.
● Tonality (Warm>Neural>Bright): ET (W-N) > SEP (N-BAL) > AS (N-B)
- The warm hues and the extra reverb gives ET a more coloured tonality. Again SEP too the more balance approach while AS has this upper mids and air boost to make it sounds brighter than the 2.
● Tone & Timbre: SEP > ET > AS.
- AS treble sharpness tend to affect the naturalness of its mid-range. ET has such a pleasing vocal timbre but SEP gives a more correct timbre on both instrument and vocals.
● Transient/Attack: AS > SEP > ET.
- The SEP seems to have heftier note-weight. But the AS has a crispier attack. The attack on ET is the softest. These traits will become most apparent on instrumental replay such as pianos/guitars/violins/strings.
● Airiness: AS > ET > SEP.
- The AS sounds abit more airy-er. due its air region energy bump.
● Reverb Level: ET > SEP > AS.
● Sibilance Control: ET > AS > SEP. (nit-pick level)
- The AS is the least forgiving here. SEP is rather similar but less forward.
● Shout Control: ET > SEP > AS.
- The ET the most anti-shout set of the 3. The SEP is close 2nd while AS is on forgivable level.

<TREBLE/HIGHS>
● Tonality (Dark->Neutral->Bright): ET (D) > SEP (N-B) > AS (NB)
- Due to its forwardness, the AS perceived to sound the brightness. ET being darkest while SEP is brighter yet inoffensive.
● Air-Extension: AS > ET > SEP
- AS have the most air presence among the 3. The ET and SEP are closer to each other.
● Evenness: ET > SEP > AS
- SEP treble is smooth but ET is buttery smooth. While AS is considered smooth as well but not as smooth as the other 2 due to upper-end peaks.
● Transparency: AS > SEP > ET.
- AS is just a detail forward treble. It has the best layers here. SEP present its detail less forcefully while ET is no slouch despite its darker nature.
● Clarity: AS > ET > SEP
● Timbre: SEP > ET > AS
SEP timbre is nigh excellent, its crisp, smooth, good note-weight with accurate decay. ET sounds smooth yet still maintain organic touch. AS has gone for more analytical approach which tends sacrifice some of the naturalness of the treble.

< TECHNICALITIES >

STAGE-DIMENSIONS
● Width: SEP > ET > AS
● Height: ET > SEP > AS
● Depth: ET > SEP > AS
● Background Darkness: ET > SEP > AS
● Imaging (Accuracy + Sharpness): SEP > AS > ET
● Separation (Effortlessness & Consistency): SEP > AS > ET
● Detail & Resolution : AS > SEP > ET
● Instrument Replay/Timbre: SEP > AS > ET
● Dynamic-Range/Transient: AS > SEP > ET
● Ambience Level: ET > SEP > AS
● Clarity: ET > SEP > AS
● Build : SEP > AS > ET
● Comfort: AS > ET > SEP
● Drivability : AS > ET > SEP
● Value (As Tested): ET > SEP = AS
● Personal Enjoyment: ET > SEP > AS

"The ASTRAL proven to be the most technical set here with a versatile balance tuning. The SEPTET sounds the most organic sounding of the bunch. It is best suited for long listening session but it is the hardest to drive. The ÉTUDE is simply the most unique. It give a different musical experience and it is the cheapest by far."

◤FINAL THOUGHTS◢
The SEPTET doesn't immediately captivate; rather, it reveals its charm over time. Once adequately powered, its performance becomes truly sublime. I appreciate how it executes every detail with subtlety, akin to a seasoned butler. On tiring days, I find myself gravitating towards the SEPTET, as it effortlessly navigates through various genres without distraction.

========================================================================

【SOURCE & GEARS】
● Native FLAC Files [44.1Khz 16bits-96Khz 24bits]
● Foobar2000 [ROG Strix G814JVR (2024)] [USB C Thunderbolt]
● Samsung S24 Ultra [as my DAP phone][ App- Foobar2000]
● Tanchjim SPACE/LUNA Asano Tanch / xDuoo Link2BAL / Kiwi Ears Allegro Pro
● Eartips : Spinfit CP100 (M)
● Stock Cable 4.4 BAL.
========================================================================

【PLAYLIST／TEST-TRACKS】​

1977 Fleetwood Mac - Dreams ★
1982 Chicago – Hard to say I'm sorry. ★
2003 NARUTO Original Soundtrack I – Wakiagaru Toushi ★
2008 K.will (케이윌) – 소원 (Great King Sejong OST Part.1)
2009 Maksim – Exodus
2010 Ichiban Ushiro no Daimaou (OST) – Kokoro no Oku De Ha
2012 Imagine Dragons – Night Visions - Demons ★
2014 Grabbitz – Here with you now. ★
2014 BoA – MASAYUME CHASING
2014 Hyolyn – 안녕 Good bye ★
2015 KOKIA – I Found You ★
2015 K MISSING KINGS (OST) - New Kings
2016 K RETURN OF KINGS (OST) - Return of Kings
2016 K RETURN OF KINGS (OST) - If you die.
2017 Berry Goodman – Zutto (ずっと) ★
2017 SawanoHiroyuki[nZk]:mizuki – ViEW
2017 Namie Amuro – Hope
2019 K SEVEN STORIES (OST) - In Pursuit Of
2019 K SEVEN STORIES (OST) - Lost Small World
2019 Blade & Soul (OST) – Half-Moon Lake
2019 CAROLE & TUESDAY VOCAL COLLECTION Vol.1 – Light a Fire ★
2020 Paradox Live Opening Show (1st E.P) – BAE – BaNG!!! ★
2020 Paradox Live Opening Show (1st E.P) – cozmez – Where They At ★
2020 倖田來未 (Kumi Koda) – GET NAKED (Kiyoshi Sugo Remix)
2020 倖田來未 (Kumi Koda) – again (MATZ Remix)
2020 premiere fleurs – プリンシパル
2020 Love Live! Nijigasaki – 朝香果林 (Karin Asaka) – VIVID WORLD ★
2020 Fujii Kaze – へでもねーよ”／Hedemo Ne-YoSeishun Sick
2020 King Gnu – 三文小説 ／Sanmon Shosetsu ★
2020 EMIN & JONY – Камин
2021 OWV – Fifth Season ★
2021 加藤 ミリヤ (Miliyah) feat. Yoshida Brothers – この夢が醒めるまで ★
2021 Aoi Teshima – ただいま★
2021 Official髭男dism – Cry Baby
2021 Chanmin BIJIN 美人 – Morning Mood
2021 門脇更紗 (Sarasa Kadowaki) – きれいだ
2021 Mirei Touyama – 美忘録
2021 SELECTION PROJECT Vol.1 – Only one yell -天沢灯ソロver.- ★
2022 Belle (Original Motion Picture Soundtrack) – Million Miles Away (ENG vers.)
2022 rei (E-girls) – Dark Hero.
2022 rei (E-girls) – IDNY
2022 I can fly (Special Edition) – Bleecker Chrome - You will shine ★
2022 I can fly (Special Edition) – YOSHIKI EZAKI x Bleecker Chrome - UP ★
2022 BEAST TAMER (OST) – じんわり感じている幸せ
2022 Ado – 会いたくて
2022 Ado – 踊
2023 La prière – Sweet Dreams ★
2023 Bungou Stray Dogs 4th Season ED – Luck Life – しるし★
2023 UMAMUSUME PRETTY DERBY - Hat on your Head!
2023 Anna – 花のように (Hana no You ni)
2023 riria. – 貴方の側に (Anata no Soba ni)
2024 Dungeon Meshi OP – BUMP OF CHICKEN – Sleep Walking Orchestra
2024 Ernie Zakri, Ade Govinda - Masing Masing ★
2024 Paradox Live THE ANIMATION OST – 25 幻影武雷管 - Trauma ★
2024 Bartender Kami no Glass OP – Takaya Kawasaki – Stardust Memory ★
2024 Maou no Ore ga Dorei Elf ED – Sayaka Yamamoto – Blue Star
2024 Spice and Wolf Merchant Meets the Wise Wolf OP – Hana Hope – Tabi no Yukue/ Destination of the journey
2024 Tonari no Youkai-san ED – Aoi Kubo – Iro no Naka (風媒花)
2024 Sayounara Ryuusei, Konnichiwa Jinsei OP – LUN8 – Together Forever
2024 Sayounara Ryuusei, Konnichiwa Jinsei ED – EverdreaM – 君と見た景色
2024 Natsume Yuujinchou Shichi ED – Toshiki Kondo – こまりわらい (Komariwarai)
2024 Hololive FLOW GLOW – FG ROADSTER ★
2025 Ameku Takao no Suiri Karte ED – The Gospellers – will be fine feat. Anly ★
2025 A-Rank Party wo Ridatsu shita Ore wa OP – L.E.I. – Enter ★
2025 Arifureta Shokugyou de Sekai Saikyou S3 ED2 – iScream – Metamorphosis
2025 Watashi no Shiawase na Kekkon S2 OP – Riria. – Shiawase na Yakusoku. ★
2025 ONE OK ROCK – DETOX (Japan & International ver) – This Can’t Be Us ★
2025 Татьяна Куртукова - _ MATUSHKA ULTRAFUNK (REMIX BY. Satirin) (SLOWED) ★

★ Main-Test-Tracks/ A glimpse of what listen to 90% of the of time.


Do take my words for what it’s worth. Afterall, I am just one man. ╮(╯▽╰)╭

THANK YOU SO MUCH FOR READING! HAVE A GOOD DAY WHEREVER YOU ARE! TAKE CARE!

Disclaimer:
- This unit is sent to by Kiwi Ears @EvelynZ . Thank you so much for making this review possible.

Where to buy?


If you like me to review your gears, please do send me a message! I'll try to respond ASAP!

EXTRA PHOTOS

Thanks to Linsoul for the opportunity to listen to the Septet, all thoughts are my own as always. I’m approaching 250 IEM’s and Headphones (having listened to well over this number) so have a lot of experience across all price points, I write these reviews in the hopes that it helps someone find the perfect pair for them (or the perfect set to expand your collection). Everyone’s ears are different, so while these are honest impressions your results may vary.



What an intriguing set! I’ve had open TWS before, but I don’t think I’ve had an open IEM, at least nothing memorable. In my headphone stable I have many, many open sets so was looking forward to how this would translate, and if some of the upsides (and downsides) of open sets would come with this IEM. Let’s find out!

The packaging is very much the new standard Kiwi Ears, it comes with the shells, two sets of ear tips, a small case, and a nice cable which has a 3.5mm SE, and 4.4mm balanced interchangeable terminations. The connector for this is at the bottom, just like the Astral, so you don’t accidently disconnect it when pulling the plug out of your source. Great design, and a great cable all around. I did try this set with some other cables however found the stock to more than good enough.



I usually don’t talk much about the design and drivers, however given this is an open set I’ll talk about it a little more. The Septet boasts an open design, with a 10mm DD handling the Bass, 4BA’s, 1 Micro-Planar, and 1 PZT. This is brought together with a five way crossover, and 3 tuning tubes. The Linsoul website states that they’ve been working on this for nearly two years, and that each driver has full ventilation in the open back design. Quite interesting, and very ambitious!

Design wise it’s quite understated, there is a small kiwi ears logo on each shell, black body and brown outer to match the brown cable. I like it.



While I did find a decent fit with the tips that were included I changed over to some of my own for a better fit, I preferred these with a deeper fit so try to find tips that allow that if you pickup a set. With a shallow fit I found that the set could be a little bright, a deeper fit brought them back to natural.



For testing purposes I had a little over a week with this as my main driver, I was away with work and didn’t have much to do at night so I had some extended sessions with this one. I took my many DAPs with me, and it worked admirably across all of them. Similar to the Astral I found that it scaled up well and preferred it out of my more expensive DAPs. It needs a bit of power to sound right, out of some dongles I had to push the power up and it sounded a little off, would highly recommend a decently powered dongle, or a DAP to pair this with. My main pairing this week was the Luxury and Precision P6 Pro 10ae Silver, but also had a decent amount of time on the HiBy R4 for streaming. Sounded great out of both, but a clear preference for the R2R goodness of the P6 Pro.

Music wise I was a little all over the place this week, we had a decent dose of Radiohead, Paul Simon, The Doors, Creedence Clearwater Revival, some Mahler symphonies, Lady Gaga, Linkin Park, Tool, and The Beach Boys, along with some random shuffles. All up, a decent mix of genres.

Bass:

Surprised me a little, for its open back design it’s no slouch. It reaches deep and where the track calls for it the stage gets filled out. Pretty tight and precise in how it delivers. Not a bass head set, but not bass light like I thought it may have been.

Listening to Tool – The Grudge the bass fills out a stage which expands beyond my ears and out in front of me, but it doesn’t bleed into the other frequencies at all. It doesn’t aim for a punchiness like some sets, but it delivers a full sounding bass region. All up I was impressed. It’s present, ample, but not trying to take over the show.

Mids:

Natural. The mids are very clear in how they’re presented here, with plenty of detail. Perhaps a little warm leaning (although this could be partly due to my sources). With the open back design nothing falls over anything else, so where you have lots of instruments that live in the mids they all have their own place in the stage, and all remain coherent. The set has a decent amount of body to the sound but due to the open back design everything sometimes sounds a little far away. This generally just means that I was listening a few at a few db more than I usually would, still well within a safe range but worth a callout.

Vocals are very clear and coherent; I liked male and female on this set equally. Depending on the depth of the fit there was sometimes a little bit of sibilance, deeper fit gets rid of it. I’ll stop mentioning it now but always go with a deeper fit with this set.

Listening to Lady Gaga - Vanish Into You her voice is simply amazing on this set, with the music supporting the delivery of her voice, bringing all of the emotion straight to your ears and heart.

All up, great mids that can sound a little distant if you’re playing at lower volume.

Treble:

Open (lol). Probably the standout for the set, the open design, along with the drivers that are playing the region, makes it quite special. The set is smooth, and it’s no exception up here. I didn’t find it bright, but open, airy, detailed, and smooth would be my best description for this region. Pick any decent treble focussed track and you’ll be impressed.

Soundstage and imaging:

The stage here is quite impressive. It extends out beyond my ears, and out in front of me. Imaging is decent. With all of that it remains coherent and quite musical. You do get a little bit of sound leakage due to the design however it’s nothing compared to an over ear open back.

Subjective thoughts:

I really like these. My favourite tracks were mid/treble focussed. Silversun Pickups album Swoon was amazing on this set and really highlights everything that’s great about it. It did bring a lot of what I like about open backs to the IEM space, and for the most part it succeeds. My only nitpick would be the distant sounding music sometimes, I think it’s a by-product of the open design and solved by turning the set up a few notches. At its price point you’re getting something pretty special here, Kiwi Ears are trying lots of different things at the moment and for each one I’ve tried I have nothing but praise.

Overall:

Recommended. It brings a lot of the great things about the open back design and shrinks it down into an IEM. The different drivers work wonderfully well together, and you get something quite special all up. Is it for everyone? Possibly not, IEM’s are often appealing for their portability and while I had no issue with the open back design it wouldn’t suit some people. For everyone else, particularly those of us with many sets, the Septet deserves a place in your collection, it’ll certainly be staying in mine! I've been listening to Lady Gaga - Mayhem while writing this and it's such an enjoyable listen, her vocals sound truly amazing on this set.


Overall Rating at $269: 4.6 / 5

Provided by Kiwi ears for an honest review

Preamble:

Kiwi Ears, the well-known manufacturer of quality iems, is on a roll lately. In a short period of time, they have introduced a number of new products such as the Aeroso which I recently reviewed. They are not known to be a manufacturer with a rapid release schedule so this in of itself is interesting.

In for this review is the Septet, a seven driver per side hybrid utilizing an interesting mix of four different driver technologies. On top of that the Kiwi ears have blessed the $269 USD Septet with a true open back design which is also unusual in the iem space. Each side boasts of a driver compliment which includes a single 10mm composite dynamic driver managing the bass, four balanced armatures responsible for low-mid and mid-treble, one micro-planar for the high treble and a Piezoelectric driver there to according to Kiwi Ears “enhance the texture and clarity in the upper registers, working in harmony with the MPT drivers to refine the overall soundstage”. A 5-way passive crossover and three tuning tubes are employed to make sure that these drivers play nice with each other, and your ears.

Folks, that’s a lot of tech but bravo to Kiwi ears as they have pulled off what many I’m sure could not. The Septet offers up a cohesive and detailed sound with a good measure of musicality. They claim that the Septet is the result of two years of development, a claim which given the results I will not dispute.

Tuning wise the Septet offers a balanced sound signature with a slight sub-bass prominence. In fact, depending on the track, the Septet does hint at a very moderate U-shaped tuning veering away for a perfectly balanced playback. The Septet is one of the more power demanding earphones I have experienced in some time. A capable source is highly recommended with good power delivery. Tip rolling is also something I would say is mandatory. I found that the Septet’s performance, in particular that of the mid-bass, was best with tips that allowed a deep insertion and tight seal, otherwise the sub-bass would lose its control and the mid-bass would lack weight sounding almost thin. With good wide bore tips, the sound quality was maximized and the Septet became an eminently enjoyable iem.

Read on to find out more.

SPECS:
-Driver Configuration: 10mm Dynamic Driver + 4 Balanced Armatures + 1 Micro-Planar + 1 PZT (Open Back IEM)

-Crossover: 5-way crossover, 3 tuning tubes

-Rated Power: 5mW

-Maximum Power: 10mW

-Impedance: 15 Ohm (at 1kHz)

-Sensitivity: 95dB SPL/mW (at 1kHz)

-Frequency Response: 8Hz – 30kHz

-Total Harmonic Distortion: <1% (@1kHz)

-Cable:5N OCC, 0.78mm 2Pin

-Cable Length: 1.2m ± 5cm

-Plug: Modular 3.5mm & 4.4mm Interchangeable




Build & Fit:

The Septet is a attractive iem with what I would call a throwback motif. The iem follows the design cues from most of the recent Kiwi Ears designs that being simple but elegant looks. The back of the iem has open slots with a perforated grill under those no doubt this being part of its open back design.

Comfort wise the Septet is of medium size and average comfort. There is a prominent nozzle which as mentioned above makes tip rolling mandatory imho and once finding the best tip for fit an seal long listening session were not an issue.

The included accessories include additional tips, a modular cable and the usual Kiwi ears branded carrying case. The cable is standout and is a noticeable step up for Kiwi Ears from the usual nondescript black thin cable that usually accompanies its products. This modular cable ships with both 3.5mm SE and 4.4mm Balanced tips in the box. Haptics and visuals are nice and again an improvement when compared to past offerings.








SOUND:

Bass:

Bass here is nicely laid out with sub-bass that has rumble when called for with good but not outstanding detail. Mid-bass has nice punch and speed with great control. The bass does not bleed into the mids but stays in its place. Bass has pleasing control and ample power and slam when required. While not a “Basshead” iem in that it not always punching the ears with bass even on choral music, the Septet has more than enough bass drive when required to satisfy most people for sure. The overwhelming character of the bass is that of being musical and maintaining the sonic characteristics heard throughout the rest of the frequency range.
The Septet has a low end that does not push to the front of the line but when called for its right there with solid force.

Midrange:

The midrange is interesting in that Kiwi Ears have achieved a sonic balance that I find engaging. The mids have a nice warmth but are still detailed. There is lots of clarity but no feeling of coldness or being sterile. The midrange is lively yet never feels sharp or grainy. Vocals are more immediate than recessed and have a wonderful clarity to them, both female and male. Instruments sound organic and alive adding to that “pull you in” factor.

The midrange has a clearly open sound to it. Weather this is due to the open back design or a combination of factors it is unmistakable. Listening to “He’s a carioca” by Eden Atwood the width and breadth of the instrument arrangement in the soundscape was wonderful to hear and addicting. The icing on the cake was how natural the instruments sound. There is energy here in the midrange but it’s so tastefully done never overbearing.

Note weight is very good as is how transients are relayed. Timbre is also good and layering and separation is notable as well. I would call the midrange of the Septet a success with enough unique attributes to set itself apart from others to sound different in a very good way. Nicely engaging.

Treble:

Treble here is also special. Treble is extended with ample energy and commendable sparkle and air. The treble has a smooth delivery with adept detail retrieval and excellent control. The high end here is more refined and mature in character even with its obvious energy. Another balancing act the Septet pulls off with ease never sounding harsh or edgy. While some who are treble sensitive may find the treble too energetic, it is presented in such a way that even some of those folks may find much to like.
When listening to “No Worries” by The Robert Glasper Trio I was taken back by the natural sound of the cymbal work. No splashiness or overhang, just a natural clean & detailed playback.



IMAGING & SOUNDSTAGE:

The Kiwi ears Septet offers a wide-open soundstage with accurate imaging. The open back design combined with excellent driver integration and standout layering and separation work together to offer a treat to the ears. With well recoded tracks the soundscape comes alive in a way that I rarely hear in an iem regardless of price. On busier tracks the Septet managed to keep its composure never falling back to that wall of sound affect.

Width is beyond the ears and both depth and height are present in good measure. On well recorded live tracks such as “Stimela The Coal Train” by Hugh Masekela the immersion was fantastic. Each instrument clearly audible with well-defined placement. The venue dimensions were also nicely conveyed adding to the immersive quality of the playback.



VERSUS:

BGVP NS10pro:

The NS10pro in an iem that I do like very much as evident by my recent review. It offers a bright neutral tuning with very good detail retrieval and coherence of sound.

Bass is presented somewhat differently on these two earphones, the NS10pro has more of a mid-bass emphasis while the Septet favors the sub-bass. While the NS10pro pulls more detail out of the bass notes, the Septet presents a low end with meatier more rounded sound. It comes down to music genre and personal preference really.

The midrange is markedly different between these two iems. The mids of the Septet are not of the laid-back variety but that of the NS10pro are even more energetic. Both offer a pleasing mix of macro and micro details so that base is well covered. The midrange on the Septet is has an expansive nature that even the well performing NS10pro cannot match combined with arguably better layering and separation. I have to say that the NS10pro is no slouch here but it is just bested in these particular metrics by the Septet. If I had to absolutely choose a winner in the midrange it would be a tight race but I would go with the Septet.

In the treble they also have some similarities and differences. Both are excellent performers offering energetic treble tunings with good detail retrieval as well as abundant sparkle and air. That being said, in terms of organics I would give the nod to the Septet. This is heard on intricate cymbal work and the harmonics of string instruments. Both are keepers though.

CONCLUSION:

Kiwi Ears is on a roll. The Septet is a tour de force in tech but most importantly it sounds very good. The engineers and tuners at Kiwi ears have crafted an iem that I thoroughly enjoy. When it comes to soundstage it has that special sauce, but if that was its only positive trait it would be a disappointment. Contrary to that the Kiwi Ears Septet is an iem I will continue enjoying during long satisfying listening sessions for some time. It is not a “me too” product and both its design and tuning are testament to that. The Kiwi ears Septet gets a solid recommendation.

Hello dear readers! I am happy to see you here again in another review.

Today I am going to review the Kiwi Ears Septet, a 1DD, 4BA, 1 Planar, 1 PZT drivers IEM, that was sent to me by courtesy of Linsoul Audio in exchange for my honest review.

Let's jump into it!

Disclaimer​

I received the Kiwi Ears Septet from Linsoul Audio in exchange for my honest review, but still – my opinions about the IEMs are personal and written based on my own experience with them, and I was not paid for this review.


My goal in my reviews is to make it easier for everyone to understand the terms audiophiles often use, so even if you are a beginner and this is all new for you, you can feel comfortable understanding all the terms and make a better decision for yourself.

A little bit about myself​

I thought it could make it easier for you to understand what I am listening to, and if we are audio soul mates, maybe this review will talk to you more personally
I mainly listen to pop music and instrumental music, such as Lindsey Stirling. I am also an EDM lover, who enjoys both sides of the spectrum: bass and treble. My favorite artist, for example, is Snail's House, and I also listen to a lot of monstercat releases. Are we audio soul mates?

A little bit about this IEM – Kiwi Ears Septet​

Wow – there's a lot to unpack here. Let's begin with the fact that this IEM houses 7 drivers. Yes, you heard right – seven. That's a lot of drivers! And it is not a driver count flex, there is a 5-way crossover, which means, the drivers are not just there to boost volume in certain frequencies, but each group of them is working in five different dedicated ranges. Usually, within this price range (and above) we see 3-way crossover, 4-way crossover if we're lucky, but 5 ways crossover? This is unique, and not something we see everyday. And Kiwi Ears didn't just stop there, they had to make it even more interesting and complicated. This IEM is open back, which, in theory, should, just like in open back headphones, give us a better sense of sound stage and openness.

A quote from Kiwi Ears:

"It has taken almost two years for our team to design and develop the Septet."

And honestly, just on paper, this IEM looks very ambitious. This is not just a random IEM you would see on the shelf; this is a whole project with a lot of potential failure points. But that's all on paper, the real question is – does this IEM deliver? Let's find out!

What's in the box?​

In the box you will find:

• Carrying Case.
• Modular 3.5mm & 4.4mm Cable.
• 12x Silicon Ear Tips.
• User Manual.
• The IEMs themselves.

Carrying Case​

The carrying case is not too big, and it is also flat, which means it is even more pocketable than the usual Kiwi Ears case. There is also a room to store a dongle, and maybe some ear tips. Overall, the carrying case is very nice.

Modular Cable​

The cable of the Septet is one of the nicer cables from Kiwi Ears, it has good modular mechanism to switch between 3.5mm to 4.4mm. It's brown/coffee color matches pretty well the color of the faceplate of the Septet, it is thick, flexible, doesn't tangle or has any sort of memory. There is a left and right marking underneath the connectors, the connector that has a blue color is meant to be used for the left IEM, and the connector that has a red color is meant to be used for the right IEM. Moreover, it is a recessed 2-Pin cable, which means you can use it on other IEMs that use these type of connectors. Overall, this is a good stock cable to get with an IEM, and I don't think anyone would want to ever replace it.

Silicon Ear Tips​

There are 2 types of ear tips, narrow bore, and wide bore. I must admit, the ear tips included did not work quite well for me. They didn't provide me a good seal, and the IEM didn't sound quite right to my ears. I have decided to use the Spin Fit CP 100+ on them, which indeed gave me a better seal and better comfort with them. I recommend you tip roll with them, because this IEM indeed need to seal well with your ears to maximize its performance.

Build Quality & Fit and Comfort​

The build quality of the Septet is great, I am not sure if it is a metal/aluminum shell, but it does feel like a metal shell in my hands. The shell itself is colored in black, and the faceplate has sort of coffee color and on front it has silver color. The IEM itself is open back, which means you have to store it correctly in order to keep it for long, because dust can and will get inside of you IEM if you don't take a good care of it. When you are done using the Septet, I would recommend storing it inside its provided carrying case, this is a small task that could ensure your IEM will last for long.

In terms of comfort, the nozzle is not so big, at least is wasn't for me. The Septet is designed for deep fit, if you are okay with that. Overall, wearing the Septet was comfortable for me even for long use. I did not notice any driver flex or whatsoever with them.

That said, the open back design does mean there will be sound leakage, and everyone near you will hear what you hear. Also, the Septet is a power hungry. If I need less then 50% or 40% volume on my Apple Dongle for most of my IEMs in order to them to sound good, the Septet needs almost double of that, around 80% or 90%, so take that in account.



In Terms of Sound



You can find the graph here.
The Septet to me is a more refined version of the Letshuoer S12 for anyone familiar with that IEM, with better bass quality and smoother treble which is not too fatiguing but still well emphasized.

Sub-Bass​

The sub-bass, which covers the lowest frequencies and often delivers the rumbling sensation rather than distinct sounds.

The sub bass of the septet feels quality and has some texture, but it is not the star of the show. It was done very cleanly without bleeding or stealing the show from the other frequencies, but still gives a nice performance and you won't feel it ever lacking. It blends well with the rest and gives good balance to the overall sound.

Mid-Bass​

The mid-bass, where the bass becomes more distinct and perceptible, is equally well-executed. In this range, you hear kick drums and some male bass vocals more clearly.

The mid-bass here is very punchy, it has good definition, body, but it feels tight but still a little bit recessed compared to the rest of the frequencies. This IEM is tends to be bright, the bass is more for the balance, but it is done in a very good way that doesn’t sacrifice too much quality and quantity from it, it has nice emphasis that won't leave you with more to be desired, just the right amount. It is also very clean, not bleeding or being muddy. Just a pure clean bass.

Mids​

The mids are the home to most instruments and vocals.

The midrange of the septet is very special and unique in my opinion. There is good body for vocals and instruments, they don’t sound thin, but they tend to be a little bright, but still safe and natural. There is a lot of energy for vocals, they sound very engaging and fun to listen to. Moreover, the vocals sound forward, well separated from the instruments, natural, open, like they have air to breathe. The openness, especially in female vocals, doesn't feel like it just happens inside you head, but it comes outside of it. The open back is a special sauce here that makes everything sound natural and open. Overall, the midrange presentation tends to be a little bright but safe and still carries good body from the bass that is preventing it from sounding too thin. It is something that I think is unique to this IEM thanks to its open back feature.

Treble​

The treble, which captures high-pitched sounds like cymbals, violins, and higher synthetic tones, adds brightness, sharpness, and sparkle to the music. However, excessive treble can lead to harshness or fatigue.

Do you believe in magic? Because the septet has a lot of (treble) magic. Yeah, a lot of treble, that I don’t think any treble-head would ask for more. It still sounds controlled and pretty smooth, with well handles sibilance. It is airy, open, and sparkling. For everyone who loves some treble magic, then the septet indeed knows how to deliver it. It is done so smoothly, so beautifully, it is not a shouty treble as you might think. It adds some sense of brightness to the sound, openness. But if anyone is sensitive to this region, I would recommend looking somewhere else.

Technical Performance​

Imaging​

Imaging is the ability of the IEM to separate the left or right positions, put anything in the correct direction.

The imaging performance of the Septet is good, but not exceptional within this price range. It is not the most pinpoint imaging, but it still enough to get a clear image of where everything is located.

Soundstage​

Usually in IEMs this term is overused, but in general the soundstage is the feel of openness and wideness of the sound. For example, if the IEM provides a congested feeling to the sound, everything sounds in the middle, this is bad soundstage.

The soundstage of the Septet is one of the best I have experienced with an IEM, while it is not the widest stage ever, it is surely something unique. The open back of it gives it some sense of air and openness. It doesn't feel like everything happens inside your head; it also happens outside of it. Especially in vocals, they doesn't feel like they are blocked or anything, they sound natural and lifelike.

Layering & Separation​

Layering & Separation is the ability to deliver you any piece of instrument or vocal in its own place, separately. The better it gets, the more resolving the IEM will be.

The layering performance of the Septet is good, there is a good sense of layering, and you can pick up a sound and follow it, as they sound clean. Though I wouldn't say they are the best in that regard within this price range, but, as an IEM, it is pretty good. The separation is also very good, and each range get its own place to shine smoothly with no bleeding or whatsoever. As a result, the Septet is indeed a very resolving, and smooth sounding IEM.

Comparisons​

Comparisons could give you a better idea of where this IEM stands within the market.

Letshuoer S12​

The Letshuoer S12 is a single planar driver IEM. When I first listened to the Septet, the immediate IEM that popped into my mind was the S12. Both are bright, and to my ears sound similar. Though, there are differences. First, I think the imaging performance of the S12 is still slightly better than the Septet. And, that all its benefits. The septet sounds more refined overall, the bass has better punch and rumble, the mids sound even more natural, and the treble is much smoother, with no sibilance to be found. The S12 sounds shouty in comparison to the Septet, especially in the treble region. The soundstage of the Septet is some leagues ahead of the S12, thanks to its open back design. Overall, I think it is a step up above the S12 in terms of tuning and tonality, but the imaging performance of the S12 is still better. I personally would pick the Septet, but if it is out of your budget, the S12 could get you almost there if you are open for EQ.

Kiwi Ears Astral​

The Kiwi Ears Astral is a 1DD + 6B hybrid IEM. The Astral is another IEM that was released along with the Septet. The Astral to me sounds U-Shaped, which means it has boosted bass, flat mids, and boosted treble. The bass of the Astral is indeed more emphasized than the Septet, and you can feel it more. The treble is even more intense than the Septet, which makes it less smooth than the Septet and could be too much for some. That said, I think the Astral have better clarity, and sounds crisper and resolving. Its technical performance is also better in terms of imaging and layering in my opinion, but the soundstage is better in the Septet thanks to its open back design. I will try to make it easier for you: If you are a vocal lover, you want smooth treble that is not too fatiguing and don't care to much about the most pinpoint imaging, and want stage that gives openness to the sounds, I would go with the Septet, no questions asked.
If you are into electronic music, or you like U-Shape tuning, good imaging, deep bass rumble, and you are ok with a lot of treble details, then the Astral is just for you.

ZiiGaat Lush (FULL REVIEW HERE)​

The ZiiGaat Lush is a 1DD + 4BA hybrid IEM. The ZiiGaat Lush to me is a warm-neutral IEM, which is less focused on being technical and more focused on the tonality. The ZiiGaat Lush to me is also very unique in its sound, and I think it is a good choice for anyone who is looking for the most neutral and uncolored sound. The Septet on the other hand is great for anyone who likes vocals, and looking for the smoothest treble as possible that sounds sweet. And I don’t think I need to remind you about how unique is the Septet stage… Other than that, I think that they are on par in terms of technical performance. Both are great choices and get my recommendation, but they are for different audiences.

To Sum Up​

The Septet is a great IEM for any vocal lover, and anyone who likes bright tuning and doesn't want to sacrifice a lot of bass for it. The Septet gives it all: good bass punch and rumble, open midrange and smooth treble. It does require you to tip roll with it and to get a deep fit for it to sound good and smooth. It has a open back design that sounds like open back, and it is not just for the aesthetics. That said, there is sound leakage, and it does require a lot of power to run, so make sure you have a good source to pair it with. I would recommend it to anyone who loves listening to vocals, as they sound open and lifelike. I don't think there is anything like it, the Septet is unique, and not just on paper. It gets a hot recommendation from me to anyone who wants to try something new.

The Kiwi Ears Septet are avaible for purchase for 269$ in this following link (unaffiliated)

Big thanks to Linsoul Audio for making this review possible, and I will see you in my next reviews.

– Avishai

There are IEMs that sound good. Then there are IEMs that change how you feel about sound. The Kiwi Ears Septet is firmly in the latter category. I wasn’t ready for what this set delivered—and honestly, that’s what makes it special. Kiwi Ears has been releasing solid hits lately with the Aether, Airoso, and Astral, but the Septet? This one’s a whole different beast.

Let’s start with the configuration—because honestly, it reads like something dreamed up in an audiophile wet dream: 1 Dynamic Driver, 4 Balanced Armatures, 1 Micro Planar, and 1 PZT driver, all packed into an open-back shell. That’s seven drivers per side, each handling different parts of the frequency spectrum like a well-rehearsed orchestra.

Now, this might sound like a classic case of “more is more” on paper (ahem, KZ) but here’s the thing: it’s not just marketing fluff. It actually works, and not just in a “technically impressive” kind of way—it works in a musical way. The synergy between the drivers is surprisingly seamless. There’s no awkward crossover dip, no Frankenstein-tuning syndrome where each driver feels like it’s pulling in a different direction. Instead, you get a coherent, expressive sound that feels alive and layered.

But—and this is important—you have to feed it power. The Septet isn’t one of those IEMs you casually plug into your phone and dongle and expect magic. Give it proper amplification, and it opens up like a well-aged bottle of wine. The stage widens, the micro-detail sharpens, and the low-end firms up with a sense of control and authority. The magic doesn’t just come from the driver count it’s unlocked when you drive it like it deserves.

This isn’t just a specs monster. It’s a carefully crafted quadbrid beast that delivers when given the right conditions. Treat it well, and it’ll sing.

Whats in the box? Here is my quick unboxing video of the Septet.

Comfort & Build – Sleek, Solid, and a true open-back IEM
The Septet’s shells are crafted from a sturdy metal alloy, yet they feel surprisingly lightweight and ergonomic, especially considering all the tech packed inside. They sit comfortably in the ear without any sharp edges or awkward angles, and after a while, you almost forget you’re wearing something with seven drivers inside.







The open-back faceplate isn’t just there for show—it’s both functional and beautiful. That intricate grille design is the gateway to the Septet’s expansive, speaker-like soundstage. Of course, that also means isolation takes a back seat. These aren’t your grab-and-go IEMs for noisy cafes, airplane cabins, or sneaky "video sessions" when someone’s asleep next to you—you know what I mean, hehe.



But for home listening? For quiet evenings with a good DAC, a hot double shot espresso, and your favorite playlist? The Septet is a total joy. The comfort, build, and open-back magic all come together to make it feel less like an IEM and more like a tiny high-end speaker system that just happens to sit in your ears.



Bass – Controlled Power
The Septet’s bass is one of those rare performances that feels both disciplined and deeply satisfying. Thanks to the dynamic driver handling the low end, there’s real sub-bass presence that digs deep when called upon. It doesn’t try to steal the show, but when the music asks for rumble, the Septet answers with authority. There’s this subtle growl to low frequencies—especially in electronic, cinematic, or bass-heavy tracks—that feels like it’s coming from a much larger speaker setup.

But what I love most is the control. The bass doesn’t bleed into the mids or cloud the mix. It’s got that fast, tactile punch in the midbass that makes kick drums sound snappy and bass guitars feel agile and well-textured. Whether you're listening to upright jazz bass or layered EDM drops, the articulation remains tight and expressive.

And despite the muscle, it’s still musical. You can follow the shape and tone of bass notes—not just feel them. That balance of impact and restraint shows thoughtful tuning, and it allows the Septet to remain versatile across genres. It's bass with both brawn and brains—you get the emotional energy without sacrificing the technical cleanliness.


Midrange – Natural, Expressive, and Soulful
The mids strike a gorgeous balance between detail and warmth, It walks that delicate tightrope between Detail, clarity and warmth, delivering a presentation that feels alive never too sharp, never too soft. Vocals come through with a fullness and emotional weight. Voices feel intimate and human, like they’re right there with you in the room.

What really impresses me is how the Septet handles instruments. Acoustic guitars sound rich and woody, piano keys have proper weight and decay, and string sections carry that natural resonance and body that make them so captivating in real life. It doesn’t just reproduce notes—it expresses the textures in the playing. You hear the finger slides, the bow friction, the subtle pedal decay. There’s real nuance here.

Thanks to the open back shell and well-implemented balanced armatures managing the midrange, there’s a kind of speed and precision to the sound that lets details shine through without sounding clinical or cold. It’s articulate, yes, but never sterile. And honestly, if you’re still worried about “BA timbre” don’t be. We’re way past the era where balanced armatures had that dry, plasticky tone. The mids here feel every bit as natural and organic as a well-tuned dynamic driver. Kiwi Ears has clearly tuned these with musicality in mind.


Treble – Very airy, Extended, Never Harsh
Treble is where a lot of multi-driver sets stumble—but not on the Septet. Here, the treble is nothing short of elegant. It’s extended and detailed, with a natural sense of air that gives the entire presentation a feeling of openness and space. Hi-hats shimmer, cymbals crash with texture, and ambient micro-details float effortlessly through the whole mix.

What’s even more impressive is how smoothly it’s delivered. The micro planar and PZT drivers are clearly doing some heavy lifting here, bringing resolution and sparkle without turning the highs into a splashy or fatiguing mess. Treble here doesn’t jab at your ears—it lifts the music up and lets it breathe. You get all the clarity and air you’d want for classical, jazz, or ambient genres, but also the dynamic bite needed for rock and metal.

Even on brighter recordings, the Septet resists becoming sibilant or harsh. It’s confident, not aggressive—delivering detail without edge. The top end feels like the final touch on a very carefully layered soundscape, adding just the right amount of brilliance to keep things exciting.

Soundstage & Imaging – A Room With No Walls
The moment you hit play on the Septet, it becomes clear—this isn’t your average IEM. The open-back design plays a huge role here, and the result is a soundstage that feels… well, liberated. There’s a real sense of space, width, and even depth, something that’s often tough to nail in the in-ear format. It doesn’t just sound big—it sounds alive. Like you’re sitting in a venue, not just listening through a device.

What really floored me is the imaging. Notes don’t just appear in the left or right channel—they travel. Sounds move across the field with such precision and vividness that it feels almost binaural at times. You can pick out where a guitar is being strummed, where the hi-hat sits in the mix, or where a vocal reverb trail fades into the distance. Instruments aren’t just present—they’re placed. That level of layering and separation lets every element breathe and tell its own story.

Even in complex arrangements, the Septet doesn’t collapse or smear. It just opens up wider. It’s the kind of staging that makes familiar tracks feel new again you start noticing background textures and room reverbs you never realized were there.

Synergy & Pairing – Feed It Well, and It Sings
I’ve been pairing the Septet with the Fosi Q6 DAC, and let me tell you—this combo is magic. The AKM chip inside the Q6 adds a touch of warmth and smoothness that really complements the Septet’s vibrant character. It gives the mids a bit more richness and helps the highs float just a little more effortlessly, without losing that incredible air and separation.

But here’s the thing: the Septet isn’t your average plug-and-play IEM. This set demands a good source. It’s not just about volume—it’s about dynamics, current, and headroom. You’ll need something with a clean, powerful output to really unlock what these drivers can do. When underpowered, it sounds decent—but push it with a proper source and higher listening levels, and the Septet transforms. Suddenly the bass tightens, low-end control improves, and tiny microdetails come forward with confidence. Imaging sharpens, treble opens up, and the whole sound becomes more holographic.

This is one of those IEMs where you want to turn it up—not to chase volume, but because it rewards you with more depth and energy the further you push it. I wouldn’t call it inefficient, but let’s just say it prefers a strong cup of coffee in the morning. Treat it to a good DAC or DAP with solid power, and the Septet will absolutely return the favor with a performance that feels well above its price point.





Here’s a breakdown of how the Kiwi Ears Septet pairs with each of the sources i own, taking into account the IEM’s open-back design, unique 7-driver quadbrid setup, and its demanding drivability:




1. Fiio K11 R2R
Pairing: Beautifully textured and controlled
The Septet and K11 R2R make for a highly musical combo. The R2R DAC adds organic richness and a velvety smoothness across the mids and highs, complementing the Septet’s natural tone. It also tightens the bass, giving it just enough punch without turning it bloated. This pairing is more about texture and emotional engagement than brute resolution. Vocals, especially female ones, come alive with intimacy and warmth.
• Strengths: Lush mids, relaxed treble, great timbre
• Watch for: Slightly softer transients—not the most analytical pairing
• Ideal for: Jazz, acoustic, vocal-forward genres



2. Fosi Q6 (AKM-based DAC)
Pairing: Smooth, mellow, and easygoing
The Q6’s warmish tilt and soft treble edges pair well with the Septet’s detail-forward presentation. This pairing leans smoother and slightly relaxed in transients, ideal for long, non-fatiguing listening sessions. Imaging is still solid, but the Q6 rounds off some of the more aggressive edges, giving the Septet a cozy, more “musical” flavor.

• Strengths: Warmth, smoothness, great for casual listening
• Watch for: Slight loss of sharpness and micro-detail
• Ideal for: Easy listening, chillhop, indie, deep house and bossa



3. Fosi MC331 (Tube Amp/DAC)
Pairing: Vintage soul meets modern precision
Pairing the Septet with the MC331 adds a subtle analog warmth and harmonic glow, especially in the mids and upper bass. The imaging becomes more "rounded" and the stage feels natural and atmospheric. It takes away some edge from the planar and PZT drivers, letting the music breathe. Power is still borderline though—you’ll need to crank it. the MC331 has a low power headphone output.

• Strengths: Tubey warmth, rich mids, added euphony
• Watch for: Slight veil over upper treble, reduced speed
• Ideal for: Vocals, strings, lo-fi, classic american jazz.

4. Fosi K7
Pairing: Punchy and technical with ample headroom
The K7 offers clean, balanced output with surprisingly good dynamics for its price. It provides enough power to wake up the Septet fully, improving bass grip and adding clarity across the board. The pairing is crisp, controlled, and a bit more analytical, though not dry. Great synergy if you want to explore the Septet’s technical potential.

• Strengths: Clarity, macro dynamics, staging
• Watch for: Slightly lean mids if you're used to warmer sources
• Ideal for: EDM, rock, orchestral, cinematic scores, all genre actually.



5. HiBy R6 III (DAP)
Pairing: Natural, dynamic, and effortless
The R6 III, with its clean Class A amp mode (R6 heats up like crazy and shorter battery life) and neutral-warm tonality, pairs extremely well with the Septet. It gives the IEM plenty of current while keeping the sound open and clean. This is one of the most balanced and synergistic pairings—no harshness, excellent layering, and enough power to fully open the Septet’s wide soundstage. It's also one of the few portables that makes the Septet truly sing on the go.

• Strengths: Well-rounded, dynamic, clean stage
• Watch for: Battery life dips in Class A mode
• Ideal for: All genres, especially instrumental and hybrid vocal-music mixes



6. Fiio JM21 (DAP)
Pairing: Small but surprisingly effective
The JM21 has a clean, slightly warm-leaning signature with good separation and decent power. It's surprisingly capable of pushing the Septet with a decent sense of control and dynamics—but don’t expect it to extract everything. At medium-loud volumes, it performs admirably, but you might miss some of the depth and layering compared to stronger DAP that is why i paired my JM21 with Topping nx7 amp.
• Strengths: Smooth tuning, great staging for a dongle
• Watch for: Slight compression at higher volume needs an amp.
• Ideal for: jazz, deep house, techno etc..

Overall Ranking by Synergy & Performance with Septet:

• HiBy R6 III (Class A mode) – Best all-round synergy, fully unlocks the Septet’s capability
• Fiio K11 R2R – Best for lush, musical listening with excellent tone. the k11 really pushes the septet to its full potential.
• Fosi K7 – Best for technical performance and power
• Fosi Q6 – Great for smooth, relaxed listening
• Fosi MC331 – Unique analog flavor, romantic midrange
• Fiio JM21 – Best compact option, solid but limited power.



Final Thoughts – The One That Took Me by Surprise
The Kiwi Ears Septet wasn’t just a pleasant surprise it’s a bit of a revelation. From the moment I first plugged it in, I knew I was hearing something different. This isn’t just another seven-driver hybrid—it’s a carefully crafted blend of technologies that come together with real synergy. There’s no single driver dominating the show. Instead, everything works in harmony: the DD for rich, controlled bass; the BAs for textured mids; the micro planar and PZT for graceful treble detail and air. Add in that open-back staging, and you’ve got a recipe that doesn’t just sound good it feels special.

It’s not a cold or analytical listen, nor is it a colored mess. The Septet lands right in that sweet spot between musicality and precision, where everything feels both engaging and technically impressive. It invites long sessions, deep dives, and rediscovery of old favorites.

If you’ve enjoyed previous Kiwi Ears releases like the Quintet, Airoso or Aether, the Septet feels like a culmination of that tuning journey—richer, wider, more immersive. Of all the Kiw Ears i've tried, the Septet is my personal favorite, it's simply special.
Link: https://www.linsoul.com/products/ki...nlz6Q-GREUOsEdqSwA9rIsHL3NWUtKYgeztVy6sKKag5N