KiwiEars Orchestra Lite

Kiwi Ears Orchestra Lite: A Harmonious Delight ​

Introduction: -

Before we write about the Kiwi Ears Orchestra Lite let's first write a bit about Kiwi Ears, the team behind the Orchestra Lite. Kiwi Ears is a Shenzhen, China-based company started by a team of dedicated engineers around 2020 with the launch of Kiwi Ears Orchestra. The Orchestra is still remembered for its high-quality build quality and musical signature at an affordable price. Fast forward to 2024, they have launched numerous IEMs in four years such as Kiwi ears Quintet, Quartet, Cadenza, Forteza, Dolce, and of course Orchestra Lite around March 2023 which we are reviewing in Aural café today. Surprisingly the team at Kiwi Ears has recently come up with their first Dongle DAC Kiwi Ears Allegro at just 59.99 US$ which we might review in future. After carefully going through the various Kiwi Ears IEMs, we feel that the team at Kiwi Ears aims to provide high-quality IEMs at various price points to cater to the different tastes of audiophiles around the world.

The original Kiwi Ears Orchestra made quite a mark when it was launched in 2021 at 499 US$.

Kiwi Ears Orchestra Lite coming in at 249 US$ is based on the OG Orchestra. Orchestra Lite features once again the same 8 Balanced Armatures driver configuration concerning the OG Orchestra but at half the price of the OG Orchestra. With eight drivers on each side, the Orchestra is an all-BA-based IEM. The Orchestra Lite features 2 custom-tuned BAs for highs, 4 custom-tuned BAs for mids and 2 Knowles BA subwoofers for the lows.



Specifications: -

• Driver Configuration: Kiwi Ears Customized High x2 + Kiwi Ears Customized Mids x4+ Knowles Lows x2
• Impedance: 18Ω ± 10%
• Freq Response: 20Hz-20Khz
• Sensitivity: 112dB/mW @1kHz
• Plug Type: Detachable 0.78mm 2-Pin

Disclaimer: -

We have purchased the unit. We are delighted with the opportunity to review it. The review reflects our honest opinions as always. However, our evaluation is based on a comparison of the price of the IEM.

Packaging & Accessories: -

• Kiwi Ears Orchestra Lite IEMs
• 9 pairs of Ear-Tips (3 Different Silicon Type)
• OFC IEM Cable with 3.5mm Termination
• Carry Case
• Documentation

Check out the full unboxing video here,







IEM Build, Design & Fit: -

When it comes to the IEM build, the quality is there. The team at Kiwi Ears has given their full focus. The Kiwi Ears team has used high-quality medical-grade resin to cast the transparent shell of the Kiwi Ears Orchestra Lite. The build quality of the shell as well as the faceplate is top-notch. While our unit came up in a beautiful green faceplate, the Kiwi Ears Orchestra Lite also comes in a blue, purple and orange faceplate. The shell is transparent and that’s why the internals are visible, and one can see high-quality handcrafted crossover inside the shell which is actually the brain of these multi-BA IEMs. When it comes to the fit the size and design are designed for average to big size ears. The fit may not be comfortable for small ears, but it provides decent isolation for outside use. The usage of the medical grade resin also helps in the overall comfort factor while using the IEMs for a longer duration. When it comes to the build quality of the IEMs, we can confidently say that we have seen one of the best build qualities at this price range of 200 to 500 US$. The accessories of the Orchestra Lite are simple and efficient to use. It comes with simple silicone ear tips and 4-core 7n Oxygen-free Copper cable which is sufficiently flexible and light in weight.



Sound Analysis: -

Credits: @nymz

• Tonality: - After being into this hobby for more than 8 years we at Aural café give supreme importance to the tonality of the IEMs. When it comes to the tonality of the Kiwi Ears Orchestra Lite it is quite balanced with a decent hint of warmness to keep the overall tonality organic across the frequency. The team at the Kiwi Ears has made use of carefully chosen BA drivers so that the tonality doesn’t have any hint of BA timbre. The timbre of the instruments is organic and musical.

• Lows: - The Lows in Kiwi Ears Orchestra lite is handled by two high-quality Knowles subwoofers. The bass is linear in response with decent quantity and quality. The Kiwi Ears team has done a phenomenal job in achieving a high-quality dynamic bass in an all-BA Kiwi Orchestra lite. The midbass especially has a quality that becomes quite fun while listening to the popular EDM numbers, while the subbass does rumble in tracks such as HEARTLESS by the Weekend but lacks a bit of extension. The bass surprisingly has nice speed and right control while handling complex tracks. The transient response has solid control and is fun while listening to the blues genre of music. We at Aural café feel that the lows are carefully tuned by the Kiwi Ears engineers as the bass is tight and clear without overpowering the mids and highs.

• Mids: - The Mids is where the heart of the Orchestra lite lies. This is also quite visible as the Kiwi Ears team makes use of four custom-tuned BA drivers for handling the mids in Orchestra Lite. The tonality of the custom-tuned BA is surprisingly quite like the Sonion BA which is well known for handling Mids great. The Orchestra Lite showcases lush and musical textured mids which becomes very fun while listening to vocal-based songs. The mids is neither forward nor recessed so the vocals mix with the instruments in a very smooth and inoffensive way. The lower mids have the right body while the upper mids are just balanced at best. We at Aural café would have loved it if the upper mids had a bit more extension a soul (with the stock cable). Both male and female vocals are balanced across the frequency with the right texture, but it is in male vocals where the Orchestra Lite shines which is quite evident while listening to “Yun hi re Yun hi re” from the movie “David” composed by Anirudh. When it comes to showcasing the lower mids the Kiwi Orchestra lite has done a decent job in comparison to the upper mids. The male vocals have a buttery smooth texture and soul.

• Highs: - When it comes to highs in the Orchestra Lite it is again handled by two custom-tuned BA drivers. The highs are decently airy but lack a bit of sparkle and are just average at best. While some might find it dark and lacking, we at Aural café believe that the Kiwi Ears engineers tuned it according to their aim of showcasing a balanced IEM across the spectrum, saying so we would love a bit more sparkle, especially in the upper mids region. Detail retrieval capacity is above average and smooth rather than being too analytical.

• Soundstage & Imaging: - With the help of 8 BA drivers the Orchestra lite showcases an above-average soundstage both in terms of width and depth. We love an intimate soundstage which is beautifully showcased in Kiwi Ears Orchestra lite, but Audiophiles who are more into wide soundstage would feel it a bit lacking. The Orchestra Lite does a decent job while listening to blues and numbers such as “Hotel California” but it loses while listening to complex tracks, especially in the rock and metal genre of music. The layering and imaging are above average, and we loved listening to “Hotel California” and “New Kid in Town” by the legendary Eagles band.

• Synergy: - When it comes to drivability the Orchestra Lite is easy to drive but we at Aural café believe a lot in the source and suggest using high-quality DAPs and dongles to enjoy IEMs optimally, and yes Kiwi Ears Orchestra Lite also scales a lot with the better sources, especially in soundstage and highs. After using it with numerous sources such as Dethonray DTR1, DTR1+, Pegasus SG1 Gold, Ak SP1000m, Aune M1p, Aune Yuki, Tanchjim Space, Space Lite we can assure you that it sounds best with neutral, transparent, and clean sources such as Aune M1p, Aune Yuki, Tanchjim Space Lite and Ak SP1000m. When it comes to cables the Kiwi Ears Orchestra Lite becomes a bit more neutral and airier when used with high-quality SPC or Pure Copper cables, such as PW Audio Saladin or PW Audio Monile 2-wire, whereas the Spinfit CP145 once again goes well with the balanced tonality of the Kiwi Ears Orchestra Lite. Surprisingly it didn’t go well with the high-quality silver cable in our test.

Conclusion: -

After listening to Kiwi Ears Orchestra Lite for weeks at Aural Café we feel that this is an IEM that will hold its place and is total value for money. We also strongly feel that the engineers have worked really hard in choosing the right BA drivers for the resin used for crafting the shell and last but not least the customized BAs and crossover are implemented well to showcase a musically balanced unit. Lots of IEMs will come and go in this price range but Kiwi Ears we believe will hold their place for a long time. If you are a value-conscious Audiophile and in the market for a hi-fi sound at a decent price, then Kiwi Ears Orchestra lite is an easy recommendation. We would however end by saying that we at Aural café would have loved it if the Kiwi Ears team had been a little less strict with the higher frequency and could have added a bit of sparkle in the upper mids region.

Non-Affiliated Link: -
- https://kiwiears.com/products/kiwi-ears-orchestra-lite
- https://www.linsoul.com/products/kiwi-ears-orchestra-lite

Intro
In recent months, the budget segment of the IEM (in-ear monitor) market has become a hotbed of activity with new “Aria-killers” popping up almost every week. The cost of entry into this hobby has never been lower, and the sheer number of options available to consumers has never been greater. With this increased competition, IEM manufacturers are racing to produce better-tuned IEMs at lower prices, providing consumers with a seemingly endless selection to choose from.

However, for those looking for a step-up in quality without venturing into the mid-fi segment, in which IEMs can typically cost over $500, solid options have remained few and far between for the past 2-3 years. The Moondrop Blessing 2 and Blessing 2 Dusk have established themselves as the go-to recommendations in this realm and all IEMs in this segment are inevitably measured against the bar set by these two stalwarts. Thus far, no challenger has managed to surpass their benchmark throne.

Until now.

Enter the Kiwi Ears Orchestra Lite. Coming in at $250, the Orchestra Lite undercuts the Blessing 2 duo as well as the upcoming Blessing 3. Kiwi Ears is a company founded by a veteran IEM designer who is responsible for some of the most popular IEMs to date and their previous releases, the Orchestra ($500) and the Cadenza ($40), were both lauded for being solid choices in their respective price brackets but never really took off.

The Orchestra Lite seeks to change that.


Build and Fit
The Orchestra Lite has a medium-sized, semi-custom-shaped, fully filled resin shell with a completely translucent body that puts the the inner wiring and drivers on full display. It’s very nice to look at and feels quite solid in hand. In terms of build quality, I’d venture to say it is a step up from the Blessing 2 and Variations which were plagued with issues related to the glue used to attach the metal faceplates and 2pin connectors. From memory, the Orchestra Lite is probably more comparable to the Moondrop S8 in build, although admittedly, the S8 is a step-up aesthetically for my personal tastes. Overall, this is the type of build quality that I’d expect to see from IEMs costing twice as much or more!

Fit, while subjective, is nice. It is not a small IEM, but the shape is ergonomic and seals very well in my ears. One thing to call out is that the Orchestra Lite is an unvented IEM which may preclude those who are sensitive to pressure build. On this note, I thought I was in this camp as well – my previous experiences with unvented IEMs had me avoiding unvented full-BA sets for the longest time. Pressure build up with the Moondrop S8 caused me discomfort and the vacuum seal of the Sony IER-M series made it troublesome to maintain proper fit and seal. I was worried the Orchestra Lite would do the same for me, but surprisingly, I have no issues with them at all!

Overall Sound
The Orchestra Lite is a well-tuned IEM with good timbre, a slightly warm sound signature, and decent resolution. Bass is punchy and decently textured, mids are full and rich, treble is decently airy but also subdued enough to never be fatiguing. It’s a good all-rounder and is well-suited for most if not all genres of music.

Bass
Balanced Armature drivers are often assumed to have less than stellar bass response and outliers that do bass well are praised as having “bass that is good for a BA.” I can say with certainly that this is also the case with the Orchestra Lite. While it is not a bass cannon, it still packs a decent punch and texture is pretty nice too. It’s refreshing to see more IEM makers incorporate a mid-bass over sub-bass tuning. To my ears, this adds a nice bit of body to the sound that many IEMs that favor sub-bass over mid-bass tend to lack. This adds a warm characteristic to the sound without making it muddy, which makes it sound a bit more natural to the ear.

Mids
Mids are lush and clean. Vocals, both male and female, are nicely presented. Most instruments sound nice and full with good noteweight. Despite the warmth, there is pretty good clarity through the mids. Pretty good texture and layering. Overall, mids are relatively smooth and relaxed yet nicely resolving.

Treble
The treble is well extended but is tuned more on the safe side. It never sounds sibilant or harsh, and the details are all there. But the safer tuning does have the effect of adding a bit more smoothness to the sound, which depending on what you’re looking for, may be a good or a bad thing.

Techs
Stage is slightly above average and is deeper than it is wide. While you might not get the sensation of sound coming from way off to the left and right, there is a sense of depth and layering to the stage that you don’t quite often hear in this price range.

Imaging is solidly above average. Instruments and voices are clearly positioned, and it is easy to identify where they are on the stage.

Owing to the more tame treble tuning, transients (the sound usually associated with the initial attack on notes – like plucks of a string, or consonants) can come off a bit more rounded or blunted rather than incisive and crisp. On scale of “too smoothed over and boring,” and “too harsh and sibilant,” I’d say it falls somewhere in between, perhaps leaning towards the smooth side, which, if anything, makes it safe.

But, this smoother transient response does seem to have a detrimental effect on separation. Separation is not the strongest trait of the Orchestra Lite, and it can sometimes struggle with articulation and separation during busier passages. This might be a nitpick, however, because from memory, it is a step up from the Blessing 2.

Also, the Orchestra Lite is not the most dynamic IEM. The replay is fairly smooth, and the dynamic range matches that smoothness.

Where the Orchestra Lite shines the brightest, in my opinion, is with timbre. The term “BA timbre” is often thrown around and my understanding of this term is that some IEM balanced armature implementations have an unnaturally thin tonality that sometimes adds a metallic or digital sheen to the sound – the Moondrop S8 sticks out as the perfect example of this for me. The Orchestra Lite doesn’t do this and overall I’d say it has very good tonality and timbre – instruments and voices sound very natural to my ear.

Closing Thoughts
Kiwi Ears really came out of left field with the Orchestra Lite. The pleasant, slightly warm tonality, smooth and relaxed character, solid technical performance, and its superb build quality make this IEM an incredible value proposition. The Blessing 2s finally have some serious competition, and Moondrop will have some stiff competition ahead of their upcoming release of the Blessing 3. At the time of writing, the Orchestra Lite is probably my favorite IEM in its price bracket and it gets a strong recommendation from me!

Disclaimer: I was sent a review unit for free from Linsoul. Thank you very much.

Price: 250 usd

Specifications:

DRIVERS Kiwi Ears Customized HI*2+Kiwi Ears Customized MID*4+Knowles LOW*2

IMPEDANCE 16Ω

SENSITIVITY 112dB


Accessories:

Carry case

3 types of silicone tips S/M/L sizes


Cable: Measures at around 0.47ohm, 7n OFC cable. Thicker than average 4-core cables. Has a working plastic chin-slider, divider and connectors are in metal. Looks very similar to cable A6 in my database (aka, Tri Through).







Build: Full resin build, also seems to be filled with resin internally as it does have some heft to it. Nozzle has 3 sound bores each with BA dampers inside. There is no real lip on the nozzle for the tips but there is a slight bump around the edge so they are secure enough for me at least.

Fit: Size wise considering it has 8 BAs, it is on the smaller side. But overall, it is bigger than average iems. Shape fits my ears very well though and with the non-vented shell, it is a very good fit.

Comfort: Since the shell is non-vented, that is a big con for the comfort as there is pressure build up and my ears really cannot handle using this for a long time at all as the pressure is painful.

Isolation: Top tier due to non-vented shell and shape/size.

Setup: Schiit Asgard 3 (low-gain, volume around 8 o´clock), stock clear tips L, stock cable 3.5mm

Lows: The bass on the Lite is very impressive for a BA iem, extends quite low and has a lot of texture for a non-vented woofer. Speed and tightness are pretty average for a BA iem, as in, very fast and tight. Quantity will not satisfy bassheads though but the quality is very impressive.

Mid-bass: Metallica – fight fire with fire (01:11-01:52), Very fast attack and decay along with a very tight bass as expected from a non-vented BA, texture is better than average for a BA though but lacks quantity for me. The (02:55-03:01) section with the chopper is clean and hearable.

Hiroyuki Sawano – Pretenders (01:18-01:47), texture is good and very clean due to the speed and tightness but lacking quantity due to the speed.

Sub-bass: Djuro – Drop that bass (01:15-01:30), good extension but lacking some rumble. Punch quantity is pretty good and has texture, very fast and tight so it is clean.

Will Sparks – Sick like that (03:08-03:22), Texture is pretty good but it is lacking quantity.

Mids: Both male and female vocals are fairly balanced sounding overall, but the male vocals do tend to be a bit recessed and lacking warmth, timbre is good but could be better, especially the male vocals. Female vocals are tuned very well and without shoutyness although the smoothness does sometimes come and bite it as the dynamic range could be better and it is a bit overly smooth sometimes.

Female-vocals: Hiroyuki Sawano – OldToday (01:25-01:52), Vocal timbre is pretty good, while they aren’t too forward, they are not recessed either well balanced and good tonality, clarity is good but could be better. Instruments lack some air though but is very smooth and clean.

Yuki Hayashi – MightU (01:58-02:55), female vocal Tonality could be a bit brighter and more dynamic as it is a bit too smooth but very clean and detailed.

Evanescence – Bring me to life (01:18-01:35), Not shouty at all nor peaky but also a bit too smooth (which also affects dynamic range).

Hiroyuki Sawano – Crescent (02:07-02:26), Very slightly peaky, separation is good and it does not sound chaotic.

Male-vocals: Hiroyuki Sawano – Pretenders (00:57-01:17), male vocal tonality is good but slightly recessed, clean though. Instrument tonality could be a bit warmer.

Hiroyuki Sawano – Scapegoat (00:57-01:17), male vocal tonality lacks a lot of warmth and is a bit recessed, clean and detailed though. Instrument could be a lot warmer as well.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), Electric guitars are not sharp at all, but is a bit too smooth and dynamic range could be better. Timbre is pretty good.

Deuce – America (03:03-03:16), separation and imaging are good and it doesn’t sound chaotic.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), violin tonality could be brighter, airier and more textured as well as less smooth, timbre is decent. Cello tonality lacks some warmth and texture, decent timbre.

Hiroyuki Sawano &Z (02:18-02:57), Clarity could be better and airier. But otherwise, it is clean.

Soundstage: Average stage width but pretty decent depth.

Tonality: Balanced, tuned so that neither the bass, mids nor treble stands out too much from each other and with very good tonal balance and is tuned very well in my opinion but the smoothness can be a bit too much sometimes and making the dynamic range poorer. Timbre overall is very good for a BA iem.

Details: Macro-details are pretty good although micro-details are a bit bottlenecked by the somewhat lack of upper-treble/air.

Instrument Separation: Imaging and separation are pretty good.

Songs that highlight the IEM: https://www.youtube.com/watch?v=B-1ZzOp0UUA https://www.youtube.com/watch?v=FtAxf0DwTek https://www.youtube.com/watch?v=RdO7M73tLOk

Good genres: OST, Classical,

Bad genres: EDM, Hip-hop

Comparisons:

IEM: SeeAudio Bravery, Elecom EHP-CAP20 tips L, stock cable 3.5mm

Bass: Djuro – Drop that bass (01:15-01:30), extends just a bit more and with slightly more rumble on the Bravery. Punch quantity is similar but tighter and faster as well as more textured on the Lite.

Hiroyuki Sawano – Pretenders (01:18-01:47), mid-bass quantity is higher on the Bravery but more textured on the Lite as well as bit tighter and faster, better timbre on the Lite.

Metallica – fight fire with fire (01:11-01:52), speed is similar but tighter and quite a bit more textured on the Lite, quantity is comparable but less clean on the Bravery and each individual hit are more smeared out.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), Similar vocal quantity but better a bit better tonality (brighter) and timbre on the Lite as well as cleaner sounding.

Evanescence – Bring me to life (01:18-01:35), both are similar non-shouty but the bravery has a bit better dynamic range as it is less smooth.

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal and instrument tonality (warmer) and timbre are better on the Bravery but cleaner and more detailed on the Lite.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), Electric guitar timbre and tonality are slightly better on the Bravery as well as less overly smooth. It is more fatiguing though.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Violin and cello tonality, timbre and texture are a bit better on the Bravery, similar macro-detail but better micro-detail on the Bravery.

Hiroyuki Sawano &Z (02:18-02:57), tonality is better on the Bravery as it is airier and a bit brighter and better timbre as well. Lite is overly smooth compared to it. Similar detail.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), stage is deeper on the Lite with similar width, more macro-details and better imaging on the Lite. Timbre is slightly better overall on the Bravery.

Overall: The Bravery having a vented BA woofer but still losing in bass quality (texture) was pretty surprising to me, and while the Bravery did extend a bit more and rumble more, I still take the bass on the Lite instead. Other than that, the Lite overall is just a better iem to me, as neither of them are what I consider as “fun” sounding iems, the Lite being the cleaner one and more technical overall is the reason I believe it is better.


IEM: Audiosense DT600 (Tanya filter + 30ohm resistor), Elecom EHP-CAP20 tips L, stock cable 3.5mm

Bass: Djuro – Drop that bass (01:15-01:30), extends and rumbles a lot more on the DT600. Punch quantity is also higher on the DT600 but less tight, slower and less textured. Timbre is a bit better on the DT600.

Hiroyuki Sawano – Pretenders (01:18-01:47), quantity is perceived as similar due to the faster and tighter bass on the Lite and with a bit more texture. Timbre is similar.

Metallica – fight fire with fire (01:11-01:52), Very similar speed and tightness but a bit more quantity and texture on the Lite while it is a cleaner and airier on the DT600.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), vocal quantity is bit higher and cleaner on the DT600 but timbre is better on the Lite as well as tonality, since the DT600 lacks in note-weight and sounds too thin.

Evanescence – Bring me to life (01:18-01:35), shoutier vocals and much peakier treble on the DT600 as well as thinner note weight. Timbre is better on the Lite.

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal quantity is similar but much more tonally accurate and better timbre on the Lite. Same with instruments. Airier and more clarity due the brightness on the DT600 though.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitars are brighter on the DT600 but not particularly sharper, tonality is better on the DT600 but better timbre on the Lite.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality and timbre are a lot better on the Lite, similar texture and detail. Violin tonality and treble extension are better on the DT600 but better timbre on the Lite.

Hiroyuki Sawano &Z (02:18-02:57), tonality and timbre are better on the Lite, lacking a lot of note weight on the DT600 but is cleaner on it.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), stage is wider on the DT600 but deeper on the Lite. Separation and micro-details are a bit better on the DT600 but imaging and macro-details are better on the Lite. Timbre is a lot better on the Lite.

Overall: The DT600 has better sub-bass and an airier treble but other than that the Lite is better. If you prefer harman-like tunings or anything brighter with less mid-bass, then the DT600 will be better for you though, but otherwise the Lite is the better iem IMO.

IEM: Tanchjim Oxygen, Final Audio Type E tips LL, Cable A6 4.4mm

Bass: Djuro – Drop that bass (01:15-01:30), extends a bit more on the O2 and rumbles a bit more. Punch quantity is a bit higher on the Lite and tighter/faster on it. Similar texture. Timbre is better on the O2.

Hiroyuki Sawano – Pretenders (01:18-01:47), Similar texture, speed and tightness but slightly more quantity on the O2. Timbre is very similar.

Metallica – fight fire with fire (01:11-01:52), Cleaner and airier on the O2 due to the treble but otherwise very similar bass.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), Vocal quantity is a lot higher on the O2 and with better tonality and timbre, a bit airier as well. Instrument tonality is better on the Lite due to the warmth and more detailed, but is airier and cleaner on the O2 with better timbre.

Evanescence – Bring me to life (01:18-01:35), a LOT shoutier vocals on the O2 as well as peakier treble, timbre is better on the O2 and have more dynamic range.

Hiroyuki Sawano – Scapegoat (00:57-01:17), Vocal tonality is better on the Lite but better timbre on the O2 as well as being cleaner. Instrument tonality is a bit better on the Lite due to the warmth but timbre and clarity are better on the O2.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitar tonality and timbre are a lot better on the O2 but it is a lot sharper as well (and more fatiguing).

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality and texture are bit better on the Lite but better timbre on the O2. Violin tonality, timbre, treble-extension and detail are better on the O2.

Hiroyuki Sawano &Z (02:18-02:57), tonality and timbre are better on the O2, similar detail but cleaner on the O2.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), stage is a lot wider on the O2 but a bit deeper on the Lite. Similar separation and imaging. Macro-detail is better on the O2 but similar micro-details. Timbre is better on the O2.

Overall: It is extremely impressive to me that the Lite can actually rival the Oxygen in bass quality and quantity, even if the Oxygen is not a top tier DD in those regards. Other than that, the Lite is a more balanced and much safer tuned iem compared to the more dynamic and fatiguing Oxygen. If you prefer a more relaxed, balanced and more versatile tuning, then the Lite is better. If you want a specialist for OST, acoustic/vocal music then the Oxygen is better.


Graph:

Cable source:

https://docs.google.com/spreadsheet...zTm4ei7HEfP8AI1zxswrMw2ho/edit#gid=1801072063

Reference/test songs:

Disclaimer: Linsoul provided me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.

Introduction & Packaging​

Kiwi Ears Orchestra Lite ($249) is the third IEM coming out of Kiwi Ears, being the continuation of their first IEM, the Orchestra. Their previous release, the Kiwi Ears Cadenza, is a value champ at $35 and brought Kiwi Ears a new reputation as being a high cost-to-performance ratio brand. So does Orchestra Lite follow in this direction? Coming in at HALF the price of the original Orchestra, surprisingly the Lite still comes with the same driver configuration: 8BA per side. While I have never actually tried the original Orchestra, I do wonder what kind of compromises that Kiwi Ears took to get into this price point. Well, as it turns out, with some smart corner cuts, I don't think it's that impossible after all.






First cut corner that I notice is the packaging. The original Orchestra, aiming at upper mid-fi, came with much more 'elegant' accessories: leather case and nicer-looking cable. The Lite smartly went with a cheaper case and a more 'basic' cable. However, case and cable are some of the things that audiophiles tend to change anyway, so this is indeed an acceptable change. Lite does come with more eartips option (9 pairs, up from 6 pairs). Another corner that may be cut is likely the BA selection, in which Orchestra Lite seems to be using cheaper BA variants compared to the original Orchestra. Lastly, rather than corners being cut, I think it is a more natural progression: Kiwi Ears just simply has gotten better at IEM production, having the trickle down benefits from their previous tuning experience, thus likely lowering cost.

However, looking at the IEM itself, if I wasn't informed of the price, I would have guessed that this is an upgrade instead of the lite version of the Orchestra. The shell is just simply beautiful, with impressively clear solid resin where you can see the BAs and crossover. The backplate comes in green or blue, both are very aesthetically pleasing. All-in-all, I'm very impressed at their final result. Orchestra Lite is a very strong contender in the $200-300 price range in my opinion.

Sound Impression​

Sources: Topping D90SE/A90D stack, Fiio M11S, Questyle M15, Fiio KA5 (single-ended)
Setup: Large stock eartips (white), stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless
*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.

Kiwi Ears Orchestra Lite is tuned to be mostly neutral with a slight bass boost. I would not say that this is reference-level neutral; there are still some fun to be had with the Orchestra Lite, and it is a very safe kind of tuning that does not interfere with Orchestra Lite's great technicalities. The timbre coupled with the slight lack of coherence will always remind you that they're an all-BA set, and I did find them mildly distracting at the beginning. Still, the overall tonal balance and excellent dynamics quashed any of my misgivings.

Bass​

For an all-BA set, the bass is often lacking in punch. In a similar vein, Orchestra Lite's bass does not have the kind of impact that will blow your socks off, still passable in quantity. It does make it up in the texture and dynamics. Subbass extends very well and the midbass does not bleed into the midrange. The bass note weight is on the lighter side but accurate. Low frequency rumble like in the "Dream of Arrakis" by Hans Zimmer is definitely audible and well-reproduced, just lacking a bit of visceral, physical feeling to it. With the Orchestra Lite, I can definitely tell the so-called bassline in "Seven Nation Army" by The White Stripes is a down-pitched guitar, a nuance take that often gets blurred in other IEMs with less bass texture and details.

Midrange​

With this kind of neutral-ish tuning, it is only natural for the midrange to be the star of the show. The mids are clean courtesy of the gentle but distinct bass shelf. However, I can sense the BA timbre and incoherence the most here, which is understandable since there are 4 BAs (out of 8) which are responsible for this frequency range. Vocals from both male and female singers are well-reproduced and equally enjoyable. There is no shoutiness or excessively forward expressions. In some jazz tracks like "Galaxy Express 999" by Platina Jazz, the vocal sounded intimate and lush. Emi Meyer's version of "Cheek to Cheek" is also rendered beautifully, with the vocals and instruments well distinguished.

Treble​

The Orchestra Lite is also going with a safe tuning direction with the treble. It has no sibilance, proper pinna gain placement and amount, and decent extension. There is enough air to let the trailing notes of string instruments to linger, also helping with separation and imaging very well. The high notes of Sheena Ringo's vocal in "Nagaku Mijikai Matsuri" would normally be piercing in a more sibilant IEMs, and I found no issues at all with the Orchestra Lite.

Technicalities​

I do not really expect much soundstage knowing that Orchestra Lite is an unvented all-BA IEM, and it is indeed pretty intimate overall no matter what source I use. It does have some width in a 'three-blob' sensation, which I guess came with the tuning. Imaging and layering is slightly compressed but accurate considering the small-ish soundstage. I do experiment with some FPS gaming and I find the positioning is pretty decent overall. I think the best quality is definitely the resolution. The Orchestra Lite indeed makes a full use of those 8 BAs to push out a lot of details. In complex songs like "Phony" by Wagakki Band or "Change" by Yoshida Brothers, the intricacies of the multiple instruments along with vocals are preserved with the Orchestra Lite.

Driving Requirements & Setup​

Orchestra Lite does not need a lot of power to sound great. I can comfortably drive it at low gain settings in single-ended for most of the testing. I do note that a current-biased amplifier like Questyle M15 would yield a tighter bass response and improved coherency.

I also tried the Orchestra Lite with some different cable materials and eartips. I do find some marginal improvement going with a pure copper cable, giving a slight body to the note weight. Going with wide bore eartips like TRI Clarion brought forward the mids further, but does diminish the bass too much to my liking. I would stick with the stock eartips.

Select Comparisons​

7Hz Timeless AE ($259):
The TLAE definitely edges out the Orchestra Lite in the coherence department, being a single planar driver. However, surpisingly Orchestra Lite comes really close to the TLAE's excellent resolving capability; I would say Orchestra Lite has about 90% of the TLAE's resolution with slightly smoothed out details. Timbre-wise, I would give it slightly to the Orchestra Lite. I also found that TLAE has a more impactful bass response and more compressed mids compared to the Orchestra Lite. Sound-wise, I think I can go with either one, depending on music library and preferences.

Moondrop Blessing2 Dusk ($319, but often discounted now):
Orchestra Lite is more resolving compared to the Dusk, and its mids is more forward as well. However, Dusk has one of the most pleasing timbre in a hybrid for this price range and I still gravitate towards Dusk for a more relaxed listening experience. I would go with Orchestra Lite for a more critical listening.

Softears RSV ($730):
While the price difference is huge, I am testing how can Orchestra Lite cope against another all-BA set from higher tier. In my opinion, RSV is one of the most coherent full BA IEM, almost sounding like a single DD with a natural timbre to boot. However, surprisingly Orchestra Lite has almost the same amount of resolution and clarity, with similarly pleasant tuning. Other technicalities are also pretty close, with soundstage and imaging to be competitive with each other.

Conclusion​

If you are looking for your first all-BA set, I would highly recommend the Orchestra Lite to actually get a taste of what the higher end all-BA models could give you, especially in terms of tuning and technicalities. Pleasant tonality and versatile set for a wide range of genres, with a right cable, eartips, and source, I think Kiwi Ears Orchestra Lite is a very good value purchase.

TLDR version on YouTube: TDLR - Kiwi Ears Orchestra Lite

The Kiwi Ears Orchestra Lite have been sent to me by Linsoul in exchange for the publication of this review. As always, they have not made any requests or comments and I will do my best to be as sincere and unbiased as humanly possible. However, it is always good to consider that it has not cost me anything to try out these IEMs.

As always, I will leave a link to the Orchestra Lite via Linsoul on my blog (link at the end of this post)
As with all links that I share, this is a non-affiliate link, meaning I do not benefit from the link in any way.

To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews



Intro…

The original Kiwi Orchestra was a set of IEMs that got quite a bit of praise back in 2021, with Audio Discourse (more specifically @antdroid ) saying that it was the best IEM under $500 at the time. I haven’t had a chance to listen to the original Orchestra but I usually find that my tastes align quite a bit with Antdroid's. The Orchestra (OG) featured 8 BA drivers (2 lows, 4 mids and 2 treble) and retailed for $499.

Fast forward to 2023 and Kiwi Ears brings us the Orchestra Lite, once again featuring 8 BA drivers in the same configuration (2 lows, 4 mids and 2 highs) but this time coming in at $249, half the price of the original.

Now, I obviously can’t compare the Lite to the Original as I haven’t heard the latter but I have heard a lot of good performing IEMs lately and straight off the bat, I can say that the Orchestra Lite is one of them.



Presentation…

The presentation is nothing extraordinary but is nothing to complain about either. Arriving in a simple box with an image of the IEMs on the front along with the logo, it opens to reveal the IEMs sitting in a foam cut out.

Below this we receive a Kiwi Ears branded semi-rigid transport/storage case which contains the cable and a large selection of tips (9 sets in total of three different types).

As I said, nothing out of the ordinary as far as presentation but well packaged and containing the necessary good to enjoy the IEMs out of the box.



Build and aesthetics…

The impression that the Orchestra Lite gives is that it is a very well made IEM, with attention paid to detail. It is a resin build featuring a coloured faceplate and a clear shell through which you can see the drivers, crossovers and even a Kiwi Ears logo on one of the BA drivers.

The IEMs are available in blue or green, in my case I received the blue, and I have to say that they are very good looking IEMs (even if aesthetics are very personal). The marble style swirled finish of the face plates looks great, combining different tones of blue and featuring the Kiwi Ears logo in silver.

As far as comfort, I decided on mid sized tips and found the Orchestra Lite to be very comfortable, even for longer listening sessions. These are on the larger size (think B2 Dusk) so ear size may come into play depending on your anatomy.

One issue to consider is that they are unvented which may cause pressure build up and could result in discomfort to those who are sensitive to this. I did have a few occasions when I felt the pressure build up but reseating the IEMs and making sure to release the pressure when inserting worked well for me personally.



Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

Let me start off by saying I used to have a bit of a bias against all BA IEMs (I still do to some extent) as I find that, in the majority of cases, the bass of all BA IEMs is a little lifeless. I don’t mean it is lacking in quantity, rather that it just doesn’t sound natural to me. I believe it is due to the amount of years I have spent listening to bass through dynamic driver speakers (both music and bass playing) and that has just become “normal” for me, so I tend to find that BA doesn’t quite cut it. That is until the Helios came along and threw that theory out of the window. So I am no longer someone who thinks that BA bass will automatically sound unnatural but I do still find that many IEMs do sound this way.

But anyway, enough rambling and lets get into the sound of the Orchestra Lite, fist looking at the graph comparing them to my usual preference target (as always, my target is just a reference, not a rule as to whether I will like something or not):



Starting off in the lowest regions, there is plenty of presence in the usual “Chameleon” test, presenting a low end rumble that is clean and detailed (as far as subbass detail goes of course). I have to say that the seal and fit of the Orchestra Lite is very important, well, it’s very important with any IEM but in the case of the OL, the smallest of issues with seal makes the subbass all but disappear.

The transition from the subbass into the midbass is a little on the warm side but I don’t find this to be a negative on the OL. Listening to something electronic like “Sun is Shining”, there is no sensation of bloat in the midbass at all, with everything sounding clean and balanced in the low end. If you are someone looking for a large bass boost then these IEMs are probably not going to fit your tastes, yet they work well for my tuning preferences in these ranges. For example, “Bury a Friend” has plenty of rumble in those low vibrations but without seeming to lose control or take over the sound signature at all.

If we take something more acoustical, without a subbass presence, the low end could come across as a little “polite” with things like acoustic guitars and basses. In my typical test using “Crazy”, the reverb in the low end of the guitar is present but is never overpowering, making it a very fatigue free listen for me.

In regards to what I said a moment ago about the BA bass not sounding natural (I don't want to use the infamous “BA timbre” reference), in the case of the Orchestra Lite it is far better than on other BA options I have heard. It is not quite on a level with the Helios (which is to be expected) but is closer to natural than artificial.

Moving into the mid range, the mids are again very clear and well balanced. They portray a good sensation of detail but could be a little on the cooler side, missing a little bit of warmth in the lower mids to round out that natural timbre a little on things like the bass guitar in “Elephants On Ice Skates”.

Vocals are quite forward, especially female vocals, which are clearly the center of the OL presentation. With vocals that are a little harsh in their presentation, such as Alicia Keys in “No One (Acoustic)” or Beth in "Don’t You Worry Child”, this can be a little overpowering on these IEMs due to how forward they are. They are certainly not the harshest of IEMs but that focus on upper mids and treble ranges can become fatiguing with some tracks that are not smooth in their recordings.

The upper ranges are possibly the least balanced out of the whole signature. Sibilance is actually not bad (with the usual “Code Cool” test) but it is noticeable on some parts of the track. There is a decent extension and the upper ranges do come across as detailed but things like cymbals can come across as a little uneven, sometimes seeming to fall behind the upper mids but with peaks appearing now and again.

Details are good in general, with good image placement and a soundstage that is also fairly good, at least above average in IEM terms. I did find that if a lot was going on in the upper ranges then the separation of layers could suffer but in more relaxed tracks it seemed to do a decent job.

One last thing to note is that the Orchestra Lite do reveal noisy sources quite a bit, with hissing (on things like the Go Blu with the balanced out) being more noticeable than on many other sets.



Conclusion…

Not too long ago I reviewed the Kiwi Ears Cadenza and it became one of my favourite budget sets of IEMs, one that I have absolutely no doubts about recommending to those who enjoy similar sound presentations to myself. In the case of the Orchestra Lite that comes in a 7 times the price, I feel that I am a bit more hesitant to do so.

It is not that the Orchestra Lite is a bad set of IEMs, far from it, in fact, I think they are a very good set of IEMs, yet they do have a few things that I can see not working for some people. The performance is good, they are amazingly built, look great and are, in general, something that I think will impress a lot of people. Yet on the negative side, the low ranges are still not 100% natural to my ears and the upper ranges could use some work.

If you are looking for a more analytical sound signature, something that is balanced and maybe leads to the colder side of neutral, then I think that you can expect a lot of enjoyment from the Ochestra Lite, yet if you are more on the warmer and fun side of things, then these will probably not fit your preferences.

Again, I feel that these are a great set of IEMs, just that they won’t be for everybody (well, no IEMs ever are!).

____
As always, this review is also available in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

“Out of Touch”

I love the song Out of Touch by Daryl Hall and John Oats. It reminds me of good times and past love.
I bought this iem with my own money. My opinions are my own.

You can buy this on Linsoul or Amazon. Both links are unaffiliated.

Kiwi ears Cadenza is a personal favorite and a benchmark for me at the 35-dollar region. I have gifted them to friends in the past, and love the tuning. I was really looking forward to a big bother of the Cadenza. Let's see how it stacks up.

Product Features

Sensitivity(1KHz) 112dBSPL/mW
Frequency Range 20Hz-20KHz
Impedance(1KHz) 16Ω
Diaphragm material Kiwi Ears Customized HI*2+Kiwi Ears Customized MID*4+Knowles LOW*2
Cable Interface 0.78-2PIN
Earphone Material Medical grade resin
Plug Type 3.5mm Stereo Cable

Song Choice: Tidal list here:
I listen to a wide variety of music. I pick the songs because of various reasons. But I picture myself locked away like Andy Dufresne from Shawshank blasting music and shut off from the world. It’s a blissful image.
The Marriage of Figaro -The opera song from Shawshank Redemption, terrible recording but fun and gets me in the mood to listen to music.

O mio Babino caro -This is a modern less operatic version but a song with great female vocals.
Video Rigoletto - “La donna e mobile” Sung by one of the three Tenors, great song for high-performing male vocals. Pavarotti is the greatest classic singer maybe ever. Fight me!
Iron man - The sound at the beginning is hard to make sound great, great drums, and cymbals, and if done right it feels like an old-school band.
I Will Survive (1981 recording, I like her voice, and the old vocals, the drums, and various natural instruments really make this a favorite for me.
There is a light That never goes out - Smiths ( A classic, I just love it. It’s mellow, and I can tell a lot of the tuning if this song is done right.)
Jump (I like how the sound effects are in this!)
Star Child Someone recommended this song to me, and I like how funky it sounds and has nice vocals and a mix of music and things going on.
Dicke Titten Ramstein The beginning is amazing and the base hits hard. Great song. I love rock and metal. The german language fasinates me.
Master of Puppets: Very fast song. Helps me determine if the driver can keep up.

Shell - IT is a large shell, that feels very similar to the Blessing 2. It is more attractive than blessing 2, but I do have a minor complaint.

I expected the color to be much more vibrant, but I found it to be a faded almost jeweled Blue. Compare mine. (first on the desk, vs the stock photo below)


I find the Blessing 2 to be a bit fatiguing as the nozzle is a tiny bit large, and getting a good fit is hard. I feel the Kiwi ears lite is the exact same size. It’s just tough for me to deal with a nozzle that is large. It’s like my ears are rejecting the size. I can handle it but there is an ever-so-slight amount of discomfort with the shells.

Case- The case is pretty bland. This is the only thing that really makes this case different than the Cadenza. It’s not bad, but it’s a case I’d expect on a 50-dollar headphone, not a $250 dollar headphone.



Tip Selection - It’s tip selection is acceptable for an iem. It doesn’t add value to the iem. I had a very challenging time putting on some of the ear tips when ear rolling. It just wasn’t easy due to the nozzle size of the Orchestra Lite.


Comparison: The Yume 2 at 200 dollars sounds better, fits better, and has a better package. The Aful performer 5 is also better at only 220 (often on sale for 200). I really want to like this iem, but it’s just ok. Sonically it’s worse than iems cheaper for me, much cheaper.

Cable: This is a fine cable. It fits the style of the iem and is the best part of the package. Nothing special about it, but you won’t instantly need to buy a new Hola just to re-cable this with the fantastic Truthear Hola Cable. I don’t really believe cables sonically change the iem, but they are nice.

Value: I don’t find the Kiwi ears Orchestra lite to be a good value product. 250 is competitive. I would rate it about the same as the Hexa sonically, or even less so.

Sound: The Timbre is fine. The base response is fine, seems inoffensive.
When I tried some eq I found it was improved, but not super resolving.



Pairing: I used a Quidelix 5k and a Topping DX1 on this. Both sounded fantastic. This was also used on the fantastic apple dongle and sounded great as well. I'm not a huge believer in dac or amps changing most headphones, but I also wanted to be transparent about what I used on this iem.

Summary- It’s ok. If you really like the look, I can see how you would love it. The sound isn’t worth it for the cash. It feels that it doesn’t justify the price. If you are looking for a blessing 2 dusk, but slightly different, it could be a good value. It is a very pretty good sounding iem, but not perfect.

I would pass on this. I like the iem, but don’t feel it’s a great value for me. The Cadenza is better, prettier, and fits better. 250 is a tough place as it is significantly more than the Yume 2k, Moondrop Kato or Aful 5 but not any better. I'd say beautiful, but sonically worse. 250 is a weird spot, you can only really compare it to iems that are a bit more, or a bit less. If you want an iem with this look, and the size doesn't bother you, I'd give it a recommendation. But it feels like a luxury pretty set, not a benchmark or fun iem.

Overview:

Up for review today is the Kiwi Ears Orchestra Lite from Linsoul (linsoul.com). These were generously sent to me for free from Linsoul in exchange for a review – as always this will not impact my usual sarcastic/honest review style, which Linsoul may regret that decision by the end of this review (guess we’ll see). You can buy one HERE from Linsoul.

The Orchestra Lite (OL) is basically the same as the Orchestra, same tech, and the same 8 BA drivers, but more efficient at half the price (betcha original Orchestra owners aren’t happy about that). Yes, this has a very similar setup to the Vision Ears VE8, probably the best 8 BA driver IEM I’ve ever heard (at 10x the price of the OL). No, these are not tuned the same, and sound nothing like the VE8 – there, that’s out of the way in case anyone was wondering (I was). They match much more closely to the frequency response of the Moondrop S8 (another 8x BA driver IEM) but are still their own unique animal (especially in the highs). The drivers in the OL are Kiwi Ears custom BA drivers with 2x for the lows, 4 for the mids, and 2 for the highs. The OL also has a 3-way passive crossover for layering and to reduce distortion – always a good thing, but the test songs will determine whether they pulled it off. So, enough Tech Talk, you can read about that on their website – on with the review!



Accessories/Earpads/Eartips (8/10):

Pretty nice if nothing mind-blowing. There’s a colorful out box to remind me that they sent me the Blue ones instead of the Green ones I really wanted (it’s fine, it’s fine haha). Under the sleeve is a nice shiny Kiwi Ears logo on an all-black box. Inside that box are the IEMs inside some foam – nice presentation, it really lets you see how good-looking these are as soon as you open the box. It reminds me of the Moondrop Blessing 2 – a LOT. Underneath the foam, you have a nice rugged case with the cable and 3(!) sets of ear tips. I have no idea what the difference is between them since they all look like silicone tips to me, the white ones look the squishiest while the red ones look the most firm with the black ones somewhere in the middle. You’ll get slightly different tuning and fits from them, so just play with them to see what your favorite is or pop on your favorite aftermarket set.

Yeah, that’s all they come with, which is actually better than the bare minimum, especially in this price range. The $1,100 Custom Art Fibae 5 comes with something like 4 ear tips, so 3 sets of different types of tips is a big step up! There is no cleaning tool that I’ve seen, but I’ve also never used one of those so it’s not much of a loss. A solid 8/10 – nothing crazy but better than most. As always, I'm using my Spinfit W1 tips since they're the best I've found (You can buy them here if you want a set: https://amzn.to/3WDrNIk.)

Cable (6/10):

OK, I know that some people seem to think that balanced cables don’t do anything to the sound quality of a headphone. The OL and the LCD-XC laugh in the face of people who think that. Both of those seem to need a balanced cable to get their best sound. And no, I have no way to measure the difference on my test rig because it doesn’t do balanced connections. I promise you though, the OL do not sound at their best on the stock 3.5mm cable. You can pick up a $20 Linsoul Zonie cable for under $20 from Amazon, and it will make these sound significantly better.

I understand why a 3.5mm cable came with these – very few people buying IEMs in this price range have a 4.4mm/2.5mm balanced output. So, the people using an Apple dongle with these, do yourself a favor and grab a TRUTHEAR SHIO (or whatever, the HiBy FC3 is decent too) and a balanced 4.4mm cable – it takes these from just OK to very good, especially at this price. The 3.5mm cable that came with it is a really nice silver-plated copper cable – it’s supple, flexible, and super legit – but it just doesn’t make these sound as good as ANY balanced cable. I tried the $20 Linsoul Zonie, the $70 Kinera Leyding, and the $250 Eletech Azriel – each of them gave the OL the sound quality it was meant to have (the Azriel gave it the best sound, but it costs as much as these IEMs, so I won't use that for testing or recommend it). I have no idea why the stock cable sucks the life out of these, but it does. It’s fine, don’t believe me – I am literally the last guy to recommend aftermarket cables (read my other reviews), so do with it what you will. 6/10 points for the cable because it’s a really nice cable – that ruins the sound of these and probably causes more returns than Linsoul would like.



Build Quality/Comfort (10/10):

The build quality is excellent. Not only are they a gorgeous clear shell that lets you see all of the electrical goodies, but the transparent blue faceplates are awesome. The shiny silver logo on the faceplate is also classy. Yes, these give me Blessing 2 vibes, but I like them better, and they cost less. I love being able to see all the drivers, and yes, the faceplate is probably a $.20 piece of plastic, but they coated the whole IEM well in acrylic for a nice one-piece finish. It feels like they would be hard to scratch up and would survive a drop or two.

The OL aren’t the lightest IEMs out there, but they’re nowhere near TOTL heavy either. These make the IEMs in my top 5 list feel like bricks. The comfort is really good for me. They’re medium-small, have a little shelf to keep them in your ear better, and fit quite nicely in my ears – small ears may disagree. The included white tips get a good seal for me and the Spinfit W1s also do a good job. 10/10 here, no complaints, and no discomfort.



Sound:

Check out the https://wolfhawk.squig.link/ below to see how these compare to the Final A5000 that I have on my desk to compare them against. These are two pretty differently tuned IEMs and the A5000 is a single driver to the OL’s 8 drivers. So we’re going to see some pretty significant differences here, despite my liking both IEMs. According to the Frequency Response Graph, the sub-bass is more pronounced on the A5000 along with the low-mids. At around 700 Hz is when we see the OL overtake the A5000 to a pretty steep peak at 2.5k, followed by a pronounced drop into the highs. The A5000 maintains the highs energy until around 8K before dropping off. Keep in mind that the measurement below was taken with a 3.5mm unbalanced cable, so the balanced cable could provide a different sound signature on the FRG.



I am powering these off my HiBy RS8 DAP through the 4.4mm balanced connection using the Kinera Leyding cable I’ve used for a bunch of other reviews – again because the stock cable makes the OL feel flatter and sharper. I am using Tidal Hi-Fi as my source with MQA enabled and the Spinfit W1s as my ear tips. I am running the OL at around 42/100 volume on medium gain.

Lows (16/20):

I’m starting off with the Mid-bass/Sub-bass test I’m using David Guetta’s “I’m Good (Blue).” The impact is pretty good here, not TOTL, but the bass drums in the intro have quite a bit of slam and impact. The sub-bass is more pronounced than the FRG implies, with a strong sub-bass response. It’s not Fibae 5 levels (few are) but it does get close to the A5000 and Campfire Trifecta’s levels. That is to say that you won’t be unhappy with the bass here unless you are a massive basshead. There is a tab bit of bass bloat/reverb in the mid-bass though – something to keep in mind, though you’ll have to listen hard for it. 8/10 points.

Up next is Demon Hunter’s “I Am A Stone,” which I use to test whether the bass is too strong and overwhelms the mids as that is just as important as how strong/good the bass is. The mids maintain a good presence throughout this song with the bass only overwhelming the mids every once in a while. It’s not the best presentation ever, but it’s surprisingly good at this price point (just not with the stock cable). 8/10 points.

Mids (15/20):

Weaving The Fate’s “The Fall” is my test song for clean/dirty guitars and sharp vocals with background instruments to see how clearly and well-presented the vocals can be heard. The intro clean guitars sound pretty good if a bit lacking in detail and a tad flat. The distorted guitars are overwhelming, though you can still hear the cymbals and drums in the background if you listen for them. That’s pretty impressive at this price point, but I need to turn down the volume during the chorus because it can easily be a bit painful when there is a lot of noise all at once. The OL do a good job presenting the mids here overall, with clean, forward vocals, and good guitars – they’re just flatter and more overwhelming than I’d like in certain parts of this song – surprisingly, the noble Ronin had the same issue on this song (the overwhelming bit, not the falt bit). 4/6 points.

Staind’s “Something to Remind You” has clean electric guitars and wonderful vocals – this song tests vocal quality and background noise in addition to detail. The OL performs admirably here. Each guitar note can be heard quite clearly and you hear the fingers on the strings in the background as well without it being too distracting – so good detail. The vocals have excellent breadth and depth – truly a good vocal presentation, though the vocals do sound a tad pushed back in the soundstage. The bass guitar in the background manages to be present without overwhelming the mids. I’m impressed here that I’m listening to $250 IEMs. 6/7 points.
Side Note: Just for kicks, I switched back to the stock cable here to see if I was just going crazy – massive difference. The breadth of the soundstage disappears, the detail drops pretty heavily and the overall song presentation becomes worse – the emotion behind this song disappears and it would drop these to a 4/7 instead of a 6/7. Very weird.

To test classical instruments in the mids, I’m using The Piano Guys' “Code Name Vivaldi.” The detail on the intro strings is very good and the bass strings sound full of character. The piano can be clearly heard in the foreground and it’s not shoved to the back like on some IEMs. The overall presentation here is a little more 2D and a little sharper than I’d like again, but I have to keep reminding myself these are only $250. In the busiest parts of the song, the OL can get a bit overwhelming again with poor layering and all the sound coming at you at once. However, the OL still do a better job here than some IEMs I’ve heard costing 4-10 times as much – it’s a much more emotional experience than some. 5/7 points here – and yes, the stock cable ruins this song.

Highs (12/20):

To test sibilance on headphones I use Panic! At The Disco’s “High Hopes. There’s quite a bit of sibilance here, but it’s not so bad that I have to remove the IEM like with the FiR VxV. 3/6 points here – pretty average.

Dream Theater’s “The Alien,” is the highs test song I use to see if the cymbals/high-hats/snare drum can be clearly heard and distinguished from the rest of the music (also good for instrument separation testing.) Unlike the VxV, the cymbals are pretty hard to hear here in front of the rest of the music. That said, you CAN hear them, so that’s better than a LOT of headphones and IEMs. Still, it’s muted, and very hard to hear individual drumstick strikes. I'm giving the OL 4/7 points on this song.

Michelle McLaughlin’s “Across The Burren” is another of my favorite highs/sharpness test songs as it can easily sound painful on some headphones. There’s a touch of sharpness here, but it’s above average. There’s also a little detail lacking here, but it’s still a good showing – 5/7 points. Sharpness is about the same with the stock cable, but all the goodness of this song disappears and it becomes a flat soundstage with the notes feeling like they’re far away – these IEMs are really making me into a balanced cable believer.

Soundstage/Instrument Separation/Imaging (6/10):

I use MGMT’s “Time to Pretend” to test soundstage, instrument separation, and imaging. Yes, the OL earns a terrible score here with the stock cable, but with a balanced 4.4mm cable, it’s pretty impressive. The soundstage is bigger than you would expect and the imaging is pretty good. As previously mentioned, the instrument separation can get a bit rough if there are a lot of instruments playing all at once and the layering takes a hit. Most of the time though, it’s pretty good, even compared to much more expensive IEMs. This is a solid 6/10 points – a really good score for this price range.

Comparisons:

I am comparing the OL to my current best under $500 IEMs, the Final A5000. I’m using the A5000 with a 4.4mm balanced cable and Spinfit W1 tips also to make it fair. The sub-bass is definitely more pronounced on the A5000 – so is the mid-bass. So, if you want slightly more bass-focused IEMs, the A5000 is a better choice already. The A5000 has slightly more pronounced highs also with deeper low-mids and less pronounced high-mids. The treble on the A5000 still comes through cleanly and is possibly a little more pronounced than the OL. The A5000 are also smaller and fit into your ears with a more flush fit – all pretty amazing from a single-driver IEM. Yes, they’re not as cool looking, but they are lighter and have a more rugged finish - pick the OL if you like to show off what's in your ears. The packaging is pretty similar, though the OL has more tips and a less annoying case. I would say that these two play in similar waters (and price), though the A5000 is $20 more, which you will have to spend on a balanced cable anyway for the OL. If you don’t want more bass or more pronounced highs, the OL is a much better option. So really, it comes down to personal preference – obviously, the hybrid will have better layering and separation than the single driver as well, so the OL is the better choice there – it also has a bigger soundstage. I'd probably rank this as my #2 under $500 and above quite a few over $500- that's no mean feat, and if you want less bass than the A5000, these will be your #1 under $500 most likely.



Conclusion:

I cannot understand for the life of me why the stock cable here does such a bad job with the Orchestra Lite. My initial impressions were pretty bad, but that took a 180 as soon as I switched out the cable to a balanced 4.4mm. There was so much more body/soundstage breadth, etc. It took these from a 1080 Standard Definition TV to a 4k TV and really brought them to life. So please, if you get these, get a balanced cable and a balanced player or dongle. If you do, you’ll get a really well-balanced IEM that punches far above its price point – and easily beats the Blessing 2. If you decide to stick with the stock cable, please keep in mind that my score below drops by about 10-15 points. Linsoul should just include a balanced Zonie or Magic Rope with these – it would immediately solve that problem. So, overall, these are gorgeous and excellent IEMs for the price – and they can compete with significantly more expensive IEMs with just a $20 upgrade cable. And yes, a 73 is a really good score on my grading scale, especially for a $250 IEM - my #1 right now has a score of 89. Enjoy!

TONALITY: 8.4/10
TECHNICALITIES: 8.2/10
CONSTRUCTION: 8.8/10
SOUND VALUE: 8.2/10

INTRO
Kiwi Ears is a rather new earphones company from China. Their best seller is a single dynamic driver call Cadenza and offering high sound value at 35$. Their first IEM release was the Orchestra, and today I will review the little brother of this very IEM, call Orchestra Lite.
Priced 250$, the Lite is a 8 balanced armature IEM promising balanced and natural musicality.
Let see in this review if this promise translate reality.

CONSTRUCTION




The construction and design of the Lite is simply amazing. It scream quality and durability. It's made of thick resin plastic that feel invincible and is very smooth for the skin. This kind of high quality is unexpected at this price point and sure will make smile the consumer. I love the bright green back plate too. The 2pin connector aren't recessed but its flat so we have a secure fit still. Strangely, their zero venting hole to the housing, so it can create ears pressure, which isn't an issue since driver flex doesn't occur with BA unlike DD.



The cable is OK, it's stated to be a 4-core 7n oxygen-free copper cable , but look like silver plated too.


The packaging is very minimalist, nothing impressive yet it lack nothing. Well, the carrying case is very cheap and this might disappoint some nit picking buyer. We have generous amount of silicone eartips. All come in a small box so ecological foot print is minimal too.

SOUND IMPRESSIONS




Ok, this seem to be a multi-BA IEM tuned for those that dislike multi-BA IEMs, this is the very first though that come to my mind when listening to the Lite. In the sens, even if your search hard, you will not find infamous BA timbre metallic sheen nor feel it sound feel or shouty, something very common with multi-BA even in mid-tier range.
Kiwi Ears aim for timbre density with a dark natural texture, it aim for cohesive organic smoothness and favor sens of note weight and dynamic before boosting presence in a bright way of putting treble fowards in a vivid way.

Niche tuning then? Hum, yes, but not in a drastic way that will make the musicality non versatile. Yet, i'm confident to say these will have hate/love reception among audiophile. These aren't for treble head, nor for basshead, perhaps for mid centric listener and those that seek a sirupy balance . Treble sensitive too might put this on their list.

The tonality is hard to pin point but i would call it warm neutral with slight bass boost to dark W shape with rolled off upper treble pass 10khz. It doesn't mean the Lite don't have some snappy treble spice going on, but it's minimal, its there to add sligth sens of energy and openess.

The bass is boosted in sub bass region and have a chunky thump too it, a warm one, well bodied and fast enough but mellow in punch energy and loudness. The rumble is a bit unique, it doesn't resonate very long nor have big head room, it feel a bit compressed in vibrance which make it thick and warm insteadn of long in decay and transparent. This affect definition bite and texture, so it's more about extra physical impact than high fidelity restitution of bass line or kick drum. In fact, kick drum lack texture and bite as well as clean separation. It's a bit pasty in restitution but did have enough punch to it. Bass line and kick are well layered enough in the sens their density doesn't mix up in very muddy way, but the lack of mid bass texture result in a somewhat dark roundness. The Kiwi use 2 BA woofer per side, this might explain unique articulation of bass response but as always with BA, the deep extension isn't stable nor down to 20hz, this is more problematic with contrabass which is difficult to read tone pitch wise sometime, but that's very nit picky since we don't have distortion nor low quality bass, just short rumble sustain-resonance.
In fact, for a multi BA the bass is quite excellent again due to this good layering articulation. I never feel it lack punch or rumble but i would prefer sharper more spacious separation and extra mid bass energy.

Mid range is the highlight of the Kiwi Ear, and this isn't easy to achieve with a multi BA, to offer a sirupy and cohesive and full bodied mid range that doesn't go shouty or overshadow other frequency. It feel both relaxed and full in presence, with good note weight for piano and smooth natural timbre. It's not the cleanest nor the clearest, yet, doesn't feel lacking in that regard due to good but thick layering.
Vocal and woodwind instrument sound marvelous, wide enough in presence and dense with air richness. I really enjoy saxophone and female vocal though a bit more laid back, are creamy, breathy and non sibilant. The attack edge is softened, so don't expect a bright or abrasive mid range here, we have extra lower mids thickness, tone is right, transparency is good enough too, for slow or calm music, like chamber jazz or classical, the result can be mesmerizing. With a track like ''Hyper Ballad'' from Adam Baldych Quintet, the Kiwi show its true talent and leave me speechless, well, not really since I can say it sound more open and deep now, violin, piano kick drum, percussions and contrabass are well layered and fully bodied, without timbral imbalance, lower note piano have lot of weight wich is very impressive and nothing sound offensive yet have the right amount of dynamic and presence to it. Yes, the Kiwi excell with acoustic music more than electronic or rock. Mid range lover will not be disapointed with those. Male vocal too will love the Kiwi, since lower mids are thick and present, it give a full bodied male vocal that is smooth too, not pushed in texture, making the presentation very appealing and favorize in tone and body over brightened presence and definition.

And now the treble, which is a bit understated yet not lacking anything apart perhaps a bit of air and sustain sparkle like with all multi-BA IEM have try before. It's smooth, thick treble without harsh grain or metallic sheen to it. I would say it's dark if it wasn't for this extra snappy spike that extract micro details and percussions and tend to make it more separated from other instrument, so, we have a bit of high vividity that add a bit of crispness and spatial openess but tend to surprise the listener. Why? Because everything is smooth and organic in coherence but some part of highs are sharper and snappier and ediger than other, this will add energy to some snare attack or favor some micro details over other one. Yet, it's far from being unpleasant, or plain unbalanced, and in fact add a welcome livelyness to an overall laid back musicality. The Kiwi aren't agressive, harsh, shouty or trebly at all, it's creamy plus hint of cripsness, with liquid layering that tend to be gratifying in the long run. Acoustic guitar sound quite nice but don,t have long airy decay, violin are beautifull, lush and fully bodied with gentle attack lead and softed texture. Clavichord sound a bit muted and overly tamed in dynamic and natural decay, same goes for harps. Electric guitar too aren't abrasive and bright enough to offer attack crunch we need. But this is all I can find for instruments that aren't magnify by the Kiwi. Overall treble is very refined and perfect for long listening session or treble sensitive listener that still want good amount of details and especally well layered spatiality.

About this soundstage, don't expect a gigantic one, the Kiwi offer an intimate musicality where you are part of music, your in the middle of sound layers here. Depending of ear tips used, you can achieve average wideness, but deepness is lacking, especially when bass occur.

The imaging isn't class leading due to warm bass and mids and smoothed attack edge, but this is saved from plain foggy spatiality with an excellent sound layering capacity, thanks to the 8BAs used which permit this acoustic rendering we can discern presence body of instrument. It deliver an holographic presentation where 3D tactility of sounds layers are well perceive but not sharply positioned.


SIDE NOTES
While the Kiwi are 16ohm impedance and shouldn't be that sensitive, i feel it sound cleaner, better and more transparent and balanced with low gain and low impedance source. For ex, with Moondrop Dawn 4.4 at high gain, its more warm, thick and bassy.
As well, these are very ear tips sensitive, and it seem their no venting hole so the pressure will be high and act like ear plug if you see what i mean. My favorite eartips is Kbear KB07 for these, while short wide bore eartips open up soundstage it make the bass looser too.
Isolation is quite good too.
Source wise, It pair better with bright, crisp or neutral clean source with good dynamic, too warm or dark will make the Kiwi sound overly smooth and lean.




COMPARISONS



VS AUDIOSENSE T800 (8BA-300$)

The T800 use 8 knowles balanced armature and offer a brighter W shape with heftier dynamic and crisper clarity. Overall technicalities are from another league with T800. Bass hit faster, have more texture and definition and is better separated too, it have more sub bass natural resonance but rumble is less thick and warm, yet overall bass performance is cleaner, more natural in extension and better layered with T800. Kiwi have thicker louder punch, but less well define and detailed. Mids are fuller and thicker with the Kiwi, but less transparent and detailed and open, less textured too. Lower mids are more present and thus present male vocal more foward and bodied. T800 mids are thinner and have less note weight but again they are superior in technical aspect from resolution to imaging to attack control and speed. They are more wide open and clarity is superior. Then the treble is notably darker-colored-smoother with the Kiwi, its less bright and crunchy too, and just have minimal air so T800 sound more sparkly snappy and open.Again highs seem more extended and higher in resolution, it have more attack bite too for violin leand and clavichord is more upfrond, dynamic and textured.
Spatiality is wider, taller deeper with the T800, but not intensely so. Imaging is more accurate, cleaner with more edgy instrument separation that have more space and more transparent layering that permit us to dig further in soundscape.

All in all, these are quite different, and here that T800 balance is a bit more vivid and spiky yet well done enough, but organic sirupy cohesion will go to the Kiwi even if they are notably inferior in technicalities from attack speed and control ,to resolution, imaging and soundstage openess.

VS PENON SERIAL (3DD-300$)

First thing that hit me is how more open, transparent and holographic sound the Serial, then it's the sub bass extension and clarity that seem way superior. The Serial feel mroe U shape too, not as thick in timbre, both in bass and mids, while for treble its notably more energic, textured and detailed.
Kiwi bass is warmer, darker and thicker, but more muddy too and less transparent in separation, kick drum while less chunky is better define and texture with the Serial, and sub bass is leaner and dig down to 20hz naturaly while it it feel more boomy-pillowy way with the Kiwi. Mid range is quite different, its more open and wide sounding with the Serial, its more detailed and textured and louder for female vocal, but not as thick and dark and smooth. Note weight is superior but attack is less energic with Kiwi. Treble is so much richer with the Serial, it dig way more sound info prooving 1DD can surpass numerous BAs when it come to treble natural richness. Its less colored tough, and don't have this peculiar percussions snap emphasis of the Kiwi, which tend to darken other sound info around it. So, for ex, cymbals crash will have longer resonance and more texture details with the Serial but hit hat will not feel as fast and snappy.
Soundstage is without a doubt way wider, taller and deeper with the Serial. Imaging too is notably superior due to more transparent layering and greater space between each instrument, as wella s less compressed intimate spatiality that permit a more realist and accurate positionning.

All in all, Serial is superior at all level here, both tonal balance and technical performance wise, but it's less thick and mid centric too, so this will depend what tonality you seek.

CONCLUSION


The Kiwi Ears Orchestra Lite are different than numerous other IEM i've heard before, and it's a good thing because it's not due to bad tuning or innaccessible musicality.
Sure, the smooth balance, creamy timbre and mellow overall dynamic will not please everybody, especially those seeking highly engaging and sharp sounding IEM, but while the Lite is some kind of ''Jack of all trades, master of none'' this time it's not in a pejorative manner.
If you favor timbre and tone over resolution texture and crispness, you will love these, if you can't enjoy thin timbre, the Lite will please you, if you smooth and bodied vocal you will love these, if you like lush thick musicality with thumpy warm bass and near mid centric musicality: you'r in for a treat.
The Kiwi Ears Lite are cozzy to listen and not boring due to good bass weight and punch as well as superior layering capacity that offer an intimate and holographic spatiality that enveloppe the listener.
Not bad at all.

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PS: I wanna thanks Linsoul for sending me this review sample. I have no official affiliation with this audio distributor and these are my 100% unbiased audio impressions.

You can buy the Kiwi Lite for 250$ here:https://www.linsoul.com/products/kiwi-ears-orchestra-lite?variant=43713163002073

The Orchestra Lite… We’ve been waiting for an IEM to come along like this one for a while, and for $250 dollars, this changes everything! Let’s get inToit!



If you pick up the Orchestra Lite, what you get is a beautiful-built, all-balanced-armature unit- featuring two custom ultra-tweeters, four midrange B.A.’s, and two large subwoofer drivers for the lows. The crossover and the drivers themselves are visible through the clear resin shell, which utilizes a flush 2-pin connection. The cable these come with is nice and soft, and the included tips all sounded good making very slight adjustments to the sound. I would have liked to have seen a metal chin sinch rather than the plastic one and a modular termination included for balanced power delivery; but these don’t really require any power, yet they are influenced by source tonality. General timbre and note weight are neutral, but comparatively thinner and leaner off something like the 789, dead neutral off the Hiby FC3, or somewhat thickened and warmed off the iFi 6XX Signature amplifier. The shell itself has a very balanced weight to it (neither too heavy nor too light), and size, although somewhat chunky, is less so than something like the Blessing 2. It fits well within my medium-sized ear cavity, and I like the green swirled faceplate that I was sent by Linsoul, but there’s also an option for a swirled iridescent blue if you prefer.



With regard to sound, go back and watch almost any other review of the Blessing 2 by practically any internet parrot artist; I mean “respected reviewer,” and that misinformation will likely be more applicable too, and more informative of, what to expect with the Kiwiears Orchestra Lite. The stage here isn’t notably large, but not overly restricted at the same time. So, the stage is not really the reason to pick up this set. Still, the Kiwiears Orchestra Lite performs technically well within its somewhat constrained soundscape. Separation is deceptively decent, depth reasonably respectable, and image distinction good. Transient reproduction is also relatively natural for an all-BA set. Dynamics are somewhat soft and therefore might be lacking to some, but more acceptable compared to an IEM like the Blessing 2, even though that set has a dynamic driver-driving its’ bass.



So why pick up the Orchestra Lite? Well, off the right source, detail and clarity here are off the charts for $250 dollars. You hear things in recordings with these that only more expensive sets reveal. Even so, this is a bit of a double-edged sword, as the Orchestra Lite does expose impoverished recordings, poor mixes, and track inaccuracies. Nevertheless, these are an excellent entry point to higher fidelity in-ear-monitor sound, and a definite upgrade path from an IEM like the TRI Starsea. The level of clarity here is beyond the Moondrop Kato and closer to the Variations. And when we get to comparison’s we’ll be taking a look at this bad boy in comparison to one of my favorite IEMs: the Final Audio B3... So, stay tuned for that!



If the Orchestra Lite is lacking detail anywhere, it is in the bass; however. This is BA bass… And although its good BA bass, BA bass does often lack some detail and body compared to a dynamic. Still, there is just enough bass quantity and detail here for me to be happy, even if bass heads surely wouldn’t be. The Orchestra Lite kind of chugs along to the beat- providing just enough low-end warmth to add both substance and character. The sub-bass is not overly representative, but the Orchestra Lite did surprise me on certain tracks, and even kept up well with unexpected genres like rap. So it does decently when called upon to do so. Nevertheless, bass guitars could sound thin at times, and I wouldn’t call the bass of the Orchestra Lite overly expressive in either its personality or clarity.



The mid-range is always clear though, and slightly forward in its character; in general, leading to a more intimate observation of the sound. Despite its intimacy, sounds layer atop each other well, and sonics rarely, if ever become cluttered. Distinctiveness of individual sounds is a noteworthy characteristic of the mid-range on the Orchestra Lite, and this includes vocals which are always well-centered in the middle of the sonic landscape- prominently featuring for both male and female voices alike, although certain low-timbred male vocalists suffered on occasion- like Christ Stapleton, who’s voice was not as accessible I would have expected on a number of tracks. Even so, peripheral details were well developed, detailed, and consistently popped out to my ear.



The treble was less consist; however. While it should satisfy most, truth-through-treble seekers might find the Orchestra Lite somewhat lacking in its later treble and air. The upper-end extension, although fairly natural in its presentation, does roll off rather audibly, and the tail of the treble does lack representation exponentially as it extends out past 10K or so. People who find the persona of later treble emphasized sets irritating will likely have little to complain about with the Orchestra Lite, as there is generally enough treble material presented here without ever mistakenly going overboard or over the line with its brilliance. In other words, I never found my ear stretching to listen for additional treble information, but I could have done with some additional air and extension.



In comparison to one of my other favorite IEMs, the Final Audio B3, the Orchestra Lite is more restricted in its soundscape and not nearly as expansive. It’s also a bit more intimate and forward in its character, but more separative in its approach. Detail, resolution and clarity are similar between the two, but micro details appeared to pop out more on the Orchestra Lite, while the B3 was more coherent in its styling. The bass on the B3 was also generally less thin, more full-bodied, and additionally representative across the lower range of the frequency response. General note weight was also a bit more robust despite the B3 having only 2 drivers compared to the Orchestra Lite’s 8. The Orchestra Lite is also more sensitive to both drive and more influenced by amplifier tonal character than the B3 is; changing its tonal character more like a chameleon from the neutral line from source to source.. Both benefit from a bit of power, but the Orchestra Lite’s stage became larger in comparison to itself when being driven by balanced sources, while the general presentation of the B3 was more consistent not matter its source type. So, the Orchestra Lite is a bit of a different in its presentation, but at least keeps up with the more expensive set in a number of ways.



Overall, at $250 dollars, the Orchestra Lite is an incredible value for the money. It’s revealing and detailed in a manner that plays like more expensive competition. It may not have the biggest soundstage, and its treble extension may be limited, but it articulates technically well within its provided listening space. And even though I’ve done my best to provide you all with some good images of this set, it’s even prettier to look at in person than it shows up on film, and comes with a nice accessory package to accompany its solid build. At the price, it will most likely be my #1 recommendation for some time, that is until something better comes along. In order to get notified of such a set, make sure to subscribe and click that notification bell in order to get alerted when I upload videos. Subscribing to the channel doesn’t cost you a thing, and it really helps The Neighborhood grow so that I can continue to deliver high quality content to you all. It also really helps this video get distributed to all those that may benefit from it if you like it and watch it completely. Lastly, check out the links in the description below for other Neighborhood access locations, and give me a follow there as well. And with that, I’m out… for now…

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Check out the Review on YouTube: The Best Audio Review Reviews the Kiwi Ears Orchestra Lite on YouTube!

KiwiEars Orchestra Lite. USD 250. 8 BA drivers on each side. Emerging manufacturer with a promising track record.

How good is the Orchestra Lite, really? Let’s find out.

Forewords​

• The goal of my reviews is not to “judge” IEMs from an ivory tower. I aim to tell you where they reside within a straightforward scale from 1 (poor) to 5 (outstanding). I focus on the poorly-defined-yet-important “technical performance”, which I believe to be the hallmark of exceptional IEMs.
• Scores are assigned by A/B tests against representative IEMs, regardless of the retail price. For instance, a 3/5 IEM performs within the level of other 3/5 IEMs, irrespective of whether it is $50 or $1000.
• Ranking list and measurement database are on my IEM review blog.
• This review is based on a review sample from Linsoul (Thank you!). I have no affiliation with or financial interest in Linsoul or KiwiEars. Orchestra Lite retails for around $250 at Linsoul website.

Specs​

• Driver: 2 BA bass (Knowles CI-22955) + 4 BA mid + 2 BA treble (KiwiEars Custom BA drivers)
• Crossover: 3-ways
• Connector Type: 2-pin 0.78
• Impedance: 16ohm
• Sensitivity: 112dB

Non-sound Aspects​

Orchestra Lite comes in a medium-sized box with a simple presentation. No anime waifu or FiiO’s sci-fi theme here. If I were to nitpick, I would say the presentation does not do justice to how nice and expensive-looking the IEMs actually are.



The accessories of Orchestra Lite are straightforward. You have a cable, generic silicon tips, and a canvas case. The case itself is rather compact but functional. I managed to store the IEM with a beefy aftermarket cable and a few interchangeable audio plugs without much difficulty.



Speaking of cable, the stock cable feels great. It looks good. It’s soft, not microphonic, and very well-behaved. I have no complaint about the physical handling aspect. Unfortunately, the stock cable features a 3.5mm jack, so I couldn’t take advantage of the balanced outputs of my music players and DAC/amp. It is a shame because all my sources offer better sound quality with balanced output. The Orchestra Lite can take full advantage of such improvement.

(KiwiEars, it would be great if you could give us the option to choose a 4.4mm balanced cable in the future).



Without a doubt, the earpieces are the stars of the show. They are crystal clear, even more so than the famous Moondrop Blessing 2. You can easily see all the drivers, crossover circuitry, sound tubes, and Etymotic acoustic filters used for tuning. The faceplates are semi-translucent with swirly white resins, creating an interesting 3D illusion. Both faceplates and earpieces are well-polished. I couldn’t find the seams with my nail.



A potential issue of Orchestra Lite is its size. These are very large IEMs, easily matching the size of the chunky Moondrop Blessing 2. However, I found the fit of Orchestra Lite to be more comfortable than Blessing 2, possibly because the nozzles of Orchestra Lite do not extend as far as Blessing 2.

It should be noted that Orchestra Lite is a fully-sealed IEM. On the plus side, you will have more noise isolation than usual IEMs with air vents. On the negative side, you will feel a suction effect when you put them on, and pressure builds up after a few hours of listening. If you are new to wearing IEM, these might not be the most comfortable pair.

How it sounds​

Sources for listening tests:

• Fiio K7 (for all A/B tests)
• Shanling M6 Ultra
• Hidizs S9 Pro

Local FLAC files ripped from CDs or bought from Qobuz were used for most casual listening and A/B tests. My playlist for A/B tests can be found on Apple Music here.

Tonality and Timbre: 5/5 - Excellent​

Frequency response of Orchestra Lite. Measurements were done with an IEC-711-compliant coupler and might only be compared with other measurements from this same coupler. Visit my graph database for more comparisons.



Tonality or “tuning” is where objectivity and subjectivity meet. Objectivity exists in the squiggly lines above, called Frequency Response (FR) graphs. They are created by sweeping a signal from 20Hz to 20kHz and measuring the corresponding loudness coming from an IEM. Unless a human operator deliberately tampers with the microphone or the data, FR does not care about the price or prestige of an IEM and, therefore, is “objective.”

However, human listeners are not microphones. Our ears and brain interpret the sound and decide whether it is “enjoyable.” It is also beneficial to remember that when you play a note on a musical instrument, multiple sounds (fundamental and harmonic) appear simultaneously and mix together. Achieving a life-like balance between frequencies and adding a tasteful amount of imbalance (“colouring the sound”) is the hallmark of an excellent tonality.

First thing first, look at that beautiful channel matching! Well done, KiwiEars.

Now, the sound. The best words to describe the tonality of Orchestra Lite would be flat, smooth, and low-key.

By flat, I don’t mean the “shouty mid, no treble, no bass” flat of some (in)famous IEMs tuned to a diffused field target. No, the flatness of Orchestra Lite means that all parts of the frequency response feel balanced. The midrange, where most of the music “lives”, is adequately highlighted but not at the expense of other frequencies. The bass is present when the music or video calls for it but never overstays its welcome nor intrudes upon the midrange. High-pitch instruments, such as cymbals, hi-hats, and chimes, cut through the mix yet never get too loud or harsh.



You might think that “flat” is boring. I say flat is justice. A benefit of the flatness of Orchestra Lite is the beautiful midrange.

How can I say… The midrange is not warm, not cold, and indeed not harsh or shouty. For instance, the voice of Cat Stevens in the beautiful song Father and Son sounds oh-so natural and realistic. The acoustic guitar sounds real, with equal loudness across the lower and upper strings. Female vocals, such as Elaine Paige’s in Memory, are vibrant and nuanced but not overly emphasised to the point of shouty. With the Rasputin cover by Aurora, the voices of both Aurora and the backup vocals are slightly richer and ever so slightly less “edgy” that Moondrop Blessing 2. To borrow the term used by a fellow reviewer, I would say vocals sound sweet on Orchestra Lite.

The successful midrange performance of Orchestra Lite carries over to acoustic instruments. The concert flute of Emmanuel Pahud in the Flute Partita in A Minor, BWV 1013: IV. Bourrée anglaise sounds rich and full without being boomy or harsh. Cellos, such as in the Prelude of Bach’s Cello Suite No.1, sound like cellos and carry the right amount of body. Orchestra Lite sides step the mistake of some IEM, such as the EAxEA Gaea, of making the midrange too thin that sucks the life and richness out of cellos.

I can continue, but I think you get the point. The midrange is good. The beauty of Orchestra Lite’s midrange is also reflected in its frequency response: flat lower midrange and correct ear gain that peaks around 2.5kHz, 8.5dB above 500Hz.



The second key characteristic of Orchestra Lite is smoothness. To understand smoothness, it’s helpful to talk about the opposite, “ice pick.” For instance, IEMs with strong peaks, such as the old-timer ZSN Pro X, can make specific instruments or even parts vocals randomly louder than the rest of the music, creating the sensation of being stabbed in the ears. Peaks are inevitably followed by dips, preventing you from hearing details there.

The smoothness of Orchestra Lite stems from the lack of prominent peaks and dips. The result is not only a comfortable experience but also more detailed and nuanced music, as nothing is masked by others. It should be noted that Orchestra Lite does not deliberately dull your music. If your music is harsh and sibilant, the IEM will present such harshness.

The flat and smooth tonality of Orchestra Lite gives it a low-key presentation. By that, I mean there is little variation or contrast between different instruments or frequency spectrums in a mix. Suppose you are familiar with photography or videography. In that case, you can imagine the sound presentation of Orchestra Lite as a raw photo or footage. All the information is there, but the contrast and vibrancy are low. Something like JD7 or AFUL P5, on the other hand, feels like a JPEG that has been processed from the raw photo with enhanced colour and contrast.



The treble response plays a huge role in creating that low-key presentation of Orchestra Lite. The lower treble region, which centres around 5kHz, is less emphasised than usual releases. This tuning softens note attacks, such as plucks of guitar strings, impacts of sticks on drum heads, and the sounds of bows catching violin strings. I prefer more zings and snaps, so my first impression of Orchestra Lite’s presentation was not positive. However, credit where credit dues, none of the instruments sounds blurry or lifeless, so it’s likely that KiwiEars have achieved a neutral amount of lower treble.

The mid-treble region around 8kHz, which influences the rendition of cymbals, hi-hats, and chimes, deserves more attention. There are two points that I like about this region. Firstly, the loudness of cymbals, hi-hats, and chimes is quite balanced against the rest of the band. For instance, tracking a pattern on cymbals or hats is easy. At the same time, these instruments are never too loud or harsh. Vocals are also free of sibilance if your source material does not have a lot of sibilances.

Secondly, Orchestrate Lite has an intriguing balance between the lower and mid-treble, bringing out extra nuances and details from cymbals, hi-hats, and chimes. Usually, with cymbals, I hear a loud and bright “clang!” when the stick hits, but I don’t hear many details between consecutive cymbal hits. The Orchestra Lite does differently: the initial impact is not as loud, but I can hear the decay end of the cymbal hits, such as the vibration and subtle clicky noises that the cymbals make against their stands.

Of course, the pulled-back 8kHz region has its drawback. The most noticeable is the lack of zing, energy, and “sparkle.” I can see how some listeners find this presentation boring.

I am less happy with the upper treble or “air” region: it is too rolled off. I don’t know the physical limitations that led to this tuning choice, but the IEM takes a 5dB boost around 16kHz via EQ like a champ. Doing so also reveals the additional perceived resolution and soundstage I couldn’t hear in the stock tuning.

Conclusion time: this is a hard case. On the one hand, there is beauty in how Orchestra Lite balances frequencies on both a macro and micro level. On the other hand, the controlled treble response might come across as boring, and the rolled-off treble air does hide some finer aspects of Orchestra Lite’s technical performance. To me, the pros reluctantly but ultimately outsize the cons. 5/5 - Excellent.

Resolution, Detail, Separation: 4/5 - Good​

Resolution is a fascinating subject due to the difficulty of pinning down what it really is. To me, “resolution” can be broken down into three components:

1. Sharpness, incisiveness, or “definition” of note attacks (see the figure above).
2. The separation of instruments and vocals, especially when they overlap on the soundstage.
3. The texture and details in the decay side of the notes.

The first two give music clarity and make it easy to track individual elements of a mix. The last provides music details and nuances. Generally, a smooth frequency response and good drivers give the best resolution.



Orchestra Lite does a great job of revealing the nuances and details of the music, especially the midrange details. For instance, I can easily hear breath, articulations, and details in the voices of Aurora and the backup vocals in Aurora’s Rasputin cover. The retrieved micro details are ever-so-slightly above the venerable Blessing 2 and not far behind top performers like the Andromeda 2020.

One aspect that I found Orchestra Lite does better than expected is micro dynamic, the tiny fluctuation of the loudness of vocals and instruments. For instance, with The Dragonborn Comes, I can hear more details in the vocals and instruments with my Andromeda, but I can hear more ebb and flow in the music with Orchestra Lite.

Where Orchestra Lite falters is the definition and separation of musical notes. As I mentioned in the tonality section, there is a softness to the presentation of Orchestra Lite. Such presentation makes bands or orchestras more “together” rather than more separated. For instance, when I listen to any piece of music with multiple instruments, I can track individual instruments easier with the Andromeda than the Orchestra Lite. I don’t think EQ can fix this problem because the stock Andromeda already has a muddy, bloated midrange which reduces its clarity and separation, whilst Orchestra Lite’s tuning is clean.

Still, we can appreciate the Orchestra Lite as a highly resolving option within its bracket, even edging out the venerable Moondrop Blessing 2.

Conclusion: 4/5 - Good.

Percussion Rendering: 3/5 - Average​

Percussion rendering reflects how well the tuning and technical performance of an IEM work together to recreate realistic soundof a drum set. Good drum hits have a crisp attack (controlled by frequencies from 4kHz to 6kHz), full body (midbass frequencies around 200Hz), and physical sensation (sub-bass frequencies around 50Hz). Good technical performance (“fast” driver) ensures that bass notes can be loud yet detailed. IEMs that cannot control bass very well tend to reduce the bass’ loudness to prevent muddiness.



There is not much to discuss about the bass of Orchestra Lite. Handled by two BA woofers, the bass response of Orchestra Lite is clean and can be thumpy when the music calls for it. For instance, the Harry Potter vs Luke Skywalker rap battle by the talented folks at ERB can get my foot tapping. Orchestra Lite renders ever beat sharply with clear attack. The loudness of the bass is also appropriate, though I personally prefer a bit extra.

The bass quality is where I have problem. As most (but not all) implementations of BA woofers, Orchestra Lite lacks the physical sensation of bass slam. Let’s take my favourite bass test track, Despacito, as an example. Blessing 2, which has one dynamic driver as the woofer, creates a suction-like illusion before slamming with the first bass drop around 1:25. The Orchestra Lite simply renders a snappy, equally loud “boom” sound, and then gives up. On the plus side, the BA bass of Orchestra Lite is a bit cleaner and more controlled.

Conclusion: 3/5 - Adequate.

Stereo Imaging (Soundstage): 4/5 - Good​

Stereo imaging or “soundstage” is a psychoacoustic illusion that different recording elements appear at various locations inside and around your head. Your brain creates based on the cues in the recording, which are enhanced or diminushed by your IEMs, your DAC, and your amplifier. Some IEMs present a wide but flat soundstage. Some present a “3D” soundstage with layering, depth, and height. In rare cases, with some specific songs, some IEMs can trick you into thinking that the sound comes from the environment (a.k.a., “holographic”)

The size of Orchestra Lite’s soundstage is good but not impressive. With the help of spin fit tips and a good DAP or DAC/amp, the soundstage can extend outside my ears and has decent depth and height.

How Orchestra Lite utilises soundstage makes these IEMs interesting to me. Orchestra Lite is good at placing instruments on the stage with easy-to-recognise direction and distance. This IEM can place sound across the soundstage rather than being limited to left-centre-right.

There is a sense of depth and layering to the soundstage of Orchestra Lite. This ability is beneficial in games. For instance, in the CS Go gameplay video recorded by Throneful, I can quickly pinpoint the footstep and direction of gunshots around the player. I also have a good experience playing No Man’s Sky on the Nintendo Switch with Orchestra Lite. Movie clips also sound excellent.



How does Orchestra Lite compare to top performers like the Gaea and the Andromeda? The soundstage size is a major difference. For instance, Andromeda has the uncanny ability to put certain sounds, such as the beeping sound at around 5:00 in the gameplay video above, into the environment around me. The Gaea can sometimes trick me into thinking that the soundstage comes before me rather than around me. Orchestra Lite does not have these kinds of soundstage presentations. The accuracy of the instrument placement is also slightly better with the Andromeda. For example, I can pinpoint not just distance and direction but also the height of the gunshot with the Andromeda.

Conclusion: 4/5 - Good.

Source Pairing​

Orchestra Lite is a sensitive IEM. It can get loud with anything and does not introduce hissing noises. In this sense, Orchestra Lite is an easy IEM to drive.

On the other hand, these IEMs do show an audible change in bass response and soundstage imaging between audio sources. The soundstage becomes more flat and congested when I pair Orchestra Lite with my AP80 Pro X. This mini music player performs similarly to most dongle DAC/amps with two ESS DAC chips. I find music that relies on size and imaging not enjoyable with this pairing.

I had a better experience with FiiO K7, Shanling M6 Ultra, and the Topping G5 DAC/amp. The brighter G5 pairs best with the subdued Orchestra Lite. What I find interesting is that the Orchestra Lite is transparent enough to let me hear the difference between the balanced and single-ended output of my Shanling M6 Ultra. That’s why I replaced the stock cable of Orchestra Lite with a 4.4mm cable and ran it balanced exclusively.

Some Comparisons​

In this section, I compare Orchestra Lite with AFUL Performer5 (P5). You can use my ranking list to compare Orchestra Lite with others. Due to the way I rank IEMs, if two IEMs score the same, they perform more or less similar.



The characteristics of these IEMs are reflected by their faceplates. Orchestra Lite is flat, low-key, and tranquil, like pond water. P5 is fiery and exciting. The tonality of voices and instruments rendered by both IEMs is similarly natural and realistic. However, P5 is more vibrant, contrasty, and exciting. If you like a robust and physical bass response, P5 stomps Orchestra Lite. P5 is also noticeably smaller and thus more comfortable to wear than Orchestra Lite.

Where Orchestra Lite regains ground is soundstage and vocal rendition. Orchestra Lite can project a sizeable 3D soundstage when driven by a good source. P5, on the other hand, has a small soundstage even with the same music player or DAC/amp. I also find the vocals and instruments sound a bit smoother and more nuanced with Orchestra Lite. Even though P5 is also smooth, it boosts the ear gain higher, so, at times, vocals can get harsh. I also like cymbals and hi-hats on Orchestra Lite more than on P5.

So, which one to get? In my opinion, it depends on where you are in your audio hobby journey. If you are starting out, jumping directly to a “matured” IEM like Orchestra Lite might be too much of a shock from consumer extra-bass products, and you might not appreciate the sound. Something vibrant with a strong bass response, like P5, is a good starting point. If you have been around the hobby for a while, you should spend some time with Orchestra Lite to see what the “balanced” tuning is all about.

Orchestra Lite is a better option if you play games, especially FPS.

Conclusion​

How good is the Orchestra Lite, really? At first, I was not convinced. However, the smoothness and balanced tonality of Orchestra Lite eventually won me over. Look elsewhere if you like a robust bass response or a vibrant sound signature. However, suppose you like vocals and want a “well-tuned” IEM. Suppose you are looking for an IEM for gaming, especially competitive FPS games. In these cases, Orchestra Lite receives a high recommendation from this reviewer.

Pros:

• Exceptionally balanced tonality
• Excellent midrange
• Almost no shoutiness, sibilance, or treble glares
• Good detail retrieval
• Good instrument placement

Cons:

• BA bass lacks physical sensation
• Upper treble is not as extended
• Definition and separation of musical notes could be improved

Updated: March 18, 2023

General/Build/Packaging/Comfort
Kiwi Ears released their flagship IEM last year which is the Orchestra. Today, we have the Orchestra Lite, which shares the same driver configuration (8BAs) as the Orchestra, but at half of the asking price, i have not auditioned the Orchestra before so i am not able to do a comparison to it.


In terms of build quality, the shell is slightly big which is expected because it houses 8 BAs, faceplate is nice, it has a good and solid feel to it. It doesn’t have any vent on the IEM itself, so pressure build up might be an issue for some, I do not have any issues with the pressure build up fortunately. In terms of fitting and comfort, they do fit well and have a very good seal as well.

The packaging is quite straightforward and eye-catching, however, I am a little bummed to see the bundled accessories, the eartips are the normal kind of ear tips which can be found from various budget IEMs, same goes to the carrying case. It doesn’t really matter for me because I have many other cases, but I would at least expect a better looking case and accessories for the asking price.



Gears used for this review

• Earmen Angel Dac/Amp
• iFi Gryphon
• Macbook Air M2 3.5 Out
• iPod Touch 5th Gen
• Kiwi Ears Orchestra Lite Stock cable and Eartips

Foreword
My review is solely based on what I hear via my equipment and I never consider my reviews to be objective in any way rather a subjective approach. Do take into consideration that everyone’s ear anatomy is not the same, so the psychoacoustics perception might be different as well, but i believe it will not stray too far

Sound Impression
Orchestra Lite sounds a little warm to my ears, well bodied overall and the bass response is just nice, not overly emphasised or lacking. The treble however is the achilles heel in my opinion, slightly dark to my ears, but it is smooth and easy to listen to. Sporting 8 BAs, there is somehow some slight BA timbre there, but not to the point where it’s really bad and noticeable right away, but nothing overly distracting and fairly natural to my ears



Bass

• Orchestra Lite’s bass response is quite linear, or rather precise
• Sub bass does rumble when the track calls for it, but slightly lacking in terms of extension, still offers sufficient enjoyment for EDM unless you are looking for basshead kind of bass response
• As is to be expected from BAs, the speed is very good and it has no issues handling complex tracks, my favourites go to whenever I want to test the bass’s speed, Metallica’s Lux Aeterna and Slipknot’s People = crap! All performed very well
• Mid bass has enough punch to it but of course it can be better

Mids

• Mid range is detailed and lush to my ears, sufficient warmth to it
• Instruments which resides in the mid range has good note weight to it and full sounding
• Upper mids are never harsh or shouty and they’re tuned rather safe
• Vocal presentation is neither too forward or recessed
• Both male and female vocal has good texture, female vocal is a little bit more forward compared to male vocal

Treble

• Treble on the Orchestra Lite is well done, some might find them lacking (dark), some might prefer this sort of tuning, for me personally, i’d prefer a bit more sparkles and air
• What do you get from this sort of tuning is that it is smooth and never offensive, also no where near sibilant
• Detail retrieval is good and the nuances can be picked up easily (in Hans Zimmer’s Why So Serious, there are something that sounds like a rattle, it can be heard easily), but do not expect it to be very analytical

Soundstage/Imaging

• Soundstage is good but not exceptional, slightly out of your head with good depth, a little lacking in terms of height but good overall
• Imaging is the strong point for a full BA set, instruments can be pinpointed easily and very good separation and layering capability

Driveability

• Orchestra Lite is not hard to drive, but it does scale with power despite being a full BA set
• It pairs well with a neutral source like the Earmen Angel with relatively low output impedance
• Source with high output impedance will cause it to hiss, i experienced no such issue with both xDSD Gryphon and Earmen Angel, even Apple’s Dongle

Final Thoughts
The Orchestra Lite no doubt is a good product, when I first listened to it, I have to admit that nothing really stands out, but as I listened longer with it, it started to grow on me and appreciate the way it is. Orchestra Lite is not for basshead nor trebleheads, it is for someone who want something in between, it works well for most of the genres out there, I have listed to Slipknot, Metallica, Billie Eilish, Faye Wong, Joji, Beatles and a lot more with the Orchestra Lite and they turned out alright with it. Recommended set!

*Orchestra Lite is being sent over for the purpose of this review. I thank LINSOUL for the opportunity. I am not influenced in any way to produce this review nor do I receive any monetary compensation.

Head over to the following link if you are interested in getting a pair!

Kiwi Ears Orchestra Lite - Non affiliated

KiwiEars Orchestra Lite - A 8 BA Chill-Centric IEM

KiwiEars Orchestra Lite SPECS:
Hand crafted shells in two colors. Blue and Green
Custom Knowles Balanced Armature drivers 2 for Sub/Bass, 4 Mids. ,2 Highs
3.5mm 7N OFCC Copper cable.

SHOUT OUT TO Linsoul for providing me this review sample.
More information can be found here and non-affiliated purchase link: https://www.linsoul.com/products/kiwi-ears-orchestra-lite?variant=43713163002073

YouTube Video Review can be found here: KiwiEars Orchestra Lite - A 8 BA Chill Affair

Subjective Part of my Audio Review -

I share my impressions as I hear them with my ears.
As all our ears are different shapes & size so what I hear as bright or bass heavy -you might hear as dull and Vise-Versa; just something to be mindful of.

My version of what my perfect balanced IEM is: Good Sub Bass, with a warmer tone weight but faster and a nice transition into lower bass that adds the correct note weight to male vocals without too much bleed to effect female vocals with too much added thickness. I want to hear guitar plucks sounding with good intensity and tone.
Male vocals should sound correct and female vocals not to thin or forward.
Highs need to good extension and no sign of sibilance.
Instruments need to have correct tonality and sound natural.

For reference my favorite IEM is the Xenns Mangird UP with it's EST drivers that add sparkly enhancement only and not forced in a smooth natural way I prefer the fast speedy bass of the Beryllium Coated Driver.

My music Library is widely varied from; Metallica, Great White, Cowboy Junkies, Pink Floyd, Adelle, Melisa Ethridge, Fleetwood Mac, Five for Fighting, Manskin, Poncho Sanchez, Jimmy Smith, Chopin, The Crystal Method just to name a few. When not listening to my test tracks the majority is Jazz or Alternative Rock especially Female Rock. Lorde, Halsey, Alanis Morrisette, Evanescence.

All depends on my mood. If I want to chill out I listen to artists like the, - The Who, Pink Floyd, Deep Purple, Dire Straits and Dead Can Dance just to name a few.
If I want to have a beer and just get lost then some Jazz , Miles Davis, Poncho Sanchez, Jimmy Smith, Ray Brown Trio.
If I want to rock out then some AC/DC, Bad Co, Great White, Led Zeppelin, Robert Plant, Metallica.
And Those Times I want to get into vocals then Lorde, Halsey, Biff Naked, Alanis Morrisette hit the spot.
I mention all this so you get a sense of my library and what I like when I make my audio impressions other than the playlist

Sources: E1DA SG3, Shanling UP5, Geshelli JNOG J2 with AKM4493 chip. Truthear SHIO (Dual Cirrus Logic 43198 DAC Chips)
DAP/TRASPORT: From Lenovo Laptop with Tidal, iBasso DX160 (Dual Cirrus Logic 43198 Dac Chips), Samsung S22 Ultra with DSD Files.
Amps: LoxjiP20 & XDUOO MT-604 tube hybrid amps and Topping A90D Amp 4.4 Pentagon Balanced Out - Unless stated
Tips Used for the Orchestra Lite that I found best results for me was the Moondrop Spingtips L very wide bore.
Cable I used Stock and Hakugei Joyful voice Tri-Element 4.4 Balanced

My Format that I like to use is that I will list the music tracks I used & why with my musical impressions of the playback using that track with the notes I took during my time with the KiwiEars Orchestra Lite.

*My Notes are not meant to be full sentences just my thoughts written down at the time and transposed.
**Remember these are critical listening notes write it as I hear it, not overall impressions**
***Listening done with RED NOZZLE and 4,4 balanced off of Topping A90D, Geshelli AKM J2 Dac as source with iBasso DX160 as transport only 3.5mm to COAX Dig out.

Total Time 3:03:35 - 35 Tracks

#1 "Beautiful Blue" by Holly McNarland
(I love Holly's vocals should be crips clear vocals with the right edge to here vocals)
"A great vocal presentation"

#2 "Give Me One Reason" Tracy Chapman
(I love her voice and the way it is recorded listen for the strums on the guitar - I have seen Ms. Chapman live a few times; so In my mind, I try and remember how she sounds like 5ft from me as I was blessed to experience)
" Guitar was bang a bit thin but perfect vocals, missing a bit of air and extension, backup singers were nicely presented in the mix"

#3 "Paradox" by M.E.B.
(Great female vocals listening for accurate piano at 0:11, bass hits at 0:28 and vocals at 2:00)
"Bass hits were nicely done fast with a decent weight"

#4 "Rock Me" by Great White
(80'S Baby, Double Kick drums at the beginning of the first track I am listening to how fast it hits how solid is the bass and what's the decay like. An ideal replay here would be fast, powerful bass with nice note weight to feel it in your chest so to speak if you were at a concert.) ( With "Rock Me" same thing but I am listening for the bass guitar drops on this track it should be quite low)
"Bass missing some lower weight. Intimate stage very open still and the bass hits were fast."

#5 "Wheat Kings - Remastered" by The Tragically Hip
(Sense of stage and Male vocals)
Very small stage. Could have used mores highs lots great clarity and vocals and guitar pulls."

#6 "Chemical Mentalist" The Crystal Method
(Bass, more bass fast and lots of it - How does it do end of the story - Huge Smile or poo emoji?)
"Nicely done surprised with bass."

#7 "Its Time" by Labrinth, Sia, Diplo
(3 very different singers and their voices come together. I use this because it’s a cool track and at higher volumes lesser IEM's get sibilant. Piano doesn’t get washed out and Vocals at 2:30 should blow your little mind)
"Good sense of space tonality of all three vocals. You could tell when there was one singer or all in the mix. Piano has the correct sound and could clearly be heard in the mix and did not get washed out"

#8 "All My Friends Are Here" Joe Satriani
(In this track you can hear Joe playing dead Center with the busy and very separated L & R licks added in and then he brings you back to center with some crazy and very hard-to-play Descending A Major rifts! As Joe described this song as "A rock guitarist trying to control a wild beast"
"Did the A Major with nice descending clarity"

#9 "The Antidote Is In The Poison" GoGo Penguin
(Modern Jazz at its best. Powerful, Dynamic track full of emotion and snappy bass. Fantastic track to listen to how well Micro Dynamics are conveyed and get a good sense of the IEM's ability to convey that to the listener.)
"Stage shows its intimate presentation but nice smooth playback"

#10 "Angel" by Massive Attack
(Say it with me - massive textured bass drops )
"Not made for this but it tried."

#11 "Bring Me Some Water" by Melissa Ethridge
(I like this track to hear Melissa's voice and see if the transducers (speakers) reproduce her voice to how edgy I think it should be.)
"Showing sits strength Vocals!"

#12 "A Whiter Shade Of Pale" Annie Lennox
(A Bach-inspired Hammond Organ M102, I seriously love it and its unique sound with Annie's voice this is so cool)
"So Mesmerizing but Extension and sparkle."

#13 " So Cold " Holly McNarland
( Vocals on this track are further back in the track and L & R upfront good track for testing depth of stage and vocals - Sub Bass at the very beginning has a nice drop.)
"Very nice well done"

#14 "Shape Of My Heart" Sting
(in this track I am listening to the sound of the guitar pulls and slides. How well does the IEM give an emotional presentation of the mix between the vocals and the bass.
"Ok weight on Pulls , ++ Stings voice."

#15 "Wishing You Would Stay" by The Tea Party with Holly McNarland
(Love this track. With this song and this band, it was the first time having a guest vocalist. Holly McNarland has a great voice and I have seen her live a few times front and center getting sweat on. Listening for Holly's voice being forward in the mix and not sibilant.)
"Vocals were very well done the star of the show"

#16 "Avenue A" Tom Cochrane and Red Rider Live from the Symphony Sessions
(This track with more resolving IEM'S you can hear the guitar pulls and slides with a sense of open spaciousness and grandeur)
"Smaller stage very natural"

#17 “Eden” Hania Rani
( The way Hania has recorded this track with the mics on the strings in the body of the piano is incredibly unique and such a unique presentation you can hear the string's tension at the beginning, Bass kicks in at 1:40 and goes low that’s what I am listening for)
"Piano notes were light not perfect , the secondary mics were clearly noticeable."

#18 “Summertime” Louis Armstrong & Ella Fitzgerald
( This Track has both legendary artists Simply listening to Louis and Ella’s voices and of course, the Piano and trumpets how accurate and lifelike )
"Trumpets have a bit off tone and sharpness + resolution, Ella + louis were spot on."

#19 “Blue Train” Poncho Sanchez
( Trumpets here are silky or should sound that way with good timbre, overall mix how does it present, and of course Poncho’s drums )
"Could listen to this all day."

#20 “ My Girl “ Royal Philharmonic Orchestra
(Listening for instrument placement and stage and this track gives a good sense of dynamics and excitement with lots of dynamics in the mix)
"Xylophones again nice everything was so smooth not huge but a fun playback." Missing micro dynamics

#21 "Iconic" by Alanis Morissette
(More edgy female vocals to give you the chills)
"Alannis voice was done correctly"

#22 "The Day That Never Comes" Metallica - Live with the SFO from S&M2
(Big open stage good depth of stage excellent recording with a excellent orchestral opening)
"Small stage but nice note weight."

#23 "Tricycle" by Flim & BB's
(Turn this one up and wait till 0:28 seconds- Have Fun Dynamics test)
" Not a great replay micro dynamics and excitement "

#24 "Thriller" by Michael Jackson
(Great song to listen for stage and imaging)
" A bit shouty and sibilant"

#25 "Team" by Lorde
(Female vocals if your lover of those this is a great track)
"Love her voice here"

#26 “ Wake Up “ Oliver Mtukudzi
(Oliver Mtukudzi is an African Musician and prolific guitarist and Vocalist. He sings with a mix of South African styles sometimes in English sometimes mixed like in this track and includes the traditional drumming styles of the Korekore. TUKU MUSIC at its finest – Listening for vocals, bass lines, and clarity – and because it is just fun! Right at the beginning you have some very cool snaps and instrumental)
"Natural vocals at beginning + Oliver's voice was perfect , good depth between singers front Back Up female vocals and Male Main."

#27 "Brothers In Arms" by Dire Straits
(Intro and dynamics or distant thunder, and Iconic Mark Knopfler's vocals Bass hits at 2:12)
"Thunder at beginning was missing boom!"

#28 "Keith Don't Go" - Live Version by Nils Loftgren
(Acoustical Guitar absolutely amazing recording - Tonality and male vocal clarity)
"Yup coming into the right genre."

#29 "Somebody I used To Know" by Goyte & Kimba
(A huge stage and Vocals listen for excellent separation and stage, Vocals at 1:38 and female 2:38 and micro-dynamics
"Vocal killer"

#30 " Flight Of The Cosmic Hippo" by Bélla Fleck & The Fleckstones
(Excellent recording and Bango bass should hit hard and low with nice mic of piano weight)
" Banjo man done nicely"

#31 " New Orleans Is Sinking " By The Tragically Hip."
Listening to Gord's Voice without enough MB his voice will sound thin on this song.
" Great male vocals maybe a tad thin"

#32 " T.V. Song" By The blue Man Group
The whip at beginning has to sound real, then the PVC B.M.G. stereo separation and then 10' big ass drum hits at 1:26
" No big boom boom as expected"

#33 "Electrified II" by Yello
How well does the playback just trip you out and pull you into the stage and presentation think Ferris Bueller's` Day Off on LSD
"Yello was fun"

SUMMARY & FINAL THOUGHTS FOR: KiwiEars Orchestra Lite. (OHL)
The OHL is such a beautiful IEM , well built and is like eye candy.
But we don’t listen to our eyes.

Overall I was super impressed what 4 BA could achieve and how well they can be put together for coherency which on the OHL was done well some slight BA timbre but I am ok with that.

I was having a hard time on long listening sessions as I am one of the weird ones that’s gets pressure build up in my ears and have to lift the top of my ears once and a while to relieve the pressure. This only happens to me on the two BA sets I have and I assume it because the shell is not vented.

The stage is intimate with average width and height but on certain tracks the OHL can present a sense of height.
I found the Orchestra Lite was a bit source picky and likes a more resolving source more so than a warmer one.

I also needed to use one size smaller ear tips so I would not get that pressure build up and thus killing a bit of the Bass.

Overall the KiwiEars Orchestra is a big improvement in tuning with its second rendition and a great step in the correct direction for this company. I would have loved to hear more resolution and have a bit more overall macro details add some exertion in there and more sub bass. Oops I did it again - I am trying to instill in the Orchestra my preferred sound signature instead of just enjoying what it does well.

What is the KiwiEars Orchestra Lite? A vocal centric IEM that excels at is vocals and a well tuned beautifully crafted IEM that you can simply chill out to without too much bass overpowering the mids and not too much stage or super articulate details to pull you away from simply closing your eyes and getting lost!

Thanks so much, Cheers from the Tone Deaf Monk.