Little Dot Cu-series KIS

Little Dot: The Kis of a TOTL

Little Dot website



Kis: $585usd

From the website:

The name KIS came from Little Dot’s principle, Keep Improving and Sincere. Little Dot has been in the headphone business for over sixteen years. When we decided to develop KIS, there was only one simple target, and it is to make the best possible IEM at the time. 18 months of product development, over 160 testers and 14 rounds of beta listening meetings, and total of 86 versions of different modification from the original beta. We gave out everything we had to make KIS to be the pride of our IEM product line.

KIS contains dual diamond dynamics and customized twin armatures units in the best aluminum housing. The ADLC (Amorphous Diamond-Like Carbon) diaphragm, customized hi frequency and ultra-high frequency composite armatures, and the through air vent are the key of KIS. These sophisticated technologies bring KIS an impeccable performance in all areas.

Specs:

Technical Specs:

Connector type: CIEM 0.78mm 2-pin
Driver Type: 10mm Dynamic *2 and armature tweeter *2
Distortion: <0.05% @ 1000Hz
Impedance: 18 +/- 2.7 ohm
Plugs: 2.5/3.5/4.4 balanced gold-plated plug, and 3.5 mono gold-plated plug.
Frequency range: 12-40kHz
Sensitivity: 105+/-3db

In The Box:

IEM
4x silicon tips plus 3x foam tips
Shirt clip
Plastic round case
Pelican-like case
Two cables: one 6N OFC Copper, 3.5bal terminated cables
3.5se, 2.5bal, 4.4bal adapters



Gear Used/Compared:

Phonic BW4 ($650)
Noble Savant II ($499)
Cayin N6 mk2
Shanling M6 Pro
HiBy R3 Pro

Songlist:
Joey Alexander-Warna album and others
Mark Knopfler-Laughs And Jokes And Drinks And Smokes
Santana w/ Mana- Corazon Espinado
twenty one pilots album, Trench
Tedeschi Trucks Band
Big Head Todd & The Monsters-Beautiful World
Mark Knopfler-Down The Road Wherever

Unboxing:

The Little Dot IEM’s come in a very tasteful slender slick-black package, which clamshell opens from the right. Laden with the logo, and name on the front, there is a fairy not unlike Tinkerbell “anointing” the IEM name. I like it so far.
Opening the box reveals semi-soft foam holding both the round plastic case, and the pelican-like case on the right. The choice of two cases is nice but opting for the larger Pelican-like case won out for me every time. The left side shows the specs as well as an exploded view of the IEM itself, highlighting each model inside. Again, tastefully simple and elegant. This is most definitely a situation that I appreciate where less is more and done well.

As the flagship one would expect a good bit of kit to accompany the IEM and one would not be wrong. Coming with two cables, and a plethora of tips, I settled on the foam tips for about half the time and the included large silicon tips the other. Either way you frame this, Little Dot has done their homework by including two cables, many tips and the adapters so you do not need to purchase anything from the off.



Fit/Finish/Build:

Almost exactly like the Cu Cen, except for being more pill-shaped, the shape is small and fits neatly inside of one’s ear canal. This is one where the IEM almost fits inside your ear. I appreciate the small size, but to me it is almost too small. Thankfully, the sound belies the size. With vent holes similar to the Cen, but both on the nozzle side the similarity ends there. Both are on the aft side of the unit as it faces you nozzle-first. Placed on the inner shell behind the nozzle and on the nozzle, itself mirroring the position behind the nozzle on the same side, this is a unique position to me. It works.

Fit of the two shell halves and nozzle is very good, but I would wish for tighter tolerances between the three. Even of seam, but most certainly not seamless they are. At this price and above you get into the expectations of superb and exemplary build quality and to me the Kis falls a bit short. Does it hinder performance? No. Are the seams even? Yes. But you expect the aesthetics to match the price.

The IEM fits comfortably in my ear and the cable lies well with another excellent cinch above the y-splitter. I appreciate a bit of effort to move the cinch up into position, even if I rarely use them. I do so knowing that they are meant to stay in place. Some of recent slide back down making them useless. This is not the case with the Little Dot iterations. The red anodized color looks good and has the quality one would expect to last a good long time, much like the Cen.
Overall this is a very good build but falls short of what I would expect of a flagship model.

With dual 10mm dual diaphragm amorphous diamond-like carbon drivers and a pair of custom balanced armatures, the fit inside the shell and vent holes aid in the overall sound characteristics. Much like speaker wood or other IEM’s I have which are wood, the tuning and engineering is most certainly by design and aid in providing the signature desired.

I mention again the need to pay attention to the adapters as they are large and most definitely put pressure on the internal jack of your source of choice. Care is warranted.



Sound:

Unlike the overly rumbly bass of the Wyn, the Kis exudes quality over maximum bass. There is still plenty of bass there, especially when run in balanced mode, but not of the quantity of the Wyn. No matter, for here quality matters over quantity. And it is good. If the song is bass heavy the song is presented that way, but in complete control. If the song is bass shy, there is no fake adding. The Kis presents what is there. Period. Of the four, this should be and is the best bass quality without bleed and has the speed to match quick music representation without being false or overly analytical. There is good realism here epitomized by the wonderful sound from The Farewell Courtyard (a common song used in the four reviews). While not the gut punch of the Wyn, the song represents clarity and control here. Detail is excellent and exudes that quality one would expect at this price.

There is still good detail retrieval in the mid-section as well. Falling slightly behind in character, it does not falter like others such as the V-shaped Rad. No, it is there in enough detail to warrant respect while presenting an honest version of what the song exudes. As an example, on Schubert’s Erlkonig, a piano masterpiece, the piano is lush without being drippy. Full of richness without being overtly warm. You get the sense of being there, but not front row presentation. You stand a respectful distance away and relish the presentation. Based upon that, I most certainly understand why Will favors this as his choice for the classics with which he listens. I appreciate the song already, but with the Kis, you sense it is meant for this song.

Treble rolls off nicely for me, but the literature states it reaches higher. My hearing limits what I hear, but the soft roll is appreciated as there is no strident tendency or brittleness to me. Using Aqualung as a gauge, the old microphonic vocal section is a good judge of stridency to me. There is none, and along with a bit of sparkle makes for a pleasant treble presentation. I cannot describe the tendencies with the aplomb of other reviewers, but hope the message gets across anyway. Nicely presented, I enjoy the presentation of the top end here the most of any Little Dot in house currently.

Cymbals and snare hit are presented with good attack and decay giving a sense of urgency that pairs nicely with the guitar solo, so something must be done correctly for me to interpret the sound that way. Moving on to Locomotive Breath, the representative detail continues, with a clarity fitting this level. Nicely done without being shouty. I do not like shouty.



Soundstage/Layering/Instrumentation:

Of all the LD’s here, the Kis seemed to have the narrowest soundstage. While not entirely too narrow, it can be heard going back to back between the Cu Cen. Depth is on par as is height making for a somewhat intimate presentation. That said, I had no problem discerning layers or placement. Both are very good and on par with the better half of this price point.

One might think that with the narrower, more confined soundstage, that compression of the sound, especially in complex songs such as the second Jethro Tull song mentioned would suffer. That would be a misstatement here as the Kis clearly defines the character of the song and his flute action is sublime. Just like I remember in concert decades ago. I was lucky enough to see John Cougar Mellencamp, Jethro Tull and The Who together in Boulder…holy buckets…Such a wonderful group and a wonderful musician. Memories are very good.

Comparison:

Little Dot Kis ($585) vs Phonic BW4 ($650):

My first purchase from Phonic, I worked with Kenneth to determine which wood I would prefer for my sound characteristics. Choosing African Padauk for the bass qualities (go figure) the wood did not change the flavor of the four BA unit so much as to ruin its tune. With a very open airy signature, the BW4 quickly became one of my favorites at the $500-750 price point. It still is. Clarity is superb (to me) and detail retrieval is fast and accurate, rivaling many top flagships of much more dollar outlay. But that isn’t the only trick it presents. This is just about the best bass quality of any balanced armature I have heard. For something that only has BA’s to rival the vaunted 64Audio models, which cost many times the price; color me impressed. The overall signature is superb, and while the Kis does give it a sound go, falls short. Let’s just call that running into a higher category, and not having quite the horsepower to compete.

Of course, I write this as I listen to Thick As A Brick (pt. 1) on the Kis and it does sound very, very good. I like both but prefer the BW4. If it came down to fit though, the Kis wins hands down. My hope is that Phonic can tailor an IEM of the quality wood it uses a bit more to individual customers, or at least in size. But then again, the size plays into the cavern of sound wrought from the shell, much the way the Kis does.

Little Dot Kis ($585) vs Noble Savant II ($499):

Already mentioned in the Cu Cen review, the same holds here. But the Savant sounds a bit thinner here, almost a bit too delicate when compared to the Kis. I still appreciate its clear crisp nature but comes across as a bit thin when compared to the Kis. I liken that to the wonderful vocal presentation in the Kis. It is close, but in that vein the Kis wins out. If I had to choose one though, I could not for they are similar in presentation but approach it differently.

The clarity of sound from the Savant II is wonderful to hear. I hear detail almost on par with my TOTL IEM’s such as the Clear Tunes Monitor Da Vinci X, my benchmark for clarity of sound. But that comes at the expense of richness a bit. Here the Kis overcomes that with a bit thicker sound, but at the expense of the details wrought by the Savant II. In other words, six of one, a half-dozen of the other…go figure.



Finale:

I purposely ended with this review, so I could end at the top. End with the Little Dot TOTL flagship so to speak. And I do not regret that at all. I would have been happy to go the other way as well, since all representatives have their merits. But if I had to choose one, it would be the Kis. To me, it exudes everything that Little Dot promotes to permeate their line of IEM’s. And it would be a very decent choice for those who want a good shot at a TOTL without the sticker shock. Many manufacturers have their wares on sale due to COVID-19, and out of necessity. Currently listed under $600, the Kis would represent a good “bargain” for those who want an IEM that comes with two cables, adapters and many tips; making the need for other items all but superfluous. While not my top choice in the price (see above), the Kis does represent the direction Little Dot wants to go, and I applaud them for taking a chance on the Kis. It may well be worth a chance from the audiophile as well.

I again thank Ian and Little Dot for the wonderful opportunity to review not one or two of their IEM’s, but all four. Getting that many at once is a challenge, but it is what the company deserves. Get the items out there for the exposure and it may just pay off for them. Thanks again, these are fine products.

Rating: 8.5
Sound: 8.3



Intro
I am happy to have the opportunity to present you the new IEM products from LITTLE DOT, which were kindly made available to me for review as a loan unit.

The company is specialized in headphone amplifiers, loudspeaker AMPs and DACs. They are less known for their IEMs, in which they also invested years of development. Not only one model, but four of them, where each model should appeal to a certain target group and this in different price ranges

CU RAD - audiophile entry-level | 70 €
CU WYN - Basshead | 170
CU CEN - voice oriented | 450 €
CU KIS - Flagship - balanced | 620 €

Although I like to save the best for last at dinner, in this case I start with the review of the KIS, which is the most convincing in the line-up for me regardless of the price.



Handling
The scope of delivery of the KIS and also the other models is enormous. I can't quite tell if it's the standard accessory or if I have added an additional supplement, but you can't escape the choice of silicone tips and a set of foamtips is also included.

The cable is equipped with a 3.5mm balanced jack which is rather rare and has to be adapted to 3.5mm stereo with the included adapter if you want to use the CU KIS on a device without balanced output. There are more adapters to get from the 3.5mm balanced jack to 2.5 and 4.4mm balanced. Something for everyone I would say!

The housing is completely made of aluminium and the design is as ergonomic and space-saving as possible. The fact that there is room for 4 drivers and that they work together is remarkable. All CU models (except the wired RAD) use a 2-pin connector which is turned outwards and is completely covered by the cable connection. This provides additional stability and prevents pin breakage.

I find the CU KIS extremely comfortable to wear and although the cable (4 cores) has no additional stiffening, it stays where it belongs, even with faster movements.
It feels very good haptically and makes a valuable impression. If I use the left and right headphones side-inverted, I can easily carry the CU KIS straight down without having to put the cable over my ears.



Sound
The CU KIS is an extraordinary IEM, but sometimes it doesn't make it easy for me. It is audiophile through and through, but not an all-rounder. Songs like "My Baby Just Cares for Me (Live) - Friends 'N Fellow, or "My Girl" - Patricia Barber are a feast for the ears, but it can't always be 100% convincing with energetic songs (rock) or brighter voices.

Part of the fact that the KIS can be a feast for the ears is definitely the bass, which is played by a dynamic driver. The bass is, or rather can be divine and the "why" is not easy to describe, but it has this natural and potent kick, the uncompromising extension in the sub-bass and above all a beguiling detail reproduction, with very good agility and precision. On the one hand... On the other hand he sometimes leaves me a bit surprised, because he suddenly acts more reserved than I would expect. This sometimes causes confusion, but these fluctuations are tolerable. I'm only sometimes disappointed when I experience the bass full-bodied, well dosed but with great dynamics and he doesn't deliver that constantly. If there is a lot of bass, the facial features can slip away from him for a short time, but he always keeps his composure.



The mids show similar characteristics as the bass, also regarding the driver type. They are extremely detailed and find a very good mixture of natural sound and direct, hard response. This makes for liveliness and can be very entertaining.
In the complete quartet of the CU series from LITTLE DOT, the mids of the KIS branch out most relaxed, but are still quite hot in the upper range. This gives you some idea what to expect from the other members of the series. The mids have energy, but unfortunately this can also be intensified when the music is full of energy, which makes it uncomfortable. Then voices have too much presence and tend to overdrive. This is especially noticeable with brighter voices, but doesn't have to happen all the time. Here it's exactly the other way round like with the bass. I have a negative expectation and get positively surprised. With Michael Jackson for example I have a little more difficulty than with Kesha, Sia, or Magan Trainor.
I celebrate the mids for their mostly physical, harder and musical approach, but can't always follow them completely at full volume.

I would describe the highs (2*BA) most consistently, but in terms of sound they can't quite keep up with the mids and excellent bass. Nevertheless, you can expect a good degree of quality from them. They are not always quite level stable and need high quality input, as they are less forgiving, but when this is given, they can score with clarity and transparency. They lack a bit of the top end, but so they rarely tend to get fatigued, even if sibilants do have some presence. A positive example is the CAMPFIRE SOLARIS, which shows the CU KIS how to be confident in the high frequencies. So the high frequencies of the CU KIS are detailed and natural if the input is right, but not overwhelming.

In its spatial dimensions the CU KIS offers quite a lot of space, even if it is not quite equal to the always remarkable stage of ULTIMATE EARS IEMs. Nevertheless, it can deliver strong performances with its clear instrument separation and imaging qualities.



Outro
What actually distinguishes a balanced all-rounder? Well, actually it's mostly IEMs that don't necessarily specialize in one detail when tuning, but try to cover the complete range as well as possible and are willing to compromise. One of the best all-rounders I can think of is the 64 AUDIO TIA TRIO, which always manages to maintain its outstanding level and you only have to accept small cutbacks or a subtle upgrade when changing genres.

If I now have an IEM that concentrates on the bass, vocals or individual instruments, for example, which can be achieved by specific increases and decreases in frequency response, then this IEM can sometimes be outstanding for, say, piano music, but with a guitar it can sound a bit weird and in the worst case unnatural.

Another point is certainly how an IEM performs in everyday situations where you sometimes need to listen at higher volumes. Here, for example, the CU HIS is too brisk and uncomfortable in the long run.

So the CU KIS is an in-between thing and therefore a bit contradictory. It is not an all-rounder, but it is definitely not a niche IEM. Its strengths lie in the low frequencies, and with its sometimes more, sometimes less controllable energy, it manages to breathe life into strings, for example, not only a rich body, but also dynamics.
The reproduction of voices can vary, which can express itself in aggressiveness. I also find a piano for example to sound a bit too offensive ("You Can't Lose What You Never Had" - Muddy Waters). So it sometimes turns out to be a little wonder bag that can create magic moments, but not with constancy.

I love the CU KIS in quiet moments on the couch, or in bed at a lower volume, where it can also show off its audiophile qualities to the full, but I find him a bit overwhelming in everyday life and he is certainly not the most harmonious. All in all, the CU KIS has become too expensive for me, even though it offers some rays of hope that can make it quite competitive in the price segment.


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More reviews: CHI-FIEAR
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disclaimer: Little dot is opening a US based web site and store and was looking for reviewers on this side of the pond to help promote their product line to the American market. I agreed to do so based on previous experience with Little dot’s CD transport and Amplifiers. Their tube amps have been a mainstay of the budget (and not so budget) headphone enthusiasts recommendations for quite some time, but to my surprise the first thing Little Dot wanted to send was their earphones. I’ll admit, I’ve known of Little Dot for most of 10 years, but never realized they make earphones, let alone four different models thereof. I was sent the 4 models of in-ear by LittleDotUS for purposes of review. I have not received any other renumeration or input from Little Dot on the content of these reviews.

Each model in the Little Dot / CU Audio line is designed with a different target in mind. The Wyn was designed from the ground up with EDM and house music in mind, while the Cen was designed to excel with vocal and choral music. The KIS was designed with the idea of creating the best possible signature regardless of cost, while the Rad was designed a an introduction to Little dot and Audiophile listening at the opposite end of the cost spectrum. Here you will find all four reviewed, but remember the one you are looking at now was designed to be a cost no object flagship in-ear with a current retail of just shy of 600USD.


Unboxing / Packaging:

The KIS shares its packaging style with the Wyn and Cens models using the same box and largely the same kit. The box is a bookfold design with the Little Dot name on the face and the CU Audio fairy logo beneath it. Specs are all on the inside of the books cover and not visible on the package exterior so clearly not a stand-alone retail package for western shelves, but all the information is there once you open the package. The kit is all nestled in foam in one of two provided cases. The first is a hockey puck sized round metal case with the CU Aud logo on the top while the second is a pelican style (although not waterproof) snap closure polymer box that is slightly larger and rectangular. The polymer case has about 50% more internal capacity so those wanting to take accessories may prefer it over the smaller metal case which has room for earpieces and cable but little else. The kit that comes with the KIS is quite complete and has an interesting twist not seen often. The cable is a heavy braided cable with a 3.5mm balanced termination and 2.5 and 4.4mm adapters as well as a converter for 3.5 single ended use. Typically a TRRS 3.5mm jack is seen on cables with mics with a balanced 3.5mm being much less frequently seen. For this reason some care needs to be used when plugging in the Wyn as use of the balanced plug in a single ended device may result in problems for the earphone, the source, or both. The remainder of the kit includes a robust shirt clip and six different sets of silicone tips (7 total including those on the KIS).




Build/Fit:

At first glance, the Kis looks a lot like its brother the Cen, but on closer inspection, the Cen is a barrel shape while the Kis is more pill shaped. Think of a large advil with a connector and nozzle attached and you have a rough feeling of the shape. The shell is aircraft grade aluminum and is composed of 3 parts, an outer shell, an inner shell, and the nozzle assembly. All are anodized and well matched in a brilliant red. seems are hard to feel or see so the unit looks to be one piece until a closer inspection is made. There is a vent on the under side of the shell and a second at the base of the nozzle that help tune the sound. The Nozzles exit the mid point of the under side with a very slight upward rake. There is a pronounced lip to aid in tip retention as well. Connectors are the .78mm raised bi-pin type and exit the top rear with a 45º forward angle. This arrangement is clearly designed for tip-up wear when paired with the cable that angles upward. Overall fit and polish befits a flagship as it is very tight and clean. For me, the Kis smaller size and slightly deeper insertion made it an easier fit than its brother and I enjoyed wearing these for extended periods without fatigue setting in.




Internals:

The KIS is a hybrid in-ear utilizing a 10mm dual diaphragm amorphous diamond-like carbon dynamic driver and a pair of customized balanced armature drivers. Per Little Dot, the shell design is also integral to the sound with the venting and positioning of the drivers tuned to provide the best possible sound. The housing uses a multi-layer internal structure to reduce resonance and reflections. Nominal impedance is listed as 18Ω with a sensitivity of 105 dB/mW. I found the KIS easy enough to drive well with a phone or tablet and while it scales well qualitatively it does not need a lot of extra power to do its best.




Cable:

As previously mentioned, the provided cable is terminated as 3.5mm TRRS balanced with adapters provided for 3.5mm Single ended, 2.5mm balanced, and 4.4mm balanced connections. The 3.5mm jack is straight with the adapters all 90º which creates a large L shape as it exits the dap or phone. Worth noting is that this arrangement is capable of putting a lot of pressure on the jack in the source device especially the 2.5mm that concentrates that force into the smallest possible area. So while this arrangement is very versatile, some care is required to be certain pressure is not applied to the adapter accidentally and transferred into the source device.

The cable provided with the Kis is 6N silver plated Oxygen free copper (OCC) in an four (4) strand braid from the jack (black metal knurled housing) to the matching splitter. Above that, a matching chin slider holds the 2 strand twists that run to the earpieces. The hooded .78mm bi-pin connectors are encased in black plastic with a large L/R marked on the inner surfaces. The cable does not have preformed hooks but the connector housings are angled for tip-up wear. I Found the cable to be high quality befitting the flagship model with little memory or tendency to tangle when coiled for storage in the hockey puck style case.




Sound:


Bass:

The sub-bass has good rumble and is mildly emphasized here but not aggressive or dominant as it disappears into the background when not called for. I found roll-off in the mid-30s, with everything above that point (sub-bass) nearly linear as there was not a pronounced emphasis at 50hz that wasnt present at 100hz as is common. Instead, sub-bass is linear and then the mid-bass slowly steps back as it moves upward. Mid-bass has good speed and texture and is well controlled with no slop or tendency to slur or thicken. Transition from mid-bass to lower mids is very clean with little bleed and no obstruction. This is the kind of bass elevation I can appreciate as it emphasizes without trying to take over the joint.

Mids:

Mids sit slightly behind the bass and treble but do not sound recessed so much as a bit less emphasized. Here we have good detail and a very natural tonality that is the biggest plus for the Kis in my estimation. Lower mids have good weight without feeling dull, while strings have good energy and timbre, and higher vocals have a bit of a push but not so much to make female vocals stand out unnaturally. I found the Kis to be a good listen for piano and violin concerto which I think may be the hardest two things for any speaker or earphone to reproduce accurately. While the Kis isnt perfect in its tonality for piano, its a lot closer than some models I have tried that cost substantially more.

Treble:

Usually with an upper-mid push we expect a lower treble elevation as well but the Kis doesn’t follow that pattern instead it levels off almost immediately as you cross from upper-mid into the treble and stays fairly level for the entire range of the lower treble before stepping back a bit above 5kHz or so. Final roll-off was somewhere between 12kHz and 13kHz to my ear although the documentation claims it significantly higher so my hearing may be limiting my results. Snare has good rattle, with very sharply defined edges but lacks just a touch of impact on the initial attack. The flute in “Hunting girl” – Jethro Tull was very well rendered with good tonality and without any tendency toward stridency which also tends to be a tough combination to master. Cymbals have no metallic edge but like snare could use a touch more energy to sound completely natural. I think both of these instances are a planned trade off of that last bit of energy for a smoother presentation.

Soundstage / Imaging:

Stage on the Kis has roughly equal depth and width and a good amount of height to the mix. Overall the Kis has a stage like a small auditorium rather than a giant concert hall, but has good proportion. Seating the orchestra is straight forward as instrument separation is above average and I found no errors in placement on the stage or overlaps that wouldn’t naturally occur. Layering is good was well with no compression as passages got faster and more complex. Imaging was well defined with spatial cues being easy to track and position on the stage being easily identified. Overall, not class leading, but solidly in its class in all aspects.


Thoughts / Conclusion:

I expected good things from a DLC dynamic and a pair of custom tuned armatures in a housing that took 3 years to develop. When your advertising states “18 months of product development, over 160 testers and 14 rounds of beta listening meetings, and total of 86 versions tested.”, you don’t expect to find any rough edges left by this stage.

The Kis largely delivered on that promise so I have to say for a new line of products from Little Dot, they made quite a splash. This one is easily my favorite of the four models not because of its flagship status but because of its closer to neutral tuning and more detailed mids. There is a ton of competition in the price range of the Kis and while I can’t say it hand’s down walks away with the prize, I can say it competes well and gets in enough punches to stay in the fight with everything I have tested in the 600 dollar range. Again, for a first effort competing against competition with 20 and 30 years of product experience, that is impressive. The Kis brings clean bass with good rumble and slam, detailed mids with good tonality, and a slightly polite treble that won’t scare off anyone but still brings enough air and top end to keep it from sounding closed off. Build is first rate as well and the kit is better than many at higher prices (and vaguely reminiscent of the Pola39). If you get a chance to audition the Kis, you should, you just might go home with one.