The model was created with the participation of famous blogger Hawaiian bad boy. This is not Tripowin's first collaboration with a HBB. Before that, I had a chance to listen to the mele, olina, olina se. And none of them satisfied me in terms of tuning. Well, let's see what the new attempt promises us. Did the stick shoot this time?
The earphones' package is rather poor. A small box, a bag with two kinds of
silicone tips and a cable.
The cable is quite pleasant, it didn't cause any negative emotions for me.
Fit and Ergonomics
Kailua' shells make a positive impression. They are made of metal and well-built.
The earphones have nozzles close to the connectors and at an acute angle. In fact, you have to struggle with the iems, as they tend to get caught in the tragus and press on it. However, after putting them in your ears and choosing a comfortable angle, they do not cause any problems and are generally even comfortable. The only thing is that I managed to get good noise isolation only with long-legged L-size eartips.
There are no problems with ventilation. The earphones are not vacuumed, do not have a driver flex when inserted into the ears and allow you to listen to music for a long time without fatigue. Noise isolation is at a good level.
Sound
As you can see on the graph, the tonal tuning is balanced. There are no strong distortions in frequency ranges. Only a strong peak after 10kHz is disconcerting. In practice, alas, it also appears as artificial timbre. Throughout the whole frequency range I feel softening and lack of details.
Bass
Bass is not overloaded, it knows its place. It does not abound in details and elasticity, but plays more in volume. It does not stand out for its briskness, but it is not rubbery either. It sounds quite organic, comfortable and versatile. Resolution is weak, textures are limited.
Midrange
The midrange is a bit of a throwback. I wouldn't say there's a very critical descent, but it's not full-body either. It's kind of middle-of-the-road. Upper mids are not shrilling and not cutting. Everything is tuned for cozy pastime.
Highs
Frankly speaking, I hoped that the driver for the highs would try and at least do it organically like dynamic driver can. However, in reality, the treble sounds as if it is played with a slightly dampened inexpensive armature. As soon as in the track there is an abundance of various percussion, hopes are finally shattered by unnaturalness, rustling and thin sounding. Again, the treble are not tiring, but it's a challenge to enjoy it.
Conclusion
This is probably the first model of the collaboration I've listened to that is beyond reproach in terms of tonal tuning. All the frequencies are good derived and there are no major chunks that stick out. The tuning is comfortable, allowing for long periods of unfocused listening. Which, in fact, is good feature. Kailua is a relaxing comfortable iems, in which you can listen to any music in the background, without the request for audiophile madness and with strong sacrifices in the highs.
Pros: Remarkably smooth, warm and balanced tuning with great lows and mids.
- Well extended treble.
- Good level of construction and design.
- Lightweight and small.
Cons: Matte sound limited in sparkle, separation, transparency and technical ability.
- Questionable ergonomics. Not adapted to my morphology.
- The mouthpieces are short.
- Thin and slightly stiff cable for the price range.
Introduction
The Tripowin x HBB Kailua are the second IEMS from the brand that I review. As the name suggests, this is a new collaboration between Tripowin and the famous YouTube audio reviewer (Bad Guy Good Audio Reviews), HawaiiBadBoy (HBB). For this project, Tripowin has used two dynamic transducers (10mm and 6mm) with titanium-coated DLC diaphragms to improve responsiveness and speed. This results in superior technical performance, with fast attack, rich bass texture and detailed treble, without unnatural dips or peaks. They also feature high-purity OCC copper wire for transparent sound. The design is another strong point of the Kailua, with a relatively small size and a very oval shape, they come in three different colours that match the colour of the capsule and its external face, enhancing the contrast between the two. At a price of $79, let's see what these IEMS can do.
The Tripowin x HBB Kailua come in a relatively small box, measuring 116x82x38mm. The background colour is completely black and on the front you can see a real photo of the capsules. The photo of the capsules does not correspond to the actual colour of the capsules. Please note that there are three different coloured models. The name of the model is below in large letters, some being white and others the colour of the outer side of the capsules. The model description is at the bottom, while in the top left corner is the brand name and the HBB logo. The back side is very sparse and you can see the same model name but vertically. Below are the addresses of the locations and you can see that they are the same as for the Kiwi Ears models, even the outer packaging and design is very similar. Removing the outer carton reveals a black box with the brand name in large silver letters. Once the lid is lifted off, there is a thin sheet of protective foam. Underneath is the mould containing the capsules, which is lined with black cardboard, bearing the brand name in large white letters. Underneath this mould are the rest of the accessories, in transparent zip bags. In summary, the complete contents are as follows:
The two Tripowin x HBB Kailua capsules.
One high purity OCC copper cable with 3.5mm Jack SE connector and 2Pin 0.78mm interface.
Three pairs of black SxMxL wide-channel silicone tips.
Three pairs of narrower channel SxMxL grey silicone tips.
Warranty card.
There is no zippered case, no pouch, no bag, no pouch... nothing. I find that for the price of $79 the level of accessories is very basic and I think that for this price some kind of protection should be included.
Construction and Design
At no point is it mentioned or specified on the sales website, but it seems that the Kailua are metallic, although very light. I'm leaning towards an aluminium alloy. There are three presentations, black with a purple face, white with a purple face (like my beloved Dragon Ball character Freezer in one of his combat forms) and black with a blue face. In my case, the model is black and violet. Its external shape could resemble a spiral oval, which starts on a flat face containing the 2Pin 0.78mm connection interface. In reality, the spiral is truncated on the first turn and separates to give way to a different coloured outer face. This piece is an irregular oval with one side rounder than the other, which is narrower. It is overlapped and the edges are rounded to blend into the capsule more smoothly. The capsule follows this shape and results in a design that looks very ergonomic. The inner side is very smooth and rounded. There is a change of inclination on the part containing the connection interface, which is triggered towards the mouthpieces. At its base there is a hole. The nozzles are projected and form a distinct part of the capsule. They have three different diameters. The first, the base, has a minimum thickness, the central part has a diameter of 4.8mm and the outer part has a diameter of 5.8mm. The total length is approximately 3.5mm. The mouthpieces are protected by a dense black metal grid. Finally, there are three more holes on the bottom edge of the capsules. The paint on the capsules has a rough micro texture.
The cable is mounted to match the spiral that initiates the capsule and from there its over-ear shape is born, supported by a semi-rigid transparent plastic guide. The cable is specified as high purity OCC copper, but is shown to be silver plated. It consists of only a single strand which splits in two after the splitter piece. This is a simple, metallic cylinder. The past is a small translucent plastic cylinder with a hole running lengthwise through it. The gold-plated 3.5mm SE jack connector sleeve is another slightly longer, but equally thin, metal cylinder. It comes with a plastic sleeve to protect the connector. The 2-pin connectors are the classic 2-pin connectors with exposed pins and a straight sleeve on two rectangular levels. The best thing is that they have a red or blue dot to indicate the channel and not those unreadable transparent raised letters. The cable is thin and has a slight stiffness. It would not be the best cable that could include some $80 IEMS.
Adjustment and Ergonomics
On a theoretical level and in view of their shape, it would seem that the Kailua capsules are very comfortable. But I have had real problems finding tips that fit my morphology without spoiling the sound. The best fit was achieved with a Symbio W cloned tips, which are usually a bit smaller than the XL foam-filled tips I usually make myself. Although the projection of the mouthpieces is slightly extended, the length of the mouthpieces themselves is short. The junction of the two elements and the angle of the projection does not suit my anatomy and that is what complicated the search for the best combination of tips. With these tips the insertion I achieved was superficial although it could have been a little deeper using a smaller size, but I couldn't get them to stay in place because they fell out. With the size L tips, they have held properly and relatively long lasting, if my activity is not too high. It is true that due to the inclination of the nozzles and the elongated size of the oval, the capsules touch gently with the end of the pinna, although I must admit that the capsules float slightly. The slight pressure due to the blissful inclination of the nozzles is felt over time. Although they seem to be well integrated at first, my ears feel it as the hours go by. On the other hand, the fit is not the fastest I have found and I need a few extra seconds to achieve the optimal insertion to enjoy the best sound the Kailua can offer.
Sound
Profile
Surprisingly, the Tripowin x HBB Kailua have a frequency response that closely resembles that of the Hidizs MP145s with Rose Gold Balanced filter, being virtually the same all the way down to 4khz. Even the treble is quite extended, with an area below 15khz quite present. So its profile goes beyond the classic V and I would lean towards a W for its attempt at sub-bass lift and its double peak in the treble. Anyway, it is a rather moulded and smoothed tuning, which tries to avoid undesirable peaks and that gives it an appreciable harmony. But just because the FR resembles that of the MP145s does not mean that they sound the same or that they can share the technical skill, resolution, definition or detail of the Hidizs.
On the other hand, the most appropriate sound may be contingent on matching tips that provide the best possible fit, without losing the potential sonic properties of the Kailua. And it's not normal for me to warn you, but I had a hard time finding the best combination, to the point that the sound I had obtained so far was not too remarkable for me. Fortunately, after finding the best combination, I have been able to enjoy this model. But it is clear that it has been one of the most complex models in this aspect that I have been able to test.
Bass
Specifically speaking, the bass has its peak between the sub-bass and the mid-bass. Although it retains some linearity at the low end, the lower human sensitivity in the lower bass region limits its presence, compared to the confluence point above. I would have preferred a higher elevation of the sub-bass to generate a distinctive nuance. But the Kailua's reflect a customary tuning in this respect. Beyond this high point the decay is gentle, which does not prevent the presence of the mid-bass from being overbearing and predominant in the lower range. Even so, it feels skilful and so it proves in the low-frequency pure tone test. While LFOs below 40Hz retain a sensory nuance, logical vibration is present, but with a sonority characteristic of a good dynamic driver. The level of colouration is low, the oscillation feels quite natural for the price range and is not marred by bass power and presence. The result is an accurate, if a little dark and shaded, timbre, while the development lacks a hint of clarity that would allow for more defined or higher resolution notes, as it has a slight tendency to homogeneity. This behaviour translated to real music implies relatively tight, punchy, present, powerful, yet slightly rubbery and rounded bass drums. The speed is good, there is a certain elasticity in the strike, although this characteristic can be pleasant, even amusing. By the same token, the volume generated is expansive and lingers slightly in the environment. However, the texture is not too rough, both the volume, the gumminess and the roundness cause a softly nuanced range that recreates an even, even, low roughness texture. It is not a technically exquisite or descriptive bass, but it moves with ease and recovers quite well. All in all, the aftertaste is low and the springy feel brings a touch more punch, presence and range, but without possessing any pejorative or negative characteristics. In short, there is a good balance of presence, punch, power, rubberiness and retrieval. Enough to recreate a deep bass, with remarkable volume, range and ability to flood the space, but without drowning out the rest of the frequencies, but with the necessary authority to be noticeable in most situations. On the other hand, in my other classic test of unfiltered and complex bass, the Kailua passed it with a very high grade, without losing control, without suffering at any time and drawing realistic bass, quite natural and not at all strange, capable of distributing the layers with success, harmony and following the different bass lines without mixing any of them. And, above all, preventing the low end from becoming an undefined magma that eats up the rest of the frequencies, even minimising its negative impact within the mix. The result is an ability that combines control with fun and power in equal parts. Quite serious.
Mids
The homogeneous, musical character persists and this musical continuity adds harmony in the mix, but also subtly shades the sound, velveting the final result. The mids are slightly creamy and rounded, with no peaks or unevenness. But it is also true that these virtues counterbalance a better level of separation, definition and resolution, as well as giving the sound a subtly dark warmth.
On the other hand, the good profile maintains a good body, physicality, fleshiness and density in the male voices, presenting them with an appropriate prominence, but without being predominant. But, by the same token, although they are quite full, they lack a little sparkle to avoid a certain sense of dullness and congestion. This feeling also carries over to the instrumentation, limiting the sense of dynamics and adding warmth to the timbre.
The balance of the frequency response is demonstrated, even in the upper-mid range. The homogeneity achieved gives the female voices a point of prominence, but without a single predominance. There is a good degree of control that limits sibilance, abruptness, unnecessary brightness, but also shades the sparkle and a sense of transparency, which, at times, may be necessary. Even so, there is clarity, more from intonation than brightness. In fact, the sound is quite sweet, which does not detract from the fact that, at times, it is at odds with a more limited sense of resolution and a diffuse rather than obvious appreciation of the background. The result is a very strong midrange, with a very good base, quite extensive at both ends, with hardly any hollowness, something that gives it a rather ample feeling of fullness. On the other hand, in my opinion, they are too secure and the feeling of warmth, balance and smoothness prevents them from being analytical or descriptive. Although they possess a good expressive and expositional ability, the notes are rounded to be nice and warm. If you are looking for analysis and a cooler sound you will have to look elsewhere.
Treble
The treble starts with a narrow control zone or dip above 5kHz which has an influence on the sound. While the sibilance is limited by an extensive, but maintained, treble tuning, this initial hollowness prevents a certain sense of sparkle at some points, even in the vocals. The end of some instruments and voices is nuanced, limited, softened. It is true that there is no harshness, but there is a loss of vivacity and realism at these points. Then, as I say, the treble has a good extension, this makes the sonority of the whole recover or moderate thanks to the average. Although, depending on the musical style, a nuanced or more balanced feel may predominate. The good thing is that the level of presence, power and energy level is quite well integrated with the rest of the band, highlighting the level of balance and equilibrium that exists throughout the frequency range.
On the other hand, there is no doubt that the integration of the two drivers is quite well achieved and is demonstrated by the familiar homogeneity. Meanwhile, the small driver stretches the upper range quite steadily up to almost 15kHz, which gives it an above-average airy feel.
Soundstage, Separation
From the low end, the feeling of fullness and volume that the bass provides allows the scene to reach a fairly large occupied space for the price range. The good integration of the lower range and the respect for the rest of the frequencies avoid any oppressive effect and this favours a deep, wide and even high representation. It is true that the exposure is quite frontal, but the oval generated overcomes the laterality, providing a subtly greater amplitude than 180 degrees, something quite positive.
On the other hand, the high musicality of the ensemble and its warmth limit the sense of separation. The notes are not very precise, something that prevents a higher exposure of detail, even restricting the visibility at the micro level, while maintaining the type at the medium and macro level. As I said, these are not analytical or overly descriptive IEMS, while background visibility and separation at that boundary is not very obvious.
Comparisons
Simgot EA500 Filtro Red
Normally, I like to compare IEMS with similar frequency responses to try to show which one is better. This time I wanted to compare IEMS with the same price, but with quite different sound characteristics. These are the Simgot EA500 with their Red filter.
Being objective and coherent with my tastes, just by looking at the graphs, I would be inclined to choose the Kailua because of their higher bass boost. But I also like the more analytical character of the EA500. In terms of accessories there is no big difference except for the EA500's zippered case, which is very good. The Kailua doesn't have anything to protect the IEMS. Construction is very good on the Simgot, but they are larger and heavier. At first glance, the smaller and lighter size of the Kailua seemed to have the ergonomic advantage. But, in my situation, this is not the case. Despite the EA500's greater weight, thickness and size, they fit my ears like a glove and fit much better. The smaller Kailua's require much more manipulation and adjustment exercise to find a good seal and the most optimal sound. Clearly, this is a particular issue for me and others may find the Kailua much lighter and more comfortable. As for the cable, the one that comes with the tripowin is one strand of the two from the Simgot, and that's all there is to it.
In terms of profile, it seems that what the Kailua have of excess in the bass, the EA500 have in the mid-highs and first treble. The Tripowin are warm and the Simgot are clearer, more transparent and analytical. As I said, at first glance, my preference leans towards the Kailua, but the brightness and sense of light and better definition of the EA500s really appeals to me in practice. A quick switch between the two shows a lot of differences. The EA500s are a little easier to move, have a more neutral low end, with less impact on the sound, but are faster and more concise. The emphasis is clearer in the mid-highs, there is more light, clarity, transparency and brightness. The treble is more prominent, there is a higher energy level that builds up from the end of the mids. The absence of a more powerful bass makes this area between midrange and treble, which is always compromised in terms of aural safety and long hours of listening, stand out to a greater extent. The EA500s present a more critical sound, with a detail-oriented exposure. Vocals and mid-bass have less base and are thinner. The Kailua's show their punch, body and volume from the bass to the mid-range. They are denser and also more opaque. Their warmth, smoothness and balance make them more harmonious and musical, but they are also darker and with worse separation. You could say that the Kailua has a boosted bass over the base that the Simgot brings up. The fact that they possess more energy is what makes them present a sense of greater volume, power, space and punch, as well as a little more rubberiness and elasticity. The greater restraint of the EA500s allows for better control, speed and reduced punch, but also space, presence and impact within the sound. The opposite is true for the mid-highs and first treble. This area is predominant in the EA500 and together with a more neutral bass, it thins the initial midrange band, generating a thinner, but more excited, clear, vivid and energetic sound. The Simgot's treble has a more realistic sparkle, not as subtle as the Kailua's, and a more natural sound and timbre, but also more excited.
The soundstage is voluminous from the bass on the Kailua and this results in a wide and loud sound. The EA500s are more volatile and offer more foreground detail. They don't have as much volume and depth, but their more splashy, ethereal, close and dynamic sound gives a sense of openness and movement that also enhances the soundstage. They are different propositions, but in terms of three-dimensional feel and separation, it seems that the scene is a little more eye-catching on the EA500s. Of course, there's no doubting the better separation, cleanliness and distance between elements that the Simgot's possess, as well as a darker background and better definition. Now, they also have a more critical and incisive sound that can produce a more fatiguing sensation compared to the softer Kailua. However, it should also be noted that the higher bass presence can be tiring for those who like a quieter, more neutral low end.
Conclusion
The Tripowin x HBB Kailua have a great profile, a good design, good construction, although the ergonomics are somewhat compromised for my particular physiognomy. There is no storage case and the cable is a bit simple for their price range. In my opinion, the response is better than the final sound, which is based on a quasi-excellent low end, powerful, voluminous, very fun and attractive. The mids are honeyed, warm, dense and musical. They lack a certain transparency, sparkle and dynamics, but are harmonious, full-bodied and balanced. The highs are in line with the mids, in terms of energy and smoothness, although there is a slight dip at a critical point that can affect the overall performance in some situations. On the other hand, the combination of the two dynamic drivers offers an improvement in treble extension, but does not make them gain in detail, resolution level or definition, where the Kailua presents itself with a more than acceptable technical ability, but which in no case is an analytical, critical or very detailed sound, but focuses on the mid and macro nuances.
Sources Used During the Analysis
Tempotec BHD Pro.
Burson Audio Playmate II.
HiBy R3 Pro.
Linsoul Audio Store, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.
Is this HBB collaboration better ? The Tripowin X HBB Kailua
Pros: 1. Clean and safe treble
2. Melodic mid range
3. Warm and pounding bass
4. Good technicalities
5. More of a V-shape style tuning
Cons: 1. Uneven treble
2. Lack of clarity
Review Of The Tripowin X HBB Kailua
Introduction
The audiophile community holds Tripowin in high regard for producing IEMs and cables of the highest caliber at prices that are extremely competitive and with the best features available. Personally, I adore their cables and IEMs, particularly the IEMs tuned by well-known YouTuber Hawaiian Bad Boy. The Tripowin Kailua, which this Chinese company has brought along as part of their most recent product and their third collaboration with Hawaiian Bad Boy, is said to sound different from the IEMs that HBB and Tripowin jointly created. And today I'll be reviewing these IEMs, but first I want to clear a few things up.
Disclaimer
*Since this unit tour was organised by the kindly people at Linsoul, I am grateful to them. And as I've said in all of my evaluations, the same is true for this one: all of the concepts I've expressed below are entirely my own, original ideas that haven't been influenced by anyone else. Ifinterested, go to this link.
*I am not associated with the connection, and I receive no financial assistance from anyone.
*For the remainder of the review, I will refer to these IEMs as “Kailua.”
*I am using different Ear-tips for convenience and better versatility.
*Finally, I will only evaluate the Kailua based on their performance, even though I will explain how it feels and seems physically and aesthetically.
Specification
Dual dynamic drivers are used in the Kailua's dual driver setup. Both a 10mm diamond-like carbon titanium coated diaphragm driver and a 6mm titanium coated composite diaphragm driver are used as dynamic drivers. The faceplate and shell of the shells are painted in different colors and are made of metal. Since the shells are much lighter and smaller than I had anticipated, these were easy to wear over the ears and, once I found the proper eartips, were comfortable even for extended wear. I used different eartips because using the ones that came with the IEMs did not provide the proper seal, which could make the fit problematic. But aside from that, these are striking. The included cable is made of high purity OCC copper and has a 3.5mm termination straight plug on one end and a 2 pin connector on the other. In addition to the IEM and cable, two different types of eartips in three different sizes are also included. In terms of technical details, the sensitivity is 106dB and the impedance is 19 Ohms. The total harmonic distortion is less than 0.5%, and the frequency response ranges from 12Hz to 36kHz.
Sound
The Kailua has a well-balanced sound with a decent amount of bass and clear higher frequencies. The signature is safe in tuning and doesn't introduce any unsavory tones into the mix. Similar to many of the HBB-tuned IEMs, which have a potentially great bass that warms and pushes the higher frequencies in a way that sounds as natural and tonally pleasing as it can, the resemblance is almost like many of those IEMs. I can see that this IEM is actually tuned to cater to people who were either unimpressed with the other IEMs or grew tired of the same tuning that the typical generic IEM manufacturer does when comparing it to its rivals, whether I talk about dual dynamic driver IEMs like QKZ x HBB Khan or Truth Ear Zero or I talk about other single or multi driver IEMs around this price range. Compared to other IEMs in this price range, the bass and midrange seem to be more emphasized, but I'm not sure about the treble because I'm not sure if it sounds dark or not. I'll go into more detail about this in the treble section. I can categorically state that these are more geared toward consumers who favor a warm, thick bass, good vocal quality, and a desire to avoid piercing treble. Let's have a detailed discussion of it.
Treble
Although the treble region is somewhat clear and revealing, I feel that it lacks in other areas as well; it almost sounds out of tune. By examining the FR graph, I learned that the curves are dispersed throughout, making some areas intricately noticeable and others obscured. In order to bring out more clean and safe tuning, it appears that they focused on the areas that weren't offensive when tuning the treble, which is what I believe is what produced this soothing treble response. I can only find this as the cause, despite the fact that this is all blather about the fact that this is not actually proven. Returning to the response, the upper treble is decently detailed but not as expansive as one might anticipate. The vocals and instruments both seem to only exist in this space, with the exception that the instruments can be hit or miss when it comes to revealing details. The upper treble sounds calming and calm with a dark characteristic, despite the fact that the response is not as expressive as one might find it to be. Although the lower treble is lively, it is not overly energetic; it seems to hold just enough energy to bring the vocals and instruments to the front so they sound natural and unoffensive. Hearing details is more convincing. However, there are no sharp or crisp notes produced by the instruments or the vocals. Overall, the treble region's presentation is clear, unoffensive, and enjoyable to listen to.
Mid Range
The presentation brings out the best in both the vocals and the instruments while sounding as natural and melodic as it can, with the mid range being established to sound the most forward in the mix. The mid range provides the proper forward response because of how the treble performs. Despite sounding more energetic than the treble region, the upper mid range still sounds very balanced, as if coherence wasn't a problem for the smooth flow of response. Although the male vocals seem too dense, the vocals and instruments have a lovely tonal quality, especially the female vocals because they sound natural. Although the details aren't particularly distinct or expressive, I must admit that this pleasing combination of vocals and instruments sounds just right. The safest tuned midrange you can possibly find is this one. To be honest, it's not that one cannot distinguish between notes or their details; they are easily discernible; it's just that the notes aren't as detailed as the IEMs offer in this price range. Instruments like guitars or pianos don't reflect on each and every note, but the emulsion of all the notes give the sense of understanding which brings harmony to the mix. When it comes to the lower mid range, the response is appropriate, though, if I'm being completely honest, it might even be a little more out of sorts. The vocals and the instruments sound shaky and hazy due to the dense and thick notes in the lower mid range, but only to the point where it is understandable. The notes on the bass guitar sometimes sound vague because they aren't very textured, despite how thick and fine the instrument sounds. Apart from this, the presentation is warm throughout the mid range. The mid range is generally presented in a melodic, enjoyable, and organic manner.
Bass
When it comes to the bass, boy is it big, dense, and thick. The response is meant to provide just enough energy to keep the mix sounding analytical, not for those who desire a precise, clean hit and punch. This type of bass calms you down and warmly envelops you. Although the bass is not particularly authoritative or overpowering, it has a significant impact on the response, particularly the mid bass. The mid bass presence adds a substantial amount of thick slams and pounding thumps that overshadow the punches and rumble you may try to find in the mix. Of course, a track with only the sub bass emphasis will also have powerful punches and rumble, but they aren't always very clear in their delivery. Punches are thrown with sufficient force to elicit a fuller response, and the sub bass is deep enough to produce rumble. A good number of heavy slams that hit hard and pounding thumps that are exposed well in the mix make up the mid bass presence. Since the mid bass does bleed into the lower mid range as a result of this response, the mid range is blessed with warmth. Although, to be clear, the bass is dynamic and sounds as it should, it is not puffy or artificial sounding to meet the needs of bass. However, the bass texture and details fall short of what you might anticipate. The bass region has a warm, pounding, and refreshing overall presentation.
Technical Performance
The Kailua doesn't have a lot of commending technical specifications, but its tone is so exquisite that it can't compete fairly with other IEMs in this price range. Although more IEMs have better technical performance than the Kailua, their tonal performance isn't as good. This isn't meant to sound evasive. However, the Kailua actually does a respectable job of producing a nice wide stage, good separation, and resolution.
Soundstage, Sound Imaging & Separation
The Kailua creates a soundstage that is average in width, not particularly expansive or distant-sounding, but there is a discernible sense of depth. Even though it is not as easy to perceive as other IEMs in this price range, the separation between the notes is somewhat distinct and far away enough to identify the direction the sound is coming from. Although the imaging could have been clearer and sharper, it still does the job.
Speed & Resolution
The resolution is good, but the details aren't particularly expressive because the micro details aren't particularly revealing to prompt an increase in note clarity. Additionally, the attack and decay of resolving notes are properly timed.
Sound Impressions
Sources
Tempotec V6 - The treble hits more strongly and sounds clearer when listening with the V6, and the mid range gradually sounds more approachable and presentable. Although the bass is more restrained, it barely makes a difference to the presentation. There are some improvements to the stage and separation, but other than that, I don't notice any other differences in the technical response. The pairing with the V6 sound, in my opinion, is pleasant and acceptable.
iFi Hipdac - With the Hipdac, the treble is darker and less expressive than before, but the midrange is more prominent, and the bass remains the same. The technical performance did not differ significantly either. Although this pairing with the Hipdac is acceptable to me, I do not like it.
Tracks
Luna Haruna - Glory days
Luna Haruna - Overfly
Rokudenashi - The Flame of Love
LMYK - 0 (zero)
ORESKABAND - Jitensya
Marina Horiuchi - Mizukagami no Sekai
RADWIMPS - Suzume
Indila - Love Story
Indila - Tourner dans le vide
Earth, Wind & Fire - September
Tom Petty - Free Fallin'
Fleetwood Mac - Everywhere
Nirvana - Smells Like Teen Spirit
Blue Oyester Cult - (Don't Fear) The Reaper
Guns 'N' Roses - Sweet Child O' Mine
The Police - Every Breath You Take
Gojira - Amazonia
TV on the radio - Wolf Like Me
Bring Me To The Horizon - Can You Feel My Heart
Bring Me To The Horizon - sTraNgeRs
Avril Lavigne - Dare To Love Me
Travis - Love Will Come Through
Gotye - Somebody That I Used To Know
DJ Shadows - Six Days (Remix) [feat. Mos Def]
Lady Gaga - Just Dance
Lil Wayne - Lollipop
Flo Rida - Low
Sebastian Lopez & Flug - Electronic Measures
Federico Mecozzi - Blue (Da Ba Dee)
Wayve - Not Enough
Kai Wachi & TeZATalks - Ghost
NGHTMRE, Zeds Dead & Tori Levett - Shady Intentions
Zeds Dead, DNMO & GG Magree - Save My Grave
Skrillex, Noisia, josh pan & Dylan Brady - Supersonic
Skrillex & Nai Barghouti - Xena
Skrillex, Missy Elliott & Mr. Oizo - RATATA
Kaifi Khalil, Eva B & Wahab Bugti - Kana Yaari
A.R. Rahman, Javed Ali & Mohit Chauhan - Kun Faya Kun
Conclusion
As a conclusion to this review, I would suggest this IEM to everyone because it has the safest and purest sounding IEM I have ever heard. The reply comes across as warm, pleasant, and calming. However, if I had to pinpoint specifically who can benefit the most from these IEMs, it would be treble-sensitive audiophiles who prefer warm-sounding IEMs with good details. But regardless of whether someone is an audiophile or not, I'd suggest Kailua. You won't ever be let down by this one.
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