Hey guys! I was recently given the opportunity to review universal demos of Kumitate Lab's NEXT 5 line-up - the Corona, Meteo and Sirius. Here's a link to the full review up now on TheHeadphoneList.com. Enjoy! 
Kumitate (くみたて) Lab: A Triumph and Celebration of DIY - Impressions Thread
- Thread starter tomscy2000
- Start date
-
- Tags
- in-ear
unknownguardian
500+ Head-Fier
- Joined
- Sep 7, 2013
- Posts
- 826
- Likes
- 302
http://www.kumitatelab.com/kl-focus/
New Model KL-Focus announced! 5drivers 3way configuration (Bass 2BA, Mids 2BA, Highs 1BA). For this model, there is a 4 positions switch scene control system to adjust the volume of the dual ba bass
Hey guys! I'm immensely glad to share with you an interview I did with Kumitate Lab's very own founder and CEO - Mr. Ryosuke Ito. Ito-san was kind and generous enough to participate in what became an over-one-hour-long interview spanning a huge variety of topics, including the company’s history, their design philosophy, modern vs. traditional techniques, and their latest 5-driver flagship: Focus. I hope you guys enjoy the article and learn a bit more about the Japanese artisans along the way. This is An Inner View!
productred
1000+ Head-Fier
- Joined
- Dec 13, 2006
- Posts
- 1,122
- Likes
- 804
Hey guys! I'm immensely glad to share with you an interview I did with Kumitate Lab's very own founder and CEO - Mr. Ryosuke Ito. Ito-san was kind and generous enough to participate in what became an over-one-hour-long interview spanning a huge variety of topics, including the company’s history, their design philosophy, modern vs. traditional techniques, and their latest 5-driver flagship: Focus. I hope you guys enjoy the article and learn a bit more about the Japanese artisans along the way. This is An Inner View!
Great read. No wonder why Kumitate's tuning is even more personal and distinct than, say, Fitear. When I tried the KL-Ref I was led by the name to expect a "reference" sound signature, but how wrong I was (surprised tho in a good way). In comparison CW seems to sound the most mainstream of the Japan big 3.
Thanks! Yeah, the REF is reference to me in terms of soundstage, layering and instrumental position, but the tone (in the treble, especially) is still a tad coloured in my opinion. CanalWorks is unfortunately the only brand I didn't try during my Japan trip, because I'd heard some of their stuff in Singapore years ago and came away unimpressed. But, I reckon my tastes have shifted a lot since then. I should give 'em another try when I get the chance.
For those wondering what the Sirius sounds like to someone not Deezel (nothing wrong with Deezel 
). I've got a review up on Head-Fi and on Audio Primate. Read where you like.
Here's the IEM in a sentence: silken mids and delicate treble paired with extended but light bass in a sexy superbly crafted artisanal IEM shell.
). I've got a review up on Head-Fi and on Audio Primate. Read where you like. Here's the IEM in a sentence: silken mids and delicate treble paired with extended but light bass in a sexy superbly crafted artisanal IEM shell.
Thanks for everyone's impressions so far, very helpful.
I'm going to pull the trigger on either the Sirius or Meteo shortly, but I'm wondering if anyone can help me. I'm wondering if the Sirius will be too bass-light. The IEMs I have spent time with include the SE-846 (obviously very bassy in comparison), 64 Audio U10, LZ Big Dipper and Hifiman RE-2000. If anyone was able to compare and contrast the Sirius to any of those, I'd greatly appreciate it!
I'm going to pull the trigger on either the Sirius or Meteo shortly, but I'm wondering if anyone can help me. I'm wondering if the Sirius will be too bass-light. The IEMs I have spent time with include the SE-846 (obviously very bassy in comparison), 64 Audio U10, LZ Big Dipper and Hifiman RE-2000. If anyone was able to compare and contrast the Sirius to any of those, I'd greatly appreciate it!
The Sirius has less bass than all of them, though I can't speak for the Big Dipper as I haven't heard it yet. The Meteo would be more impactful than the U10 and RE2000, but isn't as bassy per se. As I said in my review, the Meteo's bass is all-impact and near-zero-bloom/bleed/warmth. So, you get the punch without the congestive fullness. In my opinion, it's better to have and not need than to need and not have, so the Meteo has my vote with consideration towards the IEMs you've mentioned.
solgoodguy
New Head-Fier
All the IEMs you mentioned have more bass than the Sirius. The Sirius has bass that you can hear, but you won't feel. Reference bass is definitely a good way to put it from GlassMonkey's review.
that being said there's a reason why Sirius is one of their top sellers (Mr. Ito had to open a waitlist for that one at some point). I feel like a lighter bass really helped the mids and treble soar for the Sirius. I really love my pair for vocals (even more than my Fitear TG! 334 I hate to say) because voices just really stand out, especially female vocals. A very coherent tuning topped with incredible detail makes the Sirius one of the best IEMs I've owned - and for a "reasonable" price as well.
On some of the Kumitate IEMs you have the option of filling the whole shell with resin if you pay extra. I would recommend that you get it as it really makes them sturdy. Good luck with your decision!
@Deezel177 thanks for that, I think the SE-846 has spoiled my ears/brain in terms of what bass should sound like.
@solgoodguy any brief comprisons between the Sirius and Andro?
@solgoodguy any brief comprisons between the Sirius and Andro?
solgoodguy
New Head-Fier
Andro has a wider soundstage, and more bass. Paired correctly it has _way_ more bass. I would say that the sparkle between the two in the high ranges are comparable, but the midrange is where the Sirius wins. It just sounds lush and full with vocals. The Andro on the other hand can sound more hollow in the midrange. I really enjoy the Andros for orchestra music and movie soundtracks. I prefer the Sirius for vocal heavy music.
Interesting. Thanks! I'm guessing from your profile pic, you were the guy I was chatting to on Reddit earlier this month?
solgoodguy
New Head-Fier
Possible lol. Are you the guy who posted the one about sexy Kumitate lab IEMs? If so then yes!
Hey guys! Back with more impressions of KL's IEMs, but this time, I tackle the classics. 
Kumitate Lab KL-REF
The KL-REF is a neutral-sounding piece that – as its name suggests – is viable as a studio piece, but with quirks that separates it from other reference in-ears. Energy along 5 and 10kHz add great articulation and air, but the REF dips around 8-9kHz to ensure smoothness. It also adds a feathery quality to the treble that prevents it from becoming overtly hot or brittle. But, this prevents it from sounding perfectly linear to me without brief adjustment.
Despite this, the balance it maintains with the rest of the range is impressive. The mids are balanced and uncoloured with laid-back delivery. Instruments are generally presented with a matter-of-fact-ness that’ll work well in the studio, but may be perceived as dull for audiophiles. Additionally, the bass at default makes its presence known by extension, rather than quantity. Solidity and texture both impress with a slight sub-bass bias, but the warmth it imparts onto the image is neutral. Nevertheless, it’s a bass that never underwhelms in terms of quality – as technical performance is exemplary.
With the bass dial set to full, frequencies below 300Hz receive a healthy boost. In Gallant’s Cave Me In, the sub-bass fills the stage, positioning itself parallel with – if not a hair above – the lead vocal. It alters the bass to act more as a melodic instrument, rather than a foundational element. But even here, impact won’t be sufficient to please bassheads. I see it more as a means to help engineers mix low-end as things like the Fletcher-Munson curve or fatigue come into play.
Nevertheless, in every setting, the REF is most impressive in spatial performance. The stage it posits is large and evenly-expanded. Instruments evenly line the perimeter of the stage, allowing the listener to a bird’s-eye-esque view of the track – almost like you’re viewing it through a 24-70mm camera lens. Height is outstanding, as instruments are spread evenly along all three axes; ensuring consistent audibility throughout. This is the REF’s undisputed key to the studio.
Kumitate Lab KL-Lakh
The KL-Lakh is an energetic, detail-driven IEM maintaining elements of both the REF and the NEXT 5 series. While the first sounds that jump when listening to the Lakh are its prominent 12kHz peak and a lifted 100-200Hz region, both are paired with unlikely partners: A vast and deep soundscape, and a laid-back upper-midrange.
It’s neither a dynamic, v-shaped response, nor a saturated bombard of instruments. Rather it borrows elements of the latter to energise hi-hats, cymbals and bass drops, but transplants them onto a linear, reference-style midrange and an open stage. The result is perhaps the most realistic and undramatised representation of a “rock” IEM I’ve heard yet. Again, like the REF, spatial coherence and imaging precision are both outstanding, and tone is relatively realistic as well.
Despite what may sound like timbral schizophrenia, the elements at play work surprisingly well together with excellent coherence throughout. This is because the Lakh is a unique-sounding piece blessed with high technical foundations, most at home with genres like rock and EDM. For those who want both the energy those genres can provide, as well as the tonal realism that several other in-ears geared towards them have yet to deliver, the Lakh is truly one-of-a-kind.
Kumitate Lab KL-REF
The KL-REF is a neutral-sounding piece that – as its name suggests – is viable as a studio piece, but with quirks that separates it from other reference in-ears. Energy along 5 and 10kHz add great articulation and air, but the REF dips around 8-9kHz to ensure smoothness. It also adds a feathery quality to the treble that prevents it from becoming overtly hot or brittle. But, this prevents it from sounding perfectly linear to me without brief adjustment.
Despite this, the balance it maintains with the rest of the range is impressive. The mids are balanced and uncoloured with laid-back delivery. Instruments are generally presented with a matter-of-fact-ness that’ll work well in the studio, but may be perceived as dull for audiophiles. Additionally, the bass at default makes its presence known by extension, rather than quantity. Solidity and texture both impress with a slight sub-bass bias, but the warmth it imparts onto the image is neutral. Nevertheless, it’s a bass that never underwhelms in terms of quality – as technical performance is exemplary.
With the bass dial set to full, frequencies below 300Hz receive a healthy boost. In Gallant’s Cave Me In, the sub-bass fills the stage, positioning itself parallel with – if not a hair above – the lead vocal. It alters the bass to act more as a melodic instrument, rather than a foundational element. But even here, impact won’t be sufficient to please bassheads. I see it more as a means to help engineers mix low-end as things like the Fletcher-Munson curve or fatigue come into play.
Nevertheless, in every setting, the REF is most impressive in spatial performance. The stage it posits is large and evenly-expanded. Instruments evenly line the perimeter of the stage, allowing the listener to a bird’s-eye-esque view of the track – almost like you’re viewing it through a 24-70mm camera lens. Height is outstanding, as instruments are spread evenly along all three axes; ensuring consistent audibility throughout. This is the REF’s undisputed key to the studio.
Kumitate Lab KL-Lakh
The KL-Lakh is an energetic, detail-driven IEM maintaining elements of both the REF and the NEXT 5 series. While the first sounds that jump when listening to the Lakh are its prominent 12kHz peak and a lifted 100-200Hz region, both are paired with unlikely partners: A vast and deep soundscape, and a laid-back upper-midrange.
It’s neither a dynamic, v-shaped response, nor a saturated bombard of instruments. Rather it borrows elements of the latter to energise hi-hats, cymbals and bass drops, but transplants them onto a linear, reference-style midrange and an open stage. The result is perhaps the most realistic and undramatised representation of a “rock” IEM I’ve heard yet. Again, like the REF, spatial coherence and imaging precision are both outstanding, and tone is relatively realistic as well.
Despite what may sound like timbral schizophrenia, the elements at play work surprisingly well together with excellent coherence throughout. This is because the Lakh is a unique-sounding piece blessed with high technical foundations, most at home with genres like rock and EDM. For those who want both the energy those genres can provide, as well as the tonal realism that several other in-ears geared towards them have yet to deliver, the Lakh is truly one-of-a-kind.
Last edited:
I only listened to the KL-Ref for about 5 minutes and immediately wanted to test it as a replacement for my UERR as a reference because of how delicious the bass was and the overall tonal quality. I use my UERR in basically every review I do. I haven't had more than that five minute listen unfortunately. Hopefully, Mr. Ito makes another trip to the UK in the future.Hey guys! Back with more impressions of KL's IEMs, but this time, I tackle the classics.
Kumitate Lab KL-REF
The KL-REF is a neutral-sounding piece that – as its name suggests – is viable as a studio piece, but with quirks that separates it from other reference in-ears. Energy along 5 and 10kHz add great articulation and air, but the REF dips around 8-9kHz to ensure smoothness. It also adds a feathery quality to the treble that prevents it from becoming overtly hot or brittle. But, this prevents it from sounding perfectly linear to me without brief adjustment.
Despite this, the balance it maintains with the rest of the range is impressive. The mids are balanced and uncoloured with laid-back delivery. Instruments are generally presented with a matter-of-fact-ness that’ll work well in the studio, but may be perceived as dull for audiophiles. Additionally, the bass at default makes its presence known by extension, rather than quantity. Solidity and texture both impress with a slight sub-bass bias, but the warmth it imparts onto the image is neutral. Nevertheless, it’s a bass that never underwhelms in terms of quality – as technical performance is exemplary.
With the bass dial set to full, frequencies below 300Hz receive a healthy boost. In Gallant’s Cave Me In, the sub-bass fills the stage, positioning itself parallel with – if not a hair above – the lead vocal. It alters the bass to act more as a melodic instrument, rather than a foundational element. But even here, impact won’t be sufficient to please bassheads. I see it more as a means to help engineers mix low-end as things like the Fletcher-Munson curve or fatigue come into play.
Nevertheless, in every setting, the REF is most impressive in spatial performance. The stage it posits is large and evenly-expanded. Instruments evenly line the perimeter of the stage, allowing the listener to a bird’s-eye-esque view of the track – almost like you’re viewing it through a 24-70mm camera lens. Height is outstanding, as instruments are spread evenly along all three axes; ensuring consistent audibility throughout. This is the REF’s undisputed key to the studio.
Kumitate Lab KL-Lakh
The KL-Lakh is an energetic, detail-driven IEM maintaining elements of both the REF and the NEXT 5 series. While the first sounds that jump when listening to the Lakh are its prominent 12kHz peak and a lifted 100-200Hz region, both are paired with unlikely partners: A vast and deep soundscape, and a laid-back upper-midrange.
It’s neither a dynamic, v-shaped response, nor a saturated bombard of instruments. Rather it borrows elements of the latter to energise hi-hats, cymbals and bass drops, but transplants them onto a linear, reference-style midrange and an open stage. The result is perhaps the most realistic and undramatised representation of a “rock” IEM I’ve heard yet. Again, like the REF, spatial coherence and imaging precision are both outstanding, and tone is relatively realistic as well.
Despite what may sound like timbral schizophrenia, the elements at play work surprisingly well together with excellent coherence throughout. This is because the Lakh is a unique-sounding piece blessed with high technical foundations, most at home with genres like rock and EDM. For those who want both the energy those genres can provide, as well as the tonal realism that several other in-ears geared towards them have yet to deliver, the Lakh is truly one-of-a-kind.
Users who are viewing this thread
