Introduction to the Kiwi Ears Orchestra II review
IEMs are a category I somewhat drifted away from recently – mostly due to remote work and the sheer convenience of full-size headphones with longer cables. A while back I decided to revisit the in-ear world, sift through a drawer full of old pairs, and properly come back to this segment. That’s when I picked up something entirely new to me: the Kiwi Ears Orchestra II, provided for review by Linsoul.
For context, this is the brand’s flagship in-ear model, built around a configuration of ten custom balanced armature drivers. This approach is one that many companies are gradually moving away from in favor of hybrids or EST-driven designs. That alone made me curious about what Kiwi Ears was aiming for here.
After several weeks of listening, I have formed the following impressions.
Packaging & Build Quality
The Kiwi Ears Orchestra II arrives in a neat, well-organized package that gives you a decent set of accessories right out of the box. We get four sets of silicone tips in three sizes, a hard-shell carrying case lined with soft material, and a cable with interchangeable jack connectors. It’s a sensible bundle that covers the basics without overdoing it.
The IEMs themselves make a very good first impression. The acrylic shells are cleanly finished, and the aluminum faceplates feature a grille with a subtle holographic layer underneath. It’s a tasteful bit of visual flair that adds depth without screaming for attention. The only aesthetic choice I’m not fully sold on is the Comic Sans-style font on the shells – an odd contrast considering the rest of the design feels more mature and coherent.
As for accessories, everything works as intended, though I, personally, hoped for a slightly more premium exterior on the carrying case. The interior is genuinely nice – soft lining and a small pocket that keeps the IEMs from knocking against each other. Foam tips, however, are missing, and as someone who likes them for both comfort and seal, I would have appreciated at least one pair. We’re also missing a cleaning tool, which is always useful.
The cable deserves a mention: it’s surprisingly soft and flexible for its thickness, silver-plated, and fitted with modular connectors. This is a feature I truly like in modern portable audio – I can run 4.4mm balanced into my DAC/amp setup and switch to 3.5mm for laptop use without changing cables entirely. It doesn’t lock up and works purely on friction, but I find it tight enough for daily use. The 2-pin connectors also feel sturdy and lock in with confidence.
Comfort and isolation of reviewed Kiwi Ears Orchestra II
Comfort is always a subjective topic, but I feel reasonably qualified to comment here – I’ve probably had hundreds of different IEMs in my ears over the years. The Kiwi Ears Orchestra II uses a fairly large shell, and that’s worth mentioning right away. However, thanks to their ergonomic shaping and smooth surfaces, they sit surprisingly well in my ears. Still, those with smaller ears or shallow conchas may experience some discomfort, especially over longer sessions.
Sleeping or lying on your side with them is essentially off the table, and even something as simple as wearing a beanie can cause interference. I’m admittedly sensitive to that kind of physical contact, but it’s worth noting for people who plan to use them outdoors or while commuting in colder climates.
With the stock silicone tips, the Orchestra II seals easily and stays in place without requiring deep insertion. I didn’t experience pressure build-up or fatigue during longer listening sessions, and the no-vent architecture contributes to that sealed and stable fit.
Even though the reviewed Kiwi Ears Orchestra II come with plenty of eartips, the overall quality is somewhat underwhelming. Quantity over quality isn’t exactly what I’m looking for in this price bracket. I’d honestly prefer a single well-made set ranging from XS to XL instead of four similar sets that don’t really shine in terms of fit or material.
To be fair, I might just be more demanding than most – I’m a SpinFit/Final Audio Type E guy, so my expectations are shaped by how those tips affect comfort and tonal balance. With the stock tips, everything works, but nothing particularly impresses, and swapping to my usual aftermarket options immediately improved both comfort and sonic performance.
Isolation, however, is where these IEMs really shine. They are among the best-isolating sets I currently own. The all-BA configuration clearly plays a role here – no need for venting or bass ports like on dynamic-driver designs. In loud environments, they perform exceptionally well: vacuum cleaners become a dull murmur, and the TV disappears almost entirely. For people who want to disconnect from the outside world or simply prefer a quieter personal soundstage, the Kiwi Ears Orchestra II excels in this regard.
Sound of the reviewed Kiwi Ears Orchestra II
I think most of us have a general idea of how full-BA setups tend to sound. Many of us went through the KZ era at some point, and some even stayed there longer than intended. However, multi-BA configurations can offer something quite different when executed well, and that’s what initially intrigued me about the Orchestra II – ten balanced armatures per side is no joke. It’s a configuration that practically screams, “We’re serious about technicalities.”
My first listening session didn’t impress me. The presentation felt neutral to the point of feeling slightly flat and uninvolving. Tonally correct, yes, but somewhat gray and emotionally restrained. That impression shifted noticeably after a short burn-in period – just a few hours made a meaningful difference. Whether it’s mechanical settling, ear acclimation, or a bit of both, the second session was almost like revisiting a different IEM.
The Orchestra II gained a touch of warmth and a more organic timbre. The midrange filled out, transients felt smoother and more cohesive, yet detail retrieval remained intact. It’s a presentation I wouldn’t initially expect from an all-BA design.
What’s also worth noting is how source-consistent the Orchestra II are. They don’t shift drastically when changing DAC/amp chains, aside from subtle differences in tone coloration. Personally, I prefer pairing them with slightly more lively or sparkly sources, especially when it comes to female vocals and upper mids – but I’ll get into that shortly.
The bass isn’t exactly what you’d expect from a fully balanced armature setup. It’s neither razor-tight nor ultra-technical, yet it also doesn’t mimic the weight and air movement of a dynamic or planar driver. Instead, it lands somewhere in between – softer, richer, and with a more rounded presentation than many BA competitors. It’s a great match for listeners who aren’t chasing surgical precision or extreme control in the low frequencies.
In terms of tuning, the Orchestra II focus mainly on the midbass. It has nice texture, good speed, and enough body to flesh out a mix. In “United by Grief” by Kendrick Lamar, it fills out the track convincingly without stepping on the mids. The kickbass is snappy and accurate but doesn’t carry a lot of physical mass, so you don’t really feel the beat viscerally.
Extension is where I’d like to see some improvement. Sub-bass reaches low enough to be noticed, but doesn’t deliver significant rumble or authority. As a result, the bass seems like a safe tuning – enjoyable, inoffensive, and very well executed for a BA implementation. Several people who tried my pair of the reviewed Kiwi Ears Orchestra II genuinely liked it for exactly that reason. Personally, I’d prefer either a tighter, more technical approach, or a deeper, juicier extension down low.
The midrange on the reviewed Kiwi Ears Orchestra II is quite unique – but in a very positive sense. It connects the overall tonal picture much better than the bass does, acting as the anchor of the entire signature. Vocals come through with a pleasing timbre and very solid detail retrieval, making them one of the highlights of the presentation.
Interestingly, I’ve seen multiple reviewers mention that lower voices can sound dull or recessed. My experience has been the opposite. In my setup and with my library, low, male vocals come across more prominent and saturated than higher female voices. Listening to Michael Kiwanuka, his voice is bold, rich and forward-leaning, with a nice sense of body and warmth. Dua Lipa, on the other hand, is a bit pushed back in the mix. There’s still convincing texture, depth and microdynamics in her delivery, but the tuning naturally seats her slightly further away in the stage.
The treble hits a very comfortable sweet spot for me. It’s detailed and articulate, yet smooth and free from sharp edges or glare. With some brighter sources, there can be occasional sibilants – they’re not common, but they do appear occasionally, depending on the chain and recording.
In terms of timbre, the treble is pleasantly natural, which is something I rarely say about multi-BA designs. My only real complaint is that I wish it carried a bit more extension, particularly at the handoff between upper mids and lower treble. On tracks like “Heads Will Roll,” it can feel slightly short on energy and bite, at least for my taste.
On the other hand, with tracks that already have well-extended treble baked into the mix – such as “Fireworks” by Katy Perry or “Breaking Dishes” by Rihanna – the Orchestra II shine. The sparkle is there, the air is there, and the presentation feels lively without ever becoming fatiguing. For me, this treble tuning is another strong selling point of the Kiwi Ears Orchestra II that I’m reviewing today.
The soundstage is the one major downside for me. To be fair, I more or less expected that from a full BA configuration. It isn’t particularly wide or deep, and as someone who gravitates toward spacious, open-sounding IEMs, I found the presentation a bit too intimate. Typically the image sits close to the head, sometimes even inside it. Some listeners may actually prefer that kind of up-front perspective, but in my opinion a well-rounded IEM should be capable of projecting both intimacy and space when the recording demands it.
Where things get much more impressive is in imaging and layering. Both exceeded my expectations for a pure BA build, delivering clean instrument separation and a well-organized stage. Balanced armatures have always excelled in micro-placement and structural clarity, and the Orchestra II are no exception. Only EST-equipped sets really challenge them in this regard.
If your library includes large ensembles, classical recordings, or dense and complex arrangements, the reviewed Kiwi Ears Orchestra II could be a very compelling option.
Pairings
As mentioned earlier, the reviewed Kiwi Ears Orchestra II pair well with a wide range of sources. For most of my listening I relied on my long-time favorite dongle DAC/amp, the ddHiFi TC44B. At times I plugged them straight into my laptop, and when I wanted a bit more headroom and flavor, I switched to the iFi hip-dac 3.
Differences between these sources aren’t drastic in terms of technical performance-full BA setups are generally easy to drive and the Orchestra II are no exception. There’s no audible hiss even from a noisy laptop output, and they don’t require much power to sound their best.
The changes you do get are mostly shifts in tonality. Brighter sources can put a bit more spotlight on upper mids and treble, while warmer ones give lower mids and midbass a bit more flesh. However, I couldn’t push the Orchestra II into any extreme-no combination turned them into a dark, bass-heavy set or a thin, analytical monitor. Their inherent tuning stays intact, which I honestly consider a strength for everyday use.
Comparison
Dunu EST112 vs Reviewed Kiwi Ears Orchestra II
The Dunu EST112 are an entirely different beast – not only in terms of driver configuration, but also in overall ambition and price bracket. They’ve also gained quite a solid reputation in the hobby, which makes them a good reference point for highlighting what the reviewed Kiwi Ears Orchestra II are doing differently.
The EST112 were one of those sets I bonded with surprisingly quickly. They offer a richer and more generous bass response, with a smoother distribution across the entire low band. Sub-bass reaches deeper, and midbass carries more weight, giving kick drums more physicality and making electronic music feel livelier. Texture, however, is slightly behind the Kiwi – the Orchestra II keep things tighter and more articulated, even if they don’t extend as far.
Midrange is where the Kiwi Ears clearly strike back. Vocals and instruments have better texture, more micro-detail and a more organic timbre. The EST112 keep a more even overall FR presentation but also feel slightly drier in this region.
Treble follows a similar pattern: Dunu offer more air and extension thanks to the EST drivers, translating into a noticeably wider and deeper soundstage. This is the area where the Orchestra II simply cannot keep up. The BA configuration provides great imaging and layering, but stage size remains intimate by comparison.
Price is an important factor here – the EST112 launched at a significantly higher MSRP, and taking that into account, the Orchestra II are performing well. They won’t give you the holographic staging and EST sparkle of the Dunu, but they counter with a more engaging midrange and better BA articulation.
Kiwi Ears Orchestra II review – Summary
Kiwi Ears Orchestra II is a very solid piece of audio gear. They deliver impressive detail retrieval, an excellent midrange, and surprisingly pleasant bass for a full BA setup. Sure, a bit more sub-bass extension and a wider soundstage would be welcome, but at this price point, expecting perfection across the board would be unrealistic. Considering how well-built both the IEMs and the cable are, it’s slightly disappointing that the box includes so many eartips, yet none of them are particularly good.
What makes the Orchestra II compelling is how uncomplicated they are to use. They’re easy to drive, unfussy about sources, and scale more in tonality than raw technical performance.
If you’re looking for a relaxed, slightly warmish full-BA IEM with exceptional midrange, strong isolation and good technicalities, the Kiwi Ears Orchestra II deliver exactly that. If you want massive sub-bass, holographic staging, or a brighter, more analytical tuning, there are better options elsewhere.
Big thanks to Linsoul for providing us with the Kiwi Ears Orchestra II for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion.
I am a 24 years old audiophile, photographer, coffee lover and Star Wars fan. I love checking out new audio stuff and sharing my opinions with people, not being overly bloviating. Furthermore, I believe that a review acts as a guide to just interest people, and then comes the most important part, which is actually testing the device by themselves.
