Kiwi Ears Orchestra II - Don't Call It a Comeback

4⭐️

+ Competent and well-balanced U-shaped tuning that makes for a great all-rounder

+ Impressive bass presence and sub-bass extension for an all-BA

+ Smooth midrange with clear, well-separated vocals and nice instrument detail

+ Inoffensive yet competent treble response should please most

+ Solid technical performance including separation, imaging, and dynamics

+ Accessories represent a step up from past Kiwi Ears offerings

- Mid-bass could use a little more impact, particularly with kick drums 

- Would like vocals be a touch more forward and a bit more engaging 

- Treble can become slightly sharp and piercing at higher volumes 

- Chunky shells and large nozzles may pose fit challenges

- Unvented design can cause pressure buildup

- Lacking a certain special quality to help it stand out among the competition 

thaslaya's star rating system:

☆☆☆☆☆ - Fantastic!

☆☆☆☆ - Recommended

☆☆☆ - There are buyers but not for me

☆☆ - Can't see the appeal

☆ - Product is a failure

Disclaimer: 

This product was provided to me by Linsoul in exchange for my impartial and honest review. I receive no compensation, and all thoughts and opinions are my own.

Non-affiliate link for those interested:

https://kiwiears.com/products/kiwi-ears-orchestra-ii

Gear used: 

●Samsung Galaxy S25 Ultra

●HiBy R3 II

●Various DAC/amps

Source:

●Listening was done using Amazon Music HD/Ultra HD and local FLAC files. 

Introduction: 

Kiwi Ears needs little introduction for anyone keeping up with the budget and mid-fi audiophile market over the last few years. This Chinese company is most widely known for its IEMs but also produces headphones and portable DAC/amps. They have been churning out a ton of releases over the last few years, to varying degrees of success. I've personally reviewed 8 products from the company, and most of their gear scores decently well for me; however, the best of their IEMs I've found so far is the Orchestra Lite, a cheaper and differently tuned follow-up to the original Orchestra. Kiwi Ears' latest release and the subject of this review is the Orchestra II, another iteration in the Orchestra line. This one features ten balanced armature drivers per side and a price tag of $349. Let's break down this newest all-BA from Kiwi Ears and see what it's all about.

Build, fit, ergonomics:

The Orchestra II comes with a typical Kiwi Ears unboxing experience. The packaging is fairly small and features a nice large picture of the IEMs on the front. Inside, you'll find all the standard fare, but the company has really improved the quality of accessories this time around. First, though, let's talk about the IEMs themselves. The Orchestra II has a very unique and interesting design. The faceplates feature a hexagonal geometric pattern surrounded by a silver border. The color is a sort of iridescent yellow, but it changes based on the angle of the light. The left faceplate features the model name and the right, the company name. The Orchestra II is available in two colors: silver and light baby blue. The silver variant features a highly transparent resin shell, allowing clear visibility of the drivers within—you can even make out the Kiwi Ears branding on some of the balanced armatures. The shells are also quite large and a little bulbous in shape, so the fit can be challenging. I have to kind of roll the IEMs forward in my ears to maintain a good seal. The insertion depth is perhaps just above average, and the nozzles too are on the large side, measuring 6.6mm at the widest point of the lip. Sizing down in tips did help me find a more comfortable fit and seal, but they still aren't the most comfortable for me to wear for extended periods. The size alone may give some pause, and that's without even mentioning the fact that, just like its predecessor, the Orchestra II is also unvented. There is some noticeable pressure buildup upon insertion, but luckily, my ears adapt fairly well. However, I'm sure the chunky shell, large nozzle, and unvented design are sure to turn away a few potential buyers even before getting into the sound or tuning. The stock cable is white in color and made of SPOCC in a 4-core configuration. It's honestly a really nice cable—thick, pliable, great weave, functional chin slider, and modular. It even includes the model name on the Y-split, which is a nice little touch. The only improvements I could suggest are slightly nicer hardware, and I personally prefer a screw-on mechanism for the swappable terminations instead of the friction style. The Orchestra II also comes with an impressive number of silicone tips, neatly packed into two plastic cases for easy portability and storage. There are 12 sets in total and 4 different varieties. I tested all the tip options and found that the black wide-bore version worked best for me, but ultimately I ended up favoring my own Final Type-E tips instead. The case is definitely a big step up for Kiwi Ears from past sets I've reviewed. It's a bit larger than their usual inclusion and made of a more premium-feeling gray, leather-like material. Even the zipper feels like an upgrade, and the sturdier build is sure to offer better protection than the old, cheap-feeling case. I've been clamoring for an improvement in accessories since I started reviewing Kiwi Ears products, and it seems they finally delivered. Overall, I have to give kudos to the company for taking the criticism to heart and offering higher-quality accessories this time around, though if I'm being honest, the Orchestra II's fit issues might pose a problem for some, and the design is a little busy for my taste.

Sound impressions:

I would describe the Orchestra II's tuning as a well-balanced U-shape with a decent sub-bass shelf, tucked mid-bass, emphasized upper-mids, and slowly rolled-off treble. Most all-BA IEMs tend to be fairly efficient and easy to drive, and this one can get to high volumes from just a simple dongle. The note weight is about average, perhaps erring just slightly on the thicker side. I usually prefer it to be a bit thicker and slightly syrupy, but the Orchestra II's transparent nature pairs very well with this less thick and weighty style. The detail retrieval is quite strong, and there are plenty of nuances and subtleties to be found in the music, but it doesn't necessarily have an analytical sound signature. The soundstage has decent width and depth, and while it sounds full enough, I'm not sure it utilizes the room to its fullest potential. There can sometimes be small gaps in the soundstage that sound like information is missing. It's not too noticeable or detracting, but I think there's definitely room for improvement. The timbre is mostly natural, with instruments benefiting the most, but vocals do sound a touch unnatural to my ear. The dynamics are impressive and the imaging is quite strong and accurate in both left-to-right detection and with distance. The separation is fantastic, and the Orchestra II can easily handle tracks with varying complexity, but the layering could be a little more cohesive and fluid. Overall, the Orchestra II has really solid technical performance, particularly in separation, imaging, and dynamics. It seems Kiwi Ears was able to utilize those custom BAs to full effect, and I'd say this one easily rivals IEMs within its price bracket and even some above.

Next, let's talk sources. The Orchestra II is not a particularly sensitive IEM; actually, it's probably one of the least sensitive of the sets I've reviewed in the last few months. But testing various sources was absolutely integral to my experience and enjoyment. Even though the changes weren't drastic between the sources I tested, the minor differences had a big impact. The NiceHCK Octave imparts a bit more of a mid-centric focus into the Orchestra II's tuning, which is mostly enjoyable, but it loses some of the great bass extension in the process, which is a shame. Next, I tried the EPZ TP35, which improved the mid-bass impact and pushed the midrange forward just a bit. However, there was again a loss of not only sub-bass extension but also some rumble, which isn't ideal. The source that I ultimately favored most was the iFi hipdac 3. In fact, once I heard this pairing, no other source stood a chance. There's an added depth and weight to the bass response and a slightly more natural DD-like decay. But that's not all—the hipdac 3 also pulls back on the upper mids just a hair and adds a bit of an edge in the treble, which helps the notes feel more delineated, dynamic, and concise without any additional brightness, which is a rarity for me. In fact, I'd say I learned a valuable lesson from source rolling for the Orchestra II: an IEM doesn't have to show significant changes between sources in order to find an amazing synergistic pairing.

●Lows - The bass is where the Orchestra II earns its keep. It actually subverts my expectations of what a mid-fi all-BA set can do. The quantity is definitely elevated north of neutral, yet it keeps some of the typical clean and well-separated qualities that BA drivers are known for, ensuring that the bass is always additive and never detracts from the other frequencies. It's more sub-bass focused than mid-bass, and the extension reaches very low. The impact is decent and the rumble is great, even if it lacks some sustain, which is often a common criticism of BA bass. As long as the note endures, the rumble is impressive, but there's a quicker decay, which means the reverberation doesn't last long enough to sound as natural as a typical dynamic driver. With busy and bass-heavy genres like dance and EDM, it's not that noticeable, but kick drums in rock tracks are just a touch diminished for my preference. The texture is clean but not dry or lacking in weight. The attack is quick, and it can easily handle complex bass tracks. It's also well separated from the midrange, ensuring there's no bleed to worry about. Overall, the Orchestra II has a quick, clean, and resolving bass response that is able to dig deep when called upon, but ultimately lacks slightly in mid-bass impact and lasting reverberation for my taste. Still, the extension is quite impressive, and this style of bass response deserves its own place in my collection due to the sheer performance alone and the way it's elevated yet never hinders the rest of the frequency response. As far as BA bass responses go, the Orchestra II stands above nearly every other contender I've come across in this price range, which is high praise indeed.

●Mids - Moving into the midrange, my enthusiasm takes a dip because I have a few issues here. First, while vocals are generally clear and well-separated, they are missing a touch of engagement. They're pushed back just a hair, but I wouldn't quite call them recessed. Perhaps "repressed" is a better term. It's as if they are holding back and teetering on the edge of their full potential. For my preferences, I'd like the midrange to be more forward—to step into the spotlight and play more of a central role in the tuning. Also, the vocal timbre feels a bit off. Many of my favorite tracks just don't hit the way they do on other sets that I enjoy. It's hard to quantify, but the presentation is not quite what I'm used to, in that some singers simply sound slightly unnatural. Now let's move on to what the midrange does well: the instrumentation. The Orchestra II has really great timbre, detail, and separation when it comes to instruments. Guitars are especially notable for the way they sound effortlessly natural. With classical and orchestrated music, each instrument can be clearly discerned and is allowed ample space to showcase its character. One minor complaint, though, is that the lower midrange is just a touch underrepresented. Overall, the midrange has its ups and downs. The instrument timbre, separation, and detail are great, and vocals are never shouty or piercing, which is always a good thing. However, as a big vocal enthusiast, I can't quite get on board with the slightly unnatural timbre and the lack of engagement. I was really hoping Kiwi Ears would channel some of that midrange magic from the Orchestra Lite into this new model to bring out the best in my favorite artists.

●Highs - The treble is mostly safe and inoffensive, which definitely falls under the umbrella of my preferences. It rolls off in a controlled and methodical way, which ensures it remains well-balanced with the rest of the frequency response. The extension and air are fine, but I would welcome a bit more. Honestly, I could also do with just a bit more energy and sparkle up top to help balance out the bold bass response, but as is, the treble is in a decent place, especially for treble-sensitive folks like myself. Cymbals are well-controlled, and there's no splashiness or metallic timbre to worry about, though I do feel like some cymbal crashes in my test tracks sound a bit muted compared to my expectations. Snares are tight and punctuated but also a touch softer and somewhat underrepresented at times. Luckily, there's no sibilance to worry about, although certain notes can become a bit sharp and piercing at very high volume levels. Overall, there's not a lot I can say about the Orchestra II's treble response other than that it plays its role admirably. It's mostly inoffensive, and there's ample sparkle, air, and extension for most genres of music. If I'm being critical (which, let's face it, is the entire point of a review), I would like a bit more energy to help balance the large bass shelf. The air may be sufficient for me and my tastes, but there's definitely room for improvement, especially for the treble aficionados out there. It kind of reminds me of the midrange in that I feel like it's missing a certain something—call it engagement or perhaps relevance—but it does leave a slight feeling of inadequacy in its wake. Though in all honesty, I much prefer this safer style to an overly bright and dominant treble response, so that's certainly a point in the Orchestra II's favor.

Comparisons: Credit to Audio Amigo and Super Reviews for the graphs.

● AFUL Performer 8S ($390) - Here we have the 2DD (1 passive), 6BA, and 1 microplanar tribrid configuration of the 8S versus the 10 BAs of the Orchestra II. Starting with the accessories, both sets come with plenty of tips, but the Orchestra II has a thicker, modular cable and a more premium zipper case. Both sets also feature a full resin build, though the 8S is much smaller in size, and the nozzle lacks a lip. Their designs, aesthetics, and fit are quite different. The Orchestra II features clear resin and a more neutrally colored hexagonal faceplate, while the 8S' red, black, and gold design really draws my eye. Fit-wise, the Orchestra II's larger nozzle and pressure issues might cause problems, whereas the 8S is much smaller and more comfortable. When it comes to the sound signature, these two U-shaped tunings have much in common and follow a similar target, but the Orchestra II has a more prominent mid-bass tuck and more upper-midrange emphasis, while the 8S is slightly flatter across the frequency response. In the bass, both sets have a similar quantity, but the Orchestra II is more sub-bass focused with a cleaner, better-separated, and more impactful bass response. It also has better extension and more rumble, though it's a bit short-lived due to quicker decay. In contrast, the 8S has more mid-bass presence, added warmth, and a sense of naturalness thanks to the slower decay, though it doesn't sound nearly as clean. This matchup can be somewhat indicative of your typical BA versus DD bass situation, with the Orchestra II focusing on separation, tactility, and cleanliness, while the 8S puts the focus on musicality, warmth, and a more natural presentation, though the impact, in particular, is a bit lacking. In the midrange, neither set has a particularly forward presentation. The 8S is smoother, warmer, and more relaxed, yet it also has a certain engagement factor and musicality that I feel is missing in the Orchestra II, though the latter is much cleaner, clearer, and better separated. The Orchestra II also has improved instrument separation and detail, but the vocal presentation is a bit colder than I prefer. The treble responses are actually not so different. Both follow a similar curve, but due to the Orchestra II's extra emphasis on sub-bass and upper mids, it does come off a little darker in comparison. The 8S exhibits a slight edge with certain vocal notes, and it sounds a little airier and better extended. The Orchestra II again has a cleaner treble texture and better note definition (I'm beginning to notice a pattern) and is probably the safer choice for those who are treble-sensitive. As far as technical performance goes, the Orchestra II has improved detail retrieval, imaging, separation, and dynamics, while the 8S has better layering, more note weight, and a wider soundstage. For me, this one simply comes down to personal preference. These two may have similar tuning targets, but they differ in how they present that tuning—sort of a technical versus musical situation. The Orchestra II has more tactility, better separation, and a certain tightness or perfunctory quality across the frequency response that is certainly enjoyable; however, I'm typically more drawn to a warmer, smoother, and more relaxed style, which is what the Performer 8S does well. The bass in the Orchestra II is more impactful and has a deeper extension, which I really like, but the velvety vocals and level of engagement in the 8S are great too. Ultimately, I think these two sets are quite complementary, and I find it hard to choose one over the other. If my hand were forced, it would likely come down to the genre of music being played and my mood on that particular day. At the time of this writing, I'd likely pick the Performer 8S, as it seems to work better with a wider selection of my library, but the Orchestra II certainly holds its own, and I might prefer its bass thump and overall cleanliness tomorrow.

My pick: Performer 8S

● Ziigaat Luna ($380) - This is a matchup between two all-BA sets, but the Luna features a combination of 6 Knowles and Sonion drivers, while the Orchestra II utilizes 10 custom BAs. Starting with the accessories, both sets come with modular cables and decent cases, though the Orchestra II's cable is of vastly better quality, and it also comes with a few more tip options. The sizes, build qualities, and designs are different too, with the Orchestra II being larger and featuring a full resin build, while the smaller Luna has a resin shell with a metal nozzle. The Orchestra II has a cool hexagonal pattern on its faceplate, but I personally prefer the Luna's more colorful design. Fit-wise, the Luna are more comfortable due to the shell and nozzle size, as well as proper ventilation for pressure relief. Regarding the sound signature, both have a generally U-shaped tuning profile and adhere to a similar target with a few caveats, most notably the Luna's extra mid-bass and mid-treble emphasis. Starting with the bass, both of these sets actually set a high bar for what BA bass is capable of in the mid-fi tier. Both sets compete well in texture and resolution, and though the Luna's slightly slower decay is more my speed, the Orchestra II's harder-hitting impact and better separation from the midrange help it stand out in this contest. Speaking of mids, this is one area where I think the Luna gets it right. The Orchestra II emphasizes the upper midrange a bit more, whereas the Luna pulls back just a hair, making vocals better balanced with the rest of the frequency response. The vocal timbre is also a bit more natural, and there's more emotion behind some of my favorite artists. The Orchestra II has very nice instrument detail, but the Luna is a bit better. Jazz and classical music are definitely its forte—in fact, any instrumental genre sounds fantastic. In the treble, I do take some issue with the Luna's presentation, but it does have a very naturalistic, almost studio-like quality that I think makes it special. To my ear, it's definitely the airier and better extended of the two, but the Orchestra II has a certain smoothness and a crisper texture, especially with cymbals, which can sound a touch splashy and tizzy on the Luna. In the technical performance department, these two compete well. The Luna offers a more natural timbre, a wider soundstage, and better layering and imaging, whereas the Orchestra II offers more note weight and soundstage depth, as well as better dynamics and separation. For me, this matchup partly comes down to the tuning execution, particularly in the bass and treble, but also the music it's paired with. The Orchestra II kind of subverts my expectations for what BA bass is capable of, with its deep sub-bass extension and visceral feel. The Luna, I think, has a bit more of a typical BA bass response, and though it performs well, it's missing an aspect of fun that's found in the Orchestra II's low end. While the bass differences aren't huge, what makes a bigger impact for me is the treble. The Luna comes across with more air and sparkle, and it has a certain tizziness and crispness that some may be drawn to, but for me, it works best with instrumental and orchestral music. Actually, most genres with less dynamism work quite well, like folk and singer-songwriter. I do think the Luna is a strong contender for those wanting an all-BA, U-shaped tuning with an emphasis on naturalness and treble presence, but the Orchestra II simply works for a wider range of genres and gets the bass and treble closer to my preferences. The better accessories and slightly lower price don't hurt either, but the margin of victory in this case is very small indeed.

My pick: Orchestra II 

● Softears Volume S ($330) - This matchup sees the 2DD (1 passive) and 2BA hybrid configuration of the Volume S face off against the Orchestra II's 10 BAs. Both sets feature decent accessories, including modular cables and nice carrying cases, though the Orchestra II includes more tip options and a nicer, non-microphonic cable. The build quality and designs are pretty different, though. The Orchestra II is larger and feels sturdier thanks to its solid resin body, whereas the Volume S is lighter and smaller, and it offers a more comfortable fit for me. Personally, neither set's aesthetics really appeal to me, but I'd say I prefer the carbon fiber faceplate of the Volume S to the hexagonal design of the Orchestra II. It's worth noting that the Volume S does have two tuning options, despite what some say about the legitimacy of the higher impedance tuning. For this comparison (and essentially every time I listen to the Volume S), I used the lower impedance option. When it comes to sound, these two graph pretty similarly outside of the mid-bass and lower midrange, where the Orchestra II has a larger dip, and in the treble air, where the Volume S rolls off more steeply. In the bass, the first things that immediately stick out are the Orchestra II's sub-bass emphasis and extension, and the Volume S' penchant for mid-bass presence and impact. I'd argue that the Orchestra II has a better-balanced low end, but the bass of the Volume S feels more deliberate. By this, I mean that the Orchestra II's bass, while impressive for an all-BA IEM, sounds like something you might find in any number of well-executed tunings on the market today, whereas the Volume S stands out in that it may not reach super low or rumble with aplomb, but it represents a more unique sound signature that helps set it apart from the competition. The decay is a little slower, which I prefer, and there's added weight and depth to the impact, as well as a certain warmth that permeates throughout the frequency response. The Orchestra II, though, showcases better separation, resolution, and a cleaner texture that many may prefer. The midrange is also quite different between these two. The Volume S emphasizes vocals and again adds a level of weight and depth that really draws me in. The mids generally present a bit more forward, but also much more engaging, soulful, and melodic, which is an easy way to win me over. As with the bass, the Orchestra II's midrange has improved separation and detail, most notably with instrumentation, but the absence of vocal engagement is all the more obvious when comparing these two side by side. In the treble, the differences are more minute, but they certainly exist. The Orchestra II offers more air, better extension, and a crisper texture, though it's not night and day. The Volume S rolls off a bit more steeply, but I never feel like it's missing in the overall treble response, and the smoother presentation makes longer listening sessions easier and more enjoyable. As for technical performance, the Orchestra II has better separation, imaging, dynamics, and detail retrieval, and more soundstage depth, while the Volume S offers a more natural timbre, better layering, and more note weight. For me, this one is kind of similar to the Performer 8S comparison in that it mostly comes down to the general presentation and style of sound signature you're looking for. The Orchestra II definitely has a harder-hitting bass that I enjoy, and it's able to dig deeper too, but the Volume S has a definitive smoothness and warmth that I've always been drawn to. Its midrange is also more engaging and emotionally driven, which is a huge draw for me. The Orchestra II offers better technical performance and an overall cleaner and safer sound signature, but it's missing that something special to push it further. While the Volume S may not be able to keep up in sheer detail and separation, it brings a more unique tuning that better captures not only my attention but also helps me to enjoy my favorite tracks in a way I've not been able to replicate with other IEMs. I'd even venture to say that the Volume S is aging like fine wine. Every time I break it out for another comparison, I'm again taken aback by just how good it is.

My pick: Volume S

● Kiwi Ears Astral ($300) - Here we see another hybrid contender and the first of the matchups within the Kiwi Ears family. The Astral utilizes a 1DD, 6BA configuration against the 10 BAs in the Orchestra II. Starting with the accessories, this is a perfect example of how the company has progressed and upgraded its inclusions over time. Both sets have modular cables, but the Orchestra II's is thicker, softer, and more pliable, and they include more tip options and a much nicer case, too. These two also vary in their build and design. The Astral has a more traditional resin body and metal nozzle, as well as a comfortable semi-custom shape. The Orchestra II has a full resin build, a larger, more bulbous shape, and a wider resin nozzle. The Astral's faceplate features a sparkly design that doesn't really manage to stand out in today's market, whereas the Orchestra II's design is more eye-catching, but perhaps also more polarizing. Fit-wise, the Astral is my preference not only due to its smaller size and better-contoured shell, but it's also vented, which helps alleviate pressure issues, unlike the Orchestra II. When it comes to the sound signature, both sets have a generally U-shaped tuning, but the Orchestra II has more pronounced upper mids and treble, while the Astral is a little flatter with a touch of meta-tuned flavor sprinkled in. In the bass, there are some immediately noticeable differences in their presentation. The thing that hit me first was the Astral's naturalness and slower decay, thanks to utilizing a DD for the low end. It's also a bit more linear in its presentation. The Orchestra II has a slightly harder-hitting impact, deeper extension, and a more visceral feeling. It also offers a cleaner texture, better resolution, and clearer delineation between the bass and midrange, but the Astral's bass is arguably better balanced with the midrange and treble. The mids are where the Astral pulls ahead. The flatter frequency response in this case translates to a better-balance across the midrange for me. Vocals are smoother, more emotive, and slightly warm, which I always enjoy, and the lower midrange too is better represented for instruments. In comparison, the Orchestra II actually sounds a touch shouty in the upper mids, though it does have improved instrument timbre and separation, which is certainly appealing. Moving to the treble, the Astral sounds a little airier, sparklier, and a touch thinner. It also has a crisper texture, but cymbals can be a bit splashy at times. The Orchestra II offers a slightly more energetic top end along with better detail. Also, the linearly rolled-off response ensures there's no harshness or troublesome notes, though I wouldn't mind a bit more air. Regarding the technicalities, I think these two trade blows, but the Orchestra II takes the win in detail retrieval, separation, imaging, and dynamics, while the Astral has better soundstage width, layering, and timbre. For me, this one comes down to the style of sound signature and overall energy level. Both follow a generally similar tuning target, but the Orchestra II is much more dynamic and exciting, whereas the Astral is the more relaxed and balanced. The Astral's little bit of meta-style tuning influence is definitely noticeable when comparing these two directly, and it's difficult for me to say which I like more. By rule, I usually gravitate towards a warmer and more musical presentation, and the Astral certainly has its appeal, but the Orchestra II's bass really impresses, especially for an all-BA set. Vocals on the Astral are smooth and mellow, which I like, but the treble can be a touch overdone for my preferences. If you're keeping score, that's the bass and treble going the way of the Orchestra II, and only the midrange for the Astral. Factor in the much better accessories and the improved technical performance, and I think it's clear that the Orchestra II manages to eke out a win here, though it's not a resounding victory. 

My pick: Orchestra II

● Kiwi Ears Orchestra Lite ($250) - And finally, we come to the most anticipated matchup, at least for me: the old guard versus the new challenger. Both IEMs are all-BA, but the Lite utilizes 6 BAs while there are 10 in the Orchestra II. Starting with the accessories, the Lite has inclusions similar to the Astral, and the Orchestra II represents a better package across the spectrum, including more tip options, a better modular cable, and a much nicer case. Unsurprisingly, these two are very similar in general build, shape, and size, but there are some differences. The Lite's nozzle is a hair smaller in width, and it has a steeper angle too. It also has a slightly different, more custom-shaped shell that fits my ear better than the Orchestra II. As for the design, they are quite different. The Lite has a simple yet attractive faceplate available in various colors, while the Orchestra II has a geometric faceplate that doesn't quite appeal to me the way the Lite does. Moving on to the sound, both sets have U-shaped tunings, but with some key differences, notably the Orchestra II's emphasis on sub-bass and treble. Starting on the low end of the frequency response, the Lite doesn't extend nearly as deep as the Orchestra II, though it does have a great mid-bass response. It's not quite as impactful or well separated, but it does add a sense of warmth that is very enjoyable. The Orchestra II on the other hand has a much better balance across the bass and the sub-bass rumble is impressive, if not just a bit quick on the decay. The midrange is where the Lite starts to punch back. My biggest complaint about the Orchestra II's mids is how it doesn't quite allow vocals to shine due to the big bass shelf. Well, the Lite doesn't suffer the same fate. Its midrange is forward, emotive, and engaging, which does wonders for me. Vocals also have a superior timbre, though to be fair, the Orchestra II has better instrument separation and detail. The treble is where these two sound most alike, despite what the graph shows. Both have a smooth and rolled off treble response and neither have any sibilance or harshness to speak of. The only sizable difference for me is that the Orchestra II has slightly better extension and air and a touch more of an edge to notes, whereas the Lite has a bit more sparkle and energy. When it comes to technical performance, there are actually some stark differences, with the Orchestra II showcasing better technicalities across the board, save for the layering. It may be that the performance of today's BAs is better than those of yesteryear, or perhaps Kiwi Ears' implementation of the drivers improved over time. This matchup ultimately comes down to whether you're looking for an all-rounder or more of a specialist. I consider the Lite to be a cult classic for midrange enthusiasts like myself, whereas the Orchestra II has broader appeal. While the bass is certainly impressive and the technicalities improved, the Orchestra II simply doesn't have the same pure vocal synergy and soul as the Lite, which remains one of my favorite sets to this day and continues to draw me in every time I hear it. For my taste, the Lite does enough right in the midrange to overcome its shortcomings in the bass and technicalities, though I can certainly see why some may consider the Orchestra II to be a general improvement. However, the Lite has that little something special in its tuning that helps set it apart from many other all-BA IEMs I've heard, and at the end of the day, it's all about what makes the music more enjoyable.

My pick: Orchestra Lite

In conclusion:

Well, I didn't have a new Orchestra IEM from Kiwi Ears on my 2025 bingo card, but I'm so glad the company chose to revisit this particular model line, as the Lite is still one of my favorite mid-fi sets. Though the Orchestra II shares some of the DNA of its predecessor, in many ways it's its own unique beast. Whereas the Orchestra Lite has an engaging and emotionally charged midrange, Kiwi Ears opted for a bigger and bolder bass response, improved overall tuning balance, and upgraded technicalities for the Orchestra II. The bass is very impressive and probably my favorite feature of the tuning. This actually might be the new BA bass boss in the mid-fi tier! The midrange is decent, and the instrument timbre and separation are great, but vocals could use an extra layer of engagement. The inoffensive yet still present treble is also in a good place, though I wouldn't mind more extension and air to flesh out the top end. Overall, the Orchestra II has a perfectly pleasant tuning with splendid technicalities, but I feel it's missing that little something special to take it to the next level. It makes a really decent all-rounder, but I think it performs better with some genres over others. In my experience, it's fantastic for classic and alt-rock due to the tuning balance and the articulate nature of the BA drivers, but a little less suited for heavier rock and metal. It's also great for orchestral arrangements (I mean, come on, it's right there in the name), as well as pop, folk, rap, R&B, and singer-songwriter music. But as flexible as the Orchestra II is, it sacrifices that more specialized quality that the Lite retains, which manages to capture my heart a little more. I'd also like to see a more comfortable shell and proper venting, but those aren't as much of a deal-breaker for me as for others. I can certainly give the Orchestra II a solid recommendation as it really does nothing "wrong" from a tuning standpoint—in fact, it does a lot very well. At $350, the value is definitely there, but unfortunately, the few minor issues raised in this review keep me from elevating the score past four stars. Still, the Orchestra II is another great release from Kiwi Ears, and I'm glad they continue to innovate and improve with each new model. So, is the Orchestra II right for you? Only your ears can help you make that judgment. But if you're in the market for an all-BA all-rounder, definitely give this one consideration.