Kiwi Ears Orchestra II

A refined sequel to the Orchestra Lite that keeps the magic intact

It’s the time of year when I start sketching out my end‑of‑year summaries and shortlists. Coming into this, I thought my IEMs of the year would likely be the Truthear Pure and the Crinacle Daybreak both for different but compelling reasons. But then the Kiwi Ears Orchestra II arrived.

As a sequel to one of my all‑time favourite IEMs, the Orchestra Lite, it was always going to face high expectations.

At a high level, the Orchestra II is a subtle but worthwhile refinement of the Lite’s tuning: a touch more sub‑bass, a little more upper‑treble presence, and the same midrange tuning “magic” that made the Lite special. I was worried it might lose that midrange magic, particularly with imaging for pianos and guitars, but it’s very much still here. Though, I did find the tuning shifted slightly when closely comparing track by track with the original Orchestra Lite. So, while the more significant differences are in the sub-bass and upper treble, there are subtle differences in the midrange and how the mid‑treble region interacts with instrument harmonics in a lot of the rock, pop, and indie tracks I tried it on.

But before I go into more detail on the sound, let’s look at the unboxing first:

Unboxing and Build Quality

The box is typical of recent Kiwi Ears products :

The back of the box:

With the specifications on the side of the box:

Removing the outer sleeve shows the earpieces and case clearly, with the accessories organised underneath.

Opening the inner box reveals Orchestra II faceplates, which I know some people have thought are similar to some KZ IEMs, but I think they are much more premium IRL:

Removing some of these internal boxes:

Hardcase

One contains the hard case:

Eartip collection:

The other box contains the various eartips, and the selection is suitably generous, offering multiple sizes and styles to help dial in seal and comfort:

Tip choice will influence both seal and tonal balance, but I had no trouble finding a comfortable setup with this selection.

Cable

The cable is soft and well‑behaved:

With 2‑pin connectors, a chin slider, and I do like the modular terminations supporting both 3.5mm and 4.4mm (though it is a pity it doesn’t come with a usb-c connector also like some of the recent Tanchjim IEMs):

IEM Shell

The shells are beautifully finished:

With a clear design that shows off the internal balanced armature layout and a tasteful honeycomb faceplate.

The Orchestra II features 10 custom balanced armatures per side in the following configuration:

• 2 × Transparent Low-Frequency BAs (with innovative clear acrylic housings)
• 4 × Mid-Frequency BAs
• 2 × High-Frequency BAs
• 2 × Ultra-High-Frequency BAs

Kiwi Ears has branded each BA driver with their name, clearly visible through the transparent shells—a nice premium touch that shows attention to detail. The clear acrylic bass driver housings are claimed to reduce acoustic resonance compared to traditional metal-housed BAs, delivering tighter, more natural bass response for an all-BA design:

Fit and Comfort

The Orchestra II is not a small IEM, but for me the shape and nozzle length were secure without being uncomfortable.

The shape is not as ‘opinionated’ compared to the Orchestra Lite, or, for example, the Crinear Daybreak:

It is still comfortable and fits well without feeling it might fall out.

Important note: this is an all‑BA design without a typical dynamic driver vent. That can cause some pressure build‑up over time—expect to adjust the IEM every so often to relieve that pressure. The upside is excellent passive isolation; in my experience, you get an almost “ANC” effect in how effectively it blocks ambient noise.

For this reason, the Orchestra Lite (and now the Orchestra II) has long been a favourite for my long walks; the II isolates similarly well, but historically the Lite was my go‑to for that purpose.

Sound Impressions

This section is subjective by nature. Compared directly with the Orchestra Lite, the Orchestra II adds a touch of sub‑bass weight and a little more air/energy up top, while preserving the coherent, realistic midrange tuning that gave the Lite its “magic.”

What It Excels At

The Orchestra II truly shines with certain genres and recording styles:

• Vocal Jazz: The natural midrange and clean presentation make vocals from classic audiophile artists like Diana Krall, Eva Cassidy and Norah Jones sound exceptional. The transparency lets you hear every subtle inflection and breath.

• Acoustic Music: Singer-songwriters and acoustic guitar work beautifully with the honest, uncolored presentation. Artists like Nick Drake, Jim Croce or Jeff Tweedy sound intimate and lifelike.

• Classical/Orchestral: The precision, separation, and natural timbre make it outstanding for classical music, with each instrument section clearly positioned. String quartets, piano solos, and full orchestral works all benefit from the coherent, reference-tuned presentation.

This is less ideal for bassheads or those seeking an exciting, V-shaped signature. It’s about accuracy and midrange magic rather than artificial emphasis.

Bass

Sub‑bass is smoother and better extended than on the Lite, with a satisfying rumble when the music calls for it. On Fever Ray’s “Coconut”, the low‑end texture and depth come through confidently without overpowering the mix. Typical all‑BA sets can feel thin down low, but this BA configuration avoids that pitfall.

On Wet Leg’s “CPR” and Jeff Tweedy’s “Feel Free” (from his new Twilight Override), the Orchestra II doesn’t chase huge slam; instead it delivers taut, clean bass lines that stay perfectly in time and never smear into the mids. Both tracks highlight how the II keeps the low-end articulate and well‑separated rather than bloomy.

Midrange

Midrange tonality is a highlight—natural, convincingly lifelike, and excellent at conveying spatial cues. Piano, guitars, and vocals place cleanly in the image with that familiar midrange‑tuning “magic” from the Orchestra Lite, preserved here in the Orchestra II. Depending on the track, I noticed slight variations in how the mid‑treble harmonics interplay with the core midrange, which tracks with what we see in the measurements.

Rosalía’s “Berghain” (from her new LUX album) sound extraordinary and a great sanity check for mid-clarity: the Orchestra II keeps the midrange tone crisp and intelligible, balancing the OTT production with clear vocals and stable instrument outlines.

Classical music lovers will appreciate how well the Orchestra II handles complex orchestral works. Holst’s “Planets” suite (particularly “Uranus” with its dynamic timpani and powerful brass) demonstrates the IEM’s ability to maintain separation during climactic passages while preserving natural decay and reverberant acoustics. String sections have natural sweetness, woodwinds glow with proper color, and piano carries both weight and clarity—all hallmarks of a well-tuned reference monitor.

Treble

Upper treble is slightly more present than on the Lite, adding a bit more shimmer and a feeling of openness without turning sharp in my setup. Detail retrieval is strong, and cymbal decay feels a touch more audible than before, though for me the difference is very subtle, for those sensitive to upper treble might find the II a little too much on some tracks.

On Where I End and You Begin by “Radiohead” upper harmonics and cymbal sheen have just enough sparkle and air while sibilants stay in check—no glassiness or sting even at higher volumes.

Soundstage & Imaging

Imaging precision is fractionally better than the Lite to my ears. Soundstage is still IEM‑typical in size—so don’t expect a huge stage—but placement and separation are excellent within that space.

Spin the classic Elton John’s track “Honky Cat” and you get an almost holographic take on a close‑miked piano: attacks have point, decays hang naturally, and left–right placement is straightforward to follow within the mix.

Comparisons

Here are some subjective comparisons of the Orchestra II to the other IEMs I love:

• Orchestra Lite: The II keeps the midrange character and imaging that made the Lite special, while adding a little more sub‑bass and upper treble energy. If you love the Lite’s balance, this feels like “more of what you like” without upsetting the core recipe.

• Crinear Daybreak: The Daybreak is a great all-rounder and a brilliant first major IEM release from Crinear, but for those who love Midrange over bass and treble I feel the II is a more interesting choice.

• Kiwi Ears KE4: The KE4 follows the newer “meta” tuning trend and delivers superb value under $200. The Orchestra II leans more midrange‑focused and cohesive, with better isolation and a more refined, BA‑driven presentation.

Specifications and Measurements

Specifications

Measurements

The frequency response, as you will see, is very similar to the Lite, but Kiwi Ears have made some subtle changes, with more subbass (1), slightly more refined midrange (2), and a definitely more upper treble (3).

Channel balance which I feel is crucial for imaging accuracy also looks solid on my unit.

Frequency response shows the Orchestra II largely in line with the Lite through the midrange, with a bit more presence in the sub‑bass (1) and more upper‑treble energy (3). That treble energy might be a little much for listeners (especially those younger than 20 years old), but I personally like that little extra upper treble sparkle.

I did also highlight above (3) where there are some subtle differences in the lower treble harmonics between the II and the Lite. I suspect that this change causes the II to get that slightly shifted clarity I felt in some tracks, where the II was subtly better in some while the Lite was better in others.

Distortion remains low and consistent, supporting the clean, precise imaging I hear.

As a percentage, when playing over 100dbSPL it is still relatively low, but BA’s typically do have a little more distortion than DD’s:

Rating

I’m giving the Orchestra II a 5/5 pragmatic rating. It preserves what was special about the Lite’s sound while adding a little extra sub‑bass and treble sparkle that I suspect most people will appreciate. The isolation is excellent, the accessories are thoughtful, and the technical performance (especially imaging) remains a standout.

Priced at $299, the Orchestra II lands in a competitive bracket, but if you liked the Lite, this is a careful enhancement that many will appreciate. I’ll be A/B testing the Orchestra II against the Pure and Daybreak over the next few weeks to see which ends up as my overall pick—but the Orchestra II is unquestionably in the conversation.

Who is this for?

• Listeners who value a balanced, midrange‑focused tuning with natural timbre
• Fans of the Orchestra Lite looking for a careful refinement rather than a wholesale change
• Anyone who wants strong passive isolation without active noise-cancelling - I love walking with this IEM, though the pressure build up will be too much for some users.

Conclusion

The Kiwi Ears Orchestra II is just landed as one of my favourite IEMs of the year, I feel it’s a genuine contender for my IEM of the year. That’s high praise, considering how competitive the sub-$350 market has become.

Whether it’s the right upgrade depends on your current kit: if you already own the Orchestra Lite, this is a subtle though meaningful enhancement rather than a reinvention. If you like a balanced, midrange‑centric tuning with a little bit more sub‑bass weight and upper‑treble air than the Lite, the Orchestra II nails that brief.

For those seeking a reference-tuned, all-BA design that excels with midrange music, especially vocal jazz, acoustic music, and classical recordings, the Orchestra II represents one of the best options currently available.

The Orchestra II is a very strong buy recommendation, especially if you have not already bought the Orchestra Lite, and if you do, I hope you enjoy it as much as I do as I think this is an outstanding IEM.