Today, I review the Kiwi Ears Septet IEMs. Septet are quadbrid earphones with an exotic 1DD + 4BA + 1 Planar + 1 PZT driver configuration and semi-open back design. It’s priced at 269 USD.
Disclaimer: This sample was provided by Linsoul in exchange for an honest review. All observations and opinions here are my own, based on my experience with the product.

Kiwi Ears Septet
Specifications
Driver: 10mm Dynamic + 4BA + 1 Micro-Planar + 1 PZT (Open Back)
Crossover: 5-way with 3 tuning tubes
Rated Power: 5mW
Max Power: 10mW
Impedance: 15Ω
Sensitivity: 95dB @ 1kHz/mW
Frequency Response: 8Hz – 30kHz
THD: <1% @ 1kHz
Cable: 5N OCC, 0.78mm 2-pin, 1.2m ±5cm
Plug: 3.5mm & 4.4mm Interchangeable
Inside the Box
- Kiwi Ears Septet x1
- Cable x1
- 4.4mm adapter x1
- Ear Tips x6
- Earphone Case x1
- Warranty Card x1

Design
The Kiwi Ears Septet sports an open-back design, which is meant to give the drivers plenty of breathing room and open up the soundstage. The all-metal shells feel solid in the hand, and the faceplates are simple in design but not boring—they’ve got a series of horizontal cutouts surrounding a recessed centre with the Kiwi Ears logo stamped right in the middle. It’s a unique look that stands out without trying too hard.
Inside, the Septet has a pretty wild driver setup: a 10mm dynamic driver handles the bass, backed by four balanced armatures covering the low-mids to mid-treble. On top of that, there’s a microplanar driver and a piezoelectric transducer dedicated to the upper treble. All of this is tied together with a 5-way passive crossover and a three-bore nozzle system—it’s a complex configuration, and making it all sound cohesive is no small feat, which is why it took the engineering team almost 2 years to develop.
I found the Septet comfortable, but I had to experiment with a few eartip types before I got a secure fit. That could just be me—it’ll depend on your individual ear anatomy. Because of the open-back design, passive noise isolation is poor, making the Septet a less-than-ideal choice for noisy environments.


The Septet comes with a braided 5N OCC modular cable system, and it includes both 3.5mm and 4.4mm terminations in the box. All of the hardware is aluminium with a matte black finish, giving it a clean, premium look. It’s a great cable overall—supple, easy to handle, and completely free of any noticeable microphonics.
Sound
Sources used for testing include the SMSL DO300EX, HiBy R6 III 2025 and FiiO KA17. The Kiwi Ears Septet is pretty demanding when it comes to driving power. I found myself pushing the volume up more than usual, regardless of which audio source I paired the Septet with. Not only that, but a sufficiently powerful source will bring the bass to life, making it tighter and more impactful and will reveal the Septet’s full dynamic range.
I should also point out that the Septet is highly fit-dependent — if the placement isn’t just right in your ears, the bass loses impact and the midrange sounds thin.
It’s not a particularly vivid or dense presentation, but it’s airy and cleanly etched. The tuning feels deliberate—something purists will appreciate—but others may find themselves wishing for more richness and body to draw them deeper in.

Bass
The Septet’s low end leans more towards finesse than force. There’s good sub-bass reach here, and when called for, it has a nicely textured rumble that feels tight and controlled. It doesn’t bleed into the mids and avoids sounding anaemic or rolled-off—there’s still enough weight and presence to ground the music.
This isn’t a basshead set by any stretch. The bass is reserved, even a touch too polite at times, but while I occasionally find myself wishing for a bit more slam or physical impact in the upper bass, the overall quality is hard to fault. It’s clean, articulate and refined—bass that knows its place in the mix and plays it well.
Midrange
Septet’s midrange is clean and spacious, with a clear, open sound that keeps dense progressive rock tracks like King Crimson’s “Starless” free of congestion. Vocals are detailed, capturing the intensity of Robert Fripp’s layered melodies with articulate precision. Note size stays neutral, offering a versatile, uncoloured tone, though a touch more warmth could enhance naturalness for jazz or orchestral cuts.
Transients are swift, lending crisp snaps to percussion like toms and snares, adding energy without overpowering the mix. Instruments sit distinctly in the spacious stage, from synths to guitars, making the midrange both detailed and musical. This is a refined presentation that oozes fidelity and engagement with its clarity and emotion.

Treble
The Septet’s treble is upfront, lively, and airy. It’s highly detailed and generally smooth, though this can vary depending on the recording. Trebleheads will love its energy, but those sensitive to high frequencies might find it fatiguing, especially in the 6–8kHz range. The treble isn’t thin or overly sharp—it’s just presented more forward in the mix relative to the mids and bass. There’s no noticeable sibilance or harshness, and despite its bold character, it’s a technically impressive treble overall.
Soundstage & Technicalities
Septet’s soundstage is wider than average, with the ability to project sounds outside of the headspace. Instrument separation is solid and positional imaging is accurate, showing precise positioning of elements within the stage. Detail retrieval is above average and even elusive micro-details are brought to the forefront.
Comparisons
Tanchjim Origin

The Origin has more bass presence overall, despite not having as much of a boost in the sub-bass. It has a more linear transition from the lowest to the upper bass, giving it a more natural and cohesive sound. Origin’s mids are more forward and intimate and have more note body, giving them a very natural presentation. Conversely, the Septet’s mids are more spacious but thinner with more upper harmonics and sharper transients.
The Origin’s treble is smoother, albeit not as airy as the Septet. Its soundstage isn’t as wide as the Septet but it has slightly better note density and an organic warmth. The Origin’s detail retrieval is not quite on the same level as the Septet but it comes surprisingly close for a warmer, single dynamic driver IEM.
Kiwi Ears Astral

First, the Astral is far more efficient and requires much less driving power. However, it has significantly larger shells that might be a concern for people with small ears. Astral’s shells are 3D-printed resin, whereas the Septet has all-metal shells.
Astral has a punchier and more impactful bass and a warmer overall tonality. It sounds more natural and lifelike but doesn’t have the same spaciousness or expansive soundstage as the Septet. Astral’s midrange has more body and an upfront presentation that grabs your attention. While Astral’s detail retrieval is good, the Septet takes things to another level, revealing every minute detail in the recording, albeit at the cost of sounding brighter and less natural.

Verdict
The Kiwi Ears Septet is a unique and interesting IEM. It’s bound to please those who favour a wide soundstage and technical performance, even if it has to compromise on naturalness to do so. Moreover, it requires a lot of driving power and needs a fairly beefy audio source to make it sing.