Technicalities-wise, they both have similar imaging, separation and coherency performance but T2 DLC has a bit wider sound/speaker stage. As for detail retrieval, T2 DLC has edgier and sharper definition compared to a more balanced Kima. Treble Region​I find the treble to have a tasteful rise that doesn’t feel forced in any way. This is a good thing. Some iem makers really push this end of the mix and many problems can arise. Instead, I found that Dunu added a good amount of air to the mix which helps the Dunu Kima Classic to have an open sound up top and an overall pleasant tonality across the frequency. Dunu took the Kima Classic right to the brink of where “non-offensive” lives and stopped just short of a fatiguing replay. Build / Aesthetic​The build quality of the DKC is a bit better than the Olina though that is very much up for debate. They are both well-built and both look great. I am not partial to either set here. The cable that comes with the DKC is much better as well as the other accessories. The Olina is a bit harder to drive to good fidelity. Well, scratch that, actually the Olina can simply keep taking power and it seems that it just keeps upgrading, and it’s a chameleon to any source as well. Both sets can sound nice on just about any device. Both sets fit me fine, but the Olina does have the edge here. The issue with the T4 Plus lies in the technical department. The staging is wider than the Kima but not as deep. They sound less refined in the mids, and the more present treble is offset by poorer imaging and slightly worse dynamics. I think the Dunu Kima showcase a better execution of the “warm, inoffensive” tuning than the T4 Plus.

As for driveability, it seems that DUNU KIMA is a very efficient IEM when it comes to amplification. Just a decent power output from multimedia devices like smartphones and tablets will give enough juice on this set to deliver a good amplitude and better dynamic sound. Putting them in better sources with better DAC/amps will sound even more fuller and vital to the sound quality. The Kima has a distinct pinna gain region centered at around 2.5 kHz. There is not as much vertical separation between male vocals and dense instrumentation as I would like. With that said, the Kima does a good job of balancing between the two and not burying distorted electric guitar riffs beneath harsh male vocals. Analog percussion fares less well in terms of overall emphasis but avoids timbral compression, which is a win for the Kima. There is a tinge of boominess to male vocals which impairs male vocal intelligibility, even if only slightly. Female vocals sound deeper and more subdued than I am used to. While this avoids any potential sibilance, I felt myself wishing for a bit more energy and zing to female vocals. Dunu ha Since this unit tour was organised by the beautiful people at HiFiGo, I am grateful to them. And as I've said in all of my evaluations, the same is true for this one: all of the concepts I've expressed below are entirely my own, original ideas that haven't been influenced by anyone else. If interested, go to this link.

Difference Between Kima & Kima Classic​

Accidents, abuse, misuse, improper installation, problems with electrical power, acts of third parties. Continuing on from the boosted upper midrange, the lower treble has a peak around the 5 - 6 kHz region, and it rolls off thereafter. This adds resolution and clarity, without much sibilance or fatigue. The upper treble is hence relatively smooth, with not much splashiness in cymbals and high-hats, but as a result, the Kima Classic isn't the most airy set. The Kima are rated at 32 ohms impedance and 108 dB sensitivity, making them easy to drive from most portable sources. They work fine powered from the lowly Apple 3.5mm adapter, and dongle amplifiers add a bit of sonic flavor rather than any required power. Technically speaking, the response is identical to the original Kima; the image is crystal clear, the separation is superb, and the stage is effectively large enough. The resolution and intricacies are expressively reproduced in excellent detail, and the pace is fast enough to sound good. This is not the most boosted mid-bass and not exactly basshead worthy though bassheads may enjoy what they hear. It’s more like audiophile fun, tastefully boomy or… mature. Still, the DKC has more oomph than the OG Kima with very nice timbre in this region that comes across as warm and natural sounding. The outline of notes in the mid-bass comes across softer on the surface but not so much that it feels like loss of control or fuzzy. The mid-bass is still tidy enough to feel well developed against the price point.

I realize it may sound like I’m complaining, but the safe signature of the Kima is their defining characteristic and will undoubtedly please most listeners. They aren’t a challenging pair of IEMs to listen to, and while they may not excel at any one thing, they do most everything competently for a pair of IEMs in this price range.This warranty extends only to personal use & does not extend to any product that has been used for commercial use, rental use, or use that is not intended. There are no warranties other than expressly set forth herein.