Ziigaat Odyssey VS Dunu Kima 2

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Single-DD + 3BA hybrid with a clean, confident look: thick shell, metal nozzle that grips tips well, visible rear vent, and the preferable flat 2-pin connector. The standard Ziigaat case feels premium if a bit unexciting. Sonically, Odyssey lands a balanced, tastefully energetic tuning—ample bass for most listeners, elevated upper mids for presence, and a smooth, clean upper-treble. Out of the box it sounds immediately right and counts among the better-tuned sub-$300 IEMs. The catch: macro/micro detail and imaging are good, not mind-blowing, keeping overall technical performance at “appropriate for the price.”

Within Ziigaat’s lineup, Arcadia skews darker with less treble reach, Xeno/Ceno feels a bit treble-shy, and Dinko is the more V-shaped, poppier pick with extra sub-bass. Explorer overlaps in tonality but Odyssey adds more upper-mids energy and refinement—albeit at a higher price. Among peers, AFUL’s P7 brings the stronger technicals and a slightly more neutral sheen, K4 trades blows, and “Quattro” may edge tuning purity. As an all-rounder, though, Odyssey hits a sweet spot: rich mids, fun but controlled bass, convincing note weight, and a natural stage, even if the far-upper air can temper ultimate sparkle.

Verdict: a fantastic mid-tier set with high price-to-performance, gorgeous faceplates, and a crowd-pleasing tonality; accessories are a bit underwhelming, and the top-end “air” won’t wow technicality chasers. Scored around 8.8/10 and easily recommended as a safe, musical choice—especially when discounts bring the sticker down.

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Dunu Kima 2 keeps it simple with a single dynamic driver and a design that punches well above its price. The CR Edition in vibrant green looks unique and feels premium: a compact metallic shell, recessed 2-pin, and a tasteful gold nozzle that fits comfortably for long sessions. Accessories are stacked—loads of tips, shirt clip, cleaning tool, and DUNU’s quick-swap cable (3.5/4.4) that changes in seconds—plus a leathery cup-style case that’s genuinely excellent. Overall packaging and build quality come off as impeccable and thoughtfully executed.

Tonally, it leans a touch bass-light at times, but the upper mids, air, and detail impress for the money, delivering a clean, even, and musical presentation with pleasing imaging and soundstage. Compared with bass-heavier or older-school V options (e.g., Titan S), this tuning sounds more cohesive and refined; versus costlier sets like Falcon Ultra, it offers a similar sense of open, airy presence at roughly ~$80 less, and it avoids the occasional bass oddities heard on some rivals (e.g., DaVinci). Not a basshead pick—though a small EQ lift near ~100 Hz can help—this is a chill, vocal-friendly set that shines across genres and even light studio work. With its great value, standout accessories, and tasteful tuning, Dunu Kima 2 earns a full recommendation as a bang-for-buck daily driver.

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Ziigaat Odyssey comes in at $230 with a four-driver hybrid (1DD + 3 BAs) that’s very easy to drive. Build is the usual Ziigaat: full 3D-printed resin shells with metal nozzles and filters; sturdy and comfortable for average-to-larger ears, while tiny ears get a technical pass. The weak spot is the accessories: a basic cable (3.5mm or 4.4 option), one set of soft silicone tips plus foams, and a leatherette case that feels flimsy—underwhelming at this price. Aesthetics score well with a sparkly faceplate that the “Council of Ladies” mostly favors, even if it doesn’t always trigger compliments.

Sonically, Odyssey aims for warm-neutral with a tasteful bass boost. Sub-bass texture can run a touch soft, but mid-bass punch is addicting, giving kick drums and bass guitars real drive without boom. Lower mids are warm and slightly veiled in a pleasant, retro-leaning way; female vocals sit a bit back yet remain clean. Treble is safe but present—enough sparkle and clarity to balance the bass without sting, though true treble-heads may want more air. Technicals are solid for the bracket: good resolution, excellent separation, precise imaging, and an average-sized but convincing stage. With a 15–30Ω adapter, the FR tilts more V-shaped (more bass/upper-mids/treble), a fun twist for occasional variety.

Against peers, Odyssey is the relaxed, safer listen: warmer and less contrasty than EPZ P50 (brighter, more vocal-forward) and Kiwi Ears K4 (more V-shaped excitement), and a middle ground between AFUL Explorer (darker, bassier) and AFUL Performer 5+2 (airier, more resolving with stronger female vocals). Not the pick for bass-heads, treble-heads, or libraries packed with K-/J-pop divas, but a killer one-and-done all-rounder for mixed libraries that value warmth, balance, and zero fatigue. Despite the skimpy pack-ins, the tuning and performance earn a spot in “this is brilliant.”

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Dunu Kima 2 shows up at $120 with an accessories suite that punches way above class: a big, usable hard case, shirt clip, cleaning brush, shell “booties,” four full tip sets (including Dunu S&S and Dunu Candy), and a modular cable (3.5 mm + 4.4 mm). The cable’s paracord-sleeved lower half feels stiff and behaves differently from the supple top half, but microphonics are low and the QD swap system is convenient. The CNC stainless-steel shells are well-vented and sturdy; a tiny seam misalignment doesn’t affect comfort. Fit is easy—even on smaller ears—and isolation/pressure are handled well. Bonus flair: the acrylic character stand is pure fun.

Sonically, this is a mid-centric neutral tuning with tasteful sub-bass reach rather than boom. The bass stays accurate and textured, doing what the mix asks without spotlighting itself. Mids are the star: instruments separate cleanly and female vocals get a gentle lift without veering shouty. Upper-mids/treble bring a bit of shine for air and detail; generally non-fatiguing, though very treble-sensitive listeners at higher volumes may notice some bite on bright tracks. Technical chops are strong for a single DD—resolution and imaging match sets like EA500 LM, with stereo separation and a convincing 3D stage that scale nicely with good recordings.

Against peers, KZ Krila (all switches off) mimics the tonality but is harsher up top and less refined. Dunu Titan S2 plays it more V-shaped with extra treble energy; if that felt hot, Kima 2 is the calmer, more balanced pick. CVJ Aria (silver nozzles) sits a touch brighter with less sub-bass; the blue nozzles warm it up, but Kima 2 still has the better driver and vocal delivery. Think of it as a modern, slightly warmer, less shout-prone Starfield with a far better bundle. Verdict: a fantastic all-rounder and beginner-friendly choice if neutral with a vocal focus sounds right. Not for bassheads or sparkle-chasers, and the stock cable could be nicer, but overall it earns a firm “this is brilliant” for value, tuning, and usability.

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A slow-burn hybrid (1DD + 3BA) around $200 that has grown by word of mouth. Tuning is Goldilocks—smoother/warm lower end with a tidier, slightly lifted upper end—making it broadly natural and low-fatigue across libraries. Impedance interaction matters: low-impedance sources keep a fuller mid-bass and flatter ~5 kHz, while added impedance nudges sub-bass and a little 5 kHz bite for a more U-shaped tilt. It doesn’t chase max technicalities, instead prioritizing musicality and tone.

Bass leans mid-bass over pure sub-bass, bringing welcome physicality and punch without boom; the custom DD feels lively. Mids are clean yet set a hair behind bass/treble, so transparency and headline resolution trail leaner micoplanar-leaning rivals, but timbre stays convincing and unfussy. Treble rides the line—polished and slightly elevated to balance the low end, with potential ~5 kHz energy on higher-impedance chains—still more smooth than sharp. Stage, depth and air are as expected for the class, yielding a coherent, well-balanced presentation that explains its long-tail appeal.

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DUNU Kima 2 presents as a very refined single dynamic driver set with excellent build, metal shells and a generous accessory pack including the familiar modular Q-Lock cable with both 3.5 mm and 4.4 mm terminations. The Eclipse DLC driver inside feels clearly a step above typical $100-class dynamics, giving the tuning a solid foundation and making the overall tonality come across as full-bodied and smooth.

Sonically, the Kima 2 follows a slight V / Harman-inspired balance with a linear 5 dB bass shelf that prioritizes weight and timbre over slam, feeding into thick but appealing lower mids that keep vocals and instruments nicely grounded. Upper mids are energetic yet controlled, avoiding shout or harshness, while the treble mostly tracks a Harman-like contour, only rolling off a bit early around 10 kHz which contributes to a warm, relaxed character, especially at lower listening volumes.

This slightly undercooked 10 kHz region is the main nitpick, as it holds back perceived technical performance; the mids can sound less sharply focused and microdetail is a touch softer compared with the best single dynamic driver competitors until that area is nudged up with EQ or higher volume. Still, staging is spacious and well-imaged, the tuning is coherent and easy to enjoy, and with a minor treble tweak Kima 2 comes very close to being a true standout one DD option around the 120 dollar mark.

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Ziigaat Odyssey lands as a mid-range focused set with a slight treble lift that really scales with volume. At relaxed levels it’s clean, calm, and easygoing; turn it up and the presentation becomes wide, airy, and immersive with a surprisingly punchy, rumbly low end for its graph. The new topology DD hits a sweet balance—neither sluggish nor hyper-snappy—delivering well-balanced bass that serves the tuning, even if ultimate slam/texture trails sets like Hype 4 or Xenns Tea Pros. Tip rolling toward slightly brighter tips adds a touch of treble energy and liveliness without pushing fatigue.

The star here is the midrange: instruments layer neatly with comfortable separation, and vocals sit clean and natural—not shouty, not veiled—though they can feel a bit too relaxed at mid volume. Treble is smooth yet detailed, revealing cymbal micro-info and air without harshness, and it’s noticeably cleaner than Explorer while avoiding metallic timbre. Technicals are solid for the price—a step up from Explorer and just behind “contet” in raw resolving power—yet more natural in timbre and notably more musical when driven louder. The tuning flatters slow rock, acoustic, indie, alternative, and ballads, where the Odyssey’s “turn-it-up” character shines.

For alternatives: those wanting warmer, bassier impact for hip-hop, rock, or metal may prefer Kiwi Ears K4, HBB Arcadia, or the Deuce for true bass-head needs. For mid-volume all-rounders with more instant engagement and technical pop, consider Supermix 4, Nova, Quintet, or Chopin; for airier, brighter takes with sweeter female vocals, look at Cadenza 4 or CKLVX. As a package, Odyssey feels like a future classic—gorgeous plating, a cable that could use an upgrade, and a uniquely immersive, high-volume experience that invites shutting out the world and sinking into the music.

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Dunu Kima 2 goes for a neutral-warm, relaxing tuning with a distinctly laid-back presentation—very much a chill listen. Resolution sits on the softer side, prioritizing smoothness over bite, so the overall vibe stays silky and easygoing. Fans of similarly mellow sets like the KiRA Ching or the Abyss will feel right at home with this approach.

The trade-off is in the mids: vocals can come across a bit weak and too relaxed, with less power and extension, and the 3–5 kHz region feels tame, so it’s not the most engaging or detailed take for vocal-centric listening. That said, the build and cable quality are excellent, and for those seeking an easy, non-fatiguing daily driver, Kima 2 makes a lot of sense—even if vocal lovers may want to look elsewhere.

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Ziigaat Odyssey takes the new Meta tuning and gives it a more V-shaped, exciting twist. It keeps the beautiful mid-range intact while adding extra energy to both bass and treble, landing closer in spirit to Moondrop x Crinacle Dust (DSP) and Kiwi Ears K4—but with more swagger. It’s not as strictly on-target as those sets, yet the result is more engaging and solves the “too safe, sometimes boring” side effect of many Meta-tuned IEMs.

Beyond tuning, Odyssey brings real upgrades in technical performance for the price. Bass dynamics are punchier and more well-defined than K4, and treble nuances come through with greater clarity while preserving that natural vocal center. At $229, it undercuts many competitors and still feels like a step up—an easy pick for listeners who want Meta’s mid clarity with extra excitement and better slam without sacrificing coherence or comfort.

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Ziigaat’s 2024 lineup lands three distinct flavors: the R (1DD+4BA), Arcadia (1DD+2BA), and Odyssey (1DD+3BA)—all sharing the same case, tips, and cable, but with very different tunings and striking faceplates. Pricing lives in the approachable range (roughly $200–$250), and the shells are well-built 3D-printed resin. The Odyssey’s nozzle appears slightly wider than the R’s, and its cloudy pink/silver faceplate looks clean and premium without the flashiness of Arcadia’s green/yellow sparkle.

For competitive play, title-by-title differences matter. In Valorant, Arcadia’s extra warmth and bass impact feel immersive but a touch boomy/bloomy under heavy ability spam—solid, around a B. The R and Odyssey perform on par with high marks; the R’s 1–3 kHz lift sharpens clarity and verticality, while Odyssey is more neutral and less bright. In Apex Legends, Arcadia struggles as bass bloom masks micro-cues (B–/C+). Odyssey delivers great separation/layering with slightly softer overhead cues (B+/B), and handles gunfire more comfortably than the R. In CS2, Odyssey takes the lead for its imaging, depth perception, and non-fatiguing balance; in Warzone, the order shifts to R > Arcadia > Odyssey, with Arcadia’s warmth helping vertical reads and impact.

As a music set, the Odyssey is a standout: potent, tight bass with clean transients, balanced mids that aren’t smothered, and a clean, non-sibilant treble that avoids fatigue while letting micro-detail through. It lands as a favorite in its price bracket—an easy recommendation for listeners who want a neutral-leaning all-rounder that still punches hard, splits cues well, and won’t scorch ears with gunfire or treble glare.

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Dunu Kima 2 goes straight for the dopamine: a single dynamic driver with a DLC composite diaphragm and beefy magnet system that’s being compared to Falcon Ultra—only this time the tuning hits even sweeter. The limited green shells feel properly weighty, the 2-pin sockets are neatly angled, and the accessories scream overkill for the tag: a chic Dunu case, an interchangeable-plug cable that looks and handles like “flagship” kit, and the excellent Dunu S&S tips amid a pile of spares (plus a cheeky waifu placard). The kicker is the price: at around $119, this package reads like a prank on the mid-tier.

Sonically it pours like a great coffee—creamy and smooth yet bold—with an intimate stage that keeps everything “right here,” not stadium-wide, and somehow makes the volume creep up because the presentation stays clean and composed. The imaging punches well above class, vocals project with that “front-row, back-of-the-skull” focus, and the bass hits like a steady heartbeat—present, textured, never sloppy. It’s the kind of single-DD tuning that makes multi-driver sets feel fussy: refined treble, lively macro-dynamics, and zero harshness. In short, a value nuke that can bully most $100–$250 competitors on sound alone—and with this cable and accessories, there’s barely a reason to look elsewhere.