Aroma Audio Fei Wan "FEI WAN"

Disclaimer
MusicTeck provided the Fei Wan on loan for the purpose of my honest review, for good or ill.

Fei Wan sells for around $ 4,688
www.AromaAudio.com
www.MusicTeck.com

Specs:

12 drivers with 4-way crossover:
10 Balanced Armatures
2 9.2mm Dynamic Drivers
Impedance of 18Ω at 1KHz
Sensitivity of 103dB SPL @ 100m V RMS,
Noise isolation of 26dB (CM),
Frequency response of 20-20KHz.

-----------------------------------------------------

I recently reviewed the Aroma Audio Jewel, and as soon as I was finished, I knew I had to hear Aroma’s newest flagship, the Fei Wan.

According to their website, the name references a nickname the founder of the company goes by; Fei Hun. I assume it means “Sweet Titties”, as that’s the sentiment at the forefront of my mind when listening to these in-ears.

As a loaner unit, Fei Wan came to me bare bones in just a pouch, IEMs and cable within. So I cannot comment on packaging and accessories.

The IEM its self has a very thick stem (the part which inserts into your ear), and I could not for the life of me get certain tips on. Final Type E, for instance, I never could install. So I went for my old standbys, the JVC Spiral Dots. Symbio W also fit easily. But I went for the Spiral Dots, as I find them most comfortable for my ear anatomy.

Fei Wan is a large IEM, and may stick out conspicuously for many. I have an ugly fat head with silly Dumbo ears, and they jut a little from even my ears. Size notwithstanding, I find them quite comfortable, even after many hours of use.

The included cable is Aroma Audio’s “Sparkle” cable. It’s a silver plated oxygen-free copper, four-conductor braid, terminating in 4.4mm balanced. Ergonomically, it’s not my favorite thing in the world, but it’s a big step up from the cable Jewel ships with. Sparkle is good enough I never felt the need to change it out for my review.

-----------------------------------------------------

The Sound​

Source gear for my listening impressions:

Windows 11
foobar2000
FLAC (standard 44.1khz all the way to 192khz)
DSD (converted back to PCM for the Bifrost)
PC > USB > Bifrost 2/64 > XLR Balanced Out > Violectric HPA V281 LE > 4.4mm Balanced Out > Fei Wan

Signature:​

The Aroma Audio Fei Wan is not going for neutral, nor is it slavishly devoted to natural, like Jewel was. Rather, it’s trying to thoroughly wow you, whilst maintaining an excellent sense of balance. Fei Wan gives you all the goods, with an artistically sculpted profile, without being too aggressive with any one region.

I haven’t seen a graph, but to my ears it sounds a gentle U-Shape, with plenty of lows and highs, yet the vocals barely feel recessed at all. It exhibits a wonderfully smooth, liquid quality, with midrange clarity and warmth in equal measure. There’s plenty of air and richness, openness and fullness.

In my review of Jewel, I said it wasn’t the best at anything except naturalness. I had never heard a more natural-sounding IEM. Fei Wan is not as naturally tuned as Jewel, yet it too has a skill which bests any other IEM I’ve heard, and I’ve already mentioned it; balance. This is a very subjective thing, of course. But for my preference, this is the best balance of fun, timbre, and performance. It’s not the best at any of these things, but taken together, Fei Wan juggles them masterfully.

Treble:​

Fei Wan’s treble region is properly extended and subtly elevated, to give the stage lots of air. It’s barely on the brighter side of neutral, exhibiting only a tiny bit of sparkle. However, the treble is not overly ethereal or wispy. Nor is there any hint of coldness or stridency. In fact, there’s a small amount of thickness to these notes, which imbues them with smoothness and sweetness. They are not what I’d call “syrupy”, but they approach it.

When I say the highs are only barely on the bright side, I mean it. To my ears, these are not the least bit fatiguing. Even bright 80s pop with prominent high-hat and symbol strikes cause me zero issues. Some of my favorite headphones struggle with Michael Jackson’s BAD, due to how forward those sounds are in the mix. Not Fei Wan. They’re also clean of any sibilance. Unless it’s in the recording, of course.

Mid-Range:​

If indeed vocals take a step back on the stage, it’s a small one. They certainly aren’t forward of the band, but they don’t come off terribly recessed, either. They have good size and weight, with a vaguely romantic quality. A mere whiff of warmth colors what are otherwise very clear and detailed voices. The presentation is so smooth, with such a honeyed tone, you can easily miss how profoundly textured and resolving the mids are.

When you focus in, though, Fei Wan will surprise you. The nuances and subtle sounds are well articulated. They simply don’t stand out, demanding your attention. Neither male nor female vocals possess any shoutiness from a 3Khz peak. They’re relaxed and slightly lush, yet still vivid and clear. Again, incredible balance is required to achieve this, and Fei Wan does it.

Acoustic instruments have enough lower-mid/upper-bass warmth to sound wholesome and organic, without being bloated or bloomy. Guitars have full-bodied tone and cellos have a nearly perfect degree of richness. Could I use a little more? Yeah, but that would undoubtedly have a negative effect somewhere else.

Meanwhile, electric guitars have good energy and satisfying crunch. They aren’t class-leading aggression MONSTERS, but they are thoroughly engaging. They have quite a bit more pep than Jewel, at any rate.

Bass:​

Though Fei Wan is no bass-head monitor, the lows are more than sufficient. They are full and rumbling with good dynamic driver impact. The bass will not amaze you or put a big smile on your face. I wish there was a bit more spectacle here, but again, the perfect balance might be hurt by it. Jewel had more quantity, but it also lacked clarity and transparency, and I wouldn’t want that for these IEMs.

Fei Wan’s low-end is elevated above the mids. I hear more sub-bass than mid-bass, but there is a decent amount of mid and upper bass to create that sense of a full and complete bass section. The bass is not the fastest I’ve heard, nor is it the most textured. Still, it’s a strong performer and gets the job done nicely.

Technical Performance:​

Fei Wan’s soundstage is grand in scope, and though not the largest I’ve heard, competes well against other TOTL IEMs. It’s wider than it is tall, yet the ceiling is high enough to feel properly roomy. Depth is exceptional, and imaging is god-tier, with excellent element separation. Taken together with the epic soundstage and you have an extremely holographic presentation to get lost in. Details are plentiful, and resolution is tremendous, but they are underplayed in the overall tuning. When you focus on them, Fei Wan shows it’s rendering a sharp image indeed, though not the very best I’ve heard.



-----------------------------------------------------

Comparisons

Lamentably, I no longer have Aroma Audio Jewel on hand for a direct, in-depth comparison, and I do not trust my memory enough to try and wing it. But I do wish give a brief, shallow comparison, with the strong disclaimer I am basing this on memory, and not A/B switches during a single session. So take this for whatever its worth.

Jewel is warmer than Fei Wan, with fuller mid-bass and richer tone.
FW is clearer, with more treble presence. The highs have more brightness.
Vocals had a kind of veil on Jewel, and FW does not.
Neither IEM pushed detail and resolution to the front, but Jewel was especially laidback.
I won’t pretend to know which has the bigger soundstage. They’re both large, but without having Jewel here, I can’t say who wins.

That’s as far as I want to go, on mere memory.

Empire Ears Odin ($3,399):
Odin cares far less about balance. These IEMs care about one thing and one thing only; wowing you with world class technical prowess. They are detail monsters, super clear and transparent, and tend to make all other IEMs sound veiled in comparison. Including Fei Wan. While utterly amazing, such tuning comes at a cost. Odin is not as euphonic, rich, or organic. In other words, they’re not as musical.

Odin’s treble is unquestionably the star, here. Utilizing electrostats, and tuned for air and extension, Odin is brighter, more open, and far more revealing. FW comes across darker, slower, and less distinct. Highly complex passages are no issue whatsoever for Odin. And while FW is quite capable, itself, it simply cannot keep up. If I’m listening to violins, flutes, and other higher frequency acoustic instruments, I’m choosing Odin, without a second’s hesitation.

Fei Wan’s highs are thicker and sweeter. They are far less prone to fatiguing on aggressive Pop and Rock. Odin is ethereal, wispy, and on some brighter tracks, harsh. For most of the music I listen to, Odin’s treble is simply gorgeous. But there’s no doubt FW is the more forgiving, making it the better all-arounder.

Odin’s vocals are larger and closer to the listener, with superior clarity and transparency, and texturing which pops in a marvelous, hyper-real fashion. Quite impressive. Fei Wan renders much the same detail, but in a less aggressive, more hazy manner. It comes off more natural, though the vocals are farther back, with a hint of lushness. In place of lushness, Odin delivers rawness.

For your mid-range instruments, like cellos, pianos, and acoustic guitars, I easily prefer Fei Wan. While Odin gives you the more transparent experience, FW delivers the emotion. Odin is less warm, rich, and full-sounding, which is super important for these instruments. It’s that lower-mids, upper-bass region where Odin runs a little lean. This aids in cleanliness, but diminishes how emotionally impactful, say, a cello can be. I really need that lower-mid bloom to be properly moved and feel the goose bumps.

On the other hand, electric guitars and drums, are markedly more visceral with Odin, which has an altogether faster, more aggressive demeanor. Bright, splashy Rock can become fatiguing on Odin, but when it’s not, it’s in a league of its own.

The bass on both IEMs are fantastic in their own ways. Odin has a great amount of sub-bass, and a bit of mid-bass, though very little upper bass. Whereas FW is well endowed through the whole region. Both IEMs utilize their own duel dynamic driver setups for the low-end and are capable of deep rumbling and satisfying slam. Odin has a quicker, more agile quality, with the most revealing bass I’ve yet heard, where I feel I get a real sense of the shape and dimensions of the instrument. FW is more straightforward and fun sounding. It has that richer upper bass that fills your head, without muddying the image.

Soundstage goes to Odin. FW is big, Odin is bigger; wider, taller, and portrays depth better. Image positioning is excellent on both, but Odin separates the elements cleaner, making the image substantially more crisp and distinct. This ties into resolution, on which Odin dominates all contenders. Fei Wan does very well with detail retrieval, but Odin’s tuning brings those details out with vivacious spectacle.

For those who want to rock hard, FW is the better choice. For those who derive pleasure from analyzing the recording, Odin can’t be beat.

Empire Ears Legend X ($2,299):
Fei Wan and Legend X share so much in common. They are both clear, liquid-sounding IEMs, with a touch of warmth, ample richness, and sweetly tuned, thick highs with no real sparkle. LX has more bass, and FW has more treble, but depending on what you’re listening to, they can sound super alike.

The treble is more similar than it is different. FW is slightly brighter, infusing the atmosphere with more air. It’s subtle, but noticeable. Both IEM’s have thick, almost gooey treble notes, which extend far, but definitely have a less than true-to-life tone. That’s not to say they aren’t both very enjoyable. Syrupy treble can be sincerely pleasant and non-fatiguing for all-day listening. If I had to choose between treble which felt like warm honey in my ears, or cold steel, I know what I’m choosing 10 out of 10 times.

FW is only a little less thick, a little less syrupy, and a little brighter. But it definitely sits in the same genre of treble tuning as LX.

Legend X’s mid-range is a little warmer, with vocals which are smaller, farther back on the stage, and lacking the same level of clarity Fei Wan exhibits. LX’s mids are still highly detailed, with greater weight and density, but there does seem to be a kind of veil over them, compared to FW’s more naked, transparent sound.

Instruments, again, have more vibrancy with Fei Wan, but they sound richer and more emotional with LX. This comes back to the issue of balance. FW strikes a better balance, where it’s just emotional enough to satisfy you, but doesn’t want to sacrifice clarity and transient speed by pushing it further, which LX does, probably to its detriment. You can hear this in electric guitars, where FW does the better job with attack, distortion, and crunch. LX does a fine job of this, as well. But FW is clearly better.

Coming as a surprise to no one, Legend X has greater bass quantity. I mean, it’s kind of their thing, isn’t it? Both IEMs have elevated lows, but LX is a few steps higher. These are legitimately for bass heads who also demand good technical performance. Fei Wan is simply too balanced to compete here, despite having a similar 2X DD setup dedicated to the woofer.

LX has more sub and mid bass, creating splendidly full-sounded instruments. Fei Wan does great with bass guitars, but those instruments which resonate slightly higher up the frequency range, like Cellos, don’t quite move you to the same degree. LX reaches deep into you, inspiring all the emotion a cello is meant to.

I wish I could say Fei Wan beats Legend X in the quality of its bass, but honestly, they’re basically the same. Which speaks very highly of Fei Wan, as Legend X’s lows are, well, legendary. They’re textured, well extended, and of course, impactful</em! Fei Wan is all of this, as well. In the years I’ve owned Legend X, I’ve never once felt I could do with a bit more low-end. In the short period I’ve been listening to Fei Wan, I can’t say the same. However, it’s more than enough to get the job done. You just won’t be wowed like with LX. Everything’s a tradeoff. The soundstage between these two are pretty close, but Fei Wan seems to edge out LX in width and height, and just about match LX in depth. Imaging and separation also goes to Fei Wan. LX is quite good, especially when they’re spread far off to the left and right. But if you have a clump of opera singers all in front of you, Fei Wan does a finer job of separating and placing them. Detail retrieval and resolution are, yet again, very similar, and it’s likely only thanks to Fei Wan’s tuning that it pulls slightly ahead. A little extra in the presence region, and altogether more treble, highlights what’s already there. I feel Legend X has more or less the same resolution, but it’s less apparent.

Campfire Audio Bonneville ($1399):
Bonneville may take a little time to adapt to, but once you do, these weird things have real magic up their sleeves.

They are far darker and warmer than Fei Wan, thanks to a subdued treble region and heavier bass. They will surprise you, however. The treble is actually well-extended and airy, just pulled back in the mix. But you aren’t missing any of the upper frequencies. This allows Bonneville to deliver much the same information as Fei Wan, yet sound very different doing it. Fei Wan’s highs are brighter, cleaner, and sharper. Bonneville’s are warm and thick. Neither of them comes off harsh or strident, and I never noticed any sibilants.

Bonneville has a definite veil over the mids. Hell, it has a veil over the entire stage. The rolled off treble casts a pall over everything. On the positive side, midrange instruments have more body and harmonic overtones with Bonneville. Fei Wan is clearer and more transparent. Bonneville’s vocals are farther back, but don’t sound small, thanks to everything being oversized on the stage. At first listen, you’ll think Bonnville’s midrange is wooly and devoid of detail, but I’ve found it to be remarkably textured, once you adjust to the darkness. I do feel Fei Wan is more detailed and textured, but Bonneville is nipping at its heels, just with a very different presentation.

For bass, there’s no competition. Campfire has a monster on its hands, with Bonneville. It’s utilizing a proprietary duel-magnet 10mm dynamic driver, which not only makes it significantly more efficient than Fei Wan, but also delivers a savage, high quality low-end, with more rumble and greater impact. Somehow, Fei Wan’s 2x coupled 9.2mm setup can’t quite keep up. Part of it is tuning, I’m sure, but it wouldn’t shock me if a large part is technology. Bass-heavy tracks sound correct on Bonneville, with more rounded and complete lows. As good as Fei Wan sounds in the bass region, and it sounds VERY good, it feels like something is missing.

Believe it or not, Bonneville also has the larger soundstage, mocking the notion a dark signature must equal closed-in presentation. Fei Wan is no slouch here, but Bonneville is truly extraordinary. Not only is it wide as all hell, but its super tall and very deep. It’s one of the most holographic IEMs I’ve heard. Again, Fei Wan is excellent here, competing well against most other top-shelf offerings. It just can’t match Bonneville. Where it does pull ahead is in resolution, detail and transparency. Fei Wan is a little better in resolution and detail, but it’s significantly more transparent, piercing the veil and sounding more natural and lifelike.

FATfrequency Maestro SE ($1,974):
The Maestro SE is a beautifully tuned and well-balanced IEM, much like Fei Wan. I would call it neutral-bright, with more emphasis on the high-end than the mids or lows. But it’s delicately done, so you don’t lose all warmth or naturalness. However, it does have a leaner, more airy sound than FW.

Overall, their handling of treble is pretty similar, yet I favor Maestro over FW, and not by a small amount. It possesses freer, more ethereal highs. FW is thicker and a hint darker. Maybe it’s the electrostats, or just the tuning, but Maestro has the more natural, uncolored presentation. They’re both thoroughly detailed up top, though Maestro is even more so.

Female vocals are super close, with FW just barely sounding a little warmer. For male vocals there is a larger disparity. Especially the lower voices, like David Draiman’s Disturbed cover of Sound of Silence. In the first two verses, David uses a deep, baritone register, and Fei Wan conveys this gloriously, properly full and resonant. Maestro comes off significantly thinner.

This is heard also with the instruments. The intro piano work is so much richer and deeper on Fei Wan. As is all the later instrumentation. Maestro is more like EE Odin here, tuned far more in favor of clarity than musicality, but without the god-tier resolution and detail. Whereas FW shows itself again to be king of balance.

When focusing on bass-heavy tracks, like BLACK SABBATH by Black Sabbath, we can see exactly why the midrange is skewed the way it is. Maestro has a reasonable amount of sub-bass, but very, very little mid or upper bass. It’s quite anemic in the range where warmth and note weight exists. Fei Wan, while also favoring sub-bass, has ample enough mid-bass to deliver a compelling, musical experience. It does not feel thin, or hollow here. Indeed, it feels complete. Maestro is missing a vital hunk of the frequency spectrum. Still, the sub-bass is elevated sufficiently for decent impact and dynamics, and you can have a good time on bass-heavy tracks.

Both IEM’s have a relatively grand soundstage. Maestro may be a little wider and taller, but Fei Wan is deeper. Imaging, separation, and hologrophy are about equal. On some tracks I’d give the win to FW, on others, to Maestro. So I’d say it’s more or less a wash. The same for detail and resolution. Maestro’s superior treble does give it a bit of an edge, as it brings out the details better. Yet both IEMs deliver the goods here, rendering complex passages and subtle elements rather well, though neither IEM is class-leading. Unlike EE Odin, which puts them all to shame.

Another thing of note is Maestro is considerably harder to drive, requiring much more of the volume wheel.

-----------------------------------------------------

Gear Pairing​

Schiit Bifrost 2/64 > Violectric V281:
This is the setup upon which I performed all my sound impressions and comparisons. The Bifrost, being very detailed and dynamic, complements the super refined, yet equally robust V281 amp. Although Fei Wan is itself very smooth, the effects did not compound, leading to a loss in detail. In fact, it’s safe to say, these IEMs never sounded better. They were as resolving as I’ve heard them, with powerfully punchy bass. At the lowest gain setting, there is no hiss, and you have quite a lot of the volume wheel to play with.

Chord Mojo 2 > Nistch Pietus Maximus:
Fei Wan didn’t spend too much time on my work listening station, as I preferred to run it from a DAP while on the job. But I did give this pairing a few hours listen. It’s extremely euphonic and warm, full, lush, and organic. Highly pleasing to the ear. But not the strongest, technically. Still, it’s hard to care, when you’re being swept away in heavenly music. The PieMax also produced no hiss on low gain, and I had most of the wheel to adjust for different recordings.



iBasso DX300 with AMP14:
This is how I spent the majority of my time with FW. The fully balanced NuTube architecture of AMP14 made for an amazingly smooth, laidback source. Which might not be the best pairing on paper, but I loved it. I never found myself desiring a more energetic sound, or bemoaning a loss of detail. It is simply great, and always put a smile on my face.

Chord Mojo 2:
When you do wish for more energy, dynamism, and resolution, the Mojo 2 on its own is my strongest recommendation. It really does wake up these IEMs, pushing them to perform at their best. There’s not much more to say about it. Mojo 2 is every bit the legend you hear, and Fei Wan seems to love it.



Cayin N6ii with E02 Module:
The N6ii+E02 is a good compromise when you don’t want to stack the Mojo, but still get the same characteristics I mentioned above, just to a slightly lesser extent. It’s not as dynamic or resolving, but it’s damn close, and in a more compact, all-in-one package. I’ve been a big fan of this DAP for years now, and every time I listen to it, my fondness for it grows.

Conclusion​

Aroma Audio’s Fei Wan is a stellar product, balanced to perfection, as if tailor-made for me and my preferences. It delivers on everything; clarity, warmth, detail and musicality. Just enough of each to sculpt one of the most engaging jack-of-all-trades on the market today. If you want a best-in-class for any one of these disciplines, Fei Wan isn’t for you. Only when taken together does Fei Wan show its true quality. This is my kind of IEM.

-~::Pinky_Powers::~-

Fei Wan, The Golden Goose: (FW for F**king Wondrous)

I am grateful to have the opportunity to continuously demo some of the new IEM revelations. After a few recent ones that were impressive, none particularly struck out which really tempted me to jump back into the portable world. But Fei Wan…man, this IEM is a treat!

After you become complacent in the audio world, you get really used to your setup and somewhat ingrain this new standard or reference point. It's an essential part of really appreciating and understanding your gear (and obviously, for your wallet), but it can gatekeep you from other wonderful sonic attributes that your gear might not excel on.

Let me explain-not until I put the FWs the FWs forced themselves into my ears, did I realize how much I was truly missing dynamics in my music when listening out of my beloved Meze Elites. The Elites have such a beautiful tonality with a spacious, airy presentation with good energy, but here came FW with a visceral, banging opener to remind me about the importance of energy and punch.

Damn-ymics. Never have I heard metal music so lively, with authority yet control. So much energy, technically-proficient, yet musical.

*All of my listening was done out of a Rockna Wavelight + Rockna Server + Ferrum OOR/Hypsos desktop setup, and then on the L&P W2 for portable. Stock cable.

Sound Impressions:


FW to me is a U-shaped (maybe slight V-shape) where the midrange is slightly recessed, but deceptively detailed with a strong timbre. Vocals sound sweet with good texture. My issue with previous U/V-shaped IEMs was that yes, the bass is thunderous and the treble lively and sparkly, but it comes at expense of timbre and technicalities which throws me out of the overall musical immersion. They were too much of a specialist IEM, a one-trick pony.

FW, on the other hand, is more versatile than meets the eye. Despite its fun sound signature, it still manages to have organic timbre with rich mids (albeit taking a backseat to bass and treble on the stage).



Bass: Thunderous, powerful, hard-hitting, yet controlled. Even for blistering double-bass metal tracks, I noticed how snappy and fast the bass was with clean precision. In Bad Omen’s Artificial Suicide, I found myself nearly headbanging at the 1:50 mark with the double-bass, crisp cymbals, and authoritative, gruff, and punchy vocals all to boot. The bass is powerful, textured, clean and fast, all without being too overpowering in the overall signature.

Midrange: I discussed it a bit earlier, but despite slight recession in the mids (which might not be ideal for vocal-centric tracks), the midrange is still very detailed and organic sounding with strong texture. Fast forward to the melodic breakdown at 1:55 in All That Remains’ Chiron and you’ll notice a beautiful, vivid, and rich acoustic guitar playing with strong texture to each pluck of the guitar. It’s almost as if once the bass and treble take a breather, the midrange can come out and show how elegant and high-class it really is. Overall, instruments sound superb with great microdynamics to add to their naturalness, weight, and tone.

Treble: I understand why a few people can view the FW a bit fatiguing. I think the fatigue to my ears comes from an elevated upper midrange with the constant bombardment of punchy dynamics, mostly macro although still impressive micro. To my ears, treble is tastefully done with crisp yet smooth and vivid detail, with no sibilance or splashiness. There is good air to give the sound a bit of a concert/stadium feel. In no way is the IEM dark, but I also wouldn’t call it bright. Slightly bright warm…if that’s a thing, in a good way. Oh and did I mention how fun cymbals sound?

Technicalities: Up there with some of the best. The width is large, although I hear a bit more depth than width. Strong detail with clear imaging and layering. Decay is natural yet fast and snappy to keep up with more complicated passages. FW is one of the few IEMs where I don’t feel I am taking an obvious drop in technicalities coming from open-back planar TOTL headphones, and that only further proves what a phenomenal task Aroma Audio has achieved by blending such a musical IEM with top-tier technicalities.

Reminds me of:

FW reminds me a bit of Elysian X, a previous favorite of mine in the V-shaped category. However, it seems to have built upon some of my flaws with X, mainly in bass and the mids. X had fun, abyssal-depth levels of subbass, but its midbass was whimsical in comparison. FW takes a near 1:1 approach to its midbass and subbass while retaining excellent slam, texture and control.

X’s midrange is noticeable more recessed and less organic sounding, meanwhile FW adds a touch of naturalness to blend the overall midrange into a better organic timbre. Vocals are richer, instruments more natural with good weight in comparison to X's thinner midrange.

Treble-well, X is still the GOAT there. Nothing that I have heard yet touches its ethereal, vivid yet silky treble sound. But FW is not too far behind with its' energetic, detailed yet smooth top end.

TL;DR:

I am most definitely looking forward to CanJam NYC next month because a future FW might be the move . I'll of course have to check out those $80k new Unique Melody IEMs (not a typo, being facetious), along with VE10, etc., but I can't imagine they check more boxes than FW already has.

Thank you Aroma Audio for reminding me how much I love dynamics in my music while packaging it into such a technically-proficient product---whether it’s got me conjuring up a mosh pit in my head through metal music that terrifies my neighbors, or shedding a tear to the microdynamics of each pluck of an acoustic guitar during an emotional guitar solo. Musicality, energy, and punchy, yet technical, controlled and organic---finally, a true WOW IEM for me .

Having owned or heard several Aroma Audio IEMs over the last few years, their latest flagship, Fei Wan, is an interesting departure from their previous releases in both tuning and appearance. The Fei Wan utilises 10 balanced armature drives and 2 dynamic drivers to deliver its sound and comes in what can only be described as “Bling”, gold-flaked shells.

I’ve been listening to Fei Wan for about four weeks now before starting this review, which has given them enough time to burn in and for me to appreciate the sound. Like everything in this hobby, what you are going to read are just my opinions based on my hearing, tastes, and previous experience. You may disagree with them, and that’s fine, but just treat them as one data point.

Packaging​

There isn’t a whole lot to talk about here. The materials used are high quality, and the packaging feels solid. The box opens in the middle, and the contents are pushed forward to present you with the IEMs in a case, a gold-coloured badge with the logo imprinted, some information cards, and a set of ear tips. Considering the price of the IEM, I think the packaging and contents are quite basic, and I would have expected a bit more in this price bracket. The IEMs come with Aroma’s “Sparkle” cable, which is a 2-pin SPC cable with a 4.4mm termination. We’ll discuss that more later.

Design​

The shells have a fairly standard shape and size for a hybrid with this many drivers. There are some small bulges on the back, which at first, I thought may have caused fit issues, but that hasn’t been the case at all. They have fit perfectly and never caused any discomfort at all. They are also very light, so it’s easy to get a good fit that requires no readjusting at all.

The IEM uses flush-mounted 2-pin connectors for the cable. Those 2 pin connections are extremely tight. Removing the stock cable was an experience, to say the least, and fitting aftermarket cables has been an endeavour of cautiousness given the recent shell-shattering experiences people have had with another brand’s flagship. They have loosened with some use now, but you would have to say they are excessively tight to begin with.

The appearance of the shells has been a little polarising. They are certainly “in your face” with the gold flakes, but if they are not your thing, you can order custom designs in both the UIEM and CIEM versions.

The stems are just long enough for me to get a good fit with my ears. The opening of the stem is quite large, so you need a fairly flexible silicon tip to fit them easily. Tips with a more solid core can be problematic.

Sound​

Fei Wan was not a “love at first listen” type of experience for me by any means. When I first got to demo them a couple of months ago, I listened with the stock cable and a Hiby R6 Pro II. I found that combination to be a little jarring at times, and treble was quite spikey. I then had the chance to demo it for a little longer and got to try more sources, which performed far better, but as the set wasn’t my own, I stayed away from trying different cables with it.

There were undoubtedly some impressive moments during that demo that lingered in my memory, and as time went by, I decided to give them another try and see if I could find a setup that would work for me.

There is no doubt for me that some of the recent IEM releases, such as Fei Wan and the Kinera Loki, have taken a step forward with the details and resolution they can produce. Possibly, it is a new generation of drivers that is available, I’m not sure, but they sound significantly better than most of the previous IEMs I have owned or tried.

I’ve found the sound Fei Wan produces to be affected a lot by the chain you use to listen with. There are some sources and cables I just haven’t liked it with for my tastes, but thankfully, there are others that make it shine. I am biased towards R2R sources in general, and for my tastes, this is where I have found the best synergy with Fei Wan. I have also done the majority of my listening using a Cardas Clear cable, which also has been the best match for me. I cover this more in the Cable section below.

Fei Wan is a technically impressive IEM. It can create a large soundstage that stretches as far back to front as left to right. It has excellent layering and imaging, and the detail level and resolution mean no matter how complex a track is, everything is clear and distinguishable. It is also able to do this with a broad range of genres, and by no means is what you might classify as a specialist. I would stop short of saying it is an all-rounder, as its more V-shaped bass and treble tuning won’t suit everything.


Bass is, for sure, one of the most impressive parts of this IEM. There is pretty much the same level of sub as mid-bass. The quality of the mid-bass is excellent. It’s a very adaptable set and can deliver all types of bass from different genres competently. The texture and decay, along with its ability to change the speed at which the bass is delivered as the track requires, are all first-rate. Fei Wan is just as happy delivering the banging bass a techno track requires as it is with the opening percussion sequence in Pink Floyd’s “Time”.

The mid range is full sounding, detailed and highly resolving. Stringed instruments lean warm, especially when combined with the lingering bass notes from the DDs. Vocals can sit slightly back in the mix, but there are tons of detail.

I have found that Treble is more affected by tip/ cable/ source than any other part of the frequency range. Also, before the dynamic drivers had some time to settle in, the sound signature was more dominated by higher frequencies, which is worth noting if you demo a new set. With the wrong chain, I have encountered spikes with certain music, but on the whole, I have had very few issues. It is an energetic top end for sure, but it is detailed and extends well. Through the many hours of listening and making comparisons for this review, I began to appreciate Fei Wan’s treble much more. It works well for EDM and is very nice for cymbals in Rock and Heavy Metal.

Cables​

I have found Fei Wan to respond well to cable rolling, allowing you to fine-tune the sound to your tastes. The stock cable is a big improvement over the stock cable that came with Jewel, but I haven’t always got on well with it from a sound point of view, depending on what source I use. From a distance, you could be forgiven for mistaking it for a PWA cable with its braid and the material used for the jacket. It is very light and easy to wear. The hardware also looks nice, and a chin slider is included.

I compared it with my Cardas Clear 1950s clone and the EA Fusion 1 cables listening to “Moonbeam, Midnight, Howl” by Kerala Dust.

Cardas Clear

After listening first with the stock cable and then swapping to the Cardas Clear cable, you straightaway notice a greater sense of air to the track. When the vocals start, there is a significant jump in details and clarity versus the stock cable. When the bass drum hits at around the 01:08 mark, it does so with a lot more authority. As the track goes on, the vocals feel more encompassing. Overall, there is a lot more detail with the Cardas Clear cable, and it’s presented in a larger stage in all directions.

EA Fusion 1

Listening with Fusion 1, things don’t sound as closed in as with the stock cable, but the stage size increase isn’t as significant as it was with the Cardas cable. Vocals are more detailed, but they sound smoother than with both of the other cables. The bass drum hits aren’t massively different than the stock cable. There is slightly more impact, but they can sound a little rounded and lacking a little control. The short guitar solo, which comes in around 02:29, sounds good and is an easier listen than with the stock cable, with which it sounds a little spikey.

I also tried Fei Wan with a number of “cheaper” full copper cables I own, and I really enjoyed the results. For my tastes, I wouldn’t personally pick the EA or stock cable to pair Fei Wan with, as the Cardas Clear pairing is significantly better than both, in my opinion.

Comparisons​

When it comes to comparisons, I try to spend as much time as possible to find a setup that brings the best out of the sets I am comparing. It is often hard to get this across in a review, and I hate to think that people would read one of my reviews and think I just plugged an IEM into whatever source was closest at the time and lazily started to compare.

I burn everything I purchase in for at least 100 hours, sometimes more if I feel it needs it and then set about finding the best possible chain to allow a set to shine. By the time I come to review, I have settled on what I feel works best for a set, and if I was unable to find a good chain, I wouldn’t be writing.

I am obsessive when it comes to this process. I will try every source I own at every class or gain setting it has available. If it has a line out, I will try it with every amp I own and at every gain setting. I will try it with my desktop gear, and I will try it with all the cables I own. Once I have settled on something I feel is acceptable, I will start to listen to my library, and only then will I start to gather impressions.

Sources play as vital a part here as anything else. To think there is one source that fits all is to believe there is one IEM to suit all. For Fei Wan and for some of the IEMs I compare it to below, finding the correct source was vital to getting the best out of the IEMs and there can be quite a variance in listening experience between different sources.

Elysian Annihilator 2023



Thanks to greater availability, Annihilator has become a favourite among many in the community. Having owned the Elysian X in the past and at the time adored it for EDM, I was interested to hear how things have progressed in the last few years for Elysian and see if they finally mastered good bass.

When I owned X, it was its ethereal treble that really made it stand out. To this day, I don’t think I have come across treble in an IEM that is better for my tastes with EDM. Its biggest issue, though, was bass. While it was just about acceptable, it was far from class-leading.

I never had the chance to hear the 2021 version of Annihilator, but from impressions, I concluded its bass was quite similar to X. When the 2023 version launched, I read many impressions about how the bass was improved, but still wasn’t all that much to write home about. Annihilator 2023 was still mainly being mentioned for its treble.

Thankfully, one of my good audio friends picked up Anni and was kind enough to send me his to demo, and I have been blessed with good timing again for this review. I had a picture in my head of what Anni would sound like. X left a lasting impression, and I was looking forward to experiencing that treble again. As it turned out, that picture I had in my head couldn’t have been more wrong.

To shine, Annihilator certainly likes some power, and my listening volume was significantly higher with it than with any other IEM in my collection right now, no matter the source. To compare Anni to FW, I settled on the Hiby RS8 paired with the Mass Kobo 475. In my opinion, this pairing really brings the best out of Anni.

While Fei Wan doesn’t “need” the type of power the MK475 can put out, it certainly enjoys it, too, and it creates an encompassing and engaging listen.

I will point out before I begin that I have listened to both these IEMs through sources that don’t match well, and I have experienced somewhat disappointing results. It would be easy to dismiss either set in such a case. I have also experienced both these IEMs when they are driven correctly and with a source that allows them to shine. The takeaway here is don’t be too quick to write off either of them if they don’t work for you initially. Spend some time exploring.

I have selected a couple of tracks which I loved listening to on both sets to compare. Both are from electronic genres, which I feel both Anni and Fei Wan are best suited for my library.

“Lose Myself” by Space Motion



(RS8 Settings for Anni: NOS/ Volume to suit on MK475)
(RS8 Settings for FW: NOS/ Volume to suit on MK475)

Listening first with Anni, the track starts with a heavy beat and some varying cymbal sounds. Everything is detailed and easy to hear. There’s plenty of mid-bass thump from that beat, but it is controlled. You can focus on individual parts of the track easily.

As the track breaks at around 01:02 and starts to build, the dominant synth sound that is introduced brings a lot of sub-bass that you can feel across your head and chest. As the track progresses and the intensity increases, Anni handles it all effortlessly. There is a nice mix of sub and mid-bass throughout, and all of the higher frequency synth and cymbal sounds are detailed and cut through the mix with ease.

The soundstage with Anni stretches a good distance from left to right, and I have the sense of a 180-degree bubble in front of me, but I don’t get a sense of the stage wrapping around my head, so to speak.

Swapping to Fei Wan (and being very mindful of turning the volume way down first!), during the intro of the track, there is slightly more impact from that heavy beat, and likewise, there is a little more energy in the cymbals, but the thing I noticed first is that sounds are in a more 3D soundstage.

When that synth sound comes in, there is a great sense of sub-bass too, but I think slightly less than with Anni, but there are small margins between them. If you are someone who has gone to a lot of gigs in your time, I think you will enjoy the sub-bass Anni produces.

The biggest difference I pick up on is with the vocals, which have greater resolution and detail. When listening with Anni, I was quite happy with the vocals, but when you compare, there is a clear step up in details and clarity with the vocals with Fei Wan.

It is very easy to enjoy the track with both sets. There are small differences in sub and mid-bass levels between the two, but when you compare directly, the things I found to be noticeable were Fei Wan having a more encompassing and 3D soundstage and greater resolution and details with the vocals.


“Traveller (feat. Lizwi) [Kususa & QueTonrik Remix]” by DeMajor

I love this track, and it’s one I regularly use to test IEMs to see what type of listening experience they can produce. The track is rhythmic and has an almost tribal beat to it. It is the type of track you just want to be sucked into. Close your eyes and tap your feet.

Listening with Anni, the track starts with a beat that has an almost equal sub and mid-bass impact. For me, it produces that experience of almost being there live, listening to it and feeling the rumble from a stack of speakers.

Anni does a great job reproducing this. The track progresses and intensifies with many different drum, cymbal and synth sounds, all of which are presented clearly and add to the experience. As the vocals come and go through the track, they never get lost behind the other sounds, and they give a good sense of the left-to-right size of the stage with their placement. I thoroughly enjoyed listening to the track with Anni.

Listening to the track with Fei Wan, my impressions of the differences between the two sets from the last track ring through here again. There are slight differences, with Anni having more sub-bass and Fei Wan having more mid-bass impact.

With Fei Wan, every sound impacts a little harder. Each drum and cymbal strike just grabs your attention a little more. There is just more intensity in the track. Whereas the vocals with Anni were more in line with everything else in the track, with FW, they step forward more, and the peaks feel higher.

There is more information being presented by Fei Wan and the difference in soundstage is quite clear again. When I listened to the track first with FW after coming from Anni I found it a little jarring at first, and it took me several times going back and forth to get a handle on what was happening.

With Anni, the sounds are being presented in a semi-circle in front of you. The sounds blend together well within it, and the rhythmic nature of the track makes it easier to get lost in as there isn’t as much jumping out and grabbing your attention.

With Fei Wan, the different sounds in the track are coming at you from left to right and back to front, and they all impact slightly more than they do with Anni. Your attention is being grabbed from what seems like many more directions in the 3D space around you than with Anni, and it takes a little time to adjust between the two different presentations.

For me, it hasn’t been a case of which IEM was better. Once I listened to one or the other without comparing, I enjoyed the experience both created enormously. Anni, with its more rhythmic and engaging nature, or Fei Wan putting on a display of details in an encompassing 3D space. Both of these sets are special in their own way. Often, I found Fei Wan’s treble to be superior to Anni’s, and likewise, I often found I preferred the sub-bass Anni could produce when adequately driven.


Kinera Loki Emerald

When I first had the chance to demo Fei Wan, I used that time to compare it to Loki, which I was then reviewing. It has been very interesting for me to revisit this comparison now that I own both sets, and I have had a much longer time to acclimatise to Fei Wan.

For sources, with the music I chose to compare with, I found the Hiby RS8 on its own to be the most suitable source. I enjoyed both of the sets with my desktop R2R gear, too, which it is more neutral sounding than the more coloured RS8.

“Dead Skin Mask” by Slayer

(RS8 Settings for Loki: Class A/ Mid Gain/ Turbo Mode/ Vol 45/ Soundfield Plugin/ Darwin Ultra Filter)
(RS8 Settings for FW: Class A/ Low Gain/ Turbo Mode/ Vol 44/ Soundfield Plugin/ Darwin Ultra Filter)

I have been asked a number of times what Fei Wan would be like for listening to Heavy Metal. It wouldn’t be the genre I think of first when it comes to Fei Wan, but I said I would give it a listen for the review.

I loved this track when I was a teenager and listened to it on cassette, so it was interesting to revisit it now with very different listening equipment!

With Loki, in the intro of the track, as the guitars are playing on one side and then the other, and the kick drum and vocals then come in, it creates a very engaging listen, and you get a good sense of its layering ability. The drums are very detailed and easy to hear throughout, but there isn’t a massive impact, even when the double kick drum pedals are in use. They sound excellent, though, as do the cymbal strikes throughout. The main guitar riff is the focus of the track up until the vocals take centre stage. As the track progresses, the guitar solo is superb. The track finishes out with the guitars, drums and vocals all seeking your attention, and Loki handles it all with ease.

Listening to the track with Fie Wan basically highlights the main differences between these sets. The guitars are positioned almost the same, and there is very little difference in how they sound. The first difference that is presented is the cymbal strikes in the intro. There is more intensity, and there is more of the metallic sound you would expect. The sound is very distinguishable above the guitar riff, whereas with Loki, it was sitting behind the guitars somewhat, likewise, with the kick drum. There is more impact from each hit, and there is also slightly more sub-bass. The drums and the guitars are on more of an even footing with Fei Wan, but with Loki, it is the guitars that take your attention.

The vocals sit slightly further back, with Fei Wan behind the more impactful drums versus Loki, where they step forward of everything. For this comparison, I think most people would lean towards favouring Fei Wan as it is more impactful, and that’s what you kind of expect from this genre. There is more detail in the guitars and vocals with Loki, but in totality, Fei Wan is more suited to this track.


“Cornflake Girl” (2015 Remaster) by Tori Amos

I really enjoyed this track with both sets, so it proved to be a good one for the comparisons.

(RS8 Settings for Loki: Class A/ Mid Gain/ Turbo Mode/ Vol 42/ Soundfield Plugin/ Darwin Ultra Filter)

Listening first with Loki, the soundstage is very intimate. The instruments feel like they are situated very near to you. I can hear the lower notes of the piano coming from the left side and the higher notes coming from the right, so it feels close. When the vocals come in, they are centred, so it creates a kind of sense of the singer being surrounded by the instruments.

The knock-on from this is that the track becomes intense at times as all of the music is happening in a small area. Loki handles it well, though, and even when the vocals are hitting the high notes, and the track is at its peak, it never really breaks a sweat. Using the RS8 as a source, the bass and piano have a nice warmth to their tone but still stay true to life. Vocals are detailed and crystal clear, as you would expect.

Swapping over to Fei Wan, I keep all of the settings the same except for dropping to low gain and increasing the volume to 45.

The soundstage stretches out slightly more with Fei Wan to the sides and the rear, but there isn’t a huge difference. Initially, when the vocals come in, it’s noticeable that they are not as detailed as they are with Loki. I think across the range, notes are a little softer and don’t have the sharper edges they do with Loki. As a result, the vocals blend in more with the instruments with Fei Wan, and even though there isn’t the same detail or sense of it, it all comes together, and I enjoyed how the track was presented.

With Loki, every note is really defined and accurate, whereas Fei Wan presents a smoother and warmer version of the song with RS8. I listened to the track with more neutral sources, and while you can increase the note definition and make it sound more accurate, it simply isn’t as much fun as it is to listen to it with RS8. The enjoyment factor would make me pick RS8 as the source every time. Both Loki and FW do an excellent job with this track, and it really just depends on what you are in the mood for to pick one. A little more fun with Fei Wan or the life-like presentation of Loki.

Fir Audio XE6

XE6 has been my favourite IEM for many years. It has outlasted every other IEM I have owned and is one of two CIEMs I own. I listen only to EDM with XE6, and increasingly, that is the genre I most enjoy Fei Wan with.

While I know the tuning of XE6 will not be for some, there were parts of it which I felt were class-leading when it launched. Being a lover of BCDs, the kinetic bass that Fir created with the Frontier series was something very special for me. While it isn’t a traditional BCD, it certainly adds that tactile bass experience, which is seldom found in a set that doesn’t have some tech like this in it. It also has some of the best treble I have heard.

When I listened to FW out of the box, it was pretty different to the demo I had with it during my Loki review. Until the dynamic drivers had quite a bit of burn-in, the sub and mid-bass levels were far off where I would want them to be for EDM. With XE6 being my go-to then for comparisons, I felt Fei Wan may have only been passing through!

10+ days of burn-in later and giving myself some time to recover from covid, which I picked up at Christmas again, my experience has been quite different. We often talk about how mood, environment and tiredness, among other things, affect your listening experience, but I truly got to experience how poor health and a combination of those other factors really put a downer on things.

The tracks I have picked for comparison are exactly the type of tracks I love listening to with XE6.

For electronic music, I prefer Fei Wan with the RS8 and MK475, but the external amp is just too powerful for XE6, so for a fair comparison, I have just used RS8 with both IEMs.

“Walking with a Ghost” by Anyma

(RS8 Settings for XE6: Class A/ Low Gain/ Turbo Mode/ Vol 36/ NOS)
(RS8 Settings for FW: Class A/ Low Gain/ Turbo Mode/ Vol 41/ NOS)

One of the tracks of 2023 for me and a track I’ve enjoyed with XE6 many times. It starts with a fairly intense, head-rattling beat, and somehow, when the vocals come in, they are not lost behind it. As the track builds, it has a very rhythmic nature that draws you in, and as more layers are added, they add to the listening experience with the vibrations from the sub-bass and Kinetic bass.

Without the Kinetic bass of XE6, Fei Wan sounds more balanced initially in comparison. The heavy beat isn’t as dominant, but that is quickly forgotten about when you hear the lyrics. On first listen it kind of caught me by surprise as I was expecting to hear what I had just heard with XE6, but the lyrics jump out at you with clarity, detail and richness that wasn’t there with XE6. There is more detail across the board, and as a result, the soundstage actually sounds larger with Fei Wan as you can hear more nuances further out in the space it creates around you.

Both versions of the track that the two sets produce are very enjoyable. XE6 takes the hammer approach and pounds the bass line home with its usual authority, whereas Fei Wan allows more of the track to shine through.

“Player” Stylo

(RS8 Settings for XE6: Class A/ Low Gain/ Turbo Mode/ Vol 40/ NOS)
(RS8 Settings for FW: Class A/ Low Gain/ Turbo Mode/ Vol 41/ NOS)

There is a visceral thud from the opening beat in the intro with XE6. As the track develops, it maintains that tactility throughout, showing off exactly what Kinetic bass is. The track has that almost cavernous feel to its soundstage, with sounds coming in waves from the distance and building to crescendos. There are many layers to the track, and the huge soundstage XE6 can produce is used to its full potential. It’s a very engaging listen, and the Kinetic bass adds a unique dimension to it.

Listening with Fei Wan, while there is decent impact from the opening best, it isn’t on the same level as XE6. If I were comparing it to other sets, I would probably be talking about how it was more mid and sub-bass, but XE6 is a special case. The bass quality with Fei Wan is excellent, though. It may not be able to match XE6 for the shear impact, but there is still plenty to love.

The soundstage isn’t quite as big in comparison either, but where Fei Wan is noticeably superior is in resolution. All of the notes, synths and drums have a fuller, more detailed sound, and Fei Wan sounds a step above XE6 on this front. It is also worth noting if I listen to the track with RS8 and MK475, then the differences in soundstage are much smaller, if any.

XE6 has few rivals when it comes to that tactile bass experience, but with Fei Wan, it feels like there is just more information arriving at your ears, and its bass performance is still class-leading in its own right.

Conclusion​

I guess one of the conclusions I personally came to with Fei Wan was to not write IEMs off so quickly in the future. During my initial demo and then when I took delivery of my own set, I often struggled to get along with the set, but since I found a chain that worked for me and took the time to get to know the set well, I’ve really started to enjoy it.

There is a lot to like about Fei Wan. It can cover a lot of different genres well. Feed it high-quality music, and it creates an unashamedly full-on listening experience while still maintaining the highest level of technical proficiency.

The Aroma Audio Fei Wan retails at $4688 and is available from MusicTeck in this part of the world.