KOTORI Audio Vampire

Design and build quality:​

The Vampire faceplates are entirely 3D-printed using a bespoke resin blend, setting the standard in IEM manufacturing materials. They feature an eye-catching, blood-red color scheme that is as captivating as it is appealing. The design includes a distinctive, silver 'V' logo embedded in the left earpiece, creating the effect of floating against a vivid red backdrop. Each faceplate is adorned with a garnet-red relief, adding to the unit's striking beauty.

The entire shell of the earphones is coated in a hypo-allergenic lacquer that is applied with flawless consistency. This ensures that both earpieces have a smooth, uniform appearance without any visible flaws or imperfections. The lacquer also seamlessly conceals the join between each faceplate, enhancing the overall sleek finish.

The nozzle of the earphones is designed with an extended length and features a lip, ensuring the tips remain securely in place. Despite its length, the nozzle is comfortable and allows for sufficient insertion depth. This design is crucial as it ensures the earphones perform optimally in terms of sound reproduction, maintaining both comfort and audio fidelity.

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Bass​

Balanced-armature (BA) drivers, known for their precision and efficiency, often produce bass with a characteristically flat response. This results in a sound that's quick and agile but can sometimes lack fullness and depth. The Vampire IEM's default tuning aims to address these inherent limitations of BA bass, offering a more refined and engaging low-end experience.

Firstly, the Vampire tackles the common issue of sub-bass roll-off in BA drivers. By boosting the lowest frequencies, it creates a thicker, more substantial sub-bass presence. This enhancement results in a stubbier and deeper low-end, providing a more visceral and impactful bass experience that's often missing in typical BA configurations. Additionally, the Vampire extends the sustain of sub-bass frequencies slightly. This subtle elongation of low-frequency notes contributes to a more cinematic and analog-like presentation. The result is a bass response that feels more natural and immersive, reminiscent of the warmth associated with dynamic drivers or analog sound systems.

The tuning also aims to strike a balance between the speed and accuracy inherent to BA drivers and the fuller, more rounded bass typically associated with dynamic drivers. This careful calibration allows the Vampire to maintain the rapid transient response and detailed articulation that BA drivers are praised for, while simultaneously delivering a more satisfying and emotionally engaging low-end performance.

Mid​

The lower midrange of the Vampire IEM follows the bass emphasis with a slight forwardness, enhancing the presence of male vocals. While there is some bass bleed into the midrange, it's not aggressive and actually contributes to a pleasing warmth in the overall sound signature. This tuning choice results in male vocalists sounding warmer and deeper than one might expect from a single balanced-armature (BA) setup. The same characteristic applies to the lower notes of acoustic guitars and certain piano registers, giving them a rich, full-bodied presentation.

Female vocals, on the other hand, are presented with intimacy and delicacy. However, the upper treble roll-off and a dip in the lower treble region somewhat limit their energy and the perceived spaciousness of their presentation. This tuning makes the Vampire a very safe choice for listeners who are typically bothered by aggressive or edgy upper midrange tunings. It's worth noting that those who prefer very open, airy, and energetic vocal performances might find the Vampire's presentation a bit restrained and may want to consider alternative options.

Treble​

The Vampire IEM deliberately eschews sparkle and authoritative snap in its treble presentation, opting instead for a safe and buttery smooth sound signature. This tuning choice results in a treble response that's devoid of aggressive peaks or harsh sibilance, making it particularly forgiving with poorly recorded or mastered tracks.
Percussions, as a result of this tuning, come across as thicker, warmer, and darker than what one might expect from a more neutral or bright IEM. However, it's important to note that while the character of the percussion is altered, the fundamental energy is still present. The lack of metallic shine or splashing in the upper frequencies contributes to a very dampened presentation of aggressive transients, which can be a boon for listeners sensitive to sharp treble peaks.

One of the notable benefits of this treble tuning is its performance with subpar recordings. The dampened high-frequency response effectively reduces hissing and noise artifacts that might be present in less-than-ideal audio sources. This makes the Vampire a forgiving choice for listeners with varied music libraries of differing recording quality.
Most of the high-frequency energy in the Vampire's presentation comes from the lower treble region. This tuning decision imparts a bit of bite and energy to guitar performances, but with a softened attack and shortened release. The result is a presentation that maintains some vibrancy in string instruments without venturing into airy or sparkly territories.

Technical performance​

The Vampire IEM presents a soundstage that can be described as coherent and intimate, creating an "in-your-head" listening experience. This presentation aligns with its overall tuning philosophy, prioritizing a natural and cohesive sound over an expansive or artificially widened soundstage. While the staging is competent, it's important to note that the headroom is somewhat limited, which may impact the perceived sense of space and air in recordings.
One of the Vampire's strengths lies in its single-driver configuration. This design choice allows for a more natural left-right staging compared to some multi-driver setups. The absence of potential crossover issues or phase misalignments that can occur in complex multi-driver topologies contributes to a more coherent stereo image. As a result, the lateral expansion of the soundstage is decently wide and maintains good accuracy in instrument placement.

When it comes to imaging and layering, the Vampire demonstrates good proficiency. There's a noticeable sense of distance between different instruments and vocal elements, allowing for clear separation in well-recorded tracks. This characteristic enhances the listener's ability to discern individual elements within a mix, contributing to an engaging listening experience.

Conclusion​

The Vampire IEM presents a thoughtfully tuned, single balanced-armature solution that addresses typical BA limitations while catering to listeners who prefer a warm, smooth sound signature. Its strengths lie in a refined bass response that balances speed with fullness, a forward lower midrange enhancing male vocals and acoustic instruments, and a treble presentation prioritizing smoothness over sparkle. The IEM delivers a coherent, intimate soundstage with good imaging and layering, excelling in providing a natural, non-fatiguing sound that's forgiving with poor recordings.

However, this tuning philosophy comes with trade-offs. The Vampire may not satisfy listeners seeking airy, highly detailed presentations or an expansive soundstage. Its controlled treble and darker disposition limit perceived openness and micro-detail retrieval. Ultimately, the Vampire positions itself as a specialized tool, best suited for those who prioritize a relaxed listening experience over analytical clarity. While it may not push technical boundaries in its price class, it offers a well-executed, coherent sound that will appeal to many, especially fans of genres benefiting from a rich lower midrange and controlled top-end.

Source​

- DAC: Fiio Q5s, Cayiin RU6, Macbook Pro 2020 13 inch with internal Circus logic DAC
- AMP: Topping A50 with Burr Brown OPA2107 dual operational amplifier

Source of music:​

- Apple music
- Album Dare to Love, Dare to Do - Yao Si Ting (Female vocal, Soundstage)
- Album 30 - Adele (Female vocal)
- The Road Well Travel - Allan Taylor (Male vocal)
- Habit, Album 33 Resolution Per Minute - Postmodern Jukebox (Technical Performance)
- Album 10 - The Piano Guys (Soundstage)
- Album Piano Concerto, Op. 38 - Keith Jarrett, Samuel Barber (Treble)



Note: The Kotori Vampire IEM is part of a review tour organized by Audiogeek A.G in my country. The sample unit was provided by the brand for evaluation purposes. I had the opportunity to assess the Symphonium Meteor for a duration of five days. This review is entirely based on my personal experience with the product, and all opinions expressed herein, whether positive or negative, are solely my own and are not influenced by any external parties

Howdy fellow audio friends, today I bring you something different, coming from Kotori Audio, a Singaporean brand that is working its way up the ladder with merit, having a go at not so easy to master designs.

This unit is part of Audio Geeks Europe Tour, of which I honor and thank, always bringing to you my most unbiased opinions and descriptions of what I can hear.
The Vampire is an IEM that boasts a single full-range BA driver as the source of all you will be hearing, put inside a very comfortable and lightweight unvented shell, administering the audio via an exotic nozzle that is both anatomically correct for most ears as well as being comfortable.

Onward to sound impressions.

SubBass (6.5/10)​

Due to its unvented nature I wasn't expecting much air to be able to be pushed, however the Vampire has surprised me, presenting some subbass information that is perceivable in all genres, as instrument body and depth and also has ambience in drone music.
It has oomph but no gargling, so there isn't much texture nor detail, but there is extension. Best way I can describe it is on techno, you can feel the silkiness and depth of the synthesized bass line, however variances/modulations in its texture are not conveyed.
Organic bass instruments are rich and natural, blessed with sub-bass body, so they don't disappear into the back of the mix, whilst also not being forward - they sit just right where they should be, even on busier tracks.

Midbass (6.5/10)​

Moderately Energetic and dynamic, however there is some slurring and hint of boominess that bleeds into the lower mids. This experience feels as if the midbass slope into the mids is not steep, alas more elongated, along with a slower decay in terms of agility.
Kickdrums have moderate punch, don't sound lean even if being closer to neutral. No kickdrum ever felt unnatural or lacking in intensity, still it doesn't qualify near basshead territory. I would say this midbass is a typical harman one, being versatile and generic, which is a good thing.
Bass instruments attacks are not impressively snappy, but also not slow to the point of not being rhythmic.
Subbass to Midbass ratio wise, I would quantify it as 45/55 here, as the midbass is ever slightly more perceivable than the sub, but they are to cherished together by their "teamwork" on rendering instrument depth and overall dynamics.

Lower Mids (6.5/10)​

Just a slight hint of muddiness here, which doesn't bother me much this time, as I understand it is an unavoidable price to pay if you want to have a bit more midbass energy with a single BA driver, to keep you out of boring territory.

Most of the time the timbre is correct, but can be off on quite specific scenarios - I noticed it on older 80's digital drum toms - sounding boxier than expected.

Male vocals are not forward and are slightly shy, even when they are a big part of the song. They don't sound veiled/filtered, so you still feel their texture and some details. I'm not a vocalist enthusiast so this makes the songs quite balanced in terms of instrument dynamics vs vocal dynamics, not prioritizing either.
I usually listen to Mike Patton on Faith No More, and Dave Gahan on Depeche Mode to test this balance, and I am quite pleased with the result - there is room for vocals and instruments to cohabit without stepping over each other.

Pianos oddly don't feel leaner in note weight on lower registers, which is a big win for my personal taste.

Upper Mids (7/10)​

A tad more forward than any of the other frequencies, but not too much to the point of becoming distracting or harsh.
No uncomfortable pinna gain.
Guitars are lively, especially distorted ones, but strings don't feel layered, and sometimes mush a bit on chords. This is more evident in busier tracks but if solemnly listening to an acoustic guitar track it behaves better, as if "resources" are being reallocated now to better convey the only instrument.
Pianos are quite enjoyable, feeling fully rendered from attack to decay, with the right dose of brilliance. Gran Pianos have perceivable attack candy and tonality opulence.
Sadly instruments in older recordings sound very lean and textureless overall on the Vampire. So it is not very revealing on OLD Jazz and Classical Recordings. However Brass instruments in Old Jazz Recordings still have texture and are mix cutting. Well, it can't make miracles, right?
Synth leads are a delight and feel effortless in resolution.

Treble (7/10)​

Generous dose of brightness, doesn't feel tamed nor filtered. It feels like an harman treble that isn't playing safe and it turns out in their favor.

Hi-hats, cymbals and triangles have sparkle, and don't amalgamate into noise as their decay is averagely fast.

There is extension and enough energy for ear candy on IDM, intended artifacts, and even some tape/reel effects. I'm impressed here.

Trumpets and flutes aren't harsh nor peaky, have above average texture, along with Alto Saxes. They still retain brightness and dont feel filtered. On Jazz recordings they pop out as the recordings mean to, not overly emphasizing them to the point of unbalance or distraction from other comping instruments.

Technicalities​

Impressive macro detail retrieval for a single BA, some microdetails are also perceivable, all due to the not overly sharp sound signature. For the price and used technology I couldn't ask for more.

Soundstage is proportional in height and width, and isn't especially large, also due to unvented nature. However I must admit I was still admired it doesn't feel too intimate. The depth is also average, but not as much as the other two dimensions.

Timbre is coherent and correct overall.

At 50ohm, theoretically it isn't the easiest to drive single driver unit, but I reckon it is doable with any of the modern dongles. Honestly had no issues whatsoever at close to 1 VMRs via 3.5mm on my Qudelix at normal gain.

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Comfort and Fitting​

Lightweight, anatomically versatile shape, and the nozzle even if longer, it sits well and allows for the unvented nature not to cause too much discomfort.
There is a slight suction effect when inserting these, that can be easily minimized by prior ear decompression and opening your mouth as you insert them. Haven't had any loss of seal after correctly connecting them, up to 3 hours of continuous use.
It is hard to correctly place and align eartips on this nozzle, at least the included ones, but once you have it, they won't move.

Design and Aesthetics​

I must confess I never enjoy the Red and Black combo on anything technology wise, but I feel the Kotori Vampire is of good taste when combining the colors by introducing some blue tint in between these two.
I don't really understand the naming other than that it matches the color scheme.
The included tips are interesting, comfy and match the IEM.
The cable is a bit underwhelming and doesn't match the quality of the IEM. Nevertheless it is comfortable.

Quick Comparison​

I feel I must compare it to the Aful's MagicOne given they both are unvented and single BA design.
The Vampire is warmer, more dynamic, thus more musical; has a bit less resolution and detail retrieval, a narrower soundstage which all leads to a less technical set.
The price is more competitive and is better aligned with the market standards.
They are for different tastes and uses, so one doesn't invalidate the other, rather are two different flavors of the same origin/nature.

Final Words​

The brand is to be congratulated for this achievement, which stamps the quality seal all over the brand's name, and for sure will be coming out with even more designs and flavors to suit the modern HiFi enthusiast. I believe everyone should sometimes take a shot and trust a less mainstream brand, if they feel aligned with their motto and ideas, in spite of supporting small companies that deserve to grow, like Kotori Audio.

The Vampire is a viable solution for a versatile tuning that suits most music genres and is presented at a competitive price point that shouldn't break the bank. The price to performance ratio is to be cherished here.

Thank you for your time,
Miguel Esteves

TONALITY: 7.8/10
TECHNICALITIES: 7/10
SOUNDSTAGE: 7.5/10
IMAGING: 7/10
MUSICALITY (subjective): 8.2/10
CONSTRUCTION: 8.5/10
ACCESSORIES: 9/10
SOUND VALUE: 7.5/10

INTRO

Kotori audio is a IEM cable maker company from Singapore that began to make their own IEMs 4 years ago with the release of their first single dynamic driver IEM called Dauntless. I’ve reviewed the Dauntless and consider them very good technically, with excellent resolution and speedy attack, and an analytical treble centric tonality that delivers vivid musicality.

Today I will review their second attempt at an IEM making call Vampire. The Vampire uses a single full range balanced armature from Knowles and its tuning tries to achieve a smooth musicality ‘’devoid of any harshness’’ for long listening pleasure.

Priced 100$, the Vampire has taken a long time to be carefully tuned for a tonality ideal but a unique looking design too, which is quite eye-catching.

Let's see in this review how ‘’haunting’’ the Vampire can sound and if a single knowles BA can achieve a full and engaging musical experience.


CONSTRUCTION & DESIGN



Construction is good, it use soft and thick plastic that seem molded in one piece, has no gap or imperfection, is quite small with long enough nozzle for deep insertion. 2pin connector aren't embeded and most cable will work apart QDC. Back plate is eye catchy and elegant. The fit is ergonomic and comfortable since the IEM is light and smooth.

The included cable is very good, though i would have prefer balanced termination.Its a silver plated copper cable with 2 core, it's thin and soft, flexible and free of microphonic and has this fancy cable splitter i find quite appealing too.



The packaging is very elegant and include good quality accessories that are all well thinked for proper pairing with the Vampire. The eartips are very nice, it's similar to Sony EX11 eartips im very afound of and for once the right one to use with the IEM you buy (something that IEM companies should be more cautious about). The included carrying case is exact same as the one included with Hifiman Svanar, so i can confirm it's a good quality case inclusion for budget IEM.

I did enjoy the french quote written inside the box too, since i'm a french canadian that wasn't expected at all and it can be loosely translate like this: ''Tell me, mysterious man, what whisper of the night has call you under the soft moonlight?''

All in all, nothing to complaint about both built and accessories quality.


SOUND IMPRESSIONS



The tonality of Vampire is a mysterious and colored one, it sits between warm neutral, mid centric and balanced dark V shape. It’s all focused on lower mids to feed an overall mid centric musicality that focuses on vocal presence, density and release in a wide enveloping way.
It’s a fully rounded tonality too, with sub bass and upper treble roll off, so you're really into the main music scene with Vampire, it wants to be cozy yet highlight the vocal and main instrument of your music to trigger emotional response-magnify yet sugar coated way.
It got this analog euphonic vibe too, when musicality was about presence coloring and ‘’anti-colding’’. Think about an old tube or solid state amp with LOUD button press ON. We aren’t in high fidelity reference sonority seeking here, it’s all about music sensuality.

The bass is warm, punchy and dark, chunky and physical. It’s very weighty, not crisply defined nor clearly rounded. Cello sounds lush and vibrant, energized in air density and scooped in clean release. Double bass feels perhaps a bit too meaty and lacking proper natural extension, yet you will enjoy its energy and bulbous presence.
The bass struggles a bit more when it comes out hard hitting bass tracks, which Vampire is not appropriate for, i'll never listen to electronic, IDM, Drum & Bass with those, it’s not their ‘’philosophy’’.
So, when bass hits, it can be a bit mellow and boomy, at very high volume it can go muddy-distorted, but this is very common on single BA IEMs.
Sub bass is rolled off and warm, when rumble happens it’s concentrated in sustain which makes tactility boosted yet creamed.
These aren’t basshead material, mid bass punch while there is mellow and euphonic, it’s there to feed the lower mids first and foremost.

These mids are very warm, but very lush and focus on both vocal presence and fullness. The sweet coloring might affect clarity, cleaness of definition, as well as amplifying sustained intensity of instrument and vocal.
This intensity boost works better for vocal and saxo, any wind instrument will take the lead of the show, giving the greatest sense of immediacy and captivating presence blossom to the listener. Some might feel the vocals are a bit over-forwarded, but due to the buttery nature of mids their no harsh shouting, it's more a well balanced warmed loudness of vocal, saxo, trumpet.
Breathy vocal will get very thicken, it’s quite appealing and add a sense of naturalness that don’t shock the ears, it’s not edgy, in fact, intelligibility isn’t the best due to euphony going on, so here it's more the tone than texture that is extracted actively.
These aren't sharp nor very detailed mids, sound info gets lost in the mix, euphony glues musicality together in a well done manner.
Those are for sweet vocals lover, not for cold or edgy bright mids lover, it excels with vocal as well as instrumental music that don’t have too much impact release.
The piano is not earning the presence boost of vocal and wind instruments, it goes all warm and tone color, so the Vampire are very nicely tuned even mid range wise. It’s meant for simple music.

The treble is dark and rolled off, there is no sparkle or authoritative snap to be found. It’s very safe and buttery. Percussions sound thicker, warmer and darker, but the energy is there and there is no metallic shine or splashing, it’s very damped in aggressive spikes.
It’s well balanced within this sound signature that seems to want the listener to focus on mids lushness. You're not deconcentrated by over forwards treble, there are near no micro details, it’s a permissive treble that can do good with bad recording since it damp hissing and noise artifact.
Most energy of highs come from lower treble, this had a bit of bite and energy to guitar, with a soften attack lead and shorten release that don’t go airy or sparkly.


The soundstage is quite wide, average tall, not very deep. It feels like a wide mono speaker in front of the listener.

Imaging is average, it’s foggy and minimaly resolved, you can’t use those for monitoring nor can sharply position instruments unless duo, but even that i’m not sure.

SIDE NOTES

Since these are single balanced armature, the Vampire are capricious in terms of source. Its impedance is rather high at 50 ohm which means you need proper power to open up soundstage and awaken dynamic, then veen if sensitivity is average at 112db we have a rather problematic distortion level of 0.7% above 100 db of volume loudness. This mean these are more thinked for listening at safe level, for some 90db is plenty loud anyway, so i settle at 95db for me, I mean: thanks Kotori for preserving my hearing health, yet, it’s bass impact DB that create distortion in bass region when big kick hit or slam or rumble. This is to be noted for those listening very loud and widely since it’s not a defect but a balanced armature limitation.

Then the included eartips and cable are plenty OK to deliver the full sound potential of those Vampire.



COMPARISONS





VS FINAL B2 (1BA-300$)

B2 is notably brighter, crisper, less colored with warmth, thinner and more neutral with a greater focus on treble.

Vampire is bassier, warmer, darker and more mid centric. Bass is rounder, darker in texture, more meaty and weighty yet less well defined and way more euphonic.

B2 sounds more open and airy, it has better clarity and transparency, more forward and fatiguing upper mids and less lush and thick and creamy vocals. Technical performance is superior though bass is more rolled off, dry and prompt to distortion at high volume.

Soundstage is wider and taller with Vampire, while notably deeper and cleaner with B2.

Imaging going to B2, better resolution and faster transient response for proper layering make it easier for positioning while lotta sound info gets lost in the mix in dark foggy's spatiality of Vampire.

While their no doubt technical performance of B2 is superior in term of attack speed-control, resolution, treble extension and imaging, the Vampire offer smoother, warmer and more mid centric and laid back musicality that will most likely charm more the vocal lover, as well, less spicy treble and less shouty upper mids make it less fatiguing.



VS KBEAR NEON Pro (1 knowles BA-50$)

Neon is more neutral, bright and crisp.

The bass has lighter impact and note weight, it’s thinner, a notch more textured in presence and don’t have any rumble or impact sustain extension like the bassier, lusher, more vibrant, dark and thick bass of Vampire, which bleed notably more into lower mids, feeding them some thickness. Vampire packs more punch, has a rounder yet more colored bass response. Bass instruments have more forwarded presence and underline how bass less and lean is Neon low end.

Mids are more open and airy, more transparent and detailed yet again thinner and a bit colder as well as leaner and more recessed with Neon. Vocalists are both lusher and more forward in full yet warmed presence with the Vampire. This can make busy tracks more mushy and dark in rendering yet the focus on mids is greater and don’t scoop as much the lower mids, the mix of presence of mids is more forward-warm.

Then the treble has more air and crispness with Neon, it's not as thick and crunchy, we have higher amount of micro details and better transparency. Vampire has darker and foggier treble, not as spacious in separation nor as clean.

SOundstage is about the same width with both, a notch taller with Vampire and notably deeper and cleaner with Neon.

Imaging is superior with Neon due to more air between instruments and layers.

All in all, Neon Pro is more technical but not as cohesive in balance, the bass and vocal are very thin and lean, which make everything but lower to upper treble sound recessed and cold. I don’t find any musical pleasure in Neon Pro, so in that regard Vampire is surely superior.

CONCLUSION

The Kotori Vampire might not be the IEM with the most treble bite and air, but under the moonlight of an overall dark signature the vocals shine like no other and are the main attraction of this niche warm sounding IEM.

The Vampire is in fact the complete polar opposite of the Dauntless which was vividly bright, and to deliver such bodied and impactful bass with a single knowledge BA is something to celebrate, though with a pinch of guilty pleasure.

Kotori seem to have precise musicality when it comes to tuning, the choice of single balanced armature was very audacious and I would not suggest those to audio enthusiasts that listen at very loud volume since some transient distortion issues will happen when their big bass impacts.

Though limited in term of technical performance, the refreshing bassy mid centric to warm neutral L shape tuning is very musical with the right music, from folk to soul to slow pop, rock and R&B with main focus on singer, the Vampire deliver male and female vocal in all their lush splendor, and they aren’t afraid to over shadow rest of sound info in the soundscape so the listener can get fully immersed in wide and dense vocal presence.

Recommended if you know why you buy those!






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PS: I want to thanks Ray Tan from Kotori for sending me this review sample in exchange of an honest review.

You can order the Vampire for 100$ directly from official Kotori audio website here:
https://kotoriaudio.com/collections/earphones/products/vampire-iem