Kotori Audio Vampire

KOTORI VAMPIRE REVIEW: THICK AS BLOOD​

WATCH MY REVIEW HERE: ​

PROS:​

• Warm and smooth
• Comfortable and lightweight
• Premium accessories
• Good note weight
• Very fast transient response
• Rich and soothing tonality

CONS:​

• Air pressure build up
• Slight metallic timbre
• Lack of treble sparkle
• Can sound too warm
• Lacking dynamics
• Not the most technically capable set

WHO THIS SET IS FOR:​

• People who like the linear tone of BA IEMs
• People who like a small, lightweight and comfortable fitting IEM
• People who like premium accessories bundled with the IEM
• People who want a smooth and rich tonality

WHO THIS SET ISN’T FOR​

• People who are looking for a dynamic listening experience
• People who want a sparkly and airy treble
• People who want want a more technical sounding set
• People who want a more neutral/balanced tuning

RECOMMENDED GENRES:​

• R&B
• HipHop
• Classic Rock/Pop

SHORT REVIEW:​

Single BAs have taken a resurgence and the Vampire is one that baffled me from the start. Warm and smooth tonality with enough vocal presence to not sound dark, but also has that distinctively metallic top end to break the flow. It’s neither technical nor dynamic, but a warm linear presentation is one that allows it to stand out from the market’s oversaturated Harman sets. RECOMMENDED WITH CAVEATS!

FULL REVIEW​

Do drivers matter? If so, does more mean better? That’s a question that many people have been debating over the years and caused an entire era of in-ears that were all striving to get the most drivers per IEM. This makes perfect sense as, back in the day, the amount of drivers correlates to performance.

Today, we have frequency measurements and more accessible audio stores to demo IEMs to know that more drivers don’t always mean better sound, but can give the manufacturer versatility in tuning their products by having specific drivers handle specific frequencies. This is why you still find flagship in-ears with not only multi-driver but also include different kinds of drivers like piezoelectric, electrostatic and branded balanced armature drivers.

With this in mind, why in the world would anyone opt for a single balanced armature IEM? Single dynamic driver IEMs are acceptable as they’ve had almost an entire century of development and have been used from headphones to in-ear monitors for a very long time. Balanced armatures are often used with dynamic drivers, why use just a single balanced armature driver?

Today, we’re going to be talking about my first single balanced armature driver IEM and my first Singaporean IEM reviewed in my channel. Let’s talk about the Kotori Audio Vampire.

BOUTIQUE AND BOLD!​

Kotori Audio was established in 2019 with their team on a journey to create the ultimate auditory experience through everyday listening devices.

Kotori is a brand that I’ve personally been following for a long time. By a long time, I mean since I started this hobby. My favorite IEM ever, the HZSound Heart Mirror, began to have competition in early 2022 when a boutique brand by the name of Kotori came out with the Dauntless. The dauntless in particular was received with good reception for providing a very energetic and bright tuning which was even more impressive when you consider this was their first IEM.

The Vampire is the second IEM in their entire catalogue and their most expensive set to date. We’ll talk more about its specifications later, but this is a monumental set not only for myself but also Kotori as they’re slowly breaching into the mainstream with the release of the Vampire. Let’s find out whether they have what it takes to stand out from the fierce competition!

UNBOXING​

Kotori is here to impress from the moment you receive the package with a rather bombastic unboxing experience.



You get arguably one of the most badass-looking packaging in any IEM I’ve seen. The front features an illustration of what seems to be a blood moon on the horizon with a girl standing in the center coated in scarlet red.

The back features and specifications are laid out neatly, with clarity and precision regarding what you need to know about the product.



Sliding the surprisingly difficult-to-remove outer sleeve reveals a box with the Kotori logo up front that, when struggling once again to remove the cover, reveals the IEMs laid out in a nicely presented manner.

Here’s a full list of the accessories:

• Kotori Vampire IEMs
• Carbon 3 cable terminated to 3.5mm
• 3 pairs of ear tip
• Metal case

Kotori is not pulling any punches when it comes to the accessories as the Vampire despite being a smaller company, they’re able to provide a really nice case, nice eartips with a nice case and a really mature unboxing experience that competes with much more expensive sets.

DEVELOPMENT OF THE IEM​

Kotori Audio provided a “reviewer” guide for the Vampire that I took the time to go through and explained the existence of the Vampire in the first place. This isn’t common to see in a lot of IEMs nowadays, barred from those that feature new tech that needs to be explained.



One of the most interesting things that I found on that guide is a literal rough drawing of the Vampire’s features that looks straight from a 7th grader’s notebook. This goes to show that the most innovative ideas don’t always come from the perfect, best looking drafts.

You can also find commentary and explanation on the production of the Vampire that explains that the backbone of the Vampire is on Comfort and Companionship. Check out the full transcript here:



Enough about the background of Kotori Audio and the production of Vampire, let’s talk about the Vampire’s themselves.

BUILD & FIT​

Starting with the specifications, the Vampire features a single full-ranged Balanced Armature from Knowles that is housed in a very lightweight resin shell that’s only 2.7 grams per side.



The emphasis on comfort for the Vampire starts with the build & fit as the overall shape is one of the most comfortable non-winged shapes I’ve ever worn. It’s very small and very comfortable in the ear and goes surprisingly deep without discomfort. This reminds me a lot of the INM1 by INM Audio with a very similar, small and comfy shape. This makes their goal of engineering it to be unnoticed for musical enjoyment to be almost true.



I say almost as yours truly found one pretty major issue that some people might have with the Vampire. Air pressure build up. Now to give Kotori Audio some slack, this is not their fault. Almost all balanced armature driver only IEMs exhibit this quality one way or another. In defense of Kotori Audio, their design allowed for less air pressure build up compared to other BA IEMs that I’ve tried. But it’s still present and it still bothers me any time I move my head around. This issue is anatomically based, so you might not experience it as bad as I do.



Aesthetically speaking, the Vampire has got to be one of the prettiest red IEMs that I’ve seen. The subtle scarlet red faceplate with either the Vampire logo or the Kotori logo on each side adds a lot of character to the design motif of the Vampire. The black perfectly wraps around the faceplate, free from any branding or naming which I appreciate Vampire decided to opt out on. A small gripe that I have as a photographer is the coat of glossy resin they used that makes it quite difficult to photograph under artificial light. Besides this, the Vampire looks fantastic. Kotori Audio even states that every Vampire’s faceplate is different, so your vampire is unique to you!



Cable wise, the Vampire uses the Carbon 3 silver plated OFC cable that feels a lot like the 2 stand cables that comes with SImgot, EPZ and the likes in this price range. Not to say that it’s bad, on the contrary it’s a really good quality cable. But the resemblance is there. Where the resemblance ends, however, is the absurdly thick y-split and chin cinch that either makes the cable look more premium or completely out of place. Regardless, it feels comfortable and lightweight to complement Vampire really well.

SOUND​

Sound Signature​

The Kotori Vampire features a very interesting tuning. Warm and lush low end that spikes up in the treble and a very relaxed air presentation. This is something I personally haven’t really hard before with very specific exceptions that were coincidentally also a single BA IEM named the Fengru WT2, but that’s a set for another day.

As you might expect from a single balanced armature driver, you get a very snappy and sharp sound that, despite the warmer low end, still emphasizes very fast and well-defined transients that single DDs often cannot replicate. This is arguably the selling point of a set like the Vampire with its single BA driver, but let’s get deeper into the sound in a moment.

I will say that timbre is something you need to expect to not be the more natural as there’s a very distinct metallic tone to the sound that is coherent throughout the frequency range but ends up making instruments sound a little too fast. The warmth aids in making the low end sound more lush and natural, but it’s fundamentally a very snappy presentation

Drivability​

If you expected the Vampire to be very easy to drive and sensitive IEM, you are completely mistaken. With an impedance of 50 ohms and 112dB sensitivity, the Vampire is quite the power hungry set to bring out the best in its sound. You don’t need 1w amplifiers for this, don’t worry. But a clean, neutral source that doesn’t color the transducer is the way to go for the Vampire. I found that the very clean Fosi Audio SK02 perfectly played the Vampire with enough energy and volume while keeping smooth and clean.

Ideal Volume​

The Vampire is an oddity when it comes to the ideal listening volume as the warmth initially leads you to cranking the volume to balance out the treble, but the sudden spike in the mid treble forces you to crank it down to avoid harshness. However, the source used plays a big part in whether the region is emphasized or not. On less clean sources, you’ll find the Vampire to be a bit unbearable in the treble but a cleaner source will minimize the sharpness and improve timbre. But I personally found myself comfortably in the mid to high listening volumes with the right source.

Bass​

Most people criticize balanced armature bass for being too fast and lacking impact and nuance. With that pre existing notion, I was also expecting the Vampire’s bass to sound limp and lifeless. But I was thankfully surprised as the bass of the Vampire provided a good amount of impact and punch while staying snappy and tight. Obviously, it’s not going to be as thick, tactile and punchy as even cheap single dynamic driver IEMs. But that’s not what balanced armature bass is made for. Speed and tightness is the name of the game and the Vampire has got that covered. Regardless, I won’t deny that this is a kind of bass presentation made for a specific demographic that wants speed over engagement.

I’ve been listening to a lot of Willow recently and the track “run!’ has been my recent earworm. The Vampire is able to present the low-end details with a solid sense of body and extension without sounding limp or thin, but the tactility is clearly lacking on this track due to the nature of the IEM. There’s a good level of impact, especially after the 1:20 mark and goes to show that the Vampire is more than capable of producing super low end notes, but just not in a way that people who seek a fun and engaging sound would really prefer. I know because I’m part of that demographic. However, the bass of the Vampire is very unique and sounds really good for electronic music like the Alchemist Album by Savant. The subbass is presented really well without making the rest of the frequency mushy.

Mids​

The midrange of the Vampire is something that will divide quite a lot of people due to its clearly colored and warm nature. This is a kind of midrange that perfectly fits those that seek a full-bodied and rich-sounding midrange in anything they listen to. From vocals to instruments, the Vampire presents instruments in the midrange with such lushness and warmth that I have fallen asleep listening to vocal and instrumental tracks with the Vampire. The issue lies with the overall timbre pushing the warmth a little too much to the point where even the speed of the driver starts struggling making the sound signature clean. This is definitely not for those seeking a clean and open-sounding midrange, but rather those looking for a thick and lush midrange that’s in your face and rich sounding. I will say that the upper midrange energy is balanced surprisingly well to the thicker low end with a good amount of energy that still gives upper midrange vocal and instruments a decent level of nuance and clarity that doesn’t get drowned in the warmth.

The track Alone Again, Naturally by Vulfmon is a perfect example of making the vocals thick and rich complementing the mix surprisingly well. I still don’t prefer this amount of warmth, but the balance of the thicker overall midrange and the energy boost in the upper midrange makes the vocals sound so lush and relaxing, albeit not the most natural sounding. This is also the part where the timbre starts to divert as the thicker low end starts to collide with the sharper upper-frequency instruments which I’ll talk about in the next section.

Treble​

One of the biggest complaints I’ve seen from single Balanced Armature IEMs is that the treble can often be a little dicey. Unfortunately, that is the case with the Vampire. But let’s talk about the good first. Details are surprisingly well-defined despite the overall presentation being on the more relaxed side. This is potentially due to the snappy sound allowing for details to be present even in the absence of a boosted treble, but regardless it maintains a good level of detail. The overall treble presentation is also quite relaxed with the upper treble rolling off and making it a really good set for those sensitive to upper treble peaks. However, issues plague it that a treblehead like myself feel a little disappointed with. Particularly, the massive spike in the mid-treble followed by a massive dip in the upper treble makes the Vampire sound a little low-res at times. This isn’t due to the driver being incapable of sounding resolved because it is more than capable of doing so. However, the contrast from the mid treble to the upper treble often causes issues with perceived resolution and the Vampire struggles in that regard.

I really cannot pinpoint a specific song as the issue honestly exists in most songs that I listen to, but I also can’t deny that tracks that I usually found to be sibilant are completely bearable on the Vampire. Listening to the retro beats of CASIOPEA and the track Swallow has become my gold standard test for sibilance and the Vampire passed with flying colors on the track. There’s hints of sibilance creeping in, but I was able to run this at higher volumes than I usually do without experiencing any massive peaks. That makes the Vampire a surprisingly competent set for older tracks with brighter tuning as you probably won’t experience much harshness from the treble as much as many other modern and Harman tuned sets.

Technicalities​

The Vampire tells two stories of its technical ability. Superb separation and layering, lackluster stage and imaging. This is due to the nature of the Vampire having a very capable driver to separate instruments really well, but a very small driver and an unorthodox tuning that makes music sound a little claustrophobic and in your head. If you’ve listened to Etymotic IEMs, you’ll find yourself right at home with this kind of technicalities. As you might expect, dynamics are poor on this set and resolution is great despite rolling off in the upper treble. I noticed this when comparing it with cheaper, single DD sets where the cheaper sets sound forced in the treble while the Vampire sounds clean but relaxed.

COMPARISONS​

Unfortunately, I don’t have a lot of single BA sets to compare with the Vampire, so I’ll compare it to either more expensive multi BA driver sets or similarly priced single DD or hybrid sets.

vs HiBy Yvain​

From $99 to $250, the 4BA HiBy Yvain tells a very similar story to the Vampire in more ways than one. First, they both use Knowles BA with the Yvain adding 3 more balanced armatures to make the tuning more versatile. Next, they both have a very linear bass to midrange tuning that spikes in the upper midrange to give nuance and energy in the upper registers. Lastly, both their trebles roll of quite drastically. The major differences lie in how refined, technical, resolving and neutral the Yvain is tuned compared to the Vampire. The midrange is the highlight of the Yvain and it clearly shows when compared to the somewhat unrefined tonal balance of the Vampire. The Yvain is also somehow a more coherent sounding set without a peak that messes up with the timbre despite using more drivers. But this all adds up as the Yvain is priced at $250 from a company with more experience in tuning balanced armature sets. I wouldn’t say it’s a completely unfair comparison, but I’m confident that if Kotori continues to work on their balanced armature sets, they’d be able to create something on this level.

vs Etymotic ER3SE​

Another much more expensive set that is thankfully also single BA, the ER3SE is fundamentally a different IEM to the Kotori Vampire. If the Vampire focuses on Comfort and Companionship, the ER3SE focuses on pain and penetration. Jokes aside, the ER3Se exhibits a similar issue in the treble to the Vampire with a rolled off upper treble. However, the ER3SE balances this by having a very lean and linear bass and a deep presentation that minimizes the potentially massive peak in the mid treble. I honestly think that the Vampire could have gone the path of the ER3SE, but Kotori wanted to make a lush and relaxed set which they achieved with not only the tuning but the form factor. Essentially, the ER3SE is for those looking for a dead flat sounding in-ear monitor with no mercy to your precious ears and the Vampire is those who are looking for a comfortable companion with good speed and warm sound.

vs Kefine Delci​

While a little odd at first, you’ll understand why I wanted to compare the Delci to the Vampire. Both sets have a relaxed and warm tuning with focus on relaxation and lushness. The Delci, by nature, is the more engaging, punchy, tactile and engaging set while the Vampire is the more lush and somehow more refined sounding set. This lushness is something that people will definitely consider when purchasing a “relaxed” sounding set. Both sets have a peak in the mid treble that dips to a relaxed upper treble which are things to consider if you’re looking for a proper “relaxed” set as both sets are really not for those with sensitivity to the 8k region. Regardless, both sets are the two sides of the same coin. Do you want a warm, lush and snappy set or a warm, dynamic and tactile set?

CONCLUSION​

In the end, we found that; yes, drivers do matter and that something like a single BA set can be a viable choice if you’re looking for this specific kind of snappy but warm tuning. But fundamentally, this is such a unique listening experience that I can recommend this for anyone who’s looking for a refresher from the usual, methodical set of recent times.

From the fit to the sound, Kotori Audio has provided such a unique set that is a refreshing set to see in the market today. When you’re a new brand, you need to set yourself apart from the competition and Kotori Audio achieved this pretty well. There are still a lot of patches to smoothen out like the midrange sounding a little too thick and the mid treble peak to upper treble dip making the Vampire sound a little low resolution, but I’m confident these are things that Kotori Audio will be able to improve upon in their future releases, For now, good effort!

Thank you for reading my review on the Kotori Vampire. If you would like to order one, consider using the non-affiliated link below:
https://kotoriaudio.com/products/vampire-iem

Dauntless uses a Japanese 10mm dynamic driver which Kotori have tuned for analytical listening. I’ve become quite familiar with the characteristic deep bass and full DD sound through the use of numerous single DD sets, so was interested to hear this affordable Kotori unit. Listening to Call It 95 (Herbie Hancock), Whatcha See Is Whatcha Get (Hall & Oates) and Bees (Everything Yes) I tried a subjective comparison with the similarly priced Simgot EA500 - a very popular single DD budget set which has been a mainstay of my weekly listening routines for over a year. The EA500 delivers a touch more detail, but is also harsher and more piercing than Dauntless, with a narrower soundstage. I’d be more inclined to opt for Dauntless for a more pleasant listening experience, as it’s less shouty and has a fuller bass presentation, with no compromises on details and clarity. I also appreciated the inclusion of a carabiner hook amongst the accessories.

Thanks to the Audio Geek tour system, I also got to audition Kotori’s Vampire, which uses a Knowles BA driver. Listening to Total Eclipse (Iron Maiden - 2022 remaster), Do It (Kurt Rosenwinkel), Killer (Seal) and Blessed Relief (Frank Zappa), Vampire’s lush tonality is evident, and a pleasing stereophonic presentation is achieved. Kotori aimed to keep Vampire lightweight in construction, with a tuning that’s devoid of harshness, and therefore conducive to longer listening sessions, and I think they’ve done a fine job, as every test track sounded great. To take a personal departure from the DD sound I’m overly familiar with, I’d choose to spend an extra €30 to get the Vampire, as this set has something unique for its €96 price tag. It was only logical to conclude Vampire’s audition with Constellations (IQ), since they share common origins.

Kotori Audio ‘Vampire'

Configuration: Single Balanced Armature
RRP: $99 - available directly from Kotori Audio HERE

Introduction

I had never heard of Kotori Audio up until seeing a post on Facebook (I think, it was a few months ago now) where they were seeking reviewers for an upcoming IEM. Their branding really caught my attention, so I decided to throw my name in the hat. Fast forward a few weeks, and Ray from Kotori reached out via email to invite me to participate in the review.

I’ve had Vampire for about two months now and plenty of time to become familiar with the tuning. I would like to thank Ray in Kotori Audio for providing me with a review unit. As always, all impressions, photos, thoughts are mine with zero input from the brand.



About Kotori Audio (From their website)

Our story starts like many others – Lovers of good music who eventually come to appreciate the “instruments” we use to reproduce sound in our very ears. Before realizing it, we have been immersed in the vast world of audio technology.

Our individual exposure to the endless catalogues of audio products have brought us to the same conclusion: we each constantly seek our own version of perfection.

A Bit About Me...

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

Specifications

Driver Configuration: Single Knowles Balanced Armature
Frequency response: 20Hz-18kHz
Impedance: 50Ω@1kHz
Cable: 0.78mm 2-pin / 3.5mm jack / silver-plated copper
Weight: 3g per IEM




Unboxing & Accessories

The unboxing is a fairly simple affair but yet feels more premium than the price would suggest, this I feel is down to the clear labour of love from the brand – there is a real sense of a boutique manufacturer here where the goal is to create a products they can be proud of.



Upon opening the outer sleeve, we are greeted with an inner-box with an embossed Kotori Audio logo – this is a really nice finish which again gives a somewhat premium feel.



There is a puck-style case that contains the cable, the IEMs themselves, and a branded box with a selection of small, medium, and large tips.



All contents -



The tips remind me of Final E-tips or perhaps Sony that come with their TWS and IEMs such as the IER-M9 – they have a similar soft-rubber texture that for me have sufficient density to ensure a good seal in my ears.



Cable

The cable is light with low microphonics and has a nice soft and pliable coat. The ergonomic finish is perfect for any listening scenario, be it out walking or in bed. Overall I find it a high quality, well-built and very impressive cable to be included at this sort of price point.









Design & Fit

The shells are of a premium design and finish, plus possibly the smallest I’ve encountered. I was initially concerned as to whether they’d even fit me, as I’ve had trouble with very small shells in the past – Kotori recommended using their stock tips, and I felt even the large may not be sufficient but pleasantly surprised when I found they did actually seal securely, but definitely requires a bit of a deeper insertion than I would usually with other sets.



Once secured, they are very comfortable and even though they are unvented, I am not finding any pressure build – important to note though that too deep of an insertion impacts sound, as does not going deep enough, as such you may need to experiment a bit to find that sweet spot – but it is worth it both for comfort and sound. They have a beautiful understated but premium looking design. The isolation is excellent also, blocking out most external noise. A big 5/5 here for me in terms of the overall design and fit.



It's hard to get across just how small these are, but attempting to with this photo of the large stock tips sitting beside Vampire...



Listening Impressions
All of my listening has been with local files (FLAC) and via a mix of my Sony ZX707, Aune M1p, and desktop combo of Topping A70Pro / Eversolo DMP-A6.



I must say I was sceptical as to what a single BA could do, I’m not sure why as I’m a huge fan of single DDs but for whatever reason queried in my mind what a single BA could pull off… well that scepticism quickly disappeared within a few minutes of hearing Vampire, quite a ‘wow’ moment in fact as I was immediately immersed in an incredibly captivating experience – there is a warm, lush embracing tonality that quickly captivates with an overall cohesive presentation that is certainly reminiscent of a single DD.



Bass

The sub-bass digs reasonable deep but I wouldn’t describe it as cavernous by any means, it has a nice balance to the overall signature though. The mid-bass kicks with a nice amount of weight but it doesn’t quite have the slam of a dynamic driver, and how could it being a BA – that said, it is still very impressive and I expect only die-hard DD heads to split hairs here. The bass definitely plays a nice role as to the foundation into the mids, they behave very well together in terms of providing a full-bodied, and lush presentation from the lower frequencies into the mid-range. The bass behaves well for the most part, but perhaps a touch slow for some more complex musical arrangements – a nitpick though at $99 and for a single BA… one must keep reminding oneself of this fact while listening!

Mid-range

The mids are beautifully lush and delicate, yet still very detailed – any mid-focused tracks or genres are captivating and immersive. It is for this reason and the comfort that I often grab Vampire for listening to ambient music in bed, often nodding off very quickly. Thankfully they don’t tip up into any upper-mid spikes which is always an area I’m listening out for, too much can quickly kill a set for me, but equally I’ve found it is an area where I do like some energy to ensure strings or female vocals can truly sing. Again, a big surprise here is how a single BA can have such clarity, lushness and still with plenty of space – yet with that delicacy I’ve described.

Treble

The treble is somewhat subdued or relaxed, it lacks a sparkle or bite in the most upper regions that some may desire. This for me plays into the overall tuning though, the theme certainly being an overall lush, mellow, smooth, immersive atmosphere – I would even again call the treble ‘delicate’ – it rises up in the upper-mid to lower treble region to give an ethereal and captivating sensation to strings and female vocals, but pulls back then at the very top.

Technical

While the soundstage isn’t massive, it is certainly impressive again for a single driver – and indeed for such tiny IEMs, I at times almost need to pluck them out of my ears to have a gawk at them, digesting again the fact of how incredibly small they are! There is an excellent spaciousness to the stage where you can clearly zoom in on individual track components, yet again with that feeling of delicious delicacy (I’ll try stop using that word now…). Certainly not a holographic presentation, but again the ability to navigate instrument locations is evident along with a nice sense of layering – albeit in a somewhat intimate manner. Again, this I feel plays to the overall tuning – we are going for lush, captivating, and simply ‘enjoy your music’ and that sensation is consistent across each element of the tuning… we are not going to get an analytical outcome here. The timbre is excellent, wonderful realism for vocals, strings, piano etc. It wouldn’t be a set I’d choose for more complex and fast-paced electronic music however, it lacks the speed and overall tuning to suit these genres – it can pull it off, but not to my preference.



Conclusion

I’m not going to do a full test track run down in this review, and debating whether I will include in reviews moving forward as I’m not sure how beneficial it is – perhaps I’m wrong, and feel free to drop a comment if you disagree! In a nutshell, my experience of Vampire is that it works for most genres, but excels with vocals, acoustic, piano, strings and the more subdued of electronic genres such as ambient or less complex downtempo.

Overall, Vampire has absolutely exceeded my expectations in terms of what a single BA is capable of delivering, and it really is a case of ‘hearing is believing’ as it’s impossible to grasp from any review or set of impressions… you really do need to hear for yourself, especially considering the price tag.

This is my first single BA set, and as a huge fan of single DDs, I can certainly hear similarities, especially from a cohesive perspective as a single driver – there is that ‘delicacy’ that I wasn’t going to mention again but just had to – such a natural, lush, and captivating tonality.

I would like to thank Kotori Audio again for this review opportunity, an impressive set and excited to see what they come up with next as I know they are cooking up something as I type.

Introduction

Kotori Audio in conjunction with Audio Geeks has provide this review sample for the Australia tour and it will be samples by audiophiles across this wide brown land. Kotori Audio is a Singapore-based audio company and at present have produced two IEM’s, the first called Dauntless is a single DD design. The Vampire we are testing here is a single full-range balanced armature IEM in a 3D resin shell with a hypoallergenic lacquer finish.


The Vampire is supplied with a single set of silicone tips and a rather nice cable with a 3.5mm termination. I did my listening using a Openheart 4.4mm balanced cable and the Letshuoer DT03 dongle attached to Hiby R3 and playing Flac files. The nozzles on this IEM are quite long. You need to use tips that allow a good seal with deep insertion for the full bass to be heard. Vampire is moderately easy to drive 34% on my setup of Dap and Letshuoer DT03 on high gain. I found for my ear canal the Divinus velvet wide bore tips wedged in tightly gave me a better sound balance and compared to other tips There was less harshness with vocals in the upper range. Some tips revealed a little coarseness in some male and female vocals in the upper registers.



The sound
Vampire is very midrange biased with trebles rolled off and an enjoyable fast bass that does not dip down deeply into sub bass regions. Sub bass is present and mid bass is boosted giving a warm tonality. Kotori has done amazing things with a single full range BA and a small non vented enclosure. The IEM has a very DD like sound with very good natural timbre and no BA timbre artifacts. The sound is airy and spacious and with its midrange focused tuning it has impact and power. Vampire has a relaxed approach to details, and musical subtilties. These are present but take a backstage to the forward musical presentation. This is an IEM to relax and enjoy the music with and not to analyse. Vampire is superbly musical. It does really well with both male and female vocals. Vocal timbre is natural and vocals are smooth and enjoyable. Vampires treble while not extended is perfectly adequate with cymbals and guitar strings rendered well and without any harshness or sibilance. The Kotari works very well with pop and inde rock/folk. Other genres such as EDM and rock fare OK but could use more sub bass and treble extension.

Conclusion
Priced at $139USD Vampire delivers a different musical experience from Harman single DD’s or most hybrid sets. Its an IEM for musical enjoyment and would make a great set to use as a daily driver when you are out and about. Its sound is warm, energetic and captivating. All from a single full range BA driver. Kotari, take a bow!

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.

​

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.

​

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!






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


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

Introduction​

Kotori Audio is a singaporean boutique brand that is mainly known for the Dauntless, a single DD IEM that targeted the trebleheads.
The newest product from Kotori Audio is the Vampire, a single BA set that instead targets a very different audience since it’s a very warm and smooth set with a severe treble roll-off.
Now, without further ado, let’s get deeper in the review.

Disclaimer: the Kotori Audio Vampire were sent to me by Ray Tan from Kotori Audio so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Kotori Audio Vampire were on sale for around 121,90 SGD at kotoriaudio.com (their official website), that corresponds to around $90.

Click to expand...

Technical Specifications​

• Driver Configuration → 1 Knowles Full-Range BA
• Impedance → 50Ω@1kHz
• Sensitivity → 112 dB/mW@1kHz
• Frequency Response Range → 20Hz-18kHz
• Total Harmonics Distortion → <0,7%@1kHz, 100dB
• Cable → Silver-Plated Copper (SPC) cable with 0.78mm 2-PIN connectors
• Plug Type → straight gold plated 3.5mm TRS

Packaging​

Since I have received a sample when the packaging was not yet ready, I have only received the IEMs inside their metal carry case. Do note that by ordering a sample today you're receiving the standard packaging which looks very good and contains:

• The Kotori Audio Vampire
• The SPC detachable cable
• 1 x set of silicone tips (S, M, L)
• A metal carry case

Design, Build Quality, Comfort and Isolation​

The Kotori Audio Vampire are 3D printed and the full resin shells are small with no sharp edges, leading to a very comfortable fit even for those with ears that are smaller than average. In addition, the isolation is superb because the shells are fully closed (no vents, as this is easier to do with a single BA than it is with a single DD).



The nozzle is pretty long and has a lip to provide for a secure fit of the tips, but it’s not uncomfortable and instead guarantees enough insertion depth for the earphones to behave correctly in terms of sound reproduction (single BA IEMs usually require deeper insertion and this is the case with the Vampire as well).

Cable​

The cable is pretty flexible, it doesn’t tangle and it sports a chin slider. It’s not the best stock cable I’ve seen under $100, but there’s really nothing to complain about as it’s a very solid one.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO
• Portable DAPs: Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Do they need an amplifier?
Since they are not very sensitive and the impedance isn’t the lowest around, a bit more power than the average weak smartphone jack is recommended.

Sound signature
The sound of the Vampire is warm-neutral with a soft mid-bass hump and a rolled-off upper treble. It’s a very relaxed and smooth signature that will definitely appeal to all the warm-heads and treble sensitive folks out there.

Lows
The sub-bass is for sure nothing to die for, but it’s somehow perceived as “existant”, even though without a true rumble (as expected since it’s a single BA IEM), so the comparison with single DD IEMs will still be a no-go.
The mid-bass is the true star in the low-end with the typical “BA bass” textures and nice body. It’s punchy and it’s definitely more impactful than any other sub-100$ single BA IEM I’ve tried (KBEAR Neon, NiceHCK X49, KBEAR F1 and so on). The textures are ok even though it’s more of a timbre-and-quantity-focused low end, and the fact that there’s some emphasis on the bass also means that these won’t be the fastest BA bass you’ll hear, even though it’s pretty snappy for most situations.
Overall, it’s a very interesting approach for a single BA set and it works pretty well, especially for old school rap, bass guitars, lo-fi, future garage and similar genres.

Mids
The lower mids follow the bass emphasis with some forwardness that helps male vocals, even though the bass sometimes bleed into the midrange (it’s not aggressive though and helps with added warmth). Male singers come out pretty warm and deeper than expected from a single BA set, and the same applies for lower notes of acoustic guitars and some piano notes. Female vocals, instead, are intimate and delicate, but the upper treble roll-off and the lower treble dip kind-of limit their energy and the perceived “space” in which they propagate: overall, it’s a very safe IEM that will not bother those who are usually annoyed by edgy upper midrange tunings, even though those who really like very open, airy and energetic vocals should probably look elsewhere.
Last, but not least, the various instruments are well separated as long as the track is not overly complicated; feeding the Vampire with extremely busy passages or orchestral tracks with tons of instruments will inevitably show the technical limits of this set, not only due to the single BA but also because of the combination between the bass emphasis and the rolled-off treble.

Highs
With their relaxed treble response, the Vampire target those who want the smoothest single BA set under 100$, and it’s truly impossible that someone will find them fatiguing even during prolonged listening sessions. The macro-detailing capabilities are nothing to write home about but there’s a good amount of information in most cases; the smallest nuances, instead, are not an easy task for the Vampire, but this is a trade-off that many will be more than willing to accept in favor of an enjoyable and comfortable listening experience.
The upper treble roll-off (which is quite “noticeable”) plays a huge role in this very smooth experience, leading to a more intimate and less airy sound that may or may not appeal to some customers based on their preferences.

The soundstage is pretty small providing for an intimate and relaxed listening experience, and the imaging is fairly good considering the driver setup and the overall signature.

Some comparisons:​

Kotori Audio Vampire vs AFUL MagicOne
The comparison that everyone’s likely to search for if interested in a single BA set around $100.
Let’s spoil the main differences: the Vampire are bassier and darker while the MagicOne have better end-to-end extension and technicalities.
The Vampire has more mid-bass and slightly more bass texture quantity but the AFUL MagicOne have faster transients in general and dig deeper in the sub-bass region thanks to the Nautilus lengthened acoustic tube.
Due to the fact that the Vampire have a very noticeable treble roll-off, the midrange is more “linear”, while there’s a bit more brightness and sparkle on the MagicOne and the overall signature seems less mid-centric than on the Vampire.
The treble slightly brighter on the MagicOne and more small nuances are portrayed than on the Vampire with no added annoyance nor fatigue. The Vampire, on the other hand, has a darker and more intimate presentation and less micro-detailing capabilities, so there are both technical and timbrical differences.
Build quality is great in both cases and the same applies for comfort and isolation, especially considering that pressure is managed admirably (even though some pressure build-up still happens on both sets as it’s physiological for fully closed BA sets).
The provided stock cables are good too, even though some may prefer MagicOne’s thicker cable. The MagicOne come with more tips whereas the Vampire only include one set of tips (wish Kotori Audio included more tips even though the stock ones are pretty good).
I think one should go for the MagicOne for the best single BA technicalities around $100 and for the overall better clarity, whereas one should get the Vampire if on the market for a mellow, dark-ish and smooth bassy signature enclosed in very small and comfortable shells (and they’re priced below the MagicOne, so budget also plays a big part).

Kotori Audio Vampire vs KBEAR Neon
The Neon have been one of the most unique sets from KBEAR and I am proud to be the one who suggested the “Neon” name. Featuring long nozzles, they were designed to have a deep fit and wanted to be an ety-like experience for less than $50.
In general, the Kotori Audio Vampire are more comfortable since they don’t need to be pushed “that” deep in the ear canals, they have deeper and thicker bass and they have a more relaxed treble region. The Neon, instead, have a thinner lower midrange, more energetic and forward upper mids and better treble extension, providing for a more neutral-bright signature. The Neon can portray smaller nuances than the Vampire, also thanks to the better upper treble extension, but the low-end is thicker, punchier and more textured on the Vampire.
Soundstage and imaging are slightly better on the Neon due to them being brighter and more spacious, but the Vampire is surprisingly good at pinpointing considering the intimate soundstage.
In terms of overall build quality and design, the Vampire is much better, and the same applies when it comes to comfort. Isolation, instead, is comparable.
The Vampire come with a better stock cable, whereas the Neon come with a few more spare tips.
The Neon sometimes get discounted and can be grabbed for around $30, which is a very interesting price for such a unique product. But if there’s one thing in which they don’t do very well, it is the overall coherency and timbre, which instead is one of the Vampire’s strengths. In fact, the Vampire are darker and less “transparent” than the Neon (which is a big endorsement for the Neon), but they are somehow more mature and coherent along the spectrum, packing a better note weight and a smoother upper range presentation, both of which parts of a carefully fine-tuned signature that is targeted to a specific audience.

Kotori Audio Vampire vs Hisenior T2U
Not really fair since the T2U have two balanced armatures instead of one, but this could be interesting for someone.
The two are not very different from the low-end to the mid-range, and in fact the signature is kinda similar, but the Vampire have a dip in the lower-treble that the T2U don’t have instead. This makes the T2U a bit more detailed and makes female vocals more engaging, and when listening to both the Vampire feel darker and more intimate in general, even though with deeper and thicker male vocals and acoustic instruments.
The fact that Hisenior decided to use 2 BAs on the T2U makes them slightly more technical (of course, a crossover has been used to properly cover the whole spectrum with the double driver setup), and the upper-end extension benefits from that, even though Hisenior’s 2BA set doesn't have a very emphasized upper range.
Soundstage is a tiny bit better on the T2U, imaging is a tad better on the T2U.
When it comes to comfort, the Vampire win thanks to their smaller shells, whereas isolation is similar.
Both are built very well but the Vampire comes with slightly more flexible and softer cable, even though the T2U come with a much more generous sets of tips and accessories.
What should one buy? The T2U are a bit better in terms of technical performance and they’re a tad more balanced with no focus on lows or highs; the Vampire, instead, go all-in on thick note weight and on a darker signature that will suit warm-heads or dark-heads better, provided they could accept the slightly inferior technicalities.

Final Thoughts​

It's the first time I get the chance to try a product from Kotori Audio and I really hope this won’t be the last.
The Kotori Audio Vampire may not seem “disruptive” because they don’t kill more expensive IEM nor IEMs in the same price bracket, but I think there’s another point to consider in this case: while other brands try to raise the bar and compete on the value for money ratio, Kotori is focusing on a specific target market, which is something we don’t see often nowadays.
The Vampire, in fact, are not going to compete with the likes of Simgot’s single DD kings, nor are they gonna try challenging the latest budget planar or hybrid set in their price range: expecting that would be just plain wrong. They are instead trying to satisfy the needs of those who want a pair of small IEMs that have a warm signature and a thick bass response with very smooth and kinda dark-ish highs, a combination of factors that make up for a nice pair to just sit and enjoy some pure relax.

For sure, those who want the best technical performance from a single BA IEM will be better off saving some more money and increase the budget to get a pair of AFUL MagicOne, but we are talking about a more expensive IEM that also have a slightly different signature (both are warm-neutral but the Vampire sound darker and has more midbass than sub-bass), and one also gotta remember that while AFUL can somehow set more aggressive prices, a boutique like Kotori Audio works on lower quantities so the products will be generally more expensive despite their similar technical level.

What else to add? I guess nothing.
The Vampire provided for a very interesting listening experience from the first usage, and I really hope that Kotori Audio will come out with even more interesting and capable products in the future, especially because I really like their “direction” and the fact that they truly care about specific end users without going for a trial-and-error strategy by using jack-of-all-trades IEMs.

OkHello everyone here is my short review / impressions on the Kotori Vampire .
It's safe to say it's my absolute favourite single BA iem , perfect combination of great sound , comfort , isolation & easy to drive.

Vampire the 1 BA wonder by Kotori.

1 Knowles Full Range Balance Armature Driver
3D-Printed Custom Engineering Hard-Tough Resin Shell, Skin-Safe Lacquer Coating
Super light weight 2.7 GM per side
1* Silicone Tips & Case (S M L)
1* CARBON 3 IEM Cable
1* Metal Carrying Case

One must have this in the iem collection , there are only handful of single BA iems & only few from them perform up to the mark , Vampire is one of it.. without any doubt.

The Case is great I loved it metallic mat lovely finishing with V logo , hard on out & soft on inside, easily openable but has a firm grip & is kind of air tight.
The cable it's light weight, aesthetics are great , very soft & manageable, no microphonics braiding is superb , SPC is great choice..
The tips & the tip case is great , they are comfortable & give a superior isolation ( most of isolation is because the iem design is probably ventless) .
The IEM Ergonomics ,
What a fit , it's so light weight & the small ear shell is great , Kotori's quest to create a convenient daily driver has created a masterpiece .
Without the ba veil for long listening wow perfect , the design on shell is really the best & exceptionally beautiful absolutely love it , once worn I can really forget that I have anything in my ear & enjoy music such is the combination of the iem + tip + cable.
The Sound 1 BA how in this world did Kotori managed to make a 1 ba that sounds so good , done a phenomenal job , this Vampire doesn't sound like a 1 ba , it sounds great & far more better that what I had imagined, Timbre is perfect & I love it , vocals sound nice rounded with organic touch , bass this 1 ba is moving air & giving a feeling of bass which is equally good as a good DD + perfectly fast & thumpy ,
Highs are there but not on your face, just the way i like it ..
Sound stage & imaging is great,
Let me share that I tried it with balanced cable using Aune M1P DAP & Hiby RS2 DAP.
I am lucky, in India I am the first person who got to listen & try this wonder .
I thank Kotori Audio & Ray Tan for sending us their iems to AG for tour ..

Kotori Vampire

And here we have it, the budget priced Kotori Audio Vampire. Thank you Kotori Audio for making this review possible by sending it on US Tour via Audio Geek Brother_Hood of Audiophiles. Nobody influenced or attempted to influence what is written here



As I write this, I’m enjoying the sweet, bluesy and dynamic tunes of KALEO, who, in 2016 had their breakout hit “Way Down We Go” off of their A/B album. It is a contemporary alt-rock sound, influenced heavily by the blues movement. And it is pure rhythmic enjoyment. It drives hard and overwhelms with screaming guitars, intense rhythms and syncopated beats. And I love the album. I love to listen to it loud. So, why do I mention this in a review? Simply put, these IEMs ROCK. I was in touch with Ray at Kotori all the way through the review period and he is an excellent guy - super interested in providing the best possible musical experience for the price. And I could feel his passion for this project from the get go. And the thing that I love about passion: when it is executed properly, it shows in the finished product. And this project certainly connects passion with excellent execution.



So, enough about all that finer stuff. What do they sound like? Simple. Glorious. At the $90 price point, I would be significantly hard pressed to find a better balance of what I love in an IEM. First off, my bias. I love a neutral-warm tuning. What that means is I love some deep bass. I love impactful mid bass. And I love my midrange vocals to be chesty and heavy. I love transparency, which is why I prefer a neutral warm tuning over a neutral or neutral-cool tuning. Kotori hit that neutral warm tuning spot on. First, it is a single balanced armature design. That’s right, a full range BA. Many of you are going to say, “Whelp, there goes the bass!” You would be dead wrong. These IEMs dig DEEP. And they punch hard. Maybe not as hard as a 10mm dynamic driver. But certainly hard enough to get me bobbing my head when the beats hit. Second, there is a silky smooth transition from upper bass into the midrange. No apparent bass bleed is happening here. We all know that this is the advantage of a single driver design: coherency. With frequencies all being produced by the same driver, there is no worry about various frequency ranges sounding like they are coming from a different driver. No divisions in frequencies. And now we are at the star of the show: midrange. It’s textured, beautiful, chesty, rich and harmonic. Voices are defined and separate from backing instruments and one another. The weakness? Treble. It’s good. Treble is sufficient. I could hear the cymbals, and there’s definitely some treble shimmer going on. And these things scale. I was able to go from my ALO Pilot Dongle to my Mojo 2 to the Hiby R8II and they kept up with all of the various sources. One thing to note: these are some insensitive balanced armature earphones. Of the BA earphones I had in house during the review, these are the ones I had to turn up to medium gain, or apply some extra volume. It’s ok. They never capped anything out. And I didn’t mind turning them up to 11. Because they sound sweet. I’ve never heard a single BA design sound this sweet. Able to drive hard and handle delicate passages equally well.



In summary: I plan to buy some of these as a daily all arounder. If I’m going to a seedier side of town but still want sound quality (and let’s be honest, I ALWAYS want sound quality), these will be coming with me.

Pros:

1. Sexy 3D printed resin shell with blood red accents
2. Silky, tonally accurate midrange
3. Dat Bass, yo!
4. Hard driving dynamic impact!

Cons:

1. Treble: let’s be honest, a full range BA can either do treble or it can do bass. I corrected the situation by pairing it to my Effect Audio Cadmus 4 core cable and the energetic sounding Penon Orange Liqueur tips

Associated Equipment

1. Hiby R8II
2. Shanling M3 Ultra
3. Chord Mojo 2
4. EPZ TP50
5. Cayin RU7
6. Campfire Audio Andromeda Emerald Sea for reference
7. EPZ 530 for reference
8. EPZ Q1 Pro
9. ALO Pilot

Provided Accessories

1. A nice, soft, litz silver plated copper cable
2. Narrow bore ear tips, not too dissimilar from Final Type E tips
3. Round storage case