Kotori Audio ZEPHYR

Introduction​

As part of the Audio Geek Europe Tour, I’ve had the privilege of listening to the Kotori Audio Zephyr for a few weeks. Below are my personal impressions.
As my mother always said: “If you can't say something nice, say nothing at all.”

I came to IEMs from full-size headphones. The main reason I use IEMs is practicality – they’re convenient when I’m on the move or traveling. So far, I haven’t heard any IEM that can truly compete with a good open-back headphone in terms of sound quality.

When I really want to enjoy music, I prefer a setup with a DAC that uses a chip I like, a powerful neutral amplifier, and a pair of open or semi-open headphones. I stream CD-quality music, listen to physical CDs, or play FLAC files. This is my sonic reference, even when I stick a pair of IEMs in my ears. I know it’s not a fair comparison – but who said life is fair?

I do have a good DAP, but half of the time I use a combination of phone, dongle, and IEMs for the simple reason that I need to stay reachable.

This review is based on listening with my Sony Xperia 10V, FiiO KA15, a balanced cable from GY Hifi, and a pair of TRN T-Ear tips in small size – a combination I found excellent after some experimentation.

What I Listen To​

I primarily listen to high-quality recordings in genres like jazz, jazz fusion, jazz-rock, jazz-funk, smooth jazz, acid jazz, contemporary and modern jazz – and occasionally some pop and classical music. Bass and rhythm are key elements in much of what I enjoy, so I’m picky when it comes to bass reproduction. I want music to be beautiful, but also rich in detail and energy.

Ergonomics & Fit​

I’m not sure whose ears were used as the mold for the Zephyr’s shape — but they definitely weren’t mine. That said, with the right tips and some adjustment, I eventually found a setup that worked well enough for extended listening.
The Zephyr is made of plastic resin, small to medium in size, and lightweight. It sticks out slightly from the ears and features a ⌀ 5,8 mm, fairly long nozzle. To get a proper fit, I switched from my usual medium-size tips to small-size tips so the nozzle would sit deeper in my ear canal, and the IEM more firm in my ear. This improved the sound significantly – it gained body and overall balance.

According to Kotori, the Zephyr features a “fully sealed acoustic chamber” with a “pressure-balanced acoustic system” (PBAS) using an “acoustic balancer tube”. This means no external vents, which allows a slightly better passive noise isolation. One might expect this to cause pressure buildup or driver flex, but I experienced neither during my listening.

Sound Control​

PBAS is designed to balance internal pressure using internal channels and filters. It serves a similar purpose to external vents but without opening the IEM to the outside. It helps control tonal balance, overtones, and resonance. However, it absolutely requires a perfect seal – otherwise, the result is harsh treble, a congested midrange, recessed vocals, undefined bass, and a collapsed soundstage. That’s exactly what happened the first time I inserted the Zephyr using my usual medium tips – the seal was poor and the sound was awful.

Tonal Balance​

With a perfect seal, the Zephyr comes out as a very well-balanced IEM. The 10 mm dynamic driver and Knowles balanced armature delivers a controlled sound with great transient response, imaging, and detail – far beyond what I usually experienced at this price point.

The tonal tuning is very well done. The typical treble peaks associated with Knowles BA drivers are tamed, resulting in airy, shimmery, detailed, yet slightly relaxed highs.
The midrange is present and full-bodied, with great clarity. Piano, guitar, and vocals sound natural without being forward or fatiguing. And the slap on the snare, it's precise but not up your face.
The bass is well-defined, has depth, is punchy, and dense, driving the groove and energy of the music.

I would describe the Zephyr as a neutrally tuned IEM – but definitely not boring. It reveals what’s in the recording in an engaging and enjoyable way.

Imaging, Dynamics & Timbre​

Imaging and dynamics are excellent. Stereo separation is impressive, and instrument placement remains clear even in dense jazz fusion tracks. Dynamic shifts come through well. Groovy music makes me want to move, while smooth jazz helps me relax.

The timbre is warm and juicy in the lower registers, lush and organic in the mids, and transparent and natural — though slightly dry — in the upper frequencies.

Conclusion​

Everything is well controlled, and the harmonics of each instrument is in the right place – like balm for my ears. Nothing feels exaggerated or missing, but it’s not bland either – If you like to listen to good recordings, want to know the musicians and sound engineers intentions, Zephyr is for you.

Compared To​

A quick comparison with my Moondrop May and Kiwi Ears Quintet, both of which have similar tuning and I’ve listened quite a bit with both of them..

The biggest difference lies in the treble and air regions, where both the May and Quintet sound sharper. The Zephyr offers better control in the highs, along with more body and definition throughout the frequency range. Overall, it delivers a more enjoyable listening experience for me — and I suspect the well-executed implementation of the PBAS chamber is what makes the difference.

5-Star Rating​

I’m giving this IEM 4.5 stars. It’s definitely something I want to own, and at a price of $150, it offers excellent value for money. If it had fit my ears better, I would have given the Zephyr a full five stars.

My Star Rating System (from a consumer perspective):​

3 stars — I don’t want this one
3,5 stars — I don’t need this one
4 stars — It would be nice to have this one
4,5 stars — I’d really like to have this one
5 stars — I must have this one

Some of the albums I’ve been listening to with Zephyr:​

• Steely Dan – Two Against Nature
• Snarky Puppy – We Like It Here
• Mezzoforte – Islands
• Gary Burton – Cool Nights
• Simon Phillips – Protocol 4
• Arooj Aftab – Night Reign
• Spyro Gyra – Morning Dance
• Jeff Lorber – The Very Best Of
• Jeff Lorber Fusion – Now Is the Time
• George Duke – Face the Music
• Brian Culbertson – Music From The Hang
• Mezzoforte – Volcanic
• Dave Weckle - Synergy
• Steve Hunt, Connections
• Michael Franks, The Art Of Tea
• Pat Metheny Group, Letter From Home
• Ghost Note, Swagism and Mustard n’Unions

Unboxing
The Kotori Audio Zephyr arrives in an elegantly designed box, featuring a sleek sleeve adorned with a stylish pattern that mirrors the earphones' faceplate design. The back of the box provides detailed technical specifications. Upon opening, you're greeted by the Zephyr earphones, neatly packed alongside a metal case with the Zephyr logo printed on top. A separate compartment holds the included ear tips, while the braided cable is securely stored within the case.



Accessories
While the included accessories are modest, they are undeniably of high quality. You receive a sturdy metal case, a well-crafted braided cable, and two sets of silicone ear tips in three sizes. The cable, designed in-house by Kotori Audio, feels smooth to the touch and complements the earphones’ aesthetic with its matching connectors and y-split. Importantly, the cable is not microphonic and provides a seamless listening experience, though it is limited to a 3.5mm termination.



Build
Despite their metal faceplates, the Zephyr earphones are surprisingly lightweight. The matte gunmetal faceplate features an industrial hex-nut design that stands out, while the rest of the housing is made from piano black resin. The ergonomic design includes a wing and indents to fit the contours of the ear. The flat two-pin connector and appropriately sized nozzle should ensure a comfortable and secure fit. The nozzle also features a metal mesh to prevent debris from entering the driver channels. While the build quality is commendable, the lightweight nature of the earphones may not convey the premium feel some may expect from other IEMs.



Fit and Comfort
The ergonomic design of the Zephyr is intended to provide a snug, comfortable fit, with wings and indents that contour to the ear’s shape. However, for my ears, the fit proved to be somewhat uncomfortable, with fatigue setting in after just 30 to 40 minutes of use. The isolation is also less than ideal, despite experimenting with various ear tips. Eventually, I settled on Eletech Baroque tips, which helped improve both comfort and isolation. Despite this improvement, the Zephyr still didn't quite match the level of comfort or isolation offered by better-fitting in-ear monitors.



Sound
The Kotori Audio Zephyr offers a neutral and relaxed sound signature. There's no noticeable emphasis on any particular frequency range, but this doesn’t make the listening experience feel flat or uninspiring. Instead, it strikes a balance, providing a natural and open presentation.



Bass
The bass of the Zephyr is somewhat subdued compared to other bass-heavy IEMs like the AFUL Explorer or Ziigaat Estrella. While it lacks the deep rumble and impact of those sets, the bass is refined and detailed. Tracks like Fugazi’s ‘Waiting Room’ highlight the well-textured bass, allowing individual plucks of the bass guitar to stand out. Similarly, in SOPHIE’s ‘MSMSMSM’, the bass intricacies are expertly rendered. The bass is controlled, not bleeding into the mids, maintaining clarity across the frequency spectrum.



Midrange
The midrange of the Zephyr is clear and well-separated, with neither vocals nor instruments receiving undue emphasis. This allows for a relaxed and engaging listening experience, where you can focus on the vocals, individual instruments, or the interplay between them. Even in complex and noisy tracks like Burzum’s ‘Dunkelheit’ or fast-paced songs like ‘Sugar/Tzu’ by black midi, the Zephyr keeps things in balance. The midrange is both musical and intricate, making the listening experience rewarding.



Treble
The treble is well-controlled, offering a good balance of shimmer and detail. It complements the neutral tuning, adding some sparkle without becoming sharp or fatiguing, perfectly blending with the bass and midrange.



Technical Performance
The technical performance of the Zephyr is impressive, particularly for its price. Soundstage and stereo separation are solid, though the stage could benefit from more depth, width, and height. Despite this, the instrument and vocal placement is accurate. The Zephyr performs admirably in busy or dense tracks, managing complex passages without losing resolution. In fast, intricate tracks like ‘Sugar/Tzu’ by black midi, the Zephyr handles the frantic arpeggios with ease, displaying excellent transient response.



Conclusion
The Kotori Audio Zephyr is a solid performer for its price, offering a neutral and relaxed tuning that never feels dull. It encourages deeper engagement with different parts of a track, rewarding listeners with new discoveries. However, the fit and isolation are not up to par with the sound quality, limiting the potential for extended listening sessions. If Kotori Audio can refine the comfort and isolation, the Zephyr could be a standout in its category. As it stands, it offers great value, with a unique sound signature that stands apart from the crowd.

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Supplementary Information

Gear Used for Testing

iBasso DC-Elite (with iBasso CB19 adapter to allow for discrete data and power input)

HiBy x Evangelion R4 (high gain)

FiiO JM21 (high gain)

iFi Go Link Max (with Samsung Galaxy A53 + Neutron Music Player)



Test Tracks (all local files in .flac format)

Simulation Swarm – Big Thief

Hangin’ Round – Lou Reed

Sliver of Ice – ANOHNI and the Johnsons

To Binge – Gorillaz

Here Comes the Sun – The Beatles

Burning Down the House (Live) – Talking Heads

Waiting Room – Fugazi

Paranoid – Black Sabbath

Dunkelheit – Burzum

Pangea Girls (Magic Feeling) – Candy Claws

Sugar/Tzu – Black Midi

tv off – Kendrick Lamar

Teardrop – Massive Attack

Guess – Charli XCX feat. Billie Eilish

MSMSMSM – SOPHIE

Idioteque – Radiohead

4 – Aphex Twin

Part 2: Resolution – John Coltrane

Theme of Laura – Akira Yamaoka

Walking the Cow – Daniel Johnston

Quia ergo femina mortem instruxit – Hildegard von Bingen/Sequentia

I had a pleasure of listening to Zephyr from Kotori Audio as a part of the Audio Geek EU Tour. It’s their 3rd offering in the IEM category, and the most expensive, retailing at 144.95 euro at the time of writing. But it’s also the first iem on the tour that for me sounded better with the tips included over my usual red Salnote tips, as it has a longer nozzle and requires a deeper insertion with smaller diameter tips. I've settled for grey medium ones, which are bullet-shape like, and provided best seal.

Zephyr provides neutral sound signature with some bright overtones but not super expansive. Instruments separation or resolution at this price point is pretty good but not on par with more pricey sets. It works really well with hard rock music like Led Zeppelin, AC/DC, Black Sabbath, Metallica, having very solid, full-fat sound across the spectrum and especially in lower frequencies. Led Zeppelin’s Physical Graffiti 40th Anniversary Edition album sounded really great.

Bass

Bass is not super fast nor has it best definition but it provides a solid foundation to a very musical presentation. It can punch where needed but is not super prominent. Listening to a double bass on Esbjorn Svensson Trio albums, it was a bit rolled off and lacked definition.

Midrange

Midrange is slightly warm, full-bodied, and a bit forward and emphasized. Electric guitars on AC/DC albums have a good bite, sounding crispy and powerful.

Al Di Meola' s classical guitar was a joy to listen to on his tribute to the Beatles record from 2013 (worth checking this one out if you like classical guitar).

Male vocals have nice timbre and tone. Unfortunately there was an occasional sibilance with higher range vocals (Kate Bush: "Walk straight down the middle", Robert Plant in "Kashmir") but lower range female vocals sounded damn good (Kimiko Kasai on her collab with Herbie Hancock album "Butterfly").

Treble

I would like to hear a little bit more sparkle and extension in the treble, which is something I've learned to appreciate over the course of this tour, being overly sensitive to the treble in the past (but I'm still very picky here, any unnatural spikes can be deal breakers for me). So, similar to bass it’s not very prominent.


Technicalities

Soundstage is unfortunately rather narrow which at times creates a sense of congestion in the overall presentation. Despite that, It can recreate very atmospheric vibe on certain tracks like on Black Sabbaths' "Heaven and Hell". Listening to Vivaldi's Four Seasons made me forget about the outside world... I was completely immersed in the music, with strings painting beautiful scenery in my mind.

Conclusion

At this price point there's no much to fault really, it's a musical, good all rounder. If I owned the set I would most likely upgrade the cable on it, due to the annoying issue with earhooks.

KOTORI ZEPHYR REVIEW​

WATCH REVIEW HERE: ​

PROS:​

• Unique neutral bright sound
• Linear, clean and smooth bass to mids
• Nuanced, full-bodied and clear midrange
• Good detail retrieval
• Competent separation and layering ability
• Very snug fit with no air pressure build-up
• Fantastic presentation and support

CONS:​

• A little too revealing that causes occasional sibilance
• Treble contrast is too drastic and affects the timbre
• Closed in sound stage
• Fit might be too aggressive for some
• Very source sensitive
• Lacks bass tactility and impact

WHO THIS UNIT IS FOR:​

• People who want a uniquely tuned neutral-bright IEM
• People who want a snug and stable fitting IEM (with bigger ears)
• People who like companies who put a lot of effort into the presentation of their products
• People who like a linear low to midrange presentation

WHO THIS UNIT ISN’T FOR:​

• Treble sensitives
• Timbreheads
• People with smaller or weirder shaped ears
• People who want a more “normal” tuned IEM

RECOMMENDED GENRES:​

• Jazz
• Orchestra
• Classical
• Ambient

SHORT REVIEW:​

Kotori proves themselves a competent company with their latest release being their most mature, best tuned and most capable yet. Their continuous improvement every release is seriously commendable considering that they’ve only been established in 2019. However, they still have quite a lot to improve, particularly with their treble and overall coherency. Once they refine that and release more products, they’ll be legends in the making. Until then, the Zephyr is a set worth considering if you’re looking for a uniquely tuned neutral bright IEM. RECOMMENDED WITH CAVEATS

FULL REVIEW:​

Smaller, boutique brands often have the most incentive to try new things. In a competitive market such as in-ear monitors, you have a lot of brands that you need to topple or at least prove that your product can compete at the price you ask for.

However, 90% of the time it ends up being a flex product or a creator-support product rather than something that is actually unique and usable. But when you’re a company obsessed with improvement and actually care about the quality of your product, you’re bound to make a product that is both boutique and unique.

Let’s talk about the Kotori Audio Zephyr.

FLY AWAY ON MY ZEPHYR!​

I fully respect Kotori for a few reasons. In my previous review of the Kotori Vampire, I noted that they created this “reviewers guide” that is less about telling what the reviewer should say and instead actually guiding them by explaining the thought process of the product from development to specifications. That’s probably the one thing that sets Kotori apart from every single company that I’ve come across. But for a boutique brand from Singapore, you have to make this effort, right?

The set today is the Kotori Zephyr, a DD + BA hybrid priced at $150 and is their 3rd product following the aforementioned Vampire. This is also their most expensive IEM to date, but for good reason that we’ll talk about later. So how exactly does this Zephyr soar through the competition?

Let’s start with the unboxing

UNBOXING​

Sophisticated is probably the best way I can describe the unboxing experience of Kotori Audio products. Maybe it’s a trend, but smaller brands seem to offer much more than just the IEM in their unboxing. They want you to have an experience from the moment you receive your IEM until they reach your earlobes.

Here’s a full list of the inclusions:

• IEMs
• Cable
• Metal Case
• Eartips with case
• Paperwork

While not necessarily mind blowing for the price, you get what you need and nothing more with the Zephyr. The eartips are serviceable, but I highly recommend tip rolling as we’ll talk about the sensitivity of the sound later.

The case is your usual metal round case that holds the IEM and maybe a few eartips, but not really much more than that.

I do appreciate the quality of their paperwork. If anything, it really makes it stand out from a lot of the brands I come across with how meticulous they are to every part of their package.

BUILD & FIT​

Now let’s get to the fun part. The Zephyr was created with two things in mind; improve upon the acoustic system of their first IEM called the Dauntless and use the feedback they received from the Vampire. And quite frankly, they nailed it.

But let’s talk about the internals first.



The Zephyr features a single titanium dynamic driver paired with a Knowles balanced armature driver. Not necessarily a new pairing, not by a long shot and not at this price point, but it holds a rather special tech that Kotori seems to have called their own.

PBAS Implementation

I’ll let them explain what the PBAS in their own words:

• The PBAS is a step up from a similar system previously implemented in the DAUNTLESS In-Ear Monitors. It features an intricate network of acoustic pathways that is integrated into the 3D-printed (3DP) shell structure and the utilisation of a balancer tube for pressure control. ZEPHYR takes full advantage of the PBAS system to significantly enhance the overall sound qualities of the drivers.

It’s honestly a lot of technical talk, but the only thing you need to know is that the way they designed the acoustics of the Zephyr allows it to be tuned exactly how Kotori Audio wants while also ensuring that the air pressure build up is completely eliminated.

And boy, did they eliminate the air pressure build up. One of my biggest comments about the Kotori Vampire is that the air pressure build up genuinely affected my enjoyment of the IEM. It’s a unique and interesting IEM to listen to, but the air pressure build up forces me to listen to it in a static environment with minimal movement so as to minimize the changes in pressure in my ears. The Zephyr completely negates that thanks to their PBAS system and I am so for it. This also allows for such a fine level of tuning on the IEM, which we’ll talk more about later.

But let’s go out to the faceplate and shell, starting with the faceplate.



They utilized modern and traditional techniques with a “Bauhaus-inspired” design language that represents the spirit of the wind god, Zephyrus (which it was named after). Elegance is the name of the game for the Zephyr and, well, it’s quite elegant. Maybe a little too elegant.



On first look, I found the Zephyr’s design to be a little odd. The hexagonal protrusion sticks out quite literally with elegant waves descending down to the shell. Maybe I’m just used to more extravagant or eloquent designs, but I initially found the Zephyr’s design a little dull. But the more I observed it, the more I realized how much thought was put into the design of this thing. It’s not a hexagon placed on top of a shell, each corner connects gracefully to the lacquered resin shell. Plus, the CNC aluminum shell is a nice touch to give it a premium feel.



As for comfort, I can already tell you that this will completely depend on your ear anatomy. While that is the case almost 90% of the time, I can assure you that the Zephyr is probably the most tip and ear dependent IEM that I’ve reviewed recently. This is due to the very aggressive inner shell and wing structure that allows it to dig into your inner ear for stability, but also add discomfort for those who don’t have the same ear anatomy as their mold. Thankfully, they molded the Zephyr for my ear (this is a joke) because it fits like a damn glove. Granted, you NEED to tip roll with these as the stock tips are unfortunately not enough for me. The texture and shape just feels like it couldn’t go in too deep without causing issues.



However, long listening sessions prove to be a little fatiguing as the wings dig into your inner ear. I don’t hate the long term fit as stability is probably one of the best for the price, but it’s done to the extreme where it might cause problems for anyone with a different earshape. And then of course the lack of air pressure builds up, but I’ve already made a section about that.

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As for the cable, it uses the same Carbon 3 cable that was used on the Vampire which is apparently an upgrade from the Carbon (2020. I don’t have that cable to compare, but I do have the Carbon 3. And the Carbon 3 is a pretty good cable! It’s not fancy braided 8 core gold plated nonsense, but it’s a functional, aesthetically pleasing and comfortable cable with a very bulky but pretty looking chin cinch and y-split and an L plug. I will always put L-plugs above straight plugs for the sole reason that they just feel more durable due to the fact that they have less jack length to snap or break. But that’s just me.

Here’s a message from the designers:

SOUND​

Sound Signature​

Arguably the thing that makes the Zephyr stand out from not only Kotori Audio’s own catalogue but also IEMs in the price is its almost deadpan neutral tuning with a bit of spice in the top end. The bass to midrange is one of the most neutral I’ve heard under $200 with the treble providing a decent level of detail and clarity at the cost of timbre. We’ll talk more about that later.

Source Pairing​

Don’t let that 92db of sensitivity fool you. Well, maybe a little bit because compared to something like the KZ PRX with a similar level of sensitivity, the Zephyr is one that doesn’t need much power to drive properly. However, the Zephyr is similar to the PRX with how sensitive it is to sources. Pair this with a bad source and it’ll screech at you. But pair this with a good source and you’ll hear angels fly. I personally enjoyed pairing this with the ever-so-reliable Fosi SK02 and the HiBy R6 III. I’d probably pair a straight up warm source with this, but I think that’d ruin the tonality a bit much if the lower mids gets colored any more

Volume​

I found myself not going beyond mid volume due to the peak at around 4-5k that is a clear violation to my HRTF. But in mid to low listening volume, this thing is a beaut.

Bass:​

The bass of the Zephyr is on par with the Dunu Kima 2 in terms of tonality. This means that the Zephyr has one of the flattest, most neutral but cleanest sounding bass you can find under $200. Seriously, how Kotori Audio was able to achieve this is beyond me or their PBAS system. It’s so clean and soothing and perfectly compliments the midrange. I found myself enjoying jazz, instrumental and orchestral tracks the most here, so expect me to mention those in the songs section. But it’s genuinely impressive how well-tuned the bass of the Zephyr is. However, it does have an achilles heel. This level of control in the tuning lead to a rather nasty con for me personally. Tactility. Now I’m not gonna complain too much as this is a $150 with a relatively neutral bass tuning. I don’t expect anything in this price point to have a tactile bass presentation, but it falls a little too smooth and too clean to the point where I genuinely feel like they focused too much on getting the tuning right that it got over smoothened. It’s not the worst I’ve heard and totally appropriate for the tuning, but I also know that this is the limitation of the price and not necessarily a con for them. Bigger bass IEMs have the quantity to mask this, but IEMs like the Zephyr unfortunately have to live with the fact.

Listening to a track like Diving In on the Sky: COTL official souindtrack by Vincent Diamante shows the level of maturity that the bass of the Zephyr has. Tight, smooth and present when the track calls for it. During the forte moments of the track, you really feel the air and string instruments come together in such a beautiful, deep and lush harmony unlike anything you’ll hear with IEMs with a subbass focus. The beauty of IEMs with a linear but slightly warmer bass tuning is that you get the weight while maintaining detail and clarity of the notes, and the Zephyr is one such IEM that does this

Mids:​

The Midrange presentation of the Zephyr is two fold. One with vocals and one without vocals. Without vocals, this thing is absolutely amazing. The level of nuance and detail featured in the midrange of the Zephyr is second to none compared to other IEMs in this price range. It doesn’t aim to compliment the bass or the treble, instead it lives in its own little bubble where you get to hear every single detail with such finesse and crispness. It’s a lovely midrange for instrumental tracks and orchestral tracks and has been my go to for those genres. From pianos to Kenny G’s famous saxophone, you get a level of detail and crispness unlike any other IEM in the price.

Unfortunately, once the vocals start to pop out, it gets a little indecisive. The lower to midrange presentation is immaculate. Male vocals tend to sound good most of the time with the lower frequencies sounding quite cohesive and rich. But once you breach the upper midrange to where the female vocals are, you start to feel like something is wrong. Is it the overly vibrant upper mids to mid treble? Is it the contrast from the calm and collected lower frequency to the energetic treble? Whatever it is, there’s a sudden shift in energy that may seem quite odd at first listen. However, I’ve slowly grown to love this kind of sound for the reason that it focuses that energy where instrumental tracks shine.

I absolutely loved listening to Kenny G’s tracks on the Zephyr. From his older Breathless album to the New Standards, his sax just never gets old on the Zephyr. The placement of the energy is just perfect as it never sounds fatiguing, yet the details and clarity is phenomenal. I absolutely adored his music again when I listened to him on the Zephyr, and that’s saying something. However, the same cannot be said for tracks with already bright vocals such as You Should Head North by Necry Talkie. S and T sounds just gets so unbearably sharp that it somewhat ruins the tonality of the music by quite a bit on first listen, but starts to normalize after a while.

Treble:​

Now to the part that completes the beauty that is the Zephyr. The treble is peculiar in a couple of ways. While the lower frequencies to midrange frequencies are smooth and calm, the Zephyr takes a step up in the treble and provides a very crisp, detailed and borderline analytical sound that is almost treblehead level if you like mid treble. The kind of treble that the Zephyr has isn’t the airy kind, but the sharp and snappy kind. There’s a good amount of air, yes, but most of the energy is pushed to the mid treble from 4k all the way to 8k with a bit of edginess and roughness. I’d be lying if I told you that the weakest aspect of the Zephyr to me is the treble. Unfortunately, this energy does more harm than good for the overall presentation of the sound as the smoothness of the lower frequencies contrasted with the sudden peak in the treble doesn’t sound cohesive. This also suffers from bright or poorly mixed tracks that do NOT hide the flaws of the mix whatsoever. Some people like that, but I know that some people might come to this expecting a smooth and lush experience. Unfortunately, it isn’t

I can name a hundred songs that I found to be problematic due to the treble of the Zephyr, but I’d have to give it to Toto’s IV album in its entirety. Such a brightly mixed album with heavy emphasis on percussive instruments in the treble that end up sounding scratchy and metallic 90% of the time. However, orchestral tracks with tamer and mature mixing like the aforementioned Vincent Diamante collection of Sky COTL albums as the mixing is smoother and more generous compared to Toto’s IV. You can also throw in Samara Joy here as the mixing of her albums is honestly second to none with how clean yet detailed it is. Despite the hardest attempt of Zephyr to expose the mixing of linger while, that album is just mixed too well.

Technicalities:​

For $150, the Zephyr provides a surprisingly competent level of technicalities, especially in the separation and layering section. While it’s not the most defined sounding IEM for the price, the way that it handles complex tracks is pretty impressive with instruments being placed with a good level of separation from each other. Headstage is decent in terms of height, but generally puts vocals in your face and the rest in the background thanks to its tuning. Imaging is also quite impressive considering the up-front tuning of the Zephyr, but I’d probably attribute that to the impressive separation and layering. Unfortunately, the weakest technical aspect of the Zephyr is dynamics and resolution. It’s not the most dynamic or resolving IEM for $150, which I kind of expected with my previous experience with the Vampire which only had a single BA. $150 is a little steep for an IEM with this level of resolution and dynamics, but I’d argue that the tuning alone makes it worth getting.

COMPARISONS​

vs KZ AS24 Pro​

The AS24 is a set that I fell in love with due to its DF-like tuning that stands out not only amongst KZ IEMs but IEMs in its price range. This comes at the cost of a rather nasty dynamic compression as the balanced armatures they used sound a little limp compared to their dynamic drivers. Regardless, its tuning reminded me a lot of the Zephyr in many ways with the main difference being the Zephyr’s somewhat edgier treble but more neutral midrange. The emphasis on the upper midrange for the AS24 Pro is something that some people might love but others hate. The Zephyr in comparison is tamer in that region, but edgier around the mid treble around the 4-5k region. Technically, they’re not far off which is not a good thing considering they’re above $100 and there have been many sets with impeccable technical performance for much cheaper.

vs CCA Hydro​

The Hydro is a more traditionally v-shaped IEM which contrasts the neutral bright tuning of the Zephyr. In a way, it’s the perfect contrast to the previously compared AS24 Pro with its more emphasized treble and bass that makes it a more engaging and fun sounding set overall. This makes the Zephyr a more “reference” and “neutral” set, but the mid treble sticks out like a sore thumb compared to the Hydro’s consistent treble presentation.

vs Dunu Kima 2​

From one reference set to another, the Kima 2 has a more natural overall tonality with the timbre being more consistent. The dynamic presentation of the Kima 2 is also considerably better, in exchange for sounding a little bit stale compared to the more nuanced Zephyr. The cost of being neutral is sounding a little dead which is the case for the Kima 2, while the Zephyr’s more distinctly bright tuning is something that not a lot of IEMs can do without having a massive con. The Zephyr nearly reached that con, but just stayed within the borders of whats acceptable. The Zephyr is a more revealing but less consistent sounding IEM compared to the Kima 2’s more linear but consistent tone

vs Celest Phoenixcall​

A set that reminded me a lot of the way the Zephyr did coherency was Phoenixcall. The Phoenixcall was the OG Tribrid-sounding Tribrid in the budget-ish segment that really leaned into the Tribrid sound. However, this is something that might end up being a con for those who like a more consistent sound. Regardless, the Phoenixcall completely contrasts the Zephyr in terms of tuning while having a similar level of emphasis on specific areas of the frequency. Technically, the Phoenixcall is still more impressive but the tuning of the Zephyr is just a little bit more neutral to my tastes.

vs EPZ K1​

Another 1DD+1BA hybrid, but much lower in the price range. The most distinct difference between them is the emphasis on the bass and warmth for the K1 while neutrality reigns on the Zephyr. It falls under preference more than objective improvement, but the K1 definitely sounds more versatile than the Zephyr’s more selective genre options as the low end is considerably flatter. However, this also makes the Zephyr an overall better “reference” set over the K1’s more vibrant and engaging tone

vs Etymotic ER3SE​

The ER3SE is arguably the best comparison I can make with the Zephyr due to their very similar DF-style tuning. The difference? That upper midrange that makes the ER3SE a proper semi-DF IEM while the Zephyr tries to balance it out by giving it a bit more low end and pushes emphasis around the 4-5k region. But I would choose the Zephyr any day thanks to the considerably more comfortable overall fit compared to the ER3SE. The ER3SE might have a superior coherency and smoothness, but not when my ears bleed because of the fit (yes, my ears have actually bled because of Etymotics)

CONCLUSION:​

Despite its flaws, the Zephyr is a unique and compelling IEM from a brand with only 3 IEMs under their belt. Their efforts proved to not be in vain as the Zephyr provides such a distinct listening experience under $200 for those who are brave to try sets from a boutique brand that won’t just waste away in your drawer.

However, this doesn’t mean that the Zephyr is free from my critiques. From the lack of texture to the odd peak in the treble, I think Kotori has a long way to go to get their products in the mouths of of the mainstream. If I were to comment on specific things I’d like to be changed, I’d love for the treble energy to be moved down to maybe the upper midrange and tame the mid treble further as I’d take shout over a 4-5k treble peak any day. This is what makes Etymotic IEMs stand out after decades and if Kotori can create an IEm with the Zephyr’s low to midrange with a heavier emphasis on the upper mids and less in the lower treble, then I genuinely think that it could comfortably compete with sub $200 IEMs. Maybe also improve the quality of the bass, but that’ll require a bump in price which I’d argue is a worthwhile investment.

Regardless, Kotori has been steadily improving their products in every release. I have complete respect for their company because I can see their desire to improve and create a great product stems from their foundation and not to just make a quick buck with OEM parts. They really think about the quality of their products and pour an audiophile’s love into their products. And for that, I think Kotori is a brand to look forward to and the Zephyr a set to consider for those who want a unique neutral-bright sounding IEM from a boutique brand that shows their care for their customer.

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

TONALITY: 8.5/10
TECHNICALITIES: 8.2/10
TIMBRE: 8.5/10
SOUNDSTAGE: 8.2/10
IMAGING: 7.5/10
FINE RESOLUTION: 8/10
MUSICALITY (subjective): 9/10
CONSTRUCTION: 8/10
SOUND VALUE: 8.5/10

INTRO

Kotori Audio is a IEM cable maker that begin creating their own IEMs 4 years ago.
Today I will review their third IEM model, the Zephyr.
Priced 150$, the Zephyr is an hybrid earphone using one 10mm titanium-coated DD and one Knowles balanced armature.



I've try and review both latest release from Kotori, which is single DD Dauntless-a bright technical beast, and single knowles BA Vampire-a warm mid centric musicality.


Since I try to avoid mediocre IEMs and review less, i've refuse to receive a free review sample of the Zephyr more than 3 months ago, then i begin to see trustable praise on ChiFi Freedom group (name ChiFi Love in the past) and my curiosity was triggered.

We will see in this review if this curiosity was satisfy, especially in term of musicality, my main focus now.


CONSTRUCTION & PACKAGINS PICS




SOUND IMPRESSIONS




The tonality of the Zephyr is the sum of the best parts of their latest IEMs, the Dauntless and Vampire. While I was enamoured with the mid range of Vampire, the technical performance was too limited with single BA, for the Dauntless, it was opposite, it is a very technical and bright sounding set where the mids lack warmth, presence push and musicality.


It seem Kotori has learn alot about balance fluidity with those 2 IEMs attempt and this is why they achieve a warm mature neutral musicality that is utterly versatile, feel natural in balance and very hard to fault tone wise since the dynamic range is fully cover until sligh treble roll off before 15khz section, which mean it’s clear sounding but not super sharpen in crispness nor super brilliant, sparkly or intensely clean since that star of the show is mid range here, in all its fullness glory, smooth yet energetic enough way.

This mean the Kotori don’t follow self called chifi meta tuning or harman supremacy, and this is so needed for those seeking a musical experience instead of wannabe monitor like pseudo analytical and quite shouty musicality that spoil chifi imagination it seem, from Moondrop to Thieaudio to Softears to Simgot to Tanchjim, the conception of lower mid range is one of intolerance and often translate into thin and light sounding cold musicality.

The Zephyr has plenty of lower mids you can bite in, plenty of mid bass weight for juicy thumping and extra treble bite added with a BA that match the timbre, thanks to mutual tube filter and acoustic techs they use.

The bass focus on heavy but mellow hitting mid bass, which has a rounded sustain-release, creamed with extra euphony that color it’s texture with notch of warmth, yet keep a good control and speed without much resonance blur, here it slide into lower mids in a liquid way, so you don’t have boosted definition of its impact and release, this isn’t crisp or ultra clean bass, nor ultra muddy. This isn't bass head, boost is around 5db, authority as well as tactility is there, but texture is subdued, kick drum isn’t perfectly clean nor singularize in its presence, the weight impact dominates the texture abrasivity.
Sub bass is slightly rolled off, in the sense it’s not as boosted as mid bass, it mean electric guitar grunt will be thicken and more vibrant but double bass will feel a bit boomy, darken in proper tone readability, not fully extended and properly linear in infra bass line release which are suppose to be transparent and naturally resonant.
The cello benefit from this mid bass to mids focus, the rendering is super natural and lush, you can’t confound it with violin unlike lower mids scooped tuning (harmanish), Anja Lechner sounded so good with this set, and I was double spoil because the album (Gurdjieff Chants, Hymns & Dances) is a cello-piano duo and the Zephyr shine with both instruments, making it very adequate for chamber classical, but a proof of its versatility is that it have that musical punch that benefit plenty of genre from soul to R&B to folk to slow rock and jazz (even if double bass is guilty pleasure).
More musical than technical, the lows are colorful, favor lower range instrument lushness and deliver the thick thumping that is an important part of music enjoyment.

From now on, technical performance goes up, and this is what makes the Zephyr so special: being able to achieve open and intimate mid range with effortless layering that sound too holographic for a 2 drivers hybrid, yet…this is part of Zephyr magic.
Vocal lovers that are sensitive to shouting, rejoice because pina gain is low, but the presence part is forwards enough to lift up the vocal layer, so we got fully bodied and focused in presence mids, for vocal and main instrument it will be the wide and enveloping in presence, these aren’t thin or recessed mids at all, nor too aggressive in loudness, some might in fact need more intensity energy yet it’s no lean or static mid range, sound layers float around the listener.
Macro dynamic and imaging isn’t finest, sound layers are wide and colorful, not super transparent nor super detailed in texture, instruments have their natural euphony slightly boosted so violin go lusher than dryer, saxophone sound full of vibrant air making wind instrument true palatable joy. But this means super speedy virtuoso will not have each of their notes sharply and tightly restitute, Hilary Hann bow stroke gets enough bite but not in an analytically sharpened way. Tone fundamental is what boosts emotional reach of voice and instrument and the Zephyr don’t damp it at all, this explains why presence release is dense and velvety, wide and tactile.
The piano sound rich in tone, weighty in attack, round in note release so you don’t have super crisp and sustained natural resonance, especially in multi instrumental track it will be hard to know if pianist press or not it’s sustain pedal, but piano never feel recessed and has it’s tone dynamic range fully cover, apart silence and air part which is due to soft 10-20khz section I feel.
Tone and timbre wise, i can’t fault anything, since both male and female vocal are as forwards and bodied as well as all low to upper mids instruments, what i would say is that timbre isn’t most textured, so if you enjoy hearing non harmonic micro details of texture or wet lips of saxo or vocal, you might want a more treble-centric IEM.

But does this mean the treble is bad? Not at all, it’s refined and mature in balance, like the Final Audio E series, which this IEM makes me think of. Like a less bassy and more dynamic sounding Final E4000 with more treble bite.
Cause while I say it’s not the most sparkly IEM, it still have plenty of attack snap and even notable brilliance for upper percussions and acoustic guitar, even clavichord don’t get lost in the mix and have attack lead crunchy bite, it’s more the long shiny release that is lacking.
The Knowles balanced armature is very well implemented and adds extra dimension and air to macro dynamics. Without this BA, the Zephyr will be very dark sounding, but unlike other hybrid like the very popular Ikko OH10, upper mids aren’t grainy, shouty or metallic, you don’t feel it’s 2 whole different drivers in term of timbre cohesion, the filtering and tubing tuning work is marvelous here and can be seen as a warmer, smoother Dita Project M.
The percussion is fully extracted and has its own layer space, it’s speedy and crunchy, not splashy, the attack release is fast and doesn’t get loose or create unwanted resonance-distortion. While I never struggle to follow percussions, it doesn't feel forced at me, it keeps a stereo rendering with mid range stretching it’s layers in middle, like a mix of mono and stereo speakers. This adds holographic sense of spatiality as well as energetic attack, less often than the rest of the spectrum without going overly sharpened.
With this type of musicality, I wasn't expecting acoustic guitar to sound that good and was wrong, this proves their enough bite for proper attack rendering ,and again, it’s more the sparkle release that will not blossom very long. Guitar is full sounding, it’s juiced without going plain euphonic or blurred with sustain vibration, this means you're in for a big smile when it's a folk singer songwriter like Gillian Welch.


The imaging is average, more their bass and lower mids instrument, more the background lost in clean background info. If you listen to acoustic music without much bass, clarity is boosted as well as positioning readability. I don’t consider Zephyr as a good IEM for monitoring, but for stage musicians it can be great, apart for bassist and drummer.

The Soundstage is above average in terms of width and height, it’s very panoramic and stereo sound system like. It’s not a cinematic 5.1 surround sound system experience, nor concert hall like, you're too near the main stage for that. As well, a sense of depth is lacking.

COMPARISONS



VS ORIVETI LOWMASTER (1DD+2customs BA-150$)

The Lowmaster is way bassier and rumbler, more basshead, warmer and more veiled and recessed mids wise, vocal timbre has more plasticky cheap BA timbre, everything has more compressed and veiled presence.
Who’s the IEM company with the most experience? Oriveti, big time, yet maturity of balance goes to Zephyr big time. Tone is more natural, mids instruments and vocal has more open and clean presence, sure Zephyr is more neutral, but it offer has enjoyable punch, weighty though less plain boomy slam and bassline line aren't as boosted too, making listener having impression of superiority there until it go with a jazz or rock track where sub bass dominate and distract too much.
So, more neutral and more mid centric too, treble is less splashy and rough, boxy sounding too, everything is coherent within a wider and more spacious musicality with the Zephyr.
It’s evident it’s super in all departments, but perhaps the basshead fun…but even this isn’t fully achieved with the pillowy weird slam of Low ‘’master’’.
This comparison is plain evidence more drivers doesn’t equate in better sound quality

VS DITA PROJECT M (1DD1 knowles BA-350$)

Ok way pricier but same kind of hybrid nonetheless. Project M is a good one and if i consider Zephyr ‘’warm neutral with mid bass boost’’, i consider the M as ‘’crisp bright neutral with lower mid bass boost (still a lil) and higher upper treble boost (more sparkle)’’.

Depending on your musical balance perception, I'll say the M is more neutral and lean up to the treble part which is more dynamic, airy and snappy. Sense of speed is higher with the M, beginning with the bass, which is clean, more textured, has a higher but lighter punch and even more focused sub bass-more textured and clean and linear and detailed in presence.
Mids are more airy and crisp, notably leaner and less dynamic, making it feeling recessed compared to more forwards and lusher mids of darker Zephyr.
Vocals aren’t as enjoyable at all (for me), timbre is dryer, there is a slight imbalance in release energy making female vocal swing of loudness spikier, less well rounded in presence overall. Vocal and instrument feel smaller, more compressed in center stage, which is deeper and boosts the sense of distance, concert hall vs intimate room for Zephyr.
So, timbre and overall tonality of Zephyr is creamier, less clinical sounding than the M.
Treble is more analytical and put percussions more forwards with the M, it sound more artificial and spiky, this can go borderline trebly with high pitch sound and instrument where the Zephyr is more laid back, less intensely snappy, less generous in micro details and air around percussions, less clear overall.
If you seek for natural timbre and more mid centric tonality, Zephyr is the way to go, those who are capricious about vocal tone and emotional reach will find the M too cold sounding, perhaps more prompt to hearing fatigue too. M is more aggressive in lower to higher treble parts, more prompt to sibilance and harshness. The M is more appropriate for treble head and bright neutral too. Bass quality is higher even if less weighty and punchy.
The M is more technical too, though the soundstage is wider with the Zephyr and mids presence less compressed, imaging capacity and resolution is notably superior.

Music lover? Choose Zephyr. Technicians soul, micro details over and monitoring buddies? Choose the Project M.

CONCLUSION



The Kotori Zephyr is the first IEM from Kotori i'm truely enamoured of, and this is due to the well tempered musical and technical mix it deliver, to achieve an highly immersive musicality which it's hard to fault in any frequency range apart both extreme end of spectrum (sub bass and ultra highs) that aren't very boosted in extension.

We are into mature gourmet musicality with the Zephyr, something I rarely taste in this odd audio industry era where the cold and agressive sound rendering seem the new harman moto.

If like me you are a fan of the Final Audio E4000, this is a logical upgrade, at a more competitive price.

If like me, your sensitive to tone fullness and color of real acoustic instrument, from piano to vocal to saxo to cello and even guitar, you will be in for a very addictive and pleasant musical experience, which can be summarize as warm neutral with a very focused and intimate mid range.

With the Zephyr, your not a static contemplator of music: your part of it.

From now on, my interest in evolution of Kotori IEMs making will just grow stronger, and I can't wait to discover what they will work on in 2025. More than ever, i feel we most encourage and support the independant audio companies that try to offer something different, that don't follow Harman supremacy, that don't mimic other best sellers IEms and carve their own tuning and audio engineering ideal.



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Disclaimer: as noted, this is a review sample. it's not for my personal need, since I own more than 200 IEMs already, i'm sensitive to price value even if I don't pay a cent for those. unlike 90% of IEMs I've reviewed, the Zephyr will be part of my weekly listening collection. it's that good.

You can order the Zephyr for 150$usd directly from there website here (non aff link):
https://kotoriaudio.com/products/zephyr-iem

Kotori ZEYPHR price $150

Kotori are a relatively new company, originally a cable manufacturer who launched 2 iems on the market a single DD the Dauntless and the exceptional single ba Vampire now coming into the market with a 1DD + ba iem called the ZEPHYR.
This is how Kotori introduced themselves to their customers
"We, Kotori Audio, take pride in our engineering finesse and
meticulous attention to detail, focusing not only on technical
excellence but also on the human aspect of the experiences our
products deliver.
Established in 2019, our team embarked on a journey to create the
ultimate auditory experience through our everyday listening devices.
By honing and accumulating knowledge and techniques, coupled with
a methodical approach to product design and engineering, we are
committed to the continuous development of high-quality audio
products for everyday enjoyment"



The first thing you notice is the really classy unboxing experience with care taken to make you feel you have purchased a quality product.

The iems are a beautiful, understated aluminium graphite cap and black resin shell which they describe as

"Bauhaus-inspired design of the faceplate, devoid of any markings or engravings, is what we feel best represents ZEPHYR, embodying the spirit of the
wind god Zephyrus. The resulting aesthetic is a form without image, yet elegant
and expressive. The complex curvatures of ZEPHYR’s aluminium faceplate can be
appreciated without obstructions" all very high brow, to put it simply they look like an iem designed for adults.



So what have Kotori brought to the iem market that's any different to the countless other hybrid iems released this year? Well a unique sound signature for one this iem is different the ZEPHYR doesn't conform to the standard sound signatures that their rivals pump out. The ZEPHYR has a flat monitor like signature where no frequency level pushes forward to draw your attention it just presents music as it was recorded effortlessly with delicate details and reserved dynamics.



The ZEPHYR is not an exciting iem it doesn't instantly grab your attention, it slowly creeps up on you and you find yourself losing hours at a time just enjoying your music.

The bass is great quailty with texture and details and is available when the music calls for it never adding extra colouration to the mids. The quantity is at the level of natural rather than impressive. My preferences are for big strident bass with strong dynamics and deep rumble. The ZEPHYR's bass has an almost soft quality to it rather than adding excitement it's just there, present with detail and texture just lacking a little snap for my tastes.
The mids are smooth, airy and detailed and a major strong suit. Vocals are wonderfully natural both male and female sounding on point neither recessed nor forward, perfectly positioned centre stage. Instruments are layered with pin point positioning.

Treble is safe reasonably extended with good air as I noted earlier this iem just plays music as one cohesive whole no part standing out from the rest. If you had told me this was a single driver iem I would have believed you. There's zero unnatural timbre from the ba. The overall timbre is supremely natural with no fatiguing peaks or obvious defects.

The Title of this review "Sophisticated Elegance" that's the best way to describe this iem it has what I would describe as an audiophile tuning. Not something I have experienced at this price point infact, I think you would have to spend 5 times more to achieve this level of nuanced tuning.

Here's the frequency graph for those that like this sort of thing



I'd just like to say upfront I believe we are all biased when giving our subjective thoughts about IEMs and earbuds be it a particular type of signature that works with our music library or how they look and feel in our ears. On the subject of ears everyone's ear anatomy is different and this effects fit and seal which in turn effects the perception of bass response so I recommend finding the right ear tips or foams that suit your ears to get the best of any earphone.

My review star ratings are linked to the price range of the iem eg a 5 star review of a $100 iem is not equal to one of a $500 iem.
I’m and audio enthusiast with a collection of over 200 iems, 30 different sources with a music collection that numbers over 100,000 tracks and 18 flathead buds I share my impressions as a way to share my enthusiasm for the hobby I approach from the premise of music first technology 2nd, what does this mean? For me the technicalities are not of prime importance but does the music move with this particular iem.

I’m a connoisseur of many different sound signatures. The only prerequisite is musicality I’m not a fan of analytical cold playback. My scale of success when it comes to evaluating earphones is; do I get goosebumps when they playback my favourite tunes. There are many good earphones but do they give me goosebumps? Unfortunately I have a draw full of just good earphones.
I want the earphone that I reach for without thinking because I instinctively know it will bring the thrill I’m seeking from my music.



The ZEPHYR comes with a very nice quality 2pin silver plated copper cable termination is 3.5mm the cable is a little on the thin side for my tastes and I replaced it with a Juzear limped 4.4mm cable as most my sources perform better from the 4.4mm balanced port. I used the grey eartips included with the iem which fitted my ears perfectly which is rare for me.

Now I know there are those who don’t believe in burn in of earphones, all I’m going to say is, I burn in all my earphones the ZEPHYR's bass really opened and up and smoothed out at the 100 hour mark.

Disclaimer
Kotori was kind enough me a sample of the ZEPHYR. I am not affiliated with Kotori and of course was not asked for any copy checking before publishing, they are seeing this the same time as you. All pictures taken be me or sourced from the Kotori website . ALL opinions shared in this review are my subjective thoughts.

Make sure to research any earphone before you buy!

The ZEPHYR is available from the Kotori website,
Yhe non affiliated link below

https://kotoriaudio.com/products/zephyr-iem



Specifications from Kotori

Driver Type1BA + 1DD Hybrid

Configuration

Titanium-coated Membrane DD

Knowles Balanced Armature Driver

Impedence18.3 ohms @ 1kHzTotal

Harmonic Distortion≈0.4% @1kHz, 100dBFrequency Response20Hz – 20kHz92.6dBA Average SPLStructure

3D-Printed Custom Engineering Tough Resin Shell6063

CNC Aluminium Alloy Faceplate

Weight5.2 g (Earphone, per side)21.3 g

(Cable)CARBON 3 CableOFC Silver-plated Copper LitzGold-plated Right Angle TRS 3.5mm Plug / 0.78mm 2-Pin28 AWG / 2 x 2-Core

Accesories
H-01 Ear Tip Set1
M-02 Ear Tip Set1
Ear Tip Organiser1
CARBON 3 IEM Cable1
Metal Carrying Case



Description from Kotori website

“Pressure-balanced Acoustic System
The PBAS is a step from a similar system previously implemented in the DAUNTLESS In-Ear Monitors. It features an intricate network of acoustic pathways that is integrated into the 3D-printed shell structure and the utilisation of a balancer tube for pressure control. ZEPHYR takes full advantage of the PBAS system to significantly enhance the overall sound qualities of the drivers.

Acoustic Balancer Tube
The Balancer tube is a key component within the PBAS, acting to balance the pressure between the front and aft sections of the driver. Its critical dimensions are shaped using a laser cutting process to precisely control the tolerances to under 30 microns (about ⅕ the width of a human hair). This level of precision is required to produce inter-chamber pressure relief with a specific rate of pressure change between the front and aft sections, allowing the dynamic driver’s response to be fine-tuned in order to achieve our desired sound signature.

Titanium-coated Membrane Dynamic Driver
ZEPHYR’s specially engineered Dynamic Driver (DD) takes advantage of Titanium’s excellent mechanical properties, featuring a lightweight Titanium-coated membrane created through a vapour deposition process. The thin layer of Titanium improves the stiffness of the membrane while keeping the membrane inertia low, resulting in a superior transient response and detail retrieval. The sound produced is quick, clean and with a firm bass.”

I want to really enjoy my music. Something that releases the full scope of what the artist created in the studio. The Zepher achieves that with cohesion ensuring to there’s no jarring transitions between the frequency range. The ZEPHYR has a natural anologue signature, its not thin though it has an very open detailed signature bass is textured and layered. The mids are free of any colouration with no extra colour in the vocals male vocals and female are realistic and sweet with a natural timbre.

The vocals are front and centre with instruments placed exactly where they should be showing depth to the stage with natural wide holographic presentation.

The ZEPHYR's titanium dynamic driver and Knowles BA drivers sound very coherent no trace of uneven timbre just everything working together as one.

The mids are natural and organic, with no edge there's no added excitement to vocals and guitars but I was still drawn into the music, Pianos and Guitars are given a really even treatment with good note weight sounding exactly as you would expect if you were in a concert hall or studio.

The Transition from upper mids to lower treble is smooth as butter and sibilance free, even with songs that have sibilance bult into the recording.
The timbre and tactility of drums, strings, guitars and brass instruments is very natural all instruments find their own place. Vocals both male and female are reproduced authentically with emotion, every inflection, intonation is apparent as a singer climbs the scale to the crescendo it is presented well with nice separation, if a voice has gravel you hear it vocals have a very pleasing weight coming across very natural the ZEPHYR is quite forgiving of poorly produced music.

When I'm evaluating earphones I have a play list of roughly 100 songs of mixed genres. With the ZEPHYR I was analysing the different frequency ranges listening to albums in their entirety just loosing myself in the music. I found they I worked across all the genres in my library with including Hip hop where the bass is sufficient enough for the big bass drops always soundin smooth, spacious and detailed .

Michael Bolton - When a man loves a woman
Sounded wonderfully full and clean with the crisp drums and full bodied of guitars Bolton's magical tenor vocals sounding full and sweet with no thinness the layering in this 80s classic AOR song was produced with expert precision full of atmospherics a really enjoyable listen

Alanis Morissette: You Oughta know , the angst ridden vocal is fabulous with just enough weight to draw you in slowly building with emotion the vocal acrobatics are surrounded with the instrumentation. The staging is brilliantly reproduced increasing the atmospherics greatly. The ZEPHYR works incredibly well with studio and live recordings putting you front and centre in the room with the artist.

Steely Dan's – Black Cow, one of the best produced albums in my opinion was played with a breathtaking expertise at this price range, drums, keyboards, vocals , hi-hats and cymbals were natural with excellent decay space and staging with good height, depth and width enabling me to pick out instruments in the mix, this song felt open and airy with the layering of the instruments expertly presented

Peter Gabriel- Solsbury hill the way the ZEPHYR played back this song was a real goosebumps moment Gabriel's vocals were wonderfully separated allowing me to fully appreciate his fabulous voice the strum of the guitars separated from the complex percussion the individual parts of the song floating in the mix separate but together in a cohesive whole. The ZEPHYR manages to keep production in control sounding immersiive avoiding any congestion, impressive.

Earth Wind and Fire – Fantasy
This Funky masterpiece with its magnificent horns funky bass lines and outstanding vocals is played with effortless ease the holographic staging really drawing me into the music. This description from Wikipedia perfectly sums up the experience of listening with the ZEPHYR "Voices and a light touch of strings suddenly appear over a choppy, propulsive track, swell and swoop, only to disappear at the snap of a finger and pop up moments later for an exciting, powerful finale. White also utilizes an odd instrumental mix that gives equal emphasis to percussion (except the bass drum, which is usually played down), bass, rhythm guitars and stabbing, staccato horn bursts. The result is light but substantial" simply a stunning track played back with impressive skill and finesse.

The ZEPHYR is quite easy to drive I had no issues using them with my , Daps, Dongles in getting loud enough, the dynamics and open sound was present with all sources the texture and layering they are capable of was available for all to some degree. The ZEPHYR really let's the signature of the source shine in the way only a truly transparent iem can do.

They sounded good with all sources. This is an iem that doesn’t need a powerful source but it does scale impressively.

I'm not a fan of analytical sounding IEMs that force details into your ears like a photograph with HDR and sharpening set at max a decidedly digital representation. I'm more Vinyl on a turntable, Leica manual focus, sumptuous colours on kodak colour gold film, kinda guy, where if you look really close all the details are there but it's the whole image you appreciate rather than just how sharp it is.



Sources used:
Onix XM5 Overture
Shaning M6 Ultra
Fiio BTR17
Aune M1P
Cayin N7
KAEI TAP1 with Burson v7 OP AMPs

My Favourite source was without doubt the cayin N7 with the KAEI TAP1 with this the ZEPHYR was in my opinion without doubt the most transparent natural sounding earphone in my collection even outperforming some of my more expensive iems with its unique talents.

I also really enjoyed the ZEPHYR with the Fiio BTR17 out and about streaming from my Samsung Galaxy S24Ultra using LDAC.
The medium sized shells were very comfortable and I used them for over 8hours without break and had zero fatigue issues.

Comparison

This is quite difficult as the ZEPHYR is so unique in sound signature.



LETECIEL MAGIRIS

The Magris also a 1DD + 1BA iem is far more bass dominant with elevated sub bass and midbass the Magris is an exciting listen with a tuning from the tweaked Harmon stable so while fitting my preferences more closely I wasn't able to use them for as many hours I needed to take break after about 3 hours as my ears started to complain. A price to pay for the extra dynamics and sharper peaks.



Dita Audio project M

The Project M also a 1DD + 1BA is more detailed with its emphasis in the upper mids and treble , with more attack in the bass, timbre is slightly unnatural the bass while being equal in quantity and quality has more of that dynamic snap. Again I can only listen to the project M for at most a couple of hours before fatigue builds and I have to take an hour out for my ears to rest.



Conclusion

The Kotori ZEYPHR has been a revelation to me, I initially thought they were a bit dull maybe even boring but as I used them over a short period I grew to appreciate them The ZEPHYR with its natural flat monitor playback, so transparent that I enjoyed using them with my DAP collection to taste the different signatures the DAPs present. If I was looking for an iem to just plug in and listen all day long on holiday or while working the ZEPHYR is the set I would choose with their inate abilities to just play music as its meant to be heard an absolute recommendation from me!

Introduction


Kotori Audio have seen fit to provide a sample of their new $150 USD Hybrid IEM to Australian reviewers for honest appraisal. Using a Knowles BA and an in house designed titanium coated Dynamic driver they have done a lot of design work on the shell cavity for optimum sound. Whatever this magic is I can report its success and I'll let Kotori explain in their words.
The Pressure-balanced Acoustic System (PBAS) is a step up from a similar system previously implemented in the Dauntless In-Ear Monitors.It features an intricate network of acoustic pathways integrated into the 3D-printed shell structure, along with the use of a balancer tube to achieve inter-chamber pressure relief. By bridging the front and rear driver sections through the balancer tube, the system facilitates pressure equalization, alleviating the vacuum pressure at the back vent.This reduces the mechanical load on the Dynamic Driver, allowing it to actuate with greater freedom.
My previous experience with aKotori IEM was their single BA Vampire which I still enjoy and amazes people who audition it.




The package


The Zephyr comes in a fairly compact box with a hockey puck design metal carry case and two sets of silicone tips in a plastic organizer. The 3.5mm cable has an L shaped plug and is a twin braided OFC Silver-plated Litz Copper design with a 0.78 two pin termination. I do appreciate that Kotori had put L and R on the cable terminations and also on the resin shell. Other companies should take note! This cable is lightweight but not cheap in feel and has a functional slider.
The shell of the Zephyr is composed of a medium sized resin body with a CNC-milled aluminium faceplate with a design influenced by the architect Bauhaus. I find it simple and attractive and with a solid feel but lightweight. The nozzle length is something that has attracted at lot of comments online as it is rather long. Because of this I was unable to get a good seal with many ear tips and the sound suffered greatly. I usually use large wide bore tips for soundstage but not really an option here. Mid sized tips in my collection also gave sub optimal results. The stock grey tips in the L size are actually slim and tapered and using these the whole spectrum of sound became available. Recommended. I'm sure there are other tip choices that will work.
I presented the Zephyr to three of my audiophile friends and all three had no issues with the fit of the nozzle. And two out of the three were suitably impressed. ( I suspect the third used the wrong tips! )
Also Kotori recommend a burn in period of 80 hours for the IEM to begin performing at peak efficiency and I did find that after this time there was a discernible improvement.




The Sound.


Listening was done with my library of lossless music with a HiBy DAP and a Cayin RU6 DAC.

Where to start? Breaking it down into the various frequency ranges as per usual in reviews seems almost counter-intuitive. Such is the unique tuning of this two driver set. It is immediately both striking and addictive. The forward upper midrange is the first attention grabber with wonderful weight and timbre. Vocals have a detailed presence and a natural tone giving an intimate presentation. Yet the rest of the sound has an all encompassing expansive soundscape balancing that wonderful midrange. The music resonates through the acoustic environment with an exquisite fidelity that you just know sounds right.
But what does it sound like I hear you ask? Well Ok.
The Bass:
I like a balanced sound and that's what Zephyr gives me. Sub bass is present and mid bass is crisp and punchy. The bass has a sold ear feel with a nice tactile impact. No interference with the midrange either. Bass guitars are weighty and solid. Angel by Massive Attack has the appropriate rumble and gravitas. But essentially the bass is neutral, neither rolled off or boosted. What was recorded is what is presented.

Midrange.
Have a listen to Andy Warhol by David Bowie. The song starts with weird sounds that pan from left to right for one ear with a little banter between David and his sound engineer. Anyhol, when the acoustic guitar begins the song you are instantly next to the guitarist with the reverberating strings reproduced magnificently . If you are a fan of acoustic music you will be in a state of bliss. Male vocals are perfectly chesty and emotive with little details like breath intakes can be heard. Female vocals. Perfection. BQEYZ Cloud was my go-to for the ladies until this set. The vocals are placed perfectly in the soundstage but because the Zephyr accentuates the upper mids the vocals have a greater prominence in the mix. The beauty is that the rest of the mix keeps up and is not drowned out.

Treble
Smooth and delicate, the treble compliments the mids with gentle details. Never overblown or accentuated the highs sit perfectly in the mix. When called on by the mix, treble details are clear and well defined and add to the airiness and sense of open space the track demands.




Details and soundstage.
The longer you listen to this Kotori the more you appreciate how good it is. An IEM than can reveal new details in familiar songs is something to be treasured. The soundstage is wide and deep allowing your ear to focus on each instrument and position it perfectly in its place.Subtle additions to the mix of a song stand out. I heard a violin part buried in a Gomez song that I had never been aware of before. Little things like that seem magical and the reveal delights .
So is the Zephyr a detail monster? Well yes and no. It doesn't overwhelm you with accentuated details but they are there with attentive listening. Zephyr is a midrange monster but with a tuning that lets you hear everything. It's novel and in my experience, unique.
This IEM excels with live music. The sense of space and audience is covered wonderfully. It feels like you are there in the audience.


Piano lovers will find that instrument is portrayed with rich tone and awesome decay.
Lovers of Percussion will enjoy Summer girl by Haim. The song bounces along with funky bass and drums and when the saxophone comes in and doodles along in the background it feels like summer.
It wasn't until I listened to Fleetwood Mac on the Zephyr that I realized it's ability to strip a songs mix apart and reveal all the subtleties of the multi-track recording. The Mac albums are widely considered to be some of the best recordings and now I understand why. The better your source the more revealing the Zephyr is. The Cayin RU6 has the ability to break down tracks to every tiny detail and Zephyr reproduces them all with perfect fidelity but with a smooth coherence that is completely captivating.


Conclusion
The sign of a really good IEM is that you play one track from an album to listen how the set plays it and you stay for the whole album. That's the magic of the Kotori Audio Zephyr! For me this set is a keeper and I have barely listened to any other sets in the last three weeks. It is that addictive.

Zephyr/Zepherus one of the four main Anemoi or wind gods in Greek mythology and he is the Cardinal Wind God from the west. It is said that he is the bringer of spring season and a producing breeze that bears fruit during this period. This is where the word “Zephyr” is derived from which means gentle breeze.



This is my first product review from an audio company, Kotori Audio and this one is based from the land of Merlion, Singapore. Kotori previously released some products like the single dynamic driver set, Dauntless and the Vampire which is a single balanced armature driver IEM.



The item that will be featured here is their latest model, the Zephyr and unlike previous models, it is a hybrid driver configuration consisting of a dynamic driver and balanced armature driver. The dynamic driver of this one is 10mm in diameter and its diaphragm was applied with titanium coating for a stiffer and longevity of the membrane for better transient response as it will deliver a cleaner and denser bass response. And then, it was paired with a full range balanced armature driver from Knowles which handles the midrange and high frequencies for clearer, detailed and high resolution sound for vocals and instruments.



Aside from the drivers, it is working in tandem with some interesting technologies like Acoustic Balancer Tube which is somewhat a passive pathway of acoustic tube in which well-integrated into the cavity of its 3D-moulded shell structure with balancer tube to regulate pressure control for more consistent response of its dynamic driver while lessening any chances of occlusion effects a.k.a. driver flex. The shell chassis of the Zephyr is on a compact size and it is composed of composite materials as its cavity base is made of resin while the faceplate is a CNC-milled aluminium alloy chassis with a modernist Bauhaus aesthetic. It uses a 0.78mm connector as its interlocking mechanism for its detachable cable.



The stock cable that was paired this one is a 2-core 28 AWG OFC Silver-plated Litz Copper that were sheathed with PVC wire insulation and its termination plug is an angled gold-plated single-ended 3.5mm. This one is quite supple to hold and flexible enough but it is susceptible to entanglement. At least I don't encounter any microphonic issues on this one.



The Kotori Zephyr is quite sufficiently packed with accessories that can be useful for every listening usage.



Here are the following contents inside of its packaging box:

• Pair of Kotori Audio Zephyr IEM transducers.
• Stock cable
• 3 pairs of H-01 silicone ear tips in different standard sizes.
• 3 pairs of M-01 silicone ear tips in different standard sizes.
• Ear tips rack
• Metal alloy carrying case
• Paperwork like instruction manual and warranty card.

On power scaling and amplification, this set is easy to drive and it can be powered up by devices such as smartphones (with 3.5mm jack), laptops and tablets which usually have a normal gain power output. But pairing it with better sources with hi-fi grade DAC/amps like DAPs, headphone DAC/Amp dongles and desktop DAC/Amps will push its full potential to sound more dynamic and fuller.



The Kotori Zephyr definitely has a neutral, nearly linear sound profile as if there are almost exaggerated peaks on its overall sound quality. Although this set is also an ear tip-dependent as it changes its profile into a more of a U-shaped sound signature on narrow to balanced bore ear tips.




LOWS/BASS:

It appears it is more focused a bit on mid bass texture rather than on sub bass presence as it adds note weight on some bass-clef instruments as it has sufficient punch and tactility with some tidiness of its overall bass response. The sub bass seems to have decent definition on how it delivers a satisfactory reverberations and rumbling presence from sub bass-focused instruments like synthesisers, drum machines, octobasses and low tuned bass guitars and double bass instruments but it has a less depth on it.

On how the mid bass texture quantity affects the tonal colour and to some extent, sound characteristics on some selected instruments, bass guitars sound resonant while the double bass has some heft and raspiness on their notation, and then bass kick drums have sonorous and thudding sound on every stroke. As for deep male vocals, basses have reverberating and resonating vocals but it sounds a bit less darker in which to give a more dense and full voice while on bass-baritones, as it has that resonant and acceptable rich sound on their voices, it still doesn't have an ideal timbre that these type of vocals should have due lack of volume and fullness.


MIDRANGE:

It appears that this is a main feature of this set on how it presents this particular frequency section and let me explain about this one. The midrange presentation of this one is presented in a neutral manner with sufficient warmth, transparent and clean sound which makes it quite versatile on both male and female vocals and also, all types of instruments.

On male vocals, baritones have rich and smooth vocals, tenors have a clear and a bit brassy warm sound on their voices, and then an emotive, captivating and tender sound from countertenors. Regarding the female vocals, contraltos have rich and plush sound from their chesty vocals, mezzo-sopranos have velvety and coppery sound on their vocals, and then, soprano vocals have a silky and crystalline sound on them.

As for instruments, on the string instruments, guitars sound more balanced and midrange-y as it has an enough crisp, cellos have a cantible, warm and silky sound, and violins have sensuous and calm sound on every motion on its bowstrings. On woodwinds instruments like piccolos, concert flutes, clarinets and saxophones, the piccolos have clear and graceful sound but sounds a bit less brighter, the concert flutes sounds soft and mellow, clarinets have a caressing and warm sound, and saxophones have a sonorous and sombre sound. When it comes to brasses, trumpets sound warm, trombones and horns. Then on percussives, snare drums sound clear and precise, tom-toms have an ample warmth with resonance sound, field drums sound sonorous and kettledrums have these resonance and deep sound on them on every stroke. Pianos seems to have an even and mellow tone as it has that rounded and sweet sound albeit I find it a bit dull in some piano tracks.


HIGHS/TREBLE:

The treble response of this one appears to be even and balanced as it presents a smooth and a relaxed presentation albeit there's a hint of dryness and sterile sound on it. Some positive takes on this one as it doesn't have any unwanted peaks in the upper-mids and presence section that it guarantees no sibilance nor harshness. It has a sufficient clarity and definition for delineation on vocal and attack of instruments.

It is observable that it has a rather modest airy extension on its brilliance part and less sparkle that affects on some treble-focus instrument's tonal characteristics. Cymbals have a undulating and a tad dry sound while hi-hats have a short buzzing sound, glockenspiels sounds on the lustrous side of tone and celestas have a sweet and mellow sound.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

The overall perceived sound/speaker stage dimension of this one is on the average size as it has median length of lateral span with satisfactory height ceiling and a rather decent depth as it gives me an intimate head room within my aural sphere.

The imaging presentation in this one projects a two-dimensional stereo presentation with adequately layered tones and dynamics of vocals and instruments in clean, black soundscape in which I can pinpoint and panned out some of its points across its perceived spatial sonics with an acceptable separation on each element.

Its hybrid driver set-up has some cohesive and homogenous performance that's its dynamic driver is pretty responsive on its transients along with a clear and detailed sound of its BA driver without distortion or any phasing issues. Its general resolution capabilities of this one seems to be middling as it has a solid macro-dynamics but its micro-detailed retrieval seems a bit less sharp on its extracting some subtleties and nuances from an audio track.


PEER COMPARISONS:

SIMGOT EM6L

• This SIMGOT model shares some similarities with Zephyr as it also have a composite shell chassis and a hybrid driver set-up but there are some differences.
• This one has more driver counts as each side is equipped with 1 single dynamic driver and 4 balanced armature drivers and it uses a QDC-type bi-pin connector as its interlocking mechanism.
• The product packaging of this one is quite conservative in terms of quantity that it only includes a single type of ear tips.
• The tuning of this set has a usual Harman-style of tonal profile veering towards a U-shaped sound signature.
• It focuses more on sub bass focus bass response, a leaner and recessed midrange presentation and tad brighter and more airy treble response.
• On technical capabilities, it has a wider sound/speaker stage projection with similar performance on layering and separation although this set is quite more resolving on resolution aspect especially on micro-detail.

EPZ K5

• This is an initial-level midrange offering from EPZ and like the Zephyr, it also has a usual hybrid driver configuration.
• While it shares some driver set-up similarities but there are some differences as the K5 has more quantity drivers and its BA driver uses Sonion and its shell chassis is almost entirely made of resin with laminated wood on its panel.
• This one is also well-packed with accessories and it has a modular termination plug feature on its stock cable.
• The K5 has a mild U-shaped sound profile with some emphasis on upper-mids up to the high frequencies.
• As for its general tonality, it has rumbly and impactful bass response, a slight notched midrange presentation but it has an ample warmth, energetic and transparent sound for females vocals, woodwinds and string instruments, and bright, airy and shimmering treble response.
• Technicality-wise, this set can project an above-average sound field in a well-layered three-dimensional stereo soundscape with a more resolving on resolution capability.

AFUL EXPLORER

• Another hybrid driver IEM offering comes from AFUL in a comparable price range and it also has a similar driver configuration.
• This set has a single dynamic driver and two custom-BA drivers with some proprietary tech inside and it was encased in a 3D-moulded resin shell chassis.
• The AFUL Explorer is also well-accessorised and it has a better stock cable in my opinion.
• This set also has a neutral-type of sound profile but it has an elevated low frequency while the rest of the frequencies were in all neutral presentation.
• The bass response of this one is quite more tactile and punchy, a sufficiently warm and well-balanced midrange presentation that makes it more of an all-rounder for vocals and some instruments, and then, a smooth and balanced treble presentation which shares similarities with the Zephyr.
• On technicalities, in regards to sound/speaker stage size, it has similar width but it has better depth, a more holographic stereo imaging presentation and a more solid macro-dynamics when it compares to the Zephyr.

As I conclude this product assessment, The Kotori Audio delivers a set that was the midrange-level tuning of mid 2010's in which I really liked but it was quite expensive at that time, and now, after almost a decade, we finally have the Zephyr which has almost exact sound profile at cheaper and more affordable price. For sure that it has some drawbacks particularly on the technical performance and its tuning might be too flat to some listeners but for audio enthusiasts who have some particularity on tonality particularly on midrange-focus ones, this one will be a perfect match for them to track vocals and instruments.

Kotori Audio Zephyr is now available on Kotori's official store. Check out the link below.

LINK:
https://kotoriaudio.com/products/ze...3As8Zpt1sR6LEXH5DhfAyWnXeMRpzTH_TMB50SRgTrMDS



SPECIFICATION:

MODEL: KOTORI AUDIO ZEPHYR
IMPEDANCE: 18.3Ω
SENSITIVITY: 92dB
FREQUENCY RESPONSE: 20Hz – 20kHz
CABLE LENGTH: 1.2m
PIN TYPE: 0.78 2-PIN CONNECTOR
PLUG TYPE: 3.5mm,
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (1) BALANCED ARMATURE DRIVERS


TRACKS TESTED: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *

P.S.

I am not affiliated to KOTORI AUDIO nor receive any monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like to send my gratitude to RAY TAN of KOTORI AUDIO for providing this review unit. I truly appreciate his generosity and trust towards me and other reviewers.

Kotori Audio ‘Zephyr’

Configuration: 1x DD / 1x BA
RRP: $149



Introduction

Having really enjoyed the ‘Vampire’ from Kotori Audio, I was excited when Ray reached out to me a few weeks ago to tell me about Zephyr, and even more intrigued when he mentioned it was a hybrid set with a single dynamic driver and single balanced armature – my only experience of this configuration previously being the wonderful and much-loved in the community, ‘Project M’ from DITA Audio.

I would like to thank Ray for sending me this review unit, and as always, all thoughts and photos are my own.

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.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About Kotori Audio (from their website…)

We, Kotori Audio, take pride in our engineering finesse and meticulous attention to detail, focusing not only on technical excellence but also on the human aspect of the experiences our products deliver.

Established in 2019, our team embarked on a journey to create the ultimate auditory experience through our everyday listening devices.

By honing and accumulating knowledge and techniques, coupled with a methodical approach to product design and engineering, we are committed to the continuous development of high-quality audio products for everyday enjoyment.



Driver Configuration

Titanium coated dynamic driver and Knowles balanced armature driver.

Kotori provide excellent details on both of these drivers, but for the sake of space I’ll drop these into a spoiler – those of you who might fancy diving deeper, go ahead and hit the spoiler button…


Specifications

1BA + 1DD Hybrid Driver Configuration

• 10mm Titanium-coated Membrane Dynamic Driver Knowles® Balanced Armature Driver

Frequency Response

• 20Hz - 20KHz

Impedance & Sensitivity

• 18.1Ω DC Impedance / 18.3Ω @ 1kHz 92.6dB/mW @ 1kHz

Kotori Audio CARBON 3 IEM Cable

• OFC Silver-plated Copper Litz
• Gold-plated Right Angle TRS 3.5mm / 0.78mm 2-Pin 28 AWG / 2 x 2-Core

Unboxing & Accessories

Zephyr arrives in understated yet charming packaging that exudes a sense of pride and craftsmanship from the Kotori Audio team.





Opening the outer sleeve reveals an embossed logo on the inner box, leading to a neatly arranged presentation of the contents.









Fit & Design

Zephyr sports an aluminium faceplate paired with a resin shell, striking a balance between durability and elegance. While the shells are on the larger side, the nozzles provide a snug, secure fit in my ears with no discomfort—aided by their lightweight design. My large ear canals do require the largest tips available, which is where my trusty Acoustune AEX07 in XL come to the rescue yet again.



The build quality feels excellent, with a sturdy yet lightweight construction. Personally, I’m drawn to the minimalist styling that complements Zephyr’s refined presentation.

Cable

The included Carbon cable is a beautifully crafted, lightweight and with a soft, rubbery texture that screams quality. While I admire the simplicity of the fixed jack, I can’t help but wish for a modular system or at least a 4.4mm termination option for balanced sources. That said, its current configuration does align well with the IEM’s minimalist aesthetic. Overall, I think the cable is absolutely fantasic, especially as a 'stock' cable at this price point...









Listening Impressions

Zephyr’s tuning leans neutral with a tasteful bass boost. While not a bass-head’s choice due to limited sub-bass extension, its overall balance ensures you’re rarely left wanting. The mids take center stage, delivering a natural and detailed performance with superb timbre. Treble, though slightly subdued, remains airy and relaxed—perfect for long listening sessions without fatigue. The overall sound signature is natural, clear and smooth, although it shines best with higher-quality recordings, as older or poorly mastered tracks can feel a little harsh on this revealing tuning.

Zephyr scales nicely with additional power, thriving when driven by a desktop amplifier or higher-powered sources.

Bass

The bass skews towards mid-bass, offering excellent punch and density in kick drums, which lends an emotive and engaging quality to the sound. Sub-bass, while present, lacks the depth and rumble of more bass-focused sets. However, the tuning remains cohesive, with the bass adding warmth to the signature without veering into clinical territory. At this price point, the quality and timbre of the bass are undeniably impressive.

Midrange

The midrange is the heart of Zephyr’s tuning. Vocals and instruments feel lifelike and precise, with a touch of warmth carried over from the mid-bass to infuse emotional resonance. The mids command the majority of the tuning’s focus, occupying an estimated 60% of the signature, and deliver a spacious and open soundstage. This balance ensures vocals and acoustic elements are particularly compelling without ever sounding congested or overly lush, a nice balance.

Treble

Treble is precise yet subdued, rolling off slightly in the higher registers. While it lacks the sparkle or crispness of some brighter sets, it maintains enough airiness to preserve detail and spaciousness. This relaxed treble presentation is well-suited for listeners sensitive to higher frequencies and facilitates long, fatigue-free listening sessions. Despite the roll-off, detail retrieval remains commendable, staying true to Zephyr’s natural and unforced presentation.



Technical Performance

Zephyr exhibits the classic 2-channel presentation reminiscent of traditional single dynamic driver setups, with a natural and focused left-right soundstage. Depth and layering are impressive, giving instruments a realistic sense of positioning in the mix. Resolution and clarity are where Zephyr truly shines, offering a high-definition presentation that prioritizes precision and timbre. While micro-detail retrieval isn’t its strongest suit, the cohesive and easy-going tuning is more about natural enjoyment than hyper-analytic scrutiny... or indeed the dreaded 'clinical' tag that some sets suffer.

Conclusion

Kotori Audio impressed me with Vampire, and Zephyr continues that momentum. At $149, this IEM punches nicely above its weight, offering a complete package that stands out in a crowded segment. From the refined build and design to its natural, clear but still emotive tuning, Zephyr delivers a performance that is very easy to love.

It’s exciting to see such passion and dedication from this young brand, and I can’t wait to see where Kotori Audio goes next. With Zephyr, they’ve delivered a breeze of fresh air in this price segment —one that gently nudges expectations higher... definitely an exciting period in this hobby!

Kotori Audio Zephyr review
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This is the first time I've heard of a Kotori Audio IEM. I noticed that their previous models were on a review tour in my county, in which I wasn't included, so it was quite a surprise for me to be contacted by Kotori Audio asking me if I would like to review their new IEM, the Zephyr. Thank you, Kotori Audio.
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Kotori Audio is a relatively new audio company based in Singapore that, at the time of this writing, focuses on making IEMs with original designs. I love how their IEM designs are original and don't look similar to any other IEMs on the market, especially the Zephyr.
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The Kotori Audio Zephyr's Bauhaus minimalist design looks really appealing to me. The driver configuration consists of 1 X dynamic driver and 1 X balance armature driver for each side. It incorporates a unique bass tuning system that Kotori developed; it uses a metal tube that was bored at a very precise tolerance, which connects the front and rear chambers of the IEM shell, to precisely tune the bass. Although this may mean nothing to most people, I have to commend Kotori Audio for exploring other methods of tuning.
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The unboxing experience is very good; the box has an elegant aura to it (see photos); maybe it's the minimalist design and logo or the way the things were neatly arranged inside. Aside from the IEMs, the box includes six pairs of eartips with a plastic case, a manual, a metal carrying case, and the beautiful 3.5mm cable.
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Burn-in:
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Okay, you may skip this section if you don't believe or care about IEM burn-in. It took me about 100 hours for the Zephyr to settle to the way it sounds currently. I used my spare digital audio player to play different genres of music continuously. I checked the sound from time to time. I did a total of about 150 hours of burn-in but noticed the sound had settled at around 100 hours.
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Source pairing:
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The Kotori Audio Zephyr is very forgiving when it comes to source pairing. I fed it with various sources with differing tonalities and sound signatures, and it didn't highlight the faults or difficiencies of the sources; I only noticed the positive aspects of the sources, which is great in my opinion. I tried an expensive cable, the NMD Audio Nova cable, and noticed a subtle improvement in soundstage and vocal clarity, which means the Zephyr is not deaf to the subtle differences in sound that cables make. I tried other eartips but ultimately settled with the white medium stock eartips for this review, I used the NMD Audio Nova cable for its sound quality and the 4.4mm balance connection.
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Tip Rolling:
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I'd like to add that eartips are very important to the final sound of the IEM. I tried many eartips on the Zephyr and found that some will make the upper treble more forward. But the one I like the most with the Zephyr is the Epro EP01 Propeller eartips. It made the sound more atmospheric; the soundstage became more spacious, and the space between the instruments had more air. This is for me the best sound I got with the Zephyr with the eartips that are available to me.



Power handling and sensitivity:
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The Kotori Audio Zephyr can take a lot of power and go very loud without obvious distortion. The sensitivity is average, which is good in my opinion. I noticed that I like to listen to it at medium to high volumes due to its sond signature, which I will touch on below.
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Sound signature, tonality, and technicality:
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It sounds neutral with a slightly relaxed treble; it reminds me a lot of my Sennheiser HD6XX from midbass to treble. The tonality is slightly warm and relaxed but not anemic; it's just neutral when it comes to the portrayal of the dynamics.
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The soundstage is spacious but not the biggest I've heard, but it is definitely above average. The soundstage size varies slightly with the source I use; the instruments have good decay, adding to the perceived depth of the soundstage; it is more deep than wide, but has enough surround sound capability to make it seem natural.
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The imaging is good, not the greatest at its price range; the lateral instrument panning is seamless with audible layering, but the edges of the images are not the most defined I've heard, but even so, I still hear good instrument separation to make it sound like I'm listening to a good sounding set. The details are there but laid back in their presentation.
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To conclude this section, I'd say that the Kotori Audio Zephyr is not a technical sounding set, and it is not trying to be one. It is an analog-sounding IEM that doesn't try to impress the listeners with super-etched details. suffice it to say that the Kotori Audio Zephyr will never cause fatigue to the listener. I have listened to it for a few hours straight, and I didn't hear ringing in my ears afterwards. I think this is an excellent set for treble-sensitive people. The style of sound presentation of the Zephyr makes me easily get lost in the music.
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Bass:
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It is very well balanced between the subbass and the midbass; it is only slightly boosted and always has a very good presence in the music, but never overpowering; it sounds slightly warm and has good thickness to its textures; it's not the most detailed nor the thightest bass I've heard, but the bass articulation is good enough for me to enjoy the sound happily.
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Midrange:
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Slightly warm and lush sounding with accurate instrument and vocal note weight. It doesn't sound too thin or too thick; it's just the right balance. It's clean but not sterile.
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Treble:
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It sounds clean and non-fatuguing; it has nice details that are presented in a laid-back manner. It doesn't have the most micro details I've heard, but it has enough to make me just enjoy the music instead without overthinking or analyzing the sound. My overall impression of the treble is that it sounds on the polite side with a slight darkness in the upper treble.
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Compared to Dunu Falcon Ultra Ti (219 USD):
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They are not in the same price range, but the Falcon Ultra is my reference neutral set. Well, it is not perfectly neutral, but I thought it would do. Compared to Kotori Audio Zephyr, the Falcon Ultra Ti sounds slightly V-shaped; it has more bass and treble energy. The Zephyr has a lusher midrange and more neutral sound signature. They have about equal sound staging performance, but in imaging performance, the Falcon Ultra Ti has a clear lead in terms of image definition and holography.
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Compared to NF Acous NM20 (115 USD):
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The NM20 is a true V-shape sounding set that was tuned unapologetically towards treble clarity. In terms of presentation, they are quite the opposite; the NM20 is much more energetic while the Zephyr is relaxed. I use the NM20 in the morning and afternoon, and I use the Zephyr in the evening for unwinding and relaxation. The NM20 has a wider soundstage, while the Zephyr has a deeper soundstage. In terms of imaging, they are not very different, but the NM20 has more defined images.
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Compared to Kiwi Ears KE4 (199 USD):
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They are very similar, sounding from midbass to lower treble, but the Zephyr is more neutral because it has a flatter subbass and a slightly darker upper treble response, while the KE4 is much more energetic in the subbass and the upper treble. Both of these have a lush-sounding midrange with very accurate instrument and vocal note weight. In terms of sound staging, they have about equal depth, but the KE4 has a wider stage. In terms of imaging, the KE4 has more defined images.
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Pros:
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It has an analog and organic style of sound that makes you enjoy the music rather than analyze it.

Very elegant minimalistic design.

The long nozzle lets you use small eartips so that you can insert it deeper in the ear.

Very comfortable to wear.

Nice midrange.

Very good packaging

Very good for treble-sensitive people

Nice tonality for people who like relaxed and mature tuning.

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Cons:
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The treble can sound slightly too polite at times.

Not the best technicalities in the price range.

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Conclusion:
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Based on my experience with the Kotori Audio Zephyr, I think it is aimed at people who are looking for a refined and slightly relaxed musical experience, and because of that, it can be great for treble-sensitive people. If you belong to this group of people, or an audio enthusiast who wants to have a different sound experience than the usual stuff, or a true music lover who likes to just listen and get lost in the music and not care too much about technicalities, I highly recommend the Kotori Audio Zephyr to you.
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Happy Listening! Cheers!

Disclaimer: I thank Kotori Audio for generously providing me with the Kotori Zephyr in exchange for an honest review. On behalf of the team at the Headphone List, we thank him for his generosity and trust in THL.

Original review can be viewed here

Introduction​

Kotori Audio is an unsung hero of the Sing-fi scene. To avoid sounding like a broken record, here's an excerpt about the titular company from my earlier review of the Vampire:

"Kotori Audio is a Singapore-based audio brand that first sunk its teeth in the thriving local audio scene as a cable atelier, merging 'haute audio' with unmistakably affordable prices. When I was serving in the military in 2019, I was fortunate to have demoed some of their earlier iterations of their 'Tungsten' and 'Carbon' cables. Unbeknownst to me, I was witnessing the dawn of a new brand."

Click to expand...

Harman-tunings are the enduring craze of the audiophile world (and for scientifically substantive reasons). However, listening for leisure is primarily defined by 'feel'. Individual preferences will take precedence over a decade-spanning aggregation of listening preferences.

That's where Kotori Audio fits into the grand narrative. Instead of religiously adhering to the Harman dogma, the Zephyr strictly follows the subjective preferences and tuning prowess of the talented ensemble of engineers behind the Kotori brand.

Every release is tuned in accordance to the demographic it is meant to placate. The Vampire, for instance, embodies fatigueless and stress-free listening. The Zephyr, on the other hand, allegedly blends the technical virtuosity of the Dauntless' (their virgin IEM release) with a tamer frequency response.

The Zephyr is a commendable gamble in the face of the lingering influence the Harman-meta has across the audiophile world. Priced at $179, the Zephyr enters a crowded and contested space that is rapidly in flux. Today, I assess its inherent viability against other industry leaders. The Zephyr can be directly pre-ordered on Kotori Audio's official website.

Technology​

Dual-driver Hybrid Configuration​

The Zephyr integrates a dual-driver hybrid configuration, featuring an extremely-stiff and resilient TI-coated PU dynamic driver (that is quite the mouthful), alongside a Knowles balanced armature tweeter.

PBAS Implementation​

The PBAS comprises a complex network of acoustic pathways and a carefully-placed balancer tube to mitigate the build-up of pressure within the 3D-printed chamber.


The balancer tube is surgically machined and cut with a laser, precisely fabricated to ensure stringent tolerances are satisfied (in this instance, approximately 30 microns - 1/2 the width of a human hair.

Significant Inter-chamber pressure relief is achieved by allowing the TI-coated dynamic driver to freely actuate with greater flexibility and momentum by eliminating the presence of 'back-pressure' situated behind the driver. Allegedly, the end result is a noticeable uptick in transient performance and low-end linearity.

Unboxing​

Similar to the Vampire before it, the Zephyr comes shipped in a small, rectangular cardboard box with an outer-sleeve. The outer-sleeve is adorned with geometric patterns and hexagonal swirls, highlighting the Zephyr's angular-aesthetic.


For a sub-$200 IEM, it's readily apparent the Kotori Audio team labored greatly to ensure the customer enjoys a premium unboxing experience: a value-add that is often neglected by IEMs multiples in price.


Under the hood, you'll find the following accessories:

• Kotori Audio Zephyr
• 'Hockey-puck' style aluminium carry case with pebble-stone finish
• Kotori Audio 'Carbon 3' 2-pin, with 3.5mm unbalanced cable L-shaped termination (Found in carry case)
• S, M, L silicone ear tips with plastic carrying case
• Printed 'how to' instruction cards.

Every accessory inclusion looks and feels high-quality. There is virtually nothing to critique in the Zephyr's exceptional package.

Design​

Credit: Kotori Audio
Svelte and sleek, the Zephyr's eye-catching angular faceplate is impossible ignore. The multi-faceted, stepped machining on each faceplate draws inspiration from Bauhaus architecture, sharply characterized by flat colors and pragmatic design.

In a practical setting, the stepped 'topographical' lines assists in setting and removing in one's ears by enhancing its ease-of-grip. The remaining portion of each resin shell is 3D-printed in 'piano-black', with shiny lustrous application of lacquer. The seams between the faceplates and shells are tautly sealed, with no visible specks of excess glue.

The Zephyr encapsulates both style and substance, with a distinctive appearance that stands out from the overabundance of generic acrylic clones flooding the market.

Comfort and Ergonomics​

The Zephyr has a fairly sizeable shell and chamber, housing its fairly modest hybrid-driver array. Because of its larger sizing, the overall shell doesn't sit flush against the inner-ear and counter-helix. Instead, it protrudes out, albeit with snug fit.

The Zephyr has a deep nozzle-length that just a few hairs away from the Etymotic's infamous deep-insertion fit. However, it doesn't burden the listener with complaints of soreness. Achieving a snug fit was not a problem for my ears. Each nozzle has a raised notch/lip that prevents the attached ear-tips from falling off.

Long-term listening on the Zephyr proved to be a comfortable and fuss-free experience, with no noticeable points of discomfort during my prolonged testing sessions.

The Zephyr has no visible pin-hole sized vents that I could locate on the shell. If I had to make an educated guess, the Zephyr must adhere to a similar philosophy as its younger sibling, the Dauntless, which purposefully eliminates the existence of a vent to 'choke' the driver into fluttering rapidly in-place, with each extrusion of the diaphragm providing an energetic and resolving sound. In practice, this greatly strengthens the Zephyr's ability to block out extraneous ambient noise in urban environments.

Cable Quality​

There's not much for me to say that hasn't been said. The Carbon V3 cable (thus far), is still the undisputed champion of IEM cables in terms of extreme flexibility, suppleness and malleability.

The cable is gentle to the touch, with almost no resistance or proneness to memory. Bend it any way, shape or form, and it contours to your body. Walking around with the Carbon V3s is an effortless and unobtrusive endeavor.

The custom-hardware adorning the Y-split and 3.5mm unbalanced terminations is beautifully satinised and emblazoned with the Kotori Audio branding.

There's virtually nothing I can critique, save for the lack for swappable terminations. However, when it comes to the meat-and-bones of the IEM cable, the Carbon V3 ticks all the right boxes and then some.

Sound Summary​

The Zephyr, on first impressions, is correctly described by the team to embody the technical capabilities of the Dauntless, without its inherent tonal drawbacks. The Zephyr (without reference to its frequency response) can be described as mid-forward with a modest mid-bass bump.

What this translates into is a lustrous presentation of female vocals, with a slight ethereal-quality that accentuates vocalization and wispiness. The Zephyr's mid-bass punch is surprisingly textured and controlled, speaking to the technically-capable titanium-deposited dynamic driver. Bass transients are cleanly finished, with instruments populating the region standing out vividly.

Snare-strikes are firm and assertive, albeit without the pre-requisite shine or brittleness that the upper-presence region captures. Roll-off in the treble and sub-bass regions is noticeable, creating an inoffensive atmosphere for referential listening. The midrange is the prominent frequency band, but truncating the bass and presence-regions mitigates its ability to paint a vibrant macrodynamic image.

Bass​

The Zephyr's Bass pre-burn-in displayed the unfortunate characteristic of serious sub-bass veils. Texturally, bass and baritone instruments were conflicting with one another with a lack of audible distinction between them. Heeding the advice of Ray from Kotori Audio, the titanium-coated PET dynamic driver is requires a minimum of 100 hours of burn-in to loosen the ultra-rigid membrane.

After coming in close to the recommended 100 hours, the Zephyr's bass detailing experienced a significant leap in quality. Akin to the Dauntless' 'lean-and-clean' bass response, sub-bass flourishes dissipate rapidly with little to no sensation of rumble. It's sufficient for reference-heads, but blunted for listeners who favor atmospherics and physical rumble.

The stiffer membrane creates a flat-but-forward mid-bass with a satisfying thump - not in the bass-head sense of the word, but it vividly punctuates the entire frequency response with an assertive and commandeering 'thud'. Physically, it isn't a bombastic or thick-noted punch, but it leaves a lasting impression.

In other words, bass is clinical, clean and almost surgical - the ultra-stiff titanium-coated PET drivers are behaving like balanced armatures, with excellent perceived layering between instruments in this region. Don't expect impactful macro-dynamics.

Mids​

The Zephyr's midrange embodies a lower-mid forward sound, which results in a quasi-U shaped signature. Following the theme set out in the preceding section, the Zephyr's lower-midrange is aggressively prominent, in an energetic upper-midrange that modestly accentuates the odd-harmonics in electric guitars and snare strikes. Beneficially, this greatly enhances the Zephyr's overall clarity amongst male-vocals, adding a soulful and satisfying color.

Conversely, female vocals lack the pre-requisite, unctuous bite and presence. The lack of upper-mid energy (I suspect this was a deliberate means to mitigate the risk of overall thinness and sibilant hot-spots) strips female vocals of their spirited presentation. However, if the intended goal was to contain obtrusive peaks and edgier notes in the frequency response, then I'd say the entire exercise was an overall success. Timbrally, there are some tonal anomalies, with an increased frequency in moments of grain and coarseness, but these are a minor inconvenience.

Treble​

With the midrange leading the pack, the presence region follows a similar trend. The lower-treble floor is the focal point of the 'treble section', with distorted guitars sounding extra-fuzzed out and snare/rim-strikes sounding snappier. There's a natural crispness that amplifies these sonic traits.

Intriguingly, in-spite of the obvious rise in the lower-treble, outright sibilance amongst 's' notes doesn't prove to be a recurring problem on the Zephyr. The only unwelcome aberration is a tinge of unnaturalness in the timbre. The Zephyr shares a similar timbre to its little sibling, the Dauntless - metallic and sterile on occasion.

The proportional softness in the upper-treble doesn't quite extend high enough for female vocals to breathe freely. The hyper-realistic wispiness and ethereal qualities are lacking, but generally, IEMs without a dedicated 'electret' driver simply can't display these qualities without upping their R&D and inputs.

Soundstage and Imaging​

Soundstage-wise, the Kotori Audio has an intimate and in-your-head presentation that is reminiscent of IEMs in the $150 price-bracket. Laterally, L-R channel width is neither nor good, just average in technical performance given the segment of the market it inhabits. Don't expect the narrowness of the Etymotics' staging, or the expansiveness and breathability of kilo-buck IEMs.

However, lower-treble focused vocals and instrumentations appear more omnipresent in the entire mix by virtue of the FR highlighting these segments in passages of music. Imaging-wise, the Zephyr shines when it comes to the localization of forward instrumentation in vocal melodies. There is a perceived separation amidst these elements in complex stanzas of music, with easily distinguishable sweeps and pans. The Zephyr's micro-detail retrieval performance greatly improves the perception and audibility of individual vocal lines and instruments, albeit with some fundamental limitations in tracks with lightning-fast PRAT and maximalist orchestration.

Synergy​

Impedance: 18.1 Ohms​

Gear used:​

• Dita Navigator
• Colorfly CDMA1
• Tanchjim Space Lite

Minimum pairing recommendation: Dongle DAC/Amp​

The Kotori Audio Zephyr is a pairing-forgiving IEM that doesn't require umpteen amplification for optional performance. However, the Zephyr's stiff titanium-coated PET membrane benefits moderately from a low-output impedance source for an ideal damping factor. A Dongle DAC/Amp would suffice for most listening intents and purposes.

A Brief Comparison​

Kotori Audio Zephyr​

Price: $150.00
+ Immaculate shell-finishing with sleek and svelte aesthetic
+ Ultra-flexible stock cable best I've reviewed thus far
+ Speed-focused mid-forward sound focuses on cleanliness and clarity.
+ Clean and undistorted mid-bass response
- Middling technical performance in the upper-presence regions.
+ Crunchy and fuzzed-out electric guitars and rhythmic snare strikes greatly enhanced by lower-treble boost.
- Layering is commendable, but not as cohesive or coherent as the 'Cloud'

BQEYZ Cloud​

Price: $169.00
+ Resplendent teal-colored aluminum shells in sanitized finish.
- Competitively malleable cable, but there is a (very) slight tendency for memory
+ Spirited and vivid sound with a soft, flat-bass response and ethereal highs
- Flat bass response is present, but lacks impact.
+Euphonic presence region highlights the effervescent nature of female vocals
+Layering is clean and surprisingly distinguishable

Conclusive Remarks​

The Kotori Audio Zephyr is a staunch but firm reminder that variety is the spice of audiophile life. A preferential curve offers a healthy benchmark or starting-point, but should not entirely define what listeners want to hear in a global marketplace comprising miscellaneous tastes.

The Zephyr carries on the tradition that the Dauntless has set for the brand - Speed, forwardness and clarity. It achieves those merits very well, albeit with some drawbacks in timbre and upper-presence veil.

At $150, I believe the Zephyr is very fairly-priced for what it has brought to the table sonically, aesthetically and physically. I can comfortably say that the Zephyr amalgamates many of the Dauntless fundamental strengths, and trims (almost) all of its unwanted traits.

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Disclaimer:

• I don’t read FR graphs. I only use my ears, as earphones should be used.
• Kotori Audio sent this unit to me in an exchange for an honest, transparent review. Rest assured that this review will do its best to devoid from any bias/es as much as possible.
• The following remarks and observations shall be made and owned only by me.
• No monetary compensation is/was involved before, during, and after the period of creation of this review.
• Your mileage may (and always, will) vary.

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Burn-in time: 4-8 hours per day, 5 days.

Source/s used:

• - Non-HiFi smartphone (Infinix Note 12 G96), PC.
• - Tanchjim Space DAC
• - Fosi Audio SK02 USB DAC
• - Kiwi Ears Allegro Mini DAC
• - Aiwa XP-V710C CD Player (12 sec. EASS)
• - Sony Xperia X Compact
• - Local Files via Foobar, YouTube Music, Deezer, and Qobuz with UAPP.

IEM/Earbud/Setup configuration: Stock medium gray eartips, any form of EQ or MSEB off, 40-60% volume.

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Sound signature:

• The Kotori Audio Zephyr, to my ears, is a flat-sounding IEM that also exhibits mild forward vocals, while keeping the sound “as transparent as it can be”. It is also noteworthy that this IEM is a bit ear tip-sensitive, as it may sound mildly u-shaped borderline bright on some ears, sources, and pairings, with the white included eartip preinstalled.

Lows:

• Despite sounding flat to my ears, I love how versatile and non-lacking the bass of the Zephyr is. It is clean, firm, fast in attack and decay, but not up to the point that it will sound lacking for most tracks that you listen to with it. Midbass and subbass are quite equal in quantity, and will only show when the track needs it, preserving detail and texture. Of course, this definitely won’t be, and never will be, the basshead’s dream IEM, but this does not mean that this sounds dry either. It sounds very far from dry, and will be sufficient in any track you pair with it, even with EDM and bassy tracks.

Mids:

• The Zephyr in this region is flat in presence, with a mild vocal forwardness. This IEM also is doing its best to sound as transparent as it can up to the point that I can confidently say that this IEM can be used for professional studio monitoring. Midbass bleed is absent in the lower mids, allowing male vocals, and the instruments in this region as thick as they are intended. Upper mids, especially on the vocals, are elevated, borderline bright, with a very good amount of airiness, sparkle, and clarity to it. Unnatural peaks and harshness are also absent in this region, but due to its forward vocals and flat, relatively transparent sound, I would not recommend this IEM for those ears that are very sensitive to bright, forward upper frequencies. Overall, the mids of the Kotori Audio Zephyr is very remarkable to my vocabulary as it is one of most detailed mids I have encountered, but this also mean that this IEM is also unforgiving to poorly recorded or mastered tracks. It will sound “bad”, if the recording is “bad”. I personally do not have any problems with it, nor I see it as a con, because I am used to it. The whole Etymotic lineup, for example, shares the same characteristic, to my ears, at least.

Treble:

• As for the treble, the Zephyr keeps its presence as flat as it can be. It isn’t as forward as the upper mids/vocals, but it is not definitely dark nor behind in presence. It is well extended and exhibits a very good amount of resolution and air. Detail retrieval is excellent and can be used for analytical listening.

Soundstage, Imaging and Separation:

• Due to its forward-than-usual vocals, the Zephyr sounded a bit small in the soundstage department to my ears, but nowhere near cramped. While it does not have the widest stage for its retail price, It makes up for it by a lot on its other technical aspects. Its separation and layering is clean, free from any congestion, while keeping the layering well-composed. Imaging is dead-precise, and does not have any problem on rendering the positions, or even the spaces between the vocal and instrument positions. It pictures everything incisively, with ease.

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Other IEM Comparisons!

NF Acous NM20

• Both of these IEMs aims for a more “neutral” approach, and can be used for studio monitoring. The NM20 when compared to the Zephyr, has slightly thicker bass, but almost identical in quantity. Mids on both sets are vivid, nearly transparent, and neutral, but the Zephyr elevated the vocals a little bit when compared. Peaks and harshness were more apparent on the NM20 on poorly recorded tracks during my tests but both sets do not have unnatural peaks or sibilance. Treble is mildly elevated and bright on the NM20 when compared. Soundstage is immersive and wider on the NM20. Separation, layering, and imaging, are more or less identical between the two IEMs. The Kotori Audio Zephyr is the “flattest” and less “colored” on the two sets.

NF Audio NA2+

• In a nutshell, the NA2+ is a warmer, balanced, slightly thicker sound when compared to the Zephyr, but not by a lot. Bass is definitely a bit more elevated on the NA2+, while the Zephyr keeps it flatter and reserved. One can also say that the bass on the Zephyr is “a bit dry” when compared to the NA2+, but definitely far from being dry when heard on its own, Mids are nearly transparent on both sets, but the Zephyr presents the vocals a bit more forward when compared. Treble on both sets are nearly identical in terms of presentation. The soundstage is wider and more immersive on the NA2+, while the separation, layering, and imaging, are more or less identical on both sets as well.

Rose Technics QT9 MK3

• The Rose Technics QT9 MK3 exhibits a u-shaped sound signature that leans to the bright side of the spectrum, while the Kotori Audio Zephyr keeps things flat and vocal-forward. The bass on the QT9 MK3 is noticeably a bit more elevated and subbass dominant when compared to the Zephyr. As for the mids, the QT9 MK3 is a bit recessed in presence when compared to the Zephyr, but not by a lot. Vocals are more forward on the Zephyr when compared to the QT9 MK3, and the QT9 MK3 also exhibits mild BA timbre in this region and in its treble, while the Zephyr does not. The treble is brighter on the QT9 MK3 and renders microdetails a bit easier and audible when compared to the Zephyr, but not by a lot. As for the technical performance, both sets exhibit nearly the same amount of wideness on its soundstage. Separation, layering, and imaging, is a bit better on the Zephyr. Overall , these sets go toe-to-toe, and the only big difference they have to my ears is that the QT9 MK3 is a bit more forgiving on poorly recorded tracks, while the Zephyr isn’t.

Kiwi Ears KE4

• The Kiwi Ears KE4 is a balanced-warm sounding IEM, while the Kotori Audio Zephyr keeps things flat and incisive. Bass is definitely better in quantity on the KE4, but the Zephyr has the edge when it comes to the quality and texture. Mids are warmer and thicker on the KE4, while the Zephyr keeps things transparent. Vocals are also more forward on the Zephyr. The treble is “safer” on the KE4, but the Zephyr is more detailed, and well-extended in this region. Soundstage is a bit spacious on the KE4. Separation, layering, and imaging are cleaner and well defined on the Zephyr when compared.

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Pros:

• One of the “flattest” IEM i’ve heard under 200 USD!
• “Relatively flat” sound signature!
• Firm, textured bass response.
• Vivid, forward, open mids!
• Detailed, well-extended treble.
• Excellent technical performance under and within 200 USD!
• Snug, comfortable fit and isolation!
• Minimalist yet exquisite build quality and design!
• Well-built accessories!
• Easy to drive, but scales well with fairly powerful DACs/sources.

Cons:

• Soundstage can sound a bit “not wider than usual” to some.
• This IEM is unforgiving on poorly-recorded tracks and passages (a double edged sword, not really a con or a negative in my opinion)
• Fit can be bulky to some ears.
• The right female 2-pin port’s adhesive is slightly loose and wobbles on my unit (I contacted Kotori Audio for this and this is already fixed and not present in their retail version according to them, so it shouldn’t be an issue)

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As I give my time on evaluating and writing this review of the Kotori Audio Zephyr, I realized and concluded that these “small” (not really that small, in a good way) companies, not only Kotori Audio, do really take their time to create and hone their products that are very remarkable. These qualities do show here in the Zephyr. Its relatively flat, detail-oriented sound character isn’t something that you see in this hobby on a normal day, or regularly, but when it does exist, it is surely remembered because of the overall sound it delivers. The Kotori Audio Zephyr, without a doubt, lists itself at the top of my recommendations, if you are looking for “the flattest, technically-capable, ear-friendly” IEM under 200 USD as I write and publish this review. This sure is the wind and breeze that will be remembered and admired, Kotori Audio!

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Pairing recommendations:

• Source: The Kotori Audio Zephyr is easy to drive, but it noticeably scales well the more power you feed it. Pairing it with a 2VRMS source/DAC is my personal minimum for the best experience.
• Eartips: The eartips included pairs well with this IEM, but this IEM is definitely eartip- sensitive. The included white eartips makes the sound more u-shaped, while the grey eartips makes things flat. Deeper insertion is also recommended, as it seems to sound the best the deeper and snugger it fits in your ear.
• Cable: The cable is beautifully done in my opinion, combining simplicity and premium in build and feel. You may still use your preferred eartips.

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Thank you for reading!

Non-affiliated link here: https://kotoriaudio.com/products/zephyr-iem

Additional Photos Here:

This hobby is an escapist's dream. Escape from daily routine and distress that's causing you via something as sincere and everlasting as listening to music. I believe that the power of music is still not fully understood since it works in mysterious ways. Allow it to do its magic on you and let your worries dissolve in melody.

Having had the possibility to try so many different sets in a relatively short time I felt obliged to go ahead and express my gratitude by trying to help some lost souls out there, just as I was when I first stumbled upon this weird hobby about wired earphones – so yesteryear! … I thought. Possibilities are seemingly endless and only by getting to meet the right people did I manage to jump onboard the train heading the 'right' direction without getting off-track thousands of times along the way. Make sure to understand the helping person's preferences and you too can find your footing and hit the ground running in no time.


Quick Intermezzo About Me

I won't bore you for too long with personal trivia, however my quick & short background resume goes as follows. Currently I am 27 years old and more in awe of sheer power of music by the day. I have always been moved by music just that slight bit more than average, I'd say. My spending started with a roughly 200€ Bose bluetooth speaker back in my first grade of highschool. What an extraterrestrial thing that was in early 2010s. And it keeps on playing to this day – a true testament of quality. Also sounded fantastic back then, nowadays … yeah, not so much. Lots of BT speakers, TWS, car audio speakers, IEMs, etc., later bring me to this day when I truly consider myself an audiophile. What brings me the most joy beside listening to music is singing, so I am currently participating in a choir and challenging myself with solo vocal covers (check the links in my signature to hear my projects). Unsure where all this leads, but the journey itself is marvelous and life is nothing but a journey.

My preference lies somewhere in the neutral camp with just an ever so slight tilt towards warmth, but I try to keep an open mind and truly appreciate any outliers that dare do it differently and succeed. Our ears vary, so do our brain and tastes. I am an advocate for respectful discourse, especially in topics that don't even have many objective undeniable truths. Audio is one of those.

My most listened genres are, in no particular order: jazz, singer/songwriter, slow-paced electronica, ambient, rock, metal, blues, trance, techno & pop.


Disclaimer: I have received the Kotori Audio Zephyr directly from Kotori representatives. Even if I wanted to shill this to the moon and back, I am way too mindful of others' money to overly hype stuff that does not deserve it, so there's that.

Price and date of release are still TBD, however feel free to check out their official site here: https://kotoriaudio.com/collections/earphones


How My Reviews Are Structured

I will start off by mentioning the packaging, accessories, design & comfort, then continue by placing the showcased IEM in my special trademarked graphs & graphics, give it a score on certain qualities, and describe the main sound categories to reach the final star score. Those that are seriously considering the Kotori Zephyr, please do not hesitate to ask for any specifics you want me to answer via private messaging.

I have left the set to burn-in for 50+ hours and listened to songs of varied genres to better convey what one can expect from the Zephyr. As sources I have been using my FiiO BTR7, Venture Electronics Megatron, iBasso DX180, and Venture Electronics RA2B-FE AMP + Prime DAC (in short, called the 'VE Stack'). Certainly no lack of power and quite a different taste on all. Listening was (mostly) done at a volume ranging between 75-85dB. I am using the Moondrop Spring tips and Tripowin Noire cable, but the stock cable is very good too.

Here is the quick and rough description of how I understand various star ratings:

Do not even think about it
It has too many drawbacks and gets demolished by competition
This item has the potential but feels a bit too bland and has multiple issues
Wonderful item with rare and mostly subjective drawbacks
Eargasmic performance with all the aspects covered at an incredibly high level

Keep in mind these ratings are certainly affected by the item's price in the overall assessment too. Sometimes that will result in slightly higher score than based solely on my scoring of bass, mids, and treble, while other times it results in a slight penalty if I deem the item a tad overpriced.

In layman's terms - anything rated below 4 stars overall does not get a space in my regular rotation and is either stored and revisited some time later again just to see if my thoughts have changed, or it gets gifted.


I am still catching my stride on how to describe the sound aspects in a clearer way. It is a slow but enjoyable learning curve. I am attempting to make my reviews as ballast-free as possible. The graphics were the step in the right direction, I feel. Capturing the essence of sound characteristics in a less wordy way is next on the list. We all have our own busy schedules and I understand reading a review for 15+ minutes is in (nearly) no-one's interest.


Let's Get Going!

... but before we do, a quick word.

I have always liked companies like Kotori that seemingly come out of nowhere and stir up the market. This release is bound to raise some dust and get Kotori on the map. What really proves to me that they mean business is the insanely in-depth and professional-looking product overview presentation they shared with me, their thought out packaging, and how they happily addressed any questions I had in a constructive manner. Potentially ruffling some feathers here, but this is certainly not always the case in this fast-paced hobby where most seem to be focused on making a quick buck instead.

... OK, back to scheduled programming


Packaging, Accessories, Design & Comfort

Nothing to complain about. The box itself is pleasant to look at with the shapes on the outer sleeve and then the sweet little birdie that is their logo right on the box itself. The layout of items in the box is different and keeps the IEMs hidden from eyesight for longer. A minor nitpick - the actual piece of cardboard that needs to come out of the box to get full access to all items is a bit fiddly and could be rethought.






The splitter is very nicely designed, but just a tad too bulky in my opinion. I like the L- connector and how this cable handles.

These are an interesting fit with their deep insertion that needed some playing and tip rolling to fit me well. Oh but when they got seated well, they really got seated well. These are now among my comfiest sets that also isolate about as good as passive isolation can.


Next to the Penon Voltage on the left you can see how much longer the nozzle is on the Zephyr. Thankfully it's aimed very well and allows a fantastic, custom-like fit with the correct tips.



I'll leave the design for you to decide, but in person these have a nice matt grey faceplate that looks class, while the rest of the shell is dark black plastic which I'm not the biggest fan of, but if that's what's needed for the shell to be shaped this way, so be it.

Graphics, Graphs & Scores

A warm-leaning midrange-dominant musical set with okay technicalities. Rare sort of set for sure. And, as I like to say, the world is better thanks to it.

As mentioned a little earlier, I have worked on trying to cut down on wordiness and all excess gibberish and rather improve upon my nikbr trademarked graphics to truly be able to compare IEMs visually since that offers an easier-to-comprehend, more interactive and simply more appealing experience.

These truly cover most topics in a pretty straight-forward manner. I have described each of these in a bit more detail in my previous reviews. If anything remains unclear, here I am at your service.

Six Basic Traits

Magic Balance Boards

Soundstage Measurement Tool

Quarter Circle Playground

Laidback and neither trebleheady nor bassheady – this is midrangeheady (what a catchy term, I know).

Overall scoring looks somewhat strict, but it was not easy for the Zephyr. It's always tough to put sets like this into a preformed scoring template and expect perfect scores.




Sound Descriptions

The obvious quartet of categories will be divided into a few important aspects. It is impossible to just proclaim the bass as great or not, there are levels to this hobby and since you're reading this review, you've obviously fallen deeper into this rabbit hole than many.


Bass
(some songs I used: Soldier of fortune by Deep Purple, Summer by Emeli Sande, I'm in Love by Ayo, House of the Rising sun by alt-J&Tuka, Infinity by DJ Pastis&DJ Ninu&Wasi Distorsion, Kuwait by Mazde, Drum solo by Manu Katche, Hislerim by Serhat Durmus&Zerrin, Animamundi by The spy from Cairo)

Quantity vs quality: This won't win as the bassiest nor the most surgical of bass sets. But that's not what it's set out to achieve. And don't get me wrong, while this is far from basshead territory, it never feels completely lacking. It also does sufficiently well in quality aspect for me to not be turned off because of it.

Rumble: Precisely the thing that won't be too impressive while still covering the lowest octaves well enough. It is a bit devoid of that pure devilish rumble that some lust after whereas others just get scared of and feel it's overbearing. Depending on the day and mood I can be in either camp. When I don't want to have my brain turned into an omelette, the Zephyr does wonderfully.

Attack: While both the onset and offset of a punchy bass note are not too finely delineated, it's certainly a decently punchy set and replays kickdrums in a cool way. The anger some of those kicks seem like they carry is impressive.

Decay: Not sure if that's the titanium membrane, but it's a bit on the stiffer side not really feeling like it slowly stops vibrating, but tilting more to the BA side of decay presentation where it's a bit less wet and flowy.

Boominess: None. Thankfully. I'm pretty alergic to that and it is one of the areas that I feel still separates great IEMs from meh ones. It's also the thing that 'regular' folks who aren't as sound-picky as us probably find impressive and mix up with actual quality bass. Not us, we know better.

Bloatedness: Certainly not a bloated set. And the only currently available graph shows that very well.



Mids
(some songs I used: Creep by Haley Reinhart, Rosita by Coleman Hawkins&Ben Webster, Vidda by Ole Edvard Antonsen, Long after you are gone by Chris Jones, Writing's on the wall by Tom Ball, Dream on by Morgan James, Lonely island by Amble, Exhale the ash by Ulcerate, Free bird by Lynyrd Skynyrd, Eyes don't lie by Tones and I, All about you by Sophie Zelmani)

Timbre: Getting this right is crucial in overall acceptance of any set. Always a sensitive topic. Timbre is not an easy one to unfold and pack into these little forms we call words. We also have a different understanding of 'correct timbre'. Hearing the instruments in multiple settings and played by different artists is a must to really get familiar with their intricacies. While it's not perfectly natural to my ears, it also does not stick out and become annoying at any point on the Zephyr. Bass guitar is a touch unrefined and hihats can get a little splashy.

Forwardness: Very forward in their tonal balance, but they stay mixed into the stage at all times, so never too forward in placement. I like it, different to our usual balance where bass and treble are above the mids.

Clarity: Not what I'd count as one of its strengths, but it is not a weakness either. Despite mid-fowardness, there is just a slight veil which depends on what I drive it with too. VE Stack for example adds a good amount of bass while also opening the mids which allows them to breathe better and seem clearer.

Vocals: Male vocals are very well rounded and emotional, while females can seem a bit lacking due to that upper midrange. I do, however, prefer this slightly tamed approach over overdoing the upper mids and risking a shouty and thin sound. So females might sound a bit grainier and huskier than usual. Their placement is very good. Never overflown with the rest of the mix.

Note weight: I'm most sensitive to how the piano is played back. Hearing a grand piano live you can tell just how much body each note carries and how rich it is in under- and overtones. Note weight is one of those risky topics and it quickly segregates the field in two camps, those that prefer a thicker, rounder note weight and hence a more analog approach, and those preferring all-BA sets because those usually have a quicker, less hefty character and a more digital sound. Mind, those are very very severe simplifications of this layered, 50-shade-of grey topic just to carry my point across. This is a pretty lightweight piano playback since it does not have much low end to really feel dense and lush. However, none of the notes feel hollow or too feathery. A reduced note weight overall, but skillfully done.



Treble
(some songs I used: Vidda by Ole Edvard Antonsen, Want by The cure, All about you by Sophie Zelmani, Morning bird by Sade, Animali in Marcia by Gianluigi Trovesi, Ain't no love in the city by Robert Haglund, Barbados by Arne Domnerus, Oh Dear by Sophie Zelmani, Liberty by Kerenza Peacock&Timothy Ridout&Hum Watkins, Shivers by Ed Sheeran)

Crispness/sharpness: A mix of multiple qualities hidden all the way from upper mids high up into treble. There is no straight-cut rule to tackling this and having it fit all ears and preferences. No sharpness ever. Crispness is there however, and it's most likely down to that low treble or presence region that looks scary on the graph, but totally acceptable and a non-issue upon listening. It does mean that cymbals will be a bit more zingy and metallic than elsewhere. Trumpets feel lively and ringy as they should.

Sibilance: Not here. You should really go digging for it. That's why I think the pronounced 4-5kHz and then a scoop out up to 8kHz might be an interesting thing to experiment and perfect further.

Naturalness: Just slightly metallic in overall feel, which might take away some naturalness, but it improves other areas. Still, I would not really recommend it for exclusively acoustic, especially percussion-heavy jazz, recordings.

Air: It does not extend too far up into mystical territory that no one hears yet we do and that's most likely down to the fact it is a single BA that is helping the DD but cannot be asked to do everything.


Technicalities

Soundstage: A very touchy subject with no objective truths, highly affected by source, and incredibly different from one pair of ears to another. Skipping the effect of our pinna, as IEMs do, is both a blessing and a curse. One has to figure out for themselves what tricks their brain into placing objects furthest away from their actual point source. This feels nicely tall and has no real ceiling, so vocals sit high up and proudly carry the song's flag. Width and depth won't be too jaw dropping, though.

Imaging: Potentially the most crucial technical aspect in IEMs. And this is the reason why I feel soundstage might be just a bit overhyped. The outer edges of where the sound is coming from are not as important to me as their localization and size of the image. Give me a more intimate soundstage with better presented individual sounds over a huge soundstage with more diffused imaging any day of the week. This images very nicely, especially in less crowded songs. Following individual performers and 'seeing' them throughout their gig is not too challenging.

Detail retrieval: A subject that should be cut into even smaller subjects to cover more easily, but I will try to explain it in one. Macro- and microdetails is how they are usually referred to. Macrodetails will be the larger items we can look into. Maybe something like a clap. How well is that clap separated and detailed in its onset and offset. While microdetails would mean delving even closer into that clap – how crisp is it, any minute detail that stands out, possibly the person is wearing rings and those hit each other when clapping. Another one of those that is neither a huge dealbreaker nor a new trendsetter. It sits right there in the middle, somewhere in the average camp. Guitar plucks or lip smacks will remain hidden for the most part.

Cohesiveness: Such an important and often overlooked quality. We focus on bass, mids, treble, etc., but do they work together as a team or is it a bunch of talented individuals pulling to their sides? It never gets out of place. All elements function as a team. While bass and treble are a bit held back compared to most of what's on the market today, they happily follow and stay on duty.


Extra

Fun factor: This is not the most fun of pairs in the usual way. This will be fun to those who value something different with mids in the forefront. Not as fun for bassheads, trebleheads or naturaltimbreheads.

Q: What kind of source to pair it with?
A: Something revealing that aids the bass to clean it just that little bit more.

Q: What genres are its strength/weakness?
A: Hm, difficult to answer, but purely instrument-based or low bass stuff wouldn't be my pick for this one. It likes male vocals in any accompaniment.


Comparisons

Meet the contestants. AFUL Explorer (1DD+2BA), BQEYZ Cloud (1DD+PR), FitearxQDC SuperiorEX (1DD).



Zephyr is a more refined Explorer with (even) less boomy bass and better, snappier midbass kick. Midrange is more open on the Zephyr while the Explorer has a thicker and more noteweighty feel. The clarity is easily Zephyr's for the taking, most likely due to the 4-5kHz boost, but the BA would seem to be of better quality in the Zephyr too, since it easily feels more resolving in the treble. Where Explorer makes back some ground is on naturalness and soundstage width. Zephyr wins.

Against the Cloud, the Zephyr feels like it has lots of bass. But the bass of the Cloud is more to my liking in terms of cleanliness. The Cloud does seem more natural and detailed as well, but that's mostly down to the more usual pinna and the surrounding FR area – so that will be tough to judge in A/B comparisons. That said, the Cloud is not nearly as fun in its character as the Zephyr and fits worse with much less isolation. In terms of staging, Cloud feels even more open and one of those that's easy to mistake for earbuds. Not an easy one to settle. Ultimately, I prefer the slightly more delicate approach of the Cloud.

And finally, the more expensive, but recently discounted SuperiorEX. The Zephyr has a better controlled bass with less bloat and bleed into the mids. Those are far better on the Zephyr too in my opinion. Treble is splashier and less refined on the SuperiorEX. It's more or less a one way street in this comparison. SuperiorEX claws its way back into this battle by being the more natural sounding set with sweeter piano playback as a whole and having a more speaker-like presentation where sound seems to be floating around and having more surfaces to reflect off of. Easy W for the Zephyr.


Summing Up The Kotori Audio Zephyr

Coming in at a very well judged price point it does do so much well. Ultimately, whatever I had mentioned as negatives, is nitpicking and very much down to personal preference. I could wholeheartedly recommend this set to those who are not on any extreme of this hobby, be it bass-, treble-, or timbreheads. But if you value midcentric daring tunings and wish for a set that fits custom-like with two well implemented high quality drivers, this is one to consider.

Thanks for reading and stay wonderful.