Omar, the creator of The Curiosity Project has managed to sit Caleb Rosenau of Campfire Audio down for a chat about IEMs, how they work and what makes Campfire Audio so special. They discuss Campfire Audio’s new releases, the Honeydew and Satsuma and how they are both “Perfect gateway products to the world within Campfire Audio”.
Caleb talks emphatically about taking a less is more approach when designing their new budgeting offerings. The Satsuma has been fitted with a single balanced armature (BA) driver and the Honeydew packs a 10mm Dynamic driver inside. Both IEMs focus on comfort, fit, and a each IEM has a tailored sound signature to reflect customers feedback. They also provide a significantly different listening experience from device to device. Make sure to listen to the Podcast to find out more!
Omar and Caleb start talking in detail about the Honeydew and Satsuma around 75 minutes into the show. Before that, they talk about all manner of topics within the Audio world. Ranging from current trends to expectations and why Campfire Audio has not jumped on the TWS bandwagon. It is an interesting listen and well worth the time investment. You really feel that Caleb wears his heart on his sleeve. In addition to Omars thoughtful questioning and dedication to the topics at hand, there is a lot to learn and marvel about this fascinating brand and to ponder just what heights they will surely reach.
Oscar has obviously also spent some time with these beauties. You can read his review of the Honeydew here and the Satsuma here. If Videos are more your thing then we also have you covered! We have just released a comprehensive video review of them both together on our Youtube channel here.
64 Audio’s most popular CIEM now available in a universal form. Drawing from the sonic palette of U12t, U6t is their most affordable audiophile monitor to date. Boasting the same ground-breaking technology as their flagship IEMs in an ergonomic aluminium shell to make it more accessible than ever.
SOUND
In standard 64 Audio fashion, U6t is a balanced natural sounding earphone, slightly set apart from their other UIEM models by offering a softer presentation of a mix. Beautiful upper-mid imaging, realistically presenting instruments like guitars and piano as well as breathing life into saturated mid-bass mixes, especially when vocal focused. Using the various included apex modules and ear-tips allows the listener to further customize the sound of the U6t based on the needs of the music.
The Evo are unlike any other Etymotic model, they have gone for a more traditional in-ear monitor fit with the cable looping behind your ear and the shell filling the concha. The nozzles are however the same length and width as the ER series, and they include plenty of tips to get the right fit. I am a big fan of the new bi-flange tips and these still favour a medium to deep insertion to get the best isolation and sound along with a secure fit. The cable is very thin, however being a linum one it should hold up well over time, this does help with the fit.
Comfort is good, again they like a slightly deeper fit than other similar earphones, but they are not quite as bad as the ER series if you hate the fit of those. The housings are smooth and comfortable, only the weight of them could cause issues with some people over long sessions.
Compatibility
The Evo are pretty easy to drive, at 47 Ohms and 99dB SPL @0.1v, they should work well out of most devices. However they have very good resolution and will definitely benefit from being used with a good source, they should make it easy to distinguish between sources as they are quite a revealing earphone.
Sound
Bass: These follow a similar trend to the XR series that Etymotic released, giving a subtle low frequency boost that is noticeable but never causes the bass to become overbearing or too full. These have better depth than their single driver counterparts, with a noticeable yet subtle additional body to the sound overall that still isn’t enough to make them sound full as such. For a daily driver this amount of additional low end is superb, and makes these just a little bit more enjoyable over the accuracy of the ER4-SR for example. The low end is responsive and keeps up with complex mixes without putting a foot wrong, it also cuts through when required yet always maintains a controlled and balanced nature.
Midrange: The Evo has a very crisp and insightful midrange, the low end doesn’t bleed in to the lower midrange which allows male vocals and guitars to cut through the mix with excellent clarity and faithful tonality. They don’t have any boost in the upper midrange to try and make them sound exciting or artificial, instead they opt for a more linear approach which means you never lose track of any part of the mix. The thing that sets these apart from the other models from Etymotic is the separation and dynamic range, these have a sense of scale and space that the single driver models struggle with. They have that same accuracy but with a bit more power and drive, better space and overall they are more engaging.
Treble: The top end is very smooth and refined, with accuracy high up on Etymotics priorities they sound very realistic up top which isn’t something a lot of earphones do right. Cymbals crash and decay with impressive realism, every detail well presented without being pushed forward in the mix. Never fatiguing the treble is devoid of any nasty peaks, the extension is superb and they don’t miss a thing, yet the body down low makes sure the sound is never bright. The treble does a wonderful job of rounding off a superb tuning, and is definitely one of the most realistic sounding earphones when it comes to tonality.
Genres and Soundstaging
The Evo lend themselves to all genres, they have a very well rounded sound that is detailed, balanced yet also dynamic and engaging. They are however quite revealing of bad recordings and sources, so pair them carefully.
The soundstaging is really impressive, there is a real sense of air and width to the Evo that is slightly lacking on the ER series. These have better dynamics and separation, they are less flat and more engaging but without sounding too coloured either.
Conclusion
Etymotic have done a brilliant job with the Evo, it still retains that signature Etymotic clarity and control yet adds a little body, widens the soundstage and increases the dynamics. This is a superb everyday IEM that fits securely and is very well built too, those who enjoyed the XR series from Etymotic should consider the Evo if they are looking for a step up in the IEM world.
Final have released a new model in the A series, a more budget offering than their flagship but a nice contrasting model against their current E series, with a focus on clarity, air and control.
The Final A4000 sport a lightweight ABS housing which has a 6mm dynamic driver inside, the shape is contoured to fit your ears comfortably and securely. In use, I found the Final A4000 to fit securely and comfortably in my ears for everyday use.
Be sure to try all the different size tips, luckily Final include a better range than many brands so everyone should find a tip that fits them well.
Compatibility
The Final A4000 have an impedance of 18Ohms and a sensitivity of 100dB/mW so they are fairly sensitive and are driven fine out of portable sources. Despite their low price, they are one of those models that does benefit from better sources such as a dedicated DAP.
Sound
Bass: Whilst the bass on the Final A4000 isn’t strong in presence, it makes up for it in extension and control. There is moderate punch but slightly more focus in the sub-bass, with a subtle lift that provides adequate body. These have a brighter leaning sound signature so they won’t be suitable for those who enjoy a bit more bass. The transient response is however excellent, they can keep up with complex mixes without issue and always come across controlled. No matter what you throw at them, they can easily keep up, with great articulation too.
Midrange: The midrange is clean and crisp in it’s presentation, the bass doesn’t bleed in and muddy the vocals and separate vocal tracks are easily distinguished. Where they don’t do as well is in the sibilance region, there is a peak sadly which could be a little fatiguing. This peak though is easily lowered with the use of EQ, which definitely helps. There is a lot of detail in the midrange, it’s just that peak in the upper midrange that needs taming a little.
Treble: Plenty of energy and sparkle here, and to some it could be a little too much, but for the most part the treble is always present however rarely sharp. These are a slightly bright leaning earphone but the treble isn’t too metallic or splashy so it doesn’t come across as grating. There is good extension in the treble too, and it doesn’t drop off too sharply.
Genres and Soundstaging
The neutral/bright sound of the Final A4000 could make certain energetic genres sound a little harsh, but anything that benefits from good detail and control sounds great, especially slower rock and acoustic tracks. The nice thing is that the A4000 respond very well to EQ so you can get rid of any peaks quite easily.
Soundstaging is actually very good for the price point, you get a very coherent centre image with good separation, along with accurate width and height. They don’t sound closed in at all, which is really impressive at this price point.
Conclusion
Well the Final A4000 are certainly very technically impressive, with excellent transient response, clarity and control. The upper midrange peak is a little harsh, but overall they provide a clean sound presentation with brilliant soundstaging for the price. These are a good contrast to the slightly more fun and v-shaped Final E4000.
The Vega 2020 are ergonomically designed, with a slim and smooth housing allowing for a comfortable fit. Once you find the right tips they fit in securely and the smoky litz cable is still one of my favourite stock earphone cables. The ceramic shell is really well finished and looks great in white, the stainless nozzle is similar to other Campfire models and helps with getting the right insertion depth and angle.
Compatibility
The Vega 2020 are not the most sensitive earphones around (94 dB SPL @ 1kHz: 19.86 mVrs), which means they do enjoy a little more power than some out there. They will be driven ok with a smartphone but definitely work best when paired with a clean and neutral sounding DAP with good power output.
Sound
Bass: The Vega 2020 are tuned with bass in mind, these are not a balanced or remotely neutral sounding earphone. Providing you give them the right music they really can be a lot of fun, the sub-bass presence is truly impressive and there is moderate punch too. They don’t slam quite as hard as the Polaris II, but they have better sub-bass performance, leading to a fuller and more mellow presentation over the more visceral punch of the Polaris II. If you enjoy a full bodied earphone the Vega 2020 might well suit your needs, but the sub-bass can be a little dominating on certain tracks.
Midrange: The midrange is quite relaxed on the Vega 2020, it takes a step back from the bass and just kinds sits there doing nothing particularly remarkable. The bass does occasionally throw off the balance of the midrange due to it’s power, but overall the midrange is well layered and separated with good detail retrieval. Where it does do well is smoothness, there is never a hint of harshness or sibilance in the midrange, it’s very easy going. Acoustic tracks seem to play well on the Vega 2020, as the sub-bass doesn’t come out and overpower the midrange as much, leaving guitars and vocals to shine through with a pleasant warmth.
Treble: The treble, much like the midrange, has a fatigue free presentation with a slight lift in the upper treble to bring out some sparkle. There is good energy up top but ultimately it is still not up front or overly exciting. There is good tonality in the treble region with realistic sounding cymbal crashes and synths sound great too. They are not tuned to be overly critical up top, and that’s not a problem here because they are supposed to be a laid back, full bodied and warm sounding earphone whilst retaining good detail and clarity overall.
Genres and Soundstaging
The Vega 2020 lend their hand to modern pop / R&B / Hip-Hop and also electronic based genres, the bass really shows what it can do with these genres whilst the midrange and treble stay fatigue free and smooth. Acoustic music also sounds impressive with a pleasant warm tilt overall. The sub-bass can be a little too dominating when listening to things like jazz.
Soundstaging is usually a strong point for Campfire Audio, the Vega 2020 doesn’t disappoint with pinpoint accuracy but I wouldn’t say they are the widest sounding IEM’s for the price. Imaging, separation and layering however are all great.
The Vega 2020 have me torn, during some slower rock tracks I find the bass too strong and overwhelming, however I have a feeling someone at Campfire Audio is a Slipknot fan. It happened with the Solaris 2020 and now the Vega 2020, they suddenly sound tight and controlled with great clarity and speed whilst still retaining a highly energetic and fun sound. It also shows how different recordings make a big difference in the end presentation, there’s some sort of synergy between Slipknot’s mixing and Campfire’s tuning and it rocks!
Conclusion
The Vega 2020 are not an earphone I would recommend to people looking for a balanced all rounder, but they would be the perfect addition to someone’s collection if they are looking for something fun. Big bass followed by smooth mids and treble all come together to create a coherent, full and warm sound signature. They are incredibly fun to listen to with the right music and the right source, along with being extremely comfortable.
In the frequency graph we can see the sub-bass lift that provides body and warmth, along with a good treble performance to prevent them from sounding overly dark. The peak at 6kHz does bring out some energy in the treble, and the 10kHz aids with the airy extension.
Etymotic have entered the Bluetooth market, with a brilliant cable that uses a Qualcomm chip and AKM AK4331 DAC/Amp, just a shame it has micro-USB for charging still.
The Etymotion cable is simple in design, with a basic cable, 3-button remote and battery pack. It uses MMCX connectors for the ER2/3/4 series but it will also work with most MMCX equipped IEM’s, the angled connectors however are not always ergonomic with all earphones (I would have preferred them to use more universal straight MMCX connectors). The battery pack isn’t small but if you wear it with the cable behind your neck it sits well, there are 2 included clips to help support it too which is good. Overall it’s not too clunky, and it has to house more electronics than most for optimal sound quality, one thing to note is the use of the outdated micro-USB for charging, most devices have now moved on to USB-C.
Functionality is good, it’s simple and easy to use with the middle button acting as the power button as well as play/pause/skip tracks, paired with volume up/down buttons too. There are not really any special features to the Etymotion cable, its a basic Bluetooth cable that focusses on sound quality over gimmicks. Battery life is around 8-10hrs depending on the volume, and it supports Aptx, Aptx HD and Aptx LL which is welcome.
Interestingly Etymotic have taken the approach of having a Qualcomm Bluetooth receiver chip, which passes the incoming digital signal to an AKM4331 which then decodes and amplifies it. This is usually a much better approach to bluetooth implementation and should result in better audio quality along with higher volume output.
Sound
I mainly used the Etymotion cable with the ER2SE as the neutrality of these should bring out any weaknesses of the cable. Firstly the Etymotion doesn’t take away that classic Ety sound you would expect from the ER2SE, instead it really compliments them. You get the same controlled low end, open and honest midrange and great treble presentation and extension. It doesn’t really take anything away from the sound and the usual “Bluetooth compressed” sound is gone, it’s open, spacious and articulate. The Etymotion cable knows how to deliver the sound to your earphones as it was intended, with help from that little AKM chip.
I don’t find myself wanting to plug the cable back in and go wired when using with a mobile phone, arguably when paired with a device that uses Aptx HD you likely get better quality than if you were to plug them in to the phone directly. Initially I was sceptical, as we have great Bluetooth cables from Shanling in the form of the MW200, but I prefer the cable of the Etymotic over the neckband of the Shanling and the sound of the Etymotic cable is a little more neutral to my ears. If you are already an Etymotic fan but want something that is wireless, this really is the answer, I personally love the ER2SE and with this option to go wireless it is something that is really enjoyable and convenient when out and about.
Conclusion
Etymotic focussed on the sound, and you can hear that, the Etymotion is a really good Bluetooth cable when it comes to sound. Feature wise it has all you need, and the 8+hr battery life is fine, but it can’t be used with all MMCX IEM’s due to the angled connectors and the micro-USB charging port feels outdated. Overall though, if you are looking for a wireless solution for Etymotic earphones, the Etymotion is the best and most logical solution, albeit at a cost.
The MW200 is a neckband Bluetooth cable that allows you to convert your MMCX earphones into a Bluetooth set. It’s a flexible rubber neckband with solid plastic end parts that house the electronics and controls, these are finished with a tempered glass faceplate. It’s a well built, and good looking neckband that is also comfortable in use. The cable sections I feel are a little too long though, and could have about 3-4cm cut off without hindering the fit. The cable section has moulded ear hooks so it is for use with earphones that fit over-ear rather than straight down.
Feature wise you get full controls on the left side of the MW200, with volume controls (these are separate from the sources volume), play/pause and on/off. You can also use the play/pause to skip tracks, and there is a microphone on the unit for calls. The MW200 supports all the latest Bluetooth codecs for the highest quality Bluetooth playback (Aptx and LDAC etc…). The MW200 paired easily and the range seems very good, battery life is also great at up to 11hrs in LDAC mode and 14 in SBC. There is plenty of volume to power most IEM’s currently on the market too.
Sound
I’ve mainly been using the MW200 with Final’s flagship IEM the A8000, because they really are ruthlessly revealing of the source material and also enjoy a bit of power behind them. I’m glad to report that the MW200 doesn’t have any problems with noise, and there isn’t any noticeable hiss when using it. I will mention that I have also been using it with LDAC from my Pixel 3a using Qobuz streaming.
The MW200 has good power and volume, there is plenty of detail and an overall crisp and clean sound. Of course, Bluetooth is still limited and there was a drop in resolution over playing the A8000 out of a high-end DAP. However when out and about this drop is not as noticeable as when critically listening, and the MW200 does a truly great job at decoding and amplifying the signal. I was really testing the limits of the MW200 by using it with the A8000, but pair it with something a bit more affordable like the Oriveti OH300 and you get a superb sounding wireless setup for under £500. Much better than any current wireless offering on the market at least.
The MW200 really doesn’t impart much of it’s own sound on to the IEM’s of choice, which is great in my opinion, you can get the Shanling app though which includes an EQ. This EQ does not work when using LDAC codec though. If you are used to using your IEM’s with an excellent source, please remember there will be slightly lower resolution, mostly in the treble region, again this is more a limitation of Bluetooth and not necessarily the MW200’s fault.
Conclusion
There are not a lot of good solutions for making wired IEM’s wireless, at least not with good quality anyway. The MW200 is excellent when it comes to the sound and functionality, it is also comfortable. The only drawback I see if the length of cable that goes to your ear, it is just a little too long. If you have good IEM’s and want a convenient solution for portable use, the MW200 comes highly recommended, with only a slight dip in sound quality over wired use.
People don’t tend to buy Etymotic for comfort, they get them for their isolation and sound quality. The best sound, in my opinion, comes from using the triple-flange tips. These take some getting used to, due to their deep insertion fit, but once you get used to them I don’t find them to cause any discomfort over long listening sessions. Their deep insertion also means they fit narrow canals quite well, and the fit is more flush and low key.
The ER2XR have an impedance of 15Ohms, but with a sensitivity of 96dB (@1kHz – 0.1v) they are not the most sensitive IEM’s around and should pair well with most low output impedance sources. They should not suffer from hiss from most devices, but their low impedance does mean you should try and stick with a source that has lower than 1.8Ohm output impedance.
The single dynamic micro-driver can be powered by most portable sources to loud enough levels, couple that with the excellent isolation and these are truly excellent for loud environments.
Sound Quality
Bass: The bass has a slight lift in the sub-bass region allowing you to really hear the rumble, but without bloating the mid-bass area. The mid-bass has plenty of punch, but it is a tight and controlled response. For those who find the ER2SR to sound a little bass light, the XR should suit your needs, Etymotic have managed to add some presence and body down low without throwing off the balanced overall sound. They have added bass without taking away detail, or control. They are now just a little easier to listen to on a day to day basis, being a little more fun yet retaining that essential Etymotic character. Being a micro-dynamic driver, the bass has a little more texture than the drier sounding balanced armature based ER3 and ER4 series.
Midrange: Here again we witness how well controlled the low end is, if you look at the graph you will see that the bass tapers off and the lower midrange is left with space to shine through with unwanted additional body or bloat. You don’t have to listen for long to figure out that Etymotic carefully tuned these to have a fun and engaging sound but without sacrificing the essentials. The tonality in the midrange is pretty spot on, with good timbre and definition, whilst details are easy to pick out. They don’t favour male, nor female vocals, allowing both to cut through the mix with authority.
Treble: Not lacking here, the ER2XR don’t seem to put a lot of focus on the treble, instead they just let it do its thing and that is just fine. Due to the increased bass of the XR version, the do sound less treble happy than the SE, however that doesn’t mean they are absent. There is a very smooth treble response that doesn’t have and added emphasis to grab your attention, instead it is there to add some air and ambience without sounding grating or fatiguing. Whilst a bit more energy would not go amiss, these are very enjoyable and there is a little lift in the upper treble so as not to sound too rolled off in the upper regions. Give them some well recorded music and you will be surprised how real they get the timbre up top too, clean and clear without any unwanted edginess or unnatural tones.
Genres and Soundstaging
The ER2XR would not necessarily be my first pick for any bass heavy genres like hip-hop or rap, where they tend to shine is faster paced rock music due to their controlled sound along with jazz and acoustic where their accuracy yet warm overall sound is thoroughly enjoyable. Vocals really do sound hauntingly good, whilst they have enough power behind the low end to kick hard when listening to rock music.
The soundstaging on the ER2XR isn’t excellent, their diffuse field tuning limits this slightly. However the stereo imaging more than makes up for this, with pinpoint accuracy as to instrument placement, along with great coherency across the frequency range.
The ER2XR are an impressive earphone, and definitely one of the more interesting releases from Etymotic over the last couple of years. They are low priced yet give you that signature Etymotic controlled and detailed sound backed up with a helping of extra bass to keep things fun and enjoyable.
They have the typical diffuse field target response you come to expect from Etymotic, but with an added bit of low end power and impact. These are by no means a bass oriented earphone, but they will probably appeal to more people than the ER2SE Studio Edition version.
Below we have the frequency graph, which shows a slight emphasis on the sub-bass leaning into a largely neutral midrange, a slightly tapered off treble response but with a lift around 10kHz to give them some air.
Refreshed for 2020 the classic Campfire Audio Solaris have been reshaped to be 20% smaller along with a new Solid-Body internal acoustic chamber. Don’t worry though, that famously energetic sound is here to stay.
The new 2020 Solaris now sport a more understated colour scheme, but don’t worry they are finished in a lovely glossy black that is incredibly reflective. They will still catch your eye, but now don’t stand out quite so much which in my opinion is a bonus. They come with the newer smoky jacket super litz cable which is more ergonomic over the previous design. Personally I like the new colours, but I feel some will still prefer the previous gold colour scheme.
Build quality is like every other Campfire Audio model, superb. They know how to pull off some impressive designs, with incredible CNC skills and an impeccable finish. You cannot faulty the all metal build quality, and the cable is well relieved, all this leads to an IEM that should see you through for a long time.
Comfort
With the old Solaris, the most common comment and complaint was about their size and fit. The new 2020 edition slims down their shell size by 20% whilst keeping the same driver configuration. Now I personally suffer from small ears and narrow canals, and the original never fit me too well. The new 2020 edition fit better, they don’t quite fit flush and that will be reserved for those with bigger ears; however they do fit securely and comfortably so this is a big bonus.
Sound
Bass: That hard hitting, all powerful Solaris bass is here to stay, for all but the most hardcore bassheads there will be more than enough low end grunt. They are however still very well controlled, there is always going to be a sense of warmth and body to the sound thanks to the generous low end, however it manages to not interfere with the rest of the sound too much. Sub-bass is easily audible, the mid-bass hits with authority when asked to, however they are articulate and handle most genres with ease. The Solaris 2020 are tuned for fun, not for reference listening like the Andromeda, and they sure do deliver a very engaging and enjoyable sound.
Midrange: As previously stated the low end might be full bodied, but it does stay well controlled with minimal impact on the rest of the sound. The transition into the midrange is very well handled, there is a little bleed but the midrange still manages to cut through with great clarity and separation. The midrange might not be up front and centre stage, however it is well placed, slightly behind the lows, and has good tonality. It is impressive how layered and detailed the midrange manages to be, and yet at the same time it is always smooth, the transition into the treble is very well handled with no harsh sibilance. The midrange comes across as natural and real, and the layering really helps place instruments and vocal tracks within the soundstage.
Treble: These are not a bright earphone, they are also not incredibly v-shaped which tends to be a trend with a more bass oriented tuning. The top end is smooth, organic and refined, there is enough presence to keep things from sounding dull but they never overstep the line to becoming fatiguing. Cymbals are just where they need to be and come crashing in around the midrange with great precision and tonality and they extend with ease. They always maintain expert control without any peaks, there is a great sense of air up top and overall I really enjoy how real they sound.
Whilst reviewing these, I had Override by Slipknot come on, and this track really highlights what the Solaris 2020 can do. A heavy wall of drums and guitars, all perfectly layered but with such a powerful presentation. Corey’s vocals are perfectly isolated and hauntingly realistic, they handle every bit of the mix with ease yet it all comes together in a powerful and coherent sound.
The soundstaging and imaging of the Solaris 2020 are a strong point, with great accuracy when it comes to width, height and placement, yet they remain coherent throughout.
Conclusion
The Solaris 2020 are more comfortable and ergonomic, they are also a little more refined in their sound delivery with a slightly wider soundstage and more focused midrange. They are most definitely still a Solaris, but are now a little more refined, yet still manage to produce an impressively hard hitting sound. Definitely an IEM to demo in the sub £1500 price range.
Final have always known how to make a luxury item, and the A8000 is no different. From the careful packaging, to the flawless finish of the stainless housings, everything feels very solid and made with care. Inside of the A8000 you have a pure beryllium dynamic driver along with 4 main internal chambers. These have been meticulously tuned and built, and it shows.
In the box you get the earphones paired with Finals silver plated cable (made by Junkosha corportation) terminating in a normal 3.5mm jack, a carry case that is half aluminium and half rubber along with a pack of Final Type-E tips. The tips are key to getting the right sound out of the A8000, and I really do recommend you stick with the Final tips for the best sound quality. Also included are spare mesh grills in case the stock ones get dirty/blocked over time and an MMCX Assist removal tool which massively helps when detaching the cables.
Comfort and Isolation:
The outer shell is angled like the B series, and the inner side is smooth. However these are made out of stainless steel and feel heavy in your hand, when you have the right fit though they are superbly comfortable and do not fall out.
The A8000 are vented by design, but I have not found the isolation to suffer greatly from this. They block out plenty of outside noise, and should be fine for most daily tasks.
Sound:
Bass: The A8000 is accurate and tight down low, you have excellent extension with good punch when required. They aim to stay faithful to the recording, and are not exaggerated in any part of the low end. If the recording has a sub-bass lift you will hear it, the same goes for mid-bass punch. Where these really impress is their transient response and layering, the beryllium driver is so responsive yet intricately layered to the point they can handle the most complex mix you can throw at them with ease. If you appreciate quality and dexterity over quantity you will really enjoy what the A8000 have to offer down low.
Midrange: Due to the responsive nature of the low end on the A8000, the midrange is left clean of any added warmth or detail robbing distortion. This allows both male and female vocals to cut through with excellent clarity with a slight tilt to the upper midrange. Again the transient response, and low distortion levels of the beryllium shine through allowing you to hear each intricate detail and layer of the recording. Quantity wise the midrange sits perfectly for my tastes, and never sounds too forward or attention grabbing. Sibilance wise, if the recording has it, the A8000 will not hold back, but they are not overly fatiguing in the upper midrange.
Treble: There is a bit of a peak in the lower treble that brings out a bit of energy in cymbal crashes, but they back it up with effortless extension that reaches way up into the upper treble region without any noticeable roll-off. The great thing about the treble on the A8000 is that if you feed them good quality source material they will reward you with a very enjoyable sound that is effortlessly detailed yet never harsh. However the level of detail they extract can make some recordings sound particularly bad, as these really are ruthlessly revealing.
There is a very wide and convincing soundstage from the A8000, pair that with impeccable timing and control and you can easily pick apart recordings. These are one of those earphones that make you realise you don’t have to have full-size headphones for a convincing and wide soundstage.
Conclusion:
The A8000 are a very special earphone, overall they have a very clean, complete and revealing sound signature that will have you noticing every intricate detail of your music without presenting it in an aggressive and upfront way. They sound engaging, effortless and airy. They won’t be for everyone, but for those who appreciate an honest sound they are quite addictive and I am a big fan of them for that.
For those of you that don’t know, Final is a Japanese audio brand with a long and impressive hi-fi history. Their products all share a similar theme – unique design and expertly tuned sound. With the A8000, Final’s latest flagship IEM sticks to their brief, while adding to it something I’ve never experienced before.
It’s clear that a lot of love and thought has gone into the A8000. The whole experience from opening the box, to putting them in your ears and getting lost in the music is an absolute joy. The earphones themselves are stunning, with polished stainless steel housings shaped in a very modern and striking way. Inside the housings, Final has developed a truly pure Beryllium driver – creating a level of dynamics and definition I’ve not heard from a dynamic driver IEM before. The supplied high purity silver plated copper cable adds to the impressive looks, which is terminated with a right angled 3.5mm jack.
The unique design of the housings are not just for good looks – they also happen to be extremely comfortable. The shape allows the earphones to sit effortlessly in my ears, and with the correct sized tips, getting a good seal is very easy to achieve. Then for added security, Final has supplied cable guides to help the cable stay behind your ears, and reduce cable noise or microphonics if you feel the need to use them.
Final A8000
Along with the cable and ear hooks, the A8000 comes supplied with a selection of different sized Final silicone eartips, an aluminium and silicone carry case, an easy MMCX plug removal tool and spare sound tube grill filters.
Final’s uniqueness doesn’t stop with their design, their sound is also unlike any other brand – IEMs or headphones. This is quite possibly due to the fact that Final develop a lot of their own technology, and they always keep to a certain house sound.
Bass on the A8000 has a natural and live feel to it. It has definition and depth without any of that unwanted bloatedness or distortion. It’s incredibly clean, and manages to add body and warmth where needed. Thanks to the control of the bass, mids flow through with ease and sit high enough in the mix to point out each fine detail. Vocals have a real quality to them, with layers of detail that bring out all of the intricacies and emotions you’d expect to hear only in a live setting. Then the treble manages to create endless space, with reverb trails that go on and on – the treble has a liquid quality that I’ve not heard from an IEM before.
The superb treble and overall dynamic sound helps the A8000 deliver a real-to-life soundstage, with depth and atmosphere – putting you close to the action. Imaging is also realistic. Instruments are easily defined and width is just what you’d expect it would be when recorded.
Final’s main competition at this price point comes from the likes of Dita, Campfire Audio and Hifman – and however impressive their high end models are, none have managed to achieve the purity and delicacy that the A8000 brings.
Essentially, it’s going to come down to taste. No matter how good I think they are, if you’re used to a warm or bass driven sound signature, then the A8000 could come across as too bright or harsh in the upper frequencies. For those who favour transparency and clarity, then the A8000 may be the best IEM you’ve ever heard.
Campfire Audio Custom In Ear Monitors – Equinox and Solstice
Campfire Audio is quite possibly the hottest boutique IEM brand out there, already gaining a name for themselves for their superbly built, beautifully designed IEMs with sound quality packed full of passion and character.
Having already become well known for their universal models, Campfire Audio has now released the new Solstice custom IEM – and along with the Equinox, Campfire Audio has two seriously good custom options available.
Superb Build Quality
The build of both the Equinox and Solstice are very similar, with slight detail differences. Both are made with a polished stainless steel housing and then moulded solid black acrylic, for that smooth and comfortable custom fit. The combination of black and silver is unique and very striking. The shape of the back plate is different for each model. The Equinox is circular, and the Solstice is angular – almost hexagonal. Then inside is where the models really differ.
The Campfire Audio Equinox is based on their Atlas universal IEM. Like the Atlas, the Equinox uses a single full range 10mm dynamic driver, and the A.D.L.C. or Amorphous Diamond Like Carbon driver has been tweaked slightly – so there is a touch less thumping sub-bass when compared to the Atlas.
Campfire Audio Equinox
The newest addition to Campfire Audio’s custom range is the Solstice. This time they have decided to draw on the Andromeda model, with 5 balanced armature drivers inside each housing. The Solstice also comes with Campfire’s very own T.A.E.C. or Tuned Acoustic Expansion Chamber which gets the very most out the higher frequencies.
Campfire Audio Solstice
Both models are supplied with a choice of cables, which can be chosen during the buying process. The standard smokey litz cable options are 3.5mm stereo, 2.5mm balanced and 4.4mm balanced. Then there are two artist options. Both use the smokey litz cable, but the artist version is 18” longer, and there is the choice of replacing the grey MMCX moulds with red and blue moulds for the right and left connectors.
Made-to-fit Perfectly
Being a custom IEM, you can expect the fit to be as close to perfect as possible. Campfire Audio are very confident in their build process, and as long as the ear impressions are done well – the IEMs are made to a very high and consistent standard.
Campfire Audio is aware that custom IEMs are not just for pro users, music lovers use them too. With this in mind, Campfire offers two types of fit – Artist Fit and Audiophile Fit.
The audiophile fit has a shallow seal depth, so they won’t go as far into the ear canal as traditional pro customs do. This makes the IEMs more comfortable for longer listening sessions, and easier to wear for a range of different uses from home listening, to a work commute or studio mix-down.
The artist fit sticks to a more traditional, deeper fit. This is important for pro users as it provides a much greater seal, giving a more secure fit and improved isolation for live settings.
Campfire Audio Equinox
Sound Quality
With the Equinox and Solstice, Campfire Audio has created a custom IEM to suit a number of different needs. For those who prefer a big and luxurious sound, with low end thump and rich detail that’s packed full of smooth layers – then the single dynamic driver Equinox will be the one to consider.
On the other hand, the Solstice is for those who favour transparency and cleanliness. Like the Andromeda, the five balanced armature drivers provide a well balanced sound that leans towards the higher frequencies. Sound comes across effortlessly with an organic and natural feel to it.
Campfire Audio Equinox and Solstice
Having only tried universal versions of the custom range, I can’t go into more detail when it comes to the sound. Saying that, if you already have an understanding of the Atlas and Andromeda models, then that will give you a very clear idea of what to expect from the Equinox and Solstice customs. And we will be holding the universal version of both the Equinox and Solstice – so you could always book a demo with us to try them.
Final Thoughts
Here’s where I normally mention the competition, and even though brands like 64 Audio, Ultimate Ears and JH Audio are all making some of the finest pro IEMs out there – none are doing what Campfire Audio has managed to achieved. Not only is the design of the Equinox and Solstice completely unique – breaking the all too familiar mould of custom IEM design. They also offer a lot more than their competitors. Whether you’re a musician or music lover, there’s an option for you. And I’m not aware of any other high end custom IEM brand making a single dynamic model – this is definitely something that Campfire Audio has perfected.
These demo models come in a universal shell, but they will give you a good idea of what the custom version will sound like.
A2e
Starting off at the bottom you have a simple dual driver model, but don’t let the driver count fool you. If you want a more mid-forward sound with ample bass and treble the A2e are a great starting point. They have good impact down low, mainly focussed on the mid-bass punch. The midrange is very detailed and clean, and the highs are well presented but lack the air and effortless extension of the tia equipped models.
Separation is really impressive on the A2e and accuracy when it comes to stereo imaging is also excellent. These are a great, slightly mid centric monitor that will give you plenty of tuning flexibility on stage. Headroom and dynamics are compromised a little over the more expensive options, but in their own right the A2e are a great performer.
A3e
Coming from the A2e you immediately notice more resolution and extension up top with a more natural tone. The A2e is a little mid forward whereas the A3e is perhaps a little more reference like in their tuning, with a more neutral sound signature. This is a very good 3 driver model when it comes to soundstage width and layering.
The lows have enough impact and extension to keep most people happy, whilst the midrange is clean and well separated with excellent layering. The highs are very well placed with good energy and extension, along with great tonality all round. A great entry level monitor for those looking for a more neutral sound signature.
A4t
This is the model where the tia driver starts coming in, steering away from the slightly more neutral A2e and A3e, the A4t offer up a meatier low end and slightly fuller bodied midrange. There is a little more focus on the sub-bass offering up a solid foundation for the mid-bass kick, along with a slightly fuller midrange. The midrange is however well detailed and not masked but the increase in the low end.
The tia driver used for the highs give these a more airy and spacious sound with a more rounded sound stage in terms of width and height compared to the more width oriented A3e. The A4t offer up a slightly fuller sound signature, that is a little more fun, but doesn’t compromise on the technical side.
A6t
The A6t offer up a very smooth, coherent and well-balanced sound with perhaps a little added body for added protection against fatigue. They have a very full yet linear bass response digging deep into the sub-bass without faltering, the midrange is a tad warmer than neutral but still allows you to easily hear all the layers of the recording. Up top they have excellent separation and extension, there is no harsh peak in the upper midrange and these are extremely pleasant to listen to.
A favourite for musicians, the A6t is a great go-to monitor, with a well-balanced but not strictly neutral sound. Many prefer this model with the M15 module as it brings out a little added air and aids separation. This is one model you can easily tune to your liking with EQ if you wish.
N8
This one is tuned for the bassists out there, with a dynamic driver for the low end it offers more headroom down low than the other models in the line-up. The lows are articulate and hard hitting with a really natural tonality to them. They are tuned to be quite prominent in the mix, but if you are using these in a professional setting it allows you to cut if needed. This is much better than trying to boost lows which can introduce clipping. With all that bass, the midrange still managed to cut through with good authority and quite a pleasant tonality.
Again, the tia driver here really does define the treble, with the signature extension and air. To most, the N8 will be a little too bass oriented, but for those that need the headroom, and also the tonality of a dynamic driver, the N8 does a superb job at allowing you to hear and feel the low frequencies.
For the A12t and A18t you can refer to the Universal Model guide here, as those 2 models are the only ones available in a custom and universal shell.
The W40 V2 are pretty sleek yet you can change up the colours with the interchangeable faceplates. They come in a variety of colours allowing you to choose which fits your style the best. The Bluetooth cable is black, but the normal cable is silver plated and looks great with the black housing.
The build quality is great, the new silver-plated cable has good strain relief and the IEM’s themselves have a high-quality plastic housing with metal faceplates. The MMCX connectors feel solid when you click the cable into place, and everything is very well put together.
Comfort and Isolation:
Westone know how to make a comfy IEM and the W40 V2 are no different. With a smooth housing and perfect angles for the nozzle to enter your ear, they fit like a glove. Find the right tips and you will enjoy hours of comfort from them. The cable doesn’t have stiff memory wire, instead it has soft, pre-moulded earhooks.
Isolation is a real strong point with these, as they are a fully sealed, multi BA driver design they are perfect for use in noisy environments.
Sound:
Bass: The bass on the W40 V20 is nice and tight yet it still has a fullness to the sound that makes them accurate yet easy to listen to. There is good extension and a little emphasis on the sub-bass, but the speed of the lows means they can keep up with complex mixes with ease. There is great articulation and bass lines are super easy to follow. This style of slightly emphasised low end without bloat works well for an everyday IEM.
Midrange: There is a little dip in the lower midrange which can make certain vocals sound a little masked, however there is great presence and clarity throughout the midrange. The intimacy of the midrange is really pleasant, vocals are up front and centre whilst everything comes in from around them, giving a good sense of space and layering. These do really well with vocal based music.
Treble: The highs don’t let these down, these are not a dark or boring IEM. They have great energy up top bringing out plenty of detail and sparkle, yet they also extend with ease. The transition from the upper midrange to the treble is pretty smooth and devoid of harsh sibilance. Positioning of the highs is great with good directionality and pinpoint accuracy. The W40 V2 are an energetic IEM that want you to enjoy the music, without missing any part of it.
Soundstaging is very good, with a wide stage and excellent layering and separation the W40 V2 really allows you to pick apart the mix.
Conclusion:
If you are looking for a good all-rounder, the W40 V2 are well worth considering. With flexibility and excellent comfort, paired with a warm/neutral sound signature they handle most genres with ease and add a little energy down low for a bit of added enjoyment.
The Solaris do not take a low-key approach when it comes to looks, with a gold faceplate and large housing they definitely stand out in the crowd. They do however look great, you can see the craftsmanship in the machining of the shells, and everything feels very premium.
Build quality is superb again, with aluminium shells that are CNC machined, the cable is silver plated and slightly thicker than the one on the Andromeda. Everything is very well built and feels solid, albeit a little on the heavier side.
Comfort and Isolation:
Well there is no escaping just how big the Solaris are, and depending on the size and shape of your ears the fit will vary. I have quite small ears, and the Solaris stick out quite far, but do stay in fine with the right tips. They are not uncomfortable, just a little cumbersome.
Isolation is good on these; they do have a vent for the dynamic driver but this doesn’t seem to affect their isolation and these are great for on-the-go use or commuting and hold up well in loud environments.
Sound:
Bass: Having a single dynamic driver handling bass duties, these have more impact and rumble when compared to a more neutral IEM like their sibling the Andromeda. These have incredible articulation down low, there is a slight increase in presence down low to keep things tilted towards a more fun sound signature. However, the bass does a good job at controlling its body, and it never manages to get in the way of the midrange.
Midrange: The midrange on the Solaris is clean and clear, not suffering from the typical warm lower midrange due to bass bloat. This is where the BA drivers kick in and through out incredibly crisp and detailed mids that sound natural and tonally accurate. The midrange sits perfectly in the mix, without being pushed back, the extra body down low does not translate to a v-shaped sound signature. The transition from the midrange to the treble is smooth and sibilance is not an issue with the Solaris.
Treble: The treble on the Solaris is very tastefully done, packed full of detail yet with a smooth and effortless extension allowing them to shine yet without fatigue. There is no artificial boosting to create a sense of detail, instead they decide to have a more even-handed approach and allow you to enjoy the music but also the detail is there if you want to listen. The precision of the treble is really impressive and their placement within the soundstage is very accurate.
The soundstaging of the Solaris is a definite highlight, there is great width and height and everything is incredibly well separated.
Conclusion:
The Solaris are incredibly coherent from top to bottom, with a mild emphasis on the bass region. They are a full bodied yet well balanced IEM that handle pretty much anything you throw at them. They may be expensive, but their performance is truly superb.
