Campfire Audio Vega

At the time this review was written, the Campfire Vega was listed for sale on their website. Here is a link to their listing of the product:


https://campfireaudio.com/shop/vega/


Introduction

Anyone who knows me personally (or through Head-Fi) knows that one of my favorite in-ear monitors is the Campfire Andromeda. It’s still top five for me, which is quite an accomplishment considering it’s been almost two years since their release. Here is a link to the review:


https://www.head-fi.org/showcase/campfire-audio-andromeda.21533/reviews?page=2#review-16006


With earphones (particularly in-ear monitors) you don’t know what you’re getting into until you have an opportunity to try the product first hand. Sometimes I look at earphone prices and shake my head. During a time where “bang for your buck” products provide incredible price to performance ratios, it’s getting harder and harder for higher end companies to justify their quadruple-digit price tags.


I can jump online and buy a really decent sounding multiple driver hybrid earphone for under one hundred dollars. However, there are budget manufacturers who are ripping off higher end company’s designs and using deception to snipe consumer dollars. If you are involved in the Head-Fi community you might know why I’m mentioning it here. Don’t be fooled, my friends! Just because something looks like a Porsche, it doesn’t mean it’s going to be a Porsche, especially if it has a Honda Civic engine under the hood! If you want the real deal, don’t waste your money on impostors and most importantly don’t support the sale and promotion of knockoff products!


I don’t care if an earphone has one or twenty-five drivers in each channel or not. If I listen to listen to a twenty-five driver earphone and something sounds wonky, then put on a single driver earphone and everything sounds just right, you better believe I’m preferring the more enjoyable and natural sounding earphone!


So what is it that makes a thousand plus dollar earphone that much better? It’s not the complexity of the design or the number of drivers, IT’S THE BUILD AND SOUND. It’s the customer service and commitment to quality control and consistency. It’s innovation and design executed perfectly. Sadly, sometimes high end audio is more about brand name and hype, or marketing new technological jargon that isn’t nearly as revolutionary it says. When this happens lines are blurred. This makes buyers skeptical of high end audio. The risk to reward factor is increased exponentially as the price tag increases. There's nothing more frustrating than buying an expensive piece of audio gear, then finding a product that performs much better at half the cost.


Making world class earphones is an art form. Campfire Audio is an artist, and their specialty is shaping sound, installing it into a metal shell, placing a premium cable on it and letting the product speak for itself. Expensive? Yes. Outrageous? NO! Campfire brings it when it comes to the most important aspect of manufacturing and selling earphones, MAKING THE MUSIC ENJOYABLE.


When I checked out the Campfire Audio booth at Axpona earlier this year, I had a chance to check out their earphone, the Vega. Let’s go over them with a comprehensive review.




Disclaimer

I was given a loaner of the Vega in exchange for my honest opinion and review. I am in no way affiliated with Campfire Audio. I would like to take this time to personally thank the folks at Campfire for the opportunity to experience and review the product.



REVIEW

The Vega comes in a small red box reminiscent of Campfire’s previous releases. There’s really not a whole lot to say here.


Specifications and Accessories

Specifications
Driver: Amorphous Diamond Like Carbon Diaphragm Single Dynamic
Frequency Response: 5Hz–22 kHz
Sensitivity: 102 dB SPL/mW
Impedance: 17.5 Ohms @ 1kHz
Connections: Beryllium / Copper MMCX
Housing: Liquid Alloy Metal Shell


Campfire has a cutting edge driver technology under the hood. The diaphragm is made of diamonds, well, kind of… Here is a note from Campfire’s web page:


“A.D.L.C. Diaphragm
Campfire Audio is proud to be the first company to use a revolutionary breakthrough speaker technology implemented exclusively for in-ear monitors, a non-crystalline diamond dynamic driver.

Our revolutionary ADLC non-crystalline diamond-carbon material is sonically remarkable in our 8.5mm driver. The ADLC delivers stunning clarity, advanced micro detail, and dynamics.”


Accessories
1X Premium leather wool lined carrying case
2X Velvet drawstring bags (for storage of unused tips)
1X Set of Spinfit tips (S,M,L)
1X Set of memory foam tips (S,M,L)
1X Set of silicone wide bore tips (S,M,L)
1X Cleaning tool (brush and earwax removal tool)


The carrying case follows suit with all of Campfire’s releases and is one of the most premium case in earphones today. The thing looks more like a high end wallet than an earphone case.


Housings

Previous Campfire earphones featured machine milled housings which didn’t provide the most ideal fit. Some people reported issues with certain edges making contact with the user’s ears and causing minor irritation with long listening sessions. Campfire took notes and provided a new shell, made from a poured liquid alloy shell. The new metal shell has rounded edges and is more discreet. Kudos, Campfire!


The all metal shell is about as solid as an earphone can be. As with all Campfire models, the Vega has a MMCX connection that I am told is sturdier than the average version of this application. I have used these for the last six months and can confirm the connection is very solid. I’ve had no issues connecting/disconnecting the cable over the course of using them as a daily driver.


Cable, Y-Split, Cable Jack, Strain Reliefs

If you’ve owned a previous Campfire earphone you’ll recognize this one. The Vega offers a Campfire version of the ALO Audio’s (Campfire’s parent company) Litz cable. It’s honestly one of the best stock cables I’ve ever seen both in terms of ergonomics and functionality. There’s nothing I would perceptibly do differently (maybe switch from the pliable memory wire to a shrink wrap version).


We’ll start from the bottom with the ninety degree angled gold plated 3.5 mm jack (thinned out at the base of the jacketing to accommodate various source/cases). Moving up to the wire, we have a silver litz four strand braided cable that leads to a metal Y-split with rubber/plastic chin slider that sits flush when not in use. The cable itself has virtually no spring and minimal memory. From the Y-split, a twisted two strand cable runs to each channel’s premium memory wire and MMCX connection. Although I am more of a fan of the shrink wire variation of memory wire, the more pliable and bendable memory wire works well with the Vega housing.


Would it have been a nice touch to add a microphone/remote option? Yes, but the quality of the stock cable allows me to overlook this much easier than I normally would. Rarely do you get a stock cable this nice in the package.


Functionality

Plug and play, buddy. Premium plug and play! However, aftermarket MMCX cables with microphone and remote can be found dirt cheap these days. There’s always that option if you so choose.


Ergonomics, Fit and Microphonics, Isolation

Although the housing shape didn’t promote a flush fit with my ears, I was able to get a decent fit and seal with the right pair of tips. In my case the included Spinfit tips worked excellent. Aftermarket tip options that worked well were RHA stock tips, Sony stock tips and JVC spiral dot tips. The rotating MMCX connection in combination with the bendable memory wire cable made seating the earphone easy to do. Add the adjustable chin/neck slider and microphonics are virtually non-existent.


Vega seals really well for a universal dynamic driver earphone, almost too well. You can’t shove these things in your ear and go. Doing so, I created vacuum/pressure/flex issues with the driver. If you experience this with your pair of Vega, equalize the pressure in your ear drum by lightly tugging the top of your ear upwards (which should break the airtight seal and relieve pressure on the driver). Using the lift/insert/drop method allowed my ears to create a good seal without creating pressure issues. Because of the excellent seal, the Vega isolates incredibly well for an in-ear monitor.


NOTE: Finding the perfect tip to form a union between this earphone and your ears is crucial. The tips you use will play a big part in your experience and impression of them. I strongly suggest you experiment with tips as much as possible to find the one tip that helps maximize sound quality.


For home music enjoyment, commuting and critical listening, the Vega fits well. However, I wouldn’t take these with me to the gym, or use them to go for a run for a couple reasons, #1 they aren’t the most secure fitting earphones for me, and there are options I can think of that are more ideal for this application (YMMV), and #2 the price of these would incline me to prevent from getting them sweaty and putting them in harm’s range (YMMV).


Sound Review

I did my demo with my usual gear. I used an LG-V20 and iPhone 6 for smartphone use, and either my Fiio X7, Aune M1S or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz, or Aune S6/S7 combo. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.


I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)


Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.


Source Selection

Coming in at 17.5 Ohm and 102dB of sensitivity, the Vega is easy to drive. You can use your smartphone as your source and enjoy them thoroughly, but they will also scale incredibly well with better sources. These earphones sound magical with my Fiio X7/AM3 combo, and borderline legendary with a balanced cable and connection. The iFi micro iDSD rocked the snot out of the Vega as well.


While I feel the Vega is pretty universal in terms of portable source matching, it has a richness in tone that matches better with a leaner, more airy and detailed sounding sources. Desktop rigs are overkill. If you want to maximize sound quality from the Vega, use them with your best portable sources, amplifiers and music files. You will be rewarded in doing so.


Sound Signature

The Vega sounds incredibly organic and spacious while still having a prominent lower frequency range and fatigue free upper frequency range. This tuning in combination with virtually zero distortion and high resolution makes it elite, period. Dare I say (based on the products I’ve experienced) this is the greatest “basshead audiophile” earphone on the planet? If not the best it’s currently one of them, and a whole lot more than just this.


Long story short, Vega has an “it” factor that sets it apart from much of what’s currently offered nowadays. The Vega combines a level of warmth, richness and resolution that makes you want to listen to it more and more, and sets itself apart from other earphones in this regard.

There are some who might not like warmth and bass presence of the Vega. Those who prefer the leaner and brighter sound of something like an Etymotic ER4 or Hifiman RE-XX might be turned off by the robust nature of this earphone. For everyone else this thing kicks butt!


To my ears, the Vega sounds like really well tuned top of the line bass forward closed full sized headphone. There is a downward tilt from lower to higher frequencies, all while offering incredible resolution and adequate sparkle.


Bass

The first thing I said after I first listened to them was “wow, this thing kicks like a mule!”


The Vega bass presence is powerful, dynamic and responsive all at the same time. Looking at a home measurement, it’s definitely the most prominent part of Vega’s tuning. At the same time, it’s by no means overbearing or obtrusive to the rest of the sound, and a big reason why I find this earphone to be elite.


Sub bass is big, bold and has no problems with tone. Sub bass rumble is there in spades. The perceived depth goes to the limit of my hearing ability. Attack and decay is solid for a dynamic driver, but not as tight as a balanced armature earphone. Listening to Daft Punk’s “Doin it Right” I was wowed by not only the raw power and command of the song’s bass line, I was also taken back by the amount of clarity these things maintain with the vast quantities of bass.


Although the Bass response is pretty even, a downward tilt begins at mid-bass regions. Vega’s sub-bass response is slightly more prominent than its mid-bass presence. This downward tilt is done without losing losing the earphone’s sense of balance.


All in all the bass is big, bold and beautiful. Fans of big bass and warm tilted earphones the likes of the Noble 6 and 1More triple driver will be enamored by what’s going on here. This headphone's bass digs deep and responds like no other in-ear monitor I’ve heard. Kick drums thump, and synthesized bass lines sound flat out awesome. This will most likely be one of, if not the #1 summit-fi earphone for bassheads all around the world.


Midrange

Dare I say natural, slightly warm, resolving and spacious all at the same time? Usually these words are hard to put together when describing an in-ear monitor, but Campfire has accomplished just that. The previously mentioned downward slope continues into lower and upper midrange tones. Despite this entire range taking a step down from the bold bass forwardness, there’s adequate timbre and texture, thanks to the resolving nature of this earphone. Male vocals sound very natural and never appeared overly weighted to my ears.


Moving to upper mids things get even more relaxed. These earphones are far from shouty. The most important thing I can do with this review is make sure you don’t get the impression that these things are overly warm or bloated, because although what I’m describing here might lead you to think this, the resolving nature sways me from that impression. Although this range is relaxed (especially compared to how many other manufacturers are tuning their products nowadays), the clarity and separation makes it very relevant and very, very enjoyable. I’m occasionally taken back by how a tuning like this can also sound so organic and natural with this much bass.


Treble

I’m going to sound like a broken record here…


Treble is highly resolving with great separation and a natural and spacious feel. To add to this, extension is great and there’s just the right amount of sparkle to make cymbal crashes and hi-hats sound relaxed but also very realistic (and not harsh whatsoever). Vega doesn't make a mess of sibilant reocrdings, even at loud volumes. There’s quite a big variance between bass tones and treble sounds, but the consistency of resolution makes this uniquely awesome. Treble definitely does take the back seat, but it fits nicely with the rest of this earphones sound. I love turning the dial up a few extra dB with the Vega because of this. It seems to make the tuning sound that much more natural and engaging.


Soundstage and Imaging

The visceral impact and low end extension gives these a tremendous sense of depth. Take into account the slightly relaxed, extended and clear highs, and the soundstage of the Vega is massive from what I hear. Imaging is not the best with bassy modern genres, but live recordings and rock music yields a great sense of instrument placement. This earphone is definitely top ten in this criteria.


Comparisons

Campfire Andromeda ($1099 USD on Campfire’s website)

Similarly priced is Vega’s co-flagship earphone is the five armature driver Andromeda. I LOVE this earphone, as it hits a sweet spot for me in terms of tonal balance and clarity. I’m happy I am comparing these two because it gives me an opportunity to listen to them again!


Comparing the two, Andromeda is definitely the leaner and brighter sounding earphone of the two. Tonally speaking the Andromeda is a more even response, but I can’t say it’s the more natural sounding earphone (depending on music genres and listen volumes) because of the cohesiveness, clarity and separation Vega has. I give these earphones a draw in this regard.


In terms of bass, Vega perceptually has a lot more bass, digs deeper and makes the Andromeda seem lean in comparison. Mid-range tones are leaner and a bit cleaner with Andromeda. Treble is brighter with Andromeda. At low volumes I prefer the more forward presentation of the Andromeda. At louder volumes Vega’s treble gets a decisive advantage.


Soundstage goes to the vega, but I give a slight advantage to Andromeda in terms of imaging.


Both of these earphones are world class in terms of clarity and separation of sounds.


Andromeda is a far more source dependent earphone. Vega scales better and is more universal in terms of source matching.


I’m not going to put one earphone ahead of the other. They are both world class tunings that actually complement each other very well. Andromeda puts on a clinic in terms of tonal balance and crispness (with the right source). Vega puts on a world class bass performance and scales better. Vega provides the listener with a combination of music enjoyment and resolution that is seldom heard from an earphone with this tuning. Airy and balanced? Andromeda. World class basshead audiophile? Vega!


Fit goes to the Vega. They made improvements in their shell design and it will work better for most people. Build quality and accessories is a draw. They offer a virtually identical accessories. Packaging and the cables are pretty much the same.



Noble Katana ($1850 USD on Noble’s website)

The Katana is a world class nine armature driver earphone that seemingly gets better and better the more I listen to it. To be completely honest, the sound is similar to that of the Andromeda but with a touch more musicality.


Comparing the Katana to the Vega, the differences are much similar to my Vega/Andromeda comparison. Vega is really, really bassy compared to the Katana. The Vega is more of a musical and rumbling bass as compared to the more punchy nature of the Katana. Midrange clarity and resolution goes to the Katana. Treble is more relaxed and equally extended with both earphones.


Preference depends on the volumes used for each earphone. Katana sounds better at moderate volumes and satisfies the palate of one looking for a more airy, balanced and articulate presentation. Vega sounds better at larger volumes and is geared to satisfy my inner bass-head audiophile.


Accessories goes to the Katana. The waterproof Pelican case and larger assortment of tips is a bit better, although the included Spinfit tips of the Vega is a nicer set than any tip Noble offers in their package. Build quality is a draw. I like the housing of the Katana more, but prefer the cable of the Vega over the stock Noble option.


Conclusion (TLDR)

Over the years my preferences have grown towards a more even and accurate tuning, the main reason being because warmer and bassier earphones seem to lose out in terms of clarity, separation and soundstage. Campfire has dispelled that stereotype with the Vega. This is one of the few earphones on the planet that can bring this much low end to the table and still maintain a spacious, natural and organic presentation at the same time.


Vega’s bass robust and has tremendous extension. The low end is outrageously good for an in-ear monitor. They take the term “basshead audiophile” and emphasize both words with this product. The tuning is unique in a really, really good way. I honestly haven’t heard an earphone with this much bass maintain a level of resolution, clarity and sound stage like this. The tuning is different from what I often see at this price tag, but I love what Campfire has done. Add the fact that these earphones scale incredibly well, This earphone will rank very high on my list of all time favorites.


I don’t think this earphone will be for everyone. If you’re looking for lean and technical sound, you should probably look somewhere else. However, if you’re looking for an earphone that will bring the boom, with just the right amount of sparkle to make any genre of music sound great, I implore you to give these a demo.


When rating a product I have to take all criteria into account. The Vega gets 4 stars for fit and ergonomics (minus a star for driver venting/pressure issues), 5 stars for design and build quality, and 4.5-5 stars for sound quality (+/- a half star because there’s going to be a small number of people who feel these have too much bass). Campfire has brought to market an earphone that is innovative, creative, unique and unlike most of what exists today. I applaud Campfire for this product. It brings diversity to their lineup, compliments the co-flagship Andromeda, and raises the bar on how good a single dynamic driver earphone with this tuning can perform.


If you ask me what the best performing bass forward in-ear monitor is, without hesitation I’m going to tell you it’s the Campfire Vega. Until I hear something better, I’m giving it the title of best basshead audiophile earphone on the planet.


Thanks for reading and happy listening,

Hisoundfi

I sincerely thought I had exited the audiophile trap with the dual flagships from Noble, with the K10 taking care of the thumpy bassy end of things, and the mellifluous blade that is the Katana complementing the more delicate end. After getting over the addiction of hoarding flagship IEMs that don’t get used like the Layla purely for ‘pride of ownership’ reasons, I entered a phase of calmness and serenity, where I did not feel the need to acquire any more IEMs, although to be completely honest the thought of adding the Andromeda to my collection (after being infatuated with its pristine openness, airy highs and expansive soundstage) did enter my mind several times, behind my pretend-frugal veneer. This short-lived zen mode, however, was thrown into complete disarray when the amazing folks at Campfire Audio dropped three polished bombs in the Fall of 2016. Curiosity got the best of us and we decided we needed to try them, and so when we contacted the Campfire Audio team, they graciously sent all three new offerings to us for review.

We would like to thank Campfire Audio for this opportunity to review the Vega. The Campfire Audio Vega goes for 1299USD. You can click here for more information.


The dynamic trio.
The Vega is among three exciting new product launches all sporting dynamic drivers (the Dorado is a hybrid) and a distinctively new housing from the existing Campfire BA (Balanced Armature) lineup. It arrived in a truly sumptuous fashion, with each piece tucked neatly away inside a crimson velvet pouch, presumably to protect the IEMs from getting too friendly with their mirrored selves during the shipping process. To me this is mostly a nicety as the new Campfire offerings are donning liquid metal alloy housings with a PVD finish, giving the pieces a sleek metallic sheen and is darn nearly unscratchable and indestructible at the same time.

A quick summary



Specs

Driver Configuration (per side) 8.5mm non-crystalline Diamond Dynamic Driver
Frequency Response 5Hz–22 kHz
Sensitivity 102 dB SPL/mW
Impedance 17.5 Ohms @ 1kHz
Cable 3.5mm plug Litz Wire Cable by Campfire Audio
Accessories Faux leather earphone carrying case
2 small carrying pouches
3 pairs of Foam tips (S, M, L)
3 pairs of Silicon tips (S, M, L)
3 pairs of SpinFit tips (S, M, L)
1 Campfire Audio logo metal pin


Design & build quality

Campfire spared no effort in letting us know that the housing encasing the Vega, the Dorado and the Lyra II is different than the ones used for its BA offerings. Instead of CNC aluminum, liquid metal is the order of the day here, and needless to say it’s a million times more hardy and durable, making scratches and chips a thing of bygone times. The comfort with the stock tips are excellent, with good sound isolation whilst feeling cushiony and comfy.



So comfy in fact, that throughout the months of testing I did, I never cared to use any other tips, provided in the packaging or third party. I recalled that Ken Ball recommended at least 72 hours of burn-in before it gets to the good part, and although I am agnostic on the matter of burn-in, the sheer joy the Vega brought me meant that I used it as my only IEM for many months, and the accumulated gross listening time racked up should have hit or passed the 72 hour mark easily.



Sound

If you ask a basshead like me just how much low-end I would want, I would probably describe an impactful, hefty, weighty bass with the right amount of boom while still maintaining all of the texture and details. To this end, the Vega succeeded with flying colors well above my expectations. Firing up the Vega, I was thrown headfirst into a world of euphoric amazement.



Never have I heard such an abundance of bass combined with such perfect resolution of everything else. Shifting bass lines pulsate like mysterious shapes in the backdrops of Chet Faker’s I’m Into You, and all the intricacies are still preserved amongst the bassy heroism and slick gliding guitar licks on Nick Johnston’s Weakened by Winter.



What I can’t get enough of is that despite of the bass being fat and luscious, it is devoid of any artificial sharpening or dry aggressiveness that would cross it into grating territory. Vega’s bass can only be described as thick and voluminous, but sacrificing none of the texture and finesse. Vocals are gorgeously humane and multi-layered, bass lines are clean with a lingering sense of warmth and tinge. Double bass, bass guitars and electronic low frequencies reverberates and echoes with a full-bodied lushness. The result is a more organic and natural rendition than most BA offerings more intensively musical yet simultaneously resolving at a very high level without becoming analytical.



Spatial relationships and layered placements of instruments are communicated superbly in a soundstage that feels naturally wide and not artificially pulled in any axis. Treble lacks the level of airiness and sparkle that defines the Andromeda, but is smooth and never offensive. Cymbals crash around you and the decays feel just right. Although there is only a single driver in each piece, the distinction between frequencies and the details rendered are frankly mind-boggling. Everything is lively, vivid, and just pops. It begs the question of whether the current driver count arms race is entirely a superficial numbers game that carries little meaning, as the Vega moves sound along with exemplary unison and solidarity that surrenders nothing to the double-digit-drivers BA offerings currently on the market.



I am not a technical reviewer in the slightest, both because I know a lot less than the true sage (nerd) of this blog (Alfred) about the scientific aspect of sound, and because I really could care less about measurements and graphical curves when the sound output is this engaging and musical. I refuse to break this down to technicalities because the raw emotions being conveyed here is so heartfelt and genuine. Nearly every track thrown at the Vega is presented in an enclosure of lavish warmth, vocals are incredibly realistic and inviting, the bass always packs a dramatic punch, and everything just feels multidimensional.



It has been difficult for me not to be biased throughout this review because the Vega turns out to be exactly the ideal sound signature I had been looking for in my mind but which was never found until now, and I love it to death for that. Although I do observe that my BA IEMs do seem sharper and crisper overall, the way Vega’s warmth masks most harshness from hot treble and sibilance just fits my bill perfectly, and thus I do not mind the slightly darker disposition one bit.

Measurements (Alfred’s comments)

The measurements were taken with the Vibro Veritas, and is only supposed to serve as a rough idea of what the frequency response is like – we don’t claim that these are 100% accurate to a professional level. Measurements past 10khz are not accurate, as according to the Veritas disclaimer.


This chart actually has the measurements of all of Campfire Audio’s latest dynamic driver products; refer to the X-axis description to see which colour is for which product.
It’s very interesting to see that all 3 of the dynamic driver offerings from CA have an extremely similar frequency response – so unfortunately simply having an FR response is somewhat lacking in terms of providing a more technical analysis and begs for additional measurements such as cumulative spectral decay.

However, it is still able to reveal to us the typical Campfire Audio dynamic driver design “house sound” – that is a gentle With shaped frequency response curve, characterized by boosted bass, a gentle dip towards the midrange that ensures they don’t get overshadowed by the lows and highs, followed by a good amount of high frequencies, ensuring they get a chance to shine as well.



Having tried all 3 of them, they do indeed have a very similar sound. Where the Vega stands out compared to the Lyra II is the Vega’s more resounding, deeper bass, and slightly more refined mid-highs and highs. When compared to the Dorado, the Vega’s bass quality is about just as impactful, but provides a tighter sound where as the Dorado’s is ‘fatter’ and has more bloat, but the Dorado is slightly more analytical in terms of the high frequencies, although it does have a balanced armature sound to it, whereas the Vega just gives a very natural dynamic driver sound throughout all frequencies.



Final thoughts

So, being a staunch believer of BA-only technology, am I now a diehard DD (dynamic driver) convert? It is more complicated than that. Before the Vega, I have never heard such delicious low-end coupled with texture and resolution in a single DD that could rival multi-driver BA-only IEMs. A more accurate saying would be that I’m a Vega convert, not a DD convert. The Vega stands head and shoulders above any other DD I have ever heard before, on its own untouchable pedestal. Ken Ball and his team have really outdone themselves with this one, and the fact that I have been using the Vega exclusively for the better part of eight months before this review is a solid testament to its achievement. If you have been searching for the ultimate musical bass cannon in an IEM with all of the subtle details intact, this is it. You don’t need a good IEM, you need this IEM – you need the Vega.

Review originally written for AccessibleAudio.Co

A LONG ABSENCE
Apart from getting 20 yards away from a bear, accidentally descending down a snow-packed couloir (via a controlled* 50-foot slide) at Denali NP, and driving on a seriously questionable road somewhere above the Arctic Circle, I’ve been fine. Mostly. Yes, I’ve been in Alaska for a month, putting myself in precarious situations and generally relying on "hold my beer" logic to survive; I almost qualified for several Darwin Awards as a result. Naturally, I was absent, for the most part, from the audio world. But I've returned, and in fairly good time. The number of reviews I’ve built up is certainly not insignificant, and it seems that a lot has happened since I was last in the Lower 48. Those who have been keeping up with the Sony MDR-Z1R thread will know. But that’s old news, and this certainly isn’t the Donna Reed show – so let’s get going.

*To the extent that sliding through waist-deep snow is "controllable".

INTRODUCTION, PROPER
My interest in Campfire Audio actually began a while ago at the first Canjam Singapore after a fellow audio enthusiast insisted that I audition his Jupiter. It sounded good, but lacked that je ne sais quoi that would have otherwise made me leap. Needless to say, I was interested in Campfire Audio’s various developments, and I wrote to them regarding covering their lineup. Well, a year later, I’m privileged to have finally gotten the chance to cover Campfire Audio’s flagship models. The good folks at CA are busy, and rightfully so, because they are certainly producing excellent earphones. But wait! One of the flagships is a dynamic too. EX1000 fans may now take a moment to briefly reminisce about the days of old.

For those of who are still (somehow) in the dark about Campfire Audio, here’s a quick primer. Based out of Oregon, Campfire Audio was actually a project conceived by the good folks at ALO Audio. Ken Ball and team have clearly set their goal on producing high quality UIEMs capable of competing with the best, all while introducing new driver materials and featuring a rather unique design philosophy. It’s an approach that stands in stark contrast with the increasingly astounding (and pricey) contenders of the ongoing driver count race. Nicely done, I must say. Interestingly, Campfire Audio’s product offerings are split into two lineups. One is comprised primarily of BA driver earphones, while the other features more varied dynamic/ hybrid offerings. I think it is fairly safe to conclude that the latter mixes sound signatures up a bit, but I’ll discuss that more when I compare the Vega and Andromeda.

A little while back, I mentioned the importance of flow in my reviews. This long trip certainly has given me more than a couple of ideas for future pieces and the fresh makeover of Head-Fi is good reason to do some spring cleaning. Prepare yourself as I attempt to break up an otherwise rigid review format and go on hopefully entertaining tangents. And watch as none of this comes to fruition (50% chance, give or take, especially if it’s a Monday). I’ll also be introducing my measurement rig in this review. I’ve been working on it for a while and I do have decent confidence in its capabilities as of now. It’s a rather big section, and for those who are not interested please do feel free to skip it. It is an interesting recap of the process and hopefully articulate enough to be helpful.



DISCLAIMER
The Campfire Audio Andromeda and Vega were provided directly by the CA team for the purposes of this review. I am neither a paid affiliate nor an employee of Campfire Audio. As always, I do reserve the rights to the media in this review, so if you would like to use the photography/ videos please do drop me a line (at the very least please provide an appropriate attribution). I dislike watermarks on photos and would rather not use them. It’s been a blast putting these two earphones through their paces. It’s also been a great time for me to push forth on my measurements of IEMs (my expedition in headphones having temporarily reached a “satisfactory” point, as I await further findings). Once again, a big thanks to Campfire Audio for this opportunity and I hope you enjoy reading this review as much as I did writing it.

Editorial Note 1: Have posted a thread as well as a "review"- still don't fully understand the new showcase system yet and text formatting system, so I'm sticking to the tried and true thread post.
Editorial Note 2: Some of these photos had to be posted lower-res than I had initially wanted due to the fact that I can't seem to locate the "resize" function in the new editor. Thus, manually resized in Photoshop. If there's a workaround, please let me know immediately.


Quality! These are excellent products to unbox. The packaging is both functional and sensible, leaving little in terms of material waste. Arriving in a star-studded (literally) cardboard box and sealed in with plastic wrap, the Campfire Audio IEMs are nestled inside a leather carrying case. The interior lining is definitely a nice thought, and the case shuts compactly enough to the point where the earpieces will not be sliding and scratching each other. As added protection, the Vega features two earpiece pouches. Strangely, this is not present on the Andromeda (and it should be). Apart from that, the general package is fairly comprehensive and complete. A full list of items is provided in the description below the photo.

The build quality on the Campfire products is quite commendable. It is certainly a highlight that must be mentioned. The Andromeda is made in the USA, and features a machined aluminum body with an anodized finish (Zirconium blast treatment). Some have asked if the earphone is really as green as it looks in the photos - the answer is yes. However, the carefully milled facets of the housing lend a very nice colored gradient to the earphone that changes with various lighting conditions. I suppose I know this because I spent too much time on the photography in this review. Other key design features include the 5-balanced armature drivers (2 low, 1 mid, 2 high) and a proprietary "tuned acoustic expansion chamber".

The Vega is comprised of parts from Taiwan and made in China. That said, the earphone's build is still high quality. It features a liquid alloy metal housing with a PVD (physical vapor deposition) finish. It's a type of finish achieved by evaporating a solid/liquid into gaseous form and depositing it back onto the target surface as a thinly applied coating. The nozzle is plastic, and there is indeed a faint injection mold line on it (more sanding?). A tuning port can be found at the top of the housing. Throughout my time with the Vega, I did notice driver flex manifesting itself as a crinkling sound depending on how I inserted the earphones. It has been mentioned on the forums that there is no danger of damage from this flex though. The Vega's driver is an 8.5 mm dynamic driver made from ADLC (amorphous diamond-like carbon).

Stock cable is very nice and is a silver plated copper litz wire in medical grade PVC jacket. There's a sturdy 3.5 mm plug with good strain relief, and the y-split is also quality, if not prone to scratching. Cinch is made from clear transparent plastic. The real star of the show is the ear guide, which blends heat shrink with a guide wire - it's simply the best of both worlds. MMCX connector is made from beryllium copper.

Those who have read /been following my reviews will remember that we discussed, at some length, my personal headphone measurement rig/ process in the Sony Z1R review. It is fairly obvious that the results of non-standard measurement rigs are far from absolute, and should generally be applied in relative comparisons for best effect. Given these various limitations, one may ask why we, as enthusiasts, should even be bothered to develop measurement systems at all, considering that we are generally unable to match industry-standard equipment, and can in fact potentially mislead ourselves with erroneous results. The answer is two-fold and quite practical in my mind. First, it is an undoubtedly enjoyable process. The ability to quantify the qualitative (i.e. subjective) is gratifying (and equal parts, frustrating). But in general, it provides us with a better understanding of the devices we are measuring, and this comprehension can make the pursuit of audio far more enjoyable. Second, when applied effectively, decent measurements can provide objective insight – and allow for many meaningful, tangential explorations. Did you ever wonder just how “distorted” distortion is? If yes, a rig can help in the understanding of that area of sound. The list continues. Furthermore, it allows us to avoid the serious issues that can arise from purely subjective descriptions and misunderstandings. In my mind, certain descriptors can be directly correlated with measurements, giving us very substantive evidence to assist in descriptions. This isn’t to say that numbers are everything, but when applied appropriately, they can account for much indeed. Henceforth, I leave this open to interpretation, and for use as the reader sees fit.

Editorial Note 3: I wrote the above section of the review a little while back as I was reflecting on the process. That is to say, over a month ago. Given the recent discussion about measurements, I've decided not to edit this section at all - this is, and has been, my perspective on measurements for a long time.

I use the UMIK-1 from MiniDSP, a measurement microphone with an onboard soundcard. It is quite convenient and comes with its own calibration file. There is, to my knowledge, a 3rd-party company called Cross-Spectrum offering further, more extensive calibration services, albeit at an increased cost. It’s certainly worth a look for those investing in a measurement microphone. Microphone aside, the coupler is probably the next most important aspect of a working system. As I describe my own system, do note that this isn’t meant to outline the construction of the definitive measurement system. Instead, it is an objective look at the capabilities of my system, its shortcomings, and what I feel confident in assuming/ sharing.

There are three factors that I ran into quite frequently in assembling the rig – coupling distance, seal, and resonance. In describing the modifications/ build of my own measurement system, I will go over the issues I encountered with each of these elements and how they can be resolved. Let’s start with the microphone. It is very much possible to detach the head of the microphone from the body. Clasp it with a vice and give the body a hard tug. Have your soldering kit ready, because from personal experience, it is easy to snap the wire off the solder point. In fact, I had to re-solder two points on the microphone (one broke and needed repair, the second broke in the process of the repair). To detach the microphone from the head, push gently using a soft object (pencil eraser, etc.). The microphone capsule should come off easily. As per recommendation, I’ve applied a ring of glue around the microphone capsule. Do note that depending on the glue used, you could potentially make it impossible to remove the capsule from the head, so do take caution with those soldering joints. I’ve thought about it, and in fact it may not be a bad idea to put some hot glue down, sealing the microphone permanently to the microphone headphone compartment and more or less securing the solder joints. There were pieces of white foam that came out the head compartment as well, and looked rather skimpy. To replace that, I cut a foam tip and pushed it directly behind the microphone. It seems to be a needed upgrade. You’ll also notice a large tangle of wires that came out from the body as well. When putting everything back together, use a pencil to push the tangle back in, as opposed to pushing on the microphone head. You will break the wire (especially at the solder point) doing this.

The next step in the process is to build a coupler. I’ve got close to 10 iterations of “coupling” devices lying around. The one I’ve more or less settled on is shown in the pictures. I’ve used electrical tape to create a ring (just thick enough) such that the slightly larger ½ inch PVC tube can be sealed very completely with a bit of a push. The end of the chamber features a plastic flange that forms the PVC tube and enables better fits with certain types of IEM tips. This is where coupling distance really comes into play. As I will demonstrate in a graph below, it is very important that the coupling distance is correct, otherwise you’ll notice key FR landmarks (peaks, dips, etc.) in wrong places. I’d take a generally accepted uncompensated FR, and adjust your coupling distance such that the peaks align where they should. I’ve found that this will float in the ballpark of 1-1.5 cm depending on how you couple the IEM to the microphone. The further you couple your earphone away from the microphone, the more you see artifacts in the higher frequencies (repetitive peaks, and such). Resonance from the coupler discounted most forms of thin metal coupling for me. I’d stick with PVC and plastics for enthusiast measurement systems. Now, the Andromeda/ Vega present a very unique opportunity to adjust one’s rig. This is because Ken @Campfire Audio has provided uncompensated measurements that we can do comparisons against. Considering that his is a well calibrated, industry standard rig, I find this to be an interesting proposition. I do not believe my measurements to be better, so feel free to take note of the differences. And it is always fruitful to discuss your measurement techniques with other individuals - it provides insight/ means of improvement. One last mistake I made – don’t rush to take a bunch of measurements of tons of earphones, find one IEM to work with and go from there. Otherwise, you’ve but just a pile of fairly unhelpful numbers. IEM measurement is unforgiving, and can be more difficult than headphones in fact, so do take your time.

Some things I noticed for the Andromeda – subbass attenuation feels like it should be 1-2 dB less. The region past from 1K-4K as measured is not perfectly flat, but has some dips and artifacts. I should note that higher frequencies, when measured on this rig, aren’t particularly accurate – best that the reader look and evaluate him/ herself. Third harmonic distortion exists on the Andromeda, but this is may be an attributable characteristic to the BA driver itself. Other measurements seem to support my measurements, at their current distortion levels. Overall, most things seem to check out fairly nicely. Vega came through generally unscathed and the difference between these two should be obvious.No smoothing has been applied in any of these measurements.



The Andromeda is a superbly balanced earphone, made even better by choice ear-tips. Bass performance is responsive and tight, but not lacking. Sub-bass is rendered as needed with detail cues demonstrating the reproduction capabilities of the earphone. Mid-bass is expectedly inoffensive. The midrange is linear and connects to the higher frequencies without a hitch. Upper frequencies are naturally well-extended and liquid without ever coming off as tiresome. Detail retrieval is excellent and soundstage and imaging are spot on. A touch of coolness tints the Andromeda’s tonality, and it’s certainly something that resonates with me. As a long time ER4 user, I’m truly impressed (I’ll explain a little later). This isn’t an earphone for specific genres or songs or setups. It’s a transducer that reveals and navigates almost all source material.

The Vega is certainly the Danny Zuko of the Campfire Audio line up. Featuring a prominent bass response that makes full use of the earphone’s dynamic driver, the Vega digs deep and hits hard. It’s a heck of a lot of fun to listen to. In certain ways, the Vega reminds me of the Sony Z1R in earphone form, the comparison being rather crude, of course. Given this, it is surprising that the Vega doesn’t suffer much bass spill, and midrange generally comes through intact. Higher frequencies are well-extended, but do fall behind the Andromeda. Overall technicalities of the Vega are slightly behind the Andromeda. Instrumental timbre was one of the Vega’s weaker points. That said, the Vega moves in ways the Andromeda doesn’t. I can’t emphasize it enough, but the Vega is simply tons of fun.

Together, these two headphones could complete a collection, providing a versatile toolkit that will satisfy even the most dedicated of enthusiasts. It is a rather refreshing look at IEMs, considering that recent developments have been marked by increasingly pricey offerings prompted by the informal driver count war. I’m not thrilled by all of these offerings – and some of my experiences with large multi-BA drivers have been quite negative. I’m not convinced that more is better, and I’ve tried some extremely expensive earphones where crossover points were audible and general coherency was atrocious. I’ve never quite given up on the merits of a properly executed single dynamic driver earphone, and the Vega has satisfied in this regard. In the course of this review, I’ve utilized the Onkyo DP-CMX1, theBit Opus#1, Teac HA-P90SD, and borrowed the Chord Mojo and Questyle QP1R from a fellow newly-converted audiophile. Sounded pretty good out of all of these sources. The earphones do have very low impedance though (Andro 12.8 ohms @ 1K, Vega 17.6 ohms @ 1K) so damping factor can be an issue. The sensitivity of the Andromeda means that noisy sources will be punished!

SELECTED LISTENING IMPRESSIONS
I’ve often been asked to be more narrative in my approach to reviews, and I do think that providing comparisons and walking through specific pieces of music will allow readers to get a better sense of what I’m addressing. I’ve picked moderately complex compositions that provide opportunity to showcase interesting aspects of each earphone, and will conclude on some general observations.


The Planets, op.32, Venus
Gustav Holst, conducted by Karajan and performed by BPO

The opening (00:00) features a horn call comprised of four ascending notes. It’s a smooth, haunting motive that is also texturally detailed. The timbre of the horn is appropriately rendered on both the Andromeda and ER-4S. However, the Vega portrays a mellower, smoother sound that reminds me less of a horn and more of a euphonium. Not exactly accurate. At 00:10, the second horn call is answered by a combination of oboe and flute chords. There’s a certain clarity conveyed by the Andromeda/ ER-4S – the reedy sound of the woodwinds being clearer and more incisive than on the Vega. At 00:37, the gentle rumble of the bass hints at a larger orchestration. The Vega and EX-800ST both deliver satisfying performances, while the Andromeda tends toward a more balanced portrayal. The ER-4S falls on its face. The violin solo at 02:05 is poignant and chilling. There’s a lack of bite from the Vega that reduces the realism of sound. The theme that begins at 03:15 is fantastically grand on the Vega though. Spot the celeste at the 07:36 mark. You'll notice that the Andromeda has more sparkle. I imagine that Karajan may have preferred the Vega. The smoother, more rounded sound, exemplifies the musical vision of the “emperor of Legato”. However, from a technical standpoint, I find the Andromeda to be better for classical music in general – it simply presents instrumental timbres better.

Time Out, Take Five
The Dave Brubeck Quartet

A jazz classic, Take Five features an instantly recognizable tune in the uncommon 5/4 time. The start of the piece (00:00) provides easily accessible comparison material. With Joe Morello on the drums alone, it’s clear that reproduction on the Vega and Andromeda differ greatly. The bass drum kick is emphasized, while the cymbal ride is smoother and less brassy compared to the Andromeda. Snare drums seem about the same. Beginning at 00:20, Paul Desmond enters with the alto saxophone, and here we have yet another point of analysis. The left/center/right recording method with single mic means that each of the instruments is panned hard to a side spatially. While modern methods may dictate this as being less than ideal, it does provide an opportunity to test the soundstage/ imaging of our transducers. Perceived width and depth on the Vega is still smaller (but not small) than on the Andromeda. At 02:30 where the drum solo begins in full, the Vega proves once again that while it may not be as technically proficient as its sibling, it can be great fun to listen to.


Others
It should be no surprise that the tonal balance of the Andromeda favors midrange performance over that of the Vega. Listening to Diana Krall’s East Of The Sun (West Of The Moon), there’s a certain spaciousness that pervades Krall’s voice. Appropriate rendering of vocal texture and linearity aid in the easiness of sound. It’s a fuller (and slightly wetter) sound than the ER-4S, which is a good thing. The Vega’s mids are smoother, and are slightly less defined and present. It’s well-executed considering the earphone’s impressive bass, but for those who listen exclusively to vocals the Andromeda is the go-to.

CHOICE OF EARTIPS

I've begun work on eartip measurements, though I do not yet feel confident in utilizing them yet. Here's a quick look at my general measurements (but should not be relied upon!). I urge readers to use the subjective impressions below.

• Spinfit (Baseline) – I’ve chosen this as the baseline for observations as they seem to be one of the most popular, and I do find myself returning to them a fair bit. Tends to yield a brighter character to the earphone with a nice zing. Extension is excellent. Spinfit can be unpredictable between user-to-user, if not by its whole premise alone.
• Spiral Dot – Another excellent choice. Doesn’t have the same sonic edge as the Spinfit, but doesn’t lack in extension and certainly adds extra weight to sound. Many will find this to be a nice and pleasant ear tip, provided it fits. I recommend buying ½ a size smaller than your usual as the diameter on these eartips is fairly large due to its wide bore design.
• Sony Stock Silicones – Not bad, but between the Spinfits and Spiral Dots, I really don’t see what these do better. Higher frequency extension is weaker than the Spinfits, and lower frequencies are less clear. Vocals are less immediate too. Deeper fit brought housing into contact with the ear, which was uncomfortable.
• Sony Isolation Hybrid – Clear improvement over Sony Stock Silicones. Brings extra isolation, slightly improved bass response, all while maintaining comparable extension and clarity. It’s a nice flavor. Fairly comfortable to wear, if not a little difficult to fit onto the nozzle.
• Sony Foams – Available in Japan only (I think). If you need foam tips and have access to Japanese products (import/export, etc.) I’d use these. Featuring a foam eartip with a silicone backing, these eartips tend to last longer than Comply tips, are far less prone to ripping, and generally less icky. Complies do seem to isolate and seal better though. Similar to the hybrid tips, but adds slightly more warmth and bass. Highs less extended?
• Stock Silicones – Somewhat similar to the Spiral Dot in terms of bore and insertion depth. Sound isn’t remarkably different, but I find the fit to be slightly less agreeable. Those who prefer a softer ear tip will probably enjoy the stock silicones better. They do tend to bring the housing closer (and into contact with the ear) too.
• Comply – I don’t really like the way Comply eartips fit and feel. They wear out fast, have a tendency to rip, and just annoy me. That said, Comply eartips do offer a decent amount of isolation, and for me increase the bass. It should be noted that Comply eartips affect sound based on the amount that they are compressed. More compression leads to better seal, which in turn can increase bass and treble. Less compression can result in the foam attenuating the highs, etc. I’d suggest going with the former in most cases.

To me, the Andromeda and Vega are excellent earphones. The Andromeda's balance is very pleasant to me, and the Vega offers a similarly well executed signature that features a tonal balance that is indeed rather hard to pull off. Couple that with the excellent build quality of these IEMs, and it's just hard to argue with these earphones. If you're in the market for a new pair of high-performance IEMs, you definitely need to do yourself a favor and at least give the Vega and the Andromeda a try.