Campfire Audio Astrolith - Dual Planar IEM

Campfire Audio Astrolith Review: Infinity and Beyond​

Campfire Audio is an American audiophile brand based in Portland, Oregon. They build a wide variety of portable audio products and have been featured a number of times on Resonance Reviews, most recently for their excellent dynamic driver IEM, the Cascara. Campfire’s products place a heavy emphasis on design and engineering, often fusing aesthetic concepts with cutting-edge manufacturing processes. Today we’re looking at their flagship planar-magnetic IEM, the Astrolith. Is the Astrolith the king of the planar-driver hill? Let’s find out.

You can find the Astrolith for sale here, for $2200.

About My Preferences: This review is a subjective assessment and is therefore tinged by my personal preferences. While I try to mitigate this as much as possible during my review process, I’d be lying if I said my biases are completely erased. So for you, my readers, keep this in mind:

• My ideal sound signature would be one with competent sub-bass, a textured mid-bass, a slightly warm midrange, and an extended treble.
• I have mild treble sensitivity.

Testing equipment and standards can be found here.

Tech Specs​

• Drivers: 1x 6mm micro-planar, 1x 14.2mm planar
• Cables: 1x Timestream Metal 3.5mm, 1x Timestream Metal 4.4mm
• Shell Material: Resin, Stainless Steel
• Impedance @1K: 8.2Ω
• Sensitivity: 94 dB @ 1kHz: 44.9 mVrms

Sound Signature​

Sonic Overview:​

The Astrolith is a gently V-shaped IEM with an emphasized bass and bright treble. Its midrange is warm, but stops short of being thick or heavy. Its bass is potent and emphasized, but does not encroach upon “basshead” territory. It has strong extension in both directions, with the Astrolith’s treble stretched far beyond the limits of my hearing. Its bass is likewise well extended, easily breaking the 50Hz barrier and dipping down into 20Hz territory. The Astrolith possess speed and dexterity without sounding curt or stiff. Its soundstage is wide, deep and highly capable of distinct, organic, instrument staging.

Treble: Songs used: In One Ear, Midnight City, Outlands, Satisfy, Little One, Show Me How To Live (Live at the Quart Festival), Bittersweet Symphony

It’s no exaggeration to say that many audiophiles define planar IEMs by their capacity to leverage treble performance in the overall sound signature. Many, as a result, give planar IEMs a pass when their trebles are over-wound, sharp, incisive, or otherwise sibilant (aka, Planar Timbre™). I give no such pass to planar IEMs, doubly-so when dealing with one so expensive as the Astrolith. Luckily, for the most part, I don’t need to. The Astrolith’s treble is forward and bright, but not overblown. It is very well extended and articulate without sounding too commanding.

And while I’d love to say that the Astrolith is never too sharp, that’s not the case. I am particularly treble-sensitive, so minor deviations from my ear’s comfort level are pretty disruptive to me. However, the Astrolith’s moments of weakness did not appear in the typical planar fashion. Traditionally- sibilant songs such as Satisfy are… not sibilant at all. Yes, the Astrolith passed my sibilance benchmark with flying colors. But occasionally, when listening to a random song in my collection, the Astrolith will render a high-hat or cymbal too sharply — a mystifying experience (take the ticking noise in the back of In For The Kill as an example). I was able to minimize the frequency of this kind of disruption by switching to foam eartips and using a more-compatible source — In my case, a HiFiMAN SuperMini or Meze Alba Dongle — but that didn’t solve the issue completely.

The Astrolith’s treble aptitude goes further than its absurd levels of extension and speed. It also neatly and organically layers instrumentation with aplomb. This layering is complemented nicely by its drivers’ ability to create a sense of air and space. The summation of these properties is an compelling sensation of dimensionality — in other words, sound-staging. The natural width of the Astrolith’s sound stage allows it to distinctly render subtle treble-bound queues without crowding. Its aforementioned affinity for airiness gives it a comprehensive depth, allowing it to organically order a variety of subtleties within the track.

The Astrolith’s precise nature and lightning-fast response time allows it to resolve a striking amount of “fade-out” for treble-based elements like high-hats and cymbals. Rock and Alternative benefit greatly from this upper-register dexterity. The contrast between weighty drum hits and sparkling high-hats draws forth an impressive amount of dynamism and range.

Midrange: Songs used: Flagpole Sitta, Jacked Up, I Am The Highway, Dreams, Too Close, Little Black Submarines, Bohemian Rhapsody, Cash Machine, Chasm, Dead!

The Astrolith’s midrange is warm, but not thick. Neither bass bleed nor treble bleed are an issue here, with Campfire adeptly side-stepping blurriness in both directions. The Astrolith leverages this potent tuning to maximize midrange flexibility. Audio Slave’s tracks are good examples of what I’m referring to. I Am The Highway’s lonely tone communicates a tremendous sense of emptiness and solitude, while simultaneously leaning on Chris Cornell’s weighty vocals and a volumous bass guitar. The Astrolith expertly dances along these lines of body and weight, resolving inflection and tone in Chris’ vocals with excellent intelligibility and solidity. It pulls midrange-bound details from the background with a discerning yank, presenting them to the listener with confidence and assertiveness when needed, and subtly when not.

Female vocals are rendered with precision and a hint of sweetness. The Astrolith’s intense speed leans more towards an analytical tone, though the warm undertones of the midrange help even it out with a dash of richness. Chasm’s desperate lyrics play through the Astrolith’s drivers with dexterity and intelligibility. They integrate into the track’s electric guitar lines, showcasing a satisfying contrast in texture. Chasm’s layered assembly of guitars is presented cleanly and distinctly. I was able to detect and follow each of the three guitars and bass guitar easily — a strong showing of the Astrolith’s capacity for midrange separation and articulation.

I never tire of the Astrolith’s ability to render a plethora of different types of instruments with distinct textures. During the mid-song breakout of Dead!, My Chemical Romance deals out five or six different instruments in quick succession — to which the Astrolith responds in kind. Trumpets, piano, and a deluge of guitar spill forth from its drivers, each dancing into the track’s addicting chorus.

Bass: Songs used: Moth, Gold Dust, In For The Kill (Skream Remix), War Pigs (Celldweller Remix)

The Astrolith possesses both solid bass quantity and strong bass quality. This is a relatively rare property for a planar-driver IEM. Usually, a planar IEM must compromise either in terms of emphasis or articulation, but no such trade-off appears to have been made here. The Astrolith’s bass is plentiful and assertive. I wouldn’t go so far as to call the Astrolith a basshead IEM (that title would go to the Campfire Audio Trifecta), but it departs, steeply, from the typical lean nature of its technological peers.

Songs that lean heavily on bass substance like Gold Dust are a treat through the Astrolith. The IEM does a solid job at portraying “wet” bass. The track’s mid-bass punches are communicated with a satisfying body while sub-bass queues are rumbled in the background. That said, my personal preferences for bass dictate a slightly more emphasized lower-register (to the tune of about +2db from 20–200Hz) to bring a little more energy to electronic music.

The Astrolith’s bass extension is excellent. It pushes well below 50hz and squarely into “feel your music” territory. In For The Kill (Skream Remix) demands quite a bit from the Astrolith’s bass, forcing it to deliver both volume and depth. I’ve heard stronger, deeper bass from other IEMs on this particular track, but that doesn’t detract from the level of control and precision that the Astrolith presented while wallowing in the depths of a challenging bass line.

War Pigs (Celldweller Remix) demonstrates another example of a track that could benefit from leaning a little more heavily into the lower-register. The Astrolith is remarkably articulate and communicative when resolving the track’s bass queues, but does not punch as hard as I would like from a V-shaped IEM. The control and precision are certainly there — but my trusty dynamic driver IEMs still seem to posses a charm for bass that planar IEMs — even at the pinnacle— do not.

Packaging / Unboxing​

Campfire Audio’s eclectic sense of style, particularly when it comes to packaging, is well-known in the industry. The Astrolith’s box features wall-to-wall scrawling of abstract and colorful designs. Inside the simple, single-chamber box lies the Astrolith and its accessories. The IEM itself is neatly tucked into the Dimension Folding Wallet and is further protected by the Breezy Micro baggie.

Build​

Construction Quality​

If there’s one thing that CFA is unquestionably good at, it’s engineering their IEMs’ shells. They flexibly use high-end materials like CNC’d aluminum and steel, and did so with the Astrolith’s faceplates. These are made from polished stainless steel and feature a layered, stepped design.



The top face of the Astrolith’s shells features high-quality and firm MMCX sockets. A notable advantage to Campfire Audio’s 3D-printed single-pass shells is that they do not need to build giant vents at the top of the IEM — a design trap that many manufacturers have fallen for. The Astrolith’s single, large vent is actually on its faceplate. This location is far better than the aforementioned top-side vent and is less likely to trap moisture, rain, sweat, oils, etc.



The Astrolith’s nozzle is precisely cut from a single piece of stainless steel. Many cheaper IEMs feature thin mesh debris filters that sit inside of the nozzle, but Campfire’s IEMs each integrate the debris filter into the nozzle itself.



Campfire includes two cables with the Astrolith: 3.5mm and 4.4mm flavors of its esteemed Timestream Metal series. They’re $99 each when purchased separately from Campfire Audio’s website and are, simply put, great. I’ve written about them at length in my CanJam SoCal impressions, Cascara MVIII review, and on Head-Fi.



The Timestream Metal cable series features sublime construction, mature looks, and class-leading comfort/ergonomics. Its flat design makes it easy to coil and store, and its subtle styling makes it easy to pair with any IEM or outfit, should that be a concern. Campfire’s older cables were nice, but tangle-prone and of average durability. From what I can tell, they’ve taken a monumental step forward in long term durability here. The Timestream Metal series refuses to tangle and has minimal cable memory. Truly, I find these to be the final word in cable design.

Power / Pairing​

The Astrolith is not particularly hard to drive, but not trivial either. Many of the sources I tested were fine in terms of volume but were lacking in tonal synergy. I ultimately settled on using my HiFiMAN SuperMini / Meze Alba Dongle. In spite of its somewhat high noise floor, the SuperMini proved to be a strong tonal match with zero perceptible background noise. The Meze Alba Dongle likewise produced no noticeable background hiss.

Comfort​

Disclaimer: comfort is a highly individual metric — no two people will have the same experience.

The Astrolith has large shells. There’s no way around that. It also sits fairly shallow in the ear and has somewhat-large nozzles. Listeners with small ears or narrow canals may face discomfort. I find the Astrolith to be of average comfort and can wear it for extended periods with minimal issue. This particular IEM is sensitive to positioning for me, and getting it wrong makes the Astrolith very uncomfortable. For anyone else struggling with ergonomic issues, I suggest using a mirror to assess your fit for each ear individually.

Accessories​

Inside the box you’ll find:

• 1x Timestream Metal 3.5mm cable
• 1x Timestream Metal 4.4mm cable
• 1x Handmade leather ‘Dimensional Folding’ case
• 1x Breezy Bag Jr. compact, mesh, zipper case
• 1x Breezy Bag Micro two-pocket, IEM pouch
• 1x Microfiber cleaning cloth
• 1x IEM cleaning tool
• 1x CFA lapel pin
• 6x pairs silicone eartips
• 1x pair foam eartips

Campfire Audio’s accessories are high-quality and carefully curated across their lineup. Generally, the more expensive the product, the more baggies, cables, and niceties are included in the box. Historically, you’d also get a padded zipper case in fabric or leather varieties. At some point, CFA transitioned away from using those cases to the Breezy Bag family.



These baggies are fine for drawer storage and hand-transportation, but ultimately do not provide sufficient security for storage in a backpack, purse, or gym bag.



Some of Campfire’s higher-end models come with a premium-feeling folding leather “wallet”. In essence, this is a two-chamber leather accessory that closes via two sets of magnets. It oozes premium when held and is generally one of the nicest leather accessories I’ve seen (that comes in the box of an IEM). Campfire intends for this to be the primary storage point for your Astrolith. But, again, I wouldn’t want to gamble with the Leather Folding Wallet as the primary storage for my Astrolith. It isn’t water-tight, sufficiently-padded, or resistant to crushing forces. Even when combining the Leather Folding Wallet with the Breezy Bag Micro, I remain skeptical about the safety of the IEMs within. I encourage Campfire Audio to bring back their famous lineup of colorful cases or develop new solutions that offer more protection. For now, I’ve swapped my Astrolith into a Pelican 1010 along with my HiFiMAN SuperMini.



What I do love, however, is the Breezy Bag Micro. It is a brilliant solution to the “my IEMs are crashing into each-other while inside their case” problem. It is lightweight and well-padded, offering great intermediary protection.

Warranty and Repair​

This is a new section that I am introducing to my reviews with the Astrolith. When you’re buying a $2200 IEM, I think that its fair to say that you’d expect a strong warranty backed by a fairly-priced repair program. Thankfully, with Campfire Audio, you don’t need to worry about getting left out in the cold with a damaged or defective product, regardless of price. The Astrolith comes with a 2-year warranty that covers manufacturing defects. Should you need a repair out of warranty, Campfire Audio performs most of their repairs for between $50 and $150. That said, your individual cost will vary based on the nature of the damage and labor required to complete the repair.

In general, if you are looking at purchasing expensive IEMs and they’re not covered by a comprehensive warranty and backed by a repair program, you probably don’t want to risk the hundreds or thousands of dollars on the whims on the manufacturer/vendor.

Comparisons​

1: Campfire Audio Andromeda (2019)

Perhaps Campfire Audio’s best-known IEM is the Andromeda. For years, the Andromeda has been the brand’s notoriety halo — in many ways defining what customers expect from them. The 2019 revision of the Andromeda was well received, perhaps more so than some of the later revisions. The Andromeda has a smaller, more-colorful shell that is eye-catching and evocative. Its ergonomics are undeniably better than those of the Astrolith. From a sound perspective, the Andromeda is warmer, smoother, and less dramatic. It has a relaxed presentation that starkly contrasts the Astrolith’s firm and energetic disposition. The Astrolith has a brighter treble, harder bass, and more-powerful sub-bass. Its midrange is less warm than the Andromeda, with the Andromeda’s upper-midrange exhibiting less of a spike in the 2–3KHz range.

Both of these IEMs possess strong technical capabilities, but the Astrolith is undeniably a better performer. It layers multitudes of contrasting layers effortlessly, capturing a full-spectrum presentation that the Andromeda sometimes lacks due to its rolled-off bass. Both IEMs have wide soundstages, though the Astrolith’s sounds somewhat deeper and more-nuanced.

2: Cleartune Monitors Da Vinci X

I really enjoyed comparing these two IEMs. They share a lot of similarities in spite of sounding so different. Both IEMs feature (at least partial) metal build and nimble drivers. These are true flagships, each aiming and evoking maximal expressions of their respective styles. The Da Vinci X features 10 balanced armature drivers, while the Astrolith features two planar drivers. The Da Vinci X has a neutral, slightly bright sound signature that focuses on maximum resolution and transparency. The Astrolith has a more pronounced lower register and brighter treble and a warmer midrange. Both IEMs are extraordinarily clear, with the Da Vinci X surfacing midrange details easier than the Astroloth. The Astrolith’s powerful bass evokes a much more tactile presentation than the Da Vinci X’s BA drivers, rumbling and punching much harder. These two IEMs represent significantly different approaches to the flagship audio experience, and I’d wager that they make better partners in a single collection than opponents.

Conclusion​

The Astrolith brings a unique blend of V-shaped sound, excellent resolution, and planar precision to a segment that was sorely lacking in it. It bundles impressive performance in a beautiful and premium-feeling package. And, while I would have tweaked certain aspects of the Astrolith’s tuning, that does not detract from its technical chops, nor its broadly-appealing sound. At $2200, the Astrolith is among the most-expensive IEMs out there. Will the average enthusiast buy this? No, and I don’t recommend it. But if you’re the kind of person who is willing to splurge in exchange for an undeniably unique sonic experience, then you can rest easy knowing that the Astrolith can take you there on V-shaped wings.

Who This is For​

• Enthusiasts chasing peak audio performance
• Planar driver enthusiasts
• Listeners craving extraordinarily-precise V-shaped sound
• Buyers who want flagship-level performance with a real warranty and comprehensive repair offerings
• Treble lovers

Who This isn’t For​

• Listeners seeking reference sound
• Buyers who are sensitive to upper-treble
• Cost-sensitive buyers
• Listeners who have limited options for source pairings
• Die-hard bass-heads

As always, happy listening!

Campfire Audio Astrolith

Disclaimer

I got the Campfire Audio Astrolith for free in return for a review, I can say whatever I want without any guidelines.

All impressions are my own subjective thoughts after having used them for a good time. These are my thoughts at this moment, and as time moves I might change my opinion.
This is also a very subjective hobby where everything from experience, anatomy or age will affect what we hear. Also keep in mind that it is easy to use bold words when talking about differences, while it may be perceived as a small change for you.
While I can perceive something as natural sounding, I do believe we can never get a perfect performance similar to what is achieved live.

Ranking System:
1 Very bad or unlistenable
2 Listenable but not good
3 Average
4 Very good
5 Exceptional or having a special sauce

My rating system highly values what is musical for me, so my rating will always be a subjective opinion.







So what is Campfire Audio Astrolith

This is the latest planar model from Campfire Audio, this is their third planar but this time with two planar drivers. The Astrolith is priced at $2199, and can be seen as one of Campfire Audio flagship models.

Astrolith uses 14.2mm planar for the lows and mids, with a smaller 6mm planar for the highs. It also uses Campfire’s PPR and AAOI tuning elements, which you can read more about on their website or in the screenshot below. They have a crossover free design, letting the drivers work better with less distortion or dampening.

The shell and design resemble the chromatic series, the biggest difference is the larger faceplate and less ergonomic curves on the base. But with the larger faceplate it looks even more premium and classy, a minimalistic and unique design I very much appreciate.





Incredible technical performance, speed, & resolution

Deep reaching lows, down to subtle subsonic 5hz

Lightning fast highs, with incredible extension up to 25kHz

New AAOI and PPR driver tuning elements

New, updated 14.2mm planar magnetic low/mid driver

New 6mm planar magnetic tweeter

Unique, partially transparent shell

Hand-polished stainless steel faceplate

Stainless spout and MMCX capture

14.2mm Planar Magnetic Driver (Low-Mid)

6mm Planar Driver (High)

Partially Transparent AAOI Shell

Stainless Steel 'Terraced' Lid

3.5mm & 4.4mm Cables

Frequency Response: 5 Hz - 25kHz

THD less than .3%

impedance @1K: 8.2Ω

SPL: 94 dB @ 1kHz: 44.9 mVrms


https://www.campfireaudio.com/products/astrolith



The Astrolith is delivered with the Deluxe accessories pack, giving you everything you need to start listening to Astrolith. The cable is the Time Stream model in both single ended 3.5mmm and balanced 4.44, a ribbon style cable with SPC material. The look is quite special since it has a flat alignment instead of being braided, for ergonomics it is very soft and subtle and has good ergonomics.
The IEM tips are both foam and silicon, and unless you have troubles with IEM tips both should work fine to let you start listening.

There is 3 different types of protection pouches:

The little handbag is soft and small and has enough space for the Astrolith and a small dongle, but I cannot see myself ever using it as it's not very secure.
The leather pouch is the same that was delivered with Fathom, one that I actually quite enjoy.
It can get a little tight if you use other aftermarket cables, and is maybe not the most safe. But it look super stylish, and is what I bring when I am going and taking Astrolith with me.

Then the last, the small double socks. This one is perfect to keep the faceplate of Astrolith scratch free and more safe.

• Astrolith - Revolutionary Dual-Planar Magnetic IEM
• TimeStream Metal 3.5mm & 4.4mm - Eight silver plated copper conductors in a supple ribbon-style jacket
• Select Case - Handmade Leather 'Dimensional Folding' Case (Black)
• Breezy Bag Jr. - Compact, mesh, zipper case for your HiFi accessory needs
• Breezy Bag Micro - Two-pocket, mesh protective IEM pouch
• Earphone Tips - Marshmallow and Silicone (various sizes)
• Microfiber Cleaning Cloth
• IEM Cleaning Tool
• Famous CA Lapel Pin

The faceplate is one solid piece in stainless steel with a venting hole, the socket for the cable is extended by this design. In a world of so many normal resin IEMs the design of Astrolith is both stylish and fresh.
The shell is made of 3D printed polymer, and is very durable and should outlast the life of the drivers unless you break it by accident.



The Astrolith uses MMCX connectors like all their other models, they are of high quality with copper and beryllium for long durability. Downside of using MMCX is that the life span is not as long as with 2-pin, but in return the ergonomics is way better since you can swivel the cable to fit your ears better.



The nozzle has a salt shaker style opening with large holes, the whole sound nozzle is also in metal and matches the faceplate. The nozzle is average width and all normal type of tips work fine, the nozzle also has adequate depth making it easy to get a comfortable and secure seal.



Sound impression

Most of my listening has been together with Shanling M8T in transistor mode, using the supplied Time Stream cable in balanced.

Going to use the ranges here in review:


Details and soundstage

Detail in IEMs is down mostly to quality driver and how it amplitudes the frequencies, when the drivers is faster it increases the resolution you hear.

Here we then have two elements working a little against each other, but the end result is a set that is quite technical while not sounding typically intense. There is more to IEMs than measurements alone, but it can be good to look at as a guideline. The reduction in the upper midrange takes away some clarity, but is then brought back with extra treble emphasis.
There is also the super clean transient response with minimal distortion on the planar drivers, this helps the Astrolith be more technical and clear than one would have thought out from the graph.

The soundstage is wide and holographic, this is something that is a standout feature. The stage is super layered and spacious, making for a very holographic stereo presentation. It is not the set with the height, but still above average. The tuning is a part of the reason why it has such a spacious soundstage, since having a scoop after the eargain can enhance the space perception.



Timbre

This is a colored IEM that has more of a V shaped tonality, midrange has less weight compared to the bass and treble energy. But it doesn't mean it has a bad midrange, I for one adore the smooth and rich midrange that doesn't shout at you. Astrolith is less dry sounding than other planars, and sounds more organic.

Starting with the low end, Astrolith delivers a powerful bass experience. Downside of planars is that they lack the elasticity of a good dynamic driver, but also means they are super fast with minimal distortion. Astrolith definitely has me as a DD lover questioning my previous dislike for planars.

It can deliver textured sub bass frequencies, be it from organ, strings or synths. Only on some pulsating bass from synths I wish for more decay, a reason why it's good owning more than one type of IEM.
Mid bass is lightning fast and slams with authority, can make a metal and rock enthusiast to drool over kick drums. It can also get away with more quantity of bass without getting muddy, since the decay is on the fast side. Bass is a standout thing about Astrolith, most folks who enjoy bass will get impressed and maybe shocked how good a planar can be.

Midrange is a mixed bag, and can very much depend on what you prefer in sound. First is that Astrolith has a low end that gives richness/body to both darker vocals and also instruments, it can still get away with it much more than most dynamic driver based IEMs. I love the richness it gives, maybe not as natural but in return it sounds more euphonic.
The other part is the upper midrange, it has a reduced emphasis in the presence region. This makes instruments like brass, bright vocals and percussion to have less bite, but in return its less fatiguing and can let you play your music louder without fatigue.
From a personal bias, I prefer this type of tuning as it matches for much of the music I love. Especially for rock or metal, it sounds more fun and less tiresome. But going for something like classical it will not sound as balanced and clear, I still enjoy listening to my jazz with Astrolith but it's not natural.

The highs are delivered by the new 6mm planar driver, this one has lots of energy and brings back clarity from the reduction in the lower midrange. It delivers a very airy and open sound, no other planar I have used has had this much airy overtones to the harmonics. It doesn't linger as long as a EST or BA driver, personal preference is not planar for highs but it also matches tonally perfect to the main planar driver.

It is definitely the most impressive set so far from CFA for highs, the downside is that the quantity can get too much. I advise you to play around with sources or tips to find something that match your preference, for me this is using the Divinus Wide and M8T in tube mode.



Synergies with accessories and sources

I have already mentioned that the Astrolith has been played with the Shanling M8T, this is for a good reason as the treble is natural and not sharp with this DAP. This softens some of the treble energy of Astrolith, depending on the music both the transistor mode and tube mode are wonderful with Astrolith.

It also sounds great out from a more neutral source like HIBY R8 II or ifi Go bar Kensei, but then you get more of that upper end getting through. Another great pairing is Cayin HA-2A, a tube desktop amp. As this softens the treble even more than M8T, making it much more enjoyable for long sessions.

Ear tips are even more personal, as our ear canals are all different. I prefer to use silicon tips, as I don't get a good seal with foam and this makes the treble even more intense. This is quite the opposite of many other folks' experience, so you should try foam yourself to see. For tips most of my silicon tips work, with my favorites going for Divinus Wide. The wide version does let the bass be more controlled over the normal type from Divinus, and for some reason it is less sharp than the normal bore.

Stock cables sound good on Astrolith, but it is room for improvement. For me this has been a silver from Lavricables with the Grand line , this has better control of the treble making it less sharp than the original cable. It is not that it is dark, but more that it controls and makes it more natural.



Comparisons

When evaluating the sets I use each of them over longer periods and also some shorter sessions swapping back and forth, it takes a long time and is not done in one sitting. The most critical comparison is done on my desktop setup that is highly capable, together with volume matching to take away loudness variance.



Campfire Audio Supermoon

The Supermoon is the first planar IEM from CFA, using the same main driver as Astrolith. The cost of Supermoon is $899, a much cheaper model but also a very impressive IEM. They have similar power requirements, and I had to turn up the volume a few notches on my dap to get the same volume on Astrolith.

Both are resolving and have a colorful warm tuning, Astrolith does have some extra resolution. Particularly in the treble, but also in how bass kicks decay and even how many instruments have that extra richness and texture. Soundstage is more wide and spacious with Astrolith, I don't find Suoermoon to be special here. Both have good imaging, so this is more about Astrolith having a wider stereo image and being more holographic.

The Supermoon has good bass but it's less immersive and lacks some of the physicality of Astrolith, in a way Astrolith reminds me more of DD in bass quality than what Supermoon does. Both being tactile and impactful, both are also fast as they are planar. So this is more down to the tuning and the new tuning tech giving Astrolith a more physical and elastic presentation.

Midrange is much more traditional on Supermoon, it has a brighter presence pushing vocals and instruments more forward in the mix. This also affects how we hear the bass quantity, as we play the sound less loud on Supermoon. Having less upper midrange on iems like Astrolith makes us push the volume more to hear more details, this also elevates the bass and highs.

Midrange of Supermoon is more intense with instruments like brass or brighter vocalists, Astrolith has a softer presentation. More dark vocalists or instruments like guitar and strings are more full on Astrolith, and sound more rich and DD-like, Supermoon is instead too clean and cold for my taste.

The treble is more airy on Astrolith, Supermoon is also well extended and perhaps more natural up top. I am quite sensitive to the upper treble where we get the shimmery and airy effect from, and Astrolith clearly have some extra shimmer that can get too much over time when Suoermoon doesn't. This is highly dependent on how sensitive we are, age being a big factor and just wear and tear of your hearing. For me both vocals and instruments like high hats ring more clear and crisp with Astrolith.



Campfire Audio Bonneville

The Bonneville is a hybrid IEM, it uses 1DD + 3BA and is priced at $1399. This model is the previous flagship of the chromatic series before Astrolith came along, they have the similar type of shell but the Bonneville is closer to CIEM with more ergonomic grooves. Bonneville is more sensitive and needs less volume than Astrolith, both are sets that play well both loud and more silent.

The Astrolith is more technical than Bonneville, it has a more distinct sound since transients and speed is lightning fast. Both are sets that are more oval than circular in their soundstage, making the stage sound more stereo-like and wide. The depth and width is a little more spacious with Astrolith, but this can also be personal and be different for you.

They are tuned similarly in having a big bass shelf with upper treble having good energy to balance it, so Bonneville is also a colorful tuned iem similar to Astrolith..I could end this comparison and say that Astrolith is for those who want Bonneville with more clarity and faster speed, because they sound very similar otherwise.

Bass reach deep on both, both also have strong and impactful midbass slam. The difference between the two is how the bass notes decay and also how impactful they are, Bonneville is slower and more natural in decay. Bonneville is also softer in impact, Astrolith instead sounds more fast and impactful. For me Astrolith is best with speed, for example double kickdrums in death metal. While Astrolith sounds more real on string instruments, for electronic elements like synths it depends which I prefer.

Midrange is similar but also a little different, Bonneville is more safe and rounded in the sound. So vocals and instruments have a more smooth sound on Bonneville, for some it's lovely and for others it is wrong. The Astrolith has more clarity in the midrange, it sounds cleaner and has more presence especially on female vocals or brass instruments.

Both have forward treble, with extra air on Astrolith. In a way this is the negative of both of them, as they play better on less sharp sources to balance it out. As for the quality, the BA in Bonneville shimmers softer and is less present, so the quality is nicer on Astrolith.



Music

Click here for Audio with Leo playlist

When comparing Campfire Audio Astrolith I have used the tracks listed here and more, I will also provide a few albums I have enjoyed during the review time with Astrolith.


















Summary

My time with Astrolith has been one with joy, where music sessions have gone on for long until the night. Astrolith delivers an euphoric and fun listening experience that is impressive from first listen, and still is after over a month.

What you get here is a flagship dual planar IEM from American Campfire Audio, delivering you a colorful and technical IEM. Bass lovers can enjoy an impactful and fast sound, with excellent reach into the lowest notes. Midrange is rich without being sharp, highs are elevated with excellent air extension.

There are always some downsides, this goes for Astrolith also. The highs are elevated and can get too much, so source pairing and tips matter a lot. The bass quantity is not for everyone, if you find many sets to bassy this will also be that. I also bet that the midrange is not for everyone, especially those coming from more traditional harman tuning. But the downsides are also what makes Astrolith, it is a special IEM with a colorful sound that drags you in for more.

I recommend the Astrolith If you look after a flagship IEM that is technical, fast and colorful with rich tonality. For me it is a master of music like rock and metal, but also electronic music.

Thanks again to Campfire Audio and @CFA Chris for the trust and opportunity to review your models

Thanks to the Watercooler Tour here in the USA (thank you @Rockwell75!), I got the opportunity to demo multiple IEMs from one of my favorite makers, Campfire Audio! This tour kit came with everything that’s currently for sale at CFA, so with only a short time to demo, and having listened to many CFA IEMs at each CanJam I’ve attended, and owning a few myself (Trifecta, Clara, Black Star, Dorado currently), I focused all of my time on the Astrolith, which is one of CFA’s newest flagship-level IEMs, and one of its most expensive at $2200 (Trifecta tops that price by $1000 more), along with CFA’s new flagship cable, the Timestream Ultra ($389 retail, also in the tour kit, yeah!).

I was excited to demo this as I had a short listen at CanJam Socal 2024 and really liked it but wondered if the treble would sound too bright or extended, and if the bass would kick enough without a dynamic driver, especially when compared with other CFA releases that do have the very effective CFA DDs of late, including my new Clara with its breathtakingly good bass. The charm for Astrolith is all about pure planar sound – this IEM has 2 planar drivers that need to do everything. With Trifecta, Black Star and now Clara in regular rotation, I’m pretty familiar with CFA’s recent tunings and its general “house” sound, and Astrolith is another sterling example of that house sound tuned to planar drivers.

Astrolith features 2 planar magnetic drivers, one 14.2mm for the low-mids and one 6mm for highs. In my experience, planar are the only non-DD drivers that provide a very similar feel to DD, or at least they can; I know this because I have an Audeze LCDi4 which is planar and can kick like a DD. I also had a great opportunity, thanks also to the WC tour, to demo the Simphonio P0, a single planar IEM which was very impressive. Compared to Simphonio P0, which costs $4500, Astrolith at $2200 is a very competitive offering. As this was a tour unit, I did no unboxing, but I know it’s very similar to most other CFA high-end releases and will come with lots of accessories.

Going from audio memory (which is 1-run short of a no-hitter), Astrolith may have slightly smaller staging than the Simphonio P0, but in all other aspects, it seems to be just as appealing (I did really like the tuning of P0), and maybe even more up my alley from a tuning perspective. This is CFA tuning at its finest; it remains bold and powerful in the bass (sub thru mid), the mids/upper mids rise above the beefy low end with clarity giving way to sparkly, airy treble and the stage is wide and holographic. The tuning is reminiscent of Clara and Trifecta, bringing the most treble of the three. As might be expected of an IEM with two or more drivers of same/similar design, Astrolith’s planar drivers sound absolutely coherent and I can detect no gaps or issues here with the drivers melding perfectly as if there were only one driver.

I hear Astrolith to be a neutral-to-warm Uish-shaped sound, with powerful, elevated bass, highly extended treble, mildly recessed vocal/upper mids, wider-than-deep soundstage with lots of air and separation. It’s a highly engaging and emotional tuning for me, but also quite technically capable. CFA has shown how good it is with same-driver IEMs, like Trifecta, Andromeda, Fathom, etc. and it has done that again with planar drivers in Astrolith.

How is the planar bass on Astrolith? Thunderously deep subbass gives way to punchy midbass giving Astrolith wonderful definition within the bass category, bringing not only high quality, but an also high quantity. I feel like bassheads would appreciate Astrolith for its bass, but it’s not a basshead set, retaining a good balance across the FR. Still, this is elevated bass, not polite and characteristically bombastic. The bass quality here is essentially on par with CFA’s awesome DDs, IMHO.

I realize this isn’t the first CFA planar (Moon Rover and Supermoon were planar), but it is without question, for me, their very best planar effort to-date having heard both of those mentioned. It’s also less warm than its closest sounding siblings (Trifecta and Clara), but still retains a touch of that hallmark warmth that comes with great CFA sets. So for me, Astrolith now figures into the very best of what CFA has produced and sits very firmly in line with my Trifecta and Clara, while offering the most extended, sparkly treble performance of the three by a length!

However, with neutral sources, that extended treble occasionally tickled the undersides of my eyeballs seemingly sounding edgy or sharp on certain treble heavy songs. But with very few heavy treble songs in my library, it was really not a big issue and completely resolved when I used my warmer r2r sources, or if I added an amp to the equation with any device, r2r or delta sigma.

This is the first CFA IEM I’ve heard that truly benefited from amping the source. This raises Astrolith to stratospheric performance levels with everything I could ask for: deep, resolute bass; clear transparent mids; extended treble; huge, holographic CFA staging. Astrolith scaled brilliantly, becoming more expansive sounding and smoothing the edges off the treble. So, for walking around, I can listen amp-free with my L&P P6Pro as this DAP does the treble smoothing itself, and at home, I can plug in a portable amp, and really blow up Astrolith.

The new LOAZ Ari solid-state amp ($2000) I am also currently demoing was absolutely sublime with Astrolith, just pure TOTL sound and pleasure from a very elegant looking device! It also sounded great with the much less expensive KAEI Tap 1 Pro tube amp ($480) which I am also demoing, as well as my own ibasso PB5 tube amp. Either way, my setup works pretty well with Astrolith and I would love to add it to the collection!

Having a Clara and Trifecta, I decided I should do some direct a/b’ing using same source (P6Pro), cable (Timestream Ultra) and tips (BGVP Silicone w/copper bore), with the Astrolith. First, as said prior, Astrolith very much sounds like CFA, and it’s quite similar to Clara and Trifecta in many ways, though certainly closer sounding to Clara than Trifecta. The biggest difference I hear between Clara and Astrolith is a slightly more neutral sound, slightly recessed vocal/mids and slightly larger, more holographic staging of Astrolith, though I might have trouble identifying which was which in a blind test thus the overuse of “slightly”. I’ve read a lot of folks feeling Astrolith was more V-shaped with recessed vocals, and while I do agree the vocals are a bit recessed, I think they are forward enough to be closer to U shape, at least to my ears. I also think the tips I am using helps in this area. Trifecta is a bass king, and outdoes Astrolith and Clara in this manner, IMHO. But Trifecta’s treble loses handily to both Astrolith and Clara. I do think Astrolith is extremely coherent, but if it’s more coherent than the others, especially Trifecta, it’s small degrees of difference.

A note on CFA cabling – since I have a big CFA kit here with the Astrolith, that kit came with, I think, every CFA cable currently available. I believe Astrolith comes with an SPC Timestream flat cable – competent and capable is what I would say about the stock cable. But to truly squeeze the performance out of Astrolith, I found their new Timestream Ultra ($389) to be outstanding! If it came as stock, it would need no switching. This cable is not flat like its siblings, strangely has no Y-split hardware or chin slider, but it works beautifully and is the first CFA cable I think I need to buy!

I really enjoyed my time with Astrolith, which offers its own planar greatness and can stand tall in the TOTL wars from all points. For now, I would have to say at its price, Astrolith is the star of planar TOTL IEMs. It’s also the most power-hungry CFA IEM I have encountered, and I think this helps it with amp scaling. Fit can be tricky, so make sure to find the right tip for yourself and seat the IEM in what should seem to be the right position. For me, I actually fell in love with a new tip from BGVP, silicone with copper bore, which had a great sonic synergy, increasing or moving the mids a little more forward which I like. Another CFA grand slam!!!

Packaging:
The overall packaging is top-of-the-line. The accessories are very fair and pretty much everything that I could ask for—iem booties, a cleaning cloth, and a beautiful designed box that puts most other iems to shame. The cable has a 4.4 and a 3.5 mm included with it. It’s a nice cable but I’m not a cable believer at all, other than they are very pretty.

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Appearance:

The Shell

The shell is clean and beautiful, and it is simple and has a nice metallic finish. It has nice contours with a resin shell with a metal nozzle and faceplate. I feel it’s extremely durable and well-made. It looks like any old iem shell in hand, but feels like a million bucks in ear and just looking at it in hand. I love metal shells when done right and this is done very right and very comfortable. Comfort is great and the design is unique and beautiful. It also has a nice thematic feeling. The mix of both resin and metal is great, the design is an effortless beauty and one of the better shells that i’ve encountered.








Drivability and source gear

I didn’t find this IEM to be overly difficult to drive. I tried it on multiple sources, and on my DAP.

In contrast, some IEMs are harder to drive like the Dynaquatro from Binary. It is sensitive to impedance testing. But with an impedance adapter it goes from a neutral set to a very bassy fun set. It’s great like that and almost perfect.


Tips:
The tips are exceptional and they include a very fair amount of tips! I have no issues with the tips and enjoyed them when I used them. The accessories in Campfire products is good, but this one includes both 3.5 and 4.4 cables which is a nice add

The Case

The case is great. It’s somewhat large and thematic to the saving or campfire of the iem. It feels like real leather and has a nice feeling on the inside. I really like how it feels in hand, and the black leather case is super fantastic. I like it a lot and I find it very beautiful and nicely made.



Overall Sound

This has fantastic upper air and boomy fun bass. The bass presentation engaging and fun. It has nice micro details and has a nice unique overall sound that is appealing and fun.

The midrange is not the cleanest, but the sound of it is nice and organic. The dip at 2k helps soundstage and on this set it feels very wide open but some vocals do feel recessed. It feels both pristine and transparent, these frequencies occupy a realm of exceptional clarity. The vocal reproduction is particularly breathtaking – airy and expansive, with a richness that feels almost ethereal. This is not merely sound reproduction; it's a nuanced musical narrative that captures vocal textures with remarkable depth and intimacy.
The high-end frequencies elevate the entire listening experience to sublime heights. Extended with remarkable naturalness, the treble range speaks with remarkable eloquence. Each note is rendered with surgical precision – clear, unblemished, and possessing an organic quality that feels both refined and true to the original recording.
This sonic profile transcends mere technical specifications, offering a listening experience that is at once analytical and emotionally resonant.

Gaming

Gaming is great on this IEM, as it has a nice tonal balance and is pretty relaxed. I think gaming on a 2200 dollar IEM is silly, but you do you. It’s meant to be enjoyed and gaming would be impressive to try on it as it is detailed and fun. Great dynamic bass and fun air. It would hit the spot for almost all gaming. The stage isn’t too wide, but just right. Detail retrieval during fights is immaculate, and the imaging vertically and horizontally is fantastic. It has great imaging and provides a good sense of location and space.









Graph:


Sound - Final Impressions

I love the sound of this iem in ear and find it really enjoyable. It reminds me a bit of the Aful Explorer as it has really nice Bass and upper air with mids a little off. I think this is a esoteric tuning not one made for the masses. The mids of the Explorer are a bit unique in that it has great bass and great highs for the price. The Astrolith is a set that is similar in many regards in that it is bassy and has great air. I find both of these sets unique and would encourage those who like the Explorer to try the Astrolith. But what it accomplishes is a fun sound that is rich warm and engaging.


Gifting/who is it for: I think this is a nice HiFi IEM to gift to someone, it’s just a nice package that is beautiful and unique. This is a fun set that I feel is met for a king who wants something cute, enjoyable, and beautiful. Campfire has a fun thematic feel that you are being saved by the music, and I love that theme and design. It’s just cool, and empowering. The ownership of a campfire is exceptional, as they are an expressive company that tunes by ear creatively. Everything about this IEM has a nice thematic feeling feels premium to unbox and is one of the better IEM unboxing experiences. The purpose of the iem is enjoyment and fun, and isn’t as premium feeling as some other sets around this price. It doesn’t have the classy jewelry feeling of the Elysian products, or the case of the Fat Freq Grand Mystero. What it does have is theme, and a beautiful design that is appropriate in theme of the company, great box design and a beautiful set of assessories. I see this as an exceptional gift to a friend, but mainly for people who are looking for a beautiful, fun, unique set that is fun and dynamic with good build quality.

Pairing: I used a Qudelix 5k for mobile, my dongle Dac iBasso DC07 for my laptop, and my JDS lab Element 4. I also tried the IEM briefly on the Apple dongle as well. This IEM had no issues being driven. Typically, I only find overears to have a hard time being driven and maybe some planar IEMs.

The Bottom Line​

I love this set, but it’s not a mainstream set that I think everyone will enjoy. I think it’s very special and unique and a worthy iem that people will like who try it. Bass and treble on this set are world-class, and unique. I dig it, and find it something enjoyable, and that’s the key with any earphone, that it is enjoyable. For Neutral sets, people might be better off with the other mainstream sets. Yet build quality, fun, support of American products is what this set is about. There is a Space theme that is felt through the most process save maybe the cable. I feel maybe using new cables could be a fun thing for the company to try, but it might be a branding thing. Yet, that would be my only real packaging complaint.
Highly recommended for end game enthusiasts who are looking for something fun and unique, but not for those who are starting out and need a more neutral set. This aint it., this is an game fun set although.

I'm releasing a Youtube video for those that are interested.

I would like to publicly thank Slumberman, for lending me the Campfire Astrolith, with the utmost courtesy.


Specs :

Drivers: 14.2mm customized planar, 6mm customized planar

Crossover: Mechanical, ultra-flat impedance

Frequency Response: 5 Hz – 25kHz

THD: Less than .3%

Impedance: 8.2Ω

Sensitivity: 94 dB

Fit:

Unlike many metal shells (see Rhapsodio V3 Supreme) for example, Astrolith are quite light. Therefore, they do not tend to slip off, even when you are moving. Obviously, the ear tips that are combined with them must have a good grip. The size of the shell in its entirety is slightly larger than normal, even if it remains absolutely ergonomic. Good insulation is excellent despite the air vents on the front.
The sound of planar… in Astrolith you can really hear everything. And I find it to be very well balanced. I find it to have a low range that I really would not have expected so full-bodied and deep. Instead, it is all there. The performance of the high range is also excellent (after all it is what you expect from a planar driver). A well-balanced midrange I would say……. I find Astrolith slightly V-shaped, wanting to identify it with something.
I am not a technician but I do not think it is very easy to manage planar drivers. In this case, being a DOUBLE planar, the result obtained is more than excellent. There are not many iems with double planar drivers on the market: choice or difficulty in matching?
The prerogatives in Astrolith are varied: Full, fast bass, brilliant and very articulated highs.


LOW RANGE:

Its peculiarity (in my opinion) is the basic difference between a planar driver, a DD and a BA driver in the reproduction of the low range. The 14.2 mm planar spreads great and additional expectations from the listener. Unlike the other two (DD and BA) it puts the mid-bass first as the main solution, while the low range that we all mean, remains quite in line with DD and BA. It has the speed of a BA, the quality of a DD all with a good increase in speed. Its rumble remains intimate and does not go beyond its demarcation line. In its entirety, the low range of Astrolith remains tight, fast and controlled. The quantity is also very respectable, even if it does not reach the depth of the low range of a DD. The star, however, remains the performance of the mid-low range, very present, but very composed, without ever overflowing into the low range or even into the first structure of the mid range.

MID RANGE:

The mid range (as per Campfire Audio tradition) appears with a good body, while remaining relaxed and fast. I feel the female voices are rendered better (more powerful) than the male ones, but it could also depend on the DAP.

The mid range has a very musical presentation and facilitates the listening experience. It does not remain harsh or tiring. The voices are clear and punctuated. They are not set back but not even forward (as can frequently happen in the reproduction of voices). The increase in the mid/high frequencies, to some like me ... might like. Maybe to others a little less. It could make the mid range seem a little colored, but I think it is a question of taste and type of music reproduced. With electronic, instrumental and voiceless music, this feature in my opinion adds even more pleasure and involvement to listening. It reaches excellent points of stratification. I find the mid range of Astrolith fast and detailed just right. Body and clarity ... two factors not easily assimilated sometimes.
It can remind the midrange of Traillii, less warm, leaner and more fun. It is an analog sound but more dynamic and slightly less amber.
Overall, an engaging listening, with an excellent performance also of the presentation of the instruments. Real, vivid, bold. This iem could appeal to lovers of the structural presentation of the midrange.



HIGH RANGE:

And we come to the central point of the planar……….

The performance as a whole is truly high level. Both qualitative and quantitative. The highs are rendered with confidence, without harshness, with detail, clarity and speed all immersed in a truly optimal balance. I noticed that the high range has a diversified performance depending on whether Astrolith is accompanied by a large section silver cable or a copper cable. In the case of silver, the mid range is of a brilliance in precarious balance between the limit and what comes after. Bearing in mind that I (for example) also like this type of representation of the high range a little exuberant. I tell the truth… I am a lover of the medium high range a little exuberant (like Noble Viking Ragnar). The tuning of Astrolith in some aspects could be similar, although it remains less dry than Ragnar. The notes are rendered with a subtle weight, but clear and defined to bring a very pleasant energy. The cymbal notes are of a rare brilliance for a driver that is not a planar one that together with their high technical capacity, give life to an experience of notable emotional structure. Even in the most difficult passages or in the storm of instruments and fast notes, it never gets out of breath and remains faithful to all its musical details and maintains the right spaces between the instruments.



Summary :

It does not become harsh or metallic, but goes to slightly cover the rest of the musical performance as a whole. You can feel the high range prevail slightly over the rest, but I repeat, I also do not mind this type of representation at all. There is a lot of air between the details, in any case not making listening tiring.
Overall, however, Astrolith offers a 360-degree natural musicality, not forced in any of the 3 ranges. The soundstage offered by Astrolith is good. Three-dimensional without loss or dispersion of sound. I liked the clarity of the sound, the spatiality offered, the recovery of details. Overall, the shape (as already said) has a slight V-shape that winks at the high range. Which however remains clean and technical. Probably the high range is the strong point of the Astrolith. It is a holographic iem, where even the separation between the notes is of notable quality.
A tip: try listening to Astrolith with a dap and with the addition of a good amplification... you will be amazed by how much potential it has, beyond that audible with the DAP alone.



Thank you Slumberman.

About Campfire Audio

Hailing from Portland, Oregon, Campfire Audio is one of the most recognized high-end audio brands, even among beginner-level audiophiles. The company was founded by Ken Ball, who had previously worked in the audio industry through ALO Audio, which mainly focuses on premium cables for headphones and IEMs. The brand’s motto is to push the boundaries of portable audio, delivering exceptional sonic experiences to audiophiles, musicians, and everyday listeners. Key aspects of Campfire Audio’s offerings include high-quality materials and craftsmanship, innovative acoustic designs, experimentation with a wide range of tunings across different models, and a philosophy of "small batch" manufacturing. Their IEMs are also known for their striking visual style, often featuring angular, geometric shapes, bold colors, and finishes.



Campfire has a rather extensive catalog of IEMs, with a large number of models released each year. The brand initially gained recognition with the release of Andromeda, which has essentially achieved a cult classic status. Although Andromeda is still being produced with new iterations from time to time, Campfire has been consistently introducing new market-disrupting models. This has diversified the brand's offerings, making Campfire one of the most innovative and diverse "mainstream" high-end IEM manufacturers in the world. Unlike many of its competitors, Campfire is known for its flexibility in experimenting with different driver configurations and tuning, setting it apart in the industry. They also price many of their products very aggressively as is evident from the Campfire Astrolith.

Astrolith, Moon Rover, and Supermoon: World’s Best Planar Trio

Planar drivers have been a staple in the audio industry for decades. However, the idea of an easy-to-drive, well-tuned planar magnetic IEM has only recently been realized. Audeze pioneered the concept by releasing their lineup of LCD in-ear headphones. These bulky and heavy earbuds do not seal and require heavy DSP correction to sound listenable. Next, Chi-fi IEM manufacturers started an affordable planar IEM movement by releasing universally loved models like the Letshuoer S12. These IEMs no longer require DSP or EQ to sound good but suffer from lackluster bass quality and occasionally peaky trebles.

The Supermoon was Campfire’s first venture into the world of planar magnetic IEMs, and it quickly established itself as a go-to planar IEM for many audiophiles. The Moon Rover and the Astrolith constitute the newest additions to Campfire’s lineup of planar magnetic offerings, and in typical Campfire Audio fashion, they are not just continuations of the Supermoon sound. Despite sharing the same DNA, the Supermoon, Moon Rover, and Astrolith each have distinct and unique tunings, showcasing significant differences.



Specs Comparison



Build, Aesthetics, and Comfort

The Supermoon and the Astrolith are similar in appearance and build. Interestingly, the Astrolith is slightly smaller than the Supermoon despite housing two planar drivers instead of one. Both in-ear monitors (IEMs) are incredibly comfortable despite their unconventional design. This is likely due to the custom IEM foundation of the Supermoon (which was initially released as a custom IEM) and its continuation. Although both IEMs are mostly made of resin, they feel sturdy and well-finished because the 3D-printed resin parts of the IEMs are solid blocks, unlike typical hollow resin-made IEMs.



On the other hand, the Moon Rover follows the classic Campfire Audio design language and resembles the Campfire Audio Andromeda, Ara, and Fathom. Only 888 units of the Moon Rover will be produced. Each exquisite titanium-built earpiece of the Moon Rover unit undergoes individual flame treatment, resulting in a unique gradient pattern for each earpiece. The design is reminiscent of high-end aftermarket titanium exhaust tips popular in car-tuner culture. Despite its sharp geometric edges, the Moon Rover is highly ergonomic and comfortable, similar to its two planar siblings. Additionally, it comes with the classic smoky litz cables from Alo Audio. All three IEMs are packaged in colorful cardboard boxes that might be mistaken for gourmet chocolate boxes. The accessory package is mostly the same for all three. However, Campfire includes a few additional items with the Astrolith, such as a beautiful long-wallet-style leather pouch.



Sound

Tonality and Timbre: Planar in-ear monitors or headphones from the same brand generally sound very similar. For instance, if you have heard the Arya or the Edition XS from Hifiman, you basically have a solid idea of what Hifiman's open-back ovals sound like. The same goes for the likes of Audeze and DCA headphones. It is impressive how Campfire has managed to create three distinct sound profiles for three different models despite some noticeable similarities.



The Astrolith has a bassy, U-shaped tonality with a clear emphasis on the low end, while the Moon Rover is probably the most neutral planar IEM I have come across. The Supermoon is more colored and warmer and thicker-sounding. In terms of timbre, the Astrolith just slays and can rival my other favorites twice the price such as the Aroma Audio Jewel and the Oriolus Traillii.

Given the dual planar underpinnings of the Astrolith, it is indeed a milestone for Campfire Audio, as planar IEMs are generally revered for their technical prowess rather than timbre. While not as warm as the Astrolith, the Moon Rover is still very accurate and lifelike for its price tag. It has a no-frills, studio monitor-esque sound profile that purists may find highly alluring. The Supermoon meanwhile has tremendous lower mids, proper note weight and impressive vocals.



Bass: The marriage of bass quantity and quality remains a rarity even in the ToTL IEM space. Ironically, I have found that unicorn in the form of a Dual planar IEM, not a single DD flagship. Astrolith’s bass is visceral, deep, and authoritative, yet with extreme precision, nuance, and control. I have never enjoyed bass drums on an IEM so much; that's how lifelike the low-end performance of the Astrolith is. There are other bassy flagships out there, but I would choose the Astrolith over its competition every day, except maybe the Trifecta, another flagship from Campfire Audio. I would say that they are equally adept at bass with Astrolith presenting a cleaner transition from bass to mids.

The Moon Rover has a more conservative approach to the low end. It still has a strong bass presence but doesn't overpower the other frequencies as much. Even though it is considered a neutral in-ear monitor, its bass quantity is still notably higher than the Sony IER M9 and Symphonium Helios/Crimson, which are all considered neutral and in a similar price range. The Astrolith, which costs twice as much, is in a different league altogether. Dedicated bass enthusiasts with a kilobuck budget might prefer the bassier Supermoon. Personally, I am in love with how the Moon Rover's low-end complements the overall sound quality of the IEM.


The Supermoon has a similar amount of bass as the Astrolith but with a noticeably boomier midbass and slower decay. There is some bleed into the lower midrange, and the bass is definitely the focal component in the overall sound signature. It’s a perfect IEM for the gym or early morning jogs, where you can just shut off your brain and enjoy your EDM and Techno playlist to the fullest. Hard rock and heavy metal also sound pretty fabulous and the Supermoon is pretty detailed for its price.

Midrange: Astrolith has the most U-shaped sound of the trio, while still sounding natural, because it is not U-shaped at an absolute level. The midrange is ever-so-slightly pushed back in the mix, which becomes especially evident when compared to the Moon Rover. However, Astrolith’s midrange is also the most refined and natural of the three. Midrange instruments and vocals sound incredibly lifelike and nuanced. In fact, Astrolith’s midrange can reveal even more background detail than my Aroma Audio Jewel which is almost exactly twice as expensive at $5200. However, unlike typical planar IEMs, the Astrolith has a linear and velvety midrange, showcasing zero instances of grittiness or leanness in the male vocals. Every tiny vibration and breath in the lead vocal's voice and every guitar string pluck sounds effortlessly present on the Astrolith without ever feeling forced, no matter how faint they are in the original recording.



The Moon Rover has a neutral and uncolored midrange, which is noticeably more forward than the Astrolith. Although not as sweet-sounding as the Astrolith, the Moon Rover easily outperforms other in-ear monitors in its price range regarding midrange timbre and details. I can't think of another IEM in the same price range that can produce a better midrange than the Moon Rover. The FlipEars Aether is a worthy competitor, but its over-reliance on lower midrange emphasis can muddle specific recordings. Meanwhile, the Supermoon handily outperforms Chi-fi planar headphones and the similarly priced Audeze Euclid in the midrange, offering noticeably more weight to the musical notes. I believe that the lively, vibrant midrange of the Supermoon complements its equally dynamic and lively bass response very well.

Treble: The Astrolith has exceptional performance in the high-frequency range. Its extension reaches all the way up to the uppermost frequencies, namely, the air region. Due to the smooth and linear nature of the overall sound profile, the Astrolith doesn't have the faintest hint of sharp "sss" sounds or consonants, harshness in the lower treble, or unevenness, even when playing extremely harsh recordings like "What’z Ya Phone #” by Tupac. I will not necessarily label Astrolith as a treble specialist as there are IEMs like the Subtonic Storm or Elysian Annihilator that specifically do treble even better; The Astrolith is still quite bassy and warm leaning. However, regarding treble refinement, I cannot think of a better flagship.



While quite airy on its own, the Moon Rover has a more subdued treble region than the Astrolith. When switching back and forth between the two, I had to take five-minute breaks because the brain burn-in made me briefly think that the Moon Rover sounded dark. It is even safer than the Astrolith in terms of sibilance, which is a blessing for those who are very sensitive to high-pitched sounds. The Moon Rover is basically the opposite of what Symphonium does with the top end, but it still retains the finer details. I do like Symphonium's treble as well, by the way, albeit differently presented.

The Supermoon continues to exhibit the same exciting characteristics of enhanced spice and color in the treble range. However, the increased energy in the lower treble needs some source matching to maximize results. Unlike the other two options, the Supermoon is less forgiving when paired with different sources. Apart from that, the treble is crisp and extends well, with sharp edges, while the Astrolith and Moon Rover take a more rounded and subtle approach.

Technical Performance: The Astrolith is definitely one of the most technically advanced and detailed in-ear monitors (IEMs) I've ever experienced, if not the most detailed and technical. Even compared to the Traillii or the Jewel, it effortlessly reveals background details with more finesse, which I'll discuss further in the track analysis section. Additionally, the soundstage is huge, rivaling soundstage masters like the Empire Ears Odin, the Sony IER Z1R, the new SoftEars Engima and the DITA Perpetua.

The Moon Rover also does a fantastic job in the technical department. Compared to the Astrolith, the background is not as black, and the soundstage is slightly less deep. The soundstage is more on the intimate side with pinpoint imaging accuracy. The Supermoon is somewhat comparable to the Moon Rover in the technical department. However, details are more easily discernible on the Moon Rover due to its neutral and safe tuning, while the Supermoon's energetic and fun characteristics may distract from analyzing the details. The Supermoon has a slightly larger soundstage than the Moon Rover, although their imaging capabilities are essentially identical.

Track Analysis

California – Joni Mitchell

One of the standout tracks for me is from the timeless album Joni Mitchell’s Blue. This track perfectly showcases the technical excellence of the Astrolith. Every guitar crunch and background detail was clearly percieved. I could discern details that I could not with the Jewel! That's how impressive the Astrolith was with this track! While playing this track, I noticed low-frequency details I have never heard before.

The Moon Rover also performed well on this track. The higher notes were quieter than the Astrolith, but Joni's vocals were more prominent. The minor details and nuances were quieter and more in line with its kilobuck peers. The Supermoon added some sparkle in the higher notes and more bass quantity, but I still preferred Joni's vocals on the Moon Rover.

Lateralus – Tool

I absolutely love this Tool track. It's one of my go-to tracks for testing drums, allowing me to assess both the quality and quantity of the low-end. There's also an interesting section with cymbal hits. As expected, the drums sounded terrific on the Astrolith. They surpassed any in-ear headphones I've tried before; not even the Fir XE6 gave me as much enjoyment as the Astrolith did on this track. Someone else said this and I find this to be true: the Astrolith sounds like a better tuned XE6 with slightly better details.

The Moon Rover also reproduced drum hits quite well, which is quite impressive considering its neutral tuning. However, I noticed that the Astrolith parses apart busier passages of a track, slightly better. On the Supermoon, the kick drums sounded powerful, almost too powerful. I enjoyed the extra punch from the boosted mid-bass, nonetheless.

Don’t Know Why – Norah Jones

It's time for some moody jazz with deep bass undertones. All three in-ear monitors (IEMs) performed really well on this track, but the Astrolith stood out with its exceptional background details and separation. The Moon Rover and Supermoon performed similarly, as this track is pretty mellow and safe to begin with.

September – Earth, Wind and Fire



I chose this track because it has intricate details from the start, followed by some complex sections that need top-notch separation and speed to be accurately reproduced. Astrolith performed exceptionally well right from the start, while Moon Rover and Supermoon were a bit subdued in comparison, especially in the beginning and some of the later passages. However, the evergreen happy-go-lucky funk spirit of this track was intact through all three IEMs.

Gangsta Rap Made Me Do It- Ice Cube



I will end this article with a classic Gangsta rap track that ironically has "Gangsta rap" in the title. Deep bass beats and sudden bursts of sibilance characterize this track. This track sounded the best with Astrolith and Supermoon. However, the Supermoon emphasized its sibilant edges, and the bass sounded a bit too intense. The Astrolith had the same intensity in the low end but in a much more refined manner. It also essentially eliminated all traces of sibilance. The Moon Rover sounded noticeably flatter than the other two on this track but was also the smoothest. The bass hit deep but not with as much authority and rumble as the other two.

So that's it for this shoot out. All three IEMs are excellent, but the Campfire Astrolith is probably the best planar IEM in the world right now and by a significant margin. It is arguably one of the best IEMs in the world right now and will likely make it to the Top IEMs of 2024 rankings we hope to release by the end of the year. A big shout-out to @BonGoBiLai who helped create this content. He is a supermoon!