Campfire Audio Mammoth

Greetings!

Today we're checking out one of Campfire Audio's newer mid-fi entries in the versatile Mammoth.

With a v-shaped tune, the Mammoth is not alone among it's family of Campfire Audio hybrids. What sets it apart and makes it one of the best they've released to date (in my opinion of course) is the relative restraint they took when tuning bass quantity, and the newfound emphasis on mids. It is certainly more even and versatile than other hybrids in the lineup, without making any drastic sacrifices to detail, clarity, aggression, etc.

I've spent nearly six months with this beast and it has worked it's way into my personal listening lineup, something that is quite rare given the literal hundreds of products I've listened to and reviewed over the last decade. Given this, you would expect me to enjoy it quite a bit, and you wouldn't be wrong. Let's take a closer look at why, shall we?


What I Hear While the Mammoth is another v-shaped hybrid entry into Campfire's lineup, I find it to be the best tuned of the bunch. It's considerably less skewed at the extremes than models like the Polaris II and Dorado 2020, with a stronger emphasis on timbre quality and vocals. As a result, this is one of my favourite Campfire models. It is versatile and technically capable without any glaring flaws.

Bass is boosted but not massively so. While the low end is slightly skewed towards sub-bass, mid-bass still has a decent amount of kick and adds a solid amount of warmth and density to the presentation. It is a visceral presentation, just not an aggressive one since notes linger a bit after the initial punch. The dynamic used here is relatively quick and does a fine job with rapid bass notes like those found in metal tracks, such as Havok's “D.O.A.”. Texturing is on the smoother side. It works great with sleek tracks like GUNSHIP's “Fly For Your Life”, but leaves me wanting slightly on grungier tracks like Black Tiger Sex Machine x Apashe's “The Grave (feat. Gabriella Hook)”.

The mids are where I was most surprised by the Mammoth, and where is separates itself from its stablemates. Lifted around 2.5k, it bring vocals into a position to play alongside bass and treble regions, without being overshadowed. Notes are well weighted with just the right amount of warmth to suit both male and female vocalists. I can enjoy Celine Dion just as much as Aesop Rock. Speaking of the latter, the Mammoth is one of a select handful of products that can tame the intensely siblilant (and awesome) album 'Spirit World Field Guide'. The recording is still aggressive, but it is significantly more listenable through the Mammoth that the vast majority of headphones/earphones/earbuds I've tried. Since the Mammoth is quite forgiving, I can handily recommend it to those who experience discomfort due to sibilant vocals.

Treble quality was another satisfying surprise. Notes are clean and tight with a a fairly linear move from presence to brilliance regions. With small peaks around 5k and 8k, the Mammoth finds itself outputting a solid balance of detail and sparkle. It's smooth and non-fatiguing with a lack of splash or looseness, to the point where it can make The Crystal Method's "Grace (featuring LeAnn Rimes)” with it's horrendous screeching affects a fairly enjoyable listen. Notes have solid air and space between them too, with decent transparency only coloured a hint by that mid-bass warmth. I don't find it harsh or fatiguing, even at higher volumes than I normally listen. In general just a very capable and technically positive performance here.

When it comes to sound stage the Mammoth is a bit more average. I found it to be well-rounded with neither width nor depth being obviously more prominent. Vocals have a reasonably close default positioning leaving effects to trail off reasonably far into the distance. It worked well with gaming immersion, such as in World of Tanks when shells bounce of your armour and whistle away. The Mammoth's imaging quality also helped with immersion thanks to smooth and decently nuanced channel-to-channel transitions. Tossing on the final few minutes of King Crimson's “Starless and Bible Black” shows off the Mammoth's ability to effectively separate and layer individual instruments in a busy, congested, purely chaotic track. Other iems do this better, sure, but the Mammoth is an all-rounder and it handles this without congestion, muddying, or compression.

Compared To A Peer (volumes matched with Dayton iMM-6)

Dunu DK-3001 Pro (469.00 USD): The DK-3001 Pro was one of my favourite products of 2020 thanks to its balanced sound and technical competency. Bass quantities between the two are reasonably similar with the Mammoth placing a few dB more emphasis on sub-bass, vs. the Dunu's more even and linear shift from lower to upper bass. As such, the DK-3001 Pro is less visceral and adds minimal warmth to the overall sound. It also has a thinner, lighter feeling presentation overall. The Dunu also better reacts to rapid notes and transitions, while also offering mildly improved texturing. The Mammoth's upper mid peak serves to boost its percussive attack and enable vocals to cut through the added mid-bass, but as a result it doesn't sound quite as natural and realistic as the DK-3001 Pro. Heading into the treble the Mammoth is technically brighter thanks to a more even presence/brilliance region balance and in general more elevated treble region. It also has a mild 7k peak which adds some shimmer, whereas the DK-3001 Pro dips and peaks instead at around 10k, skewing it's emphasis towards the lower treble. Because the Mammoth's treble is countered by a more abundant low end, I perceive the DK-3001 Pro to be the more bright-leaning of the two since the mild lower treble elevation sticks out and pretty evenly shares the spotlight with the mids and bass. In terms of speed and detail I find the two to be fairly even. Notes are a hint tighter and better controlled through the DK-3001 Pro, though neither is anywhere close to splashy to my ears. In terms of sound stage these two again go tit for tat. I find the DK-3001 Pro to sound a hint deeper while the Mammoth comes across overall a bit more round and even while drawing sounds a further into the distance. Imaging is sharper and more nuanced on the Dunu, while both do an excellent job of separating instruments. I found the DK-3001 Pro to layer better though. Overall I find these two quite complimentary. The Mammoth is the less serious of the two thanks to it's thumpier, more visceral signature. I'd use it for rap, EDM, and music they lays into artificial instruments, while the DK-3001 Pro does a better job with actual instruments and more heavily layered material.

Polaris II (499.00 USD): If you go into the Mammoth expecting a Polaris III, you'll either be disappointed or pleasantly surprised. They are very different beasts. The Polaris II is tailor made for bassheads thanks to its absurd bass quantity and extension which at its most extreme is a good 10dB above what you get out of the Mammoth. This gives it a warmer, somewhat stuffier presentation thanks to some minor bleed into the mids. The Mammoth does not suffer from this and also comes across faster, more detailed, and better textured, though the low end is still no detail champion. Like the Polaris, the presentation goes for smoothness over nuanced clarity. Heading into the mids the Mammoth is quite an improvement. Vocals are more prominent and much clearer with the reduced warmth giving the presentation a more natural and timbre accurate feel. Treble is more enjoyable out of the Mammoth too. Notes and tighter and more defined with a better balance in the presence and brilliance regions. Peaks are less exaggerated on the Mammoth yet it still outputs improved detail and a more satisfying shimmer as it better blends with the overall sound field. One area where the Polaris II outshines the Mammoth is in it's sound stage. Thanks to the underlying waves of bass and vocals which are set further back, I found the Polaris II to sound quite a bit wider and deeper. It better envelops you in the music, though that's all it does better. When it comes to technical qualities the Mammoth kinda stomps all over it. Imaging is pretty good out of the Polaris II, but lacks the nuance and fine shifts the Mammoth is capable of. The same can be said for layering and separation. The Polaris II is no slouch, the Mammoth is just straight up better. If you want a bass cannon the Mammoth is no replacement for the Polaris II, but for my listening habits the Mammoth is infinitely more flexible and in general is just a much stronger performer.

Dunu Zen (699.00 USD): Upon first listen comparing these two, it came as a surprise that the Zen was the bassier of the two. Like the Mammoth, it has a sub-bass bias, though it is more prominent on the Zen. As a result it produces and even more visceral experience on extra deep notes. In addition, the Zen's driver is quite a bit faster with extremely quick attack and decay qualities. As a result those big bass hits really slam, though I can find some enjoying the Mammoth's lingering decay more enjoyable. The Zen also takes it in the texture camp, better reproducing the dirty bass from groups like The Prodigy and Malibu Ken. Heading into the mids both have a boosted upper-mid region with the Zen taking it a step further. I appreciate how this brings up the Zen's vocals and aids in it's aggressive attack qualities, though it does negatively affect timbre leaving the warmer sounding Mammoth feeling somewhat more natural. Where the Mammoth drops emphasis leading into the presence region, the Zen holds strong with another little peak at 4k, then dips. This gives it the edge in terms of clarity and the tightness of individual notes at the expense of sounding a bit more closed in. Vocals sound closer by default than through the Mammoth. Both have a fairly well-rounded staging presence, with the Mammoth coming across wider and deeper overall. Where the Zen pulls back some points is in imaging which is razor sharp and extremely nuanced, and layering which is a hint more apparent than on the Mammoth. I find the Mammoth handles instrument separation is mite better though, which I'll attest to the multi-driver setup. Overall I find these two to be heated competitors. They go at v-shaped signatures in different ways. For me, I prefer the Zen thanks to it's sub-bass bias and stronger upper mids. That said, I feel most would enjoy the more mellow, warmer Mammoth more.


In The Ear Campfire's iconic design language returns for the Mammoth, with clean angles wrapped around a low profile design. Like other models in the lineup, the shells here are machined aluminum. This time they have been anodized in a lush blue, 'frozen tundra' finish. I think it looks fantastic, and is a more attractive shade than used on either of the Polaris models. As is usually the case with Campfire Audio products, fit and finish is class leading. Gaps between the black PVD finished stainless steel nozzle and two shell sections are nonexistent. The black tri-lobe screws holding the shell together are threaded perfectly and provide some contrast to the unique colouring. The inlaid Campfire logo has a party piece this time around, that being glow-in-the-dark paint. Definitely a gimmick, but it's enjoyable. Buyers at this price range tend to take things a little too seriously, so it's refreshing to see Campfire Audio let go and have some fun with their gear.

The cable is more-or-less the same one included with a number of other Campfire Audio products, though the glow-in-the-dark motif they've gone for for carries over to the hardware. The glowing 90 degree angled jack is smartly designed with an extension to permit compatibility with a wide variety of device cases. While the strain relief is still stiffer than I find ideal, I've yet to experience an issue with it on any other Campfire Audio product. These cables are plenty durable. Within the small, reliefless aluminum y-split, the cable divides sending two strands on each side to the ear pieces. Slotting into the top of the split is a small plastic chin cinch. It moves much more smoothly here than on older Campfire cables and as a result is much more useful. They missed an opportunity to make the cinch glow though. Tsk tsk. The same excellent preformed ear guides Campfire has been using for a while now are found on the Mammoth. They are light and flexible, yet they hold the cable securely in place behind the ear. The guides lead into the MMCX plugs which of course now glow in the dark. Left and right markings remain appreciably redundant with recessed L and R markings present on the plug and earphone body. Small blue and red dots round things out.

Since the Mammoth uses Campfire's iconic angular shell design, those who have had issues with it in the past won't experience anything new here. For myself, I find it extremely comfortable, though I still prefer the short, stubby nozzles of the 2020 Andromeda to the longer nozzles found here. The shell used here is the refined version we've come to expect. While angular, the more aggressive edges have been rounded out making it more pleasant to wear for long periods. This shell design and the shape of my outer ear are very much compatible with each other. When it comes to isolation I found the Mammoth to be below average. On the face plate of each ear piece is a small vent that lets in outside noise, but more offensively, exacerbates the noise of wind rushing by. While not nearly as bad as it was on the original Polaris, it is still quite distracting when walking outside when there is a breeze. If you want to improve isolation pair the Mammoth with tips that give a decent depth of seal, have multiple flanges, or use a thicker silicone wall, like the included Type-E tips. Or better yet, use the included foams.


In The Box The Mammoth's packaging follows the format set by 2019's releases with the earphones arriving in a squat, square box, protected by an exterior sheath that is sealed shut by a shiny Campfire Audio seal on the back. While their typical astronomical theme was brought back for the Holocene, the Mammoth sticks with a more abstract theme, this one being “All Seeing Eye”. On the front of the sheath is a large sticker with an image of the earphones along with the usual branding and model info, all set over top of a vibrantly coloured, stylized eye within a triangle design. Another sticker is present around the front edge containing another image of the earphones, some company info, among other details, all set over the same wacky background.

Breaking the seal allows the sheath to unfold in four segments revealing the main box within. Lifting it out reveals the same uplifting interior to the sheath we've seen before; the CA logo dead centre with rays exploding outwards in a dramatic fashion. Looking back at the main box we see Campfire's familiar mountainous scene along with more CA branding. Lift the lid and you're greeted to “Nicely Done” printed on the front flap and their now standard half-moon carrying case, though this time it is made from upcycled marine plastics with glow-in-the-dark accents; the zipper and Campfire Audio logo. You also find a smaller cardboard box containing the main suite of accessories. Tucked beneath it all is a warranty card and manual. In all you get:

• Mammoth earphones
• All-Seeing Eye Carrying case
• Smoky Glow Silver Plated Copper Litz Cable
• Final Audio tips (xs/s/m/l/xl)
• Campfire Audio Marshmallow tips (s/m/l)
• Medium bore single flange silicone tips (s/m/l)
• Campfire Audio lapel pin
• Cleaning tool
• Mesh accessory case (x3)

Overall a pretty fantastic unboxing experience, as I have come to expect from the brand. Their use of recyclable, sustainable materials is a brand standard and a welcome departure from the needlessly complicated (though fun to disassemble) and less environmentally friendly packaging of the competition. The accessory kit is right up there with the best I've experience thanks to the inclusion of a wide variety of tips and styles. Final Audio's Type E tips are durable and provide a fantastic seal, giving most earphones you pair them with a slight low end boost thanks to the small bore. The included wide bore tips are fairly standard but they too provide a good seal and are a more balanced sounding option. Campfire's Marshmallow tips have shown themselves to be fairly resilient for a foam tip and do a great job of boosting isolation and softening treble peaks. The inclusion of a number of mesh bags to store everything in is awesome too.

Final Thoughts I've certainly enjoyed Campfire Audio hybrids over the years, and 100% appreciate their style of tuning, even if I don't always enjoy it. They don't usually tune for the status quo, instead injecting a wide variety of sounds into their lineup, each tailored to a specific type of listener. The Mammoth somewhat takes step back from this, and I think that was a wise decision.

As a mid-tier product, it has a jack-of-all-trades quality to it. While still v-shaped, it is less so than their other hybrids and as a result you get improved timbre, more forward and natural vocals, and less fatigue over long listening sessions since there isn't ear drum shattering bass, shouty mids, nor aggressive treble. The Mammoth is a wonderful all-rounder that gives you a taste of the various tuning styles within Campfire Audio's lineup. If you want more bass, move up to the Dorado 2020. If you like the detail and clarity on offer and want more of that, try the reference tuned Holocene or step straight up to the Ara. If you like the silky mids, go with the tried and true Andromeda 2020. It really is a well-tuned and extremely versatile, genuinely enjoyable earphone that deserves more attention.

In addition to being well-tuned, you get the same awesome accessory kit we've come to love and expect from the brand. Campfire's iconic shell is part of the deal too, and it looks outstanding in the dark blue selected this time around. I can't argue against the glow-in-the-dark aspect either. It looks neat and is a fun, welcome addition, even if it is a bit gimmicky.

Overall a stellar piece of equipment that should satisfy buyers for a long time. Nicely done Campfire Audio. Nicely done.

Thanks for reading!

- B9

Disclaimer A big thank you to Caleb with Campfire Audio for reaching out to see if I would be interested in reviewing the Mammoth, and for arranging a sample. The thoughts within this review are my own subjective opinions based on almost 6 months of use. They do not represent Campfire Audio or any other entity, and do not detract from the opinions of others who may or may not have listened to the Mammoth before posting their opinions. At the time of writing the Mammoth was retailing for 549.00 USD: https://campfireaudio.com/shop/mammoth/

Specifications

• Frequency Response: 5Hz-20kHz
• Sensitivity: 94 dB SPL@1kHz: 18.16 mVrms
• Impedance: 8.1ohms @ 1kHz

Gear Used For Testing Huawei P40, DDHiFi TC35 Pro (Mountain), Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

CAMPFIRE AUDIO has already been famous for their highly sensitive, easy to run iems and the most notable ones are Andromeda and Solaris which have already captured a lot of hearts. Each model in their earphone lineup is designed and assembled by hand in our Portland, Oregon workshop. Coming onto today, I am gonna review the CA Mammoth today which is a new refresh of their 2021 lineup (probably a successor to their POLARIS; sorry but I don’t have hands on experience with that at all )

DISCLAIMER- THIS IS A UNIT WHICH BELONGS TO MY FRIEND WHO HAS GOT THEM FOR REVIEW AND I TOOK A LITTLE LOANER FROM HIM TO TRY MY FIRST FORAY INTO CAMPFIRES OFFERING. I WANNA THANKS @suman134 AND @CampfireAudio FOR LETTING ME LISTEN TO SOMETHING THIS GOOD!!!

CAMFIRE AUDIO MAMMOTH-

SPECS-

• 1 BA for MIDS
• 1 BA for HIGHS
• 1 Custom 10mm Bio-Cellulose Diaphragm Dynamic Driver for BASS
• 5Hz–20 kHz Frequency Response
• 94 dB SPL @ 1kHz: 18.16 mVrms
• 8.1 Ohms @ 1kHz Impedance

As for me it was easy to run off my N6ii with T01 module (med gain and 20-30 volume range) and even my LG G8x (50% on volume) and Samsung S10 lite (60% on volume was good enough) and Apple XS Max (75% on volume) (last two I had to run dongles haha!!! BTR5 was also pretty good with it. It’s quite easy to run off anything… But does amping change it much NOPE, but different sources will have different SQ.

I did try to run this off my XDUOO MT602 and it was really good but very microphonic while playing music if you touch the desk or the cable, but very tiny noise was heard , when there is like nothing playing volume was around 9am (Your ears would blow up at that level for sure HAHA) but not with either of the SS amps- L30 or A30 (burson V5i modded)

UNBOXING EXPERIENCE-
It was one of a kind for sure. It’s not a classy type but more vibrant type of unboxing experience. I was just amazed with the patterns and all and you won’t be disappointed!!! It’s not as good in accessories and connectors as DUNU is but it’s pretty good!!! I will let the pictures speak for itself…




EDIT- The carry pouch is actually of holocene here haha !!! yup i have both hence it got mixed up

IEMS- BUILD & FIT-
It’s machined aluminum body, with ‘Frozen Tundra’ blue anodized finish. Now I dig this blue neither too shiny nor a fingerprint magnet!!!

It has those custom beryllium / Copper MMCX Connections and lemme tell you can’t remove the connectors at all!!! (I tried and I failed HAHA) It has black PVD finished stainless steel spout.

Fit for me was right on point, it was easy to fit shell inside the ears but I would recommend to go for a bigger ear tip than what you use to provide better isolation.

CABLES-
These are the same as Holocene - ‘Smoky Glow’ Silver Plated Copper Litz Cable – 3.5mm Stereo to MMCX connectors and they are really supple with not all being microphonic. They are pretty thin though. Now those GLOWING mmcx connectors and 3.5mm plug might not be everyone’s cup of tea but for me they did help at night haha!!!

I would have loved to see some better cables and definitely a 4.4mm or 2.5mm connector as a standard and adapters for everything else but alas this is what you get!!!

ACCESSORIES-
CARRYING POUCH- While learning out more seems like the covering plastic is made from those microplastic in the ocean and it’s a good noble cause which is I would mention it in my review !!! and the bag color is vivid to say the least not in my tastes but my sis in law surely loved it (so yeah subjective ) It seems like it would match a beach T shirt or Coral reef hehe!!!

3 baggies- Final Audio Tips (xs/s/m/l/xl) ; Campfire Audio Marshmallow Earphone Tips(s/m/l) ; Silicon Earphone Tips (s/m/l) ; Campfire Audio CA Lapel Pin and the best thing an wax cleaning tool I would love to see adapters , since coming onto 2021 everyone includes it nowadays and yes an MMCX removal tool lol for incompetent people like me HAHA

NOTE- ALL SONGS ARE DONE LISTENING WITH STOCK CABLE AND LARGE FINAL AUDIO E TYPE TIPS!!! AND YES, My testing equipment- N6ii with T01 module, BTR5 and LG G8x on the portable side CAYIN N6II WITH T01 AS DAC and topping A30s (modded with burson v5i) and L30 AND XDUOO MT602 on desktop side.

COMING ON TO THE SOUND CHARECTERISTIC(THIS IS MY SUBJECTIIVE OPINION YOURS MIGHT VARY)

BASS-
SIGNAL IN THE NOISE – GO GO PENGUIN- This is really good fast music with drums and those guitar hits in the sides and slowly going into the mids…Then the piano in the mid with fast keys on right and long keys on mid to left Really lovely stuff (Thanks to Andrew from TheHeadphoneShow on youtube, for introducing me to this).

Bass is really something different in experience here… it's really good, makes you just enjoy them music a lot. It’s feels fun type with those DD’s just adding that body to the mid bass making it really feel musical and fun type. The bass is textured and with great tonality too. The way it's just separates the drums I just love it. The bass is pretty dynamic too with each hit sometimes having different feel but it's a little difficult to hear (a little high volume just helps it am losing my hearing maybe just kidding ) but it's there. It’s getting that DD feel (I know it’s a DD ) but with BA speed and decay!! Lemme elaborate a bit – The decay is fast and really ends fast like a BA, it has a good enough body and beginning to the note but endings are way too fast for my taste, makes them not having that atmospheric feel, they don’t surround you!!! Bass had more visceral feel at the beginning rather than a thicker body presentation… In case of busy tracks, the kick bass is felt more but not easy to see, with percussive hits of the snare drums much better portrayed but missing that air in the snare drums and bit of timbre too…

The timbre is pretty okay too but something about it with that body and amount and excellent tonality, which just made me reach for it one more time, one more time, one more time, before I found that it’s 3am and I have just gone through all my bass tracks . I could just say one thing it’s fast with decay (great with good fast tracks) but it’s nails everything else in such a nice way that I am happy pretty much and it’s just fun…

SUB-BASS-
NYCTERIS- HANS ZIMMER AND JAMES NEWTON HOWARD & LIMIT TO YOUR LOVE -JAMES BLAKE– For first song - from 0.30min the simple hits of the synth and the timbre from it is really good. Then the 1:37min the further hits and the slow receding sound makes it awesome song to test your sub-bass and bass atmospheric feel here. For the second song, its just a lot of background sub-bass from 0.55min, its just lots of sub-bass and ohh, if your iem/ headphone/ speakers have the rumble, you will definitely feel it move you!!!! HAHA, pretty much haha!!!

Sub-bass is something different here. It goes really down straight to 25hz and is fully dynamic and textured. The sub-bass has an enormous rumble and it makes you feel that right into the jaw, and really comes through in the songs like mentioned above. The sub-bass has a faster decay and hence the atmospheric feeling, though there, but feels fast. The tonality is great and the differentiation of rumble is nicely felt. The sub-bass though rumbly but, lacks body a bit and feels less thick for me at least. Maybe I think, it’s the thicker mid-bass which overshadows the sub-bass a bit but not that this is not gonna be a problem for sure. There is enough of it and it shows through but a little more would be more in my preference.

MIDS-
VOCALS- MALE VOCALS- BIBLICAL- CALUM SCOTT; AIN’T NO MOUNTAIN HIGH ENOUGH-IL DIVO, MARVIN GAYE & FEMALE VOCALS- SKYFALL-ADELE ; MIDNIGHT AT THE OASIS-RENEE OLSTEAD AND FOR MIDS- BONFIRE HEART-JAMES BLUNT; WRITING’S ON THE WALL -SAM SMITH & THE WOLF AND THE MOON0 BRUNUH VILLE-

Adele has a really voice and the track I used has a lot of piano and other instruments and make this very nice song to judge vocals and bleed. While the other vocalist, Renne, this songs of hers, has that sibilance factor to it. She emphasizes the ‘S’ a lot…

The vocals are one of the best-balanced ones I have heard!!! The males’ vocals are really controlled, enough thick and yet have that range, that sometimes the vocalist does to get that feeling of high-pitched voice, which is portrayed pretty nicely. The notes are thicker here at the beginning and they decay very fast at the end, adding that sense of control but losing that extension at the end . The reverb though which is heard in some songs comes up pretty nicely but again that fast decay takes it away very fast, like my mom does when I just start to play games at night by calling me to have dinner Small micro details like lip smacks here comes up pretty easily. A little more room to male vocals would have been just perfect but this imo this is not bad at all…

Coming up to female vocals, they are just perfect!!! The tonality seemed spot on but then listening more showed its actually better, with more air in the end of words that which seemed not to be emphasized at all with the name vocals. The consonants don't have that crazy sibilance unless the vocalist (I am looking at you Renee ) decides to add that ‘sss’ to her voice . The texture is pretty much portrayed better too. The notes decay is also fast but not as fast as those of male vocals and hence female vocals surely triumph better in this iem. Since the vocals are forward like the rest of mids, it just makes this a very joyful experience . I just could not put it down after I started my playlist Hence 15 days in, and I am still listening to it continuously But as in a summary, this is pretty much in among the just below best category iems…

Instruments in the mids have a fun and foreward presentation. The tonality is perfect. The stick to the fun category more than the analytical type. The presentation of the instruments here are so dynamic that me changing the volume wheel so much made me worried of my N6ii . The notes have really good, controlled timbre and seems like the campfire went through a safer tuning here as there is no congestion at all with lots of instruments going, none of their timbre gets mixed up at all. This faster decay is lovely through busy tracks but it’s lacks a bit in case of slow instrumental tracks. The notes have an overall balanced presence, with good thick body and longer and faster ending and beginning. One thing this missed is air in instruments, it's there but not enough for tastes. The space of an instrument is pretty much set one place and it’s really easy to locate them, a little diffuse presentation in utmost busy tracks where recording makes the kick bass and snare drums just near each other. The upper mid instruments where the string instruments lie mostly are having a little less timbre than the lower mids instruments but all in all the decay is fast for everything!!!

TREBLE-
SIGH PRAFUL; BLUES HAND ME DOWN VINTAGE TROUBLE; HUNTING GIRL- JETHRO TULL & WELSTCHMERZ- FISH
The treble is pretty good, keeps up the energy it got from the mids. Its tonally correct, I didn’t feel much of the BA metallic timbre except from the crash cymbals a tiny bit but that where it should feel like metal haha!!! Hi-Hats are pretty good, the simple hits between them when they are closed and open is portrayed pretty nicely. The texture is great with the electronic guitars, and the dynamic nature of the different instruments comes up pretty nicely. The flutes and trumpets are awesome and have a little amount of air feel to them unlike the others. The notes are well enough differentiated in all the states with their base, body and the beginning. The decay is fast here and hence the timbre suffers a bit but the bell rings and the reverb it creates, comes up but just doesn’t stay long enough to add to the surrounding atmospheric feel and realistic vibes to them. The treble extends pretty nicely on the top end and is energetic and has that sparkly feeling to them. It’s very dynamic and textured but details need a little more gain on my N6ii. Don’t get me wrong this doesn’t make it bright for any reason and hence don’t have that ohh!!! too much treble feels at all. I say it’s pretty good in the treble region with avg – good details which comes up pretty easily and doesn’t pierce you Its pretty much not like an EST treble but comes near it for sure. It surely lacks air here but then I think Campfire audio tried to make this a FUN iem rather than an analytical iem, this thing has both the brass and the brawn to be FUN as well as enough detailed so as to not make you feel exhausted after an hour!!!! I kinda dig this sound-signature it feels like!!!!

HEADSTAGE-
It’s not a wide iem and doesn’t have beyond the universe feeling (just kidding) Furthermore this has an inside the head feeling with mids and everything Infront of you like you are sitting in the front row of the opera haha!!! But this thing is tall and has good depth feeling to it. The stage depth is fine too not too much projection in to the Z axis. The details are not lost at all with this intimate head-stage but this is why I think they went with a faster decay!!!

IMAGING SEPARATION AND RESOLUTION-
The imaging is pretty sweet and is top notch at this price and competes well among the others in this price range!!! It doesn’t feel like a precision iem but the instruments can be easily heard and their location felt in the head-stage. The separation is excellent and not a hint of congestion in the fast tracks. The resolution is topnotch and it is not slouch either when compared to similarly priced iems, it might lose a bit in the microdetails but that’s fine with me since this is probably meant as a fun iem rather than not being one!!!

COMPARISON-

CAMPFIRE AUDIO MAMMOTH-
FUN IEM
INTIMATE PRESENTATION (MIGHT BE A PRO OR A CON)
GOOD DETAILS
VISCERAL MIDBASS AND GOOD SUBBASS
GREAT SPARKLE IN TREBLE, YET NOT TOO BRIGHT
VOCALS ARE REALLY BALANCED, GOOD AND MORE DEFINED TOO (AMONG THE COMPARISONS THIS WILL BE THE MOST SUBJECTIVE)

VS DUNU SA6-
GOOD MIDBASS PUNCH
MIDS ARE DEFINED IT FELT LIKE
TIMBRE IS BETTER
DETAILS ARE BETTER IN TREBLE
LESS ENERGETIC TREBLE

VS DUNU ZEN-
VERY LESS SUBBASS
MIDBASS PUNCH IS MORE
BETTER TIMBRE
MORE AIR IN INSTRUMENTS
SLIGHTLY LEANER TONALITY
MORE WIDER STAGING
VOCALS HAVE MORE BODY
LESS ENERGETIC TREBLE
GOOD STAGE DEPTH

SUMMARY-

Ohh my!!! Even though I like big soundstage and more details and love an airy presentation, this iem which is neither any one of them still has my heart. It’s fun and presents everything in the FR graph really easy with not a hint of effort and I just can use it for long periods of time too!!! (I know I do rest my ears too haha!!!). It’s just that the tonality, a good number of details in mids, highs and the low-end with beautiful forward presentation has me clinging on to this more than my POLA too!!! Well campfire did nail this line down “Mammoth’s bold and vibrant sound offers a surprising combination of visceral fun and technical brawn” and I wholeheartedly recommend this iem since this just gives the soul to the music…

Campfire Audio Mammoth : Truly Mammoth Experience!


Disclaimer:

This review unit was sent by @CampfireAudio for the purpose of an honest review.
Everything mentioned in this review are purely my own based on my experiences with the IEM.



Introduction:

In July 2021, Campfire Audio launched 2 new IEMs: Holocene & Mammoth. Mammoth is a Hybrid IEM with 1 10mm Bio-Cellulose Diaphragm Dynamic Driver & 2 Balanced Armatures . Mammoth’s bold and vibrant sound offers a surprising combination of visceral fun and technical brawn. Despite the V shaped tuning of the Mammoth - I have found myself going back to it again and again as the sound was fun and enjoyable.

The Mammoth is priced at $549



Tech Features:

Mammoth features 1DD + 2 BA architecture: 1 custom BA for highs, 1 custom BA for mids, and a new custom 10mm bio-cellulose diaphragm dynamic driver. This dynamic driver has an old-school sound and bass hits to holographic realism.



Specifications:

Specifications are as below:

https://campfireaudio.com/shop/mammoth/

• 5Hz–20 kHz Frequency Response
• 94 dB SPL @ 1kHz: 18.16 mVrms
• 8.1 Ohms @ 1kHz Impedance
• Machined Aluminum Body
• ‘Frozen Tundra’ Anodized Finish
• Single Custom Balanced Armature (High)
• Single Custom Balanced Armature (Mid)
• Single Custom 10mm Bio-Cellulose Diaphragm Dynamic Driver
• Custom Beryllium / Copper MMCX Connections
• Black PVD Finished Stainless Steel Spout
• ‘Smoky Glow’ Silver Plated Copper Litz Cable – 3.5mm Stereo to MMCX connectors

Design & Build Quality:

I think the Mammoth comes with good looks, that’s both striking and ergonomic. The machined aluminum shell looks awesome & very premium. The shape of the IEM is nice & very light-weight that and provides a comfortable fit for long listening sessions.
In terms of build quality & comfort - the Mammoth is amongst the best that I've come across so far in the given price range.




Packaging & Accessories:

The Holocene continues the typical packaging styling Campfire Audio has been using since 2020.The theme is back to a brown box with the customary collage of colors and the Holocene itself on the front label.

Flip the box lid and inside you have the accessories inside a similarly colored cardboard tube and an all-new Campfire Audio ‘Epoch’ SEAQUAL® YARN Earphone carry-case inside of which you will find the Holocene and the Smokey Litz cable. As always with Campfire, the accessory line-up is just beautiful as well as plentiful.

The full lineup of accessories closely matches other Campfire IEMs of 2020:

• Final e-tips (xs/s/m/l/xl)
• Foam Marshmallow tips S/M/L
• Silicone single-bore tips S/M/L
• 3 x cushioned pockets (for the monitors and foam tips)
• Cleaning brush/pick
• Campfire Audio ‘All Seeing Eye’ SEAQUAL® YARN Earphone Case
• Campfire Audio Smoky Glow Litz Cable – Silver Plated Copper Conductors and 3.5mm Plug
• Campfire Audio pin badge

The Stock Cable:

The cable is the Campfire Audio Smokey Litz Cable – Silver Plated Copper Conductors with Beryllium Copper MMCX and 3.5mm plug which is good sound wise and also looks wise. Really nothing to complain about here - all good.



NOW LET'S TALK ABOUT THE SOUND....



Items Used for this Review:

DAC/AMP: @iFi audio Micro iDSD Signature,
DAP/Source : Cayin N6 Mk2 with T01 motherboard, @Shanling M6 PRO (Ver 21)
Streaming Source: QOBUZ



Ear Tips:
I've tried tip-rolling with a variety of tips including Final Audio E Series Transparent Red, @SpinFit Eartip CP145 and JVC Spiral Dots. I've found JVC Spiral Dots to suit me preferences best and have used that mostly.



Tracks Used:
The tracks I have used can be found from the below playlist that I have used and generally use for most reviews... I would like to thank @Otto Motor for his contribution here.




Let's now talk about the quality of Sound....




The BASS:

The Bass of the Mammoth comes with excellent details and depth. In tracks like : "Anna R. Chie (Remastered) - Konstantin Wecker" and "My Queen Is Ada Eastman - Sons Of Kemet" you can really feel the drums and their attack with ample transients and natural decay. I would say that the Bass on the mammoth is amongst it's stronger traits. It has muscle, texture, good amount of details coming from sub-bass region and good depth in the thump & slams. it is more than satisfactory for the price range that this falls into.


The MIDS:

Midrange is where the Mammoth strives a bit – mainly due to the it's V shaped tuning, but despite that seemed very open . The midrange on Mammoth has ample muscle & texture. The vocals are very immersive and both male and female vocals come with good amount of details. Instruments sounded natural. Guitar plucks were not followed by enough transients in tracks like: "Porch Swing - Trace Bundy" and "Rickover's Dream - Michael hedges" to make it enjoyable. Being recessed it was just missing the extra finesse of the midrange of something like the SA6 or Holocene. Otherwise, midrange seemed above average if compared to other V shaped IEMs.


The TREBLE:

Treble is quite enjoyable and non-fatiguing. Cymbals sound natural and tracks like “Chocolate Chip Trip – Tool” sounded great and the track was very enjoyable.
The treble has enough details and texture however, there is slight roll off effect in the upper treble - but that is rare. Overall treble performance is commendable and better than many V shaped IEMs at similar price.


The SOUNDSTAGE:

The Mammoth has a massive Soundstage with a great width & height emphasis and also great depth – much better than most other IEMs of similar price range. It is as great for acoustic based track as it is for Rock or Pop genres. It is well defined and just as much as the track requires. Tracks like: “ The Secret Drawer – Bela Fleck and the Flecktones” or “Bohemian Rhapsody (live aid) – Queen” just sound awesome due to the great staging capabilities.


Imaging & Timbre:

The Mammoth also comes with just great Imaging & timbre performances. Tracks like: “Rotterdam (Or Anywhere) - The Beautiful South “or “Hello Again - Howard Carpendale & The Royal Philharmonic Orchestra” just shine through due to the great separation & sense of positioning and timbre.



Comparisons:



CA Mammoth vs DUNU SA6:

The DUNU SA6 comes at exactly same price of $549 but is an ALL BA IEM. It is a great all-rounder IEM and very balanced performance in all departments . However, not to forget that the Campfire Audio Mammoth is a beast when it comes to technical performance and enjoyable sound. For the purpose of this comparison, I have kept the "Atmospheric Immersion mode" to ON on the DUNU SA6 - as it enhances bass and the Mammoth is a great performer in that department.


Bass:

The DUNU SA6 is a good balanced performer when it comes to bass specially with the "Atmospheric Immersion mode" to ON. Despite that, the Mammoth bass seemed much better with better density, depth and transients. The drum percussions were much better felt on the Mammoth than the SA6.

Mids & Treble:

The DUNU SA6 has a great midrange and treble performance for the price range as it is tuned closer to the Harman Curve. This is the weaker side of Mammoth and due to the recessed Midrange compared to the SA6 - despite the open-ness and good details and texture, this is where the Mammoth loses out. The SA6 seemed to have more finesse both in mids & treble - however I felt the Mammoth treble slightly more enjoyable.


Soundstage & Timbre:

This is where the Mammoth wins hands down as the SA6 staging though good but is much narrower than the mammoth in every single aspect. Imaging and Timbre seemed equally good on both the IEMs but Mammoth just gets the brownie points for better staging here.



Conclusion :

The Campfire Audio Mammoth is part of the new era - and era of enjoyable music with glow-in-the-dark accessories which makes them easier to find at night while enjoying music in the dark. Both the Holocene & the Mammoth comes with this special feature. I think the younger crowd will welcome this new change. Meanwhile, in terms of raw sound performance - this is just a great IEM for enjoyable music and is great for the price point it comes in. I would recommend this IEM to people who like a bit more bass with enjoyable music.