Campfire Audio Polaris

General Information

Our 8.5mm dynamic driver transducer is optimized for performance with our new Polarity Tuned Chamber™ design. 3D printed tuned chambers on both front and back of our driver maximizes the sonic performance.

A balanced armature transducer coupled with our Tuned Accoustic Expansion Chamber™ (T.A.E.C.) compliments the dynamic driver; seamlessly working in harmony to acheive audio excellence.

Latest reviews

Pros: - FUN, 'in-your-face' tuning without being too bassy
- coherent
Cons: - recessed upper-bass and lower mid
- timbre of the highs
Campfire Polaris Review

Disclaimer: This Polaris unit was graciously lent in by a friend who purchased the unit in full price for limited period of time. I am not affiliated with Campfire Audio and the review reflects my honest opinion on the Polaris.

Introduction: Not needed. Campfire Audio is a company that is already known throughout the audiophile community with many well-praised products and the recent hype for the Solaris. The Polaris, released back in 2017, seems to have been forgotten and apparently discontinued (out of stock) on the website. I have got a chance to demo a unit back in 2017 Canjam RMAF and, though for a short listen, was impressed with the tuning though I wished I could get more ear time with it.

Fit: Briefly, the Polaris fits better than the Andromeda to my ears due to longer nozzles – better isolation and more secure fit (with final audio e-type tips).

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Overall: The impressions you are about to read are taken from the Polaris played directly from iphone X with stock cable. First thought that came in when I plugged these in was “Wow, these sound really raw”. To elaborate on that, the Polaris does not hold back its punches in any of the frequency regions. To my ears, it does not present the sound in V-shape manner – vocals still come through with dominance. V-shape with the upper-bass/lower-midrange at the bottom of the V perhaps.


Bass: Equipped with a dynamic driver, of course the Polaris delivers impressive bass. The bass, in the overall presentation, is not too dominant nor too forwardly placed – perhaps a little forward when compared directly to the midrange. There is no bass bloom to be seen anywhere – the lower region is undoubtedly sub-bass focused with relatively attenuated mid- and upper-bass. This might suggest the bass being on a drier side of the spectrum, which is true to a certain extent, however, the texture of the bass is very much indicative of dynamic driver – liquidy, smooth and punchy. This is the bass that you can ‘feel’ more than ‘hear’; don’t get me wrong here, you can still definitely hear it but the ‘head-banging’ factor is definitely there. I will note that, as with most dynamic drivers, the quantity of bass is very dependent on the track – if the bass is emphasized in the mix, the Polaris will not hold back. However, if the track is not bass-prominent (i.e. soft instrumental pop/rock), the bass will not be as present even though the bass will still be there though. In other words, this bass is NOT artificial as is the bass from most BA drivers. Lower-end extension is impressive.


Mids: The lower midrange is noticeably dipped, starting from the mid-bass going up the lower midrange, resulting in lack of warmth in vocals and midrange instruments. Male vocals, especially lower-pitched ones, lack the chesty quality – power and emotions do not get through very well. Upper midrange, in the other hand, is accentuated and this quality brings vocals forward, especially female vocals. What I am impressed the most by the Polaris’ midrange is its ability to present music in an ‘unfiltered’ way – the Polaris does not smooth things out too much; i.e, electric guitars retain their crunchy edges. The midrange does not sound ‘veiled’; the mids are clear with decent room between instruments. I do appreciate this tuning though; with the lower midrange sacrificed, it allows for upper midrange to be presented in such clean and ‘in your face’ manner. Vocals are easily separated, almost as an isolated line of notes with coherency still intact, from the mix. If they have the lower midrange pushed up, I do not think that the Polaris would retain this characteristic and coherency could have been lost. Still, with some poorly recorded tracks, the timbre of the mids can come off a little plasticky. Nevertheless, the Polaris’ upper midrange never comes across as sibilant – something that I have seen with IEMs that try to push the upper-midrange for extra clarity. In brief, this is not an organic nor the most natural midrange, but for where it stands, the Polaris executes midrange with authority.


Highs: Lower treble is prominent – cymbals and hi-hats are brought forward. The theme of ‘rawness’ continues here, where the highs are prominent and do demand your attention, but the Polaris does so NOT in an obnoxious manner. Most of the time, I don’t detect any sibilance here. The highs, despite their prominence in the mix, are not very bodied – high notes are forward but their sheer size (how much space each note occupies in the audiovisual landscape) is not very big. Again, this particular characteristic partially contributes to its timbre being a little plasticky at times. Extension is decent at best; I do not hear the highest of highs (like I do with the Zeus or W900) here but at this price point, the Polaris does not lack behind.

Technicalities: Decent for the price. The stage of the Polaris is reasonably expanded in both X and Y directions and height is just okay. There is generous amount of space between instruments resulting in great separation. Imaging, however, is just mediocre. Not terrible for the price, but definitely not at top of its class. I do not get the sense of exact location of each instrument on the stage and the construction of the stage is not very holographic (3D) – I do not hear the wall of sound enveloping the stage from all directions. Resolution is decent – not smoothed over nor blurry by any means but definitely not at the TOTL level. Macro details are pushed in front while micro details are not very apparent or present (Please don’t get me wrong, it is NOT BAD by any means as I will elaborate more on this in the comparison section – all things are relative).


Select (available) comparison:

Campfire Andromeda: I know this is not a fair comparison, but since the Andro is such a classic I figured a lot of people would get the idea of hoe the Polaris sounds with this comparison. Starting with the bass, I would say that the overall quantity is similar; the Polaris focuses more on sub-bass where the Andro has slightly more mid-bass. Extension is similar on both. However, the bass texture of the Polaris, thanks to its dynamic driver, takes the cake. It’s more liquid-y with higher dynamic range – all in all, a more engaging bass. The midrange of the Andro is more warmth-infused compare to the Polaris – lower midrange of the Andro is significantly more present, resulting in vocals and midrange instruments sounding much fuller, denser and more bodied. Male vocals sounds chesty, a quality that the Polaris simply lacks. However, coming directly from the Polaris, I feel as if the midrange of the Andro is alightly smoothed over and laid-back whereas the Polaris is more transparent and engaging even though the sheer resolution of the Andro is higher. Upper midrange of the Andro is more in-line with the rests of the frequencies on the Andro where the Polaris pushes the upper midrange forward and thus vocals on the Polaris are more separated from instruments. Moving up to the highs, the timbre definitely goes to the Andro – the highs sounds much more natural whereas the Polaris sounds metallic when compared directly. Extension is much better on the Andro. Staging-wise, the Andro is much more holographic and the stage expands in all three directions – a bigger and more complete stage with significantly more headroom compared to the Polaris. Imaging is better on the Andro where spatial cues are more distinguished and easier to pick out. In brief, Andro is a warmer and has a more complete and mature tuning while the Polaris is more engaging (younger at heart if you will). There are times, when sheer enjoyment, head banging experience, is desired, that I would pick the Polaris over the Andro.

CustomArt FIBAE 2: a more reasonable comparison. The F2 boasts more overall bass quantity than the Polaris. However, texture (again), quality and extension goes to the Polaris – even though I would consider the bass of the F2 to be very good for an all-BA setup, the Polaris has it beaten; DD bass simply is more engaging and there is more rumble and definition without losing control. The midrange is warmer on the F2 and is a more smoothed over. Again, the recessed lower midrange of the Polaris takes out the warmth in comparison to the F2. The highs of the F2 are more bodies and the timbre is better. Extension on both is similar – not very extended but not roll-off either. Resolution is slightly better on the Polaris and the stage is airier with more space between instruments. However, the F2 kills the Polaris when it comes to imaging – every note occupies an exact, definite space on the stage. Not that the Polaris has bad imaging ability, the F2 is just very good and this quality punches way above its price point. To summarize, the Polaris is more engaging with slightly brighter timbre and the F2 is more laid-back and warm with better imaging.

Summary: I don’t know if the Polaris has been discontinued but if it does, I really do regret not getting it while I got the chance. Technicality-wise, the Polaris does not stand out. However, if the fun factor is considered, Polaris is one of the best I have heard. It does not go into the bass-head territory but the sound is extremely dynamic and engaging thanks to the punchy but well-controlled bass, forward though slightly thin midrange, and dominant highs. A coherent amalgamation of these sonic qualities without being peaky nor sibilant – a campfire house sound indeed. Does it get my recommendation? Heck YES!
szore
szore
I'll take 2 of those, 1 for each ear.
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akared
akared
2 for me as well!
Pros: Great sound, decent length nozzle, excellent build, non fatigue soft v sound
Cons: V sound signature not for everyone
Campfire Audio Polaris Review
- Expatinjapan



Campfire Audio Polaris review
- expatinjapan

https://campfireaudio.com/shop/polaris/

'Polaris
Exciting All New Hybrid Design – Emotionally Engaging and Highly Resolving. Designed and hand assembled in Portland, Oregon USA.' - CA Website.


This review took a while to come out, not through a lack of interest or fascination towards the Polaris, but its arrival was eclipsed by the release and subsequent arrival on the doorstep of Head pie HQ by a trio of awesomeness. Cascade! Atlas! Comet! who through their unique newness and glittery stainless steel bodies begged me to cast aside the Polaris for a time like a penguin toy with its squeaky mouth broken and review the new flesh. But finally Polaris has it day and shows it not lacking in either stylings or sound.



Unboxing










`Campfire Audio Textured Black Earphone Case`





'Campfire Audio Litz Copper Cable –
High Purity Conductors with Berylium Copper MMCX and 3.5mm Stereo Plug'





'SPINFIT Tips (xs/s/m/l) – Campfire Audio Earphone Tips(s/m/l) –
Silicon Earphone Tips (s/m/l) – Campfire Audio Lapel Pin – Cleaning Tool'





'Dual Finish
Polaris is designed to combine 2 excellent finishes; a Cerakote Lid and Anodized Body. This visually striking combination is as durable as it is good looking' - CA Site









Campfire Audio Polaris and Campfire Audio Jupiter -
Note the longer nozzle on the Polaris.



'Superior MMCX
Our custom Beryllium Copper MMCX eliminates the traditional shortcomings of the connection and harnesses all of its benefits. Beryllium Copper provides a robust mating mechanism; one that is typically made from soft brass. This selection of a harder material extends the life of component and the earphone.' - CA Site.



Specifications
20Hz–20kHz Frequency Response
97.5 dB SPL/mW Sensitivity
16.8 Ohms @ 1kHz Impedance
Features

Beryllium / Copper MMCX Connections
Machined Aluminum Shell
Cobalt Cerakote™ Lid
Anodized Blue Body
8.5mm Dynamic Driver with Polarity Tuned Chamber™
Single Balanced Armature High Frequency Driver with Tuned Acoustic Expansion Chamber™ (T.A.E.C.)





Price
US$599 from Campfire Audio
or one of their recognized dealers: https://campfireaudio.com/dealers/





Build
With beryllium / copper MMCX connections, a machined aluminum shell, cobalt cerakote™ lid and anodized blue body makes for one solid and long lasting earphone shell.








Sound
As per usual the Campfire Audio Polaris has been put through its paces and been allowed time to break or burn in to satisfy the whims of those that care about such esoteric matters and for those who do not, well no harm done.
A variety of sources/daps were used to unlock the secret sonic sauce of the Polaris, mainly FLAC tracks were used, some album art samples seen in the photos.
The Polaris as we have seen from specifications in an earlier section consists of a 8.5mm dynamic driver with polarity tuned chamber™ and a single balanced armature high frequency driver with tuned acoustic expansion chamber™ (T.A.E.C.).
So one DD and one BA to simplify things with some of Campfire Audios patented chambers that seem to give their earphones an edge over some of the other competition.
.


I am not a fan of the nowadays popular one DD and two BA earphones that have increased in production these last few couple of years. A personal matter of sound signature preference as the one DD and two BA being more often than not a lively and energetic V shape. My personal preference being more of reference sound, more flatter, with maybe a bump in the mids for a bit of lushness.
But enough about my preferences. So in short I was curious about what a one DD and one BA configuration might yield.



“Beauty is truth, truth beauty, —that is all / Ye know on earth, and all ye need to know” - Keats


Austin Osman Spare artwork seems complementary to the styling of the Polaris, at once mysterious and revealing at the same time.

The Polaris is a bit of a mystical earphone in itself, placed at a price point well above entry level, just a hop and a skip beyond mid tier and below that of post $1000 realms of audiophile no return.

Consisting of a large sound stage that is expansive and controlled, one looks towards the center to see that which is hidden but is met with an infinite sphere, whose centre is everywhere and whose circumference is nowhere. It has larger width than depth to my perception.

The word Control springs to mind and not in a William S Burroughs interpretation. Campfire Audio excels at constructing an earphone that defines the word. Fast yet delicate, detail and spaciousness, deep bass with punch yet rounded where called for, reaching trebles that extend into infinity yet are tempered with prudence so that their fortitude exhibits justice towards the original recording.



As expected the 8.5mm dynamic driver delivers wholesome amounts of bass. No overly oodles of it or splashy or murky. Control being the byword yet again.
Treble extends enough to be a complement to the bass, reflecting in a sense the 1DD/2BA configurations resulting in a soft underlying V shape. This is tempered by the 1 BA driver bringing some mids to the show.
One might notice on closer listening that upper bass and lower mids aren`t featured as prominent points in the overall performance.


The Campfire Audio Polaris is a bit of unicorn amongst Campfire Audios stable of wild horses, thoroughbreds and stallions. Its look whilst borrowed from earlier editions shells diverts with its longer nozzle. I am at pains at times to see where the Polaris fits in, is it a replacement for the discontinued Nova? it certainly improves upon its treble, The Jupiter? Well it does have more upper mids, yet the Andromeda perfected the technical Jupiter. The Dorado even, their sharing a longer nozzle 1DD/2BA Dorado vs the Polaris 1DD/1BA.

The Polaris stays consistent with earlier offerings yet veers slightly away from a neutral zone to a more energetic sound. One might even say low end sound signature for those who want a high end reproduction. The V signature being more common in lower end earphones which make weaker sources, bad recordings sound all the much better.
But the V is something sort after by many for various types of music, reference sound isn`t for everyone nor for all types of music. To some reference can seem too sterile or clinical and this where a finely tuned and smooth V styled earphone comes in. Like the Dorado it delivers that rich, musical and full of energetic body with strength focussed at either end but tempered by mids and without the fatigue and sibilance which often plagues the lower end models of the DD/BA and V stylings.



Overall

The Campfire Audio Polaris has wowed many of my audio friends. More often than not in the last year it seems the model most lust after. Priced securely in the mid range of Campfire Audios line up ones conscience can rest assured that one is not spending too less nor too much to get high end sound.

If one is a fan of hybrid earphones dynamic drivers and balanced armatures combined the Polaris is no brainer. Great fit, excellent build and immersive soft v shape that does not fatigue.

The Polaris is a fun earphone that is suitable for the budding audiophile armed with a decent smartphone or the grumbling aged audiophile seeking to put a spark back into their portable gear relationship.





Thank you to Campfire Audio for sending the Polaris for review
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fokta
fokta
Hi, I see all your review, and cross to this one, makes me wonder, I want to get different signature from Polaris... any by chance u try Alo Ref 8 cable on Polaris?
I already used silver plate, Balanced, and the Original Litz Cooper, and stuck with the silver due to better mid and more rounder bass, IMO.
Just curious what could be like Alo ref 8 compare to silver plate in to polaris...

Edit, I used Fiio X5iii and E12a (at High Gain) as my daily Polaris with silver plate cable for ur references.
Pros: Quality build and materials, Attractive and distinctive design, Wide variety of tips and accessories, Deep sub bass, Good sparkle and air, good details, engaging and coherent tuning
Cons: Upper bass/lower mids are dipped causing drier lower middle frequency reproduction, Anodized aluminum paint can scratch against itself easily, Fit as always can be hit or miss for some, Treble could use some more crispness


Introduction: The amazing people responsible for Campfire Audios highly acclaimed in-ear monitors have continued to be busy at work since their initial entry into the market a couple of years back, along the way they’ve crafted some of the most well-regarded IEMs in their respective classes, from the airy, resolving Andromeda to the visceral and powerful Vega. In their journey of creating various innovations in how to extract the most out of whatever drivers they had to achieve the target sound they were looking to accomplish and not necessarily just jamming as many drivers as they could. What we have here is the Polaris, combining the familiar; the shell that embodied many of their balanced armature designs, the TEAC technology, the 8.5mm PVD beryllium dynamic driver; with the new, a hybrid dynamic driver and balanced armature design, a new aesthetic design with a two-tone color space, a non SPC cable, and what they’re calling a polarity tuned chamber, also in the vein of maximizing the performance of their dynamic driver. So, what can we make of Campfire Audios “middle child” in their line-up, slated at $599? Check it out after the break, and if you want a summary of my thoughts head on straight to the conclusion of the page.

Disclosure: The Polaris was provided to me by Campfire Audio in exchange for a comprehensive, and honest review.



Packaging and Accessories: The Polaris comes in the standard Campfire Audio packaging, a relatively small box, colored blue, decorated with the camping theme and branding with the details and a photo of the model on the outside. Opening the box reveals the Campfire Audio zipper case, and inside the IEMs and the cable are inside. The Polaris comes preinstalled with their marshmallow tips. Removing the case, you will a false bottom revealing the rest of the included accessories. The included accessories are a standard set of black wide bore silicone eartips, a set of Spinfit tips, the remaining marshmallow tips; And then we have a warranty card, a quick start guide, an attractive pin, and an IEM cleaning tool. The zipper case of the Polaris has a pebbled leather outer finish that sports their logo engraved, black zipper with a logo engraving as well, the interior is lined with an almost shearling like fabric to keep the housings free from scuffs or scratches from within; The case is high quality, and seems to be relatively durable, and while the leather outer lining seems on the thin side, the case itself seems to have a lining that that keeps it stiff and hardy. Overall the packaging is simple and not wasteful, and the accessories included are a quality and attractive case, a wide variety of tips to suit almost any need or use case.





Build Quality: The Polaris uses the familiar Campfire shells used in their balanced armature models. The aluminum machining is wonderful, with all the bevels, and edges being precise and smooth. The shell utilizes 3-piece construction, the main housing being the textured blue anodized aluminum, with the textured lines only appearing in the upper half portion of the shell, painted in a metallic blue finish that gives a nice reflection when hit by light in various angles. The faceplate section as again anodized aluminum but this being finished in a Cerakote coating that will increase its durability; also located on the faceplate is an intricately machined Campfire logo, a breathing port for the drivers, and 3 torque screws to secure the housing assembly. The last portion is the 3D printed nozzle, constructed out of some variation of a plastic polymer with 2 ports, 1 for each driver and a nice lip to secure ear tips. The MMCX connectors are their usual beryllium MMCX connectors that add more durability. The construction of the Polaris is just wonderful, with expert machining and assembly, free of gaps, glue, or debris along the seams of the housing. If there’s anything to say the anodized finished combined with the angular housing lead it to be prone to chips in the paint, even when it’s in the case tucked away with care.



The cable is a 4-core Litz copper affair, with a 3.5mm single ended termination. The plug portion is reinforced plastic with nice strain relief, the Y splitter is made out of black aluminum, and the cinch is constructed out of plastic. The cable itself is “braided” in a twist configuration, and the black plastic sheathing seems soft and pliable. The MMCX connector portion is made out of hard plastic with shrink wrapped ear guides complete with the moldable metal wire. All told the cable is a simple but premium affair, with minimized microphonics and while I personally am not a fan of metal guides, it does do its job, though if it could hold memory better I think that would provide for a better wearing experience.





Fit: The fit experience with this will be mostly similar to the other Campfire IEMs with similar housings, where those with a smaller or shallower auricle may have some difficulty wearing them, due to the somewhat unconventional shape, larger housing, and somewhat harder edges. However, the introduction of the new nozzle alleviates some of the older issues and may introduce some new ones. Firstly, because the nozzle is longer this means that the large shape and sharp edges are less likely to cause discomfort for those wearing them as they sit farther away from your ear, however that might also introduce the fact that it will sit more outside the ear vs the Orion, or Andromeda for example. For the most part they fit me seamlessly and should fit most people comfortably if they were able to comfortably fit the other Campfire IEMs. A unique fit to be sure, but one that works well for the most part.



Sound: The Polaris was tested across various devices, from the stock output of an Alienware 17 R3, an LG G6 with and without the Hi-Fi Quad DAC, an ifi xDSD, a FiiO Q1 Mk II, and the Hiby R6 with and without an IEMatch as well to be able to test it across various output impedance levels. Listening comparisons were done volume matched to ensure accurate impressions relative to volume. The tuning of the Polaris seems to have taken some influence from the “Japanese” style, meaning there’s a boost in the mids around the point where higher pitched vocals start to enter. This is complemented by good sub bass, an attenuated mid bass, and smooth but well extended treble, the full breakdown of the sound will be found below.



Bass: The bass reproduction on the Polaris is a tale of two parts, the first part is the sub bass and lower half of the bass, up until I’d say 200Hz or so. The sub bass extension is quite good; bass drums from “Love” by Lana Del Rey, “Way Down Deep” by Jennifer Warnes, “Down”, and “Deep” by Marian Hill, have a fullness, that while stopping short of authoritative, definitely is a focal point. The texture on the bass drum is nice with the natural timbre you expect from a dynamic driver, every hit can be felt and not just heard. The sub bass decay is moderate, with a little linger that makes it sound “organic”. The rest of the lower bass is also a little elevated, but not to the same degree as the sub bass, the presentation is a little less detailed texture, but still pleasant and it does not linger like the sub bass.



The other side of the coin, the mid bass is a little more attenuated as it approaches the mids. This approach gives nice spacing between the bass and the mids avoiding any bloat or overlap, on the other hand this slightly reduces the thickness and forwardness of instruments on the lower pitches as well as really deep vocals. While I wouldn’t consider them thin, they are a little bit drier, especially juxtaposed with the mids (that we will discuss further later). The dynamic between the upper and lower halves of the bass is interesting because the lower half is definitely more prominent and are intentionally not on even footing, this can be exemplified in “I Won’t Give Up” by Jason Mraz where the bass guitar overtones looms over the guitar and some of the vocal work that usually is the focus of the songs, especially in the intro. Overall the bass reproduction is boosted but well controlled in relation of the other frequencies, something especially for those looking for the “natural” bass that is more “felt”. I can definitely appreciate the Polarity chamber here.



Mids: The mids on the Polaris is another two headed beast, and again with a lower half, and an upper half. The lower half something we slightly touched on earlier, usually reserved for lower spectrum vocals, usually male, and full range instruments is affected the by the recess that bottoms out somewhere between 500Hz and 1kHz. In this lower half range the reproduction have a little less body, and just take a step behind when presented, probably a consequence of taming the bass. This is exemplified in the chorus of “Castle on the Hill” by Ed Sheeran especially with the rolling bass drum line that runs throughout the song, the vocals and guitar just lose a bit of resolution and definition and blends in together a bit more.



The upper half on the other hand is just a polar(is) opposite, there seems to be a crescendo towards 2k Hz. “Valerie” by the late, wonderful Amy Winehouse has her voice forward, almost enveloping you, and when she does mini runs during the outro the feeling gets even more enhanced. There’s a sense of “emotion” in the way it reproduces vocals, where getting the grit and texture of the voice is imperative, the Polaris nails this. A great song that really showcases the midrange response is “Hello” or “Turnin’ Tables” by Adele, in the verse she sings slightly lower notes, and when she gets to the chorus the run she makes gradual increases in the note, and the top of those runs there’s some extra “oomph” that brings it a little higher, a little more forward, it helps encapsulate the emotive sense I mentioned before. The instruments in this range follow the same formula, as the pitch increases they get better definition, and fuller rendering, think of it like the Polaris is more an Adele IEM vs a John Mayer IEM, though it still does both well.



Treble: The top end of the spectrum for the Polaris is the most straightforward. It is well extended, linear, and free of harsh peaks or sibilance in my testing with cymbal crashes not even close to wince inducing. The TEAC module allows the balanced armature to introduce a moderate amount of air, just enough to “space out” the sound and add a good dose of sparkle that really gets to shine when violins, saxophones, or pianos get some focus. Treble response is clear and open, not sounding or muffled at all, and the detail retrieval in this spectrum is quite good, not exceptional but good. In “Feels So Good” by Chuck Mangione the saxophone delivers notes pleasantly even when it works up the scales, and the solo has good definition even once it gets busy. Daniel Jung’s rendition of “Titanium” sounds nice and resolving and is not shrill, however it reveals that the top end is a little soft and could use some more bite or crispness, evident in drum solos cymbals sounding good, but feel like it needs a little bit extra. Overall the treble reproduction is pleasant, giving a good amount of air and sparkle without being too hot that it could turn some people away or be too fatiguing. While I could personally do with some more sharpness, the overall tone is well defined and lends nicely to the overall signature of the Polaris.



Presentation: The emphasis on the sub bass and upper mids, work together in creating a more intimate presentation, somewhere along a Lounge feel, where most of the vocals lightly surround you, lending in a more intimate feel. The staging width wise is not particularly expansive with cymbals and other complementary sounds appearing just outside the ear, however there is nice depth to it, helping to give a sense of good layering, and everything not just being shoved at the same time. Separation for the most part is good, detail retrieval is good as well and except for the lower mid, mid bass section where they can be slightly lost in the mix when busy, there’s good technical proficiency here that you definitely don’t feel you’re sacrificing detail for the fun sound.



Conclusion: The Polaris is an intriguing entry, and a specimen that encapsulates things being greater than the sum of its parts. It has elements in the bass and midrange that when viewed in a vacuum would seem to indicate a lack of cohesion, but when you put it all together it paints a beautiful sonic image, that in fact does work hand in hand. Campfire Audio has combined their signature design and build quality, integrated their staple technology, and added upon it some touches we haven’t seen before in their product range, and have a take on their tuning that is emotionally captivating and engaging, while still more than enough resolution to remind you that this a premium IEM. Powerful sub bass that then tapers off in the transition, then full emotive vocals with a slant towards the upper register, and smooth but well extended highs with nice sparkle all of which with a slightly intimate delivery. Something to consider if you’re looking for more “fun” and engaging tuning at this tier, Campfire Audio has another winner with the Polaris and one at $599 is, in my opinion one of the better value propositions to be had. Simply a well rounded IEM that is both immensely enjoyable in sound and exceptional in quality.



Originally published at: http://faceaudioreviews.blogspot.com/2018/06/campfire-audio-polaris-review-when-you.html
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misteral201103
misteral201103
Great review - a friend of mine chose these recently while we were out on an auditioning session. I think they sound lovely - actually preferred them to the Andromeda!!

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