Campfire Audio Polaris

  1. B9Scrambler
    Campfire Audio Polaris: V for Victory
    Written by B9Scrambler
    Published Nov 20, 2017
    Pros - Rock solid build - Detailed, v-shaped signature - Coherence
    Cons - Amnesic memory wire - Dry, recessed lower mid

    Today we're checking out Campfire Audio's newest hybrid earphone, the Polaris.

    Campfire Audio is an American company out of Portland, Oregon. It is the brainchild of Ken Ball, CEO and founder of ALO Audio, a company renowned for their high end portable audio cables. While the Polaris is my introduction to the Campfire Audio brand, it's one I've been watching closely since they released their first earphones, the Jupiter, Orion, and Lyra in mid-2015.

    What caught my eye, literally, was their unique design philosophy. It was unlike anything else on the market I had seen. The aggressive and edgy lines of the Jupiter and Orion were stunning with tons of detail, such as the visible screws holding on the outer face plate, and the small CA logos. I'm someone that appreciates and valued design and build nearly as much as sound quality, and they certainly nailed the visual appeal.

    The Polaris is Campfire Audio's newest earphone and features a hybrid design with some interesting features. T.A.E.C. stands for 'Tuned Acoustic Expansion Chamber' and is a technology unique to Campfire Audio, also featured in their flagship Andromeda. The balanced armature driver is enclosed in a 3D printed chamber which tunes it's sound without the suppression inherent in a filtered design and permits improved extension. This is coupled with the dynamic driver's new 'Polarity Tuned Chamber' in which the driver is encased in a 3D printed casement. Tuned chambers are located in front and behind the driver giving it "an effortless power that must be heard to be believed." (Source)

    Other notable features are the application of Cerakote to the outer face plate (or lid). Cerakote is a very durable polymer-ceramic material with high resistance to physical abrasion, chemical corrosion, and impacts. This makes it an excellent material to apply to a portable product that will be subject to damage from sweat, dropping, and other events you might come across in daily life. Backing that up is a durable CNC machined aluminum housing with what I think is a brilliant blue finish. Also adding to this perceived durability is an upgraded MMCX connector that utilizes Beryllium Copper materials instead of brass as found on many other products. MMCX connectors in my experience are notoriously unreliable so this focus on increased durability of this common connector is appreciated.

    The Polaris is full of technology and is designed to be durable. Ringing in at 599.00 USD, it's not an inexpensive product and for many could potentially be thought of as end-game material. It's been my daily driver since arriving on September 11th, 2017 and has shown itself to be a fantastic product. Why? Let's find out.

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    I would like to thank Caleb and Hannah at Campfire Audio for arranging a complimentary review sample. There was no financial incentive provided and the Polaris is still considered the property of Campfire Audio. All thoughts within are my own and do not represent Campfire Audio, ALO Audio, or any other entity. At this time it was retailing for 599.00 USD and could be found here on Campfire Audio's main site;


    For at home use the Polaris was powered by a TEAC HA-501 desktop amp or straight out of my Asus FX53V laptop. For portable use it was paired with an LG G5, HiFi E.T. MA8, Walnut V2s or Shanling M1, all of which brought it up to listening volume without any effort. I also occasionally ran it through a Walnut F1 portable amp.

    Personal Preferences:

    I listen primarily to various EDM sub-genres (liquid drum and bass, breakbeat, drumstep, etc.), hip hop, and classic rock. While I enjoy a variety of signatures in my headphones I generally lean towards slightly warm with elevated treble and sub-bass, an even and natural mid-range response, with reduced mid-bass. The HiFiMan RE800, MacaW GT600s, and thinksound On2 offer examples of signatures I enjoy.


    Frequency Response - 20Hz–20kHz

    Sensitivity - 97.5 dB SPL/mW

    Impedance - 16.8 Ohms @ 1 kHz

    Packaging and Accessories:

    The artwork on the Polaris' packaging is stunning in it's simplicity, and entirely coherent with the brands celestial naming scheme. The front of the small, blue cardboard box is adorned with a sticked announcing the Polaris is contained within. The background is a swirling mass that looks like it was inspired by a viscous oil and water mixture. The rear has a beautiful hand drawn scene of a mountain with trees at it's base and constellations above with Campfire Audio placed dead centre in a somewhat faded text. It's all very simple in execution, but the artistry is engaging to say the least. Oh, and when you flip the lid and look on the inner flap you see "Nicely Done". Couldn't have said it better myself.

    The inside is dominated by Campfire Audio's spacious and durable leather carrying case which as expected already contains the Polaris. The zipper is thick and durable and the inside lined with what looks to be wool. Unlike most clamshell cases, there are two collapsible inner walls that hold the Polaris securely in place when zipped shut. This is one of, if not the nicest compact carrying case I've come across yet. Underneath the case beneath a false floor rests the accessories, a manual, and a card for the Polaris' limited one year warranty.

    The included accessories include some standard items, like various tips, and some not so standard items, like a Campfire Audio pin which I thought was pretty neat. It's not a cheap feeling pin either, with the CA logo properly raised and enameled. In all you are provided;

    • Polaris earphones
    • Litz copper cable
    • SPINFIT tips (xs/s/m/l)
    • Campfire's own foam tips (s/m/l)
    • Wide bore silicone tips (s/m/l)
    • Cleaning tool
    • CA branded Lapel pin
    The accessories included are plentiful and of high quality, and the unique artwork very pleasing to the eye. This unboxing experience strikes a nice balance between something very basic like thinksound's MS03+mic and something more extravagant such as the unboxing experience for the FLC 8S.

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    Build, Comfort, and Isolation:

    Campfire Audio's reputation for durable, well-built products is undeniably warranted if the Polaris is any indication. This thing is an absolute tank; the proverbial T29 of the earphone world. As noted earlier, the outer lid/face plate is coated in Cerakote for extra durability, while the rest of the housing is blue anodized aluminum. The MMCX connectors utilize Beryllium Copper instead of brass for increased longevity.

    The cable is very well built too. The winding of the four strands is tight and uniform leading up to the y-split, and breaking into a slightly looser wind beyond. The compact 90 degree angled jack feels durable and should be thin enough to fit most media player and cell phone cases. The y-split lacks strain relief, and while welcome the chin cinch is very tight and difficult to move. If there are any weak points on the Polaris's cable, the y-split and cinch will be them.

    While I can live with those minor niggles, the memory wire is another story. I'm pretty sure it has amnesia. You can bend it into place, get yourself settled in with the Polaris, and a few minutes later the bend is gone and the wire has returned to it's original shape; a loose U. This is the type of memory wire that ruins a cable, regardless of how good it is, and is the same problem I had with the original cable on the FLC 8S before they removed the wire entirely. I would love to see Campfire Audio revise this cable with proper memory wire, a pre-formed ear guide, or just remove it entirely and leave the cable bare. Any one of those options would be an improvement over the current setup.

    Despite the large and angular housings, I found the Polaris quite pleasant to wear and exceptionally stable. The 3D printed plastic nozzles are long with a prominent though very smooth and unexpectedly effective lip that permits compatibility with a wide variety of tip sizes and styles, something that's conveniently included in the package. The length of the nozzle kept the housings from nestling in too close to my outer ear so I didn't have to worry about hot spots caused by the inner edges of the housing. They're pretty light too which also helps.

    Isolation is below average with improvements found from use of the included foams tips. Even so, the Polaris is adequate for use in noisy areas you just need to up the volume somewhat to compensate. On the plus side, for those worried about safety when traveling with earphones in, the Polaris' isolation levels should be considered a positive as you can somewhat clearly hear your surroundings. While I do listen quietly, I did notice when upping the volume that the vent on the rear face plate bleeds some sound into your environment. It's also affected greatly by wind, funneling a noise that sounds like someone blowing into a microphone into your ear.

    Overall the Polaris is put together with great attention to detail, showing offer a very tight fit and finish. Disregarding the annoying memory wire, this earphone is ergonomically sound and works well over long listening sessions. Isolation is good enough, just be wary of wind noise and sound bleeding out into your environment.

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    Tips: Preferred tips for the Polaris came down less to sound changes than to fit and comfort. Moving from wide bore tips like the stock silicones or something from JVC, to a smaller bore options like the Spinfits or Sony hybrids, didn't seem to have a huge affect on the sound. Wide bore tips seemed to balance out the mids and bass somewhat, whereas the small bore tips dialed in more low end emphasis. These differences were minimal at best though. My listening was divided evenly between the stock wide bores, Sony hybrids, and Spinfits, all in medium.

    As you move up the rung from budget to high end products, neutrality or the next closest thing seems to be what everyone hunts for. Things get serious. Big bass is frowned upon and you're made to feel guilty if you enjoy it, and v-shaped signatures are indicative of a poorly tuned product not worthy of the price. Still, say that's what you want along with those other qualities that make a premium product worthy of the title. That's where something like the Polaris comes in. This isn't a neutral earphone. The Polaris takes your average "consumer friendly" tune and imbues it with the level of technical proficiency you want from a top tier earphone.

    Starting with treble, the Polaris is direct and precise without any hint of splashiness or lack of control. There is just a touch of sparkle and shimmer to cymbals which attack with authority as evident on Skindred's "State of Emergency". The Polaris' upper ranges are also quite airy and spacious giving it a very open feeling, especially effective with rock and metal. Extension is good too, though it seems to roll off

    The Polaris' mid-range starts of with a dip in the lower regions and raises as you head into the upper mids. This gives female vocals more presence and makes this earphone an absolute baller with most of the vocal drum and bass tracks I listen too. Female vocals sound simply magical through the Polaris. Despite coming across a touch dry, male vocals can still empower you with feeling, such as on Daft Punk's "Touch" where Paul William's emotional performance is not lost. This mid-range is still recessed though, so at times I found the hefty low end to overshadow quieter vocals, such as those on Dimension's "Dark Lights".

    Bass is an area where the Polaris really excels. It's 8.5mm dynamic drivers are exceptionally quick and impactful with awesome sub-bass presence making them a delight with electronic genres. Mid-bass has the kick needed to make rock tracks like Soil's "Loaded Gun" as aggressive as it's supposed to be, and there is no shortage of visceral rumble present for those long, drawn out liquid drum and bass basslines. It's a very dynamic low end that despite being boosted, is not ever present. If the track is lacking low end, the Polaris reflects it. It's very well textured too, able to pull out some grungy notes.

    In terms of soundstage I found the Polaris did better with width than depth and in general lacked a little in forward/backward movement. Still, the airy treble and excellent separation results in an earphone that feels large and open. Imaging is quite precise too making it easy to accurately track sounds crossing from channel to channel, and delineate between instruments in a congested track.

    Overall I found the Polaris to be a very coherent and proficient v-shaped earphone with outstanding detail retrieval and an open sound stage. Treble is prominent and well extended, bass deep and powerful, and mids recessed in the lower regions but still clear and engaging.

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    Select Comparisons:

    (Volumes matched as best I could using Dayton Audio’s iMM-6 calibrated mic with Audio Tool for Android.)

    FLC 8S: The 8S is a very versatile 2+1 hybrid with 36 tuning combinations. Given it can cover a wide variety of signatures vs. the Polaris' one, I compared it in Green/Red/Grey configuration for maximum v-ness. Even in this configuration, the FLC 8S is slightly brighter, has a more forward mid-range, and less bass presence.

    In the 8S' favor is it's sound stage. The Polaris sounds large and open, but it lacks a little in terms of dynamic movement. The 8S has a much more rounded sound stage and outside of the B400 from Brainwavz, comes the closest to achieving "3D" movement. I also find the 8S more tonally accurate in that it lacks that low mid-range dryness that plagues the Polaris.

    In Campfire' detail retrieval. The Polaris highlights minute details quite well and as a result is more revealing than the 8S. I also find it's bass extends much deeper and provides a more visceral feel, something I find mostly absent on FLC's hybrid.

    Fidue Virgo A85: The A85 is Fidue's newest hybrid and in my opinion makes for a smooth, lush listen.

    In the A85's favor is it's more forward mid-range which makes good on Fidue's promise of realistic vocals. They're forward, detailed, and naturally toned for both males and females, whereas the Polaris is at it's best with female vocals. I also found it to have a more well-rounded soundstage with a better balance of width and depth, though I don't find it to be quite as spacious as the Polaris'.

    The Polaris on the other hand sounds more accurate and direct. It's treble has more detail. It's low end is punchier and better textures with a more realistic mid-/sub-bass balance. To my ears the A85 has too much of a mid-bass hump that combined with a slower attack and less detail makes it a touch bloated vs. the Polaris.

    HiFiMan RE800: The RE800 is a single dynamic and like the Polaris uses some interesting tech; a topology diaphragm which applies material coatings in specific geometric shapes that tune the resultant sound. It was criticized for having an uncomfortable 7k treble spike, which I personally had no issues with. Against the RHA Cl1 Ceramic the RE800 was positively tame in the treble region. How does it fare vs. the Polaris?

    Things take a bit of a turn here with the RE800 taking the detail and clarity crown. The Polaris is great in these qualities, no doubt, but the RE800 is a focused step up. I also found the RE800 more natural, especially in the mid-range where the Polaris' dryness was already quite present. The RE800 also serves to match the Polaris' openness and width of soundstage, but brings in much better spacial movement in other directions.

    The Polaris' low end I found much more engaging, however. Not only did it dig deeper and hit harder, it in general provided a more engaging and entertaining experience. The Polaris' texturing was also more prominent and forward. Volume matched to 60dB the RE800's treble spike was very noticeable resulting in little else being heard. Whereas the Polaris at 60dB was much more well-rounded with only the mid-range coming across a little on the quiet side. I still consider the RE800 an unbeatable companion for low volume listening in the quiet and private or my home, but the Polaris and it's more even presentation makes it a much better daily driver.

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    Final Thoughts:

    The Polaris is a thoroughly enjoyable product and if you're a fan of bassy, vibrant earphones you should enjoy this one. Initial impressions are positive as a result of the artistic packaging and high quality accessories. In hand the high quality build is truly impressive and while entirely subjective, I love the blue on grey color scheme resulting from the Cerakote lid and anodized aluminum backing. The powerful v-shaped signature and overall presentation is engaging too, even if it wasn't necessarily to my taste with all genres.

    Thanks for reading!

    - B9Scrambler

    ***** ***** ***** ***** *****

    Some Test Tunes:

    Aesop Rock – The Impossible Kid (Album)

    Hail Mary Mallon – Are You Going to Eat That? (Album)

    King Crimson – Lark’s Tongues in Aspic (Album)

    King Crimson – Starless and Bible Black (Track)

    Supertramp – Crime of the Century (Album)

    Infected Mushroom – Legend of the Black Shawarma (Album)

    Gorillaz – Plastic Beach (Album)

    Massive Attack – Mezzanine (Album)

    Fleetwood Mac – Rumors (Album)

    Run the Jewels – Run the Jewels (Album)

    The Prodigy – The Day is My Enemy (Album)

    Skindred – Roots Rock Riot (Album)

    Felt – Felt 2 (A Tribute to Lisa Bonet) (Album)

    Michael Jackson – Thriller (Album)

    Soil – Whole (Album)

    Dimension – Dark Lights (Track)

    Jidenna – Long Live the Chief (Track)

    Skrillex – Ragga Bomb (Track)

    Big Grams – Run for Your Life (Track)

    Funkadelic – Maggot Brain (Track)

    Aesop Rock – Fishtales (Track)
      ThomasHK, ryanjsoo and Zelda like this.
  2. maciux
    Guiding star
    Written by maciux
    Published Oct 8, 2017
    Pros - rich set of accessories
    splendid workmanship and design
    high isolation when using foam tips
    perform well with a DAP or a smartphone (but the IEMs scale with the gear)
    fun signature in high quality, with deep bass, clear mids, extended highs, wide, airy soundstage with 3D instruments
    universal tuning (even though the midrange is not a priority)
    Cons - fall in upper bass/lower midrange, which results in reduction of male vocals and some instruments
    single-flange tips of average quality
    angular shells can be uncomfortable for auricles
    Polaris – that’s the name of Campfire Audio’s newest IEMs priced at 599 USD. How do these hybrids (dynamic+BA drivers with dedicated sound chambers) perform?

    Polaris are the second hybrid IEMs in Campfire Audio’s portfolio, but first featuring dedicated sound chamber for a dynamic driver. Angular shells made from anodized CNCed aluminum are already well-known, but these babies come with innovative faceplates with Cerakote coating too. Polaris is the second cheapest model (after Orion) in the company’s lineup, but it’s about to offer engaging tuning with clear highs.

    No surprises in this aspect – the accessory set is rich and includes:

    ● protective case
    ● MMCX to ⅛ jack cable
    ● two velcro bands
    ● set of single-flange tips (S, M, L sizes)
    ● set of thermoactive tips (S, M, L)
    ● set of SpinFit tips (XS, S, M, L)
    ● cleaning tool
    ● shirt clip
    ● manual
    ● warranty card

    This time the protective case is made of faux leather. Its inner part is filled with shearling sheepskin imitation. The included cable is a copper-one (Litz geometry), braided, with black isolation. MMCX sockets are beryllium-covered to improve their durability. Single-flange tips are just average – similar ones can be found in many cheap IEMs. Foam tips look similar to T-series from Comply, but are also different from the foams added to Campfire Audio Andromeda. There’s also a set of SpinFit tips (moving ones) included.

    At first glance, Polaris look as if they are more expensive than Andromeda. Lower price can be guessed when looking at the cable, which lacks transparent isolation and is not silver-plated. It still looks and works fine, though.

    Polaris consist of three parts: black nozzles are glossy, blue anodized aluminum shells shine in an effective way and faceplates with Cerakote-coating attract one’s eyes with their grainy texture. Such a finish is known for its durability and, because of that, it’s used in space or armaments industries. For me, the overall looks is great – the combination of colors is extraordinary and no bad words can be said regarding build quality too.

    Shells are deeply angular. Nozzles are dual-bore (one per each driver). Inside the shell, there are two 3D-printed chambers – the well known TEAC (Tuned Acoustic Expansion Chamber) for the BA driver and PTC (Polarity Tuned Chamber) which supports the dynamic speaker.

    Gold-plated MMCX connectors are located at the top of the shell. They got letter (L and R) and dot (blue and red) indications. Braided cable features elastic ear hooks. Splitter is metal and equipped with a slider. The jack plug is gold-plated and angled.

    In practice angular Polaris work worse than oval, tear-shaped IEMs produced by e.g. Noble Audio, Heir Audio or Westone. An user needs to adapt, but it’s easy to get accustomed to it after a while.

    First contact might cause discomfort – the IEMs are quite heavy, metal and, therefore, cold. Nozzles are appropriately shaped and the silicone and foam eartips hold safely. Level of isolation highly depends on the eartips choice – it’s best with foams and worst with single-flange tips. Spin Fit tips are elastic, but their flanges are narrow and, because of that, the application depth is crucial. I needed to put them more shallow than foam or single-flange tips and the level of isolation was inferior.

    Cable works great! I enjoy such braided cords because they are light and elastic. Earhooks might be shaped to one’s needs and the given form is remembered. In case of Polaris, microphonics is not an issue. Angled jack plug is quite bulky, but special narrowing makes it compatible with devices put in additional cases.

    ● Balanced Armature driver + Tuned Acoustic Expansion Chamber and 8.5 mm dynamic driver + Polarity Tuned Chamber
    ● made of anodized CNCed aluminum ; Cerakote-coating faceplates
    ● frequency range: 5 Hz - 27 kHz
    ● sensitivity: 107 dB/mW
    ● impedance: 15 Ω
    ● Litz Copper Cable, beryllium-plated MMCX sockets

    IEMs/Cans: Campfire Audio Andromeda, Noble Audio Savant i Noble 4, Etymotic ER-4PT, RHA CL750, Brainwavz B200, FiiO F5
    DAC/AMP and AMPs: Burson Conductor Virtuoso (Sabre), RHA DACAMP L1, AIM SC808, ODAC i O2, Leckerton UHA-760, Zorloo ZuperDAC
    DAPs: iBasso DX200, FiiO X5 III, iBasso DX90, OnePlus 5
    Interconnects: Forza AudioWorks Copper Series, Klotz
    Music: various genres and realizations, including 24-bit and binaural tracks

    I mainly used thermoactive foams, which, in my opinion, work best with the IEMs, but silicone tips also offer proper signature.

    Polaris sound like a hybrid IEMs, but the soft low-end perfectly combines with the stronger mid- and high tones. Unlike Andromeda, Jupiter or Orion, the IEMs in focus don’t concentrate as much on the midrange. Both edges are accented, but it wouldn’t be fair to call Polaris V-shaped. If someone insists on such an expression, though, then Polaris is mild V-shaped earphone, which doesn’t lack resolution, clarity and details. The bass isn’t overwhelming and music genres choice isn’t limited. Overall, the tonality of the IEMs is very clear and direct. It’s fun, but served in a pretty analytical way.

    Bass needs a short warm-up. At first, its response is evidently emphasized, but then it weakens. Low tones amounts are not extreme – they are a bit accented, but without exaggeration. Subbass and midbass are more powerful, but aren’t dominating and don’t bleed into other ranges. Low tones are typical for a dynamic driver: massive and soft. Bass isn’t hard or raw, which is characteristic for Balanced Armature speakers. The signature is more fun, very dynamic and well-controlled. It works well with both digital samples or live instruments – a double bass won’t become a subwoofer. The amount of details is also high and the texture of instruments is clearly differentiated.

    Although midrange is not a priority, it’s still impressive: clear, transparent, studio-like. This frequency range isn’t too warm or too cold and it isn’t too dark or too sharp either. Polaris indeed offers crystal-clear tuning. The sound is fresh and direct, without any distance – everything stays forward. At the same time, the tuning isn’t very natural – Andromeda or Jupiter offer stronger midrange, more vivid sound. In case of Polaris one can hear some declines in upper bass and lower midrange, especially when it comes to male voices. The latter remain close, but become more flat. The same can be said about the tones of low guitar strings or a piano. Modern electro music benefits from such a tuning, but, luckily, jazz, blues or various rock sound good as well. Sound source is, however, also of high importance.

    Transition between mid and high tones is smooth (more than in case of bass and lower midrange). The highs are strong and bright, of no lower priority than the lows. Top range is extended and enhanced, but the sibilance is not present. High tones make the sound very clear – Polaris won’t suit a basshead or a treblehead, but someone who values both great lows and extended highs. Trebles are also well-controlled, clear and precise – separate hits of the percussion can be distinguished. Highs don’t merge and blur, don’t hiss or rustle. Bows, clarinets, wind or keyboard instruments are not subdued and female voices also climb high, while samples level of ‘digitiality’ is appropriate.

    Holographics also need to be appreciated. The soundstage is wide, with clearly distinguishable stereophony – the sound is clearly splitted between the two channels. Depth is also fine – individual sounds are put in front or around listener’s shoulders. There’s also a lot of air, so instruments are clearly separated, with a lot of distance between them.

    Campfire Audio Polaris vs Andromeda vs other IEMs
    A clash between hybrid, dual-driver Polaris vs 5xBA Andromeda is not as self-evident as it might seem. In technical terms, Andromeda performs better with fuller and closer midrange, more complete, natural and balanced signature. They provide great bass as well as close and vivid midrange plus extended highs. Their sound is more technical and more audiophile-like. On the contrary, Polaris offers quite special, original tuning – a combination of dynamic lows with armature-like highs works perfect! The bass is juicy, with rumbling subbass. I love Andromeda and I can say the same about Polaris – the choice depends on certain conditions. Andromeda is much more expensive, but at the same time more universal – it will perform well in new or old, soft and hard music. If, however, someone is looking for a more energetic tuning with powerful lows, then Polaris is a better choice.

    At this moment, other comparisons should be more or less obvious. Etymotic ER-4PT/ER-4S offer much more forward and more even midrange, thinner bass, more analytical and less airy signature. The same might be said about Noble Audio 4 and Noble Audio Savant, which provide closer midrange, but lack some bass and the provided sound is not as ‘fun’. Campfire Audio Jupiter prioritize the midrange and the edges, when compared to Polaris, are not so extended. RHA CL750, on the other hand, offer similar clarity, space and soft bass, but Polaris feature softer mids and more accented lows.

    Campfire Audio Polaris vs sources
    Polaris pairs well with both smartphones and expensive DAPs. It scales with the gear and is sensitive to its signature. Neutral and more bass-heavy sources will work fine – low tones of Polaris aren’t extremely strong, so pushing them up isn’t harmful. I would, however, pay attention to sharp and bright sources as further accented highs could be fatiguing or cause lower midrange recession.

    Leckerton UHA760 worked great with Campfire Audio IEMs using Balanced Armature drivers, but it’s performing a bit worse with hybrids -– the sound is at times too thin. Lighter, more mid-forward music turns out better and the bass in new electro music is not as strong. RHA DACAMP L1 is a better choice for goa trance, psychodelic trance or drum’n’bass - the bass rumble was stronger plus more massive and the highs weren’t harsh at all.

    There were no surprises regarding cooperation with various DAPs. Massive lows in iBasso DX200 led to improvement of dynamics and speed while mid- and high tones remained non-fatiguing. Resolution and soundstage were impressive too. FiiO X5 III’s lows weren’t disappointing either, but mids and highs have become smoother and softer. Overall tuning has become more pleasant, but with smaller soundstage. In case of FiiO DAP the hiss between tracks was more audible, but not very intense. On the contrary, iBasso DX90 offered clearer signal with stronger midrange, accented lows and non-exaggerated highs. Polaris+OnePlus 5 tandem also worked fine, but the sound was thinner than in case of DAPs offering reduced subbas and a bit brighter tuning.

    Campfire Audio Polaris + silver-plated Litz cable
    Stock cable doesn’t limit Polaris’s capabilities, but the IEMs also work well with the silver-plated cable that’s added to Campfire Audio Andromeda. The sound doesn’t alter much – subbass seems yet deeper and more massive. Bass and midrange are not as soft, which can make the sound less pleasant. High tones response is improved, as if the Balanced Armature driver received a bigger share.

    Campfire Audio Polaris successfully combine two types of drivers. If someone enjoys fun tuning, the effect is sensational. Polaris is also a great choice for music lovers who lack bass in pure-BA IEMs. Campfire Audio’s IEMs seem to link the opposites – the sound simultaneously delights with its edges (deep bass and strong highs) as well as with clear mids. I find mid tones to be of lower priority and there are some shortcomings in the lower midrange, which show in male vocals. Paradoxically, this issue doesn’t limit the choice of genres – vocals remain direct and clear, but their character gets a bit different.

    Polaris are not cheap, but are almost twice cheaper than Andromeda. In technical terms, their sound is impressive and the same can be said about their looks. I would choose Polaris instead of Jupiter and I would also consider spending more money on Polaris rather than choosing Etymotic ER4XR. In the last case, the decision will depend on one’s demand on midrange (ER4XR) and bass (Polaris).

    maciux - Maciej Sas


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  3. ryanjsoo
    Campfire Polaris Review – Creature of Coherence
    Written by ryanjsoo
    Published Sep 22, 2017
    Pros - Fabulous build quality, Great cable, Excellent clarity, Full bass with outstanding quality, Very well detailed
    Cons - Slightly dry lower midrange, Smoothed off upper treble, Wind noise, Driver flex
    Introduction –

    I’ve been following Campfire Audio since the beginning and like so many others, I’ve grown very fond of their designs and tuning. However, there is a stigma in this hobby where people tend to gravitate towards the extremities of a product line, focussing on either the affordable Orion or the exquisite but cost prohibitive Andromeda. And while these models have received no shortage of acclaim, Campfire’s midrange offerings are far less popular, there is barely a mention of the Nova and even the Jupiter only receives the occasional nod every now and then. The dual hybrid driver Polaris thus serves as a pertinent statement, replacing the Nova as Campfire’s midrange in-ear. With an RRP of $599 USD, Ken designed the Polaris to be the most accessible earphone with the highest price/performance ratio in his entire line-up. Furthermore, the earphones feature Campfire’s signature build quality and excellent Litz cable, their fun sound signature a progression of everything Campfire has learnt over past years. Featuring the tried and tested T.A.E.C combined with a cutting edge dynamic driver chamber, let’s see how Campfire’s latest earphone performs!

    Disclaimer –

    I would like to thank JD from Campfire Audio very much for his quick communication and for providing me with the Polaris for the purpose of review. All words are my own and there is no monetary incentive for a positive review. Despite receiving the earphones free of cost, I will attempt to be as objective as possible in my evaluation.

    Accessories –


    The Polaris is packaged similarly to the rest of Campfire’s earphones in a small and simple but very distinctive box. Inside is one of Campfire’s signature zippered carry cases which are easily the nicest I’ve come across, the Polaris comes with the same style of case as the Vega and Dorado.


    It’s an authentic black leather case with faux shearling interior that prevents the metal housings from scratching or chipping each other during transit. Just below are the other accessories, 3 sizes of authentic Spinfits, three pairs of memory foam tips and 3 pairs of regular silicone tips.


    Since the Polaris has a revised nozzle from the other Campfire earphones, I preferred to use Comply T400’s, green stemmed Penonaudio tips and Dunu silicone tips since I wasn’t able to achieve a solid seal with the included tips. Spinfits also provided an agreeable experience though the earphones sat a bit laterally in my ear, producing some instability during daily use. Campfire also provide a pin with the company logo which is a nice little addition.

    Design –

    The Polaris pursues a design that is more in line with Campfire’s armature based earphones than their dynamics featuring their larger, more angular housing shape. However, the Polaris assumes an intriguing two tone, two texture colour scheme that provides a very unique look and one that reflects the hybrid nature of its inner workings. While their aesthetic isn’t as subdued as Campfire’s previous designs, their choice of a rich blue is tasteful and the gunmetal Cerakote lid provides stunning contrast that looks a lot better in person than in photos and renders.


    In terms of build, buyers get to relish in a delicious all aluminium housing machined in Portland, Oregon USA. As always, Campfire’s level of finish is class leading and no corners were cut when compared to their higher end models. After using the Jupiters almost daily for the past few months, I can personally vouch for the hard wearing qualities of Cerakote; those earphones, while mostly pampered, have been hastily pocketed and struck together with no visual repercussions.


    The Polaris is no different, their gunmetal Cerakote lids remained flawless after my month of testing though their blue anodized housings did receive some trace chips here and there. I definitely advise winding the earphones up from the housings and storing with the Cerakote lids facing each other to keep them looking pristine. Perhaps my only gripe with their design are those silver screws which look quite incoherent, I feel that black screws would have fit the design of the earphones better.


    Ergonomics are very similar to Campfire’s BA earphones given that the Polaris’ housings are mostly identical. However, the Polaris features a new nozzle design that does give them a slightly different fit than before. The nozzle is now plastic though it is incredibly solid, it’s longer than previous designs and smaller at its extremity permitting a deeper fit. I actually struggled a bit to find an appropriate ear tip though I eventually settled on the softer silicone tips included with the Dunu earphones. The Polaris also has a small vent on its outer face that does affect isolation, they still attenuate noise very well, better than the 64Audio earphones and as well as most sealed earphones, but they aren’t vacuum quiet like Campfire’s fully sealed models.


    Furthermore, the vents make the Polaris very susceptible to wind noise, they aren’t unbearable like the Sennheiser ie800, but it is clearly noticeable when out and about. In addition, the Polaris suffers from some of the worst driver flex I’ve experienced though Ken has assured that it is within tolerances and I didn’t notice any sound degradation during my testing. Otherwise, the earphones are just as comfortable and stable as past models, staying put during a long distance run and forming no hotspots during extended wear despite their angular housings. These are ultimately minor quibbles that don’t impede normal use and are quite insignificant when compared to the comfort issues of the DK-3001 for instance.


    At the top, the Polaris utilizes a removable MMCX cable with beryllium copper connectors. Campfire claim they’re magnitudes stronger than the usual brass variety, they’re very snappy with even tension on both sides and I experienced no intermittency during my testing. The Polaris is the first to use Campfire’s black Litz copper cable rather than the silver plated unit on their other earphones. Ergonomically, the cable is as excellent as before with the same memory wire system, low profile metal y-split and beefy yet case friendly right angle plug.


    I would have preferred pre-moulded guides as the memory wire is a bit fidgety and stubborn during shaping but I had no major comfort issues with the Polaris. The cable itself has a tighter braid than the silver Litz cable but resists tangles just as well. It’s also just as supple as the silver cable which is among the best I’ve come across. Due to the nature of the cable’s braid beneath the y-split, the cable is quite prone to becoming twisted though it does soak up a lot of microphonic noise in return. Campfire’s build and cable is as exceptional as always on the Polaris, their two-tone look may not suite every person and environment but it’s a sporty aesthetic that catches the eye.

    Sound –

    Utilizing a single 8.5mm dynamic driver and balanced armature combination, the Polaris is the second hybrid driver earphone that Campfire have produced. However, the Polaris makes use of some new innovations by the company that seek to produce a compelling experience despite its status as a midrange model. Of note, the Polaris features Campfire’s new polarity tuned chamber that is similar to that used by the Flares Pro, balancing air pressure on either side of the dynamic driver to enhance transience. The single armature driver also uses T.A.E.C (tuned acoustic expansion chamber) to improve treble extension and soundstage similar to the Jupiter, Andromeda and Campfire’s higher end hybrid, the Dorado. So while the Polaris has one of the lowest driver counts around this price, they promise comparable if not superior performance. I’m personally all for Campfire’s approach valuing an optimal housing design and individual driver performance over sheer driver count, it’s a much more realistic approach that I feel more manufacturers will embrace moving forward.


    Exploded Render courtesy of Campfire Audio

    In terms of tuning, the Polaris will likely be the most universally pleasing of the entire line-up. Between the visceral but occasionally overzealous Vega, the balanced Jupiter and the ethereal but lean Orion, the Polaris is easily the most “fun” of the Campfire line-up. And where the more neutral Nova required a lot of adjustment when coming from other earphones, the Polaris is an earphone that is easy to just pick up and listen to and I think this is the main reason why it will be much more popular than its progenitor. Furthermore, their hybrid driver setup comes with some real advantages over the dual BA Nova with bass reach and power that these earphones simply can’t achieve. They aren’t perfect of course, but the Polaris is nonetheless a very mature progression of the popular v-shaped tonality with plenty of technical ability enhancing every detail.

    Burn-in –

    The Polaris really needed some burn-in, it sounded a quite dry and a bit unfocused out of the box. This was quite unexpected for me since I know that Campfire can produce both excellent dynamic and armature drivers but the Polaris simply didn’t wow me like their other models. After extended burn-in (~200 hrs), the Polaris really evened out and their bass qualities came to the fore. It is a very coherent sounding earphone with excellent integration for a hybrid. I would surmise that I’ve also adjusted to the Polaris’ sound much like the Noble Django, the changes can likely be attributed to a combination of both.

    Cable –

    A note on cables since the Polaris is the first Campfire earphone to assume a Litz copper cable as opposed to the silver plated unit included with every other model. In terms of sonics, I can definitely see the logic behind Ken’s choice of pure Litz copper since it does provide meatier bass, especially sub-bass, with excellent definition and texture though I found that the copper cable does lack the clarity, layering and outright resolution of Campfire’s silver cable. The silver cable really smoothed out lower mids and brought the midrange forward slightly on a whole. Treble detail and extension also improved as did soundstage space though this did come at the cost of some bass power. Subjectively, I feel that the Silver cable actually finds better synergy with the Polaris though I do personally tend to favour slightly brighter earphones. The silver Litz cable is definitely worth a look for Polaris owners looking for some extra high-end presence though users shouldn’t feel that the Copper cable is holding the Polaris back.

    Tonality –

    The Polaris is a mildly V-shaped earphone, they have relatively even bass with slight sub and mid-bass focus and a lower treble bump that grants them with a little more treble energy. Mids are perfectly present and very clear though lower mids, in particular, are recessed and a little dry in tone. That said, the Polaris never sounds overly sculpted and both vocals and instruments are realistically voiced and clean. And while the Nova before it was technically brilliant, it was missing some character and engagement. The Polaris is a very effective resolution, providing plenty of engagement without sacrificing too much on quality either.

    Bass –

    I’ve become quite a fan of hybrid earphones, there are still some little niggles to figure out and some are clearly better implemented than others, but when done correctly, the results can be truly stunning. And luckily, the Polaris is a well-done example indeed with a combination of that polarity tuned chamber and an ultra-thin membrane dynamic driver doing good work. Sub bass extension is up there with the best, even the Andromeda doesn’t match the power and visceral impact of the Polaris’ sub-bass response though they still aren’t quite as thick and muscular as the Cardas A8, favouring more balance and quicker decay. Rumble is well-defined and sub-bass is tight, bass is very clean with minimal bloat. Lows do sound slightly rounder than more linear earphones like the Dorado but this is simply a by-product of their tuning and not something that irks during listening. Bass has nice fullness without sounding muddy, the Polaris’ are pretty fast for a dynamic earphone and have great bass resolution that prevents lows from getting flabby. Definition is standout and texturing even matches the better armature earphones like the 64Audio U3 which is no small feat.

    My only issue is that bass doesn’t have the greatest separation and delineation between notes despite being fast and having great definition though the Polaris remains my favourite bass performer around this price. Of course, earphones like the Vega and Dorado do hold a notable advantage in terms of control and power though they are also much more expensive. The Dunu DK-3001 is probably the Polaris’ most notable competitor with its 4-driver setup featuring a 13mm bass driver. The Dunu does indeed have more bass power and richness though it sounds tubby and its sub-bass a little flabby when compared to the Polaris. Of course, in isolation, there is certainly nothing wrong with the Dunu’s presentation, but when listening to songs such as Illy’s “Catch 22”, the Polaris had a tighter reproduction with greater definition to rumble and faster transience. Bass is the Polaris’ trump card, they are very articulate, dynamic and defined within their low-end without sacrificing any fullness or solidity.

    Mids –

    Despite its V-shaped tuning, the Polaris doesn’t forget to service midrange elements, approaching these frequencies with clarity and finesse. The Polaris does have more of an upper midrange focus reminiscent of Japanese in-ears such as Audio Technica’s CK100, leaving lower mids a little scooped, however, they are still a modestly balanced earphone overall. That said, male vocals sit a little too behind for my tastes though they sound well integrated into the sound and the Polaris’ general midrange presentation is very clean and surprisingly natural given their level of clarity. And while plenty of people tend to confuse quality and tonality, in this instance, the recessed lower midrange of the Polaris is indeed the weakest aspect of its entire sound. While some may love the tuning of these earphones, to my ear, the Polaris’ lower midrange did tend to sound slightly dry and a bit uneven, missing out on certain details when compared to other in-ears around this price regardless of tip choice and source. Some tracks were more affected than others, for instance, Coldplay’s “Hymn For The Weekend” came across as quite artificial while “The Scientist” sounded perfectly natural if slightly thin and distant. I must restate that these are a $600 set of earphones and that all comments are relative, this isn’t a deal breaker simply blemish on an otherwise immaculate canvas.

    And upper mids do much to redeem the Polaris’ midrange, the earphones have a bump in clarity throughout, granting vocals with a smooth, glossy character that enhances modern pop, acoustic and rock while slicing through the muddiness of poorly mastered tracks. Female vocals are delightful in quality and tuning, sitting well balanced with the fuller low end and crisper treble response. Vocals are clear, immediate and extended with defined layering. The Polaris is imbued with Campfire’s signature high-resolution tuning with great retrieval of background details and smaller nuances. Furthermore, the Polaris is a very detailed earphone and quite naturally so too, they do err on the side of aggression but they sounded consistently more refined than the Dunu DK-3001. When listening to PSY’s “Last Scene”, the Polaris produced delightfully smooth vocals with excellent detailing to guitars. Strings were well textured during the chorus and both male and female vocals had great layering and definition. The Polaris is ultimately an engaging yet refined sounding earphone with well-integrated components creating a coherent experience. Their lower midrange isn’t flawless but works within the realm of the Polaris’ tuning and upper mids are just as compelling as the class leaders around this price.

    Highs –

    Treble is interesting with a similar style of tuning to the Rose BR5 MKII; energetic in some regions and smoother/more laid-back in others. Upper mids feed smoothly into the lower treble, both are hyper detailed and a little more aggressive granting acoustic guitars and cymbals with great crispness. Further yet, the Polaris has quite a lot of treble body which grants these instruments with plenty of texture and a realistic timbre. However, above that, the Polaris smooths off placing higher details further in the background. As such, treble doesn’t sound flawlessly extended and higher details can sound distant. They don’t roll-off necessarily, listening to Elton John’s “Rocketman” and Radiohead’s “No Surprises” and the Polaris provided surprising detail to high hats and atmospheric effects, they just sat further behind in the mix than the Jupiter’s, U3’s and DK-3001. The Polaris has much more air and treble separation than their style of tuning would suggest which ensures that complex passages never become overwhelming, and I would consider them to be a refined performer with an almost effortless quality despite not being the most nuanced overall. Those sensitive to treble will love this response because the Polaris provides gobs of detail where the majority of the information in most songs lies but takes the edge off of higher elements which can wear on the ear during longer listening.

    As a result, the Polaris is both very detailed and completely unfatiguing, treble isn’t peaky at all and sibilance is a non-issue. When listening to Fleetwood Mac’s “Dreams” which can quickly tire on more treble boosted earphones, the Polaris provided a very pleasing response; each guitar strum was crisp and accurate with perceptibly more micro detail than the U3 and treble was smoother and more refined than the DK-3001. However, high hats were definitely distant and some smaller details that were clearly resolved by these earphones were pushed too far into the background for my liking. It is a trade-off because the clarity and detail is there but the extension is not. I’m unsure whether this was an intentional tuning choice or a limitation of the driver setup (that I find unlikely), either way, the Polaris sits more on the natural than analytical side. They are still an instantly resolving earphone but they don’t illuminate the smallest nuances like some others, rather they just reproduce them. Again, this is perfectly fine and no details are actually missing, it will come down to listener preference.

    Soundstage, Imaging and Separation –

    Being a vented hybrid earphone with T.A.E.C, I was expecting the Polaris to be quite outstanding in terms of space, but the earphone is instead more on the coherent side. Space is still impressive, they are pretty well rounded with great width that can reach beyond the periphery of the head and depth that extends well beyond most earphones. That being said, they are not as immediately spacious as the APEX touting 64Audio U3’s nor the more open Dunu DK-3001 though the Polaris is easily the best fitting/sealing of the bunch. Imaging is very good, they were noticeably sharper and quicker than competing earphones but still failed to encapsulate the almost holographic response of the higher end Jupiter and Andromeda. Booting up a game of Overwatch and directional cues and effects were spot on in their placement and even fine details such as footsteps were clearly audible thanks to the Polaris’ great clarity and resolution. Furthermore, centre image was strong and thanks to their vented design, soundstage elements at the boundary of their stage extended naturally. Separation isn’t the Polaris’ strongest asset, they never sound congested but lack the layering and breadth of other earphones around this price. On the contrary, I did find them significantly more vibrant and immersive than the Nova.

    Drivability –


    The Polaris has an average sensitivity of 97.5dB combined with a low impedance of 16.8ohms. Despite this, the earphones are easy to drive and reach high volumes from portable sources, they are just slightly harder to drive than the U3 and DK-3001, both sensitive earphones. Ken states that the Polaris was designed to be driven off a smartphone and while they do sound perfectly fine, the Polaris really sings from a dedicated source. They scale terrifically with higher end sources, gaining considerably more bass definition from my X7 II in addition to a bump in resolution and separation across the board. The Polaris’ tasteful V-shaped tonality does ensure that they never sound uninspiring or wonky from a portable source, potentially with a higher output impedance, and the earphone’s lower sensitivity does make them more hiss resistant than competitors, but this earphone definitely deserves a resolving source. Of the sources I had on hand, I found the X7 II to be the most pleasing with its neutral tone really complimenting the Polaris’ finely sculpted sound where the more full-bodied Mojo and iFi BL tend to be better suited towards drier, more neutral earphones.

    Comparisons –


    Oriveti New Primacy ($300): The New Primacy is a really solid sub $500 hybrid earphone that is well rounded in all regards. Both the Oriveti and Campfire earphones employ a completely metal construction though the New Primacy is much smaller and boasts a lower profile fit, perfect for sleeping. The New Primacy is also vented though the vent is on the inner face to they don’t suffer from wind noise. Both have fantastic MMCX removable cables, though I did prefer the Polaris’ cable ergonomically since it felt a little sturdier and had a smoother texture.

    Sonically, the two are quite different, the New Primacy pursuing a very balanced yet smooth sound and the Polaris aiming more for engagement and clarity. Both have very defined bass responses though the New Primacy sounds slightly more controlled and better balanced with the midrange. On the flipside, the Polaris has much better extension and better definition throughout, it also produces more solidity to its sub-bass and considerably more mid-bass fullness which will suit more listeners. Mids are more even on the New Primacy without the lower midrange dip of the Polaris. Lower mids are comparable, the New Primacy doesn’t quite have the clarity or resolution of the Polaris but it is more natural and linear. Upper mids go to the Polaris, clarity is increased and the detailing is considerably improved over the Oriveti without sounding noticeably less natural. Highs are probably the most comparable, both have a little extra lower treble energy with a smoother high end though the Polaris is much more detailed than the New Primacy and more aggressive. The Polaris also has slightly more extension and increased resolution to upper treble instruments in addition to a more spacious and airy presentation. Of course, the New Primacy is half the price and features many of the same strengths as the Polaris though the Campfire does provide plenty of improvements to justify that price jump.

    Dunu DK-3001 ($500): Dunu have been working on some really interesting models lately and the DK-3001 is definitely one the most notable. At face value, the Dunu’s compact stainless steel shells would appear to be much more ergonomic than Campfire’s but during wear it’s quite the opposite, the Polaris conforms much better to the ear while the DK-3001 tends to produce hotspots. Both have removable MMCX cables, the Dunu also comes with a balanced cable from factory though the Campfire cable is easier to live with due to the strangely long memory wire on the Dunu. The same can be said when it comes to sound, the Dunu has the upper hand on paper with its 3 armatures mated to a mammoth 13mm dynamic driver though again, in real world testing, the Polaris’ finely tuned dual driver config comfortably keeps pace.

    The first thing listeners will notice on the Dunu is its mid-bass richness and definition that the Polaris can’t match. On the flipside, the Campfire rewards listeners with a faster, cleaner and considerably tighter response that resolves more detail overall though its more balanced tones may not suite those craving outright power and lushness from their low end. The Polaris has more midrange clarity while also being more natural and consistent in its voicing where the Dunu is a touch more detailed and slightly more layered. Treble is interesting, the Dunu has more extension and appreciably more foreground detail though they are slightly peaky and tend to get crunchy when the track gets complex. The Polaris is still very well detailed but is otherwise on the smoother side. The Polaris doesn’t extend effortlessly like the DK-3001 but it does have some nice air and sounds generally cleaner like the 64Audio U3. I did find this to be a very interesting comparison though ultimately, the Polaris is a more coherent sounding earphone than the Dunu. It isn’t quite as detailed or technical but it is more balanced throughout, cleaner and more concise. Most importantly, the Polaris’ ergonomics are leaps and bounds ahead where the Dunu is only really suitable for shorter listening sessions in quieter environments. If you can manage the ergonomics of the Dunu, it is a very real competitor with more bass fullness and treble detail at the cost of integration.

    64Audio U3 ($500): Along with Campfire, 64Audio are cherished within the audio community though I feel that their products have failed to capture the same audience as CA. Their earphones are also tonally excellent and their proprietary APEX modules grant them with sublime soundstage and separation that is truly unique. I think the reason for this comes down to the build and design of their earphones, the U3’s housings are all plastic, unorthodox in shape and very large in size. While I had no issue finding a comfortable, stable fit, I know many others that really struggle. The Polaris has no such issues, though sharp in looks, the Campfire shell fits ergonomically and isolation is superior to the semi-open 64Audio earphones.

    In terms of sound, the U3 is one of 64Audio’s u-shaped earphones and a direct competitor to the Polaris. Though sub-bass is tight and impactful for an armature earphone, the BA based U3 lacks the bass depth and rumble of the hybrid Polaris. Both have exceptional bass definition and texture though the U3 is slightly clearer within the lower registers since bass is leaner. Mids are more balanced and linear on the U3, especially lower mids, though both have similarly high levels of clarity without thinning out or sounding unnatural. Due to those APEX modules, the U3 is more separated than the Polaris with improved layering and similar if not slightly better resolution. The Polaris still sounds more realistic to my ear with more midrange body and a cleaner response, they are an exceptionally well-integrated hybrid. Treble is again similar to a point, they both have a little more energy and aggression heightening engagement. That being said, the U3, like the Dunu, extends more than the Polaris which smooths off after lower treble. The Polaris does actually resolve more detail in its upper midrange/lower treble but after that, higher details are more defined on the U3. Finally, both have excellent soundstage presentations with the U3 providing slightly more space and separation and the Polaris excelling with imaging precision. The U3 is an excellent and rather underappreciated earphone around this price that falls into the same trap as the Dk-3001. It is more sonically comparable to the Polaris, only lacking the bass depth and upper midrange detail of the Campfire, but it is ergonomically hit or miss depending on individual ear anatomy; again, I found them to be perfectly fine if not quite as comfy as the Campfire’s over longer sessions.

    Campfire Jupiter ($800): The Jupiter was Campfire’s first armature flagship and one that played an integral role in the company’s popularization. And while it may no longer be as cutting edge as it was at its inception, the Jupiter remains a very strong performer. Both share the same aesthetic and basic design with the Jupiter assuming a more coherent colour scheme, full Cerakote finish and a shorter metal nozzle. Unsurprisingly, both have similar levels of comfort and stability though the vented Polaris is noticeably more susceptible to wind noise and isolation suffers slightly.

    Sonically, the Jupiter still holds a notable lead on technical ability, the Polaris simply doesn’t have the balance, resolution and detail that the Jupiter possesses. In return, the Polaris has appreciably more bass extension and rumble in addition to a generally more accessible tonality. Chiefly, the Polaris has more bass heft and increased clarity throughout its entire midrange, treble is also a little more aggressive to imbue the sound with some extra engagement. This highlights the importance of tonality and personal preference in this subjective hobby because I can see some listeners preferring the Polaris due to tuning alone. However, when compared to the very balanced Jupiter, lower mids are recessed on the Polaris and vocals don’t quite sound as natural. Treble also takes a hit, extension and body don’t match the Jupiter nor resolution or detail. The Jupiter is a lot more nuanced and images considerably better. Mids have a large bump in resolution with layering and space that the Polaris fails to match. This outcome isn’t unsurprising given that the Jupiter is considerably more expensive, but the same general style of sound and exquisite build quality underpins both models. Buyers will also have to consider personal preference since the Polaris’s V-shaped tuning is a lot more accessible and I think a lot will appreciate the longer nozzles too. That said, those looking for a more balanced, technical listen will definitely find it with the higher-end Jupiter, it very much remains pertinent despite its age.

    Verdict –


    The Polaris might be a polarising model for some critics but will find a comfortable home with many listeners. It isn’t the most technically profound earphone around this price nor is it particularly neutral or balanced however, that was not Ken’s intention when designing the Polaris. Instead, what Campfire provide is an incredibly enjoyable, engaging and simply fun listen with their latest hybrid. The Polaris is a big statement towards other manufacturers, it is an incredibly well-considered take on the immensely popular V-shaped tonality that retains plenty of versatility. In addition, their focus on tonal excellence over pure technicality does indeed make them a great choice for those that prefer to drive their in-ears from a smartphone or other portable source. And as always, Campfire’s build quality doesn’t fail to impress and though their two tone look won’t be as universally pleasing as prior models, few will have issue with their finely sculpted sound.

    Verdict – 8.5/10, The Polaris is a beast of coherence and tonal fineness. They are exceptionally well integrated for a hybrid and will be sure to put a smile on your face whether driven from a $1000 DAP or streaming Spotify from a smartphone.

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