Campfire Audio Satsuma

audio123

Reviewer at audio123
Introduction


Campfire Audio is a company based in Portland, Oregon and they specialize in in-ear monitors (IEMs), headphones and cables. I would like to thank Campfire Audio for the review unit of Satsuma. At the moment, the Satsuma can be purchased from Campfire Audio.

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Specifications


  • Driver Configuration: Single Full Range Ported Balanced Armature Driver
  • Frequency Response: 5Hz–18kHz
  • Sensitivity: 94 dB SPL @ 1kHz: 67 mVrms
  • Impedance: 46.4 Ohms @ 1kHz Impedance

Unboxing & Accessories


The Satsuma comes in a squarish orange package with gold pattern and the package sports the brand name. A wrapping paper is used to wrap the package and on the front, there is a sticker that sports the brand name, image of Satsuma and model name. The package is made of USA made “French Paper Company” paper. After opening the package, there is the Leaf Green Canvas case which contains the Satsuma and detachable MMCX Smoky Lite cable. Each shell is protected inside a soft pouch that is divided into 2 sections. The default tips on the Satsuma are the size M Marshmallow tips. In the accessories box, there are Campfire Audio Marshmallow tips (S & L), silicone tips (S, M & L), Final E tips (XS, S, M, L & XL), cleaning tool and Campfire Audio pin. At the bottom of the package, there are warranty card and instruction manual.

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IEM Build & Design


The Satsuma has orange fizz ABS shells. Each faceplate sports the brand logo. The stainless steel spout is slightly angled and it has an unique metal mesh design. The Honeydew utilizes MMCX sockets made of Beryllium/Copper.

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Cable Build & Design


The cable is Campfire Audio Smoky Lite Cable and it is made of silver-plated copper. It has a 4 core twisted design. It uses Beryllium/Copper MMCX connectors with translucent grey housing. On the MMCX connectors, there are L & R markings to differentiate between left and right respectively. In addition, there are blue and red dots on the left and right respectively. The cable has a formed ear-hook without memory wire that is enclosed in an opaque black heat shrink tube. The chin slider and y-splitter are matte black in color. Lastly, the jack is 3.5mm gold plated right angled with strain relief. There is the Campfire Audio logo on the jack.

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Sound Analysis


Lows



The Satsuma has moderate sub-bass quantity and it is extended well. The sub-bass reproduction takes on an agile approach and there is a quick yet natural rumble. The bass decay exhibits the agility well. The bass texture is rendered quite smoothly. The mid-bass has fair amount of body and there is a tight punch. Each bass note is articulated with a precise and clinical hit.


Mids


The midrange is detailed and there is good transparency level. Vocals are belted out cleanly and there is a clear presentation. The lower midrange has apt quantity and male vocals are expressed well with body and clarity, achieving a nice balance. The upper midrange has greater emphasis and it results in a more forward presentation which allows female vocals to excel with liveliness. There is a captivating midrange.


Highs


The treble is extended well and there are no signs of sibilance and harshness. The expression is detailed and articulate. The crisp is well-defined and there is sparkle for excitement at the top end. The amount of air rendered is great and it creates an open feeling. The overall treble is clean and controlled.


Soundstage


The Satsuma has natural soundstage expansion with good width magnitude and moderate depth.


Comparisons


Campfire Satsuma vs Campfire Comet



The Satsuma has similar sub-bass quantity as the Comet but the sub-bass reproduction on the Satsuma is able to provide a more natural rumble. There is a cleaner expression on the Satsuma. The bass decay on the Comet is a touch quicker and the presentation on both is nimble. The bass texture on the Satsuma is rendered in a smoother manner. The mid-bass on the Comet is presented with slightly more body and the slam is delivered with a heavier feeling. Each bass note on the Satsuma is articulated with a clean hit. The midrange on the Satsuma has higher transparency level than the Comet and there is a more musical vocals display. The lower midrange on the Comet has slightly more body than the Satsuma and male vocals are presented with a touch more presence. The upper midrange on the both is quite similar and female vocals are vivid but the Satsuma has the advantage with better finesse. Emotions are conveyed more effectively on the Satsuma. The Satsuma has an enjoyable midrange. For the treble, the extension on both is quite similar. The Satsuma has more body and it is able to achieve a better balance. The Comet has a leaner and brighter presentation with more sparkle. The treble expression on the Satsuma is controlled and airy which results in a fatigue-free listen. Lastly, in terms of soundstage, the Satsuma has a more natural expansion with greater width and depth.


Campfire Satsuma vs QDC Neptune


The Neptune has slightly more sub-bass quantity than the Satsuma and its sub-bass reproduction provides a stronger rumble. The bass decay on the Satsuma is quicker than the Neptune and there is a more agile expression. The bass texture on the Satsuma is rendered in a smoother manner. The mid-bass on the Neptune has more body and the slam is delivered with a fuller punch. Each bass note on the Satsuma is articulated with a controlled hit. The midrange on the Neptune has a thicker presentation than the Satsuma and vocals are expressed with fullness. The Satsuma has a better balance. The lower midrange on the Neptune has greater body than the Satsuma and male vocals are more present. The upper midrange on the Satsuma has extra boost and the emphasis contributes to a more intimate female vocals presentation. For the treble, the extension on both is quite similar. The Neptune is brighter and the extra sparkle contributes to a livelier top end. There is greater amount of air rendered on the Satsuma. The Satsuma is smoother with more body and there is a fatigue-free listen. Lastly, in terms of soundstage, the expansion on both is natural. The width magnitude on the Satsuma is greater and the depth on the Neptune is more closed in.

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Conclusion


The Satsuma is a clean sounding IEM that is able to provide agile bass, detailed midrange and airy treble. There is a smooth and musical listen. The soundstage provides accurate positioning of vocals and instruments. In addition, the Satsuma has solid build quality and it comes with a new Smoky Lite cable. The Campfire Satsuma is one of the latest releases from Campfire and it delivers an engaging sonic display.

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B9Scrambler

Headphoneus Supremus
Campfire Audio Satsuma: Orange Justice
Pros: Fantastic bass performance - New shell is very comfortable and ergonomic with great isolation – Improved technical performance over it's predecessor, the Comet
Cons: Not particularly forgiving of sibilant recordings or those with hot upper mids – Lacks the premium feel of other Campfire models
Greetings!

Today we’re checking out the Satsuma, one of two brand new products from Campfire Audio.

Hailing from Portland, Oregon where their products are designed and hand-assembled, Campfire Audio has been bringing high end in-ear-monitors to the public since 2015. It all started with the Jupiter, Orion, and Lyra. Since then their lineup has been expanded and refined with popular releases like the Andromeda and Atlas. The Andromeda in particular has become a staple recommendation for audiophiles looking to step up into the realm of TOTL (top-of-the-line) gear thanks to a balanced and technically proficient yet entertaining sound. It looks pretty cool too.

With the Satsuma and its sibling, Honeydew, we are seeing a shift in nomenclature from the brand. Whereas past products followed a celestial naming scheme, these two new models are titled after colourful, sweet fruits that make for a delicious snack during the warm summer months. The Satsuma is a replacement for the Comet, Campfire Audio’s previous entry level model. The Satsuma shares the single, ported armature driver setup and utilizes an updated version Campfire’s patented T.E.A.C. (Tuned Acoustic Expansion Chamber) system via a 3D printed interior. While the tuning between the two models is virtually identical, I found the new housing to make a noticeable difference in the overall experience. It is much easier to achieve and retain a perfect seal giving the signature overall a smoother more detailed feel, especially in the treble, with improved bass texture and presence.

Let’s look at it in more detail, shall we?

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What I Hear What I hear is a smoother sounding, more technically proficient Comet that comes in a way more ergonomic shell. This enables me to more consistently enjoy the uncommonly robust armature bass making the Satsuma a fantastic replacement to what was already a great earphone.

Since the bass is what I can appreciate most thanks to the new housing and ergonomics, let’s start there. For an armature, the one installed in the Satsuma provides a pretty darn robust and linear experience despite only a moderate boost over neutral. Extension is great with the deep tones in the opening of Kavinski’s “Solli” providing plenty of physical feedback that feels more akin to a small dynamic driver than a balanced armature. While the Comet could achieve this, the fit prevented it from being a consistent experience unless sitting still. The Satsuma also provides a hint more texture and note control while retaining the natural attack and decay qualities I heard in the Comet. Where the Comet was decent with bass-reliant tracks and genres, it never felt quite at home. I cannot say the same for the Satsuma. Thanks to the improved consistency of the presentation, it provides just as nice of an experience with jazz as it does hip hop and classical. This is a very versatile low end.

The mid-range of the Satsuma sees a moderate upper mid boost that gives vocals a confident presence without resulting in them becoming shouty. That said, like the Comet the Satsuma is not forgiving of recordings that already have an overly forward and aggressive mix, such as Aesop Rock’s “The Gates”. On this track especially, the vocal performance is unbearably fatiguing through nearly all but a few select earphones I’ve tested it on. When it comes to sibilance I found the Satsuma a bit more forgiving than the Comet. Once again we turn to the master of dense word play, Aesop Rock, and his track “Blood Sandwich”. Ts and Ss out of the Comet have a more sizzle to them when compared to the Satsuma leaving the newer model the superior pick. Another area where the Satsuma improves over it’s predecessor is micro-detail. The Comet was somewhat over smoothed in the mids which smeared minor details. The Satsuma does not have this problem giving it a more coherent overall presentation.

Continuing upward into the presence and brilliance regions, we see the Satsuma favouring the upper treble. Where I found the Comet to lack micro-detail in these regions, the Satsuma comes across slightly clearer with better detail retrieval overall, as noticed on Broken Bells’ “Mongrel Heart”. Thanks to the brilliance region bias, the Satsuma provides plenty of air and space between notes while bringing forth some shimmer and sparkle that avoids coming across as too aggressive. In addition to being slightly more detailed than it’s predecessor, the Satsuma sounds smoother without giving up an ground in terms of texture. Notes also attack and decay relatively realistically. While this leaves the Satsuma a bit less technically proficient than other armature based earphones like Brainwavz B200, it also comes across more natural.

Sound stage is where the Satsuma truly differentiates itself from the Comet. Where the Comet sounded wide but flat, the Satsuma really sounds things out and feels more spacious in general. Imaging is basically the same, which is to say sounds travel from channel-to channel smoothly and without any dead zones or vague spots. Layering and instrument separation are much improved with the Satsuma doing a great job picking apart messy passages like the ending few minutes of King Crimson’s “Starless and Bible Black”, a track which felt congested and somewhat messy through the Comet.

Compared to a Peer (volumes matched with Dayton iMM-6)

Meze Rai Solo (199.00 USD): The Rai Solo isn’t likely to be considered bassy by many if community comments are any indication, but next to the Satsuma it almost feels it. The Rai Solo has a less linear shift from sub- through to upper-bass regions with a faster roll off and more mid-bass emphasis. This along with tons of texture gives it a thick, weighty feel with plenty of punch. In comparison the Satsuma comes across quite light and nimble with a smoother presentation. I really like a strong upper mid bump. With the Rai Solo’s being around 5dB higher, it is better suited to my preferences since vocals are more prominent and well matched with the quantity of bass on offer. I also prefer the Rai Solo’s more raw texturing and detail. Still, I can’t argue with the timbre being more natural out of the Satsuma. In comparison, the Meze sounds somewhat cool and dry. Treble is where the two take drastically different directions. The Meze has a clear focus on the presence region which helps gives it all that texture and impressive clarity. Unfortunately it lacks sparkle and shimmer, especially compared to the Satsuma which feels considerably more well rounded with presence and brilliant regions that compliment each other quite effectively. The Meze has an amazing sound stage and strong technical qualities, so I was surprised to see it and the Satsuma going tit for tat. In the Meze’s favour we have a default vocal position a bit further outside the head with sounds trailing further off into the distance. It sounds quite wide with imaging accuracy to match this width. The Satsuma on the other hand comes across deeper with better instrument layering. The both separate instruments very well. I’ll give a slight edge to the Satsuma. The thinner presentation combined with the smoothness results in it being easier to track individual track elements.

While the Meze better matches my preferred signature and as a result I enjoy my time with it more than the Satsuma, Campfire’s product is the one that would likely be more of a crowd-pleaser. The signature is more balanced and less skewed towards certain frequencies. Plus, it sounds smoother and more refined.

DDHiFi Janus (199.00 USD): Bass from the Janus is thicker and more weighty with a slower attack and decay. Texturing is about on par. While the Satsuma offers more quantity and a much less drastic roll off into sub-bass regions, the Janus still manages to feel more visceral. Leading into the mids the Satsuma has a clear detail and clarity advantage. Vocals are more forward, clearer, and more articulate. While the Janus has a thicker presentation with a more natural timbre, it just doesn’t sound as crisp. It’s not so much of an issue when listening in a vacuum, but toss the Satsuma into the mix and I find the Janus a bit lacking. Treble from the Janus is completely biased towards the presence region with a small 7k peak being the only thing to give it any semblance of treble sparkle. The Satsuma is quite a bit more energetic. While overall detail retrieval is actually pretty similar, those same details are considerably more prominent out of the Satsuma. Despite the Janus’s somewhat dull treble presentation, it holds up to the Satsuma’s quickness and control. Sound stage is where the Janus shines sounding quite a bit wider and deeper than the very competent Satsuma. It helps that the Janus’ default vocals positioning is out of the head whereas on the Satsuma they’re parked just at the edge of the ear canal. Imaging I found more precise from the Campfire with layering and instrument separation being comparable.

These two earphones have extremely different presentations so picking one over the other is very much dependent on personal preference. If you’re treble and/or bass sensitive, the Janus would likely be the better pick since those aspects of the tune are greatly downplayed leaving the sound stage, mids, and accurate timbre to carry the beat. On the other hand, the Satsuma is quite a bit more versatile to my ears since frequency emphasis is comparatively more even leaving it a much less specialized and more well-rounded product.

*Since the Satsuma and Honeydew provide the same external build and accessories, these sections will be the same for both reviews with slight alterations made where necessary.*

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In The Ear The Satsuma features an all-new shell design for Campfire Audio, though one that still draws inspiration from the iconic angular design first introduced in 2015 with the Jupiter and Orion. While still rife with straight angles, the new shell is quite compact and petite. Along with a new shell design, this is the first product from the brand that I’m aware of to move to moulded ABS plastic. While it certainly lacks the heft and quality feel of their other steel, aluminum, and ceramic models, fit and finish is definitely up to snuff. Seams are extremely tight and properly aligned without excess glue or whatever bonding material was chosen peeking out. The steel nozzles are similar in design to those of the 2020 Dorado and Lyra and protrude from the housings at a natural angle. Outside of the CA logo moulded into each face plate, there isn’t much else of speak of. The design language fits in well with the brand as a whole, with the exciting colour (“Orange Fizz”) really making everything pop.

The Satsuma comes with a new ‘Smoky Lite’ Litz cable. Outside of one small change, nothing else about the cable seems different from the regular Smoky Litz included with the Andromeda 2020, IO, and various other models. I might be just a tad thinner and the sheath more flexible, but even with the two cables side-by-side I’m not confident about this. Either way, the 90 degree angled jack is still smartly designed with an extension to permit compatibility with a wide variety of device cases, though the strain relief remains stiffer than I find ideal. That said, I still have yet to experience any issues with it on the numerous cables in my possession. My experiences with Campfire’s cables have shown them to be plenty durable. Within the small, reliefless aluminum y-split, the cable divides sending two strands on each side to the ear pieces. Slotting into the top of the split is a small plastic chin cinch. It moves much more smoothly here than on older Campfire cables and as a result is much more useful. The one change mentioned earlier is the preformed ear guides. They are now opaque black instead of translucent white as found on all previous versions of this cable. Functionally it is unchanged and does just as good a job of holding the cable securely behind the ear. I like this cable, even if above the y-split it can get a bit tangly.

All points where the shell meets the ear are smooth and rounded leaving this, in my experience, as Campfire Audio’s most ergonomic and comfortable design to date. The lightness provided by the use of ABS absolutely helps with this since the earphone doesn’t droop in the ear, or slip out of place while walking, running, etc. While out and about, you might notice how well the Satsuma isolates. The ear filling, low profile, completely sealed design does a great job of passively blocking noise regardless of whether or not you’re using silicone or foam tips. These would be lovely for commuters or anyone that simply wants to shut out the world around them to listen to their music, or focus on a task more effectively.

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In the Box The Satsuma arrives in the same packaging we have become familiar with from the last few releases from Campfire Audio. But is it really the same? When I first held the box, it felt a little different. I couldn’t quite put my finger on what it was until I removed the lovely Campfire Audio logo embossed sticker sealing the exterior sheath shut, then opened the lid of the interior box to reveal the inner contents. Ah ha! This packaging is smaller. Not by a lot, just a few millimetres, but they’ve definitely condensed it down slightly into a more compact experience. This is a change I can fully get behind since it uses less material and creates less waste, a philosophy more in line with the earlier, extremely compact packaging that came with models like the original Polaris, Comet, and Atlas.

Anyway, the theme this time around has changed. The large sticker that adorns the front of the sheath carries with it strong 80’s summer vibes thanks to the use of bright colour gradients set within various well-defined circles. Images of the Satsuma’s creamy orange shells are present and there is also a gemstone tucked into the bottom left corner. Don’t really see how that one fits into the theme, but it looks cool so I’ll let it slide. A smaller sticker can be found along one of the side panels and provides some basic information about the Satsuma, such as that it features a single balanced armature with Campfire’s T.A.E.C teach, a stainless steel spout, among other details. Removing the sheath to reveal the main box within sees Campfire’s traditional nighttime mountain scene has not been abandoned. ‘Nicely Done’ remains printed on the front flap as well, which always puts a smile on my face. Once inside the box, you find a compact half moon carrying case and yet another, smaller box containing the rest of the accessories. In all you get:
  • Satuma earphones
  • ‘Smoky Lite’ silver-plated, copper litz cable
  • Canvas zipper case (handmade in Portugal!)
  • Marshmallow foam tips (s/m/l)
  • Wide bore silicone tips (s/m/l)
  • Final Audio Type E tips (xs, s, m, l, xl)
  • Cleaning tool
  • Campfire Audio lapel pin
  • Mesh accessory bag (x3)
In all a very comprehensive accessory kit, as is always the case with Campfire Audio products. The only thing I would love to see added in the future is a set of bi- or tri-flange tips to satisfy the crowd that prefers that style. Going back to the new case, this is my favourite iteration of Campfire’s half-moon style case so far. Not only is it smaller and more pocketable than previous versions, without sacrificing the ability to comfortably hold the earphones and some extras, but the canvas material looks and feels fantastic in the hand and will certainly be able to take some abuse. Hopefully they carry it forward to future releases.

Final Thoughts When I heard the Satsuma was going to be a replacement for the Comet, I was pretty excited. That remains one of my favourite single armature earphones with only the ergonomics stopping me from using it on the regular. The hand-polished, stainless steel shells with a thing of beauty, but their weight combined with a somewhat long nozzle and standard barrel shape made them cumbersome.

With the Satsuma and it’s new shell design, Campfire Audio has gone above and beyond in addressing the ergonomic and comfort issues of the Comet, while keeping the excellent signature and refining it further. Outside of the shell material lacking the same quality feel of the rest of their lineup, there really isn’t anything I dislike about the Satsuma. The tune is well-balanced and technically capable with a nice sound stage and good detail. Timbre quality is excellent and bass kicks, especially for a balanced armature. This is a wonderful all-rounder and something I’ll definitely be rolling into my daily driver setup. This is a near perfect entry level model in my opinion.

Thanks for reading!

– B9

Disclaimer A huge thanks to Caleb at Campfire Audio for reaching out to see if I would be interested in covering the Satsuma, and for arranging a sample for review. The thoughts within this review are my subjective opinions and do not represent Campfire Audio or any other entity. At the time of writing the Satsuma retailed for 199.00 USD: https://campfireaudio.com/shop/satsuma/

Specifications
  • Frequency Response: 5Hz – 18kHz
  • Sensitivity: 94dB SPL @ 1kHz 18.52 mVrms
  • Impedance: 46.40ohms @ 1kHz
Gear Used For Testing LG Q70, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
P
patman662
great review indeed. you gave a very comprehensive view
silent-circuit
silent-circuit
I love Spirit World Field Guide and Aesop Rock in general, and I've always thought it was "just me"... It really is a bad mix. Great songs, bad mix. Tolerable on most speakers and more "laid back" headphones, but borderline painful on most IEMs.

(Sorry to derail, this is just the first I'd seen someone mention the mix)
B9Scrambler
B9Scrambler
@silent-circuit Always nice to see another Aesop fan here :) Couldn't agree with you more. If you want to read more discussion about the mix quality be sure to join the Aesop Rock group on Facebook. There was lots of talk when the album was released, though they've quieted down by now.

rev92

Reviewer at Ear Fidelity
Campfire Audio Satsuma
Pros: Vibe
Great looks
Colorful
Price
Well tuned
Good technical performance
Nicely done :D
Cons: The price might be questionable when talking about a 1BA IEM in 2021, but they simply deliver in terms of the sound.
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Campfire Audio Satsuma is a brand-new release with a single balanced armature driver, and the price is set at $199.

Introduction​

Campfire Audio is well-known for making rather expensive IEMs like the Solaris, Ara, and a favorite for many, Andromeda. This time, they presented Satsuma and Honeydew, which are the cheapest models in their current lineup, and they are a perfect opportunity for the first IEMs from Campfire Audio. These two are made to celebrate the summer, with the name “Satsuma” representing a Japanese type of orange. Grab your juice or any alcoholic beverage and enjoy!

Packaging & Build Quality​

Satsuma is basically an Orange.
Campfire Audio has been making metal IEMs for as far as I can remember…well, I believe they’ve never offered a non-metal IEM in the past. It’s changing today, as the Satsuma is indeed made of metal. Don’t you worry though, it is still CFA. The Satsuma is well-made, solid and it won’t break anytime soon for sure. Using the plastic also has its pros, such as reduced price, reduced weight (which improves comfort), and you won’t have to babysit them as much as you have with the Andromeda for example. Who likes scratches and chipped paint on your new, cool headphones?
Inside the (as always) beautiful box, you’ll find plenty of stuff. IEMs itself, the Smoky Litz Cable, three soft sacks (two with pouches for each earphone), a set of Final E Tips, and a pair of foam tips.

Comfort & Isolation​

Perfect for a picnic.
Comfort is on a really high level because shells are very small and light. Satsuma is touching my ear at only one point, and it’s doing it in a really delicate way, just laying on it. Litz Cable is also helping to be comfortable with these IEMs because it’s one of the most comfortable stock cables I’ve ever used. I’m slowly getting rid of cables like FiiO LC-B, which are bulky and quite irritating from the very beginning.
Isolation is also great, maybe it doesn’t cut off totally that neighbor who’s drilling 24/7 for a month from now, but it definitely helps me to live with it. During riding in a subway or bus, no external noises are coming through when the music is playing. Only with silent tracks, or in the pause between songs I can hear the environment, but it’s hardly muffled.

Thanks to the more rounded shells, and the material they are made of, these won’t be as problematic as their previous releases in terms of comfort. I personally know some folks that can’t stand the harsh edges of the Andromeda for example. Can’t imagine anyone having problems with the Satsuma though, and that’s good.

Sound​

Peekaboo!
Not gonna lie, that’s a hell of a sound. But it’s highly source-dependent. I prefer to use Cayin N3Pro on Ultralinear mode because EarMen Eagle provides rather harsh final effects and a thin sound.
In a few words, it can remind me of Andromeda but also of the Dunu EST112 – it all depends on the source.
Because they’re so different on different DACs, I decided to write this paragraph in a little different way, with shorter parts but explaining how Satsume sounds on specific sources.
Summertime madness.
At first, EarMean TR-Amp, which is a quite natural DAC/Amp with a huge soundstage.
The bass is, as we can expect from a single armature driver, quite pushed back. What shocked me, is the thing that the lows are so flexible. They sound really good with fast and dry slam like it’s at the beginning of “bad guy” by Billie Eilish, but also with a slower, and more messy double bass that’s playing in “Cantina Band” from Star Wars.
It lacks the subbass, but midbass and kick are always fantastic. Neutral with a single tear of warmth. It matches perfectly with the bass that’s in almost all songs in the album “Tell Me I’m Pretty” by Cage the Elephant.
The midrange is always at the first plan, especially vocals and guitars. Choirs are delicately hiding behind the lower mids. But damn, there are so many details in the sound. “A Real Hero” by Electric Youth never sounded like that before at this price range. The vocal is insanely charming, and not only in that song. Polish pop artists (Daria Zawiałow, Mery Spolsky) share the same manner. Male vocals, like DaBaby, are pretty bold and come even more to the front.
The treble in this combination is rather delicate. Sometimes it can shine, but it’s mainly keeping itself in the shadow. It’s getting better with calm realizations, like single piano or in “Pristine” by Snail Mail. When there’s too much happening at once, the treble starts being nasal and a little compressed. That’s caused by the signature of the TR-Amp, but it has some glamor.
The soundstage is really good as for a single BA. Vocals are placed in the front, some are trying to dig inside my head, like Selena Gomez in “Feel Me”, but it still has so much air in the sound, so it doesn’t really bother me.
Technical, but vivid.

Now, it’s the time for a more technical style, which means that EarMen Eagle is plugged in.
The bass gains much speed and power now. Subbass started to purr in the background, and the whole low section is fuller. It’s still really flexible, but slower bass doesn’t involve me in the music as the fast one does. It insanely beats the beat, I didn’t even notice when my whole body started to move to the music’s rhythm. It also gained a lot of texture, but not only in the bass.
It also has a lot more texture in the midrange, which is now bolder, but sometimes gets lost like in “You Ain’t The Problem” by Michael Kiwanuka. In this song, there’s a lot happening between ~0:45 and 1:15, so I’m not shocked. I would be really impressed if that part would sound perfect.
Vocals have become equal in terms of being at the front, but in a good way. I mean, the female voices moved to the front. They lost a little of the charming style from TR-Amp but gained the correctness, just as I expected.
The treble is now shining a lot more, it’s not hidden in the shadow anymore. It also lost all of the nasal manners, just opened for the listener. Sometimes, with splashy hi-hat or drumroll, it can cause something like sibilance, but it’s not strictly a sibilance. Eagle is really good with avoiding the sibilances, but I’d be careful with other technical sound sources.
The soundstage changed to the cat from the meme “so, basically, I’m very smol”, but it operates really well with holography and separation. Even if the sound doesn’t have much space to be in, it makes use of it perfectly.
My favorite setup.

Now, it’s the time for my favorite source for Satsuma, the Cayin N3Pro on Ultralinear mode.
The bass is delicately darkened and highly smooth. It’s not that flexible anymore for me, because pure pop doesn’t sound so lovely now. Subbass is taking too much of the show from mid and kickbass, but I’m sure many people would enjoy that. Satsumas lows impressed me in the music that I’m not listening to daily (perhaps I’m not a true audiophile), which is… Pink Floyd. Listening to “The Dark Side Of The Moon” is a pure pleasure, even for me.
The midrange with the N3Pro gained a lot of warmth. That warmness, combined with the smoothness of Ultralinear mode is something truly spectacular. It’s involving and calming in the same moment, making me sing and dig into the music. Vocals are again insanely charming, with a solid addition of juiciness. “Levitating” by Dua Lipa and DaBaby is definitely my favorite song in this combination.
The treble is somewhere between the TR-Amp and Eagle. It’s not nasal anymore, but also is more delicate than with Eagle. That’s a sweet spot for me, with a small number of sparks, without any sibilances, but also not hidden or darkened.
The soundstage is also better in terms of size than one that EarMen Eagle can provide, but a little worse than TR-Amp. It shines in a different place, in the holography which totally destroys my good feeling from both previous sound sources. Layering is just woooow, even if the soundstage’s size isn’t the most impressive, Satsuma really takes the best of it.

Comparisons​

Nicely done, Campfire.
Campfire Audio Satsuma vs. FiiO FH5
I never was a big fan of FH5, and in this comparison, they were destroyed once again. Overall timbre is way more pleasant to listen to on the Satsuma. In terms of details, bass and treble are delicately worse, but midrange makes up for this loss. Soundstage is delicately bigger in FH5, but it lacks layering compared to the cheaper Satsuma.
Campfire Audio Satsuma vs. Campfire Audio Honeydew
Those are brothers from different mothers. The only thing they share is design.
Satsuma offers an absolutely different playstyle from Honeydew. It focuses on the midrange, vocals, and guitars. It’s the best in small realizations when Honeydew doesn’t care about that at all. Honeydew needs only some lows to take the whole show for itself, and that’s good in many situations. But, if you like summer campfires with that one man with the guitar, I’m sure that kind of music will perform better on Satsuma.
Campfire Audio Satsuma vs. Bqeyz Spring 2
Those two might be considered by the same person, because at some points, with some sources, they are similar. Satsumas bass with EarMen Eagle is close to the fast DD from Bqeyz, but Spring 2 lacks that lovely manner in vocals from CFA cheapest IEM. The treble is another totally different hing, because Spring 2 is way brighter than Satsuma, and it is able to sibilance sometimes. The biggest advantage of Satsuma is placed in the soundstage and holography, because Spring 2 were playing mainly left-right. Of course, it operates pretty good with the holography and layering, but Satsuma takes it to the next level.

Summary​

Gimme more oranges
Cheap and insanely good Campfire Audio? Hell yeah, I’m in. A neutral sound that can be easily changed by the sound source, a lovely set of accessories, and a very low price, set at $199. Man, that’s definitely the best first day of summer ever.
Highly recommended.



Gear used during this review for the sake of comparison and as an accompanying equipment:
  • Headphones – Campfire Audio Vega 2020, CFA Andromeda, Campfire Audio Solaris LE, Fir Audio VxV, Craft Ears Four CIEM, Dunu EST112, Campfire Audio Honeydew
  • Sources– Cayin N3Pro, EarMen Eagle, EarMen TR-AMP, xDuoo XD-05Plus, Cayin C9
dhruvmeena96
dhruvmeena96
Its still no Orion
sad
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