Campfire Audio Supermoon

Campfire Audio Supermoon

Specifications​

5Hz–20 kHz Frequency Response
94dB @ 54.0 mVrms SPL
15.5 Ohms @ 1kHz Impedance

Features​

14mm Full-Range Planar Magnetic Driver w/ 2 micron thick diaphragm.
Custom Beryllium / Copper MMCX Connections
Hand Polished 3D printed Solid-Body
Stainless Steel Cap

Gear used

Astell & Kern ACRO CA1000

Songs

Jazz
Guitar work

Intro

Between Senior Headphone Editor Will, myself and a couple of other reviewers we are close to, we have tried every single iteration from Campfire Audio (CFA). As a result, and because of constant conversation between the four of us, we have heard all of the good, bad and “indifferent” regarding CFA. In our opinion, there have been many more good iterations than not from CFA. I still personally own two models, including the vastly underrated CFA Cascade closed-back headphone. If you want a jolt of pure unadulterated bass, find a Cascade. New or used, it does not matter. If the Cascade cannot get you up and moving like Emilio Estevez in “Breakfast Club,” then nothing can. Other models from CFA have set curves of their own right, including the highly acclaimed Andromeda. Widely regarded as redefining what clarity is in a high-end in-ear monitor (IEM), the Andro still sets the curve, with rumors swirling of a new version coming down as well. It is a huge sales success and many manufacturers rethought what it actually meant for their top of the line IEM. It was that much of a changer. Others fill much needed niches, such as the Solaris and Ara (I personally prefer the 2020 versions, but the esteemed HeadPie, known as @ExpatinJapan on Head-Fi; prefers the OG version as does @B9Scrambler, also on Head-Fi), with higher end sound at near-mid-fi prices. A bass IEM of the Cascade would be the Vega, which unfortunately did not meet the accolades of the Cascade. To me this is a shame, as it is quite good for bassheads.



Coming out with a custom IEM is a chancy proposition for a manufacturer, but CFA did with the Supermoon. Sending “regular” Supermoon units around to garner opinion, the consensus was that it was good, and many lamented that it would only be available as a custom. Sending units out for those who might like to purchase one is a great way for a company to show off its wares, and it gives the potential customer 80-95% of the experience before plunking down $1500 for the custom Supermoon. Luckily, (sorry Will) it was my turn in the rotation and we (me) heartily said YES!

Unboxing/Fit/Finish

Since it is a custom, you will need to either send an electronic file of your inner ear shape for them to model the shell, or have an Audiologist make a 3D model and send it off. My local Audiologist (works with a family friend who is our ear, nose & throat doctor, and who coincidentally crossed the finish line literally 5 seconds before the bombing of the Boston Marathon...) took me with an appointment, making the molds in a total of 20 minutes for both sides. Remarkable. The cost was $35 as well. Sending those off, I emailed our contact to let her know that I wanted the Audiophile depth as opposed to Artist depth. The only difference is that the Artist depth goes further into the ear canal for those who use the unit on stage. A choice of cable can also be had, with four choices of again Audiophile in 3.5mm or 2.5mm or Artist in 3.5mm in two colors. I thought about going with the Artist cable in blue & red 3.5mm, but “settled” on the tried and true CFA Smoky Litz in 2.5mm. All cables use MMCX connections for longevity as well.

Since it is a custom, fit is excellent. Of the three custom’s I now have (UE Live & UE Drop), the Supermoon provides me the best fit. The two UE models were done using an infrared UV laser system to record the inner shape of my ear, which may have played a bit into it. Mind you, the others fit very well, and this could come down to the need for a little wiggle room. The overall fit of the Supermoon is large, but once inserted, I did not feel any pain or pressing like on some regular IEM’s that have one of those annoying “nibs” to help with fit. The Supermoon fits perfectly, and almost flush with my ears, which for the size is an accomplishment.



The now typical CFA unboxing experience is still present, and I am glad. Sometimes simplicity is welcomed, but much like when I received my Empire Ears Legend X, the Supermoon opening is a true event. Grab a drink and enjoy it. Carefully peeling the silver sticker away, the four “flaps” open to present a petal-like black and silver paperboard flower. Once inside, the still traditional camping-like experience imbues the covering of the box. Opening the unit, you find the Supermoon on top, with the individual soft fishnet fabric protection cradling each earbud. Below that is a newly designed case, with the wool-lined case on the inside. Another larger pouch houses the cable of choice, and a CFA pin lies under that along with the instruction manual. No tips are included of course, and the larger fishnet pouch can be used easily instead of the zippered pouch. I used the pouch, as I also threw in the latest cable from DDHiFi, a copper Air Nyx with a 4.4bal jack. I will review both and look for a dedicated review of the cable along with some other DDHiFi accessories in the future. A cleaning cloth and cleaning tool are also included.

One of the complaints of the CFA cable is that it tangles and seems fragile. While I understand both concerns, I have yet to cause harm to any CFA cable I have in ownership, or on a review unit. I’m not worried about it.



The Supermoon is also CFA’s first planar magnetic driver unit (14mm size, 2-micron thick diaphragm), and as such it is a big leap for them. Often thought of as taking chances, this is another time where they got it right. Planar technology is not new, and many of the best headphones use huge planar drivers. Audeze is known for theirs and the LCD-3 is my go-to top of the line open back headphone. This is one of the first offerings for an in-ear monitor, with only Timeless and Shuoer offering planar IEM’s at a much lower price as of this production. Those two units are not custom, nor offered that way, either.

The Supermoon consists of three parts: The Beryllium MMCX connection point; the stainless steel “capture,” which also houses some of the electronics; and the custom shell itself. Inside of the shell, much like the UE Drop and Live, the Supermoon has an enclosed unit, which houses the electronics. While technically, not completely custom; the ability to keep a uniform sound signature overrides the complete custom unit (and astronomical price associated). Build quality is typical of CFA, which is excellent.



The Sound

I have a long habit of burning in everything I review, whether the manufacturer asks that I do or not. There is belief and disbelief in the practice, but when a company asks, I oblige. CFA did not ask me to do so. I also do this so that the potential consumer will hear what the unit sounds like six months or a year down the road. With some, I have indeed heard a difference. With others not so much to not at all. To me, that is not the point; it is to let you know what the unit sounds like well after the “new car smell” has worn off. Also, to me this is no different than burning in your two channel speakers per the manufacturer's request. As of this writing, the Supermoon was let run continuously (with music) for over 100 hours. I checked occasionally to ensure all was good and the music was still playing. In the course of this review, I incurred another 100+ hours of dedicated listening.

Much has been said in the literature that the Supermoon had a slight push at the 7kHz frequency range, making the cymbal range sound a bit brittle or artificial. I can hear that but would counter that what I hear is clarity of that range. The upper mids are definitely highlighted in the signature, but it is not pervasive across all genres and music. Much was also made of the deep reaching bass, which is typical of many CFA models. Some call it a cross of the Andromeda and Vega, with the best of both parts involved. To me, the Supermoon has carved out its own niche in the CFA lineup.



My favorite CFA model is the Solaris 2020. To me, it melds the perfect amount of bass, with a richness of tone that pervades my senses. While certainly not as technically proficient as the Andromeda, there is a musicalness to the Solaris, which I very much like. The Supermoon has that musicalness the Solaris lacks. It also has a good punch down low, but not as much as the Vega (or Cascade for headphone users). Very controlled in the amount, the depth seems to go below what it should, which is due to that control. Almost a tricky sense of depth that comes across as taut, with very good speed of decay. But not so quick as to dismiss that bass line. Too fast and you would lose that depth of which I speak. “Daylight” from Coldplay displays this aspect of the signature very well. Controlled, deep, but not with a good thump. There is plenty of bass, but not overwhelming.

Chris Anderson’s voice is punctuating and crisp. There is a penetration to it, which is almost piercing, but comes across as melodic on songs such as “Green Eyes.” This shows the Supermoon’s ability to handle the mids and especially male vocals with a distinctness and character you might find in a very comparable open back headphone of the same price. When the rest join in, the timing is impeccable, and the melding together makes for a thoroughly melodic song.

The completeness of which I speak comes across in Ziggy Marley’s “Dragonfly,” which is such a good song. The message alone makes it worth listening to, but when you put all of the different instruments and structure together, you get a thoroughly enjoyable rambling melody, which cuts across many aspects of your listening. The bass drum hits hard and with an excellent thump. Speed again comes across as non-intrusive as we move up the range. Ziggy’s voice is like Anderson’s of Coldplay, but with a more piercing effect. Such sweetness comes across as well, and without too much emphasis up top. Rich in sound, and with multiple layers, the song gives a good indication of how an IEM can handle a complicated song such as this. Treble reach hits at the right spot, and that cymbal push of which I spoke normally bothers me in this song with some pretty good IEM’s. Not here, in fact I can turn the volume up a couple of notches on my Shanling M6 Pro to suit the mood.



“True To Myself,” also from Ziggy, indicates a good definition of soundstage. With excellent height, the center point of the music is slightly lifted inside my head. Depth is very good as well as width, but not so expansive as to lose the notes in too much air. There is a good punctuation in the music, which allows the user to clearly define placement of all instruments involved as a result. If you had to think about it this way, you would be slightly back from center stage (on the stage) with Ziggy singing in front of you, but all else behind or next to you. A really fine placement of everything.

Timbre comes across as pleasant with no issues as evidenced on Magic Slim & The Teardrops “Cold Women With Warm Hearts.” The song is a fantastic play on an uptempo blues song, but in a more laid back manner. His solos are divine and punctuate the air much like Ziggy’s voice as mentioned above but with deeper tone. His concerts are fabulous (three times...) and the timbre through the Supermoon gives a clear indication of what the concert would be like. I can clearly see his bassist off to the side, nodding his head Shaggy-style in perfect rhythm to the song like it should be. Follow that with the fast paced “Gravel Road'' and the Supermoon again shows merits across speed and genre.

Female vocals come across as smooth and in the case of Bonnie Raitt, sultry. “Nick Of Time” is a fabulous album and the title track does not disappoint. The smooth character of her voice quickly changes to a vibrancy she is known for in “Thing Called Love.” With a gravel tonality to it and her trademark raspy voice, that still comes across as sultry; a pure treat on the Supermoon as well. The volume goes higher as I kick back and listen. This is also a good song for highlighting the resolution in the Supermoon. Succinct tone comes across as distinct, but still connected to each part of the song, making you tap your feet as well.



Comparing the Supermoon to the excellent UE Live may not seem fair, since it costs half again the price; but it also shows how well the Supermoon intends to compete. The UE Live is just about the purest sounding IEM either Will or I have heard. Yes, there are some, which cost as much as a small planet; but the UE Live simply sounds like it should. I found it funny then, that I immediately found the Live to sound somewhat flat compared to the Supermoon. I know they are two completely different beasts, but there is an immediacy to the Live, which is not there with the Supermoon. Realizing I had the GUCraftsman 4.4bal cable installed on the Live, I switched to the stock cable (which much like CFA has complaints of being plain and fragile) and the Live came back into its own. The GUCraftsman is pure copper, exudes a warmer signature, which can come across as dark or veiled. This could be part of it, but I often prefer the bass treatment of copper over silver (too bright for me most of the time). Technically speaking, the UE Live is better; and it should be. It is a stage monitor of the highest order, which also happens to be a damn fine IEM. The Supermoon, using the stock cable, is a very fine custom IEM, which provides a different enough signature from the Live to provide a viable alternative. The stock cable does sound livelier (even though it is copper as well, the Air Nyx is meant to provide a richer signature) and makes for a thoroughly engaging signature. I can go back and forth on different songs and like each. While I like tinkering with cables, the stock Smoky Litz is a fine cable. For 2/3 the price, the Supermoon does well against the much more expensive UE Live, providing a different enough signature as well.

Conclusion

We like many of the CFA models. The Andromeda is still the detail king of the lineup. The Solaris has soul, providing us with the signature I personally prefer; which is rich and warmer with excellent bass. The Supermoon combines much of the Andromeda, the Solaris 2020 and yes; the Vega 2020. It is different enough from each of those to be a clear offering, much the way I compared it to the UE Live. If you still want the technical leader (to me), then choose the Andromeda. Want a rich, inclusive signature? Choose the Solaris. But if you want excellent detail, resolution and clarity in its own right, and bass that, while not completely typical of many CFA bass-offerings, provides you with that feeling of just right bass, then the custom Supermoon should be a serious consideration for purchase. And since CFA to send you a non-custom Supermoon to ensure that you really do like it before plunking down your hard-earned Ben’s is a wonderful offer. Sending a model for you to try beforehand is also a nice gesture. They are quite confident you will like it but know that the outlay is worth the extra time to make sure you actually do. At the end of the day, I can highly recommend the Campfire Audio Supermoon.



The Campfire Audio Supermoon may be purchased here.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my site, and now I would like to share it with my readers on Head-fi.

Manufacturer/product website: Campfire Audio. Available for sale directly or authorized retailers like Bloom Audio.

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Intro.

When you bring up a new Campfire Audio (CFA) flagship release, some audiophiles assume a new version of Andromeda or Solaris. I mean, it is not uncommon for manufacturers to release MKII or even MKIII versions of their popular IEMs. But quite often you hear people talk about the new version being an improvement over the previous one. CFA releases seem to follow a different path where I hear from my readers about them collecting different versions of Andro and finding each tuning to be unique rather than an improvement over the previous one. The same with Solaris where people often ask me questions about both OG and ’20 versions. Obviously, there is still a high demand for both of these IEMs, but it doesn’t mean that Ken and Caleb, the dynamic Campfire Audio duo, hasn’t been experimenting with new ideas.

Known for their thinking outside the box, they constantly explore new BA and DD drivers in addition to new shell materials. And while attending many global audio shows, they are often approached by various transducer manufacturers. That is how they recently discovered a new set of subminiature planar drivers, implemented in their latest Supermoon (SM) release, which is still designed and hand assembled in Portland, OR. I’m surprised it didn’t get more attention, though I think one of the reasons is probably due to it being CIEM only. CFA does offer uni demo at the shows, and even had a limited uni run which sold out quickly. But some people are still afraid of custom commitment, so I hope my review can provide more info for those who have been curious about this latest CFA release. Here is more about Supermoon.



Unboxing and Accessories.

The unboxing experience of SM is similar to their ’20 releases of Andro and Solaris, and still feels like “a box of chocolate”. These IEMs arrived in a compact package with a wrapping held together by a sticker on the back which you need to cut/remove to unfold the top layer like it’s an origami. The wrapping cover and the actual box have the same starry sky scheme, and the box looks like it’s made from a recycled paper. It actually looks nice, something you can place on your desk or a bookshelf, rather than discard after opening.



Inside you will find a premium black leather earphone case with a thick faux wool lining and a quality zipper. The case is an average size, still pocket friendly, and great for storage and keeping IEMs secure during transport. I always appreciate their wallet-like zippered design with side wall protection where nothing falls out as you unzip it. For some it’s a small detail, but for me it’s a big deal.

Other included accessories are a double-pocket mesh protection sleeve, to keep shells separated while inside the case. Also, a cleaning tool, Campfire Audio traditional lapel pin, cleaning clothe, and another small mesh sleeve to store these accessories. Stock super smoky Litz SPC cable was included, and you can select termination when ordering. I also received generic silicone eartips (s/m/l) and marshmallow eartips (s/m/l) since my review unit was universal, not custom. Obviously, the original SM ciem will not include eartips, but I’m glad they did with uni version. More about this in Eartips selection section.



Design.

SM is designed as solid-body custom in-ear monitors, 3D printed and hand polished from a solid block of material. The design itself starts with a custom ear impression which is scanned and optimized, including manipulation of internal acoustic chamber to fit the custom shape of the shell. The uni shell I received, also used as a demo during shows, is based on CIEM design and carefully crafted to make its fit universal, including a short nozzle with a lip for eartips. On the outside, you have stainless steel cap “faceplate” and the cable connector featuring custom beryllium copper mmcx socket. Since the cable plug and the shell socket are matched in material and tolerance, the connection is solid and secure.

While you have options of different eartips when dealing with uni model to “customize” your fit, with ciems you have to go by your ear impression. Here, CFA decided to offer an option of two different custom fits, audiophile and artist. Audiophile fit will have a shorter, shallower nozzle which should give you a more comfortable fit for daily use. Artist fit will have a longer nozzle with a deeper and more secure fit and improved isolation as a result of it. I can’t judge how these will sound in comparison since I can’t A/B them, but I heard from some people that artist fit might be slightly brighter in tonality. Of course, everything is relative to your ear anatomy and how you hear things.

Inside, you have 14mm full-range custom Planar Magnetic Driver (PMD) with 2-micron thick diaphragm. For a solid design, this is the only “moving” part inside the shell. The full range PMD covers a wide spectrum of 5Hz to 20kHz FR, the reason CFA was able to tune SM without a need for a hybrid design with additional drivers. The impedance of this IEM is average, 15.5ohms, but the sensitivity is a bit on a lower side at 94dB, which requires extra clicks of volume to bring it up to the same listening level as other average sensitivity iems. But no extra power is required to drive them efficiently to their full potential.



Cable design.

The included stock smoke Litz SPC cable was introduced back with 2020 CFA releases, and offers 3 termination options. The singled ended 3.5mm TRS and balanced 2.5mm TRRS termination have 90-deg gold-plated plug and over-molded rubbery housing with a nice grip and built-in strain relief. 4.4mm TRRRS plug, often out of stock due to its popularity, is straight and with gold-color housing. The 4 twisted Silver-Plated Copper Litz multi diameter stranding wire conductors have a smoky finish with a medical grade soft PVC jacket. The y-split is a slim aluminum black “bullet” with a matching chin slider which retracts from the split.

The wires going to each earpiece after the split are twisted, and closer to mmcx connector housing have a piece of heat-shrink pre-shaped flexible earhook. As I already mentioned, the mmcx connector itself uses a quality beryllium copper material, and the smoky housing of the connector has red dot to indicate Right side. I also noticed on SM product page an option for Artist 3.5mm red/blue cable, probably for an even easier id of the sides.



The fit (uni).



Sound Analysis.

I analyzed Supermoon sound performance paired up with LPGT while playing a variety of test tracks, such as Agnes Obel “The curse”, Sandro Cavazza “So much better” (Avicii remix), C-Bool “Never go away”, Ed Sheeran “Shape of you”, Alan Walker “Darkside”, Galantis “Hunter”, Iggy Azalea “Black widow”, Indila “Boite en argent”, Dua Lipa “Love again”, Counting Crows “Big yellow taxi”, Bob Marley “Jamming”, David Elias “Vision of her”, and Michael Jackson “Dirty Diana”. The sound analysis was done after about 150hrs of playback time, so it has plenty of burn in time. Also, I used the provided foam eartips, and this sound description should be close to what you would expect from Audiophile fit.

Supermoon has a balanced signature with a clear detailed tonality, deep analog quality bass, and natural non-fatigue upper frequencies. For those who were able to get their hands on universal version of SM, eartips selection is crucial. If you decide to use silicone eartips with a narrow bore opening, you will hear a more exaggerated peak around 8kHz which is going to yield a bit more aggressive mid-treble definition. With universal pair of SM to get the sound closer to a custom version, you need to start with provided foam eartips which do a great job attenuating down that peak, resulting in a more natural revealing tonality of upper frequencies.

SM is my first single Planar Magnetic Driver (PMD) iem, and I was expecting a coherent performance typical of a single driver design. But the unique nature of these PMD drivers turned SM performance into something I would describe as coherent-hybrid. When you are dealing with IEMs that have DD bass and BA/EST mids and highs, often you can hear a clear separation between the bass and the mids, almost like lower mids were scooped out to give the bass shorter decay and more control, making it stand out. Other IEMs have a more coherent tuning with all drivers working in unison. Here, you get the best of both worlds, a coherency of a single driver tuning and the bass performance typical of a hybrid tuning which makes low end stand out.

Bass has a deep extension and a noticeable lift, down to a textured analog rumble of sub-bass which gives the bass its fullness and extra weight. The mid-bass punch has a slower and more rounded impact, blending in perfectly with a sub-bass. We are talking about bass with the weight and the impact of a pure dynamic-driver analog performance. It is not overpowering or spilling into mids, as a matter of fact, it has a well-controlled note decay.

Lower mids are closer to neutral, with a little extra body, but not too thick. They definitely do contribute to the overall tonality with a more natural warmth without any extra thickness. Upper mids are clear and detailed, with a tastefully done pinna gain boost around 2kHz to bring out more details in vocals and instruments without any shoutiness, and still exhibiting quite a natural tonality.

Lower treble, as already mentioned, could be tricky since SM was designed around custom version. In my case, while listening to uni, foam eartips didn't just provide a perfect custom-like fit and seal, but also kept the sound less fatigue and more natural. The treble definitely contributes to a great level of definition and resolution of the sound without being fatigue. The extension does have plenty of airiness as well, but more on a moderate level. Treble is not rolled off, it has a very good natural extension, just a bit less airiness.

The soundstage expansion is quite wide and deep, expanding on holographic level with a 3D-like imaging. You do feel like being on stage with a performing artist, being surrounded by a sound, instead of the sound being out of your head farther away. The layering and separation are pretty good too. I wouldn't say I hear a lot of air between the layers, and it’s probably due to a nature of the treble extension. But the actual layering and separation of the instruments is quite distinct with every element of the sound in focus and easily identified.

There is also one interesting effect I noticed with some of the EDM songs where you have a lot of the layered synthesized instruments. I assume it is due to the nature of PMD design where it responds fine to macro-dynamics changes in volume over the whole songs (parts of the song which are louder or quieter), but sometimes doesn’t respond as swift to micro-dynamics changes with fast transients within small parts of the song. I haven’t noticed this effect in acoustic or classical or jazzy tunes, but I did with some of the EDM tracks with synthesized instruments. But overall, it performs well with any genre of the music.

Also, absolutely no hissing and pure black background with all the sources I tried.



Eartips Selection.

The selection of eartips is crucial to any universal in-ear monitor and will affect the sound, especially the bass impact depending on the seal. Due to a large opening of my earcanals, I usually go for the largest size eartips to get a better seal. Also, please keep in mind, eartips impressions are subjective and will be based on anatomy of your ears. I’m just sharing my experience and describing what I hear, and hope some will find this info useful in general despite the fact that SM is custom IEM. You never know, Ken and Caleb can surprise us down the road.

So, eartips selection here was a challenge for me since it can make or break the mid-treble, going from harsher and fatigue to more natural and tolerable. From the get-go, I found narrow bore tips to be a no-go for my ears. Wider bore tips were better, like Azla Sedna (short stem version) or JVC Spiral Dot, but the sound can still get a bit bright even with those.

Then, I remembered Ken saying that for a sound sig closer to a custom fit you need to try foamies. Keeping that in mind, I started with Symbio F, my go-to foam eartips. It does gives you the sound similar to wider bore opening silicone eartips, and I was OK with it. Then, I remembered that CFA also included their own foam marshmallow eartips. Decided to try it and was pleasantly surprised, even graphed the comparison between Xelastec vs CFA Foamies.



In case of uni SM, foam eartips is the must to get custom like tuning and smoother mid-treble.



Comparison.

The sound comparison was done using SM with a stock cable, stock foam eartips, and LPGT source; volume matched in every comparison and volume noted with “v”.

Supermoon (v43) vs Andro '20 (v29) - these two have a very different tuning, but I'm sure many still will be curious how it compares. Starting with soundstage analysis, as many are aware, Andro soundstage is wide, but Supermoon stretches it a bit wider and gives imaging more 3D perception. Soundstage change is not as big here, but imaging and how instruments positioned in space is more noticeable. Then, we have the bass, where Supermoon scales up by a noticeable amount, especially in depth and weight of the sub-bass. Supermoon delivers a bass performance of a powerful DD driver, especially the amount of sub bass rumble. Lower mids are leaner in Supermoon while have a fuller body in Andro, but that completely flips as you go into upper mids where Supermoon pushes the vocals more forward and has more clarity which gives SM a more revealing upper frequencies tonality. And the same with a mid-treble where Supermoon has more energy while Andro is smoother and more polite in comparison. Another big difference is in sensitivity level where you need around 14-15 more clicks for Supermoon to match Andro level. And last but not the least, no hissing with SM, while you know how it goes with Andro.

Supermoon (v43) vs Solaris '20 (v29) - Solaris gets closer in soundstage expansion and imaging of Supermoon, but I'm still haring SM to be slightly ahead, not by a lot, just a small margin. Solaris sub-bass has deeper extension than Andro, but still nowhere near the depth and the weight of the Supermoon sub-bass rumble. Supermoon lower mids are still leaner in comparison to Solaris, but Solaris by itself has leaner lower mids in comparison to Andro as well. Solaris 2k pina gain gives the sound more clarity and better retrieval of details relative to Andro, but Supermoon still scales it up a bit higher when it comes to upper mids. Solaris mid-treble is scaled down just a little below Supermoon, taking the edge of the treble energy. And the same as with Andro, lower sensitivity of Supermoon requires higher volume level, and you also get no hissing with SM.

Supermoon (v43) vs UM Mest MKII (v38) - I have no doubt many will be interested in this comparison. Both have a very similar 3D level of imaging and sound placement, but Supermoon soundstage width still stretches a little bit wider. Now, when it comes to the bass, they almost match each other with a very similar deep sub-bass rumble and a strong mid-bass impact. They also have a similar leaner lower mids, but it all changes around upper mids. The pina gain region is more pronounced in Supermoon, bringing vocals more forward while the mild U-shaped sound sig of Mest MKII pulls the vocals a little back. Now, even so Mest MKII mid-treble is not as elevated as in Supermoon, the contrast between its mids and treble makes Mest MKII sound crisper and brighter in upper frequencies. Opposite to that, Supermoon has more elevated mid-treble peaks which creates a better balance with its more forward upper mids pina gain region, making SM upper frequencies as revealing but not as crisp as MKII.

Supermoon (v43) vs 64 Audio Trio (v39) - And, if we are talking about the bass and the treble, there is no way to avoid a comparison with Trio. Here the soundstage and the imaging come very close. The depth and the elevation of sub-bass rumble is not too far off either, maybe with Supermoon having just a touch more sub-bass rumble, while Trio having a bit stronger mid-bass impact. They both have a leaner lower mids which creates a more definitive separation between the bass and the upper mids/vocals. Even their upper mids are quite similar, especially when you are listening and comparing the clarity and the retrieval of details. The biggest difference here is in mid- and upper treble where Trio is brighter, crisper, and harsher, while Supermoon treble sounds more natural.



Source pair up.

Supermoon has an average 15.5ohm impedance and lower sensitivity of 94dB which is still not too hard to drive. As you can see from the above comparisons, I did have to raise the volume by about 12-13 more clicks, but I found it to be OK with portable DAPs without a need for an external amp. Also, with all the DAPs no hissing was detected. For your reference, here are my brief pair up notes. And by brief, I just focus on any changes related to a sound sig and general tonality.

Lotoo PAW Gold Touch LPGT (baseline) - as previously mentioned, this is my baseline source where I hear a balanced signature with a clear detailed tonality and natural non-fatigue upper frequencies. Big soundstage expansion/imaging and hiss-free sound.

Shanling M9 - in this pair up I hear bass to be slightly elevated and noticeably punchier, and the same with mid-treble, being slightly elevated to give the sound a bit brighter and more revealing tonality. While it sounds smoother with LPGT, pair up with M9 brings back some of that upper frequency energy which you loose with foam eartips. Also, big expanded soundstage and hiss-free sound performance.

Sony WM1ZM2 - the pair up with 1ZM2 is almost like a crossover between LPGT and M9, you get a smoother more rounded low end performance and more revealing brighter upper frequencies. Still, all non-fatigue, big holographic soundstage, and pure black background with a hiss-free performance.

Cayin N8ii - this pair up is similar to M9 performance with a powerful punchy bass and very clear and detailed mids, and high-resolution revealing highs. That's how it sounded with P+ boost enabled. Once I switch to lower output voltage P, the bass remained tight and powerful, but upper mids and lower treble became a little smoother and more organic. Soundstage remained the same, big and open, and I was still enjoying hiss-free performance.

iBasso DX320 w/amp11 mk2s - sounds very similar to N8ii with P+ output mode, having a powerful punchy bass and clear detailed mids along with resolving crisp treble. I still don't find this to be fatigue, and I'm sure with amp13 it will be smoother and more natural. As expected, still a big holographic soundstage and hiss-free performance.

Hiby RS8 - this pair up is close to N8ii and actually sounds like being between P+ and P output settings. The bass is powerful and punchy, mids and treble are very natural, clear, detailed, a little more revealing than N8ii's setting of P and a bit smoother than P+. I think this pair up hit a sweet spot for me. The soundstage is still big and expanded with holographic imaging. And, totally hiss-free performance.



Conclusion.

With an exception of a recently introduced limited run Trifecta, Campfire Audio product portfolio includes many IEMs from $199 entry level and up to $1,500 flagships, including Supermoon. Just think about it, $1,500 high quality PMD flagship while some other brands have their entry level IEMs starting around $1k-$1.5k price mark. I think that is an accomplishment considering everything is designed, manufactured, and hand assembled locally in US, while keeping the price at a very reasonable level. But these IEMs are not just great because of their price, but the actual tuning and craftsmanship of the design.

While I’m curious to try now other PMD based IEMs, I can tell you with certainty that Supermoon set a very high bar with its textured deep DD-like bass impact, clear detailed mids, hi-res non-fatigue treble, and holographic soundstage expansion. Yes, my test unit is universal and I had to use foam eartips that made a world of difference. Unfortunately, my ears don’t work well with CIEM, and for those who are interested, CFA offers 2 different CIEM styles. But regardless of that, I really wish and hope for Supermoon to be released officially in universal shell to let more audiophiles discover this new gem from Campfire Audio.

Introduction

Campfire Audio is a name that needs no introduction, but here’s one anyway. In 2009, Ken Ball started a small boutique audio cable company in the green city of Portland, Oregon, called Audio Line Out, better known today as ALO Audio. From those humble beginnings the company evolved, and then split in two, with Ken’s sister company, Campfire Audio, introducing handcrafted in-ear monitors to the product line.

Fast-forward six years and 45 new or derivative designs, and Campfire is once again looking to disrupt a now mature IEM market. Supermoon, the company’s third custom IEM, is not only the world’s first custom planar magnetic IEM, but also the first high-end sealed planar monitor. Featuring a custom-developed 14mm planar driver and Campfire’s unique solid body sound chamber, the $1,500 Supermoon is already changing the price-performance equation of single driver IEMs at the highest echelons of the hobby.


Planar technology explained

You may be new to planar magnetic technology, especially in IEMs, but know that planar technology itself is not new. Planar magnetic designs have been around for years in full-size headphones, and even longer in speakers. What’s new here is the miniaturisation of the technology without sacrificing the inherent properties that make these drivers so effective in larger formats.

Unlike dynamic drivers which use a cone-shaped diaphragm, planar magnetic drivers use an ultrathin flat diaphragm and an array of magnets that push and pull the surface of the diaphragm to create sound waves. Compared to their headphone-size counterparts, there’s a limit to how large the diaphragm can be inside an IEM, and also how many magnets are used to energise the diaphragm.

Broadly speaking, planar drivers extend the frequency range in both directions, particularly bass, down to 20Hz and beyond 20,000kHz, while maintaining better linearity, a faster transient response, and lower distortion than even the most advanced dynamic drivers. The downside is that despite their exceptional extension, planar drivers tend to lack the dynamic contrast of the best dynamic drivers, even though they produce a ‘cleaner’ sound overall.

Supermoon specifically uses several techniques unique to Campfire Audio for refining its planar driver performance:
solid body design and 3D-printed interior. According to Campfire, solid body design ‘uses a single housing with specially designed ports…allowing [the] driver to be routed to the nozzle of the earphone’. The body-and-driver assembly is then ‘inserted into the housing much like an engine being lowered into a car’. This makes assembling the IEMs easier, and reduces sample variance by ensuring the design of each 3D printed earpiece is accurate and precise.

Supermoon also features a 3D printed interior, individually modelled to optimise acoustics relative to each user’s ear anatomy. In theory this lets Campfire design a unique acoustic chamber that helps shape the sound of each driver for a specific target, eliminating any variance in frequency response for consistent sound quality between units.


Packaging and accessories

I’d heard good things about Campfire Audio’s unboxing experience, and this being my first ever Campfire IEM, I wasn’t disappointed.

There are actually two parts to the ‘unboxing’. The first is an intricately folded cardboard sleeve with the Supermoon logo label on top, and a unique identifier label with the serial number and a ‘Nicely Done’ message, with my name, on the side. I really like how the personalisation of the custom IEM experience starts right from the very first impression.

Second, the actual hardboard box, complete with a more traditional hinged lid, contains the IEMs and accessories and sits inside the sleeve. Don’t throw the sleeve away, even though you won’t need it after opening.

Inside the box is one of the largest, nicest looking and feeling cases I’ve seen for an IEM. Campfire takes pride in their leather (outer) and wool (inner) cases, and the case that comes with Supermoon is no exception. Unzipping the case reveals two Campfire-branded drawstring mesh bags: a larger bag with the instruction leaflet, cleaning tool and Campfire logo button brooch; and a smaller bag holding the earpieces and attached stock cable.

The cable that came with my Supermoon is not the Smoky Litz cable advertised on Campfire’s website. Apparently there’s a shortage of 4.4mm cable terminations, and since I wanted a 4.4mm cable, Campfire opted to send me a different, slightly upgraded cable, the $199 4-wire Super Litz. This silver-plated copper cable is light, supple, and very ergonomic with molded, wire-free moulded ear guides. It exhibits zero microphonics in use, and is fitted with a decent looking Y-splitter and gold-plated plug. The MMCX connectors, on the other hand, are made with clear plastic, which cheapens the look slightly in my opinion, but does nothing to usability of course.

Overall the packaging and accessories are of a very high standard, and rightly so for a premium IEM that commands a relatively premium price.


Design, construction and fit

For a single driver IEM, Supermoon’s shells are large. If you were hoping for a tiny shell that almost disappears in your ears, this is not it. That said, the earpieces are quite beautiful to behold, with their deep dark-blue acrylic resin, hand polished and perfectly finished to the exact contours of your ears.

The driver assembly, electronics and cable connector are housed beneath a chromed stainless steel ‘faceplate’ abutting each earpiece, with the solid body acoustic chamber inside the shell itself.

Build quality is excellent; there are no surface irregularities, the faceplate is seamlessly melded into the resin body, and Campfire’s custom beryllium and copper MMCX connectors are renowned for their hardiness and reliability. The resin itself seems thick and robust, and although the nozzle is wide and appears unprotected, there’s a cloth-like mesh between nozzle and driver to keep earwax and other nasties away from the sensitive parts.

As for fit, this was the part I was most nervous about, Supermoon being my first custom. But the second I twisted the earpieces into place, I knew the fit was perfect. In fact, I thought something must be wrong, because there was literally no pressure anywhere, not where the shells rested against my outer ear, and not where the shorter ‘audiophile fit’ nozzles entered my ear canals.

It’s important to mention here, as I hinted above, that Campfire offers two different types of fit with their custom IEMs: audiophile and artist. Audiophile is a shallower fit, the nozzle protruding maybe half a centimetre into the canal. This is meant for home use, where you’re unlikely to be moving around too much, and don’t need the stronger isolation of a deeper nozzle.

Artist fit is a more traditional nozzle that goes past the first bend in the ear canal, giving you better isolation and a more secure fit at the cost of some intrusiveness and a potentially brighter sound, with the nozzle tip being relatively closer to the eardrum. Choosing the fit best for you is more a preference, and I’m assured by those that have tried both that there’s very little difference by way of sound and comfort with either.


Sound impressions (track notes are available in the full review)

Supermoon has an advertised sensitivity of 94dB, so it’s theoretically not the most sensitive IEM. Practically, though, it needs about the same amount of power as the Sony IER-Z1R (104dB sensitivity) to reach the same volume level, so while I’d say it appreciates moderately powerful amplification, it doesn’t need it to reach a moderately high volume.

I tested Supermoon over a one month period, using a broad range of test tracks and albums, many of which I’ve referenced below. Listening notes were made using HiBy’s RS6 and Sony’s WM1Z DAPs set at moderate volume. All tests were done using the ‘stock’ Silver Litz 4.4mm balanced cable.

Tonality

Before I’d seen any graphs of Supermoon’s frequency response, my sense was that it displayed a soft ‘W’ or moderate U-shaped tonal curve, depending on the source and the music. That’s to say, bass was emphasised a fair bit above neutral, from the very lowest sub-bass to upper bass, before gently dropping into the mids then rising up evenly from centre to upper mids and tapering off into a moderately emphasised and extended treble.

Bass

Let’s start here: if you enjoy a bass boosted IEM, you’ve come to the right place. Not only is Supermoon’s bass elevated, it’s done in a way that doesn’t beat the other frequencies into submission. I find bass emphasis leans towards the sub bass frequencies, where it extends almost infinitely low, but mid- and upper-bass are still very well represented. There’s zero midbass creep or bloom from what I’m hearing.

The sheer quality of Supermoon’s bass, however, is what sets it apart from many other excellent bass-focused monitors: it has a sublime combination of visceral punch, weight, electrostatic-like speed, and decay that surpasses some of the best dynamic driver bass. It doesn’t quite match the very best dynamic drivers for natural decay and timbre, but it has its own infallible character, easily out-resolving most dynamics I’ve heard, and making it unique among the current crop of top-tier IEMs.

In short, Supermoon’s bass takes me back to my full-size headphone days, where the mighty Audeze LCD-3 was my pride and joy. It renders every facet of bass almost perfectly, with restrained power and delicate control, punching tremendously hard and deep when it needs to, and rumbling gently if that’s all the track calls for. It doesn’t flavour every track with bass, but where the bass is the focus, that’s what you’ll hear and feel. Supermoon is a bass connoisseur’s delight, and its bass delivery is, for me, one of several stars in its show.


Midrange

I hear Supermoon’s midrange as fairly linear and supremely resolving, with a well-defined and textured lower midrange (male vocals sound natural and sufficiently chesty), and a moderate rise to a healthy but not overly forward upper midrange and pinna gain.

My personal midrange focus is vocals, and primarily female vocals, and I find the timbre of female vocals almost spot-on to my liking here. Male vocals are admittedly under-represented in my library, but those I regularly listen to sound about as lifelike as I’ve heard them.

Not once have I felt that Supermoon underplays or recesses either male or female vocals, but it can be temperamental when it comes to poor or compressed recordings. Whether that’s a result of Supermoon’s supreme resolution or unforgiving clarity in the upper midrange (and possibly lower-to-mid treble) I’m not sure. It’s not as rough as I hear it with some overly bright and mid-forward monitors, but it’s not as smooth or silky as Oriolus’s Traillii rendition, for example.

If I have to be critical of anything here, Supermoon doesn’t have the warmest, wettest or fullest midrange I’ve heard by any measure. It’s not a dry delivery as such, but it edges closer to thin, especially on older rock songs. If you are a stickler for instrument timbral accuracy, you might find Supermoon skews more synthetic for you, but if you’re a lover of emotive vocals and a sound that lets you hear every detail in a vocal recording, this is unquestionably Supermoon’s strength.

Treble

There’s a difference between generous treble and harsh treble, and Supermoon’s is definitely the former. I’m particularly sensitive to sibilance in vocals, spiky zing in a string solo, and harshness in a cymbal strike, and not once have I encountered any of the above with Supermoon.

Like bass, Supermoon’s treble is very well extended, at least right up to where my hearing trails off at around 12kHz to 14kHz. There’s bite to some recordings, and I warn those who think they can get away with playing overly bright poorly mastered recordings. Do that, and Supermoon will find you, and it will kill you.

This is not a consistently smooth treble, coming off as quite ethereal, and lending to some of the thinner notes the upper midrange can sometimes suffer from. But it also rewards great recordings with crisp, clean, and highly detailed highlights, with plenty of air where the track calls for it.

As someone who only really notices the treble when its harsh, grainy or corrosive, I’ve only ever paid attention to Supermoon’s treble for what it was doing right. This is treble filled to the brim with texture, and more detail than I sometimes care to hear. But, as with everything else, Supermoon is not forcing its treble detail on me, and I find myself listening to tracks on shuffle for hours on end without fatigue as a result.


Technicalities

As much as I enjoy Supermoon’s sometimes quirky but always engaging tonality, the wow factor has to be its technical ability. Supermoon’s technicalities are not just excellent, they’re supreme. It’s technical acuity is not one-dimensional either, and it excels in all but one measure, which I’ll get to later.

Stage size is wide and very deep by any standard. Supermoon can cast the tiniest notes about as far wide as I’ve heard them, maybe just shy of Traillii and 64 Audio’s Tia Fourte. Stage depth is where I feel Supermoon takes it up a notch. It has this ability to put different sounds closer or further away on the stage, giving it a great sense of instrument and vocal separation and an almost onion-like sense of layering.

Imaging and separation are both of the highest calibre, the latter even more so than the former, but resolution and clarity, as I’ve hinted before, are really what separates Supermoon from some of its highest profile competitors. This IEM is a sonic microscope, revealing even the smallest detail in a track without much fuss. It doesn’t always do this with the deftest touch, however, so the shortcomings of compression artefacts, cheap samples or sub-par recordings in poor quality tracks are often brutally exposed.

Where Supermoon doesn’t shine quite as brightly, if you’ll excuse the pun, is dynamic contrast. It suffers from what I believe to be a common planar magnetic trait in that the difference between the softest and loudest sounds in a track are not articulated quite as well as they are with some other driver types (notably dynamic drivers, but also balanced armatures).


Compared to…

Sennheiser IE 600 ($699). It’s probably fairer to pitch Supermoon against Sennheiser’s $1500 IE 900 flagship from a price point perspective, but since I currently only have its sibling with me, it’ll have to do. Aesthetically I really like the IE 600, which mirrors its flagship brother’s super small size, supreme build quality and comfort. If Supermoon wasn’t a CIEM, chances are IE 600 would be more comfortable, but nothing quite compares to a custom once you’ve tried it.

Tonally IE 600 ‘correct’, to the point where some might find it unengaging or boring, and that’s very much the case when I compare it to Supermoon. While I appreciate the safety in IE 600’s tuning, it doesn’t grab me quite like Supermoon’s. IE 600 has a touch more warmth and that single dynamic driver naturalness to it, but Supermoon isn’t far off.

Technically, though, the two couldn’t be further apart. Supermoon is significantly more resolving, to the point that you’ll be surprised just how much information you’re not hearing with IE 600 when switching between the two. Supermoon’s stage is also much larger in all dimensions, IE 600’s otherwise decent stage coming off as flat and intimate by comparison. Whereas I’d easily recommend IE 600 as an every day carry IEM, Supermoon is a more serious, refined, exciting and superior IEM all round.

Sony IER-Z1R ($1800). Sony’s flagship is getting a bit long in the tooth now, but still holds its own against the very best in the business. It also happens to be my all-time favourite IEM. From a fit perspective, Supermoon makes quick work of Z1R’s unconventional ergonomics. The Sony fits me just fine, but the same can’t be said for many who have tried and failed, often repeatedly. Build quality, however, goes to Sony, as few IEMs come close to rivalling its expert craftmanship and drop-dead good looks.

Tonally I hear Z1R to be warmer, lusher and also slightly edgier than Supermoon, especially in the lower treble. Its bass and treble are of such high quality, however, that even Supermoon’s pristine presentations struggles to match them. Sony’s big dynamic driver bass is fast, but not nearly as fast as Supermoon’s planar, although Z1R’s timbre is a shade more natural. I also prefer Sony’s vocal timbre, and although treble is more emphasised, it’s a dead heat from a tuning perspective.

Technically the Sony is excellent, one of the best when it comes to its sheer depth of stage and powerful dynamics, but Supermoon out-resolves it, has a wider stage, and also better imaging, layering and separation. What the Sony has over Supermoon in return is a unique presentation that puts vocals dead centre with instruments and effects all around you, sometimes even further beyond your head than Supermoon can manage. It’s also better suited to more dynamic music, and any track with a subwoofer is simply made for the Sony.

I find Supermoon and Z1R complementary. They’re both operating at a high technical level, and trade blows with each other tonally, but each brings its own version of events to every track. Z1R gives you that in-the-room feel and a wonderful sense of space, while Supermoon creates its own space and spreads the sonic elements all around you. With Z1R you’re fixed in front of the singer, far removed from the band. With Supermoon you’re on stage but free to walk around at will. Take your pick as to which you prefer, but in my opinion you can easily live with both and switch them up as your mood takes you.


Closing thoughts

Everything about Supermoon, for me, is ground-breaking. It’s my first CIEM, sure, but more than that it’s the first time I’ve heard planar technology shrunk down to IEM form. Not only that, it’s outperforming full-size planar headphones that pride themselves on driver size and magnet power, with a driver the size of a fingernail.

Overall, I find Supermoon’s combination of engaging, coherent tonality and world-class technical ability to be one of the high watermarks of IEM evolution. Sure it has some issues – a touch of glare, a treble niggle here or there, and a more genteel take on dynamic contrast. Like Ken says, it’s ‘far from perfect’. But show me a perfect IEM and I’ll show you one that doesn’t exist.

Are any of its issues showstoppers? That’s not for me to say on your behalf. I can only tell you that, from my perspective, the pros far outweigh the cons.

Supermoon is likely not for you if you prefer a neutral sound with less bass focus and a more even-keeled midrange and treble. It’s also not for you if you want a thick, luscious sound that romanticises everything you hear. And it’s not ideal if you mainly listen to compressed files, or low bitrate streaming, directly out your phone or computer. Supermoon is unforgiving in how it presents music, so be mindful of what you feed it.

All that said, if you’re the type of person wanting something completely different from the vast majority of high-end IEMs out there, Supermoon is just the tonic. It won’t wow you with textbook-perfect instrument timbre, but it’ll seduce you with how those instruments sound alive regardless.

A friend of mine recently called Supermoon a market disruptor, and I couldn’t agree more. I’ve heard none better at its price, and I’ve heard few better at twice and three times the cost. If you want the best value high-end IEM money can buy right now, this is it.