Review: Campfire Audio Andromeda 10

Select comparisons

64 Audio U12t ($1,999)

If the original Andromeda was a legend of its era, then 64 Audio’s U12t is a legend that very much still defines the present. On paper, Andromeda 10 and U12t appear to share quite a bit of common ground: both are all–balanced armature designs, both use quad bass and quad mid driver arrays, both feature metal shells, and both sit squarely in the mid-upper tier of universal-fit IEMs. Beyond that, however, their philosophies quickly diverge.

Physically, the U12t’s smaller, more rounded shell and slimmer nozzle make it the easier fit for most ears, although as discussed earlier, Andromeda 10 is comfortable in its own right once seated. From a build perspective, Andromeda 10 clearly feels like the more elaborate and visually striking design – particularly in Damascus steel launch edition form – while the U12t, even in its latest revision, sticks to a functional aluminium shell and faceplate.

Technologically, the two trade blows rather than dominate outright. U12t brings 64 Audio’s Apex pressure-relief system to the table, which also acts as a subtle tuning tool, along with LiD technology for maintaining a flatter impedance response across sources. 

Andromeda 10 counters with TAEC and NEMC for acoustic and midrange control, though neither is user-adjustable. Campfire also deserves credit for the included cable: Andromeda 10 ships with a far more premium solution than the rather utilitarian offering bundled with the U12t.

Sonically, though, these two couldn’t be more different. U12t presents a flatter U-shaped tuning, with a measured sub-bass lift, restrained midbass, a neutral midrange that gently tapers before the upper mids, and a smooth, extended treble response. Its now-famous tia tweeter technology avoids the typical 6–8kHz peaks, instead pushing extension further up top for air and refinement without bite.

Andromeda 10, by contrast, offers less sub-bass but more midbass presence, a slightly recessed lower midrange, a more forward upper midrange, and a distinct mid-treble lift that adds sparkle, sizzle, and immediacy. The result is a livelier, more energetic presentation, but also one that can edge into brightness depending on the recording.

On A Fine Frenzy’s Elements, the contrast is immediate. The electronic bass hits bloom longer and sound boomier on Andromeda 10, while U12t delivers a tighter, more tactile rumble that gets out of the way faster. Vocals sit further forward on Andromeda and come across spikier, while U12t renders them with an almost effortless composure that smooths over the sharper edges. Andromeda feels more engaging and excitable here; U12t remains calm, controlled, and impeccably balanced.

Technically, the gap narrows. Both IEMs stage wide and naturally, though U12t sounds slightly more holographic, while Andromeda offers marginally sharper imaging and more forward detail retrieval. U12t counters with a stronger centre image and a more relaxed dynamic flow, whereas Andromeda feels punchier and more boisterous overall.

Choosing between them ultimately comes down to temperament. U12t is the consummate all-rounder – refined, unflappable, and endlessly listenable. Andromeda 10 trades some of that polish for energy and excitement, which can be thrilling with the right music but occasionally fatiguing over longer sessions.

Campfire Audio Clara ($1,999, reviewed here)

I wanted to include Clara here because it represents a fundamentally different design philosophy from the same Campfire stable. Where Andromeda 10 feels like a technical and architectural statement, Clara is far more emotionally driven.

Clara is a five-driver hybrid, pairing a 10mm biocellulose dynamic driver with a dual-chamber midrange BA and twin BA tweeters. Its tuning was shaped in collaboration with Alessandro Cortini, with a clear focus on emotional engagement rather than technical fireworks. The result is one of the smoothest and most cohesive tunings Campfire has released to date, with what I’d argue is the company’s most refined bass performance – Trifecta included.

Design-wise, the two are like chalk and cheese. Clara’s translucent blue resin shell is curvier, more compact, and fits deeper in the ear, locking into place securely. Andromeda 10, by comparison, is all sharp angles and reflective metal. A limited titanium-shell run of Clara briefly blurred this distinction, but those units are now long sold out. Comfort-wise, I find both equally accommodating, albeit in very different ways.

Tonally and technically, Clara and Andromeda 10 are worlds apart. Clara follows a gentle W-shaped profile, with subtly elevated bass, a clear and forward midrange, and a restrained treble lift that adds just enough sparkle. Andromeda 10 is cleaner, more spacious, and more incisive, with sharper transients and greater separation between instruments and vocals.

Clara’s bass is its calling card – textured, weighty, and effortlessly controlled – and remains, to my ears, Campfire’s finest low-end tuning. Its midrange also sounds more naturally voiced, and its treble is easier on the ear over long sessions. Andromeda 10 offers superior immediacy and technical projection, pushing detail forward rather than inviting you to discover it organically.

On Fleetwood Mac’s Dreams, Stevie Nicks’ vocals carry a noticeable edge on Andromeda that Clara renders more smoothly and organically. Instrument separation is more pronounced on Andromeda, but also sharper and more angular, while Clara presents a denser, fuller, and more cohesive soundscape. Where Andromeda feels light, lithe, and sparkling, Clara sounds weightier, warmer, and more emotionally grounded.

If Andromeda 10 is about clarity and liveliness, Clara is about romance and ease. I’d reach for Andromeda when I want excitement and insight; Clara when I want to sink into the music and stay there.

Closing thoughts

To say I’m impressed by what Campfire has achieved with Andromeda 10 would be an understatement. This is not a cautious update or a nostalgic rehash, but a confident reimagining of a landmark design. 

For anyone who loved the original Andromeda – and somehow still uses it – this represents one of the most meaningful and justifiable upgrades imaginable, especially considering its pricing relative to the original when adjusted for inflation.

That said, Andromeda 10 won’t be for everyone. If you’re chasing a singular party trick, extreme bass output, or a headline-grabbing technical outlier, this probably isn’t it. Bassheads should look elsewhere, even though low-end performance has improved dramatically compared to the original.

What Andromeda 10 does offer is a carefully judged balance of performance, personality, and versatility. It’s an IEM that handles almost any genre with confidence, delivers genuine high-fidelity credentials, and manages to feel both modern and distinctly Campfire in character.

Compared to peers like U12t and Clara, Andromeda 10 sits firmly on the more energetic, vivid end of the spectrum – less refined than the former, less romantic than the latter, but arguably more immediately engaging than both.

Seen in that light, Andromeda 10 isn’t trying to be the smoothest, the biggest-sounding, or the most technically dominant IEM in its class. Instead, it succeeds as a bold, lively, and unapologetically expressive all-rounder – one that finally gives the Andromeda name the balance, maturity, and relevance it deserves in today’s market.

Select sets of Andromeda 10 launch edition are still available to buy direct from Campfire Audio here and here, while the regular version is now available here.