Lime Ears Maris VS Canpur CP622B

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Lime Ears Maris is a flagship 12-driver quad-brid with branded components, combining multiple BAs for lows/mids, dual Sonion ESTs for air, and a dual Sonion bone conductor for full-range weight. At $2,700 (“Ensemble”), it brings a thin-walled but comfortably large shell, flat 2-pin sockets, and an excellent leather puck case; build and fit feel deliberately premium, with only a minor faceplate edge that can snag. Overall presentation and ergonomics signal a top-tier, tour-worthy piece.

Sonically it’s a fun, impactful tuning: bass hits hard with tactile BC rumble, treble/air are pristine, and resolution is high with an open, spacious stage. The upper-mids are slightly restrained (a touch of ~4 kHz dip) which softens attack—less “incisive” than the graph might suggest—but the set remains clean, coherent, and easy to listen to for treble-sensitive listeners. Think “inoffensive but exceptional”: refined energy up top, big physical slam down low, and clarity that holds together complex mixes.

Context against peers: Terra is exciting but the 5–6 kHz energy can fatigue; Incognita tracks a preferred curve better as a one-and-done at a lower price. Annihilator offers more bite in upper-mids/treble, yet Maris will suit those sensitive to that region; versus Grand Maestro, Maris wins on comfort and bass quality. Compared with Europa, Cadenza 12, Omnium, and Visioner’s 10, trade-offs shift—some deliver sharper treble “spark” or smaller shells—but the Maris’s bone-conducted bass, comfort, and safe-refined balance make it a strong recommend to demo at a show before choosing.

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Canpur CP622B makes a striking first impression with a premium case, tidy accessories, and a shimmering faceplate—but the shell is huge, bordering on chunky, and can push fit comfort limits over longer sessions. Sonically, it hits with authoritative sub-bass and impressive extension, yet the overall presentation skews dark; vocals sit a touch recessed, with a wish for more 1.5–3 kHz presence and a bit more upper-air sparkle. Out of the box it already thumps, but a light EQ lift to upper mids and bass can coax out more vibration and energy.

On graphs and in A/Bs, the CP622B comes off as a specialist: fantastic low-end texture (bass judged around 9.5 for level), solid resolution and stage, but imaging feels slightly constrained by the muted 3 kHz region. Compared with peers, FATfreq Grand Maestro reads like the safer “one-and-done” all-rounder with more flair up top; Aful Cantor delivers comparable presence at a fraction of the cost; Hisenior Mega5-EST Bass offers a friendlier fit and a tuning that can feel just a hair more balanced; and as a personal north star, Elysian Annihilator 2023 still sets the bar for extension and excitement. Net: a fantastically built, bass-thrilling CP622B that shines with hip-hop/R&B and cinematic lows, but reads as niche and pricey—a connoisseur’s piece for big collections rather than a first-pick endgame.

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Canpur CP622B is positioned as a true apex set among today’s ultra-high-end IEMs—think Storm, Grand Maestro, Pearl, Multiverse, RN6—where differences are subtle and taste-dependent, not about basic quality. The message is simple: once at the Money Trees level, most flagships are excellent; the CP622B stands out by pushing resolution and authenticity to the top of that pile while keeping music the focus.

Evaluation leans on a tight suite of reference cues: bass definition via Black Sabbath “Sweet Leaf” (2:36–3:10), midrange texture with Soundgarden “Spoonman” (spoons/vocals) and Neil Young “The Needle and the Damage Done,” and treble control from Aerosmith “No More No More” (recurring cymbal strikes). Micro-details and spatial tells include Michael Jackson’s beep, Violent Femmes finger snaps, the crowd-side triangulation in Lynyrd Skynyrd’s “Freebird,” Pink Floyd’s gate announcement in “On the Run,” Randy Rhoads’ finger slide in “Dee,” and the famous cough in “Wish You Were Here.” These checkpoints spotlight the CP622B’s clarity, attack/decay, and rare sense of depth for an in-ear.

Two practical notes seal it: level-matched A/B at 77 dB @ 440 Hz versus Subtonic Storm to ensure fair comparison, and a low-frequency test around ~42 Hz that makes the shells physically vibrate, delivering that body-felt slam prized in hip-hop and recognized in orchestral power. With a library spanning ACDC, Alice in Chains, Bob Marley, Dre, Kendrick, Metallica, Pink Floyd and more, CP622B reads as a top-tier all-rounder—immense detail at low volumes, potentially intense when cranked, and an easy recommendation for those chasing the very best.