Subtonic STORM VS Crinear Meta

Most IEMs inevitably introduce flaws that shatter musical immersion—be it harsh treble, shouty vocals, or unbalanced bass. These imperfections act as chains, binding the listener and preventing that elusive state of pure, uninterrupted freedom within the music. While the OG EJ07 came close, even it faltered on certain tracks, its forward vocals becoming a jarring distraction when pushed hard. The Subtonic Storm, however, shatters this pattern entirely.

Contrary to its name, the Storm represents the eye of the hurricane—a sanctuary of pure, effortless sound. It liberates the music from tuning flaws, presenting it naturally and tranquilly. There are zero distractions or attachments holding the listener back, enabling deep introspection and complete immersion, as if conversing directly with the singer or instrument. This profound, intangible quality—achieving that free state—is why it's considered the best IEM, offering unmatched resolution, separation, and imaging, albeit at an astronomical $5,000 price point.

Value-wise, the Storm is undeniably terrible; the KZ ASF ($250) gets you 80% there, and the Monarch MKII ($1,000) delivers 95%. It's a luxury item, justified only by its unique, unmeasurable ability to dissolve worldly distractions and forge total oneness with the music. Crucially, it's not for everyone: Bass heads, background listeners, or those enjoying J-pop/K-pop/EDM will find far better value elsewhere under $300. Only those deeply seeking musical transcendence, with ample disposable income, should even consider it. For everyone else, stay away—you simply don’t need it.

Jays Audio original ranking

CrinEar Meta lands as a clean, balanced, slightly bright-leaning all-rounder with a distinctly sparkly treble. The top end carries a “special sauce” — sharp attack, quick decay, airy cymbal splash and strong micro-detail — creating an open sense of space with tidy separation and layering at around mid-volume (~65 dB). Bass and vocals sit at a “normal” distance: clear and resolving but not emphasized; expect punch rather than deep sub-bass rumble or chesty slam. Fit is tip-dependent: stock silicones can sound peaky; clear soft EPZ tips keep the shimmer without harshness, while “white” Tongu Senai tips smooth the treble further.

Technically, Meta punches above its $250 bracket, hanging with sets like Dusk 3.5 and Estrella for resolution and imaging despite not using ESTs. Timbre stays natural and the build/accessories feel solid. Trade-offs appear when cranking volume: the treble rise can turn fatiguing past ~75–80 dB, especially on bright, electronic-leaning tracks. Genre picks lean toward pop, J-/K-pop, rock, metal, and indie instrumentals at mid-volumes, where the upper-mid cut reins in hot mixes and the sparkle makes cymbals addictive; for hip-hop/rap/EDM, some will want more rumble, slam, and note weight.

Versus Ziigaat Estrella, it’s apples to oranges: Estrella brings more low-end authority and smoother treble with vocals popping forward, while Meta counters with a brighter, sparklier presentation better for K-/J-pop and bands. Against other bright-neutral sets (Dusk, P5+2, Brain Dance), Meta sounds fuller in the low end with a more natural, less sizzly treble; compared to Canon Pro, it’s the more energetic and less laid-back choice. For pure vocals, Volume S, EPZ P50, or Cadenza 4 remain stronger. Scaling champs like Ziigaat Odyssey and AFUL Explorer take higher volumes better but trade away some of Meta’s detail sparkle. Limited-run caveat aside, this is an easy recommendation for listeners wanting a balanced daily driver with distinct, glittery treble at sensible listening levels.

Jays Audio original ranking

Subtonic STORM closes the list as the ultra-high-end, “one-and-done” pick—the kind of most expensive flagship that needs no hype because the name says it all. Chosen for a “versatile” roundup, it’s framed as the endgame option for those who want a single IEM to cover everything and have the budget to match—cue the playful “rich boys” jab.

The verdict is equal parts praise and pragmatism: demo first. STORM isn’t a blind-buy, and the price is so stratospheric it gets the tongue-in-cheek advice to sell a car, a house, or a kidney. In short, a summit-fi statement piece with serious one-set potential—but only after making sure the tuning truly clicks.

Tim Tuned original ranking

Subtonic STORM lands as a $5,200 flagship built around novel SLAM balanced-armature tech: the dual BA “subwoofer” and “woofer” are separated and crossed over independently, joined by a regular BA mid-woofer, additional BA mids, BA mid-tweeter and tweeter, plus two EST—nine drivers total with a seven-point crossover. The result isn’t just another spec sheet; it’s a system that behaves like a rethought low-end engine that sets up everything above it.

On music, the bass ranks an honest 8/10 because it doesn’t sound like typical BA bass—there’s real weight without mid bleed, so male/female vocals, strings, and guitars stay pristine. Complex tracks reveal studio fingerprints: the 38 Hz triple drop on Big Boi’s “Kill Jill” slams; the glockenspiel in Springsteen’s “Born to Run” is crystal; Pink Floyd’s “On the Run” left-right sweeps and the early gate announcement snap into focus; Hendrix’s uneven production becomes obvious; and the Led Zeppelin IV kick-drum intro hits with the produced, swirling authority it should. From Vivaldi to hip-hop, it just handles the library.

Stage is spacious and speaker-like off good sources, with positional cues that outclass sets like Elysian Annihilator and even edge the Fatfreq Grand Maestro for resolution, stage, and tonality—though Grand Maestro’s multi-tuning keeps it competitive. Ignore treble “hacksaw” graph takes and target-chasing; the performance argues against strict adherence to Harman-style curves. Diminishing returns are real, but for those chasing something genuinely different, the STORM’s reworked BA low end and refined EST top end deliver a uniquely authoritative, all-genre presentation that’s hard to unhear.

URL to full Review

Bad Guy Good Audio original ranking

CrinEar Project Meta lands as a genuinely significant release: a new brand from Crinacle at an aggressive $250, limited to a small run, with a compact metal shell that fits securely and comfortably. Accessories are sensible (two eartip sets, chunky but protective case), while the swappable termination cable looks great in black/copper yet feels too long and relies on a friction fit that can be cumbersome and a bit kink-prone. Logos are plain, but overall build and ergonomics impress; a slightly shorter tip can improve seal and sound.

Tuning targets the tilted diffuse-field “Meta” profile: essentially neutral from the mids up, coupled with a deliberate, mostly sub-bass boost. The result is more contrasty than many peers—dense low end plus a touch of upper-treble sparkle—without turning sharp or sibilant. Bass is the standout: tighter and more textured than typical “new-meta” sets, though still a hair elevated and capable of sounding heavy on bass-laden tracks. Vocals sit a bit relaxed rather than forward; timbre is excellent, imaging is incisive, and the stage favors depth over width. Tip rolling (slightly shorter or attenuating tips) can tame the sparkle and lock in the balance.

Against rivals, Meta consistently punches up: it edges EPZ P50 and Kiwi Ears K4 with cleaner bass and more transparent timbre; versus AFUL Performer P5+2/P7 it trades that set’s wider stage and vocal presence for better overall naturalness. Pricier options can still win on preference: Softears Volume S brings more addictive mid-bass physicality and forward vocals; HiSenior Mega5EST nails the low-contrast, open midrange (though with softer bass); and Moondrop × Crinacle Dusk remains more vocal-centric with greater lateral openness. Verdict: a solid 4/5 and likely the pick at its price—slightly V-tinged, expertly executed, and a very promising first step for CrinEar.

Super* Review original ranking

CrinEar Meta lands as a limited-run, $250 bass-tilted collab that’s already sold out—and feels like a “little baby bass monster” in the best way. Build is clean and understated: aluminum shells with rose-gold accents, a nice interchangeable cable, and an overbuilt hard case that embarrasses most sets at this price. The nozzles are chunky (think Chronicle’s Red/Daybreak vibes), so foam or “render”-style tips help with seal and comfort. Specs are oddly opaque—driver configuration isn’t listed anywhere—yet the package still screams more value than expected.

Tonally this is unapologetically V-shaped: elevated bass that punches on cue, crisp treble that reaches in and gets attention, and a clear midrange that can read V because the ends are lively. The stage is intimate/narrow, giving a “small loud room” energy that’s exciting but can trend fatiguing over long sessions. Crucially, it passes the body-movement test—put on a groove and there’s immediate “wiggly-wigglies”—where a safer, cleaner sibling like Daybreak can feel a bit too polite. Meta sounds less filtered, more gusto, more fun; Daybreak is the seat-belted version.

Chain matters: with spatial enhancement (think soundstage wideners on a fancy DAC), the main gripes fade and the presentation breathes, though even stock the tuning remains engaging and lively. Net take: this is the version of Daybreak many wish existed—more out of the box, more toe-tapping—so it gets the nod on sheer enjoyment. New? It was a steal at $250. Used around $200? No-brainer collector keep if that energetic, bass-forward V is the target.

Z-Reviews original ranking