Subtonic STORM VS NiceHCK Rockies

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

The NiceHCK Rockies have a balanced tuning with standout treble extension from its ESTs. Vocals are tamer with a cut in the upper mids, trading sparkle-forward presence for a smoother, airier presentation; staging feels more open because bass and vocals sit slightly back, while cymbal decay lingers with a pleasing airiness. Technical performance is very good for the price—punching above many $500–$600 peers—and the unboxing/accessories package adds to the overall value.

Low end is grounded and tidy rather than slammy; texture and separation are solid, but this isn’t for bassheads or those wanting vocal-forward excitement (sets like Top Pro or Volare cover that better). The Rockies excel with rock/metal/indie/classical where the extra air, layering, and controlled upper energy shine; they scale best at mid volumes, and tip rolling should avoid options that over-boost or dull the treble—the stock tips already hit a sweet spot. Net: a confident recommendation at ~$500–$600 for listeners prioritizing treble quality, detail, and spaciousness, with the main trade-off being a more restrained bass and laid-back vocal emphasis.

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.

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Bad Guy Good Audio original ranking

NiceHCK Rockies lands in the ~$500 bracket with a 1DD+2BA+2EST setup and a surprisingly premium package. The hollow resin shell feels solid, with a metal nozzle, slightly recessed 2-pin, good isolation, and comfy fit. The swappable-termination cable is thick, pliant, and lays flat—no chin slider out of the box, but easy to add—and the excellent case and tip kit push the accessories into “above class” territory.

Tonally, Rockies goes for tight, controlled bass and a natural midrange, capped by upper-treble that’s sparkly yet refined—detailed without getting shouty or brittle. The graph reads largely flat with a tasteful treble lift, translating to a clean, clear presentation that stays engaging rather than fatiguing. It comes across as an “instant classic” tuning: lively, airy, but still grounded.

Compared with brand siblings (DB2 too upper-midsy; F1 Pro/NX8 fine but not special), Rockies feels like the step up. Versus peers, it splits the difference: more air and delicacy than RSV MK2 (which is bassier/darker), less sizzle than sets that chase treble for effect, and broadly similar endgame vibes to “good” units of Mega5-EST—variance there being the rub. Net: a high-value pick at its price, worthy of a Gold Star—not a universal “benchmark,” but a sweet, natural, clear listen that many will prefer, especially with the standout accessories.

Jaytiss original ranking

NiceHCK Rockies lands as a $500 tribrid (1DD+2BA+2EST) that mirrors the Mega5-EST’s tuning with subtle tweaks. The unboxing is generous—three styles of tips (including AET07-style and tacky “medical” silicone), a large puck case, and a swappable 3.5/4.4 screw-lock plug. Build feels premium with a real pietersite stone faceplate; fit is comfortable but shell geometry is generic, so stability depends on tips. The stock cable looks nice but is stiff and, notably, has no chin slider.

Sonically, Rockies follows a tilted diffuse-field / “new meta” balance with slightly less bass and a touch more lower-treble than Mega5-EST—on the order of ~1 dB each way. That shift tightens the low end and improves separation/imaging, making the set feel more technical; however, it also trims warmth and depth, leaving the presentation a bit dry/brittle at times. Bass quality is clean and controlled rather than showy; treble reads clear without obvious harshness on the 711 rig readout, though it can edge lean.

Against peers, Mega5-EST stays the easier, warmer listen with slightly “thuddier” bass, while DUNU’s Brain Dance is the pick for maximum excitement and staging (more clinical up top). Moondrop x Crinacle Dusk (analog use) offers stronger imaging and notably satisfying bass execution at a lower price. Rockies ends up a very good, balanced all-rounder that some will prefer over Mega5-EST for its tidier bass and clarity, but the trade for brightness and dryness is real—final verdict: 3/5.

Super* Review original ranking