Odyssey 2 shifts the OG’s recipe toward a more mid-centric, vocal-first tuning with a gentle sub-bass lift and smoother treble. Bass hits with less slam than the original but feels tighter, quicker, and cleaner, keeping texture competitive for the price. The top end is calmer—less bite, still adequately extended—trading sparkle for an easy, natural presentation.

Clarity steps up in the mids: vocals pop, separation improves, and detail comes through more plainly, while the OG keeps an edge in bass/treble “texture.” It’s a higher-volume scaler; give it juice and it opens up, especially for ballads, acoustic, indie, and pop—less ideal for hip-hop/R&B/jazz where extra weight and contrast help. Tip rolling that adds a touch of low-end/treble energy can inject the missing excitement without upsetting the balance.

Against similarly “safe” sets (Daybreak, P50), Odyssey 2 leans more vocal-centric with better bass texture; versus value champs (Supermix 4, Nova, Chopin), it sounds fuller and more natural but isn’t the value king. Lush gives more air up top, Arcanis/Luna serve as pricier “special sauce” paths if treble bite or OG-style warmth is desired. Verdict: a safer pick and polished all-rounder—objectively as good or slightly cleaner than OG—but for die-hard OG fans, more of a refined sidegrade than a direct, high-octane upgrade.

Ziigaat Odyssey 2 lands as a premium-feeling set: a CNC-milled aluminum chassis with a sparkly blue/silver faceplate, solid two-pin cable with interchangeable 3.5/4.4 plugs, spare nozzle filters, and a roomy new brown carrying case. The stock cable is nice—though its green tint doesn’t quite match the shell’s aqua tone. Tip selection is generous (foam plus two silicone sets), and the newer silicone tips are a standout. Overall, a tidy package for the price.

Tuning follows the current “new meta”: energetic low end with a cleaner sub-bass attack/decay than sets like ZENs Top/Top Pro, which helps in games. Bass stays punchy yet controlled, so imaging and separation/layering come through well, though gunfire can still push forward. For pure music the bigger, rumblier sets may feel livelier, but for competitive play Odyssey 2 reads space more cleanly and keeps clutter down better than bass-heavier rivals.

Title by title: in Valorant it sounds natural and punchy with tighter gun reports and better map imaging—footsteps are a bit thicker and light taps could cut more—earning a B+. In Apex it’s cleaner than ZENs Top Pro and fine in 3v3s, but big third-party fights expose some separation limits; call it a strong B (bordering B+). In CS2 the positional read improves over ZENs Top Pro, though lighter surface cues and gunfire depth could be crisper—solid overall. Call of Duty plays to its strengths: warmer timbre, wide/deep stage, excellent layering during streaks, with only occasional gunfire masking—another B+. Net result: placed in the B+ tier on the WallHack list, at the lower edge bordering B, similar to the original Odyssey’s standing.

The Ziigaat Odyssey 2 arrives as a collab between Ziigaat and Hangout Audio (tied to Crinacle), essentially a Crin-influenced set in disguise; it’s a 1DD + 3BA hybrid priced around $250. Accessories are thoughtful—three ear-tip sets, spare adhesive filters, and swappable 3.5/4.4 terminations—though the long, friction-fit plug feels awkward. The metal shell is medium-sized with a short nozzle for a shallow fit; comfort is easy, stability average, and the thin green cable is softer than prior Ziigaat attempts with a chin slider that actually holds.

Tonally it lands squarely in the tilted diffuse-field “meta” neutral camp: natural vocals, tame upper-treble, and a slight 4–6 kHz lift that adds clarity and a more contrasty/clinical edge without harshness. Imaging and separation are clean for the price, but the sub-bass-focused boost leaves the low end marshmallowy—tactile yet soft, with kick drums short on slam. Overall balance is convincing and easy to live with, just not especially exciting.

Versus Ziigaat Lush, Odyssey 2 is crisper and more defined where Lush sounds darker, smoother, and a bit low-res, though Lush hits mid-bass a touch harder. Against Softears Volume S (costlier), Volume S wins on bass grip and midrange texture, sounding fuller and more engaging while Odyssey 2 stays cleaner but more clinical. Conclusion: a very good set in a crowded mold—3/5 for a refined meta tune with agreeable timbre but modest bass impact.

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.

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.