Hey all!
It’s been a while since I did any “formal” reviews but I’m glad I got to a chance to listen to some bangers (shout out to @Sonofholhorse @domq422 and @GooberBM ) so I feel its only far for me to share my thoughts. Ive changed up my format a little bit and I would appreciate any feedback. Thanks!
The Subtonic Storm was a well known IEM before it even existed. I remember the clamor leading up to its release. Folks were saying this would be the pinnacle of what an IEM can achieve. While I was skeptical of those claims and of the reviews corraborating those statements I accepted that I would never actually experience this set so I never really thought much about it. That is until the magnificent @Sonofholhorse offered to let a few of us listen to this set. Thanks again for this once in a lifetime opportunity!
After listening to the Storm for a few days all I can really do is add my voice to the choir and agree that this set is likely as “perfect” as any set I will ever listen to and has single-handedly made me believe that BAs can do bass well. Every aspect of the replay shines in some way. The bass is impactful and tight, with just enough quantity to balance the rest of the FR. Mids have enough heft to keep them afloat while not weighing down the top end which manages to bring sparkle and air in abundance. Every nuance is easily retrievable without being distracting and the stage is deep with great imaging which adds to the detail retrieval.
If I had to knock this set the biggest issue is that in its pursuit of perfection, it losses a bit of its soul. I never found myself dancing or tapping my foot when listening to this set. On top of that, I would personally still prefer a good DD for the bass. The bass is plenty impactful but I prefer a slower decay and rumble that is missing.
Both Jung Kook & Usher are operating in the upper registers this entire song and on many sets this track can get sharp, sibilant or just generally fatiguing. However here it straddles that line without going over. Mind you I am pretty tolerant of sibilance so for some it might still be too much.
I love this track because Willow has such a unique voice and the simple bass and drum track just set the whole tone. The storm replays this track really well and gives proper body to the kick drum and bass guitar throughout the whole song without interfering with the rest of the song. This is a testament to the layering and separation that the Storm can manage. Willow’s voice is tonally correct and has her signature husk.
This track emphasizes some deficiencies in the Storms bass. When played with a boosted DD bass set the bass line booms and rattles my ears. The extreme control of the bass on this set doesn’t let that rawness through. On the other end the unique texture in 6LACKs voice comes through and is intoxicating. Even with just vocals and a layered bass line it’s amazing how much depth comes through still.
Bass takes a backseat in this track when it should really be front and center. This one is more egregious as the bass is the entire heart of this song and saps it of its essence. On top of that JID and Curry’s voices sound artificially airy. Couple that with the lack of impactful bass and this song falls flat.
This song also has a great, impactful bass line that straddles sub and mid bass which is why I love to use this for testing bass. With the Storms you get a get a good sense of the sub bass and keeping it tight on this track works in its favor, mid bass however is missing which makes some of the bass rolls a bit meh. Tyla’s voice though is just chef’s kiss. This set plays to her vocal strengths so much. It captures all the breathiness and warmth while staying light and soft. All that without any rounding or fraying at the edges is pretty miraculous.
Another track with big bass hits that hold for a long time which the Storm manages well enough. I wouldn’t say it’s deficient but I have heard better texture and rumble in other sets. I feel like a broken record but again the vocals are just spot on for this set and the bass hits don’t impact the vocals at all, with everything being perfectly separated.
Right off the bat on the intro you get this tight bass hit which sets the tone for the whole song. Bad Bunny is front and center and you can immediately get the sense of depth as everything seems layered on top of each other without getting muddled, including the violins that move around in the background. This is a song where I would expect Bad Bunny’s voice to be a bit huskier and lower though but that would be my only knock.
This set has all the classic latin staples such as trumpets, piano and various percussions. Every instrument throughout the song comes in crystal clear yet properly defined in their place in space, swirling around Kali Uchis’ ethereal voice. On many sets I have had this song fray the edges of Uchis’ vocals, especially as her voice gets whispy from left and right when it switches over to the classic merengue beat. Honestly, I don’t think there is anything that could improve the replay of this song for me.
I love this track and it’s one of my favorites from RAM. The Storm almost does it justice but again the bass doesn’t quite bring the appropriate texture and impact, mainly in the mid bass. Everything else is spot on and the spaciousness adds a great atmospheric quality that I wish I could experience with other sets
Yeah this track bumps. It’s an oldie but a goodie and the Storm does crushes it. Yes, the bass could thump a bit harder but hot damn Constance’s vocals just put you in the correct mood for this song.
This is a simple track with just two guitars, drums and these two amazing artists. It’s an extremely intimate song and this set captures that pretty much spot on. timbre on this entire track is extremely lifelike. Bryan and Musgrave have very different vocal qualities and yet Bryan’s huskiness is captured perfectly alongside Musgrave’s airiness.
I love this track because it’s one of the few that really pushes the boundary of space and staging and of course the Storm does not disappoint. I can hear the banjo all the way behind and to the right, violin front and center and then to the far left is what almost sounds like a ukulele. Everything crystal clear in their designated places
Excellent write up, dude! Thanks so much for sharing so many of your thoughts and using the music to really emphasize it!
You’re the man, Cal 
I love your write-ups Cal. <3
Thanks for the kind words you two! I wanted change up my format a bit and start doing music examples. It’s crazy how much time it takes just to do this and you teo are out here adding pics and making vids! Mad props!
The Kinera Loki Emerald is an Elise Audio exclusive and a re-tune on the original Loki. It boasts a BC driver that adds an extra dimension of physicality to the bass on this set. I was skeptical of these types of BC drivers and their impact but this one noticeably contributes to the overall feel of the bass in this set. I will say I am sucker for a good V shape and this one is maybe the best V I have ever heard. It’s not airy or artificially boosted in the upper treble like the IE600 so the stage stays a bit tighter and more intimate but it’s got energy, clarity and excitement. It’s pretty much got all the ingredients for a fun, toe-tapping set while still being respectable and refined (not basshead, not treble head). While the tuning does result in recessed mids and lower note weight, I do start to notice more little things in the background that I missed on other sets. The biggest issue I have with this set though is that I can’t really bring the bass out as much as I want due to the elevated upper mids.
Pros:
Jung Kook and Ushers vocals are neither recessed nor forward which helps keep the vocals from becoming harsh and sibilant. There is good clarity coupled with a smoothness that keeps everything very fun and enjoyable. When Usher enters his voice comes in almost right at my ear and then backs off. This is the only set I have actually noticed that which is really cool.
The Bass line and kick drum have the perfect amount of impact and brings another dimension to this song. Willow and Cole’s voices are tonally correct but lacks a bit of the texture I get from other high end sets. Drums, bass and vocals are all placed well in space, staying relatively intimate without coming off crowded.
Bass is just freaking tasty in this track. It’s my ultimate mid bass track and this set does it right. The texture and tactility in 6LACKs voice is matched in the mid bass hits that are scattered throughout the entirety of this song. The only detractor is that I would I want more of that bass but I can’t turn it up too much without the vocals becoming harsh.
This track has a constant bass drone that is a little light on this set, likely because it sits just on the other side of that BC cut-over. On the few spots the drone goes into mid bass you can hear it hit substantially harder. That bass keeps going through JID and Curry’s verses without any muddling or mixing. Part of that is likely due to the fact the mids are a bit recessed, resulting in JIDs and Curry’s voices sounding unnaturally high. That cut in the mids though allowed me to hear things I never noticed in the past. Such as JIDs yelling and grunting during Curry’s verse.
Bass is surprisingly light on this song. I attribute it to the fact that the majority of the bass line in this song is lower mid/sub bass and is not boosted by the BC driver. Another interesting note on the bass is that it hits south of center, near my throat whereas most sets (like the Ascension) hits more left and right, with a vibrating sensation in my ears. Turning up the volume brings the bass where I expect it (L&R with rumble) but at the cost of vocals become too forward and in your face.
Because of the lighter sub bass the balance between Tyla’s ethereal voice and the bass line is askew. Even so, the upper end never gets harsh or unbearable and the timbre of Tyla’s voice is intoxicating. It’s air yet has just enough heft to not sound thin. Background vocals are well placed deep in the stage with great definition on them.
Another sub bass heavy song that hits too light. I get a similar bass placement near the throat as I did with “On and On”. Almost a 1 to 1 with my thoughts on “On and On” in regard to vocal replay with the exception that Tinashe’s voice is less ethereal than Tyla’s and more silky and weighted.
This one is an interesting one and highlights a good distinction between enjoyment and critical listening. Enjoyment wise I love this track with the Loki’s. I’m having a hard time writing this right now cause I am too busy closing my eyes and bobbing my head. However, when I on my critical listening “ears” I would definitely say that the bass could be boosted a lot more and Bad Bunny’s vocals need more heft in them. It’s hard to say if it’s the mix, the set or a combination of both but they seem quite hollow. Even with that, the placement and sense of space on this set is kind of perfect and brings the whole mix together to be quite enjoyable.
Another song where tilting right on the FR works well. Meregenue is naturally a bright and loud affair and so this replay puts you right in that mindset with Uchis’ vocals front and center. The keys, trumpet and drums are all perfectly placed and cut through the mix in their own way. Somehow it manages to do all this without being overbearing or sharp. Definitely a low volume listen but boy is it a good one.
Very accurate and surprisingly neutral replay here but it lacks a bit of excitement for me at safer volume levels. Bass is tight with good rumble however I could use more quantity on it in relation to the rest of the song. Everything is clear and tonally correct (or as tonally correct electronic music can be) however they limit my ability to turn up the volume to the point where the bass hits how I would like it. The bass I want for this track is in there, it’s just inaccessible.
Yeah this is a jam. Sense of space is epic and the whole song is just so entrancing. The bass could hit a bit harder but for me, it’s not necessary for this track and I would worry it would distract from the space that I’m getting. Constance’s vocals move around from in your face to above your head and then starts to pan from left to right. Yeah, I really like this one.
Everything feels a little light here. Kacey Musgrave’s vocal timbre is spot on but Bryan’s feels a bit hollow. You get a good cushion on the kick drums which keeps the song grounded but guitars, snares and vocals thinned out just a hair too much. Outside of that clarity is top notch and everything is very cohesive that you have to really dig in to hear the thinness.
Imaging on this track is spot on, you can pinpoint all the instruments in their own distinct space from left to right. Stage is what I would consider intimate. Could use just a bit more lower bass to weigh everything down a bit since there really isn’t any bass to back up the song.
Shout out to @GooberBM for loaning me the EA1000. I have appreciated what Simgot is doing in the value space but unfortunately the EA500 just didn’t resonate with me in the same way it did for others. It was too bright with too little bass so even though it had great technicalities for the price it was never gonna work for me. Now the EA1000 has always intrigued me since it has more mid-bass and claims to be smoother and improve bass texture over the 500. All things I wanted. So did it do enough to win me over?
Yes, and no. I know, I know, so cliche. Overall I really like the EA1000 and think it’s a great IEM. While I don’t think it’s worth the money for someone who likes a tuning like I do (neutral bass boost) I think for people more leaning bright neutral it’s a steal. The driver is definitely something special and the texture and dynamics are off the charts. Add top tier DD timbre and its a winner. My biggest gripe it can get a bit too bright for me which is easy enough to fix with the tuning nozzles and that the bass needs a good 2db in the mid bass and 5 in the sub. For my library it just lacks too much bass at this time to compete with others in my collection.
I use this track as a sibilance test and the EA1000 almost passed. Unfortunately, things would get a bit harsh at times. Other than that it’s overall pretty good. There is this interesting thing where the dynamics of the notes are to the point where the song feels bouncy. In contrast, other sets are less bouncy and more flowy where things move around stage more noticeably. This one feels like everything is bouncing kind of in place which is unique and I appreciate that.
This starts off great and ends even better. That deep bass line runs through the whole track and gives a subtle vibration that keeps you moving. Willow and Cole’s vocals tonally on point although it would be great to get a bit more detail out of them cause I know there is more to give there but honestly that’s nit-picking.
This track focuses on mid bass kicks and boy to they deliver on the EA1000. They aren’t huge but they are big enough and to top it off they are incredibly textured and dynamic. Vocals on this set have been a knockout so it’s no surprise that this track would follow that same trend. 6LACK’s voice has such distinct texture that comes out fully. On top of that because its so dynamic it adds a new dimension to them.
There is not really much to say on this track. Clarity and vocal tonality are all aces but it’s all a bit lifeless to me without the constant drone vibrating the entire track. This is where technically proficient doesn’t equal enjoyment.
The lack of sub bass throws the balance off and this is a track that was already pushing the boundaries on the upper end. With that balance tilt there are parts where Tyla’s voice gets a bit sharp. While its bearable I know its the not the best rendition of this track I have heard. I kind of stopped mentioning timbre cause honestly that is on point for every track.
Same experience with “On and On” however less egregious since Tinashe’s voice isn’t as wispy as Tyla’s. The bass hits are bigger on this track though and you can hear them so not feeling them really is a let down, enjoyment wise.
DD timbre strikes again, this may be my favorite replay of Bad Bunny’s voice out of all the sets I heard. It has good weight and stays a bit lower without coming off veiled or recessed. Bass impact suffers quite a bit in this track and as such things come off much brighter overall than they should.
Horns and pianos come in right off the bat and the timbre is top tier DD. There is something about DD timbre that just sounds “correct” even if BAs may give a more clear and controlled sound. That trend follows into the vocals. Im surprised by the amount of clarity from this single DD. It’s definitely one of the better DDs I have heard in any price range. Bass has just enough impact to work from the drums but I could use a bit more bottom end to balance out everything.
I can’t really get into this song on the EA1000. I can sense a bit of the mid bass but it’s not much. Hitting xBass on the Gryphon improves the whole track because it really lets those infrequent bass hits land and resonate… Everything else is very good. Nothing sharp or harsh which can sometimes happen with the hi hats in this song. The sense of space, while not huge, is broad enough which is one the major things that makes this track special to me.
This one actually goes a little sharp for me. Constance’s voice goes just over the edge of shrill and that plus the crescendo washes sounds together a little more than I would like. On top of that the sense of space is not big enough to help spread out those sounds and give me that immersive feeling.
Simple tracks work really really well on the EA1000. Here we have guitars, drums and two great singers… so yeah this one kinda kills. Bryan and Musgrave’s voices benefit greatly from that sweet sweet DD timbre. Neither of them really go high so there is no sharpness here and just a great sense of depth and warmth in their voices. Guitars sound tonally correct, with great bite and percussions have enough impact to be pronounced and enough attack to cut through the mix.
I could ditto all the points in the song above so I won’t dive too deep into tonality, especially because this track I like to use for imaging and stage size. I would say stag is a bit small and stays relatively in front and on a single plane. Even with those constrictions you can easily separate all the instruments into their own spots on the stage (not just 3 blob). Imagining is quite good regardless of the price.
These are pretty stale at this point so the update is below. These are for any set I’ve heard. If it was a loaned set I’ll put my favorite owned one in parens
Pop: Storm (Aure)
R&B: Ascension
Rap/Hip Hop: Ascension
Latin: Loki (Ascension)
House/EDM: Loki (Glamdring)
Country: Storm (Aure)
the OG was a pretty nice list - very intrigued by your new list; maybe I’ll get to try some of those in future… 
Haha I agree. I really liked both the IE600 and EJm resin a lot but they each had minor but nagging issues for me that the Aur Audio Aure resolved. the IE600s bass quantity was not really as big as I wanted and fit was hard with such a small shell. EJm soundwise was hard to complain about but it had bad driver flex and that really ruined the experience for me.
Once I got the Aure it had better vocals than the EJm and better sub bass than both, plus fit was great so I ended up letting those two go. The Ascension is quite different in signature, much more boosted in mid bass and slight bump in sub. Vocals are a bit recessed but good extension so a better all rounder for my library but for pop and country Aure’s are still the best of the sets I own
Appreciate the perspective! 
Makes sense to me - I missed the boat on Aure, and Neon Pro is probably what I should have grabbed instead of Butastur, but I was still “learning” (read “kidding myself”) about how important bass quantity is to my overall enjoyment. Ascension came out just after I decided to try to be master of my domain on IEM buying for most of '24, but it is def on my list…
I ended up having a nice time with IE600 after a suuuper long tip rolling exercise, but yeah, while it gives a fine playback, it’s no all-rounder imo.
EJ07m is one of those legends that never seems to crop up until after I look away, lol - magic! 
Cal you getting the new HBB purple thing?
Absolutely top notch write up, Cal! Fantastic work. I already know that from your assessment, the EA1000s wouldn’t be for me most likely.
Always appreciate your words, brother!
Not stock, but Cal didn’t review my preferred modded nozzle 
the Hades? I wasn’t planning on it, it looks super interesting and would probably be a banger for hip hop. I gotta slow my acquisitions for a few months but whatever I pick up next will be a DD so its definitely in the short list.
yeah they got the magic in those drivers but I just don’t think Simgot house sound is for me which is fine. I appreciate a company that perfects a sound and sticks with it.
haha yeah I think it would have been unfair to do a review based on that nozzle but it definitely leans more towards my preferences. Even with that nozzle I would want maybe a 2-3db bump in the bass.
I used to hunt for the basshead IEMs but now I have found that a more well rounded but bass boosted set works best for me
Rightfully so
I owed @GooberBM an A/B between the Aure and the SR5 so I figured I would just it here for public consumption.
All in all its splitting hairs on this track
Splitting hairs but Im seeing a trend that the Aure’s bass is slightly more impactful and tight while the top end is a bit more energic which is more noticeable in vocals.
Turn up volume for next two
Aure pulls a head a lot on this track. Im not sure if it’s just the track or that the Aure just scales “better” at higher volumes.
More of splitting hairs here but I think overall I would say the Aure has better bass texture and tighter, punchier bass although the difference is pretty subtle. On top of the Aure scales better with volume due to the SR5s elevated treble
Pretty cool to see how well the SR5 stacks up against the Aur. In terms of a value proposition, the SR5 is hard to beat.
its honestly a great set and if you listen and lower volumes it is a great set for those who like the SA6 but scoff at the price. I just wish it leaned more towards the low end than the high