Cons — Stock cable forms kinks, gets tangled in pocket
– Somewhat soft transients
– Treble lacks sparkle, rolls-off early
– Soundstage depth/imaging is average
– Lower-mids can sound a bit recessed

INTRODUCTION

Moondrop needs no introduction nowadays after being one of the most consistent manufacturers out there in terms of releases and their adherence to hitting “target curves”, or a specific frequency-response in other words.

The Moondrop Aria 2 (2021) is their latest release that, on paper, succeeds their age-old model, the Aria (which had a shell similar to their now discontinued Crescent). Confusing naming schemes aside, the Aria refresh is nothing like the old model with a very different shell design along with a detachable cable (whereas the previous model had a fixed cable). Moreover, it seems to compete directly with their own Starfield and might even retire the old model given its lower price tag.

Let’s see if the new Aria 2 is a worthy refresh, and if it can carve itself a spot in the ultra-competitive budget segment.

Note: the ratings given will be subjective to the price tier. Nappoler Hu from HiFiGo was kind enough to send me the Moondrop Aria 2 for evaluation.

Sources used: Questyle CMA-400i, Sony NW-A55 (MrWalkman modded), LG G7
Price, while reviewed: $80. Can be bought from HiFiGo.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The packaging, in usual Moondrop fashion, has an anime box-art. Other than that the accessories are mostly standard: a cloth-braided cable, 6 pairs of eartips, a small carry case, a pair of tweezers to replace the nozzle filters, and some spare nozzle filters. While the tips and case works fine, I’m a bit annoyed with the stock cable. Now, it’s an upgrade over Starfield’s noodle-like cable but the ergonomics are poor and it gets tangled very easily. The sheathing is also stiff and forms kinks very easily. I’d recommend an upgrade cable if budget permits.
4/5

BUILD QUALITY

The build quality is excellent with an aluminium alloy housing. The matte black paintjob has a soft-touch finish and the rose-gold pattern on top adds a bit of character to the shells. There are two vents on the inner-side to alleviate pressure. The 2-pin ports are recessed which is great for long-term durability. Finally, the nozzle doesn’t have any lips to secure the tips but it does grip the tips better this time around (unlike the Starfield nozzles where tips would slip out). The paintjob also seems more durable than the Starfield one (which chipped off easily) but time will tell. So far so good.
5/5

COMFORT AND ISOLATION

Due to its snug-fit and lightweight nature, the Aria has very good wearing comfort. Isolation is above-average too and with the right tips you can drown out quite a bit of outside noise.
4.5/5

SOURCE AND EARTIPS

For the purpose of this review, I primarily used the Questyle CMA-400i and LG G7 as sources. The Aria 2 runs well on most sources, though with better sources it does seem to scale. I’ve found it to pair the best with Questyle CMA-400i but then again it’s a desk setup and costs quite a bit. On a budget, the LG G7 worked just fine, with the Sony NW-A55 providing a very dynamic and engaging presentation.

The stock tips are fine but I opted for Spinfit CP-145 as it seemed to slightly widen the stage without sacrificing on the tonality/technicalities.

DRIVER SETUP

Aria 2 opts for a 10mm LCP (Liquid-Crystal Polymer) along with an N52 magnet system. The voice coil is just 35 micron thick and there’s also a brass cavity on the back to reduce resonance. Finally, the high frequency waveguide disperses high-frequency waves to reduce resonance peaks. LCP diaphragms have been used in legendary single-DDs like the Sony EX-1000, though in that case the diaphragm size was much larger (16mm) and the diaphragm stiffness also reportedly higher. However, given the price constraint at play here (1/6th of the EX-1000ST) it’s great to see LCP diaphragm here instead of the more mainstream CNT, Ti/Be-plated PET, or DLC diaphragms (though the latter costs more usually).

One interesting tidbit: Moondrop recommends 100hrs of burning to ensure that the drivers are in “optimal” condition. They even provide some burn-in instructions in the user-manual (comes in the box). I usually don’t bother with IEM user-guides but this one time I’m glad I read it. Whether or not you’re a believer in burn-in, it’s interesting to see that Moondrop is recommending this as they’re usually very focused on measurements and such (burn-in usually doesn’t show up in FR graphs). I decided to follow the guidelines and burned-in for ~60 hours or so before forming my impressions. It doesn’t hurt after all.

TONALITY AND TECHNICALITIES

The Aria 2 has a warm, upper-mid centric presentation that has some similarities with the Harman In-ear target curve. Fortunately, the upper-mids aren’t as pronounced as the Harman IE target and the mid-bass has more body, resulting in a more even and natural transition from sub-bass to upper-bass and lower-mids subsequently.

The standout feature on this one has to be the bass response which, IMO, is one of the best under $100. The bass reaches all the way down to 20Hz and provides excellent rumble. Best of all: it doesn’t slope right away as it moves into the mid-bass unlike some recent IEM releases that gives rise to what I call “2.1 subwoofer effect” (you feel that the sub-bass is detached from the rest of the frequency). As a result, the bass frequencies are all well-portrayed and the sub-bass focus sounds tastefully done. Snare hits are authoritative, double-pedals have a full-bodied nature to them, and most of all male vocals don’t sound thinned-out. Bass texture is great, and bass speed is above-average.

As we move into the lower-mids, it does some warmth from the mid-bass bump but this is where I encounter my first issue with the Aria 2. The male vocals sound somewhat distant, although they’re perfectly intelligible. The finer articulations (vocalists inhaling/exhaling, subtle shifts in the delivery) are not as well portrayed as a result. Female vocals are much better portrayed however though again the lower-ranges suffer from recession. On the plus side, these are excellent when it comes to rendering acoustic guitars. The leading edge of guitars sound crisp while having a certain heft to them. Distortion guitars are not as well portrayed however due to less energy around the 4KHz region, but this also helps in reducing listening fatigue so there’s that.

Finally, the treble, and there’s not much to say here. It’s inoffensive without being boring. The treble rolls off fast post 11KHz and doesn’t really offer a lot of sparkle or air. Cymbal hits sound somewhat muted and the resonance after the hit is absent. There’s a slight peak ~10KHz in the official graph which seems more like driver resonance and didn’t really bother me during listening sessions. I should also add a note about the timbre which is very natural here and doesn’t suffer from the artificiality of the typical BA drivers (and even some metal-coated PET diaphragms).

Dynamics are quite good, especially macrodynamics are class-leading. Micro-dynamic shifts (gradual changes in volumes) are portrayed fairly well though some of the competition does that better. Staging is good overall in terms of width/height, though stage depth is lacking vs the higher-tier IEMs. Imaging is not as precise as I find on competing IEMs so I’d say it’s about average for the price bracket. Separation is good, however, owing to faster transients of the LCP diaphragm, though I do find the leading edge of notes to be somewhat soft which robs some instruments off of their excitement/engagement factor. The better transients also aids in complex tracks though the treble does seem to get drowned out in that case.

Overall, I find the Aria 2 to have a very versatile sound profile that works well across a variety of genres. The presentation is dynamic with a very natural timbre and excellent rendition of acoustic guitars/percussion instruments. Due to the wide stage, instruments aren’t congested and separation is very good as well. However, the male vocals might sound recessed, the imaging isn’t as precise as I hoped it to be, and stage depth/treble extension is lacking. Given its budget nature though, I’m willing to forgive a lot of that.

Bass: 4.5/5
Mids: 4/5
Treble: 4/5
Imaging/Separation: 3.5/5
Staging: 4/5
Dynamics/Speed: 4/5
Timbre: 4.5/5

SELECT COMPARISONS

vs Moondrop Starfield ($109): The Starfield received mostly rave reviews upon launch, though I myself found it very average on all fronts apart from the mid-range (vocals, to be specific). It was kind of a one-trick pony and I didn’t find the trick to be entertaining enough to warrant a super-positive review. I’d not discuss differences in build/accessories here as they are mostly similar (though Aria 2 cable is better).

The Aria 2 fixes most of my issues with the Starfield. The bass is much tighter with faster transients, acoustic guitars and percussion instruments don’t sound as “mushy” anymore, and the treble actually has some life in them. The stage is also wider and taller on the Aria 2, though stage-depth is similar on both (as in average). They measure similarly on FR but during listening the difference these technical upgrades are very noticeable. The one area where the Starfield trounces the Aria 2 is the vocal performance with Starfield having a more up-front/engaging vocal delivery. That’s about it though, and I’d pick the Aria 2 over the (more expensive) Starfield 11 out of 10 times.

vs Final E3000 ($50): The Final E3000 has long been one of my favorites under $100 and the Aria 2 has challenged it well for that throne. In terms of build quality, Aria 2 gets brownie points for having a detachable cable (though the supplied cable is far worse than E3000 stock cable). Both are very comfortable IEMs and offer good isolation.

The sound profile is quite different between them. The E3000 is a laid-back sounding IEM with warm, thick notes and an uncanny ability to separate the vocals from the rest of the instruments. In fact the biggest difference between the E3000 and the Aria 2 is how the former projects a wide, deep soundstage. Vocals are also more lush on the E3000, though they are even more recessed than the Aria 2. In terms of bass response, the Aria 2 is more sub-bass focused whereas the Final E3000 has mid-bass focus. Thus, the snare-hits/double-pedals sound even more substantial on the E3000 whereas Aria 2 can reproduce bass rumble better. Treble is about similar on both though the E3000 has slightly better sparkle and energy in the leading edge of cymbal hits. Imaging is also better on the E3000, though it falls behind the Aria 2 in complex tracks due to slower driver. Finally, microdynamics are superior on the E3000 with the Aria 2 having better macrodynamics.

One thing to note is the amping requirements which is higher on the E3000. Aria 2 is far easier to drive. All this makes the Aria 2 an easier pick for those who want more balance across the spectrum and don’t want to invest in a source. If you have a good source, however, the Final E3000 is still a very unique offering and will be right up your alley if you want a non-fatiguing, laid-back yet impressively wide presentation.

vs BLON BL-05S ($40): This is a comparison that many requested due to the BL-05S punching way above its price-tag in terms of technicalities. Let’s get into it, then.

In terms of build, the Aria 2 wins simply because of a more agreeable color, though I’m lately finding the BL-05S less of a turn-off. The stock accessories are also super-terrible on the BLONs so Moondrop gets an easy win here. Comfort/isolation is also better on the Aria 2.

Now, let’s get into the sound. The BL-05S has more focus on clarity with a more prominent upper-mids presence. The bass suffers on the BL-05S as a result with the Aria 2 having a superior bass response. In fact, the improvement in bass alone warrants an upgrade to the Aria 2 if you’re using BL-05S and need more “thump” in the lows. In the mids, I find the BL-05S to be better for female vocals and electric guitars. Treble also has more sparkle on the BL-05S though cymbals can sound a bit splashy at times on the BL-05S (which the Aria 2 avoids). Timbre is better on the Aria 2, so is soundstage width and height and the overall dynamics. Stage depth and imaging, however, is better on the BL-05S, so is the separation (surprisingly so).

It’s quite ironic that the BL-05S, despite being half as costly, is besting the Aria 2 in a few technical aspects (mainly imaging and separation). However, I find the Aria 2 an easier listen with far superior comfort/isolation and of course: bass. I can also see many getting both these IEMs to cover all bases (Aria 2 when you need a more smooth listen, BL-05S for the metal/rock sessions).

CONCLUDING REMARKS

The Moondrop Aria 2 is a wholesale upgrade over the Moondrop Starfield, despite the apparent similarity in the FR graph. I was very disappointed with the Starfield so the Aria comes as a form of redemption for the budget Moondrop offerings, among which I’ve only like the Crescent so far (and they don’t even make them anymore).

For me, the Aria 2 is now a default recommendation in the $100 range and renders many of its peers/predecessors irrelevant, if not unremarkable. It doesn’t excel in many technical aspects but as an all-round package it is very hard to beat. The stock accessories are good enough to get you going, the bass response is fantastic, the mids sound just right (albeit the lower-mids recession can sound a bit odd), and the treble is inoffensive for the most part aiding in long-term listening. Add to that good dynamics, separation, and stage width, and we’ve a new winner.

Well done, Moondrop, and I hope you guys keep it up.

MY VERDICT

4.25/5

A worthy upgrade to the Moondrop Starfield, and one of the best IEMs under $100.

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PHOTOGRAPHY

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Cons — BA timbre; deserves more depth; big earpieces.

Executive Summary

The Moondrop x crinacle Blessing2:Dusk is a well-tuned, well-resolving earphone that is probably leading in its class.

Introduction

Well here we are again, in Chengdu, city of my fond memories, where Moondrop has risen high above “Chi-Fi” average. Chengdu is the capital of China’s mighty Sichuan province, known for its spicy however tasty foods – and for its panda bears….well, among others.

Moondrop have always pulled something special out of their hat, and much of it sounded a bit spicy, too. But despite the fact, that some of their models exceeded my personal hotness preference, I have always treasured them as something out of the ordinary. Many of my reviewed earphones I gave away, but not a single Moondrop.

I most recently analyzed the Moondrop Illumination, an $800 single dynamic-driver earphone, that could have made higher waves in the west with a bit less spice. And the original Blessing 2 were probably a similar case. So Moondrop brought Singaporian (gr)aficionado Corin Ako alias Crinacle on board to file a few corners off the Blessing 2. And, to take it away, he fully delivered on that purpose. But the attentive reader should also be aware that the iem was not designed by the tuner – who does not take any responsibilities for Moondrop’s “sins”.

Specifications

Drivers: 1DD (10 mm) +4BA (Treble unit: Knowles SWFK, Midrange unit: Softears D-MID-A)
Impedance: 22 Ω
Sensitivity: 117 dB/mW
Frequency Range: 20 – 20,000 Hz
Cable/Connector: 2-pin
Tested at: $330
Product page:
Purchase Link: SHENZENAUDIO

Physical Things And Usability

Tonality And Technicalities

Equipment used: MacBook Air, iPhone SE (1st gen.), iPod Classic; Audioquest Dragonfly Cobalt.

The Moondrop X crinacle Blessing2:Dusk is a well-tuned non-fatiguing (!!!), neutral sounding earphone that is driven easily with virtually anything. It comes with a classic BA timbre but is probably technically superior over most earphones in its price category. It features a well textured, subtle bass with natural dynamics on top of a well-extended bottom end. I find the low-end superb in its dryness and lack of mid bass bloat. But the dose is moderate and it may not be for bass lovers. There is a tinge of warmth that elevates it above sterile. Let’s call the low end pragmatic.

Want to see a FR graph? Try the original: https://crinacle.com/2020/12/06/behind-the-scenes-moondrop-x-crinacle-blessing2dusk/ The nozzles are quite thick so that I could not get my standard eartips for measurements over them.

The transition to the midrange is not the smoothest which is a design artifact. Vocals are in the Moondrop tradition of being neutral, lean, and atmospheric, supporting a clear and transparent midrange. The fact that the upper midrange is dialled back (Crinacle’s handwriting) compared to other Moondrop models adds a bit more body and volume to the vocals, however they could still be a bit richer for my taste. But, most importantly, Crinacle prevented the looming icepick.

Treble, in typical Moondrop style, rolls off early, but the extension is just fine. And, typically BA, it sounds a bit “technical”…which justifies the early rolloff.

Bringing this together: Holistically, the Blessing2:Dusk has that crystal clear glassy midrange sound that is nicely transparent but not realistic. This is an issue inherent to this type of earphone/driver…it is part of the design.

Staging is very good horizontally and vertically, but could be deeper. Then again, Blessing2:Dusk shines in terms of definition and separation. A very articulate presentation….and that’s where its money’s in.

I find that the Blessing 2:Dusk handle synthetically produced sounds as in techno and industrial particularly well, but are less suited for rock, jazz, and orchestral.

In comparison to the Blessing 2:Dusk, the more expensive single dynamic-driver Moondrop Illumination sound much more organic, albeit a bit too bright for my gusto – and they are technically less capable. In the $300-$350 segment, the single DD Sennheiser IE300 and IE400 PRO don’t offer the Blessing 2: Dusk’s clarity and separation, but a more organic, coherent, less distorting sound in much smaller shells.

The Tuning?

Just as we want it. It would have been informative to have had the original Blessing 2 to compare to. But from my experience with Moondrop’s in-house tuning, it is kind of obvious what Crinacle did: first he made sure that the mid-bass was not bloated and second he toned down the upper midrange to avoid shoutiness, that is hardness and aggression in the middle frequencies. I am actually surprised that he did not boost the mid bass more, as I know from the JVC HA-FDX1 tuning filter discussion that he likes more bass than I do. Well done, Crinacle.

“You can always tune an earphone, but you can’t tuna fish – Unknown

—

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Moondrop have been somewhat notorious for their shoutiness so that I had already proposed an upper-midrange-muffling reversible tape mod for the Moondrop Starfield and the Moondrop SSR [links bring you to the respective modding sections]. Thanks to Crinacle’s tuning, this is not necessary for this model. I suggest a similar sonic modification for the Moondrop Illumination. But, hey, as it looks, Moondrop have considered these suggestions in their recent Aria model.

Discussion: How Important Is Timbre?

Timbre (“measure of the naturalness of sound”) is strangely enough generally not included in a device’s tonality assessment but rather in “technicalities”. This is odd as many “audiophiles” sacrifice technicalities such as separation and layering for timbre. One appears to exclude the other.

Crinacle places the original Blessing 2 into the “kilobuck” category and ranks them as “Tone Grade S“, the highest of is ranking list. From my limited experienced with pricey iems, I would not disagree. The Blessing 2:Dusk as the modified younger brother (it is fair to assume that Crinacle would not rank these any lower than the original) do remind me of the $1300 AME Custom Argent in their über-midrange transparency. And that’s what you probably get elsewhere in BA-land for $1000.

The question is: how important is natural sound reproduction considering that BA timbre sounds only realistic with, let’s say, Kraftwerk’s “We are the Robots”.

Take the rustic Canadian BTO song “Four Wheel Drive”, for example. Randy Bachman’s raunchy Gretsch rhythm guitar powering custom-made Garnet amps (the famous “Winnipeg Sound”) loses much of its its meat/substance and visceral character in the glassy, crystal clear network and distortion of any BA drivers. The “Winnipeg Sound” simply retains its character better even with cheap Koss Porta-Pros.

Or take a Chopin Cello Sonata, where you seriously wonder what power supply the Cello is connected with to the mains. Again, the cello sounds more realistic with a cheap dynamic driver. Most BAs/hybrids are the sonic equivalent of overpixelated photos: sharp but unrealistic.

This begs the general question of how timbre should be graded?

Concluding Remarks

Despite the BA timbre (which is part of the game), it was a pleasure listening to the Blessing2:Dusk for a couple of weeks. I don’t think there is a technically better earphone at this price.

Until next time…keep on listening!

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Disclaimers

I held the Blessing2: Dusk for two weeks as part of a tour initiated by Crinacle, before sending them on to the next reviewer, who is our very own Biodegraded. Also check out his review…coming soon.

Get the Moondrop x Crinacle Blessing2:Dusk from SHENZENAUDIO.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

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