Moondrop Variations Review – Indomitable

Sound –

Testing Methodology: Measured using Arta via IEC 711 coupler to Startech external sound card. 7-9KHz peaks may be artefacts/emphasised due to my measurement setup, less so with deep fit. Measurements besides channel balance are volume matched at 1KHz. Fit depth normalised to my best abilities to reduce coupler resonance. Still, due to these factors, my measurements may not accurately reflect the earphone or measurements taken by others. I gave the Variations 100hrs of burn-in to ensure maximum performance prior to subjective breakdown.

VDSF Rundown –

Moondrop’s VDSF curve makes its return but has been noticeably reworked. As before, VSDF isn’t an exact signature but a range of tonalities somewhere between Diffuse field and Harman neutral – usually, each Moondrop model will fall closer to either ends of this spectrum. The Blessing 2 was a closer derivative of the DF curve, having a more subtle bass lift. The Variations moves in a similar direction to the Blessing 2 Dusk and Soft Ears RSV with their larger sub-bass shelves, in fact, to a greater degree. It then implements other tuning decisions to uphold Moondrop’s signature midrange timbre but deviates little through the midrange and treble.

Tonality –

Relative to the Blessing 2, there’s a more sizeable sub-bass hump, a wideband cut through the upper-bass and lower-midrange to retain separation followed by a nigh identical midrange. Bass doesn’t sound as linear but assumes a bold and robust voicing and its deep emphasis retains tonal cleanliness on top. The treble has been toned down slightly but has zero peaks and a beautifully linear foreground. This means it comes across as a bit smoother and more organic sounding than the majority of past Moondrop in-ears if retaining a very similar overall character and voicing.

The Variations also represents a noticeable step up in driver quality from bass through to treble. I would say relative to Moondrop/Soft Ear’s line-up, the quality increase exceeds the price increase as performance is closer to the higher end RSV than the Blessing 2 and the price lies right in the middle. However, highs do assume a distinctly different note presentation, trading the more defined leading edge of its sibling’s BA-drivers for a daintier and more delicate EST implementation. While detail retrieval is undoubtedly strong, the presentation has a bit more atmosphere but percussion also has less bite and crunch.

Bass –

I’ve never found any Moondrop model bassy but the Variations has clearly elevation in punch and slam to me. I also don’t find this an especially natural sounding bass response albeit it is a tastefully coloured one. Those coming from speakers or headphones likely won’t share this sentiment as I am more accustomed to IEMs, many of which struggle more with sub-bass reproduction. Here, sub-bass has biggest emphasis, the most innocuous form of bass elevation in terms of tonal colouration. It extends partway into the mid-bass but quickly falls off into a wideband upper-bass/lower-mid cut. Accordingly, bass isn’t too warm, and bloat is absent, the midrange is free of spill. Furthermore, bass is imparted with great slam alongside a distinctly thick, emboldened note presentation. Moondrop were clever not to over pressurise the sub-bass, meaning emphasis here is more audible than perceptual and, therefore, doesn’t fatigue over time.

I feel this does enhance the perception of separation to some extent, however, due to the thickness of its note structure, the Variations is still below average in this regard. That is not to say it isn’t well-detailed as driver quality does impress, especially considering the level of sub-bass emphasis. Driver control is strong and a great step up from the Blessing 2; it simply has more emphasis and doesn’t sound as clean. However, individual note definition is a clear improvement. Similarly, the driver has a slightly quicker decay, picking up a bit more texture in the mid-bass. The Variations invariably focuses more on dynamics and impact but does retain a very well-defined rumble and mid-bass presentation as a result. It is impressive that Moondrop have executed this with minimal tonal colouration, but this does come at the cost of separation. I personally find this area leaves most room for improvement when considering an upgrade or successor in future, but it is difficult to say with certainty as I understand many listeners prefer an enhanced sub-bass.

Mids –

Despite its powerful low-end, the midrange remains well-separated and free of tonal colouration. Following a similar curve to the Blessing 2, you can expect a similar kind of voicing; that being, a highly natural and well-balanced one. However, there is a little more vocal focus here with instruments being laid-back just a touch due to the lower-mid nadir. Furthermore, vocals do assume a slightly leaner character albeit never to the extent of dryness or hollowness. Rather, I would say this works to the benefit of definition and separation, both of which the Variations excels with in the midrange. I also don’t hear any intensity on this earphone. The upper-midrange is no less emphasized than past Moondrop in-ears. However, it does have a slightly smoother lower-treble meaning it assumes a slightly denser character. This works greatly to the benefit of vocal timbre to my ears. The Variations is thereby able to achieve high clarity and high coherence simultaneously.

It does so with zero congestion, tonal colouration or sacrifice of midrange separation as observed on many competitors. While sheer resolution isn’t as good as a pricier IEM, the net result here is a midrange presentation that is well-metred, naturally voiced and still well resolved. I wouldn’t characterise this as a revealing sound due to the smoother articulation. It should also be noted that, in the context of its more prominent bass, the midrange does come across as slightly more laid-back compared to past Moondrop in-ears. I feel it will appeal more to those averse to brightness in turn, as it is a noticeably less intense sound. As a result, though not perfectly linear, the Variations is almost perfectly natural and pleasantly musical without excessively colouring its image. It is the most forgiving Moondrop IEM I’ve tested yet, but no less accurate or resolving either. Do note, that I am personally a fan of a smoother sound.

Highs –

Sonion’s electrostatic tweeters have become very prominent around this price range. As a reviewer, I do feel they have a reason for being, but they do have an unorthodox sensitivity and frequency response meaning it is not a sound for everyone. That said, this statement applies far less to the Variations, as Moondrop have been able to masterfully tune these drivers to provide likely the most desirable EST treble I’ve heard yet. The lower treble deserves special mention, showcasing some of the best linearity I’ve heard regardless of price. As the upper-midrange has been brought forwards by a few dB, treble does appear a touch smooth and laid-back. However, the voicing of the treble itself is incredibly accurate due to its aforementioned linearity; percussion is clean and focused, and instruments are portrayed with a realistic body and great amounts of texture.

Decay is lightning fast and the overall note presentation is defined mostly by its agility. This is where we run into the traditional EST conundrum, the note presentation. As seen before, it is daintier with a less defined leading edge than your traditional BA or even DD IEM. In turn, it does not provide the same energy and crispness as these systems. As a by-product, there is zero brittleness and reduced fatiguing properties. And, due to the agility of the note presentation, this comes at zero cost to fine detail retrieval and awesome separation. In fact, the Variations excels here, being not only exemplary in terms of timbre but also its ability to discern fine details in the foreground and organise complex passages similar to a pricier model. Above, the drivers extend relatively linearly and redeem noticeably more background detail than the Blessing 2.

However, they do have a distinctly dark and clean over open and energetic middle-treble. There’s a hint of upper harmonic lift here that does contribute slightly to the delicacy of its presentation but no glare and minimal brightness overall. Headroom and resolution are both well above average in-class, however, there still isn’t much sparkle or top-octave micro-detail as is more pronounced on higher end models like the RSV and the even costlier RS10. This is not for those wanting a forward detail presentation nor the greatest sparkle and openness. However, if you’re a fan of a highly accurate treble instrument portrayal with outstanding fine detail retrieval, the Variations is one of the best choices currently available.

Soundstage –

The Variations provides a well-sized stage and also one of the best imaging performances in-class. Notable is its well-balanced proportions between width and depth. The Variations has a well-rounded stage and a excellent organisation. It is a layered sound with the darker background providing enhanced contrast but still enough linearity to place progressively along the lateral axis. Despite the agility of its treble, I find it doesn’t quite have the energy and sparkle to attain that elusive holographic quality. However, as the Variations projects well coronally too, this gives it a more immersive and multi-dimensional image than lower-end models like the Blessing 2 that lack this quality entirely. Separation is great, however, notably reduced in the bass due to its sub-bass tuning. Coherence is also excellent as is organisation, simply a by-product of great tuning and balance. It is an altogether an organised and immersive listen with great atmosphere. The balance and linearity through the mids and treble allow the listener to discern fine details even through complex passages.

Driveability –

The Variations has a modest 15.2 Ohm impedance and a high 116 dB sensitivity meaning it is impressively efficient. This is especially so considering the complexity of its driver and crossover setup in addition to its high frequency response.

Output Impedance Sensitivity

The Variations does not offer a flat-impedance curve and will be susceptible to sources with a higher output impedance in turn. Switching from the Shanling M2X (1-ohm) to the Hiby R6 (10-ohms) revealed a slight shift in tonality with increased bass presence and a diminished treble. While it remains far from the most source sensitive IEM I’ve heard, buyers are best to pair it with a source featuring a 2-ohm output impedance or below for the ideal sound; especially so considering this IEM already has a good amount of bass and given the complex crossover setup and focus on tonality.

Driving Power

The Variations is not as efficient as your usual hybrid but also isn’t a difficult earphone to drive, especially relative to other EST models. I found the bass was dynamic and controlled even from portable sources like the M2X and my collection of dongles such as the Hiby FC3. It even sounded respectable from my Xperia 5 II’s headphone output but it does scale well in terms of detail retrieval and imaging from a good dedicated source. Still, huge output power isn’t required to enjoy this earphone. The slightly higher impedance also means it doesn’t pick up source noise easily. With the Shanling DAP on volume 0, hiss was absent even without music playing.

Suggested Pair Ups

The Variations is altogether, reasonably easy to drive, especially considering what a complex design it is. Output impedance is the main concern, keep it 2 ohms and below unless you intentionally want a bassier, smoother sound. While it requires a few more steps of volume than your typical BA or hybrid in-ear, I don’t think this will be a problem for most listeners and source noise also isn’t much of an issue. Similarly, the dynamic driver is very efficient, sounding well-controlled from less powerful sources. In terms of source colouration, I most enjoyed this earphone from more analytical sources that provided a bit more separation in the bass and didn’t introduce any warmth. The smooth top-end note delivery also benefits from a more focused sounding source, the THX789 and iBasso DX-series DAPs comes to mind as a good match.

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