RikudouGoku
Member of the Trade: RikuBuds
How dare you trick us like that
CHIFI LOVE Thread-A never ending IEM-Heaphones-DAP-Dongles Sound Value Quest
- Thread starter NymPHONOmaniac
- Start date
Slater
Headphoneus Supremus
How dare you trick us like that
Well, technically it’s my version of the SSP, so not really a trick
Well, technically it’s my version of the SSP, so not really a trick
so... Super Slater Reference?
Slater
Headphoneus Supremus
so... Super Slater Reference?
Yeah, Super Slater Project
unifutomaki
1000+ Head-Fier
Moondrop SSR: My Impressions
I'm going to start by saying this: I reckon that one's opinion of the Moondrop SSR, whatever it may be, is going to be rather dependent on what source one is using with them. That's rather unexpected for a ~$50 IEM; typically these are flogged at a target audience who just wants to plug something into their phones and call it a day. To do that with the SSR would be setting oneself up for disappointment. I hypothesise that this source dependency would account, at least in part, for the variance in opinion that have surrounded these little'uns across the Internet. On one hand, they have been nicknamed the "Super Shouty Reference"; on the other hand, B9Scrambler (The Contraptionist) views them as best in class for 2020. There's gotta be something going on with that.
As with my experience with the TinHifi T2 Plus (which turned out to be everything I wanted it to be), the SSR represents my first encounter with Moondrop products. The waifu-adorned box is really cute; as a self-confessed weeb, I really appreciate that. Upon getting the box open, I was surprised by how small these IEMs are in real life. The official product photography doesn't really get this across, but boy do they look like they were built for midgets. Owing to their size, these are another supremely comfortable pair of IEMs that cause no strain on one's outer ears at all, a definite advantage in these mask-wearing times. They don't even really rest within my concha like the bean-shaped T2 Plus do; rather, the fit is more akin to a barrel-shaped earphone where the cylindrical section is doing most of the work, but with added stability due to the over-ear wearing style. The stock cable is... passable. The pre-formed earhooks are soft and pliable, but the cable is thin as a noodle with a rubber sheath (no braiding here) and an awkwardly large y-splitter. The connectors on both ends are finished in white translucent plastic rather than metal, giving off a rather budget vibe. The earphones themselves are solid, however, and my white variant has a lacquer finish that I find pretty tasteful. No complaints there, especially for the price.
So how do they sound? The SSR are supposed to be targeting a "diffuse neutral" curve, but I won't be able to tell you how adept they are at doing such a thing. I can only describe what I hear. Straight out of my phone, the SSR sounded underwhelming. What you're here for, then, is to find out how the SSR sounds when paired up with something decent like the Tempotec Sonata HD Pro. With the miracle whistle added to the audio chain, the SSR is roused from its slumber and begins to sing. It must be noted that the SSR's soundstage isn't particularly vast, coming across as adequately wide but rather more shallow than I would have liked. Instrument separation and imaging are also perhaps not quite on par with the T2 Plus. For example, the recurring drumbeat in Of Monsters and Men's Rororo subtly pans from left to right and left again, an effect that is more easily perceived when reproduced by the T2 Plus compared to the SSR. It's still present, but comes across as less salient out of the SSR. Where the SSR has an edge over the T2 Plus is in teasing apart primary vocals and backing vocals, ensuring that the backing vocals aren't lost in the mix; for example, it is somewhat more apparent that it isn't just Suzanne Vega singing in Suzanne Vega's Luka when hearing it out of the SSR.
It is in exposing the subtleties and quality in these vocals that the SSR truly impresses. Female vocals are detailed, emotional and intimate, as if one is listening to a performance in a small, cosy venue. For example, Jenny Lewis in Rilo Kiley's A Man/Me/Then Jim is a whole new experience altogether. As she sings the verse "The slow fade of love, Its soft edge might cut you", it's like she's right there in front of you, a slight waver in her voice, delivering a sweet and sultry yet somewhat foreboding melody. Likewise, Tegan and Sara in their stripped rendition of Call It Off receive equal emphasis in the mix, highlighting the harmony between the duo where Tegan's hard-edged tones complement Sara's relaxed, laid-back verses. Stepping down a register to male vocals brings more good news for the SSR: in Dire Straits' Money For Nothing, Mark Knopfler's full-bodied, textured voice is authoritatively rendered. The regularity with which Brian Molko stresses his "s" sounds in Placebo's English Summer Rain is revealed by the SSR, complementing his dry and energetic tone and the digital effects in the track.
I could continue to wax lyrical about how the SSR presents vocals, but I think the point has been made. What is perhaps even more noteworthy is the way in which the bass section of the SSR gains presence when paired with the Sonata HD Pro (I reckon any decent DAC/amp would accomplish the same). Obviously, the SSR will never be a basshead's first choice; when the bass drops in Twenty One Pilots' Migraine, it is definitely more heard than felt. However, when suitably powered, the SSR can deliver bass notes that have impact and definition (albeit in the midbass section rather than sub-bass), a quality that is exemplified by Chromeo's Old 45's, without exhibiting any muddiness or bloat. Treble is clean and non-fatiguing, with a focus on musicality and complementing the vocal presentation rather than all-out analytical listening. I have not encountered any issues with shrillness or sibilance even with challenging tracks like Fear, and Loathing in Las Vegas' Scream Hard As You Can (try that one on a $20 hybrid
).
In conclusion, I'm glad to have added the Moondrop SSR to my collection, and I don't find it as divisive as the current aggregate of online reviews would suggest. Between the SSR and the T2 Plus, I'd still place the T2 Plus on top; I don't think the SSR quite rises to the heights of the T2 Plus in imaging, soundstage, timbre (I prefer the decay on the T2 Plus, really) and overall signature. At the same time, it's broadened my perspectives as to what vocals could/should sound like, it does have decent if not ground-breaking isolation with the right tips, I feel better about using these on the go and having them stand up to daily wear than the T2 Plus, and they are so small and light that I could listen to them all day with nary any physical or auditory fatigue. I think they're worth picking up if you're at all curious about them.
I'm going to start by saying this: I reckon that one's opinion of the Moondrop SSR, whatever it may be, is going to be rather dependent on what source one is using with them. That's rather unexpected for a ~$50 IEM; typically these are flogged at a target audience who just wants to plug something into their phones and call it a day. To do that with the SSR would be setting oneself up for disappointment. I hypothesise that this source dependency would account, at least in part, for the variance in opinion that have surrounded these little'uns across the Internet. On one hand, they have been nicknamed the "Super Shouty Reference"; on the other hand, B9Scrambler (The Contraptionist) views them as best in class for 2020. There's gotta be something going on with that.
As with my experience with the TinHifi T2 Plus (which turned out to be everything I wanted it to be), the SSR represents my first encounter with Moondrop products. The waifu-adorned box is really cute; as a self-confessed weeb, I really appreciate that. Upon getting the box open, I was surprised by how small these IEMs are in real life. The official product photography doesn't really get this across, but boy do they look like they were built for midgets. Owing to their size, these are another supremely comfortable pair of IEMs that cause no strain on one's outer ears at all, a definite advantage in these mask-wearing times. They don't even really rest within my concha like the bean-shaped T2 Plus do; rather, the fit is more akin to a barrel-shaped earphone where the cylindrical section is doing most of the work, but with added stability due to the over-ear wearing style. The stock cable is... passable. The pre-formed earhooks are soft and pliable, but the cable is thin as a noodle with a rubber sheath (no braiding here) and an awkwardly large y-splitter. The connectors on both ends are finished in white translucent plastic rather than metal, giving off a rather budget vibe. The earphones themselves are solid, however, and my white variant has a lacquer finish that I find pretty tasteful. No complaints there, especially for the price.
So how do they sound? The SSR are supposed to be targeting a "diffuse neutral" curve, but I won't be able to tell you how adept they are at doing such a thing. I can only describe what I hear. Straight out of my phone, the SSR sounded underwhelming. What you're here for, then, is to find out how the SSR sounds when paired up with something decent like the Tempotec Sonata HD Pro. With the miracle whistle added to the audio chain, the SSR is roused from its slumber and begins to sing. It must be noted that the SSR's soundstage isn't particularly vast, coming across as adequately wide but rather more shallow than I would have liked. Instrument separation and imaging are also perhaps not quite on par with the T2 Plus. For example, the recurring drumbeat in Of Monsters and Men's Rororo subtly pans from left to right and left again, an effect that is more easily perceived when reproduced by the T2 Plus compared to the SSR. It's still present, but comes across as less salient out of the SSR. Where the SSR has an edge over the T2 Plus is in teasing apart primary vocals and backing vocals, ensuring that the backing vocals aren't lost in the mix; for example, it is somewhat more apparent that it isn't just Suzanne Vega singing in Suzanne Vega's Luka when hearing it out of the SSR.
It is in exposing the subtleties and quality in these vocals that the SSR truly impresses. Female vocals are detailed, emotional and intimate, as if one is listening to a performance in a small, cosy venue. For example, Jenny Lewis in Rilo Kiley's A Man/Me/Then Jim is a whole new experience altogether. As she sings the verse "The slow fade of love, Its soft edge might cut you", it's like she's right there in front of you, a slight waver in her voice, delivering a sweet and sultry yet somewhat foreboding melody. Likewise, Tegan and Sara in their stripped rendition of Call It Off receive equal emphasis in the mix, highlighting the harmony between the duo where Tegan's hard-edged tones complement Sara's relaxed, laid-back verses. Stepping down a register to male vocals brings more good news for the SSR: in Dire Straits' Money For Nothing, Mark Knopfler's full-bodied, textured voice is authoritatively rendered. The regularity with which Brian Molko stresses his "s" sounds in Placebo's English Summer Rain is revealed by the SSR, complementing his dry and energetic tone and the digital effects in the track.
I could continue to wax lyrical about how the SSR presents vocals, but I think the point has been made. What is perhaps even more noteworthy is the way in which the bass section of the SSR gains presence when paired with the Sonata HD Pro (I reckon any decent DAC/amp would accomplish the same). Obviously, the SSR will never be a basshead's first choice; when the bass drops in Twenty One Pilots' Migraine, it is definitely more heard than felt. However, when suitably powered, the SSR can deliver bass notes that have impact and definition (albeit in the midbass section rather than sub-bass), a quality that is exemplified by Chromeo's Old 45's, without exhibiting any muddiness or bloat. Treble is clean and non-fatiguing, with a focus on musicality and complementing the vocal presentation rather than all-out analytical listening. I have not encountered any issues with shrillness or sibilance even with challenging tracks like Fear, and Loathing in Las Vegas' Scream Hard As You Can (try that one on a $20 hybrid
).In conclusion, I'm glad to have added the Moondrop SSR to my collection, and I don't find it as divisive as the current aggregate of online reviews would suggest. Between the SSR and the T2 Plus, I'd still place the T2 Plus on top; I don't think the SSR quite rises to the heights of the T2 Plus in imaging, soundstage, timbre (I prefer the decay on the T2 Plus, really) and overall signature. At the same time, it's broadened my perspectives as to what vocals could/should sound like, it does have decent if not ground-breaking isolation with the right tips, I feel better about using these on the go and having them stand up to daily wear than the T2 Plus, and they are so small and light that I could listen to them all day with nary any physical or auditory fatigue. I think they're worth picking up if you're at all curious about them.
JEHL
1000+ Head-Fier
Is SSR considered undrivable by the iFi Micro iDSD Black Label then?Moondrop SSR: My Impressions
I'm going to start by saying this: I reckon that one's opinion of the Moondrop SSR, whatever it may be, is going to be rather dependent on what source one is using with them. That's rather unexpected for a ~$50 IEM; typically these are flogged at a target audience who just wants to plug something into their phones and call it a day. To do that with the SSR would be setting oneself up for disappointment. I hypothesise that this source dependency would account, at least in part, for the variance in opinion that have surrounded these little'uns across the Internet. On one hand, they have been nicknamed the "Super Shouty Reference"; on the other hand, B9Scrambler (The Contraptionist) views them as best in class for 2020. There's gotta be something going on with that.
As with my experience with the TinHifi T2 Plus (which turned out to be everything I wanted it to be), the SSR represents my first encounter with Moondrop products. The waifu-adorned box is really cute; as a self-confessed weeb, I really appreciate that. Upon getting the box open, I was surprised by how small these IEMs are in real life. The official product photography doesn't really get this across, but boy do they look like they were built for midgets. Owing to their size, these are another supremely comfortable pair of IEMs that cause no strain on one's outer ears at all, a definite advantage in these mask-wearing times. They don't even really rest within my concha like the bean-shaped T2 Plus do; rather, the fit is more akin to a barrel-shaped earphone where the cylindrical section is doing most of the work, but with added stability due to the over-ear wearing style. The stock cable is... passable. The pre-formed earhooks are soft and pliable, but the cable is thin as a noodle with a rubber sheath (no braiding here) and an awkwardly large y-splitter. The connectors on both ends are finished in white translucent plastic rather than metal, giving off a rather budget vibe. The earphones themselves are solid, however, and my white variant has a lacquer finish that I find pretty tasteful. No complaints there, especially for the price.
So how do they sound? The SSR are supposed to be targeting a "diffuse neutral" curve, but I won't be able to tell you how adept they are at doing such a thing. I can only describe what I hear. Straight out of my phone, the SSR sounded underwhelming. What you're here for, then, is to find out how the SSR sounds when paired up with something decent like the Tempotec Sonata HD Pro. With the miracle whistle added to the audio chain, the SSR is roused from its slumber and begins to sing. It must be noted that the SSR's soundstage isn't particularly vast, coming across as adequately wide but rather more shallow than I would have liked. Instrument separation and imaging are also perhaps not quite on par with the T2 Plus. For example, the recurring drumbeat in Of Monsters and Men's Rororo subtly pans from left to right and left again, an effect that is more easily perceived when reproduced by the T2 Plus compared to the SSR. It's still present, but comes across as less salient out of the SSR. Where the SSR has an edge over the T2 Plus is in teasing apart primary vocals and backing vocals, ensuring that the backing vocals aren't lost in the mix; for example, it is somewhat more apparent that it isn't just Suzanne Vega singing in Suzanne Vega's Luka when hearing it out of the SSR.
It is in exposing the subtleties and quality in these vocals that the SSR truly impresses. Female vocals are detailed, emotional and intimate, as if one is listening to a performance in a small, cosy venue. For example, Jenny Lewis in Rilo Kiley's A Man/Me/Then Jim is a whole new experience altogether. As she sings the verse "The slow fade of love, Its soft edge might cut you", it's like she's right there in front of you, a slight waver in her voice, delivering a sweet and sultry yet somewhat foreboding melody. Likewise, Tegan and Sara in their stripped rendition of Call It Off receive equal emphasis in the mix, highlighting the harmony between the duo where Tegan's hard-edged tones complement Sara's relaxed, laid-back verses. Stepping down a register to male vocals brings more good news for the SSR: in Dire Straits' Money For Nothing, Mark Knopfler's full-bodied, textured voice is authoritatively rendered. The regularity with which Brian Molko stresses his "s" sounds in Placebo's English Summer Rain is revealed by the SSR, complementing his dry and energetic tone and the digital effects in the track.
I could continue to wax lyrical about how the SSR presents vocals, but I think the point has been made. What is perhaps even more noteworthy is the way in which the bass section of the SSR gains presence when paired with the Sonata HD Pro (I reckon any decent DAC/amp would accomplish the same). Obviously, the SSR will never be a basshead's first choice; when the bass drops in Twenty One Pilots' Migraine, it is definitely more heard than felt. However, when suitably powered, the SSR can deliver bass notes that have impact and definition (albeit in the midbass section rather than sub-bass), a quality that is exemplified by Chromeo's Old 45's, without exhibiting any muddiness or bloat. Treble is clean and non-fatiguing, with a focus on musicality and complementing the vocal presentation rather than all-out analytical listening. I have not encountered any issues with shrillness or sibilance even with challenging tracks like Fear, and Loathing in Las Vegas' Scream Hard As You Can (try that one on a $20 hybrid
In conclusion, I'm glad to have added the Moondrop SSR to my collection, and I don't find it as divisive as the current aggregate of online reviews would suggest. Between the SSR and the T2 Plus, I'd still place the T2 Plus on top; I don't think the SSR quite rises to the heights of the T2 Plus in imaging, soundstage, timbre (I prefer the decay on the T2 Plus, really) and overall signature. At the same time, it's broadened my perspectives as to what vocals could/should sound like, it does have decent if not ground-breaking isolation with the right tips, I feel better about using these on the go and having them stand up to daily wear than the T2 Plus, and they are so small and light that I could listen to them all day with nary any physical or auditory fatigue. I think they're worth picking up if you're at all curious about them.
Edit: Just noticed I think BOTH Crinacle and B9Scrambler measure a 15dB boost at 3kHz, so I guess it's inevitable that this kind of signature will involve either a love relationship (B9Scrambler) and apparently a love AND hate relationship (Crinacle).
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dharmasteve
Headphoneus Supremus
I've started a thread "My guilty pleasure IEMs/BUDs". Anyone brave enough to confess and go through the shame...... come and tell us. IEMs/BUDs under $40. No critiques, purely pleasure. You are in a confession booth.
DynamicEars
Headphoneus Supremus
- Joined
- Jan 5, 2019
- Posts
- 3,637
- Likes
- 10,179
DynamicEars
Headphoneus Supremus
- Joined
- Jan 5, 2019
- Posts
- 3,637
- Likes
- 10,179
Very nice!
awesomeeee! the price just increased 50% up
RikudouGoku
Member of the Trade: RikuBuds
yeah, should have known he would mod it or something...(the faceplate doesnt look like something Moondrop would make either...).
dharmasteve
Headphoneus Supremus
Maybe put your favourite up on the thread and bare your soul.
Nimweth
Headphoneus Supremus
Do you have a link to the thread?
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