I feel like I got scammed LOL
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A good thing you got scammed: people like me will be able to avoid it, thanks to you 
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Hahaha I can return it so thank god for that.
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DON'T BUY IE200....yet - YouTube have you seen/tried this mod? It would partially explain your take on bass not being impactful etc.
Ya, vent was blocked with wide bores. The graph is deceiving since it sounds more like the Zero, but the air has more slam in the Zeros, so it most likely have to do with the smaller driver:
Gonna try taping it and see how that goes, apparently it’ll help more.
So, when I first got into this whole IEM thing I had the chance to try the 64Audio U12T which was, and still is, regarded as one of the best endgame IEMs. But, a few days ago I had the chance to listen to them again, and oh boy has my opinion changed on them… Because this thing… It hurts. Now, when I first heard it 2 years ago I thought it was amazing, but after getting to hear more gear over time, and changing my listening habits - I’m a little bit confused as to how there aren’t more complaints about this set.
Let’s first take a look at the graph. So, everything actually looks pretty nice before we hit the vocal drop off and treble rocket - the bass is overall still neutral, but slightly warm leaning which adds body to instruments and vocals. Personally I would’ve liked a little less mid-bass for this type of signature since it’s not a basshead set and the only scenario I think that warrants and justifies mid-bass is when you’re slamming and rocking your brains out without caring about clarity and all that stuff. But the bass is perfectly fine, there’s no bloat, nice texture, speed, and separation. It still doesn’t have the feeling of physical air slamming like a dynamic driver, but the energy is pretty good, and definitely not wet-noodle bass like the IE200.
However, here is where things take a nose-dive. Where did the vocals go? Why is there a sudden scoop at 3K which is where vocals are supposed to be. This reminds of the IE200 where the midrange is recessed, but here the vocals are actually even more scooped than the IE200. The added mid-bass also doesn’t help since you’re just muddying the vocals even more - sure it sounds thicker now, but the mid-bass in this case can’t act to balance any brightness from the vocals because there are none, so it just sounds muffled and a bit congested since there’s no vocal energy and brightness to cut through the mud.
Now, the smartypants at 64 tried to work around this by instead adding more treble to give vocals a sense of shimmer and edge, but instead they just come off as too sharp because the added brightness is in the wrong region, so instead of making vocals feel open now it’s both congested AND they have trailing sharpness at the end of their notes. Don’t know how they managed to do that, but then again, 64 also released this monstrosity of a unit, so who knows - maybe they’re just 5head and we’re all idiots.
But, the worst part is the treble. I can somewhat overlook recessed vocals since I can just turn up the volume, however, scaling becomes impossible now because of the stabbing high-end. So it’s either too much treble, or recessed vocals - your pick of poison. The funny thing is the treble would’ve been fine since it’s actually pretty solid from 6 to 10K, but then they just had to add two huge peaks at 13 and 17K - and with everything added together it just becomes too much.
Maybe people didn’t notice this because either they listen at a lower volume, have some sort of hearing loss, or their libraries just show how is the right fit; since I also didn’t hear any noticeable treble issues on slower and laid back tracks like first love by Hikaru Utada, the most recent Father John misty album, and Big Thief. However it does become very evident on songs with higher dynamic contrast like pretty much any K-pop, J-pop, and J-rock stuff. I constantly had to adjust the volume between the quiet and loud parts which makes the U12T’s overall dynamics pretty sad for $2000.
That aside, the U12T does however excel at detail retrieval, note sharpness, and overall instrument layering and separation. I mean, I certainly hope so with 12 drivers and THAT much treble, but overall there was no smearing, and I could clearly pick out individual instruments and micro-nuances - probably the best I’ve heard in those departments. Imaging is also great, centred, not floaty, and notes are fast in attack, decay, as well as being very precise and sharp on impact.
Staging is a bit weird though because vocals and midrange are recessed so there’s no context for other sounds to create a sense of distance which results in a flat feeling stage. But the U12T does feel very open and wider than other IEMs, and it’s not like the vocals are behind the instruments, however there’s definitely less contrast or 3Dness between them. I guess the upside to this decision is that it feels more open and deeper, but again might just be psychoacoustics.
Overall, even though the U12T has top tier detail and layering I still wouldn’t pay $2000, or even $500 for it because of the scooped out vocals and fatiguing treble that ruins many highly dynamic songs. For its use case, which I’m assuming isn’t basshead related, the Variations and EJ07M are a way better option with actual fully extended and open vocals as well as smooth treble dynamics. And if you want more warmth then there’s also the RSV and HeyDay as well. But ya, kinda disappointing… I guess it has a “unique” tuning, but I’ll have to re-do my list for sure with new criterias.
Anyhow, thanks for reading!
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Moondrop redemption arc?? 
Hey guys! Hope everyone’s enjoying their weekend so far. So, as some of you may know I’m not that biggest Moondrop fan… more specifically towards the Variations and Blessing 2 Dusk. Now, even though this still holds true at high volume blasting (85db+), I recently had the chance to revisit them again, and I have to admit - they’re actually incredible otherwise.
So, I’d love to have a more in-depth discussion around frequency response, “technicalities”, and sound perception in the near future, but for now - for time and simplicity sakes, I’m going to base my judgement off the compensated diffuse-field target/Harman 2019 (both are extremely similar); this target is the preferred sound by the average, and trained listener according to Harman’s testing.
To summarize, the Diffuse Field target acts to replicate how a traditional high end studio speaker would sound by having sound arrive at the head from all angles and from all directions equally like it would when you’re wearing an in-ear or over-ear. But the original DF target was too bright and had basically no low-end, hence why the compensated version has a bass boost before 200hz (avoids masking), and a downwards slope in the pinna area as well as the uppermids and treble.
Now, of course there will be preferences for more mid-bass, less treble, or volume scaling like me, so I’m not forcing anyone to like this signature, but in general the vast majority of people tested with at the “ideal” listening volume - which is between 75-85 db/tested at 85db by Harman - who has no specific preferences, preferred this compensated target, myself included, well, for the most part. Which leads to my next point - if we look at the graph of the Variations it’s actually very similar to the compensated DF target. Ignoring the 8K peak which is almost always because of device measuring error and is usually ignored, the only major nitpick is that there’s a bit too much treble past 12K.
So then, how does it actually sound? High volume scaling aside, incredible actually - pretty much perfect for mid to highish volume listening. Although many may dislike the mid-bass tuck that affects male vocals, bass guitars, kickdrums and the like, the tradeoff is that you get unparalleled separation and clarity in the midrange, and it creates this sub-woofer like effect with the low-end. I’d describe the overall signature of the Variations as clear, clean, smooth, airy, with centre like imaging. I can clearly pickout each instrument, and vocals feel open, vibrant, clear, and never congested or recessed. Female vocals, especially, are airy and sparkly - although they can sometimes get thin and sharp on certain tracks (Hi High Loona ~2:44 mark) depending on how they’re mastered, but overall, everything just feels “correct” and harmonious with no masking or anything getting in the way of the other.
The sub-bass especially stands out because of the mid-bass tuck, giving the low-end amazing energy, rumble, and texture, but admittedly lacking some meat and slam because of the mid-bass tuck. Male vocals, although sounds correct and accurate, can sound light and lack thickness for some libraries (sometimes getting buried). But dynamically, it doesn’t get much better than this. Aside from the extra bit of treble energy that can indeed get hot on songs like Runaway where the chorus is mixed to be a few dbs louder than the verse, as well as this song (2:03 onwards), the treble overall is very coherent, smooth with no huge peaks and dips, bringing air and space to the sound, creating a very natural and open signature with no weird timbre or distortion.
For most people who don’t have a specific preference yet, the Variations is my recommended go to because of how close it simulates a traditional studio speaker. And although you can find more detailed or sharper sets with elevated treble (U12T/Z1R/MEST etc.) - they won’t sound as balanced and smooth as the Variations, which is why I think it’s still the best overall when it comes to a balance of correct tuning, clarity, and imaging. The B2 Dusk on the other hand is similar in this regard, but slightly less clear and separated because of its increased mid-bass that masks some clarity along with some sub-bass roll-off. It doesn’t have the sub-woofer like effect on the Variations, and the treble lacks the last bit of extension, causing the overall sound and female vocals to be less airy and sparkly. However, vocals are still open and non-congested nonetheless with the up side that male vocals now have more weight behind them because of the added mid-bass. Although overall it’s still a down-grade to the Variations IMHO.
Now, personally I would’ve liked a little more mid-bass on the Variations for my hiphop, rock, and alternative library which has a lot of male vocals, bass guitars, and drums, and the uppermids/treble area could also be brought down a few dbs to compensate for other genres like EDM, POP, JPOP, KPOP and J-Rock which can sound sharp and shouty since a lot of the tracks are over mastered in the treble and uppermids. So then, the ideal target for me between 75-85db would look something like the EJ07M and OG Monarch which I prefer more over the Variations because of the added mid-bass and less treble (going off personal experience since the graph varies between sets). So if you do want a little more mid-bass without affecting clarity and separation too much, then those are solid choices.
The Quarks DSP is also amazing, and I still honestly can’t believe it’s only $15 - it’s my recommendation for a cheaper Variations. It’s basically the Dusk but without the 6K peak, and not as accurate imaging wise along with slightly worse bass impact due to the smaller 7mm driver. Even though it’s a slight down-grade, I still think people should either just grab the Quarks DSP, or the Variations, and skip the Dusk entirely (Dusk has similar treble extension as the Quarks DSP even though it has a tweeter - which I can only assume is a tuning decision to not cannibalise sale from the Variations). Of course the Quarks DSP isn’t going to have the final bit of treble extension and sub-woofer like texture in the bass, and imaging is not as centred and can be floaty because of the digital output, but with all that said it’s pretty much ~80% of the Variations otherwise.
So in conclusion - buy the Quarks DPS. LOL. Jokes aside, if you don’t have a specific preference like more mid-bass for certain libraries, or less treble for higher volume listening, then the Variations and similar tunings are as good as it gets. In-terms of pure imaging, clarity, and separation it doesn’t get much better than the Variations/07M/Monarch even after hearing “endgame” sets like the U12T, Z1R, and MEST. Now, an argument can be made if you want a more unique and “out of the box” sound/sharper notes like the U12T/Z1R/MEST, but in-terms of pure accuracy and uncoloured “faithful” playback of what the song intended - it doesn’t get much better than this.
Currently in the process of redoing my list, but for now Variations and Quarks DSP is a HARD recommendation in-terms of value, tuning, and clarity.
Thanks for reading!
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I, as a musician (rhythm guitarist in a rock band a few years ago) can only say one thing - Variations and similar FRs are not suitable for rock and metal music. There are more genres that have been brought down by similar FRs! Therefore, I will ask some people who do not understand anything about metal music (Timmy) not to say “competently” that the Variations are suitable! I haven’t listened to the Mon MK2, but looking at the graphics, you’d have to be a deaf hen to listen to metal with the MK2. That’s all I have to say! Have a nice day (or night) 
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SOUND POLICE! Drop your IEMs on the ground and back away with your hands in the air!
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Aaaaaand… could you explain why it is not suited for metal? And what should one look for then, regarding FR, if “metal acuracy” is the goal?
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Well, there are musicians here, not just listeners, so listen to what they have to say!
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I’ll listen. I just may not comply 
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Do what you want. I rarely agree with you either! 
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Pretty cool how we can enjoy what we enjoy, and have completely different but meaningful experiences 
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Exactly! 
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The question is very extensive and long for discussion. I’m considering making a thread about it. But in short - there should be a good, textured mid-bass (not entering the lower mids), there should be a sub-bass (that does not exceed the mid-bass), very good mids with a bit of tucked upper mids. Well done mid treble and air. This generally in FR. Otherwise, timbre is very important - so far there are almost no BAs that can beat DD for timbre. The quality of the driver also matters because it must have excellent micro and macro dynamics! And, of course, good male vocals! Guitars should be full and tight, with a sharp edge, no squeal and high distortion from the driver. The drums should have good texture and rumble, but not dominate the overall mix. The separation and resolution should also be good so that there is no overload. This is in short! 
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I don’t listen to a lot of metal, but could you give me some examples of what sets do what you say good so I can take a look on how it is visible in frequency response? S12/IE600?
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Edited lol…Deffo in the bass department but also in the treble (not tried EST’s but super tweeters are pretty 
in that department too)…BA’s get the mids 
from me if the tuning’s on point.
That being said I still appreciate og Andro’s 
BA treble 
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IE600 and S12 have many similarities in sound. They also have differences, but in general they are good for metal. Most importantly, they don’t have flashy upper mids. FR does not show everything! With the IE600, there is a slight retention of the middle frequencies, which puts it a step behind the S12. The guitars are a little more defined on the S12, but to me they sound better on the IE600 - more fluid and smooth, but YMMV. The separation is better with the IE600, the soundstage is also better. Overall, I prefer the IE600 over the S12, but it’s not far off.
The weak point is that they don’t have that good male vocals, but on the other hand they are clean.
However, to accomplish all this, both IEMs require good amplification!
Now you can look at the FR and make a reference, but it doesn’t show everything as nymz likes to say 
.
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They are good but I was not impressed. Maybe because I listened to them for 10-15 minutes with bad ear tips. BA for mids are the best, but you have to have excellent tuning and from there good timbre, otherwise they are bad.
But I think the Andros have stood the test of time !
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