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atechreviews.squig.link/303540455055606570758085dB20Hz30405060801001502003004005006008001k1.5k2k3k4k5k6k8k10k15k20kHzMoondrop Blessing 2 (L)Moondrop Blessing 2 (R)
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Sub bass frequencies are responsible for rumble. Elevated sub bass can lend an added sense of depth to music, and usually does not come at the expense of "bleeding into the midrange." Is there a limit to how much sub bass sounds good? Some may argue no, but I find too much sub bass can sound conspicuously disjointed from the rest of the music. It's notable, however, that a lot of music is light on usage of sub bass, so a sound signature that's big on sub-bass but light on mid bass may not sound very bassy with some popular recordings.

Mid bass is responsible for a sense of punch. In contrast to sub bass, mid bass is typically more percussive and energetic, feeling like it's literally pushing air, and can lend a sense of body and fullness to a sound. Listeners craving a "bassy" sound will commonly be more satisfied by mid bass emphasis, as it will add a bassy punch to most common music. However, too much mid bass can give the sound a sense of bloat, or even yield the dreaded midrange "bleed" in which lower midrange notes are masked and smeared by excessive mid bass presence. Ideally, mid bass tapers off by 200Hz.

A full lower midrange, tapering upward into the bass region, can lend a sense of thickness and warmth to the overall tone, while a "scooped" lower midrange can give a very clean sound at the cost of some thinness to the body. A lot of deep vocal micro detail depends on a well-executed lower midrange. But lower midrange is often sacrificed to create contrast between bass and treble for a typical "V-shaped" sound signature, which will commonly exhibit less natural vocal timbre than a more linear midrange tune.

Upper midrange is where a lot of "clarity" in a tune comes from. An elevated -- or "forward" -- upper midrange typically results in a forward vocal presentation, especially emphasizing higher-pitched vocals. Trumpets and guitars get their bite from upper midrange frequencies. Too much upper midrange can result in shrill or "shouty" vocals. Too little can result in a distant, recessed sound that's low on clarity. And uneven upper midrange emphasis can lead to oddly nasal or hollow vocals, with other odd timbral effects.

Also commonly referred to as "lower treble," the presence region has a lot to do with the naturalness of vocal transients. Too much emphasis here and vocals may take on an "edgy" or metallic character. Too little emphasis and the tune can lose definition and sound soft or dark. Much of the initial bite of trumpet and acoustic guitar string transients comes from a well-tuned presence region.

A lot of treble harshness and fatigue comes from the mid treble. Peaks in this region commonly result in unpleasant sharpness, or sibilance in vocals which adds abrasive harshness to S and T sounds. Too little mid treble, however, will result in a dark or dead sound, resulting in odd timbre to cymbal strikes. Making matters difficult for us graph readers, there is a commonly-observed "resonance peak" that appears in measurements, usually situated at 8kHz, that is an artifact of the measurement process. It can often be hard to tell how much of such a peak is "real" without listening.

In the way sub bass can add a sense of depth to the low end, air frequencies -- also called upper treble -- can add a dimensionality via the top end. When air frequencies are "rolled off," the sound may lose a sense of micro detail and definition, and cymbals may lose shimmer, leaving them blunt in their decay. Too much air is not common, but certainly possible, resulting in a fatiguing "shh shh" to cymbals, drum brushes, and other high-frequency sounds.

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Etymotic
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Antdroid
Bad Guy
Banbeucmas
Crinacle
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AFUL Cantor (deep fit)
AFUL Cantor (shallow fit)
AFUL Explorer
AFUL MagicOne
AFUL Performer 5
AFUL Performer 5+2
AFUL Performer 8
Arpegear Hane DDDD
Arpegear Hane UDDD
Arpegear Hane DUDD
Arpegear Hane DUUD
Arpegear Hane DDUD
Arpegear Hane DDDU
Arpegear Hane DDUU
Arpegear Hane UUDD
Arpegear Hane UUUD
Arpegear Hane UUUU
Binary Acoustics DynaQuattro
Binary Acoustics x Gizaudio Chopin
BGVP NS10 Pro Long Silver Nozzle
BGVP NS10 Pro Short Silver Nozzle
BGVP NS10 Pro Red Nozzle
BGVP Phantom SE
BQEYZ BQ-10
BQEYZ Cloud
BQEYZ Frost
DITA Audio Mecha
DUNU x Gizaudio DaVinci
DUNU DK3001 BD
DUNU Falcon Ultra Blue Nozzle
DUNU Falcon Ultra Gold Nozzle
DUNU Glacier
DUNU Kima 2
DUNU Kima Classic
DUNU SA6 EST
DUNU SA6 MK II Bass OFF
DUNU SA6 MK II Bass ON
DUNU SA6 Ultra Bass OFF
DUNU SA6 Ultra Bass ON
DUNU Titan S
DUNU Titan S2
EPZ P50
Elysian Acoustic Labs Annihilator 2023
Elysian Acoustic Labs Apostle
Elysian Acoustic Labs DIVA Blue Switch
Elysian Acoustic Labs DIVA Red Switch
Elysian Acoustic Labs DIVA White Switch
Elysian Acoustic Labs Pilgrim
Elysian Acoustic Labs Pilgrim Noir
Etymotic ER2XR
Final Audio A5000
FiiO FA19 Switch Off
FiiO FA19 Switch On
FiiO FH19 Balanced
FiiO FH19 Bass
FiiO FH19 Treble
FiiO FP3
Geekfly Legend 6
Hiby Project Ace
Hisenior Mega5est 7th Anniversary Edition
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InAwaken DAWN Ms
Juzear Butterfly 61T
Juzear Dragonfly 81T
Kefine Delci
Kefine Delci AE Gold Nozzle
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Kefine Klean Black Nozzle
Kefine Klean Silver Nozzle
Kinera Nanna
Kinera Celest IgniteX Beast
Kinera Celest Relentless
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Kinera Celest Wyvern Black
Kinera Celest Wyvern Pro
Kiwi Ears Dolce
Kiwi Ears KE4
Kiwi Ears Orchestra Lite
Kiwi Ears Quartet OFF-OFF
Kiwi Ears Quartet OFF-ON
Kiwi Ears Quartet ON-OFF
Kiwi Ears Quartet ON-ON
Kiwi Ears Quintet
Letshuoer Z12
Lime Ears Terra
Moondrop Blessing 2
Moondrop Chu 2
Moondrop Chu 2 DSP
Moondrop Golden Ages 5128 Target
Moondrop Golden Ages Basshead
Moondrop Golden Ages Monitor
Moondrop Golden Ages Reference
Moondrop Golden Ages Secret
Moondrop Kadenz A Nozzle
Moondrop Kadenz Bass+
Moondrop Kadenz Bass++
Moondrop Kadenz B Nozzle
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Moondrop Kadenz Sound stage+
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Moondrop KATO
Moondrop Meteor
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Moondrop Quark
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Moondrop Space Travel Basshead
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Moondrop Ultrasonic 89XX
Moondrop Ultrasonic 336XX
Moondrop Ultrasonic Club
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Moritz Dragon
Myer Audio CKLVX CK2V
Myer Audio CKLVX D41
Myer Audio CKLVX D62
Myer Audio SLIIVO SL41 MK2
Myer Audio SLIIVO SLA3
NF Audio NM2+
NF Audio RG15
NICEHCK Himalaya Blue Nozzle
NICEHCK Himalaya Gold Nozzle
NICEHCK Himalaya Gray Nozzle
NICEHCK NX8
Orivetti Dynabird
Orivetti Lowmaster
Orivetti OD100
PULA Anvil 114
PULA PA02
Roselsa Aurora Ultra
SeeAudio Bravery 2024
SeeAudio Bravery 2024 Foam
SeeAudio Rinko
SeeAudio Yume IV
SeeAudio Yume Midnight
Sennheiser IE600
SIMGOT EA500 LM
SIMGOT EA1000
SIMGOT EM6L
SIMGOT EM10
SIMGOT EW200
SIMGOT EW300 Gold Nozzle
SIMGOT EW300 Silver Nozzle
SIMGOT SuperMix 4
SIVGA Que
Softears Cerberus
Softears Enigma
Softears RS10
Softears RSV
Softears Studio 4
Softears Twilight
Softears Volume
Softears Volume S low impedance
Softears Volume S high impedance
Soncie Meory SW500H
Tanchjim 4U Atmosphere
Tanchjim 4U Monitoring
Tanchjim 4U Natural
Tanchjim 4U Pop
Tanchjim Bunny
Tanchjim Bunny DSP Balanced
Tanchjim Bunny DSP Default
Tanchjim Bunny DSP Instrument
Tanchjim Bunny DSP Nature
Tanchjim Bunny DSP Popular
Tanchjim MINO Default
Tanchjim MINO Balanced
Tanchjim MINO Instrument
Tanchjim MINO Nature
Tanchjim MINO Popular
Tanchjim MINO Vocal
Tanchjim One
Tanchjim One DSP Default
Tanchjim Origin Nozzle D
Tanchjim Origin Nozzle L
Tanchjim Origin Nozzle S
Tanchjim Oxygen
Tanchjim Zero
Tangzu Waner S.G
Thieaudio Prestige
Tin HiFi C2 2025
Tin HiFi P1
Tipsy Dunmer Pro 4
Tipsy Spica 260
TRI Draco
Tripowin x 0diBi Vivace
TRN Jaws
TRN Medusa
TRN Shell Black
TRN Shell Green
TRN Shell Red
TRN ST7
TRN White Tiger Black Nozzle
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TRN White Tiger Red Nozzle
Truthear Nova
Truthear Zero
Truthear Zero (impedance adapter 10 ohm)
Truthear Zero: Blue 2
Truthear Zero: Blue 2 (foam tips)
Truthear Zero: Blue 2 (impedance adapter 10 ohm)
Truthear Zero: Blue 2 (impedance adapter 5 ohm)
Truthear Zero: Red
Truthear Zero: Red (impedance adapter 10 ohm)
Unique Melody MEST MK III CF
XENNS UP
XENNS Tea Pro
ZiiGaat Odyssey
ZiiGaat x Fresh Reviews Arete

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