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 which I found to be the case here. 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 have the Blessing 3 100 hours of burn-in prior to evaluation.
Tonality –
The Blessing 3 caries another example of Moondrop’s VDSF tuning which is the brand’s loose take on Harman that varies slightly model to model. The previous Blessing 2 was a personal favourite in terms of execution. Though it is a touch bass light, it was balanced and had enough body to provide an overall coherent and filled-in sound. The Blessing 3 reminds more of Soft Ear’s models and the newer Variations with a heftier sub-bass boost combined with a sharper cut through the mid-bass to produce a more cooler toned mid-bass to lower-midrange region. This alone imbues the Blessing 3 with a more contrasted and revealing sound even if the top-end isn’t any more emphasized.
The midrange itself is actually slightly more progressive and peaks naturally around 3kHz before falling off a bit to mitigate intensity. Treble quantity is similar to the Blessing 2 but slightly more linear and better extended granting it a much airer sound with far greater headroom. The Blessing 3 represents a surprisingly large step up in technical performance throughout, especially with regards to bass quality and treble extension and micro-detail retrieval. Combined with its more revealing tonality, the Blessing 3 strikes as being far more resoling than its predecessor but also less coherent.
Bass –
I recall my qualms with the Blessing 2 for lacking some note definition in the low-end relative to the better dynamic driver in-ears I’d heard at the time. The bar has only gotten higher since yet the Blessing 3 has exceeded all of my expectations, flipping the script and delivering one of the most discerning bass responses available at the price range that even rivals more expensive models. The tuning is sub-bass focused with a neutral mid and recessed upper-bass lending lows a bolder and more structured note presentation than the Blessing 2.
That said, this has also resulted in a lack of warmth making it a more analytical bass presentation overall. Still, extension is excellent and bass sits just a touch behind the midrange and highs on most tracks excluding those that are sub-bass heavy. Though it is never overshadowed, I did occasionally want for more punch and fullness in the mid-bass as bass notes can sound slightly small relative to the surrounding frequencies. Otherwise, there is much to enjoy and congratulate here as Moondrop demonstrates that their complex dual-driver design isn’t just for show.
The most notable aspect here is speed. The Blessing 3 has awesome pace and tightness, dissecting complex passages with ease. Dynamics perform admirably too, there isn’t a huge amount of bass but what is present offers great depth, focussed pressurisation and is presented with excellent definition. While some warmer and slower decaying in-ears provide a bit more mid-bass texture, the Blessing 3 offers immaculate cleanliness and excellent separation due to the combination of decay speed and tuning. While I do find the Blessing 2 offered a more natural note timbre and do personally prefer a slightly warmer low-end. The Blessing 3 is a technical marvel for a dynamic-based low-end presented in a clean, well-weighted manner at a midrange asking price.
Mids –
The Blessing 2 provided a coherent and well-structured midrange with a clean tonality and excellent balance and vocal timbre overall. There also isn’t much to complain about on the Blessing 3 either, though relative to my own personal preferences, it isn’t an outright upgrade. As before, there are no peaks here but the Blessing 3 showcases an even more progressive rise to 3kHz prominence. This means male and female vocals sound a bit more even metred on the Blessing 3. Emphasis is similar as is top-end presence. Accordingly, articulation, extension and density are tremendously well handled and sit in good balance. Vocals take a slight precedence over midrange instruments and are presented with a natural voicing. Room isn’t as present as on the Blessing 2 which aids bass/midrange separation but also slightly reduces overall tri-frequency coherence.
This slight reduction in upper-bass warmth and lower-midrange presence has resulted in a slightly cool tone that is primarily responsible for giving the Blessing 3 its more revealing character. I do find this less polarising than clarity achieved through bolstered high-end presence as the Blessing 3 is certainly resolving but also lacks fatiguing properties. As these comments are relative to the Blessing 2 that showcased good coherence, the Blessing 3 doesn’t sound metallic, sparse or off-timbre. However, it does sound a little thin at times. Vocals are otherwise presented with convincing size and texture. Resolving power is excellent as with the bass. As always, the Harman-based tuning does strike as slightly forward in the vocal department, not intense nor sharp or sibilant, but something to consider if you prefer a relaxed sound. If you enjoy crystal clear yet natural-sized and voiced mids, the Blessing 3 delivers whilst once again outperforming its asking price in terms of resolving power.
Highs –
Once again, I was thoroughly impressed by the technical performance of the top-end. And, being the frequency range most commonly associated with resolving power, the top-end was the first aspect of the sound that stood out to me on first listen. The lower treble has a small bump but nothing too aggressive. Treble remains balanced with the midrange, notes are crisp and clear but not overly sharpened or thin. The Blessing 3 does have a bit more note body and texture than the Blessing 2, overall contributing to a noticeably more natural timbre. Moreover, fine detail has been further enhanced here, the Blessing 3 discerns between individual details incredibly well without excessive brightness to boot. Above, the mid-treble region is a little bumpy but generally even and tapers off progressively and in good taste after the 6kHz bump.
Relative to the Blessing 2 this grants the Blessing 3 a slightly cleaner background and slightly more focused foreground alongside a generally more refined sounding top-end. There is some emphasis in the upper treble. While the extension is impressive, it doesn’t match high-end IEMs in terms of sparkle and micro-detail but does provide an impressive amount of air and atmosphere. There isn’t quite as much information in these regions as high-end IEMs but both extension and resolving power of micro and background details are a clear step up from the Blessing 2. Just a few years ago, it was unheard of to see this level of resolving power on a $300 IEM. It still isn’t common but though the market is creeping forwards, Moondrop has really taken a great stride forwards with the Blessing 3.
Soundstage –
The Blessing 3 like its predecessor, doesn’t portray the largest dimensions due to its more upfront midrange, however, it instead specialises in excellent separation and sharp imaging. There is certainly more headroom on display, width especially extends easily beyond the head on many tracks whilst depth is more intimate. Imaging is sharp, and the background and foreground are hyper-separated and well-defined. Directional cues are sharp and vocals well-centred. The Blessing 3 doesn’t quite delineate between multiple layers like high-end IEMs, a good example being the Soft Ears RS10 which is similarly tuned but takes another step forward in terms of resolving power and imaging. Separation, however, leaves very little to be desired. Air is abundant as is ether surrounding each element. Fine details are very easy to perceive as a result.
Driveability –
Output Impedance Sensitivity
The impedance curve is effectively flat meaning it will provide a consistent sound from a variety of sources. This is, of course, given that the source itself provides a linear output. This is a surprising result given the complexity of the driver configuration on display. However, considering all of Soft Ears’ designs have a flat impedance curve, clearly Moondrop is taking a page out of their premium division’s book here. This is a great result and means the Blessing 3 can be enjoyed from a wider range of sources.
Driving Power
With a lower 14.8 Ohm impedance and a 120dB sensitivity, the Blessing 3 offers above-average efficiency. This enables it to achieve ear-splitting volumes even from portable sources. Conversely, it is able to provide a dynamic and resolving experience even from lower-powered sources though naturally, resolving power does scale nicely with better setups. For instance, from the Hidizs S9 Pro as compared to my desktop stack with Topping D70S and THX789, the Blessing 3 still sounded fast, dynamic and concise. However, the desktop stack provided a clearer bite in the treble and a larger stage. I would posit that the dual dynamic drivers play a role as each driver produces half the volume, thereby decreasing loss of efficiency.
Suggested Pair Ups
The Blessing 3 is a revealing earphone but isn’t an exceedingly bright one. It benefits from some additional warmth to my tastes. AKM-based DACs especially play a wonderful complement. More revealing and brighter sources draw out the technical prowess of the earphone though at the expense of exacerbating coolness. As always, this will be to listener preference. The convenience here being that the Blessing 3 has a mostly flat impedance curve and also benefits from high efficiency.
