Moondrop May VS Shanling Tino

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Moondrop May shows up like a fashion accessory: smoked acrylic shells with that repeating clover motif, secure 2-pin sockets, and a surprisingly nice round case in the box. The stock 4-core cable packs an inline mic/remote and a USB-C DAC/amp—basically a “dongle-less dongle.” The Moondrop Link app adds DSP/EQ and tweaks (night mode, profiles), though pairing can be finicky; controls give play/pause, volume, and next track, but no previous. Stock tips work well, and tip rolling can push bass from big to downright thunderous.

Inside, a 10 mm dynamic + 6 mm planar hybrid punches way above its weight: sub-bass digs deep with real slam, mids stay clean, treble is crisp without edge, and the soundstage opens wider than expected. Driveability is easy (30 Ω / 120 dB-ish), and the overall tuning feels like a pocket-sized take on Moondrop’s higher-tier vibe—clear, spacious, and instantly “wow.” Swap in bass-friendly tips and the low end gets oppressive (in the fun way); switch to foam or calmer tips for a more relaxed balance.

Then the kicker: $64.99. The package feels like a $299 IEM with a ~$40 dongle tossed in, and it would still make sense priced around $164. Caveats are minor—app quirkiness and potentially too much bass if the seal is aggressive—but the value is absurd. For a daily beater that sounds “big rig” and a first taste of planar-hybrid sparkle, this thing is spectacular and absolutely “buy-a-spare” material.

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Moondrop May squares up against Aria 2 with a very different proposition: a USB-C DAC + DSP cable (inline mic/controls) for $65 versus Aria 2’s standard 3.5 mm at $90. Thanks to a standard 2-pin socket, the May can take the inexpensive Chu 2 3.5 mm cable, giving both connection options while still under Aria 2’s price. The semi-custom, 3D-printed resin shell is small, winged, and remarkably secure—prioritizing fit stability and comfort over Aria 2’s cooler-looking but less locked-in metal body.

On a 3.5 mm cable (no DSP), May presents a warmish, mild-V tuning with a healthy bass lift and better-than-typical treble extension for the bracket, lending a slightly incisive character. Versus Aria 2, May offers tighter bass with less bloom and a sharper attack, while Aria 2 sounds a touch more open but also softer and bloomier overall. Tonally they’re close; the May’s cleaner bass definition and bite make the difference.

With the USB-C cable, the built-in profiles—especially the Standard EQ—shift the May to a laid-back neutral with mild warmth and sub-bass lift, free of glare or sibilance; the Moondrop Link app adds full PEQ flexibility but is Android-only and carries odd filter limits plus occasional DAC quirks (minor artifacts, PEQ not engaging on some Android DAPs). Even so, the comfort, tuning options, and dual-cable versatility make May the more compelling budget pick. Verdict: a solid 4 out of 5—with Aria 2 also a respectable 4 out of 5.

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Moondrop May presents as a tiny, elegant shell with a very comfortable fit, ideal for small ears. The package is polished—plush-feel DSP cable (with a stiff chin slider), a neat case, and a decent tip spread. Sonically it’s clear with a pleasing bass shelf, but the upper mids push a bit hot and the treble brings some rough edges. Swapping to an analog cable tightens things up; the DSP presets feel less convincing, though quick to use.

At roughly $65, performance sits in a competitive pocket: cleaner than Starfield 2, far easier to recommend than Stellaris, yet eclipsed by stepping up to something like Aria 2; pure budget hunters may still eye the 7Hz Zero 2 for analog value. May carries warmth and decent bass, but imaging and soundstage are just okay, with occasional tonal oddities up top; a touch of EQ calms the mids and helps balance. Overall, it earns a solid C (one-star): pretty, comfortable, worth the price for those wanting a tiny form factor and DSP convenience—but it sits in that mid-fi purgatory where many peers trade blows rather than getting decisively outclassed.

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The Shanling Tino presents a very balanced dual-dynamic tuning that puts clear emphasis on the mid-range and upper mids, giving vocals a crisp, bright and forward character without stepping into harshness. Sub-bass performance is solid and reasonably substantial for R&B, rap and EDM, while the mid-bass stays clean and restrained, avoiding muddiness but leaving a bit of slam and weight on the table. Vocals from both male and female singers come through with a warm, full-bodied tone and studio-like texture, supported by instruments that sound clear, well-defined and naturally separated across the mix.

Technically, the Tino offers a clean and controlled presentation with moderate decay, fast transients and commendable separation that help string instruments show off their finer nuances and harmonics. The treble is crisp and direct with adequate extension and excellent comfort, deliberately avoiding sharpness, though the upper treble feels a bit short on air, ambience and ultimate micro-detail compared to more atmospheric peers. Overall, this is a vocal-focused and easy-listening set that trades a little mid-bass punch and top-end sparkle for stability, balance and a relaxed but engaging presentation that suits listeners who value clarity and separation over sheer explosiveness.