Ziigaat Odyssey VS Moondrop x Crinacle Dusk

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Single-DD + 3BA hybrid with a clean, confident look: thick shell, metal nozzle that grips tips well, visible rear vent, and the preferable flat 2-pin connector. The standard Ziigaat case feels premium if a bit unexciting. Sonically, Odyssey lands a balanced, tastefully energetic tuning—ample bass for most listeners, elevated upper mids for presence, and a smooth, clean upper-treble. Out of the box it sounds immediately right and counts among the better-tuned sub-$300 IEMs. The catch: macro/micro detail and imaging are good, not mind-blowing, keeping overall technical performance at “appropriate for the price.”

Within Ziigaat’s lineup, Arcadia skews darker with less treble reach, Xeno/Ceno feels a bit treble-shy, and Dinko is the more V-shaped, poppier pick with extra sub-bass. Explorer overlaps in tonality but Odyssey adds more upper-mids energy and refinement—albeit at a higher price. Among peers, AFUL’s P7 brings the stronger technicals and a slightly more neutral sheen, K4 trades blows, and “Quattro” may edge tuning purity. As an all-rounder, though, Odyssey hits a sweet spot: rich mids, fun but controlled bass, convincing note weight, and a natural stage, even if the far-upper air can temper ultimate sparkle.

Verdict: a fantastic mid-tier set with high price-to-performance, gorgeous faceplates, and a crowd-pleasing tonality; accessories are a bit underwhelming, and the top-end “air” won’t wow technicality chasers. Scored around 8.8/10 and easily recommended as a safe, musical choice—especially when discounts bring the sticker down.

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Build impresses out of the box: a premium case, a handsome semi-transparent shell that’s a touch larger than AFUL’s Magic One, a smaller nozzle, and excellent comfort—easy A+. The included DSP cable feels great, while the analog cable comes off a bit cheap for the price. Packaging and accessories sit at an average level overall.

In analog form, this is a Jekyll-and-Hyde situation. Channel matching is spot-on, but the presentation reads flat/neutral to a fault—solid, yet not especially competitive, fitting more a $150–$170 tier for raw value. Versus the original Blessing 2 Dusk, the new Dusk extends better up top with more air, but from bass through upper mids (to ~8 kHz) the older set still vocals better and feels more engaging; upgrading for the analog tuning alone isn’t advised. Alternatives like the PULA PA02 or CKLVX 1DD+4BA hit a similar, clean-neutral aim, while Gizaudio Chopin shows a smarter 5–6 kHz dip, livelier mids, and punchier bass at roughly half the price. Among Crin collabs, it’s clearly more refined than the Dioko, but not a slam-dunk over his other budget-minded sets.

The story flips with the DSP. Engaged, the Dusk becomes an easy recommendation: noticeably more balanced, resolving, and simply fun, earning a “perfect score for value” within the DSP lane. Caveats: Android support is the sweet spot; iPhone compatibility can be finicky, pushing some users to desktop—where manual EQ already exists. Still, the app is simple, the extra tunings are useful, and plug-and-play convenience (no dongle DAC dance) is a win. Bottom line: as an analog IEM, only “good” and overpriced; as a DSP IEM, genuinely excellent—highly worth it if the use case fits.

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Ziigaat Odyssey lands as a mid-range focused set with a slight treble lift that really scales with volume. At relaxed levels it’s clean, calm, and easygoing; turn it up and the presentation becomes wide, airy, and immersive with a surprisingly punchy, rumbly low end for its graph. The new topology DD hits a sweet balance—neither sluggish nor hyper-snappy—delivering well-balanced bass that serves the tuning, even if ultimate slam/texture trails sets like Hype 4 or Xenns Tea Pros. Tip rolling toward slightly brighter tips adds a touch of treble energy and liveliness without pushing fatigue.

The star here is the midrange: instruments layer neatly with comfortable separation, and vocals sit clean and natural—not shouty, not veiled—though they can feel a bit too relaxed at mid volume. Treble is smooth yet detailed, revealing cymbal micro-info and air without harshness, and it’s noticeably cleaner than Explorer while avoiding metallic timbre. Technicals are solid for the price—a step up from Explorer and just behind “contet” in raw resolving power—yet more natural in timbre and notably more musical when driven louder. The tuning flatters slow rock, acoustic, indie, alternative, and ballads, where the Odyssey’s “turn-it-up” character shines.

For alternatives: those wanting warmer, bassier impact for hip-hop, rock, or metal may prefer Kiwi Ears K4, HBB Arcadia, or the Deuce for true bass-head needs. For mid-volume all-rounders with more instant engagement and technical pop, consider Supermix 4, Nova, Quintet, or Chopin; for airier, brighter takes with sweeter female vocals, look at Cadenza 4 or CKLVX. As a package, Odyssey feels like a future classic—gorgeous plating, a cable that could use an upgrade, and a uniquely immersive, high-volume experience that invites shutting out the world and sinking into the music.

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Stock tuning lands in the safe-and-smooth lane: a gently warm balance with a slight treble emphasis, nothing egregious and nothing especially standout. It works well for J-pop/K-pop at mid volume thanks to tamed upper-mids that keep sibilance in check. The trade-off is softer, “vanilla” vocals that miss the last bit of extension, air, and micro-detail; turn it up for more presence and the treble gets spicy—not helped by unit variance that can throw a 16k peak. Cymbal detail is decent with minimal “planar timbre,” but it can get a touch sizzly.

Against the field, Dusk struggles to justify the premium. Truthear Nova plays the same all-rounder role for much less while feeling more open up top; want a bit more top-end than Nova, there’s the Chopin at ~$200. Hype 4 comes off as a more well-rounded Dusk—better low-end texture, a hint more vocal reach, and less sharpness—and Quintet delivers a similar idea for cheaper. Even with EQ in the mix, Blessing 3 can match or better the result (smoother treble, no channel imbalance). Net: the sound is good but not special, and the value calculus isn’t favorable.

The supposed differentiator—DSP—isn’t it. The app feels unstable (settings not applying, frequent crashes), Android-only for adjustments, and awkward with external DAC/amps where EQ may not pass through. There’s a minor noise floor between pauses. Of the presets, “Stock 3.5mm (Analog)” and Bass+ are the only keepers; “Stock USB” is warmer but needs more upper-mids, and the Diffuse Field Tilt lands awkwardly. Phone amps also bottleneck staging; better sources open it up—but then the DSP conflicts. Add in QC concerns, and the verdict is clear: a pleasant, inoffensive listen, yet overhyped and overpriced for what it delivers; a solid sub-$200 proposition, not at its current bracket.

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Ziigaat Odyssey takes the new Meta tuning and gives it a more V-shaped, exciting twist. It keeps the beautiful mid-range intact while adding extra energy to both bass and treble, landing closer in spirit to Moondrop x Crinacle Dust (DSP) and Kiwi Ears K4—but with more swagger. It’s not as strictly on-target as those sets, yet the result is more engaging and solves the “too safe, sometimes boring” side effect of many Meta-tuned IEMs.

Beyond tuning, Odyssey brings real upgrades in technical performance for the price. Bass dynamics are punchier and more well-defined than K4, and treble nuances come through with greater clarity while preserving that natural vocal center. At $229, it undercuts many competitors and still feels like a step up—an easy pick for listeners who want Meta’s mid clarity with extra excitement and better slam without sacrificing coherence or comfort.

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Ziigaat’s 2024 lineup lands three distinct flavors: the R (1DD+4BA), Arcadia (1DD+2BA), and Odyssey (1DD+3BA)—all sharing the same case, tips, and cable, but with very different tunings and striking faceplates. Pricing lives in the approachable range (roughly $200–$250), and the shells are well-built 3D-printed resin. The Odyssey’s nozzle appears slightly wider than the R’s, and its cloudy pink/silver faceplate looks clean and premium without the flashiness of Arcadia’s green/yellow sparkle.

For competitive play, title-by-title differences matter. In Valorant, Arcadia’s extra warmth and bass impact feel immersive but a touch boomy/bloomy under heavy ability spam—solid, around a B. The R and Odyssey perform on par with high marks; the R’s 1–3 kHz lift sharpens clarity and verticality, while Odyssey is more neutral and less bright. In Apex Legends, Arcadia struggles as bass bloom masks micro-cues (B–/C+). Odyssey delivers great separation/layering with slightly softer overhead cues (B+/B), and handles gunfire more comfortably than the R. In CS2, Odyssey takes the lead for its imaging, depth perception, and non-fatiguing balance; in Warzone, the order shifts to R > Arcadia > Odyssey, with Arcadia’s warmth helping vertical reads and impact.

As a music set, the Odyssey is a standout: potent, tight bass with clean transients, balanced mids that aren’t smothered, and a clean, non-sibilant treble that avoids fatigue while letting micro-detail through. It lands as a favorite in its price bracket—an easy recommendation for listeners who want a neutral-leaning all-rounder that still punches hard, splits cues well, and won’t scorch ears with gunfire or treble glare.

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Moondrop x Crinacle Dusk earns raves for music: a clean, textured, fast low end with real sub-bass punch that avoids bloat, a natural, resolving midrange for male/female vocals and instruments, and crisp, well-controlled treble that delivers cymbal air without harshness. The overall presentation feels well-rounded and technical enough to spar with sets far above its price, evoking “revisit the whole library” vibes. Build and comfort impress too—lightweight shell, transparent chassis with a wood-like carbon faceplate, and an ergonomic fit. Tip-rolling matters: Spring Tips add a touch of openness and air, while SpinFit W1 tightens stage and teases out more bass on the “fish-mouth” nozzle.

Accessories are solid: a standard 3.5 mm cable plus a USB-C DSP cable that’s great for Android/iPad on-the-go listening, though PC gaming revealed instability in some titles (stutters/freezes in Apex Legends and Call of Duty). Day to day, the cable’s braid resists tangles, and the included case/tips round out a tidy package.

For competitive play, performance is mixed. Imaging is good and the bass gives an immersive punch, but the stage skews intimate and heavy effects can mask subtle cues. In Apex Legends, verticality and depth perception suffer—overhead action blends at forehead level, distant slides/grass shuffles fade, and chaotic fights cause layering to mush before quickly recovering. Call of Duty shows similar trade-offs with aerial and fine details under bombardment, while Valorant fares best thanks to tighter maps and fewer simultaneous effects (though horizontal peeks and micro-depth could still be sharper). The takeaway: S-tier for music in this bracket and a fun, cinematic gamer, but not the most surgical pick for top-ranked competitive play.

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Ziigaat Odyssey comes in at $230 with a four-driver hybrid (1DD + 3 BAs) that’s very easy to drive. Build is the usual Ziigaat: full 3D-printed resin shells with metal nozzles and filters; sturdy and comfortable for average-to-larger ears, while tiny ears get a technical pass. The weak spot is the accessories: a basic cable (3.5mm or 4.4 option), one set of soft silicone tips plus foams, and a leatherette case that feels flimsy—underwhelming at this price. Aesthetics score well with a sparkly faceplate that the “Council of Ladies” mostly favors, even if it doesn’t always trigger compliments.

Sonically, Odyssey aims for warm-neutral with a tasteful bass boost. Sub-bass texture can run a touch soft, but mid-bass punch is addicting, giving kick drums and bass guitars real drive without boom. Lower mids are warm and slightly veiled in a pleasant, retro-leaning way; female vocals sit a bit back yet remain clean. Treble is safe but present—enough sparkle and clarity to balance the bass without sting, though true treble-heads may want more air. Technicals are solid for the bracket: good resolution, excellent separation, precise imaging, and an average-sized but convincing stage. With a 15–30Ω adapter, the FR tilts more V-shaped (more bass/upper-mids/treble), a fun twist for occasional variety.

Against peers, Odyssey is the relaxed, safer listen: warmer and less contrasty than EPZ P50 (brighter, more vocal-forward) and Kiwi Ears K4 (more V-shaped excitement), and a middle ground between AFUL Explorer (darker, bassier) and AFUL Performer 5+2 (airier, more resolving with stronger female vocals). Not the pick for bass-heads, treble-heads, or libraries packed with K-/J-pop divas, but a killer one-and-done all-rounder for mixed libraries that value warmth, balance, and zero fatigue. Despite the skimpy pack-ins, the tuning and performance earn a spot in “this is brilliant.”

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A slow-burn hybrid (1DD + 3BA) around $200 that has grown by word of mouth. Tuning is Goldilocks—smoother/warm lower end with a tidier, slightly lifted upper end—making it broadly natural and low-fatigue across libraries. Impedance interaction matters: low-impedance sources keep a fuller mid-bass and flatter ~5 kHz, while added impedance nudges sub-bass and a little 5 kHz bite for a more U-shaped tilt. It doesn’t chase max technicalities, instead prioritizing musicality and tone.

Bass leans mid-bass over pure sub-bass, bringing welcome physicality and punch without boom; the custom DD feels lively. Mids are clean yet set a hair behind bass/treble, so transparency and headline resolution trail leaner micoplanar-leaning rivals, but timbre stays convincing and unfussy. Treble rides the line—polished and slightly elevated to balance the low end, with potential ~5 kHz energy on higher-impedance chains—still more smooth than sharp. Stage, depth and air are as expected for the class, yielding a coherent, well-balanced presentation that explains its long-tail appeal.

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The new Moondrop x Crinacle Dusk borrows the Blessing 3’s ergonomics and accessory spread—spring tips, a lightweight 3.5 mm cable, and a braided USB DSP cable—while switching to a tribrid driver array: 2DD for bass, 2BA for mids, and 2 micro-planars for treble. The shell is medium-large yet secure and comfortable, with a narrower nozzle than earlier Blessings and a cleaner faceplate design. The DSP cable can sweeten tonality, but there are caveats: occasional artifacts, spotty DAP compatibility, and an Android-only app with EQ limits (no tweaks below ~60 Hz or above ~10 kHz).

On the analog cable, tonality lands neutral and mid-centric with a tasteful sub-bass lift and slightly eased presence region—still a touch clinical, but now with added body and engagement. The star is the bass quality: tight, punchy, and tactile without masking the mids. Imaging/separation are clearly above average, and treble has better extension and metallic timbre than older Moondrops. Swapping to the DSP cable warms the mids and adds a bit of mid-bass punch (less brightness, richer tone), trading a hint of separation for extra smoothness.

Comparisons: vs OG Dusk, the new set’s bass is less blammy but higher quality, and the treble timbre is more realistic; vs Blessing 3, this is fuller, deeper, and less thin; vs Hype 4, stage width and bass quantity favor the Hype, but the Dusk keeps vocals cleaner and more balanced. DSP experiments show Blessing 3 + DSP can get very close to the Dusk’s FR, and even the budget Moondrop May narrows the gap—yet the Dusk still wins on bass tightness, treble refinement, and overall technical polish. As an analog IEM around $360, this is the one to beat—an easy 5/5.