Ultimate Ears Pro 18+

Rating: 8.9
Sound: 8.8

Intro
The UE 6 Pro and the UE RR really convinced me. Both in their very own, individual way. Now let's get to an IEM that basically does little or nothing wrong, but is, to be honest, a bit too boring for me. In addition, it has a small boost around 600 - 700 Hz, which I don't really find advantageous in terms of clarity and makes voices or the whole arrangement seem more spatially set back and flatter.

One thing you have to give Ultimate Ears credit for, they don't dazzle the consumer with their marketing by any praise and promises. Well, that they want to make their product stand out is clear and some exaggerations as well, but the whole thing has substance. But more about that in the sound analysis.

UE 18+ Pro was provided by R + R SonicDesign.



Handling
>> Identical to all tested models of Ultimate Ears <<

The UE 18+ Pro is basically a custom IEM, but can also be manufactured as a universal IEM. If you decide on the custom variant, you will receive an individually adapted in-ear based on a personal ear impression, which is also only "compatible" with your own ear canal.
With universal IEMs, there is no way around a silicone or foam attachment (which is of course included in the scope of delivery in this case), but this can influence the sound characteristics and the sound can be falsified both positively and negatively.
The scope of delivery consists of a cleaning tool for the sound tubes, a removable cable, which was especially developed for stage use and the IEM itself. All this is in a screwable, round and black metal case, or square folding case, where the respective name of the owner is engraved.

Ultimate Ears relies on a specially developed IPX connector in their products. This connector is not compatible with MMCX or other connectors. I personally find it better than the one I know so far. It's more compact, sits bombproof and is easier to detach than the MMCX. The tight closure of the two connections (male/female) prevents moisture or dust from entering the connection, which is very important for stage use.
The cable is available with or without ear-loop, clear or black, and with a length of 125 or 160cm. There is also a balanced version (4-pin 2.5mm mini-jack) and a Bluetooth cable incl. remote for telephoning and controlling the Smartphone / Player.

With a custom IEM you don't have to worry about the fit, comfort and isolation. No matter which acrobatic exercises you perform, the IEM will not move from the spot and will also isolate you almost completely from the outside world. If something does pinch, or an adjustment is necessary, you can have it done free of charge by the respective distributor, or directly by Ulitimate Ears.

The cleaning tool is not only practical, but also really necessary, because as with many universal IEMs by now, there is no protection (mostly by a metal grid) in the sound tube, so earwax and dirt can get into the in-ear more easily. For the careful user cleaning is certainly not a foreign word, but it should be mentioned nevertheless.

The design of the UE 18+ Pro is individually left to each user. What remains the same is the transparent 3D-printed housing with a view of the inner workings, but with the faceplate you can let off steam to your heart's content and the ear side is individually made to ear impression anyway.



Sound
Each in-ear of Ultimate Ears has its own characteristics, which are also crystallized by UE in the description. If the UE 6 Pro is recommended for drummers, or the RR as a reference and mixing tool, the UE 18+ Pro will give you more headroom and therefore better dynamics. This is indeed the case and is especially noticeable with more output power. Between quiet and loud passages there is a smooth dynamic range, even in common interaction, without any overlapping or loss of information.

Similar to the UE RR, the bass only jumps as high as it has to. It treats the sub range rather shabby, but has presence there as well, which makes the bass appear quite linear. It lacks a bit of punch and nuances, but stays clean. Nevertheless, I still miss a bit of tightness here. It has a bit more quantity than the UE RR, but in quality they don't take much away from each other. Also here typical BA, but I'm spoiled a bit by the UE 6 Pro. But the bass is much more stable and linear than many other in-ears reviewed so far, which used a BA driver and can be seen at about the same level as the BGVP DM7, which I also attest a very good BA bass.

The UE 18+ Pro sounds warmer than the RR due to the slight bass spur, especially in the upper bass.
Likewise, they are positioned a bit further to the middle of the head and not as much in front as for example the UE Pro 6. This is not a negative criterion, but in any case a change to which one has to get used to shortly, similar to the OH500. As technically skilled as the mids are, I lack a bit of energy and liveliness. That makes for a bit of tristesse. Maybe the best way I can explain it is this: When I'm on my own, I listen to music via in-ears in almost every situation. But that doesn't mean that I am completely in the music with my head all the time, but that I just let it run as background noise and let my thoughts wander. But now there are in-ears that manage to pick me up unexpectedly and focus my attention on them without me paying special attention to them and the music. With the UE 18+ Pro, I have to concentrate on it specifically, otherwise the music will just ripple away. Admittedly high quality, but somewhat emotionless.
Sometimes a peak creeps in at the mids, especially on electric guitars, where I'm a bit sensitive and they become slightly demanding, but that's a rare exception. I would describe it as slightly roaring. Basically, the mids of the UE 18+ Pro are very soft, relaxed and peak-free. Even sibilants are for the most part well avoided.

Trebles are relaxed and have a good extension, but they can't really assert themselves, or rather, the UE 18+ doesn't pay any special attention to them and puts more emphasis on safety. Once you have got used to the signature, the trebles are very harmonious and above all natural, without any artificial build-up. But they should have a bit more steam for my taste. In general, I'd like to see a bit more clarity in the whole signature, but that's grumbling at a high level. The trebles blend in very well and provide a homogeneous sound.

I repeat myself, but location, 3D display and positioning are clear strengths of the UE-IEMs, and of course one of the UE 18+ Pro. However, they tend to stand out more with more output. The RR is a bit more sensitive and convinces even with less power. Since the stage of the UE 18+ Pro is centered a bit more in the middle of the head, it may not seem very big at first, or separate, but that will come with time.



Outro
Very safe earphone for sensitive ears. The tuning doesn't quite suit me and is too unemotional for me. Well-behaved, but technically adept, describes the UE 18+ Pro quite well. It doesn't disguise anything, but doesn't catch your eye. That's quite pleasant at times, but not quite to my taste.
It leaves me a bit perplexed, as it basically does nothing wrong, but doesn't completely pick me up even after a long listening time, although I like it much better after a short warm-up phase and also lets me dive deeper into the music.
However, with its technical features and also the large headroom (even at high volume nothing seems compressed), it seems to me to be a very good tool for the stage and for perfectly tuning the personally preferred mix. Also for this reason I want to remain objective in my evaluation and can also argue the score with a very good conscience.

I wouldn't buy it, but when I get my hands on it, I could easily bend it into my preferred direction with one or two small adjustments in the equalizer.

!!! The pictures do not show the original product, but are specially made universal demo receivers from Ulimate Ears !!!

https://www.sonicdesign.ch/ue/de/

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This IEM is for those who love the sound of natural instruments and the human voice. I purchased these from Massdrop as the Universal Pro-To-Go version. These are the 2nd Gen of the UE 18+ Pros (discontinued).

Tonality and Resolution: 5/5
No other IEM I've listened to comes close to the mids reproduction of the 18+ Pros. Textures of male and female voices come across vividly, and instruments sound exactly as they should be. The True Tone drivers really make a difference in reproducing the signature harmonics of each instrument, so much so that I find it hard going back to other IEMs which sound sterile and artificial by comparison. Also, because of the smooth treble, I can listen to this IEM the longest - no fatigue whatsoever.

Separation: 4/5
Great imaging, and ability to hear all parts of an ensemble. That being said, the IEM is extremely coherent. Feels like sitting in the middle of an orchestra.

Detail: 3.5/5
You get micro-detail with this IEM, but not with the clarity of a more neutral-sounding IEM. This is NOT an IEM for analytical listening (unlike the InEar ProPhile-8), however - you'll forget you even wanted a higher level of detail listening to this IEM.

Soundstage: 3.5/5
This is in relation to the Campfire Andromeda. Not huge, more on the intimate side, but can range depending on the recording.

Driveability: 3/5
My standard source is the Pico Power and Dragonfly Red out of my Macbook Pro. These IEMs need to be amped to reach their full potential.

Bass: 3/5
Good texture, although there's a bit of sub-bass rolloff.

Mids: 5/5
The best of the best.

Treble: 4/5
I don't like sharp treble. While this doesn't sparkle like the Andromeda, it has enough definition to bring out the right timbre while never fatiguing my ears.

Conclusion:
The most natural sounding IEM I've ever heard. Jazz and classical lovers - this is it.

DISCLAIMER
The UE18+ Pro was provided to me by the Ultimate Ears (UE) team free of charge in exchange for an honest review. Special thanks to Mike Dias and David Gutierrez for helping to expedite the unit.

This is a review of the first generation UE18+ Pro, and hence my unit was prior to the development of True Tone Plus drivers. This review should allow for a fair assessment of the 18+ Pro but please do take other impressions on the newer version into account for the best description of the 18+ Pro possible.

New changes to the unit in the second generation unit, and my thoughts on them, are included and will be written in italics.


INTRODUCTION
UE has been on the forefront of the IEM market, releasing multiple units that were highly regarded by enthusiasts and other consumers alike. Started in 1995 by you know who, UE’s huge catalogue of products includes the likes of the Tri-Fi 10, the UE18 Pro and the highly revered Ultimate Ears Reference Monitor (UERM), a product that has since been revised into the new Ultimate Ears Reference Remastered (UERR), reviewed less than a year ago by myself and Andre.

For the longest time, the UE18 Pro (18) was the flagship monitor for the company. The IEM utilized a 6 driver per side built, and had the sonic performance to match its status, competing with the best of the best, even those that were released years after the 18 was first commercially available in the market.

Using the experience obtained from their work on the UERR, the UE18 Pro was retired from the firing line. In its place, a new (then) flagship emerged to take its place: the UE 18+ Pro (18+). Does the 18+ merely represent a facelift of a longstanding success? Or will it completely rewrite its own lineage? Read on and find out.

*Prior to the review’s release, UE released the UE Live, and a revamped UE18+ Pro. The new official flagship is the UE Live.*


INFO + SPECIFICATIONS
Like its predecessor, the 18+ has 6 balanced armature drivers per side, with the 6 drivers divided into 4 frequency bands. The high frequency drivers are proprietary balanced armature drivers that UE call True Tone drivers, promising to extend the frequency range and delivery a flat response to 18 kHz.

*Again, the True Tone drivers have been replaced with the new True Tone Plus drivers. I’ve yet to hear the new drivers.*

These drivers are designed with a 4-way mixed crossover, specifically using a midrange band pass filter and staggered high pass filters. Furthermore, the lows, mids and highs are separated using UE’s patented triple bore sound channels, keeping them separate until they interact with your eardrum.

The 18+ has a frequency response between 5 Hz and 18 kHz, and is designed to isolate out around -26dB for the custom form. The universal one I have isolated quite well, not on par with the custom UERR I have, but still much better than most universals I’ve experienced on the market.

The input sensitivity of the 18+ is rated at a 100dB (at 1 kHz) at 100 mW of power. The impedance rating of the unit is rated at 37.5 ohms at 1 kHz. I found the 18+ to require a little more juice than my other IEMs to reach my normal listening levels, however it’s nowhere near power hungry or hard to drive.

*With the inclusion of True Tone Plus drivers, the input sensitivity was tweaked to be 105 dB at 1 kHz, 100mW and the frequency response is now between 5 Hz and 22 kHz. Noise isolation and impedance values are still the same.*

For a cool $1499, the 18+ will be individually made for you by the UE team in either universal or custom format. Befitting of its flagship status, it is the most expensive of the UE IEMs, yet that pricing is still some way off from being in the most expensive echelon of IEMs in any format.

It takes 7-10 business days to complete its build, with a premium rush option available for those who require it. I think that is a fair wait time for an IEM that is built to order, and is faster than most CIEM makers would target.


ACCESSORIES & OPTIONS
Depending on the format you’ve selected, the packaging and accessories which you’ll receive for your order may differ slightly. The following paragraphs will describe the overall package that one would receive if the universal format was chosen. If you are interested in the package for the custom unit, you can refer to my UERR review for more details.


The 18+ comes in a medium to small sized cardboard box that has the UE logo emblazoned on top. Opening the box using its top magnetic flip cover reveals an information pamphlet plus unit manual for the 18+, and underneath that you will find your CNC machined, anodized round case. For the universal version, you will also find your ear tip array placed in a plastic tray, while your case would be laser etched with “UE 18+ Pro” instead of your name or preferred nickname.


From my experience, the newer anodized round case is lighter, and utilize a twist lock configuration compared to the heavier, pull up configuration found in the round case for my UERR. I think for the most case, you’ll be receiving the newer case as I found it more portable and easy to use, though this could be down to a custom vs universal packaging difference.

The tip array supplied had 6 sets of single flange silicone tips and 3 sets of foam tips in a range of sizes. Frankly, 6 sets of silicone tips is practically unheard of (at least for me), and you should definitely be able to find a tip that suit you unless your preference are for hybrid or dual flange tips.

A standard 48”” long, 3.5mm jack cable in the UE style 2-pin configuration (known as the SL connector) is provided, with an option for a balanced 2.5mm cable available as an add on. The cable uses heat shrink tubes for cable guides, which actually is my preferred option due to its adjustability. The UE 2-pin inserts deeper than a regular 2 pin, and hence any third party cable which you have purchased for your other 2-pin units might not be compatible. Pity, since that might lead to extra investment on cables just for the unit. That said, the cable is pretty sturdy, and the connector itself is solid and hence you should not be facing any cable construction based issues.

*UE has since changed their cable system for all units, teaming up with the Estron team to create their personal UE SuperBax cable, and now has its units utilizing the IPX connector. I have a fair bit of experience with the connector as I own an ACS Evoke which has the same connector, and found that it’s fairly robust and easy to use. The cables are incredibly thin and light, and proved to be tangle free for the most part. My only criticism is that the connector is not a popular configuration among IEMs, and hence looking for a third party option will be tougher than normal.*



As with all other UE Pro line of IEMS (except the UE900s), the shells are all built using SLA-3D printing technology, so while the shells can only be prepared in clear variations (AFAIK, for quality and build time reasons), you’ll be rewarded with a faster build time and almost guaranteed with a high quality shell with no bubbles or imperfections. It also to my experience has a smoother feel, and is consistent as I would find from my custom UERR and this unit.

The shell was of medium size, that is to say that it’s never going to look discrete as most would prefer, but would not be very large like those found in IEMs from JH Audio and some other companies. I do found myself adjusting the fit a little as there’s an optimum orientation for myself, so this may vary from one person to the next.

The universal unit was equipped with a glossy,piano black faceplate. Fingerprint magnet it is, but if kept clean (really easy) is simply gorgeous to look at, with UE’s logo inscribed in silver chrome like paint. If you do opt for a custom unit, UE has a wide variety of faceplate for you to choose from to personalize your unit, and is open to communications in terms of faceplates that are not in their selection (at least from my past experience).


SOUND QUALITY

Evaluation Process
As a standard for most of the gear I review, the 18+ were burned-in for about 200 hours before critically listening sessions were made, to create an even playing field with all the other tested IEMs. The sessions were conducted with files that are either FLAC/ALAC from a wide variety of genres, with metal the only notable exception. The source gears that I used during the evaluation period are as follows:

· Chord Mojo

· iBasso DX90

· Questyle QP1R

· Calyx M player

· Samsung Galaxy S8


Initial Impressions
On first listen, the 18+ exhibits a U-shaped tonality. The bass is attenuated: sub bass is punchy, with the mid bass rich and organic. It has slightly far off if not recessed mids though it came across buttery smooth. The highs on the 18+ have a slight lift, sounding full of energy and bring out the apparent detail of the music. Soundstage is decently wide but has lots of depth. This certainly reminds me of the sound signature from the classic 18, yet with a new twist and perhaps a touch more balanced.


Sound Signature
18+ holds on to the legacy of the much beloved sound signature of the original 18, with a U-shaped tuning that focus on the mid bass and treble. The new take on the sound is more balanced, closer to flat on the overall scale, and is more superior in technicalities when compared to its predecessor.

Bass remains north of neutral on the 18+, yet it is tamed and controlled. The lifted sub bass still has visceral impact on every note without bleeding or spilling into the other regions. It’s boosted mid bass is rich and full, and at the same time refined and extended, leading to a highly organic and natural presentation detailing each and every bass note.

The mids on 18+ is a touch laid back, possibly even recessed by some as it felt like it is position further back than the lows and highs. Regardless, it is still smooth throughout the midrange, thus the sound is never harsh, always easy on the ears. And while it is not as lush as it’s similarly priced competitors, its richness should not be underestimated, and should be more than capable of vowing you with its vocal performance.

18+’s treble is more pronounced than neutral, with the extra energy sweetly and delicately conveyed. The top end is airy, detailed and extended, with no hints of sibilance or strident notes found anywhere. This crisp and open sounding treble for me is the most enjoyable part of the overall tuning.

Its soundstage, though wide, is not the widest I’ve experience on a top of the line IEM. The depth on the other hand performs at a top level, and evaluated together with its wide soundstage creates this sense of spaciousness that is hard to rival. Another attribute that I felt the UE18+ performs extremely well on is the act of instrument separation and layering, putting its great soundstage to full use.

*From what I know, the effect of the True Tone Plus driver brings forth a huge improvement in the midrange, leading to a more balanced unit. There may be other improvements in the sound, but that’s the general consensus from the ears I trust.*



Comparisons
For this exercise, I compared the 18+ to the UERR, the Empire Ears Zeus-R and the JH Audio Roxanne Universal (Generation 1). Feel free to comment or PM me if you wish to know more about other comparisons and I will try my best to paint you a picture provided I have heard the suggested unit.


Ultimate Ears Reference Remastered (UERR)
The UERR is a 3 driver per side unit developed by UE and Capitol Studios, and is priced at $999 regardless of form factor. In some ways, the UERR is the 18+’s older brother, as many of the technical innovations used on the UERR, such as the implementation of UE’s new True Tone Drivers, was subsequently transferred to the 18+.

Build quality is a complete wash, and it should be since both units were produced by the same manufacturer. Both have housings made from 3D-printed acrylic, and both have the option of using either the 2-pin or MMCX as their cable configuration. The only thing that defers the UERR to the 18+ in this category is the availability of its specific Capitol Studios faceplate. That’s it.

Before I move on to the sound, I want to highlight that my 18+ is in universal format, while the UERR is in custom format. Added on to that, I feel that the UERR is still my best fitting IEM regardless of format. So it is obvious that the isolation and fit would heavily favour the UERR. That said, UE has done a great job in building universal shells that have superb fit, closely matching the customs so please bear that in mind as you read the paragraphs that follow.

The UERR is a neutral and balanced IEM, not 100% ruler flat, but is the closest to that ‘ideal’. When compared, the sub bass quantity of the UERR felt like it was turned down a notch, while the 18+ has its sub bass knobs turn up a couple of dials. So, the sub bass notes punch harder and are more aggressive on the 18+, but have more grip and is less ‘boomy’ on the UERR. This difference is still similar on the mid bass, as both have increased quantities in this region over their sub bass, with the UERR closer to neutral while the 18+ is boosted. The mid bass is lusher on the 18+, but a touch clearer on the UERR.

Comparing the mids, the UERR is just a hint forward than neutral, whereas 18+ feels a little more laid back relatively. Both do well in the smoothness department for the midrange, with the UERR’s mids relatively clearer and smoother. On the other hand, the mids on 18+ is more detailed and lusher in nature.

Moving on to the treble, the 18+ has more presence in this area compared to UERR which is neutral here. Both have treble that are airy and sibilant-less, though the 18+ is more extended and crisper, with more apparent detail in the foray.

Both have great levels of separation and imaging that range among the best of IEMs I’ve heard of, even headphones as well, something I found UE do especially well on their products. Their soundstage presentation is highly similar, focusing more on depth compared to the width, although there may be an argument to be made for the 18+ for having it slightly deeper. Overall detail level is a close fought encounter ultimately won by the 18+, but not by much.


Empire Ears Zeus-R (R)
To start, I would like to specify that the R I have is a custom unit, and as such would have a better fit and isolation compared to my 18+.

R is a 14 driver per side unit from Empire Ears, and comes in various versions and formats which prices are varied. The Zeus family of IEMs by Empire Ears can be divided into the vanilla Zeus, the Zeus-R, and the Zeus-XR that is able to switch sound signatures between vanilla and R flavours. Both vanilla and R starts at $2099.99, with the XR selling at 2399.99, a price maintained for universals and customs. You can also add on the ADEL technology to your Empire Ears IEM, raising the price at different extents, with the Zeus priced at either $2429.99 for the vanilla and R or $2729.99 for the XR.

With both IEMs produced by companies that are rooted in CIEM development, it comes as no surprise that both units are made to the highest standard. The aesthetics of the IEM is subjective due to the fact that both are done to customer requests however a slight edge has to be given to the R as the available options are broader. In terms of cable configuration, the Zeus-R comes in the typical 2-pin connector while the 18+ uses either the recessed 2-pin or MMCX, so it’s a case of preference when it comes to the connector applied.

The R is a more reference tuned IEM, or rather, it is an IEM that complies with the ‘reference sound’ trend, being slightly brighter than neutral. Overall bass lift on R can be considered little to minute, while there is a noticeable emphasis within the region especially on the mid bass. I feel that the R has better extension and detail for the bass but the 18+ has a little more punch and weight to it due its emphasis of the region.

At the midrange, the R is slightly forward an aggressive in presentation, whereas the 18+ Pro presents its mids in a more laid back manner. The R has more detail and lushness in the region, with the smoothness a draw in my books. R’s midrange is simply sensational, filled with emotion, leading to misdirection that the 18+ has dry mids in its repertoire, which is not the case.


Both IEMs are brighter than neutral at the top end, with perhaps the R being the brighter of the two by a touch. R is more detailed, has more extension and more crisp in execution. While the R is in no way strident or sibilant, the 18+ may sound easier on the ears for some people. Thus, these people will feel that the R is too analytical and lacks smoothness on the highs when compared to 18+.

R is a little wider on the soundstage yet much deeper even when compared to the already deep soundstage of the 18+. The 18+ has a small step ahead when it comes to the separation and imaging ability though in terms of overall level of detail the R will be the victor for most people.



JH Audio Roxanne Universal (Version 1) (Roxanne)
My Roxanne was the original version of the JH Audio Roxanne in universal format, and retailed at $1299 upon release. Currently, you can obtain the Performance Series version of the Roxanne universals for $1599.99. I am not 100% sure if the Full Metal Jacket version done with Astell & Kern, which retailed at $1999 on release, is still widely available.

The Roxanne is an IEM that utilizes a 12 driver per side configuration: quad low, quad mid and quad high drivers. What differs from the original and the current Roxanne is the implementation of the 4th order crossover that was initially developed with the Layla.

My version of Roxanne had an acrylic body with a carbon fibre faceplate, and was made with the similar process used to make JH Audio’s IEMs. Therefore, the finish and built on my IEM was top notch, and as such I declare the build quality on both to be a wash. Later versions of the Roxannes have different builds, so this does not apply for them.

All Roxannes use the JH Audio proprietary 4-pin connector, which would limit your options in regards to third party manufacturer cables. The use of the 4-pin cable brings its own advantages as you are able to tweak the bass quantity within a certain range without affecting its quality. For my case, I found the Roxanne to have plenty of oomph in the region even at my preferred configuration which is at minimum bass for the bass tuner.

In my opinion, the Roxanne is a warm sounding IEM that attempts at presenting a livelier and more natural sound. Like the 18+, the Roxanne has an overall bass boost though it is more focused on the mid bass than the sub bass. The sub bass emphasis is higher on the 18+, whereas the reverse can be said in regards to the mid bass. I felt that the 18+ hits harder and is more extended in the overall region, while the Roxanne is thicker in tonality.

Delving into the mids, I found both to have laid back mids, with Roxanne more laid back. I always felt that the mids are the weakest point of the Roxannes, and the 18+ triumphs over it in the region by having a midrange that is more detailed and smoother yet maintaining a rich tone.

For the highs, the 18+ has more energy within the region. Both sound sharp and crisp however I felt it was more detailed and extended on the 18+. The 18+ is simply clearer in the treble, and brings through more apparent detail. An argument can be made that the Roxanne has a smoother take for the highs.

Soundstage is where it develops an interesting twist to the conversation. I found myself still revelling in the soundstage of the Roxanne, and thought that it tops the 18+ in both width and depth, rivalling the customs that I have. On the separation and imaging level, I would still give the edge to 18+.


CONCLUSION
How do you improve on a classic? Do you make slight adjustments, tweaks that improve on its previous design or do you flip the script and start from scratch? UE took the former route, and I definitely have to agree that it was the right decision by them. For me, they took what was a familiar and widely cherished U-shaped tonality through a refinement course, bringing in an extra layer of detail with a more balanced approach.

The result? UE has succeeded in building an IEM that is natural and rich in tonality but still full of detail in a wide and deep soundstage. The bass is punchy and extended; the mids smooth and the highs engaging, presenting a sound signature that should be welcomed by the masses. All this, while not losing, actually strengthening, what I feel is UE’s best attribute in their line of CIEMs: the ability to separate and image like no other.

If I had to tweak the IEM myself towards my own preferences, I would have preferred to have the midrange more forward, closer to neutral. I also would have liked to see the soundstage much improved from the UERR so that it’s able to make better use of its natural strengths.

UE is definitely scoring top marks with UE 18+ here. It may not be the most neutral, or the most detailed IEM I’ve ever heard, but it works its magic by having one of the most organic sound signatures and arguably the best separation I’ve heard for anything near its price range (I’m looking at you here, Shure KSE1500). I’m looking forward to what comes next from UE and sincerely wish that the absolutely fantastic True Tone driver technology to be trickled down the line.

*Funnily as I read this, I’m very surprised (and very happy) to see that UE has improved on this so soon. Can’t wait to hear the second generation, and for that matter, the UE6 and the UE Live as well!*

I had the UE18 before this (possibly my favorite CIEM) and the difference here is quite pronounced for me. I did read up on a lot of the reviews in the period these were being constructed and the comparisons seemed to liken them more to the UERM. Yes. They are very clear, and precise like an reference but have more bass and are not as aligned as a reference. Not what I was expecting, but in a good way.
 
When I first tried them they sounded a bit flat depending on the source and low volume. Only above average quality (for a CIEM) on MP3 tracks played through an iphone, BUT with DSD recordings they simply shine.  With bass that has a punch and pop - that is like listening to a live recording. One DSD track sounds and 'feels' as though the singer is breathing in your ear (if you like that!!). Now the only trouble I have is finding the music I like in that format.
 
Maybe I have been listening to other earphones for too long...I don't think these can be fully appreciated at low res - even with a mojo or similar. They absolutely love volume. Without source resolution they are not as forgiving as other earphones with a more synthesised soundstage-where the mind can wander more into how the music is presented. They are still warm and fun but truly excel in the details and subtle bass.
 
So only good as what you put in.