Is a tubeless driver similar to what 64 Audio do with their TIA driver?Triple-dynamic set-up with a tubeless high driver? Sign me up!
Not trying to do a comparison or anything, I just want to be sure I understand the technology!
Unique Melody Announcements, Impressions, & More
- Thread starter Cotnijoe
- Start date
Not trying to do a comparison or anything, I just want to be sure I understand the technology!
Pretty much, except this one is implemented on a dynamic driver. 64Audio's TIA drivers are balanced-armature drivers with the top cover removed. Ultimate Ears' TrueTone drivers are also tubeless, but they don't entirely remove the top cover. Instead, they move the spout to the top of the driver, so it's more akin to a hole in the top cover; rather than entirely removing it.
Breaking it down!
YES! I was right! a triple DD IEM.. I must hear this
@Cotnijoe I don't want to jump the gun here, but will there also be a UK/EU review tour for this one, and if so, might I apply immediately?
Cotnijoe
Sponsor: iFi AudioFormerly with Unique Melody
I'm not super familiar with the TIA drivers, but I believe they are modified BA drivers that are generally placed very close to the canal of the IEM. So, my guess would be that they have differences in implementation.
YES! I was right! a triple DD IEM.. I must hear this
@Cotnijoe I don't want to jump the gun here, but will there also be a UK/EU review tour for this one, and if so, might I apply immediately?
No release date for the unit yet, but I'll definitely see what I can do once the unit's out in the wild =P
Cotnijoe
Sponsor: iFi AudioFormerly with Unique Melody
In comparison to the previous 3DD, our new 3DD-Ti utilizes new and improved driver designs, 3D-DLP printed acrylic shell, improved internal components for durability and decreased weight, and 3D printed titanium faceplate and sound tube.
So much better looking than original. Eager to hear what the sound do.In comparison to the previous 3DD, our new 3DD-Ti utilizes new and improved driver designs, 3D-DLP printed acrylic shell, improved internal components for durability and decreased weight, and 3D printed titanium faceplate and sound tube.
Damn - NEED to head that 3DD! 
Just finished up some initial notes on the touring Mentor V3, so tight I'd share them here (these will likely be subject to change by the time the review goes up):
"Unique Melody Mentor V3
Initial impressions on sound
The third iteration of the Mentor is the current co-flagship of the Unique Melody lineup, sharing its headline billing with the Mason, which is also in its third different guise. The Mentor is billed as the more overtly “musical” of the two flagships by sound signature, and this is quite an apt description. The Mentor is a balanced sounding monitor, but it certainly isn't neutral, carrying a nicely rounded and tactile bass, some vocal emphasis in the midrange and an extended but buttery smooth treble.
The bass is a tunable affair, with a thumbscrew adjustment mechanism on the outer shell opening or closing the inbuilt venting ports to give a variance of around 4dB between closed and fully open. Even with the ports fully open, this isn't a basshead monitor, but it does have an emphasis that is pleasantly heavier than neutral, concentrated around the lower mid-bass/sub-bass transition. This adds a sense of weight and roundness to the edge of the notes without pushing too much quantity at the listener. Closing the ports lets a little of the warm air out of the room, and pushes the bass a little closer to neutral. For my preferences, I left the ports fully open as I enjoyed the additionalwarmth and slightly fuller feel to the low end, which is achieved without losing any of the snap or speed of the all-BA bass.
The mids are fairly neutral in stage position, with a nice sense of space and clarity and a little emphasis in the vocal ranges. They are tuned with maximum emphasis on the emotion and rawness in a vocal line, focusing on the subtle detail to extract the maximum grit and gravel without sounding grainy. Artists like Elvis and James Bay sound sublime through these IEMs, the textures of their voices coming through loud and clear. The rest of the range has a nice balance of detail and lushness, guitar and string notes coming through with plenty of crunch and detail on the edge of the note, and a neutral sort of weight that captures just enough of the heft of a chord while maintaining the slave around it.
Treble is crystal clear, extended and smooth as silk. Again, the note weight is nicely balanced, giving a little solidity to things like cymbals and high violins. Cymbals shimmer and decay quite quickly, but carry enough emphasis to cut through the sound when needed. Highs feel spacious but not overly sparkly or crystalline. This isn't an overly hot or treble emphasised monitor, but there is enough up top to maintain the sense of clarity that pervades throughout, and is certainly not shy of detail when needed.
Overall, the Mentor gives a sound that is balanced across all three ranges, with a bit of push in the mids to bring out the vocalist and bags of resolution and transparency to keep the sound feeling clean without hardening any edges. It's neutral/natural done right."
Looking forward to my second week with them!
Just finished up some initial notes on the touring Mentor V3, so tight I'd share them here (these will likely be subject to change by the time the review goes up):
"Unique Melody Mentor V3
Initial impressions on sound
The third iteration of the Mentor is the current co-flagship of the Unique Melody lineup, sharing its headline billing with the Mason, which is also in its third different guise. The Mentor is billed as the more overtly “musical” of the two flagships by sound signature, and this is quite an apt description. The Mentor is a balanced sounding monitor, but it certainly isn't neutral, carrying a nicely rounded and tactile bass, some vocal emphasis in the midrange and an extended but buttery smooth treble.
The bass is a tunable affair, with a thumbscrew adjustment mechanism on the outer shell opening or closing the inbuilt venting ports to give a variance of around 4dB between closed and fully open. Even with the ports fully open, this isn't a basshead monitor, but it does have an emphasis that is pleasantly heavier than neutral, concentrated around the lower mid-bass/sub-bass transition. This adds a sense of weight and roundness to the edge of the notes without pushing too much quantity at the listener. Closing the ports lets a little of the warm air out of the room, and pushes the bass a little closer to neutral. For my preferences, I left the ports fully open as I enjoyed the additionalwarmth and slightly fuller feel to the low end, which is achieved without losing any of the snap or speed of the all-BA bass.
The mids are fairly neutral in stage position, with a nice sense of space and clarity and a little emphasis in the vocal ranges. They are tuned with maximum emphasis on the emotion and rawness in a vocal line, focusing on the subtle detail to extract the maximum grit and gravel without sounding grainy. Artists like Elvis and James Bay sound sublime through these IEMs, the textures of their voices coming through loud and clear. The rest of the range has a nice balance of detail and lushness, guitar and string notes coming through with plenty of crunch and detail on the edge of the note, and a neutral sort of weight that captures just enough of the heft of a chord while maintaining the slave around it.
Treble is crystal clear, extended and smooth as silk. Again, the note weight is nicely balanced, giving a little solidity to things like cymbals and high violins. Cymbals shimmer and decay quite quickly, but carry enough emphasis to cut through the sound when needed. Highs feel spacious but not overly sparkly or crystalline. This isn't an overly hot or treble emphasised monitor, but there is enough up top to maintain the sense of clarity that pervades throughout, and is certainly not shy of detail when needed.
Overall, the Mentor gives a sound that is balanced across all three ranges, with a bit of push in the mids to bring out the vocalist and bags of resolution and transparency to keep the sound feeling clean without hardening any edges. It's neutral/natural done right."
Looking forward to my second week with them!
Hey guys, especially @Cotnijoe and @glassmonkey
I've just published my review of the Mason v3, do take a look and all feedback welcome (hopefully of the positive or at least constructive kind lol).
https://www.head-fi.org/showcase/unique-melody-mason-v3.22880/
I've just published my review of the Mason v3, do take a look and all feedback welcome (hopefully of the positive or at least constructive kind lol).
https://www.head-fi.org/showcase/unique-melody-mason-v3.22880/
ngoshawk
Headphoneus Supremus
- Joined
- Dec 13, 2015
- Posts
- 2,437
- Likes
- 2,889
I am in possession of the Mason V3, US set...oh...my...goodness...
Hey guys! Today, I was fortunate enough to give Singapore's Stereo Electronics a visit to audition the Mentor V3. Here are my thoughts on the IEM plus comparisons against the Mason V3. Enjoy!
The Mentor’s energetic signature is bolstered by its emphases on the mid-bass, centre-midrange and lower-treble; constructing a large and (especially) tall image filled with larger-than-life instruments. The Mentor is more wide than deep - due to its upfront presentation of vocals - but generates enough headroom to maintain a black background and strong resolution. Above all, its defining signature trait is heaps of dynamic energy. The image it puts out is not only large, but also punchy and impactful. Tracks teem with vibrancy and instruments sound wholly alive. However, this amount of energy leads to a compromise in long-term listening. The longer the listen, the more you feel the effort within the Mentor’s dynamite-like approach. So, although vocals are intimate and musical, they’re not the most inviting. Musical engagement is high though, due to a 1kHz bump. This boldness and chestiness - combined with the elevated mid-bass - create a warm ambience within the Mentor’s stage, which makes the image more cohesive. There’s a thread binding all the instruments together for a more euphonic listening experience.
The Mentor’s bass is satisfyingly impactful. Whether the overall emphasis lies on the sub-bass or the mid-bass depends on the Dual-Tone cable setting, but there’s about equal amounts of both on average. The region is decently accentuated - resulting in strong overall slams - but there’s enough speed to maintain a relatively transparent stage. Decay is natural (bordering on slow), but the linear sub-bass adds a guttural quality to the low-end as a substitute for clarity and texture. Extension is adequate, imparting a physicality to the low-end, but texture - like clarity - is slightly compromised. Upright basses for example have more mid-bass bloom than upper-bass definition. But, again, that adds to the warm ambience in the Mentor’s stage, which results in a more unified and engaging presentation. Bass tone is on the warmer side with strong body and punch, which certainly aids how kick drums are reproduced. A sense of thump is palpably prominent, with a certain “thwack” as the beater’s swing, the fundamental hit and the harmonics that follow decay into each other evenly. Overall, it’s a low-end with a mindful balance between physicality, impact and tone; well-rounded, decently versatile, and constantly enjoyable.
The midrange is where the Mentor sets itself apart from the Mason V3. Bolstered by a 1-3kHz bump, the Mentor V3 truly flaunts it size - showcasing up-front and immensely tall instruments, akin to a movie theatre experience. While the Mason’s notes are denser and more rounded, the Mentor V3 trades that in for surface area. Vocals take up a significant portion of the stage, allowing the listener a more close-up view of the instrument, along with a more prominent sense of texture. Though, ultimate resolution is comparable between the two, and the Mason V3’s smaller notes procure more focus on each individual instrument. Returning to the 1-3kHz bump, this adds a strong sense of chestiness to the Mentor V3’s vocal presentation. Vocalists sing with gusto and power, contrasting against the leaner lower-midranges that’ve dominated the mainstream. However, courtesy of the mid-bass and a peak around 6kHz, vocals take on a more neutral tone. The latter peak also causes some instruments to sound a touch honky on the Mentor, so pairing choices should be advised. Vocals aren’t the airiest as a result of the Mentor’s linear upper-treble, but great extension maintains admirable headroom nonetheless.
The Mentor’s top-end begins with a lower-treble peak; instantly more aggressive than its bigger brother’s. While the Mason focuses on the more delicate middle-treble, the Mentor’s 6kHz peak gives it solidity. Hi-hats and snare crackles are instantly more prominent - and punchy - but decently controlled. Sibilance is rare, though it can border on harshness on select tracks. This peak gives the Mentor a dynamic contrast against the mid-bass and the centre-midrange. When vocalists belt, you really hear them belt, and the Mentor renders throat reverberations and strain with great detail. Finally, the Mentor’s upper-mids become more neutral than sweet. The Mentor then dips around 8-10kHz, so the overall soundscape takes on a warmer and meatier ambience rather than an airy or open one. The Mason V3 has instruments that are better lit and more free, but texture and fibrousness is more obvious on the Mentor. Extension is similar between the two, but the Mason is the more linear one. As a result, its stage is more evenly spherical, as well as wider and deeper. Conversely, the Mentor’s is less precise by comparison, but more engaging, involving and musical.
Mentor V3 vs. Mason V3
As I’ve outlined several times, the differences that exist between the Mentor and the Mason V3 lie within their intended signatures. The Mason emphasises air, spaciousness and precision by implementing small notes, a relatively subdued low-end and a rise in the treble. The Mentor instills more energy within its presentation through contrasting bumps along the mid-bass, centre-midrange and lower-treble.
The Mentor has a more prominent low-end in general, with a mid-bass that naturally fills the stage. The Mason’s low-end is just as dense, but its jab-y approach contrasts against the Mentor’s warmer ambience and thicker body. The Mason has a relaxed lower-midrange, which means vocals are more airy, wispy and sweet. The Mentor’s 1-3kHz bump enhances chestiness, texture and resonance at the cost of transparency and precision. The Mentor’s vocals are also livelier, taller and more forwardly-placed. The Mason has a smoother touch, while the Mason is all for clarity, articulation and texture in the lower-treble - almost to an aggressive degree. The upper-treble is more accentuated on the Mason for an airier stage and a brighter tone, while the Mason’s is warmer and fuller. Finally, the Mason portrays a more open and linear soundscape with “less going on”, but it’s more spherical and coherent overall. The Mentor conversely emphasises dynamic energy, with a more intimate, tall and loud image.
Unique Melody Mentor V3
The Mentor’s energetic signature is bolstered by its emphases on the mid-bass, centre-midrange and lower-treble; constructing a large and (especially) tall image filled with larger-than-life instruments. The Mentor is more wide than deep - due to its upfront presentation of vocals - but generates enough headroom to maintain a black background and strong resolution. Above all, its defining signature trait is heaps of dynamic energy. The image it puts out is not only large, but also punchy and impactful. Tracks teem with vibrancy and instruments sound wholly alive. However, this amount of energy leads to a compromise in long-term listening. The longer the listen, the more you feel the effort within the Mentor’s dynamite-like approach. So, although vocals are intimate and musical, they’re not the most inviting. Musical engagement is high though, due to a 1kHz bump. This boldness and chestiness - combined with the elevated mid-bass - create a warm ambience within the Mentor’s stage, which makes the image more cohesive. There’s a thread binding all the instruments together for a more euphonic listening experience.
The Mentor’s bass is satisfyingly impactful. Whether the overall emphasis lies on the sub-bass or the mid-bass depends on the Dual-Tone cable setting, but there’s about equal amounts of both on average. The region is decently accentuated - resulting in strong overall slams - but there’s enough speed to maintain a relatively transparent stage. Decay is natural (bordering on slow), but the linear sub-bass adds a guttural quality to the low-end as a substitute for clarity and texture. Extension is adequate, imparting a physicality to the low-end, but texture - like clarity - is slightly compromised. Upright basses for example have more mid-bass bloom than upper-bass definition. But, again, that adds to the warm ambience in the Mentor’s stage, which results in a more unified and engaging presentation. Bass tone is on the warmer side with strong body and punch, which certainly aids how kick drums are reproduced. A sense of thump is palpably prominent, with a certain “thwack” as the beater’s swing, the fundamental hit and the harmonics that follow decay into each other evenly. Overall, it’s a low-end with a mindful balance between physicality, impact and tone; well-rounded, decently versatile, and constantly enjoyable.
The midrange is where the Mentor sets itself apart from the Mason V3. Bolstered by a 1-3kHz bump, the Mentor V3 truly flaunts it size - showcasing up-front and immensely tall instruments, akin to a movie theatre experience. While the Mason’s notes are denser and more rounded, the Mentor V3 trades that in for surface area. Vocals take up a significant portion of the stage, allowing the listener a more close-up view of the instrument, along with a more prominent sense of texture. Though, ultimate resolution is comparable between the two, and the Mason V3’s smaller notes procure more focus on each individual instrument. Returning to the 1-3kHz bump, this adds a strong sense of chestiness to the Mentor V3’s vocal presentation. Vocalists sing with gusto and power, contrasting against the leaner lower-midranges that’ve dominated the mainstream. However, courtesy of the mid-bass and a peak around 6kHz, vocals take on a more neutral tone. The latter peak also causes some instruments to sound a touch honky on the Mentor, so pairing choices should be advised. Vocals aren’t the airiest as a result of the Mentor’s linear upper-treble, but great extension maintains admirable headroom nonetheless.
The Mentor’s top-end begins with a lower-treble peak; instantly more aggressive than its bigger brother’s. While the Mason focuses on the more delicate middle-treble, the Mentor’s 6kHz peak gives it solidity. Hi-hats and snare crackles are instantly more prominent - and punchy - but decently controlled. Sibilance is rare, though it can border on harshness on select tracks. This peak gives the Mentor a dynamic contrast against the mid-bass and the centre-midrange. When vocalists belt, you really hear them belt, and the Mentor renders throat reverberations and strain with great detail. Finally, the Mentor’s upper-mids become more neutral than sweet. The Mentor then dips around 8-10kHz, so the overall soundscape takes on a warmer and meatier ambience rather than an airy or open one. The Mason V3 has instruments that are better lit and more free, but texture and fibrousness is more obvious on the Mentor. Extension is similar between the two, but the Mason is the more linear one. As a result, its stage is more evenly spherical, as well as wider and deeper. Conversely, the Mentor’s is less precise by comparison, but more engaging, involving and musical.
Mentor V3 vs. Mason V3
As I’ve outlined several times, the differences that exist between the Mentor and the Mason V3 lie within their intended signatures. The Mason emphasises air, spaciousness and precision by implementing small notes, a relatively subdued low-end and a rise in the treble. The Mentor instills more energy within its presentation through contrasting bumps along the mid-bass, centre-midrange and lower-treble.
The Mentor has a more prominent low-end in general, with a mid-bass that naturally fills the stage. The Mason’s low-end is just as dense, but its jab-y approach contrasts against the Mentor’s warmer ambience and thicker body. The Mason has a relaxed lower-midrange, which means vocals are more airy, wispy and sweet. The Mentor’s 1-3kHz bump enhances chestiness, texture and resonance at the cost of transparency and precision. The Mentor’s vocals are also livelier, taller and more forwardly-placed. The Mason has a smoother touch, while the Mason is all for clarity, articulation and texture in the lower-treble - almost to an aggressive degree. The upper-treble is more accentuated on the Mason for an airier stage and a brighter tone, while the Mason’s is warmer and fuller. Finally, the Mason portrays a more open and linear soundscape with “less going on”, but it’s more spherical and coherent overall. The Mentor conversely emphasises dynamic energy, with a more intimate, tall and loud image.
I am a full sized headphone guy, but still enjoying immensely this TOTL IEM. The sound quality does beat all full sized headphones under £1000.
Thanks for lending me the Mason V3 for two weeks!
Thanks for lending me the Mason V3 for two weeks!
- Joined
- Feb 1, 2011
- Posts
- 5,946
- Likes
- 2,457
I'll be typing up the Mentor V3 review this week, as I'll be sending them on to the next person at the end of the week. They are pretty, and they sound pretty amazing too
My review is up.
I might ask my girlfriend who is native English to check my grammar, but I couldn't wait.
I might ask my girlfriend who is native English to check my grammar, but I couldn't wait.
ngoshawk
Headphoneus Supremus
- Joined
- Dec 13, 2015
- Posts
- 2,437
- Likes
- 2,889
Hey guys! Today, I was fortunate enough to give Singapore's Stereo Electronics a visit to audition the Mentor V3. Here are my thoughts on the IEM plus comparisons against the Mason V3. Enjoy!
Unique Melody Mentor V3
The Mentor’s energetic signature is bolstered by its emphases on the mid-bass, centre-midrange and lower-treble; constructing a large and (especially) tall image filled with larger-than-life instruments. The Mentor is more wide than deep - due to its upfront presentation of vocals - but generates enough headroom to maintain a black background and strong resolution. Above all, its defining signature trait is heaps of dynamic energy. The image it puts out is not only large, but also punchy and impactful. Tracks teem with vibrancy and instruments sound wholly alive. However, this amount of energy leads to a compromise in long-term listening. The longer the listen, the more you feel the effort within the Mentor’s dynamite-like approach. So, although vocals are intimate and musical, they’re not the most inviting. Musical engagement is high though, due to a 1kHz bump. This boldness and chestiness - combined with the elevated mid-bass - create a warm ambience within the Mentor’s stage, which makes the image more cohesive. There’s a thread binding all the instruments together for a more euphonic listening experience.
The Mentor’s bass is satisfyingly impactful. Whether the overall emphasis lies on the sub-bass or the mid-bass depends on the Dual-Tone cable setting, but there’s about equal amounts of both on average. The region is decently accentuated - resulting in strong overall slams - but there’s enough speed to maintain a relatively transparent stage. Decay is natural (bordering on slow), but the linear sub-bass adds a guttural quality to the low-end as a substitute for clarity and texture. Extension is adequate, imparting a physicality to the low-end, but texture - like clarity - is slightly compromised. Upright basses for example have more mid-bass bloom than upper-bass definition. But, again, that adds to the warm ambience in the Mentor’s stage, which results in a more unified and engaging presentation. Bass tone is on the warmer side with strong body and punch, which certainly aids how kick drums are reproduced. A sense of thump is palpably prominent, with a certain “thwack” as the beater’s swing, the fundamental hit and the harmonics that follow decay into each other evenly. Overall, it’s a low-end with a mindful balance between physicality, impact and tone; well-rounded, decently versatile, and constantly enjoyable.
The midrange is where the Mentor sets itself apart from the Mason V3. Bolstered by a 1-3kHz bump, the Mentor V3 truly flaunts it size - showcasing up-front and immensely tall instruments, akin to a movie theatre experience. While the Mason’s notes are denser and more rounded, the Mentor V3 trades that in for surface area. Vocals take up a significant portion of the stage, allowing the listener a more close-up view of the instrument, along with a more prominent sense of texture. Though, ultimate resolution is comparable between the two, and the Mason V3’s smaller notes procure more focus on each individual instrument. Returning to the 1-3kHz bump, this adds a strong sense of chestiness to the Mentor V3’s vocal presentation. Vocalists sing with gusto and power, contrasting against the leaner lower-midranges that’ve dominated the mainstream. However, courtesy of the mid-bass and a peak around 6kHz, vocals take on a more neutral tone. The latter peak also causes some instruments to sound a touch honky on the Mentor, so pairing choices should be advised. Vocals aren’t the airiest as a result of the Mentor’s linear upper-treble, but great extension maintains admirable headroom nonetheless.
The Mentor’s top-end begins with a lower-treble peak; instantly more aggressive than its bigger brother’s. While the Mason focuses on the more delicate middle-treble, the Mentor’s 6kHz peak gives it solidity. Hi-hats and snare crackles are instantly more prominent - and punchy - but decently controlled. Sibilance is rare, though it can border on harshness on select tracks. This peak gives the Mentor a dynamic contrast against the mid-bass and the centre-midrange. When vocalists belt, you really hear them belt, and the Mentor renders throat reverberations and strain with great detail. Finally, the Mentor’s upper-mids become more neutral than sweet. The Mentor then dips around 8-10kHz, so the overall soundscape takes on a warmer and meatier ambience rather than an airy or open one. The Mason V3 has instruments that are better lit and more free, but texture and fibrousness is more obvious on the Mentor. Extension is similar between the two, but the Mason is the more linear one. As a result, its stage is more evenly spherical, as well as wider and deeper. Conversely, the Mentor’s is less precise by comparison, but more engaging, involving and musical.
Mentor V3 vs. Mason V3
As I’ve outlined several times, the differences that exist between the Mentor and the Mason V3 lie within their intended signatures. The Mason emphasises air, spaciousness and precision by implementing small notes, a relatively subdued low-end and a rise in the treble. The Mentor instills more energy within its presentation through contrasting bumps along the mid-bass, centre-midrange and lower-treble.
The Mentor has a more prominent low-end in general, with a mid-bass that naturally fills the stage. The Mason’s low-end is just as dense, but its jab-y approach contrasts against the Mentor’s warmer ambience and thicker body. The Mason has a relaxed lower-midrange, which means vocals are more airy, wispy and sweet. The Mentor’s 1-3kHz bump enhances chestiness, texture and resonance at the cost of transparency and precision. The Mentor’s vocals are also livelier, taller and more forwardly-placed. The Mason has a smoother touch, while the Mason is all for clarity, articulation and texture in the lower-treble - almost to an aggressive degree. The upper-treble is more accentuated on the Mason for an airier stage and a brighter tone, while the Mason’s is warmer and fuller. Finally, the Mason portrays a more open and linear soundscape with “less going on”, but it’s more spherical and coherent overall. The Mentor conversely emphasises dynamic energy, with a more intimate, tall and loud image.
After a brief listen to the Mentor, I would wholeheartedly concur with what you state above. The Mason is incredible in it's presentation, what with what I will call respectfully "lilt." The Mentor on the other hand grabs you and take you into the music. Energetic is an apt description, and spot on. After only a brief listen (with many more coming, thankfully) the Mentor has jumped out at me for it's superb chutzpa, for lack of better words at this time. It is as if UM took the bets of my Maestro and added the bass from my 64Audio U8 for the Mentor. This is quite good. Simply stellar both UM's are, and I am a very lucky man.
Users who are viewing this thread
