Your beacon in the dark
Maven III is the newest iteration of Unique Melody’s successful Maven series, a quadbrid sporting 2 DD (bass) + 2 BA (mid-highs) + 2 BA (highs)+ 4 EST (ultra-highs ) + 2 BA Bone Conduction drivers.
According to UM, their team has long mastered the art of integrating bone conduction technology with metal chambers, engineering the ideal cavity structure that allows the bone conduction driver to nest seamlessly within the titanium housing. In terms of driver configuration, Maven Ill brings together a hybrid architecture of dynamic, balanced armature, electrostatic, and bone conduction drivers, making it the most structurally complex product in the Maven series to date. The first impression Maven Ill leaves is much like gazing up at the night sky after the rain, wide open and refreshingly clear. The sound is transparent and articulate, faithfully reproducing every detail and texture in the music, with every note rendered in remarkably defined contour. Following close behind is the surging low end and exceptional dynamics delivered by the independent dual dynamic drivers, transforming that openness before the eyes into a sweeping sense of grandeur within. Through this vivid contrast between highs and lows, we present a V-shape tuning that stands as a true industry benchmark. Maven Ill proves one thing definitively: UM, and only UM, can imbue the traditionally “aggressive” V-shape signature with unparalleled musicality. Maven III features an all-new 3D-printed titanium alloy shell. The cool metallic feel of titanium is paired with geometric, mechanical surface textures, forming an industrial visual language that is instantly recognizable. The three-dimensional patterns reveal layered depth under light, projecting a sense of order and strength. A central totem motif interplays with surrounding engravings, balancing rigid form with refined craftsmanship, and bringing together futurism and artistry. The metal surface preserves the raw polished character of the titanium itself, with matte and engraved layers contrasting clearly, austere and restrained yet brimming with tension.
Disclaimer: I bought this set from Musicteck as soon as it became available, trading the early bird offer for a small discount. I promised I would do a review, which I would have done anyway. Dealing with Musicteck was a pleasure.
How I tested it
I listen to a lot of metal, but also jazz, folk and occasionally some pop. Rap makes its way to my playlists sometimes, but it is not an essential part of them. The choice of music influences my expectations from and IEM. I need good, airy treble for those cymbals, in particular when listening to Nicko McBrain’s (Iron Maiden) exquisite work, or technical death metal masterpieces, like Gene Hoglan’s work on death’s Symbolic. Jazz is another genre where this part is essential. Another requirement is texture, more precisely, grit, especially in the lower mids, for those heavy, down-tuned guitars in doom metal. I am not a bass head, but I do not like a completely flat tuning either. Most of my listening is done at moderate volume, though I always make sure to see how an IEM scales up at louder volumes.
The set has been allowed to burn-in for approximately 200 hours before any critical listening. Whether burn-in makes a difference or not, is thus no longer relevant.
Package
Typical UM packaging, a simple cardboard box, with the carrying case in the top section and accessories in the bottom drawer. They’re not changing the winning team. The box is large enough (Thank you, UM!) and of very good quality. In their own words “The dedicated black ice-pattern leather case for Maven III is crafted from approximately 80% imported Turkish cowhide. Its ice-vein texture carries a deep, lustrous tone with a warm, supple feel in the hand. Geometric SK5 metal accents are inlaid throughout, balancing rigidity with grace, striking and distinctive in style.” It easily hosts the IEMs with the cable attached and feels premium to the touch. It is a noticeable improvement over the Maven II’s and even the Pentara’s case.
Apart from IEMs, cable, box, there is a set of Azla Xelastec tips, a set of UM Blue-Core Tips, a warranty card, a cloth and IEM socks, a very nice, classic UM touch.
Construction
I am yet to see a badly made UM set. I have owned a number of IEMs from them across the MEST, Maven, Multiverse, and Mason series, and they have all been wonderfully built. The Maven III is no exception. The shells are made of mirror-polished titanium, with the faceplate featuring an intricate, rough-edged inlay that looks like a geometric flower or, as someone pointed out, a clean religious symbol. It follows the same premium recipe as the Pentara. The finishing is flawless, with zero rough surfaces and a hairline seam between the faceplate and the main shell body.
With regard to the “Moonshard” reference, I am a bit puzzled. I guess it is somehow related to protection against the darkness, meaning the design of the faceplate could be interpreted as an organic source of light and radiance.
In terms of size, the shells sit comfortably right between the Maven II and the Pentara. Just like the Maven II, there is no lip on the nozzle, meaning certain eartips tend to slide too far up. This can be easily fixed by placing an O-ring on the nozzle upstream from the tip. The nozzle is protected with a metallic mesh. Unlike the Mest Fortune or Mason Asahi, no additional tuning filters are provided in the box.
A small vent is situated on the same face as the flush 2-pin port. This results in a tiny bit of sound leakage, but it is not enough to disturb the rest of the family when sitting on the sofa next to them. Comfort is fine for me, though it doesn’t quite match the small-shell comfort level of the Maven II. Because of the shell sizing, most of the anchoring is provided by your ear tips and the cable. It is relatively easy to break the seal when moving around, unless I am using the Eletech Baroque tips. Conical tips have a higher chance of pushing the IEMs out of my ears—a problem easily mitigated by using rounder, donut-shaped tips.
Note that driver flex is present upon initial insertion, but once they are properly seated in the ear canal, it disappears completely no matter what you do.
Sound
Bass has a good mixture of sub and mid bass, with a fairly deep extension, as opposed to Maven II’s slight roll-off. The 2 DDs provide a natural sounding bass, with good articulation of the bass guitar and fairly decent rumble. It is not the Earth shattering kind of slam, though, on the contrary, a rather restrained one, focused more on precision than brute force, with fast decay, clearly distinct bass drum hits. Somehow, the bass is a bit too dry, I wish it had more amplitude, move even more air and spread across the stage a bit more, not remain so passive.
In the mids, electric guitars possess great grit, but interestingly, the most aggressive grunt lives in the upper mids rather than the lower ones. It produces a higher-frequency buzz that works well with some sub-genres, but it can push bands like Children of Bodom right over the edge of shoutiness.
The lower mids suffer from a bit of thinness, showing only very rare instances of smearing from the bass. I would have liked a bit more meat on the bone here. Going upward, I don’t know what acoustic approach UM took for sibilance, but that proud peak at 6kHz means there are plenty of moments where sibilance becomes clearly audible. Nasty productions like Iron Maiden’s Seventh Son of a Seventh Son or Joe Bonamassa’s Life After Dark can quickly turn you into a prospective tympanoplasty patient. Mind you, these are brutal tracks that bring most IEMs to their knees, even if they are fantastic songs.
Presence and clarity are top-notch. Guitars display a fast attack and a restless, aggressive tone. However, along with this sparkle comes some inherent harshness. Herein lies my main issue with the Maven III: I find a slight acoustic disconnect between the excellent mid-bass and the aggressive presence/mid-treble area.
The highs are airy, intense, and full of mid-treble energy. Notes have a fast attack and good, weighty bodies that take up a sizeable amount of space. The splashiness is sometimes too intense for me—something that was better controlled on the Maven II, from my point of view.
The sizzle has definitely been turned up a notch, which will make some treble-heads happy and other listeners sad. For my tastes, it is not a bad thing; whereas with the Maven II I was constantly looking to add a bit more energy to the treble region via cables, the Maven III gives you more than enough right off the bat. The overall timbre is highly accurate, and the note weight in the treble is fairly good—slightly on the cold side, but fine nonetheless.
Maven III is one of those sets sounding good already at low volume, but keeping composure as I crank it up.
Stage and imaging
As a general rule, I don’t mind it if the stage is not very wide, as long as it’s got a harmonious built. What I mean by that, is no hollow spaces, no echoing chambers, some depth and some height. All these elements, present in moderation. Deal breakers for me are, for example, cymbals suspended in thin air, upper L/R corner, with nothing surrounding them, eventually placed very high, and somewhere, on the floor of the stage, some bass foundation. Separation is more important than sheer stage width for me, but again, I like it to remain as natural as possible.
Having established these baselines, let’s take a look at Maven III; The stage is large, tall and with some depth, but not too much. I wouldn’t necessarily call it an “out of head” type of stage, but it is reasonable. In terms of shape, it is quite peculiar, I would call it a donut shaped stage. Meaning, the sides are far and tall, but in the middle, where the voices live, there is far less going on, so the stage seems to be less tall there. I wouldn’t call it bad or good, it is just different from many other IEM (Storm with its spherical stage, or Erebus, like a capacitor, tall and narrow or the expansive Traillii JP). Another peculiarity is the lack of a “floor” in the middle. If their intent was to re-create the amazing Asahi stage, the success is only partial.
Imaging and separation are good, in an effortless way, building a coherent presentation, with the details nicely laid out, but not intrusive in any way. Maven III benefits from more congested recordings, where they can display their full mastery, while simple, acoustic ones, tend to highlight the stage construction too much for my taste.
Cables and sources
Stock cable is good, satisfying both ergonomically, and sonically. Just to see if there are differences, I have checked other options. If you don’t think cables can make a difference, jump to the next section.
Ulan 8W remains one of the best cables for removing mid treble harshness, but not the shine, while pushing the lower mids upwards slightly. This is, essentially, what it does here, shave off some treble energy and a bit of air, bringing the lower mids closer and thus filling the donut hole. I hear a slight shift in treble timbre, which is now more closed in. In connection to this, the stage feels less extended. The result is album dependent.
Effect Audio Code 24C gently lifts lower mids, bringing a more balanced sound, with a touch tighter control in treble, reduced stage width, but more substance in the middle thereof. This comes with a decrease in ergonomy, as the cable is significantly stiffer than Maven III’s stock cable.
With a sensitivity of 105dB@1kHz and an impedance of 8,8 Ohm, Maven III is easy to drive, to the point of displaying a bit of hissing with powerful sources. It paired nicely with AK SP3000, Nipo N2, Cayin N6 III, MUB5 and Audma Brioso, as well as the Devastator Pro-max and the Rhapsodio Copper Fantasies dongles.
How does it compare to Maven II
Maven II has a slightly wetter bass, with the mid bass slightly less articulated, or to put it this way, there is an underlying layer of sub bass, that makes the bass guitar blend in more than with Maven III. I find the Maven II to be slightly more satisfying in the bass department, a warmer, more relaxed approach, with a bit less details, in particular in the mid bass, but in return, Maven III’s mid bass articulation is simply exquisite.
Mids are the part where I feel things are a bit different, with Maven II having a more coherent tuning, while Maven III has a bit of disconnection between mid bass and upper mids, something not quite clicking into place for me. The mids are slightly warmer on Maven II, with most of the grit moved towards the lower mids. I hear the DDs in Maven II a bit slower overall, not just in bass, with longer decay, adding a bit of atmosphere to the mix. The end effect is that Maven II favours a bit male singer, with a touch more warmth and texture, while Maven III seems to really love female singers (of course, it’s a rule of thumb, not set in stone). Listening to David Gilmour’s Luck and Strange, shows overall better technicalities for Maven III.
If mids are a rather similar business, with the two trading blows, treble is where the difference is obvious. They both have a quite strong peak at 6kHz, but Maven III then carries through with more mid treble than Maven II. What this means in real life is better thickness to the cymbals, they have more spatial reach, a sharper edge and more air. If only Maven II had this treble. For those who had a problem with Maven II’s treble, most likely, the problem will persist, as I think Maven III adds energy but does not substract anything.
The geometry of the stage shifts dramatically between generations. While Maven II constructs an organic, acoustic bubble, Maven III sacrifices center-image intimacy to push lateral limits to the absolute extreme, leaving a clean, deep corridor in the middle (the Donut).
Compared to Mest Jet Black (1 Dynamic Bass Driver + 2 BA Mid Drivers+ 2 BA treble Drivers + 2 Electrostatic Ultra-High Drivers + 2 Composite BA Bone Conduction Bass Drivers + 1 Piezoelectric Bone Conduction High Driver)
MJB has a tighter, drier bass, with the balance shifted towards sub bass, by comparison with Maven III, resulting in a more balanced presentation. With slower transients, MJB shines with technical, slow to medium-pace music, with a smoother presentation, coming across a bit digital, a bit too clean.
Jet Black is the safest of them all, as noticeable in treble, with above average extension and average note weight. Combined with its fast transients, the treble does sometimes leave me wanting for more. For treble sensitive audiophiles, this could be a better solution than Maven III.
Stage construction is more traditional, with a fairly uniform height and having that floor connection I am missing a bit with Maven III.
Compared to UMxMusicteck Pentara (10mm DD – Sub-bass, 7mm DD – Bass, 2x BAs — Midrange,2× BA – Treble, 4x EST – Ultra-high frequencies, 2x Composite BA BCD – Bass, 1x FreqShift BCD – Treble)
This is the most puzzling comparison, with Pentara sounding very similar to Maven III, equally fast, but with a bit longer sustain in the lower range. Bass drums sound bigger, more physical, the mid range is more refined, there is more grit in the lower mids, treble is smoother, while maintaining the same high resolution and the stage is impeccable, all three axes being equally extended. There is no dip in the middle of the stage, making the overall presentation more coherent to my ears.
Pentara sounds more dynamic, with more smoothness in the vocal range, than Maven III, but for me, the differences are too small to justify double the price.
Compared to Vortex Reference (2DD+2xMEMs)
Since UM themselves describe Maven III as a V tuning, Reference has a warmer tuning, which can only be described as a massive V, unapologetically energetic and dynamic, with a big bass shelf, but a free-flowing, liquid bass, with the mobility of BA bass rather than a DD one. Lower mids are less textured than Maven III’s, while upper mids have quite a rich texture. The use of xMEMs in treble means good energy and air, but I find reference better suited for electronic and pop, rather than rock or metal, since the timbre is not quite as natural as Maven III’s. For music with complex instrumentation and vocals, Reference pushes the voices backwards, effect less evident when the music is vocal-centric.
The biggest difference is in the mids, where Reference is smoother, less textured, thus diverging from Maven III in terms of genre suitability. In addition, Reference is more sibilant than Maven III. Choosing between these two is a simple matter of preference between a more technical, more balanced, analytical approach (Maven III) or a warmer, bassier, more analog-like traditional V sound (Vortex Reference).
Songs
Transatlantic – A man can feel
A pretty good song for spotting harshness in the upper mids.
Maven III has a very clean presentation, starting with the deep bass notes in the beginning of the song, followed by a crystal clear imaging, with the bass guitar clearly distinct at all times, an organ sounding like in the 70s and sparkly cymbals. The drum fills carry the unmistakable signature of Mr Portnoy, that fast passage through all the kit, each tom well distanced from the rest.
Maven II has a relatively shy bass in the beginning of the song, and by the time it reaches the first chorus, it becomes clear it plays close to the edge. Maven II is so good at this balancing act, managing to stay on the good side of things, while sounding lively and energetic.
Mest Jet Black is dry, almost too dry for my taste, with light sibilance but otherwise a very clean sound. Everything has its own place, well determined and precisely contoured, in an analytical presentation. Due to the smooth guitars, I find MJB a bit less engaging than Maven III.
Rotting Christ – The Farewell
The song starts with a powerful little riff that is continued throughout the song. What I want here is grit and rumble, those power chords descending all the way to my chest. Maven III has a faintly nasal buzz, some more bottom heaviness would have been appreciated. In return, Maven III compensates with good clarity and fast attack, means the guitars sound aggressive and precise. The typical Hellenic black metal sound of RC suits Maven III to perfection, relying heavily on atmosphere, where this little IEM excels. With it’s large, uncluttered stage, you might think you’re in a cathedral. My favourite part is the highs, you can feel the force put into those strokes, the hi-hat is like a beacon in the dark. The sole problem is the riff played by the second guitar, which starts on the right hand side, but continues on the left one, only to then settle in the middle, in a somehow diffuse manner.
Maven II sounds a bit heavier in the lows, with a fairly constant rumble laying the foundation for the rest of the instruments. The riff in the beginning has more weight, sounds more satisfying to me. Since there is no ups without downs, when it comes to the cymbals, Maven II is behind Maven III in timbre, weight and details. Even with my preferred cable, the FA Ultron, versus Maven III running on stock, the latter has more air, and thicker sound.
Pentara instantly makes me want to grab a guitar and chug along with the song. The starting riff sounds rugged, menacing, unmistakably Rotting Christ from the very first slide, carrying that rough edge that is so distinct from the Nordic black metal.
Pentara manages to perfectly capture the spirit of the song, the contrast between the cathedral atmosphere and the warmth built into the Rotting Christ’s style of black metal. With a fuller sound, and the instruments firmly anchored in place, Pentara more than justifies the price difference in this case.
MJB, with its dryer sound, is no match for the others. The starting riff lacks that three-dimensionality offered by the rich textures of Maven(s) and Pentara, it lacks the weight and the darkness inherent in the songs. The second guitar is anchored in place, despite MJB also having a BCD, so in this regard it is superior to Maven III, while in terms of technicalities, it features better than Maven II.
K-Pop Demon Hunter – Takedown
Bearing in mind I am not very familiar with this genre, Maven III sounds to my ears very well, you have the strong bass on the sides, elevated voices in the middle and a treble distributed evenly across the sides.
Maven II is less shiny, less detailed, but warmer. I think Maven III is maybe better for this genre, but it’s a matter of preference.
MJB sounds a little bit distant, but its coolness serves the song well. With very civil bass, MJB is not pretending to be something else, it keeps things as close to neutral as possible, with tastefully elevated voices and polite, although a bit thin treble.
The Boards of Canada – Prophecy at 1420 MHz
Maven III has good L/R panning, with a stage slightly on the intimate side vertically. As before, the middle of the stage is smaller than the sides, which makes for an interesting spatial effect. I find the treble biting a bit too hard on this track, especially in the beginning. The separation between the various elements is outstanding.
Maven II has far less distinct separation and its analog sound is clashing a bit with the song’s style, for me. Stage and imaging are inferior to Maven III’s and coupled with the somehow sluggish bass, it creates a different atmosphere, leaving me with a slight preference for the latter.
MJB, expectedly, is let down by its quick bass, lacking a bit of engagement because of that. I prefer this track with a lot more oomph down low. It’s just a very average presentation.
Pentara has a fuller sound, doubled by a larger stage possessing more sound density than either of Maven II or Maven III. The bass receives more support from the lower frequency, no longer peaking in mid bass. What is even more important is the constant output throughout the lower and mid frequencies, with a perceived linearity, unlike the clear V(or W) of the Maven III.
Sudan Archives – Yeah, Yeah, Yeah
Maven III shows admirable handling of the bass, even though some distortion is present starting at 1:21 to 2:00. Bass has a strong impact, with great tightness. That “digital” imaging is a perfect match here.
Maven II is missing a dimension to the bass, but the distortions, although present, are more tolerable. However, still present.
MJB sounds a bit brighter than its usual self, which can play to its advantage here. The boomy bass and more lively treble make this a compelling listening experience. Heavily distorted, too, during the aforementioned passage.
Pentara sounds larger, but more severely impacted by the same distortions as Maven III. Despite the large stage, sound density becomes overwhelming pretty soon. Luckily, Pentara offers two tuning options, and one can choose the larger, less dense one, according to the use case.
For curiosity, Vortex Reference, a rather bassy set is also affected by the distortions, but to a lesser extent. I am starting to see a pattern here.
Maven 2, Maven 3, Mest Jet Black, Pentara and Vortex reference FR graphs. More on https://mikaik.squig.link
Conclusions
Maven III is an IEM doing a lot of things right by me, from crystal clear, airy and energetic treble to unexpectedly physical bass, taking over from where Maven II left off. Resolution receives a bump, stage is wider and taller, more aerated, but without feeling hollow and the construction can be considered at least on par with Maven II. In terms of genres, obviously is works wonderfully for metal, delivering fast transients, good macro and micro dynamics and tastefully highlighted bass guitar. Maven II cannot keep up with the younger sibling, tracks like August Burns Red’s Behemoth contrasting the laser precision of bass drums in Maven III with the relaxed, less dynamic, Maven II.
While UM calls this tuning V, I would call it more W. since the voices are well highlighted too.
Is it still a “Maven”? I believe it is. At the same time, with its fast…everything, could also have been a member of the Mest series. I was expecting something more musical, in the vein of Maven II, since UM has already released Mest Fortune (link) which trails the same general lines. I must admit, I’m confused by the current UM’s line-up, with Pentara priced two times more than Maven III and offering a modest performance increase over the latter, the beautiful Mest Fortune, at 2700USD, more energetic and airy than Maven III, not to mention Mest Jet Black, currently discounted to 1600USD.
Who is it for? Treble heads will probably like it, just like metalheads. It is an all-rounder, with a few caveats. It can be bright with certain genres (alternative, like Florence +The Machine), and sometimes the instruments are moving in the stage.
Fans of Dance/electronic music would also be well served by Maven III, provided the music is well produced, as naturally bright albums could sometimes push it into harshness. One of my preferred experiences with Maven III was the Syro album by Aphex Twin.
For heavily voice-centric, I find Maven II to remain my favourite, due to its sweeter mids range and more analog approach.
