A Different Part Three

Ratings

Pros

• Excellent analytical sound.
• Very technical, high-resolution bass.
• Mid-centred sound very well supported by bass and treble.
• Crisp and sparkling treble.
• Very light capsules, very well integrated in the ear.

Cons

• Unstable MMCX connection.
• Somewhat metallic timbre.
• Slightly short mouthpieces.
• Prominent upper midrange.

Purchase Link

https://rosetechnics.com/products/qt9-mk3-hifi-hybrid-wired-headphones-1dd-4ba-iems

Link to the WEB

https://rosetechnics.com/

Introduction

According to its website, Rose Technics is an audio brand from China that was established in 2012. It has dedicated years to the pursuit of unparalleled original sound reproduction through intelligent technology and meticulous manufacturing. «Dare to make differences» is Rose Technics’ statement and determination. The combination of excellent sound performance and unique designs to seamlessly integrate music into the daily lives of all users has been the constant philosophy since its foundation.
Rose certainly does not follow the present trend and its tunings seem to go a bit against the current standard. And proof of this is the evolution of the model I am going to review today: the Rose Technics QT9 MK3, a hybrid model consisting of 1DD+4BA with MMCX interface, priced at $186. I didn’t have the pleasure of reviewing the first versions, but I did review the two previous models MK2 and MK2s. The evolution has been clear towards a profile that has moved away from an emphasis on bass to an emphasis on upper midrange. There is little or nothing in the sound of the QT9 MK2s in these MK3s, if anything, that counter-clockwise rotation from 1kHz that I mentioned. Aesthetically the changes have been minor. While the MK2 and MK2s were completely the same, the MK3s have slightly changed the colour of the resin to make it darker and less transparent, losing the eye-catching appeal of the IEMS interior. But, let’s see what else has changed in this new Rose QT9 MK3 model.

Specifications

• Driver Type: 1DD 10mm Tesla voice coil with liquid crystal diaphragm + dual BA 26UA for midrange + dual BA 30017.
• Frequency Response: 20Hz – 20kHz.
• Sensitivity: 104dB.
• Impedance: 18Ω.
• Jack Connector: SE 3.5mm
• Capsule Connection Type: MMCX.
• Cable length: 120±5cm.
• Cable conductor material: OCC 5N single crystal copper.
• Product weight: 30±5g.

Packaging

The Rose QT9 MK3 comes in a relatively large grey box, whose dimensions are 174x229x52mm. The silhouette of a 9 is in the centre of the main face and below it the brand logo, in white ink. On the back is an extensive product introduction in English. At the base are the brand’s calligraphy. The brand specifications are on the bottom side edge of the box. After removing the outer cardboard you can see a black box with the brand name in large silver letters in the centre. When you open the box there is a large card that describes the product in depth. Underneath is the product, inside a thick black protective mould. The full contents are as follows:

• The two QT9 MK3 capsules.
• One two-strand coiled cable with textile covering.
• Grey leatherette case with magnetic closure.
• Dongle adapter cable RZ200-m.
• Plastic box containing 4 pairs of black silicone tips with purple wide core, sizes XSxSxMxL.
• Three pairs of white silicone tips and purple narrow core, sizes SxMxL.
• One pair of white silicone double flange tips.
• One pair of foam tips.
• One 3.5mm to 6.3mm SE adapter.
• Four pairs of grids to protect the mouthpieces.
• A pair of tweezers to decouple the connectors from the MMCX cable.
• A large card describing the technologies used.
• Burn-in guide.

As usual, Rose is distinctive in all her accessories. Highlights include a large case and a curious collection of tips. The inclusion of an RZ200-m dongle adapter cable deserves a special mention. In this review I am not going to describe its sound. It is a basic dongle without too much power that can be very useful for those smartphones that don’t have a headphone output. It is compatible with Android, IOS, Phone, PAD and PC.
The description card, the 6.3mm adapter and the clamps are also welcome.

Construction and Design

The capsule design has not changed drastically from previous models. The MK3s use a 7000 series aluminium alloy panel, cut and polished by a five-axis CNC. The capsules have been printed in medical-grade resin by high-precision 3D printing. The shape of the capsule has been relaxed into an almost equilateral triangle with rounded corners. There are two flat sides, while what should be the smaller side is a rounded side. The capsules are still small, not too thick, keep the inner rounded shape and the small apex at their edge, to facilitate anchoring. The mouthpieces have been changed and are now made of brass, with an approximate length of 4.5mm, an inner diameter of 5.2mm and an outer diameter of 5.9mm. The nozzles are protected by a dense, metal grille. There is a large hole on the inner side, but close to the edge. Then, there is another smaller hole next to the MMCX interface. Finally, there is a small inscription of the full model name on the curve of the outer face of the IEMS, in white letters.
The cable consists of two coiled strands, covered with a black textile braid. The sleeve of the 3.5mm SE gold-plated connector is angled. It consists of a black metal cylinder with the brand name written in white letters. While the elbow is made of plastic. Right at the outlet is the classic white Rose sticker. The splitter piece is a small black cylinder that looks metallic. The pin is another black plastic cylinder, with a double hole in the shape of a figure eight. It is relatively firm, although it slides a little too smoothly for my liking. The cable has transparent guides on the ear. The sleeve of the gold-plated MMCX connectors are both black plastic cylinders. I like the MMCX connectors less and less and every new model I own gives me connection problems. I haven’t even tried to remove the cable for fear of false contact. But, even so, with minimal use I have detected obvious problems of bad contact. Unacceptable.
The construction has not changed much, the capsules are still small. But there is a noticeable improvement in the use of slightly larger metal mouthpieces for easier ergonomics.
The cable is still the basic Rose cable even though it uses a 5N Single Crystal Copper conductor.

Adjustment and Ergonomics

The QT9 MK3s are still small in size and the length of the mouthpieces is just right. As I said, changing to brass tips of a longer size and larger diameter helps for a more complete and occlusive fit. But it is still necessary to look for the best tips and their length to find the right fit. Both the size and the shape fit very well in my ear. But I insist again that the length of the tips is crucial. While the angle is right, the insertion is only shallow. These are IEMS for small to midrange ears.
Their weight is very low and they hardly rotate. With my extra large foam-filled tips I manage to fill the ear canal superficially and fit the capsule so that it does not rotate or move. The key to success for a good fit and better insulation is still my home-made tips. However, with them, the ergonomics are almost excellent.

Sound

Profile

The Rose QT9 MK3s have a mid-centric profile, clearly emphasised in the upper midrange. Bass is neutral, while treble is subtly controlled, albeit with a distinct lack of air. Certainly, those two concentrated peaks at 2.5kHz and 4.5kHz are not appealing, more so coming from two BA drivers. The neutral bass also doesn’t help to compensate for the upper midrange and, on paper, the sound can seem unpleasant. In reality, however, the sound is undoubtedly incisive, thin, insistent in that most critical area. When there is now a trend towards more relaxed tunings in this area, the QT9 MK3s stand out with their most incisive version in this respect.
In this Rose saga I have reviewed, both the QuietSea and the Star City 5 Pro have similarities with both having relatively similar peaks in the upper midrange. Even those possess more energetic treble, but also more bass. In this sense, the QT9 MK3s have the most neutral bass and the most controlled treble, emphasising their mid-centric character and moving away from the bass-heavy W profiles of their MK2 and MK2s predecessors.

Bass

The bass of the QT9 MK3s is neutral, slightly focused on the lower bass, but without too much impact on the sub-bass. They are quite technical and their hit is dry, fast, concise and precise. The decay is low and hardly lingers in the room, collecting quickly. Its medium roughness and texture is good, enough so that it is not a bland and smooth bass, but rather rather juicier and more vivid. There is a good dose of depth although its timbre is fairly neutral. The sub-bass is not very noticeable because its energy level is quite light. In the very low frequency pure tone test 20Hz is barely perceptible, subtly sensory, faintly audible. From 25Hz onwards it becomes more audible and slightly sensory. It has a natural behaviour and sonority, with no incidence of BA drivers, which implies a good filtering and a unique exercise of its dynamic driver. It is true that it is not the best in timbre, depth, darkness and behaviour, but it is a remarkable neutral bass that works very well, has some personality and is technically quite capable. And that’s something that is corroborated in the unfiltered, dirty bass reproduction test. The MK3s do not suffer at all in the worst conditions and their reproduction remains reliable, natural and pleasant. Always under control, their performance is accurate and realistic. It may suffer from a certain depth and darkness, but it is not a simple, linear bass with low descriptiveness. On the contrary, despite its neutrality it is quite full, as I say, capable of recreating the most complicated bass lines. Its stratification is more than adequate, generating layers with ease, always under control and with a point of roughness and texture that makes it much more realistic, even fun. But, always within a level of presence slightly above neutral.
It is clear that the QT9 MK3 is not an IEMS for bass heads, but its performance will not disappoint bass lovers, even though its overall impact on the sound is slight.

Mids

Although I think of the QT9 MK3 as mid-centric IEMS, the first half of the midrange is relatively thin. Neutral in tendency, there is no hint of warmth, nor is there any hint of elevated physicality. The male voices are lean and light-bodied. Their base is not very deep, they don’t feel dense or full. But they are fairly well represented throughout their harmonic range. In this sense, they are perceived as quite full and their timbre is neutral-bright, but quite realistic. It is true that the somewhat elevated tendency of the upper midrange adds a certain level of sibilance, but it is not overpowering.
It is clear that there is an obvious explicit level in the midrange, quite descriptive on an informative level. But it is not a completely analytical, hard or harsh sound. There is a certain level of softness, more accentuated in the first part, while in the second half it becomes somewhat more incisive and penetrating. The QT9 MK3s turn the warm songs into a more neutral tone, revealing their more splashy and vivid character. However, the more incisive songs do not feel penalised by this effect, but somehow manage to find a point of sharp balance that is not hurtful. It is true that the central range moves from a midrange presence, in its initial part, to an evident prominence in the final part. But it should be stressed that this is not a dense sound, but rather quite crisp, clear, well separated and transparent, but without being clinical or cold. Even at that point, there is a good degree of neutrality, albeit bright, but not predominant. This makes the female voices sound quite realistic, natural and forward.
On the other hand, on this occasion, the energetic lifting of the upper midranges does not focus on just highlighting details, but achieves a fairly full representation of the central range, albeit with that increasing energy. In this way, the sound is not just splashy or detail-focused, but there is plenty of harmonic information throughout the range to show itself in a fairly complete way. The result is a remarkable harmony between the base, the body, the centre part and the details of all the elements. And that gives it a rich balance, very full on a descriptive level and correct on a timbral level.
The QT9 MK3s are an example of how a tuning focused on upper midrange not only looks for light, detail or nuance, but can sound full, complex, informative and full, finding a balance throughout the sound path and executing it in an integrated way.

Treble

The treble relaxes a point from an initial rise coming from the upper midrange. Immediately, a relaxed control zone is entered, while the second half extends into a rather depressed air zone. The result is a crisp, explicit, fine but not too penetrating initial spark. Even so, the spark is well resolved. There is that BA edge and its energetic thinness, but there is also a good level of refinement that makes it gently incisive and more realistic. In this sense, the notes are fine, elevated, very well defined and precise, technically advanced and fully informative. But they manage to stop at just the right point to maintain prominence, but without becoming overbearing or excessive. Somehow, the MK3s have also managed to maintain analytical balance in the treble, without sounding too cold or unrealistic. I think this is a very successful representation of the upper range, both as a complement and as a unique range in its own right.

Soundstage, Separation

The Rose QT9 MK3s are very clean, clear and transparent. That’s something that brings a good level of projection to your scene. However, these are IEMS that move in that more volatile and open environment, rather than dense or full. With a fair level of depth, the notes have that escapist effect, although it is not scattered, but has a good attachment to the base. In this way, the projection of the music moves from a light root, towards vivid, but fully conjunct details. This is how the music sounds quite real and the image is perceived as well-defined, concrete, yet open and very clean.
Technically very competent, excellent at both the macro and micro levels, the MK3s produce a smooth, analytical sound that is neither cold nor too incisive. It is very descriptive and informative, but without being completely explicit. There is a good balance between macro detail and micro detail. The former is not overly obvious, nor are they the protagonists of the sound. While the latter are there if you pay attention to them, in an exercise that is not too complex. They are not just monsters of detail, but seek to bring it out in a natural, though no doubt virtuosic, way, to maintain realism in both expression and execution.
The end result is a scene that is wide, with good height, depth beyond average, superior three-dimensional projection, but without surrounding the head, showing attachment to the base, to sound realistic and unforced. Despite the wide separation, this is not a completely detached sound between its notes, but is coherent in this respect. But this also limits the size of the scene, although it all makes for a more accurate and well-placed image.

Comparisons

Simgot EA1000 Fermat Red Filter

Without a doubt, some of the most splashy IEMS under $200 are the Simgot EA1000. They have a stellar metal construction, a 2nd generation 10mm dual-magnet, dual-cavity DMDC™ dynamic 10mm driver, plus a 6mm passive radiator. Simgot features a near-excellent level of accessories and it shows in its cable, the possibility of three filters for fine-tuning the sound, two sets of tips and a magnetically lockable enclosure. The Rose QT9 MK3 has a resin construction and a mediocre cable with MMCX connection, although the rest of the accessories are fine. It’s clear that I’m leaning towards the Simgot set in terms of construction, capsules and cable. The ergonomics are a little tighter. I like the EA1000’s weight and ease of insertion, but the MK3’s light weight and smaller size make them fit nicely into the pinna. Their main problem is that the mouthpieces are short and that can ruin the fit.
Both are fairly easy to move IEMS, but although there is a resemblance in their graphs, the overall difference in the overall sound is apparent. There is considerably more weight, energy and volume in the EA1000’s bass, its sound is fuller, denser, with more balance and homogeneity. A quick switch attests to that full, elevated physical sensation that the Simgot’s possess. It’s something that’s not just felt in the bass, but male vocals feel more full-bodied too. Such a quick change reaffirms that valley and hollowness that exists in the transition from the lows to the midrange, which makes the music leaner. Then, the higher upper midrange elevation makes the sound more splashy in the MK3s.
In the pure tone test the EA1000s feel more natural, with a more realistic and less undulating performance than the MK3s. In actual performance, the MK3s’ bass is quite good, but there is more punch, energy, volume, darkness, depth, texture and roughness in the EA1000s. Only in technique, precision and control can the MK3s be superior.
I prefer the fuller timbre and superior overtones of the EA1000 over the MK3. But the performance of the MK3s in this respect is by no means negligible. In certain genres it can be even better.
Where the MK3s are superior is in the details. You feel that a more relaxed sound in the low end makes the nuances feel more revealing amidst the greater density of the EA1000s. The details are in the Simgot, with a different colour, with a less metallic sonority. But they are sharper and more evident in the MK3s. It is a more analytical profile, finer, more resolute and separate.
There is a clear difference in timbre in the upper range between the two IEMS. Also, the origin of the treble plays a clear role in this aspect. The finer, more energetic character of the MK3s, with a seemingly higher elevation. Whereas the EA1000 reproduces the treble in a more homogeneous and smoother way. That sparkling feel of the slightly more metallic MK3s can give it a more crisp, positive appearance. Whereas the EA1000’s treble has that more muted and nuanced sonority of the dynamic drivers, even though it’s quite extended and also the Simgot’s highs.
If there is very good separation in the EA1000s, the MK3s are a step above. There is no density in their sound and that frees it, separates it, volatilises it and expands it. The sound is freer in the Rose. In that way, the scene and the separation are bigger. The detail and the level of resolution are also higher than in the EA1000. And that’s saying a lot. The only thing missing is the Simgot’s sense of body and depth in the Rose.

Conclusion

Rose Technics returns to another hybrid IEMS with the 1DD+4BA configuration. It belongs, of course, to the QT9 series, from which it has retained its capsule design and accessories. But for this new iteration, the Rose Technics QT9 MK3s have traded in their more relaxed, full-bodied bass tuning for a more focused and energetic upper midrange and upper treble, while maintaining a neutral, but very well-defined bass. In this way, the QT9 MK3 is possibly the most neutral, analytical and scene-setting model in the series. Undoubtedly, Rose has opted for a more drastic change with respect to the MK2 and MK2s models that almost turns it into a new model, since it only shares with its predecessors the shape of the capsule and the configuration of the drivers. As I say, its sound is distinctly different, with a tuning that also departs from the current Harman trend.
Rose Technics is proposing different tunings to those that are currently creating hype, in a risky exercise, but one that deserves the appreciation and attention of aficionados. Without a doubt, the Rose Technics QT9 MK3s are a necessary alternative in the current sub-$200 IEMS scene, exhibiting great technical and spatial performance. A must-have.

Sources Used During the Analysis

• EPZ TP50.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.