Stars Anywhere

Ratings

Pros

• Great sound, big, full, dense, complete, musical, rich, homogeneous and balanced.
• Very good representation and execution of the three bands.
• Distinctive, particular and distinguished design.
• Small size and appropriate ergonomics.
• Very good selection of accessories.
• Remarkable unboxing experience.
• Incorporates a cable-dongle as an accessory which can be very useful.

Cons

• The extension at both ends is slight, both in the sub-bass as well as in the air area.
• Those looking for a punchier sound will find the Star City 5 Pro soft in the bass and a little punchier in the treble.
• Rose, why didn’t you use the excellent QuietSea cable?
• There is no balanced cable option.

Purchase Link

https://rosetechnics.com/products/star-city-5-pro-hifi-hybrid-wired-headphones-1dd-2ba-iem

Link to the WEB

https://rosetechnics.com

Introduction

Once again, and in a very short space of time, I am once again reviewing a product from Rose Technics. Since 2012, the Chinese brand has produced a multitude of very interesting models, especially in the field of IEMS and earbuds. Previously, we have seen that they have also made the leap to TWS, but I still think that their great value is still in wired headphones, something you could already see in my review of the excellent QuietSea. Rose Technics continues to delve into somewhat distinctive and differentiating profiles. Proof of this are these new Rose Star City 5 Pro. This time it is a classic triple driver with a dynamic driver and 2 balanced armature drivers. The dynamic driver is a self-developed, Japanese 10mm LCP composite diaphragm dynamic driver with N52 magnetic circuitry, which reduces partition vibration and lowers distortion. The two BA drivers are balanced armature driver units imported from Denmark, which have been customised and handle the high frequencies. Rose has enlisted the dedicated tuning expertise of a former Sony engineer. In addition, an acoustic physical-electronic hybrid crossover filter system has been incorporated. For the capsule, a new-generation 3D-SLA-printed resin has been used, with a stainless steel rear cavity. On the other hand, the cable consists of 6N OCC double-stranded monocrystalline copper with additional wire cores and top shielding layers. The interface used for the connection is the classic MMCX brand interface. Let’s take a look at this and much more in the following review.

Specifications

• Driver Type: 1DD with 10mm LCP diaphragm + 2BA.
• Frequency Response: 10Hz – 25000Hz.
• Sensitivity: 104dB @ 1mW.
• Impedance: 24Ω @ 1000Hz ±15%.
• Distortion: 1% @ 1000Hz.
• Capsule material: Metal and resin.
• Jack Connector: 3.5mm SE gold-plated.
• Capsule Connection Type: MMCX.
• Cable Length: 1.2m.
• Weight 28g.

Packaging

The Rose Star City 5 Pro comes in a box whose size could be considered medium-large. Its dimensions are 192x143x50mm. On the main side you can see a clear division of two colours. The top side has a very soft brown background. On it there is a real picture of the IEMS with its cable. On the bottom side the background is black and there is the model name in capital letters, the description of the model and two logos (MMCX and HIFI) located at the bottom of the box. The brand logo can be seen on the long sides of the box. The same logo is on the top of the back of the box, next to the text «Light Year Series». This side continues with the black background. Underneath, the model name and description can be seen in the same way as on the main face. In the centre of the face is a box containing the specifications and the brand’s contact details. At the bottom are the various logos of the product’s certifications and to the right is an Ean13 barcode. Sliding the cardboard sleeve sideways reveals a matt-finished black box with a logo and the words «Light Year» inscribed in silver in the centre. The box opens like a magnetised box at its longest side. The first thing you notice inside is a sheet of onion paper with the product design and a slogan. Underneath is a thick black foam mould in which the two capsules are located on the left side, while on the right side is the round storage box. The storage box is made of a very good leather look, is black and has the same logo and text as the matt box. After lifting the foam layer, you can access another level of black plastic that contains the rest of the accessories. In summary, the complete contents are as follows:

• The two Rose Star City 5 Pro capsules.
• The round storage box.
• 4 pairs of white tips with wide orange core, sizes XSxSxMxL.
• 3 pairs of white translucent tips with narrow orange core, sizes SxMxL.
• 1 two-strand cable with black textile sheath.
• 1 user manual.
• 1 USB Type-C to 3.5mm female connector adapter.

Rose has kept a surprise inside these accessories. It’s a USB Type-C to 3.5mm jack adapter. In short, it is a dongle recognised by both my Android smartphone and my PC as KT USB Audio V1. It has a small cable with a black textile coating, in line with the IEMS cable itself. It is capable of playing 24-bit, 96kHz PCM audio, and I’m not going to analyse the audio quality of such a device. But the inclusion of such a connector alone is a big plus. Turning to the accessories, I really like the look of the round case and the wide-core tips. At least they are different from the usual ones. I have a predilection for textile covered cables. But it should be noted that the cable of the previous QuietSea model reviewed was very hard to beat. Finally, I would like to point out once again that I don’t like the MMCX interface and that, in this case, it is not possible to choose a 4.4mm plug, which I find incomprehensible, given that the QuietSea model is possible and cheaper than the current one.

Construction and Design

Rose Technics designs are not simple. True, the previous QuietSea was based on a joint venture with Ikko. But this time, the Star City is very original. With a capsule whose inner side is made of black 3D printed resin, it has a very stylised semi-custom shape, which is far from the more classic shapes in shape and size. As I said, its inner face is small, with a clear projection on the bases of the mouthpieces, looking for a deeper insertion. The mouthpieces are metallic and gold-plated. They have an inclined base, a midrange cylinder with a smaller diameter of 5.2mm and a crown with a diameter of 5.9mm. The outer face consists of two parts, one consisting of a ring attached to a cylinder that houses the MMCX connection interface. The other, which is the rear and outermost cavity. Both are made of metal and are CNC machined. The difference between the inner resin face and the double-composite outer face is very clear. The ring is integrated into the resin cavity, although it has two openings on both sides that reveal the edge of the ring. The backplate retains the «Light Year» series name and icon. It has an opening in the shape of an oval rectangle, protected on the inside by a metal grille. The side cylinder containing the gold-plated MMCX interface has holes on both sides. At the other end of the ring, but integrated into a flat part of the outer base of the resin capsule, there is a hole covered with a metal ring and an orange grille.
Inside the capsule there are 3 drivers, two BA drivers imported from Denmark, one for the midrange and one for the high frequencies. They have been customised by Rose. The dynamic driver has a 10mm Japanese LCP diaphragm, developed by Rose. It has a high-performance N52 magnetic circuit. It uses film capacitors and micro resistors to create a hybrid physical-electronic crossover filter. The interior also houses some dampers all built into the resin capsule.
The cable uses two strands covered with a black textile sheath. The plug is a gold-plated 3.5mm SE plug. Its sleeve is a black, metallic cylinder with the series name «Light Year» written on it in white, capital letters. It has three slots, one near the connector, two near the cable exit. At the cable outlet, the cable is protected by a two-level black plastic sleeve. The splitter piece is a simple small black cylinder, while the fitting piece is made of dark plastic with a double hole inside. The connection interface is gold-plated MMCX and its sleeves are black plastic in the form of a curved cylinder at the cable exit. Finally, it has ear guides. The conductor is made of 6N OCC double-stranded monocrystalline copper with additional wire cores and top shielding layers.
As I said, the designs are quite unique, taking ideas from here and there to create a different, elegant and attractive shape. The cable is manageable and flexible enough, despite its textile covering. It is not as thick and excellent as the cable of the QuietSea, but it maintains a remarkable level. Once again, I miss the possibility of choosing a balanced connection and I insist once again that the MMCX interface is not my favourite. In its defence I have to say that the design helps it stand up well, although it is true that the connectors are susceptible to rotation.

Adjustment and Ergonomics

The capsule assembly is small to medium in size. The inner part of the capsule is very slim, narrow, and projects towards the mouthpieces. It is not the type of capsule that fits completely in the ear canal. Depending on the size of the tips used, they will barely touch any part of the ear. And the insertion can be medium, but not deep, due to the diameter of the tips. Using my classic large foam-filled tips, the fit is very pleasant, almost instantaneous, quite occlusive and durable. It is true that it allows some rotation, but the good fit of the tips ensures a long-lasting insertion, which produces a great isolation, secure and very comfortable. On the other hand, the design of the ring containing the cylinder with the connection interface ensures a very advantageous position of the cable on the ear, which is hardly noticeable. All this, together with the low weight of the capsules, the cable and the softness of the textile cover, makes the whole more comfortable than the individual parts. Clearly excellent, even more so when the comfort extends over hours of use. Very suitable for everyday, outdoor use, even for running or going to the gym.

Sound

Profile

The Star Citys have a balanced profile with a tendency towards clarity, due to their evident emphasis on the midrange and early treble. The bass rises subtly from neutrality, making itself felt with restrained power, thanks to its extension in both directions. The first half of the midrange is not dipped in relation to the bass, but there is a slight imbalance between the second half of the upper midrange. The treble is present in alternating zones of control, while the extension of the higher notes suffers a little. Overall, this is a splashy, vivid sound, which does not forget the bass, although it never dominates. The control in the treble, its more limited extension and the restrained energy at the limit, contribute to maintain a certain overall balance in a sound that I feel exceeds neutrality in its luminous side.

Bass

The lower range of the Star City is quite linear. Its emphasis is fixed at its midrange, while the sub-bass loses relative energy. One aspect that I personally think would have improved the Star City’s tuning would have been a generous increase in the sub-bass end. The sound would have gained depth, the bass would have gained authority and its bright side would have been balanced with some warm darkness. But this was not the case. In reality, the bass overcomes the neutrality in a slight way, but never becomes the protagonist. The energy of the bass is just right, although it does have a certain roundness and gumminess that gives it a more voluminous appearance. This achieves a subtle authority that never exceeds in presence or frequency, maintaining a clean and uninvasive area.
The very low-frequency pure tone test reveals a light, subtly sensory sub-bass, low in audibility, but very realistic and natural. As the frequencies increase, this reliable behaviour is accentuated and combined with a very adequate, uncoloured reproduction, which retains a certain darkness and depth, as well as possessing a matching timbre and exemplary behaviour, free of interference from the BA drivers, sounding like a pure canonical dynamic driver. As I say, no vibrations or unwanted colouring are perceived, and this means that its translation to real music generates an optimum result in terms of behaviour. It is not the fastest bass, but it is not dry either, it has a subtle degree of elasticity to generate that certain volume I mentioned at the beginning, which projects its importance and produces a more discernible, evocative and descriptive texture. The sonority of the low notes is very successful and very pleasantly executed. The bases are rounded, voluptuous in just the right measure. This is a bass in its late teens, entering maturity and has managed to stay tight, despite its curves. It sounds very good and performs better, has a certain thickness, but remains agile, technically proficient, balanced and dynamic, but never heavy.
In the dirty, unwieldy and unfiltered bass test, the Star City has proven to execute such passages with astounding ease, without offering any hint of suffering, always maintaining control, delineating the bass lines from each other and from the rest of the frequencies. It has demonstrated the ability to layer and stratify the bases, managing to define them with clarity, definition, without becoming blurred or fuzzy, maintaining separation across the spectrum and, most importantly, sounding natural, realistic, even beautiful. Great work. Too bad some of us want something more. In that sense, even turning up the volume doesn’t lose an iota of their control and good work. Very good.

Mids

I like the fact that the centre range of the Star City is not far away. It is noticeable in the frequency response that there is no classic dip in the first half of the midrange. This offers a subtle warmth in this phase and an additional fullness, both in the instruments based in this area and in the male vocals. As it is never predominant, not a hint of muddiness is shown and a quite natural timbre emerges from this zone. However, the sense of body or physicality is not complete, even though the good balance between bass and this phase is reflected in a relatively close, but not leading, fringe. It is neither thick, nor thin, it maintains a certain neutrality in that respect, nor is it exuberant, nor is it relatively restrained. It remains in a broad middle ground, seasoned with the ornamental richness suggested by a distinctly emancipated midrange. However, the imbalance is not pronounced. I can’t say that this is an IEMS that focuses more on the details than on the base, because that’s not the case. It is true that the tuning seeks that clarity, that level of transparency and light. But the homogeneity between the bass and the first half of the midrange leaves no room for that prominence to be unique or disproportionate. In this way, the Star Citys manage to sound with a good fullness in the initial phase, as well as having an extensive harmonic tilt from 2kHz onwards, but without the sound becoming sibilant, penetrating or piercing. I won’t deny that they can sound a little splashy, but the overall character of the sound is not bright, but more calm and balanced, seeking musicality within that situation of crispness and clarity. In that sense, the female voices are the real protagonists, being very full, complete and coherent in their timbre. Here is the flesh that is lacking in the male voices. In the same way, the string instruments and guitars also benefit from this predominance, but maintaining that naturalness that does not become abruptness, as it happens in other occasions. Star City maintain the musicality even in these more explicit situations, and that is a triumph of the tuning of these IEMS.
On the other hand, I’ve come to forget that this is a triple-driver hybrid. The BA midrange driver is very effective and natural, controlled to a great extent to generate a smooth, rich and pleasant sound, far from any metallic aspect or timbre. On the other hand, the integration between the timbres is also homogeneous, balanced and effective, maintaining a cohesive, full sound without sounding like a wall of sound, which knows how to keep its distance, both horizontally and in depth. The result is a very pleasant, crisp midrange, which is not cold or too descriptive. The Star City are not analytical IEMS, but are quite neutral in that respect, fusing naturalness, sobriety, musicality, ornamental richness, clarity and transparency in very equal terms, albeit with that more visible touch of light. There is certainly a lot of music in the Star City 5 Pro midrange.

Treble

The treble begins in slight recession to create a zone of control or rest, within a relatively excited mid-high range. This effect is smooth and generates a treble with present but restrained energy. The extension is projected and maintained in the first and second phase of the treble, before clearly fading out at 10kHz and above. This is how the Star City’s sound suffers from a certain amount of air and is a little more sparse and dry in general, with more delimited edges. On the other hand, up to that point there is a good level of energy that manages to draw a sparkling, explicit treble, with a thinness that matches reality, without sounding too crunchy or forced. Again, the sonority and timbre of the BA treble driver is well controlled and does not fall into the classic pitfalls of cheap drivers. It is explicit enough to show good definition, some edge and resolution, but without losing musicality or sounding piercing or sharp. There is brightness, energy and some power, but it never reaches treble-head territory, far from it. The result is an area that is present, which also supports the rest of the sound, but falls a little short in the air phase.

Soundstage, Separation

The scene appears relatively wide and broad, with a good sense of depth and some height. Overall, it appears more frontal, with a good lateral feel. The elements have a good relationship of closeness to each other. Macro detail is explicit to a good degree, sharing the limelight with voices and instruments, but not dominating. This creates a sense of a sound that is rich and nuanced, but not focused. In this way, the musicality predominates, while the descriptive feel of the music is heightened. Nevertheless, it is not an analytical sound, but a good synergetic balance between the two aspects is maintained.
Micro detail is intuitive and the Star City has good resolution to generate it, but in a soft way. It feels like it has a good level of resolution to interpret it, but it falls a little short when it comes to isolating it, separating it and distancing it from the rest of the layers or sounds. It is there, it is felt, but it is perceived as surrounded by other elements. However, the Star City does not give the feeling of a congested sound, it has good separation, even if it is not very apparent. There is distance between the elements, clear separation, but there is no dark space or background to it. It feels splashy and descriptive, but also musical and natural, well put together and cohesive.
The image is adequate, a medium distance is maintained, there are not many elements that are distant and this generates a feeling of fullness, both ornamental and instrumental. In this way the sound is perceived as full, complete, voluminous and full-bodied. The presence is more rounded and the provenance is not so exact or precise, due to the space occupied in the space. This is how the forms appear smooth, naturally evident, well placed in space, giving a good sense of openness, even if eminently frontal, but with enough space to distinguish many elements within.

Comparisons

7Hz Sonus

The 7Hz Sonus would be a more bass-heavy version of the Rose Star City 5 Pro and somewhat more treble-calmed. With a current price of $51, the Sonus are hybrids (1DD + 1BA) with a U-profile, excited in the sub-bass and mid-highs. With a good design and low weight, the ergonomics are good but not as perfect and comfortable as the Star City. They are larger and bulkier, while the Rose’s are smaller and have a privileged fit and adjustment. It comes with good accessories in terms of tips and a leatherette pouch. However, the Rose with its round case and textile-coated cable is superior to the flat cable of the Sonus.
The Rose are easier to move and are more sensitive. They need a little more power to match the volume of the Sonus. I have spoken highly of the Star City’s bass and its great behaviour and I corroborate this with the Sonus, whose bass is quite good. I like the bass tuning of the 7Hz, but I think that, qualitatively speaking, the Star City’s bass is better in its performance and reproduction. I would have liked to see how the Rose would have sounded with the Sonus bass tuning. It is clear that they would have less colour and would be deeper, but they would certainly be more natural as well. The Sonus’ bass is deeper and darker, something that gives it a more suitably coloured punch, while the Star City’s feel is more in the mid-bass, something that shifts it into a more coloured, slightly shifted bass, with a different timbre.
The Sonus have a clean midrange, disconnected from the bass, but also somewhat polarised. While the first half is somewhat lean, the second half of the mids is clearly boosted. Male vocals are lonelier on the Sonus. While on the Star City there is a better balance with the rest of the instruments, generating a denser sound. The Sonus sound more U-shaped, with that cleanness in the mids, but with that remoteness that generates a poorer and simpler sound. On the other hand, the Rose’s are more lush and generous, enjoyable and full. If you’re looking for mids, the Star City 5 Pro is the one for you.
The treble of the Sonus is a bit dry, while the treble of the Star City has more sparkle. Perhaps an average of the two would have been better. But the dryness of the Sonus makes their treble sound less natural, somewhat nuanced, controlled. On the other hand, the Rose’s treble has more energy and a more appropriate timbre, perhaps a little more excessive, but certainly crisper. The Sonus offers a thicker, more muted treble. Both have good extension and, subtly, there is a little more air in the 7Hz range.
The U-shaped sound of the Sonus, with its cleaner mids, creates a more vaporous soundstage. You also feel its depth and laterality with greater emphasis. Thus, the music feels wider, more volatile, gauzy and dispersed. Star City are more homogeneous, not as deep, but they are fuller, without hollows. Their soundstage is shallower, somewhat closer, also flatter, not as concave as the Sonus, but fuller and denser. There are many nuances and a more explicit ornamental richness in the Star City, while the Sonus are more sparse. Being less dense, there is more distance between elements. The Star Citys don’t sound congested, but there is more music in a smaller space, with less distance. But they manage very well to achieve a superior technical performance than the Sonus. If the 7Hz’s have good ability, finesse and speed to achieve good detail at macro and micro levels, the Rose’s gain in expressiveness, nuance, even resolution. They may not express detail in as isolated a way as the Sonus, but their sound is richer and more expansive.
The image may be more accurate at 7Hz, but also somewhat more diluted. Star Citys have more body and more obvious positioning.

Conclusion

The Star City 5 Pro are another Rose success. The brand surprises again with a very careful, balanced tuning, which seeks the fullness of the music and achieves a very rich, homogeneous, full, dense and very musical sound. From the bass to the treble, the Star Citys are designed to achieve a synergic sum. Starting from an excellently executed low end, with a lush and wide midrange, crisp and concrete highs are added to recreate a seamless sound, very well represented in all its bands. It is also technically very competent, which adds an all-rounder bonus that makes it very versatile. To round off a great value product, the design, size, ergonomics and accessories all match the music they produce. Without a doubt, the Rose Star City 5 Pro is a fully rounded IEMS and an easy recommendation for those looking for a full and balanced sound, not polarised in any particular band, but highly musical, descriptive, expressive and timbral, yet natural. Plus, they come with a cable-dongle that sounds like nothing else. What more could you ask for?

Sources Used During the Analysis

• Aune Yuki.
• Tempotec V3.
• Tempotec March III.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.