This Sea Is No Longer So Quiet

Ratings

Pros

• Great warm, dense, smooth, musical, and fun sound.
• Better micro-detail capability than it might seem.
• Surprising treble.
• Sensitive and easy to move.
• Excellent design and ergonomics, improved over the first version, and even lighter.
• Very good accessories, the modular cable is outstanding for the price.
• Now uses a 2-pin 0.78mm connection interface.

Cons

• Slightly microphonic cable.
• Perhaps lacking a little clarity and more separation.
• I prefer a zippered case like the first version instead of the Rosie figure, stickers, cleaning brush, and cloth.
• Not the fastest bass in the segment, but it doesn’t lose control.

Purchase Link

https://rosetechnics.com/products/quietsea-ii-1dd-iem

Link to the WEB

https://rosetechnics.com

Introduction

ROSESELSA has released the MK2 version of last year’s QuietSea model. Of course, these are the ROSESELSA QuietSea II, in-ear headphones with a dynamic diaphragm driver (1DD) and modular cable. Evolving from the first generation, the QuietSea II headphones feature a carbon and copper alloy dome diaphragm and silver-coated aluminum suspension, a large, premium Japanese black moving coil, a CNC-machined dual-material chamber, and a high-flux dual magnetic circuit system.
The CNC-machined chamber ensures optimal airflow and driver uniformity, minimizing distortion throughout the signal chain. The transparent window allows you to appreciate the meticulous craftsmanship from every angle.
The carbon and copper alloy dome diaphragm is lightweight and solid, enabling ultra-fast response to capture details. In addition, its rigid silver-coated aluminum edge delivers powerful bass with extremely low latency transient performance. Its sufficiently high rigidity prevents distortion caused by split vibration, allowing you to enjoy pure sound.
ORBITA acoustic architecture offers exceptional transduction efficiency, allowing you to effortlessly enjoy superior sound quality without the need for complex adjustments or high-end amplifiers.
Its OFC cable with 3.5mm/4.4mm 5N 4-wire braided module offers $150 specifications at an exceptional price. Maximized versatility and ease of use help you effortlessly enjoy uncompromising sound authenticity.
Precisely designed from three-dimensional ear canal data, QuietSea II offers ergonomically optimized curvature for perfect comfort and a solid, secure fit.
All of this is what the manufacturer’s own website says. However, there are other important details to highlight in this review, as well as describing how they sound.

Specifications

• Driver type: 10mm dynamic driver.
• Diaphragm materials: carbon and copper alloy dome and silver-coated aluminum suspension.
• Impedance: 18 Ω.
• Sensitivity: 106 dB at 1 mW.
• THD: <0.5% at 1 kHz.
• Frequency response range: 20-20,000 Hz.
• Connector type: modular (3.5mm + 4.4mm).
• Weight of a single capsule: 4.9g.
• Capsule connection type: 2-pin 0.78mm.

Packaging

ROSESELSA QuietSea II comes in a medium-sized rectangular box measuring 180x116x44mm. The front of the box features a picture of a red-haired anime girl named Rosie against a blue city backdrop. The model name is displayed in the upper right corner. On the back, the product specifications are listed at the top. At the bottom, the specifications are listed again, but in a smaller size, on a black background and in other languages. After removing the cardboard and opening the box, you can see a black sheet with the model name in the lower right corner in gold letters. Under this sheet are two sections. The section on the left is a foam base covered with shiny black cardboard that protects the two capsules. In the section on the right is the box containing the accessories and the user manual. Everything is labeled in gold lettering. At the bottom of the box is a Rosie figure to place on a stand and stickers of Rosie’s faces. The complete contents are as follows:

• Two ROSESELSA QuietSea II capsules.
• A modular cable with 3.5mm SE and 4.4mm BAL plugs and a 2-pin 0.78mm interface.
• A set of four pairs of silicone tips in sizes S, M, L, and XL.
• A set of four pairs of transparent SoundCocoon Oval Bore Liquid silicone tips in sizes SxMxLxXL.
• A user manual.
• A Rosie figurine with stand.
• A sheet of Rosie face stickers.
• A cleaning brush.
• A cleaning cloth.
• A protein leather bag.

It should be noted that the starting price for this set is $69.99. What you get for this price is extremely high value. A high-quality modular cable with a textile sleeve, two connectors, and a 5N four-wire conductor, whose performance (according to the brand itself) is valued at $150, two unique sets of four pairs of silicone tips, a cleaning brush, a cleaning cloth, a leather bag, stickers, and a Rosie figurine. Compared to the MK1 version, the cable is very similar, thicker than the initial version, but now with improved modular connectors and a much more secure 2-pin interface, in my opinion, compared to the MMCX. The first version had a very interesting zippered case, which is the only thing that is better in terms of the overall accessories. Excellent.

Construction and Design

The design of the capsules remains the same, with the major difference being the connection interface, which was previously MMCX and is now 2Pin 0.78mm. This has resulted in the outer surface of the capsules being flat. This design comes from the Ikko OH2. The QuietSea II capsule is divided into three parts: the inner side is blue (Moon Blue in this case, but you can also choose Platinum Silver) and is made of CNC-machined aluminum alloy. In addition, the capsules are lighter than in the previous model. Then there is a transparent polycarbonate center section, which covers part of the outer side. Finally, the outer face is closed off with another metal section. This section features the model name and a small slot. The transparent face allows you to see some of the cables inside. The gold-plated 2-pin 0.78 mm connection is also located on the edge. Next to it is a white letter indicating the channel. The outer face as a whole is very similar in shape to an equilateral triangle with very rounded corners. The final size is small/medium. The outer face has no unusual shape; it is quite smooth, micro-textured. The inner face is smooth and rounded, and the nozzle does not protrude very far. Almost the entire inner face is at the same level, and when it reaches the nozzle, it stretches abruptly along its entire length. On this occasion, the nozzles are rounder and have a perforated metal grid. Finally, it should be noted that there is a hole in the center of the inner face, as well as a Torx screw near the corner opposite the nozzles.
Although the cable is slightly thinner than the previous model, with the addition of the 2-pin 0.78 mm interface and the two modular plugs, it remains possibly the best cable available as standard in this price range. It is a 4-strand twisted cable protected by a blue textile layer, matching the color of the capsule. It uses a high-purity monocrystalline copper conductor made from premium 5N OCC wire cores. The jack connector housing is a smooth metal cylinder. The BAL and SE connectors are gold-plated. There is a rougher ring bearing the brand name, which is the nut that serves as the thread for the two interchangeable plugs. There is a white triangle on each part of the plug to align both parts and maintain the correct polarity of the cable. These white triangles do not match up very well, but they do the job. The cable outlet is protected by a transparent plastic sleeve. The splitter piece has a hexagonal metal sleeve with the brand logo inscribed in the center, as well as its name. Inside, there is a black plastic piece that holds the cables in place. The pin is an oval piece of black rubber. The cable has semi-rigid transparent plastic guides on the ear. The covers of the 2-pin 0.78 mm connectors are two smooth metal cylinders with a white letter indicating the channel. The connectors are gold-plated.
The design is not new, but there are some differences, such as the change from an MMCX connection interface to the better 2-pin 0.78mm. The capsules are made of aluminum alloy and are lighter, while the outer surface is smoother without the MMCX connection. The nozzles are no longer oval, and their angle and length have been subtly adjusted. The cable is modular with two 3.5mm SE and 4.4mm BAL plugs, but it is slightly thinner and has lighter and/or smaller parts. It’s still a great cable, while the capsules are lighter and have slightly more normal nozzles.

Adjustment and Ergonomics

The size of the capsules remains small/medium. The nozzles are short and round in shape. Their angle is no longer as distinctive. The result is still very ergonomic and clearly designed for shallow insertion, especially since the nozzles don’t seem as long. There are currently two types of silicone tips in four sizes, making it easier to find the best fit. But, as usual, I had to resort to my large homemade foam-filled tips to find the best fit, seal, isolation, and sound.
It seems that ROSESELSA has listened to users and opted for a round tubular nozzle to facilitate the fit and use of various silicone tips. With the reduction in the weight of the capsules and these slight but effective differences in design, the ergonomics have improved compared to the previous model.

Sound

Profile

The IEMS ROSESELSA QuietSea II has a W-shaped profile with peaks between the sub-bass and mid-bass, the upper mids, and the lowest peak located in the middle of the treble range. Overall, it is a warm, slightly dark but balanced profile, as the frequency response moves within 10dB up to 12kHz, where it drops sharply, demonstrating that its air volume is very light.
The bass range is widely represented, being an extensive range that is excited in the transition from sub-bass to mid-bass. The mids are slightly sunken in the first half and then rise with a rounded horn gain. The treble begins with an obvious drop in control that is sustained in energy and extension up to the air range, forming a smooth and nuanced high range.

Bass

As I mentioned in the previous section, the bass of the QuietSea II is broad and extensive, but also voluminous and with a notable presence. Its extension causes some bleeding and warmth towards the mids, while its speed is medium-fast and lingers slightly in the environment, with a decay that leaves a subtle residue. All of this contributes to a great sense of volume and depth, as well as a certain darkness in the tone.
In the very low frequency pure tone test, the first note feels powerful, subtly colored, with a slight undulating and vibrating character, but with a pleasant physical and sensory component. This negative character disappears just a few hertz above, revealing a more realistic and natural bass, which is composed of a forceful physical component that is also audible. At the sub-bass limit, the most canonical and realistic reproduction of the test is obtained, at the point where the energy deployment demonstrated by this model can be observed.
Without being the best performers in the test, the QuietSea II headphones prove that they are at a remarkable and comfortable point in the performance. The transposition to real music involves an extra texture that starts in the sub-bass and extends generously into the mid-bass. The bass is forceful, with plenty of energy and a volume that gives it a slightly longer decay. However, the bass is perceived as quite compact, round, well-defined, and under control. This is evident in the test of dirty, complex, and unfiltered bass. The slight vibratory/undulating character adds a clear component of texture and pleasant roughness in the dirtiest and most abrupt passages, without any loss of control or excessive and misplaced excitement. In the deepest and most complex lines, a muscular and dark bass is perceived, demonstrating its power along with good execution. When layering bass, this slightly slower decay is noticeable. It is capable of following the lines without really mixing them, but it is on the verge of representing a certain overlap. It is clear that it has good precision, but no more than that, and a high energy content to maintain. Despite everything, the bass is quite solid, works well, resolves complex situations without generating aberrations, and is moderately decisive, effective, and precise. A remarkable, powerful, and physical bass.

Mids

The transition from bass to midrange retains some bass extension, which adds a clear element of body and warmth to the early stages of the midrange. Unfortunately, in my opinion, the midrange is overly attenuated to relax and control some muddiness and bleed through the trap of a V-shaped profile in this area. Thus, the low mids have a good foundation, somewhat dark, with a medium thickness that demonstrates physicality from the outset, but which fades as the frequencies increase. The promising initial presence fades into a relaxed midrange that does not produce sibilance or shrillness. The notes are round, smooth, and warm, without a hint of excessive analytical or informative components. The calm nature of the mids is also reflected in the more excited second half, whose pinna gain is evident in the graph but restrained in the sound, thanks to the tuning one step below the highs.
On many occasions, the midrange is perceived as deep, powerful, and corporeal. The deepest and richest male voices stand out, displaying a warm, richer, and more exuberant approach in the initial range.
The second half of the midrange is gently excited, although the warmer and slightly darker color of the entire sound persists. Thus, female voices sound closer, but at no point do they become too present or sharp. Their base remains substantial and physically grounded, but they seem to have a wider range without the upper harmonics being very prominent.
Thanks to its physical component, the instrumentation is perceived as quite full, dense, and busy. It is a cohesive and present instrumental sound, with a tendency to sound like a wall of sound. However, the separation between the elements is not the most transparent and the notes are not very defined. Nevertheless, at no point is it perceived as poor in resolution, but rather it is efficient enough to offer a warm, rich, exuberant, and musical sound within its price range.

Treble

Surprising high range. Although the treble seems to be a step below in terms of energy, its sound and brightness are quite natural, realistic, and pleasant. I think the amount of extension and the level of energy are very well balanced to achieve a less predominant presence of high notes in the overall sound. However, the driver generates a sparkle bright enough to prevent the notes from sounding forcedly nuanced and rounded. It is a slight crackle, slightly bubbly and a soft glitter of fine glitter. It has a touch of delicacy and more extension than it seems, something that is noticeable in songs with a lot of treble. However, the range always feels secure and smooth, never piercing or suffocating, although more delicate and refined than one might expect from the graph. Without a doubt, this is a good expressive and tonal performance that exemplifies the quality of the driver in this range, as it avoids the overly rounded and nuanced representations of other dynamic IEMS, in which the treble feels more flattened and flat, rather than slightly incisive and energetic, as in this case.

Soundstage, Separation

The soundstage is moderately wide, oval-shaped, with a good sense of volume and depth. The height is good and there is a slight surrounding impression that does not quite surround the head, but reaches a level of laterality of almost more than 180 degrees.
Despite the density of the sound, the presentation of the elements is clean. The cohesive and full impression does not prevent a pleasant sense of separation, without the background being the most discernible or dark. Macro detail is displayed easily, effortlessly, and never feels forced by the tuning. On the other hand, the micro detail is more than incipient, and I was extremely surprised that I was able to distinguish it in my test songs with greater clarity than expected. Good work despite the warm, dense sound.
Without being the fastest driver, the stratification is good, with average transitions, but sufficient to allow subtle visibility of the micro detail.
The resolution level is not stellar, nor is it an expansive sound where the elements shoot off in your head. It is a more settled sound, a little more subdued and compact. The flashes are subtle and the elements are simply positioned, well placed, not mixed, but with a relative average distance between them.
Despite the warmth, the sound is more transparent and open than expected, and when the song requires it, it is capable of unfolding with more grace, realism, and naturalness, enough to comfortably abandon the impression of an intimate or small stage.

Comparisons

Simgot EW300 Gold

For those who may think that the QuietSea II’s profile is somewhat unusual, I will demonstrate that this is not the case. It may seem that the abrupt transition from the upper midrange to the treble is somewhat strange. However, it is only different from others, although similar in essence, and it is not something that is particularly noticeable. The successful Simgot EW300 with its Gold filter has a very similar profile, almost identical from 1kHz onwards, only less bloated in the bass.
The starting price is the same, $69.99. But the EW300s are triple driver models with 1 dynamic driver + 1 planar magnetic driver + 1 piezoelectric ceramic driver. They are made of high-density alloy using CNC technology and come with two pairs of tuning nozzles to modify the sound. The weight per capsule is slightly higher than that of the QuietSea II. In terms of accessories, there is a single set of silicone tips, foam tips, and washers for the nozzles, the brand’s classic zippered case, and an acceptable high-purity silver-plated OFC cable.
The design is quite good on the Simgots and they are very ergonomic. I prefer the design of the QuietSea II, but I think the EW300s are more durable. While the ergonomics are very similar, the size is similar, and only the lighter weight and flatter shape give the QuietSea II an edge over the EW300. In terms of accessories, the EW300’s mouthpieces are a plus, but only the case is better. The QuietSea II has a better cable, as well as being modular, plus more silicone tips and other accessories.
The QuietSea II are more sensitive than the EW300, with the same voltage you get more volume and higher sound pressure. The bass is tighter, drier, and more compact in the EW300, while the bass in the QuietSea II is more extensive, forceful, punchy, elastic, powerful, and voluminous. Those who want a technical, faster, more concise, and effective bass will choose the EW300, but if you are looking for more muscle, more punch, more depth, and darkness, the QuietSea II is the right choice.
In the very low frequency pure tone test, there is a very similar sound performance, with little difference in the timbre generated. It is darker and more natural in the QuietSea II, as well as being more physical and demonstrating more sensory components in the lower frequencies, but its vibratory/wave behavior is slightly more noticeable. The advantage of the EW300 in this regard is its lower elasticity, slightly higher speed, and more technical behavior. The greater physical component and darkness give it a greater sense of depth, energy, and volume.
Both performed well in the dirty, complex, unfiltered bass test. But there is an advantage in the performance of the EW300s: they offer a greater sense of control, dryness, and technical skill over the QuietSea IIs, which at times could be on a knife edge.
The mids on the QuietSea II are clearly warmer than on the EW300, which has more light and more transparent and clear mids. The bass range gives the QuietSea II a touch of haze and darkness, while the EW300 also seems more technical in the midrange, with a feeling of greater resolution, precision, and focus. The QuietSea II is denser, fuller, and more physical in the first half of the midrange. That’s where much of its charm lies, and it’s something I like. The presentation is thicker, but also richer, more emotional, and more exuberant, while the EW300 is drier and thinner.
In the upper midrange, the EW300s offer a sense of thinness with sharper, more isolated notes, while providing superior expressiveness and information, but also a colder, more analytical, and distant character, an environment in which I greatly miss the denser, fuller, and richer feel of the QuietSea IIs. I feel that the EW300 lacks some pressure and has too much detail and brightness. The more relaxed, musical, immersive, voluminous, and warm sound fills my ears in a more satisfying and enjoyable way for my personal taste.
In the high frequencies, there is a bit more energy in the EW300s, with slightly finer notes and a somewhat brighter, but also different, slightly more metallic timbre. The QuietSea IIs have a similar tuning, but are a little more muted and have a more dynamic, less crisp timbre. The range is very similar, as can be seen in the graph.
Both have a very good level of micro detail, and the QuietSea II’s ability is surprising, even though the more prominent and predominant bass can give a feeling of congestion in the sound. In my test songs, the micro detail is at the same level, except that the macro detail is more evident in the EW300 because it has finer, more separated notes and offers a greater sense of light and transparency.
The soundstage of the EW300 is more oval, with a little more height and a gaseous feel. While the QuietSea II has more depth, it feels flatter. But the impression of density offers a fuller, more complex, richer soundstage, with a more surrounding sense of volume, despite the feeling of proximity it also offers.

Conclusion

ROSESELSA certainly knows how to listen to its users. They asked for a two-pin connection interface, and the QuietSea II has it. Oval nozzles could be uncomfortable, so the QuietSea II has been designed with round nozzles to improve ergonomics. In addition, the weight of the capsules has been reduced to make them more comfortable. But one of the most important things is that changes have also been made to the tuning to appeal to a wider audience. And, in my opinion, they have succeeded. I think ROSESELSA’s tuning always has something special about it. In this case, the brand has tuned the QuietSea II to be warmer, more balanced, denser, more musical, and with a smooth but striking character in the high frequencies, a controversial point in some of the brand’s models. The result reinforces the collaborative and assertive character of the brand, thanks to one of the best modular cables and silicone tips in the price segment, as well as other valuable accessories (although it is a pity that it does not include the zippered case of the first version and instead includes the synthetic leather bag of this new model). In my opinion, the ROSESELSA QuietSea II is a complete option to consider for all these reasons, based on its great design and the evolution of its tuning towards a more fun, pleasant, and enjoyable sound across all bands.

Sources Used During the Analysis

• NiceHCK Octave.
• iFi GO bar Kensei.
• EPZ TP50.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602 + ifi ZEN CAN 3.
• Tempotec MARCH V.
• Tempotec V3 Blaze.