Rose Technics QT-9 MK2S

INTRODUCTION​

Those who have been following the Chi-Fi scene for a while would surely have come across Rose as a brand, and their penchant of cramming sizeable amount of drivers in an inconspicuously tiny shell.

The Rose QT9 MK2S is no different, and they sport a 1DD + 4BA configuration in a shell that’s small enough to sleep while wearing. In terms of driver config, Rose Technics competes well with the peers, but that alone does not ensure success in this cut-throat market.

Let’s see if the QT9 MK2S can carve a spot for themselves in the hyper-competitive mid-range IEM space.

Note: the ratings given will be subjective to the price tier. Rose Technics was kind enough to send me the QT9 Mk2s for evaluation.

Sources used: Sony NW-A55, Questyle CMA-400i
Price, while reviewed: $250.

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PHYSICAL THINGS AND USABILITY​

PACKAGING AND ACCESSORIES​

Rose supplies two hard-shell cases in the QT9 mk2S packaging, with one containing accessories and the other containing the IEMs and the cable. The packaging itself is fairly minimal and compact.




Supplied accessories include: 4 pair of silicone tips including 1 pair of double-flange tips, 1 mmcx removal tool, extra nozzle filters, and a quarter-inch adapter.

The cable has a fabric sheath and 6N OCC copper core. Not the best in terms of ergonomics, but at least the core config with 6N OCC copper seems nice on paper.

BUILD QUALITY​

Rose went for a pseudo-custom fit design with the QT9 MK2S.

The transparent resin-shell has a metal faceplate with Rose logo on it. There are three vents in total. One vent near the mmcx connector, and two more vents underneath the Rose logo on the faceplate. This heavily vented design allows the dynamic driver to move more air than a sealed design.



The mmcx connectors are fairly robust, though the IEMs would spin if rotated with some pressure. I did not notice any rattling or looseness in connection. The resin shell is also free from bubbles and noticeable imperfections, though I have seen better finishes on more expensive IEMs.

COMFORT, ISOLATION, AND FIT​

The low-profile is perfect for those who like to sleep wearing their IEMs, though that is something I do not recommend for safety reasons. The IEMs can be too small for large ears though, so you may have trouble finding a good seal if your ear-canals are large.

SOURCE AND EARTIPS​

Most of the review was completed while pairing with the Questyle CMA-400i. Sony NW-A55 was used when listening to the QT9 MK2S on the go, alongside the stock cable and Spinfit W1 tips.

DRIVER SETUP​

Rose combined a 10mm dynamic driver with Knowles FK30018 and FK30019 dual-BA drivers. The BAs have Knowles dampers within the internal tubing, so kudos to Rose for properly implementing these BA drivers.

The dynamic driver also has over 1Tesla of magnetic flux density, which basically translates to better sense of bass slam and impact (when tuned as such).

TONALITY AND TECHNICALITIES​

The general sound signature of the QT9 MK2S can be described as mildly V-shaped, with thinned out lower-mids, boosted sub-bass, and extra focus on upper-mids and lower-treble.



The thin lower-mids get slightly veiled by the decaying sub-bass notes, making this the weakest spot of the QT9 MK2S’ tuning. The bass itself has nice body and rumble, and should satisfy those who need extra bass “oomph”. Mid-bass texture is somewhat lacking, but makes up for that with noticeable punch.

The upper-mids are mostly within control, though the subsequent 6kHz peak makes them sound strained in higher-pitched vocals, especially in tracks with less-than-ideal mastering. The lower treble peak also caused some fatigue for me in long listening sessions, as I am particularly sensitive to that region. Your mileage may vary.

Upper treble is characterized by a small bump near 13kHz and later some more emphasis near 15kHz. Not the most airy-sounding IEMs in this price bracket, but cymbal hits resonate longer than on IEMs with poor extension.

Imaging was precise for the most part, though lateral imaging left something to be desired. Stage width and depth was above-average, but falls behind category leaders.

Macrodynamic punch was good, while microdynamics were about average. General resolution is somewhat hampered by that clouded lower-mids, but in energetic tracks you can pick out most of the subtleties in the recording.

SELECT COMPARISONS​

The Moondrop Blessing2 costs slightly more than the QT9 MK2S and comes with a similar 1DD + 4BA config. Moondrop opts for a paper-cone diaphragm vs the LCP diaphragm on the Rose IEMs.

In terms of build, the Blessing2 is “chunky” and can cause fit issues and discomfort for those with smaller ears, whereas the Rose will cater well to those with small ears. I’d say both have similar build quality. Moondrop has a more elaborate internal structure with the Blessing2, while Rose went for a simpler venting mechanism for the dynamic driver.

In terms of sound, bass is nimbler on the Blessing2 with less impact and sense of rumble. QT9 MK2S give a more palpable sense of rumble with better slam. Lower-midrange is thin on the Blessing2 as well, but doesn’t get as clouded as the QT9 MK2S due to more conservative sub-bass boost.

Upper-mids are even more prominent on the Blessing2 and brings vocals a lot closer to the listener. Fortunately, shoutiness is mostly avoided barring the most intense of high-pitched vocals. Lower-treble is where the differences become more apparent again, with the QT9 MK2S having less sparkle in treble due to the dip between 4-5kHz.

Upper-treble is somewhat reserved on both, but I think the QT9 MK2S slightly edges out the Blessing2 here. Staging is slightly wider and deeper on the QT9 MK2S, while the Blessing2 have more precise imaging with accurate positional cues. General resolution is also better on the Blessing2.

For the extra bucks, Blessing2 indeed out-resolve the QT9 MK2S. The Rose IEMs strike back with a more physical bass response and more comfortable fit. If you find the fit of the Blessing2 an issue and need a more robust bass response, the QT9 MK2S are viable alternatives.

CONCLUDING REMARKS​

Rose QT9 MK2S is a decent offering and doesn't sound outright wrong. However, the treble tuning may be a miss for those with extreme sensitivity in that region, and the fit might be challenging for those with larger ears. Other than those – you get one of the smallest 5-driver hybrid IEMs with good bass and generally competitive resolving capabilities.

In the larger scheme of things, the lack of marketing and Rose’s relative silence in recent years might be a bigger challenge, as new IEMs come up almost every other week and it’s difficult to filter out that noise for potential buyers. That being said, the QT9 MK2S is a nice reboot for Rose as a brand, and I look forward to their future releases that address the minor niggles.

Introduction

Rose Technics is not a new or unknown brand to any earbud or IEMS enthusiast. Hailing from China, their models are often of premium value and proven audiophile quality. Their Earbuds are among the best and their IEMS are also appreciated. It's clear that Rose Technics innovates in all its models, aiming for the best sound quality at the best price. But this sound has to be paid for. Still, Rose Technics is not a fully "visible" brand. It's not easy to find much information about it, apart from its models. But that seems to have changed with this latest product. It seems that Rose has started a campaign to make their new IEMS Rose QT9 MK2s visible and it seems to have paid off. Just as there are only a few reviews of their previous model (QT9 MK2), including one of mine, there are now many more reviews to establish a better idea of its quality. But back to the model of the present review, the QT9 MK2s are a revision with an "s" added to its name. According to the brand's own statement: "The QT series is the unified prefix of Rose Technics' DD and BA hybrid headphones and the oldest series. Since 2014, the QT Series has been upgraded from QT5 to QT9. As the most competitive product in this series, QT9 has been upgraded for three generations and renamed as QT9 MK2s, which has been greatly improved in tuning maturity, quality and craftsmanship." Actually, externally, the capsules are the same as the QT9 MK2 model. Both my models are blue and differ only in the cable. Internally "QT9 adopts Sony's latest Tesla technology 10mm liquid crystal diaphragm DD unit configuration, plus 2BA for the midrange and 2BA dedicated to the high frequencies, which has been personally tuned by a former Fostex engineer". The previous model used a 10mm Goertek tungsten alloy film dynamic driver, plus 2 balanced armatures TWF30018 + 2 balanced armatures TWF30019. The new model uses the same BA drivers and only the DD driver has changed, plus the cable. Will that be enough to improve the sound of the previous model? All that and more, we will see in this review.



Specifications

• Driver type: 10mm DD Tesla driver with state-of-the-art Sony liquid crystal diaphragm (HD Nano material). 2 balanced armatures TWF30018 (midrange) + 2 balanced armatures TWF30019 (treble).
• Frequency Response: 8Hz-44600Hz
• Sensitivity: 108dB
• Impedance: 12Ω
• Jack Connector: 3.5mm SE
• Capsule Connection Type: MMCX
• Capsule Material. Plexiglass with outer panels made of aviation aluminium alloy.
• Cable Material: OCC
• Cable Length: 1.2m.
• Weight: 30g

Packaging

The Rose QT9 MK2s come in a narrow, medium-sized blue box. Actually, it's not a usual box or packaging. On the main side there is what could be a 9, consisting of a circle and a curved segment underneath on the right side. It's as if it were an incomplete 9. The inside of the circle is lighter. Underneath is the brand logo and the name, all in white lettering. On the back side everything is written in Chinese, supposed to be the product description and specifications. After sliding this outer cardboard, two black boxes appear, wrapped in another black cardboard with the brand logo inscribed and an indication, in gold, of their contents. The boxes are two flat cases, like a flattened spectacle case. They have the Rose logo inscribed on the front. The previous model already used one of these cases. In one are all the accessories, in the other the cable and the capsules. Each capsule is inside a zip pouch, but connected to the cable. In short, the complete contents are as follows:

• The two QT9 MK2s capsules.
• 1 OCC 5N cable with coaxial shielding structure, PET insulating layer and Teflon insulating layer.
• 1 set of white silicone tips size SxMxL.
• 1 pair of foam tips.
• 1 pair of double flange silicone tips.
• 1 adapter to 6.3mm plug.
• 4 pairs of protective grids for the mouthpieces.
• 1 pair of tweezers to help dismantle the cable.
• 1 quality control card.
• 1 manual card.

The tips come in a small case and are very well stored. Although there are three different sets of tips, I find the number of silicone tips too few and that the double flange tips only come in one size. The other unusual accessories, such as the tweezers, the plug and, above all, the grids, are fine. But I would have preferred more tips instead of these products. Another thing is the cases, although they are lined with a velvet-like material, they are very flat and it's not easy to store the IEMS inside them, although their dimensions are relatively large. As protection it's very good, because it's rigid, but I find it impractical.
Overall, distinctive packaging, but not very successful.



Construction and Design

Externally, everything is the same as the QT9 MK2 model. The construction of the capsules is characterised by their small size and their completely transparent inner side. It's made of a polymeric material, similar to acrylic, which is able to withstand drops of up to 10 metres without being damaged. It's called PMMA and is a type of plexiglass. Despite this proven resistance, the material is highly transparent and its very low weight seems to give a false sense of fragility, which is not at all consistent with reality. The outer face is made of aviation aluminium alloy, is opaque blue and can be chosen in three colours, blue, grey and green. The word "Rose" is written in white letters, in a font that simulates handwriting, in ligature type.
I insist again on the small size of the capsules: the largest width of the external face is no more than 20mm and the thickness, measured at the foot of the mouthpieces, is less than 12mm. This gives a good idea of the small size of the capsules, especially when there is a 10mm dynamic driver protected by a metal grille and 4 BA drivers inside. The dynamic driver is in the centre of the capsule and the 4 BA drivers are next to it, but oriented towards the mouthpiece, but not in it. The 10mm dynamic driver has a Tesla magnet, with a state-of-the-art Sony liquid crystal diaphragm (HD Nano material). The BA drivers are paired: 2 TWF30018 and 2 TWF30019. Being paired means that they are linked by a single board with a single output. Coupled to this output, this time there is no channel leading the sound out of the mouthpiece. It seems that the channel is wider and unique for the two groups of drivers, so that the sound is already mixed in the neck of the mouthpiece, together with the sound produced by the Dynamic Driver. The mouthpiece, measured from the base, is just over 6mm. The neck of the mouthpiece is approximately 4.5mm in diameter. The crown is 2mm thick, with a diameter of 5.6mm. Its interior is protected by a metal grid with very small holes. Inside the neck of the mouthpiece there is a small metal pipe.
Below the drivers, near the outer plate of the capsule, some discrete components can be seen: some resistors and what appear to be capacitors. You can also see a multiwire foil, which connects these components to the BA drivers, and other wires connecting the MMCX input to these components and the MMCX input to the DD driver. Thus, I would say that the divider filter is passive and only connected to the BA drivers, although this is the feeling I get, as far as I can see through the capsule. Continuing with your description, on the edge, next to the MMCX connector, there is a hole. You can also see two other holes on the opposite edge, on the vertical of the nozzles. As you can see, everything is very similar to the previous model.
The cable is different, covered in textile fabric, with a 3.5mm gold-plated 3.5mm plug, at a 90° angle, very classic. It consists of two intertwined strands, one for each channel. The splitter piece is a black cylinder and the pin is a small, hollow, black cylinder. There are over-ear guides, consisting of a semi-rigid plastic sleeve. The MMCX connectors are gold-plated and have a black cylindrical sleeve tapering at the edge, made of black plastic material. The lettering of each channel is inscribed on them, but they are difficult to read. Inside, the cable consists of OCC 5N, with a coaxial shield structure, an insulating layer of PET, an outer OCC shield and another layer of insulating Teflon. It cannot be chosen with a balanced plug and that's a pity because the cable doesn't look bad and fits the sound of the IEMS.
On the other hand, the capsule stands out for its small size and although it may seem otherwise, it's robust, very well built, as the assembly of both sides is perfect, with no debris. It also stands out for its light weight. What I don't like so much is that they are completely the same as the previous model.



Adjustment and Ergonomics

The capsules are small and the mouthpieces are short and with an inclination that can be tricky. In my case, the fit of the capsules in the pinna is very good. They fit very well in my ears, resting remarkably well inside. The tips have a medium length, but the insertion is rather shallow. With longer silicone tips or a bi-flange model, the insertion could be medium. Be that as it may, the ergonomics, without being the best due to their simplicity, are very effective and, together with the small size, light weight and good fit, the Rose QT9 MK2 are perfect for long listening, for everyday use, even for walking, running or other moderate activity.
I understand that tips can be tricky. I am fortunate that in most cases I use my large, home-made foam-filled tips. With them the fit is shallow, but the large size of the tips used and the foam filling create a very occlusive fit that promotes both isolation and the best possible sound, achieving a large low area, without losing any detail, thanks to the very wide core of the tips. I understand that the fit and ergonomics may be critical for other users, but for me t's excellent and the capsules barely protrude from my ears, which is a great integration.



Sound

Profile

The profile is still a smooth and balanced "w", but even smoother than the previous model. The bass has been moderated, as has the unevenness in the high mids and highs. It is as if all the bands have undergone refinement in order to achieve a more homogeneous profile. And, indeed, that is the result. The bass has lost its visceral power, the high-mids are more balanced and, despite the smoothing, stand out a notch higher, thanks to the lowering of the low end. The treble is also slightly more weighted and gains in extension. In short, this new version of the Rose QT9 MK2s aims to be more audiophile-friendly, and it succeeds. On the other hand, it should be noted that their technical capabilities are even superior to those of the previous model.



Bass

What I mentioned in the previous section, about the technical capabilities of this new model, is something that is noticeable from the low end. Although the MK2s do not have the energetic kick of the previous version, they have a bass that does not go unnoticed. But I must point out that the full perception of the bass in this model has a lot to do with the adjustment achieved and the tips chosen. I insist that my morphology and my homemade foam-filled tips fit perfectly with the QT9 MK2s and produce what I think is the best sound they can provide. And this is an authoritative bass, but more controlled, not so devastating. In the previous model their power was on the edge, at the limit, it seemed as if such a small capsule couldn't hold such power, giving the feeling that, at some point or another, the sound was going to crack. In this current model, that extreme sensation has disappeared in favour of a much more controlled and agile one. The lower range has replaced that power with quality, speed, agility and restraint. It's a tweak that takes away that power peak, but still respects the precise curve of the initial model. In this sense, the tuning remains focused on the sub-bass and possesses a slight dip towards the mids. This generates a clean and quick transition, with a very brief sustain and a taste that disappears quickly. In my opinion, the bass has been perfected. It has lost that point of fun, that addictive viscerality, but it has gained in technique and balance. I still enjoy electronic music but in a different way, now everything is more musical and the fact of reducing the incidence of bass opens a door in the rest of the bands.
The sonority of the low end is not the most sensory or deep, but it does have a timbre that I consider very close to reality. The pure tone test gives a natural result, with the ultra LFOs being almost inaudible, but enjoying that physical sensation that their presence denotes. The 40Hz kick is continuous and powerful, yet agile and smooth on the surface, attesting to the realism of which I speak. The roughness and texture is not one of the most pronounced, due to the speed of the bass reducing this sensation, but it has a good distinctive trace and is remarkably descriptive. As it's technically a very good bass, its ability to recreate bass lines is excellent, the speed and agility of which I speak so much allows it to generate planes and structures with naturalness and speed, without mixing or muddiness at any point. Bass doesn't swamp the scene and is kept in check, it's very capable of discerning magmatic bass and defining it with quality and remarkable resolving power. In my opinion, this is an excellent low end, very enjoyable and most importantly, it's clean and very respectful of the rest of the fringes. Very big.



Mids

The transition from bass to midrange is clean and the dB range in which it moves is narrow. This denotes a great homogeneity in the tuning, which does not break down in the mid-highs, because its curve is refined and balanced. I like the fact that the final zone of the mids has been corrected and aligned, not only for aesthetic reasons, but also because it implies that there has been a refinement in its tuning, looking for a coherence that is reflected in the sound. Now, the female voices are even more credible and achieve a superior body. There is no longer that bass that overlaps in presence, now they are more protagonists. More importantly, they are very natural. If already in the previous model, the BA timbre was not very pronounced, now, with a more accurate, tight and natural tuning, it's still an improvement in this aspect. Actually, I find the reproduction of the vocals very neutral and when I say this I mean that it matches the music as it was recorded. This is high fidelity and I think the tuning of the QT9 MK2s fits my audiometry like a very precise negative. This might not be true for other people, but every ear has its curve and, in this case, these IEMS make me enjoy everything I hear. In this sense, I am not biased. If I already liked the previous model a lot, this new model has lost that visceral bass so attractive. Now it has gained the mid-range I'm looking for. It's true that I miss a bit more body in the male voices, but the female voices have a full success. The MK2s are a clear example of how a high-mid range should be excited to be clear, vivid, transparent, luminous, but without losing neutrality, without being angry, nervous, agitated or too projected. I always comment that high mids tend to be raised high as a way of gaining definition and clarity in an ensemble that lacks the technical ability to support its quality. There is no need for any of that here. There is a little excitement, I won't hide it, but it's just right, it has that sweet spot and there is also a playfulness in the treble that helps to avoid unwanted sibilance. It's true that Rose here, and on the previous model, has used a "kick to follow" trick by dodging that problem in the mids and sending it into the treble, but we'll talk about that later.
Perhaps, because of my preference for analytical profiles, I don't feel that the QT9 MK2s are very analytical. In this sense, I prefer to retain the first impression. And at the time I did notice it. Although they didn't have the right burning. Now I even like to pair them with cooler sources to get the best out of their BA drivers. And this is the other great asset of the MK2s, their neutrality in this range is supported by very good technical capabilities. With this you get great dynamics, try your best recordings and almost all details and instruments will be there and this is very good for a set of this price. The mids are accurate and of great resolution. It is not a totally crystal clear presentation, even in that there is neutrality. You can't criticise the MK2s for being overly analytical, they are critical, but they do their job. And I like that job, I think it's easier to create a warm sound than to look for realism in an analytical aspect. Here, that more analytical side has been mixed with neutrality, creating this great sound in the mid-range.



Treble

The treble starts with a control drop, as is usual for many V-models. Only here it may start earlier and its lower point may not be as abrupt or deep. Clearly, this trick seeks to balance a sound that could become bright, given the nature of its BA drivers. In principle, it succeeds in doing so, but it also manages to make the sound a point drier. This prevents the projection of the high notes from being greater. It is clear that the tuning still aims to be tight in that dB range and succeeds in doing so. Compared to the previous model, the control valley seems a little deeper, but the peaks are smoother. In addition, better extension and more air has been achieved. All this has been done with care, because the fact that the lower area is lighter, could contribute to a high treble boost. However, the tuner has taken this into account and has managed to maintain smoothness and balance throughout the range. In this way, I distinguish fine and subtle trebles, delicate and limited in their sparkle, with a brilliance characterised by technique, speed and short duration. The first part possesses that dryness and at that point the extension is nuanced. In the second half a greater openness is felt and the initial loss of sparkle is compensated for, although the range is not fully corrected. Thus, the timbre of the upper range can sound a little sterile because of this omission. But nevertheless, the result is still coherent with the rest of the sound, maintaining balance, homogeneity and finding a pleasant and secure musicality for long hours of listening.
On a technical level, the treble BA drivers do a good job, being disciplined, descriptive, tight, fast and accurate. They do not extend beyond the threshold and have a great resolution that provides remarkable detail.
The amount of air, although superior, is still not excellent.



Soundstage, Separation

It's still surprising how so much stage can fit into such a small enclosure. But the tuning of this model has lost a few points in this area. Now, the sound is not so deep, the containment of the bass makes the projection of the music not so elongated. At the same time, the closer approach of the voices, especially the female ones, brings the scene closer to the listener, contributing to this compression of the music on the longitudinal plane. Laterality is still very good, as is the stereophonic feel. There is noticeable height, but I perceive frontality in the stage recreation and less volatility. The more realistic, well-exposed and disciplined sound allows for precise placement of the elements, but there is not enough air or gas to generate a more three-dimensional sensation, which achieves a more holographic representation of the sound. In this way, I envision an oval, clean and crisp soundstage, with a remarkable level of transparency and an equal sense of separation. The technical qualities are outstanding and the drivers are very competent in terms of accuracy, speed, retrieval, resolution and detail. But I find that the tuning limits the exposure of some micro-detail and subtle nuances that I do hear in other models of equal or superior quality. Even so, it's still a pleasure to see the abilities of this small model, both in simple and very complex passages, maintaining the ability to show the music with great skill, structure and musical generation. Something that makes them great IEMS for monitoring, as well as enjoying the music.



Comparisons

Yanyin Aladdin

One of the great IEMS that can be obtained for a price equal to the QT9 MK2s are the Yanyin Aladdin. A really good model that is a reference in its price range. With a DD driver and 3 BA drivers, the Aladdin is bigger, bulkier and heavier. They have a semi-custom shape. Compared to them, the Rose is like a toy, being smaller and lighter. The ergonomics are more classic on the Yanyin and more critical on the Rose. But personally, the Rose fits me better.
In terms of accessories, the Yanyin does not live up to its price. The Rose is a little better, but it doesn't reach the level of a Dunu Falcon Pro either, a model that makes them both pale in terms of presentation and accessories.
When it comes to the essentials, which is the sound, my opinion is very divided. There are songs I prefer to listen to with the Aladdin and others where I prefer the Rose.
The Yanyins are somewhat warmer, that higher sub-bass level is noticeable in the ambience, generating a denser and also deeper sound. The low end is more sensory, the bass is lower and the LFOs are more physical. Meanwhile, the Rose delivers bass with a bit more colour, with a little less body, but with a good kick. On a qualitative level both are very good, perhaps the Rose is more disciplined and technical, but the darker colour and more suitable for the bass, makes me choose the Yanyin.
The valley in the Aladdin's mids is smaller and smoother. That means a fuller, lusher midrange. I appreciate more physicality in the Aladdin in that first half of the midrange, but also a softer, subtly less luminous sound than in the Rose. I would also say that the Yanyin is more musical and organic. The greater coolness of the QT9 MK2s is apparent, being more delicate and with a balance somewhat more tilted towards the mid-highs and early treble. This makes for more brightness and some compositions veer from one side to the other depending on their concentration. Music that requires warmth will sound better on the Yanyin, while more technical or bright music will benefit from the Rose. It's not that the Yanyin doesn't have detail or good technicality, it's just that the Rose is more delicate and finer in this respect.
In the upper range, the mid-high projection of the Rose is noticeable, but both have similar treble tuning. The lighter, less dense sound of the Rose contributes to a higher perception of treble and detail. It's that coolness and finesse that avoids being more musical, but is also more critical. The Yanyin is softer and that mantle hinders the slightest nuances from coming through more easily.
There is better separation in the Rose because its notes are thinner, but the scenery is deeper in the Aladdin. It's a different recreation. The Rose is more splashy, this creates a more detailed and wider scene frontally. But the Aladdin has more body, more mass, but less height. Different perception of the scene, but very even overall in both models.
In the end, it comes down to which tuning you prefer. A softer, warmer, more musical, more physical, but also more detailed tuning, with a deeper and more powerful sub-bass. Or a tuning that is cleaner, transparent, balanced, neutral, more analytical, somewhat brighter, more light and exposed, with finer and more delicate details and notes. It's a matter of taste.



Conclusion

I represent my grades with stripes on my blog and on Head-fi.org with stars. This is an internal struggle to try to be consistent in all my ratings. But there are times when neither stars nor stripes are able to define the quality of the product or, rather, how I feel about them. In the case of the previous model, it was one of the few models I rated with 5 stars. Now, I find that this model also lives up to that rating, because, frankly, I think they are superior to those in some respects. The problem is that between the previous model and this one, other IEMS have come on the market that are very good and I have been lucky enough to review them. What should I do? Well, rate the QT9 MK2s against the best IEMS and that means that, this time, they don't reach the top score.
The Rose QT9 MK2s are a successful revision of the previous model. Externally everything is the same, so any issues with ergonomics or construction have not improved. The dynamic driver has changed and the tuning has been refined. In the quest for a more homogeneous and balanced profile, Rose has polished some details to find neutrality, a more analytical and refined feel. And while it's not a big change, the improvements work. Bass has been attenuated, mid-highs have been smoothed and treble has been extended. All in a subtle but effective way. The result is not a drastic change, but a quest to perfect a product that was already good, but is now technically superior, more homogeneous, balanced and equilibrated. It's true that it has lost that serious visceral feel of the previous model, in favour of a faster and more agile one. But I still think the low end is very good. However, the mids have become more prominent and there is more light across the spectrum. The mix of a more analytical character gives a richer, more delicate, yet detailed sound. A great success.



Sources Used During the Analysis

• S.M.S.L Sanskrit 10th MKII + iFi ZEN CAN.
• Hidizs AP80 PRO-X.
• HiBy R3 Pro.
• Earmen Colibri.
• Earmen Sparrow.
• xDuoo Link2 BAL.
• Tempotec V1-A + Hidizs DH80S.
• Tempotec Sonata E44.
• Hidizs S9 Pro.

Ratings

• Construction and Design: 85
• Adjustment/Ergonomics: 90
• Accessories: 70
• Bass: 90
• Mids: 92
• Treble: 85
• Separation: 92
• Soundstage: 90
• Quality/Price: 91

Purchase Link



You can read the full review in Spanish here

Full Review: https://www.mobileaudiophile.com/rose-technics-qt-9-mk2s-review/

The Rose Technics QT-9 Mk2s ($249) was a complete blind buy for me. This audio company has done well in the past and so this set intrigued me. Every now and again I’ll throw caution to the wind and hit the “Buy Now” button. OK that may be a bit dramatic but for a $250 iem, a blind buy can be a bit risky. I don’t have all the money in the world and so when I do purchase stuff, I have an idea I will enjoy it. Good thing for myself I wasn’t dissatisfied at all.

The QT-9 Mk2s is the 3rd installment into the QT line created by the good people at Rose Technics Co. I had briefly heard the last set (QT-9) but this is the one (QT-9 Mk2s) which sparked my interest. The reason being, I was able to get this set on sale for about $200 and I know that Rose Technics puts a lot of time and thought into what they put out in the iem’verse.

So, the story goes that Rose Technics apparently employed an Ex-Fostex sound engineer to take on this line of iems. Forgive me if anything is not perfectly correct here. All of my knowledge here comes through the grapevine. Anyways, I was told that he and his team took a solid year developing the QT-9 Mk2s to sound exactly as they wanted it. Word is this engineer did all he could to replicate the sound of higher tier and pricier iems. Who knows what exactly that means, I suppose the dude did all he could over the period of a solid year to make this hybrid iem sound as good as possible. We shall see…



Gear Used

–Zooaux Dongle Dac

–Fiio UTWS5

–Shanling UA2

–IFI Go Blu

–Ibasso DX240 w/ Amp8 mk2

Left to right: Shanling UA2 / Ibasso Dx240 w/Amp8 Mk2 / IFI Go Blu (Not pictured: Fiio UTWS5 & Zooaux Dongle)


Later Comparisons:
–Fiio FH5
–TRI I3 Pro
–Mangird Tea





So apparently Rose Technics knows how to package their products. Very nice, this is my round of applause! I received quite a few goodies in the unboxing. They didn’t need some huge box to embellish the unboxing. In fact, nothing was wasteful. The package is a sleeve which is home to two iem cases which slide next to each other, and that’s the boxing.

Opening things up, we are awarded with two very nice hard cases, which are pictured below. Both cases are rather large for holding our precious gear and come layered internally with a felt-type lining. One case holds the Iems and the cable and the other is home to the accessories.

Inside those cases is a 3.5mm to 6.3mm adapter, an mmcx removal tool (don’t lose that), a four pack of filter mesh spares and the ear tips. The tips come packaged in another smaller hard case. You get small, medium and large sets of wide bore silicon tips, a pair of double flange silicones and one pair of foam tips. P.S…I swapped tips for the Final Audio E-Tips as well as KBear 07 tips.

Also in this package is a 6n OCC high purity copper cable, braided in some sort of cloth. The cable is a mmcx design which ends in a 3.5mm jack. Personally, I have no issue with the cable and did use it a bit in this review. Yet I have better cables which I like more, so I switched to the Tripowin Noire cable with its modular connections. Please understand that I saw no sonic benefit to cable swapping, simply a matter of taste and ease of use (for balanced sources). Also, the color of the Noire cable is dead-on the same as my set of QT-9’s. Aesthetically more pleasing to my eyes. All in all, nice Rose Technics.



Sleeve housing casesDual cases included






The Qt-9 Mk2s (as I’ll call it for review purposes) is one Hybrid Driver iem amongst an ever-growing field of Hybrid Drivers. So many companies are vying for or shooting their shot at this ever-growing hobby. As far as build quality goes, the QT-9 Mk2s is pretty average. Nothing which stands out as top tier or premium.

I certainly wouldn’t call them cheap feeling or flimsy or unpolished. I would say that I don’t see any really excessive and over the top peerlessness of the build. This set is nice though. Very light. Comes in a few different colors (Blue, Gray & Green), mine is obviously a light gray color. The feel is sturdy in hand and the fitment is wonderful for me, almost dead-on perfect. As far as looks go, I love the stylish and minimalist approach here. They are understated, but also sleek and very confident in appearance. If that makes any sense.

The faceplates of my set are gray, with a romantic little cursive “Rose” written on the bottom-side of each iem. Rose Technics chose a metal Faceplate perfectly set on a crystal-clear shell. I do like the clear housing which shows off the very well put together internals. The design and layout of the internals is on full display as the high build quality is evident. Two vents are located on the bottom of the QT-9 and one vent near the cable connector. The screen mesh located at the tips is not the most appealing either. It’s simply a cheapo screen mesh. The QT-9 Mk2s is small too. Extremely small in fact. It doesn’t seem like you’d be able to cram “5” Drivers in this small shell.

The nozzle doesn’t extend very far into the ear canal. It is on the shorter side. Hence why I used the longer Final tips at times. Another set which worked nicely was the KBear 07 large tips. If you can’t go longer, go wider. The great majority of my time with this set I actually did use the 07 tips the most. Anyways I am able to get a great seal, yet I can easily see many people struggling here. Isolation may not be perfect. Thankfully for myself it was spot-on. You may need to bust out some other tips if the stock tips don’t do the trick. I honestly can’t remember a time I went with any stock tips on any review so, you too may feel the need to switch it up.

Housed inside of the shell is a 10mm Dynamic Driver constructed out of a Liquid Crystal Polymer Diaphragm. The promotional calls it a Liquid Crystal Tesla Driver and is partnered with Japanese imported voice coils. The DD handles the lows. Handling the Mids are two Balanced Armature Drivers (30018IF) as well as two more BA’s (30019HF) for the Treble region. Rose Technics states that the Balanced Armatures were imported from the United States, I don’t know exactly where though.



Internals of the QT-9 Mk2s. I love the crystal-clear body



As far as Drivability is concerned… well there is no concern. This set can be driven from almost anything. Rated at 12 ohms and 108 dB’s the QT-9 is very easy to bring to satisfying volume and fidelity with lower powered dongle dacs and I am assuming from a phone also. I don’t have a phone with a 3.5 jack to prove this presumption but… I’m sure you’ll be happy with it.

I used this set with many different combinations of sources. Starting with the Fiio Utws5 (2 pin), I used a 2 pin to mmcx adapter which worked wonderfully, and the sound together is perfect for out and about music sessions. The Utws5 is rated at 53 mw @ 16 ohms and was easily enough to drive the QT-9. With the AK4332 dac chip these two played off each other just fine. Moving onto the IFi Go Blu was obviously a nice step up as well. I went with the Tripowin Noire cable on balanced with the Go Blu. I actually adore this set up. Jamming out in my office was so fulfilling with this match-up. Dynamics were cleaned up and extended both ways to a degree with the Go Blu. I still think the Go Blu is the best sounding BT device of its kind.

Going to a wired source using the Shanling UA2 (Also on balanced) I heard slightly cleaner dynamics and possibly a better separated staging of elements to my music. I say better but this is also me being extremely picky. I could also state that the UA2 makes notes in the midrange a slight bit leaner. Very resolute and clean but a titch thinner, of course this could also be my mind playing tricks on me.

Last but never the least is my powerful little DAP, the Ibasso Dx240 (980 mw @32 ohm) with Amp8 MK2. This will always be my favorite way to listen. I think the ES9038 Pro Dac Chip has just the right tonality to cater to the QT-9 Mk2s.

Driving the QT-9 Mk2s is no issue. Like almost anything a better source will get the most out of this set. Also, like anything, tonal pairing and synergy should always be considered, but truthfully the QT-9 paired well with everything I tried it on. Plug-her-in and enjoy.



QT-9 Mk2s with Kbear 07 Tips



The sound I hear is like harnessed energy through and through. I would call it maybe a W-shape tonal character but there really is a dynamic balance with this set. Hovering close to that neutral point. It has a slightly warmer lower half while the upper half adds some coolness and levity.

There is a balance in the dynamic structure of the frequency. It isn’t flat… at all. Instead, there is a nice balance at the most brilliant and heightened areas of the mix. Nothing stands above any other part of the sound. Sub-bass and mid-bass, upper-mids and the highs all have a point where they are enthusiastic, highlighted and lush. At least this is what I hear as the sound is processed in my cerebral cortex. I hear liveliness which cascades, yet there is balance to that liveliness. The balance resides at its peaks. “Energetic” will always be the first word which describes this set for me.

The bass is speedy and natural, impactful yet not big, forceful while never boomy and always punchy. The midrange doesn’t sound forced and not even close to recessed. They toe the line of being a bit on the aggressive side (upper mids) but stand clear and resolute. If any area had a spotlight, it would be the Mids however. Treble is mostly in good order and extended enough. The treble has controlled shimmer while I wouldn’t consider it abundantly shimmery. Details and texture are wherever the sound makes waves, while speedy is the delivery and transparent is the final product.

Some may call this sound passive (in a mass market way) yet could never call it boring. You could say uncolored yet wouldn’t be wrong if you said bold. Confused yet? There is a refined element to the sound of this set, detailed and full yet somehow lean in places as well. A well textured and punchy demeanor with fast attack as well as decay.

There is a rich nature to any melody played through the QT-9 Mk2s, almost as though this coursing energy just sits vibrating to express itself. Oddly enough that energy isn’t here to express itself in vivacious explosive harmonics. Instead that tension stands at the ready, all to keep this replay inline and within some refined limit governed by its creators. No doubt special expertise was at play to police the rhythm and cadence of the QT-9 Mk2s. One con is… this set can get alllllmost hot! Choose your tips wisely, let your brain adapt. This may not be for everyone but… honestly what is? One thing is for sure, I really like it, and many agree with me on this.



Below: Rose Technics Ltd. Promotional Photos Copyright Rose Technics Ltd.

The 10mm LCP Dynamic Driver takes full responsibility of the low end and to me the sound is quite nice. The bass region here is nicely partitioned off from the rest of the mix, never casting a veil over anything. There is room to breathe with a bass like this. Rhythm and pace are fantastic with quick energy.

Click to expand...

Sub-bass provides just enough buzzing rattle to provide good feedback for bass guitars and the like. The sub-bass sounds as though it is barely rolled off, at least compared to the mid-bass. Yet not enough to call it lacking. “Fast Car” by Tracey Chapman sounds clean in this area. Perhaps a little lean for some but this would be a preference thing. Technically I do still hear texture in the lowest region with enough bite to notes. The speed is great here as the sub bass doesn’t shy away but keeps pace and rhythm right in step with quicker bass lines or even congested tracks. The deepest area still gives very good energy with physical feedback.

Mid-bass hits with enough clean authority. The QT-9 Mk2s replays what is given to them. The bass can have slam if slam is present. Of course, this isn’t the most bountiful or hard-edged sound. Compared to some iems which specialize in such a thing.

The mid-bass hits each mark with a nice attack and a quick but full note outline. I hear a round promptness with great tempo. Not fuzzy at all but also not completely rigid. Sometimes. Obviously, some tracks display this tendency much easier than others. Drums bang just right and are natural, defined, and never hollow. “Billie Jean” by Weezer (Michael Jackson remake) sounds absolutely fantastic. The first thing you hear is the explosive kick drum. With the QT-9 Mk2s I hear power and real authority and the quickly trailing snare drums PANG so nicely, like a statement! Sounds so nice.

Multiple bass lines are easy for this set as well. “Country Child” by Robert Finley is a good example. Multiple basses play in tandem as the QT-9 Mk2s handles it nicely. BTW, listen to this man’s album, just wonderful. Also, basslines played simultaneously with lower register male vocals are separate and sophisticated for the asking price. “Gravity Glidin” by Masked Wolf shows this a bit. Keep in mind that the low-end is not a Big Boi Banger, at all. This is mature bass which obviously prescribes to quality over quantity.

All things considered I love the low-end replay of the QT-9 Mk2s. Love the speed and the texture here with its more natural bass which moves with ease. There isn’t a chance for any encroachment into the midrange or bloat. This is a refined bass, tuned very well for multiple genres. The Dynamic Driver plays off the BA Drivers with great conformity to the overall sound. The low end has layering and stays composed. Those who prefer good and clean bass will find just that with this set.





The midrange has a full nature to it. Top to bottom. I perceive this has a bit to do with the frequency as a whole. The bass region adds depth and more girth to the lower mids. Lower male vocals carry a nice weight and clarity. Try out “Glass House” by Kaleo. There is so much energy in that song! The QT-9 Mk2s captures it well with Kaleo’s vocals highlighted amongst the rest of the big sound around it. The QT-9 handles this type of confusion nicely. Another approach to male vocals is the softer voice of Teddy Swims on his new song “Simple Things“. There is soft empathy in the breath of his voice, but a weightiness as his voice extends that sounds wonderful with this set.

Males remain in concert and level with the rest of the mix. Voices and instruments are rendered well, with realistic timbre. A very natural sound to me as the lower-mids dance with the upper-mids just right. There is a soothing nature to the lower mids, but also a slightly brighter energy to the rest of the midrange. So, pianos, strings, horns, percussions, you name it, sound authentic and perhaps have a bit more of a spark. There is speed here which enables a delineation between pieces within the staging along with depth for room to breathe. I will cover that more later, but everything is tied together nicely.

Females come through great. “Enough for You” by Olivia Rodrigo (stop making fun of me) has a sweet nature to it. Svelte but full at the same time. Her voice is lush but lean, melodic and soft with crisp edges. Sorry for just throwing in descriptive words but the QT-9 Mk2s does exactly what I wrote… to me. Sopranos may be a hair more forward than males but nothing which distracts. I still hear good note weight with a natural inflection to their voices.

There does exist some upper-mid/lower-treble hotness which may bothersome. At louder volumes and the right track this may become an issue, especially if you desire a more warm and subdued sound. This is where pairing and source may help. To me, I love this sound. The QT-9 Mk2s have the right amount of everything and the mids are no exception. It isn’t an issue for me, but I have to at least make a comment about it. In total I love the balance at play here. The way the low end compliments the midrange and vice versa has such a cohesive and effortless dynamic.



The treble carries over from the midrange quite the same as the bass to the mids, with cohesion. Adding just the right amount of glitz and shimmer while not scorching our ears in it. A certain natural brightness adds levity but in the same breath there is a cap to it.

Some may crave a bit more shimmer and sparkle. The makers of the QT-9 Mk2s did subdue this set in the highs. This may come across a hint dry at times as well. Perhaps dull to some. However, I don’t think so. I find that the nature of the highs has just the right amount of energy. Details are illuminated to the surface wonderfully. Both macro and micro. The balanced armature drivers controlling the upper region are tuned to emphasize the little things while staying melodic enough. No these are not the most dynamic in this area or the most sparkly, but they do a clean and meticulous job at the region.

I would probably describe the treble as somewhat airy and certainly appropriate to the overall replay. It isn’t the most emphasized or vigorous treble. Not the most dynamic or electric. I like that there isn’t so much emphasis to invoke fatigue as the treble stays calmer but still refined for the price point. I understand there are iems which do this area better, especially to those who enjoy a heightened and ultra-airy treble. Treble Heads will be left in wanting, I think.

All in all, the whole treble region is very clear and clean and transparent. I hear awesome spatial cues when looking at the sound as a whole and the treble region does well to play a big part in that. Still, I do hear a very slight dryish display at times, but it is not distracting. I hear enough levity and shimmer to add details and still have body. Cymbals sound weighty enough, as do flutes and strings etc. etc. which play in this area, and they all seem to be represented appropriately.



The soundstage is pretty wide, pretty tall and deep enough. This is a fairly big stage and spatial imaging plays off of it nicely. Obviously, this isn’t the stadium effect of open back headphones but for iems I am impressed.

Imaging within the stage is spot on to me. The speed and technical prowess of the drivers etches out placement really well. Everything is where it should be with good space to play in. Good layering of pieces on a stage is evident and easy to hear. It is more 3D than it isn’t. With the effective and awesome pacing and timing between drivers and the overall swiftness of this set, imaging as a whole is impacted in a very positive way. Tips do make a difference for me. I decided against the stock tips like I said earlier. So, I recommend playing around to find what works for you.

I’ve already mentioned details, but I’ll say it again, the QT-9 Mk2s do details very well. A balance between smoothness and speed, subtle warmth and brightness as well as the technical chops to pull out some good details. I hear micro some details to a point, but this is not microscopic, and I thank them for that at Rose Technics Ltd. What we are left with is a very unblurred and articulate sound which replays what it is given. Clarity throughout is a mainstay with any genre in my library. Some iems do details better but not many in the price point put it all together better than the QT-9 Mk2s. My opinion.

Left to right: Fiio FH5 / Xenns Mangird Tea / TRI I3 Pro / QT-9 Mk2s




TRI I3 Pro ($189)


Oh, the TRI I3 Pro. One of my absolute favorite iems at any price. (For a more in-depth review of the I3 Pro check out Mahir’s review.) Built like a tank and beautiful. The I3P (as I’ll call it) is actually a tribrid setup consisting of one 8mm composite diaphragm dynamic driver, one 10mm planar magnetic driver and one balanced armature driver.

The Qt9 is less warm overall in tonality and has a bit more clarity throughout. Both iems are very resolving and show off the entire spectrum fantastically (if you like these sound sigs). Now the QT-9 is about $60 more, and I believe that $60 is accounted for. It’s the balance that makes that difference worth it. To me, it may not be for you. Not many iems in this price point can do what the QT-9 can do… really. In the same breath, not many iems can do what the I3P does at its price point. Both showcase dynamics differently.

Real quick, the bass is much larger on the I3P and interacts with the mix differently. Bass heads will love the fantastic and vivacious sub-bass which is tight for its size and adds a ton of fun. On the other hand, the QT-9 has a more natural take with an even tighter transient attack but with much less in quantity. The QT-9 may have less but it’s technically more sound, more lifelike with a snappier attack and quicker decay, leaving room to breathe for the Mids to shine.

Lower mids are more forward and weighty on the I3P yet I would say the lower mids of the QT-9 have a more detailed and realistic timbre and cadence. The upper mids on the Qt-9 are more forward with a cleaner and more organic sound to me. Note weight is heftier on the I3P. Both sound great. This is a question of taste though. Both have a detailed and melodic midrange.

Highs on the I3P are a bit more extended in the highest areas, countering the more intense lows. Neither are veiled, at all. Truthfully both sets present a good treble area when considering the whole of the sound. Details are nice on both iems with the QT-9 MK2S showing off a bit better here. Stage size is a bit wider and taller on the Qt-9 Mk2s. Neither have a congested stage size. It comes down to preference really. The question you have to ask yourself is, do you want fun and bold or realistic and musical.

Fiio FH5 ($199 – $320)


The Fiio FH5 is a four-driver hybrid which once was the most premium iem in the Fiio line. Of course, that was about 3-4 years ago. Honestly this set still holds up against the newer competitors. Good sound doesn’t get old.

One 10mm polymer nano-composite dynamic driver and 3 Knowles Balanced Armature Drivers are Housed within the beautiful shells of the FH5. Build quality is still ridiculously good for any price iem in any year.

Both iems tend to have a more balanced approach while the FH5 has quite a bit more low end. I would say the FH5 also is a hint warmer in tonality. The QT-9 Mk2s is again snappier with a faster low end. Mids sound a hair more recessed on the FH5 as the QT-9 Mk2s have a more resolving midrange to me, as well as a more natural sound in both male and female vocals. The FH5 sounds as though there is a quicker roll-off in the treble region. I hear a more nuanced and intricate sounding treble on the Qt-9.

QT9 Mk2s just sounds more polished. More resolving throughout the entire spectrum. This isn’t to take anything away from the FH5. The FH5 is still a very nice sounding unit and the package as a whole is robust and very premium even by today’s standards. However, when it comes down strictly to sound quality, the QT-9 is simply a more refined iem. Top to bottom. The FH5 may have a small amount more of the “Fun Factor” with its larger bass region and very well done tuning to appeal more to the masses…maybe? I think it speaks more on the ability/expertise, R&D and better tech that Rose Technics implements. I can’t say it is a slam dunk as this hobby is 100% objective at all times. Technically speaking I’d go with the QT-9.



Xenns Mangird Tea ($329)


I’ve always adored the Mangird Tea. (For a closer look at the Tea check out Mahir’s review of the Tea). One of those sets which could give you a lil taste of what true premium iems sound like. The Tea has one dynamic driver along with two Knowles Balanced Armature and four Sonion balanced armature drivers.

I’ll be honest, as far as sound quality is concerned, there isn’t a whole lot which separates these two. In fact, they are extremely similar in tonality all the way through. Going back and forth between the Tea and the QT-9 Mk2s took a strained ear to discern any differences.

I would say that the QT-9 Mk2s has a hair tighter Bass as a whole. Decay is a smidge slower on the Tea next to the QT-9. I hate to even comment on it because both are great in the bass area. The Tea does have a bit more haptic energy in the sub-bass and the QT-9 has a bit more of a tighter slam in the mid-bass. I’m splitting hairs though. In reality my library doesn’t sound worse or better with either set.

Both sets have about the same note weight in the lower mids. Males sound full and transparent with an edge on both sets. Upper mids go to the Tea as females have more depth to vocals in this region. The QT-9 Mk2s are just a little bit more dry sounding in this area. Please don’t confuse this as bad because the QT-9 Mk2s is a bona-fide beast. The QT-9 Mk2s and the Tea are both very resolving in this area. Highs sound very close as well. Perhaps a bit more shimmer on the Tea but nothing a casual listener would notice.

As far as staging goes, I hear the same width between the two. The Tea is a bit taller and has a hint more depth but, in all reality, the two both have above average psycho-acoustic stage sizes.

The only other differences would be the fit. I could see the Tea fitting more ears due to its more custom shape. It’s debatable obviously but for me it is one of the best fitting iems I’ve ever worn.

I could keep going on like this but at the end of the day there simply isn’t enough to differentiate these two. Except of course the asking price. The QT-9 Mk2s is about $70 cheaper. Though I have seen the Tea being sold for quite a bit less. I don’t know if it would make sense though to cough up the extra cash for an aging set like the Tea at this time. Even if it is one of those iems that easily stands the test of time.



Extra Thoughts

I decided to add this extra little area to express some of the overall cons or pros of this set or any set. Just a little reminder to offset the tone of my review. A counter if you will. Basically, if my review is mostly littered with compliments, I will then add some drawbacks or vice versa. No piece of audio gear is perfect and here is one final place to outline very quickly my extra views. In this case some cons to be aware of.

First, I would say that there can be some BA timbre which shows up. I realize I touched on this but on certain songs it slightly shows up. Granted I can easily overlook this but maybe some cannot.

Next, I would say that this set can get shouty. If you are after a more laid back and easy signature than the energy of this set may not be for you completely.

I’d also say that this set has been viewed by some to have a funny fit. The nozzle is at a funny angle for some and so tip changing will certainly come into play.

Lastly, this is not a basshead set. Not even close actually. To my preference I like some color down low. In my objective opinion I am fine with the bass quantity here and I do enjoy it. Clearly this is a quality bass, but I do like a titch more oomph. You get that natural and impactful slam and it’s great but if you are after something that fulfills your need for boom… This set probably isn’t for you.





I’ve had a very nice time witnessing what a lil good ole ingenuity can create when the right minds (Rose Technics Ltd.) come together. That of course is the QT-9 Mk2s. Pound for pound this set sits right around the top of the $200 – $350 price point of iems which I have personally heard. Musical, technical, lightweight and comfortable, minimalist but sleek and can play a multitude of genres. Truthfully, I am not trying to oversell this. I simply hear what I say and say what I hear, always. This was an easy set to practice objectivity. The great speed of the drivers mixed with a very musical and controlled sound throughout the spectrum. From the lowest of lows to the highest areas of the mix, the QT-9 Mk2s are a testament to a well-tuned iem.

Please do yourself a favor and read other reviews and watch other videos relating to this set and iems in the price range. I am simply a fan of music; I don’t look at myself as though I am an expert. What an odd thing to be an expert of. This is a hobby and I love it, as writing these reviews will always be therapeutic to me. I am not the most knowledgeable, but I do say exactly what I perceive in the best way I know how. The point is, please trust I will do my best to convey what I hear and also, read what others have to say as well. No two people are exactly the same. Not everyone has the same gear, not everyone has the same hearing, not everyone has the same likes and dislikes. There are so many variables in this hobby.

If a more neutral leaning but impactfully balanced sound is what you are after than I think I have a set for you to consider. The Qt-9 Mk2s really does show-off and show-out, with a very natural approach at an energetic and dynamic sound. Does it sound like I’m overselling? I hate when I do that. Oh well, you like what you like, and I like this fantastic little hybrid gem. I thank anyone who has read this far, truly, I appreciate every one of my brothers & sisters who also adore this hobby and most of all enjoy the music that these devices replay. Please take good care and stay safe.