Rose Technics QT-9 MK3

ROSE TECHNICS QT9 MK3 REVIEW: MORE THAN MEETS THE EYE​

WATCH FULL REVIEW HERE:​

PROS:​

• One of the most technically capable IEMs for the price
• The most complete package of any IEM under $200
• Vibrant, upper-mid centric tuning
• Amazing detail retrieval
• Tight but tactile bass
• Superb transient response
• Well extended treble presentation
• Comes with a dongle DAC

CONS:​

• Shout and sibilance prone
• Lean note weight
• Cable is microphonic and memory prone
• Not the most stable or secure fit
• Slight metallic timbre

WHO THIS SET IS FOR:​

• Vocal lovers
• People who love technical and analytical sounding sets
• People who want a complete package
• People who like a lean sound signature
• Trebleheads

WHO THIS SET ISN’T FOR:​

• Timbre heads
• Treble and shout sensitive people
• People who want a musical set
• People who want a warm and lush set
• People who have big ears

RECOMMENDED GENRES:​

• Jazz
• Instrumental
• Vocal Pop
• Ambient

SHORT REVIEW:​

From the ex-Sony engineer comes a surprisingly vibrant and energetic IEM that caters to vocal and treble lovers such as myself. It’s a well-balanced bright neutral set that excels in instrumental and vocal centric genres. But most importantly, this is probably the best value IEM you can get under $200 with its impressive accessory inclusion. Despite gripes that turned me off, I can’t deny that the QT9 MK3 was made with purpose and passion. RECOMMENDED WITH CAVEATS




DARE TO MAKE A DIFFERENCE. A simple statement that many are surprisingly afraid to make. This is Rose Technics’ declaration and determination and one that I personally found myself questioning in every single product I review. So what makes Rose Technics so different? You’ll be surprised with how they’ve developed this QT9 series of IEMs and how they show that they truly dare to make a difference.

DISCLAIMER: The Rose Technics QT9 MK3 was sent in exchange for my honest thoughts. I was not paid or compensated in any way to say anything about the product

BEAUTY LIKE A ROSE​

Like I’ve mentioned prior, Rose Technics is a company that “dare to make a difference”. Established in 2012, they pursue delivering unparalleled original sound reproduction through intelligent technology and meticulous manufacturing. Outside their marketing material, however, I discovered that Rose Technics consists of ex-Sony engineers and employees. While ex-employees from bigger companies establishing a smaller company with a more focused vision is not uncommon (see Truthear and Moondrop as a recent example), these usually provide some of the most unique sets in the market due to their expertise and an untapped level of determination of creating something that they could not in their old work place. The originally $280, now $180 QT9 MK3 is a perfect example of this and is the topic of our review. So enough dilly dallying, let’s talk about the unboxing experience.

UNBOXING​

When I say that the QT9 MK3’s unboxing is one of the most abundant unboxing experiences that I’ve ever had, I mean it. Firstly, this is the WIDEST IEM box I have ever received. I was initially skeptical about what was inside the package when I first received it until I saw the Rose Technics up front. I then wondered what was inside the package to merit such a large box?

Here is the full list of the inclusions:

• QT9 MK3
• Cable
• Hard carrying case
• 3.5mm to 6.35mm adaptor
• A LOT of eartips
• Replacement nozzle filters
• MMCX remover tool
• Rose Technics RZ 550 DAC
• Type C to Type C cable

Insanity could not describe how generous Rose Technics is. I was so skeptical whether this was the norm that I ended up searching online what the QT9 MK3 beheld its loving customers. Lo and behold, this is indeed the norm.





Let’s first talk about those eartips. Not a lot of companies are willing to provide you with a lot of eartips, let alone varying kinds of eartips. But a unique foam eartip, a double flange eartips, a unique wide bore looking eartip and basic eartips? You might as well compete with DUNU with the amount of eartips you could bundle up in an IEM package!




You also get a high quality, albeit slightly cramped pleather case that is sure to protect your IEM and a couple of accessories inside, granted you place them inside in such a way that it doesn’t negate the magnet and refuse to close.



But arguably the most fascinating inclusion is an entire dongle DAC. Upon researching, I found that other people received the RZ200 dongle while I got the R2 550. Regardless of what dongle I get, the fact that they included one in the first place is the first time I’ve ever experienced a company bundling an entire source with their product. Maybe this is to ensure that anyone who might not yet have a source for their new IEM will have a decent enough source to boot, especially for those who opted for the balanced cable as the QT9 MK3 does not have interchangeable jacks.

BUILD & FIT​

Starting with the internals, the QT9 MK3 might seem like a familiar sight with its 1DD + 4BA configuration. But don’t let that simplicity fool you as this thing impressed me in more ways than one. Firstly, the QT9 MK3 uses a special tesla voice coil 10mm Dynamic Driver with a dual 26UA Ba for the mids and a dual 30017 Ba for the highs.



Despite this rather star studded internal offering, the QT9 MK3 is microscopic compared to other hybrid sets I’ve tried. The size is smaller than even single DD sets that I’ve seen and are just slighlty larger than something like the Simgot EW100P, a tiny single DD IEM.


This size initially worried me as smaller, more compact IEMs often lead to complications when it comes to comfort. Thankfully, the MK3 is vented and does not induce and air pressure build up and has a generously contoured shape that allows it to sit in your ear snuggly without it feeling loose. This is assuming that you found the correct tips for the IEM as I found none of the basic eartips to properly fit in my ear due to the rather stubby nozzle of the IEM. I found myself using the double flange eartips in the package or the Dunu Candy eartips to get the most snug and stable fit.



Aesthetically, the QT9 MK3 really isn’t a looker in any way. It’s a plain silver faceplate with a nice purple inner shell made of resin. However, I want to talk about one very specific option that Rose Technics offers when choosing your own QT9 MK3.

MMCX or 2-Pin​

A debate as old as time, two of the most popular connectors are one of the most talked about in the hobby when it comes to knowing which is superior. Both have their own sets of advantages and disadvantages with fans from both sides defending their choice of connector. How does Rose Technics solve this? By providing the customer an option to choose from either connector.



I have not seen a brand offer a 2-pin and MMCX connector option before and I praise Rose Technics for allowing people to choose between the two. Unfortunately, this means I cannot speak for Rose Technics’ MMCX connectors, but I can confidently say that their 2-pin is fantastic and very well-made.



Unfortunately, I am not the biggest fan of their cables. It’s an aesthetically pleasing nylon braided purple paracord cable with high-quality interfaces and a 4.4mm balanced termination. The cable itself is quite stiff and tangle prone and is very microphonic. This is probably the most microphonic over ear cable I’ve ever worn which is not a good thing at all. The lack of interchangeable termination was also quite disappointing, but not a necessity considering the drivability of the QT9 MK3.

SOUND​

Sound Signature​

In more ways than one, the QT9 MK3 presents itself as one of the most mature neutral bright sound signatures I’ve heard in recent times. While the likes NF Audio is unapologetically bright, the QT9 MK3 brings the brightness in a silver platter with a very mature presentation all-throughout. The bass goes deep and hits hard while maintaining a very tight and elastic presentation, the mids are thin in a good way and the upper midrange exudes energy and crispness without reminding you that you’ll probably lose your hearing in a couple of years if you keep listening to in-ears at the volume you’re listening at.

Timbre is surprisingly good despite the energy in the upper midrange, but still exhibits a little bit of a metallic tone in brighter tracks. I would not listen to older, brighter pop tracks with the QT9 MK3 but I’d glaze over warmer jazz and R&B compositions with this beaut.

Drivability​

The QT9 MK3 I received only came in 4.4mm BAL, but I will briefly talk about its drivability on SE. On 4.4mm Balanced, you have basically enough power on any source you throw this at with exceptional quality. I found myself pairing this on the R3 II the most as my portable listening experience was perfectly adequate, but the best pairing had to be my Fosi SK02. The balance of a clean and transparent sound with a boost in dynamics and headstage made the QT9 MK3 a true masterclass of solid scaling.

On 3.5mm, you get a similar experience with a solid level of dynamics and expansive headstage but take it a note. It’s still a superb sounding set, but you’ll hear a difference when you plug it into a high quality balanced source.

Listening Volume​

Due to the rather aggressive upper midrange tuning, you’ll find yourself listening to the QT9 MK3 in lower to mid listening volumes. This brings out the stage to be wider and taller with a more ethereal upper midrange presentation while taking a slight hit in the low end quantity and energy. Where the QT9 MK3 shows its strengths is how dynamic it sounds even on lower listening volumes.

Bass​

One of the most fascinating things about the QT9 MK3 is how well-done the bass is for how much bass there is. It’s a subbass over midbass presentation, but done in such a way that I don’t hear the tuck in the midbass as drastically as other subbass centric sets. But unlike those sets, the balance of the midbass to subbass on the QT9 MK3 is very tasteful as the subbass quantity perfectly matches the midbass quality. It goes deep, it rumbles and it kicks while being able to present the nuances in the midbass pretty well. Granted, this is definitely not for bassheads or people who want a thicker and punchier bass but is instead for those who seek superb quality bass.

Mids​

The midrange of the QT9 MK3 tells two stories; one of the energetic and vibrant vocal presentation that brings out the nuances and airiness of instruments and vocals and one where it’s just shouty and harsh. Depending on your tolerance to shout, the QT9 MK3 lives in the spectrum of perfectly energetic or harsh. I fall in the former camp and I absolutely love the QT9 MK3 for vocal centric genres. Thanks to the superb low end balance to compliment the upper midrange, jazz and vocal pop songs sound ethereal with the amount of nuance, air and detail presented. It’s so crisp and detailed that many hybrids in this price pales in comparison to what the QT9 MK3 has achieved. Admittedly, this has the effect of making the lower mids sound a little thin due to that energy and a 10db+ ear gain is not for everyone. However, I’d argue that Rose Technics found the perfect balance of upper midrange energy with the low end cleanliness for my tastes.

Treble​

Following the energy of the upper mids, the treble of the QT9 MK3 is equally as airy, nuanced and detailed but in a surprisingly mature way. I often find hybrid sets forcing treble for resolution and detail, but the QT9 MK3 does it in such an organic and natural way that I forget this is a 4BA + 1DD hybrid. The treble is so silky smooth with no graininess or incoherency and perfectly rolls off in an organic way that doesn’t force the treble to do more than it needs to. This is just bordering treblehead territory, but I’d argue this is a more general purpose set overall because of how they tuned the treble. This is perfect for tracks that hide a lot of detail in the treble, but not the first thing I’d listen to for poorly mixed tracks. The QT9 MK3 brings out the nuances in the treble, which expectedly also brings out the artifacts and poor mixing of certain tracks. Older, bright-tuned tracks are also not the first thing I’d listen to with the QT9 MK3, but it is an absolute joy to listen to jazzy and relaxed compositions.

Technicalities​

Hybrid sets often flaunt their technical ability to a somewhat effective degree, but the QT9 MK3 is one of the first ones I’ve tried under $200 to actually walk its talk. Technicalities is more than just an expansive headstage, good separation and pinpoint imaging. It’s also the level of refinement and resolution in the overall sound and the QT9 MK3 hits it out of the park. The level of refinement in the QT9 MK3 is honestly pretty insane for what it does and I cannot think of a better hybrid set under $200 that is able to do something like this. I would argue this can compete well into the sub $300 or even $400 range in terms of technicalities and is able to outcompete sub $200 hybrids quite easily.

COMPARISONS​

vs Simgot EM6L​

In more ways than one, the EM6L is the budget version of the QT9 MK3 with exception to the bass. The mids to upper frequencies on both sets are well-done, albeit on the brighter side with a surprisingly competent technical detailing. However, the QT9 MK3 runs circles around the EM6L in the bass as the former has a much tighter, cleaner, better extended and nuanced presentation while the EM6L’s biggest weakness IS the bass lacking some sort of agency and impact. The EM6L admittedly has more bass quantity which balances the overall sound a tad bit better than the QT9 MK3 for more genres. The QT9 MK3 is a step up overall from the EM6L and is a fantastic upgrade if you enjoy the bright U-Shaped sound signature but want to take

vs Simgot Supermix 4​

Considering how the Supermix 4 aims to be the upgrade to the EM6L, you’d expect the Supermix 4 to compete closely with the QT9 MK3. To that I say, it’s close but both sets do things better than the other. Fundamentally, the Supermix is a Pure Harman set with big subbass, clean and open mids and a very energetic and vibrant upper frequencies. The difference lies with how the QT9 MK3 is the more nuanced and analytical set while the Supermix 4 is the more well-rounded and “fun” set. This is odd considering Simgot is usually the brand to bring the best technical and analytical sound to the market, but decided to tone it down with the Supermix 4. This makes the QT9 MK3 the more technical and treblehead choice and the Supermix 4 the more fun and engaging choice.

vs KZ Hydro​

Pitting the QT9 MK3 up against CCA’s flagship hybrid, the QT9 MK3 shows what it means to truly be a flagship. While CCA’s efforts are not in vain, the QT9 MK3’s mature tonal presentation and refinement all throughout gives the QT9 MK3 a leg up in every single department while also providing much more in terms of inclusions and accessories. The only thing I’d say the CCA Hydro beats the QT9 MK3 in is versatility. By being able to go from a borderline basshead V-Shaped tuning to a clean, bass boosted sound that somewhat replicates the clean bass-boosted sound is something that switches inherently have over fixed tuning IEMs.

vs Intuaura Splendor II​

A set I did not expect to have so many similarities with the QT9 MK3, the Splendor II on 3.5mm has a similar upper midrange with the QT9 MK3 but balances it with a thicker and thumpier bass that somewhat balances the brightness and edginess of the sound. However, the QT9 MK3’s hybrid nature reigns supreme in terms of technical ability as the QT9 MK3 is, overall, the more technical sounding set. Where the two divert is when the Splendor II uses the DSP cable and becomes tonally superior to the QT9 MK3. However, you’d be limited to just the DSP and there’s an audible noise floor that some people would be bothered with. Regardless, the QT9 MK3 is overall a more focused set while the Splendor II is more versatile in both modes.

vs NF Audio NA2+​

I’ve mentioned the NA2+ in passing a couple of paragraphs ago and for a good reason. Both sets are vocal forward sets that have a good focus on technicalities and detail. The main difference is that the NA2+ is a single DD that tries to balance a very technically capable sound with good timbre while the QT9 MK3 ensures that every single part of the frequency is tuned exactly how Rose Technics want it to be. This is evident as tonally, the QT9 MK3 has a more mature sound while the NA2+ is, by nature, the more natural sounding set. However, this is where the age of the NA2+ starts to show as the QT9 MK3’s technical ability is ahead in all segments barring headstage as the former still provides a very airy and wide listening soundscape. But at the end of the day, the NA2+ is still the more “reference” style set for treble and vocal heads while the QT9 MK3 is for those who want a vocal forward set with superb refinement and technical prowess.

CONCLUSION​

If I were a vocal-head that enjoyed a refined, technically capable and well-balanced sound in-ear in a perfect package, I’d say that the QT9 MK3 is the perfect IEM. From the unboxing to the listening experience, I cannot ask for more from Rose Technics. Including a plethora of eartips, good quality case and a freaking dongle DAC to pair with this amazing set is a feat that I have not seen other companies achieve. Pair that with how good this thing sounds and I’d say that this is the best value vocal-forward set you can get in the market.

However, I also cannot deny the energy that this set brings is not for everyone. The bass might be too lacking, despite the superb quality and the vocals might just get a little too hot depending on the genres of music you listen to. The smaller size of the shell along with the stubby nozzle might cause some problems in the fit department as well.

But no matter how you look at it, the QT9 MK3 is just a solid product where the company listened to the critiques that came from their previous iteration to create something that the consumer will thoroughly enjoy. I know I did, and I know I’ll be paying close attention to Rose Technics’ future releases with this superb experience.

Thank you for reading my full review on the Rose Technics QT9 MK3. If you would like to order one, consider using the non-affiliated link below: https://rosetechnics.com/products/qt9-mk3-hifi-hybrid-wired-headphones-1dd-4ba-iems

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Disclaimer:

• I don’t read FR graphs. I only use my ears, as earphones should be used.
• Rose Technics sent this unit to me in an exchange for an honest, transparent review. Rest assured that this review will do its best to devoid from any bias/es as much as possible.
• The following remarks and observations shall be made and owned only by me.
• No monetary compensation is/was involved before, during, and after the period of creation of this review.
• Your mileage may (and always, will) vary.

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Burn-in time: 4-8 hours per day, 5 days.

Source/s used:

• - Non-HiFi smartphone (Infinix Note 12 G96), PC.
• - Tanchjim Space DAC
• - Fosi Audio SK02 USB DAC
• - Kiwi Ears Allegro Mini DAC
• - Aiwa XP-V710C CD Player (12 sec. EASS)
• - Sony Xperia X Compact
• - Local Files via Foobar, YouTube Music, Deezer, and Qobuz with UAPP.

IEM/Earbud/Setup configuration: Stock large wide bore eartips, any form of EQ or MSEB off, 40-60% volume.

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Sound signature:

• The Rose Technics QT9 MK3 is a mildly u-shaped sounding IEM that leans to the brighter side of things. One can dismiss this as a smooth, neutral-bright sounding IEM, and it does show on certain tracks.

Lows:

• Think of the QT9 MK3’s sound as a “check” in line or figure - as the bass on this set is midbass focused, well-controlled, and ever so slightly elevated, when compared to its mids. Despite this IEM far from being a basshead’s dream, the MK3’s bass is very detailed, well-textured, and never lacked in any genre that I play it with. Its attack and decay is fast, but not too fast for me to call it lacking. Overall, the bass here in the QT9 MK3 is versatile yet well-controlled, in terms of quality.

Mids:

• I know, I know, I always focus on the technical performance, but the mids of the QT9 MK3 is my favorite region out of the bunch. I love how Rose Technics made this region sound smooth, normal in thickness, while rendering very good detail, despite it being mildly recessed. There isn’t a perceivable midbass bleed on this set to my liking which makes the lower mids as “transparent” as it can be. Upper mids are mildly elevated, but not as elevated when compared to its treble (more into that later). The upper mids exhibit lots of clarity, air, and sparkle. Despite all of these redeeming qualities, the upper mids peak are also heard here, probably because of its driver configuration.. It is far from being a deal breaker by any means, but I do have to point it out, especially for those people who are very sensitive to excessive or bright upper frequencies.

Treble:

• When it comes to the treble, this is the QT9 MK3’s highlight along with its upper mids - and it is presented well. It is definitely bright, but with smoothness in mind. Detail retrieval is excellent for its asking price, rendering nuances and tiny details with ease. This also means that BA Timbre is mildly present in this region, but never a deal breaker - just something to watch out for.

Soundstage, Imaging and Separation:

• As expected, the QT9 MK3 performs excellently in this region under 200 USD. The soundstage on this IEM is immersive, holographic if you may, as it does not have the usual wide stage, but more of a “spherical feel” instead. Separation and layering is excellent and renders very busy passages with ease. Imaging is precise and has no problems rendering vocal and instrument positions incisively.

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Other IEM Comparisons!

NF Audio NA2+

• The NF Audio NA2+ is a bit more neutral and brighter when compared to the Rose Technics QT9 MK3. The bass is firmer and in lesser quantity on the NA2+, while it is thicker and mildly elevated on the QT9 MK3. The mids are forward on the NA2+ when compared, offering an added air. This also in return adds slight peaks on sibilant prone tracks. As for the treble, the QT9 is more extended and airy. Microdetails are also slightly heard better in this set, but the NA2+ isn’t that far. Technical performance are excellent on both sets for their respective retail price, only the QT9 MK3 edging NA2+ slightly on the soundstage, in terms of immersiveness. In a nutshell, the QT9 MK3 will suit those ears that wants their music a bit thicker with added air, while the NA2+ will suit those ears that prefer a neutral and analytical approach, with the additional idea wherein they want an IEM that can also double as a professional studio monitoring equipment.

Kiwi Ears KE4

• These two sets, in my humble opinion, are quite opposite in terms of their sound character. The KE4 plays it safe and is more versatile when compared to the QT9 MK3, as it offers a balanced, thicker approach with a “safe” treble that can be lacking for those ears who prefer the brighter, airy approach of the QT9 MK3. With that being said, the QT9 MK3 is better when it comes to the technical chops, but the KE4 is slightly better on the tonal performance, while keeping the technicalities “well-done” for its asking price.

NF Acous NM20

• Both sets lean on the brighter sound of the spectrum. The NM20 is a bright, mildly-v-shaped sounding IEM, while the QT9 MK3 is a thicker, mild-u-shaped sounding IEM when compared. The QT9 MK3 excels on the upper frequencies when it comes to refinement and smoothness, while the NM20 favors those ears who prefer a less colored, energetic sound approach. Both sets excel on technical chops, but the QT9 MK3 also slightly edges out the NM20 in the soundstage department, in terms of immersiveness.

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Pros:

• Currently the “best” treblehead IEM I have reviewed and encountered under 200 USD!
• Mild - U-shaped, bright sound signature!
• Firm yet nonlacking lows!
• Versatile, smooth yet vivid mids!
• Bright, sparkly upper frequencies!
• Excellent technical performance under 200 USD!
• Fatigue-free fit, comfort, and isolation!
• Very generous accessories, both in quality and quantity!
• Minimal yet sleek build quality and design!
• Easy to drive!

Cons:

• BA Timbre is apparent on certain instances.
• Mild peaks are present on upper frequencies on certain tracks.

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The Rose Technics QT9 MK3 in my humble opinion, is a very remarkable IEM in my vocabulary under and within 200 USD, mainly because it performed really well in my tests despite it not following the current “meta-themed” or “Harman-tuned” trend in the hobby. This type of sound character also made me label this IEM as a “specialist” or a “niche” IEM because it may not be for everyone’s taste, but performs excellently in preference-specific situations. I recommend the Rose Technics QT9 MK3 if you are looking for an IEM with a smooth, airy treble-centric approach but does not skimp or compromise technical performance. Not to mention its exquisite, generous packaging and accessories for its price. Definitely an unforgettable, vivid IEM and experience, Rose Technics!

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Pairing recommendations:

• Source: There is an included USB DAC with the Rose Technics QT9 MK3, and it pairs really well with the IEM. However, you may still use your 2VRMS, neutral or warm USB DAC.
• Eartips: The amount of eartips included with this IEM are plenty and does not seem to compromise the IEM’s full potential; you may still use your preferred eartips.
• Cable: The cable is “minimalist” in design, and sleeved. I personally do not prefer sleeved cable, but it is just a personal preference. You may still use your preferred cable.

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Thank you for reading!

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

Additional Photos Here:

ChiFi Review: Rose Technics QT-9 MK3​

Third Time’s the Charm​

Rose Technics has been around for quite a while. In that time, they’ve experimented with a wide range of driver configurations for their IEMs, usually with a hybrid twist. The QT-9 is a staple of the Rose lineup, doggedly sticking it out for 5 years and four revisions. Today we’re listening to the QT-9 MK3 — the most modern revision to Rose’s 5-driver hybrid IEM.

You can find the QT-9 MK3 for sale on the official Rose Technics AliExpress Store here, for $169. Be careful, there are multiple stores with Rose Technics in the name. The one you want is called Rose Technics Certified Store.

You can also find it for sale here, on the official Rose Technics web store, also for $165.

About My Preferences: Heads up, I’m a person! As such, these words are my opinion, and they are tinged by my personal preferences. While I try to mitigate this as much as possible during my review process, I’d be lying if I said my biases are completely erased. So for you, my readers, keep this in mind:

• My ideal sound signature would be one with competent sub-bass, a textured mid-bass, a slightly warm midrange, and an extended treble.
• I have mild treble sensitivity.

Source: The QT-9 MK3 was tested in the following configurations:

• LG V40 -> earphones
• Asus Zenphone 10 -> USB-C -> Rose Technics RS9039 -> Earphones
• Dell XPS 15 (2022) -> USB-C -> Rose Technics RZ200 -> Earphones
• Hidizs AP100 3.5mm out -> FiiO A5 3.5mm out -> earphones
• HiFiMAN SuperMini -> earphones

All music was served as MP3 @320Kbps or as FLAC.

Tech Specs​

• Drivers: 1x Dynamic Driver (3rd Gen Rose DD), 4x Balanced Armature Driver (2x 26UA, 2x Knowles 30017)
• Impedance: 18 Ohms
• Sensitivity: 104dB
• Frequency Response: 20Hz -20KHz
• Cable Length: 120cm +- 5cm
• Cable Type: OCC Single Strand
• Cable Termination: 3.5mm
• Detachable Cable Standard: 2-pin or MMCX
• Weight: 30g +- 5g

Sound Signature​

Sonic Overview:​

The QT-9 MK3 features a smooth and refined sound signature with mainstream appeal. It has an elevated bass and treble with a technical midrange spike around 2–4KHz. The QT-9 MK3’s U-shaped sound profile makes it an easy listen, with a medium-sized sound stage and believable layering. The QT-9 MK3’s bright treble and light upper midrange feel precise, but somewhat mechanical in tone.

Sonic Breakdown:​

Treble: Songs used: In One Ear, Midnight City, Outlands, Satisfy, Little One, Show Me How To Live (Live at the Quart Festival), Fall (Big Black Delta Remix), Bittersweet Symphony

The QT-9’s treble is bright and formal. It attacks and decays quickly and precisely, deriving its transient nature from the two balanced armature drivers tasked with treble production. The QT-9’s bright and reflective treble tone allows it to excel in electronic genres. Fall (Big Black Delta Remix) was a pleasure to listen to, with the QT-9 playing nicely to the contrasting vibes of angelic falsetto vocals thrown into a chaotic digital landscape.

I was able to clearly make out the electronic crackling and subtle buzzing of the amps during the intro and outro of In One Ear, owing to the QT-9’s sensitive and revealing treble tuning. Other treble-bound details such as the sounds of the vocalist inhaling were cleanly captured and staged. High hats audibly decayed, though not with the most organic sensation.

While it is certainly bright, I did not find the QT-9’s treble to ever be sibilant. However, at higher volumes, especially in thinly-mastered songs such as Satisfy, the treble did come across as hot — something I avoided by listening exclusively at low and medium volumes.

While there’s multiple positives with the QT-9’s treble, it isn’t perfect. Treble-heavy tracks with highly-layered instrumentation, such as Bittersweet Symphony, exhibit treble-detail blurring. Reducing volume can mask this behavior, but it is present, likely as a side-effect of the up-tight tuning of the treble driver.

Midrange: Songs used: Flagpole Sitta, Jacked Up, I Am The Highway, Dreams, Too Close, Little Black Submarines

I had expected the QT-9’s U-shaped sound signature to have more of an effect on it’s midrange presentation, but in practice, the QT-9’s midrange doesn’t feel recessed or buried. It is particularly competent when resolving vocals — likely due to its 2–3KHz spike. Male and female vocals are both resolve nicely, with female vocals having a slight advantage. They have a sweet, honey-like timbre. Male vocals are portrayed with a fairly neutral tone. Vocal intelligibility is within my expectations for this price-point, with the QT-9 delivering palatable vocal clarity in most of my songs.

Among all the songs I tested, I found myself enjoying those that made heavy use of acoustic instrumentation the most. The strumming and plucking of guitar strings in I Am The Highway had a believable texture that kept drawing me further into Chris Cornell’s lonely ballad. The same can be said for the acoustic features of the intro to Little Black Submarines. Even through The Black Keys’ low-fi mastering technique, the QT-9 delivered an excellently-textured and realistically staged acoustic guitar performance.

Bass: Songs used: Moth, Gold Dust, In For The Kill (Skream Remix), War Pigs (Celldweller Remix)

The QT9’s bass features a dedicated dynamic driver, and it shows. Its bass is full and impactful, often having enough presence to create a satisfying rumble. Electronic music benefits greatly from the QT-9’s elevated bass tuning, with the busy and messy bass lines of Gold Dust being delivered with a tactile punch and robust rumble.

The bass-soaked conflict and angst of War Pigs (Celldweller Remix) comes through with energy and intent via the QT-9 hybrid array, leaving the listener fully immersed. The QT-9’s ability to produce sub-bass shines through on this track — it’s an impressive trait that is hard to find. Even harder to find is an IEM with this level of rumble that does not compromise the greater sound signature and remains cohesive with the mid-bass.

The QT-9’s mid-bass is tight and well-controlled. Songs with highly active bass-bound instruments such as Moth with its bass guitar are portrayed with a coherent and cathartic weight. The QT-9’s mid-bass, while strong, does not blur bass details or overwhelm its lower-midrange. In fact, there were no songs I tested that suffered from the QT-9’s strong bass presence — an excellent sign for bass enthusiasts.

Packaging / Unboxing​

The QT-9 MK3 shares packaging with the QT-X. Opening the box is easy, and the packaging feels weighty and premium. No complaints on my end.

Build​

Construction Quality​

The QT-9 is constructed from simple, light materials. Its shells are made from plastic, as are its faceplates. The shells are transparent, and the QT-9’s many drivers are clearly visible within.



Unlike its shells, the QT-9’s nozzles are made from a polished metal finished with a brass-colored plating. Just below the outer lip of the nozzles lies a metal debris mesh. To my eyes, this nozzle assembly is also shared with the QT-X.



Rose Technics sells two varieties of the QT-9: MMCX and 2-pin. While my preference is always 2-pin, it was sold out when I ordered my unit, so I had to go with MMCX. Rose sticks with high-quality MMCX sockets, and as such, they have minimal “spin” when a cable is seated in them (a good sign for long-term durability). I own multiple Rose IEMs from 2016–2018 that all use MMCX, and none have degraded or failed. I imagine the QT-9 will be similarly robust as time passes.



The QT-9’s cable is well-built. It features a simple 2-strand braid coated in a tough nylon-like material. The 3.5mm jack, Y-splitter, chin-cinch, and MMCX terminations are all housed in black plastic. I do, however, wish that the cable had a little less shape memory. It can be tedious to un-twist the cable above the Y-splitter, particularly if the cable-guides have gotten mixed up.



While the cable’s fittings are all fairly standard, they’re tried-and-trued. A super-fancy cable is always welcome, but not at the expense of the integrity of the overall product; a concept Rose clearly understands. To that end, the QT-9’s cable is utilitarian — highly functional, durable, and comfortable, without being frivolous.
If you want to move up to a higher-tier of cable, you can do so by simply ordering any aftermarket MMCX cable — they should all be compatible.

Comfort​

Disclaimer: comfort is a highly individual metric — no two people will have the same experience. With that in mind, Rose claims to have explicitly optimized the QT-9 MK3’s shell for the archetypal Asian ear shape. While I’m not entirely sure what that entails (beyond gathering lots of measurements from an exclusively Asian population), it doesn’t seem to have negatively affected fit for me as a standard-issue white guy.

The QT-9’s shells are relatively small and very light. As such, they were very easy to fit into my ears. The nozzles are standard width, but a little short, preventing me from getting a deep seal with the silicone eartips. Average seal performance aside, I was able to use the QT-9 all day without irritation or soreness, all with the stock cable and eartips.

Accessories​

Rose includes quite a few accessories with the QT-9. Inside the box, you’ll find:

• 1x pair of low-profile foam eartips
• 1x pair of dual-flange eartips
• 7x pairs of silicone eartips
• MMCX puller
• USB-C DAC
• Spare debris filters
• Carrying case

The massive variety of eartips was extra helpful with finding a comfortable fit for the QT-9’s relatively shallow profile. They feel high-quality in the hand and comfortable in the ear. It would be nice if Rose included a variety of foam eartip sizes, but that’s not a deal breaker when I can just order some Comply eartips off of Amazon.
The included USB-C DAC is an excellent utility in today’s age of single-port cellphones and laptops. The RZ200-m performs well with the QT-9 MK3, and other low-impedance IEMs. It has a low noise floor and is widely compatible with all of my devices, including multiple Windows 10/11 devices, Android 11, 12, and 14 phones, and an iPhone 15.

The included carrying case is decent, but lacks an affirmative locking mechanism. Instead, it closes using a low-strength magnet and friction. It is totally suitable for static storage at home, but it is not ideal for transporting IEMs in a purse or backpack when it could fall open. The case is, however, roomy and has a great net for storing accessories. I’d still like to see Rose iterate on this case and provide buyers with a more secure offering.

While traveling with the QT-9 MK3, I actually went back to an old-school plastic clasping case Rose included with their IEMs back in 2017.

Comparisons​

1: Rose Technics QT-X ($439 in 2024)

The QT-X has a warmer, weightier midrange. Its treble is less forward than the QT-9 MK3's, as is its bass. The QT-X contrasts the QT-9’s U-shaped tuning with a more “organic” W-shaped sound signature that prioritizes the integrity of the midrange. The QT-X is not an “upgraded” QT-9, but rather an entirely different IEM with unique tuning and a separate style.

Treble is a toss-up, falling to one IEM or the other depending on your preferences and priorities. The QT-9’s treble is far more forward giving it a brighter presentation than the QT-X. The QT-X’s treble, while more relaxed, tends to resolve fine details better and more flexibly, especially in scenarios where the upper register is particularly busy.
The QT-9 has a much more forward bass and is certainly going to be the preference for bass-heads. The QT-9’s willingness to punch and rumble goes far past the QT-X, with the QT-X only showing the same tactile behavior at higher volumes or in songs mastered with rumble as an explicit goal (see Baby Got Brapp).
The QT-9’s sound stage is medium in size, making it slightly narrower than the QT-X. They are both capable of layering, with the QT-9’s cooler tuning giving it the occasional edge in “slow” and “empty” songs. The QT-X tends to pull ahead in busier songs with higher technical demand, particularly when there are many contrasting midrange textures.

2: Simgot EN700 Pro ($150 in 2020)

The EN700 Pro is basically a more linear version of the QT-9. It has a slightly more cohesive presentation with an organic treble-to-midrange pairing. It has a less emphasized mid-bass and treble, with slightly worse extension that the QT-9. Both IEMs tout a strong bass presence, though the EN700 Pro rolls off earlier at around 50Hz. The EN700 Pro’s less dramatic V-shaped tuning will appeal more to those who want a “cleaner” sound signature. Simgot leveraged single dynamic driver well, though its limitations are a little more obvious when assessing its sub-bass and upper-treble extension. The QT-9 can push further in both extremes of the sound signature and claims some subtle advantages in delivering detail and impact as a result. There’s no clear winner between these two IEMs, and listeners will likely have to listen to both to determine which one suites their preferences better.

3: Whizzer KYLIN A-HE03 ($150 in 2019)

The KYLIN is an old-school ChiFi hybrid IEM. It features a single dynamic driver and a single balanced armature driver. At less then half of the drivers in the QT-9, the KYLIN does a shockingly-good job competing. It has a V-shaped sound signature with a pronounced bass and extended upper-treble. It features a warmer sound signature than the QT-9 with a bloomier and less controlled mid-bass. It trades blows with the QT-9 in the upper register, with the QT-9 occasionally staging quiet background details better. The KYLIN, however, has a more organic and less strained treble.
Listeners who want a warmer, smoother sound signature will gravitate towards the KYLIN. That said, bass-heads will likely stick with the QT-9 and its superior bass performance, both in terms of mid-bass punch and sub-bass rumble.

Summary​

The QT-9 MK3, while great at many things, is not a perfect IEM. But, at its relatively low price point, I don’t expect it to be. Rose went all out with its bass, giving it one of the most impressive lower-registered I’ve heard to date from a sub-$300 IEM. Rose’s accessory package is similarly great — but again, not perfect. Some small tweaks to the case and wider variety of foam eartips would solidify it as having the most comprehensive accessory packages I’ve seen.
The QT-9 MK3 is, for it few faults, still a fantastic and highly competitive IEM, particularly for listeners who want V-shaped IEMs with visceral and impactful bass performance. Great job Rose — I can’t wait to see what the Rose QT-9 MK4 sounds like!
As always, happy listening!