Rose Technics Star City 5 Pro

Introduction

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



Specifications

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

Packaging

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

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

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



Construction and Design

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



Adjustment and Ergonomics

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



Sound

Profile

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



Bass

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



Mids

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



Treble

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



Soundstage, Separation

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



Comparisons

7Hz Sonus

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



Conclusion

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



Sources Used During the Analysis

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

Purchase Link



You can read the full review in Spanish here

Rose Technics Star City 5 Pro​

Rose Technics Star City 5 Pro​

Intro​

Hello, this is my full written review for the “Rose Technics Star City 5 Pro” or SC5P, as I’ll refer to it for review purposes. The SC5P is the latest Hybrid iem from the audio brand “Rose Technics” and one I am happy to report on today. The SC5P is actually part of Rose Technics’ “Light Year” series of iems. Folks, I have done a few reviews by now from the brand “Rose Technics” and I have yet to hear a set that isn’t tuned very well to the intended target. I’ve reviewed and greatly enjoyed the Rose Technics QT9 Mk2s (Mk2s Review), Rose Technics QuietSea (QuietSea Review), and the exceptional Rose Technics QT9 Mk3 (QT9 MK3 Review). So,as you have probably guessed, I have some high hopes for the Star City 5 Pro (SC5P). Real quick, the SC5P is a three-driver hybrid iem consisting of one dynamic driver and two balanced armature drivers and costs roughly about $130 on the Rose Technics website but you can get this set for a ridiculously low $65 on Aliexpress right now. If you haven’t done the math, that’s HALF-OFF! Nothing beats a good rollout deal folks! Anyways, I thank Rose Technics for providing me a discounted price so that I may review and feature the SC5P at Mobileaudiophile.com.

Rose Technics​

The brand Rose Technics has quietly and irrevocably stolen my heart and so please be aware of this bias as I ramble on for another extremely long review. Of course, I will explain exactly what I hear, biases or not. Rose Technics is a brand that never has to force their greatness on anyone. Never flashy or pompous. Rose Technics doesn’t flaunt their products or boast about them in endless ads. Ya know what, I relate them to my favorite NFL player ever… Barry Sanders. One thing unique about Barry is that he never, ever, celebrated scoring a touchdown. He simply handed the ball to the ref. Like my father always told me… “Son, act like you’ve been there”. How does this relate to Rose Technics? Because Rose Technics is very much similar. They make great products that quietly and without fanfare or celebration are… quite fantastic. Basically, they let others tell them how great they are. Another thing my father used to tell me. Now, there are always issues with everything and certainly a set like the SC5P has some issues of its own. However, those issues look like minor gripes against the backstop of all they do well.

Let’s get into it…​

I write these initial intros usually after my first listen or prior and so I really don’t have a great gauge on this set yet, so we will discover the SC5P together. This is a set that has a lot going for it and one that I feel will likely fall under the radar as a lot of Rose Technics iems seem to do. I suppose only time will tell. That said, I’m ready to get this review going, time to critically listen, write a bunch of notes and spend a few good weeks with this set. Let’s get into it, the Rose Technics Star City 5 Pro…

Non-Affiliated Purchasing links ​

–Aliexpress ($65 sales price NOW)
–rosetechnics.com
–Lazada

Disclaimer:​

I received the Rose Technics Star City 5 Pro from Rose Technics with a percentage off the actual price in exchange for a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. This set is a paid sample iem. Rose Technics has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to Rose Technics and thanks for reading.

Full Review HERE

Full Review HERE

Aful SnowyNight / EPZ TP50 / iBasso DX240 / Shanling M6 Ultra / Fiio Q15 / Ifi Go Blu

Gear used for testing​

–Ifi Go Blu

–EPZ TP50

–Aful SnowyNight

–Fiio Q15

–iBasso DX240 with Amp8 MK2

–Shanling M6 Ultra

Packaging / Accessories ​

Unboxing​

One thing you can count on with Rose Technics is that they will provide a very nice unboxing experience for the money. I have yet to receive one of their sets and not be impressed. When the SC5P arrived at my door it came in a good-sized box. The box sleeve had a picture of the Star City 5 Pro adorning the front. It’s a nice-looking 1st impression. I won’t go too deep on this as you can just look at my pictures. Taking the sleeve I was met with a nice black box with “Light Year” across the middle and it has a magnetic flap keeping it closed. Once opened you are met with the gorgeous faceplates of the SC5P on one half and the circular case on the other. Both are sitting nicely in soft foam cutouts. Underneath that layer are some of the eartips. Inside the case you’ll find the cable, more eartips and a small dongle dac as well. Folks, it is a very nice unboxing. I realize I just run right through this section quickly, but I can assure you that it is better than most sets.

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Eartips​

Rose Technics offers two different sets of eartips in the packaging. Both are of obvious good quality and will be useful to any hobbyist. They provide four sets (S, M, L, XL) of some white silicone shallow fit wide bore tips. These tips have a semi firm flange and a firmer stem. The next kind of tips provided is three sets of white silicone narrow bore tips (S, M, L). These tips are also semi firm at the flange, deeper fit, more rigid all together. I really don’t mind the included tips as I got both sets to seal with relative ease. However, I much prefer to use my go-to KBear 07 tips in a large size. The 07’s added a cleaner and punchier bass and improved the upper midrange to a slight degree as well. Certainly, the included tips are perfectly fine and may suit you perfectly.

Carrying Case​

I really like this case friends. It is an all-black hockey Puck shaped case that is very premium looking. I’m assuming that it’s faux leather but it’s very hard to tell by sight and by feel. I love the “Light Year” logo written in the middle and the slick looking stitching which goes all the way around the case. This is the type of case which simply pushes closed and remains very well sealed to protect your precious iems. I feel there is just enough room to carry the Star City 5 Pro as well as the included dongle dac. Now, I rarely use carrying cases and likely won’t use this one, but I really like the look. I love that Rose Technics sought to impress with everything. I could see this case with much more expensive sets. Who knows maybe I’ll use it, though I know many of you regularly carry your iems in cases. For those folks, you’ll be pleased. This is a nice one.

Cable​

Okay, so I’ve loosely complained about the Rose Technics cable in past reviews. It is true that the Star City 5 Pro does come with the exact same cable as the more expensive iems, like the QT9 MK3. It’s actually a nice cable and goes very well with the SC5P aesthetically. Still, I don’t usually like most cloth lined cables though. However, the much less expensive Rose Technics QuietSea has an amazing cloth cable that is beefy and flat out sweet looking. I would’ve loved to have seen something like that. Just something a bit more premium looking. That said, this is actually a very talented wire as it’s an all-black mmcx 3.5 single ended 6N OCC copper cable that is said to be of fantastic quality in terms of its sound. I used the included cable for all 3.5 single ended listening and actually do think it is a high-quality cable. Maybe not my favorite but I’ll live. The mmcx connections are tight and feel durable and well made. However, I did swap cables for any balance listening, which is the majority of the time. I used one of my favorite cables ever, a FSIjiangyi 6N OCC cable that is simply stunning to look at and even better with the SC5P attached.

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Build / Design / Internals / Fit ​

Build Quality ​

The Rose Technics Star City 5 Pro has a very solid and compact form factor that is made out of what appears to be resin on the shell as well as a couple different alloys for the faceplates and the mmcx female connector housing. Really a very nicely built iem that looks much more premium than it actually is. I suppose for the MSRP price ($130), the build is right at the standard of the price point, if not better. However, for the sales price ($65) there aren’t many iems which can stand next to the SC5P. The build is really flawless with perfectly sculpted parts meticulously put together. Using CNC precision cutting It has stainless steel faceplates, the mmcx female port is aluminum and the SC5P has a brass nozzle, while the shell is resin by way of 3D printing. I see one good sized vent with damper material below the mmcx connector and another longer vent on the back faceplate too as well as one very small vent on the mmcx housing. I think the build is very nice and I don’t think many could argue that.

Design​

What a huge departure from the Rose Technics iems I’m used to as far as body style. Previous RT iems were very traditional. Always sleek and slick but also very minimalist in approach. In truth, I have always had an affinity for the look of their iems. Perhaps a bit vanilla for some people, but to me their designs have always set them apart. In a way. As far as the Star City 5 Pro, it is an elegant mix of style and function. Rose Technics did a nice job crafting a cool looking set. The colors are a mix of black on the shell to mirror silver on the faceplate and gold-plated nozzle. The faceplates have “Light Year” imposed on them in an elegant writing as well. It is simply a nice look. Very nice work.

Internals​

Inside the SC5P we have a self-developed 10mm LCP dynamic driver which is said to be a Japanese composite LCP diaphragm. They used N52 magnets with high magnetic flux. I love that Rose Technics did the legwork and created their own. That’s a whole other level to their expertise. The SC5P also has a “customized” Danish imported dual balanced armature array. Again, not many specs available for casual searching. Also, I am assuming that Danish BAs are better. Is that true? I can tell you this, I hear no BA timbre and they have great control. Maybe there is something to these “Danish” moving irons. Everything seems of high quality. Higher volumes don’t turn my music into a mess of distortion, and they simply have the feeling of control.

Dampers​

Rose Technics also uses a four-way damping system as well which can be seen in the promotional images below. This is an arduous process and thankfully Rose Technics did the homework and implementation here. They use one damper behind the DD in the rear chamber, one in the nozzle, one pneumatic damper near the mmcx port and one just above the balanced armatures. Folks, I cannot imagine how long this must take for Rose Technics to get this set where they wanted it in sound quality. At any rate, in the promotional material the entire damping system will control air pressure for a more comfortable listen, no suction or driver flex. Furthermore, the dampers will reduce distortions etc.

Fit / Isolation ​

I have the SC5P in my ears as I type this, and I am very impressed with the fit. The shape and size really do help to create a perfect seal. Add to that the weight is very little which never causes fatigue for me. The only thing which may become an issue for some is the deeper fit of the nozzle. Nothing crazy but it is a bit deeper than average. One more thing concerning the fit, I have zero air pressure suction happening when putting these in my ears. Rose Technics did a wonderful job of balancing the pressure nicely. I have absolutely no idea how in the world this set is going to fit you so be aware. Of course, I would think you’d have zero issues like me. As far as isolation goes, I don’t feel that the SC5P lets in any more noise than any other set of in-ears minis a couple made squarely for stage purposes. So, about average. Now, Rose Technics states that the SC5P will provide up to 22 db’s of passive noise attenuation. I have no way of gaging this but… Seems bout’ right.

Drivability​

The Rose Technics Star City 5 Pro is rated at an impedance of roughly 24 ohms and a sensitivity of 104 db’s. What does this mean you ask? It means that the SC5P is a pretty darn sensitive and easy to drive pair of earphones. I had zero issues bringing the SC5P to decent sound fidelity and volume even from my iPad. Using the Fiio UTWS5 I have zero issues as well. However, just because I can bring them to decent volume doesn’t mean we are maximizing the potential of this gem of an Earphone. No sir. The SC5P does want some power. I feel it takes a tad more to wake up those balanced armature drivers. I simply felt that when I added a higher gain on any dap or dongle dac etc. that the SC5P responded in a great way. So, this is most certainly a set you can drive from a lower power, but they also scale very well with more juice. I’m not talking about crazy juice either. Also, warmer source devices with a bit more low-end will obviously help the SC5P bass region to add some fullness and authority. let’s take a look.

Mobile Listening ​

Using the IFi Go Blu was nice on either 3.5 or 4.4. The Go Blu (CS43131 dac) is a little powerhouse of a bluetooth dac/amp which comes across warm/neutral which did well to synergize with the sound of the SC5P. I also got lost in the sound of the EPZ EP50 (dual CS43198 dac chips) which is brand new to the market. It has a warm/neutral tonal color with a clean sound which really counters the SC5P nicely. However, out of my mobile pairings, none did better than the Aful SnowyNight (SnowyNight Review) which also uses dual CS43198 dac chips and a ton of output power. That little dongle dac is such a beast! I entered into high gain on 4.4 balanced and the synergy was effortless. I love this set with my mobile listening options. It’s actually a chameleon of sorts. I really didn’t hear anything outright bad and in fact, each source I used sounded pretty good but the SC5P sort-of mimicked the source I used.

Included dongle dac​

By the way, I also used the dongle dac that is included in the packaging of the SC5P. Folks, it is actually pretty nice. It drives the SC5P just fine and gets relatively loud with good dynamics. If I didn’t have any other source, I’d be perfectly fine just using this dongle. I don’t know what the name is, what the dac chip is, or how much output it has but it sounds good.

A bit more juice
Moving onto my more powerful and more talented sources I found the best pairing I have with the Star City 5 Pro is when I attached them to the Fiio Q15. The Q15 has both the AK4191 and the AK4499EX dac chips which has a ridiculously resolving sound along with up to 1600 mw and five gain modes. I found high gain to be more than adequate. The resolution is wonderful, and the dynamic presence just oozes out. Just as good but slightly more velvet is my Shanling M6 Ultra (AK4493SEQ flagship dac). However, I did notice the sound was the slightest of hairs less energetic up top with this pair. The DX240 (ES9038 Pro dac) also added its own more neutral flair. Not quite as natural sounding but plenty of fun. My more powerful sources showed me was that the SC5P reacts well off of all source tonalities between them and will slightly alter its sound accordingly.

What you need​

Honestly, at the very least you should try to acquire a simple dongle dac. Just get a decently powerful ($30 to $50) dongle dac (if possible) and you’ll be in business. This is not a hard set to drive and so if you absolutely cannot spend a dime more than the amount of the SC5P then a phone will certainly suffice. If I used my iPad then you can use a phone, theoretically.

Sound Impressions​

Real quick note…​

Okay, we finally made it to the sound portion of my review which also happens to be the only section any of you really care about. When I first received the Rose Technics Star City 5 Pro, it was an up and down ride for me. Much like when I reviewed the Rose Technics QuietSea (QuietSea Review) I went on a roller coaster ride of good to, not-so-good to, I’m in love. I only say this because I want to inform you that I didn’t fall in love until I gave the Star City 5 Pro roughly 50 hours of burn-in playing white noise, pink noise and different tones and sweeps using tracks made for this purpose (burn-in). When I first got the SC5P I was not happy with the amount of brightness from the upper-midrange and treble region. It was slightly peaky, tizzy, splashy and simply not to my liking. However, I remember the rep telling me to burn in this set for at least 24 hours. Without question this has helped. Brightness has all but gone away and now I hear a very nice balance. Heck, I’d even say it tilts warmer than anything now. From bright to warmish is a huge change. Burn this set in folks.

Condensed sound report​

The Star City 5 Pro is a semi-smooth sounding iem with a slight V-shaped sound signature, or possibly a U-shaped sound depending on your source. It has a warm/neutral sound altogether, with a warmer low-end thru low-mid and some added upper-mid/lower-treble energy which tilts cooler. There’s a good balance across the mix. The SC5P is a full sounding iem with a nice macro-dynamic expression. Not as neutral as something like the Rose Technics QT9 Mk2s or MK3 but close to them in the resolution department. There are a couple similarities though. The QuietSea, the QT9 Mk2s, and the MK3 all had that neutralish but persistent energetic dynamism, moderate but punchy low-end, and very resolute respective to their price points. Listening to the SC5P, it is definitely energetic, dynamic with a moderately punchy low-end, but it simply leans a hint warmer and has better note weight to my ears. Also, the SC5P is smoother than those sets.

A tad bright at times…​

However, as with anything, this is not going to be to everyone’s liking. This is a set which can get slightly bright/glaring at times in the right tracks and with the right sources. The SC5P is kind of a chameleon folks. I know, any set will change with the source to a degree. I get that, but I hear more of a drastic swing with this set than most others. If you have a brighter source the SC5P will reciprocate with a touch more upper-mid/lower treble brightness. Never too much for my ears, but I know there are many who are sensitive to a brighter replay. However, I feel there’s enough low-end warmth to counter that elevated sound up top and there’s a good balance across the mix. I should also stress that the more I’ve listened to this set, the warmer it got. I am not joking about this. Despite that, fans of a warm or dark sound won’t exactly jump over each other to get to the SC5P either. I said only slightly warm. I just want you to know what you are getting.

Sound between the 20’s​

I hear a nice mid-bass emphasis in the low-end which helps maintain that good balance of the mix. It’s a fairly punchy sounding bass, above moderate in its rumble, but not as extended into the sub-bass. Despite that, the SC5P has an atmospheric transient response down low. Transients aren’t “slow” but there is some decay & sustain lag for a more organic sound. The midrange is warmer, more forward than it isn’t, and has good note weight and density. It has a clean but also compact note profile with smooth textures and good depth for the price of $65 (in my opinion). Vocals and instruments come across forward, smooth, and have good imaging capabilities. The lower treble is emphasized but you won’t hear the best upper-treble extension either. I find details & separation are about average while imaging is very good, and the soundstage is average to above average in all directions. This is a very well tuned iem and one that I am more than happy to report about folks.

Bass Region ​

The low-end of the SC5P is pretty punchy with a very nice emphasis. This is a low-end that favors the mid-bass more than the sub-bass. It has a slightly warm, solid note structure. I’d say that the bass region comes through slightly softer in attack and just above moderate in density, rumble, and slam. This set is certainly not for bassheads or those who enjoy a beefier low-end. No worries though, the bass has enough rise and presence to carry most genres quite well. I wouldn’t call the SC5P bass region pillowy, or weak, and definitely not dry or hollow. Again, it’s ever-so-soft on attack at times and not always concrete hard, but it’s a strong thud with good solidity. It’s like I always say for these types of low-end replays; a hammer wrapped in a sock. It’s smooth and the SC5P can bang. There’s some intensity, but that intensity is capped so that it doesn’t overtake any other area of the mix. The people at Rose Technics made sure to bring the bass level up just enough to add some presence from this region, yet at the same time never overpowering the rest of the frequency. This is a set which most surely rises to the occasion and can surprise at times with the level of clean boom you get. All of this depends on the track you are listening to and the source you are listening with.

Sub-bass​

The sub-bass isn’t the most extended that I’ve ever heard but it also isn’t non-existent. It’s adequate. I hear a mildly hearty rumble and drone in the track “Groove” by Ray Wylie Hubbard. This is not the type of sub-bass which will reach desperately low pitches or create loads of haptic feedback. It’s there and it represents this track well, but it isn’t like some sets which are created to rumble. I hope that paints the right picture. This is actually a tighter sub-bass which relies on its ability to hit-n’-git. It plays what’s asked of it and moves on. In the track “Higher” by Chris Stapleton, once the chorus begins there is a slow but sonorous bass guitar riff that I found to be very well done on the SC5P. There’s enough bass guitar fullness to carry the track with that low drone while Chris’s vocals sit on top nicely. This riff is a staple (no pun) of this track and should add an element of emotion to the song. I do believe that the SC5P succeeded in that. So, while this isn’t the most boosted of all sub-bass replays, it is still very well accomplished and fairly clean in its smoother replay. The note definition is okay even though the transient decay isn’t the sharpest or most precise. Again, it isn’t by any means slow or blurred. I’d say the transients in the sub-bass are a nice mix of atmospheric and tight.

Mid-bass​

The mid-bass region has enough warmth and textured character to add some nice energy to a track like “Wolves” by Big Sean. Like I said, the SC5P will rise to the occasion and replay what a track is giving them but with a little extra energy. There is a bit more color to this region than the sub-bass and a bit more forwardness. I hear a dense and satisfying bass drone on this track with a solid note outline. Nothing fuzzy or soft. Another track is “Humble Beginnings” by Bazzi. This is another hard bass drop which is recorded to have some beef to it. The SC5P does a great job of coming across with a semi-meaty resonant boom in respect to the recording. Rose Technics tuned this low-end to walk a fine line of mid-bass warmth and thickness, but also cleanliness and transient swiftness. Let’s put it this way, the SC5P is not going to overtake the entire mix in a bass induced veil, but instead it will reproduce what it is given, in a less intense manner and not sacrifice cleanliness to do so. Now, there is some warmth which spills over into the midrange which makes for a very melodic and pleasurable set to listen to. The mid-bass may not be overly boosted but it also doesn’t feel weak, not by any means.

Downsides to the bass region ​

When thinking of the drawbacks to a bass of this type I have to remark that bassheads will not be impressed. This is a bass that comes across with decent speed, good textures and definition too, but not snappy enough to attract those who love a super agile and transient tight signature down low. It won’t attract even moderate bassheads either. Yes, the SC5P will replay a heavy bass drop with ease and sound pretty deep, but it doesn’t necessarily exaggerate or color those bass drops to a great degree. Bass guitar is just full enough, just biting enough, but it won’t please those who really dig that guttural sounding bass guitar. Kick drums do have that hollow thud with a sticky edge in attack, but they also come across as slightly less intense compared to other sets. They don’t have that hard intense snap at the crest of notes. Is this a bad thing? I suppose that depends on who you ask. I think the low-end is actually quite good and I don’t think I got that across as well as I should have. It’s clean, robust enough and is pretty well contoured. I could certainly use a few more sub-bass db’s and tighten up the mid-bass a hair. Still, all things considered… this is an organic and satisfying low-end and I’m happy with it, as is. Not bad at all Rose Technics.

Midrange​

The midrange is one of the highlights of this set. I do hear some spill-over from the bass to the midrange, but in no way is this a bad thing. This adds smooth and warm textures for a melodic and musical experience and nice note weight. Not thick or heavy, but lean-lush, semi-rich and pretty clean. The mids are very nice for me and my library. Tuned with just enough emotion and musicality as there’s a sense of warmth in the region that does a great job of adding an element of organic sensibility. However, just like all of Rose Technics iems that I’ve reviewed, the midrange holds tight to the technical side of the music as well. It’s a nice mix actually. Also, it’s a tough line to walk for any tuner. Rose Technics saw fit to bring the midrange forward just enough and balanced the mix and just enough to keep from calling it a “mid-centric” iem. This is a balanced iem with a very nice midrange. Vocals are very pleasing to me with good note density. The sound is most certainly not dry, papery, or analytical. On the flip, the sound also isn’t milky, rich or thick sounding. Again, it’s a nice mix and I like it. Hard to believe this set costs under $100 actually.

Lower-midrange​

When I speak on the lower midrange I will always zero in on male vocals primarily. Males come across slightly warmer than not, with solid note weight. Male singers sound like male singers should sound. I hear good body with a smoother inflection and fundamental tone to most male vocalists. Crisp when they need to be crisp, but never knife edged or too coarse. This is a pretty clean lower-midrange with good resolution for a smoother replay while never sounding attenuated, pushed back, or recessed to any great degree. Basically, males still have good presence in the mix. Listening to Chris Cornell’s version of “Nothing Compares 2 U” is a great experience with the SC5P. His voice has that dirty and edgy charm as the SC5P replays his voice without coming across too withdrawn like so many sets can do. “Highway Woman” by John Vincent III is also a track which draws on the SC5P’s strengths. His voice reaches a bit higher in the register and the SC5P adds a bit of extra vibrance and energy which is great. There are subtle details and fluctuating intonations within his vocal delivery that are captured well on the Star City 5 Pro. With its more resolute sound, lean-lush yet dense note weight and crystalline note outline…males sound very good.

Upper-Midrange​

The upper-mids certainly have a more shimmery sound and have more energy than the low-mids. More vibrance, slightly thinner in note weight, but notes also still have a core density to where they don’t sound dry or actually… “thin”. If they were too lean, I wouldn’t like them. Actually, females sound effervescent and melodic and I feel the sound of the SC5P is geared towards female voices. They sound more forward, in an intimate way, more romantic and soothingly vibrant rather than glaring or shouty. Instruments in this region have a hint of luster to them but don’t sound as though they are unnatural or colored too much.

I really like Rachael Price’s vocals singing for the band Lake Street Dive in the track “Baby Don’t Leave Me Alone With My Thoughts”. Her voice is pregnant with this resounding convexity to her voice which is ridiculously appealing. The talent demands a decent sounding iem. I love that the SC5P doesn’t inflate and negatively magnify this “resounding” quality by making her voice too glaring and strident. Instead, what I hear is a polished smooth voice with nice shimmer and decent weight. This is true for most any female vocalist I’ve listened to with the SC5P.

Instruments​

I really don’t feel good about generalizing instruments in my reviews. I have found that they can change by the track. So much has to do with how a track was recorded. I find percussion seems to have a hard snap on attack for cymbals, snares and even kick drums. They can sound very satisfying in the right situation. Like in “Billie Jean” by Weezer, the song is carried by booming kick drums, but each kick drum boom is directly followed by a snappy and hard “Pang” from a snare. I love it. Strings sound good, energetic, edgy at times too. Are they perfectly natural? Probably not. Of course, once I find out what “natural” sounds like I’ll make sure to edit this review. Lol. There is just a bit more luster to any instruments replaying closer to the upper-mid area and a bit less close to the lower mids. I do like piano in most situations as well.

Downsides to the Midrange​

If I were to point out issues that one “may” subjectively make about the Star City 5 Pro, I would first say that the upper midrange can induce some glare on the right track. I find this few and far in between, but it’s there. Also, I could use a bit more separation of elements in this region. The sound is pretty well smoothed over and so the definition is a bit less than perfect. Details aren’t exactly in abundance either but that’s the price you pay for good musicality. Also, detail retrieval isn’t non-existent either. They just aren’t the SC5P’s specialty. For me, I happen to like the midrange efforts of this set with its semi-forward presentation and clean smooth and bodied-up sound. You don’t have any odd timbral issues that I hear as everything is closer to organic and you don’t have any sibilance either. This is a well-adjusted midrange that is more musical and pleasant than most sets in its price point in my opinion.

Treble Region​

As I’ve alluded to earlier, the treble has been the biggest up & down feature of the SC5P’s tuning. When I first got this set, it was pretty bright up top. The entire signature was closer to neutral/bright than anything else. However, after roughly 50 hours of burn in and extensive listening, I would now call this set warm/neutral as a whole. Talk about a change. At any rate, the condition this set is in now is what I will be reviewing. That is, a slightly rolled-off treble region with quite a bit more emphasis in the upper-midrange to lower treble area. Now, I don’t have any sort of a graph to compare with what I hear but I’d be willing to bet that there is more energy there and a drop off before the air region. The treble is somewhat airy and open. It can get bright at times but nowhere near to the point of calling the treble “bright” in general. I also don’t hear any forced oversaturation of this region. Better said, I hear no forced resolution. It comes together pretty natural as the treble does fit the overall balance of the sound as a whole quite nicely.

Nice treble region​

This is a nice sounding treble with a good mix of crisp and smooth that does a decent job of displaying details, all the while keeping an almost laid-back profile. I don’t hear anything outright sharp or shouty although like I’ve said, the SC5P can get a bit hot at times. I find the leading edge of attack has some bite to it and note weight in this region has good body. This is not a thin and dry treble. Notes have some decent presence. There is a feeling of enhanced clarity due to the rise in this area of the mix. It just feels spicy in a good way. Especially for instruments which reside near that lower treble region like violin, piano, electric guitars, flute etc. They all seem to have very nice fundamental tone & timbre and plays very well with the overall tuning of the SC5P. Now, just past this region I do feel there is a decline and a slight roll-off. At least to some degree because secondary harmonics of a cymbal strike sounds a bit attenuated as well as a few other instruments I’m used to hearing. However, detail retrieval is good and separation in this region is as well. Like I said, there is a sense of enhanced clarity without ever really coming across harsh or screechy. Obviously, there are tracks which will make me a liar but for the most part the SC5P keeps in good control.

Examples up top​

Listening to Billy Strings and his fast-paced banjo play in “Ice Bridges” is a testament to the SC5P’s ability to separate in a more complicated environment. Each note sounds as though it is round and carries a very nice cadence. I find the sound to be cohesive with the rest of the mix as well. However, in the track “Bishop School” by Yusef Lateef I do find that the SC5P can sound a hint less energetic in some portions of this track. The speed is good but there is simply less air to the sound which almost muffles certain sections to a degree. Now, I was happy to hear that Greta Van Fleet’s track “Fate of the Faithful” didn’t kill my ears in screeching electric guitar glare. Another track that runs a bit hot is Nirvana’s “Bloom” which was fine on the Star City 5 Pro.

Downsides to the Treble Region​

I would say that treble heads will definitely be left wanting here. There simply isn’t enough open airiness and treble punch to come across satisfying to those treble junkies. Also, I do hear a roll-off which really isn’t terrible but kind-of attenuates some info past 10k for me. There is some treble sharpness in some tracks as well, but again, those are less common and not a usual occurrence. Orchestral music sounds a hint less energetic at times too. That all said, the treble region is pretty nice actually. It won’t win any awards and won’t change your life, but it does replay this region well and very cleanly. There is enough body and presence to formulate a nice and cohesive jump from the midrange to the treble. I think the best part about the treble and (something that I probably should’ve started this section with) is that the treble fits the overall tuning nicely. Rose Technics doesn’t make mistakes folks and there is usually purpose in their tuning decisions. I hear a well-controlled, separated, and detailed treble here.

Technicalities​

Soundstage ​

The soundstage is one with average width and good height. Nothing out of the ordinary or so expansive that it’s worth bragging about though. However, the SC5P does have good depth to the sound. I hear pretty good layering as well. Also, when I say “average”, this is not a bad thing folks. Average is good. Average means that the stage is at least appropriate to the music funneling into my ears. I simply wouldn’t call this stage as massive or widespread. We are missing some extension both ways which also seems to play a part in this average stage width. Still, depth is nice. I certainly hear some front to back layers to my music. Of course, this can change slightly with whatever source you are using. I primarily used my Fiio Q15 and Shanling M6 Ultra. If anything, the sound is a hint wider with the M6 Ultra but for the most part… Average. I don’t necessarily hear a fully 3d sound but the sound field within my mind certainly leans in the direction of holographic.

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Separation / Imaging ​

When I have the SC5P in my ears I’m usually enjoying its fine musicality. However, when I’m listening for distinct separation of instruments and vocals there are times that they sound a hint more smoothed over than some sets in this price range. I don’t want to make you think this set is all butter though. The SC5P can come across with some distinct separation at times. However, in the grand scheme of things I’d say that separation is about average listening to the SC5P. Some songs and genres are better than others. In more complicated and congested tracks featuring more moving parts and commotion it stands to reason that audible separation will not be as good. Imaging on the other hand is actually very well laid out. Everything is placed nicely on the imaginary stage within my mind.

Detail Retrieval ​

Detail retrieval can be pretty darn good on this set. Again, unless a very complicated and congested track is playing. For the most part though, I’d say that the SC5P is about average altogether. The truth is this set wasn’t tuned to prioritize extracting every last detail. Thankfully it wasn’t. This isn’t a dry and analytically crisp tuning. The bass isn’t flat. There is a balance across the mix, but macro dynamics are more energetic and the note structure across the mix is smoother than anything else. The SC5P was made to play music and to be musical, and to counter that musicality with some decent technical chops. I feel that about sums it up. No, the SC5P is not a detail monster but it does help in hearing some of the micro-details in the right situation. I mean, clarity is nice in this set and resolution is certainly above average. However, just to be fair, and to call a spade a spade… the SC5P is about average, and depending on the type of track you are listening to they can pull off above average.

Comparisons​

Okay, so I had some moments of hard deliberation as to what price point, I’m going to conduct these comparisons and for the ratings later in the review. Right now, the SC5P is going for $65 on Aliexpress, but the MSRP is around $130. That’s a huge difference. I don’t know how long the sale is going to last either. Heck, it may be permanent, who knows. Anyways, I decided to choose some hybrid sets around the $100-$130 price points. By the way, this will be very simple comparisons using very general terms. Hopefully they’ll help you with understanding how the Star City 5 Pro sounds. Also, these comparisons are not a duel to the death to crown one the winner over another. I really don’t feel that is helpful to anyone.

Simgot EM6L ($109)​

The Simgot EM6L is a set I recently reviewed (EM6L Review) and I found it to be utterly musically warm and sumptuous with a fatigue free sound that is all about comfort and chillin. Simgot created this set to fill a small void in their high-budget price point which could’ve used a hybrid iem. The EM6L is also a huge departure from the type of tunings that we are used to in a “Simgot” iem. Like I said, the EM6L is a hybrid iem consisting of one dynamic driver and four balanced armature drivers. This set is one of the better iems sitting comfortably around the $100 price point, but it is a fairly polarizing set with its warm and lush tuning.

Differences
To start, the EM6L is quite a bit larger than the SC5P. However, the SC5P does fit a bit deeper in comparison. I feel that the SC5P is built a touch better with a more classy and stylish design. The EM6L on the other hand is more typical in shape. Both are nice looking, but I don’t think many would say the EM6L is the better looking of the two. One drawback, or strength is that the SC5P uses an mmcx connection while the EM6L uses a QDC style 2-pin. Both sets are accessorized well but the SC5P is certainly the better of the two, by a long shot. Just more premium across the board. Also, the SC5P comes with its own dongle dac which actually sounds nice.

Sound Differences​

When comparing these two sets in the sound quality department, I almost consider this a preference battle. Almost. There is one similarity and that is the fact that both sets have a warmer tilt, and both have a musical and smooth note structure and cadence.

I find the EM6L to be much more bassy with a longer decay. It’s extended down low deeper, it’s warmer in this region and simply bangs harder. The SC5P has a tighter and more separated and distinct sound in the bass. Both are emphasized, but the EM6L is just emphasized more. The SC5P is simply a cleaner and more realistic.

The midrange of the EM6L is warm, slightly recessed and milky smooth. The SC5P is also smooth but it carries a more vibrant sound, closer to neutral by a small degree. Just more energy across the board while the EM6L sounds more laid back. I also feel the SC5P is the more clean, resolute and detailed of the two midranges. Both sets do vocals nicely but the SC5P simply does them better in my opinion.

The treble is extended a bit better on the SC5P with a more shimmery and vivacious sound. Again, the EM6L has a warmer treble and is certainly less offensive or has less of a chance at harshness. SC5P has more of a bite and has the more transparent treble.

The soundstage of the EM6L is a hint wider. However, the SC5P has better depth which serves for better layering. Listening to the SC5P, I also hear a more detailed sound with better resolution. Separation of elements within a stage is easier to hear on the SC5P as well.

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Final thoughts on this comparison​

I feel this comparison with the Simgot EM6L is a good litmus test for the Rose Technics Star City 5 Pro. There are some stark differences between the two but there are also some slight similarities too. When I look at them both I cannot help but come to the conclusion that the SC5P is simply more refined across the board. Of course, I know many folks who would rather have a warmer, bassy and non-fatiguing set. However, for me, I’d go with the SC5P. Call it a honeymoon phase if you want, but it’s a great set and does outclass the EM6L. Again, my opinion.

Celest Phoenixcall ($129)​

The Celest Phoenixcall is a set which garnered quite a lot of praise as well as a few high-profile detractors. Some remarked about the frequency graph and how bad it looked, without actually listening to the set of course. Lol. I for one really enjoy this iem and still bust it out from time to time. I actually reviewed the Phoenixcall (Phoenixcall Review) early last year and gave it high praise. The Phoenixcall is a tribrid iem, meaning it offers three different types of driver tech. That is, one 7mm dynamic driver, two balanced armature drivers, as well as one 6mm micro planar driver. For the price I don’t think you’ll find anything even remotely close to these set-in terms of driver configuration. At the outset it’d seem unfair to compare the two, but also, I think the SC5P can hold its own.

Differences
As far as differences between the Phoenixcall and the Star City 5 Pro, I’d first say that the Phoenixcall is built entirely of resin and the SC5P is a resin and alloy mix. I cannot name which is built better because, I honestly don’t know. They are both built nice to my eyes. Also, aesthetically they both offer a gorgeous design. The scene on the Phoenixcall’s faceplates and the beautiful colors, transparent housing, and perfectly matched cable is absolutely beauteous. However, the SC5P slaps back with that dope looking minimalist look that’s oozing with class. Two different looks but both are great. Looking at the unboxing, Celest/Kinera may be the only brand that can outperform Rose Technics for unboxing experiences. Between the SC5P and the Phoenixcall it’s close. I think Rose Technics probably wins out just because of the included dongle dac. Again, both sets are equally good. I told you the SC5P could hold its own.

Sound Differences ​

The Celest Phoenixcall is a warmer sounding set with a more V-shaped profile and bigger bass that hits deeper and harder. The Phoenixcall has a less soft bass note. However, the SC5P is no slouch and has a hair tighter bass, slightly less atmospheric sounding and a hint better defined. These are very miniscule differences though. I probably dig the Phoenixcall a bit more here, but both are great.

The midrange is more melodic in the SC5P displaying vocalists better and cleaner then the Phoenixcall. The Phoenixcall is a hint more pushed back and recessed than the SC5P. I also hear a smoother and more musical midrange from the SC5P too.

The treble of the Phoenixcall is better extended and slightly brighter with better detail retrieval, better treble punch and definition. Again, these are marginal differences at best. The soundstage size goes to the SC5P as it simply shows better depth to my ears. Detail retrieval is better by a very small degree on the Phoenixcall. However, I do find the SC5P to be slightly more musical and emotional sounding.

Final thoughts on this comparison​

This is a tough one for me. I wasted at least two hours comparing through many tracks and I couldn’t tell you which I like better. Whatever was the last set in my ears is how it went for me. They are both two very dynamic and fun iems with different signatures that replay my music very well. The SC5P’s MSRP is actually about the same price as the Phoenixcall. So, imagine now that you can get this set (SC5P) for $75. It’s a steal, folks.

Ratings (0-10)​

Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Rose Technics Star City 5 Pro ratings below, that would be $60-$120 hybrid style iems. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5-6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $60-$120 US is a huge scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings will be unique to that review. Basically, I create a Rating that makes sense to me.

Aesthetic ​

–Build Quality: 8.9 Built very well.

–Look: 9.3 What a nice looking iem!

–Accessories: 9.9 Tops in class (that I know of)

–Overall: 9.4

Sound Rating ​

–Timbre: 9.1 Very nice timbre.

–Bass: 8.7 Bass is nice.

–Midrange: 9.4 Great vocals.

–Treble: 8.1 Energetic with a roll-off.

–Technicalities: 7.4 Not the SC5P’s strong suit but still pretty good.

–Musicality: 9.2 Musicality is great.

–Overall: 8.6

Ratings Summary:​

I decided to rate the Rose Technics Star City 5 Pro against hybrid iems ranging from $60 to $130 US. Why did I do such a thing you ask? The answer… because I don’t know how long this sale will last so I simply added both price points. Now, there isn’t a super vast number of hybrids in this range, but it is large enough of a pool to bring down some ratings. Also, be aware that I haven’t heard every hybrid in these ranges so please take these ratings lightly. Actually, always take any rating lightly. It is an awful way to establish how good or not good an audio device is. There isn’t any nuance in a rating and by my estimation, this hobby is 100% nuance. I do these because I was asked to and because for some reason you guys actually find them useful. Seriously though, don’t mind me, I’m just complaining because ratings are usually an arduous process.

Explain Yourself!​

Of all the ratings here, I don’t feel that any of them need a ton of explanation. Perhaps I rated “technicalities” a hair low at “7.4” but I just couldn’t see myself giving the SC5P over an 8.0. Details are good, but not great. Separation is kind of smoothed over in places. However, Imaging is great, and the soundstage is pretty deep with a nice holographic type of sound field. I feel a “7.4” is justified. All of the other ratings I’ve gone over for way too long going back and forth. I do feel like I got them right against every set I own or have spent enough time with to have a good enough understanding to compare the SC5P. An overall “8.6” in the sound department is actually really good folks and it stands to reason after spending good time with the Star City 5 Pro.

Is it worth the asking price?​

At $65 this is one of the easiest no-brainer sets on the market. My opinion of course. Even at $129 the SC5P is a nice set. I absolutely enjoy this iem folks but I’m sure that not everyone will be as joyful over it. Especially when you have so many very good iems to choose from. You have sets like the CCA Rhapsody (Rhapsody Review), Simgot EM6L (EM6L Review), Celest Phoenixcall (Phoenixcall Review), EPZ X-Tipsy Star One (Review coming soon), Truthear Hexa (Hexa Review), TangZu Fudu Verse, GeekWold GK20, Hidizs MS2, Celest Plutus Beast, Letshuoer X-Gizaudio Galileo, Fiio FH3, Fiio JH5 (JH5 Review), Hidizs MS3 (MS3 Review), among many others that I don’t feel like listing here. I do feel the SC5P stands pretty tall against the field, but certainly there are others which compete very well. In fact, (not really a fact) I feel the SC5P may just top the list here for a few of you. Maybe more than a few… It’s a great set friends.

The Why… ​

First off, the Rose Technics Star City 5 Pro comes with a fantastic unboxing experience. Not to mention it comes with its own dongle dac! Which sounds good by the way. Not the most powerful of dongles but very nice sound and very compact and small. Anyways, the SC5P is a very sharp looking iem that is built pretty well. It’s a class act from front to back. However, the main reason why any set is worth its price comes down to how well it can replay music. Thankfully, music is the SC5P’s specialty. I find this set to be a very musical iem with each area of the mix being represented well. The bass is a great mix of organic and clean with a midrange that offers great timbre, clarity, and is forward just enough to really help vocalists come across well. Also, this is a smooth midrange which somehow doesn’t completely skimp out on details. The treble is mostly non-offensive and still has a nice layer of brilliance to it which helps the overall sound of the SC5P to feel dynamically balanced without any one area overshadowing another. Honestly, the SC5P is a very well-tuned iem from a company that knows how to tune an earphone. Absolutely the Star City 5 Pro is worth the asking price.

Conclusion​

To conclude my review of the Rose Technics Star City 5 Pro, I want to thank the good people of Rose Technics for providing the Star City 5 Pro in exchange for a full review and feature at Mobileaudiophile.com. Rose Technics has only ever been completely professional and curtious and never has asked me to change my review to suit an agenda or to make their product more appealing to consumers. So, thank you very much.

Other perspectives​

Also, please check out other reviews of the Star City 5 Pro from other reviewers as it will help you to get a gauge on exactly what you are getting. As I always say, we are all very different and hearing from other folks who have experience with the SC5P will only help you to make an informed decision. With that said, I thank each one of you for taking the time to read thoughts about this set. Please take good care, stay as safe as you can and always… God Bless!

Full Review HERE