Sound Summary
The QT-9 MK3 is upper-midrange focused, with a steep elevation and concentration in ‘resonant’ frequencies in the 4-4.5kHz frequency response. Making an educated guess, the twin-balanced armatures on each side are the primary source of the upper-midrange peak. Transient speeds and linearity between the assemblage of drivers are technically impressive but plagued by the typical ‘balanced armature’ timbre – metallic, zingy and cold.
The low-end is tuned towards a neutral profile, with a satisfying mid-bass flourish: deft, neutral and quite articulate. It’s a conservative tuning that accurately broaches bass but without significant colouration. Sub-bass rumble is dynamically soft but defined. Commanding, it is not, but it is clean and articulate.
To surmise, I would classify the QT-9MK3 as a confluence of upper-midrange energy and faux-neutrality.
Bass
The QT9-MK3’s bass response is best described as a ‘matter of fact’. Low-end aplomb and dominance isn’t the primary objective, but linearity, precision and dryness. Texturing in terms of instrumental micro-detail here is quite good despite the distant and gentle sub-bass rumble. One of the QT9-MK3’s star characteristics is its ability to accurately partition the entire frequency response between the drivers without discernible distortion. The QT9-MK3’s LCP driver is rigid, stiff and fast – traits representing a quality dynamic driver with excellent control and restraint. Off the top of my head, the QT9-MK3’s bass response is reminiscent of the HEXA, albeit with notably stronger technical chops.
The downside to this tuning philosophy is the lack of overall volume and depth. While it is true that inter-instrumental layering in the low-end is fairly expansive and distinguishable between one another, it is demonstrative of a lack of expansiveness. The ‘warm’ tonality expected of a ‘natural’ bass response is inherently missing. Timbrally, the LCP driver behaves more like a balanced armature than a standard pistonic driver. The absence of displaced air and explosiveness would be a point of contention for enthusiasts who crave a boisterous and entertaining bass response.
Midrange
The QT9-MK3’s midrange is the most prominent and defining trait amidst the entire frequency response. There is a steep upper-midrange elevation, its gradual climb resulting in a thin sound that strongly enhances brighter dynamics, sharpening vocal harmonies and edgier instrumental tones.
Interestingly, the QT9-MK3 errs into the periphery of bright territory, but never quite crosses that threshold. The upper midrange is snappy, analytical and assertive in terms of transients. A rapid PRAT enhances the speed in which notes strike, liger and decay. This uplift in upper-midrange energy enriches the QT9-MK3’s striking and defined sound and image. What’s more remarkable is the (for the most part) pronounced lack of ear-grating sibilance.
Picking apart instruments, voicings and audible details is an easy feat, thanks to the QT9-MK3’s exceptional clarity in this region. However, top-to-bottom midrange density and heft are significantly lacking. The lack of a strong foundation in the lower-midrange results in the infamous balanced armature timbre, which can sound ‘lifeless’ and ‘cold’. The sense of immediacy and urgency in which notes strike and decay belies how sound operates in a natural setting or ambient environment.
The QT9-MK3 paints a lifelike and pristine image of what sound should sound like but does so at the expense of a weightier timbre.
Treble
The QT9-MK3’s treble response experiences a steep incline in the lower treble, but a defined roll-off in the upper treble. Top-end sparkle and shimmer are commanding, effervescent and present. However, it errs on the side of caution by preventing the upper treble from freely extending.
The brassy and abrasive nature of saxophones is presented with vigorous energy and soulfulness, sans the unsavoury brittleness and hissiness at the top end. Sonically, the QT9-MK3’s presence regions present a commendable amount of sonic information, with intermediate transient performance. Its airy atmospheric presentation invigorates voicings and instruments amidst the stage, allowing them to stand out prominently.
However, for non-treble hands, the calculating and austere presentation here would sound timbrally incorrect or artificial. Regardless, the QT9-MK3’s expression of what treble should sound like is implemented well.
Soundstage Imaging
The QT9-MK3’s excellent foundations in PRAT, micro-detail retrieval and precision lends itself well to how instruments, voicings and other audible details can be picked apart from a crowded and congested stage. Every detail comprising the overall image is easy to pick apart with little resistance or cross-over distortion between them.
The primary reason for the QT9-MK3’s excellent imaging performance is its descriptive, detail-rich upper-midrange sound and a controlled and disciplined bass response. The lack of low-end bleed from occluding the rest of the frequency responses prevents the entire image from sounding like a cobbled, definitionless wall of sound. Pair that with a clean delivery in the upper midrange and treble, and you have an expressive and graphic sound.
The excellent partitioning of the entire frequency response between the driver-assembly also heightens the separative element of sonic cues between them. Soundstage and lateral width exhibit good headroom for an IEM but don’t quite eliminate the ‘in-your-head’ phenomenon. Z-axis height and depth are reasonably accurate, but not quite exemplary.
Turn to the next page for Synergy/Impedance, A Brief Comparison and Conclusive Remarks
