Rose Technics Ceramics TWS Earbuds retail packaging, highlighting the product in a clear, bright image.
Introduction
In the ever-evolving world of personal audio, True Wireless Stereo (TWS) earbuds have become ubiquitous. While I’ve historically focused on wired IEMs, the convenience of TWS is undeniable, and recent advancements have piqued my interest. Following my thoughts on the Sony Linkbuds S, which prioritized features over pure sound, I’m now exploring the Rose Technics Ceramics. These budget-friendly earbuds, provided by Linsoul for review, promise a lot without breaking the bank. My aim is to provide an unbiased evaluation, comparing them not just to other budget options, but also considering their place in the broader TWS market.
It’s crucial to acknowledge that TWS earbuds still face sound quality limitations compared to their wired counterparts, especially in the same price range. Despite improvements, fitting drivers, DACs, amplifiers, DSP, batteries, and charging systems into a tiny space is a significant hurdle. Currently, TWS excels in convenience and ease of use, offering “good enough” sound for everyday listening. Directly comparing the Rose Technics Ceramics to wired IEMs in the sub-$40 price bracket isn’t truly fair. My benchmark for TWS functionality is the Sony Linkbuds S, and while the Ceramics are significantly cheaper, this comparison is more relevant than pitting them against wired IEMs like the 7Hz Zero. Therefore, this review should be considered within the context of TWS devices, evaluating their merits and drawbacks within that specific category. Let’s delve into whether the Rose Technics Ceramics can redefine budget wireless audio.
Close-up of the Rose Technics Ceramics TWS Earbuds charging case, showcasing its compact size and the Rose Technics logo.
Presentation and Unboxing Experience
The Rose Technics Ceramics arrive in a simple, clean white box. The packaging features a clear image of the earbuds on the front, along with the product name, brand (Rose Technics), and the designation “Hi-Fi True Wireless Stereo Earbuds.” The rear of the box lists basic specifications, including a 15m operation range, Bluetooth 5.3, approximately 40 minutes of charging time, and a 32 Ohm impedance. It’s unusual to see impedance listed for TWS earbuds as it’s not directly relevant due to the built-in amplification. Notably absent from the packaging is any mention of supported audio codecs.
Inside the outer box are two smaller white boxes, each bearing the Rose Technics logo. One box is labeled “Earphone Box,” and the other “Accessories.” Opening the “Earphone Box” reveals a substantial black plastic case with the Rose Technics logo. Initially, I mistook this for the earbud’s charging case itself, and its size seemed surprisingly large. However, upon opening this larger case, a much smaller, inner case is revealed – this is the actual storage and charging case for the Ceramics. The larger black case, while nicely padded inside, feels like packaging overkill, a case within a case, within a box, within a box.
The “Accessories” box contains a USB-A to USB-C charging cable and three sizes of silicone ear tips. A user manual is also included, detailing the functionality and contents of the package. While the accessory package is basic, it mirrors what’s included with the Sony Linkbuds S, which retail for significantly more, even adding an extra outer case to the Rose Technics Ceramics package.
The Rose Technics Ceramics TWS Earbuds and their compact charging case, displayed with included accessories: USB-C cable and ear tips.
Design, Build Quality, and Comfort
The Rose Technics Ceramics are available in three color options: all black, grey with black internals (the version reviewed), and white with pink internals. The grey version has a slightly beige tint depending on the lighting, but overall, they present a decent aesthetic.
The charging case is notably compact, comparable in size to the Linkbuds S case and even slightly thinner. This slim profile makes it pocket-friendly, a key advantage for TWS earbuds intended for daily carry. However, the compact size means the internal space is limited. The case can accommodate the earbuds with medium Symbio tips installed, but larger tips may prevent proper closure. The USB-C charging port is located on the bottom, which isn’t ideal for upright charging, but the case’s rounded bottom prevents it from standing upright anyway.
The earbuds themselves are also quite small and almost round. They fit comfortably in the ear, though they protrude slightly more than some competitors like the Linkbuds S. Build quality seems solid for the price, and the design is generally inoffensive. The Rose Technics Ceramics prioritize portability and discreetness in their physical design.
Rose Technics Ceramics TWS Earbuds in the grey color variant, highlighting their compact and ergonomic design for in-ear fit.
Functionality and Features
Initial pairing with the Rose Technics Ceramics is straightforward, mirroring most TWS devices. Opening the case and removing the earbuds initiates pairing mode, allowing for easy connection via your device’s Bluetooth menu. They also support multi-point connection, enabling simultaneous pairing with two devices. While setting up multi-point is slightly more involved (detailed in the manual), it functions reliably. I was able to seamlessly switch between playing music from one phone and answering calls from another. This feature is particularly useful for users who juggle multiple devices like phones, tablets, or computers.
While I initially believed there was no companion app for the Rose Technics Ceramics, it turns out there is an app available. However, after numerous attempts over 30 minutes, I was unable to connect the app to the earbuds, rendering it effectively non-existent in my experience. While I generally prefer no app over a poorly functioning one, a well-designed app could have been beneficial here to customize controls, especially given the extensive on-ear control scheme.
Each earbud features a touch-sensitive surface. While not overly sensitive, accidental touches are common when adjusting the earbuds. The control layout is extensive and somewhat complex:
- Volume Up: Single tap (Right)
- Volume Down: Single tap (Left)
- Previous Track: Hold 2 seconds (Left)
- Next Track: Hold 2 seconds (Right)
- Play/Pause: Double tap (Right or Left)
- Answer/End Call: Double tap (Right or Left)
- Reject Call: Hold 2 seconds (Right or Left)
- Voice Assistant: Triple tap (Right)
- EQ Mode: Triple tap (Left)
- Game Mode: Quadruple tap (Right or Left)
This comprehensive control set, while offering a wide range of functions directly on the earbuds, can be confusing, especially when switching between different TWS models with varying control schemes.
The inclusion of on-ear volume control is appreciated, a feature often lacking in other TWS earbuds. However, the Rose Technics Ceramics volume operates independently of the phone’s volume, which can lead to inconsistencies. The single-tap volume control, combined with multi-tap functions, increases the likelihood of accidental volume adjustments when intending to perform other actions. In practice, I often resorted to phone volume control due to the sensitivity and independent nature of the earbud volume, somewhat negating the benefit of on-ear volume adjustment.
The EQ and Game modes are features that are unlikely to be frequently changed on the fly. Accidental activation of these modes is easy due to the touch controls, and the lack of clear indication of the current mode can be confusing. A voice prompt confirms mode changes, but the presence of two different voices for different functions suggests a potentially cobbled-together control system, possibly adapted from another Rose Technics model.
The manual and product listings mention a low latency gaming mode (60ms) for “quick response in FPS games.” However, the specific internal changes in gaming mode are unclear. Frequency response remains consistent between gaming and music modes, and as a non-gamer, I couldn’t evaluate its effectiveness in FPS games. The manual’s troubleshooting section mentions potential “noise in game mode” and advises switching back to music mode for non-gaming scenarios, indicating that game mode does implement some internal processing changes.
Regarding charging, the case is advertised as having fast charge, providing six hours of playback with a 10-minute charge. Charging time for the case itself is not specified. The front LED indicator displays battery level and charging status, detailed in the manual.
Codec support is limited to SBC and AAC. Interestingly, setting the codec to SBC in Gaming mode caused connection issues. Both AAC and SBC functioned correctly in music mode. A significant limitation is the Rose Technics Ceramics‘ fixed 44.1kHz sample rate, meaning all audio is resampled to this frequency.
Close-up of the Rose Technics Ceramics TWS Earbuds, showing the touch control surface and in-ear nozzle.
Sound Quality and Performance
Frequency response graph of the Rose Technics Ceramics TWS Earbuds across different EQ modes, illustrating the sound profile variations.
The Rose Technics Ceramics offer three EQ modes: “Hifi Music Mode,” “Pop Music Mode,” and “Rock Music Mode.” There is no “flat” or “off” setting. Crucially, there is no frequency response difference between Gaming and Music modes; both modes offer the same three EQ presets.
Analyzing the EQ modes, it’s difficult to identify a “preferred” setting as none truly align with a neutral or balanced sound profile. Instead of categorizing by frequency ranges, I’ll evaluate performance using specific test tracks across each EQ mode.
Starting with Trentemøller’s “Chameleon“:
- Hifi Mode: Lacks the deep rumble expected from this bass-heavy track. Bass presence is there, but not the sub-bass impact. Lower mids and midrange are recessed, with an emphasized 2.5-5kHz range creating a somewhat uneven presentation. Some sounds stand out while others become muddy.
- Pop Mode: Sub-bass rumble is more prominent but lacks definition and clarity. The drivers don’t seem to struggle with the bass quantity, but sub-bass texture is lost. Mids remain recessed, and the even more pronounced upper mids/lower treble attempt to provide clarity but struggle against the overwhelming bass.
- Rock Mode: Bass becomes excessive and overpowering. The low-end rumble dominates the entire track, overshadowing other frequencies even with the upper-mid emphasis. The sound is muddy and lacks overall clarity.
Moving to Daniela Andrade’s “Crazy“:
- Hifi Mode: Avoids overpowering reverb in the lower ranges, but focuses the sound in the upper mids, making vocals thin and slightly harsh. Treble is not smooth, and details, while present, sound somewhat artificial. Occasional sibilance is noticeable, with mouth sounds emphasized.
- Pop Mode: Further emphasizes upper mids, increasing sibilance compared to Hifi mode. While low-end presence is increased, it primarily affects frequencies below the guitar reverb, minimizing its impact on the track’s overall low-end.
- Rock Mode: The most palatable EQ for this track. Sibilance is still present, but the upper mids/lower treble are less exaggerated. The bass boost is mostly sub-reverb frequencies, adding a touch more low-end without becoming overly prominent in the mid-bass, though overall clarity is slightly reduced.
For electronic sub-bass without the extreme low-end of “Chameleon,” testing with “No Sanctuary Here“:
- Hifi Mode: Low ranges sound dull and lacking impact. Chris Jones’s vocals lack body, leaving upper mids exposed. Less harsh than with female vocals, but the song loses its characteristic energy.
- Pop Mode: Sub-bass excitement returns, but becomes overly prominent for the rest of the track, particularly overshadowing the recessed mids. Vocals are acceptable during bass breaks but are pushed to the background when the bassline returns, despite the 3kHz presence peak.
- Rock Mode: Sub-bass becomes overpowering, eliminating clarity. While the driver performs adequately, the experience is dominated by sub-bass with other elements relegated to the background.
Testing a modern pop track, Dua Lipa’s “Don’t Start Now“:
- Hifi Mode: Bass is surprisingly impressive, with clean, rhythmic hits that are engaging without being overpowering. However, lyrics lack body, and upper mids sound fragile. Minor sibilance is present, but harsher sounds coinciding with upper peaks, like bass string plucks, are more problematic.
- Pop Mode: Bass is even more impressive, especially for bass enthusiasts. Clean, rhythmic, and impactful. Upper ranges become more fragile and peaky. Sibilance slightly increases but remains tolerable.
- Rock Mode: Bass performance is remarkable for TWS, clean, defined, and plentiful. Potentially preferable to Pop mode for this track. Upper mids are still fragile but less pronounced due to the dominant bass. While not tonally ideal, the bass in this mode is undeniably impressive.
Finally, testing a classic rock track, Led Zeppelin’s “Whole Lotta Love“:
- Hifi Mode: Upper ranges of electric guitar become harsh and piercing, especially higher chords. The track sounds generally dark and distant, lacking mid-range presence, until harsh guitar chords become prominent and uncomfortable.
- Pop Mode: Bass guitar is initially impressive but becomes muddy and undefined when other instruments and vocals enter. The bass becomes a wall of sound, obscuring detail and separation.
- Rock Mode: Fails to improve the rock genre performance. Bass is initially impressive but quickly devolves into a confused and muddy mix. The track lacks coherence, with some elements sounding muffled while others are jarringly sharp.
Rose Technics Ceramics TWS Earbuds being worn, demonstrating their discreet profile and fit within the ear.
Conclusion: Balancing Features and Sound in a Budget Package
The Rose Technics Ceramics are undeniably budget-friendly TWS earbuds, priced under $40 (and even less at the time of writing). They attempt to pack in a significant feature set for the price, perhaps overreaching in some areas, and unfortunately, sound quality suffers as a result, at least in my assessment.
The three EQ modes primarily adjust sub-bass levels and the harshness in the 3-5kHz range. While catering to different sonic preferences is appreciated, none of the EQ profiles deliver a truly satisfying or balanced sound. Details are reasonably good, but the peaky treble lends an artificial character. Upper mids and lower treble are overly prominent, resulting in harshness and fragility, while mids lack presence, leaving vocals sounding thin.
The bass is a standout feature – impressively present and clean on well-mixed tracks, though often excessive for my taste. While it struggled with extremely bass-heavy tracks like “Chameleon,” the Rose Technics Ceramics deliver ample bass for most bass-loving listeners.
Ultimately, while some users may appreciate the bass-heavy sound profile, the Rose Technics Ceramics fall short in overall sound quality compared to other options in this price range. For those prioritizing sound fidelity, exploring alternative budget TWS or wired IEMs would be advisable.
For further IEM comparisons and measurements, visit achoreviews.squig.link for frequency response and achoreviews.squig.link/isolation for isolation measurements.
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