Review on Hzsound Heart Mirror HiFi In-Ear Monitor Earphone: Enhanced Sound Quality with Carbon Nanotube CNT Dynamic Driver and Noise Canceling Technology (Silver-Mirror, No Mic) by Katie Ray

KBEAR Believe is KBEAR's flagship IEM, featuring a 9mm pure beryllium dynamic driver and powerful N52 neodymium magnet. black with carbon fiber screen. Apparently it was formed from volcanic ash! Behind it is an iridescent blue color with a holographic effect and a silver KBEAR logo in the middle. There is a glossy transparent resin surface. High-quality gold-colored nozzles with silver grille. There is a small vent on the bottom of the earpiece and another on the side of the earpiece next to the channel label. The headphones have a smooth outline and are a little heavy, but very comfortable. The interface is 2-pin and the cable supplied is also very high quality, it is a 6N monocrystalline copper cable with loose 4-wire braiding. It is very flexible and fits the ear very well. The plug, Y-connector and chin slider are all metal with a black carbon fiber finish and silver end caps. The chin slide is a clear plastic ball. The processing quality is exemplary. The packaging is also impressive, luxurious and all-inclusive. A full color printed case with an image of the headphones covers a black rectangular box with a gold KBEAR logo. Inside you'll find:* KBEAR Believe IEMs* 4-wire 6N monocrystalline copper cable.* 3 pairs of light gray silicone spade lugs with red holes S, M, L.* 5 pairs of medium diameter white silicone spade lugs, XS, S, M, L, XL.* 3 pairs of dark grey/blue silicone tips, S, M, L.* 3 pairs of black wide bore silicone tips S, M, L.* 2 pairs of medium sponge tips, 1 white, 1 black. * Velcro closure * Imitation pigskin case with magnetic closure * Instructions for use. Headphones were used with a standard cable. First I used large gray wide bore tips and then dark grey/blue yellow bore tips. After some experimentation, I settled on the larger KZ Starline ear tips, which resulted in an improved fit and seal, as well as better bass response. A burning time of 100 hours was carried out. The source was an Xduoo X20 DAP and I found that for the best results I had to use an amplifier, so I fired up my Fiio A5. The immediate impression was "natural and light". The timbre was authentic and the overall profile was neutral with a soft U-shape. The bass was well priced and well structured, with a focus between sub-bass and mid-bass. The mids were neutral and transparent while the highs were very smooth and silky with good extension giving the strings a very natural tone. After the jets were swapped out, the staging improved significantly in all three dimensions, and the layering and rendering were of high quality. Bass After finding the right tips, the bass was near perfection, with no distortion, with exceptional clarity and transient response. The sub-bass could have been a little deeper. The timbre was absolutely natural and possessed excellent weight and extension. Bleeding was completely absent. The gentle emphasis on the mid-bass gave the room an appeal without coloring it. My first port of call was Roy Harris, Symphony No. 6, second movement. The amazing recording by the Pacific Symphony Orchestra conducted by Keith Clark really came to life with Believe. After the tormented and labored melody, the percussion joins the brass, first the timpani and then the bass drum, gradually building in intensity. What follows is a tongue-in-cheek passage with syncopated accompaniment reminiscent of Bliss' music from Things to Come. The kick drum gets more extreme and all hell breaks loose in a brutal ending with amazing power and impact. The Believe took it all in stride with superb depth and realism, and the closing kick drum kick is incredibly clean and powerful. John Serry's "Le Tresor" from the Midsummer Century album features an acoustic guitar solo played over a synth fill and electronic effects with a deep sub-bass foundation. The bass maintained its musicality without dominating the presentation and the overall feel was lush, warm and inviting, although the lower bass was a little lighter than ideal. The deep bass elements in "Tubular World" from Mike Oldfield's "Songs of Distant Earth" were rendered with depth and power and a real sense of weight. Subtle electronic effects remained crisp and clear even in the most dynamic passages. The mids were neutral with attractive natural warmth and timbre, but retained excellent crossover characteristics and noticeable transparency. main melody. The natural timbre was amazing and the picture here was very believable. The strings and full orchestra then take over the melody, and this beautiful recording of Lyrita with the LPO, conducted by Adrian Boult, created a wonderful atmosphere. The sense of presence in the hall was palpable. The entertaining version of Mark Knopfler and Chet Atkins' "See You in My Dreams" had such an infectious rhythmic quality that I couldn't help but tap my foot! There was a real live feel here, with Atkins' electric guitar pairing and perfect contrast to Noppler's Django Reinhardt-esque acoustic solos, while bass and percussion set the track moving with panache and enthusiasm. The vocals shone with excellent projection. Judy Zuke's "For You" was rendered very clearly, her voice standing out against the well-defined multi-track backing vocals. The instrumental part of the string quartet in the bridge was played beautifully and showed all the qualities of an excellent Lem Lubin production. Treble The treble was crisp, clean and very detailed with excellent extension and definition, the tiniest nuances not escaping Believe's attention. "Glass Hall" is a track from "White Winds", the third album by electric harp master Andreas Vollenweider. It begins with soft crystalline sounds that spread across the stage. They were amazingly accurate and crisp on Believe. The woodwind solo begins, followed by harp and percussion. Every tiny subtle detail was captured in a complex and intricate piece, and it all came together in the most pleasing and musical way. Charles Ives' wonderful work, The Unanswered Question, was the perfect material to demonstrate the excellence of faith. Underscored by a cheerful string accompaniment and harsh trumpet solos, aggressive woodwind tonal clusters cut through the orchestration in a distinctive and penetrating manner, with each instrument individual but perfectly combined to create the necessary unsettling atonal chordal effect. Leonard Bernstein's NYPO performance is a modern classic, and Believe's performance really showed why. triple quality. The cymbals flickered and decayed very naturally, and the timbre of the various drums was absolutely authentic. The rhythmic integrity of the work's unusual time signature is conveyed realistically. soundstage. There was a very large stage with good dimensions. The image was clear and precise with superior separation and layering. The performance of Bach's Brandenburg Concerto No. 3 in the classical recording of the Saar Chamber Orchestra under the baton of Karl Ristenpart was remarkable. The sound was so clear and detailed it was amazing to think it was from the 1960's! The violin solo soared above the string accompaniment and lively bass line, while the harpsichord continuo remained crisp and well defined in a resonant acoustic. Each element was easy to follow and it all blended into an extremely satisfying musical performance. The spatial quality in "Breaking Dawn" from New Age artist Sheila's "Seeker of Visions" was very encompassing, with "Believe" revealing choral elements forming a huge trio. a three-dimensional stage for a sparkling piano solo, clearly placed in the high center of the picture. Separation and clarity were the watchwords here, and the open and airy atmosphere enhanced the effect. . The vocals soon appear mid with studio reverb, giving them a sense of spaciousness and emphasizing their position on the stage. Peter White's wonderful solo on the acoustic guitar and the subsequent cameo appearance on the saxophone impressed with its naturalness and realism. Bass. The mids are surprisingly neutral and smoothly detailed thanks to the planar driver with superior resolution. High frequencies are more reserved and less noticeable, but still have a good level of detail. The timbre is very natural and there is a noticeable musical quality. The soundstage is particularly good, being very expansive in all three dimensions. As with Believe, an amplifier is essential to achieve the best possible reproduction. TRI Starsea (1DD + 2BA). With its four different sound profiles, from bright and neutral to balanced and V-shaped, each excellent in its own way, it's like getting four high-quality IEMs for the price of one. The Starsea plays classical music particularly well, and the various switch options add versatility, adapting it well to different styles of music and offering the ability to dial in the right setting for a specific genre. The proprietary drivers are perfectly integrated and the transitions are smooth. The silicon bass unit delivers fast and detailed sound, and its proprietary TRI-Hi-A BA tweeter unit is the best I've heard, with impressive extension and clarity. KBEAR Diamond (Single DLC DD) Diamond has a very natural tone with noticeable mid-lows and can be a bit too warm at times. It has authentic and accurate timbre and tonality, good detail and attractive musicality, but the mids are a bit recessed. Believe improves it in all areas, especially mids, treble extension and soundstage. Treble It has a mostly neutral/bright response as one would expect from Tin Hifi and the bass is well extended but linear in nature so bassists should look elsewhere. The mids and highs are very refined and the detail is very high. The soundstage is a particularly good feature, with above-average width, height and depth, and the layering, separation and positioning are all top-notch. The only caveat is the quality control of the MMCX connection, which has suffered from issues. The implementation really paid off here: Believe shows a dynamic, warm/neutral profile with excellent transparency, rhythm and attention to detail. The only small point of criticism is that I would have liked a little more subwoofer presence. KBEAR/TRI has grown into a leading brand with recent hits like Diamond, Lark, i3 and Starsea and this has continued with Believe. which I consider to be their best product yet. It's tip sensitive so you may need to experiment to find the best fit for your ear anatomy. It also needs some extra amplification to perform at its best when rewarding the listener with quality sound to match the much higher price point. Very well made, beautifully presented and with excellent sound, Believe represents excellent value for money. It has established itself and strengthens the reputation of KBEAR in the headphone market.