Yanyin Canon Pro
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Yanyin Canon Pro
RRP: $399
1x DD / 6x BA
Introduction
I feel like a bit of a broken record over the last few months, with my plan to discontinue reviews – or at least slow down, which to be fair I have, and I have turned down a few opportunities. But it is hard, curiosity frequently gets the better of me – I had declined when first offered to review Canon Pro, the subject of this review, but on further reflection, I couldn’t resist, mostly due to how impressed I’ve been with IEMs hitting the market in this price segment. I did own a Yanyin IEM a couple of years ago but can’t recall now what model it was (I think Moonlight?!) – I know I found the upper mids on the spicy side and ultimately sold for that reason, I recall very much enjoying the set otherwise, which again led to the curiosity here to jump in an again with more experience under my belt!
I would like to thank Lili from Linsoul for the opportunity. As always, all words and images my own, with no input from the brand.
The Canon Pro is available from Linsoul HERE
About Me
I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).
My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!
I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.
While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.
I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.
Specifications:
Unboxing
Once you slide off the outer lid, and pop open the inner box, you are greeted with the IEMs sitting in a foam tray, with the case sat over to the left.
Under the envelope, you get access to a selection of foam and silicone tips. These are bog-standard tips that come with a lot of IEMs – I think at this price point I’d like to see a better selection on offer, but I’m always on the fence in this regard as I feel most buyers already own a selection of tips? – well in the event it’s a first for someone, or a step up the ladder perhaps, they should get a better selection, so I’m officially off the fence now!!!
The cable is stored inside the case, and there is a cardboard box underneath the tips which contains the tuning adjustment tool and some paperwork – oh and a VIP card, not sure what that’s about.
Accessories
In the box you get:
The supplied puck-style case has a premium finish and overall design – missing however one crucial touch: an inner net for tips etc, I always use these and genuinely miss them when not a feature! In fact, all the more important when you might want to keep the tuning tool handy. Anyway, it is a nice case, but I’d like to see a storage net
Cable
The cable is on the heavy/thick side, but not so much that it caused me a problem out walking for example – that’s always the key test for me with a new IEM and the stock cable. It feels well made and has very nice metal terminations to the jack and 2-pin plugs.
I really like the finish on the jack, very premium looking:
Design and Fit
The shells are about a medium size and pretty much what I’d expect with a DD and 6x BA. I find them comfortable in my ears for long sessions, and they have a good level of isolation. The cable terminates flush to a flat 2-pin socket which feels nice and secure. The artwork on the shell exterior is mildly ‘bling’ with a sort of cluster of stars maybe?!
The tuning adjustment switches are on the side of the shell, and definitely need the required tool to adjust, or something similar. The vent is also located here as per the image below - and indeed I must note, this does what it is supposed to as far as ensuring no pressure build.
Listening Impressions
I noted about my curiosity for IEMs in this price segment in the introduction, and the Canon Pro certainly do not disappoint – the fine line between sets in the circa $500 to those multiple times more expensive continues to shrink dramatically… yes of course there are refinements in various areas as you climb the crazy $$$ ladder, but those playing in this pricing category certainly aren’t left having to slum it, far from it... you get a whole lot of IEM in exchange for $399! Broadly speaking, I would position the tuning as well balanced, warm, with a significant lean towards the more emotive end of the scale – they don’t seek to wow you with technicalities, rather move you with emotion.
For the purpose of this review, I’ve opted to flick both of the switches up to what Yanyin call the ‘popular’ setting – that being a warm, full-bodied, and bass rich signature. I did have the default setting on at first, but I found that the upper mids could lean a touch harsh – there was certainly more detail with this setting, and for a lot of my listening I really enjoyed, but did get the odd zap in my ears where instruments drifted into that region. As always, ones mileage will vary and it is worth experimenting with the settings as there is a noticeable difference.
Low Frequency
Do you like a whole lot of bass? – How about deep rumbling sub, coupled with a hefty dose of mid bass thump? The Canon Pro delivers on both with ease and finesse, but in no way overpowering – I am fussy about this, and definitely do not consider myself a ‘bass-head’, I find the delivery here incredibly satisfying, wonderfully visceral, and truly engaging. There is a bias towards sub-bass, and this is my personal preference, but I don’t find mid-bass lacking either, plenty of heft or slam.
Midrange
What immediately strikes me here is the sense of space that the mids occupy, extending out into a large portion of the soundstage – there is an embracing warmth in the lower mids that are very captivating, yet still with excellent clarity and distinction for multiple instruments or complexity in this region. As noted in the sound overview, there is more of a focus on an emotive, smooth, captivating style of tuning, making the Canon Pro the sort of set I like to kick back and relax with – tending to reach for music that suits that mood. Even with the switches set to the up position, I must note there are still occasional moments in the upper mids that touch on my sensitive danger zone, but few and far between and even when they occur, it is marginal.
High Frequency
Quite subdued up top, and not a set for those that are seeking more treble emphasis. The Canon Pro aims more for a smoothness in this region, one that arguably complements the overall tuning direction of this set. Treble can make or break lower quality or older recordings, too much energy here can come off harsh in these scenarios, and this is definitely not an issue here, making the Canon Pro a competent all-rounder. In spite of the polite nature of this region, you do still get a nice sense of detail and percussion is well represented out into the wide stage. I definitely would not use the word ‘dark’ here either by the way, rather ‘subdued’ as noted in the intro to this segment – better still, subdued and delicate.
Technical
Canon Pro is rather impressive here, and pulls off distinct imaging and placement within that overall warm-leaning and emotive tuning, yet I don’t find my attention drawn to it – you can certainly place your attention on specific elements if you choose to, but the key here in my experience is consciously making that choice as a step away from the broadly captivating tuning. There is ample space for even the most complex tracks throughout the frequency range, again with good distinction and never a sense of any congestion. The resolution is very good, but I wouldn’t say ultra-detailed in terms of the absolute most micro-nuanced elements, this is probably where I’d note the divide between sets at higher price points, and likely with a bunch of ESTs up top playing a part… but, this is a $399 set, and does a fantastic job at a comparatively low price point – I can’t stress that enough.
Tracks
Christian Kleine – From the Lost World
This is the opening track on this latest release from Christian Kleine, serving up a wonderful selection of what were hidden gems from his IDM archives, the 2nd of such a collection released on the consistently excellent ‘A Strangely Isolated Place’ label. I mentioned how I tend to select music that leans more emotive based on the Canon Pro tuning, and this is a perfect example – melodic, intricate, with many layers of subtle complexity that is truly captivating with this set. The synths coupled with the percussion occupy a sense of space from within the middle of my head, spreading out to a very respectable sound field. I do note some moments of occasional ‘danger zone’ in the upper mids, but still not enough for me to hit stop.
Jefre Cantu-Ledesma – The Milky Sea
I’ve chosen this specifically to highlight why I love this set, a wonderful example of where the captivating and highly emotive tuning comes very much into focus – the piano is rendered beautifully, fantastic realism and just so smooth and captivating. The subdued treble lends itself perfectly here too, with that jazzy style percussion sounding so smooth and again, captivating… I just want to sit back and close my eyes with this track, and the 20 minutes seem to drift away in what feels like no time at all.
Margaux Gazur – This is Always
Another recent purchase, and still sort of staying in a similar electronic zone – I guess to emphasise where Canon Pro are hitting the many spots for me. Electronic music is of course almost endlessly diverse in terms of sub-genres, and even within those sub-genres, a massive amount of diversity. Probably safe to classify this as ‘deep house’, and allows an opportunity to evaluate mid-bass, along with a bit more focus on the extent to which Canon Pro showcases imaging and layering, as this track certainly has a lot going on, but with less emphasis on mids broadly. The density and size of the kick-drum is very apparent in this track, yet definitely not overpowering – I feel a good word to position here is ‘appropriate’, that being it occupies what sounds like a correct level of emphasis for a track or genre like this, still allowing all of the other layers of complexity and detail to shine, coupled with the still emotive mids where applicable. As mentioned too, the sense of imaging and layering is seriously impressive, and yet still remains to my ears very much part of the cohesive whole.
Bonnie Prince Billy (Will Oldham) – Boise, Idaho
A wonderful artist, and wonderful opportunity to evaluate both male vocals and instrumentation. Will’s voice has an excellent sense of realism with good density and central placement, a touch forward. The stage feels somewhat intimate, giving a sense of a live performance in a small venue, actually sort of what I’d imagine hearing him perform in… I’d describe as a smoky venue with low lighting, and maybe numerous circular tables sat in front of the small stage – except the smoky bit hasn’t existed for a long time! Anyway, while intimate, the instruments still sound perfectly distinct with plenty of space, allowing Will’s voice to very much take centre stage. Thoroughly enjoyable.
Japanese Breakfast – Honey Water
I feel pretty much the same here as I did for the last, whereby this again feels like a small enough venue – the percussion and vocals stand out the most, with the vocals maintaining again that excellent sense of realism with a centrally located focus. It’s a much busier track, but Canon Pro holds up with absolute ease, nothing sounding harsh or congested. Another excellent performance.
Conclusion
My impression of the last year or so in particular is that the gap continues to close with sets sub $1000, to those that are in the multi-kilobuck range, and the Canon Pro is indeed another great example of this. Of course sets in the higher price points are technically superior, showcasing various refinements, but they absolutely fall sharply into that zone of diminishing returns, the Canon Pro at $399 is truly a joy to behold, a set that provides the flexibility to really allow any shelf of your library to shine.
RRP: $399
1x DD / 6x BA
Introduction
I feel like a bit of a broken record over the last few months, with my plan to discontinue reviews – or at least slow down, which to be fair I have, and I have turned down a few opportunities. But it is hard, curiosity frequently gets the better of me – I had declined when first offered to review Canon Pro, the subject of this review, but on further reflection, I couldn’t resist, mostly due to how impressed I’ve been with IEMs hitting the market in this price segment. I did own a Yanyin IEM a couple of years ago but can’t recall now what model it was (I think Moonlight?!) – I know I found the upper mids on the spicy side and ultimately sold for that reason, I recall very much enjoying the set otherwise, which again led to the curiosity here to jump in an again with more experience under my belt!
I would like to thank Lili from Linsoul for the opportunity. As always, all words and images my own, with no input from the brand.
The Canon Pro is available from Linsoul HERE
About Me
I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).
My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!
I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.
While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.
I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.
Specifications:
- Earphone Cable: Type4 single-crystal copper, single-core 22 AWG with 140 strands
- Earphone Housing: 3D printed resin
- Driver Unit: 1DD + 6BA Driver Configuration
- Crossover Technology: Combination of 1DD and 6BA drivers per side, 4 electronic crossovers, and 4 physical ducts
- Sensitivity: 104 dB
- Frequency Response Range: 20 Hz – 25 kHz
- Impedance: 18 Ω @ 1 kHz
- Passive Noise Reduction: 26 dB
Unboxing
Once you slide off the outer lid, and pop open the inner box, you are greeted with the IEMs sitting in a foam tray, with the case sat over to the left.
Under the envelope, you get access to a selection of foam and silicone tips. These are bog-standard tips that come with a lot of IEMs – I think at this price point I’d like to see a better selection on offer, but I’m always on the fence in this regard as I feel most buyers already own a selection of tips? – well in the event it’s a first for someone, or a step up the ladder perhaps, they should get a better selection, so I’m officially off the fence now!!!
The cable is stored inside the case, and there is a cardboard box underneath the tips which contains the tuning adjustment tool and some paperwork – oh and a VIP card, not sure what that’s about.
Accessories
In the box you get:
- Cable (I received a 3.5mm for this review, but I see you can also order 4.4mm or 2.5mm)
- Selection of foam and silicone tips
- Puck-style carry case
- Tuning tool
The supplied puck-style case has a premium finish and overall design – missing however one crucial touch: an inner net for tips etc, I always use these and genuinely miss them when not a feature! In fact, all the more important when you might want to keep the tuning tool handy. Anyway, it is a nice case, but I’d like to see a storage net
Cable
The cable is on the heavy/thick side, but not so much that it caused me a problem out walking for example – that’s always the key test for me with a new IEM and the stock cable. It feels well made and has very nice metal terminations to the jack and 2-pin plugs.
I really like the finish on the jack, very premium looking:
Design and Fit
The shells are about a medium size and pretty much what I’d expect with a DD and 6x BA. I find them comfortable in my ears for long sessions, and they have a good level of isolation. The cable terminates flush to a flat 2-pin socket which feels nice and secure. The artwork on the shell exterior is mildly ‘bling’ with a sort of cluster of stars maybe?!
The tuning adjustment switches are on the side of the shell, and definitely need the required tool to adjust, or something similar. The vent is also located here as per the image below - and indeed I must note, this does what it is supposed to as far as ensuring no pressure build.
Listening Impressions
I noted about my curiosity for IEMs in this price segment in the introduction, and the Canon Pro certainly do not disappoint – the fine line between sets in the circa $500 to those multiple times more expensive continues to shrink dramatically… yes of course there are refinements in various areas as you climb the crazy $$$ ladder, but those playing in this pricing category certainly aren’t left having to slum it, far from it... you get a whole lot of IEM in exchange for $399! Broadly speaking, I would position the tuning as well balanced, warm, with a significant lean towards the more emotive end of the scale – they don’t seek to wow you with technicalities, rather move you with emotion.
For the purpose of this review, I’ve opted to flick both of the switches up to what Yanyin call the ‘popular’ setting – that being a warm, full-bodied, and bass rich signature. I did have the default setting on at first, but I found that the upper mids could lean a touch harsh – there was certainly more detail with this setting, and for a lot of my listening I really enjoyed, but did get the odd zap in my ears where instruments drifted into that region. As always, ones mileage will vary and it is worth experimenting with the settings as there is a noticeable difference.
Low Frequency
Do you like a whole lot of bass? – How about deep rumbling sub, coupled with a hefty dose of mid bass thump? The Canon Pro delivers on both with ease and finesse, but in no way overpowering – I am fussy about this, and definitely do not consider myself a ‘bass-head’, I find the delivery here incredibly satisfying, wonderfully visceral, and truly engaging. There is a bias towards sub-bass, and this is my personal preference, but I don’t find mid-bass lacking either, plenty of heft or slam.
Midrange
What immediately strikes me here is the sense of space that the mids occupy, extending out into a large portion of the soundstage – there is an embracing warmth in the lower mids that are very captivating, yet still with excellent clarity and distinction for multiple instruments or complexity in this region. As noted in the sound overview, there is more of a focus on an emotive, smooth, captivating style of tuning, making the Canon Pro the sort of set I like to kick back and relax with – tending to reach for music that suits that mood. Even with the switches set to the up position, I must note there are still occasional moments in the upper mids that touch on my sensitive danger zone, but few and far between and even when they occur, it is marginal.
High Frequency
Quite subdued up top, and not a set for those that are seeking more treble emphasis. The Canon Pro aims more for a smoothness in this region, one that arguably complements the overall tuning direction of this set. Treble can make or break lower quality or older recordings, too much energy here can come off harsh in these scenarios, and this is definitely not an issue here, making the Canon Pro a competent all-rounder. In spite of the polite nature of this region, you do still get a nice sense of detail and percussion is well represented out into the wide stage. I definitely would not use the word ‘dark’ here either by the way, rather ‘subdued’ as noted in the intro to this segment – better still, subdued and delicate.
Technical
Canon Pro is rather impressive here, and pulls off distinct imaging and placement within that overall warm-leaning and emotive tuning, yet I don’t find my attention drawn to it – you can certainly place your attention on specific elements if you choose to, but the key here in my experience is consciously making that choice as a step away from the broadly captivating tuning. There is ample space for even the most complex tracks throughout the frequency range, again with good distinction and never a sense of any congestion. The resolution is very good, but I wouldn’t say ultra-detailed in terms of the absolute most micro-nuanced elements, this is probably where I’d note the divide between sets at higher price points, and likely with a bunch of ESTs up top playing a part… but, this is a $399 set, and does a fantastic job at a comparatively low price point – I can’t stress that enough.
Tracks
Christian Kleine – From the Lost World
This is the opening track on this latest release from Christian Kleine, serving up a wonderful selection of what were hidden gems from his IDM archives, the 2nd of such a collection released on the consistently excellent ‘A Strangely Isolated Place’ label. I mentioned how I tend to select music that leans more emotive based on the Canon Pro tuning, and this is a perfect example – melodic, intricate, with many layers of subtle complexity that is truly captivating with this set. The synths coupled with the percussion occupy a sense of space from within the middle of my head, spreading out to a very respectable sound field. I do note some moments of occasional ‘danger zone’ in the upper mids, but still not enough for me to hit stop.
Jefre Cantu-Ledesma – The Milky Sea
I’ve chosen this specifically to highlight why I love this set, a wonderful example of where the captivating and highly emotive tuning comes very much into focus – the piano is rendered beautifully, fantastic realism and just so smooth and captivating. The subdued treble lends itself perfectly here too, with that jazzy style percussion sounding so smooth and again, captivating… I just want to sit back and close my eyes with this track, and the 20 minutes seem to drift away in what feels like no time at all.
Margaux Gazur – This is Always
Another recent purchase, and still sort of staying in a similar electronic zone – I guess to emphasise where Canon Pro are hitting the many spots for me. Electronic music is of course almost endlessly diverse in terms of sub-genres, and even within those sub-genres, a massive amount of diversity. Probably safe to classify this as ‘deep house’, and allows an opportunity to evaluate mid-bass, along with a bit more focus on the extent to which Canon Pro showcases imaging and layering, as this track certainly has a lot going on, but with less emphasis on mids broadly. The density and size of the kick-drum is very apparent in this track, yet definitely not overpowering – I feel a good word to position here is ‘appropriate’, that being it occupies what sounds like a correct level of emphasis for a track or genre like this, still allowing all of the other layers of complexity and detail to shine, coupled with the still emotive mids where applicable. As mentioned too, the sense of imaging and layering is seriously impressive, and yet still remains to my ears very much part of the cohesive whole.
Bonnie Prince Billy (Will Oldham) – Boise, Idaho
A wonderful artist, and wonderful opportunity to evaluate both male vocals and instrumentation. Will’s voice has an excellent sense of realism with good density and central placement, a touch forward. The stage feels somewhat intimate, giving a sense of a live performance in a small venue, actually sort of what I’d imagine hearing him perform in… I’d describe as a smoky venue with low lighting, and maybe numerous circular tables sat in front of the small stage – except the smoky bit hasn’t existed for a long time! Anyway, while intimate, the instruments still sound perfectly distinct with plenty of space, allowing Will’s voice to very much take centre stage. Thoroughly enjoyable.
Japanese Breakfast – Honey Water
I feel pretty much the same here as I did for the last, whereby this again feels like a small enough venue – the percussion and vocals stand out the most, with the vocals maintaining again that excellent sense of realism with a centrally located focus. It’s a much busier track, but Canon Pro holds up with absolute ease, nothing sounding harsh or congested. Another excellent performance.
Conclusion
My impression of the last year or so in particular is that the gap continues to close with sets sub $1000, to those that are in the multi-kilobuck range, and the Canon Pro is indeed another great example of this. Of course sets in the higher price points are technically superior, showcasing various refinements, but they absolutely fall sharply into that zone of diminishing returns, the Canon Pro at $399 is truly a joy to behold, a set that provides the flexibility to really allow any shelf of your library to shine.
Introduction
Yanyin has been one of many old iem makers in the Chi-Fi market. They have a lot of expertise on their hands, making iem in the mid-tier to flagship-tier price range. One of their famous line up is the Yanyin Canon line up. The original Yanyin Canon is a very capable hybrid iem, with great value for money. So much so that there used to be a cult following of it. The Canon Pro is Yanyin’s continuation of this Canon lineup, while also being the first iem released by Yanyin in 2025. It is a hybrid iem with a 1DD+6BA configuration.
You can read more about it here: https://www.linsoul.com/products/yanyin-canon-pro
Disclaimer: Linsoul has sent me the Yanyin Canon Proin for a tour, in exchange for an honest review and feedback. I did not receive any financial benefit as well as instructions on how to do this review. Everything I said in this review is my subjective opinion only.
Packaging:
The Canon Pro arrived in a fairly nice presentation.
The content of the box includes:
- A cylindrical carrying case
- The iem themselves
- A 4.4mm 4 cores cable
- Many pairs of different eartips
(I’m currently on vacation, so i don’t have the box and some accessories with me. I’ll post some additional pictures later)
Design/Build quality/Comfort
The Canon Pro’s shells are made out of medical grade black resin. It feels very light yet sturdy in the hands. The form factor of the shell is very similar to that of some other iem in the market, like the ZiiGaat Odyssey’s. Its size is a bit bigger than your average iem. Isolation is around average level, heavily depending on the eartips and fit.
The Canon Pro’s faceplate has quite an intricate design, where it’s split into 4 areas with 4 different confetti colors: red, yellow, blue and silvery; along with some additional small abalone pieces on the top and bottom. I personally really like this sort of design, where it doesn’t stand out too much, but also looks nice.
Cable wise, it’s a 4 cores OFC cable. It’s the same cable that comes with the Yanyin Moonlight. It has metal hardwares, feels premium on the hand, although it’s a little bit stiff and heavy due to the thicker cores. It also doesn’t have a modular connector for you to change into other terminations. At this price point, you’d assume the stock cable to have that feature, but it is what it is.
Sound impression:
*Test gear:
Source: Poco F3, Dell laptop
DAC/Amp: E1DA 9038D, EPZ TP50, Ibasso DC07 Pro
Eartips: Stock grey silicone tips / Stock clear tips
Cable: Stock
Tonality: Neutral with a bass boost/Mid centric
Bass:
The Canon overall has a very very clean bass presentation. It’s subbass over midbass, leaning heavily towards subbass and tucking at around 200hz. The 2 switches control the overall bass quantity of the Canon Pro. There are basically 3 tunings for you to choose from with various degrees of bass quantity (the Up-Down and Down-Up configuration have the same bass quantity). During this testing, I always use the most bassy tuning as I found the other 2 have way too little bass.
When listening to my subbass testing tracks like “Why So Serious” – Hans Zimmer, I can feel the subbass drop at 3:27 very vividly. It has a really deep extension with a lot of air to them. The rumbles feel very well defined, tight and not flabby/pillowy. With “Chameleon” – Trentemoller, the Canon Pro again shows an impressive control over the bass region, the bass trip feeling very bombastic overall. EDM or Phonk tracks would sound great with the Canon Pro. That being said, I’d say the subbass region would need a few more db for me to categories it as “for basshead”
Midbass wise, it’s… lacking. Mostly in terms of quantity. I’m sure this is deliberate according to the tuner’s intention – to seemingly boost the clarity for the midrange - but for me, when listening to tracks that have a lot of drums and kick to them, they don’t feel very authoritative nor feeling forward. I would however give some points to the bass quality, as they do feel very responsive, have good transients and actually can blend in well with the BA drivers. After listening for a while, my ears do get used to this new clean presentation of drums reproduction, but when switching to another iem that has more midbass emphasis, I was like “Yeah… I missed this”
The whole bass region feels very reference-y, as opposed to being fun sounding or standing out on its own.
Midrange:
Clean. Extremely clean. I’d say the midrange and the vocals are undoubtedly the star of the Canon Pro. Like I mentioned above, the midbass was toned down a bit, so you’d get a clean transition from the bass to the lower mid region, resulting in a clean midrange with a lot of clarity to them. Better yet, the pinna gain isn’t heavily boosted either in order to have a forward and clean vocal. It doesn’t need to be boosted, since with a lower bass region, you can feel the vocals better without relying on a heavy boosted 1-3 khz to “feel” the high pitch vocals like some other well-known Harman-ish tuned iem.
For example, when listening to “Better When I’m Dancing” by Meghan Trainor, a pop song with a very joyful vibe to it, her voice sounds very clear and forward and stands apart from the background beats and drums. It has a very clean, non boomy beat so her voice stands out even more. Other female vocals like Adele, Celine Dion, sounds very lively and energetic, yet not sounding harsh.
That said, some vocals do sound a bit thin, like when listening to some classic Frank Sinatra or Michael Buble tracks, their voices don’t have that classic lush, chesty characteristic to them.
Another bonus part is that sibilant is almost non-existent with the Canon Pro, testing with Ed Sheeran’s “Shivers” and Bon Jovi’s “It’s My Life”.
Instruments that reside mostly in the midrange have a very natural timbre to them. With “Cold” – Jorge Mendez, piano especially sounds soft and smooth while violin in the track “Tempest” and “Encounter” of “Blast of Tempest OST”, sounds quite alive and engaging.
Treble
The Canon Pro has a very extended treble region. There seems to be a lot of upper treble energy, giving the Canon Pro that crisp, resolving and airy feeling. It weirdly doesn’t feel too sharp or edgy. Percussion instruments in the track “Caravan” – John Wasson, although the attack doesn’t have that much physical feedback to them (I blame the low midbass quantity), the decaying has a very nice shimmering and sparkly feeling to them. They feel very forward in the mix.
At higher volume though, the Canon Pro does get to me, feeling a bit more fatiguing overtime.
Technicalities
The Canon Pro has a well above average technical performance, with a good sense of depth and greater width and height. Imaging and layering are also quite well done. The Canon Pro certainly did service to tracks that specialized in spatial cues like “Swashers” and “Bubbles” by Yosi Horikawa.
Comparison:
1/ Xenns Mangird Tea Pro
The Tea Pro is a hybrid iem, with 2DD and 6 branded BA. Its price is 359$, so a bit cheaper than the Canon Pro. Cable wise, the Tea Pro has a modular cable, allowing you to change between 4.4mm and 3.5mm termination. But quality wise, the Canon Pro’s cable feels better overall. The Tea Pro has a full aluminum shell, compared to the resin shell of the Canon Pro.
Sound wise, the Tea Pro sounds warmer overall than the Canon Pro.
The bass of the Tea Pro sounds much more authoritative, with more physicality, feels more tactile overall. Drums and kicks sound more natural and forward as well. As a bass head, I like the Tea Pro’s bass region way more. Bass texture wise, it’s honestly neck and neck, with the Canon Pro edges over just slightly, due to having a bit tighter bass feedback. This is achieved with the help of the lower bass quantity of the Canon Pro.
Midrange wise, the Tea Pro feels warmer, thicker than the Canon Pro. Male vocals like Frank Sinatra, Michael Buble have that lushness that I’m looking for. Vice versa, the Canon Pro has a much cleaner midrange with higher clarity. Female vocals sound more pristine, clearer and more forward on the Canon Pro. Both set’s midrange and vocals are very well done, all things considered, they just do it in a bit different fashion.
Treble wise, the Canon Pro sounds more detailed, more airy, more resolving overall. The Tea Pro on the other hand sounds smoother, less emphasized and less sharp overall.
Technicalities wise, these two have a relatively similar level, but the Canon Pro has better width and height, more detail retrieval, while the Tea Pro has more depth and better imaging.
Personally, I like the Tea Pro a bit more as it suits more of my library. However, I can see many people also dislike the warmth, thickness of the Tea Pro. If that is the case, the Tea Pro can well be a suitable replacement.
2/ ZiiGaat Odyssey
I know these 2 iems are in 2 different price categories, but since the Odyssey is also a hybrid iem, as well as being one of my recent favorite iem, I kind of feel like doing this comparison.
The Odyssey is a hybrid iem with a 1DD+3BA configuration, selling at 229$ - nearly half the price of the Canon Pro.
Build quality wise, these 2 iem actually feel quite similar, having a near identical outer shell, except for the Canon Pro where it has the 2 switches. The stock cable of the Canon Pro feels much higher quality on the hand. It’s thicker and less prone to tangling. The Canon Pro also has a better carrying case and better quality tips right out of the box. Well, for around 170$ price difference, these are pretty much expected.
Sound wise, the Odyssey is sort of ZiiGaat’s take on the hot trending Meta/JM1 tuning profile. The Odyssey has a warmer and more all rounded tonality.
The Odyssey has more subbass and midbass, although the texture is much better on the Canon Pro. The Odyssey’s bass feels a bit looser, less controlled overall. Less defined as well. Drums and kicks sound way more authoritative and boomier on the Odyssey. It also has more air factor as well.
Midrange wise, the Odyssey has a warmer tilt than the Canon Pro, more colored overall. The Canon Pro has a lot more 1-2khz energy, pairing that with the lower bass region, the Canon Pro has a much more forward vocal presentation with better clarity. The Odyssey feels more laid back. In terms of midrange’s texture, the instruments timbre overall, the Canon Pro undoubtedly sounds more natural overall.
Treble wise, they have sort of a different presentation altogether. The Odyssey has a more typical treble roll off, meaning it has a higher low treble region, with a roll off in an upper treble/air region; while the Canon has lower low treble energy with more emphasis on the air region. What does this mean in terms of real life listening? The Odyssey is less airy than the Canon Pro, can feel a bit less sharp, less resolving overall. The Odyssey, however, feels like it has a bit more shimmering overall to the percussion instruments. It’s also volume scale a bit better than the Canon Pro - until the 10-12khz region gets to you at least.
Technicalities wise, the Canon Pro is a more technical iem overall, having a bit bigger stage with better imaging and layering, with much better detail retrieval.
Conclusion
The Canon Pro is quite an interesting iem. At its price point, the Canon Pro sits at a spot where the majority of people would have to think hard before spending their hard earned money on an iem, while it also has a niche (not all rounded) tuning. However, it’s nowhere near being a bad iem. If you’re someone who is a basshead, who loves midbass, who wants a more laid back midrange presentation and wants a more roll off treble region, the Canon Pro is NOT an iem for you. However, if you’re looking for a midcentric iem - an iem that shines light onto the clean midrange and the vocals - then I’d highly recommend giving the Canon Pro a try.
That’s it for my review and thank you for reading.
Yanyin has been one of many old iem makers in the Chi-Fi market. They have a lot of expertise on their hands, making iem in the mid-tier to flagship-tier price range. One of their famous line up is the Yanyin Canon line up. The original Yanyin Canon is a very capable hybrid iem, with great value for money. So much so that there used to be a cult following of it. The Canon Pro is Yanyin’s continuation of this Canon lineup, while also being the first iem released by Yanyin in 2025. It is a hybrid iem with a 1DD+6BA configuration.
You can read more about it here: https://www.linsoul.com/products/yanyin-canon-pro
Disclaimer: Linsoul has sent me the Yanyin Canon Proin for a tour, in exchange for an honest review and feedback. I did not receive any financial benefit as well as instructions on how to do this review. Everything I said in this review is my subjective opinion only.
Packaging:
The Canon Pro arrived in a fairly nice presentation.
The content of the box includes:
- A cylindrical carrying case
- The iem themselves
- A 4.4mm 4 cores cable
- Many pairs of different eartips
(I’m currently on vacation, so i don’t have the box and some accessories with me. I’ll post some additional pictures later)
Design/Build quality/Comfort
The Canon Pro’s shells are made out of medical grade black resin. It feels very light yet sturdy in the hands. The form factor of the shell is very similar to that of some other iem in the market, like the ZiiGaat Odyssey’s. Its size is a bit bigger than your average iem. Isolation is around average level, heavily depending on the eartips and fit.
The Canon Pro’s faceplate has quite an intricate design, where it’s split into 4 areas with 4 different confetti colors: red, yellow, blue and silvery; along with some additional small abalone pieces on the top and bottom. I personally really like this sort of design, where it doesn’t stand out too much, but also looks nice.
Cable wise, it’s a 4 cores OFC cable. It’s the same cable that comes with the Yanyin Moonlight. It has metal hardwares, feels premium on the hand, although it’s a little bit stiff and heavy due to the thicker cores. It also doesn’t have a modular connector for you to change into other terminations. At this price point, you’d assume the stock cable to have that feature, but it is what it is.
Sound impression:
*Test gear:
Source: Poco F3, Dell laptop
DAC/Amp: E1DA 9038D, EPZ TP50, Ibasso DC07 Pro
Eartips: Stock grey silicone tips / Stock clear tips
Cable: Stock
Tonality: Neutral with a bass boost/Mid centric
Bass:
The Canon overall has a very very clean bass presentation. It’s subbass over midbass, leaning heavily towards subbass and tucking at around 200hz. The 2 switches control the overall bass quantity of the Canon Pro. There are basically 3 tunings for you to choose from with various degrees of bass quantity (the Up-Down and Down-Up configuration have the same bass quantity). During this testing, I always use the most bassy tuning as I found the other 2 have way too little bass.
When listening to my subbass testing tracks like “Why So Serious” – Hans Zimmer, I can feel the subbass drop at 3:27 very vividly. It has a really deep extension with a lot of air to them. The rumbles feel very well defined, tight and not flabby/pillowy. With “Chameleon” – Trentemoller, the Canon Pro again shows an impressive control over the bass region, the bass trip feeling very bombastic overall. EDM or Phonk tracks would sound great with the Canon Pro. That being said, I’d say the subbass region would need a few more db for me to categories it as “for basshead”
Midbass wise, it’s… lacking. Mostly in terms of quantity. I’m sure this is deliberate according to the tuner’s intention – to seemingly boost the clarity for the midrange - but for me, when listening to tracks that have a lot of drums and kick to them, they don’t feel very authoritative nor feeling forward. I would however give some points to the bass quality, as they do feel very responsive, have good transients and actually can blend in well with the BA drivers. After listening for a while, my ears do get used to this new clean presentation of drums reproduction, but when switching to another iem that has more midbass emphasis, I was like “Yeah… I missed this”
The whole bass region feels very reference-y, as opposed to being fun sounding or standing out on its own.
Midrange:
Clean. Extremely clean. I’d say the midrange and the vocals are undoubtedly the star of the Canon Pro. Like I mentioned above, the midbass was toned down a bit, so you’d get a clean transition from the bass to the lower mid region, resulting in a clean midrange with a lot of clarity to them. Better yet, the pinna gain isn’t heavily boosted either in order to have a forward and clean vocal. It doesn’t need to be boosted, since with a lower bass region, you can feel the vocals better without relying on a heavy boosted 1-3 khz to “feel” the high pitch vocals like some other well-known Harman-ish tuned iem.
For example, when listening to “Better When I’m Dancing” by Meghan Trainor, a pop song with a very joyful vibe to it, her voice sounds very clear and forward and stands apart from the background beats and drums. It has a very clean, non boomy beat so her voice stands out even more. Other female vocals like Adele, Celine Dion, sounds very lively and energetic, yet not sounding harsh.
That said, some vocals do sound a bit thin, like when listening to some classic Frank Sinatra or Michael Buble tracks, their voices don’t have that classic lush, chesty characteristic to them.
Another bonus part is that sibilant is almost non-existent with the Canon Pro, testing with Ed Sheeran’s “Shivers” and Bon Jovi’s “It’s My Life”.
Instruments that reside mostly in the midrange have a very natural timbre to them. With “Cold” – Jorge Mendez, piano especially sounds soft and smooth while violin in the track “Tempest” and “Encounter” of “Blast of Tempest OST”, sounds quite alive and engaging.
Treble
The Canon Pro has a very extended treble region. There seems to be a lot of upper treble energy, giving the Canon Pro that crisp, resolving and airy feeling. It weirdly doesn’t feel too sharp or edgy. Percussion instruments in the track “Caravan” – John Wasson, although the attack doesn’t have that much physical feedback to them (I blame the low midbass quantity), the decaying has a very nice shimmering and sparkly feeling to them. They feel very forward in the mix.
At higher volume though, the Canon Pro does get to me, feeling a bit more fatiguing overtime.
Technicalities
The Canon Pro has a well above average technical performance, with a good sense of depth and greater width and height. Imaging and layering are also quite well done. The Canon Pro certainly did service to tracks that specialized in spatial cues like “Swashers” and “Bubbles” by Yosi Horikawa.
Comparison:
1/ Xenns Mangird Tea Pro
The Tea Pro is a hybrid iem, with 2DD and 6 branded BA. Its price is 359$, so a bit cheaper than the Canon Pro. Cable wise, the Tea Pro has a modular cable, allowing you to change between 4.4mm and 3.5mm termination. But quality wise, the Canon Pro’s cable feels better overall. The Tea Pro has a full aluminum shell, compared to the resin shell of the Canon Pro.
Sound wise, the Tea Pro sounds warmer overall than the Canon Pro.
The bass of the Tea Pro sounds much more authoritative, with more physicality, feels more tactile overall. Drums and kicks sound more natural and forward as well. As a bass head, I like the Tea Pro’s bass region way more. Bass texture wise, it’s honestly neck and neck, with the Canon Pro edges over just slightly, due to having a bit tighter bass feedback. This is achieved with the help of the lower bass quantity of the Canon Pro.
Midrange wise, the Tea Pro feels warmer, thicker than the Canon Pro. Male vocals like Frank Sinatra, Michael Buble have that lushness that I’m looking for. Vice versa, the Canon Pro has a much cleaner midrange with higher clarity. Female vocals sound more pristine, clearer and more forward on the Canon Pro. Both set’s midrange and vocals are very well done, all things considered, they just do it in a bit different fashion.
Treble wise, the Canon Pro sounds more detailed, more airy, more resolving overall. The Tea Pro on the other hand sounds smoother, less emphasized and less sharp overall.
Technicalities wise, these two have a relatively similar level, but the Canon Pro has better width and height, more detail retrieval, while the Tea Pro has more depth and better imaging.
Personally, I like the Tea Pro a bit more as it suits more of my library. However, I can see many people also dislike the warmth, thickness of the Tea Pro. If that is the case, the Tea Pro can well be a suitable replacement.
2/ ZiiGaat Odyssey
I know these 2 iems are in 2 different price categories, but since the Odyssey is also a hybrid iem, as well as being one of my recent favorite iem, I kind of feel like doing this comparison.
The Odyssey is a hybrid iem with a 1DD+3BA configuration, selling at 229$ - nearly half the price of the Canon Pro.
Build quality wise, these 2 iem actually feel quite similar, having a near identical outer shell, except for the Canon Pro where it has the 2 switches. The stock cable of the Canon Pro feels much higher quality on the hand. It’s thicker and less prone to tangling. The Canon Pro also has a better carrying case and better quality tips right out of the box. Well, for around 170$ price difference, these are pretty much expected.
Sound wise, the Odyssey is sort of ZiiGaat’s take on the hot trending Meta/JM1 tuning profile. The Odyssey has a warmer and more all rounded tonality.
The Odyssey has more subbass and midbass, although the texture is much better on the Canon Pro. The Odyssey’s bass feels a bit looser, less controlled overall. Less defined as well. Drums and kicks sound way more authoritative and boomier on the Odyssey. It also has more air factor as well.
Midrange wise, the Odyssey has a warmer tilt than the Canon Pro, more colored overall. The Canon Pro has a lot more 1-2khz energy, pairing that with the lower bass region, the Canon Pro has a much more forward vocal presentation with better clarity. The Odyssey feels more laid back. In terms of midrange’s texture, the instruments timbre overall, the Canon Pro undoubtedly sounds more natural overall.
Treble wise, they have sort of a different presentation altogether. The Odyssey has a more typical treble roll off, meaning it has a higher low treble region, with a roll off in an upper treble/air region; while the Canon has lower low treble energy with more emphasis on the air region. What does this mean in terms of real life listening? The Odyssey is less airy than the Canon Pro, can feel a bit less sharp, less resolving overall. The Odyssey, however, feels like it has a bit more shimmering overall to the percussion instruments. It’s also volume scale a bit better than the Canon Pro - until the 10-12khz region gets to you at least.
Technicalities wise, the Canon Pro is a more technical iem overall, having a bit bigger stage with better imaging and layering, with much better detail retrieval.
Conclusion
The Canon Pro is quite an interesting iem. At its price point, the Canon Pro sits at a spot where the majority of people would have to think hard before spending their hard earned money on an iem, while it also has a niche (not all rounded) tuning. However, it’s nowhere near being a bad iem. If you’re someone who is a basshead, who loves midbass, who wants a more laid back midrange presentation and wants a more roll off treble region, the Canon Pro is NOT an iem for you. However, if you’re looking for a midcentric iem - an iem that shines light onto the clean midrange and the vocals - then I’d highly recommend giving the Canon Pro a try.
That’s it for my review and thank you for reading.
alexandros a
Excellent!
INTRODUCTION - DISCLAIMER - A FEW WORDS
it's one of those times (for me) that happens to be overwhelmed with enthusiasm and optismism....and absolutely excited to share my impressions here..one of those times that a set fulfilles,(covers the most) my personal needs/taste in sound and tuning......Cause this one (Canon Pro) seduced me right from the start....right from the very first listen...i had an inside instinct about this one for some time now....so i contacted in person Linsoul Audio for the chance of getting a review sample for this one.....
The agreement was to provide my unbiased opinion free from any kind of strings attached .So be certain that i am not in any way affiliated with Yanyin either Linsoul and you can expect my honest take here according always to my personal experience in monitors and sound preferences .i have to admit though that once again @Lili Linsoul has been proven to be a valuable friend and a top professional providing all the necessary info and handling with extreme interest all the prompt procedures in order of this unit to arrive safe in my country.
Yanyin Canon Pro retails for 400 dollars approximately at the time of speaking and in any case you find yourself interested you can order that one directly from Linsoul : Yanyin Canon Pro
Specifications:
Earphone Cable : Type4 single-crystal copper, single-core 22 AWG with 140 strands
Earphone Housing : 3D printed resin
Driver Unit : 1DD + 6BA Driver Configuration
Crossover Technology Combination of 1DD and 6BA drivers per side, 4 electronic crossovers, and 4 physical ducts
Sensitivity : 104 dB
Frequency Response Range : 20 Hz – 25 kHz
Impedance :18 Ω @ 1 kHz
Passive Noise Reduction : 26 dB
PACKAGE - DESIGN / FIT & COMFORT / TECH INFO
Build and Packaging of Yanyin Canon Pro are both of premium quality , a unique example of meticulous craftmanship ....rare do we such an attention into this level of detail.....
The shell of these monitors lone are a piece of jewellery , a pure pleasure for your eyes and ears as well...but in this case it's not only about the shells ...it's about the cable as well cause 7 years over this hobby haven't encountered thus far such an OG stock cable coming along of such high quality and craftmanship ....take my word for it.....
This headphone cable is made of monocrystalline copper with four cores of 140 cores each and this design ensures reliability, and comfort for everyday usage.....
It is thick and feels premium and it comes in 3 different terminations 2.5/3.5/4.4 giving customers the opportunity to decide upon ordering which one is more suitable according to their gear and preference.i choosed the 4.4 termination.
Other than that, here you find six pairs of silicone ear tips of varying sizes—three of which are clear silicone which reminds in a way Azla Sednafit thermoplastic material or even the most recently released Divinus Prism Wide Bore LSR eartips.
the other silicone tips are of opaque color. Additionally, there is a small pin provided for adjusting the tuning switches on the IEMs.
But the true highlight as far as accessories/presentation of the package goes, is a very well made leather rounded protective case with zipper which is nice and practical and certainly feels absolutely premium in terms of aesthetics and construction of course
the medium in size monitors feels very comfortable and extremely easy to fit in the ears, and be sure that this model has an excellent pressure relief, I just cannot feel any pressure build-up during long use, which makes the Canon Pro very suitable for everyday continuous inside use as well as having a walk out and about......
as long as you get a steady and secure fit over the Pros you can easily forget about wearing those.....
I trully was impressed right from the beggining with the inclusion of this spectacular - unique cable and the quality / craftmanship over there....!!!!!!!!! Once you get your hands over this solid superb material you get to understand that there's absolutelly no need for cable-rolling at Canon Pro's case.........
Gear used for the purpose of this review : iBASSO DX 180/160/170 / Shanling M3X / HIBY R5 GEN II / Oriolus BA300S tube amp & KAEI TAP 1 balanced tube amp as well...
i used the popular mode configuration (both switches up) for most of my listening sections just because i have found out that this mode served the best outcome , (always according to my personal taste in tuning and the majority of my music library ...)...in one word this mode sounded the best to my ears for long listening periods....providing at the same time the most elevated but refined as well possible bass response anyone can get out of those jewels...so you can assume all impressions following right after were taken with both switches up .....
Just for the record..Canon Pro as of now has allready completed a total burn in period of more than 120 hours (or so...) before any kind of critical listening.In fact it was one of those sets from which i had the necessary patience not to listen straight out of the box....but this has become a strange habbit to me during these days..........
FR GRAPH / SOUND ANALYSIS - EXPLANATION OF CORRECT SWITCHES USAGE
As far as tuning versatility goes Canon Pro uses two different switches in order for anyone can choose was suits best anyone's personal preference and taste in sound.
| Color | Bass Response | Switch Mode | Sound Profile |
|---|---|---|---|
 Blue | Highest Bass | Popular Mode | Full-bodied, warm, bass-rich |
 Purple | Medium Bass | Balanced Mode | Neutral, natural balance of lows/highs |
 Orange | Least Bass | High-Frequency Mode | Bright, airy, more treble-forward |
Switches affect the low-frequency response, because earphones behave like a soundboard—more low frequency = less high frequency, resulting in a darker sound.
Conversely, less low frequency = more high frequency, making the sound brighter.
However, adjusting via physical switches is not the same as tuning EQ so there is no signal loss. But each switch setting has a different level of resistance:
- High-frequency mode = highest resistance
- Balanced mode = medium resistance
- Popular (mass appeal) mode = lowest resistance
Switch Diagrams & Modes
- (High-frequency mode)
Low frequency = least - (Balanced mode)
Low frequency = moderate - (Popular mode)
Low frequency = most
Further Switch Explanation .........
According to Yanyin brand the switches are designed for bass control. The headphone's frequency response functions like a seesaw—excess bass can mute the highs, while reducing bass naturally brightens them. However, the adjustment switches are not equivalent to tweaking an EQ; they employ an electronic crossover method, ensuring no distortion occurs. Note that each setting offers a different impedance, with the high-frequency mode having the highest impedance and the pop mode the lowest.So as anyone can tell he switches are pretty much used to adjust the bass: when amplifying low frequencies, the high ones become less pronounced, and reducing them makes the upper range brighter. Each tuning mode has a different impedance level – from the lowest in the pop mode to the highest in the high-frequency mode.
Actually there are 3 settings for fine tuning Canon Pro : 1) both down, 2) either side up (tuning seems to be the same no matter of which side is up or down according to my hearing fo course...) and 3) both up. During testing have come across to a conclusion that choosing a particular switch setting mainly affect the bass response, offering two levels of bass boost rather than anything else across the FR.
• High Mode → Boosts treble, reduces bass (bright and clean)
• Balanced Mode → Neutral setting, balanced sound
• Popular Mode → Boosts bass, smoother highs (warm and full)
| Mode | Bass | Mids | Treble | Use Case |
|---|---|---|---|---|
| High Mode | Least | Clean | Brighter | Analytical listening, clarity |
| Balanced Mode | Moderate | Neutral | Natural | Versatile for all genres |
| Popular Mode | Strong | Warm | Smoother top | Fun, musical, bassy experience |
Switch Modes – Frequency Response Interpretation
Sound signature :
I consider this set as a warm & balanced set with a more than decent sub bass elevation and a slightly mid-centric sound signature ,thus meaning a spacious,lush open midrange but above all an organic and utterly natural one , which by all means occupies the front seat right at the center of your imaginary head stage .There is a mild elevation over the upper midrange region that serves the vocal timbre best...This way of potraying / projecting this deep emotional midrange is totally in accordance with the illustration of a deep and sensational sub bass response which makes both of those factors the most noticeable characteristics in terms of tuning.....Treble clearly takes a back sit providing a warm & dark tonality not pronounced as much as the other parts of the region.All these as it is clearly to me at least demonstrated at the graph above makes for a low-pitched set ,an easy going one perfect for long fatique free sessions...
STAGE / INSTRUMENT SEPARATION / RESOLUTION / OVERALL SOUND PERFORMANCE
Instrument separation would be another highlight of the Canon Pro's to my opinion as it is trully exceptional here...Each and every instrument is where it should be on it's right place on stage,with weight and authority,sound effortlessly travels from the left to the right side of your head demonstrating an amazing channel separation only to be found on higher price range iems,and you can easily pin-point each and every little element/cue of the original recording..Resolution is amazing as well,in heavier electronic tracks or heavily orchestrated pieces (string/brass sections) of music when plenty of instruments are involved and take place in the scene, Canon Pro stays top-clear and musical at the same time ,maintaining this way a very natural timbre.This way Canon Pro can easily handle any music genre you like, being always exceptional on vocal/ acoustic/orchestral tracks and physical instruments.At this case, the acoustic timbre is just mesmerising.Soundstage maybe not the widest here,,more intimate but certainly above average with a depth being the most noticeable factor coming over this spacious stage, congestion is out of the question here, particullary in heavy orchestrated pieces of music including acoustical instruments is where imaging excels at most.
Bass
talking about quality here....but the sheer power here come from the sub bass....totally..
sub bass over the Canon Pro is to my ears noticeably more nuanced than mid bass with the latest obtaining a more transparent nature..Right from the first bass orientated song i could detect a more pronounced thumb and impact over the sub bass region...be sure that this piece of jewellery slams BIG TIME and particularly towards the very lowest part of the spectrum...it reaches deep down to the 20HZ region....In fact this sub bass focused character suit my taste and favour in tuning perfectly.This tuning choice to be more specific also showcases in the best way both sub and mid bass virtues and results in distinctive multi layered sound approach overall not to mention that actually adds BIG TIME to the transparency over the entire spectrum.From 60Hz to 20Hz everything seems to get bones and flesh to my ears particularly if your choise comes to turn up both of those switches up.The impact is there...the thumb is there ....and not interveining with the lower midrange at the slightest...Mid bass feels so smooth and polite but powerfull as well ...as a result of this approach the transiotion to the lower midrange comes naturally and smooth as butter can get with no audible midbass bleed there........This all as far as mid bass rumble and thump goes.....and as i have allready commented repeteadly over those two factors......... Impact overall as a term imho souldn't been associated in every case and always with the attack or how much hard hitting a bass response can get....it is a sum of different factors that affect the overall bass experience/response one can get from a monitor ....for example in Parametric Equalization (PEQ) there is a certain relation between the Q factor & the Bandwidth which is the range that the selected effect is being aplied over the FR.
A low Q factor gives a broad band (wide) bandwidth or a high Q factor gives a narrow band (small) bandwidth.
I am just bringing this example up because it has to do with the way each of us perceive different types of bass responses.....Attack or speed is only one aspect of this story..the amount of perceivable rumble or thump shouldn't necessarily related with the attack or the speed..A broader resonace peak over the lows can create a more sensible rumble and so on......
bass response isnt only about attack and speed its also about finding the perfect spot between sensation and refinement....the spot that moves your brain around but respect the rest of the spectrum as well........
Nevertheless the dynamic driver here at Canon Pro's case shows it's real capabilities...,. with an LCP dome and liquid silicone suspension generates deep and rich low frequencies, giving the music power & the necessary authority......
Midrange
This part of the spectrum overall (lower/upper midrange) is at least and for my personal taste phenomenal...,it is for sure one of the highlights of the Canon pro...and this comes as no surprise to me recalling Yanyin Aladdin set years ago which also obtained a certain refinement and quality over this part as well......
there is an open feeling all across the mid frequencies....plenty of holography there,vocals come across with depth and authority and also unbelievably analogue quality .....particularly female vocals are so nicely rendered and sound so realistic and true to life...so transparent but yet solid that makes you feel its the closest you can get from a monitor to real life circumstances....Canon Pro is a low pitched set but despite that fact a certain amount of the pinna gain is over the upper midrange (which sounds a bit elevated but still smooth as butter) /in order for the human voice in vocal tracks to be demostrated as vast and spacious, filing this way the most part of the FR leaving the other part of the spectrum a little behind / in the background, thus creating a unique ambiance to the listener,but most of all and most noticeable is the organic quality of these dense and lucid at the same time vocal reproduction which is trully second to none....
the degree of spaciouness/transparency over the lower/upper midrange is more than substantial and this becomes both crucial and obvious to any critical listening.
male & female vocals are much enganging , with plenty of musicality and emotionality as well.....seems like those guys have found the perfect balance between an ideal note weight and a natural but lucid as well vocal representation ....to my ears this part of the FR is where Yanyin Canon Pro excels clearly....its the absolute star of the show....
Treble
here comes the coolest part......
The transition from the upper midrange is second to none here.....
as far as the upper treble region goes it becomes clear that this part takes a step back regarding the rest of the FR......despite of that fact ( treble roll of over the brilliance region) on Canon Pros is more than evident...treble extension is descent enough and certainly on the darker side of things...
so...yes treble overall is subdued and clearly sits behind behind the rest of the spectrum but this particular choise of tuning actually pays off and favours the rest of the spectrum at this case..i myself find that this choise is totally working for Canon Pro as of providing to it this unique dark tonality/character/timbre .....name it as you wish.....
so...treble is smooth,velvetly like without the slightest hint of glare/grain,zero to none degree of harshness or metallic feeling....either sibilance or artificiality to me....no strange peaks but on the contrary natural and forgiving even at the poorly recorded tracks and all these things make for the hardest bet for any modern day set...it wont be anyone's cup of tea.... i can get this for sure (meaning anyone who is into more sparke,spice and dynamic treble presentation) and this could be consider by many of people as a disadvantage but not for me.....i love this kind of tuning...Its one of my favorite tuning choises and responsible for the overall tonal character here...so for those guys treble response wont be this set's highlight but in the other hand it doesn't has to...if you know what i mean...you have to sacrifice some sparkle over the top end to get in the other hand a fatique free performance and this goes the same in favour of the upper harmonics at this region which sound so incredibly natural and correct...at this part of the FR you simply ain't gonna find anything out of place or unnatural sounding...maybe this doesn't make it a detail retrieval specialist in any way but this doesn't mean also that you re missing important info over this part....Details are there sitting at the backstage ...not in your face...and this alone makes the Pros the exact opposite of a shouty earphone.....
Driveability / Scalability with sources
Have to mention at this point that this set is so very easy to drive with pretty much anything as a source but despite that fact it also scales pretty amazing with better sources (daps-amps.) The better the source.. the better the whole experience gets...for example paired with Hiby R5 Gen II (A class amp mode) ends in an even more dynamic presentation of sound with faster attacks and even more natural decays ....so do not be afraid to turn up the volume here......it just gets better and better....a complete sonic experience .As far as the usage/pairing tube amps with Canon Pro haven't notice any real diference as far as tonality goes....have tried both KAEI TAP 1 & Oriolous BA300s tube amps in balanced connection .The background was pitch black no audible hiss detected whatsoever including both of them...and apart from the slightly extra warmth over the lower part and the introduction of a more dynamic overall presentation both of these pairings were more than ok.....i could go as far and say superb outcome.....
RECOMMENDED TEST TRACKS
Phono Ghosts - Diagrams of brain thoughts
this particular track coming from electronica heroes PHONO GHOSTS is a real pain in the ass for many modern day sets as it operates digitally processed higher frequencies at a significant part so the real bet here for any set is to manage to produce a real life naturalness of this part of the spectrum avoiding any kind of harshness and artificial feeling during reproduction. At this case Canon Pro not only accomplish this mission to a perfect degree but manages effortlessly to bring out the upper harmonics in a superb natural manner with it's subdued dark and velvet treble approach....a real time teacher as far as how the upper part of the spectrum (lower treble / brilliance ) should be handled as far as tuning maestry goes..bravo.....
Moonfish - Leaving
Maria Chiara Argirò is an acknowledged jazz artist and Moonfish is her side project moving towards crossover jazz mostly......
Τhe entire record is a work of art enhanced by a horn section featuring renowned artists Alex Hitchcock, Rosie Turton, and Rich Muscat, the EP offers captivating piano accompaniments, pulsating electronics, groovy drum beats, an evocative brass backdrop, and a mesmerising sax solo.Drawing on influences such as Aaron Parks, Kneebody, Bonobo, and Thom Yorke, the EP presents a fresh take on the piano/synth and drums duo, standing out for its balance between earthy grooves and dreamy, ethereal melodies.This is sooooooooo.... utterly captivating using Canon Pro because it manages to distill such a wonderful natural timbre over the physical wind instruments and the brass section as an entity......trombones.....alto and tenor saxes....coming out with a mesmerizing naturalism a dark and mature nature , a real to life memorable reproduction including decayed romantic piano chords...its all there ... you can easily loose your self all day long on repeating listening over and over...A very hard to find authentic instrument timbre especially at this price range.......excellent easy going representation of the entire orchestra.....
Kit Sebastian - Ellerin Ellerimde
Tropicallia meets psychedelia meets Eastern folk tradition meets Serge Gainsbourg meets whatever phisical instrument you can imagine of displayed within fascinating orchestra arrangements !!
This is what Kit Sebastian is all about....and why you should try this one on Canon Pro one may ask? just because the way this magnifiscent midrange is vastly reproduced across your head-stage can change the way you listen thus far......Kit's emotional approach and her unique voice falceto characteristics are demonstrated in an ethereal and natural way all together.....capturing that magic moments is an easy work for this set .....apart from all that the percussion section along with the electric and bass quitar chords blend in a harmonious way highlighting the virtues of Canon's holographic stage where every single instrument has it's space and place over the scene....splendid...unique performance over there......
Demen - Niorum
Demen is a group covered by obscurity and mystery in the vein of early 4AD record label......the operatic female vocals obtaining huge dimentions on Canon Pro and the authority in which the lower frequencies being portrayed is really something else .....the drum kits is beyond this world......while the singer seems to cover the entire head stage......what a brilliant reproduction that is !!!!!!!!!
(been listening to this track while writing down this review right now..) at this track Canon Pro sub bass kicks some serious ass...!!!! its amazing how the sound manages to expand towards all axis of your imaginary head stage using Canon Pro ,and the depth of this scene recreated here is nearly unbelievable making you believe that some layers sound (lower frequencies) are coming towards you from the back of your head...another treat this one..
Vega Trails - Sierra Tracks
Looking for some reference tracks in search of an authentic physical instrument timbre ???
this is for you..double acoustic bass as the key/major/leading instrument combined with dark piano keys ....and utterly inspiring music writing......this is an easy job for this set as it is meant for this kind of reference recording providing the most romantic approach there you ll probably ever hear using any kind of set....
a reference record needs desperatelly a reference monitor as far as acoustic timbre goes...Canon Pro delivers.....the emotion..... and captures the unique atmosphere offering a mesmerizing representation of this one ...
SELECTIVE COMPARISONS
against Oriveti OH700VB
OH700VB combines 6 balanced armature drivers ( 2 for high, 4 for mid) and a dynamic driver (for low) configuration wise this makes it the ideal/perfect contender for Canon Pro..........
OH700VB as a hybrid monitor (obtaining as well 1 switch over it's faceplate for bass adjustment) ... is certainly not a joke.....not a joke at all.......it's one of my top 3 all time favorite sets/sound signatures and was Oriveti's 2024 flaghip and at the time of speaking costs nearly the double of Canon Pro's price.
OH700VB delivers a rich and detailed sound with excellent clarity and accuracy across the entire frequency spectrum. Turning the switch downwards on OH700VB provide a 3dB plus over the lower frequencies and at this particular mode it obtains a darker tonality.. this way it is very very close to Canon Pro's overall tonality & sound, with a dark and subdued upper treble representation and a spacious deep and open midrange. Most of the thumb / impact over Canon Pro is noticeable more over the sub bass region and you should also take under consideration that the mid bass elevation over OH700VB (+3db having the switch down on OH700VB) its the main difference between those two sets : mid bass vs sub bass but oher than that its exactly like listening to the exact same earphone .......
Both earphones are equally good as far as midrange reproduction goes imho,with Canon Pro's being the more open one and obtaining a more robust cohesive stage and a deeper one as well simply because of the the air/space culminated in the midrange there (due to Canon Pro's tuning) both of these sets can be consider as siblings / nearly identical twins with the major diference that OH700VB cost double the Canon Pro's price....the choise here is obvious i believe so......
against PENON 10th AE
During 2023 i was lucky enough to get one of the most value for money monitors i ever purchased 7 years now in this hobby, and that was the PENON 10TH AE. As far as i am concerned this is a TOTL one , a truly unique set of monitors with tremendous personality/value and capabilities,it happens to be one of my all time favorites and feeling really sorry for this is officially discontinued according to PENON AUDIO.
......compared with Canon Pro is not fair enough partially due to 10TH's more sophisticated implementation using two isobaric subwoofers taking care of the low and SONION EST drivers for the higher registries but anyway..........lets find out ....Canon Pro is darker ,far more darker with a distinctive sub bass thump while PENON 10th's bass is more "inside the lines" with longer decays and faster attack and presence.midrange over the Canon Pro's is moisterous and analogue/vinyl alike while on the 10ths is more airy and spacious more vivid and exciting Particularly in the midrange PENON 10TH AE sits among the the cleanest/clearest you can get regardless any price range...
10THs midrange is just so crystal clear and transparent one like a lucid dream that makes it a real struggle for most of the monitors to follow there.... The treble on the 10ths is the most fascinating and fatique free EST treble i ve ever heard ..it has beautiful sparkle and spice its simply shimmering and mesmerizing simply more extended than Canon Pro treble with way more energy and details there....But still both obtain a relaxed and fatique free treble region with the PENON 10th being the more sparkly and exciting one as far treble goes,....the note weight across the FR is thicker on Canon Pro imho..But given the fact that anyone out there looking for a more analogue like dark orientated sound representation shlould pick Canon Pro over the 10TH AE because the first sounds more vinyl alike and a bit more natural, both these factors makes for me at least.. so difficult to choose between those two.....
against ISN H60
H60 has been ISN's slight departure from the OG established bass orientated sound signature and well known as the ISN HOUSE SOUND and a great success as well...
Vocals on H60 are upfront as well but more "between the lines" compared to Canon Pro ,the airy feeling especially in the upper mids is more noticeable on H60 but that's according to it's tuning .....In terms of spatiality of elements across the stage and spaciousness over the midrange both earphones are quite equal and strong. Treble is pretty energetic and dynamic at H60s but to my ears treble over Canon Pro feels more polished and refined, less extended but more gentle and fatique free... it is a bit subdued (the upper treble that is) and rolled off but works in favor of Canon Pro's tuning there...
H60 is more prominent and impactfull in the sub bass region partially due to its tuning and due to the newest technology used there with the twin isobaric subwoofers one facing the other coming up with more note weight
Both sets are musical with H60 obtaining clearly a fun orientated sound signature while
Canon Pro sounds more reference like monitor compared to H60 as far as timbre and note refinement overall goes that is...
Regardless of that, both are great monitors with H60 due to its tuning and newer more sophisticated implementation being wider in terms of stage , and Canon Pro obtaining a deeper more circular and 3 dimensional stage across your head producing the illusion that sound might coming from the back of your neck...so you better watch out there..!!
against ISN EST50
EST50s was to me love Love at first audition and still is one of my all time favorites monitor. ISN AUDIO is a true master as far BASS goes and in this case their flagship EST50s is the perfect proof of what happens when a group of proffesional engineers who happens to love bass frequencies a little more than the rest of the spectrum........... are doing their best effort to bring such a miracle as the EST50s.Off course the impact from 20 to 250hz is obviously bigger at EST50 's case, and of course the transients over this region become quickly more than noticeable and distinctive but it's supposed to be this way around.. cause we re talking about the flagship of a company dedicated to Authentic Bass reproduction since it's origins....BUT this does not mean in any way that Canon Pro is lacking at this department.Not in terms of texture. body and quality..On Canon Pro bass comes as very solid and robust but focused more in the sub bass region rather than the mid bass impact ,that does not mean that it misses anything after all it's named Canon Pro for a certain reason right???
Now on the mids....Here the midrange on both of those set just ticks all the right boxes....spacious,effortless natural representation a pure delight for the ears and soul
treble region of the EST50s are purely suberb and more natural and more extended ,fatique free and sparkly than Canon Pro but the EST50s simply use a more advanced techsnology two electrostatic Sonion drivers for that outcome so the difference is more than obvious there..besides that in terms of tuning upper treble on EST50s isn't that subdued thus it has sparkle and spice....
......... taking under consideration their minimal price difference ..can't help but thinking both are really close in terms of quality in the representation of sound and providing equally an exciting 3 dimentional open and deep stage.. with EST50s being the wider one mostly because of it's tuning and the slightly more refined one in the treble region......
against ROSE TECHNICS QT-X
QT-X has been ROSE TECHNICS current flagship hybrid configuration monitor and a great success as well...
Vocals on QT-X are way more upfront resulting in a substantial amount of cumulated pinna gain ovet the midrange region and more "between the lines" compared to Canon Pro ,the airy feeling especially in the upper mids is more noticeable on QT-X. because no matter of the Canon Pro implementation QT-X is a vocalhead's dream being the most reference mid centric tuned monitor among my collection...In terms of spatiality of elements across the stage and spaciousness over the midrange both earphones are quite strong with Canon Pro offering the better stage 3 dimentional wise Treble is pretty smooth but subdued in both of these sets with Canon Pro obtaining an ever so slightly more polished ,extended and correct resulting one resulting this way in a more vast/open sound experience while on Canon Pro the upper treble roll off is more than evident making it the more dark and obscure one...
QT-X is more prominent and impactfull in the sub bass region partially due to its tuning and due to unique TESLA DD hitting like a thunder there......
Both sets are musical and unique in their own way .To my ears both QT-X & Canon Pro are vocal specialists .... .Both are true masters of timbre....cannot lie on this one....
both are great monitors with Canon Pro due to its tuning and implementation being the more holographic and dimensional one with a substantial deeper stage, and QT-X the more airy and linear sounding between the two of them.
FINAL WORDS - CLOSURE
if you guys managed to get to this part of this review you certainly can tell by now that this one got lot's and lot's of praise from my side...as i allready mentioned this one seduced me over the very first audition....partially because this one obtains my personal favorite tuning choise in monitors and mostly because it's a solid mid-tier set with an easy going nature, a low pitched character and an utterly refined dark tonal approach to sound.....more than that.. Canon Pro obtains a smooth fatique free treble reproduction and a woofer alike sub bass response that can literally transform any song over your library into a lifelike fascinating experience......i can easily recall another one coming from 2024 monitor releases that had this certain impact over me and as i mentioned shares a lot of common ground as far as tuning and configuration goes with Canon Pros and this one was Oriveti's flagship for that year : OH700VB
But OH700VB costs double the money here without offering anything more that Canon Pro cannot offer....This alone says many thing to me at least.....This comes as an easy recommendation from side and a very strong contender as well at this price category.......
A must have for followers/advocates of dark tonality sound signature sets......
No Ma'am........ain't gonna give this one.......
thanks for reading,,,
cqtek
Well, your review is out. Great job, I can tell you really liked it.
alexandros a
it's because this one suits my personal taste in tuning the most @cqtek .not happens everyday as you allready now... this one.......
Introduction
Yanyin is one of those relatively obscure brands that have always caught my attention. Based in Fujian province and manufactured in Sichuan province, it distances itself from the rest of China's brands with a low profile and distance in its launches. But these are certainly products that stand out in their own right, without the need for any publicity, just on their own merits. The Yanyin Canon Pro are the second IEMS from this brand that I have had the pleasure of reviewing. The first ones were the Yanyin Aladdin and with them my attraction to the brand began. Yanyin is known for making hybrid IEMS with semi-custom resin capsules. The most common configuration is a dynamic driver plus several BA drivers. They also have several tribrids, like the HBB Mahina and the Moonlight (and its variations), composed of 2EST + 4BA + 1DD or a full BA with ten drivers like the Carmen. But the most evolved series started with the Canon model: a hybrid monitor with 1DD+4BA and three tuning switches. The success of this model was followed by the Canon II version, with the same number of drivers, but only two switches. In this review I will look at the latest version of this saga, the Yanyin Canon Pro, which has 1DD+6BA and two tuning switches. With the addition of these two BA drivers a wider frequency range, more clarity in sound layering and detail is achieved. The dynamic driver has an LCP dome diaphragm and is mounted on a liquid silicone ride edge. The two additional units take care of the high frequencies, while the rest take care of the rest, generating a dense sound, perfectly integrated with all three bands. And to make that happen, Yanyin has used four electronic frequency crossovers in addition to four physical drivers. As standard in the Canon series, two tuning switches have been retained to accommodate a variety of musical styles, giving you more flexibility in your listening experience. The switches are designed to control the bass. The frequency response of the headphones works like a seesaw: too much bass can mute the treble, while too little bass naturally brightens the treble. However, the adjustment switches are not equivalent to adjusting an equaliser; they employ an electronic crossover method that ensures no distortion occurs. Note that each setting offers a different impedance, with the treble mode having the highest impedance and the pop mode the lowest.
High-quality monocrystalline copper has been used for the cable, featuring a 22AWG single-core design with 140 strands precisely stranded in four groups, along with refined alloy hardware. The result is a lightweight, comfortable and durable cable that offers near-flagship sound clarity, delivering a pure and unadulterated audio experience.
Let's see what the latest model in this series has to offer in this review.
Specifications
Packaging
The Yanyin Canon Pro comes in a medium-sized box with dimensions 193x132x62mm. The colour of the case is mainly white, while the main face is made up of lines that form triangles, some of which are coloured blue, yellow or light red. The model name is in the centre of the box in holographic ink. There is a small description in Chinese at the bottom of the box, while the brand logo is in the top right corner. On one side are the brand's calligraphy. On the back are the product specifications, a QR with a link that goes nowhere, the logos of the certifications it holds and a label indicating the 4.4mm cable model. There are also a couple of linear codes, one of which is the serial number. Note that all the text is in Chinese. After removing the outer cardboard you can see a completely black cardboard box. After opening it you can see a round blue case on the left and the IEMS on the right. All this inside a black foam mould to protect the elements. Underneath the capsules is a black cardboard envelope with the brand logo and underneath are the silicone tips. With the help of a black fabric loop you can access the bottom layer of the packet to see the rest of the contents. The complete contents are as follows:
The zipped case is a very good size, made of very good quality blue leather. It has the logo inscribed on the top. The zip is gold-plated and the inside is padded and lined with blue velvety fabric. The cable is excellent, with four thick strands of very shiny copper. There are two sets of silicone tips, one of which is a crystal clear type for better sealing. There are no foam tips, but it is clear that this type of tip is falling into disuse, in favour of newer silicone tips such as crystal tips. Overall I don't miss anything for the price. It's a sober presentation but with high quality accessories, totally worth the price.
Construction and Design
The capsules are made of resin and 3D printed. Their shape is semi-custom. The shape of the outer face is reminiscent of the African continent. Under the crystallised face there is glitter of different colours: starting from the top there is a red-magenta mixture, the second part is orange-coppery, followed by a sky-blue part, while the apex is whitish as if formed by salt crystals. There is another series of bluish or greenish crystals scattered along the edges of this face. In the centre of the right capsule is the brand logo in metallic colour, while the left one reads Canon. The capsules are thick and on the edge are the two switches. Above it is a relatively large hole covered with a metal grille. This edge is slightly translucent and you can see the BA drivers inside. The 2-pin 0.78mm connection interface is fully integrated into the capsule. It is a rectangular, transparent plastic pickup with gold-plated connectors. The inner side is rounded, but has no protrusions on its edge. In the centre you can read the model name and the number 250090 written in gold ink. The mouthpieces are made of metal and have three diameters. In the middle there is an arrow-shaped crown to facilitate the anchoring of the silicone tips. Their diameters are 5.7mm and 6.5mm and their length is approximately 4.3mm. The orifice of the nozzle is covered with a dense metal grid.
The cable consists of four strands intertwined with each other. The conductor is made of very shiny copper and the sheath is made of very transparent PVC which reveals the beauty of the conductor. The plug is gold-plated, while the sleeve is a light-coloured brushed metal cylinder. On one side it has the brand logo in white ink, while on the other side there is a pair of sinuous longitudinal lines. The cable outlet is protected by a small transparent silicone cylinder. The splitter piece is another very similar but smaller cylinder, but with two slanted rings around it. The pin is a ring of the same colour and material, whose hole fits the two strands quite well, although the grip is a little loose. The sleeve of the 2Pin 0.78mm gold-plated connectors are two smooth cylinders just like the other parts of the cable. The cable has transparent guides to provide the over-ear shape.
The capsules are in the style we are used to from Yanyin, made of dark-coloured resin, with flowing or glitter patterned outer faces. In this case, the cable seems to have received an upgrade over the previous models in the series, it seems slightly thicker and is made of copper, while the previous ones were silver plated. There is no doubt that the result and the combination of all the elements offers an outstanding package at the price point.
Adjustment and Ergonomics
All the Yanyin models I know of seem to be made of medical grade resin and have a semi-custom shape. The Canon Pro's are a little thicker and the capsules are relatively generous in size (attention to those with small ear pinnae). In my case the size is just right. The shape fits very well into my pinna, taking up the entire size of my ears. And thanks to the crystal silicone tips the final fit is very occlusive, as well as achieving a superior level of adhesion thanks to this material. The fit is very high and the feeling of isolation is also very good. The insertion can vary from shallow to medium, depending on the individual canal, but the not too long length can limit the degree of insertion. In my case the fit is shallow and I can't go any further, because I use the crystal silicone tips which I have filled with foam and also because the inner side of the capsule is already blocked by my pinna. Be that as it may, the result is quite good, there are no protrusions that bother or touch the external parts of the ear, although I must repeat that the size of the capsules is relatively large and thick.
I have worn the Canon Pro for several hours at a time, with and without music, to see if there is any adjustment fatigue or discomfort from prolonged use. I must say that they are quite comfortable, but I must also point out two points: the size of the capsule takes up the entire pinna and if you force it, it can become uncomfortable after a few hours. The second point is that the weight of the cable can also make the over-ear guides uncomfortable.
Sound
Profile
The profile of the Yanyin Canon Pro is balanced with a slight sub-bass boost, which can be controlled by the tuning switches. The tuning switches seem to only affect the bass, while changes in the treble are almost imperceptible. They also alter the impedance, which can change the impression of the sound and the sense of loudness of the sound due to changes in volume and current demand. At switch position 00 the amount of bass is light, it becomes a neutral tuning with a somewhat lean first half of the mids. Positions 01 and 10 are about the same and both add quite a bit of punch to the bass and fill out the first half of the mids. Position 11 adds that extra punch in the low end for those who, like me, are always looking for that extra punch in the low end. It is clear that, as the manufacturer itself says, lowering the bass increases the sense of brightness and detail, but raising the bass also adds volume and depth. So the three bass levels are very welcome indeed.
As a very balanced and homogeneous IEMS the frequency range from 20Hz to 12kHz moves in less than 10dB. The pinna gain is very controlled and in the positions with some switches activated there is hardly a difference of 6/7 dB between the lowest part of the mids and the highest part of the highs. On the other hand, the treble is in slight roll off but remains very well extended without hardly showing any obvious drop. The sound is quite full in the bass, with a wide, juicy and balanced midrange and extended, controlled treble with a very musical touch of smoothness. It is clear that the Canon Pro's are tuned to be really very musical, full, natural and enjoyable. Pure pleasure.
As a good Bass-Lover the position I like the most is 11, but I will also use the other positions to evaluate the technical characteristics of the Canon Pro.
Bass
As usual, the great danger of any DD+BA hybrid lies in the negative influence of the BA drivers' behaviour in the bass. For this it is essential to use good frequency crossover filters in order to avoid any anomalous undulations coming from the BA drivers. And this is established in the Canon Pro and demonstrated in the very low-frequency pure tone test. In this type of IEMS it becomes, almost, my first test for assessing bass quality. And starting with the 20Hz pure sine tone the Canon Pro's present a high physical component, with a sense of sensory power that is clearly perceived. On the audible side there is a slight, subtle undulating rumble, but nothing serious. As the frequencies rise, the purity of the sound increases and this vibrating rumble disappears. The bass colour is quite dark and loaded with a penetrating and powerful physical part. The tone at 30Hz is almost reference-like, quite pure, dark, energetic, deep and voluminous. The LFOs feel quite analogue, natural and realistic. Frequency filtering is very good and the BA's remain sonically disabled. The translation of this behaviour to real music is excellent. Bass is deep, dark, powerful, with very good punch and a very good physical component. The bass-midrange is limited and that means that the bass extension is not very high. The punch remains somewhat dry, in that dark state, while the more sonorous phase remains more clipped. Those looking for a bit more juice in the bass might find it a bit short, because the Canon Pro concentrates on the more physical, deeper and darker part, being somewhat contained in that extension. On the other hand, the perceived bass rumble is also very controlled. It is clear that there is elasticity in the bass and that is something that gives it a very striking realism and appeal. But that elasticity moves into the sub-bass, becoming a distinct and powerful physical component, making the bass deeper and darker, even offering a slightly inverted fading sensation: the bases, instead of becoming more audible, become darker, denser and more physical. The great advantage of this behaviour is its control and low bleed into the mids.
In the dirty, complex and unfiltered bass test the result is almost overwhelming. In those songs where the sub-bass component is high the level of energy it is able to generate is quite pronounced. However, the contrast with the vocals is so broad and differentiated that it is completely clear what level of control it possesses. The bass is perceived as coming from a very deep place, a chasm that emanates a physical power that is clearly distinguishable in a sensory way. The texture is very tangible, with a very fine roughness but one that manages to scrape the ear by its level of energy rather than its roughness. The sub-bass is slightly magmatic, dense, dark and offers an almost impenetrable sensation. However, it is very well controlled, as it is also very fast with that almost reverse fade, which allows it to draw the bass lines in a very precise and defined way. The bass and base lines are shown perfectly separated and despite the complexity and dirtiness of both, the Canon Pro manages to make them distinguishable without any problems. In this way, the generation of layers, the stratification of the bass lines and the bass drums are powerful, physical, yet resolute, fast, controlled, maintaining a high level of energy, body and volume that travels from the deepest part to, almost, the surface of the music. A real pleasure when good analogue sources are combined.
Mids
It's clear that the Canon Pro's have a rather obvious warm component, not bright IEMS or exalted upper mids. In this way the first half of the mids are better represented, achieving a physical, bodily component in male voices that I like. The lower voices also emerge from this depth, enjoying a broad, dense base, with a distinct textural feel that caresses my eardrums. There is obviously a lingering sense of a slightly more nuanced sound, an impression that can be minimised by turning the switches down from position 11 to 00, or staying in the middle ground. The instrumentation is dense, punchy, with a distinct analogue feel and a slightly muted, soft timbre. But that doesn't detract from the detail. This is where the true power of well-tuned BA drivers is demonstrated, working in favour of detail in warm tuning. Even at position 11 the Canon Pro's are able to show plenty of informative capability and micro detail. Positions 10/01 lower the density of the first half of the mids, but maintain the presence and proximity of this area to the listener. On the other hand, the 00 position does generate that feeling of lightness and hollowness that I tend to shy away from. And I also don't notice a greater presence in the micro detail of the midrange in that 00 position, apart from the obvious thinning of the mid-bass and a reduction in the feeling of warmth, base, depth and physical component of the sound. That's why my preferred positions are still 10, 01 and 11, with a preference for 11 to enjoy a very good bass. And it is with this last tuning that I get that mix of density, physicality, body, presence and homogeneity that I so much look for and appreciate.
The second half of the mids is still soft, with a very slight emphasis around 2.5kHz. This is certainly a very typical Yanyin tuning, very similar to what the Aladdin already had, but with an improvement both in the lows and in the expressiveness and balance of the mids and highs. In this way there is less imbalance between the male and female voices. And that makes it a very suitable model to enjoy all the voices, but also without losing sight of all the instrumentation. It gives the sensation that both the voices and the instruments are very choral, forming part of a presence that is not entirely close, but very lush, generating an impression of a luxuriant, dense and very nourished sound. All the information is represented in a very close, very rich way, with a very balanced treatment, but it is not continuous, but there is an excellent ability to separate and generate layers, which allows both macro and micro detail to breathe and be represented, although it is not an analytical profile by any means. Without a doubt, the Canon Pro is that kind of warm, very expressive, informative, rich, analogue, very pleasant and musical IEMS, where all the bands are very well represented and where the overall sound is the most important thing, so the centre range is paramount. And the Canon Pro's have achieved this.
Treble
The Canon Pro has this kind of treble in the service of the mids. It is a gently nuanced, diminishing pitch, which this time has no hollows and is extended until it reaches the edge of the air zone. It is at this point that it falls a little short, generating a somewhat drier, more analogue sound. The Canon Pro's are not tuned for brightness and the treble is never penetrating or energetic, but remains in that warm, silky, slightly more rounded phase, where the high notes never crackle, nor are they ever sharp. The treble timbre is on the natural side, nuanced, with a very restrained, pleasant sparkle, which never rips. Lovers of higher notes with more edge will be somewhat disappointed with the presentation of these IEMS. It will definitely not be their favourite set. However, the sharp detail is inescapably there, generated in a subtle, very fine and polished way. It is not obvious, but it is always present. And that's because the Canon Pro's are pretty good at resolution, even in this smooth, mellow high end.
Soundstage, Separation
The scene is depicted in a broad oval shape that clearly exceeds 180°, but without being completely surrounding. The volume is large, the musical impression generated seems to occupy a lot of space. There are no hollows and the stage seems full and complete, dense, but it does not appear impenetrable or too busy, but rather fluid and well-structured, with a good sense of air and transparency between the notes and the elements that make up the sound image. The sense of height is good, but there is no sense of a very high volatile or gaseous aspect. The sound feels slightly evocative, expansive, but maintains a certain attachment to the base. Details and small elements have a tendency to approach the listener in a gentle, never aggressive way, generating a pleasant sense of scene, which conjugates very well the near, middle and far planes without mixing them, but without a clear predominance of any one. The laterality is noticeable, as is the stereo feel, but the scene never comes across as very three-dimensional or holographic, but more realistic, with a good depth component and that special accent when it comes to recreating layers and texture.
The separation is very good, without being an analogue headphone, we can observe an analogue clarity, an organic transparency that allows us to make out a background with a very pleasant darkness and to enjoy that real silence when it exists, thanks to the very good feeling of dynamics and speed in the transients.
The image and the position of the elements is very evident, both in the horizontal position, as well as between channels and also between planes. In this sense, the elements are very well placed in space, generating a very well structured scene both in position and volume. This is where orchestral, symphonic compositions or the most holographic electronics feel truly reinforced, thanks to the volumetric and magmatic amplitude of the Canon Pro's stage.
Comparisons
LetShuoer Cadenza 4
I like to compare IEMS whose frequency response is very similar, even if the prices are not exactly the same. The LetShuoer Cadenza 4 is also a hybrid set with a dual chamber dynamic driver with 10mm beryllium coated diaphragm + 1 BA Sonion + 2 BA Knowles. That's four drivers in total versus the 7 drivers of the Canon Pro (1DD+3BA vs 1DD+6BA). Their starting price is 249$ and I can already say that they were one of the best IEMS in that price range last year. Maybe, comparing them with the Canon Pro, their 7 drivers and their $400 starting price is not the most appropriate. But it is clear that it can be useful to know where this new Yanyin model stands.
The Cadenza 4 has been created by Heygear Technology. They have an anodised aluminium outer panel, while the capsule has been 3D printed in resin. Their shape is very semi-custom, with protrusions on the rim, something that makes them fit better, but their comfort is a little more critical as the hours go by. The presentation of the Cadenza 4 is stellar, with the packaging combining several drawers. There's the classic round rubber case with an all-black screw cap, the modular cable with three terminations, a 392-strand high-purity silver-plated monocrystalline copper cable and two sets of three pairs of silicone tips. Yanyin, on the other hand, has been a little more restrained in its packaging, but also offers a larger round leather zippered case, a four-strand monocrystalline copper Type 4 cable, a single 22 AWG core with 140 strands, two sets of silicone tips, one of them with crystal silicone. I think LetShuoer's packaging is superior. But I think the accessories are a notch above Yanyin, better cable (although it doesn't have detachable pins), better case, even better tips. You also have to take into account the $150 price difference, so LetShuoer has done very well.
As I said, the Cadenza 4 capsules are very light and have a great fit, but the Canon Pro capsules are more comfortable. Also, I have always struggled to find the best tips to extract the best sound from the Cadenza 4's. However, with the Canon Pro's and their large crystal-like tips that I have filled with foam, they make an excellent combination.
The frequency responses of both IEMS (Canon pro in position 11) are very similar up to 2kHz, only after that the differences appear. The Cadenza 4s have a higher midrange and a treble with a couple of dB more energy. That makes them IEMS that have more sparkle and clarity, not as nuanced or warm as the Canon Pro. On the other hand, it's worth noting that the Canon Pro's have two switches that allow for 3 different tunings that change the amount of bass energy as well as impedance. From all this it is clear that the profile of both models is very similar, with that smooth, decreasing W-shape.
The Cadenza 4's are more difficult to move, while the Canon Pro's need a distinctly lower energy level.
Starting from the low end, the Canon Pro in its 11 position has a slightly higher energy level at the sub-bass end. There is a clear difference between the bass of the two IEMS. The bass in the Canon Pro is much darker and deeper than in the Cadenza 4. The sense of punch, darkness, texture, volume, body and physicality is superior in the Yanyin. It is also true that with the Canon Pro the fit with the tips is better and the bass perception is superior. But this does not minimize the fact that the Cadenza 4's bass has less energy, more colour, less natural, organic and realistic timbre than the Canon Pro. It's not that the Cadenza 4's bass is bad at all, but the Canon Pro's are clearly better. And that is something that is noticeable in the very low frequency pure tone tests. In the Cadenza 4s there is a low physical/sensory sensation and a coloured, sonorous, out-of-tune vibration prevails. Realism and naturalness appear from 40Hz onwards, but the colour still anticipates the energy level and a classic behaviour emitted by a simple dynamic driver. The behaviour of the LFOs in the Canon Pro is almost canonical, with excellent reproduction, combining physicality, darkness, naturalness, analogue feel, realism, volume, depth and the wave/vibration sensation is almost nil.
The toughest battle is in the mids. The Cadenza 4s are more explicit, with a punchier, brighter flavour. The Canon Pro remains more relaxed, warm and smooth, not showing a hint of harshness, something you find in the Cadenza 4. In the Canon Pro the male vocals are softer and not as predominant as in the Cadenza 4, where they are more obvious and excited. If you are looking for clarity, a sense of brightness and a closer, more dramatic, yet less refined positioning, the Cadenza 4 mids will be the ones to go for. I could define the sound of the Cadenza 4 mids as more naked, it is more transparent, less dense, less lush, less rich, but more obvious and projected. It is also more sibilant, less musical and a little more penetrating. But, for better or worse, it is somewhat more analytical, though also a little rougher and with a grittier definition. By contrast, the Canon Pro is very mellow, smooth and pleasant, also more nuanced, with more body, density and a sweeter timbre. The mids have more cohesion and musicality. You seem to feel the lower amount of drivers in the mids because the Canon Pro's generate a broader and denser musical feel, while the Cadenza 4's are somewhat more concrete, as if they simplify the music into a clearer form, but with less information.
The Cadenza 4's amount of brightness and sparkle in the treble brings a slightly more realistic timbre, with more penetrating notes and a little more life to the rest of the range. The Canon Pro feels more nuanced and with a more rounded, less natural treble timbre, as its tendency is more muted and softened. Both have a decreasing pitch in the treble, but that higher amount of energy in the Cadenza 4s makes the notes finer, more expressive, informative and appropriate than in the Canon Pro, where the softness and warm tuning is over-emphasised in the high end.
The feel of the scene is different on both IEMS. While on the Canon Pro the amount of music generated is very large, that is something that makes the scene appear very wide, larger than it may seem at first glance. The scene is bigger, fuller, fuller, has more volume on the Canon Pro than on the Cadenza 4. However, the LetShuoer gives the feeling of having a little more separation, generating as it does more space between notes, more projection and more expansive feel. There is a more piercing, sparkling and volatile character to the Cadenza 4s, more hollowness in their sound. But this also makes the micro detail a little more visible, a little more defined and naked, though perhaps not as refined. The Canon Pro's are more cohesive, with a more voluminous, full and magmatic soundstage. Micro detail is present, but it's a little more tied to the music, it doesn't have the more concrete feel of the Cadenza 4's. However, the level of refinement and resolution is higher on the Canon Pro.
It is clear that the differences in tuning from 2kHz upwards play to the advantage of the Cadenza 4s, which become more obvious and conspicuous, generating a number of strong points in their favour. But the Canon Pro's level of musicality, richness and lushness, as well as its bass quality and level of refinement/resolution puts it on that higher quality rung than the LetShuoer Cadenza 4, clearly justifying the price difference between the two. Then there is individual taste, especially in the high end tuning of the Canon Pro.
Conclusion
The Yanyin brand has always been, in my eyes and ears, one of my desired brands. Ever since I tried the Aladdin model, I have been eager to try some of their other models. Now, I have that pleasure again and no less than with the third model of the Canon series, the Yanyin Canon Pro, an IEMS with a 10mm 1DD with LCP + 6BA diaphragm. It has two microswitches to obtain up to 3 degrees of intensity in the bass, as well as to modify the impedance of the set. Its tuning is classic within the brand and is really very similar to that of the Aladdin model. The bass is powerful, deep, dense, very natural, dark, voluminous, very well articulated, defined and with enough power and ability to reproduce any genre without problems. I love that deep, dark power, as well as its almost canonical behaviour when I have subjected it to my most demanding battery of tests. As for the midrange, it feels very full, with a distinctly warm, full-bodied first half of the midrange, sufficient physicality, richness and informativeness. The midrange has no hollowness, nor does it feel thin. The second half of the midrange is gently emphasised to gain enough clarity, transparency and luminosity to prevent the whole from becoming dark, even at the 11 o'clock position (which I like best). The high end is clearly soft and nuanced, yet very well extended. Without a doubt, this is a very musical tuning, highly pleasant and enjoyable, totally geared to enjoy the bass and mids for hours on end. It is also true that the high end is very controlled in its energy level and this should be taken into account for those looking for a spicier, sharper, more explicit, analytical and cooler sound. Despite all this, the Canon Pro's are technical enough without spitting detail in your face. In addition, they have a wide, voluminous, broad and expansive soundstage, a very well-structured image, all with a very good level of textural texture and layering capability.
In terms of accessories, the cable is excellent, as is the large leather case with zip, as well as the detail of a second set of crystal silicone tips. Finally, it is worth mentioning its great comfort, although the size of the capsules is in that medium/large point, something to take into account. It is true that the price is almost $400 and you have to be very clear about the sound offered by this new model. But if you like the tuning, it will certainly not disappoint anyone.
Sources Used During the Analysis
Purchase Link
You can read the full review in Spanish here
Yanyin is one of those relatively obscure brands that have always caught my attention. Based in Fujian province and manufactured in Sichuan province, it distances itself from the rest of China's brands with a low profile and distance in its launches. But these are certainly products that stand out in their own right, without the need for any publicity, just on their own merits. The Yanyin Canon Pro are the second IEMS from this brand that I have had the pleasure of reviewing. The first ones were the Yanyin Aladdin and with them my attraction to the brand began. Yanyin is known for making hybrid IEMS with semi-custom resin capsules. The most common configuration is a dynamic driver plus several BA drivers. They also have several tribrids, like the HBB Mahina and the Moonlight (and its variations), composed of 2EST + 4BA + 1DD or a full BA with ten drivers like the Carmen. But the most evolved series started with the Canon model: a hybrid monitor with 1DD+4BA and three tuning switches. The success of this model was followed by the Canon II version, with the same number of drivers, but only two switches. In this review I will look at the latest version of this saga, the Yanyin Canon Pro, which has 1DD+6BA and two tuning switches. With the addition of these two BA drivers a wider frequency range, more clarity in sound layering and detail is achieved. The dynamic driver has an LCP dome diaphragm and is mounted on a liquid silicone ride edge. The two additional units take care of the high frequencies, while the rest take care of the rest, generating a dense sound, perfectly integrated with all three bands. And to make that happen, Yanyin has used four electronic frequency crossovers in addition to four physical drivers. As standard in the Canon series, two tuning switches have been retained to accommodate a variety of musical styles, giving you more flexibility in your listening experience. The switches are designed to control the bass. The frequency response of the headphones works like a seesaw: too much bass can mute the treble, while too little bass naturally brightens the treble. However, the adjustment switches are not equivalent to adjusting an equaliser; they employ an electronic crossover method that ensures no distortion occurs. Note that each setting offers a different impedance, with the treble mode having the highest impedance and the pop mode the lowest.
High-quality monocrystalline copper has been used for the cable, featuring a 22AWG single-core design with 140 strands precisely stranded in four groups, along with refined alloy hardware. The result is a lightweight, comfortable and durable cable that offers near-flagship sound clarity, delivering a pure and unadulterated audio experience.
Let's see what the latest model in this series has to offer in this review.
Specifications
- Driver Type: 1DD 10mm with LCP + 6BA diaphragm.
- Frequency Response: 20 Hz - 25 kHz.
- Internal technology: Combination of 1DD and 6BA drivers per side, 4 electronic crossovers and 4 physical drivers.
- Capsule Composition: 3D printed resin.
- Cable Composition: Type 4 monocrystalline copper, single core 22 AWG with 140 wires.
- Sensitivity: 104 dB.
- Impedance: 18Ω at 1 kHz.
- Passive noise reduction: 26 dB.
- Jack Connector: gold-plated with a choice of BAL 2.5mm, SE 3.5mm and BAL 4.4mm.
- Capsule Connection Type: 2Pin 0.78mm
- Starting Price: $399.99.
Packaging
The Yanyin Canon Pro comes in a medium-sized box with dimensions 193x132x62mm. The colour of the case is mainly white, while the main face is made up of lines that form triangles, some of which are coloured blue, yellow or light red. The model name is in the centre of the box in holographic ink. There is a small description in Chinese at the bottom of the box, while the brand logo is in the top right corner. On one side are the brand's calligraphy. On the back are the product specifications, a QR with a link that goes nowhere, the logos of the certifications it holds and a label indicating the 4.4mm cable model. There are also a couple of linear codes, one of which is the serial number. Note that all the text is in Chinese. After removing the outer cardboard you can see a completely black cardboard box. After opening it you can see a round blue case on the left and the IEMS on the right. All this inside a black foam mould to protect the elements. Underneath the capsules is a black cardboard envelope with the brand logo and underneath are the silicone tips. With the help of a black fabric loop you can access the bottom layer of the packet to see the rest of the contents. The complete contents are as follows:
- The two Yanyin Canon Pro capsules.
- One round blue leather case.
- Three pairs of black silicone tips, sizes SxMxL.
- Three pairs of crystal clear silicone tips, sizes SxMxL.
- One four-strand cable with 4.4mm plug.
- One warranty card with product serial number.
- One instruction manual.
- A VIP card.
- A small quality control card.
- A pin to move the mini switches.
The zipped case is a very good size, made of very good quality blue leather. It has the logo inscribed on the top. The zip is gold-plated and the inside is padded and lined with blue velvety fabric. The cable is excellent, with four thick strands of very shiny copper. There are two sets of silicone tips, one of which is a crystal clear type for better sealing. There are no foam tips, but it is clear that this type of tip is falling into disuse, in favour of newer silicone tips such as crystal tips. Overall I don't miss anything for the price. It's a sober presentation but with high quality accessories, totally worth the price.
Construction and Design
The capsules are made of resin and 3D printed. Their shape is semi-custom. The shape of the outer face is reminiscent of the African continent. Under the crystallised face there is glitter of different colours: starting from the top there is a red-magenta mixture, the second part is orange-coppery, followed by a sky-blue part, while the apex is whitish as if formed by salt crystals. There is another series of bluish or greenish crystals scattered along the edges of this face. In the centre of the right capsule is the brand logo in metallic colour, while the left one reads Canon. The capsules are thick and on the edge are the two switches. Above it is a relatively large hole covered with a metal grille. This edge is slightly translucent and you can see the BA drivers inside. The 2-pin 0.78mm connection interface is fully integrated into the capsule. It is a rectangular, transparent plastic pickup with gold-plated connectors. The inner side is rounded, but has no protrusions on its edge. In the centre you can read the model name and the number 250090 written in gold ink. The mouthpieces are made of metal and have three diameters. In the middle there is an arrow-shaped crown to facilitate the anchoring of the silicone tips. Their diameters are 5.7mm and 6.5mm and their length is approximately 4.3mm. The orifice of the nozzle is covered with a dense metal grid.
The cable consists of four strands intertwined with each other. The conductor is made of very shiny copper and the sheath is made of very transparent PVC which reveals the beauty of the conductor. The plug is gold-plated, while the sleeve is a light-coloured brushed metal cylinder. On one side it has the brand logo in white ink, while on the other side there is a pair of sinuous longitudinal lines. The cable outlet is protected by a small transparent silicone cylinder. The splitter piece is another very similar but smaller cylinder, but with two slanted rings around it. The pin is a ring of the same colour and material, whose hole fits the two strands quite well, although the grip is a little loose. The sleeve of the 2Pin 0.78mm gold-plated connectors are two smooth cylinders just like the other parts of the cable. The cable has transparent guides to provide the over-ear shape.
The capsules are in the style we are used to from Yanyin, made of dark-coloured resin, with flowing or glitter patterned outer faces. In this case, the cable seems to have received an upgrade over the previous models in the series, it seems slightly thicker and is made of copper, while the previous ones were silver plated. There is no doubt that the result and the combination of all the elements offers an outstanding package at the price point.
Adjustment and Ergonomics
All the Yanyin models I know of seem to be made of medical grade resin and have a semi-custom shape. The Canon Pro's are a little thicker and the capsules are relatively generous in size (attention to those with small ear pinnae). In my case the size is just right. The shape fits very well into my pinna, taking up the entire size of my ears. And thanks to the crystal silicone tips the final fit is very occlusive, as well as achieving a superior level of adhesion thanks to this material. The fit is very high and the feeling of isolation is also very good. The insertion can vary from shallow to medium, depending on the individual canal, but the not too long length can limit the degree of insertion. In my case the fit is shallow and I can't go any further, because I use the crystal silicone tips which I have filled with foam and also because the inner side of the capsule is already blocked by my pinna. Be that as it may, the result is quite good, there are no protrusions that bother or touch the external parts of the ear, although I must repeat that the size of the capsules is relatively large and thick.
I have worn the Canon Pro for several hours at a time, with and without music, to see if there is any adjustment fatigue or discomfort from prolonged use. I must say that they are quite comfortable, but I must also point out two points: the size of the capsule takes up the entire pinna and if you force it, it can become uncomfortable after a few hours. The second point is that the weight of the cable can also make the over-ear guides uncomfortable.
Sound
Profile
The profile of the Yanyin Canon Pro is balanced with a slight sub-bass boost, which can be controlled by the tuning switches. The tuning switches seem to only affect the bass, while changes in the treble are almost imperceptible. They also alter the impedance, which can change the impression of the sound and the sense of loudness of the sound due to changes in volume and current demand. At switch position 00 the amount of bass is light, it becomes a neutral tuning with a somewhat lean first half of the mids. Positions 01 and 10 are about the same and both add quite a bit of punch to the bass and fill out the first half of the mids. Position 11 adds that extra punch in the low end for those who, like me, are always looking for that extra punch in the low end. It is clear that, as the manufacturer itself says, lowering the bass increases the sense of brightness and detail, but raising the bass also adds volume and depth. So the three bass levels are very welcome indeed.
As a very balanced and homogeneous IEMS the frequency range from 20Hz to 12kHz moves in less than 10dB. The pinna gain is very controlled and in the positions with some switches activated there is hardly a difference of 6/7 dB between the lowest part of the mids and the highest part of the highs. On the other hand, the treble is in slight roll off but remains very well extended without hardly showing any obvious drop. The sound is quite full in the bass, with a wide, juicy and balanced midrange and extended, controlled treble with a very musical touch of smoothness. It is clear that the Canon Pro's are tuned to be really very musical, full, natural and enjoyable. Pure pleasure.
As a good Bass-Lover the position I like the most is 11, but I will also use the other positions to evaluate the technical characteristics of the Canon Pro.
Bass
As usual, the great danger of any DD+BA hybrid lies in the negative influence of the BA drivers' behaviour in the bass. For this it is essential to use good frequency crossover filters in order to avoid any anomalous undulations coming from the BA drivers. And this is established in the Canon Pro and demonstrated in the very low-frequency pure tone test. In this type of IEMS it becomes, almost, my first test for assessing bass quality. And starting with the 20Hz pure sine tone the Canon Pro's present a high physical component, with a sense of sensory power that is clearly perceived. On the audible side there is a slight, subtle undulating rumble, but nothing serious. As the frequencies rise, the purity of the sound increases and this vibrating rumble disappears. The bass colour is quite dark and loaded with a penetrating and powerful physical part. The tone at 30Hz is almost reference-like, quite pure, dark, energetic, deep and voluminous. The LFOs feel quite analogue, natural and realistic. Frequency filtering is very good and the BA's remain sonically disabled. The translation of this behaviour to real music is excellent. Bass is deep, dark, powerful, with very good punch and a very good physical component. The bass-midrange is limited and that means that the bass extension is not very high. The punch remains somewhat dry, in that dark state, while the more sonorous phase remains more clipped. Those looking for a bit more juice in the bass might find it a bit short, because the Canon Pro concentrates on the more physical, deeper and darker part, being somewhat contained in that extension. On the other hand, the perceived bass rumble is also very controlled. It is clear that there is elasticity in the bass and that is something that gives it a very striking realism and appeal. But that elasticity moves into the sub-bass, becoming a distinct and powerful physical component, making the bass deeper and darker, even offering a slightly inverted fading sensation: the bases, instead of becoming more audible, become darker, denser and more physical. The great advantage of this behaviour is its control and low bleed into the mids.
In the dirty, complex and unfiltered bass test the result is almost overwhelming. In those songs where the sub-bass component is high the level of energy it is able to generate is quite pronounced. However, the contrast with the vocals is so broad and differentiated that it is completely clear what level of control it possesses. The bass is perceived as coming from a very deep place, a chasm that emanates a physical power that is clearly distinguishable in a sensory way. The texture is very tangible, with a very fine roughness but one that manages to scrape the ear by its level of energy rather than its roughness. The sub-bass is slightly magmatic, dense, dark and offers an almost impenetrable sensation. However, it is very well controlled, as it is also very fast with that almost reverse fade, which allows it to draw the bass lines in a very precise and defined way. The bass and base lines are shown perfectly separated and despite the complexity and dirtiness of both, the Canon Pro manages to make them distinguishable without any problems. In this way, the generation of layers, the stratification of the bass lines and the bass drums are powerful, physical, yet resolute, fast, controlled, maintaining a high level of energy, body and volume that travels from the deepest part to, almost, the surface of the music. A real pleasure when good analogue sources are combined.
Mids
It's clear that the Canon Pro's have a rather obvious warm component, not bright IEMS or exalted upper mids. In this way the first half of the mids are better represented, achieving a physical, bodily component in male voices that I like. The lower voices also emerge from this depth, enjoying a broad, dense base, with a distinct textural feel that caresses my eardrums. There is obviously a lingering sense of a slightly more nuanced sound, an impression that can be minimised by turning the switches down from position 11 to 00, or staying in the middle ground. The instrumentation is dense, punchy, with a distinct analogue feel and a slightly muted, soft timbre. But that doesn't detract from the detail. This is where the true power of well-tuned BA drivers is demonstrated, working in favour of detail in warm tuning. Even at position 11 the Canon Pro's are able to show plenty of informative capability and micro detail. Positions 10/01 lower the density of the first half of the mids, but maintain the presence and proximity of this area to the listener. On the other hand, the 00 position does generate that feeling of lightness and hollowness that I tend to shy away from. And I also don't notice a greater presence in the micro detail of the midrange in that 00 position, apart from the obvious thinning of the mid-bass and a reduction in the feeling of warmth, base, depth and physical component of the sound. That's why my preferred positions are still 10, 01 and 11, with a preference for 11 to enjoy a very good bass. And it is with this last tuning that I get that mix of density, physicality, body, presence and homogeneity that I so much look for and appreciate.
The second half of the mids is still soft, with a very slight emphasis around 2.5kHz. This is certainly a very typical Yanyin tuning, very similar to what the Aladdin already had, but with an improvement both in the lows and in the expressiveness and balance of the mids and highs. In this way there is less imbalance between the male and female voices. And that makes it a very suitable model to enjoy all the voices, but also without losing sight of all the instrumentation. It gives the sensation that both the voices and the instruments are very choral, forming part of a presence that is not entirely close, but very lush, generating an impression of a luxuriant, dense and very nourished sound. All the information is represented in a very close, very rich way, with a very balanced treatment, but it is not continuous, but there is an excellent ability to separate and generate layers, which allows both macro and micro detail to breathe and be represented, although it is not an analytical profile by any means. Without a doubt, the Canon Pro is that kind of warm, very expressive, informative, rich, analogue, very pleasant and musical IEMS, where all the bands are very well represented and where the overall sound is the most important thing, so the centre range is paramount. And the Canon Pro's have achieved this.
Treble
The Canon Pro has this kind of treble in the service of the mids. It is a gently nuanced, diminishing pitch, which this time has no hollows and is extended until it reaches the edge of the air zone. It is at this point that it falls a little short, generating a somewhat drier, more analogue sound. The Canon Pro's are not tuned for brightness and the treble is never penetrating or energetic, but remains in that warm, silky, slightly more rounded phase, where the high notes never crackle, nor are they ever sharp. The treble timbre is on the natural side, nuanced, with a very restrained, pleasant sparkle, which never rips. Lovers of higher notes with more edge will be somewhat disappointed with the presentation of these IEMS. It will definitely not be their favourite set. However, the sharp detail is inescapably there, generated in a subtle, very fine and polished way. It is not obvious, but it is always present. And that's because the Canon Pro's are pretty good at resolution, even in this smooth, mellow high end.
Soundstage, Separation
The scene is depicted in a broad oval shape that clearly exceeds 180°, but without being completely surrounding. The volume is large, the musical impression generated seems to occupy a lot of space. There are no hollows and the stage seems full and complete, dense, but it does not appear impenetrable or too busy, but rather fluid and well-structured, with a good sense of air and transparency between the notes and the elements that make up the sound image. The sense of height is good, but there is no sense of a very high volatile or gaseous aspect. The sound feels slightly evocative, expansive, but maintains a certain attachment to the base. Details and small elements have a tendency to approach the listener in a gentle, never aggressive way, generating a pleasant sense of scene, which conjugates very well the near, middle and far planes without mixing them, but without a clear predominance of any one. The laterality is noticeable, as is the stereo feel, but the scene never comes across as very three-dimensional or holographic, but more realistic, with a good depth component and that special accent when it comes to recreating layers and texture.
The separation is very good, without being an analogue headphone, we can observe an analogue clarity, an organic transparency that allows us to make out a background with a very pleasant darkness and to enjoy that real silence when it exists, thanks to the very good feeling of dynamics and speed in the transients.
The image and the position of the elements is very evident, both in the horizontal position, as well as between channels and also between planes. In this sense, the elements are very well placed in space, generating a very well structured scene both in position and volume. This is where orchestral, symphonic compositions or the most holographic electronics feel truly reinforced, thanks to the volumetric and magmatic amplitude of the Canon Pro's stage.
Comparisons
LetShuoer Cadenza 4
I like to compare IEMS whose frequency response is very similar, even if the prices are not exactly the same. The LetShuoer Cadenza 4 is also a hybrid set with a dual chamber dynamic driver with 10mm beryllium coated diaphragm + 1 BA Sonion + 2 BA Knowles. That's four drivers in total versus the 7 drivers of the Canon Pro (1DD+3BA vs 1DD+6BA). Their starting price is 249$ and I can already say that they were one of the best IEMS in that price range last year. Maybe, comparing them with the Canon Pro, their 7 drivers and their $400 starting price is not the most appropriate. But it is clear that it can be useful to know where this new Yanyin model stands.
The Cadenza 4 has been created by Heygear Technology. They have an anodised aluminium outer panel, while the capsule has been 3D printed in resin. Their shape is very semi-custom, with protrusions on the rim, something that makes them fit better, but their comfort is a little more critical as the hours go by. The presentation of the Cadenza 4 is stellar, with the packaging combining several drawers. There's the classic round rubber case with an all-black screw cap, the modular cable with three terminations, a 392-strand high-purity silver-plated monocrystalline copper cable and two sets of three pairs of silicone tips. Yanyin, on the other hand, has been a little more restrained in its packaging, but also offers a larger round leather zippered case, a four-strand monocrystalline copper Type 4 cable, a single 22 AWG core with 140 strands, two sets of silicone tips, one of them with crystal silicone. I think LetShuoer's packaging is superior. But I think the accessories are a notch above Yanyin, better cable (although it doesn't have detachable pins), better case, even better tips. You also have to take into account the $150 price difference, so LetShuoer has done very well.
As I said, the Cadenza 4 capsules are very light and have a great fit, but the Canon Pro capsules are more comfortable. Also, I have always struggled to find the best tips to extract the best sound from the Cadenza 4's. However, with the Canon Pro's and their large crystal-like tips that I have filled with foam, they make an excellent combination.
The frequency responses of both IEMS (Canon pro in position 11) are very similar up to 2kHz, only after that the differences appear. The Cadenza 4s have a higher midrange and a treble with a couple of dB more energy. That makes them IEMS that have more sparkle and clarity, not as nuanced or warm as the Canon Pro. On the other hand, it's worth noting that the Canon Pro's have two switches that allow for 3 different tunings that change the amount of bass energy as well as impedance. From all this it is clear that the profile of both models is very similar, with that smooth, decreasing W-shape.
The Cadenza 4's are more difficult to move, while the Canon Pro's need a distinctly lower energy level.
Starting from the low end, the Canon Pro in its 11 position has a slightly higher energy level at the sub-bass end. There is a clear difference between the bass of the two IEMS. The bass in the Canon Pro is much darker and deeper than in the Cadenza 4. The sense of punch, darkness, texture, volume, body and physicality is superior in the Yanyin. It is also true that with the Canon Pro the fit with the tips is better and the bass perception is superior. But this does not minimize the fact that the Cadenza 4's bass has less energy, more colour, less natural, organic and realistic timbre than the Canon Pro. It's not that the Cadenza 4's bass is bad at all, but the Canon Pro's are clearly better. And that is something that is noticeable in the very low frequency pure tone tests. In the Cadenza 4s there is a low physical/sensory sensation and a coloured, sonorous, out-of-tune vibration prevails. Realism and naturalness appear from 40Hz onwards, but the colour still anticipates the energy level and a classic behaviour emitted by a simple dynamic driver. The behaviour of the LFOs in the Canon Pro is almost canonical, with excellent reproduction, combining physicality, darkness, naturalness, analogue feel, realism, volume, depth and the wave/vibration sensation is almost nil.
The toughest battle is in the mids. The Cadenza 4s are more explicit, with a punchier, brighter flavour. The Canon Pro remains more relaxed, warm and smooth, not showing a hint of harshness, something you find in the Cadenza 4. In the Canon Pro the male vocals are softer and not as predominant as in the Cadenza 4, where they are more obvious and excited. If you are looking for clarity, a sense of brightness and a closer, more dramatic, yet less refined positioning, the Cadenza 4 mids will be the ones to go for. I could define the sound of the Cadenza 4 mids as more naked, it is more transparent, less dense, less lush, less rich, but more obvious and projected. It is also more sibilant, less musical and a little more penetrating. But, for better or worse, it is somewhat more analytical, though also a little rougher and with a grittier definition. By contrast, the Canon Pro is very mellow, smooth and pleasant, also more nuanced, with more body, density and a sweeter timbre. The mids have more cohesion and musicality. You seem to feel the lower amount of drivers in the mids because the Canon Pro's generate a broader and denser musical feel, while the Cadenza 4's are somewhat more concrete, as if they simplify the music into a clearer form, but with less information.
The Cadenza 4's amount of brightness and sparkle in the treble brings a slightly more realistic timbre, with more penetrating notes and a little more life to the rest of the range. The Canon Pro feels more nuanced and with a more rounded, less natural treble timbre, as its tendency is more muted and softened. Both have a decreasing pitch in the treble, but that higher amount of energy in the Cadenza 4s makes the notes finer, more expressive, informative and appropriate than in the Canon Pro, where the softness and warm tuning is over-emphasised in the high end.
The feel of the scene is different on both IEMS. While on the Canon Pro the amount of music generated is very large, that is something that makes the scene appear very wide, larger than it may seem at first glance. The scene is bigger, fuller, fuller, has more volume on the Canon Pro than on the Cadenza 4. However, the LetShuoer gives the feeling of having a little more separation, generating as it does more space between notes, more projection and more expansive feel. There is a more piercing, sparkling and volatile character to the Cadenza 4s, more hollowness in their sound. But this also makes the micro detail a little more visible, a little more defined and naked, though perhaps not as refined. The Canon Pro's are more cohesive, with a more voluminous, full and magmatic soundstage. Micro detail is present, but it's a little more tied to the music, it doesn't have the more concrete feel of the Cadenza 4's. However, the level of refinement and resolution is higher on the Canon Pro.
It is clear that the differences in tuning from 2kHz upwards play to the advantage of the Cadenza 4s, which become more obvious and conspicuous, generating a number of strong points in their favour. But the Canon Pro's level of musicality, richness and lushness, as well as its bass quality and level of refinement/resolution puts it on that higher quality rung than the LetShuoer Cadenza 4, clearly justifying the price difference between the two. Then there is individual taste, especially in the high end tuning of the Canon Pro.
Conclusion
The Yanyin brand has always been, in my eyes and ears, one of my desired brands. Ever since I tried the Aladdin model, I have been eager to try some of their other models. Now, I have that pleasure again and no less than with the third model of the Canon series, the Yanyin Canon Pro, an IEMS with a 10mm 1DD with LCP + 6BA diaphragm. It has two microswitches to obtain up to 3 degrees of intensity in the bass, as well as to modify the impedance of the set. Its tuning is classic within the brand and is really very similar to that of the Aladdin model. The bass is powerful, deep, dense, very natural, dark, voluminous, very well articulated, defined and with enough power and ability to reproduce any genre without problems. I love that deep, dark power, as well as its almost canonical behaviour when I have subjected it to my most demanding battery of tests. As for the midrange, it feels very full, with a distinctly warm, full-bodied first half of the midrange, sufficient physicality, richness and informativeness. The midrange has no hollowness, nor does it feel thin. The second half of the midrange is gently emphasised to gain enough clarity, transparency and luminosity to prevent the whole from becoming dark, even at the 11 o'clock position (which I like best). The high end is clearly soft and nuanced, yet very well extended. Without a doubt, this is a very musical tuning, highly pleasant and enjoyable, totally geared to enjoy the bass and mids for hours on end. It is also true that the high end is very controlled in its energy level and this should be taken into account for those looking for a spicier, sharper, more explicit, analytical and cooler sound. Despite all this, the Canon Pro's are technical enough without spitting detail in your face. In addition, they have a wide, voluminous, broad and expansive soundstage, a very well-structured image, all with a very good level of textural texture and layering capability.
In terms of accessories, the cable is excellent, as is the large leather case with zip, as well as the detail of a second set of crystal silicone tips. Finally, it is worth mentioning its great comfort, although the size of the capsules is in that medium/large point, something to take into account. It is true that the price is almost $400 and you have to be very clear about the sound offered by this new model. But if you like the tuning, it will certainly not disappoint anyone.
Sources Used During the Analysis
- iFi GO bar Kensei.
- EPZ TP50.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602 + ifi ZEN CAN 3.
- Tempotec MARCH V.
- Tempotec V3 Blaze.
Linsoul Audio Store, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.
Purchase Link
You can read the full review in Spanish here
alexandros a
congrats !!!! superb take on this gem !!!
cqtek
Thank you!
I look forward to your review as well.
I look forward to your review as well.
alexandros a
@cqtek aladdin was too special for me as well to pass away from this one....it should be a real treat based on your view (mine still in the owen...)
