YANYIN CANON II: Excellently Balanced

Canon has many definitions, it coul mean the authentic work of a writer, a body of standards and principles or in fanfiction, a set of events that are accepted by a fan based and/or from the official author to have actually occured on the narrative of the story, In this sense, the name of the earphones suggest a sense of authenticity in the sound it produces.

But the actual inspiration of the naming scheme, according to YANYIN, was the particular term in music theory that for a piece of a musical composition relying on counterpart techniques where a melody was followed by a series of mirror notes of the exact melody played after specific time intervals. Classical composers like Franz Hayden, Ludwig Van Beethoven, Johann Pachelbel and Johann Sebastian Bach, all had their own styles of canon composition that really defines the musical structure up to this day.

YANYIN TECHNOLOGY CO. LTD is one of the newcomer audio companies that really took a storm in the portable audio scene last year with their offerings like the Aladdin, the Canon (Gen 1), the Mahina (which was a collaboration with HBB) and the Moonlight. It is said the company was founded by a group of audiophiles who want to provide the best possible audio product that fellow audio enthusiasts and professionals for a reasonable price. When I saw some of their first impressions and reviews in some reputable audio enthusiasts sites. I really yearned to be able to test one of their products someday.

Fast forward and after over a year, I finally have it as YANYIN offer me a chance to do a review of their latest product, The YANYIN Canon II. The Canon II is the continuation and improvement of the previous Canon. Like its predecessor, it has dynamic driver + balanced armature hybrid driver configuration but YANYIN claims that its internal parts like electronics and passive crossovers have been slightly improved like better transient attack and decay, better bandwidth performance and a refinement of separation and layering capabilities. It is also said that the further development and refinement of its crossovers also improves the bass response, gives cleaner and clearer midrange and smoother yet detailed treble quality.

As given by the new official representative, Mr. Joseph Yeung in addition to the additional info available on on the LINSOUL page, The Canon II drivers consist of a single 10mm dual chambered dynamic with bio-cellulose a.k.a. paper-cone diaphragm along with its supporting 4 custom balanced armature drivers. The dynamic driver will simply handle the low frequencies for better depth and more lively presence. The balanced armature drivers handle the rest of the frequency range regions for harmonious and cohesive sonic performance. These drivers were connected in a 3-way configuration on an electronic crossover along with specific acoustic tubes for each frequency range.

These drivers are encapsulated in high quality medical-grade resin shell that was moulded through a handcrafted process to ensure a well-done craftsmanship. It takes a UIEM-style contours as its form factor which is already a proven design for fitting versatility to all ear sizes. The said shell chassis of the Canon II is an overall improvement over its preceding model as it was slightly redesigned to mitigate some previous feedbacks like some instances of driver flex. Its faceplate was beautifully designed as it reminds me of the planet Uranus or the galaxy itself. It is also noted that this set has two toggle switches at the top part of the shell for handling the low frequencies to give some tuning variables to choose depending on our preferences. Canon II uses a proven 0.78mm 2-pin connector as its detachable mechanism.

YANYIN Canon II has a premium-grade cable as its stock part which is very supple, smooth and flexible so that it offers some resistance from entanglement. The cable employs four cores of graphene mono crystal silver plated copper wiring for better sonic performance and low chances of having a microphonic effect. You can choose a type of termination plug upon ordering it as it offers 3.5mm SE, 2.5mm balanced or 4.4mm balanced.

Regarding its product packaging, YANYIN Canon II indeed has typical midranger product packaging with a decent amount of inclusions. It has black-coloured rectangular box with a well-organised placement of accessories inside of it.

Here are the following contents inside:

■ the pair of YANYIN Canon 2 IEMs.

■ Stock cable (2.5mm, 3.5mm or 4.4mm plug according to your choice at the time of purchase)

■ Faux-leather IEM storage case.

■ Four(4) balanced bore ear tips in different standard sizes.

■ paperwork like instruction manual, tuning guides and warranty card.

As for amplification requirement, despite having multiple types of drivers on its transducers, YANYIN Canon II is an easy to drive that a more common portable multimedia device like smartphones, tablets and DAPs will be able to deliver a decent power output for optimum performance. A sufficient amount of power will give a full range and dynamic sound quality.

When it comes to tonal aspect, YANYIN Canon II offers a variation of U-shaped sound signatures.

Legend (■ = up, □ =down)

■■ - It has the most prominent bass boost among its tuning setting modes.

□□ - Sub-bass is somewhat the focal point of its tuning while attenuates the mid bass texture. Some might even perceive it as "warmish-neutral".

■□ & ■□ - The most "balanced" sounding among its tuning setting modes, it has marginal emphasis in the bass to midbass over the □□ tuning mode.

(Graph was provided by baskingshark, credits to him)

LOWS/BASS:

My initial impression of its bass characteristic is that it is quite punchy, precise and well-articulated bass response and that it is well-separated and very clean sounding for a midrange hybrid driver set-up.

I can ascertain its good quality sub-bass depth as it has discernable rumble and reverberations coming from subbass-focused instruments like low toned bass guitars, octabasses, synthesisers and drum machines. On the mid-bass part it was quite textured even on the □□ setting mode. The ■□ and □■ will give a substantial and sustaining note weight for some instruments while ■■ will give a fuller and darker timbre on bass-baritone vocals. I'll break down the several sound characteristics of each instrument and vocal type in different settings.

Bass guitars

□□ - Quite a clear-cut one as I was able to hear clearly those fretting, slapping and tapping plucking techniques as they have a more sustaining and rasping sound.

■□, ■□ - it sounds more resonant and has a broader sound to give a decent growl on it.

■■ - it has a more weighty and sombre tone that definitely roars on more domineering bass lines from Patricia Morrison on Lucretia My Reflection, Lemmy Kilmister on Ace of Spades and Cliff Burton on Motorhead.

Bass kick drum

□□ - Perceptibly, it has a rumbling and sustaining sound as I was able to feel its speed and precision.

■□, □■ - Apparently, it has a thudding and sonorous sound from this tuning setting.

■■ - Gives more authority and slam as it has a thunderous and full sound.

Bass-Baritone vocals

□□ - Just have enough weight on it. It appears to have a dark tone on them.

□■, □■ - Has a tad more substantial weight compare to □□ setting as it added volume and darker tone. Andrew Eldritch and Peter Steele have an espresso-like texture sound with a gravelly and resonant voice quality from them.

■■ - This setting makes the voice become a more dense and wool-like sound that gives a deeper, rumbling and darker tone. Both Louis Armstrong's and Barry White's vocals are almost accurately depicted here in my opinion as a I clearly hear their tonal colour.

MIDRANGE:

Even though it has a noticeable tad of recessed presentation of its midrange in ■■, ■□ and ■□ modes. It has a well-texture, clean, expansive and expressive sound that vocals, either male or female and instruments, all sound very natural, with good note weight and almost sounds accurate enough that I was able to enjoy them for a long listening session.

As a listener who is quite fond of midcentric tuning, I enjoy listening and determining the capability of an IEM based on rendering and projecting vocal quality. The CANON II definitely passed my test with flying colours as I feel the naturalness of its timbre. Again here are some of my observations on vocal quality based on its tuning setting modes.

□□ - It has an ample note weight on baritones, tenors, contraltos to sound natural while giving more sense of spaciousness and a tad energetic sound on mezzo-sopranos and sopranos vocals. Mezzo-sopranos like Andrea Corr, Stevie Nicks (in her old Fleetwood Mac days), Sinead O'Connor, Cecilia Bartoli and Sharon Den Adel have their fiery, smooth and tender vocals. Soprano vocals have silvery, sweet and silky tone that makes it an almost accurate and articulate sounding on singers like Mariah Carey, Susanna Hoffs of the Bangles, Alison Krauss and Olivia Newton-John in dramatic to soubrette genres. Coloratura sopranos particularly like Diana Damrau and Olga Pereyatko sounds quite decent but a light, agile and energetic vocal have some slight limitations on the Canon II on hitting high upper extension.

Instruments of any type sound very organic and almost realistic such that I was able to be captivate and have a pleasant euphonic sound to my lugholes. But I'll be more focus on strings, woodwinds and some percussive on this one. On strings, guitars both acoustic or electric have a very balanced to good overtone sound and violins have a lively and vibrant sound. And then on woodwinds; flutes have an ethereal and rich sound, piccolos have a graceful, agile and light sound from it, and both clarinets and saxophones have mild, melancholic and sonorous sound that complements well on some orchestral tracks. Pianos have rather warmish-balanced tone for a very even and well-balanced sound.

■□, □■ - This is where most baritones, contraltos, countertenors and even some mezzo-sopranos excels. Baritones have that smooth and lush sound as one would enjoy, as heard from e.g. Eric Woolfson of The Alan Parsons Project, Scott Weidland, Eddie Vedder, Jimi Hendrix and Billy Idol. Tenors have warmer, spicy and ringing tones as heard from modern contemporaries like Robert Plant, Freddie Mercury, Klaus Meine and Prince. Operatic ones especially lyric sopranoists like Placido Domingo have a graceful and dazzling sound while a heavier spinto such as Luciano Pavarotti has a darker and brassy tone. Countertenors like Andreas Scholl, King Diamond and Geddy Lee have these agile, warm and musky sound characteristics while hitting on their respective high chesty and falsetto range. Contraltos have a natural vocal weight projection on this setting as I listen to Annie Lennox, Toni Braxton and Tracy Chapman with their rich, smokey and well-rounded sound well represented by the Canon II.

On instruments, percussions like snares have a clear and precise sound, tom drums have a resonant and sustaining sound, field drums have retain their hard and venerable sound sig, and kettledrums have a deep and resonant sound. For brasses like trumpets and trombones, the former have a more brilliant and full sound while trombones have that "heroic" and penetrating sound. Strings like violins have the sensuous and sweeter sound while violas have that lively and introspective sound.

■■ - the warmest of all tuning settings. Baritone vocals particular on Kavalierbariton and Verdi have those steely, rich and fuller sound just as heard from Dmitri Hvorostovsky and Robert Merrill. As for instruments, brasses like trumpets have substantial sound, horns have a sonorous and resounding sound and tubas have robust and hearty sound. Field drums seem to sound more sombre to boomy while kettledrums a rounded and thunderous sound.

HIGHS/TREBLE:

The treble response of the Canon II appears to have a well-balanced, practically smooth character with just the sufficient amount of shimmer and crispness. It is probably one of the most refined and well-calibrated smooth treble responses that I have encountered in my years in audio enthusiasm as it has some similarities with Sennheiser HD600's treble quality which I really adored. The refinement on tuning of its treble frequencies will forestall the possible instances of sibilance and harshness while retaining a natural vocal presentation and well-rendered attack from both percussive and rhythmic instruments as I perceive those gradual slopes on upper midrange up to the brilliance part of the treble region.

Cymbals have a rather lustrous and undulating sound with decent sizzle from each strike. Hi-hats sounds are depicted accurately with their distinctive chick sound as it has a shortened buzzing tone while glockenspiels have their silvery and bell-like sound. As for quantity of air and harmonics, it has a rather modest airy extension and fair amount of sparkle.

SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

It has a rather moderately spacious head room as it has an above-average to wide lateral range on its sound/speaker stage with excellent height ceiling and good depth on distance between front and back to have that sense of immersion within its spatial cues.

On imaging, it projects an atmospheric presentation on its sound field and I was able to pinpoint the placements of vocals and instruments in a precise and accurate manner. It has excellent and well-defined separation of instruments and vocals, then well-placed and articulate layers of tones and frequency of each instrument that give a good depth and note texture such that playing complex tracks will be an easy-peasy for the Canon II as it can handle them effortlessly.

It has an excellent cohesive performance on its hybrid driver configuration as the dynamic driver performs a fast transient speed while balanced armatures were able to showcase their competent sound isolation.

The resolution capabilities of this set is remarkable in both macro-dynamics and micro-dynamics. It has well-rendered notation attacks, a strong rendition of reverb and ambience on its note dynamics and a reasonably sharp micro-detail definition as it extract a good amount of details and nuances.

PEER COMPARISONS:

HIDIZS MS5

● Both IEMs are of similar price range, MS5 possesses more inclusion like a variety of ear tips to choose from. Unlike Canon II, its shell is made of composite materials made of acrylic resin for its faceplate and a solid aluminium alloy on its nozzle and cavity base. Instead of opting for tuning switches, MS5 has its own tuning filter system which offers 3 different types of sonic profiles.

● As for tonality, since it has 3 sonic filters, I will compare them on a case to case basis. The bass response MS5 is more impacting and authoritative on red tuning filter but it is less clean sounding, Midrange presentation is way too recessed on MS5 in red tuning filter but somehow texture albeit Canon II is more refined as it is slightly recessed and at the same time it has correct note density on both vocals and instruments to sound way more natural. Treble response on MS5 especially on rose gold and silver tuning filters is somewhat a mixed bag, for sure it is more sparkling and airy than the Canon II but you will also encounter some jarring and shrill female vocals and instrumental attacks.

● Technical performance on both sets are quite contrasting. While the MS5 has excellent imaging, separation and layering capabilities, it's overall soundstage dimensions is rather average as it doesn't give me that spacious headroom that I want especially on a midrange set. While it has a good resolution capability, MS5's takes it in more "digitally" while the Canon II retains an organic and balanced timbre.

AFUL Performer 8

● In my opinion, Performer 8 is truly a rival for the Canon II. Both are of hybrid driver configuration but Performer 8 has more balanced armature drivers with its vaunted "RCL Network Frequency Division Technology". While the Canon II resin shell chassis are handcrafted, Performer 8 shell's undergo a 3D-printing process to ensure uniformity and better production and the shells of the Performer 8 are smaller. They both have excellent product packaging and presentation. The Performer 8 doesn't have any gimmicky features like detachable tuning filters or toggle switches.

● When it comes to tonality, Performer 8 has a mild-U, almost a balanced-neutral sound profile. Performer 8 is comparable to the □□ setting of Canon II. It has good sub-bass presence but when I compare it to Canon II, its midbass is somewhat lacking punch and texture, yielding quite a dry presence, but it has a similarly clean bass response. On midrange, it has vocals and instruments with sufficient note weight for a have clean and articulate sound but Canon II has a fuller and robust note weight to give more definition on male vocals, rhythm and percussive instruments. The treble response is similar to the Canon II, smooth, clean and sufficiently energetic, but the difference between them was the quality of their brilliance part of the treble region in which Canon II has a tad more treble air and sparkle.

● As for technical capabilities, this is where the Canon II excels. For sure the Performer 8 has a capable imaging, separation and layering performance but its sound/speaker stage is on the intimate side which is quite average in my opinion. Resolution capabilities are on par for both sets as they both possess good macro-dynamics and capable micro-detail retrieval. Both sets have pleasant and natural timbre quality,and both are well-balanced but each with their distinctive tonal capabilities.

The YANYIN Canon II is truly one of the most marvellous sets I have encountered at under £320/US$400. With its well-balanced, remarkable resolution, articulate sound quality and the consistency and cohesion from its hybrid driver configuration, I will definitely recommend this one without any hesitation at all.

If you want a lush, harmonious and detailed sound that can yet be enjoyed by treble-sensitive folk, this set is perfect for you. Job well done, YANYIN!

YANYIN Canon II is now available at LINSOUL, if you are interested to purchase, check it out the unaffiliated link down below.

★★YANYIN CANON II - LINSOUL★★

For more infos about YANYIN products, you can check it out on the provided link down below.

◆◆YANYIN FACEBOOK PAGE◆◆

SPECIFICATION:

MODEL: YANYIN CANON II

IMPEDANCE: 27-40Ω

SENSITIVITY: 112dB

FREQUENCY RESPONSE: 5Hz – 25KHz

CABLE LENGTH: 1.2M

PIN TYPE:  2-PIN CONNECTOR (0.78MM)

PLUG TYPE: 3.5mm

DRIVER UNIT(S): (1) DYNAMIC DRIVER + (4) BALANCED ARMATURE DRIVERS

PROS:

△ Beautifully-handcrafted resin shell chassis.

△ Good quality stock cable.

△ Toggle switches for variation on bass response.

△ Hard-bound leather IEM storage case.

△ Authoritative, impacting yet clean bass response.

△ Good vocal weight in almost all vocal types.

△ Hefty yet articulate male vocals.

△ Natural timbre to almost type of instruments.

△ Rich and warm sound on female vocals particularly on contraltos and mezzo-sopranos.

△ Smooth and balanced treble response.

△ It has good spacious sound/speaker stage.

△ Impressive imaging projection and cogent separation and layering capability.

CONS:

▽ Meagre amount of stock ear tips.

▽ Up/Down and Down/Up setting has very marginal differences as I couldn't really differentiate between their supposedly contrasting tonal qualities.

▽ Wish for more treble air.

▽ Analytical and clinical sound lovers and treble heads, this set won't probably fit on your tonal preferences at all.

Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *

Jade Wiedlin - Blue Kiss**

Led Zeppelin - When The Levee Breaks **

Mountain - Mississippi Queen *

Queen - Killer Queen **

Guns N' Roses - Patience *'*

Eric Clapton - Tears in Heaven '*'

Sergio Mendes- Never Gonna Let You Go '*'

Pearl Jam - Daughter **

Roselia - Hidamari Rhodonite *

Assassin - Fight (To Stop The Tyranny)*

Celtic Frost- Visual Aggression *

New Order - Blue Monday *

The Corrs- What Can I do (unplugged version) *

Jimi Hendrix Experience - Voodoo Child *

The Madness- Buggy Trousers *

Metallica - Motorbreath **

Mariah Carey- Always Be My Baby *

Destiny's Child - Say My Name *

Malice Mizer- Au Revoir *

Mozart - Lacrimosa *

New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *

Eva Cassidy - Fields of Gold (Sting cover)*

Michael Jackson - Give In To Me *

Exciter - Violence and Force *

Diana Krall - Stop This World **

Debbie Gibson - Foolish Beat *'*

The Sisters of Mercy – Lucretia My Reflection**

Suzanne Vega – Luka **

Lauren Christy – Steep *

Ottoman Mehter - Hucum Marsi *

Diana Damrau - Mozart: Die Zauberflöte*

Type O Negative - Black No.1 *

Felix Ayo - Vivaldi: Presto **

Three Tenors - Nessum Dorma *

Mercyful Fate - Witches' Dance *

P.S.

I am not affiliated to YANYIN nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like to send my gratitude to JOSEPH YEUNG of YANYIN for providing this review unit as a loaner unit. I truly appreciate his generosity and trust towards me and other reviewers.