Yanyin Canon II VS Hercules Audio Noah

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At $380, the Yanyin Canon II lands in a competitive mid-tier alongside sets like the AFUL Performer 8 and Mangird T2. It’s a hybrid (1DD + 4BA) with a tidy, well-behaved cable and minimal accessories. The shells are medium-large, a bit chunky, with glittered faceplates whose typography/alignment may irk design sticklers; comfort is generally fine at a desk but fit stability can be mediocre during movement or sleep. Two recessed dip switches (tool required) mainly tweak bass by about ~1 dB—best treated as a “both up” vs “both down” toggle rather than four distinct tunings.

Tonally, Canon II reads as neutral-leaning and relaxed: modest upper-mids, a touch dark up top yet still well extended, and a bass shelf that carries some mid-bass “stank” beyond pure sub-bass emphasis. The result is natural timbre with an overall dry presentation—bass has weight without lingering rumble. Technicalities are solid but not showy; imaging/separation is the weak link, skewing more cohesive than dissected, and sitting a bit behind what would be hoped for at this price.

Versus the AFUL Performer 8, Canon II is the warmer, fuller, slightly darker take with more bass presence, while P8 runs brighter/leaner and stages/separates better. If the brief is “neutral with extra bass body” and pleasing timbre, Canon II ticks the box; if headstage and pinpoint placement lead the priorities, P8 makes more sense. Final verdict: a solid 4/5, with tuning versatility and tonality as the draws, and imaging as the compromise.

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Yanyin Canon II hits with a five-driver hybrid (4BA + 1DD) that’s all about huge stage, deep layering, and an addicting sense of air. Two rear switches offer four tunings but they mostly shift bass; the sweet spot is both switches up/up for a rich, room-filling low end that stays clean and separated. It feels like a “$1,000 sound” at ~$379, blending drivers more seamlessly than most 1DD+BA mixes while throwing width and depth that rival favorite wide-stagers like BLON Jojo—only far more refined.

Build and kit are a mixed bag—great cable options (3.5/4.4/2.5) and solid machining, but the box is foam-heavy and tips are basic. Efficiency isn’t extreme, so a balanced output helps. Tip rolling matters: Dekoni foams bring a smooth, natural balance; Sedna Xelastec adds clarity but can get edgy; Dunu SS flattens the mids; “Render” tips push treble a bit too hard. With the bass switches up and foams on, Canon II becomes a big, natural, effortless listen—the kind of tuning that invites dancing rather than nitpicking, and easily one of the most satisfying 4BA+1DD executions heard this year.

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The Yanyin Canon II comes in at $379 with a roomy faux-leather case, a solid 2-pin cable, and a striking faceplate. It’s a 4BA + 1DD hybrid with dip switches (default: 1 up / 2 down) that let the bass profile swing subtly to taste. Versus current favorites, sub- and mid-bass sit between the Zens Top (more rumble) and Kiwi Ears Orchestra Lite (less), but the Canon II’s low end hits cleaner and faster than both, avoiding bloat while keeping satisfying weight. Ergonomics are a win too—more comfortable for long sessions than Orchestra Lite, with better verticality, depth, separation, and layering.

In games, Canon II is a beast: the bass control sharpens positional cues, the stage sits slightly closer for emphasis, and treble stays non-fatiguing—no shout, no sting on gunshots or armor cracks. The Zens Top still stretches a touch wider and airier with a notch higher resolution, but asks more money and brings a bit more rumble; unless that extra sub/mid-bass is the goal, Canon II is the smarter pick. Orchestra Lite owners won’t feel forced to upgrade, yet Canon II is clearly a technical step up. Net result: an exceptional all-rounder for music and gaming, trading a hair of ultimate space for control, coherence, and comfort—easily a top recommendation at its price.

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Hercules Audio Noah arrives with a premium package: a metallic, cozy shell with a secure anti-tragus catch, a gold nozzle, and a genuinely excellent 4.4 mm cable (red/black channel markers, smooth chin slider, solid Y-split). Accessories are thoughtful—tips, cleaning brush, a USB-C DAC, and a plush case—making the whole experience feel dialed-in and durable. Fit is easy, build is handsome, and the cable quality stands out as one of the better stock options at this price.

Sonically, Noah brings a vocal-forward presentation with a clean, punchy, and hard-hitting bass shelf; it’s engaging, rich, and fun. There’s a notable 1 kHz rise and energetic upper-mids that push presence, while treble stays polite—good clarity, but not the last word in sparkle/air or micro-detail. Think “audiophile-style tuning” rather than meta-neutral: more drive and dynamism than shimmer. Compared with peers, it carries some Elysian-style DNA (cleaner and more exciting than Pilgrim/Noir, less dazzling up top than Apostle/Annihilator), and versus the hyped YU9 it swaps treble dazzle for meatier bass impact, making the two strong complements.

Value depends on region: list sits around $400, but tariffs and shipping can push it above $500 in the U.S., which tempers the bang-for-buck. As a result, it’s an easy recommendation for those seeking a mid/bass-forward, vocal-centric signature—demo at a show if possible, or consider the used market for a sharper deal. Bass is a 10/10 with satisfying slam, the overall presentation is lively and majestic, and while treble finesse is merely good, the tuning’s energy and musical drive make Noah a memorable, hype-worthy listen for the right ears.

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Hercules Audio’s Noah targets the mid-tier with a 1DD+3BA setup around $400, and the physical package impresses: a premium, crush-resistant case, Divinus Velvet ear tips, a Type-C dongle, and an all-metal black-and-gold shell that looks luxe and fits comfortably for long sessions. The four-core black cable feels solid with quality connectors and a working chin slider, even if it isn’t the softest. Sonically, the Noah aims for a fun, engaging listen via a relaxed treble, but bass hype meets reality—there’s strong sub-bass extension while mid-bass weight and texture come up short, so punch and grit aren’t at “basshead” levels.

The midrange is the star: forward enough to keep vocals clear without sounding shouty, though a slightly lean lower-mid can thin out male voices. Treble stays smooth yet extended, ideal for treble-sensitive listeners (treble-heads may want more bite). Technicalities hold their own for the price—good layering, imaging, and micro-detail, with a soundstage that’s a touch above average. Versus the YU9/CH it’s smoother and more fun (that set is brighter and more clinical), while Dusk Analog (DSP) runs warmer with bass some may prefer but even more laid-back mids/treble; for a true bass fix, Kiwi Ears Punch remains a go-to. Overall, Noah is enjoyable with standout build and accessories, best for those who like sub-bass focus + relaxed treble; tuning quirks keep it from a higher nod, settling on a two-star recommendation for value.