MYER-AUDIO SLIIVO SLT6 VS Yanyin Canon II

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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.