Yanyin Canon II VS Punch Audio Martilo

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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 Punch Audio Martilo shows up screaming BASSHEAD on the box, but the tuning is smarter than that. A hybrid stack—2×8 mm DD + 2×BA + 1 planar—delivers bass that hits when the track calls for it, then gets out of the way. The surprise is the huge soundstage: airy, wide, borderline cinematic, so pianos, crowds, and live recordings feel expansive rather than claustrophobic. Low 9 Ω impedance and easy efficiency keep the power demands chill, though a low-impedance cable is recommended.

Tip rolling matters. With thin-wall silicone (e.g., Dunu S&S) the stage opens up and balance feels right; foams and some wide-bore options can push treble into a slightly sharp zone on certain tracks. Tonality reads clean and natural—warm-adjacent without a blanket—so everyday music stays unbloated, while proper sub-bass test tracks pressurize with that “firm hand on the chest,” not a sledgehammer.

Build is solid: thick, comfy modular cable with swappable plugs, flashy red shells, and a comically oversized box for a modest accessory set (silicone + foams). Street price around $330 lands in the sweet spot—easily justifying $375 by ear. Think “poor man’s Mega 5 EST Bass Plus”: similarly satisfying slam and stage, with the pricier set showing a touch more upper-mid/treble refinement. Not just for bassheads—more like a full-range thrill ride that lets music breathe and hit when it should.

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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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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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Punch Audio Martilo steps in as a new-brand debut with a confident package: a hybrid array (planar + BAs + DDs), a metal nozzle, proper venting, and a recessed 2-pin socket set into a shell that sits securely thanks to an anti-tragus catch. The faceplate gives off AFUL Performer 7 vibes, the included cable is supple with clear R/L markings, and the textured carry case plus two tip sets round out a thoughtful accessory kit. Priced around $329—with occasional deep discounts during big Linsoul sales—build and accessories feel dialed in for the bracket.

Sonically, this is a bassy set that still behaves like an all-rounder. The bass shelf rises from roughly ~150 Hz, bringing weight and warmth without turning podcasts and vocals into mud; upper-mids are present yet controlled, minimizing shout, while mid-treble energy keeps things crisp. Female vocals avoid huskiness, note weight is satisfying, and the tuning strikes a balanced, fun profile that works across genres. On the graph it hugs a safe line, then sprinkles in extra low-end for flavor—bass-head friendly, but not a blunt instrument.

In A/Bs, it addresses the AFUL Explorer’s softness with more bass and mid presence, and compared to similarly priced Kiwi Ears Astral (the safer neutral pick), Martilo offers the spicier, more engaging option. Against “specialist” bass sets like Deuce or Quantum, Martilo feels cleaner in the mids, less abrupt in its slam, and more universally usable; versus warmer bass champs (e.g., Mega 5 Bass), it trades some warmth for clarity and refinement. This isn’t sterile “audiophile-neutral”—it’s audiophile-fun done with taste. Scoring reads like: bass (10/10), note weight (10/10), mids (9/10), with surprisingly solid highs, stage, and imaging for the money. Not flawless, but distinctive, well-tuned, and easy to recommend—especially for listeners who want real bass without sacrificing everyday versatility.

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Punch Audio Martilo hits the brief for bass-centric listeners. The tuning kicks up from ~200 Hz, driving a potent low end, then rides a flat porch through the mids with a gentle ear-gain that crests around 3 kHz before easing off. It mirrors the well-known Kiwi Ears collab curve but with a touch more upper-mids energy for cleaner, clearer vocals. At $279 with the card (and still competitive around $320), this set undercuts many rivals and, for libraries heavy on rock and hip-hop, feels purpose-built.

The hybrid stack—2DD + 2 BA (branded) with a planar on top—keeps the upper-mids sensible and lets the treble play from roughly 5 kHz+ without glare. Personal preference might lean to EST or a high-end BA super-tweeter, but here the planar’s implementation stays out of trouble by avoiding an overcooked 1–3/4 kHz shelf. Result: strong slam, stable mids, and treble that’s present yet subordinate to the preceding bands—focused on transparency rather than flash.

Beyond sound, the packaging and cable show real forethought—distinct from the usual cookie-cutter unboxings—and the overall execution reads like a brand finally dedicated to the low-end community. With more models in the pipeline (including a budget single DD and a planar+DD combo), Martilo arrives as a market shaker for bass lovers seeking muscle without muddying the mids. For the asking price, it’s an easy recommendation to audition—especially if the playlist is built on rhythm sections and big grooves.

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Boom — time for bass. Punch Audio’s Martilo is a tribrid (2×8 mm DD + 2 BA + 1 micro planar) coming in around $330. The package is stacked: sturdy square case, extra filters, multiple tip sets, and a genuinely excellent modular 3.5/4.4 cable that lays flat, has no microphonics, and a firm chin slider. The shells are ergonomic with venting, metal nozzles with a proper lip, and a small nozzle diameter (5.9/5.0 mm) that helps seal; comfort and passive isolation are both strong.

Sonically, this is unapologetically bass-focused without being bass-only. Expect massive sub-bass depth and a punchy mid-bass, yet the low end stays tight, controlled, textured and doesn’t bleed. Mids retain clarity with non-shouty presence, while treble is crisp, smooth, non-fatiguing with decent extension (not ultra-airy). For a bass-heavy set, technical performance is solid: detail is good, and imaging/separation keep busy tracks coherent and energetic.

Against Hisenior’s Mega5EST Bass Plus, Martilo hits harder, feels more engaging, and offers better vocal clarity — and it steamrolls on value at the lower price. Compared with Xenns Tea Pro, the Tea Pro is a bass-lover all-rounder that spotlights vocals/instruments more; Martilo goes full bass-head with bigger rumble and impact. Ideal for listeners who crave deep slam but still want clarity, comfort, and great accessories; not for neutral/reference chasers. Final verdict: 4/5 — it truly punches above its price.