Yanyin Canon II VS Yu9 Que

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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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The YU9 Que sports a premium, durable resin shell in pure black with a metallic-feeling faceplate and a comfortable design featuring an anti-tragus catch. While the build itself feels handsome and unique, the included cable is criticized as wimpy and unpleasant, with a strong suggestion to upgrade it. Accessories are deemed solid, including a nice selection of tips and a particularly praised case with a soft, luxurious interior.

Sonically, the YU9 Que earns immense praise for its exceptional tuning, described as clean, resolute, and non-fatiguing. It delivers strong, textured bass that avoids being overwhelming, coupled with extremely well-done upper mids. While not class-leading in technicalities like micro-detail or instrument separation, its tonal balance is considered sophisticated and reminiscent of far more expensive sets like the Annihilator, even surpassing the Monarch MKII in tuning preference. It's highlighted as a fantastic all-rounder with a smooth, agreeable signature suitable for long listening sessions.

Despite its modest single dynamic driver + 3BA configuration and $409 price point, the YU9 Que is declared a very special and unique IEM, worthy of the hype it received. The review concludes it's a price leader and a highly competent package from a small brand, offering outstanding value and a beautiful, well-executed design that makes it an easy recommendation for those seeking a smooth, non-fatiguing sound.

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Build & accessories: a hybrid 1DD + 3BA set priced around $399 with a spacious zipper case, multiple silicone tips, pouches, cleaning cloth, and shirt clip. The faceplate’s wavy, stone-like texture looks premium, and the shells use a 2-pin connector. The downside is the stock cable: it’s springy, only in 4.4 mm, and feels below the tier. Fit is serviceable but not ideal—the shell isn’t the most ergonomic, the nozzle lacks a lip, and seating a deeper fit can take a moment; once set, stability is good and tips stayed secure in use.

Sound: this isn’t a “new-meta” curve; it’s a unique, lively tuning. Bass is punchy, dynamic, and highly textured—more physical in practice than the graph suggests, with excellent impact and kick-drum authority. An early rise after 1 kHz pushes vocals front and center for an intimate, engaging presentation without tipping into shout. Treble is refined, sparkly, and well-extended: it is a bright set but avoids harshness, peakiness, sibilance, and fatigue, delivering crisp cymbals and defined transients even for rock and metal at any volume. Technicalities are class-leading under $500 with standout detail retrieval and separation; the one wish is a larger soundstage.

Comparisons & verdict: the Elysian Apostle still wins on bass texture/impact, treble refinement, and overall resolution, but the Yu9 Que offers a convincing “Apostle flavor” at a lower price. Versus Elysian Pilgrim, the Que is fuller and bassier, while Pilgrim’s treble is tamer; versus Volume S, the Que is cleaner, brighter, more detailed as the Volume S trends warmer with more neutral treble; against Dusk DSP, Dusk sounds more natural/balanced but the Que feels more fun and technical. Recommended for those who crave clarity, sparkle, and engagement without fatigue; less ideal if treble-sensitive or preferring a warm, relaxed tonality, and worth demoing for comfort. A top contender and serious gatekeeper around $400—final rating: 4.5/5 with a strong recommendation.

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Yu9 Que arrives with a surprisingly premium unboxing: a crush-resistant carrying case with plush padding, an IEM pouch, microfiber cloth, cable clip, and two ear-tip sets (standard silicone and more premium liquid silicone). A quirky 3D-printed nameplate with serial number and a faceplate etched in a topographic-map motif give it character. The shell is on the larger, wider side—comfortable for many, but small ears should test fit first. The stock cable is just okay (some memory, no chin slider), though it’s offered in 3.5 mm or 4.4 mm terminations.

Tonally, this is a neutral-reference set with a tasteful bass lift—clean impact without throwing off balance. Sub-bass has satisfying thump and texture, though bass-heads coming from sets like Kiwi Ears Punch may find it polite. The mids sit even and accurate—no “vocal magic,” yet clearly above average. Treble stretches well into the air with a touch of brightness that adds crispness and a slightly clinical edge, staying shy of fatiguing. Technical chops are the draw: a decently wide soundstage (roughly 3–4/5 by comparison), standout 3D imaging, and strong resolution/separation make it excellent for gaming—worthy of a two-controller nod—though ultimate detail still trails pricier kilobuck options.

Versus peers: Moondrop Dusk (DSP) is warmer with bass that hits a bit harder, while Yu9 Que is the more neutral, reference-leaning take. Elysian Pilgrim offers smoother treble, but Yu9 Que counters with better bass grip, stage, and imaging. AFUL Performer 7 tilts mild V; choose it for extra mid-bass and forward treble, otherwise Yu9 Que wins on technicality. Mega 5 EST chases the meta target yet stumbles in bass/treble; NiceHCK Rockies refines that approach and might be the more exciting alternative if spending slightly more. Bottom line: the hype is justified—a superb all-rounder around $400 with only the cable begging for an upgrade. It’s a clear pick for neutral/reference fans, though those seeking more “fun” might look elsewhere; call it a pragmatic, two-star recommendation amid a crowded market and likely pre-order waits.

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YU9 Que presents a balanced, almost neutral tuning with a tasteful touch of mid-bass for warmth and punch. Treble is clean and controlled—more clarity than “sizzle”—so detail comes through without harshness, while mids keep vocals natural rather than forward or thin. Technical performance sits in the “solid for the price” camp: separation and imaging are tidy, but not the kind of hyper-etched sparkle that chases wow factor.

In practice, it shines with slower pop, R&B, acoustic and vocal-centric tracks where its coherence and smoothness pay off; those seeking big sub-bass drama or ultra-aerated treble fireworks may find it a touch polite. Versus brighter, more contrasty sets, the Que trades spectacle for musicality and long-session comfort, making value hinge on whether a refined, low-fatigue signature is preferred over maximum excitement at the price point.

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Yu9’s Que lands as a “safer Annihilator”: a warmer, scaled-back take that pushes ample sub-bass while keeping the rest tastefully controlled. The low end feels liquidy and bouncy, underpinning an aggressive 1–3 kHz rise with a gentle 3–5 kHz taper, so vocals sit upfront and crisp yet remain remarkably smooth thanks to the extra low-end warmth. Treble is slightly scooped around 5–6 kHz and then climbs in small, well-placed peaks out to ~15–18 kHz, yielding excellent extension that feels on par with sets like Moondrop Variations in this range.

What makes it pop is the value proposition: at $400, the overall resolution, tonal balance, and staging read far pricier—more like the $700–800 bracket. With its engaging sub-bass lift, lucid mids, and airy yet controlled top end, Que comes off as a polished, crowd-friendly tuning that still excites detail chasers. If momentum holds, this looks like the next big thing around the $400 mark.