Yanyin Canon II VS Ziigaat Odyssey 2

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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 Ziigaat Odyssey 2 arrives as a collab between Ziigaat and Hangout Audio (tied to Crinacle), essentially a Crin-influenced set in disguise; it’s a 1DD + 3BA hybrid priced around $250. Accessories are thoughtful—three ear-tip sets, spare adhesive filters, and swappable 3.5/4.4 terminations—though the long, friction-fit plug feels awkward. The metal shell is medium-sized with a short nozzle for a shallow fit; comfort is easy, stability average, and the thin green cable is softer than prior Ziigaat attempts with a chin slider that actually holds.

Tonally it lands squarely in the tilted diffuse-field “meta” neutral camp: natural vocals, tame upper-treble, and a slight 4–6 kHz lift that adds clarity and a more contrasty/clinical edge without harshness. Imaging and separation are clean for the price, but the sub-bass-focused boost leaves the low end marshmallowy—tactile yet soft, with kick drums short on slam. Overall balance is convincing and easy to live with, just not especially exciting.

Versus Ziigaat Lush, Odyssey 2 is crisper and more defined where Lush sounds darker, smoother, and a bit low-res, though Lush hits mid-bass a touch harder. Against Softears Volume S (costlier), Volume S wins on bass grip and midrange texture, sounding fuller and more engaging while Odyssey 2 stays cleaner but more clinical. Conclusion: a very good set in a crowded mold—3/5 for a refined meta tune with agreeable timbre but modest bass impact.

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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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Ziigaat Odyssey 2 lands as a premium-feeling set: a CNC-milled aluminum chassis with a sparkly blue/silver faceplate, solid two-pin cable with interchangeable 3.5/4.4 plugs, spare nozzle filters, and a roomy new brown carrying case. The stock cable is nice—though its green tint doesn’t quite match the shell’s aqua tone. Tip selection is generous (foam plus two silicone sets), and the newer silicone tips are a standout. Overall, a tidy package for the price.

Tuning follows the current “new meta”: energetic low end with a cleaner sub-bass attack/decay than sets like ZENs Top/Top Pro, which helps in games. Bass stays punchy yet controlled, so imaging and separation/layering come through well, though gunfire can still push forward. For pure music the bigger, rumblier sets may feel livelier, but for competitive play Odyssey 2 reads space more cleanly and keeps clutter down better than bass-heavier rivals.

Title by title: in Valorant it sounds natural and punchy with tighter gun reports and better map imaging—footsteps are a bit thicker and light taps could cut more—earning a B+. In Apex it’s cleaner than ZENs Top Pro and fine in 3v3s, but big third-party fights expose some separation limits; call it a strong B (bordering B+). In CS2 the positional read improves over ZENs Top Pro, though lighter surface cues and gunfire depth could be crisper—solid overall. Call of Duty plays to its strengths: warmer timbre, wide/deep stage, excellent layering during streaks, with only occasional gunfire masking—another B+. Net result: placed in the B+ tier on the WallHack list, at the lower edge bordering B, similar to the original Odyssey’s standing.

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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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Ziigaat x Hangout Audio Odyssey 2 comes as a 1DD + 3BA hybrid in a fully metal shell with a matching metal nozzle, venting, and a comfortable, familiar Ziigaat fit. The package is generous: a handsome new case (seen on Luna/Crescent), 4.4 balanced with a swappable 3.5 adapter, multiple tips, and spare filters. The flat 2-pin cable looks good in black/green but is a bit memory-prone/tangle-happy; functional, yet a likely swap for cable sticklers.

Sonically, Odyssey 2 skews punchy in the bass with clean, thick mids and well-controlled upper-mids; the treble is smooth and gently rolled with limited airy “sparkle,” giving a more studio-like presentation. Versus the original Odyssey, this tuning is less U-shaped, with dialed-back excitement and upper treble—safer, calmer, and easier long-term. It’s a well-built, well-accessorized set at a reasonable price that many will find effortless to enjoy, even if thrill-seekers may want more bite up top.

In context, it parallels Lush on upper-mids (no urgent need to switch unless craving a touch more sub-bass or a different treble flavor), feels safer than Performer 7 (which has spicier 8k), and sits under the more vivid Odyssey (OG) and the slightly brighter, airier Crescent. It doesn’t reach the extra sub-bass/air of the Dusk DSP but improves on the original Dusk’s flatter treble character; meanwhile, Ziigaat’s Horizon trends richer and crisper up top. Overall verdict: a solid 8.0/10—mids are the star, bass is engaging if not rowdy, and upper-treble restraint keeps fatigue low. Not the most electric choice at ~$225, but a clean, safe, studio-leaning option with broad appeal.

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ZiiGaat × Hangout Audio Odyssey 2 brings a 1DD + 3BA configuration to the ~$220 bracket with a generous kit: big leather case, three tip sets, nozzle filters, and interchangeable plugs. The green/black glitter faceplate looks slick and the metal shell feels solid—though a touch less premium than some rivals—and the fit skews large, which may fatigue smaller ears. The new black-and-green cable feels nicer than older ZiiGaat parts, has some memory, but is fully usable.

Voicing is non-offensive and slightly warm-leaning, with sub-bass emphasis and more neutral mid-bass that trades punch for a thumpy, rumbly foundation. Mids are natural with fuller male vocals; female vocals read clean yet not especially gripping. Treble stays relaxed and smooth with enough air, though a faint edginess can pop up on orchestral recordings. Technicals sit around class-average, but the notably wide soundstage (≈4/5) and accurate imaging make it friendly for casual gaming.

Against peers, the original Odyssey runs a touch more mid-bass and treble, coming across less dull; it remains the safer pick for some. DUNU DaVinci at similar money hits harder, feels more exciting, and carries a nicer midrange; AFUL Performer 7 offers a mild-V that’s more balanced overall with a more natural bass but a brighter top end. Recommendation: choose Odyssey 2 if a warm, easy, sub-bass-tilted listen is the goal; skip it if chasing fun and energy. Like unflavored sparkling water, it’s refreshing yet low on flavor—ultimately a two-star value pick: solid and safe, but not especially distinctive.

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Odyssey 2 shifts the OG’s recipe toward a more mid-centric, vocal-first tuning with a gentle sub-bass lift and smoother treble. Bass hits with less slam than the original but feels tighter, quicker, and cleaner, keeping texture competitive for the price. The top end is calmer—less bite, still adequately extended—trading sparkle for an easy, natural presentation.

Clarity steps up in the mids: vocals pop, separation improves, and detail comes through more plainly, while the OG keeps an edge in bass/treble “texture.” It’s a higher-volume scaler; give it juice and it opens up, especially for ballads, acoustic, indie, and pop—less ideal for hip-hop/R&B/jazz where extra weight and contrast help. Tip rolling that adds a touch of low-end/treble energy can inject the missing excitement without upsetting the balance.

Against similarly “safe” sets (Daybreak, P50), Odyssey 2 leans more vocal-centric with better bass texture; versus value champs (Supermix 4, Nova, Chopin), it sounds fuller and more natural but isn’t the value king. Lush gives more air up top, Arcanis/Luna serve as pricier “special sauce” paths if treble bite or OG-style warmth is desired. Verdict: a safer pick and polished all-rounder—objectively as good or slightly cleaner than OG—but for die-hard OG fans, more of a refined sidegrade than a direct, high-octane upgrade.

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Odyssey 2 brings a metal-bottom shell and a green/black modular cable, but the headline is the retune. The aim—relax the Odyssey’s hot mid/upper treble—works, yet energy shifts toward roughly 2.5 kHz and the mid-bass dip becomes shallower. On the ear this reads as sharper edges with a leaner body, and at moderate to higher volume the upper mids rise faster than the top end supports.

The result is a mild treble imbalance: vocals turn a touch thin, upper-air feels reduced, and the set encourages lowering the volume rather than opening up. While clarity remains “hybrid-like,” extension has less sparkle, and the presentation can feel compressed compared to the original tuning.

Technicalities also take a small step back—less separation and layering, a stage that projects smaller, and imaging that’s tidy but not standout. With a bit of PEQ to add body and a hint more upper-treble air, Odyssey 2 comes closer to expectations, but out of the box the original Odyssey still reads as the more naturally balanced pick.