Yanyin Aladdin English Review


The Genius Inside The Wonder Capsule




Construction and Design




  • One of the best smooth, natural and consistent tunings on the market in its price range.
  • Very good timbre.
  • Very fast and resolving bass, with emphasis on the sub-bass.
  • Excellent layering, laterality and plane recreation.
  • Good technical properties, representation of nuances at macro level, resolution capability, distance between elements and separation.
  • Great imaging, airy scene and precise positioning.
  • Good passive isolation.




  • The accessories are limited for the price paid, they have no hard carrying case.
  • The softness of their treble does not make them suitable for those who like brightness and sparkle.
  • The bass has a smooth surface, not very descriptive.


Purchase Link




Link to the Store






As usual, when faced with a new brand, I usually turn to internet search engines to get some information. But this time I haven’t found much and there is no information on the box either, apart from the address and the company that produces it (Fuzhou Yanyin Technology Co., Ltd.). Otherwise, it seems that this is a recently created brand (2020), whose founders are experts who have come together to create a new project. And what is clear from this Aladdin model is that they are: clearly their tuners and designers are very competent and experienced people, you don’t get to create IEMS like this overnight.
Back to the product itself, the Aladdin is a hybrid IEMS with one dynamic driver and three balanced harmonic drivers. They have a separate ducting system for low frequency, mid/high frequency and ultra-high frequency, with the intention of reducing harmonic distortion and resonance, allowing the sound to reach the ears in the purest and most lossless way possible. It also features a carefully designed three-way crossover with specially dedicated resistors and capacitors. The capsule is constructed from medical grade resin, which has a flowing pattern in black and silver tones. Its shape has been created based on a multitude of real patterns, to create a more pleasing shape to the wider audience. Finally, the cable used is pure silver-plated copper with a coaxial structure, to reduce interference. Really, it all seems to work very well and thanks to a great tuning, the Yanyin Aladdin promises a lot, but seems to be able to deliver even more… Let’s see their full potential below.





  • Driver Type: 1 x 9.2mm bio-diaphragm dynamic driver + 3 x BA drivers.
  • Frequency Response: 5Hz-22kHz
  • Sensitivity: 108dB
  • Impedance: 10Ω
  • Material: medical resin housing for headphones.
  • Cable: silver-plated 2-strand low-loss audiophile cable.
  • Jack connector: 3.5 mm gold-plated.
  • Capsule Connection Type: 2Pin 0.78mm





The Yanyin Aladdin comes in an eminently white box, measuring 213x123x54mm. Almost all of the lettering is written in silver ink, in Chinese and English. In the top left corner is the brand logo and in the right corner is the model name. In the centre is a realistic photo of the IEMS with the cable. It is worth noting that the outer side is clearer and both the logo and the model name are more prominent than in reality. The capsule is also black, while the revised one follows the fluid grey pattern, but much more sandblasted. At the bottom is a short description of the model in both languages. On the back is an exploded view of the capsule (in Chinese only). The company address, a QR code and other linear codes. The QR code has a link to WeChat. After removing the outer cardboard, the box is opaque and matt, completely dark, with the logo inscribed in glossy black. Once the box is opened, a description of the model can be read on the back of the lid, in Chinese and English. Inside is a large foam mould that protects the IEMS with its cable and 6 pairs of silicone tips. After removing them, they are two parts, you access a new level of foam, which contain a box also dark, in which are the rest of the accessories. To sum up:


  • The two capsules.
  • One silver-plated copper cable, with 3.5mm SE jack and 0.78mm 2Pin connectors.
  • 6 pairs of black silicone tips, sizes SxMxL. Both sets are the same.
  • One blue leather pouch.
  • One VIP card.
  • One quality control card.
  • One guarantee card.
  • Product manual.


The box is a bit big for the contents. The set of tips is repetitive, not very varied, no foam tips. The leather bag is small and not rigid, so it doesn’t protect enough. I find that the quality and quantity of the accessories is not up to the price and sound of the Aladdin.



Construction and Design


The capsules are made of medical grade resin. The outer shape resembles the African continent and the capsule has a very rounded, ergonomic and pleasant semi-custom design.
The outer face follows a flowing black pattern with grey veins. There is a slight mix of fine glitter of each colour on this side. On the right capsule, in the centre of the outer face, you can see the brand logo, constructed with silver filaments. On the other capsule, with the same construction, you can read the name of the model: «Aladdin». The inner side does not follow the flowing pattern, but its colour is a mix of flowing, but uniform dark grey with a clearer glitter, which highlights the shimmer of the IEMS.
At the edge you can see the two-pin gold connection, which is completely integrated into the body of the capsules, but a translucent plastic plate. Turning the corner next to these connectors there is a hole covered with a grid, which is surrounded by a red plastic ring for the right side, blue for the left side. A little higher up you can read «Aladdin 103W-027», in gold letters and in two lines. As I said, all the curves are very rounded and the inner side has the classic shape that fits the IEMS in the ear canal and in the concha.
The nozzles are completely metallic and of the same colour. They are protected by a dense, metal grille. Their approximate height is 4.5mm and diameter 5.2mm. In the middle there is a small bevelled edge, which allows to anchor the tips more securely.
The cable has two strands of high-purity, silver-plated copper. It is a low-loss audiophile cable. The coating on each strand is transparent plastic, which allows the colour of the silver to be seen. The connectors are 2Pin 0.78mm external connectors. These pins are mounted on a plastic plate, red for the right side, transparent for the left side. The connector sleeve is a silver metallic cylinder, with two marked rings and a small bevel on the end next to the cable. The cable coming out of it is protected by a semi-rigid sleeve which gives it the over-ear shape. The divider piece is a small silver metallic cylinder, matching the rest of the connectors. The pin is a smaller translucent plastic cylinder. The 3.5mm SE gold-plated jack connector sleeve is also a silver metallic cylinder. It has three rings marked on it, two on the edge next to the cable and one near the jack connector. A plastic sleeve protects the cable outlet. There is a grey velcro strip, with the brand logo in white, which allows the cable to be tucked away.
Internally, they use 4 drivers, a dynamic driver with a 9.2mm bio-diaphragm and 3 BA drivers, whose construction or brand, I have not been able to find. They also use a three-way frequency divider built with specially imported resistors and capacitors. In the introduction it has been mentioned that there is a separate ducting system, connected to the drivers, for the low frequency, for the mid/high and for the ultra high frequency, with the intention of reducing harmonic distortion and resonance.
The beauty of the capsules and the standard of construction is undeniable. It is easy to think that metal is a more robust material, but the comfort and shapes that can be achieved with resin, associated with its advantages (weight, warmth, softness, etc.), make its use, durability and performance at a high level. And it is very commonly used in high-end IEMS capsules.
Perhaps, the only point to note is the size of the nozzles, somewhat short.
The cable, although the one in the reviewed model is SE, seems to be available with other types of balanced connectors.
On the other hand, the technology used for the design of the interior of the IEMS is in keeping with the quality of the final sound of the set.



Adjustment and Ergonomics


The fit is as good as most semi-custom capsules. The size of the nozzle allows a shallow insertion, even a little bit further, but due to its diameter, it depends on the individual. With my morphology it is no problem, but it stays in that outermost area. Although its fit is very occlusive, achieving a high level of isolation, above many of its rivals. They are perhaps the IEMS I own with the best insulation with this type of fit. There is no doubt that the level of sealing achieved is so good, that the movement of the capsules is minimal, being great to use them on the street, walking, doing chores at home, in the office, etc.







The profile of the Yanyin Aladdin could be described as a soft lowercase w. It has a high sub-bass point that decreases in intensity relatively quickly, but with a slight slope. This is because its entire curve is very balanced and smooth. The rest of the profile rises or falls off centred on a narrow dB band. This gives an idea of how balanced the profile is, in which there is no room for any peaks or jumps. Balance, equilibrium, naturalness, smoothness and sweetness create a silky, velvety and mellow sensation that makes the Aladdin one of the most pleasant, complete, detailed and explicit IEMS in my collection. Without a doubt, the tuning is one of the strong points of this model, something that allows a long and continuous use, so smooth and pleasant, that it even invites to turn up the volume, without anything sounding shrill or out of place. A real luxury.





My biggest fear when I try any earphone is that I will find a model with a light bass, because if so, it can already be very good in the rest of the ranges, so that I can enjoy them. And the Aladdin is not the case. The precise emphasis on the sub-bass and the subsequent treatment of the mid-bass generates enough power to fully satisfy me. As much as I like bass, I couldn’t ask for a single dB more, anywhere in the lower range of these Yanyin, after listening and evaluating how this range sounds. This great tuning has the virtue of isolating the bass from the rest of the range, without making it sound listless, abandoned, distant or displaced. Here I can see that there is a great technical level, a conjugation between the dynamic driver and the frequency divider, which denotes an excellent work to generate that distance between the elements of the midrange and the low range, but without losing the cohesion, nor the musical continuity between them. In this way the Aladdin mixes technicality with harmony, in a low end that has most of the things a bass-lover can demand from an IEMS. The sound is deep, wide, spacious and separated; notes and hits are fast, decay and recovery can be seen throughout. The only thing I could miss is a slightly rougher texture, bringing a more brute and raw feel, a point of more viscerality. But that’s not the case, as these Yanyin are eminently sweet and silky and that’s something that limits that more descriptive and outlined texture, turning it into a more velvety and delicate one. The result is a more fluid bass, which is able to slide behind the voices and the midrange in general, but without losing responsiveness, prominence or ability to represent individual notes, as well as being excellently detailed. In no case is the bass camouflaged or obfuscated. When it is the protagonist, it appears with great presence, authority and precision. But when there are more elements belonging to the midrange or upper range, it is when the bass brings out its ability to recreate different planes, navigating the depths and sides of the scene, widening the image, but without losing definition, detail, texture or punch, or even representation. In this way, bass lines are never diluted in front of lead vocals or solo instruments. And that’s something that allows bass to follow, without being lost by overlapping the rest of the notes. And this is not something that many IEMS can do. Surprising as well as marvellous.
And, of course, it’s time to talk about the timbre, the dynamics and the organic, almost analogue feel of this range. And what can I say that you can’t already imagine… Because it would be repetitive and redundant, as I will have to write it again for the rest of the ranges. So I’d better get started. I find the low end timbre slightly warm, but with great precision. The dynamic range feels expanded by the ability of the IEMS to generate depth and laterality, as well as a very horizontal stereo feel. The low end not only expands frontally, but extends to both sides generating a great surround feel. In this way, the separation of the elements is large, both in space and presence. The weakest and strongest points are placed with great precision and separation between them, but without loss or omission. This representation of dynamics is more exposed the better the source, giving an idea of potentially excellent IEMS for the price.





As any presenter who predicts a great show would say, the mids are there to say: Come and see! It would be better to say: come in and listen. But here, to be rigorous, I have to write: come in and read.
I don’t consider the Aladdin as a mid-centric IEMS, because in this way, I would be underestimating the rest of the ranges and you have already read that bass is not just anything. However, it is clear that the tuning favours the midrange to flourish in a more lush, shimmering and representative way than the sidebands. It’s not a case of «make way for the midrange». The sound follows its cohesive, harmonious, sweet and musical pattern. Hence its representation is always respectful, but it is difficult not to emphasise such profusion as there is. And don’t get me wrong, this prominence is not due to pure presence, but clearly due to quality, skill, naturalness and technical abilities, without forgetting the sweetness and harmony that exists in the whole sound. One of the things that surprises me most about this range is the ability of the BA drivers to represent a sound that is as real and natural as it is smooth and detailed. It is difficult to explain that these drivers, whose name I have not found, are of such a high quality that they stand out above their price. However, it is so, and once again the three-way frequency divider will have something to do with balancing such a pleasant, yet shimmering sound. That splendour is shown in a rounded way, represented by a delicate body, not too big, not too powerful, but adequate, balanced and respectful of the rest. If it were denser, I think it would be oppressive for the other elements. But, fortunately, this is not the case. In this way, the voices are drawn close, wide, yet with a medium and sensitive thickness, which allows them to extend their development, embellishing it with all their real details. It is here that the dynamics come to the fore again, in how the fundamentals and their harmonics feel represented, while being accompanied by natural, yet evident nuances. It’s about the BA’s ability to make real, natural-sounding technical aspects sound natural, pure and harmonious, from the tiniest to the largest. The level of layering that I already highlighted in the bass, here becomes superior and closer, becoming more evident and perceptible. In this way, and again, these Yanyin have a special skill in highlighting solo elements and then mixing them without losing their initial prominence. This is how both simple pieces with few instruments excel in their recreation, as well as those much more complex, dense or overloaded passages, are also reproduced with equal or superior aptitude and competence. This is the kind of dynamics I am talking about, capable of filling the picture when there are few elements, with detail, nuance and air, showing depth, height and separation, as well as expanding much more complicated and baroque passages. Pure delight mixed with technical skill and dynamics.





So much harmony, sweetness, silkiness and mellowness comes at a cost in the upper range. It is clear that there is precise control in the energy developed by the treble. This is the compromise adopted in this velvety tuning. Yanyin has chosen to smooth out the high response rather than exploit it in presence. But with commendable maturity. It is clear that these are not brilliant IEMS, but rather nuanced. There is no hint of darkness, nor is this one of their discernible attributes, but I can’t deny that there is warmth and tranquillity in the sound. The treble is never piercing, just as the upper mids are never penetrating. The crunch feels soft, unsurprisingly, but the range enjoys very good extension and a remarkable level of air. Its linearity generates that degree of extension and there are no hollows to represent a misleading timbre. There is no trace of metallic sound either. Of course, the control of this area does not in any way impair the level of detail or the reproduction of high notes. It is not a question of emphasising treble to gain nuances, we are not at a beginner level, but at a higher level, where technicalities are represented by skill, quality and not by presence. It is here that the BA’s naturalness and ability re-emerge: all the high notes are well represented, all of them are felt and perceived, accompanying the sound, showing themselves when they are necessary and occupying the space they should, so as not to clash within this harmonious balance.
Needless to say, there is no trace of sibilance, but elements such as the cymbals or the singers’ s’s have their magical end, and it is not the aforementioned. It is a skill within the reach of few. And it is naturalness, delicate and balanced, but well represented, audible and never omitted. Control is not omission, nor is presence emphasis, and this is a great example.



Soundstage, Separation


I could not stop talking about the width of the scene, the laterality of the sound, its depth, even its height, expansive and enveloping capacity, when describing the ranges. The sound of the Aladdin cannot be explained without commenting on these abilities. The capacity for layering, the aptitude to recreate bass planes and lines, the skill to send elements to different levels and positions, the suitability of the stereo distribution, of the horizontality of some elements and their opposition on both sides should be emphasised. The scene does not appear three-dimensionally ethereal, but rather advocates occupying a more real, but certainly large, space. There is a holographic feel, but it is not forced, just as the surround impression is very coherent, more typical of a well-conditioned stereo room than of a multi-track sound typical of a cinema. When an image is reconstructed in a way that matches reality, you don’t need anything more than good stereo. And that’s what these Yanyin do. And all this, too, is thanks to a great separation, a spherical distance, an excellent sense of air and highly praiseworthy spatial positioning.







The H40 is an IEMS of undisputed quality, which has already been elevated to the Olympus of the classics. And, in fact, the Aladdin bears many similarities to them. Starting from a similar capsule, also made of resin, the shape of the Yanyin is slightly more rounded and a bit smaller. The capsule is less wide and longer, I find them more comfortable than the H40s. Profile-wise there are similar lines, but the H40s are fuller in the low end, with a more extended bass, something that gives them more body and more density in the mid-range, as well as a more pronounced warmth. However, the Aladdin’s midrange is cleaner, more present and closer. If the Yanyin’s are sensitive and move with very little power, the ISN’s are a little more so. Both IEMS don’t need power to shine and from very low down they give a lot of quality, presence and energy.
Turning to the sound and starting with the bass, as usual in my reviews, there is little to cough up to the H40s in this range. I see a slight and subtle point of comparative colour in the Yanyin versus the ISNs, in the bass tone. Whereas the H40s have more power and a darker colour, something that gives them a sense of extra depth. It also contributes that they have a slower and longer decay. The recovery of the Aladdin is faster, which gives it a superior cleanliness in this range, very little decay and more respect for the rest of the band. The elongation of the ISNs contributes to a more perceptible note texture, and there is that enjoyable roughness. Its bass is not only extended frontally, but also horizontally, it is wider and fuller. In the Yanyin there is more precision and finesse. It also has its power, but more control and restraint. As I have already said, I can’t fault the Yanyin’s low end, because qualitatively it is very good. But a bass-lover like me will always love the bass of the H40s, as the goat is the goat. But let me have the Aladdin’s close to me, because then the mids come in. And so it is, the tables turn when you get into the midrange. The exuberance that the H40s possess in the low end, passes to the Aladdins in their mid-range. There is a higher level of closeness in the Yanyin and although the vocals sound more full-bodied and grounded in the H40s, they have a point of darkness that feels replaced by clarity and a starring transparency in the Aladdin. If the H40s provide a remarkable and very pleasant warmth to those vocals, the Aladdin’s bring a little more freshness and lightness, less roughness, but more nuance and a little more sparkle and delicacy, they feel a little more alive. Whereas on the ISNs they feel like they’re in a smoky old club. Something that, on the other hand, also has a very suggestive appeal. If the H40s feel rich in the low end, it’s the same in the mid-range of the Aladdin. That life, that cleaner, purer touch, that clarity invites you to turn up the volume and be close to the singers and instruments, to seek that more immersive and surrounding feeling. On the other hand, the greater density and corpulence of the first half of the mid-range of the ISNs give it a sense of power, density and sound pressure that continues to engage. On the other hand, the brightness and sparkle is less noticeable and the sound is more nuanced. It’s not that the Aladdin’s are a waste of light, but they do have a more open sound with more air, more clarity and more obvious and suggestive details. And this ties in with the high end, where that idea persists. Both are smooth, but there is more excitement in the Aladdin’s treble set. This flare and sparkle is easier to follow and perceive, and has a more natural and less muted timbre than the ISNs. Sometimes they even seem clipped rather than muffled. This does not happen in the Aladdin and their tuning in the high range seems to me more coherent and realistic than that of the H40, because there is less omission and more extension. Also the amount of air plays a good role in this respect, where the H40s feel a bit more limited at the audible end.
The H40 scene is deeper, but there is more height in the Aladdin. In terms of width and three-dimensionality it can be relative. There are songs where some represent a more ethereal and expansive scene and other times it’s the other way around. I suppose it must depend on the emphasis of the song. In the songs with more bass the H40s expand their scene. On the songs with more mids and highs it’s the other way around. Even the Aladdin’s, in these cases, offer a slightly higher soundstage. Perhaps this is due to their higher level of transparency. I also find them slightly superior in the distance between elements and separation. The darker sounding feel of the H40s works against them.
Technically, the Aladdin’s also have a bit more detail, that higher level of resolution and their sparkle provide the advantage.
Both are IEMS with enormous quality and an excellent price/performance ratio and only our taste for one band or the other can make us decide between one or the other.





The Yanyin Aladdin are the IEMS you expect when you pay the price. Regardless of their sound signature, the musical quality is unquestionable and there is no dispute about that. When an enthusiast buys an IEMS he wants to be assured that he will get what he is looking for. I can’t guarantee that the Aladdin will suit all preferences, but the sound is really good and in that sense you will always get it right. What you will also get is one of the most coherent and natural smooth tunings on the market. The low end has been tuned to your liking without you knowing it. Maybe you’ve been looking for what the bass should sound like in a harmonious profile and you never knew until you tried these Yanyin’s. And they are so good because they make the midrange better, which is simply stellar. The compromise comes in the high end, which is not as explicit as some might look for. But then again, we’re arguably in for some of the best treble tuning, from sweet, velvety-sounding IEMS. If we add to this the fact that they are technically excellent, that they have a natural and realistic timbre, with hardly any BA sound, we are back to the beginning of the conclusion: there may be many good IEMS, but the Yanyin Aladdin are one of the best hits of the year.



Sources Used During the Analysis


  • Tempotec Sonata E44.
  • Earmen Sparrow.
  • S.M.S.L Sanskrit 10th MKII + iFi ZEN CAN.
  • Tempotec Variations V1-A + Hidizs DH80S.
  • Hidizs S9 Pro.
  • Burson Audio Playmate.
  • E1DA #9038D.