With 7 Cannons Per Band

Ratings

Pros

• Bass practically canonical, natural, dark, deep, voluminous and powerful.
• Big and wide mids.
• Extended treble.
• Sweet, mellow, musical, warm, very pleasant sound, totally free of sibilance, very suitable for long listening.
• Wide and voluminous soundstage.
• Very good accessories (cable, case, silicone tips…).
• Ergonomic and comfortable.
• Two switches for three levels of bass intensity and impedance.

Cons

• The treble may be too soft for some, it does not have a high level of energy.
• It’s possible that for the price the audience will ask for a fuller sound in that upper range.

Purchase Link

https://www.linsoul.com/products/yanyin-canon-pro

Link to the Store

https://www.linsoul.com/

Introduction

Yanyin is one of those relatively obscure brands that have always caught my attention. Based in Fujian province and manufactured in Sichuan province, it distances itself from the rest of China’s brands with a low profile and distance in its launches. But these are certainly products that stand out in their own right, without the need for any publicity, just on their own merits. The Yanyin Canon Pro are the second IEMS from this brand that I have had the pleasure of reviewing. The first ones were the Yanyin Aladdin and with them my attraction to the brand began. Yanyin is known for making hybrid IEMS with semi-custom resin capsules. The most common configuration is a dynamic driver plus several BA drivers. They also have several tribrids, like the HBB Mahina and the Moonlight (and its variations), composed of 2EST + 4BA + 1DD or a full BA with ten drivers like the Carmen. But the most evolved series started with the Canon model: a hybrid monitor with 1DD+4BA and three tuning switches. The success of this model was followed by the Canon II version, with the same number of drivers, but only two switches. In this review I will look at the latest version of this saga, the Yanyin Canon Pro, which has 1DD+6BA and two tuning switches. With the addition of these two BA drivers a wider frequency range, more clarity in sound layering and detail is achieved. The dynamic driver has an LCP dome diaphragm and is mounted on a liquid silicone ride edge. The two additional units take care of the high frequencies, while the rest take care of the rest, generating a dense sound, perfectly integrated with all three bands. And to make that happen, Yanyin has used four electronic frequency crossovers in addition to four physical drivers. As standard in the Canon series, two tuning switches have been retained to accommodate a variety of musical styles, giving you more flexibility in your listening experience. The switches are designed to control the bass. The frequency response of the headphones works like a seesaw: too much bass can mute the treble, while too little bass naturally brightens the treble. However, the adjustment switches are not equivalent to adjusting an equaliser; they employ an electronic crossover method that ensures no distortion occurs. Note that each setting offers a different impedance, with the treble mode having the highest impedance and the pop mode the lowest.
High-quality monocrystalline copper has been used for the cable, featuring a 22AWG single-core design with 140 strands precisely stranded in four groups, along with refined alloy hardware. The result is a lightweight, comfortable and durable cable that offers near-flagship sound clarity, delivering a pure and unadulterated audio experience.
Let’s see what the latest model in this series has to offer in this review.

Specifications

• Driver Type: 1DD 10mm with LCP + 6BA diaphragm.
• Frequency Response: 20 Hz – 25 kHz.
• Internal technology: Combination of 1DD and 6BA drivers per side, 4 electronic crossovers and 4 physical drivers.
• Capsule Composition: 3D printed resin.
• Cable Composition: Type 4 monocrystalline copper, single core 22 AWG with 140 wires.
• Sensitivity: 104 dB.
• Impedance: 18Ω at 1 kHz.
• Passive noise reduction: 26 dB.
• Jack Connector: gold-plated with a choice of BAL 2.5mm, SE 3.5mm and BAL 4.4mm.
• Capsule Connection Type: 2Pin 0.78mm.
• Starting Price: $399.99.

Packaging

The Yanyin Canon Pro comes in a medium-sized box with dimensions 193x132x62mm. The colour of the case is mainly white, while the main face is made up of lines that form triangles, some of which are coloured blue, yellow or light red. The model name is in the centre of the box in holographic ink. There is a small description in Chinese at the bottom of the box, while the brand logo is in the top right corner. On one side are the brand’s calligraphy. On the back are the product specifications, a QR with a link that goes nowhere, the logos of the certifications it holds and a label indicating the 4.4mm cable model. There are also a couple of linear codes, one of which is the serial number. Note that all the text is in Chinese. After removing the outer cardboard you can see a completely black cardboard box. After opening it you can see a round blue case on the left and the IEMS on the right. All this inside a black foam mould to protect the elements. Underneath the capsules is a black cardboard envelope with the brand logo and underneath are the silicone tips. With the help of a black fabric loop you can access the bottom layer of the packet to see the rest of the contents. The complete contents are as follows:

• The two Yanyin Canon Pro capsules.
• One round blue leather case.
• Three pairs of black silicone tips, sizes SxMxL.
• Three pairs of crystal clear silicone tips, sizes SxMxL.
• One four-strand cable with 4.4mm plug.
• One warranty card with product serial number.
• One instruction manual.
• A VIP card.
• A small quality control card.
• A pin to move the mini switches.

The zipped case is a very good size, made of very good quality blue leather. It has the logo inscribed on the top. The zip is gold-plated and the inside is padded and lined with blue velvety fabric. The cable is excellent, with four thick strands of very shiny copper. There are two sets of silicone tips, one of which is a crystal clear type for better sealing. There are no foam tips, but it is clear that this type of tip is falling into disuse, in favour of newer silicone tips such as crystal tips. Overall I don’t miss anything for the price. It’s a sober presentation but with high quality accessories, totally worth the price.

Construction and Design

The capsules are made of resin and 3D printed. Their shape is semi-custom. The shape of the outer face is reminiscent of the African continent. Under the crystallised face there is glitter of different colours: starting from the top there is a red-magenta mixture, the second part is orange-coppery, followed by a sky-blue part, while the apex is whitish as if formed by salt crystals. There is another series of bluish or greenish crystals scattered along the edges of this face. In the centre of the right capsule is the brand logo in metallic colour, while the left one reads Canon. The capsules are thick and on the edge are the two switches. Above it is a relatively large hole covered with a metal grille. This edge is slightly translucent and you can see the BA drivers inside. The 2-pin 0.78mm connection interface is fully integrated into the capsule. It is a rectangular, transparent plastic pickup with gold-plated connectors. The inner side is rounded, but has no protrusions on its edge. In the centre you can read the model name and the number 250090 written in gold ink. The mouthpieces are made of metal and have three diameters. In the middle there is an arrow-shaped crown to facilitate the anchoring of the silicone tips. Their diameters are 5.7mm and 6.5mm and their length is approximately 4.3mm. The orifice of the nozzle is covered with a dense metal grid.
The cable consists of four strands intertwined with each other. The conductor is made of very shiny copper and the sheath is made of very transparent PVC which reveals the beauty of the conductor. The plug is gold-plated, while the sleeve is a light-coloured brushed metal cylinder. On one side it has the brand logo in white ink, while on the other side there is a pair of sinuous longitudinal lines. The cable outlet is protected by a small transparent silicone cylinder. The splitter piece is another very similar but smaller cylinder, but with two slanted rings around it. The pin is a ring of the same colour and material, whose hole fits the two strands quite well, although the grip is a little loose. The sleeve of the 2Pin 0.78mm gold-plated connectors are two smooth cylinders just like the other parts of the cable. The cable has transparent guides to provide the over-ear shape.
The capsules are in the style we are used to from Yanyin, made of dark-coloured resin, with flowing or glitter patterned outer faces. In this case, the cable seems to have received an upgrade over the previous models in the series, it seems slightly thicker and is made of copper, while the previous ones were silver plated. There is no doubt that the result and the combination of all the elements offers an outstanding package at the price point.

Adjustment and Ergonomics

All the Yanyin models I know of seem to be made of medical grade resin and have a semi-custom shape. The Canon Pro’s are a little thicker and the capsules are relatively generous in size (attention to those with small ear pinnae). In my case the size is just right. The shape fits very well into my pinna, taking up the entire size of my ears. And thanks to the crystal silicone tips the final fit is very occlusive, as well as achieving a superior level of adhesion thanks to this material. The fit is very high and the feeling of isolation is also very good. The insertion can vary from shallow to medium, depending on the individual canal, but the not too long length can limit the degree of insertion. In my case the fit is shallow and I can’t go any further, because I use the crystal silicone tips which I have filled with foam and also because the inner side of the capsule is already blocked by my pinna. Be that as it may, the result is quite good, there are no protrusions that bother or touch the external parts of the ear, although I must repeat that the size of the capsules is relatively large and thick.
I have worn the Canon Pro for several hours at a time, with and without music, to see if there is any adjustment fatigue or discomfort from prolonged use. I must say that they are quite comfortable, but I must also point out two points: the size of the capsule takes up the entire pinna and if you force it, it can become uncomfortable after a few hours. The second point is that the weight of the cable can also make the over-ear guides uncomfortable.

Sound

Profile

The profile of the Yanyin Canon Pro is balanced with a slight sub-bass boost, which can be controlled by the tuning switches. The tuning switches seem to only affect the bass, while changes in the treble are almost imperceptible. They also alter the impedance, which can change the impression of the sound and the sense of loudness of the sound due to changes in volume and current demand. At switch position 00 the amount of bass is light, it becomes a neutral tuning with a somewhat lean first half of the mids. Positions 01 and 10 are about the same and both add quite a bit of punch to the bass and fill out the first half of the mids. Position 11 adds that extra punch in the low end for those who, like me, are always looking for that extra punch in the low end. It is clear that, as the manufacturer itself says, lowering the bass increases the sense of brightness and detail, but raising the bass also adds volume and depth. So the three bass levels are very welcome indeed.
As a very balanced and homogeneous IEMS the frequency range from 20Hz to 12kHz moves in less than 10dB. The pinna gain is very controlled and in the positions with some switches activated there is hardly a difference of 6/7 dB between the lowest part of the mids and the highest part of the highs. On the other hand, the treble is in slight roll off but remains very well extended without hardly showing any obvious drop. The sound is quite full in the bass, with a wide, juicy and balanced midrange and extended, controlled treble with a very musical touch of smoothness. It is clear that the Canon Pro’s are tuned to be really very musical, full, natural and enjoyable. Pure pleasure.
As a good Bass-Lover the position I like the most is 11, but I will also use the other positions to evaluate the technical characteristics of the Canon Pro.

Bass

As usual, the great danger of any DD+BA hybrid lies in the negative influence of the BA drivers’ behaviour in the bass. For this it is essential to use good frequency crossover filters in order to avoid any anomalous undulations coming from the BA drivers. And this is established in the Canon Pro and demonstrated in the very low-frequency pure tone test. In this type of IEMS it becomes, almost, my first test for assessing bass quality. And starting with the 20Hz pure sine tone the Canon Pro’s present a high physical component, with a sense of sensory power that is clearly perceived. On the audible side there is a slight, subtle undulating rumble, but nothing serious. As the frequencies rise, the purity of the sound increases and this vibrating rumble disappears. The bass colour is quite dark and loaded with a penetrating and powerful physical part. The tone at 30Hz is almost reference-like, quite pure, dark, energetic, deep and voluminous. The LFOs feel quite analogue, natural and realistic. Frequency filtering is very good and the BA’s remain sonically disabled. The translation of this behaviour to real music is excellent. Bass is deep, dark, powerful, with very good punch and a very good physical component. The bass-midrange is limited and that means that the bass extension is not very high. The punch remains somewhat dry, in that dark state, while the more sonorous phase remains more clipped. Those looking for a bit more juice in the bass might find it a bit short, because the Canon Pro concentrates on the more physical, deeper and darker part, being somewhat contained in that extension. On the other hand, the perceived bass rumble is also very controlled. It is clear that there is elasticity in the bass and that is something that gives it a very striking realism and appeal. But that elasticity moves into the sub-bass, becoming a distinct and powerful physical component, making the bass deeper and darker, even offering a slightly inverted fading sensation: the bases, instead of becoming more audible, become darker, denser and more physical. The great advantage of this behaviour is its control and low bleed into the mids.
In the dirty, complex and unfiltered bass test the result is almost overwhelming. In those songs where the sub-bass component is high the level of energy it is able to generate is quite pronounced. However, the contrast with the vocals is so broad and differentiated that it is completely clear what level of control it possesses. The bass is perceived as coming from a very deep place, a chasm that emanates a physical power that is clearly distinguishable in a sensory way. The texture is very tangible, with a very fine roughness but one that manages to scrape the ear by its level of energy rather than its roughness. The sub-bass is slightly magmatic, dense, dark and offers an almost impenetrable sensation. However, it is very well controlled, as it is also very fast with that almost reverse fade, which allows it to draw the bass lines in a very precise and defined way. The bass and base lines are shown perfectly separated and despite the complexity and dirtiness of both, the Canon Pro manages to make them distinguishable without any problems. In this way, the generation of layers, the stratification of the bass lines and the bass drums are powerful, physical, yet resolute, fast, controlled, maintaining a high level of energy, body and volume that travels from the deepest part to, almost, the surface of the music. A real pleasure when good analogue sources are combined.

Mids

It’s clear that the Canon Pro’s have a rather obvious warm component, not bright IEMS or exalted upper mids. In this way the first half of the mids are better represented, achieving a physical, bodily component in male voices that I like. The lower voices also emerge from this depth, enjoying a broad, dense base, with a distinct textural feel that caresses my eardrums. There is obviously a lingering sense of a slightly more nuanced sound, an impression that can be minimised by turning the switches down from position 11 to 00, or staying in the middle ground. The instrumentation is dense, punchy, with a distinct analogue feel and a slightly muted, soft timbre. But that doesn’t detract from the detail. This is where the true power of well-tuned BA drivers is demonstrated, working in favour of detail in warm tuning. Even at position 11 the Canon Pro’s are able to show plenty of informative capability and micro detail. Positions 10/01 lower the density of the first half of the mids, but maintain the presence and proximity of this area to the listener. On the other hand, the 00 position does generate that feeling of lightness and hollowness that I tend to shy away from. And I also don’t notice a greater presence in the micro detail of the midrange in that 00 position, apart from the obvious thinning of the mid-bass and a reduction in the feeling of warmth, base, depth and physical component of the sound. That’s why my preferred positions are still 10, 01 and 11, with a preference for 11 to enjoy a very good bass. And it is with this last tuning that I get that mix of density, physicality, body, presence and homogeneity that I so much look for and appreciate.
The second half of the mids is still soft, with a very slight emphasis around 2.5kHz. This is certainly a very typical Yanyin tuning, very similar to what the Aladdin already had, but with an improvement both in the lows and in the expressiveness and balance of the mids and highs. In this way there is less imbalance between the male and female voices. And that makes it a very suitable model to enjoy all the voices, but also without losing sight of all the instrumentation. It gives the sensation that both the voices and the instruments are very choral, forming part of a presence that is not entirely close, but very lush, generating an impression of a luxuriant, dense and very nourished sound. All the information is represented in a very close, very rich way, with a very balanced treatment, but it is not continuous, but there is an excellent ability to separate and generate layers, which allows both macro and micro detail to breathe and be represented, although it is not an analytical profile by any means. Without a doubt, the Canon Pro is that kind of warm, very expressive, informative, rich, analogue, very pleasant and musical IEMS, where all the bands are very well represented and where the overall sound is the most important thing, so the centre range is paramount. And the Canon Pro’s have achieved this.

Treble

The Canon Pro has this kind of treble in the service of the mids. It is a gently nuanced, diminishing pitch, which this time has no hollows and is extended until it reaches the edge of the air zone. It is at this point that it falls a little short, generating a somewhat drier, more analogue sound. The Canon Pro’s are not tuned for brightness and the treble is never penetrating or energetic, but remains in that warm, silky, slightly more rounded phase, where the high notes never crackle, nor are they ever sharp. The treble timbre is on the natural side, nuanced, with a very restrained, pleasant sparkle, which never rips. Lovers of higher notes with more edge will be somewhat disappointed with the presentation of these IEMS. It will definitely not be their favourite set. However, the sharp detail is inescapably there, generated in a subtle, very fine and polished way. It is not obvious, but it is always present. And that’s because the Canon Pro’s are pretty good at resolution, even in this smooth, mellow high end.

Soundstage, Separation

The scene is depicted in a broad oval shape that clearly exceeds 180°, but without being completely surrounding. The volume is large, the musical impression generated seems to occupy a lot of space. There are no hollows and the stage seems full and complete, dense, but it does not appear impenetrable or too busy, but rather fluid and well-structured, with a good sense of air and transparency between the notes and the elements that make up the sound image. The sense of height is good, but there is no sense of a very high volatile or gaseous aspect. The sound feels slightly evocative, expansive, but maintains a certain attachment to the base. Details and small elements have a tendency to approach the listener in a gentle, never aggressive way, generating a pleasant sense of scene, which conjugates very well the near, middle and far planes without mixing them, but without a clear predominance of any one. The laterality is noticeable, as is the stereo feel, but the scene never comes across as very three-dimensional or holographic, but more realistic, with a good depth component and that special accent when it comes to recreating layers and texture.
The separation is very good, without being an analogue headphone, we can observe an analogue clarity, an organic transparency that allows us to make out a background with a very pleasant darkness and to enjoy that real silence when it exists, thanks to the very good feeling of dynamics and speed in the transients.
The image and the position of the elements is very evident, both in the horizontal position, as well as between channels and also between planes. In this sense, the elements are very well placed in space, generating a very well structured scene both in position and volume. This is where orchestral, symphonic compositions or the most holographic electronics feel truly reinforced, thanks to the volumetric and magmatic amplitude of the Canon Pro’s stage.

Comparisons

LetShuoer Cadenza 4

I like to compare IEMS whose frequency response is very similar, even if the prices are not exactly the same. The LetShuoer Cadenza 4 is also a hybrid set with a dual chamber dynamic driver with 10mm beryllium coated diaphragm + 1 BA Sonion + 2 BA Knowles. That’s four drivers in total versus the 7 drivers of the Canon Pro (1DD+3BA vs 1DD+6BA). Their starting price is 249$ and I can already say that they were one of the best IEMS in that price range last year. Maybe, comparing them with the Canon Pro, their 7 drivers and their $400 starting price is not the most appropriate. But it is clear that it can be useful to know where this new Yanyin model stands.
The Cadenza 4 has been created by Heygear Technology. They have an anodised aluminium outer panel, while the capsule has been 3D printed in resin. Their shape is very semi-custom, with protrusions on the rim, something that makes them fit better, but their comfort is a little more critical as the hours go by. The presentation of the Cadenza 4 is stellar, with the packaging combining several drawers. There’s the classic round rubber case with an all-black screw cap, the modular cable with three terminations, a 392-strand high-purity silver-plated monocrystalline copper cable and two sets of three pairs of silicone tips. Yanyin, on the other hand, has been a little more restrained in its packaging, but also offers a larger round leather zippered case, a four-strand monocrystalline copper Type 4 cable, a single 22 AWG core with 140 strands, two sets of silicone tips, one of them with crystal silicone. I think LetShuoer’s packaging is superior. But I think the accessories are a notch above Yanyin, better cable (although it doesn’t have detachable pins), better case, even better tips. You also have to take into account the $150 price difference, so LetShuoer has done very well.
As I said, the Cadenza 4 capsules are very light and have a great fit, but the Canon Pro capsules are more comfortable. Also, I have always struggled to find the best tips to extract the best sound from the Cadenza 4’s. However, with the Canon Pro’s and their large crystal-like tips that I have filled with foam, they make an excellent combination.
The frequency responses of both IEMS (Canon pro in position 11) are very similar up to 2kHz, only after that the differences appear. The Cadenza 4s have a higher midrange and a treble with a couple of dB more energy. That makes them IEMS that have more sparkle and clarity, not as nuanced or warm as the Canon Pro. On the other hand, it’s worth noting that the Canon Pro’s have two switches that allow for 3 different tunings that change the amount of bass energy as well as impedance. From all this it is clear that the profile of both models is very similar, with that smooth, decreasing W-shape.
The Cadenza 4’s are more difficult to move, while the Canon Pro’s need a distinctly lower energy level.
Starting from the low end, the Canon Pro in its 11 position has a slightly higher energy level at the sub-bass end. There is a clear difference between the bass of the two IEMS. The bass in the Canon Pro is much darker and deeper than in the Cadenza 4. The sense of punch, darkness, texture, volume, body and physicality is superior in the Yanyin. It is also true that with the Canon Pro the fit with the tips is better and the bass perception is superior. But this does not minimize the fact that the Cadenza 4’s bass has less energy, more colour, less natural, organic and realistic timbre than the Canon Pro. It’s not that the Cadenza 4’s bass is bad at all, but the Canon Pro’s are clearly better. And that is something that is noticeable in the very low frequency pure tone tests. In the Cadenza 4s there is a low physical/sensory sensation and a coloured, sonorous, out-of-tune vibration prevails. Realism and naturalness appear from 40Hz onwards, but the colour still anticipates the energy level and a classic behaviour emitted by a simple dynamic driver. The behaviour of the LFOs in the Canon Pro is almost canonical, with excellent reproduction, combining physicality, darkness, naturalness, analogue feel, realism, volume, depth and the wave/vibration sensation is almost nil.
The toughest battle is in the mids. The Cadenza 4s are more explicit, with a punchier, brighter flavour. The Canon Pro remains more relaxed, warm and smooth, not showing a hint of harshness, something you find in the Cadenza 4. In the Canon Pro the male vocals are softer and not as predominant as in the Cadenza 4, where they are more obvious and excited. If you are looking for clarity, a sense of brightness and a closer, more dramatic, yet less refined positioning, the Cadenza 4 mids will be the ones to go for. I could define the sound of the Cadenza 4 mids as more naked, it is more transparent, less dense, less lush, less rich, but more obvious and projected. It is also more sibilant, less musical and a little more penetrating. But, for better or worse, it is somewhat more analytical, though also a little rougher and with a grittier definition. By contrast, the Canon Pro is very mellow, smooth and pleasant, also more nuanced, with more body, density and a sweeter timbre. The mids have more cohesion and musicality. You seem to feel the lower amount of drivers in the mids because the Canon Pro’s generate a broader and denser musical feel, while the Cadenza 4’s are somewhat more concrete, as if they simplify the music into a clearer form, but with less information.
The Cadenza 4’s amount of brightness and sparkle in the treble brings a slightly more realistic timbre, with more penetrating notes and a little more life to the rest of the range. The Canon Pro feels more nuanced and with a more rounded, less natural treble timbre, as its tendency is more muted and softened. Both have a decreasing pitch in the treble, but that higher amount of energy in the Cadenza 4s makes the notes finer, more expressive, informative and appropriate than in the Canon Pro, where the softness and warm tuning is over-emphasised in the high end.
The feel of the scene is different on both IEMS. While on the Canon Pro the amount of music generated is very large, that is something that makes the scene appear very wide, larger than it may seem at first glance. The scene is bigger, fuller, fuller, has more volume on the Canon Pro than on the Cadenza 4. However, the LetShuoer gives the feeling of having a little more separation, generating as it does more space between notes, more projection and more expansive feel. There is a more piercing, sparkling and volatile character to the Cadenza 4s, more hollowness in their sound. But this also makes the micro detail a little more visible, a little more defined and naked, though perhaps not as refined. The Canon Pro’s are more cohesive, with a more voluminous, full and magmatic soundstage. Micro detail is present, but it’s a little more tied to the music, it doesn’t have the more concrete feel of the Cadenza 4’s. However, the level of refinement and resolution is higher on the Canon Pro.
It is clear that the differences in tuning from 2kHz upwards play to the advantage of the Cadenza 4s, which become more obvious and conspicuous, generating a number of strong points in their favour. But the Canon Pro’s level of musicality, richness and lushness, as well as its bass quality and level of refinement/resolution puts it on that higher quality rung than the LetShuoer Cadenza 4, clearly justifying the price difference between the two. Then there is individual taste, especially in the high end tuning of the Canon Pro.

Conclusion

The Yanyin brand has always been, in my eyes and ears, one of my desired brands. Ever since I tried the Aladdin model, I have been eager to try some of their other models. Now, I have that pleasure again and no less than with the third model of the Canon series, the Yanyin Canon Pro, an IEMS with a 10mm 1DD with LCP + 6BA diaphragm. It has two microswitches to obtain up to 3 degrees of intensity in the bass, as well as to modify the impedance of the set. Its tuning is classic within the brand and is really very similar to that of the Aladdin model. The bass is powerful, deep, dense, very natural, dark, voluminous, very well articulated, defined and with enough power and ability to reproduce any genre without problems. I love that deep, dark power, as well as its almost canonical behaviour when I have subjected it to my most demanding battery of tests. As for the midrange, it feels very full, with a distinctly warm, full-bodied first half of the midrange, sufficient physicality, richness and informativeness. The midrange has no hollowness, nor does it feel thin. The second half of the midrange is gently emphasised to gain enough clarity, transparency and luminosity to prevent the whole from becoming dark, even at the 11 o’clock position (which I like best). The high end is clearly soft and nuanced, yet very well extended. Without a doubt, this is a very musical tuning, highly pleasant and enjoyable, totally geared to enjoy the bass and mids for hours on end. It is also true that the high end is very controlled in its energy level and this should be taken into account for those looking for a spicier, sharper, more explicit, analytical and cooler sound. Despite all this, the Canon Pro’s are technical enough without spitting detail in your face. In addition, they have a wide, voluminous, broad and expansive soundstage, a very well-structured image, all with a very good level of textural texture and layering capability.
In terms of accessories, the cable is excellent, as is the large leather case with zip, as well as the detail of a second set of crystal silicone tips. Finally, it is worth mentioning its great comfort, although the size of the capsules is in that medium/large point, something to take into account. It is true that the price is almost $400 and you have to be very clear about the sound offered by this new model. But if you like the tuning, it will certainly not disappoint anyone.

Sources Used During the Analysis

• iFi GO bar Kensei.
• EPZ TP50.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602 + ifi ZEN CAN 3.
• Tempotec MARCH V.
• Tempotec V3 Blaze.