Today, I’m reviewing the Yanyin Canon Pro IEM. The Canon Pro is a hybrid 7-driver IEM 1DD+6BA with 3d-printed resin shells. It’s priced at 399 USD.

Disclaimer: This sample was provided by Linsoul for an honest review. All observations and opinions here are my own, based on my experience with the product.

Yanyin Canon Pro

Specifications

Earphone Cable: Type4 single-crystal copper, single-core 22 AWG with 140 strands
Earphone Housing: 3D printed resin
Driver Unit: 1DD + 6BA Driver Configuration
Crossover Technology: Combination of 1DD and 6BA drivers per side, 4 electronic crossovers, and 4 physical ducts
Sensitivity: 104 dB
Frequency Response Range: 20 Hz – 25 kHz
Impedance: 18 Ω @ 1 kHz
Passive Noise Reduction: 26 dB

Inside the Box

• 1x Yanyin Canon Pro Earphones
• 1x Cable
• 5x pairs of Silicone Ear Tips
• 1x Portable leather carrying case
• Tuning switch tool

Design

The Yanyin Canon Pro’s 3d-printed resin shells are crafted from glossy black resin. The faceplates are black and adorned with scattered silver, blue, and purple metal foil inlays that shimmer and shift colour depending on the light.

There’s a single mesh-covered vent between the 2-pin sockets and the 2 tuning switches. The nozzles have a good lip that holds eartips securely in place.

Despite housing seven drivers per side, the Canon Pro’s shells are about average in size. I find them very comfortable to wear, even during long sessions. Passive noise isolation is excellent, blocking out more external noise than most IEMs.

The Yanyin Canon Pro comes with a high-quality single-crystal copper cable, braided with 140 strands of 22AWG wire. I love how it looks and feels—it has the reassuring weight and supple handling of a premium copper cable. It’s available with 2.5mm, 3.5mm, and 4.4mm terminations, though at this price point, a modular option would have been a welcome inclusion.

Sound

The gear used for testing includes the SMSL RAW-DAC1 with Apos x Community Gremlin, the HiBy R6 III 2025 and the FiiO KA17. The Canon Pro doesn’t require much power but scales quite well with better quality sources.

The Yanyin Canon Pro is something of a contradiction. It delivers a smooth, warm tonality with a laid-back presentation, yet it excels in resolution and detail retrieval. Its sound signature is both balanced and full of character. The bass is elevated and leans toward fun, but it’s grounded by a forward midrange and well-extended treble. The result is a sound that’s impactful and full-bodied, yet articulate and resolving.

Canon Pro Switch Settings

While there are technically four switch combinations, in practice, there are three distinct sound profiles. All three primarily affect the bass to varying degrees. With both switches up (UU), you get the most bass and the fullest overall sound. Both switches down (DD) significantly attenuate the bass and introduce a dip in the lower mids. The one-up, one-down setting (UD) sits somewhere in between but leans closer to UU. Of the three, DD aligns most closely with what many would consider an “audiophile tuning,” thanks to the reduced bass, which allows for greater midrange articulation. The impressions described below are based primarily on the UD setting.

Bass

Any of the sound profiles could appeal to bass enthusiasts, but the UU and UD settings easily qualify as basshead levels — there’s plenty of power, excellent sub-bass depth and rumble, and enough impact to make you sit up and take notice.

Bass notes are slightly rounded, giving them a natural, if not the fastest, presentation. Still, the bass quality is undeniable; the driver holds up well at high volumes, delivering that fatness without distortion or loss of control. In all but the DD setting, the bass bleeds slightly into the lower mids, adding warmth and richness without ever sounding overdone.

Midrange

The midrange is subtly saturated — slightly warmer than neutral, but never to the point of sounding coloured or veiled. Male vocals come through rich yet articulate, while female vocals are radiant and captivating without tipping into harshness. Given the Canon Pro’s powerful bass, there’s potential for the mids to feel overly warm, but the quality and extension of the treble help preserve clarity and separation. So despite the forward nature of both the bass and treble, the mids remain assertive, standing out with impressive fullness and definition.

Treble

I think Yanyin has nailed the treble tuning here. The highs are well-extended and remarkably even, with no jarring peaks or noticeable dips. As a result, there’s no harshness or dissonance, and no detail is lost. At the same time, the treble provides just enough lift to balance the enhanced bass and bring clarity and air to the overall mix. It steers clear of sibilance or sharpness and maintains a clean, natural timbre that enhances the sound without drawing unnecessary attention to itself.

Soundstage & Technicalities

The soundstage isn’t especially large, but it offers a well-proportioned mix of width, depth, and height. Switching to the DD configuration opens up the perceived space without sacrificing depth, though the treble becomes slightly more aggressive as a result. Resolution and instrument separation are above average — even by the standards of a pricier IEM like the Canon Pro. Imaging is solid, supported by strong resolution and clearly defined black space between instruments.

Comparisons

DITA Project M

Project M has a more linear transition from the sub-bass to the midrange, creating a unique forward presentation. This is complemented by an energetic and somewhat bright treble response that is very detailed but more aggressive compared to the Canon Pro’s more natural treble roll-off.

Project M has a more upfront and direct presentation, which is thrilling but can be fatiguing over time, whereas the Canon Pro is easier to listen to for prolonged periods. Project M’s soundstage dimensions are smaller but slightly more detailed, whereas the Canon Pro has a wider soundscape with better layering and resolution.

Moondrop Blessing 3

The Blessing 3 has a warmer presentation, characterised by a full-bodied bass and lower midrange. It’s more V-shaped than the Canon Pro but still has a darker tone. Despite having more fullness in the lows, the Blessing 3 doesn’t have the same level of authority and power in the bass, while the Canon Pro’s sub-bass can really shake your skull.

Blessing 3’s soundstage has slightly more depth but less width. It’s not as detailed or resolving as the Canon Pro, which has better overall resolution and instrument separation.

Verdict

The Yanyin Canon Pro was my first encounter with the brand, and I’ve come away genuinely impressed. From the elegant faceplates with their shimmering metal foil inlays to the surprisingly lightweight shells—despite housing a high driver count and tuning switches—everything feels thoughtfully designed and expertly executed.

While it sits at a higher price point, I believe the cost is justified by the Canon Pro’s standout sonic performance. It delivers excellent resolution and instrument separation, along with a powerful but tightly controlled bass response and treble that extends beautifully without becoming harsh. This is a polished and well-rounded set that has definitely put Yanyin on my radar. Recommended.