Preface:

You can purchase C3 MKII at the following link (not an affiliate link):
https://www.linsoul.com/products/tinhifi-c3-mkii

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: This is a review unit from Linsoul however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by Linsoul, TIN HiFi or any other entity for this review. My assessment is based solely on my personal experience with the product.

I do get to keep the unit after review but that had no influence over the opinions expressed below.

Linsoul Store links (None of them are affiliate links):

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER

Sources used:

• Google Pixel (Gen 2) Type C to 3.5mm dongle
• iBasso DC Elite
• iBasso D16 Taipan
• Hiby RS6
• Chord Hugo 2 + 2go

Introduction:

TinHifi has steadily carved its niche in the budget audio world. They've consistently offered IEMs with commendable performance at affordable prices, and many of us have likely experienced one or two of their models over the years. Some of their notable releases include the T2, T3, and the original C3, all of which garnered praise for their sound quality relative to their cost. With the C3 MKII, TinHifi aims to build upon this legacy and deliver another compelling option in the budget segment.

Box Contents:

• IEMs
• 0.78mm 2-pin Cable (3.5mm terminated)
• 05 pairs of silicone tips
• Storage case

 

Unboxing Experience:

The IEMs arrived in a compact and sturdy box, with the C3 MKII units themselves in the storage case. Inside, I found a selection of ear tips in various sizes, which is always a welcome sight. The included carrying case was a bit larger than I expected, but hey, who am I to complain about extra space? It's perfect for storing the IEMs, extra tips, and even a small dongle if needed.

 

 

I'm not quite sure what TinHifi means by 'High Sex Energy' when describing the N52 neodymium magnet in the C3 MKII's driver. I'm assuming in less colorful terms, means it's a strong magnet that contributes to the driver's dynamic performance. 

 

 

Design and Build:

The C3 MKII has an understated design. The resin shells have a smooth, polished finish that feels nice to the touch. They're not overly flashy, but they have a certain elegance to them. The shells feel robust for an IEM in this price range. The resin shells seem durable and I've been using them for a while now, and they've held up well to daily wear and tear.

 

 

 

Speaking of the cable, it's a fairly standard affair. It's black, relatively thin, and feels reasonably durable. While it's not the most premium cable I've encountered in this price bracket (I'm looking at you Dunu), it gets the job done without any fuss. The 3.5mm termination feels sturdy, and the y-split and chin slider are functional, though the slider can be a bit loose. I would have preferred a slightly tighter slider to keep it in place, but it's a minor quibble.

 

 

Wearing Comfort:

Comfort is paramount when it comes to IEMs, and the C3 MKII doesn't disappoint. The lightweight design and ergonomic shape make them disappear into my ears. I've worn them for hours on end without any discomfort. The ear tips create a good seal, which is crucial for both comfort and sound isolation.

One thing to note is that the C3 MKII is designed for a deeper fit. This might not be ideal for everyone, but I personally found it to be very comfortable and secure.

 

 

 

Driveability:

Although I could not find the impedance or sensitivity numbers anywhere, the C3 MKII is a breeze to drive. It's sensitive enough to be powered by most sources, including Type C to 3.5mm dongles. I've used them with my Google Type C to 3.5mm dongle, DC Elite and a dedicated DAP, and they've performed admirably with each. No need for a crazy powerful amp here!

Sound Analysis:

Tonality

The C3 MKII greets you with a balanced sound signature, but there's a subtle warmth that permeates the entire frequency spectrum, making it enjoyable for long listening sessions. This balanced approach makes it incredibly versatile across genres, handling everything from acoustic jazz to electronica with grace.

Sub Bass

The sub-bass on these IEMs is surprisingly potent for the price point, reaching down into the depths without ever becoming boomy or overpowering. It's clean, controlled, and adds a satisfying weight to bass-heavy tracks. Listening to "Limit to your love" by James Blake, I was genuinely impressed by how well the C3 MKII handled the deep, rumbling bassline. It maintained its composure even when things got intense, allowing the sub-bass to shine without muddying the rest of the mix.

While the sub-bass extension is commendable, hardcore bassheads might find themselves yearning for a bit more rumble and slam. In tracks like "Why so serious?" by Hans Zimmer, where the sub-bass frequencies are prominent and intended to be felt as much as heard, the C3 MKII's sub-bass, while present, lacks the visceral impact that some might desire.

Mid-bass

Ah, the mid-bass, where the C3 MKII's warmth truly comes alive! It's punchy, textured, and adds a delightful thump to kick drums and basslines. The decay is on the slightly slower side, which contributes to the overall warmth and fullness of the sound. This is where I personally feel the C3 MKII shines. "Madness" by Muse, with its driving bassline, absolutely slaps on these IEMs! The mid-bass provides that extra oomph that makes you want to tap your feet and nod your head.

In some instances, this slightly slower decay can lead to a minor lack of separation in busy tracks. In songs like "YYZ" by Rush, where the bass guitar and kick drum intertwine in intricate patterns, the C3 MKII might not offer the absolute cleanest separation between the two.

Lower Midrange

The lower midrange is where the magic of male vocals happens, and the C3 MKII doesn't disappoint! It's well-balanced and present, providing a solid foundation for those baritone voices and instruments that occupy this range. Listening to Johnny Cash's "Hurt," I was captivated by the richness and depth of his voice. The C3 MKII rendered his vocals with a natural warmth and presence that sent shivers down my spine.

While male vocals generally sound fantastic, some instruments in the lower midrange, like cellos, can occasionally sound a tad thick. In orchestral pieces like "Jupiter" from Gustav Holst's "The Planets," the cellos, while still enjoyable, lacked a bit of the definition and texture that I would have preferred.

Upper Midrange

The upper midrange is where female vocals and instruments like violins and trumpets take center stage. Thankfully, the C3 MKII handles this region with finesse. It's clear, detailed, and never harsh or fatiguing. In "Hide and Seek" by Imogen Heap, her ethereal vocals soar through the mix with incredible clarity and emotion.

One minor observation is a slight dip around the 4kHz mark, which can sometimes result in a subtle lack of presence for certain female vocals and instruments in that specific range. For example, in "Running Up That Hill" by Kate Bush, her vocals, while still clear and enjoyable, lacked a bit of the bite and edge that I'm accustomed to hearing.

Lower Treble

The lower treble is where things start to get sparkly! The C3 MKII strikes a good balance here, providing ample presence and detail without ever veering into harshness or sibilance. Cymbals shimmer, hi-hats sparkle, and there's a lovely sense of airiness to the overall presentation. Listening to "Take Five" by Dave Brubeck, I was tapping my feet along with the crisp percussion and vibraphone.

It's worth noting that the lower treble can occasionally exhibit a slightly uneven response, with some peaks and dips that might become noticeable with certain recordings. In "Kashmir" by Led Zeppelin, the cymbal crashes, while generally well-rendered, occasionally displayed a slightly splashy quality.

Upper Treble

Now, let's reach for the stars—the upper treble! The C3 MKII extends well, providing a good amount of sparkle and air without becoming harsh or fatiguing. It's like a sprinkle of fairy dust on the music, adding that extra bit of magic. In "Violin Concerto No. 1" by Max Bruch, the C3 MKII beautifully captured the delicate nuances and overtones of the violin, creating a truly captivating listening experience.

While the upper treble extension is good, it's not the absolute best I've heard. In tracks like "The Great Gig in the Sky" by Pink Floyd, where the upper treble frequencies are crucial for creating a sense of space and atmosphere, the C3 MKII's performance was slightly less impressive. The sense of air and sparkle was present, but it lacked the ultimate extension and "shimmer" that I've experienced with some higher-end IEMs.

Soundstage

The soundstage on the C3 MKII is surprisingly spacious for an IEM in this price range. It's not quite an out-of-head experience, but it definitely doesn't feel cramped or confined. There's a decent amount of width and depth, and the imaging is surprisingly accurate. Listening to "Stimela" by Hugh Masekela, I was pleasantly surprised by how well the C3 MKII placed the various instruments in the mix. It created a sense of space and depth that added to the overall listening experience.

The soundstage height, however, is somewhat limited, which can sometimes make the presentation feel a bit two-dimensional. In orchestral pieces like "Symphony No. 5" by Beethoven, where the vertical placement of instruments is crucial for creating a sense of scale and grandeur, the C3 MKII's soundstage felt a bit flat.

Layering and Separation

The C3 MKII does a commendable job of layering and separating instruments, especially considering its price point. It's not the last word in resolution, but it manages to keep things organized even in busy passages. In "Bohemian Rhapsody" by Queen, the C3 MKII deftly navigated the complex arrangement, allowing me to appreciate the individual layers of vocals and instruments without them becoming a jumbled mess.

When pushed to its limits with extremely dense and complex tracks like "The Dance of Eternity" by Dream Theater, the C3 MKII's layering and separation capabilities start to show their limitations. While it still manages to keep the presentation from falling apart completely, some finer details and nuances might get lost in the mix.

Timbre

The timbre of the C3 MKII is largely natural and realistic, which is always a welcome quality in any audio gear. Instruments and vocals sound believable, without any glaring colorations or unnatural textures. Listening to "Hallelujah" by Leonard Cohen, I was moved by the raw emotion in his voice, which the C3 MKII reproduced with remarkable fidelity.

There's a slight hint of metallic sheen to the timbre, particularly in the upper midrange and lower treble. This is a minor nitpick, and it doesn't detract significantly from the overall listening experience, but it's something that I noticed with critical listening.

Coherence

The C3 MKII exhibits good coherence across the entire frequency spectrum. The different frequency ranges blend together seamlessly, creating a unified and harmonious presentation. In "Stairway to Heaven" by Led Zeppelin, the C3 MKII demonstrated excellent coherence, allowing the track to flow effortlessly from the quiet acoustic intro to the powerful climax.

The slight emphasis in the mid-bass and the occasional peaks and dips in the lower treble can sometimes introduce a minor disconnect between those specific regions and the rest of the frequency spectrum. This is a subtle observation, and it doesn't significantly impact the overall coherence, but it's something that I noticed with critical listening.

Detail Retrieval

The C3 MKII is a decent performer when it comes to detail retrieval. It's not the most resolving IEM out there, but it manages to unearth a good amount of musical information without ever sounding analytical or clinical. In "Teardrop" by Massive Attack, the C3 MKII revealed subtle textures in the strings and nuances in the vocals that I hadn't noticed before.

Compared to other IEMs in its price range, the C3 MKII holds its own. It doesn't necessarily outperform all its competitors, but it certainly doesn't fall behind. It strikes a good balance between detail retrieval and musicality, making it an enjoyable listen for a variety of genres.

Conclusion:

So, where does the TinHifi C3 MKII stand in the grand scheme of things? Well, the budget IEM market is a battlefield, with new contenders emerging constantly. It takes something special to stand out from the crowd, and I think the C3 MKII has a tuning that's fairly to be unremarkable in this price range. What does set the C3 MKII apart is its overall value proposition. It's not just about a single standout feature; it's about the whole package. You get a balanced and enjoyable sound signature, a comfortable fit, a robust build, and all this at a price that won't break the bank. That's a combination that's hard to beat!

Sure, it's not perfect. There are IEMs with more impactful bass, a wider soundstage, or a higher level of detail retrieval. But at this price point, it's about finding the right balance of strengths, and the C3 MKII does decently well.