TINHIFI C1 10MM Full-size DLC Diaphragm DD IEM Reviews

The TinHiFi C1

10 mm Full-Size DLC Diaphragm In-Ear Monitors

10mm Full-Size DLC Diaphragm
On-Ear Design
CNC Aerospace Aluminum Panel
Low-Frequency Enhancement Technology
2-Pin Interface
HiFi 4-Strand Silver-Plated Cable
Professional Tuning

Redcarmoose Labs September 20th, 2025

Balance:

This preamble is to move forward and describe one of the most important aspects of IEM building and tuning. Here is the thing, a manufacturer takes and adds extra complexity when they try to arrange balance through the use of many drivers. This balance sought is derived from the driver model used, the characteristic personality of the driver used in conjuntion with the driver group chosen, the electronic crossovers and the tube dampeners. Even resulting resonances of the shell structure and the actual positioning placement of the individual drivers. So this control over the desired tone can not be underestimated for emphasis, it is literally the tune that makes up the character of the IEM. Of course the technicalities obtained make a big influence on the end sound, and of course the complete audio chain, meaning the source, the ear-tips, the cable and listeners anatomy in hearing and desired end sound character. With all that said there can still be results in tone which are not correctable at times. Meaning if the actual entity of the IEM response is so far out-of-whack that no different source or ear-tips/cable can possibly align the tune into success. This is even more sideways if the technicalities are lacking to give the IEM in question separation and vivid contrast….thus realism to be possibly found. These features go beyond price point at times as this issue happens on both expensive or cheaper IEMs for sale.

Balance:

The redeeming factor that TINHIF have pushed with the C1 as one of correct, even and complete balance. They did this with a sophisticated DLC 10mm DD. And finished the job with a remarkably comfortable 5 gram a piece IEM. As such while the technicalities are expected for the price point, TINHIFI moved forward again to utilize the tune into so many correct technical features. Meaning the C1 does great bass, the C1 has a nice stage and the C1 even presents correct and separated vocal ideas. There is very little muck or conflict heard, designating an IEM that not only generates an enjoyable signature, but fills that in with enough excitement and elements of sonic value, that the C1 is both user friendly and in in position to correctly play any number of genres, never too hot a Pinna Gain, or too forward or (lacking) behind in any one tuning character. While the treble is smooth, it is not incompetent or boring. This idea is a subtle V shape tuning that is exciting enough yet careful enough to be of value.

TINHIFI C1 Universal IEM:

Look, I don’t always review super budget stuff, but I got my start in the IEM phenomena by personally buying budget gear, as well as having my share sent to me for review. Am I an expert, maybe? While maybe it is not every reviewers dream to cover the under $30.00 dollar sector, I’m very happy with the overall performance of the TINHIFI C1 Universal IEM, and feel it warrants my time and care.

TINHIFI has been around for a long time, and many Head-Fi members gateway brand into experiencing Chinese made audiophile IEMs. Out of my 320 review write-ups I’ve covered 15 different TIN IEMs, this being my 16th TIN review! Now it is safe to say TIN is going for a conservative and easily accessible tune, one for everyone here. That the TOTL Flagship TINHIFI T7 I reviewed back in January has a much more spicy demeanor. This C1 is more relevant in signature to the prior Flagship the T5S. Here the TINHIFI T5S is a remake of the T5. Interestingly enough the original T5 was the very first IEM Linsoul passed out to Redcarmoose Labs for a review.

The TINHIFI T7 moves in frigid waters!

Original T5:

Unfortunately the T5 had a nasty 5kHz peak which meant that I gave it a super low score, maybe due to my rating Linsoul refused to send me any more gear for about a year. Lol

So anyway, TINHIFI learned their T5 lesson and while their recent Flagship the T7 goes to proclaim more treble energies than what is normally found out there in IEM land, still it is a nice yet original bright sounding IEM. The T5S goes about its day smoothing out your music, adding a great single DD timbre and overall just being warm, pleasant and nice!

Side-by-sides:

It could be questioned why I didn’t use the T7 and T5S for side-by-side comparisons. Truth to be told, I wanted to showcase more drastic ideas of slightly different single DD examples, and also strive to proclaim the character of each specimen of IEM art. Meaning there are enough differences for the Sound Rhyme SP01 to somehow actually delineate what we have with the C1. Also since I have been listening to the SPA Limited Edition the last 2 days straight, I thought, why not? Also while being a $429.90 Flagship IEM, it totally could be questionable as to why a whacky reviewer would even attempt side-by-sides here. And again it is using the vibrancy and detail characteristics to show just how the two IEMs differ. Yet after comparing them it was surprising to say the least. You will read about it!

1) Sound Rhyme SP01 $89.00:
2) EarAcoustic Audio SPA-Limited Edition $429.90:

1) Sound Rhyme SP01:

Here, just like in all the tests, I'm using the Linsoul x Hidizs AP80 PRO MAX DAP and ASOS+X cable with my favorite wide-bore ear-tips. The fabulous thing was the interpretation of bass on all three IEMs tested today. While the ear-tips proclaim the widest opening hence speeding up bass character and focusing the bass details, there was enough oomph today and a party for every IEM. This new DAP will be released October 9th, and goes to showcase a focused and tight fully clear “audiophile” bass as a refreshing change from the under $200.00 style of “fun” bass often found with this price point in DAPs. I mean I can at least explain the DAP character as sure there is a slight loss of imaging size and stage encounters with the AP80 PRO MAX as opposed to the Sony WM1A, only there was such clarity and wonderful involvement with all 3 IEMs today, I couldn’t help but not use the AP80 for testing, and included it in the music reviews too.

What the C1 does is add this charming extra low end which has me smitten with the AP80 PRO MAX and TINHIFI C1 today! Call it synergy, yet the price point of the AP80 and C1 proclaim a special value that may help a Head-Fi member pick up the combo as a back-up or out-of-the-house set-up.

SP01:

Here fitment is slightly better with the C1 due to the sheer size of this ridiculous BIG cable. Both IEMs fit well, though the C1 is showing a more regular fit due to the more normal shape of construction. While it looks like it would weigh less than 4 grams, the C1 comes in at 5 grams a piece total weight. Here as far as stage presence the $89.00 SP01 is showing more forward sonic elements into imaging, a more detailed and clearer bass, a less spread-out and forward idea, then what was interesting was the C1 grabbing more vocal Pinna Gain. That I look at the C1 as a smooth idea for TINHIFI, yet when in comparison it shows the slight extra brightness into which both vocals and imaging is proclaimed! Then not only smoother the SP01 is, this comes about due to a slightly pulled treble and Pinna region, added too with a careful and accurate style of bass. Where the C1 bass is there and firm, it is slightly giving a little less 3D detail compared to the SP01. Yet the more I listen to the C1, I’m in love with the bass, as it is totally heard and fully effective here. The C1 emits just as big of sound field as well as a spacial endeavour well beyond its menial price point at hand. Where the SP01 is getting its kicks from a forward in positioning stance, which it is known for by the way, the C1 is distributing a spred-out playing field with this more flat-field imaging creating big images farther out to the sides. This 10mm DLC DD is truly excellent and probably one of the best I have heard at the under $30.00 category!

That in no way are we arriving at stark or strident C1 waters, only arriving at both vocal clarity and great imaging held down by way enough natural lows. It is the defined layers here that under $30.00 dollars has no business doing!

2) EarAcoustic Audio SPA-Limited Edition:

Part of the reason I’m using this is I’m getting ready to receive the EarAcoustic Audio STA-PM Crown any day now. That’s right PM stands for Planar Magnetic. In fact of the two Head-Fi members I know who have heard the 11.4mm EarAcoustic Audio VSA-PM Crown is the very best Planar they have heard in their lifetime, lifetime! Just call it a coincidence but I have also been using the Linsoul x Hidizs AP80 PRO MAX DAP as a way to get to know the player. The thing is that this exact tune, the way they sculpted and reserved the bass action adds to the midrange energy and smooth treble connectivity found with any and all music genres played. So to best describe it it has both the forwardness of the SP01 and the width of the C1. Only the stage is even bigger than either IEM going forward to produce even bigger imaging and complex harmonics into detail which ends in realism, more realistic. At first I even thought the bass was lesser in the LE model, when it is close to the same amounts, only better sculpted and in competition with these forward treble and midrange. That The LE could be described as a subtle V swagger. And sure the C1 is too, only the midrange is not as vibrant, allowing almost an even playing field for the stage sits back and becomes more polite in character. Sure the price point delineates the technical ability for the LE to grab detail and create this forward sculpture of realities, and while there is a broader stage, there becomes more detail due to this larger room and being able to examine the furniture inside better. Where bless the little C1’s heart, there is a tad more Pinna presence, which is taking note upon the whole signature, this extra size goes out to create an almost bigger sounding stage with less definition yet big and rewarding C1 imaging where the midrange is taking control of the stage and leaving the treble and bass into less consequence in the end. Where I probably didn’t adjust my volume levels correctly, as the C1 is more efficient, and continuing to broadcast an over-all brighter and almost more evenly vibrant example of even and completeness, in the end coming off as truly correct! It is the consequences of the LE having better and deeper note weight which is probably the root cause of all these differences, along with the quality of the LE’s 11.4mm driver getting and creating more detail in the end. Of course you knew that already

Music:
Here I’m just trying to convey the balance that is here. If you really wanted a work set-up (this IS it), one you don’t have to worry about getting lost or damaged, while still becoming audiophile and entertaining far more than price would have you fathom. We are just going through the motions and learning just how special the C1 and Linsoul x Hidizs AP80 PRO MAX DAP could make life. Add in the expensive ASOS+X to the package! No EQ, and using my favorite wide-bore tips.

The Cure
Faith
All Cats are Grey
44.1kHz - 16bit

Timestamps only pertain to digital file, not video.

Here is a song I have a long history with. Representing the sound The Cure had for their 2nd and 3rd album. A more complex and studio effect laden effort. Only to be slightly lost in history once their 4th album showed they chose to enter a darker and more serious territory with the album “Pornography”. In so many ways the album Faith from 1982 shows IMO top for the band. Their first album “Three Little Boys” from 1981 ended at position 44 on the UK charts, beat by their second album “Seventeen Seconds” from 82 at a position of 20. This third album “Faith” showed The Cure really starts to form a style of popularity at position 14 on the UK charts. And while Pornography hit the 8th position in popularity, it also showed an end to an era, concentrating on new values and maybe added drama, which was inspired by even more drug use. Personally The Cure is only about Seventeen Seconds and Faith as far as I am concerned. Such examples showed a clear idea as to production and song structure, as well as the band experimenting with new and different instruments. There is a cuteness here, that was not noticed at the time, many years later listeners would come to realize that the first responders (the folks that liked the early sound) would never be so lucky again, as their favorite band would soon grow into different celebrities.

Here right off at 00:00 we are greeted by a wash of drum positioning, panning across to different areas of the stage. Yet it is the deep provocative synth which takes front and center, both in noticeability and drama. Then you can pick-out the bass emphasis to boot. There is a small crackle at the 00:08 that if you had not heard this song since 1982, like I did, you may not notice. Yet now in the future here we are rewarded and comforted to know this artifact can still be heard on under $30.00 IEMs. At least this one!

Contrasts!

Probably the main feature here would be the contrasts provided to make the opening dramatic and fun at 00:16. I mean the stage gets even bigger than the drums up to that section.

That at 00:16 we realize that this is money, no matter how little money is spent in the TINHIFIs C1 case!

I can see listeners cherishing the C1 and protecting it from harm. It is the IEM that needs a case upon first listening and even a better case for storage after burn-in.

I have heard this song so many times over the years and have used it often to test IEMs, and in this song the C1 is holding a style of perfection. Don’t believe me, buy a pair, you have nothing to lose here!

At 00:38 I just really like how the bass guitar is presented. The C1 goes about its day just nonchalantly making simple what way more expensive IEMs would have trouble with!

Big brisk drum fall-outs to the edges…….with decays! The bass and synth counterpoint can be heard clearly.

This is both simple and genius if you ask me? At 02:18 Robert Smith talks/sings about finding himself amongst the stars. Yet the vocals are well separated and natural. At 02:53 the cymbal hit takes an effect laden decay enhancement. And that is heard in the best of ways!

At 03:20 we get a composite sound, when actually it is only the piano coming through?

Such a place has importance made-up due to the simplistic song structure and sparse instrument use. It may be the lower midrange tonal positioning (and volume) that makes what is basically a piano chord have weight in the song. Not to mention the overall note-weight encountered through-out makes this song almost close to perfect!

Hans Zimmer
The Dark Knight Rises OST
Gotham’s Reckoning
192kHz - 24bit

Timestamps only pertain to digital file, not video.

Here we are met with a song I have used since around 2016 to judge both bass character and OST playback tone. Part of the attractiveness here is both real instruments combined with synthesizers making a big sound.

Such a sound would never reach these levels except also recorded in a world-class sound stage studio.

Here Hans Zimmer is showcasing his song writing skill to grab your attention though good old tone dynamics and vibe. In fact they are there in the song file, just waiting for a good IEM to come along and represent how this “Gothams’s Reckoning” is to be heard.

At 00:19 the bass throbs take place. And different from what is often found..............these throbs contain tuning and note character. The strings sit at the top providing the rhythm, then at 00:48 comes this clap. Probably pieces of wood hit, or slapped against a surface. What is important here is the tone. That at times BAs will offer extra special separation, yet also create a disturbing intense frequency play out.

Here the slaps are heard in their noticeable character, yet left into accessibility due to correctness and smoothness. What I’m saying is the slaps are pretty close to perfect.

Now all this would not matter so much if the bass was thin or not holding the tactile presence that makes it an event. Sure the technicalities are lacking in that I have heard these composite chimes better separated and real, but we are talking under $30.00 here!

Dead Can Dance
Anastasis
Kiko
44.1kHz - 16bit

This album I use all the time, and as it goes this particular song is often the very first song I will use when getting IEM first impressions.

Right off I note how the bass is fully represented, there is a slight diminishment of note-weight that would come (different) with a more expensive IEM example.

Yet the good part is nothing here relating to the bass interferes with the mids. A Chinese yangqin…………… a hammer dulcimer played by Lisa Gerrard is fully in correct timbre and stature in stage presence. The yanggin decays, the tone…..pretty much the whole shopping cart of character is correctly heard.

Drum authority:
And to be fair to the C1 the drum authority is truly there creating both full staged and relatively (for the price) deep and clean paced bass.

One of the defending issues I have is I don’t see how anyone can fully bag on the vocals here? Meaning sure TINHIFI are working with the classic V shape sound, only it is relatively subtle allowing for great vocals to emerge.

If anything the 2.3kHz to 4.3kHz couldn’t really be brought any more forward, at least to my hearing it could not have been.

What this means into daily listening is elements like Lisa Gerrard’s vocals and the bright yanggin placements get all the energy needed and in positioning create the overall effect that is required in a signature like this one.

I have literally received IEMs for review that were 10 times more money, even 15 times more money for review, that sure while they often had better technicalities than the humble C1, the tune was not as perfect.

Screen Shot 2025-09-20 at 7.01.44 AM.png

ILAI
Breakfast With Tiffany
Timestamps only pertain to digital file, not file offered.
https://www.beatport.com/release/breakfast-with-tiffany/1858154
320kbps MP3

Here this is something I would use at the GYM as a way to get motivated and have fun. And yes when the beat kicks into action at 00:57! This is exactly the bass I like, clean, eventful, dramatic and controlled, never cloudy or even starting to mess with the mids. This is both the AP80 PRO MAX DAP and the C1 taking and making this an audiophile experience at the highest level. Sure this bass is strong, it is EDM, children. Yet the electronic rhythm pace cymbal is tight and controlled, sitting back in the perfect place. This thing is, and what has always been provided no matter who made the IEM, or what year it was introduced, is decay and timbre. Yep, DDs make these features noticeably correct and careful, no matter what the price of the IEM is, and that’s what we have. Also I can’t continue this write-up without mentioning the balance at hand, nothing is too bass-laden or too trebly. There is an exquisite drama that goes down just relating to this style of bass and drums. At 02:00 a theme takes hold finally. That in-fact this is the song’s tune ideas we are meeting up with………………Yet it is the piano at 02:49 that makes you fully take note that there is a smart melody inside of this number. Maybe at once you remember that you heard it before? It is refreshing no matter what and shows there is brains and talent added to this non-stop rush of basic beats. A message and a purpose finally! That the beat stops, and as far as EDM goes a form of quietness in the air. At 03:00 the lead synth takes prominence and comes out to play! At 03:25 we hear a sequenced time delay choir and the faint introduction of the beat once more. But yet at this point the beat sounds like it is in another room, approaching………………..At 03:45 the solid beat takes hold once more, and the C1 is along for the ride, making it even and complete, satisfying and entertaining whoever you are!

It is this basic footwork that the TINHIFI C1 takes control off, way better than you would give this little guy credit for by looking at the price! That while this song has no regular vocals to be heard, the ability to transfix has mostly to do with the correctness of replay, that yes it is basic, but just like the toast and butter I had for breakfast this AM, the basic elements are provided and excel at being just what they are, a tool for the taking, an IEM for everyday use, never boring or too much in any one character of frequencies!

Build:

The aluminum faceplate adds stature as well as the two back breathers get you the stage and venting needed. Probably the one thing is the qdc 2Pins which are precarious to use of regular cables. Yet I was able to do cable change-outs fast as easy with any cable I tried. The nozzles have a lip which holds on ear-tips, they are at the correct angle and seem to be at the perfect length. Really just like the sound here, there is nothing not to like! Even the screens are set-back to protect them from harm's way! The best way to describe the build is functional, functional as TINHIFI didn’t have to put a bunch of drivers inside, they only needed room for one 10mm. This idea allows the basic flowing development of an optimal shape, if they did things right, and they did!

Package:

Ear-tips:
The C1 comes with 3 sets of silicone ear-tips, which work great!

Cable:

A nice 4 strand silver plated cable, better than what comes with most IEMs at this price point. Though most of the time I use 4.4mm balanced, so I didn’t use the cable that much. But when I did the ergonomics were totally on par with a style of cable you would want, the chin-cinch was a nice added feature. Yet using the qdc 2Pin is a questionable thing, yet I was able to get aftermarket regular 2ins to work fine.

Conclusion:

Look, this was an easy review for me to write. Why? Well, sound quality value for the money.

At times we need a basic performer that does pretty much nothing wrong and moves forward with an even, complete and correct tune.

Not too much bass, but a satisfying enough amount. Same as treble, the ability to find that sweet spot right between not enough or too much, just right! The midrange is completely non problematic...........earning the reputation for providing great vocals, that is probably the balance result of bass amounts and treble amounts?

And…….oh the stage, way bigger than the price would have you guess. A backdrop of a canvas to lay the groundwork for just the right amount of contrasts to come forward.

Sure this isn’t a detail monster, nor is it boring at all. The TINHIFI C1 makes points for never trying too hard at any one thing, which makes it own ability to play all genres of music and work at many different volume levels.

Sure the EarAcoustic Audio LE beat the C1 at note-weight, only there is an ample amount of note-weight. That note-weight and timbre ability is why you buy this 10mm DLC in the first place.

That was primarily why this review was so easy to put down on paper, there is nothing not to like about the C1, and a lot to love about it.

The shape and size, along with the weight are guaranteed to fit everyone. Why?

Well, when you only have a single driver to build a shell around, and when you are the TINHIFI company and have made a few IEMs in the past, you can utilize the knowledge you have to get the job done right……and that is exactly what we have.

An IEM that goes everywhere as it fits snug in your ear and stays there. I’m not sure how else I can explain how correct I found this IEM to be, except it truly generates an enjoyable sound.

Typically as a reviewer, you at first suspect such lower priced examples of the IEM art with an amount of suspicion, only here I can honestly say they have not left anything out.

There is no vibrant shelf (like the T5) of upper midrange to get upset about, there is no lacking in the bass frequencies to throw rocks at, and the stage is nice for what the C1 is in the end.

The easy to drive nature of the TINHIFI C1 means it performs off any source, yet holds enough transparency to up-scale to a better place with your finest of gear.

The perfect 1st IEM for those new to the hobby, or a back-up IEM to take to the GYM or around town....or even an IEM Christmas present?

Remember we are almost into 2026 and values are out there for the taking, here TINHIFI have utilized all they know about making IEMs to basically give us the quality of a more expensive IEM. Don’t believe me. buy the C1, such an IEM is easy to recommend due to getting the basics right!

$29.00 all day long!
https://www.linsoul.com/products/tinhifi-c1

Disclaimer:
The TINHIFI C1 Universal IEM has had a total 6 days of burn-in.

Disclaimer:
I want to thank Kaitlyn of Linsoul for the love and the TINHIFI C1 Universal IEM review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:

Sony WM1A Walkman DAP MrWalkman’s Firmware 4.4mm balanced and 3.5mm single-ended
Sony WM1Z Walkman DAP MrWalkman’s Firmware 4.4mm balanced and 3.5mm single-ended
Sony TA-ZH1ES DAC/AMP Firmware 1.03 in 4.4mm balanced
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Samsung Phone 3.5mm single-ended
HiBy R3 II DAP in 4.4mm balanced
Linsoul X HIDIZS AP80 PRO MAX DAP 4.4mm Balanced (for sale October 9th, 2025)
INNIOASIS G3 Android DAP 3.5mm single-ended
ifi Go blu Bluetooth Amplifier and DAC 4.4mm balanced and 3.5mm single ended

TINHIFI C1 10MM Full-size DLC Diaphragm DD IEM Reviews

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TINHIFI C1 10MM Full-size DLC Diaphragm DD IEM Reviews

The TinHiFi C1

10 mm Full-Size DLC Diaphragm In-Ear Monitors

Balance:

Balance:

TINHIFI C1 Universal IEM:

Side-by-sides:

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