The Bass Cylinder
- Warm, bass sound.
- Comfort and lightness.
- Very suitable for Tip-Rolling.
- Isolation and ergonomics.
- Minimum accessories.
- Slightly dark sound.
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The well-known brand from China, Auglamour, has brought out a new product at a very affordable price. In this range, the competition is very tough and there are more and better models that aspire to find a niche in the market. Fortunately, there is also a lot of variety and all profiles are welcome. This time, the T100 model is seeking its status among the warm IEMS profile with a clear emphasis on the low end. In this respect, this ergonomic model does not disappoint. Starting with a coaxially mounted 8mm dynamic dual driver and a graphite diaphragm, the T100 has been designed in medical grade resin to ensure the best fit and sound transmission to our ears. The cable used consists of a microphone and remote control, and has been constructed with a 56-core oxygen-free copper cable. The connection method used has been 2pin 0.78mm, in order to provide the best compatibility and optimal connection.
- Drivers type: 8mm graphene coaxial double dynamic driver
- Frequency Response: 20Hz-20kHz
- Sensitivity: 98dB±1.5dB at 1kHz
- Impedance: 19Ω
- Material: Epoxy resin
- Jack connector: 3.5mm Audio, gold-plated
- Cable length: 120cm
- Capsule Connection Type: 2pin 0.78mm
The T100 comes in a curious cylindrical box, made of hard cardboard, whose top part consists of a transparent plastic cover. Through it you can see the capsules of the IEMS, embedded in a protective black foam mold. The dimensions of the box are 85mm in diameter and 79mm in height. It is decorated with white stains on a black background. These white paint stains seem to simulate columns of smoke, although they seem to adopt less random symmetrical patterns.
The name of the model appears on the side of the box. While the rest of the information, along with the specifications, can be found on the base. All the text is written in Chinese. From the side of the lid, a wide black ribbon of fabric emerges.
Once the top of the cylinder is removed, the mould with the capsules is exposed. Underneath this mould is another inner space, which contains the cable, a carrying bag, a bag with the silicone tips and an instruction/warranty manual. Overall, there are three pairs of translucent white silicone tips, size SxMxL.
The content is strictly the minimum, but the presentation is quite original.
Construction and Design
The capsules have been constructed with medical grade epoxy resin to ensure the best safety. Their color is dark, but they are translucent, except on their external face, which simulates a zebra pattern, with black and white bars, of random thickness. In the center of each face, the brand logo is inscribed in gold letters. The 2-pin connection is superficial, molded in hard transparent plastic, and it comes out a couple of mm. You can see the inside of each capsule, observing the connection cables from the 2pin connector to the driver, located at the base of the nozzles. The rest of the cavity is empty.
The shape of the capsules is a semi-custom type, of medium size. The weight is minimal.
The nozzles are metallic. At the outermost end, the ring has a diameter of 5.15mm, while in the middle, it is 4.55mm. There are metal grids to protect the holes. Near the base of each nozzle, there are some inscriptions in silver paint, where you can read «RESIN 3D Tempo T100» and the side of each channel.
The cable is formed by 4 braided strands, covered with black plastic protector. The conductor is oxygen-free copper, with 56 cores. It has an angled jack connector, with a 3.5mm gold-plated plug. The dividing piece is made of black plastic. The cable, in its right channel, has a piece that holds the microphone and a silver button in its central part. The 2-pin connector sleeve is transparent and angled. The cable has semi-rigid protection, to give shape over the ear in this final section.
The design is not very original, but it does have some distinctive details, such as the exterior pattern, with the gold logo in its center, as well as the metal mouthpieces, which are always welcome, as they increase the durability of the product in a delicate area. The assembly of the capsules is perfect and nothing irregular is observed. The construction is sure to be durable and comfortable.
Adjustment and Ergonomics
Adjustment is quick and convenient, fixation is high and weight is minimal. The capsules are suitable for use with single, double or triple tips, with all of them the ergonomics are adequate. It is possible to go from a light insertion to a deeper one, depending on the tips used. This means that the T100 are very permissive with the use of many types of tips. Therefore, the fit, sealing and isolation obtained will always be adequate.
My degree of satisfaction in this respect is remarkably high.
The profile of the Auglamour T100 is bassist, warm and with a certain tendency to darkness. For the following analysis I have used tri-flange tips, as they provide a better balance between all areas, even gaining in clarity and depth.
The Auglamour T100 is a declared Bass-Head IEMS. And within this type of IEMS, the T100 is in the range that puts its emphasis on the sub-bass zone, although the lower end has a slight fall. This nuance, in fact, goes almost completely unnoticed, because up to 40Hz, the bass shows great energy and linearity. Its texture and color is slightly dark and shows a generous roughness, not rough, but soft and very enjoyable for bass lovers. It is clear that it is not a very fast bass, but it has an acceptable control, which generates a very deep echo pool, which is magnified, at a sensitive level, in the center of the head, lasting in a perturbing way. The beat decays gently to the deep side, into darkness, without any trace of colouring, which is a good sign. The planes are thick, of a basic descriptive level, but acceptable, which makes their tracking not complex, since their precision is moderately good, both for the price level, and for the amount of energy generated by the area.
The correct tuning, focused on the sub-bass zone, allows the mid-range to be significantly freed from the influence of the low zone. The initial part of the central zone, remains relatively warm, slightly dark, with enough body, without being too far away. Male voices benefit from these qualities, sounding fuller and more complete. The female voices are more muted, although soft, fluffy and velvety, very comfortable. The precision and resolution are not very great, but offer a good compromise, which gives a very melodious feeling when reproducing voices and instruments. The upper mids have a slight emphasis, which positively resolves the range, offering a measured luster to the area, achieving the classic color of the autumn sunset. The combination of all the qualities, generates a range musically comfortable, quiet, restful and silky, very easy to digest, suitable for long listening, especially if the musical styles are not bass.
The upper zone is situated as the most relaxed, nuanced and soft range of the whole. The treble is very controlled, with low emphasis, which limits its sparkle. Even so, with their extension and warm presence, they are able to provide clarity of sound, so that the other ranges do not suffer from sufficient light. This way, it is possible to limit an excessive warmth and greater darkness, generating a sound above the average light, docile, sweetened, but clean, decongested and suitably aired, not exempt of detail and shades, that invites to raise the volume.
The scene has good depth and its width is quite satisfactory. Even the height is surprising, for a blatantly bass IEM. It’s true that the good work of the lower zone helps to expand the sound semi-spherically. This way, the stage doesn’t feel as limited as you might think a priori. In good electronic music recordings, the reconstruction of the sound image comes as a surprise, due to a more than positive capacity to expand and recreate the existing details. In this sense, the separation plays a good role: it can’t be said that it is big, but the sound never feels congested, closed, opaque; but there is a good degree of transparency, which favors, a lot, the global perception of a set, already very pleasant to listen to.
A tough competitor, very close in price, is the BGVP SGZ-DN1S. The BGVP is a 1DD + 1BA hybrid with a U-profile, while the T100 is slightly more bassist and warm. The differences in sound in both are evident at first glance. Starting with the bass, the T100 has a larger and louder bass zone than the SGZ-DN1S, although there is more control in the BGVP, as its bass is more contained and faster, with a smoother texture. If we go directly to the high zone, the differences are again obvious: The SGZ-DN1S has a BA that provides a greater amount of sparkle, presence and extension of highs. In this way, more details and definition are appreciated, as well as a clearer and more diaphanous profile. Although it is also true that the BGVP, could be more incisive for sensitive people. On the contrary, the T100 are much more relaxed in this area, calm and safe. Those who wish to avoid «problems» with the upper zone will feel comfortable with them.
I’ve left the middle range until the end because for me it was the most decisive area for choosing one or the other. It is clear that Bass-heads and Treble-heads will have already decided on one or the other, although in the lower zone there may not be a clear winner, depending on the tastes of each person. However, in the middle, I notice differences that polarize my preference: the midrange of the BGVPs feels more hollow, due to that more U-shaped profile, while the T100s offer a much more coherent and full central zone, with a greater presence in the lower mids, which enhances the voices and generates more instrumental representation. The mids in the SGZ-DN1S are thinner, more isolated and cooler. However, the warmth of the T100 generates more body and natural sound, even though they do not have the sparkle of the BGVP.
The T100 scene has greater depth and height, while the width is similar to that of the SGZ-DN1S. But the three-dimensionality falls back to the T100 side, and they are able to recreate a more realistic scene, without the polarization that comes with the BGVP profile.
Although both IEMS are lightweight and comfortable, the ergonomics of the T100 are better, allowing for a more precise fit and the possibility of using tips of various types and shapes.
Each audio brand has the freedom to follow its own sound signature. But you can also diversify your products by creating different profiles. In this case, Auglamour has launched a clearly bass IEMS. But not only that, it has provided them with a good company, with remarkable mids and highs. In addition, its construction and design have a lot of class, quality and beauty, providing great comfort and lightness. Its presentation is distinctive, original and the price, invites to bring out the bass head side that we all have. The Auglamour T100 is an IEMS that cannot be missing from a good audiophile’s collection. And for those on a limited budget and looking for a basshead profile, there’s nothing better than the T100, in its price range.
Sources Used During the Analysis
- Burson Audio Playmate
- Tempotec Serenade iDSD
- Tempotec Variations V1-A