Auglamour RT-3

General Information

Driver: Knowles30017 balanced armature + Titanium PU diaphragm dynamic
Diaphragm: high polymer composite titanium-plated diaphragm
Frequency range: 15Hz-40KHz
Sensitivity:(15Hz)115dB/mW (1KHz) 105dB/mW
Impedance: 19Ω
Channel Balance : <1.5dB(at 1kHz)
Rated power: 10mW
Detachable standard: 0.78mm-2PIN
Cable: OFC&SPC Oxygen-free copper & Oxygen-free copper silver plating mixed wire core
Technology: aluminum and magnesium alloy CNC five-axis precision carving, artificial splash-ink three-color anode process

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1000+ Head-Fier
Pros: Harman Profile.
- Great balance and equilibrium between the low and medium zone.
- Remarkable adjustment between all drivers.
- Wide and clear scene.
- Spectacular design.
Cons: Trebles not very extensive.

Auglamour is a well-known Chinese brand of portable audio. Its catalogue includes IEMs, earbuds and headphone amplifiers. Without entering into sound considerations, Auglamour has been characterized by a special product design, bold, flashy and eye-catching. For this occasion, the design of their top-of-the-range IEMS, could not be less. Both the shape and the colours of the RT-3s are extremely attractive and leave no one indifferent. They are also available in three colours: Blue, Cherry Red and Blood Red. For the painting of the capsules, Auglamour uses a special and dedicated process, this process allows to create the formidable patterns of each capsule, making each piece unique, since a different pattern is used for each capsule. RT-3s are made of an aluminum-magnesium alloy. It uses 0.78mm-2PIN connectors and, as drivers, uses a configuration that has already become a classic: 1 dynamic driver and 2 Balanced Armature drivers. For this occasion, Auglamour has not been satisfied with less and has mounted two BA of Knowles, specifically the model 30017.

As the design must not only be attractive from the outside, but must also be effective inside the capsules, Auglamour has devoted a good effort to acoustic engineering research, in order to provide the best sound. The dynamic driver used is composed of a high-density 10 nm titanium polymer diaphragm. On the other hand, the drivers of Knowles TWFK - 30017, present an evolution that gives them high resistance, to offer a better medium-high range.

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  • Driver: Knowles30017 balanced armature + Titanium PU diaphragm dynamic
  • Diaphragm: high polymer composite titanium-plated diaphragm
  • Frequency range: 15Hz-40KHz
  • Sensitivity:(15Hz)115dB/mW (1KHz) 105dB/mW
  • Impedance: 19Ω
  • Channel Balance : <1.5dB(at 1kHz)
  • Rated power: 10mW
  • Detachable standard: 0.78mm-2PIN
  • Cable: OFC&SPC Oxygen-free copper & Oxygen-free copper silver plating mixed wire core
  • Technology: aluminum and magnesium alloy CNC five-axis precision carving, artificial splash-ink three-color anode process

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The Auglamour RT-3 come in a very colourful box measuring 200x145x49mm. On the front it is decorated with big colour brushes. You can see the name of the model on a small yellow label at the top left. Taking up a large part of the box, there is a sketch printed with the profile of the capsule and the connector, in white lines. The back has two dark background labels. The upper part contains a quartering of the capsule. The lower and larger one contains the specifications and other information related to the model and data about the brand.

Once this cardboard cover is removed, a sober black box is shown, with only the logo inscribed in the centre of the front face. This box is designed to be opened like a book. After doing so, you can see the capsules totally embedded in a mold, with the cable connected, in the form of a question mark. In the lower half, there is another black box, also with the logo of the brand in its center. Once removed, a large Pelican box appears. It has a label with the logo and the brand, as well as a rolled rope, attached to a side ring. Inside, fully lined with foam rubber, there is a mold embedded, where the tips are arranged. These tips are separated into three groups:

  • Vocal tips, sizes LxMxS, with red inner core and dark outer part
  • Tips for bass, sizes LxMxS, with black inner core and grey outer part
  • Tips balanced, sizes LxS, with black inner core and black outer part. The pair of M tips of the balanced type are inserted in the IEMS.

Finally, there is a small instruction manual and a clothes clip.

Once you have removed the mould where the capsules are inserted, you can see that the cable is wound underneath it.

The presentation is powerfully striking, at the height of the design of the capsules and their colors. The box is large. Of equal disproportionate size is the Pelican type box. As I said before, it should be noted that its interior is fully lined with foam rubber, to protect the capsules during transport.

Both the packaging and the contents are at the level of a top-of-the-range product, although the price is not very high. This aspect only underlines the idea that this is a Premium product, with one of the most careful presentations in its price range.

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Construction and Design

Construction and design don't lag behind. The RT-3s are worthy of seeing and appreciating all their details. Starting with the colors, the random pattern of their spots, with the logo integrated between them, their beveled profiles, their blind holes, their two-pin connectors, embedded in pieces of transparent plastic, placed superficially and finishing with their cable. The capsules have two holes, one on the inner side and the other on the lower side. It has another hole, this time blind and larger diameter, on the outside, next to the connector. Also, on this outer face, but on the bottom, there is a narrow trapezoidal groove containing 5 tiny blind holes.

The capsules are made of an aluminium-magnesium alloy. They consist of three distinct parts: the outer face, the inner body and the nozzles. The nozzles are black, with a diameter greater than 6mm and have a large groove so that the tips fit perfectly. Its interior is protected by golden grids, with multiple mini circular perforations.

It is striking, at a detailed glance, that each capsule does not have an equal pattern; both the spots, as well as their distribution and color, are random. It should also be noted that the external face has bevelled edges, with a different distribution and inclination, simulating manual cuts. Finally, the capsules are not smooth, but have a very subtle rough treatment, which gives them a very soft and pleasant touch.

The cable has 4 braided wires, each pair of each channel is hybrid, as one core is copper and the other silver plated. Its thickness is not large, although its flexibility is good, it is not excellent. The connector is gold-plated. Its cover is a large textured cylinder, light grey in colour, with two flat faces. On one of these faces, the mark is inscribed with white letters. The divider is of the same material and colour, with an oval section. It also has an inscription in white, with the logo of the mark. There is a piece for the adjustment of cable under the chin, with a shape similar to the divider piece, but with a third of its length. The two-pin connectors have translucent plastic covers, with the letters of each channel, marked in relief, inside a small circle. These marks are difficult to distinguish. The cable coming out of the connectors is covered with a soft, semi-rigid, transparent sleeve in the form of a question mark for optimum fit above the ears.

The cable has a white velcro tape with the logo and the mark in black letters, rolled up to the cable. In addition, the 3.5mm jack plug is protected by a plastic cover.

A picture is worth a thousand words: it is very difficult to express the high power of attraction that have the capsules of the RT-3. It is also very remarkable that their weight, is lower than what at first glance could seem. The quality of the cable is good, the connectors are noticeable, but it does give a certain feeling that it is below the level of design and quality of the capsules. Although, this appreciation is determined by the cruel comparison.

In short, the RT-3 are excellent in this section, the best in their price range, and even superior to others of higher price.

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Adjustment and Ergonomics

The RT-3 capsules have a semi custom shape, where the cable must be worn over the ear. Their chubby body is conveniently rounded and their micro roughness provides a very smooth and pleasant fit. Any friction with the ear parts is slight and subtle, providing a high degree of satisfaction and comfort.

The nozzles are of medium length, but have a good width (6mm). Thus, the insertion is rather superficial. I haven't been able to use tri-flange tips properly, because the inclination of the mouthpiece with respect to my ear canal was not appropriate. But the use of any other type of tips has been perfect. In this way a remarkable degree of insulation is achieved, on the same level as other similarly shaped products.

Once fitted, the weight sensation is small and the fit is almost floating, with hardly any perception of rubbing against the ear parts. Thus, it is very suitable for long listening.

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The Auglamour RT-3 have a profile that tends to the Harman curve, where the sub-bass and the high mids, have a slight emphasis, without showing absolute predominance, neither one over the other. In this sense, it could be evaluated as a soft V, with both ends quite balanced.

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The lower zone of the RT-3 is characterized by the depth and linearity of the sub-bass. The greatest emphasis is focused on the lower part, thus achieving a free mids and free of pollution from the lower zone. The bass has its zenith around 40Hz, which provides a greater sense of depth, a very controlled low middle and a very uniform hit throughout the area, getting a remarkable balance in the response of the lower part. Another consequence of this feature is that, although the bass enjoys good presence and notoriety, its overall perception is neither visceral nor overwhelming. They have good weight, notable speed, decay in a suitable point to be considered forceful, but without being excessive.

The definition is notorious and descriptive, since the good frequency separation of the low notes helps in this aspect. Thus, the sound of the RT-3, benefits from the sum of the characteristics of the bass, depth, definition, speed and rapid decay, to get a sound characteristic, balanced but exciting, little fatiguing, because its presence does not interfere with the rest of the ranks.

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When I get to adjust the tri-flange tips, the mids shines. The lows are kept at bay, at that sweet limit, at the edge of warmth. One cannot speak of light or darkness; the complexion is more balanced than neutral, in this sense. But the mids are grateful for the liberation that the remarkable depth of the basses gives them. It is clear that there is a good separation between the lower zone and the voices. Even when they sound together, powerful unfiltered bass and male voices, they sound quite clear, definite and detailed, even though they are not strictly frontals, but rather in the second row. But the best characteristic of the voices is their balanced timbre. It is always easy to talk about the naturalness of the voices, but depending on each earpiece, they may have a warm or colder tendency. In this case, my feeling is one of neutrality, of good balance. Voices have a notable presence when genres focus on them. This is where the potential of the BA of Knowles is demonstrated. In any blind listening, it would be difficult to imagine that the middle zone comes from BA drivers, because the good balance they have, makes you think that is not so. It is clear that their sonority is neither cold nor analytical, despite the notable definition and resolution that characterises them. Where one can think of the excellence of the Knowles is when the RT-3 are subjected to very fast and congested songs. It is there where the BA project their good virtues, contributing a great separation, speed and precision, but without getting to sound surgical, continuing with their balanced tendency.

Another remarkable feature of the RT-3 mids is its excellent control of its high part. It is clear that there is an emphasis on this area, which can also be nuanced or extolled according to the use of some tips or others. But Auglamour has hit the nail on the head again, showing the balance he has achieved. It's also true that the greater gain in this upper zone of the mids, benefits the female voices, but there is not much difference between the two, as to give a higher protagonism to them. Control is evident in the absence of sibilances and detrimentally bright nuances.

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The equilibrium of the RT-3s is built on the basis of fairly controlled highs, but with a good dose of air. Although they are not characterized for having a great extension nor notoriety, but they are more focused in presenting control, detail and clarity, that notes more compressed and focalized sharp. Sharp notes are fine, well-defined, but nuanced, with no trace of sharpness or roughness. All this favors a listening rich in nuances, details and separation, but quite safe and smooth. Addicted to the crunchy and sharp sharps you will not find in the TR-3, its suitable profile.

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Soundstage, Separation

Another of the strong points of the RT-3, since they enjoy a quite wide scene, with remarkable depth and good height. The presentation of the scene is perceived more semicircular, than enveloping; even so, the three-dimensionality is adequately recreated. Overall, the scene is above average in its price range.

The overall separation is great, but I must emphasize the excellent division between the lower and middle zone. The emphasis on the sub bass and the cleanliness of the mids, reflect the great work done in the adjustment of the drivers. In this way, the RT-3s show great depth and separation, both between ranks and between notes. The level of detail, resolution, clarity and nuances, is remarkable, without losing a certain softness and without showing an analytical aspect. Actually, Auglamour has found here a sweet spot between both technologies.

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TFZ No.3

The No.3 offers a more neutral and flat sound than the RT-3s, which are generally brighter, as they have longer and more accentuated highs. Overall, their sound is more frontal. But their neutrality is not at odds with the forcefulness, already from the lower zone, the No.3 offer a bigger bass, of greater impact, with greater presence in the rest of the sound. Meanwhile, the RT-3s continue to offer that deeper, more relaxed, softer sound.

The relationship between bass and vocals falls on the RT-3 side. They sound more defined, clean and clear, with greater protagonism, in the Auglamour. In No.3, the voices are perceived somewhat more distanced, comparatively speaking, also thicker.

The instruments sound denser in No.3, offering a bigger sound, showing off that greater frontality. The RT-3, are more balanced and adopt a kinder, less visceral, more focused on details and definition, than on offering a sound wall.

In the upper zone, although No.3s are more extensive, the definition and resolution of highs is perceived to be higher in RT-3s. Trebles are reproduced finer and more precise in RT-3s, while in TFZs they are smoother and wider.

At scene level, RT-3s offer more amplitude and openness, supported by higher resolution and separation. No.3, with their larger, more frontal sound, are more focused and dense. The RT-3's higher definition also favors greater separation, resulting in a more spacious and ethereal sound.

Finally, No.3 is easier to move than RT-3.

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Toneking TK12s

Leader of the massive sound, the TK12s have a peculiar sound, that does not leave indifferent. Their lower zone is thunderous, although the RT-3s have a higher sub-bass. The sensation provided by the bass of the TK12s is great comparatively speaking, its impact and incidence on the rest of the sound is remarkable, offering a warm sound, almost reaching the darkness. The RT-3s are much more balanced and luminous than the TK12s.

The voices in the RT-3s sound clearer, cleaner, sharper and closer, finer. In the TK12 they feel more diluted, softened, behind the bass beat, but well executed and, above all, warmer. The instruments in the middle zone of the TK12s, have a layer of darkness and veil comparatively speaking, while in the RT-3s the greater definition, resolution and detail, reveals much more music than in the TK12s.

The high area of the TK12s is perceived with the same tonic of softness and warmth as the rest of their sound. The highs of the TK12s are clearly filed. There is only one peak around 9kHz, which can be annoying at times. Meanwhile, the RT-3 treble is clearly perceived, well defined, fine, with great resolution and with greater incidence in the overall sound.

The scene of the TK12s is characterized by being large, but the RT-3s are not left behind, they are even better in height, recreating a three-dimensional image more realistic and defined. The cleanliness and neatness of the RT-3s reveal a separation that is more easily perceived than in the TK12s.

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There is no doubt that the Auglamour RT-3 is a great product. A remarkable combination of good design, construction, packaging and, of course, sound. In its price range, it is possibly one of the most complete products that can be purchased. In terms of sound, RT-3s rely on the Harman curve to reach a wider audience. But it's not just about looking like a curve, it's about sounding good. And in that, no doubt, these Auglamour get it. The integration of the three drivers is excellent, offering a very coherent and balanced sound, very enjoyable in the lower zone, with great detail, resolution and clarity in the middle zone. The highs are fine and precise, able to offer light and a lot of nuances. The scene is wide, spacious and deep, with remarkable separation and neatness of sound.

The Auglamour RT-3 is a safe and winning investment.

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Sources Used During the Analysis

  • Burson Audio Playmate
  • xDuoo X3II


  • Construction and Design: 95
  • Adjustment/Ergonomics: 90
  • Accessories: 88
  • Bass: 83
  • Mids: 85
  • Treble: 78
  • Separation: 80
  • Soundstage: 82
  • Quality/Price: 90

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Purchase link

You can read the full review in Spanish here:


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