Jomo Audio Trinity

General Information

Trinity_SS_1600x.jpg Trinity_BS_1600x.jpg

Three way hybrid in-ear monitors sporting Electrostatics, Balanced Armature and Dynamic drivers.

Electrostatics driver was known for its unparalleled thin and lightweight membrane producing the most airy and natural sound that balanced armatures and dynamic drivers can never achieve. Traditionally, electrostatics technology has been used on numerous flagship full sized headphones that require special transformer and amplifier to power it from external power source. Due to this constraint, portability of such headphone is next to none exist. Jomo Audio works closely with world leading electrostatics driver manufacturer to miniaturize electrostatic drivers and its transformer that can fit right into a tiny IEM shell. Electrostatics powered IEM is no longer a dream.

Trinity utilizing two miniature electrostatics drivers as super tweeters, delivering the most rich, airy and natural treble that you probably have never heard before. Featuring proprietary Cross-Sync Uniphase crossover network, allowing the super tweeter to work with other drivers in the system in its most efficient way. No treble detail has been overpowered by other frequency range and get ready to immerse into a voluptuous 3D soundstage.

Quad BAs were masterfully tuned into two frequency bands, crafting textured and detailed midrange to high frequency. Vocal and instruments are so lively that the imaging is beyond phantom.

Single dynamic driver delivering powerful and deep bass offering you a visceral low frequency experience that will make you jump from your seat.

The Trinity is truly a masterpiece providing devilishly stunning listening experience on the go.

  • Duo Electrostatics drivers with internal transformer
  • Quad Balanced Armature drivers
  • Single 8mm Dynamic Driver
  • Four ways crossover network
  • Proprietary 3D semi-custom ergonomic universal shell design
  • FR: 20Hz - 80KHz (Theoretical)
  • Impedance: 30 Ohms at 1KHz. RDC: 40 Ohms
  • Powered by proprietary Cross-Sync Uniphase crossover network
  • High purity Silver Plate Copper internal litz wiring.
  • Hand polished high gloss proprietary Solid Brass or Stainless Steel nozzle design.
  • Premium Italian Buttero Veg tan leather carrying case.
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Latest reviews

Pros: Natural, refined, elegant, detailed and resolved, impacting bass, smooth highs
Cons: Laidback, light V, too much bass for some
DISCLAIMER: I bought the actual unit I'm reviewing. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation.

Photos from Jomo


Jomo Audio is a Singaporean company founded in 2015 and which, although relatively recent, has gained international recognition quite quickly. It offers a range of intras of about ten models and is best known in the world for its former flagship, the Flamenco.

TRINITY, Jomo Audio's new Flagship, was officially launched on 17/11/18.

It is the first intra triple hybrid in the world to have been commercialized. We find inside the shells which are very small :
- 1 8mm DD for basses - 20Hz to 1000Hz
- 4 BA for mediums - 1000Hz to 8000Hz
- 2 electrostatic drivers for high frequencies - 8000Hz to infinity

The internal wiring is made of silver plated copper litz, as is the stock cable.

There are two versions of TRINITY:
- Brass: purple shell with brass nozzle
- SS : grey with stainless steel nozzle

According to Joseph Mou, the boss of Jomo Audio, the tuning is exactly the same but the material used for the nozzle has an important influence on the restitution.
Here are the curves of the two versions measured by Crinacle (without compensation) :

At the sight of these curves, and the first returns on Head-Fi, I decided to go for the TRINITY SS.

To date, TRINITY is only available in Universal (IEM), but Jomo Audio team is actively working on the Custom (CIEM) version.
You can also choose from the finishes offered by Jomo on their website here : Finitions


Premium Italian Buttero Veg tan leather carrying case.

Inside the packaging there is also an aircraft adapter, a 3.5-6.35 adapter, a brush with cleaning tip and the characteristic set of tips from Jomo ; double flanges and Tornado in 3 sizes.


We have here a very ergonomic shell with a relatively small size that allows me, despite my small ears, to find the TRINITY very comfortable to wear. No discomfort is to be deplored even during extended sessions, the shell being delicately housed like a custom in the conch.

The nozzle, same size as on Flamenco, is a little wide for me. After a lot of tip rolling, I get the perfect fit with the Jomo double flange. The diameter of the nozzle is not modified and the pressure in the duct is the lowest. Spiral Dot are also quite good but apply a higher pressure.

It seems wise to me on TRINITYs to respect the nozzle exit diameter. The reduction of this one, as for Flamenco, leads to a significant decrease of the scene, especially in depth, and an increase of the bass.


The listening was done on a Sony WM1Z K mod premium (mod made by Music Sanctuary).

The cables that were used were the stock cable, an OAO Gold Twelve and a Brimar Supreme Reference.

When I received the TRINITY on 04/01, I spent 3 weeks listening to only these and quickly fixed myself on the OAO which is the cable that I think draws the quintessence.

I then took over Zeus XIV and could appreciate the differences between the two models by alternating the sheets. I could also compare them to the Flamenco loaned by a friend.

Since receiving the TRINITYs, I have been able to review a good part of my discotheque but I still have a relatively limited playlist that I know by heart to make my critical listening:
Angus & Julia Stone - Take you Away
Cannonball Aderley - Somethin' Else
Daft Punk - Giorgio by Moroder
Das EFX - Knockin' Niggaz Off
Du Bailly - La Folia: Yo soy la Locura
James Blake - Limit to your Love
Joan Diener - Aldonza (The Man of La Mancha)
Larry Carlton - Sunrise
Melody Gardot - Who will comfort Me
Patricia Barber - The Beat goes on
RATM - Killing in the Name
Rone - Flesh (remix by Sasha) on InFiné Exlusive compilation
Sixto Rodriguez - Sugar Man
Tool - Vicarious

A small glossary:

Soundstage : defines the three parameters that musical expression can take: width, height and depth.

Airing : defines the feeling of space between the layers, feeling of air around the musicians and singers.

Detouring / Resolution : defines the ability to define the outlines of a voice, an instrument or a group of musical instruments.

Definition : defines the ability to perceive as much information as possible

Dynamics and Transients : defines the restitution of macro and micro intensity differences, the quality of attacks and end notes.

Frequency response : defines the presence and quality of the different registers, Bass, Medium and Treble.

Respect for tones : defines the signature or sound colour specific to a musical instrument or voice.


I remind you that the listening is done with the TRINITY SS.

Sounstage / Airing :

On this point, they are very sensitive to the recording, which they reproduce in a very beautiful way. You can find yourself on stage in front of the vocal lead, wrapped up in music, then on another track, in the middle of the audience, sometimes even at the balcony.

And this inevitably influences the perception that one can have of the sound scene. On the pieces that allow it, this one is wide + but above all exceptionally high and deep. The music breathes, the stage comes alive around us, we close our eyes and we are there.

Detouring / Resolution :

With the TRINITY we are in the top of the league on these 2 points.

The resolution of the TRINITY is incredible. The different instruments stand out clearly but at the same time offer a homogeneous and highly coherent set. The level of analysis of the recordings is excellent and allows a perfect readability of the message contained on the track being played. And Jomo has done a real goldsmith's work so that all this does not come to mind and ruin the pleasure of listening by attracting attention.

Dynamics and Transients :

TRINITY macro dynamic is rather in the high range. The liveliness of the bass drum impacts, the sharpness and suppleness of the horns, and the cymbal blows are transcribed in a very authentic way. The ADSR envelope seems to correspond to reality. It gives TRINITY a natural sound that is far above average. And in addition, there is no difference in treatment depending on the driver used, which is a tour de force.

The micro dynamic is not to be outdone either. Despite extraordinary detouring / definition, the groove released by the TRINITY is very good. And the legato is there when the music demands it.

Frequency response :

You could see the curves in the presentation, here is my feeling.

The first thing that strikes you about TRINITY is the impact of bass. They are visceral, deep and tense. The sub-bass is well present, the bass is balanced without any particular emphasis, which does not generate any boomy or cottony effect. They never overdo it and do not hide the medium. On "Limit to your love" for example, it's orgasmic.

What strikes you next is the softness of the high notes. No trace of harshness or sibilance. But under this smoothed aspect, there is in fact a high-pitched treble that runs very high and of a confounding naturalness. Electrostatic drivers bring air, space, reality. What a pleasure to be able to turn up the sound without being uncomfortable.

So what about mediums in all this ? Well, some may find them withdrawn according to their tastes, but they are well present. Versatile seems to me to be the right word. They allow the slightest inflections to pass through the voices and effortlessly translate the smallest changes in feelings.

In the end, the frequency response could be qualified as light V.

Timber :

Timbers, resulting from the last 2 points, seem right to me, and particularly at the 2 ends. The instruments sound real. We can always regret a very slight lack of body on the mediums but this is the price to pay to keep a high level of technicality and an airy presentation.


Zeus XIV :

Compared to the Zeus, the TRINITYs are more musical. They are less in apparent technical performance even if they are even more detailed with superior layering. The scene is less wide but deeper and higher, airier. More bass, less emphasized midrange as well as treble, the TRINITY is finally more balanced. Direct comparison is especially difficult for Zeus in terms of tones that appear to be almost fake.

Flamenco :

An undeniable family trait : technics at the service of music.

Flamenco is flamboyant, lively and brilliant, sometimes too much. Very full in terms of mediums, a dense restitution. The scene is coherent but not exceptional in width, height and depth.

TRINITY is more airy, more matt. The trebles spin without aggressiveness and the basses are more impactful. Mediums are more neutral. The scene is better in every respect. Resolution and layering are higher. In the end, TRINITY is slightly more laidback and I find it more natural.


Jomo's work on the TRINITY is a real tour de force. The three different technologies that are used are perfectly mastered and the consistency of the result is quite exceptional.

They offer a refined and elegant reproduction despite their abyssal basses, which is relatively uncommon. The high frequencies are a major factor in this detailed, natural and airy rendering. The laidback side allows long listening sessions without any problem.

The TRINITYs are to date the best IEM I've heard.

My topic on Tellement Nomade here :
Pros: Best-in-class technical performance with minimal tonal compromise
- Outstanding imaging precision with effortless stereo spread
- Vast, stable stage
- Highly-resolved, cleanly-defined and physically-convincing instruments
- Visceral (yet unobtrusive) bass performance
- Seamless coherence
- Exquisite build quality
Cons: Lavishly premium price
- Transients slightly overtake harmonic content
- Mildly recessed lower-midrange
- Treble (although inoffensive) may be a touch too forwardly-placed for some
DISCLAIMER: Jomo Audio loaned me the Trinity in return for my honest opinion. I will send the unit back following this article. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. My first impressions of the Trinity as follows.

Mere weeks away from its conclusion, 2018 is shaping up to be a monumental year for the in-ear audio industry. We’ve witnessed the hybrid resurgence, the birth of miniature electrostats, the outbreak of proprietary BAs, advancements in acoustics, and so much more. What better way then, to end the year than with a product that does all of them at once? Enter Joseph Mou’s Trinity: A 7-driver flagship comprised of 3 distinct driver technologies, configured in a phase-correct array and finished with an acoustically-affected bore – all within a single shell. Let’s cut to the chase: How does it sound?


Jomo Audio Trinity

  • Driver count: One dynamic driver, four balanced-armature drivers and two electrostatic drivers
  • Impedance: 30Ω @ 1kHz
  • Sensitivity: N/A
  • Key feature(s) (if any): CSU (Cross-Sync Uniphase) crossover network
  • Available form factor(s): Custom and universal acrylic IEM
  • Price: S$3799 (UIEM); TBA (CIEM)
  • Website:
Sound Impressions*

The Trinity is a stunning technical performer. Having long been jaded by the tonal sacrifices manufacturers often make to push detail and stage expansion to arbitrary limits, the Trinity is the first piece since 64Audio’s Tia Fourté to have me wholly entranced by the vast, corporeal and intricately detailed soundscape it convincingly transports me to. But more importantly, everything it achieves feels entirely deserved – there aren’t any egregious tonal aberrations, no diffuseness and minimal artificiality. The Trinity never comes across forcing its technical merits. Everything was done with musicality, long-term engagement and tonal balance in mind; making its feats all the more outstanding at the end of the day.


The Trinity flaunts a remarkable stage, expanding beyond the confines of the head – grand and theatre-like in scale. But again, more impressive is how genuine the volume feels. Instruments in the rearmost row – heck, even echoes bouncing off chapel walls in Chesky Records’ binaural rendition of When the Saints Go Marchin’ In – maintain full integrity; gaining the same corporeal there-ness as the crucial centre-image. In Sam Smith’s One Day at a Time, there’s as much tension and resonance in the string plucks at the bottom of the mix, as there is in Smith’s breathtaking vibrato at the very top. It’s a combination of macro- and micro-dynamics that gifts the Trinity its striking transparency and riveting realism.

Unfortunately, it’s small shortcomings in tone that threaten to take it away. Despite the balance it expertly maintains in the bass and midrange – which we’ll discuss later – the Trinity’s middle-treble may come across too energetic at first listen, especially to audiophiles who prefer a warmer, more laid-back and more organic signature. Transients sound a dB or two louder than they should, because of a brighter 7-10kHz range. But, this is something listeners can certainly adapt to. Someone like me who prefers an in-ear as laid-back as the JHAudio Layla or as rich as the Empire Ears Phantom can fully transition into the Trinity within a track or two. Fans of the Campfire Audio Andromeda or the 64Audio A18t may not need to adapt at all. So, whether as a matter of preference or a question of realism, it’s certainly case-by-case.


The Trinity’s low-end is dynamically-driven and clearly so; extension and physicality impress. Although that may seem like a given considering the tech at play, this is a crucial because of the Trinity’s relaxed mid-bass. There’s a clear sub-bass bias, drooping before plateau-ing around 300-500Hz. On one hand, bassheads may not be happy with the Trinity’s modest low-end body. But conversely, the stage is kept remarkably clean and the low-end never distracts. Thankfully, the reverse is true as well. Because the bass is so solid, it never makes its presence or authority unknown. Even in slower tracks – like the aforementioned Sam Smith tune – when the bass guitar kicks in to accompany the vocalist’s entrancing melody, the sheer resonance of the instrument (and the driver) is spine-tingling. The same goes for the drop in Sabrina Claudio’s uptempo Don’t Let Me Down. Indeed, the low-end may not be wild as some crave, but it never, ever lets down.

The Trinity’s midrange was structured with depth in mind, hallmarked by its neutral lower-midrange. Because of this, instruments are more articulative than they are harmonic or rich. Notes are neutral in size, but not in placement. Vocals have an upper-mid bias; vibrant, engaging and musical. But, because of how linearly it rises throughout 1-4kHz, they still come through with coherency, solidity and linearity – avoiding any sense of hollowness or plasticity. Consequently, the Trinity maintains a clear timbre with passable organicity. Boosting 300-500Hz would’ve given instruments a fuller, more complete structure, but it would’ve been at the cost of depth. Again, transparency and resolution is breathtaking as the stage expands far beyond the work area of the midrange. Every layer of every frequency range is revealed with utmost scrutiny, accenting the stage with galaxies of detail, with just enough warmth to keep it all pleasingly glued together.


Treble is where Trinity unleashes its main event: A swift, articulate and stunningly clear electrostatic experience. Unlike any driver technology I’ve encountered in the past – even heavily-modified variants like 64Audio’s tia drivers or Ultimate Ears’ True Tone drivers – Sonion’s twin engines deliver air and detail with unprecedented finesse. Remarkable speed and effortlessness allow transients to appear and vanish with neither a bright haze nor a brittle harmonic anywhere in sight – resulting in an airy, open and vast soundscape with near-zero fatigue. In addition, since the transient decides whereyou hear the note first, imaging precision is fantastic as well. Paired with CSU technology, spatial performance reaches the top of the heap with ease. I haven’t heard the spherical boundaries of the stage – especially the diagonals at 10′ and 2’o clock – and stereo separation this defined since the Tia Fourté and Vision Ears’ Erlkonig. Energy throughout 10-12kHz does give the Trinity a more neutral tone, but the benefits to technical performance are – pun, intended – crystal clear.

With all this in mind however, I must return to the brighter 7-10kHz range. With hotter music, you can begin to hear the slightest hint of a hard-edge to the initial transient. But fortunately, swift decay brings it to a swift end. Again, it’s a peak you can easily grow accustomed to – even if you prefer warmer sounds – but it’s a knack against the Trinity nonetheless.

vs. Alclair Audio’s Electro ($1499)

The Electro is the world’s first commercially-available custom IEM to implement Sonion’s dual electrostatic tweeters – the very same ones used in the Trinity – and the only other in-ear I’ve heard extensively with the technology. Although I was concerned the drivers would lead them to sound similar, I was relieved to find that they weren’t alike in several respects.


This is obviously most prevalent in the bass. The Electro carries a strictly flat-neutral bass. It’s transparent in the sense that it rises and falls according to the recording, which is ideal for use in the studio or live. But, this limits its musicality, especially with genres like EDM, pop and R&B. The Trinity’s low-end is a noticeable step-up from neutral – mostly so in the sub-bass. It then approaches neutral around the mid-bass, but there’s certainly enough rumble and slam to go around with all genres. The dynamic driver also gives the Trinity superior physicality and authority. Even if quantity isn’t particularly high, the solidity and grunt of the bass is as palpable as ever. The sub-bass bias gives the Trinity a visceral, textured low-end, while the Electro’s linear bass grants a natural, melodious tone ideal for mixing or for genres like jazz.

Compared to the Trinity’s neutral lower-midrange, the Electro has a fuller, richer and more harmonic response. Notes here aren’t as defined as on the Trinity, but vocalists – balladeers in particular – benefit from this heftier range. A sense of weight and drama accompany the songstress’s delivery, which then yields a more intimate, powerful and emotionally resonant performance. But, the Trinity compensates with micro-dynamic energy. Because its treble is more articulate and its lower-mids are further recessed, the Trinity maintains a blacker background and a more stable soundscape filled with clearer nuances and more prominent micro-details. This is what grants the Trinity its theatricality. The Electro will have the warmer timbre and superior structure too, but the Trinity simply outclasses it in transparency and definition.


Sourcing their strengths from the same source, the treble is where Trinity and Electro are most alike. As described above – and in my impressions of the Electro online – Sonion’s electrostatic drivers deliver the cleanest transients I’ve yet heard from any in-ear monitor. Treble notes appear, shimmer and disappear with uncanny speed. This means both in-ears sport excellent headroom and stable soundscapes. Where the Trinity departs is in articulation. It’s more crisp, energetic and sparkly than the softer, more linear Electro. This leads to the edge in detail, but it also gives the Trinity a brighter tone. The Electro has the more pleasing timbre by comparison, but the Trinity prevails in imaging precision. CSU technology gives it a more stable sphere enveloping the listener, superior definition at the diagonals (10′ and 2’o clock) and a blacker background. Although the Electro is more organic, the Trinity is unquestionably more technically-capable.

Consensus… For Now

The Trinity – to me – is an undeniable revelation. Since becoming a recording engineer and having my preferences shift towards timbral candor, I’ve abandoned the notion of sacrificing tone for detail – “Juvenile manhood-measuring contests!” I childishly thought. But, as any S$3800 flagship should, I’ve begun to question my creed. After long nights of work – as I lay Phantom and Layla to rest – I find myself giddy and agog; the Trinity calls with all its glorious flair. Track 1 plays and I instantly hear it: A middle-treble peak and a delicate lower-midrange. But alas, no wince! Neither a tick, nor a quiver nor a quail. “Who cares when you have all this detail?!” Because truly, this is what the Trinity reliably achieves: A rival to Fourté with fewer compromise, a foil to Erlkonig at a fraction of the cost, and a challenger to both with a custom form. Will this romance last? Only time will tell. But until that fateful hour comes past, Trinity has me under its evil spell…


*Note: The Trinity I have here is the stainless steel variant; denoting the nozzle material. A brass version is also available and carries its own distinct sound signature. Should I get the chance to audition it in the future, this article will be updated. Also, since the provided cable was single-ended – and to make sure I’m not bottlenecking the Trinity in any way – I’ve written these impressions with the most common aftermarket cable in the world today: Effect Audio’s Ares II terminated with a 4.4mm plug.
Pros: Very large stage, great detail and texture, phenomenal guitars, provide great energy to the music, excellent build quality
Cons: Expensive, can at times be a little picky about poor quality recordings
Jomo Audio Trinity BS

I would like to thank Joseph Mou of Jomo Audio for loaning me the Trinity BS (Brass) in exchange for my honest opinion. No incentive was given for a favourable review.

Trinity BS
  • Drivers: 2 x Electrostatic with internal transformer, 4 x Balanced Armature, single 8mm Dynamic Driver (4-way crossover)
  • Frequency response: 20Hz - 80KHz (Theoretical)
  • Impedance: 30 Ohms at 1KHz. RDC: 40 Ohms
  • Wiring: High purity silver-plated copper internal litz wiring
  • Shell: Proprietary 3D semi-custom ergonomic universal shell design with solid brass nozzle design
  • Price: S$3,799 (~US$2,800)


Jomo Audio is a custom and universal IEM company based in Singapore, a place I once referred to as the audiophile's equivalent of Willy Wonka's chocolate factory. Considering all the technology crammed into the Trinity under review here, I readily get this image of Joseph Mou standing in a white room telling his Oompa Loompas... "If Willy Wonka can do that with a chocolate bar, how about we shrink those electrostat headphones down to earphone size?!" That is probably not quite how it happened, but the result is there and I think that image is just too funny not to pretend that is how it went.

Of course in reality Jomo teamed up with one of the world's leading electrostatic driver manufacturers to miniaturize their electrostatic driver and its transformer to fit inside a tiny Jomo IEM shell. Then of course Joseph went on to say: "How about we add all the other technology in there as well to create a triple hybrid? You know, since we have Wonka Vision Jomo Vision up and running anyway?"

Okay, I am being a bit silly here, but Jomo have done some pretty unique things in the past, like the gorgeous carbon fibre shells, both in custom and universal, for the Flamenco. Those I have drooled over many times, although I believe the Flamenco now come with a new shell design that looks pretty gorgeous too. I guess that is the spirit of "Takumi" mentioned on Jomo's "About Us" page, the Japanese term for Craftsmanship Spirit. Always the drive to continue to hone their craft and create technologically innovative and artistically beautiful new IEMs. Certainly exemplified in this case by the triple hybrid Trinity in its beautiful brass and purple version.

As these were demo units, there was nothing really to unbox and I can't say anything about the packaging (although the aluminium case for the demo units is incredibly nice and I would love to have a few of those lying around for my own IEMs) or accessories, so I will skip straight on.


Build quality and fit
At this price point I would expect great build quality and that is certainly what I the Trinity offer. The beautiful shells feel very solid while they still stay nice and light. The brass nozzle is fixed nearly seamlessly in place and looks great with the sparkling purple of the shell. These are IEMs that I feel confident using without concerns, although I would be hesitant about subjecting them to too much abuse. I would say these are very solidly built without overdoing it to keep the weight comfortably light. A really good balance: more solid feeling than my Empire Ears Phantom and not as heavy as the Rhapsodio Zombie.


The fit is described as "semi-custom" and I do indeed get a really nice fit with these. While the shells are on the larger size (not unexpected considering the tech inside) they fit surprisingly flush and are extremely comfortable. I often have issues getting a comfortable fit and can change tips many times before I find the ones that work for me, but not with the Trinity. I used the supplied Tornado tips and those worked perfectly without any need for tip rolling. The choice of tips is very important to get right, as it can have a considerable impact on the seal, sound and comfort, so I was very happy it all worked out so easily. Great fit, great comfort and I could wear the Trinity all day without any issues. Also helpful was that the stock cable supplied was a nice thin and supple one, although I must admit I was a little surprised not to find the Effect Audio Ares II as a stock cable. At this price point the included stock cable feels quite out of place, especially considering that (if I remember correctly) other Jomo IEMs do come stock with Ares II. Not a huge problem for me because I have several cables lying around, including Ares II, but it does make me wonder if the stock cable could be holding the performance of the Trinity back a little. Well, perfect time to get in some listening and find out!

All listening was done with my AK70 and FiiO K3/Macbook Pro from the SE out (stock cable) and balanced out (aftermarket cables).


The Trinity have an impressive presentation. The tonality is a warm and smooth one, but don't underestimate the technical capability of the Trinity, as it is combined with a very large and airy stage, and an incredibly revealing nature. Much of this is dependent on source, but with a neutral or brighter source the Trinity will happily point it out to you when a recording is of a poor quality. That difference was clear between my AK70 (warm-natural) and the K3 (neutral), but also between the SE and balanced out of my AK70. The balanced out of the AK70 is a little more laidback in the treble and (using Ares II) that helped to make the Trinity a bit kinder to older Jazz recordings. But even with a neutral source it does not get offensive because of the smoothness. It is just that the Trinity achieve such outstanding clarity and are so exceptionally detailed, well beyond anything I have heard so far, so there is no hiding for poor quality recording. It is like the Trinity kindly tap you on the shoulder saying: "Excuse me, could you possibly get a better quality recording of this album because this is not quite up to snuff, my dear chap?" ...rather than sticking pins in your ears to bully you into buying a better quality recording.

When I shared some first impressions of the Trinity I used the word "soulful" to describe their sound and I still think that is a great word to sum up what I feel the Trinity with the brass nozzle do best. For classical music, especially any pieces with a bit more emphasis on the bass section such as Beethoven's 5th, I think the Trinity are a touch too warm and the bass a little too physical. Not that it is in any way bad, I could happily listen to it (and have), but it is not quite as good as the Trinity are for other types of music. When I switched to music by the Rolling Stones, Eric Clapton, Sting (Live) and Santana, the Trinity started showing their incredibly soulful nature and proved to be the most engaging IEMs I have heard to date.

What struck me about tracks such as Santana's Smooth is how coherent and well balanced everything was. There is some slight emphasis on the bass, but in a way that you might expect it at a live performance. It is when you focus on Rob Thomas' voice and Santana's guitar that the bass starts to become more functional and the soundscape starts to take shape. The bass guitar adds a smooth and relaxed rhythm, percussions add energy and cymbals top off that energy with a wonderfully sweet sparkle, all surrounding the voice and guitar at the centre compelling you to move. Everything just feels like it is in exactly the right place to build up the emotion of the song and get you fully immersed in the music. It feels like standing right there with Rob and Santana, playing/singing along, rather than merely listening.

The bass of the Trinity is a full, resonant and physical one with great detail and texture to it. It is a relatively slow bass and it gives the sound something similar to what you get with a live performance. It can extend really deep when needed, but does not do it as prominently as, say, the Empire Ears Legend X. I think the way the bass is tuned is a key part to the overall 'soulful' character of the Trinity.

The Trinity seem to have a character to them that is genuinely a coherent combination of three parts and it all starts with the bass. As with Santana's Smooth, the Trinity excel with The Rolling Stones' version of I Can't Quit You Baby, where the foundation is the bass layer. It provides a slow pace that is set by the bass guitar and an impactful and physical drum to create a tangible 'moody' feeling upon which the other layers such as the guitar riffs sit, to give that unmistakeable feeling of melancholy that is so characteristic of this track. In this case the bass adds the sort of warmth and physicality that helps set the slow moody pace, but in a more uplifting track such as Commit a Crime, the bass guitar is a little faster and due to its texture sets a higher foundational rhythm for the track that is incredibly engaging. To my ears it is technically incredibly good, but more importantly, works exceptionally well within the overall signature.

Although I think the Trinity excel with music such as blues, jazz and soul, they are of course much more versatile and the bass adds tons of fun for more popular music. I love the impact, weight and texture in Imagine Dragons' Yesterday and the fun it adds to Walk the Moon's Headphones. The quality of the bass and its physicality mean the Trinity are incredibly fun and engaging to listen to. Less ideal for classical, but it will work for mostly everything else.

The mids of the Trinity are very clear, detailed and have a unique character to them that provides a lot of energy to the overall signature. The mids are natural in their tonality, but not exceptionally so, which is where I think an intentional trade-off is made in favour of achieving that energy. This is also where I think the Trinity are less ideal for classical, as instruments such as woodwinds do not quite have the fullness I get with my Phantom (which are my reference in this case). So that is something linked to my personal preferences as well.

However, the trade-off I mentioned is absolutely worth it. The Trinity are by far the most amazing IEMs I have heard so far for guitars, both acoustic and electric, and here is where that coherency of three parts starts to take shape. To go back to the Rolling Stones, the foundation of a warm and moody bass get topped by a layer of crisp, extremely well-textured electric guitars that have incredible energy and emotion. It is so engaging and lively that it perfectly compliments the physicality of the bass to give that wonderful feeling that only blues can give. And it feels so real that it is as if you are part of the band because you automatically get drawn into the riff. This works just as well for acoustic guitars, as each type of guitar comes through with its characteristic sound clearly rendered by the Trinity. So, for instance, Eric Clapton's Unplugged album sounds just as amazing.

Vocals felt to me a little further back than I am used to, allowing instruments (especially guitars) to come forward a bit more clearly, although the vocals themselves maintain excellent clarity and sound natural. While I think the Trinity overall are quite warm, vocals seem to be well balanced without a clearly favouring male over female vocals. There is a hint of sweetness to female vocals, but I did not feel it unbalanced choral pieces to the point that male vocals dominated over the female voices. It felt quite well balanced.

This is of course where the Trinity introduces its new tech, the dual electrostatic super tweeters, and I have to admit that the treble certainly feels unlike anything I have heard. The treble is incredibly transparent, natural sounding and has a refinement that to my ears feels unique. It is sweet, sparkly, light and airy, seemingly without effort, yet it stays so smooth.

This is also where the Trinity become complete. Back with the Rolling Stones you get this wonderful blend of the cymbals within the overall image, providing sparkle without demanding any attention. In my opinion this is exactly where the cymbals should sit. Like icing sugar, they add sparkle over the image, but they are just there for the finishing touches. Nothing too splashy or too forward and yet still clearly defined and present with a richness that is incredibly enjoyable. It is a testament to the quality of the treble that even though it is not pushed forward, it can still distinguish itself from the very energetic bass and mid range instruments to form a genuinely coherent trinity of layers.

Another great example of this is the sound of the brushes in Madeleine Peyroux's You're Gonna Make Me Lonesome When You Go. It is that typical sound for jazz, coming through incredibly clearly while sitting perfectly within the image. It adds just the right type of energy for the song and that, in my opinion, characterises the treble really well, it is a Goldilocks treble: just right.

Aftermarket cables
I usually take my time listening to various cables, but because the connectors on the IEMs were very tight I could not switch between cables very easily, in cases preventing me from trying out a cable, and I decided it was safest to keep my listening session quite brief.


-Effect Audio Ares II (3.5mm SE)-
This is the cable I would have expected as a stock cable and I think it pairs very well. I have both a 3.5mm SE and 2.5mm balanced Ares II, and I decided it was best to compare like-for-like and use the 3.5mm SE to compare to the stock cable. Overall I think the stock cable performed very well, but Ares II still gives a few notable improvements. Ares II improves background blackness and gives an overall cleaner sound. Vocals come forward a little bit and clarity is improved. While the soulful character is maintained very well, the overall sound is a little smoother and more forgiving. Just as always, I think Ares II is a very solid upgrade option.

-Effect Audio Lionheart-
Lionheart is an interesting pairing for those who find the energy of the Trinity a bit much. Lionheart tones down the physicality of the bass a little bit and takes some of the edge off strings, pushing guitars back a little and pulling forward vocals a bit more. The overall sound gets the typical liquidity of Lionheart, mids become a bit more natural in the way I prefer them (warm-natural) and I feel transparency is improved.

-PlusSound Exo Silver+Gold-
A wonderful pairing and one of my favourites. The Silver+Gold adds clarity and reduces some of the warmth, but maintains the soulful character really well. There is still an edge to guitars and the bass gains a lot of control without loosing its impact in the overall signature. It is brighter and thus works better with classical music as well.

-Dita Audio Truth (Silver)-
Another wonderful pairing that leads me to believe the Trinity pair best with silver cables. Much like the Exo, the Truth adds clarity, but pushes it even further while maintaining more of the original warmth in the bass. It is very smooth and sounds incredibly natural, with outstanding vocals


-PlusSound X6 Tri-Copper-
A great pairing that expands the stage a bit and adds a fair amount of air and improved separation without harming the coherency. The Tri-Copper also very slightly takes some of the edge off while maintaining the great texture of guitars. The bass feels more extended and a little more controlled. A very pleasant pairing that improves clarity and resolution without straying from the stock sound.


-Effect Audio Leonidas II-
I had a lot of trouble with the connectors for this pairing, but I really wanted to try it and indeed it turned out to be my favourite pairing by far. Leonidas II improves transparency to astonishing levels, adds control to the bass while maintaining the warmth to build up the sound that the Trinity do so well. Guitars sound smooth while gaining even more texture, vocals sound superb and the treble is just as sweet. There is something truly special about this pairing.

-Empire Ears Phantom-
At the moment I only have one pair of IEMs available that I consider worth comparing to flagship IEMs such as the Trinity and those are my own Phantom. These are my main reference for reviews and my benchmark for naturalness as I prefer it (i.e. warm-natural). Therefore this comparison is also useful to understand my preferences and to put my impressions of the Trinity in the right context.


Both these IEMs have a type of warm and smooth sound, but they have quite different characters. The Trinity have a much larger stage, greater clarity, more detail and considerably more energy. The bass has much more physicality and texture to it, even though the quality of the Phantom's bass is outstanding to begin with. There is something more articulate about the notes of the Trinity and that is particularly noticeable with guitars. The Phantom do guitars very well, but the Trinity are downright masterful and present guitar riffs with so much texture and crunch that the Phantom sound almost subdued by comparison. Indeed, back-to-back the Phantom have that sense of veil compared to the Trinity.

It is however not all win for the Trinity and the Phantom are masterful in their own right. Mid-range tonality is where the Phantom excel and the Trinity just can't quite get the naturalness that the Phantom have, especially with instruments such as woodwinds. The Trinity are natural, but the Phantom nail it perfectly. Similarly for vocals. The Trinity have great vocals, but the Phantom's vocals are more forward, more natural and just have this amazing sense of intimacy to them. The Phantom also have a better overall smoothness, playing more kindly with less optimal quality recordings.

Both IEMs have great coherency and that is quite a feat for the Trinity to pull off with a much larger stage. Both also have a very holographic stage, surrounding the listener in music, immersing you in sonic bliss. Which you prefer will come down to your taste in music, preferences for certain aspects such as vocals and of course the budget you have available, as the Trinity are a step up in price.

I have greatly enjoyed my time with the Jomo Trinity and consider them the most soulful and engaging IEMs I have heard to date. They are warm and smooth, with a very large and airy stage, lots of details and a very revealing nature. Moreover, the Trinity have an infection energy that will give you the feeling like you are right there on stage performing with the band. If you have an opportunity to demo these, please do yourself a favour and listen to Santana's Smooth and I will guarantee you that you will feel like you are standing right next to Santana with your very own air guitar.


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