Jomo Audio’s Pro-Audio & Mélange Series Launch Event – Let’s Dance!
Innovation knows no rest, and no individual knows that better than Jomo Audio’s Joseph Mou. The past year alone has seen the Singaporean grow
tremendously in experience, technique and bravado – releasing new entries in both the flagship
and entry-level markets to equally rave reviews. But, if his latest developments are of any indication, the man is
only getting started. Armed with a plethora of new technologies, Joseph has unleashed three new additions to his critically-acclaimed Pro-Audio Series, and two models that’ll usher in the brand new Mélange Series – comprised entirely of
hybrid IEMs. I’d like to thank Euphoria Audio for inviting me to the
Tune It Singapore! event , where I got to listen to all five new models and explore what each ultimately had to offer. Check out their Facebook page
here.
Cross-Sync Uniphase
Phase cancellation is an industry-wide issue that has long plagued in-ear monitors with multi-BA configurations. Because sound waves of different frequencies travel at different speeds, destructive interference may cause the cancellation of certain frequencies at the crossover point. Upon observing the excellent layering, detail retrieval and background blackness of his single-driver Haka – due to its sans-crossover configuration – Joseph set out to find a solution for his multi-driver offerings. The answer was Cross-Sync Uniphase (or CSU). CSU considers a number of factors to ensure a linear response, including sound tube length, driver positioning and cross-over component values. By phase-aligning components per those parameters, resolution, clarity and stability should all experience significant improvements.
Air-Control Unit
The Air-Control Unit (or ACU) is a feature exclusive to the Melange series. This was secretly debuted at CanJam SG 2018 within Joseph’s two prototypes, which I covered at the event. It turns out, the components within them were exactly the same! The only difference was the air within the IEM. This is what ACU was derived from. Manifesting in the form of a port located at the top of the shell, ACU allows the user to customise the speed of air within the dynamic driver’s chamber. This alters the response in a variety of ways. At launch, Jomo Audio will release four possible configurations in the form of four different filters: Impact (Red), Energetic (Blue), Balanced (Black) and Musical (White).
Effect Audio Cabling
All five IEMs will come with an Effect Audio Ares II stock cable. This product has been hailed worlwide as one of the best all-round aftermarket cables in the industry, and also allows the user to choose source-end termination at purchase.
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The Pro-Audio Series
Joseph Mou’s Pro-Audio line has been home to some of the company’s best performers. Example include the immensely popular Samba and Flamenco, as well as the impressively versatile, single-driver Haka. The uniform thread binding them all is an immense focus towards technical performance and viability in professional environments; whether that be on stage or in the studio. Equipped with CSU technology and internal titanium waveguides, the latest entries in the Pro-Audio line-up aim to be champions of transparency and resolution – delivered at a price accessible to all.
Please note that all of the following prices are in Singapore dollars.
Jazz (S$699 UIEM; S$799 CIEM)
The Jazz is a two-driver IEM tuned according to feedback gathered during Euphoria Audio’s open beta test – tailor-made according to the so-called
Singapore Sound. As a result, the Jazz has become a mid-centric IEM, particularly favouring the density of the centre-midrange and brightness of the lower-treble. However, the road it takes to ultimately get there is an odd one, which we’ll explore later. Firstly, the Jazz presents a melodic, upper-bass-inclined low-end. Extension is modest – resulting in a bass
heard than a bass
felt – but the region’s linearity salvages its tone and clarity; resolving bass jabs and guitar slaps with impressive precision
and solidity, despite minimal prominence in the overall mix.
Entering the midrange, the Jazz has a significant 1-2kHz rise, resulting in a rich and chesty vocal presentation. However, this then transitions to a neutral upper-midrange, resulting in an imbalance between foundation and vibrancy. Instruments are full-bodied and present, but they sound honky – further exacerbated by a brighter 5-6kHz peak and an 8kHz dip. There are instances where these shifts translate to both sweetness and solidity – such as with Jamiroquai’s Jason Kay or Celine Dion – but they show their wear in guitars, cellos and percussion; sounding diffuse, smeared and splashy. The treble rolls off past 10kHz, but linear extension maintains an adequately stable stage. Transparency is average, but the balance it maintains between technical separation and musical cohesion is impressive.
Despite its name, the Jazz – to me – sounds best with laid-back synthetic music. Its odd timbre renders it a no-go for acoustic tracks, and its reserved bass won’t satisfy with EDM. However, if you’re a fan of relaxing electronic music in the market for an affordable,
set-it-and-forget-it monitor that does not skimp on dynamic energy, the Jazz might be for you.
Salsa (S$1399 UIEM; S$1499 CIEM)
The Salsa is Jomo Audio’s four-driver offering, which fully embodies the Pro Audio line’s pursuit of clarity and precision. Overall, it is a balanced piece aside from clear emphases in the lower- and upper-treble. As a result, the Salsa takes on a brighter tone and an airier presentation. A contributor to that is its low-end. The Salsa has a melodious bass with minimal sub-bass content. However, admirable extension maintains a realistic sense of physicality and solidity. Notes jab with clarity and air – akin to the Flamenco in many ways – even though some texture and warmth is sacrificed in the process. Finally, the speed of the mid-bass is especially crucial in maintaining the Salsa’s marvellously clean stage.
The Salsa’s midrange excels in clarity and definition. There’s just enough centre-midrange presence for proper solidity, while treble peaks add vibrancy to the upper-mids. The only weakness here is in tone. A sparkly top-end and a clean bass result in vocals that lack fullness and warmth. Females gain sweetness from the upper-midrange, but males miss a certain
gusto or gravitas. This particular tuning benefits acoustic instruments and percussion; fingered strings and cymbal rolls resonating with finesse. The Salsa then employs peaks in the lower- and upper-treble for dazzling energy and open air. Despite this, admirable speed and note thickness prevent stridence for the most part. A more linear treble would’ve given the Salsa greater spherical depth, adequate extension ultimately constructs a wide, stable stage.
All in all, the Salsa is probably the closest of the three to its given namesake; exciting, fierce and
red hot! Bolstered by a complete midrange and a dazzling treble, the Salsa boasts excellent openness and air. Thankfully, Jomo Audio is far beyond stridence, so all that remains is vibrant clarity and relentless energy. Its calm low-end may hinder its versatility, but it’s an impressive attempt nonetheless at a signature with transparency in mind, and vocal completion at heart.
Tango (S$1699 UIEM; S$1799 CIEM)
The Tango is Joseph’s six-driver entry into the Pro Audio series; succeeding his widely-acclaimed Jomo 6v2. However, unlike its predecessor’s more
reference tuning, the Tango’s defining trait is its v-shaped response – boasting an unapologetically
fun sound with excellent dynamic energy and clean contrast within an impressively open stage.
This begins with the Tango’s elevated low-end. Excellent coherency between the sub- and mid-bass evokes an almost DD-like response; a fusion of visceral, foundational rumble and satisfying impact. Then, a slow droop into the upper-bass results in a darker-than-natural tone and strong textural resolution. But, enough energy is maintained here to endow the midrange with a strong, rounded fundamental. Aside from a tinge of warmth by way of slower decay, the Tango’s bass remains admirably self-contained. Although it’s best with genres like EDM, male baritones from my jazz collection also gain an authoritative gravelly huskiness. It’s a low-end as exciting as it is well-defined, mature and clean.
A significant dip at 1kHz ensures a more articulative and precise midrange. Although this may sometimes compromise resolution (or the completeness of the note), the Tango’s powerful bass lends its hand – imbuing instruments with warm, earthy undertones. As a result, female vocalists tend to sound
heavier rather than sweet. But, male baritones ring through with great texture and authority. A rise in the 2-3kHz range ensures vibrant upper-mids despite an overall neutral presence, as well as the beginnings of a neutral tone when paired with its treble peaks. Despite its slight bias with vocals, the Tango’s transparency here works wonders with ensemble instruments, where the lead melody can shift from one instrument to another. This is also the result of brilliant headroom, where the Tango
never falls short.
The Tango’s clarity comes from a strong 5kHz peak, followed by a smaller one near 11-12kHz. Respectively, these emphasise articulation, as well as openness and air. Subtler instruments – like cymbal shimmers, wind chimes, palm mutes, etc. – are more clearly contrasted against the Tango’s black background. However, compared to the Salsa for example, the Tango delivers with more grace. This is partly due to the Salsa’s later lower-treble peak, but an additional factor is speed. The Tango’s notes decay at a greater rate, so any sense of brittleness is instantly alleviated. As mentioned, this energy contributes to the Tango’s neutral-leaning tone; counteracting the warmth of the bass. Finally, admirable extension bolsters the Tango’s stability and separation – both particularly impressive for a six-driver in-ear.
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The Mélange Series
This series marks the debut of Jomo Audio’s hybrid IEM technology. Designed as a foil to the Pro-Audio Series, these monitors emphasise smoothness, musicality and fun
whilst maintaining competitive levels of transparency and resolve. In the same vein as the switch-equipped Flamenco, Jomo Audio is also offering impressive customisation through ACU technology; drastically altering the low-end’s presentation by shifting the speed of air within the dynamic driver’s chamber. Four distinct signatures will launch with the Déux and the Quatré, with the window open for more to follow.
Please note that all of the following prices are in Singapore dollars.
Déux (S$999 UIEM; S$1099 CIEM)
The Déux is a dual-driver hybrid with a single balanced-armature driver and a single dynamic driver. In many ways, it embodies the Jomo Audio
house sound more so than its brethren do. By employing tighter notes within a stable, well-resolved stage, the Déux creates a laid-back soundscape ideal for longer listening. Additionally, a well-controlled treble region imbues the in-ear with a linear and natural tone, extending its ease across a large variety of genres. The stage it presents is the most well-proportioned of them all – extending equally in width, depth
and height – though the mid-bass can inch
slightly forward with select tracks. Finally, headroom is rich due to the Déux’s lower-midrange dip.
w/ Black ‘Balanced’ ACU Filter
The Déux sports impressive linearity between sub- and mid-bass. Rumble and impact ride along an equal plane, resulting in a bass line that’s both punchy
and foundational. Separation and clarity is bolstered by great speed, effortlessly segregating between the kick drum and bass guitar in all occasions. The in-ear’s dynamic driver maintains much of the technology’s hallmark traits. From the
thwack of kick drums to the
boom of floor toms, bass instruments resonate with realism – the product of palpable physicality and an accurately warm timbre. Sufficient bloom from the mid-bass tinges the stage with musical euphony, but the low-end’s swift decay prevents it from hindering resolution.
The bass then transitions steadily into the midrange; retaining energy up to 500Hz, dipping at 1kHz and rising
againbefore 2kHz. This results in robust and well-rounded instruments
without overt chestiness. Male vocals don’t have as much grunt in this configuration (due to the linear bass), while females remain beautifully sweet with a touch of richness from the upper-bass. Thankfully though, both are natural in tone; lightly warm, dense and remarkably complete. The upper-midrange is less vibrant when compared to the other models, but this in turn creates a more coherent flow from the bass up. Although its pricier siblings are generally more resolving, clean and authoritative here, the Déux’s presentation is surprisingly one of the most realistic; a result of sheer linearity, impressive body and timbral accuracy.
For articulation and clarity, the Déux employs small peaks around 5kHz and 7kHz. These add a
tizzy edge to instruments like hi-hats, cymbals and acoustic guitar. The former two lose some tactility in the process, but they maintain enough tonal accuracy for realism’s sake. Also, sufficient linearity here avoids stridence or brittleness of any kind. Vocals are more feathered in nature – especially compared to its Pro Audio brethren – but they’re less fatiguing to listen to; substituting perceived technicality for a more natural listening experience. This is because of the Déux’s steady decline past 10kHz, despite adequate extension bolstering the stereo image. So, the Déux isn’t the most transparent monitor in the world, but its superb coherence nonetheless makes it a natural, charming and oh-so-easy monitor to listen to.
w/ Blue ‘Energetic’ ACU Filter
The blue ACU filter incites a slower low-end response. As a result, the Déux’s mid-bass take on a fluffier character; sacrificing clarity and finesse for body and warmth. This added bloom then feeds into the midrange. Vocals are perceivably more forward-sounding, with males benefitting from the added gusto. Overall dynamic energy is also increased, due to a greater contrast between the bass and the upper-midrange. Out of all the genres I listened to, this module worked best with slower-paced music like jazz. Upright basses sound wonderfully organic due to the slower, warmer decay. However in fast-paced rock or pop, the stage may get overtly saturated; especially in longer listening.
w/ Red ‘Impact’ ACU Filter
The red ACU filter is where the Déux feels slowest. The extra bloom found with the blue filter is emphasised to an excessive degree. Additionally, the accentuation extends to impact too. On tracks like Kendrick Lamar’s
Alright, the drops slam with great force, accompanied by decay that occupies a large majority of the sonic image. In fact, on most EDM tracks I listen to, the warmth radiating from the mid-bass overshadow the initial transient. As a result, this added energy translates to nothing more than bloat on most occasions. Because it sacrifices too much technical performance for little in return, the red ACU filter is one I wouldn’t recommend paired with the Déux. It’s simply too much for its own good.
w/ Silver ‘Musical’ ACU Filter
The silver ACU filter highlights the Déux’s sub-bass in solidity, texture and – especially –
power. The entire low-end region takes on a more guttural character; showcasing rumble reminiscent of Empire Ears’ Weapon IX drivers (though, not to that extent). What was once the foundation of the Déux’s soundscape is now visceral and skull-rattling. Thankfully, the congestion found with the red filter isn’t present here; maintaining a clean and adequately roomy stage. Though, with that said, the forwardness of the sub-bass relative to the midrange makes this configuration more situational than universal. This is the module I’d go to for a fun, enthralling, club-like sound, but not one I’d permanently attach to the Déux. But, for what it’s going for, it’s an absolute winner; engaging, satisfying and still technically sound.
Quatré (S$1999 UIEM; S$2099 CIEM)
The Quatré is the flagship of the Mélange Series. Sporting a three-plus-one configuration, it merges the smooth charm of the Déux with the energetic vibrancy of the Pro Audio Series IEMs; resulting in a predominantly w-shaped response. The Quatré populates its stage with large, engaging and detailed instruments, made all the more
epic by the soundstage’s tremendous height. Stemming from its energetic signature, there’s a constant sense of immediacy in the Quatré that keeps it in high-gear; always giddy and excited in delivery. But thankfully, enough headroom is maintained in jazz tracks – for example – to remain sounding spacious and easy, regardless of the Quatré’s penchant for dynamism.
w/ Black ‘Balanced’ ACU Filter
The Quatré’s low-end is sub-bass-inclined; highlighting the texture, solidity and grunt the dynamic driver provides. Like the Tango, there’s a downward slope into the upper-bass. So, the low-end here isn’t as linear and natural as that of the Déux. However, this benefits technical performance. Low-end resolution, layering and detail is more apparent due to the Quatré’s clearer timbre. It isn’t as warm and pleasing as the Déux down low, but it’ll please listeners yearning for the sheer growl of a hybrid’s bass. With that said, due to the driver’s slightly slower decay, a euphonic warmth still seeps into the soundscape, though minimal when compared to the Déux; favouring a clearer stage and higher transparency.
Much of the Quatré’s energy stems from its vibrant upper-midrange, built upon a significant 2-3kHz bump. Instruments loom large with images that are more immersive and present than focused and precise. Though, a significant dip at 1kHz ensures these instruments are never overtly full. So, vocals source their warmth from the Quatré’s low-end; resulting in a largely neutral timbre. The upper-mid rise also contributes to the Quatré’s emphasis on vocal energy and light; rather than density or power. As a result, the Quatré may sometimes lack nuance with more complex instrumental passages. Despite excellent detail retrieval and clarity, it may miss out on the emotional resonance of a performance. Though, with that said, transparency in this region is high; resolving background reverbs and micro-details with ease.
And, this clarity comes from the Quatré’s energetic top-end. Small peaks are present throughout the lower- and upper-treble regions, imbuing the Quatré with sparkle, air and articulation. This is what gives the Quatré its near-relentless sense of engagement. Even in slower ballads, the Quatré heavily encourages
active listening rather than passive. But, the thickness and speed of the notes up top prevent stridence to great effect. Tone is certainly on the brighter side of neutral, but the Quatré is never metallic nor artificial; simply vibrant and clear. Even
more linearity would’ve given the monitor a stronger sense of resolution from timbral accuracy, but strong extension nonetheless endows the stage with cleanliness, openness and finesse – balancing low-end grunt with a well-separated, precise and expertly layered stage.
w/ Blue ‘Energetic’ ACU Filter
With the blue ACU filter, the Quatré is at its punchiest; delivering palpable, physical thumps. Despite relatively linear prominence againt to the midrange and treble, bass notes make themselves better known from increases in impact and texture. This can be chalked up to slower decay, but the stage still remains adequately clean and headroom high. Greater coherence between the sub- and mid-bass grants the Quatré a more realistic timbre, as well as denser and more solid jabs. All in all, it’s
the filter for an added dose of punch without much technical compromise.
w/ Red ‘Impact’ ACU Filter
The red ACU filter represents the Quatré unleashed; exhibiting immense amounts of bass with a slight emphasis on the sub- regions. The Quatré gains vast improvements in texture, resolution and power. Obviously, this is at the detriment of tone, but this is definitely where you want to be if you’re looking for the most fun, exciting and unified presentation the Quatré can offer. Ironically, vocals
gain naturalness, due to an accentuated upper-bass. The midrange becomes more well-rounded, bodied and complete, with improvements in authority and resolution. Though, vocal enthusiasts should keep the low-end’s prominence in mind before mistaking this configuration for a
singer’s IEM of any kind.
w/ Silver ‘Musical’ ACU Filter
The silver ACu filter is where the Quatré’s low-end is most musical, due to a warmer, more organic and more melodious presentation. A slower decay ensures a more linear flow from the sub-bass to the mid- and upper-bass, which
fills in the gaps of the midrange to produce a smoother and more coherent overall response. The bass is now darker and weightier in timbre, with a greater role in the mix than simply as the midrange and treble’s foundation. It’s further pushed forward, which boosts the Quatré musical sensibilities. Finally, it also aids dynamic performance, as the Quatré’s instruments better coalesce to form an impactful wall-of-sound, rather than a more segregated w-shaped response.
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Select Comparisons and Closing Thoughts
Jomo Audio Déux vs. Empire Ears Bravado
The Déux and the Bravado share many qualities, especially with regards to vocal placement and presentation. Both produce neutrally-placed instruments to boost soundstage depth and precision. However, the Bravado maintains a clearer, drier timbre due to its leaner lower-midrange and greater lower-treble peak. The Déux’s low-end is mid-bass-inclined, while the Bravado’s leans towards the sub-bass. So down low, the Déux is warmer in tone and the same is true for its stage; carrying a musical atmosphere that coheres its instruments together. The Bravado has superior bass texture and resolution, but its articulation-led lower-treble renders it more fatiguing. Finally, the Bravado has the edge in imaging precision and soundstage width, while the Déux has a more linear, unified and coherent presentation.
Jomo Audio Quatré vs. Empire Ears Legend X
Agains the Quatré, the Legend X displays superior transparency, because of its cleaner transients and more precise imaging. The Quatré’s larger notes present a more vibrant and harmonic presentation; vibrant rather than nonchalant. Down low, the Legend X outdoes the Quatré in texture, layering and resolution, whilst maintaining a similar level of musicality. The Quatré is more forward-sounding in the upper-mids, while the Legend X’s bass
absolutely takes prominence; overtaking the midrange and treble in positioning. Because of this, it also portrays a grander stage, but the Quatré edges it out in height. The Legend X images more precisely, because of a greater, cleaner contrast between notes and the black background. Ultimately, it’s the better option for a more theatre/speaker-like listening experience, even with its more prominent sub-bass. The Quatré is more gripping and engaging; again, ideal for active listening.
Closing Thoughts
Jomo Audio’s five new models represent huge steps forward for the company. Never one to grow complacent, Joseph Mou is making one technological advancement after another – going from proprietary drivers, to phase correction technology, to air-controlled hybrids within the course of a year. The latter specifically offers unprecedented customisation
, depicting exciting prospects for future developments to come. Along with these innovations are welcome shifts in signature. Forward and vibrant instruments were never hallmarks of the Jomo Audio house sound, but this
willbe the draw for international audiences, whom I’m sure will find
much to love in every new model. All in all, this was an impressive launch from Jomo Audio and I can’t wait to delve deeper into these IEMs, should the opportunity ever arise.
