TEST: InEar SD-5

 Every now and then, as an author, you have the pleasure of being able to review a product exclusively before its release date. This joy came to me today when I received the future Inear Monitoring SD-5 monitor system. The system will not appear until the Frankfurt Music Fair 2018, so there is currently. neither photos nor links to the product. Let's take a look at the new product in detail.

Special features of the construction

In general, as an information first, you have to differentiate between two concepts for inear systems. There are normal standard systems, which have a uniform fit for the headphones, and so-called customized systems, which are designed by the manufacturer itself or by a specialist company such as: B. a hearing aid acoustician, an individual ear impression is made, which serves as a blank for the later manufactured headphones.

The purpose is, on the one hand, to be comfortable to wear, and on the other hand, you try to shield your personal hearing from external sound as much as possible so that your personal monitor mix is not burdened by the unrestrained noise of your fellow musicians. Both concepts have advantages. and disadvantages. Apart from the price, which can be many times higher than the standard systems due to the individual production and the mostly higher quality components of the adapted systems, it is above all the feeling of isolation from the audience that sometimes gives some artists an uncomfortable feeling when using adapted systems.

The absence of direct sound and the associated dissolution of the spatial image (the stage rotates with every body movement) can also cause a disorientation that should not be underestimated, especially at the first shows. Some manufacturers try to compensate for this with inserts that allow a fixed level of external noise to pass through to the ear canal, or you set up 2 or more ambient microphones on the stage and thus ensure communication with the audience.

All in all, an effort that should not be underestimated, especially since all of these measures reduce the quality of the actual mix. Because let's say one thing up front, nothing can compare with the sound quality of a perfect in-ear mix in a customized system, especially if you can make your own monitor mix. Well, what distinguishes Inear's Stagediver system from the many included earphones, which usually come with a radio link?

To explain this, one must consider the fact that the Inear company has calculated an average value from the many hundreds of systems they have manufactured, which in 90% of all cases optimally seals off the ear canal of the average user. The “S” system with smaller dimensions was brought onto the market some time ago for particularly small ear canals of young artists or petite women.

So the challenge is to develop a system that reaches far into the ear based on probability statistics in order to avoid the eternal slide of the plug-cheap version. The company has already achieved this with versions SD-1 to SD-4. The shape has proven to be very flexible and is estimated to be highly valued by at least 90% of all customers because of its comfortable fit. Now let's move on to the sound aspect.


construction

The Inear Monitoring SD-5 is the latest addition to a large product family. Depending on its index, its predecessors were designed for specific groups of instruments. While the SD-1 was still a simple earphone version, the course for individualization was set at the latest with the SD-2, which is still very popular with singers and especially guitarists due to its mid-range orientation. The drums / bass variant SD-3 with a strong bass excursion and the high-mid-stabilized SD-4 is now followed by the in-ear monitoring SD-5, a variant that is as neutral as possible in sound, which, thanks to the new multi-way system and new drivers, gives all types of instruments the same priority in terms of frequencies sends.

The new system is now based on a 3-way system with 5 drivers per side, which again means an increase in the number of paths and drivers compared to the previous model. According to the manufacturer, this design enables a frequency response of 10 - 20,000 Hz, impressive numbers that read nicely, but in practice play a role at a maximum of 25 - 17,000 Hz. The maximum sound pressure of 120 dB is more convincing, which promises good impulse resistance even with hard kicks or slap bass. On the other hand, the impedance of the Inear Monitoring SD-5 is really great with a value of only 13 ohms, which is e.g. B. enables very high volume in the studio without special headphone amplifiers.

A special feature that should be noted is that my test device was made of ebony. Looks very elegant with its matt surface and fine-pored resolution. As far as I know, the well-known variant in black high-gloss plastic will also be used. By the way, if you would like to have a personalized imprint on your listeners in the form of a band logo, name or “Anchor/Mom/Mermaid…” on your listeners, as far as I know, the Inear guys, with their headquarters in Dieburg near Frankfurt, are very flexible regarding special requests. Just ask.

scope of delivery

Since this is a preliminary model, the system, which has a very high-quality, approx. 140 cm long cable, was delivered in a black artificial leather box. I assume that the final version will again come with the standards of the Stagediver series in the form of the gold-plated adapter (3.5 mm to 6.3 mm jack), several cleaning cloths, 4 different plastic attachments to optimize the fit of his ear canal and wax filter ( earwax filter), all delivered together in an official Pelican case.

The wax filters in particular, which protect the drivers against contamination, are invaluable and will probably be included with the listener again in 2x16 pieces.


sound

To make things really difficult for the Inear Monitoring SD-5, it was allowed, among other things, compete against my personalized Live Pro 4 set and an older SD-2 set. To make it short, the Inear Monitoring SD-5 leaves an excellent figure! First of all, this version of the Stagediver series also sits very well in the ear. In my opinion, you have to say, of course, but after 5 other colleagues also confirmed that they were very comfortable to wear, I would dare to generalize.

In terms of sound, the Inear Monitoring SD-5 actually manages to bring out every instrument in a balanced way, with the excellent midrange once again being particularly suitable for guitars. Many guitarists are familiar with the problem that, especially in the high gain range of high-frequency systems, the high range is “sawed through” like a razor, while the important midrange of 1-2 kHz is often flattened for “hi-fi / loudness” reasons.

The Inear Monitoring SD-5 also does a great job when it comes to spatial resolution and depth graduation. The overall sound must be viewed as neutral and therefore optimal. If you like to have ultra-bass for the electric range on your in-ear from the factory, you should put an appropriate filter on the way.

The only problem is that, as with all systems that adapt to the shape and bulge of the ear canal, the Inear Monitoring SD-5 requires a little experience and, above all, calmness to find the optimal fit. “Stuffing” the side does not result in a satisfactory experience and is usually disappointing in terms of sound. Personally, I have had the best experience by turning the system “into” the ear from front to back with slight inward pressure. Just try it out a little.


P.S.

Detached from the area of music monitoring, the guys at Inear have already earned an excellent reputation in other areas of hearing aid acoustics. Among other things, the company equips the racing teams of the highest international professional class (name cannot be mentioned due to trademark protection law...) around Sebastian Vettel with appropriate monitor systems to ensure communication with the pit team. Anyone who knows about the infernal noise of these vehicles can imagine how well the external noise must be insulated with an inear system.


Conclusion

With the Inear Monitoring SD-5, the Hessian company puts its competitors in the field of unadapted inear systems. The concept of universal adjustment using approximate values from probability calculations with extremely high accuracy of fit is groundbreaking and impressive in every respect.

Workmanship, sound and features can only be described as absolute top class.


Retail price: according to the manufacturer, approx. 949.00 euros for the plastic version, the real wood version is available for an additional charge.

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Additional Informations:

In-ear monitoring (IEM) systems have become indispensable tools for musicians, audio engineers, and performers, offering personalized audio experiences directly into the ears. One of the critical factors influencing the sonic performance of IEM systems is the number of drivers they incorporate. In this comprehensive article, we delve into the nuanced sonic differences resulting from varying driver counts within in-ear monitors.

**1. Understanding In-Ear Monitor Drivers:**
Before delving into the sonic variances, it's essential to grasp the role of drivers in IEM systems. Drivers are miniature speakers responsible for producing sound within the earpieces. They come in different types, including balanced armature drivers and dynamic drivers, each with its unique characteristics. In multi-driver configurations, multiple drivers are used to handle different frequency ranges, resulting in a more accurate and detailed sound reproduction.

**2. Single-Driver Systems:**
Single-driver IEM systems utilize a solitary driver to reproduce the entire frequency spectrum. While these systems may lack the complexity of multi-driver setups, they offer simplicity and coherence in sound reproduction. Single-driver monitors are known for their natural and coherent sound signatures, characterized by smooth transitions between frequencies. They are often favored by audiophiles and purists for their transparency and musicality.

**3. Dual-Driver Systems:**
Dual-driver IEM systems employ two drivers—one for low frequencies and another for mid to high frequencies. This configuration allows for better separation and clarity between different frequency ranges. Dual-driver monitors typically exhibit enhanced bass response and improved detail retrieval compared to single-driver counterparts. Musicians and audio professionals often prefer dual-driver systems for their balanced sound signature and increased resolution.

**4. Triple-Driver Systems:**
Triple-driver IEM systems take the sonic performance a step further by incorporating three drivers—dedicated drivers for bass, midrange, and treble frequencies. This configuration enables precise control over each frequency band, resulting in exceptional clarity, imaging, and instrument separation. Triple-driver monitors excel in reproducing complex musical passages with accuracy and finesse, making them popular choices for stage monitoring and critical listening applications.

**5. Quad-Driver and Beyond:**
As the number of drivers increases, so does the complexity and fidelity of the sound reproduction. Quad-driver and higher configurations further refine the sonic performance by dividing the frequency spectrum into smaller segments, each handled by dedicated drivers. These systems offer unparalleled detail retrieval, dynamics, and spatial accuracy, catering to the most discerning ears and demanding audio environments.

**6. Considerations and Trade-Offs:**
While multi-driver IEM systems offer superior sonic performance, they also come with certain considerations and trade-offs. These include increased cost, complexity, and potential phase coherence issues. Moreover, the subjective nature of sound perception means that preferences may vary among individuals, with some preferring the simplicity of single-driver monitors, while others gravitate towards the detailed presentation of multi-driver configurations.

**7. Technological Advancements:**
Advancements in driver technology, such as hybrid driver configurations and improved crossover designs, continue to push the boundaries of sonic excellence within IEM systems. Manufacturers are constantly innovating to achieve greater efficiency, coherence, and fidelity in sound reproduction. Additionally, advancements in digital signal processing (DSP) and acoustic tuning software enable fine-tuning of IEM systems to meet the specific preferences and requirements of users.

**8. Conclusion:**
In conclusion, the number of drivers within an in-ear monitoring system plays a crucial role in shaping its sonic characteristics and performance. From single-driver simplicity to multi-driver complexity, each configuration offers a unique listening experience with its own set of strengths and trade-offs. As technology continues to evolve, we can expect further refinements and innovations in driver design, paving the way for even more immersive and satisfying audio experiences within the realm of in-ear monitoring.