TEST: InEar SD-4

 Inear systems are on everyone's lips and for many bands with a certain level of professionalism they have now replaced the good old wedges for monitoring on stages, or they also intervene in the system. However, what still prevents many musicians from using such a system is the choice between a customized system that is often expensive and the usually pitiful-sounding earphones that are included with a radio link.

The Inear company from Roßdorf near Darmstadt took on this problem a few years ago and developed a universal Inear system with the Stagediver series, which turned the previously prevailing opinion about unadapted systems on its head. With the Inear Stagediver SD-4, the latest edition of the series is now available for testing and this much can be said in advance: nothing is the same anymore.

construction

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 has to be insulated with an inear system.

But what makes the Stagediver system so unique in the jungle of earplugs? To explain this, one must consider the fact that the Inear company has calculated an average value from over 500 of its manufactured systems, which in 90% of all cases optimally seals off the ear canal of the average person on earth. The “S” system with smaller dimensions was recently brought onto the market for particularly small ear canals of young artists or petite women.

The SD-4 version, which has now come onto the market, shines with a previously unprecedented 4-driver system, which, according to company information, has set itself the goal of developing nothing less than “a listener that can play every instrument in a recording cleanly, vividly and tangibly." And now you come. Full-bodied words that, if they don't want to turn out to be the thousandth copy of marketing-technical phrase-mongering, should be understood as the absolute demand for detailed fine-art.

One should keep in mind that, in addition to a universal fit and high external attenuation, it must also be possible to acoustically reproduce the different groups of instruments at the highest possible volume. The breath of a pop star must be conveyed just as much as the sub-bass of an official kick drum or the high-mid pressure of a high-gain metal guitar. Please do the whole thing without peaks or overemphasis in the frequency spectrum, combined with the high spatial resolution of high-end studio headphones. Yeah, sure. The practical test will show it.

First, let's take a look at the external values and get an impression of the value that Inear brings to its products when we unpack the goods. There are no cheaply pressed plastic boxes here, no hardened cardboard cutouts disguised as packaging, here are Pelican cases that could be assigned to a Bundeswehr mission abroad. Waterproof, break-proof, made of soft plastic and equipped with an almost indestructible snap hook and a pressure compensation valve, hardly any professional backliner will be able to hold back a tear due to their painful experience with the short-lived nature of Asian junk. This packaging is simply fantastic!

If you look at the inner workings of the case, you will find, in addition to the actual system, a wealth of additional aids that prove to be very helpful on stage. There is a gold-plated adapter (3.5 mm to 6.3 mm jack), which, among other things, allows the earphones to be used as a replacement for headphones. 3 cleaning cloths and a total of 4 different plastic attachments for adjusting your ear canal increase personal comfort. The black connection cable, which can also be delivered transparent if required, is approx. 1.40 meters long and can therefore be connected to the receiver of a radio system as well as to a stationary solution. The cerumen filters (filters for earwax) are replaceable; a set of 30 replacement filters can be ordered when ordering for an additional fee.


Practice

For the experienced Inear user, the first use will not cause any problems; the novice is recommended to place the earphones in the auricle with a small twisting movement. In combination with the matching piece of rubber earmold, the system fits really well and there is hardly any noticeable difference to a custom-made product. Even if you move your head wildly in every conceivable direction, the earphones cannot be moved from their fixed position. Only a guitar strap resting on an unfixed connection cable manages to move the system out of its optimal position. The solution: cable routing over the guitar strap.

In terms of workmanship, there is absolutely nothing to complain about with the Inear Stagediver SD-4, on the contrary. Each individual element is meticulously handcrafted in Germany and can simply be described with the adjective “perfect”.

OK, let's take a look back and see to what extent Inear wants to achieve its goal. On the one hand, there is the volume to be achieved, which must offer enough reserves to be able to survive on a loud stage. An immediate all-clear is required here, as the system can develop an output sound pressure of 120 dB if necessary due to the low impedance of 23 ohms. In combination with an external noise insulation of approx. 26 dB, there will be no problems here.

Another objective was the three-dimensional representation of each instrument within the band structure. This is where version 4 has probably made the most improvements compared to its predecessors. It is incredible how high the spatial resolution and depth scale has advanced with this system. In fact, every instrument has its favorite frequency range in which it can be clearly located. In addition, the spatial component of the signal is reproduced in a very high quality that I previously only knew from dummy head recordings.

Once again, care was taken not to lower the midrange too much for “cheap hi-fi” reasons in order to generate the infamous bathtub frequency response, as is often the case with discount earphones. The overall sound is pleasantly open, is free of any form of peak compression and actually allows every musician to separate their instrument from the band context according to their personal preferences, without losing connection to the rest of the band.




Conclusion

With the Inear Stagediver SD-4, the Hessian company once again underlines its excellent reputation, which now extends across the entire globe. The concept of a universal adjustment with extremely high accuracy of fit is groundbreaking in every respect and, as far as I know, is currently unique in the world in this quality.

Starting with the workmanship, through the excellent sound, to the exquisite features, the overall package of the SD-4 has to be described as absolute top class, which also makes the switch easier for hard-core wedge fetishists.

Absolute purchase recommendation! Top grade!

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In-ear monitoring (IEM) has revolutionized the way musicians perform on stage, providing them with personalized audio mixes directly into their ears. This technology has its roots in the mid-20th century but has undergone significant evolution to become the sophisticated system we know today. Let's embark on a detailed exploration of the enthralling journey of in-ear monitoring, tracing its origins, milestones, and technological advancements.

**1. Origins and Early Development (1950s-1970s):**
The concept of in-ear monitoring can be traced back to the 1950s when performers began experimenting with stage monitors to hear themselves more clearly amidst the noise of live performances. Initially, these monitors were bulky and speaker-based, positioned at the edge of the stage. However, as technology progressed, the need for more portable and personalized solutions emerged.

**2. Introduction of Earpieces (1980s-1990s):**
The 1980s witnessed a pivotal development with the introduction of custom-molded earpieces, which provided better isolation and comfort compared to generic earphones. This allowed performers to hear themselves more clearly while reducing the risk of hearing damage from excessive stage volumes. However, these early systems were still relatively primitive, lacking the customization and fidelity of modern IEM systems.

**3. Digital Revolution (2000s):**
The 21st century brought about a digital revolution in the field of audio technology, and in-ear monitoring was no exception. Digital signal processing (DSP) enabled the creation of compact and powerful monitor mixers capable of delivering high-fidelity audio directly to performers' ears. Additionally, advancements in wireless technology made it possible for performers to move freely on stage without being tethered to a central mixing console.

**4. Customization and Personalization (2010s):**
One of the defining features of modern in-ear monitoring systems is their ability to provide personalized mixes for each performer. This level of customization allows musicians to tailor their monitor mix according to their preferences, ensuring optimal balance and clarity on stage. Moreover, advancements in earpiece technology, such as multi-driver designs and hybrid configurations, have further enhanced the fidelity and frequency response of IEM systems.

**5. Integration with Digital Audio Networks (Present Day):**
In recent years, in-ear monitoring has become an integral part of larger audio systems, thanks to its seamless integration with digital audio networks. Modern IEM systems can interface with protocols like Dante and AES50, allowing for streamlined signal routing and control across multiple devices. This level of integration not only simplifies setup and configuration but also enhances the scalability and flexibility of IEM systems in complex audio environments.

**6. Future Directions:**
Looking ahead, the future of in-ear monitoring holds exciting possibilities driven by ongoing technological innovations. We can anticipate further advancements in areas such as wireless connectivity, DSP algorithms, and earpiece design, leading to even greater fidelity, reliability, and user experience. Additionally, the integration of biometric sensors and augmented reality features may further enhance the functionality and utility of IEM systems in live performance settings.

In conclusion, the evolution of in-ear monitoring represents a remarkable journey spanning decades of technological innovation and creative ingenuity. From its humble beginnings as rudimentary stage monitors to its current status as a sophisticated audio solution, IEM has truly transformed the way musicians experience live performances. As we continue to push the boundaries of audio technology, the future of in-ear monitoring promises to be even more immersive, personalized, and empowering for performers around the world.