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IEM Transmitter

Sennheiser EW IEM G4 Transmitter

Sennheiser·Model SR IEM G4·sennheiser-ew-iem-g4

Photos

Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.

Photo: Sennheiser1 / 3

About the Sennheiser SR IEM G4

Sennheiser's workhorse wireless IEM transmitter offers dependable UHF performance at a mid-range price point. The half-rack form factor keeps your rack footprint small, and the G4 platform is widely supported with a large install base. A solid alternative to Shure's PSM line for engineers already invested in the Sennheiser ecosystem or looking for a cost-effective IEM solution.

The SR IEM G4 is Sennheiser's half-rack UHF IEM transmitter — the box that takes your stereo mix off the console and puts it wirelessly into a performer's ears. It sits in the rack alongside your monitor console output or playback rig, receives a stereo feed (XLR on the left channel, quarter-inch TRS on the right), and broadcasts to the corresponding EK IEM G4 bodypack receiver worn by the artist. This is the core transaction of any wireless IEM system, and the G4 handles it reliably across a large installed base worldwide, which matters when you need a spare unit at 2 AM in a foreign city.

Half-rack width means two units share a single rack unit, which is genuinely useful when you're running IEM sends for a full band. At 14 watts nominal draw with an 18-watt ceiling, power budgeting is straightforward — a standard 20-amp circuit handles a healthy complement of these without drama. The asymmetric input configuration (XLR left, TRS right) is worth noting at patch time: it's not a standard matched pair, so label your cables and build a consistent patching habit or you will chase a phantom phase issue under pressure. The BNC antenna output gives you the flexibility to run coax to remotely mounted antennas when stage geometry makes direct radiation from the rack impractical.

The G4 is the right call if your performers or your organization are already in the Sennheiser ecosystem, if you need a proven, widely-serviced platform without writing a check for a Shure PSM 300 or 900 system, or if you're building out a multi-channel IEM rig where rack space efficiency actually matters. It is not the answer if you're in a dense RF environment and need the more sophisticated coordination and filtering tools found in higher-tier systems, or if your inputs are exclusively XLR and you'd rather not manage the mixed connector situation on the right channel.

In the rack

  • Pair units in adjacent half-rack slots and label the front panel with artist name and frequency before the rig ever leaves the shop — swapping a failed unit mid-show in a dark wing is no time to be reading fine print.
  • The asymmetric inputs (XLR left, TRS right) make a gender-mismatched patch easy to overlook; build a short dedicated TRS-to-XLR adapter for the right channel and tie it to the unit so it can't walk.
  • Run coax from the BNC antenna output to a remotely mounted antenna whenever the rack lives more than a few meters offstage — cabinet metal and rack neighbors will absorb more RF than you expect at distance.
  • If you're stacking multiple G4 transmitters, do your frequency coordination before load-in using Sennheiser's WWB6 software rather than scanning on the unit itself — the on-board scan is functional but software coordination gives you a cleaner picture across the full band.

I/O Ports (8)

PortConnectorDirectionSignalChannels
AF In L (I) + Mono (Combo)COMBO XLR TRSinputanalog audio
AF In R (II) (Combo)COMBO XLR TRSinputanalog audio
Loop Out L (I)TRS QUARTERoutputanalog audio
Loop Out R (II)TRS QUARTERoutputanalog audio
Ethernet (RJ-45)RJ45bidirectionaldata
Antenna / RF Out (BNC)BNCoutputantenna
Phones (¼" front)TRS QUARTERoutputanalog audio
Power
  • DC In ⎓12V/350mA (DC BARREL)

Deciding between two?

Rack space, watts, weight and every connector, side by side.

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