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.
About the Sennheiser SR IEM G4
Sennheiser's workhorse wireless IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter offers dependable UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. performance at a mid-range price point. The half-rackThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. 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 IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. G4 is Sennheiser's half-rackThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. 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 (XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. on the left channel, quarter-inch TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. 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-rackThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. width means two units share a single rack unit, which is genuinely useful when you're running IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. 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 (XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. left, TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. 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 phantomThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. phase issue under pressure. The BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. 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 IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig where rack space efficiency actually matters. It is not the answer if you're in a dense RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. environment and need the more sophisticated coordination and filtering tools found in higher-tier systems, or if your inputs are exclusively XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. and you'd rather not manage the mixed connector situation on the right channel.
In the rack
- Pair units in adjacent half-rackThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. 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 (XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. left, TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. 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 BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. 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 RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. than you expect at distance.
- If you're stacking multiple G4 transmitters, do your frequency coordinationCalculating a set of wireless frequencies that won’t interfere with each other or local TV — the homework behind a clean RF night. 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)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| AF In L (I) + Mono (Combo) | COMBO XLR TRS | input | analog audio | — |
| AF In R (II) (Combo) | COMBO XLR TRS | input | analog audio | — |
| Loop Out L (I) | TRS QUARTER | output | analog audio | — |
| Loop Out R (II) | TRS QUARTER | output | analog audio | — |
| Ethernet (RJ-45) | RJ45 | bidirectional | data | — |
| Antenna / RF Out (BNC) | BNC | output | antenna | — |
| Phones (¼" front) | TRS QUARTER | output | analog audio | — |
- DC In ⎓12V/350mA (DC BARREL)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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