Originally Posted by DefQon
Did you read my post? I never stated going from one CIEM to a higher end model was going to provide any difference, Muppetface mentioned if CIEM's provided any benefit at all for live/onstage performers and I said for stage monitoring and isolation it has a huge contributing advantageous factor. WHERE did you get the impression that I said that going from lower model CIEM to a higher end CIEM provides extra performance?
Hi all - Mike here. I'm the music super for Ultimate Ears and I just accidentally found this thread and figured I'd hop in and clarify a few things about CIEM's and musicians. So there is no easy way to address this subject but it boils down like this. For musicians, the better the sound, the better the performance. They are constantly searching for something marginally better. A truer tone. A better feel. A bigger sound. We didn't start adding more armatures just to add more armatures. We added more speakers so that we could do more with the sound signature. The musicians' needs for bigger sound drove this industry. All of the CIEMS were created to address real touring needs. This is a great case of necessity being the mother of invention. Remember, CIEMS were invented for performers as tools - as productivity enhancing tools. So a different configuaration, a different tuning, an additional armature - whatever it is that gives a bit more depth or life to the sound - that is huge. Or at least in theory. But the reality is that musicians are just like us - they don't like change and they get used to their "favorite shoes" - the monitors that they've already been using and that they are comfortable with. Newer isn't always better - at least from a psycoacustic perspective. Just because the 18 has a lot of speakers doesn't mean that it has the sound signature that a particular musician has grown acustomed to. This is my long winded way of saying that there is no overarching scenario - it is a case by case basis every time. But by having a flavor of mixes, all of us are able to better meet the needs of particular musicians. That being said, many musicians also buy based on price. They're real people just like you and I and of course that is a factor. It all depends. In my experience, people buy what they can afford and what they know.
I guess the biggest upside of my contribution here is to state that there are many more similarities between consumers and musicians than you might think. We're all looking for the same thing. Great sound at an affordable price. And we're all willing to pay a premium for additional sound output.
Does that make sense? Actually - I think that all of you on this thread might like my microsite for UE that I run called UE University. This talks about IEM's and wireless set ups from an engineer's perspective. There are some good interviews with monitor engineers and tour managers about how and why they pick in-ears and there are some entertaining posts about the more musically technical aspects as well.
I'm happy to keep talking or to answer anymore questions. Just let me know. Things aren't as cut and dry as they might seem.