There are many reasons why In-Ear monitoring is being used more and more, not only by professionals but also by hobby musicians. Here are a few examples:

1) In-Ear monitoring provides a huge improvement in sound. There are no restrictions when designing the mix for your monitor sound. This means that the ratio of the individual instruments in the individual monitor mix can be freely determined by each musician. If you want to hear your own instrument disproportionately loud, this is possible without disturbing other musicians. In addition, you have a stereo signal available, which improves the spatial sound reproduction immensely. Of course, a suitable monitor mixer is required.

2) You hear yourself and your instrument better than ever before and therefore have better control over your instrument. This is not only more fun, but also makes the band play better together.

3) “Tighter” playing by the musicians improves the performance and therefore also the FOH sound. (FOH “Front of House”: the signal reproduced via the PA for the audience).

4) The FOH sound is improved, as no more sound from the monitor speakers is scattered into the microphones! Feedback is a thing of the past.

5) You are free to move around the stage and still have the same sound quality everywhere. (no fixed monitor positions)

6) Your ears are no longer exposed to so much noise. Thanks to the strong external sound insulation of the In-Ears, you can keep the volume moderate!

7) Once the In-Ear mix has been worked out during rehearsals before the tour, the daily sound check time on stage will be drastically minimized. The changing acoustics of the different venues have hardly any influence on the personal monitor sound.

8) Using click, backing tracks or voice instructions is much easier.

9) In-Rar monitoring means less effort during set-up, dismantling and transportation - making it logistically more cost-effective than conventional monitoring (weight, space in the vehicle, etc.).

10) For larger events, In-Ear monitoring is a much lower cost factor (instead of several wedges and power amplifiers per person, only one transmitter system with In-Ears is required).

11) Better visual appearance of the stage by dispensing with monitor speakers.

1) The In-Ears sit securely in your ear even during a show with lots of movement.

2) The sound is always the same. This is because the custom-made In-Ears cannot slip into different positions or negatively affect the sound due to a lack of seal or different resonance space.

3) Much more comfortable fit, even over several hours (particularly important for frequent use!).

4) More discreet appearance due to less protrusion from the ear.

5) You can respond more individually to visual wishes.

6) Even with small ears or difficult ear anatomy, the in-ears sit securely and comfortably in the ear.

7.) Only with the perfect fit and ideal attenuation can the In-Ears develop their full sound image. The technology reacts to the smallest opening to the outside, which can quickly affect the sound. In addition, In-Ears can sound different depending on how deep they sit in the ear.

On the product pages of our models, we have tried to describe the sound and the idea behind the In-Ears as good as possible.

However, we strongly recommend that you always listen to the In-Ears at our store or one of our dealers first. Because nothing replaces your own listening experience. There are many factors that influence your decision: Which In-Ears am I currently used to or will it be my first In-Ear monitor? Which instrument do I play? Do I value high resolution with lots of detail or should the sound give me a good feeling? Do I need a model that accentuates my instrument well or do I want a good overall sound? What is my budget? etc... Individual and professional advice is absolutely essential!

Usually our delivery time is 3-4 weeks. As soon as your order and your ear impressions have arrived, you will receive an email with an exact schedule of the calendar week in which your In-Ears will be ready.

Our delivery times are always slightly dependent on our order situation. Music-intensive seasons (e.g. festival season, carnival, international highlights...) lead to longer waiting times. Current trade fairs, vacation periods and cases of illness can of course also affect delivery times. Nevertheless, we always do everything we can to make every customer happy as quickly as possible.

If you have a tour or similar coming up for which you need the In-Ears, please ask us in advance about the delivery time. We can certainly help you to get your In-Ears on time.

If you visit us in Cologne, we will make the ear impressions ourselves. Alternatively, you can check our reseller page to see if one of our resellers is nearby. There you can be sure that the impressions will be taken according to our specifications and wishes and you can handle the entire process, i.e. ordering and design selection, with a personal contact person.

If none of our resellers is nearby:

Basically, every hearing aid professional should be able to make suitable ear impressions. We have summarized the points to be observed with regard to material, impression depth and other specifications in the following document. Ideally, you should take this information sheet with you to your hearing care professional and clarify this before the impression is taken. You can download the information sheet here.

If you or the hearing aid professional have any questions about the impression, you can contact us by phone at any time in advance or on site.

Of course! We prefer to make the impressions ourselves. And because our In-Ears are very personal and individual pieces of jewelry, we also like to meet the lucky owners in person. Please contact us in advance for an appointment. You can also take the opportunity to listen to all the models, take a look at the various design options and even have a soda or a coffee - all free of charge and without obligation (except for the In-Ears, which you'll have to pay for, of course) ;-)

Most people pay attention to bass, mids and highs. But there are a few more dimensions that are important for a good sound:

• Pay attention to how natural the instruments sound and how well your instrument can be heard.
• Try to memorize details in the music and then pay attention to how the different models reproduce them.
• Pay attention to the width of the stereo image. Some in-ears sound rather “narrow” and compact, whereas most models with more than 4-5 drivers open up more and more and present a wider stereo image. This helps immensely on stage, as everything sounds “tidier” and the individual instruments can be located more clearly.
• Sound can also have a “depth”, especially with models with more than 4-5 drivers you notice that the instruments have more space and therefore sound more natural.

Professional In-Ears have a relatively high level of sound isolation of approx. 27 dB. This means that you only hear the ambient noise in a very undefined way or not at all when the signal is active. This feature is usually very welcome by In-Ear users, as the In-Ear signal does not have to drown out the stage noise with high external sound attenuation. However, some artists lack contact with the audience in this case and some simply feel too isolated. 

The best and most common way in professional surroundings to bring the ambient sound back to the musician is to use ambience microphones. The ambience signal can then simply be mixed into the sum or, as some very prudent monitor engineers like to do, the signal is only “pulled up” during breaks in playing or on special occasions. This gives you the optimum In-Ear sound during playing and contact with the audience during breaks or animation parts.

A limiter not only protects the technology of the In-Ears from unexpected level peaks, but also the ears of the musicians! When used correctly, In-Ears are a big step forward in terms of sound and should protect your ears from overload. Due to the external sound attenuation, a moderate volume is often absolutely sufficient, as the ambient sound on stage no longer has to be drowned out by the monitor signal.

With In-Ears, however, the musician can no longer cover his ears or turn away when unexpectedly high levels occur (feedback, background noise, etc.) as with conventional monitoring. Even if this risk is actually very low, as the use of In-Ear monitoring means that floor monitors no longer have to be used and the risk of feedback is therefore considerably reduced, sudden peaks in level can also creep in by other means. For this reason, a limiter should always be inserted when using In-Ear monitoring! The new generations of In-Ear transmitters or even wired In-Ear systems should now all be equipped with a limiter. If this is not the case, the sound engineer should have the option of inserting a limiter into the signal path.

The In-Ears from VISION EARS are of course also compatible with all common audio players.

Thanks to the external sound attenuation, our In-Ears have the great advantage that you have a clear sound image even in a loud environment, as the external noise is only perceived at a very low level. This feature is a real blessing when traveling by train, on an airplane or as a passenger in need of peace and quiet and is also easy on the ears. This is because the volume level of annoying external noises no longer needs to be drowned out.

All in all, the professional In-Ear technology not only impresses on stage with an absolutely crystal-clear and powerful sound, but will also make many a HiFi enthusiast happy in their free time. Our Premium Line models in particular are explicitly aimed at audiophiles.

The risk of noise-induced hearing loss does not depend on whether the sound is perceived as pleasant or unpleasant. The experience and limit values from industry therefore also apply to exposure to music, as studies on rock musicians and members of symphony orchestras unfortunately confirm. In occupational health and safety, it is assumed that an average continuous sound level of 87 dB(A) during a 40-hour working week is just about tolerable. In addition, hearing protection should always be worn. If you take this legal and therefore very cautious exposure limit as a benchmark, you can easily become aware of the total amount of damaging noise in your own everyday life. Of course, it is absolutely not necessary to constantly walk around with a sound level meter and stopwatch. After all, how resilient your ears are is very individual and depends on your own constitution and many other factors such as physical fitness, rest, etc. This is what doctors tell you. Just what doctors generally advise for a healthy life... Nevertheless, it is important not to be too careless and careless with volume. After all, we live in a very loud world and should at least know when it can lead to overload so that we can assess beforehand what is too much... 

Similar to excessive alcohol consumption, where you wake up the next day with a hangover or even a film tear, whistling in the ears after a concert is a sign of significant overload. The ears usually recover from such overuse, but in the long term, as with too frequent excessive alcohol consumption, you will feel the consequences.

If you are wondering whether you already have hearing loss and want to know for sure, you can have an audiogram carried out by any hearing aid acoustician. In everyday life, progressive hearing loss can be recognized by the fact that it becomes increasingly difficult to follow a conversation in noisy surroundings. In extreme cases, however, overloading can also lead to sudden hearing loss (short-term/long-term hearing loss in one or both ears) or permanent tinnitus (ringing in the ears).

The following graph shows the relationship between sound level and exposure time. Here you can see very clearly how drastically the still harmless exposure time is reduced if the volume level is increased by just a few dB. And this is exactly what makes it so exciting and difficult to implement in everyday life. If you take a closer look at the graph, you will see that increasing the level by just 3dB halves the weekly tolerable exposure time!

The upper scale shows the sound levels, while the lower scale shows the maximum tolerable exposure time in minutes or hours per week for the level in question.

Two examples: Loud music in headphones at 95 dB(A) can theoretically be tolerated by the ears for approx. 6 hours per week. At a rock concert with an average level of 100 dB(A), you have already “rocked out” your weekly portion of sound exposure after 2 hours. With hearing protection that has a 15 dB attenuation value, it would therefore be approx. 40 hours again, because only 85 dB are still being received.

We give a two-year guarantee on the technical components in our In-Ears, i.e. transducers, crossovers, internal wiring, etc.. Excluded from this are, for example, the cables and sockets. Despite all our trust, we cannot always look over your shoulder to see what you are doing with the In-Ears on stage and in the studio.

In many countries, we have established and experienced partners who offer our products. You can check whether this is the case in your country here.

As we enter into a contract with our resellers regarding distribution rights, the customers are in the best hands with the resellers. This often has to do with customs regulations.

In any case, you can be 100 % sure that our resellers will take good care of you, take your impressions according to our specifications and also have demo units in the store. And of course, all In-Ears, no matter where they are ordered, are handmade for you in Cologne. If you are not satisfied with your reseller, please let us know directly.

Unfortunately, we cannot accept In-Ears from other manufacturers for service and repairs.

Despite their similar appearance, In-Ears from different manufacturers are constructed very differently, use different components and materials or have other peculiarities. The risk of problems or even failures occurring during repairs is simply too high. So unfortunately we have to say “no” here.

We surely can, but we won’t ;)

We are convinced that every manufacturer has a justification existence and is valuable in its own way for our mutual hobby/profession. Our products are designed to be compatible with as many others as possible in order to be prepared for all surprises in their use. Each cable and monitoring system has its advantages and disadvantages, each player its own sound. Talk to your fellow musicians, technicians and the manufacturers themselves and try for yourself what you can get your hands on.

As with HiFi speakers, our in-ears also work with crossovers to bring the drivers (these are the small speakers inside the in-ears) into a certain sound pattern. We work exclusively with passive components (i.e. without external power supply) and with the help of capacitors, resistors and coils the music signal is divided into different paths, so that each driver takes over a certain frequency range. A 3 way system must therefore have at least 3 drivers and is classically divided into bass, midrange and treble. But there are also IEM’s with 8 drivers (our VE8), which are only 3-way systems. In this case the bass is taken over by 2 woofers, the midrange by 2 midrange drivers and the treble by four tweeters. The term "ways" therefore has nothing to do with the number of drivers but only shows how many divisions the music signal is divided into by the crossover.

As with most things, it very much depends on how well you look after them. With good care (regular cleaning, dry and safe storage), you can enjoy your In-Ears for 15 years or more. And if something does break: we can repair pretty much anything.

By the way, the In-Ears feel particularly comfortable in the company of their siblings, which is why we offer the Spare-Deal! This allows you to save on the purchase of one or more additional custom models! 

Yes, you can! If you fancy a new faceplate after a while, we can easily change it for you. Just get in touch with us.

The color of the shell cannot be changed, as the technology is permanently installed.