What stereo equipment do respected musicians listen to?
With all the debate on this piece of equipment is better than that, it got me to thinking… What setup do well respected musicians have, e.g. amps, speakers, etc. What does Wynton Marsalis listen to, for example? Just curious and thought it might be a fun topic.
Just a note, professional studio monitors and that ilk have a different set of design parameters entirely. Near field and hear all the details.
A novice audiophile is frequently seduced by details and slam at the expense of musicality. More experienced audiophiles tend to become more engaged with all aspects of the recreated sound… rhythm and pace / musicality and proportion around the different characteristics of sound (detail / bass / slam). |
@ibmjunkman + 1 |
Jimi Paige has been photographed using a Luxman preamp with McIntosh amp. McCartney has two Garrard turntables in his listening room per photos. Marvin Gaye was photographed with Mac amp, Thorens turntable, and a Teac reel-to-reel. Magic Johnson was a DJ at Michigan State. When he made money in the NBA he had a pretty sweet system, but I don't recall what the gear was at this time. |
My experience is that self-designated audiophiles are extremely rare in the general population. I would expect the same amongst professional musicians. Classical or other acoustic music might on the whole be a bit more picky about accurate reproduction of the instruments with which they are most familiar. |
The OP asked: "What does Wynton Marsalis listen to?". For speakers the answer is Tetra. Full disclosure, for years I was the only ATC dealer in California. Now, retired, I consult in marketing for Tetra Speakers ( dot com). It is quite true that many top artists, major studios and the world's greatest concert halls use ATC powered speakers. Artists mentioned and many more. In studios and concert halls, accurate presentation of the sound recorded and amplified is vital. +1 "extremely dynamic, supremely accurate". However, even though many artists want to experience music in their homes as they have in the studio, that sound is not necessarily what is desired in the home. +1 "professional studio monitors and that ilk have a different set of design parameters entirely. Near field and hear all the details." I first became aware of Tetra speakers when I fortunately got a pair of their mid line 506 speakers. I heard from those speakers what I have never heard from ATC or any speaker in 50 years: shockingly realistic music. And when I got a pair of Tetra's entry level speakers, the 120Us, they sounded as real as the 506s just on a smaller scale. And when I went to their website I saw the rave comments of many of the world's greatest artists. They all are dedicated and proud Tetra owners. From Herbie Hancock to Ron Carter to Dave Holland to Keith Richards, etc., etc.. Herbie has 6 pair and Keith takes a pair on tour. Some may say, what do artists know of what is possible in High End Audio? Tetra artists say that their Tetras sound like the hear themselves on stage. I say, who would know better?
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I can't keep my finger shut on Mr. Douglas's "How stars listen to music:" article. 3 of the 13 acknowledges the speakers. 4th clearly shows both of them. But not mentioned. "Frederick Douglass is the senior home entertainment expert and focused on reviews. His specialities are: technology and home theatre systems." Not so much into Speakers of a system..
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Any mention of ATC usually brings up a lot of typical US audiophile forum nonsense from folks that have never had a proper demonstration of current product. I'm a musician and I own ATC active monitors in my studio and ATC active tower speakers in my main listening room. Ad copy or call it what you will, here's the official list: On the other hand, I know plenty of musicians that are as happy as can be listening to whatever they can afford, usually stuff that would make most of us get the heebie jeebies. And yes, that's the vast majority. Besides, most professional musicians these day are having a hard time meeting basic needs much less even a moderately priced stereo system. My older son is one of them. Please keep in mind, those in the audience are hearing a completely different thing than the musicians playing on the stage. Live recordings are never made from the musicians perspective. I know several that think all my systems sound strange. One does this weird cupping thing around his ears, finally locks the hands in position and says, "now it sound like live music". I have no idea what't going on with him but I'm sure this perspective thing many have something to do with it.
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So many ignorant, contradictory incorrect suppositions, self satisfying assumptions and so few matches. It’s sickening, really. It’s sickening, really. Weighed against reality, they fall far short of the individualism present in meaningful performing arts and the varied types of humans that occupy that space. And the outright psychosis admitted to here has the second hand embarrassment clowns all trying to cram into a tiny I suppose car that’s on fire and hurtling towards oblivion. |
@bvdiman - I have to laugh because we just finished rebuilding and upgrading an old FM Acoustic power amplifier yesterday. Wow did it sound good. Right up there with the old HK XX power amplifier as two of the best SS amps I have ever heard.
We also just finished adding a few chokes to our 6SN7 preamplifier and we were listening to Al DiMeola Kiss my Axe. It was so natural and dynamic we were like little kids in a candy store. We were saying that we should have Al come over to have a listen!
Happy Listening. |
Musicians and recording engineers tend to listen to music deconstructively. It's a quite different way of listening which doesn't put a premium on a lot of qualities valued by audiophiles. That plus the fact that music as a profession is, with exceptions, not a lucrative pursuit tends not to make musicians audiophiles - IMO. |
@dgluke WTF? @yoyoyaya I agree. Fortunately I can turn off my musician brain and turn on my music lover brain. But then, I'm not a great musician; I have to work very hard at it. My friends that are what I consider "real musicians" confound and amaze me with their talent and ability. Yes, none can afford much of anything and due to the constant financial tension, most are divorced. Very sad to see such supremely talented folks suffer so much. But there are exceptions. We have an internationally respected, local classical saxophone player. No commonly used in the genre. I'm used to jazz sax. The tone this guy gets is unworldly, unlike anything I've ever heard. His daughter is equally talented and respected. He was rewarded five stars for both sound quality and performance in an Absolute Sound CD review. He has a SOTA, purpose built listening room with the largest Magnapans and TOTL Bryston monos. A clear exception to most musicians. After hearing active ATC speakers, he would like to sell the Magnapans and Bryston. That was just before the pandemic. I don't know if he ever made the switch, probably because his income plummeted at the time. I think this simple question will separate musicians from music lovers; what do you do when you have some spare time to relax? The musician will pick up an instrument. The music lover will listen to an album. Although I'm both, I always end up in my favorite listening chair. I'm guessing it's why I'm only a mediocre musician compared to my professional friends. So, that may be one reason you usually see a very low cost stereo in a musicians home. Between gigging, practicing and making ends meet, there is not much time to listen. Also, as an engineer, when I got home from work, the last thing I wanted to do is anything to do with engineering. Perhaps many musicians get home and need a break from music so they watch TV or something completely non-musical. Great thread and thanks for the many thoughtful responses. |
vinylvalet, I agree entirely with you. I am also a songwriter/musician and part time recording engineer. Thankfully, I can switch off the deconstructive part of my musical brain when I'm listening to the hi fi. Because I spend so much time writing, playing and recording, I actually find it a relief to just listen to music, without having to do the other stuff. My income is not reliant on anything to do with the recording/performance side of music so the hi fi is funded from other work. |
Andrea Bocelli listens to Franco Serblin (SF)Bocelli's letter to FrancoDearest Mr. Serblin, I am sitting in front of the speakers and, whilst listening to my album... I felt the need to sit down in front of the computer to write and congratulate you for the quality of these speakers and the pleasure they give me whilst listening. Even my voice seems warmer and more beautiful!! A real home theatre, where the singer is right there, in front of you. ...many congratulations for "a possession for ever" |
@yoyoyaya We're peas in a pod. Nice to meet you. I'd like to share one more observation if I may. Once a musician achieves some degree of notoriety, much of what you see on stage has been given to him by smart marketeers in order to promote their product. I believe the same is true for consumer gear a really famous guy, say, like Rick Rubin would own, I'm sure his high end system was at best sold to him at cost and most probably way less. Hell, I'd give Rick Rubin a really nice system if I could hang with him for a few days. What musician with the means wouldn't??? |
@bigkidz - Interesting.. Which model? I used to have their old FM 611, 25yo. changed some dried caps and all—no problem. But their integral modules (casted) if needing replacement must be send back to factory (/supply parts). Some guy (audio buddy), as return service (plus modules) cost to Switzerland was prohibitive, tried ‘getting around it their way’—fixed locally, working—but sound was totally off, far from original, imho. |
@dmyersmd That quote is very interesting, and not that surprising! Franco had a superb ear, IMO. The products that he designed have always greatly impressed not just myself, but also all of my musician friends. |
"Musicians and recording engineers tend to listen to music deconstructively"...no, they don't...some might but still...Generalizations like this are just silly...Did you read my previous post? Also, many musicians can retain hearing after years of abusing it, and their taste...and mastering engineers...how old is Bob Clearmountain? Bob Ludwig? |
@wolf_garcia Plus, most of today's major musicians use in-ear monitors on stage, rehearsals, etc. The days of "big honkin" amps and monitors blasting in your ears are few and far between. Sure, you will see rows of giant Marshall stacks on stage. Most are props |
@wolf_garcia. I am simply reflecting my own experience of my interactions with other musicians over a period of over forty years. Yes I did read your post - is your comment about musicians and money not a generalisation in itself? As it happens I agree with you. On your last point, it is not a question of "retaining hearing", but of retaining the capacity to listen discriminatively having suffered significant amounts of NIHL - which I agree that at least some people can do. However, I've also listened to a good few recordings where it's pretty obviously that the engineer's ears were shot in the 2-4k range and their eq decisions reflected that. |
Yoyo...It's not engineers but the producers who have the last call on the sound of a recording, so the 2-4k range issue isn't a thing for engineers as it's the producers and mastering technicians who would notice anything like that during final mixdown and mastering. Also, the range of hearing loss is generally in higher frequencies than the 2-4k you claim...more often 10k and above. So the "few recordings" where you hear the supposed issue is something else...ear wax buildup maybe? My comment about musicians and money is based on fact and certainly NOT a generalization, as I'm actively professionally involved in the music biz and have been since the late sixties. |
I don't want to prolong this in an unnecessary tit for tat but I do feel compelled to respond on three points. 1. I said that I have listened to a "good few recordings i.e. many - not a "few recordings". Perhaps I was being too understated in my post. By the way, I have my ears tested regularly so I know exactly what the state of my hearing is. It's completely normal for my age. Thankfully, I have always used ear protection when being exposed to loud music and I'm careful in the levels I listen and monitor at. 2. There is a significant amount of literature about noise induced notch deafness. I respectfully suggest that it's worth a read if you are not familiar with it. 3. Lengthy involvement in the music business lends weight to your anecdotal evidence but it does not render it fact - c.f. appeal to authority logical fallacy. |
In 1993 while on a company trip we ventured off one day on an exursion in Ocho Rios to Fern Gully area based on the show. The tour bus stopped on the road there and we were allowed a few minutes to walk around. I ventured with a few colleagues on the road and came upon a driveway with gates what looked to be a gatekeeper kept yelling and waiving at me to ccme up so I did. When right at the house on top of the bay that it backed onto which i cidentally was where our hotel was situated was the hill that beared the houses of Johnny Cash Linda Ronstadt as well as Keith Richards and other notables. The gatekeeper says...."Hey Mon you want a tour of Keith Richards house?....5 bucks Jamaican each..(there was 5 of us) we were shocked kind of but not in disbelief as we were explained back at the hotel where all the houses were in view from the beach the story of their occupants. Now this is "93 and the gatekeeper says no worries mon Keith is on tour...and he was I know with the 'Winos peddaling his Main Offender album. Well off we went inside... Into the main Living Room was a large sectional couch we all sat on in disbelief as well I was staring at a skullhead on the end table...lol knowing full well Keith would have shot us all including his gatekeeper for being in there. There were a few books on blues music and gold anniversary Monopoly game as well on the coffee table. So his entertainment system? On the wall were numerous Polaroid pics taped to the wall of various shots with Keith and local Rastas and shots of Mick and others to include Aretha Franklyn. There was a 20" Sony Color TV with Rabbit ears and a "All in one" Sony Mini System for Keith to listen to. As a musician myself I get it. The studio is one thing home is another. I believe musicians dont dwell on detail outside of the studio like some audiophiles do. That said I just installed a set of Bose 301's yesterday and absolutely love them. Play anything and get the message across thats what they do. Any musicuan listening back on them say if you played one of their tunes would never feel the listener is "missing out" on what the band was trying to achieve. Thats all for another thread.
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My brother, before he went off to study the Viola at Indiana State University studied with Milton Preves, a violist who was the first chair in the CSO (Chicago Symphony) Orchestra). He taught students at his home here on the Northshore. I was there a few times and actually heard his setup; Klipschorns and McIntosh amplifiers. Never heard them before. As a thirteen, fourteen-year-old, I was blown away and I think it had a center channel but that was a long time ago. It was a large room. Charlie Haden owned Naim Audio gear.
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I don’t think it’s been mentioned here yet but I remember, and enjoyed, Stereophile’s Musicians As Audiophiles series. A big one was Ron Carter. Also included a lot of NYC area jazz musicians.
... and I always think of Henry Rollins' stereo too and see someone has already posted his system.
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Take a clue from the 60s...."If it feels good, do it."
Footnote: Pete Townshend.....partial deafness and tinnitus. FYI: currently touring with Roger.... Just too much hyping/bsing and baiting in the audiophile galaxy. Advertising signs that con you Into thinking you're the one That can do what's never been done That can win what's never been won Meantime life outside goes on All around you Dylan, 1965
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Most professional musicians can't begin to afford most of what y'all call audiophile grade gear. Certainly there is very good sounding, low-cost gear on the used market if you know what to look for, but pro musicians are not gear heads. Cost aside, pro musicians generally don't make a lot of money. My wife is a life-long pro classical violinist who played 20 years with the San Francisco Ballet Orchestra, as well as many other orchestras here in the San Francisco area. She still subs with the Ballet and did a show last week with the Oakland Symphony. She has NO interest in audio gear and if it weren't for me, would likely have little more than a boom box. She's not alone. I've helped a number of her colleagues put together good sounding, low-cost systems of decent used gear and they are thankful for the help. But on their own, they are often pretty lost. Think about the level of technology a violinist uses. The instrument is tuned by turning a wooden peg! There are no electronic pickups or other devices. Violins don't even have frets!!! A violin bow is a wooden stick with HORSEHAIR! They really are a 19th century technology. And you think they can understand anything electronic?! |
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I can understand how some musicians have simple set ups. If I could play guitar like Jimmy Page, or keyboards like Rick Wakefield, violin like jean Luc Ponti, etc. etc., I would then listen to myself live, and be entertained, rather than invest thousands of dollars into top notch equipment like I now have. Would probably have a simple setup. It's the love of live music and performance that drives me. |
