Article on subject originally from a series in Stereophile.
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.
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grist for the mill https://audiokarma.org/forums/index.php?threads/famous-musicians-and-their-audio-gear.347616/ https://insheepsclothinghifi.com/celebrity-hi-fi-systems/ https://downhomedigital.net/blog/how-stars-listen-to-music/ https://hifihaven.org/index.php?threads/musicians-who-are-audiophiles.6003/ |
Can't hear music without equipment. If a basic truth is it's not about equipment, just music, might as well just listen to music on an old Sony transistor radio from the 1960's that teenagers would walk around holding up to their ears. That's how I heard most music back in those days. Still loved the songs! |
Audiophiles (and I am possibly one) usually do not get a basic truth, it's not about the equipment, it's about the music. I have a nice HiFi but I quite often play old mono records because I like the music on them, including ones that are badly scratched. I was once a semi-pro musician and I still know 30 or so of them. Not one has a decent HiFi. Do they buy speakers, decks and amps? no, they buy guitars and keyboards and solid music stands that cost more than the usual HiFi amp. Sorry to be so unimpressive, I have a Thorens TD135, Sansui tube amp into a pair of KLH5's. and now I spend money, quite a lot, on old vinyl. |
In the mid-1980's, for a brief period, I took guitar lessons from an individual who had worked as a professional musician in Los Angeles from some point in the 40's through (I believe) the 70's. He retired up here in the Seattle area and, along with some other musicians, was operating a small music school. He was also an avid audiophile and was active in at least one such organization in this area. He owned Martin Logan CLS's and Quicksilver mono blocks. I remember him saying that it was a combination of "the most transparent speakers" and "the most transparent amplifiers". |
I am not exactly sure about who would be qualified to be respected musicians. Many musicians I personally know are respected in their local community, but none of them are world renowned nor millionaires. I guess less then 10% (or far less than than) of professional musicians (either respected or not) can afford hi-fi systems that cost over several tens of thousand USD, even though some of them own their own instruments that worth over tens of thousand dollars. I am not a musician, and as far as I know, none of those musicians I know have audio equipment even close to what I have. They will have their jaws dropped when they listen to my systems. Having said that, it will be interesting to know what kinds of systems are preferred/used by professional musicians who are audiophiles. I am personally interested in knowing preferred systems by orchestral conductors of classical music because they will care about the reproduction of the trueness of voices of each instruments, the full spectrum and balance of sound and imaging, even though many times the recording quality has more to do with such characteristics. One of the reasons why I bought Gershman Grande Avant Garde speakers was that I read about that the makers effort to hear live music once a week and go on Sundays to listen to an orchestra music to make their speakers sound as accurate as possible, and have their own studios for musicians perform live and let their audience listen their speakers and hear about their opinion. |
I'm surprised so many think musicians don't care about hi fidelity, I've was a drummer since I was 12(64 now 🙁) and have always been interested in having the best stereo system I've been able to afford. Presently have Naim Supernait 3, B&W895D3s, newest Node Streamer, Fluance T85 w/Orofom Blue & Music Hall CD... There are so many nuances you miss with average or crappy setups.. Granted many don't have audiophile home setups but you know that doesn't go for their studios, my guess is for those they leave the "serious" listening for when they're at work 😉 |
@mglik I didn't happen to catch which speakers are used by Herbie Hancock, Ron Carter and Keith Richards. Do you happen to recall? |
vitussl101 Charlie Haden was good friends with Ken Christiansen of Pro Musica, Chicago Naim dealer and Producer of many Naim albums. |
A few thoughts... I've been a lifelong pro musician (50 years) and, yes, musicians tend to listen to the music itself, with the quality of reproduction not the foremost concern. Of course great sound is nice but not necessarily an essential element of the experience. I've never heard musicians discussing their audio equipment with each other unless it's a query into where to get it repaired. Highly paid artists may be able to afford high end audio, but the majority of mid level and lower can't. My solution was always to buy used from good audio shops which got me my Bryston 3B (40 years and going strong), AR and ERA turntables, NAD 3020 and 1300 Pre and JPW and Wharfedale EVO 4.2 speakers, which I just purchased as "chip and dent" for an unbelievable price. Most wouldn't consider this audiophile I'm sure but it sounds good enough to me to enjoy the music! |
Musicians in the classical field definitely care about their audio equipment and find a way to own decent to exceptional stereos. We listen for research as much or more than for just listening. As far as I'm concerned, anyone in this business who listens through lame equipment doesn't really care about what they do. |
Somehow I cannot believe the majority of musicians really care about the brand of power cord they are using just as the masses of people out there do not care also. With that said audiophiles come from all professional ranks and therefore why not musicians. It would be interesting to me to learn if they lean toward a detailed sound or one that is more relaxed. Are they concerned about pin point accuracy, just like a live event and picking out every little bit of sound or are they interested in a more laid back and relaxing sound in which they are bathed in music. My guess would be bathed in the music for relaxation and not go for the detailed set up since that would be more like work. In addition I would doubt they would be trying to create that ideal listening space that would be required for the detailed approach. They certainly would get that sound and environment on a daily basis as they sat in the studio listening back on monitors while making a recording. |
I agree with vinylzone. As a musician, I am also an audiophile, but this is because I grew up with an audiophile dad. This is not the norm among musicians. As others have stated, most can't afford good equipment and are not interested in it. Playing live music is what they're used to, and that is what music sounds like. When they listen at home, it's the music itself that matters not the playback system. |
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. |
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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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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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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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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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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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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. |
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. |
@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. |
@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 |
"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? |
@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. |
@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. |
