How musicians "guard" highly valuable instruments

[LiveMusic]

I have often wondered how do musicians who play very expensive instruments protect them from theft? Talking mostly about at their performances. This could be a guitar. But also an insanely valuable violin. Someone has a thread on here about a $10 million violin and someone chimed in that that value is not so unusual. So, does the player/owner assign a guard to its every moment in the public eye? Is one guard enough? Ten mil is a lot of money!

Obviously, value to you and I might be different from a very wealthy musician but even guitars that have a value of tens of thousands... have you ever been aware of a guard being assigned? I would think that trackable chips would play a part in all of this. What do you know? Insurance, tracking chips, guards... how do they do it?

Can you imagine storing a ten mil violin? In your home? Home invasion!

[Mr. Jelly]

I was talking to the wife of Catfish Keith, and she told me that they don't keep their valuable instruments at their home. Obviously, anyone can easily find out when they are on tour or doing shows because they advertise it on the net. Most of us don't think about it but it makes perfect sense.

[Steve DeRosa]

Originally Posted by LiveMusic

...Someone has a thread on here about a $10 million violin and someone chimed in that that value is not so unusual. So, does the player/owner assign a guard to its every moment in the public eye? Is one guard enough? Ten mil is a lot of money!

Obviously, value to you and I might be different from a very wealthy musician but even guitars that have a value of tens of thousands... have you ever been aware of a guard being assigned? I would think that trackable chips would play a part in all of this. What do you know? Insurance, tracking chips, guards... how do they do it?...

About 40 years ago I attended a musical instrument auction at Sotheby's New York, where a Stradivarius violin was being offered (unlike the other lots, no opening bid and/or estimated selling price was given)...

Having worked at an uber-high-end retail operation a few years before I made sure to dress the part: a thirty-something guy in a three-piece suit was automatically treated with respect by the "blazer" guards, blended right in, and went largely unnoticed - other than by the old-money girls for whom the place was their regular Sunday pick-up venue, and couldn't place the new face on the scene...

The premium stuff was in a smaller, out of the way, one-way-in/one-way-out area of the building, with (much to my surprise) most items laid out on tables and extra blazer security circulating through the room. The two highlights of the exhibit - the aforementioned Strad and a 1680's Voboam guitar (with ribbed tortoiseshell - as in genuine 300-year-old dead turtle - sides/back) were in locked high-security glass showcases at one end of the room, with two conspicuously-armed guards (as opposed to the concealed-carry blazer staff) and a curator in place...

I had heard Strads before, but never seen one up-close and in person; as I was looking at the violin in the showcase, the curator approached me and inquired:

"Pardon me, Sir - would you like to try the violin?"

Wisdom quickly surpassing curiosity - I've always made it a policy never to handle anything I can't afford (see second paragraph above...) - I respectfully declined, my bowed-string skills being limited to a plywood Kay double bass I played in high school...

I presume that when instruments of this type are taken out to be used in performance, similar security measures are in place...

As for me I'm insured by Ruger, Policy #357...

[Bob Womack]

It all comes down to the individual performer. A friend of the family bought one of the Stradivari violins because he was in demand around the world as a soloista. He paid gobs of money per year for comprehensive insurance. A couple of interesting stories:

At one point he took a cab to a venue and forgot the Strad in the back seat of the cab. When the cab driver figured what he had in the back seat he immediately made a beeline for the venue again and handed it over. Good outcome.

Later in his career, his wife decided she wanted a divorce. By the terms of their marriage, he had to take out a second mortgage on the violin in order to turn over to her her half of its value. Rough outcome.

I think most people who have instruments like that either have a vault in their home or one where they keep it. Don Felder, formerly of the Eagles, has a 1960 Les Paul. It and a couple of vintage amps live in a vault in an undisclosed location. He takes a Gibson Custom Shop recreation of his particular guitar on the road.

Bob

[random works]

For going out, I might consider putting an expensive guitar in a beat up looking old case as long as it was protected well.

[FrankHudson]

Makes me think of this story of a stolen Stradivarius violin from a few years ago.

The Totenberg Strad stolen and recovered

That story does make one point: at a certain point in value and uniqueness, the options for the thief become limited.

One thing I read about in the orchestral instrument world: a lot of Strads are now owned by those that can afford them and loaned/rented to young virtuosos.

Threads like these will always have jokes about firearm models or guard dogs, but the plain fact is that a musician performing with an instrument is taking a risk. One simply can't be everywhere the instrument is and awake and alert 24/7 -- and even if one could there's always strong-arm theft. Focusing on guitars now: big time acts have staff and guitar techs (and one of the crew could go rogue thief), smaller acts (which would like include many or our personal favorites) likely don't have much of that. When you're reading touring profiles of many working modest-level now but once a "hot new act" working musicians who might be identified with an individual instrument, the story is very often that they've sold it or no longer tour with it.

As already mentioned above, insurance is one way of mitigating the risk, but it has its cost, like having a crew.

[casualmusic]

Originally Posted by LiveMusic

I have often wondered how do musicians who play very expensive instruments protect them from theft? Talking mostly about at their performances. This could be a guitar. But also an insanely valuable violin. Someone has a thread on here about a $10 million violin and someone chimed in that that value is not so unusual. So, does the player/owner assign a guard to its every moment in the public eye? Is one guard enough? Ten mil is a lot of money!

Partial advice from violin shop:
https://www.martinswanviolins.com/ar...heft-security/

Talks about a violin security guard starting @5:55 and specifically @7.12:
https://m.youtube.com/watch?v=QI6Pf0...kgaGFobg%3D%3D

.

[tbeltrans]

While I was still playing out, I had a Gibson Johnny Smith archtop. I did play out with it a couple of times, but was so worried about it getting damaged (too many stages are very small) or stolen, that I baby sat it and just didn't get to enjoy the gigs. I ended up buying a less expensive, but perfectly serviceable archtop to play out with. I found that Ibanez is perfect for that sort of thing - good instruments at low cost.

Tony

[perttime]

Originally Posted by FrankHudson

...

One thing I read about in the orchestral instrument world: a lot of Strads are now owned by those that can afford them and loaned/rented to young virtuosos.

...

Other violins (and probably other instruments) of particular value too.

[Tahitijack]

A friend of mine is a collector of vintage surfboards. He is not a surfer, he just likes to own the boards. Among his collection are boards ridden by Kelly Slater, Tom Curren, Corky Carrol and Jerry Lopez.

Perhaps owning a musical instrument is no different than owning a valuable car even though you will never drive it to its limits or use it as your daily driver. There is a history in its time line that will someday include you as a onetime owner.

[RP]

I went to several Wayne Henderson performances in small venues in the wake of the publication of Clapton's Guitar. Sure, these were not $10,000,000 guitars but their demand and worth definitely increased after the book came out. I was surprised when at intermission Wayne passed his guitars around to those gathered around the stage like bowls of chips. At one of the performances he had an 0-model that had been special ordered, and the new owner was in attendance that night. He even handed that one out for us to try out...

[LAPlayer]

There are many thefts at events. Surprisingly, I've seen more of it at medium-sized events. Large events usually have security and small events are easier to keep an eye on your things while you're on break. However, that's why I carry insurance on all my instruments that covers ... everything. Loss, damage, shipping... Insurance lets you not worry about things out of your control, if they occur. The other way to mitigate loss is to bring instruments that hold no financial or emotional significance. While others' do their own, I only bring an instrument of significant value to house concerts, corporate events and studio work where I can secure them without concern. Of course, everyone's idea of "significant value" will vary.

[Jaxon]

a musician can't come close to affording highly valuable instruments...maybe a collector with big money...

[Bob Womack]

Great quote:

"If I had to make a living selling guitars to working musicians, I'd be sleeping under a bridge." - Boutique guitar maker Bill Collings

Bob

[Murphy Slaw]

Having been ripped off many decades ago during load-outs, I developed a system whereas the band vehicles were always watched, at all times by a trusted member or friend.

We rotated our trips so someone was always with the gear, inside and out.

Never lost another thing for 40 years.

Home has large dogs and firearms.