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Sonos is a leading American audio technology company that is best known for pioneering wireless multi-room audio systems, which make it easy for listeners to stream music and other content throughout their homes. The company continues to innovate, creating wireless speakers, home cinema systems, headphones, architectural components, and integrated home audio solutions that revolutionise how people listen and connect to sound.

Sonos uses a unique blend of science and art to ensure your favorite music, movies, and TV shows sound the way their creators intended.

When Giles Martin wanted to track down the film industry’s most credible sound experts, he did what most of us do when in need of professional assistance: he googled it.

Having practically grown up in recording studios, Martin already had his share of friends in the music world. As the Sound Experience Leader for Sonos, he routinely consults other record producers, mixing engineers and musicians to get their perspective on how accurately Sonos reproduces the music they create in the studio. Top tier music producers like Nigel Godrich (Radiohead), Manny Marroquin (Rihanna, John Mayer), Tom Elmhirst (Adele), and Noah Goldstein (Kanye West) have become more involved in this work, recently forming the core of what Sonos calls its Soundboard, a panel of industry sound creators who lend their time and ears to Sonos in an effort to inject the artist’s perspective into the product development process.

“The sound of music or the sound of a great movie should be transmitted into your home as pure and honest as it can be.”

“There isn’t such a thing as a ‘Sonos sound’,” Martin explains. “Like a clear window that lets the light shine through, Sonos is a portal to the world of sonic culture in your home.”

To keep this metaphorical window free of the dust that could disrupt that clarity, Giles Martin works closely with the Soundboard and a wider network of sound creators to critique and fine-tune the sound experience of the Sonos system.

For years, this approach has worked well for music. Thanks to the combined roots of Martin (who produces and remixes the Beatles albums originally recorded by his late father, Sir George Martin) and Sonos (which pioneered wireless home listening over 15 years ago), it wasn’t hard to cover the bases when it came to the music experience on Sonos. But when Giles Martin first learned about the company’s latest endeavour – 

, a TV soundbar tasked with defying its compact size to deliver room-filling sound for movies, shows and music alike – he knew he would need to find some creative expertise from the world of cinema sound as well.

“The sound of music or the sound of a great movie should be transmitted into your home as pure and honest as it can be,” says Martin. “While developing Beam, we treated music and home cinema equally.”

Martin’s inquiry led him to the name of Chris Jenkins, a film re-recording mixer whose Academy Award for his work on 

 is just the shiniest, newest golden statue in his collection of accolades. The name looked familiar to Martin because, as luck would have it, the two were already slated to work together on the sound for Ron Howard’s documentary project 

Eight Days A Week: The Beatles’ Touring Years

. Martin and Jenkins became fast friends and it didn’t take long for their conversations to steer toward home cinema and the bumpy journey that sound often makes from the mixing board to the living room.

“We had built a great team that knew about music,” says Martin. “Chris Jenkins is an expert on movies. He’s worked on some of the greatest movies ever made, and he knows how they should sound.”

With Jenkins’ addition to the Soundboard, the sound experience team at Sonos was ready to take on the unique challenge: building Beam to fill a room with clear, immersive sound that does creative justice to chart-topping albums and Hollywood blockbusters alike.

“If you’re going to have a speaker under your television, it shouldn’t just be a home cinema product,” says Martin. “The challenge is to make a speaker that’s great for home cinema so dialogue is great, car chases whiz through your home, but also the music is great so the honesty of a track comes through.”

Academy Award-winning re-recording engineer Chris Jenkins (Mad Max: Fury Road) is one of the sound creators on the Sonos Soundboard, a panel of creative advisors that helps Sonos fine-tune the sound of speakers like Beam.

For Sonos, perfecting the sound experience of Beam would require a refined version of the process the company has used for the last few years: First, start with world class talent in engineering, acoustics and design to build a speaker with clear, room-filling sound. Then, pressure-test that hard work with the critical, creative input of the people who crafted the sound of the content in the first place; in short, blend the science with art.

Sonos has no shortage of left-brained expertise when it comes to sound. With five PhDs, an arsenal of patents, and a team with more than a century of combined experience building world-class speakers, the sound team is well equipped to achieve engineering feats—like getting deeper bass out of small speakers, designing super-flat transducers like the ones found in Playbase, and developing spatially-aware tuning technology like Trueplay. Each new product is put through its paces in Sonos’ state-of-the-art acoustic measurement and testing facilities, including four large sound-tight anechoic chambers. Team members like Director of Audio Systems Engineering Hilmar Lehnert are frequently found on the conference speaking circuit, and Sonos engineers actively participate in the scientific community and have published work in academic journals.

“The central nervous system of a movie is dialogue.”

Grammy Award-winning music producer and Sonos Soundboard member Manny Marroquin.

In 2014, Martin was brought on as the Sound Experience Leader to help Sonos balance out the hard science with input from the artistic community. Starting with Playbar, Martin and his team began seeking the input of creators through informal, Sonos-hosted listening sessions in which the sound of each product can be tweaked in real time. Over the years, creators like Hans Zimmer, Rick Rubin, Nigel Godrich and dozens of others have sat down with Sonos engineers to hear how their work sounds on Sonos devices and share their honest feedback.

These sessions, which take place in listening rooms at Sonos headquarters or in the creators’ homes, give the artists (along with Sonos engineers) a chance to lean back, listen intently, and discuss what they hear in a casual, laid back environment. In one such listening session in 2015, Radiohead producer Nigel Godrich reportedly tested out the Play:5 for more than seven hours. In most cases, these creators watch and 

listen to the music, movies, or TV shows that they’ve worked on

 in order to judge how accurately the Sonos system retains the original emotion and overall impact of the content’s carefully crafted sound. If it doesn’t sound quite right, they say so.

“When we sit down with these people we ask them for criticism,” says Martin. “Are they disappointed with what they hear from Sonos? How can we tweak the sound to make them happy?"

Soundboard member Manny Marroquin is one of several music industry sound professionals who participate in these listening sessions. For Marroquin, an Academy Award-winning mixing engineer and music producer who has worked with Rihanna, Kanye West, Linkin Park and John Mayer, these sessions are more about listening for emotion than getting overly technical about sound engineering.

“I just listen to how it makes me feel,” says Marroquin. “The moment I start to think about it, then I know something’s off. But if I get lost in that moment, then I know I’ve got my right brain engaged.”

This listening-and-tuning work has continued with Play:1, Play:5, Playbase, Sonos One and—most recently—Sonos Beam.

The new Sonos Beam in one of the anechoic chambers in Sonos’s headquarters in Santa Barbara, California.

As a sound engineer working in Hollywood, Chris Jenkins knows all too well the limitations of the home cinema listening experience. As televisions get thinner and thinner, the sound typically gets worse. Home cinema speakers designed to fix that problem may amplify the sound effects and movie scores just fine, but they often overlook what Jenkins believes is the most crucial ingredient: the sound of the human voice.

“The most important part of movies is storytelling,” says Jenkins. “I’ve found that the experience of what the actors were saying—the performance and the storytelling part of it—is often really lacking. The central nervous system of a movie is dialogue.”

Sonos Beam tackles this dialogue clarity problem first through design and engineering. As a three-channel speaker, Beam keeps dialogue centralised in the centre channel, so the detail of what people are saying on screen doesn’t get lost amidst the sounds emanating from the left and right channels. Beam also comes with a speech enhancement feature that further improves vocal clarity.

“When we sit down with these people we ask them for criticism. Are they disappointed with what they hear from Sonos? How can we tweak the sound to make them happy?”

Getting the dialogue performance of Beam just right is one of several things that was aided by input from sound creators like the team behind HBO’s Westworld, Baby Driver sound designer Julian Slater, and—of course—Jenkins himself.

“One of the things that we listened to was the opening of Mad Max: Fury Road, which has a lot of crazy loud cars and chases,” says Jenkins. “But the very opening of it is super subtle and very atmospheric, and there’s lots of little voices and lots of delays and reverbs. It’s what Max is hearing in his head before he sets off on his journey.”

This balancing act between explosive and subtle sounds is, in many ways, emblematic of the whole Beam creation story: music vs. film, dialogue vs. sound effects, design vs. acoustics, engineering vs. art. In order for Sonos Beam to fit into people’s lives and sound just right, the team working on it needed to thoughtfully echolocate the sweet spot between each of these competing factors.

“The fun thing for me about Sonos is working with teams that have different interests,” says Martin. “Design wants to make a speaker that looks great in the home. Audio wants to make a speaker that sounds great. It’s difficult to make that compromise of fit, form and function. We all have to be happy by the end of it. It’s like recording and writing a song. You all have to be happy with the end result.”

How Sonos Works With Creators to Fine-Tune the Home Sound Experience

Academy Award-winning film sound engineer Chris Jenkins spends his days crafting sonic landscapes for movies like Mad Max: Fury Road and The Fifth Element. The studio headphones may come off by the time he gets home, but the listening is just getting started.

Despite its name, the motion picture would be nothing without the other half of its creative equation: Sound. Behind every booming explosion, whispered line of dialogue, and iconic score is a team of sound engineers helping to orchestrate the cinematic experience. Few do so as masterfully as Chris Jenkins.

As a film sound re-recording engineer, Jenkins uses his discerning ear to propel stories off the screen and immerse audiences in the worlds of such films as 

. In his nearly 40 years of experience, he’s amassed over 180 mixing credits and won three Academy Awards.

When he’s not helping to craft multi-sensory storytelling experiences for cinemas, Jenkins is busy doing his part to make sure movies and music sound amazing at home, as well. As a member of the Sonos Soundboard—an advisory panel of entertainment industry sound creators enlisted by Sonos—Jenkins works closely with the company’s engineers and product team, offering his professional feedback on the sound of speakers, like the new Sonos Beam, as they’re being developed. Through a series of hands-on listening sessions, creative advisors like Jenkins have a simple aim: To help Sonos ensure that the original emotion and sonic clarity of films, music, and other content are retained as this work makes its way from the studio mixing board to the living room.

Because he spends all day working with sound, it wouldn’t be all that surprising if he wanted to come home to complete silence, but Jenkins’s passion spans both his professional and personal lives. We visited him at his home on the outskirts of Los Angeles, where he lives with his wife, Jeanne, and two dogs, Daisy and Moose, to talk about sound and learn how he listens off the clock.

How do you transition from listening at work to listening at home? What role does sound play here as opposed to in the studio?

We always have music on here. If I work late in the studio, sometimes a quiet drive home is necessary just to help me reset, but it makes the listening experience here at home even better.

We live in this beautiful canyon. I love the sounds of nature and how still it can be sometimes, but great music is just a requirement for home. Otherwise, it feels naked in a way. I grew up in a house with music, so it’s always been a rich part of my life, including in my work on movies.

Living out here must be great for decompressing from work and finding inspiration.

I listen to the way things sound out here, and sound comes from everywhere. Nature is everywhere sonically. We have an incredible gift with our ears and our minds to be able to process that. So I keep listening to music and thinking about ways to improve that experience, whether it’s a singer-songwriter with an acoustic guitar or Luciano Pavarotti with an 80-piece orchestra. There should be no difference in the quality of listening.

"We have an incredible gift with our ears and minds. I keep listening to music and thinking about ways to improve that experience."

A Play: 5 fills the Jenkins' living room with deep rich sound.

You probably wear headphones a lot at work. How does that compare to listening out loud?

I find them incredibly intrusive. I was a second engineer for many years for a lot of great mixers, so I had to wear headphones every day, and I hated them. They’re not comfortable. It’s not a natural way for me to listen to music. Headphones today are intended to shut the rest of the world away. They isolate people, so they have their experience with their phone or tablet and don’t have to engage with other people. When I listen to music or watch movies, I want it to be a shared experience.

My goal is to get people to take off the headphones. There’s nothing greater than watching a room full of people who respond positively to listening to the same thing. There’s so much joy in the room from that shared experience. Even with total strangers.

But headphones are a reality. A lot of artists I’ve worked with have just handed me a pair of earbuds and said, “Make it sound good on these.” People you think would be huge sound fanatics know that we live in the real world. We have to make something sound great for earbuds and 7.1 systems alike.

When you’re mixing, most of the time you’re focused on the listening experience in the cinema. How do you make sure people get that kind of listening experience at home?

We want people to have that same experience. More and more, shows that we work on and soundtracks that we create have much more sophisticated immersive audio. As the technology keeps advancing, people are closer to having that kind of experience without needing a bunch of huge speakers at home. The technology we have now makes it easier to reproduce those soundtracks and make immersive audio so much more accessible.

The Jenkins enjoy some music in the kitchen.

It was actually my wife! We have this incredible home that we’ve worked really hard on. Every little piece of wood and all the furniture is an important part of our style and who we are as people. We didn’t want to cut holes in walls or run cables and wires and have all this clunky gear around. That’s a part of my world at the studio, but we don’t want to make it part of our home. We bumped up against that time and time again with different gear and different ways of playing back music and movies at home.

My wife has a super keen eye for detail and design. When I first brought Playbase home to test, she didn’t say anything about it at first. I put it on and after about an hour, she came in and said, “What is that underneath the TV?” It sounded great, but for us, the design aesthetic was equally important.

Not everybody is used to having sound gear in their home, and the technology can’t interfere with your ability to enjoy it. And now with voice control, it’s easier for kids to use.

You seem to have a speaker in every room, even the bathrooms.

It’s amazing to have a single mono speaker that can produce such great sounding music in a place you don’t really expect. The living room is the most experiential. We take it for granted now that things are supposed to sound great because our TVs don’t produce good sound. I love being able to stream music from my office and listen off the Playbase in the living room. When we have guests over, we can have every speaker on and put the house in party mode and have that experience in as many places as possible.

"When I listen to music or watch movies, I want it to be a shared experience. My goal is to get people to take off the headphones."

Oh, everything. At any time I could be listening to country, bluegrass, classical, Hans Zimmer, or Junkie XL. You should see what my playlists look like. My wife loves Willie Nelson, so we’ll listen to Willie Nelson on our Sonos One in the kitchen while cooking. There’s always something on in any given room. Lately, it’s a lot of The Beatles, Jackson Brown, and Bruno Mars.

We did a movie with Father John Misty this year. It was part of the album that came out. We listen to everything. Music plays a huge part in our life.

This interview has been edited for clarity and length.

Chris Jenkins: How an Acclaimed Hollywood Sound Creator Listens at Home

Guest Writer

For generations of music lovers, vinyl remains the ultimate audiophile format. From the nostalgia-inducing crackle of the needle hitting the groove, to its warm analogue sound and the tactile pleasure of a beautiful 12” gatefold sleeve, the ritual of putting a record on a turntable and letting it carry you away retains a charm and romance all its own.

Nearly a century since its introduction, the beloved vinyl record still remains in fine health. In 2022, record sales in the US saw their 

Clearly, our love for vinyl isn’t going away anytime soon, even as the immediacy and choice of streaming has revolutionised how we listen to music.

But why should we have to choose one format over the other? With Sonos, not only can you access hundreds of music streaming services, but you can also seamlessly integrate a turntable into your home sound system.

If you’re looking to make the most of your record collection, then this quick guide will help you connect a turntable to your Sonos system in minutes so you can start enjoying the rich, unmistakable sound of your favourite vinyl all around your home.

There are a number of ways to do this. First, you’ll need one of the following Sonos products:

Of course, you’ll also need a turntable, like the 

. We recommend that one because it has a phono pre-amp built in. If your turntable doesn’t have a phono pre-amp (most of them don’t), you’ll need to get one for the Sonos vinyl experience to work best. You can learn more about this on our 

Step 1:

Connect your turntable to your Sonos system

Our most advanced all-in-one speakers come with a direct line-in port for easily connecting your external audio devices to your Sonos system using the 

Plug the Line-In Adapter into the USB-C input on the back of your speaker, and use a standard stereo RCA to 3.5mm cable to connect to your turntable. You can also connect to Era 300 and Era 100 via Bluetooth® (more on that later).

A black Sonos Era 100 and a black Sonos Era 300 with their corresponding line-in adapters

Plug your turntable directly into our biggest speaker using the line-in port on the back.

Plug the single end of an RCA Y-audio cable into the line-in port of Five/Play:5 and attach the split cable to the corresponding colours of the L/R audio outputs on the back of your turntable.

If you have a turntable and third-party speakers but no amplifier, you can connect them to the Sonos system directly using Sonos Amp.

Just take the stereo RCA audio cable that comes with your Amp: plug one pair of white and red connectors into the left and right audio outputs of your turntable or pre-amp, and the other pair into the left and right audio inputs on the back of your Sonos Amp.

Sonos Port is perfect if you already have an amplifier and a set of third-party speakers. Port lets you use your amplified audio equipment to bring the sound of your vinyl collection into your multi-room Sonos system.

Just take the audio cable that comes with your Port. Plug one end into your turntable and the other end into the corresponding colours of the L/R inputs at the back of your Port.

Open the Sonos app on your phone or tablet. Go to the 

, and then choose the Line-in source. You can even 

 so your Sonos system knows it’s time to switch into vinyl mode as soon as the needle drops.

Step 2:

Switch the audio source on your Sonos app to Line-in

If you have multiple Sonos devices set up in different rooms, you can group them together using the 

 tab in the Sonos app, and spread the sound of your favourite vinyl throughout your home.

Step 3:

Add extra speakers and rooms

A Sonos user sitting in a chair in their living room controlling a white Sonos Era 300 from their phone

, include not only a built-in phono pre-amp but also Bluetooth® connection, which means you can send audio to Bluetooth-capable Sonos speakers without the need for a wired connection.

Once you’ve set up your Sonos speakers over WiFi, then you’ll need to pair them via Bluetooth® to your turntable. Press and hold the Bluetooth® button located on the back of the speaker. When you hear a chime and the status light flashes blue, this indicates that your speaker is ready to be paired. From there, you can connect to your speaker from your device's Bluetooth® settings.

Bonus:

Connect a turntable via Bluetooth®

Need help setting up Sonos to play vinyl? Our community site is loaded with answers to your most pressing questions.

.
Read other discussions about specific issues 

A Sonos user listening to his records with a turntable through a pair of black Sonos Era 100 speakers

How to Listen to Vinyl With Sonos

Photography by: Danny Clinch

Philip Glass opens the front door and ushers me into the living room of his East Village brownstone house. It feels busy, unkempt and fully lived-in. I take my coat off and wait a moment. It would appear that I am early. Glass is still busy with whatever he was doing before. I gradually take off the layers protecting me from the frosty New York afternoon. Glass shuffles into the room next door, the music room as it turns out. He goes back to quietly, yet intently, sounding out single notes on the piano. I can tell you, there is no feeling quite like realising you have unintentionally interrupted Philip Glass from working on his music. I mean, he’s only one of the most influential American composers of the last century, a master of contemporary classical music ‘with repetitive structures’ (he avoids the term ‘minimalist’), winner of countless arts awards and lifetime-achievement medals…

Philip Glass' shelf of sheet music and a Play:3.

Since 1984, Glass has lived in this house. The crowded room, complete with a grand piano, synthesizer, floor-to-ceiling bookshelves (taking up most of the space), sheet music, art and Eastern artefacts on every surface, is where he does his composing. It is in fact, the room where he wrote most of Symphony No. 11, which premiered at Carnegie Hall on 31st January. Coincidently, or perhaps not as the case may be, coinciding with Glass’ 80th birthday.

‘The whole thing was a set-up’, Glass says, with his ever-present smirk, a couple of weeks after the event. ‘The people who work for me commissioned it to be done on my birthday which was going to take place at Carnegie Hall.’ (He mimics a voice of false incredulity: ‘No pressure. “Oh, I see, this is my party and I have to do the work?”’) Glass says he mulled over the stressful circumstances somewhat, rewriting the symphony’s last 11 pages after just the first rehearsal because ‘I realised that the ending was not definitive enough’. He reckons that the debut, performed by the Bruckner Orchestra Linz who were conducted by long term Glass collaborator, Dennis Russell Davies, went pretty well. ‘The reception seemed fairly authentic. People really did like it. They weren’t just applauding because I was 80, like you might see with [older] people out running in the park, and people go “Yay” only because they can still do it.’

“My days of listening were connected to my father’s record store, where I began working when I was 12. My first job in the music world was advising people what records they should buy, so I had to know all the records in the store.”

In reference to his own feelings towards the symphony’s outcome, Glass casually proclaims that ‘writing it and hearing it is not exactly the same.’ This dichotomy is at the heart of our discussion, concerning how both the act of conceiving and listening are intertwined, yet separate. Especially for composers as established as Glass and how such actions relate to one another when writing a colossal piece, such as the Eleventh.

Understanding of some of these concepts came to Glass early on. Despite attending Baltimore’s prestigious Peabody music school from the age of eight, he’s certain that ‘My days of listening were connected to my father’s record store, where I began working when I was 12. My first job in the music world was advising people what records they should buy, so I had to know all the records in the store. They would come in and say, “Well, I want to buy Beethoven’s Third Symphony” and I would say, “Do you like it fast or do you like it slow? If you like it slow, you can get Bruno Walter’s. If you like it fast, we can get you Toscanini. If you want an American version, we got Leonard Bernstein’s.” I had to listen professionally, you might say.’

Glass’s listening had to be wary of the growing audiophile market. ‘We were aware of which were the good sounding records and which were not, but the people who were nuts about sound they didn’t care about the content. We’d say, “We just got a new marching-band record, you won’t believe how the brass sounds.” We were selling music.’

As Glass’ creative evolution progressed, along with his education, he says; ‘I hardly listened at all.’ His academic journey took him from the University of Chicago, to New York’s Julliard School of Music, then to Paris (where he studied with the famous composition teacher Nadia Boulanger, notating the 

, then back to New York. It was here, in 1967, that he founded the Philip Glass Ensemble, for performances of his own up-and-coming compositions.

His understanding of compositions and their forms was given a great boost by his fluency in reading music and the ability to hear it from the page. ‘I would pretend to be following lectures and actually I was reading a Beethoven quartet,’ he says of winning the race against the pedagogues ‘because I could read faster.’ Yet he is able to recognise the flaws in conceptualising composed sound without actually listening back to it. ‘Are we hearing it accurately? Are we writing down what we want to hear?’ Glass ponders. For him, the greatest challenge of imagined accuracy is ‘hearing the music in real-time. It’s very hard to do. So, you end up playing it on the piano,’ which, if the piece is symphonic, is not the music’s true representation either. The connection between linear time and writing is like an endless maze. ‘I think these are challenges for composers at any point in their life. You don’t get particularly better – you may learn certain tricks, but that’s it.

Technology has definitely given Glass a change of scenery. It is fascinating to hear Glass—who recently had a Sonos system set up throughout his house—describe digital tools as ‘assets’ in his process. Including, the writing of a new symphony.

‘I was working with Dennis,’ he recalls the build-up to the Carnegie Hall premiere. ‘We were going over some transitions, and he had the rehearsals on a digital recorder. I had it put on Dropbox, pulled up the rehearsal on my phone, so we listened to it together, and would say, “well maybe we can cut a couple of measures here.” Now in my music room, I tend to listen to playback of things, the rehearsal tapes. That became very useful.”

Aging has had its effect on how Glass hears. ‘Perceptual faculties become degraded biologically’, he says with an edge of expertise. ‘Look I’m 80, what else is going to happen?’ Aging has also had its effect on what, more importantly, Glass now chooses to hear.

‘Mostly, I listen occupationally. Of course, it’s fun to listen, but I don’t listen for fun. When I listen to Anoushka Shankar’s new album, for instance, I am more listening to see if she’s got a good band, if they’re playing together, would Ravi be happy when he heard it. Or, if I hear an orchestra, I want to hear the conductor, I want to hear how they sound.’ The smirk makes yet another appearance. ‘I have all kinds of sinister agendas for listening tucked away.’

Glass tells us he has so many reasons (other than music) to love his Sonos set-up. ‘I find that in my bedroom, I listen to the news, the stations are listed and they don’t drift. But listening for pleasure…’ His voice trails off. ‘My ideal place is some place where they don’t play music. I found for example, that Chinese restaurants in New York don’t have music, have you noticed that?’

Philip Glass on Listening (and Composing) at 80

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Meet Arc Ultra — our most powerful soundbar ever

How Sonos Works With Creators to Fine-Tune the Home Sound Experience

Chris Jenkins: How an Acclaimed Hollywood Sound Creator Listens at Home

How to Listen to Vinyl With Sonos

Philip Glass on Listening (and Composing) at 80

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