Three pins, and nearly every signal in this business passes through them.

The magazine is named after the cable: the microphone in the booth, the line to the desk, the DMX run that fires the lights. Studio, stage and rig share the same cable. Most magazines pick one of the three. This one covers all of it, because the people we read do too — the engineer mixing a record on Tuesday is on front of house by Saturday.

More than three hundred sources, in sixteen languages: makers and their release notes, reviewers who put a hand on the thing, studios and touring crews, the producers and collectives surfacing this month and the scenes they came out of. Synths and modular, plugins and DAWs, guitars and drums, microphones, monitors, PA and lighting. What the trade is talking about is counted and plotted. The editor's letter has just started; it will find its rhythm.

For each story: a headline, a short excerpt, one picture and the link out. We never reprint the article, and the picture belongs to the maker or the photographer. A German review appears in German and a Japanese one in Japanese, as the writer published it; the link goes to the original.

Nothing is sold on this site. When a link leads to a shop, it is the maker's shop, not ours.

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And The Writer IsVoices

Ep. 258: Suki Waterhouse on Loveland, Motherhood, and Finding Her People

07.28

Today's guest is a songwriter four albums deep, with a song that's been picking up new listeners for nine years and Mick Fleetwood playing on her latest record. But her real story isn't any of that.

Read at And The Writer Is ↗

One letter a week, starting soon.

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Ep. 258: Suki Waterhouse on Loveland, Motherhood, and Finding Her People

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