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XLR is a magazine, a radar and a diary about music gear and the making of music — for the people who make records and put on shows, wherever they do it.

The name is the three-pin connector that every signal in the business passes through: the microphone on stage and in the booth, the line to the desk, the DMX cable that runs the lights. Studio, stage and lighting rig share it, and so does this magazine. Every few hours XLR collects what the makers shipped, what the reviewers heard, what the studios and the touring crews are doing, which producers and collectives are surfacing and what they are saying — synths and modular, plugins and DAWs, guitars and drums, microphones, monitors, PA and lights, the rooms and the people — from a few hundred sources in English, German, French, Spanish, Japanese and more, then plots what is moving. The editor writes a letter every few days. Nothing is sold here; when a link leads to a shop, that is the maker's shop, not ours.

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“He was for me what Elvis probably was for most other people. His style on every level was fantastic. Doing all the things we would later come to associate with Jimi Hendrix”: Buddy Guy at 90 – how the world’s greatest living bluesman transformed guitar

September 12

When Buddy Guy emerged from the clubs of the Chicago blues scene at the dawn of the 1960s as one of its most electric performers, charismatic and a not a little wild, something had changed. And it was he who was doing th

Electric guitars & amps

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“He was for me what Elvis probably was for most other people. His style on every level was fantastic. Doing all the things we would later come to associate with Jimi Hendrix”: Buddy Guy at 90 – how the world’s greatest living bluesman transformed guitar

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