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About

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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SonarworksMakers

How to Mix Chorus, Flanger and Phaser Without Wrecking Your Balance

August 10

Getting The Most From Creative Modulation Effects While Maintaining A Top-Quality Mix Each of the three primary modulation effects— chorus, flanger and phaser— taps variously into a combination of filtering, phase and pi

Read at Sonarworks ↗

One letter a week, in your inbox.

Latest

How to Mix Chorus, Flanger and Phaser Without Wrecking Your Balance

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