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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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Guitar.comGuitars

“It’s about having a space that’s big enough to tell 132 years of stories” Gibson’s Mark Agnesi on why Miami’s new Gibson Garage is its biggest yet

September 14

Mark Agnesi has got used to answering the same question about Gibson ’s latest Garage location: why Miami? The first of Gibson’s popular and innovative “retail experience” locations was in the brand’s home town of Nashvi

Electric guitars & amps

Read at Guitar.com ↗

“Slayer’s Kerry King saw Mustaine rip it up on this guitar, leading to him accepting the offer to join Megadeth… for three weeks”: Dave Mustaine’s life in guitars – how the Megadeth main man weaponized the Flying V

Guitars“Slayer’s Kerry King saw Mustaine rip it up on this guitar, leading to him accepting the offer to join Megadeth… for three weeks”: Dave Mustaine’s life in guitars – how the Megadeth main man weaponized the Flying V Guitar World

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“It’s about having a space that’s big enough to tell 132 years of stories” Gibson’s Mark Agnesi on why Miami’s new Gibson Garage is its biggest yet

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