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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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Rolling Stone IndiaAsia

Play It By Ear: How Offline Music Experiences Are Shaping Artist Discovery

September 15

When was the last time you discovered a song without reaching for your phone? Before the algorithms learned our taste and began spoon-feeding us our future favorites, finding music was a game of chance — either through a

Read at Rolling Stone India ↗

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Play It By Ear: How Offline Music Experiences Are Shaping Artist Discovery

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