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.

← XLR MAG Archive

Working Class AudioVoices

WCA #600 with Andrew Scheps – Atmos, Imposter Syndrome, Coding Plugins with AI, Climbing Walls, and 600 Episodes

06.14

Matt celebrates episode 600 of Working Class Audio with a guest who's been there since the beginning — mixer and producer Andrew Scheps, who first appeared back on episodes 009 300 & 477.

Plugins & DAWs Mixing & mastering AI in music

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WCA #600 with Andrew Scheps – Atmos, Imposter Syndrome, Coding Plugins with AI, Climbing Walls, and 600 Episodes

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