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· Trade shows and launch events, this week's stories from each corner of the industry, and what its press is covering.

On view

This week, from that corner the newest stories from the corner of the industry you picked

The wire their own posts, translated

How records get made in 2026 from the industry's own reports

Sources

Fetched every six hours, linked to the original

About

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.

Around a hundred and sixty sources, in English, Japanese, Spanish, German, French, Chinese and Italian: 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

MikikiJapan

福川伸陽はなぜ吹奏楽コンサートに挑んだのか? 世界的ホルン奏者がライブ盤となった〈フィルハーモニア・ウィンズ東京〉を語る福川伸陽『フィルハーモニア・ウィンズ東京 2026 ライヴ』 - インタビュー

10.19

福川伸陽はなぜ吹奏楽コンサートに挑んだのか? 世界的ホルン奏者がライブ盤となった〈フィルハーモニア・ウィンズ東京〉を語る

Read at Mikiki ↗

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