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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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Native Instruments BlogMakers

Behind the synth: A. G. Cook on stacked sawtooths and the creation of Super*Saw

July 16

There are few sounds in electronic music and sound design as immediately recognizable as the stacked sawtooth wave. Emerging from the digital, virtual analog revolution of the 1990s, the supersaw became the driving force

Synths

Read at Native Instruments Blog ↗

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Behind the synth: A. G. Cook on stacked sawtooths and the creation of Super*Saw

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