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.

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ConsequenceScenes

Ben Gibbard Says The O.C. Was Death Cab for Cutie’s Ticket from Bleach to Nevermind Status

October 15

Death Cab for Cutie were one of many indie rock bands that found an unexpected gateway to a wider audience through The O.C., but that newfound popularity came with a somewhat predictable side effect.

Read at Consequence ↗

One letter a week, starting soon.

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Ben Gibbard Says The O.C. Was Death Cab for Cutie’s Ticket from Bleach to Nevermind Status

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