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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Guitar WorldGuitars

“I've had this guitar since I was 12 years old. My mom bought it for me off my guitar teacher”: Billie Joe Armstrong on how his first-ever guitar defined Green Day's sound

September 17

Billie Joe Armstrong’s heavily modified Fernandes S-style, “Blue,” is as synonymous with Green Day as timeless hits like Basket Case , American Idiot , or Boulevard of Broken Dreams .

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“I've had this guitar since I was 12 years old. My mom bought it for me off my guitar teacher”: Billie Joe Armstrong on how his first-ever guitar defined Green Day's sound

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