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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AMAZONA.deEurope

Martin O’ahu HG-28K2 und O’ahu TKE Uke Burst

October 7

Martins O’ahu-Serie würdigt den hawaiianischen Einfluss auf akustische Musik in den 1920er- und 1930er-Jahren und damit auch auf die Entwicklung der Instrumente des Traditionsherstellers.

Read at AMAZONA.de ↗

Also covered by: Bonedo, Audiofanzine (FR)

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Martin O’ahu HG-28K2 und O’ahu TKE Uke Burst

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