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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UK Jazz NewsEurope

Soweto Kinch and the LSO – ‘Trilogy’ Live at the Barbican

11.10

On 19 November as part of the EFG London Jazz Festival – saxophonist, rapper, composer and all-round creative polymath Soweto Kinch returns to Barbican Hall with the London Symphony Orchestra.

Orchestral & acoustic

Read at UK Jazz News ↗

Japanテオティム・ラングロワ・ド・スワルテ（Théotime Langlois De Swarte）がウィリアム・クリスティ（William Christie）と奏でるラモーの世界――バロックバイオリン界の新星が共演盤の裏側を語るテオティム・ラングロワ・ド・スワルテ&ウィリアム・クリスティ『ラモーとヴァイオリン』 - インタビュー Mikiki

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Soweto Kinch and the LSO – ‘Trilogy’ Live at the Barbican

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