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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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Guitar WorldGuitars

“When I’ve played the guitars of people I’ve looked up to, it always feels like there’s DNA on them – like you’re getting a visit from your heroes”: Marcus King on his new signature Epiphone acoustic, playing Tiger, and his brotherhood with Brent Hinds

September 13

Marcus King has a new signature model with Epiphone . Sure, he’s gotten behind self-branded instruments before – but this one is different. Personal, even. “The El Dorado was the first guitar I have a memory of,” he says

Electric guitars & amps Studios & rooms

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“When I’ve played the guitars of people I’ve looked up to, it always feels like there’s DNA on them – like you’re getting a visit from your heroes”: Marcus King on his new signature Epiphone acoustic, playing Tiger, and his brotherhood with Brent Hinds

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