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About

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

Why Tony Iommi said no to a final Black Sabbath album with Andrew Watt: “He was a bit too excited”

September 14

Tony Iommi says he rejected Andrew Watt’s designs for making a final Black Sabbath album with the original lineup. Through his work with Ozzy Osbourne, the Rolling Stones, and Pearl Jam, Andrew Watt has become one of the

Read at Guitar World ↗

Also covered by: MusicRadar

“Slayer’s Kerry King saw Mustaine rip it up on this guitar, leading to him accepting the offer to join Megadeth… for three weeks”: Dave Mustaine’s life in guitars – how the Megadeth main man weaponized the Flying V

Guitars“Slayer’s Kerry King saw Mustaine rip it up on this guitar, leading to him accepting the offer to join Megadeth… for three weeks”: Dave Mustaine’s life in guitars – how the Megadeth main man weaponized the Flying V Guitar World

Guitars“We strongly deny allegations of ill intent”: Mastodon respond to Brent Hinds estate lawsuit Guitar World

Guitars"For me, what sets it apart is its sheer versatility and interactivity": Z.Vex Vexter Fuzz Factory review Guitar World

“I don’t want to say it was a dirty little secret. Insiders knew, but I wasn’t really allowed to talk about it”: Why Anthrax’s riff-writing isn’t like other bands’

Guitars“I don’t want to say it was a dirty little secret. Insiders knew, but I wasn’t really allowed to talk about it”: Why Anthrax’s riff-writing isn’t like other bands’ Guitar World

“That energy popped back like we had been playing all the time. Nobody was rusty, man. Everybody was on – like we'd just got off the J.B.’s bus!” How Bootsy Collins and his James Brown alumni brought the J.B.’s back to life for the Superbad soundtrack

Guitars“That energy popped back like we had been playing all the time. Nobody was rusty, man. Everybody was on – like we'd just got off the J.B.’s bus!” How Bootsy Collins and his James Brown alumni brought the J.B.’s back to life for the Superbad soundtrack Guitar World

“There’s the Stanley Brothers, Flatt and Scruggs, and Bill Monroe, the father of bluegrass. But there’s no mother of bluegrass”: How Lindsay Lou, Molly Tuttle and an all-star cast united to uncover the women behind bluegrass’ biggest songs

Guitars“There’s the Stanley Brothers, Flatt and Scruggs, and Bill Monroe, the father of bluegrass. But there’s no mother of bluegrass”: How Lindsay Lou, Molly Tuttle and an all-star cast united to uncover the women behind bluegrass’ biggest songs Guitar World

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