Category: news

Charles revealed he had been set to serve as a new permanent member.

The post Ill Niño Part Ways With Their New Guitarist Xander Raymond Charles Ahead Of Playing Their First Show Together appeared first on Theprp.com.

Savetta .

The post Savetta unveil video for debut single “Heat of The Night” first appeared on Sleaze Roxx.

Quick Take: Pros & Cons

Pros

• Passive ambient technology is genuinely useful on stage and in daily use
• Exceptional vocal clarity and midrange separation
• Outstanding long-wear comfort — seriously, you forget they're there
• Premium Linum BaX T2 cable included out of the box
• Excellent build quality with no visible flaws or molding marks
• Solid accessories package (10 pairs of tips, vault case)
• Tight channel matching (±2dB) for precise imaging

Cons

• Bass-light for the price — sub-bass rolls off noticeably above 45Hz
• Passive ambient feature may bleed audio into nearby microphones (a real concern for vocalists)
• $399 is hard to justify if you don't need the ambient feature
• Not the most technically resolving option at this price bracket for pure audiophile use

A Company That's Been Doing This Longer Than Most

Westone Audio doesn't need much of an introduction in professional audio circles, but if you're new to the IEM world, here's the short version: these folks have been building in-ear products since the 1960s. They're arguably one of the oldest and most respected IEM manufacturers in the United States, and their fingerprints are all over the industry in ways most people don't realize. Early customers included major touring acts like Def Leppard and Rush, and Westone was actually a key design partner on the original Shure SE215.

Over the decades, Westone has developed both universal and custom IEM lines, and their current lineup is organized around the Pro X series and the Mach series for universal fits, plus the ES custom line. The AM Pro X line is where they focus on performers who need a reliable monitor that keeps them connected to what's happening around them.

What Is the Westone Audio AM Pro X20?

The AM Pro X20 is the middle child of the AM Pro X family, sitting between the single-driver X10 and the triple-driver X30. It's a universal-fit in-ear monitor running dual balanced-armature drivers with a passive crossover—one driver handling the low end, the other covering mids and highs. It retails at about $308.

The headline feature, and the whole reason this IEM exists, is Westone's Passive Ambient Technology. Unlike a standard sealed IEM that blocks out the world, the AM Pro X20 has a pass-through filter vent that lets a controlled amount of ambient sound into your ears—about 10dB of attenuation on outside noise. This means you can hear your monitor mix and the room at the same time, without taking the earphones out.

This sounds simple, but it's actually pretty rare in the professional IEM space. Most stage performers have had to choose between a tight, isolated mix and staying connected to the audience and bandmates.

Unboxing

What's In The Box?

• 1 x AM Pro X 20
• 10 x Pairs of eartips (5 Silicon, 5 Foam)
• 1 x Hard plastic protective case
• 1 x Soft case
• 1 x Cleaning tool
• 1 x Westone Audio sticker

Build Quality & Design

Right out of the case—and it comes in a solid, impact-resistant vault case, which is a nice touch—the AM Pro X20 immediately feels premium. The housing is transparent, which lets you see the green skeletal internal structure that holds the drivers, and the overall execution is clean. No visible molding marks, no rough edges, no corners they cut on fit and finish.

The passive ambient filter module sits under the transparent housing as a dark blue component, and the Westone logo badge integrates cleanly into the faceplate. It has a more professional look to it than many other IEMs, and it fits the performance use case well.

The cable is a Linum BaX T2—silver-plated copper with aramid fiber reinforcement—and it's terminated with Estron's T2 connector, which is a 360-degree rotatable system designed for sweat resistance and reliability in live performance settings. This is a genuinely good cable and the kind of thing you'd typically pay extra for on other IEMs. The over-ear routing minimizes cable noise and microphonics during movement, which matters a lot when you're performing.

Accessories are excellent: 5 pairs of foam tips, 5 pairs of silicone tips (in multiple sizes), the vault case, a cleaning tool, and a soft carry pouch. The foam tips are notably dense and improve bass delivery when you get a proper seal. The silicone options are well-made and stay secure. Westone has narrow-bore nozzles (T100 size), so if the included tips don't work for your ears, Comply 100-series foams are compatible.

Sound Quality

Overall Sound Character

The AM Pro X20 has a clarity-first, midrange-forward sound signature. It gives you a clean, articulate window into whatever you're monitoring—particularly vocals, which come through with real presence and separation. The ambient vent changes the sonic equation slightly compared to a fully sealed design, but Westone has engineered it well enough that the frequency response stays largely intact.

Bass

The AM Pro X20 is noticeably on the leaner side of bass tunings. Instruments can be clearly picked out across the bass registers, but the mid and upper frequencies are presented more prominently. Sub-bass rolls off noticeably, with a meaningful drop below around 45Hz. The mid-bass is where things get more interesting—there's a boost centered around 150Hz that gives kick drums, bass guitars, and low-end instruments a sense of impact and body without getting muddy or bloated. This is not a bassy IEM in general, focusing more on clarity instead.

Mids

This is the AM Pro X20's strongest suit. Vocals are the centerpiece here—they're forward, clear, and well-separated from the mix without feeling artificial. There's a subtle upper-midrange boost that works particularly well for singers who need to hear their own voice cutting through clearly. Instruments in the midrange like guitars, keys, and horns, have good body and definition. The separation between elements in a dense mix is impressive for a dual-driver design. Vocal imaging is quite impressive here, with vocals being very clear during both performances and home music listening.

Treble

The treble is smooth and present without being fatiguing. Extension is solid but not exceptional—there's a gradual roll-off in the upper frequencies that keeps the AM Pro X20 from sounding harsh during long sets, but it also means it doesn't quite resolve the finest micro-detail that more analytically tuned IEMs at this price point offer. For stage use, that's probably a worthwhile trade-off. The smooth top end keeps ear fatigue at bay during a two-hour gig, which definitely matters.

Timbre, Soundstage & Imaging

The AM Pro X20's timbre leans toward accurate and natural rather than warm or colored. Instruments sound like themselves without much flattery added. Soundstage width is moderate rather than expansive; don't expect the airy three-dimensional depth you'd get from a more audiophile-oriented IEM. But imaging is tight, and channel matching is excellent at ±2dB tolerance, so left-right positioning in a mix is precise and reliable. For monitoring applications, that precision is exactly what you need.

Comfort & Isolation

Throughout all of the Westone Audio IEMs I've tried so far, like the Westone Mach 80, every one has had exceptional comfort, and the AM Pro X20 continues that tradition. The housing is compact, low-profile, and designed to sit flush against the ear without protruding. The over-ear cable routing keeps the weight off the shell itself, and after extended wear, there is significantly less fatigue than almost any other IEM I've tried. The ergonomic design has been refined over decades of building in-ear products for real-world use, and it shows.

Passive Ambient Technology

Featuring a different setup from standard IEMs, the AM Pro X20 has a vented design that allows a controlled level of sound from around you to leak in. The intentional sound leakage (roughly 10dB) is designed with performers and musicians in mind, allowing the use of in-ear monitoring systems while still being able to hear the people around you, or even the crowd.

Comparisons

Westone AM Pro X20 vs. Shure SE425 ($299)

The Shure SE425 is the most natural comparison here. Both are dual-driver balanced-armature IEMs targeted at performers, both offer detachable cables, and the Shure comes in $100 cheaper. The SE425 is more mid-centric and analytical with a slightly tighter soundstage and better overall noise isolation, since it's fully sealed. The AM Pro X20 wins on vocal separation, comfort, cable quality, and the obvious differentiator—the passive ambient feature. If you don't need ambient pass-through and isolation matters, the Shure saves you money. If you're a vocalist or performer who needs to stay connected to the room, the Westone justifies the price gap.

Westone AM Pro X20 vs. Westone Pro X20 ($329)

Yes, these are both from Westone, and yes, they're confusingly similar in name. The key difference: the Pro X20 is a sealed IEM with no ambient technology. It's also designed more toward audiophile/casual listening use, while the AM Pro X20 is specifically engineered for stage performance. The Pro X20 typically has slightly better sub-bass delivery due to the sealed design giving it more pressurization. If you're buying for the stage ambient feature, you want the AM Pro X20. If you want a better all-around sealed IEM for listening, the standard Pro X20 is worth considering and often runs a bit cheaper.

Westone AM Pro X20 vs. Etymotic ER2XR (~$149–$179)

This one might raise eyebrows given the price gap, but it's a legitimate comparison for anyone deciding between professional stage performance tools and a technically excellent IEM for monitoring and practice. The Etymotic ER2XR is a single dynamic driver IEM with exceptional isolation (deep-insertion fit), a more neutral but bass-extended tuning, and one of the best soundstages in its price range. At less than half the price, it's a serious performer. However, it offers zero ambient pass-through, it has no detachable cable (depending on version), and the deep-fit design is very polarizing for comfort. The AM Pro X20 wins on build quality, cable, comfort, and obviously the ambient tech. The ER2XR wins on value and raw technical resolution for the money. For pure stage use where the ambient feature matters, the Westone is the better tool.

Final Verdict

The Westone Audio AM Pro X20 is a very specific product done extremely well. It's not the most technically impressive IEM at $300–if that's what you want, there are more resolving options from audiophile-focused brands. What it is, is the best universal IEM available for performers who are tired of feeling sealed off from the stage.

The passive ambient technology genuinely works. The comfort is class-leading. The vocal clarity is exceptional. The build quality and accessories are premium. The trade-offs—lighter sub-bass, modest soundstage, premium price—are all acceptable given what this IEM sets out to do.

If you're a performing musician or stage artist who's struggled with the isolation of traditional IEMs and wants a real professional solution, the AM Pro X20 is an excellent option.

Technical Specifications

• Driver Configuration: Dual balanced-armature drivers with passive crossover
• Frequency Response: 20 Hz – 18 kHz
• Sensitivity: 119 dB SPL @ 1 kHz, 1 mW
• Impedance: 27Ω @ 1 kHz
• Channel Matching: ±2 dB tolerance
• Cable: Linum BaX T2, silver-plated copper with aramid fiber, 360° rotatable Estron T2 connector
• Connector Type: T2 (Estron) — sweat-resistant, rotatable
• Ambient Attenuation: ~10 dB (passive vent)
• Fit Type: Universal IEM, over-ear cable routing
• Included Tips: 5 pairs foam (multiple sizes) + 5 pairs silicone (multiple sizes)
• Accessories Included: Impact-resistant vault case, soft carry pouch, cleaning tool
• Warranty: 2 years
• Price: $308 USD

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The latest additions to the ongoing GRTR! Greats series are singer songwriters Colin Blunstone and Beth Hart. The GRTR! Greats series was launched in March 2025 with singer songwriter Thea Gilmore and reflects Get Ready to ROCK!’s coverage of significant … Continue reading →

The post News: COLIN BLUNSTONE and BETH HART added to GRTR! Greats (March 2026) appeared first on Get Ready to ROCK!.

Primal Fear + Ronnie Romero @ O2 Academy Islington, London, UK Wednesday 11th March 2026 Photography by Artur Tarczewski Review by Kira Levine London metalheads […]

The post Primal Fear + Ronnie Romero @ O2 Academy Islington, London, UK appeared first on Metal-Rules.com.

Today as part of The Guardian‘s Honest Playlist column, Moby revealed the song he can no longer listen to: “‘Lola’ by the Kinks came up on a Spotify playlist, and I thought the lyrics were gross and transphobic,” he said. “I like their early music, but I was really taken aback at how unevolved the lyrics are.” Moby didn’t specify exactly which lyrics bothered him in the 1970 hit, on which Ray Davies proclaims: “Girls will be boys and boys will be girls/ It’s a mixed up, muddled up, shook up world, except for Lola.” Music historians have cited it as an early LGBT anthem, which was pretty much Davies’ goal with the song: “I did a bit of research with drag queens,” he said in a 50-year retrospective. “I admire anyone who can get up and be what they want to be.”

The post The Kinks’ Dave Davies Hits Back At Moby For Calling “Lola” Transphobic appeared first on Stereogum.

I was hardly the only reviewer giving The Beatings their flowers in the early 2000s. Some noteworthy lines of praise included “If Duran Duran wanted to be Motörhead and not Roxy Music”, “The Bay City Rollers meets the Dwarves”, “Better than a boot to the ear hole” and “The NY Dolls on Crack!” The magic of The Beatings was that there wasn’t really another band out there quite like them. They were playing sleazy, glammy ’70s-style punk with an unlikely mix of bubblegum, new wave, and hard rock influences. It had been a long time since I had listened to The Beatings, so the release of 1997-2007 has been an occasion for me to revisit these songs and decide if my younger self had any idea what he was talking about. By the time I got through “Kiss on the Cheek” and “Ghetto Blaster,” I was able to assert that, at least in the case of The Beatings, I wasn’t totally full of shit back then! These tracks really hold up — as do “Rollercoaster Girl,” “The Ballad Of Jimmy & Jenny,” and “Medicine.” I don’t recall ever owning or hearing the Solid Gold 7″, but “New Wave Love” is a stone cold ripper. 

The beauty of the digital music revolution is that old records don’t have to be lost to the dustbin of history. And we don’t have to play the “You had to be there!” game. Even if you had never heard of The Beatings before, if you like trashy punk rock with a heavy glam influence, it’s likely you’ll be really into this compilation. I know there’s so much music out there to listen to, but I truly believe that there’s a significant audience for this album in 2026. It will warm my heart if a few of my influential friends play some of these tracks on their radio shows or if a couple of you end up discovering The Beatings for the first time and genuinely liking what you hear. I remember getting into punk in the ’90s and thinking that all those old punk records from 20 years prior were ancient. Now we are three decades removed from the new bands I was into then! Will there be a ’90s punk revival? Let’s make it happen while there’s still time!

I was hardly the only reviewer giving The Beatings their flowers in the early 2000s. Some noteworthy lines of praise included “If Duran Duran wanted to be Motörhead and not Roxy Music”, “The Bay City Rollers meets the Dwarves”, “Better than a boot to the ear hole” and “The NY Dolls on Crack!” The magic of The Beatings was that there wasn’t really another band out there quite like them. They were playing sleazy, glammy ’70s-style punk with an unlikely mix of bubblegum, new wave, and hard rock influences. It had been a long time since I had listened to The Beatings, so the release of 1997-2007 has been an occasion for me to revisit these songs and decide if my younger self had any idea what he was talking about. By the time I got through “Kiss on the Cheek” and “Ghetto Blaster,” I was able to assert that, at least in the case of The Beatings, I wasn’t totally full of shit back then! These tracks really hold up — as do “Rollercoaster Girl,” “The Ballad Of Jimmy & Jenny,” and “Medicine.” I don’t recall ever owning or hearing the Solid Gold 7″, but “New Wave Love” is a stone cold ripper. 

The beauty of the digital music revolution is that old records don’t have to be lost to the dustbin of history. And we don’t have to play the “You had to be there!” game. Even if you had never heard of The Beatings before, if you like trashy punk rock with a heavy glam influence, it’s likely you’ll be really into this compilation. I know there’s so much music out there to listen to, but I truly believe that there’s a significant audience for this album in 2026. It will warm my heart if a few of my influential friends play some of these tracks on their radio shows or if a couple of you end up discovering The Beatings for the first time and genuinely liking what you hear. I remember getting into punk in the ’90s and thinking that all those old punk records from 20 years prior were ancient. Now we are three decades removed from the new bands I was into then! Will there be a ’90s punk revival? Let’s make it happen while there’s still time!