Stem Checker is a new app for quality-checking your stems outside of your DAWA new Mac application is here to streamline your music production workflow. It’ll come as no surprise that Stem Checker does exactly what it says on the tin; the app comes as a quick, easy way to check stems and multitracks outside of your DAW.
Rather than having to load your stems back into your DAW for simple checks, Stem Checker is able to do the tedious grunt work for you. The detects and flag problems that can easily fly under the radar, catching all errors like alignment mismatch, missing audio, clipping, sample rate issues and more.

READ MORE: How we remixed Steve Aoki: Tips from Laidback Luke, Dani Thorne and Nostalgix

It’s not going to distort or mess with your stems – it’s just going to highlight any red flags. Think duplicate files, missing audio, mismatched metadata and trying to make sense of ambiguously named tracks.
Again, the app focuses on operating outside of your DAW, allowing you to save time and avoid loading each stem up to check if everything is peachy. It’s a smart, essential tool for keeping organised, while also giving you the confidence that the odd digital over wont distort any signals in your final mix.

To use the app, it’s as simple as dropping your files (the app supports WAV, AIFF, MP3, FLAC, and AAC) into Stem Checker. Then, the app automatically analyses the stems, providing you with instant waveform rendering to scan through. Once it’s certain there are no issues, you’re good to go – and, of course, if an issue is at hand, that’s when you can begin working things out.
If there is an issue, the app will show it on the Issues Panel – and a few problems can even be fixed via the app with just a single click.
Stem Checker is available to download now from the App Store with a 30 day free trial. After, it costs £3.99 a month or £29.99 year to access its full features. For more information, head to Stem Checker.
The post Stem Checker is a new app for quality-checking your stems outside of your DAW appeared first on MusicTech.

Why 90s rave icons N‑Trance used their original hardware, including the mic for ‘Set You Free’, to record their first release in 22 yearsIn an age of flashy studios, AI tools and groups “just remixing a song they did 30 years ago”, says rave icons N-Trance, the decision for them to release new music made entirely on their original hardware from the 90s feels incredibly bold.

READ MORE: “It doesn’t matter if you fail, that’s part of the game”: Output CEO Gregg Lehrman

But, to founding member and producer Kevin O’Toole, it’s nothing new. “That’s just what I’m used to,” he explains, going as far to say that using the old gear is vital. “If we do a new track and it doesn’t fit in with a set of songs from the 90s, it will sound strange”.
With this ethos in mind, it makes sense that the vocals for the group’s first single in 22 years, Higher, were recorded on his trusted Neumann U87 — the exact same microphone that captured their era‑defining hit Set You Free. “They’re quite expensive, but mine has lasted for 30 years so far,” O’Toole says, adding that he often gets asked why he’s not moved on to something different. “I say, ‘Why? These U87s are just brilliant. They last forever.’”
When the group’s members started playing Higher in their DJ sets “just to see how it went down”, he suggests that “people thought it was [a track] they missed in the 90s”. Channelling the same energy as their club classics, it’s easy to see why many on the dancefloor have viewed ‘Higher’ – one of hundreds of songs that O’Toole has quietly worked on over the years, and N-Trance’s first independent release — as a long-lost friend.
Neumann U87. Image: Press
The main mixing desk and monitors that O’Toole uses – Yamaha DM2000, Genelec 1037B and Yamaha NS10 – have also remained the same throughout the decades. “I always say that you need massive monitors if you’re making stuff for clubs, because you have got to make sure it sounds good,” he offers.
He adds that his NS10s continue to do the trick. “They’re loud,” he says, adding that having no neighbours due to now living in the countryside means he no longer has to soundproof his studio. “I’m surprised they still work because I’ve had them for such a long time. You’d find it hard to buy them these days.”
When it comes to different vocalists singing for him, they all use the same equipment and learn his style of vocal recording. “After I’ve written the melody and lyrics,” O’Toole explains, “I have to make sure the song is in the best key for that singer”. He adds: “You’ve got to make sure your microphone is good enough, because there’s nothing you can do after,” he says, adding that an old LA Audio TCX2 compressor also comes into play for the vocals, and a Lexicon PCM91 for reverb.
“Once you have recorded the vocal, you can’t go back to it and say ‘this bit needs more’ of something,” he says, “so you’ve got to make sure that it’s recorded nicely, because I’ve had it before with people who have come in for vocals where they’ve said ‘you still could compress on that’ while I’ve been recording it”.
Vintage synths. Image: Press
As for synthesisers, though he has modern versions in the studio, his vintage collection is ever-growing. “I just can’t bear to part with an old synth,” he admits, panning the camera round to show off his stacked studio, which boasts a Prophet 5, MiniKorg 700, Akai S3200, Oberheim Matrix 1000, Roland JV-2080 and Access Virus C.
Also in the room is “the luckiest thing ever”, his Roland TB-303, which he recalls buying at a music shop in Oldham in 1990. “I said ‘What’s that on the shelf?’ and the owner replied ‘I think it’s a drum machine’.” After passing it down, O’Toole couldn’t believe his eyes. “I snapped it up for £50… they now trade for £3,000,” he says, adding that if he’s doing a track and wants to get an authentic sound, he’ll still use it.
Besides, he feels that with “a lot of the new synths, it’s just the old synths with effects on them. He continues: “In the early days, my Korg M1 was the main keyboard,” he says, reflecting that the group’s mid-90s Manchester studio (Ducie House) had 30 keyboards set up. “I was at the centre, and we made our own stand for the mixing desk,” he says of the distinctly DIY setup, which also included a Roland R8-M drum machine, Akai S1000 sampler and an Atari ST to run sequencing software.
Korg M1. Image: Press
While he no longer has the R8-M and nowadays uses a virtual drum machine instead, O’Toole has retained his massive collection of drum loops and samples from the 90s. “I love some of my old outboard effects units that I’ve had since then”, he says.
Nonetheless, he believes that new technologies have made it easier for producers to get back to old school sounds — “if you don’t have the old equipment, you can get stuff that sounds exactly the same”
Highlighting N-Trance’s contemporaries from the same decade, The Prodigy and Dream Frequency, he says “we all had the same equipment but none of us sounded the same”.
Synths. Image: Press
Since then, he suggests, things have changed dramatically. “Every single song sounded like Avicii after his first hit; everyone sounded like Cascada the week after their track hit the chart,” he considers.
O’Toole feels that this trend has continued into the 2020s. “I see it a lot with new bands now, but when [N-Trance] said we were putting new music out, we meant new music”. It’s unsurprising, then, when O’Toole argues that musicians are relying too much on laptops and presets. “It’s easy, and you don’t really create anything of your own sound,” he says, concluding that a lot of recent songs sound too same-y because of it.
This is a total contrast to when N-Trance started out, he suggests: “if you compared the music to 30 years before that, there was nothing like what was coming out then”.
Nonetheless, he does recognise the myriad challenges that come with going back to the old equipment — namely, the fact that not all of it works. “My Korg M1, it’s nice to look at but it’s been battle-scarred,” he says, urging other musicians not to take their studio keyboards to gigs “because they’ll get trashed”. He adds that the other “worst thing” about bringing your own equipment to shows is that “it would crash all the time on stage”. It’s good advice: “the power button on it has broken off the back, one of the boards has been pressed in, and one of the keys has snapped”.
Thankfully, such wear and tear hasn’t prevented him from being able to work in new tunes. And, now that ‘Higher’ is out in the world, N-Trance are focusing on finishing an album that will likely be released later this year. “It’s going to be more like what people would have expected us to do back in the 90s,” O’Toole teases, listing piano, electric and acoustic guitars, and bass among the instruments used in the record. Less a return to their roots, then, than an extension of their pioneering legacy.
Watch the music video for Higher here:

The post Why 90s rave icons N‑Trance used their original hardware, including the mic for ‘Set You Free’, to record their first release in 22 years appeared first on MusicTech.

United Plugins offers the UnitedFreeBundle with 10 plugins at no cost
United Plugins has launched the UnitedFreeBundle, a collection of professional audio plugins, and it’s free! The one caveat with the free collection is that the plugins feature an ad banner that displays United Plugins deals or products. The advertisements don’t restrict your view of any plugin or its controls. I know we see ads everywhere, [...]
View post: United Plugins offers the UnitedFreeBundle with 10 plugins at no cost

Plugin Boutique is offering “the lowest price ever” on iZotope’s Ozone 12 mastering suitePlugin Boutique is currently offering some huge deals across iZotope plugins, with huge savings on its Ozone 12 mastering suite tiers.
Right now, you can get up to 52 percent off a range of iZotope mixing and mastering tools, but offers end on 15 April so you’ll need to act fast. All three tiers of Ozone 12 – Elements, Standard and Advanced – are currently reduced, as well as there being huge savings on bundle deals and other iZotope plugins.
[deals ids=”6wBAV3J8k58MDnRDqQWFyl”]
iZotope Ozone 12 was launched in September 2025 and introduced new modules and an update to its AI-powered assistant. The previous version of Ozone landed in 2023, and scored a 9/10 in our review. Though a near perfect score, we did note that the AI assistant needed some tweaks.

READ MORE: The best new plugins this week, free and paid

At the launch of Ozone 12, iZotope said that the AI assistant in this new iteration had “intelligent tech that guides, not decides”, and reiterated that the implementation of AI within its products is intended solely to help and inspire.

MusicTech also reviewed Ozone 12, and scored it 8/10. We noted that its Stem EQ could be a game-changer for those mastering other people’s music, and that its AI features “are assistive and not prescriptive”. We did note that the Advanced edition is quite expensive, but thanks to Plugin Boutique it’s now down to £383 with 20 percent off.
Ozone 12 Standard also has 20 percent off (now £167), but the streamlined Elements version offers the biggest saving with 47 percent off, making it just £29. You can also save on upgrades and crossgrades.
iZotope’s Music Production Suite 8.5 is also on sale, again with savings on upgrades and crossgrades, or you can purchase it individually for £615 with 20 percent off.
Find out more and view all iZotope deals at Plugin Boutique.
The post Plugin Boutique is offering “the lowest price ever” on iZotope’s Ozone 12 mastering suite appeared first on MusicTech.

Okay Synthesizer releases Okay Distortion, a FREE plugin with 6 layered distortion engines
Okay Synthesizer has released Okay Distortion, a free distortion plugin with six layered engines in a single reorderable signal chain. I’m all for fun and creative distortion plugins (check out our free BPB Dirty Filter if you like this kind of stuff), so I’m always looking forward to testing another one. The cool thing here [...]
View post: Okay Synthesizer releases Okay Distortion, a FREE plugin with 6 layered distortion engines

Softube Model 82 SH-101 emulation is 70% OFF at Plugin Boutique ($29)
Softube’s Model 82 Sequencing Mono Synth is currently 70% off at Plugin Boutique, which brings the price down from $99 to $29 until April 19th. We actually have two excellent deals in this article, but let’s take a look at Softube’s acid monster first. Softube Model 82 Model 82 is Softube’s take on the Roland [...]
View post: Softube Model 82 SH-101 emulation is 70% OFF at Plugin Boutique ($29)

Baby Audio Grainferno is a granular synthesis workstation for all things beautiful to bizarreI’ve developed a soft spot for Baby Audio. Its plugins deliver an addictive immediacy that genuinely stands out in my DAW’s overstocked plugin browser.

READ MORE: Strymon’s NightSky plugin turns reverb into an instrument

Until now, the company’s instrument roster included a CS-01 homage, a quirky drum synth with a techno bent, and a physical modeling synthesizer with a life of its own. They’re unique instruments with focused applications, yet ones I can’t help but reach for any time I’m looking for some spark.
Grainferno is Baby Audio’s fourth, ahem, instrument baby, boldly attempting to breathe new life into tired sample libraries by way of granular synthesis. Can it demystify this dark art?
What is granular synthesis?
For the uninitiated, granular synthesis splits an audio source into tiny parts before playing them back looped, rearranged, and otherwise mangled. Unlike a sampler, which at its most basic plays a sound straight through with minimal tampering, granular synths rebuild their input from the ground up using these miniscule sonic snapshots.
Take this preset, which reconstitutes a woozy synth drone and a stadium-sized guitar solo into something drastically different:

Well-known proponents of granular techniques include Flume and SOPHIE, their productions littered with hazy shimmers and metallic, hyper-detailed artefacts. But given you can feed in literally any audio you desire, granular synthesis is a fundamentally versatile way to make noise.
Getting started with Grainferno
Grainferno Design Page. Image: Press
Grainferno’s interface is relatively simple, with four key knobs defining its most important behaviour. Size controls the length of each grain — on the larger end, they retain a stronger resemblance to their origin, while smaller sizes offer a noisier departure.
Rate adjusts the frequency at which these grains are generated, from rhythmic stuttering at lower speeds accelerating into smeared clouds of particles. Push the knob into audible territory and Grainferno even begins to function like an unstable wavetable synth.

Skimming through a source sample by changing grain position is one of the most gratifying ways to alter the sound of Grainferno. If you’re using a longer audio file — a minute or so works well — it’s like digging for buried treasure, with nuggets of gold hidden among sonic detritus.
Two more knobs add motion. Scan moves the grain generation position backwards or forwards, with negative values working particularly well with longer grains to impart a smooth reversed quality reminiscent of a crystalliser. Scatter is equally useful, providing an organic touch by randomising the grain position.

What do Grainferno’s presets sound like?
While Grainferno is undoubtedly approachable, my initial foray reveals a learning curve. Impatient users might head straight for its compelling and varied preset library. Many of the more experimental sounds come from Galen Tipton, concocter of maximalist hyperpop-infused IDM, as well as EDM wizard Virtual Riot.

For greater immediacy while auditioning sounds, the Play page distils the controls down to four assignable macros:
Grainferno Play Page. Image: Press
Creating a sound from scratch in Grainferno
Grainferno comes with 378 factory samples that can form the basis of a patch, although you can drag in your own sounds too. It’s a broad palette, from sustained synth pads and orchestral gestures to crunchy foley and pitched percussion.
Grainferno Sample Browser. Image: Press
Users can layer two sounds at once and mix them with different algorithms. While grain position is independent for each layer, the four main granular controls are not — this is the only time Grainferno feels noticeably limiting. I pluck out two radically contrasting sounds, meld them together, and feed in some arpeggiated notes:

Grainferno spits out an unmusical mess; a stark realisation that this won’t be as easy as I first expected. I try again, but most of what comes out is whooshing UFO noises better suited to a sci-fi movie than a song — interesting, but not exactly useful.

It’s difficult to predict which samples will complement each other, and my intuition comes up short several times. Given the multitude of variables that go into creating a Grainferno patch — the source samples, the grain position, and the wide-ranging parameters — landing on something worthwhile feels like a long shot, the sweet spot too narrow amid the immense scope of possibilities.
Nonetheless, I persist, embracing the chaos. I’m certain there are fascinating discoveries to be made. Perhaps the key to unearthing them lies in Grainferno’s modulation?
Modulation and effects in Grainferno
Grainferno’s slick array of mod sources is more than enough for detailed sculpting, with three LFOs, three envelopes, and three random mod sources that output new values every time a grain is generated.
These pair perfectly with the grain-level effects, including a compressor, filter, and feedback-based Blur effect. When used on the filter, for example, each individual grain can be assigned a random cut-off value.

This is my breakthrough moment. I find myself treating Grainferno more like a modular synth, letting my curiosity guide the process. Yes, the output is uncertain, but it can be steered — and given just how easy its drag-and-drop workflow is, the journey is joyful, particularly once you arrive at a satisfying destination.
Things do get CPU-intensive at times, particularly with higher rates and more complicated patches, though newer machines should cope okay.
Six post-processing effects provide further potential: a filter, compressor, clipper, delay, reverb, and chorus.
Grainferno FX. Image: Press
I create another patch using a single cello note as the sound source, applying per-grain modulation to Rate, Size, Pitch (set to Octave mode), and Grain Filter Cut-Off. It’s transformed into a majestic string section, commandeering my attention for quite some time:

Alternatives to Grainferno
Granular may not be as ubiquitous as wavetable or subtractive synthesis, but there’s no shortage of capable plugins on the market.
A primary contender is Arturia Pigments, a multi-engine instrument with granular well within its remit. At €199, it’s pricier — but its broader toolkit is worth it if you’re picking up your first soft synth.
For £59, Dawesome’s Love 2 takes a more focused approach. It’s an audio effect rather than an instrument, transforming its input into otherworldly soundscapes through classic granular shimmer that’s easier to steer.
For those less certain or merely looking to dabble, Ribs from Hvoya Audio is a name-your-price granular plugin that can be used as both an instrument and an effect, with a powerful feature set belied by its lack of price tag. Or, for Ableton users, the Studio edition of Live 12 includes Granulator 3 — a Max for Live device that’s conducive to snappy experimentation.
Is Grainferno worth buying?
Grainferno can produce beautiful and complex sounds, but it’s difficult to approach it with a fixed outcome in mind. Even with a solid grasp of its controls, the relationship between input and output feels elusive at times, shaped as much by chance as it is intention.
But that’s also where the appeal lies. Grainferno feels like a playground for sound design, where curiosity and patience are rewarded far more than precision. You probably won’t reach for it if you know exactly what you need — rather, it’s a way to break creative deadlocks, add detail and movement, or inject a track with something more leftfield.
While the £59 intro pricing is compelling, the full £99 sticker is a harder sell, and I’d encourage users to try before they buy to see if it gels. For those willing to embark on a more exploratory journey, Grainferno offers a vast and often surprising sonic landscape that’s as engrossing as it is unpredictable.
Key features

Granular synthesizer with dual sample layers
Plugin and standalone versions
Control grain rate, size, pitch, position, and more
Cross-fade between layers with multiple morph modes
Grain-level effects including filtering, compression, and Blur
Multiple modulation sources including 3 envelopes, 3 LFOs, 3 random outputs, 4 macro controls, and an envelope follower
378 bundled sounds for creating patches (1.5 GB in total)
Extensive presets from well-known artists and creators
Play view for browsing presets and macro control
Design view for editing patches in detail
Post-processing effects page with compression, filter, delay, reverb, chorus, and clipping
Powerful preset manager with tagging system

The post Baby Audio Grainferno is a granular synthesis workstation for all things beautiful to bizarre appeared first on MusicTech.

What is modulation in music?
Learn about the different definitions and creative use cases of modulation in music.

Uber and Nuro begin testing premium robotaxi service in San FranciscoUber employees can now hail a Lucid robotaxi as part of the testing.

Studio Mix 2026: Feller, Justin Schaefers, Jacob Collier, and more

FELLER RELEASES DEBUT ALBUM SOUND COLORED PENNY

Chicago’s Feller released their debut album Sound Colored Pennyvia Shuga Records on February 13. The rambunctious trio of Pete Willson (vocals, guitar), Ethan Toenjes (drums), and Ramsey Bell (bass) have been making music together since 2023. Recorded last year in Chicago with producer Doug Malone, the album manages to capture the authenticity of pent-up energy, and being a young musician navigating a seemingly never ending big-city music scene in about 25 minutes of non-stop calculated power.

NYU’S SONY AUDIO INSTITUTE NAMES 7-TIME GRAMMY® WINNER JACOB COLLIER AS NEXT ARTIST-IN-RESIDENCE

The Sony Audio Institute at New York University announced that Jacob Collier has been named the Institute’s next Artist-In-Residence. A seven-time GRAMMY® winner and 16-time GRAMMY® nominee, Collier is widely recognized for his genre-spanning work as a singer, songwriter, producer, and multi-instrumentalist. In his residency, Collier will work directly with Sony Audio Institute students and faculty to provide mentorship, creative guidance, and real-world perspective on modern music-making—spanning composition, arrangement, production, and the evolving relationship between creative practice and emerging audio technology.

WAR CHILD RECORDS RELEASE NEW SINGLE “FLAGS”

War Child Records has released “Flags”—a new song by Damon Albarn, Grian Chatten, and Kae Tempest—from the highly anticipated HELP(2) album. "Flags” is the crowning collaboration on HELP(2), a powerful reflection on youth and selfhood written by Damon Albarn (Blur/Gorillaz), Grian Chatten (Fontaines D.C.), and recording artist/poet Kae Tempest. Produced by Albarn, James Ford, Marta Salogni, and Toby L, the track stands as a bold statement of resilience.

AUSTIN’S NIGHT TRAVELER SHINES AS GIBSON’S ARTIST SPOTLIGHT

Each month, the Gibson Artist Spotlight introduces a new musician or group, connecting them with Gibson’s global audience, and February saw Austin, TX-based duo Night Traveler in the spotlight. Formed in 2018 by Adam Fischer and Hunter Glaske, Night Traveler is continuing to craft nostalgic, cinematic, indie rock built for midnight moments and headlights on an open road.

INDIE ROCK ARTIST JUSTIN SCHAEFERS RELEASES MODEST HITS

Boston-based indie rock artist Justin Schaefers has released his debut solo project, Modest Hits. Self-written and recorded with minimal, unconventional equipment, the project embraces imperfections to capture an honest, personal sound. With this release, Schaefers encourages listeners to feel the vulnerability, change, and intimacy of his world, while he continues sharing music through upcoming singles and live performances across New England and beyond.

TOMMY TORRES CREATES MUSIC MAGIC WITH KRK

Musician, producer, and engineer Tommy Torres gravitates toward tools that challenge him, and at his Miami studio sits his KRK ROKIT 8 Generation Five studio monitors—not because they glamorize the music, but because they refuse to. “What I love about KRK is that the speakers don’t lie to me. They don’t try to sound hi-fi or pretty—they make me work,” he says.

SINGER-SONGWRITER SAVANNA LEIGH AND ARTIST BERTIE NEWMAN RELEASE “WHAT’S NOT MINE”

Nashville singer-songwriter Savanna Leigh and London-based Bertie Newman released their new single, “what’s not mine.” A song about real connection and the fear of being fully seen, Leigh and Newman explain, “It unpacks the ways we protect love by staying surface-level… showing only the healed parts, holding back the truth, masking the mess. But real connection asks for honesty, even when it’s uncomfortable. It’s about learning that love can’t be unconditional if we’re not willing to be unconditional with ourselves.”

The post Studio Mix 2026: Feller, Justin Schaefers, Jacob Collier, and more first appeared on Music Connection Magazine.

ESP32 Weather Display Runs Macintosh System 3It seems like everybody takes their turn doing an ESP32-based weather display, and why not? They’re cheap, they’re easy, and you need to start somewhere. With the Cheap Yellow Display (CYD) and modules like it, you don’t even need to touch hardware! [likeablob] had the CYD, and he’s showing weather on it, but the Cydintosh is a full Macintosh Plus Emulator running on the ESP32.
Honey, I stretched the Macintosh!
The weather app is his own creation, written with the Retro68k cross-compiler, but it looks like something out of the 80s even if it’s getting its data over WiFi. The WiFi connection is, of course, thanks to the whole thing running on an ESP32-S3. Mac Plus emulation comes from [evansm7]’s Micro Mac emulator, the same one that lives inside the RP2040-based PicoMac that we covered some time ago. Obviously [likeablob] has added his own code to get the Macintosh emulator talking to the ESP32’s wireless hardware, with a native application to control the wifi connection in System 3.3. As far as the Macintosh is concerned, commands are passed to the ESP32 via memory address 0xF00000, and data can be read back from it as well. It’s a straightforward approach to allow intercommunication between the emulator and the real world.
The touchpad on the CYD serves as a mouse for the Macintosh, which might not be the most ergonomic given the Macintosh System interface was never meant for touchscreens, but evidently it’s good enough for [likeablob]. He’s built it into a lovely 3D printed case, whose STLs are available on the GitHub repository along with all the code, including the Home Assistant integration.

HYBE moves to crack down on bootleg BTS merch ahead of US tour datesLegal filing arrives ahead of BTS's performances at Raymond James Stadium in Tampa in April
Source

Sonuscore launch Lux Orchestral Strings Elements Lux Orchestral Strings Elements gives composers a chance to try the library out before purchasing, but comes kitted out with enough features to program a full string arrangement.

Fan’s recordings of 10,000 shows – including Nirvana’s debut gig in Chicago in 1989 – are being uploaded online for freeIn 1984, Aadam Jacobs attended a local gig armed with a small dictaphone. After recording one gig, he recorded another. Then another. Then another. And that collection, which contains recordings of over 10,000 local gigs across four decades, is now being uploaded online for free.
Following Katlin Schneider’s 2003 documentary exploring Jacobs’ archival journey, Brian Emerick, a volunteer from the Internet Archive, reached out to Jacobs. Curious about his collection, Emerick was keen to archive Jacob’s staggering amount of vital music history, which included early recordings of Nirvana, The Cure, Depeche Mode, Björk, and more.

READ MORE: How we remixed Steve Aoki: Tips from Laidback Luke, Dani Thorne and Nostalgix

While Jacobs’ was initially dubious, he eventually gave in. That’s why a mass of volunteers are currently involved in the No Tape Left Behind: The Preservation of the Aadam Jacobs Collection project, regularly uploading every gig Jacobs has ever recorded to the Internet Archive.
It’s a tedious process, with volunteers working their way through boxes of tapes, transforming analogue recordings into digital files one by one, but it’s a vital project to preserve music history. “Before all the tapes started not working because of time, just disintegrating, I finally said yes,” he tells Block Club Chicago.
In his hometown of Chicago, Jacobs has earned himself the title of the ‘Chicago Tape Guy’. That’s because, as his collection slowly grew, his ongoing recording project became somewhat of an ‘open secret’ within the local scene. According to Block Club Chicago, Jacobs went from smuggling his compact Sony cassette recorder into gigs in a backpack, to openly recording each gig.
In fact, members of the sound team would allow Jacobs hook up his console cassette machine to the sound boards, while other venues began letting Jacobs in for free to record the show.
Across Jacob’s 10,000 strong collection, plenty of artists feature. From indie to rock to hip-hop, Jacob has caught acts both big and small on his amateur set up – with one stand-out being Nirvana’s debut Chicago in 1989. The recording captures a then-22-year-old Kurt Cobain performing to a small crowd in local club Dreamerz, two years before Nirvana skyrocketted to global fame with Nevermind.
So far, the No Tape Left Behind… effort has digitised over 5,500 tapes since beginning their work in 2024. It is estimated that it will take a good few years before they finish rooting through Jacob’s boxes of tapes.
While there are plenty of anti-bootlegging laws in place, many artists have enjoyed taking a peek back in time through Jacobs’ recordings. One or two acts have requested for recordings to be taken down, but that’s about it. Jacobs isn’t making a profit either, due to the Internet Archive collection being entirely free, the chances of a lawsuit are pretty low.
Hunt through the archives now at the No Tape Left Behind: The Preservation of the Aadam Jacobs Collection.
The post Fan’s recordings of 10,000 shows – including Nirvana’s debut gig in Chicago in 1989 – are being uploaded online for free appeared first on MusicTech.

Jamstik Core is the best MIDI guitar at $650, but I’m still left wanting moreWhen building or upgrading your music production setup, a MIDI or MPE controller is often an essential investment for controlling virtual instruments. With a budget of, say, $600-700, you could get a full-size keyboard with weighted keys and ample controls, or something more futuristic and expressive, like the Embodme Erae Touch MPE controller. Or you could opt for the Jamstik Core MIDI guitar, and shred through your own sound library and the accompanying Jamstik Creator suite of virtual instruments.
The Jamstik Core is the smaller, more affordable version of the Jamstik Standard (previously called the Studio), which we called “an incredible instrument” and “the best iteration of a MIDI guitar.” Like the Standard, the 22-fret Jamstik Core is a MIDI guitar that actually is a guitar. That might sound bizarre to say, but with other MIDI guitars, such as the AeroBand, you’re getting something that looks and plays something like a guitar — not an actual guitar.
Jamstik employs a 6-channel Hexaphonic MIDI pickup in the bridge position, which doubles as a traditional guitar pickup. That means that you can easily flick between sending MIDI to your synths and compatible gear, and to playing through an amp or DI box as a normal guitar. The MIDI data is captured with the Hexaphonic pickup and Jamstik’s per-string processing.
Jamstik Core. Image: Jamstik
I’m surprised by the Jamstik Core. It’s quite a capable MIDI guitar for hobbyists, curious music-makers, and lifelong guitarists. However, I quickly find myself wishing for slightly better accuracy and a few features that the Jamstik Standard has.
Playing the Jamstik Core
As a guitar, the Jamstik Core feels entry-level. It’s not exactly a premium build and comes in a variety of basic colourways, but it feels nice in the hands, durable, and has comfortable action. I’m reminded of the £200 Yamaha Pacifica I once had as a teenager, which isn’t necessarily a bad thing. Still, some budding MIDI guitarists should look to the Jamstik Standard for a more esteemed design. The Core is also smaller than the Standard, with 22 frets as opposed to 24, which may bother players looking to dabble in the higher registers.
Although touted as a MIDI controller, the Jamstik Core is actually equipped with MPE (MIDI Polyphonic Expression). So, when I play parts with slides, bends, and hammer-ons, the virtual instruments on my laptop respond accordingly — a normal MIDI controller isn’t capable of these additional dimensions of expression. And, crucially, such behaviour makes this truly feel like a guitar, even when you’re playing sounds that aren’t typically capable of slides and hammer-ons.
Jamstik Core. Image: Jamstik
The plug-and-play nature of the Jamstik Core means you can start playing these sounds within seconds of picking it up. A single USB-C port transmits all the MIDI data from the guitar straight into your laptop or audio interface. I tested the Core during a trip away from home with only my laptop and no peripheral gear, so this was ultra-convenient.
On the first setup, I had to update the Core’s firmware, install some drivers, and get the Jamstik Creator app running on my laptop. You don’t need the Jamstik Creator app — you can just select the Core as a MIDI instrument in your DAW, and it’ll control your sounds — but the Creator app is a rich bank of sounds and instruments that work exceptionally well with the Core guitar. All in all, this was a surprisingly seamless setup process.
If you happen to pick up the Core for a quick guitar jam, you can plug directly into an amp or DI box via the quarter-inch input just next to the USB-C port. This is positioned naturally at the base of the guitar’s body.
Jamstik Core. Image: Jamstik
How accurate is the Jamstik Core?
As mentioned, the Core employs a six-channel hexaphonic MIDI pickup, which is currently the standard for MIDI guitars. This translates a string’s pitch into MIDI data, which allows you to control virtual instruments and MIDI gear. It’s also capable of transmitting the pitch of all six strings simultaneously — hence ‘hexaphonic’.
The first few moments feel like magic when I start playing my soft synths with the Jamstik Core. With near-zero latency, I’m playing a swelling synth pad by strumming bar chords and plucking a piano melody. It’s plenty of fun to scroll through the hundreds of sounds in Jamstik Creator — which include real guitar presets, too. The Core even registers harmonic notes, which isn’t something I expected.
A bonus here is that you can use Creator with any MIDI controller, and as a standalone app or as a plugin in your DAW.
Jamstik Core. Image: Jamstik
However, it must be said: the Jamstik Core is not 100 per cent accurate and can be inconsistent. This is most apparent when playing Ableton Live’s stock instruments compared to sounds in Jamstik Creator. I find that the pickups sometimes struggle to detect the lowest notes on the E string, and the softest strums aren’t always picked up, which is frustrating when trying to play monophonic bass synths. The Core either doesn’t pick up the fret I’m playing on, or plays an adjacent note, which takes me straight out of the experience.
That said, content creator RoyZivMusic shreds furiously on the Jamstik Core and seems not to face a similar issue. He also demonstrates a powerful way to use the Core: blending the natural sound of the guitar with a virtual instrument for gritty and experimental tones. In addition, as RoyZiv demonstrates, playing drum parts on this thing is a serious challenge — it’s nothing like triggering drums with a MIDI keyboard or anything similar!

The Jamstik Standard also has a six-channel hexaphonic pickup, but it also boasts onboard digital signal processing (DSP) for extra detail. This is where the step up to the Standard makes sense for those who need reliable, accurate tracking when it matters, like onstage or group recording sessions.
Should you buy the Jamstik Core?
To the point of live performances, the Jamstik Core comes with an obvious limitation: Unless you buy Jamstik’s MFC1MIDI floor controller, you’ll always need a laptop with you when playing the Core. For most home studio music-makers, this isn’t going to be an issue.
If I were seriously invested in using a MIDI guitar as a professional and daily staple, I’d save up for the Standard version. The latter would be more reliable, a more serious size, and come in more premium finishes. But, if you’re tantalised by playing pad swells, lead synths, and blooping arpeggios with a six-string, the Jamstik Core is a powerful entry point, especially for an MPE instrument. I was immediately, and still am, grinning to myself when picking up the Core to play my virtual instruments in a completely new way.
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