Inaugural Music Technology Research Showcase celebrates work of new graduate program’s initial studentsThe MIT Music Technology and Computation (MTC) Graduate Program — launched in fall 2024 as a collaboration between the Music and Theater Arts Section in the School of Humanities, Arts, and Social Sciences (SHASS), and the School of Engineering (SoE) — presented its inaugural MIT Music Technology Research Showcase on May 13. The event played to a standing room-only house in the Edward and Joyce Linde Music Building’s Thomas Tull Concert Hall and featured diverse and captivating research presentations and music performances.The celebratory occasion featured MTC’s first five enrollees (all of whom were previously MIT undergraduates), alongside several PhD students and faculty. Each scholar presented inspiring exemplars of artful engineering that reflected the broader and burgeoning music technology scene at MIT. The 90-minute event exhibited a broad array of research projects, including a real-time visualization of what an AI co-improvising agent is about to play on a piano; a sound-art installation based on noisy network communication; a hip-hop dance circle where music is generated from dancing; and the use of electroencephalogram (EEG) signals to identify the musical tunes that our brains are imagining.“A new space for exploration and insights” An interplay of technical presentation with live performance, the showcase began with remarks from SHASS Dean and professor of philosophy Agustín Rayo, SOE Dean and professor of chemical engineering Paula Hammond, and MTC Director and professor of the practice of music Eran Egozy.Rayo began, “The goal of this program is simple — for MIT to lead the world in music technology theory and application,” adding “it’s not just about making music with technology; it’s also about working across disciplines to help better shape the future of expression in an AI-driven world, all while reflecting MIT at its best.” Rayo noted the graduate program was made possible in part by the opening of the Edward and Joyce Linde Music Building in 2025, which provided new classrooms, studios, rehearsal spaces, and a dedicated music technology lab. He also credited the MIT Schwarzman College of Computing for its support for the graduate program. Hammond followed: “As those in this room already know, music and engineering share some common roots. Both rely on mathematical precision and are informed by defined structures, rhythms, and frequencies. Both demand hard work and technical know-how, paired with inspiration and imagination, to create something entirely new. Given those congruities, it’s no surprise that so many faculty, students, and staff members across MIT are also accomplished musicians and artists.”  She continued, “Our music program is a gem. Only at MIT could we bring the top technologists and the top musicians together to create unique opportunities for collaboration. Here we have brought together faculty and students who identify strongly with both music and engineering to form a new space for exploration and insights. It’s a strong example of the collaborative culture that defines the Institute.”  Egozy called the event a “harmonious hybrid of concert and symposium,” and recollected, “it’s a little mind-boggling to see what our students have achieved in just one short and fast-paced year. While we originally debated the trade-offs between a one-year and a two-year master’s program, I think this cohort really showed us that we can make huge strides in learning and research abilities in a concentrated period of time.” Student research on displayOne of those students is Claire Southard ’25, SM ’26, who developed a machine-learning model used to identify musical notes hidden in EEG signals.  Southard explains, “every year, musicians are diagnosed with movement disorders such as Parkinson’s disease and dystonia, or experience injuries that prevent them from controlling their hands and bodies in the ways required to play their instruments. Because of this, too many musicians are forced to stop doing what they love. My work explores one strategy to help such musicians perform again by translating the music they’re trying to play directly from their brain activity — bypassing the need for motor control altogether. To do this, I trained machine-learning models to predict the music a person is imagining from their brain activity measured using EEG, and many of the predicted pieces were found to be recognizable representations of what the user imagined. By designing a system that allows musicians to create music regardless of their physical abilities, I hope this work helps bring a more accessible future for music performance closer to reality.”  Before joining MTC, Southard was initially unaware of the breadth, scope, and magnitude of what the program could offer for further pursuing and realizing her interests. “The MIT Music Technology and Computation Graduate Program taught me so much about the possibilities at the intersection of STEM and the arts," she says. "When I first started the program, I honestly wasn’t sure what counted as ‘music technology.’ Through classes, research, and conversations with faculty, guest speakers, and peers, I learned the field was far broader and more fascinating than I could have previously imagined.”  She continues, “coming from a background in neuro- and computer science, many of my undergraduate projects happened entirely on devices. But this program allowed me to encounter more hands-on experiences, from conducting audio recordings to building electronic musical instruments from scratch.” Another MTC graduate, and student speaker at the 2026 SHASS Advanced Degree Ceremony, Mariano Salcedo ’25, SM ’26, presented a custom web application allowing anyone to create unique emergent visuals that are driven by real-time streaming music. To accomplish this effect, Salcedo built algorithms that leverage the complex visual behavior of self-organized systems as the means toward an aesthetically synergetic end.  In his Advanced Degree Ceremony oration, Salcedo expressed his gratitude and admiration for the passionate people that he’s met not only in MTC, but at MIT overall. In an appropriately compassionate mode, he empathetically opined, “I think what times like this call from us is to lead the way in human and humane-centered technology, which means we don’t only just ask what we can build, but we also ask who is it going to affect, who is not going to affect? Who does it benefit?”  Music technology thriving at MITAssociate Professor Anna Huang SM ’08 of MTA and the Department of Electrical Engineering and Computer Science (EECS, through SCC), a graduate of the MIT Media Lab, and one of the world’s leading researchers in collaborative human-AI music-making, echoed both Southard and Salcedo’s sentiments through her keynote presentation, “In Search of Resonance in Human-AI Interaction.” A compelling and intimately conversational address, her speech emphasized the importance of centering the human musician in all that is done relating to AI, while also making efforts to include all musics of the world in its discourse at every opportunity. With many of her family members in the audience, Huang reflected, “I have the privilege of being in both MIT Music and EECS — an interdisciplinary, shared space. What does it mean to build music technology in this context? We’re surrounded by extremely talented musicians, so we take this co-design approach: We work with these musicians, we go into the studio, and every week we try something. And the technology grows with the creative process. We’re always trying to push both of these forward, and it’s always on the edge. It’s very, very rewarding. It’s where I feel most at home.”   Huang also explained how this practice sets the stage for a new Studies in Music Technology subject that she will be co-teaching in the fall with recently appointed Professor of Theater Arts Grisha Coleman. Class 21M.369/569 (Tuning Attention: Creative Practices in Movement, Sound, and AI) proposes that the study of sound and movement practices can inform how we build and envision computational systems, focusing particularly on our relationship to AIs. It will introduce students to a range of musical practices in improvisation and somatics by way of motion-capture technologies, critical interaction design, generative modeling, and algorithms for interpretability and learning through human feedback. All considered, the future of the MIT Music Technology and Computation Graduate Program is bright. Egozy says MTC admitted 10 master’s students for the 2026-27 academic year from over 100 applicants. Unlike this year’s class, next year’s students will not only include recent MIT undergraduate alumni, but also new faces to campus. “Widening the pool to graduates of other schools and institutions will bring an extraordinary wealth of perspectives and experiences to the program. Additionally, all three shared faculty between MTA and EECS — including Mark Rau, Paris Smaragdis SM ’97, PhD ’01, and Huang — are inviting new Music Technology PhD students to their labs by way of EECS,” Egozy says. Embodying its mission, MTC is proving to be a vibrant, multidisciplinary program that attracts many kinds of students with a variety of career objectives from wide-ranging backgrounds. “Despite their diversity, our students all possess a central commonality,” Egozy says, “not just a shared love for music, but also a deep desire to augment that passion by way of technology in a very warmhearted, humanitarian way.” List of projectsRachel Loh, Quanta Fellow in Music Technology and Computation: “Visualizing the Internal State of Music Models for Live Human-AI Improvisation” Noble Harasha, Quanta Fellow in Music Technology and Computation: “Modeling Subjectivity and Collective Sensory Perception as Noisy, Analog Communication in Feedback-Driven Networks” Z Chen, Quanta Fellow in Music Technology and Computation: “Generative Music as a Catalyst for Social Choreography” Nithya Shikarpur: “The Moving Drone: A Live Improvisation in the Context of Hindustani Music with the Human Voice, Generative models, and Loops”Mariano Salcedo, Alex Rigopulos (1992) Fellow in Music Technology and Computation: “Neural Cellular Automata for Interactive Music Visualization”Claire Southard, John Piscitello Fellow in Music Technology and Computation: “Neural Decoding of Imagined Music”Stephen Brade, Suwan Kim, Valerie Chen: “Whale, Cello (there?): A Musical Dialog between Cello and a Real-time Diffusion Model Trained on Whale Songs” 

AOFN Audio KompisKompis is a minimal reference plugin, designed to help you make better mixing decisions. Referencing is one of the most powerful habits in mixing. Kompis lets you load your reference tracks and run any AU or VST3 plugin you already own directly on your reference tracks, your loudness meter, your spectrum analyser or your favourite EQ ... If it loads in your DAW, it loads in Kompis. No need to learn a new tool, use the tools you already trust and know. What it does: Load multiple reference tracks drag in MP3s or WAVs, drop multiple files at once or right-click to browse. Switch between them instantly, loop sections you want to focus on. Run any VST3 or AU plugin on your references iZotope Insight, Youlean Loudness Meter, SPL Hawkeye, anything. Kompis automatically routes your DAW's signal to the plugin's sidechain input, so you can for example overlay the spectrums of your track and the reference track (i.e. with TDR Prism or similar plugins). One-click loudness matching Kompis measures integrated LUFS and adjusts the reference so volume differences don't fool your ears. A/B toggle flip between your mix and any reference track in real time while you work. Filter bank isolate and compare specific frequency ranges between your mix and the reference. You can customise the ranges to fit your needs. Load and save Presets save your reference tracks and loaded plugins together as a preset and recall the whole setup in one click. Start every session with your go-to references and analysers already in place. Auto bypass on bounce Kompis detects when your DAW is rendering and bypasses itself automatically. It never ends up in your export. Resizable UI make it the focus when you need it, shrink it out of the way when you don't. No hub, no account, no companion app. Formats: VST3, AU. System requirements: macOS 10.15+ (Apple Silicon native). 49€ or pay what you like (minimum 9.99€). If you make use pay what you like please tell a friend about the plugin. Buy Read More

Google says AI training is fair use and copyright should be policed on outputs, not inputsThe tech giant has published a new policy paper outlining the company's preferred approach to AI regulation
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Focusrite publish 2026 Sustainability Report Following a long audit process, the Focusrite Group have published their 2026 sustainability disclosures, which are available in three separate reports alongside their usual annual report and accounts documents. 

Tracktion releases Waveform 14 Free: our best FREE DAW for macOS, Windows, and Linux
Tracktion’s Waveform Free has been updated to v14, remaining our best free DAW for macOS, Windows, and Linux. We’ve covered Tracktion’s Waveform Free multiple times, and we like it. So much so that we named it our best free DAW in 2026, despite sme stiff competition from the likes of Cakewalk and GarageBand. The reason [...]
View post: Tracktion releases Waveform 14 Free: our best FREE DAW for macOS, Windows, and Linux

Tracktion unleashes Waveform 14 DAW Waveform 14 introduces an all-new LLM-driven AI Assistant feature along with a refreshed GUI, multi-channel audio routing and extended ARA2 support.

How Reason’s Bassline Generator Builds Better Basslines (GIVEAWAY)
Writing a good bassline sounds simple until you actually have to do it. I know this problem well. You start with chords, drums, maybe a synth hook or vocal chop, and then the bass becomes the thing you add at the end because the track needs low end. That is how you end up with [...]
View post: How Reason’s Bassline Generator Builds Better Basslines (GIVEAWAY)

AllMusic Gave These Classic Rock Debut Albums 5 StarsAllMusic rates albums on what they are — not what they predict. These five debut albums earned 5 stars before anyone knew the bands would become legends. The reviews hold up completely.

California law targeting loud streaming ads takes effect on July 1Streaming ads might be getting a lot quieter.

Alonso Sound Alonso Fireworks Stand [1776 Edition]Alonso Fireworks Stand [1776 Edition] is a collection of 40 explosive presets for Diva, Serum 2, Spire, and Sylenth1. Light the fuse and watch your tracks go off. Every preset is packed with raw pyrotechnic energy, engineered to ensure your next drop hits with a deafening, high-decibel blast. Read More

Moloko Instruments releases Luch, a FREE Soviet-era metallophone plugin
Moloko Instruments has released Luch, a free sample-based instrument for macOS and Windows. I absolutely love the organic sound here. Especially lately, when we are being bombarded with AI and vibe-coded tools that often feel anything but organic or human-made, something like Luch feels like a much-needed breath of fresh air. Luch is based on [...]
View post: Moloko Instruments releases Luch, a FREE Soviet-era metallophone plugin

RF Hacking A Ceiling Fan Via The Remote[Sam Wilkinson] recently installed a Dreo CLF513S ceiling fan in his place — it’s cheap, well-sized, and blows air around as you’d expect it to. The only problem is that it only works with an ugly cloud-only smart home setup out of the box. Never mind, though, because [Sam] figured out how to hack up a custom solution.
Hacking efforts began with the included remote control. [Sam] identified that the remote had to be RF, since it didn’t need line of sight to work properly. The FCC ID on the back of the device further indicated this was the case. Armed with that knowledge, it was simply a case of figuring out the commands sent by the remote, building something to replay them, and then hooking that into [Sam]’s existing Home Assistant setup.
The remote ran on 433.92 MHz, a not-uncommon bit of spectrum for these sort of appliances. An RTL-SDR was thusly enlisted to capture the output, with a spectrogram indicating the remote used simple on-off keying to send commands. Once commands were captured, [Sam] grabbed an ESP32-C6 microcontroller, hooked it up to a RFM69HCW radio transceiver, and programmed it to replay the fan on/off command. From there, a little dabbling with MQTT got the ESP32 controlling the fan as desired from within the Home Assistant ecosystem.
Sometimes, it’s hard to find smart home gear that actually suits your tastes and budgets. Often, a bit of tinkering can shape existing appliances to bend to your will instead. If you’re tweaking your own gear to better fit your smart home, don’t hesitate to notify the tipsline.

EVE Audio introduce EVE Origin EVE Audio’s new control software offers everything from volume control and input selection to delay, sensitivity settings, smart filters and advanced equalisation, making every essential parameter available through an intuitive, streamlined interface.

10 Albums That Were Grunge Before GrungeNirvana, Pearl Jam, and Soundgarden didn't invent grunge — they perfected it. These 10 albums, from 1968 to 1984, built every sludgy riff, raw production choice, and punk attitude that Seattle made famous.

Instagram is testing more ways to customize ‘Your Algorithm’Instagram users could soon see more ways to tune their content.