DOWNSTAGEDownstage
Price$0 Free to record, mix and release.
Tracks48 channels.
66 rack units, 33 pedals and eight effect buses built in. No account. Apple Silicon, macOS 13 or later.
Free DAW for Mac · made for loud rooms
New in 1.4
PUMP IT bus compressor
“Kreuzberg” demo song
AI mixing assistant
Mackie & HUI surfaces
Stereo in one slot
DOWNSTAGE
Record. Mix. Play it loud.A multitrack recorder and an analog-style console in one window. 48 channels, a desk that lines up like the real thing, a 64-slot rack of 66 classic units, a 33-pedal board, tempo detection, quantize, an AI mixing assistant, motorized faders under your hands, a page on every screen — and a price tag of zero.
What's inside · new in Downstage 1.4
A WHOLE STUDIO. ONE WINDOW.
The desk, the outboard rack, the pedalboard on the floor, the reverb units in the machine room and the mastering chain down the corridor — all in one app, all free, all in the same session.
AI MIXING ASSISTANTSay what the mix should become: it measures the session, reads the console and hands you a plan of moves to apply in one undo.
TEMPO & QUANTIZEOne BPM, or a grid that follows the band. Then Q.
PITCH EDITORDetect the notes, drag them, snap to a scale, or draw with a pencil.
PUMP ITOne knob on the master: glue to the left, the pump to the right.
CRYSTAL HALL + REMOTETwelve programs, six faders, the red display.
MACKIE & HUIMotorized faders, V-Pots, transport and scribble strips, from an X-Touch to the DAW layer of an X32.
33 STOMPBOXESSix slots, any order, every knob where it sits on the real one.
EVERY SCREENEdit, Mix, FX or Rack full screen on each display.
RIG CAPTURE & TUNERTwelve captured rigs, a tuner, an EQ tuned by note and scale.
The console
A DESK, NOT A SPREADSHEET
Every strip looks and works like a channel on a large-format console — and every strip has the same sections at the same height, so your eyes read the whole board at once.
01
BIG-DESK STRIPS
High-pass, four fully parametric bands over a live analyser, four inserts, eight FX and eight aux sends, pan, a one-VCA selector and slim console faders with gain-reduction meters.
02
GROUPS A–D
Four stereo groups that are full channel strips. Route any channel with the M and A–D buttons right beside its fader.
03
CUE MIXES THAT WORK
Eight stereo aux outputs, pre or post, with a seven-band EQ, the master into the phones and a click that stays out of the room.
04
EVERYTHING LINES UP
Channels, click, groups, FX returns, VCAs, aux outputs and master, left to right, over the whole screen — or Mix, FX and Rack each on a display of their own. Solo a group or a return and its channels come with it; solo safe and AFL on the auxes, like a real desk. And under the master's EQ, PUMP IT: a one-knob bus compressor, glue to the left, the pump of a club to the right.
Mixing assistant · new in 1.3
A SECOND PAIR OF EARS.
Open the AI tab of the inspector (⌘J) and say what the mix should become. The assistant measures every channel and, if you like, a minute of the mix, reads the console, and answers with a plan of moves — faders, pans, EQ, sends, routing, inserts with their presets, effect buses, clip gain, fades, trims — each with its reason. Look it over and press Apply: the whole plan is one undo step. Discard it and nothing has moved.
Start from a ready-made request — Balance the mix, Like a reference song, More pop, Rougher, in your face, Warm and vintage, Vocal forward, Master this song, Clean up the edit — or write it in your own words: “kick and bass tighter, vocal brighter”, “take the mud out of the guitars”. The next request remembers the last ones, so “a bit less” works. The guide has the details.
IT MEASURES FIRST
Peak, RMS, integrated loudness, crest and loudness range, the tonal balance in eight bands, stereo correlation, how much of the time there is signal and the silence at the edges of every clip — channel by channel, and for the mix.
YOUR MODEL, YOUR KEY
Claude, GPT, Gemini, or any service or local server that speaks the OpenAI API — Mistral, OpenRouter, Ollama, LM Studio and more — with an API key of your own, billed by the service per use: a few cents a request on the big models.
NEVER THE AUDIO
It does nothing until you ask. Then it sends your request, the names and settings of the console and the measurements — never the audio, the recordings or the files. Keys stay on your Mac, in the keychain.
Claude, Anthropic, GPT, OpenAI, Gemini, Google and the other names belong to their owners. There is no affiliation or endorsement. What is sent, and to whom, is in section 2.5 of the Privacy Notice.
More screens
ONE DESK. EVERY SCREEN.
Plug in a second and a third display and send Edit, Mix, FX or Rack to each, full screen, with no top bar — the arrangement in front of you, the whole console on one side, the rack on the other. Every screen plays the same session: move a fader on one and it moves everywhere. Close a screen with its × and the page is free to go to another.
Display 2 · Mix
Main · Edit
Display 3 · Rack
Control surfaces
HANDS ON THE FADERS.
Downstage speaks Mackie Control and HUI, the two protocols fader controllers and digital consoles use to drive a DAW, over USB or network MIDI. Motorized faders, V-Pots for pan, sends and EQ, mute, solo, record arm and select on every strip, the transport, markers, the jog wheel, scribble strips, the time display and the meters all follow the mix, with up to two extenders.
Compatible with Behringer X-Touch, X-Touch Extender, Compact, One and Mini, Mackie Control Universal Pro, PreSonus FaderPort 8, 16 and FaderPort, SSL UF8 and UF1, iCON QCon and Platform, Korg nanoKONTROL, keyboards with a DAW mode such as Arturia KeyLab, Novation Launchkey and M-Audio Oxygen Pro — and with the DAW remote layer of Behringer X32 and Midas M32, Behringer WING, Yamaha DM3, DM7, 01V96i, 02R96, DM1000 and DM2000, Allen & Heath SQ, Qu, Avantis and dLive, PreSonus StudioLive Series III, Audient ASP8024-HE and Tascam Model 12. The guide sets each one up, model by model.
FADERS & V-POTS
Touch a fader and the screen follows; the V-Pots pan, or with Send, Plug-in and EQ take the FX sends, aux sends and the four EQ bands of the selected channel. Flip swaps them onto the faders.
TRANSPORT & MARKERS
Play, stop, record and punch, loop, click, a marker at the cursor, F1–F8 to jump to the first eight, save, undo and the automation modes, a jog wheel that scrubs, nudges or zooms.
DISPLAYS & METERS
Names and values on the scribble strips, bars or the clock on the time display, the LEDs for mute, solo, arm and select, the meters of the strips in view, the rude solo light.
ANY VIEW, ANY DESK
Bank through the channels, the groups and FX returns, the aux outputs, the VCAs or the whole console; a console's own eight remote faders work the same way as a dedicated controller.
Product names belong to their owners and are used only to say what Downstage can connect to. There is no affiliation or endorsement.
Recording
HIT RECORD. KEEP EVERY TAKE.
Nothing you play is ever thrown away. Record over what is there and the old pass stays underneath; punch in on the fly or on a range with pre-roll; loop a section for as many passes as it takes. Then drag across the best moment of each take and press “Use this” — comping the way the big DAWs taught your hands, with markers where you expect them and the mix out of the door in WAV or MP3.
NON-DESTRUCTIVE
New passes land on top, drawn as you play; the old ones stay underneath and in the take list, ready to comp, in files named after the channel and the take.
PUNCH & PRE-ROLL
Free punch while playing, auto punch on the loop range, 1–4 bars of pre-roll, loop recording.
COMPING
Open the takes under a track, drag across the good bit of any of them and press “Use this”.
TEMPO, GRID & QUANTIZE
Find the BPM and the grid in the audio — steady, or bar by bar for a band without a click — then quantize the hits, phase-locked across a drum kit. Plus a click strip with its own EQ and headphone sends.
MARKERS
Memory locations: keypad Enter drops one, “. 3 .” jumps there, ⌘5 lists them all with the export range; right click the markers bar to set the loop in and out.
PITCH EDITOR
Detect the notes of a vocal or a bass, drag them to other notes, snap the whole clip to a key and scale, or draw the pitch you want with a pencil right on the waveform. Non-destructive, rendered live. A Pitch Corrector unit does it automatically on a live voice.
ELASTIC AUDIO
⌥-drag a clip's edge and it stretches or shrinks to the new length at the same pitch, from 25% to 400%, without touching the file. Splits, trims, loops and quantize follow it.
CHANNEL NOTES
A post-it under the inserts of every channel — the mic, the take to keep, what is still to do — saved with the session as you type, with a dot on the strip when there is one.
WAV & MP3
The mix, every stem or every output, of the song, the IN–OUT range or the loop, with a real progress bar.
START THE SIZE YOU NEED
A new session starts from an empty console, from a built-in one with 8, 16, 24, 32 or 48 tracks and the inputs in order, or from one of your templates. Any track can be deleted.
STEREO IN ONE SLOT
A stereo channel is one track in the Edit window, marked ST, with both waveforms in its clips and two meters in the header. Click a name to select, ⇧ or ⌘ click for more, double-click to rename.
INPUT MONITOR
I sits next to R on every track: hear what comes into the channel. ⌥ click sets every channel, ⌥⇧ click the selected ones.
Tempo and quantize
TIGHT WHEN YOU WANT IT.
The metronome in the edit bar listens to your session and finds the BPM, the beat and the first downbeat. Steady tempo for music played to a click; Follow the performance for a band that breathes — a tempo for every bar, so the grid follows them.
Then press Q. Every attack is cut a few milliseconds before it and moved onto the grid, the slice before stretches to meet it and a short crossfade joins them. Select the whole kit: every track gets the same cuts and stays in phase.
- 1/4 to 1/32 · triplets
- Strength & swing
- Hits or clip starts
- Already tight? Left alone
- One undo
The rack
64 SLOTS. 66 UNITS.
Patch outboard onto any insert of any strip. Each faceplate is laid out like the hardware, carries a strip of masking tape with the channel it lives on, and opens a menu of factory presets chosen for what that box does best — plus your own, in every session.
Dynamics
- Punch Bus 25 · Feedback Comp 25
- FET Limiter 76 · Opto 2A
- Diode Bridge 54
- Stress Comp
- VCA Comp 160 · Dual Dynamics 166
- Project Comp 3630 · Rack Dynamics Pro
- Live Desk Dynamics · Dual Gate 201
- De-esser · Transient designer
- Mastering transistor mastering chain, mix bus comp, Tube Mu, Tube Limiter 670, Two Stage, Big Passive EQ, Sheen EQ, mid/side, Stereo Imager, multiband, brickwall limiter
Strips, EQ & meters
- Desk E Channel · Class A 88
- Discrete console channel
- Transistor Desk · German Broadcast
- Desk XL · Live Desk UK · 8-Bus
- Passive Tube EQ · Class A 73
- Broadcast EQ 295 · Graphic 10
- Guitar & bass EQ tuned by note and scale
- 31-band graphic EQ · Tape · Lo-fi
- Tuner · Spectrum · Phase scope
Amps & pedals
- Rig Capture
- Brit 900 Stack · Chime 30
- Blackface 85 · Solid Chorus 120
- Citrus Verb 50 · Modena Lead
- Fridge 300 · Brit Bass · Yellow 500
- Six-slot pedalboard Dist 1 to Synth 1 and bass, Big Fuzz, Pebble, Analog Memory, Red Squash, Green Drive, Talkbox, Nebula, Forever, Tape Echo, Chorus Echo
- floor multi-effect board
- Wah · Flanger · Phaser
- Spatial Chorus · Rotary 122
Amps and pedals
STOMP ON IT.
Mount the pedalboard on a DI guitar or bass: six slots in the order of the chain, any of 33 classic compacts in each, every knob where it sits on the real one, footswitch and red LED included. Then into a captured rig, a British stack, a class A combo, a solid-state clean or a bass fridge.
Compact
Dist 1Distortion
Yellow DriveSuper overdrive
BluesmanBlues overdrive
Overdrive 1OverDrive
Metal 2Metal
Graphic 77-band equalizer
Sustainer 3Compressor sustainer
Multi CompCompressor
Ensemble 1Chorus ensemble
Flanger 3Flanger
Phaser 3Phase shifter
Chorus 1Stereo chorus
Delay 3Digital delay
Echo 2Tape echo
Reverb 6Reverb
Octaver 5Octave
Synth 1Guitar synthesizer
Bass Driver XBass drive
Bass Comp XBass compressor
Bass Graphic 77-band bass EQ
Bass Chorus 3Bass chorus
Bass Limiter 3Limiter enhancer
Bass Drive 3Bass overdrive
Fuzz and vintage
Big FuzzFuzz sustainer
PebbleVintage phase shifter
Analog MemoryDeluxe analog delay
Vintage and studio
Red SquashCompressor
Green DriveTube overdrive
TalkboxTalkbox synth
Studio pedals · tape echoes
NebulaStudio reverb
ForeverShimmer reverb
Tape EchoThree-head tape echo
Chorus EchoTape echo with chorus
Effects
EIGHT BUSES OF SPACE
Every channel, group and the click has eight FX sends. A new session starts with the Crystal Hall, a vocal plate, delay, Tape Echo, Quad FX, FX 90, chorus and shimmer; each of the eight buses loads any of these units — true stereo in, so a guitar on the left gets a room that leans left — comes back on its own strip with EQ and inserts, and goes to sleep when nothing feeds it.
CRYSTAL HALLWith its remote remote: twelve programs and six faders, Spin and Wander.
- Large Hall
- Large + Stage
- Medium Hall
- Small Hall
- Random Hall
- Rich Plate
- A Plate
- Large Room
- Medium Room
- Small Room
- Ambience
- Rich Chamber
QUAD FXThe four-in-one chain — EQ, chorus or flanger, delay and reverb in series — sixteen programs.
- Chorus Hall
- Flange Delay
- Gated Reverb
- Reverse Reverb
- Multi-tap + Verb
- Detune Doubler
- Big Snare
- Quad: all four
ECHO CHAMBERSA speaker and microphones in a tiled room, with the tape feed of the great London studio.
- Mic distance
- Speaker
- tape feed
- Width
FLANGERThe jet on a send: wet only, the channel and the return make the comb.
- Manual
- Width
- Speed
- Regen
- Negative
HALLA large room: early reflections and a long modulated tail.
- Decay
- Pre-delay
- Size
- Damping
- Low cut
PLATEDense and bright from the first moment, no early echoes.
- Decay
- Pre-delay
- Damping
- Low cut
DELAYTempo-synced, darker on every repeat, ping-pong.
- 1/1
- 1/2
- 1/4.
- 1/4
- 1/8.
- 1/4t
- 1/8
- 1/8t
- 1/16
CHORUSTwo swept voices, wide.
- Rate
- Depth
- Delay
TAPE ECHOThree tape heads, spring reverb, wow and tape age: the classic tape echo.
- Modes 1–4: echo
- Modes 5–11: echo + spring
- Mode 12: spring only
- All 3 heads on mode 11
SHIMMERthe ambient trick: a huge hall whose repeats climb.
- +12
- +7
- +19
- +24
- −12
- +5
VINTAGE DIGITALThe big digital halls, plates and rooms of the eighties, with spin and wander — eleven presets.
- Concert Hall
- Large Hall
- Random Hall
- Vocal Plate
- Rich Plate
- Chamber
- Large Room
- Small Room
- Ambience
- Chorus + Hall
- Echo + Plate
FX 90The classic multi-effect programs — fifteen of them.
- Rev 1 Hall
- Rev 2 Room
- Rev 3 Vocal
- Rev 4 Plate
- Early Ref
- Gate Reverb
- Reverse Gate
- Delay L,R
- Stereo Echo
- Stereo Flange
- Chorus
- Stereo Phasing
- Tremolo
- Symphonic
- Pitch Change
Screenshots
HAVE A LOOK AROUND.
Twenty-nine screens from the demo session, shot while the final chorus plays: the desk, the mixing assistant, the rack, the pedalboard, the reverbs, the editors, the meters, the control surface and the settings. Scroll sideways, or tap one to see it full size.
01 / 29
48Channels
65Rack units
33Pedals
12Effects
600+Presets
0Euro
Built-in guide
LEARN IT ON A REAL SONG
Press F1 in the app, or read the guide here: every window, every strip, every unit, and the full shortcut list, in six languages. The welcome screen opens the demo session too — “Kreuzberg”, a Berlin synth-pop instrumental made for Downstage, 24 channels mixed with groups, effects, outboard, the PUMP IT compressor and automation, ready to be taken apart. To mix a real band, import the free multitrack sessions from Telefunken Elektroakustik.
FREE.
NO CATCH.
Free for personal and professional use. No account, no subscription, no ads, no tracking. The music you make is yours.
- Version
- 1.4.0
- File
- Downstage-1.4.0-macOS-arm64.dmg
- Size
- 138.5 MB
- Requires
- macOS 13 Ventura or later on Apple Silicon (M1 and later)
- SHA-256
59588f05efe76782cf76b8a45cfc5aa66d72bb8aed2f1736f847c7c0e4a25325
Download for Mac
- Open the disk image and drag Downstage into Applications.
- Open Downstage. It is signed and notarized by Apple, so the first time macOS only asks whether to open an app downloaded from the internet: click Open.
- Allow microphone access when you record for the first time, then pick your audio interface from the top bar.
A price check
WHAT A DAW COSTS
US list prices, before tax, as published in 2026. The cheap seat is usually the small one: fewer tracks, or a subscription that stops when you stop paying. Downstage stays at 48 channels, with the console, the rack, the pedals and the effects already inside, and it does not load other plugins.
DAWPriceTracksWhat that buys
Logic Pro
Price$199.99 once, or $12.99 a month in Apple Creator Studio.
TracksNo fixed cap
The Mac studio. Plugins, a large instrument library, Dolby Atmos. The iPad app is on the subscription, not in the one-time purchase.
the big DAWs
PriceFrom $0 Intro is free. Artist is $99 a year or $199 once. Studio is $299 a year or $599 once. Ultimate is $599 a year or $1,499 once.
Tracks8 to 2,048 audio tracks: 8, then 32, 512 and 2,048.
The post and record-label desk. The track ceiling is the edition you pay for.
Cubase
PriceFrom $99.99 Elements. Artist is $329.99, Pro is $579.99. The next version is a new purchase.
Tracks48, then no cap Elements stops at 48 audio tracks. Artist and Pro do not.
Windows and Mac. Score editor, VariAudio and the full mixer arrive as you move up.
Nuendo
Price$999.99 once. An update from the previous version is $199.99.
TracksNo cap
Cubase’s sibling for film, TV, games and broadcast, with a video engine and ADR tools.
Reaper
Price$60 or $225 The $60 license is for personal use, non-profits, or a business under $20,000 a year. Commercial use above that is $225. Sixty days fully working before you pay.
TracksNo cap
One version, no tiers. Windows, Mac and Linux. You bring your own plugins.
Reason
Price$299 once for Reason 13, or $169 a year for Reason+, which keeps the latest version and the extra devices.
TracksThe rack Instruments and effects are devices you cable, not a plugin list you buy one by one.
Windows and Mac. A subscription ends the extra devices when it ends; the $299 license stays yours.
Prices are the published US figures and they move; tax and local store prices differ. Product names belong to their owners and are used here only to say what each program costs. There is no affiliation or endorsement.
Questions
FAQ
What's new in 1.4?
PUMP IT, a bus compressor built into the master: one knob, a fixed programme, glue to the left and a squashed mix that pumps on the kick to the right (the side chain ignores the sub), with its gain-reduction meter on the strip and in the full master; the mixing assistant can switch it in and set it. A new demo song, “Kreuzberg”: Berlin synth-pop at 118 BPM in 24 channels, every sound synthesised, mixed with groups, VCAs, effects, outboard, amps, PUMP IT, rides, takes and notes. The guide, in six languages, describes all of it with new screenshots.
What's new in 1.3?
A mixing assistant in the AI tab of the inspector (⌘J): it measures every channel and a minute of the mix, reads the console and answers with a plan of moves — faders, pans, EQ, sends, routing, inserts with their presets, effect buses, clip gain, fades, trims — that you look over and apply as one undo step; it runs on Claude, GPT, Gemini or any OpenAI-compatible service or local server, with your own API key. Mackie Control and HUI control surfaces, from an X-Touch or a FaderPort to the DAW layer of an X32 or a DM7. New sessions start empty, or from built-in consoles of 8, 16, 24, 32 or 48 tracks; every track can be deleted; a stereo channel takes one track slot; an input monitor switch (I) next to R on every track; the loop in and out from the markers bar. If you have 1.0, 1.1 or 1.2, the app finds 1.3 by itself and offers to install it.
What's new in 1.2?
Elastic audio: ⌥-drag a clip's edge and it stretches or shrinks at the same pitch, without touching the file. A pitch editor on every clip: detect the notes of a vocal or a bass, drag them, snap the clip to a key and scale, or draw the pitch with a pencil on the waveform; a Pitch Corrector unit does it live. A notes post-it on every channel. The master and every aux patched to any output pair, or to No out. Under the hood, the audio now streams from a disk cache instead of filling the memory, exports stream to disk, the engine follows device and sample-rate changes and restarts itself if it ever stops. If you have 1.0 or 1.1, the app finds 1.2 by itself and offers to install it.
What's new in 1.1?
A pedalboard with 33 classic stompboxes; a mastering section with the transistor mastering chain, Two Stage, Big Passive EQ and Sheen EQ; the Crystal Hall with its remote, the Quad FX and the Echo Chambers; Rig Capture, a tuner and an EQ tuned by note; transistor-desk, broadcast, touring-desk and discrete-console units; over 600 factory presets plus your own; tempo and grid detection and quantize; the waveform while recording; Edit, Mix, FX and Rack on extra displays; session templates; dBFS meters and a master meter in the top bar; a clock-only mode for live recordings. If you have 1.0, it finds 1.1 by itself and offers to install it.
Is it really free?
Yes. Downstage is free for personal and professional use, including recording, mixing and releasing music commercially. You keep every right to your music.
Can I buy you a beer?
Only if you feel like it. Downstage stays free either way. If a song you made with it is out in the world and you want to say thanks, buy me a beer — or a brand-new Telecaster, should the night have gone that well.
Can I share, mirror or sell it?
No. Download it only from downstage.it. Redistributing, re-uploading, bundling, selling, renting or modifying the software is not allowed by the License Agreement.
Does it run on Intel Macs?
This version is built for Apple Silicon Macs (M1 and later) with macOS 13 Ventura or newer.
Does it load plugins?
No. Downstage comes with its own 66 rack units, 33 pedals and 12 effects, built into the engine, so sessions always open the same way on any Mac.
Can it find the tempo of a band recorded without a click?
Yes. Detect tempo listens to the session (or to the tracks you pick) and offers one steady tempo, or a tempo for every bar that follows the performance; it can also move the song so the first downbeat lands on a bar line. Quantize then works on that grid.
Can I use a control surface or my console?
Yes. Downstage speaks Mackie Control (MCU) and HUI over MIDI, so fader controllers such as the Behringer X-Touch, Mackie MCU Pro, PreSonus FaderPort, SSL UF8, iCON QCon and Korg nanoKONTROL work, and so does the DAW remote layer of consoles like the Behringer X32 and Midas M32, WING, Yamaha DM3 and DM7, Allen & Heath SQ, Qu, Avantis and dLive, PreSonus StudioLive Series III and Tascam Model 12. Put the device in its Mackie Control or HUI mode, pick its MIDI ports in the Audio panel, and the faders, sends, mute, solo, transport and displays follow the mix. The guide explains it model by model. Surfaces that only speak EUCON (Avid) are not supported.
What does the AI assistant need, and what does it send?
An API key of your own from Anthropic (Claude), OpenAI (GPT), Google (Gemini) or another service that speaks the OpenAI API — or a model running on your own Mac, with Ollama or LM Studio. The service bills the key per use, a few cents a request on the big models; a chat subscription to ChatGPT, Claude or Gemini cannot be used by another app. The assistant does nothing until you ask; then it sends your request, the names and settings of the console and measurements of the audio made on your Mac — never the audio itself, your recordings or your files. See section 2.5 of the Privacy Notice.
Can I use more than one screen?
Yes. With more displays connected, send Edit, Mix, FX or Rack full screen to each of them; every screen works on the same session.
Are the amps and compressors official?
No. They are independent models inspired by classic gear. Product names are used only to describe the sound they recall and belong to their owners; there is no affiliation or endorsement.
Where does the demo song come from?
It was created by Andrea Pollastri with Claude for Downstage: “Kreuzberg”, an instrumental in the Berlin synth-pop style of the 80s, thirteen synthesised stems at 118 BPM, mixed in Downstage. It comes with the app to learn the console: open it, take it apart and remix it. See section 7 of the License Agreement.
Does it collect data?
The app works offline, with no account and no telemetry; on its own it only asks downstage.it whether a newer version is out (you can turn that off). The mixing assistant, if you set it up, talks to the AI service you chose only when you send it a request. The website uses no cookies. It counts visits with a script from stats.misterdev.it; see the Privacy Notice.
How do updates arrive?
Downstage checks this site for a new version when it starts and from its menu. When one is out it asks, downloads it, checks its signature and checksum, and installs it when you quit — your session is saved first. If you prefer, download the disk image here and drag the app over the old one.