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This crossed my desk and is at the intersection of 2 of my interests, brain science and music. A couple quotes that resonated with me: The musicians who were experiencing flow while performing showed reduced activity in parts of their frontal lobes, which are known to be involved in executive function or cognitive control. In other words, flow was associated with relaxing conscious control or supervision over other parts of the brain.
For example, knowledgeable but relatively inexperienced computer programmers may have to reason their way through every line of code. Veteran coders, however, tapping their specialized brain network for computer programming, may just start writing code fluently without overthinking it until they complete – perhaps in one sitting – a first-draft program.I'd be interested in hearing from veteran musicians that have experienced "flow" and how it aligns or doesn't align with this article. Musicians and Creative Flow
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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As a computer programmer and a musician, I have experienced is crossing over from "still learning to do it" into "performing with little effort". I assume anyone who drives a car or rides a bike has the same experience. For example, when I'm playing a piano part that I haven't completely internalized, I'll have think about what I'm doing. When I reach for a specific interval of notes, I need to double-check that my fingers have landed at the expected anchor points, and the stretch of my fingers matches the interval. It's hard because I'm still learning it as I'm playing, and learning takes a lot of work. In contrast, when I've internalized all that, it takes far less mental effort - I can just reach for the interval, confident that the I'll hit the mark. Of course, sometimes that confidence is misplaced.  Because I'm not a great player, I'm always ready to strip complexity from my playing in order to maintain that groove. If I'm coming up to something that I won't be able to execute at the full level of complexity, I'll figure out how much it needs to be pared down so that I can keep the groove.
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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As a computer programmer and a musician, I have experienced is crossing over from "still learning to do it" into "performing with little effort". I assume anyone who drives a car or rides a bike has the same experience. My experience is similar but a tad different. There is perhaps just one song that I can play along to on the bass where a) I have it so memorized and that I have such "relaxed conscious control or supervision" that it's as if I'm on some kind of auto-pilot and b) where I experience a state of near-euphoria. This song is Song on the Radio by Al Stewart. Others may call this "being in the zone". It's more than just locking in with the drums, it's like riding a wave of vocals, keyboard and sax with your fingers knowing you won't fall off the surf board. Maybe another way to express this is being part of a "larger truth"; that is, the band. I am able to improvise on this song but only a little bit; my bass skills hold me back from fully improvising without error. The funny thing is that I have yet to reach this "zone" with any of the stuff I've actually composed and recorded. Likewise, over my career there were times where I'd be in a similar "zone" while writing code or working a tough engineering problem late at night when only the janitors were around. But I can't say that I reach a similar zone while riding a bike, driving a car, or speaking/writing English. Perhaps, the "danger" of messing up or a real sense of accomplishment needs to be present. Or maybe joy has something to do with it. Riding a bike or speaking is so easy there's no danger, joy or sense of accomplishment involved. Perhaps this isn't about intensive hyperfocus on a task or relaxing one’s focus but rather some combination of the two. In any event, this is a fascinating subject.
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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I have always told my students learn scales and music theory but don't let it get in your way when playing. After you play you can analyze what you did via music theory. Learning scales and music theory gives one the background and confidence to jam or improvise with authority. Music is the one thing where you learn the rules so you can break them!
Having such a background allows me to jam with confidence with Bob and others. My own compositions usually start with a chord progression and a BiaB style that I play over. Once I have a melody down I can improvise with it. That is the same as when I play songs out of a fake book; the first pass I play the melody, the second pass I improvise, then back to the melody. This is a jazz thing and why BiaB calls a chorus one pass through a song.
Like David at times I have to think and check my fingerings while play something new and difficult. That is part of the learning process. Now with arthritis attacking my fingers sometimes what was easy is now harder to do, if at all possible, so I do as David does then also.
Music is a wonderful universal language.
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I definitely agree with MarioD. Learn the fundamentals until they are under your fingers. Scales, arpeggios, and as you progress, more complicated things (depends on your instrument).
But you need to get to the place where you can turn off the cognitive part of your brain.
I've been playing music on stage for a long time, and I don't know how it happens. But when I'm singing, playing, and improvising, I get into that place where there is no space, no time, and no me, just the music that feels like it's flowing through me instead of from me.
Now in the parts that are memorized, it's easy to analyze, but I leave room for an improvised solo in most of our songs. How does that happen? It's almost like I'm listening to someone else play the solo, and on rare occasions, I even surprise myself by playing something really superb and unusual.
I guess it's the zone, flow, or whatever else you want to call it. But being in that place is the best part about being a musician. And I'm lucky enough to be able to make my living that way.
Also, I've noticed that if I get distracted and then have to think about what I'm doing, the magic is broken, I have to think about what I'm doing, and it's still good, but not creative.
Insights and incites by Notes ♫
Bob "Notes" Norton  Norton Music
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.............................................
Now in the parts that are memorized, it's easy to analyze, but I leave room for an improvised solo in most of our songs. How does that happen? It's almost like I'm listening to someone else play the solo, and on rare occasions, I even surprise myself by playing something really superb and unusual.
.................................
Also, I've noticed that if I get distracted and then have to think about what I'm doing, the magic is broken, I have to think about what I'm doing, and it's still good, but not creative.
Insights and incites by Notes ♫ That is exactly how I ran my wedding bands. Improvising solos kept the band fresh (and happy:}) and surprising ourselves took us to another level. Our customers never knew that we were just improvising. However you need the right personal in the band to accomplish it. Yes, the creative magic is gone if you must think about it while you are on stage. However thinking about it during practices and/or using BiaB can lead to those magical moments.
Waitress "How did you find your steak sir"?
Me "I just looked next to the potatoes and there it was"!
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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So where do you come down on what a state of flow is?
Intensive hyperfocus on the music or relaxing one’s focus?
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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So is the objective to suggest an operational definition of “creative flow?” Sans that folks can run all over the map with experiences that may or may not have a thread of commonality.
Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos
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If you have to think, it isn't flow. Flow leads itself to where the moment is. Thinking is programming yourself and referring to some mental "lick library" you have. Copy band players do that because it is their vision quest to sound EXACTLY like the record. Like a little robotic jukebox. When you are truly into flow, just close your eyes and watch the little black dots go by in your mind as your soul takes the music where it wants to go.
ANY flow starts with learning how to play an instrument. Maybe try that.
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........................
ANY flow starts with learning how to play an instrument. Maybe try that. Bingo! We have a winner! Spot on!
Waitress "How did you find your steak sir"?
Me "I just looked next to the potatoes and there it was"!
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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So is the objective to suggest an operational definition of “creative flow?” Sans that folks can run all over the map with experiences that may or may not have a thread of commonality. I think some degree of commonality is being observed from brain imaging data. "The musicians who were experiencing flow while performing showed reduced activity in parts of their frontal lobes, which are known to be involved in executive function or cognitive control. In other words, flow was associated with relaxing conscious control or supervision over other parts of the brain."
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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ANY flow starts with learning how to play an instrument. Maybe try that. Eddie, is this directed at me? If so, I am learning an instrument, actually more than one; view the Showcase for examples. I don't see any examples of you on the Showcase. Can you play an instrument? I'd be interested in hearing from veteran musicians that have experienced "flow" and how it aligns or doesn't align with this article.
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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Flow happens, if I am performing and can't get to the 'Flow' aspect, it's a bad night.
However, as mentioned, practice does indeed help make the 'Flow' possible, but to me that went without saying.
A musician knows how to play their instrument (or 2 or 3 or 4)
A musician getting into the 'Flow' was the article, and yes, it happens. You know the music well enough that you are not in the 'reading/thinking/computing' state of mind (learning), but more in the feel/groove state, which is always a much better place to be.
Music flows out of you that you never would have anticipated sometimes.
I do not work here, but the benefits are still awesome
Make your sound your own!
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........................
ANY flow starts with learning how to play an instrument. Maybe try that. Bingo! We have a winner! Spot on! Mario, I disagree. How can "learning to play an instrument" be spot on? Isn't this rather obvious? How can you reach a state of flow if you flat out can't play an instrument? Another obvious statement is that the musician can't be in a coma, indeed, he must be alive I'd be interested in hearing from veteran musicians that have experienced "flow" and how it aligns or doesn't align with this article.PS: Sorry to hear you have arthritis. Periodically check with your doctor and watch the medical news. Big Pharma (and Medium Pharma for that matter) are developing new drugs all the time.
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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Flow happens, if I am performing and can't get to the 'Flow' aspect, it's a bad night.
However, as mentioned, practice does indeed help make the 'Flow' possible, but to me that went without saying.
A musician knows how to play their instrument (or 2 or 3 or 4)
A musician getting into the 'Flow' was the article, and yes, it happens. You know the music well enough that you are not in the 'reading/thinking/computing' state of mind (learning), but more in the feel/groove state, which is always a much better place to be.
Music flows out of you that you never would have anticipated sometimes. rharv, VERY well articulated. I agree that practice is fundamental, the musician must know the piece "backwards and inside out". And this does go without saying. And I agree, as you say, that there is a difference between reading/thinking/computing (clunky, descrete, relatively slow, digital?) and feel/groove (smooth, continuous, effortless, relatively fast, emotional?, analog?) I'm sure there is more to this subject and it's neat that researchers are investigating this. As happens with so many other areas of research, most likely this area of research will result in unforecasted benefits in adjacent areas of brain science.
Last edited by Bass Thumper; 04/19/24 05:28 AM.
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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Eddie, is this directed at me? If so, I am learning an instrument, actually more than one; view the Showcase for examples.
I don't see any examples of you on the Showcase. Can you play an instrument? I play 3. And I write. I produce my own stuff and have produced other local artists in my area. My lyrics come from my soul, not AI. My chord progressions come from my head, not Scaler. I have a BA in Music and as of this month I have 68 years of experience. (I followed that up with a 2nd degree, a BS in Computer Science.) I have been in some of the top bands in my area. I am just now old and physically unable to attack music with the passion and respect music deserves, so I retired from it rather than pretend I still have what it takes. I have now retired and quit playing, but I didn't have to give the degree back. I still know music inside and out. I have been a showcase winner of a free copy of BIAB 4 times. I am all over the showcase. Don't you know how to search? You likely do what you do at a very high level. I would never pretend to do what you do. That's good advice.
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Mario, I disagree. How can "learning to play an instrument" be spot on? Isn't this rather obvious? How can you reach a state of flow if you flat out can't play an instrument? Another obvious statement is that the musician can't be in a coma, indeed, he must be alive I'd be interested in hearing from veteran musicians that have experienced "flow" and how it aligns or doesn't align with this article.PS: Sorry to hear you have arthritis. Periodically check with your doctor and watch the medical news. Big Pharma (and Medium Pharma for that matter) are developing new drugs all the time. I meant that Eddie's statement about learning an instrument is spot on. Some so called "musicians" are just cutting and pasting loops together or using only AI to make a song. Once you have learned an instrument the flow can come naturally. I know you are learning an instrument or two so that statement doesn't apply to you. Yes, I think flow aligns with the article. Once you are in the groove and flow is happening it feels like all other parts of my brains shuts down, i.e. it is the ultimate high, at least for me. Yes, me and my doc has been on top of it. Actually I have found out that Hemp Root, dark cherry pills, and fish oil really help. On occasion I do have meds that help but I rarely need to take them. But some damage has been done.
Waitress "How did you find your steak sir"?
Me "I just looked next to the potatoes and there it was"!
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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<…snip…>How can "learning to play an instrument" be spot on?
Isn't this rather obvious?<…> I think what is understood in that statement, is ho well you learn to play the instrument. It's a combination of learning things until you can play them without thinking about them, and enough experience so that you can play the right things at the right time without thinking about it. When I was young and learning to improvise in bands, I did a lot of thinking about what I was doing. Some things I did worked out well to my ears, others did not. Plenty more were between the two extremes. I never intended to get into the zone, I never tried to do it, and I don't think you can intentionally get into the flow. With enough experience, it just started happening. I didn't even notice it at first. So it's about learning to play the instrument well, plus a good dose of experience. As I said, I don't think you can go into the flow intentionally, and some people who are very good players never seem to get there, either. So I wouldn't be concerned about it. I'd encourage people first to practice their fundamentals until they don't have to think about them. The fundamentals can't be overstressed, fragments of scales and arpeggios make up the bulk of what we call music. If you can't do this without thinking, you are at a disadvantage. Then learn some other people's solos that you particularly like, and are at your skill level. Keep progressing and learning more difficult passages. Little by little, you will build up a vocabulary of licks, and they will reside in your subconscious. Somehow, and I can't explain how, to me, it's magic, the right notes will come out at the right time while you are improvising. My best advice is not to think about it. If you are meant to get into the flow, it'll happen all by itself. Keep learning, no matter how much you know, there is something else to learn. That's one of the things I like about music. Insights and incites by Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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I'd encourage people first to practice their fundamentals until they don't have to think about them. The fundamentals can't be overstressed, fragments of scales and arpeggios make up the bulk of what we call music. If you can't do this without thinking, you are at a disadvantage. I'd encourage people first to practice their fundamentals until they don't have to think about them. The fundamentals can't be overstressed, fragments of scales and arpeggios make up the bulk of what we call music. If you can't do this without thinking, you are at a disadvantage. I'd encourage people first to practice their fundamentals until they don't have to think about them. The fundamentals can't be overstressed, fragments of scales and arpeggios make up the bulk of what we call music. If you can't do this without thinking, you are at a disadvantage. I'd encourage people first to practice their fundamentals until they don't have to think about them. The fundamentals can't be overstressed, fragments of scales and arpeggios make up the bulk of what we call music. If you can't do this without thinking, you are at a disadvantage. I'd encourage people first to practice their fundamentals until they don't have to think about them. The fundamentals can't be overstressed, fragments of scales and arpeggios make up the bulk of what we call music. If you can't do this without thinking, you are at a disadvantage. There you have it. Take the words "PRACTICE" and "FUNDAMENTALS" from that if you take nothing else. Learn how to play. Not how to program computers and call it your own. While there is an intellectual component to making music, that component is best applied to learning those (say it with me) FUNDAMENTALS. Scales, keys, why the different keys have sharps and flats, how those keys relate to each other.
Last edited by eddie1261; 04/19/24 08:41 AM.
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Some so called "musicians" are just cutting and pasting loops together or using only AI to make a song. Once you have learned an instrument the flow can come naturally. I know you are learning an instrument or two so that statement doesn't apply to you.
Yes, I think flow aligns with the article. Once you are in the groove and flow is happening it feels like all other parts of my brains shuts down, i.e. it is the ultimate high, at least for me. It's also a high for me. "The takeaway for musicians, writers, designers, inventors, and other creatives who want to tap into flow is that training should involve intensive practice followed by learning to step back and let one’s skill take over. Future research may develop possible methods for releasing control once sufficient expertise has been achieved."
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
Jazz, Funk & World (Sets 468-475):
Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
2026 Free Bonus PAK & 49-PAK for Band-in-a-Box® 2026 for Mac®!
With your version 2026 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons for FREE! Or upgrade to the 2026 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2026 RealCombos Booster PAK:
-For Pro customers, this includes 27 new RealTracks and 23 new RealStyles.
-For MegaPAK customers, this includes 25 new RealTracks and 23 new RealStyles.
-For UltraPAK customers, this includes 12 new RealStyles.
- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
Looking for more great add-ons, then upgrade to the 2026 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyle.
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
- RealDrums Stems Set 10: Groovin' Sticks
- SynthMaster Sounds & Styles Set 2 (sounds & styles with audio demos)
Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
XPro & Xtra Styles PAK Sets On Sale Now - Until May 15, 2026!
All of our XPro Styles PAKs and Xtra Styles PAKs are on sale until May 15th, 2026!
It's the perfect time to expand your Band-in-a-Box® style library with XPro and Xtra Styles PAKs. These additional styles for Band-in-a-Box® offer a wide range of genres designed to fit seamlessly into your projects. Each style is professionally arranged and mixed, helping enhance your songs while saving you time.
What are XPro Styles and Xtra Styles PAKs?
XPro Styles PAKs are styles that work with any version (Pro, MegaPAK, UltraPAK, UltraPAK+, or Audiophile Edition) of Band-in-a-Box® 2025 (or higher). XPro Styles PAKS 1-10 includes 1,000 styles!
Xtra Styles PAKs are styles that work with the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box® 2025 (or higher). Xtra Styles PAKs 1-21 includes 3,700 styles (and 35 MIDI styles)!
The XPro & Xtra Styles PAKs are not included in any Band-in-a-Box® package.
The XPro Styles PAKs 1-10 are available for only $29 ea (reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Listen to demos and order now! For Mac or for Windows.
The Xtra Styles PAKs 1-21 are available for only $29 ea (reg. $49 ea), or get them all in the Xtra Styles PAK Bundle for only $199 (reg. $349)! Listen to demos and order now! For Mac or for Windows.
Note: XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 19 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version as they require the RealTracks included in the UltraPAK, UltraPAK+, or Audiophile Edition.
Supercharge your Band-in-a-Box today with XPro Styles PAKs and Xtra Styles PAK Sets!
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