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Last Curtain CallIt's the weight of the world
you're wearing on your shoulders (you will wear)
like some martyr's crown (it will wear you down)
in all caps and bold
the tales of your trials will be handed down
in philosophy
the wisdom of your writings will be there to see
discernment of a sage (discernment, sophia!)
with soundness and clear vision
it warms our hearts when we hear
but the truth is you can't see
the forest for the trees
you just burn them down
when the cold wind blows
everyone who knows
better turn around
these things that you say
fade away when darkness falls
another day somehow slipped away
the last curtain call
it's the way of the world
you see the same old story,
see the same old play
the trumpet will sound
everyone will bow down
time to turn the page
your philosophy
ain't gonna set me free
like some fantasy (your fantasy)
the devil gets his due
and he shows up right on cue
but he looks a lot like you
these lies that we can't believe
they're only make believe
just turn them down
the cold wind blows
everyone who knows
better turn around
the lies that you say
are washed away when hard rain falls
another day somehow slipped away
it's our last curtain callThe StoryI started working on this a while ago, and found it again recently. I had some dummy lyrics on it, and threw more lyrics at it and hoped they would stick. I'm not terribly happy with it, as it's basically an anodyne and toothless protest song. I'd have preferred to have written something with more substance, but I haven't posted anything in a long time, and my kids said was worth finishing, so... here it is. I see someone posted a song the other day with a similar title. Great minds think alike? I don't recall coming up with the chord progression, but it's mostly circle of fifth stuff with lots of major7th chords - jazz lite, I guess. I worked on the lyrics for more time that I care to admit, but sometimes you make early choices that work you into a corner. At some point I had to decide if I was going to tear it down and start again, or just live with it. So I decided to just let it go and get something done and not get so precious about it. And yes, I rhymed "believe" with "believe". I expect the rhyme police will be knocking at my door any moment to issue a citation. I replaced the drum track with drums from UJam's Legend kit, using the patterns. I simplified them a bit, but if I had the energy, I'd go back and add some flams and maybe a few crashes. I tried replacing the guitars with some sampled guitars, but didn't like the results. There is a bit where a UJam guitar is playing, but it's so short that it's barely noticeable. Bringing the 12 string to the front of the mix was a last-minute decision. While putting together the list of instruments for this, I noticed that the piano was MIDI, so I went back and exported the MIDI track. I first tried using the Alicia's Keys piano and panned it against the other, but in the mix it had no effect. So I added some effects, and eventually got it to sounds like an electric piano. I could have just used an electric piano patch, but I thought it was amusing to go the long route instead. So the regular piano is in the first half, and the faux-electric in the second half. The intro is just an attempt to do something different. I wanted more of stereo ping-pong effect, so I might go back an fix it later. But it's late and I'm tired. As with most of my songs, the chorus is much too long. The chorus is so long that there isn't even time for a third verse or a repeat of the chorus. There's no instrumental hook, either. Putting together the harmonies was, as usual, a bit of a grind, but also the most rewarding part. There are some spots where overlapping vocal make it impossible to make out what's being said, so I guess it's a good thing I posted the lyrics.  Yes, there are some dissonances in the vocals, and they sometimes rub a bit against the chords a bit much. In some places my ears have gotten used to them, while in others, they really should have been fixed. The chorus runs through some loosely related chords (Amaj7/Emaj7/Gmaj7/Dmaj7) but I went with my ear trying to keep each line as sensible as possible with as many voices as there were. There's a lot of voice exchange and very little doubling, and I was likely a bit too creative. After going through the mix a number of times, I tried to cut out instruments so there wasn't too much going on. It probably needs additional work, but I figured I'd post it and get some feedback. All suggestions are welcome! Edit: I've cut back on some of the overlapping lyrics. BiaB InstrumentsStyle is =NEALG.STY (Neal - Even 16ths Acoustic Count) Custom MIDI Style: 1 Acoustic Piano (=PIANO_F.STY [AB]) RealTracks in style: ~362:Guitar, Acoustic, Strumming Ev 085 RealTracks in song: 4818:Guitar, Electric, Rhythm SteadyPushMuted ev 110 RealTracks in song: 4515:Guitar, Baritone Electric, Rhythm BroCountryPop8thsGritSteady Ev 110 RealTracks in song: 3226:Guitar, 12-String Acoustic, Rhythm CelticSongwriterQuinn Ev16 080 Vocals: SynthesizerV Studio 2: Kevin 2, Oscar 2, Sheena 2, Saros 2, Felicia 2, Sheena EffectsVocal Chain: GS VoiceCentric, Valhalla Vintage Verb (Chorus Space), Fame Studio (Vocals/Gtrs) Drum: UJam Legend (Soeder De Berg) Tight/Worn Kit El Gtr: (Intro) UJam Retro Finisher (Dimensional Chorus), Finisher Voodoo (Musheen), Finisher Voodoo (Slo Mo Sweep) El. Gtr: UJam Retro Finisher (Dimensional Chorus), Finisher Voodoo (Musheen) Bass: Waves RBass 12 String Guitar: UJam Retro (Scanner Ensemble) Piano: UJam Retro (Dreamer) Piano: Kontakt (Alicia's Keys) UJam Retro (Soul Signal Chain) Guitar: UJam Amber (You Want This) Master Track: Waves Magma BB Tubes, HorNET ThirtyOneMKII, EZMix 3 (Modern Pop Master Softer)
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David,
Jim Steinman would have approved of that opening. Very cool.
The voices sound great - separated and mixed perfectly. Great song, arrangement, tracks selections and absolutely love the drums.
Excellent!
Bob
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It's very obvious you spent a lot of time and effort on this. Especially on the voices.
I'm not sure that the voices work well on the chords you have them singing. There seemed to be some dissonance in places between the underlying chords and the vocal notes. Lite jazz chords are good in the proper places but for voices, over the music.... maybe not so much. I was thinking this would be interesting as an accapella arrangement and might work better that way. But ...all that said, the chords and the vocals make for some very interesting and unpredictable changes that keep me interested and waiting to see what comes next.
Just a suggestion on the lyrics......
these lies that we can't believe
they're only make believe
just turn them down
These lies that are now belief
Are temporary pain relief
Just turn them down.
Well done.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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David, great to see/hear you back. First, and most important, rhyming "can't believe" and "make believe" is perfectly fine in my freewheeling rhyming dictionary. So no ticket from me.  It's certainly an ambitious composition, and very well crafted, and it sounds GREAT with a lot of interesting movement and clarity. (Did I use the word "and" enough in the previous sentence? Yes, I think I did.) I still found it a challenging listen for some of the reasons you list in your post, but am sure it would sound better with repeat listens. Will do that for sure. I'm with you on the struggle between making a song "better" and moving on. Sometimes you just have to stick a fork in it. Sometimes...over and over again.
DC Ron
BiaB Audiophile
Presonus Studio One
StudioCat DAW dual screen
Presonus Faderport 16
Too many guitars (is that a thing?)
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Nice song, with beautiful harmonies that aren't always perfect, but certainly serve their purpose.
The overlapping vocals are a nice idea, but it is indeed hard to follow the main vocals, I would reconsider.
Call/response would probably be easier to understand and more pleasant to the ears.
But all in all, it's quite an interesting song that's worth fine-tuning.
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Nice song, with beautiful harmonies that aren't always perfect, but certainly serve their purpose.
The overlapping vocals are a nice idea, but it is indeed hard to follow the main vocals, I would reconsider.
Call/response would probably be easier to understand and more pleasant to the ears.
But all in all, it's quite an interesting song that's worth fine-tuning. I agree. I did have a hard time following the lead myself. I also thing this is a diamond in the rough and with a little polish it would be brilliant.
I got banned from Weight Watchers for dropping a bag of M&Ms on the floor.
It was the best game of Hungry Hippos I've ever seen!
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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Hi nDav id,
i think it's a great song but needs a touch more polish. An earlier poster. suggested a call and response with the vocals. I, too, think that would be a choice to consider.
On the backing tracks part, I think you're fine as is. Just the vocals need another glance or two.
I used to bowl on Wednesday evenings until Di's health took the recent downward turn. Most of the people there know I create music and write novels. A couple of them asked me when I knew I was finished with a novel or a song. I told them: "When I get sick and tired of rewriting it".
Anyway, I think you have a really good project to tinker with as you see fit. It doesn't need much - as little spit and polish here and there.
Alan
BIAB 2024 Ultra Plus-all StylePaks*Win11*32GB DDR5*Rhyzen 9745x*AT 2035 Mic*Peavey Nashville 112 Amp*Ibanez ART120* Acoustic/Electric/Washburn D200S Acoustic*Stromberg Monterey Jazz Guitar Loops: https://aldavidmusic.wixsite.com/bestmusicloops
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David, always fascinated by your work, esp the vocal/BGVs..you've created a thick, lush audio texture that is so interesting. I esp like all of your side notes, very helpful!! In listening, most of my ear was tuned into the vocals, so I'd say that any reservations you have about the instrumental backing are nits that went largely unnoticed. Regarding the "rhyming" issue, I'm really strict on that, but I think that "can't believe" and "make believe" would be accepted by most traditionalists, kind of like "show more" and "know more" would be OK. My only issue is the ending doesn't really meet the standards that the rest of the track set up. Maybe instead of what you have, make an accapela final 2-bar phrase--after all, the vocal ensemble is the gem of this, so why not finish it off with a vocal flourish? Thanks for posting!
Windows 11, Intel Core i5-8600T 2.3Ghz, 16 gig ram, BIAB 2025 MegaPak, SampleTank 4, Keystation49 Kybd, Neewer NW-800 mic
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David, you had me at the intro! That backstory was so intriguing, I was practically vibrating with anticipation for the sonic payoff. And let me tell you, the payoff delivered!
Lyrically, you're not just painting a picture, you're commissioning a freaking Jackson Pollock. Seriously, lines like "'but the truth is you can't see --- the forest for the trees --- you just burn them down' and 'when the cold wind blows -- everyone who knows --better turn around'"? Pure gold! Quoting them all would take up more space than my grocery list... and honestly, I'm a little envious. Consider my lyric-writing license revoked. ✋︎
The backing vocals are doing the tango around the melody, and the harmonies are smoother than a freshly manicured ice rink. I'm getting serious Rubber Soul-era, John Lennon-esque vibes, but with a delicious helping of that slightly-fuzzy, "recorded-on-a-4-track-in-a-dusty-attic" lo-fi charm. It's like you've unearthed a sonic time capsule, dusted it off, and given it a knowing wink.😎
Honestly, you could call this thing "Last Curtain Call Suite" – it's got enough movements and sonic shifts to fill a triple bill. And here's my official decree: do not change a single solitary note. Intentionally messy or a happy accident, you've stumbled upon something truly special. This isn't just a song; it's a wonderfully weird, slightly-bent, utterly captivating minor masterpiece. ♕
Consider me a fan. I Love It!!! 💗
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Jazz-lite indeed. Hey, those lyrics you threw at it are perfect --AND have substance, David. The vocals are so well done. Man, you are so good at that intricate stuff. Know what you mean about being backed into a corner with lyrics. Glad you stuck with this. Hey, Hamilton will give you a precedence to quote to the rhyme police; they rhymed subject with subject four times in the same line.
Third listen now... The opening reminds me of Beatles. Dang, I can imagine writing all of those intricate harmony lines, and you say you cut back some. Haha. That's why I'm on my 3rd spin. This is totally brilliant, David. Please don't rely on your kids to know what's good enough. Yeah, I love this one, David.
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David,
Very detailed pop tune. I like the tremolesque start and ending. Interesting vocal harmonies, but I prefer these a bit simpler. Solid work on drums, I also have that kit. I would bring vocals down and band up. Thank you for sharing.
Misha.
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Hi, Bob. Jim Steinman would have approved of that opening. Very cool. Ha!  I wanted to add a bit of punch to the intro. I had the electric guitar track there, and decided to fiddle with it. It may not match the rest of the track, but at least it gets your attention. The voices sound great - separated and mixed perfectly. Great song, arrangement, tracks selections and absolutely love the drums. Thanks! I appreciate that, especially coming from you.
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Hi, Herb. It's very obvious you spent a lot of time and effort on this. Especially on the voices. If only the amount of time spent on a song made it proportionally good.  I'm not sure that the voices work well on the chords you have them singing. There seemed to be some dissonance in places between the underlying chords and the vocal notes. Lite jazz chords are good in the proper places but for voices, over the music.... maybe not so much. I agree. I think it was an experiment worth doing, and learning from. The mix in the SynthV editor was much lower, so the voices were more dominant. I did go back and fix some of the more obvious "bum" notes. But I figured I'd let the song be what it wanted to be, and not fight it too much. I was thinking this would be interesting as an accapella arrangement and might work better that way. But ...all that said, the chords and the vocals make for some very interesting and unpredictable changes that keep me interested and waiting to see what comes next. Yeah, I was seeing how much of the harmony I could pile onto the voices. At the point where they were disagreeing with the instruments - which were already dissonant - it seems that dropping the instruments would be the better move. Just a suggestion on the lyrics...... Thanks! I'll rarely accept lyrics from other people, mostly because there was a reason I picked particular words, and am too stubborn to let them go even when the don't work. But I really enjoy seeing the direction that other people would have taken them. Plus, it tells me where they lyrics are weak. I appreciate the helpfully critical feedback!
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Hi, Ron. David, great to see/hear you back. It's good to be back. I've been working on a non-music project for a couple of months, and it's going to continue eating up my time. I finally had to stop and make myself work on music before another month went by. It's certainly an ambitious composition, and very well crafted, and it sounds GREAT with a lot of interesting movement and clarity. (Did I use the word "and" enough in the previous sentence? Yes, I think I did.) I still found it a challenging listen for some of the reasons you list in your post, but am sure it would sound better with repeat listens. Will do that for sure. One of the problems is trying to figure out if "fixing" the quirkiness of the song will destroy the best part of it. It's a bit of a mess, what with all these vocals vying for attention, and trying to make everyone heard. The underlying progression is actually quite lovely, but you've never know that from the melody. I'm with you on the struggle between making a song "better" and moving on. Sometimes you just have to stick a fork in it. Sometimes...over and over again. Thanks! I think I'll let this one sit for a while. The right thing to do is probably to remove most of the vocals and trust that the melody can carry the song. That means getting rid of most of the harmonies, and using them sparingly where I do keep them.
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Hi, B.D. Nice song, with beautiful harmonies that aren't always perfect, but certainly serve their purpose. Thanks! They serve their purpose, but I'm not sure they serve the song. The overlapping vocals are a nice idea, but it is indeed hard to follow the main vocals, I would reconsider. I've gone back and brought down the vocals, dropped a few, and used TrackSpacer so the melody would dominate. It probably still needs a lot more pruning. Call/response would probably be easier to understand and more pleasant to the ears. Oh, 100%. Typically, there's room for that. The vocals were shoehorned in after the fact, and it shows. But all in all, it's quite an interesting song that's worth fine-tuning. Thanks! I'll consider doing a remix.
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Hi, Mario. I agree. I did have a hard time following the lead myself.
I also thing this is a diamond in the rough and with a little polish it would be brilliant. Thanks! After reading your comments, I've removed some of the more obvious offenders. It likely needs a more dramatic re-do, but hopefully it's somewhat improved.
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Hi, Alan. i think it's a great song but needs a touch more polish. An earlier poster. suggested a call and response with the vocals. If there were room - and those bits added enough value - I'd do that. As it is, I've tried to remove the main issues. I used to bowl on Wednesday evenings until Di's health took the recent downward turn. Most of the people there know I create music and write novels. A couple of them asked me when I knew I was finished with a novel or a song. I told them: "When I get sick and tired of rewriting it". Heh. It's like the question of when an album is done - when you run out of money! Anyway, I think you have a really good project to tinker with as you see fit. It doesn't need much - as little spit and polish here and there. Thanks! I've made some minor tweaks, but I suspect a more drastic cutting on the harmonies is what's called for. But that's for some other time. Thanks for stopping to listen and comment!
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Hi, Tom. David, always fascinated by your work, esp the vocal/BGVs..you've created a thick, lush audio texture that is so interesting. I esp like all of your side notes, very helpful!! In listening, most of my ear was tuned into the vocals, so I'd say that any reservations you have about the instrumental backing are nits that went largely unnoticed. I suspect you heard the remix. Regarding the "rhyming" issue, I'm really strict on that, but I think that "can't believe" and "make believe" would be accepted by most traditionalists, kind of like "show more" and "know more" would be OK. My only issue is the ending doesn't really meet the standards that the rest of the track set up. Maybe instead of what you have, make an accapela final 2-bar phrase--after all, the vocal ensemble is the gem of this, so why not finish it off with a vocal flourish? Heh. I had initially thought of doing an instrumental fade, but that song was already long enough. Then I had a quick chaotic ending where the instruments stopped at different points, with an acoustic guitar that kept strumming until it stopped. You know, the standard BiaB ending. It was cool, but I finally went with a short ending. I did consider a vocal tag, but was a bit burnt out at that point. If I go back for a remix, I'll certainly give it more thought. Thanks for listening and the suggestions!
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Hi, Mssr. Serious. David, you had me at the intro! That backstory was so intriguing, I was practically vibrating with anticipation for the sonic payoff. And let me tell you, the payoff delivered! I'm glad you liked it. Lyrically, you're not just painting a picture, you're commissioning a freaking Jackson Pollock. Well, that's likely more accurate than you intended. Seriously, lines like "'but the truth is you can't see --- the forest for the trees --- you just burn them down' and 'when the cold wind blows -- everyone who knows --better turn around'"? Pure gold! All right, I'm going to have to stop you there. While that was kind of you to say, in my mind that's the problem with the lyrics - it's recycling cliches and relatively easy rhymes. But that's a me problem, because sometimes those cliches and rhymes are exactly what a song needs. Consider your license reinstated, with honors. The backing vocals are doing the tango around the melody, and the harmonies are smoother than a freshly manicured ice rink. I'm getting serious Rubber Soul-era, John Lennon-esque vibes, but with a delicious helping of that slightly-fuzzy, "recorded-on-a-4-track-in-a-dusty-attic" lo-fi charm. It's like you've unearthed a sonic time capsule, dusted it off, and given it a knowing wink.😎 Well, that "lo-fi" vibe was what I was aiming for, so I'm glad that came through. Honestly, you could call this thing "Last Curtain Call Suite" – it's got enough movements and sonic shifts to fill a triple bill. And here's my official decree: do not change a single solitary note. Intentionally messy or a happy accident, you've stumbled upon something truly special. This isn't just a song; it's a wonderfully weird, slightly-bent, utterly captivating minor masterpiece. ♕ I'm glad you enjoyed the song it all it's messy quirkiness. Thanks for listening and all your kind words!
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Hi, Marty. Jazz-lite indeed. Hey, those lyrics you threw at it are perfect --AND have substance, David. The vocals are so well done. Man, you are so good at that intricate stuff. Thanks! Know what you mean about being backed into a corner with lyrics. Glad you stuck with this. Hey, Hamilton will give you a precedence to quote to the rhyme police; they rhymed subject with subject four times in the same line. Ha! Third listen now... The opening reminds me of Beatles. Dang, I can imagine writing all of those intricate harmony lines, and you say you cut back some. Haha. That's why I'm on my 3rd spin. This is totally brilliant, David. I'm glad you liked it! Please don't rely on your kids to know what's good enough. You misunderstand. My daughter was the one who told me to finish it up. Not her style at all, but it was worth finishing. She did like the change in rhythm in the chorus, though. Thanks for listening and taking the time to comment!
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Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
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New RealTracks Released with Band-in-a-Box 2025!
We’ve expanded the Band-in-a-Box® RealTracks library with 202 incredible new RealTracks (in sets 449-467) across Jazz, Blues, Funk, World, Pop, Rock, Country, Americana, and Praise & Worship—featuring your most requested styles!
Jazz, Blues & World (Sets 449–455):
These RealTracks includes “Soul Jazz” with Neil Swainson (bass), Mike Clark (drums), Charles Treadway (organ), Miles Black (piano), and Brent Mason (guitar). Enjoy “Requested ’60s” jazz, classic acoustic blues with Colin Linden, and more of our popular 2-handed piano soloing. Plus, a RealTracks first—Tango with bandoneon, recorded in Argentina!
Rock & Pop (Sets 456–461):
This collection includes Disco, slap bass ‘70s/‘80s pop, modern and ‘80s metal with Andy Wood, and a unique “Songwriter Potpourri” featuring Chinese folk instruments, piano, banjo, and more. You’ll also find a muted electric guitar style (a RealTracks first!) and “Producer Layered Guitar” styles for slick "produced" sound.
Country, Americana & Praise (Sets 462–467):
We’ve added new RealTracks across bro country, Americana, praise & worship, vintage country, and songwriter piano. Highlights include Brent Mason (electric guitar), Eddie Bayers (drums), Doug Jernigan (pedal steel), John Jarvis (piano), Glen Duncan (banjo, mandolin & fiddle), Mike Harrison (electric bass) and more—offering everything from modern sounds to heartfelt Americana styles
Check out all the 202 New RealTracks (in sets 456-467)
And, if you are looking for more, the 2025 49-PAK (for $49) includes an additional 20 RealTracks with exciting new sounds and genre-spanning styles. Enjoy RealTracks firsts like Chinese instruments (guzheng & dizi), the bandoneon in an authentic Argentine tango trio, and the classic “tic-tac” baritone guitar for vintage country.
You’ll also get slick ’80s metal guitar from Andy Wood, modern metal with guitarist Nico Santora, bass player Nick Schendzielos, and drummer Aaron Stechauner, more praise & worship, indie-folk, modern/bro country with Brent Mason, and “Songwriter Americana” with Johnny Hiland.
Plus, enjoy user-requested styles like Soul Jazz RealDrums, fast Celtic Strathspey guitar, and Chill Hop piano & drums!
The 2025 49-PAK is loaded with other great new add-ons as well. Learn more about the 2025 49-PAK!
Bonus PAKs for Band-in-a-Box 2025 for Mac!
With your version 2025 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Or upgrade to the 2025 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 2025 RealCombos Booster PAK:
-For Pro customers, this includes 33 new RealTracks and 65+ new RealStyles.
-For MegaPAK customers, this includes 29 new RealTracks and 45+ new RealStyles.
-For UltraPAK customers, this includes 20 new RealStyles.
- Look Ma! More MIDI 13: Country & Americana
- Instrumental Studies Set 22: 2-Hand Piano Soloing - Rhythm Changes
- MIDI SuperTracks Set 44: Jazz Piano
- Artist Performance Set 17: Songs with Vocals 7
- Playable RealTracks Set 4
- RealDrums Stems Set 7: Jazz with Mike Clark
- SynthMaster Sounds and Styles (with audio demos)
- 128 GM MIDI Patch Audio Demos.
Looking for more great add-ons, then upgrade to the 2025 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyles,
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- Look Ma! More MIDI 14: SynthMaster,
- Instrumental Studies Set 23: More '80s Hard Rock Soloing,
- MIDI SuperTracks Set 45: More SynthMaster
- Artist Performance Set 18: Songs with Vocals 8
- RealDrums Stems Set 8: Pop, Funk & More with Jerry Roe
Learn more about the Bonus PAKs for Band-in-a-Box® 2025 for Mac®!
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Mac!
Xtra Styles PAK 20 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Mac!
We've just released XPro Styles PAK 9 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
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.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Windows!
We've just released XPro Styles PAK 9 for Windows & Mac Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
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.
Video: Band-in-a-Box® 2025 for Mac®: VST3 Plugin Support
Band-in-a-Box® 2025 for Mac® now includes support for VST3 plugins, alongside VST and AU. Use them with MIDI or audio tracks for even more creative possibilities in your music production.
Band-in-a-Box® 2025 for Macs®: VST3 Plugin Support
Video: Band-in-a-Box® 2025 for Mac®: Using VST3 Plugins
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