I listen to all genres of music. Some I like while others not so much. I keep an open mind when it comes to music. I have learned at least one thing from every genre. It could be a short section, a short bass or lead line, rhythms, chord progressions, etc. I don't speak for any group. I only speak for myself.
More power to you and I generally agree. But "all" is a giant of a word. I certainly don't (and can't and haven't) listened to all genres as there are far too many and I'm sure there are some I'm flat out unaware of and/or don't have access to. And life is still good and I'm moving forward.
I too try to learn something from the genres I do listen to and have learned (for me) there is little if anything I can learn of value from free form jazz and Yoko's screaming. That said, I do have an open mind.
Plus once you realize that in the big scheme of things, we (even your kids and grand kiddies) will all be dead soon, that you try to spend your valuable and limited time wisely. For me I'd rather study Sting and Paul McCartney so as to improve my tradecraft than study Yoko.
Some of us have decades ahead, some a few years, some a few weeks, while others have hours or less. So live long and prosper as Spock would say.
It all comes down to what it is you value and enjoy.
PS> So let's all try to keep those trucks muffled and our brainstems healthy, we're going to need those stems
https://soundcloud.com/user-646279677 BiaB 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.
To be fair Comparing Sting or McCartney to jazz is like comparing KennyG to Michael Brecker Totally different animals.
There is a lot to be learned from each though. It doesn't have to be free form at first, start with something easier, like Brecker Bros. "Straphangin", but that's how they get you hooked. Next thing you know you're free-forming in Harlem <grin>
/geez I hope *somebody laughed
Last edited by rharv; 12/18/2504:09 PM.
I do not work here, but the benefits are still awesome Make your sound your own!
Whether we hear beauty or ugliness or "music" in sound is SO personal. For example, free jazz almost always makes me smile. But I like the sound of a concert orchestra tuning up, too. Plenty of people cringe at both. I may have once upon a time, but can't recall.
I like your idea about finding a gateway into a new genre and pivoting from there. That's always an insightful journey, no matter the outcome.
DC Ron BiaB Audiophile Presonus Studio One ASUS I9-12900K DAW, 32 GB RAM Presonus Faderport 16 Too many guitars (is that a thing?)
To be fair Comparing Sting or McCartney to jazz is like comparing KennyG to Michael Brecker Totally different animals.
There is a lot to be learned from each though. It doesn't have to be free form at first, start with something easier, like Brecker Bros. "Straphangin", but that's how they get you hooked. Next thing you know you're free-forming in Harlem <grin>
/geez I hope *somebody laughed
HaHa free-forming in Harlem? I’d say quite unlikely. But I’m not comparing Sting or McCartney to jazz at all. I’m saying time on this rock is limited and so priorities and time management is a must if I want to achieve my goals. Plus personal taste is huge.
I don’t know Brecker Bros but I do like, learn and play smooth jazz and jazz-rock artists like Steely Dan, and George Benson. One goal is to learn and interpret an easy Snarkey Puppy song (if there is such a thing) for my Bass Overlay project.
I’m about halfway thru the book and it’s getting better and better. At the end of chapter 6 he says:
The story of your brain on music is the story of an exquisite orchestration of brain regions, involving both the oldest and newest parts of the human brain, and regions as far apart as the cerebellum in the back of the head and the frontal lobes just behind your eyes. It involves a precision choreography of neurochemical release and uptake between logical prediction systems and emotional reward systems. When we love a piece of music, it reminds us of other music we have heard, and it activates memory traces of emotional times in our lives. Your brain on music is all about, as Francis Crick repeated as we left the lunchroom, connections.
How we process music is indeed a BIG and fascinating story, a story that I don’t think we yet know everything about, but pieces are falling together. And this is the same Francis Crick who played a role in deciphering the helical structure of the of DNA molecule. Crick was also interested in music from a neuroscience perspective.
https://soundcloud.com/user-646279677 BiaB 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.
I like my music to be predictable most of the time but with nice surprises mixed in. I like themes and/or motif development, as that adds interest to me. I think melody is important, probably because my primary instrument is saxophone. Too much repetition bores me, as it becomes too predictable. I also like a release from the tonic key somewhere in the song. Too much of the same becomes too predictable, too.
I don't play the sax, and agree with this. One way I look at music is a dialog or conversation between the composer/performer and me. A piece of music is trying to communicate something, quite often emotionally. The question becomes, am I able to interpret and understand what the "message" is. If the answer is yes, there is a possibility I will like it. If the answer is no, it's not for me.
Since you play an instrument, I'm curious about your thoughts on the "10,000 hour rule". Here is what Levitin says.
The emerging picture from such studies is that ten thousand hours of practice is required to achieve the level of mastery associated with being a world-class expert – in anything. In study after study of composers, basketball players, fiction writers, ice skaters, concert pianists, chess players, master criminals, and what have you, this number comes up again and again.
https://soundcloud.com/user-646279677 BiaB 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.
The emerging picture from such studies is that ten thousand hours of practice is required to achieve the level of mastery associated with being a world-class expert – in anything. In study after study of composers, basketball players, fiction writers, ice skaters, concert pianists, chess players, master criminals, and what have you, this number comes up again and again.
I've been working at my job for 14 years (X 2000 hrs/yr = 28,000) I must be a world class expert.
I think maybe you also have to have a certain knack for something, to begin with, before that 10,000 hrs can start ... otherwise all us old guys would be world class experts
I do not work here, but the benefits are still awesome Make your sound your own!
I've been working at my job for 14 years (X 2000 hrs/yr = 28,000) I must be a world class expert.
I think maybe you also have to have a certain knack for something, to begin with, before that 10,000 hrs can start ... otherwise all us old guys would be world class experts
I wouldn't sell yourself short. After 28,000 hrs of doing essentially the same job you probably are a world-class expert. Whether you are recognized as such by society or even your boss is another question
Like most rules, the "10,000 hr rule" has value but I'd say, it can't be an absolute rule. I'd guess that some have reached world-class status in less that 10,000 and others required more. The value I take away from this "rule" (even if it has been observed over and over) is that persistense and perseverence is required; I call this a "fire in your belly". Some have it, most don't; indeed, from my observations, most people are flat-out lazy and lethargic when it comes down to it, never accomplishing much in life.
But even more than fire is required. I'm probably approaching the 10,000 hr mark on my bass; approx 3 hrs per day over 10 years. BUT I'll never be world-class even though I have a bit of "fire". I'm self-taught and the "practice" I do is far from optimal, plus I started late in life. For neural pathways to really be solidified, the younger the better. Of course, there are exceptions to this too, but I'm not one. In any event, what does it take to become world-class is an interesting question.
https://soundcloud.com/user-646279677 BiaB 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.
Since you play an instrument, I'm curious about your thoughts on the "10,000 hour rule". Here is what Levitin says.
The emerging picture from such studies is that ten thousand hours of practice is required to achieve the level of mastery associated with being a world-class expert – in anything. In study after study of composers, basketball players, fiction writers, ice skaters, concert pianists, chess players, master criminals, and what have you, this number comes up again and again.
I don't think we can quantize it like that. Some people can master an instrument in less time than that, and some could probably put twice that amount of time and never master it. We all have different talents and abilities.
I've been playing sax since I was a kid, I do this for a living, so I figure I've put a lot of hours at it. Have I mastered it? What does that even mean? I'm very comfortable playing it, it's an extension of me, but I still learn things, too. But that's one of the things I like about it.
Although sax is my primary instrument, I also play flute, wind synthesizer, guitar, bass, drums, keyboards, and vocals in various levels of competency/incompetency.
I don't think about mastering any of them. I just play, enjoy what I'm playing, and I also enjoy learning new things about each instrument.
One thing I've learned is this: No matter how good you are on your instrument, there is always someone better, and conversely, someone not as good as you. Does that matter to me? Nope, I accept that.
Life is too short. I'm having a good time making a living doing music and nothing but mucic. I didn't make the big time and become filthy rich, and the odds are against that happening now, But I live a modest life without a ton of possessions, but no debt, and I'm rich in enjoyable life experiences.
I consider myself lucky to be able to do what I love and make it my vocation.
FWIW - If you think that you have mastered an instrument you are totally mistaken and might as well quit playing. There is always more to learn. In every professional musician's interview I had ever read they say there is more to learn. If they are still learning then I have a long way to go!
Dad, how will I know when I've become an adult.
When your day is ruined because they rearranged the grocery store.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
I've been playing sax since I was a kid, I do this for a living, so I figure I've put a lot of hours at it. Have I mastered it? What does that even mean?
You’ve got a great story.
Note that he’s talking about the level of mastery associated with being a world-class expert. When I combine “mastery” and “world-class expert”, people like Beethoven come to mind but also a select few that are less accomplished musicians; but not a whole lot less. The bar is high.
On page 193 he says: The ten-thousand-hour theory is consistent with what we know about how the brain learns. The strength of a memory is related to how many times the original stimulus has been experienced. Memory strength is also a function of how much we care about the experience. Caring may, in part, account for some of the early differences we see in how quickly people acquire new skills.
What is instrument “mastery” you ask?
One definition is a deep understanding of the instrument that has come from significant study and experience. A “master” understands the strengths and limitations of his instrument such that he/she is able to reliably control it to express what they want, when they want, such that others admire their talent and place them in a rarified, lofty group of elites. I would also say that to have mastered an instrument that others would favorably compare them to other “greats” that have come before. And almost by definition, a world-class master is rare and often are sought after (around the world) for their performances and teaching. Additionally, other masters and highly accomplished people will publically acknowledge their talent, be it in books, film, TV, podcasts, college course material, etc. [Others may have their own definition(s), but this is what comes to my mind.]
https://soundcloud.com/user-646279677 BiaB 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.
FWIW - If you think that you have mastered an instrument you are totally mistaken and might as well quit playing. There is always more to learn. In every professional musician's interview I had ever read they say there is more to learn. If they are still learning then I have a long way to go!
Agreed.
I think these 7 siblings would also agree. The video is located on the right.
https://soundcloud.com/user-646279677 BiaB 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.
FWIW - If you think that you have mastered an instrument you are totally mistaken and might as well quit playing. There is always more to learn. In every professional musician's interview I had ever read they say there is more to learn. If they are still learning then I have a long way to go!
Agreed.
I think these 7 siblings would also agree. The video is located on the right.
I read the article but for some reason the video would not play. It turned back as soon as I click on it. That was an amazing story.
I enjoyed it on broadcast TV last night and then this morning googled it. If you click the video, an ad may first play, followed by the actual video; it looks 13:11 long.
https://soundcloud.com/user-646279677 BiaB 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.
I read the article but for some reason the video would not play. It turned back as soon as I click on it. That was an amazing story.
I enjoyed it on broadcast TV last night and then this morning googled it. If you click the video, an ad may first play, followed by the actual video; it looks 13:11 long.
When I click on the video that little window goes completely black and nothing plays, even after waiting for awhile.
Dad, how will I know when I've become an adult.
When your day is ruined because they rearranged the grocery store.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
I finally got to view it. I had to go to Paramount+, look up 60 minutes, then search for the video. Those kids are fantastic musicians.
Glad you enjoyed it. I hope many young people around the world are inspired by stories like that one. I’d guess that the “10,000 hours” that they accumulated were high-quality hours.
Here’s more from Levitin on the subject.
The ten-thousand-hours theory is consistent with what we know about how the brain learns. Learning requires the assimilation and consolidation of information in neural tissue. The more experiences we have with something, the stronger the memory/learning trace for that experience becomes.
The classic rebuttal to the ten-thousand-hours argument goes something like this: “Well, what about Mozart? I hear he was composing symphonies at the age of four! And if he was practicing forty hours a week since the day he was born, that doesn’t make ten thousand hours.”
https://soundcloud.com/user-646279677 BiaB 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.
FWIW - The ten-thousand-hours theory is just that, a theory. As pointed out many of use old timers have way more than ten-thousand-hours and are not master musicians. Plus I have seen and heard many young kids whom couldn't have put in 10K and are fantastic, maybe not master musicians but close. And some are master musicians after 10K. We are all wired a little differently thus we all learn a little differently. Just my 2 cents and your 2 cents may be different.
Dad, how will I know when I've become an adult.
When your day is ruined because they rearranged the grocery store.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
“Well, what about Mozart? I hear he was composing symphonies at the age of four! And if he was practicing forty hours a week since the day he was born, that doesn’t make ten thousand hours.”
Well, he was eight at the time:
Quote
Many years later, Nannerl described the scene as their father lay dangerously ill: “In order to occupy himself, Mozart composed his first symphony with all the instruments of the orchestra, especially trumpets and kettledrums. I had to transcribe it as I sat at his side. While he composed and I copied he said to me, ‘Remind me to give the horn something worthwhile to do!’” The work later known as Symphony no. 1 in E-flat, K. 16, might be this piece, but probably not—that symphony was indeed written in London, but it does not have trumpets and drums. In any case, after his first try, Wolfgang started turning out symphonies for small orchestra designed for his and Nannerl’s London concerts.
FWIW - The ten-thousand-hours theory is just that, a theory. We are all wired a little differently thus we all learn a little differently. Just my 2 cents and your 2 cents may be different.
Indeed we all learn differently, by a little or by a lot . . . and there are reasons for that.
If we start at conception, what is the health status of the mother? What stressors is she under? Is she being abused? Is she addicted to illegal drugs? What, if any, music is she listening to while pregnant? Does she have high-quality pre-natal care including diet? Then we have the home and school environment the child is born into, and the parent(s) attitude towards music, etc., etc.
Even though one might say that learning/being successful in music is for the privileged and fortunate and that the earlier you start the better, there are notable exceptions. Think Dolly Parton and Brenda Lee.
https://soundcloud.com/user-646279677 BiaB 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.
Band-in-a-Box® 2026 for Mac - Special Offers End at 11:59pm PDT on Friday, May 15th, 2026!
Order before 11:59pm PDT on Friday, May 15th and SAVE up to 50% on most Band-in-a-Box® version 2026 for Mac Upgrade packages... and that's not all! With your version 2026 for Mac purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Upgrade to the 2026 49-PAK to receive even more NEW Add-ons including 20 additional RealTracks... that's 222 NEW RealTracks available with version Band-in-a-Box® 2026 for Mac!
Upgrade to Band-in-a-Box® 2026 for Mac® today for as little as $49! Check out the Band-in-a-Box® packages page for all available purchase options.
Learn more about the Free Bonus PAK and 49-PAK here.
If you have any questions about which package is the best option for you, just let us know. We're here to help!
202 New RealTracks Released with Band-in-a-Box 2026!
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.
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)
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!
With the release of Band-in-a-Box® 2026 for Mac, we’re rolling out a collection of brand-new videos on our YouTube channel. We’ll keep this forum post updated so you can easily find all the latest videos in one convenient spot.
Whether you're exploring new features, checking out the latest RealTracks or Style PAKs, this is your go-to guide for Band-in-a-Box® 2026.
Band-in-a-Box® 2026 for Mac is here and it is packed with major new features! There’s a new modern look, a GUI redesign to all areas of the program including toolbars, windows, workflow and more. There’s a Multi-view layout for organizing multiple windows. A standout addition is the powerful AI-Notes feature, which uses AI neural-net technology to transcribe polyphonic audio into MIDI—entire mixes or individual instruments—making it easy to study, view, and play parts from any song. And that’s just the beginning—there are over 100 new features in this exciting release.
Along with version 2026, we've released an incredible lineup of new content! There's 202 new RealTracks, brand-new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two new RealDrums Stems sets, XPro Styles PAK 10, Xtra Styles PAK 21, and much more!
Special Offers
Upgrade to Band-in-a-Box® 2026 for Mac and save up to 50% on most upgrade packages during our special offer—available until May 15, 2026. Visit our Band-in-a-Box® packages page to explore all available upgrade options.
2026 Free Bonus PAK & 49-PAK Add-ons
Our Free Bonus PAK and 49-PAK are loaded with amazing add-ons! The Free Bonus PAK is included with most Band-in-a-Box® 2026 for Mac packages, but you can unlock even more—including 20 unreleased RealTracks—by upgrading to the 2026 49-PAK for just $49.
One of our representatives will be happy to help you over the phone. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday, and 8:00AM to 4:00PM PST Saturday. We are closed Sunday. You can also send us your questions via email.
One of our representatives will be happy to help you on our Live Chat or by email. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday; 8:00AM to 4:00PM PST (GMT -8) Saturday; Closed Sunday.
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean