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I have seen quite a few posts on this subject but I can't quite put it all together.
Here is my situation:
I use a Behringer Xynex 1202fx mixer and my Dell laptop. What I would LIKE to do is monitor the entire mix via headphones as I record with RB. I am sure that I not expending enough brain power to figure this out but I am confused.
On the mixer, I run Mic, acoustic and electric guitars through the mono inputs. I have phones connected to the phones output. Tape output is connected to the laptop line in. I run the line out from the laptop to the CD/Tape input on the mixer for live performance when I want to use RB as my backing tracks. I obviously can't do this when recording because the backing track get re-recorded along with the audio track that I am recording. But without doing this, I cannot hear the rest of the mix while recording my current track whether it be guitar or voice.
How can I put all of this together so that I can monitor through my headphones the track I am currently recording along with the RB instrument tracks?
I would appreciate any help from you guys or gals. BTW, I love BIAB and RB!
Todd
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Have you tried this yet?
I think you need to play with the "CD/Tape to Mix" and "CD/Tape to CTRL" buttons to get it right, but it seems to me it should work.
Set your input in RB to be the Line-In on your laptop. Then you can record everything that comes in through that port (your vocals, your guitars, etc). If the headphone jack is setup to be your output, then that should include your vocals blended with your mix, which you should be able to hear on the mixer's headphones. Only the vocals should record on the track, however.
If you were to re-record the entire mix, then you've got a loop and would know it, because that means that the mixer sound is coming in, getting added to RB, going back out and then coming back in getting added to RB, and the end result will cause you to throw off your headphones to protect your ears. I don't believe that is the case.
Give it a try and let us know. If I have time, I'll hook mine up tonight; however, I don't have a line in on my laptop, so will have to use an intermediary sound module, but the theory is the same.
John Laptop-HP Omen I7 Win11Pro 32GB 12TB SSD Desktop-ASUS-I7 Win10Pro 32GB 12TB SATA BB2026/UMC204HD&404HD/Casios/Cakewalk/Reaper/Studio One/Notion/Dorico/Noteworthy/NI/Halion/IK http://www.sus4chord.com (under rehosting/construction)
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If you're only recording mono sources, you could always connect the mixer's FX SEND to the LINE IN on your computer and send the instrument to be recorded out through that.
Then, if you connect the computer LINE OUT to one of the mixers stereo input channels, you can listen to everything either through the mixer's headphone feed, or you could connect the mixer's main output to monitor speakers.
Just another approach.
ROG.
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Great suggestions. I will try them out as soon as I have some time. I knew I could count on my new friends in the forum!
Todd
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Hi guys, I'm a lifelong musician but pretty new to home recording. Thus far, it's just been a USB mic into Audacity. I'm ready to get serious and will get BIAB with RB soon. I'm going to upgrade from a USB to an XLR mic and I could get away with something as simple as the Blue Icicle rather than an audio interface such as the Focusrite Scarlett. Before I order the hardware however, what's throwing me is monitor headphones. At present, when I record in Audacity, I'm using earbuds with a 3.5 mm pin plug coming off my speakers' volume hub. Could I continue to make this work with Real Band- IOW, hear the tracks AND monitor the instrument I'm recording in real-time? And to take it one step further, if I wanted to use a higher-quality headphone to hear myself in the mix, I'm unclear as to where that would be plugged into, especially if it's a 1.25" plug, as opposed to USB. So, before I order that Icicle, do I really want the audio interface? I see that it has a 1.25" headphone jack, and I do own a good quality pair. Would the headphone jack from that interface give me what I need- existing tracks, AND the ability to monitor the recording instrument? I'm sure there are USB headphone options of reasonable quality, but again I'm unclear if I should go that way, still accomplish what I need, and just stick with the Icicle. FWIW, I'd like to keep it simple- I'm a woodwind player and would only be recording either sax or flute at any one time. Thanks so much everyone!
Best, Warren
Warren A. Keller- Woodwindist/Producer
Spontaneous Groovin' Combustion
Tune 9 Music- SESAC
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Hi Warren,
Welcome to the forum!
The problem inherent with computer recording is latency, the time between when you play a note versus hear the note, can be so high it interferes with your playing. Audio interfaces and USB microphones work around latency by adding a direct output. A direct output is a headphone jack connected to an internal mixer that compensates for latency by mixing the microphone output with the computer audio output.
From your post, it seems the USB microphone you presently use has a built-in headphone jack. If you can playback an Audacity audio track while recording through the microphone and both audio streams playback correctly then your USB microphone headphone jack is a direct output. The USB microphone you have should work as well with RealBand as it does with Audacity.
The sound quality of USB microphones has drastically improved since they were first introduced. Most well known microphone manufacturers offer USB versions of their most popular microphones. USB microphones are considered as and can be used as an audio interface. Many people prefer external audio interfaces because they offer multiple types of inputs, familiar controls, microphone pre-amplifiers originally designed for mixers, a variety of headphone jacks or amplifiers and better sounding A/D or D/A conversion. You don't know what you're getting with a USB microphone until you get it and many stores have a can not return once it's used microphone policy.
For what its worth, you may receive more views and responses by creating a new thread instead of tacking onto an existing thread.
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Hi Warren. Since your question deals directly with input monitoring, no need to create a new thread on the same subject in my opinion. The people interested in input monitoring will see it here the same as in a new thread...
As Jim stated, your present recording and monitoring set up should work in RealBand or BIAB just as it does in Audacity. What's changing is you will be adding backing tracks to your live recordings.
You can create backing tracks and record your live playing and adding yourself to the recording. Doesn't matter if your material is commercial recorded songs or originals created by yourself or others.
Conversely, you can record your live track(s) first, import them into BIAB or RB using one of the various methods that enable your track to be synced and chords, tempo and key brought in, allowing you to create backing tracks to your live recordings.
You only need to make hardware changes if for some reason you are not satisfied with the tone or quality of your current recordings. Remember, the backing tracks will be adding to the overall sound you are creating and making your recordings sound more full and hopefully more professional sounding. The addition of backing tracks alone may give your recordings the boost you are seeking.
I suggest you not make any hardware changes until after you've purchased the BIAB/RB package and made a few recordings to see how your live playing fits into the mix. I would only tackle one product learning curve at a time.
Charlie
Last edited by Charlie Fogle; 07/14/17 06:08 AM.
BIAB 2026:RB 2026, Latest builds: Dell Optiplex 7040 Desktop; Windows-10-64 bit, Intel Core i7-6700 3.4GHz CPU and 16 GB Ram Memory.
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Thanks so very much Jim, I really appreciate this. I didn't want to increase bandwidth by posting a new topic, but perhaps it's a good idea. While I have you, may I dig a bit deeper with you for clarification? Your reply is very well written, but my ignorance requires I hit you up again.
I'm familiar with the latency concept. To clarify, the USB mic does not have a headphone jack as I know some of the Blue mics do. Rather, as I state, I'm plugged into a 3.5mm output jack on a hub that's part of my CyberAcoustics speaker system- a desk-mounted on/off and volume switch. There's a touch of latency which sounds like a mild, not unpleasing slapback. It's not ideal, but it's not so distracting that I can't play/think.
So, with that in mind Jim, and also allowing for the possibility of desiring a better headphone mix (the recording instrument's relationship to the playback tracks is currently fixed [only one output volume for the speaker hub]), I'm not sure how to digest your response:
1. Stick w/ a USB mic w/ a headphone output
2. Go w/ the the A-T2035 XLR that I really want into a Focusrite Scarlet USB interface, taking the headphone output from it
3. Something else
I believe you think option 2 will cause excessive latency? I believe you think option 1 is best? Anything else you can offer to guide me is much appreciated. I believe many folks go the XLR/USB route. I suspect my sound card is goo but not great. FWIW, I was not impressed with Blue's Yeti or Snowball. I realize there are other makers, but I had come to feel that an XLR condenser would be of better quality for horns than the USBs.
Thanks very much again!
Best, Warren
Warren A. Keller- Woodwindist/Producer
Spontaneous Groovin' Combustion
Tune 9 Music- SESAC
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Hi Charlie and Jim, Brothers? To clarify, I frequently record myself with tracks- play-alongs, etc. No issue there. I really need to upgrade the hardware and before I order, just trying to make good choices! :>) I found this https://www.amazon.com/dp/B00B5ZX9FM/ref=psdc_11974651_t1_B001AS6OYC which is a great mic (one step down from the AT2035), and it's USB and has the headphone jack and volume controls for the headphone and mic output. Thoughts guys? That should yield zero latency and a high-quality large condenser for sax and flute. This way we'd eliminate the XLR/USB conversion with the audio interface. Thanks Fogles, et. al.!
Best, Warren
Warren A. Keller- Woodwindist/Producer
Spontaneous Groovin' Combustion
Tune 9 Music- SESAC
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Hi Charlie and Jim, Brothers? To clarify, I frequently record myself with tracks- play-alongs, etc. No issue there. I really need to upgrade the hardware and before I order, just trying to make good choices! :>) I found this https://www.amazon.com/dp/B00B5ZX9FM/ref=psdc_11974651_t1_B001AS6OYC which is a great mic (one step down from the AT2035), and it's USB and has the headphone jack and volume controls for the headphone and mic output. Thoughts guys? That should yield zero latency and a high-quality large condenser for sax and flute. This way we'd eliminate the XLR/USB conversion with the audio interface. Thanks Fogles, et. al.! Brothers = yes we are.... Your clarification that you want to upgrade your hardware and you're vacillating between USB/mic and an audio interface/mic simplifies my answer. While USB mics have greatly improved over the past few years, they have not caught up to standard mics yet or matched the vast selections available of conventional mics. An audio interface gives you the ability to use any mic you can afford or desire to own. A quality audio interface will also give you opportunities to have additional inputs and output capabilities. An audio interface will provide you with higher quality, higher DA/AD converters. There are a ton of other benefits I could list but the bottom line is, if you are upgrading hardware, buying a quality mic and audio interface is the best choice by far.
BIAB 2026:RB 2026, Latest builds: Dell Optiplex 7040 Desktop; Windows-10-64 bit, Intel Core i7-6700 3.4GHz CPU and 16 GB Ram Memory.
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Of course all this is budget related.
Another advantage of an interface is that if your bass playing buddy stops buy one day you can record him either mic'd or direct. Same with Guitar .. or your keyboard buddy stops by, plugs in and can record a track for you.
It is a much more flexible route.
If you go with Scarlett, check whether it has a mixer applet (the 2i2 doesn't to my knowledge.
The reason for this is for things like;
1. With 2i2 if you want to record 2 MONO tracks you have to listen to them as one on the left and one ln the right while recording. You can mix them at playback in the DAW, but realtime monitoring is heard as the recording level.
This may apply for even single channel recording depending on some things.
2. You mention wantin to control the mix of the input with the output. If you want a good recording level with the 2i2 you'll need to set that level and adjust everything else to it. With the mixer you can record at one level and monitor at another.
Thought I'd mention. Wish I had known this before choosing the Focusrite model I did.
I do not work here, but the benefits are still awesome
Make your sound your own!
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Thanks everyone! So, let's revisit the latency issue. Getting back to Jim's original reply, if I do go XLR into the the audio interface, might latency be any worse than the light slapback I experience now, and am I safer sticking with a high-end USB mic with a headphone jack,thus ensuring no latency? The Audio-Technica I referenced in the last post is a really good mic in the XLR version and I would imagine about the same in the USB version. Thanks gents!
Best, Warren
Warren A. Keller- Woodwindist/Producer
Spontaneous Groovin' Combustion
Tune 9 Music- SESAC
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I realize in rereading Jim's original reference to latency, that I misinterpreted! I NOW understand that the direct output at the headphone jack of a good audio interface will have little to no latency. If that's correct, I can go with the good XLR mic (AT2350) and a Focusrite, and not have to settle for a USB mic. Phew!
Best, Warren
Warren A. Keller- Woodwindist/Producer
Spontaneous Groovin' Combustion
Tune 9 Music- SESAC
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I realize in rereading Jim's original reference to latency, that I misinterpreted! I NOW understand that the direct output at the headphone jack of a good audio interface will have little to no latency. If that's correct, I can go with the good XLR mic (AT2350) and a Focusrite, and not have to settle for a USB mic. Phew! That's correct. Just an fyi, a USB mic is a simple version of a mic/audio interface. It's a mic and audio interface. It doesn't have the features or quality that you can obtain with buying mics and audio interfaces separately. Latency can be an issue with a USB mic just as with a mic/audio interface setup. Latency is an issue that can be addressed and corrected with either type of mic source. If you buy a quality product, you may have to deal with latency but it can normally be corrected with just adjusting some settings. In other words, you don't have to consider latency as a major consideration of your upcoming upgrade. Charlie
BIAB 2026:RB 2026, Latest builds: Dell Optiplex 7040 Desktop; Windows-10-64 bit, Intel Core i7-6700 3.4GHz CPU and 16 GB Ram Memory.
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Thanks again Fogle-ites et al!
Best, Warren
Warren A. Keller- Woodwindist/Producer
Spontaneous Groovin' Combustion
Tune 9 Music- SESAC
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Thanks so very much Jim, I really appreciate this. I didn't want to increase bandwidth by posting a new topic, but perhaps it's a good idea. While I have you, may I dig a bit deeper with you for clarification? Your reply is very well written, but my ignorance requires I hit you up again. I'm familiar with the latency concept. To clarify, the USB mic does not have a headphone jack as I know some of the Blue mics do. Cyber Acoustics has one also. See +++ HERE +++ Rather, as I state, I'm plugged into a 3.5mm output jack on a hub that's part of my CyberAcoustics speaker system- a desk-mounted on/off and volume switch. There's a touch of latency which sounds like a mild, not unpleasing slapback. It's not ideal, but it's not so distracting that I can't play/think. The Cyber Acoustics headphone jack replaces the computer headphone jack used by the Cyber Acoustics powered speakers. While latency is presently acceptable, you likely will find latency quickly becomes unacceptable as you add audio tracks and apply effects. While both PG Music programs should not add much more latency than Audacity remember that Audacity performs all its effect processing offline while every DAW, including RealBand, processes audio in real time while you're listening to playback. I believe you will need a zero latency headphone jack sooner than you think.So, with that in mind Jim, and also allowing for the possibility of desiring a better headphone mix (the recording instrument's relationship to the playback tracks is currently fixed [only one output volume for the speaker hub]), I'm not sure how to digest your response: 1. Stick w/ a USB mic w/ a headphone output 2. Go w/ the the A-T2035 XLR that I really want into a Focusrite Scarlet USB interface, taking the headphone output from it 3. Something else I believe you think option 2 will cause excessive latency? No, I just did not want to make my post read like you GOT to have an audio interface. If I had a fixed amount of money and had to choose between purchasing a Focusrite Scarlett USB interface or Band-in-a-Box, I'd spend it on Band-in-a-Box. If you have the money to get both, the Focusrite Scarlett is a good choice for an audio interface. Many forum members like the interfaces. There is a broad range to select from and the interfaces were recently redesigned. Since you are thinking of getting an interface and microphone you might want to consider a "studio package". You can find more about them +++ HERE +++ I believe you think option 1 is best? Anything else you can offer to guide me is much appreciated. I believe many folks go the XLR/USB route. I suspect my sound card is goo but not great. FWIW, I was not impressed with Blue's Yeti or Snowball. I realize there are other makers, but I had come to feel that an XLR condenser would be of better quality for horns than the USBs. Thanks very much again!
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Here's a new question for Jim, Charlie, et al. I'd mentioned I have the nice CyberAcoustics speakers, but I would term them colored since they have an adjustable bass knob and can't really be run flat. Let's say I wanted to get a single monophonic studio reference monitor for mixing like the Behritone C50. I would think in my situation, rather than coming off the sound card, I should come out of the Focusrite Scarlett interface. When I discovered that the Solo had unbalanced RCA outs, I changed my order to the to 2i2 with balanced 1.25" output plugs. I would have thought I'd want to come out of those with a stereo TRS Y-cable or adapter, with a male TRS plug on the other end, to go into the Behringer to keep the system balanced. For the life of me I cannot find this cable, and I'm wondering if I'm missing something, if TS is adequate, etc.? Thanks so much for the continued help. Jim, I didn't see your latency comment until today, so thanks again. I think I'm in good shape with the Scarlett and the XLR mic I chose.
Best, Warren
Warren A. Keller- Woodwindist/Producer
Spontaneous Groovin' Combustion
Tune 9 Music- SESAC
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Here's a new question for Jim, Charlie, et al. I'd mentioned I have the nice CyberAcoustics speakers, but I would term them colored since they have an adjustable bass knob and can't really be run flat. Let's say I wanted to get a single monophonic studio reference monitor for mixing like the Behritone C50. I would think in my situation, rather than coming off the sound card, I should come out of the Focusrite Scarlett interface. When I discovered that the Solo had unbalanced RCA outs, I changed my order to the to 2i2 with balanced 1.25" output plugs. I would have thought I'd want to come out of those with a stereo TRS Y-cable or adapter, with a male TRS plug on the other end, to go into the Behringer to keep the system balanced. For the life of me I cannot find this cable, and I'm wondering if I'm missing something, if TS is adequate, etc.? Thanks so much for the continued help. Jim, I didn't see your latency comment until today, so thanks again. I think I'm in good shape with the Scarlett and the XLR mic I chose. Many users will have a different opinion. My opinion is that unless you want to spend a bunch of money purchasing studio monitors and treating the room you use for mixing you're better off learning the strength and deficiency of the speakers, room and your hearing. First, perform an online hearing test. There are several videos on YouTube where an audio file sweeps from 20 Hz to 20 kHz. Listen both through speakers and headphones. What is the lowest frequency you can hear? What is the highest frequency you hear? How differently does it sound between using speakers versus listening through headphones? When you're listening to an audio file that has a constant volume level does the volume level change when listening through speakers or headphones? Next run the same sound tests with a microphone at ear level close to where you sit. Record the sound of the frequency sweep audio coming through your speakers. Place the recorded file underneath the audio file and compare the two files. How do they differ? Once you do this you'll know about your hearing, speakers, headphones and how your mixing room affects what you hear. Once you know this information you can use that knowledge to compensate as needed. The exercise will cost you some time but can save you a lot of money and aggravation. Again, this is my opinion.
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as Jim said - at least "in the beginning" (we all get requirements creep and G.A.S at some point - LOL) Even if you wanted studio monitors I'm a little confused with your thinking you needed a "Y" cable?? ... When I discovered that the Solo had unbalanced RCA outs, I changed my order to the to 2i2 with balanced 1.25" output plugs. I would have thought I'd want to come out of those with a stereo TRS Y-cable or adapter, with a male TRS plug on the other end, to go into the Behringer to keep the system balanced. For the life of me I cannot find this cable,... if coming off the 2i2 to the 1202FX mixer you just need two (2) TRS cables: the left out of 2i2 goes to say "line 5/6" left of the 1202FX mixer using one TRS cable and the right out of the 2i2 goes to the "line 5/6" right input of same mixer. PS - assuming that at some point you will go from MIXER to monitors the unbalanced Solo would have been just as good, becasue once in the MIXER it's immaterial since the signal going to the monitors from the mixer out is only as "un-nosiy" as the mixer outputs. You know that "balanced" is for NOISE cancellation not "signal loading" or impedance matching or other similar considerations, right? http://www.aviom.com/blog/balanced-vs-unbalanced/ even colored speakers can be tamed (somewhat naturalized) with methods described by Jim or using prodcuts lie http://www.ikmultimedia.com/products/arc2/ (JUST an EXAMPLE, not inexpensive but I use it since I have an untreated room and only marginal monitors M-audio AV 40's - it really works) or this which I see is still on sale for $39! http://www.waves.com/plugins/nx?km_source=google&km_medium=cpc&km_term=46694482030&km_campaign=827512772&km_device=c&km_matchtype=b&km_keyword=%2Bwaves%20%2Bnx&km_adid=196350766719&km_account=searchbrand&gclid=Cj0KEQjwnazLBRDxrdGMx-Km4oQBEiQAQJ1q66Rx6iQAe7Pb_8gB4WafQUptENe7yLrIGHaDW4MGMlgaAnHB8P8HAQ#introducing-nx-virtual-mix-room No matter what GOOD LUCK Larry
Last edited by Larry Kehl; 07/16/17 04:42 PM.
Win10Pro,i9,64GB,2TBSSD+20TBHDDs,1080TI,BIAB'24,Scarlett18i8,Montage7,Fusion 8HD,QS8,Integra7,XV5080,QSR,SC-8850,SPLAT,FL21&others,Komp.14,IK suite&others, just a guitar player-AXE FX III &FM9T, FishmanTP, MIDIGuitar2, GK2/3'sw/GI20
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Jim, that's an interesting approach and I will look into that. What Larry said about the CyberAcoustics speakers being able to be tamed in that way somewhat, I may be able to avoid a dedicated reference monitor for mixing. Larry, if you follow my last post again you'll see I wasn't talking about a Behringer mixer. I was thinking I could come out of the output jacks of the Scarlett to a single Behringer monitor speaker for mixing. If I went that route. Is my thinking erroneous? That's why I mentioned a Y cable since I'd be coming out of either stereo RCA or TRS depending on which version of the Scarlett I got. On the other end would be a single TS/TRS plug for the Behritone speaker. I do understand the 'balanced' term, but I'm not very knowledgeable about keeping a system balanced, i.e. cables/plugs. I think I'm oversimplifying things thinking that I always need a balanced TRS on both ends but as I said I could only find TRS to TS cables.This is typically what you find- TRS to TS but never both TRS https://www.amazon.com/gp/aw/d/B001R0WKZU/ref=ox_sc_act_image_5?smid=ATVPDKIKX0DER&psc=1? I think I may just keep it simple and get the Solo rather than the 2i2. Hopefully, being short (RCA) cables with a home system, I won't run into any noise issues. Thanks again guys.
Last edited by Warren Keller; 07/17/17 04:00 AM.
Best, Warren
Warren A. Keller- Woodwindist/Producer
Spontaneous Groovin' Combustion
Tune 9 Music- SESAC
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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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Introducing XPro Styles PAK 11 – Now Available for Windows Band-in-a-Box 2026 and Higher!
XPro Styles PAK 11 for Windows & Mac Band-in-a-Box® version 2026 (and higher) is here with 100 brand new RealStyles, plus 31 RealTracks/RealDrums!
Guess who’s back again? That’s right! It’s our XPro Styles PAK’s triumphant return with the 11th edition in this series! 100 new styles are coming your way spread across the rock & pop, jazz, and country genres. And this edition's wildcard genre explores the immense and far-reaching catalogue of electronic music! The included 31 RealTracks and RealDrums can be used with any Band-in-a-Box® 2026 (and higher) package.
Special offers available until August 31st, 2026!
All the XPro Styles PAKs 1-11 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 11 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2026 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Introducing Xtra Styles PAK 22 – Now Available for Windows Band-in-a-Box 2026 and Higher!
Xtra Styles PAK 22 for Windows & Mac Band-in-a-Box version 2026 (and higher) is here with 200 brand new RealStyles!
It’s time to celebrate! Xtra Styles PAK 22 for Band-in-a-Box® is here, and we've got 200 brand-new styles coming your way!
No Xtra Styles PAK is complete without the classic rock & pop, jazz, and country volumes you know and love, and we’ve got plenty to share, with 150 styles spread across too many genres to list! Of course, it also wouldn’t be complete with our special wildcard volume to add a little spice and pizzazz to the mix. This year, because we loved it so much the first time, we’ve decided to make the second iteration of our SynthMaster volume, full of new sounds, interesting genres, and 50 engaging styles, all making use of the diverse SynthMaster plugin! Here you can find genres such as airy yacht rock, sultry electrotango, and even some synth soca funk. Don’t wait, pickup up Xtra Styles PAK 22 today!
In this PAK you can find: dulcet folk ballads, funky gospel country, Brazilian jazz fusion, upbeat 1980s pop, classic Americana, a plethora of breezy bossa novas, indie singer-songwriter, scintillating synthwave, exuberant electronica, and many, many more!
Special offers available until August 31st, 2026!
All the Xtra Styles PAKs 1-22 are on special for only $29 each (reg $49), or get all 22 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 22.
Video: Xtra Styles PAK 22 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 22 requires the 2026 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.
Introducing XPro Styles PAK 11 – Now Available for Mac Band-in-a-Box 2026 and Higher!
XPro Styles PAK 11 for Mac & Windows Band-in-a-Box® version 2026 (and higher) is here with 100 brand new RealStyles, plus 31 RealTracks/RealDrums!
Guess who’s back again? That’s right! It’s our XPro Styles PAK’s triumphant return with the 11th edition in this series! 100 new styles are coming your way spread across the rock & pop, jazz, and country genres. And this edition's wildcard genre explores the immense and far-reaching catalogue of electronic music! The included 31 RealTracks and RealDrums can be used with any Band-in-a-Box® 2026 (and higher) package.
Special offers available until August 31st, 2026!
All the XPro Styles PAKs 1-11 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 11 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2026 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Introducing Xtra Styles PAK 22 – Now Available for Mac Band-in-a-Box 2026 and Higher!
Xtra Styles PAK 22 for Mac & Windows Band-in-a-Box version 2026 (and higher) is here with 200 brand new RealStyles!
It’s time to celebrate! Xtra Styles PAK 22 for Band-in-a-Box® is here, and we've got 200 brand-new styles coming your way!
No Xtra Styles PAK is complete without the classic rock & pop, jazz, and country volumes you know and love, and we’ve got plenty to share, with 150 styles spread across too many genres to list! Of course, it also wouldn’t be complete with our special wildcard volume to add a little spice and pizzazz to the mix. This year, because we loved it so much the first time, we’ve decided to make the second iteration of our SynthMaster volume, full of new sounds, interesting genres, and 50 engaging styles, all making use of the diverse SynthMaster plugin! Here you can find genres such as airy yacht rock, sultry electrotango, and even some synth soca funk. Don’t wait, pickup up Xtra Styles PAK 22 today!
In this PAK you can find: dulcet folk ballads, funky gospel country, Brazilian jazz fusion, upbeat 1980s pop, classic Americana, a plethora of breezy bossa novas, indie singer-songwriter, scintillating synthwave, exuberant electronica, and many, many more!
Special offers available until August 31st, 2026!
All the Xtra Styles PAKs 1-22 are on special for only $29 each (reg $49), or get all 22 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 22.
Video: Xtra Styles PAK 22 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 22 requires the 2026 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.
Peter Gannon Talks Band-in-a-Box with zplane
zplane recently interviewed Peter Gannon, the founder and creator of Band-in-a-Box, about the software's early days, what sets it apart from AI, how zplane's audio algorithms are used in Band-in-a-Box, and more!
Special thanks to the team at zplane for their continued support.
Check out the full interview here: https://products.zplane.de/blog/peter-gannon-interview-pg-music
Last Chance! The Band-in-a-Box® 2026 for Mac® Special Ends Today (May 31, 2026) at 11:59pm PDT!
Time really is running out! Save up to 50% on Band-in-a-Box® 2026 for Mac® upgrades and receive a FREE Bonus PAK—only when you order by 11:59 PM PDT today!
We've added many major new features and new content in a redesigned Band-in-a-Box® 2026 for Mac®!
Version 2026 introduces a modernized GUI redesign across the program, with updated toolbars, refreshed windows, smoother workflows, and a new Dark Mode option. There’s also a new side toolbar for quicker access to commonly used windows, and the new Multi-View feature lets you arrange multiple windows as layered panels without overlap, making it easier to customize your workspace.
Another exciting new addition is the amazing new AI-Notes feature, which can transcribe polyphonic audio into MIDI. View the results in notation or play them back as MIDI, and choose whether to transcribe an entire track or transcribe specific parts like drums, bass, guitars/piano, or vocals. There's over 100 new features in Band-in-a-Box® 2026 for Mac®.
There's an amazing collection of new content too, including 202 RealTracks, new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two RealDrums Stems sets, and much more!
Upgrade your Band-in-a-Box for Mac® to save up to 50% on most Band-in-a-Box® 2026 upgrade packages!
Plus, when you order your Band-in-a-Box® 2026 Mac upgrade during our special, you'll receive a Free Bonus PAK of exciting new add-ons.
If you need any help deciding which package is the best option for you, just let us know. We are here to help!
Band-in-a-Box® 2026 Mac Special Offers Extended Until May 31st!
Good news- we've extended our Band-in-a-Box® 2026 for Mac® special offers until May 31, 2026!
Band-in-a-Box® 2026 is packed with major new features, enhancements, and an incredible lineup of new content! The program now sports a sleek, modern GUI redesign across the entire interface, including updated toolbars, refreshed windows, smoother workflows, a new dark mode option, and more. The brand-new side toolbar provides quicker access to key windows, while the new Multi-View feature lets you arrange multiple windows as layered panels without overlap, creating a flexible, clutter-free workspace. We have an amazing new “AI-Notes” feature. This transcribes polyphonic audio into MIDI so you can view it in notation or play it back as MIDI. You can transcribe an entire track (all pitched instruments and drums) or focus on individual parts like drums, bass, guitars/piano, or vocals. There's an amazing collection of new content too, including 202 RealTracks, new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two RealDrums Stems sets, and much more!
There are over 100 new features in Band-in-a-Box® 2026 for Mac®.
When you order purchase Band-in-a-Box® 2026 before 11:59 PM PDT on May 31st, you'll also receive a Free Bonus PAK packed with exciting new add-ons.
Check out the Band-in-a-Box® for Mac packages page to find the best package for you.
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