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Your mission, should you choose to accept: Help me to develop an individual sound that contains elements of Santana's, Mike Oldfield's, and/or David Gilmour's guitar sound--smooth, with lots of sustain, and free of the snarly bits and amp 'roar'. (I can get those fine when I want them.) I've done a certain amount of research, but apart from the fact that many players consider their configuration to be a trade secret, there is a lot of dated, conflicting, and just plain wrong information. I know that Santana uses a dual-humbucker guitar and am pretty sure that MO does, too. Nevertheless, I'd like to base my sound around that of a Strat. I typically use the center and neck pickups with tone wide open for clean sounds, and highs rolled off considerably for distorted sounds. I am currently experimenting with a center single-coil and bridge HB sound. I really want some of the single-coil sound to come through. What I have to work with: Don't bother suggesting additional gear; there is no budget for anything beyond what I have now: - an Ibanez Roadstar II Strat copy with three single-coil pickups and Roland GK-3 divided ("MIDI") pickup;
- Roland VG-88 "V-Guitar" instrument/amp/effects emulator;
- Behringer GX-112 "Blue Devil" amp with 24-bit FX (but only three amp models, uneffected except for reverb and distortion). This amp has an effects loop;
- assorted outboard gear, including various stomp boxes, a two-channel compressor and 24-bit multieffects box.
I have set up the Ibanez myself. It plays well and yields a pretty good Strat sound. It has a five-way pickup selector and phase switch, which makes for a credible Tele sound as well. Virtual capabilities: The VG-88 emulates major guitar types and popular pickup combinations, major amp makes and models, and has a built-in virtual stereo effects chain. I have access to any control that exists on the real-world amps, plus a preamp "low-normal-high" switch. There is no loop for external effects. I can put the virtual effects in any order, but only have one of each. I can assign speaker type and configuration, and mic placement (on/off center and distance, from 1 cm to several meters). I can process the emulated guitar and the Ibanez output separately. Should you be caught or captured, the Secretary will disavow any knowledge of your existence. This message will self destruct in 10 seconds.  R.
Last edited by Ryszard; 05/14/09 09:35 AM.
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The VG-88 by itself is able to do a lot of things in recording.
Matter of fact, Jeff Skunk Baxter used to show up for studio dates with little other than that and an acrylic clear plastic body strat that had a Strat neck hangin' on it. And a fullrange amp, of course. The fullrange amp is the necessary ingredient for most all guitar/amp/cabinet sims, fullrange and stereo. Of course, when recording to the PC, just use the stereo line out direct to soundcard.
A lot of players actually hurt themselves by trying to pipe the output of these modelers or sims thru standard guitar amps, which in effect are bandpass filters for the audio range. The fact is that the digital simulation is often dependant upon fullrange audio, "twenty to twenty" and stereo, too, for the speaker cabinet and other spacial simulations to sound correct.
One problem with amp simulators is that many players do not have experience with playing the actual real target amplifiers or effects they yield in the first place. That is like not having a place to stand. You can accept a lot of sound variation that the real amp may not do, or just plain sounds bad if you are in that situation.
Also, playing the digital amp simulator is just plain a different act than playing the "real" amp, one has to spend time practicing with the amp simulator in order to be able to bring the best sound out of any of them. For one thing, there is the A to D circuit to contend with, plus the latency, however slight. VG-88, though, is topshelf stuff.
There are no shortcuts.
So get started working with what you have.
It typically takes practice, not only in the playing of the guitar but in the setting of your amp simulator -- and after that, perhaps most importantly -- practice in the art and science of capturing same via the digital recording and mixing process.
Far too many people make the claim that manufacturers must "massage" their demos of these products or even resort to subterfuge with the demos presented in order to sell them. I don't buy that for the vast majority of demos, especially when the company is as reputable as Roland, etc. But I was at the NAMM show where the VG-88 was presented by none other than Skunk Baxter. Then I got to try the thing in the same place with the same setup for a short. Needless to say, I ain't Skunk Baxter, right? Still, I bought a VG-88 and after a few weeks of practicing, working with it, reading the manual, tweaking the presets to match my playing style and tastes, retweaking, rereading that manual, then doing some recordings that stunk, all the while chasing the holy grail, I was soon able to use the VG-88 to do what all of my equipment MUST do around here -- pay for itself.
There ain't no shortcuts.
Spend the time PLAYING the things you have and spend that time efficiently and wisely. Posting and listening to others' advice is okay, but it will NOT do a blamed thing for the process for you in the long run, it can only provide some freetime when you come up for air or perhaps when you get stuck on a particular.
And stop using English words to try to describe a musical sound. That's for the audience, not for the Producer. Because they are virtually meaningless in getting anything across that can be used later. Music sounds do not define exact particulars at all. it is perceptive. One person may hear the same sound and their description may vary quite a bit from what the next person hears. At that point, it is all good, but to the pro, it is not subjective enough to use for any meaningful communication. "Make it sound warm" My first question to that one has always been, "Can you gimmie a specific temperature on that?"
Your chosen task is not as easy as it looks. It takes a lot of dedication and hard work on your part. Use of the notepad, pencil, efficient note-taking as you practice every day is part of the process. Mastering your chosen instrument is a LARGE part of the process. Skunk can pick up anybody else's guitar, import, bad setup, whatever, and still sound pretty doggone good. Because the majority of the magic is in Mr. Baxter's abilities and not the equipments. If you happen not to like Skunk's playing style, no problem, simply insert the name of your personal fav instead. Same thing applies.
--Mac
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We live in interesting times. Was able to find that someone has web published Skunk's "American Guitar Technique" video on youtube. Be happy, some of us had to pay real money to view this one and it is worth every cent. https://www.youtube.com/watch?v=XBcen1w6NQs Find each of the ten minute cuts in order and watch them. Digest and watch again. Then DO. BTW, he is using both the acrylic strat and the VG88 is on the floor in front of him, or at least the foot controller MIDI pedals for it are. He also is using a Roland guitar synth off the MIDI pickup, too, in some instances as he shows how its done, son. Pay attention. What he has to say applies to every genre and then some. If you don't happen to like a certain genre, don't let the emotion thing get in your way. Take INFLUENCES from everywhere. --Mac
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Mac,
You have gone way beyond the usual in answering my question. Thank you, as always. (Your previous answer to a question of mine has been printed out and hangs in front of me as I work.)
Although I've played acoustic and rhythm guitar for over 40 years, I am a relatively new electric lead player, dating back only to February of last year, when I got the VG-88. It has transformed me as a player. I have ZERO time playing through any amp other than my Behringer (recently) and an old Fender Bassman head (years ago) except in music stores, so, as you say, I have no place to stand. I accept that I have to spend time with the puppy. I was and am hoping to save some time, for which I can only seek the experience of others. Maybe I'm better off not understanding how amp and FX controls interact. Maybe that ignorance will be a help in achieving a unique sound. Just thought that asking for help was appropriate.
To justify my use of English to describe the sound, the electric guitar is the rock voice that my natural pipes can't produce. Many people comment on the vocal-like quality of my playing. This is intentional. Perhaps I have already achieved the major part of my individual sound; now I'm just tweaking. Nevertheless, I'm pretty sure that fans of the players I mentioned will know what I'm talking about.
I always go to the board from the Rolie, never through an amp except for testing or casual jamming, and always monitor on speaker except late at night. So far I have noticed that it can sound okay as I'm playing, but significantly different when played back, even though I record flat. Same as my natural voice.
R.
"My primary musical instrument is the personal computer."
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Quote:
Maybe I'm better off not understanding how amp and FX controls interact.
Would you accept that statement from your surgeon, airplane pilot or even your plumber?
Knowledge is power.
Serendippity can only happen to those who have the knowledge to both recognize it when it occurs and also to exploit it.
There are no shortcuts, stop looking for 'em. Especially in the studio where even the seemingly smallest of shortcuts can prove devastating to the projects.
Seek Excellence.
What you bypass WILL come back to bite you.
--Mac
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Quote:
To justify my use of English to describe the sound, the electric guitar is the rock voice that my natural pipes can't produce. Many people comment on the vocal-like quality of my playing. This is intentional. Perhaps I have already achieved the major part of my individual sound; now I'm just tweaking. Nevertheless, I'm pretty sure that fans of the players I mentioned will know what I'm talking about.
I agree with the concept of always trying to "sing" through our chosen instruments.
But I do not agree that such justifies the use of English to describe musical sounds.
--Mac
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U got lectricity down there? In the wife's family we play at the shack/cabin and I gotta play the squeeze box. The wife's uncle has 30 harmonicas in a bag, that dude can wail. I can't find an extension chord long enough to reach, that would be about a mile. I figure it would be about 12 inches diameter at least.
I drove around Atlanta a bunch of times fleeing the snow. Glad to see they named a town after me down there. Now it's way cheaper to fly to an all you can eat/drink place in Cuba, 10 mins to the airport, direct flight, 2 hours and a bit, 20 mins to the hotel, and all the Havana Club you can down. All for 800 bucks or 600 US, but they don't take US dollars at all, or American Credit Cards.
John Conley
Musica est vita
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Quote:
I agree with the concept of always trying to "sing" through our chosen instruments.
But I do not agree that such justifies the use of English to describe musical sounds.
--Mac
I changed the title of the post. I think that reduces it to an objective technical task. I've done some engineering, I know something about making it sound "greener", lol.
I think I'll post your two words--"Seek Excellence"--next to P.T. Barnum's: "Astonish Me". How much else can you say?
R.
Last edited by Ryszard; 05/14/09 09:41 AM.
"My primary musical instrument is the personal computer."
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Now turn off the browser and turn on the DAW.
Get. Started.
Twenty minutes a day adds up.
--Mac
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Carlos Santana: guitar
Paul Reed Smith Santana model guitars (3)
Alvarez-Yairi CY127CE nylon-string acoustic
Mu-Tron wah pedal
Ibanez Tube Screamer
Jim Dunlop customized selector box
Dumble Overdrive/Reverb amp head
Mesa/Boogie Mark I amp head
Fender Cyber Twin amp
Motion Sound AR-112 rotary guitar amps (2)
Mesa/Boogie 1x12 cabinet
Marshall 4x12 speaker cabinets with Celestion G12M Greenback speakers
Brown 4x12 cabinet with Tone Tubby Speakers
Season to taste. Serves 6.
DTuna
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Tone is mostly technique which all the gear in the world won't address.
But, to emulate a sound you should never use a preset, recipe or the like. Firstly, they are never right. Secondly, you'll never learn anything.
You should never develop the tone you want to emulate "outside" of the mix. That is to say, stand-a-lone. If you do it will never sit the mix or sound right on playback even though you "think" it is right by itself.
Listen carefully to something that you imagine has lots of distortion like Hendrix and a wall of Marshall's. Now listen carefully to a Hendrix song and realize that it's about a quarter of the distortion you initially perceived.
Grab a Santana mp3 that you know how to play. Bring it in your daw as track 1. Arm track 2 for recording. Insert a guitar vst and get something playable. Record and play along with the track. You are recording dry BTW. The vst is your sound which you can adjust again AFTER you lay down the track. After you lay down your track go back and listen. Adjust the vst to fit the sound you are hearing in the mp3. It may surprise you when you look at the choices you dialed in to match the sound you were hearing in the mp3.
DTuna
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BTW, I agree with much of what Mac posted as well as the videos.
Do it.
DTuna
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Before you ask, here's an amp sim for free: Dig
DTuna
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thank mac also found this From Grammy Award winning guitarist for the Doobie Brothers and Steely Dan to Department of Defense with a high-level security clearance in the Pentagon, Jeff Baxter is a true visionary. In today's global economy, traditional problem solving is no longer good enough. In order to compete, companies have to approach business with a fresh vision. He is consultant to the Department of Defense with a high-level security clearance in the Pentagon, advising top military and civilian groups on biological warfare, next-generation technology and unconventional strategies.
Lenovo YOGA 900 Window s 10 Home 64bit M4 pro Mac mini 1tb HD 24GB mem casio wk7500 presonus audiobox i2 usb interface
casio wk-7500
biab & realband 2025 everything pk both with Current builds
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Yep, Skunk works inside the beltway now. But that's old news and it was under the Bush administration. Dunno what the future holds on that front. But Skunk saved the DOD quite a bit o' money.
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The roland V-guitar stuff is simply amazing. I find it too complicated for my tastes, to be honest.
I'm now in Colorado Springs and my new boss has a Godin with the built-in midi pickup and the V-Guitar outboard processor. He doesn't even use the 'normal' jacks on the guitar - just connects the multi-pin thing.
There are presets right out of the box for Gilmour and Santana. Use them. I'm with Mac, many of the presets are dead nuts right on the money.
I also agree with Mac that you need to turn off the computer. Don't show up here for a month. Use the time to hone your chops. You've got quite alot of gear - it's going to take time to learn how to use it properly.
A bunch of sounding like Jeff Beck, or Santana, or Gilmour, etc. is note choice and placement in the song. Swanman here on our forums has the Jeff Beck styling nailed down pretty well. Note how he ends his phrases. Very often times they don't end on the tonic of the scale - on purpose - just like Jeff Beck. Actually, almost always, they don't end on the tonic. Santana is similar. Can't end on just any note, however.
Learn your box patterns down cold. You'll go a long way with just learning that stuff.
David Gilmour is the master of the upward full-step-and-more bends. Also, never really plays real fast. His most famous solos (comfortably numb) are not about speed, but absolutely perfect melody note choices.
Trevor Rabin also comes to mind as another one who builds his solos on upward intervals that just tend to make you feel good as you listen to them. Most other rock guitarists will go up in some scale stuff, and then they always come back down. Not Trevor.
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Good advice about not playing the tonic.
Reminds me of an old teacher who told me to intentionally not play the tonic at all in my soloing practice.
That's a great drill for anybody who wants to play better solos.
For one thing, I immediately found out how many times I was playing the tonic to re-establish "home base" simply because I wasn't paying mental attention to where it was at the time. Notes like those are redundant.
--Mac
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Well, being the resident Gilmour expert (if I may be so bold  ), I would give you advice... Except that I take a pretty literal approach to emulating Gilmour's tone, perhaps too literal for anyone not specializing in the Floyd: I'm using basically the same gear. A Gilmour strat, various Big Muffs and Tube Drivers, a Yamaha leslie unit and a Hiwatt. So... That won't really do you any good. However - I can say that the key is a lot of power into a clean tube amp. Really any strat into a Big Muff into a clean loud tube amp will do the trick. If you're looking to cop sounds from the Wall, you'll want a digital delay and a flanger as well. Earlier sounds use fuzz, an overdrive, and vintage delay. Compressor is surprisingly key for squashing attack. In my personal opinion, the gear and settings you're using are only half the battle. I can take any Fender guitar and make it sound like either Clapton or Gilmour (my two key influences) no matter what other gear is plugged in - the trick is emulating the _way_ they play, not necessarily _what_ they play. If that makes sense. Once you get the feel down, the sound will come. You can PM me with any questions you may have about Gilmour's sound, of course  Santana, on the other hand, I'm not so sure of. I've always copped his stuff with a lot of gain and P90s... But I obviously haven't put the same amount of time and effort in to his stuff at all. As far as describing sound using regular old english words, Ryszard, I say go for it. Guitarists will know what you mean, and I don't think you can get it across any other way. I hate to disagree with Mac, but when someone tells me they want a "warm" guitar sound, I know pretty much exactly what they mean - sure, they might need to clarify a bit, but I know how to get in the ballpark. If you've been playing guitar for 40 years, you probably know too
----- Do you love the Floyd as much as I do? If so, click away the moments that make up the dull day: www.canadianpinkfloyd.com
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Quote:
There are presets right out of the box for Gilmour and Santana. Use them. I'm with Mac, many of the presets are dead nuts right on the money.
I was looking at the preset list:
Preset List
Where did you find those?
DTuna
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As often happens, I didn't make myself fully clear. I'm not trying to sound like anybody, but to understand elements of their electric guitar sound so that I can incorporate it into my musical voice. Eventually it will all become me, and people will be trying to sound like that Ryszard guy. My electric playing has been compared to Keith Richards, Jeff Beck, Robert Fripp, and David Gilmour. I do love Carlitos' lyrical approach, but owe as much of my melodic influence to Herb Alpert as anyone else. No, it's not about speed. "Space music", I have found, is about just that--lots of room between elements. I appreciate the specifics about equipment. I've gotten the most mileage out of the Tuna Kahuna's enjunction to turn down the distortion. I thought I'd lose sustain, but I have actually turned the preamps down in most of my models and have a smoother sound and at least as much sustain as I had before. I've switched from Marshalls to Boogies for now. I'm not actually sure what other amp models are in there (can anyone tell me what a Red or Orange rectifier is?). And which, exactly, are the Santana and Gilmour presets? I've probably blown them away in the user bank, but if they're there at all, they are still in the factory presets, which I have barely explored. I know so little about this that I may not recognize them when I see them. Josh, I actually have a Big Muff Pi and a heavily-modified 1967 Fender Bassman head through which I haven't played in years. I'm using the GK-3/VG-88 sounds almost exclusively, though every once in a while I'm surprised to find that I'm playing a mix of VG and natural sound. The VG will allow me to process the natural guitar through all the virtual amps and FX by itself, so I may play with that, too. The VG produces a credible Leslie sound, too, except for not speeding up and slowing down at all; it's on or off. I have a Behringer MultiFX box that will do it, too. I even have a Korg MS-20 with built-in pitch to voltage converter. Eventually I'll have three separate signal chains: Ibanez, VG, and mono synth. Polysynth will have to wait until I can afford the $700 Terratec Axon Mk II. I have several beds posted at indabamusic.com. Pretty soon I'll screw up the courage to share some of the guitar tracks I've been laying down--all thanks to members here. Regarding the time I spend here: (to Mac: "Twenty minutes a day, hell!"). I have the luxury of spending many hours a day at my music; sometimes entire days. I make major discoveries almost hourly. I'm also active at Propellerhead.se and various music promotion/collaboration sites, as well as trying to get the live thing going locally. I type really fast, so I may not be spending as much time online as you think. I'm trying to do many things at once: learn several pieces of software, create music, develop the guitar sound, get better at everything, and post salable tunes. I'll be here as often as I need to get or share information. Thanks to everyone for all your help and interest. R.
"My primary musical instrument is the personal computer."
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Today's the Last Day of the Band-in-a-Box 2026® for Mac Special!
Order before 11:59pm PDT today (May 15, 2026) to save up to 50% off your Band-in-a-Box® 2026 for Mac® upgrade and receive a FREE Bonus PAK loaded with great new Add-ons to use with this new version!
Don't wait - order today!
Check out all the new features in the redesigned Band-in-a-Box® 2026 for Mac®!
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.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
2026 Free Bonus PAK & 49-PAK for Band-in-a-Box® 2026 for Mac®!
With your version 2026 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons for FREE! Or upgrade to the 2026 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2026 RealCombos Booster PAK:
-For Pro customers, this includes 27 new RealTracks and 23 new RealStyles.
-For MegaPAK customers, this includes 25 new RealTracks and 23 new RealStyles.
-For UltraPAK customers, this includes 12 new RealStyles.
- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
Looking for more great add-ons, then upgrade to the 2026 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyle.
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
- RealDrums Stems Set 10: Groovin' Sticks
- SynthMaster Sounds & Styles Set 2 (sounds & styles with audio demos)
Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
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