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Actually, I'm having a great day. Just booked two more gigs in June. No roadies, though. 
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Every person on this thread has put some folks out of work by using home recording software. If you bought your own mic, pre-amp, sound card, midi input device, etc. and are making demos, you put some recording engineers out of work, just like we put photographers out of work and graphic designers out of work, etc. etc.
We created other demand for other types of jobs to provide that gear, but the reality is that technology changes culture.
Those people filling the open mics, a good portion of them now do home recording - probably well enough to sound decent to themselves, and 15 years ago, the same type of person would have never considered an open mic.
The consumer culture expects music for free now.
I'm not saying any of this is right, but this is probably a situation which applies to everyone here - pointing the first finger points 3 right back at you.
To all of you using your own PA in your live gigs, you put a local FOH engineer out of work for that time.
Anything where we automate something on our own, do our own oil changes, do any kind of work that was a paid position for someone else, we put those folks out of work to some extent. I recharge my A/C systems on my vehicles - something that almost always used to require a mechanic with the fancy gauge set. For $35 you can get a reusable user-friendly gauge and R134 refill at your local auto parts store, and the refill cans are $10 at Big Lots. Lasts me about a month in my son's beater vehicle. Yeah, I am putting the local mechanic out of work, but I also create work for the company making the $35 kit.
There's many layers to the onion of the image on the first page of this thread.
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Every person on this thread has put some folks out of work by using home recording software. ......
There's many layers to the onion of the image on the first page of this thread. Well said Scott.
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solidarity forces an unnatural continuation of something that doesn't work as well as it once did.
Lone wolves leaving the pack to try something different will tend to get results commensurate with the work and thought they put into it.
Those who don't prepare well won't have better luck even if they try something different.
Those who do stand a better chance of finding a niche that works for them.
Nobody is entitled to a job playing music, so they can't be cheated out of something that isn't their right.
The reason why guys like Notes and 90dB still get gigs is because they have made their niche and are enjoying the benefits of having done so
If that approach still worked like it did 30 years ago, there wouldn't be a problem with people working odd scenarios trying to find something new that works.
As I see it, its MOSTLY about how different people adapt to change. The people working for free aren't causing the problem, they are trying to adapt to it. The real problem is caused by a variety of other factors, and those factors won't change just because people stop playing for free.
If anything, they may be keeping some venues open... I envision a time when nobody offers live music anymore because everybody is home streaming netflix
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Every person on this thread has put some folks out of work by using home recording software. If you bought your own mic, pre-amp, sound card, midi input device, etc. and are making demos, you put some recording engineers out of work, just like we put photographers out of work and graphic designers out of work, etc. etc.
We created other demand for other types of jobs to provide that gear, but the reality is that technology changes culture.
Those people filling the open mics, a good portion of them now do home recording - probably well enough to sound decent to themselves, and 15 years ago, the same type of person would have never considered an open mic.
The consumer culture expects music for free now.
I'm not saying any of this is right, but this is probably a situation which applies to everyone here - pointing the first finger points 3 right back at you.
To all of you using your own PA in your live gigs, you put a local FOH engineer out of work for that time.
Anything where we automate something on our own, do our own oil changes, do any kind of work that was a paid position for someone else, we put those folks out of work to some extent. I recharge my A/C systems on my vehicles - something that almost always used to require a mechanic with the fancy gauge set. For $35 you can get a reusable user-friendly gauge and R134 refill at your local auto parts store, and the refill cans are $10 at Big Lots. Lasts me about a month in my son's beater vehicle. Yeah, I am putting the local mechanic out of work, but I also create work for the company making the $35 kit.
There's many layers to the onion of the image on the first page of this thread. Scott, I'm sorry, but from my perspective, your arguments just don't hold water. Take this statement, for example: “Every person on this thread has put some folks out of work by using home recording software. If you bought your own mic, pre-amp, sound card, midi input device, etc. and are making demos, you put some recording engineers out of work ...” I started home recording in 1979 with the original Tascam Portastudio 144. Why? Because I couldn't afford studio time in Southern California to cut demos. Would I have loved to hire Tom Dowd or George Massenberg to record me? Oh yeah. Was I putting them out of work by recording on my little 4-track? Absolutely not. “To all of you using your own PA in your live gigs, you put a local FOH engineer out of work for that time.” We play small bars, restaurants and hotel lounges. These places don't have 'FOH engineers'. They have bartenders and a wait staff. If we play at an outdoor Tiki bar, should we hire a 'FOH' engineer to run our little PA with SOS's? It's absurd. Danny's OP stated that: “I see and hear of many musicians falling into the trap (well I think it is a trap) set by club owners/,managers who (again in my opinion) are playing on every musician's "need to perform" gene. The offer goes something like this, "you come in and build up a crowd and then we will talk money".” Who is being put out of work in this scenario? The professional musician who can't afford to play for free – that's who. “There's many layers to the onion of the image on the first page of this thread.” In my (admittedly biased) view, the premise of the image is accurate. People who play for free in formerly paying venues are killing live music. Regards, Bob
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The thing for me is I play in rooms where 2 musicians have traditionally played. Whether it was a keyboard/guitar, 2 guitars, guitar and bass, and mostly with at least a drum machine.
So now with my backing tracks we still have 2 guitars, but one guitarist also plays synth, and the other also plays sax, flute, and synth.
So tell me who are we putting out of work with backing tracks?
Nobody.
The music two people can make just got fuller.
Thankfully we have a lot of work, but I have talented friends who have had hard times because of the freebie musicians.
And yes, DJ, Karaoke and other things have contributed too. There is no argument there. But musicians taking the bread out of other musician's mouths is something different to me.
You can argue your point until you are blue in the face, but so far, you haven't done a thing to change my mind. If a free musician is working in a place where all the other help is getting paid, he/she is replacing a musician who used to get paid and pirating his job.
The biggest thing putting musicians out of work is TV, but that's another thread entirely.
Notes
Bob "Notes" Norton  Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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Bob, the 90 dB Bob,
I'm not saying that we made the George Massenburgs of the world lose their jobs, but the advent of the use of home DAW software and even TASCAM portastudios in the day, did to some extent start the process of the local "Golden Tones Studio" mom & pop studios for local bands to record their stuff - we set the stage for the mediocre folks to eventually be out of work.
Same with photography and professional photographers.
Same with typists.
Same with videography.
BTW, "She's Already Made Up Her Mind" by Lyle Lovett and engineered by George Massenburg is in my top 10 recordings of recording as an art form. Listen to it with the finest set of headphones that you can afford in the quietest room. The ride cymbals are glorious.
We don't have to agree. Heck, the advent of the DAW put people like PG INTO work, so it's not always in the 'loss' column. It shifts.
The folks at Focusrite, PreSonus, etc. LOVE the fact that we do home recording. We gave them jobs.
I still submit that anytime we take on a role that has in the past been paid in our ability to do it because of technology/affordability of the technology that lets us do it ourselves, we 'shift' the paying job to the provider of the technology and away from the person using the previous generation of technology. Perhaps that's a better way to say it than forcing someone to lose their job.
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my hope is that as more and more really good single and duo acts hit the streets, that it will once again be cost effective for the average business to offer live music.
Its a variation on the old adage that supply and demand changes the price, but opportunity is located at the intersection of price and demand.
In other words, there is ALREADY a demand for live music, and if the price is right businesses will spring for it.
The more businesses that offer live music, even at a lower price, the more opportunity exists for anybody who is prepared to accept those gigs.
Once again, this is partly why Notes and 90dB are still playing.. they've adapted to change already and scaled down to an act that businesses are willing to pay for... and they have a QUALITY act, which differentiates them from the amateurs who try to get their foot in the door by playing for free
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Every person on this thread has put some folks out of work by using home recording software. If you bought your own mic, pre-amp, sound card, midi input device, etc. and are making demos, you put some recording engineers out of work, just like we put photographers out of work and graphic designers out of work, etc. etc.
We created other demand for other types of jobs to provide that gear, but the reality is that technology changes culture.
Those people filling the open mics, a good portion of them now do home recording - probably well enough to sound decent to themselves, and 15 years ago, the same type of person would have never considered an open mic.
The consumer culture expects music for free now.
I'm not saying any of this is right, but this is probably a situation which applies to everyone here - pointing the first finger points 3 right back at you.
To all of you using your own PA in your live gigs, you put a local FOH engineer out of work for that time.
Anything where we automate something on our own, do our own oil changes, do any kind of work that was a paid position for someone else, we put those folks out of work to some extent. I recharge my A/C systems on my vehicles - something that almost always used to require a mechanic with the fancy gauge set. For $35 you can get a reusable user-friendly gauge and R134 refill at your local auto parts store, and the refill cans are $10 at Big Lots. Lasts me about a month in my son's beater vehicle. Yeah, I am putting the local mechanic out of work, but I also create work for the company making the $35 kit.
There's many layers to the onion of the image on the first page of this thread. Very well said Scott!
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my hope is that as more and more really good single and duo acts hit the streets, that it will once again be cost effective for the average business to offer live music.
Its a variation on the old adage that supply and demand changes the price, but opportunity is located at the intersection of price and demand.
In other words, there is ALREADY a demand for live music, and if the price is right businesses will spring for it.
The more businesses that offer live music, even at a lower price, the more opportunity exists for anybody who is prepared to accept those gigs.
Once again, this is partly why Notes and 90dB are still playing.. they've adapted to change already and scaled down to an act that businesses are willing to pay for... and they have a QUALITY act, which differentiates them from the amateurs who try to get their foot in the door by playing for free
Spot on Pat! If someone is willing to play cheaper than you then you need to convince club owners why you are worth your price or lower it! Free Market 101. Why all this angst about something that is routine American business practice?
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If there is a demand for your product and you can sell it go for it. If I want to give my product away free for the joy of doing so that's my business and I'll do it if I want to. Nobody in my opinion should be telling others what to do or not do. ( really enjoying this thread ). Cheers.
Last edited by RichMac; 05/21/14 03:52 PM.
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my hope is that as more and more really good single and duo acts hit the streets, that it will once again be cost effective for the average business to offer live music.
Its a variation on the old adage that supply and demand changes the price, but opportunity is located at the intersection of price and demand.
In other words, there is ALREADY a demand for live music, and if the price is right businesses will spring for it.
The more businesses that offer live music, even at a lower price, the more opportunity exists for anybody who is prepared to accept those gigs.
Once again, this is partly why Notes and 90dB are still playing.. they've adapted to change already and scaled down to an act that businesses are willing to pay for... and they have a QUALITY act, which differentiates them from the amateurs who try to get their foot in the door by playing for free I think you've hit on something here as well Pat - with the comment that once things become 'cost effective again'.... Another thing that is driving down the available 'disposable income' for restaurant owners to pay live musicians, is the hold-down on meal prices vs. cost of ingredients. We probably all know folks who run restaurants. $1 burgers at McD's and elsewhere also shunt the expectation of what one should pay for a meal when eating out. This in turn limits some restauranteur's ability to have income available to pay for live musicians, with all the work it is for them to vet out the crap from the good. All of the folks that I've known over the years running restaurants eventually try to find other work. It's a huge pile of work and worry for most, with not too high of financial gain in return; again for most. Much easier to pay for an XM Radio subscription to play over the low-voltage speaker system in house. The bar side of things may also be similar, I'm not as familiar with that. I can say that one thing that I know from my contacts at MillerCoors, is that the youth of today have less allegiance to anything, including their beer brands and preferences. The big breweries are starting to struggle with all of the craft brews coming from every hole in the wall brewery in every town of semi-significant size. A buddy co-owns a hipster loving/loved craft brew, third wave coffee, craft wine place here in COS, and it's HOPPING - filled with a good 30-50 people in a space that comfortably will not hold much more. His highest revenue day is shockingly low. Less than 1k$ You read that right. It's a hangout more than a thoroughfare of paying customers. This is what the hipster crowd is used to with Starbucks and their comfy overstuffed chairs and whatnot as the model. Allegiance on the down trend, streaming music according to your preferences the norm, 1$ burgers setting the low bar for food income to the restaurant owner, less 'regular' customers as drinkers, etc. etc. and I would say the trend does not look good for 'cost effective again' to make the demand rise. Which is exactly why I wouldn't try either pro musician, nor restaurant owner as my gig. It's fear, really - If I was honest about it. So, even though we may not agree, tip of the hat to the Bobs and anyone else making a living at performing music. I sincerely hope that it provides you sustenance and a purpose that is enjoyable - which is all that any of us can ask for.
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Those of us who remember BB (Before Band In A Box) will also recall that excellent backing tracks were coming of age some 15-20 years ago. The argument dates back even further when guitarists began to attempt one-uping Les Paul by bringing a reel-to-reel deck with their recorded harmony parts on it.
Whenever a newer technology presents itself, someone is going to attempt applying it to his music. It's the nature of the beast!
Enter Chet Atkins - he invented countless circuits to enhance his playing, not to intentionally displace other musicians.
I hope never to hear Dr Gannon accused of hurting or displacing musicians be designing a wonderful "tool" such as BIAB.
I seem to recall, in the not too distant past, when the habitual naysayers said similar negative things about MIDI. The list goes on.
If using "tools" makes us lesser musicians then don't listen to most commercial music out there today. Some horrendous, some excellent, but don't vilify the designers/toolmakers.
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Taking this into the broader business market with a slightly different example....
I'm in the security business. I install and service burglary & fire alarm system among other things. I typically install custom systems for folks who are well off and live in nice houses in the better parts of the town and country area around here. I don't give anything away. My prices tend to be among the higher ones if there are multiple bids.
I sell basing on the quality of the equipment, the neatness of the install, and the service after the sale.
I am competing with national companies who practically give the gear away for free to get the customer's account. I don't install nearly as many new security systems in homes now (compared to 22 years ago) because many people are only concerned with the price. That is the reality. Another reality is the equipment I sell costs me more at wholesale than the entire install (including labor) from the nationals. I can't match that deal unless I work at a loss.....and that business model doesn't work well if you want to eat.
The plain and simple fact of the matter is this. That is the reality of the business environment I find myself in, in the midst of trying to run a profitable business . I can not force my competitors to charge a fair and equitable price for their gear and labor. If I had not adapted to this changing business environment, made plans to survive and even prosper in it, I would have been out of business years ago.
I saw the changes coming, realized there was nothing I could do to turn it around, and so I found niche markets that were under served and didn't lend themselves well to the cookie cutter mass marketing approach. As a result, I'm still in business 23 years later.....and still making a very comfortable living working with things I enjoy and providing a much needed service. As of today, there is no one else in a 3 state area that does what I do. Yes, my niche is that unique.
So....simply equate that to the music business. I can't tell you what to do or how to do it.....that's your job to figure out. But the question is..... could you find some aspect of the music scene that is not being served by everyone else? Can you stand out from the crowd? If so, and with proper marketing, you can make a fairly comfortable income from music no matter who else is charging what or playing for free.
If you think about it.... nothing is really new now. Back in the day, (35 years ago) there were clubs that offered low price gigs..... $75 or so for the band per night on the weekend..... at the same time, there were also clubs that offered $400 vs 75% of the door. Good bands could make upwards of $1000/night at places like that. Where you and your band played was determined by your skill level more than anything else.
Last edited by Guitarhacker; 05/22/14 05:45 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Very well put Herb.
In the late 60’s I was one of the few guitarists in my area that could read music. As I needed money I joined a wedding group and that proved to be my niche in music. While my friends were practicing 2-3 nights a week then playing in bars for $20 on the weekends I was just showing up and playing the gig for a lot more. I eventually ended up fronting my own wedding band. During the slow times we played at the American Legions, VFWs, Elk’s clubs and other private clubs and we were booked for many years. Also we were still playing for many years after most all my bar-playing friends stopped playing. The DWI laws had little effect on weddings!
So I was a successful weekend warrior.
As Herb said find your niche in music, be really good at it and you can make some decent money.
Life is short so make sure you spend as much time as possible on the Internet arguing with strangers.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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I've gone from playing clubs, to playing concerts, back to playing clubs, to playing cruise ships, and now to playing Yacht Clubs, Country Clubs, and other private and semi-private clubs, and that's why the freebie musicians don't affect what I do.
I remember when I was young, the older guys told me that once they started playing Country Clubs, they never wanted to go back to playing bars. Now that I'm an older guy, I found out what they meant and other than my every Tuesday at the marina (a loose fun, no-pressure gig), I find I'd rather play those gigs.
I've made the bulk of my living playing music for most of my life. I'm at the age where others retire, but I can't envision a life without playing music, so I have no plans to retire. I just get a little pickier about which jobs I take.
It's a lot tougher to make a living at playing music than it was when I was young. Every hotel from a Holiday Inn on up had a band playing 6 nights a week. Single bars had bands and any bar with a TV in it was probably just a corner tavern with a dozen or so bar stools. Plus TV had grainy pictures and very tinny sounds so to hear good live music, you had to go hear a band.
All that has changed, the number of places and nights that hire bands have shrunk and people who play for free are taking away much of what is left.
I'm glad that I grew up when I did, or else I might have had to have day jobs all my life.
Notes
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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I saw the changes coming, realized there was nothing I could do to turn it around, and so I found niche markets that were under served and didn't lend themselves well to the cookie cutter mass marketing approach. As a result, I'm still in business 23 years later.....and still making a very comfortable living Herb, this is an excellent summary of the discussion. Change happens. Those who don't adapt lose out Even those who adapt must adapt intelligently, because change takes time and money, and unless you're changing in the right ways you can improve yourself right out of business. Change continues to happen Yesterdays adaptation may not get you to retirement. As the paradigm changes, the adaptation also needs to "follow the buffalo" What worked yesterday probably won't work today, and what what works today probably won't work tomorrow. I think one advantage of a forum like this is that it brings together many perspectives from all over the world so we can get a better overview of the business climate, and form more realistic adaptation strategies based on what has stopped working, what is still working (but at a reduced state of effectiveness) and what seems to be working in new ways than before
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As Herb said find your niche in music, be really good at it and you can make some decent money. Yep! You can complain about what is happening or you can make something happen!
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bottom line, I think there will ALWAYS be a market for music... we just need to figure out what works today.
around here...
Weddings continue to hire live bands
public events are big consumers of live music
music festivals are all over the place
rest homes are filling up as the population ages, and they have a need (and usually a budget) for entertainment
There is the emerging live streaming phenomenon, with an ever increasing number of sites and exposure to new audiences
it has never been easier to make your music available for sale online
and for the small act that advertises, there are private parties all the time for birthdays, graduations, reunions, retirements etc... if the price is right, people love live music
That's off the top of my head.. y'all can probably think of a lot more.
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Back to the OP: For those of you who disparage Danny, Bob and I for lamenting the current state of the live music business, I would submit that you would have a different perspective if you were actually playing out these days. Not thirty years ago – today. Find a “niche”? We've all done that. “Make something happen”? We're doing just that every day. Should we ignore a serious threat to the way we make our livings? “If I want to give my product away free for the joy of doing so that's my business and I'll do it if I want to.” That statement perfectly illustrates the problem addressed in the OP. Try handing out free hot dogs at a pro ballpark, or free beers in someone's bar. Let me know how that works out for you. It's not a 'product' if it has no value. In my experience, people who give their musical product away for free, have valued it correctly.
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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.
Holiday Weekend Hours
It's Victoria Day Long Weekend in Canada. Our Customer Service hours are:
Saturday, May 16: Closed
Sunday, May 17: Closed
Monday, May 18: 8:00am - 4:00pm
Regular hours resume Tuesday, May 19th!
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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