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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.
The fitness trainer asked me, "What kind of a squat are you accustomed to doing?" I said, "Diddly."
64 bit Win 11 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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The XPro Styles PAKs and Xtra Styles PAKs special offers are now available until August 31st at 11:59pm PDT!
Ready to take your Band-in-a-Box® 2025 experience to the next level? Now’s the perfect time! Expand your style library with XPro and Xtra Styles PAKs—packed with a wide variety of genres to inspire your next musical creation.
What are XPro Styles and Xtra Styles PAKs?
XPro Styles PAKs are styles that work with any version (Pro, MegaPAK, UltraPAK, UltraPAK+, or Audiophile Edition) of Band-in-a-Box® 2025 (or higher). XPro Styles PAKS 1-9 includes 900 styles!
Xtra Styles PAKs are styles that work with the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box® 2025 (or higher). With over 3,500 styles (and 35 MIDI styles) included in Xtra Styles PAKs 1-20, the possibilities are endless!
Get the XPro Styles PAKs 1 - 9 for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Listen to demos and order now! For Windows or for Mac.
Note: XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Get Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 19 PAKs for $199 (reg $399)! Listen to demos and order now! For Windows or for Mac.
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 19 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Don’t miss this chance to supercharge your Band-in-a-Box setup—at a great price!
Mac 2025 Special Upgrade Offers Extended Until August 15th!
It's not too late to upgrade to Band-in-a-Box® 2025 for Mac® and save! We've extended our special until August 15, 2025!
We've added many major new features to Band-in-a-Box® 2025 for Mac®, including advanced AI tools like the amazing BB Stem Splitter and AI Lyrics Generator, as well as VST3 plugin support, and Equalize Temp. Plus, there’s a new one-stop MIDI Patches Picker with over 1,100 MIDI patches to choose from, all neatly categorized by GM numbers. The MultiPicker Library is enhanced with tabs for the SongPicker, MIDI Patch Picker, Chord Builder, AI Lyrics Generator, and Song Titles Browser, and the tabs are organized into logical groups. The Audiophile Edition is enhanced with FLAC files , which are 60% smaller than AIFF files while maintaining identical audio quality, and now ships on a fast 1TB SSD, and much more!
Check out all the new features in Band-in-a-Box® 2025 for Mac® here:
Purchase your Band-in-a-Box® 2025 for Mac during our special to save up to 50% off your upgrade purchase and receive a FREE BONUS PAK of amazing new Add-ons. These include the 2025 RealCombos Booster PAK, Look Ma! More MIDI 13: Country & Americana, Instrumental Studies Set 22: 2-Hand Piano Soloing - Rhythm Changes, MIDI SuperTracks Set 44: Jazz Piano, Artist Performance Set 17: Songs with Vocals 7, Playable RealTracks Set 4, RealDrums Stems Set 7: Jazz with Mike Clark, and more!
Upgrade to the 2025 49-PAK for just $49 and add 20 Bonus Unreleased RealTracks and 20 RealStyles, FLAC Files for the 20 Bonus Unreleased RealTracks, Look Ma! More MIDI 14: SynthMaster, MIDI SuperTracks Set 45: More SynthMaster, Artist Performance Set 18: Songs with Vocals 8, and RealDrums Stems Set 8: Pop, Funk & More with Jerry Roe.
Learn more about the Bonus PAKs!
New RealTracks Released with Band-in-a-Box 2025!
We’ve expanded the Band-in-a-Box® RealTracks library with 202 incredible new RealTracks (in sets 449-467) across Jazz, Blues, Funk, World, Pop, Rock, Country, Americana, and Praise & Worship—featuring your most requested styles!
Jazz, Blues & World (Sets 449–455):
These RealTracks includes “Soul Jazz” with Neil Swainson (bass), Mike Clark (drums), Charles Treadway (organ), Miles Black (piano), and Brent Mason (guitar). Enjoy “Requested ’60s” jazz, classic acoustic blues with Colin Linden, and more of our popular 2-handed piano soloing. Plus, a RealTracks first—Tango with bandoneon, recorded in Argentina!
Rock & Pop (Sets 456–461):
This collection includes Disco, slap bass ‘70s/‘80s pop, modern and ‘80s metal with Andy Wood, and a unique “Songwriter Potpourri” featuring Chinese folk instruments, piano, banjo, and more. You’ll also find a muted electric guitar style (a RealTracks first!) and “Producer Layered Guitar” styles for slick "produced" sound.
Country, Americana & Praise (Sets 462–467):
We’ve added new RealTracks across bro country, Americana, praise & worship, vintage country, and songwriter piano. Highlights include Brent Mason (electric guitar), Eddie Bayers (drums), Doug Jernigan (pedal steel), John Jarvis (piano), Glen Duncan (banjo, mandolin & fiddle), Mike Harrison (electric bass) and more—offering everything from modern sounds to heartfelt Americana styles
Check out all the 202 New RealTracks (in sets 456-467)
And, if you are looking for more, the 2025 49-PAK (for $49) includes an additional 20 RealTracks with exciting new sounds and genre-spanning styles. Enjoy RealTracks firsts like Chinese instruments (guzheng & dizi), the bandoneon in an authentic Argentine tango trio, and the classic “tic-tac” baritone guitar for vintage country.
You’ll also get slick ’80s metal guitar from Andy Wood, modern metal with guitarist Nico Santora, bass player Nick Schendzielos, and drummer Aaron Stechauner, more praise & worship, indie-folk, modern/bro country with Brent Mason, and “Songwriter Americana” with Johnny Hiland.
Plus, enjoy user-requested styles like Soul Jazz RealDrums, fast Celtic Strathspey guitar, and Chill Hop piano & drums!
The 2025 49-PAK is loaded with other great new add-ons as well. Learn more about the 2025 49-PAK!
Bonus PAKs for Band-in-a-Box 2025 for Mac!
With your version 2025 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Or upgrade to the 2025 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2025 RealCombos Booster PAK:
-For Pro customers, this includes 33 new RealTracks and 65+ new RealStyles.
-For MegaPAK customers, this includes 29 new RealTracks and 45+ new RealStyles.
-For UltraPAK customers, this includes 20 new RealStyles.
- Look Ma! More MIDI 13: Country & Americana
- Instrumental Studies Set 22: 2-Hand Piano Soloing - Rhythm Changes
- MIDI SuperTracks Set 44: Jazz Piano
- Artist Performance Set 17: Songs with Vocals 7
- Playable RealTracks Set 4
- RealDrums Stems Set 7: Jazz with Mike Clark
- SynthMaster Sounds and Styles (with audio demos)
- 128 GM MIDI Patch Audio Demos.
Looking for more great add-ons, then upgrade to the 2025 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyles,
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- Look Ma! More MIDI 14: SynthMaster,
- Instrumental Studies Set 23: More '80s Hard Rock Soloing,
- MIDI SuperTracks Set 45: More SynthMaster
- Artist Performance Set 18: Songs with Vocals 8
- RealDrums Stems Set 8: Pop, Funk & More with Jerry Roe
Learn more about the Bonus PAKs for Band-in-a-Box® 2025 for Mac®!
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Mac!
Xtra Styles PAK 20 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Mac!
We've just released XPro Styles PAK 9 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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