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Just because I believe the copyright laws should be modified, does not mean I don't respect the right of the copyright holder to profit on his/her work.
As I also indicated:
1) I have a few dozen copyrights
2) I abide by the laws as written
But in a democratic republic such as the USA, sometimes the laws are not strong enough, sometimes they are too strong. The flexibility to change that is built into the system.
I believe the copyright laws are necessary, but I think a little revision could make them better and more fair to all.
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Interesting info, thanks for posting.
Later,
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Actually, the evidence indicates that Happy Birthday is not under copyright. Edit: Correction to above: I meant to write "should not be under copyright". I should not have written that I disputed that it has a copyright, but instead that copyright should never have been assigned.  The main reason that "Happy Birthday" still gets royalties is that it's cheaper to pay the royalties than contest it. The melody is from the 1893 song "Good Morning To You" (now in public domain). The lyric was grafted from a pre-existing version of "Happy Birthday". It appears that grafting the two may have been done by the author's students. In fact, "Happy Birthday To You" was published (not by the authors) in 1912 with instructions to sing the song to the tune of "Good Morning To You" with these alternate lyrics. Then in 1935, a company claimed "Happy Birthday To You" was their own work - over 20 years after it had been published in that form. They'd been profiting from it ever since.
Last edited by dcuny; 06/06/14 10:08 AM.
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Here in Germany, actually in the entire European Union, in 2016 the copyright to "Happy Birthday" ends.
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From what I understand.....HAPPY BIRTHDAY is still under copyright protection and will be for another 16 years or so. What Snopes has to say about it. Could be.... that's why the Beatles did a totally different song about birthdays?
Last edited by Guitarhacker; 06/06/14 04:49 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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From what I understand.....HAPPY BIRTHDAY is still under copyright protection and will be for another 16 years or so. What Snopes has to say about it. Could be.... that's why the Beatles did a totally different song about birthdays? And why most every restaurant that has the wait staff sing to the birthday person has a different birthday song. If the staff would sing that one song and only that one song to birthday people, and if that was the only song ever sung in that restaurant, the restaurant would have to buy an ASCAP license. It's an example of what I think is excessive about current copyright laws. Again, I support copyright, but think some fine tuning should be applied -- and I'm not sure exactly how much tuning is needed. Insights and incites by Notes
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2030 -- that is for the U.S. and only because that song is so old that the copyright registration counts more than the passing of the authors (if I understand that correctly).
Copyright of a song passes away in Europe at the 31st of December of the year +70 after the last author passed away. Patty Hill died in 1946 + 70 = 2016. In the Europe there will be no more royalties paid for "Happy Birthday to You" effective January 1st, 2017.
Warner must find another source of income here.
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I didn't mean say that the song wasn't copyrighted, I meant to say that it shouldn't be under copyright. Sorry about that! The Snopes article (written in 2007) says: - The sisters wrote "Good Morning To You".
- They didn't write the lyrics "Happy Birthday To You".
- The song - with the "Happy Birthday" lyrics - was published.
- After it became popular, a company claimed copyright to the song.
Even Snopes says that it is "murky", because no one knows who put the words to the Hill's song. The Salon article (written in 2011) goes into further detail on this. Since the melody is in public domain at this point, and the company claimed copyright on the song that there's clear published evidence that they didn't write, they never should have been granted copyright to the song. That's clear from Snopes as well. As the Salon article points out, the only reason that the copyright continues to stand is because it's cheaper to pay the licensing than to contest it.
Last edited by dcuny; 06/07/14 01:56 AM. Reason: I kant spel
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I have never understood this thing with songs, it is stupid in my opinion to ask money because someone sings a cover song; why the different agencies demand money for people singing in clubs and the like.
Just my opinion: unless you record it and sale it; then it should not matter if you sing it, and that goes for any song whether it is the latest hit or something from the 20's. There is a difference between a true professional who records another singer or songwriters song and makes money from it's sale (and by this I mean an artist signed to a record label) not just a bar or lounge singer who might get paid to perform. Now if the band in the bar records their show and makes a CD or dvd and sales it, or has previously made cds with cover songs to sale then yeah they need to pay. But If I sing a cover song here in Ky, It is not effecting the original performer and songwriter one bit, I have not robbed them, it has not taken any money from them. Now if I record it and start selling it, then I believe the royalties should be given them just like any professional artist would have to. Next thing they will be asking carpenters to pay royalties each time they use their name brand hammers, LOL!
Of course it is the law so we have to go by the rules no matter how ignorant they are.
My TunesPsalm 57:7 My heart, O God, is steadfast, my heart is steadfast; I will sing and make music.
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I have never understood this thing with songs, it is stupid in my opinion to ask money because someone sings a cover song; why the different agencies demand money for people singing in clubs and the like.
Just my opinion: unless you record it and sale it; then it should not matter if you sing it, and that goes for any song whether it is the latest hit or something from the 20's. There is a difference between a true professional who records another singer or songwriters song and makes money from it's sale (and by this I mean an artist signed to a record label) not just a bar or lounge singer who might get paid to perform. Now if the band in the bar records their show and makes a CD or dvd and sales it, or has previously made cds with cover songs to sale then yeah they need to pay. But If I sing a cover song here in Ky, It is not effecting the original performer and songwriter one bit, I have not robbed them, it has not taken any money from them. Now if I record it and start selling it, then I believe the royalties should be given them just like any professional artist would have to. Next thing they will be asking carpenters to pay royalties each time they use their name brand hammers, LOL!
Of course it is the law so we have to go by the rules no matter how ignorant they are. You might feel differently if you were the owner of the copyright. The cover band, club owner, wait staff and everyone else making money at the venue are making money off the song. The song that the writer has written, demoed, pitched and contracted to a publisher who has re-demoed, produced, shopped, promoted and contracted to a record company, etc. 99% of songs produced do not even recoup the expense of producing them. The 1% that are “hits” sustain the entire industry. Should they be offered for free, when everyone else down the chain profits from them?
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Dang... we just sang "Happy Birthday" in a restaurant a few nights ago to my 11 year old niece for her birthday.
I bet we owe some royalties for that "public performance" of the song.....
ssssshhhhh.. don't tell anyone....OK?
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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Dang... we just sang "Happy Birthday" in a restaurant a few nights ago to my 11 year old niece for her birthday.
I bet we owe some royalties for that "public performance" of the song.....
ssssshhhhh.. don't tell anyone....OK? "ACTION NEWS 12 BREAKING NEWS... Music industry authorities tracked down a man who admitted in a computer forum to violating copyright law...."  given the small amounts of money the artists make on Spotify... if they catch you and you pay the penny you owe... do you get credit for the other 2,000 times the penny entitles you to sing the song?
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My own thoughts:
1) Copyrights should last either until the writer dies or 20 years if he/she dies sooner than 20 years after he/she writes it
2) Public performances in a not-for profit place should be fair use
3) Playing in a profit place like a bar/lounge should only be paid if an ASCAP or BMI agent notes every song that is being played and sends the list in so the songwriter gets royalties. Right now, how do they know what songs I sang in the Embassy Suites last night? The hotel paid their license, but ASCAP/BMI has no idea what we played. So who is going to get the money? It was a 50 year high school reunion. Did Neil Sedaka, Howard Greenfield, Otis Blackwell, Ritchie Adams, Malou Rene, Mack Gordon, Harry Warren, Hank Ballard, Bunny Wailer, Smokey Robinson, Barry Mann, Phil Spector, Cynthia Weill, Bernard Edwards, Nile Rodgers, Luis Demetrio, Pablo Beltran Ruiz and all the others get paid?
90db, if I played one of your songs, would you have gotten even one penny?
I played one of mine and didn't get royalties from it.
You can't ask the band for a playlist as we have none. We watch the crowd, call the next song sometimes only a few seconds before the first one ends, and then go right into the next song so as not to lose the dance floor. There is no time to jot them down, so it should be the responsibility of an agent of the performing rights society.
4) The publisher should not be allowed to make more money on the song than the songwriter. Who's song is it anyway?
Those are a few of the things I'd bring up to the table if someone invited me to a brainstorm session on how to change the copyright laws.
Notes
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“Playing in a profit place like a bar/lounge should only be paid if an ASCAP or BMI agent notes every song that is being played and sends the list in so the songwriter gets royalties. Right now, how do they know what songs I sang in the Embassy Suites last night? The hotel paid their license, but ASCAP/BMI has no idea what we played. So who is going to get the money? It was a 50 year high school reunion. Did Neil Sedaka, Howard Greenfield, Otis Blackwell, Ritchie Adams, Malou Rene, Mack Gordon, Harry Warren, Hank Ballard, Bunny Wailer, Smokey Robinson, Barry Mann, Phil Spector, Cynthia Weill, Bernard Edwards, Nile Rodgers, Luis Demetrio, Pablo Beltran Ruiz and all the others get paid?” Yes, they would have been paid, if you had made a simple MP3 recording of the performance, noted the songs and writers, and submitted the list to ASCAP/BMI. Otherwise, the royalties are paid into the “General Licensing Allocation.” In that case, the big fish get all the royalties. Now this practice should be changed, for sure. “90db, if I played one of your songs, would you have gotten even one penny?” Yes, if you had reported the performance to BMI. Although a whole penny might be optimistic.  “I played one of mine and didn't get royalties from it.” That's down to you. All of the PROs now have programs in place where artists can report their live performances and set lists, and get paid for shows in unsurveyed venues. The programs are ASCAP OnStage, BMI Live, and SESAC’s Live Performance Notification System. If you’re a member of one of these organizations and you aren’t using these programs yet, please check them out. You have a limited amount of time to input your live performances and get paid for them (between 3-6 months), so the sooner you get into the habit of reporting your live shows, the better. “The publisher should not be allowed to make more money on the song than the songwriter. Who's song is it anyway?” The split depends entirely on the contract between the writer and the publisher. Neither party has a gun to his head. (Except, of course, in the case of Don Corleone and Johnny Fontane) 
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@Notes: I like the way you think! I'd vote for your revisions to copyright law in a heartbeat!
@90db: you make excellent points, and almost certainly the information noted is news to most of us. Thanks for pointing out that by notifying the agencies of actual set lists, the correct artists can get paid instead of having the proceeds go into a general fund that only benefits an elite group
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Pat,
It's a bad system, to be sure. The big dogs get all the money. BMI,ASCAP. et al are a bunch of crooks. But then, so are the managers, booking agents, record companies, publishers,club owners and everyone else involved in the business.
The RIAA is the worst of the lot, but the indy world is changing all of that now. The people now have the technology, and that has the Mustache Petes running scared. There are artists making more money now marketing themselves than they ever would with a record deal.
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I don't see why the copyright laws can't follow patent laws and the "editions" section of the copyright laws - you have 25 years to make a buck then it goes into making the public domain richer - this in turn makes it possible for others to build on what has been created without onerous comliance requirements.
If I understand it correctly, this is exactly how copyright was first introduced, but the Walt Disney's and Sonny Bono's (and undoubtedly Sony/BMG's etc.) of the world managed to get it changed so they could continue making money. I understand this desire but causing it to happen makes a mockery of the original intent of copyright.
Thus the world ends up intellectually poorer instead of intellectually richer...
--=-- My credo: If it's worth doing, it's worth overdoing - just ask my missus, she'll tell ya --=--You're only paranoid if you're wrong!
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Pat,
It's a bad system, to be sure. The big dogs get all the money. BMI,ASCAP. et al are a bunch of crooks. But then, so are the managers, booking agents, record companies, publishers,club owners and everyone else involved in the business.
The RIAA is the worst of the lot, but the indy world is changing all of that now. The people now have the technology, and that has the Mustache Petes running scared. There are artists making more money now marketing themselves than they ever would with a record deal. even artists who never would have had a shot at a record deal.. and that pleases me enormously! Yeah, there are ways in whcih these are dark times in the music business... but I honestly think there is opportunity in chaos. Now is a time when clever people are having good luck making a buck without getting any middlemen at all involved. I wish everybody would boycott BMI and ASCAP so they couldn't have the power to show up somewhere and forbid anyone to play our music without paying a fee to them... WE give them that power when we join their ranks
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You might feel differently if you were the owner of the copyright.
I have told several folks here on the forum, as well as around my neck of the woods they were free to perform my songs all they want, I just ask that they not be recorded for profit. Although I have allowed a few to profit when they ask.
The cover band, club owner, wait staff and everyone else making money at the venue are making money off the song.
The staff at the club and the owner would make money anyway in most cases, music is just an added incentive to come in. Some live venues don't draw enough people to even pay the band so the club fits the bill or they pay them in food or drinks or the band plays for free. Then they are expected to turn around and shell out for royalty rights. Not cool in any form or fashion. They also have to pay to have the place cleaned up after said show and in a lot of cases expensive repairs due to damage done during said show.
The song that the writer has written, demoed, pitched and contracted to a publisher who has re-demoed, produced, shopped, promoted and contracted to a record company, etc.
99% of songs produced do not even recoup the expense of producing them. The 1% that are “hits” sustain the entire industry. Should they be offered for free, when everyone else down the chain profits from them?
Free is exactly what they are when they are performed in a club setting. No one can buy a copy of it, It will only be heard on the nights it is performed. It in no way effects the singer or songwriter's pocket at all; and may in fact help the original artist. When I was in high school Elvis Presley passed away. I use to go around singing Elvis' version of Trying to Get to You from His final concert album, yes I said album LOL. Some of my buddies said "who sings that?" and subsequently went out and bought Elvis' final Concert album because they wanted to hear his version of the song; this was before the day of the download. So I know that sometimes performing a cover song helps the artist out,(as if Elvis needed my help LOL again) and it never hurts them.
There is a difference in performing something where the same group of people will never hear it again I.E. a cover song in a club setting where most won't even remember the groups name, little on the song's sang;
and mass producing CD's for sale. In the case of the CD an artist might do a copy that would effect another artist's version and pocket, this is the reason you very seldom see 2 artist in the same genre of music cover the same song for release in the same year. Artist 1 knows if artist 2's version explodes they may lose money. You will see a rock group and a pop or country group do the same song as they know their audiences are different anyway.
But if artist 1 only sings in a club while artist 2 is on the billboard charts artist 1 has not in anyway hurt artist 2's sales; but as in the Elvis example may actually help artist 2.
How many of you have performed some where and somebody ask "who sings that song?"
The law is the law, and should be followed, but just because it is law does not mean it is makes sense or is right. It used to be against the law to spit on the sidewalk.
My TunesPsalm 57:7 My heart, O God, is steadfast, my heart is steadfast; I will sing and make music.
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You might feel differently if you were the owner of the copyright.
I have told several folks here on the forum, as well as around my neck of the woods they were free to perform my songs all they want, I just ask that they not be recorded for profit. Although I have allowed a few to profit when they ask.
The cover band, club owner, wait staff and everyone else making money at the venue are making money off the song.
The staff at the club and the owner would make money anyway in most cases, music is just an added incentive to come in. Some live venues don't draw enough people to even pay the band so the club fits the bill or they pay them in food or drinks or the band plays for free. Then they are expected to turn around and shell out for royalty rights. Not cool in any form or fashion. They also have to pay to have the place cleaned up after said show and in a lot of cases expensive repairs due to damage done during said show.
The song that the writer has written, demoed, pitched and contracted to a publisher who has re-demoed, produced, shopped, promoted and contracted to a record company, etc.
99% of songs produced do not even recoup the expense of producing them. The 1% that are “hits” sustain the entire industry. Should they be offered for free, when everyone else down the chain profits from them?
Free is exactly what they are when they are performed in a club setting. No one can buy a copy of it, It will only be heard on the nights it is performed. It in no way effects the singer or songwriter's pocket at all; and may in fact help the original artist. When I was in high school Elvis Presley passed away. I use to go around singing Elvis' version of Trying to Get to You from His final concert album, yes I said album LOL. Some of my buddies said "who sings that?" and subsequently went out and bought Elvis' final Concert album because they wanted to hear his version of the song; this was before the day of the download. So I know that sometimes performing a cover song helps the artist out,(as if Elvis needed my help LOL again) and it never hurts them.
There is a difference in performing something where the same group of people will never hear it again I.E. a cover song in a club setting where most won't even remember the groups name, little on the song's sang;
and mass producing CD's for sale. In the case of the CD an artist might do a copy that would effect another artist's version and pocket, this is the reason you very seldom see 2 artist in the same genre of music cover the same song for release in the same year. Artist 1 knows if artist 2's version explodes they may lose money. You will see a rock group and a pop or country group do the same song as they know their audiences are different anyway.
But if artist 1 only sings in a club while artist 2 is on the billboard charts artist 1 has not in anyway hurt artist 2's sales; but as in the Elvis example may actually help artist 2.
How many of you have performed some where and somebody ask "who sings that song?"
The law is the law, and should be followed, but just because it is law does not mean it is makes sense or is right. It used to be against the law to spit on the sidewalk.
That was a very verbose defense of what is basically theft. “The staff at the club and the owner would make money anyway in most cases, music is just an added incentive to come in. Some live venues don't draw enough people to even pay the band so the club fits the bill or they pay them in food or drinks or the band plays for free. Then they are expected to turn around and shell out for royalty rights. Not cool in any form or fashion. They also have to pay to have the place cleaned up after said show and in a lot of cases expensive repairs due to damage done during said show.” Go to many clubs, Robert? Do you play in many? We're playing in a place tonight that has live music 7 nights a week. They have excellent food, but the live music is the draw. Without the live music, they wouldn't sell any food. Before you lament the “poor” club owner's plight, you might want to learn a bit about the business. Do you know what a bottle of Jack Daniels costs? Do you know how much money that one bottle generates when sold by the shot? Here is a bit of info on bar pricing: http://www.allaboutbarsinfo.com/how-to-price-a-drink/“Free is exactly what they are when they are performed in a club setting.” No, they are not 'free'. They are copyright-protected intellectual property; you know, as in “Thou Shalt Not Steal”.
Last edited by 90 dB; 06/09/14 03:23 AM. Reason: Link
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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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