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Recording, Mixing, Performance and Production
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When you finally learn how to mix properly, the mixes you produce will sound reasonably good on every system they are played on. It's the amateurs who mix to their "studio" speakers and then play it in a car and are disappointed by the unbalanced mix.
Do you seriously think the big mixing studios have the time to model every single environment where a song might be played? Absolutely not. They know what they are doing and they use one set of monitors consistently. Some of them may take the time to "check the mix" (probably spot checking) on a mono rig. I'm sure some do, but most of them know what they're doing and don't need to, or have the time, to check their work on a dozen different speakers or environments. but most of the people on this forum aren't big-time full-time recording engineers who have the time or experience to attain that mastery. Forum discussion, by its very nature, is about exchanging ideas, techniques and product information to help one another improve.
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Recording, Mixing, Performance and Production
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Joined: Oct 2008
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post removed because upon further reading I conclude that it was probably wrong wrong all wrong. 
Last edited by Pat Marr; 07/13/14 03:10 PM. Reason: unwillingness to spread misconceptions
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Recording, Mixing, Performance and Production
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Joined: Jun 2000
Posts: 2,499
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Josie, and Critter,
...
But, one of the biggest issues that we have as a small company is that people don't really know what they are listening to. I could record a Steinway Grand Piano in a concert hall with two mics, and the present it to you in three forms, a.) unaltered, b.) with a small amount of harmonic distortion, and c.) louder, and you would probably pick 'B' or 'C' as the better sounding. Why? Because most people do not know what a properly mic'd piano in a concert hall really sounds like.
...
Gary Just for fun a good experiment would be to have a 100 listeners (50 musicians and 50 music lovers but non-musicians), one at a time, sit blindfolded in the same concert hall at a to be defined "optimum" listening position (whatever that means, but they must sit way off stage in the audience seating area, not on or near stage) with a that SAME recorded piano: 1) live or actual and we'll call that option a.) true 2- though "top 'o the line" monitors, and clearly best uncolored power amps money can buy, positioned at same location as piano (listener should not be able to tell acoustically that anything has moved or is "different") using your b.) unaltered, c.) with a small amount of harmonic distortion, and d.) louder. Then get them to pick BEST - overall (one out of four) and also - A versus B (true versus unaltered) - actually can they tell true from sampled???? I wonder what sampling results would look like? And what would conclusion be if a statistically significant number of musicians do NOT PICK the actual live piano (they pick options b, c, or d at alpha of say .1 (please note: this is a fast and badly defined, and designed, experiment by me; therefore, the beta is uncontrolled, which is a very bad way to put together a statistical test experiment but hey, I'm retired and not being paid to do this anymore either <G>)
Win10Pro,i9,64GB,2TBSSD+20TBHDDs,1080TI,BIAB'24,Scarlett18i8,Montage7,Fusion 8HD,QS8,Integra7,XV5080,QSR,SC-8850,SPLAT,FL21&others,Komp.14,IK suite&others, just a guitar player-AXE FX III &FM9T, FishmanTP, MIDIGuitar2, GK2/3'sw/GI20
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Recording, Mixing, Performance and Production
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Joined: Apr 2010
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"Or if you are recording backing tracks for use on gigs, you could model your PA speakers actual frequency response, then model various sized rooms."
I have found that I get much better results by actually doing final mix EQ tweaks through the mixer/amp/PA speakers. With my large rig, that usually requires pulling out some low-mids.
The frequency response difference between phones, near fields and PA enclosures is huge, and when you factor in the coloring of the board and amp, it's virtually impossible to simulate that combination.
While it's true that a well-mixed song should sound good on most systems, PA's are another matter.
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Recording, Mixing, Performance and Production
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Larry, your fun experiment brought back some fond memories! I few years ago we had two singers who would argue day and night about vocal reverb, one said spring reverb was the best and the other said digital reverb was the best. They both said that they could tell the difference! Each had their reverb units with them.
So we, the other members in the band, made them leave the room. We told them we would take one mic and one time plug it into a both reverbs. They left and I plugged the mic into the digital reverb, note the PA settings were identical for both tests. They both sang accapella, then left the room. I did nothing. They came back, sang again and proceeded to argue with was better. Of course one took the first variation and the other the second!
Of course they were mad at me and the band broke up a short while later.
Dad, how will I know when I've become an adult.
When your day is ruined because they rearranged the grocery store.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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Recording, Mixing, Performance and Production
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Joined: Feb 2010
Posts: 681
Journeyman
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OP
Journeyman
Joined: Feb 2010
Posts: 681 |
Too end this thread, let me just see what you all are using and let's go from there. If I don't have to I don't want to spend over $500.00 a pair. My Sweetwater rep says I should go for the Focal Alpha 50 and or the Yamaha MSP 7, both with the front bass ports which I want, the Yamahas are $399.00 each and the Focal Alpha 50 are $299.00 each. To me it's a lot of money. The Presonus Eris series, sound ok, but reviews with failing monitors, also the Behringer Truth 3030a sounds good but then the reviews with failing monitors. Let's here what you guys have and the good and the bad of the monitors.........Thanks
Critter
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Recording, Mixing, Performance and Production
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Joined: Apr 2009
Posts: 10,885
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Joined: Apr 2009
Posts: 10,885 |
When you finally learn how to mix properly, the mixes you produce will sound reasonably good on every system they are played on. It's the amateurs who mix to their "studio" speakers and then play it in a car and are disappointed by the unbalanced mix.
Do you seriously think the big mixing studios have the time to model every single environment where a song might be played? Absolutely not. They know what they are doing and they use one set of monitors consistently. Some of them may take the time to "check the mix" (probably spot checking) on a mono rig. I'm sure some do, but most of them know what they're doing and don't need to, or have the time, to check their work on a dozen different speakers or environments. but most of the people on this forum aren't big-time full-time recording engineers who have the time or experience to attain that mastery. Forum discussion, by its very nature, is about exchanging ideas, techniques and product information to help one another improve. Yep.... most here are "Amateurs". That term is often used in a derogatory manner by those who consider themselves to be "professionals". However, it comes from the root word Amore (in one language or another)...it means LOVE. Amateurs do what they do because of the LOVE of what they do.... in our case... that love is MUSIC. Yeah we don't do it for a profession, or fame or money..... we do it because we love doing it. That reason, however, isn't an excuse to be mediocre in our efforts. We should always strive to be the best we can be, learning and improving constantly. While we probably will not attain the skill set of the masters of the mixing world and set at the desk mixing a Streisand, Adele or Dion, we can, nonetheless, attain the level where we are producing top quality music mixes that sound good and work well across many listening environments.
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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Recording, Mixing, Performance and Production
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Joined: Feb 2010
Posts: 681
Journeyman
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OP
Journeyman
Joined: Feb 2010
Posts: 681 |
So in the end I got the KRK VXT6 monitors, and I can say holy crap what was I mixing, what a difference it makes. I didn't want to go this high end but I did get a deal thru Sweetwater, the monitors go for $449.99 each and I got the pair for $718.00, can't beat that. Sweetwater always does me right. All my songs are way out of where they should be. Lesson here, never use home type speakers as I did. Again I can't believe the difference...................
Critter
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Recording, Mixing, Performance and Production
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Joined: Jul 2014
Posts: 64
Enthusiast
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Enthusiast
Joined: Jul 2014
Posts: 64 |
Newbie here of about 3 weeks. I have a Korg SV 1. Use a Roland amp speaker no mixer. Just bought a JBL LSR 305 5" as a practice amp. I would like to run the audio from my Dell Inspiron 1464 where BIAB lives to these speakers. In the BIAB MIDI/Audio Drivers setup window I currently have no MIDI input driver chosen. MIDI output is set to Microsoft GS wavetable Synth. Synthesizer/Sound Card is set to General MIDI instrument Misc. I have have not altered any settings....all are factory default/ recommended.
Thanks,
Bud
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Recording, Mixing, Performance and Production
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Joined: Aug 2014
Posts: 4
Newbie
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Newbie
Joined: Aug 2014
Posts: 4 |
i use a pair of 30 year old studiosonics *they were created by PHILIPS but a diffrend brand for east european countrys. i bought them off a friend for 100 euros a couple of years ago and have been using them sinds. i only found one other pair on ebay a year ago for 300 dollars from a studio in usa. you dont need verry expensive speakers , but dont go for the cheepest to , use a good nearfield speaker and most importend realy get to know your speakers as if you get to know a real friend. listen to them a lot with a lot of differend music styles.... best way to get to know your studio monitors ,
Last edited by LeoVB; 08/24/14 05:57 AM.
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Recording, Mixing, Performance and Production
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Joined: Dec 2003
Posts: 8,987
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I may be late to this dance but, upon Mac's recommendation, I bought a pair of Barry MS-40 Near-Field Monitors and I haven't looked back. In my room (16' x 16'), 40W is paint/wallpaper pealing power.
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Holiday Weekend Hours
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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!
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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.
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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®!
XPro & Xtra Styles PAK Sets On Sale Now - Until May 15, 2026!
All of our XPro Styles PAKs and Xtra Styles PAKs are on sale until May 15th, 2026!
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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 1-10 includes 1,000 styles!
Xtra Styles PAKs are styles that work with the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box® 2025 (or higher). Xtra Styles PAKs 1-21 includes 3,700 styles (and 35 MIDI styles)!
The XPro & Xtra Styles PAKs are not included in any Band-in-a-Box® package.
The XPro Styles PAKs 1-10 are available 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 Mac or for Windows.
The Xtra Styles PAKs 1-21 are available for only $29 ea (reg. $49 ea), or get them all in the Xtra Styles PAK Bundle for only $199 (reg. $349)! Listen to demos and order now! For Mac or for Windows.
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.
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 as they require the RealTracks included in the UltraPAK, UltraPAK+, or Audiophile Edition.
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Band-in-a-Box 2026 for Mac Videos
With the release of Band-in-a-Box® 2026 for Mac, we’re rolling out a collection of brand-new videos on our YouTube channel. We’ll keep this forum post updated so you can easily find all the latest videos in one convenient spot.
Whether you're exploring new features, checking out the latest RealTracks or Style PAKs, this is your go-to guide for Band-in-a-Box® 2026.
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