|
Log in to post
|
Print Thread |
|
|
|
|
|
Off-Topic
|
Joined: Jun 2012
Posts: 3,932
Veteran
|
Veteran
Joined: Jun 2012
Posts: 3,932 |
"what are the odds that someone will hear and steal your song..." People usually don't 'steal' the entire song. They'll steal the concept, the hook, the best part. Kind of like filleting a fish. You are left with the head and the guts.  it is certainly possible someone could steal part of your song! I also might hit the lottery or get hit by lightning! probably similar odds on all three!
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2009
Posts: 10,883
Veteran
|
|
Veteran
Joined: Apr 2009
Posts: 10,883 |
Exactly.....
I'm not saying DON'T copyright if that's what helps you sleep at night....
I agree 100% that with the majority of writers, the majority of the music they (we) (I) write is simply not written well enough that it is commercially viable. Hence, no reason in the world to copyright except for ego. I'm looking back at my early writings in reference to this and even some of the stuff I write now... no one wants that stuff.
There is no law on "stealing" an idea, concept, or groove from another song. Same thing with chord progressions.....I've seen a ton of YouTube videos showing band after band all playing the same progression in hit after hit..... no laws broken. Millions made. No law suits files.
Yeah, any protection is better than no protection, which is why I use Songuard. If I ever need to go to court over someone ripping off my tunes, of course I will get a copyright with the LOC and I will pay Songuard the fee to retrieve the song, plus my attorney will be getting all the other "proof"....server records and date stamps for uploads and internet sites. There is such a huge digital trail left behind these days..... and if all else fails there's always the NSA's records, becuase as we have come to find out, they are cataloging every bit of internet traffic and emails..... <<< that's a joke fellows about the NSA.... or is it?
The old trick of mailing it to yourself is totally a waste of time and money. With the ability of opening and resealing the package without leaving signs, no judge in the country would admit that as irrefutable, solid evidence in his courtroom.
There is also the possibility that someone will write a very similar melody or lyric as you. For example, I wrote a gospel song that no one heard but me. Riding down the road one day, listening to a local gospel music station, I heard a song that was "almost" my song in many aspects.... from the groove to the chords to the melody and even some of the words as I recall, not exact but similar..... I had never heard that song before, nor did I know the artist, nor did they know me, nor did they ever hear my song which was several years older than theirs...... but there it was. Totally amazed me, so there is that remote possibility as well.
It comes down to this: Do what you want.... what makes you feel safe. Always remember this one fact. A copyright from the LOC doesn't prevent anyone from stealing your song idea or melody or lyric and making a million bucks with it..... it just gives your lawyer one tiny bit of evidence to present to a judge and jury stating that you have a claim to that song's royalties...... remembering that the other writer also has a legal team and they will be presenting the argument that his client's song was not ripped from your song and that the case should be dismissed because you're just a greedy, wanna be writer who sees a chance to steal money from his client.
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.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jan 2013
Posts: 1,334
Expert
|
|
Expert
Joined: Jan 2013
Posts: 1,334 |
I agree 100% that with the majority of writers, the majority of the music they (we) (I) write is simply not written well enough that it is commercially viable. Hence, no reason in the world to copyright except for ego. I'm looking back at my early writings in reference to this and even some of the stuff I write now... no one wants that stuff. I concur with the above. Even though I'm very critical of my writing efforts I'm pleased with the songs/lyrics I've written and I've never copyrighted anything. I don't take myself that seriously and have no illusions about my place in the music world. From my perspective, to think someone would actually rip off one of my songs from soundclick is nothing short of delusional. If anything of mine was stolen (so to speak) they'd be better served by taking a Pop Songwriting For Mass appeal course. As stated, if it would occur our efforts can be digitally proven/verified anyway. Ohhh....the litigation that would follow.  That's my take on it...
Last edited by chulaivet1966; 09/09/14 07:12 AM.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2010
Posts: 5,139
Veteran
|
|
Veteran
Joined: Apr 2010
Posts: 5,139 |
"Ego"? Just good business practice. If you're pitching to publishers, producers or music directors, you had better have a CR on the material. If you're writing just to post on Soundcloud, don't bother. Personally, I'll rely on the professionals to determine if the material is "commercially viable" or not.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2009
Posts: 10,883
Veteran
|
|
Veteran
Joined: Apr 2009
Posts: 10,883 |
"Ego"? Just good business practice. If you're pitching to publishers, producers or music directors, you had better have a CR on the material. If you're writing just to post on Soundcloud, don't bother. Personally, I'll rely on the professionals to determine if the material is "commercially viable" or not. Yeah... Ego. Seriously, if the songs are not professional at their basic core..... writing, lyrics, composition, structure.... it's ego. But hey... we all fell into that mindset once upon a time. We all thought those first songs where the next super smash #1 hit by the artist of the day..... ahhh to dream.... but the reality was far different. That's why I have LOC copyrights on ALL my early songs. Recent songs.... nope. Ain't happening, not LOC.... read on to see why. I do pitch to publishers and libraries quite often when I write new material. I have quite a number of my tunes in those libraries and publishing houses. Dealing with reputable music industry professionals is the best way to go. I send material out all the time and it gets signed and it's NOT LOC copyrighted. It's not a problem. No one has ever sent my music back because it wasn't LOC copyrighted. I has been sent back for a myriad of other reasons.... too traditional, too country, too slow, too fast, too this, too that... but never for too un-protected. Never had that excuse used yet. With the number of musical cues I write.... short things that are 5 seconds and 15 seconds long for TV.... copyrighting would be a full time job for me. I've even had one major library president tell me to "please don't file a copyright form for your songs in the future".... the reason being is that THEY will do the copyright since the song is no longer my property when I sign it to them. If I have copyrighted it, they have to be sure the Form PA registration number of the original song matches exactly in the extra section on the form they need to fill out. A typo causes problems. Other publishers and libraries that I currently work with have echoed his sentiments and ask me not to register the songs with BMI since THEY will also have their staff handle that. I looked at my BMI account several months back and sure enough.... that library had listed every single cue I sent them and it was all there in my BMI catalog. If you're not dealing with reputable publishers and libraries I can understand your reluctance to send out uncopyrighted material. However, when you record the song to a tangible medium, it is automatically copyrighted by law. Essentially, it's not something you need to worry about as a writer unless you are self publishing the material. If you are letting another company represent you..... they will handle all the paperwork and cover all the costs involved for LOC.
Last edited by Guitarhacker; 09/09/14 09:43 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.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2010
Posts: 5,139
Veteran
|
|
Veteran
Joined: Apr 2010
Posts: 5,139 |
"Ego"? Just good business practice. If you're pitching to publishers, producers or music directors, you had better have a CR on the material. If you're writing just to post on Soundcloud, don't bother. Personally, I'll rely on the professionals to determine if the material is "commercially viable" or not. Yeah... Ego. Seriously, if the songs are not professional at their basic core..... writing, lyrics, composition, structure.... it's ego. But hey... we all fell into that mindset once upon a time. We all thought those first songs where the next super smash #1 hit by the artist of the day..... ahhh to dream.... but the reality was far different. That's why I have LOC copyrights on ALL my early songs. Recent songs.... nope. Ain't happening, not LOC.... read on to see why. I do pitch to publishers and libraries quite often when I write new material. I have quite a number of my tunes in those libraries and publishing houses. Dealing with reputable music industry professionals is the best way to go. I send material out all the time and it gets signed and it's NOT LOC copyrighted. It's not a problem. No one has ever sent my music back because it wasn't LOC copyrighted. I has been sent back for a myriad of other reasons.... too traditional, too country, too slow, too fast, too this, too that... but never for too un-protected. Never had that excuse used yet. With the number of musical cues I write.... short things that are 5 seconds and 15 seconds long for TV.... copyrighting would be a full time job for me. I've even had one major library president tell me to "please don't file a copyright form for your songs in the future".... the reason being is that THEY will do the copyright since the song is no longer my property when I sign it to them. If I have copyrighted it, they have to be sure the Form PA registration number of the original song matches exactly in the extra section on the form they need to fill out. A typo causes problems. Other publishers and libraries that I currently work with have echoed his sentiments and ask me not to register the songs with BMI since THEY will also have their staff handle that. I looked at my BMI account several months back and sure enough.... that library had listed every single cue I sent them and it was all there in my BMI catalog. If you're not dealing with reputable publishers and libraries I can understand your reluctance to send out uncopyrighted material. However, when you record the song to a tangible medium, it is automatically copyrighted by law. Essentially, it's not something you need to worry about as a writer unless you are self publishing the material. If you are letting another company represent you..... they will handle all the paperwork and cover all the costs involved for LOC. Whatever, Sparky.
Last edited by 90 dB; 09/09/14 12:10 PM. Reason: Mercy
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2007
Posts: 277
Apprentice
|
|
OP
Apprentice
Joined: Apr 2007
Posts: 277 |
Thanks for the link rockstar_not, I sent a reply to the copyright office with the link and explanation. The response so far has been deafening electrical/digital silence. I have been reading quite a bit on copyright, streaming media, the rich getting rich, the poor getting poorer etc. We live in a fascinating time to say the least. Thanks again for your efforts in helping me hold onto that $20. It is appreciated!
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2007
Posts: 277
Apprentice
|
|
OP
Apprentice
Joined: Apr 2007
Posts: 277 |
This has been a very informative thread for me. I find the topic of copyright interesting to say the least. For the immediate future I plan to bundle materials to maximize "bang for buck" when submitting as reminded by MarioD I believe, a practice I have used in the past, but not strictly adhered to. One might argue that, with the state of current streaming radio/record label practices and the dwindling returns many artists and songwriters are seeing on their work, copyrights aren't worth the paper they are printed on. But, ever the optimist, I will copyright (I self publish by the way)in the hopes of 1) getting a lucky tune before getting struck by lightning or winning the lotto (although I would accept winning the lotto as a consolation prize) 2) an enlightened/updated copyright enforcement that might actually benefit more equally the creators of the product, especially if the lucky tune hits . Regarding ego, I would like to think the motivation for copyright is not so much one of ego and one of faith in one's efforts/product. If you don't believe in your own efforts, one might argue why would anyone else give it a look. That said, no need to throw money at it in piles. 50 songs copyrighted at $55 appears a much more effective business model than one song at $35 (+ $20!!?). Off the soapbox...Here are a couple fun articles I have run across in my continuing education regarding copyright/artists/industry and struggles past and present: http://illusionofmore.com/bit-copyright-film-history/http://www.salon.com/2014/08/31/david_lowery_heres_how_pandora_is_destroying_musicians/
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jun 2012
Posts: 3,932
Veteran
|
|
Veteran
Joined: Jun 2012
Posts: 3,932 |
If you don't believe in your own efforts, one might argue why would anyone else give it a look. That said, no need to throw money at it in piles. 50 songs copyrighted at $55 appears a much more effective business model than one song at $35 (+ $20!!?). It always comes down to where you decide to draw the line. So, sounds like you "believe in your own efforts" if it costs "50 songs copyrighted at $55 appears" but maybe not when it is "one song at $35 (+ $20!!)"!  I happen to share that viewpoint.
Last edited by JohnJohnJohn; 09/10/14 12:12 AM.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jun 2012
Posts: 3,932
Veteran
|
|
Veteran
Joined: Jun 2012
Posts: 3,932 |
"Ego"? Just good business practice. If you're pitching to publishers, producers or music directors, you had better have a CR on the material. If you're writing just to post on Soundcloud, don't bother. Personally, I'll rely on the professionals to determine if the material is "commercially viable" or not. Yeah... Ego. Seriously, if the songs are not professional at their basic core..... writing, lyrics, composition, structure.... it's ego. But hey... we all fell into that mindset once upon a time. We all thought those first songs where the next super smash #1 hit by the artist of the day..... ahhh to dream.... but the reality was far different. That's why I have LOC copyrights on ALL my early songs. Recent songs.... nope. Ain't happening, not LOC.... read on to see why. I do pitch to publishers and libraries quite often when I write new material. I have quite a number of my tunes in those libraries and publishing houses. Dealing with reputable music industry professionals is the best way to go. I send material out all the time and it gets signed and it's NOT LOC copyrighted. It's not a problem. No one has ever sent my music back because it wasn't LOC copyrighted. I has been sent back for a myriad of other reasons.... too traditional, too country, too slow, too fast, too this, too that... but never for too un-protected. Never had that excuse used yet. With the number of musical cues I write.... short things that are 5 seconds and 15 seconds long for TV.... copyrighting would be a full time job for me. I've even had one major library president tell me to "please don't file a copyright form for your songs in the future".... the reason being is that THEY will do the copyright since the song is no longer my property when I sign it to them. If I have copyrighted it, they have to be sure the Form PA registration number of the original song matches exactly in the extra section on the form they need to fill out. A typo causes problems. Other publishers and libraries that I currently work with have echoed his sentiments and ask me not to register the songs with BMI since THEY will also have their staff handle that. I looked at my BMI account several months back and sure enough.... that library had listed every single cue I sent them and it was all there in my BMI catalog. If you're not dealing with reputable publishers and libraries I can understand your reluctance to send out uncopyrighted material. However, when you record the song to a tangible medium, it is automatically copyrighted by law. Essentially, it's not something you need to worry about as a writer unless you are self publishing the material. If you are letting another company represent you..... they will handle all the paperwork and cover all the costs involved for LOC. Herb, Just a quick note to say "thanks" for sharing your experience and insights on this topic with the rest of us! I appreciate that! -John
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2007
Posts: 277
Apprentice
|
|
OP
Apprentice
Joined: Apr 2007
Posts: 277 |
+ 1 Herb, thank you as well, (and John And everyone who took time to respond).
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2007
Posts: 277
Apprentice
|
|
OP
Apprentice
Joined: Apr 2007
Posts: 277 |
Just for completeness, I did get a reply from the LOC that helped clarify things. I believe it's just an condition of the single application firm. All is well.
.....
..Copyright response
....concerning the Single Application, if you composed and performed the music using the Band in the Box software solely as the “instrument” or voice, it is eligible for Single Application. But if the software itself created some of the musical content by using computer-generated means, or if it incorporates any pre-fab tracks or other software-generated content in the piece, then the work does not qualify for the Single Application.
The rules for Single Application apply to purely to the content of the deposit, even if you are the only author of the work, have sole rights to the work, etc.....(end quote)
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2009
Posts: 10,883
Veteran
|
|
Veteran
Joined: Apr 2009
Posts: 10,883 |
Just for completeness, I did get a reply from the LOC that helped clarify things. I believe it's just an condition of the single application firm. All is well.
.....
..Copyright response
....concerning the Single Application, if you composed and performed the music using the Band in the Box software solely as the “instrument” or voice, it is eligible for Single Application. But if the software itself created some of the musical content by using computer-generated means, or if it incorporates any pre-fab tracks or other software-generated content in the piece, then the work does not qualify for the Single Application.
The rules for Single Application apply to purely to the content of the deposit, even if you are the only author of the work, have sole rights to the work, etc.....(end quote)
So, essentially... if you wrote the song, and entered the chords yourself, it qualifies, BUT.... if you let BB compose the song for you, as it is capable of doing..... it doesn't.
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.
|
|
|
|
|
|
|
|
|
|
|
|
Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
|
|
|
|
|
|
|
|
|
|
|
Holiday Weekend Hours
It's Victoria Day Long Weekend in Canada. Our Customer Service hours are:
Saturday, May 16: Closed
Sunday, May 17: Closed
Monday, May 18: 8:00am - 4:00pm
Regular hours resume Tuesday, May 19th!
Today's the Last Day of the Band-in-a-Box 2026® for Mac Special!
Order before 11:59pm PDT today (May 15, 2026) to save up to 50% off your Band-in-a-Box® 2026 for Mac® upgrade and receive a FREE Bonus PAK loaded with great new Add-ons to use with this new version!
Don't wait - order today!
Check out all the new features in the redesigned Band-in-a-Box® 2026 for Mac®!
Band-in-a-Box® 2026 for Mac - Special Offers End at 11:59pm PDT on Friday, May 15th, 2026!
Order before 11:59pm PDT on Friday, May 15th and SAVE up to 50% on most Band-in-a-Box® version 2026 for Mac Upgrade packages... and that's not all! With your version 2026 for Mac purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Upgrade to the 2026 49-PAK to receive even more NEW Add-ons including 20 additional RealTracks... that's 222 NEW RealTracks available with version Band-in-a-Box® 2026 for Mac!
Upgrade to Band-in-a-Box® 2026 for Mac® today for as little as $49! Check out the Band-in-a-Box® packages page for all available purchase options.
Learn more about the Free Bonus PAK and 49-PAK here.
If you have any questions about which package is the best option for you, just let us know. We're here to help!
202 New RealTracks Released with Band-in-a-Box 2026!
With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
Jazz, Funk & World (Sets 468-475):
Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
2026 Free Bonus PAK & 49-PAK for Band-in-a-Box® 2026 for Mac®!
With your version 2026 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons for FREE! Or upgrade to the 2026 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2026 RealCombos Booster PAK:
-For Pro customers, this includes 27 new RealTracks and 23 new RealStyles.
-For MegaPAK customers, this includes 25 new RealTracks and 23 new RealStyles.
-For UltraPAK customers, this includes 12 new RealStyles.
- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
Looking for more great add-ons, then upgrade to the 2026 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyle.
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
- RealDrums Stems Set 10: Groovin' Sticks
- SynthMaster Sounds & Styles Set 2 (sounds & styles with audio demos)
Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
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!
It's the perfect time to expand your Band-in-a-Box® style library with XPro and Xtra Styles PAKs. These additional styles for Band-in-a-Box® offer a wide range of genres designed to fit seamlessly into your projects. Each style is professionally arranged and mixed, helping enhance your songs while saving you time.
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.
Supercharge your Band-in-a-Box today with XPro Styles PAKs and Xtra Styles PAK Sets!
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.
Check out this forum post for "One Stop Shopping" of our Band-in-a-Box® 2026 Mac Videos!
|
|
|
|
|
|
|
|
|
|
|
|
Forums57
Topics86,306
Posts803,041
Members40,087
| |
Most Online64,515
Apr 8th, 2026
|
|
|
|
|
|
|
|
|
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean