|
Log in to post
|
Print Thread |
|
|
|
|
|
Off-Topic
|
Joined: Mar 2007
Posts: 1,342
Expert
|
Expert
Joined: Mar 2007
Posts: 1,342 |
Citaat:
I do not recommend asking the audience over the mic for their opinion about sound levels AT. ALL.
--Mac
Mac's right.
The audience knows sh*t about making music and, for that matter, music at all. ( disclaimer: most of 'em) And above all that: the audience is there to have a party, not to disect the musical performance of the musicians.
So, let them have a good party and worry about the music and soundsystem yourself (after all, if you know your music, the soundsystem is a piece of cake). If there's no-one you can use as a SE, use the singer. He/she can step into the audience (read in front of the FOH) any time and listen to the band as a spectator. It can easilly be done as part of the show. Keep things in your own hands at these small venues. And, most of all, K.I.S.S.
Last edited by Mike sings; 06/30/09 02:19 PM.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Sep 2007
Posts: 3,926
Veteran
|
|
Veteran
Joined: Sep 2007
Posts: 3,926 |
Hey, HEY! You guys just need a better class of audience is all.  R.
"My primary musical instrument is the personal computer."
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2008
Posts: 673
Journeyman
|
|
OP
Journeyman
Joined: Apr 2008
Posts: 673 |
Quote:
TIP: When setting your sound levels, the MIcs and other input knobs/faders should be set up high, while the Master fader should be down low or "cracked" open just enough to get the volume needed. Inputs on about 70% and Master at about 20-30% The inputs should always be higher setting than the master. This will reduce feedback and also give best signal to noise ratio. --Mac
Thanks Mac that tip will be helpful.
There is one more control that I'd appreciate getting some tips about; the Trim control.
What is it for and what position should it be set to for each mic channel?
TIA
BIABguy
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: May 2000
Posts: 38,502
Veteran
|
|
Veteran
Joined: May 2000
Posts: 38,502 |
Quote:
There is one more control that I'd appreciate getting some tips about; the Trim control.
What is it for and what position should it be set to for each mic channel?
TIA
The MIc Trim control is not to be used as a Volume Control. It is there to give us a way to limit the amount of gain applied to the critical input stage. Too much will cause distortion, too little will make for a weak sound that is hard for a singer to overcome and get above the band.
It is there to account for the difference in sensitivity of different microphones.
Setting one properly is easy enough. First, look at the board to see if there is a clip light next to that control or not. Don't get all upset if there is not a light there, though. One can easily still set the thing up properly without the clip light.
With the Main Volume set way too low for performing and the Trim knob turned all the way off to the left, bring up the mic's Fader to about 60-70% of its full travel.
Now start speaking (sing if it is a singer's mic) loudly, no, louder than that, into the Mic while at the same time you start bringing up the Trim control. (On some decks, the Trim may be called the "Pad" control, same thing, same function).
You should reach a point in the Trim setting where your loud voice starts to distort, or "clip" as we call it when a signal is driven harder into the following gainstage of the circuits. This is also where any LED Clipping light indicator should start blinking, indicating the distortion is starting to "cross the line".
Set the Trim to just before that point.
Don't touch it again for the rest of the performance, use the Faders down below to raise and lower volume.
In the case of the "pressure cooker" situation, it may be necessary to set the Trim up a wee bit higher and not be concerned with a little bit of clipping, it won't be noticeable in that scenario and may just add a bit more edge and intelligibility to the singer.
--Mac
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2008
Posts: 673
Journeyman
|
|
OP
Journeyman
Joined: Apr 2008
Posts: 673 |
Thanks Mac for that. I actually understood everything! 
BIABguy
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2008
Posts: 673
Journeyman
|
|
OP
Journeyman
Joined: Apr 2008
Posts: 673 |
Quote:
+1 for the Bose, if you can find one to rent, it would be the easiest for you to operate, matter of fact they are virtually plug 'n play systems that automatically provide for the critical monitoring issue and do not suffer from the problems of feedback.
Sound great, easy to use, light in weight.
One, with a mixer for input so you can do a few mics and lines, will easily handle a 50 - 100 person venue.
--Mac
Hey Mac,
Can you please explain how this system would take care of a monitoring situation?
Also the base system I looked at only had one mic input, which wouldn't have been enough.
Review of the gig coming shortly...
BIABguy
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: May 2000
Posts: 38,502
Veteran
|
|
Veteran
Joined: May 2000
Posts: 38,502 |
These units are designed to sit right onstage with you, rather than out in front, so you hear the exact same thing your audience hears. Works well.
There is one mic input and one line input on the things.
One can hook the line output of a mixer to the line input and expand to as many mic/line inputs as the mixer provides. This works well also.
--Mac
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: May 2003
Posts: 8,021
Veteran
|
|
Veteran
Joined: May 2003
Posts: 8,021 |
I was taught how to set up a console a little differently then the way Mac does. I attended a Live Sound school at the University of ? in Anaheim, Ca. It was 7 days 10 hrs a day. Lots of big names there. The mixing classes were given by the head engineer for Garth Brooks, The head Engineer for Showco and the head Engineer for Clair Brothers. There was a stage with a band set up and then there was the standard FOH and Monitor consoles. There were also about six sound isolated booths with duplicate consoles patched into the band for individual instruction.
In a nut shell when the band is cooking along nothing special happening engineer just standing back listening all faders should be at 0. In other words the basic mix is acquired by placing all faders at 0 and then using the trim controls to acquire the nominal mix. The faders are then used for what they called "specials". Solos, drop someone back, special effects etc. When it was time to go back to normal all faders at 0.With faders at 0 you get maximum throw and still have 26 db of gain available.
This procedure can't be followed if you are mixing monitors from the FOH console using a pre fade aux send. Won't be enough gain on some instruments for effective monitors. In this case set the gain to just below clip.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jan 2002
Posts: 7,913
Veteran
|
|
Veteran
Joined: Jan 2002
Posts: 7,913 |
Mac is spot on with all of his recommendations.
I will expound on his response just a wee bit. It's possible that if you get a mixing board with the PA system, that it may not have clipping lights for each channel. If not, there is a good chance that there may be PFL or Pre-Fade Listen buttons for each of the input channels.
When these are depressed, on most boards, the VU meters for the board will be switched over to meter those channels that are PFL-enabled, rather than the mains of the board.
This just turns the VU meters into a fancy clipping meter. I recommend a few steps when I encounter a new board I haven't touched before.
Step 1. 'Zero' the board. Sometimes, this is as simple as taking the edge of your index finger, starting at the highest input channel, and running it from right to left across all of the input trim controls so they go to their extreme counter clockwise directions. If you can't do that easily, just go through and turn all the trims manually to their zero settings. Some boards have a switch for mic vs. line level. Make sure to get those switches set properly first as well. Second part of zero'ing the board is to put all of the aux channel settings for each input channel strip to zero. Last step to zero the board is to put the channel EQ settings at their neutral positions (usually straight up and down). Most boards and setups sound pretty doggoned nice at their neutral settings for line level inputs (like program material on CD, keyboard outputs, etc.) if you get the mains EQ'ed properly for the room(detailed below).
Step 1a. If the board has a high-pass filter setting for each channel, where the corner frequency is at 80-120 Hz or so (sometimes written right on the board itself, always in the manual if there), then enable that thing for every single channel except any bass guitar or kick drum. There is absolutely no need to have that frequency content in any signal except your lowest end instruments. Enabling it will help to eliminate unnecessary rumble that can occur from bumping into mic stands and what not. This is also very good practice for recording. Always, always, always put in high pass filtering if possible, on most mic'ed and line-in channels if you really don't need the low end (again, generally true for everything except bass instruments and kick drums). This can clean up a muddy mix tremendously.
Step 2. Set the trim control for each input channel and the main output as per Mac's instructions, or if you have PFL, enable it one channel at a time and use the VU meters, letting the max hit in the yellow region of the VU meter (most are color coded green-yellow-red).
Step 3. EQ the main output/speakers. Good practice to bring along some music you know well on CD in CD format and put it into the board's tape-in connections. Run that to the output and set the EQ for the main speakers either on the board (if there is a main EQ section - many smaller boards have a little 7-10 band EQ for this) or in the outboard EQ that should be after the output of the board and before the amp for the speakers.
Step 4. From here, usually my next step is to set monitor levels and EQ, but often times, this isn't available or even necessary for smaller venues and setups.
Lots of further steps, but following these, can help you to get the basic signal gain staging set properly for mixing on a board. If you get reasonably good at even these steps, you will be considered a hero by many. It's amazing how many folks don't get these pretty basic steps and end up with a feedback-prone, terribly EQ'ed setup.
Other tricks of the trade for live sound:
1. Know your formant frequencies. Forming these vowel sounds with your lips while exhaling/whispering can help you pinpoint at least octave band issues.
'ooooo' = 250-500Hz, 'aaaaaahhhhhh' = 1000 Hz, 'anh', voiced as the nasal 'a' sound in the American English pronouned 'bank', 'cat', 'flag', etc. = 2000Hz, 'eeeee'=4000Hz.
If you feel silly doing this, then another way to learn these is to find a graphic EQ and put your favorite music through it - first setting the EQ flat to zero, then one at a time, raising a slider all the way up, and all the way down (easier to hear peaks than it is a lack of content). Do it several times, with several types of music - but best to do it with the kind of music you'll be mixing. If you practice this for even an hour and make some mental notes, you are well on the way to learning to hear 'peaks and valleys', but likely 'peaks' easier.
2. Don't use speaker monitors if you can avoid it. Hey if the singers and instrumentalists are keeping time and relatively balanced - kill the floor wedges and hot spots. On-stage volumes are the bane of running a good mix. If you have to have these in place, it doesn't hurt to bring the levels down gradually if there are no complaints and no detriment to the mix.
I've got more, but I see I've typed way too much.
-Scott
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2008
Posts: 673
Journeyman
|
|
OP
Journeyman
Joined: Apr 2008
Posts: 673 |
Quote:
These units are designed to sit right onstage with you, rather than out in front, so you hear the exact same thing your audience hears. Works well.
There is one mic input and one line input on the things.
One can hook the line output of a mixer to the line input and expand to as many mic/line inputs as the mixer provides. This works well also.
--Mac
OK thanks Mac.
It's nice to know you could feed an external mixer into the Bose to provide additional mic channels.
But of course the idea to start with was to lighten things up and bring as few components as possible.
BIABguy
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2008
Posts: 673
Journeyman
|
|
OP
Journeyman
Joined: Apr 2008
Posts: 673 |
Quote:
I was taught how to set up a console a little differently then the way Mac does. I attended a Live Sound school at the University of ? in Anaheim, Ca. It was 7 days 10 hrs a day. Lots of big names there...
In a nut shell when the band is cooking along nothing special happening engineer just standing back listening all faders should be at 0. In other words the basic mix is acquired by placing all faders at 0 and then using the trim controls to acquire the nominal mix. The faders are then used for what they called "specials". Solos, drop someone back, special effects etc. When it was time to go back to normal all faders at 0.With faders at 0 you get maximum throw and still have 26 db of gain available.
Thanks John for this tip!
Maybe this tip can be used when you have a powerful board with all the bells and whistles?
With the 400W mixer that I used for my gig, if I recall correctly, when I did the trim adjust to start, I had the faders set to zero (channel faders and Main fader) and couldn't hear anything.
I needed to put the Main at about 7 or 8 o'clock and the channel fader to about 8 or 9 o'clock before I could adjust the trims.
As for actual performance. With trims set (and they were basically at full, or at the 5' o'clock position, we needed the main vocal channel at about 2 o'clock and the mains were at 9 o'clock.
So we didn't have the luxury of having faders at the 0 position.
Monitors were set to around 12 o'clock by the vocalist for her channel.
She pulled pretty much everything else out of the monitor mix.
BIABguy
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2008
Posts: 673
Journeyman
|
|
OP
Journeyman
Joined: Apr 2008
Posts: 673 |
Quote:
Mac is spot on with all of his recommendations.
I will expound on his response just a wee bit. It's possible that if you get a mixing board with the PA s
I've got more, but I see I've typed way too much.
-Scott
Thanks Scott for these great tips! I will keep them for future gigs.
BIABguy
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Apr 2008
Posts: 673
Journeyman
|
|
OP
Journeyman
Joined: Apr 2008
Posts: 673 |
OK here's a really brief summary of what happened at the gig. I arrived almost two hours before performance time. Good thing too because it took 1.5 hours to unpack/move, set up the sound system! Once the system was operating I let the vocalist adjust the settings to her liking (she had a lot of experience performing and mixing). She removed basically everything (guitar, bass, drums) from the monitors and had just her vocals coming from them. I could hear everyone but I felt that my guitar was a bit weak at times and should have either boosted the level in the mains or increased my level on my amp or guitar pots. We didn't have the luxury of doing a sound check before the gig nor of having someone knowledgeable check out the sound from the audience. We were basically winging it. What it sounded like from the audience was anybody's guess. The audience seemed to enjoy the music so that was nice and people were even dancing at times. A few audience members came up during the evening to sing some songs with the band and got a good reception from the audience as well. Overall it seems everyone was happy with the performance but as to what it actually sound like mix-wise? My biggest lesson though was the work required to set up the sound system. I don't mean the actually mixing. I mean the lugging of the equipment putting everything together. The 2.5 hours setup and tear-down + the renting the equipment loading the car etc. etc. I have performed many times prior to this, but it had always been simply, guitar and amp into car, unload guitar and amp, re-load guitar and amp, drive home!
BIABguy
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: May 2000
Posts: 38,502
Veteran
|
|
Veteran
Joined: May 2000
Posts: 38,502 |
Quote:
but I felt that my guitar was a bit weak at times and should have either boosted the level in the mains or increased my level on my amp or guitar pots.
Believe it or not, that is actually a very good place to be for the guitarist.
"weak at times" beats "too loud" the rest of the time any day for a gig like that one.
--Mac
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jan 2002
Posts: 7,913
Veteran
|
|
Veteran
Joined: Jan 2002
Posts: 7,913 |
Quote:
My biggest lesson though was the work required to set up the sound system. I don't mean the actually mixing. I mean the lugging of the equipment putting everything together. The 2.5 hours setup and tear-down + the renting the equipment loading the car etc. etc.
I have performed many times prior to this, but it had always been simply, guitar and amp into car, unload guitar and amp, re-load guitar and amp, drive home!
I do work for a company called 'Portable Church Industries' as a trainer for A/V systems they sell. Their full systems are nicely integrated and get that setup and teardown time down to about as short a time as possible. Most of these systems are sold to churches that are meeting in schools, VFW halls and the like. Rental time is expensive to them so quick setup and teardown is absolutely critical to these churches.
Depending on how often you plan to do gigs like this, you may want to check out their stuff. I don't get a commission from them - I'm just a hired gun when they get overloaded doing delivery of systems across the country. Their website is www.portablechurch.com At their Blog, there are lots of photos for how they have optimized their systems for quick setup and teardown, load in/ load out.
The system is not necessarily 'space' efficient. It is designed for speed and quality of A/V, not so much space. So, for example, in a case, there is a shelf specifically for 15' instrument cables, a separate shelf for 15' xlr cables, another shelf for a different kind of cable, etc. All of these could be thrown into one box that would take up 1/3 of the space - but you'd have to sort them out the next time you setup - which eats time and costs money. With the PCI system, as long as you have some discipline putting things away where they were designed to be put away, you can significantly cut down your load in/out time and your system setup and teardown time.
I did one delivery in Florida where one of the A/V crew from the church was used to doing local audio support for a rental Audio company that supported touring national acts. This church was actually using some of that equipment and cases. The cases were big 6'x6'x2' tall open top cases on casters that they chucked all their cables into. Pretty space efficient, but you needed a proper loading dock to make use of the cases. The guy was complaining about how much space the PCI stuff required. The difference is that his company mainly uses lots of people to be quick at a gig. PCI uses the concept of everything having it's own place for speed and all cases being able to fit into doorways approved for wheelchair use. Once I pointed that out, he seemed to get it and actually pitched in and helped.
Last edited by rockstar_not; 07/14/09 09:57 AM.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jan 2002
Posts: 7,913
Veteran
|
|
Veteran
Joined: Jan 2002
Posts: 7,913 |
Quote:
...and then there was the standard FOH and Monitor consoles. ...
...This procedure can't be followed if you are mixing monitors from the FOH console using a pre fade aux send. Won't be enough gain on some instruments for effective monitors. In this case set the gain to just below clip.
The thing is, - this isn't 'standard' to have separate mains and monitor mixing boards for shows that most of us will perform in or even mix. BIABguy didn't even have someone that could check the house mix beforehand. I'm sure it was standard for the guys teaching the class. They even have likely multiple backups for the monitor engineer at their gigs. Actually, most of the big shows now do digital consoles and they don't have to touch much of anything - fades and mixes are programmed and they sit back and have a smoke for most of the time.
I have heard of that method before but as you point out, it really doesn't work if you are running monitors on aux sends that are pre-fader; which is the bog standard way of running monitor mixes for most smaller, non arena gigs. There are other problems with it as well depending on the fader taper ABOVE zero. Depending on the manufacturer and model, the throw you have available above zero may give you 26 dB of control, but it's in a much smaller linear space.
I would much rather put solos and such punched into subgroups and give those groups the extra gain, if necessary, on a grouped fader rather than singled fashion, and know that I've protected myself from individual channel distortion as best possible.
I've got to ask - do you actually do gigs this way? What has been your experience with it? It seems really weird to 'mix' at the trim controls with the much more limited travel/gain ratio that exists on the pots rather than the facers. It even defies the naming convention of the item itself.
I'm always willing to learn a new way of doing things if it makes my life easier with higher quality results.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: May 2003
Posts: 8,021
Veteran
|
|
Veteran
Joined: May 2003
Posts: 8,021 |
When I was doing my one man show I had a Spirit 12 channel console.
4 channels for inst.
1 for live keys
4 drums
1 vocal
2 harmonies
I didn't use monitors so I was able to set my mixer like the big shows.
Yes the last time I did a big show a VCA console was a big deal. Now there all digital as you mentioned.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
|
Anonymous
Unregistered
|
|
Anonymous
Unregistered
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jun 2009
Posts: 2
Newbie
|
|
Newbie
Joined: Jun 2009
Posts: 2 |
If you need some pro consultation on how to sound better, do not hesitate to conatct us anytime. http://numberonemusic.org/best wishes guys
|
|
|
|
|
|
|
|
|
|
|
|
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.
|
|
|
|
|
|
|
|
|
|
|
Band-in-a-Box 2026 for Windows Special Offers End Tomorrow (January 15th, 2026) at 11:59 PM PST!
Time really is running out! Save up to 50% on Band-in-a-Box® 2026 for Windows® upgrades and receive a FREE Bonus PAK—only when you order by 11:59 PM PST on Thursday, January 15, 2026!
We've added many major new features and new content in a redesigned Band-in-a-Box® 2026 for Windows®!
Version 2026 introduces a modernized GUI redesign across the program, with updated toolbars, refreshed windows, smoother workflows, and a new Dark Mode option. There’s also a new side toolbar for quicker access to commonly used windows, and the new Multi-View feature lets you arrange multiple windows as layered panels without overlap, making it easier to customize your workspace.
Another exciting new addition is the new AI-Notes feature, which can transcribe polyphonic audio into MIDI. You can view the results in notation or play them back as MIDI, and choose whether to process an entire track or focus on specific parts like drums, bass, guitars/piano, or vocals. There's over 100 new features in Band-in-a-Box® 2026 for Windows®.
There's an amazing collection of new content too, including 202 RealTracks, new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two RealDrums Stems sets, XPro Styles PAK 10, Xtra Styles PAK 21, and much more!
Upgrade your Band-in-a-Box for Windows to save up to 50% on most Band-in-a-Box® 2026 upgrade packages!
Plus, when you order your Band-in-a-Box® 2026 upgrade during our special, you'll receive a Free Bonus PAK of exciting new add-ons.
If you need any help deciding which package is the best option for you, just let us know. We are here to help!
Band-in-a-Box® 2026 for Windows® Special Offers Extended Until January 15, 2026!
Good news! You still have time to upgrade to the latest version of Band-in-a-Box® for Windows® and save. Our Band-in-a-Box® 2026 for Windows® special now runs through January 15, 2025!
We've packed Band-in-a-Box® 2026 with major new features, enhancements, and an incredible lineup of new content! The program now sports a sleek, modern GUI redesign across the entire interface, including updated toolbars, refreshed windows, smoother workflows, a new dark mode option, and more. The brand-new side toolbar provides quicker access to key windows, while the new Multi-View feature lets you arrange multiple windows as layered panels without overlap, creating a flexible, clutter-free workspace. We have an amazing new “AI-Notes” feature. This transcribes polyphonic audio into MIDI so you can view it in notation or play it back as MIDI. You can process an entire track (all pitched instruments and drums) or focus on individual parts like drums, bass, guitars/piano, or vocals. There's an amazing collection of new content too, including 202 RealTracks, new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two RealDrums Stems sets, XPro Styles PAK 10, Xtra Styles PAK 21, and much more!
There are over 100 new features in Band-in-a-Box® 2026 for Windows®.
When you order purchase Band-in-a-Box® 2026 before 11:59 PM PST on January 15th, you'll also receive a Free Bonus PAK packed with exciting new add-ons.
Upgrade to Band-in-a-Box® 2026 for Windows® today! Check out the Band-in-a-Box® packages page for all the purchase options available.
Happy New Year!
Thank you for being part of the Band-in-a-Box® community.
Wishing you and yours a very happy 2026—Happy New Year from all of us at PG Music!
Season's Greetings!
Wishing everyone a happy, healthy holiday season—thanks for being part of our community!
The office will be closed for Christmas Day, but we will be back on Boxing Day (Dec 26th) at 6:00am PST.
Team PG
Band-in-a-Box 2026 Video: The Newly Designed Piano Roll Window
In this video, we explore the updated Piano Roll, complete with a modernized look and exciting new features. You’ll see new filtering options that make it easy to focus on specific note groups, smoother and more intuitive note entry and editing, and enhanced options for zooming, looping, and more.
Watch the video.
You can see all the 2026 videos on our forum!
Band-in-a-Box 2026 Video: AI Stems & Notes - split polyphonic audio into instruments and transcribe
This video demonstrates how to use the new AI-Notes feature together with the AI-Stems splitter, allowing you to select an audio file and have it separated into individual stems while transcribing each one to its own MIDI track. AI-Notes converts polyphonic audio—either full mixes or individual instruments—into MIDI that you can view in notation or play back instantly.
Watch the video.
You can see all the 2026 videos on our forum!
Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Windows®
With your version 2026 for Windows 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)
- Android Band-in-a-Box® App (included)
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 PAKs for Band-in-a-Box® 2026 for Windows®!
|
|
|
|
|
|
|
|
|
|
|
|
Forums57
Topics85,737
Posts795,509
Members39,943
| |
Most Online25,754
Jan 24th, 2025
|
|
|
|
|
|
|
|
|
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean