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No, that wasn't me on piano, that was a BIAB piano I am afraid. I can only take credit for the song. (I had a real studio pianist record over it for the recently released album version and it was impossible to tell the difference by the way.)  Wow! Really? I won't tell anyone if you don't  Do you know which patch by chance? It fit so perfectly!
Chad (Hope that makes it easier)
TEMPO TANTRUM: What a lead singer has when they can't stay in time.
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Been listening to a lot of early Elton John lately. God that stuff was good. I know there is plenty of creative stuff going on in the music industry, but I can't seem to find this kind of stuff. I miss it! You are so right about how great it was! Still is, but you know what I mean
Chad (Hope that makes it easier)
TEMPO TANTRUM: What a lead singer has when they can't stay in time.
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Amen, brother. Bluejean Baby. LA Lady. Seamstress for the Ba---and. When you have you heard something that catchy lately??
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Bluejean Baby.
LA Lady.
Seamstress for the Ba---and. One of my favorite tunes from him.
 Steve BIAB/RB 2022, Pro Tools 2020, Korg N5, JBL LSR 4328 Powered Monitors, AKG/Shure Mics.
PC: Win11 PRO, 4 TB M2 SSD, 2 TB HD, 128 GB Memory
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When Elton's first LP came out, I was working for M.C.A. Records and got front row tickets. Only concert I've ever walked out on.  Regards, Bob
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When Elton's first LP came out, I was working for M.C.A. Records and got front row tickets. Only concert I've ever walked out on. Regards, Bob I can't tell if you are being sarcastic? If you aren't, why did you walk out?
Chad (Hope that makes it easier)
TEMPO TANTRUM: What a lead singer has when they can't stay in time.
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It was in 1970, at The Electric Factory in Philly. He was touring with a bass player and a drummer. Came out alone, sat down and played “Your Song”. It was brilliant. Absolutely brilliant. A moment I've never forgotten. Then the show became a bit more “flamboyant”. A bit too flamboyant for Philly in 1970. Things were very different then. Regards, Bob
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It was in 1970, at The Electric Factory in Philly. He was touring with a bass player and a drummer. Came out alone, sat down and played “Your Song”. It was brilliant. Absolutely brilliant. A moment I've never forgotten. Then the show became a bit more “flamboyant”. A bit too flamboyant for Philly in 1970. Things were very different then. Regards, Bob I was living in South Jersey at that time. We could see the buildings of Camden and Philly from one of my buddies back yard. David Bowie also play The Scene in Philly a lot. I never saw either Bowie or John back in those early days. I did manage to see quite a few big name bands at the Spectrum. Some real icons back before they became icons in the biz. Bob Segar as an opening act... Foghat with one hit song.....ZZ Top before the beards..... Wishbone Ash in Camden in a renovated movie theater..... What a great time. Yes, things were quite different back then.
Last edited by Guitarhacker; 06/04/16 04:38 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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Philly had a great music scene back then. I saw Sonny Terry and Brownie McGhee at the 2nd Fret and The Velvets numerous times. Everyone who was touring came through Philly. I was hangin' out at 8th Street Music one day with a pal, and these hairy hippy guys walked in and started shopping. My buddy is freaking out, and I can't understand why. "Don't you know who that is? he asked me. "Nope." "That's the Grateful Dead, man!" I had no idea who they were. They couldn't find everything they needed for their show that night, so my friend Cliff and I rode around Philly in the back of their rental truck showing them where all the music stores were. They were very nice guys. Regards, Bob
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Philly had a great music scene back then. I saw Sonny Terry and Brownie McGhee at the 2nd Fret and The Velvets numerous times. Everyone who was touring came through Philly. I was hangin' out at 8th Street Music one day with a pal, and these hairy hippy guys walked in and started shopping. My buddy is freaking out, and I can't understand why. "Don't you know who that is? he asked me. "Nope." "That's the Grateful Dead, man!" I had no idea who they were. They couldn't find everything they needed for their show that night, so my friend Cliff and I rode around Philly in the back of their rental truck showing them where all the music stores were. They were very nice guys. Regards, Bob What a cool story! I never got into their music, but they always came across as kind souls.
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When I first heard "Radio Nowhere" on the "Magic" CD, I noticed the extreme compression, and at first I didn't like it, especially since the rest of the cd didn't sound like that.
But later I realised that the compression may have been an artistc nod to the over compressed sound of AM radio.
-rob
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Hey Rob,
Interesting thought!!! You may be right!! I never thought of it but he may have done it on purpose.
Hmmmmmmm....
Very interesting!!!
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It seems that The Loudness wars are being discussed more than anything. With the drive for maximum volume has come the collateral damage of minimum dynamics.
Compression, Limiting, Brick Wall Limiting and Normalizing can all achieve increased loudness in many circumstances. There are restrictions and inherent problems with each. Normalising, for example, can only take the loudest points in a track to the selected maximum volume the range of volume between the loudest and quietest parts is preserved - the dynamics are retained. If you've mixed a track with an aberrant, super loud cymbal hit in one spot the amount of volume or level increase will be minimal if any at all.
Compression, (my 1st experience was with TV ads where everything is as loud as everything else), reduces peaks that will then allow the general volume to be "normalized" in relation to those reduced volume peaks.
Compression with "catch up" or "make up" gain will reduce the peaks, (by a ratio as set my the user and with a bundle of other variables as well), and automatically lift everything else up toward those new peaks.
One of the biggest issues regarding the use of these soft or hardware items are "pumping" where the effect is obvious and the response of the unit/program can be heard starting and ending on the caught peaks. "Colourization" is when the process alters the sound by more than its expected effect due to errors or planning in design and manufacturing(EQ, phase etc). Often we perceive these colourations as advantageous which is why so many old analogue units are being replicated in the digital world.
LOUDER is a competitive thing that became a fad and is now, thankfully, receiving a backlash. Will my track sound loud enough beside the previous track on the radio? Well, my songs won't get played there so, from that point of view the issue is moot. The fact that people don't like to adjust the volume control on the phone/MP3 Player/I pod/DAP has a lot to do with it too.
Take a track and run it through a sonic maximiser or Aural Enhancer. 1st listen will probably be impressive but, like LOUDness war tracks, repeated or sustain listening will probably render the listener and her/his ear fatigued. Sometimes, when used subtly, the effect is wonderful and not deleterious to the song and listening experience.
Mastering? I've experimented with Ozone & the ilk - even LANDR (they offer a free MP3 jobbie and I wanted to do a Mix - LANDR Master- ME master comparison for the sake of thoroughness). The LANDR job was unsympathetic and what I expected for an algorithm based, (upload, select genre, run, listen to result, select variation on that result, give up) attempt.
Managing dynamics, by whatever means, requires subtlety and, most crucially, GOOD EARS. I don't have much of the former and almost nothing of the latter so I get a mix as good as I can, (with reference to ears here and other forums), then send it to an M.E. who's work I've sussed out, done before & after comparisons etc. I currently use 2 M.E.s, (more correctly production master engineers), because one does a certain type of my stuff in a way I prefer and the other covers different stuff appropriately.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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Dang,
That was a ton of useful information brother. Thanks!!
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Journeyman
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One of the most exciting songs I've heard was listening to Florence and the Machine play Dog Days are Over, live in the studio at the Colbert Show. I was in the audience. The dynamics between Florence's soft singing and the cataclysm of the band coming in was awesome. You can't have dynamics like that if everything is the same volume. These days, I try to arrange and master my songs so they look like the Born to Run wave.
ProTools 12, Faderport 8, Melodyne, JBL monitors, Novation UltraNova, Yamaha MX49, Stratocaster, Telecaster, Rickenbacker 12, Ovation 12, Vox VT20X amp
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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.
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Peter Gannon Talks Band-in-a-Box with zplane
zplane recently interviewed Peter Gannon, the founder and creator of Band-in-a-Box, about the software's early days, what sets it apart from AI, how zplane's audio algorithms are used in Band-in-a-Box, and more!
Special thanks to the team at zplane for their continued support.
Check out the full interview here: https://products.zplane.de/blog/peter-gannon-interview-pg-music
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Another exciting new addition is the amazing new AI-Notes feature, which can transcribe polyphonic audio into MIDI. View the results in notation or play them back as MIDI, and choose whether to transcribe an entire track or transcribe specific parts like drums, bass, guitars/piano, or vocals. There's over 100 new features in 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.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
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