|
Log in to post
|
Print Thread |
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2016
Posts: 470
Journeyman
|
OP
Journeyman
Joined: Apr 2016
Posts: 470 |
Hi
I dont play any instrument and so its difficult for me to gauge the quality of a realtrack compares to a girl/guy playing lets say on a piano in a studio recording through a mic or mics.
I guess what im asking is the realtrack up to the quality for a professional recording artist or would they redo the track again in studio?Obviously I want to produce as much finished tracks as I can without having to pay someone to play a track or tracks on my compositions.Thats the reason for asking.
Another way of putting it is :if im happy with the outcome of how the realtrack plays is the quality up to professional recording standard?(the track being mixed and mastered professionally being a given along with good computer systems etc)
May I add as for me i just produce midi compositions and run them through biab.Even though they obviously dont go note for note on my compositions they always make the composition (even if its turns out a good bit different) way way better.
Its funny too its a programme where not playing an instrument can sometimes lead you to making great sounding music
Its a fabulous technology and a really great company and staff,
Yours Hugh
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Jul 2000
Posts: 27,599
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 27,599 |
This is a very interesting question. I'm doing much the same as you, producing composer's demos. BIAB is indeed wonderful and indispensable for my work.
A few quick reactions to start:
- there isn't anything else like it
- BIAB tracks are being heard in professional recordings, including jingles
- when you mix tracks, it becomes harder to tell what's in the mix
- "If it sounds good, it is good" - Duke Ellington
I have done lots of studio recording. The studios typically use a higher bit and maybe higher sample rate, and almost always 24 bit. This gives you more headroom. BIAB uses CD quality of 16 / 44.1 in the audiophile version. The 'regular' version compresses the tracks to .WMA files resulting in a file about one eleventh the size.
Using a higher bit and/or sample rate than CD quality would make BIAB enormous for distribution. The audiophile drive is about 1.5 terabytes as it is. Nevertheless, there have been a few posts on the Wishlist asking to do this. We users have no way of knowing how the original tracks were recorded, or if BIAB could use tracks of higher quality.
I tried not to get too technical here because I don't know your background in recording. Does this help?
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2016
Posts: 470
Journeyman
|
|
OP
Journeyman
Joined: Apr 2016
Posts: 470 |
Hi Matt,
Thank you again for ur replies.
Thats very helpful.
Your quick reactions are all very apt.One thing on the Duke Ellington quote :we dont take into account is the "listener".The ordinary listener to radio or cd or mp3 doesnt distinguish near as much as a musician or producer or songwriter between what top quality and what is just below top quality i think unless the same song is played back side by side for them to listen too.This never happens.
So a good idea for me is too get the audiophile version so I can make Cd quality music.
When you use the term "headroom" do you mean you can have higher levels/output or just more room to play about with effects etc?Would more studios use biab if the bit rate was maxed?Last question what other tools do you find invaluable on the production side?Im saving up to invest in a system/systems that helps from a non musician point of view.
Its taken time for me to start using biab properly but it really is worth the effort.I really started because I could write poems/songs but I never dreamed I could produce the music to go along with them.I really appreciate that Pgmusic has kept it affordable as well.
thanks Hugh
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Jul 2000
Posts: 27,599
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 27,599 |
Studios of course can use multiple tracks of different bit or sample rates; they are converted to the rates used in the master project, so that's not an obstacle for any DAW.
You comments about the final version in MP3 and most people not knowing the difference are true. In fact, it's your original question in reverse: even the regular version of BIAB is pretty hard to tell from the audiophile version. I have posted here many times on the small differences.
More headroom gives you both advantages you cited. Recording engineers would say that the ability to experiment with levels and effects without distortion is critical in mixing, but you always want to get a strong enough input signal on the original recorded track too.
My most important tool when mixing is Ozone by Izotope. It's nice when used sparingly but you can squash out all the dynamic range if you want to, like a poor radio station. I mix for an audiophile listener. If it works for them, it works for anyone.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2009
Posts: 10,942
Veteran
|
|
Veteran
Joined: Apr 2009
Posts: 10,942 |
......if im happy with the outcome of how the realtrack plays is the quality up to professional recording standard?(the track being mixed and mastered professionally being a given along with good computer systems etc)
Hugh
Essentially, the answer is YES. I've had people ask me, more than one time, "who's playing that instrument?" It sounds that real. It's that good, and the person asking also played that same instrument. One guy, a studio engineer, commented on one of my fiddle parts stating that he could "hear the rosin on the bow and strings". When I tell them its a "real track" they are blown away and often reply... "A computer did that?"... yep, a computer put that part together for me. As far as I'm concerned, there's a very small but almost negligible difference between the Real Track and tracks that would be professionally recorded in a specific recording session with professional players. Live tracks from a professional studio can sound a bit cleaner or clearer, if you will. This comes from a number of things but as time goes on, I'm hearing some really nice, clean RT's coming out as PG improved things on their end. So 99% of my stuff is either me recording the track parts live.... Piano, bass, guitars: both electric and acoustic, mandolin.... I use a mic and track those instruments... (piano and bass are midi with samples) BUT.... in many of those songs, I'm using the Real Track parts for the bass, piano, and drums as well. In fact... concerning the quality.... suffice it to say, that for most home recording enthusiasts, it's easier to use a REAL TRACK for say.... acoustic guitar and have it sound better than anything they could record at home...the quality is just plain good straight out of the box. (no pun intended) I have since learned how to get a good quality capture on acoustic and even the electric guitar, but when I was first getting started, the RT's were my "go to" resource for acoustic guitar tracks. I have dozens of my BB/RB/RT songs placed with publishers and libraries and several have been cut into some reality TV shows and documentary made for TV films. So the quality is there. I'm not the only composer/writer who is doing this and placing songs in this manner. For someone who has a limited budget... the really good studio cats cost big bucks.... Real Band and the RT's are the way to go. Keep a few things in mind. Try to keep the tempo and the KEY as close as possible to the original key of the RT. You can go to the RT folder and find the track/style and listen to the raw wave to determine the key. This way, you don't end up with the artifacts that come from the time and pitch changes. I've had some of the piano parts in some of my early work sound so bad, I had to use plan "B" as a result. The judicious use of EQ and compression and reverb will also help to make the RT's "pop" a bit. IMHO, some are a bit subdued sounding and need a touch of spice. The Real Tracks can sound as good if not better than tracks recorded in your studio. Remember, they were recorded in a professional studio by some of the best musicians in the world. IMHO... the secret to getting the most from those RT's is to use a good DAW, learn about music production, and practice, practice, practice your mixing skills. The more you mix and experiment and get feedback on what you're doing, the better you will get with time. Click on my link at the bottom of this post and listen to the music I'm creating. There are several songs where the mix is 100% BB/with RT's. I rarely if ever use midi from BB. If there's midi in the song, it's me playing the part with a good sampled synth. One user here thought my studio was a big professional setup with the best live players until he found out how I did this and now.... well, he's a regular user here as well.
Last edited by Guitarhacker; 10/11/16 02:52 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.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2004
Posts: 1,753
Expert
|
|
Expert
Joined: Mar 2004
Posts: 1,753 |
I use many of the BIAB tracks just as they sound with minimal editing. I often replace or create the tracks I know how to play. Guitars, Bass, single line keyboard stuff. I do get many musical ideas from the BIAB tracks before a remove/replace them.
Don't expect the sound you here from a Nashville recording, mixing, mastering studio. BIAB does not mix or master your tracks to sound like a radio hit song. That take years of experience. But you can get decent tracks from this program.
Does the noise in your head bother me ?
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Dec 2011
Posts: 16,203
Veteran
|
|
Veteran
Joined: Dec 2011
Posts: 16,203 |
...
- when you mix tracks, it becomes harder to tell what's in the mix...
Hey Matt, interesting thread here but I'm not sure what you mean by the above. Do you mean the more tracks the more difficult it becomes to differentiate them? Or that a mix inherently makes it difficult to hear individual tracks? From my mixing perspective a good mix allows each track to have it's place on the soundstage. The exceptions for me are intentionally dense "wall of sound" mixes. Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Jul 2000
Posts: 27,599
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 27,599 |
Bud, it's some of both. I was trying to say that with many tracks, you won't be able to tell as easily that some are computer-generated, or lesser audio quality, or MIDI instead of audio. And yes, if you do a Phil Spector, all bets are off!
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2009
Posts: 10,942
Veteran
|
|
Veteran
Joined: Apr 2009
Posts: 10,942 |
...
- when you mix tracks, it becomes harder to tell what's in the mix...
Hey Matt, interesting thread here but I'm not sure what you mean by the above. Do you mean the more tracks the more difficult it becomes to differentiate them? Or that a mix inherently makes it difficult to hear individual tracks? From my mixing perspective a good mix allows each track to have it's place on the soundstage. The exceptions for me are intentionally dense "wall of sound" mixes. Bud Yes... that can be correct. Generally, this is because of one thing. You have too many tracks in the mix. The more tracks you have the muddier the mix becomes. Add to that, many folks don't understand the proper use of high passing and have instruments intruding on each others sonic space. One mistake many recording enthusiasts make is that since they have dozens of tracks available in a DAW, they feel they must use them all. WRONG! Most of the pop songs and country songs on the radio have many dozens of tracks.... I even heard that some of the singers have over a hundred tracks just for vocals.... Obviously, you don't want to use them all. The proper use of panning, and automation of the volume allows tracks to set in the mix in different sonic space, the use of EQ can separate two guitars from each other, and the use of volume automation allows instruments to come in when they are needed and go out when they are not. By using EQ, panning, and volume control, it's possible to get the mix crystal clean so that every instrument in the mix is clearly heard, distinct from everything else. Another part of this is NOT to use anything other than what is required. Less is More. A good vocal can carry a song with nothing other than a bass and drum, or perhaps simply a piano or acoustic guitar. Black Velvet is a good example: https://www.youtube.com/watch?v=tT4d1LQy4es listen to the B3 and the guitar. Notice they come in and go out, quite dramatically in places. The only things constant are the bass and drums. Also, keep in mind the actual instrumental line up of the band you are using. I start thinking that I have a basic 5 piece band and maybe a side man or two. Bass, drums, 2 guitars & keys. (5 people) If I have dobro or fiddle or steel.... the rule is... only 5 can play at a time with some exceptions. At no time would I want 4 guitars playing. It's not the band I have and it muddies the mix. Bud mentioned having a "wall of sound".... normally, or, from my perspective, a wall of guitars.... But this isn't generally achieved through the use of multiple (4 or more different) guitars.... it's the proper layering of one or two guitars at most. If you've ever been at a jam with 3 or more guitarists playing at the same time, that's confusion, not layering. To learn how to mix properly, start with a bass & drum mix, then add ONE thing at a time. The object, is to make it sound good and NOT need to add anything else to that mix. Most folks start with a mix that has many tracks in it and try to make them all fit. The first thing I do is import 8 to 10 tracks that I think I want in the mix....and I mute them ALL except the bass and the drums and start adding just like I told you above. I stop adding when I have a good sounding mix regardless of how many tracks are unused. Once you get past the idea that the 5 guitars and 3 pianos you have are indispensable to the mix, you will start to see clarity in your mixes.
Last edited by Guitarhacker; 10/13/16 02:48 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.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2013
Posts: 8,888
Veteran
|
|
Veteran
Joined: Apr 2013
Posts: 8,888 |
"Don't expect the sound you hear from a Nashville recording, mixing, mastering studio. BIAB does not mix or master your tracks to sound like a radio hit song."
"I was trying to say that with many tracks, you won't be able to tell as easily that some are computer-generated, or lesser audio quality, or MIDI instead of audio."
------
But it makes one wonder with the quality of musicianship and clarity of the recording of BIAB Realtracks, midi through a high quality synth that if BIAB stems were used in a top Nashville, LA or NYC studio, with a top name producer, over vocals by top celebrities -- Mixed and mastered by the best.
Say - Bill Szymczyk and the Eagles using BIAB instrument tracks; on an original song so there would not be a comparison between this song and a previously recorded one. Would there really be a noticeable difference in the quality of the total track?
Not in style - but in Quality?
BIAB 2026:RB 2026, Latest builds: Dell Optiplex 7040 Desktop; Windows-10-64 bit, Intel Core i7-6700 3.4GHz CPU and 16 GB Ram Memory.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2010
Posts: 5,139
Veteran
|
|
Veteran
Joined: Apr 2010
Posts: 5,139 |
Bill Szymczyk doesn't just control the mix. He controls the recording, mics and preamps, and the space the recording is made in. Real Tracks are great, but you don't have anywhere near as much control as a pro engineer in a great room with a U87 through an API on Don Henley's voice.  Regards, Bob
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2013
Posts: 8,888
Veteran
|
|
Veteran
Joined: Apr 2013
Posts: 8,888 |
Bill Szymczyk doesn't just control the mix. He controls the recording, mics and preamps, and the space the recording is made in. Real Tracks are great, but you don't have anywhere near as much control as a pro engineer in a great room with a U87 through an API on Don Henley's voice. Regards, Bob That's what my intent was to say Bob. Take raw RealTracks, put them in the best studio, with the best engineers, equipment, processing, pro vocalists, etc. and I believe the end result would be 'radio ready'. I read articles about recording sessions and many times less than stellar tracks make it into major recordings. The instrumentalists and recording quality of BIAB RealTracks on average exceed what can be accomplished by many users of BIAB. So, if I were to take one of my original songs to Nashville, go to a great studio,hire session musicians and pay for a recording session mix - I do not think Brent Mason would be there. I'm sure a very, very good no name would be but even then, I don't think the session musicians would be playing their -A- game licks like they would bring to a session for Luke Bryan, Darius Rucker, Carrie Underwood. I think I would get a very high quality, generic backing track and even if Bill S. were in the building, I would have a 'rising star' apprentice at the controls. It that would be the case, I think BIAB tracks would stack up very well against what most unknown, self financed, trying to make it big in Nashville artists would get.
BIAB 2026:RB 2026, Latest builds: Dell Optiplex 7040 Desktop; Windows-10-64 bit, Intel Core i7-6700 3.4GHz CPU and 16 GB Ram Memory.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: May 2012
Posts: 14
Newbie
|
|
Newbie
Joined: May 2012
Posts: 14 |
I don't play any instrument and so its difficult for me to gauge...
Perhaps, but you would still know what sounds good. You might not notice things like tongues/slurs, amberature, etc. that you would notice immediately if you played the instrument, but that doesn't seem to matter to most people. I have not noticed PGMusic releasing any bad sounding audio. Perhaps to me the players weren't exactly up to par on certain things, but the technical recording of the takes was good.
...is the realtrack up to the quality
I have both OmniPak and Audiophile versions. In the Audiophile versions, yes, to me they are up to par. But don't be dismayed. You can still easily take the lower quality files, mix a few together with effects, panning, etc. as discussed and create masters that sound like they came from a professional studio. Again, it's your ears that make or break you.
...if im happy with the outcome of how the realtrack plays is the quality up to professional recording standard?
If you're 100% happy, go with it. Procrastination never helped anybody I knew. The best way to get better is to make a few mistakes along the way.
...(even if its turns out a good bit different) way way better
I find this to be true. Sometimes (when trying to get a style to fit) there is "no-way" I'm going to find a style that fits in BIAB, but then after a while I get side-tracked, which I find could be a good thing. What I haven't done is remembered what it was supposed to sound like... so I can't be sure of this, but a lot of what I do because of BIAB's limited styles (that apply specifically to the song at hand) DOES give me a very good product that I can be proud of. A quick note on professional recordings... they are meant (or should be) to be as dry as possible, but still sound good for somebody who wants to use them with no effects whatsoever. I believe PGMusic does a great job, but I don't believe the musicians are the world's best -- perhaps the world's better know musicians, but certainly not the best. But, compared to most they're super-great in their own genre.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2010
Posts: 5,139
Veteran
|
|
Veteran
Joined: Apr 2010
Posts: 5,139 |
“It that would be the case, I think BIAB tracks would stack up very well against what most unknown, self financed, trying to make it big in Nashville artists would get.” You may be right, but I haven't heard any BIAB productions that compare to top demo studios in LA or Nashville. Live players in a live room. I believe that it's more a matter of dynamics, arrangement and signature lines than audio quality, but all things considered, it's a different level of quality. YMMV. http://www.beairdmusicgroup.com/male-vocalist-samples/http://www.nashvilledemoworks.com/nashville-demo-works-services/http://www.nashvilletraxrecordingstudio.com/testimonials-samplesRegards, Bob
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2004
Posts: 1,753
Expert
|
|
Expert
Joined: Mar 2004
Posts: 1,753 |
"Twisting in my chair as I type this"; BIAB give me some very good fixer-upper tracks. "ducking under desk". The tracks are very easily and quickly edited to be fixed up. One of the most frustrating things about them are the re-strike of every instrument at each new chord. Sometimes I'd like the bass, synth or strings, for example, to hold through a few guitar and piano chord changes. Only way I know how to do this is create a chord window with the chord changes, save it, convert the guitar and piano to audio, import it to the audio track. Then re-create that same chord window with piano and guitar muted and held chords where I want them for bass, synth, string. Then I import both chord grids or portions of them into RealBand and go from there.
That said about fixer-upper tracks, I started out years ago simply wanting basic drums and bass backing tracks and used to be quite happy with the VSC3 as my main sounds for some 60+ songs I was performing. But, I ended up using 3 - 5 instruments on almost every backing track. So, I was getting much more than I initially expected. Over the years, as I've become a better musician and better at making tracks my standard have gone up.
I'm in no way say I don't like BIAB or RealTRacks. I enjoy these programs immensely and lately spend 20 or more hours per week using them.
Does the noise in your head bother me ?
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2009
Posts: 10,942
Veteran
|
|
Veteran
Joined: Apr 2009
Posts: 10,942 |
...... The tracks are very easily and quickly edited to be fixed up. One of the most frustrating things about them are the re-strike of every instrument at each new chord. Sometimes I'd like the bass, synth or strings, for example, to hold through a few guitar and piano chord changes. Only way I know how to do this is create a chord window with the chord changes, save it, convert the guitar and piano to audio, import it to the audio track. Then re-create that same chord window with piano and guitar muted and held chords where I want them for bass, synth, string. Then I import both chord grids or portions of them into RealBand and go from there.
I was thinking that you could do holds already in BB by simply typing the command into the bar. A. is a rest on the A chord A.. is an A chord shot A... is an A chord hold You can also do this A.bd rest on all instruments except bass and drums A...p held A chord for all instruments except the piano A...bp held A chord for all instruments except the piano and the bass Use these commands and avoid all that running around. I'm not sure how they work across multiple bars.... but give it a try and see how it works.
Last edited by Guitarhacker; 10/13/16 02:30 PM.
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.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2016
Posts: 470
Journeyman
|
|
OP
Journeyman
Joined: Apr 2016
Posts: 470 |
Hi Guitarhacker,
I checked out your website really great and I cant tell the difference between whats RT or not to be honest.
The other thing I noticed when listening to some of the tracks is that the vocals are still the centre of attention so your ears are only 50% focused on the music.
Yes its almost like a sport you have to practice .
Thanks for the advice Hugh
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Dec 2006
Posts: 1,590
Expert
|
|
Expert
Joined: Dec 2006
Posts: 1,590 |
It all seemed so easy (and fun) when I didn't know how little I knew. Now, I'm afraid to start... and it's going to be expensive - I suspect. Seriously, some great posts. Herb, Charlie and the rest, some super helpful tips. I guess it's time to step into the recording black hole rather than the backing tracks school yard that I frequent.
Windows 10 Home 20H2 Build 19042.487
BIAB 2021 (Build 818)
Intel(R) Core(TM), i3-4160, CPU @3.60 GHz RAM 16 GB, 64 Bit X64-based processor
Zoom UAC-2 (USB 3 interface-built in midi)
VoiceLive 3 Extreme, Sputnik Valve Condenser Mic
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2016
Posts: 470
Journeyman
|
|
OP
Journeyman
Joined: Apr 2016
Posts: 470 |
Hi Audiophile
Thanks for the reply.
I think I have a good sense of what sounds good so thats a help.
I would get dismayed with the technical side of things but I attack it from another point of view.My main emphasis is :is the music catchy? because I always liked catchy music.For other people the emphasis could be on other qualities.
I find that if the composition is catchy the more work I do with Biab the better and more catchy it gets.
I find certain parts of the production enjoyable though if not time consuming and sometimes I do end up leaving it and coming back a few weeks later or I check in with it now and then and have another go!
Lol
Yours Hugh
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2004
Posts: 1,753
Expert
|
|
Expert
Joined: Mar 2004
Posts: 1,753 |
...... The tracks are very easily and quickly edited to be fixed up. One of the most frustrating things about them are the re-strike of every instrument at each new chord. Sometimes I'd like the bass, synth or strings, for example, to hold through a few guitar and piano chord changes. Only way I know how to do this is create a chord window with the chord changes, save it, convert the guitar and piano to audio, import it to the audio track. Then re-create that same chord window with piano and guitar muted and held chords where I want them for bass, synth, string. Then I import both chord grids or portions of them into RealBand and go from there.
I was thinking that you could do holds already in BB by simply typing the command into the bar. A. is a rest on the A chord A.. is an A chord shot A... is an A chord hold You can also do this A.bd rest on all instruments except bass and drums A...p held A chord for all instruments except the piano A...bp held A chord for all instruments except the piano and the bass Use these commands and avoid all that running around. I'm not sure how they work across multiple bars.... but give it a try and see how it works. Yes, I use those very rests, holds, shots, pushes, etc... all the time. What I did not explain well enough is this; Sometimes I'd like the bass, synth or strings, for example, to hold, say, a B chord from bar 1 beat 1 to end of bar 2 beat 4 but have the guitar and piano play a B chord on bar 1 beats 1,2,3,4 and an E chord on bar 2 while the strings or synth continue hold the B without striking a new chord at the beginning of bar 2. I might not want to here the bass strike a B note at beginning of bar 2 as the other instruments change chords. Just hold the B from bar 1 all the way to the end of bar 2 (or whenever it might naturally fall off) while guitar and piano change chords. All in the same chord sheet window. This is one of the characteristics that make BIAB sound like BIAB. Once you put in a new chord for one instrument it cancels the previous chord for all instruments. Do you know a way to stop it from doing that? Or a way to create my desired behavior in a single BIAB chord sheet?
Last edited by Tobias; 10/13/16 05:06 PM.
Does the noise in your head bother me ?
|
|
|
|
|
|
|
|
|
|
|
|
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.
|
|
|
|
|
|
|
|
|
|
|
Last Chance! The Band-in-a-Box® 2026 for Mac® Special Ends Today (May 31, 2026) at 11:59pm PDT!
Time really is running out! Save up to 50% on Band-in-a-Box® 2026 for Mac® upgrades and receive a FREE Bonus PAK—only when you order by 11:59 PM PDT today!
We've added many major new features and new content in a redesigned Band-in-a-Box® 2026 for Mac®!
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 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®.
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, and much more!
Upgrade your Band-in-a-Box for Mac® to save up to 50% on most Band-in-a-Box® 2026 upgrade packages!
Plus, when you order your Band-in-a-Box® 2026 Mac 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 Mac Special Offers Extended Until May 31st!
Good news- we've extended our Band-in-a-Box® 2026 for Mac® special offers until May 31, 2026!
Band-in-a-Box® 2026 is packed 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 transcribe 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, and much more!
There are over 100 new features in Band-in-a-Box® 2026 for Mac®.
When you order purchase Band-in-a-Box® 2026 before 11:59 PM PDT on May 31st, you'll also receive a Free Bonus PAK packed with exciting new add-ons.
Check out the Band-in-a-Box® for Mac packages page to find the best package for you.
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®!
|
|
|
|
|
|
|
|
|
|
|
|
Forums57
Topics86,395
Posts804,323
Members40,111
| |
Most Online64,515
Apr 8th, 2026
|
|
|
|
|
|
|
|
|
|
|
|
There are no members with birthdays on this day. |
|
|
|
|
|
|
|
|
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean