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Recording, Mixing, Performance and Production
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Joined: Feb 2015
Posts: 57
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Posts: 57 |
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 Hi There Hugh . I noticed some of the guys here have given you some great advice to take on board.  My advice is to give you this link: https://www.lynda.com/Pro-Tools-tutorials/Audio-Mixing-Bootcamp/87006-2.htmlThis is a link to a 9 hour long Tuition video series on Lynda.com called Audio Mixing Bootcamp , by Bobby Owsinsky He performs on pro tools, but the Daw doent matter what type, the principles are the same. I also recommend you buy his book home recording handbook (I think) .., which will teach you the all important fundamentals like mic placement etc. NOTE: You normally have to pay to watch these videos on lynda.com ... BUT .., you get a FREE 10 day full trial (after signing up) ...., This will give you enough time for the crash course, plus there is also stacks of other great video series also to watch and learn from. Groove 3.com , MacProVideo.com are also excellent (and much cheaper than a lynda subscription) but do not offer free demo periods) .., and remember ..., there is no such thing as a stupid question .., so ask and seek .., all the best  Heres the full rundown of the recommended course : AUDIO MIXING BOOTCAMP .., by Bobby Owsinsky Link : https://www.lynda.com/Pro-Tools-tutorials/Audio-Mixing-Bootcamp/87006-2.htmlIn this course, author Bobby Owsinski reveals industry tips, tricks, and techniques for producing professionally mixed audio on any digital audio workstation. He offers recommendations for setting up an optimal listening environment, highlights the most efficient ways to set up and balance a mix, and shows how to build a powerful sound with compression. The course also explains how to master the intricacies of EQ; incorporate reverb, delay, and modulation effects; and generate the final mix. Topics include:Optimizing your listening environment Setting up sessions, subgroups, and effects Understanding which mixing elements to avoid Understanding the principles of building a mix Panning instruments Setting up the compressor Using noise gates and de-essers Understanding the concept of frequency juggling Using the magic high-pass filter Timing reverb and delay to a track Using reverb to layer the mix Understanding the Haas effect Modulating guitars, keyboards, and vocals Mixing with subgroups Tweaking the final mix ..., and many more ..., for interest , heres Bobbys blog , some great studio stuff : http://bobbyowsinskiblog.com/
Last edited by SFG; 10/14/16 01:49 AM.
My Specs
Computer : Mac Pro (late 2013) - OS Yosemite 10.10.5
Processor : 3.5 GHz 6-Core Intel Xeon E5
Memory : 64 GB 1866 MHz DDR3 ECC
Graphics : AMD FirePro D300 2048 MB
Interface : Avid Mbox 3 Pro
DAW : Pro Tools 12.6.0 (64 bit AAX)
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Recording, Mixing, Performance and Production
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Joined: Jul 2000
Posts: 27,599
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Joined: Jul 2000
Posts: 27,599 |
Tobias, for the bass only, you can specify pedal bass and have that do something different from the other instruments.
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.
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Recording, Mixing, Performance and Production
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Joined: Feb 2015
Posts: 57
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Also Hugh , If your gonna start , dont skimp on your interface , large numbers of inputs are not important unless you are recording a full band at the same time , like a fully miced drum kit and more simultaneously , .., if not just start with a 2 or four pre-amped input interface .., but make sure it is the best quality .. a 2 input model for you should be enough to start cheaply. like for example the focusrite claret range , or their new scarlet range (not the older version) or Antelope Audio are also making excellent stuff .., and their Hi Z guitar inputs are excellent also offering low noise . But importantly. these new offerings feature very low latency. https://us.focusrite.com/usb-audio-interfaces/scarlett-2i2https://us.focusrite.com/thunderbolt-audio-interfaces/clarett-2preWith mics , its better to save up and buy the quality mics you need for life , rather than a cheap and nasty one (that also sounds like crap) at which you need to upgrade later on .., as that is wasted money that could have gone towards the good mic. And just buy (start with) i good condensor mike eg: RODE NT1 (about $250) it sounds good , and can sound as good as than some mics 3 times the price , and offers good bang for the buck. Its used for vocals, acoustic guitar , piano and can even handle the high spl's ok and lower frequencies like bass .., but generally more suited for mids to smooth highs - and later on you will always find a use for it .. There is many other types but this advic is to just get you started without wasting money next buy a Shure SM57 dynamic mic..., a tough , bullitproof studio workhorse , and a staple for guitar amps , drums (especially snare) and even used as a vocal mic sometimes (actually Bono and Micheal jackson liked to record vocals through one of these) .., but its vesatile .., so with these 2 mics and your decent preamp/interface you wont have wasted any money and youll be good to go . Do your homework on what Daw you want its very subjective as to what the best (or easiest) Reaper is the cheapest, cubase best for midi, the list goes on .., and like I said all is subjective and each has its own fan boys .., good luck
Last edited by SFG; 10/14/16 02:03 AM.
My Specs
Computer : Mac Pro (late 2013) - OS Yosemite 10.10.5
Processor : 3.5 GHz 6-Core Intel Xeon E5
Memory : 64 GB 1866 MHz DDR3 ECC
Graphics : AMD FirePro D300 2048 MB
Interface : Avid Mbox 3 Pro
DAW : Pro Tools 12.6.0 (64 bit AAX)
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Recording, Mixing, Performance and Production
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Joined: Apr 2009
Posts: 10,942
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Joined: Apr 2009
Posts: 10,942 |
To get what you want, you might have to step outside of the box...so to speak... take the tracks to a full featured, easy to use DAW, and do some audio editing to get the result you want. So... in your example... you want the bass to hold a note while other instruments play and change to other chords. So.... in a DAW.... you simply let the other tracks play.... You insert a volume automation envelope and pull the bass OUT for the 2 measures. You insert a bass synth that sounds like the bass RT and play one note. waaa laaa. I did that on piano in Fools Errand. The entire piano track is a RT that plays all the way through. But, there comes a part where the piano is playing single and double note chords... that's a midi piano played by me. FOOLS ERRAND the part occurs between 3:24 and 3:53. Even an intent listener will not catch that it's two totally different pianos because I took the time to match the tonal quality of the mid to the RT. I do not hesitate to use MIDI in this manner when I need something that BB/RT's won't deliver easily. I find I have to think outside of the box quite often as I work with music. If I can accomplish it in BB/RB, well that's good and I do that... but if I run into the proverbial brick wall in BB/RB, I figure out how I can accomplish it in a different manner and set about finding that solution. It's amazing what you learn by doing that.
Last edited by Guitarhacker; 10/14/16 03:37 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.
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Recording, Mixing, Performance and Production
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Joined: Mar 2004
Posts: 1,753
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Joined: Mar 2004
Posts: 1,753 |
Tobias, for the bass only, you can specify pedal bass and have that do something different from the other instruments. Huh?, What is Pedal Bass? I've seen it in the preferences but I've never used it for anything. Is it for midi only or does it apply to RealTracks also? I always assumed it was some option for organ players to hook up their midi bass pedals/bass foot paddles to or through BIAB. What am I missing? What I'm mostly referring to is the stop - restrike of every instrument at the start of a new chord when the intention is to only hear certain instruments strike the new chord. Ex: You are probably familiar with editing a midi strings or synth track between bars. In Piano Roll Edit Window you can see and hear the end of the chord at the end of a measure and the start of the very same chord at the start of the very next measure. And, drawing out the ends of each note to fill the gap or deleting the next bar to prevent overlap and then drawing/dragging out the note lengths to where you want them to end. The behavior I'm after is to have guitar striking a chord (and perhaps an different chord) at the beginning of a bar while the strings sustain through the guitars chord changes without striking a new chord. Do you know how to create this behavior on a single BIAB chord sheet window?
Does the noise in your head bother me ?
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Recording, Mixing, Performance and Production
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Joined: Mar 2004
Posts: 1,753
Expert
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Expert
Joined: Mar 2004
Posts: 1,753 |
To get what you want, you might have to step outside of the box...so to speak... take the tracks to a full featured, easy to use DAW, and do some audio editing to get the result you want. So... in your example... you want the bass to hold a note while other instruments play and change to other chords. So.... in a DAW.... you simply let the other tracks play.... You insert a volume automation envelope and pull the bass OUT for the 2 measures. You insert a bass synth that sounds like the bass RT and play one note. waaa laaa. I did that on piano in Fools Errand. The entire piano track is a RT that plays all the way through. But, there comes a part where the piano is playing single and double note chords... that's a midi piano played by me. FOOLS ERRAND the part occurs between 3:24 and 3:53. Even an intent listener will not catch that it's two totally different pianos because I took the time to match the tonal quality of the mid to the RT. I do not hesitate to use MIDI in this manner when I need something that BB/RT's won't deliver easily. I find I have to think outside of the box quite often as I work with music. If I can accomplish it in BB/RB, well that's good and I do that... but if I run into the proverbial brick wall in BB/RB, I figure out how I can accomplish it in a different manner and set about finding that solution. It's amazing what you learn by doing that. I think you understand what I'm after. I think it's this restrike every chord behavior that makes a song sound like it was done in BIAB. As I, hopefully, explained earlier in this thread, my work around has been to re-make the same chord sheet window with held bass and/or strings chords or no new chord at certain bars for the instruments that I do not want restiking. I do that by inserting an audio track of the more active instruments from the previous chord sheet. Of course I give the chord sheets different names. NewSong.SGU and NewSong_BassAndStrings.SGU for example. That way I always have the original version. Then I import the stems I want from each version. I just wish I could do it all in one chord sheet window 'cause I'm getting spoiled.
Does the noise in your head bother me ?
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Recording, Mixing, Performance and Production
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Joined: May 2015
Posts: 887
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Joined: May 2015
Posts: 887 |
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. I wouldn't consider mixer just for an audiophile listener as your only considering 1% of listeners. You really want to mix for every enviorment, cheep earbuds, laptop speakers, cars, mono speakers, generally anywhere someone may be listening to your or anyone's music. The Audiophile thing is a joke. I read a post from an audio engineer facebook group about a guy who was aksed to make and aduiophile version of a song and only used stock plug-ins
Computer: Macbook Pro, 16 inch 2021
DAWs: Pro Tools, Logic, and Maschine
plays drums, percussion, bass, steel pan, keyboard,
music producer/engineer
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Recording, Mixing, Performance and Production
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Joined: Feb 2015
Posts: 57
Enthusiast
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[The Audiophile thing is a joke. I read a post from an audio engineer facebook group about a guy who was aksed to make and aduiophile version of a song and only used stock plug-ins Hi Islansoul, There is no special recipe to follow , but there are some established guidelines. Rules are also made to be broken (except when it comes to the risk of digital clipping) but first you need to put in the required time it takes to learn and understand those guidelines . After that many great mixing ideas can result from happy accidents and from breaking rules. Re; plugins , there is absolutely nothing wrong with stock plugins, they are just tools, but its the way in which these tools are used that makes all the difference..., just like a new car from the showroom that has it's OEM stock tires - even though there are better, more expensive tires on the market , that car still performs just fine with the stock tires. Mixing (and tracking) is all about trial and error , and A-B-ing to find the right balance for "You" and it's various intended listening environments. You will find a pro with a great range of 3rd party plugins would also be able to do a great job managing with stock plugins ..., you just need to "put in the time" to know your gear. Just to give you an example , a great producer "Joey Sturgis" is well known for being able to complete a great mix in a pro studio and equally as well on a laptop with headphones (and stock plugins) while recording and mixing in anyones garage .., but he 'put in the time' to work out the differences in listening environments using lots of trial and error comparisons to work out the correct adjustments required to still make it sound good 
My Specs
Computer : Mac Pro (late 2013) - OS Yosemite 10.10.5
Processor : 3.5 GHz 6-Core Intel Xeon E5
Memory : 64 GB 1866 MHz DDR3 ECC
Graphics : AMD FirePro D300 2048 MB
Interface : Avid Mbox 3 Pro
DAW : Pro Tools 12.6.0 (64 bit AAX)
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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!
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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®.
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202 New RealTracks Released with Band-in-a-Box 2026!
With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
Jazz, Funk & World (Sets 468-475):
Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
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- 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
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- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
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Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
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