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I can't speak for GH, but that's how I read it.
Many times I end up with 20-30 tracks in a project, many used very sparsely, but they made it to the final cut..
I do not work here, but the benefits are still awesome
Make your sound your own!
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Hey, there, "Islansoul"... Your "handle" leaves a serene, almost mystical impression. Cool! I hope you will forgive my four-day late response to your comprehensive post.  "Ask yourself what are the most important parts of the song? What parts really need to stand out in the mix, and what parts do you feel that the listen could get by with out really hearing up front and in the spotlight."Wow. You do go straight for jugular, don't you?  You were right on the money by taking note of the fact that all the instruments were "coming on loud." The only thing I'd ever read about mixing was to adjust track volumes just short of clipping... Immediately upon reading your post, I went back to the song and did as you instructed: lowered the levels of the tracks, and then did the same thing with the master fader. Voila! It worked! "I know panning things can make tacks sound out of place at first, but after a while, you'll start to find that not ever track need to be dead center." Actually, I wasn't trying to push everything dead center. As I manipulated the panning controls, my intent was to "hear" my way through to determining where each instrument's track sounded best in the "stereo image" you mentioned. But as I indicated in my post, to my ears something I can only describe as a diminishment of the "fullness" of the sound, a thinning, seemed to occur in the wake my adjustments. My intuition tells me that maybe I was looking too closely at the graphic representation of the panning controls -- the way the green level light splits into two columns to display the relative increase or decrease of the signal while panning right or left -- instead of listening. What I mean is, perhaps my misdirected attention to the visual display affected the way I was hearing the sound of the instrument(s). "Islansoul", your advice/instructions were easy to understand, and following them produced immediately pleasing results. Thank you very, very much for taking the time to listen to the song so closely and offer me the benefit of your music/audio experience. Respectfully, LOREN (a.k.a. "bluage") No problem, I remember taking an audio mixing class called audio mixing 1 and the first week I had to mix a song using only pan knobs and volume faders. No EQ, no compression, no reverb, nothing else.
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Some other tricks you can do to add depth to a mix is to add chrous to vocals particularly with backgroung vocals to give the feel of more vocals than there are, a lot of mixing guys use with pluging, but that's debatable. I say if you start with a great recording then you'll have less work to do in the mix.
Computer: Macbook Pro, 16 inch 2021
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plays drums, percussion, bass, steel pan, keyboard,
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Also, my handle is suppose to be islandsoul after my solo artist name Island Soul. I didn't realize I had spelled it wrong untill recently. The full name of it is actually Island Soul Productions because I want to incorporate production as a part of it as well.
Computer: Macbook Pro, 16 inch 2021
DAWs: Pro Tools, Logic, and Maschine
plays drums, percussion, bass, steel pan, keyboard,
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"guitarhacker"... However, there is one nagging question I have: if, in the sound design of your song, you decided to minimize the volume of certain tracks that you deemed subordinate to the total mix, such as the six acoustic/electric rhythm guitars and the five vocals, why, then, did you include them in the first place? LOREN (a.k.a. "bluage") There is a reason for including all the tracks. Let me discuss the vocals in particular. There's 5 tracks.... one up front as the lead and the other 4 hanging back. If I used just the one lead it would sound OK. However, if I have 2 more tracks exactly like the lead.... phrase for phrase or mighty close, and if I pan them opposite to the extreme, and if I keep them so low you really can't hear them clearly, here's what happens. The stereo spread is there, and they add a fullness with out any obvious doubling or comb filtering being obvious. In the chorus, I add 2 more tracks which are harmony and that also adds to the fullness and fatness of the vocal without having it sound like it's the Statler brothers singing harmony or the local barbershop quartet providing harmony. I don't want to hear the individual harmony voices. I simply want the fullness of the vocals to increase without it sounding like 2 more people just started singing. I was kind of sloppy with the vocals in Whiskey for Breakfast. Normally when I do that, I spend quite a bit of time making sure the vocals are dead, spot on in sync with each other. As it was I only did a few quick punches to get close, and moved on. The result is that it's a very subtle but slightly fuller sound. Quite popular and it's used a lot in the music you hear in the pop and country world. Think of it a viewing a pyramid from the side.... The lead is at the top, and the low leads are spread wide at the bottom, down further, with the harmonies up the sides a bit and maybe not spread quite as wide. The guitars are similar.... they are layered. Same basic principle and idea and result. There's a fatness without the obvious presence that one would have to deal with having and trying to mix 6 guitars and have them all audible and distinct. In this way, 2 guitars are primary and distinct, while the others are simply layering a bed that is underlying the music. Regarding levels..... in my mixing, if it's not needed, I have it pulled completely down. In fact, in a project only the bass and drums and acoustic guitars will tend to be in the mix all the time. Everything else can come and go. The secret is getting the various things in and out without having it be noticeable to the point that it's obvious and calls attention to itself when it happens.
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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"guitarhacker"... Sorry I'm late for class, again! Whew! Time's a-flyin' and my wings are being dry-cleaned at the laundromat. When's my tuition payment due, teach'?! I ain't done, yet. How on God's green earth, may I ask, do you find time to produce songs when you apparently spend so much time helping out know-nothings like me, huh??? Know what I think? I think there's two of you -- "guitarslacker" and "guitarhacker" -- most likely a twin brother, and while one of you produces songs, the other one mans the forums, and then both of you do a neat switch-a-roonie. Ah-HAH! Got'cha.  "There's 5 tracks.... one up front as the lead and the other 4 hanging back. If I used just the one lead it would sound OK. However, if I have 2 more tracks exactly like the lead.... phrase for phrase or mighty close, and if I pan them opposite to the extreme, and if I keep them so low you really can't hear them clearly, here's what happens. The stereo spread is there, and they add a fullness with out any obvious doubling or comb filtering being obvious."The concept is so simple, I'm sorry I asked the question. "Comb-filtering"? That's when I clean all the hair strands out of it, right ?? Jes' kiddin', smidgen!  "In the chorus, I add 2 more tracks which are harmony and that also adds to the fullness and fatness of the vocal..." Again, simplicity itself, of a degree that makes it seem like common sense. But then, my daddy told me that if "common sense" was so "common", everybody would have it...which they don't! "The result is that it's a very subtle but slightly fuller sound...Think of it a(s) viewing a pyramid from the side.... The lead is at the top, and the low leads are spread wide at the bottom, down further, with the harmonies up the sides a bit and maybe not spread quite as wide."The visual analogy concerning the pyramid works for me. "The guitars are similar.... they are layered. Same basic principle and idea and result. There's a fatness without the obvious presence that one would have to deal with having and trying to mix 6 guitars and have them all audible and distinct. In this way, 2 guitars are primary and distinct, while the others are simply layering a bed that is underlying the music." To sum everything up, I think the term/word you use -- "layering" -- answers my question fully as to why you include multiple, identical audio tracks in your mix. Question: How much of what you know about audio engineering is the result of consulting technical information, and/or "hands-on", trial-and-error experience, percentage-wise? Last thing before the bell rings, teach': I believe that a lot of what disappoints me in my mixes has to do with the fact I use virtual instruments to render MIDI tracks that I perform on my piano. So, when I listen to music performed and produced by true musicians who play actual musical instruments, my virtually-produced music pales hugely by comparison. If it wasn't for BIAB's Real Tracks, I wouldn't have the nerve to post anything, anywhere on this site. All hail the great and wunnerful Mr. Peter Gannon, rescuer of armchair "musicians" whose cheesy MIDI wasn't soundin' so pretty! So long, "guitarhacker" (and, "guitarslacker", you sly rascal, you!). I got some audio engineerin' to do... You know how I feel, partner! LOREN (a.k.a. "bluage")
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
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Howdy-owdy, "rharv"/Bob...
Twenty, to thirty tracks??? Holy guacamole, Batman!!! Them's a lotta tracks. You must be the husband of the "old woman who lived in a shoe, and had so many tracks, she didn't know what to do"...
Could you direct me to a song, or songs, you've produced, so I can I listen to them?
Thanks!
LOREN (a.k.a. "bluage")
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
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"Islandsoul"... Right on. I just like the sound of it. It conjures up in my mind's eye a serene, pacific image of hot-blue skies, caravans of clouds, white sands, crashing waves, scantily-clad...ummm, palm trees (  ), and music, or course! May have to use it as a song title, someday! Why don't you direct me to one, or more, of your songs? Thanks, "Islandsoul"... LOREN (a.k.a. "bluage")
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
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"Islandsoul"...
Yeah, I've seen that "chorus" utility on menus of my music software programs, but never used it. As I explained to another forum member who participated in this thread, I've been so involved with learning music theory that I've pretty completely neglected the audio production aspect of making music. But since you mentioned it, I'll try it out.
"guitarhacker" hooked me up to "normalization", and it works just like he said it would. So, my ears are open to advice from you, and anyone else who is kind enough to share with me what they know...
Thanks, again, "Islandsoul".
Sincerely,
LOREN (a.k.a. "bluage")
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
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"Islandsoul"...
Yes, pan knobs and volume faders were the only "sound-shaping" tools I ever used before Floyd Jane advised me to start this thread. And, sometimes, when I really committed to working them, working them, and working them some more in a composition, I think I heard some (personally) pleasing results.
Actually, deep down, there's a "purist" in me who (used to be) suspicious of all the audio processing tools that DAW's are loaded with. But now, as a result of what I'm learning, I realize that they aren't there to be used indiscriminately, but selectively...and, so, I will!
Can you handle another "thank you"? Ho-kay, here it is, sir!
Truly,
LOREN (a.k.a. "bluage")
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
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"guitarhacker"... The concept is so simple, I'm sorry I asked the question. "Comb-filtering"? That's when I clean all the hair strands out of it, right ?? Jes' kiddin', smidgen! Question: How much of what you know about audio engineering is the result of consulting technical information, and/or "hands-on", trial-and-error experience, percentage-wise? LOREN (a.k.a. "bluage") Comb filtering: Here's the Wiki definition: https://en.wikipedia.org/wiki/Comb_filter In a nutshell, it's not something that you want to happen in your mix. It happens when 2 different and varying signals are imposed upon each other. They interact algebraically depending on what each signal is adding to the mix. At one point the signals will add to each other and a split second later they will null each other out and it varies with the frequencies involved. Since the frequencies are mostly not the same, the level of apparent increase or decrease will also vary. The more you work with signals that are exactly the same or similar enough, the more this becomes an issue. It is the primary reason you should NEVER clone a track to do layering or doubling. It can be negated by panning and volume control of the source. Most of what I learned about audio engineering is the result of hands on experience and being active in the Cakewalk songs forum for many years. There are folks over there who work with music at the professional level, operating studios as their main business activity and in other capacities in the music world. Craig Anderton drops in from time to time. He used to write a monthly column for Guitar Player magazine on electronic gizmo's. I've had several people pick out things in my music that I totally missed. I mean totally. When I went back to where they indicated and listened.... they were 100% right. Having other people with "good engineer's ears" listen and comment on your songs gets you up to speed pretty quickly. When they see you taking their advice and improving your skills, they are willing to keep giving that advice. By posting my music over there and asking for crits... "tell me the truth, don't sugar coat it".... I received lots of good feedback on what these folks heard in my mix and then they told me what I needed to do to remedy the situation. You tend to achieve the levels of the advice you're given, so make the advice you get, the best possible. Some of the crits I got early on were pretty harsh. Not mean, but harsh. There is a difference. "Harsh" makes you face the reality that maybe what you're doing that you think is good, isn't good at all and you are doing things in a way that gives poor results. Then by listening to the advice, you discover a better way that does give good results...and you live and learn and keep climbing. I realize that not all folks know the difference between mean and harsh and not all folks want to be told they could be doing things in a better way..... so quite often, I simply keep quite and say.. "Good Job.... sounds like it was a fun song you did." I could say more but for now....
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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I do not work here, but the benefits are still awesome
Make your sound your own!
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First of all, I don't have any finished song yet. under the Island Soul name yet. I'm most likley the only member on here that doesn't use BIAB to write origianal music. I manily use it to write backing tracks for my steel pan gigs, as I'm mainly a proformer, not a songwriter, I would like that to change one day. Again thanks for the complements, but those go to out to all the hard work in college for my production degree, and my God given music talent. As someone who as both the experience as a musician and an engineer I understand both sides equally. Both sides play there role in achieving the final song that everyone ends up hearing. Now I need to get back to making music annd stop replying to this form.
Computer: Macbook Pro, 16 inch 2021
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plays drums, percussion, bass, steel pan, keyboard,
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"Islandsoul:... Hearin' ya' LOUD and clear about spending so much time on the forums! Whenever you put anything out in the world to listen to, give me a "holler", won't you? Again, thank you truly for sharing your audio production experience. Your feedback was solidly useful and I'm applying it right away. I'll let you know the next time I post something so you can give it a critical listen. Most sincerely, LOREN (a.k.a. "bluage")
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
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"guitarhacker"...
Thank you for explaining the "comb filter" concept.
As far as critiques go, I'm willing to accept "harsh" assessments of the music I produce -- whenever I get it "out there". I have labored over songs for literally years until they sounded "right" to me, which is why I've only posted two songs to the "User's Forum" since I joined in 2009.
However, with all the practical and immediately useful advice, information and instruction I received from the folks who answered my call in the "Mixing and Panning" thread, I'll be a bit more interested (and brave!) about posting songs to get feedback from members such as yourself concerning the work of mixing.
Usually, I think a body can tell if the "harsh" tone of a critique is constructive, or destructive. You just take what you can use and leave the rest behind...
As always, thank you for your generosity. "guitarhacker".
Sincerely,
LOREN (a.k.a. "bluage")
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
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"rharv"/Bob... Whew! I stand in the shadows of giants... I listened to three (for now) of your songs: "Haunted", "Things Will Finally Gel", and "Sweetness". The musicianship was (obviously) top-notch. The mixing on all of them was, to my untrained ears, overwhelmingly clear, spacious, and ear-filling. Talk about "growling" gee-tars! In "Haunted" they sounded like they were straining against a leash to get free. Better feed 'em before they bite you! Also, I liked the chord changes and the driving rhythm. However, the mix for "Sweetness" was particularly impressive. The music sounded as though it was coming from everywhere in the room I listened to it in. I really appreciated how the "throw-away" lines in the background (including that wild donkey braying!) sounded so well-placed and distinct within the total mix. And last, but not least, you and your band definitely "put your feet in the funk" on that one! Oh, yeah, baby! Now, may I ask only a couple of questions? Concerning the vocals, are you the lead singer? Second, where the voices sing in harmony, are they the voices of different members of the band, or were they only your voice, but duplicated and blended into the mix? Thanks for sharing your exciting, rhythmic, and excellently produced music! Sincerely, LOREN (a.k.a. "bluage")
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
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Concerning the vocals, are you the lead singer? No, I am not the lead singer. Barry gets credit for that role. We grew up together and to be honest; he says I mentored him, but I feel like I ride his coat-tails historically. Second, where the voices sing in harmony, are they the voices of different members of the band, or were they only your voice, but duplicated and blended into the mix? Harmonies/doubling on vocals; in any example it may be he or I on harmonies, I'd have to go song by song or part by part to detail. Sometimes we doubled his voice and sometimes we added others. Usually when we played 'live' though, those harmonies fell on me. 'Sweetness' is the oldest mix of the bunch I listed above. It was a lot of fun. The sampled donkey made me laugh at the time, and Barry's sax line led right into it so well .. that's really what allowed it to work. Thanks for taking the time to listen.
I do not work here, but the benefits are still awesome
Make your sound your own!
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"Islandsoul:... Hearin' ya' LOUD and clear about spending so much time on the forums! Whenever you put anything out in the world to listen to, give me a "holler", won't you? Again, thank you truly for sharing your audio production experience. Your feedback was solidly useful and I'm applying it right away. I'll let you know the next time I post something so you can give it a critical listen. Most sincerely, LOREN (a.k.a. "bluage") Private message me and I can tell you about a project I did about three years ago I might post on the forum.
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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"guitarhacker"...
Thank you for explaining the "comb filter" concept.
As far as critiques go, I'm willing to accept "harsh" assessments of the music I produce -- whenever I get it "out there". I have labored over songs for literally years until they sounded "right" to me, which is why I've only posted two songs to the "User's Forum" since I joined in 2009.
However, with all the practical and immediately useful advice, information and instruction I received from the folks who answered my call in the "Mixing and Panning" thread, I'll be a bit more interested (and brave!) about posting songs to get feedback from members such as yourself concerning the work of mixing.
Usually, I think a body can tell if the "harsh" tone of a critique is constructive, or destructive. You just take what you can use and leave the rest behind...
As always, thank you for your generosity. "guitarhacker".
Sincerely,
LOREN (a.k.a. "bluage") You need to cut the procrastination time down.... as our new president likes to say... "Bigly". On the next song you write... try taking it from finished song to "finished" recording in just a few days max. Put yourself under a self-imposed deadline. Give yourself two or three days to record it and present it. Let the chips fall where they will. See what people say about the mix and the production. If you're literally taking years to get something out, it will be hard to improve on that schedule. As an example.... Whiskey went from idea to finished song in around a week, give or take. IIRC. Most of that time was working on the song lyrics and structure. I had recorded a rough draft to send to David, but after review and discussion, it was deleted and I started recording again from scratch on the new structure. Recording, I believe, on the second and final version (structurally) was 2 days if I recall. That included recording the RT's and the live tracks and vocals and mixing it all. I look for a standard of "reasonably good" as opposed to "perfect" in order to get things done and move on. Early on as you try this you will likely miss some things that may be obvious to you later, but as you adapt to the faster progress, things will fall in place pretty quickly.
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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"gee-tee" (short for "guitarhacker"!) OWWW! That ruler across my knuckles hurt, 'teach!  Seriously, though, I laughed out loud (at myself) behind your remark, "You need to cut the procrastination time down.... ", 'cause I'll be danged if it isn't true. You're right, and when you're right, you're right...right? Right! This desire to compose songs came to me out of nowhere, like something that fell out of the sky one day and landed on my noggin -- CRACK!!! I mean that almost literally. It developed s-l-o-w-l-y over the course of, say, the last ten years. The pace picked up considerably when I stumbled on Band-in-a-Box in 2005. But then, to use the software in any kind of productive way, I had to commit to learning music theory, which slowed me down considerably, 'cause I..am...L...A...Z...Y!!! To this day, sometimes I wonder to myself, "Why did this thing happen?" I had always been an active listener concerning music, took piano lessons as a kid, even, but I never had the slightest impulse to compose. Nonetheless, these days I just thank the Creator for giving me something interesting to do in my spare time!  Talk to ya' later, "guitarhacker"! LOREN
"Music is what feelings sound like."-- borrowed from a Cakewalk Music Creator forum member, "Mamabear".
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It's Victoria Day Long Weekend in Canada. Our Customer Service hours are:
Saturday, May 16: Closed
Sunday, May 17: Closed
Monday, May 18: 8:00am - 4:00pm
Regular hours resume Tuesday, May 19th!
Today's the Last Day of the Band-in-a-Box 2026® for Mac Special!
Order before 11:59pm PDT today (May 15, 2026) to save up to 50% off your Band-in-a-Box® 2026 for Mac® upgrade and receive a FREE Bonus PAK loaded with great new Add-ons to use with this new version!
Don't wait - order today!
Check out all the new features in the redesigned Band-in-a-Box® 2026 for Mac®!
Band-in-a-Box® 2026 for Mac - Special Offers End at 11:59pm PDT on Friday, May 15th, 2026!
Order before 11:59pm PDT on Friday, May 15th and SAVE up to 50% on most Band-in-a-Box® version 2026 for Mac Upgrade packages... and that's not all! With your version 2026 for Mac purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Upgrade to the 2026 49-PAK to receive even more NEW Add-ons including 20 additional RealTracks... that's 222 NEW RealTracks available with version Band-in-a-Box® 2026 for Mac!
Upgrade to Band-in-a-Box® 2026 for Mac® today for as little as $49! Check out the Band-in-a-Box® packages page for all available purchase options.
Learn more about the Free Bonus PAK and 49-PAK here.
If you have any questions about which package is the best option for you, just let us know. We're here to help!
202 New RealTracks Released with Band-in-a-Box 2026!
With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
Jazz, Funk & World (Sets 468-475):
Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
2026 Free Bonus PAK & 49-PAK for Band-in-a-Box® 2026 for Mac®!
With your version 2026 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons for FREE! Or upgrade to the 2026 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2026 RealCombos Booster PAK:
-For Pro customers, this includes 27 new RealTracks and 23 new RealStyles.
-For MegaPAK customers, this includes 25 new RealTracks and 23 new RealStyles.
-For UltraPAK customers, this includes 12 new RealStyles.
- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
Looking for more great add-ons, then upgrade to the 2026 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyle.
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
- RealDrums Stems Set 10: Groovin' Sticks
- SynthMaster Sounds & Styles Set 2 (sounds & styles with audio demos)
Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
XPro & Xtra Styles PAK Sets On Sale Now - Until May 15, 2026!
All of our XPro Styles PAKs and Xtra Styles PAKs are on sale until May 15th, 2026!
It's the perfect time to expand your Band-in-a-Box® style library with XPro and Xtra Styles PAKs. These additional styles for Band-in-a-Box® offer a wide range of genres designed to fit seamlessly into your projects. Each style is professionally arranged and mixed, helping enhance your songs while saving you time.
What are XPro Styles and Xtra Styles PAKs?
XPro Styles PAKs are styles that work with any version (Pro, MegaPAK, UltraPAK, UltraPAK+, or Audiophile Edition) of Band-in-a-Box® 2025 (or higher). XPro Styles PAKS 1-10 includes 1,000 styles!
Xtra Styles PAKs are styles that work with the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box® 2025 (or higher). Xtra Styles PAKs 1-21 includes 3,700 styles (and 35 MIDI styles)!
The XPro & Xtra Styles PAKs are not included in any Band-in-a-Box® package.
The XPro Styles PAKs 1-10 are available for only $29 ea (reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Listen to demos and order now! For Mac or for Windows.
The Xtra Styles PAKs 1-21 are available for only $29 ea (reg. $49 ea), or get them all in the Xtra Styles PAK Bundle for only $199 (reg. $349)! Listen to demos and order now! For Mac or for Windows.
Note: XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 19 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version as they require the RealTracks included in the UltraPAK, UltraPAK+, or Audiophile Edition.
Supercharge your Band-in-a-Box today with XPro Styles PAKs and Xtra Styles PAK Sets!
Band-in-a-Box 2026 for Mac Videos
With the release of Band-in-a-Box® 2026 for Mac, we’re rolling out a collection of brand-new videos on our YouTube channel. We’ll keep this forum post updated so you can easily find all the latest videos in one convenient spot.
Whether you're exploring new features, checking out the latest RealTracks or Style PAKs, this is your go-to guide for Band-in-a-Box® 2026.
Check out this forum post for "One Stop Shopping" of our Band-in-a-Box® 2026 Mac Videos!
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