|
Log in to post
|
Print Thread |
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2004
Posts: 1,753
Expert
|
OP
Expert
Joined: Mar 2004
Posts: 1,753 |
I have a very small budget. I'd like to get better acoustic guitar recordings while being able to use the same mic for other things as they come up. I've been reading reviews and all of these below seem to be comparable in quality. Can any one here make any recommendations? Here are the one is been looking at.
Sennheiser e614 supercardiod $99 might be best for live/stage.
AKG P170 cardioid $99 might be most versatile because it's simply cardioid.
CAD GLX1200 $99
ElectroVoice PL37 cardioid $69
Or maybe get a matched pair.
Samson CO2 Stereo Pair $108 Amazon
CAD CM217 pair $99. Has very good reviews.
Runner ups;
Behringer C2 pair $59
Behringer C4
Behringer B5
Does the noise in your head bother me ?
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2009
Posts: 10,989
Veteran
|
|
Veteran
Joined: Apr 2009
Posts: 10,989 |
What I have found is that most condenser mics will do a really good job for the average home recording studio.
I've heard $100 mics side by side (A/B) with $2000 mics and to be completely honest, I heard very little difference in them. Certainly not enough to justify paying $1900 more for home studio use.
In fact, many years ago on the old Cakewalk forum, a friend there picked up a $59 condenser mic and used it for vocals and acoustic guitar and the results were very impressive. Hard to believe it was under $100 and sounding that good.
If you ask 10 people, you will get 20 recommendations so set your budget and search the music store sites. Find one you like for whatever reason, and look for the best deal.
My only recommendation is that you stay away from anything that is USB connected. The mic should be a condenser that uses phantom power and doesn't have a USB connection. Straight up old skool mic.
The PL 37 or the Behringer mics are all in that price to value range.
Another suggestion.... buy from a store that offers at least a 30 day or more full refund with no questions asked. Try it and if you don't like it, pack it up and send it back.
Also: understand if you don't already know.... that miking an acoustic guitar is part science, part art, and sometimes part luck to get the right balance of tone. So give yourself some time to play around and get it right.
Let us know what you buy, and post a song with it in there.
Last edited by Guitarhacker; 10/02/18 02:41 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: Dec 2003
Posts: 24,949
Veteran
|
|
Veteran
Joined: Dec 2003
Posts: 24,949 |
Another all purpose mic is a Shure SM57: Mic alone, $99 USD: https://www.musiciansfriend.com/pro-audio/shure-sm57-dynamic-instrument-microphone?pdpSearchTerm=shure%20sm57Mic with boom mic stand, $109 USD: https://www.musiciansfriend.com/pro-audio/shure-sm57-stand-cable-package?rNtt=shure%20sm57&index=2I have dynamic mics like the SM57 for recording guitar amps and I use this inexpensive B-800 condenser mic for record vocals and acoustic instruments: https://www.ebay.com/itm/BM800-Condenser-Microphone-Mic-Audio-Studio-Sound-Recording-Dynamic-Shock-Mount/302636193127?hash=item467685d567:m:mSuDpcfWjlGxDaoFgCPdTcw Don't be afraid of the price, it's around $20 USD. It sounds fantastic for both vocals and instruments. I replaced the stupid mic cord that came with it with a real XLR mic cord like this one for $15: https://www.musiciansfriend.com/accessories/daddario-planet-waves-classic-series-xlr-microphone-cable-lo-zI hope this helps.
Life is short so make sure you spend as much time as possible on the Internet arguing with strangers.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2004
Posts: 1,753
Expert
|
|
OP
Expert
Joined: Mar 2004
Posts: 1,753 |
I reluctantly ended up ordering the Behringer C-2 Pair. They should arrive in 3 - 5 days plus another few days for me to really try them out. I tried ordering 2 iSK Pearls with Shock Mounts and a few other accessories to make the 100 dollar free shipping but the transaction failed 3 times. My bank handled it with 3 charges and 3 equal returns. I emailed iSK and used the contact gadget on their website but got no reply after 5 days. Anyhow, I wanted a low frequency roll-off switch, cardioid, not super cardioid and both the iSK Pearls and the Behringer C-2s have that. Plus using them in stereo might be useful at times.
Most of the bad reviews I read on the Behringer C-2s seem to be from misuse, bad shipping, and people who probably don't have phantom power since they indicate that the mics don't work at all. There are a few that seem like legitimate dislikes and a few failures too.
I figured if I don't like them for any reason I can return them and will probably get a single AKG P170.
Does the noise in your head bother me ?
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2010
Posts: 5,139
Veteran
|
|
Veteran
Joined: Apr 2010
Posts: 5,139 |
"Plus using them in stereo might be useful at times."I'm sure you already know this, but you also have the option of using two mics and EQ'ing them differently, but you must be aware of phase cancellation. https://www.uaudio.com/blog/stereo-miking-acoustic-guitar/Regards, Bob
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2004
Posts: 1,753
Expert
|
|
OP
Expert
Joined: Mar 2004
Posts: 1,753 |
After experimenting recording my acoustic guitar with the Behringer C-2s in many configurations I ended up sending them back for a refund. I don't think they are terrible but after comparing them to my Shure SM86, Shure Beta 58, Sennheiser e838, AKG D880 Emotion, Sony ECM MS-907, Behringer B-2 Pro and a few others in my collection they just don't compare in sound quality. They were more sensitive than the dedicated vocal mics and certainly could pick up the sound well. But, have a slightly harsh tone, just slight, and sounded somewhat lifeless, no warmth. But, not really all that bad. It's just that I get a much better sound from any of the others listed above. In fact, for recording acoustic guitar in my room the e838 and Sony ECM MS-907 were probably the best but for separate reasons.
Last week I bought an AKG P170 and immediately could hear a good quality, warm, full range sound. It's easy to move around to find a good spot and easy to post EQ to fit a mix or EQ for solo/singer/songwriter. It doesn't have a low cut switch but that's okay.
To my surprise the Sony ECM MS-907 (stereo/mid-side) mic sounds very good. I've had that mic for some 20 years and had never recorded acoustic guitar with it. I almost did and probably could have stuck with using that alone for my personal recordings. But, it's not easy to focus in on a mono recording when that's all I want. It also has a fairly low SPL handling, which doesn't bother me, and a permanent sharp low cut/high pass at around 100 htz. That said, it is a very clear, detailed and warm sounding. I put it close up to the 20th fret/edge of sound hole and turned it sideways so the left side picked up the high strings and the right side pick up the low strings. Panned them left and right and had a really cool stereo sound. So, I'll likely be putting that one into service more often. Plus, for doing scratch tracks like picking up a singer with an acoustic guitar just to grab a basic song it works quite well.
Does the noise in your head bother me ?
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2009
Posts: 10,989
Veteran
|
|
Veteran
Joined: Apr 2009
Posts: 10,989 |
After experimenting recording my acoustic guitar with the Behringer C-2s in many configurations I ended up sending them back for a refund. I don't think they are terrible but after comparing them to my Shure SM86, Shure Beta 58, Sennheiser e838, AKG D880 Emotion, Sony ECM MS-907, Behringer B-2 Pro and a few others in my collection they just don't compare in sound quality. They were more sensitive than the dedicated vocal mics and certainly could pick up the sound well. But, have a slightly harsh tone, just slight, and sounded somewhat lifeless, no warmth. But, not really all that bad. It's just that I get a much better sound from any of the others listed above. In fact, for recording acoustic guitar in my room the e838 and Sony ECM MS-907 were probably the best but for separate reasons.
Last week I bought an AKG P170 and immediately could hear a good quality, warm, full range sound. It's easy to move around to find a good spot and easy to post EQ to fit a mix or EQ for solo/singer/songwriter. It doesn't have a low cut switch but that's okay.
To my surprise the Sony ECM MS-907 (stereo/mid-side) mic sounds very good. I've had that mic for some 20 years and had never recorded acoustic guitar with it. I almost did and probably could have stuck with using that alone for my personal recordings. But, it's not easy to focus in on a mono recording when that's all I want. It also has a fairly low SPL handling, which doesn't bother me, and a permanent sharp low cut/high pass at around 100 htz. That said, it is a very clear, detailed and warm sounding. I put it close up to the 20th fret/edge of sound hole and turned it sideways so the left side picked up the high strings and the right side pick up the low strings. Panned them left and right and had a really cool stereo sound. So, I'll likely be putting that one into service more often. Plus, for doing scratch tracks like picking up a singer with an acoustic guitar just to grab a basic song it works quite well. Working with acoustic guitars is an art form to start.... and using 2 mics is an even harder form of art. You end up with cancellation of frequencies and yep.... additions too depending on the mic placement and the frequency of the note being played at a given point in time. I experimented using 2 mics on my acoustic and determined that for me, without spending an inordinate amount of time experimenting, using a single mic placed where it picks up the neck and strings as well as the body resonance well, is the best bet. And... I'm still trying to get a good sounding acoustic track that meets my desire for quality. So far, I'm ok with the results.... just not overly excited yet. Just curious if you tried using just one mic of that B-C2 pair. And if you did, how did that sound? Or.... was the overall quality of the c2 just not up to snuff? The problem with using 2 mics is demonstrated in the chart below. Guitar open tuning is 82 to 330 hz. Time periods and wavelength are all in the distance we normally place the mics from the guitar and that's compounded by the fact that sound is not coming from one specific point on the instrument.... such as you have with a horn. Guitars are tough, pianos are even more entertaining. The higher the frequency the more tricky it is to avoid comb filtering and get a good sound on the track. http://www.soundoctor.com/freq.htmms note: this chart didn't copy well so I posted the link instead.
Last edited by Guitarhacker; 11/02/18 03:51 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: Jan 2018
Posts: 112
Apprentice
|
|
Apprentice
Joined: Jan 2018
Posts: 112 |
Obligatory SM58 plug here!
Seriously though, in my experience, I generally care more about the brand then the price. A low price mic may always be low price, but a good brand is almost always a safe choice.
I can't say I have done as much recording as others, but for all the live shows and events I've worked over the years I keep coming back to Shure.
They are companies that have their strengths elsewhere, but I consistently had issues using Behringer, Samson, and Line 6 Mics.
Interesting to hear about the Sony though. I would never have had thought to even try, they really make good everything don't they.
C-sharp when you cross the street… or you’re going to B-flat.
Mikke - PG Music
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: May 2000
Posts: 22,654
Veteran
|
|
Veteran
Joined: May 2000
Posts: 22,654 |
SM58 is a great workhorse to have. Does a LOT. I think we have 4 or 5 of these and beat on them year after year.
SM57 is much the same, yet different. I like the 57 better for certain things, acoustic guitar being one of them.
Double micing an acoustic is standard practice here, and phase issues can often be fixed easily by sliding one track just a hair (and I mean a hair .. not 120 resolution but using 3840 or so).
Sometimes it's just a matter of looking at the wave forms while zoomed in and aligning them for the applicable tracks. Mic distance, etc, can be a factor in phase issues but can also be fixed after the fact by sliding the track. Or by using a simple phase correction plugin.
Also just because you record 2 mics does not mean you have to use them both. <grin>
Another example is using 2 mics on 12 string acoustic can add a lot of effect. Nice chorusey sound that phase can actually accentuate at times.
Guess my point is, why not double mic it, you still have all options available later. Some of the best acoustic tracks I've ever recorded used both mics .. and some of them used just 1 of the 2 we recorded.
Nothing to lose unless you mix both mics during the recording and actually write both mics to disk combined (instead of separately), which means you are doing it wrong.
Additional note; condenser mics can benefit greatly from a good preamp.
Actually all mics do, but to me, especially true for condenser mics.
Many sound much better when used with a dedicated preamp (even a VTB1) compared to a regular mixer preamp.
If you invest in a condenser, I suggest investing in a nice preamp as well to get the most benefit.
Last edited by rharv; 11/02/18 01:56 PM.
I do not work here, but the benefits are still awesome
Make your sound your own!
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2018
Posts: 7,390
Veteran
|
|
Veteran
Joined: Mar 2018
Posts: 7,390 |
Oktava MK-012 and a capsule. Great things about these mics, they have interchangeable capsules for all kinds of situations. They are not Neumanns, but at the price point they beat most competitors.
P.S. Nothing is wrong with sm58/57, but I like Oktava more
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: May 2011
Posts: 464
Journeyman
|
|
Journeyman
Joined: May 2011
Posts: 464 |
I noticed everyone is writing about close mic technique.
What do you folks do about the sound we hear a few feet away? For example, you can't really hear what an electric guitar sounds like until you are a few feet from the amp. Micing a sax at the bell doesn't really give you all the tone we are used to hearing. Do any of you try to get that sound from a listener's perspective? If so, how do you do it?
2b
i5-3210 laptop. Win 10 Home. 2.5ghz, 64 bit. 6gb RAM. Focusrite Scarlet 2i2.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2004
Posts: 1,753
Expert
|
|
OP
Expert
Joined: Mar 2004
Posts: 1,753 |
"Just curious if you tried using just one mic of that B-C2 pair. And if you did, how did that sound? Or.... was the overall quality of the c2 just not up to snuff?"
*
Yes, in various locations. And, as I said earlier;
“I don't think they are terrible, . . . It's just that I get a much better sound from any of the others listed above.”
*
I also did several/many dual mic configurations with them. Mostly to 2 separate tracks for panning/mixing options. I just did't like the sound of them on acoustic guitar compared to some of the dedicated vocal mics in my collection.
For a 2 mic recording I can now use the AKG P170, which sounds great, and the Behringer B-2 Pro (large diaphragm), or any others I have and feel like I'll get a much better sound in the end. A few days ago I recorded several passes of the 12th fret, 15th fret and the lower shoulder area with the P170 and the piezo/preamp to 2 separate tracks and get a very nice sound that way. The guitar is a Yamaha FSX830C with the ART preamp system. It actually sounds really good live where I take advantage of tapping/thumping on the soundboard a bit for getting the piezo to put out some of that tappingthumping to the PA system at times. But, recording using the onboard preamp I roll off all the lows, mids at a specified Q/sweep, and leave the highs flat. So, I'm only/mostly recording the thin sparkle of the piezo and blending that in with the mic recording.
Does the noise in your head bother me ?
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2004
Posts: 1,753
Expert
|
|
OP
Expert
Joined: Mar 2004
Posts: 1,753 |
Obligatory SM58 plug here!
Interesting to hear about the Sony though. I would never have had thought to even try, they really make good everything don't they. Yes, I am still debating whether to just stick with the Sony Mid/Side mic for stereo recordings. It sounds really, really good and since its all in one mic it's easy to move around to find a nice spot with out perceived phase cancellations. I have little 1/8" stereo to Left/Right 1/4" adapter to get it onto 2 tracks at once. Keep in mind that with the Mid/Side arrangement the left side includes the center and the right side also includes the center. I can't remove the center. But I can pan the left and center to the left and the right and center to the right. Non-the-less, it sounds very nice like this. * Also, I'm not against SM58s and 57s. I have used and owned them in the past. I don't currently own either one and don't feel the need to since I feel they are the standard of mediocre. I own 2 Beta 58S and a SM86 that, to me, for what I do, I think are at least a grade or 2 above the SM58/57. Even then, for my own voice live I prefer the Sennheiser e838 and when I need supercardoid I grab the AKG 880 Emotion. My wife uses the SM86 and sounds great on it. A Beta 58 is usually in my gig bag as a spare.
Does the noise in your head bother me ?
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Jan 2002
Posts: 7,913
Veteran
|
|
Veteran
Joined: Jan 2002
Posts: 7,913 |
You already have way more mics than I expected. To call the SM 58 and 57 the standard of mediocre means that you are putting way too much hope in a mic making some kind of magic, in my opinion. Both of those mics are outstanding and very often do way better than more expensive condensers in a home studio situation, where control of reflections is not really well executed for the most part. They are much more forgiving than most cardioid condenser mics because of their better off-axis rejection. The list of excellent acoustic records made with these mics - and entire albums, is well known. That probably doesn't need to be rehashed. What does your anti-reflection absorption situation look like in the room? I would concentrate there before buying another mic. Especially on a limited budget. As for the mid-side mic, you should be able to use a matrix in your DAW to resolve this to pure stereo. https://www.voxengo.com/product/msed/Those are just my opinions, but I would say you have plenty of mics to work with and tweak - but it does depend somewhat on your room - all the more-so with a less-cardioid patterned condenser.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Jan 2002
Posts: 7,913
Veteran
|
|
Veteran
Joined: Jan 2002
Posts: 7,913 |
I noticed everyone is writing about close mic technique.
What do you folks do about the sound we hear a few feet away? For example, you can't really hear what an electric guitar sounds like until you are a few feet from the amp. Micing a sax at the bell doesn't really give you all the tone we are used to hearing. Do any of you try to get that sound from a listener's perspective? If so, how do you do it?
2b I do this with some very expensive in-ear monitors, with earmuffs over top. I hear pretty much what the mic is picking up. I got the in-ear monitors from my former employer, Westone, which is not something that is in most home-recordist's budgets. But hey, it's the way I do it when I'm not in a hurry. Main thing in home studios is controlling reflections; both cutting them down and also having a piece of panelling you can throw on the floor to CREATE reflections. -Scott
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Mar 2004
Posts: 1,753
Expert
|
|
OP
Expert
Joined: Mar 2004
Posts: 1,753 |
You already have way more mics than I expected. To call the SM 58 and 57 the standard of mediocre means that you are putting way too much hope in a mic making some kind of magic, in my opinion. Both of those mics are outstanding and very often do way better than more expensive condensers in a home studio situation, where control of reflections is not really well executed for the most part. They are much more forgiving than most cardioid condenser mics because of their better off-axis rejection. The list of excellent acoustic records made with these mics - and entire albums, is well known. That probably doesn't need to be rehashed. What does your anti-reflection absorption situation look like in the room? I would concentrate there before buying another mic. Especially on a limited budget. As for the mid-side mic, you should be able to use a matrix in your DAW to resolve this to pure stereo. https://www.voxengo.com/product/msed/Those are just my opinions, but I would say you have plenty of mics to work with and tweak - but it does depend somewhat on your room - all the more-so with a less-cardioid patterned condenser. Okay, maybe mediocre isn't the best description. Maybe medium priced or medium grade would have been better. What I mean is they are likely near the top of the $100 mic catagory. But, for the price range of an SM57/58 there is a lot to chose from. If fact, I prefer a Sennheiser E835 for anything a SM57 or 58 could get used for. But, that's just me. Going just above that price range seems to get significantly better quality. Anyhow, after using SM57/58s off and on for the last 40 years or so I seem to always like other microphones better for what I do. And, considering what I already have, I would buy one at this point since I've got it covered with other mics. My room itself isn't too, too bad. I have tall book shelves loaded with books and gadgets to the left and right, minimal absorption on the wall behind my station, a 8 x 10 thick carpet covering part of the wall some 6 - 8 feet behind my back, thin carpet on the floor and a thick quilt canopy to stand under for vocal recording. I often use several shower floor mats from the 99 Cents Only store for movable absorption but they mostly just reduce reflections off walls, the ceiling and where the walls and ceiling meet. I think my biggest dislike is the ceiling. I have some ideas for that but haven't got around to it yet. I currently don't see a need to separate out the mid/side features of that little Sony mic. I would use it for what it does and it seems to do it quite well. But, I know there are some slick techniques for that when needed. I've never experimented with them myself though.
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
Topics86,502
Posts805,757
Members40,136
| |
Most Online64,515
Apr 8th, 2026
|
|
|
|
|
|
|
|
|
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean