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A song I wrote with Danny Mayo and Bucky Jones Once it was demoed, Bucky took it to Reba - they were friends - (we all thought she would "tear it up") - but she passed on it. I decided to do a BIAB version since I had not recorded it (other than the work tape the day it was written). I will post a link to the Nashville demo - and talk a bit about how it was done - in the post right below this. If you choose to comment, you might want to do that BEFORE you listen to the Nashville demo. It (the Nashville demo) is done by the best in the business (players and singer) so comparing mine might not be fair...  WHEREVER YOU GO the day you came into this world was the proudest of my life i prayed to god to help me teach you wrong from right i've seen you through bumps and bruises doctored your skinned knees i've held you close on stormy nights whenever you needed me but i know with each passing day we're closer to the time you'll walk away into your own world and slowly slip from mine i can't always keep you safe or hold your hand or mend your broken hearts but i'll put you on the right road and give you a loving start when you're out there on your own may it comfort you to know a part of me will always be with you wherever you go i love you with all my heart that's the best that i can do i've tried to give you what you need the rest is up to you i can't always keep you safe or hold your hand or mend your broken hearts but i'll put you on the right road and give you a loving start when you're out there on your own may it comfort you to know a part of me will always be with you wherever you go i'll be with you wherever you go The BAND: RealTracks in style: ~~700:Bass, Electric, PopHalfNotesPush Ev 085 RealTracks in style: 518:Bass, Electric, Pop HalfNotes Ev 085 RealTracks in song: ~~2051:Guitar, Acoustic, Fingerpicking CountryBrent Ev 085 RealTracks in song: 3079:Mandolin, Soloist BluesyPopAndy Ev 100 RealTracks in song: 3075:Fiddle, Background BluesyPopAndy Ev 100 RealTracks in song: 2542:Pedal Steel, Background ModernBalladAtmosphere Ev16 065 MIDI SuperTracks in song: 2087:Piano, Rhythm PopBalladJohn Ev 085 (rendered using TruePianos) Drums are pieced together using Loops from Drums On Demand and chunks from that as single samples. Harmony: Janice Merritt Thanks for listening. fj
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Here is the Nashville demo of "Wherever You Go"... If you thought you wanted to compete in the Nashville songwriting market through the 1990's and into the 2000's (the Golden Era of Nashville Songwriting, I'd say), then know that these are the type demos you were competing against. By the hundreds - for every pitch opportunity (if you managed to get access). They (the screeners) were popping demo after demo in the player that had been recorded by the best session players (the same guys who played on the records) and the best demo singers (many of whom were being considered for record deals). The demos generally sounded like they should be on the radio - as is. They were not cheap. They averaged $300-$500 per song. And the better players expected to do sessions that recorded several songs in a block. They didn't do "single songs" - not worth their time. So a full session would run $2000 (or more) - including musicians, demo singer, engineer and studio time. That might end up being 5 or 6 songs. Often that was a publisher demoing songs from several different writers. Needless to say, they (publishers) were VERY picky about what songs got selected to be recorded. They had to believe they were HITS. No question. Publishers generally foot the bill for demo sessions. Most staff contracts specify that the publisher recoups those cost from royalties before the writer is paid - if you ever get a song recorded (that makes some money). The "big name" writers often paid their own studio sessions - just their songs, of course - because if they had radio hits, they had the money. And the more songs you have with quality (radio ready) demos, the more likely you get more cuts. And these are people who know how to write. That goes without saying. Otherwise you are wasting that $400. Really. So... You have a writing session that ends with a completed song. This might be a couple of hours. At the end of the session, you record a "work tape". A guitar/vocal on a portable cassette player, typically. Decide on a demo singer and send them a copy of the work tape - so they get familar with the song and can determine the key it needs to be in for them. Decide what players/instruments are needed - what their availablity is. Book studio time. During the session... when it is time for your song, they will play the work tape as the studio musicians listen. As they listen, they will write out charts (the Nashville Numbers system). They will discuss that amongst themselves and may listen again (whole or parts). Tweak the chart if needed. (For the songs I was involved with, I generally brought along a numbers chart that I had done - I knew the system well - which made it easier and fastest to get started - they could modify it as needed). They then run through the song. There may or may not be someone in the vocal booth to provide a scratch/reference vocal (In the case of "Wherever You Go", I was doing my best falsetto, because it was being done as a female demo. Not sure how useful THAT was?!?!). The players might discuss a few parts. The engineer hits Record, someone (drummer) counts it off and they go. Typically, it is one take. There might be a quick overdub of leads or fills (though they are often played real-time) or the bass player punching in a missed note, etc. Tracks are done. Maybe a half hour per song start to finish. The demo singer(s) might be scheduled for the session after the tracks session or another day. When they do the vocals, it is a similar situation. They get some levels, hit record and go. One or two takes and they are done. If harmonies are needed, it is often the same singer. (the good ones are booked constantly and are on a tight schedule to get to their next studio session). I was never present during the mixing, so I cannot offer what time that took or how that was accomplished. A week or so later, you pick up a finished product and look for opportunities to get it pitched... Recorded at County Q Studio. Unfortunately, I do not recall the names of the session players on this. Danny set up the session and arranged for the musicians and the demo singer ("Tammy", maybe??. She was an incredible singer and a very attractive girl-next-door type. Why she did not become a star has always been a mystery to me) Your first demo using Band-In-A-Box will cost you about the same as a single Nashville demo (one song). BUT every one after that.... costs $0. ZERO! (And you are using those same studio musicians!) Now, if you can just get Trisha Yearwood to drop by the house to do that vocal... WHEREVER YOU GO - Nashville Demo ...
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Ok, so I listened to the BIAB version of the song. Before I listen to the Nashville demo, I'd like to give my impressions on the BIAB version.
In short: you made me stop and listen, then you made me cry. Your voice is stunning and carries the song beautifully - and the lyrics are the bread and butter of this song. This really deserves to be a hit - and the last verse, with Janice Merritt singing the harmonies with you, just takes it someplace else. You hit the ceiling, so to speak, and then - with that last verse - went through it and beyond it.
Genuinely and really beautiful - well done. I will now read the Nashville demo post, listen to it and see what I think of the demo part of things afterwards! But a good song shines no matter what, I think - and this really IS good (to understate things as those of us that live in England are sometimes prone to do, haha!).
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D'you know, I much prefer the BIAB version - because it's SO much more sincere. Yes, the voice on the demo is probably run through auto-tune and everything ... it sounds more technically polished, etc., but that comes at the expense of sincerity and musicality a little bit. Your more gravelly voice MEANS every line - and, like I said, when the harmonies kick in, wow.
Then again, I've always been one for "slightly more 'unpolished' " recordings, for want of a much better phrase - more human, for me, so that's my two cents' worth. But - I stand by every word.
I just had to listen to your BIAB version again, after the Nashville demo. This is NOT to belittle in any way the demo itself ... it's just my personal view and preference, for reasons stated.
P.S. the demo process sounds scary, haha!!! Much better BIAB, for me ... much more cost-efficient and, as you say, the standard of BIAB is through the roof, I also find, so ...
Last edited by musician17; 09/14/19 05:51 AM.
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Floyd,
A great backstory on this song. What an interesting history it has had.
I listened to both versions and can honestly say that I prefer your rendition. The demo is excellent, but does not have the warmth and feeling that you and Janice put into this version.
The song itself is really outstanding. Listening to you perform it it, I could hear this on an Alan Jackson record.
I'm surprised it was never picked up - it is so good.
Loved it!
Bob
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Amazing story Floyd. I've been enjoying your work for a while now. Loved the "little bit of me" video showing the whole process of how it gets done.
Thanks for all the info about how the demo process works. Really makes you appreciate what BIAB can do.
I listened to both songs and frankly did not really like the Nashville version. The drums have too much reverb or stadium sound.
Really liked your vocal a lot better.
From the video I notice that you turn your head to the side of the mic. Does that help you get your mellow tones?
Really enjoy your music.
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Just a couple of thoughts. Before the demo: You killed it. You gave Dad a place in the music he rarely receives in this present climate. The sincerity of the delivery and the lyrics were out of this world. After the demo. Reba? Thoughtful of you, but no, the female listeners want to be told they can pilot jet fighters, not have kids. When the subject of children comes up, they'd rather talk about pain of childbirth or how little junior is going to be the next great voice. Very risky for a female to take the chance riling up the (you know what) base. In this day and age, it is the men who press for children and family; unless of course you are talking about the social butterflies, always up for another kid. This would be a great song for, say, someone in the George Strait organization. I know Bubba writes, but don't know that he performs. But that is the idea. That is the zip code. Dallas based might be more fruitful than Nashville based. New York or Los Angeles, forget it. That would not be a good career move for any talent based out of there. By the same token, your own demo was way better. Incidentally, God is still capitalized in Tennesee. That song bleeds traditional values and exceptional masculinity, which could be the key to who you present it to and how you present it. Vince Gill? He would know. Buddy Green, rocker turned Christian artist? On that note, maybe you have a crossover on your hands -- Amy Grant, or, like I say, Buddy Green. Check out his songs on You Tube. https://www.youtube.com/watch?v=73-6P09xaAEFollowing my reasoning? If you are interested in discussing that aspect, please call.
Last edited by edshaw; 09/14/19 11:53 AM.
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Hi floyd, This is a wonderful write and listening to you and Janice singing it gave me goosebumps and a tonne of images of my own children when they were young flooded through my mind. I really liked the song format that you used... verse, chorus, bridge, chorus. It's not usual but it can be very effective as you've shown us all in this creation. Some of the words and phrases that came to mind as I listened were: poignant, bittersweet, so glad you came along, I'm proud of you, life is worth the journey, heartfelt, touching. I really like where your singing and your songwriting took me Now I'm off to listen to the demo. All the best, Noel P.S. OK... now I've listened to the Nashville demo. I much prefer your version and listening to you and Janice. There is a noticeable amount of 'brilliance' created by high frequencies in the Nashville version that wasn't friendly to my ears because it's not what I'm used to hearing. Your version had a richness and warmth to the overall tone that the Nashville version did not. I suspect that if Nashville re-did this demo today, it would sound more aligned to your presentation.
Last edited by Noel96; 09/14/19 03:11 PM.
MY SONGS...Audiophile BIAB 2026
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Cool bit of history - the process as was & often still is.
The Nashville demo sounds like it was intended for the charts - big, brash & bright but the vocal lacks warmth - it was only a demo after all.
The BIAB version is more engaging, there's warmth and emotion. The harmonies are natural and sweet.
the only thing I'd take from the demo would be a touch more brightness as the BIAB seems a little sepia compared to the other's neon.
LOVELY stuff.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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I'm not gonna lie - I liked the "sheen" and production of the Nashville version. There were bits that seemed a better match in the Nashville version, like the climb into the first chorus. Plus, louder is always better, right?  But... your vocals sold the song to me in a way the demo didn't, pulling harder on the heartstrings. And that's the most important part, because (to me) the really good songs evoke a strong emotional response. There may be any number of reasons Reba passed on the song, but listening to both versions, I think lyrically the song tips a bit more to the male perspective. From the start: the day you came into this world
was the proudest of my lifeseems a bit more like something a guy would say. "Proud" isn't a word I've heard a mom use to describe childbirth. Similarly, i prayed to god to help me
teach you wrong from rightsounds (to me) like a dad sort of thing. The POV just seemed a better fit with a male singer. Then again, I'm from California, so what do I know about traditional values?  Love the story, excellent song. Thanks for posting this!
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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I really enjoyed both versions but I like the Nashville version better.
Great story to accompany two great recordings.
Well done Floyd. Rob4580
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Ok, I've listened to your BIAB version.
Just a wonderful song! One of your best vocals, sincere and emotive and great tone.
Band sounds great, drums are loud and proud.
And your mixes always make me strive to do better with my mixes.
Tip of the hat to Janice of course, always enjoy hearing her!
Now on to the studio demo ....
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Wow! Tough call. That studio demo is very good indeed! Man, she can sing!
Overall I like the Nashville version better to be honest. They are both very good, just different.
Sounds like a hit to me.
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Beautiful Floyd. Thank you for the story on recording the demo. Such an interesting process. It is such a wonder what makes a song a hit and how a person can become a star. The young lady that sang the song had a beautiful voice. This song lyric and with your other songs was just excellent. I liked both versions of the song. Well done..
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Thanks so much for the back-story. I wouldn't have stood a chance...even with a really fine song.
I had some trouble streaming the demo version, but what I heard, I didn't think the "band" was better. Perhaps the only place it was was in the fiddle opening quoting the vocal melody--something not so straight-forward easy to accomplish with RT's. Besides, once the durn thing is written, every version is a cover. Peter Jackson (film director) said his films were not finished until he sent them to the studio for distribution. There's a message in that for songs, I think.
I hope if the lady is not a star that she is still making a good living without the hazards of fame and the road. But truth be told, I thought your voice carried the song "better".
If you'll forgive me, I do have a couple of crits. First--I am not taken with the line "teach you wrong from right". Besides it being in reverse order to the way I've always heard the phrase, there is some loss of meaning in subtext, as well as hearing "teach you wrong" before the phrase is completed. Second, I think it was unnecessary to embellish the melody in the chorus with those added "up" notes at the end of certain phrases: "heart", "start", "know". Maybe you were aiming to not "resolve too often".
Of course, both of those 'crits' may be assuming you didn't carefully construct things that way. And if you did, you're right and I'm wrong.
Anyway, a fine way to spend some time this evening listening to FJ and Janice. Thanks.
Last edited by Tangmo; 09/15/19 04:22 AM.
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Ok, so I listened to the BIAB version of the song. Before I listen to the Nashville demo, I'd like to give my impressions on the BIAB version.
In short: you made me stop and listen, then you made me cry. Your voice is stunning and carries the song beautifully - and the lyrics are the bread and butter of this song. This really deserves to be a hit - and the last verse, with Janice Merritt singing the harmonies with you, just takes it someplace else. You hit the ceiling, so to speak, and then - with that last verse - went through it and beyond it.
Genuinely and really beautiful - well done. I will now read the Nashville demo post, listen to it and see what I think of the demo part of things afterwards! But a good song shines no matter what, I think - and this really IS good (to understate things as those of us that live in England are sometimes prone to do, haha!). D'you know, I much prefer the BIAB version - because it's SO much more sincere. Yes, the voice on the demo is probably run through auto-tune and everything ... it sounds more technically polished, etc., but that comes at the expense of sincerity and musicality a little bit. Your more gravelly voice MEANS every line - and, like I said, when the harmonies kick in, wow.
Then again, I've always been one for "slightly more 'unpolished' " recordings, for want of a much better phrase - more human, for me, so that's my two cents' worth. But - I stand by every word.
I just had to listen to your BIAB version again, after the Nashville demo. This is NOT to belittle in any way the demo itself ... it's just my personal view and preference, for reasons stated.
P.S. the demo process sounds scary, haha!!! Much better BIAB, for me ... much more cost-efficient and, as you say, the standard of BIAB is through the roof, I also find, so ... James - thanks for those very nice comments. It is quite nice to find that folks are finding my vocal (with the addition of Janice) has more "warmth" than the demo... I can assure you the young lady who sang the demo needed no AutoTune of any kind - she could sing like an angel (and that was in the days before AutoTune was used much at all, especially in Nashville...). But the vocal is processed differently - having the "sheen" that many have alluded to...
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Haha, sorry - I should have used my brains before making that silly AutoTune comment! The lady in the demo sounded wonderful - I hope I may be forgiven the comment given that she was so incredibly in tune! But, that said, I still prefer your version ... more real, to my ears at least, if that makes sense.
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Ok, I've listened to your BIAB version.
Just a wonderful song! One of your best vocals, sincere and emotive and great tone.
Band sounds great, drums are loud and proud.
And your mixes always make me strive to do better with my mixes.
Tip of the hat to Janice of course, always enjoy hearing her!
Now on to the studio demo ....
Ditto that...Beautiful: the inspiration behind the song, the way love is expressed in the lyric and above all the warmth in your vocals. Can`t imagine the demo will match how personal and sincere this sounds, but I`ll give it a play. Robert
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Floyd,
Your Nashville demo story is interesting and a little daunting.
Listening to your song done up this way completely changes it for me; the singer is obviously very good; I just didn`t feel anything when she sings the "I love you with all my heart" core bridge lines. The processing takes something away I guess, but there`s no substitute for the goosebumps you get when the singer digs deep to deliver, as you do.
Robert
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Ok, so I listened to the BIAB version of the song. Before I listen to the Nashville demo, I'd like to give my impressions on the BIAB version.
In short: you made me stop and listen, then you made me cry. Your voice is stunning and carries the song beautifully - and the lyrics are the bread and butter of this song. This really deserves to be a hit - and the last verse, with Janice Merritt singing the harmonies with you, just takes it someplace else. You hit the ceiling, so to speak, and then - with that last verse - went through it and beyond it.
Genuinely and really beautiful - well done. I will now read the Nashville demo post, listen to it and see what I think of the demo part of things afterwards! But a good song shines no matter what, I think - and this really IS good (to understate things as those of us that live in England are sometimes prone to do, haha!). Thanks for mentioning my harmony. I knew this song was very special the first time I heard it! Janice
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos
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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!
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