Can you suggest some biab specific implementations of midi wrt styles and instrument tracks.
I am interested in moving my backing track work from 100% RealTracks/Real styles to Some percentage midi. Hopefully that will allow some greater control over the tracks I produce.
Some videos to help jump start that effort would be helpful.
biab2026(Mac) Latest Build Mac OS (Latest) Apple Mac Mini M2 pro 32GB Ram Logic Pro (latest or pretty close) Blue and White Sea Star
Extremely detailed, and covers just about everything with great thoroughness. Surprisingly, I didn't note anywhere that the presenter stated what the acronym 'MIDI' actually stood for in the video, but he did use it in the text description below his video.
Certainly a big effort went into the productions. Thanks for sharing.
BIAB & RB2026 Win.(Audiophile), Windows 10 Pro & Windows 11, Cakewalk Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Session Keys Grand S & Electric R, Kontakt, Focusrite 18i20, KetronSD2, NS40M, Pioneer Active Monitors.
Thanks for posting these, Jim. I just started watching the first one and will save the links for later.
Although I know a lot about MIDI and prefer it to Real Tracks due to the ability to edit it and customize it to my personal desires, I'm sure there are more than a few new things to learn.
Plus sharing the links with some of my newbie customers might help them understand.
Thanks for the videos Jim. I don't have a lot of time to watch them so I will squeeze watching them in during my 3 way popcorn guitar practice the last hour of the day :-) 1/ eyes and ears on video, 2/ left hand feeding me popcorn, 3/ right hand practicing finger technique.
The first video gives a pretty good overview. The rest of the videos dig deeper into areas skimmed over in the overview. I'd say 75 - 80 percent of what most people want to know about midi is in the first video.
The first video gives a pretty good overview. The rest of the videos dig deeper into areas skimmed over in the overview. I'd say 75 - 80 percent of what most people want to know about midi is in the first video.
Hi Jim, I have watched 4 of them. I think what I hope to learn is how some of these DAW programs sample instruments and get it into midi so it sounds like the instrument. So lets take an extreme example of a simple single note played with a sax and later a guitar (no attempt to articulate at all and in fact the exact opposite every attempt not to articulate). My understanding is the technology exists to get the midi to copy these two different sounds pretty accurately. How do they do this? What DAWs can do this? How accurate a playback does it produce in the end? Can a human hear the difference? Can a serious of humans do the blindfold test and guess accurately what the two instruments are? Where can I hear examples if exactly what I describe? What does it cost? Even if it costs too much I would love to learn about this and see proof it works from start to finish. I don't ask for much do I...lol. Produce a video like this and it would get attention. Pure marketing.
To add to this testing even better to record a real sax to .wav (with attempt to have no articulations) and compare that to a midi version. Repeat with several instruments. Create reviews to compare no articulation real against midi. In short create ways for buyers to compare oranges to oranges and apples to apples. If they want articulations in midi they pay extra. I personally don't want these.
Emulating another instrument in MIDI is not all about tone. In fact as long as the tone is 'in the ballpark' it's not that important.
What IS important is copping the nuances of the instrument you are trying to emulate.
When a comedian does an impersonation of a famous person, does he/she have the same voice? Of course not.
Then how do we hear the famous person instead of the comedian? He/she studies the famous person's nuances, uses the ones he/she can copy, and ignores the ones he/she can't.
Same with a MIDI instrument. What are the nuances a player uses on his/her particular instrument. They are restricted by what the instrument can or can't do (for example a piano can't bend notes).
So for a sax, there are dozens of ways to articulate the note with variations of tongue placement, breath support, and airstream pressure -- there are ways to change the vowel sound of the tone by changing the oral cavity of the player - pitch variations of the reed are important, often scooping up to notes, or pitch vibrato that also changes the tone - grace notes mordents and other ornaments play a big part - throat growl and/or flutter tongue methods add various amounts of distortion - general tone gets brighter with more volume - and so on.
People new to MIDI often chase tone and forget about the way an instrument expresses itself. If you play that sax or guitar patch like a piano, it isn't going to fool anyone, no matter how good the tone is. If you play that piano patch like a sax or guitar, it won't fool anyone either.
Of course there may be times you want an instrument patch to not emulate what the patch is. Vibrato on piano? Why not if you are trying something new.
Emulating another instrument in MIDI is not all about tone. In fact as long as the tone is 'in the ballpark' it's not that important.
What IS important is copping the nuances of the instrument you are trying to emulate.
When a comedian does an impersonation of a famous person, does he/she have the same voice? Of course not.
Then how do we hear the famous person instead of the comedian? He/she studies the famous person's nuances, uses the ones he/she can copy, and ignores the ones he/she can't.
Same with a MIDI instrument. What are the nuances a player uses on his/her particular instrument. They are restricted by what the instrument can or can't do (for example a piano can't bend notes).
So for a sax, there are dozens of ways to articulate the note with variations of tongue placement, breath support, and airstream pressure -- there are ways to change the vowel sound of the tone by changing the oral cavity of the player - pitch variations of the reed are important, often scooping up to notes, or pitch vibrato that also changes the tone - grace notes mordents and other ornaments play a big part - throat growl and/or flutter tongue methods add various amounts of distortion - general tone gets brighter with more volume - and so on.
People new to MIDI often chase tone and forget about the way an instrument expresses itself. If you play that sax or guitar patch like a piano, it isn't going to fool anyone, no matter how good the tone is. If you play that piano patch like a sax or guitar, it won't fool anyone either.
Of course there may be times you want an instrument patch to not emulate what the patch is. Vibrato on piano? Why not if you are trying something new.
Insights and incites by Notes
My uses for midi are fairly trivial. Eventually the Midi gets dumped and replaced by a real instrument. For example a vocalist needs to hear the melody exact so they can learn the song. The Idea was maybe there was a fairly inexpensive way to make it sound a bit better. I have discovered that dropping it an octave helps. It sounds like for my trivial use it is not worth any effort at all.
Emulating another instrument in MIDI is not all about tone. In fact as long as the tone is 'in the ballpark' it's not that important.
What IS important is copping the nuances of the instrument you are trying to emulate.
When a comedian does an impersonation of a famous person, does he/she have the same voice? Of course not.
Then how do we hear the famous person instead of the comedian? He/she studies the famous person's nuances, uses the ones he/she can copy, and ignores the ones he/she can't.
Same with a MIDI instrument. What are the nuances a player uses on his/her particular instrument. They are restricted by what the instrument can or can't do (for example a piano can't bend notes).
So for a sax, there are dozens of ways to articulate the note with variations of tongue placement, breath support, and airstream pressure -- there are ways to change the vowel sound of the tone by changing the oral cavity of the player - pitch variations of the reed are important, often scooping up to notes, or pitch vibrato that also changes the tone - grace notes mordents and other ornaments play a big part - throat growl and/or flutter tongue methods add various amounts of distortion - general tone gets brighter with more volume - and so on.
People new to MIDI often chase tone and forget about the way an instrument expresses itself. If you play that sax or guitar patch like a piano, it isn't going to fool anyone, no matter how good the tone is. If you play that piano patch like a sax or guitar, it won't fool anyone either.
Of course there may be times you want an instrument patch to not emulate what the patch is. Vibrato on piano? Why not if you are trying something new.
Insights and incites by Notes
I agree with Notes.
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
My uses for midi are fairly trivial. Eventually the Midi gets dumped and replaced by a real instrument. For example a vocalist needs to hear the melody exact so they can learn the song. The Idea was maybe there was a fairly inexpensive way to make it sound a bit better. I have discovered that dropping it an octave help. It sounds like for my trivial use it is not worth any effort at all.
I have found that using vibes works best for a vocalist. Maybe for your other uses also.
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
I agree MarioD, Vibes is my normal choice. If BIAB had the option to play in the octave it is written in that would help. It plays ah octave higher which makes it sound tiny.
John, if you want to change the register a MIDI instrument plays in, without transposing the notation, go to Preferences, Channels. Subtract 1 from the octave for that instrument. I’m not at a computer but I think it’s the second column. Bass, for example, is -1. Do that for Melody or Soloist where your vibes are.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
John, if you want to change the register a MIDI instrument plays in, without transposing the notation, go to Preferences, Channels. Subtract 1 from the octave for that instrument. I’m not at a computer but I think it’s the second column. Bass, for example, is -1. Do that for Melody or Soloist where your vibes are.
Gee thanks Matt! I tried that and it works.
So this is interesting. As shown in the attached picture I opened a blank file in BIAB and entered middle C on every quarter note for 2 bars and set it to play over and over in a loop then I took a computer tuner (NCH Perfect Pitch) and tested it and at channel 4 octave setting zero it correctly plays C4. However again as the picture shows it displays as C5. A bug?
John, there are possibly two things happening here.
BIAB has several ways to do transposition, and this gives you the option to see the actual pitch being played, or not. If you want more details, write back and tell me what you want to see.
And, there is not universal agreement on what note Middle C is according to manufacturers of MIDI equipment and music software programmers. Some say C4, some say C5. Not smart.
Does that help?
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
And, there is not universal agreement on what note Middle C is according to manufacturers of MIDI equipment and music software programmers. Some say C4, some say C5. Not smart.
Does that help?
Adding to the confusion is that fact that I have some software that uses C3! Plus they all have Middle C at MIDI note 60!
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
I googled "what is middle c in scientific notation" and got. Middle C (the fourth C key from left on a standard 88-key piano keyboard) is designated C4 in scientific pitch notation, and c′ in Helmholtz pitch notation; it is note number 60 in MIDI notation.
The midi standard defines note 60 as middle C. During the eighties (when midi was just an infant) Roland documentation defined midi not 60 as C3. At the same time Yamaha documentation defined midi note 60 as C4. The definition of what is middle C in midi has been a point of confusion ever since.
Most plugin developers will reference C3 or C4 as middle C but some don't even document that leaving it up to the user to find out for themselves.
Back on subject, most developers emulate realism by using three techniques; addressing velocity dynamics, articulations and round robins.
Velocity dynamics means a separate sample will be used in different velocity ranges to emulate how an instrument sounds different at various volume levels. For example a guitar that is strummed softly sounds way different than the same guitar strummed hard.
Articulations are the different ways a note can be played. A guitar can be muted, hammer-on, hammer-off, slide up, slide down for example.
Round robin means multiple samples of the same sound. Strum a guitar twice and it will sound slightly different each time. Round robin means you would use sampled strum 1 the first time and sampled two the second.
The plugin developer will normally have a way to use midi to make these choices. For example use CC 07 (velocity) (volume)or CC11 (Expression) to select a volume sample. Another common method is to use notes outside the normal instrument range to select round robins or articulations.
Last edited by Jim Fogle; 12/18/2008:56 AM. Reason: corrected CC 07 label
I always used the reference that A 440 Hz is for A above middle C, (based on equal temperament) and therefore as a reference note, Middle C is the first 'C' note below this frequency (regardless of whether it is referred to as C4, C5, C3, etc). The first C note that has a frequency less than 440Hz is 'Middle C'.
Now, back to the program...
BIAB & RB2026 Win.(Audiophile), Windows 10 Pro & Windows 11, Cakewalk Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Session Keys Grand S & Electric R, Kontakt, Focusrite 18i20, KetronSD2, NS40M, Pioneer Active Monitors.
Having everyone on the same page as to midi 60 (middle C 262 Hz the one below A 440) being C4 or C3 or C5 has significant advantages. When I say everyone I mean everyone who has ever used (or will ever use) Scientific notation in the world. The first obvious example is we would not be wasting any time on this discussion. Another good one is I am trying to use the BIAB Vocal Wizard to adjust key for a Vocalist in my Jam Group and I keep having to remember to change the BIAB choice C5 to the one he gave me C4 (extra waste of time work).
So how is this fixed? This is the best answer I can come up with. Find the current most common and promote that so it is eventually the only one used. The best way I can think of to find the current most common is to get the one that all the free phone tuning apps in this video use (free phone tuning apps are the way of the future as I see it). I have posted to YouTube hoping Aimee (or someone else) can give me the answer relative to A 440. The more free computer tuning apps that can be added to this list the better. Free is the key word here (free is always the most popular). Ultimately the way I see it is PG-Music should read this, jump on it and fix BIAB to match this free standard. My bet is it is C4 because Google says this and it is also essentially free. Free NCH Perfect Pitch is using C4. I have another friend working on this.
To add to the C4 argument I looked up "what is the lowest frequency humans can hear" and it is 20 HZ. That matches up with This Musical Pitch table. So it shows C0 as being the lowest C humans might be able to here and it shows Middle C as 261.626 Hz (midi 60) and as C4.
It seems that we have some logic now suggesting C4 is correct. It comes back to my Joke "Google is King" :-) Hopefully I get some feedback soon on the free phone apps.
I have emailed PG-Music Support about this as well asking for it to be an option with the default of C4 (betting in advance that it is the most popular as a result of the music pitch table).
My friend says the very popular INS phone tuner comes in at C4. Another one in Aimee's video is C4.
HI ALL I wrote an article on this its on my web site a sets out the reasoning for all this confusion.
Here is a copy.
The octave numbering confusion C3 C4 etc.
Some thing else to think about. Edited by Mike Head (07/17/17 10:31 AM)
Please feel free to copy and paste this text to a Word doc if you want a print out
or use link at bottom of page.
If you move you compositions around between different manufactures keyboards and different computer music software you will soon fall foul of the octave numbering night mare.
I will try and make some sense of it for you.
Normal Octave notation is given here in the International Organization for Standardization ISO system, Here octave -1 (minus one) is C0 this means therefore that middle C will be C4 being the 4th C on a 88 note piano.
Great but:
Yamaha call middle C = C3 why? Because they start counting from 0 not -1 This sits well on a 61 note keyboard as it is the 3rd C from the bottom as a 61 note keyboard that starts on C1and not C0 or C-1. Ok still with me.
Unfortunately each manufacturer and software music programme writers have their own ideas about this. For example Cakewalk Sonar call middle C = C5
There's no universal rule, so it can be confusing. SONAR starts counting with MIDI Note 0 as C0. You can change the "Base Octave for Pitches" on the Options | Global | General tab. I have mine at -2 to match my Yamaha keyboard, where Middle C is C3...
Another strange thing about Yamaha is even on a Clavinova with 88 keys they still call middle C = C3 even though it is now the 4th C up the keyboard. Still at least it is consistent across the range of instruments.
Never mind in fact these octave names are only labels in this context and do not have any relationship to pitch really.in the world of electronic music.
As it all works by Midi anyway and midi has to work with note numbers, that is every note, has to have a midi number (computers can’t read sharps and flats from a score and interpret them like you can)
There are two golden rules that keep some sanity in all this:
All MIDI devices use these numbers.
The midi spec states that Middle C shall always be note number 60. (No matter what you label the octave!
And that A above middle C shall be tuned to 440 htz this is Midi note 69
Thank goodness for that.
An historic note in the early days of electronic music some bright technicians rather than musicians thought that some thing as basic as middle C must work to the power of 2 This was great for digital and put middle C at 256 Htz unfortunately this is not the correct frequency for middle C which is around 261.6 Hz
To summarise
When the A440 pitch standard is used to tune a musical instrument, Middle C has a frequency around 261.6 Hz. Middle C is designated C4 in scientific pitch notation because of the note's position as the fourth C key on a standard 88-key piano keyboard
But not Yamaha Middle C=C3.
Another system known as scientific pitch assigns a frequency of 256 Hz to middle C but, while numerically convenient, this is not used by orchestras. Other note-octave systems, including those used by some makers of digital music keyboards, may refer to Middle C differently. In MIDI, Middle C is note number 60.
The C4 designation is the most commonly recognized in auditory science [], and in musical studies it is often used in place of the Helmholtz designation c'.
Just to add fuel to the discussion: Add to this that many orchestras don’t tune to 440 anyway, particularly Philharmonic And many of the German ones, as each strive to get their own edge with their sound. This is why it is often almost impossible to play along with some recorded orchestral performances.
Have fun Mike
Last edited by Mike Head; 12/17/2007:03 AM. Reason: extra para
Applying this to BIAB, I do not see a setting in BIAB to declare what you want Middle C to be. You CAN set the split point between treble and bass clef staves, in Options, Preferences, Notation, Clefs Split At. However, if you specify C4, and then enter a middle C in Editable Notation, BIAB calls that note C5. This is the graphic that John Bowles showed many posts ago, and it doesn't make sense to me.
So, it would be nice if BIAB could let us define what Middle C is, allow us to apply any adjustment to existing songs or globally, and perhaps we should put this in a Wishlist post.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
So, it would be nice if BIAB could let us define what Middle C is, allow us to apply any adjustment to existing songs or globally, and perhaps we should put this in a Wish-list post.
Thanks Matt and Mike. I emailed PG-Music Support directly asking for this and put 2 links directly to my posts above. I am sure they will read beyond and consider your extensions to the idea. I mentioned the problem shows in the vocal wizard as well.
I also just made a request to the developers to look at this. I found a thread from a few years ago where someone from PG Music said it would be passed on to the developers. Worth another try.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
to all midi people. and mario and mr geeze etc. the following is one heck of a midi resource. how about a ton of midi tutorials from a grammy winner ? https://www.reaper.fm/videos.php then page down on right hand side , and clik midi and virtual instruments. and then a slew of midi vids will appear. bout 70 vids listed. et voila. ton of midi. keep you busy for a week. the tutorials can be applied to lots of midi software.
merry xmas. muso.
Last edited by justanoldmuso; 12/17/2008:26 AM.
my songs....mixed for good earbuds...(fyi..my vocs on all songs..) https://soundcloud.com/alfsongs (90 songs created useing bb/rb) (lots of tips of mine in pg tips forum.)
............................ The plugin developer will normally have a way to use midi to make these choices. For example use CC 07 (velocity) or CC11 (Expression) to select a volume sample. Another common method is to use notes outside the normal instrument range to select round robins or articulations.
No offense Jim but I would like to correct this so beginners don't get the wrong idea. CC7 is not velocity. CC7 is volume, as is CC2 (breath/wind controller) and CC11 (expression. Velocity is how soft or hard one plays a keyboard or blows into a breath/wind controller and it is a one time event. It may or may not influence volume. In a GM sound source it will influence the initial volume but you will need any of the above CCs to preform crescendos, sforzandos, forte-piano, etc. This is the same for many other sound sources.
However some software uses the mod wheel (CC1) for volume, thus velocity does nothing. Also in some software velocity will change the timbre; this depends on how many layers there are per note.
I just want to clear up the possible misunderstanding that CC7 is velocity.
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
I generally think of the various volume 'controls' in MIDI to be like this:
CC7 (volume) is like your amp volume. Set it at the beginning of the track and leave it.
CC11 (expression) this is like the volume pedal on the organ or guitar volume pedal. Use it for crescendos, diminuendos, and other track volume changes throughout the song.
The beauty of having two is this: You can do all your changes in the track with CC11. However if you find when you are all done and compare the volume of your track to the others, say it's too loud or too soft, you can use CC7 to adjust that without having to change anything else in the track.
Velocity is the third one. It's called velocity because in the early days of MIDI they measured the interval of time between depressing a 'piano' style key and hitting the bottom. The quicker it went from top to bottom, the harder you hit the key, and the louder the note should be.
So the relative volume between notes for accents and other expressive differences between individual note volumes is expressed with velocity.
These are the basics.
In addition there are Aftertouch, Channel Pressure, and Breath Controller which can influence volume, but that depends on your MIDI controller and MIDI sound source. I advise new MIDI people to get the first 3 down pat before going on to these controls.
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.
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!
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.
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)
One of our representatives will be happy to help you over the phone. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday, and 8:00AM to 4:00PM PST Saturday. We are closed Sunday. You can also send us your questions via email.
One of our representatives will be happy to help you on our Live Chat or by email. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday; 8:00AM to 4:00PM PST (GMT -8) Saturday; Closed Sunday.
Norton Music
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean