|
Log in to post
|
Print Thread |
|
|
|
|
|
Off-Topic
|
Joined: Dec 2007
Posts: 2,448
Veteran
|
OP
Veteran
Joined: Dec 2007
Posts: 2,448 |
When listening to sax solos I hear a lot of different tones - mellow sax, "wet" sax (as in Baker Street) and rock sax, as in 1950's songs.
Where do the different tones come from - is it the instrument, the reed or mouthpiece, or the player?
Just curious.
Cheers,
Keith
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 27,473
Veteran
|
Veteran
Joined: Jul 2000
Posts: 27,473 |
It’s all of it. There’s no key on the sax for ‘hard’ etc. but the material, design and bore make a certain sound more likely. The mouthpiece material and shape helps even more. The strength of the reed helps make a hard, soft, full, airy tone etc. And the player, with his or her breathing, approach, experience and skill controls all of it. Paul Desmond and Charlie Parker and David Sanborn could exchange saxes and you would still instantly recognize who is playing. It’s everything, but mostly the player.
And then there’s alto like Baker Street, and tenor like 50’s rock bands, and ...
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Dec 2016
Posts: 1,173
Expert
|
|
Expert
Joined: Dec 2016
Posts: 1,173 |
I found this question truly interesting and was looking forward to the answer. Thanks Keith and Matt.
A similar question could be made of many instruments. My father used to take pride in being able to play a trumpet or cornet really quietly and making them sound smoother than most players.
It would be interesting to hear from folks using different instruments and how they acquire different tones.
Thanks again Keith and Matt.
Tony
HP i7-4770 16GB 1TB SSD, Win 10 Home,
Focusrite 2i2 3rd Gen, Launchkey 61, Maton CW80, Telecaster, Ovation Elite TX, Yamaha Pacifica 612
BB 2022(912) RB 2022(2), CakeWalk, Reaper 6, Audacity, Melodyne 5 Editor, Izotope Music Production Suite 4.1
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 27,473
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 27,473 |
My answer fox sax applies to trumpet, too. For a first step, can you tell if a sax player is playing alto, soprano, or tenor? There are recordings that would fool many.
Can you tell if I play trumpet or cornet? And which trumpet? My ‘regular’ Bb instrument, or my C, D/Eb, F/G or A/Bb piccolo? Or flugelhorn, my main instrument? And then, if I swap horns with another player, we will each still sound mostly like we normally do.
Confused yet?
If it’s mostly the player, why do I have three Bb trumpets? Each has different characteristics I like for different music, and although I could use any one of them for any purpose and you probably wouldn’t know the difference, I would. Plus I have two mouthpieces I exchange depending on the music and style. Some trumpet players bring six or more to a gig. Crazy, but I could name names, and yet you couldn’t tell which one he used.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Dec 2016
Posts: 1,173
Expert
|
|
Expert
Joined: Dec 2016
Posts: 1,173 |
As I said in a similar post regarding guitar the same sort of thing applies there. The first thing I would check with guitarists for example is how hard one gripped their plectrum a soft grip results in a different sound to a really firm grip.
The ability to change the playing style is what separates many musicians.
Tony
HP i7-4770 16GB 1TB SSD, Win 10 Home,
Focusrite 2i2 3rd Gen, Launchkey 61, Maton CW80, Telecaster, Ovation Elite TX, Yamaha Pacifica 612
BB 2022(912) RB 2022(2), CakeWalk, Reaper 6, Audacity, Melodyne 5 Editor, Izotope Music Production Suite 4.1
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 6,475
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 6,475 |
Definitely 90% the sax player.
Breath support, embouchure (mouth on the mouthpiece and reed), even changing the shape of the player's oral cavity can change the sound of the sax.
A good player can make his/her sax sound in many ways, from a sub-tone to a razor's edge. Quite a few famous sax players develop a signature sound which identify them on their recordings, but most are capable of doing much, much more.
I try to be versatile and have played in jazz, blues, rock, Latin, and other bands (being a Chameleon means greater possibilities of gigging). I'll use the same sax/mouthpiece/reed/horn to play a mellow jazz ballad ad I will to play a Junior Walker song. The difference is in the things I wrote about above. I try to play what is appropriate to the song I'm playing.
Plus there are things that can't be changed, the resonance of the body of the person playing the sax. I could duplicate Stan Getz's sax, reed, and mouthpiece and work to sound similar, but I could never sound exactly like Stan did.
Next it's the mouthpiece. How wide the tip opening is, how large/small is the chamber, and to a lesser extent what is the mouthpiece made of. Some sax players go crazy with mouthpieces. I've known guys with scores of mouthpieces and are still searching for the perfect piece. I hope they find it.
The reed is related to the tip opening. Larger tip openings require softer reeds, but there still is a variance in reed strength due to the players preferences.
Then comes the horn itself. The shape of the bore and the density of the brass affect the tone as well.
After saying all that. The great Charlie Parker had a drug problem. Often his horn was in a pawn shop, so he borrowed horns. He even played on a Grafton plastic sax and still sounded like Charlie Parker.
It's mostly the player.
When it comes to recording the saxophone, the mic, EQ and all those other tools can shape the tone.
I remember trying to record my Alto with a Shure SM58 on a 4 track reel-to-reel Teac back in the 1980s. It sounded quite a bit like a clarinet on tape. Using a Sennheiser 421MD made all the difference in the world.
Insights and incites by Notes ♫
Bob "Notes" Norton  Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Dec 2011
Posts: 2,487
Veteran
|
Veteran
Joined: Dec 2011
Posts: 2,487 |
Interesting discussions here. Much more to it than I thought!
Jeff
Win11, Intel i7 7700K 4.2Ghz, 32Gb RAM, 2x1Tb HD, 500Gb NVMe, BIAB/RB 2026, MOTU 828MK3 audio, MOTU Midi Express, Yamaha Montage 7, DX7II, TX802, Motif XS Rack, Roland Fantom XR Rack, Oberheim Matrix 1000, VoiceLive3 Extreme, Kontakt 6, SampleTank 4.3
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 27,473
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 27,473 |
Microphones. Yes. I try to record on one of two mics, because it makes an enormous difference in how my sound translates to recording. I prefer a Royer 121 ribbon with dBooster on low, but will also use an ancient RCA studio ribbon if they have one, or in a pinch, an AKG 414.
Loves Notes' comments. He's a far better sax player than I am. A real one. I only play sax and flute for the shock value on stage, and to learn how to write for them. Everything Notes said is accurate.
Trumpet and sax are not easy, and not as simple as they may look.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
|
eddie1261
Unregistered
|
|
eddie1261
Unregistered
|
Microphones. Yes. I try to record on one of two mics Curious here. When you use 2 mics, are they right next to each other? A trumpet guy I worked with here, as well as a couple of sax players and almost EVERY guitar player I ever recorded with, used multiple mics at different distances. One guitarist was recording with 4 mics. One was 9 inches from his cabinet, another was about 6 feet, another at 10, and another at about 15 facing away from the amp. It seemed strange, but when he mixed those 4 mics they sounded huge, thick, and amazing. The slight amount of delay from those mics at different distances were surprisingly effective. I saw him experiment with number of mics, type of mics, placement all in line and some off to the side... he spent a lot of time on that. And he did those same experiments with different amps. Have you done this with trumpet? Are the sound characteristics of a trumpet such that multiple mic techniques would matter? I can tell you with guitars having such a wide range of frequency from that open bottom string to the octave up on the top string that mics at different distances all sounded different as the sound waves fell off at different distances.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Dec 2003
Posts: 24,342
Veteran
|
|
Veteran
Joined: Dec 2003
Posts: 24,342 |
This is a real interesting thread.
I have one question about sax, or actually any reed instrument, and that is how does the amount of moisture in a reed affect the instrument? If it does have a influence on the sound how does one keep it at a constant moisture?
OK I guess I did have two questions.
I think my wife has started to show the first signs of dementia.
She said she can't remember what she ever saw in me!
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
|
eddie1261
Unregistered
|
|
eddie1261
Unregistered
|
It's mainly for pliability. If it's bone dry the vibrations are more "brittle" and the reed doesn't doesn't marry well with the aperture of the mouthpiece. I only soak mine for a minute or so and usually with saliva, though some drench them by soaking them in a glass of water. When I have not used the sax for a few songs and it's time to play it I will work up as much saliva as possible and hold it in my mouth to soak it while waiting for the time to play. They don't dry out THAT fast where a song or two will matter that much.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 27,473
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 27,473 |
Eddie, to be clearer, I meant if I can choose or bring a mic for horns, I like to use one of the two choices I listed. One mic at a time. To do otherwise introduces phasing considerations etc.
I have on occasion had recording engineers use two mics on my horn in a Blumlein pattern, though.
The only instrument I play that they always like to use two mics on is a vibraphone.
The acoustic guitar can really benefit with two mics as you say, and if it has a pickup, blending in a little of that, too. Whole different subject.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 27,473
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 27,473 |
Mario, horn players have a tough relationship with spit, and not just on the floor. Too much can collect around a reed. Little bits of spit can leak around the corners of horn player's embouchure when you get tired. Both of these can be picked up on mic and mess up a take. Vocalists, too: I've seen vocalists eat vinegar potato chips to keep their lips from making little smacking sounds. You do whatever it takes, and a good producer will look for these things.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Dec 2007
Posts: 2,448
Veteran
|
|
OP
Veteran
Joined: Dec 2007
Posts: 2,448 |
Hi,thank you all for the information, I found it very informative.
Being a keyboard player I find it easy to change from, say a honky tonk piano to a baby grand, or a electric piano. It's just a flick of a switch as they say.
I've worked with a few sax, clarinet & trumpet players over the years and I can't recall ever seeing them changing the reed/mouthpiece to attain a variance of tone. And I've never seen them bring more that one instrument to a gig, except if they play both tenor & alto saxes.
An interesting topic.
Cheers,
Keith
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 6,475
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 6,475 |
This is a real interesting thread.
I have one question about sax, or actually any reed instrument, and that is how does the amount of moisture in a reed affect the instrument? If it does have a influence on the sound how does one keep it at a constant moisture?
OK I guess I did have two questions. Too dry makes the sound edgy and the reed less flexible. Too wet makes it more muddy and the reed too flexible. Too dry makes it harder to control when playing soft, too wet makes it harder to control when playing loud. It's hardly ever "just right"  which is why we fuss with reeds all the time. Moving the reed closer or farther from the edge of the mouthpiece can compensate a bit, so you will see players fiddling with reed placement as the evening goes on. The worst thing for multi-instrumentalists is when the sax sits on the stand for a while the reed can warp as it dries out unevenly. The first 30 seconds or so of playing after that is frustrating as it won't do all you ask of it. Some people soak their reeds in a glass of water or vodka before playing and spend a lot of time trying to make them perfect. I put the reed in my mouth while assembling the sax to wet it, and then put it on the mouthpiece and play. I use my embouchure to compensate for the irregularities. Some folks go to synthetic reeds, and I tried every one of them and decided they aren't for me. First of all the tone isn't as complex. But worse than that, I can't change the tone and get all the variances of sound I'm used to getting from a cane reed. I like to put a lot of vox humana into my playing, changing vowel sounds, brightness/mellowness, sub-tones, over-blowing, etc. The synthetic reeds limit that. And if that isn't enough, each reed responds differently. Some are better than others. As with any wind instrument embouchure makes a big difference as well; Where do you put your mouth on the reed, how much pressure, and a number of other things. We can adjust that while playing too. Also: Where you put the ligature (the clamp that holds the reed against the mouthpiece) and how tight/loose you clamp it makes a difference as well. I tend to like it on the loose side and farther back on the mouthpiece. Then, like strings, they go through their life. When the reed is new, it's too unflexible, it needs a break-in period. Then for a while it's perfect. Later it gets too soft, and it's time to put it in the compost bin. Whenever you play an instrument for enough time you learn there is more than just playing notes. Guitar is more than putting a finger on a fret and picking a string; fret finger pressure, pick angle, pick force, how firmly you are holding the pick, how close to the bridge and so on. Piano players change the way they strike the keys to modify the sound. Even drummers change the sound by where on the head they hit, how tightly/loosely they hold the stick, the angle the stick hits the head, and so on. Of the instruments I play (sax, flute, wind synthesizer, guitar, bass, keyboards, & drums), I find the sax to have the most vox humana. But that might be because I've been playing it the longest and I play the others in various degrees of proficiency (or incompetence) Insights and incites by Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 27,473
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 27,473 |
Everything Notes said resonates. Plus, in each box of ten soprano sax reeds, I might be able to use two of them.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 6,475
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 6,475 |
Soprano sax is the most finicky about reeds and also about intonation.
When I started playing wind synthesizer, I sold my soprano. On the physical modeling Yamaha VL70m synth module, there is a very good soprano sax patch that is close to Kenny G's tone.
For the one or two soprano songs I do, it's good enough. If I were to play soprano all night, it wouldn't be.
I mostly play tenor. When I was 30 years old I targeted the senior citizen's market; yacht clubs, country clubs, condominiums, and retirement developments. It's a very good market here in South Florida, and I was never without a gig until COVID hit. Tenor seems to work best for that age group.
As the people who grew up in the Beatles to 1980s era moved in to 'god's waiting rooms' I play a lot more guitar than I used to on the gig, so the reed drying out is a constant bugaboo for me. But I just deal with it. I've been playing so long I know what it can and can't do until the warp is played out.
I'm a much better sax player than I am a guitarist. But I get by just fine as long as I play within my limitations. It's my newest instrument and the one I practice the most on.
I'm lucky to be able to make a living doing music and nothing but music.
Insights and incites by Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
|
eddie1261
Unregistered
|
|
eddie1261
Unregistered
|
When I started playing wind synthesizer, I sold my soprano. On the physical modeling Yamaha VL70m synth module, there is a very good soprano sax patch that is close to Kenny G's tone. When you play that patch, does your hair suddenly grow long and curly? I play only an alto, and I had a guy suggest I use tenor reeds, and the sound improved dramatically when I put a bigger piece of sugar cane on the mouthpiece. The bigger vibration surface made the tone much more muscular.
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 6,475
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 6,475 |
When I started playing wind synthesizer, I sold my soprano. On the physical modeling Yamaha VL70m synth module, there is a very good soprano sax patch that is close to Kenny G's tone. When you play that patch, does your hair suddenly grow long and curly? I play only an alto, and I had a guy suggest I use tenor reeds, and the sound improved dramatically when I put a bigger piece of sugar cane on the mouthpiece. The bigger vibration surface made the tone much more muscular. Hair? What's that? Oh, it's what grows all over my body except for the top of my head The physical modeling Yamaha VL70m with Matt "Patchman" Traum's soprano patch sounds almost like Kenny G. (It sounds like a recording of Kenny G). The VL module is great at recreating a lot of saxophone nuances like tone/timbre changes in both volume and/or pitch (vibrato) changes, and it can replicate a lot of other nuances as well. It's the only sound module I've ever used to emulate a saxophone and be happy with the result. But the chances of getting long curly hair are extremely slim unless I buy a Dolly Parton wig. Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
|
|
|
|
|
|
|
|
|
|
|
|
|
Off-Topic
|
Joined: Jul 2000
Posts: 27,473
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 27,473 |
Is that the "producers told me to dumb it down" patch?
Kenny Gorelick can really play, seriously. I suspect somebody told him not to, so he would be more popular.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
|
|
|
|
|
|
|
|
|
|
|
|
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.
|
|
|
|
|
|
|
|
|
|
|
Band-in-a-Box 2026 for Windows Special Offers End Tomorrow (January 15th, 2026) at 11:59 PM PST!
Time really is running out! Save up to 50% on Band-in-a-Box® 2026 for Windows® upgrades and receive a FREE Bonus PAK—only when you order by 11:59 PM PST on Thursday, January 15, 2026!
We've added many major new features and new content in a redesigned Band-in-a-Box® 2026 for Windows®!
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 new AI-Notes feature, which can transcribe polyphonic audio into MIDI. You can view the results in notation or play them back as MIDI, and choose whether to process an entire track or focus on specific parts like drums, bass, guitars/piano, or vocals. There's over 100 new features in Band-in-a-Box® 2026 for Windows®.
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, XPro Styles PAK 10, Xtra Styles PAK 21, and much more!
Upgrade your Band-in-a-Box for Windows to save up to 50% on most Band-in-a-Box® 2026 upgrade packages!
Plus, when you order your Band-in-a-Box® 2026 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 for Windows® Special Offers Extended Until January 15, 2026!
Good news! You still have time to upgrade to the latest version of Band-in-a-Box® for Windows® and save. Our Band-in-a-Box® 2026 for Windows® special now runs through January 15, 2025!
We've packed Band-in-a-Box® 2026 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 process 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, XPro Styles PAK 10, Xtra Styles PAK 21, and much more!
There are over 100 new features in Band-in-a-Box® 2026 for Windows®.
When you order purchase Band-in-a-Box® 2026 before 11:59 PM PST on January 15th, you'll also receive a Free Bonus PAK packed with exciting new add-ons.
Upgrade to Band-in-a-Box® 2026 for Windows® today! Check out the Band-in-a-Box® packages page for all the purchase options available.
Happy New Year!
Thank you for being part of the Band-in-a-Box® community.
Wishing you and yours a very happy 2026—Happy New Year from all of us at PG Music!
Season's Greetings!
Wishing everyone a happy, healthy holiday season—thanks for being part of our community!
The office will be closed for Christmas Day, but we will be back on Boxing Day (Dec 26th) at 6:00am PST.
Team PG
Band-in-a-Box 2026 Video: The Newly Designed Piano Roll Window
In this video, we explore the updated Piano Roll, complete with a modernized look and exciting new features. You’ll see new filtering options that make it easy to focus on specific note groups, smoother and more intuitive note entry and editing, and enhanced options for zooming, looping, and more.
Watch the video.
You can see all the 2026 videos on our forum!
Band-in-a-Box 2026 Video: AI Stems & Notes - split polyphonic audio into instruments and transcribe
This video demonstrates how to use the new AI-Notes feature together with the AI-Stems splitter, allowing you to select an audio file and have it separated into individual stems while transcribing each one to its own MIDI track. AI-Notes converts polyphonic audio—either full mixes or individual instruments—into MIDI that you can view in notation or play back instantly.
Watch the video.
You can see all the 2026 videos on our forum!
Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Windows®
With your version 2026 for Windows 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)
- Android Band-in-a-Box® App (included)
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 PAKs for Band-in-a-Box® 2026 for Windows®!
|
|
|
|
|
|
|
|
|
|
|
|
Forums57
Topics85,814
Posts796,527
Members39,965
| |
Most Online25,754
Jan 24th, 2025
|
|
|
|
|
|
|
|
|
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean