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Postcards From NowhereI found the blue skies hiding behind the grey
They'd always been there but I didn't see 'till today
Couldn't figure why couldn't see the sky
Postcards from nowhere were my yesterdays
I've thrown them away
What the future brings could be anything
Tomorrow is the turning of the page
Feels like forever trying to find the way
Drifting through darkness, searching for better days
Couldn't turn around, looking for higher ground
Postcards from nowhere were my yesterdays
Dark and stormy skies have blown away
What the future brings could be anything
Tomorrow is the turning of the page
The dream is near
It's almost hear
Postcards from nowhere were my yesterdays
Dark and stormy skies have blown away
What the future brings could be anything
Tomorrow is the turning of the page
So long, old days
Tomorrow is the turning of the pageThe InstrumentsBass 1397:Bass, Electric, Soul70sSync Ev16 100 Electric Piano: 2194:Piano, ElectricVintage, Rhythm CoolJazzPop Ev 085 Guitar 1: 2448:Guitar, Electric, Background, PopDreamyBrent Ev 085 Guitar 2: ~1435:Guitar, Electric, Rhythm JazzFunkGroovinChords Ev16 110 Guitar 3: 1401: Guitar, Electric, RhythmSoul70sBrightA-B Ev16 100 AcPiano: Piano, Acoustic, Rhythm Soul70sA-B Ev16 100 (Probably) Alto Sax: Piano, Acoustic, Rhythm Soul70sA-B Ev16 100 Drums: Addictive Drums (Fairfax Vol 2., Faxer 2) Ac. Guitar: Indiginus Renegade Acoustic (DustyWind) Lead Vocal: Synthesizer V (Emily Forte AI) Backing Vocals: Synthesizer V (Emily Forte AI, ANRI AI) The Effects ChainMaster Buss: Ozone Imager, Lurssen Mastering Console (Americana Loose - More Glue) Vocal: Make Me Scream, Greg Wells VoiceCentric Vocal Room: Sunset Sound Studio (Iso Booth, Studio 3), Sunset Sound Studio (Plate Spring, Plate 1) Sax: EZMix (140 Plate) Harmony Room: Raum (Grounded) Bass: Make Me Scream, ReaEq (Basic 11 Band Rock Bass), RBass Mono El. Piano: Trackspacer, Finisher Retro (Dreamer), Finisher Retro (Suitcase Panner) Ac. Piano: EZMix2 (Piano2) The Short VersionThis is still a work in progress, so feel free to comment on whatever. Thanks for listening! Notes on the Second MixMark Hayes pointed out that the vocals were a bit flat and lacked energy. So I've bumped the key up 7 semitones, and changed the tempo from 100 bpm to 105 bpm. I also made a small change to the lyric, and no doubt will continue to do some further tweaking, especially to balance the harmony against the melody. The Blah Blah Blah Part - Feel free to skip it.  This was built around the demo song METRO. I changed a bunch of chords, some of which I got a bit too creative with. The minor6 chord and the guitars gave it a bit more of a surfer tune feel than I expected. I decided to add a modulation to this, as well as an extended ending. I decided I should use a bridge instead having three verse/choruses in a row. Little did I know how much effort the sax solo was going to take. Some day I should write a song with a chorus that's a simple repetition, so it's easier to write and more catchy. Today wasn't that day. After creating a backing track, I imported it into SynthesizerV and worked out a melody. Unfortunately, the chorus sounded a lot like the verse, and both the verse and chorus were a bit bland. Even worse, the ending of the chorus sounded a lot another song I'd written. But I figured I'd deal with it later and just plow ahead. The initial plan was to use the new ANRI voicebank that had just been released, and I started with the ANRI voice. But I didn't think it was as good as the Eleanor Forte voice. I tweaked the version to a "male" version, and decided to write to that voice. (Obviously I eventually changed it back). I wrote dummy lyrics - nonsense verse - to fill in the syllables of the song to help me get started on the lyric. It didn't really lead to anything, but it got me something that could be fixed, which is better than a blank sheet. I went looking through some ideas I'd written while working on other songs, and found an old lyric that I could - with a bit of rewriting - fit into the beginning of the song. I also found the "postcards from nowhere" phrase in my notes, which I'm sure I filched from someone else's lyrics. Some "fill in the blank" work, and I had a chorus.  At this point, the similarity between this and another song I'd written became really apparent, so it was time to move notes around to make it "legally distinct", so to speak. The result sounded a lot more like real chorus, so I had my daughter listen to the "before" and "after" versions. She pulled no punches - the first version is "flat", "boring", and "all sounds the same". The second was a great improvement. Not necessarily good, just an improvement. Yeesh - perhaps I've raised a bit too much like me.  Since there wasn't enough room to develop much of a story, I figured to go ahead with the instrumental. A few lines from the dummy lyrics were salvaged and stuck after the instrumental. Then I went through the melody and did a lot of edits. There were still a few bits that clashed with the harmony, and eventually I decided to shift back to Eleanor "natural" voice. The song was a bit low for the voice, but... onward anyway! As the Eleanor voice isn't especially powerful, when an advert for the "Make Me Scream" VST showed up in my email on sale, I decided to give it a try. It was a saturation/distortion effect. It certainly doesn't turn the vocal into a scream, but it does give it a bit of edge. I also used in on the bass, because... well, I did pay for it. Writing harmony is the fun bit. I tried to make the harmony differ on each verse, to provide a bit more variety. Then I went back to BiaB to create the sax solo. The new Multi-Riff feature proved helpful, but it still required a whole lot of cutting and pasting. It just didn't seem to want to create a cohesive solo. The key change in the middle of the solo probably didn't help. I spent a lot of time on the solo, and am still not totally happy with it. The drums weren't working as well as I wanted, to I pulled out the UJAM "Deep" drumkit and started looking for some MIDI that I could build on. I found some patterns I liked, but ended up doing a lot of editing to them. I ended up using Addictive Drums, and putting far more time into working on the drum track than I expected. I really wanted to have an arpeggiated guitar in the back of the first verse, but again... nothing in BiaB seemed to match. So I got out the Indiginus "Rengade Acoustic" and played in the part. The drum track was still lacking energy in the final chorus, so I went back and added a ride cymbal. There are still a few lyrics that I should probably tighten up - "couldn't" shows up too much, for example - and the intro could use some work. But I figured it's time to release it and get some feedback.
-- 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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Hello David
once again a great song
I like the background vocals very much
The sax solo is very nice
I don't know if I ever wrote this, but what will be possible in 10 or 20 years?
I wonder if you will even be able to hear a difference from a human singer then?
Is the basis for this voice actually from a real singer or is it all completely artificially created ?
Merry Christmas and a happy and healthy new year 2022
Many greetings
Andi ;-)
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Dave,
once again: MOST ASTOUNDING. The song comes along so easily and it fits that voice so well. I really liked the the melody as well as the backing track. And by Jove: It sounds awsome.
You're really putting some effort in your songs...
Merry Christmas and all the best for 2022.
Stefan
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Your way with a complex melody is impressive, sir, as is the arrangement! Fun and engaging.
In terms of the bots:
I really like the interaction among the voices, it's well-written and it sounds good.
The lead singer, though, makes me uncomfortable. She sounds "low energy" to the point of indifference or outright depression. As usual, I can't explain where this feeling comes from, but it is strong as I listen now. She sounds like she wants to put down the mic and go home. I trust you know I do not mean that in a way that is critical of you, even though that would be a pretty unkind description of an actual person's singing. =8^)
Not to overdo the "uncanny valley" thing, but I do suspect that might be the scene here. Make the singer just a little more robotic-sounding, and the "depressed" affect would totally disappear. Unfortunately, the implication would seem to be that as bots continue to improve and approach humanity asymptotically, they'll sound more and more disturbing.
And with that cheery thought, winter (or summer) 2021-2022 is upon us!
Last edited by Mark Hayes; 12/21/21 06:30 AM.
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Amazing work, I especially liked how the BGV played off the main vocal. I'm really impressed. I'm another guy who can't sing so this tech gives us some hope. From what I'm hearing, really good synthetic vocals will come along much sooner than realistically human robots.
Windows 11, Intel Core I5 10400, 16 gig ram, Scarlett 2i2, Sony Acid Music Studio 10, BIAB 2020 UltraPlus Pak
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once again a great song
I like the background vocals very much Hi, Andi. Thanks! I appreciate you taking the time to listen and post. I don't know if I ever wrote this, but what will be possible in 10 or 20 years?
I wonder if you will even be able to hear a difference from a human singer then? Well, with synthetic instruments such as a saxophone or violin, while an average person may not be able to tell, a professional musician who plays the instrument can almost always tell. But this is partly because the people who write the music may have the instrument do things that it can't do. If you stay in the range of what it can do, I think we'll cross that gap sooner than people might think. Is the basis for this voice actually from a real singer or is it all completely artificially created? This is created by having an real singer perform all the phonemes, and then using a neural network learn how that singer sounds. Merry Christmas and a happy and healthy new year 2022 Thanks, Andi. The same to you!
-- 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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once again: MOST ASTOUNDING. The song comes along so easily and it fits that voice so well. I really liked the the melody as well as the backing track. And by Jove: It sounds awesome. Thanks, Stefan! Merry Christmas and all the best for 2022. And a Merry Christmas to you. I hope 2022 is a great year for you and Maha.
-- 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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Your way with a complex melody is impressive, sir, as is the arrangement! Fun and engaging. Hi, Mark. Perhaps a bit too complex at times. I really like the interaction among the voices, it's well-written and it sounds good. That's my favorite part of the writing, although I worry that I overdo it more than a little. The lead singer, though, makes me uncomfortable. She sounds "low energy" to the point of indifference or outright depression. You're absolutely right. Although I really like the low register, it is, as you said, "low energy", and so doesn't fit the song well. Plus, I've got a number of "swoops" where the vocal slides from one note to the next, and that adds to the sound. So I've gone back and bumped the song to a higher key, and increased the tempo slightly. I wanted to keep the laid-back feel, but it was just a touch too slow. I probably need to go back and match the background vocals a bit better. I'm not sure I want to pitch them up too high on the first verse, but I haven't had a chance to try it out much. Not to overdo the "uncanny valley" thing, but I do suspect that might be the scene here. Make the singer just a little more robotic-sounding, and the "depressed" affect would totally disappear. Unfortunately, the implication would seem to be that as bots continue to improve and approach humanity asymptotically, they'll sound more and more disturbing. I'm not sure how much weight to give the "uncanny valley". When that term was being bantered around, people were mainly talking about CGI. We're good at detecting what's wrong (for example, dead eyes in "The Polar Express"). It turned out that a lot of it had to do with poor animation, and I think that's the case here as well. And with that cheery thought, winter (or summer) 2021-2022 is upon us! Yes it is! I figured I'd try to get one last song in under the wire, and I'm sort of amazed that it finally came together. The best of the season and New Year to you!
-- 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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Amazing work, I especially liked how the BGV played off the main vocal. I'm really impressed. I'm another guy who can't sing so this tech gives us some hope. Yeah, the background vocals are the most fun part to write. I'm sure I'm overdoing it, but it makes me happy. That's the important thing! While it might not be good enough to do a convincing performance, I think it's good enough to put together a demo and work out lyrics and parts. I certainly wouldn't have been able to do as many songs this year if I didn't have it. Then it's just a matter of finding someone good on Fivver and spending real money to have them sing it. Or just moving on and writing another song... From what I'm hearing, really good synthetic vocals will come along much sooner than realistically human robots. Yeah, there are a lot more problems to solve with an android. With vocals, you only to to be able to generate audio. Thanks for stopping and listening!
-- 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 suspect that the energy of the backing will, for sometime yet, be damped by the synth vocal.
I listened passed the vocal to the backing and it's really nice and skips along happily.
The Bing Crosby Effect is significant though.
Lovely melody by the way.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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The Bing Crosby Effect is significant though. Please, what is this? Googling only got me "the Bing Crosby effect of stopping me in my tracks and helping me to see more clearly that it’s a losing battle to pursue lasting satisfaction in this life" but I doubt that's what you meant.
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I always find your songs to be enjoyable. I think the lyrics match the performers perfectly. Well crafted arrangement. I'm sure it is a lot of work to get your vocalists and the band together in one place but you do it nicely. Good one.
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As we said at SC, "An excellent showcase of amazing technology!" Thanks for the fx info ... mercifully it did not result in us screaming. We much liked the lyric, melody and the counterpoint vocals. Reading your post (all of it ), perusing the tracks, and trying to digest your use of Eleanor is overwhelming. It is hard to comprehend how much thought and DAW time must go into a production like this. You have the patience of JOB and to your credit the results indicate time well spent given the creative outcome. Kudos and we look forward to the next one. Happy Holidays, J&B
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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I'm not sure how much weight to give the "uncanny valley". When that term was being bantered around, people were mainly talking about CGI. We're good at detecting what's wrong (for example, dead eyes in "The Polar Express"). It turned out that a lot of it had to do with poor animation, and I think that's the case here as well. I give the concept weight here because it makes sense and its apparent effect on me really can be really strong. Remember Macintalk, the "drunken Scandinavian in an oil drum"? He didn't provoke any sort of emotional response, other than yucks. He was a funny robot voice. Likewise, I think, for decades of synthesized speech. But now, robot voices have gotten to the point where they're beginning to enter the Zone of Indistinguishability, and they can sound almost but not quite like humans, and for me, that's where spooky, quasi-emotional phenomena start intruding. Maybe it's like flying a supersonic plane (he wrote, as if he knows what flying a supersonic plane is like.) As you approach the Speed of Sound, vibration and turbulence increase until pow you pass through Mach 1 and things calm down. You and Eleanor are Pushing the Envelope. Buckle up!
Last edited by Mark Hayes; 12/22/21 05:59 AM.
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I suspect that the energy of the backing will, for sometime yet, be damped by the synth vocal. Hi, Ray. I know what you're talking about. I appreciate people's forbearance with listening to songs being sung by robots - I know it's not everyone's cup of tea. I listened passed the vocal to the backing and it's really nice and skips along happily.
...
Lovely melody by the way. Thanks! I'm always happy to hear that. The Bing Crosby Effect is significant though. This is the first time I've heard this term. I knew that Bing was a musical innovator, and his investments into recording technologies really helped increase the sound quality of recordings. Thanks for stopping to listen and comment!
-- 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 always find your songs to be enjoyable. I think the lyrics match the performers perfectly. Well crafted arrangement. I'm sure it is a lot of work to get your vocalists and the band together in one place but you do it nicely. Good one. Thanks! One of the advantages of working from the melody to the lyrics instead of the other way around, is that the sound of the performance helps guide the lyric. Getting things to gel isn't as hard as all the long list of plugins implies. I just happen to have a bunch of effects that I bought because I like the sound, and I thought they would be a good match for the sound. I appreciate the positive feedback!
-- 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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As we said at SC, "An excellent showcase of amazing technology!" That includes BiaB, of course. Thanks for the fx info ... mercifully it did not result in us screaming. Heh. I figure you're probably the only people who read that part. We much liked the lyric, melody and the counterpoint vocals. Thanks! Always appreciated, especially coming from you! Reading your post (all of it ), perusing the tracks, and trying to digest your use of Eleanor is overwhelming. It is hard to comprehend how much thought and DAW time must go into a production like this. I try to hide a few tidbits in there to make it enjoyable. But I really should pare those missives down a bit. I assume that a lot of people do the same level of work on their songs, they just don't bother writing it all down. You have the patience of JOB and to your credit the results indicate time well spent given the creative outcome. Writing excessively long laments seems to be something else I've got in common with Job. Kudos and we look forward to the next one. Thanks, and Happy Holidays to you two as well!
-- 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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Remember Macintalk, the "drunken Scandinavian in an oil drum"? He didn't provoke any sort of emotional response, other than yucks. He was a funny robot voice. You're talking about the version of Software Automatic Mouth that was ported to the Mac. I'm well aware of the program, as I've read and documented the disassembled source code, and written a version in Lua that can sing. The later versions of SAM are very intelligible and even capable of singing fairly well.. I'd gotten a hold of the company a number of years ago in hopes of convincing them that perhaps using them with BiaB (I've got some code that will convert between MusicXML and other formats). But that never panned out.  But now, robot voices have gotten to the point where they're beginning to enter the Zone of Indistinguishably, and they can sound almost but not quite like humans, and for me, that's where spooky, quasi-emotional phenomena start intruding. Much like how replicators in The Hitchhiker's Guide to the Galaxy can create something that's almost, but not quite, like a cup of tea. For me, it's enough that it can demo the song. The important bit - for me - is that I can get a level of expressiveness out of it that wasn't there before. But compare it to an actual person singing, and it's like day and night.
-- 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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David,
This is excellent! I am completely fascinated by this technology and your approach. I hear tremendous evolution in each project.
You are leading the way on this. Great stuff!
Bob
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You're talking about the version of Software Automatic Mouth that was ported to the Mac. I'm well aware of the program, as I've read and documented the disassembled source code, and written a version in Lua that can sing. The later versions of SAM are very intelligible and even capable of singing fairly well.. I'd gotten a hold of the company a number of years ago in hopes of convincing them that perhaps using them with BiaB (I've got some code that will convert between MusicXML and other formats). But that never panned out. Interesting, I did not know about SAM. https://en.wikipedia.org/wiki/Software_Automatic_MouthThis guy – https://simulationcorner.net/index.php?page=samhas a demo, I know not from when – https://simulationcorner.net/SAM/sing.wavHendrix did it better, but hey.
Last edited by Mark Hayes; 12/22/21 10:13 AM.
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Check out all the new features in the redesigned Band-in-a-Box® 2026 for Mac®!
Band-in-a-Box® 2026 for Mac - Special Offers End at 11:59pm PDT on Friday, May 15th, 2026!
Order before 11:59pm PDT on Friday, May 15th and SAVE up to 50% on most Band-in-a-Box® version 2026 for Mac Upgrade packages... and that's not all! With your version 2026 for Mac purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Upgrade to the 2026 49-PAK to receive even more NEW Add-ons including 20 additional RealTracks... that's 222 NEW RealTracks available with version Band-in-a-Box® 2026 for Mac!
Upgrade to Band-in-a-Box® 2026 for Mac® today for as little as $49! Check out the Band-in-a-Box® packages page for all available purchase options.
Learn more about the Free Bonus PAK and 49-PAK here.
If you have any questions about which package is the best option for you, just let us know. We're here to help!
202 New RealTracks Released with Band-in-a-Box 2026!
With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
Jazz, Funk & World (Sets 468-475):
Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
2026 Free Bonus PAK & 49-PAK for Band-in-a-Box® 2026 for Mac®!
With your version 2026 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons for FREE! Or upgrade to the 2026 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2026 RealCombos Booster PAK:
-For Pro customers, this includes 27 new RealTracks and 23 new RealStyles.
-For MegaPAK customers, this includes 25 new RealTracks and 23 new RealStyles.
-For UltraPAK customers, this includes 12 new RealStyles.
- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
Looking for more great add-ons, then upgrade to the 2026 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyle.
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
- RealDrums Stems Set 10: Groovin' Sticks
- SynthMaster Sounds & Styles Set 2 (sounds & styles with audio demos)
Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
XPro & Xtra Styles PAK Sets On Sale Now - Until May 15, 2026!
All of our XPro Styles PAKs and Xtra Styles PAKs are on sale until May 15th, 2026!
It's the perfect time to expand your Band-in-a-Box® style library with XPro and Xtra Styles PAKs. These additional styles for Band-in-a-Box® offer a wide range of genres designed to fit seamlessly into your projects. Each style is professionally arranged and mixed, helping enhance your songs while saving you time.
What are XPro Styles and Xtra Styles PAKs?
XPro Styles PAKs are styles that work with any version (Pro, MegaPAK, UltraPAK, UltraPAK+, or Audiophile Edition) of Band-in-a-Box® 2025 (or higher). XPro Styles PAKS 1-10 includes 1,000 styles!
Xtra Styles PAKs are styles that work with the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box® 2025 (or higher). Xtra Styles PAKs 1-21 includes 3,700 styles (and 35 MIDI styles)!
The XPro & Xtra Styles PAKs are not included in any Band-in-a-Box® package.
The XPro Styles PAKs 1-10 are available for only $29 ea (reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Listen to demos and order now! For Mac or for Windows.
The Xtra Styles PAKs 1-21 are available for only $29 ea (reg. $49 ea), or get them all in the Xtra Styles PAK Bundle for only $199 (reg. $349)! Listen to demos and order now! For Mac or for Windows.
Note: XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 19 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version as they require the RealTracks included in the UltraPAK, UltraPAK+, or Audiophile Edition.
Supercharge your Band-in-a-Box today with XPro Styles PAKs and Xtra Styles PAK Sets!
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