Is it possible to undo repeats? ...And I really mean "undo" only the last lot of repeats I just added.
I do NOT mean the "delete all" repeats button that's there in the general endings/repeats box. That deletes everything AND puts in all the bars that weren't there before I made the repeats by accident.
I don't want those bars - that's why I'm trying to undo the repeat!
Is it possible to undo repeats? ...And I really mean "undo" only the last lot of repeats I just added.
I do NOT mean the "delete all" repeats button that's there in the general endings/repeats box. That deletes everything AND puts in all the bars that weren't there before I made the repeats by accident.
I don't want those bars - that's why I'm trying to undo the repeat!
Yes you can. Open the Repeats/coda's/1st-2nd endings menu and select the Edit button in the lower left corner, highlight the repeat you want to delete and enter.
Thanks but that doesn't work as an UNDO of the repeat only. It removes the repeat signs at the start and stop bars - sure - but still expands (doubles) the number of bars.
The full scenario is this.
I have a song with 16 bars. I wrongly add a repeat for the middle 8. I edit the repeat by deleting it in the list The repeat dotted bar lines go, but I now have 24 bars
I want a real UNDO of the repeat addition and to be left with the original 16 bars. Not so much to ask - is it?
The only way I've found (and it only works if the repeat was the only change so far) is to reload the song without saving the edited one.
I understand. To Undo the repeat and remove the new generated bars and be left with the original bars:
Click the Fakesheet Icon in the Views Toolbar and uncheck the top selection, Display Chord Sheet in Fake Sheet mode to see the generated bars in unfolded view displayed in gray. Highlight the new generated bars left when you deleted the repeat and to delete the extra bars -
Select Edit|Delete Bar(s)...
The number of bars to be deleted should match the bars selected and the Chord Sheet will return to the original 16 bars when you delete the bars.
This works for me regardless of others changes I make. Hopefully this works for you also.
Thanks again. That works but it's not exactly "undo" is it?
I'm still left wondering... Most other Office or CAD editing programs I use (Word, Access, AutoCAD, Fusion360, Easy-PC, etc.,etc.) all have an EDIT > UNDO or CTRL-Z which take you back one step. Why did PG Music have to re-invent the wheel?
Thanks again. That works but it's not exactly "undo" is it?
I'm still left wondering... Most other Office or CAD editing programs I use (Word, Access, AutoCAD, Fusion360, Easy-PC, etc.,etc.) all have an EDIT > UNDO or CTRL-Z which take you back one step. Why did PG Music have to re-invent the wheel?
When I first got BIAB last year, one of the first things I did was try to figure out repeats, since repeats are pretty foundational. Things did not work as expected, so I checked these forums for advice from others who had gone there before me.
The advice that I saw expressed repeatedly, and which I wound up taking, is to "unfold" everything you do into one long timeline from beginning to end, and work on your song that way. This lays it all out and eliminates any problems or guessing games about what BIAB will do.
DISCLAIMER: Here I am, offering advice about a feature I do not use, and do not know how to use because I never took the time to learn how to use it! Thank God for experts like me, right? But I do think the linear method has clear advantages, and even if BIAB works perfectly once you come to understand it, I prefer not to have to master another quirky interface if I can easily avoid it.
Just as Office or CAD editing programs you use (Word, Access, AutoCAD, Fusion360, Easy-PC, etc.,etc.) all have an EDIT > UNDO or CTRL-Z which take you back one step , so does BIAB. Repeat as you used it was a two step process. It created the repeat AND generated the additional four measures necessary to accomplish the task. Just as Office or CAD editing programs you use (Word, Access, AutoCAD, Fusion360, Easy-PC, etc.,etc.) all have multiple ways to perform most tasks, so does BIAB. I presented what I thought to be a clear method where you could see the distinction between the two actions.
I'll explain the process in the manner you have experience and understanding of with Office and CAD editors. Undo works exactly the same as these programs with each Undo going back one step.
Method one is what I demonstrated above.
Method Two is to use the Top Toolbar Menu dropdown option: Edit | Undo and repeat Undo a second time. The undo's work in reverse order - the first undo removed the Copy from/to command and erases the added Chords The second undo removes the Repeat. The SGU Chord Sheet is back to the original 16 bars after the second Undo has been completed.
Method Three works exactly as Method two except the user uses a Hot Key Shortcut rather than the Top Toolbar Menu - Click CTRL-Z twice. The first removes the inserted Chords copied and pasted from the Repeat selection region and the second Hot Key click - CTRL-Z removes the Repeat Region and the SGU Chord Sheet is returned back to the original 16 bars.
< The advice that I saw expressed repeatedly, and which I wound up taking, is to "unfold" everything you do into one long timeline from beginning to end, and work on your song that way. This lays it all out and eliminates any problems or guessing games about what BIAB will do. >
For Clarity to those who may want to use Repeats/1st and 2nd endings, Repeats are linear the same as the 'unfolded' SGU Chord Sheet that are expressed repeatedly by forum members to use rather than Repeats. BIAB always plays the Chord Sheet linearly. FakeSheet Mode is a display option.
It's my personal belief after observing and studying how extensively PG Music Developers use repeats in demos and tutorials, there's a valid reason they do so. I think Repeats/1st and 2nd endings are connected internally with BIAB Wav Instructions and that directs the program to play a more complex arrangement, select different chords or chord inversions and give a better composition than one receives producing an SGU Chord Sheet unfolded.
To 'see' the SGU Chord Sheet 'unfolded' when using Repeat, click on the FakeSheet Icon in the Views Tool Bar in Classic Mode or click on the Views Tab above the BIAB Mixer in the newer modern contemporary Chord Sheet View. Deselect the Display Chord Sheet in Fakesheet Mode.
< That works but it's not exactly "undo" is it? > Repeat as you used it was a two step process. It created the repeat AND generated the additional four measures necessary to accomplish the task.
...and therein lies the problem. To the uninitiated, it seems like a one step process thereby implanting the expectation that a single "undo" in the edit menu would be sufficient. You've made it clear that the whole "repeats" thing requires a very different mindset (which in my view is both unfortunate and unnecessary).
< The advice that I saw expressed repeatedly, and which I wound up taking, is to "unfold" everything you do into one long timeline from beginning to end, and work on your song that way. This lays it all out and eliminates any problems or guessing games about what BIAB will do. >
I will certainly do this if and when I use BIAB as a staring point or DAW - but I very rarely work on songs in BIAB in this way. What I mostly use BIAB for, is to create a quick transposable leadsheet and maybe a sample MP3 to send to other band members prior to a rehearsal. In which case I don't like the inconvenience of working with a long linear chord sheet window and I often change my mind as to where reapeats and or coda will be. Seems reasonable to me.
< The advice that I saw expressed repeatedly, and which I wound up taking, is to "unfold" everything you do into one long timeline from beginning to end, and work on your song that way. This lays it all out and eliminates any problems or guessing games about what BIAB will do. >
I will certainly do this if and when I use BIAB as a staring point or DAW - but I very rarely work on songs in BIAB in this way. What I mostly use BIAB for, is to create a quick transposable leadsheet and maybe a sample MP3 to send to other band members prior to a rehearsal. In which case I don't like the inconvenience of working with a long linear chord sheet window and I often change my mind as to where reapeats and or coda will be. Seems reasonable to me.
Hi, I just wanted to clarify the attribution here. I said that, not Charlie.
I also should emphasize again that I cannot speak to the benefits of using BIAB repeats, which I'm sure are real. Sounds like for your purposes they are desireable for all the usual reasons, and I'm sure folks here will be able to help you get whatever you need.
Personally, I'm still inclined to avoid those areas of BIAB functionality that require almost anthropological speculation regarding what it's doing under the covers. =8^)
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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):
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The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
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