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I’ve been working on an EP the past year and have 5 songs I feel are solid and ready to be recorded, and then released under my own artist name (will be my first release).
I’ve only composed it with voice and guitar, production is my weak point, so my plan is to record them as solid demos with just guitar and vocals and show them to a few producers near me.
I’d probably show it to about 4-5 producers, I don’t really know them, just people near me, or ones that have been recommended through acquaintances, etc.
Just wondering how many on here register their songs before showing them to producers or shopping them around to artists / etc.
(I've read it's also much better to copyright songs individually, vs as a group, as it's much more beneficial in case it does every become a legal issue.
I also think I have to copyright them again, once I'll do the official release? Or is that not the case, if the lyrics/melody haven't really changed?)
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Howdy question asker. I am by no means an expert. The safest way to go is to copywrite them first. That being said it isn't always a necessity. I know a guy in Nashville who has his own publishing company that I occasionally run a song by. I don't bother copywriting them first, but he's been a friend of the family for years. There are a lot of crooks out there. It's not a good way to do business, but some do. It's a gamble if you don't copywrite it first. It's not always just the publisher you have to worry about. If they should ever play it to someone else for an opinion it runs a risk of being ripped off by that person as well. My dad had one stolen that way once. If you don't know them well, or have any reservations it's best to copywrite first I think. I wrote a theme song for a TV show years ago that never took off. The show had an in-house band, and I knew the guys. The song was copywritten along with the show, so I never had to worry about it - plus it never made any money. Anyway that's the limit of my experience, so as I said, I'm not an expert - just my two cents. Good luck with your songs,
Brad
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Personally, I don't. No one out there is trying to steal your songs.... heck it's nearly impossible to get folks to listen to them.
If you are going to release them on a commercial project, yes. You should copyright them. Plugging them to publishers, nope. The publisher is not going to steal your song if you're dealing with legit publishers and you should know who you're dealing with in that regard. They will copyright the song in their name if they are interested in representing your song to artists and other commercial projects. You simply have a writers contract with the publisher.
Hope that helps.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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A very odd position and question for a BIAB forum.
Clearly using BIAB would, in all likelihood, take your voice & guitar demos up a level that wouldn't require "production" nous per se.
Establishing copyright at the earliest instance is common sense.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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See: Music Lawyerin This hole gets deep real fast. You may want to see if there is a music lawyer in your town. They'll explain it all to you for $200 and your eyes will glaze over.
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LegalEagle's video about music law and Taylor Swift's story are interesting. Lawyers also cost, though. https://www.youtube.com/watch?v=M-A_RrOeoWw
Jazz relative beginner, starting at a much older age than was helpful.
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… I am by no means an expert. … I am and run a small consulting concern on Copyright and Music Licensing. I'll spare you my resumé other than I worked on the 1976 revision to Title 17 (effective 1/1/1978) and recently retired from ASCAP where I was attached to the Legal Dept. Standard disclaimer: I am not an attorney nor do I practice law. Everything I write can (and should) be looked up. If you need an attorney, get one (I can hook you up, BTW. My opinions are my own and I am not responsible for anything you do or don't. The song was copywritten… The word is COPYRIGHTED. You are protecting your rights concerning copies of your work. "Copywritten" is what happens with advertising and news text (copy). Although much of the following is also true in the 140+ countries that are signatories to the Berne Convention, some are unique to the USA and I will not point out the differences—you are on your own if not a US resident. Terms: LOC is the Library of Congress, United States Copyright Office. SCOTUS is the Supreme Court of the United States. Title 17 is the US Copyright Law. Section 8 is Article 1, Section 8 of the United States Constitution requiring Congress to protect Copyrights and Patents. In this context, Work is any intellectual property subject to Copyright protection. Mechanical royalties are paid for copies sold. Performance royalties are for broadcast, streaming etc. Helicopter view: All Works fall into one of two categories: Published and Unpublished. With one exception, Published and Unpublished Works are afforded different rights—this is important to know and almost no one gets this right online. Unpublished Works have two sets of rights: You can take action against plagiarism and you have the Right to the First Recording. Although you are protected from the date of creation and you are not required to register them, the problem is proving Authorship and Date of Creation. You can register up to 10 Works (not 20!) with the LOC on a Form PA or SR as Unpublished. There are 3rd party entities that let you do the same for a lower fee. You cannot protect your rights by mailing anything to yourself, aka the Poor Man's Copyright. It must be a 3rd party with no interest in the work and there are many out there—Google is your friend. The Right to the First Recording is often overlooked. The second you make a work available to the Public, a song is Published ( Public is the root of Published) and you lose this right—this includes posting to Facebook, Youtube. Soundcloud etc. unless your chanel is Private. Established songwriters can and do charge for that first recording if they can and, if that first artist never releases, they can charge someone else and so on. Songwriter Demos are not considered First Recording unless a rights holder posts it or includes it on a CD sold at a gig etc. Anyway, once a First Recording is released or otherwise Published, that right is gone. Published Works must be registered as Published with the LOC or all protections are lost—meaning that you have no right to be paid until that happens. If someone covers your song and doesn't pay your Mechanicals, if not registered as Published, you have no right to take action (sue in Federal Court). Filing a song as Published after release is often done but no mechanicals or damages are due before the Processing Date. A few years ago, SCOTUS finally settled the matter on which date applies, time stamp when received or date processed. I know of one horror story where a songwriter lost an estimated $18M because her publisher did not file the correct Form PA Published till 20 years after it was first recorded (a story for later). Normally, Published Works are registered one at a time but as of March, 2021, it is now possible to register up to 20 Published works released at the same time on one album on a single form. Google Register Certain Groups of Published Works for details and restrictions on the two ways this is allowed.
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Bottom line and answering the OP: Many in the industry will not accept an unpublished Work (Songwriter demo, script, screenplay etc.) with any kind of Copyright notice on it. It is considered amateurish at best and a possible setup for a lawsuit at worst. Since copyright notices are not required, even if registered, don't make that mistake. If concerned about being ripped off i. e. someone claiming your Work as his/her own, then register it with someone. The LOC accepts up to 10 on a Form PA or SR with PA box checked (do not check the box for Published). Again, there are 3rd party companies that do this and, if you're a prolific songwriter, you'll save a lot of money. The Writers Guild has been registering scripts for over 95 years. They don't so songs but, if you want to see how 3rd party protection works, their web site is most informative. WGA West Registry
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Is "QuestionAsker" a real person asking a real question or is "QuestionAsker" a one time forum visiter, never to post again? Will "QuestionAsker" even visit the forum to read the responses to the question?
Only time can answer these questions.
Not mocking the answers but more wondering about "QuestionAsker". I'm kinda' in RayC's corner on this one and think it's one and done.
All good answers but sort of a weird first question to ask in this forum.
If I'm wrong I will be pleasantly surprised.
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There are a few who change user names now and then so, who knows?
In any case, I answered all the questions raised in the OP but, unless there is follow up, I’m done here.
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Copyright is all about one thing.
It provides an official date of creation and who created it.
That said, the library of Congress is the registration that a court requires to bring a lawsuit.
With the internet and computers, everything posted online has data tagged to it that shows date of creation of that file. In addition to this, there are several companies that are providing a service that dates the files on secured servers. One such is the software company MasterWriter. It's a lyric writing package which includes a registration service.
One of the publishing companies I have dealt with that placed my music in films and TV, and yes, I got performance royalty checks for that from BMI, told me to not worry about copyright. They were handling that. And they did. For that reason, and others, I don't worry about the copyright for my music.
Yep.... I realize that this might ruffle the feathers of some in this business, but you are also free to do this any way that allows you to sleep restfully at night.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Copyright is all about one thing.
It provides an official date of creation and who created it. You are absolutely wrong. Article 1 Section 8: The Congress shall have Power…
To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries;
That said, the library of Congress is the registration that a court requires to bring a lawsuit.
Half wrong. Published works only. With the internet and computers, everything posted online has data tagged to it that shows date of creation of that file. So what? The Federal Court System has yet to accept this. Search BMI in Justia.com. In addition to this, there are several companies that are providing a service that dates the files on secured servers. One such is the software company MasterWriter. It's a lyric writing package which includes a registration service. Barry DeVorzon's service is one of many out there. Unpublished works only. One of the publishing companies I have dealt with that placed my music in films and TV, and yes, I got performance royalty checks for that from BMI, told me to not worry about copyright. They were handling that. And they did. For that reason, and others, I don't worry about the copyright for my music. With Unpublished works, it's ok not to be worried. There's no requirement to register and, if you get ripped off, that's your concern alone. That the PROs might pay performance royalties without a Form PA Published is not a secret and how they handle this is their affair (the Consent Decree does not require this). However, they cannot initiate a suit on your behalf if your rights are violated without it—and only if the performance occurs after the registration date on the certificate. Again, not knowing this has cost some writers millions of dollars. While you might get paid—always a good thing—the fact is that you do not have the right to be paid without the correct registration. Red flag here: Is an experienced songwriter really implying that your publishers don't file the correct Copyright forms on your music? It is the publisher's obligation to do so and your lack of knowledge on this subject (real or pretend) is appalling. Yep.... I realize that this might ruffle the feathers of some in this business, but you are also free to do this any way that allows you to sleep restfully at night. As long as those reading know that you are giving some bad advice, how can feathers get ruffled?
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You are absolutely wrong....Half wrong.....So what? ......
Red flag here: Is an experienced songwriter really implying that your publishers don't file the correct Copyright forms on your music? It is the publisher's obligation to do so and your lack of knowledge on this subject (real or pretend) is appalling.
As long as those reading know that you are giving some bad advice, how can feathers get ruffled?
Aren't you the little ray of sunshine today. Take a deep breath.... exhale....relax.... If you read my post again, this time more carefully...you will notice that I never claimed that my publishers failed to file the proper paperwork. In fact I believe I said the exact opposite. Something about the publisher handling it....and they did. Peace brother
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Howdy question asker. I am by no means an expert. The safest way to go is to copywrite them first. That being said it isn't always a necessity. I know a guy in Nashville who has his own publishing company that I occasionally run a song by. I don't bother copywriting them first, but he's been a friend of the family for years. There are a lot of crooks out there. It's not a good way to do business, but some do. It's a gamble if you don't copywrite it first. It's not always just the publisher you have to worry about. If they should ever play it to someone else for an opinion it runs a risk of being ripped off by that person as well. My dad had one stolen that way once. If you don't know them well, or have any reservations it's best to copywrite first I think. I wrote a theme song for a TV show years ago that never took off. The show had an in-house band, and I knew the guys. The song was copywritten along with the show, so I never had to worry about it - plus it never made any money. Anyway that's the limit of my experience, so as I said, I'm not an expert - just my two cents. Good luck with your songs,
Brad Thanks Brad for the feedback. Just curious, what was the story with your dads song being stolen? How did it happen, and did he see any reimbursement for it?
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Unpublished Works have two sets of rights: You can take action against plagiarism and you have the Right to the First Recording. Although you are protected from the date of creation and you are not required to register them, the problem is proving Authorship and Date of Creation. You can register up to 10 Works (not 20!) with the LOC on a Form PA or SR as Unpublished. There are 3rd party entities that let you do the same for a lower fee. You cannot protect your rights by mailing anything to yourself, aka the Poor Man's Copyright. It must be a 3rd party with no interest in the work and there are many out there—Google is your friend.
Thank you Mike, I really appreciate you sharing your expertise on the subject, very informative. I have a few follow up questions, if that's OK: 1. I've heard a few music industry people (including a lawyer) state that you should copyright each song individually, for various reasons, including: - Easier to manage the song, for licensing, etc. If it's within a catalog of 10 songs, if you want to license / sell that song, you have to sell / license the whole catalog. (I might be wrong on this, but this is what I understood from that conversation). - If someone does plagiarize the song, the judge looks at the plagiarized snippet compared to the whole registered body of work. If it's a melody line, and only 1 song is registered, it's can be a large portion of the plagiarized work. However if that melody line is compared to the whole body of 10 songs, it could be considered a small part, and warrant a much smaller compensation for plagiarism, or be thrown out, etc. (Once again this is what I heard, I know I might be wrong). Is this true, in your experience? I'd much rather register in groups of 10, to save money, but this is what I have been told (ie register each song copyright individually). 2. I remember reading that with registering an unpublished copyright, one has 3 months from the date of registration to publish the work, otherwise they lose some sort of protection? Is that true?
The Right to the First Recording is often overlooked. The second you make a work available to the Public, a song is Published (Public is the root of Published) and you lose this right—this includes posting to Facebook, Youtube. Soundcloud etc. unless your chanel is Private. Established songwriters can and do charge for that first recording if they can and, if that first artist never releases, they can charge someone else and so on. Songwriter Demos are not considered First Recording unless a rights holder posts it or includes it on a CD sold at a gig etc. Anyway, once a First Recording is released or otherwise Published, that right is gone.
Many in the industry will not accept an unpublished Work (Songwriter demo, script, screenplay etc.) with any kind of Copyright notice on it. It is considered amateurish at best and a possible setup for a lawsuit at worst. Since copyright notices are not required, even if registered, don't make that mistake.
3. Another thing I'm confused about is this - so if pitching a song to a producer or publisher (with the intent of having another artist using it), it should not be copyrighted in any way, not even as an unpublished work? How does the Right to First Recording tie into that situation?
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QuestionAsker,
Welcome back to the forum. I'm glad to see you've returned. I apologize for thinking you did not have a legitimate interest in the forum.
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........ My dad had one stolen that way once. If you don't know them well, or have any reservations it's best to copywrite first I think. ...... Thanks Brad for the feedback. Just curious, what was the story with your dads song being stolen? How did it happen, and did he see any reimbursement for it? I worked with another writer many years ago. I was just getting started at the time. He was the founder of a songwriters group in the town I was in at the time. He claimed that he had written the lyric and melody to a very big #1 song and had submitted it to a publisher/record company and heard nothing back. Then one day he heard it on the radio and watched it go to #1 and make a ton of money. This was well before the internet and computers. Rotary phones were still a thing. I'm not so sure that his story was true, but of course the back story fit the situation well. His wife would kind of roll her eyes when he told this story to someone new. It's possible because at the time, there was only LOC copyright to prove ownership and date of creation. I still have all of the copyright forms for the songs I was writing back then. Many were collections. I should pull those out and see if there was anything actually worth spending the money on back then. My story....a coincidence I'm sure...... I have a gospel song that I had written and recorded. One day I was listening to the local gospel radio station and heard a song that was eerily close to the song I had written. I wrote it off as a coincidence because at the time, I wasn't posting on line... internet was at best dial up to bulletin boards and I hadn't sent the song out to anyone. That was a strange one. There was no way anyone else could have heard my song and ripped it off.
Last edited by Guitarhacker; 02/18/23 03:20 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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QuestionAsker,
Welcome back to the forum. I'm glad to see you've returned. I apologize for thinking you did not have a legitimate interest in the forum. Greetings Jim, no worries, thank you for having me 
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I worked with another writer many years ago. I was just getting started at the time. He was the founder of a songwriters group in the town I was in at the time. He claimed that he had written the lyric and melody to a very big #1 song and had submitted it to a publisher/record company and heard nothing back. Then one day he heard it on the radio and watched it go to #1 and make a ton of money. This was well before the internet and computers. Rotary phones were still a thing. I'm not so sure that his story was true, but of course the back story fit the situation well. His wife would kind of roll her eyes when he told this story to someone new.
That would really suck if it did indeed get stolen, I hope it wasn't the case.
My story....a coincidence I'm sure...... I have a gospel song that I had written and recorded. One day I was listening to the local gospel radio station and heard a song that was eerily close to the song I had written. I wrote it off as a coincidence because at the time, I wasn't posting on line... internet was at best dial up to bulletin boards and I hadn't sent the song out to anyone. That was a strange one. There was no way anyone else could have heard my song and ripped it off.
There's a phenomenon that seems to pass in many areas, I hear of inventions being invented often independently in various parts of the world, even before the internet or phones, or when being worked on in secret. Or an idea or philosophy that surfaces at the same time, in various areas. Maybe it could have been something like that. But with a song, to copy a melody like that, does sound odd to me though.
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Just to be pedantic:
In the US, at least, copyright is automatic upon a work being created.
The issue is of proving that one indeed holds ownership. That is where registering your copyright comes in. It is rather difficult to argue with an official government document, the falsification of which potentially carries a charge of perjury.
There are other services that claim to do this but none have yet been tried in court to my knowledge. Neither has the purported "poor man's copyright" of mailing a copy to yourself.
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Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 10 Overview & Styles Demos: Watch now!
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.
Introducing Xtra Styles PAK 21 – Now Available for Windows Band-in-a-Box 2025 and Higher!
Xtra Styles PAK 21 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest Xtra Styles PAK installment—the all new Xtra Styles PAK 21 for Band-in-a-Box version 2025 (and higher)!
Rejoice, one and all, for Xtra Styles PAK 21 for Band-in-a-Box® is here! We’re serving up 200 brand spankin’ new styles to delight your musical taste buds! The first three courses are the classics you’ve come to know and love, including offerings from the rock & pop, jazz, and country genres, but, not to be outdone, this year’s fourth course is bro country! A wide ranging genre, you can find everything from hip-hop, uptempo outlaw country, hard hitting rock, funk, and even electronica, all with that familiar bro country flair. The dinner bell has been rung, pickup up Xtra Styles PAK 21 today!
In this PAK you’ll discover: Energetic folk rock, raucous train beats, fast country boogies, acid jazz grooves, laid-back funky jams, a bevy of breezy jazz waltzes, calm electro funk, indie synth pop, industrial synth metal, and more bro country than could possibly fit in the back of a pickup truck!
Special offers until December 31st, 2025!
All the Xtra Styles PAKs 1 - 21 are on special for only $29 each (reg $49), or get all 21 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 21.
Video: Xtra Styles PAK 21 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 21 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Introducing XPro Styles PAK 10 – Now Available for Mac Band-in-a-Box 2025 and Higher!
We've just released XPro Styles PAK 10 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 28 RealTracks and RealDrums!
Few things are certain in life: death, taxes, and a brand spankin’ new XPro Styles PAK! In this, the 10th edition of our XPro Styles PAK series, we’ve got 100 styles coming your way! We have the classic 25 styles each from the rock & pop, jazz, and country genres, and rounding out this volume's wildcard slot is 25 styles in the Praise & Worship genre! A wide spanning genre, you can find everything from rock, folk, country, and more underneath its umbrella. The included 28 RealTracks and RealDrums can be used with any Band-in-a-Box® 2026 (and higher) package.
Here’s just a small sampling of what you can look forward to in XPro Styles PAK 10: Soft indie folk worship songs, bumpin’ country boogies, gospel praise breaks, hard rockin’ pop, funky disco grooves, smooth Latin jazz pop, bossa nova fusion, western swing, alternative hip-hop, cool country funk, and much more!
Special offers until December 31st, 2025!
All the XPro Styles PAKs 1 - 10 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 10 Overview & Styles Demos: Watch now!
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.
Introducing Xtra Styles PAK 21 – Now Available for Mac Band-in-a-Box 2025 and Higher!
Xtra Styles PAK 21 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest Xtra Styles PAK installment—the all new Xtra Styles PAK 21 for Band-in-a-Box version 2025 (and higher)!
Rejoice, one and all, for Xtra Styles PAK 21 for Band-in-a-Box® is here! We’re serving up 200 brand spankin’ new styles to delight your musical taste buds! The first three courses are the classics you’ve come to know and love, including offerings from the rock & pop, jazz, and country genres, but, not to be outdone, this year’s fourth course is bro country! A wide ranging genre, you can find everything from hip-hop, uptempo outlaw country, hard hitting rock, funk, and even electronica, all with that familiar bro country flair. The dinner bell has been rung, pickup up Xtra Styles PAK 21 today!
In this PAK you’ll discover: Energetic folk rock, raucous train beats, fast country boogies, acid jazz grooves, laid-back funky jams, a bevy of breezy jazz waltzes, calm electro funk, indie synth pop, industrial synth metal, and more bro country than could possibly fit in the back of a pickup truck!
Special offers until December 31st, 2025!
All the Xtra Styles PAKs 1 - 21 are on special for only $29 each (reg $49), or get all 21 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 21.
Video: Xtra Styles PAK 21 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 21 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Band-in-a-Box 2026 for Windows is Here!
Band-in-a-Box® 2026 for Windows is here and it is packed with major new features! There’s a new modern look, a GUI redesign to all areas of the program including toolbars, windows, workflow and more. There’s a Multi-view layout for organizing multiple windows. A standout addition is the powerful AI-Notes feature, which uses AI neural-net technology to transcribe polyphonic audio into MIDI—entire mixes or individual instruments—making it easy to study, view, and play parts from any song. And that’s just the beginning—there are over 60 new features in this exciting release.
Along with version 2026, we've released an incredible lineup of new content! There's 202 new RealTracks, brand-new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two new RealDrums Stems sets, XPro Styles PAK 10, Xtra Styles PAK 21, and much more!
Special Offers
Upgrade to Band-in-a-Box® 2026 for Windows and save up to 50% on most upgrade packages during our special offer—available until December 31, 2025. Visit our Band-in-a-Box® packages page to explore all available upgrade options.
2026 Free Bonus PAK & 49-PAK Add-ons
Our Free Bonus PAK and 49-PAK are loaded with amazing add-ons! The Free Bonus PAK is included with most Band-in-a-Box® 2026 for Windows packages, but you can unlock even more—including 20 unreleased RealTracks—by upgrading to the 2026 49-PAK for just $49. Browse the full contents of each package and listen to demos here.
XPro and Xtra Styles PAKs Special Extended Until August 31st!
XPro & Xtra Styles PAKs Special Extended Until August 31st!
The XPro Styles PAKs and Xtra Styles PAKs special offers are now available until August 31st at 11:59pm PDT!
Ready to take your Band-in-a-Box® 2025 experience to the next level? Now’s the perfect time! Expand your style library with XPro and Xtra Styles PAKs—packed with a wide variety of genres to inspire your next musical creation.
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 1-9 includes 900 styles!
Xtra Styles PAKs are styles that work with the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box® 2025 (or higher). With over 3,500 styles (and 35 MIDI styles) included in Xtra Styles PAKs 1-20, the possibilities are endless!
Get the XPro Styles PAKs 1 - 9 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 Windows or for Mac.
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.
Get Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 19 PAKs for $199 (reg $399)! Listen to demos and order now! For Windows or for Mac.
Note: 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 because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Don’t miss this chance to supercharge your Band-in-a-Box setup—at a great price!
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