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TimeThere is time and there is time
until the coming of the day
time to sail upon ocean
time to let it slip away
There is time for me
and all my friends
no matter how I've grown;
time for wishing on the starry sky
and forgetting what I've known
There's Mister Allistacious
he knows just what to say
He dreams to fill the nighttime
and he listens in the day.
But if there's something he's discovered,
well he's kept it to himself
with all these childhood friends I've got here
sitting on my shelf
Here's Ollie Uncle Elephant,
he's heard all that I've said
and the whispers from my yesterdays
dance inside his sawdust head
For there is time for me
and all my friends
no matter how I've grown
Time for wishing on the starry sky
and forgetting what I've known
There is time for me
and all my friends
no matter how I've grown
time for wishing on the starry sky
and forgetting what I've knownInstruments/EffectsLead Vocal: SynthV (Natalie) -> Greg Wells VoiceCentric (Lead), LX40 Essentials, Panagement, vocal buss Backing Vocal: SynthV (Qing Su) -> Greg Wells VoiceCentric (Backing Vocal), Panagement, vocal buss Backing Vocal: SynthV (Hayden) -> Greg Wells VoiceCentric (Backing Vocal), Panagement, vocal buss Backing Vocal: SynthV (Kevin) -> Greg Wells VoiceCentric (Backing Vocal), Panagement, vocal buss Master Buss: HorNeT ThirtyOne MkII, Lurssen (Pop Rock, Warmer) Reverb Buss: LX 480 Essentials (960 Vocal Plate) Bass: BiaB, ~2482:Bass, Acoustic, Bowed Held Ev 085 Ac. Gtr x2: BiaB, 1595:Guitar, Acoustic, Fingerpicking Pop8thsSteady Ev 065 -> Panagement (Heaven) Synth Strings: BiaB, from PJONI.STY -> TrackSpacer, Panagement, Raum (Airy) Drums: NashPopBallad^03 -> Panagement (Wood) Violin: SampleModeling Strings, Violin -> Reverb Buss Viola: SampleModelingStrings, Viola -> Reverb Buss Cello: SampleModeling Strings, Cello -> Reverb Buss English Horn: SWAM Woodwinds, English Horn -> Panagement, Reverb Buss Solo Violin: SampleModeling Strings -> Pangement, Reverb Buss Celeste: CineSamples, Mister Rogers' Celeste -> Panagement, Reverb Buss Music Box: Orange Tree Samples, TinyBox -> Panagement, Reverb Buss Rhodes Piano: The Famous E Electric Piano (Angela) -> Reverb Buss Tremelo Strings: LA Sessions, Studio Violins (Swells long) -> Reverb Buss The StoryThis is a song I wrote over 30 years ago, semi-inspired by Tom Waits' Time. I made a couple recent attempts to record it, but my voice isn't up to the task. I decided to have a go at it with SynthV. I'd envisioned it with a male lead, but I auditioned all the voices I had, and Natalie sounds great. After rendering out the song in BiaB, I imported it into SynthV and worked out the notes. I'd already had the lyrics, so that part was - for once - simple. Once that was done, I decided to try out some harmonies, so I've got Kevin, Hayden and Weina on the background vocals. I ended up shuffling some of the sections around. The piano part was very MIDI-ish, so I ended up redoing that myself on a sampled Rhades piano. There's a string pad already, but I thought it might be nice to have a string trio, so I played that using SWAM instruments my EWI. The extra instruments are playing "gestures" more than melody, and my daughter complained that it needed more melody. So I added a SWAM english horn, also using the EWI. There's a spot for an instrumental, which after trying various instruments went to the cornet... also played on the EWI. The music box/celeste was a last minute addition, as the introduction wasn't really working that well. I'd gotten the Mister Rodger's Celeste some time ago, and it's got a lovely sound. I'm glad I finally got a chance to use it. I added a bit of tremelo string swells, and thought I'd call it a day. Then my daughter complained that the english horn after the instrumental didn't really fit... something I'd been hoping could slide by. So chopped out half the instrumental so it merged into the chorus, and repeated the chorus. It was something I'd arrived at by accident, but intended to do from the start. So after a bunch of cutting and pasting and making a general mess of things, I think I've got a final version of the song. The mix might be a little hot, I've been playing around with various mastering effects. And yeah... I really need to work on coming up with better song titles.  My wife says that the cornet is too much of a "jump scare" and suggested I use a violin instead, even though there's already a violin in the mix. No doubt my schmaltzy playing doesn't help. Edit: I replaced the cornet solo with a violin, which works much better. I've also replaced the SWAM solo strings with SampleModeling strings, as they are a less synthetic. As usual, any feedback is welcome. I'll probably continue to tweak this as time goes on.
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David,
This is whimsical and beautiful . . . the synth vocal works just perfect . . . as do the BGV harmonies. Really like the cello in the breaks. Yeah, I'm not sure about that horn in the break following "forgetting what I've known" . . . it sounds a bit harsh and not a fit for the tune. I like the horn that follows after the last verse better . . . it's softer and better suits the feel of the tune. Absolutely love, love, love, those vocal harmonies in the close--just brilliant!! You really do work wonders with the vocaloids.
All my best to you,
Deej
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Hi, Deej. This is whimsical and beautiful . . . the synth vocal works just perfect . . . as do the BGV harmonies. Thanks!  Really like the cello in the breaks. There's actually a string trio in there, but the balance/mix obviously needs a bit of work for you to hear that.  Yeah, I'm not sure about that horn in the break following "forgetting what I've known" . . . it sounds a bit harsh and not a fit for the tune. I've replaced it with a violin that fits a lot better. I like the horn that follows after the last verse better . . . it's softer and better suits the feel of the tune. It's an "english horn", neither english nor a horn.  I agree, it's got a lovely sound. Absolutely love, love, love, those vocal harmonies in the close--just brilliant!! You really do work wonders with the vocaloids. Thanks, they really did this song a lot more justice than I could. I know, because my version was pretty cringeworthy...  Those harmonies are my favorite part of working with the synthetic voices. Once I've got a melody, it's fun to play around with harmonies and see what comes out. Sometimes I get lucky! Thanks, I appreciate the positive feedback!
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David,
Love this... You absolutely own this space. The song, SynthV vocals and production is really outstanding. Backup vocals are wonderful.
Bob
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Beautiful. It's almost (but not quite) a Carpenters song, and I really enjoyed listening to it. My only (minor) nit is the harmonies, which are beautiful in themselves, but I think the guys somehow don't fit in. I'd take Cong and Solaria for the job because I know from my songs that they harmonize very well with Natalie. But I wouldn't worry too much about it, it's very nice the way it is now. Good job ![[Linked Image - Only viewable when logged in]](https://www.pgmusic.com/forums/images/icons/default/thumbs_up.gif)
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A beautiful song, you will have to introduce me to your singer. Well done
Laurent
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I agree with the above sentiments.
A big masterful effort with the singers getting better and better.
https://soundcloud.com/user-646279677BiaB 2025 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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Tom Waits For No One --best all-time album title. Man, I love how you created this, David. There is so much in there and everything sounds to add just the right amount of right. Beautiful song. Great job hiring and developing Natalie. Cool harmony, too. This is so entertaining and good that I had to dive in for another spin. A beautiful song, David, and so well crafted. Time was surely different 30 years ago.
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Stylistically this'd probably fit on Heart Attack & Vine if there was a croaky male lead.
Lovely narrative and melody.
Personally I'd drop the snare level or eliminate it entirely.
As I was listening I was mentally comparing this to "On The Nickle" and noted the lack of low mids which makes the track sound a little thin against my brain's template. There's no achieving the grittiness of TW in BIAB I suppose.
Lovely song.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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David
Very Pretty song. A lot of work has gone into it, and it shows.
Enjoyed it.
Peter
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Wow! The time you spent on this shows up in spectacular fashion. The instruments you used are perfect for this. The vocals are super. The duet towards the end is great! Aside from the pro production and absolutely beautiful melody, the lyrics are poignant and poetic. Can you tell I liked it? Tom
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This is beautiful David. Hey, if you ever need someone who can pull off Tom Waits, give me a holler, but give me enough time to run out and grab some filterless Pall Malls and some Cutty Sark. Love this tune sir. Well done.
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Hi, Bob. Love this... You absolutely own this space. The song, SynthV vocals and production is really outstanding. Backup vocals are wonderful. Thanks! I appreciate you stopping by to listen and comment!
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Hi, B.D. Beautiful.
It's almost (but not quite) a Carpenters song, and I really enjoyed listening to it. Thanks! Natalie's got a strong Karen Carpenter vibe, and Karen is one of my favorite singers, so it's a win all around! My only (minor) nit is the harmonies, which are beautiful in themselves, but I think the guys somehow don't fit in.
I'd take Cong and Solaria for the job because I know from my songs that they harmonize very well with Natalie. I'll try then out and see what happens. I picked the voices because of the clarity of their English, but that's not really necessary for background voices. And the English has gotten a lot better in the last release. I like the sound the contrasting voices have, but your point is well taken. Thanks again!
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Hi, Laurent. A beautiful song, you will have to introduce me to your singer. Well done Thanks! You can find Natalie here: https://store.dreamtonics.com/product/vdb-natalie/
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Hi, Steve. I agree with the above sentiments.
A big masterful effort with the singers getting better and better. Thanks! I'm glad you enjoyed the song. I suspect it's the technology that's improving, and not me... Especially since it's a song wrote long ago.
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Hi, Marty. Tom Waits For No One --best all-time album title. Hehehe. Man, I love how you created this, David. There is so much in there and everything sounds to add just the right amount of right. Beautiful song. Great job hiring and developing Natalie. Cool harmony, too. This is so entertaining and good that I had to dive in for another spin. A beautiful song, David, and so well crafted. Time was surely different 30 years ago. Thanks! I'm glad you liked it. 30 years ago it was just me plonking away at the piano. It's amazing the creative tools we have available these day.
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Hi, Ray. Stylistically this'd probably fit on Heart Attack & Vine if there was a croaky male lead. I can do a few seconds of Tom Waits, but that all my throat can handle! Hoarse and gravelly voices are a lot more difficult to synthesize than normal phonation. The first version of SynthesizerV actually had a version that allowed glottal effects, but you needed a background in speech pathology to understand how to use it, and it got dropped. Lovely narrative and melody. Thanks! Personally I'd drop the snare level or eliminate it entirely. Unfortunately, it's not MIDI, so that means either EQing that frequency, or manually editing all the snare hits - something that doesn't have a lot of appeal to me. I've actually already done some drastic EQ cuts on it already, so... I may go back and replace it with a MIDI drum track at some point, since it's a pretty generic part. As I was listening I was mentally comparing this to "On The Nickle" and noted the lack of low mids which makes the track sound a little thin against my brain's template. There's no achieving the grittiness of TW in BIAB I suppose. Which track is thin - "On The Nickle" or "Time"? Thin or not, "On The Nickle" is a brilliant bit of writing. Thanks! I'm glad I was finally able to get it decent version of it recorded.
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Hi, Peter. Very Pretty song. A lot of work has gone into it, and it shows. Thanks! That's the important bit.
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Hi, Tom. Wow! The time you spent on this shows up in spectacular fashion. The instruments you used are perfect for this. The vocals are super. The duet towards the end is great! Aside from the pro production and absolutely beautiful melody, the lyrics are poignant and poetic. Can you tell I liked it? Thanks, I appreciate the kind words.
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Ask sales and support questions about Band-in-a-Box using natural language.
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We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 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 9 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.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 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 and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 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.
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