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I've been audited twice by BMI, so what I'm doing is strictly legal. What I paid for legal advice was worth it.
… I'm sorry but that makes absolutely no sense to me. BMI, like ASCAP, only collects for the performances of music. They had to sell Shazam! because it was violating the terms of their Consent Decree (per the 2012 BMI annual report) — they bought it to listen to the internet and didn't shut down the other parts of it (oops!). My last day gig was working for ASCAP's legal department. Feel free to back channel me on this. I'm quite curious as to how it happened and what they were trying to get from you.
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Back on topic: The Real Book is published by Hal Leonard, now part of Muse Group (MG). There are ways to obtain access it so that everyone gets paid. MG has systems in place that satisfy the courts and sub publishers — almost nobody knows about them, however. Here's a brief overview and it mentions The Real Book: Muse Group Acquires Hal Leonard . "Brief" is quite subjective—plan to take some time to absorb it all but it's well worth it. Oh, "free" is not an option. Somehow, some way, at some point somebody must get paid. At the moment, it's through their MuseScore PRO+ subscription plan (I pay $39.99 annually) Muse Group is bent on world domination of the music industry and they have the Dough for the Do-Re-Mi (BMI slogan from the '70s) to make a run at it. One benefit is that MuseScore, by their own admission, will have to become good. Version 4 is a step in the right direction but they have a long way to go. I expect that AI will feature prominently in version 5. They are hiring AI engineers and I don't think you have to move to Cypress to work for them (I could be wrong on this, BTW).
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I've been audited twice by BMI, so what I'm doing is strictly legal. What I paid for legal advice was worth it.
… I'm sorry but that makes absolutely no sense to me. I know little about US copyright-related stuff ... this is a UK-related aside. A few years back I received a 'phone call from PRS (Performing Rights Society) here in the UK. They were immediately very aggressive, telling me that my company was in breach of performance copyright on multiple counts and demanding that I agree to pay thousands of pounds a year in royalties for the future and in retrospect. The reason for that, as I eventually dragged out of them, was that playing music or a radio in the workplace, whereby other people can hear it, is considered here to be "public performance". I repeated to them five or six times that I was a consultant and that I worked alone ... there was nobody else here to hear anything I might play. They eventually and rather grumpily went away. At no point did they actually ask whether anything was played in the workplace, they just presumed. They were trying to alarm me into paying for a licence that I did not need. In a way, it didn't really matter whether or not it made sense, they were just after some money. I never understood how playing public-broadcast radio in the workplace could count as an additional public performance of that radio broadcast and justify an additional licence.
Jazz relative beginner, starting at a much older age than was helpful.
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Slightly O/T I know, but this is a good point about the aggressive nature they will go to in an attempt to increase their capital.
Some years ago my company received a totally unsolicited call from an unknown firm who stated their job was to "test the quality" of our 'telephone on hold music system' and asked us to put them 'On Hold'. Clearly they were just trying to find if we were using a radio station or public broadcaster for our 'on hold' music (we weren't). Not even knowing who they might have been, we refused to assist them in any form and they went away, never heard from them again.
For others who helped them out this might have been a very different result.
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I've been audited twice by BMI, so what I'm doing is strictly legal. What I paid for legal advice was worth it.
… I'm sorry but that makes absolutely no sense to me. I know little about US copyright-related stuff ... this is a UK-related aside. A few years back I received a 'phone call from PRS (Performing Rights Society) here in the UK. They were immediately very aggressive, telling me that my company was in breach of performance copyright on multiple counts and demanding that I agree to pay thousands of pounds a year in royalties for the future and in retrospect. The reason for that, as I eventually dragged out of them, was that playing music or a radio in the workplace, whereby other people can hear it, is considered here to be "public performance". I repeated to them five or six times that I was a consultant and that I worked alone ... there was nobody else here to hear anything I might play. They eventually and rather grumpily went away. At no point did they actually ask whether anything was played in the workplace, they just presumed. They were trying to alarm me into paying for a licence that I did not need. In a way, it didn't really matter whether or not it made sense, they were just after some money. I never understood how playing public-broadcast radio in the workplace could count as an additional public performance of that radio broadcast and justify an additional licence. I think someone was trying to scam you, brother. I'm pretty sure that the radio station has already paid
Byron Dickens BIAB. CbB. Mixbus 32C 8 HP Envy. Intel core i7. 16GB RAM W10. Focusrite Scarlett 18i 20. Various instruments played with varying degrees of proficiency. https://soundcloud.com/athanorsoundlabs
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I've been audited twice by BMI, so what I'm doing is strictly legal. What I paid for legal advice was worth it.
… I'm sorry but that makes absolutely no sense to me. BMI, like ASCAP, only collects for the performances of music. They had to sell Shazam! because it was violating the terms of their Consent Decree (per the 2012 BMI annual report) — they bought it to listen to the internet and didn't shut down the other parts of it (oops!). My last day gig was working for ASCAP's legal department. Feel free to back channel me on this. I'm quite curious as to how it happened and what they were trying to get from you. Bob has not responded to this, but my guess is they were looking to see if Bob was putting stuff up that they needed to collect for. Just a guess.
My wife asked if I had seen the dog bowl. I told her I didn't even know he could.
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I've been audited twice by BMI, so what I'm doing is strictly legal. What I paid for legal advice was worth it.
… I'm sorry but that makes absolutely no sense to me. I know little about US copyright-related stuff ... this is a UK-related aside. A few years back I received a 'phone call from PRS (Performing Rights Society) here in the UK. They were immediately very aggressive, telling me that my company was in breach of performance copyright on multiple counts and demanding that I agree to pay thousands of pounds a year in royalties for the future and in retrospect. The reason for that, as I eventually dragged out of them, was that playing music or a radio in the workplace, whereby other people can hear it, is considered here to be "public performance". I repeated to them five or six times that I was a consultant and that I worked alone ... there was nobody else here to hear anything I might play. They eventually and rather grumpily went away. At no point did they actually ask whether anything was played in the workplace, they just presumed. They were trying to alarm me into paying for a licence that I did not need. In a way, it didn't really matter whether or not it made sense, they were just after some money. I never understood how playing public-broadcast radio in the workplace could count as an additional public performance of that radio broadcast and justify an additional licence. I think someone was trying to scam you, brother. I'm pretty sure that the radio station has already paid I agree, sounds like a scam. You own no money if you are playing a legal radio station that is playing copyrighted music as they have paid any fees required. No matter how many people can hear it.
My wife asked if I had seen the dog bowl. I told her I didn't even know he could.
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Thanks. They are $50. I was looking for free downloads. You can find plenty of free stuff, and it is worth about what you are paying for it. There is really no such thing as free music of the kind you are talking about as you have seen here already. Sharing files is fine as long as they are not copyrighted songs. Otherwise it is theft plain and simple. Just do a simple google search and you will find plenty to steal.
My wife asked if I had seen the dog bowl. I told her I didn't even know he could.
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I really appreciate all the comments.
Moderator - please delete this thread.
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I really appreciate all the comments.
Moderator - please delete this thread. I don't think it works that way around here. A lot of information has been posted that others might find useful.
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[quote=Notes Norton]
I've been audited twice by BMI, so what I'm doing is strictly legal. What I paid for legal advice was worth it.
… I'm sorry but that makes absolutely no sense to me. I know little about US copyright-related stuff ... this is a UK-related aside. … I never understood how playing public-broadcast radio in the workplace could count as an additional public performance of that radio broadcast and justify an additional licence. I think someone was trying to scam you, brother. I'm pretty sure that the radio station has already paid I agree, sounds like a scam. You own no money if you are playing a legal radio station that is playing copyrighted music as they have paid any fees required. No matter how many people can hear it. Not a good idea to give a legal opinion when a) you aren't a lawyer and b) you are wrong. I'm neither an attorney nor am I practicing law: everything below is easily looked up. I did work in this field a long time. If anyone is curious, the US Congress passed the Fairness in Music Licensing Act of 1997/1998). It lays out the rules regarding when the a radio or TV broadcast is considered a public performance and when it is not. I know them cold but it isn't germaine to this subject. Everyone thought that the PROs would howl because there were now rules while the PROs were rejoicing because now there were rules. Great Britain and the EU have their own laws about this, too, and they are far more restrictive than the US. Again, this is easily looked up if you're curious. Anyone remember MUZAK? They went bankrupt telling their customers that those rules would not hold up in court (oh boy were they wrong!). As a result, MUZAK was absorbed by the companies that own Sirius/XM who pay the required licensing fees and pass the cost to their customers. Music on hold is considered a public performance. Again, there are laws and plenty of companies that can keep their customers in compliance with them.
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I think someone was trying to scam you, brother. I'm pretty sure that the radio station has already paid Sadly not, Byron. In the UK, that is genuinely the situation.
Jazz relative beginner, starting at a much older age than was helpful.
AVL:MXE Linux; Windows 11
BIAB2026 Audiophile, a bunch of other software.
Kawai MP6, Ui24R, Focusrite Saffire Pro40 and Scarletts
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I don't know about the UK, but I do know about the US.
There was a time, in the late 20th century, when restaurants needed an ASCAP license to play the radio.
I had a friend who owned a small, pizza restaurant. He played an easy listening radio station, at low volume, over the ceiling speakers. The ASCAP rep told him he needed to get a license and pay the subscription fees. Instead, he quit playing the radio station. The previous volume was so low, during the lunch hour, you couldn't hear it anyway.
Eventually that law was overturned, and as far as I know, now it's OK to play the radio without considering it to be a public performance. But I'm not a lawyer, so I could be mistaken about that.
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I am not trying to give a legal opinion here. The Fairness in Music act has exceptions which are pretty lenient in some cases concerning size of an establishment, number of speakers etc. I have no idea how we got on to this. The main thrust is file sharing of copyrighted material is a no no unless you own the copyright and retained the rights to do so. And, it has been determined that a chord progression is not included in copyright. Melody, lyrics sure. Most recently upheld in the case against Ed Sheeran (I think this is the most recent).
My wife asked if I had seen the dog bowl. I told her I didn't even know he could.
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Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
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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.
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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!
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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)!
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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!
Band-in-a-Box 2026 for Mac Videos
With the release of Band-in-a-Box® 2026 for Mac, we’re rolling out a collection of brand-new videos on our YouTube channel. We’ll keep this forum post updated so you can easily find all the latest videos in one convenient spot.
Whether you're exploring new features, checking out the latest RealTracks or Style PAKs, this is your go-to guide for Band-in-a-Box® 2026.
Check out this forum post for "One Stop Shopping" of our Band-in-a-Box® 2026 Mac Videos!
Band-in-a-Box 2026 for Mac is Here!
Band-in-a-Box® 2026 for Mac 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 100 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 Mac and save up to 50% on most upgrade packages during our special offer—available until May 15, 2026. 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 Mac packages, but you can unlock even more—including 20 unreleased RealTracks—by upgrading to the 2026 49-PAK for just $49.
Holiday Weekend Hours
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April 3 (Good Friday): 8:00 AM – 4:00 PM PDT
April 4 (Saturday): Closed
April 5 (Easter Sunday): Closed
April 6 (Easter Monday): Open regular hours
Wishing you an egg-cellent weekend!
— Team PG
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