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John, Did you ever hear the interview Neil Tenant did for the BBC, when he described what it was like recording with Dusty Springfield?
He got the Pet Shop Boys track all set up, gave her the lyrics, adjusted all the monitors etc. Dusty sang the first word of the first line and promptly moved back from the mic. Devestated, Neil went to find out what was wrong, bad key? bad balance in the phones, hopeless song?...
Dusty said everything was fine, but that was just how she recorded - one word at a time!
Now if its good enough for Dusty....
Charge her by the hour.. and let her listen to each word on separate playback before proceeding.
I try to save people money by recording as many tracks at a time for them as I can (etc), the method above has got to be one expensive way to record..
I do not work here, but the benefits are still awesome
Make your sound your own!
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.....that was just how she recorded - one word at a time!
I've seen that Neil Tennant interview ( here on youtube for those who haven't ) and though Neil says it without cracking a smile, I felt that it was a total put on. Especially after he goes on about Dusty's incredible phrasing and gives an example of her recording not just word by word but syllable by syllable sometimes. When something sounds too incredible to be true, it usually is.
Keith
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Like I said it's my opinion & actually it's not really an opinion. Yes many "pros" do this I guess but they are in a different boat sometimes. Differing circumstances may dictate that they do this. To me ,at the level of experience of most of us here I surmise, I wouldn't be proud of something I had to piece meal together because i couldn't do it otherwise.What's the point in that?
I think 'pro' and 'talent' shouldn't be defined as the same thing these days, that's for sure. And I think it's a bit silly to call out vocal comping as something to be ashamed of, considering we're using biab software that that fits the same mold- a prefabricated performance we had nothing to do with in the first place. A bit hypocritical there. At the very least we're SINGING our vocals. It's all just tools to help modestly talented people have fun and get good results, and it gives seriously talented people another tool to get them where they're going. Why use it? Because we can! I'd bet a ton of money that someone like Sinatra, who cut vocals in one take, would love to have the ability to cut a couple of different tracks if he were still around. In fact he probably did many a recording where he could later on in his career and he probably did it. A lot of the one takers did it out of sheer necessity, not by choice, back in the day. And you need to be talented to do that. Not taking that away from anyone and generally I agree- someone who can cut a vocal in one take is a hell of a lot more controlled and skilled than someone who can't. Where I see things more of a lie is using auto tune. That's really lying about a skill you should have as a prerequisite to being not only a vocalist, but a professional vocalist. But the industry went and made itself perfect notes with all the technology available, and not just with vocals either and not just notes, but timing too. The performance has taken a hit because of it all. Now when you hear a variable pitchy vocal it's called into question, even if it's an awesome performance. But if you want to put people at 'levels' it's at this level where I most expect this stuff and comping techniques to be used. At the pro level, I expect the vocalists to be able to sing without all the help. But we all know, it just ain't so. Oh how we know that.
Dan
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When I start I recording nowadays I never play or sing anything all the way through. I'm writing the song as I'm recording. I may record a verse or two, rewrite something and then change the song up completely. I may leave a bridge or chorus out cause I'm waiting to find a riff that turns me on. I may think I'm finished then add something else.
It's hard to play a song all the way through when you don't even know where it's going. I never play live anymore and if I had to reproduce what I've done I'd have to rehearse and learn the song. I record them and that's it. They are gone and on to the next one. Fewer and far between as time goes on.
Damn, that's a good line.... As time goes on, o o on.
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Quote:
I think 'pro' and 'talent' shouldn't be defined as the same thing these days, that's for sure. And I think it's a bit silly to call out vocal comping as something to be ashamed of, considering we're using biab software that that fits the same mold- a prefabricated performance we had nothing to do with in the first place. A bit hypocritical there. At the very least we're SINGING our vocals. It's all just tools to help modestly talented people have fun and get good results, and it gives seriously talented people another tool to get them where they're going. Why use it? Because we can! I'd bet a ton of money that someone like Sinatra, who cut vocals in one take, would love to have the ability to cut a couple of different tracks if he were still around. In fact he probably did many a recording where he could later on in his career and he probably did it. A lot of the one takers did it out of sheer necessity, not by choice, back in the day. And you need to be talented to do that. Not taking that away from anyone and generally I agree- someone who can cut a vocal in one take is a hell of a lot more controlled and skilled than someone who can't. Where I see things more of a lie is using auto tune. That's really lying about a skill you should have as a prerequisite to being not only a vocalist, but a professional vocalist. But the industry went and made itself perfect notes with all the technology available, and not just with vocals either and not just notes, but timing too. The performance has taken a hit because of it all. Now when you hear a variable pitchy vocal it's called into question, even if it's an awesome performance. But if you want to put people at 'levels' it's at this level where I most expect this stuff and comping techniques to be used. At the pro level, I expect the vocalists to be able to sing without all the help. But we all know, it just ain't so. Oh how we know that.
Dan
It is quite ironic that people that are perfectly happy to use pre-recorded midi files and audio files, look down their noses on vocals being comp'ed!!
At least I'm playing my guitars, keyboard parts, bass parts, and even programming drums sometimes (when Jamstix isn't working out). I'm not ashamed one bit to comp a vocal track. I'm doing this for fun for goodness sakes. Why not use the capability?
Do we look down our noses for folks doing editing on other tracks; guitar parts, etc.? If so, why even bother multi-tracking? Get the whole band in the room with an x-y pair and give it a go!
I don't get it.
-Scott
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As far as I'm concerned vocal comping is like typing. If you can't type the whole document out perfectly, without a mistake, you shouldn't even be typing.
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Thankd, Sundance.
Addendum: Actually, thanks to modern technology and wurd processors, you can type it out perfectly. If you know how to spell, that iz.
Hey, that's sort of like recording, isn't it. Damn!
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Before this turns ugly let me make this perfectly clear:
I AM NOT LOOKING DOWN MY NOSE AT ANYONE.
It's just my opinion that time, in a lot of cases, would be better spent on your vocal/instrument chops verses your compilation skills.
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Quote:
It is quite ironic that people that are perfectly happy to use pre-recorded midi files and audio files, look down their noses on vocals being comp'ed!!
At least I'm playing my guitars, keyboard parts, bass parts, and even programming drums sometimes (when Jamstix isn't working out). I'm not ashamed one bit to comp a vocal track. I'm doing this for fun for goodness sakes. Why not use the capability?
Do we look down our noses for folks doing editing on other tracks; guitar parts, etc.? If so, why even bother multi-tracking? Get the whole band in the room with an x-y pair and give it a go!
I don't get it.
-Scott
Very well said Scott.
I don't get it either.
Last edited by MarioD; 11/10/10 07:10 AM.
Life is short so make sure you spend as much time as possible on the Internet arguing with strangers.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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Quote:
Before this turns ugly let me make this perfectly clear:
I AM NOT LOOKING DOWN MY NOSE AT ANYONE.
It's just my opinion that time, in a lot of cases, would be better spent on your vocal/instrument chops verses your compilation skills.
Quote:
Like I said it's my opinion & actually it's not really an opinion.
Now hold on John, is it your opinion or not your opinion. I'm getting confused. LOL!
Nothing is getting ugly, it's just different ways of doing things. Comping a vocal does not necessarily mean you're not an accomplished vocalist. It doesn't automatically mean you're not good enough. Should everyone practice their instrument and be the best they can? Absolutely. Should everyone who is used to endless choices of multi tracking do an excercise of commiting to one track as opposed to many? Absolutely. The technology isn't actually at fault but it allows you to be lazy and non-commital. It can render you almost incapable of making a desicion, or as you are suggesting John, uncaring to actually getting better in the first place. There is a time and place for everything.
But if you've ever done one punch-in in your life John, you may want to hold onto them stones. And if you always hit the mark every time in one shot, I take my hat off to you and I'm sure there's a long line behind me that will do so as well. I agree though, working on your chops and getting better should always be priority one. But there are many who ARE skilled that punch-in sometimes and do multiple takes sometimes. Nothing wrong with that either...in my opinion.
Dan
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The thing is, it's not only pitch. It's tempo, plosives, background noise, dynamics, enunciation, feeling, breathing, etc. There are lots of reasons to have multiple takes.
I'll buy into vocal perfection when I hear professional orators complete their spiel without an "uh", or an "err", or when posters on this forum stop making spelling errors (and if you used the backspace key, you made a spelling error).
I can sing a song just fine all the way through without any obvious errors, but that's live, and it's transient. If I'm laying it down for others to listen to multiple times and perhaps to scrutinize, then it's never going to be right the first time (or the second time or the third time).
Just saying....
John Laptop-HP Omen I7 Win11Pro 32GB 12TB SSD Desktop-ASUS-I7 Win10Pro 32GB 12TB SATA BB2026/UMC204HD&404HD/Casios/Cakewalk/Reaper/Studio One/Notion/Dorico/Noteworthy/NI/Halion/IK http://www.sus4chord.com (under rehosting/construction)
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Well when I say it's not my opinion it's because it's just my work goal. As I've said before I know it's done on a regular basis. Dan I've done a fair amount of recording and I won't do punch ins. I'll re-due the whole track but of course I'm not getting paid so usually have the option. For me I just don't get that euphoria I get from nailing a track all the way through. There's disappointment for me if I miss it. This self imposed pressure has made me much better at what I do. I hear way too much "Oh we'll fix it in the mix". I'm like bobflatpicker I don't type so well so sometimes I don't get my point across well. I should have just answered the persons question instead of trying to give side advice. It can be way too easy ,with the tools we have, for a new person just learning the trade to get caught up in the compiling of bits and pieces. My piano teacher always said learn the rules then you can break them. Not until. Strive to do complete tracks then if need be compile. BTW I had to punch in 6 times so this post is a compilation of my best typing. 
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John, Quote:
Dan I've done a fair amount of recording and I won't do punch ins. I'll re-due the whole track but of course I'm not getting paid so usually have the option. For me I just don't get that euphoria I get from nailing a track all the way through. There's disappointment for me if I miss it.
I've always felt the same way. The old stuff I've recorded doesn’t have any "punch ins", it was do it right or do it over. Especially since it was recorded on an old Tascam 4 track and you had to "bounce" tracks to make enough room.
But if I ever get back into recording, I'm sure I'll be more open to doing this because at my age, with the fingers slowing down, it would be more difficult to pull off the "perfect" take.
A lot of the songs I'd like to record are extremely difficult arrangements of my own that I used to use in the flatpicking contests. Each person’s performance is supposed to be their own arrangement, although a lot of the guys "cheat" and use other peoples solos. They get disqualified if the judges notice.
We're talking about an intro, 4 times all the way through the song of nothing but solos of very technical and difficult instrumentals, and then a tag, while playing on stage in front of several hundred to a few thousand people and having 3 judges critiquing every note. The only way I could pull that off was to practice 3-4 hours a day, every day. I just don't have that drive anymore.
The point is, try recording that stuff in one take!
Since all of the music we hear today has “punch ins”, overdubs, pitch correction, etc., I don’t think I’d feel guilty about “fixing” something without totally redoing it. When playing live, you have to live with the occasional miscue. When recording, I think it’s okay to avail yourself of the same “tools” the pros use.
I think of a recording kind of like a “painting”. If an artist makes a bad brush stroke, he doesn’t chuck the whole thing and start over. He fixes it.
When I start recording again I’ll play my best and “fix” the rest. LOL. It will definitely take some pressure off each take. JMHO.
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Quote:
John,
Quote:
Dan I've done a fair amount of recording and I won't do punch ins. I'll re-due the whole track but of course I'm not getting paid so usually have the option. For me I just don't get that euphoria I get from nailing a track all the way through. There's disappointment for me if I miss it.
I've always felt the same way. The old stuff I've recorded doesn’t have any "punch ins", it was do it right or do it over. Especially since it was recorded on an old Tascam 4 track and you had to "bounce" tracks to make enough room.
But if I ever get back into recording, I'm sure I'll be more open to doing this because at my age, with the fingers slowing down, it would be more difficult to pull off the "perfect" take.
A lot of the songs I'd like to record are extremely difficult arrangements of my own that I used to use in the flatpicking contests. Each person’s performance is supposed to be their own arrangement, although a lot of the guys "cheat" and use other peoples solos. They get disqualified if the judges notice.
We're talking about an intro, 4 times all the way through the song of nothing but solos of very technical and difficult instrumentals, and then a tag, while playing on stage in front of several hundred to a few thousand people and having 3 judges critiquing every note. The only way I could pull that off was to practice 3-4 hours a day, every day. I just don't have that drive anymore.
The point is, try recording that stuff in one take!
Since all of the music we hear today has “punch ins”, overdubs, pitch correction, etc., I don’t think I’d feel guilty about “fixing” something without totally redoing it. When playing live, you have to live with the occasional miscue. When recording, I think it’s okay to avail yourself of the same “tools” the pros use.
I think of a recording kind of like a “painting”. If an artist makes a bad brush stroke, he doesn’t chuck the whole thing and start over. He fixes it.
When I start recording again I’ll play my best and “fix” the rest. LOL. It will definitely take some pressure off each take. JMHO.
Bob,
I totally agree. You've learned the rules, you've put in the time now you have a right to use the tools. And I bet you're not piece mealing a measure at a time either.
If you watched the CMA last night did you catch George Strait's performance? he choked up on a phrase and it looked like he hacked up a lunger & spit it on the stage. Happened very quick. Bet he wishes he could redue that one.
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Everyone is free to use the tools at their disposal as they see fit. Its just a fact of life that nowadays EVERY album that comes out has used AUTOTUNE & COMPED VOCALS, that isn't the end of it, every track is multi-taked & comped, they employ people especially to edit these. Get over it, like it or not it is here to stay & like someone said earlier on in the thread BIAB is exactly the same thing!
Last edited by bupper; 11/11/10 11:02 AM.
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I'd like to say something about BiaB that a few are referring to. If you went into a studio and cut a song you would hire musicians (most folks don't play every instrument) or bring your band. This is BiaB, your studio musicians. No difference at all. If you play no instruments (vocalist) or many instruments while using BiaB, the rest is your studio musicians. If you go on stage to play that song, using BiaB, you will take your band with you. BiaB is not the same as comping at all. IMO.
But I have nothing against comping or using modern technology to record a song in the studio. If you put it together, and didn't steal the material you're recording, the 'end product' is what matters and what people will listen to. And 99% of what we record (may be more than that) is going to be listened to very, very, very infrequently.
"The desire for fame is the last infirmity cast off even by the wise."
Cornelius Tacitus
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John' Quote:
If you watched the CMA last night did you catch George Strait's performance? he choked up on a phrase and it looked like he hacked up a lunger & spit it on the stage. Happened very quick. Bet he wishes he could redue that one.
Here in WV, we call that "hockin' a lugie". Oddly enough, I've never watched a CMA program in my life, even tho I'm a fan of a lot of the old and some of the new country music. No particular reason, other than I never notice it's on.
Quote:
I bet you're not piece mealing a measure at a time either.
I definitely might do one solo, (32 measures), at a time. Playing 128 measures, plus an intro and ending, of that stuff is way out of my reach at this point in my life. The wrist of my right hand couldn't handle it. That wouldn't have been acceptable to me before, but it would now.
Now if I was playing a "standard" song, and not some ridiculously difficult 128 bar solo, then a "one take" track isn't out of the question.
The tools available today could be "abused" by someone without any real talent, but they can also be "used" by real musicians.
We don't need to make recording a song any harder than it already is, especially if you're playing all the instruments and singing all the vocals and writing the songs, which is what I usually do. But I can't play drums, although I might take a crack at one of those "cajon's" Scott talked about. Look's like fun.
EDIT...................................
And you don't have to be playing and singing all of the parts to justify using the tools now available. It's just a recording, .... or a "painting", if you will. The tools were made to be used, and or abused. Let's lighten up and contribute whatever each of us have to contribute. Then people can listen to it, or as Charlie mentioned, Quote:
99% of what we record (may be more than that) is going to be listened to very, very, very infrequently.
so THEY will probably NOT listen to it. (Wow! That part sucks, ........ all that work and nobody wants to hear it ??? ................ Yep).
Unless we look like Taylor Swift, most people don't want to hear us sing or play. We do it for ourselves and other musicians. (I kinda hated to post that last part, but it's true, whether we want to admit it or not.) That's why I've always said that I write and play for myself. If anyone wants to listen, they can. If not, that's okay too. That's why I rarely do covers. My music, or no music. No requests. LOL.
Obviously, this isn't a good approach for a "working" musician. So you have to choose between playing stuff you don't like, and playing what you want to play.
Last edited by bobcflatpicker; 11/11/10 06:40 PM.
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Dan I've done a fair amount of recording and I won't do punch ins. I'll re-due the whole track but of course I'm not getting paid so usually have the option.
There isn't a label footing your studio COSTS, so you have the luxury. Me too. I think it's fair to say 100% of us here have the luxury too. For the record, I've been a professional guitarist and vocalist for 30 years. I recorded tracks for other people and my own work back in the tape days- 8 and 24 track studios. I did my own material on four track cassettes too, where you'd better get it right because 'ping ponging' only degraded the sound more as you did it and punches always had a click sound when you dropped into record. That'll never do! On to Sony four track mini disc recorders- better but a compressed and lossy format. Then a Korg 16 track digital recorder- much better. Now an Akai 24 track recorder- heaven. Years of playing and recording, back when it wasn't easy to do so and now when it's a whole bunch easier to do so. Does that give me the right to use multi tracking and punching too now? I typically go for redo's when it's a guitar part. I consider it a punch-in, only longer ;>) Sometimes I'll drop in a phrase. Many times I'll fix a vocal with a punch or redo, or have multi tracks. Recordings are forever- they have to be as good as they can be.
That was my stance from the very first note I recorded- it has to be right. The better I became, the less I had to noodle about in the recording process. After so many years, I got tired of recording and programming EVERYTHING myself for my own material, so I got biab. That's another step in taking advantage of technology progress. We're all here on this board because we're willing and HAPPY to take advantage of the advancements made in software. PG has an absolute winner here, blending in the power of software with real performances. That's a technological LEAP! So just to be clear, we all pick and choose how far we'll go with all of this for ourselves.
This whole thread went off a bit because someone took issue with comping tracks- as though it makes you less competent. Something to be looked down on for doing. That's too global a rational I think. I think in some instances where someone can't sing well at all but a performance is pieced together with comps and auto tune then yes- that's nothing to be particularly proud of. Maybe be proud of the software that got you there, but not of yourself. We older guys who've been around the block a couple thousand times are always gonna say the youngins have it easy- about ANYTHING. I get that. We have the stories of the glories to back it all up too. But aside from how easy newbies have it these days and the obvious abuses because of how powerful recording, editing, and mixing tools have become, one thing is also true- talented people also punch-in, edit, and comp at times. Nothing to be ashamed about. During the thousands of gigs I've played and the thousands more to come, God willing, I lay it down as best I can with NO redos. But a recording is forever and I'm more than happy to do what it takes to make it perfect. If all that means is pushing record and sitting back and capturing perfect performances in one shot, myself included, then that's a damn fine day too!
But that's me ;>)
Dan
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This is exactly what I was trying to say. I sometimes, well most of the time, don't express myself properly so others can understand and they get mad. Quote:
The tools available today could be "abused" by someone without any real talent, but they can also be "used" by real musicians.
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We've added many major new features and new content in a redesigned Band-in-a-Box® 2026 for Mac®!
Version 2026 introduces a modernized GUI redesign across the program, with updated toolbars, refreshed windows, smoother workflows, and a new Dark Mode option. There’s also a new side toolbar for quicker access to commonly used windows, and the new Multi-View feature lets you arrange multiple windows as layered panels without overlap, making it easier to customize your workspace.
Another exciting new addition is the amazing new AI-Notes feature, which can transcribe polyphonic audio into MIDI. View the results in notation or play them back as MIDI, and choose whether to transcribe an entire track or transcribe specific parts like drums, bass, guitars/piano, or vocals. There's over 100 new features in Band-in-a-Box® 2026 for Mac®.
There's an amazing collection of new content too, including 202 RealTracks, new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two RealDrums Stems sets, and much more!
Upgrade your Band-in-a-Box for Mac® to save up to 50% on most Band-in-a-Box® 2026 upgrade packages!
Plus, when you order your Band-in-a-Box® 2026 Mac upgrade during our special, you'll receive a Free Bonus PAK of exciting new add-ons.
If you need any help deciding which package is the best option for you, just let us know. We are here to help!
Band-in-a-Box® 2026 Mac Special Offers Extended Until May 31st!
Good news- we've extended our Band-in-a-Box® 2026 for Mac® special offers until May 31, 2026!
Band-in-a-Box® 2026 is packed with major new features, enhancements, and an incredible lineup of new content! The program now sports a sleek, modern GUI redesign across the entire interface, including updated toolbars, refreshed windows, smoother workflows, a new dark mode option, and more. The brand-new side toolbar provides quicker access to key windows, while the new Multi-View feature lets you arrange multiple windows as layered panels without overlap, creating a flexible, clutter-free workspace. We have an amazing new “AI-Notes” feature. This transcribes polyphonic audio into MIDI so you can view it in notation or play it back as MIDI. You can transcribe an entire track (all pitched instruments and drums) or focus on individual parts like drums, bass, guitars/piano, or vocals. There's an amazing collection of new content too, including 202 RealTracks, new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two RealDrums Stems sets, and much more!
There are over 100 new features in Band-in-a-Box® 2026 for Mac®.
When you order purchase Band-in-a-Box® 2026 before 11:59 PM PDT on May 31st, you'll also receive a Free Bonus PAK packed with exciting new add-ons.
Check out the Band-in-a-Box® for Mac packages page to find the best package for you.
Holiday Weekend Hours
It's Victoria Day Long Weekend in Canada. Our Customer Service hours are:
Saturday, May 16: Closed
Sunday, May 17: Closed
Monday, May 18: 8:00am - 4:00pm
Regular hours resume Tuesday, May 19th!
Today's the Last Day of the Band-in-a-Box 2026® for Mac Special!
Order before 11:59pm PDT today (May 15, 2026) to save up to 50% off your Band-in-a-Box® 2026 for Mac® upgrade and receive a FREE Bonus PAK loaded with great new Add-ons to use with this new version!
Don't wait - order today!
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®!
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