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Hi James, This is really beautiful to listen to. I love that nylon guitar lead. It fits so perfectly with the reminiscent and nostalgic mood of the song. Waltzes always capture my attention and my imagination. I simply sat back in my chair, closed my eyes and let your musical imagery guide me on this calm, reflective musical journey. It was a very satisfying journey. --Noel

That's a great tune! And excellent performance! The lyrics and your vocals just suit each other. I love songs that make me feel something and this one took me right back to the dirt road and creek in the town I grew up in. Very nicely done!

I am probably no help here . . . Only twice have I ever tried starting with music and no lyrics and both tunes still sit on my hard drive - one with no lyrics and one with 2 lines of a "chorus". It's been quite interesting to read everyone's style and flow. For me 80% of the time it's my acoustic in my lap and pad & pencil on the desk and I write the music and lyrics together. The other 20% I have the lyrics or at least a real strong idea of where the song will go and then I grab a guitar and see what the lyric flow needs. I probably work this way because I typically write story songs so I can't be chopping lyrics up to make it fit a tune, I need to let the music fit and support the words. Finding lyrics and ideas, for me, is the easy part. I probably get two or three song ideas every day and about one in ten I'll actually remember, or like enough, to do something with. Pretty impressed with y'all out there who can just sit down and write a song whenever you want. I have to have something (or someone) to write about.

Please go to Options | MIDI/Audio Driver Setup and answer the following (please be exact with what it says): What is your MIDI Input set to? What is your MIDI Output set to? Is Use VSTi/DXi checked or unchecked? Is Route MIDI Thru to MIDI Driver checked or unchecked? What is set to the VSTi/DXi Synth to? Is it set to CoyoteWT, or something else? Then click on “Audio Settings”. Does it say MME, ASIO or WAS? Then click “Audio Drivers”. A new window will open. Please answer the following: If available, what driver is currently selected? What is your Audio Input set to? What is your Audio Output set to?

Thanks for posting this, Dan. Reaper meets AI and wow! It's impressive

There are several options via bar settings that you can use for fade options. Both volume controls and fade options are available in the bar settings dialogue that you can access by right clicking on a measure and going to bar settings or hitting F5. You can find the full breakdown on the bar settings window here: https://www.pgmusic.com/manuals/bbw2026full/chapter6.htm#_Settings_for_Current_Bar As for abrupt endings, do you have the 2-bar ending option enabled where Band-in-a-Box automatically generates this for you? Having this enabled or doing a custom ending can help an ending sound more natural. The below video I have linked is on custom endings, and while it's showcased in an older version of Band-in-a-Box the same concept still applies:

Fast finger work:

Hans, first you sent to the dictionary. Second you had me from the first measure. Super song with a great vocal, backing band, and mix. I forgot to mention those outstanding lyrics. IMHO this is your best to date. Loved it

Welcome Aurealius, You and Kathy make a great team. This is a super dance song. I really liked the arrangement. Super backing band and mix. This is one hell of a fantastic first post! Loved it

I have no objection at all regarding stirring the pot on this item and putting this back to the developers. Just want to confirm, I feel the green play button is behaving exactly as it has always since its last launch. I think the OP is pointing out that having to change the styles to audition a new style over his chords is poor design. That, I agree with. So this is more a quesion about defining what "currently highlighted style" means. When you use the green Play button it does play the style which is "identified/highlighted" in the header of the StylePicker. But having said all that, carry on guys and good luck. Dan

Laurent, this is very different than your other posts, very moody. Outstanding guitar chops. Super video that matched the lyrics perfectly. Great use of the synth vocal, it sounded like a human singing. Loved the backing band, IMHO this is your best to date. Loved it.

Thanx so much Scott. I appreciate your very kind words.

Thanx so much Laurent. Thanx Carl

Thank you

Hi Herb! If you do have a crack at User Styles and succeed, you could always post to the User Styles forum and share - particularly if there’s a dearth of that style. I’m sure whatever you do will be good quality. I’ve been meaning to scan that forum for a while. Andrew

Hi Rob! I ain’t no blues man, but gee, I liked this. Good choice of singer (excellent, in fact), and your harmonica sounds good to me. A real toe-tapper! Andrew

Good job! Love the chord progression. Very good write - well done!

Hans, LOL! No worries. We all hear different things. We appreciate the kind words. Bob

From Gemini Together, they defined the "Brill Building Sound" of the 1950s and 60s, transitioning the music industry from sheet music to the teen-pop era. The Relationship: Rivalry and Synergy The two buildings were the twin pillars of New York’s Tin Pan Alley. The Brill Building (1619 Broadway): The "classier" establishment. It housed older, more established publishers like Southern Music and Mills Music. 1650 Broadway: Located just a block away at 51st and Broadway, this building was often seen as the "younger, hipper" sibling. It was the hub for Aldon Music (Don Kirshner and Al Nevins), which employed the legendary stable of teenage songwriters. Who Worked Where The Brill Building (1619 Broadway) 1650 Broadway Key Songwriters Burt Bacharach, Hal David, Lieber & Stoller Carole King, Gerry Goffin, Barry Mann, Cynthia Weil Key Figures Johnny Mercer, Benny Goodman 1650 Don Kirshner, Al Nevins, Neil Sedaka Atmosphere Formal, corporate, established Fast-paced, competitive, "hit factory" style 20 Hits from Each Building From 1650 Broadway (Primarily Aldon Music) Will You Love Me Tomorrow – The Shirelles (Goffin/King) The Loco-Motion – Little Eva (Goffin/King) You've Lost That Lovin' Feelin' – The Righteous Brothers (Mann/Weil) Up on the Roof – The Drifters (Goffin/King) Breaking Up Is Hard to Do – Neil Sedaka (Sedaka/Greenfield) On Broadway – The Drifters (Mann/Weil/Leiber/Stoller) One Fine Day – The Chiffons (Goffin/King) Walking in the Rain – The Ronettes (Mann/Weil) Go Away Little Girl – Steve Lawrence (Goffin/King) Calendar Girl – Neil Sedaka (Sedaka/Greenfield) We Gotta Get Out of This Place – The Animals (Mann/Weil) Take Good Care of My Baby – Bobby Vee (Goffin/King) Blame It on the Bossa Nova – Eydie Gormé (Mann/Weil) I'm into Something Good – Herman's Hermits (Goffin/King) Kicks – Paul Revere & the Raiders (Mann/Weil) Crying in the Rain – The Everly Brothers (Greenfield/King) He's So Fine – The Chiffons (Bright Tunes Music - 1650 tenant) Oh! Carol – Neil Sedaka (Sedaka/Greenfield) Don't Say Nothin' Bad (About My Baby) – The Cookies (Goffin/King) Only in America – Jay and the Americans (Mann/Weil/Leiber/Stoller) From The Brill Building (1619 Broadway) Hound Dog – Elvis Presley (Leiber/Stoller) Stand By Me – Ben E. King (King/Leiber/Stoller) Raindrops Keep Fallin' on My Head – B.J. Thomas (Bacharach/David) Yakety Yak – The Coasters (Leiber/Stoller) Save the Last Dance for Me – The Drifters (Pomus/Shuman) Walk On By – Dionne Warwick (Bacharach/David) Jailhouse Rock – Elvis Presley (Leiber/Stoller) Spanish Harlem – Ben E. King (Leiber/Spector) This Magic Moment – The Drifters (Pomus/Shuman) Poison Ivy – The Coasters (Leiber/Stoller) Do Wah Diddy Diddy – Manfred Mann (Barry/Greenwich) Chapel of Love – The Dixie Cups (Barry/Greenwich/Spector) Leader of the Pack – The Shangri-Las (Barry/Greenwich/Morton) Be My Baby – The Ronettes (Barry/Greenwich/Spector) River Deep – Mountain High – Ike & Tina Turner (Barry/Greenwich/Spector) Sugar, Sugar – The Archies (Jeff Barry/Andy Kim) Blue Velvet – Bobby Vinton (1619 house publisher) A Teenager in Love – Dionne & The Belmonts (Pomus/Shuman) What the World Needs Now Is Love – Jackie DeShannon (Bacharach/David) Ruby Baby – The Drifters (Leiber/Stoller) Management and Distribution The "Brill Building" model was a vertical integration system. In one building, you had: Publishers: They owned the songs. Songwriters: Often worked in pairs in cubicles with pianos. Demographers: People who tracked what "the kids" were buying. Promoters: They would take a fresh acetate (demo) to the radio stations immediately. Don Kirshner (at 1650) was the mastermind of this. He didn't just sell songs; he managed the writers, the publishing, and eventually the TV interests (like The Monkees). Distribution was often handled by independent labels like Atlantic, Philles (Phil Spector), or Dimension Records. When Did They Cease to Exist? Technically, both buildings still stand physically, but their era as the "Songwriting Capital of the World" ended around 1964–1966. The decline was caused by: The British Invasion: Groups like The Beatles and The Rolling Stones wrote their own material, making the "hired songwriter" model less relevant. The Move to LA: The center of the music industry shifted west to Hollywood. The Singer-Songwriter Movement: Artists like Bob Dylan and Carole King (who left the factory to become a solo star) changed the industry's focus to "authentic" personal expression. Other Interesting Facts The "Demo" Singers: Many songwriters sang their own demos. If you listen to early Carole King demos, you can hear the blueprint for her Tapestry album. Cubicle Life: The rooms were so small that Carole King and Gerry Goffin often had to work in a room that was essentially a closet with a piano. 1650’s Basement: The basement of 1650 Broadway housed the Iridium Jazz Club for years (famous for Les Paul's residency), maintaining the building's musical DNA long after the publishers left. Phil Spector’s Start: Before his "Wall of Sound" fame, Spector was an apprentice of Leiber and Stoller at the Brill Building, where he co-wrote "Spanish Harlem."

Thanks for all of that, floyd! Cheers, Laurent. Thanks for the listen and comments, Dan! Thanks, Mario.

My favorite singer too! Thanks, Brain! Yes, bassline is totally different than the BIAB bassline, which was actually pretty good. But! Marty actually plays to the song of course. Thanks, Scott!

You make wonderful music, Chris. Always. Man, if i were younger you make me want to buy another upright bass. What a great feel in this mix.

Thanks, Brain. Yeah, i've been at Charley's side everyday since she was born. A good place to be for sure. Hehe. Thanks, Dave. At first my prompts were giving the usual 5-o'clock-shadow guy with creepy eyes lusting for the door to open. Life is sometimes better in cartoon form. You may remember the video version with an Ai me in it. Now, that was wonky alright. Thanks, Floyd. Yeah, that line is less ambiguous in legalese. Thanks, Chay. Yeah, Charley is a ton of fun. Much obliged! Another one to give Charley so she leaves mine alone.

Hi Stevie, Unfold your song then at the bar you want to change styles press F5 and pick a new style. Pick the measure to where you want to return to the original style pick it using F5. I find working in the unfolded method much easier than using the BiaB's jazz chorus method. YMMV