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Therefore, one must either adapt or pay a price because if there's anything that's constant . . . it's change. That's the sort of thing Reagan claimed when he "revamped" the US economy, (ie: made it heaven for the wealthy & a diminishing return for the worker). Every scam artist, Trump included, claims earth shaking progress when they are building the foundations of a pyramid scheme, Ponzi scheme or simple grift. The amount of misleading, obscuring and misdirecting stuff, not to mention the hyperbolic claims give way under the recruiting scheme, it's fees - $100 a session versus salaries - $25 a session and the mapped/planned expansion. More like Lawn Doctor than music education. It's as corrupt as Elon's Space X market projection and that's based on fictitious Grok income projections rather than Space. 60 Minutes involvement speaks reams about it's new direction.
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Views 676
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I had some fun moments with them and nice conversations with the people, but their model really can't bear the administrative burden of having to manage and keep track of millions and millions of people whose music isn't being used. The explosion of AI music has certainly made a dent in ways in which I don't think we can even process yet. People are now turning out full-blown productions in a matter of minutes with no musical knowledge or skill whatsoever. It's a completely new environment where no one has to actually know anything, they don't have to have ever lived or had a real emotion or a real story to tell, because the art of storytelling music is evaporating and being replaced by noise. It's no longer necessary to learn how to write, or struggle with improving your lyrics, finding something interesting to say, or learn anything all about music and song construction. Tha t's disappearing rapidly. If 2 billion people are posting three bad songs on your platform everyday that took them 2 minutes to write how in the world are you supposed to find your way through the trash and handle the paperwork burden. It's not possible. Music used to be a very special thing. I used to respect music so much and I had so much respect for the artists who created it and produced it and wrote it and played it. I have zero respect for what's being done in the industry today, and that people would have the audacity to say that they wrote these things. Music doesn't feel special to me anymore, not the way that it used to. It feels hopelessly polluted. To me the loss is overwhelming. The Domino's are falling.
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Recently I’ve become aware that I’ve been uploading my tracks to Soundcloud in mp3 format when I could’ve been using .wav format. I think I did that out of habit and the misunderstanding that file size might be an issue, rather than SC’s ‘minutes uploaded’ limit. I am going to replace my tracks progressively with wav format. However, it makes me wonder if it makes a difference at all? I’ve had a few comments on the quality of my mixes, but never had anyone tell me they heard the sampling rate was too low. Was it that forum members were just being kind, or is there no discernible difference to the listener? What format do you upload in? I’ve recently seen a few comments about the quality being better on SC than YouTube, and assuming that’s true, wondered what causes this? Is it the YT processing engine, or is it because we put the audio through video editor *and* YT processing engine - so in effect it’s getting processed twice? I am assuming - that because each platform has it’s own LUFS standard - that each is compressing/limiting to this different standard? Andrew Andrew, I've used 44,100Hz, 16 bit WAV format for over 10 years with Soundcloud. My reasoning was based on the following... - With the Audiophile version, BIAB Realtracks and Realdrums are provided as 44,100/16 and by using this information as settings I can use BIAB files in their native states without any audio manipulation need by the computer software.
- Every time a file is converted from WAV to MP3 or WAV to STREAMING FORMAT, there is the possibility that some audio data is lost or its quality is affected in some way due to the compression process.
- As a result, uploading 44,100/16 WAV format to Soundcloud means that there is only a single conversion from WAV to S/cloud's streaming format. I reason that this should help keep my audio files as close to original as possible.
With BIAB's UltraPak and PlusPak updates for Windows, the files are 128kHz wma. This means that PG Music has converted the native WAV format to a lossy format (wma). When using the BIAB UltraPak to create a backing track, as I understand it (I may be wrong, and I also have no idea what happens with FLAC files), the wma files are first converted to WAV and the backing track is assembled from these newly converted WAV files (this is most likely a lossless conversion). Then if BIAB renders the backing and it is rendered to mp3, another conversion happens (this is a lossy conversion). Then, if that mp3 is uploaded to Soundcloud, another conversion most likely happens as the file is put into SC's streaming format. These three lossy conversions each have potential to reduce audio quality. How much the audio is affected, though, I have no idea. It's a bit like taking a photocopy of a photocopy, and I have noticed that when a photocopy of a 3rd generation photocopy is taken, sometimes the degradation in visual quality is noticeable. I suspect that there is a similar behaviour with audio. With the 44.1kHz, this is how the information is 'grabbed' per second. It means that every second, 44,100 samples of information are processed. In other words, the main pitch of a sound and all the harmonics associated with it (i.e. the tone of the sound), are reduced from a continuous audio-wave flow of data (as in analogue processes like playing a musical instrument) to 44,100 samples of digital data each second. With a frequency of 48,000Hz, there are an extra 3,900 samples taken per second so the quality of the digital representation of a continuous sound wave should be around 9% more accurate compared to 44,100 samples per second ({44,100/3,900} * 100). From what I understand at the moment, up-scaling quality is most likely a lossless process. It's the down-scaling and repeated down-scaling of quality that creates audio issues. In regard to the bits... These are all about a digital representation of the height of the sound wave (i.e. the main pitch and its harmonics) volume. The more bits there are, the better represented the quality of the sound. A 16-bit audio file has a possible 2^16 (2 to the power of 16 = 65,536) unique levels of volume. This corresponds to around 98dB of audio range. This means that data is stored in 'digital blocks' that are ~0.0015dB high. With a 24-bit audio file, there are 2^24 (= 16,777,216) unique volume levels have around 144dB of audio range. Also, the digital block-size for information storage in 24-bit is around 0.0000087dB. This means that each block of 0.0015db (16-bit) contains around 170 blocks of 0.0000087dB. In other words, the ability of 24-bit audio is that it has the potential to store subtler volume-change information (low dB block-size) and a greater dB range of information (high dB block-range). Since instrumental tone is determined by the relative volumes of individual harmonics, and overall instrumental volume is determined by the total sum of main pitch and the harmonics, The ability to reproduce audio more accurately is significant for 24-bit audio. --Noel P.S. This is my interpretation of things that I've read over the years. I'm not a sound expert, although I do have limited experience in the physics of sound. The Wikipedia link below is useful to read. https://en.wikipedia.org/wiki/Audio_bit_depth Also, these days in Reaper I use BIAB tracks at 44.1kHz/16bit, Synth V vocals (and my own vocals) at 48kHz/24bit. I then render the file to 44.1/16 for upload to SC. Reaper automatically works with stems of mixed audio frequencies and bit-depths. To my old ears, what Reaper does sounds seamless. My grandchildren can probably hear a difference but I cannot.
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You chorus line is a gem. I can hear people sing along with it at a concert. Love the powerpop sound. My suggestions for the end of the first verse after "That you looked back at me," --Made me feel like a millionaire or--With a beauty extraordinarily rare (too many syllables that could be pared down)or combining your two ideas, --It was such, such an inviting dare Thanks, Scott, for such a good review! I can't believe how much help I've received on the lyric in question, thank you everyone for your contributions. "Inviting dare" is definitely on my short list, Scott! Thanks for that!
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Janice loves this: “Any time I get to feeling blue the thought of you gets me through the day, Every time I look at you I think that I might be okay” We’re glad you rediscovered this one as it’s a treat. Your singer kind of reminds us of Deej, a good thing. Excellent band and mix and we like the line in question as is. Enjoyed it! J&B Thanks so much, J&B, I love getting my lyrics quoted! Deej would have been fantastic on this track. Glad you liked the line in question!
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Yes, I concur the request is valid and you’ve confirmed some of us wouldn’t have experienced the problem. Misha, I’ve always suspected the cause of some problems not being solved is the initial design size of the records chosen with 8-bit numbers. The longest unfulfilled wishlist item is the 255 measure limit. Saving more bits with each song might cause a backward compatibility problem for newer versions. Nevertheless it should be done.
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Just commenting on the history of this. I used a product called Amadeus around that same time, 1998 or so. It was a combination of hardware and software. The purpose was for education. It translated student instrumental performance to MIDI and graded the student on how close it was to the printed lesson.
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Had noticed recently that one of my song files was labeled "HD" and "lossless" by SoundCloud and I assumed the .wav file was responsible. But now I don't see those labels, so...who knows? Ron, When I look at the main window for a song, the HD doesn't seem to be there any longer. When I look at the list of tracks, though, the HD is definitely still there.
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That's a really effective demo. Very well explained and the results sound great. Software based pitch-to-MIDI conversion is pretty common today. Melodyne does a nice job. Jam Origin has a real time conversion plugin that's pretty cool. I THINK BiaB does this now, too, though I've never looked for it. Am sure there are others. Bought my first pitch-to-MIDI guitar in about 1988. Still have four today, though they don't get the workout they used to...
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Excellent tune and vocal. The band and your guitar are grooving! The mix and master sound professional all the way. Ralph earned his pay. AZ? I flew out to Showlow in October to look at properties for a possible move in a few years. Thank you! Appreciate the kind words! If you decide to move to Show Low you will not be disappointed. My grandfather had a cabin at Hawley Lake near there and my cousins lived in Show Low.I spent a lot of summers running around that area! It's beautiful country for sure! Town got it's name from a poker game 
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You chorus line is a gem. I can hear people sing along with it at a concert. Love the powerpop sound. My suggestions for the end of the first verse after "That you looked back at me," --Made me feel like a millionaire or --With a beauty extraordinarily rare (too many syllables that could be pared down) or combining your two ideas, --It was such, such an inviting dare
Replies 34
Views 1,232
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Excellent tune and vocal. The band and your guitar are grooving! The mix and master sound professional all the way. Ralph earned his pay. AZ? I flew out to Showlow in October to look at properties for a possible move in a few years.
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Views 168
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Dave, thanks. 70s rock is what I was aiming for.
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Thanks, BD. Yeah, I know, but I didn't have anything else written to sing.
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Thanks, Bob. I appreciate it.
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Your description perfectly describes the transition ma nature makes in the spring. We have and are much enjoying it here on the homestead. Great composition, arrangement, band and mix. And your performances are ace. Very Nice! J&B Thanx so much Janice and Bub, I'm glad you liked it.
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Views 1,547
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Hi Scott! If this is your not-so-good vocals, I can’t wait to hear what it’ll be like after the re-recording! The music is really pumping - I probably shouldn’t listen to such music just before I take my morning blood pressure reading, but it was so good. ‘She took me all the way home’ - is that what they call metaphor? Andrew
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I'll try it tomorrow Andrew and thank you for your responsiveness Dale
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This looks interesting.using PRISM.
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I should probably clarify that my workflow would never reveal the issue. Though I may generate hundreds of BiaB songs a year, I only use a single view for all of them But the correct behavior is as Misha describes in the post above, and I 110% support the change. Right is right...
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Mario, Thanks very much - we truly appreciate it. Bob
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Really well done on the vocal performance, melody and instrumentals. Good song. Just two nits  I agree with Bob about "took" in the first verse. Maybe change to something like: "Thought we had what it took or a pretty good try". The other nit is I think the electric rhythm guitar should stand back 2 or 3 db when you're singing as it's clouding your voice a little. Vic Vic, THANKS for the listen and the feedback. I agree, the "took" lyric is definitely not proper grammar, though it has a quirky charm that I quite like. Have tried every trick I know to hear the electric rhythm guitars overpowering the vocals, but I can't detect it. The two guitars are panned hard left and right, and the vocals are at center. But even flipping to a mono mix didn't reveal an issue. Tried ultra low volume monitoring and I can still hear the vocals clearly, even when the guitars can't be heard at all. Have used multiple audio sources, too. Know the odds of you reading this reply are slim, but if you do, and if you have interest in helping me figure this out, that would be helpful, and I'd be SO grateful. But I understand if not. I mean, who has the time any more?
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Hi Russell! Great song! The mix grabbed me from the start (listening on my iPad and Airbuds) - those guitars panned left and right are wonderful and spacious! Good tune and singing - it flowed naturally and really good for a sing-a-long. I visited your website, YouTube and Soundcloud - I enjoyed the promo you did from your truck - you timed your spiel and returned to the chorus with excellent timing - all while navigating Arizona traffic I’m presuming. Well done and good luck on your forthcoming album release! Andrew Thank you Andrew! Very much appreciated . . . As for the truck video . . . well, now I am embarrassed . . . Yes, did that on my lunch break from my "real" job and Arizona traffic can be quite interesting!
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We rarely get Ska around here, Andrew. I really love this genre, just like its slower cousin, Reggae, it instantly cheers me up. Cool band, and your voice really suits the genre. And you tell a nice and cool story. Enjoyed my listen Thanks B.D.! Already having the lyrics for this comical story, I knew I needed a style that would suit, and quickly centred on ska. While I have ‘bedroom strummed’ ska many times, I don’t think I’ve recorded one before. After a bit of practice, it’s fun to play along with as a rhythm guitarist, so I am happy the BIAB moved over so I could take his place. Thanks for listening! Andrew
Replies 22
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Last Chance! The Band-in-a-Box® 2026 for Mac® Special Ends Today (May 31, 2026) at 11:59pm PDT!
Time really is running out! Save up to 50% on Band-in-a-Box® 2026 for Mac® upgrades and receive a FREE Bonus PAK—only when you order by 11:59 PM PDT today!
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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®.
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Band-in-a-Box® 2026 Mac Special Offers Extended Until May 31st!
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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!
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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.
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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.
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