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Noel to the rescue, as usual. Always thinking outside the square. Thanks Noel  This is a great tip.
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Just a quick comment about this, that Mario said: “ I have a lot of MIDI software so I will need a very fast CPU and lots of RAM. “ MIDI can be so simple that a computer from 1990 could play it, or MIDI could use sampled or modeled sounds with tons of effects plugins so only a heavy duty computer wouldn’t choke. So much depends on what you want to do. BIAB with RealTracks falls in the middle of that range, perhaps a bit into the upper middle side, again depending on what you want to do (for example, lots of tracks with audio).
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Izzy, you took a simple song structure, added a dynamic vocal performance and created a beautiful piece of music. Thanks, Mick
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Cool tune. Excellent vocal and lyric. Excellent groove and guitar work. Well done Thank you Scott C, I love playing live and doing first cuts, other players don't like that I do, i have an idea. thank you again Donny G
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Band in a Bottle too. That walking bass jogs faster than I do. Your vocal is particularly strong and well placed on this mate - really solid. Mr Bell does more ofhis Godd Good Thing and sounds as live as the overall vibe suggests. Another winner from the blues rock duo du jour and n'importe quelle année.
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DC, I'm listening with headphone so the hard panning seems VERY hard panned. For cans I suspect bringing the hard ones in to about 70 or 80 would sit better other than for psych. The kick clicks a little too much for my ears - I know that tinnitus scoops my hearing in a way that accentuates the kick click. I enjoyed the vocals - the harmonies are cool. fabulous arrangement/dynamics and a fab song overall.
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All comments very much appreciated. Thanks. With respect to the vocal track, I may have to have a heart-to-heart with the old vocal chords to try and coax one last performance out of them instead of relying on a vocal track from the turn of the century.😊 Cheers, Mick
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This is actually very easy to accomplish in Realband. 1) Open your BIAB song in Realband (RB) and it will generate. 2) Turn on "Snap to grid". (#1 on the image) 3) On the Drum Track's wave file display, select the bar before the part marker. (#2) 4) Right-click and select "Generate" from the right-click menu. (#3) 5) Select the Realdrum for the new style. (#4) Realband will partially generate the chosen drums for the selected bar. You made need to do three or four regenerations (steps 4) and 5): NOTE... the Realdrum will be added to the Generate Realdrums (favorites) menu [#5] after the first selection to make it easier to reselect.) If you still don't get a fill that suits, try selecting two bars (one bar on either side of the part marker). I've just tried it and it worked fine for me. Realband allows Realdrums to be partially generated. As far as I'm aware, and I could be wrong, BIAB does not allow partial regeneration of Realdrums yet. ![[Linked Image]](https://www.pgmusic.com/forums/ubbthreads.php?ubb=download&Number=32167&filename=realdrums - partial regeneration.jpg)
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Hi there Pete, A big number there, full of emotions and passion. You have a big, dare I say, C&W sounding voice there, is that your preferred genre? I agree, you were a bit pitchy in places but like all of us, we push to see how much we can get away with. But I'm sure you have it in you to clean those up. A good production and mix, enjoyed my listen. Kind regards Thank you! I'm afraid that yes this Brit is a massive country music nut! Had my own 7 piece outfit for the best part of 20yrs touring both the UK and Europe ( voice was much less pitchy then lol) no longer have the band so use BIAB as my substitute, however thanks to COVID my voice is not as strong nowadays. Glad you enjoyed the song and I appreciate the comments on the mix etc. Pete
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Hi there Pete, A big number there, full of emotions and passion. You have a big, dare I say, C&W sounding voice there, is that your preferred genre? I agree, you were a bit pitchy in places but like all of us, we push to see how much we can get away with. But I'm sure you have it in you to clean those up. A good production and mix, enjoyed my listen. Kind regards
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Hi Ron Resolution challenge completed. Really nice choice of style and the key change at the bridge(?) worked really well. Good vocals, you have a smooth delivery, you never seem to have blips or rawness like I do. Another good'un, Kind regards
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Hi Joe, Very relatable as the common man's lament. A great song, excellent lyrics and arrangement. Excellent, kind regards
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Views 207
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But, as incorrectly indicated above, the 6th is not perfect. It is either major or minor. You got me there! I'm 100% wrong with my terminology!  But I was wrong about much, much more than that!  Because I was in at a doctor's visit with my wife where I couldn't watch any videos on my phone, I stupidly asked Gemini to look up what Adam said about power chords. That's on me, because I know better. Because while Gemini cited sources and gave a summary, that was a hallucination, and I was happy with it returning an answer that aligned with what I wanted, so I didn't wait and look into it further instead tippy-tappy-typing on my phone. Now that I'm back at my computer, I've been able to double-check the information and while the information is correct, Adam never said those things. But again that's my mistake. I should have checked the source myself, because I know better. When I couldn't find the information that Gemini claimed was in the video, I asked Gemini to explain where the answer came from. It hallucinated this response: Adam Neely often discusses power chords through the lens of psychoacoustics and tonality, rather than just simple guitar technique... It turns out to be completely untrue. When I asked Gemini to find a specific video where he made that claim, Gemini hallucinated: Adam Neely discusses the perception of the third in power chords most explicitly in his video titled "What's in between Major and Minor chords? | Q+A" (and occasionally in his analysis of blues tonality). He explains that while a power chord consists only of a root and a fifth, the 5th harmonic in the overtone series is a pure major third. When you add distortion to a guitar signal, you are essentially "squashing" the waveform, which drastically increases the amplitude of these higher overtones. The citation looks good, but of course, there's nothing of the sort in the video. When I asked where Neely talks about the fifth harmonic, Gemini hallucinated: Adam Neely discusses the audibility of the 5th harmonic in the video titled "Why is major 'happy?'" (2016) and refers to it in several Q&A videos. Again, that wasn't true. Gemini hallucinated: I apologize for that error. You are correct—the video "Why is major 'happy?'" focuses on the concept of brightness and cultural associations rather than the physics of the harmonic series. I conflated two different videos in my previous response. The specific explanation you're looking for—where he discusses the 5th harmonic being perceived as a major third in distorted power chords—actually appears in his video: "What's in between Major and Minor chords? | Q+A" When told that didn't appear in the video, Gemini hallucinated again: I believe the video I was searching for is actually "The Blues Scale is a Lie" (or a very similar deep dive into blues tonality). In that video, he discusses the "neutral third" and how guitarists use power chords to avoid a strict major/minor choice, while the overtone series from the distortion provides the "major" foundation. There was no such video by Adam Neely. Gemini hallucinated: I am very sorry for the confusion. I have been referencing concepts that Adam Neely frequently discusses in his videos, but I have repeatedly given you the wrong video titles and incorrect transcript details. I was mistaken about "The Blues Scale is a Lie"—no such video exists with that title on his channel. The video you are looking for is titled "Why 'Smells Like Teen Spirit' sounds so powerful" (or a very similar title focusing on Nirvana/Grunge). In his video "The Music Theory of Grunge" (and specifically in his discussion of "Smells Like Teen Spirit"), he breaks down the physics of the power chord. Here is the actual information from that context... And when told that no such video existed, Gemini finally said: I understand your skepticism. After a thorough search of Adam Neely's video catalog to find the specific explanation you’re looking for regarding power chords, distortion, and the 5th harmonic, I have determined the following: The concept I previously described—that power chords work because distortion generates harmonics that "fill in" the missing major third (the 5th harmonic)—is a common music theory explanation, but I cannot find a video where Adam Neely specifically makes this claim. Lesson learned: From now own, I'll wait until I'm on my computer and do my own darned research instead of cutting corners and relying on Gemini to give accurate summaries. Personally, I don't really care if people want to think of a "power chord" as a chord or not. Music theory is a system for organizing an understanding about how music works, not a monolithic thing. If a set of pitches has a harmonic function and you feel the need to call it a chord... go for it. Or not.
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Thats a real toe-tapper Marty, You can always tell when someone gets the mix right. The song jumps out of the speakers and you start looking around the room to see where it's coming from. Big number, well played and sung.... the band is staying together!! Kind regards
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Note that we aren't arguing for an interval like the perfect sixth to be treated as a chord. And in practice, power chords are almost always played on distorted guitars or basses. Neely agrees that it acoustically gains the "missing" third, which is why it can be treated as a chord. . With all respect! Please forgive me for even mentioning this. I hate to bring it up, but I am a music nerd if nothing else! I actually tried to avoid this whole discussion because this general topic can drive people crazy (when it really should not). And I agree everyone has been very polite. But, as incorrectly indicated above, the 6th is not perfect. It is either major or minor. Only the unison, forth and fifth are perfect. And that point about "...Neely agrees that it acoustically gains the missing third" does not make sense to me and I did not hear him say that? Finally, regarding my credentials which were questioned above, I have three certificates from Berklee, two in Music Theory and one in Jazz Guitar performance [at the moment I can not find that 3rd one, maybe my memory is mistaken, but I have the other two on my wall along with my PhD. I have to admit, those records, plus a buck, would get me a cup of coffee at McDonalds (with the Sr Discount) and not much more. But I am proud of my studies. And again, more music nerd than academically trained in music.  I can’t comment on the debate regarding the 6th . . . way beyond my pay grade but maybe someday . . . if I'm lucky However, I do have to agree that we’ve all been polite, professional and relatively focused on the subject(s) at hand. If I pull the camera back and zoom out, this thread is mainly about Levitin’s book, This is Your Brain on Music. Secondarily, and right now, it’s about the fascinating musical relationship between Joni’s ambiguous chords and Jaco’s skill in dis-ambiguating them. And now, the idea of what a chord is, what are ambiguous chords and other music theory elements. And the path of this thread may even take more twists and turns . . . it’s all good and my hope is that we all learn (and share) and that we remain friends. The more I read, the more I see that music is infinite and infinitely fascinating. Dr Dan, as for your credentials, my instincts told me you had some but I had no idea they were as distinguished as they are. Ten short years ago I couldn’t tell you the difference between F and F# or quarter note from a half note. I also agree that there should be no reason whatsoever that discussing music theory should drive anyone crazy. That said, I’m sure we all have something of value to share and I hope you share more. I also hope I’m not the only one here seeking to grow musically. Also, let’s not forget the young, talented, educated musicians that are lurking and pondering whether to support this forum and BiaB. The depths of our discussions here, how we conduct ourselves and the (perceived and real) value of BiaB will determine the size of the user base for years to come.
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That is sooo good Mario, I'm not a big fan of orchestral music, but even I can tell you've made an exceptional piece of music here. It must be a completely different process of writing compared to writing a pop song. How do you write that and hear all that in your head and get it down? And then know which instruments to bring in and out of the mix. Your a very clever man, Andre Preview (M&W fans will understand) Excellent, kind regards
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Thank you rharv, you are finally starting to understand my humor!
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And again, more music nerd than academically trained in music. OK, I admit, that one made me giggle
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Hi there Mick, That's a great sound and mix you've got together there. It really does have that 80s Stock, Aitken, Waterman, big production feel. I like the vocals and the effects suit the song, but I would have like to hear a clean vocal...but thats just my personal preference, it works well as it is. Great song, kind regards.
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Note that we aren't arguing for an interval like the perfect sixth to be treated as a chord. And in practice, power chords are almost always played on distorted guitars or basses. Neely agrees that it acoustically gains the "missing" third, which is why it can be treated as a chord. . With all respect! Please forgive me for even mentioning this. I hate to bring it up, but I am a music nerd if nothing else! I actually tried to avoid this whole discussion because this general topic can drive people crazy (when it really should not). And I agree everyone has been very polite. But, as incorrectly indicated above, the 6th is not perfect. It is either major or minor. Only the unison, forth and fifth are perfect. And that point about "...Neely agrees that it acoustically gains the missing third" does not make sense to me and I did not hear him say that? Finally, regarding my credentials which were questioned above, I have three certificates from Berklee, two in Music Theory and one in Jazz Guitar performance [at the moment I can not find that 3rd one, maybe my memory is mistaken, but I have the other two on my wall along with my PhD. I have to admit, those records, plus a buck, would get me a cup of coffee at McDonalds (with the Sr Discount) and not much more. But I am proud of my studies. And again, more music nerd than academically trained in music.
Replies 162
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Mario this is absolutely fabulous! The whole flow of the piece is, imo, masterful, beautiful and very moving. I'm blown away and only wish I had a modicum of your musical talents. So glad I listened to this, thank you. Pete
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Hi Pete! Happy New Year to you - or I should say, hoping for a better year for you, genuinely. The emotion really comes out of your vocal - that emotion (to my ears anyway) is saying ‘Why did you?’ Your vocal (well done on the high notes - it adds rawness) was aided greatly by the steel guitar, fiddle and that good choice of lead solo on the fade out. Your choice of waltz style adds to the perplexity because it is a dance normally performed by two. As usual, thanks for the video of BIAB - it’s good to look ‘under the hood’, and good to see you already putting BIAB2026 to work! Hoping to hear more from you, Pete. Andrew Hi Andrew, Wow, what a lovely review. You got the whole gist of the song and for that I'm truly grateful. Your comment is more than appreciated. Best wishes Pete
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Great. Thanks for the feedback. I tried several combinations also, but like you, I couldn't get a fill from the forthcoming style.
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IMHO If two notes are a chord, that chord is pretty ambiguous. rharv, I think you are finally beginning to get it (I think). Nobody is saying that every chord must be unambiguous for it to be labeled a chord, certainly not me. As a matter of fact, I wouldn't be surprised if certain musicians/composers intentionally write ambiguous, discordant, unresolved chords into their music. I would say that ambiguous chords are every bit a chord as unambiguous ones. Think of it this way, just because an automobile fails your State inspection, doesn't mean that it's somehow not an automobile. In fact, that automobile could be on its roof in a gully and half rusted and still be an automobile. Trust me I get it. You are starting down the theory road, my tracks in the sand ahead of you have been blown over for decades. But I still learn to this day. I chose to participate in this thread to learn what I could from it. I'm not arguing any of this, since it is theory and not a rule, and even rules can be broken. I spent years in college (and after) studying theory, arranging, composing etc tutored by some very knowledgeable people. Not Berklee, but UNT & UofM level. In fact I was raised with it since I could first learn. I did not get a choice of first instrument to learn; it was piano (at 5) so I could learn theory not just notes. I was lucky and got a head start on it compared to many. Music is kind of a big deal in my family <grin> My youngest brother is a PHD and has been asked to conduct/teach in Europe, Carnegie, etc Many years later we still discuss theory and learn from each other. That's what it's all about! Having some understanding of it definitely helps when discussing it, and he is not shy to correct me at times (and neither should anyone else be)
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If anyone disagrees, here is something to ponder. What “rule” in music theory prevents 2 pitches from being labeled a chord? The "rule" is the definition, which makes a distinction between an interval/dyad and a chord/triad. But music theory always trails practice, and it's an oft-cited maxim that when a style or practice can be codified using music theory, that style is dead. It's also well known that much music theory that claims to capture the "rules" (like those of Bach's counterpoint) often is a list of that author's own biases, rather than an accurate model of actual practice. The crux of Neely's argument is that functionally, a power chord acts like a chord, even though it lacks a third. It provides enough harmonic information to act as a complete chord. He notes that it gains an audible third via distortion and harmonics, so the third is present even in the player didn't play the note. But it's more than that - he argues the term "chord" should describe how a chord behaves in practice, and not be bound by theory texts. The fact that we call it a "power chord" despite only being an interval supports this. So Neely - and others - argue for moving away from the classical definition because it doesn't reflect actual practice. But the classical definition still has value. Note that we aren't arguing for an interval like the perfect sixth to be treated as a chord. And in practice, power chords are almost always played on distorted guitars or basses. Neely agrees that it acoustically gains the "missing" third, which is why it can be treated as a chord. In short, Neely argues that if music theory doesn't represent common practice, it has little value. Yet he acknowledges that in practice, a power chord gains the "missing" third. And I think that somewhat undercuts the argument that a power chord is a dyad or interval.
Replies 162
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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 Windows® Special Offers Extended Until January 15, 2026!
Good news! You still have time to upgrade to the latest version of Band-in-a-Box® for Windows® and save. Our Band-in-a-Box® 2026 for Windows® special now runs through January 15, 2025!
We've packed Band-in-a-Box® 2026 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 process 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, XPro Styles PAK 10, Xtra Styles PAK 21, and much more!
There are over 100 new features in Band-in-a-Box® 2026 for Windows®.
When you order purchase Band-in-a-Box® 2026 before 11:59 PM PST on January 15th, you'll also receive a Free Bonus PAK packed with exciting new add-ons.
Upgrade to Band-in-a-Box® 2026 for Windows® today! Check out the Band-in-a-Box® packages page for all the purchase options available.
Happy New Year!
Thank you for being part of the Band-in-a-Box® community.
Wishing you and yours a very happy 2026—Happy New Year from all of us at PG Music!
Season's Greetings!
Wishing everyone a happy, healthy holiday season—thanks for being part of our community!
The office will be closed for Christmas Day, but we will be back on Boxing Day (Dec 26th) at 6:00am PST.
Team PG
Band-in-a-Box 2026 Video: The Newly Designed Piano Roll Window
In this video, we explore the updated Piano Roll, complete with a modernized look and exciting new features. You’ll see new filtering options that make it easy to focus on specific note groups, smoother and more intuitive note entry and editing, and enhanced options for zooming, looping, and more.
Watch the video.
You can see all the 2026 videos on our forum!
Band-in-a-Box 2026 Video: AI Stems & Notes - split polyphonic audio into instruments and transcribe
This video demonstrates how to use the new AI-Notes feature together with the AI-Stems splitter, allowing you to select an audio file and have it separated into individual stems while transcribing each one to its own MIDI track. AI-Notes converts polyphonic audio—either full mixes or individual instruments—into MIDI that you can view in notation or play back instantly.
Watch the video.
You can see all the 2026 videos on our forum!
Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Windows®
With your version 2026 for Windows 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)
- Android Band-in-a-Box® App (included)
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 PAKs for Band-in-a-Box® 2026 for Windows®!
Video: New User Interface (GUI)
Join Tobin as he takes you on a tour of the new user interface in Band-in-a-Box® 2026 for Windows®! This modern GUI redesign offers a sleek new look with updated toolbars, refreshed windows, and a smoother workflow. The brand-new side toolbar puts track selection, the MultiPicker Library, and other essential tools right at your fingertips. Plus, our upgraded Multi-View lets you layer multiple windows without overlap, giving you a highly flexible workspace. Many windows—including Tracks, Piano Roll, and more—have been redesigned for improved usability and a cleaner, more intuitive interface, and more!
Watch the video.
You can see all the 2026 videos on our forum!
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