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To Convert OST to PDF Format? Then I would like to suggest you can also try ZOOK OST to PDF Converter to Convert OST Files into PDF Format. The tool provides the complete conversion of OST file to PDF format along with their entire data items such as Outlook emails, contacts, notes, calendar entries, tasks, etc. into PDF format.The tool is also capable to keep all the OST emails and other data items will remain saved in same folders even after the conversion process. It is the best suited solution for users to convert OST to PDF with entire data items. Users are also capable to test the utility by using the free trial version of the software.

Thanks MarioD for your compliments about the song, the mix and arrangement. Very happy to hear you loved it!

Hi Ember, My input is set to Focusrite USB I have tried output Focusrite USB and Microsoft GS wavetable, VST/DXi is unchecked as is midi thru to midi driver. Audio settings is set to ASIO, there is nothing about drivers so I assume I'm using the Focusrite drivers. nothing seems to make any difference. Thanks anyway,

Sure it plays the style in the song header. However, when I press the green Play button, I want it to just play the style that is highlighted in the StylePicker. The 2026 manual says it does that, but in BIAB 2026 it doesn't do that. And that is the whole point of the StylePicker, to play styles that are highlighted when the Green Play button is clicked. I disagree that the Green Play button has always done this because it didn't. It worked just fine in BIAB 2024 (plus ALL the other versions of BIAB going back ten years). I miss this capability. I never use the demo, why would I? I put the all the chords into the bars in my song and want them to be played. I want to test/preview 20 to 30 different styles and not load any into my song unless I really like that particular style. Can't see why development doesn't consider this a problem. I can work around this issue, but having to quickly test styles in just the StylePicker with my song's chords is so, so much more helpful.

Hi, Rob! You're a cool cat on this one because you sure know your Chicago blues! A terrific easy to follow melody and lots of rhythm. I liked it start to finish! John

Hi Ray. It's good to see you. Thanks for visiting and commenting. I'm finally starting to feel very comfortable with Synth V. I spend quite a bit of time shaping the voices so that they sound as human as I can possibly make them I totally agree with you about 'happiness' and 'colour'. Green was the first colour that came to mind when I thought of happiness so I went with it. It would be an interesting challenge to write a couple of other songs where I choose a different colour for happiness and see where each choice leads me. Now that I sit here thinking about it, I might actually try that! Thank you for the idea. I hope things are going well for you up north! --Noel Hi Shigeki Adachi. It's always a pleasure to see that you have visited one of my songs. Thank you I appreciate your comments a great deal. Your English never ceases to amaze me. When I read your replies, everything is perfect. You sound like a native-born English speaker. My Japanese, on the other hand, it totally non-existent. My son studied Japanese for a number of years but I only know a few words here and there. I love watching Japanese series, though, on TV. The sound of your language sits very comfortably on my ears, and Japanese scriptwriters are very inventive. I'm presently watching a series on Apple TV called "Drops of God". It's a Japanese-French-English production and it's very, very entertaining. Thank you again for visiting --Noel

I write them on fledgling pad. Since my left arm became crippled, I now write on a Mac or iPad. I used to consult a rhyming dictionary and bought Barry DeVorzon’s MasterWriter to access its builtin rhyming dictionary and thesaurus tools but I haven’t used either in years. I started on the stand-alone version and apparently, I still have a subscription to the cloud version that I should cancel someday. I’ve played with AI lyric tools but have never generated anything I could stand.

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!

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

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

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.