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#171791 09/01/12 04:19 PM
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After reading about John's problems with his new gig, I wonder how long it will be before it becomes uneconomical to play music anywhere. Here in the UK we have the Performers Rights Society which collects money from anywhere that plays live or recorded music, including places like the hairdresser who has the radio on. No one wants to see songwriters ripped-off, but whatever happened to common sense?

Now we also need an entertainment license to perform anything, anywhere. This means, for example, that a group of people singing Christmas Carols outside a house need a license. If they move to another house, they need another license because it's a different location. Now look at the penalties for breach of this law -

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LIST OF OFFENCES UNDER THE LOCAL GOVERNMENT (MISCELLANEOUS PROVISIONS) (NI) ORDER
1985
OFFENCE PENALTY
WHERE THERE HAS BEEN NO ENTERTAINMENT LICENCE ISSUED
Provision of dancing, singing or music or any
entertainment of a like kind held indoors
Fine of up to £20,000 and/ or a maximum
of 6 months imprisonment
Provision of public musical entertainment held
wholly or mainly in the open air on private land
Fine of up to £20,000 and/ or a maximum
of 6 months imprisonment.




So, if our singers visit ten houses, they could get a fine of up to £200,000 ($300,000) or five years imprisonment.

How long before they just ban music altogether?

ROG.

ROG #171792 09/01/12 04:26 PM
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The home concert scene is alive and well in the USA - I don't believe there are such laws against performance in the home, (or in churches for that matter). Does that wording cover the whole of the law? What is the cost to obtain the so-called 'entertainment license'?

ROG #171793 09/01/12 05:17 PM
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ROG,

That reads like something from the Middle Ages. Isn't it great to know how much progress we've made in the last 500 years? This side of the pond we had a revolution over things like that. Unfortunately, we Yanks seem to be in lockstep with you and headed down the same road.

There is a forum member from the British Isles whom we all know who is a world-class musician. I asked him once why he didn't profit from his art, since he so obviously could. His answer was that the provisions of his housing didn't allow him to operate a business, and he couldn't afford to lose his home.

I got a cartoon on Facebook today from another forum member showing "Our [Americans'] Rules for the Government." It was a single page, our Bill of Rights. Next to it was a hardbound book with thousands of pages labeled "Laws and Regulations" and subtitled as "Government's Rules for Us." It's too true to be funny.

It's too flip to simply say the the lunatics are running the asylum; it is becoming criminal. It's almost as if government intend to crush the human spirit. Or am I just overreacting to a case of unintended consequences? Surely your law is not meant to be interpreted so harshly.

Hello?


"My primary musical instrument is the personal computer."
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The home concert "scene" caused me to get into a very heated debate with someone who was a very good friend at the time. Because of that debate we no longer speak. My question was this:

Are you SO desperate to just play ANYWHERE that you stoop so low to perform in someone's breezeway for 25 drunken people who are just a bunch of the host's friends that not only don't really know good from bad and but are also so rude that they sit in groups and chat the whole time you are playing?

In a time where we "pretty up" simple language in an attempt to make words sound like something far more "acceptable" than they are, is a "Home Concert" anything more than playing at someone's party? Like a "previously titled automobile" is nothing more than a used car, and a "home equity loan" is nothing more than a second mortgage or a "landscape contractor" is a guy who mows lawns for people like we did when we were kids?

Now, of course the other side of the sword is that this IS the music BUSINESS and if they are going to pay you 200 bucks to play that "home concert", more power to you. I can only speak for me, and "me" isn't doing this to pay my bills anymore, so $200 for a garage concert may be a great gig to those who do this full time. I just couldn't look my best friend in the eye and say "I played in a garage in a northeast Ohio suburb Saturday night. House of Blues and Hard Rock Cafe were both booked, so I took the garage gig."

(PS, my best friend is me.)

It's all moot though. It will never come up. It's just my opinion on it.


I smashed the hell out of my car today. When the cops came I told him "Officer, that guy was BOTH texting and drinking a beer." The cop said "Sir, he has every right to do that. I mean, it's HIS living room..."
ROG #171795 09/01/12 05:55 PM
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Quote:

After reading about John's problems with his new gig, I wonder how long it will be before it becomes uneconomical to play music anywhere.




It already is, for the most part. Bars that used to look forward to having bands in now see a band as a necessary nuisance and an expense they would rather not have. Every week the stories make the rounds of how the band that was supposed to get $500 for their work was told "Here's $300. Take it or leave it. We have a slow night."

Yet that same band, so desperate to play, will go back there again and again and again.

Here in northeast Ohio, we have mostly singles and duos, because they are cheap entertainment for the owners. There are really no more "music clubs" like 25-30 years ago. Now it's all restaurants with a little stage that will only hold that single or duo, or they move the pool table to put the 4 piece in there, most of which are really a trio with a girl singer, and she is only there because none of the guys can sing. All the players around here play in 3-4 bands so they can play more often and not have to get conventional jobs. However, that also means they never rehearse, and 60% of the "bands" are not really bands, and on Thursday they are calling around to find someone to play bass Saturday night. As a result, all of these pickup bands play the easiest 40 songs they can bluff their way through. That leads to 75% of the set lists being the same 40 easy songs that require no arrangement no matter where you go and who you hear. And the boring ten minute 12-bar-blues jams where the players are pointing at each other for who solos next. I think that looks totally bush league, but they are playing for $200 and beer. I don't drink, so what does that do for me?

Totally dead scene here.

And get me started on "jam night" where all the basement studio heroes who don't really play in a band go out and give club owners music for free. And then complain that there's no place that pays. Why would they pay when these idiots are giving them music for free?


I smashed the hell out of my car today. When the cops came I told him "Officer, that guy was BOTH texting and drinking a beer." The cop said "Sir, he has every right to do that. I mean, it's HIS living room..."
ROG #171796 09/01/12 06:14 PM
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Roger,

I don’t know if what I’ve read is true, but it stated that a street performer in England could be arrested for standing on the corner with his guitar case open for tips and playing cover tunes.

That seems to fit what you said in your OP.

Is that true?

ROG #171797 09/01/12 07:02 PM
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I think there’s a way around the BMI extortion that’s going on in the USA, but unfortunately it won’t be to the liking of most musicians, audiences or venues.

That is to simply to play ALL original music. The obvious problem is that most musicians aren’t songwriters and most of the ones who do write their own stuff aren’t even half way decent at it because all they know is memorizing something someone else wrote.

Add to that the fact that audiences want to hear something they know and venue owners want the same.

Maybe when the law was enacted, the intensions were good, but there were no doubt people behind the scenes supporting the law that had no other intension than to profit from it.

I have no problem with cracking down on people selling bootleg copies of music, but it gets ridiculous if a performer isn’t allowed to pick up an instrument and play “Sittin’ On The Dock of the Bay” for anyone who wants to listen. There’s far more damage done by music pirates than by someone playing covers at the bowling alley.

Common sense be d*mned. That is the American way in our legal system.

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@eddie and Bob,

The home concert scene is something far different than being hired to play someone else's music.

It's almost always all originals and the point is not to be entertained by music you already know and will hear played marginally well by an o.k. local band. I've never understood that particular bent of folks to hear familiar songs played by unfamiliar people.

They are usually quiet, acoustic guitar/piano. Songwriters. They will make about the same from the entrance fees as they will from what they will selling their self-made CDs at the event. They might make a couple hundred bucks that night if they are lucky. They will not have beer spilled on them or their gear. They won't get their gear stolen at the venue. The room will be hushed as they play/perform. The people there will not talk loudly through the songs or clank silverware on plates. They will see someone be moved by their art and receive joy as a result. They people sitting in the chairs and on the couches are likely friends or friends of friends. Nobody will boo or hiss. They will probably crash on a couch at the home. They'll work on a new song and maybe record some scratch tracks in Garageband during the week. They will look quite bohemian, some from a false sense of what is fashionable, some from pure necessity. etc.

I much prefer it. I only have to know MY songs as a performer. Not saying that learning other's music is not worthwhile, but this is the aspect of the home concert that you are missing. If you are not a songwriter, it would be very hard to understand. As hard as it is for me to understand to have a 100+ song repertoire memorized, in each genre for which I might be hired to play. I'm pretty sure I couldn't cut it in that scene. Skillful performance is not my forte.

-Scott

ROG #171799 09/01/12 11:58 PM
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Same thing in Germany, although the street singing thing is not specifically forbidden (yet) . GEMA is out to rule the world, blocking youtube if there is a sniff of none GEMA music involved. We can thank Sony and BMG for all this, together with a corrupt political system. If the rewards were distributed to all artist correctly it would make some sense, but the way it works only the biggies get the money, and the performing rights societies of course. That is the way all things are heading, back to the dark ages.


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Quote:

I don’t know if what I’ve read is true, but it stated that a street performer in England could be arrested for standing on the corner with his guitar case open for tips and playing cover tunes.

That seems to fit what you said in your OP.

Is that true?




Unfortunately, Bob, that's exactly right.

For years we had entertainment licenses which covered traditional venues. This was generally a good thing, because it meant that things like not overcrowding and fire regulations were adhered to and the system worked well. A few years ago, the politicians decided to extend the legislation to individuals and to anywhere a performance might be heard (or overheard} by the public. This now covers everything from street performers to sitting on the front porch playing guitar with a few friends.

In addition, the penalties seem to be completely disproportionate to the offence when compared to say, common assault or burglary. It would appear that it's cheaper to be a violent criminal than break the law as a musician!

ROG.

ROG #171801 09/02/12 05:18 AM
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Of course back 35 40 years ago Those music clubs were packed with 18, 19, 20 and 21 year olds. And there were lots of good bands all playing current music. Selling high profit beer to that demographic who really wants to hear current music was very lucrative.
Things change. Sure it sucks but gosh we can't be Dana Carvey he's grumpy old man.
And even had there been no changes at all in the drinking age I don't suppose the local rock club is going to sell out with 60 old guys on stage playing Train and black eyed peas songs.
Like Apollo Creed said to Rocky Balboa, " It's a shame we gotta get old."

WSS

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Quote:

The home concert "scene" caused me to get into a very heated debate with someone who was a very good friend at the time. Because of that debate we no longer speak. ...




I think you have a 100% incorrect view of the "home concert" scene. I think it is closer to Scott's description (even if his is a little utopian!). The house concert scene seems to fall under the 5,000 fan rule. If you can acquire 5,000 true fans that will buy a CD, T-Shirt, see you play at least once or so a year -- then you can make an OK living as a performing singer/songwriter musician. Sounds easy -- but it is not. The house concert approach is another tool to help getting a few more dedicated fans.

If you diss a practice that someone believes in strongly, I can see how easy it would be to lose friends.


Now at bandcamp: Crows Say Vee-Eh @ bandcamp or soundcloud: Kevin @ soundcloud
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This tends to confirm that all musicians are felons, but we already knew that. LOL.

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When someone is all excited to tell me "I made XX dollars!!", they play music for the wrong reason anyway. That is one baby step away from totally selling out.

I don't play any more for several reasons. The primary one is that I am not good enough. I am slightly less than an average player anymore after 15 years away from it. I used to sing well but those muscles weren't used in those 15 years and I lost it. I am still a very good, very accurate harmony singer, because you don't lose "ear". You lose physical skills, like singing, from lack of use. I don't play well enough to do a solo act to the point where I have done a couple of songwriter showcase nights but took "Band in a Phone" with me. People who can pull off solo night with their guitar or piano have my utmost respect. Honestly they do. But to play in a garage for a bunch of people who are only there because they decided to not go bowling that night.....

The point is to ask "WTF happened????" Have we all lowered expectations to the level where conformity is king and we play those awful Jimmy Buffet cliche songs just to get ANY gig?

I want SO BADLY to find one group of guys who want to give it one last try and write 12 solid songs, record them in a professional studio, get promo packets made, put on suits and go door to door to the major venues in a 3-4 state area (to start with) and try to hook some gigs that get real exposure. As long as there concerts, there will be a need for an opening act, a slot usually filled by a little known act trying to sell some CDs at the venue and maybe a t-shirt or two. However, when I try to recruit, money is always the first thing mentioned. Doesn't anybody understand the difference between the words "spending" and "investing"? You don't "spend" money on studio time to make a proper CD, you "invest" it. I know for me (once again - FOR ME - not forcing my opinion on you) I don't want to record in somebody's attic or basement. I want to record in a recording studio. With a producer and a professional engineer. I want the experience of isolation rooms and high end headphones. I have never done that and it's on my bucket list.

The clubs also need to learn the difference between "spend" and "invest". You don't SPEND money on entertainment. You INVEST money on entertainment that will draw people in to spend money in your bar instead of the one down the street. These cheap club owners have taken bands from the asset column and put them in the liability column.

What a sad place music is in now where 60 year old musicians, with so many years of experience and seasoning, are still in a place where they worry about a gig paying enough to cover the gas to get there and back.

I was in exactly 2 bands that had any kind of a following. The Motown band I was in had a core of 80-90 people who followed us religiously, and on any given night we'd see 50-60 of that group, including once when 60 of them rented a bus with a driver and surprised us in Erie PA, 80 miles from home. We started at 9, and at 9:10 they all filed in. They had rented motel rooms and everything to stay the weekend. Point is, they came to see US, not whoever happened to be playing. That's what is missing. Bands who offer something unique and good enough to follow. I can hear Brown Eyed Girl from EVERY band playing EVERY night. Why would I drive 50 miles to hear what I can hear on my corner?

But yes, time did change from the way it was in the 70s and 80s and we can't change it back, so it is what it is. A lot of bad bands out there getting work because they work cheap, and good ones are sitting at home.


I smashed the hell out of my car today. When the cops came I told him "Officer, that guy was BOTH texting and drinking a beer." The cop said "Sir, he has every right to do that. I mean, it's HIS living room..."
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Quote:

I think you have a 100% incorrect view of the "home concert" scene.




No, I have a 100% correct view of the home concert scene HERE. I don't know where you are, but the only one I know of here is a guy who holds "concerts" in his breezeway once a month with little known country and folk artists. I went twice to check it out. It was the same 30 people there both times, all totally hammered by 9pm, with a covered dish food spread in the garage. It was a nice party atmosphere, but hardly a concert. As the night went on and people became more intoxicated, the little conversation groups started to where I couldn't even hear the artist over the low rumble of conversation with people talking about how good the dip was, asking who needed another beer..... that is not a concert by any remote definition of the word.

A "concert" is where the artist is on a stage a few feet above the rest of the room, and people actually pay attention because they have paid money to buy tickets to see THIS performer, not just whoever Bob found to play this month.

This is closely related to how fading artists who can't fill the Mega Mondo Enormodome anymore play 200 seat rooms and rationalize it by spewing the over the hill artist party line of that "I wanted to do a tour of more 'intimate' rooms so I could be closer to my fans" nonsense. Why not just admit that your fame has faded and you don't have enough fans to fill a 20,000 seat hall anymore and move ahead with your life?

A place very near my home, just this year, has The Rippingtons, Eddie Money, The Tubes, and whatever remnants there are of Blue Oyster Cult playing there. I saw all of those bands (The Tubes 3 times) play a venue (since torn down) that held 20,000 and they all sold it out. When you reach a place where you are straining to sell 350 tickets, maybe it's time to learn how to weld, sit back, and pray for royalties while you patch motorcycle frames with your welder.

I saw John Elefante, one of the AMAZING vocalists in the alumni roster of Kansas, ran a Kickstarter project to raise $35,000 to put out a new album. A guy with that kind of pedigree needed to beg the public to give him money to make a CD? Marshall Crenshaw, someone who I think is a GREAT writer, also ran a Kickstarter to raise $32,000. This is a guy who wrote songs that Bette Midler covered and was the John Lennon player in Beatlemania and he has to beg the public for money? There isn't a label out there who will front him $32,000 to produce a series of 6 small EPs?

If those 2 guys needed to beg for funding, what chance does a nobody level guy (like me for example) have?

I'll answer. None.

Steve had it right in the other post. It's a shame we gotta get old. When Todd Rundgren, my all time ultimate musical hero, is playing rib burnoffs......


I smashed the hell out of my car today. When the cops came I told him "Officer, that guy was BOTH texting and drinking a beer." The cop said "Sir, he has every right to do that. I mean, it's HIS living room..."
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eddie1261, you sound like a very bitter person, and really I don't blame ya!

But the bottom line is that too many folks sat on there duffs when all of this legal garbage was being passed, and just like always, now that it has hit folks at home, the cry goes out "NOT FAIR!"

I was one of those folks that you hate, I played in 5 pickup bands & 2 "solid" original bands for over 20 years in the tri-state area (Ohio-PA-WV), mostly in the animal clubs & wedding...... it is how I made my living that last couple decades of my career. We were FAR from being clones of each other, one was country, one was classic rock (what DOES that mean?), and the rest were variety, covering everything from jazz to bluegrass, from rock to latin...

And I have no problem with that, it is called a business for a reason, and that is how I handled it, paperwork and all. Bottom line, it was my job.

Selling out? Not even close, we "pro's" that do it / did it for a living call it working.....

I had the 2 original bands that played music we wrote & loved, and that was in NO WAY a compromise to the music of the times. Has anyone heard of us? No, only a loyal following that bought our CD's & came to see us when we gigged, but it was on out terms, and we loved it, no regrets at all mainly because it was good for the soul.

"When you reach a place where you are straining to sell 350 tickets, maybe it's time to learn how to weld, sit back, and pray for royalties."

What utter nonsense.......

It seems like your view of being a pro & making it is totally different than today's reality. I applaud the bands that are still out there doing there best, even if their torch is barely burning anymore, just like the fans that pay the high prices in gas, food, & cd's that go to see them.

Bottom line, the music world will never be as open, free, and chance taking as it was back in the 60's - 80's, it is a fact that we have to deal with....as for us, we will pay to see good artist no matter where they play, be it a coffee house, living room, rib burn-off, or a real-honest-to-goodness concert venue...and enjoy & appreciate every one of them!

Does my response sound harsh? Sorry if it does, but no more than your boo-hoo'ing about it instead of doing something about it.....


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Not harsh at all. No more harsh than my original sounded. Opinions vary and people of a certain age understand the concept of being able to agree to disagree.

The comment about learning to weld just meant that there comes a time when it's over and like an athlete that plays 5 years past their prime and stinks the place out, a musician has to know when they don't have the juice anymore and not milk "one more tour" out of it with the brother-in-law of the cousin of the hair stylist's boyfriend as the "one remaining member". Is Styx really Styx without Dennis DeYoung? Is REO Speedwagon really REO Speedwagon without Gary Richrath? Is Journey really Journey without Steve Perry? Or The Tubes without Fee Waybill, Vince Welnick, or Prarie Prince? How dare these "ghosts of lineups past" tour and charge full price when the key members are no longer performing?

Many years back I opened for a nostalgia tour of Three Dog Night. Chuck Negrone was not with them due to some intense problems in his personal life. Danny Hutton and Cory Wells sounded great, but they were considerably less than amused when I asked them if they shouldn't call the band Two Dog Night without Chuck. I also opened for Alvin Lee, and though he WAS 10 Years After, he did not bill himself that way to sell tickets. And I opened for The Vogues several times playing that rib burnoff circuit and not one of the players or singers had ANY ties closer than second generation to The Vogues. One of them replaced someone who had replaced someone and then bought the name so legally he could keep it alive, and I supposed as long as it was legal it was okay, but still... If I go to see Jay & The Americans, I want to see Jay Black, not the guy who replaced the guy who replaced him. Of course at our age, a lot of them are dead or too old to perform. Some, like Frankie Valli, still touring at 78, still can.

Yes, the business has changed. There are very few "music clubs" in our area (and we are in the same place) and the places that DO have music don't treat bands well anymore, short paying, not keeping promises on booking, etc.... sad to see.


I smashed the hell out of my car today. When the cops came I told him "Officer, that guy was BOTH texting and drinking a beer." The cop said "Sir, he has every right to do that. I mean, it's HIS living room..."
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Quote:

I think there’s a way around the BMI extortion that’s going on in the USA, but unfortunately it won’t be to the liking of most musicians, audiences or venues.

That is to simply to play ALL original music. The obvious problem is that most musicians aren’t songwriters and most of the ones who do write their own stuff aren’t even half way decent at it because all they know is memorizing something someone else wrote.

Add to that the fact that audiences want to hear something they know and venue owners want the same.

Maybe when the law was enacted, the intensions were good, but there were no doubt people behind the scenes supporting the law that had no other intension than to profit from it.

I have no problem with cracking down on people selling bootleg copies of music, but it gets ridiculous if a performer isn’t allowed to pick up an instrument and play “Sittin’ On The Dock of the Bay” for anyone who wants to listen. There’s far more damage done by music pirates than by someone playing covers at the bowling alley.

Common sense be d*mned. That is the American way in our legal system.



Not really Bob but it depends. I'll give you 2 examples. The nice lady at the Cafe was given the riot act about,"well how do YOU know that it's original? " etc. etc. and she caved and gave up the idea.
I have a friend that is a Director at the local, very prestigious, Folk School in my area. They were approached many years ago by BMI & ASCAP.He and the President and others basically told them to go do what Clint Eastwood said couldn't be done.That they have all traditional, non copy-written music & music in the public domain. If they didn't believe that they could just set up camp at the Campus and try and prove a violation. Never been bothered since.This is still another matter.Harrassing a local Cafe etc because some old guy is going to play some cover tunes to raise money for charity is just wrong. I feel it's totally against the "spirit" of the laws in place.


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John, "spirit of the law" is what I'm wondering. Dare we sing covers in the shower if our neighbor can hear us? Some of my fondest memories are "family sing-alongs" on the front porch on hot summer evenings. Can the copyright cops arrest me for that? If a law is unenforceable, it's worthless. The "Prohibition Days" all over again.

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Except we're dealing with someone mightier then old Al. We're deal with the might of the Federal Gov.


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Our User Showcase Forum receives more than 50 posts per day, with people sharing their Band-in-a-Box songs and providing feedback for other songs posted.

Thank you to everyone who has contributed!

Video: Volume Automation in Band-in-a-Box® 2024 for Windows®

We've created a video to help you learn more about the Volume Automation options in Band-in-a-Box® 2024 for Windows.

Band-in-a-Box® 2024: Volume Automation

www.pgmusic.com/manuals/bbw2024full/chapter11.htm#volume-automation

Video: Audio Input Monitoring with Band-in-a-Box® 2024 for Windows®

We've created this short video to explain Audio Input Monitoring within Band-in-a-Box® 2024, and included some tips & troubleshooting details too!

Band-in-a-Box® 2024: Audio Input Monitoring

3:17: Tips
5:10: Troubleshooting

www.pgmusic.com/manuals/bbw2024full/chapter11.htm#audio-input-monitoring

Video: Enhanced Melodists in Band-in-a-Box® 2024 for Windows®!

We've enhanced the Melodists feature included in Band-in-a-Box® 2024 for Windows!

Access the Melodist feature by pressing F7 in the program to open the new MultiPicker Library and locate the [Melodist] tab.

You can now generate a melody on any track in the program - very handy! Plus, you select how much of the melody you want generated - specify a range, or apply it to the whole track.

See the Melodist in action with our video, Band-in-a-Box® 2024: The Melodist Window.

Learn even more about the enhancements to the Melodist feature in Band-in-a-Box® 2024 for Windows at www.pgmusic.com/manuals/bbw2024upgrade/chapter3.htm#enhanced-melodist

Band-in-a-Box® 2024 DAW Plugin Version 6: New Features Specifically for Reaper®

New with the DAW Plugin Version 6.0, released with Band-in-a-Box® 2024 for Windows: the Reaper® Panel!

This new panel offers built-in specific support for the Reaper® DAW API allowing direct transfer of Band-in-a-Box® files to/from Reaper® tracks!

When you run the Plugin from Reaper®, there is a panel to set the following options:
-BB Track(s) to send: This allows you to select the Plugin tracks that will be sent Reaper.
-Destination Reaper Track: This lets you select the destination Reaper track to receive media content from the Plugin.
-At Bar: You can select a bar in Reaper where the Plugin tracks should be placed.
-Start Below Selected Track: This allows you to place the Plugin tracks below the destination Reaper track.
-Overwrite Reaper Track: You can overwrite previous content on the destination Reaper track.
-Move to Project Folder: With this option, you can move the Plugin tracks to the Reaper project folder.
-Send Reaper Instructions Enable this option to send the Reaper Instructions instead of rendering audio tracks, which is faster.
-Render Audio & Instructions: Enable this option to generate audio files and the Reaper instructions.
-Send Tracks After Generating: This allows the Plugin to automatically send tracks to Reaper after generating.
-Send Audio for MIDI Track: Enable this option to send rendered audio for MIDI tracks.
-Send RealCharts with Audio: If this option is enabled, Enable this option to send RealCharts with audio.

Check out this video highlighting the new Reaper®-specific features: Band-in-a-Box® DAW Plugin Version 6: New Features Specifically for Reaper®

Band-in-a-Box® 2024 DAW Plugin Version 6: New Features Video

The new Band-in-a-Box VST DAW Plugin Verion 6 adds over 20 new features!

Watch the new features video to learn more: Video: Band-in-a-Box® 2024 - DAW Plugin Version 6 New Features

We also list these new features at www.pgmusic.com/bbwin.plugin.htm.

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