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So, you decided to write a song and asked someone, or even several other people, to be a part of the project. Great idea, the whole "sum is greater than the parts" thing, and so everyone charges full speed ahead into the song project and in no time the song is written and ready to go. Everyone's happy and life is about to become wonderful........(insert sound of needle scratching across a record).......You might want to slow down and rethink a few things.
Did you cover all your bases? Did you get everything in writing? How about anything in writing? No...? You say it's just a song for fun, and nothing will ever come from it. How sure are you about that? What if the other person takes that song and places it into a commercial use and takes all the royalties? What if they claim they wrote it alone?
Once you write a song with someone, it's really very similar to a marriage with kids because you both have created something new that didn't exist before and you both have an ownership stake in it. Unlike a marriage in many respects, you don't get to reclaim the other party's share if they pass away. You can suddenly be faced with in-laws who have just become your partner in the song because they inherited it. So for this and so many other reasons, it is to your advantage to have the deal written down so that everything is understood before the writing begins.
You should have the following information in a unique writer's agreement for each song written in a collab, and after everyone finishes signing it, a copy should be given to each participant in the collaboration.
TITLE OF THE SONG (if you know it at that point)
1) Each writer’s name
2) Each writer's current physical and mailing address.
3) Each writer’s e-mail address
4) Each writer’s phone number
5) Each writer’s PRO (ASCAP,BMI,SESAC,SOCAN, etc) – even if they change e-mail addresses and phone numbers, you can track down almost any writer through their PRO. Because we all want to get paid, we make sure they have our correct info. Also get their PRO publishing name if they have a publishing company set up through their PRO or if they are already signed to a publisher. And this includes their CAE/IPI number.
6) The date on which the song was completed. The DOC or date of completion
7) The agreed-upon split for the song with each writer’s signature
8) The projected use or restrictions on use of the finished song, including who has the right to promote it and who pays the costs associated with such promotion/demo.
9) Copyright issues and costs.
Ideally, you should have a unique written agreement for each and every song you write together. I do have a unique agreement on many of the songs I have written in collabs, but I also have some basic writer's agreements in place. This is established after I have written a few songs with the same person and we know we're probably going to be writing together for a longer period of time. This is a broad sweeping agreement that covers the basics listed above but covers a period of time (can be limited or open ended) to save the tedium of signing agreements on every single collab. However, it you add one additional person in any of the projects, that project needs it's own agreement.
It's best to get the agreement up front BEFORE the song is even started. Nothing sux like finishing a song and then the writers have a dispute about percentages or projected use or demo costs, or one party doesn't want the song to be released at all and the other writer can land a publishing or library deal.
Having as many of the bases covered before you start the project can certainly alleviate problems down the road.
Obviously, this agreement can be fairly encompassing or it can be a simple agreement that covers just a few of the things I listed above. By no means does this document need to be complicated and resembling something a lawyer would dream up. Just be sure you cover the bases that need to be covered in YOUR given situation.
Now.... go and collaborate and write some music.
Edit to say: You can have the initial agreement and then updated copies after the song is completed. I have some agreements that have 2 copies.... first and then the final. This would be the case if you change or don't have a title to start with or you both agree to pull in a 3rd (or more) writer. The important thing is to document the facts and changes from the original agreement.
Last edited by Guitarhacker; 01/23/17 04:10 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Yep.... You've spelled out all of that pretty well. I've contemplated the above for a long time regarding 'collaborative' creations. Personally, I've always written my own lyrics/arrangements to completion. I have been fortunate to have excellent musician friends over the years fill in with instrument tracks where I know I'm deficient. Most would probably think all of whom they are collaborating with are cool and no problems would be anticipated. Most collaborations and legal partnerships would always be entered into with the best of intentions. But...things (people) can change and get ugly when money/expected (perceived) compensations can become part of the equation in such a collaboration. In thinking further on this, seems to me a collaboration could be simpler in approach if one collaborator was strictly responsible for only one aspect of a song writing effort rather than all chiming on anything/everything. IE: Joe Blow plays bass - Bill Bland on lead axe - Buck Snort on keys - Nigel Flogsnot does lyrics - Coyote BIAB on drums. Of course, that would mean some sort of overall agreement with all contributors would have to be drafted up if one thinks it will actually generate some substantial buckaroos at some point. But....I have been wrong in the past.  Carry on....
Last edited by chulaivet1966; 01/23/17 12:12 PM.
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Most would probably think all of whom they are collaborating with are cool and no problems would be anticipated.
Kinda like those first dates.... "Man this is the perfect person for me...." until 12 months later....... The way I look at collabs and writing with others is close to what industry pros I have heard, say. No matter how much or how little one contributes to the actual song, if that person is an official part of the writing team, they get an equal share of writing and royalties. Lets say someone has a song that is 95% finished. And they come to you and ask you to help. You look at the song, both melody and lyric...and you figure the melody is perfect and fits extremely well, and the lyric is good except for one line that doesn't fit. So you write a line that does fit, the other writer loves it,and so it gets used and the song gets cut and makes a ton of money with artist shows, radio airplay, and even gets a title cut in a blockbuster movie. Should you only get 5% because that's all you really contributed or should it be looked at that without your line, this song may have never been cut so therefore you are an equal contributing partner fully deserving a 50% cut? It can be argued both ways, and I'm absolutely sure there are pro writers who would only give that 5%. Only you could answer that question if it's worth 5% vs nothing. After all, the chance to get your name on a hit as a co-writer with a big name, and a song that generates a million or more... do the math. The whole point is to get that all important agreement in writing. Spell it out so you know what the deal is. Then, if the song is a huge hit, remember, you agreed to the percentage. Next time, negotiate better. Or better yet, write with folks who agree that 50/50 is the right way to do things. Or 33.3x3 or 25%x4...etc...
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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[quote=chulaivet1966] Kinda like those first dates.... "Man this is the perfect person for me...." until 12 months later....... Ha...hard life lessons to be sure. As you state, lots of potentially sticky points to be considered. As a personal perspective example....if I were only a minor contributor to one's song as in a lyrical line or two I would not expect to be given 50% of earnings. That math does not sound justified....a reasonable percentage would be equitable to me. "Reasonable percentage"...I've not clue about it and I don't think I'll have to worry about it at my lowly creative level. Being named in the credits would be cool, though. Back to it.....
Last edited by chulaivet1966; 01/23/17 02:54 PM.
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No one ever talks about percentages.
Everyone in the room gets an even split.
And no one EVER whips out a "writer's agreement" to sign.
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No one ever talks about percentages.
Everyone in the room gets an even split.
And no one EVER whips out a "writer's agreement" to sign.
Kinda like whipping out a pre-nup at the alter... yeah, there's better ways to handle it, but the advice to get it in writing is echoed throughout the songwriting world. I have signed my share of agreements after the song was done. Any time you plan to exploit a co-written song, you better have the agreement in writing and signed by all parties involved in the song. I dare say if you write with the likes of Jeff Steele, you might not sign the agreement in the session, but before that song goes anywhere, you will sign one. And yes.... I agree, everyone in the project gets an even cut/share/percentage, whatever you want to call it. I thought that was in the post...last paragraph I have even heard one famous hit song writer say that if the coffee guy came into the room to fix a new pot of coffee during the writing, that he should also get a share since perhaps his presence inspired an idea that would otherwise not have occurred. I don't know if I would go that far, and perhaps he was using that as hyperbole to illustrate that everyone gets the same share. Every single collab I have worked on has been an equal split between the writers, no matter how much was contributed by any given partner.
Last edited by Guitarhacker; 01/23/17 03:02 PM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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No one ever talks about percentages. Everyone in the room gets an even split. And no one EVER whips out a "writer's agreement" to sign. I presume you're referring to an actual professional writing team. Admittedly, I'm ignorant with this subject but if your comments above is how it works that sounds pretty equitable to me....and simple. Carry on....
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I hate to sound cynical but the odds of someone co-writing the next big hit and your collaborator stealing the song and making the big money...well, I'm guessing that is probably about the same odds as winning the lottery.
What is more likely is you'll turn people off if you whip out your homemade contract and bug everyone to fill in all the blanks every time you sit down in a creative session.
Maybe a better approach would be to 1) work with people you trust and 2) record the sessions and keep those recordings in case something were to really take off. That way you don't have to fool with contracts for the 99.999% of songs that won't go anywhere but you'll be prepared if a good one appears.
Just my thoughts.
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No one will force you to work with written agreements for your songwriting efforts. If you wish to collab without that safety net, be my guest. This is nothing more than a suggestion that is, from my understanding, very common in the business.
Everyone who works with me knows that I will insist that one be signed by all parties generally before the project is finished. Most of the things I write will end up in libraries or with publishers so it's a given that I want the details in writing.
Would you venture into any other type of business relationship with out a written agreement? Heck I don't install a security system in my customer's home or business without a written agreement (contract) and while you might want to say you're writing for fun and it's not a business, it is none the less, still a possible business venture. No one can predict what might come from that session. When I first started recording I used to do a number of collabs with no paperwork. When I started putting my music into libraries, I went back to the writers and asked them if they would sign an agreement and they all did. Those songs are now in libraries and have the potential to be used and make money, something that neither of us foresaw when we wrote the song.
By the way: This post was inspired, not from the deep recesses of my own thoughts, but from the minds of TWO Nashville hit songwriters. Marty Dodson and Clay Mills from something they wrote on their web site about this very topic.
No matter what anyone says, that "no one is going to whip out a collaborator's agreement at a song writing session".... I can guarantee and it is just plain business common sense, that at some point before, during or after a song writing session that produces a song, there will be an agreement signed by all the writers involved.
And.... pretty much the goal, while unstated in many cases, for a songwriting session in Nashville, is to get a commercial cut of that song. So when you are writing in a collab, it's understood that the song is very likely a business venture in the making.
But hey, I get it. If you say that's not why you write songs and you trust fully the people you write with and you aren't going to sign any sort of agreement because it's not necessary, it inhibits the creative process, and reduces it to a business deal, then feel free to do what you will. Work without one and have fun. I'm not going to complain about how you do things.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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OK... so here's a slightly different angle to the written agreement.
How many of you get signed written permission forms from someone who records a track for you to use in their song? Doesn't matter if it's instrument or vocal.
Lets say, you write a song, and it needs a unique guitar solo in it that follows the melody line and BB/RB doesn't seem to do it so you PM me and ask me to play the guitar part on your song. I agree to record the track in my studio. How many of you would insist that I sign a release to let you use my guitar track?
Anyone? Yes? No?
If you don't, you are foolish to use that track publicly. Copyright violation and the resulting possible legal issues can arise. The person who records their track owns the copyright on that track. Unless you have them sign a release allowing you to use that track, you are not the owner of that track and can not use it without permission. I can hear the arguments.... oh he's my buddy, she's my friend and they would never do that to me. And unicorns grant wishes and Leprechauns have pots of gold too. Put money via commercial use into the equation a year later and see what happens.
If you are not getting a release form signed, whoever was the artist on a given track has the legal right to prohibit you from using the track in your song. You could potentially go through the process of mastering that song, putting it on a CD, pressing hundreds of copies for sale only to find out that the artist refuses to let you use that track and you are suddenly setting on hundreds of unsalable CD's and thousands of dollars that you can not recover. All for want of a signature on a release form.
I learned this lesson the hard way. Someone contributed a track to one of my songs. I mentioned putting it on the net for others to hear. Not even placing it in a library, just putting it on my sound click. The other person said absolutely not... they didn't want it posted. I had to remove their track and find another way to get it done, and you can best believe I had a form signed on every one since. Trying to negotiate after the fact is a PITA because you are at the disadvantage.
I know this is a lot of paper work, and I can see eyes rolling and others glazing over..... Just interested in your thoughts on this aspect. Has this even crossed your mind when you are collaborating a track for someone else or asking for a track from another person?
EDIT: Most musicians know this.... How often do we see someone come in who is new and ask if they can use these tracks in BB/RB or do they have to pay royalties and license fees? As owners of BB/RB we know that we have the license to use these TRACKS without further permissions.
This is not the case on tracks recorded by others.
Last edited by Guitarhacker; 01/24/17 04:21 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Just thinking about all this makes my hair hurt Our best friend and mentor with whom Janice and I played and recorded as a trio was a N'ville musician. He recorded with many including Garth Brooks, Vince Gill, Bill Monroe, Porter Wagner, Faith Hill, George Jones, Dolly Parton, Chet Atkins, Ricky Scaggs, Kenny Chesney, Emmy Lou Harris and Kathy Mattea. Apparently they had a pretty relaxed atmosphere in the circle he ran because he never mentioned much about paper work. He'd jam with folks at the Station Inn and get invited to play on a project. He never mentioned anything about passing around paper work in advance -- and we were so close that he would have told us that at least initially as he went from being a 12 Time US Champion fiddler to a N'ville session guy almost overnight. After his untimely passing we released a CD of our home recordings with him to raise money for cancer research. One of the songs he and Janice sang was written by a prominent member of the Gaither Music group. I contacted them via phone to see about arranging for the rights and they said forget it. It's yours. Don't worry about it. I guess that it is rare but it does illustrate another side to some of this. And perhaps if I was in things from an adding to the library perspective, etc., I might have another attitude. I just thought I'd throw this in the conversation. Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! A few of our videos are here on our website: https://www.janiceandbud.com/our-music.html
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Herb, I was not meaning to discount your advice. Seems to me most everything you have written in this thread is good solid advice and, if someone is truly serious about selling their music, they would do well to heed that advice.
My personal situation is I write songs mostly for my own entertainment. And like someone said on another post, if others enjoy my stuff too, well that is just a lovely bonus.
Because I often work with folks in a songwriting group who are brand new I find I tend to want to help them set realistic expectations and enjoy the process while learning and improving. Several times I have seen a new songwriter with marginal songs and they were just certain they had written huge hits. They then proceeded to annoy folks with their overly protective posturing.
So I guess my point was simply, if you are in this as a business then take all those precautions but if you are mainly in it for fun just relax and enjoy the experience rather than clobbering it with technicalities.
Thanks for the post and the good info!
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..... One of the songs he and Janice sang was written by a prominent member of the Gaither Music group. I contacted them via phone to see about arranging for the rights and they said forget it. It's yours. Don't worry about it. I guess that it is rare but it does illustrate another side to some of this.
In a perfect world, that is how it should work. Thankfully there are people and companies that are like that.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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<<< My personal situation is I write songs mostly for my own entertainment. And like someone said on another post, if others enjoy my stuff too, well that is just a lovely bonus.
Because I often work with folks in a songwriting group who are brand new I find I tend to want to help them set realistic expectations and enjoy the process while learning and improving. Several times I have seen a new songwriter with marginal songs and they were just certain they had written huge hits. They then proceeded to annoy folks with their overly protective posturing.
So I guess my point was simply, if you are in this as a business then take all those precautions but if you are mainly in it for fun just relax and enjoy the experience rather than clobbering it with technicalities. >>>
These comments resonated with me being a songwriter both for enjoyment and as a not so smart music businessman. Spanning the decades I've been writing songs, I had my first copyright in 1959, I am the epitome of a marginal songwriter. Even so, just being marginal in talent, circumstances have provided me brushes with commercial success. Providence and circumstance can happen to anyone. I sold a song to a 3 time Grammy nominated producer 41 years after it was originally recorded and released. I was asked once to submit a song to a major recording act on a major recording label. I didn't believe it and did not submit the song only to find out several years later, it actually was true. The album it would have been included on was a gold record, million seller. I had two songs on hold for another album that never materialized due to the untimely death of the producer. That being said simply means that as a music business person, I'm not very good. I've literally written hundreds of songs and four have received commercial attention. Each of the hundreds of songs I've written I thought they were the best work I'd ever done at the time I wrote them. I've actually had one of my original songs stolen. I would like to say plagiarized but he took it verbatim, words and music and claimed it as his own. It was a song that was rejected for the album I made in 1975. I was particularly fond of it and brought in two singers, taught one how to play a signature strum and chord progression, and recorded it as a solo project. Eleven years later in 1986 I ran across one of the fellows and he was playing the song verbatim and claiming it as his original. We were both playing at a private party so I began to play and sing along with him - verbatim. He looked at me puzzled and asked how I knew his song. I quietly explained to him I wrote the song and still had the original reel to reel tape which contained not only the song, but it was running while I taught him the chord progression and strumming pattern. He had forgotten over time where he stole the song from. He also was a hobbyist songwriter with no commercial releases, so there was nothing to sue for..... All that to say this. Even marginal songs by marginal songwriters can have opportunities arise for commercial success. You are not hurting yourself by taking Herb's advice and in fact, you are presenting yourself in a more professional manner and also providing self encouragement to yourself which builds confidence to believe in yourself. Charlie
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Even marginal songs by marginal songwriters can have opportunities arise for commercial success. You are not hurting yourself by taking Herb's advice and in fact, you are presenting yourself in a more professional manner and also providing self encouragement to yourself which builds confidence to believe in yourself.
Charlie It is up to each songwriter to decide of course! For me, whipping out a contract in an informal session would be a complete buzzkill and I am willing to accept the risks associated with not having one for the majority of sessions!
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It is up to each songwriter to decide of course! For me, whipping out a contract in an informal session would be a complete buzzkill and I am willing to accept the risks associated with not having one for the majority of sessions!
See, I just try to work it into the song-writing process. They don't even see it coming. Sure my contracts all rhyme, but they are rock solid legally. (Verse 1) The following stated participants all shall share equally anything that's created and will benefit mutually (Pre-Chorus) For there may come a time We we all will find That this work will climb and become more than we imagined So we... (Chorus) Sign on the line! Yes we... Sign on the line! ...you get the idea;) Sorry for the humor. It's actually a great topic to bring up IMHO! Great idea that needs to be covered. Pick the advice you want, but make yourself aware
Chad (Hope that makes it easier)
TEMPO TANTRUM: What a lead singer has when they can't stay in time.
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It is up to each songwriter to decide of course! For me, whipping out a contract in an informal session would be a complete buzzkill and I am willing to accept the risks associated with not having one for the majority of sessions!
See, I just try to work it into the song-writing process. They don't even see it coming. Sure my contracts all rhyme, but they are rock solid legally. (Verse 1) The following stated participants all shall share equally anything that's created and will benefit mutually (Pre-Chorus) For there may come a time We we all will find That this work will climb and become more than we imagined So we... (Chorus) Sign on the line! Yes we... Sign on the line! ...you get the idea;) Sorry for the humor. It's actually a great topic to bring up IMHO! Great idea that needs to be covered. Pick the advice you want, but make yourself aware Time to hit the record button and get this one digitized and immortalized! Sounds like a hit to me.
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OK... so here's a slightly different angle to the written agreement.
How many of you get signed written permission forms from someone who records a track for you to use in their song? Doesn't matter if it's instrument or vocal.
Lets say, you write a song, and it needs a unique guitar solo in it that follows the melody line and BB/RB doesn't seem to do it so you PM me and ask me to play the guitar part on your song. I agree to record the track in my studio. How many of you would insist that I sign a release to let you use my guitar track?
Anyone? Yes? No?
If you don't, you are foolish to use that track publicly. Copyright violation and the resulting possible legal issues can arise. The person who records their track owns the copyright on that track. Unless you have them sign a release allowing you to use that track, you are not the owner of that track and can not use it without permission. I can hear the arguments.... oh he's my buddy, she's my friend and they would never do that to me. And unicorns grant wishes and Leprechauns have pots of gold too. Put money via commercial use into the equation a year later and see what happens. Herb. I'm assuming you're not referring to paid pickers here?
Paul
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Herb. I'm assuming you're not referring to paid pickers here?
Correct. These are buddies who just want to help and record a track at no cost. Of course, you always want to get that all important waiver regardless if money changes hands or not. I've had people pay me to do a track or several for them, pay me and never ask for the waiver. Of course I always sign one and send it to them anyway if they paid for the tracks.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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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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Introducing XPro Styles PAK 11 – Now Available for Windows Band-in-a-Box 2026 and Higher!
XPro Styles PAK 11 for Windows & Mac Band-in-a-Box® version 2026 (and higher) is here with 100 brand new RealStyles, plus 31 RealTracks/RealDrums!
Guess who’s back again? That’s right! It’s our XPro Styles PAK’s triumphant return with the 11th edition in this series! 100 new styles are coming your way spread across the rock & pop, jazz, and country genres. And this edition's wildcard genre explores the immense and far-reaching catalogue of electronic music! The included 31 RealTracks and RealDrums can be used with any Band-in-a-Box® 2026 (and higher) package.
Special offers available until August 31st, 2026!
All the XPro Styles PAKs 1-11 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 11 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2026 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Introducing Xtra Styles PAK 22 – Now Available for Windows Band-in-a-Box 2026 and Higher!
Xtra Styles PAK 22 for Windows & Mac Band-in-a-Box version 2026 (and higher) is here with 200 brand new RealStyles!
It’s time to celebrate! Xtra Styles PAK 22 for Band-in-a-Box® is here, and we've got 200 brand-new styles coming your way!
No Xtra Styles PAK is complete without the classic rock & pop, jazz, and country volumes you know and love, and we’ve got plenty to share, with 150 styles spread across too many genres to list! Of course, it also wouldn’t be complete with our special wildcard volume to add a little spice and pizzazz to the mix. This year, because we loved it so much the first time, we’ve decided to make the second iteration of our SynthMaster volume, full of new sounds, interesting genres, and 50 engaging styles, all making use of the diverse SynthMaster plugin! Here you can find genres such as airy yacht rock, sultry electrotango, and even some synth soca funk. Don’t wait, pickup up Xtra Styles PAK 22 today!
In this PAK you can find: dulcet folk ballads, funky gospel country, Brazilian jazz fusion, upbeat 1980s pop, classic Americana, a plethora of breezy bossa novas, indie singer-songwriter, scintillating synthwave, exuberant electronica, and many, many more!
Special offers available until August 31st, 2026!
All the Xtra Styles PAKs 1-22 are on special for only $29 each (reg $49), or get all 22 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 22.
Video: Xtra Styles PAK 22 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 22 requires the 2026 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Introducing XPro Styles PAK 11 – Now Available for Mac Band-in-a-Box 2026 and Higher!
XPro Styles PAK 11 for Mac & Windows Band-in-a-Box® version 2026 (and higher) is here with 100 brand new RealStyles, plus 31 RealTracks/RealDrums!
Guess who’s back again? That’s right! It’s our XPro Styles PAK’s triumphant return with the 11th edition in this series! 100 new styles are coming your way spread across the rock & pop, jazz, and country genres. And this edition's wildcard genre explores the immense and far-reaching catalogue of electronic music! The included 31 RealTracks and RealDrums can be used with any Band-in-a-Box® 2026 (and higher) package.
Special offers available until August 31st, 2026!
All the XPro Styles PAKs 1-11 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 11 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2026 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Introducing Xtra Styles PAK 22 – Now Available for Mac Band-in-a-Box 2026 and Higher!
Xtra Styles PAK 22 for Mac & Windows Band-in-a-Box version 2026 (and higher) is here with 200 brand new RealStyles!
It’s time to celebrate! Xtra Styles PAK 22 for Band-in-a-Box® is here, and we've got 200 brand-new styles coming your way!
No Xtra Styles PAK is complete without the classic rock & pop, jazz, and country volumes you know and love, and we’ve got plenty to share, with 150 styles spread across too many genres to list! Of course, it also wouldn’t be complete with our special wildcard volume to add a little spice and pizzazz to the mix. This year, because we loved it so much the first time, we’ve decided to make the second iteration of our SynthMaster volume, full of new sounds, interesting genres, and 50 engaging styles, all making use of the diverse SynthMaster plugin! Here you can find genres such as airy yacht rock, sultry electrotango, and even some synth soca funk. Don’t wait, pickup up Xtra Styles PAK 22 today!
In this PAK you can find: dulcet folk ballads, funky gospel country, Brazilian jazz fusion, upbeat 1980s pop, classic Americana, a plethora of breezy bossa novas, indie singer-songwriter, scintillating synthwave, exuberant electronica, and many, many more!
Special offers available until August 31st, 2026!
All the Xtra Styles PAKs 1-22 are on special for only $29 each (reg $49), or get all 22 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 22.
Video: Xtra Styles PAK 22 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 22 requires the 2026 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Peter Gannon Talks Band-in-a-Box with zplane
zplane recently interviewed Peter Gannon, the founder and creator of Band-in-a-Box, about the software's early days, what sets it apart from AI, how zplane's audio algorithms are used in Band-in-a-Box, and more!
Special thanks to the team at zplane for their continued support.
Check out the full interview here: https://products.zplane.de/blog/peter-gannon-interview-pg-music
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!
We've added many major new features and new content in a redesigned Band-in-a-Box® 2026 for Mac®!
Version 2026 introduces a modernized GUI redesign across the program, with updated toolbars, refreshed windows, smoother workflows, and a new Dark Mode option. There’s also a new side toolbar for quicker access to commonly used windows, and the new Multi-View feature lets you arrange multiple windows as layered panels without overlap, making it easier to customize your workspace.
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®.
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, and much more!
Upgrade your Band-in-a-Box for Mac® to save up to 50% on most Band-in-a-Box® 2026 upgrade packages!
Plus, when you order your Band-in-a-Box® 2026 Mac upgrade during our special, you'll receive a Free Bonus PAK of exciting new add-ons.
If you need any help deciding which package is the best option for you, just let us know. We are here to help!
Band-in-a-Box® 2026 Mac Special Offers Extended Until May 31st!
Good news- we've extended our Band-in-a-Box® 2026 for Mac® special offers until May 31, 2026!
Band-in-a-Box® 2026 is packed 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 transcribe 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, and much more!
There are over 100 new features in Band-in-a-Box® 2026 for Mac®.
When you order purchase Band-in-a-Box® 2026 before 11:59 PM PDT on May 31st, you'll also receive a Free Bonus PAK packed with exciting new add-ons.
Check out the Band-in-a-Box® for Mac packages page to find the best package for you.
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