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#434070 - 10/18/17 12:34 PM [Recording, Mixing, Performance and Production] BIAB as Disruptive Technology
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David Snyder Offline
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This is a pick up on Matt Finley’s great post on BIAB audiophile.

In order to keep from getting lost in the weeds I started a new thread reflecting on the audiophile post.

First, great post, Matt! Would love to hear some of your new music and albums. Shoot me some links!!!

Here is OP everybody.

http://www.pgmusic.com/forums/ubbthreads.php?ubb=showflat&Number=434069#Post434069

Now, here comes the cannon blast. Picking up on the "can you use BIAB to make an album" topic.

Matt, overall, your post gets into a thorny issue. Essentially BIAB in its current 2017 state is profoundly “disruptive” as a technology and some people don’t know what to do with that. In 2008 Harvey Gerst was arguing that he used BIAB all the time for demos and didn’t understand the vitriolic comments people made about the product. He finally gave up. And think how far BIAB has come since 2008. BIAB 2017 is mind boggling insofar as the quality of the sounds that can be used in professional productions.

Looking at Harvey’s client roster you would assume that he would not use or promote a non-musical product. You would also assume he knows what he is talking about and is not a con artist. Bob Dylan does not hire con artists. Frank Zappa didn’t either.

http://www.itrstudio.com/about.html

Part of the lingering ignorance about what BIAB can or can’t do (and its evolution as a full-on production tool) has to do with the fact that the music world is crawling with con artists and hucksters and for many of those people BIAB would be seen as a threat to their livelihood and so some paradoxical and nonsensical stuff happens and stupid stuff is said about the product from time to time on other musical forums. But, 90% of what I see going on in music (or any other business today) is marketing hype. It is a triumph of marketing and spin over substance on a colossal scale, everywhere you look, in every nook and cranny.

Here is one classic albeit “micro” example of how this world of hype impacted me and a co-writer:

A friend of mine in LA and I put out an album a few years ago that we were really happy with. Then we got an unsolicited letter from a producer type who said that for $20,000 or something he could help us redo all of our songs to take us over the top “to the top of Golden Charts and sound just like Adele”--and he was very critical. So he sent us some links to his songs. They were HORRIBLE. I would never have posted a single one of them on the forum in my wildest dreams. But he thought he was fabulous. We said no thanks. My friend and colleague, by the way, writes on art, music and technology for a rather large publication I can’t mention. He was not impressed. But he loves the stuff I do with BIAB for sure.

So here is the part I still don’t get:

People will sit around with their synths and beat boxes all day and whip up some stuff I could never listen to and say it is “legitimate” because they did it themselves. God bless them if they want to make this stuff, but heaven forbid if you say you are using Band in a Box as a production tool. Some folks give you that look like “How dare you!” (especially producers or people who just dropped 20 grand in a studio) but then you listen to THEIR stuff and you’re like, “Ugh….well….how should I say this….”

I honestly think that BIAB is at a watershed moment in its history where it has to break across some kind of marketing chasm so that people can just go ahead and admit that it is a wonderful production tool.

But right now, I do highly suspect that other producers like Gerst are using it—but they never tell anyone. They keep it a secret. I don’t think it has to be kept a secret, really, but that is sort of where it is right now as far as I can tell. The people who truly understand the power of the tool just keep their mouths shut and go about their business.

Meanwhile, there is a deluge of snake oil salesmen hitting up every musician I know saying “If you pay me $20,000 I can make you sound legit.”

No thanks. I’d rather do it myself. And oh, by the way, I say to people who scream that you should “play your own instrument”: I do play my own instruments. And I use BIAB. So there.


Now we’re sticky....


smile
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#434071 - 10/18/17 01:03 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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jford Offline
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David, here's a link to Matt's CD. I bought shortly after Matt discussed it previously on the forum.

I've also had the privilege of hearing him and his band play live (along with their local symphony orchestra). Much fun. My understanding is that while the songs started in BIAB, everything on the album is a live performance by extremely talented musicians. It's a good listen.
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#434072 - 10/18/17 01:07 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: jford]
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David Snyder Offline
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Thanks!!!
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#434075 - 10/18/17 01:26 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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Thank you both! John is correct that all the songs on my 2006 CD were written in BIAB from 1993 - 2005, and distributed to the musicians to hear, but were then recorded live in the studio for the CD. This is the same system I still use for concerts: I send my composer's demos of BIAB songs to the group, and we play the concert with no rehearsal needed.

Bear in mind there were no RealDrums until two years after I recorded my CD, and RealTracks until three years after. That was one of the main points I made in another thread, that BIAB has come along so far that I could layer a RealTrack in with live studio tracks, and it sounds great. I'm not to the point that I would make a CD with all BIAB backing tracks, but it's getting closer.
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#434078 - 10/18/17 02:01 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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Matcham Offline
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Interesting post, David, and I'm sure it will provoke a lot of discussion. Now that I'm a total BIAB convert here are a few observations about how it is received.

Most musos I talk to have heard of BIAB but few know much about it. Some tried it in its early days with its plinkety midi sounds and haven't cottoned on to Realtracks. Others tried BIAB early on and say they could never get theirs heads around the software.

Musos I've demonstrated BIAB to are super impressed with the sounds. Always. They're still mostly scared of the interface based on past experience, and they're bothered about themselves and others losing work.

My listeners initially feel let down when I explain how I created the track. Then they're curious and interested and maybe even impressed. Still they wonder what chemistry might have happened if I used 'real' musos. (Must admit I do too sometimes.)

Electronic music and therefore sampling is the norm for younger artists. I see kids all the time creating music from found sounds. That's the world they live in and they don't have a problem with it. I suspect it's more of a problem for older artists for whom 'authenticity' has a different meaning, especially where real instruments are concerned.

I agree that BIAB is disruptive but as part of a music trend that is becoming more reliant on sampled sounds at the expense of studio recorded musicians. It's just that BIAB's sampled sounds are more acoustic than electronic. I'd be surprised if a lot of demos aren't recorded using BIAB, and I'm sure a lot of music licensing creators (eg Taxi members) are using BIAB to create tracks. Nevertheless BIAB still has a long way to go in market growth provided they can keep competitors at bay.



Edited by Matcham (10/18/17 02:02 PM)
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#434079 - 10/18/17 02:07 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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MarioD Offline
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David, I agree about BiaB has to break some kind of marketing barrier. But IMHO that will not happen until a few things happen. Some are going 64 bit, a more modern GUI, a rewrite of the menus, etc.

I know that this will tick off some of the users here but I have had musicians say BiaB sounds great but the layout is terrible and I will never use any 32 bit software.

Many of use don't care about these things but the younger generation does. Personally I would like to see those things happen.

Like you I also play instruments and I also use BiaB. Plus I am not ashamed to admit it!

YMMV
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#434085 - 10/18/17 03:10 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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Great post David! I have some thoughts (surprise!)

First regarding telling others about using Band-in-a-Box my short answer is...don't! There are way too many pissing matches just begging to be fought with friends, fans, musicians, producers, etc. Just steer clear of all of those and keep your "secrets" to yourself!

And since I have rarely if ever been a sneezer (Seth Godin's definition; not the one in Urban Dictionary!), I have very little interest in promoting the product since I do not receive royalties or discounts for doing so.

Next, as to why Band-in-a-Box is not more widely accepted and acknowledged I think there are several reasons and below are just a few I thought of...

1) As you pointed out, there is great skepticism that the product will do what it claims. When I first bought it in 2012 I was quite skeptical as it sounded too good to be true. Were it not for the enthusiasm here in the forums I probably would have taken a pass on it. Even when I was entering my credit card I did not believe it did what they said and I was prepared to exercise the 30 return option!

2) The price to get started is fairly high; it will not usually be an impulse purchase. And the cheaper packages do not deliver the true BIAB experience since they include such a limited subset of RealTracks.

3) BIAB makes it super easy to create an awesome classic country song, a cool classic rock and roll song, a beautiful classic surf song and I guess classic jazz songs. But note the word "classic". To me it is a whole lot harder to create something that sounds fresh and in line with 2017 popular music. Maybe part of that is the modern music is more complicated and does not follow the classic song structures and maybe BIAB could just use some modernizing when it comes to RealTracks. I know someone is going to jump in and tell me it will produce perfect 2017 music but if so I have not figured out how to do that!!

4) On a related note, there is likely a concern among professional musicians that using a product like BIAB to write original songs is risky because many of the RealTracks have an almost signature sound that can make songs sound too similar to each other.

5) The interface still looks and feels outdated and is still too complex and confusing. I know this will start a firestorm among some folks around here but younger people care about the interface and overall ease of use! That is why you see such sleek GUIs being offered for almost every other modern music product.

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#434098 - 10/18/17 05:13 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: Matcham]
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David Snyder Offline
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Thanks, I have a funny story coming up here in a sec....

smile
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#434099 - 10/18/17 05:14 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: MarioD]
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David Snyder Offline
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Thanks Mario!
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#434100 - 10/18/17 05:37 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: JohnJohnJohn]
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David Snyder Offline
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Hey JohnJohnJohn,

Great reply man! Very eloquent!

Hey something really, really funny happened just now that is so in line with what we are talking about I had to share. It really made me laugh, thinking about these posts.

So, I just left my songwriter's meeting at a huge music store here that sponsors us for meeting space, and a guy showed up who is the top guitar instructor there, a multi-instrumentalist from Berklee, who plays and teaches guitar (wicked, wicked chops), violin, viola, cello, saxophone, brass, flute and bass.

I played him something Floyd and I are working on and about to release (and a few other things done in BIAB recently) over the PA system in the large rehearsal space. Played it loud. Really loud.

After they were done, he stared at me. This is the nearly exact avalanche of words that came out of his mouth next and I am not lying.

"D....., where the....did you finds those musicians! Those people are killer man! Jeez. What the...! I never heard a drummer so tight!! Man! What studio did you do that in? The B3 is killer!!! Man, let me be in your band. Please. These songs are epic. I want to play in your band man. I have a bass player and a drummer and we can practice here. Some of the other master instructors here are gonna want to play too. Can they play? Can I put a horn section together for you man? We can be like the E Street band. We can kill it dude. Do you want to start practicing next week? My manager is probably gonna wanna sing some back up vocals. Will you let her?? We can use our sound stage to practice on. What do you say man? Are we on? These songs are huge. Hey, where in the ....did you find people who can play like that? Man, I am going to have actually practice! Ha! Ha! I don't even know what some of those chords are! What WERE those bridge chords? Wow."

Direct quote. Verbatim.

I said..

"Uh, ok man. I just wanna play acoustic and sing the songs. Whatever you say. Pull the band together buddy."

He said:

"I'm on it," and walked out front to start talking to people.

So, maybe there is something to this whole Band in a Box thing after all.

Hmmmmmmmmm.

What to do. What to do.
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#434117 - 10/18/17 08:35 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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JohnJohnJohn Offline
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Originally Posted By: David Snyder
What to do. What to do.

Well, if that is a true story my hat is off to you! You got someone's attention (without copping to using BIAB) who can maybe bring the real musicians and work with your songs! I hope it works out for you!!

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#434131 - 10/18/17 09:57 PM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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Charlie Fogle Offline
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JohnJohnJohn Quote: " 3) I know someone is going to jump in and tell me it will produce perfect 2017 music but if so I have not figured out how to do that!!"

Matcham Quote: "Electronic music and therefore sampling is the norm for younger artists. I see kids all the time creating music from found sounds. That's the world they live in and they don't have a problem with it."

BIAB is more than capable for producing perfect 2017 music. Here's why.

2017 music is loops, samples and synthesizers. Young artists do create music from found sounds. What that means is they spend hours searching for and extracting samples from commercial songs and midi libraries. A young artist may cannot afford a thousand dollar library but can learn to find and sample high quality sounds from commercial recordings other artists have produced using the high quality, expensive library. The sampled sound is brought into a synth and the synth plays new original music using the sampled sound.

While BIAB generated tracks may sound classic, dated and similar. BIAB generated tracks that are sampled will not sound in that classic, similar manner. There are more than 2,500 hours of pristine recorded Real Tracks available to be sampled and looped into modern music. The instrument can easily be generated for sampling as an isolated, pristine instrument. The sampling potential is nearly limitless.

I recently took an online midi programming course that was quite eye opening to how pop, edm, house, rap, and country music are constructed. There was extensive discussion and demonstration how modern musicians work entirely in the box to locate, extract and make sampled music from commercial recordings. isolating a clean sound from multiple instruments playing can take some dexterous cutting and pasting. The producer never mentioned BIAB or any similar program. He did have expensive libraries for his synths. Using samples and loops, tracks at a length of 4 to 8 bars are generated, quantized and duplicated to the length of the song. This is repeated for 4 to 6 additional sampled synth tracks to create a beat, bass, chord progression and melody. The song is then structured into the intro, verse, chorus and bridge as desired. Additional tracks of acoustic instruments, vocals, backing vocals and fills are added.

A lot of forum members are familiar with Graham Cochran of The Recording Revolution. He made a recent Facebook post where he demonstrates some of these techniques and interestingly samples A Savage Garden vocal piece from 4th of July. It is around the 5:35 mark I believe.

I tried to post the link but was unable to get it to open. For those who have Facebook, they can access his FB page to watch it.

He also posted a similar video on YouTube - Here -

There are literally thousands of hours of audio in BIAB available for sampling.

Charlie
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#434139 - 10/19/17 12:10 AM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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lambada Offline
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Interesting posts. I have to say, I agree with johnjohnjohn, but who knows, it's nearly Xmas! I'm counting on my Voicelive 3 Ext and Reaper / iZotope to give me the modern sound. The only problem is my lack of talent.. cry .... What's for sure is the BIAB/Realband get you into the ball park for a lot of areas.


Edited by lambada (10/19/17 12:11 AM)
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#434143 - 10/19/17 02:45 AM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: JohnJohnJohn]
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BlueAttitude Offline
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Originally Posted By: JohnJohnJohn


4) On a related note, there is likely a concern among professional musicians that using a product like BIAB to write original songs is risky because many of the RealTracks have an almost signature sound that can make songs sound too similar to each other.

This is true.
I tend to avoid realtracks that have a distinctive riff for this very reason, and now only use the ones that are more generic.
I almost always record my own guitar tracks, but I recall a couple of years ago I used a realtrack guitar that had a great riff that I liked for a blues tune. Couple of weeks later someone else posted a blues tune using the same realtrack. 12 bar blues, same riff, basically the same song with different lyrics :P

But, using the more generic realtracks is not a problem, and the more tracks you can record yourself the better off you will be at coming up with something unique IMHO.

Originally Posted By: JohnJohnJohn

5) The interface still looks and feels outdated and is still too complex and confusing. I know this will start a firestorm among some folks around here but younger people care about the interface and overall ease of use! That is why you see such sleek GUIs being offered for almost every other modern music product.


Agree 100% that it needs a facelift. I've been using the program since 2002 and it hasn't changed that much. Doesn't bother me, but someone new looking at the program might be put off by the dated interface.

Good post BTW David!
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#434160 - 10/19/17 06:46 AM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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I need to get back to the songwriter meetings.... all the good stuff happens when I'm not there.


Yeah, I've had that battle... uhhh, I mean "discussion", in the Sonar forums a few times. I'd post a song done with BB and when people asked, I told them who was playing and the war would commence. Everything from I'm cheating to ....well you can imagine. It would usually end up stating that recording itself was cheating and disingenuous since it wasn't organic and live. Oh well, you can't please everyone. I eventually stopped including the info on the players and PM'ing anyone who asked "who played the steel, or the fiddle" to kind of keep the conversation on track regarding the recording crits I was seeking.

I had one guy over there who runs a few professional studios in another state make the comment that the fiddle in one of the tracks sounded so real that he could "hear the rosin on the bow".... quite a compliment knowing who this guy was and the quality of the work he was capable of doing.

I think most people are threatened by the quality of the sounds when compared to what they can personally do. I'll be the first to admit that the studio players are way beyond what I could conjure up trying to play B3, fiddle, piano, and yes, even some of the guitar work. Especially if I try to emulate it with midi and samples. The biggest thing is the quality of the sounds. I might be able to play a more interesting guitar part..... lead or rhythm, but nailing the quality of the recorded acoustic guitar.... hard to do.

My main argument point to the ones who were against using BB was this. If you can't or don't play a particular instrument, you have to hire someone to do it for you. What's the difference between hiring someone in a session and using BB? Do you consider hiring session cats to be cheating? Of course not. For me, it is essentially the same thing. The big difference is that if I'm writing and recording a lot, I don't have the budget to be hiring top quality musicians to do demo sessions on my songs. And we all know that the folks listening to the music don't want to hear amateurish sounding players and bad quality music. Financially, BB works better for me in that regard. Furthermore, you couldn't afford to hire Brent Mason and some of the other top players for your sessions anyway, or wait until they could schedule your session. If I need Brent at 10pm or 10am, BB makes him available instantly.

David, did you ever tell the guy the truth about the session players and break his heart?
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#434187 - 10/19/17 08:56 AM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: Guitarhacker]
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David Snyder Offline
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Herb,

Ugh....no. He was so fired up about pulling an all star band together to copy the sound that I thought I would just clear my throat and mumble and let him go about his networking.

My mic cable came unplugged at that point Herb. Not my fault. It was not a lack of transparency man, just bad wiring you know?

Well, I guess I better write some more tunes.

smile
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#434190 - 10/19/17 09:03 AM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: jford]
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David Snyder Offline
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Originally Posted By: jford
David, here's a link to Matt's CD. I bought shortly after Matt discussed it previously on the forum.

I've also had the privilege of hearing him and his band play live (along with their local symphony orchestra). Much fun. My understanding is that while the songs started in BIAB, everything on the album is a live performance by extremely talented musicians. It's a good listen.





Awesome!!! Studio Quality!!!! That's what I'm talking about right there. I'm going to get this.
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#434194 - 10/19/17 09:12 AM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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MarioD Offline
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Originally Posted By: David Snyder
Originally Posted By: jford
David, here's a link to Matt's CD. I bought shortly after Matt discussed it previously on the forum.

I've also had the privilege of hearing him and his band play live (along with their local symphony orchestra). Much fun. My understanding is that while the songs started in BIAB, everything on the album is a live performance by extremely talented musicians. It's a good listen.





Awesome!!! Studio Quality!!!! That's what I'm talking about right there. I'm going to get this.


You might want to consider getting Matt's wife's CDs:

http://denisejordanfinley.com/albums/

They are also studio quality. My wife has played "Solstice" so many times that if it was vinyl it would have been ruined by now and we got it when we went Matt and Denise in July!
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#434199 - 10/19/17 09:24 AM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: David Snyder]
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A very interesting thread David. Thanks for starting it.

j*3 have you tried the bonus styles to try and get a more modern sound out of biab? They are great (and completely different and modern...imho).

I was listening to a podcast a while back and they were talking about the musicians who differentiate themselves by recording unusual instruments together like "pedal steel, banjo and a cello". Heck! We do that all the time over here!

I actually like telling people I make my music with biab. Not only do I feel like I "owe" pg music for providing me with this wonderful product that has transformed my musical life but I actually do like helping people to improve their own sound which, If they are prepared to put in the work and learn the product they can usually do.

I have a young guy in Serbia who does final mixing of a lot of my tracks for licensing and he makes a lot of electronic music that is very popular on SoundCloud. He works with lots of different artists but I can safely say that I am his favorite! He absolutely loves getting my tracks and putting a final shine on them. Btw he would purchase bias himself but says it is too expensive...a while back I wrote and recorded a track specifically for an opportunity in one day. He could not believe it was possible (it has subsequently been licensed... will post a link shortly.

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#434206 - 10/19/17 09:43 AM [Recording, Mixing, Performance and Production] Re: BIAB as Disruptive Technology [Re: JoanneCooper]
Registered: 06/25/12
Posts: 2321
JohnJohnJohn Offline
Veteran

Registered: 06/25/12
Posts: 2321
Originally Posted By: JoanneCooper
j*3 have you tried the bonus styles to try and get a more modern sound out of biab? They are great (and completely different and modern...imho).

Yep, I have bought every RealTrack and every RealStyle since 2012 and played around with all of them except jazz. It seems super simple to create classic sounding songs...just enter a chord progression...change chorus to b style...and it just works! Magical, really! Maybe I just don't know the product well enough but I can't get modern music out of the box! How about a new Joanne Cooper video on how to create 2017 music with BIAB?

Quote:
I feel like I "owe" pg music for providing me with this wonderful product that has transformed my musical life

No doubt BIAB has provided me with tools to quickly improve my music and I am glad I discovered it! As for owing PG...nope, I have been sending them money for 5 years and expect to continue so no debt there!! laugh

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PG Music News
Band-in-a-Box® 2019 on a USB 3.0 Hard Drive - Speed Thrills!

We're excited to say that all Band-in-a-Box® 2019 for Windows UltraPAK and UltraPAK+ orders now ship on a USB 3.0 hard drive!

What does this mean? Faster hard drive transfer rates will enhance the program operations (faster time to generate tracks, reduced audio artifacts) and offer faster transfer speeds (typically up to 3x faster)!

It's a great time to order your UltraPAK or UltraPAK+ Upgrade... they're ON SALE until December 31st!

Band-in-a-Box® UltraPAK $469
Upgrade from Version 2018: [color:#FF0000]$149[/color] (reg: $279)
Upgrade from Version 2017 or earlier or crossgrade: [color:#FF0000]$169[/color] (reg: $299)

Band-in-a-Box® UltraPAK+ $569
Upgrade from Version 2018: [color:#FF0000]$179[/color] (reg: $379)
Upgrade from Version 2017 or earlier or crossgrade: [color:#FF0000]$199[/color] (reg: $399)
Note: The difference between the UltraPAK and the UltraPAK+ is that the MIDI Songs & Lessons PAK is included in the UltraPAK+ package.

Video: Band-in-a-Box® 2019 for Windows® New Features!

Our "Band-in-a-Box® 2019 for Windows®! New Features, RealTracks, and other content!" video is now ready! Get to know all about the newest features in Band-in-a-Box® 2019: Click here to watch...

We have listed a table of contents for this video, you'll see it within the YouTube video description, or by visiting this forum post.

RealBand 2019 - A New Look!

Have you opened up your RealBand 2019 yet? You may notice that we've given it a fresh new look! In fact, there are now 3 different looks to RealBand.

See for yourself! Within the program, visit Options | Icon Set and choose from: Classic, Modern 1, or Modern 2.

Band-in-a-Box® 2019 for Windows - Choosing to Run 64-bit or 32-bit

We heard you! With the release of Band-in-a-Box® 2019 for Windows we've included the BRAND NEW 64-bit version of Band-in-a-Box®, which works well with the latest plugins and 64-bit OS features! Because not everyone has a 64-bit computer, we include both the 64-bit and 32-bit versions with your purchase - you choose which one to use!

By default, when you install your Band-in-a-Box® 2019 for Windows the 32-bit version will run.

The steps to run the 64-bit version are simple! Just head to your "bb" folder and choose the "bbw64" icon - you'll notice that the Band-in-a-Box® "splash screen" will state "64-bit" as the program opens.
(and if you open the 32-bit version, the "splash screen" will state "32-bit")

Still not certain which version you're running? Within the program, go to Help | About Band-in-a-Box - it'll either state:

Band-in-a-Box® for Windows
Version 2019 (604)
<--- the number in brackets is the build number - this will change as new patch updates are released
64 bit application

or:

Band-in-a-Box® for Windows
Version 2019 (604)
<--- the number in brackets is the build number - this will change as new patch updates are released
32 bit application

We hope everyone who can is enjoying their Band-in-a-Box® 2019 64-bit version for Windows!

NEW! Style-style-style Additions and Enhancements in Band-in-a-Box® 2019 for Windows!

With over 64 new features and enhancements in Band-in-a-Box® 2019, we've made sure to add to, enhance, and update some of the Style features within the program: StylePicker, StyleMaker, and Song Titles browser within the StylePicker!

StylePicker Enhancements:
-If the style list needs rebuild, it tells you that within the StylePicker, instead of a message that requires a response.
-The rebuild is faster than before by 75%. It takes 1/4 of the time now.
-While the style list is being rebuilt, you can see the progress inside the StylePicker.
-The style list can be filtered by a specific RealTracks/RealDrums/MIDI SuperTracks or RealTracks/MIDI SuperTracks in a certain number range.
-You can filter the style list by a specific Xtra Styles PAK.
-The dialog to select an Xtra Styles PAK has a button to take you to the PG Music website that shows information about Xtra Styles PAKs.
-The StylePicker can list all styles (including N/A styles) in the default display.
-The Set number display is improved, including sort by type and Xtra styles.

StyleMaker Improvements:

-The new MIDI velocity offset allows you to make styles with altered loudness for MIDI tracks.
-Styles can be saved with information like a memo, examples, genres, and more, which will be displayed in the StylePicker.
-You can import information from another style. This is useful when you are making a similar style.
-A style can have a huge number of RealTracks (up to 70!) because the StyleMaker now supports RealTracks multi/medley feature, which allows a single track to have up to 10 simultaneous playing of RealTracks.

Song Titles Browser Enhancement

-We’ve added 300 more song titles including requests from users, so there are now over 10,600 titles.
-The chord density filter is available, and it’s also displayed in the memo.
-The chord complexity filter is available.

Review all the new features of Band-in-a-Box® 2019 here.

NEW! Traditional Celtic Tunes with Artist Performance Set 9: Celtic Flute with Geoff Kelly

Purchase Band-in-a-Box® 2019 for Windows during our special (which ends December 31st), and you can add the 49-PAK to your order for just $49!

Among the great Add-ons included in the 49-PAK is our Artist Performance Set 9: Celtic Flute with Geoff Kelly, which includes 18 traditional Celtic tunes! You'll find beautifully performed songs like Boys of Bluehill, The Cliffs of Moher, Harvest Home, Rolling in the Rye Glass, and more!

The Celtic RealTracks backing up performances by Geoff Kelly sound amazing, and so do the duets with previous Artist Performance musician Daniel Lapp (on fiddle)! Listen to all the demos for these Artists Performances near the bottom of our Bonus PAKs page, here.

Here's a taste: Demo: Rolling in the Rye Grass

The Band-in-a-Box® 2019 for Windows Bonus PAKs!

Purchase Band-in-a-Box® 2019 for Windows during our special (which ends December 31st), and you'll receive a FREE Bonus PAK overflowing with great Add-ons, including MIDI SuperTracks Set 28: Pop Basses with 6 MIDI SuperTracks, 21 RealDrums Transcriptions, 120 guitar licks and riffs in Instrumental Studies 7: Brent Mason 12-key CountryPop Guitar Licks, and 15 new MIDI Styles!

Or, upgrade it to the 49-PAK for just $49 and you'll add 40 UNRELEASED RealTracks, 10 "Low Man" & Re-amped "12-Key" Metal/Thrash Electric Guitar RealTracks, 6 more MIDI SuperTracks with Set 29: More Organ, Piano & Accordion, 120 more guitar licks and riffs with Instrumental Studies 8: Brent Mason 12-key Train-Beat Licks, 15 more MIDI Styles, and Artist Performance Set 9: Celtic Flute with Geoff Kelly!

Watch the video highlighting our 49-PAK here, or listen to demos and learn more here.

Free Bonus PAK Contents:
-Look Ma! More MIDI 1
-21 RealDrums Transcriptions
-MIDI SuperTracks Set 28: Pop Basses
-Instrumental Studies 7: Brent Mason 12-key CountryPop Guitar Licks

2019 49-PAK Contents:
-40 Bonus RealTracks!
-10 "Low Man" and Re-amped "12-Key" Metal/Thrash Electric Guitar RealTracks
-Artist Performance Set 9: Celtic Flute with Geoff Kelly
-Instrumental Studies 8: Brent Mason 12-key Train-Beat Licks
-Look Ma! More MIDI 2
-MIDI SuperTracks Set 29: More Organ, Piano & Accordion

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