Mario, let's see if I can be succinct in my sleep deprived, light-headed state.

MY personal issue, and I may be a minority of 1, is not at all about the functionality (the program). It is about the content (the samples tracks). That is what has gotten stale. The same old-ness of the Real Tracks seem to have not had any new names of faces since my first copy (2009). Brent Mason is played out. So is Paul Franklin on pedal steel and John Jarvis on piano. Their samples sound like they sat on a stool, saw the red light go on, and said "How many notes can I fit in here to impress everybody with my glitz and glitter?" If you go through those styles carefully (you will likely never see all the cross-pollination unless it becomes a full time job) you see the same names surface on EVERY genre. I know full well that if I have a pattern in my mind that no generation software is going to randomly create it. All I am asking for (and some others seem to agree) is new names with different musical thought patterns and different skill sets. I think part of the obliviousness (and I didn't even know if that was really a word) comes from how many people have never left BIAB for RB. (I have never left RB for BIAB.) There seems to be a difference between what the 2 can create for soloing. (Someone who has used both please correct me on that if it is not correct.) I don't know if both pull from the same sample pool. In fact I don't even know what they mean by "sample tank". As I said earlier, studio and touring musicians were largely unemployed for 18 months. Did any of the power brokers at PG even consider approaching them about contributing?

I wish I could find that Twitter exchange with Eric Marienthal where I thanked him for doing a solo for me and he replied "Who the &$@*% are you?" Then I explained. LOL!


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..."