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Congrats on your focus and dedication to reach this milestone FJ!!!
Your drive, determination and the high personal bar you set for yourself in honing your production chops and to always keep growing as a songwriter has resulted in a well deserved motivational and inspirational influence for so many others on this forum.
And in addition to your own blossoming skillset on your journey here, your willingness to help and encourage others and your excitement over your collaborations certainly has added to the fun.
I think we are all blessed that you have the time and the heart to share your talent, your knowledge, your songs and most of all yourself with us.
Here's to the next 100! Cheers to you!
BTW, Loving #100 - It's one of my personal favs. +1
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As far as I am concerned you did not write 100 songs! You wrote 100 masterpieces!
I really like the vibe on this one, everything about it is ready for radio air time. How many times have I said that? I'd say about 100.
So for the 100th time I really like this one and in fact it is probably the best you have done to date and.............
This is a keeper!
Ps - keep them coming!
Mario - that is really nice of you to say... I appreciate it, greatly... thanks!!! Really like the feel of this. Atmospheric. Congrats on #100.
Regards,
Bob Thank ya, Robert...
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Congrats Floyd! A nice way to hit the century. You're a consumate musician and I've always loved your work.   John
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Congrats on your focus and dedication to reach this milestone FJ!!!
Your drive, determination and the high personal bar you set for yourself in honing your production chops and to always keep growing as a songwriter has resulted in a well deserved motivational and inspirational influence for so many others on this forum.
And in addition to your own blossoming skillset on your journey here, your willingness to help and encourage others and your excitement over your collaborations certainly has added to the fun.
I think we are all blessed that you have the time and the heart to share your talent, your knowledge, your songs and most of all yourself with us.
Here's to the next 100! Cheers to you!
BTW, Loving #100 - It's one of my personal favs. Hi floyd, I'm presently in the midst of working my way through your song. When I read Josie's above post, though, I had to take time out to say. "I completely agree." She really has summed up exactly how I also feel. We're all very lucky to have you around. Back with another post soon, Noel
MY SONGS...Audiophile BIAB 2024
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Darn, at first glance at the title we thought we were going to listen to a cover of icehouse's hey little girl ;-)
Just kidding, this one sounds great!
As do all of your songs, they are among the best on this forum.
The arrangements, the clarity of the mixes, the vocals and background vocals. All of this shows a truly great musical talent.
Your comments on songs of others are always positive and constructive. I think we speak for all on this forum when we say that the energy you put into this is very much appreciated!
Rob & Anne-Marie Thanks for such nice comments. I could say the same about you guys... glad that y'all are here!! floyd,
Thanks for mentioning us. The friendship and the collabs are priceless. And how cool to have the Janettes on #100! We enjoyed the interesting great backstory also.
Oh, and BTW, if any forum folks are reading our response please do check out Jon's site. He is a writer of great distinction.
One hundred songs is impressive but when you factor in the consistent high quality of the writes, the vocals and the production it takes on another dimension. Janice is thrilled to be part of this milestone!!
Bud
PS How fitting that #100 features EIGHT guitar RealTracks! That is not easy to do.
Appreciate all that, Bud. Y'all are my band mates. But, more importantly, dear friends... I do expect you'll be along for the next hundred.. 
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Very cool tune Floyd. Awesome tempo. Congratulations on the 100 songs. Amazing feat. The quality of your songs and collaborations are first class..
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Congratulations, Floyd. So glad you got back into writing and discovered BIAB. You should consider producing a BIAB arranging tutorial--I know I would buy it!
The song is terrific. I love the intro with you adding instruments with each bar.
Fred Thanks, Fred. Glad someone picked up on the intro... I have considered the "tutorial thing", but generally am too busy writing and producing to want to spend the time to do it... Hi, Floyd !:))
I´d also like to congratulate you !!:))
It is a great collection of songs
you´ve produced ! :))
This "Little Girl" seems to me quite special
as you seem to have made the trip back to
the sixties with this one and thus I mean
to music that resembles The Beach Boys and
maybe to an even greater extent The 4 Seasons
both groups of whose music I´ve always loved very much !
this one is just terrific in every aspect and I
can´t but rejoice in your achievement !
May we hear many more tunes like this !
Cheers
Dani
What a very nice review, Dani... I thank you for that...
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On it's way..... Hey Floyd,
I have a question. That time you posted one of your BIAB files so people could cover it, where did you post it too, is there a forum place to do that, or a forum drop box or something?? I assume you saw the response to this earlier in the thread... Although I'm too busy these days to do much than lurk, I'd be gravely remiss not to congratulate you on #100... and of course, thanks for sharing all the ones before it, too! David - thanks for stopping in. I miss your reviews of songs - they are always insightful and interesting...
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Congrats on your focus and dedication to reach this milestone FJ!!!
Your drive, determination and the high personal bar you set for yourself in honing your production chops and to always keep growing as a songwriter has resulted in a well deserved motivational and inspirational influence for so many others on this forum.
And in addition to your own blossoming skillset on your journey here, your willingness to help and encourage others and your excitement over your collaborations certainly has added to the fun.
I think we are all blessed that you have the time and the heart to share your talent, your knowledge, your songs and most of all yourself with us.
Here's to the next 100! Cheers to you!
BTW, Loving #100 - It's one of my personal favs. Josie - thanks for all of that - appreciated. Miss having you around here more ... hope you are finding some time for some music.... And thanks for that, Pat!
Hi floyd,
I'm presently in the midst of working my way through your song. When I read Josie's above post, though, I had to take time out to say. "I completely agree." She really has summed up exactly how I also feel. We're all very lucky to have you around.
Back with another post soon,
Noel
...and for that, Noel!!! All of you have been good to me through the years - and I want you to know I really do appreciate it...
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hi Floyd 100 and all great stuff love your tunes thanks eric
AMD (TM) 5950 4.9 GHz 16Core Processor 64 bit 32 bits of ram windows 10 pro 64 bit os. sound card Antelope ZenQ guitars Ibanez 2202a 1968 les Paul Custom and Cavin ae 185 Guitar boss Gt-100,GT1000 pedal Yamaha HS8 studio monitors
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Hey floyd, This is excellent.... really excellent... (as always). As I listened, images of the 60s started appearing in my head. By the end of the song, I even found myself wondering what it would sound like if 'Jay and The Americans' sang it. The arrangement, Janice and you, and the production are stellar. That got me thinking... If I could select just one aspect of this song, what single feature makes it identify as 60s to me? - Is it the guitar sounds?
- Is it the more analogue and less digital sounding mix?
- Is it the chord progression?
- Is it the song's AABA format that was very prevalent in the 60s?
- Is it the singing?
- Is it song tempo?
- Is it the lyric?
- Is it song length?
Because all of the above thoughts are a choir of characteristics that work in harmony to create the overall, it's quite a challenge to isolate a single signature signpost. Sometimes, perhaps twice a year, I like to place a bet on a horse. It's been around 4 decades since I last won anything but that doesn't stop me being occasionally reckless with $5. I mention this because it's with this reckless frame of mind that I say that I put my money on the lyrics as the single most important time-period identifier. I'll explain... Below are the lyrics to the first A-section. I've divided lines for easy reference and made a note of the rhyme scheme and meter. (For the meter, I have used the poet's concept of 'feet' as determined by strongly accented syllables.)  Properly identifying the meter was a challenge because a number of the lines have multiple possibilities. With such lines, when they're set to melody, meter can be used to stretch or compress them (much like zplane's élastique engine that PG Music uses with Realtracks and Realdrums). The above deconstruction is just one possibility. For the purposes of the below, though, it should be ok. As I read the above lyrics out loud, what I noticed was... - In each A-section, phrases 1 and 3 are not perfect rhymes. This is consistent in all A-sections.
- Phrases 3 and 5 are perfect rhymes that alternate with phrases 4 and 6, which are also perfect rhymes. Again, your song crafting skills have maintained this consistency in all A-sections.
- After the alternating perfect rhymes in phrases 3 to 6, the lyrics move into non-rhyming territory.
- Phrase 9 acts as a bookend so that the song title sandwiches the song section's content.
Once music is removed from the analysis, it's easy to feel the effect that the above lyric sequence creates. This is how it worked for me... - Because the first phrase only had a meter of 3 feet, there's a natural pause at the end of the line. This helps spotlight this opening phrase and give it the aural strength required to isolate it as the song's title.
- The second phrase, because it is 2 feet longer than the first phrase, made me feel like the lyric slowed down, decelerated.
- Phrase 3 was only a single foot less than phrase 2 and this felt comfortable. The rhythmic pattern of phrases 2 and 3 is a variation of the pattern found in the first two lines of “Mary Had A Little Lamb”. This created a feeling within me that relaxed story-telling had begun.
- The fourth phrase is where surprise kicked in. I was expecting a 5 foot line to match line 3 but you only gave me a 3 foot line; shorter than either of the two previous lines. I could definitely feel the acceleration this created. And with acceleration, anticipation always rides along in the passenger seat. I was reminded of the Mazda ad that we had here a few years ago that was based on the phrase Zoom, Zoom, Zoom!
- The next three lines travel along with uniform meter. To maintain the feeling of lyric acceleration, you have strategically used the force that perfect rhyme produces to push the words forward. The cdcd perfect rhymes maintain the thrust of acceleration and the anticipation and sense of excitement that accompany it.
As an aside, it's an interesting experiment to read through the lyrics with phrases 4 and 5 interchanged so that the rhyme scheme of lines 3 to 6 becomes ccdd as in the below. hey, little girl
not sure that i can ever find the words
to tell you every thing in my heart
right from the start
exactly how i feel
i knew this thing was real
i want to kiss ya
hey, hey, hey
hey little girl
I find that the above sequence impacts on the feeling of acceleration and the sense of anticipation that resonates in the original version of the lyrics. The ccdd pattern has a stop/start feel about it that's created by the rhyming couplets. It's not as effective to my ears. The ability of rhyme to control the movement of lyric content and to create a sense of excitement when accompanied by rhythmic acceleration is often not well understood. The A-Sections in “Hey Little Girl” are textbook examples of how to use these tools effectively. - After the momentum created by phrases 4 to 6, when the line “I want to kiss ya” arrives, spotlights are ablaze. As if that's not enough, you add extra energy to this line by accelerating it even more with an even shorter meter of only 2 feet. This is followed by a pause which ramps the power even higher. With the finesse of a master craftsman, you have isolated this single line (phrase 7) as the focus of the whole section. The listener is probably not even aware of how their thinking has been manipulated! If lyric intensity could be gauged by a VU meter, the meter's needle would be vigorously oscillating in the red when it reached phrase 7.
- Also, by choosing not to rhyme after phrase 6, the lyric content assumes greater gravitas. Because phrases 1 to 6 are heavily rhymed, a continuation with rhyme after six rhymed lines could potentially introduce an unnecessary element of comedy.
- The above phrase considerations are paralleled in each of the three A-sections. This ultimately gives the focus of each section as: (a) I want to kiss ya; (b) I love ya; (c) I mean forever. What great development! (I'm not wearing a hat right now but, if I were, I'd be lifting it and nodding my head.)
It's easy to double-check that phrase 7 in each A-section is the focus by contracting the sections into a couple of lines. That is...
[A1]
Hey Little Girl
I want to kiss you
[A2]
Hey Little Girl
I love you
[A3]
Hey Little Girl
I mean forever
- The last last two lines are interesting. The “hey, hey, hey” of phrase 8 serves to prepare the title. Since “Hey little girl” could easily follow the “I want to kiss ya” line with the lyrics meaning unaltered, the effect of delaying the repetition of the title adds octane to the last line.
- The repetition of the title in the final line of the song neatly reinforces the hook and its meaning.
So.... back to my original thought. I think that it's the lyric that's the single most important contributor to this song's having a 60s flavour. The themes of young love and teenage romance (and all the excitement, joy and angst that accompanied them) threaded their way through many songs in this period. Such lyrics were often written in AABA format and were bright and bouncy and resonated with youthful innocence and enthusiasm. You've skilfully captured all these characteristics through your lyric's structure, rhyme, content and meter. That's what I call 10th dan black-belt songwriting. Congratulations on your 100th song post. To make the century is such an awesome achievement! All the best, Noel
MY SONGS...Audiophile BIAB 2024
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Congrats Floyd! A nice way to hit the century. You're a consumate musician and I've always loved your work. John John - Thanks for that. Good to see you back around... hope that means we will be hearing something form you soon... Very cool tune Floyd. Awesome tempo. Congratulations on the 100 songs. Amazing feat. The quality of your songs and collaborations are first class.. Thank you, Scott.... hi Floyd 100 and all great stuff love your tunes thanks eric Thanks, Eric....
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100 songs here, I would wonder how many in a lifetime. A life time well spend truly getting great at something. I'm SO impressed my friend! Congratulations! Hey, hey, hey...this is a GREAT song! I love the writing and production. I also love the writing and production.  Sorry, once wasn't enough and using bold font wasn't going to either. As I'm writing this, it's stuck in my head!...AND...in a favorable way! As in, you want to hear it again, not like "Aw Gawd.." Here is another test I use. My wife likes it A LOT! She doesn't play an instrument, sing or anything of the sort. She just likes a song or doesn't. She likes this! It's sort of like the "Mike-y test" for cereal! Am I dating myself with that reference? Yikes! Anyway, this forum is so blasted lucky to have you participating! It's not just the number of songs you have writing or been a part of but the amazing quality you have produced! Most people would love to have a single song of your writing caliber. You sir make it seem like it was that or making toast this morning. About equally as difficult for you? (And by that I mean you REALLY have to work at making toast ...so kidding). Successful songs seem effortless for you. Which always reminds me how much time and hard work it probably took to get to "effortless!" Thank you for sharing your 100th song here and such a great song at that. It actually made my day! Now for another listen, since I'm singing it anyway!
Chad (Hope that makes it easier)
TEMPO TANTRUM: What a lead singer has when they can't stay in time.
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Hey floyd, This is excellent.... really excellent... (as always). As I listened, images of the 60s started appearing in my head. By the end of the song, I even found myself wondering what it would sound like if 'Jay and The Americans' sang it. The arrangement, Janice and you, and the production are stellar. That got me thinking... If I could select just one aspect of this song, what single feature makes it identify as 60s to me? - Is it the guitar sounds?
- Is it the more analogue and less digital sounding mix?
- Is it the chord progression?
- Is it the song's AABA format that was very prevalent in the 60s?
- Is it the singing?
- Is it song tempo?
- Is it the lyric?
- Is it song length?
Because all of the above thoughts are a choir of characteristics that work in harmony to create the overall, it's quite a challenge to isolate a single signature signpost. Sometimes, perhaps twice a year, I like to place a bet on a horse. It's been around 4 decades since I last won anything but that doesn't stop me being occasionally reckless with $5. I mention this because it's with this reckless frame of mind that I say that I put my money on the lyrics as the single most important time-period identifier. I'll explain... Below are the lyrics to the first A-section. I've divided lines for easy reference and made a note of the rhyme scheme and meter. (For the meter, I have used the poet's concept of 'feet' as determined by strongly accented syllables.) Properly identifying the meter was a challenge because a number of the lines have multiple possibilities. With such lines, when they're set to melody, meter can be used to stretch or compress them (much like zplane's élastique engine that PG Music uses with Realtracks and Realdrums). The above deconstruction is just one possibility. For the purposes of the below, though, it should be ok. As I read the above lyrics out loud, what I noticed was... - In each A-section, phrases 1 and 3 are not perfect rhymes. This is consistent in all A-sections.
- Phrases 3 and 5 are perfect rhymes that alternate with phrases 4 and 6, which are also perfect rhymes. Again, your song crafting skills have maintained this consistency in all A-sections.
- After the alternating perfect rhymes in phrases 3 to 6, the lyrics move into non-rhyming territory.
- Phrase 9 acts as a bookend so that the song title sandwiches the song section's content.
Once music is removed from the analysis, it's easy to feel the effect that the above lyric sequence creates. This is how it worked for me... - Because the first phrase only had a meter of 3 feet, there's a natural pause at the end of the line. This helps spotlight this opening phrase and give it the aural strength required to isolate it as the song's title.
- The second phrase, because it is 2 feet longer than the first phrase, made me feel like the lyric slowed down, decelerated.
- Phrase 3 was only a single foot less than phrase 2 and this felt comfortable. The rhythmic pattern of phrases 2 and 3 is a variation of the pattern found in the first two lines of “Mary Had A Little Lamb”. This created a feeling within me that relaxed story-telling had begun.
- The fourth phrase is where surprise kicked in. I was expecting a 5 foot line to match line 3 but you only gave me a 3 foot line; shorter than either of the two previous lines. I could definitely feel the acceleration this created. And with acceleration, anticipation always rides along in the passenger seat. I was reminded of the Mazda ad that we had here a few years ago that was based on the phrase Zoom, Zoom, Zoom!
- The next three lines travel along with uniform meter. To maintain the feeling of lyric acceleration, you have strategically used the force that perfect rhyme produces to push the words forward. The cdcd perfect rhymes maintain the thrust of acceleration and the anticipation and sense of excitement that accompany it.
As an aside, it's an interesting experiment to read through the lyrics with phrases 4 and 5 interchanged so that the rhyme scheme of lines 3 to 6 becomes ccdd as in the below. hey, little girl
not sure that i can ever find the words
to tell you every thing in my heart
right from the start
exactly how i feel
i knew this thing was real
i want to kiss ya
hey, hey, hey
hey little girl
I find that the above sequence impacts on the feeling of acceleration and the sense of anticipation that resonates in the original version of the lyrics. The ccdd pattern has a stop/start feel about it that's created by the rhyming couplets. It's not as effective to my ears. The ability of rhyme to control the movement of lyric content and to create a sense of excitement when accompanied by rhythmic acceleration is often not well understood. The A-Sections in “Hey Little Girl” are textbook examples of how to use these tools effectively. - After the momentum created by phrases 4 to 6, when the line “I want to kiss ya” arrives, spotlights are ablaze. As if that's not enough, you add extra energy to this line by accelerating it even more with an even shorter meter of only 2 feet. This is followed by a pause which ramps the power even higher. With the finesse of a master craftsman, you have isolated this single line (phrase 7) as the focus of the whole section. The listener is probably not even aware of how their thinking has been manipulated! If lyric intensity could be gauged by a VU meter, the meter's needle would be vigorously oscillating in the red when it reached phrase 7.
- Also, by choosing not to rhyme after phrase 6, the lyric content assumes greater gravitas. Because phrases 1 to 6 are heavily rhymed, a continuation with rhyme after six rhymed lines could potentially introduce an unnecessary element of comedy.
- The above phrase considerations are paralleled in each of the three A-sections. This ultimately gives the focus of each section as: (a) I want to kiss ya; (b) I love ya; (c) I mean forever. What great development! (I'm not wearing a hat right now but, if I were, I'd be lifting it and nodding my head.)
It's easy to double-check that phrase 7 in each A-section is the focus by contracting the sections into a couple of lines. That is...
[A1]
Hey Little Girl
I want to kiss you
[A2]
Hey Little Girl
I love you
[A3]
Hey Little Girl
I mean forever
- The last last two lines are interesting. The “hey, hey, hey” of phrase 8 serves to prepare the title. Since “Hey little girl” could easily follow the “I want to kiss ya” line with the lyrics meaning unaltered, the effect of delaying the repetition of the title adds octane to the last line.
- The repetition of the title in the final line of the song neatly reinforces the hook and its meaning.
So.... back to my original thought. I think that it's the lyric that's the single most important contributor to this song's having a 60s flavour. The themes of young love and teenage romance (and all the excitement, joy and angst that accompanied them) threaded their way through many songs in this period. Such lyrics were often written in AABA format and were bright and bouncy and resonated with youthful innocence and enthusiasm. You've skilfully captured all these characteristics through your lyric's structure, rhyme, content and meter. That's what I call 10th dan black-belt songwriting. Congratulations on your 100th song post. To make the century is such an awesome achievement! All the best, Noel Noel! - I would not normally copy a post this large, but this is such an INCREDIBLE analysis of those elements that make up a song from the era - why it "ticks", why it works... that I hope people will take a look at it - either your original post or this re-post. Thanks you for all the wonderful support you have given me over the years!!! I am pleased to call you "friend". fj
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Noel! - I would not normally copy a post this large, but this is such an INCREDIBLE analysis of those elements that make up a song from the era - why it "ticks", why it works... that I hope people will take a look at it - either your original post or this re-post.
Thanks you for all the wonderful support you have given me over the years!!! I am pleased to call you "friend".
fj Agreed! I've read this several times already and it's just fascinating! I was blown away by how in depth and insightful it is. I would love to see Noel start a thread with more of how he does this with examples. I for one would be all over it! Thanks for taking the time to not only do this, but share it with all of us!
Chad (Hope that makes it easier)
TEMPO TANTRUM: What a lead singer has when they can't stay in time.
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Hi HearToLearn,
Thank you! I really like analysing lyrics (and music for that matter, too). I'm really grateful that floyd tolerates it! I've found that sitting down and writing out an analysis is the most effective way for me to hone my own skills. Because floyd is so good at what he does, I've learnt a great deal from him over the years.
My 'go to' books are...
1. Pat Pattison, "Writing Better Lyrics" (second edition)
2. Pat Pattison, "Songwriting: Essential Guide to Lyric Form and Structure"
3. Pat Pattison, "Songwriting: Essential Guide to Rhyming" (second edition)
4. Pat Pattison, "Songwriting Without Boundaries" (This is a collection of lyric writing exercises designed to help developing lyric writers find their voice. It's quite demanding to work through.)
5. Andrea Stolpe, "Popular Lyric Writing: 10 Steps to Effective Storytelling"
6. Jai Josefs, "Writing Music for Hit Songs"
7. Philip Furia, "The Poets of Tin Pan Alley"
By way of background information...
Pat Pattison is a professor of lyric writing and poetry at Berklee College, Boston. Many regard him as the world authority on understanding lyric structure. I have been very fortunate to have gone to around 25 - 30 weekend seminars with Pat over the course of the last 10 years. (His wife is from where I live and he's a regular visitor to Melbourne, Australia).
Andrea Stolpe is one of Pat's past students who took his songwriting strategies in a different and effective direction. Her book is very insightful. It's the combination of her and Pat's approach that provides most of my tools for analysis.
Jai Josef's book is probably not so easy to obtain these days. It has some really good musical observations and discussions in it.
Philip Furia is a professor of English and American Studies. His book covers lyricists from late 1800s through to early 1960s. It's a fantastic read and contains a level of insight rarely, if ever, met in songwriting books.
Regards
Noel
MY SONGS...Audiophile BIAB 2024
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I am bumping this thread up again for a few reasons.
-It's a great song, that represents the forum well
-The comments from the forum show how great this forum can be.
-Noel's breakdown and analysis of the song shows how great this forum can be.
-With 100 songs, some of which being collaborations, it is a great representation of what this forum can be.
To me, this is one of the best threads I've seen on ANY forum. I think to anyone new or checking this forum out, this is what we strive for!
Thanks to all of those who step up time after time, in many different aspects, to make this forum great.
Thanks Floyd for helping to create this environment!
Chad (Hope that makes it easier)
TEMPO TANTRUM: What a lead singer has when they can't stay in time.
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User Showcase
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Joined: Aug 2014
Posts: 7,912
Veteran
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Veteran
Joined: Aug 2014
Posts: 7,912 |
Hey Floyd,
This was my second reply, I am pretty sure I did critique on the first reply, unless I am going batty. Sometimes when a song is just great and solid and I love it, there is not much more I can say about it, unless I wanted to comment on each instrument. Your mixes, and choices are always so solid there is not usually a whole lot for me to critique, I just enjoy listening to them so much.
Longer critiques would be used for songs I thought had "issues" but I am not sure that would be appropriate for this forum. Let me know what you think.
I guess I will go back through the thread and and try and find the drop box location you were speaking of.
My more specific question was do BIAB members share a specific drop box shared by all if they want to trade files, or is that done on a case by cases between user.
I will type in keywords and search and see if I can kind what has already been posted if I can.
Thanks man.
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User Showcase
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Joined: Jul 2012
Posts: 1,831
Expert
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Expert
Joined: Jul 2012
Posts: 1,831 |
Happy 100th birthday!
Love the song and the story about where it took you.
And you remind me that I feel blessed to be a part of this community.
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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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We recently released a combined total of 300 new Styles in XPro Styles PAK 6 and Xtra Styles PAK 17!
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NEW - The Band-in-a-Box® 2024 VST DAW Plugin 6.0 for Mac®!
Band-in-a-Box® 2024 includes the new VST DAW Plugin 6.0!
This new Band-in-a-Box® VST DAW Plugin has over 20 new features including near instant playback direct from disk, to audition various styles without creating WAV files. You can now load chords from MIDI files. There's support for Shots/Rest/Holds on Utility tracks, and more! For Reaper® DAW users, the Plugin has added built-in specific support for the Reaper® DAW API allowing direct transfer of Band-in-a-Box files to/from Reaper tracks, including tiny lossless files of instructions which play audio instantly from disk.
Every purchase of Band-in-a-Box® 2024 for Mac® includes the VST DAW Plugin, and all Mac® upgrades are on sale until July 15th!
Save up-to 50% when you upgrade to Band-in-a-Box® 2024 for Mac® today - check out the different upgrade options here!
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Band-in-a-Box® 2024 for Mac is here with over 50 new features and an amazing collection of new content, including 222 RealTracks, new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 3, Playable RealDrums Set 2, two new sets of “RealDrums Stems,” and more!
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We've packed our Free Bonus PAK & 49-PAK with some incredible Add-ons! The Free Bonus PAK is automatically included with most Band-in-a-Box® for Mac 2024 packages, but for more even more Add-ons (including 50 Unreleased RealTracks!) upgrade it to the 2024 49-PAK for only $49. You can see the full lists of items in each package, and listen to demos here.
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Band-in-a-Box User Video Tutorials!
If you've reviewed our Support page, you've probably noticed the Videos page, which separates our Band-in-a-Box® tutorial videos by category: Overview, VST DAW Plugin, Setup, Beginner, Intermediate, Advanced, and there's even an Archive category to go down memory lane... (You'll also find these videos on our YouTube Channel.)
It's always great to hear how other Band-in-a-Box® users create their songs, especially when they explain in detail what they're doing. Like Henry Clarke's YouTube Channel, Henry Clarke - Senior Musicians Unite! There you'll find his ALL Band-in-a-Box Tutorials playlist with over 50 videos! His top-three most watched videos include "How to Get Started with Band-in-a-Box," "How I use the Audio Chord Wizard in Band-in-a-Box," and "How to Create An Effective Solo Using Band-in-a-Box" - however he touches on many other topics and also demonstrates his own Band-in-a-Box® songs in the Band-in-a-Box Created Songs playlist!
You're guaranteed to find some helpful videos when you visit Henry Clarke's channel!
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