Super Eurobeat 234

Everything that is eurobeat can be discussed here.
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#Infinity
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Post by #Infinity » Apr 16th, '15, 05:56

Bonkers wrote:
#Infinity wrote:.
I'm frankly impressed by how many labels are still active today, but even then, it feels like they're slowly starting to wind down. Time/Eurogrooves, Vibration, Blast, and Newfield have all been inactive for years, and Dima and Asia have slowly lost their penchant for original material.
Ya, but Dima seems to just not care anymore. Listen to his older material as compared to his newer stuff; there is just so much more life in his older material.
Exactly my point. It's pretty amazing witnessing the label's decline from its explosive debut on SEB with Tsundere Night and Stormbringer, to now producing totally rehashed, unexciting junk like Liar, Boom Boom Boom, and Stay with You (the only Stefania Martin track I don't like, and a truly anticlimactic song for such an otherwise amazing artist to end her eurobeat career with).

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Post by WNight » Apr 16th, '15, 07:42

para_rigby wrote:I know it's probably been talked about before, but what if the series ends? Do you think the studios would continue maybe with their own digital series or just cease to produce. Seems like there might be more international fans clamoring for music than in Japan itself.
Ever since the release of 221, I have always had a "fear" in me that I would wake up one day to see that SEB has ended and continuously grows as the series goes on. It's not a "knowing" per say but I just get a deep sense that that day may come sooner than we think. I used to say that SEB might end in 2020 but the way it is right now, even that is too optimistic I think. I hate to be "that guy" but as much as I love my SEB (It's pretty much a part of my life now and I almost exclusively listen to nothing but SEB nowadays so you be the judge), I'm just looking at reality.

To me, it just looks like very few genuinely cares anymore. For example, at the time of this post, it is less than a week to the release of 233 and there's still no teaser. Media related to eurobeat are either very inactive or no longer around. The forum itself wasn't as "bustling" as it was back in "those days". We have fans like #Infinity and a handful of others who just doesn't care as much anymore, and I can totally understand why. Back a few years ago, SEB was literally "a way of life" for many, but to have the same amount of "attachment" to it now will only bring disappointment. I have previously talked about how I felt about the way Avex handles SEB nowadays and I can sum it up like this : F--KING FAIL, they just don't care anymore, plain and simple. Not only that, but the producers themselves don't even make an effort to connect with their fan base at a time like this when SEB is at it's most fragile state (exceptions are SCP/GGM, Sinclaire and Hi-NRG, but even SCP is mellowing out as time passes), which only gives me the impression that they too, do not bother anymore and will only make music for as long as SEB is still going on because, well ... they have to. (I'm looking at you : Sun Fire & Dima)

Don't get me wrong, I still enjoy my SEB releases, but it's just no longer "the same".
#Infinity wrote:Exactly my point. It's pretty amazing witnessing the label's decline from its explosive debut on SEB with Tsundere Night and Stormbringer, to now producing totally rehashed, unexciting junk like Liar, Boom Boom Boom, and Stay with You (the only Stefania Martin track I don't like, and a truly anticlimactic song for such an otherwise amazing artist to end her eurobeat career with).
She's coming back on 233.

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#Infinity
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Post by #Infinity » Apr 16th, '15, 09:08

I feel like at the very least, Avex should release the Super Eurobeat albums on the international iTunes or some other accessible website. I think even with my declining interest in the series, I'd still be willing to at least purchase the new albums for a harmless ten US dollars or even buy only the tracks I like, rather than pay over thirty to buy a full CD, plus shipping, and then only regularly listen to a few songs. Considering they were generous enough to upload all of those Special Collections on the international iTunes stores, I fail to understand why they're so hesitant to do the same with the full albums. Maybe they think they'll make more money by ensuring every copy costs a fortune, but in a year like 2015, when digital formats are the long-established norm, this strategy is just alienating to people like me.

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Post by M2-EB » Apr 16th, '15, 11:01

#Infinity wrote:Honestly, I think eurobeat won't ever completely die, but it certainly won't continue to exist as a serious industry (…) eurobeat really doesn't have any remaining ground to promote itself. It's now more the type of thing that various independent music producers (…) but not market to a widespread commercial audience.
I agree with you, but there's still some "ground" left: the fans. Of course, we are few but… I want to believe that it's something! Eurobeat itself - considering its italo root - is not widely marketable. As an EDM genre, maybe a little… even so, it'll fall besides other niche styles, as happy hardcore, etc - still won't make so much money hahaha
#Infinity wrote:I'm frankly impressed by how many labels are still active today, but even then, it feels like they're slowly starting to wind down (…) Dima and Asia have slowly lost their penchant for original material. SCP/GGM, A-Beat C, SinclaireStyle, and Hi-NRG Attack are probably still alive because their remaining writers and performers have a natural passion for their work, even if it means compromising for financial stability.
Bonkers wrote:Ya, but Dima seems to just not care anymore. Listen to his older material as compared to his newer stuff; there is just so much more life in his older material.
A-Beat C alive? Well… if you consider Pasquini and his Sun Fire… Anyway, yes, I also believe those remaining are doing it out of love. Delta with surprisingly good works (in recent releases), SCP have a great studio, GGM with a young and fresh producer, Sinclaire Style with their marketing and some techno releases, HRG with a sorta new producer and, now, singer. In the end, I don't believe it's compromising somebody, they surely have other jobs, eurobeat is not their way of life (well, it could be 20 years ago, not anymore). About Saifam, I'm pretty puzzled, looks like they're using old unreleased songs? Not sure. Dima Music is the most painful for me, seriously… …first, Vibration was my favorite label, main producer being Dima. Then, he made his own label, as some of you stated, with really good works and things progressively went down… I'm uncertain about its future, by seeing some of his posts in social media… May be just me, but it's very sad anyway…
#Infinity wrote:I feel like at the very least, Avex should release the Super Eurobeat albums on the international iTunes or some other accessible website (…) but in a year like 2015, when digital formats are the long-established norm, this strategy is just alienating to people like me.
What's the problem with Avex and international digital releases? Seriously. Making things so complicated for oversea buyers in the sake of maintaining a very small japanese fanbase? PLUS their copyright policy is just a real pain in the a**
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Post by DarkSky » Apr 16th, '15, 16:04

milachan wrote: What's the problem with Avex and international digital releases? Seriously. Making things so complicated for oversea buyers in the sake of maintaining a very small japanese fanbase? PLUS their copyright policy is just a real pain in the a**
Dear Mila,

It is just not as easy as it might seem to be. You can read more about this in my blog:

http://sjoerdvermaak.com/blog/?p=195

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Post by M2-EB » Apr 16th, '15, 17:22

DarkSky wrote:Dear Mila,

It is just not as easy as it might seem to be. You can read more about this in my blog:

http://sjoerdvermaak.com/blog/?p=195
Thank you.
I know things are not easy, far from that… but by having people/companies/whatever complicating it, won't do no good after all. While I'm able to see that eurobeat can still grow a lot, I also see a lot of discouragement (plenty of reasons).
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Post by ChicaLoca » Apr 16th, '15, 22:26

DarkSky

You mentioned targeting children, forgetting completely that 99% of what they consume must be approved by their parents. You also mentioned about focusing niches like Toho, those, with JEuro, are completely different style of eurobeat. I'm speaking as a costumers, I don't like Toho, Jeuro or Vocaloid, and I think that transforming or creating something new besides the regular SEB production financially is not a good move. And I'm sorry but your work lack research on costs - even for creating and maintaining the website.

Mila,

Shawaazu is correct, that is what they call "public relationship".

I advise you to take a look at this so you can understand how hard it is to have your music on the digital market:
Here's how much musicians make online from Spotify, iTunes and YouTube

So yeah, it's not simply put their music online. When we see the 1,99 price, take it around 20% for administrative fees from that and that's how much the label will have back. Considering they have to pay the costs of production, they might have to sell at least 50 songs at 1,99 to break even - believing that the cost to produce a song is 80 bucks.

Also let's be honest, based on the DarkSky's study that mentioned they should focus selling and developing the market on the US, Chile and Brazil,. From those three countries only the US is a real consumer because, as many Latin American users state, "it's too expensive to buy it in US dollars".

Maybe the producers should create new labels so they can have this "freedom" of creating whatever they like. But, from a business side of things, would you be willing to compromise your relationship with a major market (that is Avex with Japan) to satisfy "100" possible consumers?

BTW, have you guys not notice the quality of "pre-produced" songs that the labels send to Avex so they can approve which one should be "fully produced"? Have you guys forgotten about Euroenergy?

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Post by DarkSky » Apr 20th, '15, 08:21

ChicaLoca wrote:DarkSky

You mentioned targeting children, forgetting completely that 99% of what they consume must be approved by their parents. You also mentioned about focusing niches like Toho, those, with JEuro, are completely different style of eurobeat. I'm speaking as a costumers, I don't like Toho, Jeuro or Vocaloid, and I think that transforming or creating something new besides the regular SEB production financially is not a good move. And I'm sorry but your work lack research on costs - even for creating and maintaining the website.

Mila,

Shawaazu is correct, that is what they call "public relationship".

I advise you to take a look at this so you can understand how hard it is to have your music on the digital market:
Here's how much musicians make online from Spotify, iTunes and YouTube

So yeah, it's not simply put their music online. When we see the 1,99 price, take it around 20% for administrative fees from that and that's how much the label will have back. Considering they have to pay the costs of production, they might have to sell at least 50 songs at 1,99 to break even - believing that the cost to produce a song is 80 bucks.

Also let's be honest, based on the DarkSky's study that mentioned they should focus selling and developing the market on the US, Chile and Brazil,. From those three countries only the US is a real consumer because, as many Latin American users state, "it's too expensive to buy it in US dollars".

Maybe the producers should create new labels so they can have this "freedom" of creating whatever they like. But, from a business side of things, would you be willing to compromise your relationship with a major market (that is Avex with Japan) to satisfy "100" possible consumers?

BTW, have you guys not notice the quality of "pre-produced" songs that the labels send to Avex so they can approve which one should be "fully produced"? Have you guys forgotten about Euroenergy?


Hi ChicaLoca,

''Spread The Beat'' is nowhere near a complete document. Therefore you couldn't find the research on costs.
I do believe that my ideas written in the plan could help Eurobeat expand its markets, and yes even when you target at children.
Imagine what Christmas could do to sales in a fairly short amount of time :-) and the fact that children need approval from their parents to buy something, doesn't mean it wouldn't be a valid target group. Targeting at niches like Toho could also attract a lot of new people to the genre.

Regarding your reply to Mila:
It is indeed not as simple to just put the music online. However the cost to produce a song is far higher than the 80 bucks you're mentioning. It's a couple of 10's of dollars for just electricity, think of other costs such as music artists, maintenance of equipment, and food/drinks for the artist(s). The cost to produce a song is far higher ;-) Also, songs are usually between 0,99 and 1,50. Imagine how many digital purchases you'd need to make a living :-) Nearly impossible.

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Post by Javy » May 16th, '15, 19:01

Well Fire In The Night by Ken Martin was announced for SEB 234 by SEF Delux.
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Post by drnrg » May 17th, '15, 05:17

Javy wrote:Well Fire In The Night by Ken Martin was announced for SEB 234 by SEF Delux.
That's one hell of a Eurobeat song! Glad its finally making an SEB appearance.

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Post by Lebon14 » May 17th, '15, 23:47

Javy wrote:Well Fire In The Night by Ken Martin was announced for SEB 234 by SEF Delux.
That song is freaking awesome and I'm really happy to see more male Asia on SEB. Now, if "Down To The Beat" could make it...
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Post by otter87 » May 20th, '15, 08:31

What happened with that Lolita track that got teased on Facebook?

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Post by para_rigby » May 20th, '15, 13:11

Or that Manuel/Ace collab?

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Post by Delta » May 21st, '15, 04:46

Hope ''SARA'' will return :( her voice is so huge and makes eurobeat stronger :3 I really miss 90s Delta and I want her to go back, like as Heather on Dima :P :P

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Post by drnrg » May 21st, '15, 04:57

well since we are at it again. Any news on Claudio Magnani coming back to Dima for a new song. It's about TIME for one.

How bout Jay Lehr for SCP

and I'm really hoping for a new Dave Rodgers Sun Fire track. TIME to give Rich hard a rest.

DELTA and HRG Attack seem to read my mind disc after disc. New J. Stark(DELTA) would be sweet and for HRG. Let's see? Steve Tempest could use a revamp.

Sinclaire? I'm dying for a new Ana track.

and as always. new aliases are always welcome.

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