Super Eurobeat 192

Everything that is eurobeat can be discussed here.
Gorgia_v
Eurobeat Boom
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Post by Gorgia_v » 19 Nov 2008, 22:12

my ringtones are

Euronight farhenight (ringing) so when my phone rings i get "music Hey Hey"
Primised land (SMS)" i get the cool accoustic part at the start of the song then is goes nuts lol
my Alarm on my phone is Dancer from a megamix

FaXMactor
Euro To B
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Post by FaXMactor » 22 Nov 2008, 21:07

I'd be interested in who owns the copyrights of Eurogrooves. Is it avex, who held the copyrights of Time, or someone else?
(That also decides whether or not we'll see their tracks in *real* webshops in good quality, without drm)

Whoever bought the SEB 192 on CD, check the credits, pls!

Tiger
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Post by Tiger » 22 Nov 2008, 21:41

FaXMactor wrote: Whoever bought the SEB 192 on CD, check the credits, pls!
Or you could buy the CD yourself?

It's (p) Eurogrooves.

Jion
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Post by Jion » 22 Nov 2008, 22:58

Tiger wrote:
FaXMactor wrote: Whoever bought the SEB 192 on CD, check the credits, pls!
Or you could buy the CD yourself?

It's (p) Eurogrooves.
Some people did buy it off mu-mo (like me) so we don't have access to this info :P
You can hate me but you know you have quality issues =p

FaXMactor
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Post by FaXMactor » 23 Nov 2008, 21:32

Tiger wrote:
FaXMactor wrote: Whoever bought the SEB 192 on CD, check the credits, pls!
Or you could buy the CD yourself?

It's (p) Eurogrooves.
If you're that interested, after 60 albums I think I can decide that...

By the way I asked for the copyrights (c), not the (p)...
Last edited by FaXMactor on 23 Nov 2008, 22:04, edited 1 time in total.

zoupzuop2
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Post by zoupzuop2 » 23 Nov 2008, 21:47

FaXMactor wrote:
Tiger wrote:
FaXMactor wrote: Whoever bought the SEB 192 on CD, check the credits, pls!
Or you could buy the CD yourself?

It's (p) Eurogrooves.
If you're that interested, after 60 labums I think I can decide that...

By the way I asked for the copyrights (c), not the (p)...
For PC users, hold tab, then 0169.

©

Ain't it pretty? :3
A lot's changed in the decade and a half I've been here.
Full-time eurobeat producer, full-time musician, part-time Vtuber. #JessaIsReal2021
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FaXMactor
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Post by FaXMactor » 23 Nov 2008, 22:05

zoupzuop2 wrote: ©

Ain't it pretty? :3
Cool. If you have much €, you can exchange it into ¥ and buy lots of cds © by @ :P

But I'd still like to know what's after © on SEB192 ;)
-

Densetsu13
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Post by Densetsu13 » 23 Nov 2008, 22:19

FaXMactor wrote:
zoupzuop2 wrote: ©

Ain't it pretty? :3
Cool. If you have much €, you can exchange it into ¥ and buy lots of cds © by @ :P

But I'd still like to know what's after © on SEB192 ;)
There is no © info. Just the (p) EUROGROOVES and the usual writer/producer infos.

Jay
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Post by Jay » 23 Nov 2008, 23:04

The (P) copyright is exactly the same as the ©, except its use is exclusively phonographic.

Edit:
#Infinity wrote:I absolutely adore the first half of SEB 167, making it easily one of the better albums of the 160's (though 168 is the only release that REALLY stood out for me that decade), but after Walkin' In The Shadow the level wasn't so hot. Only Give Me Another Chance really stood out to me from tracks 10 to 18.
'Walkin' In The Shadow', 'Give Me Another Chance', 'Disco Energy' and 'Sun In The Rain' were the only tracks I enjoyed from SEB167. Everything else was below the general level, and it doesn't help that it contains my least favourite eurobeat production of all time ('Remind Me To Forget' by Madison). Then again, it's all a matter of opinion.

As for SEB192, some of the productions have been growing on me slightly. In particular, '1.2.3.4. Live On Dance Floor' and 'Unbelievable'. That doesn't improve the general level of the album by any means - it's still one of the bad apples.

I may be sounding awfully critical of HRG lately, but prior to SEB192, the last bad production I heard from them was in fact 'Run & Run' from five months ago. All their male productions have been pretty good lately on SEB and I'm thankful for that. It just upsets me that they stick to the same formula with their female tracks and use the same track length all the time. They need new ideas - perhaps a new producer to spice things up. 'Pagal', as it stands, simply infuriates me.

Jion
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Post by Jion » 24 Nov 2008, 00:44

Jay wrote:The (P) copyright is exactly the same as the ©, except its use is exclusively phonographic.

Edit:
#Infinity wrote:I absolutely adore the first half of SEB 167, making it easily one of the better albums of the 160's (though 168 is the only release that REALLY stood out for me that decade), but after Walkin' In The Shadow the level wasn't so hot. Only Give Me Another Chance really stood out to me from tracks 10 to 18.
'Walkin' In The Shadow', 'Give Me Another Chance', 'Disco Energy' and 'Sun In The Rain' were the only tracks I enjoyed from SEB167. Everything else was below the general level, and it doesn't help that it contains my least favourite eurobeat production of all time ('Remind Me To Forget' by Madison). Then again, it's all a matter of opinion.

As for SEB192, some of the productions have been growing on me slightly. In particular, '1.2.3.4. Live On Dance Floor' and 'Unbelievable'. That doesn't improve the general level of the album by any means - it's still one of the bad apples.

I may be sounding awfully critical of HRG lately, but prior to SEB192, the last bad production I heard from them was in fact 'Run & Run' from five months ago. All their male productions have been pretty good lately on SEB and I'm thankful for that. It just upsets me that they stick to the same formula with their female tracks and use the same track length all the time. They need new ideas - perhaps a new producer to spice things up. 'Pagal', as it stands, simply infuriates me.
Well I hate going back to this point but Nick Festari told me himself that it's more of Avex's "creative" control that drives HRG to produce the silly stuff. While we keep barking at the labels who produce what we consider inferior and bland tracks, for the most part the only way to deviate from Eurobeat is to do Hyper Techno tracks. While I dislike most of HRG's current eurobeat, I love their Hyper Techno especially Get Your Power Go! (Okan). I was hoping with a new director, the labels will get more freedom to express their creativity, though the new director seems to be really pleased with SCP and Go Go's Music lately and from what I hear has been working with them closely.
You can hate me but you know you have quality issues =p

zoupzuop2
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Post by zoupzuop2 » 24 Nov 2008, 01:26

Jion wrote:While I dislike most of HRG's current eurobeat, I love their Hyper Techno especially Get Your Power Go! (Okan)...
...heehee~! Garcon rapping is fun, I'll grant that much. XD

I wonder what a non-Iron-Fisted SEB would sound like?
A lot's changed in the decade and a half I've been here.
Full-time eurobeat producer, full-time musician, part-time Vtuber. #JessaIsReal2021
Join me on an Odyssey.

Jay
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Post by Jay » 24 Nov 2008, 01:37

Jion wrote:Well I hate going back to this point but Nick Festari told me himself that it's more of Avex's "creative" control that drives HRG to produce the silly stuff. While we keep barking at the labels who produce what we consider inferior and bland tracks, for the most part the only way to deviate from Eurobeat is to do Hyper Techno tracks. While I dislike most of HRG's current eurobeat, I love their Hyper Techno especially Get Your Power Go! (Okan). I was hoping with a new director, the labels will get more freedom to express their creativity, though the new director seems to be really pleased with SCP and Go Go's Music lately and from what I hear has been working with them closely.
You've made a good point, but there's one gray area: the extent to which Avex's patronage can influence the label's productions. Nobody knows for sure just how much control Avex has over how a song is produced, so we can only assume.

To me, it seems unlikely that Avex has an authoritarian stranglehold and can freely dictate exactly how many BPMs the production should contain, how long the production should last, who should sing it, if the vocals should be pitched, etc. On the other hand, if a label (say, HRG) were only told by Avex to produce "silly stuff", then all of the aforementioned is left for HRG to decide. In this case, my criticisms about HRG still apply for the most part. I'm willing to respect the opinions of somebody who contends that Avex plays a much more important role in all of this (if you remember the debacle surrounding 'Cooking Boy', then that's a perfect example of how influential Avex can be), but I don't believe Avex is all that influential in a majority of cases.

Jion
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Post by Jion » 24 Nov 2008, 03:18

Jay wrote:
Jion wrote:Well I hate going back to this point but Nick Festari told me himself that it's more of Avex's "creative" control that drives HRG to produce the silly stuff. While we keep barking at the labels who produce what we consider inferior and bland tracks, for the most part the only way to deviate from Eurobeat is to do Hyper Techno tracks. While I dislike most of HRG's current eurobeat, I love their Hyper Techno especially Get Your Power Go! (Okan). I was hoping with a new director, the labels will get more freedom to express their creativity, though the new director seems to be really pleased with SCP and Go Go's Music lately and from what I hear has been working with them closely.
You've made a good point, but there's one gray area: the extent to which Avex's patronage can influence the label's productions. Nobody knows for sure just how much control Avex has over how a song is produced, so we can only assume.

To me, it seems unlikely that Avex has an authoritarian stranglehold and can freely dictate exactly how many BPMs the production should contain, how long the production should last, who should sing it, if the vocals should be pitched, etc. On the other hand, if a label (say, HRG) were only told by Avex to produce "silly stuff", then all of the aforementioned is left for HRG to decide. In this case, my criticisms about HRG still apply for the most part. I'm willing to respect the opinions of somebody who contends that Avex plays a much more important role in all of this (if you remember the debacle surrounding 'Cooking Boy', then that's a perfect example of how influential Avex can be), but I don't believe Avex is all that influential in a majority of cases.
Avex yays or nays songs all the time and often times changes the singers or asks for multiple versions of songs. If you remember from on this forum a while ago, the original singer of Night Of Fire was the model of Niko before it was changed to Maurizio De Jorio. Avex told Bratt to change the singer. My guess is this is why each label usually sticks to their forumla and why there's a "Time" sound or an "A-Beat C" sound or etc. etc.
You can hate me but you know you have quality issues =p

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Lebon14
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Post by Lebon14 » 24 Nov 2008, 03:47

Jion wrote: If you remember from on this forum a while ago, the original singer of Night Of Fire was the model of Niko before it was changed to Maurizio De Jorio. Avex told Bratt to change the singer. My guess is this is why each label usually sticks to their forumla and why there's a "Time" sound or an "A-Beat C" sound or etc. etc.
That makes me think of the two versions of "Pagyaru". One's Mara Nell and the other is Baby Bazooka's. I wonder if it's the same thing that happened for that song...
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Jay
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Post by Jay » 24 Nov 2008, 04:09

Jion wrote:Avex yays or nays songs all the time and often times changes the singers or asks for multiple versions of songs. If you remember from on this forum a while ago, the original singer of Night Of Fire was the model of Niko before it was changed to Maurizio De Jorio. Avex told Bratt to change the singer. My guess is this is why each label usually sticks to their forumla and why there's a "Time" sound or an "A-Beat C" sound or etc. etc.
Well, 'Night of Fire' and 'Cooking Boy' clearly demonstrate the lack of freedom labels have, but there's always exceptions to the rule. Irrespective of Avex's so-called quality control, I find it ludicrous how Avex could possibly have the nerve to tell HRG to keep all their tracks at 4:30 or to always pitch their female productions. These are aspects the labels can easily alter without upsetting Avex, but choose not to for whatever reason. There is some freedom of interpretation available to the labels, but whether they choose to take advantage of it is another matter entirely.

We could debate about this forever, but I think we can both agree that Avex can exert considerable influence whenever they choose to. Is such intervention always best though? Questions to be answered for another day in another topic. :P

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