Eurobeat Prime :: Forum

Hopefully the new ABeatC cut down on the hi-hat sound in the music. It is way too prominent in their music over the recent years. More prominent than the main beat. It is very annoying if you start listening to it. The songs have been great, but the hi-hat adds nothing to the music. Anyone know of a software that can remove the hi-hat?

Just tone it down a drop. If it's MIDI-based, there's at least a few ways to do that.

By the way... from the outlook of it, it appears that much of the "new ABeatC" sound that we're not all particularly fond of is the result of Pasquini working with a new co-producer... by the name Luigi Raimondi. I wonder, then, what his approach was when he arrived...

...unfortunately, my hypothesis goes in a direction I don't like: He tampered with a tried-and-true formula. He tried to produce Eurobeat "his" way, which did not produce as many hits as the previous method. Perhaps, for the sake of returning to the sounds of a better time, it is Luigi that must adjust to the older ABeatC sound, rather than the ABeatC sound having to adjust to him?

Luigi Raimondi was already established earlier in this topic, but of course his newness to the genre would have a direct impact on the traditional A-Beat C sound.

Still, I feel a lot of the negativity surrounding A-Beat C is focused too much on Raimondi. Before Raimondi arrived, we had the sleep-inducing Norma songs and Dave duets, as we do today. We were graced with the antithesis of 'good' and 'bad' A-Beat C productions prior to and after Raimondi's arrival as well. A-Beat C has kept up a rather mediocre "hit-or-miss" level for years now, but Raimondi seems to help produce these lower BPM songs more effectively than his predecessors.

Nobody really knows what the problem is or hasn't explained it well enough yet. I've taken jabs at the cause before in other topics and I'll reiterate it: their productions seem to have a darker undertone to it these days, almost depressingly. Their recent bubbly productions even have these elements such as "Come On Up" by King & Queen; it's fast-paced, energetic and oozes of flamboyancy, but the song is overlain with a type of bleakness in the synths. This could reflect the state of mind that Pasquini has towards the genre these days, but nobody knows for certain since he remains isolated from his fans. After the amount of criticism he has received from users of this forum and other producers, this could very much be the explanation for it. I refuse to believe it's Raimondi's fault since A-Beat C obviously took a dip before his arrival and Olivia's departure.

In addition, the overexposure of certain vocalists is not helping the label either. There needs to be a better spread of vocalists instead of congesting Gordon and Marin into every SEB album they possibly can. We need to remember that A-Beat C has an extensive pool of vocalists to use, yet Pasquini doesn't use them effectively. Most people will probably say the Gordon/Marin overexposure is Avex's fault, but if you check out A-Beat C's ASCAP profile, you'll notice that Marin contributes to around one-fourth of the productions there (not counting DJ Zorro). Of course, the ASCAP profile doesn't contain the full A-Beat C catalogue, but we can assume what the real vocalist spread is with this depiction. The introduction of these 13-track discs on Super Eurobeat Vol. 186 should do a lot of good in this regard; more thought will need to go into which vocalists will appear on the discs, which might mean less Gordon/Marin exposure. Time will tell how that pans out though.

Lastly, Pasquini might have just grown bored of the genre after all these years of production, sort of like Dall'Ora in a way. The amount of criticism he's receiving surely isn't helping the cause, but that doesn't mean I believe that criticism is never warranted. Producers need to know their faults, in small doses; however, in this case, I feel that a lot of folks crossed the line.

Maybe nice to know that Luigi isen't new cause he's already in the picture of Pasquini for a long time! Actually already in the early days of ALEPH! If I recall correct (words of GP) Luigi helped him to create 'Fly to me'.
So Luigi was already there but not in the spotlight. I met him once while he and GP where working on the final cuts of a Norma Sheffield production. Fantastic to hear that each sound had to find it's right position!
Luigi is for me one of my best writers, words of GP. Meeting him I discoverd a very shy and friendly person who puts all his feelings into the musice (that's why Norma is mainly from his hands like MEGA NRG was mainly Oliva's job).
Anyway, I totally don't see a dip of ABEATC (but thats my personal taste). I prefur the edits much better now than the older work with Oliva (does not mean I doesn't like it but). And I prefur Gordon's voice very much and Marin's trax lately created by GP and L.R are fantastic (I've mentioned before). The hi-hat, yes I can understand but that does nothing for me. Quality of the sound, melody, voice, intro and musical break in a single edit, yes for me ABEATC still is going strong.
Eurobeat meanly is going strong! Delta with their great list of composers, TIME with constant quality and SCP (fantastico). Hi NRG is not really my style and GGM is okay. With the return of Leonardi and Saifam we have to be happy! What more can you wish (then wait till Santa Claus ).
I still have a deep respect for the creators that the still can go on with the sound! I've started listening to Italo music in 86 and now after 22 years! Yes, people (lots of you don't even have reached that age) they, the mighty Italians still going strong! Like GP once told me, I'll create till my last breath. Go my own way (so don't worry, he shall never read this forum, believe me) And I'm glad he does it his own way! And that also all the other labels do it in there own way and style! All over the years!
Thanks for the music! FORZA ITALIAAAAAAAAAAAaaaaaaaaaaa!

Ciao,

Ronald (sitting in the ABEAT studio, watch my www) --> MY DREAM CAME TRUE!

Jay wrote:Luigi Raimondi was already established earlier in this topic, but of course his newness to the genre would have a direct impact on the traditional A-Beat C sound.
...
In addition, the overexposure of certain vocalists is not helping the label either. There needs to be a better spread of vocalists instead of congesting Gordon and Marin into every SEB album they possibly can. We need to remember that A-Beat C has an extensive pool of vocalists to use, yet Pasquini doesn't use them effectively. Most people will probably say the Gordon/Marin overexposure is Avex's fault, but if you check out A-Beat C's ASCAP profile, you'll notice that Marin contributes to around one-fourth of the productions there (not counting DJ Zorro). Of course, the ASCAP profile doesn't contain the full A-Beat C catalogue, but we can assume what the real vocalist spread is with this depiction. The introduction of these 13-track discs on Super Eurobeat Vol. 186 should do a lot of good in this regard; more thought will need to go into which vocalists will appear on the discs, which might mean less Gordon/Marin exposure. Time will tell how that pans out though.

As said by Ronald above me (and below you), signor Luigi Raimondi is not remotly new. He's been with ABeatC since its beginning and Pasquini before! A very talented man in my eyes, though I have always found favor with more of Sandro Oliva's productions. Recently, he's had more tracks on SEB... and that is simply due to the absence of Oliva. I am positive before there were just as many tracks by Raimondi being created.

Also, regarding the constant presence of Annerley Gordon and Tomas Marin: It comes down to the singer's contract with the label(s). Denise also has had a lot of tracks recently, and Stefano has had some. Annerley and Tomas have been around the music for YEARS, and their aliases are well known. Unless they decide to stop recording, don't expect to see any difference in releases from ABeatC... (Note: Tomas does not intend on stopping soon ;D)
... And how can you not love Mega NRG Man? Really. He sets everything on fire. He's, like, a sexual pyromaniac!! XDDDD (jkjk...)

You also made the comment that 13 tracks per album will solve 'this problem'... I disagree. I recall Newfield typed it's a matter of business; contracts with Avex. I question how much thought is put into the song selections on Avex's part, too.

Sadie wrote:... And how can you not love Mega NRG Man? Really. He sets everything on fire. He's, like, a sexual pyromaniac!! XDDDD (jkjk...)

He was an unstoppable machine of incredible hits that could really bring the heat during the late 90's, but 10 years later, the flowing energy of his older classics just seems completely out of reach.

#Infinity wrote:

Sadie wrote:... And how can you not love Mega NRG Man? Really. He sets everything on fire. He's, like, a sexual pyromaniac!! XDDDD (jkjk...)

He was an unstoppable machine of incredible hits that could really bring the heat during the late 90's, but 10 years later, the flowing energy of his older classics just seems completely out of reach.

Except for the music he's done with Go Go's Music - cause you know... everything Domino touches turns to gold.

Is anyone else having trouble reading that or am I going blind.

For the record, I don't think ABeatC has a problem. They are still dishing out some pretty good songs I guess the reason why so many of the same artists appear is either popularity or as Sadie said avaliability. I would like to hear Nick Key, Mel Rose, Freddy Rodgers,Micky B. and more Fabbrizio. His track on 183 was awesome!

Nine wrote:

#Infinity wrote:

Sadie wrote:... And how can you not love Mega NRG Man? Really. He sets everything on fire. He's, like, a sexual pyromaniac!! XDDDD (jkjk...)

He was an unstoppable machine of incredible hits that could really bring the heat during the late 90's, but 10 years later, the flowing energy of his older classics just seems completely out of reach.

Except for the music he's done with Go Go's Music - cause you know... everything Domino touches turns to gold.

Agreed! It's just too bad he apparently isn't working for Domino anymore, as Back To The 80's was an older piece that was presumably recorded before he returned to dominate A-Beat C.

#Infinity wrote:

Nine wrote:

#Infinity wrote: He was an unstoppable machine of incredible hits that could really bring the heat during the late 90's, but 10 years later, the flowing energy of his older classics just seems completely out of reach.

Except for the music he's done with Go Go's Music - cause you know... everything Domino touches turns to gold.

Agreed! It's just too bad he apparently isn't working for Domino anymore, as Back To The 80's was an older piece that was presumably recorded before he returned to dominate A-Beat C.

Perhaps he's not stuck to either one exclusively...?

#Infinity wrote:

Nine wrote:

#Infinity wrote: He was an unstoppable machine of incredible hits that could really bring the heat during the late 90's, but 10 years later, the flowing energy of his older classics just seems completely out of reach.

Except for the music he's done with Go Go's Music - cause you know... everything Domino touches turns to gold.

Agreed! It's just too bad he apparently isn't working for Domino anymore, as Back To The 80's was an older piece that was presumably recorded before he returned to dominate A-Beat C.

True, Back to 80s was made back in the summer but he hasn't stopped working with Domino

Nine wrote:

#Infinity wrote:Except for the music he's done with Go Go's Music - cause you know... everything Domino touches turns to gold.

Agreed! It's just too bad he apparently isn't working for Domino anymore, as Back To The 80's was an older piece that was presumably recorded before he returned to dominate A-Beat C.

LOLz small type :3
Okay, but seriously: He records / has contracts with both Pasquini and Gatti. So you'll see him at both labels regularly. When I had the opportunity to speak to him and Domino she was in Switzerland discussing eurobeat related business information.

just want to let you know Luigi is a great composer and the sax player on Sophie's old singles.

newfield wrote:just want to let you know Luigi is a great composer and the sax player on Sophie's old singles.

No doubts; his composing abilities aren't at question here. I can hear quite a bit of great music (note-wise, that is) that seems to flow from his mind.

However, the choice of sounds and moods, some of which can be chosen and some of which are not exactly decided by anyone other than chance or God, can change how people feel about that music. A synthesized Sabi may sound different across different composers, mixers, etc. points of view or directions, even if it's the same line.
It's nothing against his particular style; it's just rather different for some odd reason compared to the "former" ABeatC style that many of us knew from before.

[quote="newfield"]just want to let you know Luigi is a great composer and the sax player on Sophie's old singles.[/quote]

wow, Laurent! I totally did not know that! Thanks man! I also saw that he did some trax on ASIA for FCF on the the CD 'BIG TIME' ; 'Revolution' and 'Over time'.

Again thanks for the info and have a nice musical day!

Ronald. (by the way, THE POLICE are coming back to Italia, to Venice! They still going like a fast train!). CIAOOOOOOOOOoooooooooooooo!