![]() ![]() The worst offender of Copy Control CD was Sony, which actually charged users to rip the songs from CD if they do it the second and third and subsequent times. And the ripped files were encrypted with DRM, to be played on that computer only. Before iTunes store was launched, all the music CD that were launched were encrypted with Copy Control, so when users puts in the disc into the PC, instead of Audio CD portion being played out, it goes straight to Data CD portion, and require users to authorize the computer to rip the songs to computer first. ![]() Reason: Japanease Record Labels are very, very conservative about piracy.īack in 2005, when iTunes store launched in Japan, many record labels in Japan was against iTunes store in general, due to very lax nature of FairPlay DRM. I have a bad feeling iTunes match is never going to come to Japan, along with iTunes in the Cloud, or allow their songs to be in store which has iTunes match and iTunes in the cloud. Why change, when you can still make money the old-school way? they don't do any digital downloads at all, and they can easily sell 250k CDs in a week when they release a new album. I don't think this is going to change any time soon. and unfortunately it's the same story if you want to buy CDs: Japanese albums on YesAsia cost $$$$ ($37 for Jasmine/Gold) while there are eBay sellers selling pretty much every K-Pop release for half that ($18+$3 shipping for 2NE1 first album). I do try to buy all my music legitimately. that seem to have pretty much every release there. Contrast that with well known K-Pop artists like T-Ara, Kara, SNSD, 2NE1 etc. In the UK iTunes store we have Ayu's 'Guilty' album, her 'ayu-mix' and all her videos, but nothing else. This second series of articles has been fascinating - with the author discussing how Japan's pop culture is now aimed at groups in society that really have no equivalent in the West - and as a result is becoming much less marketable internationally. The Internet' and ' The Great Shift in Japanese Pop Culture'. There are been some interesting blog posts recently on the Neojapanisme blog concerning ' The Fear of. This moment essentially signified the birth of Avex Trax as an independent and original label, setting the stage for its significant contributions to the Japanese music industry.Unfortunately Japanese record labels don't seem to 'get' the internet, and most artists consider only their home market. This compilation, containing tracks exclusively from A-Beat-C, marked the inaugural release under the Avex Trax label. 9 - Extended Version on November 25, 1990. Ī pivotal turning point arrived with the release of Super Eurobeat Vol. ![]() With the Super Eurobeat series being the main centerpiece along with Electronic music in general, while also exploring other possibilities. Avex, then known as Avex D.D., Inc., ventured into the establishment of its own record label, Avex Trax. Despite these considerations, an agreement was ultimately reached between the two parties. The notion of transitioning into a full-fledged record company brought about concerns regarding potential setbacks and inherent risks. Avex, at that time, did not possess any record labels under its corporate structure rather, it primarily functioned as a wholesaler for CDs. This proposition presented a challenging situation. He proposed an exclusive distribution arrangement to Matsuura, suggesting that Avex take charge of distributing his new label's content in Japan. Rodgers, the founder of A-Beat C Records, embarked on this endeavor in June 1990 following his departure from his prior label, Time Records. Avex Trax, was established in September 1990 as a result of a significant encounter between Avex's founder, Masato "Max" Matsuura, and the acclaimed Eurobeat producer, songwriter, and singer Dave Rodgers. ![]()
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