It was hard to wait until the end of March, and the cherry blossom season in Tokyo ushered in. Things at Dannomiya Restaurant were finally done.

Until this time, Ning Weimin's depressed mood finally bloomed like a flower, and he felt that he had some autonomy in time.

However, when he saw the cherry blossom trees in Tokyo full of rose-colored flowers that were about to bloom, the biggest feeling in his heart was not yearning for pink cherry blossoms.

But he felt full of guilt towards Matsumoto Keiko.

Because although on the surface, it seemed that he was trying to accommodate Matsumoto Keiko during his busy schedule and was forced to meet with her frequently.

But to be honest, from ancient times to the present, there is no way that can release men's anxiety and relieve stress more than "playing poker".

In fact, Ning Weimin himself needed such a meeting far more than Matsumoto Keiko, and gained the most benefits from it.

Especially in the recent period, it seems that because of being too busy and having a big family, Ning Weimin's desires have become particularly strong and he has become increasingly impatient.

So much so that his love for Matsumoto Keiko turned into a fire that could burn him.

When the two of them were together, he often couldn't wait for Matsumoto Keiko to get into the mood and started acting recklessly.

Once you are impulsive, you will often ignore it and completely fall into your own desires without realizing it.

Sometimes it is inevitable that violent and extreme actions will occur, which are basically tantamount to aggression.

Only after he is fully satisfied can he regain his senses and realize how much he has gone too far.

They often regret that they have hurt the other person and left a painful mark on Keiko.

On the other hand, how did Matsumoto Keiko treat him?

Just like Keiko herself said, she loves him so much!

Therefore, he had no intention of blaming Ning Weimin for his abnormal behavior and tolerated him with great consideration.

Not only did I do my best to soothe his spirit and body every time.

Instead, he endured the tension and discomfort, even endured the pain, and sent him to the paradise world.

Even for those things that Ning Weimin asked casually, Matsumoto Keiko did her best.

In about a week, the relevant price list of the music production company was handed over to Ning Weimin.

The production company that submitted the quotation is called "Alido", which is a medium-sized music production company affiliated with Colombia and based on the Japanese market.

Keiko Matsumoto's only album "Flowers in the Water of Love" released in 1980 was produced by this company.

Therefore, the price offered by this company cannot be said to be favorable enough, but it is very professional and detailed.

Whether it is recording studio usage fees, band performance fees, lyrics, composition, arrangement, singing, recording, mixing, mastering, packaging, food and miscellaneous fees...etc., all are detailed.

Ning Weimin made some calculations and found that he would provide his own singers instead of hiring famous artists, and the band fees could be included in the arrangement fee.

So the main billing standards are 100,000 yen for arranging a song, 70,000 yen for mixing, 8,000 yen for one hour in the recording studio, and 20,000 yen for three hours.

It costs almost 200,000 yen to record a song.

In other words, Zhang Qiang and Cui Jian's two albums totaled less than twenty songs, so they stopped at four million yen.

Including rehearsal fees, the maximum amount is 6 million!

When the price was calculated, Ning Weimin himself was shocked!

Why is it only six million yen?

It actually costs about 140,000 to 50,000 yuan?

Even if the black market price is less than 300,000 yuan, how can it be similar to that in China?

Of course, Ning Weimin thought that he had made a mistake.

But later I calculated it several times, but I couldn't find any fault with the calculation.

After careful consultation with Matsumoto Keiko, Ning Weimin finally understood what was going on.

I dare to love it for no other reason than that the Japanese music industry is so developed and its overall level far exceeds that of the domestic one.

Not only is he the leader of the entire Asian trend, but his maturity has reached the point of industrialization of music.

Therefore, there are many relevant practitioners, and they have extremely rich experience in producing pop music.

For example, domestic synthetic electronic music only has two tracks, but here people only record drum sounds on six tracks.

The so-called professionals in our country may not even be able to hold a microphone if they want to work here.

On the other hand, something that requires several people to stay up late at home can be easily done by one person in a few hours here.

Just such a big gap.

In addition, many audio equipment are produced by local Japanese companies, such as Yamaha and Sharp.

So the equipment that is expensive and scarce in China is just a bargain here, and the 24-track music recording equipment that can shock the Chinese people is nothing at all.

As for the most expensive aspect of Japanese music production, it is actually music royalties and copyright royalties.

But Ning Weimin didn't have to spend a fortune on this.

As a result, the final result is that for Ning Weimin and others, Japanese music productions are cheap and beautiful.

Thanks to Keiko Matsumoto, I was able to scoop up the wool of developed countries.

Especially looking at it from the other side, there is another most important issue: the capacity of the market is still different.

If a music album in Japan can sell millions of copies, it is already an earth-shattering platinum album.

In fact, Matsumoto Keiko's only album sold more than 500,000 copies, while Ishida Ryoko's album "Blue Yokohama" which became popular in Asia only sold 1.5 million copies.

Yamaguchi Momoe's first album sold only 440,000 copies after her debut.

In the eight years since his debut, the cumulative sales of all eight music albums in his acting career have been only 16.22 million.

She is also the first Showa singer in Japan to have album sales exceeding 10 million.

Therefore, before any music album in Japan is produced, it is necessary to rigorously calculate the lowest sales figure that can return the investment.

Because it is really possible to lose money.

But if this number of millions is to be placed in the mainland of the Republic, it would be too ordinary.

In this era, unknown new singers in China must achieve sales of 600,000 before they can release a second album.

As for the famous "stars", those who are slightly famous will have to pass the exam in the millions.

For example, Cui Jian's album last year failed because it didn't sell enough 600,000 yuan.

But with sales of just a few hundred thousand, it would still be a best-selling album in Japan, and it would definitely make a lot of money for the publishing company.

For example, Zhang Qiang's first album in China has an initial sales of 2 million, which can be called double platinum, which is really nothing in China.

At the beginning, Ning Weimin was suffering from insufficient funds, so he focused on stability and set this relatively conservative number.

After several additional issuances, Zhang Qiang's first album has been sold for 3.5 million, but the full market potential has still not been tapped.

Based on the actual market demand, it should at least be able to catch up with Wang Jieshi and Xie Lisi, and sales of five million will not be a problem.

If such achievements are to be placed in contemporary Japan, it would have to be said that Japan has finally given birth to a peerless singer who dominates the music scene.

Not to mention that there is no one to come after, it is also unprecedented.

So when he really learned the inside story, Ning Weimin was overjoyed.

The more he thought about it, the more he felt that what he had done was really beautiful and the price-performance ratio was too high.

That means you can engage in music smuggling openly and even legally.

Yes, this is the way to go. From now on, he will produce albums in Japan, record the master tapes, and then return to China for mass production.

Low price, high-end quality.

How could it be the turn of those Hong Kong cowards and Canadians who are chasing little Japanese ass as their apprentices and come to the mainland to rip them off!

He remembered that in the original history, Cui Jian's "Rock and Roll on the New Long March" was probably jointly produced by several domestic audiovisual publishing houses and a record company in Hong Kong City and recorded in Hong Kong City in 1989.

It is said that the production cost is as high as one million, and all it can play is a set of 24-track equipment.

Looking at it now, isn’t it ridiculous to make such a sum?

This price is too much, Hong Kong coward really dares to show his teeth.

To report expenses like this is just to treat mainlanders as amateurs.

Annoyed or not?

Hateful or not?

In addition, Keiko Matsumoto also gave Ning Weimin a clear clue about how to contact the hospital for Qu Xiao's mother.

Keiko Matsumoto probably assigned people from her own office to handle this matter, because she could never accomplish it on her own.

During this period, Ning Weimin frequently checked the Yellow Pages and made phone calls, but also encountered obstacles. He still did not understand what the problem was.

Thanks to Matsumoto Keiko, he figured out what was going on.

I’m sorry that the medical system in Japan is very different from that in China.

Japan's medical system adopts three types of medical systems: national, public and private.
To be continued...