Good summary. The most frustrating part is there seems to be nothing you or anyone could do about it. And it just go on and on and on. As long as producers are silent its gonna continue.Well of course. I really believe the steroid-problem exists because it's the easiest subgenre to create.
Some popular steroid producers have their own sample packs and preset-packs: sean tyas, darren porter... and also guys like Temple One and Activa. Those latter ones might seem 'non-steroid', but they include those sounds as well. I personally have the Activa sample pack to inject some modernness in my own hobby projects. It contains ready to use modern perc loops, modern steroid kicks etc. If you want, there's even fully completed beat loops that contain everything: kick, hats, percs, everything in 1 loop. Insert in project > done.
The preset-packs contain ready to use rolling bass settings, so just pick one of the dozens available and you already have beats + bass.
The thing about the songwriting.... you know, a melody like Marcel Woods - Advanced is actually very difficult to pull off. While something like Andy Blueman would make, is much easier. Eventhough it may seem more complex. But since it's just chords played in a certain arpeggio rhythm, it's not that remarkable. Those arp-rhythms are available too in preset-packs. So then all you have to do is put some chords after one another. And guess what, software like Cubase has functions for that too. Click on a button and you'll hear a chord. You want chords that go nicely with that one? No problem, it's all here ready to implement in your track.
Not everyone is a GREAT songwriter, so not everybody delivers "good steroid music" like Andy Blueman did. He was good at "picking the chords", so to speak. (Plus, yes, his orchestral elements were always solid!). While most amateur producers are happy when it's in key.
The next problem is: labels. Just like everyone wants to be a succesful producer, everyone also wants to run a label. There's way too many of them. So all those average tracks get signed.
And since it's so easy: lots of producers just change the notes from A to B, make a different chord progression. A few elements changed, and hurray, another track ready. And that one will also get signed, no problem. For me it seems impossible to release > 30 (!) singles in a year. Specially since these are all people with full time jobs. Just realize: back in the past, Rank 1 just released 1 single (and some remixes) in a whole year. And that's Benno de Goeij we're talking about. A mastermind who makes music for a living.
Next problem: Listeners. Those tracks, average as they are, get PRAAAISSSEEDDDD as if it was the Trance Energy Theme 2002. Everyone is too kind to each other. I'm assuming a good portion of "listeners" are actually fellow producers who are friendly because of the "please follow me back" principle. Act nice, only because you hope to gain something from it. "thanks sooooo much for supporting my track on your podcast with 10 plays".
In the end it all comes to this: The desire of getting clicks, comments, plays, followers, likes, attention.... its wayyy too big.
And trancefix is seen as a hate-community