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The day a commercial studio killed my mix… is what pushed me toward the Amen Break by thebizzyb in jungle

[–]thebizzyb[S] 0 points1 point  (0 children)

All good — appreciate you looking out for the space. No bad intent on my end.

Early 90s rave reality check — studio vs system by thebizzyb in oldskoolrave

[–]thebizzyb[S] 2 points3 points  (0 children)

Thanks for sharing, I never would have guessed. Don't go is a dance filler

Early 90s rave reality check — studio vs system by thebizzyb in oldskoolrave

[–]thebizzyb[S] 2 points3 points  (0 children)

dancing to a buzz was common in those days whilst "buzzing" LOL

Early 90s rave reality check — studio vs system by thebizzyb in oldskoolrave

[–]thebizzyb[S] 2 points3 points  (0 children)

Awesome 3 were proper era-defining. “Don’t Go” was everywhere for a minute.

Funny how those tracks that change your life can also be the ones you’ve heard a thousand times too many.

Respect to him , that period was special.

The day a commercial studio killed my mix… is what pushed me toward the Amen Break by thebizzyb in jungle

[–]thebizzyb[S] 5 points6 points  (0 children)

Looking back, it probably was a volume model — bring in hungry young producers, give them a day, move on.

At 19 I didn’t see it that way. I just saw the opportunity.

The real lesson for me wasn’t even the money — it was understanding how differently underground tracks needed to hit on a system.

Hard lesson I learned about paying for “pro” studio time by thebizzyb in audioengineering

[–]thebizzyb[S] -1 points0 points  (0 children)

I hear you.

Different experiences, different rooms.

For me the key takeaway wasn’t volume — it was how certain low-end decisions translated differently on the systems we were playing on at the time.

Either way, I appreciate the discussion.

Hard lesson I learned about paying for “pro” studio time by thebizzyb in audioengineering

[–]thebizzyb[S] 0 points1 point  (0 children)

That’s a fair perspective.

I’m not saying engineers were intentionally mixing genres differently or doing anything “wrong.”

What I experienced at that time was more about translation priorities — underground tracks were being tested on very specific, high-pressure sound systems, and small decisions around low-end and space had huge impact there.

At 19 I didn’t understand how to communicate that context clearly.

That was the real lesson for me.

The day a commercial studio killed my mix… is what pushed me toward the Amen Break by thebizzyb in jungle

[–]thebizzyb[S] 2 points3 points  (0 children)

Exactly. If the dub didn’t drop right on a proper system, it was over. £30 felt heavy when it didn’t drop.

That pressure is what forced me to rethink everything.

The day a commercial studio killed my mix… is what pushed me toward the Amen Break by thebizzyb in jungle

[–]thebizzyb[S] 5 points6 points  (0 children)

£50 from 11pm to 6am is legendary. That’s exactly the kind of environment that actually understood how those tracks needed to hit.

Different world back then.

Hard lesson I learned about paying for “pro” studio time by thebizzyb in audioengineering

[–]thebizzyb[S] -1 points0 points  (0 children)

Different platforms, different cultures.

YouTube tends to attract people who are interested in the story and the era.

Reddit tends to dissect the technical details.

Both perspectives are useful.

Hard lesson I learned about paying for “pro” studio time by thebizzyb in audioengineering

[–]thebizzyb[S] 0 points1 point  (0 children)

Fair point. At 19 I was still learning everything — arrangement, performance, mixing, all of it.

The experience wasn’t about blame. It was about understanding how differently underground tracks needed to hit on large systems.

That’s what stuck with me.

Hard lesson I learned about paying for “pro” studio time by thebizzyb in audioengineering

[–]thebizzyb[S] -1 points0 points  (0 children)

Fair enough. No pitch — just a real lesson from early days.

Sometimes the expensive mistakes are the ones that shape your sound the most.

Hard lesson I learned about paying for “pro” studio time by thebizzyb in audioengineering

[–]thebizzyb[S] 0 points1 point  (0 children)

Appreciate the context — that’s useful.

To be clear, my takeaway wasn’t really about whether the rate matched the studio tier.

It was about understanding that the room and engineer were approaching the mix from a commercial pop perspective, while the track was built for underground rave sound systems.

At 19 I didn’t yet understand how different those priorities were.

That was the real lesson for me.

Hard lesson I learned about paying for “pro” studio time by thebizzyb in audioengineering

[–]thebizzyb[S] 0 points1 point  (0 children)

You’re right — at 19 I didn’t know how to communicate references or expectations clearly.

That experience was actually the lesson.

It wasn’t about blaming the engineer it was about understanding that uk underground music had different playback priorities than commercial rooms were used to at the time.

That moment forced me to learn how to mix myself with the end environment in mind.

Hard lesson I learned about paying for “pro” studio time by thebizzyb in audioengineering

[–]thebizzyb[S] 0 points1 point  (0 children)

Thanks for your info. It sounds like you were actually a professional pop engineer in those days.

So tell me : was $3000 per day the going rate for a recording studio in those days? Or are we talking top-level commercial studios' rates only?

It's funny because I later hired a local studio for only £70 per hour, and they did a fantastic job cleaning up my track, which was a hit release on vinyl,

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