Right now, Sidney SN isn’t really a drum and bass producer, just he is a producer of drum and bass mixes— and maybe that’s not just a coincidence.
Sidney has always shown interest about the UK scene — where clear sound, professional-level production are absolutely essential. In the UK, if your sound isn’t clean, you simply won’t break through.
But when Sidney mixing tracks that come from a different philosophy — like the Liquicity-style tracks, which are often made entirely in FL Studio and similarly softwares with minimal mixing depth — Sidney himself sometimes struggled to make those tracks sit right in his mixes. The difference in sound quality becomes very real in the DJ booth — not just in theory.
If you go back to pre-2020, Sidney SN mostly mixed music from UK artists — or at least tracks that sounded like UK drum and bass: clean, well-produced, emotionally deep, and technically solid.
But as Liquicity grew and more continental artists filled the scene, the overall sound quality shifted. And so did the impact of Sidney’s sets. It’s possible that the loss of sound quality in the music he had to work with played a role in how his DJ style evolved.
In the UK, drum and bass is not just made on laptops. It’s made in real production studios, by artists who treat it like serious music. Think hardware synths, outboard compressors, acoustic instruments, real vocal booths, and trained engineers. This is where you find artists like Pola & Bryson, Technimatic, Sustance, Kyrist, LSB, Flava D, BCee, of course London Elektricity, Etherwood, Keeno, LENS, and others — and vocalists like SOLAH, Riya, Ruth Royall, DRS, Visionobi, Charlotte Haining, for example.
In the UK, a drum and bass track without professional-level clarity, vocal quality, and mix balance won’t get released. It won’t reach radio. It won’t get booked. This is a sound culture built on decades of studio experience — not on presets and shortcuts.
A lot of producers at Liquicity Records, they produce entirely inside FL Studio or similar DAWs, often in bedrooms with minimal acoustic treatment. And Liquicity itself supports this — encouraging young producers to focus on emotion and melody, even if the sound isn’t clean. I don’t say that is not good idea support people in their music production—in a away, modern liquid drum and bass emerged because tools like is Fl Studio, Ableton, but UK sound is better because approaches to music production in UK. And maybe, this shift matters because the world followed FL Studio approaches. As Liquicity grew in Europe, many young producers copied the accessible FL Studio formula — and the standard for liquid or deep DnB dropped.
In the end, the UK remains the benchmark — not because of tradition, but because it still respects the full process: Studio craft, instrumental layering, professional vocal sessions, and clean, powerful mixes. If you remove that, you don’t just lose clarity — you lose meaning.
And in Czechia? The scene is especially about raving. Clean sound is not a priority at all. Most local events are built around energy, not quality. Nobody cares whether the track is clean — only if it drops hard. One of the reason, why in Czechia dominant DnB genre is neurofunk. Neurofunk is not about clear sound at all what is UK drum and bass. A truth is, free tekno has also big sound in Czechia—because tekno is possible make by simply way in tools like is FL Studio, need nothing else for this music, even in mind.
