Josh Le Tissier had the same problem most upcoming dance producers know by heart.
He could write a hook, and his drops had real energy. But every time he stacked his tracks against the artists he looked up to, his mixes felt smaller. Thinner. Like the speakers were lying about how big the song actually was.
That gap between “this is fun in my room” and “this could play between W&W and Hardwell at Ministry of Sound” is where most producers stall out. Usually for years, and usually while buying one more plugin they’re sure will be the fix.
Josh didn’t stall. He’s now sitting on 150 million streams, support from Hardwell and Nicky Romero, multiple nights behind the decks at Ministry of Sound London, and a Gryffin remix that ran on SiriusXM BPM for six weeks straight.
This is how he got there.
The Starting Point
Before the Hyperbits Masterclass, Josh was stuck on the most universal pain point in dance music: full mixes.
In his words: “Before attending the Hyperbits Masterclass, I was really struggling to make my tracks sound full. They just didn’t stand up to my idols.”
That’s the line every producer eventually has to confront. You can hear the difference. You just don’t know what’s making it. The kick feels weak. The low end is mud. The top end is harsh or it’s tucked under a blanket. Vocal chops that sound euphoric in the demo turn small the second you bounce it down.
Mixing and mastering were on Josh’s list, along with layering. Then there were the smaller details that separate a bedroom session from a label release, and those are the sneakiest. The “smaller details” are usually what you don’t even know you’re missing until somebody points them out.
The Breakthrough
The shift came down to one thing, and Josh says it better than I can: “I needed a system I could trust. This course gave me that, and more.”
Inside the Masterclass, mixing and mastering turned into a process he could repeat on every track, and the layering lessons showed him how to stack a lead or a kick so it actually carries a drop. And the “smaller details” (the automation and transitional moments that take a track from finished to alive) finally clicked. That’s almost always the last piece to land, because it’s the hardest one to hear.
Once you have a real chain you can sit down with any time, the mood of the day stops running your sessions. You also stop posting every track to forums, Reddit and random Discords and getting five different opinions back. That’s usually when tracks start getting finished, and finished in a way that holds up next to the songs you love.
The Spotify Algorithm Story
A lot of producers learn to make great tracks and then expect the world to find them. Josh figured out early that great tracks die quietly all the time, so he sat down and studied how Spotify actually decides which songs get fed to listeners.
His take, in his own words: “I spent a long time researching and learning how Spotify works in terms of the algorithm and how best to release and promote releases. It’s more than just releasing great-sounding music.”
Then he gets specific.
“The algorithm loves it when listeners play your song multiple times, save it with the green heart and add it to their own personal playlist. These metrics are key to getting added to Discover Weekly, Your Daily Mix, etc.”
That’s the part most producers get wrong. They watch the stream count, but one play from someone who never comes back barely registers. A save or a second listen tells Spotify a lot more. Once you see it that way, every release starts with a different question: how do I get someone to come back?
Josh’s second insight is even more contrarian. Most producers spend their entire career chasing editorial playlists. He calls them overrated.
“My other tip or insight is that editorial playlists are overrated, I’ve been added to some big ones ‘Pop Remix’, ‘EDM Samplings’, and ‘Dance Covers’ and they bring some good streams in the short-term, but once your song is removed from them the streams return to normal. Whereas, algorithmic playlists; Discover Weekly, Your Daily Mix, Radio, etc. bring long-term consistent streams.”
So that’s where Josh puts his energy. The editorial spike is tempting because it lights up your notifications. The algorithmic streams are quieter, and they’re still coming in a year later.
I’d bet that patience is a big part of how he got to 150 million.
The Results
The list of what’s happened since:
- 150M+ streams across platforms
- Hardwell and Nicky Romero supporting his releases
- Ministry of Sound London multiple times behind the decks
- Gryffin remix played on SiriusXM BPM for six weeks
- Carly Rae Jepsen remix work
- BBC Radio quote on him: “Everything he touches turns to gold”
He talks about the Ministry of Sound nights the way anyone would the first time a dream becomes a Tuesday. “DJing at Ministry of Sound was a dream come true, and to get invited back several times is even better! The sound system is really something special, the visuals are sick and the crowd always knows how to go crazy!”
Notice what he mentions first. The sound system. That’s a producer talking, and it’s the payoff for all that mixing work: your tracks go through a rig that size and still sound the way you meant them to.
Listen to Josh Le Tissier
One Piece of Advice Worth Taping Above Your Desk
If there’s a single sentence in this whole interview I’d hand to a 19-year-old just starting to make beats, it’s this one.
“Be careful who you ask for feedback from because there is such a thing as ‘bad feedback’ and that can have a very negative impact on your music.”
Most producers underestimate how dangerous bad feedback is. The wrong note from the wrong person can send you down a six-month detour, second-guessing decisions that were already correct. I’ve watched producers re-mix a perfectly good track into oblivion because somebody on Reddit told them the kick was too loud, when the kick was actually fine and the advice was just wrong.
Here’s the part nobody wants to admit: most of the producers giving you feedback on forums, Reddit and unproven Discords have never released a track anyone outside their bedroom has heard. You wouldn’t take stock advice from someone who’s broke. Stop taking music advice from people whose music isn’t moving.
That’s why the feedback inside the Masterclass comes from instructors who release music at the level you’re trying to reach. Random listeners mean well. They just haven’t been where you’re headed.
In His Own Words
We asked Josh a few questions about his experience, his sound, and what he’s still chasing.
What was it like remixing artists like Gryffin or Carly Rae Jepsen?
It was a true honor remixing for Gryffin and his team was super professional and direct with their feedback. That remix did really well and helped me get a lot of exposure in the USA because it was played on SiriusXM BPM for about 6 weeks. Shoutout to Rida Naser and Geronimo for the support!
What was it like DJing at Ministry of Sound?
DJing at Ministry of Sound was a dream come true, and to get invited back several times is even better! The sound system is really something special, the visuals are sick and the crowd always knows how to go crazy! They are one of the only clubs in the UK that are bringing big EDM names (such as KSHMR, W&W, Timmy Trumpet, etc) on a regular basis which is awesome!
Dream collab?
My dream collab would be with W&W, their sound is so huge & uplifting and I love the Rave Culture community they have built over the past few years.
BBC Radio said “Everything he touches turns to gold.” What’s next?
My current goal right now is to play more international gigs and go full-time on music.
Josh built his sound on what he learned inside the Hyperbits Masterclass. The Spotify strategy he worked out on his own, credit where it’s due. If you’re a dance producer staring at mixes that don’t quite measure up to your idols, it’s the same program he went through.
If a system is what you’re missing, here’s how the mentorship works, from weekly feedback to private 1-on-1s.
