Nah, just legit shame for being a boring and unimaginative ‘producer’.
Like he could’ve switched the key, BPM, and two notes and been totally safe but “NO, let’s release that late night coke jam where I was totally drag & dropping random shit into the DAW yo!”
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oh yeah
you showed me this. Not sure about it from a listener perspective but its interesting as an experiment.
My first reaction was something along the bathhouse-thing when he said “we just love knobs guys, come on. Hands up who loves knobs?”. 
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That distorted high end because of the bass pressure you hear when at dub parties with a proper sound system, how does one construct that effect? This song is an example of what I mean. Is it all just smashed into a limiter? I rarely use limiters.
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There was a D&B label called position chrome and one of their dudes used this effect on his percussion a lot. I always wondered how it was done. I always thought it was some kind of extreme volume automation in a v short time frame to get that frrrrrrrrr effect .
1 BigUp
Hmm, yeah. I was surprised when I heard it in a song the first time, I thought it was only an acoustic effect. Then again, we can “fake” almost anything now.
1 BigUp
You can hear it in this one pretty good
Could you assign an LFO with a really high (fast?) oscillation to a cymbal sample in some way? I ain’t technical enough to know how it all works haha
You can route anything you want, but what parameters would that LFO control? Volume? EQ sweeps? I dunno man. Hey @Kushra_Producer you got any input?
Maybe run it through some distortion unit and then an extreme LFO on the volume?
I don’t even know how to apply an LFO to it though so I’m not really the best person to ask…
Hehe. From what I understand, IRL the bass waves are so strong they distort the waves further up in the frequency spectrum.
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bassbins go brrrrrrrrrr
yeah sort of
its just something that hits the ‘ceiling’ of some gear. like the bass waves would fill up a compressor (or something else) and would then be more audible in the hi end.
1 BigUp
Compress/saturate/distort hats/high end percussion and sine subs together, then hipass the result
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i use this a lot
1 BigUp
You can put the cymbal sample through a sampler, which should have an LFO. And just use the MIDI.
as to what the LFO would control that’s entirely up to you. I’d route it to the filter and have some stuttering filter sweeps by using automation
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Ableton timestretch gives a frrrrrr effect esp. with reversed samples.
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I think the effect you are talking about is dynamic compression. Which is distortion/compression created by the speakers’ drivers working at maximum capacity. Its basically the drivers in the speakers reaching max excursion/speed. Can be sort of reproduced by compression and soft/hard clipping vst’s and a very short/tight room reverb. (I wonder if a high quality guitar amp/cabinet emulation could be adjusted to have a similar effect?)
There is also the effect of your ear drums reaching their own upper limits of excursion. Muscles in your ears will actually stiffen in very loud environments to try to protect your hearing. This reduces the dynamic range of your hearing. Fun fact: this is also why drinking alcohol and being at a club is actually far worse for your hearing than being sober because the reflex mechanism that helps your ears protect themselves is relaxed.
The ‘bass waves’ do affect the higher freq spectrum but not in the way you are describing. Frequency clashing can phase cancellation but this is more often similar wave lengths reflecting and canceling themselves. The other effect of mingling is comb filtering which is also related to phase but typically happens from two speaker stacks creating phase cancellation and has a different effect depending on the placement of the stacks and room shape etc.
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