The playback system a producer designs for shapes the basslines they write

Dillinja articulates a feedback loop between sound system and production aesthetic. If you habitually play on systems that lack real sub-bass, you drift toward high, noisy basslines — because that is what cuts through and sounds impressive on those systems. Build and play on a sub-tuned system and your ear moves toward deep, growling bass that would be inaudible elsewhere; a deep grimy tune on a sub-less PA ‘sounds terrible’ while the noisy one wins. Production choices are therefore not purely aesthetic — they are conditioned by the playback environment. This explains an era of DnB dominated by crunching, noisy basses rather than deep sub tones.

Examples

‘if you haven’t got the bass in the sound system you’re going to start making tunes with high noisy baselines like we’ve done before we built a sound system cuz they cut through on systems better.‘

Assessment

Explain how switching from a sub-equipped rig to a commercial club PA would change a DnB producer’s bassline choices, per Dillinja’s argument.