When Future and Metro Boomin released “Like That” featuring Kendrick Lamar in March 2024 as part of the album We Don’t Trust You, the song immediately stood out for more than just its lyrical moment. The record debuted at No. 1 on the Billboard Hot 100, becoming one of the defining hip-hop records of the year.
But if you listen closely from an engineer’s perspective, what makes “Like That” special isn’t just the beat. It’s how the low-end is engineered.
The record delivers a massive 808 presence while still leaving room for:
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Punchy drums
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Clear vocals
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High-frequency “air” from synth textures
That balance is not accidental. It’s the result of careful arrangement, production decisions, and mix choices that allow the low frequencies to hit hard without turning into mud.
Let’s break down how records like “Like That” achieve this balance and what engineers can learn from it.
The Foundation: Metro Boomin’s Minimal Production Approach
Metro Boomin has built a reputation around strategic minimalism.
Many of his biggest records rely on a few core elements:
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A strong melodic motif
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Punchy drums
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A dominant 808
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Negative space
“Like That” follows that blueprint.
Rather than stacking layers of instruments competing in the low-mid range, the production leaves large pockets of frequency space open. This gives the 808 room to dominate the sub spectrum without masking other elements.
In other words:
The clean low-end starts with the beat, not the mix.
If a production already has too many instruments occupying the 100–300 Hz range, no amount of EQ will fully solve the problem later.
Why the 808 Feels Huge Without Being Muddy
The defining characteristic of “Like That” is the massive low-frequency energy that still feels controlled.
That effect typically comes from three principles that engineers consistently apply in modern hip-hop mixing.
1. Sub-Focused 808 Design
Many modern trap 808s are tuned to emphasize the sub-bass region around 30–60 Hz.
By concentrating energy lower in the spectrum, engineers leave space in the 80–150 Hz range for kick punch and other elements.
The result:
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The 808 feels powerful
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The mix avoids the “boxy” low-mid buildup that causes muddiness
This sub-heavy tuning has become a standard approach in trap production.
2. Controlled Harmonics for Translation
Pure sub-bass doesn’t translate well on small speakers like phones or laptops.
To solve this, engineers often introduce controlled harmonic distortion or saturation to the 808.
This creates upper harmonics that allow listeners to perceive the bass even when the sub frequencies are not reproduced.
You hear the bass on:
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Car systems
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Laptop speakers
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Earbuds
without losing the weight of the original sub frequencies.
That dual-layer bass perception is a hallmark of modern hip-hop mixes.
3. Strategic Kick and 808 Relationship
Another key to the clean low-end in “Like That” is the relationship between the kick drum and the 808.
Modern hip-hop producers often design the kick and 808 so they complement each other rather than collide.
Common approaches include:
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Shorter kick tails
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Slight pitch separation between kick and 808
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Transient shaping to let the kick attack cut through
This ensures that the punch of the drum is preserved while the 808 handles the sustained low energy.
The listener perceives both elements clearly instead of hearing a low-frequency blur.
The Role of “Air” in the Mix
The other half of the equation is top-end clarity.
“Like That” does not feel dark or muddy, even though the bass dominates.
That’s because the mix introduces high-frequency space, sometimes referred to as “air.”
Air typically lives above 10 kHz, and it contributes to:
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Percussion clarity
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Vocal intelligibility
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Overall openness of the mix
By maintaining that high-frequency presence, the mix avoids feeling overly dense even when the low end is extremely heavy.
This balance between sub-bass weight and high-frequency openness is what gives the record its clean, modern sound.
Arrangement: The Secret Weapon
One overlooked factor in the clarity of “Like That” is arrangement discipline.
The beat never becomes overcrowded.
There are moments where the instrumental strips down to:
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808
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drums
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minimal melodic elements
That restraint is essential.
Every additional element in a mix occupies frequency space. When producers resist the temptation to layer endlessly, engineers have far more room to sculpt clarity.
Metro Boomin’s catalog consistently demonstrates this philosophy.
Vocal Space in a Bass-Heavy Mix
Another impressive aspect of the record is how the vocals remain completely intelligible despite the huge low-end.
This is partly achieved by keeping the midrange relatively uncluttered.
Human vocal intelligibility typically sits between 1 kHz and 4 kHz, and the mix leaves that area relatively clear.
As a result:
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Kendrick Lamar’s verse cuts through immediately
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Future’s delivery stays present
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The beat still feels massive underneath
It’s a classic example of frequency prioritization.
Monitoring Matters for Low-End Decisions
Mixing bass-heavy records like “Like That” requires reliable monitoring.
Without accurate low-frequency playback, engineers risk:
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Over-boosting sub frequencies
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Creating uneven bass levels
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Losing translation across playback systems
Professional studios rely on:
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calibrated monitoring environments
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acoustic treatment
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reference systems
For independent artists and producers who want their low-end to translate properly, working with experienced mix engineers or professional studios becomes critical.
Platforms like EngineEars help artists connect with vetted engineers and studios capable of handling mixes that demand this level of low-frequency control.
Why the Record Translates Everywhere
A great test of a low-end mix is translation across systems.
“Like That” works on:
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club systems
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cars
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headphones
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small speakers
That translation happens when:
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The sub frequencies are controlled
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Harmonics allow bass perception on small speakers
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The midrange remains uncluttered
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High-frequency air keeps the mix open
When those elements align, the record feels powerful everywhere.
Lessons Engineers Can Apply Today
If you want your low-end mixes to feel as clean as records like “Like That,” focus on these principles:
1. Fix the arrangement first
Too many low-mid elements will ruin bass clarity.
2. Design the 808 intentionally
Aim for strong sub energy without excessive low-mid buildup.
3. Shape kick and 808 relationships
They should complement each other, not compete.
4. Add harmonic content carefully
Controlled saturation helps bass translate.
5. Maintain top-end air
High frequencies keep the mix from feeling dense.
6. Monitor accurately
Good low-frequency decisions require a reliable listening environment.
Final Thoughts
The low-end of Future & Metro Boomin’s “Like That” works because every layer of the record respects the same philosophy:
Power through simplicity.
A focused arrangement, disciplined frequency management, and a clear relationship between sub-bass and high-frequency air create a mix that feels massive but controlled.
For engineers chasing that same clarity, the lesson is straightforward:
The biggest bass records aren’t built by stacking more low-end.
They’re built by giving the low-end the room it needs to breathe.
