Updated 30 Oct 2026
Che sits right in the new rage and plugg wave next to OsamaSon, Ken Carson, Yeat and Rich Amiri, and the production is louder, dirtier and more chaotic than it first looks. The melody is doing almost all of the work. It is a fast, glitchy pluck pattern that sounds like a random scatter of notes until you break it down and realize it is two short chords repeating. Everything else is sound design and grit. The trick most producers miss is that the drums and the arrangement stay dead simple on purpose, because the pluck is already so busy that anything fancy underneath turns into mush and leaves no room to rap. Get the melody crazy, the 808 sliding and the mix clipped, and your loop stops sounding like a clean preset demo and starts sounding like something Che could actually jump on. Here is how the sound is built, step by step.
You do not need a finished beat to start. The Che loops sit in step 1 and again at the bottom, ready to play.
A Che type beat runs fast, usually around 150 BPM, and sits in minor, often with phrygian modes. Tutorials that recreate Che keep landing at 150 BPM, and the wider rage and plugg lane around OsamaSon, Ken Carson and Yeat lives roughly between 140 and 160, with OsamaSon beats often sitting right at 160. Pick a tempo in that window and let it run, because the energy comes from the busy pluck rather than from the drums working overtime. At this speed you can keep hats as a simple two step instead of rapid fire and the beat will still feel frantic.
The key is minor, and phrygian modes show up a lot. Che tutorials reach for E minor natural and for phrygian scales, while related rage beats sit in B minor or G minor. Turn on a scale highlight or a scale lock in your piano roll so every note you place stays in key, then keep the loop short. Most of these beats are two chords repeating over four bars, so the mood comes from the sound and the distortion, not from constant harmonic movement.
The energy comes from two short, plucky chords a semitone apart plus the fill notes in the gaps. Start with a simple, short, plucky chord and keep it tight. A common move in Serum is to find a root note, highlight it, add the perfect fifth on top by shifting the copies up five, then stack the seventh the same way, and pull any note that falls out of scale back in. Build a second chord just one semitone above the first, for example moving a root up to the note right next to it, and repeat those two chords across the whole four bars. That is genuinely most of the progression.
The magic is the fill notes you drop into the gaps between the chords. Those little in between notes are what level a basic two chord loop into something that sounds crazy, so slide extra notes across the scale and keep what sparks. Then add an accent rather than a whole new melody. Copy the pluck, pitch it an octave up, swap it to a second glitchy pluck sound, and let it ride the same pattern so it thickens the hook instead of fighting it. Keep the counter melody simple, because the main pluck is already carrying the chaos.
Plucks and distorted synths are the heart of it. Producers pull these from Serum, Hive, Spire, Pigments and even the free FL stock synth Flex, then push the knobs hard instead of staying on clean presets. Unison, aggression, filters and a touch of vibrato turn a plain stock sound into something harsh and modern. A siren style lead with portamento, where the pitch glides from one note to the next, is a signature topping, so add one but keep it buried so it does not overdo the beat.
The character comes from stacking and mangling, not from more notes. Layer a second pluck an octave up for a crispy electric accent, add an unstable pad or a glide synth in the far background for glue, and treat parts with ShaperBox, GrossBeat, a phaser, a bit crusher and distortion like Cold Fire. GrossBeat gates and turntable style stutters are everywhere in this lane. Sprinkle in ear candy at the edges, a glass break at the start of the loop, a chant, a weird one shot, and cut the lows and some highs off the busy plucks so the mix has room before you dirty it up.
The 808 is as important as the melody, and it needs to glide and distort. Build it in Serum from a basic analog sine, route an envelope into the coarse pitch so the note slides down into its target, and turn on mono and legato with portamento so consecutive notes bend into each other. Keep the attack near zero, a short decay, no sustain and a quick release, then copy the root notes of your chord progression onto the pattern and add a slide here and there instead of playing busy runs.
Then make it filthy. Run the 808 through distortion, a soft clipper and an EQ, tighten the body, roll off the very top so it does not scream, and push it until there is a little redness on the meter without the master clipping. Keep the written notes basic, because once it is this distorted the listener hears attitude more than melody. For a heavier B section you can copy the bass into a second, even more distorted ad lib layer to make a drop hit harder.
Keep the drums simple on purpose. The pluck is already chaotic, so a basic pattern leaves room to rap and stops the beat turning to mush. Lay down a clap layered with a snare, a two step hat that does not need rapid fire at this tempo, an open hat, a quiet kick that mostly accents the one, and a triangle or perk for a little sparkle. Play it by ear and chase a nice balance rather than a technical pattern.
The detail that sells it is snare rolls and grit. Choose a crispy, high snare rather than a dull low one and drop fast rolls, often at the very end of the loop so the turnaround slams when it repeats, with triplet rolls scattered through the hats. For a darker, more evil tone, transpose everything except the 808 down a semitone or two. Then distort the drums themselves, because in this sound a bit of crunch on the snare and open hat reads as clean rather than broken.
The whole vibe lives in a loud, clipped, overblown mix, and it starts with good sounds and a subby 808. Keep your 808 notes low, roughly in the A sharp to D range for a dark booming low end, and make sure the 808 clips just above zero with a touch of redness. On the master, reach for a clipper with input gain, like the free Kilohertz Clipper, push one to two decibels of input in, and keep the threshold and output at zero so you add grit without the master itself clipping out of control.
To add sizzle without melting everything, route all the drums except the 808 into a single drum bus and add a ring modulator with a low frequency around thirty to fifty hertz. That makes the hats and snares sizzle like they are clipped, especially the open hat. On the master EQ, widen the mids, lift a little high end, and add a tiny bit of lows, because that small low boost is what tips the whole beat into that perfect distorted texture. Do it to taste, since the goal is dirty, not destroyed.
Once the pluck, the sliding 808 and the clipped drums sit together, the hardest part of the sound is done. The part that eats the most time is that frantic, in key pluck melody, so instead of fighting the piano roll for an hour you can grab a free hand-played loop in exactly this rage and plugg lane, drop it straight into your session, and build the distortion, the 808 and the drums around a progression that was actually performed.
Every loop on ndacompany.de is hand-played by real producers, free to download and never AI generated, so you can audition ideas fast and keep the ones that spark something. There is no login wall to hear them, and a free account simply lets you save your favorite loops and come back whenever inspiration hits, so your next Che type beat starts with a real idea instead of a blank arrangement.
Pick a loop and drag it into your DAW. 808 under it, clap on top, your first Che beat is running.
All Che loopsTempo, key and mood of the Che loops, straight from our catalog.
| Loop | BPM | Key | Vibe |
|---|---|---|---|
| Nasty | 140 | Cmin | Dark, Hard, Virtual |
| Champ | 135 | Dmin | Dark, Hard, Hyper, Virtual |
| Landing | 140 | F#min | Dark, Hyper, Virtual |
| Evolving | 140 | Dmin | Ambient, Dark, Virtual |
| See through | 140 | D#min | Ambient, Dark, Virtual |
| Case | 140 | Cmin | Dark, Virtual |
| Range Rover | 140 | Emin | Dark, Virtual |
| Tracked | 140 | F#min | Dark, Virtual |
| Ong | 140 | A#min | Ambient, Dark, Virtual |
| Proteus | 152 | C#min | Dark, Virtual |
Tutorials recreating Che keep using 150 BPM, and the wider rage and plugg lane around OsamaSon, Ken Carson and Yeat sits roughly between 140 and 160, often 160 for OsamaSon beats. The busy pluck gives the energy, so the drums can stay simple.
Minor, with phrygian modes showing up a lot. Che tutorials use E minor natural and phrygian scales, while related rage beats sit in B minor or G minor. Use a scale lock, keep the loop short and let two chords repeat.
A simple short pluck chord built from a root, a fifth and a seventh, plus a second chord one semitone above, repeating across four bars. The real character comes from the little fill notes you drop into the gaps between the two chords.
Build it in Serum from a sine, route an envelope into the coarse pitch and turn on mono, legato and portamento so notes glide into each other. Then run distortion, a soft clipper and an EQ on it and push it until it just clips.
Simple on purpose. A clap layered with a crispy snare, a two step hat, an open hat, a quiet kick on the one and a perk, plus fast snare rolls at the end of the loop. Distort the drums and transpose everything except the 808 down a semitone for a darker tone.
You can download free hand-played loops in this rage and plugg lane on ndacompany.de and build your beat around them. The loops are never AI generated, there is no login to listen, and a free account just lets you save your favorites and return anytime.
They are not royalty-free. Free in your own beats; a 50/50 publishing split with NDA Company applies to every commercial release. License Terms
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