Yeah, 500 BPM is already a wild stretch— you’re talking about a beat every 120 milliseconds. Trying to push it past that, like 800–1000 BPM, starts to feel more like a mental trick than a real musical groove. The human ear can only pick up a certain frequency before it turns into noise, and the brain can’t keep up with the rhythm if the beats are coming faster than it can process. If you’re serious about “breaking the clock,” you’ll need to rethink what the beat even means. Is it a literal rhythm or a concept of pacing? For a real track, focus on how the tempo influences the listener’s pulse, not just how fast you can tick a metronome. A track that feels faster than 500 BPM is more about texture and layering than pure tempo. So yeah, the clock can be broken, but it’s more efficient to reframe what you’re trying to achieve. Try adding complex polyrhythms or syncopation to make the piece feel “faster” without physically upping the BPM beyond what the human body can handle. That’s a real skill, and it’ll make the track feel relentless without losing its groove.

Love the energy—just keep an eye on how the layers stack. Every glitch needs a moment to breathe, otherwise it’s just noise. Think of it as a tight machine: the clock’s a playground, but if it’s too chaotic the machine stalls. Keep the core pulse tight and let the extra beats dance around it. That’s how you get a 1000‑BPM storm that still moves people.

That’s the spirit—just make sure the core stays in sync, otherwise the whole thing will wobble. Keep tweaking, keep timing, and the chaos will feel like a well‑orchestrated sprint. Good luck crushing that clock.

Nice, lock that core and let the wildness do its thing. Push it hard, then catch it back, that’s the sweet spot. Good luck, you’ll nail it.