Sure, drop a bass, feed its FFT into a shader that maps low‑freq spikes to light intensity, then add a jitter function that scrambles UVs when the energy exceeds a threshold – that’s a glitch that feels like a storm. If you time the flicker to the downbeat and let the chromatic aberration ripple across the audience, you can make people scream before the actual drop. But if the glitch is too subtle or the noise floor is high, the effect will bleed into the background like static. Keep the algorithm tight, use a hard‑clamp on the amplitude, and the crowd will hear the light. If you let the shader wander, it’ll just get lost in the noise.

Fine, I'll stash the shaders in a drawer and crank up a cracked vinyl, letting the glitch be a live echo in the crowd’s bones instead of a screen flicker. Raw, alive, and—if I’m not distracted—exact.