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Blend a bass wobble with chopped-vinyl character in Ableton Live 12 for jungle oldskool DnB vibes (Intermediate)

An AI-generated intermediate Ableton lesson focused on Blend a bass wobble with chopped-vinyl character in Ableton Live 12 for jungle oldskool DnB vibes in the Basslines area of drum and bass production.

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Lesson Overview

In this lesson, you’ll build a bassline that fuses two classic DnB worlds: a wobbly, moving low-end and chopped-vinyl / sampled-break character. The goal is not to make a clean modern bass patch that merely sounds old, but to create something that feels like it belongs in a real jungle-to-oldskool-DnB hybrid track: gritty, rhythmic, slightly unstable, and still heavy enough to sit under drums without turning to mush.

This technique matters because a lot of DnB basslines fail in one of two ways: they’re either too polished and synthetic, or they’re too dusty and lose impact. The sweet spot is where the bass has:

a solid mono sub foundation,
a moving mid-bass body,
chopped vinyl-style transients and texture,
and enough space for breakbeats to breathe.

In Ableton Live 12, you can do this entirely with stock devices by combining Wavetable or Operator, Sampler/Simpler-style chopping, Saturator, Drum Buss, Auto Filter, Utility, EQ Eight, and Resampling. We’ll lean into a workflow that feels authentic to jungle and oldskool DnB: sample-like phrasing, call-and-response, and a bassline that behaves like part of the break rather than a separate layer.

Why this works in DnB: the genre depends on syncopation between drums and bass. A wobble gives motion and tension; chopped-vinyl character gives rhythmic identity and humanized grime. Together, they create the kind of bassline that can carry a 16-bar section and still sound alive when the drums drop out for a switch-up 🎚️

What You Will Build

By the end of this lesson, you’ll have a 2-layer bass system:

1. Sub layer

A clean mono sub holding the root notes with tight envelope control.

2. Mid-bass / character layer

A wobbling bass tone with vinyl-like chops, short stabs, and rhythmic accents that mimic sampled jungle bass edits.

Musically, the result will sound like:

a rolling low-end note pattern in the 140–175 BPM DnB lane,
with short chopped attacks that answer the kick/snare and break ghosts,
and occasional filter sweeps, pitch nudges, and gated slices for that chopped-vinyl feel.

This is especially useful for:

oldskool jungle-inspired rollers
dark, minimal DnB
half-time switch sections
intro/build bass statements
drop call-and-response with breaks

You’ll also learn a practical arrangement shape:

8-bar intro teaser,
16-bar main drop phrase,
4-bar switch-up with more chop,
and a DJ-friendly outro variation.

Step-by-Step Walkthrough

1. Set the project up for bass-first writing

Start at a tempo between 170–174 BPM if you want full jungle energy, or 172 BPM for a flexible oldskool DnB pocket. Create a MIDI track for the bass and a Drum Rack or audio track for your break.

Before sound design, place a simple drum reference: kick on 1, snare on 2 and 4, and a looped break or ghosted percussion pattern. This matters because the bassline should “dance” around the break, not just sit under it.

On the bass track, add:

- Utility first, and set Width to 0% for the sub layer later if needed.

- Wavetable or Operator for the main bass source.

- EQ Eight after that for basic cleanup.

Keep your session in a loop of 2 or 4 bars so you can focus on bass phrasing. DnB bass often sounds best when written against the drum groove, not in isolation.

2. Build a pure sub foundation

Create a separate MIDI track for the sub. Use Operator because it’s perfect for simple sine-based low-end.

Settings:

- Oscillator A: Sine

- Keep it monophonic if possible

- Short attack: 0–5 ms

- Decay: 120–250 ms if you want a pluckier sub, or longer sustain for rollers

- Release: 30–80 ms

Write a basic root-note pattern first. For oldskool DnB, try a phrase with:

- a longer held note on beat 1,

- a short response note before the snare,

- and one or two syncopated notes after beat 2 or 4.

Keep the sub mono and centered. Put Utility on the sub track and make sure Width is 0%. If the low end starts to wobble stereo-wise, your mix will lose impact in club systems.

Why this works in DnB: the sub acts like the anchor. Jungle and DnB can get very busy up top, so the sub needs to be stable and predictable while the upper layer carries motion and texture.

3. Design the wobble layer with midrange movement

On a separate MIDI track, create the character bass. Wavetable is a strong choice here because you can get a clean but aggressive mid-bass foundation fast.

Start with:

- Oscillator 1: a saw or square-saw hybrid

- Oscillator 2: a second detuned saw or slightly different wavetable position

- Unison: 2–4 voices

- Detune: subtle, around 5–15%

Now shape movement with:

- Auto Filter after Wavetable

- Filter type: Low-pass 24 or Band-pass if you want a sharper vintage sample vibe

- Add a touch of resonance, around 10–25%

Use an LFO or envelope inside Wavetable to create wobble. For a more classic jungle roller feel, set the wobble rate so the bass breathes in 1/8 or dotted 1/8 motion. If you want a more modern, paranoid roll, automate the filter cutoff in short phrases rather than constant wobble.

Suggested parameter starting points:

- Filter cutoff: 200 Hz–1.5 kHz depending on the section

- Drive / distortion in Wavetable: light to moderate

- Amp attack: 0–10 ms

- Amp release: 50–120 ms

You are not trying to make a giant dubstep wobble. You want a bass that moves like it has been sampled and re-edited, which suits jungle and oldskool DnB phrasing better.

4. Add chopped-vinyl character using resampling logic

The key to the vinyl feel is not just vinyl noise; it’s the sense of chopped playback. You can fake this convincingly in Ableton by resampling your bass phrase and slicing it.

First, record or freeze-render your wobble layer into audio:

- Right-click the track and Freeze it, then Flatten if you’re ready

- Or route it to a new audio track and resample

Once you have audio:

- Drag the clip into Simpler in Slice mode, or

- Use the audio clip directly and chop it with clip start markers and transposition

- Alternatively, use Slice to New MIDI Track for rhythmic re-triggering

In Simpler, set:

- Slice mode based on transients

- Playback mode: One-Shot for stab-like behavior

- or Classic if you want pitch behavior more like a record being retriggered

Trim slices to create short, gritty bass hits. Don’t over-edit them into perfection; tiny timing offsets can help the bass feel sampled.

Add subtle texture:

- Vinyl Distortion for noise/wear feel

- Saturator with Soft Clip on

- Erosion very lightly if you want a dusty top edge

Keep the sample character mostly in the midrange and upper bass, not the sub. The chopped feel should be heard as “movement and attitude,” not as random low-end clicks.

5. Program the bass rhythm to answer the break

Now combine the sub notes and chopped wobble into a rhythm that interacts with the drums. This is where the DnB feel becomes real.

Use a 2- or 4-bar phrase with this logic:

- Beat 1: strong bass statement

- Before snare on 2: short chopped response

- After snare: empty space or a small fill

- Beat 3 to 4: wobble movement and one or two chopped accents

Think in terms of call-and-response:

- The kick and snare make one statement

- The bass answers with a short, grimy reply

- The break fills the gaps with ghost notes and shuffle

In Live’s piano roll, use:

- shorter note lengths for chopped hits,

- velocity variation to simulate sample edits,

- and slight note timing shifts of a few milliseconds for swing.

If your break is busy, simplify the bass rhythm. If the break is sparse, you can push more chops into the gaps. This interplay is a huge part of jungle and rollers: bass should never fully trample the drum conversation.

6. Shape the character with saturation, filtering, and dynamic control

Now polish the bass so it sounds intentional rather than just layered.

On the mid-bass/character bus, insert:

- Saturator with Soft Clip enabled

- Drum Buss for extra density and transient control

- EQ Eight to carve out muddy buildup

- Utility for mono checks or width discipline

Good starting moves:

- Saturator Drive: 2–6 dB

- Drum Buss Drive: subtle, around 5–20%

- Drum Buss Boom: usually low for DnB bass; keep it controlled or off

- EQ Eight: cut a little around 250–400 Hz if the bass gets boxy

- Gentle high-shelf reduction above 6–8 kHz if the chop gets fizzy

Use Auto Filter automation on the chopped layer for movement:

- open the filter slightly in the second half of an 8-bar phrase,

- then pull it back down for the next 4-bar answer,

- or automate short filter dips before snare hits for that “record being played back through grime” feel.

If the bass becomes too wide or unstable, use Utility and keep low frequencies mono. A good rule is: everything below roughly 120 Hz should stay disciplined and centered.

7. Route the bass as a two-layer performance, not a static loop

Create a group or bus for the bass layers so you can shape them together. Route:

- Sub track

- Character/bass chop track

to a Bass Group.

On the group:

- Use EQ Eight for final cleanup

- Use Glue Compressor lightly if needed, but don’t squash the groove

- Use Utility to compare mono vs stereo

- Optionally add Limiter only as a safety net, not for loudness chasing

Then automate the balance between the layers:

- In the intro, let the chop layer be more exposed and the sub lighter

- In the drop, bring the sub fully in

- In switch-ups, briefly drop the sub and leave the chopped vinyl texture to create tension

This is very effective in DnB arrangement because it gives you energy changes without changing the core riff. That’s how you keep a loop-based bassline interesting over 16 or 32 bars.

8. Arrange it like a real DnB section

Here’s a practical arrangement example:

- Bars 1–8: filtered intro tease, mostly chopped mid-bass with restrained sub

- Bars 9–24: full drop with sub + wobble + chops

- Bars 25–28: switch-up with reduced sub, more chop retriggers, maybe a stop on bar 28

- Bars 29–40: second drop with a slightly different chop rhythm or a higher filter opening

Add a few classic DnB touches:

- a 1-bar bass mute before a drop return,

- a short downlifter or reversed crash,

- a snare fill that leaves space for a bass stab,

- and a DJ-friendly outro with just sub and a stripped break.

For oldskool/jungle vibes, let the bass feel like it’s being edited live. Even small changes every 4 or 8 bars matter more than constant complexity.

Common Mistakes

Making the sub stereo

- Fix: keep sub mono with Utility and avoid chorus/unison on the low layer.

Over-wobbling the bass

- Fix: use wobble as phrasing, not constant motion. Leave space for the break.

Too much distortion on the whole bass

- Fix: saturate the mid layer more than the sub, and use EQ to control upper harshness.

Chops that fight the drums

- Fix: simplify the bass rhythm where the snare and break already create density.

Ignoring note length

- Fix: in DnB, note length is as important as pitch. Shorter notes create the chopped feel.

Using too much low-mid buildup

- Fix: cut carefully around 250–400 Hz and compare with the drums in context.

No arrangement variation

- Fix: change the bass texture every 4 or 8 bars so the drop develops naturally.

Pro Tips for Darker / Heavier DnB

Resample twice

- First resample the clean wobble, then resample the chopped version with processing. This gives you a more committed, sample-like bass tone.

Use pitch micro-movement

- Tiny pitch automation or short pitch envelopes on bass chops can make them feel like old tape/record edits. Keep it subtle.

Layer a midrange “bite”

- If the bass disappears on smaller speakers, add a narrow mid layer between 300 Hz and 1.2 kHz with restrained saturation. Don’t boost sub to fix audibility.

Automate filter tension into drop returns

- Slowly close the filter over 4 bars, then snap it open on the drop. That contrast feels huge in darker DnB.

Use ghosted bass stabs

- Place very short, quiet bass hits between main notes to echo ghost notes in the break. This increases groove without crowding the arrangement.

Keep the break and bass in conversation

- If the break has a strong swing, align bass chops to the pocket, not the grid. That slight human offset is part of the jungle identity.

Check mono regularly

- Toggle Utility to mono on the bass bus and listen for phase problems. If the bass thins out, simplify unison and stereo effects.

Mini Practice Exercise

Spend 10–20 minutes building a 4-bar DnB bass phrase using this method:

1. Make a sub line with Operator on one MIDI track.

2. Build a moving mid-bass with Wavetable on a second track.

3. Write a rhythm that has:

- one long root note,

- two short chopped responses,

- and one empty beat for drum space.

4. Freeze or resample the mid-bass, then chop it into 3–6 slices with Simpler or clip edits.

5. Add Saturator and Auto Filter to the chopped layer.

6. Automate the filter cutoff over 4 bars so the phrase opens up toward the end.

7. Compare your loop in:

- solo bass,

- with drums,

- and in mono.

Goal: by the end, you should have a bass groove that sounds like it could sit in an oldskool jungle roller intro or a darker DnB drop without needing extra layers.

Recap

Build the bass as two parts: a mono sub and a chopped, wobbling character layer.

Use Ableton stock devices like Operator, Wavetable, Auto Filter, Saturator, Drum Buss, Utility, and EQ Eight.
Make the bass feel sampled and rhythmic, not just synthesized.
Keep the sub clean and centered; let the mid layer carry motion and grit.
Arrange bass changes in 4- and 8-bar phrases so the track evolves like real DnB.
Always judge the bass in context with the break: that’s where the jungle energy lives.

Extra coach notes

Treat the bass as a performance instrument.

Instead of thinking “loop,” think “phrases.” In jungle and oldskool DnB, tiny changes in note length, filter position, and velocity make the line feel played rather than programmed.

Separate “weight” from “identity.”

The sub gives physical impact; the chopped layer gives personality. If one layer starts doing the other’s job, the groove usually gets blurry fast.

Use silence as a bass sound.

Gaps before snare hits, little breathes after accents, and one-bar pullbacks often hit harder than adding another note.

Let the drums win the transient fight.

If the bass chop is too sharp, it can mask the break’s character. Round off the attack on the bass layer a bit so the drum edits remain audible.

Print decisions early.

Once you find a bass tone that works, freeze or resample it. This style often sounds better when you commit and then edit the audio, rather than endlessly tweaking the synth patch.

Check the “story” across 8 bars.

If bars 1–2, 3–4, 5–6, and 7–8 all feel identical, the bass line is probably too looped. You want small evolution: more open, more chopped, more restrained, then release.

---

Advanced variation ideas

Velocity-driven tonal changes

Map MIDI velocity so harder notes open the filter slightly or add more drive. This creates a sampled, inconsistent feel without needing extra automation lanes.

Swing different from the drums

Try a bass pattern with a slightly different swing emphasis than the break. The tension between the two can create a very authentic jungle push-pull effect.

Two wobble rates in one phrase

Use a slower filter modulation for long notes and a faster modulation for short stabs. The contrast makes the bass feel edited from multiple sources.

Call-and-response by octave

Let the first half of a phrase sit lower, then answer in the same rhythm one octave up with more filtering. This gives classic “bass question / bass answer” energy.

Staggered layer entries

Bring in the chopped layer a fraction before the sub on some hits, and the sub slightly before the chop on others. That tiny offset can make the phrase feel more human and less looped.

Ghost-note bass edits

Add very quiet extra notes or chopped fragments between main hits. They should feel like accidental vinyl spills rather than obvious musical events.

Parallel grit channel

Duplicate the character bass, heavily distort it, low-pass it, and blend it quietly underneath. This can add menace without making the main layer too harsh.

---

Sound design extras

Mild randomization for old media feel

In Wavetable or Operator, use subtle random pitch drift, envelope variation, or fine-tuning changes. Keep it tiny. The goal is “unstable record playback,” not detuned chaos.

Transient shaping with envelopes

If the chopped hits feel too soft, shorten the amp release and use a slightly sharper filter envelope. If they feel too clicky, soften the transient and let the body do the work.

Use formant-ish movement sparingly

A moving band-pass or notch-style motion can give the bass a vocal, sampled texture. This works well for eerie darker passages.

Resample through a texture chain

Try printing the bass through:

1. Saturator

2. Auto Filter

3. Drum Buss

4. EQ Eight

Then slice the result. The extra generation of processing often makes the bass feel more “recorded.”

Blend two distortion flavors

Use one gentle saturator for thickness and one harsher effect on a duplicate track for edge. Blend instead of overdriving one chain.

Low-end cleanup after sound design

After you create the vibe, filter out anything unnecessary below the sub on the character layer. Oldskool character is great; sub-rumble clutter is not.

Use a very short room reverb only on the chop layer

A tiny, almost invisible room can make the bass feel like it was sampled in an actual space. Keep the send low and roll off the lows heavily.

---

Arrangement upgrade ideas

Make the intro tell on itself

Start with only chopped fragments and hint at the main riff rhythm before the sub fully arrives. This creates anticipation without needing extra melodic material.

Use a “fake drop”

Let the bass come in filtered and underpowered for a bar, then hit the full version. That contrast works especially well in jungle-style arrangements.

Switch the chop density every 8 bars

One section can use sparse edits, the next can use tighter retriggers. This is a simple way to keep a loop-based drop alive.

Create a breakdown using bass residue

Instead of removing bass completely, leave a filtered or band-passed ghost of the chop layer in the breakdown. It keeps momentum while making room for atmosphere.

Answer the second drop with a rewrite, not just a filter open

Change the rhythm, not only the brightness. Even one altered accent can make the return feel like a new event.

Use one-bar “damage control” moments

Briefly strip out the sub, let the break dominate, then slam the bass back in. These micro-drops are very effective in oldskool-inspired DnB.

Outro with structural honesty

As the track winds down, reduce the phrase to the sub and one signature chop. DJs appreciate an ending that still respects the groove.

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Homework challenge

Build a 16-bar bass section in three passes:

1. Pass 1: Foundation

- Create a mono sub line and a mid-bass layer.

- Make the phrase work with just drums and no effects.

2. Pass 2: Texture

- Resample the mid-bass.

- Slice it into at least 5 pieces.

- Rebuild the rhythm using at least 2 different chop densities.

3. Pass 3: Movement

- Add automation for filter cutoff, distortion amount, or note velocity emphasis.

- Make bar 1, bar 5, bar 9, and bar 13 each feel slightly different.

Rule:

You are not allowed to add a new melodic synth. You must make the section evolve using only bass design, chop editing, and arrangement changes.

Success test:

If the bass still feels interesting when played with the drums in mono, and the groove changes across the 16 bars without sounding crowded, you’re on the right track.

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Narration script

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Welcome back. In this lesson, we’re building one of those basslines that instantly tells you, yep, this is jungle or oldskool DnB energy. We’re blending a wobbling bass with chopped-vinyl character in Ableton Live 12, using only stock tools, and the goal is to make it feel rhythmic, gritty, and alive, not just big and synthetic.

Now, the big idea here is simple: separate weight from identity. Your sub gives you the physical impact. Your chopped, wobbling mid layer gives you personality, movement, and that slightly unstable sample feel. If those two jobs get mixed together, the groove turns blurry fast. So we’re going to build this as a two-layer bass system and make it behave like part of the drum arrangement, not something sitting on top of it.

First, set your session up for bass-first writing. Aim for a tempo around 170 to 174 BPM. 172 BPM is a great sweet spot if you want that oldskool DnB pocket. Drop in a simple drum reference: kick on one, snare on two and four, and a break or ghost percussion pattern. This matters a lot, because in this style the bass has to dance around the break. It should feel like a conversation.

Start with the sub. Create a separate MIDI track and load Operator. Keep it clean and simple. Use a sine wave, keep it mono, and shape the envelope so the notes are tight and controlled. If you want a more plucky feel, use a shorter decay. If you want a rolling roller-style sub, let the notes sustain a bit more. Put Utility on the sub track and set the width to zero percent. That keeps the low end centered and strong, which is essential for club translation.

Write a basic root-note phrase first. Don’t overthink it. A good starting point is a longer note on beat one, a short response before the snare, and a syncopated note or two later in the bar. This is where you start thinking in phrases, not loops. In jungle and DnB, tiny changes in note length can completely change the feel of the groove.

Now let’s build the mid-bass character layer. Put Wavetable on a second MIDI track. Start with a saw or square-saw style sound, then add a second oscillator slightly detuned from the first. Keep the unison modest, maybe two to four voices, and don’t go crazy with detune. You want movement, not a giant trance stack. Then use Auto Filter after it. A low-pass filter is a solid starting point, but band-pass can give you a more vintage sampled edge if that suits the sound.

Add a little resonance, and use the LFO or internal movement in Wavetable to create a wobble. For this style, the wobble should breathe in a musical way. Think one-eighth or dotted one-eighth motion, or even automation that opens and closes over short phrases. The key is not to make a constant dubstep wobble. You want something that feels like it’s been sampled, chopped, and re-edited by hand.

Once you’ve got a good tone, it’s time to give it that chopped-vinyl attitude. The trick here is to resample the mid-bass and then slice it. You can freeze and flatten the track, or route it to a new audio track and record it. Once it’s audio, drop it into Simpler in Slice mode, or just chop the clip directly. Use transient-based slicing if you can, and try playback modes that give you a more stab-like behavior. The goal is to create short, gritty bass hits that feel like record edits.

And this is important: don’t edit the chops into robotic perfection. A tiny bit of timing looseness helps the sound feel sampled. That little human offset is part of the jungle identity. Add some Saturator with soft clip on, and if you want extra grime, a touch of Drum Buss or very light Erosion. But keep the low end clean. The chopped character should live mostly in the midrange and upper bass, not down in the sub where it can turn into mud.

Now program the rhythm like a drum conversation. Start with a 2- or 4-bar phrase. Think in call-and-response. The kick and snare make a statement, then the bass answers with a chopped reply. Leave gaps where the drums need room to breathe. In Live’s piano roll, use shorter notes for the chopped hits, vary the velocities, and shift a few notes slightly off the grid if you want swing. If your break is really busy, simplify the bass. If the break is sparse, you can get a bit more playful with the chops.

A good rule in this style is to let the drums win the transient fight. If the bass chops are too sharp, they’ll mask the break’s character. So round off the attack a little if needed. Sometimes the groove gets heavier when the bass is less aggressive on the front edge, because the drum edits stay audible and the rhythm feels tighter.

Next, shape the bass with processing. On the character layer or group, use Saturator, Drum Buss, EQ Eight, and Utility. Start with subtle saturation. A few dB of drive is often enough. Use Drum Buss carefully for density, but don’t overdo the Boom, because DnB low end needs control. If the bass feels boxy, cut a bit around 250 to 400 Hz. If the top end gets fizzy, trim a little above 6 to 8 kHz. And regularly check your mono compatibility. Anything below around 120 Hz should stay disciplined and centered.

Now route the sub and character layers into a Bass Group. This lets you shape the whole bass system together. You can use EQ, gentle compression, and a limiter only as a safety net. Try automating the balance between the layers too. In the intro, let the chopped layer speak more and keep the sub lighter. In the drop, bring the sub in fully. In a switch-up, you might even drop the sub for a moment and let only the chopped texture ride. That kind of arrangement movement is pure DnB energy.

And that brings us to arrangement. Don’t think of this as a static loop. Think about the story across 8 bars. Maybe bars one to eight are a filtered tease. Bars nine to twenty-four hit with full sub, wobble, and chops. Then you pull back for a switch-up with more retriggers and less low-end weight. After that, bring it back with a slightly different chop rhythm or a more open filter. Even small changes every four or eight bars keep the drop alive.

A few classic tricks work really well here. Use a one-bar bass mute before the drop returns. Drop in a reversed crash or a snare fill that leaves room for a bass stab. Leave some silence before important snare hits. Silence is absolutely a bass sound in this style. A gap before the impact often hits harder than adding another note.

If you want to go darker or heavier, there are a few advanced moves worth trying. Resample twice: once for the clean wobble, then again after you’ve chopped and processed it. That extra commitment often makes the bass feel more like a real sample. You can also map MIDI velocity so harder notes open the filter a little more or add a touch more drive. That gives the line a sampled, inconsistent feel without needing a bunch of automation lanes. Another great trick is to give the bass a slightly different swing feel than the drums. That push-pull tension can sound very authentic in jungle.

Keep checking the mono version of the bass bus as you go. If it thins out, simplify the stereo width, reduce unison, or back off any stereo effects. And remember: print decisions early. Once the bass tone feels right, freeze or resample it. This style often sounds better when you commit and edit audio, instead of endlessly tweaking the synth patch.

Here’s a good mini practice exercise. Build a four-bar phrase. Make the sub with Operator. Make the moving mid-bass with Wavetable. Write one long root note, two short chopped responses, and one empty beat for space. Freeze or resample the mid-bass, slice it into a few pieces, and rebuild the rhythm in Simpler or with clip edits. Then add Saturator and Auto Filter, and automate the filter so the phrase opens up toward the end. Finally, compare it solo, with drums, and in mono.

If it still feels heavy, rhythmic, and interesting in mono with the drums, you’re doing it right. The best jungle and oldskool DnB basslines are not just low-end sounds. They’re performances. They breathe, answer the drums, leave space, and evolve over time. That’s the vibe we’re after here.

So to recap: keep the sub mono and clean, let the mid layer carry the wobble and chopped character, use resampling to get that sample feel, and arrange it in phrases so it develops over time. Make the bass part of the break, not separate from it. That’s how you get that gritty, alive, oldskool DnB bass energy.

All right, open up your session and start with the sub. Then build the wobble, chop it, and make it talk to the drums. That’s where the magic happens.

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Drum & Bass Ableton Live 12 Tutorials