DNB COLLEGE

Drum & Bass Ableton Live 12 Tutorials

LESSON DETAIL

Clean an Amen-style call-and-response riff for timeless roller momentum in Ableton Live 12 (Intermediate)

An AI-generated intermediate Ableton lesson focused on Clean an Amen-style call-and-response riff for timeless roller momentum in Ableton Live 12 in the Atmospheres area of drum and bass production.

Back to lessons
Sign in with Google Full access enabled
Clean an Amen-style call-and-response riff for timeless roller momentum in Ableton Live 12 (Intermediate) cover image

Narrated lesson audio

The voice track includes the tutorial plus extra teacher commentary.

Open audio file

Main tutorial

Lesson Overview

A clean Amen-style call-and-response riff is one of the fastest ways to make a DnB roller feel alive without overcrowding the drop. The goal here is to take a chopped Amen break, pair it with a bass phrase that answers it, and then clean the whole thing so it feels tight, timeless, and mix-ready in Ableton Live 12.

This matters because a lot of roller momentum comes from negative space. In Drum & Bass, the listener doesn’t need constant activity to feel energy — they need a strong relationship between the drums, the bass, and the gaps between them. A well-edited call-and-response riff can create forward motion, tension, and groove while still leaving room for the sub to breathe.

This lesson sits right in the sweet spot for an atmospheric roller or darker liquid-leaning DnB track: think early drop energy, 16-bar phrases, and drum/bass interplay that keeps the floor moving without becoming too busy. We’ll use Ableton stock tools to clean the Amen, shape the bass response, and add atmosphere in a controlled way so the groove stays timeless rather than cluttered. 🎛️

What You Will Build

By the end of this lesson, you’ll have a 16-bar call-and-response DnB riff made from:

  • A cleaned-up Amen break with tighter transients, controlled hats, and ghost-note swing
  • A bass answer phrase that reacts to the break rather than fighting it
  • A simple atmospheric layer to glue the riff into a roller context
  • A mixed-down loop with headroom, mono-compatible low end, and room for arrangement movement

    • Musically, the result should feel like:

  • Bar 1–2: drums speak first
  • Bar 3–4: bass answers with a short phrase
  • Bar 5–8: variation and micro-edits
  • Bar 9–16: build in intensity without losing clarity

    • This is not about making a maximal neuro barrage. It’s about a controlled, rolling DnB motif that works in the intro to the drop, the main drop itself, or even as a switch-up section inside an arrangement.

    Step-by-Step Walkthrough

    1. Set up the project for clean roller editing

    Start with Ableton Live 12 at 170–174 BPM. For this lesson, 172 BPM is a strong middle ground for a timeless roller feel.

    Create three tracks:

    - Audio track for the Amen break

    - Instrument/MIDI track for the bass response

    - Return or audio track for atmosphere and delay throws

    Put a reference track in the session if you have one: classic rollers, jungle-influenced DnB, or darker liquid with an Amen backbone. Don’t copy it — just use it to judge density, low-end balance, and phrase length.

    On the master, leave headroom early:

    - Aim for peaks around -6 dBFS

    - Don’t let the bass or drum bus clip while you’re building

    - Keep your creative processing on grouped channels so you can shape the loop as a unit later

    Why this works in DnB: the groove is usually driven by a small number of elements, so if your balance is wrong early, the whole drop feels stiff. Headroom gives you room to automate saturation, crashes, and bass movement later without wrecking the punch.

    2. Chop and clean the Amen break for a tighter foundation

    Drag your Amen break into an audio track and warp it if needed. If it’s already in time, keep the warp minimal. For a roller, you want the break to feel edited, not overly stretched.

    Use Ableton’s:

    - Warp markers for time alignment

    - Crop Sample once the chop is settled

    - Simpler if you want to resample or re-trigger slices more quickly

    Now clean the break in a practical way:

    - Remove or reduce overly messy low-end hits if they clash with the sub

    - Tighten the kick/snare anchor points

    - Preserve the ghost notes and hat chatter that give the Amen its identity

    Good starter settings:

    - On an EQ Eight, high-pass gently around 30–40 Hz

    - Cut mud around 180–300 Hz if the break sounds boxy

    - Add a small boost around 3–6 kHz if the snare needs more snap, but keep it modest

    If you’re working with a messy source, duplicate the track and create:

    - One clean drum layer

    - One gritty texture layer rolled off with EQ

    Then blend them quietly. This gives you edge without losing definition.

    3. Build the call part: let the drums “speak” first

    The call portion should be the part that sets up the question. In a DnB context, this is often the Amen phrase itself, with a subtle change in rhythm or texture every 2 or 4 bars.

    Program or edit a 2-bar phrase with:

    - A solid snare backbeat

    - Ghost notes that imply movement

    - Slightly different final-hit placement on bar 2 to signal a bass response

    Use Groove Pool lightly if the break feels too rigid. Try:

    - A classic MPC-style groove or a subtle swing around 54–58% feel

    - Keep groove strength modest, around 20–40%, so it doesn’t destroy the Amen’s natural push

    Add Drum Buss on the break group:

    - Drive: 5–15%

    - Crunch: low to moderate, around 5–20%

    - Boom: usually off or very low if the break already has low-end content

    If the snare is losing punch, back off the Drive and use a transient-friendly chain instead of crushing it.

    The goal here is a call that feels like a drummer is pushing the track forward, not a loop that’s been flattened.

    4. Design the response bass with a short, controlled phrase

    Create your bass on an Operator, Wavetable, or Analog track — stock devices only. For a roller, keep the bass response compact, focused, and rhythmically aware.

    A strong starting point:

    - Use a sine or low saw foundation

    - Add a second oscillator an octave up very quietly for edge

    - Keep the sub mostly mono and simple

    Suggested bass chain:

    - Operator or Wavetable

    - Saturator

    - EQ Eight

    - Utility

    Suggested settings:

    - Saturator Drive: 2–6 dB

    - Soft Clip: on if the bass needs containment

    - EQ Eight low-pass: around 180–300 Hz for the sub layer if you want separation

    - Utility Width: 0% on the sub layer

    Write a response phrase that does not overlap every drum hit. The bass should answer the break, not occupy all the same rhythmic space. For example:

    - If the Amen answers on the offbeat after the snare, put the bass on the gap after that

    - Use short note lengths: 1/8 to 1/4 note

    - Leave rests between notes so the kick/snare can breathe

    For call-and-response, think in 2-bar conversation:

    - Bar 1: drums establish groove

    - Bar 2: bass answers with one or two focused notes

    - Bar 3–4: vary pitch or rhythm slightly

    This is where the roller momentum starts to lock in.

    5. Shape the bass envelope so it hits cleanly behind the Amen

    In Ableton, clean bass phrasing is often more about envelope shape than about the patch itself. If your bass smears into the drums, the whole riff gets muddy.

    In Operator or Wavetable:

    - Use a fast attack

    - Set decay/release so the note gets out of the way quickly

    - Keep the bass punchy, not smeared

    Example starting point:

    - Attack: 0–5 ms

    - Decay: 150–400 ms

    - Release: 40–120 ms

    If you want more aggressive movement, automate one of these:

    - Filter cutoff on Wavetable

    - Oscillator level on Operator

    - Drive amount on Saturator

    - Frequency of a subtle Auto Filter movement

    You can also try Auto Filter in low-pass mode:

    - Cutoff: 120–300 Hz for darker answers

    - Resonance: low to moderate, around 5–20%

    - Use Envelope or LFO only if it stays musical

    Why this works in DnB: the bass notes are not just pitches — they’re rhythmic events. A well-shaped envelope makes the bass feel percussive, which is essential in rollers and darker DnB where the bass often functions like a second drum voice.

    6. Lock the drums and bass together with sidechain and bus discipline

    Route the Amen and bass to separate groups:

    - Drum Group

    - Bass Group

    - Atmosphere Group or return

    On the bass, use Compressor for sidechain from the drum group or kick/snare anchor if needed. Keep it subtle for a roller.

    Good starting settings:

    - Ratio: 2:1 to 4:1

    - Attack: 1–10 ms

    - Release: 50–150 ms

    - Threshold: set for 2–5 dB of gain reduction on key drum hits

    Don’t over-sidechain. In this style, the movement should feel natural, not pumping EDM-style unless that is the point.

    On the drum group, use Glue Compressor lightly:

    - Soft Clip: on if needed

    - Attack: 10–30 ms

    - Release: Auto or 0.1–0.3 s

    - Aim for only 1–2 dB of compression

    If the break gets too sharp, use Transient shaping through volume automation rather than heavy compression. A small fader move can preserve the original character better than over-processing.

    7. Add atmosphere without washing out the riff

    Because this lesson sits in Atmospheres, the atmosphere layer matters — but it should support the riff, not blur it.

    Use one of these stock Ableton approaches:

    - A short field recording or vinyl noise layer through Auto Filter

    - A pad or texture from Wavetable

    - A resampled break wash with heavy filtering

    Keep it minimal:

    - High-pass the atmosphere around 200–400 Hz

    - Low-pass if it’s too bright, around 6–10 kHz

    - Use Reverb with a short decay: 1.2–2.5 s

    - Add Echo on a send for occasional tails, not constant wash

    Automate the atmosphere to breathe with the arrangement:

    - Bring it up at the end of every 4 bars

    - Dip it during the most important drum/bass punches

    - Add a filtered swell before a switch-up

    A good context example: in a 16-bar drop, keep the atmosphere very low in bars 1–4, then widen it slightly in bars 5–8, and use a filtered noise rise into bar 9 to make the second phrase feel bigger.

    8. Use micro-automation and variations to keep the loop alive

    A timeless roller feels repetitive in a good way, but never static. Introduce tiny variations every 4 or 8 bars.

    Ideas:

    - Move the last Amen chop by a 16th note on bar 4

    - Open a filter slightly on the bass response every 8 bars

    - Automate a very small reverb send on one snare hit

    - Cut the sub for one beat before the next phrase to create tension

    Useful automations in Ableton Live 12:

    - Utility width on atmosphere layers

    - Auto Filter cutoff on bass or texture

    - Send levels into Echo/Reverb

    - Saturator drive for a stronger second half of the loop

    Keep the variations small. The goal is to make the loop feel like it’s evolving, not changing style every bar.

    If you need a heavier switch-up, duplicate the last 2 bars and:

    - Remove one drum hit

    - Add a short bass pickup

    - Introduce a riser or downlifter

    - Reintroduce the full groove with renewed force

    9. Mix the riff so the low end stays clean and the groove stays forward

    Now that the musical idea works, clean the mix.

    Key checks:

    - Bass and kick/sub should not fight in the same lane

    - The Amen’s low mids should not mask the bass

    - Atmosphere should sit behind the drums, not on top of them

    Use EQ Eight on the drum group:

    - High-pass if the break has rumble that conflicts with sub

    - Small cut around 250–500 Hz if the loop sounds cloudy

    - Tame harsh hats around 7–10 kHz if needed

    Use Utility to mono-check:

    - Keep the sub mono

    - Check atmosphere width carefully

    - Make sure the drop still feels solid in mono

    If the bass is too loud, don’t just turn it down immediately. Compare it against the kick/snare anchor. In rollers, bass can feel huge even when it is slightly quieter than expected because the rhythm is doing a lot of the work.

    Common Mistakes

  • Over-layering the Amen

    • Fix: Keep one main break doing the rhythmic work. Add grit quietly, not constantly.

  • Bass phrasing on top of every drum hit

    • Fix: Leave gaps. Let the call-and-response actually breathe.

  • Too much low end in the break

    • Fix: High-pass gently and carve a small pocket for the sub around the overlap zone.

  • Excessive stereo width in the bass

    • Fix: Keep the sub mono with Utility and only widen higher texture layers.

  • Over-compressing the drum bus

    • Fix: Use lighter compression and preserve transient snap. DnB needs punch, not flattening.

  • Atmosphere drowning the groove

    • Fix: High-pass and automate it in phrases, not continuously at full level.

  • No variation across 8 or 16 bars

    • Fix: Add small edits, filter moves, or one-off fills so the riff evolves naturally.

    Pro Tips for Darker / Heavier DnB

  • Use a parallel grit lane: duplicate the bass, distort the copy with Saturator or Pedal, then low-pass it and blend it quietly for weight.

  • Try frequency-focused distortion on the bass response, but keep the sub clean. Distort the harmonics, not the foundation.
  • For more underground character, add a very low atmospheric texture with Auto Filter sweeping slowly between 300 Hz and 2 kHz.
  • Resample your edited Amen phrase into audio and then do a second pass of tiny chops. This often feels more authentic than endlessly MIDI-editing a loop.
  • Use Echo throws on only the last hit of a 4- or 8-bar phrase to create tension without turning the whole mix wet.
  • If the riff feels too polite, reduce the number of notes in the bass response rather than making it louder. Space is often the heavier choice.
  • Automate a slight drive increase on the second half of an 8-bar phrase to make the drop feel like it’s leaning forward.
  • For more neuro-adjacent pressure, add a quiet, midrange-focused layer that follows the bass rhythm but sits above the sub, then filter it aggressively so it doesn’t dominate.

Mini Practice Exercise

Spend 10–20 minutes building a 4-bar loop:

1. Load an Amen break and clean it with EQ Eight and light Drum Buss.

2. Create one bass patch in Operator or Wavetable with a simple sub + harmonic layer.

3. Write a call-and-response pattern where the drums lead and the bass answers only in the spaces.

4. Add one atmosphere layer with high-pass filtering and a short reverb send.

5. Make one small variation on bar 4: a bass pickup, a drum edit, or a filter move.

6. Mono-check the low end with Utility and adjust until the loop feels solid.

Constraint: do not add more than one extra sound beyond drums, bass, and atmosphere. The exercise is about clarity and momentum, not density.

Recap

A clean Amen-style call-and-response riff works because it balances drum identity, bass phrasing, and negative space. Keep the break tight, let the bass answer instead of dominate, and use atmosphere as glue rather than wash. In Ableton Live 12, stock tools like EQ Eight, Drum Buss, Compressor, Glue Compressor, Auto Filter, Echo, Reverb, Saturator, Utility, Operator, and Wavetable are more than enough to build a timeless roller foundation.

If it feels strong in 4 bars, breathes in 8, and evolves in 16, you’re on the right path.

Ask GPT about this lesson

Chat with the lesson tutor, get follow-up help, or use quick actions.

Bigup 👽 Ask me anything about this lesson and I’ll answer in context.

Narration script

Show spoken script 
Welcome back. In this lesson, we’re building a clean Amen-style call-and-response riff for a timeless roller feel in Ableton Live 12. This is intermediate-level, so we’re going to move pretty efficiently, but I’ll still explain the why behind each step so you can actually use this technique in your own tracks.

What we’re after is not a huge wall of sound. We want a focused drum and bass conversation. The Amen break speaks first, the bass answers, and the space between them does a lot of the heavy lifting. That negative space is where the momentum lives. If you get that relationship right, the loop feels alive without being overcrowded.

Let’s set the scene first.

Open a new project in Ableton Live 12 and set the tempo somewhere in the 170 to 174 range. I’m going to sit right around 172 BPM because that gives us that classic rolling DnB pace without pushing into chaotic territory.

Create three tracks to start:
One audio track for the Amen break,
one MIDI track for the bass response,
and one track or return for atmosphere and delay throws.

If you have a reference track, drop it into the session now. Not to copy it, just to keep your ears calibrated. Listen for how much is actually happening at any one time. A lot of great rollers feel bigger than they are because they’re arranged with restraint.

And before we do any processing, leave yourself headroom. Aim for peaks around minus 6 dB. Don’t let the drum bus or bass clip while you’re building. This is one of those habits that saves you later when you start adding saturation, reverb throws, and automation.

Now let’s get into the Amen break.

Drag your Amen into the audio track and warp it if you need to, but don’t over-stretch it. The point here is not to force it into something unnatural. For a roller, you want it to feel edited and intentional, not smeared into time.

Start cleaning it in a practical way. Use warp markers if a hit is drifting. Crop the sample once your chop is in place. If you want to re-trigger slices more easily, you can also use Simplor, but keep it simple at first.

Now listen critically. The Amen usually has that great chatter in the hats and ghost notes, but sometimes the low end gets messy, especially once you add a sub. If there’s too much rumble, gently high-pass around 30 to 40 Hz with EQ Eight. If the loop feels boxy, try a small cut somewhere around 180 to 300 Hz. If the snare needs a little more crack, add a modest boost in the 3 to 6 kHz range, but don’t go overboard. We’re cleaning, not redesigning the break from scratch.

A really useful trick here is to duplicate the Amen track if the source is rough. Keep one layer clean and focused, then create a second texture layer that’s rolled off and tucked quietly underneath. That gives you grit without sacrificing clarity. Think of it as edge plus definition.

Now let’s shape the call part of the riff.

The call is the drums asking the question. In this style, the Amen should lead the energy. Program or edit a two-bar phrase where the snare anchors the groove, the ghost notes keep the motion alive, and the last hit of the phrase hints at an answer from the bass.

If the break feels too stiff, use the Groove Pool lightly. A subtle swing, somewhere around 54 to 58 percent, can help, but keep the groove strength modest, around 20 to 40 percent. You want human movement, not a broken grid.

On the drum group, add Drum Buss if needed. Use it gently. Drive around 5 to 15 percent is plenty in most cases. Crunch can sit low to moderate. Boom should usually be off or very low unless your break is super thin. If the snare starts losing its snap, that’s your sign to back off and preserve the transient instead of flattening it.

The mindset here matters. The call should feel like a drummer pushing the track forward. It should not feel like a loop that’s been squeezed into submission.

Now for the response: the bass.

Create the bass on Operator, Wavetable, or Analog. Stock devices only, and that’s more than enough. For a roller, the bass answer needs to be compact and deliberate. It shouldn’t try to occupy every rhythmic pocket.

Start with a simple sub foundation, like a sine wave. If you want a little edge, add a second oscillator an octave up very quietly. Keep the foundation mostly mono. That mono low end is a big part of what makes this style hit in the club.

A good starter chain is Operator or Wavetable into Saturator, then EQ Eight, then Utility.

Try a little saturation, maybe 2 to 6 dB of drive. If the bass needs control, turn on Soft Clip. Use EQ Eight to low-pass or shape the upper layer if you’re separating the sub from the harmonics. And on the Utility, keep the sub width at 0 percent.

Now write the bass phrase like it’s answering the drums in conversation. Don’t put bass on every kick and snare. That’s one of the fastest ways to kill the groove. Leave space. Let the Amen finish its statement, then have the bass reply in the gaps.

A strong starting idea is a two-bar conversation:
bar one, the drums lead;
bar two, the bass answers with one or two focused notes.

Then repeat that idea with slight variation. You can change the pitch, the rhythm, or the note length, but don’t change everything at once. The more consistent the phrase is, the more the tiny changes matter.

This is where the roller starts to feel locked.

Next, shape the bass envelope so it hits cleanly behind the Amen.

A lot of people focus too much on the synth patch and not enough on the envelope, but for this style the envelope is a huge part of the groove. You want the bass to get in and get out without smearing over the drum hits.

Use a fast attack, basically zero to 5 milliseconds. Keep the decay somewhere around 150 to 400 milliseconds depending on how short you want the note to feel. Release can be short too, maybe 40 to 120 milliseconds. The goal is a bass response that feels percussive, almost like a second drum voice.

If you want a little more motion, you can automate the filter cutoff in Wavetable or the oscillator level in Operator. Auto Filter is also great here. Keep it dark and controlled, maybe somewhere between 120 and 300 Hz for the cutoff, with just enough resonance to give it character. But again, if it starts sounding like a wobble or a talking bass, pull it back. We’re aiming for timeless, not flashy.

Now we glue the drums and bass together.

Route your drums and bass to separate groups. Keep the structure clean. On the bass, use Compressor for a subtle sidechain if needed. You do not need aggressive pumping here unless that’s the style you’re after. A ratio between 2 to 1 and 4 to 1 is a solid starting point. Attack somewhere around 1 to 10 milliseconds, release around 50 to 150 milliseconds, and aim for about 2 to 5 dB of gain reduction on the key drum hits.

On the drum group, use Glue Compressor lightly if it helps tie things together. Attack around 10 to 30 milliseconds, release on auto or around 0.1 to 0.3 seconds, and only a little compression, maybe 1 to 2 dB. This is a support tool, not a flattening tool.

If the break gets too sharp or too wild, don’t immediately crush it with compression. A small volume automation move often sounds more natural and preserves the character better.

Now let’s add atmosphere, since this lesson lives in that atmospheric roller world.

The atmosphere should support the riff, not wash it out. A lot of people make this mistake: they add a huge texture layer that sounds cool on its own, but the groove disappears the moment it comes in. We don’t want that.

Try a short field recording, vinyl noise, a pad from Wavetable, or even a resampled break wash. Put Auto Filter on it and high-pass around 200 to 400 Hz so it stays out of the low end. If it’s too bright, low-pass around 6 to 10 kHz. Reverb can work nicely here, but keep the decay short, around 1.2 to 2.5 seconds. If you want delay, use Echo on a send so it appears as a throw, not a constant cloud.

Automate the atmosphere so it breathes with the phrase. Bring it up at the end of every four bars, then pull it back when the drums and bass need to hit. A good rule is: if you mute the atmosphere and the loop falls apart, the core idea is too weak. The texture should enhance the groove, not hold it together.

Now we make the loop feel alive with small variations.

A timeless roller usually repeats, but it doesn’t sit still. Every four or eight bars, make a tiny change. Move the last Amen chop by a 16th note. Open the bass filter slightly on the second pass. Add a small reverb send to one snare hit. Cut the sub for one beat before the next phrase lands. These little changes are often more effective than big obvious fills.

You can automate Utility width on the atmosphere, Auto Filter cutoff on the bass or texture, send levels into Echo or Reverb, or even a touch more Saturator drive in the second half of an eight-bar phrase. Keep it subtle. The point is evolution, not transformation.

If you want a stronger switch-up, duplicate the last two bars and remove one drum hit, add a short bass pickup, or bring in a filtered rise. Then slam back into the full groove. That kind of reset can make the drop feel much bigger without adding complexity everywhere else.

Now let’s clean up the mix.

Check your low end first. The bass and kick or sub shouldn’t fight each other. The Amen’s low mids shouldn’t mask the bass. And the atmosphere should sit behind the main rhythm, not on top of it.

On the drum group, use EQ Eight if there’s rumble in the break. A small cut around 250 to 500 Hz can clear up cloudiness. If the hats are harsh, tame them somewhere around 7 to 10 kHz. On the bass, keep the foundational layer mono with Utility and only widen higher texture layers if you really need to.

And here’s a useful check: listen at low volume. Seriously. Rollers often reveal the truth when they’re quiet. If the drum and bass conversation still reads clearly at whisper level, you’re in good shape. If it disappears, the part is too dense or the roles aren’t clear enough.

That role-based thinking is huge here. The Amen doesn’t need to be busy to lead. It needs to occupy the front line. The bass doesn’t need to dominate to feel powerful. It needs to answer with precision. And the atmosphere doesn’t need to define the groove. It just needs to make the whole thing feel larger.

A few common mistakes to avoid:
Don’t over-layer the Amen.
Don’t put bass on every drum hit.
Don’t overdo low end in the break.
Don’t make the bass wide down low.
Don’t squash the drum bus too hard.
And don’t let the atmosphere become the main event.

If the loop feels too polite, the fix is often not louder bass. It’s fewer notes. Space is heavy in this style.

If you want to push it further, here are a few advanced moves.

Try answering with pitch instead of rhythm. Keep the bass rhythm the same for four bars, then change only the note choice. Or use a half-response bar where the bass answers only the first question and leaves the second unanswered. That little asymmetry can make the groove feel more human.

You can also create a ghost response lane by duplicating the bass and filtering it heavily, then tucking it way back so it only shows up on select bars. Or flip one Amen chop slightly late to give the phrase a little tension. Just keep it subtle. We want motion, not sloppiness.

For a more underground feel, a quiet midrange texture layer can help. Keep it band-limited so it only adds definition, not clutter. And if the riff needs more pressure, try distortion on harmonics while keeping the sub clean. That’s a classic move: dirty harmonics, clean foundation.

Before we wrap, here’s a quick practice challenge.

Build a four-bar loop with one Amen break, one bass response, and one atmosphere layer. Clean the break with EQ Eight and light Drum Buss. Write a call-and-response pattern where the drums lead and the bass answers only in the spaces. Add one small variation on bar four, then mono-check the low end with Utility and adjust until it feels solid.

Keep it simple. Don’t add more than one extra sound beyond drums, bass, and atmosphere. The goal is clarity and momentum, not density.

So the big takeaway is this: a clean Amen-style call-and-response riff works because it balances drum identity, bass phrasing, and negative space. If it feels strong in four bars, breathes in eight, and evolves in sixteen, you’re on the right path.

And once you hear that conversation lock in, you’ll know it. It’s got that instant roller energy. Tight, timeless, and moving forward without trying too hard.

Nice work.

mickeybeam

Go to drumbasscd.com for +100 drum and bass YouTube channels all in one place - tune in!

Generating PDF preview…