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Digital edit: warp an automation flick from scratch in Ableton Live 12 for breakbeat science (Advanced · DJ Tools · tutorial)

An AI-generated advanced Ableton lesson focused on Digital edit: warp an automation flick from scratch in Ableton Live 12 for breakbeat science in the DJ Tools area of drum and bass production.

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1. Lesson Overview

This advanced DJ Tools lesson teaches a practical sound-design trick: Digital edit: warp an automation flick from scratch in Ableton Live 12 for breakbeat science. You will create a very short, intentional automation “flick” on a breakbeat (for example a fast filter or volume jab), resample that movement to audio, and then use Ableton’s warp, slicing and routing tools to warp, re-time and repurpose that flick as a repeatable DJ-style rhythmic device. The workflow uses Live stock devices (Auto Filter, Gate, Simpler/Clip Warp modes, Utility, etc.) and Max for Live when converting audio back into automation for precise control.

2. What You Will Build

A short, hard “automation flick” (cutoff/volume flick) programmed from scratch on a breakbeat loop.

A resampled audio capture of that flick.
Several warped versions (compressed, stretched, reversed, stuttered) created by manipulating warp markers and slicing.
A reusable performance tool: the warped flick used as a gate/sidechain source and/or converted back into automation to apply to other tracks (DJ tool for drops, stabs and transitional micro-edits in Drum & Bass).

3. Step-by-Step Walkthrough

Prerequisites: Ableton Live 12 (Suite recommended for Max for Live). Have a breakbeat loop loaded (audio clip) at your project tempo (e.g., 174 BPM).

A. Prepare the breakbeat and add a parameter to flick

1. Insert your breakbeat audio on Track 1 and set Clip Launch quantization low (None or 1/16) for auditioning.

2. Insert Auto Filter (Audio Effects > Auto Filter) after the clip. Set filter to a bandpass or lowpass, slope 12 or 24 dB/oct, and set Resonance moderately high (for audible flick).

3. Choose the parameter you’ll flick — Filter Cutoff is the classic choice. Make sure the device is visible in Arrangement and Clip view.

B. Draw the automation flick from scratch

4. Switch to Arrangement View (Tab). Zoom in to a small grid range (set grid to 1/64 or 1/128 for micro-timing: right-click grid -> Fixed -> 1/64).

5. Enable Automation Arm (the remote automation arm button in the transport) so Live will write parameter automation.

6. Activate the Draw tool (B) and in the Auto Filter cutoff lane draw a tiny rapid ramp:

- Example flick: starting at 200 Hz, jump to 4 kHz over 1/64 note, then return over 1/32 note. You can draw a short triangular spike or a stepped flick.

- Use the Pencil and line tools for smooth ramps or discrete jumps as you prefer.

7. Playback and tweak until the flick is pronounced. This is your original automation flick created from scratch.

C. Resample the flick to audio

8. Create a new audio track (Track 2). Set its Input to "Resampling" (drop-down at track I/O) so it records the master output.

9. Arm Track 2, set monitoring Off (you’ll record live), set the arrangement loop to include the flick.

10. Record-enable the Arrangement Record button and hit Record — play through and capture the breakbeat with the automation flick. Stop and consolidate the recorded clip (Cmd/Ctrl-J) if needed.

D. Clean and prepare the resampled clip

11. Disable Arrangement automation playback for the original filter (so your further edits rely on the recorded audio instead of re-triggering the filter). Keep the recorded audio clip selected.

12. Double-click the recorded clip to open Clip View. Enable Warp (if not already) — choose a warp mode depending on the character you want:

- Beats mode with Transpose off and preserve transients for percussive, rhythmic flicks.

- Complex Pro for spectral-fidelity if the flick is harmonic or you need smoother timbre.

E. Warp the flick (time-stretch, compress, reverse, stutter)

13. Identify the flick’s waveform segment in the clip. Add Warp Markers at the segment boundaries (Cmd/Ctrl-click on the transient) to isolate the flick.

14. Time-compress: grab the area after the flick and drag left to compress the flick (or drag the markers to change its timing). This makes the flick much tighter — good for stutter style edits.

15. Time-stretch: drag the markers the opposite way to slow the flick — this can create a slow sweep out of what was originally an instant jab.

16. Reverse: Right-click the isolated warp region and use "Reverse" (Clip View > Sample tab > Reverse) OR duplicate the clip and reverse that duplicate to create reverse flick textures.

17. Create a stutter by duplicating small warped segments (Ctrl/Cmd-D) and nudging them to create rhythmic repetition — or set transient detection and use Slice to New MIDI Track if you want a Drum Rack of flick-slices.

F. Use the warped flick as a sidechain/gating source (DJ tool)

18. Create Track 3 and place the warped audio clip on it as a loopable sound (this will be your sidechain/gate source). Turn its Monitor to "In" or "Auto" depending on routing so you can send to the Gate.

19. On the original breakbeat track insert a Gate (Audio Effects > Gate). Open Gate’s Sidechain section and enable Sidechain. Choose Track 3’s audio as the sidechain input.

20. Adjust Gate Threshold, Return, Attack and Hold so the gate opens exactly when the warped flick arrives — this uses the warped flick to create rhythmic chopping or flick-type amplitude moves on the original break.

21. Use a Utility or blank Rack after the Gate to fine-tune level and stereo width.

G. Convert warped audio into automation (optional advanced method using Max for Live)

22. If you want the warped flick to become parameter automation (e.g., cutoff again) for other tracks:

- Put Max for Live Envelope Follower (Audio Devices > Max for Live > Envelope Follower) on Track 3 with the warped clip playing.

- Click Map on the Envelope Follower and Map it to Auto Filter > Cutoff on the target track (or any device parameter). Set the Gain/Attack/Release on the follower so the follower output tracks the transient well.

- Arm Automation Recording (Automation Arm). In Arrangement, press Record and let Live write the follower-driven parameter movement into the arrangement as real automation data.

- Stop and edit the recorded automation lane (consolidate or quantize if appropriate).

H. Build a performance rack

23. Consolidate useful warped variations (compressed, stretched, reversed, stutter) into separate clips on Track 3 or into a Drum Rack/Sampler so you can trigger them live as DJ tools. Map Macro controls (Utility, Gain, Filter) in an Audio Effect Rack for quick hands-on control.

4. Common Mistakes

Not using fine grid resolution when drawing the flick — your flick will be imprecise and feel loose. Use 1/64 or 1/128 for micro-flicks.

Forgetting to enable Automation Arm before trying to record automation — leads to no automation being written.
Not resampling correctly: if your Resampling track’s input is wrong you’ll capture silence or wrong channels. Always verify Resampling input and that the target track is record-armed.
Using the wrong warp mode — using Complex Pro for extremely transient edits can soften the transients (use Beats for percussive urgency).
Leaving the original automation enabled when you expect to use the resampled audio — it can double-up or nullify the effect.
Sidechain routing errors: selecting the wrong track in Gate’s sidechain or forgetting to set Monitor/Arm correctly can yield no gating action.
Too-aggressive warp edits without crossfades — can produce clicks at warped boundaries. Use small fades and check transient boundaries.

5. Pro Tips

Snap to tempo subdivisions: use Fixed Grid 1/64 for MIDI-style flicks, but disable grid (Cmd/Cmd+4 or right-click > Fixed > Off) for micro-adjustments between grid lines.
Use Live’s Fade Handles (make sure Fades are shown) to add tiny fades at warp marker jumps to avoid clicks.
For super-tight, percussive flicks use Warp Mode "Beats" with Preserve set to 50–80%; for tonal material use "Complex Pro".
When converting audio to automation with Max for Live Envelope Follower, put a Compressor or Limiter after the follower source to level the input and get a cleaner control signal.
Consolidate your best warped flicks into a Sampler or Simpler set to One-Shot and map into a Drum Rack for performance; map macro knobs for pitch/level/decay to make them DJ-friendly.
Keep a dry copy of the breakbeat track — perform gating or automation on a duplicate so you can A/B between original and processed.
Use Utility > Width to mono the flick clip if your Gate sidechain misbehaves due to stereo differences.

6. Mini Practice Exercise

Goal: create three distinct DJ flick effects from one automation flick.

1. Draw a single very short filter cutoff flick (1/64 spike) on a 2-bar looped breakbeat.

2. Resample the result to a new audio track.

3. Create three warped variants:

- Variant A: Compress the flick into half the original time (time-compress using warp markers) and use it as a tight stutter gate source.

- Variant B: Stretch the flick to 3x length and reverse it — use it as a drawn-in reverse sweep before a drop.

- Variant C: Slice the flick into 4 sub-slices and reorder them to a triplet stagger.

4. Assign Variant A to Gate sidechain to chop the original break; assign Variant B to a Simpler for one-shot reverse fills; assign Variant C to a Drum Rack pad for triggering during DJ transitions.

Timebox: 20–30 minutes. You’ll train both micro-automation drawing and warp-manipulation skills.

7. Recap

In this Advanced DJ Tools lesson you learned how to do a Digital edit: warp an automation flick from scratch in Ableton Live 12 for breakbeat science. Summary workflow: draw a precise micro-automation flick (cutoff/volume) in Arrangement, resample that movement to audio, warp and slice the recorded flick to create compressed/stretched/reversed/stuttered versions, then use those warped results as sidechain/gate sources or convert them back to parameter automation via Max for Live Envelope Follower. This gives you a powerful, reusable DJ toolset for creating rhythmic micro-edits and performance-ready breakbeat chops perfect for Drum & Bass transitions and live sets.

Extra coach notes

Extra Coach Notes:

Context & creative intent

Think of the automation flick as a micro-gesture: it’s not just “movement,” it’s a rhythmic device you can re-use like a snare fill or hi-hat roll. Approach it as both sound-design and DJ-tool design: it must read clearly in the mix and be flexible for triggering/sidechaining.
Keep musical context in mind: in Drum & Bass a flick that occupies 200 Hz–4 kHz reads very differently than one focused 4–10 kHz. Low/mid flicks will affect groove and body; high flicks become sibilant sweeps for accents.

Sound-design tips before resampling

Boost the flick’s presence before you resample: add a transient shaper or short compressor before the Auto Filter so the flick reads more pronounced in the waveform you’ll warp. This gives cleaner warp markers and a higher follower signal later.
Use narrow bandpass for “whistle” flicks and lowpass for “thump” flicks. A higher resonance (try 60–80% visually) will give a stronger audible spike to capture.
Consider automating Resonance or Drive together with Cutoff for extra character—resonance spikes translate into stronger transients when resampled.

Precise automation drawing techniques

Use Fixed Grid 1/64 for initial drawing, then temporarily disable the grid to nudge points micro-musically between divisions. Small, non-quantized nudges can turn a clinical flick into a funky humanized stab.
For very sharp clicks, use vertical jumps (step automation). For smoother sweeps, draw triangular ramps. Combine both in one flick: immediate jump + subtle decay ramp to taste.
Use the Arrangement Overview zooming: draw at high zoom for accuracy, then zoom out to listen in context.

Resampling & recording best practices

Check driver buffer and latency: set a buffer that keeps resampling latency minimal. Record a quick one-bar test to ensure there’s no offset between expected flick and recorded waveform.
Record at project sample rate and keep headroom: add a Utility before the master or on the resampling track with -3 to -6 dB if the flick spikes clip the master.
Name and color the recorded clip immediately (e.g., “Flick_orig_bp”) so you don’t lose which take is the source.

Warping strategies that preserve impact

Warp mode choices: Beats mode for percussive/energetic flicks (Preserve 50–80%); Complex Pro for timbral fidelity on tonal flicks. Use Beats for stutters and Complex Pro for slow stretched sweeps.
Preserve transients: in Beats, don’t set Preserve to 100% or you lose flexibility; 50–80% is a good balance.
Warp-marker technique: place markers slightly before and after transients, then use the markers to isolate the flick. If you see clicks when you drag markers, add micro-fades (show Fades in Arrangement) or add 1–3 ms crossfades.
Avoid warping across zero-crossings: if you get pops, nudge markers until crossfades align with zero crossings or add a short fade.

Creative warp variations (practical recipes)

Super-tight stutter: time-compress the flick to ~25–50% of original, duplicate the compressed segment 3–6 times, and place them at 1/32 or 1/64 spacing. Use Utility gain to balance.
Granular-like slow sweep: stretch the flick to 200–300% in Complex Pro, add light chorus and reverb send for atmospheric pre-drop textures.
Reverse-fill tactic: duplicate the clip, reverse the dup, apply high-pass to remove low rumble, then use it as pre-drop riser—map a macro controlling a lowpass on that reverse for swell control.
Triplet/odd rhythms: slice the flick into 3 equal parts and reorder to create off-grid triplet stabs that spice transitions.

Routing & sidechain/gate engineering

Multiple sidechain sources: create stereo variations by panning two warped flicks L/R and route them to separate sidechain inputs to create ping-pong gating on the original loop.
Gate sensitivity mapping: macro-map Gate Threshold or Hold so you can dial responsiveness live. Lower Threshold + short Hold for tight choppy gating; higher Threshold + longer Hold for looser chops.
Use sends for non-destructive routing: instead of placing the warped flick on a separate track only for sidechaining, place it on a return and use that return as the Gate source to reuse across multiple tracks.
Mono the source: sidechain detectors are often more reliable with mono input. Put Utility on the sidechain source and set Width to 0% to avoid stereo-phase inconsistencies.

Converting audio to automation (Max for Live) — advanced tweaks

Envelope Follower staging: add a compressor after the warped clip feeding the Envelope Follower. This levels peaks and gives a steadier control voltage for mapping to device parameters.
Mapping ranges: when you Map the Envelope Follower, use its Gain and Offset controls (and then the device’s macro mapping if needed) to scale the follower output so the mapped parameter moves musically (not just a tiny wiggle).
Smoothing & quantization: if the follower is too jumpy, add a small low-pass on the follower (some M4L followers have smoothing) or record to automation and then apply a small smoothing curve to the automation lane.
Record-in-place technique: when writing follower-driven automation, record in Arrangement while the clip loops several times — then consolidate the best loop and duplicate it across the set for predictable behavior.

Performance-readiness & racks

Build an Audio Effect Rack for your flicks: load variants (compressed, stretched, reversed, stutter) into separate chains and map Chain Selector to a Macro. This gives single-knob switching between flick flavors.
Macro mapping for live: map Gate Threshold, Envelope Follower Gain, a Utility Gain, and a Filter cutoff to macros for one-knob dynamic control of the overall flick effect on the fly.
Clip Launch settings: set Non-Quantized or 1/16 for immediate flick triggering. For on-beat hits, set quantization to 1 bar or 1/4 depending on performance style.
Follow Actions: use follow actions to make flick clips automatically retrigger or alternate variants during a live section.

Organization & workflow hygiene

Keep a “Flicks” track folder in each project with named sub-clips (e.g., A_Tight, B_Stretched, C_Rev). Saves load-in time during sets.
Save a rack preset of your Gate + mapped macros and a Simpler/Sampler preset with the flick set to One-Shot and correct sample start/end points.
Keep the original automated track disabled (or muted) when working from resampled audio; create a version history like flipbook: Breakbeat_orig, Breakbeat_filtered, Breakbeat_gated.

Troubleshooting checklist (fast)

No recorded flick audio? Verify Resampling input and that the Master output contains the Auto Filter output. Verify track arm and global record.
Flick sounds soft after warping: switch to Beats mode and increase Preserve or use transient shaper before warping.
Clicking at warp boundaries: add 1–5 ms fades or adjust warp markers to zero-crossings.
Gate not reacting: check Gate sidechain input selection and the Monitor/Arm status of the sidechain source; mono the source if stereo phase is killing the trigger.
Envelope Follower not moving parameter enough: add a Compressor to the source, increase the follower Gain, then scale the mapping on the target device.

Small variations to extend the idea

Use the flick as a trigger for effects: map Envelope Follower to a Reverb Dry/Wet or a Delay Feedback for instant fills instead of amplitude gating.
Layer flicks: combine a high-frequency reversed flick with a low-mid compressed flick to create multi-band micro-edits that read on different speakers.
Create rhythmic mats: slice the flick into slices and build patterns in a Drum Rack that sequence like a hi-hat roll but with the flick’s timbre.

Mini-practice add-on (5–10 minute drills)

Drill 1: draw 1/64 flick, resample, time-compress it to 40% and map to Gate Threshold; toggle macro to hear threshold effect change.
Drill 2: resample flick → duplicate track → reverse duplicate → map macros to crossfade between original and reverse while keeping loop in sync.
Drill 3: make a 4-slice kit from the flick in a Drum Rack and program three 16-step patterns: straight 1/16, syncopated, and triplet—try triggering between patterns live.

Final productivity tips

When you find a flick that works, export it as a WAV one-shot (24-bit) and import into your Sample Library with useful metadata (BPM, key, description) for reuse across sets.
Keep a template project with pre-routed sidechain tracks, a Gate Rack, an Envelope Follower ready for mapping, and a Flicks folder so you can experiment quickly without re-creating routing each session.
Practice toggling automation arm and record a couple of times to avoid overwriting clean takes—versioning is your friend when experimenting with aggressive warp edits.

Use these notes as practical augmentations to the step-by-step lesson: they tighten your workflow, reduce common artefacts, expand creative options, and make the warped automation flick a reliable, performance-ready Drum & Bass DJ tool.

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Narration script

Show spoken script

This is an advanced DJ Tools lesson for Ableton Live 12: digital edit — warp an automation flick from scratch for breakbeat science. I’ll walk you through the whole workflow: draw a tiny automation flick on a breakbeat, resample it to audio, warp and slice that audio into compressed, stretched, reversed and stuttered variants, and then turn those variants into a reusable performance tool — either as a gate/sidechain source or converted back into automation with Max for Live. Let’s get into it.

Lesson overview
Start with a breakbeat loop at your project tempo — 174 BPM if you want a Drum & Bass context. The core idea: make a very short, intentional automation movement — a cutoff or volume “flick” — record it to audio, and then use Live’s warp, slicing and routing tools to repurpose that flick as a rhythmic DJ device. We’ll stay inside Live stock devices where possible and use Max for Live only for converting audio back into automation.

What you’ll build
- One short, hard automation flick programmed from scratch on a breakbeat.
- A resampled audio capture of that flick.
- Several warped versions: compressed, stretched, reversed, stuttered.
- A reusable performance tool: the warped flick used as a sidechain/gate source and optionally converted back into parameter automation via Max for Live.

Step-by-step walkthrough
Prerequisite: Ableton Live 12 (Suite recommended for Max for Live). Have your breakbeat loaded and set to your project tempo.

A. Prepare the breakbeat and add a parameter to flick
1. Place your breakbeat on Track 1. Set Clip Launch quantization low — None or 1/16 — so you can audition quickly.
2. Insert Auto Filter after the clip. Set it to lowpass or bandpass, choose a 12 or 24 dB/oct slope, and increase Resonance so the flick will be audible.
3. Choose the parameter you’ll flick: Filter Cutoff is the classic choice. Make sure the device is visible in Arrangement and Clip view.

B. Draw the automation flick from scratch
4. Switch to Arrangement View and zoom way in. Set the grid to a micro resolution — 1/64 or 1/128 fixed grid — for precise timing.
5. Enable Automation Arm in the transport, so Live will write parameter automation.
6. Activate the Draw tool (press B) and draw a tiny rapid ramp in the Auto Filter cutoff lane. Example: start around 200 Hz, jump up to 4 kHz over a 1/64 note, then return over 1/32. You can do a triangular spike or a stepped jump. Use Pencil or draw lines depending on whether you want a smooth ramp or a vertical cut.
7. Play back and tweak until the flick is pronounced. This is your original automation flick.

C. Resample the flick to audio
8. Create a new audio track and set its input to Resampling. This will record the master output, including your Auto Filter movement.
9. Arm the resampling track. Set Monitor Off — you’ll record live through Arrangement record.
10. Loop the region containing the flick, hit Record, and play through to capture the breakbeat with the automation. Stop when done and consolidate the recorded clip if needed (Cmd/Ctrl-J).

D. Clean and prepare the resampled clip
11. Disable the original automation playback for the Auto Filter so you don’t double the effect; we’re going to work with the recorded audio now.
12. Open the recorded clip in Clip View and enable Warp if it’s not already on. Choose a warp mode that suits the material: Beats mode for percussive, transient-heavy flicks; Complex Pro for smoother, tonal sweeps.

E. Warp the flick — compress, stretch, reverse, stutter
13. Zoom in and add Warp Markers at the boundaries of the flick to isolate it.
14. Time-compress: move markers to make the flick much tighter — this is great for stutter edits.
15. Time-stretch: pull markers outward to slow the flick into a longer sweep.
16. Reverse: duplicate the clip and use Clip View > Sample tab > Reverse on the duplicate to create reverse textures.
17. Stutter: duplicate small warped segments and nudge them in place to create rhythmic repetition, or use transient detection and Slice to New MIDI Track to build a Drum Rack of flick-slices.

F. Use the warped flick as a sidechain/gating source
18. Put one of the warped variants on Track 3 and set it up as a loopable source. This will be your sidechain/gate trigger.
19. On the original breakbeat track insert a Gate effect. Enable Sidechain in the Gate and select Track 3 as the input.
20. Tweak Gate Threshold, Return, Attack and Hold so the gate opens exactly when the warped flick hits. This lets the flick chop or jab the original break rhythmically.
21. Add a Utility or an Audio Effect Rack after the Gate to control level and stereo width if needed.

G. Convert warped audio into automation with Max for Live (optional advanced)
22. To make the flick drive a parameter, put Max for Live’s Envelope Follower on the warped-flick track. Map the follower to the target parameter — for example, Auto Filter cutoff on another track.
23. Adjust Gain, Attack and Release on the follower so the control signal tracks the flick reliably.
24. Arm Automation Recording in Live. Record in Arrangement while the follower maps to the device; Live will write the follower-driven movements as parameter automation.
25. Stop and tidy the recorded automation lane — consolidate or smooth if necessary.

H. Build a performance rack
23. Consolidate your best warped variants into separate clips on Track 3 or load them into a Drum Rack or Simpler for one-shot triggering.
24. Create an Audio Effect Rack with macros for Utility gain, a filter, Gate threshold or other parameters so you can control the flick live from a few knobs.

Common mistakes to avoid
- Don’t draw the flick with a coarse grid — use 1/64 or 1/128 for micro-flicks, then disable grid for tiny nudges.
- Remember to enable Automation Arm before recording; otherwise no automation will be written.
- Verify Resampling input and that the resampling track is record-armed — otherwise you’ll capture silence or the wrong signal.
- Pick the right warp mode: Complex Pro can soften transients; use Beats for percussive urgency.
- Turn off original automation when using the resampled audio, or you’ll double-up or cancel the effect.
- Make sure Gate sidechain routing is correct and that Monitor/Arm settings are appropriate — wrong routing equals no gating.
- Use small fades at warped boundaries to avoid clicks from aggressive marker edits.

Pro tips
- Use Fixed Grid 1/64 for drawing, then temporarily disable grid for micro-adjustments between divisions.
- Show Fade Handles and add tiny fades at warp jumps to eliminate clicks.
- For tight percussive flicks, use Beats mode with Preserve around 50–80%. For tonal sweeps, choose Complex Pro.
- Put a transient shaper or short compressor before resampling to boost the flick’s presence for cleaner warp markers and stronger follower signals.
- Consolidate favorite variants into a Sampler or Simpler set to One-Shot, and map macro knobs for pitch, level and decay for hands-on performance.
- Keep a dry copy of the original breakbeat track so you can A/B processed and unprocessed versions.
- Mono the flick clip with Utility if the Gate sidechain behaves oddly because of stereo phase.

Mini practice exercise — 20 to 30 minutes
1. Draw a single 1/64 filter cutoff flick on a 2-bar looped breakbeat.
2. Resample it to a new audio track.
3. Make three variants:
- Variant A: compress the flick to half its time and use it as a tight stutter gate source.
- Variant B: stretch the flick to three times the length and reverse it for a pre-drop sweep.
- Variant C: slice the flick into four sub-slices and reorder them into a triplet pattern.
4. Assign Variant A to Gate sidechain to chop the original break, put Variant B into Simpler for reverse fills, and load Variant C into a Drum Rack pad for live triggering.

Recap
You created a micro-automation flick, resampled it to audio, warped and sliced that audio into useful DJ tools, and then routed those warped variants as sidechain sources or converted them back into parameter automation using Max for Live. The result is a compact, performance-ready toolkit for quick micro-edits and transitions in Drum & Bass sets.

Closing notes
Think of the automation flick as a micro-gesture — a tiny sound-design device you can reuse like a snare fill or hi-hat roll. Focus on clarity in the mix, and tailor the flick’s frequency range to the musical role you want it to play. When you get a flick that works, export it as a one-shot WAV and add it to your sample library. Save a template with pre-routed tracks and your Flicks folder so you can experiment fast next time.

That’s the workflow. Now open Live, draw a tight flick, resample it, and start warping — small gestures make big transitions.

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Drum & Bass Ableton Live 12 Tutorials