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Hot Pants Ableton Live 12 call-and-response riff course for sunrise set emotion for jungle oldskool DnB vibes (Intermediate)

An AI-generated intermediate Ableton lesson focused on Hot Pants Ableton Live 12 call-and-response riff course for sunrise set emotion for jungle oldskool DnB vibes in the Resampling area of drum and bass production.

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Lesson Overview

This lesson is about building a Hot Pants-style call-and-response riff in Ableton Live 12 for a sunrise set emotion with jungle / oldskool DnB energy. The goal is to create a bass-and-break groove that feels uplifting, nostalgic, and slightly rugged — the kind of riff that works after a tense midset section when you want to open the room back up without losing the drums’ bite.

In DnB, call-and-response is powerful because it gives the listener a predictable emotional arc while still keeping the music restless. One phrase asks a question; the next phrase answers it. That structure is perfect for sunrise moments: you can move between brighter, emotional motifs and darker, weightier responses, all while keeping the rhythm locked to the break.

The technique matters because in DnB, especially jungle and oldskool-influenced rollers, the groove is not just the drums. It’s the relationship between:

the break,
the sub,
the mid-bass character,
and the spaces between them.

We’ll build this using Ableton stock devices, resampling, and tight arrangement thinking so you end up with a riff that feels like a finished section of a tune, not just a loop. 🌅

What You Will Build

You will make a 4-bar call-and-response bass riff designed for a sunrise DnB drop or second drop variation:

Call phrase: a short, melodic, slightly emotional bass motif with a warm oldskool flavor
Response phrase: a heavier, more rhythmic answer using re-sampled bass texture and darker movement
Drum foundation: a chopped jungle break with ghost notes, hat lift, and punchy transient control
Arrangement use: a riff that can sit in a 16-bar drop section, then evolve into a switch-up or half-time-feeling lift
Mix character: sub kept mono and clean, mids resampled for grit, top end controlled so it stays soulful rather than harsh

By the end, you’ll have a DJ-friendly, replayable DnB section that feels like it belongs in a proper club mix and still carries sunrise emotion.

Step-by-Step Walkthrough

1. Set the project up around the groove, not the melody

Start with tempo at 172–174 BPM. For this lesson, 174 BPM gives a nice oldskool/jungle urgency while still leaving room for emotional phrasing.

1. Create three groups:

- DRUMS

- BASS

- FX / ATMOS

2. Put a reference break on an audio track or an empty Simpler track. Any classic-style break will work as long as it has:

- a strong kick/snare feel,

- crispy hats,

- and enough transient detail to chop.

3. Build a simple 2-bar drum loop first:

- kick/snare foundation

- ghosted percussion

- a tiny hat lift at the end of bar 2

Use Drum Rack with:

EQ Eight on the drum bus to cut low mud below around 30–35 Hz
Drum Buss lightly, with Drive 5–12%, Boom 0–15%, and Crunch low
Utility on the drum group if needed for gain staging

Why start here? Because in DnB the bass riff has to answer the break, not compete with an empty grid. If the drums already swing, your bass phrasing will naturally lock into the pocket.

2. Chop the break into a musical skeleton

Drag your break into Simpler or slice it to Drum Rack using Slice to New MIDI Track.

For a Hot Pants-inspired oldskool feel:

keep the main snare backbeat strong
leave a few ghost hits before or after the snare
avoid over-editing the swing out of the break

Useful workflow:

1. Duplicate the break channel.

2. On one copy, keep the full break.

3. On the second copy, process it as a more compressed, aggressive layer.

On the chopped break layer, try:

Saturator: Drive 2–4 dB, Soft Clip on
Transient control with Drum Buss: a little Transient 10–25
Auto Filter with a subtle high-pass around 120–180 Hz if it fights the sub

The goal is not a perfect modern drum loop. The goal is that oldskool jungle push-pull where the break feels human but the bass line still has room to speak.

3. Design the “call” bass with a clean sub and an expressive mid layer

Create a MIDI track with Wavetable or Operator for the bass core. For this lesson, use Operator for the sub because it stays disciplined and simple.

Build a bass patch:

Operator

- Osc A: sine

- Level: full

- Filter: off or minimal

Add Saturator after Operator

- Drive: 2–6 dB

- Soft Clip: on

Add EQ Eight

- Low shelf if needed, but keep the sub focused

Add Utility

- Width: 0% for the sub layer

Now duplicate the track or layer a second instrument for the mid-bass voice:

Wavetable with a saw or square-based patch
Unison very light or off
Filter low-pass around 200–800 Hz depending on bite
Modulate the wavetable position or filter slightly with an LFO

For the call phrase, write a short motif across 1 bar or 2 bars:

use notes that imply movement and memory, not too many
think of root, 5th, minor 7th, and octave jumps
leave gaps between notes so the break remains audible

Suggested phrasing:

Bar 1: a syncopated rising phrase
Bar 2: a sustained or held answer note that opens the emotion

A good starting point is to use note lengths like:

1/8 notes for movement
1/4 note holds for emotional lift
a final offbeat stab to cue the response

4. Build the response as a darker, more percussive answer

This is where the call-and-response becomes DnB, not just a bass melody.

Create a second MIDI clip on the bass track or a duplicate instrument chain. The response should feel more percussive and grounded:

shorter notes
more rhythmic repetition
less pitch movement
stronger midrange growl or reese texture

Try this shaping:

Glide/Portamento: small amount, around 20–80 ms if your bass instrument allows it
Filter Envelope: short decay so each note speaks quickly
Auto Filter with a resonant low-pass for motion
Overdrive or Saturator for edge

Make the response contrast the call:

If the call is open and melodic, make the response tighter and more mechanical.
If the call is dark, let the response bloom slightly brighter for sunrise lift.

A practical arrangement example:

Call on bars 1 and 3
Response on bars 2 and 4
leave the final half of bar 4 slightly open for a fill or drum pickup

This is a classic DnB conversation: the bass says something, then the drums and the next bass phrase reply.

5. Resample the mid-bass so the riff feels like a finished record

This is the core resampling move. Don’t keep everything as pristine MIDI. In DnB, especially jungle-leaning material, the character often comes from recording your own processing pass.

Here’s the workflow:

1. Route your mid-bass track to an audio track.

2. Set the audio track input to the bass return or resample internally using Resampling.

3. Record a full pass of the 4-bar riff with automation moving in real time.

While recording, automate:

Filter cutoff on Wavetable
Drive on Saturator
Dry/Wet on Echo or Delay
Macro changes if you grouped the device chain

Then chop the recorded audio into pieces:

keep the strongest hits
remove weak tails
reverse one or two tiny fragments for a flourish
warp lightly if needed, but avoid flattening the groove

Use this resampled audio in one of two ways:

as a main mid-bass layer
or as a texture layer underneath the clean sub patch

Why this works in DnB: resampling commits movement into audio, which gives you more aggression, more bounce, and more personality than a fully static synth loop. It also makes it easier to automate arrangement energy without overloading the CPU.

6. Lock the sub and mid layers so the low end stays clean

The bass should feel huge, but the sub has to remain simple and mono.

Split the bass responsibilities:

Sub layer: below roughly 90–120 Hz
Mid-bass layer: the movement and character above that

On the sub layer:

Utility: Width at 0%
EQ Eight: low-pass if needed to stop unwanted harmonics
keep notes sustained or gently released
avoid heavy reverb, chorus, or stereo widening

On the mid-bass layer:

high-pass around 90–120 Hz with EQ Eight
add movement using Auto Pan very lightly if the sound allows it
use Echo sparingly for a tail that sits behind the beat, not on top of it

Check in mono:

bass should not disappear
kick and snare should stay clear
the riff should still “read” even when the stereo image collapses

Set the bass bus up with:

Glue Compressor for gentle cohesion

- Ratio: 2:1

- Attack: 10–30 ms

- Release: Auto or around 0.1–0.3 s

- only 1–2 dB gain reduction

EQ Eight to tame any harshness around 2.5–5 kHz if the resampled mid gets sharp

7. Shape the jungle groove with ghost notes and break accents

Now that the bass is speaking, make the drums reply properly.

Add details to the break:

a small ghost snare before the main snare
tiny closed hat taps after bass stabs
a kick pickup into the next bar
a brief break fill every 4 or 8 bars

A good oldskool DnB arrangement context:

Bars 1–4: establish call-and-response riff
Bars 5–8: add drum variation and a higher counter-phrase
Bars 9–12: strip one layer out for tension
Bars 13–16: bring back full riff with a fill or impact

Use Velocity in MIDI clips or sample velocity in Drum Rack to keep ghost notes quieter:

ghost notes around 20–50 velocity
main backbeats much stronger
hats varied slightly to avoid machine-gun sameness

If the drums feel too flat, use:

Beat Repeat on a send for a tiny broken fill
Gate on a drum texture layer for chopped movement
Transient shaping via Drum Buss instead of heavy compression

8. Automate atmosphere for sunrise lift without losing weight

Sunrise emotion in DnB comes from contrast: dark foundation, lightening atmosphere.

Add an Atmosphere group:

vinyl noise or field recording
filtered pads
soft tonal reverb tail
subtle reverse cymbals or sampled breathy textures

Process with:

Auto Filter sweeping from darker to brighter over 8 or 16 bars
Reverb with low cut engaged
Echo with short feedback and filtered repeats

A useful automation idea:

during the call phrase, keep the atmosphere narrow and darker
during the response phrase, open the filter a little and add a wider reverb tail
at the end of the 4-bar or 8-bar cycle, create a tiny riser into the next section

This keeps the emotional arc moving upward without turning the drop into a wash of pads. In sunrise DnB, you want the atmosphere to feel like the horizon is opening — not like the drums are disappearing.

9. Arrange the riff into a DJ-friendly section

Think in phrases that make sense in a mix:

16-bar intro for blending
16-bar drop
8-bar variation
4-bar switch-up
8-bar outro

For the Hot Pants call-and-response idea, a strong structure is:

bars 1–4: core call
bars 5–8: response with extra drum detail
bars 9–12: bass strip-down
bars 13–16: final lift and fill

Keep one section slightly more sparse so the next phrase feels bigger. If every bar is full, sunrise emotion disappears and the groove becomes fatiguing.

Good arrangement move:

automate a high-pass filter on the bass response in the last 1–2 bars before a new phrase
cut the sub for a moment and let only the upper bass flicker
then drop the full low end back in

That contrast is pure DnB impact.

Common Mistakes

1. Too much bass movement in the sub

- Fix: keep sub mono, simple, and mostly sine-based. Put the “talking” in the mid-bass.

2. Call-and-response phrases are too long

- Fix: shorten them. In DnB, a strong riff often works better as a 1-bar or 2-bar idea repeated with variation.

3. Break and bass fight in the same frequency range

- Fix: carve a small space in the bass midrange, and control the drum bus around the low mids with EQ Eight.

4. Resampled audio is too harsh

- Fix: tame with EQ Eight around 3–5 kHz, reduce drive, or low-pass slightly before resampling.

5. Everything is stereo

- Fix: keep the sub mono and keep the widest elements in the higher mids or FX, not the low end.

6. Arrangement stays loop-like

- Fix: add one small change every 4 or 8 bars: drum fill, bass mute, filter move, or a one-shot FX hit.

Pro Tips for Darker / Heavier DnB

Layer a subtle reese under the response phrase for extra menace, but high-pass it so the sub stays clear.

Use Saturator before and after resampling for a dirtier, more committed tone. Two light stages often sound better than one extreme stage.
Add micro-gaps in the bass line. The silence between notes is what makes the drums punch harder.
Try Clip Gain or volume automation on the resampled bass chops to create a more vocal, spoken quality.
Use Echo with very short feedback and filtered highs to create dubby movement without clouding the low end.
If the riff feels too polite, distort the mid-bass only and leave the sub clean. That keeps power and clarity together.
For a darker edge, automate the bass filter to open only on the “response” phrase, then clamp it shut again on the next call.
If you want more oldskool rave energy, slightly exaggerate the snare transient and let the break breathe instead of over-compressing it.
Use Utility gain staging before the master so your drop still has headroom. Aim to leave enough space for the kick/sub relationship to hit cleanly.

Mini Practice Exercise

Spend 10–20 minutes building one 4-bar loop using only this method:

1. Make a 174 BPM project.

2. Load one break and create a basic 2-bar drum loop.

3. Program a 1-bar call bass phrase using Operator or Wavetable.

4. Program a 1-bar response phrase with a different rhythm or filter setting.

5. Resample the response phrase to audio.

6. Chop the resampled audio into 4–6 useful hits.

7. Add one automation move:

- filter sweep,

- drive increase,

- or echo throw.

8. Loop the section and check it in mono.

9. Remove one element so the groove breathes better.

10. Export a rough bounce or freeze/flatten the bass layer if the sound feels right.

Goal: in one short session, make the riff feel like a real section of a tune, not just a MIDI idea.

Recap

Build the groove around the break first, then write the bass against it.

Use call-and-response phrasing to create emotion and momentum.
Keep the sub mono and clean, and let the mid-bass carry the character.
Resample the moving bass to turn synth motion into real DnB texture.
Arrange in 4-bar and 8-bar phrases so the section works in a club mix.
Use automation, filtering, and subtle distortion to keep the energy rising toward sunrise without losing the jungle weight.

Extra coach notes

Treat the riff like a conversation with the drums. If the break has a busy fill, let the bass answer with fewer notes. If the break is sparse, use the bass to create forward motion.
Write with phrase length in mind. For this style, short motifs usually land harder than long melodic runs. Try thinking in 1-bar statements that evolve every repetition.
Resampling is your “commitment” stage. Don’t just resample for grit — resample to make a decision. Once you print audio, you can edit the groove like a record rather than like a synth preset.
Keep the emotional lift controlled. Sunrise energy works best when the brightness is teased, not fully exposed too early. Open filters and widen textures gradually.
Use contrast as arrangement glue. A cleaner call makes the response feel heavier; a dirtier call makes the response feel more intentional and dramatic.
Watch your low-mid buildup. Jungle-style drums and oldskool bass often crowd the 150–400 Hz range. If the mix feels cloudy, reduce this area before adding more processing.
Leave room for the kick/snare story. In this genre, the drum phrasing is part of the hook. If the bass is too continuous, the groove loses the “bounce-back” feeling.

Advanced variation ideas

Flip the response by register. Keep the call in a lower octave, then answer it one octave higher with a thinner, sharper tone. This creates instant lift without changing notes.
Use rhythmic displacement. Move the response phrase slightly earlier or later in the bar so it feels like the bass is leaning against the break.
Build a 3-stage energy cycle.

1. first pass: simple call

2. second pass: more movement in the response

3. third pass: one-note breakdown or filtered version

This gives your loop a proper “tune” progression.

Try alternating articulation. One pass can be legato and smooth; the next can be staccato and clipped. That contrast works especially well after a resampled bounce.
Create a fake “lift” without changing chords. Keep the notes the same but automate filter cutoff, subtle pitch envelope depth, or saturation amount to imply movement.
Turn one resample into multiple roles. From a single printed bass pass, make:

- a tight stab layer,

- a reversed pickup,

- a tail texture,

- and a fill chop.

This gives you arrangement material from one source.

Use intentional imperfections. Slight timing offsets, uneven note lengths, or a chopped repeat can make the riff feel more like classic jungle than a grid-perfect loop.

Sound design extras

Build a “two-tone” bass chain.

- Layer 1: pure sub

- Layer 2: mid bass with edge

- Layer 3: resampled texture with distortion and filtering

Keep each layer responsible for one job only.

Try formant-like movement in the mid layer. A moving filter or wavetable position can add a vocal quality that suits the emotional sunrise vibe.
Use parallel dirt instead of crushing the main bass. Duplicate the mid-bass, distort one copy heavily, then blend it quietly under the clean version.
Print automation through FX. A delay or echo throw sounds more organic when recorded into audio rather than left as a live plugin.
Design a short “bass breath” sound. A tiny filtered noise burst or sub drop at phrase ends can make the response feel more alive.
Make the resample thicker, not just louder. If the bounce feels weak, try:

- a touch of saturation before printing,

- a second saturation stage after printing,

- and a narrow EQ cut where the harshest resonance sits.

If the bass gets too modern, rough it up. Slightly reduce top-end polish, add transient bite to the drums, and let some texture remain in the mids. That helps keep the oldskool jungle character.

Arrangement upgrade ideas

Use a “drop within the drop.” After 8 bars, mute the sub for half a bar or a full bar and let the response phrase carry the section. When the low end returns, it feels bigger.
Add a mini breakdown every 16 bars. Strip the riff to just one call fragment or one atmospheric tail. This keeps the listener emotionally engaged without leaving the dancefloor energy.
Plan a handoff into the next section. End the phrase with a drum fill, reversed bass chop, or filtered snare roll that points naturally into the following groove.
Make the 4-bar loop work as a modular block. If you can repeat it three times and it still feels alive, the arrangement is strong enough for a proper tune.
Use automation as arrangement, not decoration. A simple filter move or bass mute can do more than adding another synth layer.
Think in DJ transitions. Leave one element less busy on the first bar of a new section so a mixer can blend into it cleanly.
Create one “signature moment.” For example:

- a bass stop,

- a reverse hit,

- a one-bar filtered echo tail,

- or a snare roll into the response.

That’s the kind of detail listeners remember.

Homework challenge

Build a second version of the same riff using different emotional intent:

1. Keep the same tempo and drum groove.

2. Rewrite the call phrase so it feels more hopeful.

3. Rewrite the response phrase so it feels more rugged.

4. Resample only the response layer.

5. Chop the resample into at least 5 usable audio pieces.

6. Make one version of the loop cleaner and one dirtier.

7. Compare them in mono.

8. Choose the version that feels more like a real sunrise record and write 8 more bars around it.

Bonus rule: Do not add new notes until the groove works. First make the phrasing and resampling feel right, then expand the musical idea.

If you want, I can also make a follow-up companion section specifically for drum editing, resampling chains, or bass sound design macros in Ableton Live 12.

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Narration script

Show spoken script

Welcome back. In this lesson, we’re building a Hot Pants-style call-and-response riff in Ableton Live 12 for that sunrise set emotion, with jungle and oldskool DnB energy. So think uplifting, nostalgic, a little rugged, and still properly club-ready. This is the kind of section that comes in after a tense part of the tune and opens the room back up without losing the bite.

The big idea here is simple: the drums ask the question, the bass answers it, and then the whole groove keeps moving. In drum and bass, that conversation between break, sub, mid-bass, and space is everything. If that relationship is tight, the tune feels alive even with very few notes.

First, set your tempo around 174 BPM. That gives you the urgency and lift we want for jungle-flavoured DnB. Then organize your project into three groups: drums, bass, and FX or atmos. Don’t start by writing a flashy melody. Start with the groove.

Load in a break, either as an audio loop or sliced into a Drum Rack. Pick something with a strong kick and snare, crispy hats, and enough character to chop up. Build a basic 2-bar drum loop first. Keep the backbeat clear, add a few ghost notes, and let the break breathe. You can put EQ Eight on the drum bus to clean up mud under 30 to 35 Hz, then use Drum Buss lightly for some drive and transient punch. A little goes a long way here. We want energy, not smashed drums.

Now, chop the break into something musical. If you’re slicing to a Drum Rack, keep the main snare strong and don’t edit away all the swing. A lot of that oldskool jungle feel comes from the drums still sounding human. You can duplicate the break too. Keep one copy more natural, and make a second copy more compressed and aggressive. On that layer, a bit of Saturator and a touch of transient enhancement can help it cut through. If the low mids start to pile up, high-pass that layer a little so the sub has room.

Now let’s build the call phrase. For the clean low end, use Operator with a sine wave for the sub. Keep it simple. No big stereo width, no fancy chorus, no extra movement down low. Add a Saturator after it for a bit of harmonics, then keep the sub mono with Utility. That’s your foundation.

For the character layer, use Wavetable or another synth for the mid-bass. This is where the riff gets its personality. Use a saw or square-based tone, keep the filter reasonably low, and let a little modulation move the sound over time. For the call phrase, write something short and memorable. One bar is often enough. Two bars if you need more space. Think root, fifth, minor seventh, maybe an octave jump. Don’t overplay it. The bass should feel like it’s speaking, not rambling.

A good way to phrase it is to make bar 1 more active, then bar 2 more open. So maybe the first bar is a syncopated little statement, and the second bar lands on a held note or a longer tone that gives the sunrise emotion some room. Leave gaps. Those gaps let the break speak.

Then build the response phrase. This is where you contrast the call. If the call is open and melodic, make the response tighter and a bit darker. If the call is dark, make the response a touch brighter so it feels like the horizon is opening. Use shorter notes, more rhythmic repetition, and a little more midrange growl. A small amount of glide or portamento can help it feel fluid, but don’t make it sloppy. You want movement, not blur.

A really useful arrangement trick here is to treat the whole riff like a conversation with the drums. If the break is busy, answer with fewer notes. If the break is sparse, let the bass do more of the talking. That push and pull is part of what makes oldskool DnB feel so alive.

Now comes the fun part: resampling. This is where the bass stops being just MIDI and starts becoming a record-like texture. Route your mid-bass to an audio track and record a full pass of the riff. While it’s recording, move the filter cutoff, drive, and any delay or echo throws in real time. Don’t just resample for grit. Resample to commit to a decision. Once it’s audio, you can edit it like a real performance.

After you print it, chop the resampled audio into useful pieces. Keep the strongest hits, trim weak tails, and maybe reverse a tiny fragment or two for a little flourish. This is how you get that lived-in jungle feel. A resampled bass chop often has more personality than a perfectly static synth loop because the movement is already baked in. It also helps with CPU and gives you something more tangible to arrange with.

At this point, make sure your low end is clean. The sub should stay mono and simple, sitting below roughly 90 to 120 Hz. Put Utility on the sub at 0 percent width. If needed, low-pass or gently clean it with EQ Eight so it stays focused. The mid-bass can take the character work above that range. High-pass it a bit so it doesn’t fight the sub. If the resampled mids get sharp around 3 to 5 kHz, tame them slightly. The goal is power with clarity.

Now check the groove in mono. This is a crucial sanity check. If the bass vanishes in mono, something is wrong. The kick and snare should still hit, and the riff should still read clearly. In drum and bass, if the low end is messy, the whole tune loses impact fast. Keep it disciplined.

Next, add the little drum details that make the groove feel human and propulsive. Ghost snare before the main backbeat, tiny hat taps after bass stabs, maybe a kick pickup into the next bar. Small things. This is where the break and the bass start really talking to each other. Use velocity to keep ghost notes quiet and main hits strong. If you want a little extra excitement, you can use a tiny Beat Repeat fill or a snappy drum texture layer, but don’t clutter it.

For the sunrise emotion, bring in atmosphere carefully. Add vinyl noise, a filtered pad, a soft reverb tail, or a breathy reverse texture. Keep it restrained. You want the horizon to open, not the whole sky to wash out the drums. Automate the atmosphere so it slowly brightens over 8 or 16 bars. During the call phrase, keep it darker and narrower. During the response, let it widen a little. That contrast is what gives sunrise DnB its emotional lift.

Now think about arrangement. This should not feel like a loop that just repeats forever. Give it shape. A strong version could be 4 bars of core riff, 4 bars of added drum detail, then a 4-bar strip-down, then a 4-bar lift with a fill. Or think in 16-bar blocks: establish, vary, strip, return. Even small changes every 4 or 8 bars make the section feel like a proper tune rather than a pattern.

One very useful move is to automate a high-pass filter or even mute the sub briefly right before a new phrase. Let the upper bass flicker for a moment, then drop the full low end back in. That contrast creates a proper DnB impact moment. It’s a classic trick, and it works because the drop feels bigger after the absence.

A few things to watch out for. Don’t make the sub too busy. Don’t let both the break and the bass live in the same low-mid space without control. Don’t make every element stereo. And don’t let the arrangement stay static. If it feels loop-like, add one change every few bars: a drum fill, a bass mute, a filter move, a reverse hit, something that gives the ear a reason to stay locked in.

If you want to push it darker and heavier, layer a subtle reese under the response phrase, but high-pass it so the sub remains clean. Or duplicate the mid-bass and distort one copy more aggressively, then blend it quietly underneath. That kind of parallel dirt can give you a lot of attitude without destroying the low end. And if the riff starts sounding too polite, rough up the mids a little and let the drums breathe more. That’s often the difference between a nice loop and a real jungle section.

So here’s the core takeaway: build the groove around the break first, write a short call-and-response bass conversation against it, resample the moving parts so they feel like a record, and then arrange it in clear 4-bar and 8-bar phrases. Keep the sub mono and clean. Let the mid-bass carry the emotion and grit. Use automation to tease the sunrise lift without giving away all the brightness too early.

For practice, try making one 4-bar loop at 174 BPM. Load a break. Program a one-bar call. Program a one-bar response. Resample the response. Chop it into a few useful hits. Add one automation move, like filter or drive or an echo throw. Then loop it in mono and remove one element so it breathes better. If it still feels strong with less in it, you’re on the right track.

That’s the move. Keep it short, keep it musical, keep it tense and uplifting at the same time. That’s how you get that sunrise jungle DnB energy hitting properly.

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