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Layer a mid bass for heavyweight sub impact in Ableton Live 12 for jungle oldskool DnB vibes (Intermediate)

An AI-generated intermediate Ableton lesson focused on Layer a mid bass for heavyweight sub impact in Ableton Live 12 for jungle oldskool DnB vibes in the Sampling area of drum and bass production.

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Main tutorial

Layer a Mid Bass for Heavyweight Sub Impact in Ableton Live 12

Jungle / oldskool DnB sampling tutorial for intermediate producers 🔥

1. Lesson overview

In jungle and oldskool DnB, the sub is doing the heavy lifting — but the mid bass layer is what gives the low end presence, movement, and audibility on smaller systems. If your bass feels huge in the room but disappears on headphones, phones, or compact speakers, the problem is usually that your sub has no strong midrange companion.

In this lesson, you’ll learn how to build a mid bass layer from sampled material in Ableton Live 12, then blend it with a clean sub so the whole bassline hits hard, sounds gritty, and still stays controlled.

We’ll focus on a practical jungle / oldskool DnB workflow:

  • sample-based bass design
  • layering with a dedicated sub
  • EQ and saturation shaping
  • stereo control
  • envelope and arrangement ideas for a rolling bassline

    • You’ll use stock Ableton devices only, so this works in any Live 12 setup.

    ---

    2. What you will build

    By the end, you’ll have:

  • a mono sub layer holding the low end
  • a mid bass layer built from a sampled bass stab or re-sampled note
  • a tight, punchy device chain to give body and aggression
  • a simple 2-bar DnB bass phrase that works under breakbeats
  • a starting point for dark, heavyweight jungle basslines 🎛️

    • Target sound

    Think:

  • deep sub pressure
  • raspy midrange growl
  • short, bouncy note lengths
  • space for Amen / Think break drums
  • oldskool urgency, not modern EDM wobble

    • ---

    3. Step-by-step walkthrough

    Step 1: Choose or create a bass sample source

    For a jungle/oldskool sound, don’t start with a supersaw preset. Start with a sample that already has character.

    Good source options:

  • a single note sampled from an analog-style bass
  • a re-sampled Reese-ish bass
  • a short bass stab from a loop or record
  • a dirty 808-style bass hit with mid content
  • a filtered synth bass sample bounced from another project

    • #### Practical source selection rules

    Pick a sample that has:

  • strong energy around 80 Hz–300 Hz
  • some harmonics in the 500 Hz–2 kHz area
  • a clear transient or attack
  • not too much stereo width in the low end

    • If your sample is too clean, that’s okay — we’ll dirty it up.

    ---

    Step 2: Load the sample into Simpler

    1. Create a new MIDI track.

    2. Drop your bass sample into Simpler.

    3. Set Simpler to:

    - Mode: Classic

    - Warp: Off if it’s a one-shot sample

    - Trigger: Gate for note control

    If the sample is long and tonal, you can use Classic mode with a short loop or Slice mode if you want more movement, but for this lesson we’re building a focused mid bass layer, so keep it controlled.

    #### Set the MIDI note range

  • Play around D1–F1 for the sub
  • For the mid bass layer, the note can sit there too, but the harmonic content will be more obvious if the sample is tuned correctly

    • Tune the sample:

  • Use Simpler’s Transpose control
  • Match it to your track’s key
  • If needed, use Detune slightly for thickness, but don’t overdo it

    • ---

    Step 3: Clean the sample before processing

    Before adding grit, remove unnecessary junk.

    Use an EQ Eight after Simpler:

  • High-pass very gently if needed: 20–30 Hz
  • Cut muddy area if the sample is boxy: 200–400 Hz
  • If there’s harshness, a small dip around 2–5 kHz

    • #### Suggested starting EQ moves

  • HPF at 25 Hz, 24 dB/oct if the sample contains low rumble
  • -2 to -4 dB around 250 Hz if it clouds the mix
  • Small dynamic-ish manual cut around 3 kHz if the sample has an annoying bite

    • Don’t make it thin — you’re only clearing space for the sub and drums.

    ---

    Step 4: Shape the amplitude envelope for jungle-style bass hits

    Oldskool DnB bass often works best when it’s short, punchy, and rhythmically alive.

    In Simpler:

  • Attack: 0–5 ms
  • Decay: short to medium
  • Sustain: low to medium
  • Release: 20–80 ms

    • A good starting point:

  • Attack: 0 ms
  • Decay: 180 ms
  • Sustain: -6 dB equivalent feel
  • Release: 35 ms

    • If your sample is a stab:

  • keep it short and percussive

    • If your sample is a note:

  • let it breathe a little more, but keep the tail tight

    • This helps the bass leave space for breakbeat ghost notes and snares.

    ---

    Step 5: Add controlled saturation for harmonics

    This is the key step for mid bass impact. You want the bass to speak on smaller speakers without ruining the sub.

    Add Saturator after EQ Eight.

    #### Suggested Saturator settings

  • Drive: 3–8 dB
  • Soft Clip: On
  • Output: compensate so level stays controlled
  • Curve: default or slightly harder if you want more bite

    • If the bass is too clean, increase drive a little.

    If it starts fuzzing into mush, back off and use less drive.

    You can also try:

  • Pedal for grungier distortion
  • Overdrive for a more aggressive edge
  • Amp very subtly if you want character, but be careful — it can get messy fast in the low end

    • #### Best practice

    Use saturation to create:

  • harmonics around 150 Hz–800 Hz
  • enough midrange presence to cut through breaks
  • a slightly compressed “in-your-face” feel

    • ---

    Step 6: Split the mid bass from the sub

    Now we need a proper sub layer. The trick is to keep the sub clean and mono, while the mid bass carries the character.

    #### Create a second MIDI track for the sub

  • Duplicate the bass MIDI pattern
  • Load a clean sine wave or sub patch in Operator or Wavetable
  • Or use Simpler with a sine-like sample if you prefer sample-based workflow

    • #### Sub track settings

    In Operator:

  • Oscillator: Sine
  • Filter: off or minimal
  • Attack: 0 ms
  • Decay: short
  • Sustain: full
  • Release: 30–60 ms
  • Keep it mono

    • Then process the sub:

  • EQ Eight: low-pass or keep only the fundamental range
  • Utility: width = 0%
  • Optional Saturator very lightly if needed

    • #### Frequency split idea

  • Sub layer: below 80–100 Hz
  • Mid bass layer: above 80–100 Hz

    • Use EQ Eight on the mid bass:

  • High-pass at 80–100 Hz
  • 24 dB/oct slope if you want a firm split

    • This is the backbone of the whole technique:

    sub for weight, mid bass for audibility and aggression.

    ---

    Step 7: Make the mid bass move with filtering

    Oldskool jungle basslines often have a strong sense of movement from filter automation or note variation.

    Add Auto Filter after Saturator on the mid bass.

    #### Starting Auto Filter settings

  • Type: Low-pass 24
  • Frequency: start around 200–600 Hz
  • Resonance: 10–25%
  • Envelope: low to medium
  • Drive: add if you want extra edge

    • Now automate the cutoff:

  • open slightly on accented notes
  • close for darker notes
  • use small movement, not extreme sweeps

    • This creates that classic tension where the bass feels like it’s breathing with the drums.

    ---

    Step 8: Add transient control if the bass is too spiky

    If the sample has a harsh click or too much attack, use Compressor or Glue Compressor lightly.

    #### Compressor idea

  • Ratio: 2:1 to 4:1
  • Attack: 10–30 ms to let some punch through
  • Release: 50–120 ms
  • Gain reduction: 2–4 dB

    • If the bass is too flat, ease off compression and let saturation do more work.

    You can also use Drum Buss very carefully:

  • Drive low
  • Crunch moderate
  • Boom usually off or very subtle
  • This can add weight and attitude, but it’s easy to overcook

    • ---

    Step 9: Glue the layers together with grouping

    Select your sub and mid bass tracks and group them.

    Inside the group:

    1. First EQ Eight for broad cleanup

    2. Then Saturator or Glue Compressor

    3. Then Utility for mono check and gain trim

    #### Group processing starting point

  • Glue Compressor

    • - Attack: 10 ms

    - Release: Auto

    - Ratio: 2:1

    - GR: 1–2 dB max

  • Utility

    • - Width: keep bass mostly mono

    - Use Bass Mono if needed in Live 12-style workflow, or keep the low track itself mono via device chain

    This helps the bass act like one instrument instead of two separate layers fighting each other.

    ---

    Step 10: Program a 2-bar jungle-style phrase

    Now build the actual bassline. For oldskool DnB, the bass should:

  • answer the drums
  • leave room for snares
  • feel syncopated
  • use repetition with variation

    • #### Example 2-bar pattern concept

  • Bar 1: short note on beat 1, another offbeat stab, longer note into beat 4
  • Bar 2: variation with one note shifted earlier or later
  • Leave gaps for the snare hits

    • Try a MIDI pattern like:

  • 1.1.1 short note
  • 1.2.3 short note
  • 1.4.1 medium note
  • 2.1.3 short note
  • 2.3.2 short note
  • 2.4.1 medium note

    • If you want that classic jungle lurch:

  • use slightly different velocities
  • vary note lengths
  • let some notes hit harder than others

    • #### Important

    Don’t make the bass line too busy.

    In DnB, space is part of the groove.

    ---

    Step 11: Sidechain the bass lightly to the kick if needed

    In oldskool jungle, the kick and bass often coexist in a looser way than modern sidechain-heavy genres. But a small amount of control can help.

    Use Compressor on the bass group:

  • Sidechain input from kick
  • Ratio: 2:1
  • Attack: 1–5 ms
  • Release: 40–80 ms
  • Only 1–3 dB of reduction

    • This is not for obvious pumping.

    It’s just to keep the kick from getting swallowed.

    If the kick is short and the bass is already arranged well, you may not need sidechain at all.

    ---

    Step 12: Reference and balance in context with the drums

    Now bring in your breakbeat or programmed DnB drums.

    Check:

  • Does the bass still speak when the Amen or chopped break is playing?
  • Is the sub overwhelming the kick?
  • Does the mid bass disappear when the drums enter?

    • #### Balance targets

  • Sub should feel powerful but not dominate the whole mix
  • Mid bass should be audible even at lower playback volume
  • Kick should have a clear transient, not fight the bass tail
  • Snare should stay loud and punchy

    • Use Utility or simple clip gain to balance before reaching for more processing.

    ---

    4. Common mistakes

    1. Making the sub and mid bass both full-range

    If both layers occupy the same space, the low end gets bloated and undefined.

    Fix: high-pass the mid bass around 80–100 Hz and keep the sub clean.

    ---

    2. Overdistorting the bass

    Too much saturation turns the bass into fuzz and kills the punch.

    Fix: add harmonics in moderation, then compare with the dry sound.

    ---

    3. Using wide stereo bass below 100 Hz

    This causes phase issues and weak low-end translation.

    Fix: keep sub mono with Utility, and avoid stereo widening on low frequencies.

    ---

    4. Long releases that blur the groove

    DnB bass should groove with the drums, not smear over them.

    Fix: shorten envelope release and note lengths.

    ---

    5. Ignoring note choice and rhythm

    A great sound won’t save a weak bass pattern.

    Fix: write a rhythmic bassline that interacts with the break and snare placements.

    ---

    5. Pro tips for darker/heavier DnB

    Tip 1: Resample your processed mid bass

    Once you have a good chain, bounce it to audio and re-process it.

    Why this works:

  • you can chop it more easily
  • you can reverse, pitch, and resample
  • you get a more cohesive, “committed” sound

    • Try:

  • resample to audio
  • warp off if possible
  • chop into new phrases
  • use fades to control clicks

    • ---

    Tip 2: Layer a very subtle noise or texture

    For darker jungle vibe, add a quiet layer with:

  • filtered noise
  • vinyl crackle
  • a detuned low-mid texture

    • Keep it low in the mix. It should feel more than it should be heard.

    ---

    Tip 3: Use filter automation as arrangement energy

    Instead of constantly adding new notes, open the low-pass filter slightly across 8 or 16 bars.

    This creates:

  • tension
  • movement
  • “rising pressure” without turning into a big EDM build

    • ---

    Tip 4: Use pitch movement sparingly

    A tiny pitch glide or pitch envelope can add menace.

    In Simpler or Operator:

  • use subtle pitch bend on select notes
  • don’t make it too obvious
  • short slides into downbeats can sound very oldskool

    • ---

    Tip 5: Test on lower volumes

    Heavy bass should still feel present when quiet.

    If the mid bass disappears at low volume, it likely needs:

  • more harmonics
  • less sub overlap
  • better EQ balance around 200–800 Hz

    • ---

    Tip 6: Keep the kick and bass arranged, not just processed

    A lot of heavyweight DnB is really about rhythmic slotting.

    If the kick hits on a bass note, shorten the bass.

    If the snare lands, leave a pocket before or after.

    Let the break breathe.

    ---

    6. Mini practice exercise

    Exercise: build a 2-layer jungle bass patch in 20 minutes

    #### Step A

    Pick a bass sample and load it into Simpler.

    #### Step B

    Create a mid bass chain:

  • EQ Eight
  • Saturator
  • Auto Filter
  • optional Compressor

    • #### Step C

    Duplicate the MIDI to a second track and make a clean sub in Operator.

    #### Step D

    Write a 2-bar bassline with:

  • 5–8 notes max
  • short note lengths
  • one variation in bar 2

    • #### Step E

    Loop it with a breakbeat and adjust:

  • sub level
  • mid bass high-pass
  • saturation amount
  • filter cutoff

    • #### Step F

    Bounce the bass group to audio and compare:

  • original vs resampled
  • dry vs processed
  • with drums vs without drums

    • Your goal is to make the bass feel heavier in context, not just louder in solo.

    ---

    7. Recap

    To layer a mid bass for heavyweight sub impact in Ableton Live 12:

  • Start with a sampled bass source that has character
  • Use Simpler for quick sampling workflow
  • Clean the sound with EQ Eight
  • Add Saturator or light distortion for harmonics
  • Split the sound into a clean mono sub and a mid bass layer
  • High-pass the mid bass around 80–100 Hz
  • Use Auto Filter and envelope shaping for movement
  • Keep the bassline short, rhythmic, and arranged around the breakbeat
  • Check your mix in context and keep the low end controlled

If you do this well, your bass will feel heavier, clearer, and more authentic to jungle / oldskool DnB — not just louder. That’s the difference between a generic low end and a proper roller 😈

If you want, I can also turn this into:

1. a track-by-track Ableton routing diagram, or

2. a specific jungle bass preset chain using only stock devices.

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Narration script

Show spoken script 
Welcome back. In this lesson, we’re building one of the most important pieces of a proper jungle or oldskool DnB low end: a mid bass layer that gives your sub real weight, presence, and translation on smaller speakers.

Here’s the key idea right away. The sub gives you mass. The mid bass gives you audibility. If your bass sounds massive in the studio but disappears on headphones, phones, or little speakers, it usually means the sub is doing all the work and the midrange has nothing to say. So today, we’re fixing that by creating a layered bass system in Ableton Live 12 using only stock devices.

We’re going to start from sampled material, shape it into a focused mid bass, pair it with a clean mono sub, and then build a short, rolling two-bar phrase that sits properly under breakbeats. This is very much about jungle attitude, not glossy modern wobble. Think focused, gritty, urgent, and controlled.

First, choose a sample source with character. Don’t begin with a clean supersaw preset. That’s not the vibe here. Pick something that already has some personality in it. A single bass note from an analog-style source works great. So does a Reese-ish resample, a short bass stab from a loop, a dirty 808-style hit, or a filtered synth bass you bounced from another project. What we want is energy in the low mids, some harmonic content in the upper mids, and a clear enough attack that the note can cut through a breakbeat.

A good source should have useful energy somewhere around 80 to 300 hertz, plus harmonics in the 500 hertz to 2 kilohertz range. That’s the area that helps the bass translate. Also, try to avoid samples that are really wide in the low end. We’ll keep things tight and mono where it matters.

Now drop that sample into Simpler on a new MIDI track. Set Simpler to Classic mode, turn Warp off if it’s a one-shot sample, and use Gate so the MIDI note controls the playback cleanly. If your sample is long and tonal, you can still keep it controlled with Classic mode and a short loop, but for this lesson, we want a focused mid bass layer, so keep it simple and intentional.

Tune the sample to the track. This matters more than people think. A sampled bass can drift off-center very easily, especially after processing. Use the Transpose control in Simpler and match it to the key of your tune. If it needs a tiny amount of detune for thickness, that’s fine, but don’t start randomly nudging pitch and hoping for the best. Verify it. Then verify it again after you process it.

For the note range, you can live around D1 to F1 for the sub area, but the mid bass layer will be defined more by its harmonics than by the note itself. So as long as it’s tuned correctly, it can sit in the same register and still give you that extra presence.

Before we add grit, clean the sample. Put EQ Eight after Simpler and clear out anything you don’t need. If there’s rumble below the useful range, gently high-pass around 20 to 30 hertz. If the sample is boxy or cloudy, try a small cut around 200 to 400 hertz. And if there’s a nasty edge, a little dip around 2 to 5 kilohertz can help. The goal is not to make it thin. The goal is to make room for the sub and the drums.

A really good starting point might be a 25 hertz high-pass with a steep slope, then a couple of dB cut around 250 hertz if needed. Keep listening in context. In this style, less is often more. You want focus, not hi-fi perfection.

Next comes the envelope shape, and this is where the bass starts to feel like jungle. In oldskool DnB, bass hits are often short, punchy, and rhythmic. So in Simpler, keep the attack very fast, usually zero to five milliseconds. Use a short to medium decay, a lower sustain, and a quick release. A solid starting point might be zero attack, around 180 milliseconds decay, sustain a bit down, and release around 35 milliseconds.

If the sample is a stab, keep it percussive. If it’s more like a sustained note, let it breathe a little, but keep the tail tight. The reason is simple: we need space for the snare, the kick, and all those chopped break details. If the bass smears over everything, the groove gets heavy but messy.

Now we add the real magic: saturation. Put Saturator after EQ Eight. This is where the mid bass starts to speak on smaller systems. We’re not trying to destroy the sound. We’re trying to add harmonics so the bass is audible even when the sub isn’t clearly reproduced.

Try Drive somewhere between 3 and 8 dB, turn Soft Clip on, and compensate the output so you’re not fooling yourself with louder volume. If the sound is too clean, add a little more drive. If it turns to mush, back off. You can also try Pedal or Overdrive if you want more grit, but be careful. In bass design, it’s very easy to overcook the chain and lose the punch completely.

What we want here is harmonic content in the midrange, roughly from 150 hertz up to around 800 hertz or so, depending on the source. That’s the range that helps the bass feel alive on smaller speakers and gives it that slightly rude, heavyweight jungle attitude.

Now split the low end properly. This is super important. Duplicate the MIDI pattern to a second track and create a clean sub layer. You can use Operator with a sine wave, or a very simple sub patch in Wavetable, or even a sine-like sample in Simpler if you want to stay sample-based. The important thing is that the sub stays clean, mono, and focused.

On the sub track, use a sine oscillator, keep the filter minimal or off, and shape the envelope so it starts immediately and releases quickly enough to stay tight. Then use Utility to make the width zero percent. That keeps the sub centered and stable. If you need a tiny bit of saturation, use it lightly. But don’t make the sub compete with the mid bass. Let it do one job: weight.

For the mid bass layer, high-pass it around 80 to 100 hertz using EQ Eight. That creates a clean split. The sub handles the deep foundation. The mid bass handles the attitude, the presence, and the translation. This layering mindset is everything. Think function, not just tone.

Now let’s add movement. Put Auto Filter after Saturator on the mid bass. Start with a low-pass 24 filter type, set the cutoff somewhere around 200 to 600 hertz, and add a moderate amount of resonance. Then automate the cutoff subtly. Open it a little on accented notes, close it a little on darker notes, and let the bass breathe with the phrase. You don’t need huge sweeps. In jungle, small motion goes a long way.

If the bass has a sharp click or too much attack, use a Compressor or Glue Compressor lightly. You just want to tame spikes, not flatten the groove. A ratio around 2 to 1 or 4 to 1, attack around 10 to 30 milliseconds, release around 50 to 120 milliseconds, and only a few dB of gain reduction is usually enough. If it feels too flat after that, ease off and let the saturation do more of the character work.

At this point, group the sub and mid bass together. This helps them behave like one instrument instead of two separate parts fighting each other. Inside the group, you can use broad EQ cleanup, a little Glue Compressor if needed, and Utility for mono checking and level trim. Keep the processing subtle. A max of 1 to 2 dB of gain reduction on Glue is plenty if you use it at all. Again, the style here is focused and controlled, not overprocessed.

Now we write the actual bassline. For jungle and oldskool DnB, the bass has to work with the drums, not against them. It should leave space for snare hits and ghost notes, answer the break, and feel syncopated without becoming too busy.

A good starting point is a two-bar phrase with maybe five to eight notes total. For example, one short note on beat one, another offbeat stab, a medium note into beat four, then a variation in bar two that shifts one note earlier or later. Leave pockets of silence. That space is part of the groove. You can vary note lengths and velocities to make it feel human and slightly unruly in a good way.

A pattern like this often works well: a short note at the start, another short note later in the bar, a longer note near the end of bar one, then a similar idea in bar two with one changed note or rhythm. The goal is not to show off with complexity. The goal is to make the bass interact with the break and keep the listener locked in.

If the kick is getting swallowed, you can use a light sidechain compressor on the bass group from the kick. Keep it subtle. We’re not after obvious pumping. Just a little bit of control so the kick can land cleanly. Often, if your arrangement is good, you may not need sidechain at all. Oldskool jungle often feels a bit looser than modern sidechained music, and that’s part of the charm.

Now check the whole thing in context with your drums. Bring in the breakbeat or your programmed DnB drums and listen carefully. Does the bass still speak when the drums are playing? Is the sub overpowering the kick? Does the mid bass vanish once the break comes in? If so, adjust the balance before reaching for more processing. Many heavy bass issues are really just gain staging issues.

And that leads to an important coach note: gain-stage early. Don’t start the chain too hot. If every device is being hit too hard, the sound can fall apart before you even finish the patch. Keep the output of each step sensible. That gives you more control, cleaner tone, and less accidental clipping.

Also, check the mid bass at whisper volume. This is a great test. If you can still hear the character quietly, the harmonics are doing their job. If it disappears, you probably need more controlled upper mids, not more sub. That’s a big mindset shift for this style. Heavy doesn’t always mean louder. Often it means more focused.

A few common mistakes to avoid. First, don’t let the sub and mid bass both occupy the full range. If they overlap too much, the low end gets bloated and undefined. Second, don’t overdistort the chain. Too much saturation turns the bass into fuzz and kills the punch. Third, don’t widen the bass below 100 hertz. Mono low end is your friend here. Fourth, don’t use long releases that blur the groove. And fifth, don’t forget that note choice and rhythm matter just as much as processing. A great sound won’t save a weak bassline.

If you want to push it further, resample the processed mid bass once it’s working. Bounce it to audio, re-import it, and chop it up. This is a classic jungle move. It lets you reverse notes, pitch down stabs, create fills, and commit to a more cohesive sound. You can also create a very quiet grit layer on purpose, distort it heavily, filter it, and blend it under the main layer for extra attitude. The listener may not notice the layer directly, but they’ll feel the density.

You can also make the bass more expressive with velocity-based articulation. Map velocity to filter cutoff, drive, or volume, and then program a few notes with stronger accents. That gives repeated patterns a more human feel and keeps the loop from sounding static. Another useful move is macro control. Group the bass and map a few key parameters like cutoff, distortion, decay, and group gain so you can shape the whole patch with just a few knobs.

For arrangement, think in stages. You don’t always need the full bass from the start. Try drums only, then sub alone, then sub plus a quiet texture, then the full mid bass, then a variation or turnaround. You can also drop the bass out for one bar before a switch-up. That absence makes the return feel much bigger. In this style, negative space is powerful.

Here’s a quick practice challenge. Build a two-layer jungle bass patch in about 20 minutes. Pick a bass sample, load it into Simpler, shape it with EQ Eight, Saturator, Auto Filter, and maybe a Compressor. Duplicate the MIDI to a second track and make a clean mono sub in Operator. Then write a two-bar bassline with no more than eight notes, short note lengths, and one variation in the second bar. Loop it with a breakbeat, adjust the split between sub and mid, and listen at low volume and in mono. If it still feels heavy and clear, you’re on the right track.

So to recap: start with a sampled bass source that has character, use Simpler to shape it, clean it with EQ, add saturation for harmonics, split the sound into a clean mono sub and a mid bass layer, high-pass the mid around 80 to 100 hertz, add subtle filter movement, keep the rhythm short and intentional, and always check the result in context with the drums.

If you do this well, your bass won’t just be louder. It’ll feel heavier, clearer, and more authentic to jungle and oldskool DnB. That’s the difference between a generic low end and a proper roller.

And if you want to take it further, the next smart move is to resample the bass and start chopping it like an instrument. That’s where the real oldskool energy starts to come alive.

mickeybeam

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