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Pitch a breakbeat using Session View to Arrangement View in Ableton Live 12 (Intermediate)

An AI-generated intermediate Ableton lesson focused on Pitch a breakbeat using Session View to Arrangement View in Ableton Live 12 in the Breakbeats area of drum and bass production.

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Lesson Overview

In this lesson, you’ll learn how to take a breakbeat idea you’ve built in Session View and turn it into a proper Arrangement View section that feels like a real Drum & Bass tune in Ableton Live 12. The focus is not just “moving clips over” — it’s about using Session View for fast experimentation, then shaping the break into a controlled, musical, DJ-friendly arrangement with movement, tension, and impact.

This technique matters because so much DnB is built from break fragments: a chopped Amen, a swingy 2-step break, a ghost-note-heavy funk break, or a hybrid of all three. Session View is ideal for testing edits, variations, and resampling ideas without overcommitting. Arrangement View is where you make decisions: where the break drops, where it filters, where it gets pitched, where it clears space for the bass, and where it evolves across 16, 32, or 64 bars.

For intermediate producers, this workflow is a huge time saver. You can sketch multiple break patterns in Session View, record the best performance into Arrangement View, and then automate pitch, filters, and drum processing to create a proper DnB structure. That means less loop syndrome, better phrasing, and a cleaner path to finishing tracks.

Why this works in DnB: breakbeats are often the identity of the tune, but they also need to stay flexible. The moment you commit a break to the arrangement, you can make it breathe around the bassline, create tension before drops, and keep the drums feeling human instead of static. That’s especially important in rollers, jungle, neuro-influenced DnB, and darker half-time crossovers. ⚡

What You Will Build

You’ll build a short DnB arrangement section where:

A breakbeat starts as a Session View clip loop
The break is pitched up or down in musical steps across sections
You record the performance into Arrangement View
The pitched break evolves through filter, EQ, and warp adjustments
A bassline has space to breathe underneath
The section feels like a proper intro-to-drop or drop-to-break transition

Musically, the result could be something like:

8 bars of filtered break intro
8 bars of rising tension with pitched-up percussion
16 bars of main drop with a heavier, lower-pitched break and bass call-and-response
A short switch-up or fill using a higher-pitched break fragment before the next phrase

You’ll be using Ableton Live stock tools like Simpler, Warp, Auto Filter, EQ Eight, Saturator, Drum Buss, and clip automation in both Session View and Arrangement View.

Step-by-Step Walkthrough

1. Set up your break as a Session View performance clip

Start with a clean Session View scene and load your break into an Audio Track. Use a good drum break with clear transient content — Amen-style, Think-style, or a funk break that has character.

In the clip view:

Turn Warp on
Set Warp Mode to Beats for rhythmic breaks
If the break is stable and you want pitch changes to sound more natural, you can also test Complex Pro, but for most DnB drum edits, Beats or Tones-style processing often keeps the transients sharper
Set the clip start so the first kick or snare is aligned tightly to the grid

For intermediate workflow, don’t fully commit to one version yet. Duplicate the clip into 2–4 variations:

Original pitch
+3 semitones
-3 semitones
+7 semitones or -5 semitones for more dramatic tension

This is your “performance palette.” You’re not arranging yet — you’re building options.

2. Create a musical pitch relationship for the break

In DnB, pitch isn’t just for basslines. A pitched break can help create build tension, change energy between sections, and make a repeat feel intentional instead of static.

Use clip transposition in Session View:

Try +2 to +4 semitones for tension and lift
Try -2 to -5 semitones for darker weight
For more radical switch-ups, use octave moves sparingly: +12 or -12 semitones can be effective for fills or breakdowns, but they can also destroy punch if overused

If you want the pitch to feel more controlled, put the break into Simpler instead of a raw audio clip:

Load the break into Simpler
Set Warp to On in Simpler if needed
Use the Transpose control to shift pitch in semitones
Keep the Filter slightly open for now, around 10–15 kHz on the low-pass if you want room to automate later

Why this works in DnB: pitch movement on a break creates perceived arrangement change without needing a whole new drum part. That keeps energy evolving while still sounding like one cohesive loop.

3. Build a Session View scene structure with contrasting break states

Now make at least three Session View scenes that represent different sections of the track:

Scene 1: Intro break, filtered and lighter
Scene 2: Main break, full-weight
Scene 3: Switch-up / fill, pitched variation

For each scene, create clip differences:

Intro scene: high-pass filter around 150–250 Hz, lower clip gain by -3 to -6 dB
Main scene: full range, add subtle saturation
Switch-up scene: pitch up 2–4 semitones and shorten the clip region for a fill feel

Stock devices to use on the break track:

Auto Filter: set a gentle low-pass or high-pass, with envelope disabled unless you want rhythmic motion
EQ Eight: cut unnecessary sub rumble below 30–40 Hz
Drum Buss: drive lightly for weight, usually 5–15% Drive
Saturator: Soft Clip on, Drive around 2–6 dB for extra density

Keep your break loop at 1, 2, or 4 bars depending on the style. Jungle often tolerates more chaotic loop lengths; rollers often benefit from cleaner 2- or 4-bar phrasing.

4. Record a live Session View performance into Arrangement View

Now move into performance mode. Launch your scenes and record the changes into Arrangement View.

Do this:

Arm global record
Play your Session View clips and scene changes in real time
Mute and unmute variations to create movement
Trigger the pitched clip variations exactly where you want section changes

This is the crucial step. You are not drawing the arrangement from scratch — you are performing it.

A strong DnB arrangement example:

Bars 1–8: filtered intro break at -3 dB, no sub
Bars 9–16: more open break, pitch moves up +2 semitones for lift
Bars 17–24: full main break returns, bassline enters
Bars 25–32: pitched fill or snare variation before the next drop

Once recorded, go into Arrangement View and trim the transitions. Tighten the clip boundaries so they land exactly on 1-bar or 2-bar phrase points. DnB needs precision here — if the break swap is late, the groove feels sloppy.

5. Refine the break pitch changes in Arrangement View automation

After recording, use Arrangement View automation to make pitch changes feel deliberate instead of random.

Depending on how your break is hosted:

If it’s an Audio Clip, automate Transpose in the clip or use pitch-related controls from the clip properties
If using Simpler, automate Simpler’s Transpose parameter
If using a sampler-like workflow inside Drum Rack, automate each pad’s pitch or note placement if you’ve sliced the break

Suggested approach:

Keep the main break at 0 semitones
Automate a short pitch rise to +2 or +3 semitones over 4 bars leading into a drop
Drop back to 0 or -2 semitones at impact for contrast
Use a tiny pitch dip in fills for extra weight, especially around snare pickups

Useful automation pairing:

Auto Filter cutoff opening from 200 Hz to full open over 8 bars
Reverb on a send subtly increasing in the last 1–2 bars of a transition
Utility gain pulling back by 1–2 dB before the drop so the impact feels larger

This gives the arrangement a sense of escalation without needing extra drum layers every time.

6. Balance the break with the bassline like a proper DnB section

Now bring in your bass. This is where break pitch decisions either help the tune or fight it.

In a dark DnB or roller context, your bassline might be:

A reese
A sub-led stab pattern
A neuro-style modulated bass
A minimal low-end pulse with space between hits

Make sure the break doesn’t overcrowd the bass:

Use EQ Eight to carve space around 80–150 Hz if the kick and snare need room
Check the low end in mono with Utility on the bass and drum bus
Keep sub bass centered and clean
If the pitched break is brighter, it can sit above the bassline without masking it

A practical pairing:

Break at 0 semitones in the main drop
Bassline phrase hits in the gaps between snares
Pitched-up break fill at the end of bar 8 or 16
Bass drops out for 1 beat or 1 bar before the next section for impact

This call-and-response approach is classic DnB. It helps the break feel like part of the groove, not just a loop underneath the bass.

7. Add bus processing to glue the break edits together

Once your arrangement is in place, route your break tracks to a drum bus or group and shape them together.

On the drum bus, try:

Glue Compressor with 1–2 dB of gain reduction
Attack around 10–30 ms
Release on Auto or around 0.1–0.3 s depending on groove
Drum Buss with Crunch or Boom used lightly, not excessively
EQ Eight to remove harshness around 3–6 kHz if the pitched break gets brittle

If the pitched break is sounding thin, try:

Saturator before EQ to thicken harmonics
Drum Buss Drive at a lower setting but with a touch of Crunch
A very gentle transient-preserving compression instead of heavy limiting

Keep headroom in mind. DnB arrangements often need punch before loudness. If your break is peaking too hot after pitch shifts, pull clip gain down rather than over-compressing.

8. Use arrangement phrasing to make the pitch changes feel like a story

A pitched break works best when it serves phrasing. Think in 8-bar and 16-bar sections.

A good DnB arrangement structure might be:

8 bars intro with filtered/pitched-down break
8 bars build with automation increasing energy
16 bars drop with full break and bass
4-bar switch-up with pitch rise and fills
8 bars second drop with slight variation

This keeps the tune DJ-friendly and prevents the arrangement from sounding like one endless loop. For darker bass music, the pitch change can signal menace, ascent, collapse, or release. A small pitch lift before the drop can make the impact feel more dramatic. A low pitched-down break during a breakdown can make the track feel heavier and more underground.

Use markers in Arrangement View to label sections. That keeps decision-making fast and helps you see where the pitched break should change character.

Common Mistakes

Over-pitching the break too far

Fix: stay within ±2 to ±5 semitones for most musical sections. Use larger shifts only for fills or special moments.

Letting warped transients smear

Fix: switch Warp Mode to Beats for drum loops, and adjust transient preservation settings carefully. If it sounds mushy, reduce the amount of stretching or try a cleaner slice-based approach.

Making the pitched break fight the bass

Fix: carve low-mid space with EQ Eight, keep sub below the break’s body, and check the mix in mono.

Forgetting phrase alignment when moving from Session to Arrangement

Fix: launch and record on 1-bar or 2-bar boundaries. Trim clip edges afterward so the arrangement lands on the grid.

Using too much processing on the break bus

Fix: add saturation and compression in small steps. In DnB, punch and clarity usually beat heavy glue.

Leaving Session View decisions unedited in Arrangement View

Fix: record the performance first, then refine the automation and clip boundaries. The arrangement needs editing, not just capture.

Pro Tips for Darker / Heavier DnB

Pitch the break down a semitone or two in the intro, then return it to normal on the drop. That can create a subtle “pressure release” effect.

Use a parallel return with Saturator and Auto Filter for the break. Blend it in lightly for grime without killing the dry transient.
Add a small delay send or reverb send to the last snare of an 8-bar phrase, then cut it hard at the drop for contrast.
If the break feels too clean, resample it and process the audio with heavier saturation before bringing it back into Arrangement View.
For neuro-influenced or darker rollers, automate a narrow band boost around 1.5–3 kHz on the break for a short passage, then remove it. That can create aggression and urgency.
If you want more movement, slice the break into a Drum Rack and pitch selected hits or ghost notes independently for fills.
Keep the sub bass and kick clean and centered. Let the pitched break live mostly in the midrange and upper mids so the low end stays powerful.

Mini Practice Exercise

Spend 10–20 minutes making a 16-bar DnB section using this workflow:

1. Load one breakbeat into Session View and create three versions: original, -3 semitones, +2 semitones.

2. Make three scenes: intro, drop, and fill.

3. Add Auto Filter and EQ Eight to the break track.

4. Record a live Session View performance into Arrangement View over 16 bars.

5. Automate the filter to open over the first 8 bars.

6. Pitch the break up slightly in bars 9–12, then return it to original pitch at bar 13.

7. Add a bassline that leaves space for the snare and kick.

8. Group the drums and add a light Glue Compressor or Drum Buss on the group.

Goal: make the break feel like it changes energy without sounding like a different loop every 4 bars.

Recap

Use Session View to audition pitched break variations fast

Record the best performance into Arrangement View for real phrase structure
Keep pitch moves small and purposeful for most DnB sections
Use Auto Filter, EQ Eight, Saturator, Drum Buss, and light compression to shape the break
Make the arrangement breathe with 8-bar and 16-bar phrasing
Always check how the pitched break interacts with the bassline and sub in mono

If you can make one breakbeat evolve convincingly from Session View to Arrangement View, you’re already building more professional, more dancefloor-ready DnB arrangements.

Extra coach notes

1. Extra coach notes

Think in “performance first, edit second.” In Session View, don’t chase perfection — chase contrast. You want enough variation that the Arrangement View capture gives you something worth shaping.
Pitch changes work best when they’re motivated. Use them to signal a phrase change, a fill, a fake drop, or a lift into the next 8 bars. Random pitch movement can make the groove feel seasick.
Keep the break’s identity recognizable. If the pitch shift changes the character so much that it stops sounding like the same break, the listener may lose the thread. Small moves usually sound more musical.
Short sections = clearer impact. If a pitch move is meant to hit hard, make it brief. One-bar or two-bar pitch edits often feel more intentional than long, drifting transpositions.
Use clip gain before heavy processing. If a transposed break gets too bright or too boomy, lower the clip volume first. Then fine-tune with EQ and compression.
Watch the snare. In DnB, the snare often defines the groove more than the kick. When pitching a break, make sure the snare still lands with authority after warp or transposition.

2. Advanced variation ideas

Automate pitch only on ghost notes or fills. Leave the main backbeat stable, then pitch the little in-between hits for subtle motion.
Split the break across tracks. Put kick-heavy material on one track and snare/ghosts on another, then pitch or process them differently for more control.
Use return-track resampling. Send the break to a return with distortion, filter, or delay, then record that return as a new layer for a one-off variation.
Create “call and response” break versions. One clip can be darker and lower; the next can be brighter and slightly higher. Alternate them between phrase endings.
Try micro-pitching with cents, not semitones. If Ableton or your instrument allows it, tiny detunes can add unease without sounding obviously transposed.
Make a fake breakdown from the break itself. Strip the lows, pitch the break up, and thin it out for 4–8 bars before slamming back into the full version.
Use reverse moments sparingly. A reversed snare tail or reversed break slice can make a transition feel more custom without needing extra drums.
Layer a pitched texture under the break. A vinyl crackle, jungle atmos, or noise layer pitched to match the break can make the whole section feel more cohesive.

3. Sound design extras

Transient control with Drum Buss: If pitch shifts soften the attack, add a touch of transient emphasis through Drum Buss rather than overcompressing.
Parallel saturation for density: Duplicate the break or use a return track with Saturator and EQ. Blend in just enough harmonic weight to thicken transposed clips.
Filter movement with a purpose: Try a slow low-pass opening during a pitch rise, then cut the filter fast right before the drop. That contrast makes the pitch move feel bigger.
Resample for character: Once you find a good pitched break phrase, resample it to audio and mangle that audio instead of constantly re-processing the original clip.
Use Auto Filter resonance carefully: A touch of resonance can make the pitch sweep feel animated, but too much can create harsh ringing on snares.
Midrange cleanup: After pitching, sweep out boxy frequencies around 250–500 Hz if the break starts sounding cloudy.
Stereo discipline: Keep the main break mostly centered. If you add width, do it through a parallel effect or a high-frequency layer, not the core hit pattern.
Delays on tail events only: Use send automation so only a final hit or fill gets echoed, rather than washing the whole break.

4. Arrangement upgrade ideas

Use 4-bar “energy steps.” Instead of changing the break every 8 bars, try subtle changes every 4 bars: open filter, pitch lift, fill, reset.
Create a transition bar before each major section. Let the last bar of a phrase contain the most aggressive pitch motion or the most obvious break edit.
Build a second-drop version. Keep the same break, but pitch it slightly differently and remove one layer of processing so the second drop feels fresh.
Drop the drums out for one beat. A tiny gap right before the break returns can make the re-entry feel much harder.
Use automation to “zoom in” on the groove. Increase upper-mid presence and reduce low-end clutter during build sections, then restore the full range on impact.
Add a turnaround fill on bar 8 or 16. A pitched snare roll, chopped kick restart, or break stutter can act like a reset button.
Contrast density across phrases. One section can be busy and pitched up; the next can be simpler and lower-pitched. That contrast helps the track breathe.
Mark your phrase anchors. Put arrangement markers at key points like intro, build, drop, switch, and outro. It speeds up editing and helps you judge whether pitch moves are landing on time.

5. Homework challenge

Build a 32-bar DnB section using one break only, but make it feel like it evolves.

Requirements

Use one main break loop
Create at least 3 pitch states:

- neutral

- slightly up

- slightly down

Record a Session View performance into Arrangement View
Include at least 2 automation moves besides pitch
Make sure the section has:

- an intro

- a tension build

- a main drop

- a short switch-up or fill

Extra constraints

Do not add a second drum loop
Use only stock Ableton devices
Keep the bassline simple so the break remains the focus
Export a rough bounce and listen once in mono

What to listen for

Does the pitch change feel like a phrase change?
Does the break still punch after warp/transposition?
Can you hear the difference between build energy and drop energy?
Does the arrangement feel like a tune, not just a loop with edits?

Bonus version

If that feels easy, repeat the exercise but make the second half of the 32 bars use a different pitch strategy than the first half. For example:

First 16 bars: upward lift
Second 16 bars: darker downward motion

That will train you to use pitch as an arrangement tool, not just a sound effect.

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Narration script

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Welcome back. In this lesson, we’re taking a breakbeat idea from Session View and turning it into a proper Arrangement View section in Ableton Live 12, with real drum and bass phrasing, real tension, and a pitch movement that actually feels musical.

And this is a big one, because in DnB, the break is often the personality of the track. It’s not just a loop sitting there doing a job. It’s the energy, the groove, the movement, the thing the listener remembers. So instead of just dragging a clip into Arrangement View and calling it done, we’re going to perform the break first, then shape it into a section that breathes around the bassline.

The mindset here is performance first, edit second.

So let’s start in Session View.

Load a solid breakbeat onto an audio track. Something with character works best here. An Amen, a Think break, a funky break, anything with strong transients and a bit of attitude. Once it’s in the clip, turn Warp on and set the Warp Mode to Beats for rhythmic drum material. That usually keeps the transients sharp, which is exactly what you want in drum and bass.

Now zoom in and make sure the first kick or snare is aligned properly to the grid. This matters more than people think. If the break doesn’t hit cleanly from the start, everything that follows feels a little loose, and in DnB, tightness is part of the bounce.

At this stage, don’t overcommit. Make a few versions of the break in Session View. Keep one original, then try a version pitched up a little, one pitched down a little, and maybe one more extreme variation for fills or switch-ups. The key is not to make the break sound like a completely different loop. We’re after small, purposeful changes that create movement without losing the identity of the break.

A good starting range is around plus two to plus four semitones for lift, or minus two to minus five semitones for darker weight. If you go too far, the groove can start to feel seasick, and the snare especially can lose its authority. In drum and bass, the snare is doing a lot of the heavy lifting, so always listen to how the pitch shift affects that backbeat.

If you want a more controlled pitch workflow, you can also load the break into Simpler. That gives you a cleaner transpose control, and it can be easier to automate later. But for this lesson, the important thing is that you have a few clear break states ready to perform with.

Now build your Session View scene structure.

Think in sections. One scene can be your intro break, filtered and lighter. Another can be your main break, full weight and more open. And a third can be your switch-up or fill scene, maybe pitched up a little to create a moment of lift.

For the intro, try a high-pass or low-pass filter so the break feels narrower and more atmospheric. You can use Auto Filter for that. Pull out some low end, maybe lower the clip gain a few dB, and let the break tease the groove instead of hitting at full force. That’s a classic DnB move, especially for intros and build sections.

For the main section, bring the full-range break back in. Let it breathe a little more. You can add a touch of saturation or Drum Buss to give it more density and punch, but keep it subtle. We want weight, not mush.

For the switch-up scene, try a pitch shift and maybe shorten the clip region slightly so it feels more like a fill or a turnaround. This is where you can get a little more playful. The goal is to make the listener feel a phrase change, not just hear another repeat.

Now let’s record that performance into Arrangement View.

Arm global record, then launch your scenes in real time. Trigger the intro, the build, the drop, and any fill moments with intention. Don’t worry about being perfect. You’re capturing musical decisions, not trying to make a flawless grid drawing. If you launch a clip a touch early or late, you can tighten it later.

As you record, think like a DJ and an arranger at the same time. Let the break evolve over 8-bar and 16-bar sections. Maybe the first 8 bars are filtered and restrained. Then the next 8 bars open up and maybe pitch slightly upward. After that, bring in the full break with the bassline. Then use a pitched fill or a break variation to lead into the next phrase.

Once it’s recorded, switch to Arrangement View and clean it up.

This is where the performance becomes a real section. Trim the clip edges so the changes land right on the bar lines. In drum and bass, phrase alignment is everything. If a transition lands late, the groove can feel sloppy, even if the sound design is good. So tighten those boundaries and make sure each change lands on a clean 1-bar or 2-bar point.

Now refine the pitch movement so it feels deliberate.

If you’re working with audio clips, you can automate transposition or use clip-based pitch control. If you’re using Simpler, automate its Transpose parameter. The idea is to use pitch as an arrangement tool, not as a random effect. Let the pitch rise when the energy needs to build. Let it drop when you want the section to feel heavier. Use pitch changes to support a phrase, a fake drop, a fill, or a transition into the next 8 bars.

A really effective move is to keep the main break neutral, then automate a gradual pitch rise over four bars leading into a drop. Then, at the drop point, bring it back to the original pitch or even slightly lower for contrast. That contrast makes the impact feel bigger.

You can pair that with a filter sweep too. For example, open Auto Filter gradually over the build, maybe from a narrow band or a low cutoff up to full open. Then pull the filter back hard right before the drop. That creates a sense of release, which is exactly what you want in drum and bass.

At the same time, pay attention to level. If your pitched break gets too bright, too boomy, or too aggressive, lower the clip gain first. That’s often smarter than immediately reaching for heavy EQ or compression. Clip gain is your cleanest first move.

Now let’s talk about the bassline, because this is where the arrangement either locks in or starts fighting itself.

A drum and bass section has to make room for the low end. If your break is pitched upward, it can sit more comfortably above the bass. If it’s pitched downward, it can get heavier and occupy more of the low-mid space, so you’ll need to be more careful. Use EQ Eight to carve out mud where needed, and keep the sub centered and stable.

A good classic relationship is this: the break carries the groove, the bassline fills the spaces around it. That means the bass doesn’t need to constantly play under every snare. In fact, some of the best DnB moments happen when the bassline leaves a little air around the break so the drums can punch through.

This is especially important if your break has a strong snare. In many DnB tracks, the snare is the anchor. So when you pitch the break, always check whether the snare still lands with authority. If it starts sounding soft or blurred, you may need to reduce the stretch, switch warp settings, or reshape the processing.

Once the arrangement is set, group your drums and add some bus processing to glue the edits together.

A little Glue Compressor can help, just a couple dB of gain reduction. A touch of Drum Buss can add weight and transient control. Saturator can bring density, especially if the pitched break starts feeling a little thin. But keep it light. In drum and bass, punch and clarity usually beat heavy-handed processing. The groove needs to stay alive.

If the pitched break gets brittle, you can gently smooth the harshness with EQ around the upper mids, or use saturation before EQ to thicken the harmonics. And if it’s still too clean, resample it and print the result to audio. Sometimes once you’ve found a good break phrase, printing it gives you more freedom to mangle it creatively without constantly reprocessing the original clip.

Now think about the overall story of the section.

A good DnB arrangement has phrasing. It doesn’t just loop. It evolves in clear steps. Maybe the first 8 bars are a filtered intro. The next 8 bars build tension with a little pitch rise. Then 16 bars of main drop hit with full drums and bass. Then a short switch-up comes in with a pitched fill or a snare turnaround. That’s the sort of structure that feels DJ-friendly and dancefloor-ready.

You can also use small 4-bar energy steps if you want the section to feel more detailed. Open the filter a bit. Then add a pitch lift. Then throw in a fill. Then reset. Those tiny changes keep the listener engaged without making the arrangement feel cluttered.

Here’s the real takeaway: pitch changes work best when they’re motivated. Use them to mark a phrase, signal a fill, fake out the listener, or build tension into the next drop. Don’t pitch just because you can. Make the move mean something.

If you want to push this further, try pitching only the ghost notes or fill moments and leaving the main backbeat stable. That can create subtle motion without messing with the groove. Or split the break across different tracks so the kick-heavy parts and snare-heavy parts can be processed differently. That gives you a lot more control over the final feel.

For darker or heavier drum and bass, a small downward pitch move in the intro can create this really nice pressure effect, like the track is loading up before it breaks open. Then when the drop comes back at normal pitch, it feels like a release. That contrast can be seriously effective.

So here’s your practical goal for this lesson.

Take one breakbeat, create three pitch states, build three scenes in Session View, record a live performance into Arrangement View, and then automate the pitch and filter so the section grows over time. Keep the bassline simple, keep the drums tight, and make sure the arrangement feels like a tune, not just a loop with edits.

If you can make one breakbeat evolve convincingly from Session View to Arrangement View, you’re already using Ableton like a real DnB producer.

Alright, time to open the project, launch that break, and make it move.

mickeybeam

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Drum & Bass Ableton Live 12 Tutorials