Guest access Plan: Free 0 of 1 free lesson views left today

View lessons Sign in with Google

LESSON DETAIL

Route a Nu:Tone drum bus crunch in Ableton Live 12 for breakbeat science (Intermediate · DJ Tools · tutorial)

An AI-generated intermediate Ableton lesson focused on Route a Nu:Tone drum bus crunch in Ableton Live 12 for breakbeat science in the DJ Tools area of drum and bass production.

Back to lessons

Free plan: 0 of 1 lesson views left today. Premium unlocks unlimited access.

Route a Nu:Tone drum bus crunch in Ableton Live 12 for breakbeat science (Intermediate · DJ Tools · tutorial) cover image

Narrated lesson audio

The voice track includes the tutorial plus extra teacher commentary.

Pitch Alien Amount Wet Mix Volume

Open audio file

Main tutorial

1. Lesson Overview

This intermediate Ableton Live 12 tutorial shows you how to route a Nu:Tone drum bus crunch in Ableton Live 12 for breakbeat science. You will build a flexible drum-bus effect chain (Audio Effect Rack + Return routing) that adds the warm saturation, midrange bite and gated, crunchy character typical of Nu:Tone-style Drum & Bass breaks while remaining DJ-friendly as a send/return tool. The lesson focuses on routing, device order, useful stock-device settings, and macros so you can apply the crunch as an insert or a return for live DJ sets and stems.

2. What You Will Build

A Drum Bus group with tidy gain staging used for breakbeat stems

A dedicated Return Track (“A — Nu:Tone Crunch”) with a multitouchable Audio Effect Rack that:

- Adds analog-style saturation and distortion (Saturator / Overdrive / Drum Buss)

- Applies transient shaping and glue compression (Transient shaping via Drum Buss + Compressor/Glue Compressor)

- Adds high-frequency sizzle (Erosion + EQ Eight shelf)

- Includes multiband control for preserving low-end (Multiband Dynamics)

- Exposes macros for Crunch Amount, Low-End Preserve, High-Sizzle, and Wet/Dry for quick DJ control

Two quick routing options:

- Send from Drum Group to Return A (parallel crunch)

- Insert the Rack directly on the Drum Bus (serial crunch) and resample for DJ stems

3. Step-by-Step Walkthrough

Prereqs: A Live Set with a breakbeat (Drum Rack, audio loop, or chopped sample). Familiarity with Live tracks, sends, and grouping.

A. Prepare the Drum Group

1. Put all drum channels (kick, snare, hi-hats, chopped break layers) into one Group Track called “Drum Bus”.

2. Insert Utility as the first effect in the group. Use it for gain staging: set Gain so the group peaks around -6 to -3 dB. This avoids harsh clipping when adding crunch.

B. Create the Return Track Crunch Rack

1. Create a Return Track (Cmd/Ctrl+Alt+T or right-click Return Tracks area) and rename it “A — Nu:Tone Crunch”.

2. On this Return Track, create an Audio Effect Rack (Devices > Audio Effects > Audio Effect Rack). Open the Chain List.

C. Build the main chains inside the Rack

Chain 1: Crunch Core (main sound)

Drop an EQ Eight first: use a low-cut at ~30 Hz (Gentle slope) to prevent sub modulation in the return. Make a gentle mid dip at 200–300 Hz if the break is boxy.
Add Drum Buss: set Distortion ~3–6 (start 4), Boom ~1.5–3 (start 2), Transient ~1.0 to add snap. Use the “Crunch” feel but keep Drive conservative.
Add Saturator: Curve = Soft Sine or Analog Clip. Drive around 3–6 dB. Set Output so the chain does not clip.
Add Glue Compressor after Saturator (or Ableton Compressor in Glue mode): Threshold ~ -8 to -12 dB, Ratio 2:1–4:1, Attack 1–10 ms (short to preserve transients), Release 100–300 ms.
Add EQ Eight at the end to shape: gentle high shelf +1.5–3 dB at 8–12 kHz for presence.

Chain 2: High-End Sizzle (parallel)

Add Erosion: Type = Noise, Rate = 25–50%, Amount = low (8–18%) — subtle high-frequency grit.
Add Overdrive (Drive 2–5) and then EQ Eight high-pass at 2000 Hz to keep it as air only.
Use this chain to taste to add shimmer without altering low-end weight.

Chain 3: Bit-Crunch (optional flavor)

Add Redux (bit-depth reduction) with downsample low and bit depth slightly reduced. Place after an EQ to tame nasty artifacts. Keep Amount subtle (<15–25%) for character only.

Chain 4: Low-End Preserve (sidechained band)

Add Multiband Dynamics: Split bands so Low band is ~below 150–250 Hz. Set low band to very little processing or even expansion to keep kick and sub stable.
On the Multiband Dynamics, enable the Low band and set gentle compression so the kick still punches. This chain can be mapped to a macro called “Low Preserve” to crossfade between heavy crunch and intact low-end.

D. Map Macros and Create Perform Controls

1. Map the following controls to macros:

- Crunch Amount -> Drum Buss Distortion + Saturator Drive (map both with different ranges so one raises more than the other).

- Wet/Dry -> Rack Macro mapped to chain volume levels: wet = all crunch chains; dry = bypass main chain or lower dry chain.

- High-Sizzle -> Erosion Amount and Overdrive Drive on the High-End chain.

- Low-End Preserve -> Macro that crossfades (use Chain Volumes or the Chain Selector) between full-crunch chains and the Low-End Preserve chain.

2. Color code the macros and name them clearly: Crunch, Low Preserve, Sizzle, Wet/Dry.

E. Routing the Drum Bus to the Return

1. On the Drum Group track, enable Send A and set to start at around -6 to -3 dB and adjust by ear.

2. Make Send A Pre or Post? For DJ Tools you typically want the send to be Post-fader so that fader movements affect wet/dry balance. If you want the send level constant regardless of channel fader (useful in live DJ stems), set the send to Pre (right-click the send knob to toggle Pre/Post).

3. Use the Rack’s Wet/Dry macro to control how much of the returned signal is blended back.

F. Tighten transients and glue the bus

1. Add a Compressor (or Glue) on the Drum Group after sends if you want to compress the combined dry+return (insert): quick attack 1–4 ms, release 50–200 ms, ratio 2:1–4:1. Use sidechain from Kick if you need to duck other elements when the kick hits: enable Compressor sidechain > choose Drum Group Kick track, set threshold and ratio so the transient of kick sits forward.

G. Live/DJ-Friendly Options

1. Map Rack macros to a MIDI controller for on-the-fly control (Macro 1 = Crunch Amount, Macro 2 = Wet/Dry, Macro 3 = Low Preserve).

2. For stems: route Drum Group output to a new Audio Track’s input set to receive from Drum Group and arm record; record a resampled loop with the wet effect printed (Insert route method), then export as a DJ loop.

H. Final polish

1. Use Utility on the Return to fine trim gain and width (narrow the stereo image slightly if the crunch becomes too wide).

2. Final EQ to taste. Use Multiband Dynamics to compress only mids if the crunch gets muddy.

4. Common Mistakes

Overdriving everything: Too much saturation/distortion will destroy transients and smear breakup. Use moderate Drive and compensate with Glue/Compressor.

Crushing the low end: Applying bit reduction or aggressive saturation across the whole band kills sub-phase and punch. Use Multiband Dynamics or a Low Preserve chain to protect <100–150 Hz.
Wrong send pre/post mode: For live DJ use, undesired fader changes can alter send amount. Decide early whether you want sends Pre (constant) or Post (fader dependent) and be consistent.
Not gain staging: Adding saturation without reducing input causes clipping. Keep peaks around -6dB on the bus pre-crunch.
Over-compressing after saturation: Compressing too hard post-saturation collapses life from breaks. Use gentle glue settings or parallel compression.

5. Pro Tips

Parallel routing is the secret: leave the dry break intact, send a controlled amount to the Crunch return. You retain transient attack while adding character.
Macro stacking: map multiple device parameters to one macro but set different ranges (e.g., small change to Multiband crossover, larger change to Saturator Drive) to get musical response.
Use Drum Buss’s Transient control before saturation to push attack a touch so the break still snaps through distortion.
For more Nu:Tone-esque clarity, automate Low-End Preserve during fills and drops—reduce preserve during rolls for aggressive crunch, bring it back for full-band playback.
Resample different macro positions into separate DJ loops (e.g., Crunch 0%, 50%, 100%) to have multiple texture options on a USB stick.
If you want a vintage tube flavor, push Saturator with “Clip” mode for subtle squash; for gnarlier character, add Overdrive after Saturator.
When bit-crushing with Redux, use an LFO on the downsample rate for momentary glitches, but keep amount low for musicality.

6. Mini Practice Exercise

Time: ~20–30 minutes

1. Load a 2-bar chopped Amen or Funk break into a Drum Group or audio track (start level to -6 dB).

2. Create the Return Track “A — Nu:Tone Crunch” and build a simplified Rack:

- EQ Eight (HP @ 30 Hz)

- Drum Buss (Distortion 4, Boom 2)

- Saturator (Drive 4, Soft Sine)

- Glue Compressor (Threshold -10, Ratio 3:1)

- Erosion chain for high-sizzle (mapped to a macro)

3. Send the Drum Group to Return A at -4 dB (post-fader).

4. Map Macro 1 = Crunch Amount (Drum Buss Dist + Saturator Drive), Macro 2 = Wet/Dry (Chain volumes).

5. Play the break and move Macro 1 from 0 to 100; record a 16-bar loop at three positions (0, 50, 100) by resampling the Master or routing the Drum Group to an armed audio track.

6. Compare the three loops and tweak the Low-End Preserve macro so kicks stay powerful when Crunch=100.

7. Recap

This lesson taught you how to route a Nu:Tone drum bus crunch in Ableton Live 12 for breakbeat science by building a parallel-return Audio Effect Rack with stock devices (Drum Buss, Saturator, Erosion, Redux, Multiband Dynamics, Glue Compressor, EQ Eight). You learned routing options (send vs insert), macro mapping for live control, and how to preserve low-end while adding midrange bite and high-end sizzle. Use parallel routing, moderate saturation, and multiband protection to keep your breaks punchy and DJ-friendly. Experiment with macro automation and resampling to create ready-to-play DJ loops that carry Nu:Tone-style crunch across an entire set.

Extra coach notes

Extra Coach Notes

Purpose & mindset

Think of the Return as a performance-friendly “texture” engine, not just a static bus effect. Keep the dry break intact and treat the return as a layer you can blend, automate, and resample into multiple DJ-ready variations.
Always design the Rack around flexibility first (macros, clear names, sensible default ranges), and color/label your parameters so you don’t have to hunt mid-set.

Routing and send-mode nuance

Pre vs Post sends: Pre keep the send level constant regardless of the track (great when you’ll be volume-fading channels during a DJ set). Post ties the send to fader moves, which is useful when you want fader moves to reduce crunch naturally. Decide per-use and be consistent across stems.
Per-element sends: Send only the snare or loop that needs crunch for more control. For chopped breaks, try sending only the mid/high slices to the crunch return and leave the kick/sub mostly dry.
Multiple Returns: Create A — Nu:Tone Crunch (mild), B — Nu:Tone Crunch (heavy), C — Nu:Tone Crunch (lo-fi/bitcrush). Map them to different macro banks on your controller so you can switch textures instantly.

Macro mapping & performance tips

Map multiple parameters to one macro, but set different ranges. Example: Drum Buss Distortion mapped 0→8 and Saturator Drive mapped 0→4 gives a balanced curve: early twang then saturation.
Invert mappings for utility macros (e.g., Low-End Preserve mapped so macro = 0 means full preserve, =127 means minimal preserve) so your hands-on logic matches performance needs.
Use the Rack’s Chain Selector to create “morph” zones (e.g., 0–33 = dry, 34–66 = mid crunch, 67–127 = full crunch) for smooth crossfades between chain combinations without hard jumps.
Map Wet/Dry macro to both chain volumes and a Utility gain on the return if you want a single knob that controls perceived loudness as well as wet level.

Gain staging & clipping safety

Keep the Drum Bus peak around -6 dB pre-send. If the return cumulatively pushes levels, add a Utility or soft clipper at the end of the return rack for a consistent output level and to prevent host clipping while performing.
When you print stems, normalize conservatively (no > -0.3 dB headroom) and consider a limiter on the master while recording to avoid inter-sample overs.

Low end, phase & coherence

Mono the sub: use Utility to mono below ~120 Hz on the final printed loop. This avoids phase cancellation on club rigs and ensures kick/sub solidity when played through different PA systems or CDJs.
Multiband crossover settings: set the low band upper crossover carefully (e.g., 120–180 Hz) so the low band doesn’t contain mid-range energy that you want to crunch. Too low a crossover lets mud sneak into the preserve band.
Check phase: boost-heavy saturation can change waveform shape and introduce phase issues with parallel dry signal. If kicks feel thin after adding the return, try inverting phase on the return or small timing nudge (track delay) to compensate.

Stereo imaging & width control

Keep low frequencies centered (Utility width 0–20%) and allow high-sizzle chain to be wider. Map a macro to Utility Width so you can instantly tighten the bottom for club playback.
Use EQ Eight in Mid/Side mode on the final Rack EQ to accentuate side-highs (sizzle) while keeping the mid focused and punchy.

CPU and performance optimization

Erosion, Redux and multiple chains can chew CPU. Freeze and Flatten the return track once you’ve committed to a texture, or resample to a single audio return for live sets.
Use lower sample-rate settings for resampling stems if your set targets CDJs or controllers; 44.1 kHz / 24-bit is usually enough and saves file size.
Disable unused chains (right-click -> Disable) while tweaking, then re-enable when mapping.

Resampling / printing workflow for DJ stems

To print multiple versions quickly: create a Master resampling track, set it to receive from Master, and record-enable. Play while automating macros, then cut the recording into labelled 8/16/32-bar loops.
When resampling from the Drum Group as an insert: ensure you have a limiter on Master to catch transient peaks, and name exported files with bpm, key (if known), and macro position tags (e.g., Break_Amen_174_Crunch50_120bpm.wav).
If you resample the return only, send the dry to a muted return and record the return output alone to get a pure texture loop you can layer live.

Creative variations & advanced ideas

Short reverb on the high-sizzle chain: add a tiny plate reverb with short decay and pre-delay to glue the air to the snare hits without washing the loop.
Use short gated reverb or a transient-triggered gate to create rhythmic reverb chops that accent snares for fills.
LFO-automated bitcrush: map Redux downsample to an LFO (max 1–2 Hz, small depth) for rhythmic micro-grit—subtle movement keeps textures musical.
Envelope follower sidechain: use Utility + Envelope Follower on the high-sizzle chain to duck sizzle briefly on kick hits, ensuring the kick cuts through.

Troubleshooting checklist

If the crunch sounds phasey or the kick loses punch: check for phase inversion on the return, mono the sub, or reduce send level and increase dry to compensate.
If the mix gets muddy: lower mid-range boost on Saturator, add a gentle dip at 250–400 Hz on either the return EQ or the Drum Bus EQ.
If you hear harshness after saturation: engage Saturator oversampling (if available) or reduce drive; consider placing a gentle high-frequency shelf cut at 8–12 kHz to tame digital harshness.
If CPU spikes mid-set: disable Redux/Erosion chains, freeze the return, or resample your preferred crunch into one audio clip.

Practical performance habits

Pre-bake three staple textures (clean, medium, extreme) and load them on separate return tracks. Map the three sends to one macro knob via dummy clips or map on/off macro to buttons for instant toggles.
Keep a “safety” macro that quickly pulls the Wet/Dry back to 0 and reduces chain gain—useful for emergency fix during a set.
Label macros with short, unambiguous names (Crunch / Sizzle / LowPres / Wet) and store the Rack in your User Library with a short note about recommended send level and suggested BPM range.

Saving and scaling your Rack

Save the Rack as a preset and include a short note in the Rack name: “NuToneCrunch_AvgSend-6dB_LowPres120Hz” so you remember intended staging.
When using across different tempos: the relative feel remains, but transients and perceived distortion change with tempo—re-check Drum Buss Transient and Glue times at very different BPMs (e.g., 160 vs 174).

Final quick practice variations

Create three quick returns: mild (Dist 2–3), medium (Dist 4–6), extreme (Dist 8+ with Redux). Map each to a macro button to audition instantly.
Make a 1-minute performance loop where you automate Low Preserve and Crunch macros—start full preserve/low crunch, automate to minimal preserve/high crunch over 8 bars for a buildup, then slam preserve back for the drop. Resample into three loops for set use.

Use these notes to refine your Rack into a reliable, expressive tool—one that preserves dancefloor energy while giving you true Nu:Tone-style bite and sizzle when you want it.

Ask GPT about this lesson

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

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

Narration script

Show spoken script

[Intro]
Welcome. In this lesson you’ll learn how to route a Nu:Tone-style drum-bus crunch in Ableton Live 12 — a flexible, DJ‑friendly effect chain you can use as a return or insert to add warm saturation, midrange bite and gated crunchy character to breakbeats.

[Lesson overview]
This is an intermediate tutorial focused on routing, device order, useful stock-device settings, and macro control. The goal is a multitouchable Audio Effect Rack on a dedicated return track called “A — Nu:Tone Crunch,” plus tidy gain staging on a Drum Bus so you can use the effect in live DJ sets or resample stems.

[What you will build]
By the end you’ll have:
- A Drum Bus group with proper gain staging.
- A Return Track “A — Nu:Tone Crunch” containing an Audio Effect Rack with multiple chains:
  - Crunch Core using Drum Buss, Saturator and Glue compression.
  - High‑End Sizzle using Erosion and EQ.
  - Optional Bit‑Crunch flavor with Redux.
  - A Low‑End Preserve chain using Multiband Dynamics.
- Macros for Crunch Amount, Low‑End Preserve, High‑Sizzle and Wet/Dry.
- Two routing options: send from the Drum Group to Return A for parallel crunch, or insert the rack directly on the Drum Bus and resample for stems.

[Prerequisites]
Have a Live set loaded with a breakbeat — a Drum Rack, audio loop, or chopped sample. Be comfortable with tracks, sends and grouping.

[Step‑by‑step walkthrough — Prepare the Drum Group]
1. Group all drum channels — kick, snare, hats, chopped slices — into a Group Track called “Drum Bus.”
2. Insert Utility as the first effect in the group. Use its Gain to stage the group so peaks sit around -6 to -3 dB. This keeps things from clipping when you add crunch.

[Create the Return Track Crunch Rack]
1. Create a Return Track and rename it “A — Nu:Tone Crunch.”
2. Drop an Audio Effect Rack on the return and open the Chain List.

[Build the main chains inside the Rack — Crunch Core]
Chain 1, Crunch Core:
- Start with EQ Eight: low‑cut at about 30 Hz to protect the sub, and consider a gentle mid dip at 200–300 Hz if the loop sounds boxy.
- Add Drum Buss: try Distortion around 3–6 (start at 4), Boom 1.5–3 (start at 2), and Transient around 1.0 to keep some snap.
- Add Saturator: use Soft Sine or Analog Clip curve, Drive 3–6 dB. Set Output so the chain doesn’t clip.
- Add Glue Compressor after Saturator: Threshold around -8 to -12 dB, Ratio 2:1–4:1, Attack 1–10 ms, Release 100–300 ms.
- End with EQ Eight for tone shaping: a gentle high shelf of +1.5–3 dB at 8–12 kHz for presence.

[High‑End Sizzle chain]
Chain 2, High‑End Sizzle:
- Add Erosion set to Noise, rate 25–50%, amount low — 8–18% for subtle grit.
- Add Overdrive with Drive 2–5.
- High‑pass at around 2 kHz so this chain sits in the air and doesn’t touch the low end.

[Bit‑Crunch optional chain]
Chain 3, Bit‑Crunch:
- Use Redux with mild downsample and slightly reduced bit depth. Place an EQ before Redux to tame harsh artifacts. Keep amount subtle — under 15–25% for flavor.

[Low‑End Preserve chain]
Chain 4, Low‑End Preserve:
- Add Multiband Dynamics and split the low band roughly below 150–250 Hz.
- Set the low band to minimal processing or gentle compression so kick and sub remain stable.
- This chain will act as a protected low band you can crossfade to when you need punch preserved.

[Map macros and performance controls]
1. Map key controls to macros:
   - Crunch Amount: map Drum Buss Distortion and Saturator Drive, with different ranges so the response feels musical.
   - Wet/Dry: map chain volumes so the Wet position raises the crunch chains and the Dry position reduces them.
   - High‑Sizzle: map Erosion Amount and Overdrive Drive on the sizzle chain.
   - Low‑End Preserve: map chain volumes or use the Chain Selector to crossfade between crunch and preserved low band.
2. Name and color the macros clearly: Crunch, Low Preserve, Sizzle, Wet/Dry.

[Routing the Drum Bus to the Return]
1. On the Drum Bus, enable Send A and start around -6 to -3 dB, then adjust by ear.
2. Decide Pre or Post: Post-fader makes the send follow fader moves; Pre keeps send level constant for live stems. Right-click the send knob to toggle Pre/Post.
3. Fine tune the Rack’s Wet/Dry macro to blend the returned signal with the dry drums.

[Tighten transients and glue the bus]
Optionally add a Compressor or Glue on the Drum Group after sends to control the combined dry+return. Use quick attack 1–4 ms, release 50–200 ms, ratio 2:1–4:1. If needed, sidechain the compressor to your kick to keep the kick forward.

[Live/DJ‑friendly options]
- Map macros to a MIDI controller for hands‑on control (Crunch, Wet/Dry, Low Preserve).
- To create stems: route the Drum Group to a new Audio Track set to receive from Drum Group, arm and record—this prints the crunch when using the insert approach.

[Final polish]
- Use Utility on the return to trim gain and narrow width if the crunch gets too wide.
- Use final EQ and multiband tweaks to remove muddiness while retaining character.

[Common mistakes — what to avoid]
- Don’t overdrive everything: excessive saturation will destroy transients.
- Protect the low end: saturation or bitcrush across the whole band can kill sub solidity.
- Choose send Pre/Post deliberately — inconsistency will bite you during a set.
- Always gain stage: keep bus peaks around -6 dB before crunch.
- Avoid over‑compressing after saturation; use gentle glue settings or parallel compression.

[Pro tips]
- Use parallel routing: keep the dry break intact and blend the crunch as a layer.
- Stack macros across devices with different ranges for musical response.
- Use Drum Buss Transient before saturation to accentuate attack.
- Automate Low‑End Preserve during fills and drops to change texture.
- Resample at multiple macro positions so you have ready‑to‑play loops for a set.
- For tube flavor push Saturator in Clip mode; for nastier character add Overdrive after Saturator.
- When using Redux, keep downsample subtle, or modulate it with an LFO for movement.

[Mini practice exercise — 20 to 30 minutes]
1. Load a 2‑bar Amen or funk break, set initial level near -6 dB.
2. Create Return A — build a simplified Rack: EQ Eight HP @ 30 Hz, Drum Buss (Distortion 4, Boom 2), Saturator (Drive 4 Soft Sine), Glue Compressor (Threshold -10, Ratio 3:1), plus an Erosion sizzle chain mapped to a macro.
3. Send Drum Group to Return A at -4 dB (post-fader).
4. Map Macro 1 to Crunch Amount (Drum Buss Dist + Saturator Drive), Macro 2 to Wet/Dry (chain volumes).
5. Play and sweep Macro 1 from 0 to 100, resample or record 16‑bar loops at three positions: 0, 50, 100.
6. Compare and tweak Low‑End Preserve so kicks remain powerful when Crunch = 100.

[Recap]
You built a parallel-return Audio Effect Rack using stock devices — Drum Buss, Saturator, Erosion, Redux, Multiband Dynamics, Glue Compressor and EQ Eight — and learned routing options, macro mapping, and how to preserve low end while adding Nu:Tone-style bite and sizzle. Use parallel routing, moderate saturation, and multiband protection to keep breaks punchy and DJ‑friendly. Resample macro positions into loops for fast, reliable textures in your DJ sets.

[Performance and workflow notes — quick reminders]
- Treat the return as a performance texture engine: keep flexibility, label macros, and choose sensible default ranges.
- Pre vs Post sends: Pre keeps send constant, Post follows fader moves — pick what matches your live workflow.
- Consider per‑element sends — send snares and mids more than kicks and subs.
- Create multiple returns for different crunch intensities and map them to controller buttons for instant swaps.
- Keep a safety macro that instantly reduces wet to zero in emergencies.
- Save the Rack to your User Library with a name that reminds you of recommended send level and low‑end crossover.

[Closing]
That’s it — build the rack, map the macros, protect the low end, and practice resampling different macro positions into DJ loops. With this setup you’ll get the warm saturation, midrange bite and high‑end sizzle that make Nu:Tone‑style breaks cut through a mix, while keeping things live‑friendly and stem‑ready. Go build, tweak, and resample — and have fun putting the crunch into your breaks.

Mickeybeam

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

Premium Unlimted Access £14.99

AI Drum & Bass Ableton Tutorials