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Turning simple motifs into full track hooks (Advanced)

An AI-generated advanced Ableton lesson focused on Turning simple motifs into full track hooks in the Composition area of drum and bass production.

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1. Lesson overview

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This lesson is an advanced, hands-on Ableton Live tutorial for turning a tiny 1–2 bar motif into a full, memorable Drum & Bass hook. You'll learn practical production techniques used in DnB/jungle/rolling bass contexts: layering, resampling, rhythmic transformation, macro-driven morphing, harmonic variation, sound design chains (sub + mid growl), arrangement placement and automation. The goal is to give you a repeatable workflow so a simple motif can become the centerpiece of your track — the hook that people remember.

Expect to use Live stock devices: Drum Rack, Simpler/Sampler, Wavetable, Operator, EQ Eight, Saturator, Overdrive, Glue Compressor, Compressor, Auto Filter, Utility, Grain Delay / Ping Pong Delay / Echo, Beat Repeat, and Audio Effects Rack. Tempo target: 170–175 BPM. 🎧🔥

2. What you will build

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A single 2-bar melodic/rhythmic motif (synth stab or vocal chop) turned into:

- A layered hook (sub + mid growl + high sparkle).

- Several rhythmic variations (rolling, halftime, stuttered).

- A set of Audio Effect Rack macros that morph the motif in real time.

- A drop-ready arrangement section with interplay between the motif and a rolling bassline + drums.

You’ll finish with a small arrangement sketch: intro → build → hook drop → breakdown, with an automation map to morph the motif between sections.

3. Step-by-step walkthrough

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Assume Ableton Live 10/11. Tempo = 174 BPM, time signature 4/4.

A. Create the core motif (1–2 bars)

Create a MIDI track and load Wavetable (or Operator if you prefer FM). Wavetable is great for quick growl + modulation.
Patch suggestion (Wavetable):

- Osc1: Saw (Unison 4, Detune 0.08, Level 0 dB)

- Osc2: Wavetable position = 45, level -6 dB

- Filter: Lowpass 24 dB (type “MG Low 24”), cutoff ~1.2 kHz, resonance 0.12

- Amp Envelope: Attack 5 ms, Decay 220 ms, Sustain 0, Release 60 ms

- Filter Env: Amount 35%, Decay 350 ms

- LFO1: Rate synced 1/4, Destination: Wavetable Position (Amount 20–35)

- Global: Unison detune subtle, voice count 4

MIDI motif: write a 2-bar pattern with rhythmic stabs (e.g., hit on 1, the “&” of 1 (16th), 2.2 (triplet feel optionally), and a tail on 2.4). Keep it short and percussive; the motif needs rhythm.

B. Split into layers: sub + mid + top

Duplicate the MIDI track twice (three layers total).
Sub layer (Operator):

- Use Operator, set Osc1 to Sine, Octave -2, Level -3 dB. No filter.

- Route this track through EQ Eight: high-pass set at 12 Hz, low-pass at ~120 Hz (or use a low cut on other layers and let sub sit under 120 Hz).

- Important: Make the sub mono: set Utility -> Width = 0%. This keeps bass tight for club play.

- Sidechain the sub to the kick with Compressor (Sidechain source: Kick bus). Compressor: Ratio 4:1, Attack 0.5 ms, Release 80 ms; tweak threshold so sub ducks on the kick hits.

Mid growl layer (Wavetable or Serum-like):

- Use your original Wavetable patch but tweak for mid focus: Filter cut ~800–1kHz, add FM (ring or oscillator mod) if available, or add subtle pitch modulation with LFO.

- Add Saturator (preset: “Analog Clip” or “Warmth”), Drive 3–6 dB, then Overdrive with Drive ~4.

- EQ Eight: high-pass at 100 Hz, gentle boost 300–800 Hz for growl body, cut around 2–4 kHz if harsh.

- Add Multiband dynamic shaping (Multiband Dynamics) on mid to tame top-end or emphasize mid band.

Top / sparkle layer:

- Use Simpler with a short sample (vocal chop, glassy stab). Shorten decay with ADSR.

- Add Auto Filter (bandpass or high-pass) modulated slightly by an envelope (Envelope Amount on Auto Filter) for punch.

- Add a short Grain Delay or Ping Pong Delay at 1/16 with low feedback for stereo texture.

- Reverb: small plate reverb (Reverb device, Decay 0.6–1.2 s, Dry/Wet 8–12%).

C. Glue the layers in an Instrument Rack

Create an Instrument Rack and drop your three devices/channels (or just map the three instrument tracks to a new MIDI track via routing and then resample). But I recommend an Instrument Rack with 3 Drum Rack-like chains:

- Chain 1 = Sub (Operator)

- Chain 2 = Mid (Wavetable)

- Chain 3 = Top (Simpler)

Map key macros:

- Macro 1 = Filter cutoff (map to all filters in mid/top)

- Macro 2 = Distortion amount (map to Saturator Drive / Overdrive)

- Macro 3 = Width/delay send (map Utility Width on top and Delay Dry/Wet)

- Macro 4 = Sub level (map gain on sub chain)

- Macro 5 = Global Reverb send

Use chain volume and chain selectors for quick version switching (e.g., a clean chain vs. heavily distorted chain).

D. Create rhythmic variations and stutters

Duplicate your 2-bar clip several times to a clip lane.
For variation 1 (rolling): Use the Arpeggiator MIDI effect (Rate 1/16, Style = Up/Down off, Gate 40%), then add Groove/Triplet feel by using Live’s Groove Pool (try “Swing 16-2” at 10–20%).
For variation 2 (stuttered): Freeze the MIDI clip, right-click -> Freeze Track -> Flatten to convert to audio. Then manually create stutters by slicing the audio clip into 1/32 or 1/64 slices and repeating or use Beat Repeat:

- Beat Repeat settings: Interval 1/16, Gate 1/16, Grid 1/64, Chance 50%, Decay 0.2, Filter lowcut 200 Hz to avoid muddying sub.

For variation 3 (halftime / halftime hook): Pitch the motif down an octave or use simpler transpose -12, then fill the space with rhythmic hats and a halftime kick (half-time vibe across drums).

E. Resampling and creative re-synthesis

Route a new audio track’s input to “Resampling,” arm it, and record several bars of the motif while you tweak macros in real time. This gives you unique, motion-rich audio material.
Slice the resampled audio to a new Drum Rack (Right-click -> Slice to New MIDI Track -> use “Transient” or “Beat” mode with 1/16 or 1/32 granularity). This turns motif hits into playable percussive elements you can rearrange as fills/stabs.

F. Build interplay with drums and bass

Drums: load a Drum Rack with a classic Amen break or your own chopped break. Put the hat groove in 16th rolls but accent to compliment motif rhythm.
Bass interplay: Create a rolling bassline (Wavetable or Serum) that converses with the motif. Use call & response:

- On the downbeat, motif plays full; bass plays a rolling 16th pattern that avoids clashing frequencies with the motif’s root (use sidechain and EQ).

- Automate motif filter cutoff down during verse and snap up right at the drop.

Processing for drums: group your drums into a Drum Bus, add Drum Buss device (Drive 3–5, Transients 6–10 for punch) and Glue Compressor (4:1, 10 ms attack, 200 ms release, threshold -6 to -12 dB).

G. Arrangement and automation

Place the initial motif muted during the intro with reverb/delay tails only (use utility macro to fade in).
Pre-drop: automate Macro 1 (cutoff) from closed to open over 2 bars, Macro 2 (distortion) rise, and Macro 5 (reverb) reduce to 0 for the hit.
Use an automation trick: create a 1-bar “exposed motif” with only sub + top, mid-muted, then on bar 2 slam the mids in with Macro 2 for impact.
Add small fills: use the sliced resampled hits as percussive stingers on the last 1/4 bar before drop.

H. Final polishing

EQ carve: Use utility mix — make sure sub is mono and under -6 dB headroom. High-pass everything but the sub at 30–40 Hz.
Master bus: Glue Compressor (2:1 Clean), EQ Eight for gentle tilt, Saturator (Soft Clip), Limiter at the end. Keep conservative; leave headroom (–6 to –3 dB).

4. Common mistakes

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Not carving space: If you don’t notch frequencies for each layer (sub vs mid vs top), the hook will be muddy. Always high-pass mids above 100–120 Hz and keep sub mono.

Over-reverbing the hook: Heavy reverb kills the transient punch needed in DnB. Use short plates or gated reverb and automate send levels.
Too much stereo width on low frequencies: sub should be mono. Widening low mid kills club translation.
Over-compression across everything: preserves movement in the motif; avoid flattening modulation by heavy compression pre-modulation.
Forgetting rhythmic energy: DnB is driven by groove — don’t make motif static; use micro-timing shifts, grooves, or transient edits.
Neglecting sidechain: without tasteful ducking the motif and kick/bass fight.

5. Pro tips for darker/heavier DnB

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Use parallel distortion: Duplicate mid chain, hit one with heavy Overdrive + Redux (~16-bit/11 kHz settings) for grit, and blend in with dry using parallel send (Audio Effect Rack macros).

Frequency Shifter: subtle detune/in-harmonic shift adds grime. Use tiny Hz shifts (0.5–3 Hz) on the mid growl.
Multiband Saturation: on the growl chain, saturate mids but keep subs clean. Use Multiband Dynamics to trigger more distortion in 200–2kHz band.
Push low-mid energy: boost 200–700 Hz slightly for head punch, then carve with dynamic EQ during the loudest hits.
Use extreme resampling: freeze motif automation, resample while several FX are modulating (LFOs, filters). Then reverse small slices, stretch, repitch to create eerie textures.
Drum treatment: split kick and snare, massively compress the snare top and parallel compress the break for body. Add transient shaping with Drum Buss (Bass + Transient mode).
Cinematic micro-risers: use tiny pitch-up automation (1–3 semitones) across 1/8 to build tension before the hook hits.
Keep the sub simple: darker tracks often have complex mid growls but a very clean sine sub — never sacrifice sub clarity for character.

6. Mini practice exercise

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Do this in one hour to build your transformation workflow muscle:

1. Set Ableton to 174 BPM. Create a 2-bar MIDI motif using Wavetable (per patch settings above).

2. Duplicate the track twice for sub and top layers. Configure Operator for sub (mono, low-pass at 120 Hz) and Simpler for top (short decay, small delay).

3. Create an Instrument Rack with the 3 chains and map 4 macros: Sub level, Cutoff, Distortion, Top Width.

4. Record an 8-bar resampling while you tweak Cutoff and Distortion macros (record to Resampling -> new audio clip).

5. Slice the resampled audio to a new Drum Rack (Slice to New MIDI Track -> 1/16 grid).

6. Build a 16-bar loop: bars 1–4 motif muted with reverb tails, bars 5–8 motif intro with low-pass open, bars 9–12 full motif + drums, bars 13–16 variation (Beat Repeat on motif for fill).

7. Render the 16-bar loop or export stems. Analyze what makes the hook stand out: attack, rhythm, frequency slotting, and motion.

Give yourself 30 minutes to get steps 1–5 done, then 30 minutes for steps 6–7.

7. Recap

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Start with a strong, rhythmically interesting 1–2 bar motif.

Layer it: sub (mono), mid growl (character), top (texture).
Use Instrument Racks + Macros to control morphing and automate for arrangement drama.
Resample and slice — this creates new material for stutters, fills and variations.
Always carve space with EQ, use tasteful sidechain for rhythm, and avoid over-reverbing.
For darker/heavier DnB: parallel distortion, multiband saturation, subtle inharmonic frequency shifting, and clean sub-management are key.

Final bit of teacher advice: don’t treat the motif as a static loop — treat it like a performer. Give it dynamics, moments of silence, sudden grit, and timbral movement. That’s how simple motifs become earworms in drum & bass. Go build something that hits hard! 💥🥁🎚️

Extra coach notes

1. Extra coach notes

Think in “timbral space” rather than just layers: give each layer a functional role (low energy carrier, mid identity, high transients) and then design every processing decision to enhance that role. Ask: what frequency band carries the recognition? What carries the transient? What carries the tail?
Build your hook so it can be reduced to a single stem and still be identifiable. Periodically mute two of the three layers and listen — if it still reads as the same hook, you’ve preserved its identity.
Use clip envelopes like real-time performers: automate device parameters inside the MIDI/audio clip (filter cutoff, wavetable position, sample start) for per-hit modulation instead of global track automation for more nuanced micro-variations.
When mapping macros, prefer ranges that exaggerate contrast rather than full extremes. Example: map cutoff to move between 200–2200 Hz (not 20–20k) so the effect is musically useful.
Save multiple Instrument Rack “snapshots” (use chains + chain selector) for quick A/B: clean, gritty, washed, and sparse. This lets you switch the hook character instantly during arrangement decisions.

2. Advanced variation ideas

Polymetric displacement: create a duplicate clip and nudge it by weird amounts (e.g., +7/16 note) or use different groove templates on the duplicate. Play both clips together at low levels to generate shifting phasing and rhythmic tension.
Note-level humanization with MIDI Effects: feed motif through Velocity and Random devices and then a Length device. Use Velocity to modulate filter cutoff via chain-routed velocity-to-device, producing louder -> brighter hits without editing MIDI.
Clip-based LFOs: in Live 11, use the LFO device or Clip Modulation to create per-clip wobble rates that are different for each variation (1/16 for rolling, 1/8+random for stutter). In Live 10, simulate with envelopes recorded to resampling.
Staggered pitch layers: create several copies of the mid growl tuned +3, 0, -3 semitones; strip highs and subs from each so they sum into an inharmonic cluster. Automate their volumes to “detune” the hook on the drop.
Granular micro-collections: resample a single motif hit, stretch it by 200–600% in Simpler/Clip mode and automate the Warp Grain (or Grain Delay) parameters to create evolving pads behind the hook; then chop those pads into hits for fills.
Reactive fills via Follow Actions: slice resampled motif into a clip lane and set follow-actions to trigger randomized slices with short intervals for fills that never repeat exactly.

3. Sound design extras

Dynamic wavetable scanning: map LFO (or an envelope) to wavetable position with negative/positive ranges tied to a macro. Have one macro increase LFO amount and decrease rate at the same time (map both controls to the macro with opposing ranges) so one knob morphs timbre and speed.
Crossfade distortion chains: create two parallel mid chains inside an Effect Rack—one clean, one heavy (Overdrive + Redux). Use a mapped macro to crossfade Dry/Wet between the two chains rather than just boosting drive; this keeps transient fidelity when you want clarity.
Frequency-dependent compression trick: duplicate the mid growl chain. On the duplicate, high-pass at ~250 Hz and heavily compress (fast attack, short release). Blend this back in to add mid punch without pumping the sub.
Subtle inharmonic excitation: use Frequency Shifter very subtly (+/- 1–5 Hz) on a copy of the mid layer, then detune slightly and low-pass. This introduces glue without overt chorus artifacts.
Texture re-synthesis: take a resample, warp it in Complex Pro to extreme values, then run through Corpus (or resonator-style FX) to extract metallic resonances. Layer extremely sparse hits of this texture at 40–60% to give the hook an eerie bite.
Mono-sum check automation: create a utility macro that reduces width and a matching macro to reduce high end; automate these pre-drop to ensure the hook stays punchy in club systems and mono playback.

4. Arrangement upgrade ideas

Surprise-silence technique: just before a hook restart, drop everything except a very short transient of the motif (10–30 ms) with extreme distortion and a tight high-pass. That single gag will re-focus attention on the next full hit.
Long-form tension arc: plan three global states for the hook — restrained (low cutoff, delay/reverb heavy), exposed (mid present, small reverb), and brutal (max distortion, wet/dry to 20%). Automate transitions across an entire 32- to 64-bar section for evolving drama.
Recursive breakdown: automate a chain selector that progressively strips components (first top, then mid, finally sub) over 4 bars, then resurface the full hook with an added resampled “glitch” layer for the drop.
Energy matching with drums: use transient shaping on the motif aligned with the drum accents (map a Macro to Transient device amount). On snare hits increase transient for attack reinforcement, on kick hits tighten release to sit under low-end thumps.
Use “interruption” fills: create short bar-length clips that re-trigger or reverse tiny slices of the motif and drop them at irregular points (e.g., 3 bars into a 4-bar phrase) to break predictability and keep listeners engaged.
Staging for DJ-friendly transitions: add a parallel track that plays only the sub and a click/looped texture of the top layer so a DJ can mix out without losing the hook’s identity.

5. Homework challenge

Goal: transform a single 2-bar motif into three differentiated hooks (Club, Halftime, Experimental) and deliver a 16-bar arrangement sketch with a morph automation map.

Constraints & steps:

1. Create one 2-bar MIDI motif (any synth) and build a 3-layer instrument (low/mid/top).

2. Produce three distinct hook versions:

- Club: full energy for DJs (clean sub, punchy mid, short top tails).

- Halftime: same motif repurposed into half-time feel and pitched variation.

- Experimental: heavy resampling + granular/FFT/creative FX with unpredictable stutters.

3. For each version, record a 4-bar rendered loop (audio) and a short preset of your Instrument/Effect Rack macro settings.

4. Build a 16-bar arrangement that uses all three hooks (4-bar intro/transition, 8-bar build/hook, 4-bar variation/fill).

5. Create one “Morph” automation lane (single macro) that goes from 0% (Club) → 50% (Filtered/Dirty) → 100% (Experimental) across bars 5–12 and bounce that automation as audio movement in a resample.

Deliverables and self-critique (what to hand in or evaluate):

Three 4-bar WAVs (Club, Halftime, Experimental).
One 16-bar WAV of arrangement.
A screenshot of your Instrument Rack macro mapping (or save the rack preset).
Short notes (bullet points) answering:

- Which element carries recognition across all three versions?

- What did you automate to create contrast?

- Where did masking occur and how did you fix it?

Timebox: 3 hours. If you’re under 2 hours, iterate: try a different resampling method or add follow-action fills.

Good luck — focus on contrast and recognizability. Small, intentional changes often produce the biggest perceived difference in a hook.

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Narration script

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Hey — welcome. This is an advanced Ableton lesson on turning a tiny 1–2 bar motif into a full, memorable Drum & Bass hook. I’m going to walk you through a practical, repeatable workflow used in DnB and jungle contexts: layering, resampling, rhythmic transformation, macro-driven morphing, harmonic variation, sound design chains, arrangement placement and automation. We’ll stay in Live stock devices, aim for roughly 174 BPM, and build something that can be the centerpiece of a drop. Let’s go.

Lesson overview
You start with a short, rhythmically interesting motif — one or two bars — and you progressively turn that motif into a three-part instrument: sub, mid growl, and high sparkle. From there you make rhythmic variations, map macros for live morphing, resample for new textures and stutters, and slot the hook into a small arrangement sketch: intro, build, hook drop, and breakdown. I’ll also share coach tips and advanced techniques to make the hook darker, heavier, and more DJ-friendly.

What you will build
By the end you’ll have a layered hook with sub, mid growl and top texture; several rhythmic variations including rolling, halftime and stuttered takes; an Instrument Rack with macros allowing real-time morphing; and a 16-bar loop sketch that demonstrates how the motif drives the arrangement and interacts with drums and a rolling bassline.

Step-by-step walkthrough — hands on in Live
Set your tempo to 174 BPM and create a new Live set. First, create a 2-bar core motif.

Create the core motif
Open a MIDI track and load Wavetable. Use a saw-based osc for body, a wavetable for texture, a lowpass 24 dB filter and a short percussive amp envelope. Make LFO1 synced to 1/4 and map it to wavetable position for motion. Program a 2-bar MIDI stab pattern — short hits on beat one, a syncopated 16th on the “and” of one, a slightly delayed 2.2 hit for a rolling feel, and a small tail at 2.4. Keep it tight and rhythmic; the motif needs to read almost like a percussion instrument.

Split into layers: sub, mid, top
Duplicate that track twice so you have three layers.

For the sub layer, use Operator and a pure sine an octave or two down. Keep this mono by setting Utility Width to zero percent. Low-pass the sub around 120 Hz and sidechain it to the kick with a fast, musical compressor so the kick breathes through.

For the mid growl, use your Wavetable patch but bring the filter and modulation into the 800 to 1kHz area for character. Add Saturator and light Overdrive, and use EQ Eight to high-pass at around 100 Hz and shape 300 to 800 Hz for the growl body. Consider Multiband Dynamics to tighten or emphasize the mid band.

For the top layer, use Simpler with a short vocal chop or glassy stab. Shorten the decay, add a slightly modulated Auto Filter bandpass or high-pass for punch, then ping-pong or grain delay at a short value for stereo spice. Add a small plate reverb with low wetness so it breathes without washing the transient.

Glue the layers into an Instrument Rack
Create an Instrument Rack with three chains: Sub, Mid, Top. Map macros for cutoff across the mid and top filters, distortion amount across Saturator and Overdrive, sub level, a width/delay send for the top, and a global reverb send. Set macro ranges to musically useful bands — for example map cutoff from about 200 Hz to 2.2 kHz rather than from zero to absurd extremes. Save the rack as a preset so you can reuse it.

Create rhythmic variations and stutters
Duplicate that 2-bar clip into several lanes. For a rolling variation, add an Arpeggiator set to 1/16 and apply Ableton’s Groove Pool to add a little swing. For stuttered variations, freeze and flatten the MIDI to audio, then slice into 1/64 or 1/32 chunks or use Beat Repeat. Set Beat Repeat with a small grid, partial chance and a filter low cut around 200 Hz so you don’t muddy the sub. For a halftime version, transpose the motif down an octave or halve the rate, and fill the space with hats and a halftime kick to create contrast.

Resampling and creative re-synthesis
Create a new audio track set to Resampling, arm it, and hit record while you tweak macros in real time. This gives you animated audio full of movement. Take that resample and use Slice to New MIDI Track on a 1/16 grid. Those slices become playable percussive hits and fills you can throw around the arrangement.

Build interplay with drums and bass
Load a Drum Rack with your break or chops and program hats and accents to complement the motif’s rhythm. For bass, design a rolling bass sound in Wavetable that locks to the track key but avoids clashing with the motif’s fundamental. Use EQ and sidechain to carve space. Automate the motif filter closed during verses and snap it open at the drop for impact. Group drums and use Drum Buss plus Glue Compressor on the drum bus to glue the groove.

Arrangement and automation
Arrange a short sketch: bars 1–4 intro with motif tails and muted transients, bars 5–8 build with cutoff opening, bars 9–12 full hook with bass and drums, bars 13–16 variation with Beat Repeat and fills. Automate macros over the pre-drop to ramp cutoff and distortion up. Try a single-bar exposed motif that reintroduces only sub and top, then slam in the mids for the drop. Use short resampled stingers on the last 1/4 bar before the hook to focus attention.

Common mistakes and how to avoid them
Carving space matters — keep the sub mono and high-pass the mid and top appropriately. Avoid over-reverb on the hook; use short plates and automate wet sends. Don’t over-compress before modulation; you want motion, not a brick-wall. And always sidechain tastefully so kick, bass and motif occupy complementary pockets.

Advanced coach notes and sound design extras
Think in timbral roles: decide which layer carries recognition, which carries transient attack, and which carries tail and width. Periodically mute two layers and see if the hook is still identifiable; if it is, you’ve preserved its identity. Use clip envelopes for per-hit variation instead of only global automation. Try polymetric displacement by nudging copies of the motif by odd micro-timings for phase tension. For darker DnB, use parallel distortion chains and tiny frequency shifter detunes to add inharmonic grit while keeping the sub clean. Create crossfade distortion chains inside an Effect Rack so you can morph from clean to brutal without crushing transients.

Arrangement upgrades and DJ-friendly tricks
Use a surprise-silence just before the hook restarts: drop everything for 10 to 30 milliseconds and throw a highly distorted transient. Build three global states for the hook — restrained, exposed, brutal — and automate between them over long arcs. Add a staging track that contains only sub plus a click or looped top for DJ-friendly mixing.

Mini practice exercise and homework challenge
For a quick exercise, set Live to 174 BPM and make a 2-bar motif, duplicate it into sub and top, create an Instrument Rack with four macros, resample eight bars while tweaking, slice to a Drum Rack, and build a 16-bar loop that demonstrates mute, build, drop and variation. For a deeper homework, convert one motif into three distinct hooks — Club, Halftime and Experimental — render four-bar WAVs of each plus a 16-bar arrangement, save your rack preset and write short notes about what preserves recognition and where masking was fixed. Timebox it to three hours and iterate.

Recap and final teacher advice
Start with a rhythmically strong motif. Layer it into sub, mid growl and top, map macros to morph it, resample for new material, and always carve frequency space and use sidechain. Treat the motif like a performer: give it dynamics, silence, sudden grit and timbral movement. Small, intentional changes make a motif stick in the listener’s ear.

Alright — now hit the studio, set 174 BPM, make that 2-bar idea and turn it into something that hits hard. I want to hear hooks that are identifiable even when you strip them down. Have fun, experiment with extreme resampling, and don’t be afraid to break the sound then glue it back together. Go build something that slaps.

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