Guest access Access: Full access for everyone Unlimited lesson views

View lessons Sign in with Google

LESSON DETAIL

Charlie Tee masterclass: shape the oldskool DnB jungle arp in Ableton Live 12 for sub-heavy soundsystem pressure (Beginner · Resampling · tutorial)

An AI-generated beginner Ableton lesson focused on Charlie Tee masterclass: shape the oldskool DnB jungle arp in Ableton Live 12 for sub-heavy soundsystem pressure in the Resampling area of drum and bass production.

Back to lessons Unlocked for all viewers

Charlie Tee masterclass: shape the oldskool DnB jungle arp in Ableton Live 12 for sub-heavy soundsystem pressure (Beginner · Resampling · tutorial) cover image

Narrated lesson audio

The voice track includes the tutorial plus extra teacher commentary.

Pitch Effect amount Wet mix Volume

Open audio file

Main tutorial

1. Lesson Overview

This lesson walks you through "Charlie Tee masterclass: shape the oldskool DnB jungle arp in Ableton Live 12 for sub-heavy soundsystem pressure". Focus: create a classic chopped jungle arp, resample it to audio, then shape and layer it for maximum low‑end impact and translation on club/soundsystem rigs using only Ableton Live 12 stock devices. Beginner friendly — I’ll keep MIDI creation simple, show the resampling workflow, and give practical processing steps to keep the sub tight and the top end alive.

2. What You Will Build

A short MIDI arpeggio pattern in Wavetable (or Simpler) that has an oldskool jungle vibe.

A resampled audio version of that arp.
A processed two-layer result: a mono, sub-heavy low layer (sine/sub) and a cleaned, saturated stereo top layer derived from the resample.
Final glue processing to make the arp hit hard on club subs without breaking the mids.

3. Step-by-Step Walkthrough

Note: Keep this tutorial's title in mind as you follow: Charlie Tee masterclass: shape the oldskool DnB jungle arp in Ableton Live 12 for sub-heavy soundsystem pressure.

Setup

Set BPM to 174–176 (classic DnB tempo).
Create an empty MIDI track named "Arp" with Wavetable (or Simpler if you prefer) and a MIDI clip of 1 or 2 bars.

A. Create the oldskool jungle arp (MIDI)

1. Sound source:

- Load Wavetable and pick a bright, harmonically rich wavetable (try "Analog > Basic Saw" or "FM > Bell-ish" for a choppy metallic vibe).

- Fast amplitude envelope: set Attack 0–10 ms, Decay 200–350 ms, Sustain low (~20–40%), Release 50–120 ms.

- Add a tiny bit of filter resonance and use a lowpass cutoff around 4–8 kHz for body.

2. MIDI arpeggio:

- Insert Ableton's Arpeggiator MIDI effect before Wavetable. Set Rate to 1/16 or 1/16T, Gate ~80%, Style = Up/Down or As Played. Play a 3–4 note minor or pentatonic pattern; jungle arps often use quick note repeats and offbeat accents.

- Add MIDI Velocity effect or the Velocity lane to vary velocities for a shuffled/jittered feel.

- For extra swing, add Note Length or use slight clip-level timing offsets.

B. Prepare resampling routing

1. Create a new audio track named "Resample".

2. On "Resample" set Input Type (Audio From) to "Resampling". This will capture master output (or you can set to the Arp track specifically by choosing that track as input).

3. Record arm the "Resample" track and set the master to a convenient level so it isn't clipping. Optionally set Loop Brace across your 1–2 bar arp phrase for consistent captures.

C. Resample the arp

1. Hit record on an Arrangement slot (or Session clip record) and play 2–4 bars so you have material to edit.

2. Stop and name the recorded clip "Arp_resample_A".

D. Quick edits & warping

1. Double-click the audio clip. Enable Warp (if you want rhythmic transients locked to grid). Choose the appropriate Warp mode: "Complex Pro" for full mixes, "Beats" (Transient preserving) for percussive arps; for chunky arps I often use "Beats" with transient preservation turned on.

2. Trim the clip to a single pattern loop. Consolidate if necessary (Cmd/Ctrl-J) so the loop is a clean audio file.

E. Create sub and top layers from the resample (the essential Charlie Tee trick)

1. Duplicate the resample audio track twice — call them "Arp_top" and "Arp_sub".

2. Arp_sub (mono low):

- Insert EQ Eight first. Use a lowpass filter: set Band 1 to Low Pass with cutoff ~120–150 Hz (this isolates the sub content), steepness 24 dB/Oct.

- Add Utility after EQ Eight. Set Width = 0% to mono the low band (mono sub is critical for soundsystem translation).

- Place an Operator (MIDI track) under the resampled audio approach OR easier: create a new MIDI track with Operator, set a pure sine oscillator and tune it to the root note of the arp. BUT since we’re in “Resampling” category, use the resample audio to trigger a sub:

- Use the resampled audio to drive an amplitude-triggered sine: Insert Compressor on Arp_sub, activate Sidechain input from the Arp_sub track? Simpler method for beginners: convert the resampled clip into a transient-locked MIDI note using Convert Drums to New MIDI Track (right-click) — not always perfect. Simpler approach: create a short sine on Operator playing the arp’s root pitch and use Envelope Follower? To stay beginner and stock-device friendly: do this:

- Create a new MIDI track "Sub_Sine". Load Operator. Set Osc A to Sine, Octave -1 or -2 depending on desired sub.

- Program simple long notes that follow the chord/root of the arp (1-bar or 2-bar sustained notes). Use sidechain compression later to duck with kick.

- On Arp_sub audio track, add Multiband Dynamics and compress the low band lightly to tighten.

- On Sub_Sine track, add EQ Eight high-pass at 40 Hz and low-pass at 200 Hz to tightly focus the sub sine.

- Group Sub_Sine + Arp_sub into a group "Arp_Low" and add Glue Compressor with slow attack, medium release to glue.

(Why both a filtered resample and a sine? The filtered resample keeps the character of the original arp’s low harmonics; the sine adds clean sub energy that translates to subs.)

3. Arp_top (stereo character):

- On Arp_top, load EQ Eight. High-pass at 30–60 Hz to free up sub space (slope 24 dB/Oct). Boost around 2–6 kHz lightly for presence if needed.

- Add Saturator (Soft Sine or Analog Clip) to taste for grit — saturate before any heavy low-cut.

- Add Chorus or Phaser (Subtle) for width, or use Delay/Echo (ping-pong delay at 1/16 dotted for jungle rhythmic feel).

- Use Utility to widen the stereo field >40 Hz only. To avoid phase issues, automate a split: duplicate Arp_top, place EQ Eight on top duplicate set to bandpass above 200 Hz, then use Utility to widen this band while keeping below 200 Hz narrow.

F. Re-sculpt by resampling again (creative resample loop)

1. If you want jittered chopped arp stabs like old jungle, create a new audio track "Arp_chop" set to Resampling or set its input to "Arp_top" and record.

2. While the arp plays, record live on "Arp_chop" and use Clip Start positions and Warp Beats mode to slice and rearrange. You can also use the clip’s Sample Start envelopes to create stuttering repeats.

3. Consolidate good chops and convert them to Simpler: Drag a loop into Simpler and play chromatically to create pitch-shifted stabs for additional layering.

G. Glue and final touches for soundsystem pressure

1. Bus Arp_Low and Arp_top to an "Arp_Bus" group.

2. On Arp_Bus:

- Insert EQ Eight: gentle HP at 30 Hz, boost 80–120 Hz if you need warmth (be conservative).

- Place Multiband Dynamics: compress low band slightly (threshold -12 to -6 dB, ratio 2:1) to keep the sub consistent under heavy transients.

- Add Saturator lightly on the mid/high band only: to avoid ruining sub purity, place an EQ before Saturator with a low-cut at ~120 Hz.

- Optional: add a final Compressor or Glue with slow attack, medium release to blend.

3. Mono low end: On Arp_Bus add Utility with Width automation: set Width 0% below 120 Hz using an EQ device feeding Utility via a Rack with chains and Chain Selector mapped to frequency bands — if that is advanced, simply ensure Arp_sub Utility is Width 0% and Arp_top high bands are wide.

H. Kick/Arp interaction (important for club)

1. Sidechain the Sub_Sine (and optionally Arp_sub) to the kick using Compressor sidechain (Input = Kick bus), with fast attack and medium release so the kick punches.

2. Check in mono and on headphones: the kick and sub should not fight. Lower sub level if necessary.

I. Final resample (mastered arp clip)

1. Once satisfied, arm a new audio track, set Input to "Arp_Bus" (or Resampling for final mix), and record a final loop.

2. Save/export that sample and you can drag it back into Simpler to create new melodic variations.

4. Common Mistakes

Leaving the low end stereo: causes phase issues on soundsystems and weak subs. Always mono below ~120 Hz.

Over-saturating the entire signal: if you saturate the sub, you’ll blow out the low end; use frequency-split saturation or apply Saturator only to mids/highs.
Not using a dedicated sub sine: relying only on filtered resample rarely gives a clean low-end translation. Add a tuned sine layer.
Over-compressing the sub band: squashing too much reduces energy and punch; use gentle ratios and check gain makeup.
Forgetting to sidechain sub to kick: on a soundsystem, an un-ducked sub can mask the kick or sound muddy.

5. Pro Tips

Tune your sub sine to the root note: small detuning or phase mismatch reduces impact. Use Analyzer or a tuner plugin if unsure.
Use Ableton’s Spectrum to monitor where energy sits: aim for a controlled bump around 50–100 Hz and a visible top around 2–6 kHz for presence.
When resampling, try recording multiple takes with different Arpeggiator settings (transpose, note lengths) — then layer the best parts.
Use simpler’s Warp/Transpose sparingly; pitch shifting audio can introduce artifacts. Re-record pitched variations if you need clean transposition.
For analog warmth, add small amounts of Tape Saturation-style processing (Saturator with soft clip) on the top band only.
Automate width or saturation in the arrangement to keep sections dynamic: wider/harsher on drops, tighter in verse.

6. Mini Practice Exercise

Create a 2-bar arp in Wavetable using an Arpeggiator at 1/16T, record 4 bars to a new audio track (Resampling).
Duplicate the recording to make an Arp_top and Arp_sub. On Arp_sub: EQ Eight lowpass at 140 Hz + Utility Width 0%. On Arp_top: HP at 60 Hz + Saturator.
Add an Operator sine playing the arp root (sustained), sidechain it to a kick (use Compressor with sidechain).
Record one final resample of the combined Bus. Export that loop. Compare the exported loop on headphones and in mono — fix any frequency clashes by adjusting filters.

7. Recap

This lesson showed "Charlie Tee masterclass: shape the oldskool DnB jungle arp in Ableton Live 12 for sub-heavy soundsystem pressure" using resampling as the core technique. You built a MIDI arp, resampled it, split it into mono sub and stereo top layers, added a tuned sine sub, applied frequency-split saturation/compression, and finalized the loop for club translation. Key takeaways: keep sub mono, layer a clean sine for translation, use frequency-selective processing, and resample iteratively to create punchy jungle arps that hit on systems.

Extra coach notes

Extra Coach Notes

Context & mindset

Resampling is the secret sauce for making a synthetic arp feel like a piece of tape-eaten, chopped jungle DNA while giving you total control over its spectrum. Think of the first Wavetable pass as sketching; resampling lets you bake that sketch into concrete material you can sculpt, re-pitch and abuse without blowing CPU or un-doing your MIDI tricks.
Always work iteratively: sketch MIDI → resample → split → process → resample again. Each bounce locks in character and lets you push the sound harder with less risk.

Quick wins (do these first)

Mono your low end right away: set Utility Width = 0% on your sub sine track and any low-filtered resample track. This fixes a lot of translation issues before you spend time EQing.
Use a dedicated tuned Operator sine for the sub rather than relying only on filtered audio. It’s cleaner, easier to tune and translates to big systems.
Take one “conservative” resample (minimal processing) and one “aggressive” resample (saturator, chorus, heavy warp). Layer or crossfade between them to balance club weight vs character.

Useful parameter ranges to try

Arpeggiator: Rate 1/16 or 1/16T, Gate 70–90%, Octave Range 0–1, Swing 5–20% for groove.
Wavetable envelope: Attack 0–10 ms, Decay 200–350 ms, Sustain 20–40%, Release 50–120 ms.
Low-pass for sub-resample: cutoff 120–160 Hz, slope 24 dB/Oct.
Sub sine: Operator octave -1 or -2 (depending on root), fine tune by ear. Low-pass top of sine around 200 Hz.
Sidechain compressor for sub: Attack 0.1–3 ms, Release 100–250 ms, Ratio 3:1–6:1, Threshold so you get 3–6 dB of duck on kick hits.
Bus gentle low-band compression: Ratio 2:1, Threshold to catch peaks (-12 to -6 dB depending on source), Attack medium (10–30 ms), Release 50–200 ms.

Routing and resampling practicalities

To resample cleanly: set the clip loop brace to the exact pattern length, enable Loop, and record a few bars. This avoids accidental timing drift when you later consolidate.
If you want only the Arp track captured (no master FX), set the Resample audio input to the Arp track instead of "Resampling". This gives a dry capture you can re-apply bus FX to.
Label takes immediately (Arp_resample_A, _B, _wet, _dry) so you can compare quickly.

Warping & pitch care

For rhythmic cuts use Warp Mode = Beats (preserve transients); for fuller melodic content try Complex Pro but beware it can smear low end. If your warp introduces low-frequency artifacts, re-record the part pitched rather than relying on heavy warp/pitch.
When pitch-shifting audio, avoid large semitone jumps on full-range audio. For big transpose changes, reprogram the MIDI or resample the synth at the new pitch.

Phase, alignment & tuning checks

When layering a sine with a resampled audio source, check for phase cancellation: flip the phase (Utility button “Phase Left/Right”) to hear if energy increases. If neither flipped gives improvement, nudge one clip by a few ms until you find the sweet spot.
Use Spectrum (stock device) to eyeball the frequency peaks. Tune the Operator sine so that its main peak lines up with the fundamental peak of the arp (or intentionally at the sub harmonic you want).
Quick ear-check: listen in mono and at club-ish levels for 10–20 seconds — if the sub disappears in mono, adjust phase/tuning.

Creating a frequency-dependent stereo width rack (beginner-friendly)

Make an Audio Effect Rack with two chains:

- Chain A: EQ Eight — highpass at 120 Hz (so this chain contains mids/highs). Put a Utility after it and set Width to your desired wide value (e.g., 120%).

- Chain B: EQ Eight — lowpass at 120 Hz (sub content). Put Utility after it and set Width = 0%.

No need to map Chain Selector for basic use — just balance the chain volumes. This gives you stereo width only above your crossover point using stock devices.

Resampling as sound-design technique (creative ideas)

Record several passes with slightly different Arpeggiator/transposition/Envelope settings, then chop and layer the best transient from each take for a humanized, ragged arp.
Record a very wet pass with delay/echo and another dry pass. Use the dry pass for the sub/top split and the wet pass for rhythmic stereo interest.
Create stuttered chops by drawing clip sample start offsets (Warp Markers + Clip Start) or by recording into a new track using the Arrangement’s recording while manually turning the track input on/off to get rhythmic gated stabs.

Macro mapping & quick performance controls

Build an Audio Effect Rack on your final Arp_Bus and map these useful macros:

- Sub Level (maps to Gain on Operator/sine track and to Arp_sub track volume)

- Top Saturation (maps to Saturator Drive on Arp_top)

- Width (maps to Utility Width on top chain)

- Glue Threshold (maps to Glue Compressor Threshold on bus)

- Delay Wet (maps to Echo/Simple Delay Dry/Wet)

This lets you audition “club drop” vs “radio” settings instantly.

Troubleshooting common issues

Muddy mids when adding saturation: insert an EQ before the Saturator and roll off below ~120 Hz so saturation only hits mids/high.
Sub feels thin on soundsystem: check phase between sine and resample, increase sine level, try adding a 2nd harmonic (duplicate sine, detune slightly or set octave +1 with very low level) to give perception of weight without overloading sub.
Arp loses punch after heavy bus compression: increase attack time slightly so transients breathe through (10–30 ms) or use Parallel Compression (duplicate bus, compress duplicate hard, blend back in).

CPU & session hygiene

After you like a resample layer, Freeze and Flatten the track to free CPU (or consolidate the recorded clip and drag it to a new audio track and delete the original).
Keep your resampled audio clips trimmed and consolidate them — long unused tails add CPU and confusion.
Use Return tracks for global delays/reverbs when recording resamples to avoid permanently committing to a reverb tail you can’t remove.

Practice variations to try right away

Half-time arp: record the same arp at half tempo and layer with the original sped-up resample pitched up to create interesting sub-harmonic motion.
Chopped-offbeat pattern: record a normal loop, then in a duplicate lane use Clip Start automation to offset hits by 1–12 ms for a jittered “junglist” swing.
Reverse tail: duplicate a short stab, reverse it, lowpass it and automate volume to create reverse swells feeding into each stab — gives classic jungle ambience.

Final quick checklist before exporting

Mono-check below 120 Hz — pass.
Sub sine tuned and phase-checked — pass.
Sub sidechained to kick (duck amount audible but musical) — pass.
Top band has presence (2–6 kHz) without harsh peaks — pass.
Bus sat/comp only applied to mids/high or frequency-split — pass.
Listen in mono/headphones and at club-ish level — pass.
Save your final resample with clear name and BPM metadata.

Saving your workflow

Save the Arp_Bus Audio Effect Rack as a preset so your frequency-split saturation and glue chain becomes a template for future arp work.
Save your favorite Wavetable settings and an Operator sine preset tuned for 50 Hz / 60 Hz subs (label them by note/octave) so you can recall the correct sub quickly.

Keep it musical

The goal is club translation with character. If your arp sounds too sterile after all technical fixes, go back and add a tiny bit of timing humanization in the MIDI or a little tape-style coloration on the top band — the sub must be perfect, but the top can be playful.

Use these notes as a companion checklist and a small recipe book of tweaks. The more times you resample, split and re-record a single idea, the more options you’ll have to craft that perfect Charlie Tee-style oldskool jungle arp that hits the subs and still dances on the highs.

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

Title: Charlie Tee masterclass: shape the oldskool DnB jungle arp in Ableton Live 12 for sub-heavy soundsystem pressure.

[Intro]
Hi — welcome. In this masterclass we’ll shape an oldskool drum & bass jungle arp in Ableton Live 12, resample it, and sculpt it into a two-layered result that hits hard on club subs while keeping the top end alive. This lesson is beginner friendly: we’ll keep the MIDI simple, walk through resampling, and use only Live stock devices. Follow the steps and you’ll have a punchy, resampled arp ready for soundsystem translation.

[What you will build]
By the end you’ll have:
- A short MIDI arpeggio in Wavetable or Simpler with a classic jungle vibe.
- A recorded resample of that arp.
- Two processed layers: a mono, sub-heavy low layer and a cleaned, saturated stereo top layer.
- Final bus processing that glues everything together for club-level low-end.

[Setup]
Start by setting your BPM to 174–176. Create a MIDI track named “Arp” and load Wavetable or Simpler. Make a 1- or 2-bar MIDI clip — that’s your sketch.

[A — Create the oldskool jungle arp]
Choose a bright, harmonically rich wavetable — try Analog Basic Saw or an FM bell-ish table for metallic chop. Tight amp envelope: attack near zero, decay around 200–350 ms, sustain low, release 50–120 ms. Add a little filter resonance and set a lowpass cutoff around 4–8 kHz for body.

Insert Ableton’s Arpeggiator before the synth. Set rate to 1/16 or 1/16T, gate around 80 percent, style Up/Down or As Played. Play a 3–4 note minor or pentatonic pattern and use velocity variation for shuffle. Add slight timing offsets or note length tweaks for swing.

[B — Prepare resampling routing]
Create an audio track called “Resample.” Set its Audio From to “Resampling” to capture the master output, or choose the Arp track directly if you want a dry capture. Arm “Resample” to record, set levels so you don’t clip, and set a loop brace over your 1–2 bar phrase for consistent takes.

[C — Resample the arp]
Record 2–4 bars. Stop and name the new clip “Arp_resample_A.” You now have a baked audio version to work with.

[D — Quick edits & warping]
Double-click the audio clip and enable Warp if you need transients locked to the grid. For rhythmic arps use Beats mode; for fuller melodic content try Complex Pro but watch for low-end smearing. Trim the clip to a single loop and consolidate so the sample is clean.

[E — Create sub and top layers from the resample]
Duplicate the resample track twice and name the copies “Arp_top” and “Arp_sub.”

Arp_sub — mono low:
- Insert EQ Eight and set a lowpass at roughly 120–150 Hz with a steep slope to isolate low content.
- Put Utility after EQ and set Width to 0 percent to mono the low band.
- Add a light Multiband Dynamics on the low band to tighten it.
- Create a new MIDI track called “Sub_Sine.” Load Operator, choose a pure sine on Osc A, and set octave to -1 or -2 depending on your root. Program long sustained notes that follow the arp’s root.
- On the Sub_Sine track use EQ Eight to focus the sine: high-pass around 40 Hz and low-pass around 200 Hz. Group Sub_Sine and Arp_sub into “Arp_Low” and run a Glue Compressor with a slow attack and medium release to glue them.

Why both? The filtered resample keeps the character of the original arp’s low harmonics, while the sine gives clean sub energy that translates on systems.

Arp_top — stereo character:
- On Arp_top use EQ Eight to high-pass around 30–60 Hz and free up the sub space. Boost lightly between 2–6 kHz for presence as needed.
- Add a Saturator for grit, placed before heavy low-cut. Use subtle chorus, phaser, or ping-pong Delay at 1/16 dotted for jungle groove.
- If you want wider highs without messing low phase, duplicate the top, highpass the duplicate above 200 Hz and widen that band with Utility. Keep lows narrow.

[F — Re-sculpt by resampling again]
For chopped stabs, create a new audio track called “Arp_chop,” set its input to Resampling or to Arp_top, and record live takes. Use clip start offsets, warp beats, and transient edits to create stutters. Consolidate good chops and drag loops into Simpler to play chromatically if you want pitched stabs.

[G — Glue and final touches for soundsystem pressure]
Bus Arp_Low and Arp_top into an “Arp_Bus.”

On Arp_Bus:
- Gentle HP at 30 Hz, conservative boost between 80–120 Hz if you need warmth.
- Multiband Dynamics to compress the low band slightly — aim for gentle control, not crushing.
- For saturation, place an EQ before the Saturator to high-pass below ~120 Hz so only mids/high get driven.
- Add a final Glue Compressor with slow attack, medium release to blend the signal.

If you can, use a frequency-dependent width rack so anything below your crossover (around 120 Hz) is mono and above it can be widened. At minimum, keep Arp_sub Utility Width at 0 percent.

[H — Kick / Arp interaction]
Sidechain the Sub_Sine and optionally Arp_sub to your kick. Use a Compressor sidechain with fast attack and medium release so the kick punches through. Check in mono and on headphones — the kick and sub should not fight. Reduce sub level or retune if necessary.

[I — Final resample]
When satisfied, arm a fresh audio track, set its input to the Arp_Bus or Resampling, and record your final loop. Export or save it and you can drag it back into Simpler or Wavetable for more variations.

[Common mistakes to avoid]
- Leaving the low end in stereo — mono your lows below ~120 Hz.
- Saturating the whole signal — don’t apply distortion to the sub.
- Relying only on filtered resample for low translation — add a tuned sine.
- Over-compressing the sub band — use gentle ratios.
- Forgetting to sidechain sub to kick — this often creates muddiness on systems.

[Pro tips]
- Tune your sub sine to the root; use Spectrum or a tuner if unsure.
- Record multiple resample takes with different Arpeggiator settings and layer the best parts.
- Use Simpler’s warping sparingly — for clean pitch changes re-record at the new pitch.
- For analog warmth, add soft Saturator on the top band only.
- Automate width or saturation for drops vs verses so the track breathes.

[Mini practice exercise]
Make a 2-bar arp in Wavetable with Arpeggiator at 1/16T. Record 4 bars to a Resample track. Duplicate the recording to Arp_top and Arp_sub. On Arp_sub: EQ Eight lowpass at 140 Hz and Utility Width 0 percent. On Arp_top: HP at 60 Hz and a touch of Saturator. Create an Operator sine tuned to the arp root, sidechain it to your kick, and then record a final resample of the combined bus. Export and listen in mono — fix clashes.

[Recap]
We sketched a MIDI arp, resampled it, split it into a mono sub and a saturated stereo top, added a tuned sine sub, used frequency-selective saturation and compression, and resampled again to lock in a club-ready loop. Key rules: keep the sub mono, layer a clean sine for translation, and process frequency-selectively. Resample iteratively to get the crunchy, tape-eaten jungle character that still hits on big systems.

[Closing mindset]
Think of resampling as freezing a sketch into something you can deliberately sculpt. Work iteratively — sketch, resample, split, process, resample. Save presets for your sine and effect racks, and build macros to move from bedroom to club settings fast. The sub must be perfect; the top can be playful.

That’s it — now go record some takes, chop them up, and make a jungle arp that really bangs on the dancefloor.

mickeybeam

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

Channel:

Drum & Bass Ableton Live 12 Tutorials