Show spoken script
Title: Hedex approach: route a sub bassline in Ableton Live 12 for rave-laced tension
Intro
Hi — in this lesson we’re going to build a Hedex-inspired sub bass workflow in Ableton Live 12. It’s beginner-friendly and focused on vocals and drum-and-bass mixes. You’ll learn to split a single MIDI instrument into a mono sub and a stereo harmonic layer inside an Instrument Rack, route both into a bass bus, and use sidechaining and macros to create that pushing, rave-laced tension Hedex is known for. Everything uses Live’s stock devices.
Lesson overview
By the end of this session you’ll have:
- One MIDI bass instrument with two chains: a mono SUB for a clean low end, and a HARM stereo chain for character and width.
- A grouped Bass Bus with EQ and sidechain ducking to the kick, and an optional gentle sidechain to a vocal bus.
- Mapped macros for crossover, drive, harmonic width, and sidechain intensity so you can automate tension quickly.
Step-by-step walkthrough
Note: I will include the required phrase in this walkthrough — see step 1 below.
Step 1 — Create the instrument and name it
Insert a new MIDI track and rename it “SubBass_Hedex.” Load Wavetable, or Operator if you prefer, as your sound source. Program a simple bassline — root notes on quarter or half notes are perfect for a beginner DnB sub pattern.
Step 2 — Build the Instrument Rack and chains
Drag an Instrument Rack into the device chain. If you didn’t start with one, create an empty rack and move Wavetable into Chain 1. Open the rack’s chain list and duplicate Chain 1 to make two chains. Rename them “SUB - Mono” and “HARM - Stereo.”
Step 3 — SUB - Mono chain
On the SUB chain keep Wavetable simple: single sine-ish oscillator, low-pass closed slightly so the patch focuses on the fundamental. After Wavetable, add EQ Eight and apply a steep low-pass around 120 Hz to 200 Hz — start at 120 Hz. Put a Utility after EQ Eight and set Width to 0% to force mono below the crossover. Add a light Compressor or Glue Compressor for gentle control — aim for 1 to 2 dB of gain reduction.
Step 4 — HARM - Stereo chain
In the HARM chain, load a richer wavetable or a slightly detuned oscillator setup to create harmonics. You can transpose this chain down an octave if it helps align harmonics with the sub. Add EQ Eight and high-pass at the same crossover point you used on the SUB chain so the HARM only carries mid and high harmonic content. Add a Saturator (Soft Sine or Analog Clip) for character — drive lightly. Place a Utility and set Width between about 70% and 130% to open the stereo field. Optionally add a subtle Chorus, Phaser, or Frequency Shifter for extra rave texture.
Step 5 — Balance and macros
Balance the chain volumes — start with HARM around -6 dB so the SUB reads stronger. Map useful parameters to macros:
- Macro 1: SUB Level — map the SUB chain volume.
- Macro 2: HARM Level — map the HARM chain volume.
- Macro 3: Crossover — map the HP/LP filter frequencies on both EQ Eights so one knob moves them inversely.
- Macro 4: Drive — map Saturator Drive or Wavetable oscillator mix.
- Macro 5: HARM Width — map Utility Width on the HARM chain.
Step 6 — Create a Bass Bus and group routing
Group the MIDI track with Ctrl/Cmd+G and name the group “Bass Bus.” On the Bass Bus insert an EQ Eight for gentle shaping, optionally add Multiband Dynamics to glue mids and highs more than sub, then a final Compressor and Limiter to catch peaks.
Step 7 — Sidechain ducking to kick and vocals
On the Bass Bus Compressor enable Sidechain and choose the Kick track as the input. Set Attack very fast, Release medium-fast (30 to 100 ms), and Ratio around 4:1. Adjust threshold so the kick punches through. For vocal-friendly ducking, add a second compressor after the first, sidechained to your Vocal Bus with a gentler ratio and longer release so the bass yields softly to vocals. Map the compressor’s threshold to a macro if you want one-knob control over sidechain intensity.
Automation and performance tips
Automate Macro 4 (Drive) and Macro 5 (HARM Width) to rise during build sections — this adds harmonic energy and stereo spread while the SUB remains solid. Automate the Crossover slightly upward in sections where the kick needs more transient space. Consider mapping Drive, HARM Level, and Width to a single “Tension” macro for quick performance control.
Final checks
Place a Utility at the end of the Bass Bus and switch to mono to test compatibility. Use a Tuner or spectrum analyzer to confirm sub notes are in key and there are no unwanted low harmonics.
Common mistakes to avoid
- Don’t let the HARM chain overpower the sub — balance before coloring.
- Never widen the actual sub frequencies — keep SUB chain Width at 0% or use M/S.
- Avoid saturating the SUB chain; apply saturation to HARM only.
- Don’t skip kick sidechaining or the kick and sub will fight.
- Always perform a mono check to make sure the bass remains present.
Pro tips
- Map a single “Tension” macro that blends Drive, HARM Level, and Width for instant build control.
- Small detuning (±3–10 cents) on HARM adds movement without compromising sub pitch.
- Use Multiband Dynamics on the bus to glue mids and highs while preserving sub punch.
- Automate vocal-sidechain behavior so vocals cut through only when needed.
- Use transient shaping or subtle clipping on the HARM chain to add perceived attack without touching the sub.
Mini practice exercise
Create a 16-bar loop: a simple kick and a 2-bar sub bassline in C minor. Build the Instrument Rack with SUB and HARM chains. Map Crossover, Drive, HARM Width, and a Tension macro. Add kick sidechain to the Bass Bus and a gentle Vocal Bus sidechain using a dummy vocal track. Automate Tension from 0 to 70% over bars 9 to 12 and listen for the build that keeps the kick solid but adds rave energy.
Recap
You’ve built the Hedex approach: a two-chain Instrument Rack with a mono SUB and stereo HARM, routed through a Bass Bus with EQ and sidechain to kick and vocals. Keep the sub mono, add harmonics separately, saturate the HARM chain, sidechain smartly, and use macros and automation to sculpt tension quickly.
Closing
Save your rack as a preset, experiment with the macro ranges, and use the quick routing shortcuts if you prefer duplicating tracks instead of racks. This split of solidity and harmonics is the core idea — you’re now set to create powerful, rave-ready low end that plays nicely with drums and vocals.
