DNB COLLEGE

Drum & Bass Ableton Live 12 Tutorials

LESSON DETAIL

Modulate a tape-hiss atmosphere with DJ-friendly structure in Ableton Live 12 (Intermediate)

An AI-generated intermediate Ableton lesson focused on Modulate a tape-hiss atmosphere with DJ-friendly structure in Ableton Live 12 in the Arrangement area of drum and bass production.

Back to lessons
Sign in with Google Full access enabled
Modulate a tape-hiss atmosphere with DJ-friendly structure in Ableton Live 12 (Intermediate) cover image

Narrated lesson audio

The voice track includes the tutorial plus extra teacher commentary.

Open audio file

Main tutorial

Lesson Overview

A tape-hiss atmosphere is one of the quickest ways to make a DnB intro feel alive, moody, and mix-ready — but the real skill is making it evolve with the arrangement instead of sitting there as static background noise. In this lesson, you’ll build a moving hiss bed in Ableton Live 12 and shape it into a DJ-friendly structure that supports a full drum & bass tune: intro, tension build, drop, breakdown, and outro.

This matters because in DnB, atmosphere is not just decoration. It helps define the emotional tone before the drums hit, creates contrast under the drop, and gives DJs a clean, intentional intro/outro for mixing. In darker rollers, jungle, neuro-influenced tracks, and half-time crossover ideas, a modulated hiss layer can glue transitions together while leaving space for sub, kicks, snares, and reese movement.

The key is to make the hiss feel rhythmically and harmonically “part of the record” without cluttering the low end or masking the drum transients. We’ll use stock Ableton tools — especially Simpler, Auto Filter, Filter Delay, Utility, EQ Eight, Saturator, Reverb, and automation lanes — to build a controlled atmosphere with movement. The focus is arrangement: how to make the texture develop over 16-, 32-, and 64-bar phrases in a way that feels professional and DJ-ready 🎛️

What You Will Build

By the end of this lesson, you’ll have a reusable Ableton rack or audio track that creates:

  • A wide, dusty tape-hiss layer with subtle pitch drift and filter movement
  • A darker, more unstable version for breakdowns and intro tension
  • A DJ-friendly arrangement where the hiss opens up during intro bars, thins out around drops, and returns in the outro
  • Controlled low-end cleanup so the atmosphere never fights the sub
  • Automation that makes the hiss breathe with the drums, instead of looping like a flat sample

    • Musically, this will work for:

  • 16-bar DJ intros with filtered hats and distant texture
  • 32-bar rollers intros where the first drop arrives clean and heavy
  • Breakdown sections with warbly tension before a second drop
  • Outlines for jungle-style transitions where atmosphere can briefly take the lead before the break edit returns

    • Think of it as a “moving air bed” that supports the track’s energy curve while keeping the mix organized.

    Step-by-Step Walkthrough

    1. Create the hiss source and place it in the arrangement intentionally

    Start with a new audio track and import a clean tape-hiss sample, vinyl noise, or room-noise recording. If you don’t have a dedicated sample, you can make one from almost any noise source by using Ableton’s Simpler with a noise-like clip, or by resampling a quiet section of an existing texture.

    Best practice in DnB: keep the source narrow and controllable at first. Don’t start with a giant stereo wash — you want to shape it into something that feels like it belongs in the record.

    In Arrangement View, place the hiss on a long clip that spans at least 64 bars. This gives you room to automate its evolution across sections. If the track is a 174 BPM roller, think in 16-bar phrases:

    - Bars 1–16: intro texture

    - Bars 17–32: tension building

    - Bars 33–48: first drop or main section

    - Bars 49–64: variation or breakdown

    - Bars 65+: outro or DJ exit

    If the sample has obvious clicks or start/end noise, fade it manually using clip fades before you do any processing.

    2. Shape the hiss with filtering so it sits above the drums, not inside them

    Add Auto Filter after the hiss source. This is your main tone-shaping tool for turning generic noise into a musical atmosphere.

    Suggested starting settings:

    - Filter type: High-Pass or Band-Pass depending on the mood

    - High-pass cutoff: around 300–700 Hz to clear room for kick, snare, and bass

    - Resonance: 5–20% for a subtle edge, or higher if you want a whistling, tension-heavy character

    - Drive: small amount only, around 2–6 dB if needed

    For darker DnB, a high-pass around 400–500 Hz often works well because it keeps the hiss from clouding the drum bus. If the track is very sparse and atmospheric, you can let some lower mid content through, but check the bass and snare relationship carefully.

    Then automate the cutoff across the arrangement:

    - Intro: slightly closed filter for mystery

    - Pre-drop: slowly open the filter to create lift

    - Drop: reduce the hiss or narrow it so the drums hit harder

    - Outro: reopen the filter to let the atmosphere return

    Why this works in DnB: the genre depends on contrast. A filtered hiss that opens before a drop creates perceived lift without needing a huge riser. It also keeps the intro DJ-friendly because the texture is not permanently masking the groove.

    3. Add movement with very slow modulation, not obvious wobble

    To avoid a static loop, add subtle motion with one or more stock devices. The trick is to keep the modulation slow enough to feel like tape instability rather than a synth LFO.

    Good options:

    - Auto Pan: very slow rate, 0.05–0.20 Hz, Amount 10–35%, Phase 180° for width motion

    - Chorus-Ensemble: low Mix, subtle Rate, if you want a slightly smeared tape feel

    - Frequency Shifter: tiny shifts for unstable cassette character, but keep it extremely subtle

    - Simpler's sample start movement if your hiss is looped from a longer file

    A useful chain could be:

    - Auto Filter

    - Auto Pan

    - Saturator

    - EQ Eight

    - Reverb

    If using Auto Pan, try:

    - Amount: 15–25%

    - Rate: synced to 2 bars or 4 bars for very slow movement

    - Phase: 180° for stereo motion, 0° if you want volume-style pulsing instead

    If you want the hiss to feel less “plugin perfect,” automate the Auto Pan Rate slightly over time. Even small changes from 1/2 bar to 1 bar sync can make the atmosphere feel alive.

    4. Add tape-style grit and density without destroying the top end

    Insert Saturator after the filter to add harmonic dirt and slight compression-like density. Tape-hiss atmospheres in darker DnB often sound more believable when they’re slightly worn, not clean.

    Start here:

    - Drive: 1.5–5 dB

    - Soft Clip: On if the hiss gets spiky

    - Output: trim to maintain headroom

    If you want a more brittle, aged tone, try a little bit of Overdrive or Pedal before Saturator, but keep it restrained. The goal is texture, not harshness.

    For extra movement, you can automate Saturator Drive by section:

    - Intro: low drive for distant air

    - Tension section: slightly higher drive for more grain

    - Breakdown: boost drive to make the hiss feel closer and more unstable

    - Drop: reduce drive again so the drums stay dominant

    Keep your saturation subtle enough that the high frequencies don’t turn into white-noise fizz. In DnB, fizz can quickly crowd cymbals, rides, and snare tails.

    5. Control stereo width and low-end discipline with Utility and EQ Eight

    A tape-hiss layer should usually be wide enough to feel immersive, but not so wide that it destabilizes the mix. Add Utility and EQ Eight for cleanup and stereo control.

    Practical settings:

    - Utility Width: 110–140% if you want a wider ambience, or 70–90% if the mix is already dense

    - Utility Bass Mono: not essential for hiss, but good if the source has unwanted low-mid movement

    - EQ Eight high-pass: often 300–800 Hz depending on the source

    - Optional low-pass: 8–14 kHz if the hiss is too sharp or fights cymbals

    If the hiss has unpleasant resonances, use EQ Eight with a narrow cut around 2–5 kHz. That region can become piercing against DnB snares and bright ride patterns.

    This is especially important in darker rollers and neuro-adjacent tracks where the drum bus often has a lot of upper-mid attack. You want atmosphere, not competition.

    6. Shape the arrangement like a DJ tool, not just a loop

    Now move from sound design to arrangement. This is where the lesson becomes genuinely useful in a finished DnB track.

    Build the hiss into phrase-based sections:

    - Bars 1–8: dry-ish hiss with closed filter

    - Bars 9–16: slowly open filter and add more width

    - Bars 17–24: introduce an automation dip or gap so the next drum entry lands harder

    - Bars 25–32: full texture return with extra reverb or modulation

    - Bars 33–48: reduce hiss during the drop; bring it in only at phrase ends

    - Bars 49–64: bring the atmosphere back for breakdown or second intro

    A useful DJ-friendly structure example:

    - 16-bar intro: hiss + filtered percussion + occasional snare ghost

    - 16-bar build: more movement, maybe a reese teaser or distant vocal stab

    - 32-bar drop: drums and bass lead, hiss becomes occasional transition glue

    - 16-bar breakdown: hiss swells again, maybe with reverse tails or reverb automation

    - 16-bar outro: strip back drums, leave hiss and percussion for mixing out

    In Ableton, automate clip gain, device on/off, filter cutoff, and reverb send rather than relying on one long static volume automation. Small changes between sections feel more intentional and make it easier for DJs to read the track.

    7. Add reverb and delay only as arrangement accents

    A common mistake is to leave the hiss drenched in reverb for the entire track. Instead, use Reverb and, optionally, Filter Delay as momentary effects.

    Recommended approach:

    - Reverb on the hiss: low Dry/Wet, around 8–18% for base ambience

    - Decay: 1.5–4 seconds depending on density

    - Pre-delay: 10–30 ms to preserve the hiss attack

    - High Cut in Reverb: reduce top-end wash if the mix gets harsh

    For specific transitions, automate the reverb send upward at the end of phrases. This works extremely well before:

    - snare fills

    - break edits

    - sub drops

    - halftime switch-ups

    If you add Filter Delay, keep it minimal and mostly for transition flavor. Very short delay times, low feedback, and filtered repeats can make the hiss feel like it’s unraveling into the next section without sounding like a traditional echo effect.

    8. Use arrangement gaps and mutes to make the atmosphere feel intentional

    DJ-friendly DnB arrangement is often about subtraction. Don’t let the hiss play constantly at full level. Create deliberate gaps.

    Try muting the hiss:

    - for 1 bar before the drop

    - on the first downbeat of a new phrase

    - during a snare fill

    - right before a bass call-and-response moment

    Those small dropouts let the listener feel the impact of the drums and bass returning. In a darker track, a one-beat or one-bar silence in the atmosphere can be more effective than another riser.

    If your track uses a reese bass or neuro-style mid bass, use the hiss to contrast the bass movement:

    - keep hiss active in intro and breakdowns

    - reduce it during dense bass phrases

    - bring it back at the end of 8- or 16-bar call-and-response cycles

    This creates a clean arrangement hierarchy: sub and drums stay dominant, while the atmosphere provides context rather than clutter.

    9. Resample the finished modulation for faster arrangement decisions

    Once your hiss chain sounds good, resample a few bars into a new audio track. This gives you a frozen version you can chop, reverse, or rearrange without constantly tweaking the device chain.

    Useful resampling moves:

    - Slice the resampled hiss into 1- or 2-bar fragments

    - Reverse selected hits for pre-drop tension

    - Shorten some clips to create rhythmic gaps

    - Duplicate a bar and automate different filter positions for variation

    This is a classic intermediate workflow in Ableton because it speeds up decision-making. Instead of endlessly automating a live chain, you turn the texture into arrangement material. That’s very DnB: commit, edit, and move forward.

    Common Mistakes

  • Leaving the hiss too loud

    • - Fix: Pull it down until you only notice it when it disappears. Atmosphere should support the track, not demand attention.

  • Letting low mids build up

    • - Fix: Use EQ Eight high-pass aggressively if needed. The 200–800 Hz zone can quickly muddy kick, snare, and bass clarity.

  • Making the modulation too obvious

    • - Fix: Slow down Auto Pan, reduce depth, and avoid fast filter sweeps unless you want a deliberate transition effect.

  • Drowning the hiss in reverb all the time

    • - Fix: Keep the base signal fairly dry and automate reverb only for phrase ends or breakdown moments.

  • Using wide stereo without mono checks

    • - Fix: Use Utility to control width and check your mix in mono. The atmosphere should collapse gracefully, not disappear or create phase weirdness.

  • Forgetting arrangement purpose

    • - Fix: Ask whether the hiss is helping intro, buildup, drop contrast, or outro mixing. If not, simplify it.

    Pro Tips for Darker / Heavier DnB

  • Sidechain the hiss lightly to the kick or drum bus

    • - Use Compressor with sidechain from your drum bus if the atmosphere competes with the groove. Keep it subtle — just enough to make room for the snare and kick punch.

  • Automate filter movement by phrase length, not random motion

    • - Dark DnB often feels stronger when modulation is structured in 8-, 16-, or 32-bar arcs. Random movement can sound unfocused.

  • Add a hint of bit reduction only if the track wants grime

    • - Ableton’s Redux can introduce a rough digital edge. Use it very gently and filter after it to keep the hiss from becoming brittle.

  • Pair the hiss with ghost percussion or break edits

    • - A faint breakloop under the atmosphere can make the texture feel like part of the groove. This works especially well in jungle and roller arrangements.

  • Use the hiss to frame bass call-and-response

    • - Let the atmosphere swell during bass rests and thin out when the bass answers. That contrast adds aggression without extra layers.

  • Print a darker version for breakdowns

- Duplicate the track and make one version more filtered, more saturated, and slightly less stereo. Swap it in during breakdowns for emotional depth.

Mini Practice Exercise

Spend 10–20 minutes building a DJ-friendly hiss passage in Ableton Live 12:

1. Load or create a hiss source on one audio track.

2. Add Auto Filter, Saturator, EQ Eight, and Utility.

3. Set a high-pass around 400–600 Hz and add 2–4 dB Saturator Drive.

4. Automate the filter cutoff across 16 bars: closed in the intro, open near the transition, then slightly closed again for the drop.

5. Add Auto Pan at a very slow rate and keep the depth subtle.

6. Duplicate the clip into a 64-bar arrangement and create at least three different phrase states.

7. Mute the hiss for one bar before a drop or fill.

8. Resample 4 bars of the best version and chop one reverse swell for the transition.

Goal: by the end, you should have a moving atmosphere that clearly supports a DnB intro and outro without muddying the drums or bass.

Recap

A tape-hiss atmosphere becomes powerful in DnB when it is arranged with purpose. Use stock Ableton devices to filter, widen, saturate, and subtly modulate the texture, then automate it in phrase-based sections so it supports the track’s energy curve. Keep it clean in the low mids, controlled in stereo, and disciplined around drops.

The big takeaway: in drum & bass, atmosphere should help the drums and bass feel bigger, not busier. When the hiss opens, closes, swells, and drops with the arrangement, it starts sounding like part of the record — and that’s what makes it DJ-friendly and replay-worthy.

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 
Welcome back. In this lesson, we’re going to take something simple, like tape hiss or noise, and turn it into a real DnB atmosphere that moves with the arrangement. Not just a loop sitting in the background, but a living texture that helps the intro breathe, the drop hit harder, and the outro feel clean for DJ mixing.

If you’ve ever heard a drum and bass track where the intro immediately feels moody, dusty, and ready to roll, there’s a good chance some kind of hiss bed or noise layer is doing quiet heavy lifting underneath everything. The trick is making it feel intentional. We want it to sound like part of the record, not like an effect parked on top of the song.

So let’s build this in Ableton Live 12 using stock devices only.

Start by creating a new audio track and loading in a hiss source. That could be a tape-hiss sample, vinyl noise, room tone, or even a quiet noise-like section from another recording. If you don’t have a perfect sample, don’t overthink it. A good atmosphere often starts from something very plain.

At this stage, keep it controlled. Don’t reach for a giant wide stereo wash right away. In drum and bass, especially darker rollers and jungle-influenced stuff, you usually want the source to be narrow and manageable first, then you shape it until it sits properly.

Now place the hiss as a long clip in Arrangement View. Ideally, let it span at least 64 bars so you’ve got room to automate the energy over time. That way, you’re not just making a texture, you’re designing a sectioned arrangement. Think in phrases. At 174 BPM, that usually means 16-bar blocks, and that’s exactly how DJs and listeners feel the track unfolding.

Before adding any processing, check the clip edges. If there are clicks or little pops at the start or end, add fades so the sample loops smoothly and doesn’t distract from the groove.

Now let’s shape the tone. Add Auto Filter after the hiss source. This is your main tool for making generic noise feel musical. A high-pass filter is usually the first move because we want to clear out space for the kick, snare, and sub. Start somewhere around 300 to 700 Hz depending on how dense the track is. For a darker DnB mix, a cutoff around 400 to 500 Hz is often a really solid starting point.

If the hiss sounds too polite, give it a little resonance, just enough to add edge and focus. But keep it tasteful. We’re not trying to make a whistle. We’re trying to create tension and air.

Now comes the arrangement part. Automate the cutoff across the song so the hiss opens and closes with the energy. A good basic arc is closed or slightly muted in the intro, gradually more open as you approach a transition, then pulled back a bit when the drop lands so the drums feel bigger. Later, in the breakdown or outro, you can open it back up again.

That movement matters a lot in DnB because contrast is everything. If the noise is constantly wide open, it stops helping the arrangement. But if it breathes with the song, it feels like a real part of the structure.

Next, we’re going to add movement, but keep it subtle. This is not the place for a dramatic wobble. We want slow instability, like tape drift or old hardware breathing in the background.

Add Auto Pan after the filter. Set it to a very slow rate. You can try syncing it to two bars or four bars for long, gradual motion. Keep the amount fairly modest, maybe around 15 to 25 percent to start. If you want stereo motion, use a 180-degree phase. If you want more of a pulsing feel, use 0 degrees. In most cases, the stereo motion version is the better move for atmosphere.

A useful teacher tip here: if the movement feels too obvious, don’t add more. Reduce the amount, slow the rate, or automate tiny changes over time instead. In background layers, less motion often sounds more expensive.

If you want the hiss to feel a bit more organic, you can also add Chorus-Ensemble very lightly, or a tiny amount of Frequency Shifter, but keep both subtle. The goal is a worn, unstable texture, not an effect demo.

Now let’s add some grit. Drop in Saturator after the filter, and use it to add a little density and harmonic color. Start with just a small amount of drive, maybe 2 to 4 dB. Turn on Soft Clip if the signal gets a little spiky.

This is where the hiss starts to feel less like plain white noise and more like a character in the track. A little saturation can make it seem older, dustier, and more believable. But if you push too hard, it gets fizzy, and fizz is exactly what you don’t want fighting your cymbals, rides, and snare tails.

A good approach is to automate the drive by section. In the intro, keep it lower so the texture feels far away. In the build or breakdown, raise it a little for more grain and instability. Then back it off during the drop so the drums stay dominant.

Now we clean up the stereo and low-mid space. Add Utility and EQ Eight. Utility is great for managing width, and EQ Eight is where you make sure the atmosphere stays out of the way.

If the mix can handle a wide layer, try widening the hiss a little, maybe around 110 to 140 percent. If the arrangement is already crowded, keep it more conservative. The point is to create space and width, not phase problems.

Then use EQ Eight to high-pass more aggressively if needed. A lot of hiss samples carry hidden low-mid junk, and in DnB that can muddy the kick and snare very fast. If there’s a harsh area poking out around 2 to 5 kHz, make a narrow cut there. That region is dangerous because it can clash with the snare crack and bright ride patterns.

This is a really important habit: always listen to the hiss against the snare transient and the ride pattern. Those are the details that tell you whether the layer is helping or masking.

At this point, the sound design chain might look something like Auto Filter, Auto Pan, Saturator, EQ Eight, and Utility. Simple, but effective.

Now let’s talk arrangement, because this is where the lesson becomes useful in a real track, not just in a sound design exercise.

Instead of letting the hiss run unchanged for the whole song, give it a job in each section. In the first eight bars, maybe it stays fairly dry and filtered. In bars 9 to 16, you can slowly open it and widen it a bit. In the next section, pull it back for a moment so the transition feels stronger. Then bring it back fuller before the first drop or main section.

Think of the hiss as a DJ tool. It should help an intro mix cleanly, build tension without needing a giant riser, and then get out of the way when the drop hits. That’s what makes it professional.

A really effective DnB structure might go like this: a 16-bar intro where the hiss sits with filtered percussion, then a 16-bar build where the atmosphere gets more animated, then a 32-bar drop where the drums and bass lead and the hiss only appears in small transition moments, then a breakdown where the texture swells again, and finally an outro where the arrangement strips back enough for a clean mix out.

One thing I want to stress here: use mute and gap moves. Don’t be afraid to pull the hiss away for a bar before a drop, or cut it briefly on the first downbeat of a new phrase. Those tiny dropouts make the return feel bigger. In club music, subtraction is often more powerful than adding another layer.

If your track has a reese or neuro-style mid bass, this becomes even more important. Let the hiss support the intro and breakdown, but thin it out during dense bass phrases so the low-mid movement can speak clearly. The atmosphere should frame the bass, not compete with it.

Now we can add space effects, but only as accents. A common mistake is to drown the hiss in reverb the whole time. That usually makes the mix cloudy and vague. Instead, add Reverb with a fairly low wet amount, maybe around 8 to 18 percent, and use it more like a finishing layer than a permanent wash.

Set the decay to something reasonable, maybe 1.5 to 4 seconds depending on how dense the track is. Pre-delay helps preserve the attack of the hiss, so a small amount, like 10 to 30 milliseconds, is often useful. If the reverb gets too bright, roll off the top end so it doesn’t fight the cymbals.

You can also automate the reverb send only at the ends of phrases, especially before fills, break edits, or drop moments. That creates a sense of the atmosphere opening up for a second and then snapping back into the arrangement.

If you want a little transition flavor, try Filter Delay too, but keep it minimal. Short times, low feedback, and filtered repeats can create a nice unraveling effect without sounding like a standard echo.

Now, for a more advanced move, think about section-specific processing. You can duplicate the hiss track and make different versions for different parts of the song. One version can be narrow and filtered for the intro. Another can be dirtier, wider, and more unstable for the breakdown. A third can be cleaner and simpler for the outro. This gives you much more control than trying to force one chain to do everything.

Also, check your Arrangement Overview in Live 12. It’s a great way to spot where your texture is too constant. If the hiss looks identical for too many bars, that’s a sign to introduce a change. Usually, even a small automation move every 8 or 16 bars makes the atmosphere feel much more alive.

Here’s another pro move: once your chain is sounding good, resample a few bars of it onto a new audio track. That lets you chop it, reverse selected pieces, and build transition moments without keeping everything live all the time. This is very much an intermediate Ableton workflow move. You commit, resample, and then use the audio like arrangement material.

For example, you could slice a resampled swell into short fragments, reverse one of them, and place it before a fill. Or duplicate a bar and change the filter position on each copy so the texture evolves across the phrase. That kind of editing makes the atmosphere feel authored, not looped.

Now let’s quickly cover the big mistakes to avoid.

First, don’t leave the hiss too loud. If you always notice it, it’s probably too loud. Atmosphere should support the track, not call attention to itself.

Second, don’t let the low mids pile up. That’s where the mix gets muddy fast. High-pass more aggressively if you have to.

Third, don’t make the modulation too obvious. Slow down the movement and reduce the depth if it starts sounding like a plugin effect instead of a background texture.

Fourth, don’t drown it in reverb all the time. Save the wet moments for phrase ends and breakdowns.

Fifth, always check mono. If the layer disappears or gets weird in mono, your stereo width may be too extreme.

And finally, always ask what job the hiss is doing. Is it tension? Glue? Width? Transition? If you can’t answer that for a section, simplify it.

For a darker or heavier DnB twist, you can lightly sidechain the hiss to the kick or drum bus. Not heavily, just enough to keep the transients clear. You can also add tiny automation changes in filter resonance, drive, width, and reverb send from phrase to phrase. Even small 2 to 5 percent changes can keep the texture from sounding looped.

If you want extra grime, a very light bit of Redux can work too, but only if the track wants that rougher digital edge. Filter after it so it doesn’t turn brittle.

Alright, let’s wrap it into a practical exercise. Build a 64-bar arrangement with three versions of the atmosphere: one for the intro, one for the breakdown, and one for the outro. Keep the intro version narrow and filtered. Make the breakdown version wider, a little dirtier, and more unstable. Make the outro version simpler and easier to mix out of. Add at least one intentional mute or gap, and resample one of the versions so you can chop a transition from it.

If you’ve done it right, the hiss should feel like it belongs to the record. It should help the intro feel alive, make the drop hit harder by contrast, and give DJs a clean path in and out of the track.

That’s the big takeaway here. In drum and bass, atmosphere is not just decoration. When you arrange it with purpose, it becomes part of the energy curve. The hiss opens, closes, swells, and disappears in the right places, and suddenly the whole track feels more professional, more musical, and way more DJ-friendly.

Nice work.

mickeybeam

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

Generating PDF preview…