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Stepper jungle ragga cut: shape and arrange in Ableton Live 12 (Advanced)

An AI-generated advanced Ableton lesson focused on Stepper jungle ragga cut: shape and arrange in Ableton Live 12 in the Automation area of drum and bass production.

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Lesson Overview

A stepper jungle ragga cut lives or dies by movement: the drums need to roll, the bass needs to answer the vocal chops, and the arrangement has to keep evolving without losing that blunt DJ-facing impact. In Ableton Live 12, the real skill is not just making the loop hit hard — it’s shaping automation so the tune feels alive across 16-, 32-, and 64-bar phrases.

This lesson focuses on building and arranging an advanced ragga-leaning stepper jungle section: chopped break energy, rude vocal stabs, a heavy sub/reese hybrid, and automation that creates tension, call-and-response, and drop momentum. You’ll use stock Ableton devices like Drum Rack, Sampler/Simpler, Operator, Wavetable, Saturator, Auto Filter, Echo, Reverb, Redux, Utility, EQ Eight, Compressor, Glue Compressor, Envelope Follower, and Max for Live LFO if available.

Why this matters: in DnB, especially jungle and stepper-inspired material, the listener needs to feel constant progression even when the drum pattern stays minimal. Automation is how you move from a static loop into a record that DJs can mix, rewind, and keep riding. Done right, automation gives you weight, swing, grit, and arrangement drama without cluttering the mix.

What You Will Build

By the end, you’ll have a 32-bar stepper jungle ragga drop section with:

a tight kick/snare stepper pattern anchored by a chopped break layer
a deep mono sub with a midrange reese or growl layer that opens and closes on phrase changes
ragga vocal cuts that answer the drums in a call-and-response pattern
automation-driven filter, distortion, send FX, and bass movement
DJ-friendly intro/outro logic that makes the section usable in a real set
a drop that evolves in 8-bar phrases, with subtle switch-ups and tension lifts

Musically, think:

Bars 1–8: stripped intro to the drop with vocal tease and filtered bass
Bars 9–16: main stepper groove with full bass statement
Bars 17–24: switch-up using break edit + bass automation
Bars 25–32: bigger variation, fill, and transition out

Step-by-Step Walkthrough

1. Build the core session layout before touching automation

In Arrangement View, sketch a 32-bar lane structure and color-code tracks for speed:

- Drums: kick, snare, break layer, hats/percs

- Bass: sub, mid bass/reese, FX bass stabs

- Ragga vocals: main chops, throws, delays

- Returns: dub echo, dark reverb, short room, parallel crunch

Start with a standard DnB tempo around 172–174 BPM. For a stepper jungle feel, keep the groove straight enough to hit hard, but allow the break edits to introduce shuffle and urgency.

Put down placeholder clips first. Advanced workflow tip: even if the sound design isn’t final, build the automation architecture early. In this style, arrangement decisions depend on automation movement — not the other way around.

2. Program the stepper foundation with break support

Build the drum bed in Drum Rack or directly in the Arrangement grid:

- Place a strong kick on beat 1

- Place the snare on beat 3 for the stepper feel

- Layer a chopped break underneath, but high-pass it so it doesn’t fight the kick/sub

For the break layer, load the break into Simpler in Slice mode or use audio clips with warping set carefully. Keep the break mostly in the mid/highs with EQ Eight:

- High-pass around 180–250 Hz

- Small cut around 400–600 Hz if it gets boxy

- Gentle high shelf if the hats need air

Add Glue Compressor lightly on the drum bus with 2:1 ratio, 1–3 dB gain reduction, and a medium attack so the transient stays punchy. The goal is not to smash it — it’s to glue the stepper shell to the break texture.

Why this works in DnB: the stepper kick/snare gives the track its square, head-nodding authority, while the break supplies jungle movement and historical flavor. The blend feels authentic because the groove is both rigid and fluid.

3. Design a bass system with sub + mid movement split cleanly

Use two bass layers:

- Sub layer: Operator sine or low-passed Wavetable

- Mid bass/reese layer: Wavetable, Analog-style patch, or resampled distortion chain

For the sub:

- Keep it mono

- Use Utility with Width at 0%

- Low-pass or gently roll off everything above about 90–120 Hz

- Avoid heavy distortion on the sub itself

For the mid layer:

- Start with two detuned oscillators or a resampled reese

- Add Saturator or Overdrive lightly

- Follow with Auto Filter or EQ Eight to shape the tone

- Use Corpus only if you want a metallic chest-thump texture, but keep it subtle

Advanced move: map the mid bass’s filter cutoff to a MIDI clip envelope or automation lane, then let it open only at phrase edges. A useful range is roughly 250 Hz to 2.5 kHz depending on how aggressive the patch is. Don’t leave it wide open all the time — that kills the tension.

4. Create the ragga cut phrasing before adding FX drama

Chop vocal phrases into short, percussive hits: “come again,” “move it,” “rude bwoy,” “selecta,” or similar one-shot-style phrases. Keep them rhythmically tight and almost instrument-like.

Place them as call-and-response elements:

- Voice hit after the snare

- Voice hit before a bass drop

- Short answer on the offbeat

- Long tail at the end of a phrase

Process the vocal track with:

- EQ Eight: high-pass around 120–180 Hz

- Saturator: drive just enough to bring mid presence

- Echo on a send for dub-style throws

- Auto Filter for sweeping the vocal in and out across sections

A strong arrangement choice: keep the ragga chops sparser in the main groove than you think. In this genre, space is power. One vocal strike can feel bigger than a wall of ad-libs if it lands on the right snare or bass gap.

5. Automate the bass to “speak” with the drums

This is the main lesson: don’t just automate for sweepy transitions — automate to create bass phrasing.

Use one or more of these moves:

- Auto Filter cutoff on the mid bass so each 4-bar phrase opens a bit more

- Drive or output gain on Saturator for aggression on fills

- Wavetable position or oscillator wavetable index to morph tone through the drop

- Resonance spikes at key phrase endings for a snarling accent

- Utility gain for bass drop-outs before vocal hits

Concrete automation idea:

- Bars 1–4: cutoff closed, bass muted or filtered low

- Bars 5–8: cutoff opens to full body, then dips on the final snare

- Bars 9–16: add tiny modulation to the cutoff every 2 bars, around 5–15% movement

- Bars 17–24: momentary bass mute on beat 4 of bar 20 or 24 for a ragga-style “pull”

- Bars 25–32: increase distortion drive by 1–3 dB or open a parallel layer for the final push

Keep the sub almost untouched by these moves. Automate the mid bass tone, not the low-end foundation, unless you’re intentionally creating a breakdown.

6. Shape send automation for dub tension and drop space

Set up return tracks:

- Return A: Echo

- Return B: Reverb

- Return C: parallel crunch/distortion using Saturator or Redux on a return

For Echo, try:

- Time: 1/4 or dotted 1/8

- Feedback: 15–35%

- Filter the repeats so they sit behind the lead

- Automate send level only on key vocal chops or snare fills

For Reverb:

- Keep it short and dark

- Decay around 1.2–2.4 s

- High-pass the return to avoid low-end mush

- Automate a tiny burst before a drop or switch-up

In a stepper jungle context, send automation is what gives you those momentary dub pockets between the snare hits. That contrast makes the next impact feel bigger. Too much global reverb will wash out the break, so automate one-shot throws, not constant haze.

7. Use arrangement automation to build 8-bar phrase identity

Organize the drop so each 8-bar segment has a role:

- Bars 1–8: tease, filter, space, vocal setup

- Bars 9–16: full groove, main bass statement

- Bars 17–24: variation with break cut and extra vocal jab

- Bars 25–32: final lift, fill, and exit cue

Advanced arrangement trick: use mute automation or clip launch-style dropouts on drum elements:

- Remove kick for half a bar before a snare re-entry

- Pull the bass out for one beat before a vocal stab

- Let the break fill the gap instead of adding more synths

If you’re working linearly in Arrangement View, create visible landmarks with markers like:

- “drop statement”

- “break switch”

- “vocal pull”

- “final bar fill”

This keeps your energy decisions intentional rather than random. In DnB, arrangement is often about precision in subtraction.

8. Add automated movement to drums without losing punch

Keep the drum bus consistent, but introduce subtle motion:

- Automate Auto Filter very slightly on the break layer only

- Use Transient shaping by arrangement: copy a snare fill, slice it, and automate volume rather than over-processing

- Add Redux or Saturator for just 1 bar before a drop to create grit

- Nudge ghost hats or percussion with velocity changes and tiny volume automation

Good parameter ranges:

- Break layer filter cutoff moving between 4 kHz and 12 kHz

- Return crunch send on fills only, around -18 to -10 dB depending on the density

- Drum bus glue reduction under 3 dB to avoid flattening the transient shape

The key is to make the drums feel like they’re breathing around the bass. If the automation makes the groove less stable, back off. The best movement in DnB is often barely noticeable until you mute it.

9. Print and resample the most important automation moments

Once the drop is functioning, resample the best moments into audio. This is especially useful for:

- a bass phrase with a perfect filter swell

- a vocal chop with dub delay tail

- a break fill with crunchy transition texture

Record these into a new audio track, then chop them into arrangement accents. Use them as:

- pre-drop tension

- switch-up glue

- last-bar transition

- fill into a new phrase

This is an advanced jungle workflow because it turns automation into material. Instead of always running real-time modulation, you freeze the best expression and arrange it like a sample.

Common Mistakes

Automating too many things at once

Fix: pick one primary motion per section — usually bass filter, vocal send, or drum crunch.

Letting the sub get dirty or stereo-widened

Fix: keep the sub mono with Utility and avoid wide FX below the low end.

Overfilling the drop with vocal cuts

Fix: leave breathing room so each ragga phrase lands like a statement.

Using filter sweeps instead of actual phrasing

Fix: automate in response to the snare grid and phrase structure, not just to “make it move.”

Breaking the groove with over-quantized edits

Fix: preserve some break swing and let ghost notes live. Jungle energy depends on micro-imperfection.

Too much reverb on drums or bass

Fix: keep ambience on returns, high-pass the returns, and automate only when needed.

Pro Tips for Darker / Heavier DnB

Put a very light Saturator on the mid bass and automate Drive up by a small amount on transitions. Even 1–2 dB can make the phrase feel angrier without destroying clarity.

Use frequency-separated automation: sub stays steady, mid bass moves, top percussion gets sparkle only in selected bars.
Automate a high-pass filter on the vocal return so the delay gets thinner as the phrase gets busier. That keeps the mix dark but readable.
Create a parallel crunch return with Redux set subtly. Blend it only on fills to make the drums feel like they’re tearing open.
For a more underground feel, automate the bass to duck slightly before the snare, then re-enter hard. That tiny negative space gives the stepper pattern more bounce.
If the reese feels too polite, resample it through Saturator + Auto Filter + EQ Eight, then re-record the output. Resampling often gives a more “finished” jungle bark than endless live tweaking.
Use mono checks constantly. Ragga cuts and reese layers can feel huge in stereo but collapse badly in club playback if the low-mid is too wide.
In darker material, automate less brightness than you think. Most of the tension should come from rhythm, filtering, and contrast — not constant top-end.

Mini Practice Exercise

Spend 10–20 minutes building a 16-bar automation-based drop skeleton:

1. Create a stepper drum loop with kick, snare, and a chopped break layer.

2. Build a mono sub and a mid bass layer.

3. Add one ragga vocal chop and place it on bars 2, 6, 10, and 14.

4. Automate the mid bass filter cutoff over the 16 bars:

- closed at the start

- opens gradually by bar 8

- dips for a half-bar pull before bar 9

- opens again for the final 4 bars

5. Automate one send FX only on the vocal chop at bar 14.

6. Add a one-bar drum crunch return on the final bar.

7. Export or freeze/resample the section and listen back in mono.

Goal: make the section feel like it is talking back to itself. If the automation is good, you should hear a clear sense of phrase shape even with the arrangement kept minimal.

Recap

Keep the sub stable, and automate the mid bass for movement.

Use ragga vocal cuts as rhythmic calls, not constant decoration.
Shape the drop in 8-bar phrases with clear tension and release.
Automate filters, sends, distortion, and mutes to create energy.
Preserve drum punch and mono low-end discipline so the tune translates in the club.
In stepper jungle, the best automation feels like the track is breathing and talking — not just sweeping.

Extra coach notes

1. Extra coach notes

Think in layers of control, not just one automation lane.

For this style, the best results usually come from combining a slow macro move with a faster, rhythmic modulation on a second parameter. Example: let the bass cutoff rise over 8 bars, while a separate envelope or LFO adds a tiny wobble every 1/2 bar.

Automate for DJ readability.

If you imagine someone mixing this into a set, the important moments should be obvious within a few bars: stripped section, tension rise, impact, release. If your automation is too subtle to “read” on first listen, exaggerate the contrast.

Avoid constant motion syndrome.

Not every bar needs movement. In jungle, the spaces between events are part of the phrasing. Leave a parameter still for 2 bars, then move it sharply. That contrast hits harder than nonstop drifting.

Use clip automation and track automation differently.

Clip envelopes are great for repeatable musical gestures inside a loop. Track automation is better for long-form arrangement changes. A strong workflow is to design the sound in a clip first, then print the useful gesture into arrangement automation.

Check the drop at low volume.

If the bass/vocal/drum relationship still makes sense quietly, the arrangement is probably working. If it only feels exciting loud, the automation may be relying too much on raw energy and not enough on shape.

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2. Advanced variation ideas

Phrase inversion on the second half of the drop

In bars 17–32, flip the expected response pattern: let the vocal hit first, then the drum fill answers. This creates a “question then answer” feel instead of the usual groove-first logic.

Micro-dropouts before key accents

Pull out the mid bass for a single 1/8 or 1/4 note before a snare or vocal hit. That tiny absence creates more impact than adding another layer.

Automation by register, not just filter tone

Duplicate your bass patch and automate which octave is active by phrase. A low-register statement in one section and a slightly higher, more nasal version in the next can make the arrangement feel like it’s evolving rather than repeating.

Pitch-nudge fill at the end of a phrase

Try a short pitch rise or fall on a vocal chop or bass stab during the last half-bar of a 4-bar cycle. Keep it quick and aggressive, like a tape gesture, not a melodic run.

Reverse ambience into the drop

Print a vocal delay tail or reverb swell, reverse it, and automate the send so it feeds into the next phrase. This gives you a dubby “suck-in” effect without cluttering the main groove.

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3. Sound design extras

Make the mid bass react to playing intensity

If you’re using a MIDI bass part, try linking velocity to filter cutoff or drive amount. Stronger notes can open the patch slightly more, making the line feel played rather than programmed.

Use subtle feedback on Echo for vocal throws

Set one delay throw to be almost unstable, then automate feedback only on a single word or syllable. That creates a haunted tail that feels very jungle/dub without becoming messy.

Build a “dirty top” layer separate from the main bass

Duplicate the bass, high-pass it heavily, distort it, then automate it in and out for 1-bar bursts. This can add aggression without touching the low-end core.

Resample a filtered bass phrase and re-chop it

Take one automation pass, record it to audio, and cut it into new stabs. This often produces more character than endlessly tweaking the synth itself.

Use transient emphasis on the break only

A short transient shaper or very light parallel compression on the break layer can make the edit feel more urgent, especially when the bass is doing long sustained phrases.

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4. Arrangement upgrade ideas

Design a “lift” bar before every major section change

Use one bar where drums thin out, vocal throw increases, and bass filter opens. Then restore the full pattern hard on the next downbeat. That setup makes the return feel bigger.

Treat every 8 bars as a small story arc

Bar 1 introduces, bars 2–3 develop, bar 4 resolves. Repeat the same logic across each phrase but with a different detail each time — a new fill, a different vocal, or a broader bass tone.

Add one signature event per 16 bars

This could be a reverse hit, a bass switch, a one-shot reese stab, or a sudden delay freeze. One memorable moment is usually enough to keep the listener engaged.

Use negative space as a transition tool

Instead of adding a fill, sometimes remove the kick or break for half a bar and let the vocal echo carry the momentum. This works especially well before a new section begins.

Create a second-version drop for the back half

Keep the first 16 bars focused on groove identity, then let bars 17–32 become more unstable: extra edits, heavier crunch, more aggressive send automation. That gives the arrangement a clear second chapter.

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5. Homework challenge

Build a 24-bar automation study with these rules:

1. Make a stepper drum pattern with a break layer and a mono sub.

2. Add one ragga vocal chop and one bass reese layer.

3. Create three different automation behaviors:

- a slow 8-bar filter opening

- a short 1-bar send throw

- a sudden 1/8-note bass mute before a snare

4. Resample one of the automation moments and reuse it as an arrangement accent.

5. In bars 17–24, reverse the logic of the first section:

- if the first section opened up, the second should tighten

- if the first section stayed dry, the second should become more echo-heavy

6. Export two versions:

- one with full automation

- one with only the core loop

7. Compare them at low volume and in mono.

Goal: make the automation feel like it is steering the phrasing, not just decorating it. If the arrangement still feels compelling when you strip it back, the movement is doing real musical work.

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Narration script

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Today we’re building a stepper jungle ragga cut in Ableton Live 12, and the big goal is not just to make a loop that hits hard, but to make the arrangement feel alive. In this style, the track has to breathe, talk, and keep moving across 8-bar phrases without losing that heavy DJ-ready impact.

So think of this lesson as a lesson in control. We’re going to control the drums, control the bass movement, control the vocal answers, and most importantly, control the automation so the tune keeps developing instead of looping on autopilot.

Start by sketching the full 32-bar shape in Arrangement View. Don’t jump straight into sound design and get lost there. Lay out the road map first. Color-code your tracks if that helps speed things up. Drums on one group, bass on another, vocals on another, and returns for echo, reverb, and crunch. That structure matters because with jungle and stepper material, the automation decisions are part of the composition, not an afterthought.

Set the tempo around 172 to 174 BPM. That gives you the right pressure for the genre: fast enough to drive, but still roomy enough for the break edits and vocal chops to speak clearly.

Now build the drum foundation. Put the kick on beat one and the snare on beat three for that stepper backbone. Under that, layer a chopped break. The break is where the jungle energy comes from, but don’t let it fight the kick and sub. High-pass it so it lives more in the mids and highs. Use EQ Eight and start somewhere around 180 to 250 hertz on the high-pass. If the break feels boxy, take a little out around 400 to 600 hertz. If it needs more air, add a gentle high shelf.

On the drum bus, use Glue Compressor lightly. We’re not trying to flatten the drums. We just want them to lock together. A 2 to 1 ratio, only a few dB of gain reduction, and a medium attack is enough to glue the kick, snare, and break into one solid shell while keeping the transients alive.

Now let’s build the bass system, because this is where the phrase movement really starts to live. Split it into two layers. First, a sub layer. Keep this dead simple: mono, clean, stable. Use Operator for a sine, or a very low-passed Wavetable patch. Put Utility on it, set Width to zero, and keep everything above about 90 to 120 hertz under control. The sub is the foundation. Don’t dirty it up too much.

Then build the mid bass, or reese layer. This is the part that can move. Use Wavetable, an analog-style patch, or a resampled distortion chain. Add a little Saturator or Overdrive, then shape it with Auto Filter or EQ Eight. This is the layer we’re going to automate to create tension and release.

Here’s a key advanced idea: don’t leave the bass open all the time. That kills the drama. Instead, automate the filter cutoff so the bass speaks in phrases. In the first few bars, keep it more closed. Then gradually open it. Then pull it back for tension. Then open it again for the next statement. If you’re using Wavetable, you can also automate wavetable position or oscillator movement so the tone morphs over the drop.

Now bring in the ragga vocal cuts. Chop them into short, punchy phrases like “come again,” “move it,” “rude bwoy,” or whatever fits your source material. The trick here is to treat them like percussion, not like a lead singer floating over the top. Place them in call-and-response with the drums. Let the voice hit after the snare, or just before the bass lands, or on an offbeat gap. That’s what makes the whole thing feel like it’s talking back.

Process the vocal with EQ Eight first. High-pass around 120 to 180 hertz so it stays out of the low end. Add a bit of Saturator if it needs more presence. Then set up Echo on a return for dub-style throws, and maybe a little Auto Filter so you can sweep the vocal in and out over the arrangement.

And here’s the important part: use space. In this style, less often means more. A single vocal stab placed in the right spot can hit harder than constant chatter. If you overfill the arrangement, you lose the rude, confident personality that makes ragga jungle work.

Now let’s talk about automation in the real sense of phrasing. We are not just drawing pretty sweeps. We are making the bass and vocals react to the drums. Start with a slow move on the mid bass filter over eight bars. Let it open gradually so the listener feels the track unfolding. Then use a faster, smaller motion on top of that, maybe a tiny wobble or little filter pulse every half bar or every two bars. That combination of slow macro movement and small rhythmic motion is what makes the automation feel musical instead of mechanical.

A good pattern might be this: in bars one to four, keep the cutoff fairly closed. In bars five to eight, open it so the bass fully arrives. On the last snare of that phrase, dip it slightly to create anticipation. In bars nine to sixteen, keep the main groove rolling, but add tiny changes every couple of bars so it never feels frozen. Then in bars seventeen to twenty-four, introduce a switch-up. Maybe mute the bass for a beat before a vocal hit. Maybe make the reese grow a little more aggressive. Maybe let the vocal answer first, then the drums respond. That reversal keeps the second half of the drop interesting.

Use automation on the mid bass, not the sub, unless you’re intentionally creating a breakdown. The sub should stay stable so the track keeps weight. If the low end starts wandering too much, the whole thing loses its authority.

Now set up your send effects. Create one return for Echo, one for Reverb, and one for parallel crunch or distortion using Saturator or Redux. Keep these returns under control and automate them only when they matter. For Echo, try a quarter note or dotted eighth, with feedback around 15 to 35 percent. Filter the repeats so they sit behind the lead, not on top of it. Then automate the send level only on specific vocal chops or snare fills.

For Reverb, keep it short and dark. A decay somewhere around 1.2 to 2.4 seconds is usually enough. High-pass the return so you don’t get muddy low-end wash. Then use tiny bursts of reverb before a drop or switch-up. That gives you a dub pocket, a little negative space before the next impact.

This is one of the biggest secret weapons in stepper jungle: send automation creates contrast. If everything is always wet, nothing feels special. But if you reserve the delay and reverb throws for key moments, the drop gets bigger without adding clutter.

Now shape the arrangement in clear eight-bar phrases. Think of it like a mini story every eight bars.

Bars one to eight are the tease. Keep the bass filtered, let the vocal hints appear, and leave some space.

Bars nine to sixteen are the main statement. Full groove, solid bass, more confidence.

Bars seventeen to twenty-four are the variation section. Maybe a break cut, maybe a bass pull, maybe a vocal jab in a different place.

Bars twenty-five to thirty-two are the lift and exit. Add a fill, increase the crunch a little, and set up the transition out.

That phrase thinking is important because DJs need to read your track quickly. If the structure is clear, the energy makes sense in a mix. A listener should feel the change coming before it fully arrives.

Now let’s add movement to the drums without destroying the punch. You do not want the drum bus constantly wandering around. Instead, automate subtle motion on the break layer only. A slight filter movement between about 4 kHz and 12 kHz can be enough. Add a little crunch from Redux or Saturator in just one bar before a drop, then pull it back. You can also slice a snare fill and automate its volume rather than over-processing it. Often the cleanest move is the most effective one.

If you want the drums to feel more urgent, nudge ghost hats or percussion with small velocity changes and tiny volume automation. That keeps the groove breathing while the kick and snare stay locked.

At this point, listen at low volume. That’s a great reality check. If the relationship between bass, drums, and vocals still makes sense when it’s quiet, the arrangement is probably working. If it only feels exciting loud, then the automation is probably leaning too hard on raw energy instead of real shape.

Once the drop is functioning, print the best automation moments to audio. This is a huge advanced workflow move. Resample a bass phrase with a perfect filter swell. Resample a vocal throw with the echo tail. Resample a crunchy drum fill. Then chop those recordings and use them as arrangement accents. That turns automation into actual musical material, which is a very jungle way of working.

Here’s the deeper lesson behind all of this: in stepper jungle ragga, the best automation does not feel like “effects.” It feels like phrasing. It feels like the track is breathing. It feels like the rhythm section is talking to the vocal, and the vocal is talking back to the bass.

So as you build, keep asking yourself a few questions. What is the main motion in this section? Is the sub staying steady? Are the vocals leaving enough space? Is the second eight-bar phrase clearly different from the first? Can a DJ read the energy in a few bars? If the answer is yes, you’re on the right path.

To finish, remember the core priorities. Keep the sub mono and stable. Let the mid bass carry the automation. Use vocal chops as rhythmic calls, not decoration. Shape the drop in eight-bar stories. Use filters, sends, distortion, and mutes to create tension and release. And always protect the punch of the drums.

If you get this right, the result is not just a loop. It’s a proper stepper jungle ragga section that moves with authority, swings with attitude, and feels ready for the system.

Now let’s get into the session and build it bar by bar.

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Drum & Bass Ableton Live 12 Tutorials