DNB COLLEGE

Drum & Bass Ableton Live 12 Tutorials

LESSON DETAIL

Sub pitch framework using macro controls creatively in Ableton Live 12 for jungle oldskool DnB vibes (Advanced)

An AI-generated advanced Ableton lesson focused on Sub pitch framework using macro controls creatively in Ableton Live 12 for jungle oldskool DnB vibes in the Breakbeats area of drum and bass production.

Back to lessons
Sign in with Google Full access enabled
Sub pitch framework using macro controls creatively in Ableton Live 12 for jungle oldskool DnB vibes (Advanced) cover image

Narrated lesson audio

The voice track includes the tutorial plus extra teacher commentary.

Open audio file

Main tutorial

Sub Pitch Framework Using Macro Controls in Ableton Live 12 for Jungle / Oldskool DnB

1. Lesson overview

In jungle and oldskool DnB, the sub is not just “low end” — it’s part of the movement of the track. A strong sub pitch framework gives you:

  • classic tension/release on intros and drops
  • movement without clutter
  • call-and-response phrasing between drums, bass, and breaks
  • controlled low-end variation that still translates on club systems

    • In this lesson, you’ll build a macro-controlled sub pitch system in Ableton Live 12 that lets you perform and automate sub notes, pitch dips, octave drops, and brief “wobble-like” movement in a disciplined jungle/DnB way.

    We’ll keep it tight, musical, and mix-friendly — not random LFO chaos. Think:

  • Reese support
  • rolling sub variation
  • oldskool “whoomph” bass drops
  • tape-style pitch slides
  • deep sub transitions under breakbeats 🥁

    • ---

    2. What you will build

    You’ll create a rack-based sub instrument with:

  • a clean sine/triangle sub layer
  • macro-controlled pitch offset
  • macro-controlled pitch envelope depth
  • optional glide/portamento behavior
  • a filtered mid support layer for audibility on small speakers
  • performance macros for:

    • - Sub Drop

    - Sub Rise

    - Sub Skank

    - Sub Mutate

    - Sub Weight

    This will allow you to automate a whole section of your sub behavior with a few knobs instead of drawing every note manually.

    ---

    3. Step-by-step walkthrough

    Step 1: Build the core sub sound

    Create a new MIDI track and load one of these stock devices:

  • Operator — best for pure sub control

  • Wavetable — if you want a more modern tonal edge
  • Analog — if you want slightly thicker character

    • For this tutorial, use Operator.

    Operator setup

    1. Load Operator on a MIDI track.

    2. Set Oscillator A to Sine.

    3. Turn off Oscillators B, C, D.

    4. Set:

    - Attack: 0 ms

    - Decay: 0 ms

    - Sustain: 0 dB

    - Release: 50–120 ms

    5. Set the Volume envelope to behave like a clean bass note.

    6. Tune your sub to the key of your tune.

    Important sub note range

    For jungle/DnB, keep the fundamental mostly around:

  • F1 to G2 for most basslines
  • lower if your arrangement is sparse and your kick is controlled
  • avoid living too low for too long if the mix gets crowded

    • If your track is in F minor, try bass notes around:

  • F1, Ab1, C2, Eb2

    • That gives you oldskool movement while staying rooted.

    ---

    Step 2: Add a pitch control device chain

    Place Pitch before Operator if you want global semitone control, or use Max for Live Envelope Follower/LFO only if you already know what you’re doing. For clean macro-controlled behavior, use stock devices.

    Recommended device chain

    On the MIDI track:

    1. Instrument Rack

    2. Inside it:

    - Pitch device

    - Operator

    - EQ Eight

    - optional Saturator

    - optional Utility

    This lets you control pitch before the synth and then shape the result.

    Why use Pitch?

    The Pitch device gives you a simple semitone offset that can be mapped to a macro. Great for:

  • dub-style pitch drops
  • intro risers
  • octave jumps
  • sub “ducking” before a snare fill

    • Suggested starting settings for Pitch

  • Transpose: 0 st
  • Detune: 0 ct
  • Random: 0%

    • Keep it clean. The movement will come from macro control.

    ---

    Step 3: Convert to an Instrument Rack and create macros

    1. Select the device chain.

    2. Press Cmd/Ctrl + G to group into an Instrument Rack.

    3. Show the Macro Controls.

    Rename your macros like this:

  • Macro 1: Sub Pitch

  • Macro 2: Pitch Env
  • Macro 3: Glide
  • Macro 4: Sub Weight
  • Macro 5: Harmonics
  • Macro 6: Filter Dip
  • Macro 7: Punch
  • Macro 8: Motion

    • Now you have a performance-oriented framework instead of a static bass sound.

    ---

    Step 4: Map the key macro controls

    Macro 1: Sub Pitch

    Map this to the Pitch device Transpose.

    Suggested range:

  • Min: -12 st
  • Max: +7 st

    • This gives you both deep drops and upward movement.

    #### How to use it

  • Keep verses at 0
  • Pull to -12 for classic sub drop moments
  • Push to +7 for rising tension before a drop

    • This is excellent for:

  • jungle fills
  • transition bars
  • breakdown build-ups
  • fake-outs before the snare returns

    • ---

    Macro 2: Pitch Env

    If you’re using Operator, map this to:

  • Pitch envelope amount on Oscillator A
  • or use Frequency Modulation / Pitch Envelope depending on your sound design approach

    • Suggested range:

  • Min: 0
  • Max: subtle to medium amount

    • What this does:

  • at low values, the sub stays pure
  • at higher values, the bass gets a quick attack “bend” that feels more oldskool and hardware-like

    • Good for:

  • 90s rave bass attitude
  • short ghost-note bass hits
  • kick/sub alignment

    • ---

    Macro 3: Glide

    Map this to:

  • Glide / Portamento time in Operator or synth equivalent

    • Suggested range:

  • Min: 0 ms
  • Max: 120 ms

    • Use this carefully. Too much glide destroys the pocket in DnB.

    #### Best use

  • short note overlaps
  • sliding into note changes in a rolling bassline
  • classic jungle “woooom” between bass notes

    • ---

    Macro 4: Sub Weight

    Map this to a combination of:

  • Operator oscillator level
  • Saturator drive
  • Utility gain

    • Suggested behavior:

  • increase perceived loudness and thickness
  • keep actual sub stable

    • A good trick is to map:

  • Operator volume from normal to slightly higher
  • Saturator Drive from 0 to 3 dB
  • Utility Gain from 0 to +2 dB

    • This gives you the feeling of a bigger sub without destroying the bass headroom.

    ---

    Macro 5: Harmonics

    Map this to:

  • Saturator Drive
  • or a Roar device if you want a more aggressive stock Ableton Live 12 sound
  • or Overdrive for a rougher oldskool edge

    • Suggested range:

  • subtle to moderate, never full-on

    • This macro is critical because sub alone can disappear on smaller systems. A little harmonic content helps the bass stay audible on headphones, laptop speakers, and club systems alike.

    ---

    Macro 6: Filter Dip

    Add an Auto Filter or EQ Eight before the sub’s output.

    Map:

  • cutoff
  • resonance if needed

    • Suggested range:

  • Low-pass cutoff: 60 Hz to 200 Hz
  • Resonance: minimal, unless doing a special effect

    • Use this to create:

  • intro muffling
  • breakdown filtering
  • drop reveal
  • quick “muffle then slam” moments

    • This is a great oldskool jungle device for arrangement movement.

    ---

    Macro 7: Punch

    Map this to:

  • Operator amplitude envelope attack/decay
  • or a Compressor sidechain threshold if you’re using one to help kick clarity

    • Suggested use:

  • shorter attack = punchier bass
  • slightly shorter decay = more room for breakbeats

    • If your kick and bass are fighting, keep the sub’s punch controlled so the break can breathe.

    ---

    Macro 8: Motion

    Map this to a subtle modulation target:

  • slight filter cutoff movement
  • Saturator dry/wet
  • Auto Pan very lightly if you want stereo movement above the sub region only

    • Important:

  • do not stereo-widen the true sub
  • keep anything below ~120 Hz mono

    • Use Motion for the higher harmonics, not the fundamental.

    ---

    Step 5: Split the sub and harmonics properly

    This is a big one in DnB.

    Recommended split

    Use Audio Effect Rack or separate layers:

  • Low sub layer: mono, clean, centered
  • Mid harmonic layer: filtered, slightly distorted, optional stereo movement

    • #### Method

    Duplicate the instrument chain or use a rack with two chains:

    Chain 1: Sub

  • Operator sine
  • EQ Eight low-pass / band keep
  • Utility set to mono
  • no widening

    • Chain 2: Harmonics

  • Operator or Wavetable layer
  • High-pass around 90–140 Hz
  • Saturator / Overdrive / Roar
  • optional chorus or phaser very subtly if you want modern texture

    • Why this matters

    Oldskool jungle bass often feels huge because it has:

  • a pure sub foundation
  • a midrange attitude layer
  • movement from arrangement and pitch changes

    • That’s more effective than one overprocessed bass patch.

    ---

    Step 6: Create a MIDI pattern that suits breakbeats

    Now write a bassline that respects the drums.

    Good DnB/jungle rhythm ideas

    Try:

  • short syncopated notes
  • call-and-response gaps
  • notes landing with the snare support
  • anticipation notes leading into the one

    • Example pattern idea in F minor

    Use notes like:

  • F1
  • Ab1
  • C2
  • Eb2

    • Try this phrasing:

  • Bar 1: F1 — rest — Ab1 — rest
  • Bar 2: C2 — F1 — rest — Eb2
  • Bar 3: F1 held briefly, then quick Ab1 pickup
  • Bar 4: drop to F1 with a pitch macro move down

    • Keep the bassline percussive, not legato all the time. Jungle works best when the bass behaves like part of the drum arrangement.

    ---

    Step 7: Automate macros for arrangement movement

    This is where the framework becomes musical.

    Macro automation ideas

    #### In the intro:

  • Sub Pitch: around 0 or muted
  • Filter Dip: low cutoff
  • Harmonics: moderate
  • Motion: subtle

    • #### Pre-drop:

  • automate Sub Pitch up slightly
  • increase Filter Dip cutoff
  • reduce harmonic content for a moment, then bring it back
  • add a brief pitch dip just before the drop

    • #### On the drop:

  • snap Sub Pitch back to 0 or -12 depending on the section
  • open the filter
  • restore sub weight
  • keep glide short and tight

    • #### During breakdowns:

  • use Pitch macro for rising tension
  • automate a slow movement from -12 to 0 over 1–2 bars
  • combine with a snare fill or break roll

    • ---

    Step 8: Layer with breakbeats intelligently

    Since this is a breakbeats lesson, your sub framework has to sit with the drums, not over them.

    Arrangement approach

  • Let the break loop carry the rhythmic identity
  • Use the sub as a counter-rhythm
  • Make sure sub notes leave space for:

    • - ghost snares

    - kick transients

    - rim shots

    - chopped amen or think breaks

    Practical trick

    If your bass note is too long, shorten it so the break’s transient detail stays audible.

    Use:

  • note length adjustments
  • envelope shortening
  • subtle sidechain compression with Compressor or Glue Compressor

    • Suggested sidechain settings:

  • Attack: 1–10 ms
  • Release: 50–120 ms
  • just enough gain reduction to open space, not pump dramatically unless the track wants it

    • ---

    Step 9: Use clip envelopes for precise pitch gestures

    In Ableton Live 12, clip automation is your friend.

    Open the MIDI clip and use:

  • Clip Envelopes
  • draw automation on the macro mapped parameters

    • Great gestures to draw

  • quick -12 semitone drop for one hit
  • +7 semitone rise at the end of a 4-bar phrase
  • slight filter cutoff swell into a fill
  • glide increase on one special slide note

    • This is especially useful for:

  • turnaround bars
  • amen chop transitions
  • breakdown-to-drop reveals

    • ---

    Step 10: Freeze the movement into audio when needed

    Once the sub framework is working:

    1. Resample the bass to audio, or

    2. Freeze/Flatten if the part is finalized

    Then you can:

  • cut precise bass hits
  • reverse selected notes
  • add tape-stop style edits
  • process the audio with Warp for oldskool movement

    • For jungle, audio edits often feel more authentic than endlessly tweaking MIDI.

    ---

    4. Common mistakes

    1. Making the sub too wide

    The true sub should stay mono. Wide sub = weak club translation and phase issues.

    2. Overusing glide

    Too much glide makes the bass lazy and loses the sharp, urgent energy that DnB needs.

    3. Too much pitch range

    A macro that goes wildly from -24 to +24 semitones will sound gimmicky. Keep it musical:

  • usually -12 to +7 is enough

    • 4. Letting harmonics dominate the sub

    The harmonic layer should support the sub, not replace it.

    5. Forgetting note length

    In breakbeat music, bass note duration affects groove heavily. Long notes can swallow the break.

    6. Automating too many macros at once

    If everything moves, nothing feels intentional. Pick 1–2 main motion sources per section.

    7. Ignoring headroom

    Sub pitch changes can create big low-end bursts. Watch your master gain and keep room for the kick and break.

    ---

    5. Pro tips for darker/heavier DnB

    Use pitch dips as tension devices

    A fast move from 0 to -12 semitones just before a snare fill can feel menacing and oldschool.

    Pair pitch movement with distortion control

    Map Harmonics so you can automate a slightly dirtier tone in drop sections and cleaner tone in breakdowns.

    Build a “sub answer” phrase

    Let the break answer the bassline. For darker DnB, this call-and-response vibe is huge.

    Use one-note pedal tones

    Hold one root note under a rolling break while automating:

  • pitch
  • filter
  • saturation

    • This creates heavy hypnosis without overcrowding the arrangement.

    Try transient emphasis on the bass attack

    A tiny amount of envelope punch or saturation can make the sub speak more clearly after the kick.

    Keep the fundamental stable

    If you’re using a moving pitch macro, don’t constantly shift the true root note. Let the macro be a performance tool, not the entire composition.

    Add a “fear” layer above the sub

    Use a filtered reese or sampled texture high-passed above 150 Hz. This keeps the bass dark but still gives eerie presence.

    ---

    6. Mini practice exercise

    Exercise: 8-bar jungle sub framework

    Build an 8-bar loop with:

  • Amen or similar breakbeat
  • root notes in F minor
  • a sub rack with the 8 macros above

    • #### Task

    1. Write a 2-bar bass motif using only:

    - F1

    - Ab1

    - C2

    - Eb2

    2. Map and automate:

    - Sub Pitch

    - Filter Dip

    - Harmonics

    3. In bars 5–8:

    - add one -12 semitone drop

    - add one +7 semitone rise

    - shorten note lengths in bar 7 to make room for the fill

    4. Bounce the loop and compare:

    - version A: clean sub

    - version B: macro-animated sub framework

    #### Goal

    Make version B feel more alive without becoming messy.

    ---

    7. Recap

    You’ve built a macro-controlled sub pitch framework in Ableton Live 12 that works for jungle and oldskool DnB by:

  • keeping the sub clean and mono

  • separating fundamental and harmonic layers
  • using macro mapping for pitch, glide, weight, and filtering
  • automating musical pitch gestures instead of random wobble
  • arranging the bass to breathe with breakbeats

    • The real power here is performance and arrangement control. With a well-designed rack, you can move from deep root notes to dramatic pitch drops and filtered tension sweeps in seconds — exactly the kind of workflow that keeps a DnB track feeling alive and deadly on the dancefloor 🔥

    If you want, I can also give you:

  • a ready-to-build Ableton rack map
  • a macro mapping table
  • or a specific oldskool jungle bassline example in MIDI note form.

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 building a sub pitch framework in Ableton Live 12 that’s designed for jungle and oldskool drum and bass, especially when you want that breakbeat energy, that classic tension and release, and those deep, musical pitch moves that feel intentional instead of random.

The big idea here is simple: in this style, the sub isn’t just low end. It’s part of the phrasing of the track. It can answer the break, lead into a fill, pull back before a drop, or slam down for that oldskool whoomph. So instead of drawing every little move by hand, we’re going to build a rack with macros that let you perform the bass like an instrument.

Start by creating a new MIDI track and loading Operator. Operator is ideal here because it gives you a clean sine-based sub with very precise control. Set Oscillator A to sine, and turn off the other oscillators. Keep the envelope clean and tight. You want instant attack, no decay, no sustain as a held tone, and a short release so the notes stay controlled but don’t click off too abruptly. Think of this as a pure sub foundation first, tone second.

Now, pay attention to the note range. For jungle and DnB, you usually want the fundamental living somewhere around F1 to G2. You can go lower if the arrangement is sparse, but if the tune gets busy, going too low for too long can make the mix lose focus fast. If your track is in F minor, notes like F1, Ab1, C2, and Eb2 are a great starting point. That gives you movement while still staying rooted in the key.

Next, we’re going to build the control framework. Before Operator, add a Pitch device if you want global semitone control. Keep it at zero for now. The point of this device is not to constantly shift the pitch, but to give us a macro-mapped offset we can automate for drops, risers, and quick pitch gestures. Leave transpose at zero, detune at zero, and random at zero. Clean and disciplined is the vibe.

Now group the chain into an Instrument Rack. Once it’s grouped, show the macro controls and rename them into a performance layout. A good set would be Sub Pitch, Pitch Env, Glide, Sub Weight, Harmonics, Filter Dip, Punch, and Motion. These names are not just labels. They reflect how you’ll actually think while writing the track: one or two controls for the musical phrase, and the others for tone, weight, and character.

Map Macro 1, Sub Pitch, to the transpose in the Pitch device. A useful range is from minus 12 semitones up to plus 7 semitones. That gives you proper sub drops, octave-style tension moves, and upward pushes before a drop. Keep the movement musical. You’re not trying to make a gimmick patch. You’re trying to create classic phrase motion that feels right with the break.

Macro 2 is Pitch Env. Map this to the pitch envelope amount inside Operator, or the closest pitch-related envelope control you’re using. Keep the range subtle to medium. At low settings, the sub stays pure. As you increase it, you get that little attack bend that feels very oldskool, almost hardware-like. This is a really nice way to add character to short bass notes and ghost notes without turning the patch into a wobble.

Macro 3 is Glide. Map this to portamento or glide time. Keep the range from zero to around 120 milliseconds. In DnB, glide can be amazing, but too much of it will blur the groove. You want just enough for those sliding note changes, those little tape-style pitch pulls, and those classic jungle transitions between notes. If the bass starts feeling lazy, shorten the glide immediately.

Macro 4 is Sub Weight. Use this as your perceived thickness control. Map it to a combination of oscillator volume, a little saturator drive, and maybe a small utility gain boost. The trick here is to make the bass feel bigger without just making it louder in a way that eats headroom. You want the sub to stay stable while the listener feels more body and density.

Macro 5 is Harmonics. This can control saturator drive, or Roar if you want a more aggressive Live 12 edge, or Overdrive if you want something rougher. Keep it subtle to moderate. This is important because a pure sine can disappear on smaller speakers. A little harmonic content helps the note translate on headphones, laptop speakers, and even in a busy club mix, while still keeping the true sub clean.

Macro 6 is Filter Dip. Add an Auto Filter or EQ Eight and map cutoff, maybe resonance if needed, to this control. Use it for muffled intros, breakdown filtering, and those lovely reveal moments where the bass opens up right when the drop lands. A movement from around 60 hertz up to around 200 hertz can be enough to create a huge sense of transition without overcomplicating things.

Macro 7 is Punch. This should shape the note attack and decay so the bass speaks clearly against the breakbeat. Shorter attack means more punch. Slightly shorter decay can leave more room for snare detail and ghost hits. If the kick and bass are fighting, this macro is one of the first things to adjust. In jungle and oldskool DnB, the bass should feel tight and responsive, not bloated.

Macro 8 is Motion. This is where you add subtle movement, but be careful. Do not widen the true sub. Keep anything below roughly 120 hertz mono. Use this macro on things like filter cutoff above the sub region, a touch of saturation movement, or very light stereo motion on the harmonic layer only. The sub itself should stay centered and solid. The motion belongs to the higher harmonics, not the foundation.

Now let’s split the sound properly, because this is a crucial part of the genre. You want a clean mono low layer and a separate mid harmonic layer. The low layer is your sine sub, centered and stable. The harmonic layer can be filtered, slightly distorted, and maybe a little more animated. You can build this as two chains in a rack if you want, or duplicate the instrument chain and treat them separately. High-pass the harmonic layer so it stays out of the true sub region, and then shape it with saturation or drive so the note reads with attitude.

This split is what makes oldskool-style bass feel huge without relying on one overprocessed patch. The listener hears a pure foundation, plus a character layer that adds life and grit. That’s the move.

Now write the MIDI pattern. The bass should work with the drums, not against them. Jungle and DnB basslines are often short, syncopated, and conversational. Think call and response. Leave space for the break. Let the bass answer the rhythm instead of constantly filling every gap.

If you’re working in F minor, try a simple motif with F1, Ab1, C2, and Eb2. You might do something like F1, rest, Ab1, rest, then C2, F1, rest, Eb2, and so on. Keep some notes short and percussive. Don’t make everything legato. In this style, note length is groove. A long bass note can swallow the break if you’re not careful.

Now start automating the macros. This is where the patch becomes a performance instrument. In the intro, keep Sub Pitch near zero, Filter Dip relatively closed, Harmonics moderate, and Motion subtle. You want the listener to feel atmosphere, not full impact yet.

As you approach the drop, start opening the Filter Dip a little and maybe push Sub Pitch slightly upward for tension. Then, just before the drop, do a quick pitch dip or a brief downward move. That one moment can feel massive if it’s timed right. On the drop itself, snap the Sub Pitch back to zero or even minus 12 depending on the phrase, open the filter, and restore the weight. That contrast is what makes the drop feel alive.

During breakdowns, use Sub Pitch and Filter Dip together. A slow rise from minus 12 to zero over one or two bars can create a strong sense of lift. Add a snare fill or break roll underneath it, and suddenly the bass itself is doing the transition work. That’s very effective in jungle because it feels integrated with the rhythm section rather than pasted on top.

Use Ableton’s clip envelopes for precise control. Draw a quick minus 12 semitone drop on one hit if you want a dramatic punctuation moment. Draw a plus 7 rise at the end of a phrase if you want a cheeky lift into the next section. You can also automate glide for one special slide note, or slightly open the harmonics on a key accent. These little details matter. They make the bass feel played, not programmed.

Since this is a breakbeats-focused lesson, always check how the sub sits with the drums. Let the break carry the identity, and let the bass act like a counter-rhythm. If the notes are too long, shorten them so the kick transients, ghost snares, and chopped amen details still come through. A little sidechain compression can help, but keep it gentle. The goal is space, not a huge pump.

A good habit is to test the patch at low volume. If the bass still reads clearly when it’s quiet, your harmonic balance is probably right. Also check it both in solo and in the full mix, because a bassline that sounds huge by itself can clash badly once the break is in. This is where intentional imperfection helps. Tiny variations in note length, note start timing, or pitch gestures make the part feel human and alive.

For advanced variation, try a two-stage pitch behavior. One macro can control the instant pitch offset, while another controls a slower bend depth. That gives you a quick drop and a slower sagging motion, which can sound very oldskool and tape-like. You can also map velocity to harmonic drive or filter openness so accented MIDI notes have more expression. That’s a great way to make the bass converse with chopped break patterns.

Another powerful approach is to create phrase states. Instead of thinking in individual macro tweaks, design a few states like Clean, Rough, Lift, and Dive. Then automate between those states across the arrangement. That keeps the track coherent and stops the bass from becoming random or overdesigned.

For arrangement, don’t use the same density everywhere. Make the intro sparse, make the first drop selective, and save the fuller macro motion for later in the tune. Leave space when the break does a fill, then let the bass answer after it. A short gap before the bass re-enters can hit harder than adding extra notes. In oldskool jungle especially, a little restraint goes a long way.

And if you want to push the workflow further, resample the bass once the automation feels good. Print it to audio, then chop it into reverse swells, stuttered pickups, or one-shot fills. That kind of audio editing is very authentic in jungle and often gives you a stronger result than endlessly tweaking MIDI.

So here’s the core takeaway. You’re not just making a bass sound. You’re building a macro-controlled sub performance system. The true sub stays mono, clean, and stable. The harmonics add audibility and grit. The macros give you musical pitch drops, rises, glide, weight, and movement. And the arrangement makes the bass breathe with the breakbeats.

That’s the secret sauce for jungle and oldskool DnB. Tight low end, disciplined movement, and enough character to feel dangerous on the dancefloor.

For practice, build an eight-bar loop in F minor with a breakbeat, use only F1, Ab1, C2, and Eb2 for the bass motif, then automate Sub Pitch, Filter Dip, and Harmonics. In bars five through eight, add one minus 12 drop and one plus 7 rise, shorten a few note lengths, and compare the clean version to the performance-automated version. Your goal is for the animated version to feel more alive, but not messy.

If you nail that, you’ve got a real jungle bass framework, not just a patch.

mickeybeam

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

Generating PDF preview…