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Subweight edit: an Amen-style call-and-response riff transform from scratch in Ableton Live 12 (Beginner)

An AI-generated beginner Ableton lesson focused on Subweight edit: an Amen-style call-and-response riff transform from scratch in Ableton Live 12 in the Mastering area of drum and bass production.

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Lesson Overview

In this lesson, you’ll build a Subweight edit: a low-end-focused Amen-style call-and-response riff transform made from scratch in Ableton Live 12. This is the kind of idea you can use in a drop, switch-up, or 16-bar development section in Drum & Bass, especially when you want the bass to feel like it’s “answering” the drums instead of just sitting under them.

The goal is to create a bass phrase that has weight, movement, and rhythmic conversation with the Amen break. In DnB, that matters because the low end is not just about loudness — it’s about timing, contrast, and space. A good subweight edit makes your track feel more intentional: the kick and snare hit, the bass replies, and the groove keeps pushing forward without becoming cluttered.

This approach is especially useful in:

Rollers, where a simple low-end motif can carry the whole drop
Jungle-inspired sections, where the Amen break and bass work together
Darker / neuro-influenced DnB, where controlled movement and tension matter
Mastering prep, because a clean subweight idea gives you a track that translates better later

We’ll keep it beginner-friendly, but the workflow will still feel like a real studio method: build the riff, shape the response, control the sub, and make sure it actually works in a DnB mix.

What You Will Build

By the end, you’ll have a 4-bar Amen-style call-and-response bass riff that:

Sits underneath or beside an edited Amen break
Uses two bass phrases: a short “call” and a deeper “response”
Has controlled sub weight in mono
Includes subtle movement from saturation, filtering, and automation
Feels ready for a drop, breakdown-to-drop transition, or 8/16-bar loop

Musically, think of it like this:

The drums ask a question
The bass answers with a short punch
Then the bass drops into a lower, longer note to create a sense of weight and resolution

That call-and-response structure is a classic DnB trick because it keeps the groove alive while leaving enough room for the break to breathe.

Step-by-Step Walkthrough

1. Set up a clean DnB starting point

Open a new Ableton Live 12 project and set the tempo to 172 BPM or 174 BPM. That puts you right in a classic drum and bass range.

Create two MIDI tracks:

Track 1: Amen Break
Track 2: Subweight Bass

On the drum track, drop in an Amen-style break sample or your own chopped break. If you’re starting from scratch, don’t over-edit yet — keep it simple and looped over 2 or 4 bars so you can hear how the bass interacts.

On the bass track, add:

Wavetable or Operator
EQ Eight
Saturator
Utility

For beginners, Operator is great because it makes clean sub tones fast. Use a sine wave or a basic sub-friendly patch. If you want a slightly more aggressive dark bass tone, Wavetable can do that too, but keep it simple at first.

Why this works in DnB: the genre depends on clear low-end hierarchy. If your source sound is messy before you even write notes, the groove will fall apart later.

2. Program the bass as a call-and-response phrase

Create a 4-bar MIDI clip on the bass track. Start with a very small note idea:

Bar 1: short note on the 1
Bar 1 or 2: another short note answering on a later offbeat
Bar 3: a lower or longer note that feels like the “response”
Bar 4: a small variation or pickup

Keep the notes in a low register, usually around F1 to A1 if your patch is sub-heavy. Avoid writing too high — this is about subweight, not a lead line.

A beginner-friendly pattern could be:

Call: short hit on beat 1
Response: short hit on the “and” of 2 or beat 3
Resolve: longer note on beat 4 or the next bar’s 1

If you’re not sure where to start, use only 2 or 3 notes. In DnB, less is often better when the break is busy.

A good rule: if the Amen is very active, the bass should be rhythmically simple but strategically placed.

3. Shape the sub so it hits hard without taking over

Open Operator and set it to a clean sine-style sub:

Oscillator: Sine
Filter: off or very gentle
Envelope: quick attack, medium release

Try these starter settings:

Attack: 0–5 ms
Decay: around 150–300 ms if you want short bass punches
Sustain: 70–100% for held notes, or lower if you want percussive hits
Release: 80–180 ms

If using Wavetable, keep the tone simple:

Use a clean waveform
Filter cutoff fairly low, around 80–200 Hz range
Add a tiny bit of movement with a slow LFO, but don’t make it wobble like EDM bass

Then insert Saturator after the synth:

Drive: 2–6 dB
Soft Clip: On
Output: trim so the level doesn’t jump too much

This adds harmonics, which helps the sub read on smaller speakers without losing the low-end foundation.

Why this works in DnB: a pure sine sub is powerful, but on its own it can disappear on systems that don’t reproduce deep bass well. A little saturation adds upper harmonics so the bass still feels present while staying controlled.

4. Make the “call” and “response” feel different

Now edit the MIDI so the two sections are clearly different in energy.

A simple way:

Make the call shorter and more percussive
Make the response slightly longer and deeper

For example:

Call note length: 1/8 to 1/4 note
Response note length: 1/2 note or longer, depending on the space in the break

Use velocity to make the rhythm speak:

Call notes: slightly higher velocity, around 90–110
Response notes: a bit softer, around 70–95

If the bass line feels too static, add a tiny pitch change by moving one note up or down by a semitone or two. In darker DnB, small shifts can create tension without making the part melodic.

A practical musical context:

During a 16-bar drop, the first 8 bars can use a tighter call-and-response
In bars 9–16, you can stretch the response notes longer to build more pressure before a switch-up

This gives your riff a sense of progression without adding too much complexity.

5. Lock the bass and break together rhythmically

Now go back to the Amen break and check the relationship between kick/snare hits and the bass.

In DnB, the bass doesn’t need to hit every drum — it needs to leave room for the drums to speak.

Use this approach:

Keep the bass away from the strongest snare moments unless you want impact
Let the bass answer in the gaps after the snare
If the kick feels masked, shorten the bass note or move it slightly later

If needed, open Ableton’s Clip View and use:

Start marker adjustments on the break
Warp markers if the break is drifting
Groove Pool if you want a more human feel

For beginners, don’t overcomplicate groove yet. Just make sure the bass and drums feel like one loop instead of two separate ideas.

A classic DnB feel is:

Drum break speaks first
Bass responds in the holes
Sub hits reinforce the groove rather than constantly fighting it

6. Control the low end with EQ and mono discipline

Add EQ Eight to the bass track after saturation.

Start with:

Low cut below 25–30 Hz if there’s rumble
Gentle cut around 200–350 Hz if the bass sounds boxy
Avoid boosting too many frequencies unless you know why

Then add Utility:

Width: 0% or very narrow on the bass
Bass track should stay mono

This is crucial in DnB mastering prep. Sub weight needs to be centered so it translates cleanly on clubs, headphones, and mono playback.

Also check the break:

If the break has too much low-end, cut some low frequencies with EQ Eight
Leave the sub to the bass, not the break

A clean low-end split means your future master will have more headroom and your drop will hit harder.

7. Add movement with automation, not chaos

Subweight edits get interesting when the bass evolves across the phrase.

Automate a few simple things:

Filter cutoff on Wavetable or Auto Filter
Saturator Drive
Volume by small amounts
Dry/Wet on a subtle effect, if used

A beginner-safe automation idea:

In bars 1–2, keep the bass darker and tighter
In bars 3–4, open the filter slightly and add 1–2 dB more drive

Try Auto Filter if you want a simple dark movement:

Mode: Low-pass
Cutoff: somewhere around 100–300 Hz depending on the tone
Resonance: low to moderate, around 5–15%

You can also use LFO in Wavetable with a very slow rate to add tiny motion, but keep it subtle. The point is to make the bass feel alive, not wobbly.

This is a mastering-minded approach because movement should be intentional and controlled, not random. If the low end changes too much every bar, it becomes harder to balance later.

8. Add a simple drum-bass glue bus

Group your Amen break and bass into a Drum & Bass Bus.

On the group, add:

Glue Compressor or Compressor
EQ Eight
Optional light Saturator

Starter settings for Glue Compressor:

Attack: 10–30 ms
Release: Auto or 0.1–0.3 s
Ratio: 2:1
Aim for just 1–2 dB of gain reduction

Keep this subtle. The goal is not to crush the groove — it’s to make the break and bass feel like they belong together.

If the mix starts pumping too much, back off the compression or lengthen the attack. In DnB, transient punch is everything.

This is where the subweight edit starts feeling “finished” rather than just looped.

9. Turn the idea into a drop section

Now arrange your loop into a small section:

4-bar intro into the riff
8-bar drop
2-bar variation
4-bar switch-up or fill

A practical arrangement example:

Bars 1–4: filtered intro with the Amen hinting at the groove
Bars 5–12: full subweight call-and-response riff
Bars 13–16: remove one bass answer, add a fill or reverse crash
Then bring the riff back with a twist

For DJ-friendly structure, keep the intro/outro cleaner:

Leave space for beatmatching
Reduce bass energy before the drop
Use a simple riser, impact, or reversed cymbal if needed

This helps the riff work in a real track, not just in a loop.

10. Check the mastering basics before you move on

Even though this lesson is about building the riff, the mastering mindset matters here.

Do a quick pre-master check:

Master peak should leave headroom, ideally around -6 dB
Bass should feel big but not clip
Check your track in mono using Utility on the master
Listen for harshness in the break’s top end and tame it with EQ if needed

If the bass vanishes in mono, it’s probably too wide or too reliant on stereo effects. If the kick disappears, the bass may be masking it too much.

The best mastering starts with a balanced source. This riff should already feel controlled before any final loudness processing.

Common Mistakes

1. Making the bass too busy

If the bass is playing constantly, it stops feeling like a call-and-response riff.

Fix: reduce the number of notes. Keep only the strongest hits and leave more space.

2. Letting the sub get stereo

Wide low end sounds exciting for a second, but it usually causes problems in DnB.

Fix: keep the bass mono with Utility and avoid widening the sub layer.

3. Over-saturating the sound

Too much drive can turn a clean low-end idea into muddy distortion.

Fix: use just enough Saturator to hear harmonics, then compare bypassed vs active.

4. Fighting the Amen break

If the bass and break hit at the same time too often, the groove gets blurry.

Fix: move bass notes into the gaps between the most important drum hits.

5. Ignoring headroom

If the bass is too loud in the loop, you’ll struggle later when mastering.

Fix: lower the bass track volume or trim the synth output. Leave space for the full mix.

Pro Tips for Darker / Heavier DnB

Use slight note variations on the response phrase to create tension without losing the loop

Layer a very quiet mid-bass harmonic layer above the sub, then high-pass it so it doesn’t fight the low end
Use Auto Filter movement to make the bass feel like it’s breathing under the break
Add a tiny bit of Drum Buss on the bass or group if you want more weight, but keep the Drive modest
Try a ghost note before the main bass hit to create pull into the downbeat
In darker rollers, let the response note hang a little longer so it feels ominous
For neuro-inspired energy, automate a filter or drive change every 4 bars, but keep the sub stable
Check the master in mono often; underground DnB needs power, not stereo gimmicks

A big part of why this works in DnB is that the style thrives on contrast: tight drums against deep bass, short hits against sustained pressure, and movement against repetition. The more clearly you define those contrasts, the heavier the track feels.

Mini Practice Exercise

Spend 10–20 minutes making one 4-bar subweight riff loop.

1. Set the project to 174 BPM

2. Drop in an Amen-style break

3. Create a sub bass using Operator

4. Write only 2 or 3 notes in a call-and-response pattern

5. Add Saturator with 2–4 dB Drive

6. Add EQ Eight and cut any rumble below 25–30 Hz

7. Use Utility to keep the bass mono

8. Loop 4 bars and move one note slightly to improve the groove

9. Add a small automation move on filter cutoff or drive

10. Bounce the loop and listen on headphones and speakers

Goal: make the riff feel like it’s answering the Amen break, not just sitting on top of it.

Recap

Build a simple sub-heavy call-and-response bass phrase

Keep the bass mono, controlled, and rhythmically placed
Use Operator or Wavetable, plus EQ Eight, Saturator, and Utility
Let the Amen break and bass converse instead of competing
Think like a mastering engineer early: headroom, clarity, and translation
In DnB, the power comes from space, timing, and weight — not just volume

Extra coach notes

Think in “impact windows.” In a busy DnB loop, your bass doesn’t need to occupy every beat. It only needs to land where the ear can clearly register it. Before adding notes, identify the empty spaces around the snare and use those as your targets.
Use note length as a groove tool. A short note feels punchy and percussive; a longer note feels heavier and more emotional. If the loop feels stiff, change lengths before changing pitches.
Zoom in and move notes by tiny amounts. Even a few milliseconds can change how the bass locks with the break. If the riff feels late or rushed, nudge the MIDI rather than adding more processing.
Check the low end at low volume. If you can still feel the bass when monitoring quietly, the sub is probably well balanced.
Don’t confuse “bigger” with “better.” In mastering-oriented bass design, clarity is what makes the low end feel powerful. A smaller but cleaner sub often translates harder than an oversized muddy one.
Save a dry version. Keep one duplicate track with minimal processing. It’s useful later if you decide the saturated version is too aggressive.

Advanced variation ideas

Answer with octave shape, not extra notes. Keep the rhythm the same but move the response down an octave or up a narrow interval for contrast. This keeps the motif recognizable while adding progression.
Swap the second bar ending. A tiny change at the end of bar 2 or 4 can make the loop feel like it’s evolving without rewriting the whole idea.
Use rests as part of the phrase. Try deleting one bass note entirely and letting the drum break carry that moment. Silence can make the next sub hit feel much heavier.
Create a “call / echo / resolve” version. Instead of two phrases, build a three-part loop where the bass first hits, then echoes more quietly, then lands on a longer note.
Try rhythmic displacement. Move one bass note from beat 1 to the “and” of 1, or from beat 3 to beat 2.5. This can create a more restless, modern DnB feel.
Add bar-length contrast. Make bars 1–2 tighter and bars 3–4 more open. That simple contrast is often enough to make a loop feel arranged.
Use note overlap sparingly. Slight overlap can create a smoother legato feel, but too much overlap can blur the rhythm. Experiment with just one connected transition.
Introduce a pickup note. A very short note just before the main hit can make the whole phrase feel more urgent.

Sound design extras

Layer a quiet mid layer for definition. Keep the sub as the foundation, then add a separate layer with more harmonics around the 100–500 Hz area. High-pass that layer so it doesn’t interfere with the sub.
Use parallel saturation instead of more drive. Duplicate the bass or use a return track for distortion, then blend it underneath the clean sub. This gives you grit without losing low-end control.
Try a gentle frequency shift in the mid layer. A small Auto Filter movement or wavetable position change can make the tone feel alive while the sub stays steady.
Shape the transient with an amp envelope. If the note feels too soft, reduce attack and shorten decay slightly. If it feels clicky, ease the attack a touch.
Add a very subtle chorus only to the upper layer. Never on the pure sub. The goal is width and texture above the fundamentals, not below them.
Use resampling for character. Print the bass to audio, then re-edit the audio clip. Small changes like fades, cuts, or reversed fragments can give you a more original texture.
Make one version darker and one brighter. Alternate between two bass tones in different parts of the loop. This gives your arrangement more depth without overcrowding the spectrum.

Arrangement upgrade ideas

Turn the 4-bar loop into a 16-bar story. Start with fewer bass hits, then gradually increase density, then pull back again before the next section.
Use bar 8 or bar 16 as a reset point. Remove the bass for half a bar or one bar, then bring it back. This creates impact without needing a fill every time.
Let the break breathe before the drop. A short filtered or stripped-back section right before the full riff comes in can make the return feel much heavier.
Automate energy, not just filter. Try gradually raising the bass level by a small amount over 4–8 bars, then drop it back for contrast.
Add a transition layer. A reversed crash, noise sweep, or short tom fill can help move from one phrase to the next without cluttering the sub.
Create a B phrase. Keep the original riff as A, then make a slightly different version for the second half of the drop. Even a single note change can make the section feel like it developed.
Use “drum-only” moments strategically. A half-bar or full-bar where the bass drops out can reset the listener’s ear and make the next bass entrance feel bigger.
Check your arrangement against DJ energy. If the track is meant for club play, make sure the intro and outro remain usable for mixing, not just for listening.

Homework challenge

Build a two-version bass loop and compare them:

1. Create a 4-bar Amen-style riff at 174 BPM.

2. Make Version A: very clean, minimal, and mono.

3. Make Version B: same notes, but with one extra layer of saturation or harmonic texture.

4. Change only one musical detail in Version B:

- note length, or

- one pitch, or

- one rest

5. Bounce both versions to audio.

6. Listen back at low volume and decide which one feels heavier.

7. Check both in mono.

8. Write one sentence on what changed the groove most:

- timing

- tone

- note length

- silence

9. Save the better version and build an 8-bar arrangement around it.

10. If possible, test it on headphones and small speakers to see which version translates best.

Challenge goal: make the bass feel stronger without adding more notes. If you can improve the loop by simplifying or refining it, you’re thinking like a real DnB producer.

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Narration script

Show spoken script

Welcome to this beginner Ableton Live 12 lesson on building a Subweight edit: an Amen-style call-and-response riff transform from scratch.

In plain English, we’re making a low-end bass idea that talks to the drums instead of just sitting underneath them. That’s a huge part of drum and bass energy. The drums ask the question, the bass answers, and the whole groove feels like it has attitude.

We’re going to keep this beginner-friendly, but I still want you thinking like a real producer. That means clear sounds, smart note choices, controlled sub, and enough space for the Amen break to breathe. This kind of idea works great in a drop, a switch-up, or a 16-bar development section. It’s also really useful from a mastering point of view, because if the low end is clean now, everything later gets easier.

Let’s get started.

Open a new Ableton Live 12 project and set the tempo to 172 or 174 BPM. That puts us right in classic drum and bass territory.

Now create two MIDI tracks. One will be your Amen break track, and the other will be your Subweight Bass track.

On the drum track, load in an Amen-style break sample, or use your own chopped break if you already have one. Don’t overthink the editing yet. Just get a loop running over 2 or 4 bars so you can hear how the bass interacts with it.

On the bass track, load Operator if you want the cleanest beginner sub, or Wavetable if you want a little more character. For this lesson, Operator is a really solid choice because it makes a strong sub fast. Set it up as a simple sine wave style bass. We want weight, not a messy sound right away.

After the synth, add EQ Eight, Saturator, and Utility. Those three are going to help us shape the low end, add a little harmonics, and keep everything mono and solid.

Now let’s write the bass phrase.

Create a 4-bar MIDI clip on the bass track. We’re going to build a call-and-response idea using just a few notes. That’s really important here. In drum and bass, less can absolutely hit harder, especially when the break is active.

Start with a short note on beat 1. That’s your call.

Then add another short note later in the bar, maybe on an offbeat or on beat 3. That’s a reply, or part of the response.

Then in bar 3 or 4, add a lower or longer note that feels like the answer landing properly. That’s where the weight really shows up.

If you’re not sure where to begin, only use 2 or 3 notes. Seriously. The more busy the Amen break is, the simpler the bass should usually be. Think in impact windows. Leave room for the drums, and place your bass notes where the ear can clearly hear them.

A really simple beginner pattern could be: short hit on beat 1, another short hit on the and of 2 or beat 3, then a longer note to resolve the phrase. That alone can already feel like a proper DnB riff if the timing is right.

Keep the notes low. We’re talking sub territory, not lead territory. A range around F1 to A1 is a good place to start, depending on your patch and tuning.

Now shape the sound.

If you’re using Operator, choose a sine-style oscillator and keep the filter open or very gentle. Give it a fast attack, because we want the notes to speak quickly. Then set the release so the notes don’t cut off too abruptly. If you want the hits more percussive, shorten the decay. If you want them to feel heavier and more connected, let them breathe a little longer.

If you’re using Wavetable, keep the tone simple. Use a clean waveform and filter it down so it stays in sub territory. You can add a tiny bit of movement later, but for now, keep it disciplined.

Now add Saturator after the synth. This is where we give the bass a little extra presence. Turn on Soft Clip, and start with just a few dB of Drive, maybe around 2 to 6 dB. The goal is not to destroy the clean sub. The goal is to add harmonics so the bass can still be heard on smaller speakers while staying heavy underneath.

This is one of those important mastering-minded ideas: a pure sine sub is strong, but it can disappear on some systems. A little saturation helps it translate better.

Now let’s make the phrase actually feel like call and response.

Edit the MIDI so the call is shorter and more punchy, and the response is a little deeper or longer. That contrast matters a lot. A short note feels more percussive. A longer note feels heavier and more emotional. If the groove feels stiff, change the note lengths before you start changing too many other things.

Also try using velocity as a musical tool. Make the call a little more forceful, and let the response sit a bit softer. That can make the phrase feel like it’s breathing.

If you want a tiny bit more tension, move one note up or down by a semitone or two. Don’t overdo it. Small pitch movement can create a dark, unstable feel without turning the bass into a melody.

Now check the relationship between the bass and the Amen break.

This is where the groove really starts to matter.

The bass does not need to hit every drum. In fact, if it does, the loop can get cluttered fast. Let the bass answer in the gaps around the snare. Keep it away from the most important snare moments unless you want a deliberate clash for impact. If the kick feels masked, shorten the bass note or nudge it slightly later.

This is all about timing. Even a tiny MIDI movement can change how locked the riff feels. Zoom in and move notes by a small amount if you need to. Sometimes a few milliseconds is all it takes to make the groove click.

Now add EQ Eight after the Saturator.

Cut any rumble below about 25 to 30 Hz. If the sound feels boxy, make a gentle cut somewhere around 200 to 350 Hz. Don’t just boost random areas unless you hear a real reason to do it. For beginner low-end work, subtraction is usually your friend.

Then add Utility and make sure the bass stays mono. Set the width to 0 percent or very narrow. This is crucial. Sub bass should live in the center. Wide low end might feel exciting for a second, but it usually causes problems in club systems, headphones, and mono playback.

Also check your break. If the break has too much low end, clean it up with EQ so the sub belongs to the bass track, not the drum sample. That separation is a huge part of getting a stronger master later.

Now let’s add some motion without making the low end chaotic.

Use automation on things like filter cutoff, Saturator drive, or track volume in small amounts. A simple move could be keeping bars 1 and 2 darker and tighter, then opening the filter a little or adding a touch more drive in bars 3 and 4.

If you want a basic filter movement, drop in Auto Filter and use a low-pass mode. Keep the cutoff fairly low and the resonance gentle. You want the bass to feel like it’s breathing, not wobbling all over the place.

That’s a good general rule in DnB: movement should feel intentional. If the low end changes too much every bar, it gets harder to control later, and the track stops feeling focused.

Now group the Amen break and the bass together into a Drum and Bass Bus.

On that group, add Glue Compressor or Compressor, and keep it subtle. Start with a ratio around 2 to 1, a medium attack, and a fairly quick release. Aim for just 1 to 2 dB of gain reduction. We’re not crushing the loop. We just want the drums and bass to feel glued together.

If the groove starts pumping too much, back the compression off. In drum and bass, punch matters. You want energy, not over-squeezed mush.

At this point, your loop should already be feeling like a real idea. Now let’s turn it into a small arrangement.

You can think of it like this: maybe bars 1 to 4 are a filtered intro, bars 5 to 12 are the full riff, bars 13 to 16 pull back a little with a variation or fill, then the idea comes back with a twist. That kind of structure helps the loop feel like a section in a track, not just a repeated pattern.

If you want to make it more DJ-friendly, keep the intro and outro cleaner, leave some space for beatmatching, and reduce bass energy before the drop lands. That way the section actually works in a real arrangement.

Before you move on, do a quick mastering-style check.

Leave some headroom on the master. Ideally, you want plenty of space, not a track hitting the ceiling right away. Check the loop in mono using Utility on the master if needed. Listen for whether the bass still feels strong when the volume is low. That’s a great test. If you can still feel the sub quietly, it’s probably balanced well.

Also ask yourself: does the bass feel powerful because it’s clear, or because it’s just loud? Those are not the same thing. In DnB, clarity usually wins.

Let’s quickly review the big ideas from this lesson.

We built a simple call-and-response bass riff using only a few notes.
We kept the sub mono and controlled.
We used Operator or Wavetable, plus Saturator, EQ Eight, and Utility.
We made sure the Amen break and the bass were conversing, not fighting.
And we approached the whole thing with a mastering mindset, which means headroom, clarity, and translation.

A few common mistakes to watch out for: don’t make the bass too busy, don’t widen the sub, don’t over-saturate it, and don’t ignore note length. If the loop feels off, try simplifying before you start adding more plugins.

For a quick practice challenge, make two versions of the same 4-bar loop. Keep one clean and minimal, and give the other a little extra saturation or one small note change. Then listen to both at low volume and in mono. You’ll often find that the version with better timing and note length feels heavier, even if it has less processing.

That’s the real lesson here.

In drum and bass, weight comes from space, timing, and control. If the drums and bass answer each other clearly, the whole track feels bigger.

Nice work. Build the loop, trust the groove, and keep the sub solid.

mickeybeam

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