Guest access Access: Full access for everyone Unlimited lesson views

View lessons Sign in with Google

LESSON DETAIL

Vinyl Heat lab: reese patch slice in Ableton Live 12 for jungle oldskool DnB vibes (Intermediate)

An AI-generated intermediate Ableton lesson focused on Vinyl Heat lab: reese patch slice in Ableton Live 12 for jungle oldskool DnB vibes in the Composition area of drum and bass production.

Back to lessons Unlocked for all viewers

Vinyl Heat lab: reese patch slice in Ableton Live 12 for jungle oldskool DnB vibes (Intermediate) cover image

Narrated lesson audio

The voice track includes the tutorial plus extra teacher commentary.

Pitch Effect amount Wet mix Volume

Open audio file

Main tutorial

Lesson Overview

This lesson is about building a Vinyl Heat lab: a gritty, sliced reese patch in Ableton Live 12 that feels like it was pulled from a dusty sampler and pushed into an oldskool jungle / DnB tune. The goal is not just to make a heavy bass sound, but to turn it into a compositional tool — something you can phrase, chop, call-and-response, and arrange like a real drop element.

In Drum & Bass, especially jungle, rollers, darker oldskool, and neuro-leaning bass music, a reese is often more than a sustained note. The best lines move in sections: stab, hold, answer, mute, slide, or filter. Slicing a reese patch gives you that broken, human, DJ-friendly feel that sits perfectly under breakbeats. It also helps your bassline breathe around the drums instead of fighting them.

Why this matters: a straight reese loop can get boring fast. A sliced reese lets you create rhythmic tension, space for the snare, and drop variation without needing a huge number of sounds. That’s a big advantage in DnB, where arrangement and momentum matter as much as sound design.

What You Will Build

You’re going to build a vinyl-smeared, mono-solid reese patch in Ableton Live 12, then slice it into a playable riff with oldskool jungle phrasing. The result will feel like a bassline that could sit in a 94–96 BPM halftime intro or a 170 BPM roller / jungle drop.

Musically, you’ll end up with:

A thick root-note sub layer
A detuned mid-bass reese body
A gritty vinyl-style texture layer
A slice-based MIDI phrase with stops, accents, and little answers
A drop-ready 4- or 8-bar pattern that works under breaks
A bass sound that can shift between mysterious, nostalgic, and threatening without losing low-end discipline

You’ll also get a workflow for making the bass arrangement-friendly: intro tease, first drop statement, second-bar variation, and a switch-up that keeps the tune moving.

Step-by-Step Walkthrough

1. Set up a clean DnB bass rack and write the root movement first

Start in a new MIDI track and build the foundation before chasing tone. Load Operator or Wavetable as your main synth. For an oldskool jungle reese, you want a stable pitch source with a slightly rude character.

In Operator:

- Use Osc A as a saw

- Add Osc B also as a saw, detuned slightly

- Set unison/voice spread modestly if you’re in Wavetable, but don’t over-widen yet

- Keep the patch mostly midrange-focused at this stage

Write a simple 1- or 2-bar bass phrase in a DnB key like F minor, G minor, or A minor. Keep it to 2–4 notes first. Good starting rhythms:

- Long note on beat 1

- Short response on the “and” of 2

- Stop before the snare hit

- Pickup note into bar 2

Why this works in DnB: the drums already carry a lot of motion. A tight bass motif with clear gaps gives the break room to breathe and makes your bass feel bigger when it returns.

2. Shape the reese with controlled detune and movement

Now turn the synth into a proper reese. In Wavetable, try:

- Two saw-style oscillators

- Detune: around 5–15 cents per oscillator

- Unison voices: 2–4 max for the mid layer

- Blend or phase settings so the center stays strong

Then add Auto Filter after the instrument:

- Low-pass mode

- Cutoff around 120–400 Hz depending on how dark you want it

- Resonance: 10–25%

- Add a slow LFO if you want movement, but keep it subtle

Add Saturator after the filter:

- Drive: 2–6 dB

- Soft Clip: on

- Keep the output matched so you’re judging tone, not loudness

If you want extra bite, place Roar after Saturator and use it gently:

- Low drive to start

- Focus on mid harmonics rather than fuzzing the sub

- Use it like analog grime, not as a destroyer

Keep the overall sound dark, not washed out. Think “humid warehouse wall of bass,” not “wide trance pad.”

3. Build the sub separately so the slices stay heavy and controlled

DnB bass falls apart fast if the sub is baked into a messy stereo layer. Split the sound conceptually into sub + mid reese. The easiest Ableton workflow is to use an Instrument Rack with two chains.

Chain 1: Sub

- Use Operator with a sine wave

- Mono only

- No unison

- Envelope short or medium, depending on note length

- Keep it clean with little or no saturation

Chain 2: Reese

- Your detuned saw patch

- High-pass it gently around 80–120 Hz if needed so it doesn’t swamp the sub

On the sub chain, use Utility:

- Width: 0%

- Keep everything centered

If the bassline has fast note changes, set the sub envelope to release fairly quickly so it doesn’t blur. A release around 50–150 ms often works well for rolling DnB patterns.

This separation matters because when you later slice the phrase, the sub hits can stay punchy while the mid layer can be chopped and filtered for character.

4. Resample the patch to audio for that vinyl-heat character

This is the key composition move. Instead of keeping the reese as a live synth forever, record it to audio so you can slice, reshape, and treat it like source material.

Create a new audio track and set its input to Resampling. Arm it and print your 1- or 2-bar bass loop. Then do a second pass where you:

- Automate the filter cutoff slightly

- Nudge saturation drive a bit

- Change note lengths or accents

You want multiple printed versions, because the best sliced basslines often come from taking the “best accidents” and arranging them.

Once recorded, consolidate the cleanest region. If the bass feels too polished, add one of these stock treatments:

- Redux very lightly for grit

- Vinyl Distortion if you want that dusty crackle and mechanical wobble

- Echo with very short feedback and filtered repeats for ghost texture

Keep the effect subtle. The point is to create a heat-warped texture, not a lo-fi wash that weakens the punch.

5. Slice the audio into playable chunks and map it to a drum-rack style workflow

Take the resampled bass audio and right-click it to Slice to New MIDI Track. Choose a slicing preset based on transients or a fixed slice division depending on the phrase.

For a rhythmic reese chop:

- Slice by transients if the notes have obvious attacks

- Slice by 1/8 or 1/16 if you want a more compositional, grid-based jungle pattern

Ableton will create a Drum Rack with slices mapped across pads. Now you can write a new MIDI pattern using your original bass audio as if it were a sample pack.

Start with this structure:

- Pad 1: root note stab

- Pad 2: longer tail

- Pad 3: filtered hit

- Pad 4: short answer or pickup

- Pad 5: a noisy tail or reverse-like fragment

Use this to create a call-and-response bassline:

- Beat 1: strong statement

- Beat 2 or 3: answer or variation

- Bar 2: slight rhythmic change

- End of 2 bars: tiny fill to loop back

This method is gold for oldskool jungle because it makes the bassline feel sampled, sequenced, and alive — even if it began as a synth patch.

6. Program the slice phrase around the drums, not on top of them

Bring in a breakbeat or drum loop and build the bass phrase with the drum accents in mind. In DnB, the snare is usually the anchor. Make your bass respect it.

Practical phrasing ideas:

- Leave space on the main snare hit

- Let a short slice answer just after the snare

- Use a longer reese hold before the kick-driven push

- Add a pickup slice just before bar 2

If your break has ghost notes, use them as a guide for micro-slices. A bass stab landing near a ghost kick or snare lift can make the groove feel far more authentic.

A strong oldskool arrangement example:

- 4-bar intro of filtered break + atmosphere

- 4-bar tease of sliced bass without full sub

- 16-bar drop with the bass pattern evolving every 4 bars

- Bar 9 or 13 switch-up with one extra slice or a note drop

- DJ-friendly outro with drums and filtered bass residue

Use Clip Envelopes or MIDI velocity variation to control slice intensity. Not every hit should slam at full force. Some of the best jungle bass phrasing comes from implied movement, not constant maximum energy.

7. Shape the slice transients, bass balance, and stereo field

Once the phrase is working musically, clean the mix path.

On the sliced bass track:

- Add EQ Eight

- High-pass any unnecessary rumble above the sub chain boundary only if the slices are clouding the low-end

- Cut narrow harshness around 1.5–4 kHz if the reese gets abrasive

- Keep an eye on the low mids around 180–350 Hz if the bass turns boxy

Add Utility:

- Width: narrow or mono for anything below the crossover zone

- Use it to keep the bass centered

- Check mono compatibility often

If the slices feel too “clicky,” use Clip Gain or a tiny Fade adjustment to soften the front edge. If they feel too soft, use Drum Buss lightly:

- Drive: low to moderate

- Transients: up a little if needed

- Boom: usually off or very restrained for this style

The goal is a bassline that hits hard but doesn’t mask the break’s transient detail.

8. Add automation and arrangement contrast for drop life

This is where the composition becomes a tune, not just a loop.

Automate one or two of these over 8 or 16 bars:

- Auto Filter cutoff opening slightly into each phrase

- Saturator drive increasing at the end of a 4-bar cycle

- Reverb send on one tail slice only

- Reverse-style effect from Echo or a reversed resampled fragment

- Pitch drop or quick filter dip on the final note before the loop restarts

A great DnB move is to create one “special” bar every 4 or 8 bars:

- a half-time gap

- a doubled slice fill

- a filtered stop

- a tension note held into the snare

Use this to avoid the common mistake of repeating the exact same two-bar loop for 64 bars. Even a tiny switch-up can make the tune feel authored, not generated.

For a darker vibe, automate the bass to become slightly more closed and more distorted as the drop progresses, then reopen for the next section. That mirrors the energy arc of many classic jungle and roller tracks.

Common Mistakes

Putting too much sub inside the reese layer

Fix: separate sub and mid-bass. Keep the sub clean, mono, and controlled.

Over-detuning the patch

Fix: too much detune makes the bass blurry and kills low-end focus. Stay in the subtle range.

Slicing without musical intent

Fix: don’t just chop on every transient. Build phrases that answer the snare and leave space.

Too much width in the low end

Fix: mono the sub and keep the stereo movement above the weight zone.

Excessive distortion before arranging the part

Fix: get the phrase working first. Then add grit. If you distort too early, you may ruin the note identity.

Ignoring drum-bass interaction

Fix: program the bass around the break. If the snare can’t speak, the whole drop loses impact.

Pro Tips for Darker / Heavier DnB

Use two versions of the same slice phrase: one dry and one filtered/distorted. Switch them every 4 or 8 bars for tension.

Add a very light Corpus or resonant treatment to a mid slice if you want an industrial hollow edge, but keep it subtle.
Use Roar or Saturator on a return track for parallel grit. Blend it in instead of crushing the main signal.
For neuro-leaning darkness, automate a band-pass sweep on a short answer slice so the bass “talks” without becoming too melodic.
Make one slice longer than expected at the end of a phrase, then let it cut off suddenly. That contrast feels huge in a drop.
If the track is rolling at 174 BPM, keep the sliced bass rhythm tight and let the break edits carry the busy motion. Don’t make both elements overcrowded.
For oldskool flavor, pair the reese slice with a dusty atmosphere loop or subtle tape noise layer, but high-pass it so the mix stays clear.
Check the arrangement at low volume. If the bassline still reads with the drums, you’ve probably got the phrasing right.

Mini Practice Exercise

Spend 10–20 minutes making a 2-bar sliced reese phrase in Ableton Live 12.

1. Build a simple reese patch with a separate mono sub.

2. Write a 2-bar bass idea with only 3 notes.

3. Resample it to audio.

4. Slice it to a new MIDI track.

5. Program a new phrase using at least:

- one long slice

- two short slices

- one silence

- one variation in bar 2

6. Add one automation move, such as filter cutoff or saturation drive.

7. Loop it with a breakbeat and make sure the snare still cuts through.

Goal: by the end, your bass should feel like a real jungle phrase, not just a synth loop.

Recap

Build the reese with sub and mid layers separated

Keep detune, width, and distortion under control
Resample the patch so you can slice it like source material
Program the slices around the snare and break groove
Use automation and small switch-ups to keep the drop alive
Stay focused on mono low end, rhythmic phrasing, and oldskool character

If you can make a sliced reese feel heavy, musical, and mix-safe, you’ve got one of the most useful DnB composition tools in your arsenal.

Extra coach notes

Think in “bass roles,” not just one sound. A sliced reese can act as the main hook, a response to the break, or a transitional fill. Try assigning each 4-bar phrase a job so the bassline feels intentional.
Leave micro-gaps on purpose. In jungle and oldskool DnB, tiny silences often make the next hit feel bigger than adding another note.
Use velocity as phrasing, not volume only. Lower-velocity slices can imply movement without punching too hard, especially when the drums are already dense.
Check the groove with the kick muted. If the bass phrase still feels rhythmically strong without the kick, it usually has better internal logic.
Bounce between “sampled” and “played.” Let some slices feel chopped and others feel like sustained synth notes. That contrast gives the part a more human, crate-digger vibe.
Don’t over-edit the timing too early. First get the musical sentence right, then nudge the slice placement if the groove needs more swing.

Advanced variation ideas

Create two bass personalities from one source. Duplicate the sliced MIDI track:

- Version A: darker, tighter, more mono

- Version B: brighter, more filtered, slightly more open

Swap them by section or use B only as a fill layer.

Use alternate slice maps for different song sections. One map can prioritize long notes; another can emphasize short stabs and reverses. This is a fast way to make the drop evolve without writing a whole new bassline.
Build a “question and answer” 8-bar cycle. Bars 1–4 state the idea, bars 5–8 answer it with a different ending, extra pickup, or a held note that resolves later.
Introduce negative space as a variation tool. Remove one of the strongest hits every 4 or 8 bars so the listener subconsciously feels a new section.
Use octave displacement sparingly. Move a single slice up or down an octave for one hit only. That one change can make a repeat feel fresh without changing the whole phrase.
Try rhythmic displacement. Shift one bass stab earlier or later by a 16th note so the groove “tilts” against the breakbeat.

Sound design extras

Add a parallel mid-grit chain. Duplicate the reese and run the copy through aggressive saturation, then high-pass it so it only contributes edge and texture.
Use a short chorus or ensemble effect only on the mid layer. Keep the sub completely dry and centered. The width should live above the low-end anchor.
Automate filter drive before cutoff. Pushing the filter harder before opening it can create a more convincing “rising tension” than opening the filter alone.
Experiment with dynamic filtering on the slices. A slice can start dark and open slightly as it sustains, which makes it feel more animated and less static.
Blend in a quiet noise layer. White noise, tape hiss, or vinyl texture under the bass can help the chopped notes read like an old sampler recording.
Try a very short slap-style delay on only one slice type. For example, give the response note a tiny echo while keeping the main stab dry. That can make the phrase feel deeper without cluttering the mix.
Use clipping intentionally. A bit of controlled clip on the mid-bass chain can make the note edges more assertive, especially when the drum break is busy.

Arrangement upgrade ideas

Build tension with layer removal. Start the drop with only the chopped mids, then bring the sub back in after the listener has locked into the rhythm.
Alternate density every 4 bars. One block can be sparse and punchy; the next can be busier with a fill or extra tail. This keeps momentum high without needing new material.
Make a “pre-snag” before the snare. A quick bass pickup just before the snare hit can create a strong sense of lift and anticipation.
Use a filtered pre-drop version of the phrase. The same slice pattern can work as an intro tool if the low end is narrowed and the top end is softened.
Drop in a one-bar interruption. A stop, reverse tail, or half-time bass hit can reset the ear and make the next section feel larger.
Design your outro as a deconstruction. Strip away slices one by one, then leave only the sub or a filtered tail to hand the track back to the drums.
Treat fills like transitions, not decorations. A bass fill should usually point into the next bar or next section, not just sit on top of the loop.

Homework challenge

Create a 16-bar jungle bass arrangement from one reese recording.

Requirements

Start with a single reese patch and separate sub
Resample at least two different takes of the same idea
Slice the audio into a playable MIDI track
Write three phrase versions:

1. a sparse intro version

2. a main drop version

3. a variation with a fill or stop

Use at least:

- one automation move

- one silence/gap

- one layer swap or alternate slice map

- one section with reduced sub

Extra constraint

At bar 9 or bar 13, change the phrase without adding a new synth sound. Use only slicing, timing, filtering, or note length changes.

Goal

By the end, your bass should feel like it evolves across the arrangement, while still sounding like it came from one coherent vinyl-era source.

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 to Vinyl Heat lab.

In this lesson, we’re building one of those bass sounds that feels less like a clean synth patch and more like it was chopped off a dusty sampler, dragged through a warehouse system, and locked into an oldskool jungle groove. We’re talking about a sliced reese patch in Ableton Live 12, but the bigger goal here is composition. Not just sound design. We want a bassline that can actually talk with the drums, leave space, answer back, and evolve like a real drop element.

If you’ve made reeses before, you already know the usual trap: make it huge, make it wide, loop it forever, and after eight bars it starts feeling flat. The move today is different. We’re going to build the bass in layers, print it to audio, slice it up, and turn it into something you can phrase like a sample-based jungle line. That means stabs, holds, little gaps, pickups, and switch-ups that keep the tune moving.

Start by setting up a new MIDI track and loading a synth like Operator or Wavetable. Keep the idea simple at first. Don’t worry about the grit yet. Just get the musical bones in place. In Operator, a saw on Oscillator A and another saw on Oscillator B will get you in the right zone. If you’re in Wavetable, go for a saw-style source with a modest amount of unison. The key here is restraint. We want width and movement eventually, but not at the cost of low-end focus.

Write a short bass phrase, maybe just one or two bars, and keep the note count low. Two to four notes is plenty. A good starting move is a long root note on beat one, then a short answer on the offbeat, then a stop before the snare, then maybe a pickup into the next bar. That kind of phrasing works because drum and bass already has a lot of motion happening in the break. If the bass is too busy, it just fights the drums. If it leaves room, it feels heavier.

Now let’s turn it into a reese. Add controlled detune, not chaos. If you’re using Wavetable, keep the detune somewhere subtle, maybe around 5 to 15 cents per oscillator, and keep the unison voices low, usually two to four at most. You want the bass to sound alive, not blurry. Then place an Auto Filter after the synth. Use a low-pass mode and set the cutoff to taste, somewhere in the darker range. A little resonance is fine, but don’t overdo it. The idea is to create that moody, humid, oldskool bass tone, the kind that feels like it’s vibrating off concrete.

After that, add some saturation. A Saturator with a little drive and soft clip enabled is usually enough to give the patch some teeth. If you want more edge, Roar can be great here too, but use it carefully. Think of it like adding grime and density, not blowing the thing up. The sub still needs to stay firm.

And that brings us to one of the most important parts of this lesson: separate the sub from the reese body. This is huge for DnB. If the sub is tangled up in a wide, detuned, distorted layer, the whole thing can collapse the moment you start slicing it. Instead, build an Instrument Rack with two chains. One chain is your clean sub, usually a sine wave from Operator, mono, centered, and kept clean. The second chain is your reese layer, the detuned saw stack. If needed, high-pass the reese layer gently so it doesn’t clutter the sub zone. Keep the sub solid and simple. That gives you low-end discipline when the composition gets more complicated.

Now we get to the fun part. Resample it.

Create a new audio track and set the input to Resampling. Arm it and print your bass phrase. Then do it again with slight changes. Maybe move the filter a bit, maybe push the saturation a touch, maybe hold one note a little longer or shorten a response note. You’re looking for multiple takes with slightly different energy. Why? Because the best sliced basslines often come from choosing the version that feels the most human, the most accidental, the most alive.

Once you’ve got a good take, consolidate the clean section and listen for anything that wants a little extra character. If the sound is too polished, you can add a tiny bit of Redux for grit, or Vinyl Distortion if you want that cracked, dusty edge. Echo can also help if you keep it short and filtered. We’re not trying to turn it into a lo-fi effect. We’re trying to give it that vinyl heat, that worn-sampler energy that sits so well in jungle and oldskool DnB.

Now slice it.

Right-click the audio and choose Slice to New MIDI Track. Depending on the phrase, you can slice by transients if the notes have clear attacks, or slice on a grid like one-eighths or one-sixteenths if you want more control and more of that compositional, chopped-up jungle feel. Ableton will map the slices across a Drum Rack, which is exactly what we want. At this point, the bass stops being just an audio loop and becomes a playable instrument made of your own source material.

Start building a new phrase with the slices. Think in roles. One slice can be the main statement, another can be the answer, another can be a shorter filtered hit, and another can be a tail or pickup. Don’t just think in terms of notes. Think in terms of sentences. In jungle and oldskool DnB, a bassline often works best when it has a question-and-answer shape. Maybe bar one says something strong. Bar two answers it. Maybe the next bar creates a tiny gap, then the phrase returns with a different ending. That kind of movement makes the line feel authored, not looped.

And here’s a really important teacher tip: leave micro-gaps on purpose. Tiny silences make the next hit feel larger. A lot of newer producers try to fill every space, but in DnB, space is part of the groove. If the snare has room to speak, the bass feels stronger when it comes back in.

As you sequence the slices, keep the drums in mind. Bring in a breakbeat or a drum loop and build around the snare. The snare is usually the anchor in this style. So if the snare lands on two and four, or on the main backbeat in a broken pattern, make sure your bass phrase respects that. Let a slice answer just after the snare. Let a longer note happen before a kick-driven push. Maybe place a pickup just before the loop restarts. The bass should feel like it’s dancing with the break, not standing on top of it.

A nice way to think about the arrangement is in bass roles. One four-bar section might be the main hook. Another might be a response section. Another might be a transition. That mindset helps a lot because the bassline starts to feel intentional across the track, not just cool in isolation. If you can assign each phrase a job, the whole tune starts to breathe like a real arrangement.

Once the slice phrase is working, clean up the mix path. Use EQ Eight if needed to remove unnecessary low-end cloudiness or harsh mids. Keep an eye on the 1.5 to 4 kHz zone if the reese gets too abrasive, and check the low mids around 180 to 350 Hz if it starts sounding boxy. Use Utility to keep the low end centered and mono-compatible. This is especially important if your slices have some width or stereo movement in the mids. The sub needs to stay locked in the center.

If the slices feel too sharp, soften them with tiny fade adjustments or a little clip gain shaping. If they feel too soft, you can bring in Drum Buss very lightly, or add a bit of controlled saturation for more attack. The goal is punch without masking the break. In DnB, the drums need to cut through. Your bass should support that, not smother it.

Now let’s talk arrangement and variation, because this is where the loop becomes a tune.

Automate something over time. Maybe the filter opens a little each phrase. Maybe the saturator drive increases at the end of every four-bar cycle. Maybe one slice gets a reverb send or a tiny reverse-like echo tail. Even a small pitch drop on the final note before the loop repeats can create a big sense of motion. The trick is to avoid repeating the exact same two-bar idea for the whole tune. That gets stale fast. Instead, create one special bar every four or eight bars. A gap. A fill. A held note. A little stop. Something that resets the ear.

A strong oldskool move is to make the bass a little darker and more closed as the drop goes on, then reopen it later. That gives the arrangement an energy arc. You’re not just playing a loop. You’re telling the listener that something is developing.

Here’s a pro tip: make two versions of the same slice phrase. One can be tighter, darker, and more mono. The other can be a little brighter or more open. Then swap them by section. You don’t need a whole new sound to create a new section. You just need a different personality on the same material.

And if you want to push it further, try alternate slice maps. One map can focus on longer held notes. Another can emphasize short stabs and reverse-feeling fragments. That’s a fast way to evolve the bassline without rewriting it from scratch. You can also introduce one octave displacement on a single slice for one hit only. Just one. That tiny change can make a repeated phrase feel fresh without wrecking the identity of the line.

A few common mistakes to watch for here. First, don’t pile too much sub into the reese layer. Keep the sub clean and separate. Second, don’t detune so much that the bass goes blurry. Third, don’t slice randomly. Every chop should have a purpose. And fourth, don’t ignore the drums. If the snare can’t breathe, the drop loses impact.

If you want a fast challenge while you’re working, try this: build a two-bar sliced reese phrase with only three notes, one long slice, two short slices, one silence, and one variation in the second bar. Then automate the filter or saturation a little and loop it with a break. If the snare still cuts through and the bass feels like a phrase instead of a loop, you’re on the right track.

So to recap the workflow: build the reese with sub and mid layers separated, keep the detune and distortion under control, resample the patch to audio, slice it into playable chunks, and then compose around the breakbeat instead of on top of it. Use gaps, velocity changes, automation, and tiny switch-ups to keep the bassline alive. That’s how you get that vinyl heat, oldskool jungle energy without losing mix control.

If you can make a sliced reese feel heavy, musical, and arrangement-friendly, you’ve got a seriously powerful DnB composition tool. And once you hear it lock with the break, you’ll know why this approach hits so hard.

Now go make that bass talk.

mickeybeam

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

Channel:

Drum & Bass Ableton Live 12 Tutorials