How to make techno

Watch: How to make dub techno

Create some classic rhythms, and learn to dub and delay with the best

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Dive headfirst into dub techno and learn how to combine synthesis and echo techniques to create that reverberated, club sound.

Watch as product expert Joe Rossitter uses MASSIVE and REPLIKA XT to create echo, and synth chords with the signature, minimal feel associated with dub techno. Find out how to tune your oscillators, create dub chords, modulate delay, and arrange your tracks and workflow to create ample rhythm and sound in your track.

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How To Make Techno: 11 Need-To-Know Techniques

So you want to learn how to make techno? I don’t blame you – there’s something special about that hypnotic sound that has defined electronic music for years.

Maybe you’ve tried but you’re stuck. You don’t have the right sounds, nothing fits together and everything you make sounds like a washy mess of audio.

Don’t fear – in this guide, we’ll cover 11 of the most important techniques you need to know when it comes to making techno. Here’s a rundown:

These beginner tips work in any DAW (Ableton Live, FL Studio, Logic Pro X), so let’s take a look! 👇

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#1: Pick the right style

Techno originally started in Detroit during the 1970s with producers like Juan Atkins, Kevin Saunderson, and Derrick May. They pioneered the original raw, captivating techno sound.

But like many other subgenres of electronic music, techno has become so big over the years that many subgenres have been created.

As you can see, there’s a lot. But most techno fits into one of two categories: Raw/Deep Techno or Peak-time Techno.

Raw/Deep Techno

This is characteristic of the original, minimal sound of techno that came out of Detroit in the early days. It retains the hypnotic feel, characterized by simple yet effective loops, a grungier aesthetic, and an arguably ‘darker’ sound.

Many people would characterize this type of techno as ‘underproduced’, but it’s just part of the aesthetic this breed of producers is going for.

In this style, you’d be opting for elements like:

Here’s an example of this style:

Peak-time Techno

By contrast, peak-time techno has a more modern influence and is inspired by melodic phrases and unique sound design.

This new sound has been pioneered by producers like UMEK, Adam Beyer, and Charlotte de Witte.

The main elements of this sound are:

Other styles

There are other types of techno like dub techno which is less club-oriented and more for listening, and melodic techno which is inspired by progressive and melodic house music.

While we could dive into all of these, for this article we’ll just cover the aforementioned styles. We might do these at some other point (if you’d like to see these, email me).

#2: Thumping kicks

The central theme of techno is the kick drum – even more so than house music.

This is because while house music focuses on swing and groove, techno is all about those straight, driving rhythms.

House also tends to feature a clap on the 2 and 4, whereas techno forgoes this in favor of highlighting the kick.

If you’re going for the raw techno sound, a boomy, 808, or 909 style kick would work well here. This creates that ‘wash’ of low end that rumbles throughout the club:

909 Kick (135BPM):

However, if you’re going for the modern peak-time techno style, a shorter kick with a lot of punch is probably your best bet. A lot of low-end is still key, but these kicks have a much tighter sound.

Modern Techno Kick (132BPM):

For this guide, I’ll opt for the peak-time techno kick.

Once you’ve chosen a sample, you’ll want to program a simple 4-on-the-floor kick pattern like so.

This is the foundation of techno right here – everything else will surround this core theme.

You want the kick to keep this pattern up for the majority of your track, besides in the breakdown.

However, you can still spice things up with a number of:

Here’s what I came up with using these tips:

I haven’t used a reverse kick here, but I’m going to do something cool later on instead.

For now, let’s move on to the other drum sounds!

#3: It’s all in the rhythm

Once you’ve got a kick down, you can program extra percussion hits like claps and snares around the kick.

As I mentioned, you don’t have to stick to the standard 2 and 4 like in house music.

You can use claps and snares as an energy-building tactic and be more creative with the rhythm.

Here are a few ways you can do this:

Syncopated Percussion

Syncopation is where you program a drum sound to ‘feel’ like it’s playing at a different tempo to the rest of the track.

This is a great attention-grabbing technique, and many techno producers use this to switch up different sections.

It’s most common to use snares to do this, but you can feel free to find toms or any other perc sound. Here’s the snare I’m using:

I added a high-pass filter to the original sample to make sure the kick has space in the low end. This is a good practice for certain samples.

I’m going to add an offbeat syncopated snare around 1.1-1.2, and then again at 2.3-2.4. I’ll repeat this pattern every 2 bars.

You can see the two syncopated rhythms blend into one another at the end of every 2 bars.

Rolls

A great way to add energy in techno, especially after a huge build, is to abuse the claps through what I like to call rolls.

You just line them up every 1/16th note for a while and let them fire like a machine gun.

But I find this works better with claps than snares, so let’s find a good clap sample:

I may use them more liberally later in the track, but for now, I’m going to use them every 4 bars at 4.2.

This creates an extra little bit of tension and acts as a ‘call and response’ with the snare:

This sounds especially cool when you give them a bit of reverb. And speaking of reverb…

Reverb Hits

Because techno is all about filling in space around the kick with percussion and sound, reverb can be used to fill those gaps.

The easiest way to do this is to set up a reverb send with a 1-2s decay time and send certain hits to it. I’m going to use Valhalla Vintage Verb, but you can use any plugin or stock device.

I’m going to send my claps to it, as well as my snares (a little bit less).

Notice how it fills out the space more:

Once you get your main percussion hits down, you can turn to the top-end percussion to create energy.

#4: Top-end energy (cymbals)

Because techno is heavily focussed on the kick, you want to compensate with lots of energy in the tops, using hats and rides.

Once again, the 909 drum machine sounds a great starting point here, but you can go further with more modern varieties of techno.

You’ll want to start with consistent 1/8th and 1/16th rhythms. Here is a standard 1/16th hat over what we’ve been making so far:

This is solid, but it’s a little stale. Let’s add some velocity changes to make the hats ‘dance’ a bit.

Now we’re starting to get that ‘driving feel’ that techno is known for.

But we can create even more energy by layering in some rides.

I’m going to use a 909-like ride sample on every 1/8th note, with a few velocity changes on every 1st and 3rd it so it ‘ducks’ with the kick.

Now we’re talking.

Bonus tip: a fun way to make hats more ‘hypnotic’ is to use timed delays, creating a rhythmic sense of space. Let’s add a 3/16 delay to the rides:

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#5: Dark sounds with reverb

One of the main features of techno is its focus on atonal and dark-sounding melodies. Part of the fun is that you don’t even have to stick to a traditional scale if you don’t want to.

The ‘hook’ in techno tends to be an array of sounds that are arranged to create a phrase. These are usually processed with reverb to put them in a space.

You can hear this in the following track, between the vocal cuts and the acid bass stabs:

In this case, I’m going to pick 2 sounds: a bell and a vocal snippet. Between these two, I’ll be able to come up with something interesting.

Here’s the bell sample I’m using:

and the vocal snippet:

I’ll load both of them into a sampler each, and use the following techniques to come up with something interesting:

There’s no right or wrong way to do this here. Here’s what I came up with:

I think these are both sounding good, and I have put them through the same reverb as before.

But we can do more with a bit of post-processing.

#6: Go nuts with the post-processing

Techno is all about that other-worldly sound, so you can do some creative processing to get things sounding really strange, even beyond reverb.

Delay

Delay is one of my favorite effects to use in techno because it’s rhythmic and creates a ‘cavernous’ feeling.

If you’re going for that old-school sound, you can use something like a tape echo in lieu of a digital delay effect.

I chose to use delay on my vocal with a 3/16th delay time, giving it a nice sense of space:

Amp Simulation and Distortion

Amp simulations are great for getting unique, gritty textures out of any sound. However, you’ll want to be careful to drive things too hard too early.

In this case, I wanted to dirty up the bell sound to make it sound like something unrecognizable.

So I used the ‘Clean’ preset for Ableton Live’s Amp device from the default library and tweaked the drive to taste.

Combined with that reverb and pitch alternation, we have ourselves a spooky, crunchy bell-like texture.

Typically EQ is used as a mixing tool, but it can make for a good creative one too.

Because the vocal sample is quite lo-fi, attempting to ‘fix’ it by adding back in the high-end brought about some cool noisiness to the original sound.

Here’s the curve I made using FabFilter Pro-Q 3. Note that this looks really complicated, but it was literally just me throwing random boosts and cuts in there:

We can also apply these sorts of processing techniques to the rest of our track as we go.

#7: Hypnotic bass line

In techno, the bassline plays a relatively consistent role, filling in the low end with a driving, arpeggiated rhythm.

For this reason, using arpeggiators is common in techno, especially with the classic sound of the TB-303 bassline synth.

In the track I’m making, I’m going to use a more modern sound from Ableton Live’s Wavetable synth – the ‘Neo Post Acid’ preset.

Again, you can really get away with whatever notes you like in techno – as long as it feels right to you and is hitting the right note range.

Between E0 and E1 works for me in most cases, as this is usually reproduced by a subwoofer in a club.

In techno, certain bass patches do sound better when they leave space for the low-end of the kick and play in the higher ranges.

Here are the two notes I’m using – F0 and A0:

This has a nice kind of sub-bass feel. Now it’s time to use an arpeggiator.

Most DAWs come with either an arpeggiator device (Ableton Live, Logic Pro X) or an arpeggiation function (FL Studio Piano Roll menu).

As I’m in Ableton, I’ll use its built-in device. I’m going to set the rhythm to 1/16, the gate to 99% (full-length notes), and the ‘Steps’ to 1, so it jumps the octave every 2nd repeat.

Feel free to tweak the preset to taste – I personally liked to have the LFOs synced to a straight rhythm (1/4th or 1/8th) rather than a syncopated one (e.g. 3/16th).

I also like to play with the filter cutoff to get some nice motion and energy over time. I’ve modulated it with the LFO as well and driven it quite heavily.

Lastly, I tweaked the wavetable position a little to get a slightly different tone out of the bass.

Whatever you end up coming with, make sure you sidechain the bass to your kick drum, as the sub-frequencies will be getting quite filled up now, and you don’t want too many frequency clashes.

If you want to take your arpeggiators to another level, check out this video from Luca on our YouTube channel:

#8: Building energy and tension

By now you’ll probably have a solid 8-bar loop, but now it’s time to break out of that and build some tension. Because techno is all about the long game.

Duplicate your 8 bar loop at least 4 times, so you have 32 or more bars to work with.

Now we can add in additional sounds like FX, sweeps, and impacts. These will help to bring up the energy levels in certain sections.

Long Impact

I’m going to start by bringing in a long noise impact.

This type of sound indicates the start of a new section and keeps up the energy.

This particular sample lasts nearly 16 bars, but yours may be shorter. This will just keep things interesting as the loop evolves.

I’m just going to place it on the first beat of every 16 bar phrase. Sometimes offsetting the rhythm by a beat or two before or after the 1 can work as well.

Metallic Sweeps

Metallic textures work well in techno because the tones can be quite jarring without fitting to a normal key.

I like to add some sort of subtle sweep every 8 bars, which creates anticipation for the next section.

You can use noise sweeps as well to layer them up if you like.

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#9: Ambience and atmosphere

Part of the sound of techno is the atmospheric elements that swirl around in the background, putting the entire track in a different place.

Reverse Kick & Reverb

One of my favorite types of atmosphere for techno is taking the kick and turning that into a swelling bed of sound.

This creates that low-end boom, and in some techno tracks, it even replaces a normal bassline.

In this case, ours will be more subtle. Here’s my process for doing this:

Here’s how mine turned out!

and with the original kick:

Field Recordings

Using reverb and delay on field recordings takes natural sounds and completely twists and mangles them.

Finding a 1 bar, 2 bar or 4 bar loop within these longer recordings often emphasizes the rhythmic nature of the track.

A few good candidates are samples of:

Take this one step further by time-stretching and pitching these recordings to give them an eerie vibe.

I personally used a train field recording, looped it every 2 bars, and reversed every 2nd one so it ‘sucked back’ into itself.

I finished this off with some notch filtering and reverb effects from Valhalla Supermassive:

#10: Keep things evolving (every 8 bars)

Not only is tension and energy about making slow changes over time, but it’s also about adding subtle bits of variation every 8 bars or so.

This can be as simple as:

At this point, you’re going to be structuring your track and considering the overall movement of energy from intro to outro.

Here’s a standard structure for techno and house:

DJ Intro (16-32 Bars) – Breakdown (16-32 Bars) – Drop (16-32 Bars) – Drop Variation (16-32 Bars) – Breakdown (16-32 Bars) – Drop (16-32 Bars) – Outro (16-32 Bars)

Sections can be as short as 8 bars, but typically last 16-32 (2-4 repeats of 8 bars).

Here’s a quick breakdown of each section:

DJ Intro/Outro

Having some form of drums during the DJ intro and outro is important so DJs can mix it in a club. However, this doesn’t mean you still can’t get creative.

Here’s a good example of a peak-time techno track from UMEK and Cosmic Boys that does this very well:

Breakdown

In this section, it’s important you bring most elements out completely, especially the drums. Removing all drums creates the most contrast, however, some producers opt to keep a hat or ride going.

This is where you will introduce your main hook in some form. You can choose to leave a bit of silence before to give the breakdown maximum impact.

You can hear this in Charlotte de Witte & Enrico Sangiuliano’s remix of The Age Of Love (around 0:35 in this video):

In the last 8 bars of the breakdown, it will start to build energy towards the drop. Once again, bring in FX risers and other sounds to build it up. You can use claps, snares, and percussion with a rapid increase in speed to furthermore create that sense of energy.

The drop is the point of maximum energy in your track, and it’s typically where the kick and bass slam back in with full force.

You can hear a techno drop in this example here from Cosmic Boys (2:14):

You don’t have to include every element at this point, as normally the drop variation will build on the first part of the drop.

Drop Variation

As we’ve covered, techno is all about the long game. So the drop energy stays consistent for a majority of the track.

Often the energy increases during this section and then starts to decrease towards the end, which is why some drop variation sections can go for 32 bars (and sometimes longer).

There’s no right or wrong here – just make subtle changes based on where you want the track to go.

#11: The professional polish

Once you’ve crafted your track, added all the elements, and are happy with the general production, it’s time to turn to the last 10%.

These are areas such as:

I’m not going to bore you with the 10, 20, 50, or 100 tweaks I could make to my track.

Here’s what I do what you to learn: that these small changes add up.

An EQ boost here, a volume change there, and removing a clap somewhere all contribute to creating the ideal end result.

A word of warning though: you can very easily get stuck here. Once you’ve been tweaking for too long, call the track finished, export it and call it a day.

Whether or not you’re mastering your own work, test it out with a limiter to see how it sounds with a decent amount of loudness. I personally use FabFilter Pro-L 2 for this:

All that being said, here’s the final result!

In Closing

I hope you’ve learned a lot about how to make techno. If you apply these tips, I have confidence that you’ll be able to create great music.

But maybe you’ve gone through all of these tips and still feel a little stuck. Some stuff might have just gone over your head.

If this sounds like you, we have a free video training for producers just like you. You’ll learn:

New to music production?

Watch our free masterclass on how to learn electronic music production the smart way (without months of confusion & frustration)

How to make techno

This used to really bother me. not anymore.

Hi Friend,

Thanks for coming by. On this page I»m going to explain exactly how I went from «trying to figure it out» to getting tracks signed on big labels like New York’s Nervous Records, winning a prestigious remix competition out of over 300 others, and my latest EP getting support from DJs like Christian Varela, Fernanda Martin and more.

So if you want to finish more music instead of having your ideas shelved in a folder on your hard drive, aka the loop graveyard pay attention to what’s on this page.

You Don’t Need to Know 417 Things About Production

There’s a lot of things that are nice to know which make for interesting content on YouTube or as an article. It’s just that that stuff won’t make or break your track.

That stuff is like a nice sauce that’s served on the side of a steak. But the steak is the main dish, a nice sauce won’t make a grizzly over cooked steak better.

So if you spend a lot of time learning «neat» tips and tricks, but still not getting where you want to be. even after months and years it’s time to change your approach.

While the digital age has made it easier for us all to produce the ease of access to plugins, samples, tutorials, and software is totally overwhelming.

Don’t get me wrong YouTube is great for getting through the beginner stages. The real challenge is moving past the next sticking point. So if you’re reading this page it’s probably because you’re able to come up with some nice grooves, but you don’t know how to turn those loops into complete, polished tracks.

You’ve been trying but come up short. The mix lacks width and punch, the master is not quite up to snuff in terms of impact, sparkle and clarity, and at times, well, your tracks are a little boring.

What do you do?

That’s what I did over a period of several years.

And you can too, or you can find a credible short cut I’ll tell you what I did shortly.

Let’s rewind..

And go way back.

I never went to a proper club till I was 20. A friend since my early school years was into «the scene» and brought the rest of us out. We caught the tail end for clubs like NY’s Limelight and Tunnel. He DJ’d and I was just getting into the music.

For some reason I was into production before getting into the scene. Reason for that is a few years prior some other mates we’re doing hip hop. As a «decent» guitar player who appreciated the recording process I got bit by the bug when I saw early versions of the now defunct DAW Cakewalk process digital audio.

From there I was hooked on producing, but didn’t get into dance music till a few years later.

While I got to experience these legendary clubs which is better than nothing, they were past there prime.

One night we went to New York’s Sound Factory. It was cool. It was tall with 4 floors to wander though. Friday nights were a younger crowd.

Saturdays were more serious.

Several months later I found myself there for the resident DJs birthday. It was just unreal. This was a proper NYC club experience. Same for my nights at Dany Tenaglia’s Vinyl. and Crobar.

This was back when «dance remixes» were all the rage and the big New York jocks like David Morales, Junior, Danny, Victor, Boris, Jonathan Peters and Hex Hector were making some serious coin remixing pop artists.

This was like the 3rd time I ever set foot in the building.

The night was epic, lost my friend at 9 am. He text me saying he had to go. I was like «OK cool I’m gonna stay for a while» and ended up staying till like noon or so. The party was still going strong but I didn’t have anything left in the tank.

Shortly after this I was hanging w/ the same crew that took me to Factory for the first time, one of them pulled out a business card from Jonathan’s production studio in NYC.

I called the number and asked if they hired interns.

I put together a «demo» reel of stuff I had done and I got the job.

It was grunt work at first. But then I sat in on production sessions and doing things like sampling vinyl to an AKAI MPC.

Then I was tasked with making mash ups and helping Jonathan prep files to be played out of Ableton version 1.o at Sound Factory. It was very cool to see and hear stuff I worked on directly going off in a big way at the club.

And in off hours I could work on my own stuff.

2 Rooms and Racks Full of Gear

I was working for them but you may have thought that I would have soaked up a lot of knowledge and since I had access to all that gear during off hours that maybe I made a dope track or 2 over the course of working at that studio for a year.

Nope not 1 track done. Some cool ideas but not 1 finished piece of music.

Granted I was a total beginner. I could watch the pros work but it’s not like they were going to stop what they were doing to teach me what they were doing and why.

Dance Music Production Course

As I said I spent about a year working there. About 3/4 of the way through I got my own set of turntables. Technics, a big step up from the belt driven Numark «DJ in a Box» set up my room mate had that I learned on.

I got to the point where I could kind of properly mix on them, but when I got Techs it was like starting over.

After a few months on proper turntables I could mix «good enough» to go looking for gigs. So when I left the internship, I found a weekly paying DJ-gig in a trendy restaurant/lounge. It paid well so I stuck with that for about 5 years every Friday night.

This was in Hoboken, NJ very close to NYC.

This also started my record shopping habit.

One day on my way out of the store, I’d always stop and grab a flyer or 2 for whatever parties looked good. This 1 day I found a flyer that said «Dance Music Production Course»

Only back then, you only absorbed what was taught live in class and any notes I could scrabble on paper.

But I still hadn’t made 1 good track WTF!

Through out all this time I did have more than enough gear and more than enough software.

I don’t recall doing much with that.

I had the first version of UAD’s Powered Plugins. They were nice, but I had no idea what I was doing with them.

After all of that was said and done, I did manage to create 1 good track I liked and I did a remix for the teacher of the production course but it was never released.

That’s a ton of time and lots of money invested in gear which produced a trickle of music. OK maybe a drop of actual completed music.

So I took a break for nearly 5 years

This was a lot of fun. I played out weekly, sometimes did bigger events in the city. Opened for a couple notable DJs like Dave Seaman at the now defunct «Club Love» in NYC’s West Village.

But it wasn’t really going anywhere, and at this point the music became very commercial because the «underground scene’ was dying and pop/open format was rising, along with «Bottle Service» culture.

So it was time to take a break and do some adult stuff. I became more career focused. I never stopped buying music, I never sold my gear, I never sold my turntables. All that stuff was in storage in my parents basement.

I bought my own flat some years later which was cool.

My my then girlfriend, now wife, moved in with me things were good.

Some time later I started a new job and my manager was an older «British House Head.»

I kid you not. Super cool, nice guy who in his youth also used to DJ and rent out sound systems. Since we talked shop about music and what not the music bug bit me again.

The headphones I had hung up, were now back on.

I sold my old Triton keyboard and grabbed a Native Instruments Maschine MK1 which is now the basis of all my tracks.

I got reacquainted with Ableton and started making tracks. It was fun, but I still wasn’t finishing them, but I was a tad smarter and more persistent. Eventually got my first release out on Beatport which was a remix for a friend.

I got some tutorials, some modern sample packs.

On the night of my bachelor party which was a steak dinner followed by a trip to Output to see Nicole Moudaber, I met a rep from Nervous Records.

We talked for a while and exchanged info. He said to send stuff so I did.

The resulting track «Thirteen» landed in the Traxsource Top 20 Tech-House Chart. I followed it up with another that got almost as high.

This was a lot of fun. I played out weekly, sometimes did bigger events in the city. Opened for a couple notable DJs like Dave Seaman at the now defunct «Club Love» in NYC’s West Village.

But it wasn’t really going anywhere, and at this point the music became very commercial because the «underground scene’ was dying and pop/open format was rising, along with «Bottle Service» culture.

Things Changed Big Time

So it was time to take a break and do some adult stuff. I became more career focused. I never stopped buying music, I never sold my gear, I never sold my turntables. All that stuff was in storage in my parents basement.

I bought my own flat some years later which was cool.

My my then girlfriend, now wife.

Things were good.

Some time later I started a new job and my manager was an older «British House Head.»

I kid you not. Super cool, nice guy who in his youth also used to DJ and rent out sound systems. Since we talked shop about music and what not the music bug bit me again.

The headphones I had hung up, were now back on.

I sold my old Triton keyboard and grabbed a Native Instruments Maschine MK1 which is now the basis of all my tracks.

I got reacquainted with Ableton and started making tracks. It was fun, but I still wasn’t finishing them, but I was a tad smarter and more persistent. Eventually got my first release out on Beatport which was a remix for a friend.

I got some tutorials, some modern sample packs.

On the night of my bachelor party which was a steak dinner followed by a trip to Output to see Nicole Moudaber, I met a rep from Nervous Records.

We talked for a while and exchanged info. He said to send stuff so I did.

The resulting track «Thirteen» landed in the Traxsource Top 20 Tech-House Chart (it went further than what I happened to capture in the screen shot below).

I followed it up with another that got almost as high. And later my full on techno bomb «Friction.»

Now I was actually producing.

It still took me a hell of a long time to make a track but I was getting more music done. Music that I liked and felt proud to release.

Not long after the releases on Nervous Records, I saw that Victor Calderone was hosting a remix contest on the now defunct «Play.Beatport.com» platform.

Then I was like «OK I’ll enter if it doesn’t kill me on time» So one night after dinner I started getting some ideas down. I liked where things were headed.

Keep in mind at this point in my life I had WAY less free time.

I was married, had a child, was freelancing and looking for a bigger paying, full time gig as opposed to side gigs.

So if you think you need all the time in the world to make great music, you don’t.

Back to the remix competition, I got something down that I liked. Uploaded and actually won, out of over 300 other entires.

So What Changed?

So how am I getting better music, completed faster with less time and gear?

I got serious about the important stuff and ignored the fluff.

NO BS Production

Time constraints of «adult’ life helped me a lot. Another thing was that during my break from music, I learned the importance of «getting it out there.»

Perfectionism kills, it’s better to have something very good see the light of day than to never release material because it’s «not perfect.»

This combined with not focusing on fluff and non sense.

Way back it was hard to produce because the gear was expensive, but if you had the gear from there it was straightforward.

Today the gear is less costly, I mean you can do a lot with a lap top. The problem is that today things are digital and digital is infinite.

There’s always some «thing» you can be doing to produce

A sample to find, a tutorial to watch, a VST instrument to use, a tip to try, and technique to learn. and on and on and on.

It could go on and on and on and on.

There’s a ton of things that you could do, that are interesting to talk about, that may improve 1 aspect of your music a bit, but in terms of the big picture, these tips and techniques really aren’t that meaningful.

If you want to make gains you have to focus on things that really matter.

Another thing is that it’s easy to over do it on instruction that is helpful but totally overkill for dance music, particularly underground stuff.

For example music theory. You don’t need much theory at all for techno.

Another example is mixing.

Oh yeah mastering your DAW.

This one is important as I often see commonly regurgitated advice for newer producers to «hunker down» and master your DAW.

Yea that can help, but mastering a DAW is really important when time is money and you’re being paid hourly to record and mix a band of something. When hourly income is on the line and you’re just getting started and have to make some shitty singer sound good and you’re editing a bunch of takes into 1 good sounding coherent lead vocal, then YES, there’s a big pay off to being a master of your DAW and it’s keyboard short cuts.

But for techno, you don’t need to burden yourself with that.

Speaking of mastering things, DON’T waste any time or money trying to master your own music.

You’re gonna come up short.

You’re gonna work on a track, spend another ton of time trying to self master and then you’re gonna listen back and have a nagging feeling that your music still isn’t up to snuff.

Let’s Focus on What Matters

Do you see how I’ve taken a bunch of crap off your things to do list?

In total I spent about 10 hours on my winning remix for Victor Calderone. Sure, a bit of luck was at play. There’s always gonna be times where you get in flow and the music churns itself out.

And that’s how it is for most producers who aren’t quite there yet. It’s easy to start but difficult to finish.

Right now I don’t struggle to finish because I put the time into pumping up my finishing muscles. You could do the same thing. Sure I can help you produce some new sounds and give you some inspiration. There’s tons of that stuff.

That’s like giving you a fish. You’ll be back again when you’re hungry looking for a meal.

This is what most instructors do. Pump you up with interesting tips and bits so you keep coming back. Remember a lot of these site owners are monetizing your interest in the subject matter, they don’t really show you the whole picture.

And many tutorials are safe, not very artistic, and tend to focus heavily on copy what’s hot. The problem with that is you’re not learning how to be an artist or improve your artistic skills.

It’s monkey see monkey do.

And if you’re like me a few years ago you may have realized that it’s time to take a different approach.

Forget about all the noise.

Become a Rebel Producer

Seriously, it’s time to question conventional (producer) wisdom and do something different if you’ve been struggling at this for a while and want to actually make an impact with your music.

Underground Elite™

A brand new way to approach and learn production. This no fluff, tell all course explains exactly how I work. 20 videos, 5 hours of content spread over 4 Modules, plus lots of audio files and Ableton Projects to work from. Best of yet you’ll learn from real working dance music that has rocked dance floors. No cheesy, generic «template» sounds that are here today and gone tomorrow.

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