How to make techno like Oliver Koletzki and [Stil vor Talent]

The instructor introduces arcade furniture in the studio as a nostalgic addition from childhood gaming in the 90s.

The tutorial focuses on creating techno influenced by Oliver Koletzki and Stil vor Talent label, with multiple track options available.

The instructor selects a tech-oriented track to follow, making it comparable to previous tutorials on Paul Kalkbrenner, Charlotte de Witte, and Umek.

The goal is to create an Oliver Koletzki-influenced techno story using production techniques and synthesizer work.

• Start with a smooth kick drum that is shorter at the beginning of the track • Apply EQ adjustments to shape the kick character • Create longer and shorter versions of the kick for variation

Build a reese-type bass using Serum with notes in minor key, extended to four bars with filter cutoff around the 5 mark.

• Activate filter on Serum and create a growling bass sound • Apply distortion to smooth out the sound texture • Use sidechain compression with the kick to create pumping effect

EQ the bass by cutting lower frequencies to make space for another bass layer, creating a darker, more defined sound.

Create a clean and simple horn synth sound using Serum with a reflected reverb on top to build ambience and character.

Create a one-bar loop with two hits: one at the beginning and another right before the end, repeated throughout the track.

• Use Basic Mini with both layers activated and filter engaged • Set the filter to one octave below with aggressive settings • Add resonance and cutoff adjustments • Create fast, plucky envelopes

Add distortion and compression with increased attack to let the initial pluck shine while tucking the rest of the sound.

• Create a main reverb with pre-delay set high to maintain clarity of the initial sound • Increase pre-delay to create a delay-like effect, then further to build big ambient sound • Make the sound darker by adjusting reverb parameters

Send the horn sound to the reverb return track and extend to a two-bar loop for continuous playback with proper wet signal blending.

Add a second reverb layer to prevent the initial hit from sounding too isolated and dry, ensuring the reverb effect feels realistic.

Brighten the overall ambient sound to ensure the reverb itself reflects more high-end frequencies, enhancing the ethereal quality.

The track opens with rich, full shakers with significant ambience and noise characteristics that require processing.

• Duplicate the same shaker sample multiple times • Change the length of each duplicate • Place samples at different timing points to create groove variation • Transpose duplicates up and down to add tonal variation

Send shakers to a room reverb with brighter high-end to create cohesion with other elements while maintaining the shaker's organic character.

Create a resampled ambience from the shakers with heavy reverb processing, then compress it to the kick for pumping motion, adding glue to the mix.

• Introduce a darker tom-like sound placed off-beat right before the first kick hit • Create an off-beat feeling that repeats throughout the track • Apply EQ to make the percussion darker and assign to a dark reverb

Use multiple reverb returns to create ghostly ambient tails that answer and play off the previous dark percussion sounds.

• Add white noise hit samples that respond to the dark percussion • Reverse one white noise sample and edit its length • Place white noise hits strategically to create playfulness between elements

Manage the white noise elements carefully at the track's beginning, using automation to control their presence and maintain focus on main elements.

• Add a simple clap sound with inherent ambient character • Apply overdrive to drive the clap darker • Use slap reverb return and assignment to big hall reverb for spatial depth

The chorus introduces a huge bass that creates dynamic contrast with the intro section, with additional spray elements for richness.

Lower the clap volume to achieve proper balance in the mix and prevent it from dominating the chorus section.

The track combines shakers, percussion, and reverb returns to create a cohesive opening before moving into the main chorus bass section.

• Duplicate the bass and create a second version with slower rhythm • Implement a slower 'ding ding ding' pattern for the chorus • Keep the sub-bass layer in mono while making upper layers stereo

Use Serum with both oscillator layers activated, aggressive 24dB filter, and mono processing for the main bass layer.

• Create plucky envelopes with fast attack and release • Add slight distortion for drive and character • Make this layer slightly stereo to give stereo bass image while keeping sub mono

Apply sidechain to the kick for separation and groove, creating a powerful bass presence that complements the track's energy.

Create a simple pluck sound by selecting and arranging specific notes that will be processed for brightness and metallic character.

• Activate FM modulation from oscillator B to create metallic harmonics • Increase FM amount gradually to add brightness to the pluck • Combine FM with fast envelope to emphasize the percussive attack

Add slight distortion and compression to shape the pluck into a percussion-like sound with controlled dynamics.

• Use dotted eighth-note echo delay to double the pluck sound • Automate the echo send to duck on the first hit and increase on the second • Create an old-school doubled effect by manipulating the echo tail

• Layer two hi-hat samples with different characters • First hat sounds like an open hi-hat, second is more organic • Cut highs on one and boost highs on the other to occupy different frequency ranges

Apply sidechain compression to the hi-hats using the kick, creating a nice groove with separation and movement.

• Create a simple Serum pad with unison and closed filter cutoff • Include vocal samples from the original track • Add the previously created pluck sounds for additional texture

Use reverb return automation to create white noise fill-up ambience by gradually increasing reverb throughout sections.

• Combine all programmed sounds including bass, drums, percussion, reverbs, and pads • Demonstrate automation throughout the track structure • Show the interplay between different layers and returns

The track relies heavily on reverb architecture, sidechain compression, resampled ambience, and careful frequency management across all elements.

Create a cohesive techno sound with dark, atmospheric qualities using layered processing, creative reverb sends, and percussive elements working in playful conversation.

Similar tutorials on Paul Kalkbrenner, Charlotte de Witte, and Umek are available on the channel for additional production techniques and approaches.