3 levels of TECHNO - beginner vs pro vs BORIS BREJCHA

• Beginners use long kicks from common sample packs without controlling the tail • Random EQ applied trying to compensate for room acoustics without awareness • Excessive saturation and processing causes the kick to turn into mush • Long tails combined with multiple effects destroy clarity

• Lack of sidechain knowledge forces compensation through EQ and saturation • Sub bass becomes overly processed and muddy • Beginners add random bass sounds to compensate for unclear low end • No dynamic control results in a cluttered frequency spectrum

• Selecting any cool preset from synthesizers without understanding context • Excessive reverb with 50% drive and long tails that create massive mush when layered • Overly repetitive sounds that lack dynamics and evolution • No awareness of how layered elements interact in the overall mix

• Super loud clap sounds that dominate the mix with simple high hats • Predictable note patterns: always one bar, half bar, or two bars • Extremely loud risers and ambient white noise at maximum level • No space for ear candies or minimalist elements

Producers become overly cautious about stereo field in the low end and make everything mono, resulting in a boring but technically safe sound with proper sidechain control.

• Way too many layers for simple sounds like three layers of hi-hats for a basic rhythm • Multiple clap and snare layers that consume frequency range unnecessarily • Adding layers for every new instrument because the producer wants to use everything learned • Results in a full but unbalanced mix that eats up space

• Track sounds flat because instrument placement and utilization is incorrect • Everything is present in the mix leaving no room for ear candies • Visual arrangement shows a wall of sound with no breathing space • Lack of emphasis on individual instruments due to over-saturation

• No ear candies because there's no room for them with so many layers • Minimal techno style compromised by too many simultaneous elements • Track lacks uniqueness and doesn't invite repeated listening • Good balance overall but predictable and uninspired

• Using Fabric with a single oscillator synthesizer for sub bass foundation • Stereo width comes from Timeless F5 filter plug-in with chorus effect • Super low frequencies below 56Hz kept mono while rest is stereo • Bass Mono utility applied below 64Hz to maintain clean low end

• Kick undergoes minimal processing with just tail shortening and group processing for glue • Clap layered with splash sound and organic clap, stereo image increased over 4kHz with Ozone • Using reverb as insert driven into a gate to cut off tails and prevent track clogging • Clap remains tight despite reverb effect through gating technique

• Simple off-hat with groove feel, velocity automation, light distortion and delay panning • Fast sidechain on multiple elements to maintain dynamic feel throughout • Filtering out initial kick transient for super fast sidechain effect with horn • Every element sidechained so listeners always feel the kick

• Horn sound kept clean using unison to make noise stereo with hard clip distortion • Heart clip distortion provides warm analog vibe on the horn • Bit filter cutoff play near end of horn phrase • Minimal but effective processing maintaining clarity and warmth

• Resampled horn with reverb creates unique ear candy moment • Duplicated horn with modified attack for cooler longer effect • Attack automation applied to sounds for dynamic evolving quality • LFO inside synthesizer modulated to create attack variation and interest

• Reverse ping opening the section followed by call and response at 16 bar interval • Sound design uses unison square wave with nice attack on cutoff and LFO tuning • Downsampler distortion creates interesting tail effect that shines in clean mix • Details only appreciated when track isn't cluttered with many layers

• Driving sound uses square wave with very fast decay time • Third LFO modulating main pitch to create movement • Tube distortion and post-distortion filter for analog sound • Ozone used to create splash effect rather than pinned stereo movement

• Pad features counter harmonies and sawtooth escape between them with string effect • Contrasting sound complements main pad without taking space • Small white noise fills background without overwhelming main elements • Beeps brought in strategically at chorus moments for excitement without dominating

• White noise riser created from Serum with reverb and automation • Bandpass filter applied to keep sound size stable while frequency range increases • Using bandpass instead of lowpass prevents sound from getting bigger as filter opens • Additional white percussion placed strategically at breakpoints for subtle variation

• Multiple small ear candies throughout track connecting elements together • Subtle elements barely noticeable individually but collectively smooth transitions • Professional track contains even more candies than shown in this remake • Careful placement of elements creates fluent dynamic development

• Smooth transition back to original point achieved through connected ear candies • Logical development by adding and extracting new sounds over time • Track evolves despite minimal style through strategic element placement • Playful elements here and there maintain listener interest throughout

• Every sound appreciated individually rather than becoming mush of elements • Clean approach allows details like ping tail distortion effects to shine • Professional production balances minimalism with dynamic interest • Contrast between simplicity and careful ear candy placement defines pro sound