How to Make Acid Techno Part 2 (Arrangement, Mixing & Mastering)

This is part two of the acid techno template explanation, focusing on arrangement, mixing, and mastering. Part one covers sound design, composition, and MIDI notes.

• Classic old school acid techno sound • Additional variation with different character

The video discusses arrangement strategies, arrangement details track-by-track, mixing techniques, and homemade mastering approach.

The template was created during a live stream on the Audioreakt channel where feedback and live production happen.

The main issue with acid tracks is the same acid line repeating throughout, requiring constant variation and changes to maintain listener interest.

• Use filter and resonance adjustments • Create moments where the acid line is filtered and pushed to background • Introduce different melodic elements

Intro, first break with acid line, section with and without drums, verse with low-pass filtered acid, additional variation sections, long final break, and outro.

Added a new synth called 'acid verse' for the second drop to surprise the listener and bring freshness instead of repeating the same classic acid sound.

Starts with kick and low end featuring the main acid line heavily filtered, so the melody is not clearly heard but the acid character is recognizable.

The main acid line is three bars long, so pattern changes occur every six bars to maintain groove while adding variation through filter movements.

• Closed hat providing hovering sound texture • Synth elements added for variation without stealing focus from acid line • Synth parts playing alternately rather than simultaneously

Open hats introduced to transition into the track and build momentum just before the break section.

The break splits into two sections: first part maintains kick but removes other elements, second part removes kick entirely.

Filter on acid line progressively opens to create mounting tension and energy. SFX transitions between sections add dynamism.

Right before the drop, everything cuts to silence leaving only the full acid line, creating extreme tension. A small reverse SFX enhances the moment.

The filter rises sharply just before dropping back down, creating a sloppy, impactful drop effect that works well for the track.

Chose to drop with all drums simultaneously rather than removing them, providing immediate energy and better overall progression than a sparse approach.

Drums added with full power creates upward momentum. Filter opens progressively as drums build, maintaining dynamic growth throughout the drop.

Second chorus section removes drums to create dynamic contrast and prevent energy from becoming monotonous or overwhelming.

Rolling kick variation added sparingly to provide slight changes without overusing the technique, maintaining balance in the arrangement.

After high-energy chorus, filter on acid drops down and drums are removed. New synth element introduces freshness while creating intentional energy reduction.

Filter quickly returns to higher frequencies, preventing the track from staying low too long. Maintains listener engagement through strategic release and rebuild.

Features heavily low-pass filtered acid line as a main variation technique. MIDI pattern changes with different note sequences to avoid repetition fatigue.

• Intro uses synth and hoover simultaneously • Verse uses stab alone • Sampler alone in other sections • Chorus 2 combines synth and stab for new texture

Before the long break, main melody is reintroduced gradually to avoid abrupt changes and prepare the listener for the final break section.

• First phase maintains elements with low cut for smooth transition • Second phase removes drums and synths for quiet moment • Final phase gradually reintroduces drums and opens filter for rebuilding tension

Track moves from high energy to calm moment to rebuilding power. This creates necessary dynamic variation and prevents listener fatigue.

Cutoff automation continuously moving up and down. Drone element present in first break for additional tension layer.

Second drop features a new saturated, electrical synth on stereo creating aggressive character. Made from synth with added saturation and wave shaper.

Drops without drums initially, contrasting with first drop that had full drums. This difference sounds better and surprises the listener.

Avoids repeating the same acid melody by introducing completely different sonic character, preventing listener boredom with familiar material.

• Acid verse plays mainly without drums • All drums return together • Acid chorus with higher cutoff adds brightness • Drum removal with MIDI pattern change for contrast

Final break calms the track by reducing synth features. Outro progressively removes elements while reintroducing open hats in an extended finish.

• Cutoff filter constantly changing throughout track • Resonance left unmodified for consistency • Gain automation before drops for dynamic impact • Drone automation for fade in and out effects

Before drops, gain reduced by 1-2 dB and stereo slightly reduced. This increases dynamic punch by creating bigger contrast between quiet break and powerful drop.

Mix-down track separated from master track. Mix-down contains creative sound design effects while master contains mastering chain for clarity and organization.

Ninety percent of mixing success comes from sound selection and arrangement. Proper frequency range management and avoiding overlapping elements is essential.

• Side-chain compression on kick for clarity • Parallel processing with distortion and reverb for kick clickiness • Low-pass filter on bass to maintain frequency clarity • Saturation for adding harmonics across elements

Most effects serve sound design purposes rather than traditional mixing. Reverb choices based on desired character rather than only spatial placement.

• Closed hat: no EQ, only reverb • Parallel group: reverb and saturation for cohesion • Drum group: EQ with low cut and high shelf boost for crispness • Compression and drive for tightness

Synths placed in stereo to prevent overlap with acid line. Acid chorus plays in center, acid verse on sides for spatial separation.

Minimal aggressive mixing effects used throughout. Most effects chosen for character and color rather than aggressive corrective processing.

• Saturation adds harmonics and character • Reverb prevents dryness and adds space • EQ for rebalancing frequencies • Effects chosen for creative intent

Mix-down and master separation allows clear understanding of creative effects versus mastering effects for educational clarity.

Homemade mastering means having basic knowledge to make tracks louder, more powerful, and cohesive. Professional mastering by an engineer is still recommended.

• Utility width: subtle stereo enhancement • Bass to mono: prevents phase issues in low frequencies • EQ: rebalancing frequencies

High-frequency cut around 8-10 kHz removed unnecessary frequencies. 200 Hz reduction for clarity compromise. 3 kHz boost. High shelf boost for brightness.

Adds cohesion and glue to track. Side-chain EQ around 300 Hz prevents kick from triggering compression. Slow 30ms attack preserves kick punch.

Attack 30ms, ratio 4:1, targeting 2-3 dB of reduction. Release adjusted based on desired result. Threshold set to zero then reduced until target reduction achieved.

Makeup gain cranked up beyond the natural level to achieve soft clipping effect using glue compressor's clipping mode.

• Saturation: 1 dB drive with 35 percent mix for subtle harmonics • Three meters limiter for warmth rather than strict limiting • Final limiter meters for loudness control with gentle settings

Keep track at minus 0.3 dB to prevent signal destruction when converting to MP3 format. Two meters for final subtle loudness adjustment.

• Add loudness without destroying signal integrity • Add glue for cohesion and warmth • Add stereo width subtly • Add excitement through saturation and compression

While homemade mastering is useful for knowledge and final comparison, hiring a professional mastering engineer with treated studio and experience is always preferable.

Understanding mastering basics helps finish tracks effectively and compare against professional releases. Provides insight into how mastering engineers approach professional work.

Template available for download in video description. Subscribers and followers encouraged to check the Audioreakt channel for live stream feedback sessions.