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

This is part two of a Peak Time Techno template explanation series created during live streams on the Audioreakt channel, which occurs every two Sundays.

Part one covered sound design, the purpose of each track, and MIDI patterns for the production.

• Arrangement structure and song development • Automation and variation techniques • Mixing and mastering approaches

The completed track is played to give listeners an idea of the final result.

During the first live stream, inspiration ran out when trying to find a good melody, hook, or riff, leading to an early end to the session.

After the live stream, inspiration returned and a main lead melody was discovered that became the central element and mood of the track.

• An additional FM-based percussive lead was initially considered but rejected as too cheesy • Short stab elements were added throughout to provide variation and maintain listener interest • Stabs function almost like leads, adding excitement and constant interest rather than just filling gaps

Once all elements were finalized, the track was arranged around them to create a cohesive progression.

• Progressive and linear arrangement with the main lead playing throughout most of the track • Percussive stabs provide variation to avoid monotony • Filter automation places the lead in the background or foreground as needed

The arrangement divides into: intro, first break, first chorus, second break, longer breakdown, final chorus, final break, and outro.

• Long intro where the melody is already playing with high energy • Single long breakdown in the middle rather than multiple shorter breaks • No verse sections to maintain continuous melodic presence

The final chorus divides into three parts: focus on the rolling bass line, introduction of lead two, then return to the main lead.

• Kick drum and closed hats start the intro • Percussion elements are layered in to avoid an empty-sounding introduction • Rolling bass line plays underneath but is not yet prominent • Steady pad sustains a note throughout

In the third 16-bar section, SFX and stabs are added to provide variation before additional drums arrive.

Open hat and main lead are gradually introduced with filter automation, starting with a closed filter and opening it up to build tension.

The intro creates a pre-chorus moment with high energy, featuring the riding open hat and the main melody, giving listeners a sense they are already in the main track.

The riding open hat is removed to create a transition from high energy to a lower energy section.

• First Look EQ is used on the master to smooth the transition • Hats are removed to create a dynamic contrast • Kick and base are kept to maintain momentum

A clap with snare roll automation is sent to a washout return effect, creating tension alongside SFX elements.

Lead two is introduced as a surprise element playing an octave higher than lead one, with reverse SFX to help the transition.

The main lead plays initially by itself while stabs and SFX continue in the background.

• Filter automation on the main lead creates variation • The lead moves between front and background through dynamic processing • Stabs and second lead add interest without overpowering the main melody

Open hats are gradually introduced to increase energy and drive.

The section builds momentum before transitioning into the long breakdown sequence.

• First Look EQ is placed for eight bars, then kick, bass, and hats are removed • A drone element signals that something new is coming • SFX and horn effects help the transition

• The filter on the main lead slowly opens from closed to open • The drone sustains to maintain continuity • Reverb and washout effects are sent to the master return

• The kick is reintroduced slowly with a low-pass filter to emphasize transients • Hats return with SFX elements • Lead two begins playing again to signal the approaching climax

A resonance sweeping filter effect, riser automation, and reverb increase as the entire mix is sent to the return effect for final tension.

• Clap volume is automated to get louder • Filter on the main lead continues opening • Riser knob moves upward to elevate the sound

The entire mix is sent to a return with washout effect to create a wall of filtered reverb and noise.

Everything is brutally stopped, then the main lead plays alone before the drop, creating anticipation through minimal sound.

A reverse SFX effect immediately follows the silence to make the final drop highly effective.

Rather than dropping with the main lead, the track drops with an emphasized rolling bass line, inspired by Enrico Angelino's track 'Feature Dust'.

• During the main track, the bass plays at -10 dB • At the drop, the bass is brought to 0 dB for prominence • This creates a side-chain-like effect without using traditional side-chain compression

Stabs continue playing softly during the drop to maintain variation and interest.

The track is reversed using Ctrl+T to create a reverse effect; the last kick of one bar is removed to create a small break before restarting.

Lead two plays again while stabs remain present, creating a transition back to the main melodic content.

• Closed and open hats are introduced together for a driving effect • The main lead one gradually returns to prominence

• First part focuses on the rolling bass line • Second part adds lead two • Third part emphasizes the main lead

The final break removes all hats, filters the main lead, and gradually removes elements to create a smooth outro.

Minimal gain automation is used primarily during breaks to introduce or remove the kick smoothly.

Hats are sent to a return with a washout effect, creating noise and tension; this same return can be sent from the entire mix for added effect.

• EQ controls front/back placement of the main lead • Gate automation shortens the sound during the intro and lengthens it during the break for intensity • A macro controls pluckiness for tonal variation

• Side-chain compression ducks the main lead when the second lead plays • Threshold automation increases compression during noisy sections • Panning automation moves sounds left and right for stereo movement

Pitch bend modulation is subtly applied to the pad to create gentle movement in the background.

• Filter opening and closing during breaks builds tension • Gain automation smoothly introduces the sound • Utility is used instead of fader automation to preserve track-level adjustments

An EQ creates a sweeping filter effect on the horn during breaks, similar to the technique used on the main lead.

Utility gain automation allows track-level adjustments without affecting other automations, making it easier to reduce overall track volume during mixing.

• The entire mix is sent to the same return for the washout effect • Look EQ on the mix down provides smooth transitions during breaks • Master effects include a washout reverb and a sweeping resonance effect

Multiple sends/returns (send, mix down, master) may seem redundant but serve specific purposes detailed in a separate video about mixing and mastering setup.

Washout and resonance effects build tension during breaks by creating filtered, reverb-heavy transitions.

Effects are carefully applied to create smooth, impactful section changes throughout the track.

• Saturator is used for loudness enhancement • Drum bus adds harmonics and makes sounds louder • EQ is used subtly for frequency adjustments and clarity

• Delay adds groove and is considered more sound design than mixing • Reverb is treated as sound design to color the track rather than create space • Side-chain compression is mandatory for maintaining kick space and groove

• Choosing elements that fit well together is crucial • Avoiding overlapping sounds prevents mud in the mix • When overlap is necessary, side-chain compression can create space for each element

• Start by setting drum levels correctly • Add bass and balance with drums • Gradually add elements while ensuring proper placement and spacing • Use panning and gain adjustments to create clarity

Professional mastering should be done by a skilled engineer in a proper room, but homemade mastering can make a track louder, more compact, and ready for club playback.

• Loop the loudest section of the track • Convert bass to mono frequencies below 120 Hz to prevent phase issues • Keep mid and high frequencies in stereo for width

• EQ the compressor input to prevent the kick from triggering compression • Focus compression on transients rather than the low-end • Use approximately 30 milliseconds attack to preserve kick transients • Adjust release time based on desired pumping effect

Apply makeup gain, add clipping protection, and use EQ for final balance before adding saturation and limiting.

• Cut everything below 30 Hz to remove unnecessary sub-bass • Cut between 200-500 Hz where mud typically occurs • Boost around 3 kHz for clarity and presence • Add a slight boost in the highs for brightness • Apply a high-shelf filter around 16-18 kHz to prevent harshness

• Use analog clip saturation for smooth loudness addition • Apply digital clip saturation for more brutal, tight, and punchy results • Combine both for balanced harmonic enhancement

A color limiter adds harmonics and warmth using minimal saturation settings around 0.004-0.006 without aggressive limiting, creating a wider and warmer overall sound.

A final limiter gently squashes transients to prevent clipping while maintaining the overall loudness and character of the track.

The video covered arrangement structure, automation techniques, mixing practices, and mastering approaches for peak time techno production.

• Strategic arrangement with variation prevents listener boredom • Automation and effect layering create dynamic tension and release • Mix clear sources to achieve clear outputs • Homemade mastering can significantly improve track quality

The production template used in this tutorial is available for download via a link in the video description.

Live production sessions occur every two Sundays on the Audioreakt channel where viewers can participate and ask questions.