How to Make Berlin Techno Part 1 (Sound Design & Composition)

This tutorial covers Berlin techno sound design using Ableton Live templates created during live stream sessions. Everything is created using Wavetable plugin and example sounds.

• Part 1 (today): Sound design, MIDI composition, and individual elements • Part 2 (next week): Arrangement, automation, variation, mixing and mastering

The track features hypnotic deep techno with a groovy, percussive foundation and atmospheric elements.

Project files available in description. Full process visible on Audioreakt channel.

Sidechain track (ghost track on send only) triggers sidechain compression on other tracks like rumble and ambience. Main group combines kick and rumble elements.

• Uses 'Berlin' kick from Wavetable Technobank 2 • Added clicky character using Drum Buss in Hot mode • Channel EQ to boost/reduce high and low frequencies • Limiter for safety

Sampler with reverb, distortion, and low-pass filter. Creates depth and movement in the low-end foundation.

16-note rolling MIDI pattern with selective note removal. Kick velocity control adds dynamic groove.

Applied master processing to the low-end because the sound felt messy. EQ used to remove unwanted frequencies and gain clarity in the mix.

• Removed harsh frequencies causing muddiness • Boosted frequencies contributing to clarity • Added subtle reverb for space and cohesion

Used Kick Punch reverb plugin to help kick cut through the mix while maintaining low-end depth.

Applied gain reduction in 100-200 Hz range to prevent bass buildup and maintain mix clarity.

Uses drum rack with multiple hat variations. Decay and tone automation provides evolving character throughout the track.

• Two closed hat patterns using 16th note rhythms • Minimal processing - kept simple and straightforward • Direct drum sounds without additional effects

Sends to custom reverb rack with short and long reverb options. Applies saturation and filtering to focus on important frequency ranges.

Multiple identical hat samples work together creating impression. Open hat pattern uses three-to-ten rhythm structure with varying velocity for groove.

Noisy, wide stereo ride with saturation, Redux for grittiness, and filtering. Uses delay for stereo imaging and sidechain compression.

• 909-style classic ride with minimal processing • Saturation in medium curve for harmonic enhancement • EQ to remove classic 909 resonant frequency • Reverb and sidechain for spatial integration

Stereo ride ascending with darker velocity points. Classic ride playing with velocity drops at kick points, creating interactive groove.

Additional noisy ride using Wavetable Stereo with FM sound for metallic character. High-pass filtering isolates click frequencies with modulation.

909 snare with sustain manipulation creating sharp and noisy variations. Saturation and major curve add punch and crunch.

• 909 clap with identical processing to snare • Saturation and EQ for mix fit • Reverb to reduce dryness • Delay adds spatial character

Snare uses rolling 16-note pattern. Clap velocity varies from progressive build-up to full maximum, with delay only on final notes.

Sharp snare alternates with noisy snare. Clap with full velocity has no delay while progressive velocity pattern includes delay tail, creating rhythmic conversation.

Clicky percussion sampler using transposed tom sample. Plays lower than default note creating subtle pitch variation.

• Sample shortened using envelope • Filtering isolates click frequencies • Saturation and overdrive add grittiness • Final filtering removes non-essential content

Sidechain compression and reverb integration. Alternative to operator synthesis for achieving similar click textures.

Straightforward 16-note pattern providing rhythmic complement to Berlin 808 kick foundation.

Uses custom noise rhythm rack with built-in arpeggiator. LFO modulates decay creating groove from single played note.

Noisy wavetable creating rhythmic noise texture. Saturation and filtering add character to ambient percussion layer.

Pattern played live on Push controller until finding grooving variation. Recording then re-quantized for precision.

Arpeggiator enables rattle effect with adjustable note combinations and octave ranges for different tonal character.

Uses Operator synthesizer for noisy clicky percussion sound. Completely different from sampled percussion elements.

• Crunch and saturation for grittiness • Filtering isolates clicky frequencies • Delay with time manipulation creates metallic tones • Repeat mode experimentation yields weird sounds

Non-standard delay usage with feedback and time adjustments. Rather than classic echo, creates resonant metallic and weird effects.

Approach from live stream experimentation. Different than typical delay usage, offering unique textural possibilities.

Basic sine wave with minimal processing. Hypnotic melodic quality depends on MIDI pattern composition rather than sound design.

• Saturation for harmonic enhancement • Dual-channel delay with independent left/right filtering and timing • Reverb for spatial depth • Stereo reduction to prevent over-wideness

Root note G2 with additional notes across G3 and G4 octaves. Layering across multiple octaves creates richness and dimension.

Loop length using non-power-of-two bars (1.5 bar, 3 bar, 5 bar) creates hypnotic polymetric effect against four-bar kick pattern.

Long sawtooth distorted wavetable with warp modulation creating growing character. Band-pass filter with drive for resonant thickness.

• Pitch and oscillator warp modulated by LFO • Filter modulation via second LFO moving slowly up and down • Manual automation controls LFO bypass for dynamic variation • Creates plucking and growth effects

Saturation in hard curve with more grittiness than analog models. Overdrive adds extra crispiness. Auto-pan subtly moves sound left to right.

Delay at 60% wet/dry with internal filtering for character. Reverb provides final spatial integration and length enhancement.

Plays single sustained note throughout track without changing pitch. Always same note with filter and modulation evolution.

LFO modulation sometimes enabled, sometimes replaced by manual filter automation. Gives option for organic or controlled expression.

Uses 1.5 bar or 3 bar non-standard loop lengths creating polymeter against four-bar kick. Generates hypnotic evolving sensation.

Pattern activated at different parts of arrangement. Evolves depending on track section for dynamic progression.

Uses non-standard weird chord: G sharp, plus nine, plus one interval creating detuned vibe. Single sustained chord avoiding cheesy melodic changes.

• Pure sine wave with zero modulation • Notes played close together (one semitone apart) • Long reverb decay with substantial wet signal • Creates distinctive weird atmosphere

Close-interval notes produce strange beating and interference patterns. Creates uncomfortable yet hypnotic psychoacoustic quality.

Plays every four bars at same position. Adds subtle weird ambiance without dominating mix. Secondary atmospheric element.

Uses detuned voicing: G sharp, C sharp plus five (inverted), A4 plus one, and G minus one. Creates weird uncomfortable detune aesthetic.

• LFO modulates pitch very subtly • Slow rate with minimal amount for imperceptible variation • Creates movement without obvious modulation • Combined with saturation for harmonic richness

Band-pass filter adds character with careful application. Provides thickness but requires careful tuning to avoid weak sound. Low-pass filter changes depending on arrangement section.

Subtle element: removing it reveals missing something but overall mix doesn't emphasize it. Fills space without demanding attention.

Plays low notes primarily during breaks before drops. Provides dramatic transition tension.

Higher pitch version available for tonal variety and different arrangement contexts.

• Recycled from Lead Two wave table and processing • Same processing chain duplicated and modified • Warp amount changed from default • Different amplitude settings for attack character

Saturation with grittiness, slow attack for gradual rise, long reverb, frequency shifter for weird character, and overdrive distortion for depth.

Fills space and sets mood at track beginning. However, may create messiness so sometimes removed entirely if track sounds better without them.

• Uses custom noise rhythm rack with arpeggiator • Creates noisy ambient texture • Resampled at some point during live stream • Provides background noise layer

Second ambience track using noise rhythm rack with drive for wave table selection. Can play single notes or chord combinations at different octaves for varied dark or high-pitched ambience.

Uses home mode horn rack completely differently than intended. Applied reverb with longer decay and higher wet/dry ratio. Can be filtered and modified to create sustained ambient horn sound in background.

Mix down track contains master effects related to sound design. Rider effect combines G-lane and reverb for cohesion across all elements.

Applied across breaks for dynamic control and cohesion. Uses both G-lane and reverb components for integrated effect.

Basic mastering stage covered here with more detail coming in Part 2. Ensures overall frequency balance and loudness consistency.

Next week's episode focuses on arrangement, mixing and mastering in depth, element interactions, and automation techniques.