Character of the mix
Techno is club music: everything revolves around the kick and the kick/bass relationship, heard on huge systems with powerful subs. The mix is essential and hypnotic, built on a few elements that evolve slowly (filters, modulation, delays). Typical tempo is 125–135 BPM (hard techno 140–155). The goal is constant energy, a clear low end in mono, and high-mids that don't fatigue at very high volumes.
Typical balance
| Element | Level relative to the mix |
|---|---|
| Kick | −3/−5 LU (loudest element) |
| Rumble / bass | −6/−8 LU |
| Hi-hats and percussion | −10/−14 LU each |
| Synths, stabs, loops | −8/−12 LU |
| Vocals or vocal samples | −8/−12 LU |
The kick is always the first thing you hear; the bass lives in the spaces between hits.
The rumble
A signature techno technique: a “rumbling” bass derived from the kick.
- Send the kick to a long reverb (2–6 s) at 100% wet.
- On the return: distortion or saturation, then LP at 150–300 Hz and HP at 30–40 Hz.
- Sidechain compressor keyed from the kick (5–10 dB, release 1/8–1/4): the rumble breathes between hits.
- Optionally pitch or EQ it to tune it to the key.
EQ
- Kick: fundamental 45–60 Hz, punch 80–120 Hz, click 2–5 kHz; HP 20–25 Hz.
- Rumble and bass: mono, LP 150–300 Hz, separated from the kick with sidechain.
- Hi-hats and percussion: HP 300–600 Hz, control 2–5 kHz (at club volume, harshness is painful).
- Synths: HP 150–250 Hz, room in the mids with automated filters.
Dynamics
- Kick: sharp transients, clipper 1–3 dB for density.
- Widespread sidechain (bass, rumble, pads, reverbs) from the kick.
- Drum bus: 2–4 dB of compression, saturation.
- Mix bus: glue 1–3 dB; be careful not to squash the kick.
Space and stereo image
- Kick, rumble, and bass mono and centered.
- Hi-hats and percussion spread out (20–60%), ping-pong delays and long reverbs to create depth.
- Automate reverb, delay, and filters for the track's evolution (techno “tracks” change by subtracting and adding elements every 8–16 bars).
Layering
- Kick: often a single processed sample; if layering, use a sub layer (tuned sine) + punch + click, aligned in phase.
- Percussion: loops and one-shots with different grooves, complementary panning.
Reference loudness
Typical masters are −9/−6 LUFS integrated, true peak −1/−0.5 dBTP; for DJ use, some producers prefer less limited masters (−10/−8 LUFS) to preserve the kick. Intros and outros of 16–32 bars with rhythm elements only, for DJ mixing.
Reference tracks
Jeff Mills “The Bells”, Ben Klock “Subzero”, Adam Beyer & Bart Skils “Your Mind”, Amelie Lens “Feel It”, Charlotte de Witte “Doppler”. Compare the kick/rumble relationship and the high-mid level at high volume.
Common mistakes
- Rumble not sidechained: it clogs up with the kick and the low end becomes a wall.
- Stereo bass: in the club the sub is mono and the bass loses power.
- Hi-hats too bright: fatiguing on the sound system.
- Excessive limiting: the kick loses its punch and the track sounds weaker than the others in the set.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Kick | −3/−5 LU from the mix | Main element. |
| Rumble | Reverb 2–6 s, LP 150–300 Hz, sidechain 5–10 dB | Bass that breathes with the kick. |
| Bass | Mono below 150 Hz | Club systems. |
| Hi-hats | HP 300–600 Hz | Cleanliness. |
| Master loudness | −9/−6 LUFS (−10/−8 for DJs) | Impact with the kick preserved. |
| Intro/outro | 16–32 rhythmic bars | DJ mixing. |
Frequencies to watch
| Range | What to do |
|---|---|
| 40–60 Hz | Kick fundamental: dominant element, mono. |
| 60–150 Hz | Rumble and bass sidechained from the kick. |
| 300–600 Hz | HP on hi-hats and percussion; rumble mud to control. |
| 2–5 kHz | Kick click; hi-hat and synth harshness at club volume. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Kick | EQ → transient → clipper | 1–3 dB of clipping | Punch and density. |
| Rumble | Send → reverb → distortion → LP → sidechain | 100% wet | Hypnotic bass. |
| Percussion | EQ → bus → saturation | HP 300–600 Hz | Clean groove. |
| Effects | Delay, reverbs, automated filters | Evolution over 8–16 bars | Movement. |
| Master | Glue → clipper → limiter | −9/−6 LUFS | Club impact. |
How to check the result
- Sub and Bass bands: dominant energy in the mix (the highest spectral peaks sit below 120 Hz); Side/Mid below −25 dB.
- Master crest factor 6–9 dB; below 5 dB the kick loses its punch.
- High-mids band (2–4 kHz) no higher than the references at equal loudness: at club volume it's the most fatiguing zone.
- Mix correlation +0.4/+0.9 (mono bass, wide high elements).