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Forty tracks in the project. Three lead layers, two plucks, a pad, a second pad, an arp underneath, and it still doesn't sound as big as the reference — which, when you actually look at it, is doing the whole drop with about six elements. I know this feeling really well, because for years my answer to "it doesn't sound big enough" was to add another layer. It almost never worked. So let's talk about that, because it's probably the most useful thing I can tell you. Adding is the easy answer, and it's usually the wrong one When something isn't working, adding a layer feels productive. You're doing something. The problem is that every element you add takes up frequency space, takes up stereo space, and takes up attention. Two sounds fighting in the same range don't add up to one bigger sound. They add up to one blurry sound. Add a third and it gets worse, not better. The reference track sounds bigger with fewer elements because each of those elements has room to actually be heard. The rule I work to now: every element has to have something to say. If you mute it and nothing meaningful is lost, it wasn't contributing — it was just filling space. Delete it. Not disable it, not move it to the bottom of the project. Delete it, so you're not tempted. Process one sound properly instead of stacking five This is the shift that took me longest to make. It is almost always better to take one sound and process it heavily — EQ it, saturate it, widen it, shape it — than to stack five mediocre sounds and hope they average out into something good. A single lead with proper EQ, a bit of saturation for harmonic richness, the right amount of width and a compressor doing real work will beat three untreated layers every time. And you'll be able to mix it, because it's one thing, not three things fighting. Same with pads. Same with bass. Same with percussion — three loop layers is genuinely the point of diminishing returns, and most of the time two is plenty. If you're not sure whether a layer is earning its place, solo the element it's supporting with the layer muted. If the main sound is weak on its own, the answer isn't more layers, it's fixing that sound. Constraint actually makes you more creative This sounds like something people say to make limitations feel better, but it's true and there's a practical reason for it. When you have unlimited options, every decision is expensive. Which of my nine synths? Which of my four hundred presets? So you spend the session auditioning instead of writing, and you end up in analysis paralysis with nothing finished. When you limit yourself — one synth for the leads, one for the bass, the stock reverb, the 909 kit — you stop choosing and start making. And the constraint pushes you to get more out of what you've got, which is where the interesting stuff actually happens. Trance production is genuinely not hidden magic. You can make a professional-sounding track with the tools that came with your DAW. Wavetable, the stock EQ, the stock compressor, a 909 kit. I mean it. The expensive plugins are nice, but they're not what's standing between you and a finished track. If you're starting out and want the fundamentals in the simplest possible form, the beginners course is free — no catch, just go and watch it. Finish the foundation before you add variations The other place clutter comes from is starting variations too early. Get the core loop solid first. Kick, bass, the main melodic idea, the basic drums. Make that eight or sixteen bars genuinely good — as in, you'd be happy to listen to it on repeat. Only then start adding the variations, the fills, the extra layers, the ear candy. If you add decoration to a weak foundation, you end up with a decorated weak foundation, and no amount of extra layers fixes it. You just spend more time being frustrated with a bigger project. And when it stops being fun, stop This is the part I wish someone had told me twenty years ago. If the session has become a grind, you are not in flow and nothing good is going to come out of the next two hours. Take a break. Go and listen to a reference. Jump to a completely different section of the track — new ideas turn up when you move. When you are in flow, eight hours pass like two. That's the state where the good decisions happen. Forcing it when you're not there mostly generates work you'll delete tomorrow. And trust your ears over the rules. Every guideline in this post included. If it sounds good, it is good — there's no maths behind music, and no analyzer knows what your track should sound like. Try This Today Open your busiest project. Go to the drop. Mute one element — pick the one you're least sure about. Listen for a full eight bars. If you don't miss it, delete it. Do that with three more elements. Most people find at least two they never bring back, and the drop gets punchier immediately, because the sounds that were left finally have room. That's it. No plugins, no purchases. Just less. I can't wait to hear what you make with it. Want to go deeper? If you're at the start of this, the free beginners course covers the fundamentals with nothing but stock tools. Get the tools: Producer Starter Bundle (€99) — four of the best-selling packs together. Melody, presets and samples: enough to start and finish a track, and not so much that you drown in options.

Alan Fullmer

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