How to Start a Techno Track Without Getting Stuck
Table of Contents
To start a Techno track without getting stuck, make a few decisions before you browse sounds: define one direction, organize and save the project, choose a reference for structure, limit the first sound roles and set a small checkpoint. The goal is not to finish the track in one session. It is to leave the blank project with a useful direction.
1. Write one sentence about the track
Use a short direction such as:
- rolling low end with a restrained breakdown;
- heavy Schranz kick with changing drive texture;
- sparse groove that grows through percussion;
- acid-led track with a long tension section.
This is not a permanent rule. It is a filter for the first decisions. If a sound does not help that sentence, save it for another project.
Avoid starting with a long list of genre labels, plugins and references. One clear tension or groove idea is enough.
2. Save and organize before the idea becomes fragile
Create the project folder and save the first version before recording or importing material. Use clear versions when you reach a meaningful checkpoint.
The Apollo course treats this as part of pre-production: an organized project, early saves and a roadmap reduce the chance of getting lost or changing direction too soon.
The Apollo course explains how a roadmap, organized session and early saves reduce detours before writing begins.
Read the course transcript
But this chapter, I want to talk about one of the most important parts of songwriting, and that's the pre-production stage. This is the part of the process that happens before you actually start writing the track. I used to neglect this stage all the time because I was just so eager to, like, get into Ableton and start writing my track. But once I started, like, really implementing this into my process, I felt like I was just able to write a track start to finish without getting, like, sidetracked or discouraged. We're changing
course too early. I had the roadmap in front of me and it really just helped me navigate the tricky process that is writing a song. So for my first tip, I'm going to talk about organization. Organization is so key for me because I don't want to spend any time, like, looking for lost files or just being overall confused about where something is. I want to make sure that my projects are organized, my folders are organized and my sounds and just everything is organized. Another reason is I can't tell you how
many times I've been producing or writing a song for, like, two hours and I haven't even saved and then the project crashes and it's just a mess. You want to get in the habit of saving early and doing, like, save as is and, you know, just multiple checkpoints in your songs. You just want to get in that habit.
Keep the setup simple:
- one project folder;
- clear version names;
- a place for references and track-specific audio;
- a place for exports;
- grouped tracks for the first main roles.
The exact folder names do not matter. The system should make it easy to find the current version and recover an earlier decision.
3. Choose a reference for direction, not imitation
Pick one track that is useful for structure or energy. You do not need to copy its sounds, notes or settings.
Listen for large sections and mark them in your project. This gives the blank timeline a possible route while leaving you free to make different choices.
We listen for large sections and place markers so the blank project has a route forward.
Read the course transcript
All right, this is the video where we stop talking about the track and actually start doing some production. So far, module two, we've listened to the finished track, name every sound in it, talked about the big picture decisions, the BPM, the key, the arrangement principles, all conceptual, all study. This video bridges the gap. I want to show you how I start every project, and that is by creating a roadmap. So what I'm going to do is I'm actually going to use the song that we're working on in this masterclass as
our roadmap. So the markers look exactly the same as the project file that you have open in Ableton. So we understand our arrangement and we have the skeleton, the roadmap laid out. And this is something I do every single project. So the first thing we're going to do is we are going to open a brand new Ableton project. Next, we're going to set the BPM to our BPM, which is 156 up here in the top left corner. Then we're going to hit tab and we're going to go into the arrangement
view. Next, we're going to go to where our export is and I'm going to click it in the finder and I'm just going to drag it right onto our project. And if we zoom in, we should be able to see that the transients are lined right up on the grid, meaning our track is perfectly on grid and we're ready to start making our markers. So all I'm really going to do is I'm going to listen through the project and right click up here in this area where there's like that speaker
icon. I'm going to right click, hit add locator whenever I feel there is a new section that is started. And typically, I'm going to be making these markers every eight bars. So let's right click and delete this first marker and start listening. OK, so for this first part of the song, I'm going to hit I'm going to right click, hit add locator, and I'm going to call this high pass intro. This is basically just a classic trance technique. You take your drums, you high pass them, meaning you're cutting the low
end or the sub frequencies out of the track. And it just like slowly intros the drum. So it's not like everything at once. So high pass intro here. And then let's go to the end here and we'll find where our new part starts. OK, so the new part starts right here. And you notice we're at the start of bar nine, meaning it's been eight full bars. So we're going to hit add locator and then I'm going to type intro one point one, because this is the first part of our intro.
OK, now we're at a new part. It's been another eight bars. I'm going to right click here, add locator, call this intro one point two. OK, so this is a new part, but real quick, I want to explain why I do intro one point one, one point two and etc. So so let's say I have an even longer section and it goes to intro one point three or intro one point five. I know that each like point something point one point two. I know each one of those sections are eight
bars long. So if it's intro one point three, I can do three times eight. That's twenty four bars. I know that my intro has to be twenty four bars long. So I need to think when I'm writing, how am I going to make this twenty four bars interesting? Like what am I going to add? What am I going to subtract? So I that's the reason why I do like the decimal points like the one point one one point two. Anyway, now we have a new part at bar twenty five. This
is the breakdown. This is what I'm calling the breakdown. So we're going to right click right here. Add locator breakdown one point one. OK, this is the build up. This is not the breakdown. So breakdown one point one. That's all we got. Eight bars. But now we're at bar thirty three and we're going to call this build one point one because this is the build up leading up to our drop. OK, bar forty one drop one point one. OK, now it's been another eight bars, so I'm going to right click
here. Drop one point two. OK, now this part is a little trickier and you could call this one of two things. I actually instead of calling this drop one point three, I actually like calling this drop outro because we're sort of transitioning out of the drop. The energy hasn't got the energy hasn't gotten higher. It's kind of like we're starting to take things away. So I like to call this drop outro drop outro one point one because this it's the outro of the drop. You know, it makes sense. Now let's
keep listening. OK, so now we have drop outro one point two.
Use the reference to answer questions such as:
- How long does the groove establish itself before the main identity arrives?
- Where does density drop?
- Which section creates the strongest contrast?
- How does the track exit?
Then choose where your track should differ.
For the full reference method, read How to Use a Reference Track for Arrangement Without Copying.
4. Build the first roles, not the final sound palette
Start with the smallest group that can express the direction:
- kick or pulse;
- bass, rumble or low-end movement;
- one groove layer;
- one identity sound.
Do not fill every group yet. The first groove is a test of the relationship between roles.
If the groove needs a sample, choose it by job. If the sound needs a synth, use a simple patch until the rhythm works. A polished preset cannot rescue a pattern with no direction.
5. Limit browsing before it replaces writing
Choose one folder, pack or small shortlist for the first pass. Audition sounds against the playing groove rather than in silence.
Stop browsing when a sound performs the role well enough to continue. You can replace it later. The cost of the perfect search is often losing the idea you were trying to build.
When several options are good, keep two and move on. Print or duplicate the current version before a large change.
6. Protect a repeatable writing window
There is no single schedule that works for every producer. The useful habit is to choose a routine where you can make a few connected decisions without constant interruption.
The Apollo course frames this honestly: not everyone has several free hours, but a repeatable window can reduce frustration and make the available time more useful.
A practical routine protects focused writing time without assuming every producer has the same schedule.
Read the course transcript
All right. So for my last tip, I'm going to keep this one short and sweet. Just try to carve out enough time where you can focus and be creative without any interruptions. This is going to look different for everyone. And maybe not everyone will have multiple uninterrupted hours where they can write music in their day. I used to work a nine to five job and write music on my lunch breaks in my car. So trust me, I'm not expecting everybody to have the same amount of time to do that. But
if you can try to find a routine that works for you. I know for me, I operate a lot better and I write a lot better music when I get all of my chores and responsibilities and errands out of the way first. I try to wake up, clean my house, go to the gym, run any errands. And I try to like wake up early and do that. So then I have nothing I have to do for the rest of the day besides write music. That relieves a lot of pressure and
in turn helps me be more freely creative because the last thing you want to do is compromise any creative decisions because you don't have enough time to get them done. I guess the main point I'm trying to make, try to find a routine that works for you. And if you can write music during those times, it'll save a lot of frustration and you'll probably be a lot more productive. So that's all my tips for the pre-production part of songwriting. Now, let's jump into actually writing the song.
Your session can be short. Give it one checkpoint rather than an open-ended command to “make a track.”
7. End the first session at a useful checkpoint
A strong first checkpoint might be:
- an 8-bar groove with clear low-end and percussion roles;
- a saved arrangement roadmap;
- one identity sound that works with the groove;
- a rough intro and first main section;
- an export you can review away from the session.
Save a new version and write one sentence about the next decision. This makes the next session easier to start.
Do not begin detailed mixing, mastering or export decisions while the main roles are still changing.
Blank-project checklist
- The track has one clear direction.
- The project is saved and recoverable.
- One reference gives structural guidance.
- The first four roles work before more layers are added.
- Browsing is limited to a useful shortlist.
- The session has one reachable checkpoint.
- The next decision is written down before closing.
Continue with the complete production system
The Everything Bundle currently includes Techno and Hard Techno sounds, loops, MIDI, Serum presets, Ableton tools, project files and a 58-lesson Techno masterclass. Check the product page for the current files and compatibility. Diablo 3 is a separate product and is not included in the current Everything Bundle.
