here are 2 examples of what I am trying to achieve:
at 1:18 https://youtu.be/grYXuR8ODwY?t=81
and
https://pro.beatport.com/track/the-crocodile-original-mix/67813
all help appreciated … especially the Wax Crocodile is dope !
The first one is all studio-made… Fuck that ! It’s a fake … but with a computer – no problem. I just hate the fact that they act as if all this is done live. I found it funny sometimes but in the end it’s a kind of Fast-Food musick to me…commercial shit … I don’t see why you would like to reproduce that… or is it just a matter of clean sounds ? … well most of them or only samples …TO MUTCH MARKETING-SHIT !!! >> But the Frech say " Les goutes et les couleurs ce ne discutent pas "
WAx Crocodile - that’s totally different in my ears … Most of this sound must be acheaveble with the a4 or AK. Use your ears … that’s what I do + the synth-knowledge witch took me over 30 years. if you would point me out 1 specific sound in there you want to approatch I could maybe give some tips. Like this it’s to vast and your question is to general. 
hi vos … it is more the general feel of having a dope rhythmic synth line, almost exclusively wihtout much more but a decent beat … I really like the way of this sort of simplicism
if you havenn to have a recipe for the A4 I am happy to copy it!
Capice ! I have to admit that the positive side of the first one is defenetly the bass-line - very good sound and rittem
If you want this kind-a synthline I would be careful with modulation.
What I mean is this -
First ofcoarse you need a strong fundament - so I would start layering some osscilators ( without subs to begin with , so you can add them later but you don’t rely on them e–> extra weapons to add - on caracter afterwards )) Ones you have a strong or nice fundament ( no envelopes - no other modulation ) you could already make a sequence. Try to make it as interesting as possible without adding modulation, be content just adapting the fundament. The next steps is at your choise but you could start to add some subs ( they don’t have to be the same every trig ( lock-fun ) or , pulse-mod,.
But I wouldn’t make these mods deep or fast - to keep the fundament .
Ones the overall feeling is what you like , and it has kept his strength or got even stronger - you can start having fun with attacks and releases of the env’s. or the LFO’s. Maybe stop in time and listen tomorrow - because in the midst of the fire youre ears won’t hear subtilities anymore and there’s a danger of doing to mutch.
But if I understand what you’re looking for - be careful not to overmodulate for it can make the fundament disappear ( with can be nice to ).
It happens many times to me getting lost to mutch in modulating and then I loose the power. You can use a lot of mod’s but the basis must rule.
Having a burst of mod now and then ( - LFO accelerations sprinkling a little overdrive for ex. ). can be nice — there’s to much possebilities hahaha…
Personally I like this way of composing - it is - having interesting - captivating - good sounding melody’s - and make it flourish when just adding little extras but on the right spots.
I allmost never start composing on a rittem (I mean drums )- I want everything to be ritmically strong enough without them before adding,
so the drum dousn’t become a cheap solution to hide that it’s not interesting enough without percussion.
This also helps me to be really creative with drum-sounds - they are treated at the same level of the melodys. often I don’t need to add them at all as I can easely add enough percussive elements in the melody-lines by using parameter-locks.
Parameter and pitch -slides or very good tools. It’s a question of where and when - And that depends on your ears and taste.
But I understand, I’m a big fan of CLEAR and WELL-DEFINED sounds - myself witch are the most difficult to make. ( for shure if you want to be Original ). Tru mastership shows in simplicty. That’s why it so difficult to make simple but good stuff.
Maybe I’ll get there in 20years 
But hey, whenever you climb a mountain. the moment you reach the top, you’ll have a flash ofcourse ! But how long will that last ? - You’ll finally realise you spend the most of your time getting there. 
I!m eaven prety shure one’s you master youre Elektron machines - and in the same time you’re not afraid to loose control ( witch is the most difficult part for me ) you can laeve this guys far behind - and make something really interesting ( and this withouth having a " professional " studio or I don’t know what kind of mastering - money - managing kind of shit )- NO !!! YOU !!! FLYING !!! RIGHT OUT OF THE BOX FUCKING-HELL !!
Hi vos … I have read through your post, which you have spent a lot of time on… I really appreciate that! …
I must say,… I often said to myself : this approach is 80 % opposite of what I am doing … then I was like " why the fuck did I not see this earlier" …
thanks for that … a lot of thanks … late here at this very moment… but I deffo will give it a shot tomorrow…
thanks again
Hey,
Apologies if you know this and apologies to any producers who actually know what they are talking about.
These are Wide stereo mixes.
https://www.soundonsound.com/sos/sep10/articles/pt-0910.htm
Specifically adding very small delay to the side channels (L&R) will dramatically change your perception of a mix.
Also, stack those oscs; Unison
Then Chorus and flange the sht out the fcker (ish)
Also, selectively choosing which channels are mid and which are side really make for a BIG mix.
Then if you’ve never heard binaural recordings, google it and listen to what is possible with a set of headphones.
thanks for that mikey … didnt occur to me to use 2 unison tracks panned reverberated etc … ideally I would not post process in ableton (ideally I also would not want overbridge 
)
If you want that kind of ‘sound’ or ‘feel’, I’d say you would have to post-process. Or just get someone else to do it for you if you don’t fancy it.
Fantastic info - THANX 
Hey Naut - any of your tricks or workflow - tips are very welcome too !!! 