Up to me to be an ass and picardy third that then!
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Not sure if everyone loves these, but not my faves.
Too much Distortion - Maybe Iāve never really had a solid distortion unit or plugin, but I just love things sounding cleaner. I feel a little distortion goes a long way. Prefer a light saturation if anything.
Risers / Swells- I think theyāre overused in more commercial / mainstream electronic music. I suck at them also, my dislike may stem from there as well.
Panning drum sets - I like most things fairly center. Probably should pan things more creatively, however I usually only pan when a have a fill / roll coming.
Noise gates / General Noise - I donāt care about noise. I add white noise at low volumes to add dimension if the track needs it. Fill out certain quiet spots.
Most of my frustration comes from not being very good at these things, but I do think you can make good music without doing all these things. Also most things ive listed boil down to taste. Not knockin anybody style.
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āExpressiveā melodic solos played by hand on expensive analog monosynths where the modwheel is mapped to vibrato 
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Snares in techno.
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Part of me thinks you purposely left that out waiting for someone to set up the joke 
100% on point regarding arp and shimmer reverb
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We might not be in agreement here, but I hate using the third in chords, itās too sentimental in one way or another. I like stoic chords or at least to have an ambiguity over āIām sadā or āIām happyā. Adding notes into it like a seventh clouds it but that stupid poetry writing teenager in still in the gosh dang chord
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I feel like thereās place for every technique if done tastefully, but yeah, some are indeed overused.
My top two are:
Vocal samples - any kind is annoying, but dialogue from movies/TV/radio are the worst. I just canāt listen to that.
Live looping - looping is one of my favorite techniques (I always have a looper in my setup) and itās obviously a very broad subject, but it seems that a lot of creatorsā narrowed it down to āpharse loopingā or a āone-man-bandā type of thing, which is so fuc*ing boring. especially the ones who jump between multiple instruments or do those cheesey vocal harmonies.
I think that live looping in general is something that has not been explored enough and thereās a lot more to find in there.
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people that crap on 4 on the floor are often the same people who have been listening to the same snare on the 2 backbeat for the last 50 years.
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How would you know though if that person possesses such knowledge?
Thereās so much software/devices like that Theoryboard thingy, Ableton Live devices, etc. that makes it easy for somebody who doesnāt know much music theory to sound like they know a bunch, and there are people who do know a lot that work hard at sounding like they donāt know nuthin
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Yeah, I never understood this one. The default panning of most drum library VSTs Iāve used has the snare panned slightly off centre, who does that?!
hahaha yes! Iām guilty of chucking a snare in sometimes, but I love hearing stuff without snares. Iāve been casually trying to perfect dnb without snares over the past couple of years, itās a tricky one.
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Iāve found that snares on the 5th and 13th steps of a bar make a tune sound slower than it is.
With the inverse being true. 130bpm without snares sounds like it is moving far quicker. No traditional snares = a great way to add perceived momentum to a tune.
Added benefit: folks spend a lot of time trying to make a snare work in a track, as it is a rather odd sound anyway. Too much body and it has to be pitched just right, take out the body and it sounds weak and puney.
So just cut out the whole ābut the snare is crapā game and donāt use it in the first place.
And on the other hand, I canāt write electro without DR-110, or 606, or 808 snare, so go figure.
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Re. āwho does thatā - drummers. 
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can you provide an example of the kind of beat youāre talking about, also mostly your post was clear but what would make it concise is if you explained the relevancy to my post so that I could make the connection?
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Wild-wide panning irks me so hard.
I think the key here is less is more.
The only panning of drums that is usually needed just helps in separation. If some of your drums and percussion are hitting the same frequencies as others, panning them away from one another only enough to prevent muddiness is all that is needed.
Another one that irks me: wildly chorused / wide stereo low frequencies. Thatās just not even natural, and will rarely translate. What sounds cool in your earbuds will only sound cool there and nowhere else.
A bad side effect of the diminishing market share of the vinyl industry (for those who may not know, stereo bass isnāt a thing on vinyl for physical reasons)
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āDaddy, why does my snare sound like shit??ā
āBecause itās not a clap lmaoā
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these are top tier and extend way beyond electronic music. basically every emo band i used to go see would start almost every song with an old movie sample.
if thereās an acoustic guitar and a loop pedal in the same room LEAVE
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this was mostly a joke at my own expense, after reading everyones opinions on the basic techno harmony i was feeling a bit sensitive.
i often think about checking out one of the apps youāre talking about but then i remember how much a love a good dub stab or deep house chord.
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Thereās a time and a place for everything imo. Iām not sure how well jazzy chords and prog rock style ridiculousness would go in minimal tech, but Iām happy to be proven wrong 
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Sidechain compression, filter sweeps, risers, the amen break.
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People who perform or record their music.
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