Well they aren’t as in your face as a-sections, and they don’t deliver like c-sections.
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Another:
Key changes in dance music - rarely ever sounds good (a few exceptions) to me, almost like they ran out of ideas to make the track progress so they hit the big transpose button.
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Shit. You got me. I am supposed to use more than three fingers |!?
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When it comes to electronic music, one of my biggest influences is the late great Perttu Häkkinen (Imatran Voima et al). He once said CHORD changes in electronic music are overrated. I think he was only half joking. And sometimes I tend to agree.
Anyway, after reading all these meh techniques, I started thinking if there is a technique that would actually kill an otherwise great song. For me it would have to be bad/pretentious vocals.
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i use lots of tempo synced LFOs.
even stacks of them, where LFOs modulate other LFOs.
(the latter is my know-how to obtain complex modulation curves without drawing them)
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Haha what a thread! 
I kind of find some naming ‘techniques’ to be weird. You know: track title (person rework) by person & person feat. person (prod. by person)
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Wot a killjoy 
bah
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Using too many notes
2-3 maybe 4 maximum per song is all you need
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4 notes?
4 Notes?
Who are you, fucking Vivaldi?
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Reading this thread is hard. Sometimes I can’t tell if things are supposed to be a joke or not
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“LET THERE BE HOUSE!”
These monologues are always so funny to me, like a country music song about playing country music, or rap bars about how good your rap bars are. We get it, you’re doing the thing, we know you like the thing, you don’t have to tell us the thing is good. I think this an example of “recursion”.
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another thing i’m constantly using
just for overdriven acid basslines instead of guitars.
but yes, i borrowed this trick from rock bands.
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Well you surely make a good point here sir, for most of us…
Now please explain this to mister Sheperd 
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all been said I guess 
- shimmer reverb!!!
- sidechain comp as an effect, not only in dance music but in boom bap style hip hop
- open 909 hats on each off beat
- stranger things synth arpeggios
- big synth wave style chords
- distorted 303s
- compression and eq on everything
- whammy effect on guitars
- pumping white noise
- dub techno chords/ stabs
- dub step wobble bass
I‘ve grown tired of stuff I liked a lot but overused.
Two step beats
female vocal chops
strings on everything
random glitch beats without any structure
full generative stuff without any structure
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I agree, I only use multi band sidechain and only use it for mixing, so the don’t get the cliche pumping but get a good mix
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for some scales pedaling the root note is desirable or even required.
agree, power chords are better 
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I’ve been recording parts with probability and selecting the parts I like and use that,
that is my favourite way of using it or very subtle like you mentioned
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Ok now here’s a challenge: pick three of the techniques you listed here and write a track that sounds good using them
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Vocoding, Peter Frampton should have been the last of it.
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tuning drum sounds to fit the scale.
I don’t care, I like them out of tune 
Highpass filters. Only use them as eq replacement (and to bump the bass on the A4)
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