Mitch de Klein shares production habits from 10 years using Komplete

Dutch producer Mitch de Klein has steadily established himself as a leading figure in melodic techno, releasing across Spectrum, Armada, Steyoyoke, and Filth On Acid. His productions balance technical precision with an emotional core, earning support from Joris Voorn, RÜFÜS DU SOL, and Eelke Kleijn. Records like Mankind and Embrace have become fixtures in DJ sets worldwide.

With his new single “I Need To Know,” Mitch reconnects with Swedish vocalist Olivia Pauline for a collaboration centered on her topline, captured with a simple microphone and refined into a dancefloor-ready cut. The track reflects Mitch’s dedication to clarity and atmosphere, with Komplete tools playing a key role in shaping the mix.

Jump to these sections:

• 10 years of Komplete
• Workflow shifts and go-to tools
• Shaping “I Need To Know” with Komplete
• Producing around Olivia Pauline’s vocals
• Consistency and sonic identity
• Mistakes young producers make with bundles

Komplete has been his go-to toolset for years. Check out the bundle full of all the plugins Mitch talks about in this interview, and more:

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You’ve been working with Komplete for around 10 years now. How has your relationship with the bundle changed as your sound and career have developed?

It’s still a good relationship after all these years, haha!

When I first bought Komplete Ultimate 10, I felt like a kid in a toy store. With so many instruments and effects, a lot more ideas became possible in my music. In the beginning, I tried everything, also with each new update, just to see what it could do and how it could fit my sound.

As my style became clearer to me, my use of Komplete became a lot more focused. Now I know which synths and effects give me the emotion and clarity I want, so I go deeper with fewer plugins. It’s less about how many options I have and more about intention now. That helps me move faster in my production process.

I still use Native Instruments plugins in every track, even though I own a lot of other plugins. The core of Komplete is strong and reliable, and I feel I can use it for a lifetime. New versions bring fresh ideas and updates, but I’m also still using plugins from my first purchase more than 10 years ago. That says a lot about the quality of those plugins.

Pro tip from Mitch de Klein: Try to make music every day. If you’re busy, even 10 minutes a day of sitting down and creating can mean something. You can work on those sketches when you have more time.

Has your workflow with Komplete changed over time, or do you still find yourself leaning on the same “go-to” tools you started with?

My workflow has definitely become more focused. In the beginning, it was all about wide experimentation, but now it’s about having experience with the plugins. I know exactly which plugin to grab for a specific goal. This saves a lot of time and keeps the creative flow going.

Some of my day-one tools are still doing the heavy lifting, especially on the effects side. I still use Supercharger GT for adding saturation and character, and creative reverbs like Raum and Replika XT are perfect for adding depth and space. Molekular is also great when I need to create more experimental textures.

The biggest shift has been how I use Kontakt.

For my main melodic techno project, I know which libraries to open for specific, real-sounding instruments. But this became even more important for my side project, Todd & Klein, which is Neo-Classical and Ambient.

The Kontakt libraries were golden for that. We built a lot of our tracks using the piano sounds from The Gentleman and The Maverick, which both came with my first Komplete bundle. When you need an acoustic sound with character, the Kontakt libraries are hard to beat.

Pro tip from Mitch de Klein: A couple of reference tracks are essential in the mixing stage. They can help you find out where your track might be lacking. Pick something and reference it until you come very close to that professional-sounding track.

For “I Need To Know,” what role did Komplete play in shaping the final track? Were there specific instruments or effects that helped you lock in the emotional tone?

Komplete was essential in shaping the emotional core of “I Need To Know”. My favorite reverb, Raum, is on every project, and this track was no exception. It sounds clean and natural, and it’s very easy to set up, which helps me work fast and stay in a creative flow. It gave the vocals a very spacious feel. To add extra character and grit to the bass, vocals, and main synth, I used Supercharger GT. It adds a nice tube warmth that helps elements feel more present without being harsh.

One trick I used for this track was to create some unique ear candy. I routed the main synth through Molekular in Reaktor and just started recording while I browsed through different presets. This gave me a long audio file full of weird, interesting sounds that I could chop up and sprinkle subtly in the mix. It really spices up the track and gives it extra ambience and detail.

Besides that, I used Session Strings Pro 2 to layer the pads. The high recording quality of the strings means they don’t need much processing, and they instantly added a melancholic, cinematic feeling that was perfect for the track’s emotional tone.

Finally, I have to highlight Replika XT. It’s an amazing plugin for creative delay effects. For “I Need To Know,” I used the Apollo preset from the Special FX folder on a pad sound. By automating the mix level, I could create this huge, spacious reverb bath that really opens up the track and gives it a big, atmospheric vibe.

Pro tip from Mitch de Klein: Certain tools can speed up your workflow. Save frequently used settings and build yourself a template. This way you can focus on creating fast when inspiration hits.

When you’re producing around a vocal like Olivia Pauline’s, how do Komplete instruments and effects help you create the right space and balance?

Creating the right space for a vocal is all about balance, and Native Instruments has the tools to do it with precision.

My first step is always to clean up the vocal before adding effects. I used a bit of equalization from Neutron to get rid of unnecessary low end rumble and gently boost the frequencies where the vocal has the most clarity.

Next, I added Supercharger GT for character. I found a great setting for Olivia’s vocal by turning the Character knob all the way up and setting it to Bright. This really boosts the mid and high presence in a pleasing way, which helps the vocal cut through the mix without sounding harsh. I also added a little bit of saturation (around 2.8 on the Mild setting) to give it a bit more texture and warmth.

Finally, to create that spacious feeling, I used a combination of delay and reverb. My go-to reverb is Raum, and for this track, I set the mix to 27% with a decay of 4.8 seconds. That’s normally a pretty long decay, but for this track, the vocal needed that big, open feeling to carry the emotion. The combination of a clean vocal with some added character and compression, and then a long, spacious reverb tail is what gives the vocal its place in the mix.

Pro tip from Mitch de Klein: Making music should be fun in the first place. Don’t put too much pressure on yourself. That kills creativity, in my opinion. Dare to try things and make mistakes. If something’s not working, you can always remove it.

Do you think sticking with a toolset like Komplete over the long term has helped you build a more consistent sonic identity?

Yes, for sure. Using the same tools from Komplete for a long time helps keep my sound consistent. I often use the same synths, effects, and chains – you will hear that as a clear line through my tracks.

A signature sound doesn’t come from one trick. It comes from many small habits: that one reverb for the right vibe, the same compressor with a bit of bite, or a filter sweep that feels familiar. All those small choices add up and become a signature sound in my opinion.

That consistency makes it easier for listeners to recognize music from any artist, whether it’s an electronic music producer, a rock band, or a singer-songwriter. Everyone has their own small habits that, as a whole, create a sonic identity.

Pro tip from Mitch de Klein: Limit yourself. By limiting yourself in certain ways (time, number of tracks, number of third-party plugins), you have to be more focused in your music-making.

What’s the biggest mistake you see younger producers make when they first dive into big bundles like this?

The biggest mistake is getting lost in all the options and never going really deep. A big bundle is great, but if everything is new all the time, you don’t build real skills.

My advice would be: pick a small set, one bass synth, one lead synth, one pad synth, a couple of effects, and learn them well. Make your own presets and a few go-to chains, so you can move fast and keep the vibe if the creativity is flowing.

Take time to understand how each tool works – what the envelopes do, how filters change the tone, and discover which settings you like most. When that’s clear, every choice is faster and more musical. You’ll spend less time scrolling and more time actually writing and finishing tracks with a clear goal in mind.

At the same time, leave a little room for play. Every now and then, pull up an instrument or effect you haven’t used in a while and try a quick 30-minute experiment. No pressure, just curiosity. That small bit of controlled exploration keeps creativity fresh without interfering with your workflow.

Pro tip from Mitch de Klein: Keep it simple. People only hear the most important elements in your track. Base your song around those elements and make sure they sound as good as possible. That makes it easier to complete your song with additional sounds.

Wrapping it all up

Mitch de Klein’s “I Need To Know” reflects how Komplete integrates into his production workflow with precision. Raum, Supercharger GT, Replika XT, and Molekular gave Olivia Pauline’s vocal the space and presence it needed while shaping the track’s melodic atmosphere.

The interview shows a producer who values consistency in his tools while leaving space for experimentation. By working with Kontakt libraries, creative effects, and established habits, Mitch balances emotional intent with technical clarity.

As his catalog continues to expand across respected labels, I Need To Know demonstrates how Komplete remains central to his evolving sound, from collaborative vocal projects to his melodic and club-driven productions.

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