Alright lads, I’m renewing my subscription next month, obviously with Christmas and New Year coming up, I cant see a lot of tutorials coming out until after that. But I was hoping you could maybe fit this into a tech tip somewhere. I’m having a problem finding a way to smoothly transition from my big super saw synth chords in my breakdown, to a more melodic Hardwell style stab in the drop. A walkthrough would be spot on. I’ve experimented with filtering and volume automation, even fading the chords into fully wet big reverbs, but, none of it’s working. It just doesn’t sound like how the pro’s do it, but it’s not like they have a magic plug in that does it for them so it must be achievable with the one’s I have and the standard one’s in live. I’ll post examples… For Cobra the transition starts at 1:30, for Ammonia it starts at 1:45 and for Set fire to the rain it starts at 3:15. Cheers 
I think its not really a different sound but just the producer opening up the envelopes on the sound a bit (Increase the Cutoff for the Filter, Release and Decay for the Amp).
Only listened to Cobra but I only heard one sound?
I’m talking about how he transitions from his chords in the breakdown, to that Lead sound he brings in when it all kicks off, if you notice, it starts coming in during the build up to the kick off when the chords are still in aswel, if you were to go from, say, 1:10 and then skip to 2:10, thats the 2 different sounds im talking about. The transition is more noticeable on ammonia if you have a listen, skip to 1:45 (ish). Thanks for the reply 
You are right there MistroPain.
The stabs in Cobra are getting a longer release. Sounds a bit like the Attack is getting longer, but that might as well be the fact that he’s opening up the entire reverb on that stab, making it one long tone. If you then filter off an increasing amount with the hi-pass filter you let the room for that other sound getting bigger.
But he actually uses the same technique for that lead sound that gets his full sound at the drop.
Ammonia introduces the main lead after the drop in the break as well. So you have the stabs that get thinner and longer with the reverb. And at the same time you hear that other sound getting clearer from around 1:50.
It might help you to write down all the sounds in the break and drop afterwards and describe how they develop. Cause in that Adele remix lots of elements make it that big.
Mate its a combination of a lot of things i mean build ups, breakdowns etc is a place where you can be really creative. I mean snare rolls, kick rolls, filters opening, reverb, delay, white noise, silence, echoes etc. It isnt like a set thing that every producer does or a set technique, it really depends on what you want to do, repeat like the first part of your main riff over the snare roll that can build some tension coupled with filter automation. Mabey post up some examples of your own stuff and we can better help you nail it.
Another good habit to try and pick up is listen to pro tracks and i mean really listen and try to hear the different things the pro’s are doing and try to recreate it.
I completely missed the whole amp envelope thing with the stabs Dan, cheers for pointing that out mate, yeah the longer attack definitely helps the sounds to blend, the reverb is helping a lot too. Does he change his stab pattern at a certain point to match the rhythm of the lead coming in aswel? I cant quite make it out because the stabs are too far in the background at that point, but it sounds like he does. Yeah Jan, I think I’m just gonna have to sit down and experiment with it, they all just seem so smooth and effortless I thought that there was something I’m missing out on, especially when your listening to producers telling you they can smash a whole track out in a few days. I could probably spend a whole day getting p*ssed off just trying to do this. Thanks for the reply’s lads, much appreciated
Sometimes you can make a transisition quite quickly, but often, and especially when you’re using a lot of elements, it takes a lot of time and a/b-ing to smooth it all out.
Main attributes to use are EQ, filter and reverb. If some element doesn’t really add something to that transisition, you can leave it out. Just filter it out.