Well if you are going to properly mix a track it's a lot of work. First you have to compress just about everything individually. At least it is mandatory to compress really wild dynamic musical pieces with peaks. You can technically get around compression in the mix if you very tightly adjust volume levels, EQ and it helps to have designed the song with the principles of filling sounds in different dominant regions of the frequency spectrum.

You run into issues mixing because if you think of it like this

50HZ -------------------------------- 16 KHZ

You can really only put a couple sounds in overlapping sections of that range. Pretend you have a lead, then you grab another lead. Ironically they have a similar sound and occupy the same frequency range. Big problem. You can't have 2 sounds occupying the same space in a recording; at least in the same general frequency range.

It isn't 100% strict to you can't have 2 sounds, but realistically the human can only hear a couple DB of difference in sound when you have all these sounds playing in electronic music. + With the current state of Brickwall Limiting everything, what I'm saying is super real. The limiter boosts all the sounds so they are in a very tight space. That should be the object of when you mix; mix it tight, at say -5 db, with peaks bouncing up to less than -0 db. That makes mastering easy because your mix is just going to become louder if you did it correctly.

EQ comes into play because if you have a complex arrangement, you have to EQ sounds in sections that play at the same time to work well together. It's pretty easy if you just have a Kick, Clap, HH, Bassline and Synth, but if you have 4 different pads and synths going occupying the same space, you'd better eq a couple or play them at different times and you most likely want to compress the sounds that are similar, if playing at the same time, independently of other objects in the mix.

Honestly. Your tracks will suck forever unless you learn mixing like the back of your hand and implement that into your production. Shit, making electronic music isn't like singing or playing the piano; it's super technical. But then again, mixes today sound so pretty crappy, you can get away with a lot these days. Nevertheless, my production skills went to the moon after I learned about mixing. I'd say mixing and understanding EQ, Compression, Side Chaining, Limiting, Synthesis, Effects, etc. is just as important if not the most important aspect of composing any dance track. Sure helps to be a musician and have perfect pitch; but man if you aren't a techno wizard at mixing, you can write trance, but it sounds like shit unless you know how to mix after you've recorded it. They don't even make trance sound presets that are used in trance tracks.

I'm not going to go further into it, but it goes past EQ, Compression, to tuning all the elements in the track to the same harmony. You pick a bass drum. You know the bass drum is relative to a key right? Same with the High Hats, Clap, Bassline, Synths, Pads. Every sound in the mix has to match. Or if it doesn't you did it on purpose for a section or something bizarre.