There is a window after sunset — maybe forty minutes — where everything goes a saturated, underwater green. I write most of my music then. The room is the same, but the patch sounds different, more forgiving.
Dub techno taught me to think of mixing as landscape painting: a few elements, lots of air, and a horizon you keep adjusting by ear. The delay tails are the atmosphere. The kick is the ground. Everything else is weather.
My rule lately is to let a patch run for an hour before I touch it. Most ideas die in the first five minutes. The ones that survive the hour are the ones worth keeping.