About that mastering issue...that's not what the problem sounds like. Instead, your description sounds a lot more like the result of a mediocre monitoring chain. And in electronic music, that's not good, given the potential range and sonic complexity synths can put out.
My suggestion would be, if you're planning to stay in this for the long haul, to invest in something serious for monitoring purposes. In my studio, I actually use three different monitor setups for different situations, all routed and controlled by a Presonus Central Station +. The "mains" are a vintage pair of Altec 3841s driven by a Crown D150A, and this is what gets used during tracking. Then for "check", I use a pair of TADs + an Alesis RA100 -- this is for seeing how mixes will sound on a "typical case" end-user system.
But in between is the key setup, which is what I use for both mixing and mastering: a pair of KRK 9000Bs (San Francisco-era...NOT the recent Gibson versions!) driven by a Crest FA601 (actual Brit unit...NOT a Peavey build!). And this wasn't cheap...but it's proven essential, since the 9000Bs are brutally honest, and that "real" Crest amp has the over-the-top slewing rates that allow for precise high frequency reproduction. This is the "critical" chain, where the real voodoo takes place, and without it, things would not work as smoothly as they do. Having utterly flat response and precise waveform replication is KEY to eliminating issues like you're mentioning, as well as avoiding nasty issues like "ear fatigue" from several hours of trying to work on inadequate monitors.
This might not sound like something that requires that level of attention, but believe me, it makes a huge difference...both in your own workflow AND in the final results.