In the minor scale, your 1 chord (1st note in the scale) should be minor, 2nd should be diminished, 3rd should be major, 4th minor, 5th minor, 6th major, and 7th major.

So let's say I'm writing in E minor. My G chord, since it's the 3rd note in the scale, will always be a major chord in a chord progression with E minor. Wrong, or right? I just want to make sure I'm understanding this correctly.

Yes, the triad build on the third scale degree (i.e., the G) is a major chord (G B D)

So far, I'm able to build 3 note chords. I do this because I know in ableton, in a minor chord, I'm going to have my root note and then count up 3 keys on the piano roll, place the note there, then count up 7 from my root note. So there is my 3 note chord.

Same for a major chord. I count up 4 keys on the piano roll from my root note, then count up 7 to build a major chord.

Yes, you're getting the right answer, but you may want to consider a different approach to help you with your next questions, as I'll try to explain below.

Well what if I want to add 5ths? 7ths? 11ths? 13ths? Really want to figure this out so I can begin playing around with building better chords.

It helps me if you could put things in terms of ableton, because it's easier for me to visualize. So for a minor chord, for 5ths, 7ths, 9ths, 11ths, 13ths, how many keys do I have to count up from the root key?

And then for the major chord?? Any other explanations welcomed, but it'd be great if somebody could put things in terms of Ableton.

Try thinking of it this way, and once you get it down, it should make more sense when you apply it to other keys/modes.  Rather than counting semitones, think in terms of scale degrees.  An E minor scale is this:

E - 1st scale degree
F#- 2nd scale degree
G - 3rd scale degree
A - 4th scale degree
B - 5th scale degree
C - 6th scale degree
D - 7th scale degree

So, build your triads based on the scale degrees (rather than the semitone distance from the tonic) by finding the notes that are one third away from each other (i.e., skipping every other scale degree).  So, the tonic chord (i.e., i-chord) is the first, third, and fifth scale degree, or E G B.  Obviously, you'll need to consider that these scales are repeating as you go up/down octaves.  So, the iv-chord includes the fourth, sixth, and eighth (i.e., same as the first scale degree) scale degrees, or A C E.  The VII-chord includes the seventh, second, and fourth scale degrees, or D F# A.

Now, here's the important part regarding extensions.  You need to use the scale notes, but think of the intervals for the triad and extensions relative to the root note of the chord that you are extending.  For example, sticking with the key of Emin, the III-chord is Gmaj (G B D).  Now you need to think of the G as the root note of the chord, B is the third, and D is the fifth of the chord.  So, extending that to a Gmaj7 would add the F#, which is seven notes above the G.  More specifically, the F# is a seventh above the G in the key of Emin.

So, you could make your G-major triad into a G6 chord by creating the Gmaj chord and adding the scale degree that is 6 notes above the G in the key of Emin, so you would add an E to the chord (i.e., G6 = G B D E).  Extending it further, you could make the Gmaj III-chord into a G9 chord by adding both a seventh and a ninth to the Gmaj chord, or G B D F# A.

Again, the two important things to remember is that (1) the notes used to extend any chord are derived from the key of the song, whether it's major or minor, and (2) the extension indicates the interval relative to the root tone of the chord that you are extending.

Lastly, I've learned that it's okay to have chords outside of the key you're writing in as long as they are "parallel"
What does this mean and can somebody give me some examples of some parallels that would work?

Actually, it's OK to have chords outside of the key you're writing in as long as it sounds good, period.  But, it is common to use chords from the parallel and relative keys, since they share notes/harmonies with the key you're writing in.

Parallel key:has the same tonic note (e.g., the E-note of an E-scale), but is a different "mode" (i.e., major vs minor).  So, for example, E Major is the parallel major key to E minor (and, of course, Emin is the parallel minor to Emaj).

E major scale: E F# G# A B C# D#
E minor scale: E F# G A B C D

As you can probably tell, the triads built on each scale degree is very different between these two (for example, the scale built on the fourth scale degree in Emaj is and Amaj chord, where it's an Amin in Emin).

Relative key: has the same key signature, but different mode and start on different tonics.  For example, G major (has one # note in its key signature - F#) is the relative major to E minor (also has a single F# in the key signature).

G major: G A B C D E F#
E minor: E F# G A B C D

As you'll probably notice, the triads occurring in both relative scales are the same, but they have a different tonic (i.e., G major has a central tendency to the Gmaj chord, Emin has a central tendency to the Emin chord).  As you dig deeper, you'll notice that there are other forms of the minor scales (e.g., harmonic, melodic), which share more notes with the parallel major key and thus are more commonly "borrowed" to create triads that you won't find in natural minor.

Hopefully, that makes sense.

Everybody starts somewhere.

Personally, I started at a very early age and have many decades of formal training, education, and experience, but that doesn't make me a great EDM producer.  Most of the guys who are serious about making EDM (including pros and serious hobbyists) have a fraction of my experience, but are putting out stuff that makes me think "damn, I wish I had those skills!"  Don't discount the importance of intangibles, like desire, passion, dedication, etc., when it comes to making music.  Music theory is great and IMO you should spend some time educating yourself, but it can be a steep learning curve for some people, so don't let it discourage you from making music.  The world is full of great talent with little or no formal training.

Industrial music is probably the most political form of electronic music.

However, i cannot stress enough that knowing theory will not help you magically make more complex progressions.

Exactly.  And, I'm going to start sounding like a broken record on this forum, but music theory and composition are two related, but different, things.  Plenty of people compose really excellent music with little theory knowledge, and many others have excellent grasps on theory, but have trouble composing.  The analogy that some of my profs used back in the day was to think of theory as learning the language, and composition as writing a novel or book of poetry.

As for the OP, the request seems to be that he wants more complexity because he feels that it will be better.  It's a bit hard to address the question without some more information or examples demonstrating where you're at in terms of simplicity/complexity.  But, I will say that, in most forms of pop music, complex chord progressions aren't usually the norm.  The chord progressions are generally quite simple and you'll find by close listening and learning that there are countless songs using the same few basic progressions.

As far as how chord progressions work, there are volumes of books written about this, so you won't get the answers you're looking for in one thread.  But, some of the fundamental things you'd be taught in a first-year composition course (and find in countless popular music songs) are to move up in seconds or fourths, or move down in thirds or fifths (same as moving up in fourths) when stringing chords together.  These are NOT rules, just tried and true approaches that work, and are good starting points.  Common examples:

I - IV - V7 - I (e.g., Cmaj - Fmaj - Gmaj7 - Cmaj): i.e., move from the major tonic (I) chord up a fourth to the IV (subdominant) chord, then up a second to the V7 dominant chord, and down a fifth (or, up a fourth) back to the tonic (I chord).

I - ii - V7 - I (e.g., Cmaj - Dmin - Gmaj7 - Cmaj): i.e., tonic (I) chord up a second to the ii chord, then up a fourth to the V7 dominant chord, and down a fifth back to the tonic (I chord).

i - VI - iv - V7 (e.g., Cmin - Abmaj - Fmin - G7): i.e., minor tonic (i) chord down a third to the VI chord, down another third to the iv chord, up a second to the V7 dominant chord, and down a fifth back to the tonic (i) chord.

Another common example that does not adhere to the guidelines (i.e., not rules) above is to move down in seconds (e.g., i - VII - VI in minor keys).  You won't find that progression very often in classical forms of music, but it's common in modern music.

A few other things to read up on are extensions (e.g., adding 6th, 7th, 9th, 11th, 13th, etc intervals to a triad) or even compound chords (i.e., playing one triad on top of another - similar to extensions) to add more complexity and richness to your chords.  Also, consider and read up on the role of dissonance/consonance in chords and how they function to create tension and release in chord progressions.

Inversions are a great way to vary a common chord progression and are related to voice leading, which is also worth your time to get familiar with.

Hopefully, that's somewhat helpful.  But, as Lydian mentioned, having examples to work from would probably get you more pointed answers and advice.

1) Learn an instrument - you'll find that it's far more satisfying, more efficient to get ideas down, and easier to come up with great musical ideas when you're playing them
2) Be patient - nobody learns this overnight and, the more you learn, the more you'll realize how much you don't know, so take it in stride and have fun with it.
3) Read and follow every other suggestion in this thread. 

The best advice I can give you is to become a student to the styles or artists that you like, and spend time learning their chord progressions.  Trance progressions are typically simple and repetitive, usually just using 4-5 chords (often with 7th and 9th extensions), and most often in pure minor keys.  I don't listen to a lot of trance anymore, but I rarely hear much that is written in major keys or that employ cadences (e.g., perfect, half, plagal, etc.) in the classical context - not that they're non-existent, but I just don't hear them very often.

Having some music theory knowledge is certainly helpful, but having a good ear and spending a lot of time trying to developing your ear training skills is probably a lot more useful than learning classical theory.  It seems like a lot of people put too much emphasis on theory, and fail to give equal time to the ear training and composition components (theory and composition are NOT the same thing), so it's important to approach it more holistically IMO.  Your ears should help you identify the tonic chord, whether it's major, minor, or modal, and intervals (focusing on the bass notes is a big help here).  Theory can help you rule out or identify the non-harmonic notes (i.e., notes that are outside the key/mode of the song) and help you narrow down the list of possible notes and chords that are based on the scale degrees.  It probably sounds more complicated than it is, but with a basic understanding of scales/modes, how triads and extensions are built on the scale degrees, and consistent practice over a few months, you should be able to start figuring out the chords in almost any trance or pop within a listen or two.  And, when you do, you'll quickly start to realize how many tracks share the same core chord progressions, but with their own little variations in voicing, extensions, melodic relationships, etc.  That will give you a ton of starting points.  Where you go from there depends on your own tastes, experimenting, borrowing other ideas and making them your own, etc.

Your parents aren't "old school", they're just wise and they know from experience that you're better off keeping maintaining a balanced perspective in life, getting a good education, having an active social life, and staying fit, both physically and mentally.  There's nothing "cool" about a mouse-clicking dork with his head buried in a computer all day.