Creating a rich and textured sound in music production often involves the technique of layering synths. This process can add depth, warmth, and complexity to your tracks, making them sound more engaging and professional. In this guide, we’ll explore layering synths step-by-step, including some advanced techniques to take your sound to the next level. Furthermore, you’ll find some neat tricks for REAPER and Studio One!
Understanding Layering Synths
Layering synths is the process of combining multiple synthesizer sounds to create a fuller and more complex final sound. It’s akin to stacking assorted colors on a canvas to create a more detailed picture. Each layer contributes its unique characteristics, and when blended, they form a cohesive sound that is richer than any of the individual layers alone.
Layering sounds is a common technique used in all kinds of music, from EDM to orchestra. So, the following steps apply for most, if not all, genres of music:
Step 1: Choose Your Sounds
Start by selecting the synths you want to layer. It’s important to choose sounds that complement each other. For instance, you might combine a warm, analog-style pad with a bright, digital sound to cover a broader frequency spectrum. When a sound covers a broader range of frequencies, it sounds “richer” or “fuller” to the human ear, which is our goal!
Step 2: Selecting Notes For Layering Synths
You can transpose the notes you are playing for each synth or even use different notes/inversions of chords altogether. For example, if you are playing the Cmaj chord, you could play octaves and the triad in a lower octave using a warmer sound while playing the first and fifth notes in the higher octaves of a brighter synth. It’s a common trick to achieve cleaner layers.
In four-part writing and related theories, the key technique is to distribute the notes across the frequency spectrum. This involves doubling or even tripling the root note, while being cautious not to overuse the third. Doubling the fifth is also acceptable, but it’s best to ensure that the fifths do not outnumber the root notes.
Lower frequencies tend to sound fuller with minimal layering, while higher frequencies often need additional notes to achieve a richer sound. Therefore, when layering a C major with a G major chord, one might arrange the notes as follows:
| Octaves | C Major | G major |
|---|---|---|
| High | C6 + G6 | B5 + D6 |
| Middle | G4 + E5 | D4 + G5 |
| Low | C3 + C4 octaving | G3 + D4 |
What you should note from this table is how the lower notes are sparser compared to the higher notes. And you will also find that the third notes (E and B) are only played once and never in the lower octaves. Such practice helps create cleaner layers that do not muddy up a mix.
Step 2: Balance the Levels
Once you’ve chosen the sounds, adjust the levels to ensure that no one synth is overpowering the others. The goal is to achieve a balanced mix where each layer can be heard without dominating the soundstage. Furthermore, you could even automate the volume of the synths to create an evolving sound!
Step 3: Apply EQ
Use an equalizer (EQ) to carve out a unique space in the frequency spectrum for each synth. This means adjusting the frequency bands to boost or cut certain ranges, ensuring that each layer has its place without clashing with the others.
For example, if one of your synths has a lot of low frequency sounds, you might cut the low frequency in the other synths to compensate. Of course, if you prefer, you could cut the overpowering low frequency to allow the other synths to keep playing full-range.
Step 4: Pan Your Synths
Panning refers to the distribution of sound in the stereo field. By panning your synths to different positions, you can create a wider and more immersive sound. For example, you might pan one synth slightly to the left and another to the right.
Another technique I love is using a channel delay to add a slight delay between the left and right channel. Since our ears detect such latencies to localize the sound source, the effect can make panning sound natural. However, it can also cause phase cancellations. So, avoid using the effect on low frequencies in particular.
Step 5: Add Effects
Effects like reverb and delay can add space and dimension to your layers. Apply these effects judiciously to enhance the texture without muddying the mix. Likewise, if panning didn’t widen the stereo image enough, you might need a chorus effect to add some depth.
Beyond time-based effects like reverb and chorus, you can try dynamics processing as well. For example, if one of the synth layers features a rhythmic pattern, some compression on the synth bus could help glue the layers together. Likewise, effects like saturation or exciters add life to the sound further.
It’s also valuable to understand how adding effects to the individual layers differs from processing the entire group. I recommend creating a bus for the layers so you can try both!
Step 6: Check Your Mix
Finally, listen to your layered synths in the context of your full mix. Make any necessary adjustments to levels, EQ, panning, and effects to ensure that the layers blend well and contribute positively to the overall track.
In this step, you might have to adjust the other tracks to help make the synth layers fit into the mix. Typically, you will have to make such decisions when another track clashes with a synth layer in the frequency spectrum. So, you have to decide whether you prefer the synth layer’s sound or the clashing track and cut the undesired frequency band with an EQ.
Advanced Techniques for Layering Synths
Dynamic Layering
Dynamism in layering synths involves adjusting audio levels to blend the elements in a way that adds depth, texture, and nuance to a mix. Here are some strategies:
Frequency Management
Use a high-pass filter to cut frequencies below 50Hz on non-bass elements to reduce muddiness.
Dynamic Control
Utilize compression with a ratio of around 4:1 and a threshold that activates compression when layers overlap, ensuring a consistent dynamic range. This technique is useful if your synth layers change in the layer count over the course of the song. If you aren’t familiar with compressors, read my complete guide on audio compressors.
Stereo Imaging and Depth Creation
Stereo Imaging
Pan one synth 30% left and another 30% right to create a wide stereo image.
Depth Creation
Try creating background or “bed” layers alongside more prominent, foreground layers. Apply reverb with a decay time of around 1.5-2 seconds for background layers to add depth. The reverb sends the bed layers further into the background, helping you separate the foreground layers better.
Textures For Layering Synths
Organic Texture
Combine synthetic sounds with organic textures, like layering a digital pad with a recorded ambient sound such as rain. Some synths like UVI Falcon feature texture oscillators to aid the process. Alternatively, you could employ audio recordings of rain, fire, steam, vinyl noise, tape hiss, etc.
Synthetic Texture
Most synths feature a noise oscillator, which allows you to generate textures. If you are looking for low frequency texture, look for brown noise. Likewise, if you want to improve the clarity, try mixing some pink noise. If you can’t find these noises, a white noise is staple in most synths, although you will need plenty of EQ-ing to shape the sound.
Creative Sound Design
Granular Resampling
Bounce your synth to audio and drop it into a granular synth to create new layers with different grain parameters.
Resampled Reverb
Record your synth with reverb to audio and process it separately with effects like distortion or pitch shift. Then, mix it back into the original layer.
Harmonic Enhancement
Saturation
Add saturation with a drive setting of around 20% to blend layers and enrich harmonics, particularly effective on bass layers. Similarly, you can employ exciters to add weight or clarity to the mix of synths.
Layering Synths in REAPER
REAPER is a versatile DAW that offers a range of features for layering synths:
Instrument Stacking
You can stack multiple instances of virtual instruments on one track in REAPER. Doing so allows for easy management of your synth layers. Furthermore, you can create one MIDI item to play all of them at once.
Routing Flexibility
REAPER’s complex routing options enable you to send audio from one track to another, allowing for intricate layering and processing chains. You can also use REAPER’s sends to only send either the audio or MIDI data. I use the latter for layering synths when I want the same notes to play on multiple synths. And when I don’t want them to play the same notes…
JSFX Scripts
You can use a MIDI JSFX like MIDI Tools v2 before the virtual instrument to transpose the MIDI data you’re sending into it from a different track. So, you sometimes don’t have to copy the MIDI items to each synth layer at all! Furthermore, you can use MIDI JSFX in parallel mode (see below) to split the note range or assign MIDI channel to individual synths, allowing you to play each synth individually in a single track. Other MIDI JSFX include note filters, velocity modifiers, arpeggiators, repeaters, time delay, etc.
Pooled MIDI Items
If sending MIDI data to different tracks isn’t your thing, try pooled copies. These copies of a MIDI item are linked, meaning if you edit one, all of them are edited as well. They’re excellent for creating layers without having to edit multiple items whenever you want to change a note or two.
You’ll find the “Paste items/tracks, creating ghost (pooled) MIDI items” action for pooled copies in the Actions menu. Furthermore, I’ve set REAPER to create pooled duplicates when I drag and drop an item while pressing Ctrl + Shift + Alt. You can do so on the mouse modifier page under the media item context in the preferences.
Parallel Plugins
So far, we’ve talked about stacking virtual instruments in a track or using multiple tracks to layer synths. However, REAPER 7 introduced a new trick: parallel plugins. Instead of creating a chain of plugins, you can now create multiple, parallel chains within a track!
Now, admittedly, I still haven’t gotten used to the default workflow regarding this feature. Instead, I use a free extension called Paranormal FX Router by Sexan pictured above. It allows you to visualize the parallel processing in an intuitive, tree diagram. I use it so much I’ve added it to my right-click context menu on the FX list!
Parameter Linking
REAPER allows you to link parameters between multiple synths or effect plugins on the same track. The same feature also allows LFO modulation and audio control, allowing you to manipulate parameters using the audio level.
Layering Synths in Studio One
Studio One provides intuitive tools for synth layering:
Multi-Instrument
When you drag and drop more than one instrument into a track, Studio One converts the instrument into a Multi-Instrument, combining the synths into a single instrument. This feature allows you to split the notes, add MIDI FX including arpeggiator, chorder, input filter, and repeater. Furthermore, each synth supports audio inserts like reverb, compressor, etc., and creating sends to FX tracks or buses. So, the Multi-Instrument feature allows you to mix the synth layer in detail.
Macro Controls
Studio One allows you to map multiple parameters across different synths to macro controls for unified manipulation. You can use them for easier adjustments or even automating them!
Channels
Studio One allows you to add the following types of mixing tracks: Bus Channel, FX Channel, VCA Channel, and Aux Channel. Among these, the bus and FX channels are particularly handy when you are creating sends for mixing.
Effect Routing
Studio One allows you to route the effect plugins like how you can work with a Multi-Instrument. You can split the frequency spectrum or the audio channel and add insert effects to each section.
Conclusion
Layering synths is a powerful technique for enriching your music production. By following these steps and experimenting with different sounds and settings, you can create textured, professional-sounding tracks that stand out in today’s competitive music landscape.
The key to successful synth layering is contrast and balance. Whether it’s through EQ adjustments, panning, or the careful selection of sounds, creating a harmonious blend of layers will elevate your music to new heights.
