so how do you layer synths?

is there any way to go about it? or a good source to learn? I know youtube is full of junk i don't want to go over them right now......

if you have another suggestion let me know thanks!

 

I stack stack them (different synths/samples on different channels, usually).
Different octaves, timbres, different width/narrowness, different time axis (transients, body, swells, tails, etc), dryness vs. wetness, different frequency bands, etc. It's mostly trial and error and finding your own workflow and desired sound.

 

Same way you would mix or do sound design. Try to offset the frequencies & octaves to fill in empty spaces as was already said above me. Try to fit all the parts to be a part of one picture.

 

I usually only stack drums. With synths and instruments I usually find something that satisfies my acoustic needs, and sits good in the mix good already. If it needs tweaking, I'll just adjust some filters and oscillators as needed. Sometimes you don't have to do too much, and can just tweak a sound that you already like.

 

What exactly you mean by stacking synths? I don't stack synths, it's an easy way to make everything sound muddy. Every element needs its own place in the mix, you should avoid having 2 instruments occupying same frequency range/pitch, i.e. you have have 1 bass synth, 1 synth for leads, 1 synth for high-pitched arpeggio, 1 synth for some lower-mid chords. If you have 2 lead synths playing a melody at C5 then they'll fight with each other and it's just not worth spending time on some crazy EQing to make them work together. Want big chords? Then use unison.

 

I beg to differ. The most obvious example? An orchestra. A very commeon one? Distorted guitars. Almost all Rock and Metal songs have layered guitars. Sometimes three on each of both sides.

Why shouldn't this work with synths?
Stacking or layering synths is as old as the synths themselves. Where is the difference in layering two synths with two oscillators and using one with four?
Additionally you could stack/layer plucks with pads to give only one example. Almost endless possibilities.

 

Errr, imagination ? Which sound complements another without either getting in the way of each other sonically.
For instance a classic layer that you may find in almost all workstation keyboards is acoustic piano with a strings pad (or saw pad if you like). Now this particular layer can be realized in many different ways like ac. grand with real strings or ac. grand with synth strings or el.grand with synths strings and so on. This layer when programmed right can be played both rhythmically and as long chords/pad like. The latter works really well when you have a fast attack piano sound with a moderate (or short) decay and a slow (or very slow) attack string patch with long decay. This sort of pad patch has been in countless records. Good programming should mean that as long as the keyboard player sticks with staccato playing, you will only hear his piano but as soon as he holds a chord down the string pad starts to kick in and the piano fades away. You can be sure that this type of layer will hold its own in a whole arrangement because you have both the attack chord and the pad. Some keyboard players like to put the string patch with volume all the way down, and use a volume pedal to bring in the pad when ever they like and this gives more control over the patch when playing live.
Another overused but always impressive layer is an impact sound with a reverse sound. I personally have made tons of such patches. For instance, a big fat kick with a huge reverb that fades away quickly and a reverse grand piano low note that fades in quickly. When played together this creates a big sound effect that you can be sure it will make its "presence known" and capture the listener's attention for the tiny bit of time it should last.
The best practice to learn how to do this, is first start to mimick famous layers you 've heard so you get the hang of it. For instance, you can compare your own piano/strings layered patch against a similar Roland or Korg patch etc., and see for yourself what makes your ears tick and how well your patch works against the pre-programmed ones. From there on, sky's the limit mate, keep at it.
I hope this was informative.
Oh and what @Canderous said ? No idea how he came up with that lol. So i am sorry if i sound offensive, i don't mean to, but EVERYBODY who plays synths stacks sounds. Most polyphonic synths' presets in the bottom line consist of stacked sounds. Even mono synth sounds that use dual or triple oscillators. Unless you are playing a single oscillator all the time, you are stacking sounds. As with all things musical, it is never a matter of stacking synth sounds, it's how you do it properly. And that lead melody at C5 ? Your lead synth may consist of numerous osc's, or much different pcm partials (as Roland used to call them and stack four of them in a patch) etc., and in both cases these are different sounds that make up one single patch.
Cheers
EDIT: @No Avenger lol chief, we wrote almost the same thing at the same time.

 

Last edited: Jan 31, 2021

I love stacking. Ableton’s Instrument Racks are so good for this.
@Canderous EQ to remove mud

If your DAW can't natively do this, just set a bunch of tracks with different synths (and FX) to the same MIDI channel, play or sequence and output everything to a single audio track to record.

 

Last edited: Jan 31, 2021

But yours was way more elaborate.

 

Stack the layers !!!

 

Yeah !!! And then layer all the stacks !

But I prefer:

 

Here's a (no-longer) uber secret tip. Have one of your layers be Reaktor and use the Snapshot morphing function.