Synths in psytrance: an introduction

Almost every sound in a psytrance track apart from the drums comes from a synthesizer: the rolling bass, the leads, the acid lines, the pads and many of the effects. You don't need a rack of expensive hardware to make them. You need to understand what the parts of a synth do and how producers use them in this style.

How a synth makes sound

Most synths you will use work subtractively: oscillators generate a waveform, a filter removes part of it, and envelopes and LFOs shape the result over time. FM and additive synthesis build sounds in other ways, and FM in particular is good for metallic, complex tones.

Oscillators produce the raw waveforms. Sine is pure and soft, triangle slightly brighter, square hollow, and sawtooth bright and full of harmonics. Saw is a staple in psytrance for leads and basslines because it gives the filter so much to work with. Combining waveforms, or detuning several oscillators against each other, makes a sound fuller.

Filters cut frequencies. A low-pass filter removes the highs and is the most used one, while high-pass, band-pass and notch filters are useful for shaping effects and thin layers. Resonance boosts the frequencies around the cutoff point. Turned up and swept, it gives the squelchy, sweeping sounds that are all over psytrance.

Envelopes control how a parameter changes each time a note is played, through attack, decay, sustain and release (ADSR). A short decay on the filter makes a sound plucky, a fast attack makes it punchy. LFOs move parameters such as pitch, cutoff or volume in a repeating cycle and bring movement into otherwise static sounds.

Choosing a synth

For psytrance, a few things matter more than the brand. Look for several oscillators with a range of waveforms, including noise, and a unison or detune option for thick leads and pads. A good filter section with several types and a resonance that sounds pleasant when you push it is essential, because filter movement is so central to the style. Flexible envelopes and LFOs, ideally with many modulation targets, let you build the constantly shifting sounds the genre lives on.

Built-in effects are a bonus: a decent reverb, delay or distortion inside the synth speeds up sound design. And don't underestimate the interface. A synth you understand quickly lets you focus on the sound rather than on menus.

Sound design basics

Build at least some of your sounds from scratch. Start from a single basic waveform, add filter and envelope, then modulation, then effects. You learn far more this way than by browsing presets, and your sounds end up more personal.

Modulation is where psytrance sounds come alive. A slow LFO on the cutoff of a pad gives a gradual sweep. Automating cutoff and resonance over several bars makes a repeating lead line evolve. Layering helps too: a main sound plus a quieter layer that fills a different part of the frequency range. Use EQ so the layers support each other rather than compete.

Reverb and delay give synths space. Longer reverb decays suit pads and atmospheres, shorter ones keep leads focused, and pre-delay keeps the start of each note clear. Tempo-synced delay with some feedback adds rhythmic echoes to leads and fills out the background.

Synths and the groove

In most psytrance the kick plays on every beat and the bass fills the three 16th notes in between: kick, bass, bass, bass. A typical bass sound starts from a saw or square wave through a low-pass filter with a short filter envelope, so each note gets a short bite. Shaping the bass and kick so they don't overlap, through short note lengths and, if needed, sidechain ducking, keeps the low end clean.

Leads and sequences play around this engine. A lead with a fast attack cuts through and accents the rhythm, while modulation on pitch or cutoff keeps it moving. Synths can also produce percussion such as hi-hats and effects hits. Placing them on the off-beats and adjusting their timing slightly adds drive and makes the rhythm feel less rigid.

Mixing synths

Group similar sounds on buses (leads, basses, pads) so you can process and balance them together. Give each synth its own range with EQ, and high-pass leads and pads so the bass and kick have the low end to themselves. Subtractive EQ, cutting problem frequencies, usually works better than boosting.

Pan layers and arpeggios to create width, but keep the bass and everything in the low end in mono. Gentle compression smooths leads and pads. Use reverb sparingly so the synths don't wash out.

Take breaks, listen at different volumes and from across the room, and compare your mix at the same loudness with professional tracks in the same style. That shows you quickly whether your synths are too loud, too dull or too wide.