Learn how to layer monosynths to give your music more impactYou might think a polyphonic synth keyboard is a more expansive live instrument than a monophonic one, but this isn’t true in the context of recording — especially in a DAW environment where we have limitless tracks. When we start to think of the sounds we create as parts that make up the leads, basslines, and soundscapes within the music we produce, a monosynth can become a finer brush for your palette.

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How to approach sound layering with monosynths
Naturally, when it comes to layering any sound, whether it comes from a synthesizer or an acoustic instrument, simple notation is a key factor in getting a lush, unified sound. If our notation is over-complicated, either melodically or rhythmically, the listener easily loses the connection with the picture we’re trying to create.
Layering monosynths is similar to layering drum samples, a process in which we separate the initial attack point or transient, the main body of the sound, and the decay. The difference is that with synth leads, we are working with a longer time frame, and we can use envelopes to shape each part so it occupies the exact space we need it to in the mix.
Also, the orchestration style and song tempo are crucial because we need to write parts that sound good in layers. If we use short, repeating staccato notes, like a 150 BPM Psy-trance bassline, it gives us very little room to build expressive and distinctive layers. Instead, a simple ostinato consisting of three or four sustained notes provides more space to get creative, especially at a tempo of around 116 BPM or lower.
Layer 1 settings. Image: Press
Getting layering right
One of the best examples of monosynth layering that I’ve heard by far is Goldfrapp’s Anymore, the lead single from the UK group’s seventh studio album, Silver Eye (2017). The entire song revolves around a simple three-note melody, which expands into chords through clever layering, while the vocals provide contrasting harmonies that extend the reach of the song’s emotive depth.
From the song’s first verse (0:18), there are two monophonic synth layers carrying the melody, a fifth apart, which creates power chords. However, because the root notes are played by a filtered synth occupying the sub bass range, the harmony synth layer spread across the stereo becomes more pronounced. As a result, the lead vocal melody, which is similar to the root notes, is pushed into focus.

As the song moves into the second verse (0:52), we see the use of descending and ascending transitional synth parts, as well as groove-oriented synth bass fills which add spatial dimension, as these sounds jump out of the mix. Then, from the second reprise (1:09), things start to ramp up considerably, with textured evolving pads sitting above the vocal range, followed by yet another screaming synth harmony in the chorus (1:26).
At this point, the culmination of synth layers creates a swarming sea of euphoric textures and colours without ever feeling busy or cluttered. As you can see, the use of monophonic synth parts can create an incredibly detailed and animated sonic tapestry with the right compositional approach and feel.
Layer 2 settings. Image: Press
How to start layering monosynths
Monophonic synth layering can be done with any synth, from hardware synths like the Korg Monologue, the Novation Bass Station, and the Arturia MicroBrute, or you can use the stock subtractive synth in your DAW, such as Analog in Ableton Live setup in monophonic voice mode. To get started, we need to create a simple 4-bar progression. I’ve chosen a slow boom-bap tempo around 92 BPM to focus on micro-timing aspects, but we can speed up the tempo at a later stage if necessary.
Layer 2 low cut filter. Image: Press
Timing is the first tool we can use to differentiate each layer, so playing the individual parts in or varying the timing of the MIDI notes ensures the layers don’t all hit you at the same time. Also, because we’re using such simplistic notation, we want to avoid sounding robotic or homogenised, especially if you’re only using software. Start by setting the sustain of your amp envelope to full, adding some release time (around 15%), and introducing some portamento/glide (around 15%) to create a more organic feel.
If you’re programming your MIDI notes, you’ll need to ensure that they overlap slightly to activate the portamento effect. To create the bottom synth layer, we can set the filter to around 100 Hz or lower, with very little filter envelope interaction (around 15%). Then, you can simply duplicate the track in your DAW and start working on the next layer.
Layer 3 settings. Image: Press
To separate the second layer, we can roll off some of the bass with a low-cut or low shelving filter (around 120 Hz) and then re-voice the synth layer. Start with only one oscillator active, and then raise the pitch by 5 semitones to create 5ths or power chords, and lift the filter to release more harmonic content. Now, with the second oscillator, use the same tuning settings but up an octave, and notice how the two oscillators begin to beat and move around. You can also add some fine detuning for a more chorussy effect.
MIDI notation. Image: Press
To create the third layer, simply duplicate the second and, using a single oscillator, raise the pitch to 9 semitones above the root note. Now, to make it stand out, we can lift our low-cut (around 240 Hz), introduce some filter modulation (around 20% depth) from the LFO, and add some signal from the noise oscillator for texture. Your 3-note melody should now sound like a chord progression, spread across the three monophonic synth layers. Remember that the impact comes from taking a compositional approach, so you might only need to use the third layer in the chorus to enlarge the sound scape. Also, be sure to experiment with different effects, as this can give the layers space in the stereo or reverberant field.
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