Mega-thick synths with stacking and layering

generators to bolster this main oscillator and fill out the frequency spectrum. This works well with morphing oscillators generated via wavetable or FM synthesis, as these methods inject dynamics and sinewy motion at the expense of solidity – yet a simple sub oscillator and sweeping white noise tone can merge in, lacking the bass weight and treble sharpness required.

Another great technique we’ve touched upon in Sequenced Melodic Rhythms With Massive is the concept of filling in gaps left by one oscillator’s movement. If you’re moving one tone around with positive LFO modulation, try gently fading in a thinner oscillator that’s being negatively modulated with the same LFO. This embellishes the first signal with a subtler ‘mirror image’ signal for not-so-obvious interest and individuality.

Finally, just as in the realm of mixing, parallel processing (via a synth’s built-in effects) is really just another way of layering additional character and depth. Just as you’d blend a reverb signal in gently, have a go at sliding up multiple effects processors by small amounts, helping elevate a decent sound into more texturally varied territories.