Pad sounds are some of the most common synth patches you'll find, and it's no surprise why - with their evolving textures and lush warmth they can really show off a synth's capabilities. But how should you use them in your tunes, how can you build effective pad sounds, and how do they translate into a mixdown at the end of it all? Read on, as we take a closer look...In general, there are two ways that a dance or electronic music producer will use pads. The first is as a mix tool - to beef up existing sounds, add bite to a high-frequency part or width to a dull mix. The second, and we'll start with this, is as a more fully featured part that takes centre stage in the arrangement. Needless to say, this is the more fun option.
Building an interesting pad takes some work, but it's essential to get a really original sound. You can start with any synth, although multi-oscillator (or FM) options give you more scope to create something that shifts and evolves to keep the listener interested. Logic's ES2 or NI's Massive are excellent choices; both have multiple oscillators and a wide range of 'custom' waveforms that go beyond the standard analogue options. You should be aiming for something that shifts as time goes on, so you'll need to make good use of envelopes and LFOs - the ES2 in particular has an incredibly detailed matrix that you can use to control just about every parameter. Start with the obvious ones such as filter cutoff, chorus and panning, but everything is open - many synths (including the ES2, although this is a well-hidden feature) will allow a combination of analogue (subtractive) synthesis and FM synthesis, so that you can modulate the shape of certain waveforms. These will give you a jump-off point to create some very complex sounds.You can also experiment by bouncing single notes of a pad sound (or several - try intervals of a fifth for instance) and then layering them in a sampler instrument so that they all blend together. Try adding in a sample of hiss or record crackle with pitching set to 'off' (so that it plays the same pitch whatever key you hit) to add an extra level of interest to the sound.
When using pads, it's important to remember that if you just dollop them onto an existing arrangement, you can easily end up with a pleasant but dull ambient wash that sucks all the energy out of your tune. So be careful; but there are many tricks out there to help avoid this. Sidechaining is currently very popular - you can compress a pad (low threshold, sharp knee, long release) off anything, from a kick, to a snare, vocal or even random FX hit. This has been done to magnificent effect by the likes of Flying Lotus and Mount Kimbie. You can also do the reverse - set up a noise gate with a sidechain input, and trigger it off a simple percussive part to create more interesting rhythmic effects.If you want a big, enveloping pad sound, you'll also need to consider more mix factors - panning for instance. Stereo wideners and mid/side plugins will help you create a more dynamic feel, while making sure there is plenty of low-midrange will give warmth and body to the sound.
If you're using pads as a mix tool, however, you'll want to be much more careful about the space you grant to a pad sound. They can be highly effective, however. If you have a brass sample that sounds a little thin, then try programming a bright, fizzing pad sound to play the same notes as the sample, and layer it in behind the main sample (keep away from delays and reverb in this instance to avoid cluttering the beat). It will fill out the mix nicely and give the impression that the brass sound is brighter and fuller than it really is. In this case, you can cut a lot of the low and midrange frequencies out to maintain just those that are essential for the purpose. Similarly, if you want to add body to (say) a guitar sample, you can low-pass filter a pad and match it up to the sample to mould it into the mix a bit. Although you should try to match the pad and sample up reasonably closely, it's amazing how much of the pad can be left audible in the mix. The ear tends to focus in on the interesting part of a mix - so by using a fairly bland pad sound for your mixing solutions, you can actually have it pretty loud and people will simply hone in on the interest in your featured sample instead.
Pads are one of those synth options that seem straightforward to begin with, but actually offer a lot in terms of composition and mixdowns, whilst still being very easy to get wrong! But it all comes with practise, so load up your favourite synth plugin or pad loops! Fire up a track and see where a good pad sound can take you today...
