How to make STMPD style synth shots

In this tutorial, Niek from The Producer School teaches how to make an over-processed synth shot - the kind used as a lead element or synth step in STMPD-style productions. The technique relies on stacking layers of distortion, saturation, and compression inside and outside of Serum, then layering percussion on top for a tight, punchy result.

What is an Over-Processed Synth Shot?

An over-processed synth shot is a short, punchy sound that has been pushed through multiple layers of distortion, saturation, compression, and EQ until it becomes heavily squished and harmonically dense. These sounds are a signature element of the STMPD style - a clean but aggressive aesthetic with very processed, controlled hits used as leads and synth steps. The goal is to create a sound that is so compressed and saturated that it almost sounds printed and finished on its own, even before it sits in a mix. Despite the name "over-processed," the process is controlled and intentional. A limiter at the end of the chain keeps everything from clipping, and EQ steps between saturation stages shape which frequencies are emphasised as you continue stacking.

How to Set Up the Serum Patch for a Synth Shot

The starting point is a simple Serum patch. Load Serum and set up the following:

1. Select the Analog BD Sine wavetable on Oscillator A as the core body of the sound.
2. Enable the noise oscillator and set the output so it bypasses the effects chain - this keeps the noise percussive and dry.
3. Link Envelope 1 to the level of the Analog BD Sine and also to the level of the noise oscillator.
4. Shape Envelope 1 into a pluck shape - fast attack, no sustain, fast decay.

Inside Serum's effects section, add some basic processing before moving to the post-chain: a cube distortion, a multiband compressor, and an EQ that boosts the high end and is also linked to Envelope 1 so the high end is emphasised dynamically on each hit.

How to Build the Post-Processing Chain for a STMPD Synth Shot

The post-processing chain is where the sound gets its character. The approach is to stack distortion and saturation, using EQ between stages to correct frequencies that become harsh or unwanted.

1. Camel Crusher (free plugin): Use the British Clean preset as the first step. This adds controlled distortion, compression, and filtering in one plugin. The sound will already be quite loud at this point - that is intentional for this style.
2. EQ: Shape the sound after Camel Crusher. Boost harmonics and presence where desired. These frequency boosts will be amplified by subsequent stages, so make deliberate choices here.
3. FabFilter Saturn: Add saturation using the "rate and color" preset. This adds warmth and harmonic richness on top of the distortion already applied.
4. iZotope Trash (or similar distortion plugin): Use the "quick dip" preset or a similar punchy distortion preset for another layer of harmonic density.
5. Additional saturator: A second saturation pass continues building harmonic complexity.
6. EQ pass: Clean up any unwanted frequencies that have built up from the saturation stages.
7. OTT multiband compressor: Turn down the depth and the percentage of the downward compression. This final OTT pass squishes everything together and gives the processed sound its tight, controlled finish.
8. Limiter (EM Separator - free plugin): Set the ceiling to 0 dB at the very end of the chain to prevent clipping while allowing the sound to stay loud and controlled.

What Role Does Percussion Layering Play?

After the main synth shot is processed, layering percussion on top transforms it from a synth hit into a full synth step sound.

• Add a percussion sample on top of the synth shot. Shape the percussion in FL Studio using the envelope controls to get the right attack and release.
• You can tune a percussion hit to match the key of the sound, but sometimes slight detuning creates an interesting effect.
• Stack a second percussion layer for extra texture.
• Render the combined synth shot and re-import it into the mixer for further processing - this "bounce and reprocess" technique can push the sound even further towards that tight, squished character.

How to Finish and Fit the Synth Shot Into a Mix

After the synth shot and percussion layers are combined, final mix processing helps them sit correctly in the track.

• Apply an EQ pass on the rendered result to fix any remaining frequency issues from the processing chain.
• Add a slap delay - a delay with a very fast rate of around 50 milliseconds with low feedback. This adds a subtle repeat that gives the sound a sense of energy and movement without being obvious.
• Add reverb to place the sound in a space.
• Apply sidechain compression (Kickstart) so the synth shot fits in the mix alongside a kick drum.
• Try placing a reversed version of the synth shot somewhere in a drop for variation - a reversed synth step can add an unexpected textural moment.

The recommended workflow for future use is to render all your processed synth shots to a dedicated folder. This creates a personal library you can browse when a track needs a specific hit, and individual shots made in isolation often fit perfectly into later projects.

Tips for Experimenting With STMPD Style Processing

The STMPD aesthetic relies on sounds that feel heavily worked and controlled, rather than raw or natural. A few extra tips help you stay on track with that goal.

• Use the limiter throughout the build: Because you are intentionally pushing the sound loud and through multiple distortion stages, having the EM Separator or any limiter at 0 dB active from early on prevents unexpected clipping spikes during the sound design process. This lets you push harder without losing control.
• EQ between distortion stages is mandatory: Every distortion plugin introduces frequencies you did not choose to add. Doing a quick EQ pass between each stage lets you decide which of those new frequencies to keep and which to remove before the next layer of saturation magnifies them further. This is the difference between sounding intentionally processed and just sounding harsh.
• The OTT depth setting matters: Pulling down both the depth and the downward compression percentage on OTT gives a tighter and more controlled result than using the default settings. Full-depth OTT on an already heavily processed sound can push it too far and remove the transient punch you worked to create in the earlier stages.
• Bounce and reprocess: Rendering the processed synth shot as a new audio file and then running it through another round of EQ, saturation, or compression is a legitimate technique for making sounds even more squished and unique. Many producers use this iterative approach to get sounds that are truly distinct and hard to replicate.
• Context testing: Synth shots made in isolation can sound very different once placed in a full track. Try building a basic groove with a kick, bass, and a few elements, and test your synth shot in that context early. What sounds overly processed on its own often sits perfectly once surrounded by other elements.

Tutorial by Niek, co-founder of The Producer School. For more production tutorials, subscribe to The Producer School on YouTube (280K+ subscribers).