Kyle Dixon & Michael Stein "Kids" Breakdown: Synths in Serum

"Kids" is one of those tracks that instantly pulls you into a world of nostalgia, tension and wonder. It was composed by Kyle Dixon and Michael Stein for the Stranger Things soundtrack.

It first appeared on the Season 1 soundtrack and quickly became part of the show's identity, blending vintage analog synths with childhood wonder, mystery and a hint of danger underneath. Built around pulsing arpeggios, warm detuned synth lines and a hypnotic bassline, "Kids" captures the emotional core of the series, where innocence and suspense always go hand in hand.

Since the final season of Stranger Things came out in late 2025, interest in the show's music has surged again. "Kids" is still a fan favorite because it does so much with so little: it relies on repetition, filter movement and analog-style imperfections instead of complex harmony or dense arrangements.

In this Synth Ctrl remake, we rebuild that iconic sound step by step, and you'll see how smart sound design choices, not complexity, make "Kids" such a timeless, cinematic piece of synth music. Let's give it a listen.

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Bass Layer 1: PWM Foundation

This bass is the first of three bass layers in the track, and it sets the foundation of the low end. The patch is built around pulse-width modulation, which gives it that classic, animated synth bass character you hear in many analog productions. Oscillator A is set to PWM Mini and Oscillator B uses PWM MDC, and together they make a rich tone that feels alive rather than static. LFO 1, set to a 1 bar rate, is routed to the wavetable position and the warp controls of both oscillators, so the pulse width shifts over time. That adds subtle movement and keeps the bass from sounding flat or repetitive.

The filter shapes the tone further: its cutoff is modulated by Envelope 3. This envelope has a long decay, so the filter closes slowly after each note, giving the bass a smooth, evolving shape instead of a sharp pluck. For extra weight, the filter drive is set to 15 percent, which adds gentle saturation that thickens the sound and fills out the low end.

Bass Layer 2: Resonant Sweep

Once the first bass has laid the foundation, a resonant bass line comes in to add movement and character. It's built from the exact same patch as the previous bass, with the same wavetables and modulation routing, but pushed in a more expressive direction. Here the filter resonance is turned up a lot, which adds a focused, whistling peak that cuts through the mix and gives the bass more of its own identity. On top of that, an LFO modulates the resonance so it slowly sweeps over time. This movement turns the bass from a static low-end layer into something much more animated and emotional: that unmistakable synthwave bass feel where the tone evolves and pulses as the track goes on.

Bass Layer 3: Running Bass

The third bass is a running bass line that brings momentum and drive to the groove. It's more rhythmic and animated, and it pushes the song forward instead of just sitting underneath it. To build this sound, Oscillator A uses an MB Saw, which gives a bright, harmonically rich core, while Oscillator B is set to Basic Shapes in its fourth position, adding a cleaner tone that tightens the low end and keeps the bass focused.

The plucky character comes from Envelope 1, which is routed to the filter cutoff with a fast decay. Each note opens the filter briefly and then closes it again, so you get a clear attack followed by a smooth drop in tone. To get the groove right, an LFO modulates the amp level, giving the bass that pulsing, sidechain-style movement. Together, this makes the bass feel energetic and locked into the rhythm, while the low end stays controlled and expressive.

The Pad

Next comes a lingering bass note that holds a G throughout the song, acting as a constant tonal anchor under the arrangement. This sustained layer adds tension and atmosphere, and it's what gives the track that subtle, hypnotic pull you feel even when nothing else is changing. To create it, Oscillator A is set to PWM Mini and Oscillator B to PWM MDC, two pulse-width tones that naturally evolve and feel alive. LFO 1 is routed to both the wavetable position and the warp controls of each oscillator, so the pulse width is always shifting slightly, adding gentle motion over time.

The sound then runs through a CMB HL6 filter, which adds a resonant, comb-like character that makes the note feel more textured and synthetic. Both the cutoff and the resonance of this filter are modulated by LFO 1, creating slow tonal sweeps that keep the sustained note from ever feeling static. In the FX section, a heavy amount of reverb pushes the sound far back in the mix and turns it into a wide, atmospheric layer. The result is a pad that's less about rhythm and more about mood: an evolving presence that quietly shapes the emotional space of the whole track.

The Main Arp

For the main arpeggio that runs through the entire song, we start with a combination that balances character and clarity while still feeling vintage and alive. Oscillator A is set to the ICanHasKick wavetable, which brings a rich, slightly gritty harmonic core, while Oscillator B uses a Juno-style wavetable, adding that smooth, classic flavor of analog polysynths. Both oscillators are set to four voices, which gives the arp enough width and density without washing out the rhythm.

The movement comes from an envelope that modulates the wavetable positions of both oscillators and the cutoff and resonance of the filter at the same time, so each note opens up and then gently settles back. To finish the sound, an LFO is routed to the fine-tuning of both oscillators, adding subtle pitch drift over time. This small detail is crucial: it recreates the natural instability of analog synths and gives the arp that floating, slightly imperfect feel that makes it sound warm and nostalgic.

The Lead

This sound comes in halfway through the song and works as the lead, carrying the main melody and instantly grabbing your attention. The core of the sound is in Oscillator A, which uses the Basic MDC wavetable for a clean but harmonically rich tone that cuts through without sounding harsh. Oscillator B is set to ICanHasKick, adding extra body and a bit of grit underneath, which makes the melody feel fuller and more expressive.

An envelope modulates both the oscillator levels and the filter cutoff, so each note has a clear shape: it opens slightly at the start and then settles back, giving the melody a sense of movement and phrasing. What really defines this sound, though, is the filter resonance, pushed up to around 30 percent. That resonance creates a focused, almost vocal-like peak that brings certain frequencies forward, making the lead feel more emotional and present in the mix.

The Delayed Arp

Finally, we add this arpeggiated layer, whose main job is to bring constant motion and texture to the song. It's not meant to lead the track, just to keep the arrangement feeling alive. Oscillator A is set to Basic Mini, giving the arp a clean, focused core, while Oscillator B uses Basic CJW, which adds extra harmonic color and a slightly brighter edge. To keep the sound from feeling static, an LFO is assigned to the fine-tuning of both oscillators, creating a gentle pitch drift with a subtle analog instability and a more human feel.

The rhythm of the sound comes from an envelope modulating the filter cutoff, so each note opens up briefly and then softens, which helps the arp sit nicely in the mix without sounding too sharp. On top of that, a second LFO modulates the filter resonance, adding slow tonal movement so the arp keeps shifting and breathing. In the FX section, a quarter-note ping pong delay does a lot of the heavy lifting: with the feedback at around 70 percent and the mix at about 65 percent, the repeats blur into each other and turn the arp into a wide, washed-out texture instead of a dry pattern. The result is an atmospheric arp that floats through the track, adding depth and helping glue the whole arrangement together.

Make your own Kids-style track.

You've heard how the three bass layers, the pad and the arps are built. The Synthwave Pack has them ready to load in Serum, along with the rest of its 125+ presets.

Want the whole palette? The Synthwave Bundle adds our Outrun and Retrowave packs: three packs for $39.90.