Tutorial: Programming a Synth - Using Space Explained

Welcome back to our final article from the series on "How to Program a Synth" with our synthesizer SkyDust 3D! Today, we're diving into the world of spatial sound. And before you think, “Wait — I only work in stereo,” stick around. This topic is just as important for stereo users as it is for spatial audio aficionados. Why? Because if you ignore the spatial side of things, you might unknowingly be creating mono presets.

Why Spatial Matters — Even in Stereo

In today’s world, everyone uses stereo synthesizers — whether it’s a virtual instrument or a hardware keyboard. But here’s the catch: if you don’t pay attention to stereo placement, you’re probably outputting sound straight down the middle. That means you’re missing out on a richer, wider, and more immersive experience.

When you design a sound using a synthesizer, you’re using oscillators and each one generates a single channel of audio. So how do you get stereo? Here are 5 ways for you to do it:

Panning Oscillators

One common method is by panning the oscillators. For example, you might have Oscillator 1 on the left and Oscillator 2 on the right. By simply assigning each oscillator a different position in the stereo field, you create a more dimensional and interesting sound.

In SkyDust this gets even more exciting. You can position oscillators anywhere in 3D space — not just left or right. And to make it even more dynamic, you can add randomness to the position of each note. This means every time you hit a key, the oscillator might land in a slightly different spot, adding organic movement and life to your sound.

Using FXs for Stereo Width

Another way to add depth is by using effects like delay or reverb. Even if your oscillator is centered, reverb can add reflections that spread across the stereo field, while delay can throw echoes to one side or the other.

Most synths include built-in effects, which are super useful because they get saved with your preset. So each patch can have its own unique spatial vibe without needing extra plugins.

Modulating Spatial Position

Want to take things further? Try modulating the panning using LFOs or EGs.

• Imagine Oscillator 1 starts on the left and slowly moves to the right.

• Or Oscillator 2 stays centered, while Oscillator 3 begins on the right and glides to the left during the attack phase.

• Use an LFO to create automatic panning movement—like a built-in autopilot for stereo animation.

In SkyDust, you can control not just left and right, but also elevation and depth, thanks to our advanced modulation matrix.

Micro-Movements and Expression

Even subtle changes can add life. By using slow, gentle modulations, you introduce a sense of movement that makes the sound feel alive. Or go wild and create dramatic panning effects — it’s all up to your creativity.

Sequencers with Spatial Control

Some synthesizers also let you use step sequencers to automate changes over time. If your sequencer includes spatial parameters, you can control not just pitch and rhythm, but also where each note appears in space. This opens the door to truly expressive arpeggios and patterns that move.

Mastering Space

Stereo — or even better, spatial — sound design is about more than just filling speakers. It’s about creating an experience that surrounds the listener and breathes life into every note. Whether you’re using basic stereo tools or diving into the full 3D capabilities of SkyDust, understanding spatial audio is a game changer for synth programming.

Now it’s your turn — go experiment with panning, modulation, and effects, and see how it transforms your presets into living, moving soundscapes.

Thanks for following this series! Until next time— Happy synthesizing!

Stay tuned and join the revolution!