STS-24 Pro

Advanced Space Transition Synthesizer

This synthesizer is featuring Wave-Transition method for absolute unique atmospheres, soundscapes, pads & textures. A very straight userinterface ith ! "#azy"-$uttons for randomizing different sets of parameters so programming this synthesizer is incredibly easy. The Transition method adds a stunning ne dimension and motion for an evolving sound changing completely it%s characteristics. Although this is an amazingly "simple" structured synthesizer it gains its astounding sound from the Transition method bet een the oscillators. The basic features are& New: !' ne internal aves added (our digital )*+- ave oscillators po ered by ,-. selectable aveforms /-Torsion function for oscillators t o resonant filters 0-1db #o pass and ,- db 2ighpass3 three A456-style envelope generators t o #(7 0bpm-synced3 one #(7 ith shapeable and even patternli8e aveforms 0bpm-synced3 one 5ample & 2old 0bpm-synced3 New: #(7 1 ith more than 1' patternli8e aveforms New: 5tereo delay no ith *ross delay option New: 5tereo flanger ith very flexible modulations and resonant #)(ilter New: 5pace rotation for sound rotating in stereo idth New: $oth filters ith (ilter (+ driven by t o osc. sources each New: ext. Audio 9nput s itchable for 7sc. A-, The )ro version incorporates loading of :ser 5oundfonts & avefiles 0up to -1 $it3, more voices instead of t o in free version. The free version is supplied ith ,-; patches - the )ro version comes ith !;1 patches.

The features of the STS-24 Synthesizer in detail

The sound-sources (our digital oscillators 0in sections& A-,, A-- and $-!, $-13 have a set of ,-. selectable )*+- aves as soundsources. <ach oscillator has a [ evel:!-8nob and can be set to --=-,='=>,=>- octaves and shifted up by ,, semitones. The outstanding feature of this synthesizer is the ad?ustable transition from one ave to the next via the [Transit! sliders and ith the advanced system ith ad?ustable [Tr"nd!point plus modulation on this separate for each section. +odulation is affected after the transition has reached it%s end 0or upper oscillator3 and if "nd setting is lo er fallen bac8 to this point. The "nd point is determined by the resp. Tr<nd slider setting so in middle position both oscillator ill sound equally. Transition can be s itched on=off by the buttons left of T6<nd +od.

@otes& 5 itching bet een 9nternal 0sound source3, :ser-5(- 0load :ser soundfonts3 and Wave 0file loading3 is available in the )ro version only. 5ee appendix for additional notesA 5election of internal aves via dropdo n list simply clic8 on ave name. The $an8 button is there for possible future additions to internal aves. )ro version& 5 itching 7sc A-, to +ute enables ext. 9nput ith it%s o n level 8nob 0simply replacing the 8nob for 7sc A-, level3. Thus you can use the 5T5--1 )ro li8e a B5T effect - press a 8ey to open the gates for B*A etc. The /-Torsion is a variant of 6ing- & *rossmodulation of the 7scillator-outputs. This signals goes directly to the outputsection and it%s level is determined by the /-Torsion 8nob. Also Cou can add or remove 7sc A- and $1 to be used ithin this function. 5ometimes the effect of /-Torsion is more noticable if not all oscillators are used. Also it might occur at some ave-combinations that the effect is less prominent than ith other combination. (inally it should be noted that in a fe cases the output level of this function might lead to go bexond 'd$ 0indicated by pea8 #<4 flashing red3 - in such cases lo er the the 8nobsetting of the /-Torsion 8nob. 6elease of B*A <D is controlling the %bouncing bac8 to zero position% of Transition after release of 8eys - thus you can control this behaviour to a certain extend.

#ilter section
With the 5T5--1 each filter has a premix to ad?ust levels from each oscillator section 0A and $3 plus extra 8nob for /-Torsion through filters. The signal of digital oscillators can be routed to a -1 d$ #o )ass and=or ,-d$ 2igh-)ass (ilter both ith resonance 0E3. *utoff frequency [$ut! and 6esonance [%! are ad?ustable for each filter separately ith the respective sliders.

$oth [ A ! [ & ! [ S ! [ ' ! envelope generators let you ad?ust the ay the filter or8s on the incoming signal ith Attac8, &ecay, Sustain and 'elease providing the shape on filtering. With the ["nvA(t! F slider you can ad?ust the amount of this modulation on the filter. Cou on%t need 6elease here much or this envelope at all, as the modulations by #(7 and 5&2 provide a far more interesting motion in sound. 6elease is quite *):-hungry. As further modulation-source serves a selectable #(7 0one ith patternli8e aveforms too plus 5hape 8nobA3 and a 5ample & 2old generator synced to host-cloc8 0see #(7 section belo 3. The [ #)*od! buttons activates the modulation-source to the respective destinations ith an ad?ustable amount from the [ #)A(t! 8nobs. 0> is normal modulation hile %-% 0minus3 is inverted modulation.3 Also both filter support (ilter-(+ by t o oscillator sources each& #)- 7sc A-, = $-1 and 2) 7sc A-- = $-!.

#) section

There are 1 #(7 and , 5ample&2old for different modulations. #(7, and #(7- are basically meant for the Transition function but can be used as mod source for filters and flanger too. #(7! is featuring patternli8e aveforms plus 5hape 8nob #(71 has a set of more than 1' patternli8e aveforms and 6ate is freely ad?ustable. The Sample + ,old generator provides a random modulation signal li8e pulses at varying levels instead of a continous = forseeable modulation from a selected ave of the #). With the [Seed-Src! button you can change the characteristics of the 5&2 pulses& #ess 0pea8s3, +ore 0pea8s3 and :p & 4n types for ascending or descending motion preferably at lo er rates.

The )utput section -.$A/ "ffects + *ain0

The B*A has a premix to ad?ust output from #) and 2) filter plus ad?ustable direct signal from oscillator sections A and $. The )an 8nobs are or8ing in %opposite% mode so only t o 8nobs ere needed here. 7pposite mode is e.g. turning #) to left forces 2) to right channel and viceversa. The output section provides an [ A ! [ & ! [ S ! [ ' ! envelope generator for shaping the overall signal Attac8, &ecay, Sustain and 'elease. ith

@e to 5T5--1 is the stereo (langer ith highly versatile modulations and options to invert modulations bet een channels. There is also a modulatable #)-(ilter ith resonance. A 5tereo delay ith *ross delay option is synced to host cloc8 ith several selectable division-settings for left and rigth seperately. Also (eedbac8 amount is ad?ustable separately for left and right. :se 4ly#vl to ad?ust the amount of delay to output. 6eally amazing is 5pace 6otation 05pc6ota3 providing the impression of sound rotating in stereo idth - not bouncing to and fro as ith a simple #(7 modulated panA This one is more sophisticated and also synced to bpm tempo. There are t o modes available hich simply change the %sequence% of sections 0output from #), 2), 4irA and 4ir$3 moving. @ote& +a8e sure that levels are set properly at B*A premix - if a level 8nob is set to zero this ill lead to a %gap% in the %sequence% of rotation. Three [ azy12! buttons serve to change settings of different sections. #eft& 7scillatorsG middle& (iltersG right& all sections. Note: Although output level ill hardly exceed 'd$ it might occur under certain conditions that you experience internal clipping indicated by the t o #<4s 0left & right of <ffects = +ain #abel3 flashing red - please remind there are quite a number of level 8nobs to ad?ust for proper and appropriate level settingsA The #<4 indicator most left 0in blue here3 is sho ing /-Torsion overload hen red.

,int: :sing long release settings ill increase *):-usage - remedy& lo er release at filter A456, lo er release at A456 in master section and raise delay +ix#vl instead. 5o in most cases a release ?ust belo half ay up of the slider ill be sufficient to get a fading on the sound. ,int for programming patches& 6aise #evels at oscillators as much as possible and needed, next, raise levels at filters as much as possible and needed also at B*A-premix - there is a +ain volume 8nob to lo er if output is too much. ,int: 5 itching bet een patches might lead to some sound artefacts by 4elay hen done hile sound is still playing. 9n order to have a clean s itching the sound of current patch should have faded to zero level before s itching to next patch. Note: 22 Patches fro( other3prior STS versions can4t 5e used within the STS-24 22

*redits and further info

The 5T5--1 5ynthesizer has been created by 2. D. (ortune ith 5ynthedit by Heff +c*lintoc8. Than8s go to& .era 6inter 0$rno, *zech 6epublic3 for doing the D:9 Draphics I )atches ere 8indly done by Bera Kinter 0BK3 Annabelle 0A@@3 4imitri 5ch8oda 045 or no sign3 )hil Darrison 0)D3 I .complexlogicrecordings.com J This B5Ti uses further modules by 4avid 2aupt and #ance )utnam .artvera-music.com J

B5T9 by 2. D. (ortune& 5T5--1 Transition 5ynthesizer 0t o voice free = enhanced . voice )ro version3 )roto)lasm 5ynthesizer 0t o voice free = enhanced ; voice )ro3 #aser$lade 5ynthesizer /-Wheel of (ortune 99 )ro /-Wheel of (ortune 99 0(ree are3 /-Wheel of (ortune )ro 2omepage& .hgf-synthesizer.de 2. D. (ortune D. 2ager Alma eg 1L M!!1. Alfter '--;=LN1LL',' Dermany email& infoOhgf-synthesizer.de Than8s to all ho have helped and do support my or8A Note: The free version is fully functional but some features are only ithin the . voice registered )ro version& loading of av-files, loading of :ser 5(-, ext. 9nput 0for using 5T5--1 as B5T (/3, all three #azy buttons active, and more patchesA

#ist of internal )*+-Waveforms '',.+ovinHa s ''-.(at-Mth ''!.An#ead ''1.!(at7sc ''M.An(at5ync ''N.4ist5ync ''..+etal5ync '';.NT-5lo5ub ''L.NT-(att ','.NT-2orned ',,.EE2-Waving ',-.4igitalP/ ',!.AuraWave ',1.+inAtmo ',M./tra7rchst ',N.5ymphonic ',..7rc5trings ',;.$reathBoc ',L.2allBox '-'.TubeBox '-,.Box7ouh '--.#o Box '-!.Dregor-7h 0Qsplit of - sounds3 '-1.(a8eBox '-M.Tube$ell '-N.$ell)ad '-..$ellWave '-;.+ovin$ell '-L.4rop4o n '!'.$ong$ell '!,.)itchDong '!-.Arcane$ells '!!.*harm#oop '!1.Alien5pectr '!M.5pace6ide '!N.(ar2orizon '!..(roAndTo '!;.Tundra '!L.9nTheWoods '1'.6ain&*rac8le '1,.(/-7sc5torm '1-.(/-(lash '1!.(/-5crubber '11.(/-6iser '1M.(/-:-(-7 '1N.(/-5topper '1..(/-Tumble '1;.K5-5pectral '1L.K5-@ebulous 'M'.K5-<thno$lo 'M,.Hap(lute, 'M-.2uan(lute 'M!.$ottleBox 'M1.*ath7rg 'MM.@oise*hord 'MN.@oise7ne 'M..Het@se 'M;.Tube@se 'ML.Boxy@se 'N'.+etal@se 'N,.7rganaBox 'N-.4ra bar7rg 'N!.(ar(eesa 'N1.(ull)ipes 'NM.*5>7rch 'NN.15core 'N..$rass(a8e 'N;.6eal$rass 'NL.5hiver$ras '.'.Trumping '.,.Dongy(lute '.-.(@B-5yn '.!.*lean4igi-R '.1.(uzz4igiPR '.M.(lo #oop '.N.Tal8#oop '...+olten$ell '.;.$igDong# '.L.#ightning# ';'.4/<)-$ase ';,.5 ell5trs ';-.HustA(lute ';!.7ctavian ';1.At85yn ';M.Asian+etal ';N.5ynAthmo# ';..+ythosfer ';;.Arca@ostra ';L.7mzi(+yth 'L'.7mzi(5teps @e in 5T5--1& 'L,.@octurnal 'L-.5peedTube 'L!.$adDirl-#$ 'L1.Arcane(/ 'LM.T istd$-#$ 'LN.9rish)oly-#$ 'L..*old)oly#$ 'L;.5mo8e2-7 'LL.2ard-(+-#$ ,''.2yperdrive ,',.@othync-2 ,'-.@othync-5 ,'!.@othync-$ ,'1.Tunnel$el ,'M.5poo8$ell ,'N.Dhost$el ,'..4eu5ixty ,';.(og2orn ,'L.7utWired ,,'.*runched ,,,.5ixTeeth ,,-.Turble/( ,,!.Turblinv( ,,1.5lap5ax( ,,M.+etAt8( ,,N.<xo(lute( ,,..TubDong( ,,;.7rbling( ,,L.(+-$elly( ,-'&EiDong( ,-,.Demmond ,--.Donglion ,-!.6oboti8 ,-1.6eserved ,-M.(lo ater ,-N.Hungle ,-..(alcon ,-;.$ig6oar

9n total there are 728 internal waves selectable in the 5T5--1 )ro - among are more than !' completely ne aves not been published before in a B5Ti of mine.

Appendi9 on Soundfonts S#2 and wave files :eneral note: place all 5(- and avefiles you ant to use into the subdir hich has been created by the 5T5 0e.g. *&Ssome hereSB5TpluginsS2D(S5T5-xxS 3 you can also have subdirs there. The B5Ti ill automatically point to this 5T5 subdir so it is more convenient to load files from there.

Note on S#2-files: Although you can use basically any 5(- around there are t o limitations& the internal 5(-)layer does support only one layer from an 5(--preset or instrument 0the bottom one as seen in Bienna3 and the synthfunctions of the 5$-hard are are not supported as a specific 5$ soundcard is not needed. 9f Cou load a 5oundfont file e.g. into slot for osc. , this is valid for the hole patchban8 i.e. this soundfont ill be used in all patches osc., settings s itched to 5(- - hile set to internal the internal aves remain valid. (or each osc. you can use a different soundfont being valid for all patches of course. 5aving the ban8file ill 8eep the resp. settings. Thus using different ban8files you can manage more than three soundfonts in usage at all. 9n order to ma8e 5(--files from Cour avefiles Cou can use the free are tool Viena by Kenneth 6undt http&== .saunalahti.fi=8ruLL=index.htm Biena does not require a *reative 5oundblaster #ive or Audigy *ard to assemble 5(--files and please note there is only one %n% in Biena 0unli8e Vienna from *reative #abs3 As a free are Wave-<ditor ith capability to set looppoints you can use Camaha%s TW< Ber. -.!., running on Windo s /) systems. hich is

Notes on oading wave files it is possible since Ber ,.1 to load avefiles 0loops supported3 directly into the 5T5 serving as oscillators=soundsource. from B-., avefiles up to -1 $it are supported. To load a ave file clic8 on icon or #oad Wav 0as sho n belo 3 to get the file selector&

Any ay this feature is useful for testing avefiles ithin the 5T5 so you can do a quite easy selection of aves to be gathered into an 5(- file later as it is more convenient to s itch bet een different aves rather than loading a ave from som here on your harddis8. Also this setting is stored und restored hen loading that 5(- on next sartup again. @ote& ell, this load thing does not loo8 as beautiful as it could but as to prior versions there have been questions li8e % here to clic8 to load% this should be clear enough no .... don%t laugh ... 9 had to ans er those quesitions. ,;NT: When storing a patch the location of the avefiles loaded is stored as ell in order to reload these hen s itching to that preset. 5o Cou should 8eep in mind that deleting avefiles used ithin presets ill lead to an error-messageA &ue to this it is (ore advisa5le to use single patches stored as <f9p rather than co(plete 5an=s stored as <f95< Worst case might be hen loading a complete ban8file 0.fxb3 ith stored information of files no deleted ill lead to a hole bunch of errormessages. @o Cou 8no about it so it is up to Cou to ta8e care in advance. 5o 5(- files are a better solution in handling a hole bunch of samples.

The 5T5 ave file capability is o5viously not (ade to play dru(loops/ 5asslines or (elodic loops used typically by programs li8e +agix +usic +a8er 0tm3 although there might be a fe 0better& very fe 3 exceptions as al ays are. $est results ill be hen using looped instrumentsamples, (/-sounds or samples ali8e those used ithin the 5T5. 9deally aves to be played should be tuned to * 0best is *1 or *M3 in order to correspond to the +949-8eys on a 8eyboard. 9t is best to use monosamples, stereosamples can used but ill be processed as mono-signals. 5tereosound is done at the outputsection.

*;&;-;(ple(entation of $ontinuous $ontrollers -$$0 for sliders + =no5s Q**T 0recognized data valid from '-,-.3 +ain Bol 4irA&$-)an #)&2)-)an A&4ir $&4ir A&#) $&#) A&2) $&2) /&#) /&2) /-Torsion Transit A Transit $ <nd A <nd $ +od A +od $ Wav Wav Wav Wav , ! 1 Q. Q; Q ,' Q ,, Q ,Q ,! Q ,1 Q ,M Q ,N Q ,. Q ,; Q ,L Q -' Q -, Q -Q -! Q -1 Q -M Q -N Q -. Q -; Q -L Q ,,N Q ,,. Q ,,; Q ,,L #)& *ut E A 4 5 <nvAmt #(7+od #(7Amt #)#vl 2)& *ut E A 4 5 <nvAmt #(7+od #(7Amt 2)#vl (m-7, (m-71 (m-7(m-7! Q .' Q ., Q .Q .! Q .1 Q .M Q .N Q .. Q .; Q ;' Q ;, Q ;Q ;! Q ;1 Q ;M Q ;N Q ;. Q ;; Q !, Q !Q .L Q ;L Amp A 4 (dbc8 # (dbc8 6 4ly#vl (lngr+ix (lngr4epth (l-(eedba8 (l-*ut (l-*-+od (l E #(7s , 5ync , Wav - 5ync - Wav ! 5ync ! Wav ! 5hape 52 5ync 52 Wav 1 6ate 1 Wave Q L' Q L, Q LQ L! Q L1 Q LM Q , 0+odWheel3 Q ,'Q ,'! Q ,'1 Q ,'M Q ,'N Q ,'. Q ,'; Q ,'L Q ,,' Q ,,, Q ,,Q ,,! Q ,,1 Q ,,M Q !'

Wave-#vl, Wave-#vlWave-#vl! Wave-#vl1

changed & updated to 5T5--1& ,N.'!.'N

Ter(s of icense Agree(ent: Cou are @7T A##7W<4 to sell the program or charge for the access to the free version. Cou are allo ed to distribute the free version of this program 0online or on magazine *4%s3 as long as Cou do not charge for this programA Any ay Cou are requested to send an info about such a distribution. Cou may use the program in personal and=or commercial music 0credits are elcome3. $ut Cou are not allo ed to ma8e samples 0looped or unlooped3 for commercial sampling *4s. Cou are allo ed to run the registered version of the program on different computers as long as Cou are the only person having access to and using the program. Cou are not allo ed to modify, decompile or reverse-engineer the program. This program is not copy-protected but protected by national & international 0copyright-3 la s. *hanges & enhancements may be made ithout prior notice and a grant that further editions ill read patches from former version cannot be given. The soft are is supplied as is. :se this program on Cour o n ris8 and Cour o n responsibility.