STS-26 Pro

New Generation Space Transition Synthesizer < Set the controls for the heart of sound ... and PLAY! >

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 and some neat features inside. The basic features are& New: - a complete ne soundset of '() aves plus (' percussive *roove-#oops New: - ( +ontour *enerators ith curves being dra n at realtime New: - ,tereo flanger ith selectable modulations for -epth and .eedbac/ per channel New: - $oth filters ith .ilter .0 driven by selectable osc. source each New: - ,ingle-.inger /eys for perc. & .1 loops as part of the synthsound 2 ith ,.( source osc only - see appdx.3 - four digital 4+0- ave oscillators po ered by '() selectable aveforms via external ,.( file in 4ro 5ersion - t o resonant filters 2(6db #o pass and '( db 7ighpass3 - three A-,8-style envelope generators - t o #.9 2bpm-synced3 - one ,ample & 7old 2bpm-synced3 - ,tereo delay ith separate feedbac/ per channel - ,pace rotation for sound rotating in stereo idth

The 4ro version incorporates loading of soundfonts 2,.(3 & avefiles 2up to (6 $it3, more voices instead of t o in free version. The free version is supplied ith '() patches - the 4ro version comes ith !)6 patches.

The features of the STS-26 Synthesizer in detail

basic diagram of modules and audio signal flo The sound-sources .our digital oscillators 2in sections& A-', A-( and $-!, $-63 have a set of '() selectable 4+0- aves as soundsources. :ach oscillator has a [Le el:!-slider and can be set to -(;-';<;=';=( octaves and shifted up by '' semitones. The outstanding feature of this synthesizer is the ad>ustable transition from one ave to the next via the [Ti"e! sliders and ith ad>ustable [Tr#nd!point plus modulation on this separate for each section. 0odulation is affected after the transition has reached it%s #nd setting. The #nd point is determined by the resp. Tr:nd slider setting so in middle position both oscillator ill sound equally unless modulated. Transition can be s itched on;off by the button [$N! left of T8:nd 0od ,rc.

?n other ords& Transition %morphs% from 9sc ' to 9sc ( 2e.g. here ,ection A3 ith ad>ustable Time then falls bac/ to 9sc.' if T8 :nd slider is do n. ?f a mod source other than 0an2ual3 is selected no modulation starts to continue this morphing be teen those t o oscs. ith the amount being set by Tr :nd slider. @otes& , itching soundsources bet een ,.( and Wave 2file loading3 is available in the 4ro version only. ,ee appendix for additional notesA ,election of ,. aves via dropdo n list simply clic/ on ave name or use the up;do n arro s left of name. 8elease of 5+A :* is controlling %bouncing bac/% of Transition after release of /eys - thus you can control this behaviour to a certain extend.

%ilter section
With the ,T,-(B each filter has a balance slider [Sec &al! to ad>ust level bet een section A and $ for input to filters. The signal of oscillators are routed to a (6 d$ #o 4ass and '(d$ 7igh-4ass .ilter both ith resonance 2C3. +utoff frequency ['ut! and 8esonance [(! are ad>ustable for each filter separately ith the respective sliders. $oth [ ) ! [ * ! [ S ! [ + ! envelope generators let you ad>ust the ay the filter or/s on the incoming signal ith )ttac/, *ecay, Sustain and +elease providing the shape on filtering. With the [#G,od! D slider you can ad>ust the amount of this modulation on the filter. Eou on%t need 8elease here much or this envelope at a greater extent, as the modulations by #.9, +ontour *enerators and ,&7 provide a far more interesting motion in sound. $t . 8elease is quite +4F-hungry.

As further modulation-source #.9 0od is there ith different selectable sources 2@ote %=% indicates normal modulation hile %-% 2minus3 inverted modulation3. +ombined sources are abbreviated li/e #', G #.9' = ,&7 etc. Also both filters support .ilter-.0 by a selectable oscillator source each. &e careful with high ( settings of filters as this "ight lead to clipping with %ilter %, in use.

,od Sources

There are ( +ontour *enerators, ( #.9 and ' ,ample&7old for different modulation targets as e.g. Transition, .ilter +utoff and even .langer. ,ometimes even combined sources are used at target. @otes& The curves at contour generators can be dra n ith mouse at realtime. The generators act li/e #.9 ith complex custom dra n aveforms.

$oth #.9 feature ,in, Tri, ,a and 8amp

aves synched to bpm

Sample - .old provides a random modulation signal li/e pulses at varying levels instead of a continous ; forseeable modulation from a selected ave of the L%$. With the [Seed-Src! button you can change the characteristics of the ,&7 pulses& #ess 2pea/s3, 0ore 2pea/s3 and Fp & -n types for ascending or descending motion preferably at lo er rates.

The $utput section /0') incl1 ,i23 Pan3 #G4 #ffects - ,ain5

The 5+A has a premix to ad>ust output from #4 and 74 filter plus ad>ustable direct signal from oscillator sections -ir A and -ir $. The 4an /nobs are or/ing in %opposite% mode so only t o /nobs are needed here. 9pposite mode is e.g. turning #4 to left forces 74 to right channel and viceversa. The output section provides an [ ) ! [ * ! [ S ! [ + ! envelope generator for shaping the overall signal )ttac/, *ecay, Sustain and +elease. ith

The stereo .langer ith versatile modulations for depth and feedbac/ even seprate for each channel. @ote& as there are 6 possible mod sources involved it might occur that no flanging is noticed at all as this depends on the current position of the mod source, e.g. if these positions are all around < no effect ill be there. Also crosschec/ the rates of sources involved too. There are many possibilities ithin here even a flanger modulated by sa or ramp is possible hich results might sound a bit embarrasing first. As mod sources even Transition is present here& T&A G section A, T&$ G section $ in positive or inverted mode = or -. A ,tereo delay is synced to host cloc/ ith several selectable division-settings for left and rigth seperately. Also .eedbac/ amount is ad>ustable separately for left and right. Fse -ly#vl to ad>ust the amount of delay to output. 8eally amazing is ,pace 8otation 2,pc8ota3 providing the impression of sound rotating in stereo idth - not bouncing to and fro as ith a simple #.9 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 2output from #4, 74, -irA and -ir$3 moving. @ote& 0a/e sure that levels are set properly at 5+A premix - if a level /nob is set to zero this ill lead to a %gap% in the %sequence% of rotation. .urther s itches and button in this screen area& blue ,.(-#oad opens the slots to load ,.( file for osc. ' to 6 - see appendix for details blue ,tructure buttons sho s up the diagram of modules and flo audio signal Three [Lazy67! buttons serve to change settings of different sections& 9scillators, .ilters and All @ote& once somebody mentioined %ah, this is here you s itch to next program% H-3

.int: Fsing long release settings ill increase +4F-usage - remedy& lo er release at filter A-,8, lo er release at A-,8 in master section and raise delay 0ix#vl instead. ,o 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& 8aise #evels at oscillators as much as possible and needed, next, raise levels at filters as much as possible and needed also at 5+A-premix - there is a 0ain volume /nob to lo er if output is too much. .int: , itching bet een patches might lead to some sound artefacts by -elay hen done hile sound is still playing. ?n order to have a clean s itching the sound of current patch should have faded to zero level before s itching to next patch. 9r, have delays set at the same -elay parameter value. Note: 77 Patches fro" other8prior STS ersions can9t :e used within the STS-26 e2cept for patches of STS-2; which need so"e "inor ad<ust"ents and of course the resp1 soundfont present 77 See )ppendi2 for further details7

+redits and further info

The ,T,-(B ,ynthesizer has been created by 7. *. .ortune ith ,ynthedit by Ieff 0c+lintoc/. Than/s go to& 7einz #. 0aennchen for creating the *F? 2great >ob in doing my preferred filigrane style, though probably less eyecatching at a first glance than has been ,T,-(6 but definitively better to or/ ith.3 $etatesting& ugo, Iac/ -ar/, 4eter ,choffhauzer, 0icha $aum, 0iquel 0atas, et al. 4atches ere /indly done by Annabelle 2A@@3 -imitri ,ch/oda 2-, or no sign3 ,teve $len/insopp 2W.3 http&;; .tangent-music.com;Waveform;home.html 0iquel 0atas 20TJ3 :lvar Aron 2:lv3 ,tanley King 2,K3 #oops provided by -imitri ,ch/oda & ,tan #ea This 5,Ti uses further modules by -avid 7aupt, Kelly -. #ynch and #ance 4utnam The %,pace graphic% has been composed using parts of photos by :,A 7ubble ,pace Telescope - ?mage Archive 5,T? by 7. *. .ortune& ,T,-(B Transition ,ynthesizer 2t o voice free ; enhanced ) voice 4ro version3 4roto4lasm ,ynthesizer 2t o voice free ; enhanced ) voice 4ro3 #aser$lade ,ynthesizer 1-Wheel of .ortune ??? 21-Wo. !3 7omepage& .hgf-synthesizer.de 7. *. .ortune *. 7ager Alma eg 6L M!!6N Alfter <(();LB6LL<'< *ermany email& infoOhgf-synthesizer.de Than/s to all ho have helped and do support my or/A

Note: The free version is fully functional but some features are only ithin the ) voice registered 4ro version& e.g. loading of av-files, loading of ,.(, and more patchesA

#ist of 4+0-Waveforms supplied ith the ,T,-(B <<'.*uevercin-?. <<(.0argalit <<!.-eep,tring <<6.4entagram <<M.@Tropic <<B.+rystallite <<N.Tadu/i5ision <<).Aphrodisia <<L.7ugeArc <'<.,pheroidia <''.7aunted <'(.0il/yWay <'!.Whereisit <'6.$ello4ad <'M.,he <'B.+ourteousy <'N.#una7olmes <').Fltra.loat <'L..orlorn <(<.-ar/ness <('.TechCuyer <((..a/eCuyer <(!.Technoidon <(6..#1-,p/l,tr <(M..#1tring <(B..#1At/4ad <(N..#1,yn( <()..#1-$rite <(L..#1-Aaahh <!<..#1-,trngsoft <!'..#1-,trgbrite <!(..#1-4,torm <!!.*lass$lo>ob <!6.*lass.lute <!M.Asianic <!B.J.lute <!N..a/e,ha/u <!).#ady@ature <!L.:thnic5oc <6<.Aaahhha <6'.#ongAhhh <6(.#ong9oouh <6!.Airy5oices <66.7orrifical <6M.7i*houls <6B.,ad.emale <6N.5oc(,yn <6).0orphomat <6L.,par/le,tr <M<.0ega,trngs <M'.,tar,trngs <M(.+lassic,trn <M!..ine,trngs <M6..at,tringy <MM.Wide,trngs <MB.$o ed <MN..ast,trngs <M).Arconic,yn <ML.,harp,trn <B<.,mearTape <B'.Fgly,trngs <B(.,tringelized <B!.:nsemblon <B6.WonderWorld <BM.Wonderland <BB.,implify <BN.7i4assed <B).,oloid <BL.:xotAtc/ <N<.7itme <N'.WetCAtc/ <N(.,a ysaid <N!.Wet,a s <N6.9mni,a <NM.,axorguitar <NB.#ightWay <NN.,pit$ras <N).,harp$ras <NL.$rasselle <)<.#ite$ras <)'.At/$rassy <)(.Atc/4ad <)!.At/4ad-J <)6.8hoAt/4ad <)M.At/4ad,oft <)B.At/Wonder <)N.0etallic <)).$el?nharm <)L.@opia <L<.8oaringB<s <L'.8oaringM<s <L(.$ishtorg <L!.g9rgantic <L6.Wood4ipes <LM.,ynphony <LB.$o ed,trs <LN.7uuoouh <L)..atCuyer <LL.#o 1sa '<<.,tab0eFp '<'.-istorter '<(..at9n.loor '<!.,oftAt/4ad '<6.0ircale4ad '<M.,par/ly*ls '<B.@ature4ad '<N.Fgly4itch '<).Wateryfonic '<L.+lusterbell ''<.,pacing9ut '''.-ly,urprise ''(.7ot0otion ''!.#esbos ''6.7ades#oop ''M..1*ame@oiz ''B.8ising7igh ''N.#ost?n,pace '').Ci*ong-', ''L.Abstract-', '(<.,aurus-', '('.*lassTe/7it-', '((.-riftnby-', '(!.,urprisor-', '(6.$ig$ang', '(M.Thunor-', '(B.0ysteries-', '(N.Tumbler-', '().WhoopA-',

?n total there are =2> new wa es supplied ith the ,T,-(B 4ro 2in free version as internally stored aves3 These samples have been preprocessed in a completely different ay than before in order to enhance the quality for usage ithin my 5,Ti. 4lus& 2= percussi e loops in N presets in 7*.-890'.,.( $an/ P'() assigned to /eys from +'G0?-? @ote P!B /ey& <<'.B*rv-x( <<(.(*rv-xB <<!.6*rv-x!A <<6.6*rv-x!$ <<M.6*rv-x!+ <<B.6*rv-x!- <<N.!*rv-x6A + *rooveQ<'! *rooveQ<!M *roove<B)QL< *rooveQ<!) *rooveQ<(L *rooveQ<') sgroove-6 cP *rooveQ<') " *roove<'!QL< *rooveQ<MN *rooveQ<BN *rooveQ<(L sgroove-( *rooveQ<(L " *roove<!NQL< *rooveQ<6L *rooveQ<NM *rooveQ<'! 4rc'<I-L< dP *rooveQ<!< " *rooveQ<MN *rooveQ<!L *rooveQ<6M *rooveQ<6M sgroove-6 : *rooveQ<!' " *roove<B)QL< *rooveQ<!) *rooveQ<(L *rooveQ<') sgroove-( . *rooveQ<N! " *roove<'!QL< *rooveQ<MN *rooveQ<BN *rooveQ<(L 4rc'<I-L< fP *rooveQ<'! *rooveQ<'' *roove<!NQL< *rooveQ<6L *rooveQ<NM *rooveQ<'! sgroove-6 * *rooveQ<') " *rooveQ<MN *rooveQ<!L *rooveQ<6M *rooveQ<6M sgroove-( gP *rooveQ<(L " *roove<B)QL< *rooveQ<!) *rooveQ<(L *rooveQ<') 4rc'<I-L< A *rooveQ<!< " *roove<'!QL< *rooveQ<MN *rooveQ<BN *rooveQ<(L sgroove-6 aP *rooveQ<!' " *roove<!NQL< *rooveQ<6L *rooveQ<NM *rooveQ<'! sgroove-( $ *rooveQ<N! " *rooveQ<MN *rooveQ<!L *rooveQ<6M *rooveQ<6M 4rc'<I-L< These presets serve as examples ho loops can be assigned to /eys in different ays. 4atches comprising R#94S in name feature lo octave loop playing on dedicated /eys. #oops have been recorded at L< bpm so it is advisable to set host to this too to match bpm synced delay.

)ppendi2 on Soundfonts S%2 and wa e files General note: place all ,.( and avefiles you ant to use into the subdir hich has been created by the ,T, 2e.g. +&Tsome hereT5,TpluginsT7*.T,T,-(B4roT 3 you can also have subdirs there. The 5,Ti ill automatically point to this ,T, subdir so it is more convenient to load files from there.

To load an ,.( file simply press the ,.( #oad button 2top blue one right on image3 this ill open the four slots for the resp. oscillators. 4ressing #oad of a slot ill open a typical indo s file selector to navigate and select a file. )lso :an?s within an S%2 file can :e switched here1 @ote& As this is not accessible in free version simply use a patch using this ban/ to access this ban/. ,aving a patch or patchban/ ith different ,.( loaded ill be memorized for later usage. $ut please /eep in mind that a selection is valid for a whole :an? saved. ,o you can%t have more than up to different ,.( files ithin a patch ban/. Note on S%2-files: Although you can use basically any ,.( around there is one limitation& the internal ,.-4layer does support only one layer or a one multisample layer of an ,.(-preset or instrument 2the bottom one as seen in 5ienna3 and the synthfunctions of the ,$-hard are are not supported as a specific ,$ soundcard is not needed. ?n order to ma/e ,.(-files from Eour avefiles Eou can use the free are;donation are tool Viena by Kenneth 8undt - http&;; .saunalahti.fi;/ruLL;index.htm As a ma>or advantage 0iena does not require the presence of a +reative ,oundblaster #ive or Audigy card to assemble ,.(-files and please note there is only one %n% in 5iena 2unli/e Vienna from +reative #abs3. Notes on Loading wa e files it is possible since 5er '.6 to load avefiles 2loops supported3 directly into the ,T, serving as oscillators;soundsource. from 5(.' avefiles up to (6 $it are supported. To load a ave file first clic/ on the ,ource button then clic/ on icon appearing 2as sho n belo 9sc. 63 to get the file selector& as example for

Any ay this feature is useful for testing avefiles ithin the ,T, so you can do a quite easy selection of aves to be gathered into an ,.( file later as it is more convenient to s itch bet een different aves rather than loading a ave from som here on your harddis/. Also this setting is stored und restored hen loading that ,.( on next sartup again. .@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. ,o Eou should /eep in mind that deleting avefiles used ithin presets ill lead to an error-messageA *ue to this it is "ore ad isa:le to use single patches stored as 1f2p rather than co"plete :an?s stored as 1f2:1 Worst case might be hen loading a complete ban/file 2.fxb3 ith stored information of files no deleted ill lead to a hole bunch of errormessages. @o Eou /no about it so it is up to Eou to ta/e care in advance. ,o ,.( files are a better solution in handling a hole bunch of samples.

The ,T, ave file playing capability is o: iously not "ade to play dru"loops3 :asslines or "elodic loops used typically by programs li/e 0agix 0usic 0a/er 2tm3. The lo octave loop play R#94S on dedicated /eys since ,T,-(B or/s different and is only possible ith ,.( files. 0ore info on that see belo . $est results ill be hen using looped instrumentsamples, .1-sounds or samples ali/e those used ithin the ,T,. ?deally aves to be played should be tuned to + 2best is +6 or +M3 in order to correspond to the 0?-?-/eys on a /eyboard. ?t is best to use monosamples, stereosamples can used but ill be processed as mono-signals. ,tereosound is done at the outputsection. Low octa e loop play [L$P! /since STS-265 This is a neat little addition to the ,T, and is in a minor ay similar to triggering different rhythms etc. on an entertainer%s /eyboard by dedicated /eys. $ut in contrary to that those loops are part of the hole synthsound limited to a dedicated /ey hile Eou can still play chords etc. on the remaining /eys ithout those loops being retriggered and transposed then 2this ill occur if avefiles are used for such a purpose hat is not reccommended3. Any ay it%s up to you hether you ma/e use of it or notA This is a rather open feature hich in most cases does require certain preparations in order to get the results you ant to have. As this feature demands some creativity by the user this is also a chance for a user to do something really unique. ?t is not limited to percussion loops as even spo/en sentences 2unlooped3 or certain .1 loops can provide another dimension here. Also do not underestimate using this feature ith transition e.g. hen a loop is faded out, returns and even this modulated. $ut be careful ith delay settings& less is al ays better here and the delay time should be selected to get a floating sound unless Eou ant something drastically different. ,o hat has to be considered elseU ?n using rhythm loops it has turned out that these should not comprise too many events. ?n general simple percussion loops have to be favoured instead of four-on-the-floor beats featuring heavy /ic/drums. 0a/e sure the tempo of the loop matches to the tempo of the destination trac/. ?t%s not a too big tas/ to adopt tempo ith an appropriate external ave editor or loopslicer instead of having such rather +4F hungry features inside the ,T, itself. Keep in mind the ,T, is a synthesizer not a loop processor. ?n processing an ,.( file for this usage it is advisable to put such loops to the Percussive Pool ithin the Presets of the ,.(. This pool is predestined for percussion /its ith different instruments on dedicated /eys. This feature can be used for loops too simply in activating the loop flag on the instrument level. ?n general you%ll use /eys ithin the lo octave of a Moctave /eyboard i.e. 0?-? note numbers P!B to P6N from + to $ 2G7 *erman3. Assigning loops to /eys is done ithin the Instrument level of a ,oundfont. here an example as seen in 5ienna 2by +reative #abs3&

As this is based on playing in %+% you might as/ hether this can be changed ithout doing an additional instrument for thisU This is rather simple as you can shift simply by changing to the corresponding semitone you ant 2and maybe octave setting3 ithin the ,T,-(B. ,o you can still play the correct /ey for the bass but the loops are shifted respectively. Any ay setting up additional Instruments and Presets ithin the Percussive Pool ith different loop-to-/ey assignments using loops already present ithin the soundfont is not a big tas/. ?f you are going to ma/e heavy use of this ,ingle .inger #oop 4lay ith lots of your o n loops then it might be advisable to assemble a ne dedicated ,.( file for this being loaded into a dedicated slot. 4lease /eep in mind ho ,.( files are managed ithin the presets of this 5,Ti as stated above. Also it should be considered hether completely different loops are assigned to the /eys or if in some ay matching loops are assigned to certain /eys or /eygroups only. :ven the same loop on different /eys may ma/e sense if you ant to change the bass note hile still having the same loop played. ?n 5iena 2by Kenneth 8undt3 it is quite easy to edit root/eys in a ro and set the loop flag for each loop&

@ote on assigning specific loops to /eys reflecting hat sequence of bass-notes you ant to play. :.g. + * : .. so if you ant some /ind of %brea/type loop% on : you have to assign it in advance hile + and * might be assigned to the same loop. Thus changing the bass notes and loops ill follo the ay of your tune. This is simply a matter of preparation assigning loops corresponding to the tune you ant to play. This feature is not meant to play complex drum loops rather than light percussion or fx loops to add some of this flavour used typically in ambient type of music.

,@*@-@"ple"entation of 'ontinuous 'ontrollers /''5 for sliders - ?no:s G++P 2recognized data valid from <-'(N3 0ain 5ol -irA&$-4an #4&74-4an A&-ir $&-ir 0ix A&$ #4V 0ix A&$&74V Transit A Transit $ :nd A :nd $ 0od A 0od $ Wav Wav Wav Wav ' ( ! 6 GN G) G '< G '' G '( G '! G '6 G (< G (' G (( G (! G (6 G (M G (B G (N G () G (L G ''B G ''N G '') G ''L #4& +ut C A , :nvAmt #.90od,rc #.9Amt #4#vl 74& +ut C A , :nvAmt #.90od,rc #.9Amt 74#vl #4 .mAmnt #4 .m,rc 74 .mAmnt 74 .m,rc G N< G N' G N( G N! G N6 G NM G NB G NN G N) G )< G )' G )( G )! G )6 G )M G )B G )N G )) G NLV G L<V G )LV G L'V Amp A , 8 .lg-pth # .lg-pth 8 .lg.db/ # .lg.db/ 8 .lg-#vl .lg-0ix -ly #vl -ly.db/# -ly.db/ 8 #.9s ' ,ync ' Wav ( ,ync ( Wav ,7 ,ync ,7 Wav G 'M V G 'B V G 'N V G ') V G L( V G L! V G L6 V G LM V G '<( V G '<! V G '<6 V G '<M V G '<B V

Wave-#vl' Wave-#vl( Wave-#vl! Wave-#vl6

G '<L V G ''< V G ''' V G ''( V G ''! V G ''6 V

VGchanged & updated to ,T,-(B& <(.''.<B

Notes on adapting patches fro" STS-2; to STS-26: - loading patches of ,T,-(6 ill give a neglectible error message indicating patches loaded from prior version. - be sure the ,.( file STS-2;P1sf2 is in the subfolder of ,T,-(B4ro other ise you have to reload this manually 2this is valid only for registered users of the ,T,-(6 having updated to ,T,-(B3. - after loading a patch chec/ first hether both sliders of filter C are all the ay up - if so move the resp. slider;s do n a little and then bac/. this ill ensure the correct range of the slider in ,T,-(B. - next chec/ section balance 2A&$3 slider left in each filter section and ad>ust if needed - also chec/ #.9 modulation sources selected at both filters as #.9! and #.96 of ,T,-(6 have been replaced by the contour generators in ,T,-(B - chec/ flanger settings - these ill need some ad>ustment in most cases, esp. .langer level /nob - finally save the adapted patchesA @ote& it might occur in some cases that a patch of ,T,-(6 loaded into ,T,-(B ill cause audio to stop. Ad>ust the aforementioned settings, save patch and this ill be gone. .or those missing 1-Torsion there is a %-istorter% ave P'<' in 7*.-890'.sf( suited to substitute this to a certain extent.

Ter"s of License )gree"ent: Eou are @9T A##9W:- to sell the program or charge for the access to the free version. Eou are allo ed to distribute the free version of this program 2online or on magazine +-%s3 as long as Eou do not charge for this programA Any ay Eou are requested to send an info about such a distribution. Eou may use the program in personal and;or commercial music 2credits are elcome3. $ut Eou are not allo ed to ma/e samples 2looped or unlooped3 for commercial sampling +-s. Eou are allo ed to run the registered version of the program on different computers as long as Eou are the only person having access to and using the program. Eou are not allo ed to modify, decompile or reverse-engineer the program. This program is not copy-protected but protected by national & international 2copyright-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. Fse this program on Eour o n ris/ and Eour o n responsibility. As of accompanying ,.( 2soundfont files3 - ith registered version onlyA - Eou may use these in other applications too even modify these for personal use, but Eou are in no case allo ed to ma/e these files 2original or modified based on aves supplied ith my 5,Ti3 available to others.