STS 24Pro Manual

8/12/2019 STS 24Pro Manual

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STS-24 ProAdvanced 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 soprogramming this synthesizer is incredibly easy. The Transition method adds a stunning ne dimension andmotion 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 beteen the oscillators.

The basic features areNew:!' ne internal aves added(our digital )*+-ave oscillators poered by selectable aveforms/-Torsion function for oscillatorsto resonant filters 01db #opass and db 2ighpass3three A456-style envelope generatorsto #(7 0bpm-synced3one #(7 ith shapeable and even patternli8e aveforms 0bpm-synced3

one 5ample & 2old 0bpm-synced3New:#(7 1 ith more than 1' patternli8e aveformsNew:5tereo delay no ith *ross delay optionNew:5tereo flanger ith very flexible modulations and resonant #)(ilterNew:5pace rotation for sound rotating in stereo idthNew:$oth filters ith (ilter (+ driven by to osc. sources eachNew:ext. Audio 9nput sitchable for 7sc. A-

The )ro version incorporates loading of :ser 5oundfonts & avefiles 0up to 1 $it3, more voices instead of to infree version. The free version is supplied ith ; patches - the )ro version comes ith !;1 patches.


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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 assoundsources.


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#ilter section

With the 5T5-1 each filter has a premix to ad?ust levels from each oscillator section 0A and $3 plus extra 8nobfor /-Torsion through filters.

The signal of digital oscillators can be routed to a 1 d$ #o)ass and=or d$ 2igh-)ass (ilter both ithresonance 0E3. *utoff frequency [$ut! and 6esonance [%! are ad?ustable for each filter separately ith therespective sliders.

$oth [ A ! [ & ! [ S ! [ ' !envelope generators let you ad?ust the ay the filter or8s on the incoming signal ithAttac8, &ecay, Sustain and 'elease providing the shape on filtering. With the ["nvA(t!F slider you can ad?ustthe amount of this modulation on the filter. Cou on%t need 6elease here much or this envelope at all, as themodulations 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 8nob3and a 5ample & 2old generator synced to host-cloc8 0see #(7 section belo3. The [#)*od!buttons activatesthe modulation-source to the respective destinations ith an ad?ustable amount from the [#)A(t!8nobs. 0> isnormal modulation hile %-% 0minus3 is inverted modulation.3

Also both filter support (ilter-(+ by to 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 andflanger 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 acontinous = forseeable modulation from a selected ave of the #). With the [Seed-Src!button you can changethe characteristics of the 5&2 pulses #ess 0pea8s3, +ore 0pea8s3 and :p & 4n types for ascending ordescending motion preferably at loer rates.


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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 sectionsA and $. The )an 8nobs are or8ing in %opposite% mode so only to 8nobs ere needed here. 7pposite mode ise.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 ithAttac8, &ecay, Sustain and 'elease.

@e to 5T5-1 is the stereo (langer ith highly versatile modulations and options to invert modulations beteenchannels. 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 andrigth seperately. Also (eedbac8 amount is ad?ustable separately for left and right. :se 4ly#vl to ad?ust theamount of delay to output.

6eally amazing is 5pace 6otation 05pc6ota3 providing the impression of sound rotating in stereo idth - notbouncing to and fro as ith a simple #(7 modulated pan This one is more sophisticated and also synced to bpmtempo. There are to modes available hich simply change the %sequence% of sections 0output from #), 2), 4irAand 4ir$3 moving. @ote +a8e sure that levels are set properly at B*A premix - if a level 8nob is set to zero thisill lead to a %gap% in the %sequence% of rotation.

Three [azy1!buttons serve to change settings of different sections. #eft 7scillatorsG middle (iltersG right allsections.

Note:Although output level ill hardly exceed 'd$ it might occur under certain conditions that you experienceinternal clipping indicated by the to #


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,int: :sing long release settings ill increase *):-usage - remedy loer release at filter A456, loer releaseat A456 in master section and raise delay +ix#vl instead. 5o in most cases a release ?ust belo half ay up ofthe 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 atfilters as much as possible and needed also at B*A-premix - there is a +ain volume 8nob to loer if output is toomuch.

,int: 5itching beteen patches might lead to some sound artefacts by 4elay hen done hile sound is stillplaying. 9n order to have a clean sitching the sound of current patch should have faded to zero level beforesitching to next patch.

Note: Patches fro( other3prior STS versions cant 5e used within the STS-24

*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 6inter0$rno, *zech 6epublic3 for doing the D:9 Draphics I .artvera-music.com J

)atches ere 8indly done byBera Kinter 0BK3

Annabelle 0A@@34imitri 5ch8oda 045 or no sign3)hil Darrison 0)D3 I .complexlogicrecordings.com J

This B5Ti uses further modules by 4avid 2aupt and #ance )utnam

B5T9 by 2. D. (ortune5T5-1 Transition 5ynthesizer 0to voice free = enhanced voice )ro version3)roto)lasm 5ynthesizer 0to voice free = enhanced ; voice )ro3#aser$lade 5ynthesizer/-Wheel of (ortune 99 )ro/-Wheel of (ortune 99 0(reeare3/-Wheel of (ortune )ro

2omepage .hgf-synthesizer.de2. D. (ortuneD. 2ager

Almaeg 1LM!!1 Alfter';=LN1LL''Dermanyemail infoOhgf-synthesizer.de

Than8s to all ho have helped and do support my or8

Note:The free version is fully functional but some features are only ithin the voice registered )ro versionloading of av-files, loading of :ser 5(, ext. 9nput 0for using 5T5-1 as B5T (/3, all three #azy buttons active,and more patches


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#ist of internal )*+-Waveforms

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''.+etal5ync'';.NT-5lo5ub''L.NT-(att''.NT-2orned'.EE2-Waving'.4igitalP/'!.AuraWave'1.+inAtmo'M./tra7rchst'N.5ymphonic'.7rc5trings';.$reathBoc'L.2allBox''.TubeBox

'.Box7ouh'.#oBox'!.Dregor-7h 0Qsplit of sounds3'1.(a8eBox'M.Tube$ell'N.$ell)ad'.$ellWave';.+ovin$ell'L.4rop4on'!'.$ong$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'.K5-7rch

'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/


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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 5T50e.g. *SsomehereSB5TpluginsS2D(S5T5-xxS 3 you can also have subdirs there. The B5Ti ill automaticallypoint 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 to limitations the internal 5(-)layer does supportonly one layer from an 5(-preset or instrument 0the bottom one as seen in Bienna3 and the synthfunctions ofthe 5$-hardare are not supported as a specific 5$ 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 beused in all patches osc. settings sitched to 5( - hile set to internal the internal aves remain valid. (or eachosc. you can use a different soundfont being valid for all patches of course. 5aving the ban8file ill 8eep theresp. 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 freeare tool Viena by Kenneth 6undt -http==.saunalahti.fi=8ruLL=index.htmBiena does not require a *reative 5oundblaster #ive or Audigy *ard to assemble 5(-files and please notethere is only one %n% in Biena 0unli8e Viennafrom *reative #abs3

As a freeare Wave-


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The 5T5 ave file capability is o5viously not (ade to play dru(loops/ 5asslines or (elodic loopsusedtypically by programs li8e +agix +usic +a8er 0tm3 although there might be a fe 0better very fe3 exceptions asalays are.

$est results ill be hen using looped instrumentsamples, (/-sounds or samples ali8e those used ithin the5T5. 9deally aves to be played should be tuned to * 0best is *1 or *M3 in order to correspond to the +949-8eyson 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 + =no5sQ** 0recognized data valid from '-3

+ain Bol4irA$-)an#)2)-)an

A4ir$4ir

A#)$#)

A2)

$2)/#)/2)/-Torsion

Transit ATransit $


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STS 24Pro Manual

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