STS 26 Pro Manual

8/13/2019 STS 26 Pro Manual

http://slidepdf.com/reader/full/sts-26-pro-manual 1/11

STS-26 ProNew 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 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 and someneat features inside.

The basic features areNew: - a complete ne soundset of '() aves plus (' percussive *roove-#oopsNew: - ( +ontour *enerators ith curves being dran at realtime

New: - tereo flanger ith selectable modulations for epth and eedbac/ per channelNew: - $oth filters ith ilter 0 driven by selectable osc. source eachNew: - ingle-inger /eys for perc. & 1 loops as part of the synthsound 2ith ( source osc only - see appdx.3- four digital 4+0-ave oscillators poered by '() selectable aveforms via external ( file in 4ro 5ersion- to resonant filters 2(6db #opass and '( db 7ighpass3- three A8-style envelope generators- to #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 toin 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-sourcesour digital oscillators 2in sections A-', A-( and $-!, $-63 have a set of '() selectable 4+0-aves assoundsources. :ach oscillator has a [Leel:!-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 affectedafter the transition has reached it%s #nd setting. The #nd point is determined by the resp. Tr:nd slider setting soin middle position both oscillator ill sound equally unless modulated. Transition can be sitched 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 don. ?f a mod source other than 0an2ual3 is selected no modulation starts tocontinue this morphing beteen those to oscs. ith the amount being set by Tr :nd slider.

@otesitching soundsources beteen ( and Wave 2file loading3 is available in the 4ro version only. ee appendixfor additional notes election of aves via dropdon list simply clic/ on ave name or use the up;donarros left of name.

8elease of 5+A :* is controlling %bouncing bac/% of Transition after release of /eys - thus you can control thisbehaviour to a certain extend.



%ilter section

With the T-(B each filter has a balance slider [Sec &al! to ad>ust level beteen section A and $ for input tofilters.

The signal of oscillators are routed to a (6 d$ #o4ass 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.

$oth [ ) ! [ * ! [ S ! [ + ! envelope generators let you ad>ust the ay the filter or/s on the incoming signal ith)ttac/, *ecay, Sustain and +elease providing the shape on filtering. With the [#G,od! D slider you can ad>ustthe amount of this modulation on the filter. Eou on%t need 8elease here much or this envelope at a greater extent, as the modulations by #9, +ontour *enerators and &7 provide a far more interesting motion in sound.$t. 8elease is quite +4F-hungry.

As further modulation-source #9 0od is there ith different selectable sources 2@ote %=% indicates normalmodulation 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.

@otesThe curves at contour generators can be dran ith mouse at realtime. The generators act li/e #9 ithcomplex custom dran 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 thecharacteristics of the &7 pulses #ess 2pea/s3, 0ore 2pea/s3 and Fp & n types for ascending or descendingmotion preferably at loer rates.

The $utput section /0') incl1 ,i3 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 sectionsir A and ir $. The 4an /nobs are or/ing in %opposite% mode so only to /nobs are needed here. 9ppositemode 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 ith)ttac/, *ecay, Sustain and +elease.

The stereo langer ith versatile modulations for depth and feedbac/ even seprate for each channel. @ote asthere are 6 possible mod sources involved it might occur that no flanging is noticed at all as this depends on thecurrent 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 presenthere TA 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. Alsoeedbac/ 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 2pc8ota3 providing the impression of sound rotating in stereo idth - notbouncing to and fro as ith a simple #9 modulated pan This one is more sophisticated and also synced to bpmtempo. There are to modes available hich simply change the %sequence% of sections 2output from #4, 74, irAand ir$3 moving. @ote 0a/e sure that levels are set properly at 5+A premix - if a level /nob is set to zero thisill lead to a %gap% in the %sequence% of rotation.

urther sitches and button in this screen areablue (-#oad opens the slots to load ( file for osc. ' to 6 - see appendix for detailsblue tructure buttons shos up the diagram of modules and flo audio signal

Three [Lazy7! buttons serve to change settings of different sections 9scillators, ilters and All@ote once somebody mentioined %ah, this is here you sitch to next program% H-3



.int: Fsing long release settings ill increase +4F-usage - remedy loer release at filter A8, loer releaseat A8 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 atfilters as much as possible and needed also at 5+A-premix - there is a 0ain volume /nob to loer if output is toomuch.

.int: itching beteen patches might lead to some sound artefacts by elay hen done hile sound is stillplaying. ?n order to have a clean sitching the sound of current patch should have faded to zero level beforesitching 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 ecept for patches of STS-2; which need so"e "inor ad<ust"ents and of course the resp1 soundfont present 77

See )ppendi for further details7

+redits and further infoThe 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 lesseyecatching 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@@3imitri ch/oda 2 or no sign3teve $len/insopp 2W3 http;;.tangent-music.com;Waveform;home.html0iquel 0atas 20TJ3:lvar Aron 2:lv3tanley King 2K3#oops provided by imitri ch/oda & tan #eaThis 5Ti uses further modules by avid 7aupt, Kelly . #ynch and #ance 4utnamThe %pace graphic% has been composed using parts of photos by :A 7ubble pace Telescope - ?mage Archive

5T? by 7. *. ortuneT-(B Transition ynthesizer 2to voice free ; enhanced ) voice 4ro version34roto4lasm ynthesizer 2to voice free ; enhanced ) voice 4ro3#aser$lade ynthesizer1-Wheel of ortune ??? 21-Wo !3

7omepage .hgf-synthesizer.de7. *. ortune*. 7ager

Almaeg 6LM!!6N Alfter

<(();LB6LL<'<*ermanyemail infoOhgf-synthesizer.de

Than/s to all ho have helped and do support my or/

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



#ist of 4+0-Waveforms supplied ith the T-(B

<<'.*uevercin-?.<<(.0argalit<<!.eeptring<<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<').Fltraloat<'L.orlorn<(<.ar/ness

<('.TechCuyer<((.a/eCuyer<(!.Technoidon<(6.#1-p/ltr<(M.#1tring<(B.#1At/4ad<(N.#1yn(<().#1-$rite<(L.#1-Aaahh<!<.#1-trngsoft<!'.#1-trgbrite<!(.#1-4torm

<!!.*lass$lo>ob<!6.*lasslute<!M.Asianic<!B.Jlute<!N.a/eha/u<!).#ady@ature

<!L.:thnic5oc<6<.Aaahhha<6'.#ongAhhh<6(.#ong9oouh<6!.Airy5oices<66.7orrifical<6M.7i*houls<6B.ademale<6N.5oc(yn<6).0orphomat<6L.par/letr<M<.0egatrngs<M'.tartrngs<M(.+lassictrn

<M!.inetrngs<M6.attringy<MM.Widetrngs<MB.$oed<MN.asttrngs<M).Arconicyn<ML.harptrn<B<.mearTape<B'.Fglytrngs<B(.tringelized<B!.:nsemblon<B6.WonderWorld

<BM.Wonderland<BB.implify<BN.7i4assed<B).oloid<BL.:xotAtc/<N<.7itme

<N'.WetCAtc/<N(.aysaid<N!.Wetas<N6.9mnia<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/4adoft<)B.At/Wonder<)N.0etallic<)).$el?nharm<)L.@opia<L<.8oaringB<s<L'.8oaringM<s<L(.$ishtorg<L!.g9rgantic<L6.Wood4ipes<LM.ynphony<LB.$oedtrs

<LN.7uuoouh<L).atCuyer<LL.#o1sa'<<.tab0eFp'<'.istorter'<(.at9nloor

'<!.oftAt/4ad'<6.0ircale4ad'<M.par/ly*ls'<B.@ature4ad'<N.Fgly4itch'<).Wateryfonic'<L.+lusterbell''<.pacing9ut'''.lyurprise''(.7ot0otion''!.#esbos''6.7ades#oop''M.1*ame@oiz''B.8ising7igh

''N.#ost?npace'').Ci*ong-'''L.Abstract-''(<.aurus-''('.*lassTe/7it-''((.riftnby-''(!.urprisor-''(6.$ig$ang''(M.Thunor-''(B.0ysteries-''(N.Tumbler-''().Whoop-'

?n total there are =2> new waes supplied ith the T-(B 4ro 2in free version as internally stored aves3These samples have been preprocessed in a completely different ay than before in order to enhance the qualityfor usage ithin my 5Ti.

4lus 2= percussie loops in N presets in 7*-890'.( $an/ P'() assigned to /eys from +'G0?? @ote P!B

/ey+cPdP:fP

*gP

AaP$

<<'.B*rv-x(*rooveQ<'!*rooveQ<')*rooveQ<(L*rooveQ<!<*rooveQ<!'*rooveQ<N!*rooveQ<'!

*rooveQ<')*rooveQ<(L*rooveQ<!<*rooveQ<!'*rooveQ<N!

<<(.(*rv-xB*rooveQ<!M

"""""

*rooveQ<''

"""""

<<!.6*rv-x!A*roove<B)QL<*roove<'!QL<*roove<!NQL<*rooveQ<MN*roove<B)QL<*roove<'!QL<*roove<!NQL<

*rooveQ<MN*roove<B)QL<*roove<'!QL<*roove<!NQL<*rooveQ<MN

<<6.6*rv-x!$*rooveQ<!)*rooveQ<MN*rooveQ<6L*rooveQ<!L*rooveQ<!)*rooveQ<MN*rooveQ<6L

*rooveQ<!L*rooveQ<!)*rooveQ<MN*rooveQ<6L*rooveQ<!L

<<M.6*rv-x!+*rooveQ<(L*rooveQ<BN*rooveQ<NM*rooveQ<6M*rooveQ<(L*rooveQ<BN*rooveQ<NM

*rooveQ<6M*rooveQ<(L*rooveQ<BN*rooveQ<NM*rooveQ<6M

<<B.6*rv-x!*rooveQ<')*rooveQ<(L*rooveQ<'!*rooveQ<6M*rooveQ<')*rooveQ<(L*rooveQ<'!

*rooveQ<6M*rooveQ<')*rooveQ<(L*rooveQ<'!*rooveQ<6M

<<N.!*rv-x6Asgroove-6sgroove-(4rc'<I-L<sgroove-6sgroove-(4rc'<I-L<sgroove-6

sgroove-(4rc'<I-L<sgroove-6sgroove-(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.



)ppendi on Soundfonts S%2 and wae files

General note: place all ( and avefiles you ant to use into the subdir hich has been created by the T2e.g. +somehere5Tplugins7*T-(B4ro 3 you can also have subdirs there. The 5Ti ill automaticallypoint 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 indos 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 usea 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 inmind that a selection is valid for a whole an? saved. o you can%t have more than up to different ( files ithina patch ban/.

Note on S%2-files: Although you can use basically any ( around there is one limitation the internal -4layer does support onlyone layer or a one multisample layer of an (-preset or instrument 2the bottom one as seen in 5ienna3 and thesynthfunctions of the $-hardare are not supported as a specific $ soundcard is not needed.

?n order to ma/e (-files from Eour avefiles Eou can use the freeare;donationare tool Viena by Kenneth8undt - 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 toassemble (-files and please note there is only one %n% in 5iena 2unli/e Vienna from +reative #abs3.

Notes on Loading wae filesit is possible since 5er '.6 to load avefiles 2loops supported3 directly into the T serving asoscillators;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 shon belo as example for 9sc. 63 to get the file selector

Anyay this feature is useful for testing avefiles ithin the T so you can do a quite easy selection of aves tobe gathered into an ( file later as it is more convenient to sitch beteen different aves rather than loading aave from somhere on your harddis/. Also this setting is stored und restored hen loading that ( on nextsartup again.

.@NT: When storing a patch the location of the avefiles loaded is stored as ell in order to reload these hensitching to that preset. o Eou should /eep in mind that deleting avefiles used ithin presets ill lead to anerror-message *ue to this it is "ore adisale to use single patches stored as 1fp rather than co"pletean?s stored as 1f1 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/ecare in advance. o ( files are a better solution in handling a hole bunch of samples.



The T ave file playing capability is oiously not "ade to play dru"loops3 asslines or "elodic loopsused typically by programs li/e 0agix 0usic 0a/er 2tm3. The lo octave loop play R#94S on dedicated /eys sinceT-(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 theT. ?deally aves to be played should be tuned to + 2best is +6 or +M3 in order to correspond to the 0??-/eyson 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 octae 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 anentertainer%s /eyboard by dedicated /eys. $ut in contrary to that those loops are part of the hole synthsoundlimited to a dedicated /ey hile Eou can still play chords etc. on the remaining /eys ithout those loops beingretriggered and transposed then 2this ill occur if avefiles are used for such a purpose hat is notreccommended3. Anyay it%s up to you hether you ma/e use of it or not

This is a rather open feature hich in most cases does require certain preparations in order to get the results youant to have. As this feature demands some creativity by the user this is also a chance for a user to dosomething really unique. ?t is not limited to percussion loops as even spo/en sentences 2unlooped3 or certain 1loops 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 alays better hereand 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 toomany events. ?n general simple percussion loops have to be favoured instead of four-on-the-floor beats featuringheavy /ic/drums. 0a/e sure the tempo of the loop matches to the tempo of the destination trac/. ?t%s not a toobig tas/ to adopt tempo ith an appropriate external ave editor or loopslicer instead of having such rather +4Fhungry 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 featurecan 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 additionalinstrument for thisU This is rather simple as you can shift simply by changing to the corresponding semitone youant 2and maybe octave setting3 ithin the T-(B. o you can still play the correct /ey for the bass but theloops are shifted respectively.

Anyay setting up additional Instruments and Presets ithin the Percussive Pool ith different loop-to-/eyassignments using loops already present ithin the soundfont is not a big tas/. ?f you are going to ma/e heavyuse of this ingle inger #oop 4lay ith lots of your on 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 managedithin the presets of this 5Ti as stated above.

Also it should be considered hether completely different loops are assigned to the /eys or if in some aymatching loops are assigned to certain /eys or /eygroups only. :ven the same loop on different /eys may ma/esense 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 beassigned 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 notmeant to play complex drum loops rather than light percussion or fx loops to add some of this flavour usedtypically in ambient type of music.



,@*@-@"ple"entation of 'ontinuous 'ontrollers /''5 for sliders ?nosG++P 2recognized data valid from <-'(N3

0ain 5olirA$-4an#474-4an

Air

$ir 0ix A$ #4V0ix A$74V

Transit ATransit $:nd A:nd $0od A0od $

Wav 'Wav (

Wav !Wav 6 Wave-#vl'Wave-#vl(Wave-#vl!Wave-#vl6

G NG )G '<G ''

G '(G '!G '6

G (<G ('G ((G (!G (6G (M

G (BG (N

G ()G (L

G ''BG ''NG '')G ''L

#4+utC

A

:nvAmt#90odrc#9Amt#4#vl

74+utC

A:nvAmt

#90odrc#9Amt74#vl

#4 mAmnt#4 mrc74 mAmnt74 mrc

G N<G N'G N(

G N!G N6G NMG NBG NNG N)

G )<G )'G )(G )!G )6G )M

G )BG )NG ))

G NLVG L<VG )LVG L'V

Amp A

8

lgpth #lgpth 8lgdb/ #lgdb/ 8lg-#vllg-0ixly #vllydb/#lydb/ 8

#9s

' ync' Wav( ync( Wav7 ync7 Wav

G 'M VG 'B VG 'N V

G ') V

G L( VG L! VG L6 VG LM VG '<( VG '<! VG '<6 VG '<M VG '<B V

G '<L VG ''< VG ''' VG ''( VG ''! VG ''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 otherise you have to reload this manually2this 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;sdon 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 replacedby 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 patches

@ote it might occur in some cases that a patch of T-(6 loaded into T-(B ill cause audio to stop. Ad>ust theaforementioned 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 acertain 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 alloed to distribute the free version of this program 2online or on magazine +%s3 aslong as Eou do not charge for this program Anyay Eou are requested to send an info aboutsuch a distribution.

Eou may use the program in personal and;or commercial music 2credits are elcome3. $utEou are not alloed to ma/e samples 2looped or unlooped3 for commercial sampling +s.

Eou are alloed to run the registered version of the program on different computers as longas Eou are the only person having access to and using the program.

Eou are not alloed to modify, decompile or reverse-engineer the program. This program isnot copy-protected but protected by national & international 2copyright-3 las.

+hanges & enhancements may be made ithout prior notice and a grant that further editionsill read patches from former version cannot be given.

The softare is supplied as is. Fse this program on Eour on ris/ and Eour onresponsibility.

As of accompanying ( 2soundfont files3 - ith registered version only - Eou may use thesein other applications too even modify these for personal use, but Eou are in no case alloedto ma/e these files 2original or modified based on aves supplied ith my 5Ti3 available toothers.

STS 26 Pro Manual

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Transcript of STS 26 Pro Manual