sts 33 pro manual

8/12/2019 STS 33 Pro Manual

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STS-33 ProFuture 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 plus the ne uper modulation '()control pad add a stunning*br+ne dimension and motion for an evolving sound changing completely it scharacteristics.

The basic features aree uper /odulation '() 0ontrol 1ade tep /odulatore enhanced $23 ection ith 4 $23 and 5&5e 2requency plit - lo er fequencies to midposition 6enhancing bass78 hile the freqs. above can be panned

- four digital 10/- ave oscillators po ered by !9: selectable aveforms 6in 1ro version 9;4 aveforms8- t o resonant filters 69-style envelope generators- t o output channels 62 & =8 ith $o%oost, aturate, =elay and 1an each- !" dedicated $azy buttons

The 1ro version incorporates loading of soundfonts 6 298 & avefiles 6up to 9< %it8, and comes ith a 9ndsoundset comprising a 9nd aveset of !9: ne aves plus further patchban?. The 1ro lite version is basicallythe 1ro version minus the 9nd soundset. The 9 voice free version does support only 4< patches per ban? and issupplied ith @ ban?s. The aves of the free ver. are stored internally ith no option to load different sf9 nor

ave files - please consider to purchase the 1ro or $ite version if )ou ant these features thus )ou can shosome gratitude and support my or? too, than? )ou7


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The features of the STS-33 Synthesizer in detail

The sound-sources2our digital oscillators 6in sections A-!, A-9 and %-@, %-elease of E0A F is controlling bouncing bac? of Transition after release of ?eys - thus you can control thisbehaviour to a certain extend.

Filter section

With the T -94 each filter has a balance ?nob [Sec A$%] to adCust level bet een section A and % for input tofilters.

The signal of oscillators are routed to a 9< d% $o 1ass and !9d% 5igh-1ass 2ilter both ith resonance 6G8.0utoff frequency [&ut] and >esonance ['] are adCustable for each filter separately ith the respective sliders.

%oth [ A ] [ ( ] [ S ] [ ) ] envelope generators let you adCust the ay the filter or?s on the incoming signal ithAttac?, ( ecay, S ustain and ) elease providing the shape on filtering. With the [LF"$*G] H ?nob you can mixbet een the mod amount of the F and selectable $23 source.


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ach selectable mod source can be inverted by a button s itch 6 pos ( inv 8.

+od Sources

There are 4 $23 including a dedicated 1itch mod $23 and a ample & 5old modulator. Also there is a tep/odulator - see belo .

Dt should be noted that 1itch $23, $23 !, $23 9, $23 and &5 have a ?s on(off button. Df set to 3n therespective $23 ill restart on ?eystro?e but not hen playing $egato. ote Dn conCunction ith modulation of delay the respective setting should be to off as in 3n status you might experience unavoidable clic?s 7

12$3, $23 !, $23 9 and $23 have a quite common set of aves li?e ine, Triangle, a etc. hile $23 @allo s t o more complex aves to be mixed and shaped, $23 < offers a set of rather complex aveforms.

S ample , ! old provides a random modulation signal li?e pulses at varying levels in different types and theEariation ?nobs allo s to vary the patterns of &5 to a certain extend.

The tep modulator comprises of : steps ith adCustable levels for modulation. Dt can be driven by cloc? infractions of bar related settings or hat is even more interesting the steps can be advanced by ?eystro?es -unless playing $egato. o this offers a versatile and flexible control for this feature. Also it has an Auto >eset onIeystro?e hich is useful hen driven by cloc? and playing legato but ill restart on next ?eystro?e in non legatoplay.

ote Jsing the tep equencer on 2ilter ith medium to higher G setting ill in most cases result in clic? or pop-li?e sounds - to chec? please raise G full up to see ho this behaves7 ome users ant it this ay to have someadditional rhythmic elements in sound.


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The uper /odulation '() 0ontrol pad - or >ide the Jfo

This is a E >) po erful modulation control hich partly overrides the modulations already set at thedestinations. There are four fixed destinations Trans A K ec A 5old modulation, Trans % K ec % 5oldmodulation, 51 $23 F /ix and $1 $23 F /ix plus four selectable destinations li?e 1an, $1 input A % mix etc.2or each destination you can select the source ' positive or ' inverted, ) positive or ) inverted or even set to3ff. Dn manual mode you can use the Jfo to fly around in the square. Df you choose Auto /ode )ou have t oselectable sources one for the ' axis and one for the ) axis to have this modulation done by different modsources, and the Jfo ill fly around by itself. ven )ou can set the amount of this modulation by the respective?nobs to positive or inverted amount.

electable destinationsDn 51 A % - input of 51 filter ection A % mix=ir A % = - = channel ection A % mix=ly $vl = - = channel delay level=ly 2db? = - = channel delay feedbac?

Dn $1 A % - input of $1 filter ection A % mix

=ir A % 2 - 2 channel ection A % mix=ly $vl 2 - 2 channel delay level=ly 2db? 2 - 2 channel delay feedbac?

=ly1an = - = channel delayed signal pan=ir1an = - = channel nondelayed signal pan1an = - = channel both delayed and nondelayed signal=ly/od = - 2 channel delay modulation

=ly1an 2 - 2 channel delayed signal pan=ir1an 2 - 2 channel nondelayed signal pan1an 2 - 2 channel both delayed and nondelayed signal=ly/od 2 - 2 channel delay modulation

6for 2- and =- channel see belo 3utput section8The button 5ide( ho serves to hide the Jfo at quite fast motions hich might be disturbing to the eye then.

This is really a po erful feature to modify a sound at an a esome extend ith a single Jfo ... ehh .. ?nob. As itis accessible via /D=D you might use a suitable Coystic? or touchpad 6li?e on Iorg L! synth or ovation /D=Dcontroller ?eyboards8 for external realtime control M-8

As in most cases it is not al ays useful to use all possible destinations here7 $ess is often more7 )ou got theoption to use it but that does not necessrarily imply )ou have to use in any case7


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The "utput section .&A incl/ +i01 Pan1 *G2 (elay , +ain

There is one E0A A= > F for the output - any ay there are t o output channels one fed by both 2ilter outputsith a /ix ?nob 2ilt $1 51, and one fed by the direct signals of ec A and % also ith a /ix ?nob =irect A %.o there is the 2 channel and the = channel each ith $o%oost and aturate ?nob and a dedicated =elay

section. The pan or?s in t o modes normal and put delay signal into opposite direction hich provides a good

spatial impression. The blue =elay $vl is a s itch for setting =elay 3n ( 3ff.The amount of delay is adCusted by the =elay$vl ?nob. Also there is a 0olor ?nob 60olor8 to have the delayedsignal more dar? or light. The delay itself is synced to %1/ in various fractions of note values even ith threeoptions Frv! to Frv@ hich are a bit out of note related values - this might provide a more groovy delay. Also if =elay /od ource 6above the timing selector8 is set to /an you can set an offset value related to the currentbpm-+=elay setting thus speeding up the delay more or less manually. #ote$ =elay modulation might cause 6bynature8 at certain settings some additional noise thus use it ith care. Also you might use =elay 0olor to left tofilter out higher frequencies.

Also the delay can be modulated by selectable sources hich provides some more than Cust spoo?y sounds if setappropriately. The Amount ?nob turned fully to the left K " 6zero8 modulation. Also the =ly/od rc selector canbe set to off. #"T*$ Dt should not be overused and some settings may require delicate finetuning. As ith $23s ithas to be noted these are set ?s off other ise you might experience Attac? clic?s if the respective $23 Iey ync

button is set to 3n .

2inally there is a button to s itch Amp Eelocity 3n or 3ff, and a note on the 2rq plit ( Thru Inob is neededet to 2rq pilt you can determine a frequency splitting the sound into a lo er frequency out and a higher

frequency out ith the latter one being fed to the pan and delay sections hile the lo er one is fed direct to theoutput hich enhances the bass response tremendously for certain sounds.

The $evel Attentuator selector at /ain Eolume serves to adCust the basic level setting for the output of the patch.ome patches may require a B some a - setting in order to get the best possible level. 2irst ma?e sure the $evel

at the osc section are set to appropriate 6B"8 Dt does not ma?e sense to set all osc to e.g. -N or -O hich simply isasting a lot of valuable initial level7 Jse lo ering only for having one or t o osc aves less prominent.


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2urther s itches and button

$23 $ed s itches the flashing tempo lights at the $23s on or off.

29 $oad opens the slots to load 29 file for osc. ! to < - see appendix for details1itch/od=est lets )ou select different destinations for pitch modulations - default is All but you can choose asingle oscillator or a section.

o there !" $azy buttons to offer a more detailed $azy function on dedicated sections of this synth hil the !stone $azy All affects all assigned parameters.

ote once somebody mentioned ah, this is here you s itch to next program M-8

!int$ Jsing long release settings ill increase 01J-usage - remedy lo er release at filter A= >, lo er releaseat A= > in master section and raise delay /ix$vl instead. o in most cases a release Cust belo half ay up of the slider ill be sufficient to get a fading on the sound.

!int for programming patches >aise $evels at oscillators as much as possible and needed, next, raise levels atfilters as much as possible and needed also at E0A-premix - there is a /ain volume ?nob to lo er if output is toomuch.

!int$ itching bet een patches might lead to some sound artefacts by =elay hen done hile sound is stillplaying. Dn order to have a clean s itching the sound of current patch should have faded to zero level befores itching to next patch. 3r, have delays set at the same =elay parameter value.

#ote$ 44 Patches fro other5prior STS versions can6t 7e used 8ithin the STS-33

0redits and further infoThe T -@@ ynthesizer has been created by 5. F. 2ortune ith ynthedit by Peff /c0lintoc?.

1atches ere ?indly done by

=imitri ch?oda 6= or no sign8, =r. 5einrich 5orstmann 6558, tanley Iing 6 I8, Pac? olium 6P 8 and me

This E Ti uses further modules by =avid 5aupt, Ielly =. $ynch, 1eter choffhauzer and $ance 1utnamThe pace graphic has been composed using parts of photos by A 5ubble pace Telescope - Dmage Archive

E TD by 5. F. 2ortuneT -@@ Transition ynthesizer

Anvilia ynthesizer'-Wheel of 2ortune < 6'-Wo2


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$ist of !9: aveforms supplied ith the T -@@ as 5F2->3/!.sf9 ith 1ro & 1ro lite hile stored internally infree version""!.Fuevercin-D.""9./argalit""@.=eep tring""

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$ist of !9: aveforms supplied ith the 1ro version as 9nd aveset in 5F2->3/N.sf9

""" R0plSAtc? phere""! R0plS%eauty=ream""9 R0plS%ell-1ad""@ R0plS%estAttac?""< R0plS%lac?5ole""; R0plS%o Tension""4 R0plS0horded ze""N R0plS0inematic"": R0plS0larimbo ed""O R0plS0omplexity;"!" R0plS=igi%elly"!! R0plS=igi tring"!9 R0plS n0hoiry"!@ R0plS2em%reath"!< R0plSFlass$ayer"!; R0plSFrumbling"!4 R0plS5ard=igi"!N R0plS5eavy tro?"!: R0plS5ylix"!O R0plS$ite tar"9" R0plS/ysticon"9! R0plS3uter1ad"99 R0plS lo /agic"9@ R0plS oftDce"9< R0plS oftpudding"9; R0plS pace%irds"94 R0plS pace5ol/ix A % $1

F $23Amt$o%oost 2

atur 2

510utG

A=

>/ix A % 51

F $23Amt$o%oost =

atur =

$evel 2$evel =

K N"K N!K N9K N@K N

3ut(=elay$1 51=ly $vl 2=ly2db?20olor 2/od

A %=ly $vl ==ly2db?=0olor =/od

tep/odltr tep !tep 9tep @tep

sts 33 pro manual

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