STS-33 Pro

Future 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 plus the ne &uper modulation '() control pad add a stunning*br+ne dimension and motion for an evolving sound changing completely it,s characteristics. The basic features are.e - &uper /odulation '() 0ontrol 1ad .e - &tep /odulator .e - enhanced $23 &ection ith 4 $23 and &5&5 .e - 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<db $o pass and !9 db 5ighpass8 - three A=&>-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 9nd soundset comprising a 9nd aveset of !9: ne aves plus further patchban?. The 1ro lite version is basically the 1ro version minus the 9nd soundset. The 9 voice free version does support only 4< patches per ban? and is supplied 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 sho some gratitude and support my or? too, than? )ou7

The features of the STS-33 Synthesizer in detail

The sound-sources 2our digital oscillators 6in sections- A-!, A-9 and %-@, %-<8 have a set of !9: selectable 10/- aves as soundsources. Aach oscillator has a [Level Attentuator]-selector and can be set to -9(-!("(B!(B9 octaves and shifted up by !! semitones. The outstanding feature of this synthesizer is the adCustable transition from one ave to the next via the [Ti e] sliders and ith adCustable [!old]point plus modulation on this for each section. /odulation is affected after the transition has reached it,s !old setting. The !old point is determined by the resp. !old slider setting so in middle position both oscillator ill sound equally unless modulated. Transition can be s itched on(off by the button ["#] .

Dn other ords- Transition ,morphs, from 3sc ! to 3sc 9 6e.g. here &ection A8 ith adCustable Time then falls bac? to 3sc.! if 5old slider is do n. Df a mod source other than /an6ual8 is selected no modulation starts to continue this morphing be teen those t o oscs. ith the amount being set by 5old slider. .otes& itching soundsources bet een &29 and Wave 6file loading8 is available in the 1ro and 1ro lite versions only. &ee appendix for additional notes7 &election of &2 aves via dropdo n list simply clic? on ave name or use the up(do n arro s left of name. >elease of E0A AF is controlling ,bouncing bac?, of Transition after release of ?eys - thus you can control this behaviour 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 to filters. The signal of oscillators are routed to a 9< d% $o 1ass and !9d% 5igh-1ass 2ilter both ith resonance 6G8. 0utoff frequency [&ut] and >esonance ['] are adCustable for each filter separately ith the respective sliders. %oth [ A ] [ ( ] [ S ] [ ) ] envelope generators let you adCust the ay the filter or?s on the incoming signal ith Attac?, (ecay, Sustain and )elease providing the shape on filtering. With the [LF"$*G] H ?nob you can mix bet een the mod amount of the AF and selectable $23 source.

Aach 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, the respective $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. Sample , !old provides a random modulation signal li?e pulses at varying levels in different types and the Eariation ?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? in fractions 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 on Ieystro?e hich is useful hen driven by cloc? and playing legato but ill restart on next ?eystro?e in non legato play.

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

The &uper /odulation '() 0ontrol pad - or- ,>ide the Jfo,
This is a EA>) po erful modulation control hich partly overrides the modulations already set at the destinations. There are four fixed destinations Trans A K &ec A 5old modulation, Trans % K &ec % 5old modulation, 51 $23-AF /ix and $1 $23-AF /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 to 3ff. Dn manual mode you can use the Jfo to fly around in the square. Df you choose Auto /ode )ou have t o selectable sources one for the ' axis and one for the ) axis to have this modulation done by different mod sources, and the Jfo ill fly around by itself. Aven )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 pan 1an = - = 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 pan 1an 2 - 2 channel both delayed and nondelayed signal =ly/od 2 - 2 channel delay modulation 6for 2- and =- channel see belo 3utput section8 The 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 it is accessible via /D=D you might use a suitable Coystic? or touchpad 6li?e on Iorg L! synth or .ovation /D=D controller ?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 the option to use it but that does not necessrarily imply )ou have to use in any case7

The "utput section -.&A incl/ +i01 Pan1 *G2 (elay , +ain3

There is one E0A A=&> AF for the output - any ay there are t o output channels one fed by both 2ilter outputs ith 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 delayed signal more dar? or light. The delay itself is synced to %1/ in various fractions of note values even ith three options 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 current bpm-+=elay setting thus speeding up the delay more or less manually. #ote$ =elay modulation might cause 6by nature8 at certain settings some additional noise thus use it ith care. Also you might use =elay 0olor to left to filter out higher frequencies. Also the delay can be modulated by selectable sources hich provides some more than Cust spoo?y sounds if set appropriately. The Amount ?nob turned fully to the left K " 6zero8 modulation. Also the =ly/od&rc selector can be set to off. #"T*$ Dt should not be overused and some settings may require delicate finetuning. As ith $23s it has 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 needed&et 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 the output 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 is asting a lot of valuable initial level7 Jse lo ering only for having one or t o osc aves less prominent.

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 details 1itch/od=est lets )ou select different destinations for pitch modulations - default is ,All, but you can choose a single oscillator or a section. .o there !" $azy buttons to offer a more detailed $azy function on dedicated sections of this synth hil the !st one $azy All affects all assigned parameters. .ote- once somebody mentioned ,ah, this is here you s itch to next program, M-8 !int$ Jsing long release settings ill increase 01J-usage - remedy- lo er release at filter A=&>, lo er release at 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 $evels at oscillators as much as possible and needed, next, raise levels at filters as much as possible and needed also at E0A-premix - there is a /ain volume ?nob to lo er if output is too much. !int$ & itching bet een patches might lead to some sound artefacts by =elay hen done hile sound is still playing. Dn order to have a clean s itching the sound of current patch should have faded to zero level before s 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 info The &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 1utnam The ,&pace graphic, has been composed using parts of photos by A&A 5ubble &pace Telescope - Dmage Archive E&TD by 5. F. 2ortune&T&-@@ Transition &ynthesizer Anvilia &ynthesizer '-Wheel of 2ortune < 6'-Wo2 <8 5omepage.hgf-synthesizer.de 5. F. 2ortune F. 5ager Alma eg <O ;@@<N Alfter "99:(O4<OO"!" Fermany email- fortuneQflomo-art.de Than?s to all ho have helped and do support my or?7

#ote$ The free version is fully functional but some features are available only in the : voice registered 1ro versions.

$ist of !9: aveforms supplied ith the &T&-@@ as 5F2->3/!.sf9 ith 1ro & 1ro lite hile stored internally in free version ""!.Fuevercin-D. "@@.Flass%loCob "4;.Wonderland "ON.5uuoouh ""9./argalit "@<.Flass2lute "44.&implify "O:.2atGuyer ""@.=eep&tring "@;.Asianic "4N.5i1assed "OO.$o 'sa ""<.1entagram "@4.L2lute "4:.&oloid !"".&tab/eJp "";..Tropic "@N.2a?e&ha?u "4O.AxotAtc? !"!.=istorter ""4.0rystallite "@:.$ady.ature "N".5itme !"9.2at3n2loor ""N.Tadu?iEision "@O.AthnicEoc "N!.WetGAtc? !"@.&oftAt?1ad "":.Aphrodisia "<".Aaahhha "N9.&a ysaid !"<./ircale1ad ""O.5ugeArc "<!.$ongAhhh "N@.Wet&a s !";.&par?lyFls "!".&pheroidia "<9.$ong3oouh "N<.3mni&a !"4..ature1ad "!!.5aunted "<@.AiryEoices "N;.&axorguitar !"N.Jgly1itch "!9./il?yWay "<<.5orrifical "N4.$ightWay !":.Wateryfonic "!@.Whereisit "<;.5iFhouls "NN.&pit%ras !"O.0lusterbell "!<.%ello1ad "<4.&ad2emale "N:.&harp%ras !!".&pacing3ut "!;.&he "<N.Eoc9&yn "NO.%rasselle !!!.=ly&urprise "!4.0ourteousy "<:./orphomat ":".$ite%ras !!9.5ot/otion "!N.$una5olmes "<O.&par?le&tr ":!.At?%rassy !!@.$esbos "!:.Jltra2loat ";"./ega&trngs ":9.Atc?1ad !!<.5ades$oop "!O.2orlorn ";!.&tar&trngs ":@.At?1ad-L !!;.2'Fame.oiz "9".=ar?ness ";9.0lassic&trn ":<.>hoAt?1ad !!4.>ising5igh "9!.TechGuyer ";@.2ine&trngs ":;.At?1ad&oft !!N.$ostDn&pace "99.2a?eGuyer ";<.2at&tringy ":4.At?Wonder !!:.GiFong-!& "9@.Technoidon ";;.Wide&trngs ":N./etallic !!O.Abstract-!& "9<.2$'-&p?l&tr ";4.%o ed "::.%elDnharm !9".&aurus-!& "9;.2$'tring ";N.2ast&trngs ":O..opia !9!.FlassTe?5it-!& "94.2$'At?1ad ";:.Arconic&yn "O".>oaring4"s !99.=riftnby-!& "9N.2$'&yn9 ";O.&harp&trn "O!.>oaring;"s !9@.&urprisor-!& "9:.2$'-%rite "4".&mearTape "O9.%ishtorg !9<.%ig%ang!& "9O.2$'-Aaahh "4!.Jgly&trngs "O@.g3rgantic !9;.Thunor-!& "@".2$'-&trngsoft "49.&tringelized "O<.Wood1ipes !94./ysteries-!& "@!.2$'-&trgbrite "4@.Ansemblon "O;.&ynphony !9N.Tumbler-!& "@9.2$'-1&torm "4<.WonderWorld "O4.%o ed&trs !9:.Whoop7-!&

$ist of !9: aveforms supplied ith the 1ro version as 9nd aveset in 5F2->3/N.sf9 """ R0plSAtc?&phere ""! R0plS%eauty=ream ""9 R0plS%ell-1ad ""@ R0plS%estAttac? ""< R0plS%lac?5ole ""; R0plS%o Tension ""4 R0plS0horded.ze ""N R0plS0inematic "": R0plS0larimbo ed ""O R0plS0omplexity; "!" R0plS=igi%elly "!! R0plS=igi&tring "!9 R0plSAn0hoiry "!@ R0plS2em%reath "!< R0plSFlass$ayer "!; R0plSFrumbling "!4 R0plS5ard=igi "!N R0plS5eavy&tro? "!: R0plS5ylix "!O R0plS$ite&tar "9" R0plS/ysticon "9! R0plS3uter1ad "99 R0plS&lo /agic "9@ R0plS&oftDce "9< R0plS&oftpudding "9; R0plS&pace%irds "94 R0plS&pace5ol< "9N R0plS&pacePun? "9: R0plS&paceWhirl "9O R0plS&tarAmbi "@" R0plSTubeLone "@! R0plSJnderneath "@9 R0plSJnder1ad "@@ R0plSEertex "@< R0plSWide=igi "@; R2'SAthmo$oop "@4 R2'S%ubble3ut "@N R2'S=irty&ync "@: R2'S2ar3ut "@O R2'S2lash%ell-4T "<" R2'SFhost>ide "<! R2'SFliss5arp "<9 R2'SPun?&pace "<@ R2'S$ong$ong "<< R2'S>eso%ubble "<; R2'S>itmo$oop "<4 R2'S&par?leEox "<N R2'S&ub$o 5i "<: R2'S&ub&cape "<O R2'SJncloc?ed ";" R2'SE'-&pacing ";! R3rcSAirEoice ";9 R3rcSAngelics ";@ R3rcSArtEox ";< R3rcSAsia%lo n ";; R3rcSAsia0hime$p ";4 R3rcS%o ed ";N R3rcSAnsemble ";: R3rcS2anfare ";O R3rcS2ran?enhorn "4" R3rcS2ran?5orn "4! R3rcS2ran?5orn9 "49 R3rcS2ull&tac?ed "4@ R3rcS5ammondion "4< R3rcS5am,n,Agg "4; R3rcS/on?s "44 R3rcS3rganic "4N R3rcS>ealEiolins "4: R3rcS&ha?u "4O R3rcSTubularWv "N" R3rcSEox&trings "N! R&ynSAt?3pn%rass "N9 R&ynSAt?&ine "N@ R&ynS%endDn3h4T "N< R&ynS%reit "N; R&ynS%rite4T "N4 R&ynS%rite=igi "NN R&ynS=igisyn=ar? "N: R&ynS=igisyn$ite "NO R&ynSFoom&E ":" R&ynS5vy&ync2L ":! R&ynS5ybrid%ras ":9 R&ynS$ite&ync2L ":@ R&ynS$uc?yAddie ":< R&ynS/ed&ync2L ":; R&ynS3penPa s ":4 R&ynS3scar&ync2L ":N R&ynS1ropheticE ":: R&ynS1rophet&a s ":O R&ynS1W/-4T "O" R&ynS&imple&ine "O! R&ynS&oft=igi%ell "O9 R&ynS&oftPa s "O@ R&ynS&qua &a "O< R&ynS&trAnna4T "O; R&ynS&ynWoodW "O4 R&ynSEoices "ON R&ynSWarmAnalog "O: Rx2'SAlien$ife "OO Rx2'SAlien1lanet !"" Rx2'SAlienTal? !"! Rx2'S%ellstrum2L !"9 Rx2'S0haoticon4T !"@ Rx2'S0hicadas !"< Rx2'S=ustdevil4T !"; Rx2'SAlec&par?s !"4 Rx2'S2anta%ars !"N Rx2'S2anta%-rev !": Rx2'SFliss-rev !"O Rx2'S5arpFliss-rev !!" Rx2'S5opping4T !!! Rx2'S$unatic$oop !!9 Rx2'S.oise$oop !!@ Rx2'S1lanetWave !!< Rx2'S&itar-rev !!; Rx2'S&poo?ie7 !!4 Rx2'STympani>l!& !!N Rx2'SE'-&torm !!: Rx2'SWeird$oop !!O Rx2'SWeird$p-rev !9" Rz2'S%ach !9! Rz2'S>ainy=ay !99 Rz2'S&ea&ide !9@ Rz2'S&tormWind !9< Rz2'SThunderArt!& !9; Rz2'SEoegelei !94 Rz2'SWater-%irds !9N Rz2'SWater&tream

Appendi0 on Soundfonts SF9 and 8ave files General note$ place all &29 and avefiles you ant to use into the subdir hich has been created by the &T& 6e.g. 0-Tsome hereTE&TpluginsT5F2T&T&-941roT 8 you can also have subdirs there. The E&Ti ill automatically point to this &T& subdir so it is more convenient to load files from there. To load an &29 file simply press the &29 $oad button 6top blue one right on image8 this ill open the four slots for the resp. oscillators. 1ressing $oad of a slot ill open a typical indo s file selector to navigate and select a file. Also 7an:s 8ithin an SF9 file can 7e s8itched here/ .ote- As this is not accessible in free version simply use a patch using this ban? to access this ban?. &aving a patch or patchban? ith different &29 loaded ill be memorized for later usage. %ut please ?eep in mind that a selection is valid for a 8hole 7an: saved. &o you can,t have more than up to different &29 files ithin a patch ban?. #ote on SF9-files$ Although you can use basically any &29 around there is one limitation- the internal &2-1layer does support only one layer or a one multisample layer of an &29-preset or instrument 6the bottom one as seen in Eienna8 and the synthfunctions of the &%-hard are are not supported as a specific &% soundcard is not needed. Dn order to ma?e &29-files from )our avefiles )ou can use the free are(donation are tool Viena by Ienneth >undt - http-(( .saunalahti.fi(?ruOO(index.htm

As a maCor advantage .iena does not require the presence of a 0reative &oundblaster $ive or Audigy card to assemble &29-files and please note there is only one ,n, in Eiena 6unli?e Vienna from 0reative $abs8. #otes on Loading 8ave files it is possible since Eer !.< to load avefiles 6loops supported8 directly into the &T& serving as oscillators(soundsource. from E9.! avefiles up to 9< %it are supported.

To load a ave file first clic? on the &ource button then clic? on icon appearing 6as sho n belo as example for 3sc. <8 to get the file selectorAny 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 &29 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 &29 on next sartup again. !;#T$ 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 )ou should ?eep in mind that deleting avefiles used ithin presets ill lead to an error-message7 (ue to this it is ore advisa7le to use single patches stored as /f0p rather than co plete 7an:s stored as /f07/ Worst case might be hen loading a complete ban?file 6.fxb8 ith stored information of files no deleted ill lead to a hole bunch of errormessages. .o )ou ?no about it so it is up to )ou to ta?e care in advance. &o &29 files are a better solution in handling a hole bunch of samples. The &T& ave file playing capability is o7viously not ade to play dru loops1 7asslines or used typically by programs li?e /agix /usic /a?er 6tm8. elodic loops

+;(;-; ple entation of +;(; && for sliders , :no7s 6recognized data valid from "-!9N8 /ain Eol =-1an 2-1an '3ver =etune !-9 =etune @-< '-Axis )-Axis '-/od )-/od 3scillators 6&ec A &%8 Transit A 5old A /od A Transit % 5old % /od % Wav Wav Wav Wav &el ! &el 9 &el @ &el < KN K: K !" K !! K !9 K !@ K !< K !; K !4 K !N K !: K !O $10ut G A = & > /ix A-% $1 AF-$23Amt $o%oost 2 &atur 2 510ut G A = & > /ix A-%-51 AF-$23Amt $o%oost = &atur = $evel 2 $evel = K N" K N! K N9 K N@ K N< K N; K N4 K NN K N: K NO K :" K :! K :9 K :@ K :< K :; K :4 K :N K :: K :O K O" K O!

Amp A = & > 3ut(=elay $1-51 =ly $vl 2 =ly2db?2 0olor 2 /od A-% =ly $vl = =ly2db?= 0olor = /od &tep/odltr &tep ! &tep 9 &tep @ &tep < &tep ; &tep 4 &tep N &tep :

K O9 K O@ K O< K O; K !"9 K !"@ K !"< K !"; K !"4 K !"N K !": K !"O K !!" K !!! K !!9 K !!@ K !!< K !!; K !!4 K !!N K !!: K !!O

K 9" K 9! K 99 K 9@ K 9< K 9; K 94 K 9N K 9: K 9O K @" K @! K @9

$23@ &hape $23< >ate &&5 Ear

+;(;-; ple entation of &ontinuous &ontrollers -&&3 for selector s8itches using #)P# &ec A$13ut ( =elayWave-$vlAtt! K! &ecA% /od &rc K @" =ly 2 %pm 3ct. ! K9 dto /ode K @! dto. /od &rc &emitone ! K@ $23/od&rc K @9 1anmode 2 /ute ! K< dto /ode K @@ =ly = %pm Wave-$vlAtt9 K; 51dto. /od &rc 3ct. 9 K4 &ecA% /od &rc K @< 1anmode = &emitone 9 KN dto /ode K @; 3ut $vl Att /ute 9 K: $23/od&rc K @4 Eel 3n(3ff Trs 3n(3ff KO dto /ode K @N $23Trs/od&rc K !" 1$fo bpm /od /ode K !! ') &uper/od1$fo Wave &ec %Trs A /od =est K <" 1$fo Isync Wave-$vlAtt@ K !9 Trs % /od =est K <! $fo! bpm 3ct. @ K !@ /od =est @ K <9 $fo! Wave &emitone @ K !< /od =est @ &rc K <@ $fo! Isync /ute @ K !; /od =est < K << $fo9 bpm Wave-$vlAtt< K !4 /od =est < &rc K <; $fo9 Wave 3ct. < K !N 51 A-$ =est K <4 $fo9 Isync &emitone < K !: $1 A-$ =est K <N $fo@ bpm /ute < K !O /od =est N K <: $fo@ Wave! Trs 3n(3ff K 9" /od =est N &rc K <O $fo@ Wave9 Trs/od&rc K 9! /od =est : K ;" $fo< Wave /od /ode K 99 /od =est : &rc K ;! &$fo bpm Eibrato=est K 9@ &$fo Wave Auto /od 3n(3ff K ;; &$fo Isync &tep/odltr'-Axis &rc K ;4 &&5 bpm &tep /ode K 9; )-Axis &rc K ;N &&5 Wave >eset K 94 0enter 3n(3ff K ;: &&5 Isync Tempo &elect K 9N

K 4" K 4! K 49 K 4@ K 4< K 4; K 44 K 4N K N" K N! K N9 K N@ K N< K N; K N4 K NN K N: K NO K :" K :! K :9 K :@ K :< K :; K :4 K :N K ::

This is the easter egg inside - find it 2-3

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