MONOPHONIC VIRTUAL SYNTHESIZER

Transcription

1 MONOPHONIC VIRTUAL SYNTHESIZER

2 MANX MM-2 VERSION

3 1 Contents Contents Getting Started Introduction...3 Installation...4 Adjusting Parameters...4 Programming the MM-2 Oscillators...6 Mixer...7 Filter...8 Envelope...10 Modulation...13 MM-2 Control panel Programmer, Master Volume...16 Bend Range, Glide, Master-tune...17 Continuous Control & Midi Learn...18 Zoom out...18 Appendices Appendix One: Audio Filters...20 Appendix Two: Troubleshooting...24 Appendix Three: User Information...25 User Guide last updated:

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5 3 Getting Started 2 Please note that if you are new to synthesis, parts of this user guide may appear to be a bit heavy. Don t worry, once you start turning knobs and flicking switches on the MM-2, it will all start to make sense. Introduction Congratulations on acquiring the Manx MM-2 synthesizer. The MM+ monosynth is inspired by a classic vintage synthesizer which has enjoyed massive popularity for over 40 years. The architecture of this instrument, though fairly straight forward, deviates from the classic 2 oscillator with PWM monosynth configuration which subsequently became popular; the oscillators are simple but have an unusually large range of basic wave-shapes to choose from. Furthermore, there are three of them; The third oscillator can serve as a low frequency oscillator, controlling the pitches of the other two, if required. Stacking up three oscillators can produce a lovely, rich eerie sound and when combined with super-snappy envelopes, a wide palette of high quality sounds become available - available to those lucky enough to own a vintage classic monosynth, and now, thanks to Manx, anybody with a laptop PC! Manx Synthesizers originally started out as a vehicle to test out novel oscillator designs, whilst looking into the possibility of providing digital oscillators with more grunt. These designs share much DNA with what lies under the hood of Manx instruments today. However, we subsequently shifted our attention onto the filter and envelope sections. Building on the original Manx MM+, The MM-2 features totally redesigned the envelope and filter sections and the patch library has been completely updated to accommodate the instrument s new dynamics. For patches which feature an open filter and bland envelope settings, the MM-2 does sound similar to its predecessor,the original Manx MM+. However, patches with significant filtering and bold EG settings are probably the most commonly used synth sounds out there; and these are a kind of sounds for which the MM-2 can now be of significant value. General features Monophonic Midi Learn for all parameters; Patch memory system with full library. Sample & Hold, Ring Modulation, Osc sync, audio frequency LFO, and more... (The MM-2 has no on-board effects - its output is mono. It is designed to be used with external effects such as reverb and the output can sound rather dry and one-dimensional without external effects.)

6 4 Getting Started Installation Please extract the contents of your downloaded RAR file to your VST plugins folder. If you are installing the demo version of the MM-2, please copy both the dll file and the folder into your VSTplugins folder: If this folder is absent when the MM-2 is launched, the instrument will attempt to create one automatically, but this may be undermined by Windows security systems. If you have already installed the demonstration version and are upgrading to the retail version (recommended), the computer will ask if you want to overwrite an existing file (since the demo and retail versions have the same file name). Click Yes.When upgrading from the demo version you don t need to copy the MM-2 folder since it contains the same stuff. (Note: if for some reason you can t open the RAR file, please let us know and we can send the dll & folder to you directly, via .) Patch data saving Please note that when you save a patch into the MM-2 s internal patch memory system, all variables are saved, including the test tone setting and master tune controls. Adjusting parameters For continuous parameters, click and drag the respective knob. For switches, click once for on and once for off. IMPORTANT! You can achieve very fine adjustments for the knobs by clicking on the knob and dragging the cursor away from the knob horizontally for a good distance before adjusting the knob by moving vertically.

7 Trigger Oscillator 1 Oscillator 2 Audio Path Key Track Filter Pitch Bend Auxiliary (Vibrato) LFO Pitch Noise Mixer Envelope Filter (VCF) Amp Envelope Amp (VCA) Oscillator 3 key track Noise / Osc 3 Mixer Modulation MM-2 SIGNAL FLOW DIAGRAM

8 6 Programming - VCOs Meet the MM-2 s oscillators For each note on a piano keyboard, a piano usually has more than string which is struck by the hammer. This is partly to increase the loudness of the note, but the configuration also significantly improves the tonal quality of the note; assuming that the strings are almost in tune, but not quite. Instead of strings, the MM-2 sounds come from electronic oscillators; the MM-2 has three of them. Just like in the case of the piano, detuning the oscillators slightly will produce a warm, rich sound The Oscillator bank, located to the left of the MM-2 front panel, features a stack of 3 oscillators. The latter two have course and fine pitch controls WAVE SHAPE (1) The MM-2 oscillators are of a fairly straight forward type; pitch and wave-shape are the only attributes which can be controlled. Use the wave-shape selector knobs (1) to select wave-shapes for the three oscillators respectively. The following wave-shapes are available: Osc 1: Triangle, Tri-Saw, Saw, Square, Pulse, Narrow Pulse Osc 2: Triangle, Tri-Saw, Saw, Square, Pulse, Narrow Pulse Osc 3: Triangle, Reverse-Saw, Saw, Square, Pulse, Narrow Pulse OSCILLATOR PITCH CONTROLS (2) (3,4,5,6) The pitch of the MM-2 oscillators will be determined by a number of factors - key position on the keyboard, pitch bend range & modulation, and controls which reside directly in the oscillator panel. All oscillators have knobs to select octave range (2). When set to LO, frequencies will be sub-audible. In addition, oscillators 2 & 3 have course and fine variable pitch sliders (3 & 4) so you can detune the oscillators to your liking. Course Fine Course Fine Master Tune controls located at the top left of the instrument will have an profound effect on oscillator pitch.

9 7 Programming - Mixer The MM-2 s Mixer You can mix the output of the three oscillators together using the three large knobs at the left of the mixer section (1). You can quickly punch input sources in/out using the bank of switches in the mixer section (2) The Mixer section receives input from 4 sources; oscillators one to three and noise Please note that the external input source (3) is not currently implemented (at the time of writing). NOISE: The MM-2 also has a noise source - rather like the sound of an analog radio which has been left out of tune, this is an important facility for creating percussion sounds. Use parameter labelled (4) in the image above to control noise volume. Noise comes in two flavours; white noise & pink noise (rougher sounding). Use the switch (5) to choose between them.

10 8 Programming - Filter Meet the MM-2 s Filter The Filter is located toward the right of the MM-2 front panel Under the hood, there is quite a lot going on with the MM-2 s filter. However, from a user s perspective, the filter functions like any other straight forward low pass filter. If you are already familiar with synthesis, you won t need to spend a long time reading this section. If you are not already familiar with synthesis, We have provided a brief introduction to the subject of filtering in Appendix #1 - you should read that first. The MM-2 filter has its own dedicated ADSR type envelope generator. CONTROLS CUT-OFF FREQUENCY (1) RESONANCE (2) Emphasis Please refer to appendix #1 for details of cut-off frequency and resonance.. - sets the cut-off frequency of the filter. - sets the resonance of the filter. CAUTION: Turning up the resonance can lead to a profound increase in sound volume, perhaps unexpectedly. Please consider both your speakers and your ears and use this feature cautiously. ENVELOPE INTENSITY (3) - determines how much envelope modulation is applied to the filter cut-off. ( The MM-2 envelopes are descried later. Note that the envelope generator serves the filter only and so it s controls are embedded in the filter section of the front panel.).

11 9 Programming - Filter The Filter, located toward the right of the MM-2 front panel FILTER ENVELOPE CONTROLS Knobs (4-7) control the filter s dedicated envelope profile. This ADSR type envelope is discussed in detail in the next section. FILTER LFO MODULATION Switch (8) switches LFO modulation in or out. This is discussed in detail later on. The source of the modulation is NOT the auxiliary LFO (which serves only to provide vibrato), but the output of oscillator three. FILTER KEY TRACKING Key Tracking Switches (9) Key position can be assigned to affect filter cut-off using these switches. With both switches set, higher keys will open up the filter cut-off more than lower keys. The same applies when only one switch is set, but the effect is less noticeable. At full key-track setting (both switches in) cut-off frequency will track the keys at a rate of one semitone per key. If either the filter s cut-off slider or env slider have a high setting, the effect of key tracking may become unnoticeable, because the cut-off point will already be saturated.

12 10 Programming -Envelopes Meet the MM-2 s envelopes Envelopes 1 2 The MM-2 provides two envelope generators - one exclusively for filter cut-off and one, exclusively for volume. As has been described already, the MM-2 has two ADSR type envelopes, one exclusively for use with the filter and the other, to exclusively control volume. The controls for the volume envelope are located under the heading LOUDNESS CONTOUR. Envelopes are triggered when a key is depressed; from this point the output of the envelope (used for modulation) will develop over time in a predictable profile, defined by the user, using controls in the envelope section. The configuration of these controls varies from one instrument to another, but a popular standard which emerged early on is to have four controls - Attack, Decay, Sustain & Release. The following graph shows how these four controls operate on the envelopes output: OUTPUT Key is released SUSTAIN ATTACK DECAY holds this level indefinitely, RELEASE Key is pressed until key is released TIME

13 11 Programming - Envelopes Examples of the kinds of profiles which can be easily dialled up using the ADSR method: OUTPUT 8 Key is released OUTPUT BRASS Key is released SYNTH SUSTAIN SUSTAIN OUTPUT OUTPUT STRING Key is released SUSTAIN SWELL SUSTAIN = 0 Key is released Self-Compensating Sustain Level CAUTION: If you reduce the MM-2 envelope s SUSTAIN amount, the peak of the envelope s output can actually rise - the MM-2 attempts to recover overall volume level. This helps to offset any loss of volume which the patch might incur due to the reduced sustain setting. However, at very low sustain settings, the effect can be quite dramatic. If an envelope which is controlling volume is subject to a reduction in sustain level, PLEASE PROCEED CAUTIOUSLY in order to protect equipment and prevent ear damage. ENVELOPE TO FILTER CLIPPING Please note that the maximum output from the MM-2 s envelopes will exceed the highest cut-off frequency setting (all frequencies allowed through) if cut-off and tracking are also applied. This is good - it can be used to refine a cut-off envelope profile around its peak, as shown below: Envelope to filter slider set so that the maximum envelope output is less than max cut-off (all frequencies allowed through) Max cut-off Envelope to filter slider set so that the maximum envelope output exceeds max cut-off. Max cut-off In the second example, because the peak is clipped, the filter remains fully open for a longer period and this will have a dramatic effect on the sound. Please note that adding filter cut-off manually, in addition to envelope output, will further intensify this effect since the two sources (cut-off slider & envelope output) are simply added together.

14 12 Programming -Envelopes SHORT ATTACK TIMES At extreme settings, the peak of an MM-2 envelope can be so snappy that it becomes important to co-ordinate the attack times of the two envelopes, in order to prevent the filter from peaking after the volume has decayed to sub-optimal levels. This is really only an issue when you have some moderate attack time on the filter envelope, zero attack on the volume envelope but a swift decay on the latter. The following diagram illustrates the issue: Volume envelope Filter envelope The brightest part of the sound, defined by the filter envelope peak, is compromised because the volume has already decayed into the background. Attack Decay One solution is to add a little bit of attack time to the volume envelope as well. (Increasing volume decay time will also solve the problem but this will drastically change the nature of the sound!) One might be concerned that adding some attack time to the volume envelope might blunt the sound and leave it with out much punch. In the case of the MM-2, this concern is unfounded, because at low settings, the envelope s attack is loaded toward the end of the attack phase - the following diagram will hopefully make this clearer: Volume envelope Filter envelope At low attack settings, the MM-2 s envelopes attack profile is not linear; It rises very steeply indeed, to begin with, before slowing down and rounding off. Right at the end, it speeds right up again, to form a peak. Attack Decay This gives you the sonic quality of a hesitant attack, without losing too much in the way of punch. This characteristic is not exhibited at higher attack settings and will not be noticeable if decay times are long. However, with short decay times, small attack adjustments can have a big effect on a preset s perceived loudness. Even in the case that the filter envelope s attack is set to zero, adding a small amount of attack to the volume envelope can significantly increase a sounds punch, because the volume s peak lingers for more time overall, whilst the decay is still abrupt and dramatic. Again, if sustain is set to high, or decay is slow, then the effect described above will not be noticeable. Increasing sustain level affects the decay time... In fact this is an illusion - the decay time itself remains the same but with a higher sustain level, the attenuation from peek to sustain is reduced so the decay appears to be less pronounced. Simply readjust the decay time to compensate for this. Changes to resonance setting may similarly affect decay time; again, simply readjust the decay setting to compensate if required.

15 13 Programming -Modulation Modulation Trigger Pitch Bend Pitch Noise Oscillator 2 Audio Path Key Track Filter Auxiliary (Vibrato) LFO Mixer Envelope Filter (VCF) Amp Envelope Amp (VCA) Oscillator 3 Any Gigmate patch has two main characteristics which can key be track tweaked while a note is being played; pitch & filter cut-off frequency. Noise / Osc 3 Modulation The modulation section of the Gigmate Mixer provides a number of facilities to control these characteristics, including a low frequency oscillator (LFO) and portamento slider (Glide). AUXILIARY LFO FOR VIBRATO An LFO is a low frequency oscillator which produces waves at a frequency below that which is audible. The output of one of these can be used to provide a cyclic variation to an aspect of your sound; either pitch (vibrato) or filter-cut-off. The MM-2 features a dedicated LFO which can be used to control the pitch of all oscillators. It will only produce a sine wave. The intensity of this effect is controlled by modulation wheel midi data only and the rate of oscillation is controlled by the knob labelled Vibrato. Modulation wheel position also plays a roll when using oscillator 3 as a modulation source - if you don t want the auxiliary LFO interfering with this, turn it off using the switch. MODULATION WHEEL AUXILIARY LFO OUTPUT (SINE WAVE) Frequency ( Vibrato knob setting)

16 14 Programming -Modulation This section is a little bit fiddly... Oscillator 3 functions both as an LFO and an audio source it can serve both rolls at the same time if you wish. If you wish osc3 to act exclusively as an LFO, disable it s audio output by using the switch (8) in the mixer section. If you wish to disable osc3 as an LFO, you should un-check switches (9 & 10). When using oscillator 3 as an LFO: Using oscillator 3 as an LFO You may set the oscillator to produce sub audio frequencies by turning the osc3 range knob far left (5). The specific frequency may then be set by adjusting osc3 s course and fine tuning knobs (6). The frequency will also be dependant on the key you depress and this can produce some interesting and unusual effects. However, you can disable this key tracking by simply un-checking switch (4). You don t have to go for a sub audio frequency set the range to any position you like. This can produce interesting audio effects which you can experiment with. The modulation from oscillator 3 can be applied either to the filter cut-off or the pitch of oscillators 1&2, or both. Use switches (9 & 10) to determine what is modulated. But the amount of modulation (0 Max) is controlled by your midi controller keyboard s mod wheel. To further complicate the situation, you can mix output from the noise source with the modulation from oscillator 3 use knob (11) to do this. A far left setting eliminates osc3 altogether leaving only noise as a modulation source. Note that you can t control the noise source s frequency so a sample & hold type effect is not possible. Turn knob (11) fully to the right to eliminate noise from the modulation altogether, leaving only oscillator 3. There are two disadvantages to using oscillator 3 as an LFO a) It interferes with its functionality as an independent audio oscillator, b) Its a real pain to set up, if you simply want some expression control such as vibrato. So there for we have included the auxiliary LFO. This produces a sine wave at a frequency you can control and this is hard wired to modulate pitch, giving a vibrato effect. Switch this in and out using the vibrato switch. When the switch is in, your midi controller keyboard s mod wheel will control the depth of the vibrato. Of course you can use this and the oscillator 3 modulation simultaneously if you want to.

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18 16 Control Panel The previous segment of this guide dealt with functionality which effects the MM-2 s audio path. This section concentrates on the facilities designed to control the instrument effectively; Patch memory, test tone facility, re-trigger mode, volume & master-tune, glide and bend range. The controls which are discussed in this section are located at both the far left and far right ends of the MM-2 front panel Master Volume: as you would expect. Bend Range: set the range between 0 and +-12 semitones. 6 Poly Wave: controls the Polyphonic Section waveform. Patch Menus: Click on the white button labelled Patch (1) in order to select a patch. Note that if you make alterations to a particular patch, those alterations will remain in effect if you select a different patch, but will not be present if you launch the MM-2 on another occasion. Copying patches from one memory slot to another can be achieved by clicking on the menu labelled File (2). This menu also includes options for saving & loading either individual patches or the entire bank, as discrete files on your hard drive. MASTER VOLUME (3) - please note that the setting of this knob saves with the patch. Test Tone (4) - use this to check that the MM-2 is correctly set up within your host software. If pressing keys does not yield a sound but the Test Tone can be heard, then the chances are that the MM-2 s midi input is not configured correctly. The test tone emits a pitch of middle C ʹ you can thus check that the MM-2 tuning is correct. The status of this switch also saves with the patch.

19 17 Control Panel RE-TRIGGER (5) with this switch set, the MM-2 s envelopes will trigger whenever a new key is depressed. When the re-trigger switch is unset, the envelopes will only trigger if all keys are released and then a key is depressed. See note below. LAST / HIGH (6) when set the note you hear corresponds to the highest key depressed, otherwise the note played corresponds to the last key depressed Bend Range: set the range between 0 and +-12 semitones. 6 Poly Wave: controls the Polyphonic Section waveform. MASTER TUNE (7) - two knobs are available to adjust the overall pitch of the MM-2; course and fine tune. Please note that the setting of these knobs save with the patch. GLIDE (8) - the MM-2 features portamento, where pitch glides to a new note over a period of time, rather than changing to it instantly. PITCH BEND RANGE (9) - Sets the pitch bend range between +/- 2 semitones and +/- 1 octave. OSC 3 KEYTRACK (10) - this has been mentioned before, it switches pitch key-tracking in and out for oscillator 3 only. A Note about Re-triggering: Use Re-trigger mode is best reserved for sounds whose envelopes feature a low sustain setting (such as bass lines). Often with vintage hardware monosynths, the envelopes will not re-trigger when a key is depressed unless the last key has already been released. This is desirable in almost all situations; it allows for legato playing, like when you change the notes on a trumpet whilst continuing to blow. However, it can cause problems if you are playing a patch with a short decay and low sustain setting, such as a bass or piano patch. So the MM+ has included a switch that allows you to play in re-trigger mode exclusively for this kind of patch. It is recommended to turn re-trigger mode off for patches which do not feature a low sustain setting in the interests of authenticity. When filter cut-off is very low, re-trigger mode can occasionally lead to unpleasant audible clicks. Avoid this by ensuring that not more than one key is depressed at any given time.

20 18 Midi Learn / Zoom Continuous Control & Midi Learn Right click on any switch or knob to bring up a menu which will allow you to either manually assign a continuous controller number or use the Midi Learn facility: Simply click midi learn and then adjust the control on your midi control keyboard which you would like to associate with the MM-2 parameter. When you save your song the continuous controller assignments will be saved and will be functional when you reopen it later. If you save a preset or bank, the controller assignments will be saved with the bank or preset. If you open a previously saved bank or preset, the current controller assignments will be lost and those contained in the loaded bank / preset will come into effect. If you open a single preset, the controller assignments saved with that preset will be loaded into the MM-2 and propagated across all of the patches in the MM-2 ʹ you can not have controllers assigned differently for different patches. When you open a new song and launch the MM-2, the default factory bank is automatically loaded which doesn t contain any controller assignments at all. But you can then load up a preset (which you saved previously) which has the controller assignment configuration that you wish to use, into an empty slot. The controller assignment configuration will then apply to all patches in the MM-2. This allows you to work with many different configurations according to your needs at any given time. Zoom Out Clicking on the discrete black hotspot in the top left of the programming view-port will cause the MM-2 to zoom out revealing its appearance from a distance. You can not program the instrument from the zoomed out view - but you can simulate stepping back from the instrument whilst reviewing a mix Click on he image to return to the programming view-port.

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22 20 Appendix One - Audio filters Appendix One: The basics... You may think of a synthesizer filter as being rather like a single tone control that you might find on a home audio system such as a personal CD player. However, it s an extremely intense tone control; so much so that when the tone control is turned down to its minimum setting, the sound disappears all together! Synthesizer filters and EQ devices allow us to adjust the balance of frequencies in a sound; bass refers to low frequencies and treble refers to high frequencies. Frequency is an interesting subject and is discussed below. intensity (volume) intensity (volume) BASS Frequency TREBLE BASS Frequency TREBLE Tone control set to fully open Tone control set to minimum Please note that this type of EQ cannot remove any frequencies entirely Graphic view of the action of a standard audio player tone control Cut off intensity (volume) intensity (volume) Cut off BASS Frequency TREBLE BASS Frequency TREBLE Cut-off set just up from midway (no resonance) cut-off set just up from midway, with resonance applied Please note that a little way beyond the cut off point, frequencies are removed entirely. Graphic view of the action of a synthesizer low pass filter RESONANCE The last of the graphs above introduces another feature of synthesizer filters - resonance. On the MM-2 filter, the resonance is controlled by the slider labelled REZ. When resonance is applied, frequencies around the cut-off point are emphasised, as shown in the graph. At very high settings, this emphasis results in an audible high pitched squeal, which can be used to great effect. CAUTION: Turning up the resonance can lead to a profound increase in sound volume, perhaps unexpectedly. Please consider both your speakers and your ears and use this feature cautiously.

23 21 Appendix One - Audio filters 8 Frequency and Waveforms...a little bit of magic! It just so happens that sound waves don t like to propagate through air in any form other than a sine wave. It stands to reason; air which is of a higher pressure because of a sound wave will want to expand quickly, but this urgency will dampen off as the pressure returns to normal, and a subsequent rebound in the other direction will complete a sine wave pattern. Similar physics are at work in a swinging pendulum - it will only prescribe a sine wave pattern. However, we can clearly hear square or sawtooth shaped waves coming out of a synthesizer. And, although they don t commonly occur in nature, you can hear these waves coming off of electrical installations and other machinery as well. How is this so? The answer lies in adding sine waves together - in other words, hearing more than one sine wave at the same time. Consider the diagram below, which graphically illustrates hearing a loud low pitched sine wave, and a much quieter high pitched sine wave, both at the same time: = + If that appears to be intuitive, this instance may not. Look what happens when we decrease the gap between the high and low sine waves, so now they are of a similar but not identical pitch: = +

24 22 Appendix One - Audio filters If we add yet another sine wave, higher pitched and quieter than the others, we get this: + = As you can see a regular waveform which is not a sine wave begins to emerge. It turns out that when many different sine waves are added together, the resulting wave-shape can be anything at all. In complex cases such as speech, you are still hearing a chorus of sine waves, but in this case, the relative volumes and pitches of those wave would be constantly changing. When an equalizer (EQ) or filter is applied to a sound, it is adjusting the relative balance of the component sine waves in that sound. A sound which is bright will have louder high frequency sine waves than a sound which is dull. An EQ device MM-2 filter

25 23 Appendix Two - Troubleshooting Appendix Two TROUBLESHOOTING & KNOWN ISSUES These issues apply to MM-2 version 1.1 and may be resolved in subsequent versions. Defaulting to Patch 1, upon start-up: With some VST host programs, when you reopen a song which contains an instance of the MM-2, for some reason the host software tells the MM-2 to default to the first patch. So, for example, if you re working on a song which includes the MM-2 set at patch number forty (which has been tweaked to your liking), upon saving and reopening the song, the MM-2 is not set as it was when you saved, but instead is set at patch number one. This is a serious irritant because the recall of all settings within a particular song is one of the best features of virtual studio technology. This problem is not unique to Manx Synths and only occurs under certain conditions with particular hosts. None the less, we will look at resolving this issue in future updates. If you experience this problem, please note that the settings you applied to the patch you were working with will have been properly saved with the song, so there should be no problem if your song includes several MM-2 patches, controlled by program change events. Setting a program change key in your host program will ensure that the MM-2 returns to where you left it. Alternatively, you can apply the following work around: 1 ʹ copy the patch you are working with into patch#1 memory slot using the MM-2 s patch menu button. 2- Save your song. When you reopen it later, if the MM-2 defaults to patch 1, its no longer a problem and everything will be just as it was when you saved. File Menu buttons not working properly People may find that on some systems, the buttons which increase and decrease the numbers in the data fields presented in the file menu do not respond properly. If this is the case, simply fill the data fields in manually. If you click load patch and nothing happens, just click load bank, than hit cancel and then return to load patch again.

26 24 Appendix Three - Information for users Appendix Three- Information for users CREDITS We would like to thank the following contributors: Jeff McClintock. David Haupt, Daz Disley, Rob Herder, Rick Jelliffe, Christian-W. Budde & Chris Kerry, who have provided complex code used in Manx synthesizers. END USER AGREEMENT You must agree to the following terms and conditions before installing and using the Manx MM-2 Demo version: You may not attempt to disassemble or alter the MM-2 demo DLL or accompanying files in any way. You can distribute the MM-2 demo provided you do not directly profiteer from the distribution and credit the MM-2 as a Manx product. You must agree to the following terms and conditions before installing and using the Manx MM-2 retail version: After purchasing the MM-2 retail version you are licensed to use this on up to a maximum of 3 computers provided that you are the sole owner and user of these computers. You may not attempt to disassemble or alter the MM-2 DLL or accompanying files in any way. Please do not distribute the MM-2 DLL to other individuals. Copyright Manx Synthesizers

27 Demo version available - Never expires

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