If you haven't downloaded and installed, do that.  Then get your Product Serial Number by clicking on the uppermost dot above the "y" in "Synthesizer" at the top of the standalone application.

Log-in (above) with your User ID, enter your Product Serial Number, and your registration key will be emailed out, immediately -- again, usually you'll have that within 5-10 minutes.

Click on "Register" at the top of the application and enter the registration key -- and you're done.

You don't need to remember any of this -- the emails and the log-in area tell you and show you clearly and exactly what to do.  It's really quite quick and easy.
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We understand that many of you will have more than one PC.

We provide up to three registration keys with every purchase.  Simply log in (above) with your User ID to make them if you need them.

These extra keys are also provided in the event you have a major system failure and need a new key... so make sure you print out your materials with your User ID, etc.
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Method 1: Log in and go make the key again.  If it's a duplicate of a prior key, it will not decrease your key count; the system checks for that.

Method 2: Go to the Support page here and use the "Check Keys" form.  That'll send you a copy of all your keys (and also tell you how many keys you have left).
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An easy uninstaller is also provided.
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Setting up with the VST version depends on what software you're using and how you've configured your system.

In some cases, you may just copy the dll to your general VST folder.

More commonly, you'd copy the dll to the VST folder of your host... Sonar 8, for instance.

And in more current and cooperative software, you can usually just set the path in your host to the folder that contains the dll.

Finale/2009-2012 users, for instance, can do that.  For Finale/2009-2012, we also provide a Sosnowski Synthesizer "instrument text" file which you should copy to Finale's VST folder so it will show up properly in Finale's setup wizard.

Be sure to check your host documentation on this if you are in doubt -- it's always explicitly covered there.  We regret we cannot give specific advice for every single host product out there; but there are so many of them, these days, it just isn't possible.
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To explore this a little further, how many instances you will be able to run depends on your hardware.  A synthesizer of this type can be demanding of CPU resources (though memory use is quite conservative).  It also depends on what other software you might be running concurrently.

Let's look at a few examples from our beta testing, starting with worst-case scenarios:

Testing on a six-year-old Dell laptop with very modest specifications -- one instance will run fine, and two will run okay if you don't push it too hard.

On a four-year-old Dell 9150 Dimension with more robust specifications, up to six instances of the standalone ran like clockwork, and even with the VST hosted in a very heavy resource demand like Finale/2009, four instances ran great.

To get wildly extreme, Randy Bowser (see his Emphatico on the Demo page) somehow got 13 instances to run in Sonar 8 on a six-year-old Dell!  Presumably, not concurrently, of course.  But still, quite a hat trick.

In general, though -- with any soundware, not just ours -- we strongly recommend the best, newest, most efficient hardware your budget allows.  Soundware, especially in real time, is highly demanding of system resources.

One special tip -- and a very important one.  The onboard keyboard display and 'scope are primarily intended for set-up work.  Because of the fast graphics calls, they can really chew down CPU -- so shut them off!  The button to the left of the keyboard will kill both of them.

And of course -- we provide a 100% functional demo download mode... so put it on your PC and run it and test it and work with it before you buy.
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First and foremost -- when you've got anomalies, pull down the level (with the master volume control, VOL; with individual element volume controls, with the mixer if you're in a host -- whatever applies to your situation).  Having the level too hot is the most common cause of trash in the sound.

We've also included an "attenuator" -- the small knob below and to the left of the main VOL knob, marked with a "+" above it.  This is important for leveling, so take note of it.

To give maximum flexibility, the sounds in this synthesizer are purposely a little "hot".  To reduce the overall level regardless of what's going on with the main VOL, slowly turn the attenuator knob counter-clockwise.  The attenuator effectively scales the overall output, so you can basically trim dynamic range to your liking. 

Now let's get into specifics a little more.

Analog-style synthesizers are natively somewhat "clicky" -- it's the nature of the beast, and part of its charm.  But you can control it, of course.

Clicks at the ends of sounds are usually caused by not having enough release.  Look at the envelopes, and work with the release knobs, and usually you can smooth it out.  In more advanced sounds, you might also have to fiddle the decay and attack in the filter section envelope.

Clicks at the beginnings of sounds are virtually always the result of a rapid transient (frequently too fast to see on the 'scope).  Again, look to the envelopes, particularly the main envelope.  Try slowly raising the level of the attack knob, and you can almost always kill off "clickiness" at the start of a sound.

One additional area to look at is the LFO's in the filter row.  If you have very fast attacks (sawtooth or square wave at a high speed, for instance), these may, depending on overall configuration, spike transients at the beginnings of sounds.  Slight changes in settings will generally correct it.

Finally, a word about system settings.  This is a broad area; and different for every system, depending on your hardware.  Usually your "primary sound driver" will work best for you; but if all else fails, do explore other options your system may offer.
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This type of synthesizer calculates everything on the fly, so CPU usage can be substantial, particularly with multiple instances.  But there are things you can do to cut that back.

First and foremost, as mentioned above:  Shut off the lights!  The button to the left of the onboard keyboard will turn off the graphical display of both the keyboard and the 'scope.

This single step can, on some systems, reduce the load by as much as 70%!

Beyond that, if you're running tight on CPU, don't use more in the way of effects than you need -- oftentimes, you'll find a sound is actually improved by using a little less.

Also look for very high settings on decays on LFO's, very large size on reverb, very long tails (releases) on envelopes, and very large feedback on echo.  These are recursive processes that take place across time, and high settings mean more CPU.
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