Operation Manual
Matthias Klag, Michael Ruf Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images. The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH.
Table of Contents 5 5 6 7 7 7 8 8 8 8 Installation and Setup Conventions System Requirements Downloading Program Files Installing the Program Activating Your License Registering Your Software How You Can Reach Us About the Documentation Setting Up 10 10 Introduction Window Overview 12 12 12 12 13 13 Common Editing Methods Dials and Sliders Buttons Value Fields Using Key Commands Presets 15 15 17 17 17 18 24 26 Global Functions and Settings Plug-in Functions Section Plug-in Name and Steinberg Logo To
Table of Contents 217 225 229 230 241 251 252 Filter Effects Distortion Effects Pitch Shift Effects Modulation Effects Dynamics Effects Spatial and Panner Effects Legacy Effects 264 264 Note Expression Note Expression Editor 266 266 Library Manager Library Manager Editor 269 269 269 271 271 273 274 274 Using the Standalone Version of the Plug-In Making Preferences Settings Preferences Dialog Selecting the MIDI Input and the Audio Output Scratch Pad Loading a MIDI File Saving a MIDI File Master Volum
Installation and Setup Conventions In our documentation, we use typographical and markup elements to structure information. Typographical Elements The following typographical elements mark the following purposes. PREREQUISITE Requires you to complete an action or to fulfill a condition before starting a procedure. PROCEDURE Lists the steps that you must take to achieve a specific result.
Installation and Setup System Requirements Markup Bold text indicates the name of a menu, option, function, dialog, window, etc. EXAMPLE In the header of the plug-in panel, click the Preset Management button next to the preset name field and select Load Preset. If bold text is separated by a greater-than symbol, this indicates a sequence of different menus to open. EXAMPLE To save a specific layer, right-click it and select Load/Save > Save Layer As.
Installation and Setup Downloading Program Files Windows • 64-bit Windows 7*/8.
Installation and Setup Registering Your Software IMPORTANT The process for license activation is described in detail on the Steinberg web site. Registering Your Software Register your product at the MySteinberg online customer portal. As a registered user, you are entitled to technical support, you gain access to exclusive offers such as software updates and upgrades, and more. PROCEDURE 1. Start your software. 2. Select Help > Register now. An online registration form opens in your web browser. 3.
Installation and Setup Setting Up Selecting Outputs HALion Sonic loads with a stereo output configuration by default. However, you can use up to 15 additional outputs in the Steinberg DAW. This allows you to route all 16 program slots to a dedicated channel in the MixConsole. PROCEDURE 1. To make the outputs available in the VST instrument, open the VST Instruments window. 2. Click the Activate Outputs button for the instrument. 3. Activate the outputs that you want to use.
Introduction Window Overview The application interface follows a fixed-size single window concept. The window is subdivided into several sections: • The plug-in functions section at the top of the application window. • The multi program rack on the left. • The toolbars above the edit display. • The edit display on the right. It contains the Load, Edit, MIDI, Mix, Effects, Multi, and Options pages. • The performance section at the bottom.
Introduction Window Overview • If you are using the standalone version of HALion Sonic, you find a number of specific functions in an extra section at the top of the application window. View Options You have two view options: the full-size editor view and the smaller player view. In the player view, only the plug-in functions, the trigger pads, the quick controls, and the performance controllers are visible. • Click the p button in the toolbar above the edit display to switch between the views.
Common Editing Methods Dials and Sliders Dials and sliders can be unidirectional or bidirectional. Unidirectional values, for example level values, start at a minimum value and go up to the maximum. Bidirectional controls start from the middle position and go to the left for negative and to the right for positive values. Most of the editing methods are the same for dials and sliders. • To adjust a value, click a dial or a fader and drag up and down, or use the mouse wheel.
Common Editing Methods Using Key Commands • To set the parameter to its default value, Ctrl/Cmd-click the value field. • To use a fader to adjust the value, Alt-click a value field. • To enter musical values, such as key ranges or the root key, with your MIDI keyboard, double-click the value field, press a key on your MIDI keyboard, and press Return. • To navigate to the next parameter, press Tab. To jump backwards to the previous parameter, press Shift-Tab.
Common Editing Methods Presets NOTE You cannot overwrite factory presets. If you want to save changes made to a factory preset, save the preset under a new name or in a new location. • To load a preset, click the arrow icon and select a preset from the list. • To delete a preset, click Delete . NOTE Factory presets cannot be deleted. Handling VST Presets Loading VST Presets PROCEDURE 1.
Global Functions and Settings Plug-in Functions Section The plug-in functions section at the top of the window gives you access to global functions that affect both the currently loaded programs, and the general working of the plug-in. The plug-in functions section contains the multi slot section, the program slot section, the master section, and the performance displays.
Global Functions and Settings Plug-in Functions Section Polyphony Sets the number of keys that can be played simultaneously. NOTE One key can trigger several layers. On the performance meter, you can see how many voices are triggered by your playing. Program Icon The program icon indicates the sound category to which the program belongs. It depends on the category and subcategory tags that are specified for a program in the MediaBay.
Global Functions and Settings Plug-in Name and Steinberg Logo the Disk vs. RAM slider on the Options page toward Disk. You can verify your settings by monitoring the MEM display. Plug-in Name and Steinberg Logo To get information regarding the version and build number of the plug-in, click the plugin logo. This opens the About box. To close the About box, click it or press Esc on your computer keyboard. If you click the Steinberg logo in the top right corner of the plug-in interface, a pop-up menu opens.
Global Functions and Settings Quick Controls Wheel Controls To the left of the internal keyboard, the pitchbend wheel and the modulation wheel are located. The modulation wheel is hardwired to MIDI controller #1, which is normally used as a source in the modulation matrix, but can be used as a quick control as well. Keyboard The virtual 88-note keyboard can be used to trigger MIDI notes. By clicking the keys at different vertical positions you can control the note-on velocity.
Global Functions and Settings Quick Controls • The actual value of a parameter and the value that is displayed in its value field differ. • A button on the user interface is deactivated but the corresponding parameter is active. For example, this can happen if the quick control introduces an offset or if a button is controlled by a quick control. Therefore, parameters that are assigned to a quick control show a value tooltip.
Global Functions and Settings Quick Controls RELATED LINKS Modulation Matrix Parameters on page 67 Setting the Minimum/Maximum Range You can set the minimum and maximum range for each assignment separately. This gives you better control over the parameter change. • Right-click a control and define the range using the Set Minimum and Set Maximum commands.
Global Functions and Settings Quick Controls Unassigning Quick Controls PROCEDURE • Do one of the following: • To remove a quick control assignment, right-click the parameter in the Quick Control Assignments editor and select Remove Assignment. • To remove all assignments of the selected quick control, open the context menu and select Remove All Assignments. • To remove all quick control assignments for all 8 quick controls, select Remove All Assignments of All Quick Controls.
Global Functions and Settings Quick Controls Minimum Value Sets the minimum value for the quick control assignment. Curvature Sets the curvature. You can also set the curvature by clicking and dragging in the curve display. Maximum Value Sets the maximum value for the quick control assignment. Bypass All Quick Control Assignments Bypasses all assignments for the selected quick control.
Global Functions and Settings Quick Controls Setting the Mode for the Quick Control Assignment A quick control behaves either as continuous control or as a switch. In addition, it remotecontrols a parameter either in relative or absolute mode. You can specify a mode for each assignment. You can set the behavior in the context menu for the control itself or via the pop-up menu in the Quick Control Assignments editor. Absolute Remote-controls the parameter values continuously.
Global Functions and Settings Trigger Pads Assigning Quick Controls in the Modulation Matrix In addition to assigning the quick controls directly to parameter controls, you can also assign them as source or modifier in the modulation matrix. This way, you can combine the quick control with other modulation sources. PROCEDURE 1. Open the layer editor and go to the modulation matrix. 2. On the pop-up menu in the Source/Modifier column, open the Assign Quick Control submenu and select the quick control.
Global Functions and Settings Trigger Pads • To remove a trigger note from a pad, right-click the pad and select Forget Trigger Note. Assigning Chords or Notes to Trigger Pads PROCEDURE 1. Right-click a pad and select Snapshot Chord. The pad starts blinking. 2. Do one of the following: • Play a chord or a single note and then click the pad that is blinking to assign the chord or note to the pad. • Drag a chord event from the chord track of your Steinberg DAW onto a trigger pad.
Global Functions and Settings Options Page Removing Chords or Notes from Trigger Pads PROCEDURE • Right-click the trigger pad and select Clear Chord. Switching between Variations You can switch between variations using the trigger pads. Variations are available for the FlexPhraser and the B-Box, for example. PROCEDURE 1. Right-click the trigger pad that you want to use for switching to the selected FlexPhraser variations. 2. On the menu, select Snapshot Variation.
Global Functions and Settings Options Page Disk Streaming Section Some of the programs come with up to 1 GB of samples. That is a large amount of data and your computer cannot load all samples completely into the RAM, especially if you are using all slots. Therefore, HALion Sonic loads only the initial milliseconds of each sample into RAM. You can specify how much RAM should be used and how much HALion Sonic should rely on accessing the hard-disk. Balancing Disk vs.
Global Functions and Settings Options Page • Preload Time defines how much of the start of the samples is preloaded into the RAM. Larger values allow for more samples to be triggered in a short time. • Prefetch Time determines the read-ahead capacity into the RAM while streaming samples for a voice that is playing. Larger values allow for better transfer rates from disk, and usually for more voices. However, this requires larger streaming cache in RAM.
Global Functions and Settings Options Page Multi Loading Normally, when loading multi-programs, the previous multi is kept in the RAM until the new multi has been completely loaded. Therefore, replacing a large multi by another can lead to RAM overload on 32-bit systems. • To clear a multi before loading a new one, select Clear before on the popup menu. Multi-Core On this pop-up menu, you can specify how many of the available CPU cores of your system can be used by the plug-in.
Global Functions and Settings Options Page General MIDI Mode Select General MIDI Mode to play back MIDI files that have been arranged for General MIDI sound sets. General MIDI mode supports MIDI program change messages and preloads a global chorus and reverb effect on AUX FX 1 and 3 for immediate use. If General MIDI mode is activated, all loaded programs are removed and the 16 slots are assigned to the 16 MIDI channels.
Global Functions and Settings Options Page • If MIDI controller changes cause audible artifacts, turn the control towards slower settings. This way, MIDI controller changes do not occur immediately, but are spaced over a period of time (in milliseconds). • If you want more immediate MIDI controller changes, turn the control towards faster settings. Note, however, that this may introduce audible artifacts. FlexPhraser Hold Reset sends a global hold reset message to all FlexPhraser modules that are used.
Editing Programs The Edit page is where you edit your program, load different layers for a program, and edit the layers. A program contains up to four layers that can all be mapped to different velocity and key ranges. Each of the layers can use a FlexPhraser and can be routed freely to one of the available outputs. To edit a program, click the Program button at the top of the Edit page. Program Page Parameters The Program page is divided into two sections.
Editing Programs Program Page Parameters NOTE This button is only available for layers that support the FlexPhraser functionality. Layer Slots The layer slots allow you to load up to four layers for a program. Right-click a slot to open the context menu with the following options: • Load Layer opens the Load Layer dialog. Select a layer and click OK to load it into this slot. • Save Layer saves the layer in this slot with the current settings, under the same name.
Editing Programs Program Page Parameters Poly Specifies how many notes can be played at the same time. NOTE Polyphony is part of the layer settings and is therefore restored when you load a layer. If a layer is monophonic, this setting has no effect. Octave Allows you to shift the octave of a layer by ±5 octaves. Coarse Allows you to shift the pitch of a layer by ±12 semitones. Fine Allows you to detune a layer by ±100 cents. Key Range (Low Key, High Key) Allows you to limit the key range for a slot.
Editing Programs Program Page Parameters • To set the range via MIDI input, double-click in a value field and play the note. Editing the Velocity Range Each slot can be limited to a specific velocity range. To show the velocity range, activate the Vel button above the range controls. • Set the velocity range with the Low Vel and High Vel value fields or by dragging the ends of the velocity range control. To move the velocity range, click in the middle of the range control and drag.
Editing Layers A program contains up to four layers. Each layer can be edited separately. The available parameters and tabs vary depending on the type of layer. On the Edit page, you can select which layer to edit by clicking the corresponding button at the top of the page. Voice Tab Mono Allows you to switch between monophonic and polyphonic playback. • Activate Mono to switch to monophonic playback. Usually, this allows a more natural sounding performance for solo instruments.
Editing Layers Voice Tab NOTE If the program has a lower value for polyphony than any of its layers, the maximum number of notes is determined by the program. Trigger Mode Defines the trigger behavior for new notes. • Normal triggers a new note when the previous note gets stolen. The sample and the envelope of the new note are triggered from the start. To minimize discontinuities, use the Fade Out parameter of the zone. • Resume does not always trigger a new note.
Editing Layers Voice Tab • High Note Priority – High notes have playback priority over lower notes. If you exceed the maximum number of notes by playing a higher note than the ones that are held, the lowest note is stolen and the new note is triggered. If you exceed the maximum number of notes by playing a lower note than the ones that are held, no note is stolen and no new note is triggered. • Steal Lowest Amplitude – New notes have playback priority over notes with a low amplitude.
Editing Layers Voice Tab Unison Allows you to trigger multiple voices simultaneously with each note that you play. If you activate Unison, the following parameters become available: • Voices determines the number of voices that are triggered simultaneously (max. 8). • Detune detunes the pitch of each unison voice in cents. This produces a fatter sound. • Pan spreads the unison voices across the stereo panorama. The higher the value, the broader the stereo image.
Editing Layers Pitch Tab Pitch Tab Pitchbend Up/Pitchbend Down Determines the range for the modulation that is applied when you move the pitchbend wheel. Octave Allows you to shift the octave of a layer by ±5 octaves. Coarse Allows you to shift the pitch of a layer by ±12 semitones. Fine Allows you to detune a layer by ±100 cents. Pitch Envelope Amount Determines how much the pitch is affected by the pitch envelope. Random Pitch Allows you to randomly offset the pitch with each played note.
Editing Layers Oscillator Tab OSC 1/2/3 Type The oscillator type defines the basic sound character of the oscillator. This popup menu lists the waveforms (sine, triangle, saw, or square), followed by the algorithm (PWM, Sync, CM, or XOR). The combination of waveform and algorithm controls the sound of the oscillator. The following algorithms are available: • PWM (pulse width modulation) is only supported by the square waveform.
Editing Layers Oscillator Tab OSC 1/2/3 Coarse Adjusts the pitch in semitone steps. OSC 1/2/3 Fine Adjusts the pitch in cent steps. This allows you to fine-tune the oscillator sound. OSC 1/2/3 Level Adjusts the output level of the oscillator. NOTE Waveform, pitch, and level of oscillator 1, 2, and 3 can be modulated separately in the modulation matrix. Multi-Oscillator Mode For the three main oscillators, you can activate Multi-Oscillator mode.
Editing Layers Filter Tab Level Adjusts the output level of the sub oscillator. Ring Modulator Ring modulation produces sums and differences between the frequencies of two signals. Ring Modulation Source 1/Ring Modulation Source 2 Determines the sources to be ring modulated. You can select OSC 1 or Sub as Source 1, and OSC 2 or OSC 3 as Source 2. NOTE Make sure that the corresponding oscillators are activated when you select them. Otherwise, no sound is heard.
Editing Layers Filter Tab • Dual Filter Parallel uses two separate filters connected in parallel. You can select the filter shapes for each filter independently. The parameters Cutoff and Resonance control both filters simultaneously. However, you can offset these parameters for the second filter with the parameters CF Offset and Res Offset. • Morph 2 morphs between filter shape A and B. Adjust the morphing with the Morph Y parameter. • Morph 4 morphs sequentially from filter shape A to D.
Editing Layers Filter Tab • HP12+LP6 and HP18+LP6 are combinations of a high-pass filter with 12 and 18 dB/oct and a low-pass filter with 6 dB/oct (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies below the cutoff. • HP24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies below the cutoff are attenuated. • BR12 and BR24 are band-reject filters with 12 and 24 dB/oct.
Editing Layers Amplifier Tab NOTE This parameter is only available for the filter types Tube Drive, Hard Clip, Bit Red, Rate Red, and Rate Red KF. CF Offset For the dual filters, this parameter allows you to offset the cutoff frequency of the second filter, that is, of filter shape B. Res Offset For the dual filters, this parameter allows you to offset the resonance of the second filter, that is, of filter shape B. Cutoff Velocity Controls the cutoff modulation from velocity.
Editing Layers Amplifier Tab Mode With this option you can specify how the loudness changes across the stereo panorama. • If this parameter is set to 0 dB, it works like a balance control. Setting the pan control towards the left fades out the right channel and vice versa. At the center position, the loudness is not cut. • If this parameter is set to -3 dB, the option uses the cosine/sine pan law.
Editing Layers Envelopes Additional Parameters for Drum and Loop Layers One Shot If this button is activated, any MIDI note-off messages are ignored. The release segments of the envelopes is not played. Instead, the envelopes play until the sustain is reached and remain on that level for as long as the sample plays back. Any loop settings of the sample are ignored. Reverse If this button is activated, the sample is played in reverse. Any loop settings the sample may contain are ignored.
Editing Layers Envelopes • Select Loop to play back the envelope from the first node to the loop nodes. Then, the loop is repeated for as long as the key is held. When you release the note, the envelope continues playing the stages that follow the sustain. This mode is ideal for adding motion to the sustain of the envelope. • Select One Shot to play the envelope from the first to the last node, even if you release the key. The envelope has no sustain stage. This mode is ideal for drum samples.
Editing Layers Envelopes Level Specifies the amplitude of the envelope at the position set by the Time parameter. Level Velocity Curve You can select the curve type to specify how the incoming velocity translates to the level of the envelope. The characteristic of each curve is displayed by a small icon. Level Velocity (Vel>Lev) Determines how the velocity affects the level of the envelope. The level of the envelope depends on two factors: the setting of this parameter and how hard you hit a key.
Editing Layers Envelopes • Negative values increase the phase lengths for notes above and decrease the phase lengths for notes below the Center Key, that is, the envelope becomes slower the higher the note you play. Zooming The vertical axis of the graphical envelope editor displays the level. The horizontal axis displays the time. • To zoom in or out, click the + or - buttons to the right of the scrollbar below the graphical editor.
Editing Layers Envelopes Adjusting the Time Parameter The Time parameter specifies the period of time between two nodes. Depending on the Sync mode, the Time parameter is displayed in milliseconds and seconds, or in fractions of beats. • To set the Time parameter, select the nodes that you want to adjust and enter a value in the Time field. • You can also adjust the Time parameter in the graphical envelope editor, by dragging the nodes left or right, to decrease or to increase the time span.
Editing Layers Envelopes Adding Nodes Using the Fill Function The Fill function allows you to add multiple envelope nodes after the selected nodes. PROCEDURE 1. On the pop-up menu to the right of the Fill button, select the number of nodes that you want to add. 2. In the graphical envelope editor, select the node after which you want to add nodes. If several nodes are selected, the new nodes are inserted after the last selected node.
Editing Layers LFOs Setting Up the Loop You can set up the envelope to repeat its playback between the selected nodes. PROCEDURE 1. Set the envelope mode to Loop. 2. The loop is indicated by the green region in the graphical envelope editor. Specify the loop start and end by dragging the borders of the region. The loop region can only be set up in the decay phase of the envelope. LFOs HALion Sonic offers two polyphonic and two monophonic LFOs.
Editing Layers LFOs • Saw produces a ramp cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up. • Pulse produces stepped modulation, where the modulation switches abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. If Shape is set to 50 %, a square wave is produced. • Ramp is similar to the Saw waveform. Shape increasingly puts silence before the sawtooth ramp up begins.
Editing Layers LFOs Rnd (Random Phase) If this button is activated, each note starts with a randomized start phase. NOTE The Phase control cannot be used if Rnd is activated. Additional Parameters for Polyphonic LFOs Retrigger Mode Determines whether the LFO is restarted when a note is triggered. The waveform restarts at the position set with the Phase parameter. The polyphonic LFOs can switch between On and Off. • If this parameter is set to Off, the LFO runs freely.
Editing Layers LFOs Fade In Determines how long the LFO takes to fade in after the note was triggered and the Delay time has elapsed. Hold Determines the amount of time the LFO is running before the fade out begins. NOTE Hold is only available for the envelope modes One Shot and Hold + Fade Out. Fade Out Determines how long the LFO takes to fade out after the hold time has elapsed or a note has been released. NOTE To deactivate the fade out, use the envelope modes One Shot + Sustain or Sustain.
Editing Layers Using the Keymap NOTE With a Resonance of 100 %, you might hear clicks because the slice ends abruptly, but the filter still produces a sound from self-oscillation. In this case, go to the corresponding FlexPhraser and reduce the Gate Scale until the clicks are gone. In addition, you can adjust the amplifier envelope of the slices, for example, to increase the release of the envelopes.
Editing Layers Expression Controls for Instrument Layers AUX FX1 – 4 These dials adjust the send levels for the four global AUX FX busses for each drum instrument or loop slice separately. Expression Controls for Instrument Layers Instrument layers contain expressions. Typically, an expression is a particular playing style of the instrument. In some cases, it can also be a part of the sound that can be turned on or off, for example, to add realism or to maximize the performance.
Editing Layers Expression Controls for Instrument Layers Velocity Determines how the velocity affects the level of the filter envelope. The level of the envelope depends on two factors: the setting of this parameter and how hard you hit a key. Positive values increase the level of the envelope the harder you hit a key. Negative values decrease the level of the envelope the harder you hit a key. Attack Controls the attack time of the filter envelope. Decay Controls the decay time of the filter envelope.
Editing Layers Insert Effects Expression Maps For more realistic performances, many instrument layers use key switches to switch between different expressions, that is, between different articulations and playing styles of the same instrument. These key switches are set to low keys to maximize the playable range and they cannot be changed internally to ensure that performances played by FlexPhrasers always sound the same.
Editing Layers Step Modulator assign to the program affect all layers. Typically, you assign effects like EQ or distortion to separate layers, but effects like delay or reverb to the entire program. Each layer and the program have four slots for assigning insert effects. The handling is the same for all slots and corresponds to the global effect handling. To the right of the insert slots, you find faders for adjusting the output levels of the program and layers.
Editing Layers Step Modulator Note If Sync Mode is set to one of the Tempo settings, this adjusts the length of the steps in fractions of beats. You can also select triplet values. Triplet Activate this button to use triplet note values. Retrigger Mode Determines whether the sequence restarts when you play a note. This parameter is only available if Sync Mode is set to Off or Tempo + Retrig. • If this parameter is set to Off, the sequence is not restarted.
Editing Layers Modulation Matrix Editing Steps • To set the level of a step, click at the corresponding position in the graphical editor. • To change the value of a step, drag the step up or down or enter a new value in the Level value field. • To reset the level of a step to 0 %, Ctrl/Cmd-click the step. • To reset all steps, hold Shift-Ctrl/Cmd and click in the graphical editor. • To adjust all steps at the same time, Shift-click and drag a step.
Editing Layers Modulation Matrix switched between unipolar and bipolar. An additional modifier and user-definable curves and ranges give you further control over the modulation. The modulation matrix is divided into two sections. On the left, you can assign modulation sources to destinations and adjust the modulation depth. The section on the right contains settings for the curve and range editor, where you can make further settings for the selected modulation source. Creating Modulations PROCEDURE 1.
Editing Layers Modulation Matrix NOTE You can copy modulation rows between different programs and between different plug-in instances. Insert Modulation Inserts an empty modulation slot. Remove Modulation Removes the modulation slot. Name of the Assigned Source/Modulator/Destination Depending on where you click, the assigned modulation source, the modulator, or the modulation destination is shown on the context menu. Assign to New Automation Assigns this modulation source as automation parameter.
Editing Layers Modulation Matrix • Relative remote-controls the parameter values continuously. Relative mode changes the values of the assigned parameters without losing their relative settings, that is, parameter changes can still be heard. • Switch Absolute switches between the minimum and maximum value. Parameter changes are overwritten. • Switch Relative switches between the minimum and maximum value. Parameter changes can still be heard.
Editing Layers Modulation Matrix Key Follow This produces an exponential modulation signal derived from the MIDI note number. Exponential means this source works with destinations such as Pitch or Cutoff. This modulation source is bipolar. Note-on Velocity Note-on velocity can be used as modulation signal. This modulation source is unipolar. Note-on Vel Squared The squared version of Note-on Velocity. The harder you press the key, the higher the modulation values.
Editing Layers Modulation Matrix Note Expression This submenu lists the eight Note Expression parameters that can be used as modulation signals. Noise Produces a random modulation signal. This modulation source is bipolar. Output The audio output of the layer can be used as modulation signal. This modulation source is unipolar. Bus 1–16 Modulations that are sent to one of the 16 busses can be reused as sources. This way, you can combine several modulations to produce more complex signals.
Editing Layers Modulation Matrix Unipolar vs. Bipolar Sources The polarity of a modulation source specifies the value range that it produces. Unipolar sources modulate between 0 and +1. Bipolar sources modulate between -1 and +1. • To change the polarity of a modulation source, click its Polarity button. Modulation Depth The horizontal fader below the destination adjusts the modulation depth. Bypass Modulation Click the Bypass button in front of the depth fader to bypass the modulation.
Editing Layers Modulation Matrix Resonance Offset Modulates the resonance offset of the second filter in Dual Filter Serial or Dual Filter Parallel mode. For example, to lower or raise the resonance of the second filter while you play, assign the modulation wheel. Level This modulation adds to the level setting. It can be used to create level offsets using the mod wheel, for example. Volume 1 Modulates the gain. The volume modulation multiplies with the level.
Editing Layers Modulation Matrix Osc 1/2/3 Multi Detune Modulates the Detune parameter of the individual oscillator voices that are produced by multi-oscillator mode. Osc 1/2/3 Multi Pan Modulates the pan position of the individual oscillator voices that are produced by multi-oscillator mode. Osc 1/2/3 Multi Voices Modulates the number of oscillator voices that are produced by multi-oscillator mode. Sub Osc Level Modulates the level of the sub oscillator.
Editing Layers Modulation Matrix Amp Env Decay Time Modulates the decay time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts. Amp Env Sustain Level Modulates the sustain level of the amplitude envelope. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts. Amp Env Release Time Modulates the release time of the amplitude envelope.
Editing Layers Modulation Matrix Pitch Env Decay Time Modulates the decay time of the pitch envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts. Pitch Env Sustain Level Modulates the sustain level of the pitch envelope. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts. Pitch Env Release Time Modulates the release time of the pitch envelope.
Editing Layers Modulation Matrix User Env Release Level Modulates the level of the last user envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts. Bus 1-16 You can send any modulation to one of the 16 busses, for example, to produce more complex modulation signals. Select the bus that you want to send the signals to as a destination. To use the modulation that was sent to a bus, assign the corresponding bus as a modulation source.
FlexPhraser The FlexPhraser is an arpeggio and phrase player. Each program features up to five FlexPhrasers: one for each layer and one for the program. While the program FlexPhrasers always work with phrases, the functionality of layer FlexPhrasers changes with the layer type. For synth, sample, instrument, or drum layers, a FlexPhraser can play back anything from basic synth arpeggios over dynamic drum phrases to realistic accompaniment phrases for guitar, bass, piano, etc.
FlexPhraser Loading Phrases Loading Phrases Phrases are sorted into subfolders, according to the type of instrument. Each instrument subfolder contains phrases of different musical styles. NOTE Some FlexPhrases make extensive use of key switches to switch between multiple playing styles of an instrument while playing. These phrases can be found on the Construction Sets submenu. They work best with the corresponding instrument layers. PROCEDURE 1. At the top of the FlexPhraser, click in the Phrase field.
FlexPhraser FlexPhraser Parameters NOTE KSOff filters out any note events that do not transpose with your playing. Therefore, it is not recommended for the use with drum phrases. MIDI Record Allows you to record the MIDI output of the FlexPhraser. Variation buttons Allow you to create up to eight variations of your phrase. Loop If this option is activated, the phrase plays in a loop. Sync Synchronizes the phrase to the tempo of your host application.
FlexPhraser FlexPhraser Parameters Restart Mode • If this is set to Off, the phrase runs continuously and does not restart at chord or note changes. • New Chord restarts the phrase on new chords. NOTE The phrase does not restart upon notes that are played legato. • New Note restarts the phrase with each new note that you play. • Sync to Host aligns the phrase with the beats and measures of your host application each time that you start the transport.
FlexPhraser FlexPhraser Parameters • If Aftertouch is selected, the triggered notes get their velocity from the aftertouch controller. • If Poly Pressure is selected, the triggered notes get their velocity from the poly pressure controller. This allows you to control the velocity per key. Fetch If the Vel Controller pop-up menu is set to Aftertouch, Poly Pressure, or a MIDI controller, the Fetch option can be used to change the way that the notes are generated.
FlexPhraser Recording the MIDI Output of the FlexPhraser Octaves Extends the phrase playback to include higher or lower octaves. Positive settings extend the playback to higher and negative settings to lower octaves. For example, a value of +1 first plays the phrase in the octave range that you originally played. Then, it repeats the phrase one octave higher. Key Range The Low Key and High Key parameters determine the key range that is used to trigger phrase playback.
FlexPhraser Variations • If you are adding notes to those already held, the sequence changes accordingly, for example, the phrase plays back according to the chord you play. Variations For each FlexPhraser, you can set up 8 different variations of phrases. You can switch between them with the variation buttons at the top right.
FlexPhraser User Phrases For user phrases, the regular FlexPhraser parameters are available, except for the KSOff button. User Phrase Editor In the user phrase editor, you can set up your user phrases. To open the user phrase editor, click Show Editor Page . You can display the velocity curve or two MIDI controller sequences for the phrase. Phrase To load a phrase, select it from the Phrase pop-up menu.
FlexPhraser User Phrases Key Select The FlexPhraser scans the keyboard and writes the keys that are pressed into a note buffer. Depending on the selected Key Mode, this note buffer is sorted either by pitch or in the order in which you play the keys. Key Select allows you to play back a defined key from the note buffer. You can set up Key Select for each step separately, which allows you to create very elaborate phrases. NOTE Key Select cannot be used in Step or Chord mode.
FlexPhraser User Phrases • 1st replaces the missing keys by the first note in the note buffer. • Last replaces the missing keys with the last note in the note buffer. • All replaces the missing keys with all notes in the note buffer. The notes are played as a chord. NOTE Key Replace can be set separately for each variation. Wrap For all modes except Step and Chord, you can use this parameter to restart the arpeggio after a specified number of steps. NOTE Deactivated steps are taken into account.
FlexPhraser User Phrases • To specify the number of steps for the pattern, drag the pattern length handle to the right or left. Activating Steps A phrase can contain up to 32 steps. Only the steps that are activated are played. • To activate a step, click its On/Off button below the display. This can be necessary if you change the gate length of one step so that it overlaps the following step, thereby deactivating it.
FlexPhraser User Phrases You can only adjust the length this way until a step reaches the next step. If you increase the gate length of a step so that it overlaps the following step, this following step is deactivated. • To reset the length of a step to 1, Ctrl/Cmd-click its highlighted right border. • To reset the length of all steps, hold down Shift-Ctrl/Cmd and click on a highlighted right border. • To fill the gaps between consecutive steps, select Fill Gap or Fill All Gaps from the context menu.
Managing Your Sounds About Programs, Layers, Multis, Macro Pages, and Presets Programs A program is a complex instrument or sound that can consist of up to 4 layers. Often, a program contains a single layer that comes with all necessary components, such as the synthesis part or insert effects. Programs add the possibility of combining different layers to build up more complex sounds or to create combinations of sounds that you want to load as a unit.
Managing Your Sounds Loading Programs Instrument Layers Instrument layers contain several multi-samples of an instrument that can be parts of single sounds or different articulations. These sublayers are called expressions. You can modify expression parameters. By switching off an expression, you can shorten the load time of a sound. Multis HALion Sonic is a multitimbral plug-in that can load up to 16 sounds (or programs) and combine them. This combination is called a multi-program, or multi for short.
Managing Your Sounds Load Dialog RELATED LINKS Slot Context Menu on page 91 Load Dialog The Load dialog contains many of the MediaBay functions, allowing for very sophisticated search criteria. RELATED LINKS Applying Filters on page 93 Managing Files via the MediaBay on page 93 Results List on page 94 Slot Rack The Slot Rack has 16 slots. Each slot can hold a program, that is, you can work with 16 programs at the same time. Once a program is loaded in the Slot Rack, it can be played and edited.
Managing Your Sounds Slot Rack Slot Context Menu The context menu provides a number of functions for managing programs. Load Program Opens the program loader. Double-click a program or layer to load it into this slot. Save Program Saves the program. If you try to overwrite write-protected factory content, a dialog opens that allows you to save the edited program under a new name. Save Program As Allows you to save the program under a new name.
Managing Your Sounds Managing and Loading Files Managing and Loading Files You can use the MediaBay to manage, navigate to, and load different file types. Managing Multis Multis can load multiple sounds or programs and combine them. You can use multis to layer several programs or to create split sounds by setting several programs to the same MIDI input channel, for example. However, the most common usage is to create sound sets with different instruments set to individual MIDI channels.
Managing Your Sounds Managing and Loading Files If the entered name already exists, the Make Unique Name option adds a number suffix to the name of the new multi. Saving a Multi as Default • To specify a default multi to be loaded with HALion Sonic, use the Save as Default command on the context menu for the multi loader. Creating Subfolders for User-Defined Multis You can create subfolders inside the user preset folder to organize presets.
Managing Your Sounds Managing and Loading Files • To select different filter criteria, click the column header and select a different attribute from the submenu. Content Set Filter Use the Select Content Set pop-up menu to search a specific content set. By default, the search is performed in all installed content sets. Results List The results list shows all files that have been found according to the category filter.
Managing Your Sounds Managing and Loading Files Content Filters The content filter buttons allow you to define whether to show all presets, only the factory presets, or only your user presets. Columns The columns show all the attribute values for the presets that match the filters that you set up in the top section. Set Up Result Columns Allows you to select which attribute columns to display on the toolbar.
Managing Your Sounds Managing and Loading Files RESULT Now, you can use MIDI program change messages to load the assigned sounds into the slot of the corresponding MIDI channel. NOTE Slot 10 ignores any program change messages and keeps the loaded drum set. Loading Programs into Slots To load a program into one of the slots of the Slot Rack, you have the following possibilities: • Select the slot into which you want to load the program, and double-click the program in the results list.
Managing Your Sounds Managing and Loading Files Deleting User Presets • To delete a user preset, right-click it and select Delete from the context menu. NOTE Factory presets cannot be deleted. Multi Chains On the Multi page, you can combine up to 128 multis as a multi chain. You can step through the multis manually or via MIDI control change messages. This feature is particularly useful when performing live on stage.
Managing Your Sounds Managing and Loading Files Multi Page The list of multis in your chain is displayed on the right. If you select a multi in this list, its name is displayed in the field above the list, and the corresponding programs are displayed on the left. • To load the next or the previous multi, use the Load Previous Multi/Load Next Multi buttons above the list. • To load a specific multi, select it in the list. On Activates/Deactivates the corresponding program.
Managing Your Sounds Managing and Loading Files Multi List The multi list contains 128 slots. To load a multi in a slot, click the arrow button and select a multi. Assigning MIDI Controllers to the Previous/Next Buttons For switching through the multi chain, you can also use MIDI controllers, such as a potentiometer, a fader, or the modulation wheel. You can use the same MIDI controller for Load Previous Multi and Load Next Multi, or select a different controller for each function.
Automation You can automate most of the HALion Sonic parameters from within your host application, whether these are parameters of a program or global parameters such as AUX effects. NOTE • To automate parameters of multiple layers relatively, use quick controls and automate these instead. • Not all parameters can be automated. Automation Page All assigned automation parameters are shown on the Automation page. To access this page, open the Options page and activate the Automation tab at the top.
Automation Setting Up Automation Creating Automation Parameters • To assign a parameter to an automation parameter, right-click the parameter control and select Assign to New Automation. The automation parameter is created on the first free automation parameter. • To add a parameter to an existing automation parameter, right-click the control, select Add to Automation and select the automation parameter.
MIDI Editing and Controllers MIDI Page The MIDI page gives you access to the MIDI slot parameters of HALion Sonic. Parameters Channel The slot receives MIDI signals on the MIDI port and channel that are specified here. You can set multiple slots to the same MIDI channel and trigger them simultaneously with the same note events. Polyphony Specifies how many notes can be played at the same time.
MIDI Editing and Controllers MIDI Controllers Key Range (Low Key, High Key) Allows you to limit the key range for a slot. Velocity Range (Low Vel, High Vel) Allows you to limit the velocity range for a slot. Controller Filter Allows you to filter out the most commonly used MIDI controllers. MIDI Controllers You can assign the parameters volume, pan, mute, solo, send FX 1–4, and the quick controls of each slot to a MIDI controller.
MIDI Editing and Controllers MIDI Controllers Setting the Parameter Range You can set the minimum and maximum values for the parameter for each assignment separately. This gives you more control over the parameter, for example, when you are performing live on stage. PROCEDURE 1. Set the parameter to the minimum value. 2. Right-click the control and select Set Minimum from the context menu. 3. Set the parameter to the maximum value. 4. Right-click the control and select Set Maximum.
MIDI Editing and Controllers MIDI Controllers Automation and Factory MIDI Controller Assignment Several parameters on the plug-in interface are available for automation from your host software and can be assigned to an external MIDI controller. The table shows the controller numbers and names of the default factory MIDI controller assignment. The assigned MIDI controller numbers are the same for all slots. However, the MIDI controllers listen only to the MIDI channels of the corresponding slot.
Mixing and Effect Handling Mix Page The Mix page gives you access to the audio parameters of HALion Sonic. This comprises the level and pan settings, as well as the AUX effect sends and the output selector. To monitor the output levels, each slot also features a level meter. Mix Page Parameters On Activates/Deactivates MIDI input of the slot. If you deactivate a slot, its MIDI communication is interrupted and sounds are no longer processed in the background. Level Sets the output level of the slot.
Mixing and Effect Handling Effect Handling FX 1–4 These controls specify the amount of signal that is sent to the four auxiliary busses that host up to four effects each. Output Specifies to which of the 16 plug-in outputs the slot is routed. Effect Handling The busses can be routed to the main plug-in output or to one of the individual outputs. The Effects page also provides access to the main output bus which also features four inserts.
Mixing and Effect Handling Effect Handling • To edit an insert effect, click the e button of the corresponding slot. You can edit only one effect at a time. The parameters of the insert effect are displayed in the bottom section. • To move an effect to another slot, click its drag icon and drag it to another slot. This replaces any effect loaded in this slot. • To change the order of the effects, drag them by their drag icon to a new position between two slots.
Included Instruments HALion Sonic comes with a factory library containing powerful instruments. For each instrument, an intuitive macro page is available, offering a rich palette of presets. Auron The Auron synth uses granular synthesis with up to 8 grain streams to produce oscillator waveforms. With the integrated arpeggiator and step sequencer, you can create anything from sequencer lines to stepped chords.
Included Instruments Auron You can select samples on the sample selector that is opened by clicking the little triangle in the upper left of the page. Osc Page On this page, you can make settings for the grain oscillator. Position You can set the playback position of the grains manually. For example, at a setting of 50 %, the playback position is in the middle of the sample. The playback position is updated with every new grain.
Included Instruments Auron Width Narrows the stereo width of the grain oscillator. It is applied after the grain oscillator and does not affect the stereo width of the actual sample. At a setting of 0 %, the output of the grain oscillator is monophonic. Auto Gain Allows you to automatically adjust the level of grains using quieter sample parts. This way, you get a more homogeneous signal and you can use a quiet part of a sample as source. Grains Allows you to specify the number of grains, from 1 to 8.
Included Instruments Auron Freq Controls the frequency of the modulation, that is, the speed of the LFO. Sync If Sync is activated, the frequency is set in fractions of beats. Position Controls the modulation depth of the grain position modulation. Formant Controls the modulation depth of the grain formant modulation. Duration Controls the modulation depth of the grain duration modulation. Cutoff Controls the modulation depth of the filter cutoff modulation.
Included Instruments Auron Voice Page Polyphony If Mono mode is deactivated, you can use this parameter to specify how many notes can be played simultaneously. Octave Adjusts the pitch in octave steps. Coarse Adjusts the pitch in semitone steps. Fine Allows you to fine-tune the pitch in cent steps. Fixed Pitch Activate this option if you do not want the sample to be transposed over the keyboard.
Included Instruments Auron one note and quickly and repeatedly pressing and releasing another note, for example. Trigger Mode Defines the trigger behavior for new notes. • Normal triggers a new note when the previous note gets stolen. The sample and the envelope of the new note are triggered from the start. To minimize discontinuities, use the Fade Out parameter of the zone. • Resume does not always trigger a new note.
Included Instruments Auron • BR12+LP6 and BR12+LP12 are combinations of a band-reject filter with 12 dB/oct and a low-pass filter with 6 and 12 dB/oct, respectively. Frequencies around and above the cutoff are attenuated. • BP12+BR12 is a band-pass filter with 12 dB/oct plus a band-reject filter with 12 dB/oct. Frequencies below, above, and around the cutoff are attenuated. • HP6+BR12 and HP12+BR12 are combinations of a high-pass filter with 6 and 12 dB/oct and a band-reject filter with 12 dB/oct.
Included Instruments Auron Decay Controls the decay time of the filter envelope. Sustain Controls the sustain level of the filter envelope. Release Controls the release time of the filter envelope. Amplifier Section Level Controls the overall volume of the sound. Velocity Controls the level modulation from velocity. At 0, all notes are played with the same level. Amplifier Envelope Section Attack Controls the attack time of the amplifier envelope. Decay Controls the decay time of the amplifier envelope.
Included Instruments Trium RELATED LINKS FlexPhraser on page 76 Trium Trium was designed to create modern and rich sounds. It comes with 3 oscillators, a sub oscillator, a ring modulator, and a noise generator. With the integrated arpeggiator and step sequencer, you can create anything from sequencer lines to stepped chords. The oscillators are followed by a multi-mode filter that offers a large number of different filter shapes.
Included Instruments Trium (sine, triangle, saw, or square) is reset with each full wave cycle of the master oscillator. This means that a single oscillator can produce a rich sync-sound without using other oscillators as slave or master. The Waveform parameter adjusts the pitch of the slave oscillator, producing the typical sync sound.
Included Instruments Trium • Spread narrows or widens the stereo panorama. With a setting of 0 %, you create a mono signal, and with 100 %, you create a stereo signal. Sub Page The Sub page contains the parameters for the sub oscillator, the ring modulator, and the noise generator. Activate the sub oscillator, the ring modulator, and the noise generator by clicking their On/ Off buttons.
Included Instruments Trium Ring Modulation Level Adjusts the output level of the ring modulation. Noise Generator The Noise parameter is used for non-pitched sounds. In addition to standard white and pink noise, there are also band-pass filtered versions of white and pink noise. Noise Type The sound color of the noise. You can choose between standard and band-pass filtered (BPF) versions of white and pink noise. Noise Level Adjusts the output level of the noise generator.
Included Instruments Trium Trigger Mode Defines the trigger behavior for new notes. • Normal triggers a new note when the previous note gets stolen. The sample and the envelope of the new note are triggered from the start. To minimize discontinuities, use the Fade Out parameter of the zone. • Resume does not always trigger a new note. If the new note stays within the same zone, the envelope is retriggered, but resumes at the level of the stolen note. The pitch of the zone is set to the new note.
Included Instruments Trium Cutoff Controls the modulation depth of the filter cutoff modulation. Osc1/2/3 Wave These parameters control the modulation depth of the waveform modulation of the three main oscillators. NOTE These controls are only available if the selected oscillator type supports waveform modulation. Mod Wheel Settings Vib Freq Controls the frequency of the second LFO that is used for pitch modulation (vibrato). Vib Depth Controls the depth of the pitch modulation (vibrato).
Included Instruments Trium • HP24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies below the cutoff are attenuated. • BR12 and BR24 are band-reject filters with 12 and 24 dB/oct. Frequencies around the cutoff are attenuated. • BR12+LP6 and BR12+LP12 are combinations of a band-reject filter with 12 dB/oct and a low-pass filter with 6 and 12 dB/oct, respectively. Frequencies around and above the cutoff are attenuated.
Included Instruments Trium Filter Envelope Section Attack Controls the attack time of the filter envelope. Decay Controls the decay time of the filter envelope. Sustain Controls the sustain level of the filter envelope. Release Controls the release time of the filter envelope. Amplifier Section Level Controls the overall volume of the sound. Velocity Controls the level modulation from velocity. At 0, all notes are played with the same level.
Included Instruments Voltage Arp Page This page contains the same parameters as the FlexPhraser. RELATED LINKS FlexPhraser on page 76 Voltage Voltage is a two-oscillator and noise synthesizer that can be used for synth basses, but it also allows you to create any kind of classic monophonic and polyphonic synth sound. With the integrated arpeggiator and step sequencer, you can create anything from sequencer lines to stepped chords.
Included Instruments Voltage Oscillator Section Oscillator 1/2 Waveform Sets the waveform for the oscillator. You can choose between saw, triangle, and square. Oscillator 1/2 Level Controls the level of the oscillators. PWM PWM (pulse width modulation) is only available for the square waveform. Activate this option if you want to be able to let the LFO modulate the width of the wave. Osc 2 Coarse Detunes the second oscillator by +/-12 semitones. Osc 2 Fine Detunes the second oscillator by +/- 100 cents.
Included Instruments Voltage Distortion Adds tube-like distortion to the signal. Envelope Amount Controls the cutoff modulation from the filter envelope. Cutoff Velocity Controls the cutoff modulation from velocity. Cutoff Key Follow Adjusts the cutoff modulation using the note number. Increase this parameter to raise the cutoff with higher notes. At 100 %, the cutoff follows the played pitch exactly. Amplifier Section Level Controls the overall volume of the sound.
Included Instruments Voltage Glide Allows you to bend the pitch between notes that follow each other. You achieve the best results in Mono mode. Fingered Activate this parameter to glide the pitch only between notes that are played legato. Mono Activates monophonic playback. Retrigger This option is only available in Mono mode. If Retrigger is activated, a note that was stolen by another note is retriggered if you still hold the stolen note when you release the new one.
Included Instruments Voltage LFO Section Freq Controls the frequency of the modulation, that is, the speed of the LFO. Sync If Sync is activated, the frequency is set in fractions of beats. Cutoff Controls the modulation depth of the filter cutoff modulation. Pitch Controls the modulation depth of the pitch modulation. PWM Controls the modulation depth of the pulse width modulation of the square oscillators.
Included Instruments Voltage Filter Envelope Section Attack Controls the attack time of the filter envelope. Decay Controls the decay time of the filter envelope. Sustain Controls the sustain level of the filter envelope. Release Controls the release time of the filter envelope. Amp Envelope Section Attack Controls the attack time of the amplifier envelope. Decay Controls the decay time of the amplifier envelope. Sustain Controls the sustain level of the amplifier envelope.
Included Instruments Model C Arp Page This page contains the same parameters as the FlexPhraser. RELATED LINKS FlexPhraser on page 76 Model C Model C is a classic tonewheel organ emulation with 9 drawbars and 3 additional drawbars for the percussion. Model C comes with an integrated and highly configurable rotary effect, as well as an amplifier emulation using VST Amp technology.
Included Instruments Model C Drawbars The main drawbars on the left adjust the levels of the individual tonewheels. The three drawbars on the right adjust the levels of the tonewheels that are used for percussion. Rotary Allows you to switch from fast to slow speaker rotation. In the middle position, rotation is stopped. On the Rotary page, you can make detailed settings for the effect. Attack Adjusts the attack time of the organ sound.
Included Instruments Model C • Steal 1' – Typically, on an electromechanical organ, the 1' drawbar is not available when percussion is activated. To prevent this, deactivate the Steal 1' option. • Poly – Typically, percussion in drawbar organs is monophonic, that is, when you play a key, the percussion envelope is triggered for this note. As long as the key is held, no new percussion can be retriggered. If you play a legato section, for example, percussion is only applied to the very first note or chord.
Included Instruments Model C Amp Page The settings on this page only have an effect on the sound if signals are sent to the amp using the Rotary/Amp dial on the Organ page. The parameters correspond to those of the VST Amp effect, with reduced microphone and microphone position options.
Included Instruments Model C On/Off Activates/Deactivates the ring modulator effect. LFO Freq Sets the frequency of the LFO for modulating the frequency of the sine oscillator. LFO Depth Sets the intensity of the LFO modulation of the sine oscillator frequency. Sine Freq Sets the frequency of the sine oscillator. Mix Sets the ratio between the dry and the wet signal. Phaser On/Off Activates/Deactivates the Phaser effect. Rate Sets the frequency of the phase modulation in Hertz.
Included Instruments Model C On/Off Activates/Deactivates the Delay effect. Delay Mode With this dial, you can switch between the three available delay modes: • St (Stereo) – This mode has two delays in parallel, one for the left and one for the right audio channel, each with a feedback path of its own. • Cross – This mode has two delays with cross feedback. Cross feedback means that the delay of the left channel is fed back into the right delay and vice versa.
Included Instruments HALiotron Mix Sets the ratio between the dry and the wet signal. HALiotron HALiotron emulates the sound generation of the pre-digital sampling era. Before the introduction of digital samplers, original instrument sounds were created by playing a pre-recorded tape for every key. HALiotron comes with seven different tapes from these days, which can be blended to create sound mixtures.
Included Instruments HALiotron A, B, C Click here to select one of the included tapes for each dial position. Use the dial to blend seamlessly between the tapes. Attack Adjusts the attack time of the sound. Release Adjusts the release time of the sound. Velocity Controls the influence of the velocity on the level of the sound. Pitchbend Up/Pitchbend Down Determines the range for the modulation that is applied when you move the pitchbend wheel. Coarse Tune Adjusts the sound in semitone steps.
Included Instruments B-Box Attack Controls the attack time of the filter envelope. Decay Controls the decay time of the filter envelope. Sustain Controls the sustain level of the filter envelope. B-Box B-Box provides you with a veritable drum computer inside HALion Sonic. It comes with 13 instrument lanes that can make use of up to 128 different sounds. You can set up your drum patterns, create variations, and modify each drum sound using a low-pass filter and several distortion modes.
Included Instruments B-Box • To change the drum sound for a lane, set a new value in the Sound column. You can choose between up to 128 drum sounds, depending on the selected drum instrument. • To preview a drum sound, click the trigger button to the right of the instrument name. • To add drum steps to the pattern, click on the step fields in the pattern editor. To add drum steps for all fields on a lane in one go, hold down Shift and click on a field.
Included Instruments B-Box Fine Fine-tunes the instrument in cent steps. Pan Adjusts the panorama position. Cutoff Adjusts the cutoff frequency for the instrument. Resonance Adjusts the filter resonance for the instrument. Distortion Type Sets the distortion type. You can choose between Tube, Hard Clip, Bit Reduction, and Rate Reduction. Distortion Sets the amount of distortion for the instrument. Level Sets the level of the instrument.
Included Instruments B-Box Mix Page On the Mix page, you can add effects to the patterns. Level Adjusts the level of the instrument. Pan Adjusts the panorama position of the instrument. Delay Determines how much of the signal is sent to the delay effect. Reverb Determines how much of the signal is sent to the reverb effect. Output Here, you can select one of the available plug-in outputs. AUX Page On the Aux page, you can make global settings for B-Box and the included effects.
Included Instruments B-Box Performance Section Loop If this option is activated, the pattern plays back in a loop. Hold • If this parameter is set to Off, the pattern changes immediately when a key is released. The pattern stops immediately when all keys are released. • If the parameter is set to On, the pattern plays to the end even when the keys are released. If the Loop option is activated, the pattern plays continuously in a cycle.
Included Instruments B-Box • Sync to Host – Aligns playback with the beats and measures of your host application. Playback is synchronized every time you start the transport. • Follow Transport – Playback starts and stops automatically together with the transport controls in your host application. Input Mode Keys that trigger the pattern are shown in green on the HALion Sonic keyboard. Keys that are assigned to an instrument sound are shown as regular black and white keys.
Included Instruments World Instruments Velocity Scale Allows you to raise or lower the note-on velocities of the pattern. At a value of 100 %, the notes play with their original velocity. Delay and Reverb Section The delay and reverb effect have the same parameters as the Multi Delay and Reverb effects. Delay Adjusts the general amount of delay. Reverb Adjusts the general amount of reverb. Master Adjusts the overall volume of B-Box.
Included Instruments World Instruments Filter Section Filter Shape • LP24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies above the cutoff are attenuated. • BP12 and BP24 are band-pass filters with 12 and 24 dB/oct. Frequencies below and above the cutoff are attenuated. • HP6+LP18 and HP6+LP12 are combinations of a high-pass filter with 6 dB/ oct and a low-pass filter with 18 and 12 dB/oct, respectively (asymmetric band-pass filter).
Included Instruments World Instruments Filter Envelope Attack Controls the attack time of the filter envelope. Decay Controls the decay time of the filter envelope. Sustain Controls the sustain level of the filter envelope. Release Controls the release time of the filter envelope. Amp Section Key Delay Delays playback of the notes. This parameter can be used when working with multiple programs or layers.
Included Instruments World Instruments Pitchbend Up/Pitchbend Down Determines the range for the modulation that is applied when you move the pitchbend wheel. LFO Section Freq Controls the frequency of the modulation, that is, the speed of the LFO. Sync If Sync is activated, the frequency is set in fractions of beats. Pitch Controls the modulation depth of the pitch modulation. Cutoff Controls the modulation depth of the filter cutoff modulation.
Included Instruments World Percussion Arp Page This page contains the same parameters as the FlexPhraser. RELATED LINKS FlexPhraser on page 76 World Percussion World Percussion delivers a great variety of ethnic percussion instruments and associated MIDI phrases. The instruments can be globally fine-tuned with filter and amp settings which in turn can make use of envelope settings. The built-in MIDI player allows you to use the included MIDI phrases or to import your own MIDI phrases.
Included Instruments World Percussion On/Off button Activates/Deactivates the MIDI player part of World Percussion. Variation buttons You can configure up to eight different variations of your sounds and switch between them with the variation buttons. NOTE To avoid switching variations in the middle of a beat or measure, use the trigger modes Next Beat or Next Measure. Loading Phrases To load a phrase, click in the Phrase field and select a phrase from the selector.
Included Instruments World Percussion • First Note – The loop restarts when a note is triggered and no other notes are already held. • Each Note – The loop restarts each time a note is triggered. • Sync to Host – Select this to align the loop with the beats and measures of your host application. The loop aligns to the beats and measures each time you start the transport. • Follow Transport – Playback starts and stops automatically together with the transport controls in your host application.
Included Instruments World Percussion Pitch Activate this option to set the pitch of the drum sounds according to the center key. Performance Section Tempo Scale Defines the rate at which notes are triggered, that is, the speed at which the phrase is running. In addition to the Tempo parameter, this gives you further control over the playback speed. You can specify a value in fractions of beats. You can also set dotted and triplet note values.
Included Instruments Anima Envelope Amount Controls the cutoff modulation from the filter envelope. Cutoff Velocity Controls the cutoff modulation from velocity. Decay Controls the decay time of the filter envelope. Amp Section Level Controls the overall volume of the sound. Velocity Controls the level modulation from velocity. At 0, all notes are played with the same level. Decay Controls the decay time of the amplifier envelope.
Included Instruments Anima large number of different noise types. These range from classic noises like white and pink noise over drum attacks and rhythmical noises to specifically filtered colored noises and unique circuit noises, recorded from various electronic devices. This powerful collection of noises can be used to add inharmonic frequencies to create atmospheric sound or add transients for rich and percussive attacks, for example.
Included Instruments Anima • If Random Phase is selected, the start phase is randomly set to a different value each time that you trigger a note. In contrast to Free Phase, there is no continuity in the phase of the waveform. • If Fixed Phase is selected, the oscillator runs with a fixed start phase that can be specified between 0 and 360 degrees. Octave Adjusts the pitch in octave steps. Coarse Adjusts the pitch in semitone steps. Fine Adjusts the pitch in cent steps.
Included Instruments Anima • Alt: The wavetable plays in an alternate loop, that is, the loop is alternately played forward and backward. The first direction depends on the Playback Direction setting. Speed Determines the rate at which the envelope plays through the wavetables. At +100 %, the envelope plays back at its original speed. A value of +50 % corresponds to half the original speed, and +200 % to twice the original speed, for example. This parameter is unipolar.
Included Instruments Anima On/Off Activates/Deactivates the formant settings. Formant Allows you to shift the formants of the entire wavetable by a fixed value. Key Follow Allows you to shift the formants depending on the played note. • A value of 100 % means that the formant frequency moves with the played note. • A value of 0 % means that the formants kept the same for all notes. You can invert the behavior of the formant shift by setting Key Follow to negative values.
Included Instruments Anima Sub Oscillator Section Type The wave shape of the sub oscillator. You can choose between Sine, Triangle, Saw, Square, Pulse Wide, and Pulse Narrow. Retrigger Mode • If Free Phase is selected, the behavior of analog synthesizers is emulated. The oscillator is running freely and continuously. • If Random Phase is selected, the start phase is randomly set to a different value each time that you trigger a note.
Included Instruments Anima If Follow Pitch is deactivated, the duration is independent of the zone pitch and determined by the Duration settings. Loop Activate this button to play the noise sample in a loop. If this button is not activated, the sample is played once. Speed Adjusts the playback speed of the noise sample. A setting of 800.0 % equals an increase of three octaves in pitch. Speed Key Follow Allows you to adjust the speed modulation by MIDI note number.
Included Instruments Anima This modifier is used to scale the output of the modulation source. 3. Optional: Specify whether you want the Source and Modifier parameters to be unipolar or bipolar. 4. Set the modulation intensity with the Depth parameter. 5. Click in the modulation Destination field and select the parameter that you want to modulate.
Included Instruments Anima Arp Controller 1–3 The 3 controllers available on this submenu correspond to the three controller lanes on the Arp page. Bus 1–8 Modulations that are sent to one of the eight busses can be reused as sources. This way, you can combine several modulations to produce more complex signals. Quick Control 1–8 The quick controls can be used as modulation signal. Unipolar vs. Bipolar Sources The polarity of a modulation source specifies the value range that it produces.
Included Instruments Anima WT 1/2 Level Modulates the Level parameter of the corresponding wavetable oscillator. WT 1/2 Pan Modulates the Pan parameter of the corresponding wavetable oscillator. WT 1/2 Multi Detune Modulates the multi-oscillator Detune parameter of the corresponding wavetable oscillator. WT 1/2 Multi Pan Modulates the multi-oscillator Pan parameter of the corresponding wavetable oscillator.
Included Instruments Anima Amp Env Attack Modulates the attack time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts. Amp Env Decay Modulates the decay time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts. Amp Env Sustain Modulates the sustain level of the amplitude envelope.
Included Instruments Anima Env 3 Attack Level Modulates the attack level of the user-definable envelope 3, that is, the level of the second envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts. Env 3 Decay Modulates the decay time of the user-definable envelope 3. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.
Included Instruments Anima Retrigger This option is only available in Mono mode. If Retrigger is activated, a note that was stolen by another note is retriggered if you still hold the stolen note when you release the new one. This way, you can play trills by holding one note and quickly and repeatedly pressing and releasing another note, for example. Trigger Mode Defines the trigger behavior for new notes. • Normal triggers a new note when the previous note gets stolen.
Included Instruments Anima negative values to lower the pitch the higher you play. At a setting of +100 %, the pitch follows the played note exactly. Distribution Allows you to specify how unison voices are spread in pitch. Changing the unison voice distribution will create different modulations between the unison voices. • If this is set to 0, the distribution is linear, that is, all voices have an equal distance in their pitch offset.
Included Instruments Anima • BR12 and BR24 are band-reject filters with 12 and 24 dB/oct. Frequencies around the cutoff are attenuated. • BR12+LP6 and BR12+LP12 are combinations of a band-reject filter with 12 dB/oct and a low-pass filter with 6 and 12 dB/oct, respectively. Frequencies around and above the cutoff are attenuated. • BP12+BR12 is a band-pass filter with 12 dB/oct plus a band-reject filter with 12 dB/oct. Frequencies below, above, and around the cutoff are attenuated.
Included Instruments Anima Filter Envelope On the left on the Env F/A tab, you can set up the filter envelope. Attack Controls the attack time of the filter envelope. Decay Controls the decay time of the filter envelope. Sustain Controls the sustain level of the filter envelope. Release Controls the release time of the filter envelope. Amplifier and Amplifier Envelope On the right of the Env F/A tab, you can make settings for the amplifier and the amplifier envelope.
Included Instruments Anima Decay Controls the decay time of the amplifier envelope. Sustain Controls the sustain level of the amplifier envelope. Release Controls the release time of the amplifier envelope. Env3 Section The Env3 section provides an additional envelope that can be routed freely in the modulation matrix. This envelope is bipolar, therefore, it is particularly suited to modulate destinations like pan or pitch, for example.
Included Instruments Anima • Triangle is similar to Sine. Shape continuously changes the triangle waveform to a trapezoid. • Saw produces a ramp cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up. • Pulse produces stepped modulation, where the modulation switches abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. If Shape is set to 50 %, a square wave is produced. • Ramp is similar to the Saw waveform.
Included Instruments Skylab Arp Page This page contains the same parameters as the FlexPhraser. RELATED LINKS FlexPhraser on page 76 Skylab The Skylab synth is an instrument that produces a wide range of sounds that are perfectly suited to create cinematic or ambient soundtracks. It comes with a large number of multisamples that provide a variety of evolving pads and soundscapes as well as typical orchestral sounds like strings, brass, and choirs, allowing you to create huge and epic sounds.
Included Instruments Skylab Skylab contains four pages: Osc, Mod, Voice, and Arp. To show the settings for a page, click the corresponding page button. The button for the Arp page also contains an On/Off button for the arpeggiator. Osc Page On this page, you can specify whether you want to use a sample or a grain oscillator and make settings for the oscillator. Sample Mode In Sample Mode, you can load different multi-samples. These samples are played back normally.
Included Instruments Skylab Position You can set the playback position of the grains manually. For example, at a setting of 50 %, the playback position is in the middle of the sample. The playback position is updated with every new grain. Random Position Selects a random playback position within a specific range around the current position. At a setting of 100 %, the playback position jumps to a random position between the start and the end of the sample.
Included Instruments Skylab Auto Gain Allows you to automatically adjust the level of grains using quieter sample parts. This way, you get a more homogeneous signal and you can use a quiet part of a sample as source. Grains Allows you to specify the number of grains, from 1 to 8. For example, with a setting of 4, you get 4 grains per period of the grain duration. To hear the effect of this setting, you have to play a new note. Fixed Pitch Plays the sample at a fixed pitch.
Included Instruments Skylab 5. Click in the modulation Destination field and select the parameter that you want to modulate. Modulation Matrix Parameters Modulation Sources and Modulation Modifiers The following options are available as modulation sources and as modulation modifiers. LFO A/B The LFOs A and B produce cyclic modulation signals. Amp Envelope The amplifier envelope. The shape of the envelope determines the modulation signal. Filter Envelope The filter envelope.
Included Instruments Skylab Bus 1–8 Modulations that are sent to one of the eight busses can be reused as sources. This way, you can combine several modulations to produce more complex signals. Quick Control 1–8 The quick controls can be used as modulation signal. Unipolar vs. Bipolar Sources The polarity of a modulation source specifies the value range that it produces. Unipolar sources modulate between 0 and +1. Bipolar sources modulate between -1 and +1.
Included Instruments Skylab Grain Duration Modulates the grain duration, that is, the frequency at which the grains repeat. The maximum modulation range at a modulation depth of 100 % is -5 to +5 octaves. Grain Pitch Modulates the pitch of a grain. The modulation is not continuous, but it is updated at the start of a new grain. For continuous pitch modulation, use Pitch instead of Grain Pitch as destination and make sure that Follow Zone Pitch is activated in the grain oscillator.
Included Instruments Skylab Filter Env Sustain Modulates the sustain level of the filter envelope. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts. Filter Env Release Modulates the release time of the filter envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.
Included Instruments Skylab Voice Page Voice Section Polyphony If Mono mode is deactivated, you can use this parameter to specify how many notes can be played simultaneously. Mono Activates monophonic playback. Retrigger This option is only available in Mono mode. If Retrigger is activated, a note that was stolen by another note is retriggered if you still hold the stolen note when you release the new one.
Included Instruments Skylab • Legato Keeps Zone does not trigger a new note upon note stealing. The envelope keeps running and the pitch of the zone is set to the new note, even if the new note plays in a different zone. Glide Section Glide Allows you to bend the pitch between notes that follow each other. You achieve the best results in Mono mode. Fingered Activate this parameter to glide the pitch only between notes that are played legato.
Included Instruments Skylab • HP6+LP18 and HP6+LP12 are combinations of a high-pass filter with 6 dB/ oct and a low-pass filter with 18 and 12 dB/oct, respectively (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies above the cutoff. • HP12+LP6 and HP18+LP6 are combinations of a high-pass filter with 12 and 18 dB/oct and a low-pass filter with 6 dB/oct (asymmetric band-pass filter).
Included Instruments Skylab Cutoff Velocity Controls the cutoff modulation from velocity. Cutoff Key Follow Adjusts the cutoff modulation using the note number. Increase this parameter to raise the cutoff with higher notes. At 100 %, the cutoff follows the played pitch exactly. Filter Envelope On the left on the Env F/A tab, you can set up the filter envelope. Attack Controls the attack time of the filter envelope. Decay Controls the decay time of the filter envelope.
Included Instruments Skylab Velocity Controls the level modulation from velocity. At 0, all notes are played with the same level. Amplifier Envelope Parameters Attack Controls the attack time of the amplifier envelope. Decay Controls the decay time of the amplifier envelope. Sustain Controls the sustain level of the amplifier envelope. Release Controls the release time of the amplifier envelope. Env3 Section The faders below the envelope display set the following parameters: • L0 sets the start level.
Included Instruments Skylab LFO Section In the LFO section, you can make settings for LFO A and LFO B. LFO Waveform and Shape • Sine produces smooth modulation, suitable for vibrato or tremolo. Shape adds additional harmonics to the waveform. • Triangle is similar to Sine. Shape continuously changes the triangle waveform to a trapezoid. • Saw produces a ramp cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up.
Included Instruments Raven Arp Page This page contains the same parameters as the FlexPhraser. RELATED LINKS FlexPhraser on page 76 Raven Raven provides the sound of a classical Italian concert grand with six velocity layers and adjustable sustain resonances. Its Tone control allows you to adapt the tonal range from very soft romantic to more intense colors. In addition, you can modify the character of the note-off behavior by adding a dedicated note-off layer.
Included Instruments Eagle • If you turn the knob to the left, the number of hard velocity layers that are used in the sound is reduced, that is, the sound becomes softer. • If you turn the knob to the right, the number of soft velocity layers that are used is reduced, that is, the sound becomes harder. NOTE The Tone control is independent from the influence that the velocity has on the level of the piano.
Included Instruments Eagle soft romantic to more intense colors. In addition, you can modify the character of the note-off behavior by adding a dedicated note-off layer. Tone Eagle comes with 12 different velocity layers. The Tone control allows you to specify how these layers are used. • If the Tone control is in middle position, different input velocities trigger all 12 layers.
Included Instruments Hot Brass If this option is activated, the sustain resonance layers are played when the sustain pedal is held and notes are played. You can adjust the level of the resonance layer with the dial on the right. NOTE The piano also allows for repedaling, which means that the sustain resonances will also be blended in when the sustain pedal is pressed again shortly after notes have been played. If you do not want to use the sustain resonance layers, deactivate this option to save CPU power.
Included Instruments Hot Brass Main Page The Main page allows you to select the sample for Hot Brass and to make basic pitch settings. Select Samples Allows you to choose from a range of included samples. Hot Brass provides three differently mixed sections and a pure saxophone section. You can add additional authenticity to your play using the included falls, growls, doits, shakes, and staccato articulations. Coarse Adjusts the pitch in semitone steps. Fine Allows you to fine-tune the pitch in cent steps.
Included Instruments Hot Brass Creating Modulations You create modulations by selecting a source, a modifier, and a destination from the pop-up menus in the modulation matrix. PROCEDURE 1. Click the modulation Source field and select the modulation source. 2. Optional: Click in the modulation Modifier field and select the parameter that you want to use to modify the modulation. This modifier is used to scale the output of the modulation source. 3.
Included Instruments Hot Brass Modulation Wheel The position of the modulation wheel can be used as modulation signal. Aftertouch Aftertouch can be used as modulation signal. Some MIDI keyboards cannot send aftertouch messages. However, most sequencer software is able to produce such messages. Arp Controller 1–3 The 3 controllers available on this submenu correspond to the three controller lanes on the Arp page. Bus 1–8 Modulations that are sent to one of the eight busses can be reused as sources.
Included Instruments Hot Brass Volume Modulates the gain. The volume modulation multiplies with the level. Pan Modulates the position of the sound in the panorama. Amp Env Attack Modulates the attack time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts. Amp Env Decay Modulates the decay time of the amplitude envelope. This modulation destination cannot be modulated continuously.
Included Instruments Hot Brass Env 3 Attack Modulates the attack time of the user-definable envelope 3. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts. Env 3 Attack Level Modulates the attack level of the user-definable envelope 3, that is, the level of the second envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.
Included Instruments Hot Brass Mono Activates monophonic playback. Retrigger This option is only available in Mono mode. If Retrigger is activated, a note that was stolen by another note is retriggered if you still hold the stolen note when you release the new one. This way, you can play trills by holding one note and quickly and repeatedly pressing and releasing another note, for example. Trigger Mode Defines the trigger behavior for new notes.
Included Instruments Hot Brass Filter Section Filter On/Off Activates/Deactivates the filter. Filter Shape • LP24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies above the cutoff are attenuated. • BP12 and BP24 are band-pass filters with 12 and 24 dB/oct. Frequencies below and above the cutoff are attenuated.
Included Instruments Hot Brass Resonance Emphasizes the frequencies around the cutoff. At higher settings, the filter selfoscillates, which results in a ringing tone. Distortion Adds distortion to the signal. The following distortion types are available: • Tube adds warm, tube-like distortion. • Hard Clip adds bright, transistor-like distortion. • Bit Reduction adds digital distortion by means of quantization noise. • Rate Reduction adds digital distortion by means of aliasing.
Included Instruments Hot Brass Amplifier and Amplifier Envelope On the right of the Env F/A tab, you can make settings for the amplifier and the amplifier envelope. Amplifier Parameters Level Controls the overall volume of the sound. Velocity Controls the level modulation from velocity. At 0, all notes are played with the same level. Amplifier Envelope Parameters Attack Controls the attack time of the amplifier envelope. Decay Controls the decay time of the amplifier envelope.
Included Instruments Hot Brass • S sets the sustain level. • R sets the release time. • L4 sets the end level. • Vel determines how much the envelope intensity depends on the velocity. If this fader is set to 0, the envelope is fully applied. Higher values reduce the intensity for lower velocities. LFO Section In the LFO section, you can make settings for LFO A and LFO B. LFO Waveform and Shape • Sine produces smooth modulation, suitable for vibrato or tremolo.
Included Instruments Studio Strings Rnd (Random Phase) If this button is activated, each note starts with a randomized start phase. NOTE The Phase control cannot be used if Rnd is activated. Arp Page This page contains the same parameters as the FlexPhraser. RELATED LINKS FlexPhraser on page 76 Studio Strings Studio Strings delivers a broad range of string sounds and articulations comprising solo strings, small chamber, and full orchestra sections.
Included Instruments Studio Strings Arp page, you can play typical phrases with a single note on your keyboard. Studio Strings contains four pages: Main, Mod, Voice, and Arp. To show the settings for a page, click the corresponding page button. The button for the Arp page also contains an On/Off button for the arpeggiator. Main Page The Main page allows you to select the sample for Studio Strings and to make basic pitch settings. Select Samples Allows you to choose from a range of included samples.
Included Instruments Studio Strings The modulation matrix offers you up to 16 freely assignable modulations, each with a source, a modifier, and a destination with adjustable depth. The polarity of each source and each modifier can be switched between unipolar and bipolar. Creating Modulations You create modulations by selecting a source, a modifier, and a destination from the pop-up menus in the modulation matrix. PROCEDURE 1. Click the modulation Source field and select the modulation source. 2.
Included Instruments Studio Strings Pitchbend The position of the pitchbend wheel can be used as modulation signal. Modulation Wheel The position of the modulation wheel can be used as modulation signal. Aftertouch Aftertouch can be used as modulation signal. Some MIDI keyboards cannot send aftertouch messages. However, most sequencer software is able to produce such messages. Arp Controller 1–3 The 3 controllers available on this submenu correspond to the three controller lanes on the Arp page.
Included Instruments Studio Strings Level This modulation adds to the level setting. It can be used to create level offsets using the mod wheel, for example. Volume Modulates the gain. The volume modulation multiplies with the level. Pan Modulates the position of the sound in the panorama. Amp Env Attack Modulates the attack time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.
Included Instruments Studio Strings Env 3 Start Level Modulates the start level of the user-definable envelope 3, that is, the level of the first envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts. Env 3 Attack Modulates the attack time of the user-definable envelope 3. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.
Included Instruments Studio Strings Voice Page Polyphony If Mono mode is deactivated, you can use this parameter to specify how many notes can be played simultaneously. Mono Activates monophonic playback. Retrigger This option is only available in Mono mode. If Retrigger is activated, a note that was stolen by another note is retriggered if you still hold the stolen note when you release the new one.
Included Instruments Studio Strings Glide Allows you to bend the pitch between notes that follow each other. You achieve the best results in Mono mode. Fingered Activate this parameter to glide the pitch only between notes that are played legato. Glide Time Sets the glide time, that is, the time it takes to bend the pitch from one note to the next. Start Range Activate Start Range to use a shorter sample attack for notes that are played legato in Mono mode.
Included Instruments Studio Strings • HP12+LP6 and HP18+LP6 are combinations of a high-pass filter with 12 and 18 dB/oct and a low-pass filter with 6 dB/oct (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies below the cutoff. • HP24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies below the cutoff are attenuated. • BR12 and BR24 are band-reject filters with 12 and 24 dB/oct.
Included Instruments Studio Strings Cutoff Key Follow Adjusts the cutoff modulation using the note number. Increase this parameter to raise the cutoff with higher notes. At 100 %, the cutoff follows the played pitch exactly. Filter Envelope On the left on the Env F/A tab, you can set up the filter envelope. Attack Controls the attack time of the filter envelope. Decay Controls the decay time of the filter envelope. Sustain Controls the sustain level of the filter envelope.
Included Instruments Studio Strings Amplifier Envelope Parameters Attack Controls the attack time of the amplifier envelope. Decay Controls the decay time of the amplifier envelope. Sustain Controls the sustain level of the amplifier envelope. Release Controls the release time of the amplifier envelope. Arp Page This page contains the same parameters as the FlexPhraser.
Effects Reference Reverb Effects REVerence REVerence is a convolution tool that allows you to apply room characteristics (reverb) to the audio. By recording an impulse in a room, you capture the characteristics of this room. Convolution superimposes these characteristics to the sound. The result is a very natural sounding reverb. Included with this effect is a collection of high-quality reverb impulse responses. Impulse Response Allows you to select an impulse response.
Effects Reference Reverb Effects Level Adjusts the level of the impulse response. Equalizer Activates the built-in three-band equalizer. ER/Tail Split Sets the split point between the early reflections and the reverb tail. ER/Tail Mix Sets the balance between the early reflections and the reverb tail. At a setting of 50 % the early reflections and the tail have the same volume level.
Effects Reference Reverb Effects ER/Tail Sets the level balance between the early reflections and the reverb tail. At a setting of 50 %, early reflections and tail have the same volume. Settings below 50 % raise the early reflections and lower the tail, as a result the sound source moves towards the front of the room. Settings above 50 % raise the tail and lower the early reflections, as a result the sound source moves toward the back of the room. Delay Delays the onset of the reverb tail.
Effects Reference Reverb Effects ER High Cut Attenuates the high frequencies of the early reflections. The lower this value, the fewer high frequencies the early reflections will have. Shape Controls the attack of the reverb tail. At a setting of 0 %, the attack is more immediate, which is a good setting for drums. The higher this value, the less immediate the attack. Density Adjusts the echo density of the reverb tail. At a setting of 100 %, single reflections from walls cannot be heard.
Effects Reference Delay Effects Delay Effects Multi Delay This effect produces delays, with adjustable time, feedback, and filters. Mode • Stereo has two independent delay lines, one for the left and one for the right audio channel, each with a feedback path of its own. • Cross has two delay lines with cross feedback, where the delay of the left channel is fed back into the delay of the right channel, and vice versa.
Effects Reference EQ Effects Feedback L/R Offsets the amount of feedback of the left or right delay from the overall feedback. A factor of 1 means that the amount of feedback corresponds to the overall feedback. A factor of 0.5 means that the amount is half the overall feedback. • To offset the left feedback, turn the control to the left. • To offset the right feedback, turn the control to the right. NOTE This parameter is only available in Stereo mode.
Effects Reference EQ Effects Q (Quality) Adjusts the bandwidth of the mid-range peak filters from wide to narrow. By increasing the Q value on the low and high shelving filters, you can add a dip to their shape. • To adjust the parameters Gain and Freq simultaneously, drag the points in the EQ curve display. Graphic EQ Graphic EQ is an equalizer with ten frequency bands that can be cut or boosted by up to 12 dB. In addition, you can specify the overall range and output of the equalizer.
Effects Reference Filter Effects DJ-EQ This plug-in is an easy-to-use 3-band parametric equalizer that resembles the EQs found on typical DJ mixers. This plug-in is designed for quick sound fixes. Low Freq/Mid Freq/High Freq Set the amount of boost or attenuation for the low, mid, and high bands. You can also click and drag in the display to change these values. Low Cut/Mid Cut/ High Cut Cut the low, mid, and high bands. Reset Output Peak Level Resets the peak level that is displayed in the output meter.
Effects Reference Filter Effects band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies above the cutoff. • HP12+LP6 and HP18+LP6 are combinations of a high-pass filter with 12 and 18 dB/oct and a low-pass filter with 6 dB/oct (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies below the cutoff.
Effects Reference Filter Effects Distortion Adds distortion to the signal. The effect depends on the selected distortion type. At higher settings, it creates a very intense distortion effect. NOTE This parameter is not available if Distortion Type is set to Off. Output Adjusts the gain after the filter and distortion. This parameter only affects the wet signal. Mix Sets the ratio between the dry and the wet signal. LFO Section LFO Waveform and Shape Waveform selects the basic type of waveform.
Effects Reference Filter Effects Depth Determines the output level of the LFO modulation signal. Cutoff Determines the modulation intensity of the LFO on the filter cutoff. Morph Determines the modulation intensity of the LFO on the filter morph. Envelope Follower Section The Envelope Follower traces the input signal with an adjustable attack and release time and delivers a modulation signal representing the level envelope of the signal.
Effects Reference Filter Effects Morph Filter Morph Filter allows you to mix low-pass and high-pass filter effects, allowing for creative morphings between two filters. You can specify the filter shapes independently for filter shape A and B. Filter Shape B Here, you can choose between several high-pass and band-rejection filter shapes. Filter Shape A Here, you can select a low-pass or a band-pass filter shape. Morph Allows you to mix the output between the two selected filters.
Effects Reference Filter Effects Resonator Shape Defines the basic sound character of the effect. Each shape is a unique combination of different filter types for the low, mid, and high frequency bands.
Effects Reference Filter Effects Filter Tab Cutoff Adjusts the cutoff frequency of the filter, that is, the center frequency of the formant region. Resonance Adjusts the resonance of the filter. The resonance determines how much the formant region is emphasized. At higher settings, the filter self-oscillates, which results in a ringing tone. Gain Adjusts the input gain of the filter. The gain determines the level of the formant region.
Effects Reference Filter Effects between the high and low state of the waveform. If Shape is set to 50 %, a square wave is produced. • Ramp is similar to the Saw waveform. Shape increasingly puts silence before the sawtooth ramp up begins. • Log produces a logarithmic modulation. Shape continuously changes the logarithmic curvature from negative to positive. • S & H 1 produces randomly stepped modulation, where each step is different.
Effects Reference Distortion Effects Gain Low/Gain High These parameters determine the gain of the filter for the low and high pedal positions. Slope Here, you can choose between two filter slope values: 6 dB or 12 dB. Distortion Effects Amplifier This effect emulates the sound of an amplifier with speakers. There are different amplifiers and speaker models you can combine. Amp Model Determines the type of amplifier. The sound character of the overdrive changes with the amplifier.
Effects Reference Distortion Effects High Damp Attenuates the high frequencies of the speakers. Channel Mode Defines which output channels of the amplifier deliver a distorted signal. You can set it to L (Left), R (Right) or L/R (Both). When set to L or R, the other channel provides a clean signal. Output Controls the output level of the amplifier. Distortion This effect offers the whole range of distortion, from low fidelity, digital distortion to high fidelity, analog sounding distortion.
Effects Reference Distortion Effects VST Amp This effect emulates the sound of an amplifier with speakers. There are different amplifiers and speaker models you can combine. Amp Model Specifies the amplifier type. The sound character of the overdrive changes with the amplifier. To bypass the amp modeling, select No Amplifier. Speaker Model Specifies the speaker model type. Each model colors the sound uniquely. To bypass the speaker modeling, select No Cabinet. Drive Adjusts the amount of overdrive.
Effects Reference Distortion Effects • L (Left) only distorts the left input channel. The right channel remains clean and unprocessed. • R (Right) only distorts the right input channel. The left channel remains clean and unprocessed. • L+R (Left + Right) sums the two input channels into a mono signal which is then distorted. • Stereo distorts the two input channels independently.
Effects Reference Pitch Shift Effects High Filter Here, you can attenuate the high frequency range. This high-cut filter works with a slope of 24 dB/octave. Output Determines the level of the output signal. Tube Saturator This effect enriches the sound by adding the characteristic harmonics of a saturated tube to the audio signal. Oversampling Increases the accuracy of the effect by oversampling. NOTE If this parameter is activated, the effect requires more processing power.
Effects Reference Modulation Effects Direct Determines the level of the input signal. Octave 1 Determines the level of the signal that is produced an octave below the original voice. Octave 2 Determines the level of the signal that is produced an octave above the original voice. Modulation Effects Chorus Chorus thickens and broadens the sound by means of pitch modulation. Rate Determines the frequency of the pitch modulation, in Hertz. Sync Activate this to set the Rate value in fractions of beats.
Effects Reference Modulation Effects Flanger This effect thickens and broadens the sound by means of pitch modulation. Rate Allows you to specify the frequency of the pitch modulation in Hertz. Sync Activate this to set the Rate value in fractions of beats. Depth Sets the intensity of the pitch modulation. Phase Widens the sound image of the effect from mono to stereo. This parameter also changes the characteristic of the Cross FB parameter. Shape Adjusts the characteristics of the modulation.
Effects Reference Modulation Effects Step Flanger The Step Flanger expands the Flanger with a Sample and Hold section that divides the modulation signal into a definable number of steps. Rate Allows you to specify the frequency of the pitch modulation in Hertz. Sync Activate this to set the Rate value in fractions of beats. Depth Sets the intensity of the pitch modulation. Phase Widens the sound image of the effect from mono to stereo.
Effects Reference Modulation Effects Type Defines the length of the delay line that is modulated. Short produces a sharper and Long a less defined, more blurred flanger sound. S&H Mix Use this parameter to blend the normal modulation signal with the stepped modulation signal. At 100 %, only the stepped modulation is used. Smooth Use this parameter to create ramps between the steps. This way, the stepped modulation signal sounds smoother. Steps Determines into how many steps the modulation signal is divided.
Effects Reference Modulation Effects Mix Sets the ratio between the dry and the wet signal. Tremolo This effect produces amplitude modulation, that is, cyclic modulation of the level of the sound. Rate Determines the frequency of the amplitude modulation. Sync Activate this to set the Rate value in fractions of beats. Depth Sets the intensity of the amplitude modulation. Phase Widens the sound image of the effect from mono to stereo. Output Sets the output level of the effect.
Effects Reference Modulation Effects • Triangle is similar in character to Sine. The waveform periodically ramps up and down. Shape continuously changes the triangle waveform to a trapezoid. • Saw produces a ramp cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up. • Pulse produces stepped modulation, where the modulation switches abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform.
Effects Reference Modulation Effects Release This adjusts the release time, that is, the time the Envelope Follower needs to approach decreasing input levels. Depth Determines the output level of the modulation signal of the Envelope Follower. Frequency Shifter A frequency shifter shifts each frequency of the input signal by a fixed amount. Unlike pitch shifters, where the frequencies are shifted by a factor, and where the harmonic relations are kept, a frequency shifter alters the harmonic relations.
Effects Reference Modulation Effects Feedback Sets the amount of feedback, that is, the amount of signal that is sent from the output of the effect back to its input. The sound is similar to that of a phaser. You can control the direction and speed of this effect with the Frequency Fine parameter. Notches Here you set the number of notches the phaser effect produces when you use larger amounts of Feedback. LFO Section LFO Waveform and Shape Waveform selects the basic type of waveform.
Effects Reference Modulation Effects Envelope Follower The Envelope Follower traces the input signal with an adjustable attack and release time and delivers a modulation signal representing the level envelope of the signal. Sensitivity All input signals are mixed down to mono before they are sent to the Envelope Follower. This parameter sets the optimum input level for the Envelope Follower. Attack Adjusts the attack time, that is, the time the Envelope Follower needs to approach increasing input levels.
Effects Reference Modulation Effects Rotation This parameter changes the rotation speed of the horn and drum. When set to Fast, the Doppler effect is stronger. When set to Stop, there is no Doppler effect because the drum and horn do not rotate. Because the horn and drum accelerate and decelerate at different speeds, the transition from Slow to Fast and vice versa sounds the most interesting. Distance Sets the distance between the microphones and the horn and drum.
Effects Reference Modulation Effects Color Alters the sound of the Rotary effect by changing the timbre, which leads to the rotation of the horn and the drum being perceived with greater depth. Bass Adjusts the tone color of the low frequencies. Treble Adjusts the tone color of the high frequencies. Vibrato The Vibrato effect emulates the chorus and vibrato effects of vintage organs. It thickens the sound by means of pitch modulation.
Effects Reference Dynamics Effects Vintage Ensemble This effect emulates the sound of classic ensemble modulation effects. It is based on a delay with LFO-modulated delay times. A secondary LFO with higher frequencies is used to produce the so-called shimmer. Rate Sets the frequency of the LFO. Sync If Sync is activated, you can set the Rate value in fractions of beats. Depth Sets the intensity of the delay time modulation by the LFO. Shimmer Sets the intensity of a secondary faster delay time modulation.
Effects Reference Dynamics Effects Compressor The Compressor reduces the dynamic range of a sound. This way, the sound gains headroom. You can use this extra headroom to make the overall sound louder again. The graphical control to the left indicates the compression curve. You can edit the Threshold and Ratio values with the handles of this control. The input and output VU meters indicate the level before and after the compression. The Gain Reduction meter indicates the current attenuation of the level.
Effects Reference Dynamics Effects Hold Sets the time period during which the compression is applied after the sound exceeds the set threshold. Release Determines how fast the Compressor effect reacts to sounds that fall below the set threshold. The longer the release time, the longer it takes to return to the original level. NOTE This parameter is not available if the Auto Release button is activated. Auto Release Activate this to set the release time automatically.
Effects Reference Dynamics Effects GR Meter Shows the amount of gain reduction. Input Determines the compression amount. The higher the input gain, the more compression is applied. Ratio Sets the amount of gain reduction for sounds that are louder than the threshold. The higher the ratio, the more the output is lowered. Attack (0.1 to 100 ms) Determines how fast the compressor responds. If the attack time is long, more of the initial part of the signal passes through unprocessed.
Effects Reference Dynamics Effects Limit Increases the ratio of the compressor for a limiting effect. Drive (1.0 to 6.0) Controls the amount of tube saturation. Attack (0.1 to 100 ms) Determines how fast the compressor responds. If the attack time is long, more of the initial part of the signal passes through unprocessed. Release (10 to 1000 ms or Auto mode) Sets the time after which the gain returns to its original level.
Effects Reference Dynamics Effects Limiter The Limiter effect prevents the sound from exceeding the set output level. This can be used to avoid clipping in following effects, for example. The input and output meters indicate the level before and after the Limiter. The Gain Reduction meter in the middle indicates the current attenuation of the level. Input Adjusts the input level of the sound. By increasing the input level, you can drive the sound more and more into limiting.
Effects Reference Dynamics Effects Threshold (-20 to 0 dB) Determines the level where the limiter kicks in. Only signal levels above the set threshold are processed. Release (ms or Auto mode) Sets the time after which the gain returns to the original level when the signal drops below the threshold. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.
Effects Reference Dynamics Effects Expander The Expander reduces the output level in relation to the input level for signals below the set threshold. This is useful to enhance the dynamic range or reduce the noise in quiet passages. The graphical control to the left shows the expansion curve. You can edit the Threshold and Ratio values with the handles of this control. The input and output meters indicate the level before and after the expansion.
Effects Reference Dynamics Effects Auto Activate this to set the release time automatically. The Expander analyzes the input sound continuously to find the optimal setting. Peak/RMS Determines whether the input signal is analyzed according to peak or RMS values or a mixture of both. At a setting of 0 %, the Expander uses Peak sensing only and at 100 %, RMS sensing only. Peak means that the Expander directly senses the peak level of the sound.
Effects Reference Dynamics Effects Monitor Activate this button to listen to the sound of the side-chain filter. The gate is inactive when the Monitor button is activated. Center Sets the center frequency of the side-chain filter. Q-Factor Adjusts the bandwidth of the filter from wide to narrow. Attack Determines how fast the gate opens when the sound exceeds the set threshold. The longer the attack time, the longer it takes for the sound to fade in.
Effects Reference Spatial and Panner Effects Envelope Shaper This effect can be used to attenuate or boost the gain of the attack and release phase of audio material. Be careful with levels when boosting the gain and, if needed, reduce the output level to avoid clipping. Attack – Gain Changes the gain of the attack phase of the signal. Attack - Length Determines the length of the attack phase of the signal. Release - Gain Changes the gain of the release phase of the signal. Output Sets the output level.
Effects Reference Legacy Effects Stereo Enhancer This plug-in expands the stereo width of (stereo) audio material. It cannot be used with mono files. Width Controls the width or depth of the stereo enhancement. Turn clockwise to increase the enhancement. Delay Increases the amount of differences between the left and right channels to further increase the stereo effect. Color Generates additional differences between the channels to increase the stereo enhancement.
Effects Reference Legacy Effects Non-Linear Reverb A gated reverb with a sharp cutoff. Time Length of reverb tail. It also allows you to change the sound from dense early reflections to a trashy, grainy 1980’s-type reverb. Low EQ Low-cut EQ. High EQ High-cut EQ. Mix Wet/dry mix. Early Reflections A short, dense reverb for simulating small acoustic spaces and to thicken or blur sounds. Time Length of reverb tail.
Effects Reference Legacy Effects Damp High-cut filter to soften delay repeats. Stereo Delay A stereo-in/stereo-out delay. Time Delay time. Feedback Controls the number of delay repeats. For minimum feedback, set the slider to the mid position. By moving the slider to the left or right, cross delay is applied, where left output feeds back into right input or vice versa. Sync If Sync is activated, you can set the delay time in fractions of beats. Balance Ratio of left delay time to right delay time.
Effects Reference Legacy Effects Head 2 Delay level 2 (the output is panned right). Head 3 Delay level 3. Head 4 Delay level 4. Pan 3+4 Varies the panning of delays 3 and 4 from center to hard left/right. Vol 3+4 Varies the volume of delay outputs 3 and 4. Chorus A straightforward chorus effect that can be used to widen sounds. Rate The modulation rate. Depth The amount of pitch modulation. PreDelay The initial delay, to vary the tightness of the chorused voices in relation to the dry signal.
Effects Reference Legacy Effects Flanger A classic flanger effect. Rate Sweep rate. Depth Sweep depth. Feedback Feedback amount. Increase for a more intense flanging effect. PreDelay Initial delay. Adjusts the minimum delay time/maximum flange frequency. Mix Wet/dry mix. Phaser A four pole phaser for subtle phasing effects. Rate Sweep rate. Depth Sweep depth. Feedback Feedback amount. Increase for a more pronounced effect. Stereo Offset between left and right modulation.
Effects Reference Legacy Effects Shape Shape of modulation waveform from thin pulse, through sine, to fat pulse. Mix Wet/dry mix. Stereo Width A stereo width enhancer with 4 modes. Mode • Adjust mode adjusts the existing width of the stereo signal. • Swap mode adjusts the existing width of the stereo signal and additionally swaps the left and right channels. • Comb mode applies a stereo comb filter effect. • Haas mode synthesizes the stereo width by delaying one channel.
Effects Reference Legacy Effects Low/High Acceleration Acceleration of the high and low rotors. Mix Wet/dry mix. Wah Pedal An auto-wah effect. Rate Modulation rate. Depth Modulation depth. Pedal Adjusts the filter frequency. Mode • Auto Wah: Envelope controlled wah effect. • Pedal Wah: No modulation. The Pedal parameter sets the frequency. • Mod Wah: LFO modulation. The Rate parameter controls the modulation rate. Resonance Sets the amount of filter resonance.
Effects Reference Legacy Effects Env Att Rate of response to a rising input signal level. Env Rel Rate of response to a falling input signal level. Mix Wet/dry mix. Shelf EQ Simple tone control. Output Output level trim. Bass Low frequency cut/boost. Treble High frequency cut/boost. Parametric EQ Two-band parametric equalizer. Gain 1/2 Cut/boost amount for the two bands. Freq 1/2 Sets the center frequency for the two bands. Width 1/2 Sets the bandwidth for the two bands (Q). Output Output level trim.
Effects Reference Legacy Effects Low Tune Low frequency tune. Limiter Hard level limiting. Drive Input signal drive. Attack Attack time. Release Release time. Output Output level trim. Compressor A simple compressor effect. Threshold Compression threshold. Ratio Compression amount. Attack Attack time. Release Release time. Output Output level trim. Multiband Three-band compressor. Drive Input signal drive (increase for more density). Lo/Hi Balance of low and high frequency bands.
Effects Reference Legacy Effects Attack Attack time. Release Release time. Output Output level trim. Gate Simple gate effect. Threshold Gate threshold. Range Level reduction when gate closed. Attack Attack time. Release Release time. Output Output level trim. Distortion Hard clipping distortion. Drive Distortion amount. Bias Adjusts the balance between even and odd harmonics, that is, the character of the distortion. Tone Distortion tone. Out Output level trim. Mix Wet/dry mix.
Effects Reference Legacy Effects Drive Overdrive amount. Bias Overdrive character. Adjusts the balance between even and odd harmonics. Out Output level trim. Mix Wet/dry mix. Bit Reduction Digital, lo-fi, quality degradation. Mode Determines whether the bit depth is fixed (Linear) or depends on the signal level (Companding). Rate Simulated sample rate. Depth Sample bit depth. Slew Rate Maximum rate of change of output waveform, for a soft, wooly distortion. Mix Wet/dry mix.
Effects Reference Legacy Effects Mix Wet/dry mix. Modulate L/R This effect features three modes of signal distortion, where one side of a stereo signal is used to modulate the other. Mode • Ring Mod: Ring modulation. • Env Mod: The signal level of the right channel is modulated by the level of the left channel. • Duck: The signal level of the right channel is reduced when the level of the left channel increases. Thru Defines which input signals are used as the dry signal for the Mix.
Note Expression Steinberg’s Note Expression technology was developed for creating realistic instrument performances. Note Expression allows you to create automated modulations for each note. HALion Sonic supports Note Expression for volume, pan, and tuning. If you use a Steinberg DAW that supports Note Expression, you can automate the Note Expression parameters for any program in HALion Sonic per note.
Note Expression Note Expression Editor Name If you assign a Note Expression controller for the first time, it gets the name of the modulation destination that it is assigned to. Any further assignments do not change the name. You can specify a name manually by entering it in the Name field. Bypass Note Expression Controller To deactivate the effect of the controller, click the Bypass Note Expression Controller button.
Library Manager HALion Sonic’s Library Manager allows you to register and to manage libraries that have been created with HALion 6 and newer. It also displays all libraries that were created earlier and therefore were installed with a classic installer. The Library Manager is installed on your computer as a standalone application and can be run independently from HALion, HALion Sonic, and HALion Sonic SE.
Library Manager Library Manager Editor • The libraries in the Managed list were created with HALion 6 and newer and can be moved between hard disks or deleted. • The libraries on the Installed list were installed using an installer. These libraries cannot be moved or deleted, to avoid interference with the original installers.
Library Manager Library Manager Editor 2. In the dialog, navigate to the new location and click OK. Removing Libraries You can remove a library if it is no longer needed. PROCEDURE 1. Navigate to the library in the list and click Remove. 2. Do one of the following: • To delete the library from your hard disk, select Move to Trash. • To unregister the library while keeping the corresponding VST Sound container, select Unregister. NOTE • Libraries can have dependencies to other libraries.
Using the Standalone Version of the Plug-In If you use HALion Sonic as a standalone application, an additional section is available at the top of the control panel. Here, you can define key commands, set up audio and MIDI interface routings, adjust the master volume, and access the integrated MIDI scratch pad, which allows you to record your musical ideas without having to start a MIDI sequencer application. It can also be used to play multitrack arrangements that trigger the different programs.
Using the Standalone Version of the Plug-In Preferences Dialog • To assign the audio outputs in pairs to the front and rear channels, hold down Alt-Shift and select an audio output. Metronome Page On the Metronome page, a number of settings can be made regarding the use of a metronome. Mode Activates/Deactivates the metronome or sets it to Count In mode. Accent Accentuates the first beat of each bar. Level Adjusts the volume of the metronome.
Using the Standalone Version of the Plug-In Selecting the MIDI Input and the Audio Output Advanced Page Once you have selected the driver, you can specify which inputs and outputs to use and name these on the Advanced page. Click the Control Panel button to open the control panel for the audio hardware and adjust the settings as recommended by the audio hardware manufacturer. Selecting the MIDI Input and the Audio Output The MIDI input pop-up menu lists all MIDI devices that are installed on your system.
Using the Standalone Version of the Plug-In Scratch Pad Stop Click Stop to pause the MIDI file at the current position. Click the button twice to reset the song position to the start. Record Click Record to start recording. Loop Activate Loop to play the entire MIDI file in a loop. Info Icon To check which MIDI file is loaded, point the mouse at the info icon in the top left corner of the scratch pad. A tooltip appears, showing the name of the MIDI file.
Using the Standalone Version of the Plug-In Loading a MIDI File Recording Your Performance PROCEDURE 1. 2. Click the record symbol below the Record button to select a record mode. • To start recording immediately when you click the record button, select Direct. • To start recording with the first MIDI note, select MIDI. • To start the recording after a count-in of one bar, select Count In 1. • To start the recording after a count-in of 2 bars, select Count In 2.
Using the Standalone Version of the Plug-In Saving a MIDI File Saving a MIDI File PROCEDURE 1. Click the Save MIDI File button below the transport buttons. 2. In the file dialog, specify a location and a file name. 3. Click Save to save your recorded performance as a MIDI file. Master Volume Use the volume control on the right to set the master volume of the outputs of the standalone version of HALion Sonic.
Index A Graphic EQ 216 Limiter 246 Maximizer 247 MorphFilter 221 Multi Delay 214 Octaver 229 Phaser 233 Resonator 221 Reverb 211 REVerence 210 Ring Modulator 234 Rotary 238 Step Flanger 232 Stereo Pan 251 StereoEnhancer 252 Studio EQ 215 Tape Saturator 228 Tremolo 234 Tube Compressor 244 Tube Saturator 229 Using 107 Vibrato 240 Vintage Compressor 243 Vintage Ensemble 241 VST Amp 227 WahWah 224 Effects Page 107 Envelopes About 48 Selecting Nodes 51 Setting up the Loop 54 EQ Effects 215 Anima About 153 Aud
Index K Program Page Parameters 32 Program Slot Section 15 Programs 32 About 88 Editing 32 Loading 89 Keymap About 58 L Layers Editing 36 Legacy Effects 252 Q Quick Control Assignments 21 Quick Controls 18 Bypassing 23 Managing 22 M Macro Pages About 88 Master Section 16 MediaBay About 93 Filters 93 Managing files 93 Results List 94 MIDI Controllers About 103 Assigning 103 Factory Controller Assignment 105 Parameter Range 104 MIDI File Loading 273 MIDI Input 271 MIDI Page 102 Mix Page About 106 Mixing
