Steinberg Halion 3 Manual
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Included Instruments Auron 111Width 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. 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. Mod Page The Mod page contains the LFO settings in the upper section and the mod wheel, or vibrato, settings in the lower section. LFO Settings 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. •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. •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. Shape puts ramps between the steps and changes the S & H into a smooth random signal when fully turned right. •S & H 2 is similar to S & H 1. The steps alternate between random high and low values. Shape puts ramps between the steps and changes the S & H into a smooth random signal when fully turned right.
Included Instruments Auron 112Freq 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. 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). Position Controls the influence of the mod wheel on the grain position. Formant Controls the influence of the mod wheel on the grain formant. Duration Controls the influence of the mod wheel on the grain duration. Cutoff Controls the influence of the mod wheel on the filter cutoff.
Included Instruments Auron 113Voice 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. If you work with short grain durations and Duration Key Follow is activated on the Osc page, the pitch of the played key still follows the keyboard, and only the frequency response changes. Pitchbend Up/Pitchbend Down Determines the range for the modulation that is applied when you move the pitchbend wheel. Glide Allows you to bend the pitch between notes that follow each other. You achieve the best results in Mono mode. Glide Time Sets the glide time, that is, the time it takes to bend the pitch from one note to the next. Fingered Activate this parameter to glide the pitch only between notes that are played legato. Mono Activates monophonic playback. Retrigger If this option is activated, a note that was stolen is retriggered if you still hold the stolen note when releasing the newer note. This lets you play trills by holding
Included Instruments Auron 114one 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. 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. If the new note plays in a different zone, the sample and the envelope of the new note are triggered from the start. •Legato does not always trigger a new note. If the new note stays within the same zone, the envelope keeps running. The pitch of the zone is set to the new note. If the new note plays in a different zone, the sample and the envelope of the new note are triggered from the start. •Resume Keeps Zone does not trigger a new note upon note stealing. The envelope resumes at the level of the stolen note and the pitch of the zone is set to the new note, even if the new note plays in a different zone. •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. 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). 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. •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.
Included Instruments Auron 115•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. Frequencies below and around the cutoff are attenuated. •AP is an all-pass filter with 18 dB/oct. Frequencies around the cutoff are attenuated. •AP+LP6 is an all-pass filter with 18 dB/oct plus a low-pass filter with 6 dB/ oct. Frequencies around and above the cutoff are attenuated. •HP6+AP is a high-pass filter with 6 dB/oct plus an all-pass filter with 18 dB/oct. Frequencies around and below the cutoff are attenuated. Cutoff Controls the cutoff frequency of the filter. Resonance Emphasizes the frequencies around the cutoff. At higher settings, the filter self- oscillates, 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. •Rate Reduction Key Follow adds digital distortion by means of aliasing, but with Key Follow. The rate reduction follows the keyboard, so the higher you play, the higher the sample rate. 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. Filter Envelope Section Attack Controls the attack time of the filter envelope.
Included Instruments Auron 116Decay 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. 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.
Included Instruments Trium 117RELATED 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. The filter can be modulated using modulation sources like the keyboard, velocity, and LFO, but also by the controller lanes of the step sequencer, for example. Trium includes two LFOs for pitch, PWM, and filter modulations. The first LFO can be synchronized to the tempo of the host application and allows for filter cutoff, pitch, and waveform modulation of the three main oscillators. The second LFO is controlled by the modulation wheel and is used to create a vibrato. Osc Page The Osc page contains the parameters for the three main oscillators. •To activate an oscillator, click its On/Off button. OSC 1/2/3 Type The oscillator type defines the basic sound character of the oscillator. This pop- up 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. The Waveform parameter sets the ratio between the high and low value of the square wave. A setting of 50 % produces a pure square wave. With settings below or above 50 %, the oscillator produces rectangular waves. •Sync provides different hard-sync oscillators, where each is a combination of a master and slave oscillator. The wave shape of the slave oscillator
Included Instruments Trium 118(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. •CM (cross modulation) provides a combination of two oscillators where a master oscillator is modulating the pitch of a slave oscillator (sine, triangle, saw, or square) at the rate of the audio sample. The Waveform parameter adjusts the pitch ratio between slave and master oscillator, resulting in a sound close to frequency modulation. •XOR (exclusive OR) compares two square waveforms with an XOR operation. Depending on the outcome of the XOR operation, the waveform shape of a third oscillator (sine, triangle, saw, or square) is reset. The Waveform parameter adjusts the pitch ratio of the square oscillators resulting in a sound close to ring modulation of the third oscillator. Level Adjusts the output level of the oscillator. Waveform Modifies the sound of the oscillator algorithm. Its effect depends on the selected oscillator type. NOTE This parameter is only available for oscillator types that allow waveform modulation. Filter Envelope Determines how much the modulation of the filter envelope influences the oscillator waveform. NOTE This parameter is only available for oscillator types that allow waveform modulation. Tuning These parameters allow you to adjust the pitch in octave, semitone, and cent steps. Multi Oscillator Number, Detune, and Spread Each of the main oscillators offers these multi-oscillator functions. They allow you to create a richer sound by producing up to eight oscillators simultaneously. •Number determines the number of oscillators that play back simultaneously. You can also set fractions of numbers. For example, with a setting of 2.5, you hear two oscillators at full level and a third one at half level. •Detune detunes the oscillators.
Included Instruments Trium 119•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. NOTE Deactivate the sub oscillator, the ring modulator, and the noise generator if they are not needed, because they use CPU cycles even if they are not heard, such as in a situation where the level is set to 0 %. Sub Oscillator The pitch of the sub oscillator is always one octave lower than the overall pitch. The overall pitch is determined by the Octave setting. On/Off Activates/Deactivates the sub oscillator. Type The wave shape of the sub oscillator. You can choose between Sine, Triangle, Saw, Square, Pulse Wide, and Pulse Narrow. 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.
Included Instruments Trium 120Ring 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. Voice Parameters On the right, the voice parameters are available. 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. Pitchbend Up/Pitchbend Down Determines the range for the modulation that is applied when you move the pitchbend wheel. Glide Allows you to bend the pitch between notes that follow each other. You achieve the best results in Mono mode. Glide Time Sets the glide time, that is, the time it takes to bend the pitch from one note to the next. Fingered Activate this parameter to glide the pitch only between notes that are played legato. Mono Activates monophonic playback. Retrigger If this option is activated, a note that was stolen is retriggered if you still hold the stolen note when releasing the newer note. This lets you play trills by holding one note and quickly and repeatedly pressing and releasing another note, for example.