Steinberg Halion 3 Manual
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Included Instruments Anima 161Arp 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. Unipolar sources modulate between 0 and +1. Bipolar sources modulate between -1 and +1. •To change the polarity of a modulation source or modifier from unipolar to bipolar, activate its Bipolar button. Modulation Destinations Pitch Modulates the pitch. For example, assign one of the LFOs to create a vibrato effect. If Pitch is selected, the modulation depth is set in semitones. Cutoff Modulates the filter cutoff. Resonance Modulates the filter resonance. Resonance changes the character of the filter. For example, to accent the filter the harder you hit a key, assign Velocity to Resonance. Distortion Modulates the filter distortion. 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. WT 1/2 Pitch Modulates the Pitch parameter of the corresponding wavetable oscillator.
Included Instruments Anima 162WT 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. WT 1/2 Multi Spread Modulates the multi-oscillator Spread parameter of the corresponding wavetable oscillator. WT 1/2 Multi Voices Modulates the multi-oscillator Voices parameter of the corresponding oscillator. WT 1/2 Position Modulates the Position parameter of the corresponding wavetable oscillator. WT 1/2 Direction Modulates the Direction parameter of the corresponding wavetable oscillator. WT 1/2 Speed Modulates the Speed parameter of the corresponding wavetable oscillator. WT Sub Pitch Modulates the Pitch parameter of the wavetable sub-oscillator. WT Sub Level Modulates the Level parameter of the wavetable sub-oscillator. WT Sub Pan Modulates the Pan parameter of the wavetable sub-oscillator. WT Noise Speed Modulates the Speed parameter of the wavetable noise oscillator. WT Noise Level Modulates the Level parameter of the wavetable noise oscillator. WT Noise Pan Modulates the Pan parameter of the wavetable noise oscillator.
Included Instruments Anima 163Amp 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. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts. Amp Env Release Modulates the release time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts. Filter Env Attack Modulates the attack time of the filter envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts. Filter Env Decay Modulates the decay time of the filter envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts. 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. 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 Anima 164Env 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. Env 3 Sustain Modulates the sustain level of the user-definable envelope 3. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts. Env 3 Release Modulates the release 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 Release Level Modulates the release level of the user-definable envelope 3, that is, the last user envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts. Bus 1-8 You can send any modulation to one of the 8 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. 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.
Included Instruments Anima 165Retrigger 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. 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. 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. Octave Adjusts the pitch in octave steps. Pitch Key Follow Allows you to adjust the pitch modulation by MIDI note number. Set this parameter to positive values in order to raise the pitch the higher you play. Use
Included Instruments Anima 166negative 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. •Raising the value stretches the distribution using an exponential curve, so that the first unison voices have a smaller pitch offset than the second and third. •Decreasing the value stretches the distribution using a negative exponential curve,so that the first unison voices have a larger pitch offset than the second and third voices. Pitchbend Up/Pitchbend Down Determines the range for the modulation that is applied when you move the pitchbend wheel. Filter Section In the filter section in the lower left, you can activate and set up the filter. 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. •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.
Included Instruments Anima 167•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. •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.
Included Instruments Anima 168Filter 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. 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.
Included Instruments Anima 169Decay 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. The faders below the envelope display set the following parameters: •L0 sets the start level. •A sets the attack time. •L1 sets the attack level. •D sets the decay time. •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 the two included LFOs. LFO Waveform and Shape •Sine produces smooth modulation, suitable for vibrato or tremolo. Shape adds additional harmonics to the waveform.
Included Instruments Anima 170•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. Sync If Sync is activated, the frequency is set in fractions of beats. Freq Controls the frequency of the modulation, that is, the speed of the LFO. Phase Sets the initial phase of the waveform when the LFO is retriggered. Sync If Sync is activated, the frequency is set in fractions of beats. Freq Controls the frequency of the modulation, that is, the speed of the LFO. Phase Sets the initial phase of the waveform when the LFO is retriggered. 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.