Steinberg Halion 3 Manual
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Included Instruments Hot Brass 191Modulation 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. 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.
Included Instruments Hot Brass 192Volume 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. 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.
Included Instruments Hot Brass 193Env 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. 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.
Included Instruments Hot Brass 194Mono 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. •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. Pitchbend Up/Pitchbend Down Determines the range for the modulation that is applied when you move the pitchbend wheel.
Included Instruments Hot Brass 195Filter 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. •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. •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.
Included Instruments Hot Brass 196Resonance 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 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.
Included Instruments Hot Brass 197Amplifier 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. 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. •A sets the attack time. •L1 sets the attack level. •D sets the decay time.
Included Instruments Hot Brass 198•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. 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. 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.
Included Instruments Studio Strings 199Rnd (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. The instrument’s sample oscillators are followed by a synthesis section with a flexible filter where you can modify the sounds further. With the FlexPhraser functionality on the
Included Instruments Studio Strings 200Arp 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. Coarse Adjusts the pitch in semitone steps. Fine Allows you to fine-tune the pitch in cent steps. Random Pitch Allows you to randomly offset the pitch with each played note. Higher values cause stronger variations. At the maximum setting, the random offsets can vary from -60 cents to +60 cents. Pan Defines the position of the instrument in the stereo panorama. Mod Page The Mod page contains the modulation matrix.