Steinberg Halion 3 Manual
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Included Instruments Studio Strings 201The 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.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.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. 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. The shape of the envelope determines the modulation signal. Env 3 A freely assignable envelope. It is suited for pan or pitch modulation, for example. 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. Note-on Velocity Note-on velocity can be used as modulation signal. Note-on Vel Squared The squared version of Note-on Velocity. The harder you press the key, the higher the modulation values.
Included Instruments Studio Strings 202Pitchbend 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. 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.
Included Instruments Studio Strings 203Level 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. 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.
Included Instruments Studio Strings 204Env 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. 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.
Included Instruments Studio Strings 205Voice 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. 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.
Included Instruments Studio Strings 206Glide 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. This allows for a more realistic transition between notes, especially in combination with the Glide parameter. Use the Attack Time of the amplifier envelope to shape the effective attack of a note. NOTE The Start Range affects only sustained articulations. For staccato, pizzicato, and crescendo articulations, it has no effect. Pitchbend Up/Pitchbend Down Determines the range for the modulation that is applied when you move the pitchbend wheel. 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. •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.
Included Instruments Studio Strings 207•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. 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.
Included Instruments Studio Strings 208Cutoff 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. 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.
Included Instruments Studio Strings 209Amplifier 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. RELATED LINKS FlexPhraser on page 76
Effects Reference 210 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. This determines the basic sound character of the reverb. Reverse Reverses the impulse response. Predelay Determines the amount of time between the dry signal and the onset of the reverb. With higher predelay values, you can simulate larger rooms. Time Controls the reverb time. At a setting of 100 %, the impulse response is applied with its original length. Size Scales the size of the simulated room. At a setting of 100 %, the impulse response is applied as recorded in the original room.