Steinberg Halion 3 Manual
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Effects Reference Reverb Effects 211Level 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. 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 towards the back of the room. Reverb This effect produces a high-quality algorithmic reverb with early reflections and reverb tail. The early reflections are responsible for the spatial impression in the first milliseconds of the reverb. For emulating different rooms, you can choose between different early reflection patterns and adjust their size. The reverb tail, or late reverberation, offers parameters for controlling the room size and the reverb time. You can adjust the reverb time individually in three frequency bands. Predelay Determines how much time passes before the reverb is applied. This allows you to simulate larger rooms by increasing the time it takes for the first reflections to reach the listener. Early Reflections Here, you select an early reflections pattern. The early reflections pattern contains the most important delays that deliver the key information for the spatial impression of the room. Show Early Reflections Page/Show Chorusing Page With these two buttons below the Early Reflections pop-up menu, you can choose whether to display the early reflections settings or the chorusing settings in the lower left part of the effect panel.
Effects Reference Reverb Effects 212ER/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. Room Size Controls the dimensions of the simulated room. At a setting of 100 %, the dimensions correspond to a cathedral or a large concert hall. At a setting of 50 %, the dimensions correspond to a medium-sized room or studio. Settings below 50 % simulate the dimensions of small rooms or a booth. Main Time Controls the overall reverb time of the tail. The higher this value, the longer the reverb tail will decay. At a setting of 100 %, the reverb time is infinitely long. The Main Time parameter also represents the mid band of the reverb tail. High Time Controls the reverb time for the high frequencies of the reverb tail. With positive values, the decay time of the high frequencies is longer. With negative values, it is shorter. Frequencies are affected depending on the High Freq parameter. Low Time Controls the reverb time for the low frequencies of the reverb tail. With positive values, low frequencies decay longer and vice versa. Frequencies will be affected depending on the Low Freq parameter. High Freq Sets the cross-over frequency between the mid and the high band of the reverb tail. You can offset the reverb time for frequencies above this value from the main reverb time with the High Time parameter. Low Freq Sets the cross-over frequency between the low and the mid band of the reverb tail. The reverb time for frequencies below this value can be offset from the main reverb time with the Low Time parameter. Size Adjusts the length of the early reflections pattern. At a setting of 100 %, the pattern is applied with its original length and the room sounds the most natural. At settings below 100 %, the early reflections pattern is compressed and the room is perceived smaller. ER Low Cut Attenuates the low frequencies of the early reflections. The higher this value, the fewer low frequencies are present in the early reflections.
Effects Reference Reverb Effects 213ER 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. The lower this value, the more single reflections can be heard. Tail High Cut Attenuates the high frequencies of the reverb tail. The lower this value, the fewer high frequencies the reverb tail will have. Width Adjusts the output of the reverb signal between mono and stereo. At a setting of 0 %, the output of the reverb is mono, at 100 % it is stereo. Mix Sets the ratio between the dry and the wet signal. Chorusing Chorusing allows you to enrich the reverb tail through subtle pitch modulations. To access the chorusing parameters, click the Show Chorusing Page button. Chorusing On/Off Activates/Deactivates the chorusing effect. Chorusing Rate Specifies the frequency of the pitch modulation. Chorusing Depth Sets the intensity of the pitch modulation.
Effects Reference Delay Effects 214Delay 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. •Ping-Pong mixes the left and right input channels and sends the mixed signal to hard-panned left and right delays. This way, the echoes bounce like a ping-pong ball between left and right in the stereo panorama. Time Sets the overall time for the left and right delay. Use the Delay L/R parameter to shorten the time for the left or right delay. Sync Activate Sync to synchronize the delay time to the host tempo. If Sync is activated, the time is set as a note value. NOTE The maximum delay time is 5000 ms. If the note length exceeds this value, it is automatically shortened. Delay L/R Offsets the time of the left or right delay from the overall delay time. At a factor of 1, the right or left delay time has the same length as the overall delay time. At a factor of 0.5, the time is half as long as the overall delay time. •To offset the left delay time, turn the control to the left. •To offset the right delay time, turn the control to the right. Feedback Sets the overall amount of feedback for the left and right delay. Feedback means that the output of the delay is fed back to its input. At a setting of 0 %, you hear one echo. At a setting of 100 %, the echoes repeat endlessly.
Effects Reference EQ Effects 215Feedback 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. High Freq Attenuates the high frequencies of the delays. Low Freq Attenuates the low frequencies of the delays. Mix Sets the ratio between the dry and the wet signal. EQ Effects Studio EQ Studio EQ is a high-quality 4-band parametric equalizer. With the four frequency bands, you can shape the tone color, to create a brighter or darker sound, for example. The two mid-range bands act as peak filters and the low and high bands act as shelving filters. All bands are fully parametric with adjustable gain, frequency, and Q factor. Each frequency band offers the following controls: On/Off Activates/Deactivates the frequency band. Gain Sets the amount of cut or boost for the corresponding band. Freq Sets the frequency that is cut or boosted with the Gain parameter.
Effects Reference EQ Effects 216Q (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. Output Controls the overall output level of the equalizer. Mode Allows you to add color or character to the equalized output. The following options are available: •True Response mode uses serial filters with accurate frequency response. •Classic mode uses parallel filters where the resonance depends on the amount of gain. •Constant Q mode uses parallel filters where the resonance is raised when boosting the gain. Range Adjusts the maximum cut or boost for all frequency bands together. Invert Activate this to invert the EQ curve. Flatten Resets all frequency bands to 0 dB.
Effects Reference Filter Effects 217DJ-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. Filter Effects Auto Filter Auto Filter provides two morphable filter shapes with distortion. The morphing between the two shapes, as well as the cutoff, can be controlled with a manual pedal control, an LFO, or an envelope shaper. Filter Parameters 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
Effects Reference Filter Effects 218band-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. Input Adjusts the gain before the filter and distortion. This parameter only affects the wet signal. Cutoff Specifies the cutoff frequency of the filter. Resonance Emphasizes the frequencies around the cutoff. At higher resonance settings, the filter self-oscillates, which results in a ringing tone. Distortion Type The following options are available: •When this parameter is set to Off, the filter offers no distortion. •Tube Drive offers a lot of character by adding warm, tube-like distortion. •Hard Clip adds bright, transistor-like distortion. •Bit Red adds digital distortion by means of quantization noise. •Rate Red adds digital distortion by means of aliasing.
Effects Reference Filter Effects 219Distortion 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. Shape changes the characteristic of the waveform. •Sine produces smooth modulation. Shape adds additional harmonics to the waveform. •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. At 50 %, it produces a square wave. •Ramp is similar to the Saw waveform. Shape increasingly puts silence before the sawtooth ramps up. •Log is a logarithmic curvature. Shape continuously changes the curvature from negative to positive. •S & H 1 produces random stepped modulation, where each step is different. Shape puts ramps between the steps and produces 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 produces a smooth random signal when fully turned right. Freq Determines the frequency of the cutoff modulation. Sync Activate this to set the Freq parameter in fractions of beats.
Effects Reference Filter Effects 220Depth 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. 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. Release 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. Cutoff Determines the modulation intensity of the Envelope Follower on the filter cutoff. Morph Determines the modulation intensity of the Envelope Follower on the filter morph. Pedal Section Pedal Sets the position of the pedal. Depth Determines the output level of the pedal modulation signal. Cutoff Determines the modulation intensity of the pedal on the filter cutoff. Morph Determines the modulation intensity of the pedal on the filter morph.