Steinberg Halion 3 Manual
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Effects Reference Filter Effects 221Morph Filter Morph Filter allows you to mix low-pass and high-pass filter effects, allowing for creative morphings between two filters. You can specify the filter shapes independently for filter shape A and B. Filter Shape B Here, you can choose between several high-pass and band-rejection filter shapes. Filter Shape A Here, you can select a low-pass or a band-pass filter shape. Morph Allows you to mix the output between the two selected filters. Cutoff Adjusts the cutoff frequency of the filters. NOTE You can also set the Cutoff and Morph parameters simultaneously by clicking in the display and dragging. Resonance Emphasizes the frequencies around the cutoff frequency. For an electronic sound, increase the resonance. At higher resonance settings, the filter self- oscillates, which results in a ringing tone. Resonator The sound of the human voice or of acoustic instruments can be characterized by their distinctive formant regions, that is, by resonances in the frequency spectrum that are typical for a particular sound. For example, the vowel “ah” (as in father) sung by a male singer has three characteristic formants: F1 = 570 Hz, F2 = 840 Hz, and F3 = 2410 Hz. The Resonator effect allows you to induce such formant regions to a sound by using three filters that are connected in parallel. You can specify the positions and levels of the formant regions by adjusting the Cutoff, Resonance, and Gain parameters of the filters. The Resonator effect comes with 14 predefined filter shapes that determine the basic sound character. In addition, three LFOs can be used to modulate each filter separately, which allows for adding extra motion to the sound.
Effects Reference Filter Effects 222Resonator Shape Defines the basic sound character of the effect. Each shape is a unique combination of different filter types for the low, mid, and high frequency bands. OptionFilter Low/Mid/HighLow-Pass 1LP6/LP6/LP6Low-Pass 2LP12/LP12/LP12Band-Pass 1BP12/(-1)BP12/BP12*Band-Pass 2BP12/BP12/BP12High-Pass 1HP6/HP6/HP6High-Pass 2HP12/HP12/HP12Peak 1LP6/(-1)BP12/HP6*Peak 2LP6/BP12/HP6Bat 1HP12/BP12/LP12Bat 2HP6/BP12/LP6Wings 1LP6/BR12/HP6Wings 2HP12/BR12/LP12Wings 3LP6/(-1)BR12/HP6*Wings 4HP12/(-1)BR12/LP12**(-1) means that the phase is inverted Mix Sets the ratio between the dry and the wet signal. Cutoff Spread Spreads the cutoff frequencies between the channels of the effect. For example, if the effect is used in stereo, positive Cutoff Spread values shift the cutoff down on the left channel and up on the right channel.
Effects Reference Filter Effects 223Filter Tab Cutoff Adjusts the cutoff frequency of the filter, that is, the center frequency of the formant region. Resonance Adjusts the resonance of the filter. The resonance determines how much the formant region is emphasized. At higher settings, the filter self-oscillates, which results in a ringing tone. Gain Adjusts the input gain of the filter. The gain determines the level of the formant region. LFO Modulation Source Allows you to select the LFO that modulates the cutoff. LFO Modulation Depth Adjusts the cutoff modulation from the LFO. LFO Tab 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
Effects Reference Filter Effects 224between 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. Spread For each channel of the effect, there is a separate LFO signal. This parameter spreads the phase of the LFO signals across the different channels. For example, if the effect is used in stereo, positive values shift the LFO phase forward on the left channel and backward on the right channel. Sync Activate this to set the Freq parameter in fractions of beats. Freq Determines the frequency of the cutoff modulation. WahWah WahWah is a variable slope band-pass filter modeling the well-known analog pedal effect. You can independently specify the frequency, width, and the gain for the low and high pedal positions. The crossover point between the low and high pedal positions lies at 50. Pedal Controls the filter frequency sweep. Freq Low/Freq High These parameters determine the frequency of the filter for the low and high pedal positions. Width Low/Width High These parameters determine the width (resonance) of the filter for the low and high pedal positions.
Effects Reference Distortion Effects 225Gain Low/Gain High These parameters determine the gain of the filter for the low and high pedal positions. Slope Here, you can choose between two filter slope values: 6 dB or 12 dB. Distortion Effects Amplifier This effect emulates the sound of an amplifier with speakers. There are different amplifiers and speaker models you can combine. Amp Model Determines the type of amplifier. The sound character of the overdrive changes with the amplifier. To bypass the amplifier, select No Amp. Speaker Model Determines the speaker model type. Each model colors the sound uniquely. To bypass the model, select No Speaker. Drive Adjusts the amount of overdrive. Bass Adjusts the tone color of the low frequencies. Middle Adjusts the tone color of the mid frequencies. Treble Adjusts the tone color of the high frequencies. Presence Adds brightness to the sound. Low Damp Attenuates the low frequencies of the speakers.
Effects Reference Distortion Effects 226High Damp Attenuates the high frequencies of the speakers. Channel Mode Defines which output channels of the amplifier deliver a distorted signal. You can set it to L (Left), R (Right) or L/R (Both). When set to L or R, the other channel provides a clean signal. Output Controls the output level of the amplifier. Distortion This effect offers the whole range of distortion, from low fidelity, digital distortion to high fidelity, analog sounding distortion. The available distortion types (Rate Red, Tube Drive, Hard Clip, and Bit Red) can be freely combined. In Gain Adjusts the input level of the sound. Rate Red (Rate Reduction) Rate reduction distorts the sound by means of aliasing. Enable the Rate Red option to activate the control that adjusts the amount of aliasing. The lower the setting, the more aliasing is added. Tube Drive Adds warm, tube-like distortion to the sound. Enable the Tube Drive option to activate the control that adjusts the amount of distortion. The higher the setting, the more distortion is added. Hard Clip Adds bright, transistor-like distortion to the sound. Enable the Hard Clip option to activate the control that adjusts the amount of distortion. The higher the setting, the more distortion is added. Bit Red (Bit Reduction) Bit reduction distorts the sound by means of quantization noise. Enable the Bit Red option to activate the control that adjusts the amount of quantization noise. The lower the setting, the more quantization noise is added. Out Gain Adjusts the output level of the sound. Mix Sets the ratio between the dry and the wet signal.
Effects Reference Distortion Effects 227VST Amp This effect emulates the sound of an amplifier with speakers. There are different amplifiers and speaker models you can combine. Amp Model Specifies the amplifier type. The sound character of the overdrive changes with the amplifier. To bypass the amp modeling, select No Amplifier. Speaker Model Specifies the speaker model type. Each model colors the sound uniquely. To bypass the speaker modeling, select No Cabinet. Drive Adjusts the amount of overdrive. Bass Adjusts the tone color of the low frequencies. Middle Adjusts the tone color of the mid frequencies. Treble Adjusts the tone color of the high frequencies. Presence Adjusts the brightness of the sound. Mic Type You can choose between two microphone types. If this control is set to 0 %, a large-diaphragm condenser microphone is used. At 100 %, you get a dynamic microphone. Settings in between allow you to fade between the characteristics of these two microphones. Microphone Position Here, you can choose between seven positions to place the microphone. These positions result from two different angles (center and edge) and three different distances from the speaker, as well as an additional center position at an even greater distance from the speaker. Channel Mode Determines in which way the two input channels are distorted.
Effects Reference Distortion Effects 228•L (Left) only distorts the left input channel. The right channel remains clean and unprocessed. •R (Right) only distorts the right input channel. The left channel remains clean and unprocessed. •L+R (Left + Right) sums the two input channels into a mono signal which is then distorted. •Stereo distorts the two input channels independently. NOTE The L and R modes allow you to cascade two VST Amp effects, that is, to use the first one to processes the left channel and the second one to process the right channel at different settings. Output Controls the output level of the amplifier. Tape Saturator Tape Saturator simulates the behavior of classic tape recorders. These machines produced a specific saturation when recording higher input levels, which led to a compressed signal with light distortion. Mode Here, you can choose between the effect of a single (One Stage) or two cascaded tape machines (Two Stage). Two Stage mode leads to higher saturation and compression. Oversampling Activate this parameter to increase the accuracy of the effect by oversampling. NOTE If this parameter is activated, the effect requires more processing power. Drive Determines the level of the input signal and thus the amount of saturation. Auto Gain Activate this option for an automatic level compensation. Low Filter Here, you can adjust the low frequency range below 1000 Hz by +/- 3 dB.
Effects Reference Pitch Shift Effects 229High Filter Here, you can attenuate the high frequency range. This high-cut filter works with a slope of 24 dB/octave. Output Determines the level of the output signal. Tube Saturator This effect enriches the sound by adding the characteristic harmonics of a saturated tube to the audio signal. Oversampling Increases the accuracy of the effect by oversampling. NOTE If this parameter is activated, the effect requires more processing power. Drive Determines the level of the input signal and thus the amount of saturation. Low Filter Allows you to reduce the low frequency range by up to 6 dB before saturation. High Filter Allows you to adjust the high frequency range by -/+ 6 dB before saturation. Output Determines the level of the output signal. Pitch Shift Effects Octaver Octaver allows you to create two additional voices that follow the original voice an octave below and above. This effect is best suited for monophonic signals.
Effects Reference Modulation Effects 230Direct Determines the level of the input signal. Octave 1 Determines the level of the signal that is produced an octave below the original voice. Octave 2 Determines the level of the signal that is produced an octave above the original voice. Modulation Effects Chorus Chorus thickens and broadens the sound by means of pitch modulation. Rate Determines the frequency of the pitch modulation, in Hertz. Sync Activate this to set the Rate value in fractions of beats. Depth Sets the intensity of the pitch modulation. Phase Widens the sound image of the effect from mono to stereo. Shape Adjusts the characteristics of the modulation. At a setting of 0 %, the pitch changes continuously, producing a steady modulation. At a setting of 100 %, the pitch does not change all the time, producing a less steady modulation. Mix Sets the ratio between the dry and the wet signal.