Steinberg Halion 3 Manual

							Editing Layers
Envelopes 
51•Negative values increase the phase lengths for notes above and decrease
the phase lengths for notes below the Center Key, that is, the envelope
becomes slower the higher the note you play.
Zooming
The vertical axis of the graphical envelope editor displays the level. The horizontal axis
displays the time.
•To zoom in or out, click the + or - buttons to the right of the scrollbar below the
graphical editor.
•To zoom in or out at the current position, click in the timeline and drag up or down.
•To toggle between full zoom and the previous zoom setting, click the A button to the
right of the horizontal zoom slider.
•To zoom to a specific region, hold Alt, click and drag the mouse over the region.
Zoom Snapshots
Zoom snapshots save the zoom factor and scroll position of the editor. These are restored
when you load the snapshot.
To the right of the scrollbar, you can find three numbered buttons that allow you to save and
load zoom snapshots.
•To save the current state of the editor as snapshot, Shift-click one of the numbered
buttons to the right of the scrollbar.
•To load a zoom snapshot, click the corresponding button. The button color changes if a
snapshot is active.
NOTE
If you perform any manual zooming or scrolling, the zoom snapshot is deactivated.
Selecting Nodes
•To select a node, click on it in the graphical editor.
The focused node is indicated by a frame. The value fields to the left of the graphical
envelope editor display the parameters of the focused node.
•If multiple nodes are selected, you can use the Env Node pop-up menu to set the focus
to a different node without losing the current selection.
•To add a node to a selection, Shift-click the node. Selected nodes are edited together.
•You can select multiple nodes by drawing a rectangle around the nodes with the
mouse.
•If the graphical editor has the focus, you can select the next or the previous node with
the left and right arrow keys. 
						

							Editing Layers
Envelopes 
52Adjusting the Time Parameter
The Time parameter specifies the period of time between two nodes. Depending on the Sync
mode, the Time parameter is displayed in milliseconds and seconds, or in fractions of beats.
•To set the Time parameter, select the nodes that you want to adjust and enter a value
in the Time field.
•You can also adjust the Time parameter in the graphical envelope editor, by dragging
the nodes left or right, to decrease or to increase the time span.
For a higher resolution, hold Shift while moving the nodes.
To limit the movement to the time axis, that is, to change only the horizontal position of
a node, hold down Ctrl/Cmd while dragging.
Adjusting the Level Parameter
The Level parameter specifies the amplitude of the envelope at the position set by the Time
parameter.
•To set the Level parameter, select the nodes that you want to adjust and enter a value
in the Level field.
•You can also adjust the Level parameter in the graphical envelope editor by dragging
the selected nodes up or down, to decrease or increase the levels.
For a higher resolution, hold Shift while moving the nodes.
To limit the movement to the level axis, that is, to change only the vertical position of a
node, hold down Alt while dragging.
Adjusting the Curve Parameter
The Curve parameter allows you to adjust the curvature of the envelope curve between two
nodes from linear to logarithmic or exponential behavior.
•To set the Curve parameter, select the nodes that you want to adjust and enter a value
in the Curve field. Positive curve values change the curvature towards logarithmic and
negative values towards exponential behavior.
•You can also adjust the Curve parameter in the graphical envelope editor by dragging
the curve between two nodes.
Ctrl/Cmd-click a curve to reset it to linear.
Adding and Removing Nodes
•To add a node, double-click at the position where you want to add the node.
•To remove a node, double-click it.
•To delete several selected nodes, press Delete.
NOTE
•You cannot remove the first, the last, or the sustain node.
•All nodes added after the sustain node always affect the release phase of the envelope. 
						

							Editing Layers
Envelopes 
53Adding Nodes Using the Fill Function
The Fill function allows you to add multiple envelope nodes after the selected nodes.
PROCEDURE
1.On the pop-up menu to the right of the Fill button, select the number of nodes that you
want to add.
2.In the graphical envelope editor, select the node after which you want to add nodes.
If several nodes are selected, the new nodes are inserted after the last selected node.
If Fixed is deactivated, the added nodes are placed with the interval specified by the
Time parameter of the selected node. If multiple nodes are selected, the interval is
specified by the focused node.
By activating Sync, you can specify the interval with the Sync note value. For example,
if 1/4 is selected, new nodes are added at exact quarter note intervals.
If Fixed is activated, the added nodes fill the space between the last selected node and
the following one.
3.Click the Fill button.
Using Sync
You can synchronize the envelopes to the tempo of your host application. This allows you to
set envelope times that relate to musical time intervals, regardless of any tempo changes.
PROCEDURE
1.Click Sync to activate sync mode for the envelope.
Sync mode is active if the button is highlighted. A grid spaced in fractions of beats is
displayed in the graphical envelope editor.
2.On the pop-up menu located to the right of the Sync button, select a note value.
This sets the resolution of the grid.
NOTE
The Time field of a node displays times in fractions of beats. The fraction is always
reduced to the smallest possible value. 2/16 is displayed as 1/8, for example.
3.To use triplet note values, activate the T button.
NOTE
•Envelope nodes that do not exactly match a note value display the closest note
value.
•Nodes that exactly match a note value are indicated by a red dot inside the
handle of the node. This is useful if you switch the grid between triplets and
normal note values, for example. The triplet nodes still indicate that they match
a note value, even if the grid shows normal note values.
You can also enter note values and triplets manually in the value field. 
						

							Editing Layers
LFOs 
54Setting Up the Loop
You can set up the envelope to repeat its playback between the selected nodes.
PROCEDURE
1.Set the envelope mode to Loop.
2.The loop is indicated by the green region in the graphical envelope editor. Specify the
loop start and end by dragging the borders of the region.
The loop region can only be set up in the decay phase of the envelope.
LFOs
HALion Sonic offers two polyphonic and two monophonic LFOs. Polyphonic means the LFOs
are calculated per voice, allowing for independent modulations with each triggered note. You
can use this to create a richer sound, for example, with an independent pitch modulation per
note. Monophonic means the LFOs are calculated only once per layer. The same modulation
is sent to all voices simultaneously. The LFOs can be assigned freely in the modulation
matrix.
•Click P1 or P2 to show the settings for the corresponding polyphonic LFO.
•Click M1 or M2 to show the settings for the corresponding monophonic LFO.
You can adjust the times of the envelope in the graphical editor by dragging nodes left or
right.
NOTE
How many nodes are available in the graphical editor depends on the selected Envelope
Mode.
•The first node adjusts the Delay time.
•The second node adjusts the Fade In time.
•The third node adjusts the Hold time.
•The fourth node adjusts the Fade Out time.
Parameters for Monophonic and Polyphonic LFOs
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. 
						

							Editing Layers
LFOs 
55•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 Mode
The Sync Mode is used to match the LFO to the tempo of the host application.
•Select Off to adjust the speed of the modulation in Hertz.
•Select Tempo + Retrig to adjust the speed of the modulation in fractions of
beats. You can also set dotted and triplet note values. The restart behavior
of the LFO depends on the Retrigger Mode.
•Select Tempo + Beat to adjust the speed of the modulation in fractions of
beats. You can also set dotted and triplet note values. The LFO restarts
with the transport of the host and lines up to the beats of the song. The
Retrigger Mode setting is not taken into account.
NOTE
The behavior of the Frequency parameter changes with the selected option.
Retrigger Mode (Monophonic LFOs)
Determines whether the LFO is restarted when a note is triggered. If this is set
to First Note or Each Note, the waveform starts at the position specified by the
Phase parameter.
•If this is set to Off, the LFO runs freely.
•If this is set to First Note, the LFO restarts when a note is triggered and no
other notes are held.
•If this is set to Each Note, the LFO restarts each time a note is triggered.
Frequency
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. 
						

							Editing Layers
LFOs 
56Rnd (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.
Additional Parameters for Polyphonic LFOs
Retrigger Mode
Determines whether the LFO is restarted when a note is triggered. The waveform
restarts at the position set with the Phase parameter.
The polyphonic LFOs can switch between On and Off.
•If this parameter is set to Off, the LFO runs freely.
•If this parameter is set to On, the LFO starts with each triggered note.
Envelope Mode
Allows you to specify how the LFO envelope reacts to your playing on the
keyboard. The One Shot modes do not react to note-off events.
•Select One Shot to play the envelope from start to end in the time specified
by the Delay, Fade In, Hold, and Fade Out parameters.
•One Shot + Sustain is similar to One Shot. The Delay and Fade In
parameters are always applied when you play a note. The Hold and Fade
Out parameters are not available.
•If Hold + Fade Out is selected and you play a note, the Delay and Fade In
parameters are applied. The envelope fades out after the time specified by
the Hold parameter or when a key is released. Releasing a key during the
fade in starts the fade out from the current level.
•If Sustain + Fade Out is selected and you play a note, the Delay and Fade In
parameters are applied. The Hold parameter is not available. The fade out
is applied when releasing the key. Releasing a key during the fade in starts
the fade out from the current level.
•If Sustain is selected and you play a note, the Delay and Fade In
parameters are applied. The Hold and Fade Out parameters are not
available. Releasing a key during the fade in sustains the current level. This
prevents a change in modulation when a key is released.
Inv (Invert Envelope)
If this parameter is activated, the behavior of the LFO envelope is inverted, that
is, the LFO modulation starts at its maximum level and decreases to zero in the
time specified by the Fade In parameter. After the Hold time has elapsed, or
when the key is released, the modulation increases to its maximum level in the
time specified by the Fade Out parameter.
Delay
Determines the delay time between the moment you play a note and the moment
the LFO comes into effect. 
						

							Editing Layers
LFOs 
57Fade In
Determines how long the LFO takes to fade in after the note was triggered and
the Delay time has elapsed.
Hold
Determines the amount of time the LFO is running before the fade out begins.
NOTE
Hold is only available for the envelope modes One Shot and Hold + Fade Out.
Fade Out
Determines how long the LFO takes to fade out after the hold time has elapsed or
a note has been released.
NOTE
To deactivate the fade out, use the envelope modes One Shot + Sustain or
Sustain. This ensures that the modulation does not change when a note is
released.
LFO Tab for Loop Layers
Loop layers offer a monophonic LFO with adjustable depth for Pitch, Cutoff, and Pan.
For loop layers, the following additional parameters are available:
Pitch
Adjusts how much the LFO affects the pitch of the slices.
Cutoff
Adjusts how much the LFO affects the cutoff of the slices.
Pan
Adjusts how much the LFO affects the pan of the slices.
When using the LFO of loop layers, the following applies:
•The modulation of Pitch, Cutoff, and Pan goes to all slices simultaneously. The
modulation depth cannot be set separately per slice.
•The filter must be activated to hear the modulation of the Cutoff. 
						

							Editing Layers
Using the Keymap 
58NOTE
With a Resonance of 100 %, you might hear clicks because the slice ends abruptly, but the
filter still produces a sound from self-oscillation. In this case, go to the corresponding
FlexPhraser and reduce the Gate Scale until the clicks are gone. In addition, you can adjust
the amplifier envelope of the slices, for example, to increase the release of the envelopes.
Apart from the Pitch, Cutoff, and Pan parameters, all other parameters correspond to the
parameters on the LFO pages for sample and synth layers.
Using the Keymap
In the key map at the bottom of the editor, you see the drum instruments or loop slices that
are part of the drum or loop layer, and how they are mapped across the keyboard.
•Keys with a drum instrument or loop slice assigned display in normal white and black.
•The names of the drum instruments or loop slices are displayed vertically above the
keys.
•Keys with nothing assigned are deactivated and displayed in gray.
•For loop layers, the pitched part of the keyboard is displayed in orange.
•Clicking a key plays and selects the corresponding drum instrument or loop slice.
NOTE
The key map is used for indication and selection only. The mapping of the drum instruments
and loop slices cannot be changed.
To edit a drum instrument or loop slice, you must select it first. You can select drum
instruments or loop slices by clicking the corresponding keys on the key map or by using
your MIDI keyboard.
To select a drum instrument or loop slice with your MIDI keyboard, activate Select Zones via
MIDI in the top section of the layer editor and press the key that plays the drum instrument
or loop slice that you want to adjust.
You can edit the selected drum instrument or loop slice using the parameters on the Pitch,
Filter, Amplifier, and AUX tabs.
AUX Tab
Each drum instrument and loop slice has individual send levels that feed the four global AUX
FX busses. This allows you to add more reverb to the snare drum and less effect to the bass
drum, for example. 
						

							Editing Layers
Expression Controls for Instrument Layers 
59
AUX FX1 – 4
These dials adjust the send levels for the four global AUX FX busses for each
drum instrument or loop slice separately.
Expression Controls for Instrument Layers
Instrument layers contain expressions. Typically, an expression is a particular playing style of
the instrument. In some cases, it can also be a part of the sound that can be turned on or off,
for example, to add realism or to maximize the performance.
The list of expressions is displayed on the left and on the right and in the lower section, you
can find the pitch, filter and amplifier settings of the selected expression.
•To load an expression, activate its On button.
•To mute an expression, activate its Mute button.
•If you want the editor to follow incoming MIDI key switches or MIDI controller values,
activate Select Expression via MIDI.
The parameters on the Pitch, Filter, and Amplifier sections are the same as on the
corresponding tabs for the other layer types.
Filter Env Modifier Section
This section offers parameters to modify the filter envelope of the expression.
Envelope Amount
Controls the cutoff modulation from the filter envelope. 
						

							Editing Layers
Expression Controls for Instrument Layers 
60Velocity
Determines how the velocity affects the level of the filter envelope.
The level of the envelope depends on two factors: the setting of this parameter
and how hard you hit a key. Positive values increase the level of the envelope
the harder you hit a key. Negative values decrease the level of the envelope the
harder you hit a key.
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 Env Modifier Section
This section offers parameters to modify the amplifier envelope of the expression.
Velocity
Use this parameter to adjust how velocity affects the level of the amplifier
envelope.
The level of the envelope depends on two factors: the setting of this parameter
and how hard you hit a key. Positive values increase the level of the envelope
the harder you hit a key. Negative values decrease the level of the envelope the
harder you hit a key.
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.
RELATED LINKS
Pitch Tab on page 40
Filter Tab on page 43
Amplifier Tab on page 46