Steinberg Halion 3 Manual
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Editing Layers Insert Effects 61Expression Maps For more realistic performances, many instrument layers use key switches to switch between different expressions, that is, between different articulations and playing styles of the same instrument. These key switches are set to low keys to maximize the playable range and they cannot be changed internally to ensure that performances played by FlexPhrasers always sound the same. However, in some cases you need to shift the key switches into the playable keyboard range to get access to them. You may also want to select the expression using a MIDI controller. You can use so-called expression maps to customize the internal setting. •To specify the expressions that you want to use in your expression map, activate them in the expressions list. NOTE Some instrument layers consist of multiple expressions that are not switchable via a key switch. For example, instrument noises typically do not have a key switch assigned. In this case, you can select the individual expressions and edit them, but you cannot apply any key switch functionality. Expression Map Options Menu You can define whether you want to use the internal key switches, remap them to other keys, or use a MIDI controller by selecting a mode from the pop-up menu above the expression list. •Select Keyswitch to use the internal key switches to switch to an expression. •Select Remapped if you want to remap the original key switches to other keys. •Select Controller to use a MIDI controller to remotely control the internal key switches. To assign a MIDI controller, open the menu, select Learn CC, and use the controller on your MIDI hardware. •If you activate Temporary KS Mode, expressions other than the default expression are only active for as long as the corresponding key switch is held. This allows you to enter notes with other expressions by pressing a key switch temporarily. •Default Expression sets the default expression for Temporary KS Mode. This is also the expression that is active after loading the program or layer. Insert Effects The Inserts tab offers you up to four insert effects for each of the layers and for the program itself. The insert effects you assign to a layer affect only that layer. The insert effects you
Editing Layers Step Modulator 62assign to the program affect all layers. Typically, you assign effects like EQ or distortion to separate layers, but effects like delay or reverb to the entire program. Each layer and the program have four slots for assigning insert effects. The handling is the same for all slots and corresponds to the global effect handling. To the right of the insert slots, you find faders for adjusting the output levels of the program and layers. RELATED LINKS Using the Insert Effect Slots on page 107 Step Modulator Synth and sample layers feature a polyphonic step modulator for creating rhythmic control sequences. The step modulator can be freely assigned in the modulation matrix. Steps Sets the number of steps in the sequence. The maximum number of steps is 32. Sync Mode •If Off is selected, you can adjust the speed at which the sequence repeats. Whether the sequence restarts when you play a note depends on the Retrigger mode. •If Tempo + Retrig is selected, you can adjust the length of the steps in fractions of beats. The speed of the modulation depends on the number of steps, the note value, and the tempo you set in your host application. To use triplet note values, activate Triplet. Whether the sequence restarts when you play a note depends on the selected Retrigger Mode. •If Tempo + Beat is selected, you can adjust the length of the steps in fractions of beats. The speed of the modulation depends on the number of steps, the note value, and the tempo you set in your host application. To use triplet note values, activate Triplet. The sequence restarts with the transport of the host application and lines up to the beats of the project. The Retrigger Mode is not taken into account. Frequency If Sync Mode is set to Off, this controls the speed at which the sequence is repeated.
Editing Layers Step Modulator 63Note If Sync Mode is set to one of the Tempo settings, this adjusts the length of the steps in fractions of beats. You can also select triplet values. Triplet Activate this button to use triplet note values. Retrigger Mode Determines whether the sequence restarts when you play a note. This parameter is only available if Sync Mode is set to Off or Tempo + Retrig. •If this parameter is set to Off, the sequence is not restarted. Instead, it resumes playback at the position at which you released the key. •If this parameter is set to First Note, the sequence restarts when a note is triggered and no other notes are held. •If this parameter is set to Each Note, the sequence restarts each time a note is triggered. Slope Determines whether the step modulator jumps from step to step or creates ramps between the steps. •No Slope produces hard steps. •Slope on Rising Edges creates ramps only for rising edges. •Slope on Falling Edges creates ramps only for falling edges. •Slope on All Edges creates ramps for all edges. Amount If Slope is set to Rising, Falling, or All, this parameter determines the time of the ramp between two steps. The higher the setting, the smoother the transitions between steps. Step Allows you to select a specific step. Level Shows the level of the selected step. Snap If Snap is activated, the level of each step can only be adjusted in steps of 1/12th. Shift Phrase Right/Shift Phrase Left These commands shift all the steps to the right/left. If you shift the rhythm of the phrase to the left, the first step is moved to the end. If you shift the phrase to the right, the last step is moved to the beginning. Reverse Phrase Reverses the phrase, that is, inverts the order of all steps.
Editing Layers Modulation Matrix 64Editing Steps •To set the level of a step, click at the corresponding position in the graphical editor. •To change the value of a step, drag the step up or down or enter a new value in the Level value field. •To reset the level of a step to 0 %, Ctrl/Cmd-click the step. •To reset all steps, hold Shift-Ctrl/Cmd and click in the graphical editor. •To adjust all steps at the same time, Shift-click and drag a step. •To draw a ramp with steps, hold down Alt and draw a line. •To draw symmetric ramps at the beginning and the end of the sequence, hold down Shift-Alt and draw a line. •To gradually raise or lower the value of the selected step, use the up and down arrow keys. By default, the value changes in increments of 1 %. Hold Shift to use increments of 0.1 % instead. •If the graphical editor has the keyboard focus, you can use the left and right arrow keys to select the previous or next step. Producing Modulations in Steps of Semitones PROCEDURE 1.Activate Snap. 2.In the modulation matrix, assign the Step Modulator to Pitch. 3.Set the Modulation Depth to +12. Now, the levels of the steps represent semitone intervals. 4.In the Step Modulator, adjust each step to the interval that you want to use. Modulation Matrix The concept of controlling one parameter by another is called modulation. HALion Sonic offers many fixed assigned modulations, such as the amplitude and filter envelopes, or pitch key follow. In the modulation matrix, you can assign additional modulations. Assigning modulations means interconnecting modulation sources, like LFOs and envelopes, with modulation destinations, like pitch, cutoff, amplitude, etc. The modulation matrix offers you up to 32 freely assignable modulations, each with a source, an offset parameter, a modifier, and a destination with adjustable depth. All modulation sources and destinations can be assigned several times. The polarity of each source can be
Editing Layers Modulation Matrix 65switched between unipolar and bipolar. An additional modifier and user-definable curves and ranges give you further control over the modulation. The modulation matrix is divided into two sections. On the left, you can assign modulation sources to destinations and adjust the modulation depth. The section on the right contains settings for the curve and range editor, where you can make further settings for the selected modulation source. Creating Modulations PROCEDURE 1.Select the synth or sample layer that you want to adjust. 2.Click Show Modulation Matrix. 3.Select a modulation source and a modulation destination, for example, LFO1 as source and Pitch as destination. 4.Use the horizontal fader below the destination to adjust the modulation depth. 5.Optional: Click the Source 2 field and select a modifier or change the polarity of the source. For example, select Pitch Bend as modifier and set it to unipolar. 6.Optional: Use the curve and range settings on the right to limit the modulation range or to adjust the characteristics of the modulation. Modulation Matrix Context Menu Cut Modulation Cuts the modulation data from the current slot. Copy Modulation Copies the modulation data from the current slot to the clipboard. Paste Modulation Pastes the modulation data from the clipboard to the current modulation slot.
Editing Layers Modulation Matrix 66NOTE You can copy modulation rows between different programs and between different plug-in instances. Insert Modulation Inserts an empty modulation slot. Remove Modulation Removes the modulation slot. Name of the Assigned Source/Modulator/Destination Depending on where you click, the assigned modulation source, the modulator, or the modulation destination is shown on the context menu. Assign to New Automation Assigns this modulation source as automation parameter. Learn CC Allows you to assign a MIDI controller to the modulation slot. Forget CC Removes the MIDI controller assignment for the current slot. Set Minimum Allows you to set the minimum value for the MIDI controller that is assigned to the modulation slot. Set Maximum Allows you to set the maximum value for the MIDI controller that is assigned to the modulation slot. Assign Quick Control Allows you to assign a quick control to the modulation slot. Forget Quick Control Removes the quick control assignment of the modulation slot. Set Minimum Allows you to set the minimum value for the quick control that is assigned to the modulation slot. Set Maximum Allows you to set the maximum value for the quick control that is assigned to the modulation slot. Set Type •Absolute remote-controls the parameter values continuously. Absolute mode changes the assigned parameters by overwriting them with the current quick control value, that is, parameter changes are overwritten.
Editing Layers Modulation Matrix 67•Relative remote-controls the parameter values continuously. Relative mode changes the values of the assigned parameters without losing their relative settings, that is, parameter changes can still be heard. •Switch Absolute switches between the minimum and maximum value. Parameter changes are overwritten. •Switch Relative switches between the minimum and maximum value. Parameter changes can still be heard. RELATED LINKS Setting Up Automation on page 100 Modulation Matrix Parameters Modulation Sources LFO P1/P2 The LFOs 1 and 2 produce cyclic modulation signals. These LFOs are polyphonic, that is, a new LFO signal is created with each new note. LFO M3/M4 The LFOs 3 and 4 produce cyclic modulation signals. Amp Envelope The amplifier envelope. This modulation source is unipolar. The shape of the envelope determines the modulation signal. Filter Envelope The filter envelope. This modulation source is unipolar. The shape of the envelope determines the modulation signal. Pitch Envelope The pitch envelope. This modulation source is bipolar. The shape of the envelope determines the modulation signal. User Envelope The user envelope. This modulation source is bipolar. The shape of the envelope determines the modulation signal. Step Modulator The step modulator of the layer. This modulation source is bipolar. It produces cyclic, rhythmically stepped modulation signals. Glide The glide signal of the source. This modulation source is unipolar.
Editing Layers Modulation Matrix 68Key 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. This modulation source is bipolar. Note-on Velocity Note-on velocity can be used as modulation signal. This modulation source is unipolar. Note-on Vel Squared The squared version of Note-on Velocity. The harder you press the key, the higher the modulation values. Note-on Vel Normalized The note-on velocity is normalized according to the velocity range of the corresponding sample zone. At the lowest velocity of the zone, the modulation is 0, at the highest velocity, the modulation is 1. Note-off Velocity Note-off velocity can be used as modulation signal. This modulation source is unipolar. Most MIDI keyboards cannot send note-off velocity messages. However, most sequencer software is able to produce such messages. Pitchbend The position of the pitchbend wheel can be used as modulation signal. This modulation source is bipolar. Modulation Wheel The position of the modulation wheel can be used as modulation signal. This modulation source is unipolar. Aftertouch Aftertouch can be used as modulation signal. This modulation source is unipolar. Some MIDI keyboards cannot send aftertouch messages. However, most sequencer software is able to produce such messages. MIDI Controller Any of the 127 available MIDI controllers can be used as modulation signal. You can select the MIDI controller from the corresponding submenu. In addition, you can select the eight global MIDI controllers Contr. A-Contr. H that can be used as placeholders in the modulation matrix. These controllers allow you to remap specific MIDI controllers to the placeholder controllers, for example, using the CC Mapper. This way, you can use the global controllers in several places, and set up the assignment only once. Quick Control The quick controls of the layer can be used as modulation signal. You can select the quick control from the corresponding submenu.
Editing Layers Modulation Matrix 69Note Expression This submenu lists the eight Note Expression parameters that can be used as modulation signals. Noise Produces a random modulation signal. This modulation source is bipolar. Output The audio output of the layer can be used as modulation signal. This modulation source is unipolar. Bus 1–16 Modulations that are sent to one of the 16 busses can be reused as sources. This way, you can combine several modulations to produce more complex signals. Modulation Modifiers All modulation sources can also be used as modifiers. A modifier is used to scale the output of the modulation source. A typical example is an LFO as a source and the modulation wheel as the modifier. This allows you to control the intensity of the LFO modulation using the wheel. The Sample & Hold modifier is only available on the Source 2 pop-up menu. It takes a sample of the modulation source whenever it receives a trigger signal. It holds the sampled value until it receives a new trigger. This way, you can quantize a continuous modulation signal. The following Sample & Hold options are available: Trigger on Note-on Triggers the Sample & Hold modifier manually each time that you hit a key. Trigger on LFO 1 Triggers the Sample & Hold modifier each time that the waveform of LFO 1 crosses the zero line from below. Trigger on LFO 2 Triggers the Sample & Hold modifier each time that the waveform of LFO 2 crosses the zero line from below. Trigger on Modulation Wheel Triggers the Sample & Hold modifier each time that the modulation wheel passes the center position. Trigger on Sustain Triggers the Sample & Hold modifier each time that you press the sustain pedal. Sample until Release Triggers the Sample & Hold modifier each time that you release a key.
Editing Layers Modulation Matrix 70Unipolar 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, click its Polarity button. Modulation Depth The horizontal fader below the destination adjusts the modulation depth. Bypass Modulation Click the Bypass button in front of the depth fader to bypass the modulation. Modulation Destinations Depending on the selected type of layer, the available modulation destinations vary. 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 (-60 to +60). Cutoff Modulates the filter cutoff. For example, to create rhythmic patterns in the spectral timbre, assign the Step Modulator. 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. This has no effect on the Classic, HALion 3, and Waldorf filters. Morph X Modulates the x-axis of the filter in Morph XY mode. Use this to morph between the filter shapes AD and BC. Morph Y Modulates the y-axis of the filter in Morph 2, Morph 4, or Morph XY mode. Use this to morph between the filter shapes AB and DC, for example. Cutoff Offset Modulates the cutoff offset of the second filter in Dual Filter Serial or Dual Filter Parallel mode. For example, to lower or raise the cutoff of the second filter while you play, assign the modulation wheel.