Steinberg Halion 5 Manual
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161 Granular Synthesis Introduction Granular synthesis is based on a simple idea: Instead of playing back an entire sample, only short portions of the sample, the so-called grains, are played. These grains can be played back in any order. Each time a grain ends, a new one starts. To avoid discontinuities in the playback and to minimize artefacts, envelopes are applied to the grains. You can use granular synthesis to extract interesting spectra from all kinds of samples, to create sound effects by completely scrambling a sample, or to perform low-fidelity time stretching, for example. Very short grains produce sounds with an individual pitch. This means that you can also extract pitched spectra from samples without a distinct pitch, such as drum loops or sound effects. Sounds with longer grains usually play back with the pitch of the original sample. If you repeatedly play back the same portion of a sample, the sound may become too static. To compensate for this and bring more liveliness into the sound, you can use the Random, Spread, and Offset parameters. By adding more grain streams, you can increase the grain and sound density to produce a richer sound. Accessing the Grain Oscillator To show the settings for the granular synthesis, open the Sound Editor for a sample zone and select “Grain” on the Type pop-up menu. For grain zones, the same sections as for sample zones are available, except for the AudioWarp section. Grain zones offer a sophisticated grain oscillator section that contains a subpage for the grain- specific parameters and another subpage for the sample-related parameters.
162 Granular SynthesisThe Grain Tab The Grain Tab Sample Display The sample display provides an overview of the sample and shows a playback locator for each grain stream. This shows the resulting effects of the grain oscillator parameters and helps you find the sample portions that you want to use as grain sources. The sample start and end markers of the sample are indicated by orange lines. They determine the range that can be used to create grains. If the sample has a defined sustain loop, the grains use the sample range between sample start and loop end. Release loop settings and release markers are not taken into account. The sustain and the release loop are shown as green and red shades in the sample display. The release marker is shown as a blue line. Note that these are only indicators. You can edit the corresponding parameters in the Sample editor. Speed and Direction The Speed and Direction parameters determine how the playback position moves through the sample when you play a note. Speed Determines how fast the playback position progresses through the sample. When this is set to 0 %, the playback position stays fixed. At a setting of 100 %, the playback position moves through the sample at its original speed. At the maximum setting, the playback speed is eight times faster than the original speed. Direction Allows you to set the playback speed in smaller increments. Furthermore, this determines the playback direction: if you enter negative values, the playback position moves backwards through the sample. Position Settings Position You can set the playback position of the grains manually. The playback position is updated with every new grain.
163 Granular SynthesisThe Grain Tab Position Random Determines the range from which a random playback position is chosen. At a setting of 100 %, the playback position jumps to a random position between the start and the end of the sample. The random playback position is calculated separately for each channel of the sample, at the start of a new grain. This can be used to widen the panorama of the sound. Position Spread This parameter is available when “Number of Grains” is set to a value higher than 1. It spreads the playback positions of the grains, making each grain play back a different portion of the sample. Position Offset Offsets the playback position for each channel of the sample. Positive values modify the playback position of the right channel and negative values modify the playback position of the left channel. In either case, the other channel is not affected. This can be used to widen the panorama of the sound. If you are working with surround files, the center channel and the LFE channel remain unchanged. The Left and Right Surround channels get the maximum offset, and the Left and Right channels are offset to a value halfway between Center and LFE and the Surround channels. For example, an offset of 100 % has the following results: - Center channel: 0 % -LFE channel: 0 % - Left Surround channel: 100 % - Right Surround channel: 100 % - Left channel: 50 % - Right channel: 50 % Pitch settings In granular synthesis, either the pitch of the original sample or the grain oscillator define the pitch of a sound. •To use the pitch of the original sample, raise the Duration value until you can clearly hear the sample’s own pitch. If you change the pitch of the sample, the spectrum of the sound changes. You can use the standard pitch settings of the zone, for example, Glide, Pitchbend, Octave, etc. •To define the pitch using the grain oscillator, set Duration to very low values, preferably 1 or 2. To set the pitch of the grain oscillator, adjust the Duration and Center Key with Key Follow parameters accordingly. If you want the pitch of the grain oscillator to follow the pitch of the zone, activate “Follow Zone Pitch”. Pitch Interval Here, you can specify an interval between -12 and +12 semitones. The grains are played randomly at their original pitch, or they are transposed according to the pitch interval. This interval is calculated separately for each channel of the sample, at the start of a new grain. Pitch Random Sets the random pitch range in semitones and cents. At a setting of +12, the random pitch values lie between -12 and +12 semitones. The random pitch is calculated separately for each channel of the sample, at the start of a new grain. This can be used to widen the panorama of the sound.
164 Granular SynthesisThe Grain Tab Pitch Spread This parameter is available when “Number of Grains” is set to a value higher than 1. It detunes the pitch of the grains in semitones and cents. The first grain keeps its pitch, and the other grains are detuned evenly to values within the specified range. The last grain is detuned to the maximum value. ÖFor shorter grains, this is perceived as a change in the spectrum and for longer grains as a detuning of the sample. Pitch Offset Offsets the pitch across the channels of the sample, in semitones and cents. Positive values increase the pitch of the right channel and decrease the pitch of the left channel. Negative values increase the pitch of the left channel and decrease the pitch of the right channel. This can be used to widen the panorama of the sound. ÖFor shorter grains, this is perceived as a change in the spectrum and for longer grains as a detuning of the sample. If you are working with surround files, the Center channel and the LFE channel remain unchanged. The Left channel and the Left Surround channel get the same value. The Right channel and the Right Surround channel get the same value. Left and right are distributed symmetrically. For example, an offset of +12 semitones gives the following results: - LFE channel: 0 semitones - Center channel: 0 semitones - Left channel: -12 semitones - Left Surround channel: -12 semitones - Right channel: +12 semitones - Right Surround channel: +12 semitones Grain Settings Number of Grains You can specify the number of grains for each channel of the sample. At a setting of 2, the two grains are offset by 180 °. Due to this phase offset, the root of the spectrum is canceled out, and the pitch increases by one octave. To compensate for this, adjust the “Position Spread”, “Position Offset”, or “Duration Spread” parameters. Duration Increases the grain period by a factor ranging from 1 to 1000. •For very short grains, the sound gets the pitch of the frequency at which the grains repeat. For example, the grain duration at the center key C3 is 3.82 ms. If you set the grain duration to 2, the grain period is 7.64 ms, and the pitch of the sound is one octave lower. •When longer grains (above 30 ms) are used, the sound gets the pitch of the sample. Duration Random The random grain duration is calculated separately for each channel, at the start of a new grain. This can be used to widen the panorama of the sound. At a setting of 100 %, the grain duration varies between half and twice the grain period.
165 Granular SynthesisThe Grain Tab Duration Spread This parameter is available when “Number of Grains” is set to a value higher than 1. It modifies the grain durations by the factor that you set. This way, each grain is played with a different duration. At a setting of +100 %, the first grain is half as long and the last is twice as long. You can also use negative settings, in which case, the first grain will become longer and the last grain shorter. Duration Offset Offsets the grain duration across the sample channels. Positive settings result in shorter grain durations for the right channel and longer grain durations for the left channel. This can be used to widen the panorama of the sound. At a setting of 100 %, the minimum and maximum duration lie between half and twice the grain period. If you are working with surround files, the center channel and the LFE channel remain unchanged. The left and right channels and the left and right surround channels are modified symmetrically. For example, a setting of +100 % results in the following grain duration factors: Center = 1.0, LFE = 1.0, Left = 1.41421, Right = 0.707, Left Surround = 2, Right Surround = 0.5. Key Follow Determines how the grain duration changes with the notes you play. At a setting of +100 % and a duration of 1.0, the grain duration corresponds to the pitch of the note that you play. Center Key In general, the grains repeat at the frequency of the center key. The grain duration corresponds to the wave length of that frequency. If you play C3 with the center key set to C3, the grains repeat at a frequency of 261.626 Hz, that is, at a grain period of 3.82 ms. You can set the center key between A-2 (122.31 ms) and G8 (0.0797 ms). Follow Zone Pitch •If “Follow Zone Pitch” is activated, zone pitch settings like Octave, Coarse, and Fine, as well as modulations like Glide, Pitchbend, or other pitch modulations, affect the Duration Length. A higher sample pitch leads to a shorter duration. •If “Follow Zone Pitch” is deactivated, the duration is independent from the zone pitch and only determined by the grain duration settings. Shape and Length settings Shape Determines the shape of the grain. The shape strongly influences the spectrum of the sound. •Click the display to open the pop-up menu that contains the available shapes. Length Shortens the length of the grain without changing the grain duration. At a setting of 100 %, the grain length corresponds to the grain duration. By decreasing the grain length, a shorter portion of the sample is played back, which results in a change in the spectrum. The pitch of the sound does not change, because the grain duration stays the same. Length Random Here, you can set a random grain length. At a setting of 100 %, the grain length varies between 0 % and 100 % of the grain duration. The random grain length is calculated for each channel of the sample separately at the start of a new grain. This can be used to widen the panorama of the sound.
166 Granular SynthesisModulating the Grain Oscillator Length Spread This parameter is available, when “Number of Grains” is set to a value higher than 1. It modifies the length of the grains. With positive values, the first grain has the shortest length and the last grain the longest. With negative values, the first grain has the longest length. Length Offset Offsets the grain length across the sample channels. Positive settings shorten the grain length for the right channel, and the left channel remains unchanged. Negative values shorten the grain length for the left channel, and the right channel remains unchanged. This parameter can be used to widen the panorama of the sound. If you are working with surround files, the center channel and the LFE channel remain unchanged. The left and right channels and the left and right surround channels are modified symmetrically. Level Settings Grain Level Adjusts the overall level of the grain oscillator. When you increase the number of grains, it might become necessary to lower the oscillator level. If you play back a portion of a sample that is very quiet, you can use this control to raise the level. Level Random Sets a random level for each new grain. At a setting of 100 %, the level varies between a factor of 0 and 2 of the original level. The random level is calculated separately for each channel of the sample, at the start of a new grain. This can be used to widen the panorama of the sound. Stereo Width Narrows the stereo width of the grain oscillator. It is applied after the grain oscillator and does not affect the stereo width of the actual sample. At a setting of 0 %, the output of the grain oscillator is monophonic. If you are working with surround files, the center channel and the LFE channel remain unchanged. The left and right channels and the left and right surround channels are modified symmetrically. Auto Gain Allows you to automatically adjust the level of grains using quieter sample parts. Note that by raising the gain you can lose the dynamics of the sample. Modulating the Grain Oscillator The following modulation destinations are available in the modulation matrix: Grain Position Modulates the playback position. The modulation is not continuous, but it is updated at the start of each grain. Grain Direction Modulates the Direction parameter. For the effect to be heard, the Speed parameter must be set to a value above 0 %. Grain Duration Modulates the grain duration, that is, the frequency at which the grains repeat. The maximum modulation range at a modulation Depth of 100 % is -5 to +5 octaves.
167 Granular SynthesisThe Sample Tab Grain Length Modulates the Length parameter. Grain Pitch Modulates the pitch of a grain. The modulation is not continuous, but it is updated at the start of a new grain. For continuous pitch modulation, use Pitch instead of “Grain Pitch” as destination and make sure that “Pitch to Grain” is activated in the grain oscillator. Grain Level Modulates the grain level. The modulation is not continuous, but it is updated at the start of each new grain. For continuous level modulation, use the destinations Volume 1, Volume 2, or Level. The Sample Tab For a description of the controls on this page, please refer to the chapter “Editing Samples in the Sample Editor” on page 145.
168 MIDI Editing and Controllers The MIDI Editor The MIDI editor provides access to the MIDI slot parameters of HALion. This includes MIDI channel, Key and Velocity range, and Transpose and Polyphony settings. Furthermore, you can specify MIDI controllers to be filtered. To switch between velocity range, key range and controller filter, use the buttons above the range controls. Parameters Channel The slot receives MIDI signals on the MIDI port and channel specified here. You can set multiple slots to the same MIDI channel and trigger them simultaneously with the same note events. Poly (Polyphony) The Polyphony setting is used to specify how many notes can be played at the same time. Since programs can contain various layers, the resulting number of voices (stereo samples, synth voices etc.) can be much higher than the value specified here. Transpose Here you can shift the incoming MIDI notes by ±64 semitones before they are sent to the loaded program.
169 MIDI Editing and ControllersUsing MIDI Controllers Key Range (Low Key, High Key) Each slot can be limited to a certain key range. Set the range with the Low Key and High Key values or by dragging the keyboard range control at its ends. When you click and drag towards the middle of the keyboard, both values are moved at the same time. As an additional option, you can use the MIDI input to set the range. Simply click in a value field and play the note. To set the key range, proceed as follows: 1.At the top of the MIDI editor, click the Key button. 2.In the slot, set the key range with the keyboard range controls and/or Low Key/High Key value fields. Velocity Range (Low Vel, High Vel) Each slot can be limited to a velocity range. Set the range with the Low Vel and High Vel values or by dragging the graphical velocity range control at its ends. When you click and drag towards the middle of the velocity range control, both values are moved at the same time. To adjust the velocity range, proceed as follows: 1.At the top of the MIDI editor, click the Vel button. 2.In the slot, set the velocity range with the velocity range control and/or Low Vel/High Vel value fields. Controller Filter You can filter out the most commonly used MIDI controllers for each slot separately. For example, when you set up a keyboard split with bass and piano playing on the same MIDI channel, both sounds will receive the same MIDI controllers. However, you usually do not want the bass to receive the sustain pedal. To avoid that all sounds on the same MIDI channel receive the same MIDI controllers, use the controller filter. To filter out the most commonly used MIDI controllers, proceed as follows: 1.At the top of the MIDI editor, click the Ctrl button. 2.In the slot, click the button of the MIDI controller you want to filter out. The following MIDI controllers and messages can be filtered out: Sustain #64, Foot Controller #4, Foot Switches #65-69, Control Change, Pitchbend, Modulation Wheel #1, and Aftertouch. ÖFiltering out Control Change messages can be used to avoid unwanted program changes on MIDI channel 10 (drums), for example. Showing Empty Slots By default the MIDI editor only shows slots that are currently in use by programs. To show also all empty slots, activate the “Show Empty Slots” option in the title bar. Using MIDI Controllers HALion allows you to assign almost any parameter to a MIDI controller. However, you can only assign one parameter of a single zone, layer, effect control, etc. at a time. If you want to use the same MIDI controller for several zones, layers, etc. you have to assign it several times. A more convenient way to control a zone parameter like the cutoff frequency for all zones, for example is to assign a quick control to that parameter and then assign the MIDI controller to that quick control. Not only can you now control all zones simultaneously, but this way you can also preserve different cutoff settings per zone and just control the offset added by the quick control.
170 MIDI Editing and ControllersAssigning MIDI Controllers By default, some of the most common parameters like slot volume, pan, as well as the quick controls of each slot are already pre-assigned. The slot AUX FX send modules 1-4 are also pre-assigned and become directly controllable as soon as you load one of the AUX FX send modules on a slot insert effect. You can customize the factory MIDI controller mapping by assigning your own MIDI controllers using the Learn function. Assigning MIDI Controllers 1.Right-click the control you want to remote-control. 2.Select “Learn CC” from the menu. 3.On your MIDI keyboard or controller, use the knob, fader, or button. The next time you right-click the control, the menu shows the assigned MIDI controller. ÖYou can assign the same MIDI controller several times to different parameters. However, you cannot assign different MIDI controllers to the same parameter. •To remove a MIDI controller assignment, right-click the corresponding control, and select “Forget CC”. Setting the Parameter Range You can set the minimum and maximum values for the parameter separately for each assignment. •To set the minimum value for the parameter, set the value, right-click the control, and select “Set Minimum”. •To set the maximum value for the parameter, set the value, right-click the control, and select “Set Maximum”. Assigning MIDI Controllers to AUX FX You can assign the parameters of the AUX FX to MIDI controllers as well. Unlike the slots, the AUX FX do not have a MIDI port and channel of their own. Instead, when learning, they listen to any incoming MIDI controller message, regardless of the MIDI channel. When they are assigned, they keep the specified MIDI channel. •To assign a MIDI controller, load the effect, right-click the parameter, and assign the controller as described above. •If you unload or replace the effect, the MIDI controller assignment of this effect is lost. Saving a MIDI Controller Mapping as Default After customizing the factory MIDI controller assignments, you can save them as default. •Open the Options editor and click “Save as Default” in the MIDI controller section. Now, each time you load a new instance of the plug-in, your customized MIDI controller mapping is available as default. Ö“Save as Default” does not include any of the MIDI controller assignments of the AUX FX. ÖThe current MIDI controller mapping is also saved with each project. This way, you can transfer your settings to other systems. The project also includes the MIDI controller assignments of the AUX FX.