Steinberg Halion 5 Manual
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221 Effects ReferenceReverb and Delay Effects Size This 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. Low Cut This attenuates the low frequencies of the early reflections. The higher this value, the less low frequencies the early reflections will have. High Cut This attenuates the high frequencies of the early reflections. The lower this value, the less high frequencies the early reflections will have. Delay This delays the onset of the reverb tail. Room Size This parameter 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 This 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 Tail Main Time parameter also represents the mid band of the reverb tail. High Time This controls the reverb time for the high frequencies of the reverb tail. When you set positive values the decay time of the high frequencies is longer, when you set negative values it is shorter. Frequencies are affected depending on the Tail High Freq parameter. Low Time This controls the reverb time for the low frequencies of the reverb tail. For positive values, low frequencies decay longer and vice versa. Frequencies will be affected depending on the Tail Low Freq parameter. High Freq This 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 Tail High Time parameter. Low Freq This 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 Tail Low Time parameter. Shape This 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.
222 Effects ReferenceReverb and Delay Effects Density Here you can adjust 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. High Cut This attenuates the high frequencies of the reverb tail. The lower this value, the less high frequencies the reverb tail will have. Width This 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 % stereo. Mix This sets the ratio between the dry and the wet signal. Multi Delay This effect produces echoes, so-called delays, with adjustable time, feedback, and filters. With the Mode parameter you can set up this effect as Stereo, Cross, or Ping- Pong Delay effect. Depending on the selected mode, the echoes repeat in varying patterns across the stereo panorama. Mode Multi Delay offers three different modes: Time This sets the overall time for the left and right delay in milliseconds. Use the Delay L/R parameter to shorten the time for the left or right delay. Activate Sync to set the delay time as a note length value. Sync Activate Sync to synchronize the delay time to the host tempo. When activated, the time is set as a note length value. ÖIf the note length exceeds the maximum delay time of 5000 ms because your song tempo is very slow, for example, the note length is halved internally in order to not exceed the maximum possible delay time. ModeDescription StereoThis mode has two independent delay lines, one for the left and one for the right audio channel, each with a feedback path of its own. CrossThis mode has two delay lines with cross feedback. Cross feedback means that the delay of the left channel is fed back into the delay of the right channel, and vice versa. Ping-PongThis mode mixes the left and right input channel and sends it 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.
223 Effects ReferenceEQ Effects Delay L/R This offsets the time of the left or right delay from the overall delay time. The offset value is a factor. 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. The letter before the factor changes accordingly to “L” or “R”. The mid position of the control sets a factor of 1.0, which is the neutral setting. Feedback This 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. Feedback L/R This parameter is only available in Stereo Delay mode. Use this to offset the amount of feedback of the left or right delay from the overall feedback. The offset value is a factor. 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. The letter before the factor changes accordingly to “L” or “R”. The mid position of the control sets a factor of 1.0, which is the neutral setting. Filter Low This allows you to attenuate the low frequencies of the delays. Filter High This allows you to attenuate the high frequencies of the delays. Mix This sets the ratio between the dry and the wet signal. EQ Effects Studio EQ This is a high-quality 4-band parametric equalizer. With the four frequency bands 1 Low, 2 Mid, 3 Mid, and 4 High, 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: ControlDescription GainSets the amount of cut or boost for the corresponding band.
224 Effects ReferenceEQ Effects •To adjust the parameters Gain and Freq simultaneously, drag the points in the EQ curve display. Graphic EQ This equalizer has ten frequency bands that can be cut or boosted by up to 12dB with a fader. In addition, there are general controls for setting the overall range and output of the equalizer. Output This controls the overall output level of the equalizer. Mode The Mode option allows you to add color or character to the equalized output. The following options are available: Range This adjusts the maximum cut or boost in dB for all frequency bands together. Invert Activate this to invert the EQ curve. The frequency bands that are boosted are cut, and vice versa. Flatten Click this button to reset all frequency bands to 0 dB. FreqSets the frequency that is cut or boosted with the Gain parameter. Q (Quality)Use this to adjust the bandwidth of the mid-range peak filters from wide to narrow. By increasing the Q on the low and high shelving filters you can add a dip to their shape. Control Description ModeDescription True ResponseSerial filters with accurate frequency response. ClassicParallel filters where the resonance depends on the amount of gain. Constant QParallel filters where the resonance is raised when boosting the gain.
225 Effects ReferenceFilter effects 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 The two effect shapes to be used are selected via the Filter Shape pop-up menus. The filter shapes are the same as in the Filter section, see “Filter Shape” on page 114. 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 Adds distortion to the signal. The effect depends on the selected distortion type. At higher settings, it creates a very intense distortion effect. ÖThis parameter is only available for the Tube Drive, Hard Clip, Bit Red, and Rate Red types. Type The available types are: Output Adjusts the gain after the filter and distortion. This parameter only affects the wet signal. TypeDescription OffThe filter offers no distortion. Tube DriveThis type offers a lot of character by adding warm, tube-like distortion. You can set the amount of tube drive with the Distortion parameter. Hard ClipThis type adds bright, transistor-like distortion. You can set the amount of hard clipping with the Distortion parameter. Bit RedThis type adds digital distortion by means of quantization noise. You can adjust the bit reduction with the Distortion parameter. Rate RedThis filter type adds digital distortion by means of aliasing. You can adjust the rate reduction with the Distortion parameter.
226 Effects ReferenceFilter effects Mix This sets the ratio between the dry and the wet signal. The LFO Section LFO Waveform and Shape Waveform selects the basic type of waveform. Shape changes the characteristic of the waveform. Freq Determines the frequency of the cutoff modulation. Sync Activate this to set the Freq parameter in fractions of beats. Depth 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. OptionDescription SineThis produces smooth modulation, suitable for vibrato or tremolo. Shape adds additional harmonics to the waveform. TriangleThis is similar in character to Sine. The waveform periodically ramps up and down. Shape continuously changes the triangle waveform to a trapezoid. SawThis produces a “ramp” cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up. PulseThis 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. Set Shape to 50 % to produce a square wave. RampThis is similar to the Saw waveform. Shape increasingly puts silence before the sawtooth ramps up. LogShape continuously changes the logarithmic curvature from negative to positive. S & H 1This produces random 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 2This 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.
227 Effects ReferenceFilter effects The 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 downmixed to mono before they are sent to the Envelope Follower. The Sensitivity parameter sets the optimum input level for the Envelope Follower. Attack This adjusts the attack time of the Envelope Follower, that is, the time the Envelope Follower needs to approach increasing input levels. Release This adjusts the release time of the Envelope Follower, 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. The 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.
228 Effects ReferenceFilter effects MorphFilter MorphFilter lets you 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 via the corresponding pop-up menus. 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 Lets you mix the output between the two selected filters. Cutoff Adjusts the cutoff frequency of the filters. ÖYou 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. 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 Lo and Hi Pedal positions. The crossover point between the Lo and Hi Pedal positions lies at 50. Pedal Controls the filter frequency sweep. Freq Lo/Hi These parameters determine the frequency of the filter for the Lo and Hi Pedal positions. Width Lo/Hi These parameters determine the width (resonance) of the filter for the Lo and Hi Pedal positions.
229 Effects ReferenceDistortion Effects Gain Lo/Hi These parameters determine the gain of the filter for the Lo and Hi 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 Here you select the type of amplifier. The sound character of the overdrive changes with the amplifier you select. To bypass the amplifier, select No Amp. Speaker Model Here you select the type of speaker model. Each model colors the sound uniquely. To bypass the model, select “No Speaker”. Drive This adjusts the amount of overdrive. Bass This adjusts the tone color of the low frequencies. Middle This adjusts the tone color of the mid frequencies. Treble This adjusts the tone color of the high frequencies. Presence This adds brightness. Low Damp Attenuates the low frequencies of the speakers. High Damp Attenuates the high frequencies of the speakers. Channel Mode Here, you can define 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.
230 Effects ReferenceDistortion Effects Output This 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 four available types of distortion (Rate Red, Tube Drive, Hard Clip, and Bit Red) can be freely combined. In Gain This 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 Rate Red control that adjusts the amount of aliasing. The lower the setting, the more aliasing is added. Tube Drive This adds warm, tube-like distortions to the sound. Enable the Tube Drive option to activate the Tube Drive control that adjusts the amount of distortion. The higher the setting, the more distortion is added. Hard Clip This adds bright, transistor-like distortions to the sound. Enable the Hard Clip option to activate the Hard Clip 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 Bit Red control that adjusts the amount of quantization noise. The lower the setting, the more quantization noise is added. Out Gain This adjusts the output level of the sound. Mix This sets the ratio between the dry and the wet signal.