Steinberg Halion Sonic 2 Manual

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Global Effects
Introduction
HALion Sonic features four AUX busses that can be used to realize classical send 
effects. All slots and layers and, in the case of drum or loop layers, even single 
instruments can send signal portions to the busses. Each bus hosts up to four insert 
effects which allows you to set up complex effects. The busses are then routed to 
either the main plug-in output or to one of the individual outputs. The Effects page 
also provides access to the main output bus which also features four inserts. These 
can, for example, be used to add a global EQ or compressor to the signal chain.
The Effects Page
On the Effects page you can set up insert effects for AUX busses.
Using the Insert Effect Slots
Each bus and the Main bus provides four slots for insert effects. The handling is the 
same for all slots:
•To assign an insert effect, click the effect slot and select the effect from the menu.
•To remove an insert effect, click the effect slot and select “None” from the menu.
The effect with its current settings is removed.
•The On/Off button above the effect slot deactivates the effect without removing it.
This way, you can switch off the effect without losing its settings. 
•The button next to the On/Off button above the effect slot bypasses the effect.
The bypass is active when the button lights up yellow. Alternatively, you can use 
the bypass button in front of the effect name on the effect editor title bar. 
•To edit an insert effect, click the “e” button of the corresponding slot.
You can edit only one effect at a time. The “e” button stays lit to indicate which 
effect you are editing. The parameters of the respective insert effect are displayed 
in the bottom section.
ÖThe Mix parameter of an effect inserted into an AUX bus is set to 50 % by default. 
						

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Global EffectsThe Effects Page
Moving Effects
To move effects from one slot to another slot on the same bus, or from one bus to 
another, proceed as follows:
1.Drag the effect by its label (FX1, FX2, FX3, FX4) and move it to a slot.
An orange rectangle indicates where the effect will be inserted.
2.Drop the effect to the slot.
The currently loaded effect is replaced.
To change the order of effects, proceed as follows:
1.Drag the effect whose position you want to change by its label (FX1, FX2, FX3, 
FX4) and move it close to the border of the two effect slots where you want to 
insert it.
A colored line indicates where the effect will be inserted.
2.Drop it to place the effect in between the two adjacent effect slots.
Copying Effects From One Slot to Another
To copy an effect from one slot to another, proceed as follows:
1.[Alt]/[Option]-drag the effect by its label (FX1, FX2, FX3, FX4) over the insert slot 
you want to copy it to.
An orange rectangle indicates the slot where the effect will be inserted.
2.Drop it to replace the current effect with a copy of the new effect.
To copy an effect and insert it between two effect slots, proceed as follows:
1.[Alt]/[Option]-drag the effect by its label (FX1, FX2, FX3, FX4) close to the border 
of the two effect slots.
An orange line indicates where the effect will be inserted.
2.Drop it to place a copy of the effect in between the two adjacent effect slots.
Changing the Output Assignments
Above the insert slots, you find menus for assigning the outputs of the AUX busses.
To change the output assignment, proceed as follows:
1.Open the Output menu of the AUX bus.
2.Select the output from the menu.
Adjusting the Levels
To adjust the output level, use the fader below the level meter:
•Move the fader of the AUX bus.
•Alternatively, enter a value in the text field below the fader.
The Master Effect Bus
The main bus works similar to the AUX busses. The only difference you will find is that 
the main bus has no bus output selector since it is “hard-wired” to the main plug-in 
output (1/2).
ÖThe Mix parameter of an effect inserted into the main bus is set to 50 % by default. 
						

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Global EffectsEffects Reference
Effects Reference
HALion Sonic comes with a collection of high-quality studio effects. These effects are 
described in detail below.
REVerence
REVerence is a convolution tool that allows you to apply room characteristics (reverb) 
to the audio. By recording an impulse in a room, you get the characteristics of the 
room. Convolution superimposes these characteristics to the sound. The result is a 
very natural sounding reverb. Included with this effect is a collection of high-quality 
reverb impulse responses.
Impulse Response
By selecting an impulse response you determine the basic sound character of the 
reverb.
Reverse
Activate this to reverse the impulse response.
Predelay
This determines the amount of time between the dry signal and the onset of the 
reverb. With higher predelay values you can simulate larger rooms.
Time 
This controls the reverb time. At a setting of 100 %, the impulse response is applied 
with its original length.
Size
This scales the size of the simulated room. At a setting of 100 %, the impulse 
response is applied as recorded in the original room.
Level
Here you can adjust the level of the impulse response.
Equalizer
Activates the built-in three-band equalizer.
ER Tail Split
This sets the split point between the early reflections and the reverb tail.
ER Tail Mix
This sets the balance between the early reflections and the reverb tail. At a setting of 
50
 % the early reflections and the tail have the same volume level. Settings below 
50
 % raise the early reflections and lower the tail, as a result the sound source moves 
towards the front of the room. Settings above 50
 % raise the tail and lower the early 
reflections, as a result the sound source moves towards the back of the room. 
						

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Global EffectsEffects Reference
Reverb
This effect produces a high-quality algorithmic reverb with early reflections and reverb 
tail. The early reflections are responsible for the spatial impression in the first 
milliseconds of the reverb. For emulating different rooms you can choose from different 
early reflections patterns and adjust their size. The reverb tail, or late reverberation, offers 
parameters for controlling the room size and the reverb time. You can adjust the reverb 
time individually in three frequency bands.
Predelay
This determines the amount of time between the dry signal and the onset of the 
reverb. With higher predelay values you can simulate larger rooms.
Early Reflections
Here you select an early reflections pattern. The early reflections pattern contains the 
most important delays that deliver the key information for the spatial impression of the 
room. 
ER/Tail Mix
This sets the balance between the early reflections and the reverb tail. At a setting of 
50
 % the early reflections and the tail have the same volume level. Settings below 
50
 % raise the early reflections and lower the tail, as a result the sound source moves 
towards the front of the room. Settings above 50
 % raise the tail and lower the early 
reflections, as a result the sound source moves towards the back of the room.
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. 
						

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Global EffectsEffects Reference
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.
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. 
						

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Global EffectsEffects Reference
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.
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.
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. 
						

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Global EffectsEffects Reference
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.
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:
•To adjust the parameters Gain and Freq simultaneously, drag the points in the EQ 
curve display.
ControlDescription
GainSets the amount of cut or boost for the corresponding band. 
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.  
						

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Global EffectsEffects Reference
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.
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. 
						

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Global EffectsEffects Reference
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 on the Filter subpage, see 
“Filter Shape” on page 39.
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.
Mix
This sets the ratio between the dry and 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. 
						

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Global EffectsEffects Reference
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.