Steinberg Halion Sonic 2 Manual

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EditingEditing Layers
Voice Mode
The Voice Mode specifies the conventions for stealing notes during playback and 
whether new notes are being triggered when the Polyphony setting is exceeded. The 
stealing and triggering of notes depends on the selected Voice Mode and your 
keyboard playing. You can select one of the following Voice Modes:
LegatoThis mode does not trigger a completely new note: If the new note 
plays within the same sample zone, the envelopes keep running and 
the pitch of the zone will be set to the new note. If the new note plays 
in a different zone, the new note will play from the start including any 
envelopes and samples.
Voice modeDescription
Last Note PriorityThis mode guarantees the playback of the last played notes by 
stealing the first played notes (First In, First Out). New notes have 
priority over older notes.
If you exceed the maximum number of notes, the first played notes 
will be stolen in their chronological order to make space for the last 
played notes.
First Note PriorityThis mode guarantees the playback of the first played notes. Older 
notes have priority over new notes.
If you exceed the maximum number of notes and still hold the first 
played notes, no notes will be stolen. New notes will not be 
triggered until a voice is free.
Low Note PriorityThis mode guarantees the playback of low notes. Low notes have 
priority over high notes.
If you exceed the maximum number of notes playing a note higher 
than those already playing, no note will be stolen and no new note 
will be triggered.
If you exceed the maximum number of notes playing a note below 
those already playing, the highest note will be stolen and the new 
note will be triggered.
High Note PriorityThis mode guarantees the playback of high notes. High notes have 
priority over low notes.
If you exceed the maximum number of notes playing a note below 
those already playing, no note will be stolen and no new note will be 
triggered.
If you exceed the maximum number of notes playing a note higher 
than those already playing, the lowest note will be stolen and the 
new note will be triggered.
Steal Lowest 
AmplitudeThis mode guarantees the playback of the last played notes by 
stealing the notes with the lowest amplitudes. Notes with high 
amplitude have priority over notes with low amplitude.
If you exceed the maximum number of notes, the note with the 
lowest amplitude will be stolen to make space for the last played 
note.
Steal Released 
NotesThis mode steals notes that play in release first. Notes that are 
being held have priority over notes that play in release. If no note 
plays in release, the oldest note will be stolen instead.
If you exceed the maximum number of notes, the oldest note that 
plays in release will be stolen to make space for the last played note.
If no note is playing in release and you exceed the maximum number 
of notes, the first played notes will be stolen in their chronological 
order to make space for the last played notes.
Trigger Mode Description 
						

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Key On Delay
With this feature you can delay the playback of the layer by an adjustable time or a 
note value.
When you play a note, the playback of the layer will be delayed by the time or note 
value that you have set with this parameter. With Sync deactivated, the delay is 
specified in milliseconds. With Sync activated, the delay is specified in fractions of 
beats. 
•Set the Key On Delay time with the rotary encoder or by double-clicking in the 
value field below the rotary encoder and entering a value.
•To synchronize the delay time to the host tempo, activate the Sync button and 
select a note value from the pop-up menu.
To change the selected note value to a triplet, activate the “T” button.
Unison
Unison allows you to trigger multiple voices simultaneously with each note you play. 
When you activate the Unison option, the following parameters become available:
Glide
You can use Glide to bend the pitch between notes that follow each other. You 
achieve the best results with Mono mode enabled. However, Glide also works 
polyphonically.
When you activate the Glide option, the following parameters become available:
OptionDescription
VoicesBy default, Voices has a value of 2. Setting higher values increases 
the number of voices being triggered simultaneously. For a richer 
sound, adjust the Detune, Pan and Delay parameters accordingly. Up 
to 8 voices can be used.
DetuneUse this to detune the pitch of each unison voice by the amount 
specified in cents. Detuning the pitch of the voices results in a fatter 
sound.
PanUse this to spread the unison voices across the stereo panorama. 
The higher the value, the broader the stereo image will be.
DelayWith this parameter you can adjust a small random delay for each 
unison voice. With a value of 0
 % all unison voices will be triggered at 
the same time. Values from 1
 % to 100 % add a small random delay to 
each unison voice and the voices will not be triggered at the same 
time anymore. The higher the value the more random the delay will be. 
This is especially useful to avoid comb filter effects with two or more 
slightly detuned samples, which would occur if you played them back 
at exactly the same time.
OptionDescription
TimeThis specifies the time needed to bend the pitch from one note to 
the other. You can set a time between 1
 ms and 5000 ms.
SyncTo synchronize the delay time to the host tempo, activate this option 
and select a note value from the pop-up menu. To change the 
selected note value to a triplet, activate the “T” button.
ModeHere you can specify whether the Glide Time is constant and 
independent from the note interval (Constant Time) or if the time 
changes with the note interval (Constant Speed). In the latter case 
larger intervals result in longer glide times. 
						

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ÖIf you use Cutoff, Amplitude and Pan Key Follow, the cutoff, amplitude and pan also 
change with the Glide effect.
The Pitch Subpage
The Pitch subpage of synth and sample layers gives you access to the tuning of the 
layer. With the Octave, Coarse and Fine parameters, you can adjust the tuning in 
steps of octaves, semitones and cents. In addition, you can adjust the amount of pitch 
modulation from the Pitch Envelope, the keyboard or randomly with each keystroke. 
Furthermore, you can set the pitchbend range for the up and down direction of the 
pitchbend wheel separately.
The Pitch subpage contains the following parameters:
Pitchbend 
Here you can set the range of the pitch modulation when moving the pitchbend wheel 
up or down.
Octave
Here you can adjust the pitch in octave steps.
Coarse
Here you can adjust the pitch in semitone steps. 
Fine
This parameter tunes the pitch in hundredths of a semitone (cents).
Env Amnt (Envelope Amount)
This parameter determines how much the pitch is affected by the Pitch Envelope.
Random
This parameter allows you to offset the pitch with each played note randomly. Higher 
values cause stronger variations. At a setting of 100
 %, the random offsets can vary 
from -6 to +6 semitones.
CurveYou can select one of three curves to define the glide behavior: 
With the Linear curve, the pitch glides at continuous speed from the 
start to the end pitch. With the Exponential curve, the pitch starts 
gliding at higher speed and decelerates towards the end pitch. For 
example, this behavior is more similar to the natural pitch glide 
produced by a singer. With the Quantized curve, the pitch glides in 
semitones from the start to the end pitch.
FingeredActivate Fingered to glide the pitch only between notes played 
legato.
Option Description 
						

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Key Follow
Here you can adjust the pitch modulation from MIDI note number. Set this parameter 
to positive values in order to raise the pitch the higher you play. Use negative values to 
lower the pitch the higher you play. At a setting of +100
 %, the pitch follows the 
played note exactly.
Center Key
This parameter determines the MIDI note that is used as the central position for the 
Key Follow function.
The Oscillator Subpage
The Oscillator subpage of the synth layer offers six sound sources: three main 
oscillators, the sub oscillator, the ring modulation and the noise generator. To create 
interesting electronic spectra, you can mix any of these sound sources. The resulting 
signal is sent to the Filter and Amplifier sections for further sound shaping.
The three main oscillators (OSC 1, OSC 2 and OSC 3) offer different wave shapes and 
algorithms. Select the wave shape and algorithm with the oscillator type (see below).
•Activate the oscillators by clicking their On/Off buttons.
ÖMake sure to switch off the oscillators when the function is not needed. When 
activated, they use CPU cycles even if they are not heard, such as in a situation where 
the level is set to 0
 %.
Multi-Oscillator Mode
For the three main synth oscillators, you can activate the Multi-Oscillator mode. This 
mode allows you to create a richer sound by producing up to 8 oscillators 
simultaneously. The effect is similar to the Unison mode for the zone, but it requires 
less performance.
•To activate Multi-Oscillator mode, activate the MOsc button.
When Multi-Oscillator mode is activated, you can click the edit button to show the 
corresponding parameters.
The following parameters are available:
ParameterDescription
No.Determines the number of oscillators that play back simultaneously. 
You can also set fractions of numbers. For example, with a setting of 
2.5, you hear two oscillators at full level and a third one at half level. 
						

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Editing the Parameters in the Modulation Matrix
When Multi-Oscillator Mode is active for an oscillator, you can modulate the 
corresponding parameters in the modulation matrix.
1.In the modulation matrix, open the Modulation Destinations pop-up menu.
2.On the Synth submenu, select the destination that you want to edit.
3.Set up the Modulation Source and Depth parameters.
OSC 1/2/3 Type
The Oscillator Type defines the basic sound character of the oscillator. The pop-up 
menu first lists the wave shapes (Sine, Triangle, Saw or Square), followed by the type 
of algorithm (PWM, Sync, CM or XOR). The combination of waveform and algorithm 
controls how the oscillator sounds.
The following algorithms are available:
DetDetunes the oscillators.
SprNarrows or widens the stereo panorama. With a setting of 0 %, you 
create a mono signal, and with 100
 %, you create a stereo signal.
AlgorithmDescription
PWMPWM (pulse width modulation) is only supported by the square 
wave shape. The waveform parameter sets the ratio between the 
high and low of the square wave. A setting of 50
 % produces a pure 
square wave. With settings below or above 50
 % the oscillator 
produces rectangular waves.
SyncThis algorithm provides different hard-sync oscillators where each is 
a combination of a master and slave oscillator. The wave shape of 
the slave oscillator (Sine, Triangle, Saw or Square) is reset with 
each full wave cycle of the master oscillator. This means that a 
single oscillator can already produce a rich sync-sound without 
utilizing other oscillators as slave or master. The waveform 
parameter adjusts the pitch of the slave oscillator producing the 
typical sync-sound.
Parameter Description 
						

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ÖExcept for PWM, all algorithms support the Sine, Triangle, Saw and Square wave 
shapes. PWM supports Square wave only.
To select an oscillator type, proceed as follows:
1.In the OSC1, OSC2 or OSC3 section, click the icon that indicates the wave 
shape.
A pop-up menu opens.
2.From the menu, select the oscillator type to set the wave shape and algorithm you 
want to use.
The waveform parameters for OSC1, OSC2 and OSC3 can be assigned as 
modulation destinations in the modulation matrix.
OSC 1/2/3 Waveform
The waveform parameter allows you to modify the sound of the oscillator algorithm. Its 
effect depends on the selected oscillator type (see above for details).
OSC 1/2/3 Octave (Oct)
Here you can adjust the pitch in octave steps.
OSC 1/2/3 Coarse (Crs)
Here you can adjust the pitch in semitone steps.
OSC 1/2/3 Fine
This parameter tunes the pitch in hundredths of a semitone (cents).
OSC 1/2/3 Level
This adjusts the output level of the oscillator.
ÖThe waveform, pitch and level of oscillator 1, 2, and 3 can be modulated separately in 
the modulation matrix.
Sub Oscillator (SUB)
The pitch of the sub oscillator is always one octave lower than the overall pitch of the 
synth layer. If you modulate the pitch of the synth layer, the pitch of the sub oscillator 
follows. 
•To activate and deactivate the sub oscillator, click its On/Off button.
ÖMake sure that you switch off the sub oscillator when the function is not needed. 
When kept on, it uses CPU cycles even if they are not heard, such as in a situation 
where the level is set to 0
  %.
CM 
(Cross Modulation)
This algorithm provides a combination of two oscillators where a 
master oscillator is modulating the pitch of a slave oscillator (Sine, 
Triangle, Saw or Square) at audio rate. The waveform parameter 
adjusts the pitch ratio between slave and master oscillator resulting 
in a sound close to frequency modulation.
XORThis algorithm compares two square waveforms with an XOR 
(exclusive or) operation. Depending on the outcome of the XOR 
operation, the wave shape of a third oscillator (Sine, Triangle, Saw 
or Square) is reset. The waveform parameter adjusts the pitch ratio 
of the square oscillators resulting in a sound close to ring 
modulation of the third oscillator.
Algorithm Description 
						

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The following parameters are available:
Ring Modulation (RING)
Ring modulation produces the sums and the differences between the frequencies of 
two signals.
•To activate the ring modulation, click the On/Off button.
ÖMake sure to switch off ring modulation when the function is not needed. When kept 
on, it uses CPU cycles even if the Ring Modulation is not heard, such as in a situation 
where the level is set to 0
 %.
The following parameters are available:
Noise
Noise is used for non-pitched sounds. In addition to standard white and pink noise, 
there are also band pass filtered (BPF) versions of white and pink noises.
•To activate the noise generator, click its On/Off button.
ÖPlease make sure to switch off the noise generator when the function is not needed. 
When kept on, it uses CPU cycles even if the noise is not heard, such as in a situation 
where the level is set to 0
 %.
The following parameters are available:
ÖThe Sub Level, Ring Modulation Level and Noise Level can be modulated separately 
in the modulation matrix (see 
“The Modulation Matrix Subpage” on page 57).
ParameterDescription
Sub Oscillator TypeHere you can select the wave shape of the sub oscillator. You can 
choose between Sine, Triangle, Saw, Square, Pulse Wide and 
Pulse Narrow.
Sub Oscillator LevelThis adjusts the output level of the sub oscillator.
Parameter Description
Ring Modulation 
Source 1/2This allows you to select the sources that will be ring modulated. You 
can select OSC1 or Sub as Source 1 and OSC2 or OSC3 as 
Source 2. Make sure the corresponding oscillators are activated 
when you select them. Otherwise, you will not hear any sound.
Ring Modulation 
LevelThis adjusts the output level of the Ring Modulation.
ParameterDescription
Noise TypeHere you can select the sound color of the noise. You can either 
select White, Pink, White BPF or Pink BPF.
Noise LevelThis adjusts the output level of the noise generator.  
						

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The Filter Subpage
The Filter subpage of synth and sample layers offers settings to adjust the tone color 
of the sound. Filters shape the harmonic content of a sound by removing or accenting 
frequencies in the spectrum. HALion Sonic’s filter section is extremely versatile and 
powerful. With the filter type you can select the basic sound character of the filter, 
either with or without distortion. This feature is also useful to scale the CPU 
consumption because filters without distortion use less CPU cycles. With the filter 
mode buttons you can configure the filter section as a single filter, two filters in parallel 
or serial connection, or as a morphing filter that allows you to blend between up to 
four different filter shapes.
In general, filters are identified by their pass-band and amount of attenuation. The 
cutoff frequency separates the pass-band from the stop-band. Frequencies in the 
pass-band stay unprocessed, while frequencies in the stop-band will be attenuated or 
removed. The amount of attenuation is specified in decibels per octave (dB/oct). For 
example, a 12
 dB/oct low-pass filter attenuates the high frequencies at 12 dB for each 
octave above the cutoff frequency. Other typical filter types are high-pass, band-pass 
and band-reject. Another type of filter is called all-pass. As its name suggests, it does 
not attenuate frequencies. Instead, it shifts the phase of the signal. When mixed with 
the original signal, certain frequencies will be attenuated again. For example, the 
phase shifter would use this.
Filter Type
By selecting the filter type you specify the basic sound character of the filter. HALion 
Sonic offers up to 24 filter shapes (for details on filter shapes, see below).
Filter typeDescription
OffThe filter section is switched off. Use this when no filter is needed 
for your sound and/or when you want to save CPU cycles.
ClassicThis filter type offers 24 filter shapes with resonance.
Tube DriveThis filter 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 filter type adds bright, transistor-like distortion. You can set the 
amount of hard clipping with the Distortion parameter.
Bit RedThis filter 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.
Rate Red KFThis filter type adds digital distortion by means of aliasing. You can 
adjust the rate reduction with the Distortion parameter. In addition, 
the rate reduction follows the keyboard, i.
 e., the higher you play the 
higher the sample rate will be and vice versa. 
						

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Filter Mode
With the buttons on the left of the Filter subpage you determine the overall filter 
structure. The filter types Classic and Tube Drive provide the following options:
Filter Shape
Each filter type offers 24 different filter shapes. By selecting the filter shape you 
determine which frequencies will be affected. The letters and numbers indicate the 
filter shape: For example, LP12 is short for low-pass 12dB/oct. Depending on the 
chosen filter mode, you can either select one, two or four shapes.
Filter modeDescription
Single Filter This mode uses one filter with one selectable filter shape. You can 
select any of the 24 filter shapes.
Dual Filter Se rialThis mode uses two separate filters connected in series. You can 
select any of the 24 filter shapes for each filter independently. The 
parameters Cutoff and Resonance control both filters 
simultaneously. However, you can offset the cutoff and resonance 
of the second filter with the parameters CF Offset and Res Offset.
Dual Filter ParallelThis mode uses two separate filters connected in parallel. You can 
select any of the 24 filter shapes for each filter independently. The 
parameters Cutoff and Resonance control both filters 
simultaneously. However, you can offset the cutoff and resonance 
of the second filter with the parameters CF Offset and Res Offset.
Morph 2This mode morphs between filter shape A and B. You can select 
any of the 24 filter shapes for filter shape A and B independently. 
Adjust the morphing with the Morph Y parameter.
Morph 4This mode morphs sequentially from filter shape A to D. You can 
select any of the 24 filter shapes for filter shape A, B, C and D 
independently. Adjust the morphing with the Morph Y parameter.
Morph XYThis mode morphs freely between the filter shapes A, B, C and D. In 
other words, the morphing can be any mix between the four filter 
shapes. You can select any of the 24 filter shapes for filter shape A, 
B, C and D independently. Adjust the morphing with the Morph X 
and Morph Y parameters.
Filter shapeDescription
LP24Low-pass filter with 24 dB/oct. Frequencies above the Cutoff will be 
attenuated.
LP18Low-pass filter with 18 dB/oct. Frequencies above the Cutoff will be 
attenuated.
LP12Low-pass filter with 12 dB/oct. Frequencies above the Cutoff will be 
attenuated.
LP6Low-pass filter with 6 dB/oct. Frequencies above the Cutoff will be 
attenuated.
BP12Band-pass filter with 12 dB/oct. Frequencies below and above the 
Cutoff will be attenuated.
BP24Band-pass filter with 24 dB/oct. Frequencies below and above the 
Cutoff will be attenuated.
HP6+LP18High-pass filter with 6 dB/oct. plus low-pass filter with 18 dB/oct. 
(asymmetric band-pass filter). Frequencies below and above the 
Cutoff will be attenuated. Attenuation is more pronounced for the 
frequencies above the Cutoff. 
						

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Cutoff
Here you can adjust the Cutoff frequency of the filter. The effect depends on the filter 
type you have selected.
HP6+LP12High-pass filter with 6 dB/oct. plus low-pass filter with 12 dB/oct. 
(asymmetric band-pass filter). Frequencies below and above the 
Cutoff will be attenuated. Attenuation is more pronounced for the 
frequencies above the Cutoff.
HP12+LP6High-pass filter with 12 dB/oct. plus low-pass filter with 6 dB/oct. 
(asymmetric band-pass filter). Frequencies below and above the 
Cutoff will be attenuated. Attenuation is more pronounced for the 
frequencies below the Cutoff.
HP18+LP6High-pass filter with 18 dB/oct. plus low-pass filter with 6 dB/oct. 
(asymmetric band-pass filter). Frequencies below and above the 
Cutoff will be attenuated. Attenuation is more pronounced for the 
frequencies below the Cutoff.
HP24High-pass filter with 24 dB/oct. Frequencies below the Cutoff will 
be attenuated.
HP18High-pass filter with 18 dB/oct. Frequencies below the Cutoff will 
be attenuated.
HP12High-pass filter with 12 dB/oct. Frequencies below the Cutoff will 
be attenuated.
HP6High-pass filter with 6 dB/oct. Frequencies below the Cutoff will be 
attenuated.
BR12Band-reject filter with 12 dB/oct. Frequencies around the Cutoff will 
be attenuated.
BR24Band-reject filter with 24 dB/oct. Frequencies around the Cutoff will 
be attenuated.
BR12+LP6Band-reject filter with 12 dB/oct. plus low-pass filter with 6 dB/oct. 
Frequencies around and above the Cutoff will be attenuated.
BR12+LP12Band-reject filter with 12 dB/oct. plus low-pass filter with 12 dB/oct. 
Frequencies around and above the Cutoff will be attenuated.
BP12+BR12Band-pass filter with 12 dB/oct. plus band-reject filter with 
12
 dB/oct. Frequencies below, above and around the Cutoff will be 
attenuated.
HP6+BR12High-pass filter with 6 dB/oct. plus band-reject filter with 12 dB/oct. 
Frequencies below and around the Cutoff will be attenuated.
HP12+BR12High-pass filter with 12 dB/oct. plus band-reject filter with 
12
 dB/oct. Frequencies below and around the Cutoff will be 
attenuated.
APAll-pass filter with 18 dB/oct. Frequencies around the Cutoff will be 
attenuated.
AP+LP6All-pass filter with 18 dB/oct. plus low-pass filter with 6 dB/oct. 
Frequencies around and above the Cutoff will be attenuated.
HP6+APHigh-pass filter with 6 dB/oct plus all-pass filter with 18 dB/oct. 
Frequencies around the Cutoff will be attenuated.
Filter shape Description