Steinberg HALion Symphonic Orchestra Operation Manual

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Violas A and B
As in the violins, there are completely independent legato and spiccato 
A and B sets for violas. Use the legato A and B sets for doubling the 
size and achieving a smoother sound – or, even more typical, use them 
for creating independent divisi lines. 
The spiccato A set is very nice for playing light accompaniment figures, 
while the B set will give you a bit more bow and directness.
Cellos A and B
Normally, the legato A and B sets would be used to play divisi parts, 
but of course you can double the section size here as well. The sets 
are completely independent, the spiccato B set is more pronounced 
than the A set.
Special features for double bass
Use the 8vb (octava basso) programs if you want to print out parts 
from your MIDI tracks – they sound an octave lower than written (resp. 
played), just as in real life. Also, if your keyboard has only five octaves, 
the 8vb programs offer you the complete bass range without trans-
posing. All key switch programs are 8vb programs to accommodate 
for key switching.
Ensemble programs
The Ensemble programs feature several sections (e. g. all string instru-
ments: double basses, cellos, violas, violins) combined into one pro-
gram and laid out across the keyboard. This is, in many cases, a good 
compromise between realism and ease of use. The following hints will 
help you to make the right choice.
Advantages compared to separate sections:
 An Ensemble program needs less RAM than separate sections
 One channel can cover a part spanning more than one section
 Ensemble programs are easier to use if you’re not yet used to arranging or-
chestra sections 
						

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Disadvantages compared to separate sections:
 You cannot control expression or other articulations separately for each section
 A passage created from one Ensemble program never sounds as realistic as a 
passage created using separate sections (each with its separate expression 
control)
 The variety of Ensemble programs is limited
Articulations in programs
HALion Symphonic Orchestra offers a variety of articulations assisting 
you in creating authentic orchestra arrangements. In other words, this li-
brary gives you both advantages: The most popular and desired or-
chestra sounds with as much flexibility and as little overload as possible.
The following sections provide background information on the differ-
ent articulations provided by HALion Symphonic Orchestra and ex-
plain how you play, control and use them.
Legato
When playing legato, there is no gap between subsequent notes, re-
sulting in a line with no “breaks”. True legato means that all subsequent 
notes are played “under one bow”, meaning without changing bow di-
rection. In a string section, however, this is also achieved by all players 
changing their bow at different times thus hiding the bow changes. This 
is the stuff string pads are made of.
Use legato articulations for playing melodies as well as accompani-
ments, especially when they mainly consist of longer notes. In HALion 
Symphonic Orchestra, even detached notes work fine with the legato 
programs thanks to the true release samples and the immediate attack 
of the legato samples. 
Keep in mind, however, that softer notes as well as larger (lower) in-
struments have slower attacks than loud notes on high instruments. 
Very fast runs will sound better here if you use a spiccato A program.
All legato programs in HALion Symphonic Orchestra come in four fla-
vors offering variations on how to control (play) them. The preferred 
choice for realism is the crescendo control crossfade (attribute: xfade) 
versions. They allow you to control bowing for the string sections with  
						

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the crescendo controller, which is about as realistic as it can get. It 
will take a bit of practice, but is well worth the effort if your goal is su-
perior realism.
Spiccato
Spiccato is often mixed up with staccato. It is the most commonly 
used staccato sound in a string section. The bow touches the string 
only shortly, allowing it to resonate a bit and thus creating a typical de-
caying sound. Spiccato sounds a bit cleaner than an “on-the-string” 
staccato (where the bow actually rips the string) and covers a broader 
range of applications from accompaniment to fast melodic lines.
Use the A sets when you want to play accompaniment-style, fast runs 
in the top register or even tremolo legato (use up bow for best results).
The B sets give you more “bow” and therefore more definition in the 
attack.
Spiccato programs are only available as velocity programs for obvious 
reasons. They offer up to 9 velocity layers per bowing direction (result-
ing in 18 layers in alternating programs) to circumvent the unwanted 
“machine gun” effect usual in sample based string sections. Apart from 
this, this extraordinarily high number of layers provides an absolutely 
realistic loudness response.
Pizzicato
If a string player, instead of bowing the string, plucks the string with a 
finger, this is called pizzicato.These programs therefore are only avail-
able in velocity versions. The resulting sound is very different from 
bowed sounds and resembles a guitar rather than a legato string in-
strument. The sound gets thinner with increasing pitch, due to increas-
ing string tension and decreasing string length.
In HALion Symphonic Orchestra there are both loose and tight varia-
tions for violins and violas (tight and very tight for cellos). The tight 
variants are more precise, while the loose programs offer more diffu-
sion and realism, especially when used in a large section. Use a tight 
program for violins I and a loose one for violins II to create a very con-
vincing big pizzicato sound.
The very tight variant for cellos is useful for precise bass lines. 
						

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Tremolo
In string sections, tremolo is played by rapidly moving the bow back 
and forth on the string. This yields a very agitated and noisy sound 
used for adding thrill to a passage.
Since accents are very effective in tremolo parts for bringing out a note, 
HALion Symphonic Orchestra features true accent samples for the 
tremolo programs. In the crescendo controlled programs there are dif-
ferent accent samples, accessible by playing velocities above 100. In 
the velocity programs there is one accent at the top level.
Xfade and Xswitch programs are available like in the legato sections, 
allowing for far more realistic control than using velocity.
Trills
Trills are played by rapidly moving one finger on and off the string with 
the hand that grips the pitch, creating a rapid pitch change. Trills come 
in two flavors: Halfstep and Wholestep. For choosing between half 
and whole you have two options:
 Load a corresponding program (WT for whole tone and HT for half tone – 
referring to the interval played)
 Use a Key Switch (see also page 32 for a description of how key switches are 
displayed on the on-screen keyboard) program that includes both and allows 
you to switch between them using the keys A-1 and B-1. This is great for 
playing a trilled phrase in the correct key (and scale) by switching between 
halfstep and wholestep trills.
Switch key assignment in Trill programs for all instruments:
Again, using an Xfade or Xswitch program offers more realism than a 
velocity-controlled program.
Key Note # Articulation Description Key Mode
A-1 21 Whole Tone  All notes play whole step trills ks
B-1 22 Half Tone  All notes play half step trills ks 
						

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Combi programs
Combi programs combine a useful set of articulations within one pro-
gram so you can use them on one MIDI channel. For example, a combi 
program can combine legato, trill, tremolo, spiccato and pizzicato. The 
number and type of available articulations depend on the instrument 
(refer to the Program Reference section on page 55 for detailed info).
The default articulation when you load a Combi program is legato. By 
pressing key switches (see also page 32 for a description of how key 
switches are displayed on the on-screen keyboard), you can quickly 
activate different articulations. Releasing the switch key takes you 
back to normal legato mode.
Switch key assignments in Combi programs for strings:
Switch key assignments in Combi programs for Flute, Oboe, Clarinet:
Key Note # Articulation Description Key Mode
A-1 21 Whole step trill Except double basses kr
Bb-1 22 Spiccato kr
B-1 23 Half step trill Except double basses kr
C0 24 Tremolo kr
C#0 25 Pizzicato Double basses only kr
Key Articulation Key Mode
no key pressed:  legato
A-1 whole-tone trill kr
B-1 half-tone trill kr
Bb-1 staccato kr
C0 crescendo-decrescendo kr
C#0 Accent kr 
						

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Switch key assignments in Combi ECO programs for Flute, Oboe, 
Clarinet:
Ornaments WT+HT for Flute, Oboe, Clarinet:
Switch key assignments in Combi programs for Bassoon:
Switch key assignments in Combi ECO programs for Bassoon:
Ornaments WT+HT for Bassoon:
Key Articulation Key Mode
no key pressed:  legato
Bb-1 staccato kr
C#0 Accent kr
Key Articulation Key Mode
D0 whole-tone ornament ks
E0 half-tone ornament ks
Key Articulation Key Mode
no key pressed:  legato
Bb-1 staccato kr
C0 crescendo-decrescendo kr
C#0 Accent kr
Key Articulation Key Mode
no key pressed:  legato
Bb-1 staccato kr
C#0 Accent kr
Key Articulation Key Mode
D0 whole-tone ornament ks
E0 half-tone ornament ks 
						

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Switch key assignments in Combi programs for Piccolo, English Horn, 
Bass Clarinet:
Switch key assignments in Combi programs for Horn solo, Trumpet 
solo, Trombone solo:
Switch key assignments in Combi programs for Tuba:
Switch key assignments in Combi programs for Horns tutti, Trumpets 
tutti, Trombones tutti:
Key Articulation Key Mode
no key pressed:  legato
Bb-1 staccato kr
Key Articulation Key Mode
no key pressed:  legato
Bb-1 staccato kr
C0 crescendo-decrescendo kr
C#0 Accent kr
D#0 Diminuendo kr
Key Articulation Key Mode
no key pressed:  legato
Bb-1 staccato kr
C0 crescendo-decrescendo kr
C#0 Accent kr
Key Articulation Key Mode
no key pressed:  legato
Bb-1 staccato kr
C#0 Accent kr
D#0 Diminuendo kr 
						

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Switch key assignments in Combi KS program for Timpani:
Switch key assignments in Combi KS program for Snare:
Switch key assignments in Combi KS program for Gran Cassa (Bass 
Drum):
Switch key assignments in Combi KS program for Tambourine:
Key Articulation Key Mode
no key pressed:  normal
C0 roll kr
Key Articulation Key Mode
no key pressed:  normal position
A-1 mid-position kr
Bb-1 flam kr
B-1 short roll kr
C0 roll kr
C#0 snares off kr
Key Articulation Key Mode
no key pressed:  normal
C0 roll kr
Key Articulation Key Mode
no key pressed:  normal
C0 shake-roll kr
C#0 thumb-roll kr 
						

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Switch key assignments in Combi KS program for Woodblocks:
Switch key assignments in Combi KS program for Templeblocks:
Switch key assignments in Combi KS program for Suspended 
Cymbals:
Key layout:
Key Articulation Key Mode
C0 wood-beater ks
D0 felt-beater ks
Key Articulation Key Mode
C0 drumstick ks
D0 leather-beater ks
E0 felt-beater ks
F0 wood-beater ks
Key Articulation Key Mode
A-1 drumstick ks
B-1 mallet ks
C0 Mallet Roll cresccendo ks
D0 drumstick-roll ks
E0 mallet-roll ks
Keys Description
c2-b2 edge/surface
c3-b3 edge
c4-b4 surface 
						

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Switch key assignments in Combi KS program for Piatti a due and 
TamTam:
Switch key assignments in Combi KS program for Triangle and 
Sleighbell:
Enhancing expressiveness and realism
HALion Symphonic Orchestra offers a range of features for enhanced 
realism and authentic behavior. This section describes these features, 
how they work and how you make them work for you.
Bowing control in string sections
In quick passages, string players usually change the bow direction ev-
ery time they play detached or spiccato notes. It is difficult if not im-
possible to bow a fast detached passage in one direction. Usually, a 
sampled spiccato program only has one or a few samples per pitch 
and bowing direction, resulting in a “machine-gun” sound easily de-
tectable as sampled and unrealistic.
HALion Symphonic Orchestra addresses this problem by providing a 
yet unrivalled number of layers per bowing direction. To even add to 
realism and control, there are special alternating programs allowing 
you full control over the bowing direction. You can choose down, up or 
alternating down/up bows – which is the most realistic option. You 
can even choose which bow to start with and retrigger the alternating 
process if you want to start a passage with a specific bowing direction. 
Key Articulation Key Mode
no key pressed:  normal
C0 choked kr
Key Articulation Key Mode
no key pressed:  normal
C0 roll kr