Steinberg VST Sampler HALION 4 Operation Manual

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Editing Zones in the Sound Editor
Graphical Envelope Editing
You can adjust the times of the envelope in the graphical 
editor by dragging nodes left or right.
•The first node adjusts the Delay time.
•The second node adjusts the Fade In time.
•The third node adjusts the Hold time.
•The fourth node adjusts the Fade Out time.
The Step Modulator Section
Synth and sample zones feature a polyphonic step modu-
lator for creating rhythmic control sequences. The step 
modulator can be freely assigned in the modulation matrix. 
The sequence can have up to 32 steps.
At the top right of the Step Modulator section, you can 
load and save presets for the step modulator.
Editing Steps
To adjust the steps using the mouse, proceed as follows:
•To set the level of a step, click in the graphical editor.
•To change the value of a single step, drag it up/down.
•To adjust all steps at once, [Shift]-drag a step.
•To reset a step to a level of 0 %, [Ctrl]/[Command]-click 
the step.
•To reset all steps, [Shift]-[Ctrl]/[Command]-click in the 
graphical editor.
•To draw a ramp with steps, [Alt]/[Option]-click and draw 
a line.
•To draw symmetric ramps, [Shift]-[Alt]/[Option]-click 
and draw a line.
•You can also enter a value directly in the value field for 
the step.
•To increment or decrement the selected step, use the 
up and down arrow keys.
By default, the increment or decrement is in steps of 1 %. Hold [Shift] to 
increment or decrement the selected step in steps of 0.1
 %.
Steps
Here you set the number of steps the sequence plays.
Sync Mode
You can synchronize the steps to the tempo of the host 
application by setting a note value. Alternatively, you can 
specify a frequency at which the sequence repeats. 
Whether you can set a note value or a frequency depends 
on the option you select here:
Frequency
When Sync mode is set to Off, this controls the speed at 
which the sequence is repeated. 
Hold +  Fade OutWhen you play a note, the Delay and Fade In parame-ters are applied. The envelope fades out after the time 
specified by the Hold parameter, or when a key is re-leased. Releasing a key during the fade in starts the 
fade out from the current level.
Sustain + 
Fade OutWhen you play a note, the Delay and Fade In parame-ters are applied. The Hold parameter acts as sustain. 
The fade out is applied when releasing the key. Releas-ing a key during the fade in starts the fade out from the 
current level.
SustainWhen you play a note, the Delay and Fade In parame-ters are applied. Both the Hold and Fade Out parame-ters act as sustain. Releasing a key during the Fade In 
sustains the current level. This prevents a change in 
modulation when a key is released.
Option Description
OptionDescription
OffSelect this to adjust the speed at which the sequence 
repeats (in Hertz). Whether the sequence restarts 
when you play a note depends on the Retrigger mode.
Tempo + 
RetrigSelect this to adjust the length of the steps in fractions 
of beats. The speed of the modulation depends on the 
number of steps, the note value and the tempo you set 
in your host application. Activate the T option to use 
triplet note values. Whether the sequence restarts 
when you play a note depends on the selected Retrig
-ger mode.
Tempo + BeatAs above, but the sequence restarts with the transport 
of the host and lines up to the beats of the project. The 
Retrigger setting is not taken into account. 
						

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Editing Zones in the Sound Editor
Note
When the Sync mode is set to one of the Tempo settings, 
this adjusts the length of the steps in fractions of beats. 
You can also select dotted and triplet values.
Triplets
Activate the “T” option to use triplet note values.
Retrigger Mode
Here, you can determine whether the sequence restarts 
when you play a note. The Retrigger Mode parameter is 
only available when Sync mode is set to Off or “Tempo + 
Retrig”. The following parameters are available:
Slope
Depending on the setting you select here, the step modu-
lator jumps from step to step or creates ramps between 
the steps. The following settings are available:
Amount
When Slope is set to Rising, Falling or All, the Amount 
parameter 
determines the time of the ramp between two 
steps. The higher the setting, the smoother the transitions 
between steps.
Step
Use this to select a certain step.
Level
This shows the level of the selected step.
Snap
When Snap is activated, the level of each step can only be 
adjusted in quantized steps of 1/12th.
Producing Modulations in Steps of Semitones
Proceed as follows:
1.Activate the Snap option.
2.In the modulation matrix, assign the Step Modulator to 
Pitch.
3.Set the Modulation Depth to +12.
Now, the levels of the steps represent semitone intervals.
4.Go back to the step modulator and adjust each step 
to the interval that you want to use.
The Modulation Matrix Section
The concept of controlling one parameter by another is 
called modulation. The Modulation Matrix section of synth 
and sample zones gives you access to additional modula
-
tions of the zone.
Assigning modulations means to interconnect modulation 
sources, such as LFOs and envelopes, with modulation 
destinations like pitch, cutoff, amplitude, etc. The modula
-
tion matrix offers you up to 32 freely assignable modula-
tions, each with a source, a modifier and a destination with 
adjustable depth. All modulation sources and destinations 
can be assigned several times. The polarity of each source 
can be switched between unipolar and bipolar. An addi
-
tional modifier and user-definable curves and ranges give 
you further control over the modulation.
OptionDescription
Off The sequence is not restarted. Instead, it resumes play-back at the position at which you released the key.
First NoteThe sequence restarts when a note is triggered and no 
other notes are held.
Each NoteThe sequence restarts each time a note is triggered.
OptionDescription
NoneThis setting produces hard steps.
RisingRamps are created only for rising edges.
FallingRamps are created only for falling edges.
AllRamps are created for all edges. 
						

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Editing Zones in the Sound Editor
The modulation matrix is divided into two sections. On the 
left, the modulation rows are displayed. Here, you can as
-
sign modulation sources to destinations and adjust the 
modulation depth. The section on the right contains set
-
tings for the curve and range editor, where you can make 
further settings for the selected modulation source.
Using the Modulation Rows
The modulation rows allow you to interconnect modulation 
sources with modulation destinations and to adjust the 
modulation depth.
•The parameters for setting up a modulation can be ac-
cessed via 32 rows. Each row is identified by a number.
•You can select modulation sources on the Source 1 
pop-up menu at the top left of each row.
•The Source 2 pop-up menu below the Source 1 pop-
up menu for each row allows you to select a second mod
-
ulation source that controls the intensity of the first source 
or a modifier that alters the modulation signal of the first 
source.
•To switch the polarity of a source between unipolar and 
bipolar, click the button to the right of the corresponding 
source.
•To select the modulation destination, use the pop-up 
menu to the right.
•Use the horizontal fader below the destination to adjust 
the modulation depth. Usually, the modulation depth is ad
-
justed in percent. If you select pitch as modulation desti-
nation, the modulation depth is adjusted in semitones.
•Click the Bypass button in front of the depth control to 
switch off the modulation temporarily.
Managing Modulation Rows
To copy a modulation row, proceed as follows:
1.On the context menu for the source row, select “Copy 
Modulation Row”.´
To move a modulation row, select “Cut Modulation Row” for the source 
row.
2.On the context menu for the target row, select “Paste 
Modulation Row”.
•To insert an empty row, select “Insert Modulation Row” 
from the context menu.
•To remove a modulation row, select “Remove Modula-
tion Row” from the context menu.
An empty modulation row is appended to the list to keep a constant 
number of 32 rows.
ÖYou can copy modulation rows across different pro-
grams or even between different instances of HALion.
Unipolar vs. Bipolar Sources
The polarity of a modulation source specifies the value 
range it produces.
•Unipolar sources modulate between 0 and +1.
•Bipolar sources modulate between -1 and +1.
By default, some sources are unipolar and others are bi-
polar. However, you can change the polarity of a modula-
tion source at any time.
•To change the polarity of a source, click the button to 
the right of the corresponding source.
Using the Curve and Range Editor
You can set up a curve and range for each modulation 
source.
•The curve and range editor displays the settings of the 
selected source. To adjust the settings of a different 
source, click the button to the left of the source you want 
to edit.
•The curve editor allows you to change the characteristic 
of a modulation. The displayed curve is superimposed on 
the modulation source.
This way, you can change the modulation from linear to exponential or 
logarithmic, for example.
•By setting the minimum and maximum values, the mod-
ulation stays within the specified range only. In addition, 
you can specify an offset and a range for the modulation.
For example, with an offset and range of +50 %, only the second half of 
the displayed curve is superimposed on the modulation.
The curve editor offers different presets that you can se-
lect from the pop-up menu above the curve. To set up 
your own curve, select the Custom preset.
•Double-click in the editor to insert a new node.
Double-click on a node to delete it. 
•Drag the nodes to new positions to adjust the basic 
shape of the curve.  
						

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Editing Zones in the Sound Editor
•Drag the lines between the nodes up or down to 
change the curvature.
Setting Up a Modulation
Proceed as follows:
1.Select the zone that you want to adjust.
2.Open the Modulation Matrix section.
3.In one of the modulation rows, select a modulation 
source and destination (for example LFO1 as source and 
Pitch as destination).
4.Use the horizontal fader below the destination to ad-
just the modulation depth.
5.Play a few notes to hear the modulation.
6.You can select a modifier or change the polarity of the 
source.
For example, from the “Source 2” pop-up menu, select Pitch Bend as the 
modifier and set its polarity to unipolar.
7.Play a few notes to hear the modulation and use the 
pitchbend wheel.
8.Finally, use the curve and range editor to limit the mod-
ulation range or to adjust the characteristic of the modula-
tion.
Modulation Sources
The modulation sources are available from the Source and 
Modifier pop-up menus. HALion offers you the following 
modulation sources:
OptionDescription
LFO P1The first LFO of the zone, which produces cyclic mod-ulation signals.
LFO P2The second LFO of the zone, which produces cyclic 
modulation signals.
Amp EnvelopeThe amplifier envelope of the zone (unipolar). The 
shape of the envelope equals the modulation signal.
Filter EnvelopeThe filter envelope of the zone (unipolar). The shape of 
the envelope equals the modulation signal.
Pitch EnvelopeThe pitch envelope of the zone (bipolar). The shape of 
the envelope equals the modulation signal.
User EnvelopeThe user envelope of the zone (bipolar). The shape of 
the envelope equals the modulation signal.
Step 
ModulatorThe step modulator of the zone (bipolar). This produces 
cyclic, rhythmically stepped modulation signals.
GlideThe glide signal of the source (unipolar). 
Key FollowThis produces an exponential modulation signal derived 
from the MIDI note number. Exponential means this 
source works with destinations such as Pitch or Cutoff. 
Key follow is bipolar.
Note-on VelNote-on velocity (how fast you hit a key) can be used 
as a modulation signal. Note-on Vel is unipolar.
Note-on Vel 
SquaredThe squared version of Note-on Vel. Squared means 
you have to press the key harder to produce higher 
modulation values.
Note-on Vel 
NormalizedThe note-on velocity is normalized via the velocity range 
of the corresponding zone. At the lowest velocity of the 
zone the modulation is 0, at the highest velocity it is 1.
Note-off VelNote-off velocity (how fast you released a key) can be 
used as a modulation signal. Note-off Vel is unipolar. 
While most of the MIDI keyboards cannot send note-off 
velocity messages, most sequencer software is able to 
produce such messages.
PitchbendThe position of the pitchbend wheel can be used as a 
modulation signal. Pitchbend is bipolar.
Modulation 
WheelThe position of the modulation wheel can be used as a 
modulation signal. Modulation Wheel is unipolar.
AftertouchAftertouch (how hard you keep a key pressed after you 
hit it) can be used as a modulation signal. Aftertouch is 
unipolar. Some MIDI keyboards cannot send aftertouch 
messages. However, most sequencer software is able 
to produce such messages.
MIDI ControllerAny of the 127 available MIDI controllers can be used 
as a modulation signal. You can select the MIDI con-troller from the corresponding submenu.
Quick ControlThe quick controls of the program or layer the zone be-longs to can be used as a modulation signal. You can 
select the quick control from the corresponding sub-menu.
Note 
ExpressionThe eight note expression parameters of the program 
can be used as modulation signals for the zone. You 
can select the note expression parameter from the cor
-responding submenu.
NoiseProduces a random modulation signal. Noise is bipolar.
OutputThe audio output of the zone can be used as a modula-tion signal. Output is unipolar.
Bus 1-16Modulations that have been sent to one of the sixteen 
busses can be used as sources again. This way, you 
can combine several modulations to produce more 
complex signals. Select the corresponding modulation 
bus to assign it as source. 
Option Description 
						

							95
Editing Zones in the Sound Editor
Modulation Destinations
Depending on the selected type of zone, the available 
modulation destinations vary. HALion offers you the fol
-
lowing modulation destinations:
OptionDescription
PitchModulates the pitch of the zone. For example, assign 
one of the LFOs to create a vibrato effect. When Pitch 
is selected, the modulation depth adjusts in semitones 
(-60 to +60).
CutoffModulates the filter cutoff of the zone. For example, as-sign the step modulator to create rhythmic patterns in 
the spectral timbre.
ResonanceModulates the filter resonance of the zone. Resonance 
changes the character of the filter. For example, assign 
velocity to resonance to accent the filter the harder you 
hit a key.
Morph XModulates the x-axis of the filter in Morph XY mode. Use 
this to morph between the filter shapes AD and BC.
Morph YModulates the y-axis of the filter in Morph 2, Morph 4, 
or Morph XY mode. For example, use this to morph be-tween the filter shapes AB and DC.
Cutoff OffsetModulates the cutoff offset of the second filter in serial 
or parallel mode. For example, assign the modulation 
wheel to lower or raise the cutoff of the second filter 
while you play.
Resonance 
OffsetModulates the resonance offset of the second filter in 
serial or parallel mode. For example, assign the modula-tion wheel to lower or raise the resonance of the sec-ond filter while you play.
PanModulates the position of the zone in the panorama.
LevelThis modulation adds to the level setting of the zone. It 
is ideal for effects such as tremolo.
Volume 1This modulates the gain of the zone. The volume modu-lation multiplies with the level of the zone. It is ideal for 
crossfades between zones.
Volume 2As Volume 1. Volume 1 is multiplied with volume 2. This 
way, you can build more complex modulations. For ex-ample, use Volume 1 for crossfading between zones 
and Volume 2 for fading them in or out.
LFO1 
FrequencyModulates the speed of LFO1. For example, assign Af-tertouch to control the speed of a vibrato effect while 
you play.
LFO1 ShapeModulates the waveform of LFO1. For example, assign 
Key Follow to vary the waveform with the playing posi-tion on the keyboard.
LFO2 
FrequencySame as LFO1 Freq, but for LFO2.
LFO2 ShapeSame as LFO1 Shape, but for LFO2.
Step Mod 
FrequencyModulates the speed of the step modulator. For exam-ple, assign an LFO to increase or decrease the speed 
cyclically.
Step Mod 
SlopeModulates the shape of the edges of the step modula-tor (the Slope parameter has to be active). For example, 
assign the modulation wheel to blend from hard to 
smooth edges.
Amp Env 
Attack TimeModulates the time of the amplitude envelope attack 
(the first segment of the envelope). The attack time 
cannot be modulated continuously. The time is updated 
only when the segment starts.
Amp Env 
Decay TimeModulates the time of the amplitude envelope decay 
(all segments after the attack and before the sustain). 
The decay time cannot be modulated continuously. The 
time is updated only when the segment starts.
Amp Env 
Sustain LevelModulates the level of the amplitude envelope sustain. 
The sustain level cannot be modulated continuously. 
The level is updated only when the segment starts.
Amp Env 
Release TimeModulates the time of the amplitude envelope release 
(all segments after the sustain). The release time can-not be modulated continuously. The time is updated 
only when the segment starts.
Filter Env 
Attack TimeModulates the time of the filter envelope attack (the first 
segment of the envelope). The attack time cannot be 
modulated continuously. The time is updated only when 
the segment starts.
Filter Env 
Decay TimeModulates the time of the filter envelope decay (all seg-ments after the attack and before the sustain). The de-cay time cannot be modulated continuously. The time is 
updated only when the segment starts.
Filter Env 
Sustain LevelModulates the level of the filter envelope sustain. The 
sustain level cannot be modulated continuously. The 
level is updated only when the segment starts.
Filter Env 
Release TimeModulates the time of the filter envelope release (all 
segments after the sustain). The release time cannot be 
modulated continuously. The time is updated only when 
the segment starts.
Pitch Env 
Attack TimeModulates the time of the pitch envelope attack (the 
first segment of the envelope). The attack time cannot 
be modulated continuously. The time is updated only 
when the segment starts.
Pitch Env 
Decay TimeModulates the time of the pitch envelope decay (all 
segments after the attack and before the sustain). The 
decay time cannot be modulated continuously. The 
time is updated only when the segment starts.
Pitch Env 
Sustain LevelModulates the level of the pitch envelope sustain. The 
sustain level cannot be modulated continuously. The 
level is updated only when the segment starts.
Pitch Env 
Release TimeModulates the time of the pitch envelope release (all 
segments after the sustain). The release time cannot be 
modulated continuously. The time is updated only when 
the segment starts.
User Env 
Attack TimeModulates the time of the user envelope attack (the first 
segment of the envelope). The attack time cannot be 
modulated continuously. The time is updated only when 
the segment starts.
Option Description 
						

							96
Editing Zones in the Sound Editor
The following destination is only available for sample 
zones:
The following destinations are only available for synth 
zones:
Sample & Hold
The Sample & Hold modifier takes a sample of the modu-
lation source whenever it receives a trigger signal. It holds 
the sampled value until it receives a new trigger. This way, 
you can quantize a continuous modulation signal. The 
Sample & Hold modifier offers the following options:
Using Global MIDI Controllers
HALion features eight global MIDI controllers (“Contr. A – 
Contr. H”), which can be used as placeholders in the 
modulation matrix. With these controllers, you can remap 
specific MIDI controllers to the placeholder controllers, for 
example, from the CC Mapper. This allows you to use the 
global controller in several places and set up the assign
-
ment only once.
User Env 
Decay TimeModulates the time of the user envelope decay (all seg-ments after the attack and before the sustain). The de-cay time cannot be modulated continuously. The time is 
updated only when the segment starts.
User Env 
Sustain LevelModulates the level of the user envelope sustain. The 
sustain level cannot be modulated continuously. The 
level is updated only when the segment starts.
User Env 
Release TimeModulates the time of the user envelope release (all 
segments after the sustain). The release time cannot be 
modulated continuously. The time is updated only when 
the segment starts.
Bus 1-16You can send any modulation to one of the sixteen bus-ses, for example, to produce more complex modulation 
signals. Select the bus you want to send the signals to 
as a destination. To use the modulation that was sent to 
a bus, assign the corresponding bus as a modulation 
source.
OptionDescription
Sample StartModulates the start position of the sample play-back. For example, assign note-on velocity to play 
back more of the attack of a sample the harder you 
hit a key. The sample start cannot be modulated 
continuously. The parameter is updated only when 
you hit a key.
OptionDescription
Osc1/2/3 PitchModulates the pitch of the corresponding oscillator. 
For example, assign one of the LFOs to detune the 
oscillator cyclically.
Osc1/2/3 LevelModulates the volume of the corresponding oscilla-tor. For example, assign the modulation wheel to fade 
the oscillator in and out while you play.
Osc1/2/3 
WaveformModulates the shape and character of the corre-sponding oscillator. For example, assign one of the 
envelopes to change the character of the oscillator 
over time.
Sub Osc LevelModulates the volume of the sub oscillator. For exam-ple, assign the modulation wheel to fade in the oscil-lator while you play.
Ring Mod LevelModulates the volume of the ring modulation effect. 
For example, assign the modulation wheel to fade in 
the ring modulation while you play.
Noise Gen LevelModulates the volume of the noise generator. For ex-ample, assign the modulation wheel to fade in the 
noise generator while you play.
Option Description
OptionDescription
Trigger on 
Note OnSelect this to trigger the Sample & Hold modifier man-ually. Each time you hit a key, the modifier takes a sam-ple.
Trigger on 
LFO1Select this for periodic triggering of the Sample & Hold 
modifier. It takes a sample each time the waveform of 
LFO1 crosses the zero line upwards.
Trigger on 
LFO2Select this for periodic triggering of the Sample & Hold 
modifier. It takes a sample each time the waveform of 
LFO2 crosses the zero line upwards.
Trigger on 
Modulation 
WheelSelect this to trigger the Sample & Hold modifier man-ually. It takes a sample each time the modulation wheel 
passes the center position.
Trigger on 
SustainSelect this to trigger the Sample & Hold modifier man-ually. Each time you press the sustain pedal, the Sam-ple & Hold modifier takes a sample.
Sample until 
ReleaseSelect this to trigger the Sample & Hold modifier 
through releasing a key. It constantly takes samples 
and holds the last sample when receiving a note-off. 
						

							11
Mapping Zones 
						

							98
Mapping Zones
Introduction
In HALion, you can edit the sample mapping manually in 
the Mapping editor. The Mapping functions are based on 
information like key range, root key, and velocity range.
The Mapping Editor
The Mapping editor allows you to view and edit the distri-
bution of zones inside a program. All zones are mapped to 
the key range on the horizontal axis and the velocity range 
on the vertical axis. In the upper area, you have access to 
mapping ranges and sample parameters for the selected 
zone.
Zones are displayed as boxes. Selected zones are shown 
with a red border, and the focused zone with an orange 
border. Overlaying zones are semi transparent, so that 
overlapping areas can easily be recognized.
When playing notes on a MIDI keyboard, the Mapping ed-
itor shows you which note you play on the Mapping editor 
keyboard. Furthermore, you can see the current velocity in 
the velocity scale on the left.
The Toolbar
The toolbar at the top of the window shows the name of 
the focused zone and a number of editing options for the 
mapping.
The Zone Range Section
Below the toolbar, the zone range section is located. Here 
you can set the values for Low and High Key, Low and 
High Velocity, Root Key, Tune, and Gain of a zone. The 
Tune and Gain parameters are only available for sample 
zones.
The Mapping Editor Keyboard
The Mapping editor keyboard allows you to see with 
which keys a zone can be triggered. It can also be used to 
trigger notes. Depending on the vertical position at which 
you click the key, it produces a lower or higher velocity.
The context menu for a key contains submenus that show 
information on pitch and velocity as well as the zones that 
are mapped to a key.
ÖKeys with no zones assigned to them are grayed out.
Testing the Sample Mapping
•[Ctrl]/[Command]-click a key on the Mapping editor 
keyboard and keep the mouse button pressed. HALion 
plays this key and all following keys at the same velocity, 
for as long as you press the mouse button. 
•Hold down [Ctrl]/[Command]-[Alt]/[Option] and click a 
key to play each zone ten times, at increasing velocities 
from 1 to 127.
The Velocity Scale
The velocity scale on the left provides an orientation when 
adjusting the velocity range of a zone. In the background 
of the scale, a meter indicates the incoming velocity value. 
After each note, the meter automatically falls back to zero 
and leaves a marker on the last velocity value. 
Setting the Focus in a Multi-Selection
When multiple zones are selected, you can click on a zone 
to set the focus. Alternatively, you can use the Focused 
Zone pop-up menu on the toolbar to select a different 
zone. 
						

							99
Mapping Zones
Zooming and Scrolling
The Mapping editor can zoom and scroll in two dimen-
sions: keyboard and velocity.
•To zoom in or out, click the “+” or “-” button on the 
scrollbars. 
Once you have zoomed in, you can use the scrollbar to move to a spe-
cific velocity or keyboard area.
•To zoom in or out, press [H] or [G] on the computer key-
board.
•To zoom in on a specific zone, double-click it. To zoom 
out, double-click again.
•To zoom in on an area where two or more zones are 
overlapping, double-click the area. To zoom out, double-
click again.
•To zoom to the selection, activate the S button next to 
the scrollbar.
•To zoom out completely or return to the last zoom state, 
click the A button next to the scrollbar.
Automatic Scrolling to a Tree Selection
When “Scroll Position follows Tree Selection” is activated 
on the toolbar and you select a zone in the Program Tree, 
the Mapping editor automatically scrolls the view to keep 
the selection in the center. This works on both the key
-
board and the velocity axes.
Zoom Snapshots
Zoom Snapshots save the current zoom state in the Map-
ping editor. For example, by saving a snapshot for the 
lower and a snapshot for the upper range of the keyboard, 
you can switch between editing the two areas.
The snapshot handling is the same as for envelopes, see 
“Envelope Zoom Snapshots” on page 85.
Selecting Zones
•Click a zone to select it.
•[Ctrl]/[Command]-click to select several zones.
•Hold down [Ctrl]/[Command] and draw a selection rect-
angle covering the zones that you want to select. 
•Press [Ctrl]/[Command]-[A] to select all zones.
•Click on the velocity scale to select all zones that be-
long to a certain velocity.
Moving Zones
Selected zones can be moved in the Mapping editor.
•Click in the middle of one of the zones and drag to move 
all the zones together.
To limit the movement to the vertical or horizontal direction, start drag-
ging the zone in one direction and press [Ctrl]/[Command] or [Alt]/[Op-tion], respectively.
When you move sample zones horizontally, they are trans-
posed. To make moved samples play back at the right 
pitch again you have to adapt the Root Key setting or acti
-
vate the “Move Root Key with Zones” button on the tool-
bar first.
Move Lock
By clicking the Move Lock button on the toolbar, you can 
prevent accidental moving or resizing of zones.
Setting Key and Velocity Range
Graphically 
To set the key and velocity ranges, move your mouse to one 
of the borders of a zone, so that the mouse pointer changes 
to a double arrow, and drag. If you drag the left border, you 
set the lowest key for the key range, for example.
When you select multiple zones and drag the border of 
adjoining zones that are part of the selection, you can ad
-
just the low and high values of the corresponding zones 
simultaneously.
Numerically
You can also set the key and velocity range values using 
the value fields at the top of the window. 
When multiple zones are selected, only the values of the 
focused zone are displayed in the edit fields. However, 
changing the values affects all selected zones. Like in the 
Sound editor for a zone, you can choose between abso
-
lute and relative editing, see “Absolute and Relative Edit-
ing” on page 75. 
						

							100
Mapping Zones
Muting and Soloing Zones
You can mute and solo zones in the Mapping editor using 
the context menu.
Showing and Hiding Zones
You can show and hide zones using the Visibility context 
menu options.
Auto Visibility
The Auto Visibility option on the Visibility submenu allows 
you to control the visibility of zones inside the Mapping 
editor. When it is activated, only the selected zone and the 
other zones that are part of the same layer are shown.
Fading and Crossfading Zones
Zones in HALion can partially or totally overlap. Fades can 
be created in the horizontal (key) and the vertical (velocity) 
direction. This allows you to successively add certain 
sound components over the key or the velocity range.
To create fades or crossfades, proceed as follows:
1.Select the zones that you want to fade or crossfade.
2.Open the context menu, select the Crossfades sub-
menu, and choose “Enable Crossfades on Keyboard 
Axis”, or “Enable Crossfade on Velocity Axis”, or both.
HALion displays the fade handles.
3.Drag the handles to adjust the fade ranges.
Faded regions are shown in green.
Curve Shape
By default, the fade curve is exponential, but you can 
change the curvature by dragging the curve up and down. 
The maximum curve setting represents an equal power 
curve. This is useful for velocity crossfades.
Auto Crossfades
The Crossfade option on the toolbar can be set to Auto 
(the icon turns blue). In this mode, the crossfade range is 
automatically adjusted when you move overlapping zones.
Symmetric Crossfades
You can create symmetric crossfades for zones that have 
an identical key range and an adjacent velocity range.
Proceed as follows:
1.Select the two zones, open the context menu and on 
the Crossfades submenu, select “Enable Crossfade on 
Velocity Axis”.
The crossfade handles are displayed.
2.On the toolbar of the Mapping editor, set the Cross-
fade option to Symmetric.
The icon turns yellow.
3.Drag the handles to set up the crossfade.
Setting the Root Key
The root key determines the original pitch of a zone. In 
other words, it defines the key on which the zone is played 
without being transposed. Samples can contain root key 
information embedded in the sample file. When they are 
loaded, they are automatically mapped to the correspond
-
ing keys.
The sample collections included with HALion contain both 
multi-sampled instrument programs and single-shot sam
-
ple programs. The former contains samples of a specific 
instrument (usually containing only one sample zone per 
key on the keyboard). The latter contain different sample 
zones that are mapped across the keyboard, without any 
relationship between key and pitch. For multi-sampled in
-
strument programs, there is no need to change the root 
key settings, but for single-shot sample programs, you 
might want to move sample zones.
If you have moved sample zones in the Mapping editor, 
you can make them play back at the original pitch by set
-
ting the root key.
You have the following possibilities:
•Directly enter the value in the Root Key value field.
•Hold [Alt]/[Option] and click the corresponding key on 
the Mapping editor keyboard.
When you move a sample zone, you can make the root key 
move with the zone by holding [Ctrl]/[Command]-[Alt]/
[Option] while dragging or by activating “Move Root Key 
with Zones” on the toolbar.
Triggering Zones
You can trigger zones in the Mapping editor. To activate 
trigger mode, click the Trigger Zones button on the tool
-
bar.