Steinberg VST Sampler HALION 4 Operation Manual

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Mixing and Routing
Output
Each channel can be routed to various busses. Click the 
output pop-up menu and select an output.
ÖThe output busses represent the audio interface to the 
host application or the audio hardware. Therefore, these 
channels cannot be routed freely and do not have an out
-
put pop-up menu.
ÖYou can route a surround slot bus to one of the stereo 
output busses. In this case only the first two channels are 
connected. To make you aware that the number of chan
-
nels do not match, HALion displays a warning icon in the 
top of the mixer channels (slot and output). You can de
-
cide whether to add a downmix effect to the output bus, to 
reroute the slot to the surround output bus, or to leave it 
as it is.
Insert Effects
Each channel can load up to eight insert effects. To dis-
play the inserts, the channel strip needs to be expanded.
Each insert can either be a classical insert effect like a 
chorus or a delay, or it can load one of the 4 AUX send ef
-
fects that allow to send the signal to the AUX busses.
ÖWhen an AUX send effect is loaded, the insert slot 
adds a small level fader below. Use this fader to set the 
level that is send to the AUX bus.
ÖYou cannot use send effects on AUX and output 
busses.
Pre-Fader Send Effects
By default, send levels are influenced by the level of the 
bus. If you want to adjust the send level independently 
from the bus level you can set the send to pre-fader. This 
can be done by activating the corresponding button to the 
left of the level fader.
Changing the Order of Effects
You can change the order of effects by dragging them to 
another position. When dropping a slot directly onto an
-
other slot, they exchange their positions.
The Program Tree synchronizes directly with the Mixer. 
When adding an effect on a bus in the Program Tree, this 
effect is also shown in the Mixer channel. The first 8 ef
-
fects are visible in the Mixer. 
						

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Effects Reference 
						

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Effects Reference
Introduction
HALion comes with a collection of high-quality studio ef-
fects. These effects are described in the following sec-
tions.
Reverb and Delay Effects
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. In
-
cluded 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 im-
pulse 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 re-
sult 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 to
-
wards the back of the room.
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 millisec
-
onds 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 pa
-
rameters for controlling the room size and the reverb time. 
You can adjust the reverb time individually in three fre
-
quency 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. 
						

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Effects Reference
Early Reflections
Here you select an early reflections pattern. The early re-
flections 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 re-
sult 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 to
-
wards 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 
smaller than 100
 % the early reflections pattern is com-
pressed and the room is perceived smaller.
Low Cut
This attenuates the low frequencies of the early reflec-
tions. The higher this value, the less low frequencies the 
early reflections will have.
High Cut
This attenuates the high frequencies of the early reflec-
tions. 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 re
-
verb 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 nega
-
tive values it is shorter. Frequencies are affected depend-
ing on the Tail High 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 Time
This controls the reverb time for the low frequencies of the 
reverb tail. When you set positive values the decay time of 
the low frequencies is longer, when you set negative val
-
ues it is shorter. Frequencies are affected depending on 
the Tail Low Freq parameter.
Low Freq
This sets the cross-over frequency between the low and 
the mid band of the reverb tail. You can offset the reverb 
time for frequencies below this value 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
This adjusts the echo density of the reverb tail. At a setting 
of 100
 % single reflections from walls cannot be heard. 
Lower this value to hear more single reflections. 
						

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Effects Reference
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 wet signal. 
Multi Delay
This effect produces echoes, so-called delays, with adjust-
able 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 mil-
liseconds. Use the Delay L/R parameter to shorten the 
time for the left or right delay. Activate Sync to set the de
-
lay 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 ex-
ample, 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 over-
all 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 over
-
all 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. Depending on the amount you set, 
the echoes repeat more or less often. At a setting of 0
 % 
you hear one echo. At a setting of 100
 % the echoes re-
peat 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 de
-
lay from the overall feedback. The offset value is a factor. A 
factor of 1 means that the amount of feedback corre
-
sponds 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 po
-
sition of the control sets a factor of 1.0, which is the neu-
tral setting.
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 chan-nel 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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Effects Reference
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:
•Adjust the equalizer controls Gain, Freq, and Q.
•To adjust Gain and Freq simultaneously, drag the points 
in the EQ graph in the 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 fre-
quency 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.
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. 
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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Effects Reference
Distortion Effects
Amplifier
This effect emulates the sound of an amplifier with speak-
ers. 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 ampli-
fier 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 chan
-
nel provides a clean signal.
Output
This controls the output level of the amplifier. 
Distortion
This effect offers the whole range of distortion, from low fi-
delity, 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 com
-
bined.
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 con
-
trol that adjusts the amount of aliasing. The lower the set-
ting, 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 set
-
ting, 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 con
-
trol that adjusts the amount of distortion. The higher the 
setting, the more distortion is added. 
						

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Effects Reference
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 controls the mix between the dry and the wet signal. 
Modulation Effects
Chorus
The Chorus effect thickens and broadens the sound by 
means of pitch modulation.
Rate
Use this to specify the frequency of the pitch modulation 
in Hertz (Hz).
Sync
Activate this to set the Rate value in fractions of beats.
Depth
This sets the intensity of the pitch modulation. 
Phase
This widens the sound image of the effect from mono to 
stereo. 
Shape
This adjusts the characteristic of the modulation. At a set-
ting of 0 % the pitch changes continuously, producing a 
steady modulation. At a setting of 100
 % the pitch does 
not change all the time, producing a less steady modula
-
tion.
Mix
This controls the mix between the dry and the wet signal.
Flanger
The Flanger effect thickens and broadens the sound by 
means of pitch modulation. The Feedback parameter al
-
lows you to add resonances allowing for jet-like sweeps of 
the sound.
Rate
Use this to specify the frequency of the pitch modulation 
in Hertz (Hz). 
Sync
Activate this to set the Rate value in fractions of beats.
Depth
This sets the intensity of the pitch modulation.
Phase
This widens the sound image of the effect from mono to 
stereo. The Phase parameter also changes the character
-
istic of the Cross Feedback parameter.
Shape
This adjusts the characteristic of the modulation. You hear 
this best with the Feedback parameter turned on. At a set
-
ting of 0 % the sound sweeps linearly up and down. At a 
setting of 100
 % the sound sweeps exponentially up and 
down.
Mix
This controls the mix between the dry and the wet signal.
Feedback
This adds resonances to the effect. 
						

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Effects Reference
Cross FB
This mixes the feedback of the left channel with the right 
channel, and vice versa. This parameter only takes effect if 
the Feedback parameter is set to a value above 0
 %. The 
setting of the Phase parameter influences the Cross FB 
parameter.
Tone
This adjusts the tone color of the feedback. If you set this 
parameter to lower values the feedback is less bright.
Phaser
The Phaser effect thickens and broadens the sound by 
means of phase modulation. The Feedback parameter al
-
lows you to add resonances to sweep the sound.
Rate
Use this to specify the frequency of the phase modulation 
in Hertz (Hz). 
Sync
Activate this to set the Rate value in fractions of beats.
Depth
This sets the intensity of the phase modulation.
Shift
This shifts the phase modulation upwards to higher fre-
quencies of the spectrum. 
Phase
This widens the sound image of the effect from mono to 
stereo. 
Low Cut
Attenuates the low frequencies. 
High Cut
Attenuate the high frequencies.
Mix
This controls the mix between the dry and the wet signal. 
Tremolo
This effect produces amplitude modulation, that is cyclic 
modulation of the level of the sound.
Rate
Use this to specify the frequency of the amplitude modula-
tion in Hertz (Hz). 
Sync
Activate this to set the Rate value in fractions of beats.
Depth
This sets the intensity of the amplitude modulation.
Phase
This widens the sound image of the effect from mono to 
stereo. 
Output
Sets the output level of the Tremolo. 
Rotary
The Rotary effect emulates the sound of a vintage rotary 
speaker including amplifier, horn, drum, and cabinet. By 
emitting the sound via a rotating horn and drum, the rotary 
speaker produces a Doppler effect that thickens the 
sound. The horn and drum rotate at variable speed pro
-
ducing different amounts of Doppler effect. The amplifier 
of the rotary speaker adds a warm sounding distortion, and  
						

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Effects Reference
the horn, drum, and cabinet color the sound uniquely. The 
horn and drum are recorded via (virtual) microphones that 
can be set to different angles to broaden the sound image. 
Typically, rotary speakers are used with electric organs.
Rotation 
Use this to change the rotation speed of the horn and 
drum (Slow, Fast, Stop). When set to Fast, the Doppler 
effect is stronger. When set to Stop, there is no Doppler 
effect because the drum and horn do not rotate. Because 
the horn and drum accelerate and decelerate at different 
speeds the transition from Slow to Fast and vice versa 
sounds the most interesting.
Distance
Sets the distance between the microphones and the horn 
and drum. The amplitude modulation of the sound de
-
creases with the distance of the microphones. Set this to 
higher values for less amplitude modulation.
Cabinet
The horn and drum sound different when recorded through 
the louvers of the cabinet. Use this to color the horn and 
drum with the sound of the cabinet. At a setting of 100
 % 
you get the full sound of the cabinet.
Balance
Here you adjust the balance between the horn and drum 
microphones. At a setting of 0
 % you hear only the drum. 
At a setting of 100
 % you hear only the horn. 
Slow 
This adjusts the slow speed of the horn and drum together. 
Fast 
This adjusts the fast speed of the horn and drum together.
Accel
Adjusts the acceleration time for raising and lowering the 
rotation speed of the horn and drum. 
Horn Mic Angle
This adjusts the stereo spread of the horn microphones. 
At a setting of 0° the sound image is monophonic. At a 
setting of 180° the sound image is fully stereo.
Drum Mic Angle
This adjusts the stereo spread of the drum microphones. 
At a setting of 0° the sound image is monophonic. At a 
setting of 180° the sound image is fully stereo.
Treble
Use this to adjust the tone color of the high frequencies. 
Drive
Here you can adjust the distortion of the amplifier.
Bass
Use this to adjust the tone color of the low frequencies. 
Gain
Use this to set the output level of the rotary speaker.
Vibrato
The Vibrato effect emulates the chorus and vibrato effects 
of vintage organs. It thickens the sound by means of pitch 
modulation. The effect provides direct access to the clas
-
sic chorus and vibrato settings (C1, C2 and C3 and V1, 
V2 and V3). In addition, there is a Custom mode that al
-
lows to adjust the amount of chorus or vibrato freely.
Type
Here you can select the classic chorus and vibrato set-
tings C1, C2 and C3 and V1, V2 and V3. The control is 
only available if the effect is set to Classic mode.
Custom Mode
Activate this to adjust the chorus and vibrato settings 
freely with the Rate, Depth, and Vibrato/Chorus controls.
Rate
Use this to specify the frequency of the pitch modulation 
in Hertz (Hz). 
Depth
This sets the intensity of the pitch modulation.