Steinberg VST Sampler HALION 4 Operation Manual

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Effects Reference
Vibr/Chor
This controls the mix between the vibrato and the chorus 
signal. At a setting of 100
 % you only hear the chorus effect.
Dynamics Effects
Compressor
The Compressor reduces the dynamic range of a sound. 
This way, the sound gains headroom. You can use this ex
-
tra headroom to make the overall sound louder again. The 
graphical control to the left indicates the compression 
curve. You can edit the Threshold and Ratio value with the 
handles of this control, the corresponding knobs reflect 
your changes. The input and output VU meters indicate 
the level before and after the compression. The Gain Re
-
duction meter indicates the current attenuation of the level.
Threshold
Use this to set the threshold in dB. Sounds that are louder 
than the threshold are reduced in gain. Sounds below the 
threshold stay untreated.
Ratio
This adjusts the amount of gain reduction for sounds that 
are louder than the threshold. The higher the ratio, the 
more the output is lowered. For example, if the ratio is set 
to 2:1 and the amplitude of the sound is 4
 dB above the 
threshold, the output is lowered by 2
 dB. If the amplitude 
is 8
 dB above the threshold, the output is lowered by 4 dB. 
Soft Knee
If this button is off, signals above the threshold are com-
pressed instantly according to the set ration (hard knee). 
When Soft Knee is activated, the onset of compression is 
more gradual, producing a less drastic result. 
Make-Up
Depending on the set threshold and ratio, the sound loses 
gain (indicated by the Gain Reduction meter). You can 
use the Make-Up parameter to make the overall sound 
louder again.
Auto
This calculates the gain loss from the Threshold and Ratio 
settings and sets the Make-Up value automatically. The 
Make-Up knob is disabled when Auto is active.
Attack
This determines how fast the Compressor effect reacts to 
sounds that exceed the set threshold. The longer the set 
Attack time, the longer the period for reducing the gain to 
the set ratio will be. In other words, with longer Attack 
times the onset of sounds exceeding the threshold pass 
through unprocessed.
Hold
This sets a time period during which the compression is 
applied after the sound exceeds the set threshold. 
Release
This determines how fast the Compressor effect reacts to 
sounds that fall below the set threshold. The longer the 
set Release time, the longer the period for returning to the 
original level will be.
Auto Release
Activate this to set the Release time automatically. The 
Compressor analyzes the input sound continuously to find 
the optimal Release time. The Release knob is disabled 
when Auto Release is active.
Peak – RMS
Determines whether the input signal is analyzed according 
to peak or RMS values or a mixture of both. At a setting of 
0
 % the Compressor uses Peak sensing only and at 
100
 % RMS sensing only. Peak means that the Compres-
sor directly senses the peak level of the sound. RMS is an 
abbreviation for root mean square, a statistical measure 
for the amplitude of sounds. RMS means that the Com
- 
						

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Effects Reference
pressor senses the average power of the sound. Peak 
sensing responds faster than RMS sensing. Typically, 
Peak sensing is used for transient and RMS sensing for 
sustained sounds.
Limiter
The Limiter effects prevents the sound from exceeding the 
set output level to avoid clipping in following effects, for 
example. The input and output VU meters indicate the 
level before and after the Limiter. The Gain Reduction me
-
ter in the middle indicates the current attenuation of the 
level.
Input
This adjusts the input level of the sound. By increasing the 
input level you can drive the sound more and more into 
limiting.
Output
This sets the maximum output level of the sound.
Release
This sets the time that the gain needs to return to its orig-
inal level. The longer the Release time, the longer is the 
period for returning to the original level.
Auto 
Activate this to set the Release time automatically. The Li-
miter analyzes the input sound continuously to find the op-
timal Release time. The Release knob is disabled when 
Auto Release is active.
Expander
Expander reduces the output level in relation to the input 
level for signals below the set threshold. This is useful 
when you want to enhance the dynamic range or reduce 
the noise in quiet passages. The graphical control to the 
left indicates the expansion curve. You can edit the Thres
-
hold and Ratio value with the handles of this control, and 
the corresponding knobs reflect your changes. The input 
and output VU meters indicate the level before and after 
the expansion. The Gain Reduction meter indicates the 
current attenuation of the level.
Threshold
Use this to set the threshold in dB. Sounds that are softer 
than the threshold are reduced in gain. Sounds above the 
threshold stay untreated.
Ratio
This adjusts the amount of gain reduction for sounds that 
are softer than the threshold. The higher the ratio, the 
more the output is lowered. For example, if the ratio is set 
to 2:1 and the amplitude of the sound is 4
 dB below the 
threshold, the output is lowered by 2
 dB. If the amplitude 
is 8
 dB below the threshold, the output is lowered by 4 dB. 
Soft Knee
If this button is off, signals above the threshold are com-
pressed instantly according to the set ration (hard knee). 
When Soft Knee is activated, the onset of expansion is 
more gradual, producing a less drastic result. 
Attack
This determines how fast the Expander reduces the gain 
when the sound falls below the set threshold. The longer 
the Attack time, the longer the period for reducing the gain 
will be. 
						

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Effects Reference
Hold
This sets a time period during which the expansion is ap-
plied after the sound falls below the set threshold. 
Release
This determines how fast the Expander raises the gain af-
ter the sound exceeds the set threshold. The longer the 
Release time, the longer is the period for raising the gain 
again.
Auto Release
Activate this to set the Release time automatically. The Ex-
pander analyzes the input sound continuously to find the 
optimal Release time. The Release knob is disabled when 
Auto Release is active.
Peak – RMS
Determines whether the input signal is analyzed according 
to peak or RMS values or a mixture of both. At a setting of 
0
 % the Expander uses Peak sensing only and at 100 % 
RMS sensing only. Peak means that the Expander directly 
senses the peak level of the sound. RMS is an abbrevia
-
tion for root mean square, a statistical measure for the am-
plitude of sounds. RMS means that the Expander senses 
the average power of the sound. Peak sensing responds 
faster than RMS sensing. Typically, Peak sensing is used 
for transient and RMS sensing for sustained sounds.
Gate
The Gate effect passes sound only to its output if the in-
put sound exceeds the set threshold level. Sounds below 
the threshold are silenced. An internal side-chain filter al
-
lows you to analyze a filtered version of the input sound in-
stead. This way, the Gate detects only certain frequencies 
of the input sound.
Threshold
This setting determines the level where the gate is acti-
vated. Signal levels above the set threshold trigger the 
gate to open, and signal levels below the set threshold 
close the gate.
Filter
This activates the internal side-chain filter. When acti-
vated, the input sound is filtered before it is analyzed. The 
Gate opens only if the filtered sound exceeds the set 
threshold. When the Filter button is off, the filter controls 
are disabled.
Filter Type
Here you select the filter type for the side-chain filter. Se-
lect high-pass (HP) to detect high, band-pass (BP) to de-
tect mid, and low-pass (LP) to detect low frequencies only.
Monitor
Activate this to listen to the sound of the side-chain filter. 
The Gate is inactive when the Monitor button is activated.
Center
This sets the center frequency of the side-chain filter.
Q-Factor
Activate this to adjust the bandwidth of the band-pass fil-
ter from wide to narrow.
Attack
This determines how fast the Gate opens when the sound 
exceeds the set threshold. The longer the Attack time, the 
longer is the period for the sound to fade in.
Hold
This sets a time period during which the Gate is applied 
after the sound falls below the set threshold.
Release
This determines how fast the Gate closes after the sound 
falls below the set threshold. The longer the Release time, 
the longer is the period for the sound to fade out. 
						

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Effects Reference
Auto 
Activate this to set the Release time automatically. The 
Gate analyzes the input sound continuously to find the op
-
timal Release time. The Release knob is disabled when 
Auto Release is active.
Peak – RMS
Determines whether the input signal is analyzed according 
to peak or RMS values (or a mixture of both). At a setting 
of 0
 % the Gate uses Peak sensing only and at 100 % 
RMS sensing only. Peak means that the Gate directly 
senses the peak level of the sound. RMS is an abbrevia
-
tion for root mean square, a statistical measure for the am-
plitude of sounds. RMS means that the Gate senses the 
average power of the sound. Peak sensing responds 
faster than RMS sensing. Typically, Peak sensing is used 
for transient and RMS sensing for sustained sounds.
Panner and Routing Effects
Stereo Pan
This effect allows you to set the stereo position and width 
of the signal.
Input Swap
Activate the Input Swap option if you want to swap the 
stereo channels.
Pan
Here you can set the pan position of the signal. The pan-
ning is available for mono and stereo input signals.
Width
This parameter allows you to adjust the stereo width of the 
signal from stereo to mono.
Surround Panner
The Surround Panner allows you to position a signal in a 
two-dimensional surround field. You can either pan the 
left/right and the front/rear position independently using 
the corresponding knobs or use the positioning handle to 
control both positions at the same time.
Restricting Movement
By default, you can click anywhere in the pan area and 
drag the mouse to move the sound source. If you want the 
positioning handle to jump to a specific position, you can 
click once at that position.
However, you can also limit movement to a specific direc-
tion, using the corresponding modifier keys. That way you 
can scale down your movements, or have the surround 
source move along a certain axis.
The following modes are available:
Left / Right
Adjusts the horizontal (X) position of the audio signal.
Front / Rear
Adjusts the depth (Y) position of the audio signal.
Modifier key(s)Description
-Standard mode, no restrictions apply.
[Shift]Mouse movements are scaled to allow very 
fine movements. This is useful when panning 
in the miniature display in the mixer channel, 
for example.
[Ctrl]/[Command]Horizontal movements only.
[Ctrl]/[Command]-[Shift]Vertical movements only.
[Alt]/[Option]Diagonal movement only (bottom left to top 
right).
[Alt]/[Option]-[Shift]Diagonal movement only (bottom right to top 
left).
[Shift]-[Ctrl]/[Command]-
[Alt]/[Option]In this mode the mouse pointer immediately 
jumps to the positioning handle even if it‘s lo-cated outside the pan area. 
						

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Effects Reference
Width
Controls the width of the stereo input signal from 0% 
(mono) over 100
 % (Stereo) to 141.4 % (Expanded Stereo).
LFE
This parameter controls the level of the Low Frequency Ef-
fects channel.
Rotate
Rotates the source channels around the positioning han-
dle. All input channels circle around the handle (without 
moving beyond the borders of the surround field). 
Orbit Center
Use this parameter if you want to rotate the complete sig-
nal around the center of the surround field.
Radius
Changes the distance of the signal from the orbit center. 
By default, the radius is set to 100%, but you can lower it 
to get closer to the center or increase it to orbit on a larger 
circle.
Center Distribution
The Center Distribution control is used to distribute part 
or all of the signal to the left and right front speakers. This 
can be used to widen the center signal. At 100
 % the cen-
ter source is provided entirely by the phantom image cre-
ated by the left and right speakers. This can be useful if 
you want to rotate the surround signal without using the 
center speaker at all, for example.
A blue line at the top of the surround field indicates the 
distance up to which a phantom signal is added. If you po
-
sition the source signal inside this range, the signal is sent 
to all three channels.
Channel Router
This effect allows you to change the channel routing of the 
bus to adapt the channel format to different multi-channel 
samples. Each of the six input channels can be routed to a 
specific output channel.
Downmix
This effect allows you to downmix a surround signal to a 
stereo signal.
ÖThere are no controls on the editor of this effect, be-
cause the downmix is done automatically.
HALion 3 Legacy Effects
In addition to the standard HALion effects, a number of ef-
fects from HALion 3 is also provided. These effects can be 
selected from the Legacy submenu of the Effects menu. 
Hall Reverb
A simple reverb with adjustable pre-delay and damping.
ParameterDescription
PredelayThe Predelay time delays the wet signal to simulate 
larger acoustic spaces or as a slap-back effect.
TimeLength of reverb tail.
HF DampProgressive damping of high frequencies.
Lo EQLow-cut EQ.
Hi EQHigh-cut EQ.
MixWet/dry mix. 
						

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Effects Reference
Non-Linear Reverb
A “gated” reverb with a sharp cutoff.
Early Reflections
A short, dense reverb for simulating small acoustic spaces 
and to thicken or blur sounds.
Delay
A simple mono-in/stereo out delay.
Stereo Delay
A stereo-in/stereo out delay.
Long Delay
The Long Delay provides the same parameters set as the 
Delay, except delays up to four seconds can be set.
Tape Delay
Simulation of a vintage 4-head analog tape delay.
Chorus
A straightforward chorus effect that can be used to 
“widen” sounds.
ParameterDescription
TimeLength of reverb tail. It also allows you to change the 
sound from dense early reflections to a trashy, grainy 
80’s-type reverb.
HF DampProgressive damping of high frequencies.
Lo EQLow-cut EQ.
Hi EQHigh-cut EQ.
MixWet/dry mix.
ParameterDescription
TimeLength of reverb tail. It also allows you to change the 
sound from dense early reflections to a trashy, grainy 
80’s-type reverb.
Low EQLow-cut EQ.
High EQHigh-cut EQ.
MixWet/dry mix.
ParameterDescription
DelayDelay time. If the Sync parameter is set to On, the 
delay time is set using various note values.
Sync On/OffBy activating Sync, delays are synced to the tempo 
set in your host application.
FeedbackFeedback controls the number of delay repeats.
BalanceRatio of left delay time to right delay time.
HF DampHigh-cut filter to soften delay repeats.
ParameterDescription
DelayDelay time. If the Sync parameter is set to On, the 
delay time is set using various note values.
FeedbackFeedback controls the number of delay repeats. For 
minimum feedback set the slider to the mid position. 
By moving the slider to the left or right “cross delay” 
is applied, where left output feeds back into right in
-put or vice versa.
Sync On/OffBy activating Sync, delay repeats are synced to the 
tempo set in your host application.
BalanceRatio of left delay time to right delay time.
HF DampHigh-cut filter to soften delay repeats.
ParameterDescription
DelayDelay time. If the Sync parameter is set to On, the 
delay time is set using various note values.
Sync On/OffBy activating Sync, the delay repeats are synced to 
the tempo set in your host application.
FeedbackFeedback controls the number of delay repeats.
VintageAmount of vintage “color” and tape flutter.
Head 1Delay level 1 (output is panned left).
Head 2Delay level 2 (output is panned right).
Head 3Delay level 3.
Head 4Delay level 4.
Pan 3+4Varies the panning of delays 3 & 4 from center to 
hard left/right.
Vol 3+4Varies the volume of delay outputs 3 & 4.
ParameterDescription
RateModulation rate.
DepthAmount of pitch modulation.
PredelayInitial delay, to vary the “tightness” of the chorused 
voices to the dry signal.
MixWet/dry mix.
Parameter Description 
						

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Effects Reference
Ensemble
Chorus with a more complex modulation waveform for a 
lively thickening effect.
Flanger
A classic flanger effect.
Phaser
A four pole phaser for subtle phasing effects.
Pan / Tremolo
Autopan and Tremolo effect as used in vintage electric 
pianos.
Stereo Width
A stereo width enhancer with 4 modes.
Rotary Speaker
Simulation of a rotary speaker cabinet with high and low 
rotors.
ParameterDescription
RateModulation rate.
DepthAmount of pitch modulation.
ShimmerCreates a more complex modulation effect.
WidthStereo width adjustment.
MixWet/dry mix.
ParameterDescription
RateSweep rate.
DepthSweep depth.
FeedbackFeedback amount. Increase for a more intense flang-ing effect.
PredelayInitial delay. Adjusts the minimum delay time/maxi-mum flange frequency.
MixWet/dry mix.
ParameterDescription
RateSweep rate.
DepthSweep depth.
FeedbackFeedback amount. Increase for a more pronounced 
effect.
StereoOffset between left and right modulation.
CenterSets the center frequency around which the modula-tion occurs.
MixWet/dry mix.
ParameterDescription
RateSweep rate.
PhaseRelative phase of left and right channel amplitude 
modulation, to vary from tremolo to autopan.
ShapeShape of modulation waveform from thin pulse, 
through sine, to fat pulse.
MixWet/dry mix.
ParameterDescription
ModeSelects between four modes of stereo width en-hancement:- Adjust: Adjust existing width of stereo signal.- Swap: As Adjust but swaps left and right channels.- Comb: A stereo comb filter effect.- Haas: Synthesizes stereo width by delaying one 
channel.
DelayDelay time (not used in Adjust and Swap modes).
WidthOverall width adjustment.
Low/Mid/HighWidth adjustment for low/mid/high frequencies.
OutputOutput level trim.
ParameterDescription
RateMaster speed control: Stop, Slow, Fast.
DirtAmount of overdrive.
Lo/HiCrossover frequency between low and high rotors.
WidthStereo width.
ToneAdjust the tone of the overdriven signal.
Hi/Lo SpeedSpeed of high and low rotor.
Hi/Lo AccAcceleration of high and low rotor.
MixWet/dry mix. 
						

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Effects Reference
Wah Pedal
An auto-wah effect.
TalkBox
Modulated vowel formant filter.
Shelf EQ
Simple tone control.
Parametric EQ
Two-band parametric equalizer.
Enhancer
Psycho acoustic spectrum shaping.
Limiter
Hard level limiting.
Compressor
A simple compressor effect.
Multiband
Three-band compressor.
ParameterDescription
RateModulation rate (optional tempo sync).
DepthModulation depth.
PedalAdjusts filter frequency.
Mode- Auto: Envelope controlled wah effect.- Pedal: No modulation, Pedal parameter sets the 
frequency.
- Mod: LFO modulation. Rate parameter controls the 
modulation rate.
ResonanceSets the amount of filter resonance.
TrackingAdjusts envelope tracking speed in Auto mode, and 
envelope rate modulation in Mod mode.
ParameterDescription
RateLFO Modulation rate (optional tempo sync).
DepthLFO modulation depth.
VowelCenter setting: Vowel produced when there is no 
modulation.
Env ModAmount of vowel modulation by input signal level.
Env AttRate of response to a rising input signal level.
Env RelRate of response to a falling input signal level.
MixWet/dry mix.
ParameterDescription
OutputOutput level trim.
BassLow frequency cut/boost.
TrebleHigh frequency cut/boost.
ParameterDescription
Gain 1/2Cut/boost amount for the two bands.
Freq 1/2Sets the center frequency for the two bands.
Width 1/2Sets the band width for the two bands (“Q”).
OutputOutput level trim.
ParameterDescription
High DepthHigh frequency boost, combined with mid cut.
High TuneHigh/mid tune.
Low DepthLow frequency boost.
Low TuneLow frequency tune.
ParameterDescription
OutputOutput level trim.
DriveInput signal drive.
AttackAttack time.
ReleaseRelease time.
ParameterDescription
OutputOutput level trim.
ThresholdCompression threshold.
RatioCompression amount.
AttackAttack time.
ReleaseRelease time.
ParameterDescription
DriveInput signal drive (increase for more density).
Lo/HiBalance of low and high frequency bands.
MidLevel of mid frequency band.
AttackAttack time.
ReleaseRelease time.
OutputOutput level trim. 
						

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Effects Reference
Gate
Simple gate effect.
Distortion
Hard clipping distortion.
Overdrive
Softer distortion with a gradual onset.
Bit Reduction
Digital “Lo Fi” quality degradation.
Amp Simulator
Amplifier modelling effect.
Modulate L/R
This effect features three modes of signal distortion, 
where one side of a stereo signal is used to modulate the 
other.
ParameterDescription
ThresholdGate threshold.
RangeLevel reduction when gate closed.
AttackAttack time.
ReleaseRelease time.
OutputOutput level trim.
ParameterDescription
DriveDistortion amount.
BiasAdjusts the balance between even and odd harmon-ics, i.e., the character of the distortion.
ToneDistortion tone.
OutputOutput level trim.
MixWet/dry mix.
ParameterDescription
DriveOverdrive amount.
BiasOverdrive character. Adjusts the balance between 
even and odd harmonics.
OutputOutput level trim.
MixWet/dry mix.
ParameterDescription
ModeSets whether the bit depth is fixed or depends on the 
signal level (Linear or Companding).
RateSimulated sample rate.
DepthSample bit depth.
Slew RateMaximum rate of change of output waveform, for a 
soft, wooly distortion.
MixWet/dry mix.
ParameterDescription
ModelType of amplifier model. Changes the tone character.
ModeMono/Stereo operation. Mono saves CPU, and in 
some cases sounds more solid.
DriveOverdrive amount.
FeedbackFeedback amount (result depends on input signal).
TrebleTreble boost - optionally in or out of phase for differ-ent tones.
MixWet/dry mix.
ParameterDescription
Mode- Ring Mod: Ring modulation.- Env Mod: Signal level of right channel is modulated 
by level of left channel.
- Duck: Signal level of right channel is reduced when 
level of left channel increases.
ThruDefines which input signals are used as the dry sig-nal for the Mix.
SmoothSmoothing of modulation.
DriveLevel trim.
MixWet/dry mix. 
						

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MIDI Modules Reference