Steinberg VST Sampler HALION 4 Operation Manual

							61
Importing and Exporting Samples
Files that are in use by HALion or another application can-
not be overwritten. In this case, choose a different location 
for the samples.
ÖSome systems have problems with file names longer 
than 32 characters. Therefore, it is best to use file names 
that do not exceed this number.
Setting the File Format
You can export the samples as Wave or AIFF files and 
specify a sample rate and bit depth for them, if needed.
Including Zone Settings
You can include zone settings when saving the samples. 
When you import these samples back into HALion, they 
automatically get these settings.
The following settings can be written into the sample file:
Setting Up General Export Options
In the Export Options section, you can make general set-
tings for the export. The following settings are available:
ÖIf a sample has several zones and these zones have dif-
ferent loop settings, HALion creates duplicates of the file.
Replacing Samples
The Replace Samples function allows you to exchange the 
sample that is used to play back one or multiple zones. 
The zone-specific settings like Pitch, Filter, or Amplifier 
are not modified by this.
Replacing a Single Sample
1.In the Program Tree or Mapping editor, select the zone 
for which you want to replace the sample.
2.On the context menu for the zone, open the submenu 
“Import/Export”, and select “Replace Sample”.
A file dialog opens.
3.Locate and select the new sample and click OK.
Replacing Multiple Samples
1.In the Program Tree or Mapping editor, select the 
zones for which you want to replace the samples.
2.On the context menu for one of the zones, open the 
Import/Export submenu, and select “Replace Samples”. 
3.At the bottom of the file dialog, select the method for 
replacing samples that you want to use.
The following methods are available:
!Do not change the sample rate of looped samples, 
because this can cause audible artifacts.
OptionDescription
Key RangeSaves the Key Low and Key High settings of each 
zone with the samples.
Velocity RangeSaves the Velocity Low and Velocity High settings of 
each zone with the samples.
Root KeySaves the Root Key setting of each zone with the 
samples.
Loop SettingSaves the loop settings of each zone with the 
samples.
Sample TuneSaves the Tune setting of each zone with the samples.
Sample GainSaves the Gain setting of each zone with the samples.
OptionDescription
Trim SamplesTrims the samples to their actual length, specified with 
the Sample Start and Sample End parameters of the 
zone.
Use Exported 
SamplesUpdates the sample references of the zones to use the 
exported samples.
Avoid Duplicate 
Audio FilesPrevents samples that are used by several zones from 
being exported as duplicate audio files.
OptionDescription
Replace Identical 
NamesThe samples are only replaced by new samples if 
their names are identical. 
Typically, this is the case if you processed the 
samples and saved them under the same name in 
a different location on your hard disk.
Replace by Root KeyThe samples are replaced by new samples that 
have a matching root key, regardless of the file 
name. 
						

							62
Importing and Exporting Samples
4.Locate the new samples. 
The info text in the lower right section shows you how many samples are 
replaced in how many zones. If no samples are found, you have to select 
another method for finding matching samples.
5.Click OK.
Auditioning Samples before Replacing Them
To listen to the samples before replacing the old ones, ac-
tivate the Prelisten Sample option and use your MIDI key-
board.
Detecting the Root Key
To listen to the samples with the correct pitch, you have to 
select how to detect the root key of the new sample. The 
following options are available:
The “Change Sample Folder” Option
The “Change Sample Folder” option on the Import/Export 
submenu of the Program Tree context menu allows you to 
relocate samples. This is useful if you processed the sam
-
ples and saved them in a new location without changing 
their names.
Importing Third-Party Sampler 
Programs
HALion allows you to import a wide range of sampler for-
mats from third-party manufacturers. When importing 
those formats, HALion translates as many parameters as 
possible.
ÖHALion only reads files from standard file systems and 
not from proprietary formats like Akai CDs.
ÖPrograms that are saved in a protected format cannot 
be imported.
Using the Import Editor
The Import editor is divided into the Import Tree on the left 
and the results list on the right. The Import Tree shows 
one or multiple folder locations and allows you to select 
one or more folders. Folders that contain importable pro
-
grams have a green folder icon, other folders have a yel-
low folder icon. The result list shows all importable layers 
that are located in the selected folders and allows you to 
import them via drag and drop.
To import a program, proceed as follows:
1.On the Import editor toolbar, click the “Select Folder” 
button.
2.Navigate to the folder that you want to import and click 
OK.
The selected folder structure is scanned and the Import Tree shows the 
content of this folder and its subfolders.
3.In the Import Tree, select the subfolder that contains 
the layers that you want to import.
4.Drag the subfolder or selected layers to the Program 
Tree, the Program Table, or the Slot Rack.
You can import folders from the Import Tree that are marked green with 
three lines, or drag selected layers from the results list.
5.If the program does not contain the samples, you are 
asked to specify the folder in which the samples can be 
found.
6.Specify the folder in which you want to save the im-
ported samples.
The HALion program is created.
Replace by Search 
PatternThis method can be used if only parts of the sam-ple name have changed, for example, due to pro-cessing or saving. Enter the part of the name that has changed in the 
text field. Samples are replaced if the remaining 
parts of the sample name are identical. 
For example, if the name “Sample_Mix_1_C3.wav” 
has changed to “Sample_Mix_2_C3.aiff”, enter 
“*Mix_2*.aiff” in the text field. 
OptionDescription
Root Key from 
Sample FileThe root key is read from the file header of the sam-ple file.
Root Key Text from 
Sample NameThe root key is extracted from the sample file name. 
This function searches for the root key in text form, 
for example “Sample_Name_C#3”.
Root Key Number 
from Sample NameThe root key is extracted from the sample file name. 
This function searches for the root key as a MIDI 
note number, for example “Sample_Name_61”.
Keep Zone  Root Key Instead of using the root key of the new sample, the 
root key of the zone is used.
This option is only available when replacing a single 
sample.
Option Description 
						

							63
Importing and Exporting Samples
Adding a Folder
You can add additional folders to the Import Tree using 
the Add Folder button.
Specifying a Destination Folder
The folder specified in the “Destination Folder” field is 
used to save samples from bank or container files, such as 
GigaSampler files (“.gig”). You can type in the path manu
-
ally or click the button to the right to navigate to a specific 
directory.
ÖIf you do not specify a destination folder for sampler 
formats that use container files, you are asked to do so on 
the first import operation. This folder is then used for all 
following operations.
When programs are imported, HALion creates a folder for 
each program. The name of the folder corresponds to the 
name of the imported program. Inside this folder, HALion 
creates a subfolder in which the corresponding samples 
are saved, if necessary.
Hide Empty Folders
This option allows you to hide all folders that do not con-
tain any importable programs.
Add to MediaBay
This option allows you to automatically create VST presets 
for each imported program in the user presets folder of 
HALion, thereby making them available in the MediaBay. 
When this option is deactivated, no preset is saved and 
the program is only available in the current HALion in
-
stance. If you want to use the program in other projects, 
you have to save it first.
Importing Sliced Loops
HALion features a Slice Player that can play back sliced 
audio loops. You can import sliced loops in the common 
REX1 and 2 formats or drag and drop sliced events di
-
rectly from Cubase.
Importing REX Loops
The import process for REX files includes several steps. 
First, the slice information is used to create a sample zone 
per slice. These sample zones are then mapped to the 
keyboard. The range starts with C3 and uses as many 
zones as slices are defined in the loop. The slice informa
-
tion is also used to create a MIDI phrase that is loaded 
into a Slice Player module.
To import REX files, you have the following options:
•Drag a REX file from the Windows Explorer or Mac OS 
Finder to the Program Tree and drop it on a program or 
layer.
•Open the context menu for a program or layer, open the 
Import/Export submenu, select “Import Samples…”, and 
select the file via a file dialog.
ÖWhen working with REX1 files, HALion can directly 
play audio from these files. For REX2 files HALion first ex
-
tracts a WAV file and saves it in the same folder as the 
REX file.
Importing Sliced Audio Events from Cubase
You can directly import sliced audio events from Cubase 
by drag and drop. When dropping a sliced audio event in 
the Program Tree, HALion recognizes that the event con
-
tains positional information for the different slices. In the 
Import Samples dialog, the button “Create Sliced Loop” 
becomes available. If you click this button, HALion creates 
a sample zone for each slice and adds a Slice Player con
-
taining the required MIDI information. Any further mapping 
options are ignored.
ÖYou can also drag selected audio events (from multi-
ple tracks) from a Cubase project into the Program Tree to 
create a sliced loop. 
						

							64
Importing and Exporting Samples
Playing back Sliced Loops
After the import, you can play back the loop in its original 
form or in a transposed version. By default, the original 
loop is played using C2 (#48), but you can specify an
-
other key using the Key Follow and Center Key parame-
ters. Pressing a key below C3 plays transposed versions 
of the original loop. The keyboard range above C3 pro
-
vides the slice sample zones, which are triggered by the 
slice player, but can also be triggered manually while the 
loop is playing.
Make sure that the very last event ends with the loop end 
and not before. Otherwise the generated loop will be too 
short and will not run in a perfect cycle.
If the REX file or Cubase audio event contains more than 
128 slices, HALion automatically creates additional layers 
including MegaTrig modules preconfigured to use key 
switches. That way, you can create up to 1024 zones dis
-
tributed over up to 32 layers.
The Slice Player Controls
Most of the Slice Player controls are the same as for the 
FlexPhraser MIDI module. These are described in detail in 
the section 
“The FlexPhraser” on page 141. The controls 
that differ for the Slice Player are described in the follow-
ing sections.
Slice Player Presets
At the top right of the Program Tree, you can load and 
save presets for the Slice Player. These presets are saved 
in a global folder and can be accessed from any project 
you are working in.
Restart Mode
Depending on the selected Restart mode and your play-
ing, you can restart playback from the beginning of the 
loop.
You can select one of the following options:
Start
This parameter allows you to shift the start of the loop in 
steps of 1/4 notes. The length of the loop is shortened 
accordingly.
Length
This parameter allows you to shorten the length of the 
loop in steps of 1/4 notes.
ÖThe control range of the parameters Start and Length 
varies with the original length of the loop.
Quantize
This parameter allows you to set up a quantization grid, in 
fractions of beats. You can also specify dotted and triplet 
values. This way, you can force the timing of the slices to 
play back only at the selected note value.
Amount
This parameter defines how much of the quantization grid 
is applied. A value of 100
 % means the slices play back 
only at the Quantize note value you specified. Smaller val
-
ues move the notes only partially towards the next Quan-
tize note value. With a value of 0 % no quantization is 
applied at all.
Key Follow
Here you can adjust the pitch modulation by note number. 
Set this parameter to positive values to raise the pitch with 
notes above the center key. Use negative values to lower 
the pitch with notes above the center key. At +100
 %, the 
pitch follows the played note exactly.
ÖThe Key Follow parameter is limited to the keys that 
trigger the entire loop. It does not affect the keys that play 
the single slices.
Center Key
This parameter determines the MIDI note that is used as 
the central position for the Key Follow function.
OptionDescription
OffThe loop runs continuously and does not restart upon 
note changes.
First NoteThe loop restarts when a note is triggered and no other 
notes are already held.
Each NoteThe loop restarts each time a note is triggered.
Sync to HostSelect this to align the loop with the beats and mea-sures of your host application. The loop aligns to the 
beats and measures each time you start the transport.
Option Description 
						

							65
Importing and Exporting Samples
Random
You can shuffle the playing order of the slices randomly, 
by activating the Random button. To play the slices with 
their original order, deactivate the Random button.
The overall timing does not vary through this. Only the 
playing order of the slices is affected.
•Use the Depth parameter to adjust how much the play-
ing order of the slices is shuffled. Lower this value to keep 
the playing order of slices on the main beats. Raise this 
value to vary the playing order of slices on the offbeats as 
well. 
•Click the Trigger button to trigger a new shuffle. Note 
that this changes the pattern number. 
•Use the Pattern option to recall a certain random pat-
tern, by entering its pattern number in the value field.
Exporting the Loop Sequence
You can export the loop sequence as a MIDI part for your 
host sequencer.
Proceed as follows:
1.Click the MIDI connector icon (to the right of the Ran-
dom options) and drag it into the Project window of your 
host sequencer application.
This creates a MIDI part at the drop position, on an existing or a new MIDI 
track.
2.Assign the MIDI track to the corresponding slot in 
HALion.
Using Variations
By activating Random and by adjusting the Tempo, 
Tempo Scale, Swing, Gate Scale, Quantize, Amount, 
Start, and Length parameters, you can save your settings 
as up to eight variations. For further information, see 
“Working with FlexPhraser Variations” on page 143.
The Loop, Sync, Hold, Trigger Mode, Restart Mode, Key 
Follow, and Center Key parameters are not part of the 
variations. 
						

							9
Editing Programs and Layers in the 
Sound
 Editor 
						

							67
Editing Programs and Layers in the Sound Editor
Introduction
The Sound editor for programs and layers lets you access 
parameters that are set globally for the whole program or 
individual layers. For example, you can transpose the pitch, 
adjust level and pan, and limit the playback to a certain 
area on the keyboard. 
Programs and layers share the same set of parameters 
because they are nearly identical.
The Main Section
The main section contains basic settings for programs 
and layers.
Octave
Transposes the pitch in octave steps.
Coarse
Transposes the pitch in semitone steps.
Fine
Detunes the pitch in cents (1/100 of a semitone).
Level Velocity Curve
Defines how incoming MIDI velocity values are re-mapped 
before they are sent to the program or layer. By default, 
the curve is set to linear, meaning that incoming and out
-
going values are identical. The characteristic of each 
curve is displayed by a small icon.
Low Key
Defines the lowest key on which the program or layer is 
triggered.
High Key
Defines the highest key on which the program or layer is 
triggered.
Low Vel
Defines the lowest velocity on which the program or layer 
is triggered.
High Vel
Defines the highest velocity on which the program or layer 
is triggered.
Sus, FCtrl, FSw, PB, MW, and AT
The Filter options allow you to filter incoming MIDI control-
lers.
Level
Adjusts the level of the layer. This parameter works as an 
offset to the zone settings.
Pan
Defines the position of the layer in the stereo panorama. 
This parameter works as an offset to the zone settings.
The Trigger Section
The Trigger section allows you to control the triggering 
and releasing behavior.
Ind MegaTrig
If you want the key switch assignments across different 
layers to work individually, activate the individual MegaTrig 
management of these layers. This can be necessary when 
two layers with different key switches are used together in 
one program. For more information about the MegaTrig 
module, see 
“MegaTrig” on page 148.
Transpose
Transposes the key switches that you set up for the 
MegaTrig module.
Start Key
Defines the key that is used as the lowest key switch. 
						

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Editing Programs and Layers in the Sound Editor
Key Switch Mode
Defines how long a key switch is active: 
•If set to Permanent, the key switch stays active until an-
other key switch is used.
•If set to Temporary, the key switch is only active for as 
long as the corresponding key is pressed.
Default Switch
Specifies the default key switch that is active when you 
load a program, i.
 e. before you used the first key switch. 
The default key switch is also used in Temporary mode 
when no key switch is pressed.
ÖIf you set Default Switch to a note value that is not as-
signed as a key switch, the lowest key switch is automati-
cally used as the default key switch.
Filter Ctrls in Release
Filters out MIDI controllers in the release phase. Modula-
tion destinations that are using controllers keep their value 
after the note-off message. The following settings are 
available:
Repedaling
On an acoustic piano, you can repedal the sustain after 
releasing the sustain pedal for as long as the strings vi
-
brate. The effect is that the strings play on. You can 
achieve a similar effect with the Repedaling option. If you 
release and press the pedal within the release of the am
-
plitude envelope, the envelope jumps to the decay seg-
ment, resuming at the current level of the release.
Sustain
Enables sustain for the program or layer. When you use 
the sustain pedal, notes keep playing until you release the 
pedal.
Sostenuto
Enables sostenuto for the program or layer. Notes that are 
held while pressing the sostenuto pedal sustain. Succes
-
sive notes do not sustain.
Ind Velocity Mode
Sample-based instruments often use crossfade tech-
niques to optimize the switching between samples with 
different velocities. Crossfades are set up in the Mapping 
editor, see 
“Fading and Crossfading Zones” on page 100.
Activate this option to apply the Velocity Mode settings to 
the selected layer and its children.
Velocity Mode
The switching or crossfading between zones can be con-
trolled via velocity or MIDI controller. The following modes 
are available:
Controller
Here, you select the controller that is used when the ve-
locity Mode option is set to Controller or Continuous.
•For the most realistic playback of instruments that use 
crossfade techniques, activate “Velocity Fade” and set 
“Velocity Mode” to Continuous.
•To save voices during playback of instruments that use 
crossfade techniques, deactivate “Velocity Fade” and set 
“Velocity Mode” to Note-on.
•Generally, setting “Velocity Mode” to Controller and ac-
tivating “Velocity Fade” is a good compromise between 
performance optimization and realistic playback.
OptionDescription
OffMIDI controllers are processed in the release phase.
OnMIDI controllers are filtered out.
InheritThe zones of this layer follow the behavior that was speci-fied for the parent layer.
OptionDescription
Note-onThe velocity is used to trigger the zones.
ControllerA MIDI controller is used to replace the velocity, i. e. 
the controller value is used to select the zones. The 
note-on message triggers the zones selected by the 
controller. Only the zones that belong to the corre
-sponding velocity are played back.
ContinuousA MIDI controller is used to replace the velocity. De-pending on the “Velocity Fade” setting, the controller 
continuously fades between the zones or switches 
zones directly. Therefore, all zones belonging to a key 
are played back.  
						

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Editing Programs and Layers in the Sound Editor
Velocity Fade
Activate this option to use the velocity crossfades that are 
specified in the Mapping editor. When this option is deac
-
tivated or if no crossfades have been set up, zones switch 
directly between the different velocities.
The Voice Management Section
The Voice Management section allows you to control the 
maximum number of notes that you can play and to set 
conditions for note stealing and triggering.
Voice Manager
The Voice Manager option controls which Voice Manage-
ment settings are applied to the selected layer. The fol-
lowing settings are available:
Voice Mode
The Voice Mode parameter determines which notes are 
stolen during playback and whether new notes are trig
-
gered when the Polyphony setting is exceeded. The fol-
lowing settings are available:
OptionDescription
OffThe layer automatically uses the Voice Management set-tings of the layer that is one step up in the hierarchy. If 
there is no layer with active Voice Management settings, 
the settings of the program are used.
OnYou can make separate Voice Management settings for 
the selected layer.
ProgramThe settings of the program are used, regardless of any 
Voice Management settings made for layers higher up in 
the hierarchy. 
OptionDescription
Low Note PriorityLow notes have playback priority over higher 
notes.
- If you exceed the maximum number of notes by 
playing a lower note than the ones that are held, 
the highest note is stolen and the new note is 
triggered.
- If you exceed the maximum number of notes by 
playing a higher note than the ones that are held, 
no note is stolen and no new note is triggered. 
High Note PriorityHigh notes have playback priority over lower 
notes.
- If you exceed the maximum number of notes by 
playing a higher note than the ones that are held, 
the lowest note is stolen and the new note is 
triggered.
- If you exceed the maximum number of notes by 
playing a lower note than the ones that are held, no 
note is stolen and no new note is triggered. 
First Note PriorityOlder notes have playback priority over newer 
notes.
- If you exceed the maximum number of notes 
while older notes are still being held, no notes are 
stolen. New notes are only triggered if a free voice 
is available.
Last Note PriorityNew notes have playback priority over the first 
played notes.
- If you exceed the maximum number of notes, the 
first played notes are stolen in chronological order 
(First in/First Out) and the new notes are triggered.
Steal Lowest 
AmplitudeNew notes have playback priority over notes with a 
low amplitude.
- If you exceed the maximum number of notes, the 
note with the lowest amplitude is stolen and the 
newest note is triggered.
Steal Released NotesNew notes have priority over notes that enter the 
release phase.
- If you exceed the maximum number of notes, the 
oldest note that is in its release phase is stolen and 
the new note is triggered.
- If no note is playing in release and you exceed the 
maximum number of notes, the first played notes 
are stolen in chronological order and the new 
notes are triggered. 
						

							70
Editing Programs and Layers in the Sound Editor
Trigger Mode
The Trigger Mode parameter defines the trigger behavior 
for new notes.
The following settings are available:
ÖWhen Resume or Legato is selected, you might hear 
an unnatural attack, depending on the sample. To avoid 
this, activate the “Use Start Range” option for the sample 
zone (see 
“Use Start Range” on page 77).
Voice Groups
By assigning zones to a voice group, you can set their po-
lyphony individually. In addition, you can manage the po-
lyphony across zones that are not part of the same layer. 
Furthermore, zones can steal notes from each other, re
-
gardless of whether they are in the same layer.
The voice group parameters are shown below the Voice 
Management settings.
The maximum number of notes that you can play in a voice 
group is limited by the Polyphony setting of the corre
-
sponding program or layer.
Assigning Zones to Voice Groups
Proceed as follows:
1.In the Program Tree, select the zones that you want to 
add to a voice group.
2.Open the Sound editor for the zones.
3.In the Voice Control section, select the Trigger tab.
4.On the Voice Group pop-up menu, select a voice 
group.
ÖUsually, the voice group numbers relate to the voice 
groups of the program. If the zone is part of a layer with 
active voice groups, the numbers relate to the voice 
groups of the layer instead.
Editing Voice Groups
The Voice Management parameters of voice groups are 
edited using the columns in the table below the Voice 
Management section.
Exclusive Groups
When voice groups belong to the same exclusive group, 
they cannot be played back simultaneously. The last trig
-
gered voice group has priority over the previously playing 
voice groups. Any previously playing voice groups of the 
same exclusive group are cut off.
A typical example for assigning voice groups to an exclu-
sive group is a drum set where the closed hi-hat cuts off 
the open hi-hat.
•To assign a voice group to an exclusive group, click the 
“Excl” field of the voice group, and select a number from 
the pop-up menu.
The Poly Tab
The Poly tab contains the polyphony settings for programs 
and layers.
Mono
The Mono parameter activates monophonic playback. For 
solo instruments, this usually results in a more naturally 
sounding performance.
ÖMono can also be used for programs that use dedi-
cated note-off layers. When the played note is released, 
the note-off layer is triggered.
Retrigger
The Retrigger option is only available in Mono mode. 
When Retrigger is activated, a note that was stolen by an
-
other note is retriggered if you still hold the stolen note 
when releasing the new one. This way, you can play trills 
by holding one note and quickly and repeatedly pressing 
and releasing another note, for example.
OptionDescription
NormalTriggers a new note when the previous note gets stolen. 
The sample and the envelope of the new note are trig-gered from the start.To minimize discontinuities, use the Fade Out parameter 
of the zone (see “Voice Fade Out” on page 43).
ResumeDoes not always trigger a completely new note:- If the new note stays within the same zone, the envelope 
is retriggered, but resumes at the level of the stolen note. 
The pitch of the zone is set to the new note.
- If the new note plays in a different zone, the sample and 
the envelope of the new note are triggered from the start.
LegatoDoes not always trigger a completely new note:- If the new note stays within the same zone, the enve-lopes keep running. The pitch of the zone is set to the 
new note.
- If the new note plays in a different zone, the sample and 
the envelope of the new note are triggered from the start.