Steinberg VST Workstation Halion Sonic Operation Manual

							21
HALion Sonic
Poly (phony)
This setting is used to specify how many notes can be 
played at the same time. Since programs can contain up 
to four layers, the resulting number of voices (stereo sam
-
ples, synth voices etc.) can be much higher than the value 
specified here.
Transpose
Here you can shift the incoming MIDI notes by +/- 64 
semitones before they are sent to the loaded program.
Key range (Low Key, High Key)
Each slot can be limited to a certain key range. You can 
set the range by using the text faders for Low and High 
Key or by dragging the keyboard range control at its ends. 
Dragging the keyboard in the middle moves both values at 
the same time. As an additional option, you can use the 
MIDI input to set the range. Simply click the desired text 
field and play the note.
Velocity range (Low Key, High Key)
Each slot can be limited to a velocity range. You can set 
the range by using the text faders for Low and High Vel, or 
by dragging the graphical velocity range control at its 
ends. Dragging the control in the middle moves both 
 values at the same time. To switch between velocity and 
key range use the Key/Vel switches above the range con
-
trols.
Editing programs
A program contains up to four layers which can all be 
mapped to different velocity and key ranges. Each of the 
layers can use a dedicated FlexPhraser and can freely be 
routed to one of the 16 plug-in outputs. The program also 
provides four insert effects per layer and allows you to use 
up to four sends to feed the four auxiliary busses.
To edit a program:
1.Select the program you want to edit in the Multi Pro-
gram Rack.
2.Click Edit to open the Edit page.
3.With the page buttons at the top of the Edit page, 
 select program, inserts or layer, depending on which parts 
of the program you want to edit.
Program page
The Program page is divided into two sections. The upper 
section can be used to load and save layers, and to set up 
the mix parameters such as level, pan and FX sends. The 
lower section can display the layer ranges, the program 
 FlexPhraser editor or the quick control assignments.
The upper section
On
The On switch can be used to turn on and off a layer. Lay-
ers that are set to off are still loaded but do not use any 
processing power.
Mute
Enable the Mute button to turn off a layer. The program 
 remains loaded and continues to be processed and can 
therefore be turned on again smoothly.
Solo
Enable the Solo button in order to hear only the respective 
layer. You can also enable multiple Solo buttons.
FlexPhraser
Here you can activate the FlexPhraser of a layer. The Flex-
Phraser editor itself can be found on the corresponding 
layer editor page. 
						

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HALion Sonic
Level
Here you can you can adjust the loudness of the layer. The 
control range is from –oo dB to +12 dB.
Pan
Here you can set the position of the layer in the stereo 
panorama. The control range is from hard left (-100%) to 
hard right (+100%).
FX1-4 send levels
These four sliders adjust the send levels for the global 
AUX FX busses for each layer separately. The control 
range is from –oo dB to 0 dB.
Output
Here you can select the output for each layer separately. If 
you do not want the signal to be sent to the output that is 
specified for the program, you can select the Main or one 
of the 15 individual plug-in outputs instead.
Loading layers
To load a layer:
1.Click the triangle button on the left side or right-click 
the layer name field, open the context menu and select 
“Load Layer” to open a MediaBay dialog.
2.Double-click the desired layer preset to load it.
3.Click OK to close the dialog and to confirm your 
 preset selection.
4.Click Cancel to abort the loading process and to 
 revert to the original layer.
ÖYou can use the MediaBay dialog in the same way as 
the MediaBay view on the Load page. For detailed infor
-
mation please refer to the section “MediaBay” on page 
87.
Aborting the loading of layers
Some layer presets use large sample data and therefore 
need a certain amount of time to load completely. In this 
case, a progress bar is shown directly in the layer slot. In 
addition, the Load buttons change to “Abort” buttons (x) 
that allow you to stop the loading process and to reset the 
slot to its previous state.
Saving layers
To save a layer:
1.Right-click the layer name field to open the context 
menu.
2.Select “Save Layer” to open the Save Preset dialog.
3.Name the preset and set tags.
4.Click OK to save the preset and close the dialog.
ÖFor more details on tagging please refer to the section 
“MediaBay” on page 87.
Renaming layers
To change the name of layer:
1.Double-click the layer name field.
2.Enter the desired name.
3.Press Enter or click somewhere outside the name 
field.
ÖUnless you save the layer as a layer preset, the layer 
name only remains an internal setting that helps you 
 organizing multiple layers. Executing a save operation 
suggests the name given in that field.
Clearing layers
To remove a layer:
1.Click the layer name field to open the context menu.
2.Select “Clear Layer”.
Copying and pasting layers
Complete layers can be copied from one layer slot to an-
other. This can be done inside a program, from one pro-
gram to another or even from one plug instance to 
another. 
						

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HALion Sonic
To copy a layer:
1.Right-click the layer name field to open the context 
menu.
2.Select “Copy Layer”.
3.Right-click the layer name field where you want to in-
sert the copy.
4.Select “Paste Layer” in the context menu.
Layer ranges subpage
Poly (phony)
This setting is used to specify how many notes can be 
played at the same time.
ÖUnlike all the rest of the parameters of the Program 
page, the Polyphony setting is part of the layer settings 
and therefore restored when you load a layer.
When a layer is defined as monophonic sound, the setting 
will not have any influence.
Octave
You can shift the octave of a layer by +/- 4octaves.
Coarse (Tune)
You can shift a layer by +/- 12 semitones.
Fine (Tune)
You can detune a layer by +/- 100 cents.
Key range (Low Key, High Key)
Each slot can be limited to a certain key range. You can 
set the range by using the text faders for Low and High 
Key or by dragging the keyboard range control at its ends. 
Dragging the keyboard in the middle moves both values at 
the same time. As an additional option you can use the 
MIDI input to set the range. Click the desired text field and 
play the note.
Velocity range (Low Key, High Key)
Each slot can be limited to a velocity range. You can set 
the range by using the text faders for Low and High Vel or 
by dragging the graphical velocity range control at its 
ends. Dragging the control in the middle moves both val
-
ues at the same time. To switch between velocity and key 
range use the Key/Vel switches above the range controls.
Editing layers
A program contains up to four layers. Each layer can be 
edited separately.
Layer editor
To edit a layer:
1.In the Multi Program Rack, select the program that 
contains the layer you want to edit.
2.Click Edit to open the Edit page.
3.With the page buttons at the top of the Edit page, se-
lect the layer you want to edit, i.e. Layer 1, Layer 2, Layer 3 
or Layer 4.
Depending on the layer type, the respective editor (synth, 
sample, instrument, drum or loop editor) opens. 
						

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HALion Sonic
Accessing the parameters of layers
The layer editor is divided into an upper and a lower part. 
The upper and lower parts display the different parame
-
ters of the layer.
To access the parameters of a layer:
1.Select the layer you want to edit.
2.In the upper or lower part, click the page button of the 
section, such as Pitch, Filter, Amp, etc. that you wish to 
access.
Voice page
The Voice page of the synth and sample layers gives you 
access to voice settings of the layer which allows you to 
control the various Polyphony parameters, Trigger and 
Voice modes. You can furthermore configure the Unison 
feature and set the Glide. In addition, there is a Key On 
Delay to delay the notes you play as well.
Voice page
To access the Voice page:
1.Go to the Edit page and select the synth or sample lay-
er you want to adjust.
2.In the upper section of the editor, click the Voice page 
button.
Mono
Here you can switch between monophonic and poly-
phonic playback:
•Activate “Mono” to switch to monophonic playback. 
Usually, this allows a more natural sounding performance 
for solo instruments.
•Deactivate “Mono” to play polyphonically with the num-
ber of notes specified by the Polyphony setting.
Retrigger
This option allows the retriggering of a stolen note while 
Mono is active. When Mono and Retrigger are activated, a 
note that was stolen by another one will be retriggered if 
you still hold the stolen note while you release the new 
one. For example, with Mono and Retrigger activated, you 
can play trills by holding one note and pressing/releasing 
another note repeatedly very fast.
Polyphony
Use this parameter to set an upper limit for the number of 
notes you can play in “Poly” mode. You can set Polyphony 
between 2 and 128 notes.
ÖIf, for example, the program has a smaller value for po-
lyphony than the contained layers, the maximum number of 
notes you can play will be limited by the setting of the pro
-
gram.
Key Poly
Key Poly is short for Key Polyphony. With this parameter 
you can set an upper limit for the number of notes you can 
play per key. The last played notes have priority over the 
previously played notes of the same key. “Poly” mode 
needs to be active to make this parameter effective. The 
control range is from 1 to 32.
ÖKey Polyphony works within the limits of the Polyphony 
setting. The lower of the two settings will be given priority.
Low Amp
When notes are stolen due to a Key Poly limitation, the 
oldest note is removed first by default. By activating Low 
Amp the note with the lowest amplitude will be removed 
instead.
Trigger mode
To avoid discontinuities during playback of envelopes and 
samples, you can select one of three different characteris
-
tics for triggering notes: 
						

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HALion Sonic
Normal
“Normal” triggers a new note when stealing the previous 
note, which includes the envelopes being triggered from 
the start. A sample of a sample zone will also be triggered 
from the start. To minimize discontinuities set the Voice 
Fade Out parameter of the zone accordingly.
Resume
“Resume” does not trigger a completely new note: If the 
new note stays within the same zone, the envelopes re
-
trigger but resume at the level of the stolen note and the 
pitch of the zone will be set to the new note. If the new 
note plays in a different zone, the new note will play from 
the start including any envelopes and samples.
Legato
“Legato” does not trigger a completely new note: If the 
new note plays within the same zone (sample), the enve
-
lopes keep running and the pitch of the zone will be set to 
the new note. If the new note plays in a different zone, the 
new note will play from the start including any envelopes 
and samples.
Voice mode
The Voice mode specifies the conventions for stealing 
notes in playback and if new notes are being triggered 
when the Polyphony setting is exceeded. The stealing and 
triggering of notes depends on the selected Voice mode 
and your keyboard play. You can select one of the follow
-
ing Voice modes:
Last Note Priority
This mode guarantees the playback of the last played 
notes by stealing the first played notes (First In, First Out). 
New notes have priority over older notes.
•If you exceed the maximum number of notes, the first 
played notes will be stolen in their chronological order to 
make space for the last played notes.
First Note Priority
This mode guarantees the playback of the first played 
notes. Older notes have priority over new notes.
•If you exceed the maximum number of notes while the 
first played notes are still being held, no notes will be sto
-
len. New notes will not be triggered until a voice is free.
Low Note Priority
This mode guarantees the playback of low notes. Low 
notes have priority over high notes.
•If you exceed the maximum number of notes by playing a 
higher note than the held ones, no note will be stolen and 
no new note will be triggered.
•If you exceed the maximum number of notes by playing a 
lower note than the held ones, the highest note will be sto
-
len and the new note will be triggered.
High Note Priority
This mode guarantees the playback of high notes. High 
notes have priority over low notes.
•If you exceed the maximum number of notes by playing a 
lower note than the held ones, no note will be stolen and 
no new note will be triggered.
•If you exceed the maximum number of notes by playing a 
higher note than the held ones, the lowest note will be sto
-
len and the new note will be triggered.
Stealing Lowest Amplitude
This mode guarantees the playback of the last played 
notes by stealing the notes with the lowest amplitudes. 
Notes with high amplitude have priority over notes with 
low amplitude.
•If you exceed the maximum number of notes, the note 
with the lowest amplitude will be stolen to make space for 
the last played note.
Stealing Released Notes
This mode steals notes that play in release first. Notes that 
are being held have priority over notes that play in release. 
If no note plays in release, the oldest note will be stolen in
-
stead.
•If you exceed the maximum number of notes, the oldest 
note that plays in release will be stolen to make space for 
the last played note.
•If no note is playing in release and you exceed the maxi-
mum number of notes, the first played notes will be stolen 
in their chronological order to make space for the last 
played notes. 
						

							26
HALion Sonic
Key On Delay
With this feature you can delay the playback of the layer 
by an adjustable time or a note value.
Delay Time
When you play a note, the playback of the layer will be de-
layed by the time or note value you set with this parameter. 
With Sync deactivated, the delay is specified in millisec
-
onds. The control range is from 0 ms to 5000 ms. With 
Sync activated, the delay is specified in fractions of beats. 
The control range is from 1/256 to 8/4.
Sync
To synchronize the delay time to the host tempo, activate 
this option.
Unison
Unison allows you to trigger multiple voices simultane-
ously with each note you play.
Active
Use this option to turn the Unison feature on or off.
Voices
By default, Voices has a value of 2. Setting higher values 
increases the number of voices being triggered simultane
-
ously. For a richer sound, adjust the Detune, Pan and De-
lay parameters accordingly. The control range is from 2 to 
8 voices.
Detune
Use this to detune the pitch of each Unison voice by the 
amount specified in cents. The control range is from 0 to 
100 cents. Detuning pitch of the voices results in a fatter 
sound.
Pan
Use this to spread the Unison voices across the stereo 
panorama. The control range is from 0% to 100%. The 
higher the value, the broader the stereo image will be.
Delay
With this parameter you can adjust a small random delay 
for each Unison voice. The control range is from 0% to 
100%. With a value of 0% all unison voices will be trig
-
gered at the same time. Values from 1% to 100% add a 
small random delay to each unison voice and the voices 
will not be triggered at the same time anymore. The higher 
the value the more random the delay will be. This is espe
-
cially useful to avoid comb filter effects with two or more 
slightly detuned samples, which would occur if you play 
them back at exactly the same time.
Glide
You can use Glide to bend the pitch between notes that 
follow each other. This comes best into effect with Mono 
mode enabled. However, Glide also works polyphonically.
Glide Active
Use this option to turn the Glide feature on or off.
Glide Time
This specifies the time needed to bend the pitch from one 
note to the other. You can set a time between 1 ms and 
5000 ms.
ÖIf you use Cutoff, Amplitude and Pan Key Follow, the 
cutoff, amplitude and pan will change with the Glide effect 
as well.
Fingered
Activate Fingered to glide the pitch only between legato 
played notes. 
						

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HALion Sonic
Pitch page
The Pitch page of synth and sample layers gives you ac-
cess to the tuning of the layer.
To access the Pitch page:
1.Go to the Edit page and select the synth or sample lay-
er you want to adjust.
2.In the upper section of the editor, click the Pitch page 
button.
Tune section
The Tune section gives you access to the tuning of the 
layer. With the Octave, Coarse and Fine parameters, you 
can adjust the tuning in steps of octaves, semitones and 
cents. In addition, you can adjust the amount of pitch 
modulation from the Pitch Envelope, the keyboard or ran
-
domly with each keystroke. Furthermore, you can set the 
pitch bend range for the up and down direction of the 
pitch bend wheel separately.
Octave
Here you can adjust the pitch in octave steps. The control 
range is from -5 to +5 octaves.
Coarse
Here you can adjust the pitch in semitone steps. The con-
trol range is from -12 to +12 semitones.
Fine
This parameter tunes the pitch in hundredths of a semi-
tone (cents). The control range is from -100 to +100 
cents.
Env Amnt
Env Amnt is short for Envelope Amount. This parameter 
determines how much the pitch is affected by the Pitch 
Envelope. The control range is from -48.00 to +48.00 
semitones.
Bypass Envelope
To play the layer without the modulation from the Pitch En-
velope, click the envelope bypass button at the upper right 
in the title bar of the section.
Random
This parameter allows you to offset the pitch with each 
played note randomly. The amount of pitch randomization 
can be adjusted within a control range from 0% to 100%. 
Higher values cause stronger variations. At a setting of 
100% the random offsets can vary from -6 to +6 semi
-
tones.
Key Follow
Here you can adjust the pitch modulation from MIDI note 
number. The control range is from -200% to +200%. Set 
this parameter to positive values in order to raise the pitch 
the higher you play. Use negative values to lower the pitch 
the higher you play. The pitch follows exactly the played 
note at a setting of +100%.
Center Key
This specifies the MIDI note around which the Pitch Key 
Follow pivots. The range extends from C-2 to G8.
Pitch Bend Up
Here you can set the range of the pitch modulation when 
moving the pitch bend wheel up. The control range is from 
-48 to +24 semitones.
Pitch Bend Down
Here you can set the range of the pitch modulation when 
moving the pitch bend wheel down. The control range is 
from -48 to +24 semitones. 
						

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HALion Sonic
Oscillator page
The Oscillator page of the synth layer offers six sound 
sources: Three main oscillators, the suboscillator, the ring 
modulation and the noise generator. To create interesting 
electronic spectra, you can mix any of these sound 
sources. The resulting signal is sent to the Filter and Am -
plifier sections for further sound shaping.
To access the Oscillator page:
1. Go to the Edit page and select 
 the synth layer you want 
to adjust.
2. In the upper section of the 
 editor, click the Oscillator 
page button.
Oscillator 1/2/3
The three main oscillators, OSC 1, OSC 2 and OSC 3, 
offer different wave shapes and algorithms. Select the 
wave shape and algorithm with the oscillator type (see   
below).
OSC 1/2/3 Active
Use this to activate the oscillators 1, 2 and 3 respectively.
Ö Please make 
 sure to switch off the oscillators when 
the function is not needed. When kept on, they use CPU 
cycles even if they are not heard, such as in a situation 
where the level set to 0%.
OSC 1/2/3 Type
This selects the basic sound character of the oscillator. 
The oscillator type first lists the wave shape (Sine, Trian -
gle, Saw or Square), followed by the type of algorithm 
(
 PWM, Sync, CM or XOR). Depending on the selected al -
gorithm, there is a waveform parameter that controls how 
the oscillator so

unds. The waveform parameters of OSC1, OSC2 and OSC3 
can 

be assigned as modulation destinations in the Modu -
lation Matrix.
The following algorithms are available:
AlgorithmDescription
PWM PWM is short for pulse widt h modulati
 on. PWM is only 
supported by the square wave shape. The waveform pa -
rameter sets the ratio between the high and low of the 
s
 quare wave. A setting of 50% produces a pure square 
wave. With settings below or above 50% the oscillator 
produces rectangular waves.
Sync Sync is short for synchronization. This algorithm provides 
dif

ferent hard-sync oscillators where each is a combina -
tion of a master and slave oscillator. The wave shape of 
the
  slave oscillator (Sine, Triangle, Saw or Square) is re -
set with each full wave cycle of the master oscillator. This 
means that a singl
 e oscillator can already produce a rich 
sync-sound without utilizing ot her oscillators as slave or 
master. The waveform parameter adjusts the pitch of the 
slave oscillator producing the typical sync-sound.
CM CM is short for cross modulati on.
  This algorithm provides 
a combination of two oscillators where a master oscillator 
is modulating the pitch of a slave oscillator (Sine, Trian -
gle, Saw or Square) at audi o 
 rate. The waveform parame-
ter adjusts the pitch ratio between slave and master 
osci llator resulting in a so und close to frequency modula -
tion.
XOR XOR is short for “exclusive or”. This algorithm compares 
two squ

are waveforms with an XOR operation. Depend -
ing on the outcome of the  XO
 R operation, the wave 
shape of a third oscillator (S ine, Triangle, Saw or Square) 
is reset. The waveform para meter adjusts the pitch ratio 
of the square oscillators result ing in a sound close to ring 
modulation of the  third oscillator.
ÖExcept for PWM, all algorithms support the Sine, Tri -
angle, Saw and Square wave shapes. PWM supports 
Square wave only.
To select an oscillator type:
1. I
n the section of OSC1, OSC2 or OSC3, click the icon 
that indicates the wave shape.
2.F
rom the menu, select the oscillator type to set the 
wave shape and algorithm you want to use.
OSC 1/2/3 Waveform
The waveform parameter allows you to modify the sound 
of the oscillator algorithm. Its effect depends on the se -
lected oscillator type (see above for details). 
						

							29
HALion Sonic
OSC 1/2/3 Octave (Oct)
Here you can adjust the pitch in octave steps. The control 
range is from -4 to +4 octaves.
OSC 1/2/3 Coarse (Crs)
Here you can adjust the pitch in semitone steps. The con-
trol range is from -12 to +12 semitones.
OSC 1/2/3 Fine
This parameter tunes the pitch in hundredths of a semi-
tone (cents). The control range is from -100 to +100 
cents.
OSC 1/2/3 Level
This adjusts the output level of the oscillator. The control 
range is from 0 to 100%.
ÖThe waveform, pitch and level of oscillator 1, 2, and 3 
can be modulated separately in the Modulation Matrix.
Sub Oscillator
The pitch of the Sub Oscillator is always one octave lower 
than the overall pitch of the synth layer. If you modulate the 
Pitch of the synth layer, the pitch of the Sub Oscillator fol
-
lows.
Sub Active
Use this to activate the Sub Oscillator.
ÖPlease make sure to switch off the Sub Oscillator 
when the function is not needed. When kept on, they use 
CPU cycles even if they are not heard, such as in a situa
-
tion where the level set to 0%.
Sub Oscillator Type
Here you can select the wave shape of the Sub Oscillator. 
You can choose between Sine, Triangle, Saw, Square, 
Pulse Wide and Pulse Narrow.
Sub Level
This adjusts the output level of the Sub Oscillator. The 
control range is from 0 to 100%.
Ring Modulation
Ring Modulation (RM) produces the sums and the differ-
ences between the frequencies of two signals.
RM Active
Use this to activate the Ring Modulation.
ÖPlease make sure to switch off the Ring Modulation 
when the function is not needed. When kept on, it uses 
CPU cycles even if the Ring Modulation is not heard, such 
as in a situation where the level set to 0%.
RM Source 1/2
This allows you to select the sources that will be ring mod-
ulated. You can select OSC1 or Sub as Source 1 and 
OSC2 or OSC3 as Source 2. Make sure the respective 
oscillators are activated when you select them. Otherwise, 
you will not hear any sound.
RM Level
This adjusts the output level of the Ring Modulation. The 
control range is from 0 to 100%.
Noise
Noise is used for non-pitched sounds. In addition to stan-
dard white and pink noise, there are also band pass fil-
tered (BPF) versions of white and pink noises.
Noise Active
Use this to activate the noise generator.
ÖPlease make sure to switch off the noise generator 
when the function is not needed. When kept on, it uses 
CPU cycles even if the noise is not heard, such as in a sit
-
uation where the level set to 0%.
Noise Type
Here you can select the sound color of the noise. You can 
either select White, Pink, White BPF or Pink BPF.
Noise Level
This adjusts the output level of the noise generator. The 
control range is from 0 to 100%.
ÖThe Sub Level, RM Level and Noise Level can be 
modulated separately in the Modulation Matrix. 
						

							30
HALion Sonic
Filter page
The Filter page of synth and sample layers offers settings 
to adjust the tone color of the sound. Filters shape the 
harmonic content of a sound by removing or accenting 
frequencies in the spectrum. HALion Sonic’s filter section 
is extremely versatile and powerful. With filter type you can 
select the basic sound character of the filter, either with or 
without Distortion. This feature  is also useful to scale the 
CPU consumption since filters without Distortion use less 
CPU cycles. With filter mode  you can configure the filter 
section as a single filter, two filters in parallel or serial con -
nection, or as a morphing filt er that allow
 s you to blend 
between up to four different filter shapes.
In general, filters are identified by their pass-band and 
amount o
 f attenuation. The Cutoff frequency separates 
the pass-band from the stop-band. Frequencies in the 
pass-band stay unprocessed, while frequencies in the 
stop-band will be attenuated or removed. The amount of 
attenuation is specified in decibels per octave (dB/oct). 
For example, a 12dB/oct low-pass filter attenuates the 
high frequencies at 12dB for each octave above the Cut -
off frequency. Other typical filter types are high-pass, 
b

and-pass and band-reject. Another type of filter is called 
all-pass. As its name suggests, it does not attenuate fre -
quencies. Instead, it shifts the phase of the signal. When 
mixed

 with the original signal, certain frequencies will be 
attenuated again. For example, the phase shifter would 
use this.
To access the Filter page:
1. Go to the Ed
 it page and select the synth or sample lay -
er you want to adjust.
2. In the upper sectio
 n of the editor, click the Filter page 
button.
Filter type
By selecting the filter type you specify the basic sound 
character of the filter. HALion Sonic offers up to 23 filter 
shapes (for details on filter shapes, see below).
Filter typeDescription
Off The filter section is switched off. Use this when no filter is 
n

eeded for your sound and/or when you want to save 
CPU cycles.
Classic This filter type offers 23 filter shapes with Resonance.
Tube Drive This filter type offers a lot of character by adding warm, 
tub

e-like distortions. It comes with 23 filter shapes, ad -
justable Resonance and Distortion.
Filter mode
This parameter allows you determine the overall filter 
structure. The filter types Cl assic and Tube Drive provide 
the following options:
Filter mode Description
Single This mode uses one filter with one selectable filter shape. 
Yo

u can select any of the 23 filter shapes.
Dual Serial This mode uses two separate filters connected in series. 
Y

ou can select any of the 23 filter shapes for each filter 
independently. The parameters Cutoff and Resonance 
control both filters simultaneously. However, you can off -
set the cutoff and resonance of the second filter with the 
p
 arameters CF Offset and Res Offset.
Dual Parallel This mode uses two separate filters connected in parallel. 
Y

ou can select any of the 23 filter shapes for each filter 
independently. The parameters Cutoff and Resonance 
control both filters simultaneously. However, you can off -
set the cutoff and resonance of the second filter with the 
p
 arameters CF Offset and Res Offset.
Morph 2 This mode morphs between filter shape A and B. You 
c

an select any of the 23 filter shapes for filter shape A 
and B independently. Adjust the morphing with the 
Morph Y parameter.
Morph 4 This mode morphs sequentially from filter shape A to D. 
Yo

u can select any of the 23 filter shapes for filter shape 
A, B, C and D independently. Adjust the morphing with 
the Morph Y parameter.
Morph XY This mode morphs freely between the filter shapes A, B, 
C and D.

 In other words, the morphing can be any mix 
between the four filter shapes. You can select any of the 
23 filter shapes for filter shape A, B, C and D indepen -
dently. Adjust the morphing with the Morph X and Morph 
Y
  parameters.