Steinberg VST Workstation Halion Sonic Operation Manual
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61 HALion Sonic 3.Go to the upper section, select Pitch, Filter or Amp and adjust the parameters as desired. ÖOnly the currently selected drum instrument or loop slice will be edited. Pitch This section gives you access to the tuning of the drum in- strument or loop slice. With the parameters Octave, Coarse and Fine, you can adjust the tuning in steps of oc - taves, semitones and cents. In addition, you can adjust the amount of pitch modulation from the Pitch envelope or randomly 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. Random This parameter allows you to offset the pitch with each played note randomly. The strength of the randomization can be adjusted within a range from 0% to 100%. Higher values cause stronger variations. At a setting of 100% the random offsets can vary from -6 to +6 semitones. 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. Pitch Envelope (See “Envelope pages” on page 34.) Filter The filter section offers settings to adjust the tone color of the drum instrument or loop slice.
62 HALion Sonic 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 type Description Off The filter section is switched off. Use this when no filter is ne eded 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, tube-lik e distortions. It co mes with 23 filter shapes, ad - justable Resonance and Distortion. Filter shape You can select from 23 different filter shapes. By select - ing the filter shape you determine which frequencies will b e affected. The letters and numbers indicate the filter shape: For example, LP12 is short for low-pass 12dB/oct. You can select from the following filter shapes: Filter shape Description LP24 Low-pass filter with 24 dB/oct. Frequencies above the Cutoff wi ll be attenuated. LP18 Low-pass filter with 18 dB/oct. Frequencies above the Cutoff wi ll be attenuated. LP12 Low-pass filter with 12 dB/oct. Frequencies above the Cutoff wi ll be attenuated. LP6 Low-pass filter with 6 dB/oct. Frequencies above the Cutoff wi ll be attenuated. BP12 Band-pass filter with 12 dB/oct. Frequencies below and above the Cutoff will be attenuated. BP24 Band-pass filter with 24 dB/oct. Frequencies below and above the Cutoff will be attenuated. HP6+LP18 High-pass filter with 6 dB/oct . plus low-pass filter with 18 dB/oct. (asymmetric band-pass filter). Frequencies below and above the Cutoff will be attenuated. The fre - quencies above will fall off stronger. HP6+LP12 High-pass filter with 6 dB/oct . plus low-pass filter with 12 dB/oct. (asymmetric band-pass filter). Frequencies below and above the Cutoff will be attenuated. The fre - quencies above will fall off stronger. HP12+LP6 High-pass filter with 12 dB/oct. plu s low-pass filter with 6 dB/oct. (asymmetric band-pass filter). Frequencies be - low and above the Cutoff will be attenuated. The fre - quencies below will fall off stronger. HP18+LP6 High-pass filter with 18 dB/oct. plu s low-pass filter with 6 dB/oct. (asymmetric band-pass filter). Frequencies be - low and above the Cutoff will be attenuated. The fre - quencies below will fall off stronger. HP24 High-pass filter with 24 dB/oct. Frequencies below the Cu toff will be attenuated. HP18 High-pass filter with 18 dB/oct. Frequencies below the Cu toff will be attenuated. HP12 High-pass filter with 12 dB/oct. Frequencies below the Cu toff will be attenuated. HP6 High-pass filter with 6 dB/oct. Frequencies below the Cu toff will be attenuated. BR12 Band-reject filter with 12 dB/oct. Frequencies around the Cu toff will be attenuated. BR24 Band-reject filter with 24 dB/oct. Frequencies around the Cu toff will be attenuated. BR12+LP6 Band-reject filter with 12 dB/oct. plus low-pass filter with 6 dB/oct. Frequencies around and above the Cutoff will be attenuated. BR12+LP12 Band-reject filter with 12 dB/oct. plus low-pass filter with 12 dB/oct. Frequencies around and above the Cutoff will be attenuated. BP12+BR12 Band-pass filter with 12 dB/oct. plus band-reject filter with 12 d B/oct. Frequencies below, above and around the Cutoff will be attenuated. HP6+BR12 High-pass filter with 6 dB/oct. plus band-reject filter with 12 dB/oct. Frequencies below and around the Cutoff will be attenuated. HP12+BR12 High-pass filter with 12 dB/oct. plus band-reject filter wi th 12 dB/oct. Frequencies below and around the Cut - off will be attenuated. AP All-pass filter with 18 dB/oct. Frequencies around the Cu toff will be attenuated. AP+LP6 All-pass filter with 18 dB/oct. pl us low-pass filter with 6 dB/oct. Frequencies around and above the Cutoff will be attenuated. HP6+AP High-pass filter with 6 dB/oct plus all-pass filter with 18 d B/oct. Frequencies around the Cutoff will be attenu - ated. Cutoff Here you can adjust the Cutoff frequency of the filter. The control range is from 20 Hz to 22.000 Hz. The effect de- pends on the filter type you have selected. Resonance This parameter emphasizes the frequencies around the cutoff. The control range is from 0% to 100%. For an electronic sound, increase the Resonance. At higher set - tings of Resonance the filter will self-oscillate, which deliv- ers a ringing tone. Filter shape Description
63 HALion Sonic Env Amnt Env Amnt is short for Envelope Amount. Use this parame- ter to adjust the Cutoff modulation from the Filter Enve- lope. The control range is from -100% to +100%. Setting negative values inverts the direction of the modulation from the Filter Envelope. Velocity This parameter adjusts the Cutoff modulation from veloc- ity. It ranges from -100% to +100%. Set this parameter to positive values to increase the Cutoff with higher veloci - ties. Use negative values to decrease the Cutoff with higher velocities. Distortion This parameter adds a warm, tube-like filter distortion to the signal. The control range is from 0% to 100%. At higher settings, it allows a very intense distortion effect. ÖThis parameter is only available for the Tube Drive filter type. Filter Envelope (See “Envelope pages” on page 34.) Amplifier The Amplifier gives you access to the level and pan set- tings of the drum instrument or loop slice. In addition, you can activate One Shot and Reverse playback. With level you adjust the loudness of the sound. With pan you spec - ify the position of the sound in the stereo panorama. In addition, the pan position can be modulated with each keystroke randomly or left-right/right-left in alternation. Fi - nally, you can select the output for each drum instrument or loop slice separately. One Shot Activate this to ignore any MIDI Note Off messages. The release segments of the envelopes will not be played while this is active. Instead, the envelopes play until the Sustain is reached and remain on that level as long as the sample plays back. Any loop settings of the sample will be ignored. For normal playback without ignoring MIDI Note Off messages, deactivate this. The release segments of the envelopes and any loop settings the sample might contain will be played back again. One Shot is active when the button is lit. Reverse Activate this to play the sample in reverse (from end to start). Any loop settings the sample may contain will be ignored while this is activated. For normal playback (from start to end), deactivate this. Reverse is active when the button is lit. Level Here you can you can adjust the loudness of the drum instrument or loop slice. The control range is from –oo dB to +12 dB. Pan Here you can set the position of a sound in the stereo panorama. The control range is from hard left (-100%) to hard right (+100%). Mode With this option you can specify how the loudness changes across the stereo panorama. You can select be - tween the four modes 0 dB, -3 dB, -6 dB and Off: •The 0dB option works like a balance control: Setting the pan control towards the left fades out the right channel and vice versa. At the center position, the loudness is not cut.
64 HALion Sonic •The -3dB option uses the cosine/sine pan law: The loudness is cut by -3dB at the center position, but the en - ergy is preserved when moving the source signal across the stereo panorama. The -3dB option sounds more natu - ral. The transition from hard left to hard right sounds much smoother than with the 0dB or the -6dB setting. •The -6dB option uses the linear pan law: The loudness is cut by -6dB at the center position, and the energy is not preserved when moving the source signal across the ste - reo panorama. The -6dB option sounds more synthetic. The transition from hard left to hard right sounds more abrupt than with the -3dB setting. •When set to “Off” no loudness correction is applied when a signal is panned across the stereo panorama. Output Here you can select the output for each drum instrument or loop slice separately. If you do not want the signal to be sent to the output that is specified for the layer, you can select the Main or one of the 16 individual plug-in outputs instead. Random This parameter allows you to offset the pan position with each played note randomly. The strength of the random - ization can be adjusted within a range from 0% to 100%. Higher values cause stronger variations. At a setting of 100% the random offsets can vary from fully left to fully right. Alternate This parameter allows you to alternate the pan position each time you play a note. For example, a value of +100% means the first note plays hard right, the second note hard left, and so on. You can specify the pan position for the first time you hit a note with the algebraic sign: For nega - tive values the initial pan position will be left and for posi- tive values it will be right. With the value in percent you determine the deviation across the stereo panorama. The control range is from -100% to +100%. Reset The initial pan position is set once after HALion Sonic is loaded. Then HALion Sonic counts each note you played to determine the next pan position. To reset this counter, click the Reset button next to the Alternate control. Amp Envelope (See “Envelope pages” on page 34.) AUX Each drum instrument and loop slice has individual send levels that feed the four global AUX FX busses. This al - lows you, for instance, to add more reverb to the snare drum and less effect to the bass drum. AUX FX1 – 4 This adjusts the send levels for the four global AUX FX busses for each drum instrument or loop slice separately. The control range is from –oo dB to 0 dB. Envelopes Each of the Pitch, Filter and Amp sections features a multi-segment envelope of its own. Each envelope has up to 128 nodes with the Time, Curve and Level parameters. The nodes and their parameters specify the overall shape of the envelope. You can edit one or multiple nodes by using the graphical envelope editor or by typing in values from keyboard. For a complete description on how to edit the envelope graphically please refer to the section “Enve- lope pages” on page 34.
65 HALion Sonic Level Velocity Use this parameter to adjust how velocity affects the level of the envelope. The level of the envelope depends on the setting of this parameter and how hard you hit a note: Positive values increase and negative values decrease the level of the envelope the harder you hit a note. The control range is from -200% to +200%. Level Velocity Curve You can select one of eight curves to specify how the in- coming velocity translates to the level of the envelope. The characteristic of each curve is displayed by a small icon. The menu offers the following mathematical functions for velocity: •1 = Linear •2 = Squared •3 = Squared Inverse •4 = 2 Poles Squared •5 = 2 Poles Squared Inverse •6 = Cubic •7 = Quadric •8 = dB •9 = Logarithmic •10 = Constant (127) Velocity to Time Use this parameter to adjust the influence of velocity on the times of the envelope. Positive values decrease the times for higher velocity values. Negative values increase the times for higher velocity values. The amount ranges from -100% to +100%. In addition, with Segments you can select which stages of the envelope will be affected by this parameter. Segments From the pop-menu you can select which stages of the envelope will be affected by the Velocity to Time parame - ter. •A: The velocity affects the attack time only. •A + D: The velocity affects all times until the sustain. •D: The velocity affects all times until the sustain but without the attack. •A + R: The velocity affects the attack and the release times. •All: The velocity affects all times. Using the LFO of loop layers In addition to the parameters described above, loop layers offer a monophonic LFO with adjustable Depth for Pitch, Cutoff and Pan. To access the LFO of loop layers: 1.Go to the Edit page and select the loop layer you want to adjust. 2.Go to the lower of the loop editor and click the LFO page button. When using the LFO of loop layers, the following applies: •The modulation of Pitch, Cutoff and Pan goes to all slices simultaneously. The modulation depth cannot be set separately per slice. •The filter must be activated to hear the modulation of the Cutoff. •With a Resonance of 100% you might hear clicks be- cause the slice ends abruptly, but the filter still produces a sound from self-oscillation. In such a case, go to the re - spective FlexPhraser and reduce the Gate Scale until the clicks are gone. In addition, you can adjust the amplifier envelope of the slices, for example, to increase the release of the envelopes. LFO waveform and shape Waveform selects the basic type of waveform and shape changes the characteristic of the waveform. The control range of shape is from 0% to 100%. OptionDescription SineThis produces a smooth modulation, suitable for vibrato or tremolo. Shape adds additional harmonics to the waveform. TriangleThis is similar in character to Sine. The waveform period-ically ramps up and down. Shape continuously changes the triangle waveform to a trapezoid. SawThis produces a “ramp” cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up.
66 HALion Sonic Frequency This controls the frequency of the modulation, i.e. the “speed” of the LFO. The control range is from 0 Hz to 30 Hz. When Sync is activated, the frequency is set in frac - tions of beats. Phase This sets the initial phase of the waveform when the LFO is retriggered. The control range is from 0° to 360°. Rnd Rnd is short for Random. When activated, each note starts with a randomized start phase. The Phase control gets automatically disabled. Sync You can sync the LFO to the tempo of the host applica - tion. The behavior of the Frequency parameter changes w ith the option you select: Option Description Off Select this to adjust the speed of the modulation in Hertz. Tempo + Retrig Select this to adjust the spee d of the modulation in frac- tions of beats, i.e. 1/4, 1/8, etc. You can also set dotted and tri plet note values. The restart behavior of the LFO depends on the Re trigger setting. Tempo + Beat Select this to adjust the spee d of the modulation in frac- tions of beats, i.e. 1/4, 1/8, etc. You can also set dotted and tri plet note values. The LFO restarts with the trans - port of the host and lines up to the beats of the song. The Re trigger setting does not come into effect. Retrigger This defines whether or not the LFO is restarted when a note is triggered. The waveform restarts at the position you set with the Phase parameter. Option Description Off The LFO runs freely. First Note The LFO restarts when a note is triggered and no other n otes are already held. Each Note The LFO restarts each ti me a note is triggered. Pitch This adjusts how much the LFO affects the Pitch of the slices. The control range is from -100% to +100%. Cutoff This adjusts how much the LF O affects the Cutoff of the slices. The control range is from -100% to +100%. Pan This adjusts how much the LFO affects the pan of the slices. The control range is from -100% to +100%. Pulse This produces stepped modulation, where the modula - tion switches abruptly between two values. Shape con - tinuously changes the ratio be tween the high and low state of the waveform. Set shape to 50% to produce a square wave. Ramp This is similar to the Saw wave form. Shape increasingly puts silence before the sawtooth ramps up. Log Shape continuously changes the logarithmic curvature from negative to positive. S & H 1 This produces random stepped modulation, where each ste p is different. Shape puts ramps between the steps and changes the S&H into a smooth random signal when fully turned right. S & H 2 This is similar to S & H 1. The steps are alternating be - tween random high and low values. Shape puts ramps between the steps and cha nges the S & H into a smooth random signal when fully turned right. Option Description
67 HALion Sonic Quick controls The eight potentiometer controls, the horizontal and verti- cal axis of the sphere, and the modulation wheel located at the bottom of the plug-in surface can be assigned as quick controls. Quick controls allow you to remote control any parameter inside the program. Typically, they give you easy access to the most important sound parameters. There is a set of quick controls for the program. In addi - tion, each layer has its own set of quick controls. The quick controls of the program allow you to control sound parameters across the four layers. The quick controls of the layers allow you to control sound parameters for each layer separately. You can switch between the quick con - trols of the program and the layers with the buttons at the left of the eight potentiometer controls. You can assign the same quick control multiple times to different parameters. This allows you to do complex sound changes with a single control. To give you more control, each parameter assignment can be adjusted to a minimum and maximum range. In addition, you can select whether the quick control assignment behaves as either a continu - ous control or as a switch. A quick control remote controls a parameter either in Relative or Absolute mode. Relative mode changes the values of the assigned parameters without losing their relative settings. Absolute mode changes the assigned parameters by overwriting them with the value the quick control currently has. Mode selec - tion can be made per assignment. Quick controls 1-8 These are the eight potentiometer controls to the lower of the plug-in surface. Typically, the eight most important sound parameters will be assigned to them. Sphere H and Sphere V The Sphere is the orange, lucent ball to the lower right of the plug-in surface. The Sphere is a two-dimensional con - trol, which means you can adjust two quick controls simul- taneously by dragging the mouse horizontally and vertically within the lucent ball. The quick control on the horizontal axis is called Sphere H. The quick control on the vertical axis is called Sphere V. Typically, the Sphere has two parameters assigned that belong together. For in - stance, Cutoff is assigned to Sphere H and Resonance to Sphere V. Center Horizontal/Center Vertical You can setup the Sphere to return to its center position automatically. You can define the behavior for each axis separately. To activate or deactivate Center Horizontal or Center Ver- tical: 1.Right-click (Win) or [Ctrl]-click (Mac) the Sphere. 2.In the menu, check or uncheck the options Center Horizontal or Center Vertical respectively. Mod wheel The modulation wheel is the wheel left to the preview key- board of the plug-in. It is hardwired to MIDI controller #1 which is normally used as a source in the Modulation Ma - trix, but can be used as a quick control as well. Typically, you assign the Modulation Wheel to a parameter of an in - sert effect, such as the speed of the Rotary. ÖThe fixed assignment of MIDI controller #1 cannot be changed. Therefore, the Modulation Wheel offers no “Learn CC” function.
68 HALion Sonic Accessing quick controls To access the quick controls of the program or one of its layers: 1.Select the program you wish to edit in the Multi Pro- gram Rack. 2.Go to the left of the quick controls and click the pro- gram button (“P”) or one of the layer buttons (“L1” to “L4”). 3.The quick controls change to the settings of the pro- gram or the selected layer respectively. ÖThe Sphere displays P, L1, L2, L3 or L4 to indicate the selected program or layer accordingly. Assigning quick controls When you assign quick controls in HALion Sonic, the fol- lowing applies: •The parameters of layers can only be assigned to the quick controls of the respective layer itself. For example, if the parameter belongs to layer 1, it can only be assigned to a quick control of layer 1. This includes the parameters in the program editor, the layer editor and the effect in - serts of the respective layer. •The parameters of layers cannot be assigned directly to quick controls of the program. First, you need to assign the parameter to a quick control of the layer. Then you can assign the quick control of the layer to a quick control of the program. •The parameters of program effect inserts can be as- signed directly to quick controls of the program. To assign a quick control to a parameter: 1.In the program or layer editor or the editor of an effect insert, right-click (Win) or [Ctrl]+click (Mac) the parameter you want to remote. 2.From the menu, select the quick control you wish to assign, for example, quick control 1-8, sphere H & V, or mod wheel. 3.The assignment is created. ÖThe quick control range is automatically adapted de- pending on the current parameter value. This is to assure that the quick control provides optimal control range. ÖThe parameters Polyphony, Low Key, High Key, Low Velocity, High Velocity and the Output cannot be as - signed to quick controls. ÖYou can also assign quick controls to the ADSR off- sets of the envelopes by using the context menu on the graphical envelope controls. To assign a quick control of a layer to the quick controls of the program: 1.Select the respective layer from the left of the quick controls. 2.Right-click (Win) or [Ctrl]+click (Mac) the quick con- trol you want to remote. 3.From the menu, select the program’s quick control you wish to assign. 4.The range of the program quick controls is automati- cally adjusted to guarantees that the whole layer quick control range can be covered. ÖSince the Modulation Wheel always listens to MIDI controller #1, you do not have to assign the mod wheel quick controls of the layers to the mod wheel quick control of the program. This works by default since all mod wheel quick controls listen to MIDI controller #1 as well. Managing quick controls The quick control page of the program and layer editor al- lows you to manage and edit quick controls after you as- signed them. The quick controls of the selected program or layer are listed to the left. The assignments of the cur - rently selected quick control are listed to the right. Each assignment is listed in a row of its own with parameters to adjust the behavior of the quick control assignment. ÖIf the currently selected quick control has no assign- ments, the list to the right will be empty. To access the assignments of a quick control: 1.Right-click (Win) or [Ctrl]+click (Mac) the quick con- trol you wish to edit. 2.Select “Edit Quick Control” from the menu. 3.The quick control page of the respective program or layer opens.
69 HALion Sonic Naming quick controls Each quick control can have a name that will be displayed as the title of the quick control. By giving the quick control an explanatory name, you will know what it does at a glance. Quick controls with nothing assigned yet do not display a name. By default, a quick control is given the name of the parameter you assigned first. After this, any further assignments will not change the name. However, you can rename the quick control at any time. To rename a quick control: 1.Go to the quick control page of the respective program or layer. 2.In the section to the left, select the quick control you want to rename. 3.In the name column of the quick control you have just selected, click and enter the desired name. 4.Press Return to set the title. Press Esc to cancel with- out setting the title. Alternatively, you can enter a title on the quick control it- self: 1.Above the quick control, double-click its title. 2.Enter the name you wish to enter. 3.Press Return to set the title. Press Esc to cancel with- out setting the title. Unassigning quick controls To unassign a quick control on the control itself: 1.Right-click (Win) or [Ctrl]+click (Mac) the control you want to unassign. 2.From the menu, select “Forget Quick Control”. To unassign a quick control on the quick control page: 1.Go to the quick control page of the respective program or layer. 2.To the left of the section, select the quick control you want to edit. 3.Right-click (Win) or [Ctrl]+click (Mac) the quick con- trol assignment you wish to unassign. 4.Select “Remove” from the menu. Changing the order of quick control assignments To change the order of the existing quick control assign- ments in the list: •Drag an assignment in between two other quick con- trols to insert it there. The order of the list changes ac- cordingly. •Drag an assignment onto another quick control to re- place it. The order of the list does not change. Setting the behavior of quick control assignments A quick control behaves either as a continuous control or as a switch. In addition, you can choose to change param - eter values either in Relative or Absolute mode. In Relative mode the values of the parameter and the quick control add to each other. If you touch a parameter that has a quick control assigned in Relative mode, parameter changes can still be heard. In Absolute mode the values of the parameter will be over- written by the values sent by the quick control. If you touch a parameter that has a quick control assigned in Absolute mode, parameter changes cannot be heard. When set to Switch Relative or Switch Absolute, the re- mote controlled parameter switches between the mini- mum and maximum value when you turn the quick control. With Switch Relative, parameter changes can still be heard. With Switch Absolute, parameter changes will be over- written and cannot be heard. You can select which mode will be used per assignment. To set the behavior on the control itself: 1.Right-click (Win) or [Ctrl]+click (Mac) the control on which you want to set the behavior. 2.Select the behavior you wish to use from the menu. To set the behavior on the quick control page: 1.Go to the quick control page of the respective program or layer. 2.To the left of the section, select the quick control you want to edit.
70 HALion Sonic 3. On the respective assignm ent, click the menu to the lower left and select the desired behavior. Option Description Absolute This remote controls the parameter values continuously. P arameter changes will be overwritten. Relative This remote controls the parameter values continuously. P arameter changes can still be heard. Switch Absolute This will switch between the minimum and maximum valu e. Parameter changes will be overwritten. Switch Relative This will switch between the minimum and maximum valu e. Parameter changes can still be heard. Setting the minimum/maximum range You can set the minimum and maximum range for each as - signment separately. This way, you have much better con - trol over the parameter change. To set the minimum range on the control itself: 1. Set the parameter to the desired minimum value. 2.Right-clic k (Win) or [Ctrl]+click (Mac) the control. 3. Select Set Minimum from the menu. To set the maximum range on the control itself: 1. Set the parameter to the desired maximum value. 2.Right-clic k (Win) or [Ctrl]+click (Mac) the control. 3. Select Set Minimum from the menu. To set the minimum/maximum range on the quick control pag e: 1. Go to the quick control page of the respective program or layer. 2. To the left of the section, select the quick control you want to edit. 3. To the right of the section, use the outer left and right text controls to the lower of each assignment to set the minimum and maximum range. Alternatively, you can use the blue handles on the curve display to the right to edit the minimum and maximum range graphically. When setting the minimum/maximum range, the following ap plies: • To invert the quick control, for example, so the quick control opens instead of closing, set the minimum above the maximum value. • Quick controls in Absolute mode have a control range from 0% to +100%. • Quick controls in Relative mode have an extended con - trol range from -100% to +100 %. T his is needed to cover the full range of bipolar controls. For example, you can re - motely turn the pan parameter from fully left to fully right by setting the range from 0% to +100%. A setting of 0% to + 50% would end at the Center position in this example. • To achieve a unipolar behavior of quick control in Rela - tive mode, set the range from 0% to +100% (or -100%). Trimming the range The Trim Range function allows you to optimize the quick control range depending on the current parameter value. To trim the range on the quick control page: 1. Go to the quick control page of the respective program or layer. 2.Ri ght-click (Win) or [Ctrl]+click (Mac) the assignment entry. 3.Sel ect “Trim Range”. 4.T he minimum and maximum is set automatically. ÖAs so on as you change the original parameter in the editor section again, the Trim Range function has to be re - applied to guarantee the best control range. Adjusting the curvature You can adjust the curvature of each assignment sepa - rately. The curvature describes the characteristic how the assigned p arameters are changed. The characteristic can be anything between logarithmic, linear and exponential. Ö T he curvature can only be adjusted on the quick con - trol page. To adjust the curvature of an assignment: 1. Go to the quick control page of the respective program or layer. 2.T o the left of the section, select the quick control you want to edit.