Steinberg VST Workstation Halion Sonic Operation Manual

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HALion Sonic
3.To the right of the section, use the text control in the 
middle to the lower of each assignment to set the Curve 
parameter. Positive values of curve change the curvature 
towards logarithmic and negative values towards expo
-
nential behavior. Alternatively, you can edit the Curve pa-
rameter graphically in the curve display to the right by 
dragging the curvature up and down. Dragging up adjusts 
the curvature towards logarithmic, dragging down to
-
wards exponential behavior.
Bypassing quick controls
To hear a sound without quick control assignments, you 
can bypass them temporarily. You can bypass all quick 
control assignments belonging to the same program or 
layer, all assignments on one quick control, or just a single 
quick control assignment.
To bypass the quick control assignments of a program or 
layer:
1.Go to the left of the quick controls, select the program 
or layer on which you want to bypass the quick control as
-
signments.
2.Go to the right of the quick controls, click the Bypass 
button to turn the quick control assignments of the se
-
lected program or layer temporarily off.
3.Click the Bypass button again to turn the quick control 
assignments back on.
To bypass all assignment on one quick control:
1.Go to the quick control page of the respective program 
or layer.
2.Go to the left of the section, select the quick control 
you want to bypass.
3.Go to the upper right of the section and click the By-
pass button to turn the quick control assignments of the 
selected quick control temporarily off.
4.Click the Bypass button again to turn the quick control 
assignments back on.
To bypass a single quick control assignment:
1.Go to the quick control page of the respective program 
or layer.
2.Go to the left of the section, select the quick control 
that contains the assignment you want to bypass.
3.Go to the lower left of the respective assignment, click 
the Bypass button to turn the quick control assignment 
temporarily off.
4.Click the Bypass button again to turn the quick control 
assignments back on.
Assigning quick controls in the Modulation 
Matrix
In addition to assigning the quick controls directly to con-
trols, you can also assign a quick control as Source or 
Modifier in the Modulation Matrix. This way, you can com
-
bine the quick control with other modulation sources.
To assign a quick control as Source or Modifier in the 
Modulation Matrix:
1.Open the respective layer editor and go to the Modu-
lation Matrix.
2.From the drop-down menu of the Source or Modifier 
column, open the quick control submenu.
3.The submenu lists the quick controls of the layer.
4.Select the desired quick control from the submenu.
Trigger pads
Introduction
The trigger pads in HALion Sonic can be used for two dif-
ferent functions. They can either trigger single notes to re-
mote key switches, or trigger complex chords. To control 
the pads from a hardware controller or keyboard, each 
pad can be assigned to a MIDI note. 
						

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HALion Sonic
Assigning a MIDI note to a pad
A pad can be triggered by any MIDI note.
To define the desired note:
1.Open the context menu on the pad.
2.Select “Assign Trigger Note”.
3.Select the octave and note.
or
1.Open the context menu on the pad.
2.Select “Learn Trigger Note”.
3.Play the note on the remote keyboard.
As soon as the trigger note has been assigned, the corre-
sponding key on the GUI keyboard will be shaded in blue. 
This key no longer plays any sounds but triggers other 
notes.
Removing the assignment of a pad
To remove the assigned note or MIDI controller:
1.Open the context menu on the pad.
2.Select “Forget Trigger Note”.
Naming a pad
To indicate the functionality of a pad, you can enter a 
name. To edit the name:
1.Right-click the “…” on the pad.
2.Enter the desired name.
(e.g. KeySw1, KeySw2, …, Amin7, Gmaj, …, Flex1, Flex2)
3.Press [Enter] on your computer keyboard to confirm 
the name.
Triggering chords / notes
To trigger chords with a pad, you first need to define the 
chord:
1.Open the context menu on the pad.
2.Select “Snapshot Chord” and The pad starts blinking.
3.Play the MIDI notes (or press the corresponding keys 
on the GUI keyboard) from the chord.
4.The display keyboard keys will be shaded in blue.
5.Click the pad again to accept the chord.
6.The pad now glows slightly to show that a chord has 
been assigned.
Triggering the pad now plays the chord.
ÖAs long as you are still in Learn mode, you can remove 
notes by playing them a second time.
This feature can be very useful in combination with the 
FlexPhraser since you can feed it with complex chords 
that otherwise would be impossible to play by hand.
Also, you are able to define chords containing notes that 
work as key switches. In this case, you can trigger the 
chord with a specific instrument expression.
ÖIf you add keys to a chord that works as trigger notes 
as well, they trigger their notes too.
Triggering key switches
To use a pad as a key switch, you simply need to assign 
the corresponding MIDI note to it as described above. 
However, if you want to remap the incoming MIDI note to 
another note, you can do so using the chord functionality 
set to a single note:
1.Open the context menu on the pad.
2.Select “Snapshot Chord” and the pad starts blinking.
3.Play the MIDI note that shall be triggered by the pad.
Triggering the pad now sends this note even though an-
other key is played on the keyboard.
Bypassing the pads section
To deactivate the pad functionality you can bypass them. 
In Bypass, only the original notes are played and no 
chords are triggered. To deactivate the pads section, 
press the Bypass switch to the right of the pads section. 
						

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HALion Sonic
Global Effects
Introduction
HALion Sonic features four AUX busses that can be used 
to realize classical send effects. All slots and layers, and in 
the case of drum or loop layers, even single instruments 
can send signal portions to the busses. Each bus hosts up 
to four insert effects which allows you to setup complex 
multi effects. The busses are then routed to either the 
main plug-in output or to one of the individual outs. The 
Effects page also provides access to the main output bus 
which also features four inserts. These can, for example, 
be used to add a global EQ or compressor to the signal 
chain.
Using the insert effect slots
Global Effects page
Each bus and the Main bus provides four slots for insert 
effects. The handling is the same for all slots:
•To assign an insert effect, click the slot and select the 
desired effect from the menu.
•To remove an insert effect, click the slot and select “No 
Effect” from the menu. The effect with its current settings 
will be removed.
•The on/off button above the slot deactivates the effect 
without removing it. This way, you can switch the effect off 
without losing its settings. The effect is active, when the 
button is lit.
•The button next to the on/off button above the slot by-
passes the effect. The bypass is active when the button is 
lit.
•To edit an insert effect, click the “e” button of the slot 
that holds the effect you want to edit. You can edit only 
one effect at a time. The “e” button stays lit to indicate 
which effect you are editing. The parameters of the re
-
spective insert effect will be displayed in the section be-
low.
ÖThe Mix parameter of an effect inserted into an AUX 
bus is set to 50% by default.
Moving effects
To change the position of an effect on one bus, or even to 
move an effect from one bus to another:
1.Drag the effect by its Label (FX1, FX2, FX3, FX4) and 
move it to the desired position.
2.Drop it onto a slot to insert it. Existing effects will be 
replaced.
3.Drop it between two slots to insert it in between exist-
ing slots.
Copying effects from one slot to another
To copy an effect from one slot to another:
1.[Alt]-Drag the effect by its Label (FX1, FX2, FX3, FX4) 
over the insert slot you want to move it to.
2.Drop it.
3.The effect and all its settings will be copied.
Changing the output assignments
Above the insert slots, you find menus for assigning the 
outputs of the AUX busses.
To change the output assignment:
1.Click the Output menu of the AUX bus.
2.Select the desired output from the menu. 
						

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HALion Sonic
Adjusting the levels
To adjust the output level, use the fader below the level 
meter:
• Move
 the fader of the AUX bus.
•Alternati
vely, enter a value in the text field below the 
fader.
The master effect bus
The main bus works similar to the AUX busses. The only 
difference you will find is that the main bus has no bus 
output selector since it is “hard-wired” to the main plug-in 
output (1/2).
Ö The Mix 
 parameter of an effect inserted into the main 
bus is set to 50% by default.
Effects reference
HALion Sonic comes with a collection of high-quality stu -
dio effects. Each of the effects are described in detail be -
low.
REVerence
By recording an impulse in a room, you get the fingerprint 
of it. Convolution superimposes this fingerprint to the 
sound. The result is a very natural sounding reverb. This 
effect comes with a collection of high-quality reverb im -
pulse responses.
Impulse
Here you select the impulse response. By selecting an im -
pulse response you determine the basic sound character 
of the 

reverb.
Auto Gain
When this is activated, the impulse response is normal -
ized automatically.
Reverse
Activate this to reverse the impulse response.
Predelay
This determines the amount of time between the dry signal 
and the onset of the reverb. The control range is from 0 ms 
to 500 ms. Longer predelays are usually associated with 
larger spaces.
Time Scaling
This scales the reverb time. The control range is from 10% 
to 150%. At a setting of 100% the impulse response is 
applied with its original length.
Size
Use this to scale the size of the room. The control range is 
from 10% to 150%. At a setting of 100% the impulse re -
sponse is applied with its original size.
Level
Here you can adjust the level of the impulse response. The 
control range is from -24.0 dB to +24.0 dB.
Equalizer
You can adjust the tone color of the impulse response 
with a three band equalizer.
ControlDescription
Low Gain Use this to set the  amount 
 of cut or boost for the low 
band. The control range is from -24 dB to +24 dB.
Low Freq This sets the frequency that  i
 s cut or boosted by the Low 
Gain. The control range is from 20 Hz to 500 Hz.
Mid Gain Use this to set the  amount 
 of cut or boost for the mid 
band. The control range is -12 dB to +12 dB.
Mid Freq This sets the frequency that  is cut 
 or boosted by the Mid 
Gain. The control range is from 100 Hz to 10000 Hz.
Hi Gain Use this to set the  amount 
 of cut or boost for the high 
band. The control range is -24 dB to +24 dB.
Hi Freq This sets the frequency that  is cut 
 or boosted by the Mid 
Gain. The control range is from 5000 Hz to 20000 Hz.
ER Tail Split
This sets the split point between the early reflections and 
the reverb tail. The control range is from 2 ms to 100 ms. 
						

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HALion Sonic
ER Tail Mix
This sets the balance between early reflections and reverb 
tail. The control range is from 0% to 100%. At a setting of 
50% the early reflections and tail are equally loud. Set
-
tings below 50% raise the early reflections and lower the 
tail, in which the sound source moves towards the front of 
the room. Settings above 50% raise the tail and lower the 
early reflections, in which the sound source moves to
-
wards the back of the room.
Reverb
This effect is a high-quality algorithmic reverb with early 
reflections and reverb tail. The early reflections are re
-
sponsible for the spatial impression in the first millisec-
onds of the reverb. For modeling different rooms you can 
choose from different early reflections patterns and adjust 
their size. The reverb tail, or late reverberation, offers pa
-
rameters for controlling the room size and the reverb time. 
You can adjust the reverb time individually in three fre
-
quency bands.
Tail Delay
This delays the onset of the reverb tail. The control range 
is from 0 ms to 500 ms.
Predelay
This determines the amount of time between the dry signal 
and the onset of the reverb. The control range is from 0 ms 
to 500 ms. Longer predelays are usually associated with 
larger spaces.
Early Reflections
This selects the pattern of the early reflections. The early 
reflections pattern contains the most important delays that 
deliver the key information for the spatial impression of the 
room. The patterns are based on measurements of real 
rooms.
ER Tail Mix
This sets the balance between early reflections and reverb 
tail. The control range is from 0% to 100%. At a setting of 
50% the early reflections and tail are equally loud. Set
-
tings below 50% raise the early reflections and lower the 
tail, in which the sound source moves towards the front of 
the room. Settings above 50% raise the tail and lower the 
early reflections, in which the sound source moves to
-
wards the back of the room.
ER Size
This adjusts the length of the early reflections pattern. The 
control range is from 0% to 100%. At a setting of 100% 
the pattern has its original length and the room sounds the 
most natural. At settings smaller than 100% the early re
-
flections pattern is compressed and the room is perceived 
smaller.
ER Low Cut
This attenuates the low frequencies of the early reflec-
tions. The control range is from 20 Hz to 1000 Hz. The 
higher this value will be, the less low frequencies the early 
reflections will have.
ER High Cut
This attenuates the high frequencies of the early reflec-
tions. The control range is from 1000 Hz to 20000 Hz. 
The lower this value will be, the less high frequencies the 
early reflections will have.
Tail Room Size
This parameter controls the dimensions of the room. The 
control range is from 0% to 100%. At a setting of 100% 
the dimensions equal a cathedral or large concert hall. At 
a setting of 50% the dimensions equal a medium sized 
room or studio. At settings below 50% the dimensions 
equal small rooms or a booth.
Tail Main Time
This controls the overall reverb time of the tail. The control 
range is from 0% to 100%. The higher you set this value, 
the longer the reverb tail will decay. At a setting of 100% 
the reverb time is infinitely long. The Tail Main Time param
-
eter also represents the mid band of the reverb tail. 
						

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HALion Sonic
Tail Shape
This controls the attack of the reverb tail. The control 
range is from 0% to 100%. At a setting of 0% the attack is 
more immediate, this is good for drums. The higher this 
value will be, the less immediate the attack will be.
Tail Density
Here you can adjust the echo density of the reverb tail. 
The control range is from 0% to 100%. At a setting of 
100% single reflections from walls cannot be heard. The 
lower this value the more single reflections can be heard.
Tail High Cut
This attenuates the high frequencies of the reverb tail. The 
control range is from 20 Hz to 20000 Hz. The lower this 
value will be, the less high frequencies the reverb tail will 
have.
Tail High Time
This controls the reverb time for the high frequencies of 
the reverb tail. The control range is from -100% to 
+100%. For positive values, high frequencies decay lon
-
ger and vice versa. Frequencies will be affected depend-
ing on the Tail High Freq parameter.
Tail Low Time
This controls the reverb time for the low frequencies of the 
reverb tail. The control range is from -100% to +100%. 
For positive values, low frequencies decay longer and vice 
versa. Frequencies will be affected depending on the Tail 
Low Freq parameter.
Tail High Freq
This sets the cross-over frequency between the mid and 
the high band of the reverb tail. The control range is from 
2000 Hz to 20000 Hz. The reverb time for frequencies 
above this value can be offset from the main reverb time 
with the Tail High Time parameter.
Tail Low Freq
This sets the cross-over frequency between the low and 
the mid band of the reverb tail. The control range is from 
20 Hz to 2000 Hz. The reverb time for frequencies below 
this value can be offset from the main reverb time with the 
Tail Low Time parameter.
Output Width
This adjusts the output of the reverb signal between mono 
and stereo. The control range is from 0% to 100%. At a 
setting of 0% the output of the reverb is mono. At a setting 
of 100% the output is stereo.
Mix
This sets the ratio between the dry and wet signal. The 
control range is from 0% to 100%. At a setting of 100% 
the output signal is fully wet.
Multi Delay
This effect delivers echoes, so-called delays, with adjust-
able time, feedback and filters. With Delay mode you can 
setup this effect as Stereo, Cross or Ping-Pong Delay. 
Depending on the selected mode, the echoes repeat in 
varying patterns across the stereo panorama. With Delay 
Time you set the overall time for the left and right delay. In 
addition, you can activate Sync to set the delay time in 
fractions of beats synchronized to the host tempo. The pa
-
rameter Delay L/R allows you to offset the time of the left 
or right delay. Feedback and Feedback L/R set and offset 
the amount of feedback of the left and right delay respec
-
tively. Finally, there is a Low and a High Filter to adjust the 
tone color of the echoes.
Delay Time
This sets the overall time for the left and right delay in mil-
liseconds. The control range is from 0 ms to 5000 ms. 
Use Delay L/R to shorten the time for the left or right de
-
lay. Activate Sync to set the delay time as note length. 
						

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HALion Sonic
Delay Mode
The Delay offers three different modes:
Mode Description
Stereo This mode has two delays in parallel, one for the left and 
one

 for the right audio channel, each with a feedback 
path of its own.
Cross This mode has two delays  w
 ith cross feedback. Cross 
feedback means that the delay of the left channel is fed 
back into the right delay and vice versa.
Ping-Pong This mode mixes the left and right input and sends it to 
har

d-panned left and right delays. This way, the echoes 
bounce like a ping-pong ball between left and right in the 
stereo panorama. Hence, the name Ping-Pong Delay. 
Sync
Sync is short for synchronization. Activate this to synchro -
nize the delay time to the host tempo. When activated, the 
time 
 is set as note length wi th the following settings: 1/64, 
1/32, 1/16T, 1/16, 1/8T, 1/16D, 1/8, 1/4T, 1/8D, 1/4, 1/
2T, 1/4D, 1/2, 1/1T, 1/2D, 4/4, 5/4, 6/4, 7/4 and 8/4.
Ö If th
e time of the note length exceeds the maximum de -
lay time of 5000 ms, for example, because your song 
tempo is ve

ry slow, the note length will be halved internally 
to not exceed the maximum possible delay time.
Delay L/R
Here you can offset the time of the left or right delay from 
the overall delay time. The offs et adjusts with a factor. A 
factor of 1 means the delay equals the overall delay time. 
A factor of 0.5 means the time is half as long as the overall 
delay time. To offset the left delay time, turn the control 
left. To offset the right delay time, turn the control right. 
The letter before the factor changes accordingly to “L” or 
“R”, indicating the delay you adjust. The control range is 
from L x 0.0 to L x 1.0 and R x 1.0 to R x 0.0. The mid po -
sition of the control sets a factor of 1.0, which is the neu -
tral setting.
Feedback
This sets the overall amount of feedback for the left and 
right delay. Feedback means the output of the delay is fed 
back to its input. Depending on the amount you set, the 
echoes repeat more or less. The control range is from 0% 
to 100%. At a setting of 0% you hear only one echo. At a 
setting of 100% the echoes repeat endlessly.
Feedback L/R
This parameter is only available for the Stereo Delay. Use 
this to offset the amount of f eedback of the left or right de -
lay from the overall Feedback. The offset adjusts with a 
factor. A factor of 1 means th e amount of feedback equals 
the overa

ll Feedback. A factor  of 0.5 means the amount is 
half the overall Feedback. To o ffset the left feedback, turn 
the control left. To offset the  right feedback, turn the con-
trol right. The letter before the factor changes accordingly 
to “L” or 

“R”, indicating the delay you adjust. The control 
range is from L x 0.0 to L x 1.0 and R x 1.0 to R x 0.0. The 
mid position of the control sets a factor of 1.0, which is the 
neutral setting.
Filter Low
This allows you to attenuate the low frequencies of the de -
lays. The control range is  f
 rom 10 Hz to 1000 Hz.
Filter High
This allows you to attenuate the high frequencies of the 
delays. The control range is  from 1000 Hz to 20000 Hz.
Mix
This sets the ratio between the dry and wet signal. The 
control range is from 0% to 100%. At a setting of 100% 
the output signal is fully wet.
Studio EQ
This is a high-quality 4-band parametric equalizer. With 
the four frequency bands, 1 Low, 2 Mid, 3 Mid and 4 High, 
you can shape the tone color, for example, to create a 
brighter or darker sound. The two midrange bands act as 
peak filters, while the low and high bands act as shelving 
filters. All bands are fully para metric with adjustable Gain, 
Frequency and Q factor. 
						

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HALion Sonic
Each frequency band offers the following controls:
Control Description
Gain Use this to set the amount of  
 cut or boost for the accord-
ing band. The control range is -12 dB to +12 dB.
Freq This sets the frequency that  is cut or boosted by the 
Ga
 in. The control range is 20 Hz to 20000 Hz.
Q Q is short for quality factor. Use this 
 to adjust the band-
width of the midrange peak filters from wide to narrow. 
By in creasing the Q on the low and high shelving filters 
you can add a dip to their shape. The control range is 
from 0.5 to 10.0.
To adjust the settings of the equalizer:
• Use the equal
 izer controls, Gain, Freq, and Q and adjust 
them as desired.
• To
 adjust Gain and Freq simultaneously, drag the points 
in the EQ graph in the display to the left.
Graphic EQ
This equalizer has ten frequency bands that can be cut or 
boosted by up to 12dB. Each frequency band is repre -
sented by a fader. In addition, there are general controls 
for se
 tting the overall range and output of the equalizer.
To cut or boost the frequency bands:
• To
 cut a frequency band, drag the fader of the desired 
band down.
•To
 boost a frequency band, drag the fader of the de -
sired band up.
Output
This controls the overall output level of the equalizer. The 
control range is from -15 dB to +15 dB.
Range
This adjusts the maximum cut or boost in dB for all fre -
quency bands together. The control range is from 0.0 to 
12

.0.
Invert
Activate this to invert the EQ curve. The frequency bands 
that are boosted will be cut and vice versa.
Flatten
Click this button to reset all frequency bands to 0 dB.
Amplifier
This effect emulates the sound of an amplifier with speak -
ers. There are different amplifiers and speaker models you 
can combine.
Amp Model
Here you can select the type of amplifier. The sound char -
acter of the overdrive changes with the amplifier you se -
lect. To bypass the amplifier, select “No Amp”.
Speaker Model
Here you select the type of Speaker model. Each model 
colors the sound uniquely. To bypass the model, select 
“No Speaker”.
Drive
This adjusts the amount of overdrive. The control range is 
from 0.0 to 10.0.
Bass
Use this to adjust the tone color of the low frequencies. 
The control range is from 0.0 to 10.0.
Middle
Use this to adjust the tone color of the mid frequencies. 
The control range is from 0.0 to 10.0.
Treble
Use this to adjust the tone color of the high frequencies. 
The control range is from 0.0 to 10.0.
p 
						

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HALion Sonic
Presence
Use this to add brightness. The control range is from 0.0 
to 10.0.
Low Damp
Use this to attenuate low frequencies of the speakers. The 
control range is from 0% to 100%.
High Damp
Use this to attenuate high frequencies of the speakers. 
The control range is from 0% to 100%.
Channel Mode
Here you can define which output channels of the ampli-
fier delivers a distorted signal. You can set it to L (Left), R 
(Right) or L/R (Both). When set to L or R, the other chan
-
nel provides a clean signal.
Output
This controls the output level of the amplifier. The control 
range is from 0.0 to 20.0.
Chorus
The Chorus thickens and broadens the sound by means 
of pitch modulation.
Rate
Use this to specify the frequency of the pitch modulation 
in Hertz (Hz). The control range is from 0.01 Hz to 10.0 
Hz.
Sync
Sync is short for synchronization. Activate this to set the 
Rate in fractions of beats with the following values: 1/1, 
1/2, 1/4, 1/8, 1/16, 1/32, 1/1T, 1/2T, 1/4T, 1/8T, 1/16T, 
1/32T, 1/1D, 1/2D, 1/4D, 1/8D, 1/16D and 1/32D.
Depth
This sets the intensity of the pitch modulation. The control 
range is from 0% to 100%.
Phase
This widens the sound image of the effect from mono to 
stereo. The control range is from 0° to 180°.
Shape
This adjusts the characteristic of the modulation. The con-
trol range is from 0% to 100%. At a setting of 0% the 
pitch changes continuously, producing a steady modula
-
tion. At a setting of 100% the pitch does not change all 
the time, producing a less steady modulation.
Mix
This controls the mix between the dry and the wet signal. 
The control range is from 0% to 100%. At 100% you hear 
the wet signal only.
Flanger
A Flanger thickens and broadens the sound by means of 
pitch modulation. With Feedback you can add resonances 
allowing for jet-like sweeps of the sound.
Rate
Use this to specify the frequency of the pitch modulation 
in Hertz (Hz). The control range is from 0.01 Hz to 10.0 
Hz.
Sync
Sync is short for synchronization. Activate this to set the 
Rate in fractions of beats with the following values: 1/1, 
1/2, 1/4, 1/8, 1/16, 1/32, 1/1T, 1/2T, 1/4T, 1/8T, 1/16T, 
1/32T, 1/1D, 1/2D, 1/4D, 1/8D, 1/16D and 1/32D. 
						

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HALion Sonic
Depth
This sets the intensity of the pitch modulation. The control 
range is from 0% to 100%.
Phase
This widens the sound image of the effect from mono to 
stereo. The control range is from 0° to 180°. Phase also 
changes the characteristic of the Cross Feedback.
Shape
This adjusts the characteristic of the modulation. The con-
trol range is from 0% to 100%. You hear this best with 
Feedback turned on. At a setting of 0% the sound sweeps 
linearly up and down. At setting of 100% the sound 
sweeps exponentially up and down.
Mix
This controls the mix between the dry and the wet signal. 
The control range is from 0% to 100%. At 100% you hear 
the wet signal only.
Feedback
This adds resonances to the effect. The control range is 
from -100% to +100%.
Cross FB
This mixes the feedback of the left channel to the right 
channel and vice versa. To bring this parameter into effect, 
Feedback must be set to a value above 0%. The effect 
varies with the setting of the Phase parameter. The control 
range is from 0% to 100%.
Tone
This adjusts the tone color of the feedback. The control 
range is from 0% to 100%. The Feedback will be less 
bright the lower you set this parameter.
Phaser
A Phaser thickens and broadens the sound by means of 
phase modulation. With Feedback you can add reso
-
nances to sweep the sound.
Rate
Use this to specify the frequency of the phase modulation 
in Hertz (Hz). The control range is from 0.01 Hz to 10.0 
Hz.
Sync
Sync is short for synchronization. Activate this to set the 
Rate in fractions of beats with the following values: 1/1, 
1/2, 1/4, 1/8, 1/16, 1/32, 1/1T, 1/2T, 1/4T, 1/8T, 1/16T, 
1/32T, 1/1D, 1/2D, 1/4D, 1/8D, 1/16D and 1/32D.
Depth
This sets the intensity of the phase modulation. The con-
trol range is from 0% to 100%.
Shift
This shifts the phase modulation upwards to higher fre-
quencies of the spectrum. The control range is from 0% to 
100%.
Phase
This widens the sound image of the effect from mono to 
stereo. The control range is from 0° to 180°.
Low Cut
Use this to attenuate low frequencies. The control range is 
from 10 Hz to 1000 Hz.
High Cut
Use this to attenuate high frequencies. The control range 
is from 1200 Hz to 20000 Hz.