HALion Sonic 2 - Audio software STEINBERG - Free user manual and instructions

USER MANUAL HALion Sonic 2 STEINBERG

Simple red sun icon with a circular center and four triangular arms (no text or symbols)

HALION SONIC _2

Premier VST Workstation

English

Matthias Klag, Michael Ruf

Revision and quality control: Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Sabine Pfeifer, Benjamin Schütte

This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images.

The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use.

All product and company names are ^TM or ^ trademarks of their respective holders. For more information, please visit www.steinberg.net/trademarks.

Release Date: May 16, 2013

© Steinberg Media Technologies GmbH, 2013.

All rights reserved.

Table of Contents

6 Installation and setup

6 Welcome

6 Key Command Conventions

7 How You Can Reach Us

7 Installation

9 Setting Up

11 Introduction

11 HALion Sonic Overview

12 About Programs, Layers, Multis, Macro Pages, and Presets

15 Managing Your Sounds

15 Introduction

15 The Multi Program Rack

17 Managing Multis

19 Managing Files via the MediaBay

23 Setting Up a Multi Chain

25 Editing

25 Introduction

25 Editing Programs

29 Editing Layers

64 The FlexPhraser

69 User Phrases

73 Working with FlexPhraser Variations

74 Editing Drum and Loop Layers

82 Editing Instrument Layers

85 Expression Maps

87 Editing Insert Effects

88 Auron

88 Introduction

89 The Osc Page

90 The Mod Page

91 The Voice Page

93 The Filter Section

94 The Amp Section

94 The Arp Page

95 Trium

95 Introduction

96 The Osc Page

96 The Sub Page

98 The Amp Section

98 The Mod Page

99 The Arp Page

100 Voltage

100 Introduction

100 The Oscillator Section

101 The Filter Section

105 The Arp Page

106 Model C

106 Introduction

106 The Organ Page

108 The Rotary Page

108 The Amp Page

108 The FX Page

111 HALiotron

111 Introduction

111 The Main Page

112 The Filter Page

113 B-Box

113 Introduction

113 The Pattern Page

116 The Mix Page

120 World Instruments

120 Introduction

120 The Filter Section

121 The Amp Section

122 The Pitch/LFO/MW Sections

122 The Oriental Scale Section

123 The Arp Page

124 World Percussion

124 Introduction

128 MIDI Setup and Mixing

128 The MIDI Page

129 The Mix Page

131 Global Effects

131 Introduction

131 The Effects Page

133 Effects Reference

159 HALion 3 Legacy Effects

166 The Performance Section

166 Introduction

166 The Performance Controls

167 The Quick Controls

174 The Trigger Pads

177 Note Expression

177 Introduction

179 Global Functions and Settings
179 Introduction
179 The Plug-in Functions Section
182 The Options Page
187 The Controls in the Standalone Functions Section
192 MIDI Controllers
192 Using MIDI Controllers
196 Index

Welcome

Congratulations and thank you for purchasing Steinberg's premier VST workstation, HALion Sonic 2.

What is HALion Sonic? Conveying the workstation concept into the world of virtual instruments with the benefits of VST like flexibility and performance is the main thought behind HALion Sonic and makes it the perfect companion in any studio, on stage, and at home. The unique combination of extraordinary multi-timbral sample playback and synthesis audio engines, the superior VST 3 technology and the stunning ease of use lets HALion Sonic stand out in the field of virtual instruments. The excellent filters and effects, the world-class content library, the intuitive interface concept – HALion Sonic is always at the heart of your production.

Many feature requests and wishes have found their way into the second iteration of HALion Sonic. FlexPhrases can now be recorded and exported to your DAW and the new user phrase editor lets you program your own phrases and arpeggios directly in HALion Sonic. The presets management and browsing have been improved, offering a more convenient access to the vast number of new sounds. With more than 1,000 new presets and plenty of new instruments, the content library got a massive upgrade. All new instruments like the Model-C organ or the new synth section with Trium, Auron, and Voltage are equipped with dedicated interface skins to make control even more intuitive. Whether it is the comprehensive world library or B-Box, the new drum machine with included step sequencer – HALion Sonic 2 brings plenty of inspiring sounds for all tastes and situations.

All of the new instruments, features, and functionalities are described in detail in this manual. Please do not forget to register at MySteinberg in order to gain access to online support offers and additional exclusive services. And check out the HALion Sonic community at our online forum for tips and other useful information.

We wish you a lot of musical inspiration working with your brand-new workstation!

Key Command Conventions

Many of the default key commands in HALion Sonic use modifier keys, some of which are different depending on the operating system. For example, the default key command for Undo is [Ctrl]-[Z] on Windows and [Command]-[Z] on Mac OS X systems.

When key commands with modifier keys are described in this manual, they are shown with the Windows modifier key first:

[Win modifier key]/[Mac modifier key]-[key]

For example, [Ctrl]/[Command]-[Z] means "press [Ctrl] on Windows or [Command] on Mac OS X systems, then press [Z]".

Similarly, [Alt]/[Option]-[X] means "press [Alt] on Windows or [Option] on Mac OS X systems, then press [X]".

Please note that this manual often refers to right-clicking, for example, to open context menus. If you are using a Mac with a single-button mouse, hold down [Ctrl] and click.

How You Can Reach Us

Clicking the Steinberg logo in the top right corner of HALion Sonic opens a pop-up menu containing items for getting additional information and help:

• This menu contains links to various Steinberg web pages. Selecting a link automatically launches your browser application and opens the page.
  On the web pages, you can find support and compatibility information, answers to frequently asked questions, links for downloading new drivers, etc. This requires that you have a browser application installed on your computer and a working internet connection.
• When you choose the Help item, an online version of the documentation opens.
• You also find a menu item for the registration of your product.
  For further information, see "Register Your Software" on page 9.

Installation

⚠️ Please read the following section before installing HALion Sonic.

The USB-eLicenser

Many Steinberg products, including HALion Sonic, use the USB-eLicenser, a hardware copy protection device. HALion Sonic will not run without an eLicenser containing an activated license.

The USB-eLicenser is a separate product and is not included in the product package of HALion Sonic.

Close-up of a black plastic USB flash drive with a rounded body and handle (no visible text or symbols)

The USB-eLicenser is a USB device on which your Steinberg software licenses are stored. All hardware-protected Steinberg products use the same type of device, and you can store more than one license on one device. Also, licenses can (within certain limits) be transferred between USB-eLicensers. This is helpful if you want to sell a piece of software, for example.

The product package of HALion Sonic contains an activation code, which is found on the Essential Product License Information card within the product package. To make unlimited use of your version of HALion Sonic, you must manually download a license to an USB-eLicenser connected to your computer, and activate your permanent license using the activation code.

In the eLicenser Control Center you can activate new licenses and check which licenses are installed on your USB-eLicenser. After installation of HALion Sonic, the eLicenser Control Center can be opened via the Start menu on Windows systems or the Applications folder on a Mac.

If you are using other copy-protected Steinberg products, you may want to transfer all licenses for your applications to one USB-eLicenser, thus using up only one USB port of your computer. Please refer to the eLicenser Control Center Help for information on how to transfer licenses between USB-eLicensers.

System Requirements

Your computer must meet the following minimum requirements for the Windows and Mac versions of HALion Sonic:

Mac OS X Windows
Mac OS X Version 10.7/10.8*Intel dual-core processorCoreAudio-compatible audio hardwareVST 3 or AU-compatible host application for using HALion Sonic as a plug-in	Windows 7/Windows 8*Intel or AMD dual-core processorWindows-compatible audio hardware**VST 3 or VST 2-compatible host application for using HALion Sonic as a plug-in
4 GB RAM17 GB of free hard-disk spaceDisplay resolution of 1280 x 800 pixels recommendedDVD ROM dual-layer drive required for installationUSB port for USB-eLicenser (license management)Internet connection required for installation, activation, account setup, and personal/product registration.
*Native 32-bit and 64-bit program version.**ASIO compatible audio hardware recommended for low-latency performance.

Installing HALion Sonic

HALion Sonic provides a large amount of content and is distributed on a set of two DVDs. Please have all DVDs ready for the installation.

The HALion Sonic installer allows you to save the content files on a different hard drive than the program files.

Proceed as follows:

1. Insert the first DVD into your DVD drive.

An interactive Start Center appears. If it is does not open automatically or if you have a Macintosh computer, you can manually open it by double-clicking the file "HALion_Sonic_Start_Center.exe" (Windows) or "HALion Sonic Start Center.app" (Mac).

1. Follow the instructions on screen to start the installation of HALion Sonic and browse through the additional options and information presented.

If you do not want to install HALion Sonic via the interactive Start Center, follow the instructions below:

Windows

1. Double-click the file called "Setup.exe".
2. Follow the instructions on screen.

Macintosh

1. Double-click the file called "HALion Sonic.mpkg".
2. Follow the instructions on screen.

Register Your Software

We encourage you to register your software! By doing so you are entitled to technical support and kept aware of updates and other news regarding HALion Sonic.

- To register HALion Sonic, click the Steinberg logo in the top right corner of the control panel and select "Register HALion Sonic now!" from the pop-up menu. This option opens the registration page of the Steinberg web site in your web browser. To register, follow the instructions on screen.

Setting Up

The following sections describe how to use HALion Sonic as a plug-in in different host applications, or as a standalone instrument.

Setting Up HALion Sonic as a VST Instrument in Cubase

We assume that you have correctly set up Cubase as well as your MIDI and audio hardware, and that Cubase receives MIDI data from your external MIDI keyboard. If you want to use HALion Sonic in another VST host application, please refer to the documentation of the corresponding application.

Cubase provides two ways of working with VST instruments: the VST Instruments window and instrument tracks.

Accessing HALion Sonic via the VST Instruments Window

Proceed as follows:

1. Open the Devices menu in Cubase and select the VST Instruments option. The VST Instruments window opens.
2. Click one of the empty slots to open the instrument pop-up menu, and select HALion Sonic. You are asked whether you want to create an associated MIDI track connected to the VST instrument.
3. Click Create.

HALion Sonic is loaded and activated, and its control panel opens. A MIDI track called HALion Sonic is added to the track list. The output of this track is routed to HALion Sonic.

Accessing HALion Sonic via an Instrument Track

Proceed as follows:

1. On the Project menu, open the Add Track submenu, and select "Instrument". The Add Instrument Track dialog opens.
2. On the instrument pop-up menu, select HALion Sonic.
3. Click OK to create the instrument track.
4. Click the Edit Instrument button in the Cubase Inspector to open the HALion Sonic control panel.

HALion Sonic is now set up as a VST instrument in Cubase. For more details about the handling of VST instruments, see the Cubase Operation Manual.

Selecting Outputs

HALion Sonic loads with a stereo output configuration by default. However, you can use up to 15 additional outputs in Cubase. This allows you to route all 16 program slots to a dedicated Cubase Mixer channel.

To make these outputs available, proceed as follows:

1. Open the VST Instruments window.
2. Click the output button for the HALion Sonic instrument.
3. Activate the required outputs.

Cubase automatically creates a MIDI track for each additional output and adds a channel to its Mixer. You can now route HALion Sonic programs, layers, or drum instruments (slices) to these outputs for further signal processing within Cubase.

Using HALion Sonic in an AU Compatible Application

You can use HALion Sonic in an AU host application (e.g. Logic). The AU version of HALion Sonic is installed in your AU plug-ins folder and lets HALion Sonic work in an AU environment without any performance loss or incompatibilities.

For Logic Pro, proceed as follows:

1. Open the Track Mixer and select the instrument channel that you want to use.

2. Click in the I/O field, and open the AU Instruments submenu.

3. On the Steinberg submenu, open the HALion Sonic submenu and select one of the available channel configurations.

HALion Sonic is now loaded as an AU instrument.

HALion Sonic Standalone

HALion Sonic can be used as a standalone application, independently of any host application. In this case, you can connect HALion Sonic directly to your audio hardware. The controls specific to the standalone application are described in the section "The Controls in the Standalone Functions Section" on page 187.

HALion Sonic Overview

Standalone functions Plug-in functions Multi Program Rack HALION SONIC2 steinberg Toolbars Edit display Trigger pads Performance controllers Quick controls Sphere

The HALion Sonic interface follows a fixed size single-window concept and is subdivided into several sections:

- The Multi Program Rack on the left. See "The Multi Program Rack" on page 15.

- The Edit display with the Load, Edit, MIDI, Mix, Effects, Multi, and Options pages on the right. See the chapter "Editing" on page 25.

- The Performance section with the trigger pads, quick controls, performance controllers, and sphere control at the bottom of the application window. See "The Performance Section" on page 166.

- The Plug-in functions section at the top of the application window. See "The Plug-in Functions Section" on page 179.

- The toolbars above the Edit display. See "The Toolbars" on page 181.

- If you are using the standalone version of HALion Sonic, you will find a number of specific functions in an extra section at the top of the application window. See "The Controls in the Standalone Functions Section" on page 187.

HALion Sonic provides two view options: the full-size editor view and the smaller player view.

- Click the "p" button in the small toolbar below the Steinberg logo to switch to the player view. In the player view, only the plug-in functions, trigger pads, Quick Controls, and the performance controllers are visible.

The button now reads "e" – clicking it restores the editor view.

Player view

AI MIDI Ingers 001.1.1 MRB 18C5423 Analog 1 Volume HALION SONIC2 PIastic Dance KFR License and 11/6/2013 Main 440.0 Hz NO MI steinberg Startup Apt1 Apt2 Apt3 Apt4 Filter Cutoff Filter Resistance Filter Low Decay On 2 Waveform Sub On Level Ring Modulator Level Shall 10 High Gain Solar MHz

Integrated in HALion Sonic is the MediaBay, a feature of many Steinberg products. The MediaBay allows you to find and manage all sounds quickly. The MediaBay are available on the Load page and in the Load dialogs for layers, programs and multis, see "Managing Files via the MediaBay" on page 19.

When opening HALion Sonic for the first time, a program with several layers is already loaded. You can use a MIDI keyboard connected to your computer or the HALion Sonic on-screen keyboard to play a few notes, and explore the different pages of the Edit display.

About Programs, Layers, Multis, Macro Pages, and Presets

Programs

A HALion Sonic program is a complex instrument or sound that combines up to four so-called layers. Often, a program contains a single layer that already comes with all necessary components such as the synthesis part or insert effects. This is because a layer already is a complete sound structure on its own, see below. The program adds the possibility of combining different layers to build up even more complex sounds or to create combinations of sounds you want to load as a unit. A typical example would be a bass/piano split sound or a piano/string layer sound.

Because of the various layer types that come with HALion Sonic, these combinations can do a lot more. For example, think of combining a pulsating synthesizer sequence with a sliced loop completed by a bass on the lower keys and so on. Finally add some effects to individual layers or to the whole program and you will get a unique sound experience. You will find that the options are endless.

Multis

HALion Sonic is a multitimbral plug-in that can load up to 16 sounds (or programs), and combine them. This combination is called a "multi program", or multi for short. You can use multis, for example, to layer several programs or to create split sounds by setting several programs to the same MIDI input channel. However, the most common usage is to create sound sets with different instruments set to individual MIDI channels.

Layers

Programs are combinations of up to four layers. HALion Sonic provides five different layer types. You can choose between synth, sample, instrument, drums, and sliced loop layers. Each layer type is based on an individual sound architecture and has a dedicated editor.

Synth and Sample Layers

For synth and sample layers, you get access to a synthesizer editor with components such as a highly flexible filter section, powerful multi-stage envelopes, LFOs, a step modulator, and a modulation matrix. These layer types differ in their basic sound source. While a synth layer provides an oscillator section with three main oscillators, namely a sub oscillator, a noise generator, and a ring modulation stage, the sample layer loads a specific multi-sample instead.

Drum Layers

The drum layers load a multi-sampled drum set, where you can individually adjust the most important parameters for each drum instrument. Each drum instrument can be set to a specific pan position or an individual output, or it can be filtered, reversed, and so on.

Loop Layers

Loop layers load a sliced loop, which is a combination of a loop-specific MIDI phrase and the individual slices mapped across the keyboard. You can either play the original loop, a transposed version of it, or trigger single slices manually. Each slice can be modified with the same parameters as the drum instruments.

Instrument Layers

Instrument layers contain several multi-samples of an instrument that can be parts of single sounds or different articulations. These sublayers are called "expressions". You can modify expression parameters. By switching off an expression, you can shorten the load time of a sound.

Presets

You can save and load all types of sounds as presets, i.e., there can be multi, program, and layer presets.

Content Files and Folder Structure

HALion Sonic is supplied with a huge amount of ready-to-use sound content. This content, made up of hundreds of multis, programs, and layers, is write-protected. This means that you can edit files while they are loaded in HALion Sonic, but you cannot overwrite the factory content files themselves to make your changes permanent.

To save any edits to the factory content, you must save the files under a new name and to a predefined location. These files have the name extension ".vstpreset", and are referred to as "user content". You can categorize and search for them in the same way as with the factory content.

The user content is saved in a predefined folder structure on your hard disk (the exact path depends on your operating system), but you can create subfolders within this structure, to facilitate moving or exchanging content (see "Creating Subfolders for User-Defined Multis" on page 18).

VST Sound Instrument Sets and Macro Pages

VST Sound Instrument Sets from Steinberg provide additional content for VST instruments based on the HALion technology. They come with their own Edit pages, called Macro pages, that feature a customized look and a collection of controls that match the functions of the VST Sound Instrument Set. When you edit a program or layer of a certain VST Sound Instrument Set, the accompanying Macro page opens. For details on the functions and controls of a particular Macro page, please read the documentation that comes with the corresponding VST Sound Instrument Set.

Missing Content

There may be situations in which a content file becomes unavailable. The reason can be a closed encrypted partition or a detached removable hard drive, for example. In these cases, you will be prompted that a specific VST Sound Library cannot be found.

To access the content again, proceed as follows:

1. Click Ignore.
   HALion Sonic is loaded, containing the content that could be found.
2. Quit HALion Sonic.
3. Reattach the removable hard drive or reopen the encrypted partition.
4. Launch HALion Sonic.

If content files are missing for another reason (e.g. if you moved them onto another hard drive after installation, or if you have added a hard drive, thereby "shifting" the partitions), proceed as follows:

1. In the window with the message regarding the missing VST Sound Library, click Locate.
   file dialog opens, allowing you to choose a different file location.

2. Browse to the directory where the content is located.

3. Select the file and click Open.

All content files in this location become available.

- Click Remove if you do not want HALion Sonic to search for a particular file in the future.

You can activate the "Do not ask again" option if you want to ignore or remove all missing files at once.

Introduction

This chapter describes the basic functions of the Multi Program Rack and how to manage sounds with it. Furthermore, the Load page with the MediaBay is explained, and how to set up a multi chain via the Multi page.

The Multi Program Rack

Mute slot MIDI activity indicator Multi PROGRAM RACK 1 m 5 SONIC Dancer 2 m 5 3 m 5 Solo slot Load Program

The Multi Program Rack provides 16 slots, so that you can load up to 16 programs simultaneously. This is where you load programs, and create and manage your multi programs.

The Multi Program Rack is linked to the various pages of the Edit display: When the Edit page is open and you click individual slots in the Multi Program Rack, you can see the settings for each loaded program (see "Editing" on page 25). Additional slot parameters such as level, pan, MIDI channel, etc. can be found on the MIDI and Mix pages (see "The MIDI Page" on page 128 and "The Mix Page" on page 129).

There are several ways to load programs and layers into the Multi Program Rack:

• You can load programs and layers directly via the Multi Program Rack (see "Managing Programs via the Slot Context Menu" on page 16).
• On the Load page, you can use the HALion Sonic MediaBay to load programs and layers (see "Managing Files via the MediaBay" on page 19).
• You can use the program slot in the plug-in functions section to load a program (see "The Plug-in Functions Section" on page 179).

Loading Programs

Programs and layers can be dragged from the following locations to the Multi Program Rack:

• MediaBay of HALion, HALion Sonic or a Steinberg DAW
• Explorer (Win) or Finder (Mac)

Alternatively you can use the "Load Program" button at the right of the slot to load a new program. The following applies:

→ Programs containing lots of sample data may take some time to load.
When you click in an empty slot, the Load Program window is automatically opened.

Replacing Programs

You can replace the program in a slot by dragging another program or layer onto this slot.

Loading Layers into Slots

If you load a layer into a slot, HALion Sonic creates a new program.

Managing Programs via the Slot Context Menu

The slot context menu provides additional functions for managing programs. The following options are available:

Option Description

Load Programs	This option opens the “Load Program” dialog. Double-click a program or layer to load it into this slot.
Save Program This option saves the program. Please note that factory content cannot be overwritten. Instead, the “Save Program” dialog is opened and you can save the edited program under a new name.
Save Program As... This option opens the “Save Program” dialog where you can save the edited program under a new name.
Save All Programs...	This option opens the “Save Programs” dialog where you can save all programs as VST preset.
Remove Program	Select this option to remove the program from the slot.
Init Program	Select this option to load the Init program. This contains a neutral synth layer.
Revert to Last Saved Program	Select this option to discard any changes made to the program in the slot.
Cut Program	Select this option to copy the program and remove it from the slot.
Copy Program Select this option to copy the program without removing it.
Paste Program Select this option to paste the copied program into the slot. If the slot already contains a program, it is replaced.
Rename Program Select this option to enter a new name.
Reset Slot	Select this option to reset the slot to the default values.
Reset All Slots	Select this option to reset all slots to the default values.

⇒ You can also cut, copy, and paste programs from one instance of HALion Sonic to another.

Renaming Programs

You can rename a program via the context menu.

⇒ To make the program with its new name available in the MediaBay, you must save it.

Slot Controls

MIDI Activity Indicator

The slot number not only serves as a label but also indicates incoming MIDI data by lighting up.

Solo

Activate the Solo button of a slot in order to hear only the corresponding program. Several slots can be soloed at the same time.

Mute

Activate the Mute button to turn off playback of the program.

Managing Multis

Startup Multi Program Rack Load Multi-Program Save Multi-Program Remove Multi-Program

Multis can load multiple sounds or programs and combine them. You can use multis, for example, to layer several programs or to create split sounds by setting several programs to the same MIDI input channel. However, the most common usage is to create sound sets with different instruments set to individual MIDI channels.

A multi-program contains all plug-in parameters. When using HALion Sonic as a plug-in in Cubase or Nuendo, these multis are listed in the Preset Management pop-up menu of the host application. You can drag multis and programs from the Cubase or Nuendo MediaBay to a slot in HALion Sonic.

When using HALion Sonic as a plug-in in a different host application, you can use either the preset functionality from the host application, or the multi management features provided by HALion Sonic.

Loading Multis

• Open the Load page to show the MediaBay and double-click a multi, or drag and drop a multi onto the multi slot.
• Click the "Load Multi-Program" button in the multi slot to open the "Load Multi-Program" dialog, and double-click a multi or select it and click OK.

Loading Multis in a Host Application

When using HALion Sonic as a plug-in in Cubase or Nuendo, you will find the multis listed on the Preset Management pop-up menu of the host application. You can drag multis and programs from the Cubase or Nuendo MediaBay to a slot in HALion Sonic.

When using HALion Sonic as a plug-in in a different host application, you can use either the host's preset functionality, or the multi management features provided by HALion Sonic.

Removing Multis

- To remove all programs of the current multi, click the "Remove All Programs" button on the toolbar of the Slot Rack.

This also resets all slot parameters. However, AUX and Master effects are not removed.

Clearing the Plug-in Instance

To reset the entire HALion Sonic instance to an empty state, right-click the Multi Loader and select "Clear Plug-in Instance" from the context menu.

Saving Multis

Save HALion Sonic Multi Program Name Rating Category Last_Version Multi_Preset New Product Tags Attribute Value Author Bars & Deals Category Character Comment Content Summary GM Sound Key Keywords Library Manufacturer Library Name Name Mult_Preset Plugin Name Multiple Rating Signature Style Sub Category Sub Style Tempo Reset Name: Mult_Preset vstpreset OK Cancel

To save a multi, proceed as follows:

1. Click the "Save Multi-Program" button.

2. Enter the name of the multi.

3. Assign any attributes you require and click OK.

If the entered name already exists, the "Make Unique Name" option adds a number suffix to the name of the new multi.

If you enter a name that already exists in this location, a dialog opens asking you if you want to overwrite the existing file. If not, click Cancel to modify the name before saving, or click "Make Unique Name" to add a number suffix (-01,-02, ...) to the new multi's name.

Saving a Multi as Default

To specify a default multi to be loaded with each new HALion Sonic instance, right-click the Multi Loader and select "Save as Default" from the context menu.

Creating Subfolders for User-Defined Multis

You can create subfolders inside the user preset folder to organize presets.

- To create a new folder, click the "Create New Folder" icon at the top left of the "Save Multi-Program" dialog.

Navigating Through the Folder Hierarchy

You can move through the folder hierarchy using the three navigation buttons at the top left of the dialog.

They allow you to navigate to the previous or next browse location, or browse the containing folder.

Editing Attributes

In the "New Preset Tags" section on the right of the "Save Multi-Program" dialog you can edit the attribute values that are assigned to the preset.

1. To edit an attribute, click on a value field, and enter the new name or value.

2. Click OK to save the preset.

For further information about attributes, see "Editing Preset Attributes" on page 22.

Managing Files via the MediaBay

On the Load page in the Edit display, you will find the MediaBay. It gives you access to all HALion Sonic presets such as multis, programs, and layers.

All Instrument Sets Category Boss Brass Chromatic Porc DrumsPerc Ethnic GutacPucked Keyboard Muscat/FX Organ Theta Sub Category Clavi F. Piano Harpsichord Other Style Alternative/Inos Ambient/ClaI/Cul Blues Classical Country Electrical/Dance Experientenol Jazz Pop Dram/Aktel Character Acoustic Analog Attack Bright Clean Clear Cold Dark Decay Fluorid Name Rating Category Sub Category Chart Ambient Harpsichord *** Keyboard Harpsichord Poly+ Baroque Harpsichord *** Keyboard Harpsichord Poly+ Concert Harpsi Sft A + 4tt *** Keyboard Harpsichord Acouy Harpsichord Key Switch *** Keyboard Harpsichord Acouy Harpsichord Room *** Keyboard Harpsichord Poly+

The Load page with the integrated MediaBay is divided into two sections. In the top section you can define which kind of sounds you want to look for. The lower section presents the corresponding results list. You can drag the divider at the top of the results list to adjust the size of the two sections.

Loading Programs Into Slots

To load a program into one of the slots of the Multi Program Rack, you have the following possibilities:

• Select the slot into which you want to load the program and double-click the program in the results list.
• Drag the program from the results list and drop it to a slot.
• Right-click the program and select "Load Program into selected Slot" from the context menu.

When you reopen the Load Program window via a slot that already has a program loaded into it, the Category and Sub Category filters will automatically be set to match those of the current program. This makes it easy to exchange sounds with similar ones, without having to readjust the search filter settings. Of course, you can still modify your search or reset it completely to see all available programs.

Importing Presets

You can import existing program presets from any file location using the Explorer (Win) or Finder (Mac). To import presets, proceed as follows:

1. Select the preset in the Explorer/Finder.
2. Drag it to the MediaBay.

The imported presets are copied to your user folder.

Deleting Presets

- To delete a user preset, right-click it and select "Delete".

Factory presets cannot be deleted.

Applying Filters

Category Filter

You can filter the results list based on up to four filter criteria using the configurable attribute columns.

Standard attributes are Category, Sub Category, Style, and Character. By clicking on specific values in the columns, you define the filter. Only the files that match the selected values are displayed in the results list. Select more values from other columns to refine the filter.

- To select different filter criteria, click the column header, and select a different attribute from the submenu.

Instrument Set Filter

All Instrument Sets Category Sub Bass Clavi Select Content Set Style Brass E. Piano Alternative/In Chromatic Perc Harpsichord Bues

To select a particular instrument set for your search, proceed as follows:

1. Click in the Instrument Set field at the top of the MediaBay section to open the Instrument Set selector.

All installed instrument sets are listed.

1. Select an instrument set.

- To search sounds across all installed instrument sets, select "All Instrument Sets".

Using the Results List

The results list shows all files that have been found according to the category filter.

View Filters

The toolbar of the results list has three filter buttons to define which preset types are displayed. Presets can be multis, programs, and layers. To show a preset, activate the corresponding icon. In the results list, the corresponding icon is shown to the left of the preset name.

Columns

The columns of the results list show all the attribute values for the presets that match the filters that you set up in the top section.

You can reorder the columns in the results list by dragging the table headers to another position. Furthermore, you can use the column headers to change the sorting of the list entries. The triangle in the column header shows the sorting direction.

Setting Up the Result Columns

You can select which attribute columns are displayed, by clicking the "Set up Result Columns" button on the toolbar of the results list. The attributes that you choose are added at the right of the list.

Rating Filter

You can limit the results list to presets that have a certain rating. The rating slider allows you to define the minimum rating.

Text Search

In the text search field on the results list toolbar you can enter text contained in the name or any of the attributes of a preset that you are looking for. The results list updates immediately and the Category search section above shows all categories that contain presets matching the text search.

Resetting the Result Filter

- To reset the text-based result filter, click the Reset button to the left of the search field.

Content Filter

The content filter buttons allow you to define whether you want to see all presets, only the factory presets, or only your user presets.

The Results Counter

The number of presets that match the filter criteria is displayed at the far right of the results list toolbar.

Using the Context Menu of the Results List

The context menu of the results list offers additional options for managing the selected presets. The following options are available for factory and user presets:

Options Description

Load Program into selected Slots/ Load Multi-Program This loads the highlighted preset.

Select All This selects all presets in the results list.

Select None This cancels any selection.

The following options are available for user presets only:

Options Description

Copy This copies the selected presets to the clipboard. This way, you can paste them at a different location using the file browser of your OS.

Rename This opens a dialog for renaming the highlighted preset.

Delete This moves the selected presets to the trash bin of your operating system.

Options Description

Show in Explorer/ Reveal in Finder	This shows the preset in the file browser of your operating system.
Set or remove Write Protection	This sets or removes the write protection for the selected presets.

Programs from the HALion Sonic factory content are write-protected and cannot be deleted or renamed.

Editing Preset Attributes

Each preset can be described using a predefined set of attributes. These attributes can be set directly in the results list or in the section "New Preset Attributes" of the Save dialog.

1. Click in the field of the attribute value that you want to set.

Depending on the attribute, a menu or a dialog opens.

1. Select a value.

Attribute values are written directly into the corresponding preset files. However, this is not possible for write protected factory content. In this case, the data is saved within HALion Sonic's MediaBay database.

Attributes

Attribute values can be set directly in the results list or the Save dialog. The following table shows how to edit the various attribute values:

Attribute type Attribute Editing method

Media
	Name Display only.
	Rating Drag to set the rating.
	Comment Click to select, double-click to edit.
	Content Summary Click to select, double-click to edit.
	Write Protection Display only, use context menu to set protection.
	Library Name Click to select, double-click to edit.
	Library Manufacturer Click to select, double-click to edit.
	Author Click to select, double-click to edit.
Musical
	Category Click to select.
	Sub Category Click to select.
	Style Click to select.
	Sub Style Click to select.
	Character Click to open an editor dialog.
	Tempo Click to select, double-click to edit.
	Bars & Beats Click to select, double-click to edit.
	Signature Click to select, double-click to edit.
	Key Click to select.
	GM Sound Click to select.

Setting the Character Values

Character attribute values can be set via a dedicated editor. This editor provides a list of values that describe the character of a sound.

Edit Character Mono Poly Clean Distorted Percestric Soft Split Layer Dry Processed Fast Slow Glide Glissando Harmellic Discount Short Long Major Minor Clear Noisy Attack Release Single Ensemble Thin Rich Decay Sustain Acoustic Electric Dark Bright FastAttack Slow Attack Analog Digital Cold Warm Short Release Long Release Vintage Modern Metallic Wooden Static Morning Old New Glass Plastic Loop One Shut Acoustic + Clean + Bright + Warm OK Cancel

Setting Up a Multi Chain

HALion Sonic comes with a special multi chain feature which allows you to set up a list of 128 multis. This is done on the Multi page of the Edit display.

Load Edit MIDI Mix Effects Multi Options On Level Pan Latin Groove around No Multi 000 Funky World Around 001 Groovy 80s Disco Fun 002 Latin Groove around 003 RockNRoll meets Funky 004 Summer Steel String Venue 005 Techno Joe 006 Piano Strings & Tenor Solo 007 Multi FX Split 008 Suit Patch and Lead 009 TW 61Key Jazzy Organ Split 010 Upright & Piano 011 Modern Jazz Quartet 012 String Quartet 013 Blues Combo 014 015 016 017

The list of multis in your chain is displayed on the right. When you select a multi in this list, its name is displayed in the field above the list, and the corresponding programs are displayed in the list on the left.

You can step through the multis manually or via MIDI control changes. This feature is particularly useful when performing live on stage. It allows you to set up a list of sounds that follows the order of their appearance during your performance, for example.

- To load an existing multi chain, use the preset controls in the top right corner of the Multi page.

To set up a multi chain, proceed as follows:

1. Open the Multi page, and in the list on the right, click the down arrow button of a list entry to open the Load Multi-Program dialog.

2. Select a multi and click OK.

3. Repeat the same procedure for all multis that you want to be part of the list.

You can now step through the list by clicking the left (Load Previous Multi) and right (Load Next Multi) arrow buttons, or select a particular list entry with the mouse to load the corresponding multi. In addition, you can also assign arbitrary MIDI controllers to remotely control the Previous and Next buttons with a hardware controller (see "Assigning MIDI Controllers to the Previous/Next Buttons" on page 24).

Changing the Order of the Chain

You can rearrange the order of the chain by dragging an entry to a new position in the list.

Clearing the Chain

To remove all entries from the multi chain list, proceed as follows:

1. Click the down arrow button in the name display.
2. Select "Clear Multi Chain".

Removing a Multi From the Chain

To remove a single multi from the multi chain list, proceed as follows:

1. Click the down arrow button in the name display.
2. Select "Remove Selected Multi".

Assigning MIDI Controllers to the Previous/Next Buttons

For switching through the multi chain, you can also use MIDI controllers, such as a knob, a fader or the modulation wheel. To enable this function, you have to assign the controller first.

1. Right-click the Load Previous Multi or the Load Next Multi button.
2. From the context menu, select "Learn CC".
3. On your hardware controller, use a control of your choice. Repeat the steps above for the other button.

You can use either the same MIDI controller for both Load Previous Multi and Load Next Multi, or one controller for Previous and another controller for Next.

The following applies:

• When the same MIDI controller is assigned to both buttons, the Load Next Multi command is triggered by the transition from the center position to the upper range of the control, and the Load Previous Multi command by the transition from the center position to the lower range of the control.
• When you are using two different MIDI controllers, any transition from the lower to the upper range of the respective control will trigger the Load Previous Multi command or the Load Next Multi command.
• To remove an assigned MIDI controller, right-click the button and select "Forget CC".

Switchching Multis Using Control Change Messages

If "Multi Mode" is selected on the Program Change pop-up menu on the Options page, you can use Program Change messages to switch between the multis.

Introduction

All editing of programs and layers is done via the Edit page of the Edit display. The Edit display is a multipurpose display that shows various editor views depending on the selected page and slot. Seven different editors can be opened with the "Show page" buttons above the Edit display. These pages are the Load (see "Managing Files via the MediaBay" on page 19), Edit (see below), MIDI (see "The MIDI Page" on page 128), Mix (see "The Mix Page" on page 129), Effects (see "Global Effects" on page 131), Multi (see "Setting Up a Multi Chain" on page 23) and the Options page (see "The Options Page" on page 182).

Editing Programs

The Edit page is where you edit your program, load different layers for a program, and edit the layers. 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 be routed freely to one of the 16 plug-in outputs. HALion Sonic 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, proceed as follows:

1. Select the program you want to edit in the Multi Program Rack.
2. Click Edit to open the Edit page.
3. Click the Program button at the top of the Edit page. The Program subpage is shown on the Edit page.

Load Edit Multi Mix Effects Multi Options Program L1 Inserts Love song 2 On M S RealP Layer Level Pan FX1 FX2 FX3 FX4 Output Urban 26 - 90 Layer 2 Layer 3 Layer 4 FlexP Ramps QC NoteExp Poly Octate Coarse Fine Low Key Key Val Ctrl High key 128 0 0 6 C-2 G S 128 0 0 6 C-2 G S 128 0 0 6 C-2 G S 128 0 0 6 C-2 G S

The Program page is divided into two sections. The section at the top is used to load and save layers, and to set up the mix parameters such as level, pan and FX sends. The bottom section is used to display layer ranges, program FlexPhraser editors, quick control assignments or Note Expression parameters.

The Program Page

The top section of the Program page serves for loading and setting up up to four layers for a program. It contains the following parameters:

On

The On button is used to turn layers on or off. When switched off, layers do not use any processing power. They are still loaded but do not receive MIDI anymore.

Mute

Activate the Mute button to silence a layer. The layer remains loaded and continues to be processed. Therefore, it can be unmuted smoothly at any time.

Solo

Activate the Solo button in order to hear only the corresponding layer. You can also activate multiple Solo buttons.

At the top right of the Edit display, next to the name of the currently loaded program or layer, additional global Mute and Solo buttons are available. With the Program page opened, the buttons refer to the program. With one of the Layer pages opened, use these to mute or solo the selected layer without switching to the Program page.

FlexPhraser

This button activates the FlexPhraser of a layer. You find the FlexPhraser editor on the corresponding layer editor page.

⇒ This button is only available for layers that support the FlexPhraser functionality.

Layer Slots

Here you can load up to four layers for a program. The loading of the layers corresponds to the loading of programs into the slots of the Multi Program Rack, see "Loading Programs" on page 15. You can rename a layer in the same way as a program. Furthermore, the layers slots provide a layer context menu with the following options:

Option Description

Load Layer This option opens the Load Layer dialog. Select a layer and click OK to load it into this slot.

Save Layer This option saves the layer in this slot with the current settings, under the same name. For write-protected content, the Save Layer dialog opens, in which you can save the edited layer under a new name.

Save Layer As... This option opens the Save Layer dialog in which you can save the edited layer under a new name.

Remove Layer Select this option to remove the layer from this slot.

Init Layer Select this option to load a neutral synth layer.

Copy Layer This option copies the layer that is loaded into the slot.

Paste Layer This option pastes the copied layer into the current slot.

Level

Here you can adjust the loudness of the layer.

Pan

Here you can set the position of the layer in the stereo panorama.

FX1-4 Send Levels

These four sliders adjust the send levels for the global AUX FX busses for each layer separately.

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 output or one of the 15 individual plug-in outputs instead.

The FlexPhraser Subpage

For detailed information about the FlexPhraser functions, see “The FlexPhraser” on page 64.

The Ranges Subpage

FlewP Range QC NoteUp Poly Octave Cearse Fine Low Key Key Vel Ctrl High Key 128 0 0 9 C-2 G 8

The layer Ranges subpage contains the following parameters:

Poly

This setting is used to specify how many notes can be played at the same time.

Unlike 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 has no effect.

Octave

You can shift the octave of a layer by ±4 octaves.

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)

Poly Octave Coarse Fine Low Key Key Vol Ctrl High Key 128 0 0 0 C-Z G 8

Each layer can be limited to a certain key range. You can set the range with the Low Key and High Key values or by dragging the keyboard range control at its ends. When you click and drag towards the middle of the keyboard, both values are moved at the same time. As an additional option, you can use the MIDI input to set the range. Simply click in the value field and play the note.

To set the key range:

1. On the Ranges subpage, click the Key button.

The key range options are shown on the subpage.

1. On the layer that you want to use, set the key range with the keyboard range controls and/or Low Key/High Key value fields.

Velocity Range (Low Vel, High Vel)

Poly Octave Coarse White Low Vol Ksp Vst Crvl High Vol 128 0 0 0 0 0 0 1 127

Each layer can be limited to a certain velocity range. You can set the range with the Low Vel and High Vel values or by dragging the graphical velocity range control at its ends. When you click and drag towards the middle of the velocity range control, both values are moved at the same time.

To adjust the velocity range, proceed as follows:

1. On the Ranges subpage, click the Vel button.

The velocity range options are shown on the subpage.

1. On the layer that you want to use, set the velocity range with the velocity range control and/or Low Vel/High Vel value fields.

Controller Filter

You can separately filter out the most commonly used MIDI controllers for each layer. For example, when you set up a program with a keyboard split, e. g., a bass and a pad, both layers receive the same MIDI controllers. However, you usually do not want the bass to receive the sustain pedal. To avoid that all layers in the program receive the same MIDI controllers, use the controller filter.

To filter out the most commonly used MIDI controllers:

1. On the Ranges subpage, click the Ctrl button.

2. On the layer that you want to use, click the button for the MIDI controller that you want to filter out.

The following MIDI controllers and messages can be filtered out: Sustain #64, Foot Controller #4, Foot Switches #65–69, Pitchbend, Modulation Wheel #1 and Aftertouch.

The Quick Controls Subpage

Here you can make settings for the quick controls in the performance section of the HALion Sonic window. For more information, see "The Quick Controls" on page 167.

The NoteExp Subpage

Note Expression is Steinberg's key technology for creating realistic instrument performances. For more information, see "Note Expression" on page 177.

Editing Layers

A program contains up to four layers. Each layer can be edited separately. The available parameters vary depending on the type of the selected layer (sample, synth, drum, loop, or instrument layer).

Load Edit HOTI Find Effects Find Options Program LC Inserts Digi Voice Mod Search Pitch Filter Amplifier Mouse Polyphony Trigger Mode Normal Value Mode Last Note Priority Key-on Order Sync Resistor 125 Key Poly 4.0 Low Amp Min Low Names 0 ns Unison Voice Gesture Pan Delay Stride Time Sync Mode Constant Time Cune Linear 2 0 cord 0 % 0 ms Fingmed 100 ms Flush P F A U P3 P2 M3 M4 Height Magnitude QC Act User Photor Alternate 1 ESOff Rec Loop Hold Trigger Mode Immediately Restart Mode Off Key Mode Sort Set Mode Original Sync: Multi-scale Swing Gaze Scale at Scale Octaves Low Key High Key C-2 0 B Water: Tempo scale 176 8.0 % 100.0 % 100.0 % 0 0 127

To edit a layer, proceed as follows:

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. Select the Layer Page button of the layer you want to edit, i.e., Layer 1, Layer 2, Layer 3, or Layer 4.

Depending on the layer type, the corresponding editor (synth, sample, instrument, drum or loop editor) opens.

Accessing the Parameters of Layers

The layer editor is divided into two sections, displaying the different parameters of the layer.

To access the parameters of a layer, proceed as follows:

1. Select the layer you want to edit.

2. Click the page button for the parameter (such as Pitch, Filter, Amp, etc.) that you want to access.

The corresponding subpage opens.

The Voice Subpage

Load Edit HOLD Max Effects Multi Options Program 1.1 Inserts Middleman Voice Pitch Oscillator Filter Amplifier Mono Polyphony Trigger Mode Resume Voice Mode Last Note Priority Retrigger 18 Key Poly 4 Low Amp Min Low Notes 0 Key-on Delay Sync 0 ms Unison Vaccles Dertone Plan Delay Guide Time Sync Mode Constant Time Curve Linear 2 5 cent 9% 0 ms Fingered 1 ms

The Voice subpage 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 also configure the Unison feature and set the Glide parameter. In addition, there is a Key On Delay control to delay the notes you play.

The Voice subpage contains the following parameters:

Mono

Here you can switch between monophonic and polyphonic 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 number of notes specified by the Polyphony setting.

Retrigger

This option is only available if Mono is activated. It allows the retriggering of a stolen note. When Mono and Retrigger are activated, a note that has been stolen by another 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.

If the program has a smaller value for polyphony than the contained layers, the maximum number of notes you can play will be limited by the setting of the program.

Key Poly

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.

Key Polyphony works within the limits of the Polyphony setting. The lower of the two settings is 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.

Min Low Notes

Here you can specify a number of low notes that are prioritized. For example, set the value to four if you want to preserve always the four lowest notes. The note stealing will then affect notes from the fifth note on. Make sure that the polyphony of the program is high enough for your specific Min Low Notes setting and allows to play additional higher notes.

Trigger Mode

To avoid discontinuities during playback of envelopes and samples, you can select one of three different characteristics for triggering notes:

Trigger Mode Description

Normal	This mode 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.
Resume This mode	does not trigger a completely new note: If the new note stays within the same sample zone, the envelopes retrigger 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.

Trigger Mode Description

Legato This mode does not trigger a completely new note: If the new note plays within the same sample zone, the envelopes 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 during playback and whether 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 playing. You can select one of the following Voice Modes:

Voice mode Description

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 and still hold the first played notes, no notes will be stolen. 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 playing a note higher than those already playing, no note will be stolen and no new note will be triggered.If you exceed the maximum number of notes playing a note below those already playing, the highest note will be stolen 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 playing a note below those already playing, no note will be stolen and no new note will be triggered.If you exceed the maximum number of notes playing a note higher than those already playing, the lowest note will be stolen and the new note will be triggered.
Steal 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.
Steal 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 instead.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 maximum number of notes, the first played notes will be stolen in their chronological order to make space for the last played notes.

Key On Delay

With this feature you can delay the playback of the layer by an adjustable time or a note value.

When you play a note, the playback of the layer will be delayed by the time or note value that you have set with this parameter. With Sync deactivated, the delay is specified in milliseconds. With Sync activated, the delay is specified in fractions of beats.

• Set the Key On Delay time with the rotary encoder or by double-clicking in the value field below the rotary encoder and entering a value.
• To synchronize the delay time to the host tempo, activate the Sync button and select a note value from the pop-up menu.
  To change the selected note value to a triplet, activate the "T" button.

Unison

Unison allows you to trigger multiple voices simultaneously with each note you play. When you activate the Unison option, the following parameters become available:

Option Description

Voices By default, Voices has a value of 2. Setting higher values increases the number of voices being triggered simultaneously. For a richer sound, adjust the Detune, Pan and Delay parameters accordingly. Up to 8 voices can be used.
Detune Use this to detune the pitch of each unison voice by the amount specified in cents. Detuning the pitch of the voices results in a fatter sound.
Pan	Use this to spread the unison voices across the stereo panorama. 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. With a value of 0 % all unison voices will be triggered 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 especially useful to avoid comb filter effects with two or more slightly detuned samples, which would occur if you played them back at exactly the same time.

Glide

You can use Glide to bend the pitch between notes that follow each other. You achieve the best results with Mono mode enabled. However, Glide also works polyphonically.

When you activate the Glide option, the following parameters become available:

Option Description

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.
Sync	To synchronize the delay time to the host tempo, activate this option and select a note value from the pop-up menu. To change the selected note value to a triplet, activate the “T” button.
Mode Here you can specify whether the Glide Time is constant and independent from the note interval (Constant Time) or if the time changes with the note interval (Constant Speed). In the latter case larger intervals result in longer glide times.

Option Description

Curve You can select one of three curves to define the glide behavior:

With the Linear curve, the pitch glides at continuous speed from the start to the end pitch. With the Exponential curve, the pitch starts gliding at higher speed and decelerates towards the end pitch. For example, this behavior is more similar to the natural pitch glide produced by a singer. With the Quantized curve, the pitch glides in semitones from the start to the end pitch.

Fingered Activate Fingered to glide the pitch only between notes played legato.

⇒ If you use Cutoff, Amplitude and Pan Key Follow, the cutoff, amplitude and pan also change with the Glide effect.

The Pitch Subpage

Load Edit MIDI Mix Effects Multi Options Program Insert Middleman Voice Pitch Oscillator Filter Amplifier Pitchend Up Octave Coarse Fine Env Amnt Random Key Follow Center key +5 Down -1 oct 0 semi 0 cent 0.00 semi 0.00 % 100 %

The Pitch subpage of synth and sample layers 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 randomly with each keystroke. Furthermore, you can set the pitchbend range for the up and down direction of the pitchbend wheel separately.

The Pitch subpage contains the following parameters:

Pitchbend

Here you can set the range of the pitch modulation when moving the pitchbend wheel up or down.

Octave

Here you can adjust the pitch in octave steps.

Coarse

Here you can adjust the pitch in semitone steps.

Fine

This parameter tunes the pitch in hundredths of a semitone (cents).

Env Amnt (Envelope Amount)

This parameter determines how much the pitch is affected by the Pitch Envelope.

Random

This parameter allows you to offset the pitch with each played note randomly. Higher values cause stronger variations. At a setting of 100 %, the random offsets can vary from -6 to +6 semitones.

Key Follow

Here you can adjust the pitch modulation from MIDI note number. 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. At a setting of +100 %, the pitch follows the played note exactly.

Center Key

This parameter determines the MIDI note that is used as the central position for the Key Follow function.

The Oscillator Subpage

Load Edit MIDI Mix Effects Multi Options Program 1.1 Inserts Middlomer Voice Patch Displator Filter Amplifier OSC 1 Waveform OSC 2 Waveform OSC 3 Waveform SUB RING NOISE OSC 1 50.00 44.50 50.00 OSC 2 MOXC Level MOXC Level MOXC Level Level Level Oct -1 Oct -1 Oct 0 Crs 0 Crs 0 Fine -5 Fine 5 Fine 81% Fine 81% Fine 0 68% 0% 0% 0%

The Oscillator subpage of the synth layer offers six sound sources: three main oscillators, the sub oscillator, 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 Amplifier sections for further sound shaping.

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).

- Activate the oscillators by clicking their On/Off buttons.

Make sure to switch off the oscillators when the function is not needed. When activated, they use CPU cycles even if they are not heard, such as in a situation where the level is set to 0 %.

Multi-Oscillator Mode

For the three main synth oscillators, you can activate the Multi-Oscillator mode. This mode allows you to create a richer sound by producing up to 8 oscillators simultaneously. The effect is similar to the Unison mode for the zone, but it requires less performance.

- To activate Multi-Oscillator mode, activate the MOsc button.

When Multi-Oscillator mode is activated, you can click the edit button to show the corresponding parameters.

The following parameters are available:

Parameter Description

No.

Determines the number of oscillators that play back simultaneously. You can also set fractions of numbers. For example, with a setting of 2.5, you hear two oscillators at full level and a third one at half level.

Parameter Description

Det Detunes the oscillators.

Spr Narrows or widens the stereo panorama. With a setting of 0%, you create a mono signal, and with 100%, you create a stereo signal.

Editing the Parameters in the Modulation Matrix

When Multi-Oscillator Mode is active for an oscillator, you can modulate the corresponding parameters in the modulation matrix.

1. In the modulation matrix, open the Modulation Destinations pop-up menu.
2. On the Synth submenu, select the destination that you want to edit.
3. Set up the Modulation Source and Depth parameters.

OSC 1/2/3 Type

OSC I Waveform Sync 50.00 Sine Triangle Saw Square PWM Sine Sync Triangle Sync Saw Sync Square Sync Sine CM Triangle CM Saw CM Square CM Sine XOR Triangle XOR Saw XOR Square XOR

The Oscillator Type defines the basic sound character of the oscillator. The pop-up menu first lists the wave shapes (Sine, Triangle, Saw or Square), followed by the type of algorithm (PWM, Sync, CM or XOR). The combination of waveform and algorithm controls how the oscillator sounds.

The following algorithms are available:

Algorithm Description

PWM

PWM (pulse width modulation) is only supported by the square wave shape. The waveform parameter sets the ratio between the high and low of the square wave. A setting of 50 % produces a pure square wave. With settings below or above 50 % the oscillator produces rectangular waves.

Sync

This algorithm provides different hard-sync oscillators where each is a combination of a master and slave oscillator. The wave shape of the slave oscillator (Sine, Triangle, Saw or Square) is reset with each full wave cycle of the master oscillator. This means that a single oscillator can already produce a rich sync-sound without utilizing other oscillators as slave or master. The waveform parameter adjusts the pitch of the slave oscillator producing the typical sync-sound.

Algorithm Description

CM(Cross Modulation)

This algorithm provides a combination of two oscillators where a master oscillator is modulating the pitch of a slave oscillator (Sine, Triangle, Saw or Square) at audio rate. The waveform parameter adjusts the pitch ratio between slave and master oscillator resulting in a sound close to frequency modulation.

XOR

This algorithm compares two square waveforms with an XOR (exclusive or) operation. Depending on the outcome of the XOR operation, the wave shape of a third oscillator (Sine, Triangle, Saw or Square) is reset. The waveform parameter adjusts the pitch ratio of the square oscillators resulting in a sound close to ring modulation of the third oscillator.

Except for PWM, all algorithms support the Sine, Triangle, Saw and Square wave shapes. PWM supports Square wave only.

To select an oscillator type, proceed as follows:

1. In the OSC1, OSC2 or OSC3 section, click the icon that indicates the wave shape.

A pop-up menu opens.

1. From the menu, select the oscillator type to set the wave shape and algorithm you want to use.

The waveform parameters for OSC1, OSC2 and OSC3 can be assigned as modulation destinations in the modulation matrix.

OSC 1/2/3 Waveform

The waveform parameter allows you to modify the sound of the oscillator algorithm. Its effect depends on the selected oscillator type (see above for details).

OSC 1/2/3 Octave (Oct)

Here you can adjust the pitch in octave steps.

OSC 1/2/3 Coarse (Crs)

Here you can adjust the pitch in semitone steps.

OSC 1/2/3 Fine

This parameter tunes the pitch in hundredths of a semitone (cents).

OSC 1/2/3 Level

This adjusts the output level of the oscillator.

⇒ The waveform, pitch and level of oscillator 1, 2, and 3 can be modulated separately in the modulation matrix.

Sub Oscillator (SUB)

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 follows.

- To activate and deactivate the sub oscillator, click its On/Off button.

⇒ Make sure that you switch off the sub oscillator when the function is not needed. When kept on, it uses CPU cycles even if they are not heard, such as in a situation where the level is set to 0 %.

The following parameters are available:

Parameter Description

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 Oscillator Level	This adjusts the output level of the sub oscillator.

Ring Modulation (RING)

Ring modulation produces the sums and the differences between the frequencies of two signals.

- To activate the ring modulation, click the On/Off button.

⇒ Make sure to switch off 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 is set to 0 %.

The following parameters are available:

Parameter Description

Ring Modulation Source 1/2	This allows you to select the sources that will be ring modulated. You can select OSC1 or Sub as Source 1 and OSC2 or OSC3 as Source 2. Make sure the corresponding oscillators are activated when you select them. Otherwise, you will not hear any sound.
Ring Modulation Level	This adjusts the output level of the Ring Modulation.

Noise

Noise is used for non-pitched sounds. In addition to standard white and pink noise, there are also band pass filtered (BPF) versions of white and pink noises.

- To activate the noise generator, click its On/Off button.

Please 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 situation where the level is set to 0% .

The following parameters are available:

Parameter Description

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 Sub Level, Ring Modulation Level and Noise Level can be modulated separately in the modulation matrix (see “The Modulation Matrix Subpage” on page 57).

The Filter Subpage

Load Edit MIDI Mix Effects Multi Options Program 1.1 1.2 1.3 1.4 Inserts Voice Pitch Oscillator Filter Amplifier Middleman Filter Type Cassic Morph X 0 % Morph Y 0 % Filter Shape D LP24 C LP24 B LP24 A LP24 Morph Y Morph X Cutoff 604 Hz Recontrast 54 % Cohort: 0 % Non-Offset 0 % Velocity 6 % Env Amnt 7 % Key Follow 20 % Center Key C 3

The Filter subpage 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 the 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 because filters without distortion use less CPU cycles. With the filter mode buttons you can configure the filter section as a single filter, two filters in parallel or serial connection, or as a morphing filter that allows you to blend between up to four different filter shapes.

In general, filters are identified by their pass-band and amount of 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 cutoff frequency. Other typical filter types are high-pass, band-pass and band-reject. Another type of filter is called all-pass. As its name suggests, it does not attenuate frequencies. 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.

Filter Type

By selecting the filter type you specify the basic sound character of the filter. HALion Sonic offers up to 24 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 needed for your sound and/or when you want to save CPU cycles.
Classic	This filter type offers 24 filter shapes with resonance.
Tube Drive	This filter type offers a lot of character by adding warm, tube-like distortion. You can set the amount of tube drive with the Distortion parameter.
Hard Clip	This filter type adds bright, transistor-like distortion. You can set the amount of hard clipping with the Distortion parameter.
Bit Red	This filter type adds digital distortion by means of quantization noise. You can adjust the bit reduction with the Distortion parameter.
Rate Red This filter type adds digital distortion by means of aliasing. You can adjust the rate reduction with the Distortion parameter.
Rate Red KF This filter type adds digital distortion by means of aliasing. You can adjust the rate reduction with the Distortion parameter. In addition, the rate reduction follows the keyboard, i. e., the higher you play the higher the sample rate will be and vice versa.

Filter Mode

With the buttons on the left of the Filter subpage you determine the overall filter structure. The filter types Classic and Tube Drive provide the following options:

Filter mode Description

Single Filter This mode uses one filter with one selectable filter shape. You can select any of the 24 filter shapes.
Dual Filter Serial	This mode uses two separate filters connected in series. You can select any of the 24 filter shapes for each filter independently. The parameters Cutoff and Resonance control both filters simultaneously. However, you can offset the cutoff and resonance of the second filter with the parameters CF Offset and Res Offset.
Dual Filter Parallel	This mode uses two separate filters connected in parallel. You can select any of the 24 filter shapes for each filter independently. The parameters Cutoff and Resonance control both filters simultaneously. However, you can offset the cutoff and resonance of the second filter with the parameters CF Offset and Res Offset.
Morph 2 This mode morphs between filter shape A and B. You can select any of the 24 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. You can select any of the 24 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 24 filter shapes for filter shape A, B, C and D independently. Adjust the morphing with the Morph X and Morph Y parameters.

Filter Shape

Each filter type offers 24 different filter shapes. By selecting the filter shape you determine which frequencies will be affected. The letters and numbers indicate the filter shape: For example, LP12 is short for low-pass 12dB/oct. Depending on the chosen filter mode, you can either select one, two or four shapes.

Filter shape Description

LP24	Low-pass filter with 24dB/oct. Frequencies above the Cutoff will be attenuated.
LP18	Low-pass filter with 18dB/oct. Frequencies above the Cutoff will be attenuated.
LP12	Low-pass filter with 12dB/oct. Frequencies above the Cutoff will be attenuated.
LP6	Low-pass filter with 6dB/oct. Frequencies above the Cutoff will be attenuated.
BP12	Band-pass filter with 12dB/oct. Frequencies below and above the Cutoff will be attenuated.
BP24	Band-pass filter with 24dB/oct. Frequencies below and above the Cutoff will be attenuated.
HP6+LP18	High-pass filter with 6dB/oct. plus low-pass filter with 18dB/oct. (asymmetric band-pass filter). Frequencies below and above the Cutoff will be attenuated. Attenuation is more pronounced for the frequencies above the Cutoff.

Filter shape Description

HP6+LP12	High-pass filter with 6dB/oct. plus low-pass filter with 12dB/oct. (asymmetric band-pass filter). Frequencies below and above the Cutoff will be attenuated. Attenuation is more pronounced for the frequencies above the Cutoff.
HP12+LP6	High-pass filter with 12dB/oct. plus low-pass filter with 6dB/oct. (asymmetric band-pass filter). Frequencies below and above the Cutoff will be attenuated. Attenuation is more pronounced for the frequencies below the Cutoff.
HP18+LP6	High-pass filter with 18dB/oct. plus low-pass filter with 6dB/oct. (asymmetric band-pass filter). Frequencies below and above the Cutoff will be attenuated. Attenuation is more pronounced for the frequencies below the Cutoff.
HP24	High-pass filter with 24dB/oct. Frequencies below the Cutoff will be attenuated.
HP18	High-pass filter with 18dB/oct. Frequencies below the Cutoff will be attenuated.
HP12	High-pass filter with 12dB/oct. Frequencies below the Cutoff will be attenuated.
HP6	High-pass filter with 6dB/oct. Frequencies below the Cutoff will be attenuated.
BR12	Band-reject filter with 12dB/oct. Frequencies around the Cutoff will be attenuated.
BR24	Band-reject filter with 24dB/oct. Frequencies around the Cutoff will be attenuated.
BR12+LP6	Band-reject filter with 12dB/oct. plus low-pass filter with 6dB/oct. Frequencies around and above the Cutoff will be attenuated.
BR12+LP12	Band-reject filter with 12dB/oct. plus low-pass filter with 12dB/oct. Frequencies around and above the Cutoff will be attenuated.
BP12+BR12	Band-pass filter with 12dB/oct. plus band-reject filter with 12 dB/oct. Frequencies below, above and around the Cutoff will be attenuated.
HP6+BR12	High-pass filter with 6dB/oct. plus band-reject filter with 12dB/oct. Frequencies below and around the Cutoff will be attenuated.
HP12+BR12	High-pass filter with 12dB/oct. plus band-reject filter with 12 dB/oct. Frequencies below and around the Cutoff will be attenuated.
AP	All-pass filter with 18dB/oct. Frequencies around the Cutoff will be attenuated.
AP+LP6	All-pass filter with 18dB/oct. plus low-pass filter with 6dB/oct. Frequencies around and above the Cutoff will be attenuated.
HP6+AP	High-pass filter with 6dB/oct plus all-pass filter with 18dB/oct. Frequencies around the Cutoff will be attenuated.

Cutoff

Here you can adjust the Cutoff frequency of the filter. The effect depends on the filter type you have selected.

X/Y Control

The X/Y control allows you to adjust two parameters simultaneously. This is especially useful with the morphing filters where the X/Y control adjusts the blend between the filter shapes. For the other filter modes, the X/Y control adjusts cutoff and resonance. Depending on the selected filter type, the X/Y control adjusts different parameters:

Selected filter Description

Single, Dual Serial & Dual Parallel	The X/Y control adjusts the cutoff frequency on the horizontal and resonance on the vertical axis.
Morph 2 and 4	The X/Y control adjusts the morphing between the filter shapes on the vertical (Morph Y) axis. The horizontal axis adjusts the cutoff frequency.
Morph XY The X/Y	control adjusts the morphing between the filter shapes AD and BC on the horizontal (Morph X) and AB and DC on the vertical axis (Morph Y).

Resonance

This parameter emphasizes the frequencies around the cutoff. For an electronic sound, increase the resonance. At higher resonance settings, the filter self-oscillates, which results in a ringing tone.

Distortion

This parameter adds distortion to the signal. The effect depends largely on the selected Filter Type. At higher settings, it creates a very intense distortion effect.

⇒ This parameter is only available for the Tube Drive, Hard Clip, Bit Red, Rate Red and Rate Red KF filter types.

CF Offset

For the dual filters, this parameter allows you to offset the cutoff frequency of the second filter (filter shape B).

Res Offset

For the dual filters, this parameter allows you to offset the resonance of the second filter (filter shape B).

Velocity

This parameter adjusts the cutoff modulation from velocity. Set this parameter to positive values to increase the cutoff with higher velocities. Use negative values to decrease the cutoff with higher velocities.

Env Amnt (Envelope Amount)

Use this parameter to adjust the Cutoff modulation from the filter envelope. Setting negative values inverts the direction of the modulation from the filter envelope.

Key Follow

Here you can adjust the cutoff modulation using the note number. The range is from -200% to +200%. Set this parameter to positive values to raise the Cutoff with notes above the Center Key. Use negative values to lower the Cutoff with notes below the Center Key. At +100% the Cutoff follows exactly the played pitch.

Center Key

This parameter determines the MIDI note that is used as the central position for the Key Follow function.

The Amplifier Subpage

Load Edit MIDI Mix Effects Multi Options Program L1 Inserts Middleman Voice Pach Oscillator Filter Amplifier Level Key Follow Center Key C 3 Pan Mode -3dB Random Alternate Reset Key Follow Center Key C 3 0.5 dB 0 % C 0 % 0 %

The Amplifier subpage of synth and sample layers gives you access to the level and pan settings of the layer. With level you adjust the loudness of the layer. With pan you specify the position of the layer in the stereo panorama. Both level and pan can be modulated by the MIDI note number. In addition, the pan position can be modulated with each keystroke randomly or left-right/right-left in alternation.

Level

Here you can you can adjust the loudness of the layer.

Key Follow

Here you can scale the loudness across the MIDI keyboard. Set this parameter to positive values to raise the loudness the higher you play. Use negative values to lower the volume the higher notes you play.

Center Key

This parameter determines the MIDI note that is used as the central position for the Key Follow function.

Pan

Here you can set the position of a sound in the stereo panorama. A setting of -100% corresponds to hard left and a setting of +100% to hard right.

Mode

With this option you can specify how the loudness changes across the stereo panorama. You can select between 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.
• The -3dB option uses the cosine/sine pan law: The loudness is cut by -3dB at the center position, but the energy is preserved when moving the source signal across the stereo panorama. The -3dB option sounds more natural. 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 stereo 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.

Random

This parameter allows you to offset the pan position 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 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 when you hit a note with the algebraic sign: For negative values the initial pan position will be left and for positive values it will be right. With the value in percent you determine the deviation across the stereo panorama.

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.

Key Follow

Here you can adjust the pan modulation from MIDI note number. Set this parameter to positive values to offset the pan position towards the right for notes above and towards the left for notes below the Center Key. Use negative values to offset the pan position towards the left for notes above and towards the right for notes below the Center Key. At the maximum setting of +200 % the pan position moves from hard left to hard right within two octaves: Fully left is reached one octave below and fully right is reached one octave above the center key.

Center Key

This parameter determines the MIDI note that is used as the central position for the Key Follow function.

The Envelope Subpages

You can find the envelope subpages in the bottom section of the Edit page. The envelope subpages of the synth and sample layers give you access to the four envelopes of the layer, i. e. Pitch (P), Filter (F), Amp (A) and User (U) envelope. Each of these is a multisegment envelope with up to 128 nodes. The nodes specify the overall shape of the envelope with their Time, Level and Curve parameters. The times and levels of the envelope can be modulated by velocity. The Key Follow parameters modulate times via MIDI note number. Curve allows you to adjust the curvature between two nodes from linear to logarithmic or exponential behavior. The Sync option allows you to synchronize the envelope times to the tempo of your host application and you can set up a loop between two definable nodes. You can select a second envelope that is displayed in the background of the edited envelope, serving you as an optical or snap reference.

The Amp, Filter and Pitch envelopes are pre-assigned to the amplitude, the filter cutoff frequency and the pitch of the layer. You can adjust the pre-assigned modulations in the corresponding section of the layer. The purpose of the User envelope is freely definable. You can select the User envelope as a source in the modulation matrix. However, you can also use the Amp, Filter and Pitch envelopes as sources in the modulation matrix.

To access the envelopes, proceed as follows:

1. Go to the Edit page and select the synth or sample layer you want to adjust.

2. In the lower section of the editor, click the button of the corresponding envelope subpage.

- P: Click "P" to display the parameters of the pitch envelope. The pitch envelope modulates the pitch over time. The pitch envelope is bipolar, which means it allows for negative and positive values to bend the pitch up and down.

FlexP Mode Sustain Sync 1/16 Snap Off Fill 2 Fixed Env Node 1 Time 0 ms Curve 0.0 Level 100 % Vel >Lev 0 % Vel>Time 0 % Segments A Key Follow Center Key C 3 S KeyF Rel 0 %

- A: Click "A" to display the parameters of the amplifier envelope. The amplifier envelope shapes the volume over time.

FlexP Mode One Shot Sync 1/16 Snap Off Fill Fixed 2 Env Node 2 Time 91 ms Curve 0.0 Level 61 % Vel > Lev 81 % Vel≥Time 0 % Segments A Key Follow Center Key C 3 > KeyF Rel 0 %

- F: Click "F" to display the parameters of the filter envelope. The filter envelope controls the cutoff frequency to shape the harmonic content over time.

Mode Sustain Sync 1/18 Snap Off Fill Fixed 2 Env Node 3 Time 375 ms Curve -10.0 Level 50 % Vel > Lev 0 % Vel>Time 0 % Segments A Key Follow Center Key C 3 KeyF Rel 0 %

- U: Click "U" to display the parameters of this free assignable user envelope. It is bipolar, which means it allows for negative and positive values, for instance, to modulate the pan from left to right.

FlexP Mode Sustain Sync 1/16 Snap Off Fill 2 Fixed Env Node 3 Time 206 ms Curve 0.0 Level -43 % Vel > Lev 100 % Vel>Time 0 % Segments A StepM Matrix QC Key Follow Center Key C 3 KeyF Rel 0 %

Presets

Presets for different envelopes can be loaded and saved at the top right of the corresponding subpage.

- To load a preset, click in the "Select Preset" field and select the preset from the pop-up menu.

• To delete the selected preset from your system, click the trash icon. Then, you will be asked to confirm the deletion.
• To save a new preset, click the disk icon. A file dialog opens where you can name and save your preset file.

Navigating in the Graphical Envelope Editor

The vertical axis of the graphical envelope editor displays the level. The horizontal axis displays the time.

To zoom, use the following possibilities:

• To zoom in on the horizontal axis, use the “+” button to the right of the scroll bar below the graphical editor.
• To zoom out, click the "-"button to the right of the scroll bar.
• In the timeline, click and drag up or down to zoom in or out at the current position.
• To zoom to a certain region, hold [Alt]/[Option] and drag the mouse over the region.

To scroll, use the following possibilities:

• Drag the scroll bar to the left or right to scroll the envelope editor to a new position.
• Click in empty space next to the scroll bar to jump to the corresponding position in the envelope editor.
• Click the triangles to the left and right of the scroll bar to scroll through the envelope step by step.

Envelope Zoom Snapshots

Envelope zoom snapshots save the current state of the graphical envelope editor. For example, by saving two envelope zoom snapshots, one for the beginning and one for the end of the envelope, you can conveniently switch between editing the attack and release of the envelope.

Saving and Loading Envelope Zoom Snapshots

To the right of the scroll bar you find three numbered buttons which allow you to save and load envelope zoom snapshots for the current envelope editor (Amp, Filter, Pitch, or User). When saving an envelope zoom snapshot, it remembers the zoom factor and scroll position of the graphical envelope editor. The zoom factor and scroll position will be restored when loading the envelope zoom snapshot.

• To save the current state of the graphical envelope editor, [Shift]-click one of the numbered buttons to the right of the scroll bar.
• To load a previously saved envelope zoom snapshot, click the corresponding button. The button color changes to green indicating the snapshot is active. Zooming or scrolling with the graphical envelope editor deactivates the Envelope Zoom Snapshot. The button indicates this by turning gray.

Editing the Envelope

Each multisegment envelope has up to 128 nodes with the Time, Level and Curve parameters. The nodes and their parameters specify the overall shape of the envelope. You can edit one or multiple nodes using the graphical envelope editor or by typing in values. Before you can edit nodes, you must select them.

Selecting Nodes

• Select a node by clicking the node in the graphical editor. Selected nodes turn light blue in color. The focused node is indicated by an orange frame color. The focused node displays its parameters in the text fields to the left of the graphical envelope editor.
• With multiple nodes selected, use the Node pop-up menu above the text fields to set the focus to a different node without losing the current selection.
• [Shift]-click on a node to add it to the selection. Selected nodes will be edited together.
• In addition, you can select multiple nodes by drawing a rectangle with the mouse around the nodes.
• With a single node selected, use the left or right arrow key to select the next or previous node. In a multiselection, the focused node will change instead and the previous or next node within the multiselection will be focused.
• Click in empty space in the background of the envelope to cancel the current selection.

Adjusting the Time Parameter

The Time parameter specifies the duration between two nodes. The change in level from the selected to the following node will be carried out in the duration set by the Time parameter (0 ms – 30.000 s). Depending on the Sync mode, the Time parameter is displayed in milliseconds and seconds, or fractions of beats (when Sync is activated).

To adjust the Time parameter with the graphical envelope editor, proceed as follows:

• In the graphical envelope editor, select the nodes and drag them left or right to decrease or to increase the times.
• For a higher resolution, hold [Shift] while moving the nodes.
• Hold [Ctrl]/[Command] while dragging to limit the movement to the time-axis (horizontal positioning only).

To set the Time parameter by entering values with the keyboard, proceed as follows:

- In the graphical envelope editor, select the nodes you want to edit. Use the Env Node pop-up menu to change the focus if necessary. Enter a value in the Time text field to the left of the graphical envelope editor, and press [Enter].

Adjusting the Level Parameter

The Level parameter specifies the amplitude of the envelope at the position set by the Time parameter. The Amp and Filter envelopes are unipolar. Therefore, the value range for the level is 0% to +100% (positive values only). The Pitch and User envelopes are bipolar, the value range for the level is from -100% to +100% (negative and positive values) for these envelopes.

You can change the polarity of the envelopes in the modulation matrix, for instance, to map the range of the Amplifier Envelope (unipolar) to Pan (bipolar). However, the envelopes always display their values with their default polarity.

To adjust the Level parameter with the graphical envelope editor, proceed as follows:

• In the graphical envelope editor, select the nodes and drag them up or down to decrease or increase the levels.
• Hold [Alt]/[Option] while dragging to limit the movement to the level-axis (vertical positioning only).
• For a higher resolution, hold [Shift] while moving the nodes.

To set the Level parameter by entering values with the keyboard, proceed as follows:

- In the graphical envelope editor, select the nodes you want to edit. Use the Env Node pop-up menu to change the focus if necessary. Enter a value in the Level text field to the left of the graphical envelope editor, and press [Enter].

Adjusting the Curve Parameter

The Curve option allows you to adjust the curvature between two nodes from linear to logarithmic or exponential behavior. The range is from -10 to +10.

To adjust the Curve parameter with the graphical envelope editor, proceed as follows:

• In the graphical envelope editor, drag the curvature of the envelope segment up or down to adjust the curvature towards logarithmic or down towards exponential behavior.
• [Ctrl]/[Command]-click a curvature to reset it to linear behavior.

To set the Curve parameter by entering values with the keyboard, proceed as follows:

- In the graphical envelope editor, select the nodes you want to edit. Use the Env Node pop-up menu to change the focus if necessary. Enter a value in the Curve text field to the left of the graphical envelope editor, and press [Enter].

- Positive Curve values change the curvature towards logarithmic and negative values towards exponential behavior.

Adding and Removing Nodes

The envelopes Amp, Filter, Pitch, and User can have up to 128 nodes. All nodes added after the sustain node always affect the release stage of the envelope, i.e. after the key is released.

• To add a node, double-click at the position where you want to add the node.
• To remove a node, double-click the node you want to remove.
• [Delete] or [Backspace] removes multiple selected nodes.

→ You cannot remove the first, the last or the sustain node.

Adding Nodes Using the Fill Function

The Fill function allows you to add multiple envelope nodes after the currently selected nodes:

1. From the pop-up menu located to the right of the Fill button, select the number of nodes you want to add.
2. In the graphical envelope editor, select the node after which you want to add nodes. If several nodes are selected, the new nodes will be inserted after all selected nodes.

3. If the Fixed function is deactivated, the added nodes are placed with the time interval specified by the Time parameter of the currently selected node. If multiple nodes are selected, the interval is specified by the focused node.
   By activating Sync, you can specify the interval with the Sync note value. For example, if 1/4 is selected, new nodes will be added at exact quarter note intervals.

4. If the Fixed function is activated, the added nodes fill the space between the last selected node and the following one.

5. Click the "Fill" button.

The nodes are added.

Positioning Nodes Using the Fixed Function

When Fixed is activated, only the selected nodes will be moved on the time-axis. With Fixed deactivated, nodes that follow the currently edited nodes will also be moved on the time-axis.

- Click "Fixed" to activate or deactivate the function.

Positioning Nodes Using the Snap Function

You can select a second envelope that is displayed in the background of the edited envelope serving you as an optical or snap reference. Nodes you position with Snap activated will snap to the nodes of the envelope that is shown in the background.

• From the pop-up menu located to the right of the Snap button, select the envelope to be displayed in the background.
• Click "Snap" to activate or deactivate the function.

Using Sync

You can synchronize the envelopes to the tempo of your host application. This allows you to set envelope times that relate to musical time intervals (for example 1 bar), regardless of tempo changes made later on.

1. Click "Sync" to activate the envelope's synchronization mode. Sync is active when the button is highlighted. A grid spaced in fraction of beats appears in the graphical envelope editor.
2. From the pop-up menu located to the right of the Sync button, select a note value. This sets the resolution of the grid, i. e. the minimum note value the nodes will snap to when moved.

For example, if you specify a 1/4 note value, the nodes will snap to 1/4 note steps. If the "T" button is activated, the note values correspond to triplet values.

• The Time text field of a node displays times in fractions of beats. The fraction will always be reduced to the smallest possible value. For instance, "2/16" displays as "1/8".
• Envelope nodes that do not exactly match a note value display the note value which they are closest to.
• Nodes that exactly match a note value are indicated by a red dot inside the handle of the node. This can be useful, for example, when you switch the grid between triplets and normal note values: The triplet nodes still indicate that they match a note value, even if the grid shows normal note values.

You can also enter times by entering note values as fractions of beats. Proceed as follows:

1. Select the nodes you want to edit.
2. Enter a note value as fractions of beats such as "1/4". Type the letter "T" behind the note value to enter triplet note values such as "1/8T".
3. Hit [Enter].

The selected nodes will be set to the entered note value.

Selecting an Envelope Mode

You can select one of four envelope modes to specify how the envelope is played back each time you hit a note. These modes can be selected from the Mode pop-up menu. The following options are available:

- Sustain: The envelope plays from the first node to its Sustain. The Sustain level is held as long as you play the note. When you release the note, the envelope continues with the stages behind the Sustain. This mode is ideal for looped samples.

• Loop: The envelope starts playback from the first node to the loop nodes. The loop will be repeated as long as the key is held. The envelope plays the stages behind the Sustain when you release the note. This mode is ideal for adding motion to the Sustain (which would be steady in Normal mode).
• One Shot: The envelope will be played from the first to the last node, even if you release the note. The envelope has no Sustain stage. This mode is ideal for drum samples.
• Sample Loop: This mode allows you to preserve the natural attack of the sample. The decay of the envelope does not start until the sample has reached the sample loop start. Set the second node to the maximum level. Then, use any of the following nodes to shape the decay during the loop phase of the sample. This way, the envelope only affects the level during the loop phase of the sample. The attack of the envelope is still executed.

⇒ The Sample Loop mode is only available for sample layers.

Setting up the Loop

You can set up the envelope to repeat its playback between the nodes you select. Proceed as follows:

1. Set the envelope mode to "Loop".
2. Adjust the loop with the graphical envelope editor:
3. The loop is indicated by the green region in the graphical envelope editor. You can specify the loop start and end by dragging the borders of the region.
4. Drag the left border to the node where the loop should start.
5. Drag the right border to the node where the loop should end.

⇒ The loop region can only be set up in the Decay of the envelope, i.e. after the first and before the sustain node.

Level Velocity Curve

You can select one of eight curves to specify how the incoming 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) 

Level Velocity (Vel>Lev)

Use this parameter to adjust how the 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.

Velocity to Time (Vel>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.

Segments

From the Segments pop-menu, you can select which stages of the envelope will be affected by the Velocity to Time parameter.

Option Description

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.

Key Follow and KeyF Rel

With Key Follow and KeyF Rel (Key Follow Release) you can scale the envelope times across the keyboard. Key Follow scales all times before the Sustain node. KeyF Rel scales all times after the Sustain node (which equals the Release of the envelope). You can set a Center Key for the Key Follow and KeyF Rel functions. The envelope times depend on the position where you play the keyboard and on the corresponding Key Follow setting: Positive values decrease the times for notes above and increase the times for notes below the Center Key; the envelope becomes faster the higher you play. Negative values increase the times for notes above and decrease the times for notes below the Center Key; the envelope becomes slower the higher you play.

Center Key

This parameter determines the MIDI note that is used as the central position for the Key Follow and KeyF Rel functions.

The LFO Subpages

LFO is an abbreviation for low frequency oscillator. The synth and sample layers offer four LFOs: LFO1 and LFO2 are polyphonic, LFO3 and LFO4 are monophonic.

Polyphonic means the LFOs are calculated per voice allowing for independent modulations with each triggered note. You can use this to create a richer sound, for example, with an independent pitch modulation per note. Monophonic means the LFOs are calculated only once per layer. The same modulation will be sent to all voices simultaneously. Monophonic LFOs are often used for modulations such as tremolo and vibrato. LFO1 to LFO4 can be assigned freely in the modulation matrix.

For each LFO you can select from eight different waveforms with an additional shape parameter. Frequency adjusts the speed of the modulation and Phase sets the initial start of the waveform when the LFO is retriggered. In addition, you can synchronize the LFO Frequency to the tempo of the host application. Furthermore, you can define how the LFO is retriggered playing your keyboard. The polyphonic LFOs have an additional envelope with Fade In, Hold and Fade Out that allows you to shape the modulation intensity over time. Finally, the start of the modulation can be delayed.

To access the LFOs, proceed as follows:

1. Go to the Edit page and select the synth or sample layer you want to adjust.

2. In the bottom section of the editor, click the button of the corresponding page.

- To select one of the polyphonic LFOs, click P1 or P2. This refers to LFO1 and LFO2 in the modulation matrix.

FloadP P F A U P1 P2 M3 M4 StepM Matrix QC Sync Mode Off Retrigger Mode Off Shape Frequency Rnd 26 % 4.93 Hz 0° Envelope Mode One Shot + Sustain Inv Delay 0 ms Fade In 875 ms Hold 0 ms Fade Out 0 ms

Polyphonic LFO page

- To select one of the monophonic LFOs, click M3 or M4. This refers to LFO3 and LFO4 in the modulation matrix.

FlexP P F A U P1 P2 M3 M4 StepM Matrix QC Shape Frequency Phase Rnd 0 % 1.60 Hz 0 ° Sync Mode Off Retrigger Mode Off Breaker Mode In 0 ms 0 ms 0 ms 0 ms

Monophonic LFO page

LFO Waveform and Shape

Waveform selects the basic type of waveform. Shape changes the characteristic of the waveform.

Option Description

Sine	This produces smooth modulation, suitable for vibrato or tremolo.Shape adds additional harmonics to the waveform.
Triangle This is similar in character to Sine. The waveform periodically ramps up and down. Shape continuously changes the triangle waveform to a trapezoid.
Saw	This produces a “ramp” cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up.
Pulse	This produces stepped modulation, where the modulation switches abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. Set shape to 50 % to produce a square wave.
Ramp	This is similar to the Saw waveform. 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 step 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 alternate between random high and low values. Shape puts ramps between the steps and changes the S & H into a smooth random signal when fully turned right.

Sync Mode

You can sync the LFO to the tempo of the host application. The behavior of the Frequency parameter changes with 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 speed of the modulation in fractions of beats, for example, 1/4, 1/8, etc. You can also set dotted and triplet note values. The restart behavior of the LFO depends on the Retrigger setting.
Tempo + Beat	Select this to adjust the speed of the modulation in fractions of beats, for example, 1/4, 1/8, etc. You can also set dotted and triplet note values. The LFO restarts with the transport of the host and lines up to the beats of the song. The Retrigger setting does not come into effect.

Retrigger Mode

This defines whether the LFO is restarted when a note is triggered. The waveform restarts at the position you set with the Phase parameter. The polyphonic and monophonic LFOs offer different Retrigger settings.

The polyphonic LFOs can only switch between Retrigger On and Off:

Option Description

Off The LFO runs freely.

On The LFO restarts with each note that is triggered.

The monophonic LFOs offer the following modes:

Option Description

Off The LFO runs freely.

First Note The LFO restarts when a note is triggered and no other notes are held.

Each Note The LFO restarts each time a note is triggered.

Frequency

This controls the frequency of the modulation, i.e. the “speed” of the LFO. When Sync is activated, the frequency is set in fractions of beats.

Phase

This sets the initial phase of the waveform when the LFO is retriggered.

Rnd (Random)

When this is activated, each note starts with a randomized start phase. The Phase control is automatically disabled.

Additional Parameters for Polyphonic LFOs

The following parameters are only available for the polyphonic LFOs, i.e. LFO1 and LFO2:

Parameter Description

Delay	Delay determines the delay time between the moment you play a note and the moment the LFO comes into effect.
Fade In	Fade In determines the amount of time for the LFO to fade in after the note has been triggered and the delay time has elapsed.
Hold Hold determines the amount of time the LFO is running before the Fade Out is carried out.Use the Envelope Mode “One Shot” or “Hold + Fade Out” to activate the Hold time. With all other Envelope Modes, the Hold time is omitted and acts as Sustain.
Fade Out	Fade Out determines the amount of time for the LFO to fade out after the hold time has elapsed or a note has been released.Use the Envelope Modes “One Shot + Sustain” or “Sustain” to deactivate the Fade Out. This avoids changes of the modulation when the note has been released.

Inv (Invert Envelope)

When the Inv option is activated, the behavior of the LFO envelope is inverted: The LFO modulation starts at its maximum level and decreases to zero in the time specified by the Fade In. After the Hold time has elapsed, or when releasing a key, the modulation increases to its maximum level in the time specified by the Fade Out.

Envelope Mode

Here you can select how the LFO envelope reacts to your playing on the keyboard: The One Shot modes do not react to note-off events. In addition, you can select whether the Hold and Fade Out segments act as sustain.

Option Description

One Shot Select this mode to play the envelope from start to end in the time specified by Delay, Fade In, Hold, and Fade Out.
One Shot + Sustain	This mode is similar to One Shot: The Delay and Fade In are always carried out when you play a note. The Hold and Fade Out are omitted. Instead, they act as sustain.
Hold + Fade Out	When you play a note, the Delay and Fade In are carried out. The envelope fades out after the time specified by Hold or when releasing the note. Releasing the note during the Fade In starts the Fade Out from the current level.
Sustain + Fade Out	When you play a note, the Delay and Fade In are carried out. The Hold acts as sustain. The Fade Out is carried out when releasing the note. Releasing the note during the Fade In starts the Fade Out from the current level.
Sustain	When you play a note, the Delay and Fade In are carried out. Both, the Hold and Fade Out act as sustain. Releasing a note during the Fade In sustains the current level. This avoids a change in modulation when the note has been released.

Graphical Envelope Editing in the LFO View

You can adjust the times of the envelope with the graphical editor:

• The first node adjusts the delay time. Drag the node to the left to decrease and to the right to increase the delay.
• The second node adjusts the Fade In time. Drag the node to the left to decrease and to the right to increase the time.
• The third node adjusts the Hold time. Drag the node to the left to decrease and to the right to increase the time.
• The fourth node adjusts the Fade Out time. Drag the node to the left to decrease and to the right to increase the time.

The Step Modulator (StepM) Subpage

FlowP P F A U P1 P2 M3 M4 StepM Matrix QC Steps 16 Sync Mode Tempo + Beat Note 1/16 Slope All Amount 21 % Step 12 Level 83 % Snap

Synth and sample layers feature a polyphonic step modulator for creating rhythmic control sequences. The step modulator can be freely assigned in the modulation matrix. The sequence can have up to 32 steps. By selecting a note value, the steps can be synchronized to the tempo of the host application or you can specify a frequency at which the sequence repeats. The Retrigger mode allows you to restart the sequence either with the First Note or Each Note. The sequence continues when this parameter is set to Off. You can define a slope for rising, falling or both edges of the steps. This way, you can use the step modulator as an LFO with freely definable shape.

To access the step modulator, proceed as follows:

1. Go to the Edit page and select the synth or sample layer you want to adjust.

2. Click the StepM page button.

The Step Modulator subpage opens.

Step Modulator Presets

At the top right of the StepM subpage, you can load and save presets for the step modulator.

• To load a preset, click in the Select Preset field and select the preset from the pop-up menu.
• To delete a preset from your system, click the trash bin button.
  You will be asked to confirm the deletion.
• To save a new preset, click the floppy disk button.
  A file dialog opens where you can name and save your preset file.

Editing Steps

To adjust the steps using the mouse, proceed as follows:

• To set the level of a step, click at the corresponding position in the graphical editor.

• To set the exact value, drag the step up and down like a fader.

• To reset the level of a step to 0%, [Ctrl]/[Command]-click the step.

• To reset all steps, [Shift]-[Ctrl]/[Command]-click in the graphical editor.
• To adjust all steps at once, [Shift]-click and drag a step.
• To draw a ramp with steps, hold down [Alt]/[Option] and draw a line.
• To draw symmetric ramps, hold down [Shift]-[Alt]/[Option] and draw a line.

You can adjust the steps by using the computer keyboard:

• Use the Step text field to select a certain step.
• To set the level of the selected step, enter the new value in the level text field.
• To increment or decrement the selected step, use the up and down arrow keys. By default, the increment or decrement is in steps of 1% . Hold [Shift] to increment or decrement the selected step in steps of 0.1% .

While the graphical editor has the keyboard focus, you can use the left and right arrow keys to select the previous or next step.

Steps

Here, you set the number of steps the sequence plays.

Sync Mode

By setting a note value, you can synchronize the steps to the tempo of the host application. Alternatively, you can specify a frequency at which the sequence repeats. If you can set a note value or a frequency depends on the option you select here:

Option Description

Off	Select this to adjust the speed at which the sequence repeats in Hertz. Whether the sequence restarts when you play a note depends on the selected Retrigger mode.
Tempo + Retrig	Select this to adjust the length of the steps in fractions of beats, i.e. 1/4, 1/8, etc. The speed of the modulation depend on the number of steps, the note value and the tempo you set in your host application. By activating the T button, the note values become triplet note values. Whether the sequence restarts when you play a note depends on the selected Retrigger mode.
Tempo + Beat	Select this to adjust the length of the steps in fractions of beats, i.e. 1/4, 1/8, etc. The speed of the modulation depend on the number of steps, the note value and the tempo you set in your host application. By activating the T button the note values become triplet note values. The sequence restarts with the transport of the host and lines up to the beats of the song. The Retrigger setting does not come into effect.

Frequency

When Sync mode is set to "Off", this controls the speed at which the sequence repeats.

Note

When Sync mode is set to one of the tempo settings, this adjusts the length of the steps in fractions of beats.

Triplets

By activating the T button, the note values you set with the Note parameter become triplets.

Retrigger Mode

Here you can determine whether the sequence restarts when you play a note. The Retrigger Mode parameter is only available when Sync mode is set to "Off" or "Tempo + Retrig". The following parameters are available:

Option Description

Off	The sequence is not restarted. Instead, it resumes playback at the last position when you released the key.
First Note	The sequence restarts when a note is triggered and no other notes are already held.
Each Note	The sequence restarts each time a note is triggered.

Slope

Depending on the setting you select here, the step modulator jumps from step to step or ramps between the steps. You can define a slope for rising, falling or all edges of the steps. The setting "None" produces hard steps. Use the Slope Amount parameter to set the time it takes to ramp from one step to the other. The following settings are available:

Option Description

None Hard Steps.

Rising Only rising edges are ramped.

Falling Only falling edges are ramped.

All All edges are ramped.

Amount

When Slope is set to "Rising", "Falling" or "All", the Amount parameter determines the time it takes to ramp from one step to the other. The higher the setting, the smoother the transitions between steps.

Step

Use this to select a step. The Level text field updates accordingly.

Level

This shows the level of the currently selected step.

Snap

When Snap is activated, the level of each step can only be adjusted in quantized steps of 1/12th. This feature can be used to produce modulations in steps of semitones, for example.

Producing Modulations in Steps of Semitones

To produce modulations in steps of semitones, proceed as follows:

1. On the StepM subpage, activate the Snap option.
2. In the Modulation Matrix, assign the Step Modulator to Pitch (see below).
3. Set the Modulation Depth to +12. Now, the levels of the steps represent intervals in semitones.
4. Go back to the step modulator and adjust each step to the new interval.

The Modulation Matrix Subpage

FloatP P F A U P1 P2 M3 M4 StepM Matrix QC Source / Modifier Destination / Depth LFO P1 Pitch Modulation Wheel 9.14 LFO P1 Bus 1 Key Follow 100.0 Noise LFO ! Frequency 25.0 Shape LogPositive Min -100.0 Max 100.0 Offset 0.0 Range 200.0

The Matrix page of synth and sample layers gives you access to additional modulations of the layer. The concept of controlling one parameter by another is called modulation. HALion Sonic offers many fixed assigned modulations such as the amplitude and filter envelopes, or pitch key follow.

To assign additional modulations, use the modulation matrix. Assigning modulations means to interconnect modulation sources such as LFOs and envelopes, with modulation destinations like pitch, cutoff, amplitude, etc. The modulation matrix offers you up to 32 freely assignable modulations, each with a source, a modifier and a destination with adjustable depth. All modulation sources and destinations can be assigned several times. The polarity of each source can be switched between unipolar and bipolar behavior. A selectable modifier and user-definable curves and ranges give you further control over the modulation.

To access the modulation matrix, proceed as follows:

1. Go to the Edit page and select the synth or sample layer you want to adjust.

2. Click the Matrix subpage button.

The modulation matrix is divided into two sections separated by the vertical scroll bar. The section to the left displays the modulation rows. Here, you can assign modulation sources to destinations and adjust the modulation depth. In the section to the right, you find settings for the curve and range editor to make further adjustments for the currently selected modulation source.

Using the Modulation Rows

The modulation rows allow you to interconnect modulation sources with modulation destinations and to adjust the modulation depth.

- The parameters for setting up a modulation can be accessed via 32 rows. Each row is identified by a number which is displayed to the left of the row. Use the scroll bar in the middle to access rows that are currently not visible.

- You can select modulation sources by using the Source pop-up menu at the top left of each row (see "Modulation Sources" on page 59).

- The Modifier pop-up menu in the lower left of each row allows you to select a second modulation source that controls the intensity of the first source or a modifier that alters the modulation signal of the first source (see "Modulation Modifiers" on page 63).

- To switch the polarity of a source between unipolar and bipolar behavior, click the button to the right of the corresponding source. Modifiers do not have a polarity. Therefore, the polarity option is hidden when you select a modifier.

- To select the modulation destination, use the pop-up menu to the right of a row (see "Modulation Destinations" on page 60).

- Use the horizontal fader below the destination to adjust the modulation depth. Usually, the modulation depth adjusts in percent (-100% to +100%). If you select pitch as modulation destination, the modulation depth adjusts in semitones (-60 to +60 semitones).

- Click the Bypass button in front of the depth control to switch off the modulation temporarily.

Managing Modulation Rows

To copy or move a modulation row, proceed as follows:

1. On the context menu for the source row, select "Copy Modulation Row" or "Cut Modulation Row".
2. On the context menu for the target row, select "Paste Modulation Row".

- To insert an empty row, select "Insert Modulation Row" from the context menu.

- To remove a modulation row, select "Remove Modulation Row" from the context menu.

Note that the list always contains 32 rows. If you remove a row, an empty row is appended to the list.

→ You can copy modulation rows across different programs and between different plugin instances.

MIDI Controller and Note Expression Smoothing

When a MIDI or a Note Expression controller is selected as modulation source, the Smoothing parameter is available. This allows for parameter changes to occur more gradually.

The following settings are available:

• Default: Uses the global Smoothing parameter set up on the Options page.
• 1 ms to 1000 ms: Determines the amount of smoothing.
• Off: Deactivates the Smoothing parameter.

Unipolar vs. Bipolar Sources

The polarity of a modulation source specifies the value range it produces.

• Unipolar sources produce positive values only. The sources modulate between 0 and +1.
• Bipolar sources produce negative and positive values. The sources modulate between -1 and +1.

By default, some sources are unipolar and others are bipolar. However, you can change the polarity of a modulation source any time you want.

- To change the polarity of a source, click the button to the right of the corresponding source.

Using the Curve and Range Editor

You can set up a curve and range for each modulation source.

• The curve and range editor displays the settings of the currently selected source marked by a frame in the corresponding modulation row. To adjust the settings of a different source, click the button to the left of the source you want to edit.
• The curve editor allows you to change the characteristic of a modulation. The displayed curve is superimposed on the modulation source.

This way, you can change the modulation, for example, from linear to exponential or logarithmic behavior.

- By setting the minimum and maximum values, the modulation stays within the specified range only. In addition, you can specify an offset and a range for the modulation.

For example, with an offset and range of +50% only the second half of the displayed curve will be superimposed on the modulation.

• The curve editor offers different presets which you can select from the pop-up menu above the curve. To set up your own curve, select the Custom preset from the pop-up menu.
• You can edit the curve graphically with the mouse when the Custom preset is selected. Double-click in the editor to insert a new node. Double-click on a node to delete it. Drag the nodes to new positions to adjust the basic shape of the curve. Drag the lines between the nodes up or down to change the curvature.

Setting up a Modulation

To set up a modulation, proceed as follows:

1. Select the synth or sample layer you want to adjust.
2. Click the Matrix subpage button.
3. In one of the modulation rows, select a modulation source and destination, such as LFO1 as source and Pitch as destination.
4. Use the horizontal fader below the destination to adjust the modulation depth.
5. Play a few notes to hear the modulation.
6. You can select a modifier or change the polarity of the source.
   For example, from the "Source 2" pop-up menu, select Pitch Bend as the modifier and set its polarity to unipolar.
7. Play a few notes to hear the modulation and use the pitchbend wheel from the example.
8. Finally, use the curve and range editor to limit the modulation range or to adjust the characteristic of the modulation.

Modulation Sources

The modulation sources are available from the Source and Modifier pop-up menus. HALion Sonic offers you the following modulation sources:

Option Description

LFO P1	The first LFO of the layer which produces cyclic modulation signals. LFO P1 is polyphonic which means that each voice is modulated independently.
LFO P2	The second LFO of the layer which produces cyclic modulation signals. LFO P2 is polyphonic which means that each voice is modulated independently.
LFO M3	The third LFO of the layer which produces cyclic modulation signals. LFO M3 is monophonic and modulates all voices simultaneously.
LFO M4	The fourth LFO of the layer which produces cyclic modulation signals. LFO M4 is monophonic and modulates all voices simultaneously.
Amp Envelope	The amplifier envelope of the layer. The shape of the envelope equals the modulation signal. The amplifier envelope is unipolar.
Filter Envelope	The filter envelope of the layer. The shape of the envelope equals the modulation signal. The Filter envelope is unipolar.
Pitch Envelope	The pitch envelope of the layer. The shape of the envelope equals the modulation signal. The pitch envelope is bipolar.
User Envelope	The user envelope of the layer. The shape of the envelope equals the modulation signal. The user envelope is bipolar.
Step Modulator	The step modulator of the layer. This produces cyclic, rhythmically stepped modulation signals. The step modulator is bipolar.

Option Description

Glide The glide signal of the source. Glide is unipolar.
Key Follow	This produces an exponential modulation signal derived from the MIDI note number. Exponential means this source works with destinations such as Pitch or Cutoff. Key follow is bipolar.
Note-on Vel	Note-on velocity (how fast you hit a key) can be used as a modulation signal. Note-on Vel is unipolar.
Note-on Vel Squared	The squared version of Note-on Vel. Squared means you need to press the key harder to produce higher modulation values.
Note-on Vel Normalized	The note-on velocity is normalized via the velocity range of the corresponding sample zone. At the lowest velocity of the sample zone the modulation will be 0, at the highest velocity it will be 1.
Note-off Vel Note-off velocity (how fast you released a key) can be used as a modulation signal. Note-off Vel is unipolar. While most of the MIDI keyboards cannot send note-off velocity messages, your sequencer software will in most cases be able to produce such messages.
Pitch Bend	The position of the pitchbend wheel can be used as a modulation signal. Pitch Bend is bipolar.
Modulation Wheel	The position of the modulation wheel can be used as a modulation signal. Modulation Wheel is unipolar.
Aftertouch Aftertouch (how hard you press a key down after you hit it) can be used as a modulation signal. Aftertouch is unipolar. Some MIDI keyboards cannot send aftertouch messages. However, your sequencer software will in most cases be able to produce such messages.
MIDI Controller	Any of the 127 available MIDI controllers can be used as a modulation signal. You can select the MIDI controller from the corresponding submenu.
Quick Control	The quick controls of the layer can be used as a modulation signal. You can select the quick control from the corresponding submenu.
Note Expression The eight note expression parameters of the program can be used as modulation signals for the layer. You can select the note expression parameter from the corresponding submenu.
Noise Produces a random modulation signal. Noise is bipolar.
Output The audio output of the layer can be used as a modulation signal. Output is bipolar.
Bus 1-16 Modulations that have been sent to one of the sixteen busses can be used as sources again. This way, you can combine several modulations to produce more complex signals. Select the corresponding modulation bus to assign it as source.

Modulation Destinations

Depending on the selected type of layer, the available modulation destinations vary. HALion Sonic offers you the following modulation destinations:

Option Description
Pitch	Modulates the pitch of the layer. For example, assign one of the LFOs to create a vibrato effect. When Pitch is selected, the modulation depth adjusts in semitones (-60 to +60).
Cutoff	Modulates the filter cutoff of the layer. For example, assign the step modulator to create rhythmic patterns in the spectral timbre.

Option Description

Resonance	Modulates the filter resonance of the layer. Resonance changes the character of the filter. For example, assign velocity to resonance to accent the filter the harder you hit a note.
Morph X Modulates the x-axis of the filter in Morph XY mode. Use this to morph between the filter shapes AD and BC.
Morph Y	Modulates the y-axis of the filter in Morph 2, Morph 4, or Morph XY mode. For example, use this to morph between the filter shapes AB and DC.
Cutoff Offset	Modulates the cutoff offset of the second filter in serial or parallel mode. For example, assign the modulation wheel to lower or raise the cutoff of the second filter while you play.
Resonance Offset	Modulates the resonance offset of the second filter in serial or parallel mode. For example, assign the modulation wheel to lower or raise the resonance of the second filter while you play.
Pan	Modulates the position of the layer in the panorama. For example, assign the User Envelope to move the layer around freely.
Level	This modulation adds to the level setting of the layer. It is ideal for effects such as tremolo.
Volume 1	This modulates the gain of the layer. The volume modulation multiplies with the level of the layer. It is ideal for cross-fades between layers.
Volume 2 Basically the same as Volume 1. Volume 1 and 2 are multiplied with each other. This way, you can build more complex modulations. For example, use Volume 1 for cross-fading between layers and Volume 2 for fading them in or out.
LFO1 Frequency Modulates the speed of LFO1. For example, assign Aftertouch to control the speed of a vibrato effect while you play.
LFO1 Shape	Modulates the waveform of LFO1. For example, assign Key Exp to vary the waveform with the playing position on the keyboard.
LFO2 Frequency Same as LFO1 Freq, but for LFO2.
LFO2 Shape Same as LFO1 Shape, but for LFO2.
Step Mod Frequency	Modulates the speed of the step modulator. For example, assign an LFO to increase or decrease the speed cyclically.
Step Mod Slope	Modulates the shape of the edges of the step modulator (the Slope parameter has to be active). For example, assign the modulation wheel to blend from hard to smooth edges.
Amp Env Attack Time	Modulates the time of the amplifier envelope attack (the first segment of the envelope). The attack time cannot be modulated continuously. The time updates only when the segment starts.
Amp Env Decay Time	Modulates the time of the amplifier envelope decay (all segments after the attack and before the sustain). The decay time cannot be modulated continuously. The time updates only when the segment starts.
Amp Env Sustain Level	Modulates the level of the amplifier envelope sustain. The sustain level cannot be modulated continuously. The level updates only when the segment starts.
Amp Env Release Time	Modulates the time of the amplifier envelope release (all segments after the sustain). The release time cannot be modulated continuously. The time updates only when the segment starts.

Option Description

Filter Env Attack Time	Modulates the time of the filter envelope attack (the first segment of the envelope). The attack time cannot be modulated continuously. The time updates only when the segment starts.
Filter Env Decay Time	Modulates the time of the filter envelope decay (all segments after the attack and before the sustain). The decay time cannot be modulated continuously. The time updates only when the segment starts.
Filter Env Sustain Level	Modulates the level of the filter envelope sustain. The sustain level cannot be modulated continuously. The level updates only when the segment starts.
Filter Env Release Time	Modulates the time of the filter envelope release (all segments after the sustain). The release time cannot be modulated continuously. The time updates only when the segment starts.
Pitch Env Attack Time	Modulates the time of the pitch envelope attack (the first segment of the envelope). The attack time cannot be modulated continuously. The time updates only when the segment starts.
Pitch Env Decay Time	Modulates the time of the pitch envelope decay (all segments after the attack and before the sustain). The decay time cannot be modulated continuously. The time updates only when the segment starts.
Pitch Env Sustain Level	Modulates the level of the pitch envelope sustain. The sustain level cannot be modulated continuously. The level updates only when the segment starts.
Pitch Env Release Time	Modulates the time of the pitch envelope release (all segments after the sustain). The release time cannot be modulated continuously. The time updates only when the segment starts.
User Env Attack Time	Modulates the time of the user envelope attack (the first segment of the envelope). The attack time cannot be modulated continuously. The time updates only when the segment starts.
User Env Decay Time	Modulates the time of the user envelope decay (all segments after the attack and before the sustain). The decay time cannot be modulated continuously. The time updates only when the segment starts.
User Env Sustain Level	Modulates the level of the user envelope sustain. The sustain level cannot be modulated continuously. The level updates only when the segment starts.
User Env Release Time	Modulates the time of the user envelope release (all segments after the sustain). The release time cannot be modulated continuously. The time updates only when the segment starts.
Bus 1-16	You can send any modulation to one of the sixteen busses, for example, to produce more complex modulation signals. Select the bus you want to send the signals to as a destination. To use the modulation that was sent to a bus, assign the corresponding bus as a modulation source.

The following destination is only available for sample layers:

Option Description

Sample Start

Modulates the starting position of the sample playback. For example, assign note-on velocity to play back more of the attack of a sample the harder you hit a note. The sample start cannot be modulated continuously. The parameter updates only when you hit a note.

Support of modulation of the sample start depends on the content. The factory content does not support this function.

The following destinations are only available for synth layers:

Option Description

Osc1/2/3 Pitch Modulates the pitch of the corresponding oscillator. For example, assign one of the LFOs to detune the oscillator cyclically.
Osc1/2/3 Level	Modulates the volume of the corresponding oscillator. For example, assign the modulation wheel to fade the oscillator in and out while you play.
Osc1/2/3 Multi Detune	Modulates the detune of the individual oscillator voices produced by multi-oscillator mode.
Osc1/2/3 Multi Pan	Modulates the pan position of the individual oscillator voices produced by multi-oscillator mode.
Osc1/2/3 Multi Voices	Modulates the number of oscillator voices produced by multi-oscillator mode.
Osc1/2/3 Waveform	Modulates the shape and character of the corresponding oscillator. For example, assign one of the envelopes to change the character of the oscillator over time.
Sub Osc Level	Modulates the volume of the sub oscillator. For example, assign the modulation wheel to fade in the oscillator while you play.
Ring Mod Level	Modulates the volume of the ring modulation effect. For example, assign the modulation wheel to fade in the ring modulation while you play.
Noise Gen Level Modulates the volume of the noise generator. For example, assign the modulation wheel to fade in the noise generator while you play.

Modulation Modifiers

The modulation modifiers are available from the Modifier pop-up menu.

Sample & Hold

The sample & hold modifier takes a sample of the modulation source whenever it receives a trigger signal. It holds the sampled value until it gets a new trigger. This way, you can quantize a continuous modulation signal. The sample & hold offers different options you can select from the submenu:

Option Description

Trigger on Note On	Select this to trigger the sample & hold manually: Each time you hit a note, the sample & hold takes a sample.
Trigger on LFO1	Select this for periodic triggering of the sample & hold: The sample & hold takes a sample each time the waveform of LFO1 crosses the zero line upwards.
Trigger on LFO2	Select this for periodic triggering of the sample & hold: The sample & hold takes a sample each time the waveform of LFO2 crosses the zero line upwards.
Trigger on Modulation Wheel	Select this to trigger the sample & hold manually: The sample & hold takes a sample each time the modulation wheel passes the center position.

Option Description

Trigger on Sustain	Select this to trigger the sample & hold manually: Each time you press the sustain pedal, the sample & hold takes a sample.
Sample until Release	Select this to trigger the sample & hold through releasing a key: The sample & hold takes constantly samples. It holds the last sample when receiving a note-off.

Mod Matrix Presets

At the top right of the Matrix subpage, you can load and save presets for the modulation matrix.

• To load a preset, click in the Select Preset field and select the preset from the pop-up menu.
• To delete a preset from your system, click the trash bin button.
  You are asked to confirm the deletion.
• To save a new preset, click the floppy disk button.
  A file dialog opens where you can name and save your preset file.

The FlexPhraser

FlexP Raages QC NoteExp Act User Phrase Alternato 1 Loop Hold Trigger Mode Restart Mode Key Mode Vel Mode Off Immediately Off Sort Original Smp Tempo Swing Gate Scale Vel Scale Octaves Low Key High Key 120.0 1 1 1 C-2 G 8 Mute Tempo Scale 0.0 % 100.0 % 100.0 % Low Vel High Vel 1/16 0.0 % 100.0 % 0 0 127

Each program features up to five arpeggio and phrase players: the so-called FlexPhrasers. There is one FlexPhraser for each layer and one for the program. While the program FlexPhrasers always work with phrases, the layer FlexPhrasers functionality changes with the layer type.

For synth, sample, instrument or drum layers, a FlexPhraser can play back anything from basic synth arpeggios over dynamic drum phrases to realistic accompaniment phrases for guitar, bass, piano, etc. You can select from over 1400 phrases that suit a wide range of musical instruments and styles. Depending on the selected phrase, the FlexPhraser uses your live playing to modify the phrase in real-time. This allows you, for instance, to re-harmonize phrases by playing different chords.

In the case of loop layers, the FlexPhraser triggers the slices of the loop with their original timing and order. You can trigger a transposed version of the loop, playing higher or lower in pitch. In addition, you can vary the order with a random function and export the slice sequence to your host sequencer via drag and drop.

When working with loops you can play the individual slices and the entire loop. For this purpose the key range is divided into two halves. The lower half triggers the loop; the top half can be used to play single slices. This different functionality is indicated by keys shaded in green for the loop keys and normal black/white keys for the slices. Keys that do not trigger anything appear in gray.

To edit the program FlexPhraser, proceed as follows:

1. Go to the Edit page.
2. At the top of the Edit page, click the Program button.
3. Go to the bottom section of the Edit page and click the FlexP button.
4. Click the Active button at the top left to activate the phrase.

To edit a layer FlexPhraser, proceed as follows:

1. Go to the Edit page.

2. At the top of the Edit page, select a layer (L1, L2, L3, or L4).

3. Go to the bottom section of the Edit page and click the FlexP button. Depending on the type of layer (instrument or loop), the look and parameter set of the FlexPhraser varies slightly.

4. Click the Active button at the top left to activate the phrase.

FlexPhraser Presets

At the top right of the FlexPhraser subpage, you can load and save presets for the FlexPhraser. In addition to the selected phrase, these presets also contain the performance settings of the FlexPhraser, such as Tempo, Tempo Scale, Loop, Swing, etc.

• To load a preset, click in the Select Preset field and select the preset from the pop-up menu.
• To delete a preset from your system, click the trash bin button.

You will be asked to confirm the deletion.

- To save a new preset, click the floppy disk button.

A file dialog opens where you can name and save your preset file.

⇒ Presets can only be saved and loaded for phrases, not for sliced loops.

Loading Phrases for the FlexPhraser

Programs as well as synth, sample, instrument, and drum layers provide a FlexPhraser for which phrases are available. The phrases are sorted into folders in a tree structure, according to category, style, etc.

To load a phrase, proceed as follows:

1. Go to the top of the FlexPhraser and click in the Phrase field. The phrase browser opens.
2. Click on a phrase to select it. Step through the available phrases until you find the phrase that you want to use. You can also search for a phrase with a specific name using the text search field at the top of the phrase browser.
3. Double-click the phrase to load it.

In general, you can apply any phrase to any type of instrument. However, a phrase for guitar might not be suitable for use with a piano, for example.

⇒ Some FlexPhrases make extensive use of key switches to switch between multiple playing styles of an instrument while playing. These phrases can be found in the Construction Sets folder. They work best with the corresponding instrument layers.

Phrase Playback Types

HALion Sonic features a huge amount of phrase types organized in categorized submenus such as Classic Arp, Synth Seq, Chord Seq, Bass and so on. Each folder can contain several category submenus representing functional descriptions or musical styles.

The Construction Sets submenu contains phrases especially made for HALion Sonic's instrument layers. These phrases use key switches to switch between different playing styles to increase the realism of your performance.

The phrases that can be found in the various other categories use a number of different playback types to allow phrase specific user interaction while playing.

These phrases use one of the following playback types:

Option Description

Playback of a drum pattern	Pressing any note triggers the same rhythm pattern.
Playback only of the played notes	The phrase is played back using only the played note and its octave notes.
Playback of a programmed sequence according to the played chord	Pressing only one note, the phrase is played back using the programmed sequence — which means that notes other than the ones you play are triggered. Adding notes to those already held, changes the sequence accordingly — for example, the phrase plays back according to the chord you play.

Mute

Activate the Mute button to stop playback of the phrase temporarily. The phrase will still play in the background. When you deactivate Mute, playback resumes immediately.

KS Off (Key Switches off)

Construction Set phrases that make use of key switches and noises usually work only with programs for the same type of instrument. Programs without key switches and noises would play back such events as normal notes that do not fit to the rest of the phrase. To avoid the playback of key switches and noises, activate the KS Off option.

Since this option filters out any note events that do not transpose with your playing, drum phrases do not work when this option is activated.

Loop

Defines whether the phrase is played once or continuously in a loop. When this is activated, the phrase plays in a loop.

Hold

With the Hold parameter, you can prevent the phrase from stopping or changing when the keys are released. In addition, the Gated mode plays silently in the background when you release the keys, and resumes playback at the current position when you press the keys again.

You can select one of the following options:

Option Description

Off	The phrase changes immediately when releasing a key. The phrase stops immediately when releasing all keys.
On The phrase plays to end even when the keys are released. When the Loop option is activated, the phrase plays continuously in a cycle.
Gated	The phrase starts playback with the first key being played. It plays silently in the background even when the keys are released, and resumes playback at the current position when you press any of the keys again. This way, you can gate the playback of the phrase.

Trigger Mode

The Trigger Mode defines when the FlexPhraser scans for new keys you play on the keyboard.

You can select one of the following options:

Option Description

Immediately	The FlexPhraser scans for new keys all the time. The phrase changes immediately in reaction to your playing.
Next Beat	The FlexPhraser scans for new keys upon new beats. The phrase changes in reaction to your playing on each new beat.
Next Measure	The FlexPhraser scans for new keys upon new measures. The phrase changes in reaction to your playing on each new measure.

Restart Mode

Depending on the selected Restart Mode and your playing, you can restart playback from the beginning of the phrase.

You can select one of the following options:

Option Description

Off	The phrase runs continuously and will not restart upon chord or note changes.
New Chord Select this to restart the phrase on new chords. However, the phrase will not restart upon legato played notes, for example, if you play additional notes to a chord you are holding already.
New Note	Select this to restart the phrase with each new note you play. Here, the phrase will restart also upon legato played notes.
Sync to Host	Select this to align the phrase with the beats and measures of your host application. The phrase aligns to the beats and measures each time you start the transport.

Key mode

This option defines if the order of the notes, as played chronically on the keyboard, affects the playback of the phrase.

You can select one of the following options:

Option Description

Sort	The notes play in the order of the selected pattern. The chronological order does not have an influence.
As Played	The notes play in the chronological order as you played them on the keyboard.
Direct	The phrase itself does not output any note events. Instead, it outputs controller events only. You hear the notes you play plus any controller events of the phrase, such as pitchbend, volume, pan, etc. Not all phrases contain controller data. Please consult the documentation of the phrase to see if it does.

Vel Mode

This option specifies if the velocity of the notes you play affects the notes of the phrase.

You can select one of the following options:

Option Description

Original	The notes of the phrase play with the velocity as specified by the original sequence data of the phrase.
As Played The notes of the phrase play with the velocity you are playing on the keyboard.
Original + As Played	The velocity of the sequence data of the phrase is scaled by the velocity you are playing on the keyboard.

Sync

To synchronize the phrase to the tempo of your host application, activate Sync. The Tempo control is disabled when Sync is activated.

In addition, you can set the Restart mode to "Sync to Host" (see below for details). This aligns the phrase with the beats and measures of your host application.

Tempo

When Sync is deactivated, use the Tempo control to set the internal playback speed of the FlexPhraser. The playback speed of the phrase is specified in Beats per Minute (BPM). In addition, Tempo Scale gives you further control over the playback speed. The Tempo control is inactive when Sync is activated.

Tempo Scale

This parameter defines the rate at which notes are triggered, in other words, the speed at which the phrase is running. You can specify a value in fractions of beats. You can also set dotted and triplet note values.

When the Tempo parameter is 1/16 and you set this value to 1/8, for example, the speed is cut to half. When you set it to 1/32, the speed is doubled. Other values increase or decrease the speed accordingly.

Swing

Use this parameter to shift the timing of notes on even numbered beats. This way, the phrase gets a swing feeling. Negative values shift the timing backward, and the notes are played earlier. Positive values shift the timing forward, and the notes are played later.

Gate Scale

This parameter allows you to shorten or lengthen the notes of the phrase. At a value of 100 % the notes play with their original gate length.

Vel Scale

This parameter allows you to raise or lower the note-on velocities of the phrase. At a value of 100 % the notes are played with their original velocity.

Octaves

This setting extends the phrase playback to higher or lower octaves. Positive settings extend the playback to higher and negative settings to lower octaves. For example, a value of +1 first plays the phrase in the octave range you originally played. Then, it repeats the phrase one octave higher.

Play Range

You can use the Play Range parameters to determine which keys and velocities trigger the phrase playback.

Low Key

This defines the lowest key on which the phrase is triggered.

High Key

This defines the highest key on which the phrase is triggered.

Low Vel

This defines the lowest velocity on which the phrase is triggered.

High Vel

This defines the highest velocity on which the phrase is triggered.

User Phrases

The user pattern of the FlexPhraser has up to 32 steps. Each step has an adjustable velocity, gate length, and transpose value. By setting the steps, adjusting their length, or leaving pauses, you define the rhythm of the user pattern. Consecutive steps can be combined to create longer notes. By selecting the mode, you define how the notes play back. In addition, there are two MIDI control sequences, that is, each step can send two modulation signals.

- To create your own phrases, activate the User button.

For user phrases, the regular FlexPhraser parameters are available, except for the KSOff button.

Editing User Phrases

In the editor for the user phrases, you can make detailed settings for the user phrase.

- To open the editor, click the "Show Editor Page" button.

Click here to show or hide the editor.

Float D Ranges QC NoteExp Act User Phrase Mode key Replace Wrap Groove Q Step Arp Off 100 % Vel C1 C2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

About the Curves

In the editor, you can display the velocity curve or two MIDI controller sequences for the phrase.

- To select a curve, click the corresponding button to the left of the display.

Defining the Pattern Length

Vel C1 C2 Number of Steps 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

- To specify the number of steps for the pattern, drag the pattern length handle to the right or left.

Adding and Adjusting Steps

The height of a step represents its value. You can edit the steps in the following way:

• To activate all steps, select "Enable All Steps" from the context menu.
• To adjust a value, click a step and drag up or down.
• To adjust multiple steps, click and draw a curve.
• To adjust the velocity of all steps relatively, [Shift]-click and drag.
• To draw a ramp with steps, hold down [Alt]/[Option] and draw a line.
• To draw symmetric ramps at the beginning and the end of the sequence, hold down [Shift]-[Alt]/[Option] and draw a line.
• To reset the velocity of a step to 127, [Ctrl]/[Command]-click the step.
• To reset the velocity of all steps to 127, hold [Shift]-[Ctrl]/[Command] and click a step.
• To introduce a legato between two steps, click the number below the first of these two steps, so that a small arrow is shown.

When legato is activated, the gate scale parameter is not taken into account.

For velocity steps, the width of a step represents its gate length. You can edit the length in the following way:

• To adjust the gate length of a step, drag the right border of a step.
• To adjust the gate length of all steps, hold down [Shift] and drag the right border. You can only adjust the length this way until a step reaches the next step.

⇒ If you increase the gate length of a step so that it overlaps the following steps, these are deactivated.

• To reset the length of a step to 1, [Ctrl]/[Command]-click its highlighted right border.
• To reset the length of all steps, hold down [Shift]-[Ctrl]/[Command] and click on a highlighted right border.
• To fill the gaps between consecutive steps, select "Fill Gap" or "Fill All Gaps" from the context menu.

Each MIDI controller lane can send a MIDI controller. By selecting the same MIDI controller as source in the Modulation Matrix, you can modulate any of the destinations with the MIDI controller sequence.

- To assign a controller, open the MIDI controller pop-up menu and select the controller or use the corresponding control on your hardware.

Adjusting the Pattern

• To reverse the pattern, click the Reverse button.
• To duplicate short phrases, click the Duplicate button. The maximum number of steps is 32, therefore, if you copy a phrase that contains more than 16 steps, it cannot be copied entirely.
• To shift the rhythm of the user pattern, use the arrow buttons in the lower left corner of the edit section.
  If you shift the rhythm of the user pattern to the left, the first step is moved to the end. If you shift the pattern to the right, the last step is moved to the beginning.

Mode

With this parameter, you define how the notes are played back.

The following modes are available:

Option Description

Step The last note that is received triggers a monophonic sequence.

Chord Triggers the notes as chords.

Up Arpeggiates the notes in ascending order.

Down Arpeggiates the notes in descending order.

Up/Down 1 Arpeggiates the notes in ascending, then in descending order.

Up/Down 2 Arpeggiates the notes in ascending, then in descending order. Depending on the Key Mode, the highest and lowest note (Key Mode = Sort) or the first and last note (Key Mode = As Played) is repeated.

Down/Up 1 Arpeggiates the notes in descending, then in ascending order.

Down/Up 2 Arpeggiates the notes in descending, then in ascending order. Depending on the Key Mode, the highest and lowest note (Key Mode = Sort) or the first and last note (Key Mode = As Played) is repeated.

Random Arpeggiates the notes in random order.

Activating Steps

You can activate steps by clicking the corresponding On/Off buttons. This can be necessary if you change the gate length of one step so that it overlaps the following step, thereby deactivating it.

When you activate a step that was inactive because of an overlapping previous step, the previous step is shortened.

Step Length

Determines the gate length of a step.

Transpose

Transposes the note by the specified number of semitones.

Key Replace

With this parameter, you can switch the Key Select function off or specify how missing keys are replaced.

For example, if Key Select is set to "1 - 2 - 3 - 4" and you play a chord with 3 notes, key 4 is considered "missing".

The following settings are available:

Option Description
Off	Deactivates Key Replace and Key Select. The selected arpeggio plays back normally.
Arp	The missing keys are replaced with the note that the arpeggio would normally play.
Rest	The missing keys are not replaced. The arpeggio plays a rest instead.
1st	The missing keys are replaced by the first note in the note buffer.
Last	The missing keys are replaced by the last note in the note buffer.
All	The missing keys are replaced by all keys in the note buffer. The notes are played as a chord.

⇒ The Key Replace setting can be set differently for each variation.

Key Select

When the FlexPhraser scans the keyboard, it writes the pressed keys into a note buffer. Depending on the selected Key Mode, this note buffer is sorted by pitch or in the order that you played the keys. The Key Select feature allows you to play back a defined key from the note buffer. You can set up Key Select for each step separately, which allows you to create very elaborate user phrases.

→ Key Select cannot be used in Step or Chord mode.

• To access the Key Select values of the steps, click the "Show Key Values" button to the left of the editor.
• To switch between the available Key Select values for a steps, click the value and use the scroll wheel.

The following options are available:

Option Description
P (Phrase)	Plays the note that the user phrase would play according to the selected mode, for example, Up, Down, Up/Down 1, etc.
1 - 8 Plays the corresponding key from the note list. Which key is played depends on the Key Mode setting. For example, when Key Mode is set to “Sort”, the setting 1 plays the lowest key.
L (Last)	Always plays the last key from the note buffer. Depending on the Key Mode, this is the highest note or the last note in the note buffer.
A (All)	Select this to play all keys from the note buffer as a chord.

Wrap Parameter

For all modes except Step and Chord, you can use this parameter to restart the arpeggio after a specified number of steps.

If the Octaves parameter is active, the arpeggio traverses the octaves and restarts from the original octave after the specified number of steps.

→ Deactivated steps are taken into account.
In Step and Chord mode, the Wrap parameter only affects the Octaves setting.

Managing User Phrases

• To load a phrase, click the phrase selector and select a phrase from the pop-up menu.
• To save a phrase, click the disk icon.
• To delete a phrase, select it and click the trashbin icon.

→ Saved phrases include the Mode, Key Replace, and Wrap parameters, as well as the steps with their Level, Length, and Legato settings. The selected MIDI controllers or any settings on the main FlexPhraser page are not saved.

Groove Quantizing User Phrases

To adapt the timing of a phrase to an external MIDI file, you can drop this MIDI file on the Groove Quantize drop field. You can quantize the playback of the user phrase to the timing of a sliced loop by dragging its MIDI file from the MIDI export drag field to the Groove Quantize drop field.

The “Groove Quantize Depth” parameter to the right of the drop field determines how accurately the phrase follows the timing of the MIDI file.

Exporting MIDI Phrases

The phrases played by the FlexPhraser depend on the notes that are played and therefore cannot be exported directly. However, it is possible to generate exportable phrases by recording the MIDI output of the FlexPhraser.

Proceed as follows:

1. Click the Record button.

The small arrow in the MIDI export field starts blinking to indicate record mode.

1. Play some notes.
2. When you are done, click the Record button again.

Recording stops and in the MIDI export field, the arrow remains lit to indicate that a MIDI phrase can be exported.

1. Click the MIDI export field and drag the phrase on a MIDI track in your host sequencer application.

Working with FlexPhraser Variations

Each FlexPhraser features eight variations that allow you to set up different phrases or variations of phrases or loops. You can switch between them with the variation buttons at the top right of the FlexPhraser. You can also remote-control the Variation buttons using HALion Sonic's trigger pads. This also gives you the possibility to switch between variations by playing the trigger keys assigned to the trigger pads.

To avoid that the variation switches in the middle of a beat or measure, use the trigger modes "Next Beat" or "Next Measure".

Creating Variations

You can either create a variation starting from scratch or by copying an existing one.

To start from scratch, proceed as follows:

1. Click a Variation button at the top right of the FlexPhraser.

2. Assign a phrase and edit the FlexPhraser settings.

The variation is instantly modified and can be recalled by clicking the Variation button.

To copy an existing variation, proceed as follows:

1. Right-click the Variation button you want to copy.

2. From the context menu, select "Copy FlexPhraser Variation".

3. Right-click the Variation button to which you want to paste the variation.

4. From the context menu, select "Paste FlexPhraser Variation".

The parameters Loop, Sync, Hold, Trigger Mode, Restart Mode, Key Mode, Vel Mode, Low/High Key and Low/High Vel are not part of the variations. You set them up only once per FlexPhraser.

Switching Variations With the Trigger Pads

You can switch between variations with the trigger pads of the performance section (see "Switching Between Variations" on page 175).

Editing Drum and Loop Layers

Drum and loop layers have the same set of controls. In the key map at the bottom of the editor, you see the drum instruments or loop slices the layer contains, and how they map across the keyboard. In the top section, you find the Pitch, Filter, Amplifier and Output settings of the currently selected drum instrument or loop slice. The bottom section also gives you access to the FlexPhraser, the monophonic LFO and the layer quick control editor.

Using the Key Map

The key map indicates how the drum instruments or loop slices are mapped across the keyboard.

FlexP Key Map QC Tom Metal -M1013* Tom Metal -M113* Tom Metal -M123* Tom Metal -M133* Tom Metal -M143* Tom Metal -M153* Tom Metal -M163* Tom Metal -M173* Tom Metal -M183* Tom Metal -M193* Tom Metal -M203* Tom Metal -M213* Tom Metal -M223* Tom Metal -M233* Tom Metal -M243* Tom Metal -M253* Tom Metal -M263* Tom Metal -M273* Tom Metal -M283* Tom Metal -M293* Tom Metal -M303* Tom Metal -M313* Tom Metal -M323* Tom Metal -M333* Tom Metal -M343* Tom Metal -M353* Tom Metal -M363* Tom Metal -M373* Tom Metal -M383* Tom Metal -M393* Tom Metal -M403* Tom Metal -M413* Tom Metal -M423* Tom Metal -M433* Tom Metal -M443* Tom Metal -M453* Tom Metal -M463* Tom Metal -M473* Tom Metal -M483* Tom Metal -M493* Tom Metal -M503* Tom Metal -M513* Tom Metal -M523* Tom Metal -M533* Tom Metal -M543* Tom Metal -M553* Tom Metal -M563* Tom Metal -M573* Tom Metal -M583* Tom Metal -M593* Tom Metal -M603* Tom Metal -M613* Tom Metal -M623* Tom Metal -M633* Tom Metal -M643* Tom Metal -M653* Tom Metal -M663* Tom Metal -M673* Tom Metal -M683* Tom Metal -M693* Tom Metal -M703* Tom Metal -M713* Tom Metal -M723* Tom Metal -M733* Tom Metal -M743* Tom Metal -M753* Tom Metal -M763* Tom Metal -M773* Tom Metal -M783* Tom Metal -M793* Tom Metal -M803* Tom Metal -M813* Tom Metal -M823* Tom Metal -M833* Tom Metal -M843* Tom Metal -M853* Tom Metal -M863* Tom Metal -M873* Tom Metal -M883* Tom Metal -M893* Tom Metal -M903* Tom Metal -M913* Tom Metal -M923* Tom Metal -M933* Tom Metal -M943* Tom Metal -M953* Tom Metal -M963* Tom Metal -M973* Tom Metal -M983* Tom Metal -M993* Tom Metal -M1003*

To access the key map, proceed as follows:

1. Go to the Edit page and select the drum or loop layer you want to adjust.

2. Go to the bottom section of the drum or loop editor and click the Key Map button.

When using the key map, the following applies:

- Keys with a drum instrument or loop slice assigned display in normal white and black.

- The names of the drum instruments or loop slices display vertically above the keys.

• Keys with nothing assigned are disabled and are displayed in gray.
• In case of a loop layer, the pitched part of the keyboard is displayed in orange.
• Hidden parts of the keyboard can be accessed with the scroll bar below the keyboard.
• Clicking a key plays and selects the corresponding drum instrument or loop slice.

⇒ The key map is used for indication and selection only. The mapping of the drum instruments and loop slices cannot be changed.

Editing Drum Instruments or Loop Slices

To edit a drum instrument or loop slice, you must select it first. You can select drum instruments or loop slices with the key map or your MIDI keyboard.

Selecting With the Key Map

To select a drum instrument or loop slice with the key map, proceed as follows:

1. Go to the Edit page and select the drum or loop layer you want to adjust.
2. Go to the bottom of the drum or loop editor and click the Key Map button.
3. On the key map keyboard, click the key of the drum instrument or loop slice you want to adjust.
4. The drum instrument or loop slice is selected and the parameters at the top will be updated accordingly.

Multi Selection Editing

To edit multiple drum instruments or slices at the same time, you can use the multiselection functionality of the key map:

• Select one key, press [Shift] and then click a second key to select all keys in between.
• Press [Ctrl]/[Command] and click keys to add or remove them from the current selection.
• Press [Ctrl]/[Command] and drag the mouse over the keys that you want to use to draw a selection rectangle.
• Press [Shift]-[Ctrl]/[Command] and drag the mouse over the keys to add additional keys to the current selection.

As soon as you start selecting multiple slices or drum instruments, changes may occur on certain settings. In such cases, the changes are indicated on the corresponding controls. The backgrounds of combo boxes turn red, value fields display their values in red, switches turn red (or dimmed red if the focused slice/instrument is set to off) and knobs show a red corona indicating the value range. Changing a parameter sets all selected loop slices or drum instruments to the same value and the red indication for that control disappears.

Selecting With the MIDI Keyboard

To select a drum instrument or loop slice with your MIDI keyboard, proceed as follows:

1. Go to the Edit page and select the drum or loop layer you want to adjust.
2. In the title bar of the top section, activate the "Select Zones via MIDI" button.
3. On your MIDI keyboard, press the key that plays the drum instrument or loop slice you want to adjust.
4. The drum instrument or loop slice is selected and the parameters at the top are updated accordingly.

By default all parameter changes are only applied to the currently selected drum instrument or loop slice. Click the "Sel" button at the right of the title bar of the top section to switch to the "All" mode if you want to apply changes to all drum instruments or loop slices. You can also play multiple keys at a time to create a multiselection.

Accessing the Pitch, Filter, and Amplifier Parameters

To access the Pitch, Filter, and Amplifier parameters of a drum instrument or loop slice, proceed as follows:

1. Go to the Edit page and select the drum or loop layer you want to adjust.
2. Go to the bottom section, open the Key Map subpage and select the drum instrument or loop slice you want to edit. Alternatively, use your MIDI keyboard to select the drum instrument or loop slice.
3. Go to the top section, select Pitch, Filter, or Amplifier and adjust the parameters to your liking.

→ Only the currently selected drum instrument or loop slice will be edited.

The Pitch Subpage

Push Filter Amplifier AUX Tom Metal Low Floor 16° F 1 SEL Octave Coarse Fine 0 oct 4 semi 3 cent Pitchbend Up Env Amnt Random +8 Level Down 4.11 sem 0.00 % Env Node 2 Time 124 ns Curve 0.0 Level -19 % Vel > Lev Vel>Time Segments 1 0 % 0 % FlexP Key Map QC ShareDru...1.4"Roll ShareDru...1.4"Soft BassDru...2.Soft ShareDr...Pinshot Bass.DrumRooC24" Bass.DrumRooC22" ShareDr...Meetlics ShareDr...6x14" ShareDr...7x14" SoleTaleel...Loo18" Hi Hot Dark Closed Tumblets...Loo16" Hi Hot Dark Pedal Hi Hat...Mull3" TomMetal Hind13" Hi Hat Dark Open TomMetal Low 16" Hi Hat Dark Open TomMetals...Mull3" C0 C1 C0

This subpage gives you access to the tuning of the drum instrument or loop slice. With the parameters Octave, Coarse and Fine, 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 or randomly with each keystroke. Furthermore, you can set the pitchbend range for the up and down direction of the pitchbend wheel separately.

The parameters on the left of the Pitch subpage correspond to the Pitch subpage parameters of synth and sample layers. For a description of these parameters see "The Pitch Subpage" on page 33.

The pitch envelope parameters on the right of the Pitch subpage correspond to the envelope parameters of synth and sample layers. For a description of these parameters see "The Envelope Subpages" on page 43.

The Filter Subpage

Pitch Filter Amplifier AUX Snare Drum Muffed 5x14" Rimshot A# 0 SEL Filter Type Classic Cutoff Resonance Filter Shape LP24 22000 Hz 0 % Env Amnt Velocity Distortion Env Node 1 Time 0 ms Curve 0.0 Level 0 % Vel > lev 0 % Vel>Time 0 % Segments A FlexP Key Map QC SnareDru, 1.4 Roll SnareDru, 1.4 Soft BassDru, 2.6 Soft SnareDru...Rimshot BassDru,Rock2a... SnareDru...Becklck SnareDru...dSx1a... SnareDru,Pccolo TomMetal...Loor18" Hi Hat Dark Closed Hi Hat Dark Pedig Tom Metal Low "b" Hi Hat Dark Open TomMetal...Mint™ Tom Metal-Hisfs13" C9 C1

The Filter subpage offers settings to adjust the tone color of the drum instrument or loop slice.

The available parameters correspond to the parameters on the Filter subpage for synth and sample layers. For a description of these parameters, see "The Filter Subpage" on page 38.

For a description of the filter envelope parameters, see "The Envelope Subpages" on page 43.

The Amplifier Subpage

Pitch Filter Amplifier AUX Level Pan Mode -3d8 Output OneShot Alternate Random Reverse 0 % 0 % Env Node 2 Time 0 ms Curve 0.0 Level 92 % Vel > lev 93 % Vel>Time 0 % Segments A Snare Drum Muffled 5x14" Rimshot A# 0 SET FlowP Key Map QC SnareTru_14"Roll SnareTru_14"Soft Bass_Tu_2"Soft SnareDrumRock24" BassDrumRock22" SnareDr_1dEstict SnareDr_dsc14" Snare DrumPiccolo TomMeta_Loor1g" Hi Hot_Dark_Cused TomMeta_Loor1g" Hi Hot_Dark_Pedal Tom_Metal_Low 1s" Hi Hot_Dark_Open TomMeta_Mel13" Crash_Dark/1s" Tom_Metal_HMid13" Tom_Metal_H12" Ride Rock 22" Tip C1 C2

The Amplifier subpage gives you access to the level and pan settings 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 specify 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. Finally, you can select the output for each drum instrument or loop slice separately.

Apart from the One Shot and Reverse parameters, all other parameters correspond to the parameters on the Amplifier subpage for sample and synth layers. For a description of these parameters, see "The Amplifier Subpage" on page 42.

For a description of the amplifier envelope parameters, see "The Envelope Subpages" on page 43.

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.

The AUX Subpage

Pitch Filter Amplifier Level Pan Mode -3dB Output Main -11.3 dB C OneShot Alternate Reset Reverse 12 % Random 0 % Share Drum Muffled 5x14" Rimshot A# 0 SFL Aux FX1 Aux FX2 Aux FX3 Aux FX4 -83.8 dB -44.7 dB -∞ dB -∞ dB FlexP Key Map QC ShareDru_14"Roll ShareDru_14"Soft BassDru_2"Soft ShareDru_Rimeshid BassDrumRockA" BassDrumRockZ" ShareDru_Mestict ShareDru_6x14" ShareDru_Lood16" Hi Std Dark Closed Hi Std Dark Pedal Hi Std Dark Open Tom Metal Hld13" Crash Disk 15" Tom Metal Hi 12" Ride Rock 22" Tip C1 C2

Each drum instrument and loop slice has individual send levels that feed the four global AUX FX busses. This allows 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.

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, proceed as follows:

1. Go to the Edit page and select the loop layer you want to adjust.
2. Go to the bottom of the loop editor and click the LFO 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 because the slice ends abruptly, but the filter still produces a sound from self-oscillation. In such a case, go to the corresponding 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.

Apart from the Pitch, Cutoff, and Pan parameters, all other parameters correspond to the parameters on the LFO pages for sample and synth layers. For a description of these parameters, see "The LFO Subpages" on page 50.

Pitch

This adjusts how much the LFO affects the pitch of the slices.

Cutoff

This adjusts how much the LFO affects the cutoff of the slices.

Pan

This adjusts how much the LFO affects the pan of the slices.

FlexPhraser for Loop Layers

When using loop layers, the FlexPhraser offers the following features:

Loop

This option defines whether the loop sequence is played once or continuously in cycles. When activated, the loop sequence plays in cycles.

Hold

With Hold you can prevent the loop to stop or change when the keys are released. In addition, the Gated mode plays silently in the background when you release the keys, and resumes playback at the current position when you press the keys again.

You can select one of the following options:

Option Description

Off The loop stops immediately when releasing a key.

On The loop plays to end even when the keys are released. When the

Loop option is activated, the loop plays continuously in cycles.

Gated

The loop starts playback with the first key being played. It plays silently in the background even when the keys are released, and resumes playback at the current position when you press any of the keys again. This way, you can gate the playback of the loop.

Trigger Mode

The Trigger mode defines when the FlexPhraser scans for new keys you play on the keyboard.

You can select one of the following options:

Option Description

Immediately The FlexPhraser scans for new keys all the time. The loop changes immediately in reaction to your playing.

Next Beat The FlexPhraser scans for new keys upon new beats. The loop changes in reaction to your playing on each new beat.

Next Measure The FlexPhraser scans for new keys upon new measures. The loop changes in reaction to your playing on each new measure.

Restart Mode

Depending on the selected Restart mode and your playing, you can restart playback from the beginning of the loop.

You can select one of the following options:

Option Description

Off The loop runs continuously and will not restart upon note changes.

First Note The loop restarts when a note is triggered and no other notes are already held.

Each Note The loop restarts each time a note is triggered.

Sync to Host Select this to align the loop with the beats and measures of your host application. The loop aligns to the beats and measures each time you start the transport.

Sync

To synchronize the loop to the tempo of your host application, activate Sync. The Tempo control is disabled when Sync is activated.

In addition, you can set the Restart mode to "Sync to Host". This aligns the loop with the beats and measures of your host application.

Tempo

When Sync is deactivated, use the Tempo control to set the internal playback speed of the loop. The playback speed of the loop is specified in Beats Per Minute (BPM). In addition, Tempo Scale gives you further control over the playback speed. The Tempo control is inactive when Sync is activated.

Tempo Scale

This parameter defines the rate at which notes will be triggered, in other words, the speed at which the loop is running. A value of 1/16 corresponds to the original speed as specified under Tempo. Setting the value, for example, to 1/8 cuts the speed to half. Setting it to 1/32 doubles it. Other values increase or decrease the speed accordingly.

Swing

Use this parameter to shift the timing of notes on even numbered beats. This way, the loop gets a swing feeling. Negative values shift the timing backward and the notes will be played earlier. Positive values shift the timing forward and the notes will be played later.

Start

This 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.

⇒ The control range of Start and Length varies with the original length of the loop.

Gate Scale

This parameter allows you to shorten the notes that play back the slices. At a value of 100 % the slices play with their original gate length.

Quantize

This allows you to set up a quantization grid. You can force the timing of the slices to play back only at the note value you select here.

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 values move the notes only partially towards the next Quantize Note Value. With a value of 0% no quantization is applied at all.

Key Follow

Here you can adjust the pitch modulation from 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 exactly follows the played note.

⇒ The 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.

Random

To shuffle the playing order of the slices randomly, activate 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 varies through this, for example, slice 3 plays instead of slice 1, etc.

Depth

Here you adjust how much the playing order of the slices will be 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 main beats as well.

This parameter is only available when Random is activated.

Trigger

Click this to shuffle the playing order again. Please note that this function changes the pattern's number.

This parameter is only available when Random is activated.

Pattern

To predictably recall a certain random pattern, you can enter the pattern number. If you recall a loop with a certain depth and pattern, it always sounds the same.

This parameter is only available when Random is activated.

Exporting the Loop Sequence

The FlexPhraser of loop layers allows you to export the loop sequence as a MIDI part for your host sequencer.

To export the loop sequence, proceed as follows:

1. Drag the icon that looks like a MIDI socket to the project window of you host sequencer.
2. Drop the MIDI part to an existing MIDI track or to empty space, which creates a new MIDI track.
3. Assign the MIDI track to the corresponding slot in HALion Sonic.

Loop FlexPhraser Variations

By activating Random and by adjusting the parameters Tempo, Tempo Scale, Swing, Gate Scale, Quantize, Amount, Start and Length, you can create up to eight variations. For further information, see "Working with FlexPhraser Variations" on page 73.

The parameters Loop, Sync, Hold, Trigger Mode, Restart Mode, Key Follow and Center Key are not part of the variations. You set them up only once per FlexPhraser.

Editing Instrument Layers

For easy editing, instrument layers have fewer controls. In the list at the top left, you will see the expressions of the instrument layer. Typically, an expression is a certain playing style of the instrument. In some cases, it can also be a part of the sound that can be turned on or off, for instance, to add realism or to maximize the performance. To the right and below, you will find the pitch, filter and amplifier settings of the currently selected expression.

Program 11 Insert Strat Guitar XXL EXPRESSIONS On Expression Sw Mute Open Pos 1 A-1° Open Pos 2 A#.1° Dead Pos 1 B-1° Dead Pos 2 C 0° Mute Pos 1 C# 0° Mute Pos 2 D 0° PITCH Octave Coarse 0 oct 0 semi Fine Pitchbend Up +2 Down 0 cent -2 FILTER Filter Shape LP18 On Cutoff Resonance 22000 Hz 10 % AMPLIFIER Level 0.0 dB Pan R34 FlexP Enveles QC FILTER ENV MODIFIER Env Amnt 0 % Velocity 0 % Amplifier ENV MODIFIER Velocity 96 Attack Decay Sustain Release 0.0 0.0 0.0 0.0 Attack Decay Sustain Release 0.0 0.0 0.0 0.0

- Click the "On" button to load an expression. Note that you can use this option to reduce the amount of used RAM by turning off individual expressions. You cannot switch to an expression that has not been loaded before.

To edit an expression, proceed as follows:

1. Select the expression you want to edit in the list to the left.
2. On the right and below, adjust the parameters to your liking. Only the selected expression will be modified.

To mute an expression, proceed as follows:

• Click the Mute button in the list on the left. The expression will not play back while this is active.
• Click the button again to make the expression audible again.

⇒ You can activate "Select Expression via MIDI" in the expression list if you want the editor to follow incoming MIDI key switches or MIDI controller values.

The Pitch Subpage

This subpage gives you access to the tuning of the expression. With the Octave, Coarse and Fine parameters, you can adjust the tuning in steps of octaves, semitones and cents. In addition, you can also set the amount of pitchbend.

The following parameters are available:

• Octave (see "Octave" on page 33).
• Coarse (see "Coarse" on page 33).
• Fine (see "Fine" on page 33).
• Pitch Bend Up and Down (see "Pitchbend" on page 33).

The Filter Subpage

The Filter subpage offers settings to adjust the tone color of the expression.

- To activate the filter, click the On button.

Expressions without filter use less CPU cycles. Therefore, you should only activate this if your sound really needs a filter. The controls of the section turn dark when deactivated.

The following parameters are available:

• Filter shape (see "Filter Shape" on page 39)
• Cutoff (see "Cutoff" on page 40)
• Resonance (see "Resonance" on page 41)

The Amplifier Subpage

The Amplifier subpage gives you access to the level and pan settings of the expression. With level you adjust the loudness of the expression. With pan you specify the position of the expression in the stereo panorama.

The following parameters are available:

• Level (see "Level" on page 42)
• Pan (see "Pan" on page 42)

The Filter Env Modifiers Subpage

This subpage offers parameters to modify the filter envelope of the expression. You can offset the Attack, Decay, Sustain and Release of the filter envelope. In addition, you can also adjust the level velocity of the filter envelope.

Env Amnt (Envelope Amount)

Use this parameter to adjust the Cutoff modulation from the Filter Envelope. Setting negative values inverts the direction of the modulation from the Filter Envelope.

Velocity

Use this parameter to adjust how velocity affects the level of the filter 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.

Attack

Use this to offset the Attack time of the filter envelope. Positive values decrease and negative values increase the Attack time.

Decay

Use this to offset the Decay time of the filter envelope. Positive values decrease and negative values increase the Decay time.

Sustain

Use this to offset the Sustain level of the filter envelope. Positive values increase and negative values decrease the Sustain level.

Release

Use this to offset the Release time of the filter envelope. Positive values decrease and negative values increase the Release time.

The Amplifier Env Modifiers Subpage

This section offers parameters to modify the amplifier envelope of the expression. You can offset the Attack, Decay, Sustain and Release of the amplifier envelope. In addition, you can also adjust the level velocity of the amplifier envelope.

Velocity

Use this parameter to adjust how velocity affects the level of the amplifier 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.

Attack

Use this to offset the Attack time of the amplifier envelope. Positive values decrease and negative values increase the Attack time.

Decay

Use this to offset the Decay time of the amplifier envelope. Positive values decrease and negative values increase the Decay time.

Sustain

Use this to offset the Sustain level of the amplifier envelope. Positive values increase and negative values decrease the Sustain level.

Release

Use this to offset the Release time of the amplifier envelope. Positive values decrease and negative values increase the Release time.

Expression Maps

Using Expression Maps

For more realistic performances, many instrument layers use key switches to switch between different expressions, i. e. different articulations and playing styles of the same instrument. These key switches are set to rather low keys to maximize the playable range and they cannot be changed internally to ensure that performances played by FlexPhrasers always sound the same – FlexPhrasers expect the key switches of certain expressions on a specific MIDI note.

However, in some cases you need to shift the key switches into the playable keyboard range to get access to them. You may also want to select the expression using a MIDI controller. You can use so-called expression maps to customize the internal setting.

Selecting the Expressions

You can select which of the listed expressions you want to use in your expression map. Expressions you do not activate will not be included in your expression map.

To activate or deactivate an expression, proceed as follows:

- Click the button to the left of the name of the expression.

Deactivated expressions turn dark.

Some instrument layers consist of multiple expressions that are not switchable via a key switch. For example, instrument noises typically do not have a key switch assigned. In this case, you can still select the individual expressions and edit them, however, you cannot apply any key switch functionality. The key switch option menu is therefore disabled.

Setting the Mode

To define whether you want to use only the internal key switches, to remap them to other keys or to use a MIDI controller instead, open the options pop-up menu above the expression list:

1. Go to the Edit page and select the layer you want to adjust.
2. Click the menu triangle on top of the expression list.
3. Select a mode. The following options are available:

Mode Description

Key Switch Only the internal key switches can be used to switch to an expression.

Remapped The original key switches can be remapped to different keys.

MIDI Controller A MIDI controller can be used to remotely control the internal key switches.

No matter which condition you select, the internal key switch assignments still work in parallel. This is mostly important for FlexPhrases that make use of the key switches. The last key switch that is received always has priority.

Key Switch Mode

The Key Switch mode uses the internal key switch assignments. The key switches are displayed in the list.

Remapped Mode

The Remapped mode allows you to transpose the fixed, internal key switch assignments into the playable range of your MIDI keyboard. Each expression displays the MIDI note of the internal key switch and a MIDI note for re-assigning the key switch next to its name. The MIDI note of the internal key switch is for indication only and cannot be edited.

To transpose the internal key switches, proceed as follows:

1. Set the mode to Key Switch.
2. Enter the MIDI note you want the expression to be reassigned to.

⇒ The MIDI notes you use for key switches cannot be used to trigger samples anymore.

MIDI Controller Mode

The MIDI Controller mode allows you to define a MIDI controller that remotely controls the internal key switches. The defined MIDI controller switches only between the active expressions.

To assign a MIDI controller, proceed as follows:

1. Set the mode to MIDI Controller.
2. Open the menu again and select "Learn CC".
3. Turn on the Hardware controller.

Temporary KS Mode

When you activate this option, expressions other than the default expression only become active for as long as the corresponding key switch is held. This allows you to "throw in" notes with other expressions by pressing a key switch temporarily. You automatically return to the default expression when releasing this key switch.

Default Expression

This sets the default expression for Temporary KS Mode and the expression that will be active after loading the program or layer.

To set the default expression:

1. Open the "Default Expression" submenu.
2. Select the expression you want to be the default.

Editing Insert Effects

HALion Sonic offers you up to four insert effects for each of the four layers and for the program itself. The insert effects you assign to a layer affect only that layer. The insert effects you assign to the program affect all four layers together. Typically, you assign effects like EQ or Distortion to the separate layers, but effects like Delay or Reverb to the whole program.

Classic Jazz Organ Program L1 L2 Inserts Classic Jazz Organ Jimmy Vibrato FX1 None FX2 None FX3 None FX4 None 0.0 Perc 3rdShort FX1 None FX2 None FX3 None FX4 Layer 1 FX1 None FX2 None FX3 None FX4 Layer 4 FX1 None FX2 None FX3 None FX4 ClassJzzOrgn FX1 Rotary FX2 Revers FX3 none FX4 None 0.0

Using the Insert Slots

Each layer and the program have four slots for assigning insert effects. The handling is the same for all slots and corresponds to the global effects (see "Using the Insert Effect Slots" on page 131).

Adjusting the Levels

To the right of the insert slots you find faders for adjusting the output levels of the program and layers.

To adjust the output level, proceed as follows:

• Drag the fader of the program or layer you want to adjust.
• Alternatively, enter a value in the text field below the fader.

By changing the levels here, the corresponding parameters on the Program page will change, too. Both parameters are the same.

Introduction

The Auron synth uses granular synthesis with up to eight grain streams to produce oscillator waveforms. With the integrated arpeggiator and step sequencer, you can create anything from sequencer lines to stepped chords.

AURON SYNTH ARP steinberg OSC MOD VOICE Position RANDOM DURATION RANDOM PITCH RANDOM LEVEL RANDOM WIDTH AUTO SAIN GRAINS FILTER LP24 ENVELOPE AMP ENVELOPE CUTOFF DES DDTE KF* ENV VEL KEY F ATT DEC SUS REL LEVEL ATT DEC SUS REL VEL

The granular oscillator is followed by a multi-mode filter that offers a large number of different filter shapes. The filter can be modulated by modulation sources like the keyboard, velocity, and LFO, but also by the controller lanes of the step sequencer, for example.

Auron includes two LFOs for pitch, grain position, formant, and duration as well as filter modulations. The first LFO can be synchronized to the tempo of the host application and allows for modulations of grain position, formant and duration, as well as filter cutoff. The second LFO is controlled by the modulation wheel and is used to create a vibrato.

For the grain synthesizer, three pages are available: Osc, Mod, and Voice. To open a page, click the corresponding button in the upper left of the Auron panel.

Selecting Samples

- To select a sample, click the selector in the upper left of the page and choose a sample from the menu.

The Osc Page

On this page, you can make settings for the grain oscillator.

Position

You can set the playback position of the grains manually. For example, at a setting of 50%, the playback position is in the middle of the sample. The playback position is updated with every new grain.

Position Random

Selects a random playback position within a certain range around the current position. At a setting of 100 %, the playback position jumps to a random position between the start and the end of the sample.

Duration

Increases the grain period by a factor ranging from 1 to 1000.

For very short grains, the sound gets the pitch of the frequency at which the grains repeat. For grains longer than 30 ms, the sound gets the pitch of the original sample.

Duration Random

The random grain duration is calculated at the start of a new grain.

KF (Key Follow)

Determines how the grain duration changes with the notes you play. It is mostly used with short durations. Longer durations sound with the original pitch of the sample and therefore do not need to follow the keyboard.

Pitch

Here, you can specify an interval between -12 and +12 semitones. The grains are played randomly at their original pitch, or are transposed according to the pitch interval. This parameter is suited for longer grain durations.

Pitch Random

Sets the random pitch range in semitones and cents. At a setting of +12, the random pitch values lie between -12 and +12 semitones. This can be used to enrich the sound.

Level

Adjusts the overall level of the grain oscillator. When you increase the number of grains, it might become necessary to lower the oscillator level. If you play back a very quiet portion of a sample, you can use this control to raise the level.

Level Random

Sets a random level for each new grain. At a setting of 100%, the level varies between a factor of 0 and 2 of the original level.

Width

Narrows the stereo width of the grain oscillator. It is applied after the grain oscillator and does not affect the stereo width of the actual sample. At a setting of 0 %, the output of the grain oscillator is monophonic.

Gain

Allows you to automatically adjust the level of grains using quieter sample parts. This way, you get a more homogenous signal and you can use a quiet part of a sample as source.

Grains

You can specify the number of grains, from 1 to 8. For example, with a setting of 4, you get 4 grains per period of the grain duration.

To hear the effect of this setting, you have to play a new note.

The Mod Page

The Mod page contains the LFO settings in the upper section and the mod wheel, or vibrato, settings in the lower section.

LFO Settings

LFO s □ FREQ SHAPE POSITION FORMANT DURATION CUTOFF

LFO Waveform and Shape

Here, you can select the waveform for the LFO:

Option Description

Sine	This produces smooth modulation, suitable for vibrato or tremolo.Shape adds additional harmonics to the waveform.
Triangle This is similar to Sine. Shape continuously changes the triangle waveform to a trapezoid.
Saw	This produces a ramp cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up.
Pulse	This produces stepped modulation, where the modulation switches abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. With Shape set to 50 %, a square wave is produced.
Ramp	This is similar to the Saw waveform. Shape increasingly puts silence before the sawtooth ramp up begins.
Log Shape continuously changes the logarithmic curvature from negative to positive.
S & H 1	This produces randomly stepped modulation, where each step 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 alternate between random high and low values. Shape puts ramps between the steps and changes the S & H into a smooth random signal when fully turned right.

Freq

Controls the frequency of the modulation, that is, the speed of the LFO.

Sync

When Sync is activated, the frequency is set in fractions of beats.

Position

Controls the modulation depth of the grain position modulation.

Formant

Controls the modulation depth of the grain formant modulation.

Duration

Controls the modulation depth of the grain duration modulation.

Cutoff

Controls the modulation depth of the filter cutoff modulation.

Mod Wheel Settings

MW VIB FREQ VIB DEPTH POSITION FORMANT DURATION CUTOFF

Vib Freq

Controls the frequency of the second LFO that is used for pitch modulation (vibrato).

Vib Depth

Controls the depth of the vibrato modulation.

Position

Controls the influence of the mod wheel on the grain position.

Formant

Controls the influence of the mod wheel on the grain formant.

Duration

Controls the influence of the mod wheel on the grain duration.

Cutoff

Controls the influence of the mod wheel on the filter cutoff.

The Voice Page

AURON SYNTH APP steinberg POLYPHONY OCTAVE CCARSE FINE FIXED PITCH MONO GLIDE FING PB U TRIGGER MODE TIME PB DOWN Normal 100 ms -2 -2 OSC MOD VOICE

Polyphony

When Mono mode is not active, you can use this parameter to specify how many notes can be played simultaneously.

Octave

Here, you can adjust the pitch in octave steps.

Coarse

Here, you can adjust the pitch in semitone steps.

Fine

Here, you can adjust the pitch in cent steps.

Fixed Pitch

Activate this option if you do not want the sample to be transposed over the keyboard. When you work with short grain durations and "Duration Key Follow" is activated, the pitch of the played key still follows the keyboard, and only the frequency response changes.

Pitchbend Up/Down

Here, you can set the range for the modulation that is applied when you move the pitchbend wheel.

Glide

You can use this parameter to bend the pitch between two notes that follow each other. You achieve the best results in Mono mode.

Fingered

Activate this parameter to glide the pitch only between notes that are played legato.

Mono

Activates monophonic playback.

Retrigger

When this option is activated, a note that was stolen is retriggered if you still hold the stolen note when releasing the new one. This lets you play trills by holding one note while quickly and repeatedly pressing and releasing another note, for example.

Trigger Mode

Defines the trigger behavior for new notes. The following settings are available:

Option Description

Normal Triggers a new note when the previous note is stolen.

Resume The envelope is retriggered, but resumes at the level of the stolen note. The pitch is set to the new note.

Legato The envelopes keep playing. The pitch is set to the new note.

The Filter Section

Filter Parameters

Filter Shape

The filter shapes are the same as on the Filter subpage, see "Filter Shape" on page 39.

Cutoff

Controls the cutoff frequency of the filter.

Resonance

This parameter emphasizes the frequencies around the cutoff. At higher resonance settings, the filter self-oscillates, which results in a ringing tone.

Distortion

This parameter adds distortion to the signal.

The following distortion types are available:

Option Description

Tube Adds warm, tube-like distortion.

Hard Clip Adds bright, transistor-like distortion.

Bit Reduction Adds digital distortion by means of quantization noise.

Rate Reduction Adds digital distortion by means of aliasing.

Rate Reduction Key Follow As above, but with Key Follow: The rate reduction follows the keyboard, so the higher you play, the higher the sample rate.

Env Amount

Controls the cutoff modulation from the filter envelope.

Velocity

Controls the cutoff modulation from velocity.

Key Follow

Here, you can adjust the cutoff modulation using the note number. Increase this parameter to raise the cutoff with higher notes. At 100 %, the cutoff follows the played pitch exactly.

Filter Envelope

Attack

Controls the attack time of the filter envelope.

Decay

Controls the decay time of the filter envelope.

Sustain

Controls the sustain level of the filter envelope.

Release

Controls the release time of the filter envelope.

The Amp Section

Amp Parameters

Level

Controls the overall volume of the sound.

Velocity

Controls the level modulation from velocity. At 0, all notes are played with the same level.

Amp Envelope

Attack

Controls the attack time of the amplifier envelope.

Decay

Controls the decay time of the amplifier envelope.

Sustain

Sets the sustain level of the amplifier envelope.

Release

Sets the release time of the amplifier envelope.

The Arp Page

ARON SYNTH APP steinberg USER PHRASE MODE WRAP KEY REPL GROOVE Q Rec LOOP HOLD TRIGGER MODE RESTART KEY REL MODE VEL MODE Original SYNC TIMPO Immediately Off Sort Low KEY HIGH KEY C-2 G 8 MUTE TEMP SCALE SWING GATE SCALE VEL SCALE OCTAVES LOW VEL HIGH VEL 0 127 VEL C2

This page contains the same parameters as the FlexPhraser, see "The FlexPhraser" on page 64.

Introduction

Trium was designed to create modern and rich sounds. It comes with three oscillators, a sub oscillator, a ring modulator, and a noise generator. With the integrated arpeggiator and step sequencer, you can create anything from sequencer lines to stepped chords.

TRIUM SYNTH ARP steinberg OSC SUB MOD 1 Type Wave FilterEnv Level Tuning Number Delune Spread 0 0 semi 1.0 0 50 2 N 100 0 0 semi 1.0 0 50 3 N 100 0 0 semi 1.0 0 50 FILTER LP24 CUTOFF RESONANCE CLIP ENV AMOUNT VELOCITY KEY FOLLOW FILTER ENV ATTACK DECAY SUSTAIN RELEASE AMP LEVEL - +12 dB VELOCITY AMP ENV ATTACK DECAY SUSTAIN RELEASE

The oscillators are followed by a multi-mode filter that offers a large number of different filter shapes. The filter can be modulated using modulation sources like the keyboard, velocity, and LFO, but also by the controller lanes of the step sequencer, for example.

Trium includes two LFOs for pitch, PWM, and filter modulations. The first LFO can be synchronized to the tempo of the host application and allows for filter cutoff, pitch, and waveform modulation of the three main oscillators. The second LFO is controlled by the modulation wheel and is used to create a vibrato.

The Osc Page

TRIUM SYNTH ARP steinberg OSC SUB MOD Type Wave FilterEnv Level Tuning Number Delune Spread 1 N 0 0 semi 1.0 0 50 2 N 0 0 semi 1.0 0 50 3 N 0 0 semi 1.0 0 50

The Oscillator page contains the same parameters as the Oscillator subpage, see "The Oscillator Subpage" on page 34.

The following additional parameter is available:

Filter Envelope

Here, you can specify how much the modulation of the filter envelope influences the oscillator waveform. This parameter is only available for oscillator types that allow waveform modulation.

The Sub Page

TRIUM SYNTH ARP steinberg OSC SUB MOD Type Level Polyphony Mono RetroG Glide Fog Sub 100 Trieger Mode Normal Tone Ring Disc 1 Disc 2 100 Noise White 100 Octave PB Up +2 PB Down 0 -2

The parameters for the sub oscillator, the ring modulator, and the noise generator are the same as those on the Oscillator subpage, see "The Oscillator Subpage" on page 34.

Voice Parameters

On the right, the Voice parameters are available.

Polyphony

When Mono mode is not active, you can use this parameter to specify how many notes can be played simultaneously.

Octave

Here, you can adjust the pitch in octave steps.

Pitchbend Up/Down

Here, you can set the range for the modulation that is applied when you move the pitchbend wheel.

Glide

You can use this parameter to bend the pitch between two notes that follow each other. You achieve the best results in Mono mode.

Fingered

Activate this parameter to glide the pitch only between notes that are played legato.

Mono

Activates monophonic playback.

Retrigger

When this option is activated, a note that was stolen is retriggered if you still hold the stolen note when releasing the new one. This lets you play trills by holding one note and quickly and repeatedly pressing and releasing another note, for example.

Trigger Mode

Defines the trigger behavior for new notes. The following settings are available:

Option Description

Normal	Triggers a new note when the previous note is stolen.
Resume	The envelope is retriggered, but resumes at the level of the stolen note. The pitch is set to the new note.

Legato The envelopes keep playing. The pitch is set to the new note.

Filter Section

Filter Shape

The filter shapes are the same as on the Filter subpage, see "Filter Shape" on page 39.

Cutoff

Controls the cutoff frequency of the filter.

Resonance

This parameter emphasizes the frequencies around the cutoff. At higher resonance settings, the filter self-oscillates, which results in a ringing tone.

Distortion

This parameter adds distortion to the signal.

The following distortion types are available:

Option Description

Tube Adds warm, tube-like distortion.

Hard Clip Adds bright, transistor-like distortion.

Bit Reduction Adds digital distortion by means of quantization noise.

Rate Reduction Adds digital distortion by means of aliasing.

Rate Reduction Key Follow As above, but with Key Follow: The rate reduction follows the keyboard, so the higher you play, the higher the sample rate.

Env Amount

Controls the cutoff modulation from the filter envelope.

Velocity

Controls the cutoff modulation from velocity.

Key Follow

Here, you can adjust the cutoff modulation using the note number. Increase this parameter to raise the cutoff with higher notes. At 100 %, the cutoff follows the played pitch exactly.

Filter Envelope

Attack

Controls the attack time of the filter envelope.

Decay

Controls the decay time of the filter envelope.

Sustain

Controls the sustain level of the filter envelope.

Release

Controls the release time of the filter envelope.

The Amp Section

Amp Parameters

Level

Controls the overall volume of the sound.

Velocity

Controls the level modulation from velocity. At 0, all notes are played with the same loudness.

Amp Envelope

Attack

Controls the attack time of the amplifier envelope.

Decay

Controls the decay time of the amplifier envelope.

Sustain

Sets the sustain level of the amplifier envelope.

Release

Sets the release time of the amplifier envelope.

The Mod Page

The Mod page contains the LFO settings in the upper section and vibrato settings in the lower section.

LFO Settings

LFO Sync Freq Pitch Cutoff Osc1 Wave Osc2 Wave Osc3 Wave 1.00 Hz 0.00 0.0 0.0 0.0 0.0

Freq

Controls the frequency of the modulation, that is, the speed of the LFO.

Sync

When Sync is activated, the frequency is set in fractions of beats.

Pitch

Controls the modulation depth of the pitch modulation.

Cutoff

Controls the modulation depth of the filter cutoff modulation.

Osc1/2/3 Wave

These parameters control the modulation depth of the waveform modulation of the three main oscillators. These controls are only available if the selected oscillator type supports waveform modulation.

Mod Wheel Parameters

MW Vib Freq Vib Depth cutoff Osc1 Wave Osc2 Wave Osc3 Wave 1.00 Hz 0.00 0.0 0.0 0.0 0.0

Vib Freq

Controls the frequency of the second LFO that is used for pitch modulation (vibrato).

Vib Depth

Controls the depth of the vibrato modulation.

Cutoff

Controls the influence of the mod wheel on the filter cutoff.

Osc1/2/3 Wave

These parameters control the influence of the mod wheel on the waveform of the three main oscillators. These controls are only available if the selected oscillator type supports waveform modulation.

The Arp Page

SYNTH ARP steinberg USER PHRASE MODE WRAP KEY REPL GROOVE Q Rec LOOP HOLD TRIGGER MODE RESTART MODE KEY MODE VEL MODE SYNC TIMPN SWING GATE SCALE VEL SCALE OCTAVES LOW KEY HIGH KEY MUTE TEMP SCALE 1/16 + + - + - Low VEL HIGH VEL VIL C1 C2

This page contains the same parameters as the FlexPhraser, see "The FlexPhraser" on page 64.

Introduction

Voltage is a two-oscillator and noise synthesizer that can be used for synth basses, but it also allows you to create any kind of classic monophonic and polyphonic synth sound. With the integrated arpeggiator and step sequencer, you can create anything from sequencer lines to stepped chords.

VOLTAGE SYNTH ARP steinberg OSCILLATOR OSC 1 OSC 2 COARSE NOISE LEVEL LEVEL FINE LEVEL FILTER CUTOFF RESONANCE DISTORTION ENV AMNT VELOCITY KEY FOLLOW AMP LEVEL VELOCITY VOICE OCTAVE PB UP +2 PB DOWN -2 GLIDE FING TIME 100 ms NONO RETR MODE Resume LFO MW FREQ CUTOFF SYNC PTCH PWN FILTER ENV ATTACK DECAY SUSTAIN RELEASE AMP ENV ATTACK DECAY SUSTAIN RELEASE

The two oscillators and the noise generator are followed by a 24dB low-pass filter. The filter can be modulated using modulation sources like the keyboard, velocity, and LFO, but also by the controller lanes of the step sequencer, for example.

Voltage includes two LFOs for pitch, PWM, and filter modulations. The first LFO can be synchronized to the tempo of the host application and allows for filter and pitch modulation. The second LFO is controlled by the modulation wheel and is used to create a vibrato.

The Oscillator Section

OSCILLATOR OSC 1 OSC 2 COARSE NOISE PWM White LEVEL LEVEL FINE LEVEL

Oscillator 1/2 Waveform

Here, you can choose a waveform for the oscillator: saw, triangle, or square.

Oscillator 1/2 Level

Controls the level of the oscillators.

PWM

PWM (pulse width modulation) is only available for the square waveform. Activate this option if you want to be able to let the LFO modulate the width of the wave.

Osc 2 Coarse

Here, you can detune the second oscillator by +/-12 semitones.

Osc 2 Fine

Here, you can detune the second oscillator by +/- 100 cents.

Noise Type

Click here to select a noise type. You can choose between standard and band-pass filtered versions of white and pink noise.

Level

Controls the level of the noise generator.

The Filter Section

FILTER CUTOFF RESONANCE DISTORTION ENV AMNT VELOCITY KEY FOLLOW

Cutoff

Controls the cutoff frequency of the filter.

Resonance

This parameter emphasizes the frequencies around the cutoff. At higher resonance settings, the filter self-oscillates, which results in a ringing tone.

Distortion

Adds tube-like distortion to the signal.

Env Amount

Controls the cutoff modulation from the filter envelope.

Velocity

Controls the cutoff modulation from velocity.

Key Follow

Here, you can adjust the cutoff modulation using the note number. Increase this parameter to raise the cutoff with higher notes. At 100 %, the cutoff follows the played pitch exactly.

Filter Envelope

FILTER ENV ATTACK DECAY SUSTAIN RELEASE

Attack

Controls the attack time of the filter envelope.

Decay

Controls the decay time of the filter envelope.

Sustain

Controls the sustain level of the filter envelope.

Release

Controls the release time of the filter envelope.

Amplifier

Level

Controls the overall volume of the sound.

Velocity

Controls the level modulation from velocity. At 0, all notes are played with the same loudness.

Amp Envelope

AMP ENV ATTACK DECAY SUSTAIN RELEASE

Attack

Controls the attack time of the amplifier envelope.

Decay

Controls the decay time of the amplifier envelope.

Sustain

Sets the sustain level of the amplifier envelope.

Release

Sets the release time of the amplifier envelope.

Voice

VOICE OCTAVLT PB UP +2 PB DOWN -2 GLUDE FING TIME 100 ms MONO RETR MODE Resume

Octave

Here, you can adjust the pitch in octave steps.

Pitchbend Up/Down

Here, you can set the range for the modulation that is applied when you move the pitchbend wheel.

Glide

You can use this parameter to bend the pitch between two notes that follow each other. You achieve the best results in Mono mode.

Fingered

Activate this parameter to glide the pitch only between notes that are played legato.

Mono

Activates monophonic playback.

Retrigger

When this option is activated, a note that was stolen is retriggered if you still hold the stolen note when releasing the new one. This lets you play trills by holding one note and quickly and repeatedly pressing and releasing another note, for example.

Trigger Mode

Defines the trigger behavior for new notes. The following settings are available:

Option Description

Normal Triggers a new note when the previous note is stolen.

Resume

The envelope is retriggered, but resumes at the level of the stolen note. The pitch is set to the new note.

Legato The envelopes keep playing. The pitch is set to the new note.

LFO

LFO MW FREQ CUTOFF SYNC PITCH PWM

Freq

Controls the frequency of the modulation, that is, the speed of the LFO.

Sync

When Sync is activated, the frequency is set in fractions of beats.

Cutoff

Controls the modulation depth of the filter cutoff modulation.

Pitch

Controls the modulation depth of the pitch modulation.

PWM

Controls the modulation depth of the pulse width modulation of the square oscillators.

Mod Wheel

LFO MW VB FREQ CUTOFF VB DEPTH DISTORTON

Vib Freq

Controls the frequency of the second LFO that is used for pitch modulation (vibrato).

Cutoff

Controls the influence of the mod wheel on the filter cutoff.

Vib Depth

Controls the depth of the vibrato modulation.

Distortion

Controls the influence of the mod wheel on the filter distortion.

The Arp Page

VOLTAGE SYNTH ARP steinberg USER PIRASE MODE WRAP KEY REPL GROOVE Q Rec - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - LOOP HOLD Off TRIGGER MODE Immediately RESTART MODE Off KEY MODE Sort VEL MODE Original SYNC TEMPU 120.0 SWNG GATE SCALE VEL SCALE OCTAVES LOW KEY C-2 HIGH KEY G 8 MUTE TEMP SCALE 1/10 - - - - LOW VEL 0 HIGH VEL 127 VEL C1 C2

This page contains the same parameters as the FlexPhraser, see "The FlexPhraser" on page 64.

Introduction

MODEL C ORGAN ROTARY AMP FL steinberg ROTARY FAST STOP SLOW ATTACK RELEASE VELOCITY ROTARY/AMP STEAL 1' LENGTH POLY OFF PERCOS- SION ON LEVEL 16' 5 1/3' 8' 4' 2 2/3' 2' 1 3/5' 1 1/3' 1' 4' 2 2/3' 2' 8 7 6 5 4 3 2 1 8 7 6 5 4 3 2 1 8 7 6 5 4 3 2 1

Model C is a classic tonewheel organ emulation with nine drawbars and 3 additional drawbars for the percussion. Model C comes with an integrated and highly configurable rotary effect, as well as an amplifier emulation using VST Amp technology. The effect section provides additional effects, such as phaser, delay, and reverb and also offers a ring modulator which allows to add non-harmonic tones.

Model C contains four pages: Organ, Rotary, Amp, and FX. To open a page, click the corresponding button in the top section of the window.

The Organ Page

Drawbars

The main drawbars on the left adjust the levels of the individual tonewheels.

The three drawbars on the right adjust the levels of the tonewheels used for percussion.

Rotary

The rotary switch allows you to switch from fast to slow speaker rotation. In the middle position, rotation is stopped. On the Rotary page, you can make detailed settings for the effect.

Attack

Adjusts the attack time of the organ sound. Typically, the attack is very short, but you can set longer times to create pad-like sounds.

Release

Adjusts the release time of the organ sound. Typically, the release time is very short, but you can set longer times to achieve a slow fade out of the sound when a key is released.

Velocity

Determines the influence of the velocity on the level of the organ sound.

Key On Click/Key Off Click

Electromechanical organs produce short noise signals when a note is triggered and when it is released. The level of these clicks can be set here.

Vibrato

Click the pedal button to activate the integrated vibrato effect. When it is activated, you can select a type using the control to the right.

Rotary/Amp

The organ signal is sent in parallel to the rotary speaker and to the internal amp. This control allows you to specify how the signal is distributed between these two destinations.

- When you turn the control all the way to the left, the signal is sent only to the rotary speaker. All the way to the right, it is sent only to the amp.

Percussion

STEAL 1' POLY OFF PERCUS- SION ON LENGTH LEVEL

Click the pedal button to activate the percussion signal. The following percussion parameters are available:

Steal 1'

Typically, on an electromechanical organ, the 1' drawbar is not available when percussion is activated. To prevent this, deactivate the Steal 1' option.

Poly

Typically, percussion in drawbar organs is monophonic, that is, when you play a key, the percussion envelope is triggered for this note. As long as the key is held, no new percussion can be retriggered. If you play a legato section, for example, percussion is only applied to the very first note or chord. Percussion can only be retriggered after all notes are released.

- To trigger the percussion with every new note, activate the Poly option.

Level

Adjusts the loudness of the percussion signal.

The Rotary Page

MODEL C ORGAN ROTARY AMP FX STEINBERG ROTARY FAST STOP SLOW DISTANCE CABINET BALANCE MIC ANGLE TREBLE DRIVE HORN 0° 180° -12 dB +12 dB SLOW FAST ACCEL MIC ANGLE BASS GAIN DRUM 0° 180° -12 dB +12 dB -12 dB +12 dB

⇒ The settings on this page only have an effect on the sound when signals are sent to the rotary effect using the Rotary/Amp dial on the Organ page.

The Rotary effect on this page has the same parameters as the included Rotary effect, see "Rotary" on page 151, except for Input and Color.

The Amp Page

MODEL C ORGAN ROTARY AMP FX steinberg ON DRIVE BASS MIDDLE TREBLE PRESENCE MASTER MICROPHONE POSITION DYN OFF AXIS BOTH ON AXIS TUBE TUBE

The settings on this page only have an effect on the sound when signals are sent to the amp using the Rotary/Amp dial on the Organ page.

The settings on this page correspond to those of the VST Amp effect, see "VST Amp" on page 145, with reduced Microphone and Microphone Position options.

The FX Page

MODEL C ORGAN ROTARY AMP FX steinberg RING MOO LFO FREQ LFO DEPTH PHASER RATE DEPTH DELAY TIME REVERB CROSS TIME PLATE TIME ST PP SPR HALL SINE FREQ MIX FEEDBACK MIX FEEDBACK MIX PREDELAY MIX

Ring Modulator

On/Off

Activates/Deactivates the ring modulator effect.

LFO Freq

Use this to specify the frequency of the LFO for modulating the frequency of the sine oscillator.

LFO Depth

Sets the intensity of the LFO modulation of the sine oscillator frequency.

Sine Freq

Determines the frequency of the sine oscillator.

Mix

Sets the ratio between the dry and the wet signal.

Phaser

On/Off

Activates/Deactivates the Phaser effect.

Rate

Use this to specify the frequency of the phase modulation in Hertz.

Depth

Sets the intensity of the phase modulation.

Feedback

Adds resonances to the effect. Higher settings produce a more pronounced effect.

Mix

Sets the ratio between the dry and the wet signal.

Delay

On/Off

Activates/Deactivates the Delay effect.

Delay Mode

With this dial, you can switch between the three available delay modes:

Option Description

St (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 with cross feedback. Cross feedback means that the delay of the left channel is fed back into the right delay and vice versa.
PP (Ping-Pong)	This mode mixes the left and right input and sends it to hard-panned left and right delays. This way, the echoes bounce like a ping-pong ball between left and right in the stereo panorama.

Delay Time

Sets the overall time for the left and right delay in milliseconds.

Feedback

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. At a setting of 0 %, you hear only one echo. At a setting of 100 %, the echoes repeat endlessly.

Mix

Sets the ratio between the dry and the wet signal.

Reverb

On/Off

Activates/Deactivates the Reverb effect.

Reverb Type

Use this dial to switch between the available reverb types: Spring, Plate, and Hall.

Time

Allows you to set the reverb time in seconds.

Predelay

Controls how much time passes before the reverb is applied. This allows you to simulate larger spaces by increasing the time it takes for first reflections to reach the listener.

Mix

Sets the ratio between the dry and the wet signal.

Introduction

MAIN FILTER steinberg SPEED SLOW FAST C B HALIOTRON HAMBURG - CERMANY LOOP OFF ON 0 +∞ +12 d0 VOLUME CUTOFF PITCH AMPLIFIER FITCH/CHD ATTACK RELEASE VELOCITY DOWN -3 UP +3 COARSE TURE

HALiotron emulates the sound generation of the pre-digital sampling era. Before the introduction of digital samplers, original instrument sounds were created by playing a pre-recorded tape for every key. HALiotron comes with seven different tapes from these days, which can be blended to create sound mixtures. In addition to its classic archetype, HALiotron offers a set of the most important synthesis parameters, allowing you to vary the shape of the sound. Furthermore, you can play sounds dynamically by controlling filter and amp via velocity.

The Main Page

Loop On/Off

Here, you can decide whether notes should be played using looped versions of the underlying samples or whether the notes should stop when the tape reaches its end.

Volume

Adjusts the main volume of the sound.

Speed

Adjusts the speed of the tape playback. When this is set to Slow, the samples are played back an octave lower.

Cutoff

Adjusts the cutoff frequency of the built-in low-pass filter.

Pitch

Adjusts the tuning of the sound. When combining several HALiotron presets, this can be used to make the sound richer.

A, B, C

Click here to select one of the included tapes for each knob position. Use the knob to blend seamlessly between the tapes.

Attack

Adjusts the attack time of the sound.

Release

Adjusts the release time of the sound.

Velocity

Controls the influence of the velocity on the level of the sound.

Pitchbend Down/Up

Sets the range of the pitch modulation that is applied when you move the pitchbend wheel.

Coarse Tune

Here, you can adjust the sound in semitone steps. This allows you to play intervals with multiple layered HALiotron sounds.

The Filter Page

MAIN FILTER STEINBERG SPEED LOOP OFF ON SLOW FAST HALIOTRON HAMBURG - GERMANY C B A VOLUME +12 dB CUTOFF PITCH FILTER RVB 33 RESORANCE VELOCITY ENV AMOUNT ATTACK DECAY SUSTAIN

Resonance

Adjusts the resonance of the low-pass filter.

Velocity

Sets the influence of the velocity on the level of the sound.

Env Amount

Adjusts the influence of the filter envelope on the cutoff frequency.

KYB

Adjusts the cutoff modulation from the keyboard, that is, cutoff key follow.

Attack

Adjusts the attack time of the filter envelope.

Decay

Adjusts the decay time of filter envelope.

Sustain

Adjusts the sustain level of the filter envelope.

Introduction

The B-Box provides you with a veritable drum computer inside HALion Sonic. It comes with 13 instrument lanes that can make use of up to 128 different sounds. You can set up your drum patterns, create variations, and modify each drum sound using a low-pass filter and several distortion modes.

B-BOX PATTERN MIX AUX steinberg 1 2 3 4 5 6 7 8 COARSE Instrument Sound 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 KICK SHARE TOI LO TOI MID TOI HI RI/SHOT CLAP PERCUSS SOUND FX HH CLOSED HH OPEN CRASH RIDE CUTOFF FNE RESO DELAY TUBE PAN LEVEL Pattern Pattern 2

The B-Box contains three pages: Pattern, Mix, and Aux. To open a page, click the corresponding button in the top section of the B-Box.

The Pattern Page

The Pattern page is where you create and edit the drum patterns. It gives you access to the pattern editor as well as to some of the most important sound parameters.

The pattern editor section allows you to create and edit your drum patterns.

Setting up the Pattern Length

1 1 1 1 1

Pattern length indicator

- Specify the number of steps for the pattern by dragging the small triangle in the lower part of the pattern display. The maximum length is 16 steps.

Selecting Sounds

• To select another drum sound for a lane, change the value in the Sound column. You can choose between up to 128 drum sounds, depending on the selected drum instrument.
• To preview a drum sound, click the trigger button to the right of the instrument name.

Instrument Sound 1 2 3 4 5 S KICK 18 S SNARE 1 S TOI LO 1 S TOI MID 1 S TOI HI 1

Adding Steps to the Pattern

• To add drum steps, click on the step fields in the pattern editor.
• To set all steps at the same time, hold down [Shift] and click.

Setting up the Velocity

You can set each step to low, medium, or high velocity.

• To set up the velocity for a step, click it and drag the mouse up or down, or use the mouse wheel.
  To change the velocity of all steps in a lane, hold down [Shift] and use the mouse.

Playing Back the Pattern

• To play back the pattern, use the play button at the top of the B-Box.
  An indicator below the step number shows which step is playing.
• To mute or solo individual lanes, click the mute and solo buttons of the lanes.

Setting Up the Drum Sounds

With the controls to the left and right of the pattern editor, you can make settings for the selected drum instrument. The following parameters are available:

Coarse

Adjusts the tuning of the instrument in steps of semitones.

Fine

Fine-tunes the instrument in steps of cents.

Pan

Adjusts the panorama position.

Cutoff

Adjusts the cutoff frequency for the instrument.

Resonance

Adjusts the filter resonance for the instrument.

Distortion Type

Here, you can select one of the four available distortion types: tube, hard clip, bit reduction, or rate reduction.

Distortion

Adjusts the amount of distortion for the instrument.

Level

Adjusts the level of the instrument.

Removing Steps

• To remove a step, click it.
• To remove all steps, hold down [Shift]-[Ctrl]/[Command] and click a step.
• To remove all steps in a pattern, click the Clear Pattern button below the pattern editor.

Modifying the Pattern

- To move all steps of the pattern one step to the left or right, click the "Shift Pattern Left/Right" buttons.

This is useful if you have created a pattern that sounds the way you want but does not start on the first beat, for example.

- To mirror the pattern around its middle step, click the Reverse button.

Loading Patterns

You can load individual patterns for the selected variation.

Proceed as follows:

1. Below the Pattern editor, click in the Pattern field.
2. On the pop-up menu, select the pattern that you want to load.

Keep in mind that each variation can have a different pattern.

Exporting Patterns

You can export your patterns as MIDI files using drag and drop.

B-Box steinberg Drag Current Pattern to Host Sequencer

Variations

Each program can contain up to eight variations that can be used to create different rhythm patterns, such as intros, fills, and endings, for example.

- Click the variation buttons to switch between the available variations.

To create a variation, proceed as follows:

1. Activate the variation button for which you want to create a pattern.
2. Edit the pattern.

The variation is saved and can be recalled by clicking its variation button.

Copying Variations

You can copy the settings of an existing variation to another variation button with the "Copy/Paste Drum Player Variation" commands from the context menu.

The parameters Loop, Sync, Hold, Trigger Mode, Restart Mode, and Input Mode are not part of the variations.

Switching Variations With the Trigger Pads

Variations can be assigned to the trigger pads, allowing you to switch variations on the fly, see "The Trigger Pads" on page 174.

The Mix Page

B-BOX PATTERN MIX AUX steinberg 1 2 3 4 5 6 7 8 COARSE Instrument Sound Level Pan Delay Reverb Output KICK 1 Man SNARE 1 TO1 LO 1 TO1 MID 1 TO1 HI 1 RIMSHOT 1 CLAP 1 PERCUSS 1 SOUND FX 1 HH CLOSED 1 HH OPEN 1 CRASH 1 RIDE 1 CUTOFF FNE DECAY RESO TUBE

On the Mix page, you can add effects to the patterns. This page contains the following settings:

Level

Adjusts the level of the instrument.

Pan

Adjusts the panorama position of the instrument.

Delay

Here, you can specify how much of the signal is sent to the delay effect.

Reverb

Here, you can specify how much of the signal is sent to the reverb effect.

Output

Here, you can select one of the available plug-in outputs.

The AUX Page

B-BOX PATTERN MIX AUX steinberg 1 2 3 4 5 6 7 8 PERFORMANCE LOOP Hold Trigger Mode Off Immediately Ferstart Mode Input Mode Sync to Host Trigger Tempo Scale 1/16 Groove Q 190 % DELAY REVERB Mode Sync Time Ping-Pong 1/4 Delay L/R Feedback Feedback L/R Rx8.50 33 % Filter Low Filter High 20 Hz 8000 Hz DELAY REVERB MASTER

On the Aux page, you can make global settings for the B-Box and the included effects. It is divided into two sections. The left section gives you access to the global performance settings, and the right section allows you to edit the integrated delay and reverb effects.

Performance

Loop

When this option is activated, the pattern plays in a loop.

Hold

Here, you can make the following settings:

Option Description

Off The pattern changes immediately when a key is released. The pattern stops immediately when all keys are released.
On The pattern plays to the end even when the keys are released.When the Loop option is activated, the pattern plays continuously in a cycle.
Gated	The pattern starts playback with the first key being played. It plays silently in the background even when the keys are released, and resumes playback at the current position when you press any of the keys again. This way, you can gate the playback of the pattern.

Trigger Mode

The Trigger Mode determines at which moment B-Box changes the pattern when you select another variation.

You can select one of the following options:

Option Description

Immediately The pattern changes as soon as you switch to another variation.

Next Beat The pattern changes on the first new beat after switching to another variation.

Next Measure The pattern changes at the first new measure after switching to another variation.

Restart Mode

Determines whether the pattern playback is restarted when a note is triggered. The following options are available:

Option Description

Off Playback is not restarted when it is already running.

First Note Restarts playback when a note is triggered and no other notes are playing.

Each Note Restarts playback every time a note is triggered

Sync to Host Aligns playback with the beats and measures of your host application. Playback is synchronized every time you start the transport.

Follow Transport Playback starts and stops automatically together with the transport controls in your host application.

Input Mode

Keys that trigger the pattern are shown in green on the HALion Sonic keyboard.

Keys that are assigned to an instrument sound are shown as regular black and white keys. Depending on the Input Mode, the black and white keys either trigger or mute the assigned instrument. The following options are available:

Option Description

Off Triggers the pattern with any key that you play.

Trigger Plays back the sound of the assigned instrument.

Mute Mutes the track as long as you press the key.

Sync

To synchronize the pattern to the tempo of your host application, activate Sync.

For the modes "Sync to Host" and "Follow Transport", synchronization to the host application is established automatically. In these modes, the Sync parameter cannot be edited.

Tempo

When Sync is deactivated, you can use the Tempo parameter to set the internal playback speed.

Tempo Scale

This parameter defines the speed at which the pattern is running. You can specify a value in fractions of beats. You can also set dotted and triplet note values.

When the Tempo parameter is 1/16 and you set this value to 1/8, for example, the speed is cut to half.

Groove Quantizing Patterns

To adapt the timing of a pattern to an external MIDI file, you can drop this MIDI file on the Groove Quantize drop field. You can quantize the playback of the pattern to the timing of a sliced loop by dragging its MIDI file from the MIDI export drag field to the Groove Quantize drop field.

The “Groove Quantize Depth” parameter to the right of the drop field determines how accurately the pattern follows the timing of the MIDI file.

Swing

Use this parameter to shift the timing of notes on even-numbered beats. This way, the pattern gets a swing feeling. Negative values let the notes play earlier, positive values let the notes play later.

Velocity Scale

This parameter allows you to raise or lower the note-on velocities of the pattern. At a value of 100 %, the notes play with their original velocity.

Delay/Reverb

The delay and reverb effect have the same parameters as the Multi Delay and Reverb effects that are available on the Effects page, see "Multi Delay" on page 136 and "Reverb" on page 134.

Here, the following settings are available:

Delay

Adjusts the general amount of delay.

Reverb

Adjusts the general amount of reverb.

Master

Adjusts the overall volume of the B-Box.

Exporting Your Patterns as MIDI Files

- You can export the selected pattern as a MIDI file by dragging the icon in the top right corner and dropping it on the desktop or other program windows that can handle MIDI files.

Introduction

The World Instruments deliver a great variety of ethnic instruments which can either be played manually or use the integrated arpeggiator.

WORLD INSTRUMENTS SOUND ARP steinberg FILTER LP12 AMP CUTOFF RESONANCE ENV AMNT VELOCITY KEY DELAY LEVEL VELOCITY FILTER ENV AMP ENV ATTACK DECAY SUSTAIN RELEASE ATTACK DECAY SUSTAIN RELEASE PITCH LFO MW UP +2 DOWN -2 COARSE FINE PITCHBEND ORIENTAL SCALE ON

On the Sound page, the instruments can be fine-tuned with filter and amp settings. In addition, you can use the built-in micro-tuning functionality, which allows you to decrease the pitch of each key by a quarter note, to realize typical oriental scales.

The Filter Section

Filter Shape

The filter shapes are the same as on the Filter subpage, see "Filter Shape" on page 39.

Cutoff

Controls the cutoff frequency of the filter.

Resonance

This parameter emphasizes the frequencies around the cutoff. At higher resonance settings, the filter self-oscillates, which results in a ringing tone.

Env Amount

Controls the cutoff modulation from the filter envelope.

Velocity

Controls the cutoff modulation from velocity.

Filter Envelope

Attack

Controls the attack time of the filter envelope.

Decay

Controls the decay time of the filter envelope.

Sustain

Controls the sustain level of the filter envelope.

Release

Controls the release time of the filter envelope.

The Amp Section

Amp Parameters

Key Delay

Delays playback of the notes. This parameter can be used when working with multiple programs or layers. Setting up different key delay values for the different layers allows you to spread the notes, so that they do not all begin at the same time.

Level

Controls the overall volume of the sound.

Velocity

Controls the level modulation from velocity. At 0, all notes are played with the same level.

Amp Envelope

Attack

Controls the attack time of the amplifier envelope.

Decay

Controls the decay time of the amplifier envelope.

Sustain

Sets the sustain level of the amplifier envelope.

Release

Sets the release time of the amplifier envelope.

The Pitch/LFO/MW Sections

Pitch Section

Pitchbend Up/Down

Here, you can set the range of the pitch modulation that is applied when you move the pitchbend wheel.

Coarse

Adjusts the tuning in semitones.

Fine

Adjusts the tuning in cents.

LFO Section

Freq

Controls the frequency of the modulation, that is, the speed of the LFO.

Sync

When Sync is active, the frequency is set in fractions of beats.

Pitch

Controls the modulation depth of the pitch modulation.

Cutoff

Controls the modulation depth of the filter cutoff modulation.

MW Section

Vib Freq

Controls the frequency of the second LFO which is used for pitch modulation, or vibrato.

Vib Depth

Controls the depth of the vibrato modulation.

Cutoff

Controls the influence of the mod wheel on the filter cutoff.

The Oriental Scale Section

Scale On/Off

Activates/Deactivates the influence of the scale settings on the played notes.

Note Switches

Activate a switch to decrease the tuning of the corresponding note by a quarter note.

The Arp Page

WORLD INSTRUMENTS SYNTH ARP steinberg USER PHRASE MODE WRAP KEY REPL GROOVE Q Rec Up/Down 1 Off Arp 100 % LOOP HOLD TRIGGER MODE RESTART MODE KEY MODE VEL MODE Original Off Immediately Off Sort Low KEY HIGH KEY SYNC 1208 C-2 G 8 MUTE TEMP SCALE SWING GATE SCALE VEL SCALE OCTAVES LOW VEL HIGH VEL 1/16 127 VEL C1 C2

This page contains the same parameters as the FlexPhraser, see "The FlexPhraser" on page 64.

Introduction

WORLD PERCUSSION steinberg 1 2 3 4 5 6 7 8 LOOP HOLD TRIGGER RESTART START LENGTH TEMPO SYNC Off Immediately Off 0 9 120.0 PHRASE LOW KEY HIGH KEY CNTR KEY FITCH - C-2 G 8 C 2 PERFORMANCE QUANTIZE 1/16 TEMPO SCALE SWING GATE VELOCITY AMOUNT FILTER AMP CUTOFF RESCNANCE ENVELOPE VELOCITY DECAY LEVEL VELOCITY DECAY

World Percussion delivers a great variety of ethnic percussion instruments and associated MIDI phrases. The instruments can be globally fine-tuned with filter and amp settings which in turn can make use of envelope settings. The built-in MIDI player allows you to use the included MIDI phrases or to import your own MIDI phrases.

MIDI Player Parameters

On/Off button

Activates/Deactivates the MIDI player part of the World Percussion Macro page.

Variation buttons

You can configure up to 8 different variations of your sounds and switch between them with the variation buttons. This works in the same way as for the FlexPhrasers, see "Working with FlexPhraser Variations" on page 73.

To avoid switching variations in the middle of a beat or measure, use the trigger modes "Next Beat" or "Next Measure".

Loading phrases

- To load a phrase, click in the Phrase field and select a phrase from the selector.

Exporting MIDI phrases

You can export your MIDI phrase as MIDI file using drag and drop.

Palm Drum steinberg Drag MIDI Phrase to Host Sequences

Loop

Defines whether the phrase is played once or continuously in a loop. When this is activated, the phrase plays in a loop.

Hold

With the Hold parameter, you can prevent the phrase from stopping or changing when the keys are released. In addition, the Gated mode plays silently in the background when you release the keys, and resumes playback at the current position when you press the keys again.

You can select one of the following options:

Option Description

Off	The phrase changes immediately when releasing a key. The phrase stops immediately when releasing all keys.
On The phrase plays to end even when the keys are released. When the Loop option is activated, the phrase plays continuously in a cycle.
Gated	The phrase starts playback with the first key being played. It plays silently in the background even when the keys are released, and resumes playback at the current position when you press any of the keys again. This way, you can gate the playback of the phrase.

Trigger Mode

The Trigger Mode determines at which moment the player changes the phrase when you select another variation.

You can select one of the following options:

Option Description

Immediately	The phrase changes as soon as you switch to another variation.
Next Beat	The phrase changes on the first new beat after switching to another variation.
Next Measure	The phrase changes on the first new measure after switching to another variation.

Restart

Depending on the selected Restart mode and your playing, you can restart playback from the beginning of the loop.

You can select one of the following options

Option Description

Off The loop runs continuously and will not restart upon note changes.
First Note	The loop restarts when a note is triggered and no other notes are already held.
Each Note The loop restarts each time a note is triggered.
Sync to Host Select this to align the loop with the beats and measures of your host application. The loop aligns to the beats and measures each time you start the transport.
Follow Transport	Playback starts and stops automatically together with the transport controls in your host application.

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.

⇒ The control range of Start and Length varies with the original length of the loop.

Tempo

When Sync is deactivated, use the Tempo control to set the internal playback speed of the loop. The playback speed of the loop is specified in Beats Per Minute (BPM). In addition, Tempo Scale gives you further control over the playback speed. The Tempo control is inactive when Sync is activated.

Sync

To synchronize the loop to the tempo of your host application, activate Sync. The Tempo control is disabled when Sync is activated.

For the modes "Sync to Host" and "Follow Transport", synchronization to the host application is established automatically. In these modes, the Sync parameter cannot be edited.

Play

Click this to start playback of the phrase.

Low Key

This defines the lowest key on which the phrase is triggered.

High Key

This defines the highest key on which the phrase is triggered.

Center Key

This parameter determines the MIDI note that is used as the central position for the Key Follow function.

Pitch Drums in Relation to Center Key

Activate this to set the pitch of the drum sounds according to the center key.

The Performance section

Tempo Scale

This parameter defines the rate at which notes are triggered, that is, the speed at which the phrase is running. You can specify a value in fractions of beats. You can also set dotted and triplet note values.

When the Tempo parameter is 1/16 and you set this value to 1/8, for example, the speed is cut to half. When you set it to 1/32, the speed is doubled. Other values increase or decrease the speed accordingly.

Swing

Use this parameter to shift the timing of notes on even numbered beats. This way, the phrase gets a swing feeling. Negative values shift the timing backward, and the notes are played earlier. Positive values shift the timing forward, and the notes are played later.

Gate Scale

This parameter allows you to shorten or lengthen the notes of the phrase. At a value of 100 %, the notes play with their original gate length.

Velocity Scale

This parameter allows you to raise or lower the note-on velocities of the phrase. At a value of 100 %, the notes are played with their original velocity.

Quantize Note Value

This pop-up menu 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 MIDI note events to play back only at the selected note value.

Quantize Amount

This parameter defines how much of the quantization grid is applied. A value of 100% means the MIDI note events play back only at the specified Quantize note value. Smaller values move the notes only partially towards the next Quantize note value. With a value of 0%, no quantization is applied.

The Filter section

Cutoff

Adjusts the cutoff frequency of the filter.

Resonance

This parameter emphasizes the frequencies around the cutoff. At higher resonance settings, the filter self-oscillates, which results in a ringing tone.

Env Amount

Controls the cutoff modulation from the filter envelope.

Velocity

Controls the cutoff modulation from velocity.

Decay

Controls the decay time of the filter envelope.

The Amp section

Level

Controls the overall volume of the sound.

Velocity

Controls the level modulation from velocity. At 0, all notes are played with the same level.

Decay

Controls the decay time of the amplifier envelope.

The MIDI Page

Load Edit MIDI Fio: Blacks Rash Options Channel Poly Transport Low Key View Ctrl Right Key 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100

The MIDI page gives you access to the MIDI parameters of HALion Sonic. This comprises the MIDI channel, Key and Velocity ranges as well as Transpose and Polyphony settings. To switch between velocity and key range, use the Key/Vel switches above the range controls.

MIDI Page Parameters

Channel

Here you can specify on which MIDI channel a slot should "listen". You can set multiple slots to the same MIDI channel and trigger them simultaneously with the same note events.

Poly (Polyphony)

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 samples, 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 with the Low Key and High Key values or by dragging the keyboard range control at its ends. When you click and drag towards the middle of the keyboard, both values are moved at the same time. As an additional option, you can use the MIDI input to set the range. Simply click in the value field and play the note.

To set the key range, proceed as follows:

1. At the top of the MIDI page, click the Key button.
2. In the slot, set the key range with the keyboard range controls and/or Low Key/High Key value fields.

Velocity Range (Low Vel, High Vel)

Each slot can be limited to a velocity range. You can set the range with the Low Vel and High Vel values or by dragging the graphical velocity range control at its ends. When you click and drag towards the middle of the velocity range control, both values are moved at the same time.

To adjust the velocity range, proceed as follows:

1. At the top of the MIDI page, click the Vel button.
2. In the slot, set the velocity range with the velocity range control and/or Low Vel/High Vel value fields.

Controller Filter

You can filter out the most commonly used MIDI controllers for each slot separately. For example, when you set up a keyboard split with bass and piano playing on the same MIDI channel, both sounds will receive the same MIDI controllers. However, you usually do not want the bass to receive the sustain pedal. To avoid that all sounds on the same MIDI channel receive the same MIDI controllers, use the controller filter.

To filter out the most commonly used MIDI controllers, proceed as follows:

1. At the top of the MIDI page, click the Ctrl button.
2. In the slot, click the button of the MIDI controller you want to filter out.

The following MIDI controllers and messages can be filtered out: Sustain #64, Foot Controller #4, Foot Switches #65–69, Pitchbend, Modulation Wheel #1 and Aftertouch.

The Mix Page

Load Edit HOLD Max Effects Photo Options On Level Pan H1 H2 H3 FX4 Output Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min Min

The Mix page gives you access to the audio parameters of HALion Sonic. This comprises the level and pan settings, as well as the AUX effect sends and the output selector. To monitor the output levels, each slot also features a level meter.

Mix Page Parameters

On/Off

This switch allows you to turn the MIDI input of the slot on and off. In contrast to the Mute function that only mutes the audio output of the slot but keeps on processing the sound in the background, this switch interrupts the MIDI communication with the slot and prevents sounds from being processed.

Level

This parameter allows you to set the output level of the slot.

Pan

This parameter allows you to set the position in the stereo panorama.

Meter

The meter indicates the slot output level.

FX1-4 Send Levels

Here you can specify the amount of signal sent to the four auxiliary busses which host up to four effects each.

Output

This parameter defines to which of the 16 plug-in outputs the slot is routed. All slots are routed to the Main output by default.

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 set up complex effects. The busses are then routed to either the main plug-in output or to one of the individual outputs. 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.

The Effects Page

On the Effects page you can set up insert effects for AUX busses.

Using the Insert Effect Slots

Aux FX 1 Aux FX 2 Aux FX 3 Aux FX 4 Main Reverb Multi Delay None REVerence Reverb Multi Delay Studio EQ Graphic EQ Auto Filter Morph Filter WainWah Amplifier Distortion VST Amp Tape Saturnator

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 effect slot and select the effect from the menu.
• To remove an insert effect, click the effect slot and select "None" from the menu. The effect with its current settings is removed.
• The On/Off button above the effect slot deactivates the effect without removing it. This way, you can switch off the effect without losing its settings.

- The button next to the On/Off button above the effect slot bypasses the effect. The bypass is active when the button lights up yellow. Alternatively, you can use the bypass button in front of the effect name on the effect editor title bar.

- To edit an insert effect, click the "e" button of the corresponding slot. 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 respective insert effect are displayed in the bottom section.

⇒ The Mix parameter of an effect inserted into an AUX bus is set to 50% by default.

Moving Effects

To move effects from one slot to another slot on the same bus, or from one bus to another, proceed as follows:

1. Drag the effect by its label (FX1, FX2, FX3, FX4) and move it to a slot. An orange rectangle indicates where the effect will be inserted.

2. Drop the effect to the slot. The currently loaded effect is replaced.

To change the order of effects, proceed as follows:

1. Drag the effect whose position you want to change by its label (FX1, FX2, FX3, FX4) and move it close to the border of the two effect slots where you want to insert it. A colored line indicates where the effect will be inserted.

2. Drop it to place the effect in between the two adjacent effect slots.

Copying Effects From One Slot to Another

To copy an effect from one slot to another, proceed as follows:

1. [Alt]/[Option]-drag the effect by its label (FX1, FX2, FX3, FX4) over the insert slot you want to copy it to. An orange rectangle indicates the slot where the effect will be inserted.

2. Drop it to replace the current effect with a copy of the new effect.

To copy an effect and insert it between two effect slots, proceed as follows:

1. [Alt]/[Option]-drag the effect by its label (FX1, FX2, FX3, FX4) close to the border of the two effect slots. An orange line indicates where the effect will be inserted.

2. Drop it to place a copy of the effect in between the two adjacent effect slots.

Changing the Output Assignments

Above the insert slots, you find menus for assigning the outputs of the AUX busses.

To change the output assignment, proceed as follows:

1. Open the Output menu of the AUX bus.
2. Select the output from the menu.

Adjusting the Levels

To adjust the output level, use the fader below the level meter:

• Move the fader of the AUX bus.
• Alternatively, 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).

⇒ 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 studio effects. These effects are described in detail below.

REVerence

REVerence Insulic Response French Stone Chappa Reverse Equalizer Predelay Time Low Mid High Mix 0 ms 100 % 8.0 dB 8.0 dB 0.0 dB 100 % BR/Tail Split BR/Tail Size Level Low Freq Mid Freq High Freq 35 ms 50 % 100 % -4.7 dB 100 Hz 1000 Hz 15000 Hz

REVerence is a convolution tool that allows you to apply room characteristics (reverb) to the audio. By recording an impulse in a room, you get the characteristics of the room. Convolution superimposes these characteristics to the sound. The result is a very natural sounding reverb. Included with this effect is a collection of high-quality reverb impulse responses.

Impulse Response

By selecting an impulse response you determine the basic sound character of the reverb.

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. With higher predelay values you can simulate larger rooms.

Time

This controls the reverb time. At a setting of 100%, the impulse response is applied with its original length.

Size

This scales the size of the simulated room. At a setting of 100%, the impulse response is applied as recorded in the original room.

Level

Here you can adjust the level of the impulse response.

Equalizer

Activates the built-in three-band equalizer.

ER Tail Split

This sets the split point between the early reflections and the reverb tail.

ER Tail Mix

This sets the balance between the early reflections and the reverb tail. At a setting of 50 % the early reflections and the tail have the same volume level. Settings below 50% raise the early reflections and lower the tail, as a result the sound source moves towards the front of the room. Settings above 50 % raise the tail and lower the early reflections, as a result the sound source moves towards the back of the room.

Reverb

Reverb Predelay Early Reflections EV/Tail Delay Rooms Size Main Time High Time High Kreq 0 ms 50 % 0 ms 100 % 50 % Low Time Low Freq Size Low Cut High Cut Shape Density High Cut Width Mix 100 % 20 Hz 4800 Hz 0 % 100 % 4800 Hz 100 % 100 %

This effect produces a high-quality algorithmic reverb with early reflections and reverb tail. The early reflections are responsible for the spatial impression in the first milliseconds of the reverb. For emulating different rooms you can choose from different early reflections patterns and adjust their size. The reverb tail, or late reverberation, offers parameters for controlling the room size and the reverb time. You can adjust the reverb time individually in three frequency bands.

Predelay

This determines the amount of time between the dry signal and the onset of the reverb. With higher predelay values you can simulate larger rooms.

Early Reflections

Here you select an early reflections pattern. The early reflections pattern contains the most important delays that deliver the key information for the spatial impression of the room.

ER/Tail Mix

This sets the balance between the early reflections and the reverb tail. At a setting of 50 % the early reflections and the tail have the same volume level. Settings below 50% raise the early reflections and lower the tail, as a result the sound source moves towards the front of the room. Settings above 50 % raise the tail and lower the early reflections, as a result the sound source moves towards the back of the room.

Size

This adjusts the length of the early reflections pattern. At a setting of 100%, the pattern is applied with its original length and the room sounds the most natural. At settings below 100% the early reflections pattern is compressed and the room is perceived smaller.

Low Cut

This attenuates the low frequencies of the early reflections. The higher this value, the less low frequencies the early reflections will have.

High Cut

This attenuates the high frequencies of the early reflections. The lower this value, the less high frequencies the early reflections will have.

Delay

This delays the onset of the reverb tail.

Room Size

This parameter controls the dimensions of the simulated room. At a setting of 100% the dimensions correspond to a cathedral or a large concert hall. At a setting of 50% the dimensions correspond to a medium sized room or studio. Settings below 50% simulate the dimensions of small rooms or a booth.

Main Time

This controls the overall reverb time of the tail. The higher this value, the longer the reverb tail will decay. At a setting of 100% the reverb time is infinitely long. The Tail Main Time parameter also represents the mid band of the reverb tail.

High Time

This controls the reverb time for the high frequencies of the reverb tail. When you set positive values the decay time of the high frequencies is longer, when you set negative values it is shorter. Frequencies are affected depending on the Tail High Freq parameter.

Low Time

This controls the reverb time for the low frequencies of the reverb tail. For positive values, low frequencies decay longer and vice versa. Frequencies will be affected depending on the Tail Low Freq parameter.

High Freq

This sets the cross-over frequency between the mid and the high band of the reverb tail. You can offset the reverb time for frequencies above this value from the main reverb time with the Tail High Time parameter.

Low Freq

This sets the cross-over frequency between the low and the mid band of the reverb tail. The reverb time for frequencies below this value can be offset from the main reverb time with the Tail Low Time parameter.

Shape

This controls the attack of the reverb tail. At a setting of 0% the attack is more immediate, which is a good setting for drums. The higher this value, the less immediate the attack.

Density

Here you can adjust the echo density of the reverb tail. At a setting of 100% , single reflections from walls cannot be heard. The lower this value, the more single reflections can be heard.

High Cut

This attenuates the high frequencies of the reverb tail. The lower this value, the less high frequencies the reverb tail will have.

Width

This adjusts the output of the reverb signal between mono and stereo. At a setting of 0% the output of the reverb is mono, at 100% stereo.

Mix

This sets the ratio between the dry and the wet signal.

Multi Delay

Multi Delay Mode Stereo Time Sync 1/4 50 % Feedback Feedback L/R C Max 100 % Delay L/R Lx0.46 Low Freq 20 Hz High Freq 20000 Hz

This effect produces echoes, so-called delays, with adjustable time, feedback, and filters. With the Mode parameter you can set up this effect as Stereo, Cross, or Ping-Pong Delay effect. Depending on the selected mode, the echoes repeat in varying patterns across the stereo panorama.

Mode

Multi Delay offers three different modes:

Mode Description

Stereo	This mode has two independent delay lines, one for the left and one for the right audio channel, each with a feedback path of its own.
Cross	This mode has two delay lines with cross feedback. Cross feedback means that the delay of the left channel is fed back into the delay of the right channel, and vice versa.
Ping-Pong	This mode mixes the left and right input channel and sends it to hard-panned left and right delays. This way, the echoes bounce like a ping-pong ball between left and right in the stereo panorama.

Time

This sets the overall time for the left and right delay in milliseconds. Use the Delay L/R parameter to shorten the time for the left or right delay. Activate Sync to set the delay time as a note length value.

Sync

Activate Sync to synchronize the delay time to the host tempo. When activated, the time is set as a note length value.

If the note length exceeds the maximum delay time of 5000ms because your song tempo is very slow, for example, the note length is halved internally in order to not exceed the maximum possible delay time.

Delay L/R

This offsets the time of the left or right delay from the overall delay time. The offset value is a factor. At a factor of 1, the right or left delay time has the same length as the overall delay time. At a factor of 0.5, the time is half as long as the overall delay time. To offset the left delay time, turn the control to the left. To offset the right delay time, turn the control to the right. The letter before the factor changes accordingly to "L" or "R". The mid position of the control sets a factor of 1.0, which is the neutral setting.

Feedback

This sets the overall amount of feedback for the left and right delay. Feedback means that the output of the delay is fed back to its input. At a setting of 0 % you hear one echo. At a setting of 100 % the echoes repeat endlessly.

Feedback L/R

This parameter is only available in Stereo Delay mode. Use this to offset the amount of feedback of the left or right delay from the overall feedback. The offset value is a factor. A factor of 1 means that the amount of feedback corresponds to the overall feedback. A factor of 0.5 means that the amount is half the overall feedback. To offset the left feedback, turn the control to the left. To offset the right feedback, turn the control to the right. The letter before the factor changes accordingly to "L" or "R". 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 delays.

Filter High

This allows you to attenuate the high frequencies of the delays.

Mix

This sets the ratio between the dry and the wet signal.

Studio EQ

Studio EQ 1 Low 2 Mid 3 Mid 4 High Gain -3.7 dB 10.9 dB 4.1 dB -2.4 dB Freq 80 Hz 1026 Hz 4024 Hz 12960 Hz Q 1.0 1.0 1.0 1.0

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, to create a brighter or darker sound, for example. The two mid-range bands act as peak filters and the low and high bands act as shelving filters. All bands are fully parametric with adjustable gain, frequency, and Q factor.

Each frequency band offers the following controls:

Control Description

Gain Sets the amount of cut or boost for the corresponding band.

Freq Sets the frequency that is cut or boosted with the Gain parameter.

Q (Quality) Use this to adjust the bandwidth of the mid-range peak filters from wide to narrow. By increasing the Q on the low and high shelving filters you can add a dip to their shape.

Graphic EQ

Graphic EQ Output Mode True Response 0.0 dB Range Invert Filleton 12.0 dB

This equalizer has ten frequency bands that can be cut or boosted by up to 12dB with a fader. In addition, there are general controls for setting the overall range and output of the equalizer.

Output

This controls the overall output level of the equalizer.

Mode

The Mode option allows you to add color or character to the equalized output. The following options are available:

Mode Description

True Response Serial filters with accurate frequency response.

Classic	Parallel filters where the resonance depends on the amount of gain.
Constant Q	Parallel filters where the resonance is raised when boosting the gain.

Range

This adjusts the maximum cut or boost in dB for all frequency bands together.

Invert

Activate this to invert the EQ curve. The frequency bands that are boosted are cut, and vice versa.

Flatten

Click this button to reset all frequency bands to 0 dB.

Auto Filter

Auto Filter provides two morphable filter shapes with distortion. The morphing between the two shapes, as well as the cutoff, can be controlled with a manual pedal control, an LFO, or an envelope shaper.

Auto Filter Filter Shape B LP24 Input Cutoff Resonance Dist Type Output Filter Shape A LP24 0.00 dB 22000 Hz 0 % 0 % 0.00 dB LFO Waveform Sine Shape Freq Depth Cutoff Morph Mix Env Follower Pedal Sync 0 % 1.00 Hz 100 % 0 % 0 % 100 %

Filter Parameters

The two effect shapes to be used are selected via the Filter Shape pop-up menus. The filter shapes are the same as on the Filter subpage, see "Filter Shape" on page 39.

Input

Adjusts the gain before the filter and distortion. This parameter only affects the wet signal.

Cutoff

Specifies the cutoff frequency of the filter.

Resonance

Emphasizes the frequencies around the cutoff. At higher resonance settings, the filter self-oscillates, which results in a ringing tone.

Distortion

Adds distortion to the signal. The effect depends on the selected distortion type. At higher settings, it creates a very intense distortion effect.

⇒ This parameter is only available for the Tube Drive, Hard Clip, Bit Red, and Rate Red types.

Type

The available types are:

Type Description

Off The filter offers no distortion.

Tube Drive	This type offers a lot of character by adding warm, tube-like distortion. You can set the amount of tube drive with the Distortion parameter.
Hard Clip	This type adds bright, transistor-like distortion. You can set the amount of hard clipping with the Distortion parameter.
Bit Red	This type adds digital distortion by means of quantization noise. You can adjust the bit reduction with the Distortion parameter.
Rate Red	This filter type adds digital distortion by means of aliasing. You can adjust the rate reduction with the Distortion parameter.

Output

Adjusts the gain after the filter and distortion. This parameter only affects the wet signal.

Mix

This sets the ratio between the dry and the wet signal.

The LFO Section

LFD Env Follower Pedal Waveform Sine Sync Shape Freq Depth Cutoff Morph Mix 0 % 1.00 Hz 100 % 0 % 0 % 100 %

LFO Waveform and Shape

Waveform selects the basic type of waveform. Shape changes the characteristic of the waveform.

Option Description

Sine	This produces smooth modulation, suitable for vibrato or tremolo.Shape adds additional harmonics to the waveform.
Triangle This is similar in character to Sine. The waveform periodically ramps up and down. Shape continuously changes the triangle waveform to a trapezoid.
Saw	This produces a “ramp” cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up.
Pulse	This produces stepped modulation, where the modulation switches abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. Set Shape to 50 % to produce a square wave.
Ramp	This is similar to the Saw waveform. 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 step 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 alternate between random high and low values. Shape puts ramps between the steps and changes the S & H into a smooth random signal when fully turned right.

Freq

Determines the frequency of the cutoff modulation.

Sync

Activate this to set the Freq parameter in fractions of beats.

Depth

Determines the output level of the LFO modulation signal.

Cutoff

Determines the modulation intensity of the LFO on the filter cutoff.

Morph

Determines the modulation intensity of the LFO on the filter morph.

The Envelope Follower Section

LFD Eav Follower Pedal Sensitivity Attack Release Depth Cutoff Morph 0.00 dB 10 ms 500 ms 100 % 0 % 0 %

The Envelope Follower traces the input signal with an adjustable attack and release time and delivers a modulation signal representing the level envelope of the signal.

Sensitivity

All input signals are downmixed to mono before they are sent to the Envelope Follower. The Sensitivity parameter sets the optimum input level for the Envelope Follower.

Attack

This adjusts the attack time of the Envelope Follower, that is, the time the Envelope Follower needs to approach increasing input levels.

Release

This adjusts the release time of the Envelope Follower, that is, the time the Envelope Follower needs to approach decreasing input levels.

Depth

Determines the output level of the modulation signal of the Envelope Follower.

Cutoff

Determines the modulation intensity of the Envelope Follower on the filter cutoff.

Morph

Determines the modulation intensity of the Envelope Follower on the filter morph.

The Pedal Section

LFD Eav Follower Pedal 50 % Depth 100 % Cutoff 0 % Morph 0 %

Pedal

Sets the position of the pedal.

Depth

Determines the output level of the pedal modulation signal.

Cutoff

Determines the modulation intensity of the pedal on the filter cutoff.

Morph

Determines the modulation intensity of the pedal on the filter morph.

MorphFilter

Morph Filter Cutoff 57 % 2159 H2 4 % Morph Cutoff Resonance Fitter Shape B HP12 Fitter Shape A LP0

MorphFilter lets you mix low-pass and high-pass filter effects, allowing for creative morphings between two filters. You can specify the filter shapes independently for filter shape A and B via the corresponding pop-up menus.

Filter Shape B

Here, you can choose between several high-pass and band-rejection filter shapes.

Filter Shape A

Here, you can select a low-pass or a band-pass filter shape.

Morph

Lets you mix the output between the two selected filters.

Cutoff

Adjusts the cutoff frequency of the filters.

⇒ You can also set the Cutoff and Morph parameters simultaneously by clicking in the display and dragging.

Resonance

Emphasizes the frequencies around the cutoff frequency. For an electronic sound, increase the resonance. At higher resonance settings, the filter self-oscillates, which results in a ringing tone.

WahWah

WahWah Pedal Freq Width Gain Freq Width Gain Slope 50 200 Hz 50 0.0 dB 2000 Hz 50 0.0 dB 6 dB 12 dB

WahWah is a variable slope band-pass filter modeling the well-known analog pedal effect. You can independently specify the frequency, width and the gain for the Lo and Hi Pedal positions. The crossover point between the Lo and Hi Pedal positions lies at 50.

Pedal

Controls the filter frequency sweep.

Freq Lo/Hi

These parameters determine the frequency of the filter for the Lo and Hi Pedal positions.

Width Lo/Hi

These parameters determine the width (resonance) of the filter for the Lo and Hi Pedal positions.

Gain Lo/Hi

These parameters determine the gain of the filter for the Lo and Hi Pedal positions.

Slope

Here, you can choose between two filter slope values: 6dB or 12dB.

Amplifier

Amplifier Amp Model Crunch+ Speaker Model Blues 4x10 Drive Bass Middle Treble Presence 5.0 dB 5.0 dB 5.0 dB 5.0 dB 5.0 dB Low High Channel Mode L+R Output 5 % 50 %

This effect emulates the sound of an amplifier with speakers. There are different amplifiers and speaker models you can combine.

Amp Model

Here you select the type of amplifier. The sound character of the overdrive changes with the amplifier you select. 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.

Bass

This adjusts the tone color of the low frequencies.

Middle

This adjusts the tone color of the mid frequencies.

Treble

This adjusts the tone color of the high frequencies.

Presence

This adds brightness.

Low Damp

Attenuates the low frequencies of the speakers.

High Damp

Attenuates the high frequencies of the speakers.

Channel Mode

Here, you can define which output channels of the amplifier deliver a distorted signal. You can set it to L (Left), R (Right) or L/R (Both). When set to L or R, the other channel provides a clean signal.

Output

This controls the output level of the amplifier.

Distortion

Distortion In Gain Rate Red Tube Drive Hard Clip 0.0 dB Bit Red Wave Red Tube Drive Hard Clip Bit Red Out Gain Max 95000 Hz 0 % 0 % 16.00 Bit 0.0 dB 100 %

This effect offers the whole range of distortion, from low fidelity, digital distortion to high fidelity, analog sounding distortion. The four available types of distortion (Rate Red, Tube Drive, Hard Clip, and Bit Red) can be freely combined.

In Gain

This adjusts the input level of the sound.

Rate Red (Rate Reduction)

Rate reduction distorts the sound by means of aliasing. Enable the Rate Red option to activate the Rate Red control that adjusts the amount of aliasing. The lower the setting, the more aliasing is added.

Tube Drive

This adds warm, tube-like distortions to the sound. Enable the Tube Drive option to activate the Tube Drive control that adjusts the amount of distortion. The higher the setting, the more distortion is added.

Hard Clip

This adds bright, transistor-like distortions to the sound. Enable the Hard Clip option to activate the Hard Clip control that adjusts the amount of distortion. The higher the setting, the more distortion is added.

Bit Red (Bit Reduction)

Bit reduction distorts the sound by means of quantization noise. Enable the Bit Red option to activate the Bit Red control that adjusts the amount of quantization noise. The lower the setting, the more quantization noise is added.

Out Gain

This adjusts the output level of the sound.

Mix

This sets the ratio between the dry and the wet signal.

VST Amp

VST Amp AMP MODEL Plexi Lead SPEAKER MODEL Diamond Cabinet DRIVE BASS MIDDLE TREBLE PRESENCE MIC TYPE MIC POSITION CHANNEL MODE OUTPUT Off-Axis Close Stereo vst amp TUBE DYN

This effect emulates the sound of an amplifier with speakers. There are different amplifiers and speaker models you can combine.

Amp Model

Here you can select the type of amplifier. The sound character of the overdrive changes with the amplifier you select. 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.

Bass

Use this to adjust the tone color of the low frequencies.

Middle

Use this to adjust the tone color of the mid frequencies.

Treble

Use this to adjust the tone color of the high frequencies.

Presence

Use this to add brightness.

Microphone Position

Here, you can choose between 7 positions to place the microphone. These positions result from two different angles (center and edge) and three different distances from the speaker, as well as an additional center position at an even greater distance from the speaker.

Mic 1/2

You can choose between two microphone types. When this control is set to 0%, a large-diaphragm condenser microphone is used. At 100%, you get a dynamic microphone. Settings in between allow you to fade between the characteristics of these two microphones.

Channel Mode

Here you can define which output channels of the amplifier 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 channel provides a clean, bypassed signal.

Output

This controls the output level of the amplifier.

Tape Saturator

Tape Saturation Mode One Stage Oversampling 0.0 dB Drive Auto Gain Low Filter High Filter Output 0.0 dB 20000 Hz 0.0 dB

The Tape Saturator effect simulates the behavior of classic tape recorders. These machines produced a specific saturation when recording higher input levels, which led to a compressed signal with light distortion.

Mode

Here, you can choose between the effect of a single or two cascaded tape machines. Two Stage mode leads to higher saturation and compression.

Oversampling

Activate this option to increase the accuracy of the effect by oversampling.

When this button is activated, the effect requires more processing power.

Drive

Determines the level of the input signal and thus the amount of saturation.

Auto Gain

Activate this option for an automatic level compensation.

Low Filter

Here, you can adjust the low frequency range below 1000 Hz by +/- 3 dB.

High Filter

Here, you can attenuate the high frequency range. This high-cut filter works with a slope of 24 dB/octave.

Output

Determines the level of the output signal.

Octaver

Octaver Direct Octave 1 Octave 2 100 % 50 % 50 %

This effect allows you to create two additional voices that follow the original voice an octave below and above. The effect is best suited for monophonic signals.

Direct

Determines the level of the input signal.

Octave 1

Determines the level of the signal that is produced an octave below the original voice.

Octave 2

Determines the level of the signal that is produced an octave above the original voice.

Chorus

Chorus Rate Sync Depth Phase Shape 0.10 Hz 50 % 90 ° 0 % Mik 100 %

The Chorus effect thickens and broadens the sound by means of pitch modulation.

Rate

Use this to specify the frequency of the pitch modulation in Hertz.

Sync

Activate this to set the Rate value in fractions of beats.

Depth

This sets the intensity of the pitch modulation.

Phase

This widens the sound image of the effect from mono to stereo.

Shape

This adjusts the characteristic of the modulation. At a setting of 0%, the pitch changes continuously, producing a steady modulation. At a setting of 100%, the pitch does not change all the time, producing a less steady modulation.

Mix

This sets the ratio between the dry and the wet signal.

Flanger

Flanger Rate Sync Depth Phase Shape Feedback Cross FB Tone Mix 0.16 Hz 50 % 90 ° 0 % 50 % 0 % 100 % 100 %

The Flanger effect thickens and broadens the sound by means of pitch modulation. The Feedback parameter allows you to add resonances allowing for jet-like sweeps of the sound.

Rate

Use this to specify the frequency of the pitch modulation in Hertz.

Sync

Activate this to set the Rate value in fractions of beats.

Depth

This sets the intensity of the pitch modulation.

Phase

This widens the sound image of the effect from mono to stereo. The Phase parameter also changes the characteristic of the Cross Feedback parameter.

Shape

This adjusts the characteristic of the modulation. You hear this best with the Feedback parameter turned on. At a setting of 0 %, the sound sweeps linearly up and down. At a setting of 100 %, the sound sweeps exponentially up and down.

Mix

This sets the ratio between the dry and the wet signal.

Feedback

This adds resonances to the effect.

Cross FB

This mixes the feedback of the left channel with the right channel, and vice versa. This parameter only takes effect if the Feedback parameter is set to a value above 0 %. The setting of the Phase parameter influences the Cross FB parameter.

Tone

This adjusts the tone color of the feedback. If you set this parameter to lower values the feedback is less bright.

Step Flanger

Step Fanger Rate Sync Depth Phase Shape Feedback Cross FB Tone Mix 0.25 Hz 20 % 90 ° 0 % 70 % 0 % 100 % 100 % Type Short 50% Mix Smooth Steps 50 % 0 % 16

The Step Flanger expands the Flanger with a Sample and Hold section that divides the modulation signal into a definable number of steps.

In addition to the parameters of the regular Flanger effect, Step Flanger offers the following parameters:

Type

Defines the length of the delay line that is modulated. Short produces a sharper and Long a less defined, more blurred Flanger sound.

S&H Mix

Use this parameter to blend the normal with the stepped modulation signal. At 100%, only the stepped modulation is used.

Smooth

Use this parameter to create ramps between the steps. This way, the stepped modulation signal sounds smoother.

Steps

Determines into how many steps the modulation signal is divided. You can use up to 32 steps.

Phaser

Phaser Rate Sync Depth Shifts Phase Feedback New Cut High Cut Mix 130 Hz 50 % 0 % 90 ° 50 % 50 Hz 12000 Hz 100 %

The Phaser effect thickens and broadens the sound by means of phase modulation. The Feedback parameter allows you to add resonances to sweep the sound.

Rate

Use this to specify the frequency of the phase modulation in Hertz.

Sync

Activate this to set the Rate value in fractions of beats.

Depth

This sets the intensity of the phase modulation.

Shift

This shifts the phase modulation upwards to higher frequencies of the spectrum.

Phase

This widens the sound image of the effect from mono to stereo.

Low Cut

Attenuates the low frequencies.

High Cut

Attenuate the high frequencies.

Mix

This sets the ratio between the dry and the wet signal.

Tremolo

Tremolo Rate Sync 0.0 Hz Depth 75 % Phase 130 ° Output 0.0 dB

This effect produces amplitude modulation, that is, cyclic modulation of the level of the sound.

Rate

Use this to specify the frequency of the amplitude modulation in Hertz.

Sync

Activate this to set the Rate value in fractions of beats.

Depth

This sets the intensity of the amplitude modulation.

Phase

This widens the sound image of the effect from mono to stereo.

Output

Sets the output level of the Tremolo.

Ring Modulator

Ring Modulator LFO Waveform Sine Sync LFO Shape 100 Hz LFO Freq 0 % LFO Depth 0 % Frequency Sine Osc 100 Hz Envelope Follower Sensitivity 0 dB Attack 10 ms Release 500 ms Depth 0 % Mix 100 %

The Ring Modulator provides a sine oscillator that is multiplied with the input signal. This creates metallic, or bell-like, frequencies. The integrated LFO modulates the frequency of the sine oscillator to vary the created frequencies over time. In addition, an envelope follower is available, which can be used to modulate the frequency of the sine oscillator depending on the level of the input signal.

LFO Waveform and LFO Shape

These are the same parameters as on the LFO subpages, see "LFO Waveform and Shape" on page 51.

LFO Freq

Use this to specify the frequency of the LFO for modulating the frequency of the sine oscillator.

Sync

Activate this to set the LFO Freq value in fractions of beats.

LFO Depth

Sets the intensity of the LFO modulation of the sine oscillator frequency.

Frequency

Determines the frequency of the sine oscillator.

Mix

This sets the ratio between the dry and the wet signal.

Envelope Follower

The Envelope Follower traces the input signal with an adjustable attack and release time and delivers a modulation signal representing the level envelope of the signal.

Sensitivity

All input signals are downmixed to mono before they are sent to the Envelope Follower. The Sensitivity parameter sets the optimum input level for the Envelope Follower.

Attack

This adjusts the attack time of the Envelope Follower, that is, the time the Envelope Follower needs to approach increasing input levels.

Release

This adjusts the release time of the Envelope Follower, that is, the time the Envelope Follower needs to approach decreasing input levels.

Depth

Determines the output level of the modulation signal of the Envelope Follower.

Rotary

Rotary Rotation Fast Stop Slow Distance 50 % Cabinet 100 % Balance 50 % Horn Mic Angle 90 ° Input 0.00 dB Drive 0 % Output 0.00 dB Slow Fast Accel Drum Mic Angle 90 ° Color 0 % Bass 0 % Treble 0.00 dB 0 %

The Rotary effect emulates the sound of a vintage rotary speaker including amplifier, horn, drum, and cabinet. By emitting the sound via a rotating horn and drum, the rotary speaker produces a Doppler effect that thickens the sound. The horn and drum rotate at variable speed producing different amounts of Doppler effect. The amplifier of the rotary speaker adds a warm sounding distortion, and the horn, drum, and cabinet color the sound uniquely. The horn and drum are recorded via (virtual) microphones that can be set to different angles to broaden the sound image. Typically, rotary speakers are used with electric organs.

Rotation

Use this to change the rotation speed of the horn and drum (Slow, Fast, Stop). When set to Fast, the Doppler effect is stronger. When set to Stop, there is no Doppler effect because the drum and horn do not rotate. Because the horn and drum accelerate and decelerate at different speeds the transition from Slow to Fast and vice versa sounds the most interesting.

Distance

Sets the distance between the microphones and the horn and drum. The amplitude modulation of the sound decreases with the distance of the microphones. Set this to higher values for less amplitude modulation.

Cabinet

The horn and drum sound different when recorded through the louvers of the cabinet. Use this to color the horn and drum with the sound of the cabinet. At a setting of 100 %, you get the full sound of the cabinet.

Balance

Here you adjust the balance between the horn and drum microphones. At a setting of 0%, you hear only the drum. At a setting of 100%, you hear only the horn.

Slow

This adjusts the slow speed of the horn and drum together.

Fast

This adjusts the fast speed of the horn and drum together.

Accel

Adjusts the acceleration time for raising and lowering the rotation speed of the horn and drum.

Horn Mic Angle

This adjusts the stereo spread of the horn microphones. At a setting of 0^ , the sound image is monophonic. At a setting of 180^ , the sound image is fully stereo.

Drum Mic Angle

This adjusts the stereo spread of the drum microphones. At a setting of 0^ , the sound image is monophonic. At a setting of 180^ , the sound image is fully stereo.

Input

Adjusts the gain before the rotary and drive.

Drive

Adjusts the distortion of the amplifier.

Output

Adjusts the gain after the rotary and drive.

Color

Use this to alter the sound of the Rotary effect. This parameter changes the timbre which leads to the rotation of the horn and the drum being perceived with greater depth.

Bass

Use this to adjust the tone color of the low frequencies.

Treble

Use this to adjust the tone color of the high frequencies.

Vibrato

Vibrato Mode Classic Type V2 6.00 Hz 45 % 100 %

The Vibrato effect emulates the chorus and vibrato effects of vintage organs. It thickens the sound by means of pitch modulation. The effect provides direct access to the classic chorus and vibrato settings (C1, C2 and C3 and V1, V2 and V3). In addition, there is a Custom mode that allows you to adjust the amount of chorus or vibrato freely.

Type

Here you can select the classic chorus and vibrato settings C1, C2 and C3 and V1, V2 and V3. The control is only available if the effect is set to Classic mode.

Custom Mode

Activate this to adjust the chorus and vibrato settings freely with the Rate, Depth, and Vibrato/Chorus controls.

Rate

Use this to specify the frequency of the pitch modulation in Hertz.

Depth

This sets the intensity of the pitch modulation.

Vibr/Chor

This controls the mix between the vibrato and the chorus signal. At 100%, you only hear the chorus effect.

Vintage Ensemble

Vintage Ensemble Rate Sync Depth Shimmer Shimmer Rate Low Cut High Cut FX Level Mix 0.69 Hz 45 % 38 % 8.9 632 Hz 7940 Hz 9.0 dB 100 %

This effect emulates the sound of classic ensemble modulation effects. It is based on a delay with LFO-modulated delay times. A secondary LFO with higher frequencies is used to produce the so-called “shimmer”.

Rate

Specifies the frequency of the LFO.

Sync

Activate this to set the Rate value in fractions of beats.

Depth

Sets the intensity of the delay time modulation by the LFO.

Shimmer

Sets the intensity of a secondary faster delay time modulation.

Shimmer Rate

Determines the relation between the speed of the primary and the secondary delay modulation. For example, with a value of 10, the secondary modulation is ten times faster.

Low Cut

Applies a low-cut filter to the signal. Only frequencies above the set frequency are sent to the effect.

High Cut

Applies a high-cut filter to the signal. Only frequencies below the set frequency are sent to the effect.

Level

Allows you to adapt the effect signal level to compensate for level reductions caused by the Low and High cut filters.

Mix

This sets the ratio between the dry and the wet signal.

Compressor

Compressor IN GR OUT Threshold Ratio Soft lines Auto -20.0 dB 2.00 Attack Hold Release/Auto Peak/FMS 1.0 ms 1 ms 500 ms 80 %

The Compressor reduces the dynamic range of a sound. This way, the sound gains headroom. You can use this extra headroom to make the overall sound louder again. The graphical control to the left indicates the compression curve. You can edit the Threshold and Ratio value with the handles of this control, the corresponding knobs reflect your changes. The input and output VU meters indicate the level before and after the compression. The Gain Reduction meter indicates the current attenuation of the level.

Threshold

Use this to set the threshold in dB. Sounds that are louder than the threshold are reduced in gain. Sounds below the threshold stay untreated.

Ratio

This adjusts the amount of gain reduction for sounds that are louder than the threshold. The higher the ratio, the more the output is lowered. For example, if the ratio is set to 2:1 and the amplitude of the sound is 4 dB above the threshold, the output is lowered by 2 dB. If the amplitude is 8 dB above the threshold, the output is lowered by 4 dB.

Soft Knee

If this button is off, signals above the threshold are compressed instantly according to the set ration (hard knee). When Soft Knee is activated, the onset of compression is more gradual, producing a less drastic result.

Make-Up

Depending on the set threshold and ratio, the sound loses gain (indicated by the Gain Reduction meter). You can use the Make-Up parameter to make the overall sound louder again.

Auto

This calculates the gain loss from the Threshold and Ratio settings and sets the Make-Up value automatically. The Make-Up knob is disabled when Auto is active.

Attack

This determines how fast the Compressor effect reacts to sounds that exceed the set threshold. The longer the set Attack time, the longer the period for reducing the gain to the set ratio will be. In other words, with longer Attack times the onset of sounds exceeding the threshold pass through unprocessed.

Hold

This sets a time period during which the compression is applied after the sound exceeds the set threshold.

Release

This determines how fast the Compressor effect reacts to sounds that fall below the set threshold. The longer the set Release time, the longer the period for returning to the original level will be.

Auto Release

Activate this to set the Release time automatically. The Compressor analyzes the input sound continuously to find the optimal Release time. The Release knob is disabled when Auto Release is active.

Peak - RMS

Determines whether the input signal is analyzed according to peak or RMS values or a mixture of both. At a setting of 0 %, the Compressor uses Peak sensing only and at 100 %, RMS sensing only. Peak means that the Compressor directly senses the peak level of the sound. RMS means that the Compressor senses the average power of the sound. Peak sensing responds faster than RMS sensing. Typically, Peak sensing is used for transient and RMS sensing for sustained sounds.

Limiter

Limiter IN GR OUT Input Output Release /Auto 0.0 dB 0.0 dB 500.0 ms

The Limiter effects prevents the sound from exceeding the set output level to avoid clipping in following effects, for example. The input and output VU meters indicate the level before and after the Limiter. The Gain Reduction meter in the middle indicates the current attenuation of the level.

Input

This adjusts the input level of the sound. By increasing the input level you can drive the sound more and more into limiting.

Output

This sets the maximum output level of the sound.

Release

This sets the time that the gain needs to return to its original level. The longer the Release time, the longer is the period for returning to the original level.

Auto

Activate this to set the Release time automatically. The Limiter analyzes the input sound continuously to find the optimal Release time. The Release knob is disabled when Auto Release is active.

Expander

Expander R1 GB OUT Threshold Ratio Soft Knee -24.0 dB 2.00 Attack Hard Peak/INS 1.0 ms 0 ms Cold/INS 100 %

Expander reduces the output level in relation to the input level for signals below the set threshold. This is useful when you want to enhance the dynamic range or reduce the noise in quiet passages. The graphical control to the left indicates the expansion curve. You can edit the Threshold and Ratio value with the handles of this control, and the corresponding knobs reflect your changes. The input and output VU meters indicate the level before and after the expansion. The Gain Reduction meter indicates the current attenuation of the level.

Threshold

Use this to set the threshold in dB. Sounds that are softer than the threshold are reduced in gain. Sounds above the threshold stay untreated.

Ratio

This adjusts the amount of gain reduction for sounds that are softer than the threshold. The higher the ratio, the more the output is lowered. For example, if the ratio is set to 2:1 and the amplitude of the sound is 4 dB below the threshold, the output is lowered by 2 dB. If the amplitude is 8 dB below the threshold, the output is lowered by 4 dB.

Soft Knee

If this button is off, signals above the threshold are compressed instantly according to the set ration (hard knee). When Soft Knee is activated, the onset of expansion is more gradual, producing a less drastic result.

Attack

This determines how fast the Expander reduces the gain when the sound falls below the set threshold. The longer the Attack time, the longer the period for reducing the gain will be.

Hold

This sets a time period during which the expansion is applied after the sound falls below the set threshold.

Release

This determines how fast the Expander raises the gain after the sound exceeds the set threshold. The longer the Release time, the longer is the period for raising the gain again.

Auto Release

Activate this to set the Release time automatically. The Expander analyzes the input sound continuously to find the optimal Release time. The Release knob is disabled when Auto Release is active.

Peak - RMS

Determines whether the input signal is analyzed according to peak or RMS values or a mixture of both. At a setting of 0 %, the Expander uses Peak sensing only and at 100 %, RMS sensing only. Peak means that the Expander directly senses the peak level of the sound. RMS means that the Expander senses the average power of the sound. Peak sensing responds faster than RMS sensing. Typically, Peak sensing is used for transient and RMS sensing for sustained sounds.

Gate

Gate IN OUT Threshold Filter LP -24.0 dB Monitor NP Center Q-Factor 500 Hz 0.5 Attack Hold Release Auto Peak RMS 1.0 ms 0 ms 120 ms 100 %

The Gate effect passes sound only to its output if the input sound exceeds the set threshold level. Sounds below the threshold are silenced. An internal side-chain filter allows you to analyze a filtered version of the input sound instead. This way, the Gate detects only certain frequencies of the input sound.

Threshold

Determines the level where the gate is activated. Signal levels above the set threshold trigger the gate to open, and signal levels below the set threshold close the gate.

Filter

This activates the internal side-chain filter. When activated, the input sound is filtered before it is analyzed. The Gate opens only if the filtered sound exceeds the set threshold. When the Filter button is off, the filter controls are disabled.

Filter Type

Here you select the filter type for the side-chain filter. Select high-pass (HP) to detect high, band-pass (BP) to detect mid, and low-pass (LP) to detect low frequencies only.

Monitor

Activate this to listen to the sound of the side-chain filter. The Gate is inactive when the Monitor button is activated.

Center

This sets the center frequency of the side-chain filter.

Q-Factor

Activate this to adjust the bandwidth of the band-pass filter from wide to narrow.

Attack

This determines how fast the Gate opens when the sound exceeds the set threshold. The longer the Attack time, the longer is the period for the sound to fade in.

Hold

This sets a time period during which the Gate is applied after the sound falls below the set threshold.

Release

This determines how fast the Gate closes after the sound falls below the set threshold. The longer the Release time, the longer is the period for the sound to fade out.

Auto

Activate this to set the Release time automatically. The Gate analyzes the input sound continuously to find the optimal Release time. The Release knob is disabled when Auto Release is active.

Peak - RMS

Determines whether the input signal is analyzed according to peak or RMS values (or a mixture of both). At a setting of 0%, the Gate uses Peak sensing only and at 100%, RMS sensing only. Peak means that the Gate directly senses the peak level of the sound. RMS means that the Gate senses the average power of the sound. Peak sensing responds faster than RMS sensing. Typically, Peak sensing is used for transient and RMS sensing for sustained sounds.

Envelope Shaper

Envelope Shaper Attack Gain Length 0.0 dB 5.0 ms Release Gain 0.0 dB Output 0.0 dB

This effect can be used to attenuate or boost the gain of the attack and release phase of audio material. Be careful with levels when boosting the gain and, if needed, reduce the output level to avoid clipping.

Attack - Gain

Changes the gain of the attack phase of the signal.

Attack - Length

Determines the length of the attack phase of the signal.

Release - Gain

Changes the gain of the release phase of the signal.

Output

Sets the output level.

Stereo Pan

Stereo Pan Input Swap Pan Width 0.0 100.0

This effect allows you to set the stereo position and width of the signal.

Input Swap

Activate the Input Swap option if you want to swap the stereo channels.

Pan

Here you can set the pan position of the signal. The panning is available for mono and stereo input signals.

Width

This parameter allows you to adjust the stereo width of the signal from stereo to mono.

HALion 3 Legacy Effects

In addition to the standard effects, a number of effects from HALion 3 is also provided. These effects can be selected from the Legacy submenu of the Effects menu.

Hall Reverb

A simple reverb with adjustable pre-delay and damping.

Parameter Description

Predelay	The Predelay time delays the wet signal to simulate larger acoustic spaces or as a slap-back effect.
Time Length of reverb tail.
HF Damp Progressive damping of high frequencies.
Lo EQ Low-cut EQ.
Hi EQ High-cut EQ.
Mix Wet/dry mix.

Non-Linear Reverb

A "gated" reverb with a sharp cutoff.

Parameter Description

Time	Length of reverb tail. It also allows you to change the sound from dense early reflections to a trashy, grainy 80's-type reverb.
HF Damp Progressive damping of high frequencies.
Lo EQ Low-cut EQ.
Hi EQ High-cut EQ.
Mix Wet/dry mix.

Early Reflections

A short, dense reverb for simulating small acoustic spaces and to thicken or blur sounds.

Parameter Description

Time Length of reverb tail. It also allows you to change the sound from dense early reflections to a trashy, grainy 80's-type reverb.
Low EQ Low-cut EQ.
High EQ	High-cut EQ.
Mix	Wet/dry mix.

Delay

A simple mono-in/stereo out delay.

Parameter Description

Delay	Delay time. If the Sync parameter is set to On, the delay time is set by using various note values.
Sync On/Off	By activating Sync, delays are synced to the tempo set in your host application.
Feedback	Feedback controls the number of delay repeats.

Parameter Description

Balance Ratio of left delay time to right delay time.

HF Damp High-cut filter to soften delay repeats.

Stereo Delay

A stereo-in/stereo out delay.

Parameter Description

Delay	Delay time. If the Sync parameter is set to On, the delay time is set by using various note values.
Feedback Feedback controls the number of delay repeats. For minimum feedback set the slider to the mid position. By moving the slider to the left or right “cross delay” is applied, where left output feeds back into right input or vice versa.
Sync On/Off	By activating Sync, delay repeats are synced to the tempo set in your host application.
Balance Ratio of left delay time to right delay time.
HF Damp High-cut filter to soften delay repeats.

Long Delay

The Long Delay provides the same parameters set as the Delay, except delays up to four seconds can be set.

Tape Delay

Simulation of a vintage 4-head analog tape delay.

Parameter Description

Delay	Delay time. If the Sync parameter is set to On, the delay time is set by using various note values.
Sync On/Off	By activating Sync, the delay repeats are synced to the tempo set in your host application.
Feedback Feedback controls the number of delay repeats.
Vintage Amount of vintage “color” and tape flutter.
Head 1 Delay level 1 (output is panned left).
Head 2 Delay level 2 (output is panned right).
Head 3 Delay level 3.
Head 4 Delay level 4.
Pan 3+4 Varies the panning of delays 3 & 4 from center to hard left/right.
Vol 3+4 Varies the volume of delay outputs 3 & 4.

Chorus

A straightforward chorus effect that can be used to "widen" sounds.

Parameter Description

Rate Modulation rate.
Depth	Amount of pitch modulation.

Parameter Description

Predelay

Initial delay, to vary the “tightness” of the chorused voices to the dry signal.

Mix Wet/dry mix.

Ensemble
Chorus with a more complex modulation waveform for a lively thickening effect.
Parameter Description

Rate Modulation rate.

Depth Amount of pitch modulation.

Shimmer Creates a more complex modulation effect.

Width Stereo width adjustment.

Mix Wet/dry mix.

Flanger

A classic flanger effect.
Parameter Description

Rate Sweep rate.
Depth Sweep depth.
Feedback	Feedback amount. Increase for a more intense flanging effect.
Predelay	Initial delay. Adjusts the minimum delay time/maximum flange frequency.
Mix Wet/dry mix.

Phaser

A four pole phaser for subtle phasing effects.
Parameter Description

Rate Sweep rate.
Depth Sweep depth.
Feedback	Feedback amount. Increase for a more pronounced effect.
Stereo Offset between left and right modulation.
Center Sets the center frequency around which the modulation occurs.
Mix Wet/dry mix.

Pan/Tremolo

Autopan and Tremolo effect as used in vintage electric pianos.
Parameter Description

Rate	Sweep rate.
Phase	Relative phase of left and right channel amplitude modulation,to vary from tremolo to autopan.
Shape	Shape of modulation waveform from thin pulse, through sine, to fat pulse.
Mix	Wet/dry mix.

Stereo Width

A stereo width enhancer with 4 modes.

Parameter Description

Mode Selects between four modes of stereo width enhancement:

• Adjust: Adjust existing width of stereo signal.
• Swap: As Adjust but swaps left and right channels.
• Comb: A stereo comb filter effect.
• Haas: Synthesizes stereo width by delaying one channel.

Delay Delay time (not used in Adjust and Swap modes).

Width Overall width adjustment.

Low/Mid/High Width adjustment for low/mid/high frequencies.

Output Output level trim.

Rotary Speaker

Simulation of a rotary speaker cabinet with high and low rotors.

Parameter Description

Rate Master speed control: Stop, Slow, Fast.

Dirt Amount of overdrive.

Lo/Hi Crossover frequency between low and high rotors.

Width Stereo width.

Tone Adjust the tone of the overdriven signal.

Hi/Lo Speed Speed of high and low rotor.

Hi/Lo Acc Acceleration of high and low rotor.

Mix Wet/dry mix.

Wah Pedal

An auto-wah effect.

Parameter Description

Rate Modulation rate (optional tempo sync).

Depth Modulation depth.

Pedal Adjusts filter frequency.

Mode - Auto: Envelope controlled wah effect.

• Pedal: No modulation, Pedal parameter sets the frequency.
• Mod: LFO modulation. Rate parameter controls the modulation rate.

Resonance Sets the amount of filter resonance.

Tracking Adjusts envelope tracking speed in Auto mode, and envelope rate modulation in Mod mode.

TalkBox

Modulated vowel formant filter.

Parameter	Description
Rate	LFO Modulation rate (optional tempo sync).
Depth	LFO modulation depth.

Parameter Description

Vowel Center setting: Vowel produced when there is no modulation.

Env Mod Amount of vowel modulation by input signal level.

Env Att Rate of response to a rising input signal level.

Env Rel Rate of response to a falling input signal level.

Mix Wet/dry mix.

Shelf EQ

Simple tone control.

Parameter Description

Output Output level trim.

Bass Low frequency cut/boost.

Treble High frequency cut/boost.

Parametric EQ

Two-band parametric equalizer.

Parameter Description

Gain 1/2 Cut/boost amount for the two bands.

Freq 1/2 Sets the center frequency for the two bands.

Width 1/2 Sets the band width for the two bands ("Q").

Output Output level trim.

Enhancer

Psycho acoustic spectrum shaping.

Parameter Description

High Depth High frequency boost, combined with mid cut.

High Tune High/mid tune.

Low Depth Low frequency boost.

Low Tune Low frequency tune.

Limiter

Hard level limiting.

Parameter Description

Output Output level trim.

Drive Input signal drive.

Attack Attack time.

Release Release time.

Compressor

A simple compressor effect.

Parameter Description

Output Output level trim.

Threshold Compression threshold.

Release Release time.

Multiband

Three-band compressor.

Parameter Description

Drive Input signal drive (increase for more density).

Lo/Hi Balance of low and high frequency bands.

Mid Level of mid frequency band.

Attack Attack time.

Release Release time.

Output Output level trim.

Gate

Simple gate effect.

Parameter Description

Threshold Gate threshold.

Range Level reduction when gate closed.

Attack Attack time.

Release Release time.

Output Output level trim.

Distortion

Hard clipping distortion.

Parameter Description

Drive Distortion amount.

Bias Adjusts the balance between even and odd harmonics, that is, the character of the distortion.

Tone Distortion tone.

Output Output level trim.

Mix Wet/dry mix.

Overdrive

Softer distortion with a gradual onset.

Parameter Description

Drive Overdrive amount.

Bias Overdrive character. Adjusts the balance between even and odd harmonics.

Output Output level trim.

Mix Wet/dry mix.

Bit Reduction

Digital "Lo Fi" quality degradation.

Parameter Description

Mode Sets whether the bit depth is fixed or depends on the signal level (Linear or Companding).

Rate Simulated sample rate.

Depth Sample bit depth.

Slew Rate Maximum rate of change of output waveform, for a soft, wooly distortion.

Mix Wet/dry mix.

Amp Simulator

Amplifier modelling effect.

Parameter Description

Model Type of amplifier model. Changes the tone character.

Mode Mono/Stereo operation. Mono saves CPU, and in some cases sounds more solid.

Drive Overdrive amount.

Feedback Feedback amount (result depends on input signal).

Treble Treble boost – optionally in or out of phase for different tones.

Mix Wet/dry mix.

Modulate L/R

This effect features three modes of signal distortion, where one side of a stereo signal is used to modulate the other.

Parameter Description

Mode - Ring Mod: Ring modulation.

• Env Mod: Signal level of right channel is modulated by level of left channel.
• Duck: Signal level of right channel is reduced when level of left channel increases.

Thru Defines which input signals are used as the dry signal for the Mix.

Smooth Smoothing of modulation.

Drive Level trim.

Mix Wet/dry mix.

The Performance Section

Introduction

The performance section is found in the lower part of the HALion Sonic window. It contains those elements that you need for "playing" HALion Sonic. The performance controls, the quick controls, and the trigger pads are the main components of the performance section.

The Performance Controls

In the lower part of the performance section you will find the performance controls with the wheel controls, the keyboard, and the sphere control.

Wheel Controls

Pitchbend wheel Modulation wheel

To the left of the preview keyboard of the plug-in, you can find the pitchbend wheel and the modulation wheel.

The modulation wheel is hardwired to MIDI controller #1 which is normally used as a source in the modulation matrix, but can be used as a quick control as well. Typically, you assign the modulation wheel to a parameter of an insert effect, such as the speed of the Rotary.

⇒ The fixed assignment of MIDI controller #1 cannot be changed. Therefore, the modulation wheel offers no "Learn CC" function.

Keyboard

Piano keyboard with visible fret keys and key intervals (no text or symbols)

The virtual 88-note keyboard of HALion Sonic can be used to trigger MIDI notes just like a real keyboard. By clicking the keys at different vertical positions you can control the note-on velocity. Furthermore, the keyboard displays keys that are not used to trigger notes but act as key switches. The Shift Keyboard buttons to the left and right of the keyboard shift the keyboard range by octaves. This allows you to display, for instance, key switches that are located on lower keys.

Sphere H and Sphere V

The Sphere is the orange ball in the bottom right-hand corner of HALion Sonic. The Sphere is a two-dimensional control, which means you can adjust two quick controls simultaneously by dragging the mouse horizontally and vertically within the Sphere. The quick control on the horizontal axis is called Sphere H. The quick control on the vertical axis is called Sphere V. Typically, two parameters that belong together are assigned to the Sphere. For instance, Cutoff is assigned to Sphere H and Resonance to Sphere V.

⇒ The small triangles for indicating the horizontal and vertical axis are available only if parameters are assigned to Sphere H and V.

Center Horizontal/Center Vertical

You can set up 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 Vertical, proceed as follows:

1. Right-click the Sphere.

2. In the menu, check or uncheck the options Center Horizontal or Center Vertical respectively.

The Quick Controls

The eight potentiometer controls, the horizontal and vertical axis of the sphere, and the modulation wheel located at the bottom of the plug-in interface can be assigned as quick controls. Quick controls allow you to remotely 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 addition, 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 controls of the program and the layers with the buttons at the left of the eight potentiometer controls.

You can assign the same quick control several 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 continuous control or as a switch. A quick control remotely 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 selection can be made per assignment.

Quick Controls and Value Tooltips

Through the offset applied by a quick control, the actual value of a parameter usually differs from the displayed value. Therefore, parameters that are assigned to a quick control show a value tooltip. The value tooltip indicates the resulting parameter value and the name of the assigned quick control.

Especially with switches, quick controls can lead to ambiguous states: The switch can be set to off, but the option can be activated by a quick control. In such a case, the value tooltip helps you to see the cause of this without having to search the quick control editor.
Value tooltips can be deactivated on the Options page, see "Show Value Tooltips" on page 184.

Quick Controls 1–8

MW Vibrato Amount MW Vibrato Speed Open 1*2 Tone Color Open 1*2 Emphasis Open 1*2 Amp Attack Open 1*2 Amp Rel Dead Notes Level Noises Level

The eight quick controls are located above HALion Sonic's onscreen keyboard. Typically, the eight most important sound parameters are assigned to them.

Accessing Quick Controls

To access the quick controls of the program or one of its layers, proceed as follows:

1. Select the program you want to edit in the Multi Program Rack.
2. Go to the left of the quick controls and click the program button ("P") or one of the layer buttons ("L1" to "L4").
3. The quick controls change to the settings of the program or the selected layer respectively.

⇒ The 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 following 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 inserts 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 assigned directly to quick controls of the program.

To assign a quick control to a parameter, proceed as follows:

1. In the program or layer editor or the editor of an effect insert, right-click the parameter you want to remotely control.
2. From the menu, select the quick control you want to assign, for example, quick control 1–8, sphere H & V, or mod wheel.
3. The assignment is created.

⇒ The quick control range is automatically adapted depending on the current parameter value. This is to assure that the quick control provides optimal control range.

⇒ The parameters Polyphony, Low Key, High Key, Low Velocity, High Velocity and the Output cannot be assigned to quick controls.

⇒ You can also assign quick controls to the ADSR offsets 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, proceed as follows:

1. Select the respective layer from the left of the quick controls.

2. Right-click the quick control you want to remotely control.

3. From the menu, select the program's quick control you want to assign.

4. The range of the program quick controls is automatically adjusted to guarantees that the whole layer quick control range can be covered.

Since 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 allows you to manage and edit quick controls after you assigned them. The quick controls of the selected program or layer are listed to the left. The assignments of the currently 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.

⇒ If the selected quick control has no assignments, the list to the right will be empty.

To access the assignments of a quick control, proceed as follows:

1. Right-click the quick control you want to edit.

2. Select "Edit Quick Control" from the menu.

3. The quick control page of the respective program or layer opens.

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, proceed as follows:

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. Click in the name column of the quick control you have just selected and enter the new name.

4. Press [Enter] to set the title. Press [Esc] to cancel without setting the title.

Alternatively, you can enter a title on the quick control itself:

1. Above the quick control, double-click its title.

2. Enter the new name.

3. Press [Enter] to set the title. Press [Esc] to cancel without setting the title.

Unassigning Quick Controls

You can unassign quick controls directly from the quick controls section or on the QC section on the Edit page.

- To unassign a quick control on the quick controls section, right-click the control and select "Forget Quick Control".

In the QC section of the Edit page, the context menu offers the following options:

• To unassign the selected quick control, select "Remove Assignment".
• To remove all assignments of the selected quick control, select "Remove All Assignments".
• To remove all assignments of all quick controls that belong to the selected layer in the program tree, select "Remove All Assignments of All Quick Controls".

FlenP Envelopes QC Name QC 1 MW Vibrato Amount M QC 2 MW Vibrato Speed QC 3 Open 1+2 Tone Color QC 4 Open 1+2 Emphasis QC 5 Open 1+2 Amp Attack QC 6 Open 1+2 Amp Rel QC 7 Dead Notes Level QC 8 Noises Level Sohere H Sohere V Mod Wheel Parameter Range Curve Trim Range Trim Range of All Quick Controls Set Default Range Set Default Range of All Quick Controls Set Quick Control to Neutral Setting Remove Assignment Remove All Assignments Remove All Assignments of All Quick Controls Forward All Assignments to Program

Changing the Order of Quick Control Assignments

To change the order of the existing quick control assignments in the list, proceed as follows:

• Drag an assignment in between two other quick controls to insert it there. The order of the list changes accordingly.
• Drag an assignment to another quick control to replace 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 parameter 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 overwritten 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 remotely controlled parameter switches between the minimum 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 overwritten and cannot be heard. You can select which mode will be used per assignment.

To set the behavior on the control itself, proceed as follows:

1. Right-click the control on which you want to set the behavior.
2. Select the behavior you want to use from the menu.
   To set the behavior on the quick control page, proceed as follows:
3. Go to the quick control page of the respective program or layer.
4. From the list to the left, select the quick control you want to edit.
5. In the Parameter section to the right, click in the Mode pop-up menu and select the behavior.

Option Description

Absolute This remotely controls the parameter values continuously. Parameter changes will be overwritten.

Relative This remotely controls the parameter values continuously. Parameter changes can still be heard.

Switch Absolute This will switch between the minimum and maximum value. Parameter changes will be overwritten.

Switch Relative This will switch between the minimum and maximum value. Parameter changes can still be heard.

Setting the Minimum/Maximum Range

You can set the minimum and maximum range for each assignment separately. This way, you have much better control over the parameter change.

To set the minimum range on the control itself, proceed as follows:

1. Set the parameter to the minimum value.
2. Right-click the control.
3. Select Set Minimum from the menu.

To set the maximum range on the control itself, proceed as follows:

1. Set the parameter to the maximum value.
2. Right-click the control.
3. Select Set Maximum from the menu.

To set the minimum/maximum range on the quick control page, proceed as follows:

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 below each assignment to set the minimum and maximum ranges. 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 applies:

• 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 control range from -100% to +100%. This is needed to cover the full range of bipolar controls. For example, you can remotely 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 Relative 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, proceed as follows:

1. Go to the quick control page of the respective program or layer.
2. Right-click the assignment entry.
3. Select "Trim Range".
4. The minimum and maximum is set automatically.

As soon as you change the original parameter in the editor section again, the Trim Range function has to be reapplied to guarantee the best control range.

About the Neutral Setting

If you adjust the range of a quick control assignment, the resulting sound can change, for example, if the assignment uses the "Switch" or "Switch Relative" mode. If you adjust the range of a quick control that has only one assignment that uses Absolute or Relative mode, HALion Sonic adjusts the setting automatically so that the sound does not change. If you assign multiple parameters to the same quick control, HALion Sonic sets the range of the added quick control assignment so that the sound does not change.

However, if a quick control has multiple assignments and you change the range of one or more assignments, the neutral setting cannot be set automatically. In this case, adjust the ranges, and then open the context menu for a particular assignment and select "Set Quick Control to Neutral Setting".

Adjusting the Curvature

You can adjust the curvature of each assignment separately. The curvature describes the characteristic how the assigned parameters are changed. The characteristic can be anything between logarithmic, linear and exponential.

⇒ The curvature can only be adjusted on the quick control page.

To adjust the curvature of an assignment, proceed as follows:

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 text control in the middle below each assignment to set the Curve parameter. Positive values of curve change the curvature towards logarithmic and negative values towards exponential behavior. Alternatively, you can edit the Curve parameter graphically in the curve display to the right by dragging the curvature up and down. Dragging up adjusts the curvature towards logarithmic, dragging down towards 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, proceed as follows:

1. Go to the left of the quick controls, and select the program or layer for which you want to bypass the quick control assignments.
2. Go to the right of the quick controls, and click the Bypass button to turn off temporarily the quick control assignments of the selected program or layer. Click the Bypass button again to turn the quick control assignments back on.

To bypass all assignment on one quick control, proceed as follows:

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 top right of the section and click the Bypass button to turn the quick control assignments of the selected quick control off temporarily. Click the Bypass button again to turn the quick control assignments back on.

To bypass a single quick control assignment, proceed as follows:

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, and click the Bypass button to turn off temporarily the quick control assignment. Click the Bypass button again to turn the quick control assignments back on.

Transferring the Layer Quick Control Assignments to the Program

- To transfer all quick control assignments of a layer to a program, right-click the layer in the Program Tree and select “Forward All Assignments to Program” from the context menu.

Assigning Quick Controls in the Modulation Matrix

In addition to assigning the quick controls directly to controls, you can also assign a quick control as Source or Modifier in the modulation matrix. This way, you can combine the quick control with other modulation sources.

To assign a quick control as Source or Modifier in the modulation matrix, proceed as follows:

1. Open the respective layer editor and go to the modulation matrix.

2. From the pop-up menu of the Source or Modifier column, open the quick control submenu. The submenu lists the quick controls of the layer.

3. Select a quick control from the submenu.

The Trigger Pads

Bv/C F/C C ...

You can use HALion Sonic's trigger pads to remotely trigger single notes or whole chords and for switching between variations, for example for the FlexPhraser. Many of the programs that come with HALion Sonic make use of the trigger pads:

• Blue pads have single notes or whole chords assigned.
• The line above the pad turns orange when the pad switches between FlexPhraser variations.
• To trigger a pad with your mouse, simply click the corresponding pad.

Assigning Trigger Notes to Pads

You can assign a MIDI note to a pad and trigger the pad by playing this note.

To define the note, proceed as follows:

1. Right-click the pad.
2. From the menu, select "Assign Trigger Note".
3. From the submenus, select the octave and note you want to assign.

or

1. Right-click the pad.
2. From the context menu, select "Learn Trigger Note".
3. Play the note on your MIDI keyboard or click the note on the virtual keyboard. The name of the MIDI note you assigned as trigger note is displayed in the top left corner of the pad.

→ Keys that serve as trigger notes light up in blue on the virtual keyboard. These keys no longer play sounds, they trigger the corresponding pads instead.

To remove a trigger note from a pad, proceed as follows:

1. Right-click the pad.
2. From the context menu, select "Forget Trigger Note".

Using Default Trigger Note Settings

By default, the assigned trigger notes are stored with each program to allow for maximum flexibility. However, you may want to keep a fixed set of trigger notes to reflect an existing hardware setup.

To be able to use default trigger note settings, you have to save them first:

- To specify a global set of trigger notes, set the trigger notes for all pads, right-click a pad, and from the context menu, select "Save Trigger Notes as Default".

Now you can activate the "Use Default Trigger Notes" option:

- Right-click a pad and select "Use Default Trigger Notes" or click the corresponding button to the left of the pads.

Changing programs or multi-programs does not change the trigger notes anymore.

When you deactivate this option, the trigger notes that were saved with the multi are used.

Naming a Pad

To indicate the functionality of a pad, you can enter a name. Proceed as follows:

1. Right-click the pad, and from the context menu, select "Rename Pad".

2. Enter the name.

For example KeySw1, KeySw2, ..., Amin7, Gmaj.

1. Press [Enter] on your computer keyboard to confirm the name.

Triggering Chords or Single Notes

To trigger a chord or a single note with a pad, you first need to define the chord or note:

1. Right-click the pad.

2. From the context menu, select "Snapshot Chord".

The pad starts blinking to indicate it is in learn mode.

1. Play a chord (as single notes or all notes at once) or a single note.

You can also click the corresponding keys on the HALion Sonic keyboard.

Selecting a key again removes the note from the chord. The keys belonging to the chord are highlighted on the HALion Sonic keyboard.

1. To accept the chord or note, click the pad that is still blinking.

2. The pad's blue color indicates that a chord or note has been assigned.

Triggering the pad now plays the chord or note.

- You can also drag chord events from the chord track of your Steinberg DAW onto a trigger pad. This will transfer the corresponding MIDI notes to the pad. If you drag a chord event onto the Performance keyboard first, the corresponding chord is played back. This is useful to verify whether you selected the correct chord. For further information, see the Operation Manual of the DAW.

To use the pads for switching between expressions, activate "Snapshot Chord" and play the respective key switch.

If you define a chord that also contains a key switch, you can trigger the chord with a specific instrument expression.

⇒ If you add keys to a chord that work as trigger notes as well, they will trigger the underlying MIDI note instead of the trigger note.

To clear the chord or note from a pad, proceed as follows:

1. Right-click the trigger pad.

2. Select "Clear Chord".

Switching Between Variations

You can switch between variations using the trigger pads. Variations are available for the FlexPhraser and the B-Box, for example. To switch between variations, proceed as follows:

1. Right-click the trigger pad that you want to use for switching to the selected variation.

2. From the menu, select "Snapshot Variations".

The line above the pad turns orange to indicate that a variation snapshot has been assigned.

1. When you trigger the pad, it switches to the variations that were selected when you made the snapshot.

For FlexPhraser variations, this includes the FlexPhrasers of all four layers and the program.

⇒ The trigger pad stores which variations were selected when you made the snapshot. This allows you to change settings of variations even after you made the snapshot.
When layers are replaced or added, you must create a new variation snapshot. Otherwise, the trigger pads will not switch the variations for these particular layers.

To clear the FlexPhraser snapshot:

1. Right-click the respective trigger pad.
2. Select "Clear FlexPhrasers".

Bypassing the Pads Section

You can bypass the whole pads section. This deactivates any functionality you assigned to the trigger pads.

- To bypass the pads section, press the Bypass Pads button to the right of the trigger pads.

The bypass button lights up to indicate that the trigger pads have been deactivated.

Using Pad Presets

Presets for the trigger pads can be loaded and saved using the controls in the top left of the pads section.

• To load a preset, click the down arrow button and select the preset from the popup menu.
• To delete the selected preset from your system, click the trash icon.

You will be asked to confirm the deletion.

- To save a new preset, click the disk icon. A file dialog opens where you can name and save your preset file.

→ Pad presets save trigger notes and chord snapshots, but not FlexPhraser snapshots. This way, you can exchange trigger notes and chords by loading presets without loosing your FlexPhraser snapshots.

Introduction

Cubase's Note Expression technology is essential for creating realistic instrument performances. Note Expression allows you to create automated modulations for each note. In general, HALion Sonic supports Note Expression for volume, pan and tuning. This means that for any of HALion Sonic's programs you can automate these parameters in Cubase per note. But, HALion Sonic can do more. In programs that give you access to the modulation matrix, you can assign up to eight so-called Note Expression controllers to any available modulation destination. These work in addition to the preassigned pitch, pan and level modulations. When the Note Expression controller is assigned, naming it makes it available in Cubase.

⇒ The eight Note Expression controllers of a program are shared by all layers. This means that the Note Expression controller data affects all four layers simultaneously. Depending on how the Note Expression controllers have been set up, each layer might react differently.
When you use HALion Sonic with older versions of Cubase or other host applications that do not support Note Expression, you still get access to the Note Expression editor page and you can see Note Expression controllers in the modulation matrix. However, they will not have any influence on the program.

The Note Expression Editor

Go to the Edit page and select the Program tab. In the lower half of the page, click "NoteExp" to open the Note Expression editor.

The editor shows the eight Note Expression controllers on the left ("NE1" to "NE8") and the assigned modulation destinations on the right. This gives you a quick overview of how Note Expression controllers are routed in the modulation matrix and what their influence on the sound will be. Note that one Note Expression controller can be assigned to several destinations.

Naming Note Expression Controllers

You can name Note Expression controllers by their function, to know what they do at a glance. By default, a Note Expression controller is given the name of the modulation destination it was assigned to first. After this, any further assignments will not change the name. However, you can rename the Note Expression controller at any time.

To rename a Note Expression controller, proceed as follows:

1. Go to the NoteExp page.
2. In the section to the left, select the Note Expression controller you want to rename.
3. Click in the name column of the selected Note Expression controller and enter the new name.

Press [Enter] to confirm the name. You can cancel the operation by pressing [Esc].

Bypassing the Note Expression Controller

The bypass switch of each Note Expression modulation row allows you to switch off the effect of the Note Expression controller.

⇒ The bypass switch is linked to the modulation bypass switch in the corresponding modulation assignment of the modulation matrix.

Changing the Modulation Depth

The depth slider adjusts the intensity of the Note Expression modulation. This allows you to change the modulation without having to go to the modulation matrix first.

⇒ The slider is linked to the depth slider of the corresponding modulation assignment in the modulation matrix.

Editing the Note Expression Modulation Assignment

Click the "e" button to jump directly to the first modulation assignment of the respective Note Expression controller in the modulation matrix.

Global Functions and Settings

Introduction

This chapter describes global settings and functions of the program.

The Plug-in Functions Section

HALION SONIC2 7 7 Bubble Hopper 0.0 dB 440.0 Hz CFL D1 0 MIN: 241 MB steinberg

At the top of the HALion Sonic window you find the plug-in functions section. The plug-in functions section gives you access to global functions, affecting both the currently loaded programs, and the general working of the plug-in. The section is divided into three smaller sections: program slot section, master section and performance displays.

The Program Slot Section

This section includes a program slot, and shows the main parameters of the program loaded in the slot. This slot is a copy of the slot that is currently selected in the Multi Program Rack. You can adjust settings such as level, pan, output bus, MIDI channel and polyphony. Furthermore, you can use the program slot to load programs and to mute/solo them.

Slot Selector

The slot number not only serves as a label but also allows you to select the slot you would like to have displayed.

Proceed as follows:

1. Click the slot number to open a context menu.

2. Select the slot.

To make slot selection easier, programs already loaded are displayed in the context menu with their name.

Slot Functions

The slot provided in the Plug-in functions section can be used to load programs and layers, just like the slots of the Multi Program Rack (see "Loading Programs" on page 15).

MIDI Activity Indicator

The MIDI icon indicates incoming MIDI data by blinking.

Solo

Enable the Solo button of the slot in order to hear only this program.

Mute

Enable the Mute button to turn off this program. The program remains loaded and can therefore be turned on again smoothly.

Level

Use the level fader to adjust the output level of the slot.

Pan

Use the pan fader to adjust the position of the slot in the stereo panorama.

Output

Use the output selector to define the output destination of the slot signal. By default all signals are sent to the Main output.

Polyphony

This parameter allows you set the number of keys you can play simultaneously. Keep in mind that one key can trigger several layers. Check the Performance Meter to see how many voices are triggered by your playing.

Program Icon

The program icon on the left shows to which sound category the program belongs. It cannot be assigned freely but depends on the category and sub category tagged in the MediaBay. If no category is set, a default icon will be shown.

The Master Section

The Master section can be used to set the plug-in volume and tuning.

Master Volume

Use the Main Volume slider to adjust the overall volume of HALion Sonic.

Master Tune

You can set the Master Tune slider within a range from 415.3Hz to 466.2Hz, which equals -100 cents to +100 cents. The default value is 440Hz.

The Performance Displays

To the right in the plug-in functions section, you find meters and text displays that indicate the system load of the plug-in.

CPU

This meter shows the processor load during playback. The more voices you play, the higher the processor load. If the red overload indicator lights up, reduce the Max Voices setting on the Options page.

Disk

This meter shows the hard disk transfer load during the streaming of samples or when loading presets. If the red overload indicator lights up, the hard disk is not supplying data fast enough. In such a case, adjust the Disk vs. RAM slider on the Options page towards RAM. You can also decrease the Max Voices setting on the Options page.

Polyphony (Mono Voices)

This display indicates the number of samples currently played back to help you trace performance problems. For example, if you have to reduce the Max Voices setting on the Options page, you can verify your settings by monitoring the number of voices currently playing.

MEM (Memory)

This display indicates the overall amount of RAM currently used by the plug-in and the loaded programs. The number displayed refers to the streaming buffer and the preloaded samples. The MEM display helps you to trace performance problems. For example, if you need to free up memory for other applications, you can do so by adjusting the Disk vs. RAM slider on the Options page towards Disk. You can verify your settings by monitoring the MEM display.

The Plug-in Name and the Steinberg Logo

If you click on the plug-in logo in the top left of the plug-in interface, the About box opens. It contains information regarding the version and build number of the plug-in. Use this information to verify if your software is up-to-date. Please visit www.steinberg.net regularly to check for updates. To close the about box, click on it or press [Esc] on your computer keyboard.

If you click on the Steinberg logo in the top right corner of the plug-in interface, a pop-up menu opens:

- Select Help to open this manual in PDF format.

Note that a PDF reader application must be installed on your computer.

- Selecting one of the other options opens your default internet browser and takes you to the Steinberg web site.

To check for software updates and to find information for troubleshooting, select the corresponding link from the menu. Note that your computer needs an active and working internet connection to access the Steinberg web site.

The Toolbars

FlexPhrasers Undo/redo Editor/Player Insert effects AUX effects Lock MIDI Reset

Above the Edit display section you will find two small toolbars with various useful global functions.

Global Insert, AUX, and FlexPhraser Buttons

Use these buttons to switch off all insert effects, all AUX effects and all FlexPhrasers for the whole plug-in at once. For instance, you can use this feature to quickly compare sounds with and without effects or to use a preset without the FlexPhrasers.

FlexPhraser Lock Button

When you activate this button, loading another program or layer does not overwrite your current FlexPhraser and Trigger pad settings.

Since sliced loops need the right phrase to play back correctly, this option does not apply to FlexPhrasers for loop layers.

Undo/Redo

HALion Sonic features an undo/redo command stack that allows you to undo or redo the last 10 operations. With the aid of this function you can test new settings without having to worry about losing any of your previous settings.

You can either click the Undo/Redo buttons to undo or redo a single step, or you can:

1. Click the small triangles to see the Undo/Redo history.
2. Click on an entry in the history list to go back (or forward) to that particular step.

→ You cannot undo loading a multi (instance) preset.

MIDI Reset

Sometimes notes can "hang". This may be caused by the plug-in losing the MIDI connection, or the plug-in receiving wrong MIDI controller data. In such a case, you can "emergency reset" the plug-in:

- Click the MIDI Reset button (the lightning icon) located under the Steinberg logo to send an "All Sound Off" and "Reset All Controllers" message to the plug-in. The plug-in stops playback immediately and resets the controllers to their default values.

Editor/Player

This button toggles between the two views available for HALion Sonic: the full-size editor view (e), and the smaller player view (p).

The Options Page

Load Edit M100 Flex Effects Flake Options Disk Streaming Balance Disk Use Memory 137 MB Pranol 58 MB Available Memory 800.00 W/S of 3.49 GB Physical 422.23 W/S of 2.00 GB Virtual Performance Max Voices 125 Max CPU 100 % Voice Pulse Out. 15 ms Osc ECO Mode Multi Loading Switch after Multi-Cost Global Show Toolips Show Value Toolips Program Changes Off Solo Mode Standard Key Communes MIDI Controller Controller Assignment Reset to Factory Save to Default Smoothing Slow Fast FlexPrinter Hold Reset Reset Controller Off

The Options page contains global settings regarding performance issues, global functions, and MIDI controllers.

Disk Streaming Section

Some of the programs come with up to 1 GB of samples, such as the acoustic piano. That is a large amount of data and your computer cannot load all samples completely into the RAM, especially if you are using all of the 16 slots. Instead, HALion Sonic loads only the first milliseconds of each sample into the RAM and constantly loads more manageable portions from hard disk while you play. Because the hard disk has to work harder for every additional note you play, it is a good idea to load as much material as possible into the RAM beforehand. This, of course, leaves less RAM for other applications. For an optimum performance of your system, you can balance the RAM versus the hard disk usage of HALion Sonic.

Balancing Disk vs. RAM

With this slider, you can balance the hard disk versus the RAM usage.

• If you need more RAM for other applications, drag the slider to the left towards the Disk setting.
• If your hard disk is not supplying data fast enough, drag the slider to the right towards the RAM setting.

The memory displays will be updated accordingly.

⇒ If you experience no problems with the system performance, leave this setting as it is.
⇒ The Disk vs. RAM always applies to all plug-in instances. It will not be saved with the project. You need to set this up only once for your computer system.

Performance

Here you find settings to optimize the overall CPU performance of HALion Sonic.

Max Voices

This parameter allows you to specify a total number of voices that a plug-in instance of HALion Sonic can play back. As soon as this limit is reached, HALion Sonic starts stealing voices.

Max CPU

To avoid clicks from CPU overloads, you can specify a maximum limit for the CPU load of the plug-in instance. HALion Sonic steals voices automatically when this limit is exceeded. A setting of 100 % means that the Max CPU is switched off.

Because HALion Sonic needs some time to react, you can get CPU peaks that exceed the limit you set, which can lead to artifacts such as audio drop-outs. If you set Max CPU a bit lower than actually needed, you are safe again.

Voice Fade Out

Here you adjust the time to fade out voices that need to be stolen because the Max Voices setting or the Max CPU of the plug-in instance has been reached.

Osc ECO Mode

Activate this to run the oscillators of synth layers in ECO mode. The oscillators use less CPU at the cost of producing more aliasing at higher pitches. When activated, you are able to play more voices with synth layers.

Multi-Loading

Normally, when loading multi-programs, the previous multi is kept in the RAM until the new multi has been completely loaded. Therefore, replacing a large multi by another can lead to RAM overload on 32-bit systems.

- To clear a multi before loading a new one, select "Clear before" on the "Multi Loading" pop-up menu.

When "Clear before" is selected and you cancel the loading process, an empty multi is loaded.

Multi-Core

On the Multi-Core pop-up menu, you can specify how many of the available CPU cores of your system can be used by HALion Sonic. This allows HALion Sonic to compute each program on a different core, for example. The best setting here depends on multiple factors, and varies from system to system, and project to project. A good starting point is to set this value to one core less than the available number of cores.

If problems occur, reduce the number of cores, or set the pop-up menu to Off to deactivate multi-core mode and load multiple instances of HALion Sonic instead. This way, the host application distributes the work load across the available cores.

Global

Here you find common settings of HALion Sonic and you can activate General MIDI mode.

⇒ The settings in the Global section are not saved with a particular project, but affect HALion Sonic as a whole.

Show Tooltips

When you activate this option, moving the mouse over a control displays a tooltip.

Show Value Tooltips

When this option is activated, parameters without a value text field display their value in a tooltip when using the corresponding control.

Program Changes

On the Program Changes pop-up menu, you can specify how HALion Sonic handles incoming MIDI Program change messages:

Option Description

Off Program change messages are ignored.

GM Mode Program change messages are used to switch programs in the slots of the Multi Program Rack.

Multi Mode Program change messages are used to switch between the 128 multis that can be configured on the Multi chain page.

General MIDI Mode

Activate GM Mode to play back MIDI files that have been arranged for General MIDI sound sets. This mode supports MIDI program change messages and preloads a global chorus and reverb effect for immediate use.

When you select GM Mode, all currently loaded programs are removed and a chorus and a reverb effect are inserted on AUX FX 1 and 3. The 16 slots are assigned automatically to the 16 MIDI channels. As long as this mode is active, the 16 MIDI channels on the MIDI page cannot be changed. The MediaBay sets an instrument set filter and displays only the General MIDI sounds.

The MIDI program change messages 0 to 127 refer to the corresponding GM Sound attributes of the MediaBay. This means that you can make any of your sounds part of the General MIDI sound set by setting the GM Sound attribute on the corresponding sound.

⇒ The General MIDI sounds that come with HALion Sonic are optimized for fast loading times. Please keep in mind that larger programs take longer to load.

To assign programs to a General MIDI program change number:

1. Go to the Load page.
2. In the title bar of the lower section, click the "Set up Result Columns" button on the right.
3. From the menu, select "Musical" and "GM Sound".
   The "GM Sound" column is added to the search result list.
4. In the "GM Sound" column of the search result list, set the sound to the General MIDI program number that you want to use.
   Note that you can assign the same "GM Sound" program number several times. If a program number is used more than once, the Rating attribute can be used to decide which program to load.

Now, any MIDI program change messages load the assigned programs into the slot of the corresponding MIDI channel.

→ Slot 10 ignores any program change messages and keeps the loaded drum set.

Solo Mode

You can choose between two solo modes: Standard and Exclusive.

• In Standard mode, you can solo multiple programs or layers to hear them combined.
• In Exclusive mode, only one program or layer can be soloed at a time.

The Key Commands Dialog for Instrument Functions

Click the Key Commands button to open the Key Commands dialog. You can assign key commands to most operations that can be performed via the panel of HALion Sonic.

- To access the Key Commands for instrument functions, click the Key Commands button in the Global section of the Options page.

The Key Commands dialog opens.

The commands are arranged in a hierarchical folder structure, similar to the Windows Explorer and Mac OS Finder. When you open a category folder by clicking the plus sign beside it, the items and functions are displayed with any currently assigned key commands.

Key Commands Commands Keys Edit Global Media Location: Browse Containing Location: Browse Next Location: Browse Previous Location: Create New Folder Open Refunit, L Refresh Views Rescan Disk Reset All Filters Reset Result Filters Reset Search Stop Updating Results Update Results Navigate Page Keys Type as key: Ctrl+Alt+Shift+G Currently assigned to: Global - GM Mode EnableDisca Reset All OK

To get an overview of the available commands and the assigned keys, proceed as follows:

• Click the plus sign in the top left corner of the dialog.
  The list of commands and assigned keys is displayed.

• Use the scrollbar to the right or resize the dialog to see all available commands and keys.

• Click the minus sign to collapse the list.

To set up a key command, proceed as follows:

1. In the Commands list to the left, select a category.

2. Click the plus sign to open the Category folder and display the items it contains. Note that you can also click the "global" plus and minus signs in the top left corner to open and close all Category folders at once.

3. In the list, select the item to which you want to assign a key command. Already assigned key commands are shown in the Keys column as well as in the Keys section in the top right corner. You can also search for a specific function by entering its name in the search field at the top of the dialog and clicking the search button (the magnifying glass button).

4. When you have found and selected the item, click in the "Type in Key" field and enter a new key command. You can choose any single key or a combination of one or several modifier keys ([Alt]/[Option], [Ctrl]/[Command], [Shift]) plus any key.

5. Click the Assign button above the field to assign the key command to the function. The new key command is displayed in the Keys list.

6. Click OK to close the dialog.

⇒ If a key command is already used for another function, a message is displayed allowing you to reassign the key command or cancel the operation.

→ You can set up several key commands for the same function.

- To delete a key command, select the corresponding command, select the key command in the Keys list and click the Delete button (the trash icon).

MIDI Controller

You can save your customized MIDI controller assignments as default or restore the factory MIDI controller assignments.

Resetting to Factory Defaults

To restore the factory MIDI controller assignments, proceed as follows:

1. Click the "Reset to Factory" button.
2. Click "Yes" to restore the mapping or "No" to cancel.

Saving as Default

To save the current MIDI controller assignments as default, proceed as follows:

- Click the "Save as Default" button.

Now, each time you load a new instance of the plug-in, your customized MIDI controller mapping will be loaded as default.

⇒ "Save as Default" does not include any of the MIDI controller assignments of the AUX FX.

⇒ The current MIDI controller mapping will also be saved with each project. This way, you can transfer your settings to other systems. The project includes the MIDI controller assignments of the AUX FX as well.

MIDI Controller Smoothing

MIDI controllers have a maximum resolution of 128 steps. This is rather low. Therefore, if you use a MIDI controller as a modulation source in the modulation matrix or to remote-control a quick control, the parameter change may occur in audible steps, causing an effect often referred to as "zipper noise". To avoid this, HALion Sonic provides MIDI controller smoothing, so that parameter changes can occur more gradually.

- If MIDI controller changes cause audible artifacts, turn the control towards slower settings.

MIDI controller changes occur not immediately, but are spaced over a period of time (in milliseconds).

- If you want MIDI controller changes to be more immediate, turn the control towards faster settings.

MIDI controller changes may now produce audible artifacts.

In the modulation matrix, you can adjust the smoothing for each MIDI Controller/Note Expression parameter separately, see "MIDI Controller and Note Expression Smoothing" on page 58.

The Controls in the Standalone Functions Section

Using HALion Sonic as a standalone application adds the standalone functions section at the top of the window. Here you can define key commands, set Audio and MIDI interface routings, adjust the main volume and access the integrated MIDI scratch pad that allows you to easily record your musical ideas without having to start a MIDI sequencer application. It can also be used to play multitrack arrangements that trigger the 16 different programs of HALion Sonic.

All MSCI Inputs MR016CSX(2) Analog 1 001.1 TEMP: F=ED 120.0 HIGH 4/4 Volume

The Preferences Dialog

When running HALion Sonic as a standalone application, you can configure the application in the Preferences dialog. To open the Preferences dialog, proceed as follows:

- Click the Open Preferences button (the cogwheel symbol) to the right of the audio output field.

Click here to open the Preferences dialog.

- Right-click in the topmost section of the control panel and select "Preferences" on the context menu.

The Preferences dialog has several pages on which you can make the following settings:

- On the MIDI Routing page, use the MIDI Input Ports pop-up menu to specify a MIDI input. Use the Channel Filter option to decide whether HALion Sonic should record MIDI events on all MIDI channels, or only on one specific channel. Use the "Filter 'All Notes Off' Controller" option to avoid unwanted "All Notes Off" messages.

Such messages are sent by some keyboards when the user releases the last key. This causes HALion Sonic to stop playback, even when the sustain pedal is still in use.

- On the Audio Routing page, use the Audio Output Ports pop-up menus to assign different audio outputs.

HALion Sonic supports 32 channels: two Main channels (left and right) and 15 additional stereo channels (left and right). You can assign different audio outputs for each channel. Selecting an audio output on the pop-up menu maps the output to the corresponding channel.

If you press [Shift] and select an audio output, the front and rear channels are set to incrementing audio output ports - e. g. 1, 2, 3, 4 or 5, 6, 7, 8. If you press [Alt]/[Option]-[Shift] and select an audio output, the audio outputs are assigned in pairs to the front and rear channels - e. g. 1, 2, 1, 2 or 5, 6, 5, 6.

- On the Metronome page a number of settings can be made regarding the use of a metronome:

Option Description

Mode Here you can turn the metronome on and off or set it to Count In mode.

Accent Activate this to accentuate the first beat of each bar.

Level Use this fader to adjust the volume level of the metronome.

Connections Here you can select a separate stereo output for the metronome.

- On the General page, activate “Don’t prompt for confirmation when quitting HALion Sonic” if you want HALion Sonic to close without prompting when quitting the program.

- On the ASIO Driver page, select your audio hardware driver from the ASIO Driver pop-up menu.

If you plan to use several audio applications simultaneously, you may want to activate the option "Release Driver when Application is in Background".

The input and output latency values for your audio hardware are displayed.

"Latency" is the amount of time it takes for your system to respond to any messages that are sent to it. High latency results in a noticeable delay between when you press a key and when you hear the sound. Below the latency values, you can set the sample rate for the connected audio hardware.

When you run HALion Sonic, there are several processes fighting for access to processor time in your computer. The parameter "Audio Priority" allows you to determine which processes have priority:

Option Description

Normal In this mode, non-audio processes and audio playback get roughly equal priorities (default setting).

Boost In this mode, audio precedes MIDI in priority. Try this mode if audio playback problems occur when playing back MIDI and audio material.

- Once you have selected the driver, open the Advanced page to specify which inputs and outputs will be used and name these. Click the Control Panel button to open the control panel for the audio hardware and adjust the settings as recommended by the audio hardware manufacturer.

The Key Commands Dialog for the Functions of the Standalone Application

You can assign key commands to most operations that can be performed via the standalone panel of HALion Sonic. The Key Commands dialog lists all available commands and any key commands assigned to them.

To access the Key Commands dialog:

- In the top left corner of the standalone panel, click the button to the right of the MIDI input pop-up menu.

The Key Commands dialog opens.

⇒ The Key Commands dialog in the standalone functions section gives you access only to the functions of the standalone functions section.

See “The Key Commands Dialog for Instrument Functions” on page 185 for a description of how to create and manage key commands in this dialog.

Selecting MIDI Input and Audio Output

In the top left corner of the plug-in interface in standalone mode, you find two pop-up menus for selecting the MIDI input and the main audio output of the plug-in.

The MIDI input pop-up menu lists all MIDI devices that are installed on your system.

- Open the MIDI input pop-up menu to select the MIDI device you want to use.

The orange MIDI Activity LED in the top left corner of the plug-in indicates incoming MIDI messages via the currently selected MIDI input. The LED lights up on Note On and controller messages. This way, you can check if the plug-in and your MIDI keyboard are connected to the same MIDI device input.

The Audio output pop-up menu lists all outputs of the selected ASIO Device.

- Open the Audio output pop-up menu to select an audio output for the main stereo channel of the plug-in.

If you select an audio output, the front and rear channels are set to incrementing audio output ports - e. g. 1, 2, 3, 4 or 5, 6, 7, 8.

Pressing [Alt]/[Option]-[Shift] and selecting an audio output assigns the audio outputs in pairs to the front and rear channels - e. g. 1, 2, 1, 2 or 5, 6, 5, 6.

→ Use the Preferences dialog to select the ASIO device and other audio outputs.

The Scratch Pad

Play Stop Record Loop Load MIDI file Metronome setting Save MIDI file Select record mode MIDI channel filter Song position display Info icon Song position indicator AI 001.1.1 Tempo TRACK 120.0 SIGN 4/4 Tempo track Tempo value Adjust Tempo Time format Time signature

The scratch pad allows you to record and play back MIDI files in standard MIDI file format (file name extension .mid). You can load existing MIDI files and you can record your own files and save them. The transport section provides buttons for play, stop, record and loop. The display shows the song position, the tempo and the time signature of the MIDI file. In addition, there is a metronome which you can use for recording and practicing.

⇒ The scratch pad is able to play back multitrack MIDI files sending notes on all 16 MIDI channels. It also sends MIDI program change messages when a MIDI file is loaded.

Using the Transport Controls

• Click the Play button to start playback of the MIDI file. Playback always starts at the song position.
• Click the Stop button to pause the MIDI file at the current position. Click the Stop button twice to reset the song position to the start.
• Click the Record button to start recording.
• Click the Loop button to play the whole MIDI file in a loop.

Loading a MIDI File

To load a standard MIDI file (.mid), proceed as follows:

1. Click the Load File button below the transport buttons.
2. In the file dialog that appears, select the file.
3. Click "Open" to load the MIDI file.

Saving a MIDI File

To save the performance you recorded as a MIDI file, proceed as follows:

1. Click the Save File button (the disk icon) below the transport buttons.
2. In the file dialog that appears, specify a location and a file name.
3. Click "Save" to store the MIDI file.

The Info Icon

To check which MIDI file is currently loaded, point with the mouse at the info icon in the top left corner of the song position display. A tooltip appears, showing the name of the MIDI file.

Using the MIDI Channel Filter

When a multitrack MIDI file is loaded, you can decide whether "all" or only the events of a specific MIDI channel are played back. The control can be found to the right of the info icon in the song position display.

The Song Position Indicator

The song position indicator shows the position of the transport. Above the song position indicator, the position is displayed numerically.

⇒ After loading a MIDI file, the display shows the full length of the file and the song position indicator is positioned at the end. However, playback starts from the beginning when you click Play.

• To move the transport to a different song position, drag the song position indicator to the new position.
• To change the format, click the time format symbol in the top right corner of the display to switch between the time formats. When "Time" format is selected, a clock is displayed. In "Bars" format a note is displayed.

Tempo and Time Signature

Below the song position display, you find the Tempo and Time Signature fields which provide the plug-in with tempo and time signature information. In standalone mode, such information is not available via a host application. In this case, the settings are used by the scratch pad and the metronome.

Option Description

Tempo Track/ Fixed	Set this to “Track” to follow the original tempo of the MIDI file. Set this to “Fixed” to specify a tempo manually.
Tempo Value Determines the tempo of the MIDI file.
Adjust Tempo	When the Tempo Track option is selected, an additional control is displayed that allows you to scale the playback relatively to the original tempo of the MIDI file. The control range is from 0.5x (-50 %) to 2x (+100 %) of the original tempo.
Sign. (time signature)	Determines the time signature of the plug-in. You can enter the signature as a fraction, e. g. 3/4, 6/8, 4/4, etc.

Recording Your Performance

1. Click the record symbol below the Record button to select the record mode from the pop-up menu:

Option Description

Direct The recording starts immediately when you click the record button.

MIDI The recording starts with the first MIDI note.

Count In 1 The recording starts after a count-in of one bar.

Count In 2 The recording starts after a count-in of two bars.

1. Click the Record button to start the recording.
2. When you are done recording, press the stop button.

- Now you can save your performance as a MIDI file, see "Saving a MIDI File" on page 190.

⇒ To indicate that the recording is running, the song position indicator is being animated (a small bar moves from left to right).

Activating the Metronome

To select the playback mode of the metronome, click the Metronome button. You can select one of the following modes from the pop-up menu:

Option Description

Off The metronome is switched off.

Count In The metronome plays only during the count-in of a recording.

On The metronome is always switched on.

The volume control next to the metronome icon allows you to set the volume of the metronome. The Preferences dialog also provides metronome settings.

Volume

Use this control to set the overall volume of the outputs of the standalone plug-in. This includes the volume of the main outputs, the rear outputs and the output of the metronome.

Using MIDI Controllers

You can assign the parameters volume, pan, mute, solo, send FX 1–4 and the quick controls of each slot to a MIDI controller. In addition to the slot parameters, you can also assign the parameters of the AUX FX and most of the edit parameters. By default, volume, pan, send FX 1–4 and the program quick controls are already assigned. You can customize this factory MIDI controller mapping by assigning your own MIDI controllers with a convenient learn function. This way, you can adapt the mapping to your MIDI keyboard or controller. To provide much better control, you can set the minimum and maximum range for each assignment separately.

Assigning MIDI Controllers

To assign a MIDI controller to a parameter, proceed as follows:

1. Right-click the control you want to remotely control.
2. Select "Learn CC" from the menu.
3. On your MIDI keyboard or controller, use the potentiometer, fader, or button.

⇒ The next time you right-click the control, the menu shows the assigned MIDI controller.

⇒ You can assign the same MIDI controller several times to different parameters. However, you cannot assign different MIDI controllers to the same parameter.

Unassigning MIDI Controllers

To remove a MIDI controller assignment, proceed as follows:

1. Right-click the control you want to unassign.
2. Select "Forget CC" from the menu.

Setting the Parameter Range

You can set the minimum and maximum values for the parameter for each assignment separately. This way, you have much better control over the parameter, for example, when you are performing on stage.

To set the minimum value for the parameter, proceed as follows:

1. Set the parameter to the minimum value.
2. Right-click the control.
3. Select "Set Minimum" from the menu.

To set the maximum value for the parameter, proceed as follows:

1. Set the parameter to the maximum value.
2. Right-click the control.
3. Select "Set Maximum" from the menu.

Assigning MIDI Controllers to AUX FX

You can assign the parameters of the AUX FX to MIDI controllers as well. Unlike the slots, the AUX FX do not have a MIDI port and channel of their own. Instead, they listen to any incoming MIDI controller message regardless of the MIDI channel (omni mode). Therefore, if you assign a parameter to a MIDI controller, you should use a controller number which is not already in use by any of the assignments you made on the slots.

• To assign a MIDI controller, load the effect, right-click the parameter and assign a controller, as described above.
• If you unload or replace the effect, the MIDI controller assignment of this effect will be lost.

Saving a MIDI Controller Mapping as Default

After customizing the factory MIDI controller assignments, you can save them as default. Proceed as follows:

1. Go to the Options page.
2. Click "Save as Default" in the MIDI controller section.
   Now, each time you load a new instance of the plug-in, your customized MIDI controller mapping will be available as default.

⇒ "Save as Default" does not include any of the MIDI controller assignments of the AUX FX.
The current MIDI controller mapping will also be saved with each project. This way, you can transfer your settings to other systems. The project also includes the MIDI controller assignments of the AUX FX.

Restoring the factory MIDI Controller Assignment

To restore the factory MIDI controller assignments, proceed as follows:

1. Go to the Options page.
2. In the MIDI controller section, click "Reset to Factory".
3. Click "Yes" to restore the mapping or "No" to cancel.

Automation and Factory MIDI Controller Assignments

The following parameters on the plug-in interface are available for automation from your host software and can be assigned to an external MIDI controller. The controller numbers and names refer to the default factory MIDI controller assignment of these parameters:

⇒ The assigned MIDI controller numbers are the same for all 16 slots. However, the MIDI controllers listen only to the MIDI channels of the respective slot.

Slots 1–16

Parameter Controller number Name

Volume #07 Volume

Pan #10 Pan

Mute --

Solo --

Send FX 1 #91 Effect 1 Depth

Parameter Controller number Name

Send FX 2 #92 Effect 2 Depth

Send FX 3 #93 Effect 3 Depth

Send FX 4 #94 Effect 4 Depth

Program QC 1 #74 Brightness

Program QC 2 #71 Harmonic Content

Program QC 3 #73 Attack Time

Program QC 4 #72 Release Time

Program QC 5 #75 Sound Controller #6

Program QC 6 #76 Sound Controller #7

Program QC 7 #77 Sound Controller #8

Program QC 8 #78 Sound Controller #9

Layer 1 QC 1 --

Layer 1 QC 2 --

Layer 1 QC 3 --

Layer 1 QC 4 --

Layer 1 QC 5 --

Layer 1 QC 6 --

Layer 1 QC 7 --

Layer 1 QC 8 --

Layer 2 QC 1 --

Layer 2 QC 2 --

Layer 2 QC 3 --

Layer 2 QC 4 --

Layer 2 QC 5 --

Layer 2 QC 6 --

Layer 2 QC 7 --

Layer 2 QC 8 --

Layer 3 QC 1 --

Layer 3 QC 2 --

Layer 3 QC 3 --

Layer 3 QC 4 --

Layer 3 QC 5 --

Layer 3 QC 6 --

Layer 3 QC 7 --

Layer 3 QC 8 --

Layer 4 QC 1 --

Layer 4 QC 2 --

Parameter Controller number Name

Layer 4 QC 3 --

Layer 4 QC 4 --

Layer 4 QC 5 --

Layer 4 QC 6 --

Layer 4 QC 7 --

Layer 4 QC 8 --

⇒ You can remotely control any other parameter by assigning the parameter first to a quick control and then to a MIDI controller.
You can use MIDI controllers inside the modulation matrix of a synth or sample layer, for example, to control the cutoff.

CC121 Support

HALion Sonic can be controlled with the AI knob of Steinberg's CC121 MIDI controller unit.

To change a parameter value, proceed as follows:

1. Move the mouse pointer over the control you want to change.
2. Turn the Al knob to set the value.

Please note that the AI knob only works on parameters that are automatable. This means, for example, that you cannot use the AI knob to change the parameters of the Options page.

A

About box 181

Activation code 7

Amplifier

Drum layers 77

Loop layers 77

Amplifier (effect) 143

Amplifier subpage 42

Attributes

Editing for Multis 18

Editing in MediaBay 22

Audio output 189

AUX

Drum layers 78

Loop layers 78

C

CC121 support 195

Chorus 147

Compressor 154

Content 13

Filtering in MediaBay 20

D

Disk Streaming

Options page 182

Drum layers 13

Amplifier 77

AUX 78

Editing 73

Filter 77

Pitch 76

E

Edit page 25, 29

Subpages 29

Editing inserts 87

Editing layers 29

Editing programs 25

Effects 131

Effects page 131

Envelope subpages 43

Envelope zoom snapshots 45

Expander 156

Expression Maps 85

F

Filter

Drum layers 77

Loop layers 77

Filter subpage 38

Flanger 147

FlexPhraser 64

Loop layers 79

User Phrases 69

Folder structure 13

G

Gate 157

Global

Options page 184

Global effects 131

Global functions 179

Graphic EQ 138

H

HALion 3 legacy effects 159

Help 181

Host application

Cubase 9

|

Inserts

Editing 87

Inserts page 87

Installation 7

Instrument layers 13

Editing 82

K

Key commands

Conventions 6

Key Commands dialog 189

Key map 74

Keyboard 166

L

Layer ranges 27

Layers 13

Drum 13

Editing 29

Instrument 13

Loop 13

Sample layers 13

Synth layers 13

LFO

Loop layers 78

LFO pages 50

Limiter 155

Load page 19

Loading 19

Loop layers 13

Amplifier 77

AUX 78

Editing 73

Filter 77

FlexPhraser 79

LFO 78

Pitch 76

M

Macro page

About 14

Master section 180

MediaBay 19

Attributes 22

Filtering content 20

Managing files 19

Rating 21

Results list 20

Metronome 191

MIDI controller

Options page 186

MIDI controllers 192

MIDI input 189

MIDI page 128

MIDI Reset 182

Mix page 129

Modulation Destinations 60

Modulation matrix

Quick controls 173

Modulation Matrix subpage 57

Modulation Modifiers 63

Modulation Sources 59

Modulation wheel 166

Multi chain 23

Multi Delay 136

Multi page 23

Multis 12

Managing 17

Removing 17

Saving 18

Muting

Slot Rack 16

0

Options page 182

Disk Streaming 182

Global 184

MIDI controller 186

Performance 183

Oscillator subpage 34

Output

Audio 189

P

Pan 158

Performance

Options page 183

Performance displays 180

Performance section 166

Phaser 149

Pitch

Drum layers 76

Loop layers 76

Pitch subpage 33

Pitchbend wheel 166

Plug-in functions 179

Presets 13

Editing Attributes 22

Program page 26

Program slot section 179

Programs 12

Editing 25

Loading into slot 19

Q

Quick controls 167

Modulation matrix 173

R

Ranges 27

Reverb 134

REVerence 133

Rotary 151

S

Sample layers 13

Scratch pad 189

Soloing

Slot Rack 16

Sphere 167

Standalone 10

Standalone functions 187

Step Modulator page 54

Studio EQ 137

Synth layers 13

System requirements 8

T

Toolbar 181

Transport controls 190

Tremolo 149

Trigger pads 174

U

USB-eLicenser 7

User content 13

V

Vibrato 152

Voice page 29

VST Sound Instrument Sets 14

W

Wheel controls 166

Deutsch

Matthias Klag, Michael Ruf

Close-up of a transparent plastic USB flash drive (no visible text or symbols)

Layer in Slots laden

Edit Character Mono Poly Clean Distorted Percestric Soft Split Layer Dry Processed Fast Slow Glide Glissando Harmonic Discount Short Long Major Minor Clear Noisy Attack Release Single Ensemble Thin Rich Decay Sustain Acoustic Electric Dark Bright FastAttack Slow Attack Analog Digital Cold Warm Short Release Long Release Vintage Modern Metallic Wooden Static Moving Old New Glass Plastic Loop One Shut Acoustic + Clean + Bright + Warm OK Cancel

Poly Octave Coarse Fine Low Key Key Vol Ctrl High Key 128 0 0 0 C-2 G 8

Load Edit MODE Mix Effects Fold Options Program: VLS Inserts Dip Voice Mod Wave: Pitch Filter Amplifier Motion: Polyphony Trigger Mode: Normal Wave Mode: Last Note Priority Resistor: 128 Key Poly Low Amp Min Low Notes 0 ns Key-on Order Surs Uniform Vectors Distance Fan Delay Guide Time Sync Mode Constant Time Curve Linear 2 0 cm/s 0 % 0 ns Fingred 100 ns Flash P F A U P1 P2 Y3 Y4 S###t#t M#### QC Act User Filter Alternate 1 ISO/FF Res Loop: Hill: Trigger Mode: Immediately: Revert Mode: OH: Key Mode: Sort Set Mode: Original Sync: Temp Scale: 106 Swing Gaze Scale: on Scale: Octrales Low Key: High Key: C-2: 0.8 : Maze: Temp Scale: 106 0.0 % 100.0 % 100.0 % 0 low Wn: High Wn: 0 127:

Env Amnt (Envelope Amount)

OSC I Waveform Sync 50.00 Sine Triangle Saw Square PWM Sine Sync Triangle Sync Saw Sync Square Sync Sine CM Triangle CM Saw CM Square CM Sine XOR Triangle XOR Saw XOR Square XOR

OSC 1/2/3 Octave (Oct)

Env Amnt (Envelope Amount)

Amplifier Amp Model Crunch+ Speaker Model Blues 4x10 Drive Bass Middle Treble Presence 5.0 dB 5.0 dB 5.0 dB 5.0 dB 5.0 dB Low High Channel Mode L+R Output 5% 50%

Level Velocity Curve

Velocity to Time (Vel>Time)

Inv (Invert Envelope)

KS Off (Key Switches off)

Env Amnt (Envelope Amount)

MW VIB FREQ VIB DEPTH POSITION FORMANT DURATION CUTOFF

Vib Freq

Oscillator 1/2 Wellenform

Oscillator 1/2 Level

LFO MW FREQ CUTOFF SYNC PITCH PWM

Freq

LFO MW VB FREQ CUTOFF VB DEPTH DISTORTON

Vib Freq

Key On Click/Key Off Click

Grid of gray squares with red highlighted cells, possibly indicating a pattern or status

B-Box steinberg Drag Current Pattern to Host Sequencer

Variationen

B-BOX PATTERN MIX AUX steinberg 1 2 3 4 5 6 7 8 COARSE Instrument Sound Level Pan Delay Reverb Output M S KICK 1 Main M S SNARE 1 M S TO1 LO 1 M S TO1 MIO 1 M S TO1 HI 1 M S RITSHOT 1 M S CLAP 1 M S PERCUSS 1 M S SOUND FX 1 M S HH CLOSED 1 M S HH OPEN 1 M S CRASH 1 M S RIDE 1 CUTOFF FNE DECAY RESO TUBE

Palm Drum steinberg Drag MIDI Phrase to Host Sequencer

Loop

Pitch Drums in Relation to Center Key

Aux FX 1 Aux FX 2 Aux FX 3 Aux FX 4 Main Reverb FX1 FX2 FX3 FX4 None REVERence Reverb Multi Delay Studio EQ Graphic EQ Auto Filter Morph Filter Wahl/Vah Amplifier Distortion VST Amp Tape Saturation Output

Reverb Prelay Early Reflections BL/Tail Delay Room Size Main Time High Time High Freq Hall 50% 0 ms 100% 50% Low Time Low Freq Size Low Cut High Cut Shape Density High Cut Width Mix 100% 20 Hz 4800 Hz 0% 100% 4800 Hz 100% 100%

Graphic EQ 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Output Mode True Response 0.0 dB Range Invert Flatten 12.0 dB

Amplifier Amp Model Crunch+ Speech Model Blues 4x10 Drive Bass Middle Treble Presence 5.0 dB 5.0 dB 5.0 dB 5.0 dB 5.0 Low High Channel Mode L+R Output 5% 50% 5.0 dB

Bit Red (Bit Reduction)

Tape Saturator Mode One Stage Oversampling Drive Auto Gain Low Filter High Filter Output 0.0 dB 0.0 dB 23000 Hz 0.0 dB

Vibrato Mode: Class X Type V2 6.00 Hz 45 % 100 %

Compressor IN CR OUT Threshold Ratio- Soft Knee -20.0 dB 2.00 Auto 30.0 dB Attack Hold Release Auto Peak/FMS 1.0 ms 1 ms 500 ms 80%

Envelope Shaper Gain Length Attack 0.0 dB 5.0 ms Release Gain 0.0 dB Output 0.0 dB

Close-up of a piano keyboard with visible keys and frets (no text or symbols)

FloatP Envelopes QC Name QC 1 MW Vibrato Amount M QC 2 MW Vibrato Speed QC 3 Open 1+2 Tone Color QC 4 Open 1+2 Emphasis QC 5 Open 1+2 Amp Attack QC 6 Open 1+2 Amp Rel QC 7 Dead Notes Level QC 8 Noises Level Sphere H Sphere V Mod Wheel Parameter Range Curve Trim Range Trim Range of All Quick Controls Set Default Range Set Default Range of All Quick Controls Set Quick Control to Neutral Setting Remove Assignment Remove All Assignments Remove All Assignments of All Quick Controls Forward All Assignments to Program

Bv/C F/C C ...

Key Commands Commands Keys Edit Global Media Location: Browse Containing Location: Browse Next Location: Browse Previous Location: Create New Folder Open Retent, L Refresh Views Rescue Disk Reset All Filters Reset Result Filters Reset Search Stop Updating Results Update Results Navigate Done Keys Type as Key: Ctrl+Alt+Shift+G Currently enabled for: Global - GM Mode EnableDisk Reset All Ctrl

MIDI-Controller-Smoothing

Program QC 1 #74 Brightness

Program QC 2 #71 Harmonic Content

Program QC 3 #73 Attack

Program QC 4 #72 Release

Program QC 5 #75 Sound-Controller #6

Program QC 6 #76 Sound-Controller #7

Program QC 7 #77 Sound-Controller #8

Program QC 8 #78 Sound-Controller #9

Layer 1 QC 1 --

Layer 1 QC 2 --

Layer 1 QC 3 --

Layer 1 QC 4 --

Layer 1 QC 5 --

Layer 1 QC 6 --

Layer 1 QC 7 --

Layer 1 QC 8 --

Layer 2 QC 1 --

Layer 2 QC 2 --

Layer 2 QC 3 --

Layer 2 QC 4 --

Layer 2 QC 5 --

Layer 2 QC 6 --

Layer 2 QC 7 --

Layer 2 QC 8 --

Layer 3 QC 1 --

Layer 3 QC 2 --

Layer 3 QC 3 --

Layer 3 QC 4 --

Close-up of a transparent plastic USB flash drive (no visible text or symbols)

All Instrument Sets Category Boss Brass Chromatic Porc DrumsPerc Ethnic GutardPucked Keyboard Muscat.FX Organ Organ Sub Category Clavi E. Piano Herpsichord Other Style Alternative/Inchio Ambient/Cliffed Blues Classical Country Electrical/Cance Experimental Jazz Plan Dram/Altered Character Acoustic Analog Attack Bright Clean Clear Cold Dark Decay Control Name Rating Category Sub Category Chart Ambient Harpsichord *** Keyboard Harpsichord Poly+ Baroque Harpsichord *** Keyboard Harpsichord Poly+ Concert Harpsichord A = 400 *** Keyboard Harpsichord Acou+ Herpsichord Key Switch *** Keyboard Harpsichord Acou+ Harpsichord Room *** Keyboard Harpsichord Poly+

Edit Character Mono Poly Clean Distorted Percestric Soft Split Layer Dry Processed Fast Slow Glide Glissando Harmellic Discount Short Long Major Minor Clear Noisy Attack Release Single Ensemble Thin Rich Decay Sustain Acoustic Electric Dark Bright FastAttack Slow Attack Analog Digital Cold Warm Short Release Long Release Vintage Modern Metallic Wooden Static Morning Old New Glass Plastic Loop One Shut Acoustic + Clean + Bright + Warm OK Cancel

FlexD Range QC NotaUp Poly Octave Coarse Fine Low Key Key Vel Ctrl High Key 128 0 0 9 C-2 G 8

Trigger Mode Description

Env Amnt (Envelope Amount)

Load Edit MIDI Mix Effects Multi Options Program 11 Inserts Middleman Voice Pitch Oscillator Filter Amplifier OSC 1 Waveform OSC 2 Waveform OSC 3 Waveform SUB RING NOISE Sync 50.00 44.50 50.00 Osc 1 M0sc Level M0sc Level M0sc Level Level Level Level Oct -1 Oct -1 Oct 0 Crs 0 Crs 0 Crs 0 68% Fine -5 81% Fine 5 81% Fine 0 46% 0% 0%

Mode Multi-Oscillator

OSC I Sync 50.00 Sine Triangle Saw Square PWM ✓ Sine Sync Triangle Sync Saw Sync Square Sync Sine CM Triangle CM Saw CM Square CM Sine XOR Triangle XOR Saw XOR Square XOR

Algorithm Description

Algorithm Description

Env Amnt (Envelope Amount)

Level Velocity Curve

• 1 = linéaire (Linear)
• 2 = carrée (Squared)
• 3 = carrée inversée (Squared Inverse)
• 4 = carrée 2 pôles (2 Poles Squared)
• 5 = carrée inversée 2 pôles (2 Poles Squared Inverse)
• 6 = cubique (Cubic)
• 7 = quadrique (Quadric)
• 8 = d B
• 9 = logarithmique (Logarithmic)
• 10 = constante (Constant) (127)

Level Velocity (Vel>Lev)

Velocity to Time (Vel>Time)

Inv (Invert Envelope)

KS Off (Key Switches off)

Env Amnt (Envelope Amount)

Classic Jazz Organ Classic Jazz Organ Jimmy Perc 3rdShort Layer 1 Layer 4 ClsscJzzOrgn Vibrato None FX1 FX2 FX3 FX4 None FX1 FX2 FX3 FX4 None FX1 FX2 FX3 FX4 None FX1 FX2 FX3 FX4 None FX1 FX2 FX3 FX4 None FX1 FX2 FX3 FX4 None FX1 FX2 FX3 FX4 None FX1 FX2 FX3 FX4 No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No.

MW VIB FREQ VIB DEPTH POSITION FORMANT DURATION CUTOFF

Vib Freq

Oscillator 1/2 Level

LFO MW FREQ CUTOFF SYNC PITCH PWM

Freq

LFO MW VB FREQ CUTOFF VB DEPTH DISTORTON

Vib Freq

Key On Click/Key Off Click

B-Box steinberg Drag Current Pattern to Host Sequencer

Variations

B-BOX PATTERN MIX AUX steinberg 1 2 3 4 5 6 7 8 COARSE Instrument Sound Level Pan Delay Reverb Output M S KICK 1 Main M S SHARE 1 M S TOI LO 1 M S TOI MID 1 M S TOI HI 1 M S RINSHOT 1 M S CLAP 1 M S PERCUSS 1 M S SOUND FX 1 M S HH CLOSED 1 M S HH OPEN 1 M S CRASH 1 M S RIDE 1 CUTOFF FINE DELAY RESO TUBE

Palm Drum 11 5 steinberg Drag MIDI Phrase to Host Sequencer

Loop

Pitch Drums in Relation to Center Key

Load Edit MIDI Mix Effects Multi Options On Level Pan FX1 FX2 FX3 FX4 Output Main Main Main Main Main Main Main Main Main Main Main Main Main

Commande Description

Amplifier Amp Model Crunch+ Speaker Model Blues 4x10 Drive Bass Middle Treble Presence 5.0 dB 5.0 dB 5.0 dB 5.0 dB 5.0 dB Low High Channel Mode L+R Output 5% 50%

Rate Red (Rate Reduction)

Bit Red (Bit Reduction)

Tape Saturator Mode One Stage Oversampling Drive Auto Gain Low Filter High Filter Output 0.0 dB 0.0 dB 20000 Hz 0.0 dB

Envelope Shaper Gain Length Attack 0.0 dB 5.0 ms Release Gain 0.0 dB Output 0.0 dB

Close-up of a piano keyboard with visible keys and fretboard (no text or symbols)

Center Horizontal/Center Vertical

FlexP Envelopes QC Name QC 1 MW Vibrato Amount M QC 2 MW Vibrato Speed QC 3 Open 1+2 Tone Color QC 4 Open 1+2 Emphasis QC 5 Open 1+2 Amp Attack QC 6 Open 1+2 Amp Rel QC 7 Dead Notes Level QC 8 Noises Level Sphere H Sphere V Mod Wheel Parameter Range Curve Trim Range Trim Range of All Quick Controls Set Default Range Set Default Range of All Quick Controls Set Quick Control to Neutral Setting Remove Assignment Remove All Assignments Remove All Assignments of All Quick Controls Forward All Assignments to Program

Bv/C F/C C ...

Section Disk Streaming

Key Commands Commands Keys Edit Global Media Location: Browse Containing Location: Browse Next Location: Browse Previous Location: Create New Folder Open Pattern, L Refresh Views Rescscn Disk Reset All Filters Reset Result Filters Reset Search Stop Updating Results Update Results Navigate Page Keys Type as Key Ctrl+Alt+Shift+G Currently assigned to: Global - GM Mode EnableDisk Reset All OK

Program QC 1 #74 Brilliance

Program QC 2 #71 Contenu harmonique

Section Performance 592

Solo

Slot Rack 428

Sortie audio 618

Sources de modulation 477

Sous-page Amplifier 456

Sous-page Filter 452

Sous-page Modulation Matrix 474

Sous-page Oscillator 448

Sous-page Pitch 447

Sous-pages Envelope 458

Sphère 593

Structure de dossiers 424

Studio EQ 562

T

Tremolo 574

[Non-Text]

USB-eLicenser 416

v

Vibrato 577

VST Sound Instrument Sets 424

日本語

Matthias Klag, Michael Ruf

改訂管理および品質管理 :Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Sabine Pfeifer, Benjamin Schütte

All rights reserved.

632 インストールと設定

Close-up of a black plastic USB flash drive with visible internal components (no text or symbols)

All Instrument Sets Category Bosa Brass Chromatic Porc DrumsPere Ethnic Guitar/Plucked Keyboard Musical FX Orgas Name Ambient Harpsichord Baroque Harpsichord Concert Harpsi Sft A - 4ft Harpsichord Key Switch Harpsichord Room Sub Category Clavi E. Piano Harpsichord Other Classical Country Electrical/Dance Experimental Jazz Pop Character Alternative/Indie Answers/Cliff/Cout Blues Classical 6 Country Electronic/Dance Experimental Jazz Pop Character Acoustic 5 Analog Attack Bright 4 Clear Clear Cold Dark Decay Control Sub Category Keyboard Sub Category Charl Poly+, Polys- Poly+, Polys- Acour Acour Poly+, Polys-

All Instrument Sets Category Sub Style Bass Clavi Alternative/Hz Brass E. Piano Ambient/Chill Chromatic Perc Harpsichord 5 Blues

Edit Character Mono Poly Clean Distorted Pendestri Soft Split Layer Dry Processed Fast Slow Glove Allando Harmonic Discount Short Lung Major Minor Clear No hay Attack Release Single Ensemble Thin Rich Decay Sustain Acoustic Electro Dark Bright Fast Attack Non Attack Analog Digital Cold Warm Short Release Long Release VintageModern Metallic Wooden Static Moving Old Near Glass Plastic Loop.One Shut Acoustic + Clean + Bright + Warm OK Cancel

マルチチェーンの設定

Float Range QC NetApp Poly Octave Coarse Fine Low Key Cay Vol Ctrl High Key 128 0 0 0 0 C-2 G 8

Poly Octave Coarse Inner Low Unit Cap Wall Ctrl High Unit 128 0 0 0 0 0 1 127

Env Amnt (Envelope Amount)

OSC I Waveform Sync 50.00 Sine Triangle Saw Square PWM ✓ Sine Sync Triangle Sync Saw Sync Square Sync Sine CM Triangle CM Saw CM Square CM Sine XOR Triangle XOR Saw XOR Square XOR

OSC 1/2/3 Oct (Octave)

ビッチをオクターブ単位で設定します。

OSC 1/2/3 Crs (Coarse)

ピッチを半音単位で設定します。

OSC 1/2/3 Fine

ビッチをセント単位で調整します。

OSC 1/2/3 Level

オシレーターのボリュームを調節します。

CF Offset (Cutoff Frequency)

Res Offset (Resonance)

Env Amnt (Envelope Amount)

Level Velocity Curve

Velocity to Time (Vel>Time)

FlexP P F A U P1 P2 M3 M4 StepM Matrix QC Shape Frequency Phase Rnd 0 % 1.60 Hz 0 ° Sync Mode Off Retrigger Mode Off On the mode 0 ms Final to 0 ms Next On 0 ms

モノフォニック LFO ページ

Env Amnt (Envelope Amount)

MW VIB FREQ VIB DEPTH POSITION FORMANT DURATION CUTOFF

VIB FREQ

LFO MW FREQ CUTOFF SYNC PITCH PWM

FREQ

LFO MW VB FREQ CUTOFF VB DEPTH DISTORTON

VIB FREQ

Grid of gray squares with red highlighted cells, possibly indicating a pattern or data visualization

— パターン長インジケーター

B-Box steinberg Drag Current Pattern to Host Sequencer

パターンのグルーヴクオンタイズ

Palm Drum steinberg Drag MIDI Phrase to Host Sequencer

LOOP

QUANTIZE (Quantize Note Value)

Reverb Predelay Early Reflections - EV / End Delay Room Size Main Time High Time High Freq Hall 50% 0 ms 100% 50% Low Time Low Freq Size Low Cut High Cut Shape Density High Cut Width Mix 100% 20 Hz 4800 Hz 0% 100% 4800 Hz 100% 100%

Amplifier Amp Model Crunch+ Speaker Model Blues 4x10 Drive Bass Middle Treble Presence 5.0 dB 5.0 dB 5.0 dB 5.0 dB 5.0 Low High Channel Mode L+R Output 5% 50% 5.0 dB

Tape Saturation Mode One Stage Oversampling Drive Auto Gain Low Filter High Filter Output 0.0 dB 0.0 dB 20000 Hz 0.0 dB

Envelope Shaper Gain Length Attack 0.0 dB 5.0 ms Gain Release 0.0 dB Output 0.0 dB

Piano keyboard with visible fret keys (no text or symbols on keys)

Center Horizontal/Center Vertical

FlenP Envelopes QC

Name

QC 1 MW Vibrato Amount M QC 2 MW Vibrato Speed QC 3 Open 1+2 Tone Color QC 4 Open 1+2 Emphasis QC 5 Open 1+2 Amp Attack QC 6 Open 1+2 Amp Rel QC 7 Dead Notes Level QC 8 Noises Level Sphere H Sphere V Mod Wheel Parameter Range Curve Trim Range Trim Range of All Quick Controls Set Default Range Set Default Range of All Quick Controls Set Quick Control to Neutral Setting Remove Assignment Remove All Assignments Remove All Assignments of All Quick Controls Forward All Assignments to Program

Bt/C F/C C ...

Key Commands Commands Keys Edit Global Media Location: Browse Containing Location: Browse Next Location: Browse Previous Location: Create New Folder Open Return: L Refresh Views Rescet Disk Reset All Filters Reset Result Filters Reset Search Stop Ordering Results Update Results Navigate Page Keys Type to Key: Ctrl+Alt+Shift+G Currently assigned to: Global - GM Mode Extract/Offs Reset All OK

Layer 1 QC 1	-	-
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Layer 1 QC 7	-	-
Layer 1 QC 8	-	-

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Layer 2 QC 7	-	-
Layer 2 QC 8	-	-

Layer 3 QC 1	-	-
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Layer 3 QC 5	-	-
Layer 3 QC 6	-	-
Layer 3 QC 7	-	-
Layer 3 QC 8	-	-

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Layer 4 QC 8	-	-