STEINBERG HALion 4 Manuel d'utilisation [fr]

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Operation Manual

Benutzerhandbuch

Mode d’Emploi

オペレーションマニュアル

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English

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Matthias Klag, Michael Ruf Revision and quality control: Cristina Bachmann, Heiko Bischoff, Marion Bröer, Sabine Pfeifer, Heike Schilling, Benjamin

Schütte This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number of im-

ages 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.

Steinberg, HALion, VST, and ASIO are registered trademarks of Steinberg Media Technologies GmbH. Windows 7, Windows Vista and DirectX are registered trademarks of Microsoft Corporation in the United States and other countries. Macintosh, Mac, Mac OS, and Logic are trademarks of Apple Inc., registered in the U.S. and other countries. Pentium and Intel Core are trademarks or registered trademarks of Intel Corporation in the U.S. and other countries. All other product and company names are ™ or ® trademarks of their respective holders.

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7 Installation and Setup

8 Welcome 8 Key Command Conventions 8 How You Can Reach Us 9 Installation 10 Setting Up

12 The HALion Control Panel

13 Introduction 13 Configuring the Control Panel 14 Setting the Focus 15 Working with Multiple Windows 15 Screen Sets 16 Overview of the Available Editors 17 Macro Pages

18 Managing Your Sounds

19 The Slot Rack 21 Managing Multis 22 Managing Files via the MediaBay 25 Content Files and Folder Structure 25 Loading HALion 3 Programs 26 Working with General MIDI Files

27 Loading and Managing Programs

28 Introduction 28 The Columns of the Program Table 28 Loading Programs into the Program Table 29 Loading Programs from the Program Table to the

Slot Rack

29 Editing the Program Table

30 Using the Program Tree

31 Introduction 31 The Program Tree Structure 32 Editing Zones, Programs, and Layers 33 Making Selections 34 Navigating in the Program Tree 34 Muting, Soloing, and Hiding 36 Adding MIDI Modules 36 Adding Insert Effects 36 Changing the Order of MIDI Modules and Insert

Effects

36 Adding Audio Busses 36 Customizing the Program Tree

38 Global Functions and Settings

39 Introduction 39 The Plug-in Functions Section 40 The Toolbar 41 The Keyboard Editor 42 The Options Editor 45 Quick Controls 48 AI-Knob Support

49 Common Editing Methods

50 Introduction 50 Using Controls in HALion 51 Using Key Commands 51 Working with Presets 52 Using Automation 53 Using Effects 54 Using MIDI Modules

55 Importing and Exporting Samples

56 Importing Samples 58 Finding Missing Samples 59 Exporting Samples 61 Replacing Samples 62 Importing Third-Party Sampler Programs 63 Importing Sliced Loops

66 Editing Programs and Layers in the

Sound Editor

67 Introduction 67 The Main Section 67 The Trigger Section 69 The Voice Management Section 71 The Variation Groups Section 72 The Quick Control Assignments Section 72 The Note Expression Section

Table of Contents

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74 Editing Zones in the Sound Editor

75 Introduction 75 Global Zone Settings 75 Editing Selected Zones or All Zones 75 Absolute and Relative Editing 75 HALion 3 compatibility 76 The Voice Control Section 78 The Pitch Section 78 The Oscillator Section 80 The Sample Oscillator Section 81 The Filter Section 84 The Amplifier Section 85 The Envelope Section 89 The LFO Section 91 The Step Modulator Section 92 The Modulation Matrix Section

97 Mapping Zones

98 Introduction 98 The Mapping Editor 101 Mapping Zones 102 Filling Gaps between Zones 102 Setting the Root Key 102 Selecting Zones with the Mapping Editor

Keyboard

122 Effects Reference

123 Introduction 123 Reverb and Delay Effects 126 EQ Effects 127 Distortion Effects 128 Modulation Effects 131 Dynamics Effects 134 Panner and Routing Effects 135 HALion 3 Legacy Effects

140 MIDI Modules Reference

141 Introduction 141 The FlexPhraser 144 The Trigger Pads 145 Mono Envelope 147 Mono LFO 148 MegaTrig 150 Layer Alternate 151 Key Switch Alternate 152 Key Switch Remote 153 MIDI Randomizer 154 True Pedaling 154 CC Mapper 155 Velocity Curve 156 Tuning Scale

103 Editing Samples in the Sample Editor

104 Introduction 104 Overview 105 The Parameter Section 105 General Operations 108 Creating Loops

112 MIDI Editing and Controllers

113 The MIDI Editor 114 Using MIDI Controllers 114 Assigning MIDI Controllers 114 Assigning MIDI Controllers to AUX FX 114 Saving a MIDI Controller Mapping as Default 115 Automation and Factory MIDI Controller

Assignments

115 CC 121 Support

116 Mixing and Routing

117 The Audio Bus Architecture 119 The HALion Mixer

Table of Contents

157 Key Commands Reference

158 The Default Key Commands

159 Using the HALion Standalone Version

160 Introduction 160 Making Preferences Settings 161 Selecting the MIDI Input and the Audio Output 161 The Scratch Pad

164 Index

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Installation and Setup

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Welcome

Key Command Conventions

Congratulations and thank you for purchasing Steinberg’s HALion 4.

Ten years after the release of the first version of HALion, Steinberg is very proud to present the fourth incarnation of its acclaimed VST sampler. When the idea of HALion was first formed over a decade ago, the approach was to de velop a highly user-friendly, yet powerful software sampler with an unparalleled feature set and a seamless integra tion into modern DAWs.

Today, HALion 4 embodies the original philosophy better than ever before. When comparing HALion 4 with its pre decessors, you find many similarities, but the immense advancements throughout the application stand out a mile. HALion 4 has undergone a massive overhaul and a shift to an entirely new virtual instrument, Steinberg’s VST sam pler and sound creation system.

For the first time in its history, HALion combines a premium sample engine with a virtual analog synthesizer and in this way opens the door to new sonic spheres. The integrated mixing console, the studio-grade effects and the flexible user interface are just some of the features that will truly inspire your creativity. One of the key objectives dur ing the development process was to further optimize the workflow concept. When you get started with HALion 4, you will soon discover the many useful details that help to turn your vision into reality.

HALion 4 was designed according to the requirements of professional sound designers and was relentlessly refined during the engineering process, resulting in the ultimate tool for discerning sound designers as well as finding the appreciation of musicians, producers, and composers.

First of all, check out the massive sound library. With more than 1,600 instruments and patches, HALion 4 includes the complete sound collection of the appraised HALion Sonic workstation alongside many fresh new sounds.

After you have registered HALion 4 online, take some time to explore the community section at www.steinberg.net/ forum. You will find lots of useful information and get to know other users in our discussion forums. Registering at www.steinberg.net/mysteinberg also gives you access to special offers from Steinberg in the future.

Have fun creating your sound. Your way. The Steinberg HALion Team

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

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]

under Windows or [Command] under Mac OS X, then

press [Z]”. Similarly, [Alt]/[Option]-[X] means “press [Alt] under Win-

dows or [Option] under Mac OS X, 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 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 driv ers, 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 10.

Installation and Setup

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Installation

Please read the following section before installing HALion.

The USB-eLicenser

Many Steinberg products, including HALion, use the USB-eLicenser, a hardware copy protection device. HALion 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.

System Requirements

To use HALion, your computer must meet the following requirements:

Windows

• Windows Vista or Windows 7

• Pentium/Athlon 2.0 GHz dual core CPU

•2 GB RAM

• Approx. 15 GB of free hard disk space

• Display resolution 1280 x 800 pixels recommended

• DirectX compatible audio hardware (ASIO compatible audio

hardware recommended for low-latency performance)

• DVD-ROM drive with dual-layer support

• USB port for USB-eLicenser (license management)

• USB-eLicenser (not included)

• Internet connection for license activation

• For using HALion as a plug-in, a VST2 or VST3 compatible

host is required.

The USB-eLicenser

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, li

censes 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 contains an activation code, which is found on the Essential Product License In formation card within the product package. To make unlimited use of your version of HALion, 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.

Control Center

After installation of HALion, the eLicenser

can be opened via the Start menu on Win-

dows systems or the Applications folder on a Mac.

Ö 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.

Macintosh

•Mac OS X 10.6

•Intel Core Duo 2.0 GHz processor

•2 GB RAM

• Approx. 15 GB of free hard disk space

• Display resolution 1280 x 800 pixels recommended

• CoreAudio compatible audio hardware

• DVD-ROM drive with dual-layer support

• USB port for USB-eLicenser (license management)

• USB-eLicenser (not included)

• Internet connection for license activation

• For using HALion as a plug-in, a VST3 or AU compatible host is required.

Installing HALion

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

Installation and Setup

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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 dou ble-clicking the file “HALion_Start_Center.exe” (Windows) or “HALion

”

Start Center.app

(Mac).

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

If you do not want to install HALion 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.mpkg”.

2. Follow the instructions on screen.

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

• To register HALion, click the Steinberg logo in the top right corner of the control panel and select “Register HALion 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 as a plug-in in different host applications. HALion can also be used as a standalone application. This is described in de tail in the chapter “Using the HALion Standalone Version” on page 159.

Setting Up HALion 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 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 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.

You are asked whether you want to create an associated MIDI track connected to the VST instrument.

3. Click Create.

HALion is loaded and activated, and its control panel

opens. A MIDI track called HALion is added to the track

list. The output of this track is routed to HALion.

Accessing HALion 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.

3. Click OK to create the instrument track.

4. Click the Edit Instrument button in the Cubase Inspector to open the HALion control panel.

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

Installation and Setup

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Selecting Outputs

HALion loads with a stereo output configuration by de-

fault. However, you can use up to 32 stereo outputs plus

one 5.1 output in Cubase. This allows you to route all 64 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 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 programs or layers to these outputs for fur ther signal processing within Cubase.

Using HALion in an AU Compatible Application

You can use HALion in an AU host application (e. g. Logic). The AU version of HALion is installed in your AU plug-ins folder and lets HALion 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 select the AU Instruments submenu.

3. On the Steinberg submenu, select HALion.

4. Select Multi Output or Stereo from the submenu.

HALion is now loaded as an AU instrument.

Installation and Setup

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The HALion Control Panel

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Introduction

A view with a single editor.

A view with multiple editors on different tabs.

HALion provides flexible and highly customizable window management. You can arrange the available editors in the window, structure the window sections using tabs, and even configure several separate windows for your work. The size of each window, and window section, is freely adjustable. This allows you to make the most of the available screen space.

Configuring the Control Panel

You can set up the control panel exactly the way you want it, by determining the number of different sections (which are referred to as “views” in this document) that you want the window to contain, and by further configuring these sections, for example by adding tabs. For each of these el ements (views or tabs), you can specify the editor that is displayed.

All these functions can be performed via the setup options. For views, these can be accessed via the View popup menu. For tabs, they are available on the context menu.

The following setup options are available:

Select… (Editor)

To select the editor to be displayed, open the Editor submenu, and select the editor or choose “Select…” to display a pane showing icons for the available editors and

click on an icon.

“Split |” and “Split --”

You can add a view or tab to the window by splitting an existing view or tab.

• To perform a vertical split, select “Split |”. This adds a new editor to the right of the current editor.

• To perform a horizontal split, select “Split --”. This adds an editor below the current editor.

The HALion Control Panel

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• You can also create a split view or tab by clicking its upper left corner and dragging it to another position in the window.

This creates a copy of the view or tab at the drop position. A colored frame indicates where it will be inserted when you drop it.

Adjusting the Size of a Split View

• To adjust the size of two split views, point the mouse at the divider between these two, click, and drag.

If a view is split into three or more parts, these parts are resized proportionally. To resize an individual part, hold down [Ctrl]/[Command] and drag.

Ö Some editors have fixed default sizes for height or width. For example, the Slot Rack can only be resized ver tically but not horizontally.

Create Tab

• Select “Create Tab” to create a tab.

You can also create tabs within tabs.

You can also create tabs the following way:

• Click in the upper left corner of an existing view or tab and drag it onto another one.

• Click the plus icon to the right of the rightmost tab and click the icon for the editor you want to display.

Ö If a view contains more tabs than can be displayed, arrow buttons are displayed to navigate between the tabs.

Renaming Tabs

When you create a tab, it gets the name of the editor it displays. You can rename tabs via the context menu.

• To remove a view or a tab, select Close.

Further Setup Options

Moving Views and Tabs

• To move a view or tab, hold down [Shift], click in its upper left corner, and drag it to another position.

Depending on the drop position, it is added as a tab or as part of a split view.

Expanding and Resizing Editor Sections

Some editors, such as the Options editor, contain expandable sections. These sections can be resized or collapsed so that they only show their title bar. This helps you save space and focus on the edited parameters.

• To expand or collapse a section, click the “+” or “-” icon on the left of the title bar, or click the title bar.

• To open several sections at the same time, hold down [Ctrl]/[Command] and click the “+” icon or the title bar.

• To resize a section, click in the middle of its lower border (the position is indicated by a dotted line) and drag up or down.

Undock

• To create a duplicate of the view or tab in a new window, select Undock.

The HALion Control Panel

Setting the Focus

It is useful to know which view, window, or tab has the focus, because this is where your key commands are applied, for example. The view that has the focus is indicated by a blue frame.

• To set the focus on a specific view, use one of its controls or edit a parameter.

You can also click on the frame of a view or in an empty background of a section.

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Working with Multiple Windows

Screen Sets

Creating Additional Windows

You can create new windows from existing views using the following methods:

• Click in the upper left corner of an existing view or tab and drag it out of the current window.

• Use the Undock command, see “Undock” on page 14. The window menu bar contains a pop-up menu from

which you can select the program that you want to edit.

Using Window Presets

HALion comes with several preconfigured window presets. You can open these by clicking the “Open New Window” button in the top bar and selecting a preset from the pop-up menu. You can also create your own window pre sets using the corresponding commands on the pop-up menu.

Locking Windows

When you open an additional window, HALion shows the settings belonging to the focused object (program, layer, zone etc.). This way, all editors and separate windows relate to the same material.

However, in some cases it might be necessary to show different objects in different windows, for example, to compare the parameter sets of two zones or layers. This can be achieved by locking a window.

• To lock a window, click the lock button in the upper right corner. If this is activated, the window no longer fol lows selection and focus changes in the main plug-in window. Instead, it displays the settings of the program that was selected when you clicked the lock button.

When you have set up the HALion control panel to your liking, you can save this configuration as a “screen set”. This way, you can preconfigure HALion for different workflows and editing situations.

When you start HALion for the first time, the default screen set is used, which is optimized for wide-screen monitors and contains all editors.

The following factory screen sets are available:

Screen Set Recommended

Default 1440 x 900 Full editor screen set. Basic 1024x768 A minimized single slot player view. Extended1 1280x800 Optimized for laptops. Extended2 1440 x 900 As Extended 1, but slightly more

Advanced 1440 x 900 Full editor screen set.

Resolution

Description

complex.

Managing Screen Sets

You can load, save, and delete screen sets by clicking the screen set button on the toolbar in the plug-in functions section and selecting the corresponding command from the pop-up menu.

Ö Factory screen sets cannot be deleted.

The HALion Control Panel

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Overview of the Available Editors

HALion provides a large amount of different editors that give you access to the parameters of the plug-in and its programs and modules.

The following editors are available:

Slot Rack

Allows you to load and manage the loaded programs, see

“The Slot Rack” on page 19.

MIDI

Allows you to configure the ranges and MIDI parameters of the slots, see

Program Table

Shows all programs that are loaded. This includes the programs that are used in the Slot Rack as well as those that can be loaded via MIDI program change, see “Load-

ing and Managing Programs” on page 27.

Program Tree

Allows you to create programs by combining samples, layers, busses, as well as MIDI and audio effects, see “Using

the Program Tree” on page 30.

“The MIDI Editor” on page 113.

Sound Editor

Gives you access to the parameters of the various program components. It can display the parameters of programs, layers, zones, MIDI modules, busses, and effects. Which parameters are displayed depends on the object that is selected in the Program Tree.

Zone Editor

The Zone editor allows you to edit the parameters of all zones of the focused layer simultaneously (including any sublayers).

In case any specific zones are selected in the Program Tree or Mapping editor, only these zones can be modified.

MIDI Modules Editor

The MIDI Modules editor allows you to edit the parameters of all MIDI modules of the currently focused layer.

In case any specific MIDI modules are selected in the Program Tree or Mapping editor, only these modules are displayed and available for modification.

Optionally, you can show any MIDI modules found higher up in the signal flow by clicking the corresponding button.

Macro

This is a content-specific editor that provides a set of the most important program parameters. Whether such an editor is available for a program, depends on the content set, see

“Macro Pages” on page 17.

Mapping Editor

Allows you to specify and visualize how samples are distributed over the keyboard and velocity range, see “The

Mapping Editor” on page 98.

Sample Editor

Allows you to define all sample and loop parameters, see

“Editing Samples in the Sample Editor” on page 103.

Mixer

Allows you to mix the program slots, access the output and AUX busses, and manage effects, see “Mixing and

Routing” on page 116.

The HALion Control Panel

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Import

Allows you to import external sampler formats like Apple EXS, GigaSampler, Kontakt, and others, see “Importing

and Exporting Samples” on page 55.

MediaBay

Allows you to load programs and layers, see “Managing

Files via the MediaBay” on page 22.

Options

Contains global plug-in settings regarding the overall performance, global edit functions, and MIDI controllers, see

“The Options Editor” on page 42.

Undo History

The Undo History lists all of your actions and allows you to undo changes, see

“Undo/Redo” on page 41.

Keyboard

Combines a keyboard, two wheels, and the HALion Sphere. You can use these controls to simulate external hardware, see

“The Keyboard Editor” on page 41.

Quick Controls

Allows you to remote-control any parameter inside the program, see “Quick Controls” on page 45.

Macro Pages

VST Sound Instrument Sets provide dedicated editors, so-called Macro pages. These Macro pages are preconfigured to show the most important parameters for the specific programs.

Whether it is possible to edit a program only via its Macro page or whether you have access to all underlying zone and layer parameters depends on the instrument set.

If a program comes with a Macro page, it is displayed when you open the Macro editor.

When loading a program that contains one or multiple layers with Macro pages, all Macro pages are shown together in the Macro editor. For each existing Macro page, HALion inserts a navigation button on the toolbar that al lows you to switch between the different Macro pages.

Trigger Pads

Allow you to assign and trigger notes and chords. Furthermore it is possible to use the trigger pads to switch the states of FlexPhraser modules, see

page 144.

“The Trigger Pads” on

The HALion Control Panel

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Managing Your Sounds

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The Slot Rack

Program Loader

Mute Slot

Solo Slot

MIDI Activity

Indicator

Sort Slots

Remove All Programs

Show Empty Slots

Slot Sizes

The Slot Rack allows you to load up to 64 programs into so-called slots. Slots are created dynamically for each loaded program. Their order can be arranged freely, sorted by MIDI channel, or slot index.

Use the scrollbar to the right of the slots to navigate to the slot that you want to make settings for.

Changing the Slot Size

You can change the size of the slots that are displayed using the sizing buttons above the slots. The following options are available:

Size Features

Small Shows MIDI Indicator, Mute, Solo, Program Loader Medium Shows MIDI Indicator, Mute, Solo, Program Loader, MIDI

Large Shows Instrument Icon, Mute, Solo, Program Loader, MIDI

Showing Empty Slots

By default the Slot Rack only shows slots that are currently filled with programs.

• To show all empty slots, activate the “Show Empty Slots” option on the toolbar.

Loading Programs

Programs and layers can be dragged from the following locations into the Slot Rack:

• HALion or Cubase MediaBay

• Program Table or Program Tree

•Import View

• Explorer (Win) or Finder (Mac)

Port/Channel, Level, Pan, Level Meter

Indicator, MIDI Port/Channel, Polyphony, Level, Pan, Output, Level Meter

Replacing Programs

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

Alternatively you can use the “Load Program” button at the right of the slot to load a new program.

Loading Programs in between Slots

• If you want to add a program or layer in a new slot between two existing slots, you can drag it between these slots.

A red line indicates that a slot will be inserted at this position.

Ö The slot number is taken from the first available slot and does not necessarily reflect the order in which the slots are listed.

Loading Layers into Slots

If you load a layer into a slot, HALion 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. Select

Save Program This option saves the program. Please note that fac-

Save Program As…

Remove Program Select this option to remove the program from the

Revert to Last Saved Program

Cut Program Select this option to copy and remove the program

Copy Program Select this option to copy the program without re-

Paste Program Select this option to paste the copied program into

Rename Program Select this option to enter a new name.

a program or layer and click OK to load it into the slot.

tory content cannot be overwritten. Instead, the “Save Program” dialog is opened and you can save the ed ited program under a new name.

This option opens the “Save Program” dialog where you can save the edited program under a new name.

slot. Select this option to discard any changes made to

the program in the slot.

from the slot.

moving it.

the slot. If the slot already contains a program, it is re placed.

Managing Your Sounds

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Option Description

Reset Selected Slot

Reset All Slots Select this option to reset all slots to the default

Select this option to reset the selected slot to the default values.

values.

Loading Samples and Third-Party Programs

Samples and third-party programs can be loaded into the Slot Rack from a file browser or the Import editor using drag and drop.

Renaming Programs

You can rename a program via the context menu. Ö To make the program with its new name available in

the MediaBay, you must save it.

Sorting Modes

By default, slots are arranged freely. New slots are set to the next available index number.

• To change the sorting mode, click the Sort Slots button on the left side of the Slot Rack toolbar, and choose a mode:

Mode Description

Custom Sorting Default mode. Sort Slots by MIDI

Port and Channel

Sort Slots by Index Slots are sorted by their index-number. No reor-

Slots are sorted by their MIDI channels. No reordering is possible. New slots are set to MIDI channel A1.

dering is possible. New slots are set to the next available index-number.

Slot Controls

Depending on the selected slot display size you get access to additional slot controls.

Level

The level fader controls the output level of a program. The parameter has an influence on all outputs used by layers and zones inside the program.

Pan

Pan controls the stereo position of a program. The parameter has an influence on all outputs used by layers and zones inside the program.

Ö The Pan control is disabled if the slot bus has a surround configuration.

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.

MIDI Port and Channel

Here you can specify on which MIDI port and channel the slot receives MIDI messages.

MIDI Activity Indicator

A green bar next to the slot number and symbol indicates incoming MIDI data.

Polyphony

Here, you can specify how many notes can be triggered simultaneously.

Ö The number of resulting voices can be much higher if one note triggers several zones at the same time.

Output

The output selector lets you define to which output bus the slot sends its signal.

Ö This setting does not affect any output routing that has been set up for individual layers or zones inside the pro

gram.

Level Meter

The level meter indicates the signal level of the slot output bus.

Ö Layers and zones inside the program that are routed to individual outputs do not show any meter activity.

The Relationship between Slot and Program Table

The Program Table provides a list of all programs that are loaded into slots as well as programs that are not yet loaded but can be addressed by a program change.

Managing Your Sounds

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Save MultiProgram

Remove Multi-Program

Load Multi-

Program

Save VST Sound Content

Save Multi-Progr am with Sample

When a program is loaded into a slot, it is also inserted in a free place in the Program Table.

When replacing a program in a slot, the table updates accordingly. If multiple slots have used the same program, all slots are updated with the new program.

Managing Multis

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 pro grams to the same MIDI input channel. However, the most common usage is to create sound sets with different in struments set to individual MIDI channels.

A multi-program contains all plug-in parameters. When using HALion 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.

When using HALion 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.

Loading Multis

• Open the MediaBay and double-click a multi, or drag and drop a multi onto the multi slot.

• Alternatively, click the “Load Multi-Program” button in the multi slot to open the “Load Multi-Program” dialog, se lect a multi and click on OK.

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 and removes effects from the slot busses. However, AUX and Master effects are not removed.

Managing Your Sounds

Ö Removing the programs from the slots does not remove them from the Program Table.

Saving Multis

To save multis, 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.

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.

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

2. Click OK to save the preset. Ö For further information about attributes, see “Editing

Preset Attributes” on page 24.

Exporting Multis with Samples

Multis with samples can be exported, to transfer a complete multi to another computer. Programs that use samples from VST Sound containers cannot be exported.

To export a multi with samples, proceed as follows:

1. Click the “Export Multi as VST3 Preset with Samples” button next to the multi slot.

2. Enter the name of the multi, and click OK.

The multi is written to the specified location. Additionally a folder named after the preset that contains all samples is created.

Managing Files via the MediaBay

The MediaBay gives access to the HALion presets, such as multis, programs, and layers.

Exporting VST Sound Files

You can produce your own HALion VST Sound files, containing all plug-in settings, programs, and samples.

1. Click the “Export Multi as VST Sound” button next to the multi slot.

2. Enter the required information (marked with an asterisk) and provide additional data (optional).

3. Enter the path or click the browse button to specify a file name and folder.

4. Click OK. Ö You cannot include samples that originate from pro-

tected VST Sound files.

The 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 Slot 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 a program from the results list to an empty space in the Slot Rack to create a new slot. If you drag it to an existing slot, the current program is replaced.

• Right-click the program and select “Load Program into selected Slot” from the context menu.

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.

Managing Your Sounds

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Deleting Presets

Multi Program

Layer

• To delete a user preset, right-click it to open the context menu, and select Delete.

Ö 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 col umns, 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

Use the “Instrument Set Filter” pop-up menu to search a certain content set only. By default, the search is performed in any of the installed content sets.

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 tool

bar 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

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.

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.

Managing Your Sounds

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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

Select All This selects all presets in the results list. Select None This cancels any selection.

This loads the highlighted preset.

The following options are available for user presets only:

Options Description

Copy This copies the selected presets to the clipboard.

Rename This opens a dialog for renaming the highlighted

Delete This moves the selected presets to the trash bin of

Show in Explorer/ Reveal in Finder

Set or remove Write Protection

This way, you can paste them at a different loca tion using the file browser of your OS.

preset.

your operating system. This shows the preset in the file browser of your

operating system. This sets or removes the write protection for the

selected presets.

Programs from the HALion factory content are writeprotected 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.

2. Select a value. Ö Attribute values are written directly into the corre-

sponding preset files. However, this is not possible for write protected factory content. In this case, the data is saved within HALion’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

Media

Musical

Attribute Editing method

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.

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.

Managing Your Sounds

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Bars & Beats Click to select, double-click to

Signature Click to select, double-click to

Key Click to select. GM Sound Click to select.

edit.

Loading HALion 3 Programs

HALion 4 allows to load HALion 3 presets either from HSB container files or from FXP/FXB files. To be able to load presets from HALion 3 HSB files, they have to be registered in the HALion 4 MediaBay.

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.

Content Files and Folder Structure

HALion has a large amount of ready-to-use sound content, made up of hundreds of multis, programs, and layers. This content is write-protected. You can edit files while they are loaded in HALion, but you cannot overwrite the factory content files themselves.

To save edits to the factory content, save the files under a new name. These files have the name extension “.vstpreset” and are referred to as “user content”. They can be searched and categorized in the same way as factory content.

User content is saved in a predefined folder structure on your hard disk. You can create subfolders within this struc ture, to facilitate moving or exchanging content (see “Cre-

ating Subfolders for User-Defined Multis” on page 21).

Registering HSB Files

1. Click the Import button on the right of the Category Filter toolbar, and select “Register HSB/VST Sound Files”.

2. Navigate to the HSB/VST files, select them, and click OK.

The MediaBay now has access to the presets.

• Alternatively, HSB/VST files can be registered by dragging them from the Windows Explorer or Mac OS Finder into the HALion MediaBay.

Registering VST Sound Files

Programs that are contained in VST Sound files can only be seen and accessed by the MediaBay if the corresponding VST Sound file has been registered. HALion’s factory content is located in a directory that is automatically scanned when HALion is loaded. However, it is possible to add further VST Sound files that are not located in that directory.

To register a VST Sound File, proceed as follows:

1. Click the Import button on the right of the Category filter toolbar.

2. Select “Register HSB/VST Sound Files“.

3. Navigate to the VST Sound file, select it, and click OK.

The MediaBay now has access to the presets.

Loading FXP/FXB Files

To load FXP/FXB files there are two possibilities:

• Drag and drop the FXP/FXB files from the Windows Explorer or the Mac OS Finder onto the Slot Rack.

• Drag and drop the FXP/FXB files to the Slot Rack/Multi Loader.

HALion converts the FXP/FXB files into HALion programs/multi-programs.

Managing Your Sounds

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Importing FXP/FXB Files

To import multiple FXP/FXB files without loading them in HALion, proceed as follows:

1. Click the Import button to the right of the Category Filter and select “Import HALion FXP/FXB Files”.

2. Navigate to the folder that contains the FXP/FXB file.

3. Select the file you want to import and click OK.

The presets are converted into the HALion 4 format and saved as VST presets in the user preset folder.

Ö Alternatively, import multiple FXP/FXB files by dragging them from the Windows Explorer or Mac OS Finder into the MediaBay.

Working with General MIDI Files

HALion can play back files in the General MIDI format. For this, the following preparations must be made:

1. Load a GM multi from the MediaBay.

The first 16 slots are prepared with send effects for Chorus and Reverb.

2. Open the Options editor, navigate to MIDI Controller, and activate “Receive Program Changes” and “Receive RPNs 0/1/2”.

3. Load the GM file that you want to use.

HALion loads the necessary programs and adjusts chorus and reverb levels.

Managing Your Sounds

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Loading and Managing Programs

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Introduction

HALion allows you to load a virtually unlimited number of programs per instance. All loaded programs, i. e. programs that can be used in the current project, are shown in the Program Table. You can load these programs into any of the 64 slots in the Slot Rack.

The first 128 entries of the Program Table correspond to the 128 MIDI program change numbers. You can load these programs into a slot by sending MIDI program change messages on the slot’s MIDI channel.

Ö You can set the focus on any of the programs, for example to verify settings or to copy zones from there, without having it assigned to any slot. In that case you cannot play and hear the program.

The Columns of the Program Table

The Program Table contains the following columns:

Column Description

Program Number Displays the program number, which corre-

Program Name Shows the program name. The name can be ed-

Used Displays the number of slots in which the pro-

Preload Shows if a program is preloaded, even if it is not

File Size Displays the size of the program with all samples

sponds to the MIDI program change number.

ited in place.

gram is loaded.

being used in a slot.

as it is stored on the hard disk.

Changing the Width of a Column

• Drag the right border of the column header left or right to change its width.

Ö All modifications are stored with the project.

Loading Programs into the Program Table

There are several ways to load a program into the Program Table:

• Drag it from the MediaBay to the Program Table.

• In the MediaBay, right-click a program to open the con-

text menu, and select “Load Program into selected Slot”.

• Click the “Load Program” button in the Program Table toolbar, select a program, and click OK.

If the selected entry in the Program Table already contains a program, the current program is replaced. All slots that are making use of that program then refer to the new pro gram.

When multiple programs are dropped on a list entry, not only the target program is replaced but also the following programs. The number of programs that are replaced corresponds to the number of programs that you have dragged to the Program Table.

Ö You can also drag and drop programs from third-party sampler formats using the Import Tree, see “Importing

Third-Party Sampler Programs” on page 62.

Configuring Columns

Inserting Columns

• Right-click the column header at the position where you want to insert the new column, and select the parameter or column that you want to insert.

Removing Columns

• Right-click the header of the column you want to remove, and select “Remove…”.

Reordering Columns

• Drag and drop the header of the column left or right to the new position.

Loading and Managing Programs

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Loading Programs from the Program Table to the Slot Rack

When dropping a program onto a free Program Table entry, it is added to the table without being actually loaded to any of the slots. This way you can create a program table without having to load all programs immediately.

If you want to use the program in a slot, you can create a new slot or replace the program in an existing slot.

In case a program is loaded multiple times to different slots the slot rack focus jumps to the first slot.

Creating New Slots

• Make sure that no slot is selected and double-click the program.

• Drag a program to an empty space in the Slot Rack.

Replacing Programs in Slots

• Double-click a program to replace the program in the selected slot.

• Drag a program from the table into an existing slot. To quickly see which programs are assigned to slots their

program numbers are displayed in yellow.

Preloading Programs

When a program was loaded to the Program Table but is not used by one of the slots, its samples are not preloaded. However, you can preload unassigned programs to allow for a faster MIDI program change. You can activate the Preload option individually for each program. This setting is saved with the project and plug-in preset. Pro ceed as follows:

• Open the context menu for a program and select “Always Preload”.

• Activate the Preload icon of the program in the Preload column.

• To deactivate preloading, select “Preload Program On Demand” on the context menu, or deactivate the icon in the Preload column.

Editing the Program Table

Deleting Programs

You can delete the selected program by clicking the trash icon on the toolbar. Alternatively, you can press the [De lete]-key on your computer keyboard or use the Delete command on the context menu.

Exchanging the List Positions of Two Programs

Once a program has been loaded to a specific table entry, it is also associated with the corresponding MIDI program change number.

For example, loading a program at position 3 of the list means that this program can be loaded into a slot when it receives MIDI program change number 3 on its MIDI channel.

If you want to quickly assign the program to another MIDI program change number, you can drag it to the corresponding list position. In case another program already occupies this position, the two programs change places.

Cut, Copy, and Paste

Cut, copy, and paste programs by clicking the corresponding icons on the Program Table toolbar, using the commands on the context menu, or using key commands.

Renaming Programs

• Select the program you want to rename and click the program name a second time, or press [F2] (Win)/[Return] (Mac).

• Right-click the program and select Rename on the context menu.

Loading and Managing Programs

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Using the Program Tree

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Introduction

The main area for navigating and making selections in HALion is the Program Tree. It shows the selected program with all its layers, zones, and modules. Furthermore, it allows you to load programs and layers, to add, import, or delete zones, etc.

Zones

A zone is the element on the lowest level in the tree structure. The zones are the elements creating the sounds in HALion.

You can choose between synth and sample zones. These zone types differ in their basic sound source. While a synth zone provides an oscillator section with three main oscillators, a sub oscillator, a noise generator, and a ring modulation stage, the sample zone loads a specific sam ple instead.

Busses

Busses allow you to set up the audio routing in HALion and add audio effects.

MIDI Modules

MIDI Modules can be added for programs and layers, see

“Adding MIDI Modules” on page 36.

The first three columns in the Program Tree give you access to the Visibility, Mute, and Solo functions inside the program. In the section to the right, the selected program and its elements are displayed. They are organized in a hierarchical structure, with the program at the topmost level.

Each element in the Program Tree is displayed with an icon in front of its name, indicating the type of the element.

Programs and Layers

Programs are the top-level elements in the Program Tree. Only one program is displayed at a time.

A HALion program is a complex instrument or sound that combines layers, sample zones, synth zones, busses, MIDI modules, and FX modules. Often, a program contains a single layer that already comes with all necessary compo nents such as the synthesis part or insert effects. This is because a layer already is a complete sound structure on its own. Layers can be used to organize programs, for example by grouping a number of zones. This is useful if you want to apply the same settings to a number of zones in one go. The program adds the possibility of combining different layers to build up more complex sounds or to create combinations of sounds you want to load as a unit. A typical example is a bass/piano split sound or a piano/string layer sound.

Audio Effects

Audio effects can be added for busses. For a detailed description of the available audio effects, see the chapter

“Effects Reference” on page 122.

The Program Tree Structure

The Program Tree represents the signal flow inside the program from top to bottom:

The MIDI comes in at the top and goes down through the layers and MIDI modules. The processing order of the MIDI modules inside the program or layers is from top to bottom.

The audio is output via busses that can have any number of FX modules. The processing order of the FX modules

inside the busses is also from top to bottom.

Number of Selected Zones

Below the Program Tree, there are three numbers that indicate the following:

• The first number indicates the number of selected zones.

• The second number indicates the number of zones contained in the focused layer.

Using the Program Tree

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• The third number indicates the total number of zones in the program.

The three numbers are particularly useful while editing or deleting zones. For example, if you have a piano that was recorded with several velocity layers per note, you will know that each velocity layer has 88 sample zones. Let’s say, you want to edit or delete a whole velocity layer. With a look at the three numbers you will know if you selected the right amount of sample zones before you edit or delete them.

The Color Scheme

To indicate additional information, the icons of the program, layers, and zones change their color.

Icon Color Description

Light blue This is the standard color for zones. For sample zones

Red The icon turns red if a sample zone cannot find its sam-

Yellow When you create a new sample zone, it is not linked to a

Magenta To free memory on your computer, you can remove the

Dark blue To reduce hard-disk load, HALion can playback sam-

this color means all samples were found and loaded without problems.

ple, for example, because a removable hard drive is not connected.

sample, yet. To indicate this, the icons of the corre sponding sample zones turn yellow.

samples completely from RAM. The samples are played back from the hard disk only. To indicate this, the icons of the corresponding sample zones turn magenta.

ples from RAM only. To indicate this, the icons of the corresponding sample zones turn dark blue.

Editing Zones, Programs, and Layers

Creating Zones

To create a new zone, you have the following possibilities:

• Drag and drop samples from the Cubase MediaBay, Windows Explorer, or Mac OS Finder to a program or layer.

• Right-click a layer in the Program Tree, open the New submenu, and select Zone.

• Click the Zone icon on the toolbar of the Program Tree. Ö When creating new zones, HALion uses the default

zone preset to set the zone parameters to their default val ues. This preset contains all zone parameters, but no sample-related parameters (sample start/end, loop start/end, etc.).

To use specific zone settings, modify the default preset, and save it as default in your “user presets” directory.

Creating Layers

To create new layers you have the following possibilities:

• Click the “Create New Layer” icon on the toolbar. When a layer is selected, the new layer is added within this layer. When a zone is selected, the new layer is added on the same hierarchy level as the zone.

• Too add multiple layers on the same level, [Shift]-click the “Create New Layer” icon on the toolbar.

• Right-click a layer, open the New submenu, and select Layer.

Saving Programs and Layers

You can save programs and layers from the Program Tree as VST presets.

• To save a program, click the Save icon on the toolbar, or use the “Save Program” command on the Load/Save submenu of the context menu.

• To save a certain layer, open the context menu, select the “Load/Save” submenu, and select “Save Layer”.

Deleting Programs, Layers, and Zones

• Select the program or any number of layers and zones, and click the trash icon on the toolbar, or press [Backspace], or open the context menu and select Delete.

Ö Deleting zones does not delete any samples on your hard drive.

Renaming Entries

When you create a new element in the Program Tree, it automatically gets a generic name. You can change this name in the following ways:

• Select an entry, click it a second time, and enter the new name.

• Select an entry, press [F2] (Win) or [Return] (Mac), and enter the new name.

Using the Program Tree

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Drag and Drop

Select the program or any number of layers and zones and drag the selection to a layer to move the selection inside this layer.

Using Cut, Copy, and Paste

• To cut the selected elements, use the Cut icon on the toolbar, the Cut command on the context menu, or the key command [Ctrl]/[Command]-[X].

• To copy the selected elements, use the Copy icon on the toolbar, the Copy command on the context menu, or the key command [Ctrl]/[Command]-[C].

• To insert the copied data, use the Paste icon on the toolbar, the Paste command on the context menu, or the key command [Ctrl]/[Command]-[V].

Ö You can also copy or move the selection from one program to another. Furthermore, it is possible to move a complete program into another one. In this case the moved program becomes a layer inside the target program.

Paste to New Layer

To paste zones to a new layer, open the context menu for a zone, layer or program (depending on where you want to insert the new layer), and select “Paste to new Layer”.

Copying and Pasting Zone Settings

1. Right-click the zone that contains the settings that you want to copy, and select “Copy Zone Settings” from the context menu.

2. Right-click one of the selected zones, and select “Paste Zone Settings” from the context menu.

Transfer Settings to Mapping

Zones often have varying Fine Tune and Level settings, while other settings stay the same across all zones. To avoid varying Fine Tune and Level settings in the zones, you can transfer these settings to the Tune and Gain pa rameter of the mapping.

1. Right-click the program or the layers and zones.

2. Open the “Transfer Settings to Mapping” submenu

and specify which settings to transfer: “Select All” to transfer Fine Tune and Level at the same time or select “Fine Tune” or “Level” to transfer them individually.

• The corresponding zone settings are transferred to the mapping and reset to their default afterwards.

Applying Layer Settings to Zones

In some cases it can be helpful to apply the layer settings to the zones they contain.

1. Open the context menu in the Program Tree and select “Apply Layer Settings to Zones”.

2. Select which settings to apply. You can either apply all settings at once or one of the following settings individu ally: Key Range, Velocity Range, Fine Tune, and Level Pan.

All layer offsets are now calculated into the correspondent zone settings and then reset to a neutral position.

Example: A program contains layers that are limited to a specific key

range. The contained zones, however, use the full key range. In this case, all these zones fill the whole key range in the mapping editor and it is impossible to see their real limitations. To solve this, use the “Apply Layer Settings to Zones – Key Range” option so that the zones inherit the limits of the layers. The layers themselves are reset to the complete key range. Now, you can see the key range in the mapping.

Making Selections

The selection you make in the Program Tree defines which part of the program can be edited in HALion. The editors automatically follow the selection and display the available parameters. The name of the selected entry is marked in blue. If several elements are selected, the one with the fo cus is available for editing. It is indicated by an orange frame around its name. Any editing you perform always applies to the selection.

Selecting Elements

• To select an element, click on it.

• Use [Shift] and [Ctrl]/[Command] to select a range of elements.

• To select all zones within the same layer, double-click one of its zones.

• To select all elements of a layer, double-click the layer.

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• To select the entire content of a program, open the context menu, select the Selection submenu, and choose “Select All”.

• To select all subentries of an element, open the context menu, select the Selection submenu, and choose “Select Tree”.

Using the Selection Filter

The Selection Filter lets you select a group of elements by double-clicking on a program, layer, or zone. By default, a double-click selects all elements of the Program Tree.

The Selection Filter can be set to select only zones, layers, effects, MIDI modules, or busses. Different icons indicate which Selection Filter is active.

• To select a Selection Filter, click on the Selection Filter icon, and choose an option.

Expanding and Collapsing the Tree

• To show or hide the content of a layer, click the plus or minus sign in front of the icon.

• To expand or collapse an entire layer, including any sublayers, open the context menus for the layer, and select “Expand Tree” or “Collapse Tree”.

Navigating in the Program Tree

When the Program Tree has the window focus, you can use the arrow keys for navigating in the Program Tree.

• When a single entry is selected, use the up and down arrow keys to select the previous or next entry, respectively.

• To open or close a selected layer, use the right or left arrow key, respectively.

• To expand the selection, use the up/down arrow keys while holding [Shift].

• With multiple entries selected, use the up and down arrow keys to set the focus to the previous or next selected entry.

If the Program Tree does not have the window focus, you can use the hotkeys [W], [A], [D], and [X] to navigate in it.

• To select the previous or next element in the Program Tree, press [W] or [D], respectively.

• To open or close the focused layer, press [D] or [A], respectively.

• If you are working with undocked views that have a Program Tree of their own, the hotkeys are applied to the view that has the window focus, provided the lock icon is activated.

Editing the Focused Entry

The Sound editor automatically shows the parameters of the focused entry, such as a zone or layer. By using the Sound editor together with the Program Tree you can easily access and edit all parts of the program.

Muting, Soloing, and Hiding

By muting, soloing, or hiding layers and zones, you can focus on editing certain parts of the program.

In addition, the Program Tree allows you to list a customizable set of zone parameters. This way, you can compare values between different zones directly in the Program Tree.

Using the Program Tree

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Muting Layers, Zones, and the Program

Layers and zones that are muted are not output when you hit a key. For muted zones or layers the Mute icon turns yellow. When a muted program or layer contains zones, these zones are muted as well. This is indicated by an or ange Mute icon in front of the zones.

• To mute an element in the Program Tree, click the Mute icon in front of it. The corresponding icon turns yellow.

• To reset the muting settings, click the Mute icon on the toolbar.

• To mute the selected zones, open the context menu of the Program Tree, open the Mute/Solo submenu, and se lect “Mute Selected Zones”.

• To mute all zones, open the context menu of the Program Tree, open the Mute/Solo submenu, and select “Mute All Zones”. The program itself and any of its layers are not muted by this.

Soloing Layers, Zones, and the Program

When a layer or zone is soloed, only that layer or zone can be heard. For soloed zones or layers the Solo icon turns red. When a program or layer contains zones that are so loed, its icon turns pink.

• To solo an element in the Program Tree, click the Solo icon in front of it. The corresponding icon turns red.

• To reset the soloing settings, click the Solo icon on the toolbar.

• To solo the selected zones, open the context menu of the Program Tree, open the Mute/Solo submenu, and se lect “Solo Selected Zones”. Alternatively, press [S] on your computer keyboard.

• To solo all zones, open the context menu of the Program Tree, open the Mute/Solo submenu, and select “Solo All Zones”. The program itself and any of its layers are not so loed by this.

Making all Zones Audible Again

• On the context menu, open the Mute/Solo submenu, and select “Make All Zones Audible”.

This resets all mute and solo states for the program.

• Alternatively click the header of the Mute or Solo column to reset all mute or solo states.

Using “Solo Follows Selection”

The “Solo Follows Selection” function on the Mute/Solo submenu automatically solos the layers and zones you select. Other parts of the program are muted. This is useful if

you want to switch between layers and zones and only have the current selection played back.

Using the Visibility Settings

Hidden layers and zones are not displayed in the Mapping editor.

Visible zones have an eye icon in the first column of the Program Tree. For invisible zones or layers the eye icon is

dimmed. When a program or layer contains hidden zones,

its icon changes to a half dimmed eye. To hide or show layers and zones, you have the following

possibilities:

• Click in the Visibility column for the layer or zone you want to hide or show.

• Use the options on the Visibility submenu of the context menu.

• To show a single layer or zone, [Alt]/[Option]-click its

eye icon.

All other layers and zones are hidden.

• To show only the selected layers and zones, press [Ctrl]-[U] (Win) or [Alt]-[U] (Mac).

• To show all layers and zones, press [Shift]-[Ctrl]-[U] (Win) or [Shift]-[Alt]-[U] (Mac).

Using “Auto Visibility”

The “Auto Visibility” automatically shows the selected zones and any of their direct siblings that are part of the

same layer. Other zones are hidden.

• To activate Auto Visibility, open the context menu, se-

lect the Visibility submenu, and choose Auto Visibility. Ö With this option active, you can still toggle the visibility

of zones inside the visible layers.

Using the Program Tree

Page 36

Adding MIDI Modules

Customizing the Program Tree

MIDI modules process the stream of MIDI events inside a program. They can produce monophonic modulation signals, which can be used as sources in the modulation matrix. The MIDI modules can be assigned to the whole program or a single layer.

To add a module, proceed as follows:

1. With the program or a layer selected, click the “Create New MIDI Module” icon on the toolbar of the Program Tree.

2. On the menu, select the MIDI module you want to add.

• Alternatively, open the context menu, select New and

MIDI Module, and select the module from the submenu.

Adding Insert Effects

To add insert effects to an audio bus, proceed as follows:

• Select the audio bus, click the FX icon on the toolbar, and select the effect you want to add from the menu.

• Alternatively, open the context menu for the audio bus, select New and FX, and select an effect from the submenu.

Changing the Order of MIDI Modules and Insert Effects

The order of MIDI modules and insert effects in the Program Tree also determines the order of the processing. The topmost element is processed first, the lowest last. You can change the order of the elements using drag and drop.

Adding Audio Busses

If you want to add an insert effect to a program or layer, it has to contain an audio bus.

• To create an audio bus, select the program or a layer, and click the “Create New Bus” icon on the toolbar.

• Alternatively, open the context menu for the program or layer, open the New submenu, and select Bus.

By default, the Program Tree has the columns Visibility, Mute, Solo, and Name. You can add further columns that show more information.

The following columns can be added to the Program Tree:

Column Description

Velocity Range This shows the velocity range of the zones. Key Range This shows the key range of the zones. Root Key This shows the root key of the zones. Tune This shows the tune offset of sample zones.

Gain This shows the gain offset of sample zones.

File Size This shows the size of the samples as stored on

Preload This shows the amount of preload per sample. Mute This shows the Mute column. Solo This shows the Solo column. Visibility This shows the Visibility column. Learn Zone

Parameter

Normally, Tune is set in the Mapping editor.

Normally, Gain is set in the Mapping editor.

the hard disk. Programs and layers show the sum of the samples they contain.

To display a zone parameter in a column, use this option.

Configuring Columns

• To add a column, right-click the column header and select the element you want to show.

• To remove a column, right click the column header and select Remove.

You can also add a zone parameter as a column using the Learn function. Proceed as follows:

1. Right-click the column header, and choose “Learn Zone Parameter”.

The mouse pointer changes to a question mark to indicate that HALion is in Learn mode.

2. In the editor for the zone, click the parameter that you want to add as a column in the Program Tree.

Using the Program Tree

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Sorting Layers and Zones

You can change the sorting order of layers and zones using the Sorting Options submenu on the context menu for the column or manually via drag and drop.

Sorting by Columns

The layers and zones in the Program Tree can be sorted according to columns in ascending or descending order. The triangle in the header of a column indicates that the sorting via this column is active. The tip of the triangle points up for ascending and down for descending order.

• To activate the sorting via a column, click the header of the corresponding column.

• To switch between ascending and descending order, click the header of the column again.

• To deactivate the sorting via the column, click a third time.

Sorting the Name Column

By default, the Name column is sorted in alphabetical order. However, you can change the sorting according to pitch, velocity, or root key.

• To change the sorting, open the context menu, select Sorting Options and choose an option.

Changing the Sorting Order Manually

Samples are imported and shown in a certain order. When the column sorting is not activated for a column, you can change the order manually using drag and drop.

Using the Program Tree

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Global Functions and Settings

Page 39

Introduction

This chapter describes global functions and settings in HALion.

The Master Section

The Plug-in Functions Section

The top section of the HALion window contains the plugin functions section. This section gives you access to functions that affect both the loaded programs, and the plug-in in general.

The Plug-in Name

If you click the program name on the left, 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. To close the about box, click on it or press [Esc] on your computer keyboard.

The Program Slot Section

The program slot shows the program that is selected in the Slot Rack. The slot parameters are the same as in the Slot Rack, see

In addition, the following parameters are available:

Program Icon

The program icon on the left shows to which sound category a program belongs, if a category is set.

Slot Number

• Click the slot number and select a slot.

“The Slot Rack” on page 19.

The master section can be used to set up volume and tuning for the plug-in.

Master Volume

Use the Master Volume slider to adjust the overall volume.

Master Tune

You can set the Master Tune slider within a range from

Hz to 466.2 Hz (-100 cents to +100 cents). The de-

415.3 fault value is 440 Hz.

The Performance Displays

The performance displays to the right of the master section provide information about the current system load.

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 set ting in the Options editor (see “Max Voices” on page 42).

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 in the Options editor towards RAM or decrease the Max Voices setting in the Options editor.

# – Polyphony

The first number indicates the number of voices currently played back, to help you trace performance problems. If you have to reduce the Max Voices setting in the Options editor, you can verify your settings by monitoring the num ber of voices currently playing. The second number indicates the number of audio channels. For example, one stereo voice displays two audio channels.

Global Functions and Settings

Page 40

MEM (Memory)

Missing Busses

Find Missing Samples…

Insert Effects/ AUX Effects/ FlexPhrasers

RAM Save

Enable MIDI Mapping Selection Options

MIDI Reset

Undo/ Redo

This display indicates the overall amount of RAM currently used by the plug-in, to help you trace performance problems. The number refers to the streaming buffer and the preloaded samples. For example, if you need to free up memory for other applications, you can do so by adjusting the Balance slider in the Options editor towards Disk and verify your settings by monitoring the MEM display.

The Toolbar

The toolbar is situated below the plug-in functions section. On the left, controls for loading multi-programs are located, see these, two buttons for managing screen sets are located, see “Screen Sets” on page 15.

The right section of the toolbar contains various buttons with useful global functions.

Missing Busses

If one or more bus connections could not be established, this button allows you to open the Pending Busses dialog. Here you can select alternative busses to be used instead,

“Automatic Output Connection” on page 119.

see

Find Missing Samples

If you load a program that cannot find all samples that it uses, the “Find Missing Samples” dialog opens, see

“Finding Missing Samples” on page 58. If you close this

dialog without resolving all missing samples, this button becomes available. It allows you to open the “Find Missing Samples” dialog after you have loaded a program.

“Managing Multis” on page 21. To the right of

Global Functions and Settings

Global Insert Effects/AUX Effects/ FlexPhrasers

Use these buttons to switch off all insert effects, all AUX effects, or all FlexPhrasers for the plug-in at once. You can use this feature to compare sounds with and without ef fects, for example.

RAM Save Mode

The RAM Save function can be helpful for optimizing the performance of your system. It scans the playback of your project and unloads unused samples. Proceed as follows:

1. Click the RAM Save button.

2. In the dialog, click Yes to start collecting the neces-

sary samples.

The RAM Save button starts blinking.

3. Play back the project in your host application from the beginning to the end or to the point where no new notes are played.

4. Click the RAM Save button again.

A dialog opens asking if you want to unload all unused samples.

5. Click Yes to unload the unused samples.

If you click Yes, the button lights up, to indicate that RAM Save mode is active.

• To deactivate RAM Save and reload the unused samples, click the RAM Save button again.

Ö RAM Save mode always keeps samples that are within the range of the highest and lowest note of the played programs. This also applies for unused expression layers that can be controlled via key switches. This allows you to switch between expressions within the valid note range af ter applying RAM Save mode.

Ö If a program randomly triggers notes (for example different guitar slide noises), it is possible that these notes are not triggered during the RAM Save analysis process, and the samples are therefore removed. To prevent this, make sure that the highest required note is manually trig gered during the RAM Save analysis.

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MIDI Select

Pitchbend

wheel

Modulation wheel

When this option is activated, played MIDI notes can be used to select zones. This also influences zone parameters displayed in the editors.

This parameter is linked to the corresponding option in the Mapping editor so that you can remote-control the option even if the Mapping editor is not visible, see

“Selecting

Zones with the Mapping Editor Keyboard” on page 102.

MIDI Reset

Sometimes notes can “hang”, due to the plug-in losing the MIDI connection, or the plug-in receiving wrong MIDI con troller data. In such a case, you can “emergency reset” the plug-in.

• Click the MIDI Reset button (the lightning icon) 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.

Undo/Redo

You can click the Undo/Redo buttons to undo or redo a single step, or you can click the small triangles to open a list of the performed steps, and go back (or forward) to that particular step.

Ö The Undo History can also be opened as a separate editor. This allows for a better overview over the undo/ redo steps.

The Keyboard Editor

The Keyboard editor contains the wheel controls, the sphere control and the internal keyboard.

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 effect.

Internal Keyboard

The internal keyboard in HALion spans the entire MIDI note range from C-2 to G8. You can use it for several pur

poses. The simplest one is to trigger notes just as playing

them on a MIDI keyboard, but you can also drop samples onto it to import and map samples.

Display Options

You can resize the internal keyboard horizontally and vertically. A vertical resize changes the size of the individual keys and a horizontal resize defines how many octaves are visible. When the horizontal size is not sufficient to display all octaves you can use the left/right arrow buttons to both sides of the keys to shift the visible range by octaves.

For each key, the keyboard indicates whether a sample is mapped to it. Empty keys are displayed in light gray.

The following color scheme is used for the keys:

Color Description

Yellow A key switch is assigned to that key. Beige A remapped key switch is assigned to that key. Red The key is assigned to an expression in the Layer

Blue The key is assigned to a trigger pad. Green A loop trigger note is assigned to that key.

Alternate MIDI module.

Wheel Controls

To the left of the internal keyboard, the pitchbend wheel and the modulation wheel are located.

Global Functions and Settings

Page 42

Triggering Notes

The vertical position where you click the key defines the velocity that is used to trigger a note. Click on the lower end of a key to use the highest velocity, and click on the upper end of a key to use the lowest velocity.

• Right-click a key to open a context menu that contains information about the key. The “Assigned Zones” sub menu displays the names of all zones that are mapped to this key, allowing you to select a zone. The Info submenu shows pitch and velocity information. Select “Clear key” to remove all assignments.

You can import samples to a specific key (or key range) by dragging them onto the keyboard, see

porting Samples” on page 55.

“Importing and Ex-

Sphere Control

The Options Editor

The Options editor contains global settings regarding performance issues, global functions, and MIDI controllers.

The Sphere is a two-dimensional control. It allows you to adjust two parameters simultaneously, by dragging the mouse horizontally (Sphere H) and vertically (Sphere V). Typically, two parameters that belong together are as signed to the Sphere, such as cutoff and resonance.

Ö The small triangles for indicating the horizontal and vertical axis are only available if parameters are assigned to Sphere H and V.

You can reset the sphere to the center position using the corresponding options on the context menu.

Global Functions and Settings

Performance Section

This section contains settings to optimize the overall CPU performance of HALion.

Max Voices

This specifies a maximum number of voices that a plug-in instance of HALion can play back simultaneously. As soon as the limit is reached, HALion starts “stealing” voices.

Max CPU

To avoid clicks caused by CPU overload, you can specify a maximum limit for the CPU load of the plug-in instance in percent. When the limit is reached, HALion automatically starts stealing voices. At a setting of 100 stolen.

Ö Because HALion needs some time to react, you can get CPU peaks that exceed the limit you specified, which can lead to artifacts such as audio drop-outs. Therefore, it is advisable to set the Max CPU value a bit lower than ac tually needed.

%, no voices are

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Voice Fade Out

This adjusts the fade out time for voices that need to be stolen because the Max Voices or the Max CPU setting of the plug-in instance is reached.

Osc ECO Mode

When this is activated, the oscillators of synth layers run in ECO mode, and use less CPU. This allows you to play more voices, but also produces more aliasing at higher pitches.

Streaming Section

Some of the programs include up to 1 GB of samples, such as the acoustic piano. This is a large amount of data and your computer cannot load all samples into the RAM, especially if you are using all slots. Instead, HALion only loads the first milliseconds of each sample into the RAM and constantly loads more manageable portions from the hard disk while you play. With every additional note you play, the hard disk load increases, therefore, it is a good idea to load as much material as possible into the RAM beforehand. This, of course, leaves less RAM for other ap plications. For an optimum performance of your system, you can balance the hard disk versus RAM usage.

Balance

With this slider, you can balance the hard disk versus 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 are updated accordingly. Ö The Balance setting always applies to all plug-in in-

stances. It is not saved with the project. You have to set it up only once for your computer system.

Used Memory and Available Memory

These displays provide information of the memory load in MB according to the current Balance slider setting.

Performance Meter Section

The Performance Meter section provides a variety of performance relevant information. Each meter displays the current value, the peak value, and a curve showing the changes over time. To reset all peaks, click the reset but ton (the lightning icon) in the title bar of the section. The following values are displayed:

Option Description

Voices The number of played voices. Streamed MB/s The quantity of sample data that is streamed from

CPU Avg Load The average CPU load. CPU Peak Load The CPU peak load. Dropout/s The number of dropouts per second. (This can be

Preload Memory The quantity of samples loaded into the RAM of

the hard disk.

an indicator for hard disks that are too slow.)

your computer.

Edit Section

This section contains some common settings of HALion and you can specify an external wave editor that you want

to use for editing your samples.

Ö The settings in the Edit section are not saved with a particular project, but affect HALion as a whole.

Show Tooltips

Activates and deactivates the tooltips.

Show Value Tooltips

When this is activated, parameters without a value field indicate their value in a tooltip when you use the control.

Auto Collapse Sections

By default, all collapsable sections can be freely collapsed and expanded. Activate “Auto Collapse Sections” to automatically collapse all other sections when expanding a specific section.

Ö You can also right-click on the title bar of a section and select the “Auto Collapse Sections” option.

Global Functions and Settings

Page 44

Key Commands

This opens the Key Commands dialog. For detailed information, see “Using Key Commands” on page 51.

External Wave Editor

HALion allows you to specify an external sample editor application that can be used to perform destructive offline editing on a sample, for example applying EQs, filtering, or denoising.

Here, you can specify which application to use. You can either type in the path manually or click the Browse button to navigate to the corresponding application folder. For more information, see

“Editing Samples in an External Ed-

itor” on page 108.

Temp Folder

Here, you can specify a temp folder for exchanging samples between HALion and the external editor.

Update Sample

Here, you can specify the behavior of HALion when a sample is saved in the external editor. The following op

tions are available:

Option Description

Ask When switching back to HALion, you are asked whether

Always HALion accepts the modified sample. With Backup HALion accepts the modified sample and automatically

Never Modified samples are never accepted automatically. You

the changed sample should replace the current sample.

creates a backup of the old sample file.

have to import the modified sample manually from the temp folder.

Option Description

Ignore Error Always removes temporary files without further notice. If a

Never Temporary files are never deleted. You have to delete

file cannot be deleted, no error message is shown.

them manually.

MIDI Controller Section

Here, you can make MIDI controller settings.

Controller Assignment

• To restore the factory MIDI controller assignments, click the “Reset to Factory” button.

• To save the current MIDI controller assignments as default, click the “Save as Default” button.

Ö “Save as Default” does not include any of the MIDI controller assignments of the AUX effects.

Ö The MIDI controller mapping is also saved with each project. This allows you to transfer your settings to other systems. The project includes the MIDI controller assign ments of the AUX effects as well.

Receive Program Changes

Activate this option if you want HALion to respond to program change messages. These are generally used by General MIDI (GM) files, for example.

Receive RPNs 0/1/2

GM files can contain information about pitchbend range, coarse tuning, and fine tuning. This information is transmit ted as RPNs (Registered Parameter Numbers). Activate this option if you want HALion to respond to RPNs.

Temp Cleanup

After a certain period of time, HALion removes temporary sample files from the temp folder. The Temp Cleanup op tion allows you to specify how HALion handles these samples. The following options are available:

Option Description

Ask You are prompted to confirm the cleanup of the temp

folder.

Always Always removes temporary files without further notice. If a

file cannot be deleted, an error message is shown.

Global Functions and Settings

Smoothing

MIDI controllers have a maximum resolution of 128 steps. This is rather low. When you use a MIDI controller as a

modulation source in the modulation matrix or to remote-

control a quick control, the parameter does not change smoothly, which can produce an effect often referred to as “zipper noise”. To avoid this, HALion offers MIDI controller smoothing.

• Turn the control to the left to increase controller smoothing.

Parameter changes triggered by MIDI controllers are less immediate.

Page 45

• Turn the control to the right to decrease controller smoothing.

This way, parameters respond faster to MIDI controllers.

Velocity Note-On to Note-Off

Some keyboards do not transmit note-off velocity messages. If this option is activated, the played note-on velocity value is also used as note-off velocity for the notes.

FlexPhraser Hold Reset

Sends a global Hold Reset message to all FlexPhraser modules that are used in HALion.

The Reset Controller pop-up menu allows you to assign a dedicated MIDI controller to the FlexPhraser Hold Reset button for remote-controlling it.

Quick Controls

Quick controls allow you to remote-control any parameter inside the program. For each program and layer, eight quick controls are available. Furthermore, “Sphere H”, “Sphere V”, and the modulation wheel can also serve as quick controls.

The quick controls can be accessed via the Quick Controls editor for a program or layer.

Assigning Quick Controls

You can assign quick controls to a parameter of the program or one of its layers, to zones inside a program or layer, or to parameters of a MIDI module or an effect.

Proceed as follows:

1. In the Program Tree, select the element that you want to remote-control via a quick control.

2. Open the Sound editor.

3. Right-click the control to which you want to assign a

quick control and open the Assign Quick Control submenu.

4. On the submenu for the program or layer, select the quick control that you want to assign.

Ö You can assign the same quick control to different parameters. This allows you to make complex sound settings with a single control. However, you cannot assign different quick controls to the same parameter.

• To remove a quick control assignment, right-click the quick control, and select “Forget Quick Control”.

• To unassign a quick control in the Quick Control Assignments section, select the quick control that you want to edit in the list on the left, right-click its assignment in the list to the right, and select “Remove Assignment”.

Single Assignment vs. Multi Assignment

You can assign a quick control to a single parameter of a zone or module (single assignment) or to the same parameter of all zones inside a layer (multi assignment).

• Single assignments override multi assignments. For example, if a quick control remote-controls the cutoff of all zones inside a layer and you assign the cutoff of one of these zones to another quick control, the multi assignment is overridden by this single assignment.

• If you remove a single assignment from a parameter of a zone that is part of a layer that has a multi assignment on the same parameter of all other zones, the zone becomes part of the multi assignment again.

• If you add another zone to a layer that has a multi assignment, the added zone gets the same quick control assignments as the other zones of that layer.

Managing Quick Controls

A dedicated section of the Sound editor for programs and layers, the Quick Control Assignments section, allows you to manage and edit assigned quick controls. The eight quick controls are listed on the left. The assignments of the selected quick control are listed on the right. Each as signment is displayed in a separate row with parameters to adjust the behavior of the quick control assignment.

Ö If the selected quick control has no assignments, the list on the right is empty.

Global Functions and Settings

Page 46

Naming Quick Controls

1. Open the Quick Control Assignments section of the program or layer that holds the quick control.

2. In the Name column in the section on the left, click the quick control you want to rename, and enter a new name.

Ö You can also enter the name for a quick control in the Quick Controls editor.

Duplicating Quick Controls

You can duplicate a quick control assignment using the “Duplicate Assignment” command on the context menu for the quick control.

Changing the Order of Quick Control Assignments

Drag an assignment between two other quick controls. When a line is shown, release the mouse button to insert the quick control assignment.

Replacing Quick Control Assignments

Drag an assignment onto another quick control. When a rectangle is shown, release the mouse button to replace the quick control assignment.

Assigning Quick Controls to Another Parameter

In the Quick Control Assignments section, you can reassign a quick control to another parameter.

Proceed as follows:

1. Select the quick control that you want to edit.

2. In the list on the right, click the parameter name to

open the pop-up menu, and select a parameter from the menu.

Ö You can only select parameters within the same layer, zone or module. In other words, if the quick control is as signed to a layer parameter, you cannot reassign it to a zone parameter.

Setting the Scope of Quick Control Assignments

By default, all zones inside the layer that the quick control belongs to respond to the quick control. To prevent zones inside a program from responding to the quick control, you can change the scope of the quick control for a single layer or zone.

The pop-up menu in the middle of each assignment row displays which part of the program is affected by this quick control assignment. If the name of a zone or module is displayed here, only that zone or module is affected by the quick control assignment. If the name of the program or one of its layers is displayed, all zones inside the pro gram or layer are affected. You can change which part of the program is affected by selecting the corresponding option from the pop-up menu.

Ö When a quick control is assigned to a parameter of the program or one of its layers, the scope of that assign ment is always that program or layer only. Any layers from deeper hierarchy levels are not affected by the quick control. This behavior is different to assignments that apply to zone parameters: Assignments for all zones inside a program or layer always affect the zones that are on a deeper hierarchy level, too.

Ö You can also deactivate the “Receive Quick Controls” button for certain layers, see on page 47.

“Receiving Quick Controls”

Setting the Minimum/Maximum Range

You can set the minimum and maximum range for each assignment separately. This gives you better control over the parameter change.

You can set the range for a control either by specifying a minimum and maximum value on the context menu of the

control itself, or by using the corresponding value fields in

the Quick Control Assignments section. To edit the range graphically, click and drag the blue handles in the curve display.

Global Functions and Settings

Page 47

Trimming the Range

The Trim Range function allows you to optimize the quick control range depending on the current parameter value.

Proceed as follows:

1. Right-click the assignment in the list on the right.

2. To trim the range of a single assignment, select “Trim

Range”. To trim the range of all quick controls, select “Trim Range of all Quick Controls”.

3. The minimum and maximum values are set automatically.

Whenever you change the original parameter, you have to apply the Trim Range function again to guarantee the best control range.

Setting the Default Range

This function sets the quick control to the maximum possible range.

Proceed as follows:

1. In the Quick Control Assignments section, right-click the assignment on the right.

2. To set the default range of a single assignment, select “Set Default Range”. To set the default range of all quick controls, select “Set Default Range of all Quick Controls”.

As soon as you change the original parameter in the editor section again, the Set Default Range function has to be reapplied to guarantee the best control range.

Adjusting the Curvature

You can adjust the curvature of each assignment separately.

Proceed as follows:

1. On the left of the Quick Controls Assignment section, select the quick control you want to edit.

2. On the right, specify the curvature in the value field between the minimum and maximum value field.

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

• You can also edit the curvature graphically in the display on the right by dragging it up and down.

Setting the Behavior of Quick Control Assignments

A quick control behaves either as continuous control or as a switch. In addition, it remote-controls a parameter either in relative or absolute mode. Relative mode changes the values of the assigned parameters without loosing their relative settings. Absolute mode changes the assigned parameters by overwriting them with the current quick control value. You can specify a mode for each assign

ment. You can set the behavior in the context menu for the control itself or via the pop-up menu in the Quick Control Assignments section.

The following options are available:

Option Description

Relative Remote-controls the parameter values continu-

Absolute Remote-controls the parameter values continu-

Switch Relative Switches between the minimum and maximum

Switch Absolute Switches between the minimum and maximum

ously. Parameter changes can still be heard.

ously. Parameter changes are overwritten.

value. Parameter changes can still be heard.

value. Parameter changes are overwritten.

Receiving Quick Controls

In the upper right corner of the Quick Control Assignments section the Receive Quick Controls button is located. Use this button to determine whether zones inside a layer respond to quick controls. This includes any single and multi assignment to zones. Quick control assignments belonging to the layer itself are not affected.

This is useful if you assigned quick controls to the whole program and you want to exclude parts of it, such as the layer containing the instrument noises.

Proceed as follows:

1. In the Program Tree, select the program or layer that you want to respond to the quick controls.

2. In the Quick Control Assignments section, click the “Receive Quick Controls” button (the antenna icon).

When the Antenna button is activated, zones inside a layer respond to quick controls from outside.

Global Functions and Settings

Page 48

Bypassing Quick Controls

To hear a sound without quick control assignments, bypass them temporarily by clicking the corresponding Mute button in the Quick Control Assignments section.

Assigning Quick Controls in the Modulation Matrix

In addition to assigning the quick controls directly to parameter controls, you can also assign them as source or modifier in the modulation matrix. This way, you can com bine the quick control with other modulation sources.

Proceed as follows:

1. In the Program Tree, select the zones you want to edit. Make sure that the zones are part of the program or layer with the quick controls you want to use.

2. In the Sound editor, scroll down to the Modulation Matrix section.

3. On the pop-up menu in the Source/Modifier column, open the Assign Quick Control submenu, and select the quick control.

The submenu lists only the quick controls that belong to the same layer or that are on a higher hierarchy level.

AI-Knob Support

HALion can be controlled with the ai-knob of Steinberg’s CC121, CI 2, and CI2+ controller units.

To change a parameter value, move the mouse pointer over the control you want to change and turn the ai-knob to set the value.

Ö Certain parameters cannot be controlled by the aiknob due to internal differences in parameter resolution. For example, sample marker positions cannot be changed with the ai-knob because their ranges vary too much.

Global Functions and Settings

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Common Editing Methods

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Introduction

This chapter describes common editing methods in HALion.

Using Controls in HALion

Knobs and Sliders

Most of the editing methods are the same for knobs and sliders. The following applies:

• You can adjust the value by clicking on a knob or fader, and dragging up and down, or by using the mouse wheel.

• When you press [Alt]/[Option] and click on a knob, a small fader appears, allowing you to set the parameter.

• Press [Shift] and move the knob or use the mouse wheel to make fine adjustments.

• Press [Ctrl]/[Command] and click on a control to restore the default value.

• Knobs and sliders can be unidirectional or bidirectional. Unidirectional values, for example level values, start at a minimum value and go up to the maximum. Bidirectional controls start from the middle position and go to the left for negative and to the right for positive values.

• To navigate to the next parameter, press [Tab]. To jump backwards to the previous parameter, press [Shift]-[Tab].

Ö When no parameter is selected inside a focused view, pressing [Tab] always jumps to the very first parameter.

Multi Selection and Parameter Controls

When several zones are selected and they do not share the exact same values, most of the controls indicate this by turning entirely or partially red. This is true for knobs, On/Off buttons, combo boxes, value fields and text faders.

For example, if you have selected 3 zones with cutoff frequency values of 1200, 1400, and 2500 Hz, the corona of the frequency knob shows a range from 1200 to 2500. The corresponding field shows the value of the focused zone in red.

Ö More complex controls (for example the envelope editors) only show the values of the focused zone.

You can adjust the value range of a parameter using the corona of the knob. The values for the zones are distributed within the new range, keeping their relative distances.

• Drag the corona to compress or expand the value range.

• [Ctrl]/[Command]-drag the corona to adjust the upper

limit of the range.

• [Alt]/[Option]-drag the corona to adjust the lower limit of the range.

On/Off Buttons

These controls normally know two states, Off and On. When you move the mouse over an On/Off button, it changes its appearance to show that you can click it.

Push Buttons

In contrast to an On/Off button, a push button only triggers an action and then goes back to its inactive state. Such buttons can be found in several places for opening menus or file dialogs.

Value Fields

You have the following options:

• To type in a value, click in the value field, start typing, and press [Enter].

If the entered value exceeds the parameter range, it is automatically set to the maximum value.

• Click in the value field and drag up or down to change the value.

• Position the mouse over the value field and use the mouse wheel to adjust the value.

• [Ctrl]/[Command]-click a value field to set it to the default value.

• [Alt]/[Option]-click a value field to bring up a fader.

• Click the up/down triangles next to the field to adjust

the value. You can adjust musical values, such as key ranges or the

root key, using your MIDI keyboard.

• To enter a value with your MIDI keyboard, double-click the value field, press a key on your MIDI keyboard, and press [Return].

Common Editing Methods

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Using Key Commands

Load Preset Save

Delete

Key commands can be assigned to most operations that can be performed via the standalone panel of HALion. The Key Commands dialog contains a list of all available commands, arranged in a hierarchical way. When you open a category folder by clicking the “+” sign beside it, the items and functions it contains are displayed with the assigned key commands.

• To open the Key Commands dialog, open the Options editor, and click the corresponding button in the Edit section.

Ö You can set up several key commands for the same function.

Searching for Functions

• To search for a specific function, enter its name in the search field at the top of the dialog, and click the search button.

Removing Key Command Assignments

• To remove a key command assignment, select the corresponding command in the Commands list, select the key command in the Keys list, and click the Delete button (trash icon).

Working with Presets

HALion offers two types of presets: Firstly, there are section and module presets that allow you to store and recall the setup of a specific user interface component. Sec ondly, there are VST presets that allow you to store and recall the settings relating to a program. During the setup, HALion installs its factory presets in a dedicated folder and creates a user folder for your own presets. The han dling of presets is the same throughout HALion.

Setting Up Key Commands

1. In the Commands list on the left, select a category.

2. Click the “+” sign to open the category folder.

You can also click the global “+” and “-” signs in the top left corner to open and close all category folders simultaneously.

3. Select the item to which you want to assign a key command.

Assigned key commands are shown in the Keys column and in the Keys section in the top right corner.

4. 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 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.

Ö Factory presets are write-protected, but may be overwritten when a software update is executed. Presets in your user folder are never changed by the software.

Section and Module Presets

MIDI and effect modules as well as many sections in the Sound editor, such as the LFO and the Step Modulator sections, come with their own preset controls.

Loading Presets

The available presets can be selected from the presets pop-up menu at the top right of the section module.

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Saving Presets

1. Click the Save button (disk icon) to open a file dialog.

2. Name the preset and click Save to save the parameter

set as a preset. Ö You can modify a factory preset and save it under the

same name in your user folder.

Deleting Presets

You can only delete user presets.

1. Click the Delete button (trash icon).

2. Click Yes to confirm.

Reverting to the Last Saved Program

• To revert to the last saved version of a program, open the context menu for the program, choose the Load/Save submenu, and select “Revert to last Saved Program”.

Using Automation

You can automate any program that is loaded into a slot. Each slot has its own set of automation parameters, i.e., Mute, Solo, Level, and Pan. In addition, you can automate the Quick Controls of the program. You can access the automation parameters from the automation track of your sequencer software.

VST Presets

Loading VST Presets

When you load a VST preset, the current program is replaced. Proceed as follows:

1. On the Program Tree toolbar, click the Load icon.

2. Select a VST preset and click OK.

Inserting VST Presets as Layers

1. Right-click the program or layer for which you want to insert the VST preset, open the “Load/Save” submenu, and select “Load to new Layer”.

2. Select a VST preset and click OK.

The program is inserted as an additional layer.

Alternatively, drag the VST preset from the MediaBay or file browser into the Program Tree, and drop it on a layer.

Replacing Programs and Layers with VST Presets

1. Right-click the program or layer you want to replace.

2. Open the “Load/Save” submenu, and select “Replace

Program” or “Replace Layer”.

3. Select a VST preset and click OK. Alternatively, drag the VST preset from the MediaBay or

file browser into the Program Tree, and drop it on a pro gram or layer.

Automation Parameters

Each slot offers the following pre-assigned automation parameters:

Parameter Description

Mute This automates the Mute button of the corre-

Solo This automates the Solo button of the correspond-

Level This automates the loudness of the corresponding

Pan This automates the panorama position of the cor-

Quick Controls 1-8 This automates the Quick Controls 1 to 8 of the

sponding slot.

ing slot.

slot.

responding slot.

program that is loaded into the slot.

Common Editing Methods

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Using Effects

HALion features AUX busses that can be used to realize classical send effects. All slot, program, and layer busses as well as zones can send signal portions to these busses. Each bus hosts up to eight 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. Furthermore, the Mixer provides access to the master output bus. These can be used to add a global EQ or compressor to the signal chain, for example.

In the Mixer, you can set up insert effects for AUX busses.

Using the Insert Effect Slots

Changing the Output Assignments

• To change the output assignment of an AUX bus, open the Output pop-up menu, and select a different output.

Adjusting the Output Levels

• Move the fader of the AUX bus.

• Alternatively, double-click the value in the field below

the fader, and enter a new value.

Muting AUX Busses

• To mute an AUX bus, click the Mute icon.

The icon turns yellow.

The Master Effect Bus

The master bus works similar to the AUX busses. The only difference you will find is that the master bus has no bus output selector since it is “hard-wired” to the main plug-in output (1/2).

Multi-Channel Effects

HALion comes with a large number of effects that are mainly intended for use on stereo busses. However, most of them can also be used on surround busses. In this case the effect is processed on all channels. When a bus changes from stereo to surround, the effect follows. For effects with level meters, the number of meters is adapted accordingly.

All busses, including the master bus, have eight slots for insert effects. The handling is the same for all slots:

• To assign an insert effect, click the effect slot, and select an effect from the pop-up menu.

• To remove an insert effect, click the effect slot, and select None from the pop-up menu.

The effect is removed, including its settings.

• To bypass an insert effect, click the bypass button in front of the effect name.

The bypass is active when the button lights up yellow.

• To edit an insert effect, click the “e” button of the corresponding slot.

You can edit only one effect at a time. The parameters of the corresponding insert effect are displayed in the bottom section.

Common Editing Methods

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Using MIDI Modules

The MIDI modules available in HALion range from standard modules like an Arpeggiator (the so-called FlexPhraser) to more dedicated modules that trigger specific events or deliver special modulation signals, e.g., to con trol articulations of sampled instruments. In general, MIDI modules process the stream of MIDI events inside a program. In addition, they are able to produce monophonic modulation signals, which can be used as sources in the modulation matrix. MIDI modules can be assigned to the whole program or just a single layer. This way, you can process the MIDI stream of the whole program or just parts of it. To cover more complex tasks, multiple MIDI modules can be assigned in series.

Inserting a MIDI Module

1. In the Program Tree, select the program or layer where you want to insert the MIDI module.

2. Right-click to open the context menu, open the New submenu, and select “MIDI Modules”.

3. Select the MIDI module that you want to insert.

4. Repeat steps 2 and 3 to insert multiple modules in

series.

Changing the Order of MIDI Modules

The order of the MIDI modules in the Program Tree has great influence on the processing of the MIDI events.

• To change the order, drag the MIDI modules to new positions in the Program Tree. The routing between the MIDI modules changes accordingly.

Bypassing a MIDI Module

Any MIDI module can be bypassed. This way, you can play the layer without the FlexPhraser or the conditions that have been set with the MegaTrig module.

• To bypass a MIDI module, click the crossed out speaker

icon in the upper right corner of the caption of the MIDI

module.

Assigning MIDI Modules in the Modulation Matrix

Some MIDI modules, like the FlexPhraser, directly process the MIDI events. Other MIDI modules like True Pedaling, produce modulation signals, which you must assign in the modulation matrix before you can use them.

To assign a MIDI module as source or modifier in the modulation matrix:

1. In the Program Tree, select the zones you want to edit. Make sure that the zones are part of a program or layer with a MIDI module that produces modulation signals, e.g. True Pedaling.

2. Open the Sound editor and scroll to the Modulation Matrix section.

3. On the pop-up menu of the Source/Modifier column, open the Modulation Module submenu.

The submenu lists only the MIDI modules that belong to the same layer or that are higher up in the hierarchy.

4. On the submenu, select a MIDI module.

Deleting a MIDI Module

1. In the Program Tree, select the MIDI modules that you want to delete.

2. Open the context menu and select Delete. Alternatively, press Delete on your computer keyboard.

Common Editing Methods

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Importing and Exporting Samples

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Importing Samples

HALion offers convenient functions to import samples and map them automatically on import. You can specify how the samples are mapped and also extract mapping information from sample file and folder names.

You can import samples into HALion using the Import submenu of the Program Tree context menu. In the Import Samples dialog, you can select the samples to import and make mapping settings for them.

The lower section of the Import Samples dialog contains the Mapping Options.

Setting the Key Range

On the Key Range pop-up menu, the following options are available:

Option Description

From Sample File The samples are mapped to the key range that is

Text from Sample Name

Number from Sample Name

From Sample Name Pattern

Root Key Only Each sample is mapped to its root key only. Root Key Fill

Centered

Root Key Fill Up The samples are mapped to their root key. The

Root Key Fill Down The samples are mapped to their root key. The

Chromatic The samples are mapped chromatically to the

White Keys The samples are mapped to white keys in ascend-

Black Keys The samples are mapped to black keys in ascend-

Fixed The samples are mapped to the key range that you

saved in the file header of the sample. If this does not contain any key range information, the settings for Start and End Key are used instead.

The samples are mapped to the key range that is extracted from the name of the sample. This func tion searches for a key range that is defined in text form, for example “Sample_Name_B2-C#3”.

As above, but instead of searching for text information, this function searches for MIDI note numbers, for example “Sample_Name_59-61”.

The samples are mapped to the key range that is extracted from the name of the sample according to the name pattern you set.

The samples are mapped to their root key. The zones expand to the left and right from the root key to fill empty spaces.

zones expand from the root key upwards to fill empty spaces.

zones expand from the root key downwards to fill empty spaces.

white and black keys in ascending order, starting at the key specified with the Start value. The root key is set accordingly.

ing order, starting at the key you set with the Start Key parameter. The root keys are set accordingly.

ing order, starting at the key you specify with the Start Key parameter. The root keys are set accord ingly.

specify with the Start and End Key parameters.

Ö Only values between 0 and 127 can be extracted as MIDI note numbers for any of the parameters described in the following sections (e.

g. “Number from Sample”). The smaller value is used as the lower limit and the higher number as the upper limit (e.

g. “Sample_Name_76-121”).

Importing and Exporting Samples

Ö The Chromatic, White Keys and Black Keys options alter the root key. All other options map the root key according to the settings you make on the Root Key menu.

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Setting the Root Key

The Root Key menu and settings allow you to specify how the root key for the samples is obtained. The following options are available:

Option Description

From Sample File The root key is read from the file header. Text from Sample

Name

Number from Sample Name

From Sample Name Pattern

Fixed The root key is set to a fixed key, specified in the field

The root key is extracted from the file name. This function searches for root key information in text form, for example “Sample_Name_C#3”.

The root key is extracted from the file name, as above, but instead of searching for text information, this func tion searches for MIDI note numbers, for example “Sample_Name_61”.

The root key is extracted from the sample file name according to the name pattern you set.

to the right.

Ö If no root key information is found, the fixed root key is used.

Specifying the Velocity Range

You can specify the velocity range for the imported samples using the Vel Range parameters in the Import dialog. The following options are available:

Option Description

From Sample File

From Sample Name

From Sample Name Pattern

From Folder Name

Velocity Layers The samples are layered, that is, distributed evenly over

Fixed Velocity Range

The samples are mapped to the velocity range saved in the file header.

The samples are mapped to the velocity range that is extracted from the file name.

The samples are mapped to the velocity range that is extracted from the file name according to the defined name pattern.

The samples are mapped to the velocity range that is extracted from the sample’s folder name.

the velocity range. The samples are mapped to the velocity range speci-

fied with the Start and End key values.

Obtaining Information from File and Folder Names

Depending on the mapping settings, the information for root key, key range, and velocity range is retrieved differently for file and folder names.

Using Name Patterns

Usually, names of sample files follow a certain naming scheme, for example, “Sample_C3_Key_59-61_Vel_80100”. You can extract all this information from the sample

file name by selecting the “From Sample Name Pattern” option on the Key Range, Root Key, or Vel Range pop-up menus and defining a pattern in the lower part of the Map ping Options section.

You can use the Pattern field to manually edit your pattern and select variables from the pop-up menu to the right. For the Name Pattern to work, your files and folders must be named exactly as defined in the pattern, including un derscores, hyphens, etc.

The following variables are available for building name patterns:

Option Description

Key Low Number $(KeyLow)

Key High Number $(KeyHigh)

Key Low Text $(KeyLowText)

Key High Text $(KeyHighText)

Velocity Low $(VelLow)

Velocity High $(VelHigh)

Root Key Number $(RootKey)

Root Key Text $(RootKeyText)

The MIDI note number is extracted and is used as the lower limit of the key range.

The MIDI note number is extracted and is used as the upper limit of the key range.

The name of the note is extracted and is used as the lower limit of the key range.

The name of the note is extracted and is used as the upper limit of the key range.

The number for the velocity value is extracted and is used as the lower limit of the velocity range.

The number for the velocity value is extracted and is used as upper limit of the velocity range.

The MIDI note number is extracted and is used as the root key.

The name of the note is extracted and is used as the root key.

Ö If no information on the velocity range is found, the samples are mapped to the Start and End Velocity settings instead.

Importing and Exporting Samples

Ö Samples can only be mapped correctly on import if all samples follow the same name pattern. If no matching pattern is found, the samples use the settings for Root Key, Start and End Key and Start and End Velocity instead.

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Using the Position Setting

The Position setting determines the position in the file name at which the program searches for the information.

• When this is set to “0”, the entire file name is searched.

• When you select a number from the pop-up menu, the

program starts searching after this number of characters.

Every character is taken into account, including spaces.

The Tune and Gain Settings

The file header of the sample can contain information on the tuning and the gain of the sample. On import, this in

formation is retrieved as well. To switch off reading the Tune and Gain information dur-

ing import, deactivate the corresponding options below the Pattern field.

Listening to Samples before Import

You can listen to the samples before importing them. The corresponding controls can be found above the Mapping Options section in the Import dialog.

The following controls are available:

Option Description

Play Click the Play button to play back the focused sample. Stop Click the Stop button to stop playback of the sample. The play

Pause Click the Pause button to stop playback of the sample, click

Loop Activate the Loop button to play back the sample repeatedly. Auto Play Activate Auto Play to automatically start playback of the se-

Level This fader adjusts the playback level. Position The position slider displays the playback position within the

locator jumps back to the sample start.

again to continue playback.

lected sample.

sample. To select another position for playback, click on the slider or drag the handle to the new position.

Sample Zone Presets

When importing samples, HALion uses a “Default” zone preset. This sets all zone parameters to default values, but excludes sample-specific parameters (Sample Start, Sample End, Loop Start, Loop End, etc.). You can modify this preset in the Sound editor for a zone and save it as “Default” to your user preset directory. HALion then uses this preset instead.

Importing Folders

Usually, sample collections are organized in folder structures, where each velocity layer or each key group is saved in a separate folder. In HALion, you can import complete folders, including their subfolders.

Proceed as follows:

1. In the Program Tree, right-click the selected program or layer.

2. On the context menu, open the Import/Export submenu, and select “Import Folder…”.

3. In the Import Folder dialog, click the button to the right of the Folder field, navigate to the folder that you want to import, and click OK.

4. Activate “Include Subfolders” to import samples from deeper hierarchy levels too.

5. To create layers that correspond to the hierarchy of the subfolders on disk, activate “Create Layers from Sub folders”.

6. Set up the Mapping Options as needed.

They are identical to the options in the Import Samples dialog.

7. Click OK.

Finding Missing Samples

There might be situations where loaded programs cannot find the samples they use. This can happen if the refer enced samples are located on a different drive and the drive name has changed, or because the program was created on a different computer system.

When this happens, the “Find Missing Sample” dialog opens, showing a list of all samples that are missing, with additional information about the format, size, and creation date. The list groups all samples that are located in the same subfolder.

Entering a Search Path

Below the list you can enter the search path to find the missing samples.

Ö All the subdirectories are searched before the results are displayed, therefore the search takes longer if you specify entire drives.

Importing and Exporting Samples

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Start the Search

• Once you have specified the search path, click the Start Search button to start the search process.

If the search only finds a single result for each missing sample, the sample path is automatically corrected in the program and the sample disappears from the “Missing Files” list. If all samples are found, the dialog is closed.

Using Favorite Paths

If a path might be helpful for future searches, you can add it to the search path list. The next time the dialog opens, it allows you to select one or multiple predefined paths to specify which places to include in the search.

• To add a path, click the “+” sign.

Multiple Results

It can happen that samples are found in several places. If this is the case, an additional “Found File” list appears below the “Missing File” list. This shows the available samples and their file locations.

• To select a sample or a complete folder that is to be used to resolve the missing samples, double-click on it in the “Found Files” list.

Each sample or folder that is resolved this way disappears from the “Missing Files” list.

Once all samples are resolved the dialog closes.

Exporting Samples

Samples can be exported together with the corresponding program or layer as VST presets, or on their own. In both cases, you use the “Export Samples…” option on the Program Tree context menu. For VST presets, the corre sponding dialog has additional preset options.

• To export a VST preset, select the program or layer in the Program Tree. On the context menu, open the Import/ Export submenu, and select “Export Samples…”.

This opens the Export Preset with Samples dialog.

• To export samples without a preset, select the samples in the Program Tree. On the context menu, open the Im port/Export submenu, and select “Export Samples…”.

This opens the Export Samples dialog.

Ö Samples loaded from HSB files or protected VST sound files cannot be exported.

Search Options

By default, HALion searches for samples that do not only have the same file name, but also correspond in terms of time, size and format information. Only if all of the informa tion are identical, a sample is considered “found”. However, you can exclude this information by activating the “Ignore File Time and Size” and “Ignore Audio Format” op tions.

Importing and Exporting Samples

Creating Folders using Variables

You can automatically create folders when exporting samples using variables for the Sample Path.

Proceed as follows:

1. In the Sample Path field, set the cursor at the position where you want to insert the variable.

2. On the pop-up menu next to the field, select a variable.

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3. Where necessary, complete the file path by typing in a back-slash (Win) or a slash (Mac).

You can combine several variables, separating them with hyphens, spaces, etc.

The resulting sample path is displayed in the Example Name field.

The following variables are available:

Option Description

Sample Folder $(SampleFolder)

Layer Structure $(Structure)

Layer Name $(Layer)

Program Name $(Program)

Sample Rate $(SampleRate)

Bit Depth $(BitDepth)

Date $(Date)

Time $(Time)

Creates a folder with the name of the folder of the original samples.

Creates folders following the structure of the selected program or layer.

Creates a folder with the name of the layer.

Creates a folder with the name of the program.

Creates folders that are named according to the sample rate of the samples.

Creates folders that are named according to the bit depth of the samples.

Creates a folder with the name of the current system date (in the format yymmdd).

Creates a folder with the name of the current system time (in the format hhmm).

Renaming Samples

You can also rename the samples automatically on export using sample name variables. You can combine several variables.

Proceed as follows:

1. In the Sample Name field, set the cursor at the position where you want to insert the variable.

2. On the pop-up menu next to the field, select a variable.

3. If needed, add further variables. You can combine sev-

eral variables, separating them with hyphens, spaces, etc. The resulting sample name is displayed in the Example

Name field. The following variables are available:

Option Description

Sample Name $(Sample)

This variable uses the file name of the original sample. Use it if you do not want to modify the sample file names.

Option Description

Sample Folder $(SampleFolder)

Zone Name $(Zone)

Layer Name $(Layer)

Program Name $(Program)

Key Low Number $(KeyLow)

Key High Number $(KeyHigh)

Key Low Text $(KeyLowText)

Key High Text $(KeyHighText)

Velocity Low $(VelLow)

Velocity High $(VelHigh)

Root Key Number $(RootKey)

Root Key Text $(RootKeyText)

Sample Rate $(SampleRate)

Bit Depth $(BitDepth)

Date $(Date)

Time $(Time)

The name of the folder of the original samples is used in the file name.

The name of the zone is used in the file name.

The name of the layer is used in the file name.

The name of the program is used in the file name.

The MIDI note number of the lower limit of the key range is used in the file name.

The MIDI note number of the upper limit of the key range is used in the file name.

The name of the note of the lower limit of the key range is used in the file name.

The name of the note of the upper limit of the key range is used in the file name.

The number of the lower limit of the velocity range is used in the file name.

The number of the upper limit of the velocity range is used in the file name.

The MIDI note number of the root key is used in the file name.

The name of the root key is used in the file name. For example, $(Sample)_$(RootKeyText) appends the name of the root key to each sample file name.

The sample rate of the samples is used in the file name.

The bit depth of the samples is used in the file name.

The system date (in the format yymmdd) is used in the file name.

The system time (in the format hhmm) is used in the file name.

Example Name Field and Status Messages

The Example Name display informs you about the sample path and name resulting from your settings.

Below, a status message informs you how many samples are saved and if duplicate names are created. For example, if two zones in the Program Tree have the same name, and you use the variable “$(Zone)”, this results in duplicate file names. However, file names must be unique. Therefore, the duplicate file names are automatically numbered.

Samples loaded from HSB files or protected VST Sound files cannot be exported. The status message informs you if such protected files exist.

Importing and Exporting Samples

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Files that are in use by HALion or another application can-

not be overwritten. In this case, choose a different location for the samples.

Ö Some systems have problems with file names longer than 32 characters. Therefore, it is best to use file names that do not exceed this number.

Replacing Samples

The Replace Samples function allows you to exchange the sample that is used to play back one or multiple zones. The zone-specific settings like Pitch, Filter, or Amplifier are not modified by this.

Setting the File Format

You can export the samples as Wave or AIFF files and specify a sample rate and bit depth for them, if needed.

Do not change the sample rate of looped samples, because this can cause audible artifacts.

Including Zone Settings

You can include zone settings when saving the samples. When you import these samples back into HALion, they automatically get these settings.

The following settings can be written into the sample file:

Option Description

Key Range Saves the Key Low and Key High settings of each

Velocity Range Saves the Velocity Low and Velocity High settings of

Root Key Saves the Root Key setting of each zone with the

Loop Setting Saves the loop settings of each zone with the

Sample Tune Saves the Tune setting of each zone with the samples. Sample Gain Saves the Gain setting of each zone with the samples.

zone with the samples.

each zone with the samples.

samples.

Setting Up General Export Options

In the Export Options section, you can make general settings for the export. The following settings are available:

Option Description

Trim Samples Trims the samples to their actual length, specified with

Use Exported Samples

Avoid Duplicate Audio Files

the Sample Start and Sample End parameters of the zone.

Updates the sample references of the zones to use the exported samples.

Prevents samples that are used by several zones from being exported as duplicate audio files.

Replacing a Single Sample

1. In the Program Tree or Mapping editor, select the zone for which you want to replace the sample.

2. On the context menu for the zone, open the submenu “Import/Export”, and select “Replace Sample”.

A file dialog opens.

3. Locate and select the new sample and click OK.

Replacing Multiple Samples

1. In the Program Tree or Mapping editor, select the zones for which you want to replace the samples.

2. On the context menu for one of the zones, open the Import/Export submenu, and select “Replace Samples”.

3. At the bottom of the file dialog, select the method for replacing samples that you want to use.

The following methods are available:

Option Description

Replace Identical Names

Replace by Root Key The samples are replaced by new samples that

The samples are only replaced by new samples if their names are identical. Typically, this is the case if you processed the samples and saved them under the same name in a different location on your hard disk.

have a matching root key, regardless of the file name.

Ö If a sample has several zones and these zones have different loop settings, HALion creates duplicates of the file.

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Option Description

Replace by Search Pattern

This method can be used if only parts of the sample name have changed, for example, due to processing or saving. Enter the part of the name that has changed in the text field. Samples are replaced if the remaining parts of the sample name are identical. For example, if the name “Sample_Mix_1_C3.wav” has changed to “Sample_Mix_2_C3.aiff”, enter “*Mix_2*.aiff” in the text field.

4. Locate the new samples.

The info text in the lower right section shows you how many samples are replaced in how many zones. If no samples are found, you have to select another method for finding matching samples.

5. Click OK.

Auditioning Samples before Replacing Them

To listen to the samples before replacing the old ones, activate the Prelisten Sample option and use your MIDI keyboard.

Detecting the Root Key

To listen to the samples with the correct pitch, you have to select how to detect the root key of the new sample. The following options are available:

Option Description

Root Key from Sample File

Root Key Text from Sample Name

Root Key Number from Sample Name

Keep Zone Root Key

The root key is read from the file header of the sample file.

The root key is extracted from the sample file name. This function searches for the root key in text form, for example “Sample_Name_C#3”.

The root key is extracted from the sample file name. This function searches for the root key as a MIDI note number, for example “Sample_Name_61”.

Instead of using the root key of the new sample, the root key of the zone is used. This option is only available when replacing a single sample.

The “Change Sample Folder” Option

The “Change Sample Folder” option on the Import/Export submenu of the Program Tree context menu allows you to relocate samples. This is useful if you processed the sam ples and saved them in a new location without changing their names.

Importing Third-Party Sampler Programs

HALion allows you to import a wide range of sampler formats from third-party manufacturers. When importing those formats, HALion translates as many parameters as possible.

Ö HALion only reads files from standard file systems and not from proprietary formats like Akai CDs.

Ö Programs that are saved in a protected format cannot be imported.

Using the Import Editor

The Import editor is divided into the Import Tree on the left and the results list on the right. The Import Tree shows one or multiple folder locations and allows you to select one or more folders. Folders that contain importable pro grams have a green folder icon, other folders have a yellow folder icon. The result list shows all importable layers that are located in the selected folders and allows you to import them via drag and drop.

To import a program, proceed as follows:

1. On the Import editor toolbar, click the “Select Folder” button.

2. Navigate to the folder that you want to import and click OK.

The selected folder structure is scanned and the Import Tree shows the content of this folder and its subfolders.

3. In the Import Tree, select the subfolder that contains the layers that you want to import.

4. Drag the subfolder or selected layers to the Program Tree, the Program Table, or the Slot Rack.

You can import folders from the Import Tree that are marked green with three lines, or drag selected layers from the results list.

5. If the program does not contain the samples, you are asked to specify the folder in which the samples can be found.

6. Specify the folder in which you want to save the imported samples.

The HALion program is created.

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Adding a Folder

You can add additional folders to the Import Tree using the Add Folder button.

Specifying a Destination Folder

The folder specified in the “Destination Folder” field is used to save samples from bank or container files, such as GigaSampler files (“.gig”). You can type in the path manu ally or click the button to the right to navigate to a specific directory.

Ö If you do not specify a destination folder for sampler formats that use container files, you are asked to do so on the first import operation. This folder is then used for all following operations.

When programs are imported, HALion creates a folder for each program. The name of the folder corresponds to the name of the imported program. Inside this folder, HALion creates a subfolder in which the corresponding samples are saved, if necessary.

Hide Empty Folders

This option allows you to hide all folders that do not contain any importable programs.

Add to MediaBay

This option allows you to automatically create VST presets for each imported program in the user presets folder of HALion, thereby making them available in the MediaBay. When this option is deactivated, no preset is saved and the program is only available in the current HALion in stance. If you want to use the program in other projects, you have to save it first.

Importing Sliced Loops

HALion features a Slice Player that can play back sliced audio loops. You can import sliced loops in the common REX1 and 2 formats or drag and drop sliced events directly from Cubase.

Importing REX Loops

The import process for REX files includes several steps.

First, the slice information is used to create a sample zone per slice. These sample zones are then mapped to the keyboard. The range starts with C3 and uses as many zones as slices are defined in the loop. The slice informa tion is also used to create a MIDI phrase that is loaded into a Slice Player module.

To import REX files, you have the following options:

• Drag a REX file from the Windows Explorer or Mac OS Finder to the Program Tree and drop it on a program or layer.

• Open the context menu for a program or layer, open the Import/Export submenu, select “Import Samples…”, and select the file via a file dialog.

Ö When working with REX1 files, HALion can directly play audio from these files. For REX2 files HALion first extracts a WAV file and saves it in the same folder as the REX file.

Importing Sliced Audio Events from Cubase

You can directly import sliced audio events from Cubase by drag and drop. When dropping a sliced audio event in the Program Tree, HALion recognizes that the event con tains positional information for the different slices. In the Import Samples dialog, the button “Create Sliced Loop” becomes available. If you click this button, HALion creates a sample zone for each slice and adds a Slice Player con taining the required MIDI information. Any further mapping options are ignored.

Ö You can also drag selected audio events (from multiple tracks) from a Cubase project into the Program Tree to create a sliced loop.

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Playing back Sliced Loops

After the import, you can play back the loop in its original form or in a transposed version. By default, the original loop is played using C2 (#48), but you can specify another key using the Key Follow and Center Key parameters. Pressing a key below C3 plays transposed versions of the original loop. The keyboard range above C3 provides the slice sample zones, which are triggered by the slice player, but can also be triggered manually while the loop is playing.

Make sure that the very last event ends with the loop end and not before. Otherwise the generated loop will be too short and will not run in a perfect cycle.

If the REX file or Cubase audio event contains more than 128 slices, HALion automatically creates additional layers including MegaTrig modules preconfigured to use key switches. That way, you can create up to 1024 zones dis tributed over up to 32 layers.

The Slice Player Controls

Most of the Slice Player controls are the same as for the FlexPhraser MIDI module. These are described in detail in the section that differ for the Slice Player are described in the following sections.

Slice Player Presets

At the top right of the Program Tree, you can load and save presets for the Slice Player. These presets are saved in a global folder and can be accessed from any project you are working in.

Restart Mode

Depending on the selected Restart mode and your 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 does not restart upon

First Note The loop restarts when a note is triggered and no other

“The FlexPhraser” on page 141. The controls

note changes.

notes are already held.

Option Description

Each Note The loop restarts each time a note is triggered. Sync to Host Select this to align the loop with the beats and mea-

sures of your host application. The loop aligns to the beats and measures each time you start the transport.

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.

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

Quantize

This parameter allows you to set up a quantization grid, in fractions of beats. You can also specify dotted and triplet values. This way, you can force the timing of the slices to play back only at the selected note value.

Amount

This parameter defines how much of the quantization grid is applied. A value of 100

% means the slices play back only at the Quantize note value you specified. Smaller 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 by note number. Set this parameter to positive values to raise the pitch with notes above the center key. Use negative values to lower the pitch with notes above the center key. At +100 pitch follows the played note exactly.

Ö 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.

%, the

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Random

You can shuffle the playing order of the slices randomly, by activating the Random button. To play the slices with their original order, deactivate the Random button.

The overall timing does not vary through this. Only the playing order of the slices is affected.

• Use the Depth parameter to adjust how much the playing order of the slices is shuffled. Lower this value to keep the playing order of slices on the main beats. Raise this value to vary the playing order of slices on the offbeats as well.

• Click the Trigger button to trigger a new shuffle. Note that this changes the pattern number.

• Use the Pattern option to recall a certain random pattern, by entering its pattern number in the value field.

Exporting the Loop Sequence

You can export the loop sequence as a MIDI part for your host sequencer.

Proceed as follows:

1. Click the MIDI connector icon (to the right of the Random options) and drag it into the Project window of your host sequencer application.

This creates a MIDI part at the drop position, on an existing or a new MIDI track.

2. Assign the MIDI track to the corresponding slot in HALion.

Using Variations

By activating Random and by adjusting the Tempo, Tempo Scale, Swing, Gate Scale, Quantize, Amount, Start, and Length parameters, you can save your settings as up to eight variations. For further information, see

“Working with FlexPhraser Variations” on page 143.

The Loop, Sync, Hold, Trigger Mode, Restart Mode, Key Follow, and Center Key parameters are not part of the variations.

Importing and Exporting Samples

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Editing Programs and Layers in the

Sound

Editor

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Introduction

The Sound editor for programs and layers lets you access parameters that are set globally for the whole program or individual layers. For example, you can transpose the pitch, adjust level and pan, and limit the playback to a certain area on the keyboard.

Programs and layers share the same set of parameters because they are nearly identical.

The Main Section

The main section contains basic settings for programs and layers.

Octave

Transposes the pitch in octave steps.

Coarse

Transposes the pitch in semitone steps.

Low Vel

Defines the lowest velocity on which the program or layer is triggered.

High Vel

Defines the highest velocity on which the program or layer is triggered.

Sus, FCtrl, FSw, PB, MW, and AT

The Filter options allow you to filter incoming MIDI controllers.

Level

Adjusts the level of the layer. This parameter works as an offset to the zone settings.

Pan

Defines the position of the layer in the stereo panorama. This parameter works as an offset to the zone settings.

The Trigger Section

The Trigger section allows you to control the triggering and releasing behavior.

Fine

Detunes the pitch in cents (1/100 of a semitone).

Level Velocity Curve

Defines how incoming MIDI velocity values are re-mapped before they are sent to the program or layer. By default, the curve is set to linear, meaning that incoming and out going values are identical. The characteristic of each curve is displayed by a small icon.

Low Key

Defines the lowest key on which the program or layer is triggered.

High Key

Defines the highest key on which the program or layer is triggered.

Editing Programs and Layers in the Sound Editor

Ind MegaTrig

If you want the key switch assignments across different

layers to work individually, activate the individual MegaTrig

management of these layers. This can be necessary when two layers with different key switches are used together in one program. For more information about the MegaTrig module, see

“MegaTrig” on page 148.

Transpose

Transposes the key switches that you set up for the MegaTrig module.

Start Key

Defines the key that is used as the lowest key switch.

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Key Switch Mode

Defines how long a key switch is active:

• If set to Permanent, the key switch stays active until another key switch is used.

• If set to Temporary, the key switch is only active for as long as the corresponding key is pressed.

Default Switch

Specifies the default key switch that is active when you load a program, i. e. before you used the first key switch. The default key switch is also used in Temporary mode when no key switch is pressed.

Ö If you set Default Switch to a note value that is not assigned as a key switch, the lowest key switch is automatically used as the default key switch.

Filter Ctrls in Release

Filters out MIDI controllers in the release phase. Modulation destinations that are using controllers keep their value after the note-off message. The following settings are available:

Option Description

Off MIDI controllers are processed in the release phase. On MIDI controllers are filtered out. Inherit The zones of this layer follow the behavior that was speci-

fied for the parent layer.

Sostenuto

Enables sostenuto for the program or layer. Notes that are held while pressing the sostenuto pedal sustain. Successive notes do not sustain.

Ind Velocity Mode

Sample-based instruments often use crossfade techniques to optimize the switching between samples with different velocities. Crossfades are set up in the Mapping editor, see

“Fading and Crossfading Zones” on page 100.

Activate this option to apply the Velocity Mode settings to the selected layer and its children.

Velocity Mode

The switching or crossfading between zones can be controlled via velocity or MIDI controller. The following modes are available:

Option Description

Note-on The velocity is used to trigger the zones. Controller A MIDI controller is used to replace the velocity, i. e.

Continuous A MIDI controller is used to replace the velocity. De-

the controller value is used to select the zones. The note-on message triggers the zones selected by the controller. Only the zones that belong to the corre sponding velocity are played back.

pending on the “Velocity Fade” setting, the controller continuously fades between the zones or switches zones directly. Therefore, all zones belonging to a key are played back.

Repedaling

On an acoustic piano, you can repedal the sustain after releasing the sustain pedal for as long as the strings vi

brate. The effect is that the strings play on. You can achieve a similar effect with the Repedaling option. If you release and press the pedal within the release of the am plitude envelope, the envelope jumps to the decay segment, resuming at the current level of the release.

Sustain

Enables sustain for the program or layer. When you use the sustain pedal, notes keep playing until you release the pedal.

Editing Programs and Layers in the Sound Editor

Controller

Here, you select the controller that is used when the velocity Mode option is set to Controller or Continuous.

• For the most realistic playback of instruments that use crossfade techniques, activate “Velocity Fade” and set

“Velocity Mode” to Continuous.

• To save voices during playback of instruments that use crossfade techniques, deactivate “Velocity Fade” and set “Velocity Mode” to Note-on.

• Generally, setting “Velocity Mode” to Controller and activating “Velocity Fade” is a good compromise between performance optimization and realistic playback.

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Velocity Fade

Activate this option to use the velocity crossfades that are specified in the Mapping editor. When this option is deactivated or if no crossfades have been set up, zones switch directly between the different velocities.

The Voice Management Section

The Voice Management section allows you to control the maximum number of notes that you can play and to set conditions for note stealing and triggering.

Voice Manager

The Voice Manager option controls which Voice Management settings are applied to the selected layer. The following settings are available:

Option Description

Off The layer automatically uses the Voice Management set-

On You can make separate Voice Management settings for

Program The settings of the program are used, regardless of any

tings of the layer that is one step up in the hierarchy. If there is no layer with active Voice Management settings, the settings of the program are used.

the selected layer.

Voice Management settings made for layers higher up in the hierarchy.

Voice Mode

The Voice Mode parameter determines which notes are stolen during playback and whether new notes are triggered when the Polyphony setting is exceeded. The following settings are available:

Option Description

Low Note Priority Low notes have playback priority over higher

High Note Priority High notes have playback priority over lower

First Note Priority Older notes have playback priority over newer

Last Note Priority New notes have playback priority over the first

Steal Lowest Amplitude

Steal Released Notes New notes have priority over notes that enter the

notes.

- If you exceed the maximum number of notes by playing a lower note than the ones that are held, the highest note is stolen and the new note is triggered.

- If you exceed the maximum number of notes by playing a higher note than the ones that are held, no note is stolen and no new note is triggered.

notes.

- If you exceed the maximum number of notes by playing a higher note than the ones that are held, the lowest note is stolen and the new note is triggered.

- If you exceed the maximum number of notes by playing a lower note than the ones that are held, no note is stolen and no new note is triggered.

notes.

- If you exceed the maximum number of notes while older notes are still being held, no notes are stolen. New notes are only triggered if a free voice is available.

played notes.

- If you exceed the maximum number of notes, the first played notes are stolen in chronological order (First in/First Out) and the new notes are triggered.

New notes have playback priority over notes with a low amplitude.

- If you exceed the maximum number of notes, the note with the lowest amplitude is stolen and the newest note is triggered.

release phase.

- If you exceed the maximum number of notes, the oldest note that is in its release phase is stolen and the new note is triggered.

- If no note is playing in release and you exceed the maximum number of notes, the first played notes are stolen in chronological order and the new notes are triggered.

Editing Programs and Layers in the Sound Editor

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Trigger Mode

The Trigger Mode parameter defines the trigger behavior for new notes.

The following settings are available:

Option Description

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

Resume Does not always trigger a completely new note:

Legato Does not always trigger a completely new note:

The sample and the envelope of the new note are trig gered from the start. To minimize discontinuities, use the Fade Out parameter of the zone (see

- If the new note stays within the same zone, the envelope is retriggered, but resumes at the level of the stolen note. The pitch of the zone is set to the new note.

- If the new note plays in a different zone, the sample and the envelope of the new note are triggered from the start.

- If the new note stays within the same zone, the envelopes keep running. The pitch of the zone is set to the new note.

- If the new note plays in a different zone, the sample and the envelope of the new note are triggered from the start.

“Voice Fade Out” on page 43).

Ö When Resume or Legato is selected, you might hear an unnatural attack, depending on the sample. To avoid this, activate the “Use Start Range” option for the sample zone (see

“Use Start Range” on page 77).

Voice Groups

By assigning zones to a voice group, you can set their polyphony individually. In addition, you can manage the polyphony across zones that are not part of the same layer. Furthermore, zones can steal notes from each other, regardless of whether they are in the same layer.

The voice group parameters are shown below the Voice Management settings.

The maximum number of notes that you can play in a voice group is limited by the Polyphony setting of the corre sponding program or layer.

Assigning Zones to Voice Groups

Proceed as follows:

1. In the Program Tree, select the zones that you want to add to a voice group.

2. Open the Sound editor for the zones.

3. In the Voice Control section, select the Trigger tab.

4. On the Voice Group pop-up menu, select a voice group.

Ö Usually, the voice group numbers relate to the voice groups of the program. If the zone is part of a layer with active voice groups, the numbers relate to the voice groups of the layer instead.

Editing Voice Groups

The Voice Management parameters of voice groups are edited using the columns in the table below the Voice Management section.

Exclusive Groups

When voice groups belong to the same exclusive group, they cannot be played back simultaneously. The last trig gered voice group has priority over the previously playing voice groups. Any previously playing voice groups of the same exclusive group are cut off.

A typical example for assigning voice groups to an exclusive group is a drum set where the closed hi-hat cuts off the open hi-hat.

• To assign a voice group to an exclusive group, click the “Excl” field of the voice group, and select a number from the pop-up menu.

The Poly Tab

The Poly tab contains the polyphony settings for programs and layers.

Mono

The Mono parameter activates monophonic playback. For solo instruments, this usually results in a more naturally sounding performance.

Ö Mono can also be used for programs that use dedicated note-off layers. When the played note is released, the note-off layer is triggered.

Retrigger

The Retrigger option is only available in Mono mode. When Retrigger is activated, a note that was stolen by an other note is retriggered if you still hold the stolen note when releasing the new one. This way, you can play trills by holding one note and quickly and repeatedly pressing and releasing another note, for example.

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Polyphony

When you play a note, one or multiple zones can be triggered. Each triggered zone equals a voice. The number of voices you trigger with each note is displayed in the Voices field of the program. Use this parameter to set an upper limit for the number of notes that can be played simultane ously in polyphonic mode.

If a program has a lower Polyphony value than its layers, the maximum number of notes you can play is limited by the Polyphony value of the program.

Key Poly

With Key Poly (Key Polyphony), you can specify an upper limit for the number of notes that can be played for a key. The last played notes have priority. For this parameter to have an effect, the polyphonic mode needs to be activated.

Ö Key Polyphony is limited by the Polyphony setting. If the Polyphony setting is lower, this value is used instead.

Low Amp

By default, the “oldest” note is removed first when notes are stolen due to a Key Poly limitation. Activate Low Amp if you want the note with the lowest amplitude to be re

moved instead.

Min Low Notes

Defines the number of low notes that cannot be stolen, regardless of the Voice Mode setting.

Sustain Mode

While holding the sustain pedal, HALion plays back notes that you play repeatedly up to the Key Polyphony value. When you lift the sustain pedal, the notes of the keys that are no longer held enter the release phase. Depending on

the selected Sustain Mode, the notes of the keys that are still held either keep playing, or also enter the release phase.

The following settings are available:

Option Description

Hold Loudest The loudest note keeps playing. Hold Last The last note you played keeps playing. Hold First The first note you played keeps playing. Hold All All notes keep playing. Release All All notes enter the release phase.

Play Release

By default, the release phase of stolen notes is not played back and the notes fade out in the time specified by the Fade Out parameter of the zone. Activate this option to fade out the notes with their normal release phase instead.

The Variation Groups Section

The Sus/Rel Tab

The Sus/Rel tab contains the sustain and release settings for programs and layers.

Ind Sustain

Activate “Ind Sustain” to use individual sustain settings for the selected programs or layers.

Editing Programs and Layers in the Sound Editor

To avoid the so-called machine gun effect that occurs when the same sample is triggered repeatedly, you can create programs that use several samples for the same key and velocity range. These samples can then be trig gered alternately as variations. To define which samples are triggered as variations, you can assign them to one the variation groups. In the Variation Group section you can also specify the alternation mode for each variation group.

• To use the Variation Group feature, activate the Enable button and select one of the available modes for each group.

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The following settings are available

Option Description

Off All variations are triggered simultaneously. Round Robin All variations are triggered alternately in a fixed

Random All variations are triggered randomly. Individual

Random Exclusive All variations are triggered randomly. No variation

order.

variations can be triggered repeatedly.

is directly repeated.

Ö If no variation groups are activated, all zones play simultaneously. To avoid this, activate the variation groups for the program or layer containing the zones and assign the zones to the different variation groups.

Assigning Zones to Variation Groups

Proceed as follows:

1. In the Program Tree, select the zones that you want to add to the voice group.

2. Open the Sound editor for the zones.

3. In the Voice Control section, select the Trigger tab.

4. On the Variation Group pop-up menu, select a voice

group. Ö Usually, the variation group numbers relate to the vari-

ation groups of the program. If the zone is part of a layer with active variation groups, the numbers relate to the variation groups of the layer instead.

The Note Expression Section

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 supports Note Expression for vol ume, pan, and tuning. With any of HALion’s programs you can automate these parameters in Cubase for each note. But HALion can do more: In programs that give you ac cess 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 pre assigned pitch, pan, and level modulations. When the Note Expression controller is assigned, you can specify a name for it to make it available in Cubase.

The eight Note Expression controllers of a program are shared by all zones. This means that the Note Expression controller data affects all zones simultaneously. Depend ing on how the Note Expression controllers are set up in the modulation matrix, each zone might react differently.

Ö When you use HALion with older versions of Cubase or other host applications that do not support Note Ex pression, you still have access to the Note Expression section and you can see Note Expression controllers in the modulation matrix. However, they will not have any in fluence on the program.

The Quick Control Assignments Section

The Quick Controls Assignments section allows you to manage and edit the assigned quick controls. It is de scribed in detail in the section “Managing Quick Controls” on page 45.

Editing Programs and Layers in the Sound Editor

The Note Expression section 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 influ ence on the sound will be. One Note Expression controller can be assigned to several destinations.

Naming Note Expression Controllers

By default, a Note Expression controller is given the name of the modulation destinations it is assigned to. However, you can also rename them. After this, any further assign ments will not change the name.

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• To rename a Note Expression controller, click in the Name field of the selected controller and enter the new name.

Bypassing the Note Expression Controller

Each Note Expression controller has a Bypass button that allows you to deactivate the effect of the controller.

Ö The Bypass button is linked to the Bypass button of the corresponding modulation destination in 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.

Ö The slider is linked to the Depth slider of the corresponding modulation destination in the modulation matrix.

Editing Programs and Layers in the Sound Editor

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Editing Zones in the Sound Editor

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Introduction

All zones are affected by the editing.

Editing Selected Zones or All Zones

The Sound editor for synth and sample zones contains the zone parameters in HALion. It allows you to modify the settings for a single zone, for multiple selected zones or for all zones at the same time.

Ö If not expressly stated, the functions described in this chapter apply to both synth and sample zones.

Ö All functions and parameters described here also apply to the Zone Editor.

Global Zone Settings

The global section at the top of the Sound editor allows you to set up basic zone parameters.

Focused Zone

On the Focused Zone pop-up menu, you can select a zone for editing when several zones are selected in the Program Tree.

Low Key/High Key

These parameters determine the lowest key and the highest key on which the zone is triggered.

Low Vel/High Vel

These parameters determine the lowest velocity and the highest velocity on which the zone is triggered.

When working in the Sound editor, you can apply your editing either to the selected zones (SEL) or to all zones (ALL), depending on the setting of the corresponding button on the toolbar.

Absolute and Relative Editing

When editing multiple zones, you can either change values absolutely for all the zones (ABS) or make relative changes (REL), depending on the setting of the corre sponding button on the toolbar.

• When you use absolute editing and you change a parameter from 50 % to 60 % for one zone, all other zones will also be set to 60 %.

• When you use relative editing and you change a parameter from 50 % to 60 % in one zone, another selected zone that was set to 70 % is set to 80 %.

Ö Relative changes can be made for all parameters that can be adjusted continuously. Changes of parameters that select one of multiple modes or switch between two states are always absolute.

Root Key

The root key determines the pitch of the zone. Samples can contain root key information embedded in the file, which means that when loaded, they are automatically mapped to the corresponding keys.

Zone Type

HALion allows you to change a sample zone into a synth zone and vice versa. If you switch a sample zone to a synth zone, the sample oscillator is replaced by the synth oscillators. You can select the zone type from this pop-up menu.

Editing Zones in the Sound Editor

HALion 3 compatibility

The button to the left of the REL/ABS button lights up when you load an FXP file from HALion 3 to indicate that HALion 4 is in compatibility mode. This way, FXP files sound like they did in HALion 3. If you deactivate the com patibility button, some modulations will sound different.

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The Voice Control Section

The Voice Control section of the Sound editor has two tabs: Trigger and Unison/Glide.

The Trigger Tab

On the Trigger tab, you can specify the triggering of a zone.

Voice Group

You can set the polyphony of a zone individually, by assigning it to one of 128 voice groups. The settings of voice groups can be edited in the Voice Management sec tion of the program or layer. For more information on voice groups, see

Variation Group

To avoid the so-called machine gun effect that occurs when the same sample is triggered repeatedly, you can create programs that use several samples for the same key and velocity range. These samples can then be trig gered alternately as variations. To define which samples are triggered as variations, you can assign them to one of 16 variation groups. Use the Variation Group pop-up menu to specify the alternation mode for the different vari ation groups.

Priority

Each zone you trigger corresponds to a voice. When the numbers of played voices (zones) exceed the Maximum Voices setting of the plug-in instance, zones are cut off and replaced by other voices. This is called “voice steal ing”. Use this parameter to specify a priority for this behavior. Zones with higher priority can steal zones with lower priority, but not vice versa. If there are no zones with lower priority, zones of the same priority are stolen. Zones with the priority Hold steal only from lower priorities, but not from themselves.

Ö To specify how fast the zones are stolen, use the “Voice Fade Out” parameter in the Options editor.

“Voice Groups” on page 70.

Fade Out

Whenever a voice is stolen because a polyphony limit is reached, it is faded out. You can specify this fade out time for each zone, which allows you to adapt it to different signal types. For example, you might want to cut a stolen crash cymbal zone less abruptly than a stolen hi-hat zone.

Key On Delay

With this parameter, you can delay the playback of the zone by a specified time or a note 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 trip let, activate the “T” button.

With Sync deactivated, the delay is specified in milliseconds. With Sync activated, the delay is specified in fractions of beats.

Release Mode and Amount

The parameters Release Mode and Amount determine how loud the release samples are played back. Release samples play back the sound of an instrument when the note ends. For example, this can be the noise of the damper touching down on the piano string, or the reverb tail of an instrument that was recorded in a concert hall. By setting the release mode, the level of the release samples can be controlled from different sources, for example. The Amount parameter adjusts how much the selected option affects the level of the note-off samples.

To set up the playback of release samples, proceed as fol-

lows:

1. In the Program Tree, place the note-on and note-off samples into separate layers.

2. Add a MegaTrig Module to the note-off layer and set the playing condition to “Note-off”.

3. Select all note-off samples.

4. In the Sound editor, open the Voice Control section,

and make settings for Release Mode and Amount. The following settings are available:

Option Description

Off Deactivates the Release Mode. The level of the

note-off sample is controlled only by the amplifier section of the zone.

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Option Description

Note-on Env The level of the note-off sample is controlled by

Note-off Env The level of the note-off sample is controlled by

Note-on Vel The level of the note-off sample is controlled by

Note-off Vel The level of the note-off sample is controlled by

Current Amplitude The level of the note-off sample is controlled by

Random The level of the release sample is controlled by a

the Amplitude Envelope of the associated note-on sample: The note-off sample is played back with the level that the amplitude envelope has at the moment when the note-off sample is triggered. In order to find the associated note-on sample, the mappings of the note-on and note-off samples must overlap. HALion takes the last running noteon sample as the associated one.

the amplitude envelope of the note-off sample: The note-off sample is played back with the level that its amplitude envelope has at the moment when the note-off sample is triggered.

the incoming MIDI note-on velocity.

the incoming MIDI note-off velocity.

the current amplitude of the associated note-on sample.

random value. Use the Amount control to set the depth of the random value.

The Unison/Glide Tab

The Unison/Glide tab has the following parameters:

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 This determines the number of voices that are triggered

Detune Use this parameter to detune the pitch of each unison

Pan Use this parameter to spread the unison voices across

Delay With this parameter you can introduce a small random

simultaneously (max. 8).

voice in cents. This produces a fatter sound.

the stereo panorama. The higher the value, the broader the stereo image.

delay for each unison voice. With a value of 0 %, all uni son voices are triggered at the same time. Values from 1

% to 100 % add a random delay to each unison voice. The higher the value, the more random the delay. This is especially useful to avoid comb filter effects with two or more slightly detuned samples, which can occur if you play them back at exactly the same time.

Glide

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

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

Option Description

Time This specifies the time needed to bend the pitch from

Sync Activate this option to synchronize the delay time to the

Mode Here, you can specify whether the glide time is con-

Curve You can select one of three curve types to define the

Fingered Activate this parameter to glide the pitch only between

one note to the other.

host tempo. Select a note value from the pop-up menu. To change the selected note value to a triplet, activate the “T” button.

stant and independent from the note interval (Constant Time) or if the time changes with the note interval (Con stant Speed). When Constant Speed is selected, larger intervals result in longer glide times.

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. This behavior is similar to the natural pitch glide pro duced by a singer. With the Quantized curve, the pitch glides in semitones from the start to the end pitch.

notes that are played legato.

Ö If you use Cutoff, Amplitude and Pan Key Follow, the corresponding parameters also change with the Glide effect.

Glide Groups

You can assign zones to Glide Groups. This way, the glide effect can be set independently for the zones. This allows you to set up zones with overlapping Key Range and dif ferent settings of Glide Time, for example.

Use Start Range

If a new note plays in a different zone with a different sam-

ple assigned, the new sample is used to glide to the new pitch. Depending on the sample, this can produce an un natural attack. To avoid this, activate “Use Start Range”. When this is activated, the sample does not start from the beginning, but from the position you set with the Sample Start Range parameter.

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The Pitch Section

On the Pitch section for synth and sample zones, you can make settings for tuning and pitch modulation. The following parameters are available:

Pitchbend

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

Octave

Here, you can adjust the pitch in octave steps.

Coarse

Here, you can adjust the pitch in semitone steps.

Fine

This parameter allows you to fine-tune the pitch in cents (hundredths of a semitone).

Env Amnt (Envelope Amount)

This parameter determines how much the pitch is affected by the pitch envelope.

Center Key

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

The Oscillator Section

The Oscillator section for synth zones 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 Am plifier sections for further sound shaping.

The three main oscillators (OSC 1, OSC 2 and OSC 3) offer different wave shapes and algorithms.

• You activate an oscillator by clicking its On/Off button.

Make sure to deactivate any oscillator functions that are not needed to save processing power.

Random

This parameter allows you to randomly offset the pitch with each played note. 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 by 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

%, the pitch follows the played note exactly.

+100

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OSC 1/2/3 Type

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

• To select an oscillator type, click the icon that indicates the wave shape for OSC1, OSC2, or OSC3 and select the wave shape and algorithm you want to use from the pop-up menu.

The following algorithms are available:

Algorithm Description

PWM (Pulse Width Modulation)

Sync This algorithm provides different hard-sync oscillators,

CM (Cross Modulation)

PWM is only supported by the square waveform. The Waveform parameter sets the ratio between the high and low value of the square wave. A setting of 50 produces a pure square wave. With settings below or

% the oscillator produces rectangular waves.

above 50

where each is a combination of a master and slave os cillator. 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 produce a rich sync-sound without using other oscillators as slave or master. The Waveform pa rameter adjusts the pitch of the slave oscillator, producing the typical sync sound.

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 the rate of the audio sample. The Waveform parameter ad justs the pitch ratio between slave and master oscillator, resulting in a sound close to frequency modulation.

Algorithm Description

XOR (Exclusive or)

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

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

Ö 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.

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 allows you to fine-tune the pitch in steps of cents (hundredths of a semitone).

OSC 1/2/3 Level

This adjusts the output level of the oscillator. Ö 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 below the overall pitch of the synth zone. If you modulate the pitch of the synth zone, the pitch of the sub oscillator follows.

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

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The following parameters are available:

Parameter Description

Sub Oscillator Type

Sub Oscillator Level

Here, you can select the wave shape of the sub oscillator. You can choose between Sine, Triangle, Saw, Square, Pulse Wide and Pulse Narrow.

This adjusts the output level of the sub oscillator.

Ring Modulation (RING)

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

• To activate ring modulation, click the On/Off button. The following parameters are available:

Parameter Description

Ring Modulation Source 1/2

Ring Modulation Level

This allows you to select the sources to be ring modulated. You can select OSC1 or Sub as Source 1 and OSC2 or OSC3 as Source 2.

This adjusts the output level of the ring modulation.

Noise

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

• To activate the noise generator, click its On/Off button. The following parameters are available:

Parameter Description

Noise Type Here, you can select the sound color of the noise. You

Noise Level This adjusts the output level of the noise generator.

Ö Sub level, ring modulation level and noise level can be modulated separately in the modulation matrix (see

Modulation Matrix Section” on page 92).

can choose between White, Pink, White BPF (BPF = band-pass filtered), and Pink BPF.

“The

The Sample Oscillator Section

The sample oscillator controls various playback parameters as well as loop parameters.

The Main Tab

Playback Mode

The following playback modes are available:

Option Description

Normal The sample is played back from the beginning to

Reverse The sample is played backwards, ignoring any

One Shot The sample is played back from the beginning to

Reverse One Shot The sample is played back from the end to the be-

Ö In One Shot and Reverse One Shot mode, the zones ignore any MIDI Note Off messages. All envelopes and LFOs play until their sustain is reached and then remain on this level for as long as the sample plays back. Any re lease segments of the envelopes and LFOs are not played. However, if you activate One Shot mode in the Envelope section, the release nodes of the envelopes are included in the playback.

Quality

When samples are not played with their original pitch or tempo, HALion calculates the transposed versions in real time using algorithms that require different CPU perfor mance depending on the Quality setting.

Changing the quality mode is particularly noticeable in the high frequencies. The higher the setting, the better the suppression of artifacts. For samples with little high-fre quency content, you can safely use the “Standard” option. For programs that use different samples for every key (no resampling is necessary) you should always use the “Standard” option to save computing power.

the end. If any loops are defined they are played according to their loop settings.

loop settings.

the end, ignoring any loop settings.

ginning, ignoring any loop settings.

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Preload

HALion provides two different ways of working with sample data. A sample can either be loaded completely into RAM or it can be streamed from the hard disk. However, when samples are streamed, HALion needs to preload a portion of these samples to be able to play a voice without having to search for the sample data first. The size of this preload buffer can be set in the Options editor. The Pre

load setting enables you to adapt this buffer size for individual sample zones by setting a multiplier from 1 to 16. Increasing the buffer size can be useful if a sample can be transposed in a wide range and HALion needs to read out the sample data faster, for example.

If you set Preload to its maximum, HALion preloads the complete sample. This option is useful for smaller samples.

Sample Start Range

The Sample Start Range parameter allows you to determine the range for sample start offset modulation. When Sample Start is selected as a modulation destination in the modulation matrix, the Sample Start Range parameter controls the range, that is the sample portion that is af

fected by the start offset modulation. If this parameter is set to zero, no sample start modulation is performed.

For example, if note-on velocity is used to modulate the sample start parameter, a high key velocity starts playback later in the sample, and the range of this modulation is de termined by the Range Start parameter.

Fixed Pitch

When a sample zone is triggered by a MIDI note other than the one defined by the Root Key setting, the sample is normally pitched accordingly. When Fixed Pitch is acti vated, the relation between played note and root key is disregarded and all keys play the sample just like it was recorded.

Ö You can still apply the usual pitch modulations in the Pitch section and set the sample to follow the keyboard according to the Key Follow Root Key setting.

The Filter Section

The Filter section for synth and sample zones allows you to adjust the tone color of the sound.

Filter Type

By selecting the filter type, you specify the basic sound character of the filter. Note that filters without distortion use less processing power.

The following filter types are available:

Filter type Description

Off The filter section is switched off. Classic This filter type offers 24 filter shapes with resonance. Tube Drive This filter type offers a lot of character by adding warm,

Hard Clip This filter type adds bright, transistor-like distortion.

Bit Red

(Bit Reduction)

Rate Red This filter type adds digital distortion by means of alias-

Rate Red KF As above, but with Key Follow: The rate reduction fol-

Waldorf This filter type offers 14 filter shapes, including two

HALion 3 This filter type offers the 5 legacy filter shapes from

tube-like distortion. You can set the amount of tube drive with the Distortion parameter.

You can set the amount of hard clipping with the Dis tortion parameter.

This filter type adds digital distortion by means of quantization noise. You can adjust the bit reduction with the Distortion parameter.

ing. You can adjust the rate reduction with the Distortion parameter.

lows the keyboard, so the higher you play, the higher the sample rate.

comb filters.

HALion 3.

The Loop Tab

The options on the Loop tab are identical with the loop options on the Loop tab of the Sample editor, see

ing Loops” on page 108.

“Creat-

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Filter Mode

The buttons on the left of the Filter section determine the overall filter structure. The filter types provide the following options:

Filter mode Description

Single Filter This mode uses one filter with one selectable filter shape. Dual Filter

rial

Dual Filter Parallel

Morph 2 This mode morphs between filter shape A and B. You can

Morph 4 This mode morphs sequentially from filter shape A to D.

Morph XY This mode morphs freely between the filter shapes A, B,

This mode uses two separate filters connected in series. You can select the filter shapes for each filter indepen dently. The parameters Cutoff and Resonance control both filters simultaneously. However, you can offset the cutoff and resonance of the second filter with the param eters CF Offset and Res Offset.

This mode uses two separate filters connected in parallel. You can select the filter shapes for each filter indepen dently. The parameters Cutoff and Resonance control both filters simultaneously. However, you can offset the cutoff and resonance of the second filter with the param eters CF Offset and Res Offset.

select the filter shapes for filter shape A and B indepen dently. Adjust the morphing with the Morph Y parameter.

You can select the filter shapes for filter shape A, B, C, and D independently. Adjust the morphing with the Morph Y parameter.

C, and D. You can select the filter shapes for filter shape A, B, C, and D independently. Adjust the morphing with the Morph X and Morph Y parameters.

Ö For compatibility reasons, the filter types HALion 3 and Waldorf are included. These filters always use Single filter mode.

Filter Shape

Each filter type offers 24 different filter shapes. By selecting the filter shape you determine which frequencies are affected. Depending on the chosen filter mode, you can either select one, two, or four shapes.

Filter shape Description

LP24 Low-pass filter with 24 dB/oct. Frequencies above the

LP18 Low-pass filter with 18 dB/oct. Frequencies above the

LP12 Low-pass filter with 12 dB/oct. Frequencies above the

LP6 Low-pass filter with 6 dB/oct. Frequencies above the

BP12 Band-pass filter with 12 dB/oct. Frequencies below

cutoff are attenuated.

and above the cutoff are attenuated.

Filter shape Description

BP24 Band-pass filter with 24 dB/oct. Frequencies below

HP6+LP18 High-pass filter with 6 dB/oct plus low-pass filter with

HP6+LP12 High-pass filter with 6 dB/oct plus low-pass filter with

HP12+LP6 High-pass filter with 12 dB/oct plus low-pass filter with

HP18+LP6 High-pass filter with 18 dB/oct plus low-pass filter with

HP24 High-pass filter with 24 dB/oct. Frequencies below the

HP18 High-pass filter with 18 dB/oct. Frequencies below the

HP12 High-pass filter with 12 dB/oct. Frequencies below the

HP6 High-pass filter with 6 dB/oct. Frequencies below the

BR12 Band-reject filter with 12 dB/oct. Frequencies around

BR24 Band-reject filter with 24 dB/oct. Frequencies around

BR12+LP6 Band-reject filter with 12 dB/oct plus low-pass filter

BR12+LP12 Band-reject filter with 12 dB/oct plus low-pass filter

BP12+BR12 Band-pass filter with 12 dB/oct plus band-reject filter

HP6+BR12 High-pass filter with 6 dB/oct plus band-reject filter

HP12+BR12 High-pass filter with 12 dB/oct plus band-reject filter

AP All-pass filter with 18 dB/oct. Frequencies around the

AP+LP6 All-pass filter with 18 dB/oct plus low-pass filter with

HP6+AP High-pass filter with 6 dB/oct plus all-pass filter with

and above the cutoff are attenuated.

dB/oct (asymmetric band-pass filter). Frequencies

18 below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies above the cutoff.

dB/oct (asymmetric band-pass filter). Frequencies

12 below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies above the cutoff.

dB/oct (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies below the cutoff.

cutoff are attenuated.

the cutoff are attenuated.

with 6

dB/oct. Frequencies around and above the cut-

off are attenuated.

dB/oct. Frequencies around and above the cut-

with 12 off are attenuated.

dB/oct. Frequencies below, above and around

with 12 the cutoff are attenuated.

dB/oct. Frequencies below and around the cut-

with 12 off are attenuated.

with 12

dB/oct. Frequencies below and around the cut-

off are attenuated.

cutoff are attenuated.

dB/oct. Frequencies around and above the cutoff are

6 attenuated.

dB/oct. Frequencies around the cutoff are attenuated.

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Cutoff

Here, you can adjust the cutoff frequency of the filter. The effect depends on the selected filter type.

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 mix 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:

Filter Description

Single, Dual Serial & Dual Parallel

Morph 2 and 4 The X/Y control adjusts the morphing between the filter

Morph XY The X/Y control adjusts the morphing between the filter

The X/Y control adjusts the cutoff frequency on the horizontal and resonance on the vertical axis.

shapes on the vertical (Morph Y) axis. The horizontal axis adjusts the cutoff frequency.

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 set tings, it creates a very intense distortion effect.

Ö 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.

Norm

The Norm option allows you to normalize the velocity values that are used to modulate the filter. This means that the velocity range for the zone is remapped to a full veloc ity range.

For example, if a zone ranges from 40 to 80 on the mapping velocity scale, an incoming velocity of 40 results in a velocity value of 0 being sent to the cutoff, an incoming velocity of 80 results in 127. This way, you can adapt ve locity-layered zones in such a way that each zone starts with a damped filter setting and opens completely towards the zone above.

Fatness

This parameter (only available for the algorithms Waldorf and HALion 3) adds a warm, tube-like filter distortion to the signal.

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. Set this parameter to positive values to raise the cutoff with notes above the center key. Use negative val ues to lower the cutoff with notes below the center key. At +100

% the cutoff follows the played pitch exactly.

Center Key

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

Bypass

The Bypass buttons in the top right of the section allow you to listen to the zone without modulation of the filter envelope and without any filtering.

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The Amplifier Section

The Amplifier section has two tabs: Main and AUX.

The Main Tab

The Main tab gives you access to the Level and Pan settings of the zone.

Level

Here, you can adjust the loudness of the zone.

Headroom

Use this parameter to specify the headroom for polyphonic playback. By default, HALion uses a headroom of

dB. For monophonic programs, such as drum loops,

12 set the headroom to 0 dB. If you work with low polyphony values, a headroom of 6 dB is sufficient.

Key Follow

Use this parameter to control the volume depending on the note pitch. Positive values mean that the volume is higher the higher the notes you play. With negative values, the volume decreases the higher the 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. At a setting of -100 hard left and at +100

%, it is panned hard right.

Mode

With this option you can specify how the loudness changes across the stereo panorama. The following modes are available:

• 0dB: This 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 sound is panned

• -3dB: This 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.

• -6dB: This 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 panning is applied.

Random

This parameter allows you to offset the pan position randomly with each played note. 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. If you want to start panning on the left, use negative values. Use positive values to begin on the right. At a setting of +100

%, the first note plays

hard right, the second note hard left, and so on.

Reset

The initial pan position is set once when HALion is loaded. Then, HALion counts each note you play 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 via the MIDI note number. Set this parameter to positive values to offset the pan position towards the right for notes above and to

wards 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.

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The AUX Tab

The AUX tab allows you to send the zone to the four global AUX busses and to directly route the zone to one of the plug-in output busses.

AUX 1-4

In HALion, you can send the zone signal to the four global AUX busses. You can control the signal level that is sent to the busses with the knobs AUX 1-4.

Output

HALion allows you to route a zone directly to one of the output busses. In this case, the zone does not pass through the layer, program and slot busses.

The Envelope Section

The Envelope section for synth and sample zones gives you access to the four envelopes of the zone: Amp, Filter, Pitch, and User. Each of these is a multisegment envelope with up to 128 nodes. The Amp, Filter and Pitch envelopes are pre-assigned to the amplitude, the filter cutoff fre quency and the pitch of the zone. You can adjust the preassigned modulations in the corresponding sections of the zone. The purpose of the User envelope is freely definable.

• Click the Amp button to display the parameters of the amplifier envelope.

The amplifier envelope shapes the volume over time.

• Click the Pitch button 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.

• Click the User button to display the parameters of the freely 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.

Zooming and Navigating in the Graphical Envelope Editor

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

You can zoom in and out in the following ways:

• To zoom in on the horizontal axis, use the “+” button to the right of the scrollbar below the graphical editor.

• To zoom out, click the “-” button.

• 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.

You can navigate to a certain position in the following way:

• Drag the scrollbar to the left or right to scroll the envelope editor.

• Click in an empty space next to the scrollbar to jump to the corresponding position in the envelope editor.

• Click the triangles to the left and right of the scrollbar to scroll through the envelope step by step.

• Click the Filter button to display the parameters of the filter envelope.

The filter envelope controls the cutoff frequency to shape the harmonic content over time.

Editing Zones in the Sound Editor

Envelope Zoom Snapshots

Envelope zoom snapshots save the current state of the graphical envelope editor. For example, by saving two en velope 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.

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Saving and Loading Envelope Zoom Snapshots

To the right of the scrollbar, you can find three numbered buttons that allow you to save and load envelope zoom snapshots for the current envelope editor. An envelope zoom snapshot also includes the zoom factor and scroll position of the graphical envelope editor. These are re

stored when loading the snapshot.

• To save the current state of the graphical envelope editor as snapshot, [Shift]-click one of the numbered buttons to the right of the scrollbar.

• 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.

Adjusting the Time Parameter

The Time parameter specifies the period of time between two nodes. Depending on the Sync mode, the Time parameter is displayed in milliseconds and seconds, or fractions of beats.

To set the Time parameter, select the nodes you want to edit, and enter a value in the Time field.

You can also adjust the Time parameter in the graphical envelope editor, by dragging the nodes left or right, to de crease or to increase the time span.

• 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).

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 in the graphical enve lope editor or by typing in values.

Selecting Nodes

• You select a node by clicking on it in the graphical editor. Selected nodes turn light blue. The focused node is indicated by an orange frame. The focused node displays its parameters in the value fields to the left of the graphical envelope editor.

• When multiple nodes are selected, you can use the Node pop-up menu above the value 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 are edited together.

• You can select multiple nodes by drawing a rectangle around the nodes with the mouse.

• 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 changes and the previous or next node within the multiselection is focused.

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 pos-

itive values) for these envelopes. Ö 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 set the Level parameter, select the nodes you want to edit and enter a value in the Level field.

You can also adjust the Level parameter in the graphical envelope editor by dragging the selected nodes up or down, to decrease or increase the levels.

• For a higher resolution, hold [Shift] while moving the nodes.

• Hold down [Alt]/[Option] while dragging to limit the movement to the level axis (vertical positioning only).

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Adjusting the Curve Parameter

The Curve parameter allows you to adjust the curvature between two nodes from linear to logarithmic or exponential behavior.

To set the Curve parameter, select the nodes you want to edit and enter a value in the Curve field. Positive curve values change the curvature towards logarithmic and negative values towards exponential behavior.

You can also adjust the Curve parameter in the graphical envelope editor by dragging the curvature of an envelope segment.

• [Ctrl]/[Command]-click a curvature to reset it to linear.

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.

• To add a node, double-click at the position where you want to add the node.

• To remove a node, double-click it.

• To delete several selected notes, press [Delete] or

[Backspace]. Ö 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 selected nodes:

1. On the pop-up menu 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 se

lected, the new nodes are inserted after all selected nodes.

3. If the Fixed function is deactivated, the added nodes are placed with the interval specified by the Time parame ter of the 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 are 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.

Fixed

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

Snap

You can select a second envelope to be displayed in the background of the edited envelope. Nodes you position with Snap activated snap to the nodes of the envelope that is shown in the background.

• You select the envelope to be displayed in the background from the pop-up menu to the right of the Snap button.

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 sync mode for the envelope.

Sync is active when the button is highlighted. A grid spaced in fractions of beats appears in the graphical envelope editor.

2. On the pop-up menu located to the right of the Sync button, select a note value.

This sets the resolution of the grid. For example, if you specify a 1/4 note value, the nodes snap to 1/4 note steps. If the “T” button is activated, the note values correspond to triplet values.

You can also manually enter note values and triplets in the value field.

• The Time field of a node displays times in fractions of beats. The fraction is always reduced to the smallest pos

sible value. “2/16” is displayed as “1/8”, for example.

• Envelope nodes that do not exactly match a note value display the closest note value.

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• 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.

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 key. These modes are selected from the Mode pop-up menu. The following options are available:

• Sustain: The envelope starts playback 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 is repeated for 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.

• One Shot: The envelope is played from the first to the last node, even if you release the key. The envelope has no sustain. 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 enve lope only affects the level during the loop phase of the sample. The attack of the envelope is still executed.

Ö The Sample Loop mode is only available for sample zones.

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.

• The loop is indicated by the green region in the graphi-

cal envelope editor. You can specify the loop start and end by dragging the borders of the region.

Ö The loop region can only be set up in the decay of the envelope.

Level Velocity Curve

You can select the curve type to specify how the incoming velocity translates to the level of the envelope. The characteristic of each curve is displayed by a small icon.

Level Velocity (Vel>Lev)

Use this parameter to specify how the velocity affects the level of the envelope. The level depends on this parameter and how hard you hit a key. Positive values increase and negative values decrease the level of the envelope the harder you hit a key.

Norm

The Norm option allows you to normalize the velocity val-

ues that are used to control the envelope. This option is also available in the Filter section, see

“Norm” on page 83.

Time Velocity (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.

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Segments

On the Segments pop-up menu, you can select which stages of the envelope are affected by the Time Velocity 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

A+R The velocity affects the attack and the release times. All The velocity affects all times.

the attack.

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 that is used as the central position 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 Section

The synth and sample zones offer two polyphonic LFOs. Polyphonic means the LFOs are calculated per voice al lowing 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. The LFOs can be assigned freely in the modulation matrix and they have an additional envelope that allows you to shape the modulation intensity over time.

You can also configure monophonic LFOs using a MIDI Module, see

“Mono LFO” on page 147.

• To access the LFOs, click the corresponding button at the top of the LFO section.

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

Triangle This is similar to Sine. Shape continuously changes the

Saw This produces a ramp cycle. Shape continuously

Pulse This produces stepped modulation, where the modula-

Ramp This is similar to the Saw waveform. Shape increasingly

Log Shape continuously changes the logarithmic curvature

or tremolo. Shape adds additional harmonics to the waveform.

triangle waveform to a trapezoid.

changes the waveform from ramp down to triangle to ramp up.

tion switches abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. With Shape set to 50 square wave is produced.

puts silence before the sawtooth ramp up begins.

from negative to positive.

%, a

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Option Description

S & H 1 This produces randomly stepped modulation, where

S & H 2 This is similar to S & H 1. The steps alternate between

each step is different. Shape puts ramps between the steps and changes the S&H into a smooth random sig nal when fully turned right.

random high and low values. Shape puts ramps be tween the steps and changes the S & H into a smooth random signal when fully turned right.

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 how long the LFO takes to fade in after the note was triggered and the delay time has elapsed.

Sync Mode

You can sync the LFO to the tempo of the host application. The behavior of the Frequency parameter changes with the selected option:

Option Description

Off Select this to adjust the speed of the modulation in

Tempo + Retrig

Tempo + Beat Select this to adjust the speed of the modulation in

Hertz. Select this to adjust the speed of the modulation in

fractions of beats. You can also set dotted and triplet note values. The restart behavior of the LFO depends on the Retrigger Mode.

fractions of beats. 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 Retrig ger setting is not taken into account.

Retrigger Mode

This defines whether the LFO is restarted when a note is triggered. The waveform restarts at the position you specify with the Phase parameter.

The polyphonic LFOs can switch between Retrigger On and Off: When it is off, the LFO runs freely, when set to On, the LFO starts with each triggered note.

Frequency

This controls the frequency of the modulation, that is 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.

Hold

Hold determines the amount of time the LFO is running before the fade out begins.

Use the envelope modes “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 how long the LFO takes 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 prevents 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 the key is released, the modulation increases to its maxi

mum level in the time specified by the fade out.

Envelope Mode

Here, you can specify 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

One Shot + Sustain

in the time specified by Delay, Fade In, Hold, and Fade Out.

This mode is similar to One Shot. The Delay and Fade In parameters are always applied when you play a note. The Hold and Fade Out parameters are not taken into account. Instead, they act as sustain.

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Option Description

Hold + Fade Out

Sustain + Fade Out

Sustain When you play a note, the Delay and Fade In parame-

When you play a note, the Delay and Fade In parameters are applied. The envelope fades out after the time specified by the Hold parameter, or when a key is re leased. Releasing a key during the fade in starts the fade out from the current level.

When you play a note, the Delay and Fade In parameters are applied. The Hold parameter acts as sustain. The fade out is applied when releasing the key. Releas ing a key during the fade in starts the fade out from the current level.

ters are applied. Both the Hold and Fade Out parameters act as sustain. Releasing a key during the Fade In sustains the current level. This prevents a change in modulation when a key is released.

Graphical Envelope Editing

You can adjust the times of the envelope in the graphical editor by dragging nodes left or right.

• The first node adjusts the Delay time.

• The second node adjusts the Fade In time.

• The third node adjusts the Hold time.

• The fourth node adjusts the Fade Out time.

The Step Modulator Section

Synth and sample zones 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.

At the top right of the Step Modulator section, you can load and save presets for the step modulator.

• To adjust all steps at once, [Shift]-drag a step.

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

the step.

• To reset all steps, [Shift]-[Ctrl]/[Command]-click in the graphical editor.

• To draw a ramp with steps, [Alt]/[Option]-click and draw a line.

• To draw symmetric ramps, [Shift]-[Alt]/[Option]-click and draw a line.

• You can also enter a value directly in the value field for the step.

• 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

Steps

Here you set the number of steps the sequence plays.

Sync Mode

You can synchronize the steps to the tempo of the host application by setting a note value. Alternatively, you can specify a frequency at which the sequence repeats. Whether 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

Tempo + Retrig

Tempo + Beat As above, but the sequence restarts with the transport

repeats (in Hertz). Whether the sequence restarts when you play a note depends on the Retrigger mode.

Select this to adjust the length of the steps in fractions of beats. The speed of the modulation depends on the number of steps, the note value and the tempo you set in your host application. Activate the T option to use triplet note values. Whether the sequence restarts when you play a note depends on the selected Retrigger mode.

of the host and lines up to the beats of the project. The Retrigger setting is not taken into account.

Editing Steps

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

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

• To change the value of a single step, drag it up/down.

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Frequency

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

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Note

When the Sync mode is set to one of the Tempo settings, this adjusts the length of the steps in fractions of beats. You can also select dotted and triplet values.

Triplets

Activate the “T” option to use triplet note values.

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 play-

First Note The sequence restarts when a note is triggered and no

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

back at the position at which you released the key.

other notes are held.

Slope

Depending on the setting you select here, the step modulator jumps from step to step or creates ramps between the steps. The following settings are available:

Option Description

None This setting produces hard steps. Rising Ramps are created only for rising edges. Falling Ramps are created only for falling edges. All Ramps are created for all edges.

Amount

When Slope is set to Rising, Falling or All, the Amount parameter

determines the time of the ramp between two steps. The higher the setting, the smoother the transitions between steps.

Step

Use this to select a certain step.

Level

This shows the level of the selected step.

Snap

When Snap is activated, the level of each step can only be adjusted in quantized steps of 1/12th.

Producing Modulations in Steps of Semitones

Proceed as follows:

1. Activate the Snap option.

2. In the modulation matrix, assign the Step Modulator to

Pitch.

3. Set the Modulation Depth to +12.

Now, the levels of the steps represent semitone intervals.

4. Go back to the step modulator and adjust each step to the interval that you want to use.

The Modulation Matrix Section

The concept of controlling one parameter by another is called modulation. The Modulation Matrix section of synth and sample zones gives you access to additional modulations of the zone.

Assigning modulations means to interconnect modulation sources, such as LFOs and envelopes, with modulation destinations like pitch, cutoff, amplitude, etc. The modula tion 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. An addi tional modifier and user-definable curves and ranges give you further control over the modulation.

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The modulation matrix is divided into two sections. On the left, the modulation rows are displayed. Here, you can assign modulation sources to destinations and adjust the modulation depth. The section on the right contains settings for the curve and range editor, where you can make further settings for the selected modulation source.

• To remove a modulation row, select “Remove Modulation Row” from the context menu.

An empty modulation row is appended to the list to keep a constant number of 32 rows.

Ö You can copy modulation rows across different programs or even between different instances of HALion.

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.

• You can select modulation sources on the Source 1 pop-up menu at the top left of each row.

• The Source 2 pop-up menu below the Source 1 popup menu for each row allows you to select a second mod ulation source that controls the intensity of the first source or a modifier that alters the modulation signal of the first source.

• To switch the polarity of a source between unipolar and bipolar, click the button to the right of the corresponding source.

• To select the modulation destination, use the pop-up menu to the right.

• Use the horizontal fader below the destination to adjust the modulation depth. Usually, the modulation depth is adjusted in percent. If you select pitch as modulation destination, the modulation depth is adjusted in semitones.

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

Managing Modulation Rows

To copy a modulation row, proceed as follows:

1. On the context menu for the source row, select “Copy Modulation Row”.´

To move a modulation row, select “Cut Modulation Row” for the source 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.

Unipolar vs. Bipolar Sources

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

• Unipolar sources modulate between 0 and +1.

• Bipolar 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 at any time.

• 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 selected source. 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 from linear to exponential or logarithmic, for example.

• 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 is superimposed on the modulation.

The curve editor offers different presets that you can select from the pop-up menu above the curve. To set up your own curve, select the Custom preset.

• 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.

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• Drag the lines between the nodes up or down to change the curvature.

Setting Up a Modulation

Proceed as follows:

1. Select the zone that you want to adjust.

2. Open the Modulation Matrix section.

3. In one of the modulation rows, select a modulation

source and destination (for example 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.

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 offers you the following modulation sources:

Option Description

LFO P1 The first LFO of the zone, which produces cyclic mod-

LFO P2 The second LFO of the zone, which produces cyclic

Amp Envelope The amplifier envelope of the zone (unipolar). The

Filter Envelope The filter envelope of the zone (unipolar). The shape of

Pitch Envelope The pitch envelope of the zone (bipolar). The shape of

User Envelope The user envelope of the zone (bipolar). The shape of

Step Modulator

Glide The glide signal of the source (unipolar).

ulation signals.

modulation signals.

shape of the envelope equals the modulation signal.

the envelope equals the modulation signal.

the envelope equals the modulation signal. The step modulator of the zone (bipolar). This produces

cyclic, rhythmically stepped modulation signals.

Option Description

Key Follow This produces an exponential modulation signal derived

Note-on Vel Note-on velocity (how fast you hit a key) can be used

Note-on Vel Squared

Note-on Vel Normalized

Note-off Vel Note-off velocity (how fast you released a key) can be

Pitchbend The position of the pitchbend wheel can be used as a

Modulation Wheel

Aftertouch Aftertouch (how hard you keep a key pressed after you

MIDI Controller Any of the 127 available MIDI controllers can be used

Quick Control The quick controls of the program or layer the zone be-

Note Expression

Noise Produces a random modulation signal. Noise is bipolar. Output The audio output of the zone can be used as a modula-

Bus 1-16 Modulations that have been sent to one of the sixteen

from the MIDI note number. Exponential means this source works with destinations such as Pitch or Cutoff. Key follow is bipolar.

as a modulation signal. Note-on Vel is unipolar. The squared version of Note-on Vel. Squared means

you have to press the key harder to produce higher modulation values.

The note-on velocity is normalized via the velocity range of the corresponding zone. At the lowest velocity of the zone the modulation is 0, at the highest velocity it is 1.

used as a modulation signal. Note-off Vel is unipolar. While most of the MIDI keyboards cannot send note-off velocity messages, most sequencer software is able to produce such messages.

modulation signal. Pitchbend is bipolar. The position of the modulation wheel can be used as a

modulation signal. Modulation Wheel is unipolar.

hit it) can be used as a modulation signal. Aftertouch is unipolar. Some MIDI keyboards cannot send aftertouch messages. However, most sequencer software is able to produce such messages.

as a modulation signal. You can select the MIDI con troller from the corresponding submenu.

longs to can be used as a modulation signal. You can select the quick control from the corresponding sub menu.

The eight note expression parameters of the program can be used as modulation signals for the zone. You can select the note expression parameter from the cor responding submenu.

tion signal. Output is unipolar.

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.

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Modulation Destinations

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

Option Description

Pitch Modulates the pitch of the zone. For example, assign

Cutoff Modulates the filter cutoff of the zone. For example, as-

Resonance Modulates the filter resonance of the zone. Resonance

Morph X Modulates the x-axis of the filter in Morph XY mode. Use

Morph Y Modulates the y-axis of the filter in Morph 2, Morph 4,

Cutoff Offset Modulates the cutoff offset of the second filter in serial

Resonance Offset

Pan Modulates the position of the zone in the panorama. Level This modulation adds to the level setting of the zone. It

Volume 1 This modulates the gain of the zone. The volume modu-

Volume 2 As Volume 1. Volume 1 is multiplied with volume 2. This

LFO1 Frequency

LFO1 Shape Modulates the waveform of LFO1. For example, assign

LFO2 Frequency

LFO2 Shape Same as LFO1 Shape, but for LFO2. Step Mod

Frequency

one of the LFOs to create a vibrato effect. When Pitch is selected, the modulation depth adjusts in semitones (-60 to +60).

sign the step modulator to create rhythmic patterns in the spectral timbre.

changes the character of the filter. For example, assign velocity to resonance to accent the filter the harder you hit a key.

this to morph between the filter shapes AD and BC.

or Morph XY mode. For example, use this to morph be tween the filter shapes AB and DC.

or parallel mode. For example, assign the modulation wheel to lower or raise the cutoff of the second filter while you play.

Modulates the resonance offset of the second filter in serial or parallel mode. For example, assign the modula tion wheel to lower or raise the resonance of the second filter while you play.

is ideal for effects such as tremolo.

lation multiplies with the level of the zone. It is ideal for crossfades between zones.

way, you can build more complex modulations. For ex ample, use Volume 1 for crossfading between zones and Volume 2 for fading them in or out.

Modulates the speed of LFO1. For example, assign Aftertouch to control the speed of a vibrato effect while you play.

Key Follow to vary the waveform with the playing posi tion on the keyboard.

Same as LFO1 Freq, but for LFO2.

Modulates the speed of the step modulator. For example, assign an LFO to increase or decrease the speed cyclically.

Option Description

Step Mod Slope

Amp Env Attack Time

Amp Env Decay Time

Amp Env Sustain Level

Amp Env Release Time

Filter Env

Attack Time

Filter Env Decay Time

Filter Env Sustain Level

Filter Env Release Time

Pitch Env Attack Time

Pitch Env

Decay Time

Pitch Env Sustain Level

Pitch Env

Release Time

User Env Attack Time

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.

Modulates the time of the amplitude envelope attack (the first segment of the envelope). The attack time cannot be modulated continuously. The time is updated only when the segment starts.

Modulates the time of the amplitude envelope decay (all segments after the attack and before the sustain). The decay time cannot be modulated continuously. The time is updated only when the segment starts.

Modulates the level of the amplitude envelope sustain. The sustain level cannot be modulated continuously. The level is updated only when the segment starts.

Modulates the time of the amplitude envelope release (all segments after the sustain). The release time can not be modulated continuously. The time is updated only when the segment starts.

Modulates the time of the filter envelope attack (the first segment of the envelope). The attack time cannot be modulated continuously. The time is updated only when the segment starts.

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 is updated only when the segment starts.

Modulates the level of the filter envelope sustain. The sustain level cannot be modulated continuously. The level is updated only when the segment starts.

Modulates the time of the filter envelope release (all segments after the sustain). The release time cannot be modulated continuously. The time is updated only when the segment starts.

Modulates the time of the pitch envelope attack (the first segment of the envelope). The attack time cannot be modulated continuously. The time is updated only when the segment starts.

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 is updated only when the segment starts.

Modulates the level of the pitch envelope sustain. The sustain level cannot be modulated continuously. The level is updated only when the segment starts.

Modulates the time of the pitch envelope release (all segments after the sustain). The release time cannot be modulated continuously. The time is updated only when the segment starts.

Modulates the time of the user envelope attack (the first segment of the envelope). The attack time cannot be modulated continuously. The time is updated only when the segment starts.

Editing Zones in the Sound Editor

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Option Description

User Env Decay Time

User Env Sustain Level

User Env Release Time

Bus 1-16 You can send any modulation to one of the sixteen bus-

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 is updated only when the segment starts.

Modulates the level of the user envelope sustain. The sustain level cannot be modulated continuously. The level is updated only when the segment starts.

Modulates the time of the user envelope release (all segments after the sustain). The release time cannot be modulated continuously. The time is updated only when the segment starts.

ses, 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 zones:

Option Description

Sample Start Modulates the start position of the sample play-

back. For example, assign note-on velocity to play back more of the attack of a sample the harder you hit a key. The sample start cannot be modulated continuously. The parameter is updated only when you hit a key.

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 receives a new trigger. This way, you can quantize a continuous modulation signal. The Sample & Hold modifier offers the following options:

Option Description

Trigger on Note On

Trigger on LFO1

Trigger on LFO2

Trigger on Modulation Wheel

Trigger on Sustain

Sample until Release

Select this to trigger the Sample & Hold modifier manually. Each time you hit a key, the modifier takes a sample.

Select this for periodic triggering of the Sample & Hold modifier. It takes a sample each time the waveform of LFO1 crosses the zero line upwards.

Select this for periodic triggering of the Sample & Hold modifier. It takes a sample each time the waveform of LFO2 crosses the zero line upwards.

Select this to trigger the Sample & Hold modifier manually. It takes a sample each time the modulation wheel passes the center position.

Select this to trigger the Sample & Hold modifier manually. Each time you press the sustain pedal, the Sample & Hold modifier takes a sample.

Select this to trigger the Sample & Hold modifier through releasing a key. It constantly takes samples and holds the last sample when receiving a note-off.

The following destinations are only available for synth zones:

Option Description

Osc1/2/3 Pitch Modulates the pitch of the corresponding oscillator.

Osc1/2/3 Level Modulates the volume of the corresponding oscilla-

Osc1/2/3 Waveform

Sub Osc Level Modulates the volume of the sub oscillator. For exam-

Ring Mod Level Modulates the volume of the ring modulation effect.

Noise Gen Level Modulates the volume of the noise generator. For ex-

For example, assign one of the LFOs to detune the oscillator cyclically.

tor. For example, assign the modulation wheel to fade the oscillator in and out while you play.

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.

ple, assign the modulation wheel to fade in the oscillator while you play.

For example, assign the modulation wheel to fade in the ring modulation while you play.

ample, assign the modulation wheel to fade in the noise generator while you play.

Editing Zones in the Sound Editor

Using Global MIDI Controllers

HALion features eight global MIDI controllers (“Contr. A – Contr. H”), which can be used as placeholders in the modulation matrix. With these controllers, you can remap specific MIDI controllers to the placeholder controllers, for example, from the CC Mapper. This allows you to use the global controller in several places and set up the assign ment only once.

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Mapping Zones

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Introduction

In HALion, you can edit the sample mapping manually in the Mapping editor. The Mapping functions are based on information like key range, root key, and velocity range.

The Mapping Editor

The Mapping editor allows you to view and edit the distribution of zones inside a program. All zones are mapped to the key range on the horizontal axis and the velocity range on the vertical axis. In the upper area, you have access to mapping ranges and sample parameters for the selected zone.

Zones are displayed as boxes. Selected zones are shown with a red border, and the focused zone with an orange border. Overlaying zones are semi transparent, so that overlapping areas can easily be recognized.

When playing notes on a MIDI keyboard, the Mapping editor shows you which note you play on the Mapping editor keyboard. Furthermore, you can see the current velocity in the velocity scale on the left.

The Toolbar

The toolbar at the top of the window shows the name of the focused zone and a number of editing options for the mapping.

The Zone Range Section

Below the toolbar, the zone range section is located. Here you can set the values for Low and High Key, Low and High Velocity, Root Key, Tune, and Gain of a zone. The Tune and Gain parameters are only available for sample zones.

The Mapping Editor Keyboard

The Mapping editor keyboard allows you to see with which keys a zone can be triggered. It can also be used to trigger notes. Depending on the vertical position at which you click the key, it produces a lower or higher velocity.

The context menu for a key contains submenus that show information on pitch and velocity as well as the zones that are mapped to a key.

Ö Keys with no zones assigned to them are grayed out.

Testing the Sample Mapping

• [Ctrl]/[Command]-click a key on the Mapping editor keyboard and keep the mouse button pressed. HALion plays this key and all following keys at the same velocity, for as long as you press the mouse button.

• Hold down [Ctrl]/[Command]-[Alt]/[Option] and click a key to play each zone ten times, at increasing velocities from 1 to 127.

The Velocity Scale

The velocity scale on the left provides an orientation when adjusting the velocity range of a zone. In the background of the scale, a meter indicates the incoming velocity value. After each note, the meter automatically falls back to zero and leaves a marker on the last velocity value.

Setting the Focus in a Multi-Selection

When multiple zones are selected, you can click on a zone to set the focus. Alternatively, you can use the Focused Zone pop-up menu on the toolbar to select a different zone.

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Zooming and Scrolling

The Mapping editor can zoom and scroll in two dimensions: keyboard and velocity.

• To zoom in or out, click the “+” or “-” button on the scrollbars.

Once you have zoomed in, you can use the scrollbar to move to a specific velocity or keyboard area.

• To zoom in or out, press [H] or [G] on the computer keyboard.

• To zoom in on a specific zone, double-click it. To zoom out, double-click again.

• To zoom in on an area where two or more zones are overlapping, double-click the area. To zoom out, doubleclick again.

• To zoom to the selection, activate the S button next to the scrollbar.

• To zoom out completely or return to the last zoom state, click the A button next to the scrollbar.

Automatic Scrolling to a Tree Selection

When “Scroll Position follows Tree Selection” is activated on the toolbar and you select a zone in the Program Tree, the Mapping editor automatically scrolls the view to keep the selection in the center. This works on both the key

board and the velocity axes.

Zoom Snapshots

Zoom Snapshots save the current zoom state in the Mapping editor. For example, by saving a snapshot for the lower and a snapshot for the upper range of the keyboard, you can switch between editing the two areas.

The snapshot handling is the same as for envelopes, see

“Envelope Zoom Snapshots” on page 85.

Selecting Zones

• Click a zone to select it.

• [Ctrl]/[Command]-click to select several zones.

• Hold down [Ctrl]/[Command] and draw a selection rect-

angle covering the zones that you want to select.

• Press [Ctrl]/[Command]-[A] to select all zones.

• Click on the velocity scale to select all zones that be-

long to a certain velocity.

Moving Zones

Selected zones can be moved in the Mapping editor.

• Click in the middle of one of the zones and drag to move all the zones together.

To limit the movement to the vertical or horizontal direction, start dragging the zone in one direction and press [Ctrl]/[Command] or [Alt]/[Option], respectively.

When you move sample zones horizontally, they are transposed. To make moved samples play back at the right pitch again you have to adapt the Root Key setting or acti vate the “Move Root Key with Zones” button on the toolbar first.

Move Lock

By clicking the Move Lock button on the toolbar, you can prevent accidental moving or resizing of zones.

Setting Key and Velocity Range

Graphically

To set the key and velocity ranges, move your mouse to one of the borders of a zone, so that the mouse pointer changes to a double arrow, and drag. If you drag the left border, you set the lowest key for the key range, for example.

When you select multiple zones and drag the border of adjoining zones that are part of the selection, you can adjust the low and high values of the corresponding zones simultaneously.

Numerically

You can also set the key and velocity range values using the value fields at the top of the window.

When multiple zones are selected, only the values of the focused zone are displayed in the edit fields. However, changing the values affects all selected zones. Like in the Sound editor for a zone, you can choose between abso lute and relative editing, see “Absolute and Relative Edit-

ing” on page 75.

Mapping Zones

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Muting and Soloing Zones

You can mute and solo zones in the Mapping editor using the context menu.

Showing and Hiding Zones

You can show and hide zones using the Visibility context menu options.

Auto Visibility

The Auto Visibility option on the Visibility submenu allows you to control the visibility of zones inside the Mapping editor. When it is activated, only the selected zone and the other zones that are part of the same layer are shown.

Fading and Crossfading Zones

Zones in HALion can partially or totally overlap. Fades can be created in the horizontal (key) and the vertical (velocity) direction. This allows you to successively add certain sound components over the key or the velocity range.

To create fades or crossfades, proceed as follows:

1. Select the zones that you want to fade or crossfade.

2. Open the context menu, select the Crossfades sub-

menu, and choose “Enable Crossfades on Keyboard Axis”, or “Enable Crossfade on Velocity Axis”, or both.

HALion displays the fade handles.

3. Drag the handles to adjust the fade ranges.

Faded regions are shown in green.

Curve Shape

By default, the fade curve is exponential, but you can change the curvature by dragging the curve up and down. The maximum curve setting represents an equal power curve. This is useful for velocity crossfades.

Auto Crossfades

The Crossfade option on the toolbar can be set to Auto (the icon turns blue). In this mode, the crossfade range is automatically adjusted when you move overlapping zones.

Symmetric Crossfades

You can create symmetric crossfades for zones that have an identical key range and an adjacent velocity range.

Proceed as follows:

1. Select the two zones, open the context menu and on the Crossfades submenu, select “Enable Crossfade on Velocity Axis”.

The crossfade handles are displayed.

2. On the toolbar of the Mapping editor, set the Crossfade option to Symmetric.

The icon turns yellow.

3. Drag the handles to set up the crossfade.

Setting the Root Key

The root key determines the original pitch of a zone. In other words, it defines the key on which the zone is played without being transposed. Samples can contain root key information embedded in the sample file. When they are loaded, they are automatically mapped to the correspond ing keys.

The sample collections included with HALion contain both multi-sampled instrument programs and single-shot sample programs. The former contains samples of a specific instrument (usually containing only one sample zone per key on the keyboard). The latter contain different sample zones that are mapped across the keyboard, without any relationship between key and pitch. For multi-sampled in strument programs, there is no need to change the root key settings, but for single-shot sample programs, you might want to move sample zones.

If you have moved sample zones in the Mapping editor, you can make them play back at the original pitch by setting the root key.

You have the following possibilities:

• Directly enter the value in the Root Key value field.

• Hold [Alt]/[Option] and click the corresponding key on

the Mapping editor keyboard. When you move a sample zone, you can make the root key

move with the zone by holding [Ctrl]/[Command]-[Alt]/ [Option] while dragging or by activating “Move Root Key with Zones” on the toolbar.

Triggering Zones

You can trigger zones in the Mapping editor. To activate trigger mode, click the Trigger Zones button on the toolbar.

100

Mapping Zones

STEINBERG HALion 4 Manuel d'utilisation [fr]

Specifications and Main Features

Frequently Asked Questions

User Manual

English

Table of Contents

Installation and Setup

Welcome

Key Command Conventions

How You Can Reach Us

Installation

Setting Up

The HALion Control Panel

Introduction

Configuring the Control Panel

Setting the Focus

Working with Multiple Windows

Screen Sets

Overview of the Available Editors

Macro Pages

Managing Your Sounds

The Slot Rack

Managing Multis

Managing Files via the MediaBay

Loading HALion 3 Programs

Content Files and Folder Structure

Working with General MIDI Files

Loading and Managing Programs

Introduction

The Columns of the Program Table

Loading Programs into the Program Table

Loading Programs from the Program Table to the Slot Rack

Editing the Program Table

Using the Program Tree

Introduction

The Program Tree Structure

Editing Zones, Programs, and Layers

Making Selections

Navigating in the Program Tree

Muting, Soloing, and Hiding

Adding MIDI Modules

Customizing the Program Tree

Adding Insert Effects

Changing the Order of MIDI Modules and Insert Effects

Adding Audio Busses

Global Functions and Settings

Introduction

The Plug-in Functions Section

The Toolbar

The Keyboard Editor

The Options Editor

Quick Controls

AI-Knob Support

Common Editing Methods

Introduction

Using Controls in HALion

Using Key Commands

Working with Presets

Using Automation

Using Effects

Using MIDI Modules

Importing and Exporting Samples

Importing Samples

Finding Missing Samples

Exporting Samples

Replacing Samples

Importing Third-Party Sampler Programs

Importing Sliced Loops

Introduction

The Main Section

The Trigger Section

The Voice Management Section

The Variation Groups Section

The Note Expression Section

The Quick Control Assignments Section

Editing Zones in the Sound Editor

Introduction

Editing Selected Zones or All Zones

Global Zone Settings

Absolute and Relative Editing