Steinberg HALion Sonic SE 3 Operation Manual

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Operation Manual

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Matthias Klag, Michael Ruf

Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek

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

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

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

Steinberg Media Technologies GmbH, 2017.

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4 Installation

4 Conventions 5 System Requirements 6 Installing the Program 6 How You Can Reach Us 6 About the Documentation 7 Setting Up

8 Introduction

8 Window Overview

10 Common Editing Methods

10 Buttons 10 Value Fields 11 Using Key Commands 11 Presets

13 Global Functions and Settings

13 Plug-in Functions Section 15 Plug-in Name and Steinberg Logo 15 Toolbar 16 Performance Controls 16 Quick Controls 17 Trigger Pads 19 Options Page

24 Managing Your Sounds

24 About Programs, Multis, and Presets 24 Loading Programs 25 Slot Rack 26 Managing and Loading Files

31 Editing Programs

31 Macro Page 33 Trip Macro Page

43 Automation

43 Automation Page 43 Setting Up Automation

45 MIDI Editing and Controllers

45 MIDI Page 46 MIDI Controllers

49 Mixing and Effect Handling

49 Mix Page 50 Effect Handling

52 Library Manager

52 Library Manager Editor

55 Effects Reference

55 Reverb Effects 59 Delay Effects 60 EQ Effects 62 Filter Effects 70 Distortion Effects 75 Pitch Shift Effects 75 Modulation Effects 86 Dynamics Effects 96 Spatial and Panner Effects 97 Legacy Effects

109 Using the Standalone Version of the Plug-In

109 Making Preferences Settings 109 Preferences Dialog 111 Selecting the MIDI Input and the Audio

Output

111 Scratch Pad 113 Loading a MIDI File 114 Saving a MIDI File 114 Master Volume

115 Index

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Conventions

In our documentation, we use typographical and markup elements to structure information.

Typographical Elements

The following typographical elements mark the following purposes.

PREREQUISITE

Requires you to complete an action or to fulfill a condition before starting a procedure.

Installation

PROCEDURE

Lists the steps that you must take to achieve a specific result.

IMPORTANT

Informs you about issues that might affect the system, the connected hardware, or that might bring a risk of data loss.

NOTE

Informs you about issues that you should consider.

EXAMPLE

Provides you with an example.

RESULT

Shows the result of the procedure.

AFTER COMPLETING THIS TASK

Informs you about actions or tasks that you can undertake after completing the procedure.

Markup

Bold text indicates the name of a menu, option, function, dialog, window, etc.

EXAMPLE

In the header of the plug-in panel, click the Preset Management button next to the preset name field and select Load Preset.

If bold text is separated by a greater-than symbol, this indicates a sequence of different menus to open.

EXAMPLE

To save a specific layer, right-click it and select Load/Save> Save Layer As.

Key Commands

Many of the default key commands, also known as keyboard shortcuts, use modifier keys, some of which are different depending on the operating system.

For example, the default key command for Undo is Ctrl-Z on Windows and Cmd-Z on Mac OS. When key commands with modifier keys are described in this manual, they are shown with the Windows modifier key first, in the following way:

•

Windows modifier key/Mac OS modifier key-key

EXAMPLE

Ctrl/Cmd-Z means: press Ctrl on Windows or Cmd on Mac OS, then press Z.

System Requirements

Your computer must meet the following minimum requirements:

Mac

•

Mac OS X Version 10.11/macOS 10.12

•

VST 3, AAX, or AU compatible host application for using HALion Sonic SE as a plug-in

•

64-bit Intel or AMD mutli-core processor (Intel i5 or faster recommended)

•

4 GB RAM (8 GB recommended)

•

1 GB of free hard-disk space

•

Display resolution of 1366 x 768 pixels (1920 x 1080 recommended)

•

OS-compatible audio hardware*

•

Internet connection required for activation, account setup, and personal/ product registration

•

Downloads are required for the installation

*ASIO-compatible audio hardware recommended for low-latency performance

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Installation Installing the Program

Windows

•

64-bit Windows 7*/8.x/10

•

VST 2, VST 3, or AAX compatible host application for using HALion Sonic SE as a plug-in

•

64-bit Intel or AMD mutli-core processor (Intel i5 or faster recommended)

•

4 GB RAM (8 GB recommended)

•

1 GB of free hard-disk space

•

Display resolution of 1366 x 768 pixels (1920 x 1080 recommended)

•

OS-compatible audio hardware**

•

Internet connection required for activation, account setup, and personal/ product registration

•

Downloads are required for the installation

*Windows 7 Service Pack 1, Microsoft.NET Framework 4.0 and Platform Update for Windows

**ASIO-compatible audio hardware recommended for low-latency performance

Installing the Program

After downloading the required files, you can install HALion Sonic SE on your computer.

On Windows systems, double-click the product installer and follow the instructions

• on screen.

•

On a Mac, double-click the file HALion Sonic SE.pkg and follow the instructions on screen.

How You Can Reach Us

Click the Steinberg logo in the top right corner of the control panel to open a pop-up menu containing items for getting additional information and help.

•

This menu contains links to various Steinberg web pages. Select a link to open the corresponding page. On the web pages, you can find support and compatibility information, answers to frequently asked questions, links for downloading new drivers, etc.

•

You also find a menu item for the registration of your product. As a registered user, you are entitled to technical support, you gain access to exclusive

offers such as software updates and upgrades, and more.

About the Documentation

•

To visit steinberg.help, enter steinberg.help in the address bar of your web browser or open HALion Sonic SE, click the Steinberg logo in the top right corner and select Help> HALion Sonic SE Help.

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Installation Setting Up

Setting Up

The following sections describe how to use HALion Sonic SE as a plug-in in different host applications.

NOTE

HALion Sonic SE can also be used as a standalone application.

Using the Instrument in an AU-Compatible Application

The AU version of HALion Sonic SE is installed in your AU plug-ins folder and lets HALion Sonic SE work in an AU environment without any performance loss or incompatibilities.

For example, to load HALion Sonic SE as an AU instrument for Logic Pro, proceed as follows:

PROCEDURE

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

2. Click in the I/O field and select AU Instruments> Steinberg> HALion Sonic SE.

3. Select one of the available channel configurations.

Using the Instrument as Standalone Application

HALion Sonic SE can be used as a standalone application, independently of any host application. In this case, you can connect the instrument directly to your audio hardware.

Window Overview

The application interface follows a fixed-size single window concept.

Introduction

The window is subdivided into several sections:

• The plug-in functions section at the top of the application window.

• The multi program rack on the left.

• The toolbars above the edit display.

• The edit display on the right. It contains the Load, Edit, MIDI, Mix, Effects, and Options pages.

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Introduction Window Overview

• The performance section at the bottom. It contains the trigger pads, the quick controls,

View Options

You have two view options: the full-size editor view and the smaller player view. In the player view, only the plug-in functions, the trigger pads, the quick controls, and the performance controllers are visible.

• Click the p button in the toolbar above the edit display to switch between the views.

the performance controllers, and the sphere control.

When the player view is active, the button changes to e, indicating that clicking again lets you return to the editor view.

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Buttons

Common Editing Methods

On/Off Buttons

These buttons have two states: on and off. If you move the mouse over an On/Off button, it changes its appearance to show that you can click it.

Push Buttons

Push buttons trigger an action and then go back to their inactive state. These buttons open menus or file dialogs.

Value Fields

To set a value, you have the following possibilities:

• Double-click in a value field, enter a new value, and press Enter.

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

• Position the mouse over a value field and use the mouse wheel.

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

• To set the parameter to its default value, Ctrl/Cmd-click the value field.

• To use a fader to adjust the value, Alt-click a value field.

• To enter musical values, such as key ranges or the root key, with your MIDI keyboard,

• To navigate to the next parameter, press Tab. To jump backwards to the previous

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

double-click the value field, press a key on your MIDI keyboard, and press Return.

parameter, press Shift-Tab. If no parameter is selected inside the focused view, pressing Tab always jumps to the

first parameter.

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Common Editing Methods Using Key Commands

Using Key Commands

Presets

• To open the Key Commands dialog, open the Options page and click the Key Commands button in the Global section.

The commands are arranged in a hierarchical folder structure on the left. When you open a category folder, the items and functions are displayed with any currently assigned key commands.

• To set up a key command, select the function in the list, enter the key command in the Type in Key field and click the Assign button to the right of the field. If this key command is already used for another function, this is displayed in the field below.

• To delete a key command, select the function in the list, select the key command in the Keys list and click the Delete button.

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

NOTE

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

HALion Sonic SE offers two types of presets: section/module presets and VST presets. Section and module presets store and recall the setup of a specific component on the HALion Sonic SE panel. VST presets contain all information necessary to restore the complete state of the plug-in.

During setup, the factory presets are installed in a dedicated folder and a user folder is created for your own presets. The handling of presets is the same throughout the program.

NOTE

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 update.

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Common Editing Methods Presets

For more information on VST presets, see the Operation Manual of your Steinberg DAW.

Handling Section and Module Presets

The preset controls can be found throughout the program. The handling is always the same.

• To save a preset, click Save .

NOTE You cannot overwrite factory presets. If you want to save changes made to a factory

preset, save the preset under a new name or in a new location.

• To load a preset, click the arrow icon and select a preset from the list.

• To delete a preset, click Delete .

NOTE Factory presets cannot be deleted.

Handling VST Presets

Loading VST Presets

PROCEDURE

1. In the header of the plug-in panel, click the Preset Management button next to the preset name field and select Load Preset.

2. Do one of the following:

•

Saving VST Presets

PROCEDURE

• In the header of the plug-in panel, click the Preset Management button next to the preset name field and select Save Preset.

Select a preset to load it.

Double-click a preset to load it and close the preset loader.

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Global Functions and Settings

Plug-in Functions Section

The plug-in functions section at the top of the window gives you access to global functions that affect both the currently loaded programs, and the general working of the plug-in.

The plug-in functions section contains the multi slot section, the program slot section, the master section, and the performance displays.

Program Slot Section

The slot parameters are the same as in the multi program rack. In addition, the following parameters are available:

Slot Number

The number of the active slot. You can switch to another slot by clicking the slot number and selecting an entry from the list.

NOTE

Only slots that contain programs are available on the list.

Load Icon

Click the Load icon to the right of the slot to open the program loader. Doubleclick a program to load it.

MIDI Activity Indicator

The MIDI symbol starts blinking when incoming MIDI data is detected.

Level

Adjusts the output level of the slot.

Pan

Adjusts the position of the slot in the stereo panorama.

Output

On the output selector, you define the output destination of the slot signal.

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Global Functions and Settings Plug-in Functions Section

Polyphony

Sets the number of keys that can be played simultaneously.

NOTE

One key can trigger several layers. On the performance meter, you can see how many voices are triggered by your playing.

Program Icon

The program icon indicates the sound category to which the program belongs. It depends on the category and subcategory tags that are specified for a program in the MediaBay.

Master Section

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

Master Volume

Adjusts the overall volume of the plug-in.

Master Tune

You can set the Master Tune slider from 415.3 Hz to 466.2 Hz, which equals -100 cents to +100 cents.

Performance Displays

The meters and text displays indicate the system load of the plug-in.

CPU

This meter shows the processor load during playback. The more voices you play, the higher the processor load. If the overload indicator lights up, reduce the Max

Voices setting on the Options page.

Disk

This meter shows the hard disk transfer load during the streaming of samples or when loading presets. If the overload indicator lights up, the hard disk is not supplying data fast enough. In such a case, open the Options page and adjust the

Disk vs. RAM slider towards RAM or decrease the Max Voices setting.

Polyphony

This display indicates the number of samples that are currently played back, to help you trace performance problems. For example, if you have to reduce the Max Voices setting on the Options page, you can verify your settings by monitoring the number of samples that are currently playing.

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Global Functions and Settings Plug-in Name and Steinberg Logo

Memory

This display indicates the overall amount of RAM that is currently used by the plug-in and the loaded programs. The number refers to the streaming buffer and the preloaded samples. The MEM display helps you trace performance problems. For example, if you need to free up memory for other applications, you can adjust the Disk vs. RAM slider on the Options page toward Disk. You can verify your settings by monitoring the MEM display.

Plug-in Name and Steinberg Logo

To get information regarding the version and build number of the plug-in, click the plugin logo. This opens the About box. To close the About box, click it or press Esc on your computer keyboard.

If you click the Steinberg logo in the top right corner of the plug-in interface, a pop-up menu opens. Select one of the options to navigate to Steinberg web pages containing information on software updates, troubleshooting, etc.

Toolbar

The toolbar below the plug-in functions section contains controls for loading multi-programs on the left, the buttons to switch between the different pages, and various useful global functions.

Global insert, AUX, and FlexPhraser buttons

Use these buttons to switch off all insert effects, AUX effects, and FlexPhrasers for the whole plug-in at once. You can use this to compare sounds with and without effects or to use a preset without the FlexPhrasers, for example. FlexPhrasers are a feature of the full version of HALion. They add arpeggios and even complex musical phrases to some programs of the factory content.

Lock button

If this button is activated, loading another program or layer does not overwrite the current FlexPhraser and trigger pad settings.

MIDI Reset

Click this button to stop playback and reset all MIDI controllers to their default values.

Undo/Redo

To undo or redo a single operation, click the Undo or Redo buttons. To undo or redo multiple operations, click the arrow next to the button to open the history and select the step to which you want to return.

Editor/Player

This button toggles between the two views: the full-size editor view (e) and the smaller player view (p).

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Global Functions and Settings Performance Controls

Performance Controls

The performance controls are located in the lower part of the window.

Wheel Controls

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

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.

Keyboard

The virtual 88-note keyboard can be used to trigger MIDI notes. By clicking the keys at different vertical positions you can control the note-on velocity. Furthermore, the keyboard displays keys that are not used to trigger notes but act as key switches. The Shift Keyboard buttons to the left and right of the keyboard shift the keyboard range by octaves. This allows you to display key switches that are located on lower keys, for example.

Sphere Control

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 assigned to the sphere, such as cutoff and resonance.

If parameters are assigned to Sphere H and Sphere V, triangles for indicating the horizontal and vertical axis are available.

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

• If Center Horizontal and/or Center Vertical are activated, the sphere returns to the corresponding center position as soon as you release the mouse button.

Quick Controls

Quick controls allow you to remote-control any parameter inside the program.

For each program, eight quick controls are available. Furthermore, Sphere H, Sphere V, and the modulation wheel can also serve as quick controls.

To hear a sound without quick control assignments, you can bypass them temporarily by using the Bypass button to the right of the quick controls. This turns off the quick control assignments of the program.

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Global Functions and Settings Trigger Pads

Trigger Pads

You can use the trigger pads to trigger single notes or whole chords and to switch between FlexPhraser variations.

Many of the programs that come with HALion Sonic SE make use of the trigger pads.

If a note or a chord is assigned to a pad, this pad turns orange. If a pad switches between FlexPhraser variations, the line above the pad turns orange.

•

To trigger a pad, click on it.

Presets

Pad presets save trigger notes and chord snapshots, but not FlexPhraser snapshots. This means that you can exchange trigger notes and chords by loading presets without loosing your FlexPhraser snapshots.

Bypass

With the Bypass Pads button to the right of the trigger pads, you can bypass the entire pads section. This deactivates any functionality you assigned to the trigger pads.

Assigning Trigger Notes to Pads

You can assign a MIDI note to a pad and trigger the pad by playing this note.

To define the trigger note, do one of the following:

•

Right-click a pad, open the Assign Trigger Note submenu, and from the further submenus, select the octave and note that you want to assign.

•

Open the context menu for a pad, select Learn Trigger Note, and play the note on your MIDI keyboard or click a key on the internal keyboard.

The name of the assigned trigger note is displayed in the top left corner of the pad.

On the internal keyboard, keys that serve as trigger notes are shown in blue. These keys do not play sounds, but trigger the corresponding pads instead.

•

To remove a trigger note from a pad, right-click the pad and select Forget Trigger

Note.

Assigning Chords or Notes to Trigger Pads

PROCEDURE

1. Right-click a pad and select Snapshot Chord. The pad starts blinking.

2. Do one of the following:

•

Play a chord or a single note and then click the pad that is blinking to assign the chord or note to the pad.

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Global Functions and Settings Trigger Pads

•

Drag a chord event from the chord track of your Steinberg DAW onto a trigger pad. This transfers the corresponding MIDI notes to the pad.

If you drag a chord event onto the internal keyboard first, the corresponding chord is played back. This is useful to verify whether you selected the correct chord.

If you define a chord that contains a key switch, you can trigger the chord with a specific instrument expression.

If you add keys to a chord that also work as trigger notes, they trigger the underlying MIDI note instead of the trigger note.

RESULT

Triggering the pad now plays the chord or note.

Default Trigger Note Settings

Assigned trigger notes are saved with each program to allow for maximum flexibility. However, you can save a fixed set of default trigger notes to reflect an existing hardware setup, for example.

•

To specify a default set of trigger notes, set up the trigger notes for all pads, right-click a pad, and select Save Trigger Notes as Default.

•

To activate the default trigger note settings, right-click a pad and select Use Default Trigger Notes.

Now, changing programs or multi-programs does not change the trigger notes anymore.

If you deactivate Use Default Trigger Notes, the last set of trigger notes remains active. To return to the trigger notes that were saved with the program, reload the program.

Assigning Key Switches to Trigger Pads

To use the pads for switching between expressions, assign them to the corresponding key switches.

PROCEDURE

• Right-click a pad, select Snapshot Chord, and play the key switch.

Naming Pads

Entering names for pads allows you to get a better overview of their functionality, for example.

PROCEDURE

1. Right-click the pad to open the context menu and select Rename Pad.

2. Enter the new name and press Enter.

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Global Functions and Settings Options Page

Options Page

The Options page contains global settings regarding performance optimization, global functions, and MIDI controllers.

Disk Streaming Section

Some of the programs come with up to 1 GB of samples. That is a large amount of data and your computer cannot load all samples completely into the RAM, especially if you are using all slots. Therefore, HALion Sonic SE loads only the initial milliseconds of each sample into RAM. You can specify how much RAM should be used and how much HALion Sonic SE should rely on accessing the hard-disk.

Balancing Disk vs. RAM

Use the Balance slider to balance the hard disk versus the RAM usage.

• If you need more RAM for other applications, drag the slider to the left

towards the Disk setting.

• If your hard disk is not supplying data fast enough, drag the slider to the

right towards the RAM setting.

NOTE

The Disk vs. RAM setting always applies to all plug-in instances. It is not saved with the project. You set it up only once for your computer system.

Used Preload and Available Memory

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

Max Preload

Determines the maximum amount of RAM that HALion Sonic SE uses for preloading samples. In most cases, the default values are sufficient. However, it may become necessary to reduce this value, for example, when working with other applications or plug-ins that require a lot of memory.

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Global Functions and Settings Options Page

Expert Mode

Activate Expert Mode if you want to adjust the Disk Streaming settings in greater detail.

• Preload Time defines how much of the start of the samples is preloaded

• Prefetch Time determines the read-ahead capacity into the RAM while

• Streaming Cache determines the amount of RAM that is reserved for

into the RAM. Larger values allow for more samples to be triggered in a short time.

streaming samples for a voice that is playing. Larger values allow for better transfer rates from disk, and usually for more voices. However, this requires larger streaming cache in RAM. If you increase the Prefetch Time, it is recommended to also increase the Streaming Cache.

prefetching. The actually needed size depends on the prefetch time, the number of simultaneously streaming voices and the audio format of the samples. For example, higher sample and bit rates need more RAM.

Performance Section

The Performance section contains settings to optimize the overall CPU performance of the plug-in.

Max Voices

Determines the total number of voices that a plug-in instance can play back. As soon as this limit is reached, HALion Sonic SE starts stealing voices.

Max CPU

To avoid clicks from CPU overloads, you can specify a maximum limit for the CPU load of the plug-in instance. HALion Sonic SE steals voices automatically when this limit is exceeded. At a setting of 100 %, this parameter is deactivated.

NOTE

Because of the reaction time of the plug-in, it is possible that you get CPU peaks that exceed the set limit. This can lead to artifacts, such as audio drop-outs. Therefore, it is good practice to set the Max CPU setting at a value a bit lower than actually needed.

Voice Fade Out

Sets the time to fade out voices that need to be stolen because the Max Voices setting or the Max CPU setting have been reached.

Osc ECO Mode

Activate this option to run the oscillators of synth layers in ECO mode. In ECO mode, the oscillators use less CPU at the cost of producing more aliasing at higher pitches. If this option is activated, you can play more voices with synth layers.

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Global Functions and Settings Options Page

Multi Loading

Normally, when loading multi-programs, the previous multi is kept in the RAM until the new multi has been completely loaded. Therefore, replacing a large multi by another can lead to RAM overload on 32-bit systems.

• To clear a multi before loading a new one, select Clear before on the pop-

Multi-Core

On this pop-up menu, you can specify how many of the available CPU cores of your system can be used by the plug-in. This allows HALion Sonic SE to compute each program on a different core, for example. The best setting here depends on multiple factors, and varies from system to system, and project to project. A good starting point is to set this value to one core less than the available number of cores.

NOTE

If problems occur, reduce the number of cores, or set the pop-up menu to Off and load multiple instances of HALion Sonic SE instead. This way, the host application distributes the work load across the available cores.

up menu.

Global Section

Here, you find common settings of HALion Sonic SE and the General MIDI mode parameter.

NOTE

The settings in this section are not saved with a project, but affect the plug-in as a whole.

Show Tooltips

If this option is activated, a tooltip is shown when you move the mouse over a control.

Show Value Tooltips

If this option is activated, parameters without a value field display their value in a tooltip when you use the corresponding control.

Solo Mode

• In Standard mode, you can solo multiple programs or layers to hear them

combined.

• In Exclusive mode, only one program or layer can be soloed at a time.

Program Changes

Determines how HALion Sonic SE handles incoming MIDI program change messages.

• In GM Mode, program change messages are used to switch programs in

the slots of the multi program rack.

• Select Off to ignore incoming controller change messages.

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Global Functions and Settings Options Page

General MIDI Mode

Select General MIDI Mode to play back MIDI files that have been arranged for General MIDI sound sets. General MIDI mode supports MIDI program change messages and preloads a global chorus and reverb effect on AUX FX 1 and 3 for immediate use.

If General MIDI mode is activated, all loaded programs are removed and the 16 slots are assigned to the 16 MIDI channels. As long as General MIDI mode is active, the 16 MIDI channels on the MIDI page cannot be changed.

The MediaBay sets an instrument set filter and displays only the General MIDI sounds. The MIDI program changes 0–127 refer to the corresponding GM Sound attributes of the MediaBay. This means that you can make any of your sounds part of the General MIDI sound set by setting the GM Sound attribute on the corresponding sound.

NOTE

The General MIDI sounds that come with HALion Sonic SE are optimized for fast loading times. However, larger programs take longer to load.

Key Commands

Opens the Key Commands dialog, where you can view and assign key commands.

Reset Messages

If you click this button, all message dialogs that have been suppressed with the

Don't Show Again option are displayed again.

MIDI Controller Section

Controller Assignment

With the two buttons in this section, you can save your customized MIDI controller assignments as default or restore the factory MIDI controller assignments.

NOTE

Save as Default does not include any of the MIDI controller assignments of the AUX FX.

The current MIDI controller mapping is also saved with each project. This way, you can transfer your settings to other systems. The project includes the MIDI controller assignments of the AUX FX as well.

MIDI Controller Smoothing

MIDI controllers have a maximum resolution of 128 steps. This is rather low. Therefore, if you use a MIDI controller as a modulation source in the modulation matrix or to remote-control a quick control, the parameter change may occur in audible steps, causing an effect often referred to as “zipper noise”. To avoid this, HALion Sonic SE provides MIDI controller smoothing, so that parameter changes occur more gradually.

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Global Functions and Settings Options Page

• If MIDI controller changes cause audible artifacts, turn the control

• If you want more immediate MIDI controller changes, turn the control

FlexPhraser

Hold Reset sends a global hold reset message to all FlexPhraser modules that

are used.

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

towards slower settings. This way, MIDI controller changes do not occur immediately, but are spaced over a period of time (in milliseconds).

towards faster settings. Note, however, that this may introduce audible artifacts.

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Managing Your Sounds

About Programs, Multis, and Presets

Programs

A program is a complex instrument or sound. Often, a program comes with all necessary components, such as the synthesis part or insert effects.

Multis

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

Presets

You can save and load all types of sounds as presets, that is, you can create presets for single programs and for multis.

Loading Programs

HALion Sonic SE can load the program content that comes with Steinberg’s DAWs and VST Sound Instrument Sets, as well as any compatible user content created with HALion 6.

There are several ways to load programs:

• Via drag and drop from the File Explorer/Mac OS Finder

• Via the slot context menu

• By clicking the Load Program button at the right of the slot

NOTE

Programs containing lots of sample data may take some time to load.

Slot Rack

The Slot Rack has 16 slots. Each slot can hold a program, that is, you can work with 16 programs at the same time.

Each slot has a Mute button and a Solo button. You can mute and solo several programs at the same time. The slot number to the left of the slot lights up if incoming MIDI data is detected.

Once a program is loaded in the Slot Rack, it can be played and edited.

Slot Context Menu

The context menu provides a number of functions for managing programs.

Load Program

Opens the program loader. Double-click a program to load it into this slot.

Save Program

Saves the program. If you try to overwrite write-protected factory content, a dialog opens that allows you to save the edited program under a new name.

Save Program As

Allows you to save the program under a new name.

Save All Programs

Allows you to save all programs as a VST preset.

Remove Program

Removes the program from the slot.

Init Program

Loads the Init program. This contains a neutral synth layer.

Revert to Last Saved Program

Discards any changes that you made to the program since the last time it was saved.

Cut Program

Copies the program and removes it from the slot.

Copy Program

Copies the program.

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Managing Your Sounds Managing and Loading Files

Paste Program

Pastes the copied program into the slot. If the slot already contains a program, it is replaced.

Rename Program

Allows you to rename the program.

Reset Slot

Resets the slot to the default values.

Reset All Slots

Resets all slots to the default values.

NOTE

You can also cut, copy, and paste programs from one plug-in instance to another.

Managing and Loading Files

You can use the MediaBay to manage, navigate to, and load different file types.

Managing Multis

Multis can load multiple sounds or programs and combine them.

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

A multi-program contains all plug-in parameters. If you use HALion Sonic SE as a plug-in in a Steinberg DAW, these multis are listed in the Preset Management pop-up menu of the host application. You can drag multis and programs from the MediaBay to a slot in HALion Sonic SE.

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

Loading Multis

You can load multis in the following ways:

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

• Click the Load Multi-Program button in the multi slot to open the Load Multi-Program dialog, select a multi, and click OK.

Renaming Multis

PROCEDURE

• To rename a multi, click in the name field, enter a new name, and press Return.

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Managing Your Sounds Managing and Loading Files

Removing Multis

• To remove all programs of the current multi, click the Remove All Programs button on the toolbar of the multi program rack.

Clearing the Plug-In Instance

• To reset the entire plug-in instance to an empty state, right-click the multi loader and select Clear Plug-in Instance from the context menu.

Saving Multis

PROCEDURE

1. Click the Save Multi-Program button.

2. Enter the name of the multi.

3. Assign any attributes that you want to use 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.

Saving a Multi as Default

• To specify a default multi to be loaded with HALion Sonic SE, use the Save as Default command on the context menu for the multi loader.

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.

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

Editing Attributes

You can edit the attribute values that are assigned to the preset.

PROCEDURE

1. Open the Save Multi-Program dialog and navigate to the New Preset Tags section.

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

3. Click OK to save the preset.

Managing Files via the MediaBay

The MediaBay functionality can be found on the Load page.

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Managing Your Sounds Managing and Loading Files

In the top section of the MediaBay, you specify which sounds to look for. The lower section presents the corresponding results.

•

To adjust the size of the two sections, drag the divider at the top of the results list.

Applying Filters

Category Filter

You can filter the results list based on up to 4 filter criteria using the configurable attribute columns. The standard attributes are Category, Sub Category, Style, and Character.

Only the files that match the filter are displayed in the results list.

• To define the filter, click on specific values in the columns.

• To refine the filter, select more values from other columns.

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

Content Set Filter

Results List

Use the Select Content Set pop-up menu to search a specific content set. By default, the search is performed in all installed content sets.

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

Text Search

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

To reset the text-based result filter, click Clear Search Text next to the search field.

View Filters

The toolbar has three filter buttons that allow you to define which preset types to display: multis, programs, or layers. In the results list, the corresponding icon is shown to the left of the preset name.

Rating Filter

You can limit the results list according to the rating of the presets. Use the rating slider to define the minimum rating.

Content Filters

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

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Managing Your Sounds Managing and Loading Files

Columns

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

Set Up Result Columns

Allows you to select which attribute columns to display on the toolbar.

Results Counter

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

Configuring the Results List

•

To configure which attributes are shown in the results list, click Set up Result Columns in the upper right corner of the results list and activate the corresponding entries. New attributes are added at the right of the list.

•

To reorder the columns in the results list, drag the column headers to another position.

•

To change the sorting of the list entries, click the column header. The triangle in the column header shows the sorting direction.

Assigning General MIDI Program Change Numbers to Sounds

PROCEDURE

1. In the MediaBay, click Set up Result Columns on the title bar of the lower section.

2. Select Musical> GM Sound.

3. Select the sound to which you want to apply the GM program change number.

4. In the GM Sound column for the sound, select the General MIDI program change

number that you want to use. You can assign the same GM Sound program number several times. If a program

number is used more than once, the Rating attribute can be used to decide which program to load.

RESULT

Now, you can use MIDI program change messages to load the assigned sounds into the slot of the corresponding MIDI channel.

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Managing Your Sounds Managing and Loading Files

NOTE

Slot 10 ignores any program change messages and keeps the loaded drum set.

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.

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Macro Page

The factory content that comes with the Steinberg DAW features a macro page for each layer in a program.

This page allows you to adjust the most important parameters. If a program consists of multiple layers, you can access the different layer pages by clicking the layer buttons (L1, L2, L3, L4) in the title bar of the macro page.

The macro page is divided into the following sections: Voice/Pitch, Filter and Amplifier.

Editing Programs

Voice/Pitch Section

This section gives you access to the tuning parameters.

Octave

Adjusts the pitch in octave steps.

Coarse

Adjusts the pitch in semitone steps.

Fine

Allows you to fine-tune the pitch in cent steps.

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Editing Programs Macro Page

Pitchbend Up/Pitchbend Down

Determines the range for the modulation that is applied when you move the pitchbend wheel.

Polyphony

If Mono mode is deactivated, you can use this parameter to specify how many notes can be played simultaneously.

Mono

Activates monophonic playback.

Filter Section

This section allows you to adjust the filter settings. These parameters work as offsets, that is, they raise or lower the actual values.

NOTE

This section is only available when a filter is used.

Cutoff

Controls the cutoff frequency of the filter.

Resonance

Emphasizes the frequencies around the cutoff. At higher settings, the filter selfoscillates, which results in a ringing tone.

Attack

Controls the attack time of the filter envelope.

Release

Controls the release time of the filter envelope.

Amplifier Section

This section gives you access to the level and pan settings. Furthermore, you can adjust the attack and release times of the amplifier envelopes individually.

Level

Controls the overall volume of the sound.

Pan

Determines the position of the sound in the stereo panorama. At a setting of -100

%, the sound is panned hard left, and at +100 %, it is panned hard right.

Attack

Controls the attack time of the amplifier envelope.

Decay

Controls the decay time of the amplifier envelope.

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Editing Programs Trip Macro Page

Trip Macro Page

Trip is a virtual analog synth that comes with three oscillators, a sub oscillator, a ring modulator, and a noise generator.

Accompanied by a flexible filter section that offers 13 different filter shapes and five filter modes, Trip provides a highly flexible sound architecture while still being easy to use. With the integrated arpeggiator and step sequencer that comes with four different pre-configured arpeggio styles per preset, Trip is a real source of inspiration.

Oscillator Page

In addition to the classic synth wave shapes, such as sine, triangle, saw, and square, the three oscillators provide additional sync versions with integrated master oscillators.

Activate the oscillators by clicking their On/Off buttons.

NOTE

Deactivate the oscillators when they are not needed, because they use CPU cycles even if they are not heard, such as in a situation where the level is set to 0 %.

OSC 1/2/3 Type

The Oscillator Type defines the basic sound character of the oscillator. The popup menu lists the wave shapes, followed by the type of algorithm. The following algorithms are available:

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Editing Programs Trip Macro Page

• The PWM (pulse width modulation) algorithm is only supported by the

square wave shape. The Waveform parameter sets the ratio between the high and low of the square wave. A setting of 50 % produces a pure square wave. With settings below or above 50 %, the oscillator produces rectangular waves.

• The Sync algorithm provides different hard-sync oscillators where each is

a combination of a master and slave oscillator. The wave shape of the slave oscillator (sine, triangle, saw, or square) is reset with each full wave cycle of the master oscillator. This means that a single oscillator can already produce a rich sync sound without utilizing other oscillators as slave or master. The waveform parameter adjusts the pitch of the slave oscillator producing the typical sync sound.

Waveform

Modifies the sound of the oscillator algorithm. Its effect depends on the selected oscillator type.

NOTE

This parameter is only available for oscillator types that allow waveform modulation.

Filter Envelope Wave Amount

Specifies how much the modulation of the filter envelope influences the oscillator waveform.

NOTE

This parameter is only available for oscillator types that allow waveform modulation.

Level

Adjusts the output level of the oscillator.

Octave

Adjusts the pitch in octave steps.

Coarse

Adjusts the pitch in semitone steps.

Fine

Allows you to fine-tune the pitch in cent steps.

Filter Envelope Pitch Amount

Here you can specify the modulation amount of the filter envelope on the oscillator pitch.

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Editing Programs Trip Macro Page

Sub Page

The Sub page contains the settings for the sub oscillator, the ring modulation and the noise generator.

To activate the sub oscillator, the ring modulator, and the noise generator, click their On/Off buttons.

NOTE

Deactivate the sub oscillator, the ring modulator, and the noise generator if they are not needed, because they use CPU cycles even if they are not heard, such as in a situation where the level is set to 0 %.

Sub Oscillator

The pitch of the sub oscillator is always one octave lower than the overall pitch. The overall pitch is determined by the Octave setting.

On/Off

Activates/Deactivates the sub oscillator.

Type

The wave shape of the sub oscillator. You can choose between Sine, Triangle, Saw, Square, Pulse Wide, and Pulse Narrow.

Level

Adjusts the output level of the sub oscillator.

Ring Modulator

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

Ring Modulation Source 1/Ring Modulation Source 2

Determines the sources to be ring modulated. You can select OSC 1 or Sub as Source 1, and OSC 2 or OSC 3 as Source 2.

NOTE

Make sure that the corresponding oscillators are activated when you select them. Otherwise, no sound is heard.

Ring Modulation Level

Adjusts the output level of the ring modulation.

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Editing Programs Trip Macro Page

Noise Generator

Noise Type

The sound color of the noise. You can choose between standard and band-pass filtered (BPF) versions of white and pink noise.

Noise Level

Adjusts the output level of the noise generator.

Trigger and Pitch Section

Polyphony

If Mono mode is deactivated, you can use this parameter to specify how many notes can be played simultaneously.

Mono

Activates monophonic playback.

Retrigger

This option is only available in Mono mode. If Retrigger is activated, a note that was stolen by another note is retriggered if you still hold the stolen note when you release the new one.

This way, you can play trills by holding one note and quickly and repeatedly pressing and releasing another note, for example.

Trigger Mode

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

• In Normal mode, a new note is triggered when the previous note is stolen.

• In Resume mode, the envelope is retriggered, but resumes at the level of

the stolen note. The pitch is set to the new note.

• In Legato mode, the envelopes keep playing and the pitch is set to the new

note.

Glide

Allows you to bend the pitch between notes that follow each other. You achieve the best results in Mono mode.

Glide Time

Sets the glide time, that is, the time it takes to bend the pitch from one note to the next.

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Editing Programs Trip Macro Page

Mod Page

Fingered

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

Octave

Adjusts the pitch in octave steps.

Pitchbend Up/Pitchbend Down

Determines the range for the modulation that is applied when you move the pitchbend wheel.

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

LFO Settings

Freq

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

Sync

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

Pitch

Controls the modulation depth of the pitch modulation.

Cutoff

Controls the modulation depth of the filter cutoff modulation.

Pitch

Controls the modulation depth of the pitch modulation.

Cutoff

Controls the modulation depth of the filter cutoff modulation.

Osc1/2/3 Wave

These parameters control the modulation depth of the waveform modulation of the three main oscillators.

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Editing Programs Trip Macro Page

NOTE

These controls are only available if the selected oscillator type supports waveform modulation.

Vibrato Parameters

Vib Freq

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

Vib Depth

Controls the depth of the pitch modulation (vibrato).

Cutoff

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

Osc1/2/3 Wave

Arp Page

These parameters control the influence of the mod wheel on the waveform of the three main oscillators.

NOTE

These controls are only available if the selected oscillator type supports waveform modulation.

The Arp page contains the settings for the integrated arpeggiator and step sequencer.

Variations

Click the variation buttons to switch between the available variations.

Loop

If this option is activated, the phrase plays in a loop.

Hold

Allows you to prevent the phrase from stopping or changing when the keys are released.

• If Off is selected, the phrase changes as soon as you release a key. The

phrase stops immediately when you release all keys.

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Editing Programs Trip Macro Page

• If On is selected, the phrase plays to the end, even if the keys are released.

If Loop is activated, the phrase repeats continuously.

• If Gated is selected, the phrase starts to play when the first key is played. It

plays silently in the background, even if the keys are released, and resumes playback at the current position when you press any of the keys again. This way, you can gate the playback of the phrase.

Trigger Mode

Determines at which moment the arpeggiator scans for new notes that you play on the keyboard.

• If Immediately is selected, the arpeggiator scans for new notes all the

time. The phrase changes immediately in reaction to your playing.

• If Next Beat is selected, the arpeggiator scans for new notes at every new

beat. The phrase changes in reaction to your playing on each new beat.

• If Next Measure is selected, the arpeggiator scans for new notes at the

start of new measures. The phrase changes in reaction to your playing on each new measure.

Restart Mode

• If this is set to Off, the phrase runs continuously and does not restart at

chord or note changes.

• New Chord restarts the phrase on new chords.

NOTE The phrase does not restart upon notes that are played legato.

• New Note restarts the phrase with each new note that you play.

• Sync to Host aligns the phrase with the beats and measures of your host

application each time that you start the transport.

Tempo Scale

Defines the rate at which notes are triggered, that is, the speed at which the phrase is running. In addition to the Tempo parameter, this gives you further control over the playback speed. You can specify a value in fractions of beats. You can also set dotted and triplet note values.

For example, if you change the Tempo Scale setting from 1/16 to 1/8, the speed is cut in half. If you set it to 1/32, the speed is doubled. Other values increase or decrease the speed accordingly.

Swing

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

Gate Scale

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

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Editing Programs Trip Macro Page

Vel Scale

Allows you to raise or lower the note-on velocities of the phrase. At a value of 100

%, the notes are played with their original velocity.

Octaves

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

Working with Variations

Trip features four variations that allow you to set up different phrases or variations of phrases or loops.

NOTE

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

Creating Variations

• To create a variation, click a variation button and set up the arpeggiator.

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

Copying Variations

You can copy variation settings between the variation buttons using the corresponding commands on the context menu.

Assigning Variations to the Trigger Pads

You can assign the variations to the trigger pads using the corresponding commands on the context menu.

Filter and Amplifier Settings

The lower part of the edit display contains the filter and amplifier settings.

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Editing Programs Trip Macro Page

Filter Section

Filter Shape

• LP24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct.

Frequencies above the cutoff are attenuated.

• BP 12 and BP 24 are band-pass filters with 12 and 24 dB/oct. Frequencies

below and above the cutoff are attenuated.

• HP 24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct.

Frequencies below the cutoff are attenuated.

• BR 12 and BR 24 are band-reject filters with 12 and 24 dB/oct. Frequencies

around the cutoff are attenuated.

• AP is an all-pass filter with 18 dB/oct. Frequencies around the cutoff are

attenuated.

Cutoff

Controls the cutoff frequency of the filter.

Resonance

Emphasizes the frequencies around the cutoff. At higher settings, the filter selfoscillates, which results in a ringing tone.

Distortion

Adds distortion to the signal. The following distortion types are available:

• Tube adds warm, tube-like distortion.

• Hard Clip adds bright, transistor-like distortion.

• Bit Reduction adds digital distortion by means of quantization noise.

• Rate Reduction adds digital distortion by means of aliasing.

• Rate Reduction Key Follow adds digital distortion by means of aliasing, but

with Key Follow. The rate reduction follows the keyboard, so the higher you play, the higher the sample rate.

Envelope Amount

Controls the cutoff modulation from the filter envelope.

Cutoff Velocity

Controls the cutoff modulation from velocity.

Cutoff Key Follow

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

Filter Envelope Section

Attack

Controls the attack time of the filter envelope.

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Editing Programs Trip Macro Page

Decay

Controls the decay time of the filter envelope.

Sustain

Controls the sustain level of the filter envelope.

Release

Controls the release time of the filter envelope.

Amplifier Section

Level

Controls the overall volume of the sound.

Velocity

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

Amplifier Envelope Section

Attack

Controls the attack time of the amplifier envelope.

Decay

Controls the decay time of the amplifier envelope.

Sustain

Controls the sustain level of the amplifier envelope.

Release

Controls the release time of the amplifier envelope.

Page 43

You can automate most of the HALion Sonic SE parameters from within your host application, whether these are parameters of a program or global parameters such as AUX effects.

Automation Page

All assigned automation parameters are shown on the Automation page.

To access this page, open the Options page and activate the Automation tab at the top.

Automation

With the tabs at the top, you can specify whether you want to show the automation parameters for the slot, the global parameters, or all automation parameters.

On the left, the name of the automation parameter is shown, and on the right, the name of the assigned HALion Sonic SE parameter. If multiple HALion Sonic SE parameters are assigned to one automation parameter, these are listed below each other on the right.

• To remove an automation parameter, click the trash icon to the right of the parameter name.

• To remove all automation parameters, click Delete All Parameters at the top of the page.

• To rename an automation parameter, double-click the parameter name and enter the new name. This name is then used in your host application.

Setting Up Automation

Creating Automation Parameters

• To assign a parameter to an automation parameter, right-click the parameter control and select Assign to New Automation. The automation parameter is created on the first free automation parameter.

Page 44

Automation Setting Up Automation

• To add a parameter to an existing automation parameter, right-click the control, select

• To remove a parameter from the automation, right-click an automated control and

• To assign a parameter to an automation parameter automatically while working in

Add to Automation and select the automation parameter.

select Forget Automation.

your host application, activate Automation Read/Write, start playback, and use the controls on the HALion Sonic SE interface.

Page 45

MIDI Page

MIDI Editing and Controllers

The MIDI page gives you access to the MIDI slot parameters of HALion Sonic SE.

Parameters

Channel

The slot receives MIDI signals on the MIDI port and channel that are specified here. You can set multiple slots to the same MIDI channel and trigger them simultaneously with the same note events.

Polyphony

Specifies how many notes can be played at the same time.

NOTE

Programs can contain various layers, therefore, the resulting number of voices can be much higher than the value that is specified here.

Transpose

Allows you to shift the incoming MIDI notes by ±64 semitones before they are sent to the loaded program.

Page 46

MIDI Editing and Controllers MIDI Controllers

Key Range (Low Key, High Key)

Allows you to limit the key range for a slot.

Velocity Range (Low Vel, High Vel)

Allows you to limit the velocity range for a slot.

Controller Filter

Allows you to filter out the most commonly used MIDI controllers.

MIDI Controllers

You can assign the parameters volume, pan, mute, solo, send FX 1–4, and the quick controls of each slot to a MIDI controller. In addition to the slot parameters, you can also assign the parameters of the AUX FX and most of the edit parameters.

By default, volume, pan, send FX 1–4, and the program quick controls are already assigned. You can customize this factory MIDI controller mapping by assigning your own MIDI controllers. This way, you can adapt the mapping to your MIDI keyboard or controller.

To provide more control, you can set the minimum and maximum range for each assignment separately.

Assigning MIDI Controllers

To assign a MIDI controller to a parameter, proceed as follows:

PROCEDURE

1. Right-click the control that you want to control remotely and select Learn CC.

2. On your MIDI keyboard or controller, use the potentiometer, fader, or button.

The next time you right-click the control, the menu shows the assigned MIDI controller.

NOTE You can assign the same MIDI controller several times to different parameters.

However, you cannot assign different MIDI controllers to the same parameter.

Unassigning MIDI Controllers

PROCEDURE

• To remove a MIDI controller assignment, right-click the control and select Forget CC.

Restoring the Factory MIDI Controller Assignment

To restore the factory MIDI controller assignments, open the Options page and click Reset to Factory in the MIDI Controller section.

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MIDI Editing and Controllers MIDI Controllers

Setting the Parameter Range

You can set the minimum and maximum values for the parameter for each assignment separately. This gives you more control over the parameter, for example, when you are performing live on stage.

PROCEDURE

1. Set the parameter to the minimum value.

2. Right-click the control and select Set Minimum from the context menu.

3. Set the parameter to the maximum value.

4. Right-click the control and select Set Maximum.

MIDI Controllers and AUX FX

You can assign the parameters of the AUX FX to MIDI controllers.

Unlike the slots, the AUX FX do not have a MIDI port and channel of their own. Instead, they listen to any incoming MIDI controller message, regardless of the MIDI channel. Therefore, if you assign a parameter to a MIDI controller, you should use a controller number that is not already in use by any of the assignments that you made for the slots.

NOTE

If you unload or replace the effect, the MIDI controller assignment of this effect is lost.

Saving a MIDI Controller Mapping as Default

After customizing the factory MIDI controller assignments, you can save them as default.

PROCEDURE

• Open the Options Editor and, in the MIDI Controller section, click Save as Default.

RESULT

Now, each time that you load a new instance of the plug-in, your customized MIDI controller mapping is available as default.

NOTE

• Saving the controller mapping as default does not include the MIDI controller assignments of the AUX FX.

• The MIDI controller mapping is saved with each project. This way, you can transfer your settings to other systems. The project also includes the MIDI controller assignments of the AUX FX.

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MIDI Editing and Controllers MIDI Controllers

Automation and Factory MIDI Controller Assignment

Several parameters on the plug-in interface are available for automation from your host software and can be assigned to an external MIDI controller.

The table shows the controller numbers and names of the default factory MIDI controller assignment. The assigned MIDI controller numbers are the same for all slots. However, the MIDI controllers listen only to the MIDI channels of the corresponding slot.

Parameter Controller Number Name

Volume #7 Volume

Pan #10 Pan

Send FX 1 #91 Effect 1 Depth

Send FX 2 #92 Effect 2 Depth

Send FX 3 #93 Effect 3 Depth

Send FX 4 #94 Effect 4 Depth

Program QC 1 #74 Brightness

Program QC 2 #71 Harmonic Content

Program QC 3 #73 Attack Time

Program QC 4 #72 Release Time

Program QC 5 #75 Sound Controller #6

Program QC 6 #76 Sound Controller #7

Program QC 7 #77 Sound Controller #8

Program QC 8 #78 Sound Controller #9

NOTE

•

Send FX 1-4 are only available if the corresponding AUX send effects are loaded.

•

You can remotely control any other parameter by assigning the parameter first to a quick control and then to a MIDI controller.

•

You can use MIDI controllers inside the modulation matrix of a synth or sample layer to control the cutoff, for example.

Page 49

Mix Page

Mixing and Effect Handling

The Mix page gives you access to the audio parameters of HALion Sonic SE. This comprises the level and pan settings, as well as the AUX effect sends and the output selector. To monitor the output levels, each slot also features a level meter.

Mix Page Parameters

Activates/Deactivates MIDI input of the slot. If you deactivate a slot, its MIDI communication is interrupted and sounds are no longer processed in the background.

Level

Sets the output level of the slot.

Pan

Sets the position in the stereo panorama.

Meter

Indicates the output level of the slot.

Page 50

Mixing and Effect Handling Effect Handling

FX 1–4

These controls specify the amount of signal that is sent to the four auxiliary busses that host up to four effects each.

Output

Specifies to which of the 16 plug-in outputs the slot is routed.

Effect Handling

The busses can be routed to the main plug-in output or to one of the individual outputs.

The Effects page also provides access to the main output bus which also features four inserts. These can be used to add a global EQ or compressor to the signal chain, for example.

Default Effect Settings

Each effect comes with factory default settings. However, you can save your own default settings for each effect as a preset.

• Set up the effect.

• Click the Save Preset button in the title bar of the effect section and save the preset under the name “--Default--”.

The preset is saved in the presets folder of the effect and is loaded each time you load the effect.

• To return to the factory default settings, delete your default preset.

Using the Insert Effect Slots

On the Effects page, you can set up insert effects for AUX busses.

Each bus provides four slots for insert effects.

•

To assign an insert effect, click the effect slot and select the effect from the menu.

•

To remove an insert effect including its current settings, click the effect slot and select None from the menu.

•

To deactivate an effect without removing it, click its On/Off button above the slot. This way, you can switch off the effect without losing its settings.

•

To bypass an effect, activate the Bypass button of the slot. Bypass is active when the button lights up.

•

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 insert effect are displayed in the bottom section.

•

To move an effect to another slot, click its drag icon and drag it to another slot. This replaces any effect loaded in this slot.

•

To change the order of the effects, drag them by their drag icon to a new position between two slots.

•

To copy an effect into another slot, Alt-click the drag icon and drag it onto the new slot. This replaces any effect loaded in this slot.

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Mixing and Effect Handling Effect Handling

NOTE You can also copy effects between the different mixers. First drag an effect to the

corresponding mixer tab. Then drag it to the position where you want to insert it.

•

To copy an effect and insert it between two effect slots, Alt-click its drag icon and drag it between two slots.

NOTE You can also copy effects between the different mixers. First drag an effect to the

corresponding mixer tab. Then drag it to the position where you want to insert it.

Page 52

HALion Sonic SE’s Library Manager allows you to register and to manage libraries that have been created with HALion 6 and newer. It also displays all libraries that were created earlier and therefore were installed with a classic installer.

The Library Manager is installed on your computer as a standalone application and can be run independently from HALion, HALion Sonic, and HALion Sonic SE.

For actions such as registering, moving, or deleting libraries, the Library Manager requires full access to all VST Sound libraries. Therefore, you must close HALion, HALion Sonic, HALion Sonic SE, and your Steinberg DAW first, so that they release these files.

Library Manager Editor

All libraries are displayed in the Library Manager, either on the Managed or the Installed tab. For each library, an icon, the name, the manufacturer, as well as its total file size are shown.

Library Manager

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Library Manager Library Manager Editor

• The libraries in the Managed list were created with HALion 6 and newer and can be moved between hard disks or deleted.

• The libraries on the Installed list were installed using an installer. These libraries cannot be moved or deleted, to avoid interference with the original installers.

For both library types, a Details button is available, which will extend the list entry and show which VST Sound containers are part of the library and where on your hard disks they are located.

Installing VST Sound Libraries

To install a new library, you must register the corresponding VST Sound container files.

PREREQUISITE

You have moved the VST Sound container files to a hard disk and folder where you want to store them and from where you want to register them.

NOTE

If you have downloaded a library, for example, you most probably do not want to keep it in the Downloads folder. To keep your system clean and uncluttered, you might want to create a dedicated folder for all your libraries and then create subfolders for each new library. You can also create multiple Library folders on different hard disks.

PROCEDURE

• Navigate to the folder where the new VST Sound container files are located and double-click one of them.

The Library Manager opens and registers all VST Sound containers from that folder. This process does not change the location of the library files, but registers them to the MediaBay of HALion, HALion Sonic, and HALion Sonic SE, as well as your Steinberg DAW.

NOTE

•

RESULT

All VST Sound containers in that folder are now registered and can be used the next time that you open HALion Sonic SE.

Moving Libraries

If the folder contains VST Sound containers that have already been registered, they are ignored.

You can also register user VST Sound containers that were created with versions 4 and 5 of HALion. HSB files from HALion 3 are not supported.

You can move the file location of a library, for example, to a faster SSD hard disk or because you have accidentally registered it from the wrong folder and you do not want it to remain in this location.

PROCEDURE

1. Navigate to the library in the list and click Move.

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Library Manager Library Manager Editor

2. In the dialog, navigate to the new location and click OK.

Removing Libraries

You can remove a library if it is no longer needed.

PROCEDURE

1. Navigate to the library in the list and click Remove.

2. Do one of the following:

•

NOTE

•

To delete the library from your hard disk, select Move to Trash.

To unregister the library while keeping the corresponding VST Sound container, select Unregister.

Libraries can have dependencies to other libraries. For example, if a preset library is based on samples that were delivered exclusively with another library. If you try to delete this second library, the Library Manager will warn you that this library is required by another library.

Page 55

Reverb Effects

REVerence

REVerence is a convolution tool that allows you to apply room characteristics (reverb) to the audio.

Effects Reference

By recording an impulse in a room, you capture the characteristics of this room. Convolution superimposes these characteristics to the sound. The result is a very natural sounding reverb. Included with this effect is a collection of high-quality reverb impulse responses.

Impulse Response

Allows you to select an impulse response. This determines the basic sound character of the reverb.

Reverse

Reverses the impulse response.

Predelay

Determines the amount of time between the dry signal and the onset of the reverb. With higher predelay values, you can simulate larger rooms.

Time

Controls the reverb time. At a setting of 100 %, the impulse response is applied with its original length.

Size

Scales the size of the simulated room. At a setting of 100 %, the impulse response is applied as recorded in the original room.

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Effects Reference Reverb Effects

Reverb

Level

Adjusts the level of the impulse response.

Equalizer

Activates the built-in three-band equalizer.

ER/Tail Split

Sets the split point between the early reflections and the reverb tail.

ER/Tail Mix

Sets the balance between the early reflections and the reverb tail. At a setting of 50 % the early reflections and the tail have the same volume level. Settings below 50 % raise the early reflections and lower the tail, as a result the sound source moves towards the front of the room. Settings above 50 % raise the tail and lower the early reflections, as a result the sound source moves towards the back of the room.

This effect produces a high-quality algorithmic reverb with early reflections and reverb tail.

The early reflections are responsible for the spatial impression in the first milliseconds of the reverb. For emulating different rooms, you can choose between different early reflection patterns and adjust their size. The reverb tail, or late reverberation, offers parameters for controlling the room size and the reverb time. You can adjust the reverb time individually in three frequency bands.

Predelay

Determines how much time passes before the reverb is applied. This allows you to simulate larger rooms by increasing the time it takes for the first reflections to reach the listener.

Early Reflections

Here, you select an early reflections pattern. The early reflections pattern contains the most important delays that deliver the key information for the spatial impression of the room.

Show Early Reflections Page/Show Chorusing Page

With these two buttons below the Early Reflections pop-up menu, you can choose whether to display the early reflections settings or the chorusing settings in the lower left part of the effect panel.

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Effects Reference Reverb Effects

ER/Tail

Sets the level balance between the early reflections and the reverb tail. At a setting of 50 %, early reflections and tail have the same volume. Settings below 50 % raise the early reflections and lower the tail, as a result the sound source moves towards the front of the room. Settings above 50 % raise the tail and lower the early reflections, as a result the sound source moves toward the back of the room.

Delay

Delays the onset of the reverb tail.

Room Size

Controls the dimensions of the simulated room. At a setting of 100 %, the dimensions correspond to a cathedral or a large concert hall. At a setting of 50 %, the dimensions correspond to a medium-sized room or studio. Settings below 50

% simulate the dimensions of small rooms or a booth.

Main Time

Controls the overall reverb time of the tail. The higher this value, the longer the reverb tail will decay. At a setting of 100 %, the reverb time is infinitely long. The

Main Time parameter also represents the mid band of the reverb tail.

High Time

Controls the reverb time for the high frequencies of the reverb tail. With positive values, the decay time of the high frequencies is longer. With negative values, it is shorter. Frequencies are affected depending on the High Freq parameter.

Low Time

Controls the reverb time for the low frequencies of the reverb tail. With positive values, low frequencies decay longer and vice versa. Frequencies will be affected depending on the Low Freq parameter.

High Freq

Sets the cross-over frequency between the mid and the high band of the reverb tail. You can offset the reverb time for frequencies above this value from the main reverb time with the High Time parameter.

Low Freq

Sets the cross-over frequency between the low and the mid band of the reverb tail. The reverb time for frequencies below this value can be offset from the main reverb time with the Low Time parameter.

Size

Adjusts the length of the early reflections pattern. At a setting of 100 %, the pattern is applied with its original length and the room sounds the most natural. At settings below 100 %, the early reflections pattern is compressed and the room is perceived smaller.

ER Low Cut

Attenuates the low frequencies of the early reflections. The higher this value, the fewer low frequencies are present in the early reflections.

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Effects Reference Reverb Effects

ER High Cut

Attenuates the high frequencies of the early reflections. The lower this value, the fewer high frequencies the early reflections will have.

Shape

Controls the attack of the reverb tail. At a setting of 0 %, the attack is more immediate, which is a good setting for drums. The higher this value, the less immediate the attack.

Density

Adjusts the echo density of the reverb tail. At a setting of 100 %, single reflections from walls cannot be heard. The lower this value, the more single reflections can be heard.

Tail High Cut

Attenuates the high frequencies of the reverb tail. The lower this value, the fewer high frequencies the reverb tail will have.

Width

Adjusts the output of the reverb signal between mono and stereo. At a setting of 0

%, the output of the reverb is mono, at 100 % it is stereo.

Mix

Sets the ratio between the dry and the wet signal.

Chorusing

Chorusing allows you to enrich the reverb tail through subtle pitch modulations. To access the chorusing parameters, click the Show Chorusing Page button.

Chorusing On/Off

Activates/Deactivates the chorusing effect.

Chorusing Rate

Specifies the frequency of the pitch modulation.

Chorusing Depth

Sets the intensity of the pitch modulation.

Page 59

Effects Reference Delay Effects

Delay Effects

Multi Delay

This effect produces delays, with adjustable time, feedback, and filters.

Mode

• Stereo has two independent delay lines, one for the left and one for the

right audio channel, each with a feedback path of its own.

• Cross has two delay lines with cross feedback, where the delay of the left

channel is fed back into the delay of the right channel, and vice versa.

• Ping-Pong mixes the left and right input channels and sends the mixed

signal to hard-panned left and right delays. This way, the echoes bounce like a ping-pong ball between left and right in the stereo panorama.

Time

Sets the overall time for the left and right delay. Use the Delay L/R parameter to shorten the time for the left or right delay.

Sync

Activate Sync to synchronize the delay time to the host tempo. If Sync is activated, the time is set as a note value.

NOTE

The maximum delay time is 5000 ms. If the note length exceeds this value, it is automatically shortened.

Delay L/R

Offsets the time of the left or right delay from the overall delay time. At a factor of 1, the right or left delay time has the same length as the overall delay time. At a factor of 0.5, the time is half as long as the overall delay time.

• To offset the left delay time, turn the control to the left.

• To offset the right delay time, turn the control to the right.

Feedback

Sets the overall amount of feedback for the left and right delay. Feedback means that the output of the delay is fed back to its input. At a setting of 0 %, you hear one echo. At a setting of 100 %, the echoes repeat endlessly.

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Effects Reference EQ Effects

Feedback L/R

Offsets the amount of feedback of the left or right delay from the overall feedback. A factor of 1 means that the amount of feedback corresponds to the overall feedback. A factor of 0.5 means that the amount is half the overall feedback.

• To offset the left feedback, turn the control to the left.

• To offset the right feedback, turn the control to the right.

NOTE

This parameter is only available in Stereo mode.

High Freq

Attenuates the high frequencies of the delays.

Low Freq

Attenuates the low frequencies of the delays.

EQ Effects

Studio EQ

Mix

Sets the ratio between the dry and the wet signal.

Studio EQ is a high-quality 4-band parametric equalizer.

With the four frequency bands, you can shape the tone color, to create a brighter or darker sound, for example. The two mid-range bands act as peak filters and the low and high bands act as shelving filters. All bands are fully parametric with adjustable gain, frequency, and Q factor. Each frequency band offers the following controls:

On/Off

Activates/Deactivates the frequency band.

Gain

Sets the amount of cut or boost for the corresponding band.

Freq

Sets the frequency that is cut or boosted with the Gain parameter.

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Effects Reference EQ Effects

Graphic EQ

Q (Quality)

Adjusts the bandwidth of the mid-range peak filters from wide to narrow. By increasing the Q value on the low and high shelving filters, you can add a dip to their shape.

Graphic EQ is an equalizer with ten frequency bands that can be cut or boosted by up to 12

dB. In addition, you can specify the overall range and output of the equalizer.

Output

Controls the overall output level of the equalizer.

Mode

Allows you to add color or character to the equalized output. The following options are available:

• True Response mode uses serial filters with accurate frequency response.

• Classic mode uses parallel filters where the resonance depends on the

amount of gain.

• Constant Q mode uses parallel filters where the resonance is raised when

boosting the gain.

Range

Adjusts the maximum cut or boost for all frequency bands together.

Invert

Activate this to invert the EQ curve.

Flatten

Resets all frequency bands to 0 dB.

Page 62

Effects Reference Filter Effects

DJ-EQ

This plug-in is an easy-to-use 3-band parametric equalizer that resembles the EQs found on typical DJ mixers. This plug-in is designed for quick sound fixes.

Low Freq/Mid Freq/High Freq

Set the amount of boost or attenuation for the low, mid, and high bands.

You can also click and drag in the display to change these values.

Low Cut/Mid Cut/ High Cut

Reset Output Peak Level

Filter Effects

Auto Filter

Auto Filter provides two morphable filter shapes with distortion.

The morphing between the two shapes, as well as the cutoff, can be controlled with a manual pedal control, an LFO, or an envelope shaper.

Cut the low, mid, and high bands.

Resets the peak level that is displayed in the output meter.

Filter Parameters

Filter Shape

• LP24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct.

Frequencies above the cutoff are attenuated.

• BP12 and BP24 are band-pass filters with 12 and 24 dB/oct. Frequencies

below and above the cutoff are attenuated.

• HP6+LP18 and HP6+LP12 are combinations of a high-pass filter with 6 dB/

oct and a low-pass filter with 18 and 12 dB/oct, respectively (asymmetric

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Effects Reference Filter Effects

band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies above the cutoff.

• HP12+LP6 and HP18+LP6 are combinations of a high-pass filter with 12

and 18 dB/oct and a low-pass filter with 6 dB/oct (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies below the cutoff.

• HP24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct.

Frequencies below the cutoff are attenuated.

• BR12 and BR24 are band-reject filters with 12 and 24 dB/oct. Frequencies

around the cutoff are attenuated.

• BR12+LP6 and BR12+LP12 are combinations of a band-reject filter with 12

dB/oct and a low-pass filter with 6 and 12 dB/oct, respectively. Frequencies

around and above the cutoff are attenuated.

• BP12+BR12 is a band-pass filter with 12 dB/oct plus a band-reject filter

with 12 dB/oct. Frequencies below, above, and around the cutoff are attenuated.

• HP6+BR12 and HP12+BR12 are combinations of a high-pass filter with 6

and 12 dB/oct and a band-reject filter with 12 dB/oct. Frequencies below and around the cutoff are attenuated.

• AP is an all-pass filter with 18 dB/oct. Frequencies around the cutoff are

attenuated.

• AP+LP6 is an all-pass filter with 18 dB/oct plus a low-pass filter with 6 dB/

oct. Frequencies around and above the cutoff are attenuated.

• HP6+AP is a high-pass filter with 6 dB/oct plus an all-pass filter with 18

dB/oct. Frequencies around and below the cutoff are attenuated.

Input

Adjusts the gain before the filter and distortion. This parameter only affects the wet signal.

Cutoff

Specifies the cutoff frequency of the filter.

Resonance

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

Distortion Type

The following options are available:

• When this parameter is set to Off, the filter offers no distortion.

• Tube Drive offers a lot of character by adding warm, tube-like distortion.

• Hard Clip adds bright, transistor-like distortion.

• Bit Red adds digital distortion by means of quantization noise.

• Rate Red adds digital distortion by means of aliasing.

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Effects Reference Filter Effects

Distortion

Adds distortion to the signal. The effect depends on the selected distortion type. At higher settings, it creates a very intense distortion effect.

NOTE

This parameter is not available if Distortion Type is set to Off.

Output

Adjusts the gain after the filter and distortion. This parameter only affects the wet signal.

Mix

Sets the ratio between the dry and the wet signal.

LFO Section

LFO Waveform and Shape

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

of the waveform.

• Sine produces smooth modulation. Shape adds additional harmonics to the

waveform.

• Triangle is similar in character to Sine. The waveform periodically ramps

up and down. Shape continuously changes the triangle waveform to a trapezoid.

• Saw produces a ramp cycle. Shape continuously changes the waveform

from ramp down to triangle to ramp up.

• Pulse produces stepped modulation, where the modulation switches

abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. At 50 %, it produces a square wave.

• Ramp is similar to the Saw waveform. Shape increasingly puts silence

before the sawtooth ramps up.

• Log is a logarithmic curvature. Shape continuously changes the curvature

from negative to positive.

• S & H 1 produces random stepped modulation, where each step is

different. Shape puts ramps between the steps and produces a smooth random signal when fully turned right.

• S & H 2 is similar to S & H 1. The steps alternate between random high and

low values. Shape puts ramps between the steps and produces a smooth random signal when fully turned right.

Freq

Determines the frequency of the cutoff modulation.

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Effects Reference Filter Effects

Sync

Activate this to set the Freq parameter in fractions of beats.

Depth

Determines the output level of the LFO modulation signal.

Cutoff

Determines the modulation intensity of the LFO on the filter cutoff.

Morph

Determines the modulation intensity of the LFO on the filter morph.

Envelope Follower Section

The Envelope Follower traces the input signal with an adjustable attack and release time and delivers a modulation signal representing the level envelope of the signal.

Sensitivity

All input signals are mixed down to mono before they are sent to the Envelope Follower. This parameter sets the optimum input level for the Envelope Follower.

Attack

Adjusts the attack time, that is, the time the Envelope Follower needs to approach increasing input levels.

Release

Adjusts the release time, that is, the time the Envelope Follower needs to approach decreasing input levels.

Depth

Determines the output level of the modulation signal of the Envelope Follower.

Cutoff

Determines the modulation intensity of the Envelope Follower on the filter cutoff.

Morph

Determines the modulation intensity of the Envelope Follower on the filter morph.

Pedal Section

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Effects Reference Filter Effects

Pedal

Depth

Cutoff

Morph

Morph Filter

Morph Filter allows you to mix low-pass and high-pass filter effects, allowing for creative morphings between two filters. You can specify the filter shapes independently for filter shape A and B.

Sets the position of the pedal.

Determines the output level of the pedal modulation signal.

Determines the modulation intensity of the pedal on the filter cutoff.

Determines the modulation intensity of the pedal on the filter morph.

Filter Shape B

Here, you can choose between several high-pass and band-rejection filter shapes.

Filter Shape A

Here, you can select a low-pass or a band-pass filter shape.

Morph

Allows you to mix the output between the two selected filters.

Cutoff

Adjusts the cutoff frequency of the filters.

NOTE

You can also set the Cutoff and Morph parameters simultaneously by clicking in the display and dragging.

Resonance

Emphasizes the frequencies around the cutoff frequency. For an electronic sound, increase the resonance. At higher resonance settings, the filter selfoscillates, which results in a ringing tone.

Page 67

Effects Reference Filter Effects

Resonator

The sound of the human voice or of acoustic instruments can be characterized by their distinctive formant regions, that is, by resonances in the frequency spectrum that are typical for a particular sound.

For example, the vowel “ah” (as in father) sung by a male singer has three characteristic formants: F1 = 570 Hz, F2 = 840 Hz, and F3 = 2410 Hz. The Resonator effect allows you to induce such formant regions to a sound by using three filters that are connected in parallel. You can specify the positions and levels of the formant regions by adjusting the Cutoff, Resonance, and Gain parameters of the filters.

The Resonator effect comes with 14 predefined filter shapes that determine the basic sound character. In addition, three LFOs can be used to modulate each filter separately, which allows for adding extra motion to the sound.

Resonator Shape

Defines the basic sound character of the effect. Each shape is a unique combination of different filter types for the low, mid, and high frequency bands.

Option Filter Low/Mid/High

Low-Pass 1 LP6/LP6/LP6

Low-Pass 2 LP12/LP12/LP12

Band-Pass 1 BP12/(-1)BP12/BP12*

Band-Pass 2 BP12/BP12/BP12

High-Pass 1 HP6/HP6/HP6

High-Pass 2 HP12/HP12/HP12

Peak 1 LP6/(-1)BP12/HP6*

Peak 2 LP6/BP12/HP6

Bat 1 HP12/BP12/LP12

Bat 2 HP6/BP12/LP6

Wings 1 LP6/BR12/HP6

Wings 2 HP12/BR12/LP12

Wings 3 LP6/(-1)BR12/HP6*

Wings 4 HP12/(-1)BR12/LP12*

*(-1) means that the phase is inverted

Page 68

Effects Reference Filter Effects

Mix

Sets the ratio between the dry and the wet signal.

Cutoff Spread

Spreads the cutoff frequencies between the channels of the effect.

For example, if the effect is used in stereo, positive Cutoff Spread values shift the cutoff down on the left channel and up on the right channel.

Filter Tab

Cutoff

Adjusts the cutoff frequency of the filter, that is, the center frequency of the formant region.

Resonance

Adjusts the resonance of the filter. The resonance determines how much the formant region is emphasized. At higher settings, the filter self-oscillates, which results in a ringing tone.

Gain

Adjusts the input gain of the filter. The gain determines the level of the formant region.

LFO Modulation Source

Allows you to select the LFO that modulates the cutoff.

LFO Modulation Depth

Adjusts the cutoff modulation from the LFO.

LFO Tab

Page 69

Effects Reference Filter Effects

LFO Waveform and Shape

• Sine produces smooth modulation, suitable for vibrato or tremolo. Shape

adds additional harmonics to the waveform.

• Triangle is similar to Sine. Shape continuously changes the triangle

waveform to a trapezoid.

• Saw produces a ramp cycle. Shape continuously changes the waveform

from ramp down to triangle to ramp up.

• Pulse produces stepped modulation, where the modulation switches

abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. If Shape is set to 50 %, a square wave is produced.

• Ramp is similar to the Saw waveform. Shape increasingly puts silence

before the sawtooth ramp up begins.

• Log produces a logarithmic modulation. Shape continuously changes the

logarithmic curvature from negative to positive.

• S & H 1 produces randomly stepped modulation, where each step is

different. Shape puts ramps between the steps and changes the S & H into a smooth random signal when fully turned right.

• S & H 2 is similar to S & H 1. The steps alternate between random high and

low values. Shape puts ramps between the steps and changes the S & H into a smooth random signal when fully turned right.

WahWah

Spread

For each channel of the effect, there is a separate LFO signal. This parameter spreads the phase of the LFO signals across the different channels.

For example, if the effect is used in stereo, positive values shift the LFO phase forward on the left channel and backward on the right channel.

Sync

Activate this to set the Freq parameter in fractions of beats.

Freq

Determines the frequency of the cutoff modulation.

WahWah is a variable slope band-pass filter modeling the well-known analog pedal effect.

You can independently specify the frequency, width, and the gain for the low and high pedal positions. The crossover point between the low and high pedal positions lies at 50.

Pedal

Controls the filter frequency sweep.

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Effects Reference Distortion Effects

Freq Low/Freq High

These parameters determine the frequency of the filter for the low and high pedal positions.

Width Low/Width High

These parameters determine the width (resonance) of the filter for the low and high pedal positions.

Gain Low/Gain High

These parameters determine the gain of the filter for the low and high pedal positions.

Slope

Here, you can choose between two filter slope values: 6 dB or 12 dB.

Distortion Effects

Amplifier

This effect emulates the sound of an amplifier with speakers.

There are different amplifiers and speaker models you can combine.

Amp Model

Determines the type of amplifier. The sound character of the overdrive changes with the amplifier. To bypass the amplifier, select No Amp.

Speaker Model

Determines the speaker model type. Each model colors the sound uniquely. To bypass the model, select No Speaker.

Drive

Adjusts the amount of overdrive.

Bass

Adjusts the tone color of the low frequencies.

Middle

Adjusts the tone color of the mid frequencies.

Page 71

Effects Reference Distortion Effects

Treble

Presence

Low Damp

High Damp

Channel Mode

Output

Adjusts the tone color of the high frequencies.

Adds brightness to the sound.

Attenuates the low frequencies of the speakers.

Attenuates the high frequencies of the speakers.

Defines which output channels of the amplifier deliver a distorted signal. You can set it to L (Left), R (Right) or L/R (Both). When set to L or R, the other channel provides a clean signal.

Distortion

Controls the output level of the amplifier.

This effect offers the whole range of distortion, from low fidelity, digital distortion to high fidelity, analog sounding distortion. The available distortion types (Rate Red, Tube Drive,

Hard Clip, and Bit Red) can be freely combined.

In Gain

Adjusts the input level of the sound.

Rate Red (Rate Reduction)

Rate reduction distorts the sound by means of aliasing. Enable the Rate Red option to activate the control that adjusts the amount of aliasing. The lower the setting, the more aliasing is added.

Tube Drive

Adds warm, tube-like distortion to the sound. Enable the Tube Drive option to activate the control that adjusts the amount of distortion. The higher the setting, the more distortion is added.

Hard Clip

Adds bright, transistor-like distortion to the sound. Enable the Hard Clip option to activate the control that adjusts the amount of distortion. The higher the setting, the more distortion is added.

Page 72

Effects Reference Distortion Effects

Bit Red (Bit Reduction)

Out Gain

Mix

VST Amp

This effect emulates the sound of an amplifier with speakers. There are different amplifiers and speaker models you can combine.

Bit reduction distorts the sound by means of quantization noise. Enable the Bit Red option to activate the control that adjusts the amount of quantization noise. The lower the setting, the more quantization noise is added.

Adjusts the output level of the sound.

Sets the ratio between the dry and the wet signal.

Amp Model

Specifies the amplifier type. The sound character of the overdrive changes with the amplifier. To bypass the amp modeling, select No Amplifier.

Speaker Model

Specifies the speaker model type. Each model colors the sound uniquely. To bypass the speaker modeling, select No Cabinet.

Drive

Adjusts the amount of overdrive.

Bass

Adjusts the tone color of the low frequencies.

Middle

Adjusts the tone color of the mid frequencies.

Treble

Adjusts the tone color of the high frequencies.

Presence

Adjusts the brightness of the sound.

Mic Type

You can choose between two microphone types. If this control is set to 0 %, a large-diaphragm condenser microphone is used. At 100 %, you get a dynamic

Page 73

Effects Reference Distortion Effects

Microphone Position

Channel Mode

microphone. Settings in between allow you to fade between the characteristics of these two microphones.

Here, you can choose between seven positions to place the microphone. These positions result from two different angles (center and edge) and three different distances from the speaker, as well as an additional center position at an even greater distance from the speaker.

Determines in which way the two input channels are distorted.

• L (Left) only distorts the left input channel. The right channel remains

clean and unprocessed.

• R (Right) only distorts the right input channel. The left channel remains

clean and unprocessed.

• L+R (Left + Right) sums the two input channels into a mono signal which is

then distorted.

• Stereo distorts the two input channels independently.

Output

Tape Saturator

Tape Saturator simulates the behavior of classic tape recorders. These machines produced a specific saturation when recording higher input levels, which led to a compressed signal with light distortion.

Mode

NOTE

The L and R modes allow you to cascade two VST Amp effects, that is, to use the first one to processes the left channel and the second one to process the right channel at different settings.

Controls the output level of the amplifier.

Here, you can choose between the effect of a single (One Stage) or two cascaded tape machines (Two Stage). Two Stage mode leads to higher saturation and compression.

Oversampling

Activate this parameter to increase the accuracy of the effect by oversampling.

NOTE

If this parameter is activated, the effect requires more processing power.

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Drive

Auto Gain

Low Filter

High Filter

Output

Tube Saturator

Determines the level of the input signal and thus the amount of saturation.

Activate this option for an automatic level compensation.

Here, you can adjust the low frequency range below 1000 Hz by +/- 3 dB.

Here, you can attenuate the high frequency range. This high-cut filter works with a slope of 24 dB/octave.

Determines the level of the output signal.

This effect enriches the sound by adding the characteristic harmonics of a saturated tube to the audio signal.

Oversampling

Increases the accuracy of the effect by oversampling.

NOTE

If this parameter is activated, the effect requires more processing power.

Drive

Determines the level of the input signal and thus the amount of saturation.

Low Filter

Allows you to reduce the low frequency range by up to 6 dB before saturation.

High Filter

Allows you to adjust the high frequency range by -/+ 6 dB before saturation.

Output

Determines the level of the output signal.

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Effects Reference Pitch Shift Effects

Pitch Shift Effects

Octaver

Octaver allows you to create two additional voices that follow the original voice an octave below and above. This effect is best suited for monophonic signals.

Direct

Determines the level of the input signal.

Octave 1

Determines the level of the signal that is produced an octave below the original voice.

Octave 2

Determines the level of the signal that is produced an octave above the original voice.

Modulation Effects

Chorus

Chorus thickens and broadens the sound by means of pitch modulation.

Rate

Determines the frequency of the pitch modulation, in Hertz.

Sync

Activate this to set the Rate value in fractions of beats.

Depth

Sets the intensity of the pitch modulation.

Phase

Widens the sound image of the effect from mono to stereo.

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Shape

Mix

Flanger

This effect thickens and broadens the sound by means of pitch modulation.

Rate

Adjusts the characteristics of the modulation. At a setting of 0 %, the pitch changes continuously, producing a steady modulation. At a setting of 100 %, the pitch does not change all the time, producing a less steady modulation.

Sets the ratio between the dry and the wet signal.

Allows you to specify the frequency of the pitch modulation in Hertz.

Sync

Activate this to set the Rate value in fractions of beats.

Depth

Sets the intensity of the pitch modulation.

Phase

Widens the sound image of the effect from mono to stereo. This parameter also changes the characteristic of the Cross FB parameter.

Shape

Adjusts the characteristics of the modulation. You hear this best when Feedback is activated. At a setting of 0 %, the sound sweeps linearly up and down. At a setting of 100 %, the sound sweeps exponentially up and down.

Mix

Sets the ratio between the dry and the wet signal.

Feedback

Adds resonances to the effect. This allows for jet-like sweeps of the sound.

Cross FB

Mixes the feedback of the left channel with the right channel, and vice versa. The effect of this parameter is influenced by the Phase parameter.

NOTE

This parameter only takes effect if the Feedback parameter is set to a value above 0 %.

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Tone

Step Flanger

The Step Flanger expands the Flanger with a Sample and Hold section that divides the modulation signal into a definable number of steps.

Rate

Adjusts the tone color of the feedback. At lower values, the feedback is less bright.

Allows you to specify the frequency of the pitch modulation in Hertz.

Sync

Activate this to set the Rate value in fractions of beats.

Depth

Sets the intensity of the pitch modulation.

Phase

Widens the sound image of the effect from mono to stereo. This parameter also changes the characteristic of the Cross FB parameter.

Shape

Mix

Sets the ratio between the dry and the wet signal.

Feedback

Adds resonances to the effect. This allows for jet-like sweeps of the sound.

Cross FB

Mixes the feedback of the left channel with the right channel, and vice versa. The effect of this parameter is influenced by the Phase parameter.

NOTE

This parameter only takes effect if the Feedback parameter is set to a value above 0 %.

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Effects Reference Modulation Effects

Tone

Type

S&H Mix

Smooth

Steps

Adjusts the tone color of the feedback. At lower values, the feedback is less bright.

Defines the length of the delay line that is modulated. Short produces a sharper and Long a less defined, more blurred flanger sound.

Use this parameter to blend the normal modulation signal with the stepped modulation signal. At 100 %, only the stepped modulation is used.

Use this parameter to create ramps between the steps. This way, the stepped modulation signal sounds smoother.

Determines into how many steps the modulation signal is divided. You can use up to 32 steps.

Phaser

The Phaser effect thickens and broadens the sound by means of phase modulation.

Rate

Specifies the frequency of the phase modulation.

Sync

Activate this to set the Rate value in fractions of beats.

Depth

Sets the intensity of the phase modulation.

Shift

Shifts the phase modulation upwards to higher frequencies of the spectrum.

Phase

Widens the sound image of the effect from mono to stereo.

Feedback

Adds resonances to the effect. Higher settings produce a more pronounced effect.

Low Cut

Attenuates the low frequencies.

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Effects Reference Modulation Effects

High Cut

Mix

Tremolo

This effect produces amplitude modulation, that is, cyclic modulation of the level of the sound.

Rate

Attenuates the high frequencies.

Sets the ratio between the dry and the wet signal.

Determines the frequency of the amplitude modulation.

Sync

Depth

Phase

Output

Ring Modulator

The Ring Modulator provides a sine oscillator that is multiplied with the input signal. This creates metallic, or bell-like, frequencies.

The integrated LFO modulates the frequency of the sine oscillator to vary the created frequencies over time. In addition, an envelope follower is available, which can be used to modulate the frequency of the sine oscillator depending on the level of the input signal.

Activate this to set the Rate value in fractions of beats.

Sets the intensity of the amplitude modulation.

Widens the sound image of the effect from mono to stereo.

Sets the output level of the effect.

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Effects Reference Modulation Effects

LFO Waveform and Shape

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

of the waveform.

• Sine produces smooth modulation. Shape adds additional harmonics to the

waveform.

• Triangle is similar in character to Sine. The waveform periodically ramps

up and down. Shape continuously changes the triangle waveform to a trapezoid.

• Saw produces a ramp cycle. Shape continuously changes the waveform

from ramp down to triangle to ramp up.

• Pulse produces stepped modulation, where the modulation switches

abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. At 50 %, it produces a square wave.

• Ramp is similar to the Saw waveform. Shape increasingly puts silence

before the sawtooth ramps up.

• Log is a logarithmic curvature. Shape continuously changes the curvature

from negative to positive.

• S & H 1 produces random stepped modulation, where each step is

different. Shape puts ramps between the steps and produces a smooth random signal when fully turned right.

• S & H 2 is similar to S & H 1. The steps alternate between random high and

low values. Shape puts ramps between the steps and produces a smooth random signal when fully turned right.

LFO Freq

Use this to specify the frequency of the LFO for modulating the frequency of the sine oscillator.

Sync

Activate this to set the LFO Freq value in fractions of beats.

LFO Depth

Sets the intensity of the LFO modulation of the sine oscillator frequency.

Frequency

Determines the frequency of the sine oscillator.

Mix

Sets the ratio between the dry and the wet signal.

Envelope Follower

The Envelope Follower traces the input signal with an adjustable attack and release time and delivers a modulation signal representing the level envelope of the signal.

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Sensitivity

All input signals are mixed down to mono before they are sent to the Envelope Follower. The Sensitivity parameter sets the optimum input level for the Envelope Follower.

Attack

This adjusts the attack time, that is, the time the Envelope Follower needs to approach increasing input levels.

Release

This adjusts the release time, that is, the time the Envelope Follower needs to approach decreasing input levels.

Depth

Determines the output level of the modulation signal of the Envelope Follower.

Frequency Shifter

A frequency shifter shifts each frequency of the input signal by a fixed amount.

Unlike pitch shifters, where the frequencies are shifted by a factor, and where the harmonic relations are kept, a frequency shifter alters the harmonic relations. Therefore, a larger frequency shift usually results in a disharmonic sound.

Furthermore, a frequency shifter alters the frequencies by adding an offset, while a pitch shifter multiplies the frequencies by a factor. The frequency shifter alters lower frequencies more than higher frequencies.

For example, if the input signal has the frequencies 100 Hz, 1000 Hz, and 10000 Hz, and you shift the frequency by +100 Hz, the resulting frequencies are 200 Hz, 1100 Hz, and 10100 Hz.

Freq Coarse

Here you set the amount of frequency shift.

Freq Fine

Here you can fine adjust the amount of frequency shift.

L/R Offset Coarse

Sets an offset for the left and right channels. Positive values shift the right channel upwards and the left channel downwards, and vice versa.

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L/R Offset Fine

Mod Coarse

Mod Fine

Feedback

Allows for fine-adjustments of the offset between the left and right channels. Positive values shift the right channel upwards and the left channel downwards, and vice versa.

Sets the maximum amount of frequency shift via modulation from LFO and Envelope Follower.

Allows for fine-adjustments to the amount of frequency shift via modulation from LFO and Envelope Follower.

Sets the amount of feedback, that is, the amount of signal that is sent from the output of the effect back to its input. The sound is similar to that of a phaser. You can control the direction and speed of this effect with the Frequency Fine parameter.

Notches

Here you set the number of notches the phaser effect produces when you use larger amounts of Feedback.

LFO Section

LFO Waveform and Shape

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

of the waveform.

• Sine produces smooth modulation. Shape adds additional harmonics to the

waveform.

• Triangle is similar in character to Sine. The waveform periodically ramps

up and down. Shape continuously changes the triangle waveform to a trapezoid.

• Saw produces a ramp cycle. Shape continuously changes the waveform

from ramp down to triangle to ramp up.

• Pulse produces stepped modulation, where the modulation switches

abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. At 50 %, it produces a square wave.

• Ramp is similar to the Saw waveform. Shape increasingly puts silence

before the sawtooth ramps up.

• Log is a logarithmic curvature. Shape continuously changes the curvature

from negative to positive.

• S & H 1 produces random stepped modulation, where each step is

different. Shape puts ramps between the steps and produces a smooth random signal when fully turned right.

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Effects Reference Modulation Effects

Freq

Sync

Depth

Envelope Follower

The Envelope Follower traces the input signal with an adjustable attack and release time and delivers a modulation signal representing the level envelope of the signal.

Sensitivity

• S & H 2 is similar to S & H 1. The steps alternate between random high and

low values. Shape puts ramps between the steps and produces a smooth random signal when fully turned right.

Specifies the frequency of the LFO in Hertz.

Activate this to set the Freq parameter in fractions of beats.

Determines the direction and amount of frequency shift from the LFO modulation signal.

All input signals are mixed down to mono before they are sent to the Envelope Follower. This parameter sets the optimum input level for the Envelope Follower.

Attack

Adjusts the attack time, that is, the time the Envelope Follower needs to approach increasing input levels.

Release

Adjusts the release time, that is, the time the Envelope Follower needs to approach decreasing input levels.

Depth

Determines the direction and amount of frequency shift from the envelope follower modulation signal.

NOTE

The maximum frequency shift via modulation from LFO or the Envelope Follower is determined by the parameters Modulation Range Coarse and Modulation

Range Fine.

Mix

Rotary

Sets the ratio between the dry and the wet signal.

The Rotary effect emulates the sound of a vintage rotary speaker including amplifier, horn, drum, and cabinet.

By emitting the sound via a rotating horn and drum, the rotary speaker produces a Doppler effect that thickens the sound. The horn and drum rotate at variable speed producing different amounts of Doppler effect. The amplifier of the rotary speaker adds a warm

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Effects Reference Modulation Effects

sounding distortion, and the horn, drum, and cabinet color the sound uniquely. The horn and drum are recorded via (virtual) microphones that can be set to different angles to broaden the sound image. Typically, rotary speakers are used with electric organs.

Rotation

This parameter changes the rotation speed of the horn and drum. When set to Fast, the Doppler effect is stronger. When set to Stop, there is no Doppler effect because the drum and horn do not rotate. Because the horn and drum accelerate and decelerate at different speeds, the transition from Slow to Fast and vice versa sounds the most interesting.

Distance

Sets the distance between the microphones and the horn and drum. The amplitude modulation of the sound decreases with the distance of the microphones. Set this to higher values for less amplitude modulation.

Cabinet

The horn and drum sound different when recorded through the louvers of the cabinet. Use this to color the horn and drum with the sound of the cabinet. At a setting of 100 %, you get the full sound of the cabinet.

Balance

Here you adjust the balance between the horn and drum microphones. At a setting of 0 %, you hear only the drum. At a setting of 100 %, you hear only the horn.

Slow

Adjusts the slow speed of the horn and drum together.

Fast

Adjusts the fast speed of the horn and drum together.

Accel

Adjusts the acceleration time for raising and lowering the rotation speed of the horn and drum.

Horn Mic Angle

This adjusts the stereo spread of the horn microphones. At a setting of 0°, the sound image is monophonic. At a setting of 180°, the sound image is fully stereo.

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Effects Reference Modulation Effects

Drum Mic Angle

Input

Drive

Output

Color

Bass

This adjusts the stereo spread of the drum microphones. At a setting of 0°, the sound image is monophonic. At a setting of 180°, the sound image is fully stereo.

Adjusts the gain before the rotary and drive.

Adjusts the distortion of the amplifier.

Adjusts the gain after the rotary and drive.

Alters the sound of the Rotary effect by changing the timbre, which leads to the rotation of the horn and the drum being perceived with greater depth.

Vibrato

Adjusts the tone color of the low frequencies.

Treble

Adjusts the tone color of the high frequencies.

The Vibrato effect emulates the chorus and vibrato effects of vintage organs. It thickens the sound by means of pitch modulation.

The effect provides direct access to the classic chorus and vibrato settings (C1, C2 and C3 and V1, V2 and V3). In addition, there is a custom mode that allows you to adjust the amount of chorus or vibrato freely.

Type

Here, you can select the classic chorus and vibrato settings. This control is only available if the effect is set to Classic mode.

Custom Mode

Activate this to adjust the chorus and vibrato settings freely with the Rate, Depth, and Vibr/Chor controls.

Rate

Sets the frequency of the pitch modulation.

Depth

Sets the intensity of the pitch modulation.

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Vibr/Chor

Controls the mix between the vibrato and the chorus signal. At 100 %, you only hear the chorus effect.

Vintage Ensemble

This effect emulates the sound of classic ensemble modulation effects. It is based on a delay with LFO-modulated delay times. A secondary LFO with higher frequencies is used to produce the so-called shimmer.

Rate

Sets the frequency of the LFO.

Sync

If Sync is activated, you can set the Rate value in fractions of beats.

Depth

Sets the intensity of the delay time modulation by the LFO.

Shimmer

Sets the intensity of a secondary faster delay time modulation.

Shimmer Rate

Determines the relation between the speed of the primary and the secondary delay modulation. For example, with a value of 10, the secondary modulation is 10 times faster.

Low Cut

Applies a low-cut filter to the signal. Only frequencies above the set frequency are sent to the effect.

High Cut

Applies a high-cut filter to the signal. Only frequencies below the set frequency are sent to the effect.

FX Level

Allows you to adapt the effect signal level to compensate for level reductions caused by the low-cut and high-cut filters.

Mix

Sets the ratio between the dry and the wet signal.

Dynamics Effects

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Effects Reference Dynamics Effects

Compressor

The Compressor reduces the dynamic range of a sound. This way, the sound gains headroom. You can use this extra headroom to make the overall sound louder again.

The graphical control to the left indicates the compression curve. You can edit the Threshold and Ratio values with the handles of this control. The input and output VU meters indicate the level before and after the compression. The Gain Reduction meter indicates the current attenuation of the level.

Threshold

Sets the threshold. Sounds that are louder than the threshold are reduced in gain. Sounds below the threshold stay untreated.

Ratio

Sets the amount of gain reduction for sounds that are louder than the threshold. The higher the ratio, the more the output is lowered. For example, if the ratio is set to 2:1 and the amplitude of the sound is 4 dB above the threshold, the output is lowered by 2 dB. If the amplitude is 8 dB above the threshold, the output is lowered by 4 dB.

Soft Knee

If this button is deactivated, signals above the threshold are compressed instantly according to the set ratio. If Soft Knee is activated, the onset of the compression is more gradual, producing a less drastic result.

Make-Up

Raises the overall sound. This can become necessary if too much gain reduction is introduced by the Threshold and Ratio parameters. You can see the amount of gain reduction in the Gain Reduction meter.

NOTE

This parameter is not available if the Auto button is activated.

Auto Make-Up Gain

Sets the Make-Up value automatically, depending on the current Threshold and Ratio settings.

Attack

Determines how fast the Compressor reacts to sounds that exceed the threshold. The longer the attack time, the longer the time it takes to reduce the gain. With longer attack times, the onset of sounds exceeding the threshold pass through unprocessed.

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Hold

Sets the time period during which the compression is applied after the sound exceeds the set threshold.

Release

Determines how fast the Compressor effect reacts to sounds that fall below the set threshold. The longer the release time, the longer it takes to return to the original level.

NOTE

This parameter is not available if the Auto Release button is activated.

Auto Release

Activate this to set the release time automatically. The Compressor analyzes the input sound continuously to find the optimal setting.

Peak/RMS

Determines whether the input signal is analyzed according to peak or RMS values or a mixture of both. At a setting of 0 %, the Compressor uses Peak sensing only and at 100 %, RMS sensing only. Peak means that the Compressor directly senses the peak level of the sound. RMS means that the Compressor senses the average power of the sound. Peak sensing responds faster than RMS sensing. Typically, Peak sensing is used for transient and RMS sensing for sustained sounds.

Live

If this button is activated, the look-ahead feature of the effect is disengaged. Look-ahead produces more accurate processing, but adds a certain amount of latency as a trade-off. If Live mode is activated, there is no latency, which is better for live processing.

Vintage Compressor

Vintage Compressor is modeled after vintage type compressors.

This compressor features separate controls for Input and Output gain, Attack, and Release. In addition, there is a Punch mode which preserves the attack phase of the signal and a program-dependent Auto feature for the Release parameter.

In/Out Meters

Show the highest peaks of all available input and output channels.

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GR Meter

Shows the amount of gain reduction.

Input

Determines the compression amount. The higher the input gain, the more compression is applied.

Ratio

Sets the amount of gain reduction for sounds that are louder than the threshold. The higher the ratio, the more the output is lowered.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds. If the attack time is long, more of the initial part of the signal passes through unprocessed.

Punch

If this is activated, the early attack phase of the signal is preserved, retaining the original punch in the audio material, even with short Attack settings.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Output (-48 to 24 dB)

Sets the output gain.

Tube Compressor

This versatile compressor with integrated tube-simulation allows you to achieve smooth and warm compression effects. The GR meter shows the amount of gain reduction. Tube Compressor features an internal side-chain section that lets you filter the trigger signal.

In/Out Meters

Show the highest peaks of all available input and output channels.

GR Meter

Shows the amount of gain reduction.

Input

Determines the compression amount. The higher the input gain, the more compression is applied.

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Limit

Increases the ratio of the compressor for a limiting effect.

Drive (1.0 to 6.0)

Controls the amount of tube saturation.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds. If the attack time is long, more of the initial part of the signal passes through unprocessed.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Output (-12 to 12 dB)

Sets the output gain.

Mix

Adjusts the mix between dry signal and wet signal preserving the transients of the input signal.

Side-Chain

Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates.

Monitor

Allows you to monitor the filtered signal.

Filter buttons (LP, BP, and HP)

If the Side-Chain button is activated, you can use these buttons to set the filter type to low-pass, band-pass, or high-pass.

Center (50 to 20000 Hz)

If the Side-Chain button is activated, this sets the center frequency of the filter.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

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Effects Reference Dynamics Effects

Limiter

The Limiter effect prevents the sound from exceeding the set output level. This can be used to avoid clipping in following effects, for example.

The input and output meters indicate the level before and after the Limiter. The Gain Reduction meter in the middle indicates the current attenuation of the level.

Input

Adjusts the input level of the sound. By increasing the input level, you can drive the sound more and more into limiting.

Output

Sets the maximum output level of the sound.

Release

Sets the time that the gain needs to return to its original level. The longer the release time, the longer it takes to return to the original level.

NOTE

This parameter is not available if the Auto button is activated.

Auto

Activate this to set the release time automatically. The Limiter analyzes the input sound continuously to find the optimal setting.

Brickwall Limiter

Brickwall Limiter ensures that the output level never exceeds a set limit.

Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks without creating audible artifacts. However, this plug-in creates a latency of 1 ms. Brickwall Limiter features separate meters for input, output, and the amount of limiting.

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Effects Reference Dynamics Effects

Threshold (-20 to 0 dB)

Determines the level where the limiter kicks in. Only signal levels above the set threshold are processed.

Release (ms or Auto mode)

Sets the time after which the gain returns to the original level when the signal drops below the threshold. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Link

If this button is activated, Brickwall Limiter uses the channel with the highest level to analyze the input signal. If the button is deactivated, each channel is analyzed separately.

Detect Intersample Clipping

If this option is activated, Brickwall Limiter uses oversampling to detect and limit signal levels between two samples to prevent distortion when converting digital signals into analog signals.

Maximizer

NOTE

Brickwall Limiter is designed for the reduction of occasional peaks in the signal. If the Gain Reduction meter indicates constant limiting, try raising the threshold or lowering the overall level of the input signal.

This plug-in raises the loudness of audio material without the risk of clipping.

Optimize

Determines the loudness of the signal.

Output

Sets the maximum output level.

Soft Clip

If this button is activated, Maximizer starts limiting or clipping the signal softly. At the same time, harmonics are generated, adding a warm, tube-like characteristic to the audio material.

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Expander

The Expander reduces the output level in relation to the input level for signals below the set threshold. This is useful to enhance the dynamic range or reduce the noise in quiet passages.

The graphical control to the left shows the expansion curve. You can edit the Threshold and Ratio values with the handles of this control. The input and output meters indicate the level before and after the expansion. The Gain Reduction meter indicates the current attenuation of the level.

Threshold

Sets the threshold. Sounds that are softer than the threshold are reduced in gain. Sounds above the threshold stay untreated.

Ratio

Sets the amount of gain reduction for sounds that are softer than the threshold. The higher the ratio, the more the output is lowered. For example, if the ratio is set to 2:1 and the amplitude of the sound is 4 dB below the threshold, the output is lowered by 2 dB. If the amplitude is 8 dB below the threshold, the output is lowered by 4 dB.

Soft Knee

If this button is deactivated, signals above the threshold are compressed instantly according to the set ratio. When Soft Knee is activated, the onset of the expansion is more gradual, producing a less drastic result.

Attack

Determines how fast the Expander reduces the gain when the sound falls below the set threshold. The longer the attack time, the longer it takes to reduce the gain.

Hold

Sets the time period during which the expansion is applied after the sound falls below the set threshold.

Release

Determines how fast the Expander effect raises the gain after the sound exceeds the set threshold. The longer the release time, the longer it takes to raise the gain.

NOTE

This parameter is not available when the Auto Release button is activated.

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Auto

Activate this to set the release time automatically. The Expander analyzes the input sound continuously to find the optimal setting.

Peak/RMS

Determines whether the input signal is analyzed according to peak or RMS values or a mixture of both. At a setting of 0 %, the Expander uses Peak sensing only and at 100 %, RMS sensing only. Peak means that the Expander directly senses the peak level of the sound. RMS means that the Expander senses the average power of the sound. Peak sensing responds faster than RMS sensing. Typically, Peak sensing is used for transient and RMS sensing for sustained sounds.

Live

Gate

The Gate effect passes sound only to its output if the input sound exceeds the set threshold. Sounds below the threshold are silenced.

An internal side-chain filter allows you to analyze a filtered version of the input sound instead. This way, the gate detects only certain frequencies of the input sound.

Threshold

Determines the level that activates the gate. Signal levels above the set threshold trigger the gate to open, and signal levels below the set threshold close the gate.

Filter

Activates the internal side-chain filter. If this button is activated, the input sound is filtered before it is analyzed. The gate opens only if the filtered sound exceeds the set threshold. When the Filter button is deactivated, the filter controls are not available.

Filter Type

Sets the filter type for the side-chain filter. Select high-pass (HP) to detect high frequencies, band-pass (BP) to detect mid frequencies, and low-pass (LP) to detect low frequencies only.

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Monitor

Activate this button to listen to the sound of the side-chain filter. The gate is inactive when the Monitor button is activated.

Center

Sets the center frequency of the side-chain filter.

Q-Factor

Adjusts the bandwidth of the filter from wide to narrow.

Attack

Determines how fast the gate opens when the sound exceeds the set threshold. The longer the attack time, the longer it takes for the sound to fade in.

Hold

Sets the time period during which the gate is applied after the sound falls below the set threshold.

Release

Determines how fast the gate closes after the sound falls below the set threshold. The longer the release time, the longer it takes for the sound to fade out.

NOTE

This parameter is not available when the Auto button is activated.

Auto

Activate this to set the Release time automatically. The Gate analyzes the input sound continuously to find the optimal setting.

Peak/RMS

Determines whether the input signal is analyzed according to peak or RMS values (or a mixture of both). At a setting of 0 %, the Gate uses Peak sensing only and at 100 %, RMS sensing only. Peak means that the Gate directly senses the peak level of the sound. RMS means that the Gate senses the average power of the sound. Peak sensing responds faster than RMS sensing. Typically, Peak sensing is used for transient and RMS sensing for sustained sounds.

Live

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Effects Reference Spatial and Panner Effects

Envelope Shaper

This effect can be used to attenuate or boost the gain of the attack and release phase of audio material.

Be careful with levels when boosting the gain and, if needed, reduce the output level to avoid clipping.

Attack – Gain

Changes the gain of the attack phase of the signal.

Attack - Length

Determines the length of the attack phase of the signal.

Release - Gain

Changes the gain of the release phase of the signal.

Output

Sets the output level.

Spatial and Panner Effects

Stereo Pan

This effect allows you to set the stereo position and width of the signal.

Input Swap

Swaps the stereo channels.

Pan

Sets the pan position of the signal. The panning is available for mono and stereo input signals.

Width

Adjusts the stereo width of the signal from stereo to mono.

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Effects Reference Legacy Effects

Stereo Enhancer

This plug-in expands the stereo width of (stereo) audio material. It cannot be used with mono files.

Width

Controls the width or depth of the stereo enhancement. Turn clockwise to increase the enhancement.

Delay

Increases the amount of differences between the left and right channels to further increase the stereo effect.

Color

Generates additional differences between the channels to increase the stereo enhancement.

Mono

Switches the output to mono, to check for possible unwanted coloring of the sound which sometimes can occur when enhancing the stereo image.

Legacy Effects

HALion 3 Legacy Effects

In addition to the standard effects, a number of effects from HALion 3 is also provided. These effects can be selected from the Legacy submenu of the effects menu.

Hall Reverb

A simple reverb with adjustable pre-delay and damping.

PreDelay

Delays the wet signal to simulate larger acoustic spaces or to create a slap-back effect.

Time

Length of reverb tail.

Damp

Progressive damping of high frequencies.

Low EQ

Low-cut EQ.

High EQ

High-cut EQ.

Mix

Wet/dry mix.

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Non-Linear Reverb

A gated reverb with a sharp cutoff.

Time

Length of reverb tail. It also allows you to change the sound from dense early reflections to a trashy, grainy 1980’s-type reverb.

Low EQ

Low-cut EQ.

High EQ

High-cut EQ.

Mix

Wet/dry mix.

Early Reflections

A short, dense reverb for simulating small acoustic spaces and to thicken or blur sounds.

Time

Length of reverb tail. It also allows you to change the sound from dense early reflections to a trashy, grainy 80’s-type reverb.

Low EQ

Low-cut EQ.

High EQ

High-cut EQ.

Mix

Wet/dry mix.

Delay

A simple mono-in/stereo-out delay.

Time

Delay time.

Sync

If Sync is activated, you can set the delay time in fractions of beats.

Feedback

Controls the number of delay repeats.

Balance

Ratio of left delay time to right delay time.

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Damp

High-cut filter to soften delay repeats.

Stereo Delay

A stereo-in/stereo-out delay.

Time

Delay time.

Feedback

Controls the number of delay repeats. For minimum feedback, set the slider to the mid position. By moving the slider to the left or right, cross delay is applied, where left output feeds back into right input or vice versa.

Sync

If Sync is activated, you can set the delay time in fractions of beats.

Balance

Ratio of left delay time to right delay time.

Damp

High-cut filter to soften delay repeats.

Long Delay

This effect provides the same parameter set as the Delay effect, except that longer delays of up to four seconds can be set.

Tape Delay

Simulation of a vintage 4-head analog tape delay.

Time

Delay time.

Sync

If Sync is activated, you can set the delay time in fractions of beats.

Feedback

Controls the number of delay repeats.

Vintage

Amount of vintage color and tape flutter.

Mix

Wet/dry mix.

Head 1

Delay level 1 (the output is panned left).

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Head 2

Delay level 2 (the output is panned right).

Head 3

Delay level 3.

Head 4

Delay level 4.

Pan 3+4

Varies the panning of delays 3 and 4 from center to hard left/right.

Vol 3+4

Varies the volume of delay outputs 3 and 4.

Chorus

A straightforward chorus effect that can be used to widen sounds.

Rate

The modulation rate.

Depth

The amount of pitch modulation.

PreDelay

The initial delay, to vary the tightness of the chorused voices in relation to the dry signal.

Mix

Wet/dry mix.

Ensemble

Chorus with a more complex modulation waveform for a lively thickening effect.

Rate

The modulation rate.

Depth

The amount of pitch modulation.

Shimmer

Creates a more complex modulation effect.

Width

Stereo width adjustment.

Mix

Wet/dry mix.

100

Steinberg HALion Sonic SE 3 Operation Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

Conventions

Typographical Elements

Installation

Markup

Key Commands

System Requirements

Installing the Program

How You Can Reach Us

About the Documentation

Setting Up

Using the Instrument in an AU-Compatible Application

Using the Instrument as Standalone Application

Window Overview

Introduction

Buttons

Common Editing Methods

Value Fields

Using Key Commands

Presets

Handling Section and Module Presets

Handling VST Presets

Loading VST Presets

Saving VST Presets

Global Functions and Settings

Plug-in Functions Section

Program Slot Section

Master Section

Performance Displays

Plug-in Name and Steinberg Logo

Toolbar

Performance Controls

Quick Controls

Trigger Pads

Assigning Trigger Notes to Pads

Assigning Chords or Notes to Trigger Pads

Default Trigger Note Settings

Assigning Key Switches to Trigger Pads

Naming Pads

Options Page

Managing Your Sounds

About Programs, Multis, and Presets

Loading Programs

Slot Rack

Slot Context Menu

Managing and Loading Files

Managing Multis

Loading Multis

Renaming Multis

Removing Multis

Clearing the Plug-In Instance

Saving Multis

Saving a Multi as Default

Creating Subfolders for User-Defined Multis

Navigating Through the Folder Hierarchy

Editing Attributes

Managing Files via the MediaBay

Applying Filters

Results List

Configuring the Results List

Assigning General MIDI Program Change Numbers to Sounds

Loading Programs into Slots

Macro Page

Editing Programs

Trip Macro Page

Oscillator Page

Sub Page

Mod Page

Arp Page

Filter and Amplifier Settings

Automation Page

Automation

Setting Up Automation

MIDI Page

MIDI Editing and Controllers

MIDI Controllers