Steinberg Halion 5 Manual

							111
Editing Zones in the Sound EditorThe AudioWarp Section
ÖFor the Sync modes to work properly, the loop of the sample has to be set up 
correctly. In Tempo mode, the original tempo must be set as exact as possible. 
•If you load a sample that contains tempo information in the file header, HALion 
uses this information to set up the parameters “Original Tempo”, “Note Length”, 
and “Number of Beats”. If a sample does not contain any tempo information, 
HALion estimates these values.
ÖYou can always modify the parameter values manually.
Speed
This control adjusts the playback speed of the sample in percent. You can speed up 
the tempo by up to 800
 % of the original.
In Music mode, the lower limit of the playback speed adjustment is 12.5 %. Values 
below this limit have no effect.
Original BPM
When Sync Mode is set to Tempo, you can enter the original tempo of the sample in 
beats per minute (BPM). HALion adjusts the playback speed of the sample to match 
the tempo of the host application. 
Note Length and Number of Beats
When Sync Mode is set to Beats, HALion calculates the tempo of the sample, based 
on the note length and number of beats you enter. For example, if the sample is a drum 
loop with four quarter notes, set Note to 1/4 and Beats to 4. HALion adjusts the 
playback speed of the sample to match the tempo of the host.
Time Stretch Key Follow
This parameter adjusts the time stretch modulation using MIDI note numbers. Positive 
values increase the playback speed of the sample the higher the notes you play. 
Negative values decrease the playback speed the higher the notes you play. 
Center Key
This parameter specifies the MIDI note that is used as the center position for “Time 
Stretch Key Follow”.
Legato
You can use this function to turn a vocal sample into a choir, for example.
When the Legato button is activated, you can add more voices while the sample is 
playing. These voices are inserted at the current playback position. All voices play in 
sync. If you play legato, the sample continues playing and you can change the chord 
without restarting the sample. 
Sometimes, the added voices can have audible clicks in the attack, for example, 
because playback starts somewhere in the middle of the sample. You can 
compensate for this by increasing the attack time of the amplifier envelope.
ÖThe Legato option only works within a single sample zone, not across separate 
sample zones.
TempoThe playback speed is calculated using the ratio between the original 
tempo of the sample and the tempo of the host.
BeatsThe playback speed is calculated using the note length of the beats, the 
number of beats, and the tempo of the host. 
Option Description 
						

							112
Editing Zones in the Sound EditorThe AudioWarp Section
Formant Shifting (Solo Mode Only)
Formant shifting allows you to avoid so-called Mickey Mouse effects when pitch 
shifting a sample. This is especially useful with samples of human voices or acoustic 
instruments.
•Click the On button to activate or deactivate formant shifting.
Formant
Use this knob to specify the amount of formant shifting.
Key Follow
This parameter determines how much the formants follow the pitch. Use positive 
values to minimize the Mickey Mouse effect caused by pitch shifting. Negative values 
increase the Mickey Mouse effect.
Grain Size (Solo Mode Only)
If you want to use Solo mode with complex material, a larger grain size can sound 
better. The higher this setting, the less accurate the pitch detection, which helps to 
avoid misinterpretations of pitch. In addition, you can use this parameter to produce 
interesting effects.
Transient Detection (Solo Mode Only)
This parameter sets a threshold for the transient detection. The higher the value, the 
more transients are detected. Transients can sound more defined when you adjust 
this parameter.
Modulating AudioWarp parameters in the Modulation Matrix
You can modulate the playback speed and formant shift of the sample in the 
modulation matrix. 
1.Make sure that the AudioWarp parameters are activated for the samples that you 
want to edit.
2.In the modulation matrix, select a destination.
On the Sample submenu of the modulation destinations, the options “Speed 
Factor” and “Formant Shift” are available.
3.Assign a modulation source and set up the modulation depth.
ÖThe destination “Formant Shift” can only be used in Solo mode. 
						

							113
Editing Zones in the Sound EditorThe Filter Section
The Filter Section
The Filter section for synth and sample zones allows you to adjust the tone color of the 
sound. 
Filter Type
By selecting the filter type, you specify the basic sound character of the filter. Note 
that filters without distortion use less processing power. 
The following filter types are available:
Filter Mode
The buttons on the left of the Filter section determine the overall filter structure. The 
filter types provide the following options:
Filter typeDescription
OffThe filter section is switched off. 
ClassicThis filter type offers 24 filter shapes with resonance.
Tube DriveThis filter type offers a lot of character by adding warm, tube-like 
distortion. You can set the amount of tube drive with the Distortion 
parameter.
Hard ClipThis filter type adds bright, transistor-like distortion. You can set the 
amount of hard clipping with the Distortion parameter.
Bit Red
(Bit Reduction)
This filter type adds digital distortion by means of quantization noise. 
You can adjust the bit reduction with the Distortion parameter.
Rate RedThis filter type adds digital distortion by means of aliasing. You can 
adjust the rate reduction with the Distortion parameter.
Rate Red KFAs above, but with Key Follow: The rate reduction follows the 
keyboard, so the higher you play, the higher the sample rate.
WaldorfThis filter type offers 14 filter shapes, including two comb filters.
HALion 3This filter type offers the 5 legacy filter shapes from HALion 3.
Filter modeDescription
Single Filter This mode uses one filter with one selectable filter shape.
Dual Filter Se rialThis mode uses two separate filters connected in series. You can 
select the filter shapes for each filter independently. The parameters 
Cutoff and Resonance control both filters simultaneously. However, 
you can offset the cutoff and resonance of the second filter with the 
parameters CF Offset and Res Offset.
Dual Filter 
ParallelThis mode uses two separate filters connected in parallel. You can 
select the filter shapes for each filter independently. The parameters 
Cutoff and Resonance control both filters simultaneously. However, 
you can offset the cutoff and resonance of the second filter with the 
parameters CF Offset and Res Offset. 
						

							114
Editing Zones in the Sound EditorThe Filter Section
ÖFor compatibility reasons, the filter types HALion 3 and Waldorf are included. These 
filters always use Single filter mode.
Filter Shape
Each filter type offers 24 different filter shapes. By selecting the filter shape, you 
determine which frequencies are affected. Depending on the chosen filter mode, you 
can either select one, two, or four shapes.
Morph 2This mode morphs between filter shape A and B. You can select the 
filter shapes for filter shape A and B independently. Adjust the 
morphing with the Morph Y parameter.
Morph 4This mode morphs sequentially from filter shape A to D. You can 
select the filter shapes for filter shape A, B, C, and D independently. 
Adjust the morphing with the Morph Y parameter.
Morph XYThis mode morphs freely between the fi l t e r  s h a p e s  A ,  B,  C,  a n d  D .  Y o u  
can select the filter shapes for filter shape A, B, C, and D 
independently. Adjust the morphing with the Morph X and Morph Y 
parameters.
Filter mode Description
Filter shapeDescription
LP24Low-pass filter with 24 dB/oct. Frequencies above the cutoff are 
attenuated.
LP18Low-pass filter with 18 dB/oct. Frequencies above the cutoff are 
attenuated.
LP12Low-pass filter with 12 dB/oct. Frequencies above the cutoff are 
attenuated.
LP6Low-pass filter with 6 dB/oct. Frequencies above the cutoff are 
attenuated.
BP12Band-pass filter with 12 dB/oct. Frequencies below and above the 
cutoff are attenuated.
BP24Band-pass filter with 24 dB/oct. Frequencies below and above the 
cutoff are attenuated.
HP6+LP18High-pass filter with 6 dB/oct plus low-pass filter with 18 dB/oct 
(asymmetric band-pass filter). Frequencies below and above the 
cutoff are attenuated. Attenuation is more pronounced for the 
frequencies above the cutoff.
HP6+LP12High-pass filter with 6 dB/oct plus low-pass filter with 12 dB/oct 
(asymmetric band-pass filter). Frequencies below and above the 
cutoff are attenuated. Attenuation is more pronounced for the 
frequencies above the cutoff.
HP12+LP6High-pass filter with 12 dB/oct plus 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.
HP18+LP6High-pass filter with 18 dB/oct plus 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.
HP24High-pass filter with 24 dB/oct. Frequencies below the cutoff are 
attenuated. 
						

							115
Editing Zones in the Sound EditorThe Filter Section
Cutoff
Here, you can adjust the cutoff frequency of the filter. The effect depends on the 
selected filter type.
X/Y Control
The X/Y control allows you to adjust two parameters simultaneously. This is especially 
useful with the morphing filters, where the X/Y control adjusts the mix between the 
filter shapes. For the other filter modes, the X/Y control adjusts cutoff and resonance. 
Depending on the selected filter type, the X/Y control adjusts different parameters:
HP18High-pass filter with 18 dB/oct. Frequencies below the cutoff are 
attenuated.
HP12High-pass filter with 12 dB/oct. Frequencies below the cutoff are 
attenuated.
HP6High-pass filter with 6 dB/oct. Frequencies below the cutoff are 
attenuated.
BR12Band-reject filter with 12 dB/oct. Frequencies around the cutoff are 
attenuated.
BR24Band-reject filter with 24 dB/oct. Frequencies around the cutoff are 
attenuated.
BR12+LP6Band-reject filter with 12 dB/oct plus low-pass filter with 6 dB/oct. 
Frequencies around and above the cutoff are attenuated.
BR12+LP12Band-reject filter with 12 dB/oct plus low-pass filter with 12 dB/oct. 
Frequencies around and above the cutoff are attenuated.
BP12+BR12Band-pass filter with 12 dB/oct plus band-reject filter with 
12
 dB/oct. Frequencies below, above and around the cutoff are 
attenuated.
HP6+BR12High-pass filter with 6 dB/oct plus band-reject filter with 12 dB/oct. 
Frequencies below and around the cutoff are attenuated.
HP12+BR12High-pass filter with 12 dB/oct plus band-reject filter with 
12
 dB/oct. Frequencies below and around the cutoff are attenuated.
APAll-pass filter with 18 dB/oct. Frequencies around the cutoff are 
attenuated.
AP+LP6All-pass filter with 18 dB/oct plus low-pass filter with 6 dB/oct. 
Frequencies around and above the cutoff are attenuated.
HP6+APHigh-pass filter with 6 dB/oct plus all-pass filter with 18 dB/oct. 
Frequencies around the cutoff are attenuated.
Filter shape Description
FilterDescription
Single, Dual Serial 
& Dual ParallelThe X/Y control adjusts the cutoff frequency on the horizontal and 
resonance on the vertical axis.
Morph 2 and 4The X/Y control adjusts the morphing between the filter shapes on 
the vertical (Morph Y) axis. The horizontal axis adjusts the cutoff 
frequency.
Morph XYThe X/Y control adjusts the morphing between the filter shapes AD 
and BC on the horizontal (Morph X), and AB and DC on the vertical 
axis (Morph Y). 
						

							116
Editing Zones in the Sound EditorThe Filter Section
Resonance
This parameter emphasizes the frequencies around the cutoff. For an electronic 
sound, increase the resonance. At higher resonance settings, the filter self-oscillates, 
which results in a ringing tone.
Distortion
This parameter adds distortion to the signal. The effect depends largely on the 
selected filter type. At higher settings, it creates a very intense distortion effect.
ÖThis parameter is only available for the Tube Drive, Hard Clip, Bit Red, Rate Red, and 
Rate Red KF filter types.
CF Offset
For the dual filters, this parameter allows you to offset the cutoff frequency of the 
second filter (filter shape B). 
Res Offset
For the dual filters, this parameter allows you to offset the resonance of the second 
filter (filter shape B). 
Velocity
This parameter adjusts the cutoff modulation from velocity. Set this parameter to 
positive values to increase the cutoff with higher velocities. Use negative values to 
decrease the cutoff with higher velocities.
Norm
The Norm option allows you to normalize the velocity values that are used to modulate 
the filter. This means, that the velocity range for the zone is remapped to a full velocity 
range.
For example, if a zone ranges from 40 to 80 on the mapping velocity scale, an 
incoming velocity of 40 results in a velocity value of 0 being sent to the cutoff, an 
incoming velocity of 80 results in 127. This way, you can adapt velocity-layered zones 
in such a way that each zone starts with a damped filter setting and opens completely 
towards the zone above.
Fatness
This parameter (only available for the algorithms Waldorf and HALion 3) adds a warm, 
tube-like filter distortion to the signal.
Env Amnt (Envelope Amount)
Use this parameter to adjust the cutoff modulation from the filter envelope. Setting 
negative values inverts the direction of the modulation from the filter envelope.
Key Follow
Here, you can adjust the cutoff modulation using the note number. Set this parameter 
to positive values to raise the cutoff with notes above the center key. Use negative 
values to lower the cutoff with notes below the center key. At +100
 % the cutoff 
follows the played pitch exactly.
Center Key
This parameter determines the MIDI note that is used as the central position for the 
Key Follow function.  
						

							117
Editing Zones in the Sound EditorThe Amplifier Section
Bypass
The Bypass buttons in the top right of the section allow you to listen to the zone 
without modulation of the filter envelope and without any filtering.
The Amplifier Section
The Amplifier section has two tabs: Main and AUX.
The Main Tab
The Main tab gives you access to the Level and Pan settings of the zone.
Level
Here, you can adjust the loudness of the zone.
Headroom
Use this parameter to specify the headroom for polyphonic playback. By default, 
HALion uses a headroom of 12
 dB. For monophonic programs, such as drum loops, 
set the headroom to 0
 dB. If you work with low polyphony values, a headroom of 6 dB 
is sufficient.
Expression
When this button is activated, HALion uses incoming MIDI expression controller and 
controller #7 data to calculate the voice amplitude. This ensures a correct behavior 
when working with General MIDI files, for example. 
•If you do not want the Expression data to be used, deactivate this button.
Key Follow
Use this parameter to control the volume depending on the note pitch. Positive values 
mean that the volume is higher the higher the notes you play. With negative values, the 
volume decreases the higher the notes you play.
Center Key
This parameter determines the MIDI note that is used as the central position for the 
Key Follow function. 
Pan
Here, you can set the position of a sound in the stereo panorama. At a setting of 
-100
 %, the sound is panned hard left, and at +100 %, it is panned hard right.
Mode
With this option you can specify how the loudness changes across the stereo 
panorama. The following modes are available:
•0 dB: This option works like a balance control.
Setting the pan control towards the left fades out the right channel and vice versa. 
At the center position, the loudness is not cut. 
						

							118
Editing Zones in the Sound EditorThe Amplifier Section
•-3 dB: This option uses the cosine/sine pan law.
The loudness is cut by -3 dB at the center position, but the energy is preserved 
when moving the source signal across the stereo panorama. The -3
 dB option 
sounds more natural. The transition from hard left to hard right sounds much 
smoother than with the 0
 dB or the -6 dB setting.
•-6 dB: This option uses the linear pan law.
The loudness is cut by -6 dB at the center position, and the energy is not 
preserved when moving the source signal across the stereo panorama. The -6
 dB 
option sounds more synthetic. The transition from hard left to hard right sounds 
more abrupt than with the -3
 dB setting.
•When set to Off, no panning is applied.
Random
This parameter allows you to offset the pan position randomly with each played note. 
Higher values cause stronger variations. At a setting of 100
 %, the random offsets can 
vary from fully left to fully right.
Alternate
This parameter allows you to alternate the pan position each time you play a note. If 
you want to start panning on the left, use negative values. Use positive values to begin 
on the right. At a setting of +100
 %, the first note plays hard right, the second note 
hard left, and so on. 
Reset
The initial pan position is set once when HALion is loaded. Then, HALion counts each 
note you play to determine the next pan position. To reset this counter, click the Reset 
button next to the Alternate control.
Key Follow
Here, you can adjust the pan modulation via the MIDI note number. Set this parameter 
to positive values to offset the pan position towards the right for notes above, and 
towards the left for notes below the center key. Use negative values to offset the pan 
position towards the left for notes above, and towards the right for notes below the 
center key. At the maximum setting of +200
 %, the pan position moves from hard left 
to hard right within two octaves: Fully left is reached one octave below and fully right 
is reached one octave above the center key.
Center Key
This parameter determines the MIDI note that is used as the central position for the 
Key Follow function. 
The AUX Tab
The AUX tab allows you to send the zone to the four global AUX busses and to 
directly route the zone to one of the plug-in output busses.
AUX 1-4
In HALion, you can send the zone signal to the global, or, if available, the local AUX 
busses. You can control the signal level that is sent to the busses with the knobs 
AUX
 1-4.
Output
HALion allows you to route a zone directly to one of the output busses. In this case, 
the zone does not pass through the layer, program and slot busses. 
						

							119
Editing Zones in the Sound EditorThe Envelope Section
The Envelope Section
The Envelope section for synth and sample zones gives you access to the four 
envelopes of the zone: Amp, Filter, Pitch, and User. Each of these is a multisegment 
envelope with up to 128 nodes. The Amp, Filter and Pitch envelopes are pre-assigned 
to the amplitude, the filter cutoff frequency and the pitch of the zone. You can adjust 
the pre-assigned modulations in the corresponding sections of the zone. The purpose 
of the User envelope is freely definable. 
•Click the Amp button to display the parameters of the amplifier envelope.
The amplifier envelope shapes the volume over time.
•Click the Filter button to display the parameters of the filter envelope. 
The filter envelope controls the cutoff frequency to shape the harmonic content 
over time.
•Click the Pitch button to display the parameters of the pitch envelope. 
The pitch envelope modulates the pitch over time. The pitch envelope is bipolar, 
which means it allows for negative and positive values to bend the pitch.
•Click the User button to display the parameters of the freely assignable user 
envelope. 
It is bipolar, which means it allows for negative and positive values, for instance, to 
modulate the pan from left to right.
Zooming and Navigating in the Graphical Envelope Editor
The vertical axis of the graphical envelope editor displays the level. The horizontal axis 
displays the time. 
You can zoom in and out in the following ways:
•To zoom in on the horizontal axis, use the “+” button to the right of the scrollbar 
below the graphical editor.
•To zoom out, click the “-” button.
•In the timeline, click and drag up or down to zoom in or out at the current position.
•To zoom to a certain region, hold [Alt]/[Option] and drag the mouse over the region.
You can navigate to a certain position in the following way:
•Drag the scrollbar to the left or right to scroll the envelope editor.
•To jump to the corresponding position in the envelope editor, click in an empty 
space next to the scrollbar.
•To scroll through the envelope step by step, click the triangles to the left and right 
of the scrollbar. 
						

							120
Editing Zones in the Sound EditorThe Envelope Section
Envelope Zoom Snapshots
Envelope zoom snapshots save the current state of the graphical envelope editor. For 
example, by saving two envelope zoom snapshots, one for the beginning and one for 
the end of the envelope, you can conveniently switch between editing the attack and 
release of the envelope.
Saving and Loading Envelope Zoom Snapshots
To the right of the scrollbar, you can find three numbered buttons that allow you to 
save and load envelope zoom snapshots for the current envelope editor. An envelope 
zoom snapshot also includes the zoom factor and scroll position of the graphical 
envelope editor. These are restored when loading the snapshot.
•To save the current state of the graphical envelope editor as snapshot, [Shift]-click 
one of the numbered buttons to the right of the scrollbar.
•To load a previously saved envelope zoom snapshot, click the corresponding 
button. The button color changes to green indicating that the snapshot is active. 
Zooming or scrolling with the graphical envelope editor deactivates the envelope 
zoom snapshot.
Editing the Envelope
Each multisegment envelope has up to 128 nodes with the Time, Level, and Curve 
parameters. The nodes and their parameters specify the overall shape of the 
envelope. You can edit one or multiple nodes in the graphical envelope editor or by 
typing in values. 
Selecting Nodes
•You select a node by clicking on it in the graphical editor. Selected nodes turn light 
blue. The focused node is indicated by an orange frame. The focused node displays 
its parameters in the value fields to the left of the graphical envelope editor.
•When multiple nodes are selected, you can use the Node pop-up menu above the 
value fields to set the focus to a different node without losing the current selection.
•[Shift]-click a node to add it to the selection. Selected nodes are edited together.
•You can select multiple nodes by drawing a rectangle around the nodes with the 
mouse.
•With a single node selected, use the left or right arrow key to select the next or 
previous node. In a multiselection, the focused node changes and the previous or 
next node within the multiselection is focused.
Adjusting the Time Parameter
The Time parameter specifies the period of time between two nodes. Depending on 
the Sync mode, the Time parameter is displayed in milliseconds and seconds, or 
fractions of beats.
To set the Time parameter, select the nodes you want to edit, and enter a value in the 
Time field.
You can also adjust the Time parameter in the graphical envelope editor, by dragging 
the nodes left or right, to decrease or to increase the time span.
•For a higher resolution, hold [Shift] while moving the nodes.
•Hold [Ctrl]/[Command] while dragging to limit the movement to the time axis 
(horizontal positioning only).