Steinberg Halion 5 Manual

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Editing Zones in the Sound EditorThe Modulation Matrix Section
Using the Curve and Range Editor
You can set up a curve and range for each modulation source.
•The curve and range editor displays the settings of the selected source. To adjust 
the settings of a different source, click the button to the left of the source you want 
to edit.
•The curve editor allows you to change the characteristic of a modulation. The 
displayed curve is superimposed on the modulation source.
This way, you can change the modulation from linear to exponential or logarithmic, 
for example.
•By setting the minimum and maximum values, the modulation stays within the 
specified range only. In addition, you can specify an offset and a range for the 
modulation.
For example, with an offset and range of +50 %, only the second half of the 
displayed curve is superimposed on the modulation.
The curve editor offers different presets that you can select from the pop-up menu 
above the curve. To set up your own curve, select the Custom preset.
•Double-click in the editor to insert a new node.
Double-click on a node to delete it. 
•Drag the nodes to new positions to adjust the basic shape of the curve. 
•Drag the lines between the nodes up or down to change the curvature.
Setting Up a Modulation
Proceed as follows:
1.Select the zone that you want to adjust.
2.Open the Modulation Matrix section.
3.In one of the modulation rows, select a modulation source and destination (for 
example LFO1 as source and Pitch as destination).
4.Use the horizontal fader below the destination to adjust the modulation depth.
5.Play a few notes to hear the modulation.
6.You can select a modifier or change the polarity of the source.
For example, from the “Source 2” pop-up menu, select Pitch Bend as the modifier 
and set its polarity to unipolar.
7.Play a few notes and move the pitchbend wheel to hear how the modulation is 
affected.
8.Finally, use the curve and range editor to limit the modulation range or to adjust the 
characteristic of the modulation.
Modulation Sources
The modulation sources are available from the Source and Modifier pop-up menus. 
HALion offers you the following modulation sources:
OptionDescription
LFO P1The first LFO of the zone, which produces cyclic modulation 
signals.
LFO P2The second LFO of the zone, which produces cyclic modulation 
signals.
Amp EnvelopeThe amplifier envelope of the zone (unipolar). The shape of the 
envelope equals the modulation signal. 
						

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Editing Zones in the Sound EditorThe Modulation Matrix Section
Filter EnvelopeThe filter envelope of the zone (unipolar). The shape of the envelope 
equals the modulation signal.
Pitch EnvelopeThe pitch envelope of the zone (bipolar). The shape of the envelope 
equals the modulation signal.
User EnvelopeThe user envelope of the zone (bipolar). The shape of the envelope 
equals the modulation signal.
Step ModulatorThe step modulator of the zone (bipolar). This produces cyclic, 
rhythmically stepped modulation signals.
GlideThe glide signal of the source (unipolar). 
Key FollowThis produces an exponential modulation signal derived from the 
MIDI note number. Exponential means this source works with 
destinations such as Pitch or Cutoff. Key follow is bipolar.
Note-on VelNote-on velocity (how fast you hit a key) can be used as a 
modulation signal. Note-on Vel is unipolar.
Note-on Vel 
SquaredThe squared version of Note-on Vel. Squared means you have to 
press the key harder to produce higher modulation values.
Note-on Vel 
NormalizedThe note-on velocity is normalized via the velocity range of the 
corresponding zone. At the lowest velocity of the zone the 
modulation is 0, at the highest velocity it is 1.
Note-off VelNote-off velocity (how fast you released a key) can be used as a 
modulation signal. Note-off Vel is unipolar. While most of the MIDI 
keyboards cannot send note-off velocity messages, most 
sequencer software is able to produce such messages.
PitchbendThe position of the pitchbend wheel can be used as a modulation 
signal. Pitchbend is bipolar.
Modulation WheelThe position of the modulation wheel can be used as a modulation 
signal. Modulation Wheel is unipolar.
AftertouchAftertouch (how hard you keep a key pressed after you hit it) can be 
used as a modulation signal. Aftertouch is unipolar. Some MIDI 
keyboards cannot send aftertouch messages. However, most 
sequencer software is able to produce such messages.
MIDI ControllerAny of the 127 available MIDI controllers can be used as a 
modulation signal. You can select the MIDI controller from the 
corresponding submenu.
Quick ControlThe quick controls of the program or layer the zone belongs to can 
be used as a modulation signal. You can select the quick control 
from the corresponding submenu.
Note ExpressionThe eight note expression parameters of the program can be used 
as modulation signals for the zone. You can select the note 
expression parameter from the corresponding submenu.
NoiseProduces a random modulation signal. Noise is bipolar.
OutputThe audio output of the zone can be used as a modulation signal. 
Output is unipolar.
Bus 1-16Modulations that have been sent to one of the sixteen busses can 
be used as sources again. This way, you can combine several 
modulations to produce more complex signals. Select the 
corresponding modulation bus to assign it as source. 
Option Description 
						

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Editing Zones in the Sound EditorThe Modulation Matrix Section
Modulation Destinations
Depending on the selected type of zone, the available modulation destinations vary. 
HALion offers you the following modulation destinations:
OptionDescription
PitchModulates the pitch of the zone. For example, assign one of the 
LFOs to create a vibrato effect. When Pitch is selected, the 
modulation depth adjusts in semitones (-60 to +60).
CutoffModulates the filter cutoff of the zone. For example, assign the step 
modulator to create rhythmic patterns in the spectral timbre.
ResonanceModulates the filter resonance of the zone. Resonance changes the 
character of the filter. For example, assign velocity to resonance to 
accent the filter the harder you hit a key.
DistortionModulates the filter distortion of the zone. This has no effect on the 
Classic, HALion 3, and Waldorf filters. 
Morph XModulates the x-axis of the filter in Morph XY mode. Use this to 
morph between the filter shapes AD and BC.
Morph YModulates the y-axis of the filter in Morph 2, Morph 4, or Morph XY 
mode. For example, use this to morph between the filter shapes AB 
and DC.
Cutoff OffsetModulates the cutoff offset of the second filter in serial or parallel 
mode. For example, assign the modulation wheel to lower or raise 
the cutoff of the second filter while you play.
Resonance OffsetModulates the resonance offset of the second filter in serial or 
parallel mode. For example, assign the modulation wheel to lower or 
raise the resonance of the second filter while you play.
PanModulates the position of the zone in the panorama.
LevelThis modulation adds to the level setting of the zone. It is ideal for 
effects such as tremolo.
Volume 1This modulates the gain of the zone. The volume modulation 
multiplies with the level of the zone. It is ideal for crossfades 
between zones.
Volume 2As Volume 1. Volume 1 is multiplied with volume 2. This way, you 
can build more complex modulations. For example, use Volume 1 for 
crossfading between zones and Volume 2 for fading them in or out.
LFO1 FrequencyModulates the speed of LFO1. For example, assign Aftertouch to 
control the speed of a vibrato effect while you play.
LFO1 ShapeModulates the waveform of LFO1. For example, assign Key Follow 
to vary the waveform with the playing position on the keyboard.
LFO2 FrequencySame as LFO1 Freq, but for LFO2.
LFO2 ShapeSame as LFO1 Shape, but for LFO2.
Step Mod 
FrequencyModulates the speed of the step modulator. For example, assign an 
LFO to increase or decrease the speed cyclically.
Step Mod SlopeModulates the shape of the edges of the step modulator (the Slope 
parameter has to be active). For example, assign the modulation 
wheel to blend from hard to smooth edges.
Amp Env Attack 
TimeModulates the time of the amplitude envelope attack (the first 
segment of the envelope). The attack time cannot be modulated 
continuously. The time is updated only when the segment starts. 
						

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Editing Zones in the Sound EditorThe Modulation Matrix Section
Amp Env Decay 
TimeModulates the time of the amplitude envelope decay (all segments 
after the attack and before the sustain). The decay time cannot be 
modulated continuously. The time is updated only when the 
segment starts.
Amp Env Sustain 
LevelModulates the level of the amplitude envelope sustain. The sustain 
level cannot be modulated continuously. The level is updated only 
when the segment starts.
Amp Env Release 
TimeModulates the time of the amplitude envelope release (all segments 
after the sustain). The release time cannot be modulated 
continuously. The time is updated only when the segment starts.
Filter Env Attack 
TimeModulates the time of the filter envelope attack (the first segment of 
the envelope). The attack time cannot be modulated continuously. 
The time is updated only when the segment starts.
Filter Env Decay 
TimeModulates the time of the filter envelope decay (all segments after 
the attack and before the sustain). The decay time cannot be 
modulated continuously. The time is updated only when the 
segment starts.
Filter Env Sustain 
LevelModulates the level of the filter envelope sustain. The sustain level 
cannot be modulated continuously. The level is updated only when 
the segment starts.
Filter Env Release 
TimeModulates the time of the filter envelope release (all segments after 
the sustain). The release time cannot be modulated continuously. 
The time is updated only when the segment starts.
Pitch Env Attack 
TimeModulates the time of the pitch envelope attack (the first segment of 
the envelope). The attack time cannot be modulated continuously. 
The time is updated only when the segment starts.
Pitch Env Decay 
TimeModulates the time of the pitch envelope decay (all segments after 
the attack and before the sustain). The decay time cannot be 
modulated continuously. The time is updated only when the 
segment starts.
Pitch Env Sustain 
LevelModulates the level of the pitch envelope sustain. The sustain level 
cannot be modulated continuously. The level is updated only when 
the segment starts.
Pitch Env Release 
TimeModulates the time of the pitch envelope release (all segments after 
the sustain). The release time cannot be modulated continuously. 
The time is updated only when the segment starts.
User Env Attack 
TimeModulates the time of the user envelope attack (the first segment of 
the envelope). The attack time cannot be modulated continuously. 
The time is updated only when the segment starts.
User Env Decay 
TimeModulates the time of the user envelope decay (all segments after 
the attack and before the sustain). The decay time cannot be 
modulated continuously. The time is updated only when the 
segment starts.
User Env Sustain 
LevelModulates the level of the user envelope sustain. The sustain level 
cannot be modulated continuously. The level is updated only when 
the segment starts.
Option Description 
						

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Editing Zones in the Sound EditorThe Modulation Matrix Section
The following destinations are only available for sample zones:
The following destinations are only available for synth zones:
User Env Release 
TimeModulates the time of the user envelope release (all segments after 
the sustain). The release time cannot be modulated continuously. 
The time is updated only when the segment starts.
Bus 1-16You can send any modulation to one of the sixteen busses, for 
example, to produce more complex modulation signals. Select the 
bus you want to send the signals to as a destination. To use the 
modulation that was sent to a bus, assign the corresponding bus as 
a modulation source.
OptionDescription
Sample StartModulates the start position of the sample playback. For example, 
assign note-on velocity to play back more of the attack of a sample 
the harder you hit a key. The sample start cannot be modulated 
continuously. The parameter is updated only when you hit a key.
Speed FactorModulates the speed factor of the sample.
Formant ShiftModulates the formant shifting.
OptionDescription
Osc1/2/3 PitchModulates the pitch of the corresponding oscillator. For example, 
assign one of the LFOs to detune the oscillator cyclically.
Osc1/2/3 LevelModulates the volume of the corresponding oscillator. For example, 
assign the modulation wheel to fade the oscillator in and out while 
you play.
Osc1/2/3 Multi 
DetuneModulates the detune of the individual oscillator voices produced 
by multi-oscillator mode.
Osc1/2/3 Multi 
PanModulates the pan position of the individual oscillator voices 
produced by multi-oscillator mode.
Osc1/2/3 Multi 
VoicesModulates the number of oscillator voices produced by multi-
oscillator mode.
Osc1/2/3 
WaveformModulates the shape and character of the corresponding oscillator. 
For example, assign one of the envelopes to change the character 
of the oscillator over time.
Sub Osc LevelModulates the volume of the sub oscillator. For example, assign the 
modulation wheel to fade in the oscillator while you play.
Ring Mod LevelModulates the volume of the ring modulation effect. For example, 
assign the modulation wheel to fade in the ring modulation while 
you play.
Noise Gen LevelModulates the volume of the noise generator. For example, assign 
the modulation wheel to fade in the noise generator while you play.
Option Description 
						

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Editing Zones in the Sound EditorThe Modulation Matrix Section
Sample & Hold
The Sample & Hold modifier takes a sample of the modulation source whenever it 
receives a trigger signal. It holds the sampled value until it receives a new trigger. This 
way, you can quantize a continuous modulation signal. The Sample & Hold modifier 
offers the following options:
Using Global MIDI Controllers
HALion features eight global MIDI controllers (“Contr. A – Contr. H”), which can be 
used as placeholders in the modulation matrix. With these controllers, you can remap 
specific MIDI controllers to the placeholder controllers, for example, from the CC 
Mapper. This allows you to use the global controller in several places and set up the 
assignment only once.
OptionDescription
Trigger on Note OnSelect this to trigger the Sample & Hold modifier manually. Each 
time you hit a key, the modifier takes a sample.
Trigger on LFO1Select this for periodic triggering of the Sample & Hold modifier. It 
takes a sample each time the waveform of LFO1 crosses the zero 
line upwards.
Trigger on LFO2Select this for periodic triggering of the Sample & Hold modifier. It 
takes a sample each time the waveform of LFO2 crosses the zero 
line upwards.
Trigger on 
Modulation WheelSelect this to trigger the Sample & Hold modifier manually. It takes a 
sample each time the modulation wheel passes the center position.
Trigger on SustainSelect this to trigger the Sample & Hold modifier manually. Each 
time you press the sustain pedal, the Sample & Hold modifier takes 
a sample.
Sample until 
ReleaseSelect this to trigger the Sample & Hold modifier through releasing 
a key. It constantly takes samples and holds the last sample when 
receiving a note-off. 
						

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Mapping Zones
Introduction
In HALion, you can edit the sample mapping manually in the Mapping editor. The 
Mapping functions are based on information like key range, root key, and velocity 
range.
The Mapping Editor
The Mapping editor allows you to view and edit the distribution of zones inside a 
program. All zones are mapped to the key range on the horizontal axis and the velocity 
range on the vertical axis. In the upper area, you have access to mapping ranges and 
sample parameters for the selected zone.
Zones are displayed as boxes. Selected zones are shown with a red border, and the 
focused zone with an orange border. Overlaying zones are semi transparent, so that 
overlapping areas can easily be recognized.
When playing notes on a MIDI keyboard, the Mapping editor shows you which note 
you play on the Mapping editor keyboard. Furthermore, you can see the current 
velocity in the velocity scale on the left. 
						

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Mapping ZonesSetting the Focus
The Toolbar
The toolbar at the top of the window shows the name of the focused zone and a 
number of editing options for the mapping.
The Zone Range Section
Below the toolbar, the zone range section is located. Here you can set the values for 
Low and High Key, Low and High Velocity, Root Key, Tune, and Gain of a zone. The 
Tune and Gain parameters are only available for sample zones.
The Keyboard
The Mapping editor keyboard allows you to see with which keys a zone can be 
triggered. It can also be used to trigger notes. Depending on the vertical position at 
which you click the key, it produces a lower or higher velocity.
The context menu for a key contains submenus that show information on pitch and 
velocity as well as the zones that are mapped to a key.
ÖKeys with no zones assigned to them are grayed out.
Testing the Sample Mapping
•[Ctrl]/[Command]-click a key on the Mapping editor keyboard and keep the mouse 
button pressed. HALion plays this key and all following keys at the same velocity, 
for as long as you press the mouse button. 
•Hold down [Ctrl]/[Command]-[Alt]/[Option] and click a key to play each zone ten 
times, at increasing velocities from 1 to 127.
The Velocity Scale
The velocity scale on the left provides an orientation when adjusting the velocity range 
of a zone. In the background of the scale, a meter indicates the incoming velocity 
value. After each note, the meter automatically falls back to zero and leaves a marker 
on the last velocity value. 
Setting the Focus
When multiple zones are selected, you can click on a zone to set the focus. Alternatively, 
you can use the Focused Zone pop-up menu on the toolbar to select a different zone.
Zooming and Scrolling
The Mapping editor can zoom and scroll in two dimensions: keyboard and velocity.
•To zoom in or out, click the “+” or “-” button on the scrollbars. 
Once you have zoomed in, you can use the scrollbar to move to a specific velocity 
or keyboard area.
•To zoom in or out, press [H] or [G] on the computer keyboard.
•To zoom in on a specific zone, double-click it. To zoom out, double-click again.
•To zoom in on an area where two or more zones are overlapping, double-click the 
area. To zoom out, double-click again.
•To zoom to the selection, activate the S button next to the scrollbar.
•To zoom out completely or return to the last zoom state, click the A button next to 
the scrollbar. 
						

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Mapping ZonesSelecting Zones
Automatic Scrolling to a Tree Selection
When “Scroll Position follows Tree Selection” is activated on the toolbar and you 
select a zone in the Program Tree, the Mapping editor automatically scrolls the view to 
keep the selection in the center. This works on both the keyboard and the velocity axes.
Zoom Snapshots
Zoom Snapshots save the current zoom state in the Mapping editor. For example, by 
saving a snapshot for the lower and a snapshot for the upper range of the keyboard, 
you can switch between editing the two areas.
The snapshot handling is the same as for envelopes, see “Envelope Zoom Snapshots” 
on page 120.
Selecting Zones
•Click a zone to select it.
•[Ctrl]/[Command]-click to select several zones.
•Hold down [Ctrl]/[Command] and draw a selection rectangle covering the zones 
that you want to select. 
•Press [Ctrl]/[Command]-[A] to select all zones.
•Click on the velocity scale to select all zones that belong to a certain velocity.
Moving Zones
Selected zones can be moved in the Mapping editor.
•Click in the middle of one of the zones and drag to move all the zones together.
To limit the movement to the vertical or horizontal direction, start dragging the zone 
in one direction and press [Ctrl]/[Command] or [Alt]/[Option], respectively.
When you move sample zones horizontally, they are transposed. To make moved 
samples play back at the right pitch again you have to adapt the Root Key setting or 
activate the “Move Root Key with Zones” button on the toolbar first.
Move Lock
By clicking the Move Lock button on the toolbar, you can prevent accidental moving or 
resizing of zones.
Setting Key and Velocity Range
Graphically 
To set the key and velocity ranges, move your mouse to one of the borders of a zone, 
so that the mouse pointer changes to a double arrow, and drag. If you drag the left 
border, you set the lowest key for the key range, for example.
When you select multiple zones and drag the border of adjoining zones that are part 
of the selection, you can adjust the low and high values of the corresponding zones 
simultaneously. 
						

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Mapping ZonesMuting and Soloing Zones
Numerically
You can also set the key and velocity range values using the value fields at the top of 
the window. 
When multiple zones are selected, only the values of the focused zone are displayed 
in the edit fields. However, changing the values affects all selected zones. Like in the 
Sound editor for a zone, you can choose between absolute and relative editing, see 
“Absolute and Relative Editing” on page 98.
Muting and Soloing Zones
You can mute and solo zones in the Mapping editor using the context menu.
Showing and Hiding Zones
You can show and hide zones using the Visibility context menu options.
Auto Visibility
The Auto Visibility option on the Visibility submenu allows you to control the visibility of 
zones inside the Mapping editor. When it is activated, only the selected zone and the 
other zones that are part of the same layer are shown.
Fading and Crossfading Zones
Zones in HALion can partially or totally overlap. Fades can be created in the horizontal 
(key) and the vertical (velocity) direction. This allows you to successively add certain 
sound components over the key or the velocity range.
To create fades or crossfades, proceed as follows:
1.Select the zones that you want to fade or crossfade.
2.Open the context menu, select the Crossfades submenu, and choose “Enable 
Crossfades on Keyboard Axis”, or “Enable Crossfade on Velocity Axis”, or both.
HALion displays the fade handles.
3.Drag the handles to adjust the fade ranges.
Faded regions are shown in green.
Curve Shape
By default, the fade curve is exponential, but you can change the curvature by 
dragging the curve up and down. The maximum curve setting represents an equal 
power curve. This is useful for velocity crossfades.
Auto Crossfades
The Crossfade option on the toolbar can be set to Auto (the icon turns blue). In this 
mode, the crossfade range is automatically adjusted when you move overlapping 
zones.
Symmetric Crossfades
You can create symmetric crossfades for zones that have an identical key range and 
an adjacent velocity range.
Proceed as follows:
1.Select the two zones, open the context menu and on the Crossfades submenu, 
select “Enable Crossfade on Velocity Axis”.
The crossfade handles are displayed.