Steinberg Halion 5 Manual
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231 Effects ReferenceDistortion Effects VST Amp This effect emulates the sound of an amplifier with speakers. There are different amplifiers and speaker models you can combine. Amp Model Here you can select the type of amplifier. The sound character of the overdrive changes with the amplifier you select. To bypass the amplifier, select “No Amp”. Speaker Model Here you select the type of Speaker model. Each model colors the sound uniquely. To bypass the model, select “No Speaker”. Drive This adjusts the amount of overdrive. Bass Use this to adjust the tone color of the low frequencies. Middle Use this to adjust the tone color of the mid frequencies. Treble Use this to adjust the tone color of the high frequencies. Presence Use this to add brightness. Microphone Position Here, you can choose between 7 positions to place the microphone. These positions result from two different angles (center and edge) and three different distances from the speaker, as well as an additional center position at an even greater distance from the speaker. Mic 1/2 You can choose between two microphone types. When this control is set to 0 %, a large-diaphragm condenser microphone is used. At 100 %, you get a dynamic microphone. Settings in between allow you to fade between the characteristics of these two microphones. Channel Mode Here you can define which output channels of the amplifier delivers a distorted signal. You can set it to L (Left), R (Right) or L/R (Both). When set to L or R, the other channel provides a clean, bypassed signal. Output This controls the output level of the amplifier.
232 Effects ReferenceDistortion Effects Tape Saturator The Tape Saturator effect simulates the behavior of classic tape recorders. These machines produced a specific saturation when recording higher input levels, which led to a compressed signal with light distortion. Mode Here, you can choose between the effect of a single or two cascaded tape machines. Two Stage mode leads to higher saturation and compression. Oversampling Activate this option to increase the accuracy of the effect by oversampling. ÖWhen this button is activated, the effect requires more processing power. Drive Determines the level of the input signal and thus the amount of saturation. Auto Gain Activate this option for an automatic level compensation. Low Filter Here, you can adjust the low frequency range below 1000 Hz by +/- 3 dB. High Filter Here, you can attenuate the high frequency range. This high-cut filter works with a slope of 24 dB/octave. Output Determines the level of the output signal. Octaver This effect allows you to create two additional voices that follow the original voice an octave below and above. The effect is best suited for monophonic signals. Direct Determines the level of the input signal. Octave 1 Determines the level of the signal that is produced an octave below the original voice. Octave 2 Determines the level of the signal that is produced an octave above the original voice.
233 Effects ReferenceModulation Effects Modulation Effects Chorus The Chorus effect thickens and broadens the sound by means of pitch modulation. Rate Use this to specify the frequency of the pitch modulation in Hertz. Sync Activate this to set the Rate value in fractions of beats. Depth This sets the intensity of the pitch modulation. Phase This widens the sound image of the effect from mono to stereo. Shape This adjusts the characteristic of the modulation. At a setting of 0 %, the pitch changes continuously, producing a steady modulation. At a setting of 100 %, the pitch does not change all the time, producing a less steady modulation. Mix This sets the ratio between the dry and the wet signal. Flanger The Flanger effect thickens and broadens the sound by means of pitch modulation. The Feedback parameter allows you to add resonances allowing for jet-like sweeps of the sound. Rate Use this to specify the frequency of the pitch modulation in Hertz. Sync Activate this to set the Rate value in fractions of beats. Depth This sets the intensity of the pitch modulation. Phase This widens the sound image of the effect from mono to stereo. The Phase parameter also changes the characteristic of the Cross Feedback parameter.
234 Effects ReferenceModulation Effects Shape This adjusts the characteristic of the modulation. You hear this best with the Feedback parameter turned on. At a setting of 0 %, the sound sweeps linearly up and down. At a setting of 100 %, the sound sweeps exponentially up and down. Mix This sets the ratio between the dry and the wet signal. Feedback This adds resonances to the effect. Cross FB This mixes the feedback of the left channel with the right channel, and vice versa. This parameter only takes effect if the Feedback parameter is set to a value above 0 %. The setting of the Phase parameter influences the Cross FB parameter. Tone This adjusts the tone color of the feedback. If you set this parameter to lower values the feedback is less bright. Step Flanger The Step Flanger expands the Flanger with a Sample and Hold section that divides the modulation signal into a definable number of steps. In addition to the parameters of the regular Flanger effect, Step Flanger offers the following parameters: Type Defines the length of the delay line that is modulated. Short produces a sharper and Long a less defined, more blurred Flanger sound. S&H Mix Use this parameter to blend the normal with the stepped modulation signal. At 100 %, only the stepped modulation is used. Smooth Use this parameter to create ramps between the steps. This way, the stepped modulation signal sounds smoother. Steps Determines into how many steps the modulation signal is divided. You can use up to 32 steps.
235 Effects ReferenceModulation Effects Phaser The Phaser effect thickens and broadens the sound by means of phase modulation. The Feedback parameter allows you to add resonances to sweep the sound. Rate Use this to specify the frequency of the phase modulation in Hertz. Sync Activate this to set the Rate value in fractions of beats. Depth This sets the intensity of the phase modulation. Shift This shifts the phase modulation upwards to higher frequencies of the spectrum. Phase This widens the sound image of the effect from mono to stereo. Low Cut Attenuates the low frequencies. High Cut Attenuate the high frequencies. Mix This sets the ratio between the dry and the wet signal. Tremolo This effect produces amplitude modulation, that is, cyclic modulation of the level of the sound. Rate Use this to specify the frequency of the amplitude modulation in Hertz. Sync Activate this to set the Rate value in fractions of beats. Depth This sets the intensity of the amplitude modulation. Phase This widens the sound image of the effect from mono to stereo. Output Sets the output level of the Tremolo.
236 Effects ReferenceModulation Effects 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. LFO Waveform and LFO Shape These are the same parameters as in the LFO section, see “LFO Waveform and Shape” on page 124. LFO Freq Use this to specify the frequency of the LFO for modulating the frequency of the sine oscillator. Sync Activate this to set the LFO Freq value in fractions of beats. LFO Depth Sets the intensity of the LFO modulation of the sine oscillator frequency. Frequency Determines the frequency of the sine oscillator. Mix This sets the ratio between the dry and the wet signal. Envelope Follower The Envelope Follower traces the input signal with an adjustable attack and release time and delivers a modulation signal representing the level envelope of the signal. Sensitivity All input signals are downmixed to mono before they are sent to the Envelope Follower. The Sensitivity parameter sets the optimum input level for the Envelope Follower. Attack This adjusts the attack time of the Envelope Follower, that is, the time the Envelope Follower needs to approach increasing input levels. Release This adjusts the release time of the Envelope Follower, that is, the time the Envelope Follower needs to approach decreasing input levels. Depth Determines the output level of the modulation signal of the Envelope Follower.
237 Effects ReferenceModulation Effects Rotary The Rotary effect emulates the sound of a vintage rotary speaker including amplifier, horn, drum, and cabinet. By emitting the sound via a rotating horn and drum, the rotary speaker produces a Doppler effect that thickens the sound. The horn and drum rotate at variable speed producing different amounts of Doppler effect. The amplifier of the rotary speaker adds a warm sounding distortion, and the horn, drum, and cabinet color the sound uniquely. The horn and drum are recorded via (virtual) microphones that can be set to different angles to broaden the sound image. Typically, rotary speakers are used with electric organs. Rotation Use this to change the rotation speed of the horn and drum (Slow, Fast, Stop). When set to Fast, the Doppler effect is stronger. When set to Stop, there is no Doppler effect because the drum and horn do not rotate. Because the horn and drum accelerate and decelerate at different speeds the transition from Slow to Fast and vice versa sounds the most interesting. Distance Sets the distance between the microphones and the horn and drum. The amplitude modulation of the sound decreases with the distance of the microphones. Set this to higher values for less amplitude modulation. Cabinet The horn and drum sound different when recorded through the louvers of the cabinet. Use this to color the horn and drum with the sound of the cabinet. At a setting of 100 %, you get the full sound of the cabinet. Balance Here you adjust the balance between the horn and drum microphones. At a setting of 0 %, you hear only the drum. At a setting of 100 %, you hear only the horn. Slow This adjusts the slow speed of the horn and drum together. Fast This adjusts the fast speed of the horn and drum together. Accel Adjusts the acceleration time for raising and lowering the rotation speed of the horn and drum. Horn Mic Angle This adjusts the stereo spread of the horn microphones. At a setting of 0°, the sound image is monophonic. At a setting of 180°, the sound image is fully stereo. Drum Mic Angle This adjusts the stereo spread of the drum microphones. At a setting of 0°, the sound image is monophonic. At a setting of 180°, the sound image is fully stereo.
238 Effects ReferenceModulation Effects Input Adjusts the gain before the rotary and drive. Drive Adjusts the distortion of the amplifier. Output Adjusts the gain after the rotary and drive. Color Use this to alter the sound of the Rotary effect. This parameter changes the timbre which leads to the rotation of the horn and the drum being perceived with greater depth. Bass Use this to adjust the tone color of the low frequencies. Treble Use this to adjust the tone color of the high frequencies. Vibrato The Vibrato effect emulates the chorus and vibrato effects of vintage organs. It thickens the sound by means of pitch modulation. The effect provides direct access to the classic chorus and vibrato settings (C1, C2 and C3 and V1, V2 and V3). In addition, there is a Custom mode that allows you to adjust the amount of chorus or vibrato freely. Type Here you can select the classic chorus and vibrato settings C1, C2 and C3 and V1, V2 and V3. The control is only available if the effect is set to Classic mode. Custom Mode Activate this to adjust the chorus and vibrato settings freely with the Rate, Depth, and Vibrato/Chorus controls. Rate Use this to specify the frequency of the pitch modulation in Hertz. Depth This sets the intensity of the pitch modulation. Vibr/Chor This controls the mix between the vibrato and the chorus signal. At 100 %, you only hear the chorus effect.
239 Effects ReferenceModulation Effects 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 Specifies the frequency of the LFO. Sync Activate this to set the Rate value in fractions of beats. Depth Sets the intensity of the delay time modulation by the LFO. Shimmer Sets the intensity of a secondary faster delay time modulation. Shimmer Rate Determines the relation between the speed of the primary and the secondary delay modulation. For example, with a value of 10, the secondary modulation is ten times faster. Low Cut Applies a low-cut filter to the signal. Only frequencies above the set frequency are sent to the effect. High Cut Applies a high-cut filter to the signal. Only frequencies below the set frequency are sent to the effect. Level Allows you to adapt the effect signal level to compensate for level reductions caused by the Low and High cut filters. Mix This sets the ratio between the dry and the wet signal.
240 Effects ReferenceDynamics Effects 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 value with the handles of this control, the corresponding knobs reflect your changes. The input and output VU meters indicate the level before and after the compression. The Gain Reduction meter indicates the current attenuation of the level. Threshold Use this to set the threshold in dB. Sounds that are louder than the threshold are reduced in gain. Sounds below the threshold stay untreated. Ratio This adjusts the amount of gain reduction for sounds that are louder than the threshold. The higher the ratio, the more the output is lowered. For example, if the ratio is set to 2:1 and the amplitude of the sound is 4 dB above the threshold, the output is lowered by 2 dB. If the amplitude is 8 dB above the threshold, the output is lowered by 4 dB. Soft Knee If this button is off, signals above the threshold are compressed instantly according to the set ration (hard knee). When Soft Knee is activated, the onset of compression is more gradual, producing a less drastic result. Make-Up Depending on the set threshold and ratio, the sound loses gain (indicated by the Gain Reduction meter). You can use the Make-Up parameter to make the overall sound louder again. Auto This calculates the gain loss from the Threshold and Ratio settings and sets the Make- Up value automatically. The Make-Up knob is disabled when Auto is active. Attack This determines how fast the Compressor effect reacts to sounds that exceed the set threshold. The longer the set Attack time, the longer the period for reducing the gain to the set ratio will be. In other words, with longer Attack times the onset of sounds exceeding the threshold pass through unprocessed. Hold This sets a time period during which the compression is applied after the sound exceeds the set threshold.