Steinberg Halion Sonic 2 Manual
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141 Global EffectsEffects Reference The 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 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. 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. The Pedal Section Pedal Sets the position of the pedal. Depth Determines the output level of the pedal modulation signal. Cutoff Determines the modulation intensity of the pedal on the filter cutoff. Morph Determines the modulation intensity of the pedal on the filter morph.
142 Global EffectsEffects Reference MorphFilter MorphFilter lets you 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 via the corresponding pop-up menus. 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 Lets you mix the output between the two selected filters. Cutoff Adjusts the cutoff frequency of the filters. ÖYou 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 self-oscillates, which results in a ringing tone. WahWah 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 Lo and Hi Pedal positions. The crossover point between the Lo and Hi Pedal positions lies at 50. Pedal Controls the filter frequency sweep. Freq Lo/Hi These parameters determine the frequency of the filter for the Lo and Hi Pedal positions. Width Lo/Hi These parameters determine the width (resonance) of the filter for the Lo and Hi Pedal positions.
143 Global EffectsEffects Reference Gain Lo/Hi These parameters determine the gain of the filter for the Lo and Hi Pedal positions. Slope Here, you can choose between two filter slope values: 6 dB or 12 dB. Amplifier This effect emulates the sound of an amplifier with speakers. There are different amplifiers and speaker models you can combine. Amp Model Here you 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 This adjusts the tone color of the low frequencies. Middle This adjusts the tone color of the mid frequencies. Treble This adjusts the tone color of the high frequencies. Presence This adds brightness. Low Damp Attenuates the low frequencies of the speakers. High Damp Attenuates the high frequencies of the speakers. Channel Mode Here, you can define 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. Output This controls the output level of the amplifier.
144 Global EffectsEffects Reference Distortion This effect offers the whole range of distortion, from low fidelity, digital distortion to high fidelity, analog sounding distortion. The four available types of distortion (Rate Red, Tube Drive, Hard Clip, and Bit Red) can be freely combined. In Gain This 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 Rate Red control that adjusts the amount of aliasing. The lower the setting, the more aliasing is added. Tube Drive This adds warm, tube-like distortions to the sound. Enable the Tube Drive option to activate the Tube Drive control that adjusts the amount of distortion. The higher the setting, the more distortion is added. Hard Clip This adds bright, transistor-like distortions to the sound. Enable the Hard Clip option to activate the Hard Clip control that adjusts the amount of distortion. The higher the setting, the more distortion is added. Bit Red (Bit Reduction) Bit reduction distorts the sound by means of quantization noise. Enable the Bit Red option to activate the Bit Red control that adjusts the amount of quantization noise. The lower the setting, the more quantization noise is added. Out Gain This adjusts the output level of the sound. Mix This sets the ratio between the dry and the wet signal.
145 Global EffectsEffects Reference 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.
146 Global EffectsEffects Reference 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.
147 Global EffectsEffects Reference 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. 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.
148 Global EffectsEffects Reference 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.
149 Global EffectsEffects Reference 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.
150 Global EffectsEffects Reference 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 on the LFO subpages, see “LFO Waveform and Shape” on page 51. 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.