Steinberg Halion Sonic 2 Manual

							51
EditingEditing Layers
•To select one of the polyphonic LFOs, click P1 or P2. This refers to LFO1 and 
LFO2 in the modulation matrix.
Polyphonic LFO page
•To select one of the monophonic LFOs, click M3 or M4. This refers to LFO3 and 
LFO4 in the modulation matrix.
Monophonic LFO page
LFO Waveform and Shape
Waveform selects the basic type of waveform. Shape changes the characteristic of 
the waveform.
OptionDescription
SineThis produces smooth modulation, suitable for vibrato or tremolo. 
Shape adds additional harmonics to the waveform.
TriangleThis is similar in character to Sine. The waveform periodically ramps up 
and down. Shape continuously changes the triangle waveform to a 
trapezoid.
SawThis produces a “ramp” cycle. Shape continuously changes the 
waveform from ramp down to triangle to ramp up.
PulseThis 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. Set shape to 50
 % to 
produce a square wave.
RampThis is similar to the Saw waveform. Shape increasingly puts silence 
before the sawtooth ramps up.
LogShape continuously changes the logarithmic curvature from negative to 
positive.
S & H 1This produces random 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 2This 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. 
						

							52
EditingEditing Layers
Sync Mode
You can sync the LFO to the tempo of the host application. The behavior of the 
Frequency parameter changes with the option you select:
Retrigger Mode
This defines whether the LFO is restarted when a note is triggered. The waveform 
restarts at the position you set with the Phase parameter. The polyphonic and 
monophonic LFOs offer different Retrigger settings.
The polyphonic LFOs can only switch between Retrigger On and Off:
The monophonic LFOs offer the following modes:
Frequency
This controls the frequency of the modulation, i. e. the “speed” of the LFO. When Sync 
is activated, the frequency is set in fractions of beats.
Phase
This sets the initial phase of the waveform when the LFO is retriggered.
Rnd (Random)
When this is activated, each note starts with a randomized start phase. The Phase 
control is automatically disabled.
OptionDescription
OffSelect this to adjust the speed of the modulation in Hertz.
Tempo + RetrigSelect this to adjust the speed of the modulation in fractions of 
beats, for example, 1/4, 1/8, etc. You can also set dotted and triplet 
note values. The restart behavior of the LFO depends on the 
Retrigger setting.
Tempo + BeatSelect this to adjust the speed of the modulation in fractions of 
beats, for example, 1/4, 1/8, etc. You can also set dotted and triplet 
note values. The LFO restarts with the transport of the host and 
lines up to the beats of the song. The Retrigger setting does not 
come into effect.
OptionDescription
Off The LFO runs freely.
On The LFO restarts with each note that is triggered.
OptionDescription
Off The LFO runs freely.
First NoteThe LFO restarts when a note is triggered and no other notes are 
held.
Each NoteThe LFO restarts each time a note is triggered. 
						

							53
EditingEditing Layers
Additional Parameters for Polyphonic LFOs
The following parameters are only available for the polyphonic LFOs, i. e. LFO1 and 
LFO2:
Inv (Invert Envelope)
When the Inv option is activated, the behavior of the LFO envelope is inverted: The 
LFO modulation starts at its maximum level and decreases to zero in the time 
specified by the Fade In. After the Hold time has elapsed, or when releasing a key, the 
modulation increases to its maximum level in the time specified by the Fade Out.
Envelope Mode
Here you can select how the LFO envelope reacts to your playing on the keyboard: 
The One Shot modes do not react to note-off events. In addition, you can select 
whether the Hold and Fade Out segments act as sustain.
ParameterDescription
DelayDelay determines the delay time between the moment you play a 
note and the moment the LFO comes into effect.
Fade InFade In determines the amount of time for the LFO to fade in after 
the note has been triggered and the delay time has elapsed.
HoldHold determines the amount of time the LFO is running before the 
Fade Out is carried out.
Use the Envelope Mode “One Shot” or “Hold + Fade Out” to 
activate the Hold time. With all other Envelope Modes, the Hold 
time is omitted and acts as Sustain.
Fade OutFade Out determines the amount of time for the LFO to fade out 
after the hold time has elapsed or a note has been released.
Use the Envelope Modes “One Shot + Sustain” or “Sustain” to 
deactivate the Fade Out. This avoids changes of the modulation 
when the note has been released.
OptionDescription
One ShotSelect this mode to play the envelope from start to end in the time 
specified by Delay, Fade In, Hold, and Fade Out.
One Shot + 
SustainThis mode is similar to One Shot: The Delay and Fade In are always 
carried out when you play a note. The Hold and Fade Out are omitted. 
Instead, they act as sustain.
Hold + Fade OutWhen you play a note, the Delay and Fade In are carried out. The 
envelope fades out after the time specified by Hold or when releasing 
the note. Releasing the note during the Fade In starts the Fade Out 
from the current level.
Sustain + Fade 
OutWhen you play a note, the Delay and Fade In are carried out. The 
Hold acts as sustain. The Fade Out is carried out when releasing the 
note. Releasing the note during the Fade In starts the Fade Out from 
the current level.
SustainWhen you play a note, the Delay and Fade In are carried out. Both, 
the Hold and Fade Out act as sustain. Releasing a note during the 
Fade In sustains the current level. This avoids a change in modulation 
when the note has been released. 
						

							54
EditingEditing Layers
Graphical Envelope Editing in the LFO View
You can adjust the times of the envelope with the graphical editor:
•The first node adjusts the delay time. Drag the node to the left to decrease and to 
the right to increase the delay.
•The second node adjusts the Fade In time. Drag the node to the left to decrease 
and to the right to increase the time.
•The third node adjusts the Hold time. Drag the node to the left to decrease and to 
the right to increase the time.
•The fourth node adjusts the Fade Out time. Drag the node to the left to decrease 
and to the right to increase the time.
The Step Modulator (StepM) Subpage
Synth and sample layers feature a polyphonic step modulator for creating rhythmic 
control sequences. The step modulator can be freely assigned in the modulation 
matrix. The sequence can have up to 32 steps. By selecting a note value, the steps 
can be synchronized to the tempo of the host application or you can specify a 
frequency at which the sequence repeats. The Retrigger mode allows you to restart 
the sequence either with the First Note or Each Note. The sequence continues when 
this parameter is set to Off. You can define a slope for rising, falling or both edges of 
the steps. This way, you can use the step modulator as an LFO with freely definable 
shape.
To access the step modulator, proceed as follows:
1.Go to the Edit page and select the synth or sample layer you want to adjust.
2.Click the StepM page button.
The Step Modulator subpage opens.
Step Modulator Presets
At the top right of the StepM subpage, you can load and save presets for the step 
modulator.
•To load a preset, click in the Select Preset field and select the preset from the 
pop-up menu.
•To delete a preset from your system, click the trash bin button. 
You will be asked to confirm the deletion.
•To save a new preset, click the floppy disk button. 
A file dialog opens where you can name and save your preset file.
Editing Steps
To adjust the steps using the mouse, proceed as follows:
•To set the level of a step, click at the corresponding position in the graphical 
editor.
•To set the exact value, drag the step up and down like a fader. 
						

							55
EditingEditing Layers
•To reset the level of a step to 0 %, [Ctrl]/[Command]-click the step.
•To reset all steps, [Shift]-[Ctrl]/[Command]-click in the graphical editor.
•To adjust all steps at once, [Shift]-click and drag a step.
•To draw a ramp with steps, hold down [Alt]/[Option] and draw a line.
•To draw symmetric ramps, hold down [Shift]-[Alt]/[Option] and draw a line.
You can adjust the steps by using the computer keyboard:
•Use the Step text field to select a certain step.
•To set the level of the selected step, enter the new value in the level text field.
•To increment or decrement the selected step, use the up and down arrow keys.
By default, the increment or decrement is in steps of 1 %. Hold [Shift] to increment 
or decrement the selected step in steps of 0.1
 %.
While the graphical editor has the keyboard focus, you can use the left and right arrow 
keys to select the previous or next step.
Steps
Here, you set the number of steps the sequence plays.
Sync Mode
By setting a note value, you can synchronize the steps to the tempo of the host 
application. Alternatively, you can specify a frequency at which the sequence repeats. 
If you can set a note value or a frequency depends on the option you select here:
Frequency
When Sync mode is set to “Off”, this controls the speed at which the sequence 
repeats. 
Note
When Sync mode is set to one of the tempo settings, this adjusts the length of the 
steps in fractions of beats.
Triplets
By activating the T button, the note values you set with the Note parameter become 
triplets.
OptionDescription
OffSelect this to adjust the speed at which the sequence repeats in 
Hertz. Whether the sequence restarts when you play a note depends 
on the selected Retrigger mode.
Tempo + RetrigSelect this to adjust the length of the steps in fractions of beats, i. e. 
1/4, 1/8, etc. The speed of the modulation depend on the number of 
steps, the note value and the tempo you set in your host application. 
By activating the T button, the note values become triplet note values. 
Whether the sequence restarts when you play a note depends on the 
selected Retrigger mode.
Tempo + BeatSelect this to adjust the length of the steps in fractions of beats, i. e. 
1/4, 1/8, etc. The speed of the modulation depend on the number of 
steps, the note value and the tempo you set in your host application. 
By activating the T button the note values become triplet note values. 
The sequence restarts with the transport of the host and lines up to 
the beats of the song. The Retrigger setting does not come into 
effect. 
						

							56
EditingEditing Layers
Retrigger Mode
Here you can determine whether the sequence restarts when you play a note. The 
Retrigger Mode parameter is only available when Sync mode is set to “Off” or “Tempo 
+ Retrig”. The following parameters are available:
Slope
Depending on the setting you select here, the step modulator jumps from step to step 
or ramps between the steps. You can define a slope for rising, falling or all edges of 
the steps. The setting “None” produces hard steps. Use the Slope Amount parameter 
to set the time it takes to ramp from one step to the other. The following settings are 
available:
Amount
When Slope is set to “Rising”, “Falling” or “All”, the Amount parameter determines the 
time it takes to ramp from one step to the other. The higher the setting, the smoother 
the transitions between steps.
Step
Use this to select a step. The Level text field updates accordingly.
Level
This shows the level of the currently selected step. 
Snap
When Snap is activated, the level of each step can only be adjusted in quantized 
steps of 1/12th. This feature can be used to produce modulations in steps of 
semitones, for example.
Producing Modulations in Steps of Semitones
To produce modulations in steps of semitones, proceed as follows:
1.On the StepM subpage, activate the Snap option.
2.In the Modulation Matrix, assign the Step Modulator to Pitch (see below).
3.Set the Modulation Depth to +12.
Now, the levels of the steps represent intervals in semitones.
4.Go back to the step modulator and adjust each step to the new interval.
OptionDescription
Off The sequence is not restarted. Instead, it resumes playback at the 
last position when you released the key.
First NoteThe sequence restarts when a note is triggered and no other notes 
are already held.
Each NoteThe sequence restarts each time a note is triggered.
OptionDescription
NoneHard Steps.
RisingOnly rising edges are ramped.
FallingOnly falling edges are ramped.
AllAll edges are ramped. 
						

							57
EditingEditing Layers
The Modulation Matrix Subpage
The Matrix page of synth and sample layers gives you access to additional 
modulations of the layer. The concept of controlling one parameter by another is 
called modulation. HALion Sonic offers many fixed assigned modulations such as the 
amplitude and filter envelopes, or pitch key follow.
To assign additional modulations, use the modulation matrix. Assigning modulations 
means to interconnect modulation sources such as LFOs and envelopes, with 
modulation destinations like pitch, cutoff, amplitude, etc. The modulation matrix offers 
you up to 32 freely assignable modulations, each with a source, a modifier and a 
destination with adjustable depth. All modulation sources and destinations can be 
assigned several times. The polarity of each source can be switched between unipolar 
and bipolar behavior. A selectable modifier and user-definable curves and ranges give 
you further control over the modulation.
To access the modulation matrix, proceed as follows:
1.Go to the Edit page and select the synth or sample layer you want to adjust.
2.Click the Matrix subpage button.
The modulation matrix is divided into two sections separated by the vertical scroll bar. 
The section to the left displays the modulation rows. Here, you can assign modulation 
sources to destinations and adjust the modulation depth. In the section to the right, 
you find settings for the curve and range editor to make further adjustments for the 
currently selected modulation source.
Using the Modulation Rows
The modulation rows allow you to interconnect modulation sources with modulation 
destinations and to adjust the modulation depth.
•The parameters for setting up a modulation can be accessed via 32 rows. Each 
row is identified by a number which is displayed to the left of the row. Use the 
scroll bar in the middle to access rows that are currently not visible.
•You can select modulation sources by using the Source pop-up menu at the top 
left of each row (see 
“Modulation Sources” on page 59).
•The Modifier pop-up menu in the lower left of each row allows you to select a 
second modulation source that controls the intensity of the first source or a 
modifier that alters the modulation signal of the first source (see 
“Modulation 
Modifiers” on page 63).
•To switch the polarity of a source between unipolar and bipolar behavior, click the 
button to the right of the corresponding source. Modifiers do not have a polarity. 
Therefore, the polarity option is hidden when you select a modifier.
•To select the modulation destination, use the pop-up menu to the right of a row 
(see 
“Modulation Destinations” on page 60).
•Use the horizontal fader below the destination to adjust the modulation depth. 
Usually, the modulation depth adjusts in percent (-100
 % to +100  %). If you select 
pitch as modulation destination, the modulation depth adjusts in semitones (-60 to 
+60 semitones). 
						

							58
EditingEditing Layers
•Click the Bypass button in front of the depth control to switch off the modulation 
temporarily.
Managing Modulation Rows
To copy or move a modulation row, proceed as follows:
1.On the context menu for the source row, select “Copy Modulation Row” or “Cut 
Modulation Row”.
2.On the context menu for the target row, select “Paste Modulation Row”.
•To insert an empty row, select “Insert Modulation Row” from the context menu.
•To remove a modulation row, select “Remove Modulation Row” from the context 
menu.
Note that the list always contains 32 rows. If you remove a row, an empty row is 
appended to the list. 
ÖYou can copy modulation rows across different programs and between different plug-
in instances.
MIDI Controller and Note Expression Smoothing
When a MIDI or a Note Expression controller is selected as modulation source, the 
Smoothing parameter is available. This allows for parameter changes to occur more 
gradually.
The following settings are available:
- Default: Uses the global Smoothing parameter set up on the Options page.
- 1 ms to 1000 ms: Determines the amount of smoothing.
- Off: Deactivates the Smoothing parameter.
Unipolar vs. Bipolar Sources
The polarity of a modulation source specifies the value range it produces.
•Unipolar sources produce positive values only. The sources modulate between 0 
and +1.
•Bipolar sources produce negative and positive values. The sources modulate 
between -1 and +1.
By default, some sources are unipolar and others are bipolar. However, you can 
change the polarity of a modulation source any time you want.
•To change the polarity of a source, click the button to the right of the 
corresponding source.
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 currently selected source 
marked by a frame in the corresponding modulation row. 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, for example, from linear to exponential or 
logarithmic behavior.
•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 will be superimposed on the modulation. 
						

							59
EditingEditing Layers
•The curve editor offers different presets which you can select from the pop-up 
menu above the curve. To set up your own curve, select the Custom preset from 
the pop-up menu.
•You can edit the curve graphically with the mouse when the Custom preset is 
selected. 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
To set up a modulation, proceed as follows:
1.Select the synth or sample layer you want to adjust.
2.Click the Matrix subpage button.
3.In one of the modulation rows, select a modulation source and destination, such as 
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 to hear the modulation and use the pitchbend wheel from the 
example.
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 Sonic offers you the following modulation sources:
OptionDescription
LFO P1The first LFO of the layer which produces cyclic modulation signals. 
LFO P1 is polyphonic which means that each voice is modulated 
independently.
LFO P2The second LFO of the layer which produces cyclic modulation 
signals. LFO P2 is polyphonic which means that each voice is 
modulated independently.
LFO M3The third LFO of the layer which produces cyclic modulation signals. 
LFO M3 is monophonic and modulates all voices simultaneously.
LFO M4The fourth LFO of the layer which produces cyclic modulation 
signals. LFO M4 is monophonic and modulates all voices 
simultaneously.
Amp EnvelopeThe amplifier envelope of the layer. The shape of the envelope equals 
the modulation signal. The amplifier envelope is unipolar.
Filter EnvelopeThe filter envelope of the layer. The shape of the envelope equals the 
modulation signal. The Filter envelope is unipolar.
Pitch EnvelopeThe pitch envelope of the layer. The shape of the envelope equals the 
modulation signal. The pitch envelope is bipolar.
User EnvelopeThe user envelope of the layer. The shape of the envelope equals the 
modulation signal. The user envelope is bipolar.
Step ModulatorThe step modulator of the layer. This produces cyclic, rhythmically 
stepped modulation signals. The step modulator is bipolar. 
						

							60
EditingEditing Layers
Modulation Destinations
Depending on the selected type of layer, the available modulation destinations vary. 
HALion Sonic offers you the following modulation destinations:
GlideThe glide signal of the source. Glide is 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 
Squared
The squared version of Note-on Vel. Squared means you need to 
press the key harder to produce higher modulation values.
Note-on Vel 
Normalized
The note-on velocity is normalized via the velocity range of the 
corresponding sample zone. At the lowest velocity of the sample 
zone the modulation will be 0, at the highest velocity it will be 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, your sequencer 
software will in most cases be able to produce such messages.
Pitch BendThe position of the pitchbend wheel can be used as a modulation 
signal. Pitch Bend is bipolar.
Modulation WheelThe position of the modulation wheel can be used as a modulation 
signal. Modulation Wheel is unipolar.
AftertouchAftertouch (how hard you press a key down after you hit it) can be 
used as a modulation signal. Aftertouch is unipolar. Some MIDI 
keyboards cannot send aftertouch messages. However, your 
sequencer software will in most cases be 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 layer 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 layer. You can select the note expression 
parameter from the corresponding submenu.
NoiseProduces a random modulation signal. Noise is bipolar.
OutputThe audio output of the layer can be used as a modulation signal. 
Output is bipolar.
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. 
OptionDescription
PitchModulates the pitch of the layer. 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 layer. For example, assign the step 
modulator to create rhythmic patterns in the spectral timbre.
Option Description