Steinberg Halion Sonic 2 Manual

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EditingEditing Drum and Loop Layers
Amount
This parameter defines how much of the quantization grid is applied. A value of 100 % 
means the slices play back only at the Quantize Note Value you specified. Smaller 
values move the notes only partially towards the next Quantize Note Value. With a 
value of 0
 % no quantization is applied at all.
Key Follow
Here you can adjust the pitch modulation from note number. Set this parameter to 
positive values to raise the pitch with notes above the Center Key. Use negative 
values to lower the pitch with notes above the center key. At +100
 % the pitch exactly 
follows the played note.
ÖThe Key Follow parameter is limited to the keys that trigger the entire loop. It does not 
affect the keys that play the single slices.
Center Key
This parameter determines the MIDI note that is used as the central position for the 
Key Follow function.
Random
To shuffle the playing order of the slices randomly, activate the Random button. To 
play the slices with their original order, deactivate the Random button.
ÖThe overall timing does not vary through this. Only the playing order of the slices 
varies through this, for example, slice 3 plays instead of slice 1, etc.
Depth
Here you adjust how much the playing order of the slices will be shuffled. Lower this 
value to keep the playing order of slices on the main beats. Raise this value to vary the 
playing order of slices on the main beats as well. 
This parameter is only available when Random is activated.
Trigger
Click this to shuffle the playing order again. Please note that this function changes the 
pattern’s number. 
This parameter is only available when Random is activated.
Pattern
To predictably recall a certain random pattern, you can enter the pattern number. If 
you recall a loop with a certain depth and pattern, it always sounds the same. 
This parameter is only available when Random is activated.
Exporting the Loop Sequence
The FlexPhraser of loop layers allows you to export the loop sequence as a MIDI part 
for your host sequencer.
To export the loop sequence, proceed as follows:
1.Drag the icon that looks like a MIDI socket to the project window of you host 
sequencer.
2.Drop the MIDI part to an existing MIDI track or to empty space, which creates a 
new MIDI track.
3.Assign the MIDI track to the corresponding slot in HALion Sonic. 
						

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EditingEditing Instrument Layers
Loop FlexPhraser Variations
By activating Random and by adjusting the parameters Tempo, Tempo Scale, Swing, 
Gate Scale, Quantize, Amount, Start and Length, you can create up to eight variations. 
For further information, see 
“Working with FlexPhraser Variations” on page 73.
ÖThe parameters Loop, Sync, Hold, Trigger Mode, Restart Mode, Key Follow and 
Center Key are not part of the variations. You set them up only once per FlexPhraser.
Editing Instrument Layers
For easy editing, instrument layers have fewer controls. In the list at the top left, you 
will see the expressions of the instrument layer. Typically, an expression is a certain 
playing style of the instrument. In some cases, it can also be a part of the sound that 
can be turned on or off, for instance, to add realism or to maximize the performance. 
To the right and below, you will find the pitch, filter and amplifier settings of the 
currently selected expression.
•Click the “On” button to load an expression. Note that you can use this option to 
reduce the amount of used RAM by turning off individual expressions. You cannot 
switch to an expression that has not been loaded before.
To edit an expression, proceed as follows:
1.Select the expression you want to edit in the list to the left.
2.On the right and below, adjust the parameters to your liking.
Only the selected expression will be modified.
To mute an expression, proceed as follows:
•Click the Mute button in the list on the left. The expression will not play back while 
this is active.
•Click the button again to make the expression audible again.
ÖYou can activate “Select Expression via MIDI” in the expression list if you want the 
editor to follow incoming MIDI key switches or MIDI controller values. 
						

							83
EditingEditing Instrument Layers
The Pitch Subpage
This subpage gives you access to the tuning of the expression. With the Octave, 
Coarse and Fine parameters, you can adjust the tuning in steps of octaves, semitones 
and cents. In addition, you can also set the amount of pitchbend. 
The following parameters are available:
- Octave (see “Octave” on page 33).
- Coarse (see “Coarse” on page 33).
- Fine (see “Fine” on page 33).
- Pitch Bend Up and Down (see “Pitchbend” on page 33).
The Filter Subpage
The Filter subpage offers settings to adjust the tone color of the expression.
•To activate the filter, click the On button.
Expressions without filter use less CPU cycles. Therefore, you should only activate 
this if your sound really needs a filter. The controls of the section turn dark when 
deactivated.
The following parameters are available:
- Filter shape (see “Filter Shape” on page 39)
- Cutoff (see “Cutoff” on page 40)
- Resonance (see “Resonance” on page 41)
The Amplifier Subpage
The Amplifier subpage gives you access to the level and pan settings of the 
expression. With level you adjust the loudness of the expression. With pan you specify 
the position of the expression in the stereo panorama.
The following parameters are available:
- Level (see “Level” on page 42)
- Pan (see “Pan” on page 42)
The Filter Env Modifiers Subpage
This subpage offers parameters to modify the filter envelope of the expression. You 
can offset the Attack, Decay, Sustain and Release of the filter envelope. In addition, 
you can also adjust the level velocity of the filter envelope.
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.
Velocity
Use this parameter to adjust how velocity affects the level of the filter envelope. The 
level of the envelope depends on the setting of this parameter and how hard you hit a 
note: Positive values increase and negative values decrease the level of the envelope 
the harder you hit a note.
Attack
Use this to offset the Attack time of the filter envelope. Positive values decrease and 
negative values increase the Attack time.
Decay
Use this to offset the Decay time of the filter envelope. Positive values decrease and 
negative values increase the Decay time. 
						

							84
EditingEditing Instrument Layers
Sustain
Use this to offset the Sustain level of the filter envelope. Positive values increase and 
negative values decrease the Sustain level.
Release
Use this to offset the Release time of the filter envelope. Positive values decrease and 
negative values increase the Release time.
The Amplifier Env Modifiers Subpage
This section offers parameters to modify the amplifier envelope of the expression. You 
can offset the Attack, Decay, Sustain and Release of the amplifier envelope. In 
addition, you can also adjust the level velocity of the amplifier envelope.
Velocity
Use this parameter to adjust how velocity affects the level of the amplifier envelope. 
The level of the envelope depends on the setting of this parameter and how hard you 
hit a note: Positive values increase and negative values decrease the level of the 
envelope the harder you hit a note.
Attack
Use this to offset the Attack time of the amplifier envelope. Positive values decrease 
and negative values increase the Attack time.
Decay
Use this to offset the Decay time of the amplifier envelope. Positive values decrease 
and negative values increase the Decay time.
Sustain
Use this to offset the Sustain level of the amplifier envelope. Positive values increase 
and negative values decrease the Sustain level.
Release
Use this to offset the Release time of the amplifier envelope. Positive values decrease 
and negative values increase the Release time. 
						

							85
EditingExpression Maps
Expression Maps
Using Expression Maps
For more realistic performances, many instrument layers use key switches to switch 
between different expressions, i.
 e. different articulations and playing styles of the 
same instrument. These key switches are set to rather low keys to maximize the 
playable range and they cannot be changed internally to ensure that performances 
played by FlexPhrasers always sound the same – FlexPhrasers expect the key 
switches of certain expressions on a specific MIDI note.
However, in some cases you need to shift the key switches into the playable keyboard 
range to get access to them. You may also want to select the expression using a MIDI 
controller. You can use so-called expression maps to customize the internal setting.
Selecting the Expressions
You can select which of the listed expressions you want to use in your expression 
map. Expressions you do not activate will not be included in your expression map.
To activate or deactivate an expression, proceed as follows:
•Click the button to the left of the name of the expression.
Deactivated expressions turn dark.
ÖSome instrument layers consist of multiple expressions that are not switchable via a 
key switch. For example, instrument noises typically do not have a key switch 
assigned. In this case, you can still select the individual expressions and edit them, 
however, you cannot apply any key switch functionality. The key switch option menu is 
therefore disabled.
Setting the Mode
To define whether you want to use only the internal key switches, to remap them to 
other keys or to use a MIDI controller instead, open the options pop-up menu above 
the expression list:
1.Go to the Edit page and select the layer you want to adjust.
2.Click the menu triangle on top of the expression list.
3.Select a mode. The following options are available:
ÖNo matter which condition you select, the internal key switch assignments still work in 
parallel. This is mostly important for FlexPhrases that make use of the key switches. 
The last key switch that is received always has priority.
Key Switch Mode
The Key Switch mode uses the internal key switch assignments. The key switches are 
displayed in the list.
Mode Description
Key SwitchOnly the internal key switches can be used to switch to an 
expression.
RemappedThe original key switches can be remapped to different keys.
MIDI ControllerA MIDI controller can be used to remotely control the internal key 
switches. 
						

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EditingExpression Maps
Remapped Mode
The Remapped mode allows you to transpose the fixed, internal key switch 
assignments into the playable range of your MIDI keyboard. Each expression displays 
the MIDI note of the internal key switch and a MIDI note for re-assigning the key 
switch next to its name. The MIDI note of the internal key switch is for indication only 
and cannot be edited.
To transpose the internal key switches, proceed as follows:
1.Set the mode to Key Switch.
2.Enter the MIDI note you want the expression to be reassigned to.
ÖThe MIDI notes you use for key switches cannot be used to trigger samples anymore.
MIDI Controller Mode
The MIDI Controller mode allows you to define a MIDI controller that remotely controls 
the internal key switches. The defined MIDI controller switches only between the 
active expressions.
To assign a MIDI controller, proceed as follows:
1.Set the mode to MIDI Controller.
2.Open the menu again and select “Learn CC”.
3.Turn on the Hardware controller.
Temporary KS Mode
When you activate this option, expressions other than the default expression only 
become active for as long as the corresponding key switch is held. This allows you to 
“throw in” notes with other expressions by pressing a key switch temporarily. You 
automatically return to the default expression when releasing this key switch.
Default Expression
This sets the default expression for Temporary KS Mode and the expression that will 
be active after loading the program or layer.
To set the default expression:
1.Open the “Default Expression” submenu.
2.Select the expression you want to be the default. 
						

							87
EditingEditing Insert Effects
Editing Insert Effects
HALion Sonic offers you up to four insert effects for each of the four layers and for the 
program itself. The insert effects you assign to a layer affect only that layer. The insert 
effects you assign to the program affect all four layers together. Typically, you assign 
effects like EQ or Distortion to the separate layers, but effects like Delay or Reverb to 
the whole program.
Using the Insert Slots
Each layer and the program have four slots for assigning insert effects. The handling is 
the same for all slots and corresponds to the global effects (see 
“Using the Insert 
Effect Slots” on page 131).
Adjusting the Levels
To the right of the insert slots you find faders for adjusting the output levels of the 
program and layers.
To adjust the output level, proceed as follows:
•Drag the fader of the program or layer you want to adjust.
•Alternatively, enter a value in the text field below the fader.
ÖBy changing the levels here, the corresponding parameters on the Program page will 
change, too. Both parameters are the same. 
						

							88
Auron
Introduction
The Auron synth uses granular synthesis with up to eight grain streams to produce 
oscillator waveforms. With the integrated arpeggiator and step sequencer, you can 
create anything from sequencer lines to stepped chords.
The granular oscillator is followed by a multi-mode filter that offers a large number of 
different filter shapes. The filter can be modulated by modulation sources like the 
keyboard, velocity, and LFO, but also by the controller lanes of the step sequencer, for 
example.
Auron includes two LFOs for pitch, grain position, formant, and duration as well as 
filter modulations. The first LFO can be synchronized to the tempo of the host 
application and allows for modulations of grain position, formant and duration, as well 
as filter cutoff. The second LFO is controlled by the modulation wheel and is used to 
create a vibrato.
For the grain synthesizer, three pages are available: Osc, Mod, and Voice. To open a 
page, click the corresponding button in the upper left of the Auron panel.
Selecting Samples
•To select a sample, click the selector in the upper left of the page and choose a 
sample from the menu. 
						

							89
AuronThe Osc Page
The Osc Page
On this page, you can make settings for the grain oscillator.
Position
You can set the playback position of the grains manually. For example, at a setting of 
50
 %, the playback position is in the middle of the sample. The playback position is 
updated with every new grain.
Position Random
Selects a random playback position within a certain range around the current position. 
At a setting of 100
 %, the playback position jumps to a random position between the 
start and the end of the sample. 
Duration
Increases the grain period by a factor ranging from 1 to 1000. 
For very short grains, the sound gets the pitch of the frequency at which the grains 
repeat. For grains longer than 30
 ms, the sound gets the pitch of the original sample. 
Duration Random
The random grain duration is calculated at the start of a new grain.
KF (Key Follow)
Determines how the grain duration changes with the notes you play. It is mostly used 
with short durations. Longer durations sound with the original pitch of the sample and 
therefore do not need to follow the keyboard. 
Pitch
Here, you can specify an interval between -12 and +12 semitones. The grains are 
played randomly at their original pitch, or are transposed according to the pitch 
interval. This parameter is suited for longer grain durations.
Pitch Random
Sets the random pitch range in semitones and cents. At a setting of +12, the random 
pitch values lie between -12 and +12 semitones. This can be used to enrich the sound.
Level
Adjusts the overall level of the grain oscillator. When you increase the number of 
grains, it might become necessary to lower the oscillator level. If you play back a very 
quiet portion of a sample, you can use this control to raise the level.
Level Random
Sets a random level for each new grain. At a setting of 100 %, the level varies between 
a factor of 0 and 2 of the original level.
Width
Narrows the stereo width of the grain oscillator. It is applied after the grain oscillator 
and does not affect the stereo width of the actual sample. At a setting of 0
 %, the 
output of the grain oscillator is monophonic.
Gain
Allows you to automatically adjust the level of grains using quieter sample parts. This 
way, you get a more homogenous signal and you can use a quiet part of a sample as 
source. 
						

							90
AuronThe Mod Page
Grains
You can specify the number of grains, from 1 to 8. For example, with a setting of 4, 
you get 4 grains per period of the grain duration.
To hear the effect of this setting, you have to play a new note.
The Mod Page
The Mod page contains the LFO settings in the upper section and the mod wheel, or 
vibrato, settings in the lower section.
LFO Settings
LFO Waveform and Shape
Here, you can select the waveform for the LFO:
Freq
Controls the frequency of the modulation, that is, the speed of the LFO.
Sync
When Sync is activated, the frequency is set in fractions of beats.
Position
Controls the modulation depth of the grain position modulation.
Formant
Controls the modulation depth of the grain formant modulation.
OptionDescription
SineThis produces smooth modulation, suitable for vibrato or tremolo. 
Shape adds additional harmonics to the waveform.
TriangleThis is similar to Sine. 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. With Shape set to 
50
 %, a square wave is produced.
RampThis is similar to the Saw waveform. Shape increasingly puts silence 
before the sawtooth ramp up begins.
LogShape continuously changes the logarithmic curvature from 
negative to positive.
S & H 1This produces randomly 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.